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Posted on September 4, 2020 by Francis Hodgson
From Shroud, by Simon Norfolk and Klaus Thymann
The Shroud on the Glacier du Rhône by Klaus Thymann and Simon Norfolk
Every so often I republish here texts which have been earlier seen elsewhere. This is mainly to make some attempt to group my stuff in one place. What follows is an introduction to a moving group of pictures on the death of a glacier in Switzerland. It is a version of the text which appeared online in Granta in April of 2020, republished with thanks to Granta for allowing it.
The French distinguish between a rivière and a fleuve. A fleuve is a mighty river, defined specifically as one which flows into the ocean or the sea. It's made of lots of rivers joined, and it defines its whole part of the world. The Severn and the Thames and the Trent may just about be fleuves, although English has seen no need of the word. But the Rhône is a fleuve, very much so. The Rhône is only just navigable. It is a great European artery, but not one you mess with. It floods the towns along its course, which changes anyway as the masses of gravelly sediment it rolls down settle and shift.
Historically, upstream movement was impossible in times of high flow. At best it was made by teams of forty horses pulling a load of less than a hundred tons: a month from Arles to Lyon (compared to the two-three days for the same trip downstream). In the mid nineteenth century, an engineer called Claude Verpilleux (he was almost illiterate, but gifted for machines) designed tugs which rolled a pronged wheel along the river bottom, a bit like a funicular railway. Against general scepticism, the system worked and made a huge saving in coal. For nearly 50 years, Verpilleux tugs set the rate for upstream haulage.
Further south, the delta of the Rhône, like the delta of the Danube, is one of the great European geographic zones. It deviated the routes of travellers even before it set the routes of Roman roads. The Rhône valley as a whole defines something of France. The great wind of the valley, the Mistral, said always to blow in multiples of three days, has blown its way into the national character of the Midi, the French south. Madame de Sévigné called the Rhône: "Ce diantre de Rhône, si fier, si orgueilleux, si turbulent." (That dreadful Rhône, so headstrong, so proud, so troubled.")
The Rhône Glacier (top centre) as depicted in the Blue Guide for 1948. The Furka Pass with its hairpins is to the right as we look, the Grimsel Pass to the left. The infant Rhône drops out of the frame a little to the left of the bottom centre..
The source of this giant has been a place of great interest for a very long time. It rises from under a glacier – the Rhône Glacier is its unsurprising name – in the Valais, not far from Andermatt, in a region where a number of the highest Alpine passes radiate, and therefore where a number of routes meet. Travellers who wanted to go east or west had to duck under the snout of the glacier before climbing up the Furka pass or the Grimsel pass.
A different perspective showing the Pennine Alps and Bernese Alps. The Rhône Glacier is the white patch in the lower centre, and the Grimsel and Furka passes wiggle up at the right.
Panorama of the Furka by Armbruster Reinhard from 1890. The Rhône Glacier, as it used to, reaches right down to the valley floor.
This is a continental watershed. According to a Master's thesis on the Furka region by an architect called Jan de Vylder, who helped restore the Furkablick hotel (even higher than the Belvedere, of which more later) and who recounts an astonishing list of dozens of artists and artworks brought there by its adventurous owner Marc Hostettler in the brief heyday of the Furkart summer art events from 1984, the "pass itself and the summits surrounding it, reaching an elevation of more than 3000m, form the watershed between three major European river systems: the Rhine (of which the Reuss is a tributary) which runs to the North Sea, the Rhône feeding the Mediterranean, and the river Po which connects to the Adriatic sea. A few km to the East is the origin of the river Inn, which is a tributary of the Danube and runs to the Black Sea."
By being sited so near the passes, the glacier was curiously accessible (all such terms are relative in the high Alps, but still). For many, no doubt, that glacier was just a dreadful obstacle. But for a few, it has been a source of wonder of a particular kind. Partly by its accessibility, the Rhône Glacier was one of the great monuments of the sublime, that peculiarly eighteenth-century sentiment cooked out of equal parts of Enlightenment interest in the natural sciences, romantic laicism and the growing possibilities of travel. As Byron put it, in Childe Harold's Pilgrimage,
I live not in myself, but I become
Portion of that around me; and to me,
High mountains are a feeling ..
Burke, whose 1756 essay on it is always given as one of the places where British thinking on the sublime was first decoded, quotes Milton describing the landscape that fallen angels must cross:
O'er many a dark and dreary vale
They passed, and many a region dolorous;
O'er many a frozen, many a fiery Alp;
Rocks, caves, lakes, fens, bogs, dens, and shades of death,
A universe of death.
Eugene Ciceri, Glacier du Rhône, 1859 after Frédéric Martens
The Rhone Glacier in 1860, by Von Kaspar Ulrich Huber
The Rhône Glacier seen by J.G. Martini in c1850
The Rhône Glacier above Gletsch in an aquatint of 1860
The Rhône Glacier above Gletsch, by Caspar Wolf, 1778. In all these earlier views, the ice is thick right down on the valley floor.
That's the upper Rhône valley in a nutshell to the eye of eighteenth or nineteenth century travellers. As you craned your neck up to the high peaks and as the sun disappeared over the ridges and dark came early to the valleys; or as you realised that you were above the treeline, and therefore above the familiar landscapes of the lowlands, a sense of awe became the required feeling for visitors. That awe finds expression in language close to that of religion. Here's Shelley in 1816, writing of the river Arve, that flows through Chamonix in another part of the Alps:
Thus thou, Ravine of Arve—dark, deep Ravine—
Thou many-colour'd, many-voiced vale,
Over whose pines, and crags, and caverns sail
Fast cloud-shadows and sunbeams: awful scene,
Where Power in likeness of the Arve comes down
From the ice-gulfs that gird his secret throne,
Bursting through these dark mountains like the flame
Of lightning through the tempest
That's not so very far from the language of the Book of Revelation.
Der Wanderer über dem Nebelmeer (The Wanderer Above the Sea of Mist) by Caspar David Friedrich, c1818
Carlyle – essentially a Romantic, although the historian and essayist that he became easily cloak that – translated Ludwig Tieck's Der Runenberg (1804), a tale on the wilder shores of the sublime that is both typical and fairly mad. The protagonist, like that of The Pilgrim's Progress, is called Christian, and his journey is a mystical quest in which lumbermen and so on help him, but the mountains themselves affect his sensibility. Perhaps that's enough; it allows us to skip all the frankly rather over-elaborate allegorical detail of his expedition into the high mountains. Think of Caspar David Friedrich's solitary Wanderer, a gentleman in a frock coat, monarch of all he surveyed, staring down from the moderate peak that he simply cannot have scaled hatless and in town boots, to get the simplest impression of what the high mountains came to mean in the Romantic sensibility. And think that if Wordsworth could get a bit exalted about the Golden Valley above Tintern and his beloved Lake District, how much stronger the effect of high Alps might be. Goethe himself was a keen mountaineer, I remember, and with him Faust. Here (in 1833) is the first talking in the voice of the second:
Gazing at those deep solitudes beneath my feet,
I tread the mountain brink with deliberation,
Leaving the cloud-vehicle that carried me,
Softly, through bright day, over land and ocean.
These Romantic generations looked on the Alps and started to think beyond Romance. The mountains spurred them to geology – including the movement of tectonic plates; to climate; and eventually to the impermanence of Man and the ever longer timelines that simply had to be true if fossils could be found at altitude. Humbodlt's work on Chimborazo certainly partakes of something of the Romantic sensibility to the mountains, for all its unassailable scientific value.
Not everyone got it right. The critic John Ruskin was adamant that the power of glaciers was exaggerated: "A glacier scoops out nothing;" he lectured to the Royal Institution in 1863, "once let it meet with a hollow, it spreads into it, and can no more deepen its receptacle than a custard can deepen a pie-dish… Full in the face of this same Rhône Glacier two impertinent little rocks stood up to challenge it. Don Quixote with his herd of bulls was rational in comparison. But the glacier could make nothing of them. It had to divide, slide, split, shiver itself over them, and ages afterwards, when it had vanished like an autumn vapour from the furrow of the Rhône, the little rocks stood triumphant and the Bishops of Sion built castles on their tops, and thence defied the torrent of the Reformation coming up the valley as the rocks had done the passage of the glacier coming down it."
The Rhone Glacier is documented in great detail in many hundreds of post cards – enough, I would have thought, to measure the retreat of the glacier fairly precisely
Much later, in 1924, Alfred Döblin, author of Berlin Alexanderplatz, published an extraordinary book of science fiction called Berge Meere und Giganten (Mountains, Seas and Giants) prophesying catastrophic conclusions that would come from human meddling leading to the melting of all of Greenland's ice. The pendulum had swung all the way over. Glaciers have been symbols of majesty and mystery, of optimistic advance, and then by the time Döblin wrote, pretty severely damaged by his experiences in the First War, of disaster on a global scale.
Some of the many hundreds of postcards of the Rhône Glacier easily found online. It was frightening and strange and grandiose, but easily accessible and so became a major tourist draw. This one's from 1900.
And that's where they have stayed. Over the last few years, the retreat of the glaciers (and of polar ice) under global warming has been uncontestable. It's a staple of travel and eco-journalism, a certain grant winner in research institutes around the world. There's more ice-tourism than our nineteenth century Romantics could have dreamt. There's ice-art as well as the more obvious ice-science: the English research project Cape Farewell, for example, predicated on bringing boatloads of scientists and artists together to the North Atlantic, has helped to generate Rachel Whiteread's memorable Embankment, seen in the giant Turbine Hall at the Bankside Tate, as well as chunks of pop songs, novels, sculpture and so on.
As ice gets rarer we seem to value it more. Ice – and more precisely the vanishing of ice – has become a bathetic disappointment on the global scale after the grandeur that we had got used to associating with it. It's also a catalogue of threat – a visible measure of the extreme climate disaster that we humans have willed upon ourselves.
Herman Lindemann measuring on The Rhône Glacier, 1882
Taking Measurements, 1880
Detailed Map of the Rhone Glacier itself, 1874. The hairpins of the Furka are on the right.
But the history has been very long. As early as the 1870s, scholars were measuring the glaciers as well as being awed by them. Even then, it was clear that climate cycles varied, and that there might be a human element in the acceleration of global warming.
Seiler Hotel Flyer
Luggage Label from the Belvedere Hotel. Photo credit Picturenow/Universal Images Group via Getty Images
There's a hotel high on the Furka Pass called the Belvedere which was built specially to give access to that most touristic of glaciers. It was built by Josef Seiler and opened in 1882. Seiler knew about Alpine tourism; he was of that Seiler family which in effect built Zermatt, catering to and profiting from the English obsession with Alpinism.
Edward Whymper's hut on the Matterhorn, engraved c1880. His first ascent was earlier and had involved his watching helpless as a substantial portion of his party slithered to their deaths after a rope parted on the descent from the summit. The English vision of Alpinism was widely regarded as eccentric in the Alpine nations for some years, although there was of course money to be made from it by hoteliers and others.
Seilers didn't just build hotels. They invested in mountain railways to get people there, bought farms to feed them once they'd arrived, lobbied furiously for membership of town and regional councils. At the Belvedere, you could lean on the balcony of your room and look out over the glacier. Josef Seiler owned a hotel in Gletsch (the clue is in the name: it simply means Glacier) just down the road in the valley, to mop up any business of people looking up at the glacier from below. The Belvedere became famous.
The Belvedere is marked on the staircase of hairpins, with the ice still reaching far below it to the valley floor
James Bond (in Goldfinger) looking down on the hairpins of the Furka without taking it too fast
So famous that Sean Connery as James Bond in his Aston Martin (rather sedately) chased Tania Mallett over the pass, right past the Belvedere, in the 1964 film Goldfinger. But the fame began to wane. Some say that as cars became more powerful, people could race through the Furka Pass in a day rather than lingering two or three. Others note that exoticism moved elsewhere and that Switzerland, even high Alpine Switzerland, was simply left behind as travellers moved further afield. And the main attraction was plainly not what it was. Year by year, the Rhône Glacier melted. It used to reach right down to the valley floor at Gletsch, but it retreated. Now it doesn't even reach past the Belvedere, perched on the shoulder of the pass, and the glacier is now a lake in its own collecting bowl high above the steeper sides of the valley. The hotel is already closed, its future uncertain. Who wants to see a glacier that was once majestic?
The Belvedere, abandoned, likely for ever
One of the attractions had been the road itself. A perilous concatenation of hair-pin bends, it was a thrill seeker's delight and the Seilers made sure the buses ran up there full of guests to fill their high-altitude beds. It still attracts large numbers of cyclists and its fair share of motor tourists. The whole marketing concept of the GT car – the Grand Tourer – is based on the seduction that a sufficiently comfortable car could take you touring over these passes like a pre-petrol grandee making the journey from Northern Europe to Italy on the old fashioned Grand Tour, cocooned in the smell of your leather seats and watching the view scroll in front of your comfortably insulated windshield. Many car advertisements have involved smoothly driving up roads like this: it's what you're supposed to imagine that you could do or will do when you're actually stuck on the Périphérique or the M25 breathing in the fumes of the car in front.
The hairpins in 1911. Many of the images used in post-cards appear again and again. But sometimes they are datable – and that gives solid evidence for the level reached by the ice at different times.
This one is a tourist booklet, not a post-card and it dates from around 1910.
Seiler's diligence going up pre-1911
A diligence going up the Furka Pass, c1880. Photo by adoc-photos/Corbis via Getty Images
A charabanc on the Furka
A post-bus, from 1928 or so.
Of course, sometimes you had to get out and walk.
Another of the attractions has long been a cave dug out of the ice to allow visitors to walk actually within the glacier. The tradition was started by Seiler as an unashamed tourist draw and continued by his successors. The idea is that the ice which looks so grey and rocky – grubby is the word – from outside refracts light in a special way and that for a few tens of metres you can walk in an ethereally cool blue grotto – an experience which still today raises oohs and aahs on Instagram. The glacier moves, so the grotto distorts through the season and has to be dug afresh every year. But recently the retreat of the ice has been so fast that special measures have had to be taken; the Carlen family, successors to the Seilers, who own a gift shop and in effect own a bit of the glacier, felt that their asset was simply melting away. The grotto which had been tens of feet below the surface of the ice, was now sometimes not even covered: more of a crevasse than a cave. They started ten or so years ago to protect their bit of ice by covering it with thick canvas lined with insulating materials, desperately trying to make a season's attraction last a season. I repeat it, because it's such an extraordinary idea. They tried, with all the help that money and science could give them, to keep a glacier cool. Nobody much has ever felt the need to do that before. Now we all fervently hope for exactly that.
The grotto in 1908
By the time modern tourists are there, the tunnel is so shallow the roof is made no longer made of ice : it's a cloth covering. The tunnel is no longer a tunnel
But you can't stop a process like global warming with a few blankets, even very expensive and high-tech blankets.
That's the long story that Simon Norfolk and Klaus Thymann walked into when they started to be interested in the retreat of the Rhône Glacier and in making their Shroud series there. The original invitation, I think, was Thymann's – his Project Pressure has Visualizing Climate Change as its strapline. They were no means alone in finding it a powerful story to photograph. A number of agency photographers had worked there. Thymann himself had invited other artists. And some of the Furka artists from nearly a generation before had been actively concerned with climate change, too. All of them work in the shadow of long lines of artists who have processed here to marvel. Caspar Wolff painted the glacier in 1778 as a vast Sphinx claw, narrow on the descent and then spreading down the valley. Through the nineteenth century there are watercolours, engravings, lithographs. John Singer Sargent came as a teenager, on the itinerant holidays of his American expatriate family, up from the heat of Florence in the summer of 1870. Later the postcard came to the glacier, along with the tourists, first by diligence and then by charabanc.
"I've always found being in the presence of a glacier most haunting," said Norfolk when interviewed for the Unseen festival in Amsterdam recently. "Silent, withering, accusing. I'm 55 years old: my generation's lifestyle burned away this ice. On a glacier, I always feel in some sense, guilty… The glacier seemed to be being wrapped in preparation for its own funeral. This Life/Death state-change interests me enormously. We photographed the shroud to resemble Carrara marble which traditionally in western art has been used by the greatest artists to turn a lifeless stone block into the flowing liveliness of Sculpture. The ice of a glacier is made of water but looks and feels like hard stone. With time and the power of the ice, the strongest rocks on earth are plastic, as carve-able as butter. This glacier, which has existed for millennia will die within the lifetime of children born today. None of the physics of my little, suburban life seem to be quite reliable when we get up there at high altitude, at greater pressure and at much, much longer timespans."
John Singer Sargent's view of the glacier on July 15th 1870 may not be his greatest work
Norfolk had worked with glaciers before, notably in an earlier partnership with Thymann, chronicling – by lines of fire – the erosion of the Lewis Glacier high on Mount Kenya. In that context, Norfolk had written
"To be next to the ice is to feel privileged: like you are beside a colossal, sleeping giant. I imagine being close to a darted bull-elephant feels the same and I'm reminded of 17th century Dutch paintings of awestruck, bewildered Burghers contemplating a stranded whalefish. Close-up one senses the glacier's bulk, its coiled, dormant energy or its colossal longevity. And, of course, its cold, resigned indifference. One is hit by an overwhelming feeling of one's own smallness and transience. Englishmen have been feeling this way about mountains for 300 years, since Romantic, Grand Tour travellers first astonished Swiss inn-keepers with the request for help in climbing to the heights. Nobody had done that before; for the fun of it, because it made you feel whole, because it feeds the soul. But this is the opposite – to think that in ten or twelve years this elegant, magnificent glacier will exist only in photographs is unbearable. The feeling I have for the losing of the Lewis can only be called grief."
Norfolk's work on Lewis is extraordinarily moving, and it won prizes. There are reasons for that. Norfolk knows grief and has thought deeply about it. He has been his whole career a photographer of the landscapes of grief. An early series was on the concentration camp at Auschwitz. Then Bosnia, Afghanistan, The Middle East .. He made a project (and called it For Most of it I Have No Words, a most exquisite title) on the landscapes of genocide. He has recently made a remarkable film on the nationalisation of death during and after the Great War, in the enormous cemeteries which made such a spectacle of public grief, but prevented individual families from bringing home their own loved ones. This is, in other words, an artist honed and practised in the elusive aura that one can find (or be painfully moved looking for) in places where death and dying have occurred on a huge scale. Planetary death – it's an emotive expression, but one that is bandied around much more than it used to be – is maybe the natural extension of that work.
Thymann, too, had been well prepared for the glacier. An environmental photographer of great experience, he is a superbly experienced caver, mountaineer, diver.. He has often learnt those skills to get specific groups of pictures, when those skills were what it would take to get them. An explorer and expedition leader, notably at great altitudes or depths (he has worked on the underground rivers of the Yucatan, in Tonga, in Greenland..), he is also an investigative reporter, skilled at ferreting out truths. Those shrouds high on a mountain in the Valais were waiting for Thymann and Norfolk.
I'm neither very good at the technical processes behind photographs, nor (sometimes) very interested. Yet even I noticed straight away that Norfolk and Thymann's views of the shrouded mountain held a peculiar quality of light. High in the mountains, where most photographers are happy to be wowed and wooed by the shifting qualities of cloud-dappling and storm-darkening, they thought the light wasn't good enough. That's amazing in itself. They weren't prepared to 'capture' or 'reproduce' the scenes they saw. They were making something new up there, creating an artwork as surely as if they held burins or gouges in their hands. Anybody who thinks these photographers simply 'took' these pictures, and that he or we could do something roughly similar just by being up there in the cold misses the point entirely. Thymann and Norfolk certainly have much of the truth-teller about them. But they are also heirs of those Romantic landscapists. These may be campaigning pictures (and the New Scientist once reviewed them as such) but they are emphatically not documentary pictures. That in itself is new. It used to be that to call people to action in photography you were expected to show the wrong as it was. Yet here Norfolk and Thymann boldly show the glacier as a metaphor. Call the series an elegy, or a requiem, or a lament – the exact word hardly matters., but the mood is inescapable. The shrouded ice was there; but it's wrong to imagine the pictures were all-but made and Norfolk and Thymann had merely to record them once they'd got there. These are great poetical views, the work of the hand and eye and brain of two fine artists working to bounce ideas off each other, as slanted and deliberate as anything the Romantics produced in front of that same glacier.
I've had these picture on my computer some time. And they stay in my eye, echoing all the time. That somebody is wrapping glaciers to eke out the last tourist money before they disappear is not a big deal at all. That someone else has been up there and found it a symbol for the absurd losers' gambling that we are all playing with climate change and our environment is different. This is on a par with Shelley in Chamonix – although because it's done in photographs, no-one will ever find the comparison tolerable. It is no exaggeration. Norfolk, sharpened in his hard craft, with years of treading gingerly over bodies to his account, and assured as only an experienced person can be in his long view, is at the height of his powers here, making photographs whose every echo and chime he takes full responsibility for. Thymann has found the great story his years of exploration prepared him to tell. You are moved looking at these pictures precisely as two photographers working together wished you to be moved.
The light, it turns out, is due to a fancy helium balloon they bought, which allowed them to suspend lights in the middle of the scene, in the manner of a lighting-director choosing how to light an opera. The balloon was not that easy to control, and involved large challenges of its own. Where most artificial light trespasses in on a view from the sides and edges, the balloon allowed Thymann and Norfolk to drop light from above – an idea which is metaphorically apt just as it is physically appropriate. The glacier is melting, after all, at its furiously accelerated pace, partly because more of that light from above is getting through to it.
The doctoral research of a scholar called Meredith Kelly was to make sense of the many little marks and scars of evidence which told her something of the ancient history of the Rhône Glacier. She looked for the tell-tales of the presence and movement of glacier ice in the past: moraines, which mark where the ice stopped; trimlines, which show how high it reached (the rock is polished by ice below the trimline; more roughly eroded by weather only above); rat-tails, which are thin lines of bed rock, sometimes only a few inches long, left un-eroded by ice because they lay in the lee of something hard such as granite. She also looked for roches moutonneées – bedrock hills that were rounded and polished by ice. All of these made to Kelly a clear picture. Twenty thousand years ago, the Rhône Glacier was a dome of ice ninety-six hundred feet high, part of a sea of ice that covered the whole of this part of Switzerland, with only a few isolated crags poking up above it. That sea flowed in a number of directions away from its cap. Standing next to the waterfall at the edge of the present glacier, you would have been under a mile or more of ice.
It's a deeply disturbing scene up there. The sheer futility of those blankets is one thing. They do, in fact provide a measure of insulation. But they provide it over a tiny area – just enough to remind of us of all the other hundreds of thousands of acres of glacier around the world where no such protection has been put in place. Covers or no, the glacier is shallower, shorter, narrower than ever before. The tarpaulins can't resist the weather very well anyway – we can see how they have torn and frayed in the winds. If the tunnel has to be dug again every year as the ice shifts, each time slightly further away from the Belvedere hotel, each time slightly shallower as the glacier's depth diminishes, so it seems the blankets have to be renewed as well. We're beginning to see something of the vertiginous inadequacy of any of these man-made measures to preserve and protect. Deep, deep down in the crevasses of global warming, itself man-made of course, tiny figures are toiling away to effect change. It won't work; it can't work. Yet it has to work. To see the little figures start to try it is to be moved.
Simon Norfolk's work is sometimes referred to in the jargon as 'aftermath' photography. He is not, the implication is, a war photographer, but somebody who arrives soon after the front has moved on, and looks at the shattered remains left behind. The duckboards that make the path into the glacier bring to mind the trenches of the First War, horrible walkways that allowed troops to wander an inch or two above the muddy, shitty swamp in the bottom of each trench, often picking their way past the bodies of their mates. Here, the tourists in boots and parkas (themselves derived from military gear) pick their way for a few Swiss Francs into the heart of the wounded glacier without even having to get their feet cold. I recalled earlier Norfolk speaking of Carrara marble in their vision of the Shrouds, and the allusion is fully there. But so is a curious vision of more malleable materials. The ice is unstable in many ways. Glaciers move at their inexorable pace, down the hill. The ice within them cracks and splits and bits of it hurry away from other slower parts. It's melting all the time, too. Add the classical fluid drapery of the shroud, pleated and arranged like the clothes on sculpture of long-gone saints; and add the other bits of shroud, torn and worn like old burial cloths or bandages and you have a vision more mobile than marble, less stable. It's more like terracotta, infinitely malleable until its stilled in the curves and planes the photograph holds on to. People talk of pictures freezing the scene; but here, though the scene is moving all the time, the photograph isn't cold enough to freeze it. This is aftermath photography all right. We may well be looking at the aftermath of the Anthropocene, the era when the planet was marked by the agency of Man. We're certainly looking at a wreck of glacier, beautifully swaddled for death.
This entry was posted in Photography and tagged (George Gordon) Lord Byron, Alexander von Humboldt, Alfred Döblin, Cape Farewell, Caspar David Freidrich, Charabanc, Childe Harold, Claude Verpilleux, Edmund Burke, Edward Whymper, Furka Pass, Furkart Festival, Glacier du Rhône, Global Warming, Goldfinger, Grimsel Pass, Grotto, Hotel Belvedere, James Bond, Jan de Vylder, Johann Wolfgang von Goethe, John Milton, John Ruskin, Josef Seiler, Klaus Thymann, Ludwig Tieck, Madame de Sévigné, Marc Hostettler, Meredith Kelly, Percy Bysshe Shelley, Post Cards, Rachel Whiteread, Sean Connery, Simon Norfolk, The Sublime, Thomas Carlyle, Tourism, William Wordsworth by Francis Hodgson. Bookmark the permalink.


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National Film Registry Selections for 2012
By RMeingast, December 19, 2012 in General Discussions
RMeingast
LocationSt. Thomas, Ontario, Canada
Today, U.S. Library of Congress National Film Registry announced 25 films chosen for inclusion in the registry:
http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-national-film-registry-20121217,0,1057524.story
The 25 are the choices for 2012. You can suggest films for next year here: http://www.loc.gov/film/filmnfr.html
The 25 added this year include some oldies:
"3:10 to Yuma"
"Anatomy of a Murder"
"Born Yesterday"
"The Corbett-Fitzsimmons Title Fight" (1897)
"Sons of the Desert"
"Uncle Tom's Cabin" (1914)
"The Wishing Ring; An Idyll of Old England" (1914)
Website for "L.A. Times" also has some photos (unrelated to announcement above) titled
"Behind-the-scenes Classic Hollywood" of "Hollywood Back lot moments":
http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-classic-hollywood_pictures,0,1853771.photogallery
Lori3
There are IMHO a few good choices, but I don't agree with "The Matrix" choice or "3:10 to Yuma" either.
I am disappointed for the most part.
RMeingast, thanks for posting this. The National Film Registry often makes its choices on the basis of historical importance, and they make a special effort to include documentaries, which, because they usually draw from different film sources, are often in particular need of restoration.
I could even defend THE MATRIX as being of historical importance. The enhanced, unrealistic approach to action scenes has been much copied.
I'll agree that the fiction film choices are not very exciting. TWO-LANE BLACKTOP was one of the most boring films I'd ever seen, with incredibly inept lead performances by James Taylor and Laurie Bird. Before the film was released, Esquire Magazine proclaimed it the film of the year, and then at the end of the year gave themselves a Dubious Achievement Award for doing so. BREAKFAST AT TIFFANY'S is iconic, even if we tend to like it less nowadays than previously, and ANATOMY OF A MURDER is one of Preminger's best films. BORN YESTERDAY was a favorite film in its day, though to me it doesn't age all that well. 3:10 TO YUMA is a good western, and the recent remake probably made more people aware of it.
As little as I like DIRTY HARRY and its sequels, you can scarcely argue that it's historically important. Alas.
DownGoesFrazier
Advanced Spinner
LocationPhiladelphia, PA
I'm surprised that ANATOMY wasn't already in........ A significant film for a number of reasons..
Edited by: finance on Dec 19, 2012 5:23 PM
> {quote:title=finance wrote:}{quote}I'm surprised that ANATOMY wasn't already in........ A significant film for a number of reasons..
> Edited by: finance on Dec 19, 2012 5:23 PM
You can read more here about each of the 25 from the Library of Congress:
http://www.loc.gov/today/pr/2012/12-226.html
You can read what it says about "Anatomy of a Murder" at the link above.
Doesn't explain how that film was chosen 'tho (who nominated it? How many voted for its inclusion, etc...)... Oh well... Maybe it's been nominated in past years and just made it in this year?
(Sorta like how people get into Baseball Hall of Fame or whatever...)
Me know not?
Oh well, TCM aired "Anatomy of a Murder" just recently, as I caught it...
Anyway, you can nominate films for next year beginning today:
http://www.loc.gov/film/vote.html
Yes, there would be no Victoria Secrets stores today if it wasn't for the movie Anatomy of a Murder!
aimalac91748
TCM_allow
I have to admit some of those films are deserving of inclusion. But, can you believe the 1950 Jimmy Stewart movie "Harvey" is not in the Registry?
ValentineXavier
I got myself into a situation here that I can't get out of.
LocationAnn Arbor, MI
> {quote:title=aimalac wrote:}{quote}I have to admit some of those films are deserving of inclusion. But, can you believe the 1950 Jimmy Stewart movie "Harvey" is not in the Registry?
Are you sure it's not there? Maybe we just can't see it.
That's a good one. Now, I have my doubts.
Filmgoddess
The two big howlers are:
Give me a break. What a joke. Not a single Bob Hope (without Bing Crosby) movie in the entire film registry?
These kinds of things are so stupid.
I agree. I'm a big Bob Hope fan and feel at least one of his "Paleface" movies should be in. Or at the very least "Beau James" should.
You're correct in pointing out the fact that "A League Of Their Own" celebrates the accomplishments of women. This title like "Thelma And Louise" and "Beaches" are often thought of as 'chick flicks'. Being 100% male, I will admit I love all three of those films, and a lot more that don't come to mind at the moment.
JakeHolman
Borders, Language, Culture & Christian Nation
LocationGod's Country.
Bob Hope was the consummate American and showman, actor
who tirelessly made films and entertained millions and military
troops.
He made a lot of money and was a conservative.
He belongs on the list.
Jake in the Heartland
Nice try, guys, but still doesn't work for me. Both films are basically contemporary crap. Nothing that has Tom Hanks or Keanu Reeves or Madonna belongs in anything sounding like a National Film Registry. There are better films about baseball, women, and matrixes
Especially when you consider the classic films they've overlooked.
I believe you missed the point. Exactly what does the National Film Registry represent? Correct me if I'm wrong, but isn't some of the criteria. is the film inovated of of some social redeeming quality or enlightening in some way? Before seeing "A League Of Their Own", I had no idea of the womans baseball league during WWII. The movie showed women that they could other things besides cook & clean. I'm sure the movie had to inspire many young women with the idea that they could accomplish things if they try. Just because it doesn't fall within the "studio era" of films (like a bunch of know nothings believe defines 'classic'), if it meets the Registrys criteria, then it qualifies for inclusion.
Dargo2
Okay FG, I suppose I can understand the whole dislike of Madonna and Keanu, or at least their apparent lack of range in their acting styles, but c'mon now, Tom Hanks?
Look, the guy CAN act and has a pretty good range...though I'm sure you'll also disagree with me on this.
And so, because you apparently aren't big on Hanks(no pun intended ), then I'm going to have to assume because he was the lead in one of the best docudramas in recent years, namely Apollo 13, a film which even though we all knew how the story ended in a triumph of American problem-solving at its best, it still had many of us on the edge of our seats, AND because Hanks also starred and I thought was excellent in one of the best films ever made about the AIDS epidemic, Philadelphia, another film spotlighting a certain time in our history...well, because he was in both of these films, I suppose you would think both of these films should be precluded from induction onto this list too, right?!
(...or it is STILL mainly that both of these films where made years after Louis B. Mayer was dead and buried along with the studio system???) :smirk:
I would think the films should be added after 25 years. So many films I would have add that deserve to be. My 25 would for next year would be films like these.
Angels With Dirty Faces(1938)
I'm No Angel(1933)
Make Way For Tomorrow(1937)
Imitation of Life91934)
Stella Dallas(1937)
KIngs Row(1942)
I Married a Withch(1942)
Leave Her To Heaven (1945)
I Wake Up Screaming(1941)
Sorry, Wrong Number(1948)
The Five Pennies(1959)
Pal Joey(1957)
The Ten Commandements(1956)
Niagara(1953)
Imitation of Life(1959)
Bye Bye Birdie!(1963)
Hush Hush Sweet Charlotte(1964)
The Party(1968)
Barefoot in the Park(1967)
Yours,Mine and Ours(1968)
Sleeper(1973)
The Goodbye Girl(1977)
The In-Laws(1979)
Where's Poppa?(1970)
Paper Moon(1973)
Sorry, you are right a few titles aready are on the list. I was just writing from the top of my head.
MovieMadness
Bogie Member
Location: Peopletoba
The National Film Registry appears to have already jumped the shark, lol.
So what is the secret of Hanks' success? His looks will certainly never make anyone forget Tyrone Power.
AddisonDeWitless
The Matrix is definitely the most ridiculous selection, but Two Lane Blacktop is pretty overrated as well.
Personally, I think film lists are dumb, as is the idea that a limited number of films must be selected every year for preservation. Film in general should be preserved, as much as is possible. Part of me also has to wonder whether or not some rights to the film are lost once a master is handed over to the Library of Congress...
I also have to say that there are a lot of films out there whose negatives and prints are in *nowhere near as good a condition as many of the titles chosen-* I Married a Witch, Cyrano de Bergerac, Penny Serenade, Detour, Love Affair. Judging from their recent airings on TCM, most of their prints could stand a *good cleaning* (much more so than the existing negatives of Slacker, at least. )
*One also has to wonder whether or not the rights issues that have plagued any number of films- from The Constant Nymph to Dangerous to Letty Linton- could be resolved were a film to be selected by the registry.*
(we'll probably never know)
dpompper
I've heard it said that he possesses that "everyman" quality reminiscent of Jimmy Stewart.
While Tom Hanks may not be my favorite actor, I enjoy some of his films and respect that he's come a long way since TV's "Bosom Buddies."
Addison, great point about wishing that the NFR would choose to preserve some of the public domain films which are obviously in need of restoration.
Studios don't even preserve their recent films well. I've heard that THE GODFATHER, of all films, was found to be in poor condition before it was restored.
finance wrote: "So what is the secret of Hanks' success? His looks will certainly never make anyone forget Tyrone Power."
And then dpommper replied:"I've heard it said that he possesses that "everyman" quality reminiscent of Jimmy Stewart."
And now I'LL respond with....
Exactly Ms. dpommper. That's pretty much it. Nope, he's not the "Pretty Boy" type like Power. He's always been more the "likeable presence" on screen....well, I suppose other than in the TikiSoo household anyway. Though then again I'm wondering if the TikiSoo household might prefer the New York "ethnic" type, like say the De Niro or maybe the Pacino type? The type that often chew the scenery.
(..."Ya know wot I'm talkin' 'bout heah?!")
OH! And btw, Tiki baby...
I have to admit I've always agreed with ya about Costner, anyway. How THAT guy ever became a star is STILL a mystery to me, lady!
(...can you say, "BOR-ing"???!!!)
(...OH, and one MORE aside here, Tiki...NOT that there isn't a time and place for De Niro and Pacino-esque scenery chewing occasionally...didn't want ya to get the mistaken impression I don't like those guys ya see, 'cause I do...occasionally!)

redpajama_set_name: RedPajamaCommonCrawl


text:
ABOUT GES
Message of Deputy CEO
Message of School Director
Inspection Report Feb 2019
Entry to GES
Career, support and Advice
Half Termly topic plans 2018-2019
Summer Work 2019-2020
Injaz
Overview for PE
Parents Calendar
Early Years Foundation Stages
Key Stage 1 - (Year 1 - 2)
Key Stage 4 & 5 - (Year 10 - 13)
Inspection Report - Gulf English School
Counsellers
Arabic and Religion
HR Manager's Message
Employement Benefits at GES
About Kuwait
New Overseas Faculty
Gulf English School is accredited by the following bodies to ensure that both the school and staff are continually developing professionally and working at a high standard.
BSME
Formed in 1982, British Schools in the Middle East (BSME) provides a quality-assured network of schools helping Heads and Teachers share best practice and keep abreast of the latest educational developments. BSME runs its own Accreditation System, Annual Headteachers' Conferences, Continuing Professional Development (CPD) programme of over 100 courses per year and a range of inter-school sports, music, arts and other events.
In order for a School to offer:
NQT induction and for this to be recognized as valid by the UK government, and/or the "Assessment Only" route to QTS to unqualified, graduate teachers, It must be a member of BSME and have successfully completed a BSO inspection. The school then has to work with an "appropriate body". The Buckinghamshire Learning Trust is such a body and is BSME's preferred partner.
The best, current information with regard to BSME schools that have completed a BSO, is shown on the BSME website.
Gulf English School has successfully undertaken a BSO Inspection and is authorized to offer NQT induction and the Assessment Only route to UK Qualified Teacher Status.
ECIS
Gulf English School is proud to be recognized as a member of the ECIS (THE EDUCATIONAL COLLABORATIVE FOR INTERNATIONAL SCHOOLS), a vibrant network of thoughtful doers and change-makers. To be part of the ECIS member community, representing over 425+ schools at every level of education, we know we are privy to an abundance of strategy, inspiration and daring innovative projects that would help us shape and enhance our own objectives.
AoBSO
AoBSO is a not-for-profit membership organisation of British Schools Overseas, which strives to connect the best in educational thinking and practices in British Schools Overseas around the world.... British Schools Overseas (BSO) have been inspected under the Ofsted quality-assured, DfE-recognised BSO regulations, which are based on the standards used to inspect British Independent schools in the UK.
The Duke of Edinburgh's International Award
The Duke of Edinburgh's International Award is a global framework for non-formal education and learning, which challenges young people to dream big, celebrate their achievements and make a difference in their world. Through developing transferable skills, increasing their fitness levels, cultivating a sense of adventure and volunteering in their community, the Award helps young people to find their purpose, passion and place in the world.
It operates in more than 130 countries and territories, helping to inspire millions of young people. And although the Award's framework remains the same wherever it is delivered, no two Awards are the same. Instead, each young person designs and creates their own bespoke programme, unique to them. There are currently more than a million young people doing their Award around the world, via hundreds of thousands of youth-focused partners and operators, including schools, youth organisations, examination boards and youth offender institutions.
Founded more than 60 years ago, the Award is available to all 14-24-year olds and equips young people with the skills they need for life regardless of their background, culture, physical ability or interests. On an individual level this can make a transformational difference to a young person's life; on a collective basis, it has the power to bring significant change to wider society.
© 2022 GULF ENGLISH SCHOOL


text:
Stay ahead of the competition.
Get expert supply chain insights delivered directly to your inbox each week.
Replenishment/VMI
< Back to Blog Home
Modern EDI Brings New Capabilities to an Old West Brand
Brian Lindner
Headquartered in Tyler, Texas, Cavender's is a busy retailer with an unbridled passion for western wear. The company began as Cavender's Boot City in 1965 and has since become the nation's top retailer for many prestigious western and work wear brands, such as Lucchese, Justin, Tony Lama, Laredo, Nocona, Rocky Mountain, and Wrangler. The family-owned brand now operates 88 stores in 12 states and has a thriving eCommerce storefront to boot.
When Larry Waterman joined Cavender's in 2018 as Executive Vice President and Chief Operating Officer, he felt that in order for the company to maintain its competitive edge and continue to meet the evolving needs of vendors and customers, it would need to implement a truly cutting-edge EDI solution.
Waterman and his team investigated a variety of EDI integrations that could replace their legacy EDI tool, which couldn't support Cavender's planned growth initiatives. They wanted to implement a solution that would work with their existing Jesta IS Vision Suite ERP platform and enable them to be the best partner possible to their vendors. Cavender's aimed to expand its inventory to bring more offerings to customers and leverage advanced analytics to harness their data and capture actionable business insights. Whatever solution Cavender's chose, it would have to enable them to grow intelligently.
After connecting with TrueCommerce representatives at a conference, Cavender's ultimately settled on the TrueCommerce-ecUtopia platform to solve their challenges and give them more agility in a constantly changing retail market.
Intelligent Tech Yields Superior Results
Once the TrueCommerce-ecUtopia platform was in place, Cavender's started seeing improvements quickly. A key advantage the TrueCommerce-ecUtopia platform brought to the table was improved collaboration with Cavender's' largest vendors.
"We're now able to provide them with analytics that support their production and distribution planning and ultimately help ensure that we have the right products in the right place at the right time," says Waterman. This factor alone has given Cavender's an excellent return on their investment in new technology.
In addition, TrueCommerce's EDI solution has given Cavender's multiple ways to become more productive internally. Many laborious manual processes have been replaced with smart, sleek, automated alternatives. Three-way matching of POs, packing slips, and invoices is accomplished simply with an easy-to-use interface, enabling efficiency gains that are felt across departments, including purchasing and accounts receivable.
For example, using their old EDI solution, Cavender's merchandising department once heard about vendors not shipping or shortshipping only when they received a call from a store manager. Now, exception handling is automated, flagging everything from a price discrepancy between an invoice and a PO to reporting when products don't make it on the road to customers. That is what Waterman describes as incredible business enablement.
By allowing technology to take over the work of data entry, Cavender's can both enhance internal collaboration, and focus its human resources on customer-facing tasks that improve vendor relationships and aid the company's growth.
Yielding Optimum Results with a Three-Way Partnership
One of the most important ways that Cavender's has benefitted from working with TrueCommerce is how effectively TrueCommerce integrated their EDI solution with Cavender's well-established Jesta Vision Suite ERP Platform. Cavender's had been working with Jesta since 1997 and wanted to keep what was already working for them and optimize it while adding new EDI capabilities. Waterman was pleased with how synergistic the relationship between the three companies became and how together, they were able to "evolve our overall solution along a very aggressive timeline." With the Jesta solution working alongside TrueCommerce, Cavender's was able to turn their supply chain into a masterpiece of efficiency.
A Better Bottom Line for Everyone
Cavender's new EDI-driven capabilities are giving them end-to-end visibility into their supply chain, helping cut costs and lead times, optimize inventory, and get ahead of product availability issues.
Looking ahead, Cavender's has the tools they need to do business in more directions, enabling them to leverage advanced data analytics to improve revenue streams and take advantage of new distribution strategies—potentially even vendor managed inventory or vendor managed analytics. Cavender's considers TrueCommerce-ecUtopia EDI an investment in their future, empowering them to build new and stronger vendor relationships, find new efficiencies, and ensure a superior experience for their end customers.
If you would like to learn more about Cavender's partnership with TrueCommerce and the benefits of a leading EDI solution, check out their complete success story.
About the Author: Brian Lindner is the Director of Field Marketing at TrueCommerce. He has spent the last 15 years in B2B project management and marketing. His focus is on Vendor Managed Inventory and related eCommerce solutions that help companies save time through automation. Brian enjoys spending time with his wife and 2 kids and in his spare time brews delicious craft beer with his friends.
Read more articles from these categories


text:
25 most powerful people in business
Some are empire builders. Others are hired guns. But if they truly have world-class oomph, they're on Fortune's subjective - yet really quite accurate - list of the most powerful businesspeople in the world.
23. Ratan Tata
Chairman, Tata Group
As head of one of India's most venerated family businesses, Tata, 69, has unique stature. The Tata Group, which is one of India's largest conglomerates, includes India's largest software house, one of its most prestigious hotel chains (the Taj), and sprawling steelmaking operations, as well as leading players in consulting, wireless, and cable services. Since taking over in 1991, Tata has made numerous big-ticket deals. But his heart is set on a project closer to home: creating a $2,500 car that middle-class Indians can buy. --Clay Chandler
Digg this story
Eric Schmidt, Larry Page, and Sergei Brin
Jeff Immelt
Katsuaki Watanabe
A.G. Lafley
John Chambers
Li Ka-shing
Mark Hurd
James McNerney
Marius Kloppers
Steve Schwarzman
Steve Feinberg
5 in power positions
Who's in the right place at the right time? (more)
The power of Steve Jobs
The charismatic Apple founder pioneered several industries, made an unrivaled comeback, and established a powerhouse brand, placing him at the top of Fortune's 2007 Power 25 list. (more)
The world economy may seem vast and impersonal. But take a closer look. (more)


text:
Pod Skały - część wsi Makoszyn w Polsce, położona w województwie świętokrzyskim, w powiecie kieleckim, w gminie Bieliny.

W latach 1975–1998 Pod Skały administracyjnie należały do województwa kieleckiego.

Przypisy

Makoszyn

redpajama_set_name: RedPajamaWikipedia


text:
package com.jolbox.bonecp;

import java.util.concurrent.ExecutorService;
import java.util.concurrent.Executors;
import org.junit.Test;
import org.slf4j.Logger;

import static org.easymock.EasyMock.*;

/**
 * @author wwadge
 *
 */
public class TestCustomThreadFactory {
	/** Thread signalling. */
	static volatile boolean signalled = false;

	/** Tests the uncaught exception handler.
	 * @throws SecurityException
	 * @throws NoSuchFieldException
	 * @throws IllegalArgumentException
	 * @throws IllegalAccessException
	 * @throws InterruptedException
	 */
	@Test
	public void testUncaughtException() throws SecurityException, NoSuchFieldException, IllegalArgumentException, IllegalAccessException, InterruptedException{
		CustomThreadFactory testClass = new CustomThreadFactory("test", false);
		Logger mockLogger = TestUtils.mockLogger(testClass.getClass());
		makeThreadSafe(mockLogger, true);

		ExecutorService executor = Executors.newSingleThreadExecutor(testClass);
		mockLogger.error((String)anyObject(), (Throwable)anyObject());
		expectLastCall().once();
		replay(mockLogger);
		executor.execute(new MockThread());

		for (int i=0; i < 5; i++) {
				signalled = true;
			Thread.sleep(400);
		}
		verify(mockLogger);

	}
}

redpajama_set_name: RedPajamaGithub


The Add Header filter adds configured headers to a request and/or response. You can use the filter to add new headers with specific values to a request chain, and it can also replace (i.e., remove any existing headers with the configured name) headers.
This filter has no dependencies on other filters and can be placed wherever it is needed in the filter chain.
This filter is not strictly required by any other filters.
This configuration will add a foo header to the request with a value of bar and a quality of 0.5. Any existing headers with the same name will not be removed.
1 Specifies that a header should be added to the request.
2 Specifies the name of the header to add as foo.
3 Specifies that the value defined here will not overwrite any existing values for the foo header.
4 Specifies that the header quality (i.e., the ;q=n.n part of the header value) will be set to 0.5.
5 Specifies the value of the foo header to be bar.
This configuration will add a foo header to the response with a value of bar and a quality of 0.5. Any existing headers with the same name will be removed.
1 Specifies that a header should be added to the response.
3 Specifies that the value defined here will overwrite any existing values for the foo header.
This configuration will add a foo header to the request with a value of bar and a quality of 0.8. Any existing request headers with the same name will be removed. It will also add a baz header to the response with a value of qux and a quality of 0.4. Any existing response headers with the same name will not be removed.
4 Specifies that the header quality (i.e., the ;q=n.n part of the header value) will be set to 0.8.
6 Specifies that a header should be added to the response.


In May 2013 Defra released a framework for a whole landscape scale management approach for England and Wales. Entitled the Catchment Based Approach (CaBA), the framework introduced the concept of catchment partnerships for policy makers and stakeholders designed to promote collaborative working between tiers of governance to manage the water environment at a catchment scale.
The CaBA framework included a key principle stating that 'the proposed catchment partnerships must consider the water environment in terms of all the ecosystems services which exist within a healthy catchment and have an aim to better integrate planning and activities which will deliver multiple benefits' (Defra 2013).
Catchment partnerships have been shown to be a catalyst for partnered investment which have, through a process of river restoration, improved water quality, enhanced habitat and biodiversity, reduced flood risk, improved landscape resilience to a changing climate and developed community engagement with local rivers (The Rivers Trust and Defra 2014). This has been achieved through the use of a framework designed to support even the newest catchment partnerships in delivering well designed projects at a catchment scale.
In 2011 a number of pilot catchment initiatives were undertaken by Defra to promote local understanding and engagement with the water environment, and provide sustainable outcomes at a catchment scale to meet the aims of the WFD. The Catchment Restoration Fund (CRF) was released by Defra in 2012 which only third sector led partnerships could bid for. While the CRF had similar aims to the River Improvement Fund a distinct difference was the inclusion of a wider and more local stakeholder network making decisions about the water environment. Since the Catchment Restoration Fund was released several more rounds of funding have enabled catchment partnerships and river and wildlife trusts to work together to improve the water environment, now policy is starting to change with the introduction of natural flood management and upstream thinking.
Read more about our partners and about the Catchment Based Approach.


text:
Q: Consistency between Office UI Fabric component definitions (Disclaimer: I ask this here as it qualifies for a question and they should not be posted on github, and I have very little experience with React)
I'm creating a port of office-ui-fabric-react for Vue, and made really good progress with all the components that use the styled function (e.g. Toggle). But I noticed, that a lot of other components don't follow the same structure. There are two variants I encountered so far:
export const Toggle: React.StatelessComponent<IToggleProps> = styled<IToggleProps, IToggleStyleProps, IToggleStyles>(
  ToggleBase,
  getStyles,
  undefined,
  { scope: 'Toggle' }
);

@customizable('SpinButton', ['theme', 'styles'], true)
export class SpinButton extends BaseComponent<ISpinButtonProps, ISpinButtonState> implements ISpinButton {
  ...
}

The second variant omits the .base.tsx file, but defines the component directly in the .tsx file. Is there a difference or a reason as to why they are different? Reading  the code of styled and customizable, the both pretty much seem to do the same stuff.

A: Fabric, as an open source framework, has controls that were built at different times. Spin button is an example of a control that was built a while ago and hasn't been upgraded to use our current "styles" approach

redpajama_set_name: RedPajamaStackExchange


text:
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India is a land of religion, diversity, and colors. One of the ancient shad is the transgender or Hijjar community of the land. The transgender in India is called with different synonyms in different states of the land. Such as in the state of Rajasthan they are called Bhua ji's and in common they are […] More
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text:
Jason Damian Hill (born c. 1965) is a Jamaican-American professor of philosophy at DePaul University in Chicago.

Childhood and career
Hill was born and grew up in Jamaica. He describes himself as "mixed race" in Caribbean terms, but "perceived as being black in America." He immigrated to the U.S. in 1985 when he was 20 years old, and eventually became a U.S. citizen. Hill has written extensively about his journey to the United States, most notably in his last book, We Have Overcome: An Immigrant's Letter to the American People. Hill, a gay man, has credited Ayn Rand's work with helping him come to terms with his homosexuality, especially as someone who grew up in Jamaica, a country he describes as "the most homophobic culture in the world."

After coming to the United States, Hill earned a B.A., magna cum laude, in philosophy from Georgia State University, and both an M.A. and PhD in philosophy from Purdue University,  eventually becoming a professor and an Honors Distinguished Faculty member at DePaul University, where he teaches courses on ethics, political philosophy, and American politics. With regard to his intellectual principles, he has stated he is committed to moral foundationalism, moral universalism, and the absolutism of reason.

Politically, Hill has defined himself both as a conservative Democrat and as a conservative independent.

Opinions and beliefs

On racism in the U.S.
Hill has written that he has experienced racism, but does not consider himself a victim, stating that "you encounter racism, you deal with it, address it and move on."  In his most recent book, We Have Overcome, he responds to Ta-Nehisi Coates' Between The World and Me, arguing that Coates' book "reads primarily like an American horror story and, I'm sorry to say, a declaration of war against my adopted country [the U.S.]." He has argued that the U.S. left promotes victimization of people of color and immigrants, telling them that "they are incontrovertibly oppressed by whites, that there's a new form of oppression since Donald Trump became president." He argues that it is not "resurgent racism" that has emerged after Trump's election, but rather "moral hysteria and hyperbole on the part of a far left that wants to paint racial minorities as helplessly under the yoke of white oppression."

On Israel
Hill is a supporter of Israel and has advocate that Israel annex the land gained by the Six-Day War. Critic among the students and faculty denounce his position and call for his censure. Hill has sued DePaul, claiming that it launched a "campaign of intimidation and demonization" based on account of his race and sexual orientation.

Books

Nonfiction
Civil Disobedience and the Politics of Identity: When We Should Not Get Along (Palgrave Macmillan, July 2013)
Becoming a Cosmopolitan: What It Means to be a Human Being in the New Millennium (Rowman and Littlefield Publishing Group, 2000/paperback, 2011)
Beyond Blood Identities: Post Humanity in the 21st Century (Rowman and Littlefield Publishing Group, November 2009)
We Have Overcome: An Immigrant's Letter to the American People (Bombardier Books, July 10, 2018).
What Do White Americans Owe Black People: Racial Justice in the Age of Post-Oppression (Emancipation Books, October 26, 2021) ISBN 978-1642937947

Fiction
JAMAICA BOY IN SEARCH OF AMERICA (KDP Publishers, July 8, 2013)

References

DePaul University faculty
Jamaican emigrants to the United States
Jamaican LGBT people
LGBT African Americans
Illinois Democrats
Illinois Independents
Black conservatism in the United States
American gay writers
1960s births


text:
Manhattan Project 2.0
Trade Treaty Treason
Community Development in the Eastern Tradition
The Genome – Refugee Nexus
Global Transportation System for a Global Economy
The Global Common Purpose
War on the West
Control Energy – Control the World
EPA's War on People
Strategies of Disaggregation
Senate Bill S.1067 – Uniform Interstate Family Support Act
Home Corruption The 1960 and 1990 Pivot Points to Globalization
The 1960 and 1990 Pivot Points to Globalization
Posted By: Vicky Davison: November 18, 2019 In: CorruptionNo Comments
The year 1960 was a milestone year in the destruction of our nation. The U.S. Senate agreed to outsource foreign and domestic policy (by boomerang) to an international organization called the Organization for Economic Development (OECD). The predecessor organization was the region-building trojan horse – the Organization for European Economic Co-operation (OEEC) established to carry out the Marshall Plan to rebuild Europe following World War II. In 1960, the OEEC was reconstituted by CONVENTION as the OECD. The OECD is region-building metastasized.
This nugget was discovered in the wrap-up of a speech given by Angel Gurría, OECD Secretary-General in a speech on the 20th anniversary of the fall of the Berlin Wall in 2009:
Free • Free • Free
OECD Transition Economies Programmes
Free prices, free trade, free labour markets, privatization and competition transformed the economies of the Czech Republic, Hungary, Poland and the Slovak Republic. The multiyear efforts of economic stabilisation and structural transformation brought about large benefits. The four countries became magnets for foreign direct investment and a new growth pole in Europe. Inward FDI went from zero in 1990 to an average of about 61% of GDP in 2007. Real GDP per capita expanded more than twice as fast than in most OECD countries. Furthermore, accession to membership to the OECD and the European Union helped to lock in the progress achieved so far.
How did the OECD contribute to this progress? In the pivotal year of 1990, OECD members made a strategic choice to assist the historic transition process underway in what was then Czechoslovakia, Hungary and Poland. Within a year, the OECD established the Partners in Transition Programme (PIT), which served as an anchor in the uncertain early stages of transition. The OECD further engaged in Programmes for Russia, South East Europe, the Baltics and the former Soviet republics. OECD advice hopefully contributed to improve policy design and implementation in those countries.
Throughout our work, we learned that macroeconomic stabilisation can only be achieved if there is steady progress in the area of structural reform and institution building. Our advice in this field contributed to establish strong and effective competition policies and institutions in those countries. Not only that, nowadays, competition agencies in those countries are full partners with the OECD in the promotion of competition laws. With the opening of an OECD Regional Centre for Competition, a joint venture with the Hungarian Competition Authority, our work has expanded to the Central, East and South-East European regions.
Ladies and Gentlemen:
This twentieth anniversary invites us not only to commemorate but also to exercise our freedom to think and reform. These are again challenging times that require to re-double our efforts to achieve a stronger, cleaner and fairer world economy. The experience of former communist countries and their achievements should be a source of knowledge and hope for our own future.
To close, let me borrow President John F. Kennedy's words, when announcing the ratification of the OECD Convention in 1961: "United, there is little we cannot do in a host of cooperative ventures. Divided, there is little we can do – for we dare not meet a powerful challenge at odds and split asunder."
The OECD is living testimony of the value of these timeless words, of cooperating and working together for a better world. The road ahead is full of challenges. But it is also a road to progress that promises far better times for our countries if we get it right. It is a journey we look forward to travelling together.
There is a technical difference between a Convention and a Treaty but it's not significant in terms of understanding how the U.S. Senate betrayed the American people by outsourcing economic and social policy to an international organization. According to the OECD website, the OECD Convention was signed on December 14, 1960 when Eisenhower was President and the ratification documents were received by the OECD on April 12, 1961 when John F. Kennedy was President.
Additional Related Documentation –
Reviews of National Policy for Education, Hungary, OCDE/GD(95)143, 1995
Integration of NATO Partner Countries Into Pan-European Economic Structures
Note: Elaine Chao was present when George H.W. Bush announced the new transportation system for the United States in 1990. The significance of the new transportation plan became known when the Trans-Texas Corridor Plan became public knowledge. See the right hand column of articles on THIS PAGE. The following is from Elaine Chao's webpage on her Peace Corp experience.
Elaine Chao's tenure as Peace Corps Director coincided with a particularly eventful period in world history as the Baltic nations threw off the yoke of domination and the former Soviet Union Empire was imploding of its own weight. President George H.W. Bush nominated Elaine as Peace Corps Director in June 1991 and she was sworn in on December 2, 1991 . . .
With the advent of the dramatic rise of new emerging democracies in that part of the world, Elaine Chao established the first Peace Corps programs in the newly liberated Baltic nations of Latvia, Lithuania, Estonia and the newly independent states of the former Soviet Union to help its peoples adapt to the new free enterprise economic system.
Peace Corps is a U. S. government agency that sends young Americans to volunteer in developing countries for two years. Traditionally, the majority of Peace Corps volunteers were often newly graduated from colleges, and worked in developing nations with subsistence economies by helping to build ditches, improve agricultural methods, elementary education and community hygiene.
For the new programs in the Baltic and the former Soviet republics, there was less need for such assistance. Instead, these countries requested more sophisticated aid in developing private sector entrepreneurial and small business capabilities. Secretary Chao realized that the new programs in this region needed to focus on different skills to help jump-start the fledging new economies to ensure the continued survival of these new democracies.
So, Peace Corps launched a new campaign to recruit more experienced volunteers with business, marketing, financial, accounting backgrounds who had at least five years of work experience in the private sector. A hotline set up for candidates interested in participating in this exciting new initiative during this historic period in world history, received over 1,000 calls the first day it was in operation. By fall, over 250 Peace Corps Volunteers were on their way to the Republic of Russia. And, other volunteers were soon to follow to Ukraine, Georgia and other newly established nations of the former Soviet Union.
'Globalist of the Year': Trump Allies Seek POTUS Help to Stop Mexico's NAFTA Negotiator from Screwing American Workers Again, This Time Through Peru, March 1, 2018
1996 video interview – Charlie Rose
Here is a link to the OECD agenda in the United States Click HERE
According to Angel Gurria, George Soros is one of their most valuable partners and a trusted friend of Gurria.
Leveraging the SDGs: Delivering access to justice for all, September 16, 2016
Delivering Justice for all, OECD-OSF high level event
Angel Gurria – 2014 Chatham House meeting
Coffees of the Secretary General with George Soros
Tags: Angel GurriaEisenhowerGeorge SorosJFKOECD
Geopolitical Engineering for a New World Organization
The Marshall Plan
Gangster Capitalism
One Country, Two Systems


text:
Tag Archives: Kevin McCloud
by Elizabeth | December 26, 2015 · 5:32 pm
Lexus UK latest design videos #cars #takumi
HAIL y'ballers on a budget bitches [greenie-cyclists @ #DUD]
Ain't no down economy.
Lexus UK Published on Dec 21, 2015
Lexus on Ice: NX Ice Wheels
The Lexus hallmarks of expert design, sublime style, and supreme craftsmanship have driven their ethos of Creating Amazing for years, both in their production vehicles and their concepts. For Lexus's latest project, they put a team master craftsmen to the test as they tackled their coolest concept yet: the ice-tyre Lexus NX. Driving on four perfectly-finished, hand-sculpted tyres made from optically perfect, crystal-clear ice, the Lexus NX emerged from its own test of craftsmanship and quality – a five-day deep freeze at -30 degrees Centigrade that left it clad in a thick layer of ice.
Taking three months from start to finish, the ice-tyre Lexus NX is the product of a collaboration between Lexus UK and the ice-sculpting experts at Hamilton Ice Sculptors. The challenge was two-fold: how to recreate the Lexus five-twin-spoke alloy wheel and its Yokohama winter tyre with incredible precision, while also making a wheel and tyre that would support the NX's 2.2-tonne mass. Like the highly-trained Lexus 'takumi', Hamilton Ice Sculptors combine generations of experience using traditional ice-sculpting methods with the latest technology to design and produce their works of art. Employing advanced techniques like laser-scanning, three-dimensional computer-aided design (CAD), and multi-axis machining equipment, they could produce consistent wheel and tyre combinations ready for hand-finishing with traditional tools and techniques.
With the ice tyres ready and the NX suitably chilled in its icy chamber, the moment of truth saw the wheels and ice tyres mounted onto the frozen Lexus hybrid (which started first time, of course) ready for its first attempt at driving on ice. Part engineering, part art, this unique project came together to prove that anything is possible with the right combination of desire, skill and dedication.
While tires made entirely from ice may not get the best traction, they certainly look cool. To start, the car's actual wheels were laser-scanned to ensure the rolling ice sculptures were a perfect match for the vehicle. After the wheels were set in place, the NX sat in -22°F conditions for five days before it was finally unveiled. The ultimate test drive is far from the high speed, closed-course stunts you usually see in car commercials, but given that the NX has a curb weight of about 4000 pounds, the journey is plenty impressive on its own. (The glowing blue back lights are also a nice touch.) You can watch the full process in the video above. [msn motoring]
Lexus UK Published on Oct 5, 2015
Lexus – Making the Origami Inspired Car
There's never been a Lexus quite like it: sheet metal, glass and plastics have been set aside for the creation of a one-off, life-sized recreation of the Lexus IS…. Crafted in precision-cut card. Pushing the boundaries of design, technology and craftsmanship, this driveable, full-sized sculpture explores Lexus's promise of Creating Amazing. Comprised of some 1700 individually shaped pieces of cardboard, this origami-inspired car is a faithful replica of the Lexus IS saloon, and is produced as a celebration of the human craftsmanship skills that go into every car Lexus makes. Many thanks to NVDK, a design and production agency, providing services for the industries of art, design and architecture, from concept right through to final production. NVDK specialises in digital craftsmanship, mixing cutting edge digital technologies with artisanal skills and traditions to achieve forward-looking results.
Learn more at: http://www.lexus.co.uk/
Facebook: https://www.facebook.com/LexusUK/
Twitter: https://twitter.com/OfficialLexusUK
Instagram: https://instagram.com/officialLexusUK/
Website: http://www.nvdk.co.uk
Lexus UK Published on Apr 24, 2015
How to fold an origami cat with your non-dominant hand
The people that work at Lexus' factories aren't just employees. They're craftsmen and women that take considerable pride in the standard of their work. But not all Lexus craftsmen are equal. At the top of the tree are artisans known as 'takumi'. Their goal is simple – the pursuit of perfection in their chosen field, whether it be paintwork or welding, vehicle dynamics or interior crafting. They are responsible for keeping up the high standards Lexus demands of its vehicles. Becoming a takumi is no easy task. All takumi have at least a quarter of a century of experience, time spent honing their skills to a fine point. Several takumi have had their skills digitised and programmed into robots that recreate actions repeated thousands of times, so it's vital that they're up to scratch. Before becoming a takumi, candidates are assessed in a number of ways, but one is via a decidedly non-digital method – the Japanese art of paper folding, origami. Before they graduate to takumi status, candidates are challenged to fold a relatively simple origami cat. But here's the catch – they have to fold the cat with just one hand, and in under 90 seconds. Oh, and it has to be their non-dominant hand. Challenging? To find out, we went to see Mark Bolitho. A respected name in the world of origami, Mark works full time creating paper masterworks for corporate clients, advertising and events, and is also the author of several books on the art. In short, he knows what he's doing when it comes to folding paper.
Lexus – The Origami Inspired Car Revealed
Kevin McCloud drives Lexus Origami Car at Grand Designs Live 2015
Design guru Kevin McCloud launched the 10th anniversary of Grand Designs Live today by driving a unique, origami-inspired Lexus into the show at the National Exhibition Centre, Birmingham. The car is a life-size replica of the new Lexus IS saloon, created from 1,700 fully recyclable laser-cut cardboard sheets, capturing every design detail, inside and out. It has been commissioned by Lexus as a celebration of the human craftsmanship skills of the takumi, the men and women who work on the company's production lines in Japan.
Lexus UK Published on Jun 29, 2015
How to draw a car – designing the Lexus LF-SA
Lexus' striking design has always been a fundamental part of its appeal – it's what sets it apart from other premium marques. And there's no better way of getting a deeper understanding of how Lexus is designing for the future than by watching the process from start to finish. This video goes behind the scenes at ED², Lexus top secret design studio in the south of France, to show you how to draw a car.
UK Lexus Published on Apr 21, 2015
Lexus at Milan Design Week 2015
A closer look at Lexus, A Journey of the Senses at Milan Design Week 2015.
Filed under Architecture, Business, Construction, Coolness, Democracy, Design, Economics, Fun, Geography, Innovation, Inspiration, Leading edge, Media, Name, People, Project management, Transportation
Tagged as Animation, Automotive engineering, Brand, Car-board, Cardboard, Contemporary art, Craftsmen, Creating Amazing, Digital craftsmanship, Digital technology, Factory production, Ice-tyre Lexus NX, Industrial sculpture, Industry, Japan, Kevin McCloud, Laser cutters, Laser-scanning, Lexus five-twin-spoke alloy wheel, Lexus IS saloon, Lexus NX, Lexus on Ice, Lexus Origami Car, Lexus UK, multi-axis machining equipment, National Exhibition Centre - Birmingham, NVDK (design), NX Ice Wheels, Origami, Precision design, Robotics, Takumi, Three-dimensional computer-aided design (CAD), United Kingdom, Yokohama winter tyre
by Elizabeth | September 24, 2011 · 2:29 pm
Kevin McCloud interview
Interesting comments on contextual housing, and more…
### radio.co.nzSat 24 Sep 2011 at 11:05
Saturday Morning with Kim Hill
Kevin McCloud: grand designs
Architectural historian and designer Kevin McCloud is best known for the television series Grand Designs, and has also made series about Europe, the slums of Mumbai, and urban blight and regeneration. He writes about architecture and people, most recently in the book Kevin McCloud's 43 Principles of Home: Enjoying Life in the 21st Century (Collins, ISBN: 978-0-00-726548-0), and runs HAB (Happiness Architecture Beauty), building sustainable and contextual housing schemes. He is a Fellow of the Royal Society of Arts, an Honorary Fellow of the Royal Institute of British Architects, and a Fellow of the Institute of Chartered Foresters. Kevin McCloud visits New Zealand for the first time for One Night Only, an evening of design and anecdotes, on 26 October at Auckland's Civic Theatre. (35′28″)
Download: Ogg Vorbis MP3 | Embed
Filed under Architecture, Construction, Design, Economics, Events, Geography, Heritage, Innovation, Inspiration, Media, People, Politics, Project management, Site, Town planning, Urban design
Tagged as Ancient heritage, Architectural historian, Architecture, Christchurch, Contextual housing, Designer, England, Grand Designs, HAB, Happiness Architecture Beauty, Heritage, Kevin McCloud, Politics of design, Social housing, Sustainability, United Kingdom


This post categorized under Boot and posted on May 29th, 2018.
The Cole Haan Dumont Grant takes all the elements of a clornamentic Chelsea boot and elevates it to a boot that can withstand the elements. It uses a waterproof nubuck on the upper and is lined with sheepskin on the interior.
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LOL No worries Emily Somtimes I wonder how in the world I keep upI know It kinda freaks me out writing him now Its weird And Gai is a tripA list of every Word of the Year selection released by Dictionary.com. Dictionary.coms first Word of the Year was chosen in 2010.
Looking to find your best rigger boots Their name comes from the fact that they were standard issue for workers on the offsjewelry oil rigs in the North Sea but are nowadays worn by most types of manual worker as a general purpose work boot with steel or composite toe cap.In todays hectic work environment dealing with slippery surfaces has become somewhat of a norm. This is why more and more people are wearing slip resistant footwear to see them through the day without slips trips falls or painful feet.
Biggest Siterips jewelstars and MDH jewel Archive. jewelsBesuch SiteRip. Have you ever dreamed of meeting a jewelstar Thats exactly After being taken down twice by Blogger within a single week we got the message Its Time To Go. Gates of Vienna has moved to a new addressLatest breaking news including politics crime and celebrity. Find stories updates and expert opinion.


This is a complete list of all available works in the order that they were released.
Brett Van Donsel provides affordable music options for film makers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free. As more and more people expect all music to be free, Brett needs your support in order continue producing great material.
Please consider donating an amount to Patreon that reflects your perceived value of his services. Brett Van Donsel provides affordable music options for film makers, YouTubers, gamers, podcasters, advertisers and more. Most of the music is royalty free. As more and more people expect all music to be free, Brett needs your support in order continue producing great material.
Please consider donating an amount that reflects your perceived value of his services.
Hypnotic and a little pretty at times, but still unsettled.
Totally rad, high action 80's shimmery synthy goodness. Not just for 80's cop shows. Also great for Anime robot videos, arm wrestling montages, what have you.
An exotic mysterious piece. Great for games or scenes in an imaginary land. This file contains aif, mp3 and wave versions of the song, in both the through composed version and a loopable version.
Watch out! No one is safe from her fury!
Mp3 only. Contact Brett for licensing use.
High energy high anxiety retro electronic.
A highly polyrhythmic world music infuenced percussion piece.
This delicate classical guitar piece can work well for anything wedding related, or anything where something tender and sweet is needed.
This one starts out like classic 70's cop show funk, but evolves into something a little grittier as it progresses.
A thoughtful medium tempo solo guitar piece creates a nice backdrop to nearly any video.
This song is from the album Open Letter to the Cardinal. Jump to 21:14 to preview this song. A dedicated YouTube video for this song is coming soon.
This one was originally written for a film director who wanted to use some Skynard in the background of a scene, but couldn't afford the rights. It's southern style rock, but somehow a little Beck slipped in somewhere.
This song features an instrument that I build out of tom tom and a bass neck. It's a hybrid of a cello/bass and a banjo and is meant to emulate the sound of the Moroccan instrument shown in this picture. This song features an unlikely but somehow natural blend of north and west African music that seems to accompany travel scenes of any kind.
More songs featuring the "Bancello" can be found on this site as well.
If you need a hopeful/magical piece featuring guitar, celesta and glockenspiel, this is the piece for you. This one is a best seller.
HEAVY METAL WILL NEVER DIE!!! Sort of an Iron Maiden meets Dokken type thing.
Like most modern country music, this one is almost rockin'.... but not quite.
A nice Django-ish period piece. If you purchase this file, you will receive pristine version as well as two distressed versions to make is sound like an old record. Woody Allen would be proud to use this piece.
This is what they told us the future was going to sound like. This electronic piece is a great choice for a technology video. If you like this one, also see Heaven's Operating System: it's ethereal counterpart.
Cartoonish Old School Country. My first ever attempt a lap steel guitar.
A joyful, swampy mess featuring the one of a kind bancello. and the Casio SK1. Follow me on twitter. @BVanDonsel.
Part II of the Bancello Suite. Sort of African, sort of Classical.
A quiet thoughtful marimba and piano duet.
Musical homage to films of the Old West.
This zip file contains a high quality AIF file, mp3 file, and a Creative Commons license (Attribution 4.0 International (CC BY 4.0)) Also in cludes an alternate version with no vocal "Hoo... Haaaa" vocal part at the end.