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Robert Lohman will play for South in 2016 Les Schwab Bowl
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Tribe players receive Cowapa All-League boys' soccer honors
Created on Tuesday, 20 November 2012 23:00 | Written by John Brewington |
Three members of the Scappoose High boys soccer team received Cowapa League All-League recognition in recent balloting. Those named included (from left) Jesus Martinez, Asa Flanagan, and Nick Nguyen. The team finished with a 2-10-2 record on the season.


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Latest on Sohail Khan »
As soon as the news of Kabir Khan making his next flick titled 'Tubelight' with Salman came under spotlight, fans of the actor went berserk on the social media.
Salman Khan and Kabir Khan's third collaboration after Ek Tha Tiger and Bajrangi Bhaijaan, is all set to roll in July.
Apparently the actor was in the hill-station to enrol his son in a boarding school there.
For those who came in late, there was also news of trouble in Sohail and Seema Khan's marriage. Rumours were rife that Sohail and Huma Qureshi were in a relationship.
There is trouble brewing strong in the Khan household. After the inevitable separation of Arbaaz Khan and Malaika Arora Khan, it seems like all's not well between Sohail Khan and his wife too.
'Pyaar Ka Punchnama 2' fame actor Omkar Kapoor says there's still time before his Sohail Khan-directorial gets rolling as the latter is to helm another project before it.
amous singer Mika Singh, who is the mentor of Comedy Nights Live on Colors TV, had recently quoted controversy after he appeared on the rival show 'The Kapil Sharma Show' as one of their guests. Post his appearance there were reports that Sohail Khan
Salman Khan's brother, Sohail Khan, has been diagnosed with dengue.
Actor Sohail Khan may replace Mika Singh on 'Comedy Nights Live'
Quick on the heels of the Malaika Arora-Arbaaz Khan separation, comes news of a Seema Khan-Sohail Khan tiff too.
Speed News
Uttar Pradesh Minister Azam Khan today condemned the lynching of an alleged cow smuggler in Himachal Pradesh and dared Haryana and Punjab governments to ban sale of the animal.
Uttar Pradesh minority welfare and urban development minister Azam Khan has asked Modi government to enact a law putting complete ban on cow slaughter, beef and products made out it.
police filed a detailed chargesheet against Zulfikar Khan in a local court on Tuesday. -- Saurabh Prashar
Criticising the Smart City project of the NDA government, Uttar Pradesh minister Azam Khan today said emphasis should be rather given on developing "smart villages" to reduce migration of people from rural to urban.
Bollywood actor Aamir Khan has donated Rs 11 lakh for Maharashtra state government water conservation scheme, Jalyukta Shivar Abhiyan. _
The city crime branch will question Mumbai based journalist Zubair Khan who was caught by Delhi police trying to enter the Iraqi Embassy in Delhi to seek visa to join the Islamic State last week. Download the official TIMES NOW mobile app. Visit web.timesnowmobile.com or give a missed call on 1800 4190 300. Stay updated, stay ahead.
The Khar police played party pooper at Bollywood actor Salman Khan's sister, Arpita's, birthday bash held at her Bandra residence early on Saturday. Police received complaints from residents about loud music being played beyond the 10 pm deadline. Download the official TIMES NOW mobile app. Visit web.timesnowmobile.com or give a missed call on 1800 4190 300. Stay updated, stay ahead.
Bombay high court schedules hearing of Salman Khan's appeal against his five year jail term and conviction at 3 pm. Sent from Samsung Mobile Download the official TIMES NOW mobile app. Visit web.timesnowmobile.com or give a missed call on 1800 4190 300. Stay updated, stay ahead.
Actor Salman Khan's appeal against his conviction and five year jail term in 2002 case of drunken driving that killed one person and injured four others to be heard by the Bombay high court today. Sent from Samsung Mobile Download the official TIMES NOW mobile app. Visit web.timesnowmobile.com or give a missed call on 1800 4190 300. Stay updated, stay ahead.
The Allahabad High Court has fixed July 15 for passing its order on a PIL seeking directions for disqualifying Uttar Pradesh cabinet minister Azam Khan to be an MLA and restraining him from holding the office of minister for allegedly holding 'dual office of profit'.
The actor Salman Khan''s appeal detailed paper book was filed today in the Bombay high court with detailed grounds of appeal.
The Bombay high court on Monday set July 1 as the next date for passing directions in Salman Khan''s appeal against his conviction in the 2002 case of culpable homicide not amounting to murder.
Public prosecutor Sandeep Shinde who has reached the Bombay HC for Salman Khan''s bail and appeal hearing awaits instructions from the investigating officer Shengal. The IO has to yet reach the HC. The matter will reach for hearing by 11 or 11.10 am.
The public prosecutor in Salman Khan''s case in the Bombay HC is Sandeep Shinde.
public prosecutor Sandeep Shinde reaches HC for the Salman Khan appeal and bail hearing.


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Dave Chappelle leads comedy tour coming to O.C.
Finally! Actor, comedian and TV and film producer Dave Chappelle officially returns to the stage later this summer to headline the Oddball Comedy & Curiosity Festival, presented by Funny or Die.
The inaugural tour, announced Monday, will be capped by a headlining set from Chappelle, who has only performed a few impromptu gigs in clubs since infamously leaving Chappelle's Show in 2005. Also in the lineup are Down Under musical humorists Flight of the Conchords and Aussie comic Jim Jefferies, The Daily Show's Al Madrigal, Brody Stevens, Chris D'Elia, Demetri Martin, Hannibal Buress and more.
Kicking off Aug. 23 in Austin, the 13-city outing, which boasts two stages, street performers, vendors, psychics, freaks of nature and more, arrives at Irvine's Verizon Wireless Amphitheater on Sept. 15.
"We always love to push the comedy boundaries at Funny or Die and this festival will do just that," said Dick Glover, that online outlet's CEO, in a press release. "It's the perfect blend of comedy and crazy that will for sure resonate with comedy fans looking for a one of a kind experience."
Tickets for the O.C. stop, $30-$95.50, go on sale at Friday, June 21, at 10 a.m.
Photo: Frank Micelotta, Getty Images
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Local News
Prepared Meats and Salads From Reser's Fine Foods Being Recalled in Illinois
The items were made at a Topeka, Kan., plant. They vary widely and include such items as cole slaw, pimento spread and potato salad. The U.S. Department of Agriculture says the items also include 22,800 pounds of products containing chicken, ham and beef.
The company and federal officials announced Tuesday that the refrigerated ready-to-eat products may be contaminated with Listeria monocytogenes. The products were distributed across the U.S. and Canada. There have been no reports of illness.
The company and federal officials listed various "sell by" dates for the recalled products.
Listeria monocytogenes can cause listeriosis, an uncommon and potentially fatal disease. Symptoms can include high fever and severe headache.
A full list of the recalled products can be found here: http://bit.ly/1eJWwbi
See other LocalNews news:HSHS St Joseph's Hospital Presented Partner Recognition Award
Mt. Vernon Police Arrest Three Juveniles For Three Weekend Business Burglaries
City of Salem Street Oiling Schedule for Wednesday
100 Members of Evergreen Christian Church Take Park in Serve Salem Day
Daffy Dill Garden Club Annual Garden Tour and Vendor Fair Declared a Success


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The Rev. Al Sharpton has announced the justice rally scheduled tonight for slain teen Trayvon Martin is being moved to Fort Mellon Park in Sanford.
The park is located at 600 East First Street.
The expected size of the 7 p.m. rally has prompted organizers to change locations from the First Shiloh Missionary Baptist Church to the park.
Sharpton announced through social media that his mother, Ada Sharpton, died early this morning in Alabama, but that he plans to follow through with the rally because she would have wanted him to.
What's new on JAMZ?
- [VIDEO] Jump Smokers Backstage At EBH 2016
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- [VIDEO] Bebe Rexha Backstage At EBH 2016
- Did Justin Bieber Trash Post Malone's Dressing Room?
- [PHOTOS] 101.9 AMP Radio's Electric Bounce House Starring Steve Aoki, Bebe Rexha, gnash & The Jump Smokers
- DJ Khaled has Ridiculous Answers to Ridiculous Questions
- [VIDEO] Steve Aoki Backstage At Electric Bounce House 2016
- [PHOTOS] 101.9 AMP Radio's Electric Bounce House Starring Steve Aoki, Bebe Rexha, gnash & Jump Smokers
- Some Prince DNA Claimants' Documents will be Released
- Fergie's Racy New Song 'M.I.L.F. $' is Here


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Guy and Myriam Ullens Look for New Owners for UCCA and Art Collection
Independent Curators International Names Marian Goodman 2016 Leo Award Winner
Spanish Court Rules Dalí Foundation Has No Legal Authority to Protect Artist's Image
Christie's Postwar and Contemporary Sale Exceeds Estimate in Post-"Brexit" London
Rauschenberg Foundation Names 2016 Artist as Activist Fellows
Chapter NY to Upgrade to Bigger Space on East Houston Street
Travis Diehl on Los Angeles Poverty Department's What Fuels Development
Claudia La Rocco on Cecil Taylor, Miami City Ballet, and Vicky Shick
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Ben Chace, Sin Alas, 2015, 16 mm, black-and-white and color, sound, 90 minutes. Isabela (Yulisleivís Rodrígues).
EARLY IN THE ALLURING, bittersweet Sin Alas (Without Wings, 2015), there is a shot as mysterious as a passage in Jorge Luis Borges or José Lezama Lima, the writers that inspired filmmaker Ben Chace's memory piece about love and loss in a city where past and present soon will be obliterated by the tidal wave of capital that is its future. High above the cluttered cityscape of Havana, the camera captures a pigeon soaring and circling to land inches from the lens. A reasonable explanation: The bird is a homing pigeon and its coop is probably on the roof where Chace and his ace cinematographer Sean Patrick Williams have stationed themselves. If, however, you suspect that bird and camera are secret sharers of a vision beyond the human, then this is a film for you.
Chace's first feature, Wah Do Dem (2010), which he codirected with Sam Fleischner, also explored a Caribbean island culture (in that film, it was Jamaica) by combining documentary and fiction with energizing local music. His follow-up, Sin Alas, was shot entirely in Cuba before bans on travel and commerce had been lifted to the extent they are today. The film began as a documentary about Cuban literary magical realism and then mutated into a subjective fiction about an elderly former journalist, Luis Vargas (Carlos Padrón), whose long-repressed memories of his passionate affair with a married dancer come flooding back when he learns of her death. But Chace's original objective—to capture the Cuba of crumbling Spanish-style nineteenth-century architecture, 1950s American cars, and triumphant revolutionary posters, together with vibrant street life of Havana—informs every scene.
Like Havana and rural Cuba as well, Luis's mind is mapped with memory. Past mixes with present as he walks about the city, finding the mansion where his lover lived with her husband, a military honcho in Castro's government; the theater where he saw her dance; the park where they secretly met. Sin Alas is exceptional for its temporal fluidity, and for the ingenuity with which Chace brings the past—Cuba both before and after the revolution—convincingly to life on what must have been a miniscule budget. Luis's passionate encounters with his lover and the melodrama of the triangle in which they were caught, are like scenes from Latin movies of the 1940s. In memory, the actuality of the romance is inseparable from its romantic archetype and even more deeply repressed childhood memories. Late in the film, Luis visits the town where he grew up, Hershey, named for the American chocolate factory where his father was a manager. His purpose is to find the deed that gives him legal rights to his rambling Havana house so that he can leave it to a young couple who for complicated reasons have no place of their own. But he also discovers the origin of his obsessive love for the dancer in his memories of the maid who worked for his parents and was his forbidden object of desire.
Padron, a venerable Cuban stage actor, gives an affecting performance, as does Lieter Ledesma, who portrays Luis as an earnest young journalist, more in love with love than revolution, but perhaps most anxious to save his own skin. Sin Alas is not a political film; rather it shows how people's lives are defined by personal relationships on which political systems have little effect. As for Cuba, it's a different matter. We will be grateful for Chace's evocative souvenir once Walmart, Amazon, and Chase come to town.
Sin Alas plays through Wednesday, May 11 at the Metrograph in New York.
FOR THOSE INTERESTED in the windfall of innovatory midcentury documentary filmmaking, recent weeks have been awfully hectic. The Criterion Collection has just released a four-movie Blu-ray collection of The Kennedy Films of Robert Drew & Associates, last month New Yorkers had access to a Film Forum retrospective of the work of Albert and David Maysles, and now Anthology Film Archives is hosting a thirteen-day, seventeen-program, thirty-something-film series dedicated to "Québec Direct Cinema."
To US audiences, the films produced under the auspices of Québec Direct Cinema may be less well known than the contemporary works produced by Drew, the Maysles, and Pennebaker out of New York, or the output of filmmaker-anthropologist Jean Rouch in Paris and Africa. If you've taken a university documentary class, you might at least be familiar with Wolf Koenig and Roman Kroitor's Lonely Boy (1961), a twenty-six-minute backstage doc which accompanies Ottawa-born singer-songwriter Paul Anka on dates from Atlantic City to Bronx amusement park Freedomland USA. (Koenig was a German émigré and Kroitor a native of Saskatchewan, though both were instrumental in inspiring and encouraging Quebecois talent through their CBC program Candid Eye.) Re-viewed, Lonely Boy seems at least several centuries removed from the media-savviness of, say, Justin Bieber: Never Say Never (2011), and acts as a time capsule not only of some of the gnarliest Greater Philadelphia–area accents you'll ever hear, but of the queer, transitional moment in pop music between Elvis's Army stint and Beatlemania, when it seemed for a moment that the cultural id might've been packed back into the box forevermore, and the airwaves might have been handed back over to nice, well-kempt young crooners like Anka.
A sense of pregnant anticipation for something to happen pervades the early Québec Direct Cinema productions—not just retrospectively, from the vantage of the present, but as an element of their conscious history-in-the-making construction. The films first appeared in the period immediately preceding the so-called Quiet Revolution that began with the premiership of Jean Lesage, years during which the state would take over the business of welfare from the Catholic church, which had previously run the province as something skirting on a theocracy, and when there was a sudden upswing in Quebecois nationalism, as a portion of the Francophone population—relatively impoverished in relation to their Anglophone neighbors—began to consider their situation in light of other contemporary struggles for self-determination by colonized peoples around the world, an act of political awakening dramatized in Gilles Groulx's docufiction Le Chat dans le sac (The Cat Out of the Bag, 1964).
Groulx, along with Koenig, Kroitor, Michel Brault, and other key Direct Cinema figures, honed his talents using the facilities of the state-sponsored National Film Board (NFB), which, significantly, relocated from Ottawa to Montreal in 1956. (They are also underwriting the series, curated by NFB conservator Carol Faucher.) The earliest works in AFA's program are Colin Low's Corral (1954), a silent, observational vignette of an Alberta cowboy at work herding wild mustangs deftly shot by Koenig, in which one can practically smell the sweat and buckskins, and Kroitor's Paul Tomkowicz: Street-Railway Switchman (1954), a portrait of a sixty-four-year-old Polish émigré in his last year on the job clearing frost and muck from the tracks of a Winnipeg streetcar line.
Throughout the series, one finds a concern with the quotidian realities of Canadian workers, bending down between the rows with tobacco harvesters in southern Ontario (The Back-Breaking Leaf, 1959) or explaining the lots of Quebecois lumberjacks (Bûcherons de la Manouane, 1962), copper ore miners (Normétal, 1959), and paper-mill workers (Jour après jour, 1962). Boiled down to subject matter, these titles may sound like caricatures of dour, responsible state-sponsored art, but the films themselves are something very different. New lightweight equipment and sensitive film stocks that could photograph in low-light (and low-life) conditions enabled high-contrast nocturnal photography and deft stick-and-move handheld camerawork—even a fairly routine piece like Koenig, Terence Macartney-Filgate, and Stanley Jackson's Montreal-shot The Days Before Christmas (1958), made for Candid Eye, features little bravura sequences like cameraman Brault following the unholstered revolver of an armored car guard making the final pickup rounds before the bank holiday. At a moment when much of popular narrative cinema was suffering from CinemaScope lugubriousness and the still-firm grip of Hollywood decorum, the best of the new documentaries offered visual rock 'n' roll—shown to good advantage, one hopes, in AFA's laudably 16- and 35-mm print–heavy program.
Many of the landmark Direct Cinema films dealt not with work but with leisure—the former sometimes appearing as curiously serene, the latter sometimes as quite violent. Brault and Groulx's Les Raquetteurs (1958), depicting a formal meetup of snowshoers in Sherbrooke, Quebec, near the border with New York State, is a key work, dispensing with instructive narration and concentrating on ambiance rather than incident, giving as much screen time to spectators as to competitors. A direct line can be drawn from Les Raquetteurs to La Lutte (Wrestling, 1961), codirected by Brault, Marcel Carrière, Claude Fournier, and Claude Jutra, which revels in the performances of professional wrestlers at the Forum de Montréal, seen pretzeling together hairy ham-hock limbs to the strains of Bach, while the crowds vent their seething, latent energies in cheering on hometown favorites. The filmmakers were assisted in finding their approach by Roland Barthes, whom Brault met when the philosopher was visiting in Montreal, and whose thoughts on the mass ritual of the sporting event can also be detected behind Groulx's Golden Gloves (1961) and Un Jeu si simple (1965), which respectively focus on amateur boxing and professional hockey, particularly the Montreal Canadiens, whose defenseman Lou Fontinato we see sustaining a broken neck. (Coincidentally, the direct cinema program appears only a couple of weeks after AFA's series "Barthes at the Movies: A Retrospective.")
Barthes dissuaded Brault and his collaborators from making La Lutte an exposé of wrestling's fakery, instead steering them into producing something suppler and more ambiguous, while Rouch's technique of "collaborative ethnofiction" profoundly influenced many of the Direct Cinema filmmakers in their disavowal of traditional documentary's fly-on-the-wall sleight for an approach that admitted to the presence of the man behind the curtain. Groulx's Le Chat dans le sac is among several works here in which Direct Cinema pioneers can be found employing documentary tactics within the framework of narrative filmmaking—one can also see Brault's Entre la mer et l'eau douce (1967), starring chansonnier Claude Gauthier and Geneviève Bujold, and A tout prendre (1963), the autobiographical second feature by Claude Jutra, a towering figure in Quebecois cinema who, like Brault, learned at Rouch's feet, and who, unhappily, has recently been in the news in French Canada due to posthumous allegations of pedophilia. A tout prendre and Le Chat dans le sac may be considered the Quebecois landfall of the French New Wave spirit, comparisons which the films openly court. Jutra is perhaps closest in tone and approach to his friend Truffaut, while Groulx's jump cut–rippled drama is in dialogue with Godard—the film, brimming with the restless, saturnine spirit of uncorrupted and insufferably pure youth, features Barbara Ulrich and Claude Godbout as two twenty-year-old lovers, a would-be actress who fancies that she resembles Anna Karina in Vivre sa vie (1962) and a Frantz Fanon–reading Quebec separatist who gets a classic kiss-off from a middle-aged newspaper editor: "Do you know the world you're going to change?"
The world was changing and fast, a fact of which the 1960s Direct Cinema filmmakers were acutely aware and which they sought to capture before the change was irrevocable. Even a work like À Saint-Henri le Cinq Septembre (September Five at Saint-Henri, 1962), comprising scenes taken around the rough, blue-collar precincts of Saint-Henri in Montreal in the course of a single day by a team of Direct Cinema luminaries including Brault and Jutra, today invites a measure of nostalgia for a bygone working-class culture. Any such temptation is severely complicated by a viewing of the staggering The Things I Cannot Change (1966), in which twenty-two-year-old Tanya Ballantine gained full access to the home of Kenneth Bailey, a sporadically employed short-order cook, his wife Gertrude, and their nine young children (a tenth arrives in the course of the film, the other main event of which is Kenneth having his lights punched out). Ballantine's film of the Baileys, isolated Anglos in Montreal's La Petite-Bourgogne neighborhood, ignited a controversy over the filmmaker's alleged exploitation of her subjects, but what shines through today is the depiction of a home defined by an abundance of love and a paucity of resources—circumstances in which film art can sometimes thrive best.
"Québec Direct Cinema" runs through May 17 at Anthology Film Archives in New York.
Christian Braad Thomsen, Fassbinder: To Love Without Demands, 2015, HD video, color, sound, 109 minutes. Lilo Pempeit and Rainer Werner Fassbinder.
IF EVER A FILMMAKER'S life and work are a cri de coeur for psychological scrutiny, it is Rainer Werner Fassbinder's. Both the title and chapter headings of Fassbinder: To Love Without Demands indicate that Danish director Christian Braad Thomsen takes this plea seriously. At the heart of his revelatory documentary, which he also narrates, is an interview he conducted with Fassbinder in 1978 during the Cannes Film Festival where Fassbinder's Despair was featured—an interview which Thomsen says he "dared not watch" for thirty years. Visibly depleted, Fassbinder sits, a drink in one hand and a cigarette in the other, rambling from abstract generalities to startling confessions, as earnestness vies with performance. One struggles to reconcile the needy child of "possibly indifferent" parents with the willful boy who resisted authority, as one does to separate the man desperate to be understood from the skeptic convinced that no one understands anyone, that all feelings are manipulated and all relationships are power struggles.
Whatever once made him wary of this interview, Thomsen eventually realized that beyond the fog was a goldmine—as if he had rediscovered a long-lost psychoanalytic session with a patient whose apparent maundering contained more truths than he suspected. It's no surprise then that everything in Thomsen's documentary expands on these impressions—from film clips, to an earlier interview with Fassbinder and recent ones with actors who worked with him. While Thomsen does not cover the entire career, he has constructed a moving, nuanced, and unsettling portrait of his friend.
After completing a few short films, Fassbinder hit the screen running in 1969 with Love Is Colder than Death, a stylized effort to "reinvent the cinema," Thomsen opines, which, though it won Best Film, was roundly booed at the Berlin Film Festival. Over the next thirteen years—in addition to staging and sometimes acting in plays—Fassbinder directed nearly sixty theatrical and television movies, a rate of production unparalleled in film history, and terminated only by his death at age thirty-seven in 1982. Speculations as to whether he died from cocaine and barbiturates, sheer exhaustion, or an overdose of sleeping pills seemed almost beside the point in light of his suicidal compulsion to keep working—the "only thing," he once said, that made him feel "that [he] existed." Was it an effort to distract himself from the emotional fallout of his childhood? Or to compensate for his tortured affairs? Or to punish himself for the wretched fates to which he drove ex-lovers? All true and all grist for the mill.
As reams of articles, interviews, and personal accounts attest, Fassbinder used and misused nearly everyone with whom he worked professionally, most of them victims of the same postwar generational malaise, seducing them into playing out a perverse "family romance" via the "anti-theater" group he formed. He acted out his own sadomasochistic tendencies by deliberately provoking theirs—both on and off screen—only to reject them in the end, fully spent, as so many discarded props of his films and his ego. He was, in short, a tyrant, a narcissist, and a genius—and he'd be the first to acknowledge all three. How else to describe an artist whose grandiose ambition was "to be for cinema what Shakespeare was for theater, Marx for politics, and Freud for psychology—someone after whom nothing is as it used to be."
Christian Braad Thomsen, Fassbinder: To Love Without Demands, 2015, HD video, color, sound, 109 minutes. Hanna Schygulla and Rainer Werner Fassbinder.
Thomsen was initially struck by the "poetic" texts of such films as The Bitter Tears of Petra von Kant (1972) and Effi Briest (1974), which contradicted his childhood impression—formed by the Nazi occupation of Denmark—that German was the language of soldiers, judges, and executioners. With clips from those films and others, he illustrates how Fassbinder wove his biography and experiences into the fabric of each work, constructing an accumulated image of West German life from the 1950s to the '70s remarkably in tune with social and political reality. This was no small part of his genius. In Gods of the Plague and The American Soldier (both 1970), considered amateur efforts to ape Hollywood's gangster genre, the gangster and the cop are two sides of an "ailing society," both doing a "dirty job." Though a relentless social critic, Fassbinder was never aligned with extreme left-wing groups like Baader-Meinhof, which he believed resorted to the same fascist tactics as those they opposed. For him the relationship of society and the individual was more complex, something he explored perhaps most ambitiously in his television series Berlin Alexanderplatz (1980), based on Alfred Döblin's novel, in which the protagonist Franz Biberkopf, former convict and pimp, was, in Fassbinder's view, the kind of man drawn to Nazi ideology.
As one who believed that everyone had a second, contradictory self that demanded acknowledgment, Fassbinder used the pseudonym "Franz Walsch" in the credits of early films, fusing the first name of the charming, quasi-fascist protagonist of Alexanderplatz with the last name of Raoul Walsh, one of his favorite Hollywood directors. The notion that one's divided personality is a product of social convention is as true of his reworking of Döblin as it is of his other literary adaptations, Effi Briest, The Stationmaster's Wife (1977), Despair (1978), and Querelle (1982), all of which resonate autobiographically.
No title more explicitly proclaims the anguish underlying Fassbinder's work than the Oedipally tinged I Only Want You to Love Me (1978). And there is no more literal indication of how he used his movies to act out conflicts rooted in childhood than casting his mother, Lilo Pempeit, either as a stern, unforgiving parent or a passive "blind follower." Speaking of Fassbinder's Oedipal issues in the 1978 interview, Thomsen wittily but wisely suggests that this use of his mother was the same as killing her. In the nonfiction Germany in Autumn (1978), Fassbinder castigates her mercilessly as typical of her generation's responsibility for the rise of Hitler. In a 1982 recording included here, Pempeit says she was clueless as to what was happening during the war, and after it, was "incapable of raising a child." While her son's indictment stands, his own tendency toward bullying is on display in the next scene as he abuses the actor Armin Meier, his real lover at the time, who later committed suicide.
Given his image of his mother and an absent father, Fassbinder sought "mothers and fathers" in the prewar generation to whom he looked for guidance and inspiration: Freud, whose Moses and Monotheism he wanted to film; Döblin, Brecht, Marieluise Fleißer, and Oskar Maria von Graf, writers whose works he adapted; and American director Douglas Sirk, who inspired him to make films with wider appeal without forfeiting his critical perspective. In fusing melodrama with Brechtian alienation, a move compatible with the notion of the divided self, he found the formula that generated the stylistic shift that began with The Merchant of Four Seasons (1971) and which sealed his reputation as a world-class director when Ali: Fear Eats the Soul (1974) won the International Critics Prize at Cannes.
It is a perfect reflection of Fassbinder's unholy mix of genius and monster that one of the most illuminating aspects of Thomsen's film—his interviews with the actors Harry Baer, Irm Hermann, and Andrea Schöber—is also the most painful. Hermann and Baer were with him from the start. Schöber plays the daughter of the depressed worker in Merchant who drinks himself to death—and whose mother, coincidentally, considers him worthless—and went on to play the crippled, unloved child in Chinese Roulette (1976). If she was the house child star, Hermann was the resident hausfrau, a cold, passive creature in Merchant of Four Seasons, whose barely disguised masochism is in full bloom as Marlene, the mute slave of Petra von Kant. To hear both women speak in the present of the Svengali-like blend of attention and cruelty that bound them to Fassbinder is to sense the inextricable bond between masochist and sadist that may underlie most prolonged artistic relationships, but which in the case of Fassbinder and his entourage blurred the line between fiction and reality.
Fassbinder: To Love Without Demands plays Friday, April 29 through Thursday, May 5 at Metrograph in New York.
THE FACE IS ICONIC: a Capote puckishness flaunting a Warhol cool, eyes alert with faux innocence, starkly framed by round, oversized, black-rimmed glasses, which, like the ones worn by silent clown Harold Lloyd, could easily pass for fake; everything topped by shocks of brilliant blonde—apparently dyed. This is David Hockney—painter, draughtsman, photographer, stage designer—in his brazen, flamboyant posture as naughty boy—one of Pop art's quintessential stars.
Occasionally, time can be kind, so while that era's glitz and hipness has faded, Hockney's art looms larger and clearer than ever. At least that is the impression left by Randall Wright's engaging documentary Hockney. With the artist as guide—in the present and in earlier interviews—we are taken on what could qualify as a whirlwind tour, but for the calm, sober-minded approach of filmmaker, artist, and the many interviewees with firsthand knowledge of the man and his work.
Hockney is as comfortable recalling his working-class roots in Bradford, England—where, as the fourth of five children, he remembers ducking under the stairs during the London Blitz—as he is speaking of his quick rise to fame during the groovy London of the 1960s, of recounting a customs agent's confiscation of his male nudie magazines, or conceding his fascination with the male hustler's life as described in John Rechy's once notorious novel City of Night. Rechy's Los Angeles—comprising anonymous sex, "all night movies and Beverly Hills mansions"—became Hockney's dream city, "three times better than I ever imagined," where, except for trips back and forth to England and the continent, he has lived and worked most of his life, nestled in the Hollywood Hills.
Part of radio's last generation Hockney was so addicted to the "pictures" from America that he felt he had been raised in Hollywood. That, in addition to his "claustrophobic" English home, further explains why he was drawn to a city one must negotiate by car, which abounds in dazzling sunlight and open spaces and reeks with celebrity both counterfeit and real. Journalist Tim Lewis recently remarked that while driving to the artist's home and looking out at the landscapes the "absurd oranges, greens, blues, and reds" of Hockney's paintings are actually "disconcertingly realistic"—a remark that attests to the artist's gift for capturing the essence of a subject beyond its naturalistic surface.
Wright is less interested in leaning on the judgments of art critics and historians than he is in the memories and appraisals of friends, colleagues, and lovers—and Hockney himself. Rarely seen photos and footage document his close friendship with curator Henry Geldzahler, whose persona here could not be more different from the aloof pose he strikes in one of Warhol's film portraits. The rapport between them apparently went deep, beyond their mutual love of literature and the arts. Geldzahler consoled Hockney in times of grief—such as when the latter broke with Peter Schlesinger, his first lover—but both lost many friends during the AIDS crisis.
Perhaps the most rewarding aspect of Wright's deceptively simple approach is how much we learn from Hockney himself, thanks to his generosity in sharing what motivates him, and his amazing ability to discuss aesthetic choices in simple terms. He was so deeply impressed by Wallace Stevens, for example, that he made a series of etchings in 1976 inspired by the poet's "The Man with the Blue Guitar," which he is quick to tell us was itself inspired by the famous painting by Picasso. Even his gnomic utterances, which Wright could not resist inserting throughout like chapter headings, lack pretension. As we listen to the aging artist, we realize that he is as alert to and as excited as ever about cultural forces and technical advances and what they mean for his art. It's no surprise that the man so deeply affected by the movies in his youth has, for the past few years, been painting hundreds of portraits and landscapes on his iPad.
The overall impression this documentary creates is that Hockney seemed both inside and outside the very culture and era he helped to define, keenly aware of how one's private self can easily dissolve into the unreality of public celebrity. The very fact that he became famous immediately and that whatever he did was accepted carried the danger of not being taken seriously. How could he avoid projecting these tensions between his inner and outer self into his work?
For example, many of his famous portraits—Beverly Hills Housewife, 1967, and Christopher Isherwood and Don Bachardy, 1968—began with a black-and-white photograph. Hockney would compose the painting pretty much as he had the photo, but then would paint without regard for the lighting and tones of the original setting, juxtaposing blocks of brilliant color as discrete, clearly bordered entities that stand alone rather than bleed into the backdrop—as if the people he painted were both inside and outside the environment. Foreground and background lose their status and take their places alongside all other separate areas of color. Even a shadow—of a chair, say—takes on a separate existence distinct from its source. While some might characterize such a style as artificial or surreal, it gives the figures in the paintings a psychological dimension not immediately apparent and which results from the artist's personal experience of the divide between inside and outside.
Even Hockney's thoughts about composition, borders, and vanishing points seem rooted in his childhood memories. While speaking enthusiastically of his love of Hollywood movies, he remembers having a sense that the image went on endlessly, that sitting so close to the screen, borders seemed either nonexistent or "miles away," beyond the confines or outlines of the theater. This describes a typical experience of young children whose undeveloped ability to distinguish real space from fantasy facilitates psychological immersion. The same phenomenon can induce the exact opposite in adults, provoking fears of psychic disintegration, of an inability to hold oneself together.
Randall Wright, Hockney, 2014, color, sound, 113 minutes. David Hockney, A Bigger Splash, 1967, acrylic on canvas, 95 1/2 x 96".
Such phenomena may be discerned in Hockney's play with illusionism—he found it "fun"—and in his serious efforts to deal with vanishing points, as well as his pronounced use of borders and edges. With regard to A Bigger Splash, 1967, for example—in which a white spray bursts up in the center of the painting from an unseen dive into a pool—he notes how deliberately the diving board projecting over the pool from the lower frame is cut off at the edge of the canvas. While the implied out of frame space seems at one with that of the viewer, the latter's tendency to be drawn into optical immersion with the painting is arrested by the strong use of borders and perspective.
One of the documentary's last talking heads, fellow artist David Oxtoby, remarks that despite having lived in the glamorous world of fame, celebrity, and the fast life, Hockney remains the same person who grew up in a working-class family in Yorkshire. It's hard not to think about this while watching the movie's final moments As the credits are superimposed, Wright's camera follows the seventy-eight-year-old Hockney strolling comfortably and quietly through the lush grounds of his sunny California home, every once in a while looking back for no apparent reason. And then, at the last second, we hear an off-screen dive into a perfectly blue pool.
Hockney opens Friday, April 22 in New York and Los Angeles.
Lazar Stojanovic, Plastic Jesus, 1971, color, sound, 73 minutes.
IN 1971, before it had a first run in its native land, Plastic Jesus was confiscated by the Yugoslavian government of Josip Broz Tito, and its young director, Lazar Stojanovic, was thrown in the clink by a military court for "anti-state activities and propaganda." His stay lasted several months or a few years, depending on the account, but at any rate it was plenty of time to think over what he'd done. Well, Tito died before the dawn of MTV, Yugoslavia began its anguished atomization not long after the fall of Communism, and now Stojanovic is presenting the New York premiere of his Belgrade Academy of Dramatic Arts thesis film at the Museum of Modern Art, which goes to show that if you can't beat 'em, the least you can do is outlive 'em.
The sacrilegious title of Stojanovic's debut feature comes from the American novelty song written by Ed Rush and George Cromarty—one of the folk ditties of all nations which the film's soundtrack is papered with—but it's the graven image of the secular God, Tito, that's implicitly receiving the razzing in Stojanovic's scattershot satire, which whip-pans between a mock-heroic past and a louche, loutish present, between found-footage documentary and a lightly fictionalized portrayal of the New Morality as it was functioning in contemporary Belgrade.
Things like this weren't supposed to happen in Yugoslavia, where the ruling single party avoided alignment with either Moscow or Washington, progressively mixed aspects of free-market capitalism and socialism, and poured state money into avant-garde art. This was the country where communism swung, where the young people wore dungarees and laughed at socialist realism, the home of young Marina Abramović and the New Art Practice and the animations of the Zagreb Film Company and the Black Wave films of Dušan Makavejev, whose 1958 short Monuments Should Not Be Trusted recently lent its title to a recently wrapped survey of Yugoslav art at Nottingham Contemporary.
What did Plastic Jesus do to crack the veneer? At the center of the straight narrative is a picaro played by the Croatian performance artist and experimental filmmaker Tomislav "Tom" Gotovac, a hulking figure with a humongous beard and receding hairline who is first seen, wearing a peace button pinned to his denim jacket, reading the credits in a singsong voice. Tom, a native of Zagreb living in Belgrade, thirty-three years old like Christ at the time of his death, is a film director, though what we see of his work is mostly arty underground cheesecake stuff, and the narrative is driven more by his troubled relations with women than by his tortured aesthetic ambitions.
As the movie begins Tom is keeping company with an American girl—she's the one who warbles the title tune, and most of their interactions seem to consist of batting around their respective national songbooks, though they also pay a visit to Saint George's Church, where she's eager to see the crypt containing the Karađorđević Kings. When his little Yank takes a powder, Tom takes up with his blonde landlady, whose husband is abroad, only to have her bounce him out onto the street when things go south. (The problems begin when he runs rushes of a softcore shoot while her young daughter is hanging around his room.) Tom hits rock bottom from here, slipped a mickey and stripped by some shady associates, after which he runs nude along Sremska Street in the city center and is picked up by the police, who forcefully shave his scalp and beard as punishment for his failure to resemble his ID. Despite the fact that he now looks like a Holbein, Tom manages to get in with his ex's husband's sister. She tries to set him up with a television producer for work, he repays her by playing grabass with her brother's wife on a trip to the provinces, and she shoots him dead in a pond at the end of a rather gorgeous mock-pastoral long-take—as his corpse bobs on the water's surface, the panicked siblings are trying to decide how to dispose of the body.
In addition to these narrative vignettes—mostly single-shot scenes in shadowless rooms filmed from a stationary camera, sometimes condensed with jump-cuts—there are interjections in which Gotovac direct-addresses the viewer, offering such bon mots as, "The only connection between politics and sex is under the bedsheets" or abruptly standing up to let his limp cock dangle into the frame. Throughout the film there is a glee in provocation for the provocation's sake, which is fairly typical of art-school kids anywhere—when Tom announces his pleasure in filming homosexuals, Stojanovic cuts to his star smooching another man—though the difference here is, of course, there happened to be real-world repercussions for playing the game of épater les commissars.
Politics and sex are the two items that Plastic Jesus seems most to have on its mind. Shuffled into Tom's story is a sort of history of Yugoslavia during World War II, as told through the cinematic detritus left behind by all involved parties—a combination of documentary footage with original material similar to that which was almost simultaneously undertaken by Dušan Makavejev in his far-better-known examination of politics in the boudoir, WR: Mysteries of the Organism (1971). Most of the films from which Stojanovic is lifting material are straightforward propaganda, in which we hear calls for courageous sacrifice from Tito's Communist Partisans, the nationalist Chetniks, Ustaše fascists, German conquerors, Soviet saviors, and so forth, often in full-throated marching songs using lyrics that seem to have been bought from the same wholesale anthem dealer. (That these factions seem indistinguishable when so viewed is very much the point.) In some cases, the archival and original footage interface playfully, as when Nazi motorcade victory laps through flattened landscapes are intercut with a joy ride through the outskirts of Belgrade, which look as though they are in the midst of being excavated or razed. There are also several pieces of found footage that pertain to the German worship of physique and Freikörperkultur (Free Body Culture), opening into wider reflections on the relationship of the state and the sovereign body which end with a fatal assertion of ownership.
A censor might have taken issue with any number of items in here, but the straw that broke the camel's back was a seemingly innocuous scene depicting the wedding of two of Stojanovic's friends, Ljubiša Ristić and Višnja Poštić, who happened to be related to Generals in the Yugoslav People's Army. The inclusion of pseudo-surreptitious footage of high revolutionary officials milling about at a bourgeois ceremony under the benevolent gaze of a bas relief Tito was one piss-take too many, and Stojanovic was caught up in what would be a quiet crackdown. Gotovac, who would reproduce his streak down Sremska Street ten years later for a performance in Zagreb, had his art school matriculation delayed for years. Aleksandar Petrović, the professor who had been instrumental in completing Plastic Jesus, found his latest film, an adaptation of Mikhail Bulgakov's The Master and Margarita, suddenly withdrawn from distribution, around the time that a "Letter" issued by Tito in September 1972 recommended a rollback on liberalism in the wake of the Croatian Spring.
I haven't seen Stojanovic's later film work, which apparently includes a 2008 documentary incorporating footage of the war crimes of a Serbian paramilitary group during the Bosnian War. It's certainly true that nothing would achieve the notoriety of Plastic Jesus—the communist nations, like the capitalist ones, produced their share of filmmakers too insubordinate to thrive within the system. But freed of its original, oppositional "use-value," Plastic Jesus is more than a time-capsule, a counterpropaganda equivalent to the newsreels from which Stojanovic freely clips. Brimming with youthful bellicosity, it's a live-wire with some crackle in it yet.
Lazar Stojanovic's Plastic Jesus plays April 15–21 at the Museum of Modern Art in New York. The filmmaker will be in attendance on Friday, April 15 and Saturday, April 16.
Roberto Minervini, The Other Side, 2015, color, sound, 92 minutes.
THROUGH THE YEARS so many films have been said in reviews and calendar copy to "blur the boundaries" between documentary and fiction filmmaking that we might reasonably expect that the work is done by now, and that those lines—never a legally well-defined border to begin with—are well and truly blurred, there's no putting Humpty Dumpty back together again, and that a handful of tropes of representation that were once given to constitute documentary realism were a fluke in the history of the medium rather than its essence.
If there's still some purpose for boundaries, it must be to determine what films go in what festivals. To wit, the Art of the Real, which began its existence as a regular documentary showcase at the Film Society of Lincoln Center, is now in its third year as an annual festival, and forever redefining the limitations of its mandate. It was ushered into being by the absence of a dedicated showcase for formally ambitious films employing elements of documentary practice in New York City, and a hole in FSLC's already festival-packed calendar.
At the center of the program this year is a celluloid-heavy retrospective, "All My Life: The Films of Bruce Baillie," an extensive exhibition of the work of the eighty-four-year-old filmmaker who is perhaps not usually considered as a documentarian, and whose importance also extends to his role as the founder of both Canyon Cinema and the San Francisco Cinematheque. While the program takes some care to emphasize the nonfiction aspects of Baillie's filmography, including several of his docs made under the rubric of The News and intended to be played at Canyon Cinema venues, it is a little more difficult to comprehend how Daïchi Saïto's Engram of Returning, included in one of two shorts programs, qualifies. Not that I'm complaining, mind you—it's an opportunity to see the film projected in anamorphic 35 mm, which I have been told is quite the experience, and even viewed with laptop hardware the combination of glimpsed landscapes splashing out of darkness and Jason Sharp's worrying saxophone score makes quite an impression.
Sergio Oksman, O Futebol, 2015, color, sound, 70 minutes.
Art of the Real is a summary of recent work rather than a showcase for premieres, and there are a few no-brainer recommendations in this batch. The Thoughts That Once We Had, the most recent essay film by one of the form's acknowledged curmudgeon-masters, Thom Anderson, has its New York premiere here. Born from decades of Anderson's teaching cinema through the writings of Deleuze and vice versa, the film—his most sprawling work since Los Angeles Plays Itself (2003)—sets out to illustrate key concepts from Deleuze's Cinéma 1. L'Image-Mouvement (The Movement Image, 1983) and Cinéma 2. L'Image-temps (The Time-Image, 1985) via film clips and text excerpts, while also holding court on such varied yet interrelated topics as the perfidy of Chubby Checker, the genius of character actor Timothy Carey, and Anderson's adulation of Debra Paget. Anderson is prone to reinventing himself from project to project, and his latest is no exception, surprising in that it finds a filmmaker best known for his skepticism toward Hollywood product here openly in thrall to the power of the screen's seduction.
São Paolo–born, Madrid-based Sergio Oksman isn't an established name on Anderson's level, but if there's any justice his O Futebol will go some ways toward correcting that fact. The film is a deliberately distanced experiment in father-son bonding between the filmmaker and his long-estranged dad shot during the 2014 FIFA World Cup in Brazil, played out within a rigid framework which doesn't buckle even with the appearance of unexpected tragedy. O Futebol has been kicking around the festival circuit for the better part of a year now; I saw it in August 2015, and I don't think I've had a more viscerally emotional moviegoing experience since. Also of special note is the opening-night film, The Other Side, the fourth feature by Italian-American director Roberto Minervini, already acquired for domestic release by Film Movement, and his first collaborative ethnography exercise shot outside of his home state of Texas. Minervini here works with two different and not-so-different sets of citizens in West Monroe, Louisiana—ex-con methamphetamine addicts and a paramilitary militia drilling in preparation for the day that Obama and FEMA come down to try to disarm them—offering a window into their worlds that has been assiduously rubbed clean of the filmmakers' telltale fingerprints.
Bracketing the series on the other end is closer A Magical Substance Flows into Me, Jumana Manna's first feature, which uses as its stepping-off point the writings and recordings of the German-Jewish ethnomusicologist Robert Lachmann, a figure who has been likened to Alan Lomax for his work in documenting the indigenous musics of the varied ethnic groups that he found living in Palestine upon his arrival in 1935: Moroccan Jews, Bedouins, Kurds, Copts, Samaritans, and so forth. Manna uses Lachmann's recordings as a way to infiltrate the homes of descendants of these groups, catching glimpses of quotidian activity as she invites her subjects to hear the voices of their ancestors through the speakers of a cracked iPhone, and incidentally assembling a panoramic portrait of contemporary Jerusalem and its environs as she shoots her own contemporary vignettes of musicians at play.
In the game of "spot the dominating lineup theme," a few possibilities stand out: Self-sufficient solitude can be tracked through in Ben Rivers's What Means Something, revival pick The Moon and the Sledgehammer (1971), or Alessio Rigo de Righi and Matteo Zoppis's Il Solengo, in which elderly local boar hunters advance their theories about what led a somewhat-legendary recently-deceased hermit, Mario de Marcella, to break from civilization and spend more than six decades of his life holed up in a cave on a game reserve in Pratolongo, not far from Rome. In telling the story of de Marcella, the subjects reveal a great deal about local and national history, the vagaries of collective village memory, the tenacity of (possibly misremembered) childhood fear, and, inadvertently, themselves.
José Luis Guerín, Academy of the Muses, 2015, color, sound, 92 minutes.
Along with A Magical Substance, two other films, taking their own highly individual approaches, look into the folkloric origins of lyrical traditions. Ju Anqi's Poet on a Business Trip is a sordid road movie epic which itself took a roundabout route to the screen, shot in fall of 2002 and edited twelve and a half years later, just in time to win the Grand Prize at the Jeonju International Film Festival last year. Done on cruddy, consumer-quality black-and-white digital video, the film follows Xianbo Hou, a thirty-year-old poet from Shanghai, on a journey through the Gobi Desert and to the wild northwest and the rugged Xinjiang Uyghur Autonomous Region, schlepping on buses and hitching rides from drunk-driving long-haul truckers. Hou's misadventures, deadpan exchanges involving cab drivers, working girls, and country shepherds, are punctuated with instances of the work produced on his "business trip," sixteen poems, mostly suffused with melancholia, which more or less obliquely may be connected to what we have seen happening to him.
L'Accademia delle Muse (Academy of the Muses) likewise looks at the source of poetic inspiration, in this case literally returning to Arcadian pastures to roam with Sardinian shepherds. (Another theme in this year's slate: lots of sheep.) The latest from the eclectic José Luis Guerín is a dialogue-dizzy dispositif which, like Guerín's flâneur/voyeur piece In the City of Sylvia (2007), is concerned with desire as a driving force. Neapolitan philology professor Raffaele Pinto stars as Neapolitan philology professor Raffaele Pinto, teaching a seminar on the art of acting the muse to a largely female class at the University of Barcelona. At one and the same time Guerín and Pinto's film is an earnest inquiry into the genesis of artistic production and a wickedly sharp comedy about male vanity cloaked in the mantle of pedantic orotundity, with Pinto fighting on multiple fronts to defend his ethical breaches and compulsive philandering. "I'm possessive," he confesses at one point, "but on the methodological level," while elsewhere he's found tut-tutting that "What you call my double life is simply my research." Even the progressive idea of an "active" muse that Pinto puts forth may strike some viewers as retrograde, but Academy of the Muses, among several works in the Art of the Real lineup, is a testament to the symbiotic synergy between filmmakers and their muse-subjects.
The 3rd Art of the Real runs April 8–21 at the Film Society of Lincoln Center in New York.


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Summer 2016 2 Kicks Registration is NOW OPEN!
SAM's Pre-Kicks and Kickers programs are expanding! This winter we are introducing 2 Kicks, a program designed specifically for 2 year olds. This parent-assisted (parents are required to attend the class with the children) class will focus on developing skills such as walking, balance, coordination and socialization. Additionally, the very basics of soccer – such as kicking and dribbling will be introduced.
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SparkFun will be closed Monday 7/4 for the holiday. All orders placed after 2pm MT on Friday 7/1 will be shipped out next week.
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Hello ,
I have a project that is using Transceiver nRF2401A with Trace Antenna.
Now am Planning to use this Module, I am new bee I could see command set is backward compatable, can someone let me know how do I match the Pins between these two,
No public wish lists :(


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Home > News > Nanotechnology and Smart Materials for Medical Applications
September 18th, 2004
Nanotechnology and Smart Materials for Medical Applications
Following on from the successful Nanotechnology and Smart Materials for Medical Devices conference in Edinburgh in December 2003, this second Nanoforum Conference, organized jointly by IoN and AIRI/Nanotec IT will be held in Rome on the 29th and 30th November 2004 at the Centro Congressi Frentani.
Nanotechnology and Smart Materials for Medical Applications
From Medical Diagnostics to Therapy
Following on from the successful Nanotechnology and Smart Materials for Medical Devices conference in Edinburgh in December 2003, this second Nanoforum Conference, organized jointly by IoN and AIRI/Nanotec IT will be held in Rome on the 29th and 30th November 2004 at the Centro Congressi Frentani.
The Conference will highlight the potentialities of nanotechnology for human health care, with presentations from both the research community and industry. It will have an application oriented profile with particular attention to those applications close to the market.
The Conference will have the following themes:
-New Frontiers of Medical Diagnostics
Sensors (chip devices and wearable); internal diagnostics: molecular probes and machines; new systems and materials for imaging.
-Novel Pharmaceuticals and Therapies
New manufacturing methods; intelligent delivery systems; gene therapy; nano-bio robotics.
-Implants and Prostheses
Materials, surfaces modification and tissue engineering for improved biocompatibility and/or for biofunctionality; power systems for implants and prostheses.
-Effects of nanotechnology on medicine and the health care system (round table discussion)
Nanomedicine compared to current medicine and medical trends; regulatory problems; need for education and formation of trans-disciplinary health care teams; management of complex technological systems; social and ethical issues; barriers to commercialisation.
The conference will have oral presentations and dedicated poster sessions within these themes.
Please submit your abstract (between 250 and 400 words), stating your preference for an oral or poster presentation (please note that all participants giving oral presentations can also present a poster for further discussion) and which theme your research comes under. Abstracts should be submitted in MS Word format (Times New Roman 12 pt used throughout, with title in bold), listing all authors responsible for the work, all affiliated institutions and with the corresponding author and contact details clearly identified.
The deadline for abstract submission is 27th August 2004.
Click here to register
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Toowoomba, your flight is ready for boarding
The terminal at Toowoomba airport was at full capacity Monday morning as the maiden flight of a new service linking Toowoomba to Sydney took to the air.
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Skytrans will operate the flights, and Managing Director Simon Wild says that now is the time right time for the service to start.
"It's a great time with the development going on in the Surat Basin. We [airlines] generally have to wear the cost for about two years, so with the boom going on that makes it a lot easier entry from our point of view," he explains.
Mayor of Toowoomba Regional Council Paul Antonio says that that the new flight service has been greeted with wide spread approval, with many residents continuing to be frustrated at the amount of time it takes to drive into and through Brisbane in order to get to the domestic terminal.
"By the time you get through Brisbane [driving from Toowoomba] you'll be in Sydney as far as this service is concerned," he says.
"This is a service that this region has been calling out for a long time, and I am so pleased that it's delivered and that we're part of it."
Toowoomba resident Heather Smith is one of the passengers who braved the chilly three degrees to board the Dash-8 aircraft bound for Sydney, and is excited by the prospect of the direct flight.
"I live just down the road, so it's very handy," she says.
"I've worked out that it's far more viable to do this [fly direct from Toowoomba] than to go to Brisbane and fly."
Initially, the airline will schedule one service a day with the exception of Wednesday's when two flights will be operating. But the airline is hopeful that two flights per day can be offered within six months.
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Rhode Island's appeal to the high-end homebuyer is not difficult to understand – the Ocean State's 400 miles of seacoast take care of the "location, location, location" mantra in a most effective way. And the top residential sales of 2015 reflect … more
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Male Pointing Lab - Proven hunting pedigree - Labrador Retrievers in Sturgis, South Dakota - Pearson Labs
I have 1 male puppy left of a litter that was whelped on May 18, 2012. He will be auctioned off at the Rapid City Pheasants Forever Banquet Sept. 8, 2012 at the Civic Center. The dew claws were removed. The first and second shots have been given out of a 3 shot booster. He has been started on heart worm preventive medications. He has been introduced to water and is a strong swimmer. He was introduced to a gun in the presence of the mother and showed no signs of being gun shy. I have begun some basic commands and leash training and he is progressing well with "sit" and "here" commands.
The breeding: Emma Lee XIV: Emma is a high drive retriever who will hunt all day. She is intelligent and has a strong desire to please. When she isn't hunting she is a great family dog. She is OFA good with elbows normal, and is current CERF. Her pedigree includes: FTCH Hawkeye's BR Buddy ( FTCH Candlewoods M D Houston x FTCH Candlewoods Wilderness Brooke), Grey Oaks Sara Jean (FC Top Gun Maverick of Apache x Knight's Tail Dehlia)
TDK's Crank Up the Juice: Juice is a high caliber pointing lab that is used as a guide dog in Eastern SD and will pick up around 500 birds a season. He is strong at marking and is a proven producer of pointing labs with a bloodline to back it up. Juice is OFA good, current CERF, CNM clear, PRA carrier, and EIC clear. Juice's pedigree includes: GMPR Joe Macs Cause for Concern (FC AFC Rebel with a Cause x WR JoeMac's Pepper of Lime Creek JH) GMPR MHR Riks Risky Raider MH, Black Gold's Markin Marti (litter mate to FC AFC Hilltop Hayseed and NAFC FC AFC Zinger)
Ad location: Sturgis, South Dakota
Ad created: Aug 26, 2012
Contact Information
Contact Name: Jared Pearson
605-440-1173Contact breeder through email
Pearson Labs Breeder Information


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Arab protests puts foreign policy at the fore
WASHINGTON (AP) — His sights fixed firmly on securing a second term, President Barack Obama had hoped that the rest of the world would wait until after the election if it had to grow restless and demand his attention.
The eruptions in the streets of the Arab world, inflamed by an anti-Muslim video made in the U.S., mean Obama can put it off no longer. The protests are testing the president's foreign policy skills and giving voters a pre-election view of how he handles a crisis.
The turmoil also offers an opportunity — a risky one — for Obama to appear presidential in the midst of the election campaign, to contrast himself with a challenger less experienced in foreign policy and to illustrate that being president is not just about being a steward of the economy.
Even with a rebellion in Syria and tensions over Iran's nuclear ambitions, no international image can be more searing and demand more public attention than that of a U.S. embassy under attack and American civilians in peril. This week's angry demonstrators, flag burnings and imperiled civilians already were drawing comparisons to 1979, when Iranian revolutionaries stormed the U.S. embassy in Tehran and took 60 hostages and held them for 444 days, helping erode President Jimmy Carter's public support.
For Obama, the timing of the violent demonstrations less than two months before the election creates further complications.
His Republican rival, Mitt Romney, jumped on the administration for what he claimed was a feckless response to the breach of the U.S. embassy in Cairo. A favored and popular U.S. diplomat, the ambassador to Libya Chris Stevens, was killed along with three other Americans in an attack on the U.S. Consulate in Benghazi, Libya. And protesters in the capital of Yemen stormed the U.S. embassy compound there and burned the U.S. flag.
"I know that it's difficult sometimes seeing these disturbing images on television because our world is filled with serious challenges," Obama told supporters Thursday in Golden, Colo. "It is a tumultuous time that we're in. But we can and we will meet those challenges if we stay true to who we are, and if we would remind ourselves that we're different from other nations."
U.S. officials sought to distinguish the anti-American protests from the Arab Spring revolutions that ousted long-time strongmen in Egypt, Libya and Yemen and that Obama backed.
"We see this now as principally tied to this video and those in the regions who are seeking to exploit it," a senior administration official said.
The protests and the attack in Libya present a juggling act for the president. He must show resolve both at home and abroad, pressing foreign governments to do their part in protecting U.S. personnel and property, condemning the protesters and at the same time denouncing a provocative, though amateurish video that finds refuge in the cherished U.S. right of free speech. At the same time, he has been forced to push back on Romney.
Obama accused his GOP rival of having "a tendency to shoot first and aim later." And while even some Republicans flinched at the timing of Romney's criticism, that could be forgotten if protests continue to threaten U.S. overseas posts.
Still, in an election dominated by the economy, other issues have grabbed headlines, only to quickly recede.
And Obama's response so far has been somber and focused on protecting foreign personnel. The Pentagon on Wednesday ordered two warships to the Libyan coast.
Obama forcefully condemned the attack in Libya and has decried the assaults on the embassies. Secretary of State Hillary Rodham Clinton forcefully denounced the film, which depicts Muhammad variously as a cartoonish lecher, fool and thug.
But it was just that type of condemnation from the U.S. Embassy in Cairo that prompted Romney to accuse the administration of issuing an "apology."
"If I was looking for what reminds people of the importance of poised presidential leadership, I have to come right out and say that Obama is getting the better part of the argument this week," said Michael O'Hanlon, a foreign policy expert at the Brookings Institution. "I like a lot of things about Romney, but he hasn't handled this very well."
The mob actions in Egypt, Libya and Yemen nevertheless present a challenge for Obama because they draw more attention than other foreign policy conundrums. What's more, in these instances the perpetrators are not state-sponsored, presenting Obama with a diffuse target.
"The risk here for President Obama is that he appears weak because there is not an easy military solution," said John Ullyot, a Republican strategist and former Senate Armed Services Committee aide. "You're talking about unruly mobs and shadowy figures."
The protests in Egypt came on the same day that Israeli Prime Minister Benjamin Netanyahu complained that no ally had the right to demand that it not strike at Iran over its nuclear buildup. The White House was forced to tamp down reports from Jerusalem that Obama had rejected a Netanyahu request to meet on the sidelines of a United Nations General Assembly meeting later this month.
U.S. officials said the president's schedule would not allow for any such meetings, a contrast to last year when he packed his visit to the U.N. with individual sessions with foreign leaders.
Then Obama and Netanyahu spent an hour on the telephone, and the White House said they "reaffirmed that they are united in their determination to prevent Iran from obtaining a nuclear weapon, and agreed to continue their close consultations going forward."
While the problems in Syria and tensions with Iran remain separate, U.S. officials are watching closely to ensure that the protests aren't manipulated by Iran to provoke even deeper problems.
"We watch for Iranian interference in different countries," the senior administration official said, speaking on the condition of anonymity to describe administration thinking. "And when you have any type of instability, that's the type of thing that we look for."
Follow Jim Kuhnhenn on Twitter at http://twitter.com/jkuhnhenn
To reach the pinnacle you have to be able to change with the times
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sponsored Jargon is confusing, by definition. And the financial world has its own set of cryptic words.


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This land is like a slice of New Diego, but with more Disney magic and less alcohol.
The ham radio operator in the New Diego Square train station can be heard repeating Pegleg Pete's Disneyland opening-day speech with a substitution cypher.
Don't click Princess Mode
© copyright 2011–2016
A Pants Aflame production


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Math Worksheets and Printables
Math skills are important for kids to have in elementary school, middle school and beyond, appearing in many aspects of life. Help kids gain confidence in math with our educational worksheets. We cover all the important skills your kids need to know, including arithmetic, geometry, money, time and measurement. Our multiplication worksheets are an especially popular resource for use at home and in the classroom.
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Lowercase Letter Sudoku: ijkl Sudoku is known as a number puzzle, but this kindergarten math worksheet has a fun twist: Sudoku with letters!
Preschool Math: All About the Number 9 Get your preschooler comfortable with the number nine with this helpful number worksheet!
Tracing Numbers & Counting: 11 What would your child do with 11 delicious pears?
Converting Improper Fractions This worksheet will have your child divvying up Kramster food by converting improper fractions.
Olympic Arithmetic: Skiing Time Averages Build excitement about the upcoming Winter Games with this Olympics-themed math worksheet.
Watercolor Paint by Number: Bee If you're tired of color by number, try painting by number instead!
Color by Number Puppy Kids get practice with colors, numbers, and following instructions as they color in this adorable puppy.
Addition with Carrying 3 The butterflies embellishing this adorable worksheet will keep your child entertained as he learns how to manage these complex addition problems!
Double Digits! Practice Vertical Addition with Carrying 33 This adorable printable worksheet will have your second grader practicing double-digit addition--with carrying!
September 2011: Calendar Learning September means back to school! Can you find the first day of school on your calendar?
Tracing Numbers: 2 Two little pigs represent the concept of two on this prekindergarten math worksheet.
Tracing Numbers: 1 One little rabbit represents the concept of one on this prekindergarten math worksheet.
Practice Reading Venn Diagrams #3: Favorite Dessert Boost your child's logical thinking skills with this Venn diagram worksheet all about favorite kinds of dessert.
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Double Digits! Practice Vertical Addition with Carrying 49 Understanding how to solve two-digit addition problems using carrying is an important second grade skill.
Math skills are important for kids to have in elementary school, middle school and beyond, appearing in many aspects of life. Help kids gain confidence in math with our educational worksheets. We cover all the important skills your kids need to know, including arithmetic, geometry, money, time and measurement. Our multiplication worksheets are an especially popular resource for use at home and in the classroom.
Tips to Get Your Child Excited About Math
Math is a subject of great divide: some kids love it, and other kids hate it! You can help make math fun by providing variety, engaging materials like fun math worksheets, and academic support. Try these tips to foster your child's love of math:
- Turn everyday activities into fun math practice. If your child is eating waffles for breakfast, see if he can divide a waffle into halves or quarters. Younger children might be able to count the number of waffle grooves while older children might be able to calculate the waffle's circumference.
- Make numbers a part of your everyday routine. Your child might not like addition, but he may enjoy counting the number of stop signs on the drive to school or the number of stairs on your porch. Lead by example to encourage your child to think of math exercises as a part of his daily routine.
- For kids that have a basic interest in math, try using daily riddles to keep them thinking throughout the day. At breakfast, you may ask your child a riddle like, "What number has three tens and four ones?" or, "What is a mathematician's favorite dessert?" Your child can take the day to think about the riddle and tell you the answer when you're working on math practice worksheets after school!
- Enrich your child's math education by keeping a set of fun math worksheets available. Some kids like to have quiet time to try new math concepts at their own pace. Encourage your child to practice with a new math worksheet for kids daily.
Related Categories: Fractions Worksheets, Measurement Worksheets, Geometry Worksheets


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It's another college football Saturday and we've got you covered with all of the latest analysis on the ACC. Follow along all day as our reporters react in real time on Twitter to the games involving ACC teams, and make sure to keep the conference blog open to keep up with the latest written content.
Scout's Take: Wyatt Davis to Ohio State
14hCraig Haubert
Scout's Take: ESPN 300 DE Zachary Carter to Florida
15hCraig Haubert
Coaching rankings sure don't place much faith in Clay Helton
3dKevin Gemmell
Scout's Take: QB-PP Chase Garbers to Cal
3dTom Luginbill
Scout's Take: QB-PP Tyler Lytle to Colorado
3dTom Luginbill
Dabo Swinney has another coaching gig: Little League
4dMatt Fortuna
Trevon Grimes coached at camp by Urban Meyer, decision in August
4dGerry Hamilton
Scout's Take: WR Saiid Adebo to Notre Dame
5dTom Luginbill


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Latest update June 28th, 2016 1:06 AM
Sheldon Alexander smashed a fine century to guide Vergenoegen to a 38-run victory over Tuschen B when action in the Roberts Gas Station Twenty\20 tournament commenced last Sunday on the East Bank of Essequibo.
Alexander hammered eleven fours and nine sixes in a swashbuckling 134 and got support from Shaun Cameron 28 (2×4) as host Vergenoegen piled up 199-4 off their allotted 20 overs, batting first. D. Rai claimed 3-28. The total proved too much for Tuschen B who suffered fours run outs and were bowled out for 161 in 19 overs in reply. K. Safie made 41 (4×4) and A. Khan contributed 31 (3×4). Dwayne Stevens took 2-23.
At Parika Salem ground, the home team made light work of Tuschen A, winning the game by 111 runs. Kevon Boodie top scored with 44 (5×4,3×6), Kenworth Smith cracked 40 (3×4,2×6) and Sase Narine chipped in with 28 (2×4,2×6) for Parika Salem who rattled up 189-6 in 20 overs after taking first strike.
S. Mortimer picked up 2-19. Tuschen A found the going tough and were skittled for 78 in 17 overs in response. V. Roopchand 24 and Rovindra Debideen 16 were their leading batsmen; Brain Hubbert grabbed 3-15, D. Azeez 2-15 and Sase Narine 2-16.
The competition continues on Sunday with Tuschen B facing Hydronie at Vergenoegen at 09:30hrs, Philadelphia hosting Parika Salem at 14:00 hrs and Tuschen B travelling to Vergenoegen for a 14:00hrs fixture.
Jun 28, 2016By Zaheer Mohamed in Essequibo Charity Secondary moved one step closer to retain their Region Two crown with a comprehensive 4-2 victory over Cotton Field Secondary when the Digicel National...
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Symantec Details Product Road Map
Symantec Friday offered details on its product road map for this year, including integrated antispam protection and a new integrated server security product.
Symantec Friday offered details on its product road map for this year, including integrated antispam protection and a new integrated server security product.
Hewlett-Packard expects to wring another $1 billion in cost savings from its PC business in the coming year, said Duane Zitzner, executive vice president of HP's Personal Systems Group (PSG).
Sun Microsystems distributors are helping solution providers plan their sales strategies to reach end users in Sun's Target Account Rebate Program (TARP).
George Kafkarkou took his first job at Computer Associates 20 years ago and hasn't looked back since. He goes back to the early days of the "spreadsheet wars" when Lotus 1-2-3 ruled the world and when Microsoft was still selling Multiplan. Recently, he spoke with VARBusiness editors David Strom and Robert Demarzo about his plans for the software giant.
Walking the floor of Electronic House Expo here is a bit like watching old black-and-white newsreels of those "house of the future" exhibits.
Handheld computer maker Palm Inc. will immediately let go of 19 percent of its nearly 1,170 workers, the company said Friday.
The database world is about to get a lot more interesting.
Responding to the demand of its partners and resellers, IBM is making it easier and cheaper for database administrators (DBAs) to get certified on the DB2 Universal Database version 8.
IBM this week made another round of job cuts, this time in its services arm and its software unit, according to published reports.
Microsoft's purchase of Connectix has brought attention to the previously little-known space of virtual operating system software products. The products, which also include offerings from VMware and SW-Soft, allow users to mix and match various operating systems running on a single machine. That's a useful method to consolidate servers, to test products on new operating systems prior to a full-blown migration, or to separate applications into their own protected spaces for better reliability without having to add additional hardware.
Hewlett-Packard quietly showed its soon-to-be unveiled storage array, the EVA 3000, to solution providers at its ENSA@Work storage solution provider conference, held here this week.
Gordon Bell has spent the past five years converting his books, family photos and phone conversations into computer files.
Sun on Thursday introduced a carrier-class version of its latest 12-way server.
Novell reported a net loss of $12 million for its first quarter, which ended Jan. 31, compared with a gain of $8 million for the same period last year. The company reported the loss on net revenue of $260 million, down from $278 million in the year-ago quarter.
A host of BEA ISV partners will roll out new software aimed at managing applications and Web services products at BEA's eWorld developer show here this week, officials said.
5 Surprising Statistics About Cisco's Channel Strategy
How many global enterprises does Cisco sell to directly? Exactly how many employees globally are trying to sell Cisco offerings? A new report by UBS sheds light on some figures channel partners need to know.
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Lenovo's OP@L project pairs Lenovo hardware with Red Hat's NFV software stack. The solutions are intended to help the telecommunications industry build out data centers using open source technology to keep the solutions flexible and cheap.
Smart City Challenge: 7 Finalists Envision A New Connected Transportation Network (And Which City Won)
The Department of Transportation reveals the winner of its Smart City challenge. Here's how the seven finalist cities plan to connect their infrastructure to address transportation challenges.
Apply now for Cloud Computing Partner Program Guide.


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