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December 2016 - AmericanaAlley KPSQ 97.3FM Fayetteville Local music Arkansas
Rainbow Girls
An inspirational group of women aspiring to set a standard on love. Smart, brave, courageous and charming, Rainbow Girls have honest hearts that throb to a beat of self-love. I got to sprawl out on the floor and have a chat with the Rainbow girls after they played in the studio. “I like that I’m in a band with people who aren’t vapid, I can speak for them and likewise”, Vanessa May told me.
Sam Thomson
I met Sam in the studio and struck up a conversation with a man I’d call humble. Soft spoken with a passion for tunes, he shared that he thought all music was great. Sam said he had been playing his guitar on the street, trying to get his music heard out in the world. “I like to watch people enjoy music,” he said.
Cresent City Combo
New Orleans Music: Northwest Arkansas Big Easy appreciators, Crescent City emulators, former residents, natives and regional natives. Funk groove & brass.
John Henry. Song writer. Music enthusiast. Music lover. What doesn’t he do?
Name Sayers
Sonic layers recalling Grinderman, PJ Harvey, and Phosphorescent mingle with an ecstatically gritty lyrical vein, courtesy primary songwriter Devin James Fry, creating euphoric live shows and recordings best heard in arid foothills at night.
Bill Dollar and Loose Change
Bill Dollar and Loose Change keeps fun at the top of their list of things to value. They’re a cover band. They play music by artists such as The Eagles, The Band, Van Morrison, The Turnpike Troubadours, the list goes on.
Route 358 can be described as an Indie Americana/Bluegrass band that expels a rich sound. The music made by Fayetteville natives will take you through a romantic guided imagery. Imagine running barefoot through the woods wearing a hooded cape. Your hair bounces with each organic movement you make. Looking ahead in the distance you see a clearing in the woods, a bright light that you frolic towards. You meet with the opening and slide into a romantic picnic, and drink from gauntlets while you laugh amongst friends. A comforting feeling that can be received through music, Route 385 will stir those emotions.
Route 358 has a natural sound, they record all of their songs live at their in-home studio on four microphones; two large diaphragm mics, a mic on the kick drum, and a mic on the base amp. Derrick Mears who is a vocalist, guitar and banjo player, was originally influenced by Jim Croce, and Johnny Cash. Alongside Derrick is Jodie Mears on the Ukulele bass, Jade Mears singing vocals and guitar, and Grant Mears on percussion. The band is confident in their performance and their tight knit creative community.
For more information on Route 358 visit the links below to view the bands live performance videos, website, and social media pages.
Website: route358.info
Facebook: Route 358
RPK: Route 358-RPK
Jesse Dean was born and raised in a green, rocky hollow a few miles from Winslow, Arkansas, in a house with a piano for every room, walls hung with guitars and banjos, and a tin roof for rainy-day percussion. His skill as a musician is homegrown. He got an early start, picking out tunes on the piano and mandolin as a toddler
the Squarshers
A rag tag bunch of corn pone squarshin' grass pickers.
the OZARK TRAVELERS
The Ozark Travelers are a folk/blues/bluegrass fusion band out of Fayetteville Arkansas. The band is Korey Danley (vocals & mandolin), Kevin Riddle (vocals, guitar, & drums), Brendan Danley (bass & drums), and Nicholas Vinson Clark (vocals, guitar, banjo, drums). The music of the Travelers tells of the beauty of the Ozark mountains, loving your neighbor with positive vibes, and making joyful music. The band has found success in Northwest Arkansas and the surrounding area, playing such venues as Highberry, Hillberry, Springfest, George’s, Ryleigh’s, and many more. Be prepared for some angelic vocals, gritty harmonies, and some sweet guitar licks, until the banjo rolls you home!
Cletus Got Shot
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» Dams/ Irrigation
» Dam Failure
» Dam Safety
CCDD appeals to minister to stop dam work
The Citizens Concern for Dams and Development (CCDD) has expressed apprehension that the Thoubal dam, now 60 per cent complete, was not safe as a big crack could be seen near the spillway. It also appealed to Manipur Irrigation and Flood Control Department (IFCD) Minister Nongthongbam Biren to look into the matter. The minister assured the organisation of looking into the matter and ensuring safe construction of the dam.
Source: Sentinel (Guwahati)
Dams, Dam Safety, Manipur
Fresh aftershocks in quake-hit areas
The police tried to stop anguished relatives from streaming into one of the worst affected areas of China's massive earthquake on Sunday, as another strong aftershock hit the area and the death toll rose to nearly 32,500. Hundreds of aftershocks have rattled Sichuan province following last Monday's devastating 7.9 magnitude quake, and officials are concerned the tremors could bring down more unstable buildings and rupture already leaky dams. Six days after the main quake hit, the overall death toll stands at nearly 32,500, state news agency Xinhua reported, with a further 220,000 injured.
Source: Asian Age (New Delhi)
Dam Safety, Natural Disasters, Earthquakes, Radiation, Nuclear Wastes, China
Silting spells doom for villagers
The water-harvesting structures constructed in six villages to provide irrigation and agriculture sustainability in the area have proved to be a bane for villagers as the dams have not been desilted since their inception.
Source: Tribune (New Delhi)
Ropar, Water Harvesting, Dam Failure, Dam Safety, Water Supply, Punjab, Gurdaspur
Big trouble
In May 2005, the Arunachal Pradesh government filed an application in the Supreme Court regarding the Subansiri (Lower) project, expressing serious concerns about large storage dams: "
Source: Down to Earth
Vol:
North East, Dams, Dam Safety, Earthquakes, Landslides, Displacement, Biodiversity Hotspots, Geology, Supreme Court, World Bank, India, Arunachal
Disquiet in Dibang
Forests, North East, Dibang, Dams, Dam Safety, Afforestation, Biodiversity Hotspots, Ministry Of Environment And Forests (MOEF), India, Arunachal, Dibang Valley, Lower Subansiri
Reservoir of dams
Arunachal Pradesh is awarding hydroelectric projects to private companies at the breakneck speed of one every nine days without proper scrutiny. The government says hydroelectricity is the key to the state
Ecology, North East, Dibang, Ranganadi, Dams, Hydroelectricity, Earthquakes, Landslides, Displacement, Rehabilitation, Private Sector, Geology, Supreme Court, India, Arunachal, Dibang Valley, Lower Subansiri, Dam Safety
Mega Narayanguri dyke brings ray of hope
The reconstruction of Naryanguri dyke is going on in full swing bringing ray of hope to the people of that area especially those affected by floods in Barpeta and Baksa district. The construction which started in February 3, 2008 would be completed in March. The Narayanguri dyke was washed away in 2004 by the strong currents of Beki river which was overflooded due to the release of excess water of Kurisshu dam by the Royal Government of Bhutan. As a result Beki river changed its original course and flowed through Kalpani and Palla causing havoc in a number of villages. That year, though the dyke was repaired costing more than Rs 3 crore, the quality of work was poor and it collapsed on July 31, 2007. Since then about Rs 1.5 lakh people in Barpeta and Baksa district has been suffering from floods. On December last year the reconstruction work was formally inaugurated by BTAD chief Hagrama Mohilary, assuring quality work this time. An official with the Water Resource Department informed that the structure of the bundh will be the stronger this time. Depending upon the depth of the water,
Beki, Dam Safety, Floods, Assam
Tamil Nadu and Kerala slug it out over Mullaperiyar dam
THE longstanding controversy over the Mullaperiyar dam on the river Periyar assumed bitter proportions in December 2006 with the Kerala government accusing its Tamil Nadu counterpart of pulling out
Author(s): S V Suresh Babu
Periyar, Water Distribution, Water Demand, Dams, Dam Safety, Reservoirs, Irrigation, Conflicts, Interstate Disputes, Supreme Court, High Court, Government Of India (GOI), India, Kerala, Idukki, Tamil Nadu
Analysing Polavaram irrigation project
Perspectives on Polavaram, A Major Irrigation Project on Godavari
Author(s): Himanshu
Godavari, Dams, Polavaram, Dam Failure, Dam Safety, Irrigation, Displacement, Geology, India
Mullaperiyar imbroglio Rivers plight politicians delight
inter-state water conflicts have become the stock-in-trade of Indian politics. They are easy matter for politicians and technocrats to milk. The disputes most often end up in the Supreme Court with
Water Distribution, Water Demand, Dams, Dam Safety, Reservoirs, Interstate Disputes, Supreme Court, Political Parties, Politics, India, Kerala, Idukki, Tamil Nadu
Gopinatham Disaster
Morvi Disaster
IEP News Clipping (339) Apply IEP News Clipping filter
Feature Article (37) Apply Feature Article filter
Reports and Documents (27) Apply Reports and Documents filter
Book Review (1) Apply Book Review filter
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Tag: Malin Akerman
Sleepover, The (2020)
Title: The Sleepover
Directed by: Trish Sie
Written by: Sarah Rothschild
Starring: Sadie Stanley, Maxwell Simkins, Ken Marino, Malin Akerman, Cree Cicchino, Lucas Jaye, Karla Souza, Enuka Okuma, Erik Griffin, and Joe Manganiello
When two siblings discover their seemingly normal mom is a former thief in witness protection who has been forced to pull one last job, they team up to rescue her over the course of an action-packed night.
Title: Rampage
Directed by: Brad Peyton
Written by: Ryan Engle, Carlton Cuse, Ryan J. Condal, and Adam Sztykiel
Starring: Dwayne Johnson, Naomie Harris, Malin Akerman, Jake Lacy, Joe Manganiello, Jeffrey Dean Morgan, P.J. Byrne, Marley Shelton, Breanne Hill, Jack Quaid, Matt Gerald, Jason Liles, Demetrius Grosse, and Will Yun Lee
In 1993, a breakthrough new technology, known as CRISPR, gave scientists a path to treat incurable diseases through genetic editing.
In 2016, due to its potential for misuse, the U.S. Intelligence Community designated genetic editing a “Weapon of Mass Destruction and Proliferation.”
Dwayne Johnson stars as primatologist Davis Okoye, a man who keeps people at a distance but shares an unshakable bond with George, the extraordinarily intelligent, incredibly rare albino silverback gorilla who has been in his care since he rescued the young orphan from poachers. But a rogue genetic experiment gone awry mutates this gentle ape into a raging creature of enormous size.
To make matters worse, it’s soon discovered there are other similarly altered animals. As these newly created alpha predators tear across North America, destroying everything in their path, Okoye teams with discredited geneticist Kate Caldwell (Naomie Harris) to secure an antidote, fighting his way through an ever-changing battlefield, not only to halt a global catastrophe but to save the fearsome creature that was once his friend.
Was seeing Rampage in IMAX, 3D or 4D worth the cost?
Yes, IMAX
No, IMAX
No, 3D
Special thanks to Michael, and Frank for this submission
Ticket, The (2016)
Title: The Ticket
Directed by: Ido Fluk
Written by: Ido Fluk, and Sharon Mashihi
Starring: Dan Stevens, Malin Akerman, and Kerry Bishé
A blind man who regains his vision finds himself becoming metaphorically blinded by his obsession for the superficial.
Misconduct (2016)
Title: Misconduct
Directed by: Shintaro Shimosawa
Written by: Simon Boyes and Adam Mason
Starring: Malin Akerman, Alice Eve, Julia Stiles, Al Pacino and Anthony Hopkins
When an ambitious young lawyer takes on a big case against a powerful and ruthless executive of a large pharmaceutical company, he soon finds himself involved in a case of blackmail and corruption.
Special thanks to Frank S. for this submission
Final Girls, The (2015)*
Title: The Final Girls
Directed by: Todd Strauss-Schulson
Written by: M.A. Fortin and Joshua John Miller
Starring: Taissa Farmiga, Malin Akerman, Adam DeVine, Alexander Ludwig, Nina Dobrev, Alia Shawkat and Thomas Middleditch
A young woman grieving the loss of her mother, a famous scream queen from the 1980s, finds herself pulled into the world of her mom’s most famous movie. Reunited, the women must fight off the film’s maniacal killer.
During Credits? Yes
Bloopers are shown.
Numbers Station, The (2013)*
TITLE: The Numbers Station
A former black ops agent and the young woman he’s assigned to protect fight for survival after a surprise attack.
We see an evening aerial shot over a bridge crossing a bay.
TITLE: Stolen
A former thief frantically searches for his missing daughter, who has been kidnapped and locked in the trunk of a taxi.
Catch .44 (2011)*
TITLE: Catch .44
For Tes (Akerman) and her two cohorts Kara (Nikki Reed) and Dawn (Deborah Ann Woll), the job sounded simple enough: intercept a double-cross drug shipment for their crime boss Mel (Willis) at an isolated diner. But when an unstoppable chain of events unfolds, everyone soon realizes no one is who they seem and the job may be something other than eliminating the competition. What started as simple instructions has now turned into a deadly cat-and-mouse game – with large guns pointed at everyone.
Shortly into the credits, we see Sheriff Connors pulling up to the diner looking for Deputy Elmore.
Wanderlust (2012)*
TITLE: Wanderlust
There are outtakes and bloopers.
There is a scene from the show “The Real Housewives of Atlanta”.
TITLE: Happythankyoumoreplease
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| Faq | Nous contacter | Solder mon séjour |
Camping de la Clape
Camping de la Tama
Hébergements et Tarifs
Madrid soccer $4B 7 new england patriots NFL
12 octobre 2020 Non classé
Alex Morgan soccer $4M Highest-Paid Athletes 1.
Among the most recent, in conjunction with Joe Perry, the Monster Blaster Classic Rock Edition , an updated, rocked-out version of Monster’s critically-acclaimed Blaster Bluetooth speaker.
Guy Carbonneau , Pavel Datsyuk and Jere Lehtinen each won the Selke three times.
These cans are made up of pieces of my car from the 2018 season and I’m excited for the cans to be released.
That has been enough for him to solidify his status as a top-five prospect in a class lacking a whole lot of star potential at the top.
D Matt Bartkowski, D Louie Belpedio, D Turner Ottenbreit and F Mason Shaw scored and G Kaapo Kahkonen stopped all 19 shots faced.
Where can we do something better.
The Champions League recently determined all four remaining Round of 16 matches could play out at their originally scheduled locations before the tournament heads to Lisbon, Portugal, the neutral site for all semifinal and quarterfinal matches as well as the Final.
Serena Williams tennis $36M 3.
And with current economic conditions, it’s more likely the escrow dilemma is dealt with soon.
In 2015, Posey’s debut with Esurance included a TV spot, Sorta Doctor, under the brand’s umbrella Sorta You Isn’t You campaign .
Details on these events would be unveiled at a later date.
Boston https://www.amazon.com/dp/B086PDZY76 Sox MLB $3B 17.
Not taking any risks, Lowry laid up on the driveable par-four fifth hole and got up-and-in for birdie.
And on many platforms.
Denver Broncos NFL $3B Source: Forbes By Barry Janoff December 10: Calling it a groundbreaking opportunity, video game veteran Electronic Arts has unveiled a strategy to build its first eSports platform.
Volkswagen, a veteran of the Super Bowl ad wars, not only is providing a custom uniforms solution, but making fun of it at the same time.
To best position the team for success, the Haslams have consistently invested in the organization and its facilities to provide the best resources available, while working diligently and responsibly in partnership with the City of Cleveland and the City of Berea.
San Francisco Giants MLB $3B 23.
Denver Broncos NFL $3B Source: Forbes By Barry Janoff September 12: The motto for the Golden State Warriors is Strength In Numbers.
Thank you, Tyga, Shag replies.
Jags Owner Withdraws Bid To Acquire Wembley Stadium.
By Barry Janoff April 7: Citing a desire to pursue new opportunities, Jacqueline Parkes, CMO for Major Lefdague Baseball, is leaving after some 20 years with https://www.amazon.com/dp/B0837PL5ZW league and eight years in her current position.
• 82% of eSports attendees are male.
According to Beckmann, the concept for Score!
Super bowl LVIII mercedes benz superdome new orleans
1994 conduct various team activities in a split
Leisure - Hotel, Resort & Spa WordPress Theme. Designed with special care by Curly Themes. All Rights Reserved.
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The last “Joker”
in CRITICAL SECURITY, ISSDM~ INTERVIEWS~FORECASTS 26/04/2017 0 121 Views
By Selim Ibraimi -Center for Security Studies and Development -Macedonia (CSSD)
–The rise of political tensions in Macedonia is a concern for a part of the international community. Macedonia is a land lack country and surrounded by powerful states.
The U.S. since 1992 has helped this former Yugoslav republic to accommodate in the post-Yugoslav world.
Puring millions of dollars and euros in Macedonia by international community, showed that very little success was achieved by foreign aid to Macedonia. The dogmatic political class has pushed the country into an interesting situation for all the citizens of the fragile society.
The non-constitution of parliament and government has left behind a desperate inner political and geopolitical vacuum from the international point of view.
Russia’s diplomatic actions has been exploited by information propaganda in the Balkans and Macedonia.
The senior U.S. official Hoyt Brian Yee arrives in Macedonia next week to give a positive start to the developments in Macedonia.
The use of “sticks and carrots” for the politicians will be the card that the Americans will use.
The intervention should be straightforward with the results on the ground.
The return of Americans will e prevent Macedonia to become part of Russia’s sphere of interests.Hoyt comes with clear messages, while DUI in that case will be the last “joker” of the international community. SDSM must have a clear vision, but VMRO either, must follow the democratic steps with peaceful transition of government.
THE COMING CONFLICT
THE DISTRIBUTION OF NATIONAL RESOURCES
CSSD Macedonia
Previous: Risks and protection against cyber attacks
Next: Three different scenarios for Western Balkans
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Hope, resilience level, and creativity among job-seekers under a work-based welfare program in Australia
2019 IJRSP – Volume 8 Issue 2
Tolentino, Marvin*
Central Luzon State University, Philippines (tolentinomarvin@gmail.com)
Maliwat, Eric
Febias College of Bible; Sydney Institute – TAFE, New South Wales (ecmaliwat@yahoo.com)
Dullas, Angelo
Central Luzon State University, Philippines (dullas.angelo@yahoo.com)
This study aimed to determine the levels of hope and resilience among adult job-seekers in Australia who are currently under the government’s work-based welfare program. The researchers also aimed to determine the differences on the level of hope and resilience between creative and non-creative job-seekers, as well as between job-seekers who have Australian and non-Australian origins. The study included job-seekers with Australian, Asian, South American, African and Pacific-Island origins. Forty-nine respondents, aged 22 to 64, were purposively sampled to answer survey questionnaires. To measure self-perceive creativity, the researchers used a single-item self-assessed creativity questionnaire. The Adult Hope Scale (AHS) by Snyder et al. (1991) and Connor Davidson Resilience Scale (CD RISC 10) were used to measure the respondents’ hope and resilience, respectively. Results show that he mean total of the respondents’ AHS scores is 46.65 (with SD of 11.1) which falls on the above the average description. Meanwhile, the mean total of the respondents’ CD RISC 10 scores is 35.22 (with standard deviation of 8.3) which falls on the 3rd quartile and is considered above average. Significant statistical difference on the level of resilience was observed between creative and non-creative respondents, t(47)=2.473, p=.017. Significant statistical differences were also observed on both levels of hope (t=-3.22, p=.002) and resilience (t=-2.80, p=.007) between respondents with Australian and non-Australian origins. These findings open up interesting inquiry whether one’s creativity, country of origin or cultural background have a role on developing or demonstrating hope and resilience, especially to migrants workers.
Keywords: hope; resilience; creativity; Australian job-seekers
DOI: https://doi.org/10.5861/ijrsp.2019.4008
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reDesigning Affect Space – Final Report
reDesigning Affect Space #1: Architecture as Sonic Experience, Berlin April 14 – 16, 2018
New Design Tactical Media Files + Reports & Documentation Amsterdam and Liverpool events online
Cool Mediators Foundation is transitioning
Tactical Media Connections
Author / eric
October 4, 2019 October 21, 2019 by eric
Introduction and background of the project
reDesigning Affect Space was an extended design, practice and theory project building on the outcomes of the Technology / Affect / Space public research trajectory of Open! Platform for Art, Culture, and the Public Domain, which was conducted with the MIT ACT – Art, Culture, and Technology program in Cambridge (Mass.), the Lectorate for Art and Public Space (LAPS) Rietveld Academy in Amsterdam, and Het Nieuwe Instituut in Rotterdam. The trajectory included public workshops / debates in Cambridge (Mass.), Amsterdam and Rotterdam.
Image: JARD, Madrid.
Following these workshops six authors have been commissioned to contribute essays and audiovisual works, which were published in sequence on the Open! online publication platform in 2017: Architects Javier Argota and Rodrigo Delso (JARD, Madrid), artist and activist Alessandra Renzi, performance artist and researcher Sher Doruff, and artist duo Esther Polak and Ivar van Bekkum.
In addition to these commissioned contributions Eric Kluitenberg, acting as lead-researcher on this project, wrote a new essay that brings together the outcomes of these workshops and previous investigations in a preliminary description of a conceptual model of Affect Space (explained in brief below). In the reDesigning Affect Space project we wanted to address this conceptual model and the outcomes of our previous public research trajectory to a series of distinguished practitioners in the fields of architecture, design, art, urbanism and digital media to translate these insights into actual (design-) practices.
This was accomplished by organising a series of master classes in Berlin, Madrid and Rotterdam with our international partners, where expert designers, artists, architects, urbanists were exchanged between the participating cities / regions. The master classes involved primarily young professionals and advanced (Master-level) students, and resulted in a series of small scale public interventions into local public spaces. These interventions have been documented, and the outcomes of the master classes and the interventions, including the documentation, provided the basis for a series of public presentations where the results are put up for debate for a broader audience.
We thus aimed to stimulate a lively international exchange between makers / practitioners and generate relevant feedback from theorists and researchers in these fields. The public presentations were organised to involve a wider culturally interested audience in this investigation and stimulate public debate.
The concept of Affect Space deals with the overlap of urban public spaces, the explosive growth of mobile media and wireless networks, and the intense affective exchanges that increasingly dominate how these spaces function, in contrast to the conventional more utilitarian and deliberative functions and uses of public (urban) space. We believe that the dynamics unfolding here require an urgent critical engagement, particularly from the (spatial) design disciplines that traditionally address the functions and design of public spaces. However, these design disciplines are currently notably absent in this domain.
Conceptual model and context
The concept of Affect Space was first proposed in a long-read essay for the Open! platform written and published in 2015 (Kluitenberg, 2015). In this essay the contours of a model were suggested that builds on three constitutive elements:
• A technological component: Interconnected communication networks, in particular internet, mobile media and wireless networks perform a crucial function to mobilise large groups of people around ever changing ‘issues at stake’.
• An affective component: A recurrent characteristic is the affective intensity generated and exchanged in these mobilisation / activation processes in overlapping mediated and urban public spaces — instantiated in the body of the physical actors at the screens and in the streets. Reasoned arguments seem to play much less of a role here than affective images, aphoristic and suggestive slogans and embodied collective rituals.
• A spatial component: The affective intensities generated in the activation process cannot be shared effectively in disembodied online interactions at the screen. This lack stimulates the desire for physical encounter, which can only happen in a physical spatial context — paradigmatically in (urban) public space, where mobile media then feed the action in the streets immediately back into the media networks.
The basic model of Affect Space revealed itself most clearly in the often confusing massive protest gatherings and public space occupations around the globe after 2011. What we observed was that while the specific socio-economic, cultural, and religious context in which these gatherings unfolded was radically different from site to site, the pattern of mobilisation and public gathering remained remarkably constant. Resulting in a puzzling split between content and form.
The model of Affect Space is in no way limited to such protest gatherings. Much rather a new set of functions of overlapping media- and public spaces were revealed by them. Most confusing about these new types of gatherings is that they appear – often quite suddenly – in vastly different spaces, across an enormous variety of geographic, demographic, cultural and political contexts. Meanwhile they remain uncannily consistent in their pattern of mobilisation / activation: Mobilisations start online, expand exponentially, and subsequently spill over into embodied public spaces in an apparent drive to find connection ‘beyond the screen’. The massive presence of mobile media and wireless networks in these public spaces triggers a feedback-loop back into the (networked / social) media network, drawing in an ever larger constituency, while the gatherings themselves are increasingly galvanised by a deep affective intensity.
The Affective Threshold
What we have found, also in our public research, is that the extreme ‘densification’ of overlapping (embodied) urban and (wireless) networked spaces brings about this shift from the deliberative functions of public space / gatherings to primarily affect-driven exchanges. The more dense the connections between the mediated and the embodied, the more these gatherings become dominated by affective exchanges that tend to wash out ideological differences and create highly unstable (temporary) public formations. The dynamics of public space become extremely unpredictable once they start to operate under this primacy of affect. Importantly, though, while this new dynamic is highly unpredictable, it is in no way arbitrary and it is highly susceptible to manipulation.
Crucial to recognise is also that the emergent spatial order of Affect Space is already in full operation. It operates in the new forms of public assembly and their often contradictory dynamics. It also operates in new forms of distributed affective policing and control in and of public space. It is part of a highly evolved system of technologically enabled ‘persuasion design’ (seductive mobile and wearable media, apps and online platforms). Yet, the ‘development-agenda is almost entirely dominated by technological, economic, and security-centric concerns. The spatial design disciplines are notably absent in the debate how to shape and re-/design Affect Space.
Main question: Who has agency in Affect Space?
The main question that guides this project and our search for a more diversified design-agenda for the context of Affect Space is: Who has agency in this context? And what type of ‘designed interventions’ are required to distribute agency (the ability to act effectively) more equitable across the different actors operating in this space — citizens, corporations, public agencies, ‘creatives’, civic organisations, local, national, and transnational authorities ?
The aim of the project was to develop a more diversified design-agenda for the context of Affect Space that transcends current security and safety-driven initiatives and overly technology-centric ‘smart city’ discourses. Our research has shown that the concept of Affect Space is much more than an abstract idea or a purely speculative model. We see powerful actors at work in the context of Affect Space. And while the dynamics of Affect Space are unpredictable, they are also highly sensitive to manipulation. Therefore, an urgent need exists to engage the spatial design disciplines much more actively in this context.
We started out with a series of questions; While the dominant forms of ‘persuasion design’ aim to continuously heat up the affective intensity of mediated exchanges (esp. social media platforms and apps), can designers and artists come up with designs that can ‘cool down’ these exchanges, and allow for different, more deliberative forms of exchange and sociality? If the focus in technology and policy shifts towards non-conscious and collective behaviour in public space, how can we develop inclusive, ‘participatory’ design strategies for Affect Space? Architect and eminent theorist Paul Virilio raised the intriguing question, why is it that technology always speeds processes up, thus eliminating the space for deliberation – can we design technologies that slow processes down? And can we think of more imaginative forms of playful and poetic interaction (in media and urban space) that take us beyond the Pokemon-go craze, and introduce different experiences and new ways of community building?
Affect Space: Smartphone vigil during Occupy Central with Love and Peace, Hong Kong, 2014
Master Classes / Workshops
The project started off with a series master classes organised from the Spring of 2018 onwards in Berlin, Madrid, and Rotterdam. These master classes were guided by highly experienced professionals in the field of design, architecture, (media-) art / digital culture, and urbanism, selected in part from the organisations and individuals who had already been involved with the Technology / Affect / Space project. The guiding idea here was to exchange experts between the participating organisations and regions and thereby generate an immediate exchange of ideas and experiences.
Each master class resulted in one or more small scale interventions in public space and various forms of online documentation. These included performative interventions executed in public space, temporary public sculptures, investigations with analytic tools (machine learning techniques for urban observation), explorations with locative media (tracing geo-position via GPS and related protocols), prototypes for mobile / wireless media, on site investigations, and sound works. What exact type of intervention was developed was decided by the experts guiding the master classes together with the participants.
Conceptually the starting point for the master classes were the outcomes of our Technology / Affect / Space research trajectory and the conceptual model of Affect Space that has been developed. How this could be translated into actual design-practices depended the expert(s) guiding each master class and its participants, so that each had a slightly different orientation.
The master classes were primarily aimed at young professionals in the domains mentioned above and ‘advanced’ students (master level or equivalent). The important objective was to focus primarily on makers / creators / practitioners as our explicit aim was to move beyond theory to actual (design) practice. The public space interventions resulting from these master classes were carefully documented (in the form of video and audio recordings, photo documentation, transcripts, impressions from participants and observers, and prototypes produced for or used in the interventions).
Public presentation of results
During the project we decided to change our emphasis in the public presentations of the results of these masterclasses / workshops from larger scale conferences (with a typical more professional orientation) to a more extensive series of smaller scale public events, debates, lectures, exhibitions and online works. This made it possible to create a more direct relation between the content of the masterclasses and the presentations. At the same time we could reach a more diversified and broader audience, by linking to existing festivals (including transmediale in Berlin), exhibitions (Madrid and Rotterdam), symposia (Prague, Milan and The Hague), established public events (such as Thursday Night Live at Het Nieuwe Instituut in Rotterdam), and specific communities (such as Spektrum in Berlin and Medialab Prado in Madrid).
Finally, Eric Kluitenberg, as lead researcher for the project, participated for a year in 2018 in the Design Research Group of the Royal Academy of Art in The Hague and subsequently presented the intermediate results of the reDesigning Affect Space trajectory at the Fault Lines Design / Research symposium in December 2018 in The Hague, thus facilitating exchange with other members of the Design Research Group and a wider audience at the symposium.
Chronological overview of masterclasses / workshops:
Masterclass Architecture as Sonic Experience, Polak & van Bekkum, @ Spektrum, Berlin, April 14-15
In Berlin the Hybrid Space Lab (Elizabeth Sikiaridi & Frans Vogelaar) hosted a master class that emphasised the artistic exploration of Affect Space. This master class was guided by the Amsterdam based artist duo Esther Polak & Ivar van Bekkum. The artists have been experimenting with conversational sound walks that are traced via GPS and mapped onto google earth images. The end result is usually a short film. The emphasis of the exploration is on immersive sound experiences, where the anaemic cartographic imagery directs attention towards the sound. They contributed a ‘walking essay’ to the Open! platform. Polak & van Bekkum have recently experimented with 3D sound recording (similar to how Google Street View captures 360o images of the environment), which was one of the starting points for their master class.
Polak van Bekkum, Daily Life at a Crossing (2019 – digital video still)
“Your ears are about 20 cm apart. How will you experience the city once you enlarge that distance? Will this make you hear like a giant?
In two afternoons participants experimented with listening over expanded distances: with your ears one meter apart, 2 meters, 5 meters, 20 meters, as if you enlarge your head. Can you intertwine sounds that enter your ears from a greater distance than you are used to?”
The artists created a system for streaming audio from smartphones to extend the distance between the microphones as far as possible. Once decided on the technical setup, participants went out to the street to ‘become’ different objects: a tree, a bridge, a car, or a bus stop.
Polak and van Bekkum are curious to radicalise the scale of this work method as far as possible. Can we even identify with a building adding one ear to one side and the other to the opposite side?
At the start of the workshop all participants were asked to introduce themselves, to see what fields of knowledge, experience, and curiosity each of them brought. During the workshop built on this collective expertise. Concluding the workshop, it was define what ‘spatial listening’ brought us.
Can we approach the urban landscape from this position with a different view, or rather a different ear? What sort of bodily information do we get? What is the role of (mobile) tech to this? What is this kind of spatial listening? And how does it affect our sense of city-awareness?
https://spektrum.community/events/detail/architecture-as-sonic-experience.html
Masterclass Archiving As Resistance, Lara Baladi, Medialab Prado, Madrid, 28-29 April 2018
In Madrid the second masterclass was developed with JARD in Madrid, guided by the Egyptian-Lebanese artist Lara Baladi. Baladi is a former fellow at MIT’s Open Documentary Lab and currently a faculty member at the MIT ACT – Art, Culture and Technology program.
Archiving As Resistance, mapped key points and questions related to archiving the Web with a focus on archiving protests related data as a means of resistance. Lara Baladi’s project, “Vox Populi, Archiving a Revolution in the Digital Age” served as a starting point to study various archives initiatives in the global context and web recording tools.
Depending on their interests and skills, the participants produced a project collaboratively based on material they had researched and gathered beforehand. The project focused on the protest actions against sexual violence against women that reached a boiling point exactly during the workshop.
A web journal was created (link and image below) that collected materials not just during the workshop but also afterwards as an ‘instant’ archive of resistance.
This workshop was open to activists, digital archivists, artists, filmmakers, developers, web designers, architects, and more.
https://www.medialab-prado.es/en/node/39130
NOesNO: un archivo contra la agresión sexual (‘an archive against sexual aggression’):
https://fold.cm/read/ArchiveCollect/archivo-noesno-Lavtuu5b
Masterclass Deep Space: re-signifying Valle de los Caídos, hybrid space lab, @ Medialab Prado, Madrid, 25-27 October 2018
Also in Madrid the third masterclass “Deep Space: re-signifying Valle de los Caídos” was hosted by the Medialab Prado and JARD architecture agency. This master class was guided by Frans Vogelaar & Elizabeth Sikiaridi, co-founders of the Hybrid Space Lab, Berlin. The work of Vogelaar & Sikiaridi on Hybrid Space has been foundational for the development of the Affect Space concept and research.
Deep Space is a long-term investigative program initiated as part of the reDesigning Affect Space public research trajectory to deal with politics of memory, controversial space and monuments, digitalization and heritage. The project is on-going. The main question raised by Vogelaar and Sikiaridi for this masterclass was: How to transform and re-signify Valle de los Caídos (“Valley of the Fallen”), the Francoist monument in the Sierra de Guadarrama close to Madrid?
Valle de los Caídos with its 152-meter-tall cross visible from more than 30 kilometers away and its “basilica”, a 262-meter long crypt with a 42-meter high vault cut out of the granite mountain rock, is one of the world’s most controversial monuments.
The structure was built between 1940 and 1959 partly by the forced labor of Spanish republican political prisoners. Next to the remains of over 33.000 fallen from both sides of the conflict (that were moved there from mass graves spread all over the country), the basilica features Franco’s grave in its most prominent spot – and next to it the grave of the Falangist leader Antonio Primo de Rivera.
The basilica-crypt, piercing the granite mountain, opens to an esplanade with scenic landscape views. Access to the Valle de los Caídos monument is provided by ‘pilgrimage’-style paths and drives, which are embedded within a sophisticated large-scale landscape design in a terrain that still holds remnants of the barracks of the prisoners of war.
Over the past few years, there has been an intensifying discourse and controversial public debate in Spanish society and politics about the transformations needed to be pursued at Valle de los Caídos. Nevertheless there has been no artistic approach to find new possibilities and paths to transform and reinterpret Valle de los Caídos.
“Deep Space: re-signifying Valle de los Caídos” aims at developing creative processes, concepts, and ideas that can break through and transform the symbolic power of the place. The program focuses on artistic/architectural/landscape/media proposals and creative processes that develop future visions, breaking through the biased discussion.
“Deep Space: re-signifying Valle de los Caídos” derives its strength from the potential of an “outsider” approach that can bring a new perspective to a contentious and intractable situation. The workshop includes creative sessions and discussions bringing together Spanish and international creative professionals (such as architects, designers, artists, sound artists, performers, theatre-makers), theoreticians, historians, ethnologists, forensic archeologists, heritage and cultural studies experts, juridical experts, psychologists and psychoanalysts.
Complementary to the general public discussion circling mainly around the correct location for the remains of Francisco Franco and Antonio Primo de Rivera, the “Deep Space: Re-signifying Valle de los Caídos” workshop focuses on (the mostly anonymous) ‘fallen’ and on the convicted that hauled up the lumps of rock.
Who built Thebes of the seven gates?
In the books you will read the names of kings.
Did the kings haul up the lumps of rock? …
From “Fragen eines lesenden Arbeiters” (“Questions from a Worker Who Reads”) by Bertolt Brecht, 1935; translation by Michael Hamburger: Brecht, Bertolt, Poems 1913-1956, Methuen, New York/London 1976.
“Deep Space: re-signifying Valle de los Caídos” aims to develop creative tools for dealing with such a controversial monument. These tools can be of very different character and be spatial – physical, digital or hybrid (combined physical and digital). As instruments, these tools also have a strong process-related dimension.
Hybrid (combined physical and digital) technology tools offer the possibility to process the transformation of a monument without physical interference. Such tools include Augmented Reality (AR), Virtual Reality (VR), Mixed Reality (XR), and Augmented Virtuality (AV).
The workshop creates a framework where international experiences with such instruments can inform the Valle de los Caídos transformation process. At the same time, the focus on such a concrete and very actual case study as Valle de los Caídos provides the opportunity to develop insights that are of a more general relevance for dealing with monuments and heritage.
“Deep Space: re-signifying Valle de los Caídos” develops an inspirational atmosphere where creative professionals and experts reflect on a typology of creative/artistic proposals. A typology of proposed tools functions as a test environment for opening up perspectives related to the Valle de los Caídos transformation, while simultaneously helping to inform the possible direction and process for the further development of the “Deep Space” project.
hybrid space lab – Deep Space project pages:
http://hybridspacelab.net/project/deep-space
Masterclass Collective Bodies Moving in Affect Space: Are We Data?,
JARD Javier Argota & Rodrigo Delso, Het Nieuwe Instituut, Rotterdam, September 6-7, 2019
In Rotterdam a final masterclass was hosted by Het Nieuwe Instituut. This master class was guided by the founders of the JARD architecture agency in Madrid, architects Javier Argota & Rodrigo Delso. JARD presented a fascinating talk at the T / A / S workshop hosted by Het Nieuwe Instituut in May 2016, and recently contributed an audiovisual essay to the Open! platform. Of particular interest to us was the project and online platform Open Urban Television (OUT), developed by JARD with local partners (a.o. the Media Lab Prado).
‘Heat Map’ showing concentration of activity in the square in from of the cinema and along ‘invisible’ pathways.
In the masterclass JARD analysed collective movements in public space and how these can be captured using camera observation and machine learning techniques. In their words: We are data. Every step we take in public space, how long we are seated, or how long we remain in an over-crowded square, our movements become data.
CCTV and surveillance are all about personal data (a.k.a. facial recognition). It could be either a human or an algorithm looking at us, but it is mostly framed around individual information. But what about collective data? Then, are we data?
Using the latest convolutional neural networks (commonly applied to analysing visual data), the workshop used the (machinic) brain of artificial intelligence to analyse the meaning of movement in public space. With a camera installed on the roof of Rotterdam Theatre (at the Schouwburgplein) in Rotterdam, the workshop explored the meaning of our collective body in public space while interacting with it live.
Tracking pedestrian movement over time during the ‘standing still on square furniture’ intervention.
(Showing avoidance of the immobile agents as well as dancing youngsters accidentally sharing the space.)
Tracking pedestrian movement over time during the ‘standing still on square furniture’ intervention. (Showing avoidance of the immobile agents as well as dancing youngsters accidentally sharing the space.)
We captured the movement of citizens in real-time and designed a series of actions to disrupt, play and understand the power and importance of flow to understand the city, the public and the social.
The workshop was organised as both part of reDesigning Affect Space and Neuhaus, a temporary transdisciplinary academy for more-than-human knowledge at Het Nieuwe Instituut. Workshop discussions and presentations took place within the exhibition architecture of Neuhaus.
Impression from JARD masterclass @ Neuhaus / Het Nieuwe Instituut.
The screenshots above are preliminary results from the workshop showing the effect of minimal interventions in public space producing effects only visible to the artificial eye(s) observing us.
reDesigning Affect Space resulted in an extensive series of public presentations that were conducted during the entire research trajectory. These presentations showed intermediate results from the masterclasses / workshops and opened them up to public scrutiny and debate. This is the principal meaning of the idea of ‘public research’, which implies that a research trajectory is conducted in the open from the very start and continuously invites participants and public feedback as the research develops – rather than conducting the research behind closed doors and only revealing the findings once conclusions have been finalised by the researchers, without insight, oversight and feedback from ‘the public’ (i.e. humans and non humans not involved in the research itself in any capacity).
Working in the open, in public, is a mode of operation that is well-known and rather usual for artists and many cultural agents (social and service design, community activism and -media, etc.). Yet, this form of public research is totally uncommon for an academic context, where results are only made public upon (peer-reviewed) academic publication – and quite often these results are then accessible only behind over-priced electronic paywalls.
This type of closed research should be forbidden in any research project that involves public funding, which includes all university research conducted in partly or in whole publicly funded institutions. This is a principal point for all of us involved in this project. It is totally self-evident to us that research should be conducted in public, open to critique and feedback and without artificial (monetary) boundaries, particularly when public funding is involved.
Chronological overview of public presentations
Presentation Architecture as Sonic Experience: Esther Polak & Ivar van Bekkum, Spektrum, Berlin, April 16, 2018
Following their workshop Architecture as Sonic Experience, also at Spektrum in Berlin, Polak and van Bekkum presented outcomes and first results. These included binaural recording experiments, capturing city sounds but extending the range of the microphones. The experiment was continued during the presentation with two ‘agents’ carrying each of the two binaural microphones in the surrounding city environment while moving in opposite directions. The recorded sounds were transmitted wirelessly and real-time to the audience space where they were reproduced on two high quality speakers.
Thus the audience could experience the radical dispersal of sound recordings by the binaural microphones that are usually placed at the distance of two human ears belonging to the same head (normally about 20 cm apart).
https://spektrum.community/events/detail/presentation-architecture-as-sonic-experience-esther-polak-ivar-van-bekkum.html
Fault Lines Symposium, KABK Design / Research, The Hague, Royal Academy of Art, December 14, 2018:
Fault Lines explored the interstitial positioning and generative potential of design research as the borders of disciplines shift, while presenting an array of research projects that map and interpret the traces of design’s complicity in climate change.
Questions asked included: How does contemporary design research inhabit the fissures between disciplinary realms and negotiate the discontinuities between them?
Are there particular qualities and capacities of design-specific tools and methods and what do they allow for?
And how can the insights that arise from experimental research inquiries make a significant contribution to design practice, to education, and to knowledge?
Eric Kluitenberg presented the intermediate findings of the reDesigning Affect Space project as part of the Design Research Group at the Royal Academy of Art in The Hague.
https://www.kabk.nl/agenda/fault-lines-design-research-at-kabk-leiden-university
Lecture / Discussion Hybrid Space Lab @ Traces conference, Politecnico di Milano School of Architecture, Milan, 25 January 2019
Hybrid Space Lab presented and discussed the Deep Space – re:signifying Valle de los Caidos project at the TRACES conference in Milan.
TRACES is a three-year project funded in 2016 by the European Commission as part of the Horizon 2020 Research and Innovation Programme. Through an innovative research methodology, TRACES investigates the challenges and opportunities raised when transmitting complex pasts and the role of difficult heritage in contemporary Europe.
http://www.traces.polimi.it
Presentation @ transmediale 2019 – reDesigning Affect Space, Berlin, Haus der Kulturen der Welt, February 3, 2019
At transmediale 2019 we focused specifically on two projects that emerged out of previous masterclasses:
Architecture as Sonic Experience, by artists Esther Polak and Ivar van Bekkum, which extended the well-known practices of binaural recording to an architectural and urban scale, listening to what buildings, streets, stations, and airports “hear” at their extreme edges.
Deep Space: Memory Politics in the Digital Age, by Hybrid Space Lab (Elizabeth Sikiaridi & Frans Vogelaar) focuses on the strongly emotionally charged memory politics of Valle de los Caídos in Spain and on the re-signification of this Francoist site—one of the world’s most controversial monuments. The Deep Space project addresses the re-signification of traditional physical monuments and heritage with the help of digital dynamic networked archives: What could future heritage (sites) look, feel, sound like, and how could their digitally enriched features affect memory-making processes?
Audience view reDesigning Affect Space presentation @ transmediale
https://2019.pastwebsites.transmediale.de/content/redesigning-affect-space
Exhibition and opening discussion Deep Space: re-signifying Valle de los Caidos at the Goethe Institute, Madrid, June 5, 2019
The Goethe Institute in Madrid projected the large scale graphic of the analysis of Valle de los Caidos by Hybrid Space Lab on the facade of the institute. At the occasion of the opening of the exhibition a discussion was organised with Miquel Gonzalez, Photographer, Emilio Silva, Journalist and Prof. Gutmaro Gomez Bravo.
https://www.goethe.de/ins/es/de/ver.cfm?fuseaction=events.detail&event_id=21575494
Lecture Hybrid Space Lab on Deep Space: re-signifying Valle de los Caidos at the Nonument Symposium, Center for Advanced Media Prague (CAMP), June 13-14 2019
Nonument! is a symposium dedicated to hidden, abandoned and forgotten monuments of the 20th century. Nonument is also an ongoing research and artistic project initiated by MoTA – Museum of Transitory Art from Ljubljana Slovenia, dedicated to archiving, mapping and studying the architectural heritage, monuments and public spaces of the 20th century.
The Nonument Group, an international art collective, operates within the ambit of this platform. By staging artistic interventions, the collective calls attention to the importance of public spaces and the issues caused by nonsustainable management of architectural heritage.
Hybrid Space Lab presented their on-going work in the Deep Space: re-signifying Valle de los Caidos project.
https://nonument.org/news/nonument-symposium-prague-13-14-june-2019/
reDesigning Affect Space @ Neuhaus / Thursday Night Live, Het Nieuwe Instituut, Rotterdam, 5 september
At Thursday Night Live! program findings from the reDesigning Affect Space public research were presented at Het Nieuwe Instituut in Rotterdam.
The question explored was how Affect Space can be redesigned for a more poetic, critical, and open civic engagement, and how to include the design disciplines in shaping such alternative designs? This question also formed the starting point of the masterclass Collective Bodies Moving in Affect Space: Are We Data? by JARD (architects Javier Argota and Rodrigo Delso) that took place subsequently on 6 and 7 September at Het Nieuwe Instituut.
With an introduction by theorist Eric Kluitenberg, who coined the term Affect Space. JARD (architects Javier Argota and Rodrigo Delso) explored how bottom-up Machine Learning algorithms can be applied to urban camera observation to analyse collective movements in public space. The program also included the (world) premiere of the digital film Daily Life at a Crossing by artists Esther Polak and Ivar van Bekkum.
In their words: “This video is an experiment in the experience of space. For this video we combined the virtual visual world that is offered to us by Google Earth, with a self produced audio recording. The sound you hear is recorded of a building at the crossing of the Martin-Luther Strasse and Hohenstaufen-Strasse in Berlin. We used extended binaural recording: the right channel is the south side of the building, the left the north. At the same time a slow movement around the crossing is visible, executed in the current state of Google Earth. The two sound channels and the video are related, and not related. There is a gap, and there is a connection.”
https://neuhaus.hetnieuweinstituut.nl/en/timetable/redesigning-affect-space
Daily Life at a Crossing (2019, still)
Polak & van Bekkum, Daily Life at a Crossing (2019) in the Neuhaus Exhibition, Het Nieuwe Instituut, Rotterdam, September 5 – 15, 2019
After the official premier in the Thursday Night Live program on September 5, 2019 the film resulting from the masterclass Architecture as Sonic Experience by Esther Polak and Ivar van Bekkum was integrated in the Neuhaus exhibition at Het Nieuwe Instituut in Rotterdam.
About the film: Using extended binaural recording from the north and south side of a building at the crossing of the Martin-Luther Strasse and Hohenstaufen-Strasse in Berlin, a slow movement around the crossing is visible, executed in Google Earth. The two sound channels and the video are related, and not related. There is a gap, and there is a connection.
Neuhaus @ HNI: https://neuhaus.hetnieuweinstituut.nl/en
Exhibition of the Design / Research Symposium, The Hague, Royal Academy of Art, December 6-10, 2019
The film Daily Life at a Crossing by Polak van Bekkum (2019) and the documentation of the masterclass Collective Bodies Moving in Affect Space by JARD (Madrid) will be included in the new first exhibition accompanying the annual Design / Research symposium at the Royal Academy of Art, The Hague. These will act as a practice based reflection on the research carried out in the frame of the Design Research Group throughout 2018.
Beyond these past and confirmed presentations the reDesigning Affect Space project continues in a prospective second Deep Space: re-signifying Valle de los Caidos workshop, currently in preparation by hybrid space lab. Furthermore, we were not able to realise a larger scale conference or public presentation in Madrid of the project as a whole. We feel that it would be worthwhile to organise a comprehensive concluding conference-type public discussion event to interrogate the possibilities and limitations of the Affect Space concept for creative and spatial design disciplines, and the specific finding in our collective projects thus far.
Mainly for economic reasons this appears not to be feasible in Madrid, which would be the logical choice given the structure of our project. One idea circulated has been to link such a larger scale gathering to an existing public festival, exhibition, or biennale to make use of existing public infrastructures and avoid redundant organisational overhead. This is an interesting idea that we will explore in the coming time, but as yet also remains exactly that – an interesting idea…
It may hardly come as a surprise that we have, in this project, not resolved the problematic absence of the spatial design disciplines in the operation and design / redesign of Affect Space. What the project did show, however, is that the three modalities of engagement identified in the preparatory research – the analytic / the political / the experiential – are possible to bring into play also for relatively small players with modest means. In this sense we understand this project first of all as an encouragement for others in the creative and design disciplines to follow suit and extend their practices beyond the obvious and the short-term profitable. Towards the academic communities we throw the gauntlet down – open up your research – don’t sit on the results until they no longer matter for us collectively moving in public space…
Online publications and resources
HNI / Neuhaus masterclass with JARD (Madrid), September 6-7:
https://neuhaus.hetnieuweinstituut.nl/en/timetable/collective-bodies-moving-affect-space-are-we-data
HNI / Neuhaus presentatie 5 september:
Neuhaus @ HNI:
https://neuhaus.hetnieuweinstituut.nl/en
JARD – Affect Space: After 1.097 hours watching Puerta del Sol
http://www.jard.us/affect-space
Presentation @ transmediale 2019 – reDesigning Affect Space:
Fault Lines Symposium, KABK Design / Research, December 14, 2018:
hybrid space lab – Deep Space project:
Archiving As Resistance, Lara Baladi workshop in Madrid, 28 + 29 April 2018:
Masterclass Architecture as Sonic Experience, Polak & van Bekkum, Spektrum, Berlin, April 14-15
Presentation Architecture as Sonic Experience, Polak & van Bekkum, Spektrum, Berlin, April 16, 2018.
Polak & van Bekkum – The City as a Performative Object – An Essay in Footsteps:
https://www.onlineopen.org/the-city-as-performative-object
Essay (Re-) Designing Affect Space @ Open!:
https://www.onlineopen.org/re-designing-affect-space
Essay Affect Space – Witnessing the Movements of the Squares @ Open!:
https://www.onlineopen.org/affect-space
Landing page Technology / Affect / Space @ Open!:
https://www.onlineopen.org/technology-affect-space
Het Nieuwe Instituut, Rotterdam
JARD, architecture agency, Madrid
Escuela Técnica Superior de Arquitectura de Madrid
Medialab Prado, Madrid
Hybrid Space Lab, Berlin
ArtScience Interfaculty, The Hague
Design / Research, KABK, The Hague
MIT ACT – Art, Culture & Technology program, Cambridge (MA)
Open! Platform for Art, Culture & the Public Domain
Stichting Cool Mediators, Amsterdam
Project-team
Eric Kluitenberg, media theorist, lead researcher / project leader.
Klaas Kuitenbrouwer, curator, theorist, Het Nieuwe Instituut, Rotterdam.
Rodrigo Delso & Javier Argota, JARD, Madrid
Elizabeth Sikiaridi & Frans Vogelaar, Hybrid Space Lab, Berlin
Alice Twemlow, research professor design, Royal Academy of Art, The Hague
Taconis Stolk, head of the ArtScience Interfaculty, The Hague
Jorinde Seijdel, chief-editor of Open! Platform for Art, Culture and the Public Domain
Co-ordination / Production
The Cool Mediators foundation acted as the overall production co-ordinator for this project. Cool Mediators is a light-weight organisation that is entirely project based and strives for minimal overhead. The foundation acts as a mediator and catalyst, developing its projects with ever changing constellations of partner organisations, with an aim to initiate and realise content-driven projects that these partner organisations would not, or can not organise by themselves.
reDesigning Affect Space is financially supported by The Netherlands Creative Industries Fund, Het Nieuwe Instituut, and transmediale festival, Medialab Prado, Goethe Institute Madrid, and with further support by hybrid space lab, JARD architects, and Cool Mediators Foundation.
December 31, 2017 September 28, 2019 by eric
A masterclass by Dutch artists Esther Polak and Ivar van Bekkum in Berlin (April 14 -16) marks the start of a new international design theory, practice and research project initiated and coordinated by the Cool Mediators Foundation, titled reDesigning Affect Space. This project follows on from the Technology / Affect / Space public research project conducted by Eric Kluitenberg and Open! – Platform for Art, Culture & the Public Domain, in 2016.
Below is more information on the masterclass and its context.
reDesigning Affect Space #1: Architecture as Sonic Experience
Masterclass by Esther Polak & Ivar van Bekkum in cooperation with Hybrid Space Lab.
Berlin, Spektrum, April 14 – 17, 2018.
In their work, Esther Polak and Ivar van Bekkum (PolakVanBekkum) are investigating mobility and the (urban) landscape. In recent years they have explored the possibilities of location-specific binaural sound recordings. To enter a physical identification with mobilities and moving objects, they connected their recording equipment to those objects, instead of the human head. To radicalise this work method in scale, PolakVanBekkum proposes to apply it to a building. As a result, one ear would hear the eastern side of a building, while the other ear would hear the western side.
Workshop: Architecture as Sonic Experience
In two afternoons, you will experiment with listening over expanded distances: with your ears one meter apart, 2 meters, 5 meters, 20 meters, as if you enlarge your head. Can you intertwine sounds that enter your ears from a greater distance than you are used to?
We will bring mics and extension cables to connect those distances to headphones. We can use our mobile phones to produce live streams. And don’t hesitate to bring your own equipment to experiment with. Once we decided on a setup, we will go out to the street to ‘become’ different objects: a tree, a bridge, a car, or a bus stop.
We, Ivar and Esther, are curious to radicalise the scale of this work method as far as possible. Can we even identify with a building adding one ear to one side and the other to the opposite side?
At the start of the workshop all participants will be asked to introduce themselves, to see what fields of knowledge, experience, and curiosity each of us brings. During the workshop we will build on this collective expertise. Concluding the workshop, we will define what ‘spatial listening’ brought us.
The workshop is open to students and professionals who are interested in and engaged with:
– alternative ways to experience urban space
– binaural sound recording
– field recording
Please send your short (two sentence) motivation to:
contact@polakvanbekkum.com
Participation is free.
This masterclass is part of ‘reDesigning Affect Space’, an international design- theory, practice, and research project initiated by lead-researcher Eric Kluitenberg, which consists of a series of masterclasses and conferences in Berlin, Madrid, Rotterdam and The Hague. The project aims to develop a more differentiated design agenda for the increasingly dense connections between public space, mobile media, and wireless networks, and the shift to affective relations in public space that results from this densification.
binaural recordings of moving objects:
car recording https://vimeo.com/136873473
vorkheftruck recording https://vimeo.com/138551393
caterpillar recording https://vimeo.com/137422115
trolley recording https://vimeo.com/138643907
PolakVanBekkum:
www.polakvanbekkum.com
Essay reDesigning Affect Space (Open! Platform for Art, Culture & the Public Domain):
www.onlineopen.org/re-designing-affect-space
Workshop: Friday & Saturday, 12:30 – 17:00, February 2 & 3, 2018
Location: SPEKTRUM
Bürknerstr. 12,
12047 Berlin >> U8 Schönleinstrasse
reDesigning Affect Space is generously supported by the Netherlands Creative Industries Fund.
March 31, 2017 March 31, 2017 by eric
We are very happy and proud that the new responsive design of the Tactical Media Files documentation resource is available online now, beautifully designed by Jeroen Joosse (who also delivered the visual design of the original TMF website), and implemented by developer André van Toly.
www.tacticalmediafiles.net
The main purpose of this redesign was to make the resource better accessible on other media devices and able to scale to virtually any size screen (hence a ‘responsive’ design). If for any reason someone would fee ‘nostalgic’ about the accustomed web-design we left that in place at the following address:
www.tacticalmediafiles.net/classic
We will fine tune the new design further in the coming months, but meanwhile have been busy and there’s quite some other news as well, so do read on:
Documentation Videos and Reports of Amsterdam and Liverpool events online
Superflux, Drone Aviary (2015)
While our exhibition How much of this is fiction. is still on at FACT in Liverpool, and will open at HeK in Basel on March 22, documentation and reports of public events in Amsterdam and Liverpool are already available online:
• Report of the public debate Vox Populi and the Syrian Archive, at Eye Film Museum, Amsterdam on 21 January 2017:
www.tacticalmediafiles.net/articles/45248
• Video Vox Populi and the Syrian Archive:
www.tacticalmediafiles.net/videos/45066
• Report of the conference ‘The Society of Post-Control’, at Tolhuistuin, Amsterdam on 22 January 2017:
• Video of the conference ‘The Society of Post-Control':
• Video: Meme Wars: Internet culture and the ‘alt-right’
Lecture by writer / researcher Florian Cramer at FACT Liverpool, 2 March, 2017:
• Meme Wars: Post-lecture discussion:
We hope you will enjoy the new design and the most recent additions to our ever growing resource.
TMF-editors:
Eric Kluitenberg
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The Russian economy (catch all)
Thread: The Russian economy (catch all)
Dayuhan--more on the falling Russian economy:
Ruble Drops to Record as Russia Sanctions Fuel Dollar Shortage
By Vladimir Kuznetsov and Ksenia Galouchko Sep 16, 2014 11:48 AM ET
The ruble fell to a record for a fourth day as sanctions over the Ukraine crisis exacerbated a foreign-currency shortage in Russia, while the government canceled its ninth straight debt sale. Stocks advanced.
The exchange rate tumbled 0.9 percent to 43.8454 against the central bank’s dollar-euro basket at 7:10 p.m. in Moscow, depreciating for a seventh day to a record low. That’s within 56 kopeks of 44.40, the level that would trigger the central bank to intervene. The Micex Index climbed 1.6 percent to a two-month high, led by OAO Sberbank, the nation’s biggest lender, which was named under expanded U.S. sanctions last week.
Foreign-currency liquidity has come under pressure as the European Union and U.S. imposed new penalties to curtail access of Russian companies to their debt markets. The one-week dollar-ruble swap rate traded at the widest discount to the central bank’s main interest rate in six months today, signaling traders are willing to pay a premium for the U.S. currency.
“Sanctions and closed access to foreign-exchange liquidity from the West” is feeding demand for dollars, Dmitry Polevoy, the chief economist for Russia and the Commonwealth of Independent States at ING Groep NV in Moscow, said in an e-mailed note. “The market is now targeting the upper boundary of the ruble corridor at 44.40.”
The ruble, which has lost 15 percent of its value against the U.S. currency this year, depreciated as much as 1.4 percent to 38.9300 per dollar, before trading at 38.7145. It lost 1 percent versus the euro.
Dollar Shortage
The implied yield on a one-week swap fell for a third day to 6.43 percent, taking the spread over the central bank interest rate to minus 157 basis points, compared with minus 105 basis points yesterday.
Foreign-exchange liquidity has “virtually dried out,” with volumes sinking to about $100 million per day, compared with $1 billion to $2 billion previously, according to Natalia Orlova, the chief economist for OAO Alfa Bank in Moscow.
The currency pared declines after Deputy Finance Minister Alexey Moiseev said the ministry and central bank were discussing ways to alleviate the “structural” shortage of foreign currency in the market.
“An injection of dollar liquidity by the central bank could push the ruble higher, back to 38 versus the dollar,” Moscow-based Sberbank CIB analyst Iskander Abdullaev said by e-mail.
Auction Pulled
Companies have $22 billion in dollar-denominated payments to make in September and local banks are “anticipating demand for hard currency from retailers and accumulating additional dollar liquidity,” Abdullaev said.
“The geopolitical background remains unstable,” Dmitriy Gritskevich, an analyst at OAO Promsvyazbank, said in an e-mailed note. The ruble may move “without any serious obstacles” straight to the upper limit of the dollar-euro basket, he said.
Government bonds due in February 2027 climbed, sending the yield down four basis points to 9.66 percent, trimming the increase since President Vladimir Putin started his incursion into Ukraine’s Crimea region in March to 130 basis points. The Finance Ministry cited “unfavorable” market conditions today for pulling a domestic bond auction.
Tougher penalties were announced last week even amid a cease-fire between pro-Russian separatists in eastern Ukraine and the government in Kiev, stoking concern Russia would retaliate with measures of its own and deepen the six-month crisis.
Stocks rose after Ukraine’s parliament approved a law giving special status to two regions controlled by pro-Russian separatists. That boosted optimism the crisis may ease and sanctions would be lifted, Vadim Bit-Avragim, who helps oversee about $4.1 billion at Kapital Asset Management LLC in Moscow, said by phone.
Now the Yukos Two case:
After the arrest of the Basneft oligarch owner yesterday the stock dropped this morning by a whopping 26%.
Who needs sanctions when Russians shot themselves in their own feet--which just adds to the current sanctions misery.
Are sanctions working?---this tends to prove they are in fact hitting Russia hard--will they change Russia's stance---check the last sentence and one sees the economy will truly tank before Putin accepts "failure".
From NYTs 17/9/2014
MOSCOW — President Obama has warned Russia that “there will be costs” for its policies in Ukraine. European leaders and the head of the North Atlantic Treaty Organization have done the same.
On Tuesday, an influential figure in the Russian political elite and a longtime aide to President Vladimir V. Putin drove home this argument.
European Union and American sanctions have pushed Russia to a tipping point between growth and recession, Aleksei L. Kudrin, a former finance minister, told an audience of Western executives at a conference in Moscow hosted by the American chamber of commerce. Mr. Kudrin then outlined, in unvarnished and detailed terms, what awaits Russia if a fragile cease-fire in the war in eastern Ukraine breaks down: possibily a contraction over 5 percent lasting one to two years.
“The ceasefire is important for everybody, and for Russia most of all,” Mr. Kudrin said. “We should study these consequences, and avoid a worsening of the situation.”
Already, Mr. Kudrin said, sanctions have trimmed about 1 percent from Russia’s $2 trillion gross domestic product this year, with the effects now being felt beyond the tight coterie of businessmen deemed close to President Putin who first felt the sting. Economic growth slowed to what Citigroup projects will be 0.5 percent this year. Since January, $110 billion has left Russia as capital flight.
Aleksei L. Kudrin, a former finance chief for Russia, said sanctions have trimmed about 1 percent from Russia’s $2 trillion gross domestic product this year. Credit Olga Maltseva/Agence France-Presse — Getty Images
Faint consumer demand caused car and other durable goods sales to contract. Rosneft, the state oil company has asked for a government bailout. Yevraziya, a chain of sushi restaurants, closed in Moscow after the price of salmon doubled.
Bob Foresman, the chief executive of Barclays bank in Russia, in a speech to the gathering cited a survey of businessmen’s views on the Russian economy, highlighting phrases like “fatigue,” “caution,” “false hope” and “false dawn.”
In Ukraine this week, Separatist gunmen and the Ukrainian army are exchanging artillery fire daily over military objectives like a regional airport and a strategic village, Debaltsevo, northeast of Donetsk, where Organization for Security and Cooperation in Europe observers came under fire Sunday.
If European leaders decide the cease-fire has failed, they have vowed to leave in place financial and oil industry sanctions imposed last week, rather than repeal them. That, Mr. Kudrin said, would stall the Russian economy with zero growth in 2015, or push it into a mild recession.
If the European Union and United States escalate sanctions on the banking sector by prohibiting Russian banks from accessing SWIFT, the international secure money transfer system, the Russian economy will go into deep recession with a contraction of at least 5 percent lasting one or two years, Mr. Kudrin said.
Turning inward and relying on a revival of domestic manufacturing and agriculture helped by the weakening ruble, the plan to fortify the Russian economy of so-called import substitution outlined by an acting deputy prime minister who also spoke at the gathering, is unrealistic, Mr. Kudrin suggested.
Soft-spoken and with a wry sense of humor, Mr. Kudrin seems at times to almost take pleasure in pointing out the dismal realities of the global economy, when nobody else here will.
Europe and the United States, the governments imposing sanctions on Russia, spend about $1.5 trillion on research and development annually, while Russia spends $20 billion, he noted. As such, Russia can never hope to replicate a wide range of these nations’ imported goods. The Russian government should designate only select niches of the economy for this policy, he said.
The Russian leadership, he said, understands the costs but may be willing to pay them. Earlier, he described the economic blow as the price for Russia having a foreign policy independent of the United States.
“At a minimum, two or three years are needed to resolve the questions,” of the Ukraine crisis, he said, even if no escalation takes place.
“Until then, we won’t know what investment climate we have and the final state of our relations with the West,” he added, and the Russian economy will be in a “period of instability.”
Mr. Kudrin, whose ties to Mr. Putin stretch back two decades to the city hall of St. Petersburg, where both worked, is retired from government. His is a rare public voice of a liberal wing of the Russian elite on the mounting economic costs of the war and sanctions. Kremlin watchers, though, are divided on whether such sentiments carry any weight now with Mr. Putin.
One attendee at the conference questioned whether the Kremlin, already hurt by sanctions, sees no point in changing its behavior in Ukraine, citing Winston Churchill saying “If you’re going through hell keep going.”
Chart depicting the anticipated fall rate of the Rubel out to 2017/2018--and the Russian CB cannot do anything to stop it---might help in the end for exports but Russia does not export tons of manufactured quality products outside of oil and gas.
http://t.co/amjn6bHA7C
The question is whether the economic oligarchs, both licit and illicit, have sufficient influence to persuade Putin to change course. Not sure anyone knows the answer to that question... we'll find out.
Dayuhan--arrest a major oligarch who many say did his business by the book and letter of Russian law after Yukos---his company takes a 27% loss on it's stock and this is the Russian governments response.
Today from Interfax:
PESKOV: WE ACKNOWLEDGE POSSIBILITY OF EMOTIONAL MARKET REACTION TO YEVTUSHENKOV'S SITUATION BUT THIS IS NOT REASON TO HINDER INVESTIGATIVE PROCEDURES
That "emotional market reaction" was a total of 27.3% loss in stock value in a single day on a company estimated before the arrest of 8.9B USD.
Does any current Russian government official including Putin "understand" the law of the markets and basic economics 101?
Originally Posted by OUTLAW 09
Now down to 33% by 1330 today---that means roughly 3B USD of wiped out shareholder values--and the Russians really understand economics?
Evtushenkov’s investment company, AFK Sistema, dropped 33 percent to 24.558 rubles as of 1:39 p.m. in Moscow.
“This is the new Yukos,” Vadim Bit-Avragim, who helps oversee about $4.1 billion in assets at Kapital Asset Management LLC in Moscow, said by e-mail. “The economy is doing poorly, sanctions have been imposed, and all there’s left to do is to seize tidbits that are left in the country.”
Evtushenkov has a fortune estimated at about $7 billion, according to the Bloomberg Billionaires Index, making him Russia’s 19th richest person. Moscow’s Micex Index dropped 2.2 percent today as investors deemed the arrest as a sign of political instability in the world’s biggest energy exporter.
“This directly hits the investment climate,” Vladimir Tsuprov, the St. Petersburg-based chief investment officer of TKB BNP Paribas, said by e-mail. “Many investors saw geopolitical risks and Ukraine as the main problem, underestimating the internal situation.”
Last edited by OUTLAW 09; 09-17-2014 at 02:40 PM.
Russian humor:
Russians joke over latest currency slide by renaming 50 Rb note "One Euro"
pic.twitter.com/WsV53a0lA6 v
Dayuhan---notice in this article the particular refrence by Gazprom of sinking nautral gas reserves---yes they are playing with the delivery numbers due to the Ukraine--bot on the back side not delivering in the face of sanctions hurts the Russian cash flow when they need dollars--so something is more ongoing than politics.
Look at the estimated figures up through 2017---the gas volumes are actually sinking strongly.
Having come fro an oil background and having worked the oil/gas fields when one was young--there is a direct relationship to oil production and gas production especially in joint fields---where there is oil is always gas to be found.
There have been strong net rumors of sinking oil production also mentioning 2017--here is your prove and it is from Yahoo of the mentioning of sinking oil reserves.
Remember I did indicate by 2020 massive oil prodution losses as compared to now and you questioned the comment since it came from the web.
Gazprom says unable to meet rising gas demand from Europe for now
* Gazprom says adheres to supply contracts with Europe
Gazprom Said to Face Biggest Decline in EU Revenue in 5 Years Bloomberg
( A side article really worth reading if you find it)
Gazprom's Q1 earnings hurt by Ukraine, exports outlook worsened Reuters
(Second intetesting artile worth reading)
By Alexei Anishchuk
MOSCOW, Sept 17 (Reuters) - Russia's Gazprom said on Wednesday it is unable to meet rising gas demand from Europe while it builds up stockpiles ahead of winter, undermining the ability of Europe to supply Ukraine with gas.
Slovakia, Poland, Romania and Austria have all reported slight falls in shipments in recent days from Russia, which is embroiled in a row with the European Union over the crisis in Ukraine.
Some countries in eastern Europe send gas to Ukraine, to which Russia stopped gas flows in June over a pricing dispute.
Gazprom's Chief Executive Officer Alexei Miller told Russian President Vladimir Putin that the company is pumping gas in accordance with contracts with European consumers, but was not supplying extra volumes asked for.
"Gazprom is carrying out stable daily supplies to European consumers. We fully adhere to our contractual obligations," Miller said in a meeting at the Kremlin attended by reporters.
"Once gas is collected in our underground storage, then we will be able to satisfy the (extra) demand of our European consumers," he said.
EU industry experts and European Commission officials held the latest in a series of meetings on Tuesday to assess the security of the EU's energy supplies.
EU sources, speaking on condition of anonymity, said the issue of how much gas Gazprom was supplying to the European Union had been raised and that EU officials had said Gazprom had been adjusting volumes but within contractual limits.
The European Commission has repeatedly said that storage levels are comfortable for now, but they are concerned about the longer term.
Miller said Gazprom will produce 463 billion cubic metres (bcm) of gas this year, which is down from a previous estimate of 496.4 bcm published in May and 487.4 bcm pumped in 2013.
He also reiterated that Gazprom had been in talks with China on supplying gas on top of the previously agreed 38 bcm per year after 2019 via a so-called Western route.
Russia set its sights on energy-hungry Asian markets a decade ago and struck a landmark deal with China in May to supply it with gas from Russia's east Siberian fields.
Gazprom's previous discussions on delivering additional gas to China via the Western route have met with a lukewarm response from Beijing.
Miller told Putin that Gazprom and China have been discussing an increase in supply volumes via the route by up to 100 bcm per year, an ambitious task given a decline in the company's production levels and China's tough stance in the negotiation process.
Gazprom's chief added that the company would be able to satisfy gas demand both in Asia and in Europe
Firn
The Russian Economy: Can Growth be Restored within the Economic System? by Susanne Oxenstierna, hosted on the FOI of Sweden is well worth a read. Roughly forty pages.
A bit of it's conclusions...
Market forces play only a limited role in the Russian economy and to improve the prospects for growth with ‘western’ economic policy or to improve the institutional framework will be difficult and have a limited effect. Only parts of the economy profit from market reforms and stronger institutions. The old rent dependent sector has strong political support. It follows that more substantial political reforms are needed to solve the structural impediments and efficiency problems of the Russian economy. Society needs to become more democratic and more transparent
Today the Russian society is polarised on many political and economic issues, but civil society is weak and restricted and cannot fulfil its function either as watchdog or as a channel of ideas and entrepreneurship. Without political reform and a market-oriented democratic government it is difficult to see how the performance of the economy could improve.
Last edited by Firn; 09-18-2014 at 10:19 PM.
... "We need officers capable of following systematically the path of logical argument to its conclusion, with disciplined intellect, strong in character and nerve to execute what the intellect dictates"
General Ludwig Beck (1880-1944);
Speech at the Kriegsakademie, 1935
As some here expected Russia is facing a tough budget:
Admitting that macroeconomic stability was a "fragile" thing, Prime Minister Dmitry Medvedev told his ministers the state will not borrow excessively and will keep spending tight.
"This is the first time when work on the federal budget, the three-year budget, took place in such difficult circumstances, when an economic slowdown was exacerbated by the implementation of sanctions," Medvedev said.
"The main problem that we face today is the high level of uncertainty when it comes to how fast trust will return, how soon businesses become interested in investing, how the consumer market grows and what steps our partners will take."
It doesn't of course mean that the Russian balance sheet isn't still quite solid, but the Russian economy will continue to suffer and the some elements of the crisis and the sanctions will kick in with some lag.
A little side-story:
Economy Minister Alexei Ulyukayev said the arrest of billionaire Vladimir Yevtushenkov on money laundering charges had hurt, not helped, Russia's business climate. These marked the first critical comments by an official since the chairman of Sistema, a telecoms-to-oil conglomerate, was put under house arrest on Tuesday.
"This is certainly reflected in the investment climate. It is clear that the suspicion that there is some economic motive behind this complicates investors' decision-making," Ulyukayev told reporters, adding that the situation could spur capital flight.
Meanwhile, on the gas front:
Russian gas producer Gazprom is likely to record its lowest output this year since its creation a quarter of a century ago after cutting supplies to Ukraine and losing market share to domestic rivals.
Gazprom reduced its 2014 production forecast this week, and analysts regard even this figure as overoptimistic due to Moscow's battle with Kiev over gas prices and its role in the conflict in eastern Ukraine.
Falling output could put further pressure on the economy, which relies heavily on oil and gas sales and is already slowing to a crawl partly as Western sanctions start to bite.
At least war is mostly far from cheap and the Russians are already paying part of the price for Putin's invasions...
Russian production isn't falling because of a shortage of reserves, it's falling because of a shortage of investment. In the short run the impact is the same, but a deficit of investment can be corrected, while a deficit of reserves cannot.
Russia suffers from a syndrome common to oil producers... one might call it the Venezuela disease. The problem arrives when the government begins to depend on energy revenue, rather that a diversified tax system, to fund its operations. That typically leads to a place where the government ends up absorbing money that the energy industry needs to re-invest in operations in order to sustain its productivity. That inevitably leads to lower production, and to the government taking an ever higher percentage of falling revenue, leaving less and less money to reinvest. Venezuela looks to be entering the final stages of that death spiral; Russia has a way to go.
It is worth noting that Russia could balance its budget with oil at $90. They could balance it with oil at $80. BUT... they would have to raise taxes, quite substantially. They have room to do that: Russian income tax is a flat 13% regardless of income, and other taxes are similarly low relative to developed countries. It would not be a popular move, though, especially dring a recession. That's the danger you get into when you rely on oil money and let the people get used to low taxes.
It will be interesting to see what they decide to do.
Dayuhan---here is the same problem again---taken from the source you do not like but sometimes actually accurate the web.
Here is an unusual admission from a Russian in the know concerning oil:
Lukoil's Alekperov unusually open about hit to oil industry from sanctions - says 25% of oil from fracking - Interfax
This goes to the loss in production by 2020---heavy fracking in the older fields in needed as they are losing both in volumes and production rates.
25% is a heavy percentage--nowhere close to that in say older US fields.
That is why this last round of sanctions was bad for Russia---it hit the fracking side of both gas and oil thus Russia in the long haul cannot even keep that percentage stable. It hit also the US oil/gas services companies Russia is heavily dependent on for their fracking and artic drilling--Russia simply does not have that capacity inhouse to replace them.
They will be hurting production wise in about 9 months if these particular sanctions stay in place as it seems they will---there was also a side comment concerning OPEC--they sense that OPEC is keeping their production run rates on sour at record highs---almost contributing to the falling sour crude prices..
And sanctions are not hurting the Russian oil/gas industry?---literally an flood of negative Interfax press releases today on the Russian oil industry.
Ouch...it seems the Russian oil industry is screaming for Russian CB support.. almost a panic tone in the releases...from Interfax today
PRODUCING OWN OIL INDUSTRY EQUIPMENT WON'T RESOLVE BAN ON IMPORTS QUICKLY - MEDVEDEV
COLOSSAL MEANS NEEDED TO FULLY REVIVE PRODUCTION OF EQUIPMENT TO PRODUCE OIL IN RUSSIA - ALEKPEROV
TAX MANEUVER TO LEAD TO INCREASED TAX BURDEN ON OIL INDUSTRY - ALEKPEROV
LUKOIL NOT EXPECTING MONEY FROM ABROAD IN MEDIUM TERM, HAS TO DEPEND ENTIRELY ON ITSELF - ALEKPEROV
EFFORTS MUST BE MOBILIZED IMMEDIATELY TO PRODUCE HYDROFRACTURING EQUIPMENT IN RUSSIA - ALEKPEROV
LUKOIL'S ALEKPEROV SAYS 25% OF OIL PRODUCED BY FRACKING, BAN ON EQUIPMENT IMPORTS FOR THIS COULD HURT OIL INDUSTRY
In short so far it seems that the Kremlin is protecting it's budget while letting the economy suffer. We discussed the origins of that logic before.
I think the Swedish paper is pretty good and has a nice picture about the dangers of Russian rent-seeking. If I find some time I may read Resource Rents and Economic Growth, 'A report for the Russian Presidential Academy of National Economy and Public Administration (RANEPA)'. I doubt that it was widely discussed in the Kremlin.
The durability of networked authoritarianism is far shorter and more relevant at the moment. The author is now back from Moscow and the director of the Russian institute at the King's College, London. The graph at page three is rather neat...
This memo takes a step back from the passions of the November 2011 parliamentary and March 2012 presidential elections and the protests that surrounded them. It argues that the consolidation of the underlying Russian political economy over the past 20 years has given rise to a system of rent-seeking and arbitration pursued successfully at various levels and supported by a robust network of interlocking interests. This ”networked authoritarianism” supports the status quo and militates powerfully against significant reform. It does so, I argue, at the cost of increasing inefficiencies and social friction, raising the possibility of catastrophic change in the future. This memo will explore the structure of the system, the pressures and constituencies for change, and the limits of reform.
I fear that that catastrophic change might have already taken place in the propaganda fog of Putin's new war.
After my link to that fine paper about the durability of networked authoritarianism around Putin the NYT has an excellent piece of reporting about how a private bank fuels the fortunes of his inner circle. Some has already be known, of course, but it adds new insights and puts all together. The graph about it's rise in assets is quite stunning...
He had arrived in Moscow as a midlevel apparatchik in ill-fitting suits, had ascended to power as a thoroughly unexpected president and won his first presidential election in 2000 on the crest of war to suppress separatists in Chechnya. By 2004, Mr. Putin had become the paramount figure in Russia, winning a second term with 72 percent of the vote, in a race tainted by allegations of strong-arm tactics and vote rigging. Yet Mr. Putin probably would have won a fair election easily, too. The Russian economy, buoyed by high oil prices, was booming, creating huge fortunes and also lifting the middle class. The long era of post-Soviet gloom seemed done.
Not many people yet understood that in the middle of Russia’s prosperity, the men in the tight circle close to Mr. Putin were becoming fabulously wealthy, and increasingly powerful, in what critics now consider a case study in legalized kleptocracy.
Sadly for many Russians the shock will all be greater if the economy goes where it seems to be headed in the mid run...
Putin's friend Arkady Rotenberg has problems in Italy due to sanctions.
http://www.themoscowtimes.com/mobile...re/507663.html
Navalny has studied his fortune there. In Russian, but a lot of pics.
https://navalny.com/p/3845/
And.....here come the overall price increases which the Russian "common man/woman" on the street will definitely notice.
More from that new Econ Min forecast from last week: food prices expected to jump 12-13% this year
IMO---they will eventually come in between 15-225 more as the long term food delivery contracts run out and Russia has to look for more suppliers from overseas adding to the shipping costs and reduced quality.
http://vedomosti.ru/~h1e
And.....the Rubel slide continues ever downwards.
It seems that the super micro and marco economist Putin does not seem to see the connection between his actions in the Ukraine, the sanctions that he himself stated publicly they could survive with ease and the resulting disaster coming at his economy in the next six months as the winter hits and overall Russian economics slows down due to weather.
Seems the attempted Russian FM Reset 2.0 was an attempt to row against the current and get back to business as usual.
Ruble slides (again), inches toward central bank intervention levels. http://www.bloomberg.com/news/2014-0...ion-level.html
Russia is slowly ever so slowly getting to the point of confirming the slackening/drop off of oil production under the current figures starting in 2020 which means a hit for the finance side of the Russian budget.
This Interfax press release from today will slowly start the march to 2020---if they are indicating a plateau now what is then due in 2020. 2014 and three years makes it 2017--slowly getting to the magic number of 2020.
Interfax fro today:
13:04 Russian hydrocarbons output to remain on plateau for at least three years - ministry
Notice no mention that it going back up and "for at least" is not a good sign.
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Board index Christian Texts and History
Eusebius as a forger.
Discussion about the New Testament, apocrypha, gnostics, church fathers, Christian origins, historical Jesus or otherwise, etc.
Secret Alias
Re: Eusebius as a forger.
Post by Secret Alias » Wed May 15, 2019 4:39 pm
On Eusebius pretending to be Pamphilus. Note what Jerome says to Rufinus:
or that You were Translating the Book of Eusebius as if it were Pamphilus'? or that You were Putting Your Own Cover Upon Origen's Poisoned Dish by Lending Your Majestic Eloquence to this Translation of his Notorious Work Peri 'Archon?https://biblehub.com/library/various/li ... at_the.htm
“Finally, from so little sleeping and so much reading, his brain dried up and he went completely out of his mind.”
― Miguel de Cervantes Saavedra, Don Quixote
I am bring up these points not because I think they proved but as subjects that deserve more attention. I do happen to think the evidence - combined together - makes a pretty solid case that Eusebius altered Christian historical documents. Many of them.
Ben C. Smith
Contact Ben C. Smith
Post by Ben C. Smith » Wed May 15, 2019 4:57 pm
Secret Alias wrote: ↑
Stealing a writer's name in antiquity is the equivalent of stealing someone's credit card today.
So Augustus taking his uncle's name to become Augustus Caesar was equivalent to credit card theft?
ΤΙ ΕΣΤΙΝ ΑΛΗΘΕΙΑ
Come on. That's absurd. It's like if I set up an account here as 'Ben C Smith' and always chimed in 'I always agree with Stephan. He's brilliant.'
On the reason why Eusebius needed Pamphilus - https://books.google.com/books?id=NN5-A ... me&f=false
The link says that Pamphilus collected and disseminated Origen's works. So Eusebius needed Pamphilus because Pamphilus had done some heavy lifting in propagating Origen. Is that what you meant?
On its face, this quotation seems to be about Rufinus pretending that Eusebius was Pamphilus. Does this in some way bear a connection to Eusebius himself pretending to be Pamphilus? What is that connection?
What is going on here? What is this?
MrMacSon
Post by MrMacSon » Wed May 15, 2019 5:22 pm
Ben C. Smith wrote: ↑
... I want to compile a list of passages for which arguments have been mounted (not merely suspicions coddled) in favor of Eusebius, instead of merely quoting a source, having actually forged that source, or at least added interpolations to it. (I am not concerned with Eusebius having subtracted from a source, since that is the nature of editing, and I am already quite prepared to think that he may have edited tendentiously.)
Ken Olson argues that Eusebius forged the Testimonium Flavianum in Antiquities of the Jews 18.3.3 §63-64.
Cameron and Hall (as cited by Olson above) argue (or at least summarize the suspicions of some scholars to the effect) that Eusebius forged Licinius' speech in Life of Constantine 2.5.3–41.
James Corke-Webster argues that Eusebius at least added to the epistle of the churches in Lyons and Vienne in History of the Church 5.1.3-63.
If anyone has other concrete passages (attended by concrete arguments) to add, I will happily append them to the list.
Paul Hopper's 2014 article adds weight to Olson's argument.
As does NPL Allen's 2015 PhD, Clarifying the Scope of Pre-5th Century C.E. Christian Interpolation in Josephus’ Antiquitates Judaica (c. 94 C.E.), (and publications arising, eg. Josephus on James the Just? A re-evaluation of Antiquitates Judaicae 20.9.1 Journal of Early Christian History, 20187, 7; 1-27)
Zvi Baras' 1987 chapter, "The Testimonium Flavianum and the Martyrdom of James", in Josephus, Judaism and Christianity, Feldman, Louis H.; Hata, Gōhei (eds), pp. 308-313, sounded a few warning bells. Baras noted
"it is imperative to draw attention to the contradictions of...Eusebius and Origen" [to each other]
" ..it is obvious that in the days of Origen the text of the TF had not yet been subjected to Christian emendations and corrections, such as found in the vulgate version quoted later by Eusebius."
"In the hands of Origen and Eusebius the incident [described in A.J. XX.200, which Baras defined as or says] has been defined as "the martyrdom of James", became through 'Christian historiosophical interpretation', the [proposed] 'main cause' for the destruction of Jerusalem and of the Temple."
Baras pointed the finger more at Origen, but noted Eusebius's H.E. II 23.20 elaborates on Origen's Contra Celsus 1.47, even changing it to direct speech, and says
"The changes [to the accounts of James] for purposes of Christian historiosophy", proposed by Origen and carried out by Eusebius in the story of James' martyrdom, are not without bearing on the Testimonium itself.
"It seems plausible that Eusebius treated the Testimonium in a similar way to what he had done with the story of James martyrdom. He seems to have been concerned only with the need of the hour; being preoccupied with the Christian historiosophy shared by Origen and himself . . ."
Baras feels Ant XI, 297-305/ chap. 7, 1 - where Josephus recounts the death of [a] Yeshua at the hand of his brother, Yohanan, a high priest - led Origen to say Josephus should have corrected his historical interpretation about why God punished the Jews by enslaving them and by desecrating the Temple.
This story - Ant XI, 297-305/ chap. 7, 1 - contains many elements that are relevant to 'the' Christian 'historical interpretation' - a high priest causes the death of [a] Jesus, as [supposedly] in the case of Jesus and his brother, James. It offers clear causal argument for the miseries that befell the Jews.
Baras noted 'Origen first refers to Luke 21:20, where Jesus [is said to have] foretold the destruction of Jerusalem'.
He noted in C.C. II.13, Origen (i) again infers Josephus says "Titus captured Jerusalem . . . on the account of James the Just, the brother of Jesus the so-called Christ", and (ii) then asserts "in reality it was on account of Jesus the Christ of God". But Baras calls this an "interpretation developed through stages...and hardly unintentionally [that] culminated in Origen's concept of 'universal history'...presented in C.C. IV.22 [where] Origen states ... the destruction of Jerusalem was a just retribution for the mistreatment of Jesus."
Last edited by MrMacSon on Wed May 15, 2019 5:54 pm, edited 1 time in total.
MrMacSon wrote: ↑
I know that article adds weight to the Testimonium being a forgery. But the weight it adds to Eusebius himself being the forger is minimal at best:
Footnote 10: Eusebius of Caesarea (263–339) is sometimes mentioned as a possible author of the Testimonium and source of the interpolation (see Feldman 1965: 49). This same Eusebius, whose writings contain the first known citation of the Testimonium Flavianum, was also one of the creators of the Nicene Creed and played a central role in the wording and propagation of the creed.
The Testimonium sounds credal; and Eusebius played a part in one of the (many) creeds. That is pretty slender.
Baras pointed the finger more at Origen, but noted Eusebius's H.E. II,23,20 elaborates on Origen's Contra.Celsus. 1,47, even changing it to direct speech, and says
He noted in C.C. II, 13, Origen (i) again infers Josephus says "Titus captured Jerusalem . . . on the account of James the Just, the brother of Jesus the so-called Christ", and (ii) then asserts "in reality it was on account of Jesus the Christ of God". But Baras calls this an "interpretation developed through stages...and hardly unintentionally [that] culminated in Origen's concept of 'universal history'...presented in C.C. IV,22 [where] Origen states ... the destruction of Jerusalem was a just retribution for the mistreatment of Jesus."
These are much better. Thank you.
Sure. But I'm pretty sure that's not the crux of Hopper's argument (which, to be honest to be fair, seems to have been initiated by the late DM Murdock / Acharya S; by an approach by her or a conversation with her)
Baras noted 'Origen first refers to Luke 21:20, where Jesus [is said to have] foretold the destruction of Jerusalem'. He noted in C.C. II, 13, Origen (i) again infers Josephus says "Titus captured Jerusalem . . . on the account of James the Just, the brother of Jesus the so-called Christ", and (ii) then asserts "in reality it was on account of Jesus the Christ of God". But Baras calls this an "interpretation developed through stages...and hardly unintentionally [that] culminated in Origen's concept of 'universal history'...presented in C.C. IV,22 [where] Origen states ... the destruction of Jerusalem was a just retribution for the mistreatment of Jesus."
You're welcome. I'm not comfortable with Allen blaming Origen alone for A.J. XX.200. I think Zvi Baras' commentary has a lot more nuance and context. And I think it the concept of prosopography, or the basis of it, at least, may apply to the Origen-Pamphilius-Eusebius group, at least (I did that post with them and Baras' article in mind in the context of your request to try to dump on one of them: it may not be as simple as one blatant forger or individual forgeries).
or that You were Translating the Book of Eusebius as if it were Pamphilus'?
Jerome does not think that Pamphilus wrote the Apology. It was a wholly Eusebian composition. The question is why did Eusebius think he needed to add Pamphilus - his newly appropriated name too - to the book. Why not publish it as his own thought, his own creation? The answer is obvious. Eusebius was misrepresenting Origen. That's Jerome's point. Eusebius was white-washing Origen by means of Pamphilus.
I'm not comfortable with Allen blaming Origen alone for A.J. XX.200. I think Zvi Baras' commentary has a lot more nuance and context. And I think it the concept of prosopography, or the basis of it, at least, may apply to the Origen-Pamphilius-Eusebius group, at least (I did that post with them and Baras' article in mind in the context of your request to try to dump on one of them: it may not be as simple as one blatant forger or individual forgeries).
This brings to mind, however, one of my objections to pegging Eusebius as a/the forger of the Testimonium:
Origen, Against Celsus 1.47: .... Josephus... even says, being unwillingly not far from the truth, that these things befell the Jews as vengeance for James the Just, who was a brother of Jesus who is called Christ, since they killed him who was most just.
Eusebius, History of the Church 2.23.20: Josephus, at any rate, did not hesitate to testify this also through his writings, in which he says: "These things befell the Jews as vengeance for James the Just, who was a brother of Jesus who is called Christ, since they killed him who was most just."
Origen describes a passage from Josephus which is not found in any extant manuscript of Josephus. Eusebius, who elsewhere always lets us know where to find his quotations of Josephus, does not do so here, implying that he did not know where to find this quotation. If Eusebius was bold enough to interpolate the Testimonium into the Antiquities, why did he not (also) interpolate this "lost passage" into Josephus somewhere, or at least invent a location for it in Josephus (as some feel he may have done with the Testimonium: not as the actual interpolator of the manuscripts, but rather as the inspiration for such interpolation by having invented a false citation)?
Last edited by Ben C. Smith on Wed May 15, 2019 7:39 pm, edited 3 times in total.
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Malta’s Financial Watchdog Releases Industry Feedback on Security Tokens
The Malta Financial Services Authority has industry released feedback on the definition of security tokens and the challenges such assets face in Maltese markets.
The Malta Financial Services Authority (MFSA) has released feedback on the definition of security tokens and challenges such assets face in Maltese markets.
In a paper published on Feb. 25, the agency gave feedback on security token offerings (STO) from 18 industry stakeholders, including national agencies, regulated businesses, technology providers, law and consultancy firms, among others.
The MFSA initially asked industry stakeholders to provide their opinions and advice on the definition of STOs last July. It also asked for their assistance in interpreting the challenges STOs face within the existing legal framework. The MFSA noted the absence of clear definitions for transferable securities both by it and at the European Union level.
The feedback
According to the paper, the majority of respondents generally disagreed with the categorization of different types of STOs proposed by the MFSA. Most respondents said that there should not be a distinction based on whether the instrument is tokenized since the concept of transferable securities is unified by EU law. This distinction could ostensibly lead to risks of structuring arbitrage.
One suggestion was to develop a new framework for traditional transferable securities that deploy distributed ledger technology.
Others stated that Malta should adopt the taxonomy for crypto assets proposed by the Blockchain Research Institute, or that the categorization should depend on the impact of blockchain tech and the underlying infrastructure of a project.
The document contains other opinions on the issue, including the management of rights and obligations related to securities, double-checking verifications of transactions, and alternative solutions, among others.
Malta’s industry-friendly approach?
In Malta — which claims to be a “blockchain island” for its industry-friendly policies — crypto startups still struggle to obtain financial services due to regulatory sluggishness. Last fall, companies were being turned away by banks that did not have the “risk appetite” to support such ventures. Instead, financial services remain reserved for those that are fully regulated by the MFSA, a process that can take up to six months for a first response.
Just recently, news broke that major crypto exchange Binance was not authorized to operate in Malta as the MFSA claimed that it had never approved the exchange:
“Following a report in a section of the media referring to Binance as a ‘Malta-based cryptocurrency’ company, the Malta Financial Services Authority (MFSA) reiterates that Binance is not authorized by the MFSA to operate in the cryptocurrency sphere and is therefore not subject to regulatory oversight by the MFSA.”
← Bitcoin ‘Suckers’ Are Wrong About Safe Haven Status — Peter Schiff
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Community Donates 0.7 BTC to Phishing Victim Who Lost Entire Bitcoin Holdings
The Encrypted Messaging Dilemma: Balancing Censorship and Freedom
Traders Buy Oil Futures With Crypto Amid Record Volatility
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Cinematic Hell: Reefer Madness (1936)
by Hal Astell
Director: Louis Gasnier
Stars: Dorothy Short and Kenneth Craig
Buy Reefer Madness on DVD
Somehow I've managed to avoid seeing Reefer Madness up until now, even though I probably own half a dozen copies of it in various public domain box sets and I have seen a number of its peers. It's an important film, generally seen as the benchmark of the educational exploitation films of the thirties and forties, the standard by which they're judged. Unfortunately it's somehow neither particularly good or bad and so has attained its lofty and legendary status through a salacious history and a particularly delicious form of irony. Financed as a cautionary tale by a small church group, it is most popular with the very people it warned against, thus it amazingly achieved the precise opposite of what it aimed at and continues to do so over seventy years after its initial release. Beyond that irony, it apparently improves in quality the more stoned you are. To be truly entertained you need to be so high that it becomes topical humour.
Originally titled Tell Your Children in 1936, it was bought by the notorious Dwain Esper, who had already directed fims like Narcotic, Maniac and Marihuana, recut and redistributed it under its newer more salacious title. Other releases saw it retitled Dope Addict, Doped Youth, The Burning Question and bizarrely, Love Madness. Soon, its potential apparently extinguished, it languished forgotten and drifted into the public domain. Then in 1971, Keith Stroup, who had founded NORML, the National Organization for Reform of Marijuana Laws, discovered the film in the archives of the Library of Congress, bought a print of it and began showing it at pro-pot rallies and at college campuses across the country. Its success was immediate, as every college student in the US in the seventies was stoned all the time. I know that because I saw That '70s Show.
Unfortunately because I'm not stoned, and in fact have never smoked anything in my entire life, legal or otherwise, I can only miss out on a large part of the hilarity that Reefer Madness has brought to millions of college students and other lowlife ne'erdowells. It becomes merely another bad movie, but perhaps the message that screams out at me loudest is that I should start smoking this stuff just so I can keep up with this film. Everything happens so quickly that I can hardly keep up with the constant introduction of new characters and maintain my judgement of who I'm actually supposed to be watching, let alone all the sensational headlines spattered at the screen like a hail of machine gun bullets. If only I'd got high on marihuana first, time could have slowed down and this could have morphed into a ten hour David Lean epic, merely one as funny as anything Mel Brooks could have conjured up.
It can hardly come as a surprise that the first words spoken are 'Must be stopped!' We're at a PTA meeting that aims pretty high, to lay the foundation for a nationwide campaign to demand compulsory education, because it's only through enlightment that this scourge can be wiped out. What scourge could that be? Well let's sit back and listen to Dr Alfred Carroll read us a letter from an anonymous member of the Narcotics Bureau who explains that we can ignore all those other soul-destroying drugs like opium, morphine and heroin, because we need to focus on the most vicious, the most deadly drug of them all. No, not crack! We're talking about marihuana, that evil weed that with one single puff can turn innocent all-American children into cackling, twitching, murderous sex fiends. Rape! Murder! Driving over 40 mph! The shame of it!
Carroll is the principal of Lakeside High School, which is a strange place because kids seem to stay there until their mid twenties and they dress in tweed suits with bow ties. It would be a wonderful place, where these children can happily play tennis in peace, but there's a sinister gang working hard to hook them all on marihuana and make them miss the ball by three or four feet. I bring this up because apparently it's important enough to be used as evidence in a murder trial. No, I'm not kidding. The story of this gang and some of the children they entice into their evil clutches is told in an hour long flashback that will truly open your eyes. And yours. And yours.
The gang seems to be comprised of a boss we don't see, a male secretary who lives in a room furnished only by a desk and a network of enticing young ladies and gentlemen who befriend people and invite them to their apartments to party on down with some marihuana cigarettes. One such is the apartment of Mae Coleman and Jack Perry, who are apparently depraved enough to flagrantly live in sin yet obey the edicts of the Hays Office and so sleep in separate beds. Mae is a shameless hussy, a temptress, a woman who dares to dress herself in her own bedroom for us to watch, but she does have a heart, upset that her boyfriend wants to sell drugs to schoolkids instead of just consenting adults. Jack is like the supporting characters Humphrey Bogart got landed with around this time at Warner Brothers before they worked out what he could do, but Carleton Young doesn't have a hint of his charisma. They also have a couple of resident dealers, Ralph Wiley and Blanche, who just isn't worthy enough of a last name, apparently.
Jack is the real fiend of the piece because this is 1936 and under the Hays Code women had to be kept in the kitchen or at least be decently victimised. He manages to entice that nice Bill Harper boy who looks like Tony Slattery up to Mae's apartment so that our real cautionary tale can begin. You see, Bill has a girl, Mary Lane, a girl who's as gosh darn nice as he is, and Jack doesn't realise that they're both giddy enough already without needing to smoke some evil weed and they're already doomed to tragic deaths. We know this because in the token soppy scene at Mary's house, he shows her a copy of Romeo and Juliet and points out that when he studies it he kinda thinks of her. Apparently he's already set on a stormy relationship ended by the suicide of both of them, but hey, whatever rocks your boat. Maybe we should ban that Shakespeare guy too. Won't someone think of the children?
Jack also entices Jimmy, Mary's kid brother, up to Mae's and he can't resist the stuff either. It's so addictive, you see. We can't help but wonder about Jack, because he seems to be so good at finding ways to corrupt the youth of the day but remain so utterly lacking in common sense. When he gets Jimmy to drive him out to pick up more dope, he ensures that nobody could possibly think anything was up by having Jimmy stay in his car in the street, get stoned while he waits on one of Jack's reefers and then race off with the new shipment like he's Steve McQueen. 'Let's go, Jack. I'm red hot!' he cries and promptly scoots away, reaching a scarily excessive 45 mph. You just know there's going to be someone in the road for him to miss by three or four feet, I mean mow down in front of many witnesses. How do these idiot crooks stay in business?
In fact how do they do anything given that they smoke marihuana themselves? We're told in no uncertain terms how dangerous this stuff is from the start. Before we even meet Dr Carroll we get to read a long scrolling text that explains how marihuana is 'a violent narcotic, an unspeakable scourge, the real Public Enemy Number One!' It leads to 'monstrous extravagances', 'emotional disturbances', 'dangerous hallucinations'. It causes the 'total inability to direct thoughts', 'acts of shocking violence' and best fun of all, 'incurable insanity'. The FBI agent that Carroll goes to see reinforces this, telling a story of a sixteen year old marihuana addict who was locked up for taking part in a holdup, even though that seems like a strange charge given that he'd apparently also slaughtered his entire family with an axe.
Yet Jack seems to function just fine. Even Mae's resident pianist Hot Fingers Pirelli seems to function just fine though he even looks wasted when he isn't. When he hides in the closet to smoke a joint he turns into Harpo Marx doing a Jimmy Durante impression, but he can still make those 88 keys jump and jive. It's only the kids that can't take it, high school kids like Jimmy who knock down pedestrians at low speed, college kids like Ralph who tries to rape Mary when she turns up at Mae's looking for her brother, otherwise decent kids like Bill who are in the other room romping with Blanche only to stumble out and see his girlfriend being molested. In his marihuana stupor, Bill fights Ralph to protect Mary, Jack rushes in to knock him out with the butt end of a gun and the ensuing struggle leaves Mary dead, shot in the back. Jack wipes the gun clean and plants it on Bill so he thinks he did it. What a stinker!
You know what this means, of course: more newspaper headlines to detail the inevitable progression of the court case, because we just have to keep things sensational. One of the unintentional joys of this film that I can relish is the way these front pages were composed. One from the Herald-Tribune details 'Harper Verdict Expected Tonight', but I couldn't help but notice the story underneath it, which, I kid you not, reads, 'Dick Tracy, G-Man, in Sensational Raid.' Given that the headline looks like it's been obviously pasted onto a real paper, I wonder where they found the real paper, but this is where non-potheads like me get to find humour in a film like this, that and the utterly unintentional use of what seems like every slang reference for drugs in regular dialogue: joint, dope, crack, powder, you name it. I bet Mary's surname is really Jane not Lane.
A film like Tell Your Children was never going to be about the acting, but it's capable. Most of the cast and crew are real professionals, albeit names who would never be anything but minor. Perhaps the biggest name is Louis Gasnier, the director, who had made the definitive movie serial back in 1914, The Perils of Pauline. Kenneth Craig, who played Bill, never did anything else, but Dorothy Short, his girlfriend here, went on to a generic B movie career. She married Dave O'Brien the year this film was made, the actor who plays her would be rapist, Ralph, the one who looks like the Amazing Criswell. They divorced in 1954 but apparently for the banal reason that he spent too much time sailing not because they'd locked him up in an institution for perpetrating a bad caricature of Dwight Frye's Renfield, I mean for going completely looney tunes on marihuana. Don't forget that he's only one tragedy. The next tragedy may be that of your daughter. Or your son. Or yours. Or yours. Or YOURS!
Labels: 1930s, Cinematic Hell, Hal Astell
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Home | Review: TorchLAB BOSS
Posted on October 30, 2018 November 25, 2018 by Jim Basham
Continually finding ways to squeeze ultra-high output levels out of increasingly smaller flashlights, OVEREADY has introduced a completely new flashlight system, the TorchLAB BOSS. Designed to provide Bright Output in a Small Size, the BOSS is capable of producing nearly 3500 lumens of output using the same triple LED light engine found in the TorchLAB Wasp (review) and their P60 style drop-ins.
Although the electronics are the same as other TorchLAB products, they are housed in a completely new head measuring only 1″ in diameter. A pair of newly designed bodies, the BOSS 35 and BOSS 70, round out the package and accommodate a single 18350 battery or single 18650 (or two 18350s) respectively. All components are made of 7075 aluminum and feature a new “patina” finish intended to evolve over time as the flashlight is handled and used. More traditional hard anodized finishes will be available at a later date.
The initial production run will use Cree XP-L HI emitters (4000K color temperature). Cree XP-L Redome (4500K color temperature) and High CRI Nichia 219B emitters will be available later in the year. The BOSS heads will also be available with a choice of red or amber secondary LED.
One of each body style along with a triple XP-L HI version of the BOSS head (with red secondary LED) were provided by OVEREADY for use in this review. Product packaging had not been finalized at that point but it has been announced that production units will arrive in a custom box and cloth pouch identified with BOSS branding. (packaging photos provided by OVEREADY).
Pricing will vary according to options and is expected to start at around $350. General production versions will have a slightly darker finish than what is shown on the review samples.
TorchLAB BOSS – Overview
The BOSS flashlight system is made up of three primary components – the BOSS head, BOSS 35 body, and BOSS 70 body. The bodies measure 1″ in diameter at their widest points and have a retro look with tapering side channels.
The head also measures 1″ in diameter and features a removable bezel to allow easy swapping of optics or upgrading the light engine. See the Wasp Triple Optics review for more information about the available optics.
The frame which holds the optic in place is custom molded with self-charging glow in the dark material. Brief operation of the BOSS or exposure to other strong light sources provides more than enough illumination to find the flashlight in a dark room or even illuminate objects at very close distances.
Both bodies are equipped with a stainless spring steel pocket clip to allow bezel-down pocket carry. The clip is secured by a pair of custom titanium T10 screws to facilitate easy removal or replacement with custom aftermarket clips.
The McClicky tail switch is integrated into the body and shrouded by a shrunk down version of the TorchLAB Triad tailcap which also allows the light to tailstand. The lobes reduce the possibility of accidental activation and provide a secure mounting point for the pocket clip while still allowing easy thumb access to the switch.
The pocket clip screws are threaded into blind holes to maintain a smooth surface on the inside of the shroud. The switch boot has a wider flange than found on other TorchLAB switches and is kept in place by a captive o-ring inside the tail shroud. It should be noted that, although regular McClicky switch boots may fit and function, they will not provide the same level of sealing due to their narrower flanges.
The head threads smoothly onto the body using ACME threads and a bright green Hydrogenated Nitrile Butadiene Rubber (HNBR) o-ring provides a water tight seal. HNBR o-rings are known for their ability to withstand long-term exposure to heat and have an operating temperature range from -40° F to 325° F. Brass contacts and springs at both ends ensure reliable electrical contact between the head, body, and batteries.
Battery bumpers inside the body help shield the switch mechanism from the effects of hard impacts.
TorchLAB BOSS - Specifications
Diameter (widest point) 1" 1"
Length 3.3" 4.6"
Weight (w/o batteries) 56 grams 68 grams
Max Output (XP-L emitter)* 1933 lumens 3498 lumens
* LED Lumens. Actual out the front lumens will be less
TorchLAB BOSS – Operation and Programming
Like other TorchLAB products based on the V5 light engine, the BOSS can be ordered with any of several different preprogrammed operating modes. The sample used in this review was delivered with “RLMH” programming (Red/Low/Medium/High). After turning the light on, the various modes are accessed by a quick off/on cycle, with the mode advancing each time.
While simple to operate, users can go almost as far as they could possibly want with regard to customization of its operating modes. To begin with, there are two separate sets (banks) of operating modes which can be programmed independently of each other. By taking advantage of the head’s ability to detect the battery configuration, this allows one configuration for single battery set-ups and another for dual battery configurations. The light can even be powered by a pair of CR123a primary batteries when configured properly.
Programming is accomplished through a web-based interface on the LUX-RC website. Users are able to select their desired battery configurations and up to 4 operating modes for each one.
38 operating modes/output levels are available to choose from:
Red Moonlight (6mW)
33 white light output modes ranging from 1.5mW (0.005%) up to 30W (100%)
SOS Signaling
10Hz strobe
Colored beacon (red or amber depending on choice of secondary LED)
Custom signal with adjustable on/off times and a choice of white or red/amber LEDs
To avoid damage to the batteries, maximum white light output is limited to level 17W (Level 28, 55%) when powered by a single lithium-ion rechargeable battery and 8.8W (Level 25, 29%) when powered by two CR123a lithium primary batteries.
In addition to the output modes, users may select additional options that affect how the BOSS operates.
Memory (3 options)
No memory – When first turned on, the light will always start with the first mode.
Standard memory – When first turned on, the light will start with the last mode used.
Hybrid memory – When first turned on, the light will start with the last mode used but, when modes are changed, it will go back to the first mode.
Battery Protection (2 options)
Active – The light will automatically shut off when the battery voltage drops to 2.8V per cell. This is intended to protect against over-discharging unprotected lithium-ion batteries.
Disabled – This option should only be used with protected lithium-ion batteries or CR123a primary batteries.
Battery Stretch (2 options)
Active – When battery voltage drops to 3.2V per cell, the light will automatically reduce its output to extend runtime.
Disabled – The light will attempt the maximum output the batteries can sustain. Runtime may be greatly reduced.
Bounce Switch (3 options) – The Bounce Switch is a safety feature that, when activated, can detect reflected light and automatically switch the Triple V5 Wasp to the low-powered red or amber output mode. This is useful, for example, if the light turned on in high mode while being carried in a pocket.
No Change – Leave the bounce switch setting in its current state.
Not in use – Disables the bounce switch
Active – Activates the Bounce Switch and allows the user to adjust its sensitivity.
The following video provides a detailed overview of the programming and operating features using the TorchLAB Wasp.
TorchLAB BOSS – Performance
The BOSS was designed to pack the usual TorchLAB performance into the smallest package possible. True to its heritage it has extremely strong output and produces a very broad beam with bright spill and a clearly defined hotspot when used with the “Narrow Clear” optic. See the Wasp Optics Review for a comparison of the different optic types.
The following slides show the BOSS compared to a variety of other lights to give some perspective with regard to output, beam profile, and tint. The images can be compared across their full width using the slider and additional comparisons can be viewed using the navigation buttons in the bottom-right corner of each image.
The following lights were used in the comparison:
Malkoff Hound Dog V3 Warm White (Review)
Elzetta Charlie with AVS head (Review)
Malkoff Wildcat V6
SureFire P3X Fury (Review)
Streamlight ProTac HL 3 (Review)
Malkoff Hound Dog V3 Cool White (Review)
Malkoff Wildcat V4 (Review)
TorchLAB P60 Triple XPG2 Neutral (Review)
FourSevens MMU-X3R
In this first set of photos, the BOSS 70 is powered by a pair of AW 18350 IMR batteries providing full output.
Beamshots – 25 yards to blue barrel (white barrels are 10 yards downrange and 10 yards apart. Tree is approximately 15 yards behind blue barrel)
For the next set of photos, the BOSS was powered by a single AW 18650 IMR battery at level 28 (17W, 55%)
The BOSS has an operating range of 2.5 to 8.8 volts allowing it to be powered by either one or two lithium-ion rechargeable batteries or two CR123a lithium primary cells. Due to the heavy current draw when using rechargeable batteries, 18350 IMR batteries are the recommended minimum size.
Active thermal management helps keep temperatures within the head at a safe level. Rather than using timed step-downs like some flashlights, the BOSS monitors the internal temperature and as it approaches 65° C (149° F) it begins to reduce output just enough to keep temperatures in check. When operated in its higher output modes this ensures the light is always producing its maximum safe output.
Once consequence of this type of thermal management is that runtimes can vary greatly depending upon the amount of airflow around the head. In situations with good airflow, output remains high and runtimes will be shorter. When airflow is restricted, output will decrease and runtimes will grow longer.
A series of tests were conducted using AW 18350 and 18650 batteries, with and without additional airflow provided by a fan. No single test will be indicative of every real world scenario but these may give some idea of what to expect from the BOSS.
The first graph shows the relative outputs and runtimes for the longer BOSS 70 configuration when powered by a pair of 18350 batteries and a single 18650. To determine the effect of the thermal management system, two tests were run with each battery configuration, one with no external cooling and the other with a small fan moving air across the flashlight.
As expected, the tests conducted without additional cooling resulted in longer runtimes with ever decreasing levels of output as the thermal management system worked to keep temperatures inside the head below 65° C. When a small fan was used to provide additional cooling, it appears temperatures were held in check and any reductions in output were simply due to decreasing voltage in the batteries.
Similar tests were also conducted using the shorter BOSS 35 configuration powered by a single AW 18350 battery. As before, the absence of external cooling extended runtime at the expense of overall output.
The BOSS generates a tremendous amount of heat during continuous operation if there is not good air circulation around it. When powered by a pair of 18350s or a single 18650 in the BOSS 70 configuration, the body of the light becomes very warm, almost to the point of being uncomfortable to hold. With a single 18350 in the BOSS 35 configuration, it becomes too hot to hold after 15 minutes of operation.
All tests were conducted with the default 65° C temperature setpoint. Users may opt to program their BOSS with a lower temperature limit which will reduce output more aggressively and keep overall temperatures lower.
Tests were not conducted with CR123a batteries or with the battery stretch feature active. Results should be similar to those found in the TorchLAB Wasp review. Reminder: The BOSS head must be programmed properly for safe use of CR123a batteries.
TorchLAB BOSS – Conclusions
I wasn’t sure what to expect when I received the BOSS for review. Sure, I had some idea of what the performance would be like based on my past experience with the TorchLAB Wasp but I was not prepared for just how small the BOSS really is. To put things in perspective, in its longest configuration, the BOSS 70 is only slightly longer than many single CR123a powered flashlights. In the BOSS 35 configuration, it’s about as short as you can get for a flashlight with a rear click-type switch, even shorter than the classic 15 lumen SureFire E1E!
Past TorchLAB products have been amazing but they always required compromises to maintain compatibility with other flashlight platforms, particularly the SureFire E-series flashlights for those who wanted the smallest possible size. However, these old lights were built for use with CR123a batteries and could not accept larger 18mm lithium-ion batteries without first enlarging the battery compartment. While this can be done, it results in thin metal at the very short threaded section typical of E-series lights. With its totally new design, the BOSS does not suffer these limitations, due to being constructed of a stronger aluminum alloy and having a much longer threaded section.
Over the past couple of weeks, the BOSS has criss-crossed the country with me as an EDC flashlight and has been a joy to use. Programming the BOSS using the web based utility is a breeze and, regardless of battery configuration, the light has always functioned exactly as it should. Likewise, it powered through 6+ hours of full-output runtime testing without missing a beat.
The various parts fit together perfectly and the threading is extremely smooth and secure where the body and head mate together. Although the exterior design may appear fairly simple at first glance, there are over two dozen exterior design elements that serve aesthetic and/or functional purposes. Ranging from the bezel scallops to the Triad tail shroud, the entire design is well executed and has a classic look. The strong pocket clip is near perfection from my point of view, securely holding the BOSS in place while still allowing easy access, and the custom titanium screws are a nice touch.
The Patina finish gives the BOSS the look and feel of a well worn tool that manages to be smooth in the hand without being slick. I believe I can already see signs of darkening where I have handled the light contrasted by brighter wear areas on some of the sharper edges.
By its very nature, the tumbling and polishing process used to create the Patina finish produces a distressed surface that adds visual interest to the BOSS. It is good at hiding fingerprints and can reflect ambient light in some interesting ways, giving the BOSS a different appearance when viewed from various angles.
The jury is still out on how the Patina finish will hold up over time. It has been pretty well established over the years that an anodized finish helps protect aluminum from wear but, in the case of the Patina finish, some wear may be desirable for aesthetic reasons. Whatever the case, bare 7075 T6 aluminum has a Brinell hardness of 150 (50% higher than 6061 aluminum commonly used in flashlights) so I consider it unlikely that I will ever “wear out” the body. I haven’t intentionally drop tested the BOSS but I did manage to drop kick it across my carport the first day I carried it. The finish seems to do a good job of hiding small surface scratches and shrugged off the experience. I view the BOSS as a tool, not a jewel, and plan to treat it accordingly.
It’s really amazing to consider what TorchLAB has accomplished in achieving their design goals of Bright Output and Small Size. Of course nothing in life is free and the small size does come at the expense of the light’s ability to shed heat when operated continuously at its highest output levels. However, the BOSS was designed as an EDC style flashlight not a search and rescue light. If long duration continuous operation is desired users would be well served by programming the BOSS with one or more lower output modes, reprogramming the light with a lower temperature limit, or considering a larger flashlight like the TorchLAB Wasp.
Web based programming with 33 output levels ranging from 0.18 to 3498 lumens (measured at the LED) and several other options
Options for secondary LED color and optics
Unbelievably small for the amount of output it can produce
Terrific pocket clip
Small surface area and low mass make for a hot light when operated continuously at its highest output levels
Initial offerings are limited to Patina finish and XP-L emitters. Other options will be available at a later date.
The TorchLAB BOSS is designed, machined, and assembled in the United States. The electronics are made in Russia. The BOSS is available for purchase exclusively from OVEREADY.
TorchLAB BOSS product page
OVEREADY Home Page
FlashlightGuide is an Amazon affiliate site and stands to earn a small commission on purchases made after using any of the Amazon links on this site. These commissions help support the site at no additional cost to the customer. If you would like to support FlashlightGuide, be sure to check out what’s available at Amazon.com.
Posted in Flashlight Reviews, OVEREADY.
← Review: Malkoff Hound Dog 18650
Thank you for this excellent review. 😉
Jim, do you plan on reviewing the Elzetta Bones and Malkoff Wildcat V6?
Jim Basham
Yes sir. I received a V6 Neutral Friday and the Bones arrived today. It will probably be at least a couple of weeks before I have any reviews up on them.
I have the answer to my question regarding the review of the elzetta bones, thanks for the info’ Jim. 😉
Share your thoughts! Cancel reply
Moddoolar Triple Wasp Optics
Review: Moddoolar Triple V5 Wasp
Review: Moddoolar Triad Tailcap
Best Flashlights of 2014
SureFire Z41 Switch Upgrades
OVEREADY Custom Bored Elzetta Bodies
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The Carpet Crawlers
There is lambswool under my naked feet.
The wool is soft and warm,
- gives off some kind of heat.
A salamander scurries into flame to be destroyed.
Imaginary creatures are trapped in birth on celluloid.
The fleas cling to the golden fleece,
Hoping they'll find peace.
Each thought and gesture are caught in celluloid.
There's no hiding in memory.
There's no room to avoid.
The crawlers cover the floor in the red ochre corridor.
For my second sight of people, they've more lifeblood than before.
They're moving in time to a heavy wooden door,
Where the needle's eye is winking, closing on the poor.
The carpet crawlers heed their callers:
"We've got to get in to get out
We've got to get in to get out
We've got to get in to get out."
There's only one direction in the faces that I see;
It's upward to the ceiling, where the chambers said to be.
Like the forest fight for sunlight, that takes root in every tree.
They are pulled up by the magnet, believing that they're free.
Mild-mannered supermen are held in kryptonite,
And the wise and foolish virgins giggle with their bodies glowing bright.
Through a door a harvest feast is lit by candlight;
It's the bottom of a staircase that spirals out of sight.
The porcelain mannikin with shattered skin fears attack.
The eager pack lift up their pitchers - they carry all they lack.
The liquid has congealed, which has seeped out through the crack,
And the tickler takes his stickleback.
We've got to get in to get out..."
Menu < Tłumaczenie Całe wydawnictwo
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Covering All Viewing Angles
February 14, 2014 /in Holiday Signs /by Mark Hackley
COVERING ALL THE ANGLES
Case Study: Connects Federal Credit Union, Richmond, VA
Lots of Eyeballs
Chartered in 1950 as the C&P Telephone Employees Credit Union, Connects Federal Credit Union has offered over a half century of unwavering commitment to its members. Last fall the organization purchased the former BB&T building on Midlothian Turnpike and chose Holiday Signs to re-brand the location, taking advantage of the high visibility of the site at the convergence of two main traffic arteries with eight lanes of potential business.
“We needed help branding ourselves as the leading credit union in the area,” said Danielle McLaughlin, Vice President of Marketing and Business Development at Connects. “The new location offered tremendous potential to connect our brand with the community, but the challenge was covering all the viewing angles so people passing the branch from all directions had ongoing top-of-mind awareness.”
Customers’ Point of View
It was important that the Connects branding be seen and recognized by commuters passing daily, plus help with the traffic flow of members stopping in to conduct business.
The project involved:
Refurbishing the main pylon sign;
Adding a new set of channel letters on the side facing traffic from intersecting road;
Adding an internally illuminated box-type sign on the entrance wall;
Site wayfinding signage.
The challenge at this particular site was the way the highways approached the site from several angles. After thorough site surveys considering permit regulations for size and placement and viewing angles of motorists approaching three sides of the building, Holiday Signs successfully designed, fabricated and installed a sign package that met the client’s branding goals.
“We are seeing a good flow of new members into our new Midlothian location,” remarked McLaughlin. “The signage sheds a very positive and visible light on our brand in a new part of town.”
https://holidaysigns.com/wp-content/uploads/2014/02/Connects-pic2.png 780 1040 Mark Hackley http://holidaysigns.com/wp-content/uploads/2013/05/logo12.png Mark Hackley2014-02-14 18:44:302014-04-29 15:41:17Covering All Viewing Angles
Will Your Signs and Brand Survive the Snow Storm? Facilities Signage Idea- Neat Parking Lot Signs
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Buyers may find that this is an opportunity for discounts, and should consider whether they have the financial resources to stay afloat through a period of economic instability and uncertainty.
Austin Havens-Bowen for Brick Underground/Flickr
By Alanna Schubach
I was on the hunt for a NYC apartment when the coronavirus crisis hit. It seems like an even better time to buy now, given seller anxiety and low interest rates. Will I be able to find a place?
It all depends on your tolerance for risk, as daily life in New York City, one of the hardest-hit areas for Covid-19, has come to a standstill in an effort to halt the spread of the pandemic, and the economy is veering toward a recession, our experts say. Pursuing a real estate deal right now will be extremely challenging.
Open houses are now banned in New York State, and move ins are not permitted in many buildings. And buildings in NYC have shut down amenities and non-essential repairs in order to protect their residents. Some deals are being postponed, while others are going virtual, with buyers and sellers closing sales through their attorneys and co-op boards doing interviews over Skype.
"More and more buildings are restricting entry and exit for outside personnel, including move-ins and move-outs, prohibiting renovations, and are of course concerned with the obvious challenges related to public and private showings," says Jeremy Kamm, an agent at Warburg Realty. "Everything is still so very new and heightened, and people are still just trying to adjust to the changes in their day to day lives."
All this can certainly slow down a deal. And buyers must also consider the financial risk of making a major purchase right now, given that fears of a recession are on the rise.
At the same time, there are compelling reasons to buy now.
"Between locating a property of interest, submitting, and negotiating an offer, completing due diligence and signing a contract, and then securing loan and co-op or condo approval, the process can easily take three to six months or longer," says Ari Harkov, a broker with Halstead. "By the time you are ready to close the world will hopefully have returned to some degree of normalcy."
Buyers may also find that this is an opportunity for discounts, as those who need to sell feel an increased sense of urgency as deals slow down and dry up.
"I anticipate there will be a small number of sellers who will be highly motivated to accept below-market offers in the near term. These opportunities may subside after those sellers who need to sell initially find buyers and many others choose to wait for the market to stabilize," Harkov says.
In making your decision, you should consider whether you have the financial resources to stay afloat through a period of economic instability and uncertainty. Also, think about how long you plan to live in the apartment.
"A longer ownership time horizon is always helpful to having the confidence to buy," says Deanna Kory, a broker with Corcoran. "One of my clients bought right after 9/11 and the value of their place has since doubled. Not every crisis is the same nor is the length of time to recovery, but if you need a home you can likely get a better price, lock in a great interest rate, and enjoy your home or investment for many years to come."
If you're at the very beginning of your search, you likely won't be able to visit many apartments in person. But you could use this time instead to familiarize yourself with the market, decide upon your criteria for a home, figure out your budget, and otherwise ready yourself for a purchase. You could also speak to a mortgage lender.
"If you decide to delay your home search, my recommendation would be to lock in these low mortgage rates and then you can hit the ground running when you are ready," says Mihal Gartenberg an agent at Warburg Realty. "Speak with your real estate agent for a mortgage recommendation. It’s the next best thing to buying now."
Remember that this is temporary, and when life returns to normal, buyers and sellers will want to jump back into their plans that were postponed.
"Listings that have gone off market will return, and once the dust has settled a bit we will start to see a flurry of new inventory as sellers become anxious to list property they were already prepared to sell," Kamm says. "What savvy buyers should be doing is relying on the support of their brokers to guide them through this difficult time, use their spare time to conduct their own research, and be prepared to jump as soon as the time is right."
Trouble at home? Get your NYC apartment-dweller questions answered by an expert. Send your questions to experts@brickunderground.com.
For more Ask an Expert questions and answers, click here.
Some NYC apartment buildings told to prep for coronavirus like a doorman strike
Gyms, pools, and playrooms close and move-ins canceled in NYC buildings to limit coronavirus spread
Will virtual closings and co-op board video interviews become NYC's new norm?
Ask an Expert buying co-ops condos Coronavirus open houses sellers
How to check your NYC apartment building's ratings—or rate your own place
What you need to know about buying in a boutique building
A first-timer buyer on finding and renovating a Chelsea studio on a budget: Part II
Can you get a better deal on a fixer-upper in NYC now?
Our board is getting a lot of noise complaints from residents. How should we respond?
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Go to Members Only Area
Guide: Using your IASA Account
Call for Papers:Old Country in the New Country: The Material and Visual Culture of American Immigration
The College Art Association calls for papers on: Old Country in the New Country: The Material and Visual Culture of American Immigration at its 2016 meeting, Washington, DC. The United States has been and continues to be a country composed of people from many places. Is occupants have always struggled with how to imagine their place in this transnational, [...]
Call for Editor, Italian American Review
The Italian American Review (IAR), a journal of Italian American studies encompassing a range of professional concerns and theoretical orientations in social sciences and cultural studies, welcomes applications from qualified individuals with editorial and/or publishing experience for the position of Editor of the journal.
“Seeing Brooklyn Change”: A Call for Student Researchers, Photographers, and Videographers
IASA menber Jerome Krase reports on “Seeing Brooklyn Change”: A Call for Student Researchers, Photographers, and Videographers: More than 30 years ago, Brooklyn College students, under my direction, created an exhibit that photographically documented life in the borough’s Italian American neighborhoods. It was the centerpiece [...]
Remembering the Triangle Shirtwaist Fire: History and Meaning
On March 25, 1911, a fire at the Triangle Shirtwaist Factory in New York's Greenwich Village killed 146 workers. Most of the dead were recent Italian and Jewish immigrant women, some as young as 15 years old. Survivors, their families, and those who witnessed the fire were forever changed by the tragedy. Hundreds of thousands of people took to the [...]
Managing Borders: An Interdisciplinary Conference on American Immigration at Columbia University
Columbia University's Fellows in the Humanities presents a 2-day conference, "Managing Borders: An Interdisciplinary Conference on American Immigration Marking the 50th Anniversary of the Immigration and Nationality Act of 1965," on April 3rd and 4th, 2015.
Position Available: Editor, Italian American Studies Association Yearbook
Editor, Italian American Studies Association Yearbook:
The Editor, with the consultation and approval of the Yearbook Editorial Board, selects papers to be considered for the Yearbook and commissions or approves other materials. He or she also identifies reviewers, and is responsible for carrying out the peer review process. The Editor and Editorial [...]
New Book Series: Transnational Italian Cultures
Transnational Italian Cultures from Liverpool University Press will publish the best research in the expanding field of transnational, global and postcolonial Italian studies and aim to set a new agenda for academic research on what constitutes Italian culture today. As such, this new Italian Studies book series will move beyond the physical borders [...]
CFP: AHA Panel: (Im)migrants in New York City Negotiating National and Civic Citizenship in the Early 20th Century
Dan Elan (Bowling Green State University) is seeking seeking an additional member for a proposed panel for the 2016 American Historical Association meeting in Atlanta. The tentative title for this panel is "(Im)migrants in New York City Negotiating National and Civic Citizenship in the Early 20th Century." Proposed is a paper discussing dialogue, [...]
Dancing A Film: Luchino Visconti's "Rocco and His Brothers" at Montclair State University
Dancing A Film: Luchino Visconti's Rocco and His Brothers Inspires Emio Greco and Pieter C. Scholten.This multi-part program embraces two events on campus revolving around the dance performance ROCCO at the Kasser Theater of Montclair State University (Feb. 12-15, 2015): a screening and discussion of Luchino Visconti's 1960 classic [...]
Call for Proposals: The Boston Immigration and Urban History Seminar
The Boston Immigration and Urban History Seminar invites proposals for sessions in its 2015-2016 series. Programs take place at the Massachusetts Historical Society, usually on the third or fourth Tuesday evening of the month between September and April.
News from IASA
(Oct 16, 2011)
IASA Membership Renewal and Registration
Be sure to visit the Membership page of this site, to renew your IASA membership for 2013, and to register yourself or your organization as a new, renewed or existing member.
(Feb 11, 2012)
2012 Conference - Hempstead, NY
Please visit the President's Page for a report on the 2012 IASA Conference. Videos from the Conference History of the Italian Americans: December 1, 2012:
IASA Calls
Call for News
Robert Oppedisano, IASA's new blog editor, is accepting material for the IASA blog. Send member news and other articles of interest to oppedisanorobert@gmail.com.
Screening at Montclair State: "The Rule" by Italian American Directors Marylou and Jerome Bongiorno
The latest documentary by these two Italian American directors examines how the Benedictine monks of Newark Abbey achieve success in the heart of one of America's most dangerous cities with one of
Call for Papers: Cultural Studies Association Ethnographic Working Group 2014
The Cultural Studies Association (CSA) Ethnography Working Group invites proposals to the CSA’s thirteenth annual meeting in Riverside, CA, May 21-24, 2015. Plenary speakers
Celebrate Joelle Biele's "Broom" with Bordighera Press
Please help celebrate with a reading, reception, and book signing the 2013 Poetry Prize winner Joelle Biele's collection of poems, Broom, translated into Italian by Irene Marchegiani and Ema
Publications from IASA
Greece and Italy: Ancient Roots and New Beginnings
Mario Aste, Sheryl Lynn Postman, Michael Pierson eds. 2004. Volume 33. 2000. Greece and Italy: Ancient Roots and New Beginnings. Mario Aste, Sheryl Lynn Postman, Michael Pierson eds. 2004.
Italian Americans: A Retrospective on the Twentieth Century
Paola Sensi-Isolani and Julian Tamburri, eds. 2001 Volume 32. 1999. Italian Americans: A Retrospective on the Twentieth Century. Paola Sensi-Isolani and Julian Tamburri, eds. 2001. 271 pp.
Italian American Politics: Local, Global/Cultural, Personal
Philip V. Cannistraro, Jerome Krase, and Joseph V. Scelsa, eds. 2005 Volume 31. 1998. Italian American Politics: Local, Global/Cultural, Personal. Philip V.
Publications from IASA Members
Anti-Italianism: Essays on a Prejudice (Italian and Italian American Studies. William J. Connell, Fred Gardaphè, eds.
Palgrave Macmillan 2010. Review "There are books that change your life ... because their content is a revelation which introduces you to a new world.
About IASA
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Follow IASA!
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Copyright 2011 IASA Italian American Studies Association
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Friends of Tricycle Records Compilation In Search of Music Submissions
The San Francisco based record label, Tricycle Records is in search of submissions for their upcoming compilation, The Friends of Tricycle Records Compilation. This will be the 5th compilation in the label's series. If you want to send your music to the label for consideration, go directly to their submission page!
http://www.tricyclerecords.com/friendssubmission/
The Friends of Tricycle Records Compilation is about building the Bay Area music scene. We are looking for new and/or unreleased songs from Bay Area / Northern California artists only. All genres accepted. This is offered as a free promotional download to help artists gain visibility in the local and national music scene. - Julie Schuchard Co-Founder Tricycle Records
DIY/Lo-Fi
Tricycle Records
sfeditor's blog
Festival Debut: Gathering of The Tribes at Public Works in San Francisco - 9/13
Editor's Note: Jonathan Cárdenas of Pow Magazine and San Francisco Great Society put a lot of time into curating this exclusive peek at the upcoming festival, Gathering of the Tribes. This fest celebrates and works to promote and preserve the spirit of psych music in San Francisco. Founder, Dennis Gonzales is very passionate about his work and his efforts to support psych musicians from all over the US. The Bay Area is lucky to have him and the community of amazing promoters and musicians who help keep the spirit and tradition of supportive, familial music and arts communities alive and well. -je
The Gathering Of The Tribes is a festival centralized exclusively in itself and its own breed of musicians and artists. San Francisco has had other festivals in past years, but this one aims to showcase the Bay Area’s breed of psychedelia and its sub-genres, as well as celebrate its musical and artistic ancestry. The name is borrowed, or you could even say revitalized—resurrected—from the Human Be-In that took place in Golden Gate Park, January 14, 1967. This is when Haight-Ashbury became symbolically immortalized as a counter-culture mecca. Our festival celebrates San Francisco’s past and present, and aims to push forward its music and arts in a positive and progressive direction, preserving it for the good of the Bay Area and to keep things groovy.
“We are the San Francisco Preservation Society—God save the Acid Tests, Beatniks and notoriety.”
Hopefully you got that reference. But no, we’re the San Francisco Great Society.
Founder, Dennis Gonzales: I've been running Pow Magazine since 1986 and being entrenched in the music community for several years as a social media journalist, I can tell you SF music is not only alive, it is about to explode into a new movement unlike anything seen since the first music scene in 1965. Everything about our Society and our festival is a familial, grass roots effort. Amoeba is sponsoring the event—they too have promoted it on their Facebook page as well as Twitter. Pow Magazine, Counter Culture Artist Management, and Innerlight Presents are altogether presenting this festival. We have reached out to the best of the Bay, and most have said “yes.”
Clay Andrews of The Spiral Electric and Innerlight Presents: If the festival is comprised of bands that are all touring and far away, and everybody has all their records—that’s great and all; you have to bring people to the event, but at the same time it’s like—don’t just throw a fest where you just bring an import of things because that’s not really doing anything for the local scene. It’s not exposing people to what’s actually happening right now in their backyards.
Derek See SF DJ, musician and music collector: One thing I’m especially excited about is hearing and meeting bands that I don’t know even though they're local. Because of what i do for a living, i have to get up real early in the morning on weekends—I do go out and see live music when I can, but never as much as I’d like to, whereas at this festival I’m just super stoked to be able to experience and hang out with like-minded folks.
Performing at SFGS: Gathering of The Tribes
at Public Works in San Francisco on September 13th
The Gentle Cycle
Buzzmutt
The Spiral Electric
LSD and the Search for God
Down and Outlaws
Cellar Doors
Down Dirty Shake
The Love Dimension
Mark Nelsen
Sea Dramas
California Raga Association
Lee Gallagher and the Hallelujah
The Green Door
Carlton Melton
Mystery Flavors
The She’s
Electric Shepherd
Zodiac Death Valley
Visuals by:
White Light Prism - vimeo.com/user6728976
Mad Alchemy - www.madalchemy.net
Andy Puls - www.videopaws.com
Abel Oleson
Derek See
Michael Tarin
Keeper and MoonDoctoR Do the ATX to San Antonio Hookup "Next to Me"
Just a quick blast to drop the new Keeper track that came out this week, which is some deliciously smooth-bass-heavy R&B that sees the group (who came in 3rd in our 2014 Artist of the Year Poll and whose jams have been gettin' major notice around the nation since, even showing up as an opener track on a Broad City episode) continuing its mastery of the three-voiced future music front. They're also keeping steady on the collaboration front, adding San Antonio producer MoonDoctoR to their list of producers who have dropped a hell of an electronic beat to accompany the sultry sirens in doin' what they do, a list that is quickly becoming a who's who of Texas producers who themselves are set to break out on the big scene. Do just what the song say and get sweatin' out your clothes, as the girls put it, with "Next to Me" below y'all.
aueditor's blog
Lilith Bask In Warm Weather
If you’re constantly searching for good summer tunes, Lilith’s latest EP, In Warm Weather, is perfect for, well...warm weather. I found myself wishing for a summer rainstorm so I could sit on my back porch with this EP playing in the background.
I was particularly impressed with the vocals on In Warm Weather. Smooth, dream-like melodies float over arpeggiated chords, carrying you from track to track. I thought the opening song, “Storefront”, was the stand-out of the collection. Strong lyrics, a memorable melody and an excellent guitar lick in the verse make “Storefront” well worth several listens.
For more updates about Lilith, check our their Facebook page.
-Dan McMahon (@dmcmhn)
Photo credit: Kevin Hardman
&amp;lt;a href="http://liliththeband.bandcamp.com/album/in-warm-weather"&amp;gt;In Warm Weather by Lilith&amp;lt;/a&amp;gt;
needitor's blog
Album Review: The Family Almanac's Eponymous EP
The Family Almanac’s self-titled EP, out earlier this month, starts as it promises: “Dream I’m In” is like a sleepy sequence from a foggy Sunday, or a pleasant hangover morning in the Gorge. Vocalist and keyboardist Elizabeth Pixley-Fink gentle voice delights in the mood. The EP carries us to sleep, or to the edge of it; that is a place where the band’s music might do instead of sleep.
The slow, soporific mood carries on through the short EP. The first half of the record, including a stuttering jam by the band’s other vocalist Blake Mason, sound like the warm and sultry tunes of ‘70s harmonizers like Steely Dan and the sonic landscapes of Fleetwood Mac.
The fourth song on the EP is “White Sugar”, a slow, bluesy ballad with doo-wop echoes in the background. The song builds to a beautiful chorus, about as loud as the band ever gets. But the sleepy tone is back for “Susie”. If the skin started to cook with “White Sugar”, here it is enjoying the shade once again on a hot day.
The last track is another by Family Almanac’s male vocalist. “So It Goes” is a bouncier track than the rest, played with as much urgency as the band musters on this EP.
Recently I had the pleasure to see the Family Almanac play a house show (the perfect venue for their lighthearted soft rock anthems) and found a lot to be excited about. With its talented members, Family Almanac has plenty of leverage to evolve in the future. I only hope they will release a longer album soon for those lazy Spring mornings when their sounds can start the spinning of my mind with ease.
- Eric Togethoff
<a href="http://thefamilyalmanac.bandcamp.com/album/family-almanac-ep-2">Family Almanac EP by The Family Almanac</a>
The Family Almanac
pleditor's blog
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“To succeed down the road of 5G, operators must build more lanes and increase capacity,” urges ProLabs
(businesspress24) - Cirencester, UK, 20 November – To address growing 5G demands, network operators are increasingly investing in network infrastructure to enhance capacity and deliver high-quality next-generation connectivity. With many infrastructure deployment strategies being used, operators who utilise future-proof technologies will receive higher returns on investment and greater customer satisfaction, advised Raymond Hagen, Global Product Manager at ProLabs.
Investments in 5G network infrastructure will account for six percent of the total wireless infrastructure revenue of Communications Service Providers (CSPs) in 2019, according to Gartner. In 2020, this figure is expected to reach 12 percent.
With operators making significant investments, they face the critical challenge of delivering 5G in a timely manner while also deploying infrastructure that will future-proof the network to meet increasing growing demands, warned Hagen.
“It is very important for network operators to consider long-term as well as short-term goals in their 5G network infrastructure expansion strategies,” said Hagen. “Everyone is racing to deliver 5G to attract customer satisfaction and positive return on investment however, investing in infrastructure that delivers in years to come will be the key differentiator of high-performing 5G networks down the line.”
Maximising existing optical fibre infrastructure is a cost-effective solution to increase 5G network capacity which can deliver now and into the future. ProLabs solutions help to extend fibre connections on a single fibre to expand the capacity of existing infrastructure. For example, the ProLabs passive wavelength division multiplexers expand the number of fibre optic channels up to 80 times that of a standard grey optic. It does this by managing wavelengths and multiplying fibre optic connections on to a single fibre or fibre pair.
Hagen added, “For operators to deploy high-performing networks that deliver on return on investment in years to come, they must consider how to maximise the potential of existing infrastructure as it is the most cost-effective solution to deliver increased capacity. Our range of solutions include Coarse Wavelength Division Multiplexing (CWDM) and Dense Wavelength Division Multiplexing (DWDM) to increase wavelength capacity on single fibres as well as rack mount solutions to increase the density in wire centres.”
Seven percent of CSPs worldwide have already deployed 5G infrastructure in their networks, according to Gartner. As more operators begin to deploy, there will be an increasingly competitive field for network operators to deliver high-quality next-generation connectivity to meet growing market demands. Those who invest in existing infrastructure will be the best equipped to address the increasing demands of the future, concluded Hagen.
The full ProLabs Passive Mux and Demux solutions include CWDM (coarse) and DWDM (dense) wavelength division multiplexers to maximise fibre infrastructure and future poof networks for 10G to 25G upgrades. The portfolio also includes rack mount solutions, splice trays and network cabinets to offer flexible solutions for managing and extending network infrastructure.
For more information on ProLabs Passive Mux and Demux solutions or other ProLabs technologies, please visit https://www.prolabs.com/.
http://https://www.realwire.com/releases/To-succeed-down-the-road-of-5G-operators-must-build-more-lanes
prolabs, 5g, capacity, network, infrastructure,
ProLabs is a leading provider of optical network infrastructure. By delivering higher standards for products, service, technology and cost, the company is changing the mindset of data centre and networking customers.
One of ProLabs’ biggest strengths is that it supplies highly compatible products, with solutions that are 100 per cent compatible with more than 90 vendors and 20,000 systems. In addition, the innovative and cutting-edge technology comes with a lifetime warranty, demonstrating both the quality of the products as well as the company’s service.
By constantly investing in research and development, ProLabs ensures its optical network products remain at the forefront of the market, while the company’s extensive supplier network means it has an unparalleled global reach.
Proactive International PR Ltd
prolabs(at)proactive-pr.com
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AppleTV + Apps
I guess it's no surprise that the new iOS-based AppleTV was jailbroken instantaneously on release, but as the former AppleTV plugin developers race to the new platform to disassemble it and get their own plugins up and running on the new system, I can't help but wonder how the future of AppleTV will play out as regards developers.
It's widely rumored that Apple will open up the AppleTV platform and create an 'App Store', allowing developers write apps for the big screen. It seems almost inevitable that they will make this play, if not to compete against Google TV then to at least make the AppleTV a relevant platform; leverage against the movie studios reluctant to agree to Apple's movie rental terms and who knows what else.
What I don't see is an AppleTV SDK being built around BackRow, the current framework that provides the UI on the device. Previous AppleTV plugins have all been built for BackRow, using a framework that is decidedly not very Cocoa-like or developer friendly. They have nonstandard design patterns, and they run as actual plugins to the UI process; a crashed plugin can currently take out the entire UI. From what I've seen (and I've been using it since the original AppleTV hacks back in 2007), the BackRow framework is not fit for third party developers and was never designed to be.
Assuming Apple does launch an App Store, then, how are we going to write apps? The only option I see is UIKit. UIKit is familiar to all iOS developers, is very Cocoa-like, and very powerful. In fact, since iOS 3.2, 1280x720 (720p, or the same resolution as AppleTV) is a supported resolution for developers, mainly for those creating TV-out UIs in iPad apps (Chopper 2 is a great example of this). Developers have already started crafting ten-foot-UI experiences in existing iOS apps, so it would be a no-brainer for that to translate over to AppleTV wholesale. To make it work, Apple would have to build remote control support into iOS… - but hold on a second, Apple already added that in iOS 4! Effectively, all the pieces are in place to build a remote-control driven 720p iOS app. All Apple needs to do is build the distribution mechanism and open the floodgates, and 'Universal' apps would be a definite possibility.
Of course, some people will complain that UIKit isn't the native UI for AppleTV; our apps will look and act differently from the native experience on the device. Point taken, and it's an important one; I think Apple could effectively build an AppleTV UI framework on top of UIKit that internally uses the BackRow APIs but offers the developer a much cleaner way to implement common features. Does it need to happen? No, but it would certainly feel unfinished if they didn't do it. Then again, Apple can be surprising: I'm still astounded they let the iPad ship with that horrific iPhone app scale-to-2x support :o).
Nice article....but we have to wait :-(
If Apple were to formally support apps on AppleTV, wouldn't it make sense to replace UIKit with a "TVKit" that offers UI components appropriate for the TV form-factor (large low-resolution screen, no windows, up/down/right/left + action remote control), but otherwise shares the same Foundation with Cocoa Touch and Cocoa (strings, collections, I/O, etc., plus the usual Media Layer, Core Services, and Core OS below). You could take the current iOS and swap out UIKit for this TVKit and most current iOS/OSX developers could adopt it quickly.
"I'm still astounded they let the iPad ship with that horrific iPhone app scale-to-2x support."
More surprising is that the 4.2 betas so far don't use the retina display support Apple built to scale iPhone apps up instead of the horrible pixel doubling. Perhaps by the time 4.2 ships it will be there...
Tim Wu October 5, 2010 at 11:11 AM
Take a look of how the voice over function operates in iOS.
In voice over mode, iOS becomes aware of the concept of focus.
You can change focus between UIKit controls via gesture instead of directly touching the control. Actually, I found in this mode, an APP is able to be operated by arrow keys without any modification.
Robby October 5, 2010 at 6:50 PM
Wouldn't it be possible to use an iphone or ipad as the 'remote' to control on-screen apps? That seems like a super compelling form factor. Sit on the couch with the ipad in lap and drive large screen apps on TV.
I get your opinion on why Apple TV is 720 is because the developer kit is already 720p. But why not make the Apple TV 1080p and update the dev kit to the same? Why go backwards?!
Isn't this the same problem devs had when Apple upgraded to the Retina display? Everyone had to redesign their apps with higher res icons and UIs. What happens when everyone has made apps that run at 720p and in a few years Apple releases a true HD box running 1080?
jsjohnst October 5, 2010 at 11:14 PM
@Wilder "and in a few years" ?? Seriously!? If it's a few years time, then too bad so sad, update your app. Developer's can't seriously expect to be future proof for several years against new functionality and platform features. Also, just because the platform supports 1080p does not mean 720p will stop working.
my only question is just how 'open' will the hypothetical 'AppleTV App Store' be? Leaving it as (relatively) wide open as the iPhone/iPad App Store is could seriously undermine iTunes content sale/rental revenue even more than they're obviously willing to concede thus far with AppleTV2 (in the US market alone, Netflix, and presumably other equivalents in other regions seem obvious before too long).
My hunch is Apple will restrict 3rd-party AppleTV apps to those made by 100% official/legit/bona fide content owners &/or creators, rather than any tom/dick/harry who wants to delve into IPTV sourced from questionable corners of the 'net.
Mac OS X 10.7 Brain Dump
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NIA Negros Island Region
Powers and Functions
Vision, Mission, Objectives and Quality Policy
Offices and Functions
Negros Island Regional Irrigation Office
Negros Occidental Irrigation Management Office
Negros Oriental Satellite Office
Corporate Funds
Personnel Complement
Invitation to Bids
GCG MC No. 2012 - 07
Construction of Irrigation Systems
Opetation and Maintenance of NIS's
Institutional Development Program
Rehabilitation and Improvement
Irrigation Delivery
Technical Assistance to LGU and other Parties
Balikatan Sagip Patubig Program
Program of Works
IA Partners
NIA-NIR Directory
Transparency ›
NIA - Negros Island Re...
3k seedlings planted i...
Negros Island employee...
Administrator Visaya i...
INAUGURATION OF THE NE...
The Board of Directors exercises the powers and functions of NIA.
COMPOSITION OF THE BOARD
Secretary of the Office of the Presidential Assistant for Food Security and Agricultural Modernization as Chairman
Administrator of NIA as Vice Chairman
Director General of the National Economic and Development Authority as Member
Secretary of Public Works and Highways as Member
President of the National Power Corporation as Member
One (1) member from the private sector appointed by the President of the Philippines on the recommendation of any national rice and corn organization of good standing and who shall serve for a term of four years unless sooner removed.
The Secretary of the Office of the Presidential Assistant for Food Security and Agricultural Modernization was designated Chairman of the Board by virtue of Executive Order No. 165, (5 May 2014) which transfer NIA to the Office of the Presidential Assistant for Food Security and Agricultural Modernization. Before this, the Secretary of Department of Agriculture served as Board Chairman.
POWERS AND DUTIES PURSUANT TO PD 552:
To formulate and adopt policies for the management and operations of NIA, and to prescribe, amend and repeal, with the approval of the President of the Philippines, rules and regulations governing the manner in which the general business of NIA may be conducted, including provisions for the formation of such committee/s as the Board may deem necessary to facilitate the business;
To recommend to the President of the Philippines the appointment of such number of Assistant Administrators as the exigencies of the service may require from a list of names submitted by the Administrator; to fix the compensation of the Administrator and his Assistant/s, and by at least two-thirds vote of all the members, to recommend the suspension and/or removal of the said officials for cause;
To approve, subject to the final action of the President, the annual and/or supplemental budget of NIA which may be submitted to the Board by the Administrator from time to time;
To appoint and fix the compensation of a Board Secretary who shall hold office at the pleasure of the majority of the members of the Board.
THE RATIONALIZATION PROGRAM IN NIA
The Rationalization Plan (RPlan) for NIA was authorized under Executive Orders 366 (2004) and 718 (2008). NIA's RPlan aims to improve the delivery of service and productivity thru the merger of offices and streamlining their functions; and the creation of irrigation management offices out of the irrigation systems offices and provincial irrigation offices. The Internal Audit Service and Irrigation Engineering Center are new offices in the central office created under the RPlan. Certain functions and responsibilities that used to be lodged at the central office are decentralized to the field offices. The Irrigation Management Transfer Program is a major component of the RPlan. NIA started implementing its five-year phased Rationalization Plan in 2008.
link: Organizational Chart
The Administrator is NIA's chief executive officer. He is supported by a Senior Deputy Administrator and two Deputy Administrators: for engineering and operations; and administrative and finance. The central office issues guidelines and policies and exercises control over field operations.
Decentralization of functions is achieved through delegation of various authorities to field offices.
RIO: Regional Irrigation Offices (14), each headed by a Regional Irrigation Manager (RIM). These implement the plans, programs, and policies of the Agency in the region.
The RIOs oversee the Irrigation Management Offices.
Integrated Irrigation Systems (2), each headed by an Operations Manager for the two reservoir systems: UPRIIS and MRIIS.
IMO: Irrigation Management Offices (51), each headed by a Division Manager. These are responsible for the construction and rehabilitation of irrigation projects and systems in one or a cluster of provinces. These also implement the operation and maintenance (O&M) plans of irrigation systems in collaboration with the farmer-beneficiaries.
The IMOs consist of 40 clustered provinces; and the 9 district offices, and two dam and reservoir divisions of UPRIIS and MRIIS. Provinces with national irrigation systems aggregating less than 3,000 ha are under the direct supervision of the RIO instead of being clustered as IMO. These include Albay, Catanduanes, Masbate, and Sorsogon in Region 5, and Zamboanga del Norte and Sibugay in Region 9. A satellite office will be establish in each of these provinces.
PMO: Project Management Offices (15), headed by Project Managers, implement foreign-assisted national projects, and communal irrigation projects. The number of PMOs varies from year to year. The Project Manager reports directly to the Administrator, through the Deputy Administrator for Engineering and Operations and the RIM.
Locally-funded projects are implemented by the RIO thru the IMO or a team headed by a Project Engineer.
EO366.pdf 126.2 KB
EO718.pdf 26.42 KB
Bidding Results
Carrier Opportunities
Civil Society Organization
CORRUPTION PREVENTION INITIATIVES
NIA Rules
NIA Citizens' Charter
Compendium of Anti Graft Laws
Budget Partnership Agreement
NATIONAL ANTI-DRUG PLAN OF ACTION
Plan of Action 2015-2020
USAD
Briefer
NIA MAIN | Checkmail | NIA Regional Offices Website
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Officially Launched
PhoneRadar
ZUK Z2 with Snapdragon 820 SoC & 4GB RAM Launched in China
Teja Chedalla
Lenovo’s subbrand ZUK had debuted the smartphone market by launching the ZUK Z1 in 2015; the same device was made available in India this month. Today, the company has launched the ZUK Z2 as the successor for Z1. Earlier this year, it also launched the ZUK Z2 Pro with Snapdragon 820 processor and 6GB of RAM in China. The ZUK Z2 is also powered by Snapdragon 820 chipset but comes in a smaller form factor. It sports a 2.5D 5-inch display with Full HD resolution and is also mentioned to feature anti-fingerprint protection.
The ZUK Z2 is limited to just 4GB of RAM and 64GB of internal storage. It has a 13MP rear camera with PDAF and f/2.2 aperture. On the front is an 8MP sensor with an aperture of f/2.0. The device is backed by a 3,500mAh battery that also supports fast charging which charges from 0% to 80% in 60 minutes. It comes with dual SIM dual standby support and runs on Android 6.0 Marshmallow based ZUI 2.0 laid on top. As seen with the earlier ZUK devices, the ZUK Z2 also sports the fingerprint sensor that is integrated into the physical home button on the front.
Connectivity options include 4G LTE, VoLTE, Wi-Fi 802.11 a/b/g/n/ac, Bluetooth 4.1 LE, GPS/A-GPS, and a USB Type-C port. Interestingly the ZUK Z1 came with a USB 3.0 Type-C port, but the Z2 includes only USB 2.0 Type-C port. It measures 141.65 x 68.88 x 8.45 mm and weighs 149 grams. The device comes only in White and Black color options. It is priced at 1799 Yuan and will be available starting from June 7th in the China. As of now, there is no information about the international availability.
Even though the Z2 Pro comes with a slightly larger 5.2-inch AMOLED display, it has only a 3,100mAh battery. It also the USB 3.1 Type-C port that offers faster data transfer speeds and also supports Qualcomm’s Quick Charge 3.0. Additionally, the Z2 Pro is equipped several health-related sensors and comes with an exclusive app for tracking the details. While the front camera remains same, the 13MP rear camera on Z2 Pro has f/1.8 aperture with PDAF & CAF dual focus mode.
Comment what you think
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