text:
By Gaik Cheng Khoo
Filipino filmmaker Raymond Red was in Canberra as part of the Regional Intersections film screenings focus on Southeast Asian Cinema at the Australian National Film and Sound Archive in 7-17 April, 2011. His visit was sponsored by the College of Arts and Social Sciences, ANU. Prior to this interview, Red participated on a filmmakers' panel discussion that included actor/director Lola Amaria and Mohammad Marzuki, rapper and founder of the Jogja Hiphop Foundation. And after his film Manila Skies was screened, Red took a few questions so there had been ongoing conversation about his work and the state of Philippine cinema prior to this interview.
Raymond Red has been a filmmaker since the early 1980s when as a 17 year old, his experimental short films won him critical attention. While Red went on to make feature films in the Philippines through the 1990s, none were as successful as his short film Anino (Shadows) which brought the Philippines back on the world cinema map when it won the Palme d'Or for the Best Short Film in 2000. Throughout the period, he continued to work, making commercials, music videos and short films. In 2009, Red returned with a feature film he could be proud of, Manila Skies . In the interview I trace the continuities of Philippine cinema history with Red.
Gaik: You're here in Canberra for your film screening of Manila Skies , which is not your first feature but probably the first one with the most control...?
RR: Manila Skies , the original title of Himpapawid (meaning Skies), is my fourth full length feature film and I would say that I definitely had full control over this film because I produced it as well with the help of partners, co-producers as opposed to earlier films. Specifically Sakay (1993) which had a team of producers and financiers, some of them were even unknown to me while we were filming, so there was a different kind of pressure; even though the producers do give you some creative space and respect your decisions in production. In a more commercial set up like that, there are other aspects to the running of the production, there is always the business side which as an artist and filmmaker you try not to think about. And that's usually where the conflict stems from, between producers, and directors and writers. So Manila Skies was one film that definitely came about the way I really conceived it, the way I imagined it to be. Any filmmaker would always wish that maybe they had more money or time to do it ... but generally speaking, I had really total freedom and creative space, even time; it took me on a 2 year journey. The shoot was not a very long period, it was a span of about two months, not really shooting everyday. We shot for 18 shooting days spread out in that 2 months. Previous to that we had maybe 3 months of pre-production and maybe before that, it took me 3 months of conceptualising and writing my script and convincing my friend/actor Raul Arellano who doesn't actually live in the Philippines (he lives near Los Angeles) to fly to Manila to shoot this film. So it was a very exciting experience for me to be working on a somewhat bigger budget film, bigger scale in terms of logistics and production but working on it, pretty much going back to my roots of real guerilla independent filmmaking, having that full control very much the same way I was doing it when I was beginning with my early short films, shot on the small Super 8 film format back in the 1980s.
Gaik: You were mentioning in your interview with Noel Vera in 2000 after Anino won the Palme d'Or that some of that kind of 'do it yourself things' included making sure the crew was fed, having to be producer as well as filmmaker on set ...
RR: Yes, the short film Anino which was very eventful for me back in the year 2000 as it won the Palme d'Or in Cannes that year. In a way looking back now, even though I treat it as a very legit, very serious work from me, whether it's short or long it didn't really matter as it was one serious work for me. Looking back it almost feels like a rehearsal for Manila Skies . It's a different story but the structure of that story seems to have an affinity with Manila Skies . And the experience of producing that film, that film was shot on 35mm, so it required a few more people in the crew, the heavier equipment, and setting up, and controlling some locations. Then again, we shot it almost guerrilla style, running around the city without official permits, sometimes being chased away by cops because we were shooting in areas of the city where they were quite strict ... and also having the actors interact with real people on the streets. Mostly these people were not aware that we were filming. So it became kind of like a practice for Manila Skies . When I shot Manila Skies 8 years later, it was so reminiscent of all the feelings and experiences we had when we were filming Anino.
Gaik: Is it the same area? Because in Anino you see the ending shot of the slums at the bottom and the skyscrapers in the background and then in Manila Skies you also similarly see this. Things seem to happen on this one road in the ghetto in this area in town.
RR: In Manila Skies we purposely went back to locations that we shot in with Anino back in 2000 plus a few more new locations. But mostly moving around old parts of Manila because the texture, the grit, and the chaos of the city, is mostly really felt in these old parts of the city. What's interesting to note is when we did Anino we actually chose certain streets, corners, intersections that were the locations for Lino Brocka's Maynila, sa mga kuko ng liwanag [Manila in the Claws of Neon]. I did admit back then that when I was already shooting Anino, I was doing it like a tribute and I was aware of certain shots and images that I purposely made an hommage to Lino Brocka by doing the shots. There was a specific shot of our lead character, actor Ronnie Lazaro, leaning on a post looking up. That's the opening shot of actor, Bembol Roco in Maynila. So we actually did that; he's wearing a similar shirt, and we repeated it in Manila Skies with Raul wearing this simple typical shirt.
Gaik: It's fascinating because that was going to be my question. I see a lot of similarities between Anino and Manila Skies , a lot of themes that keep coming up; one of which is the use of animals like rats and cockroaches and faeces that you see floating in the river in Anino. You kind of see that replicated in the dog shit [Raul accidentally steps on] where the line between the animals like rats and cockroaches and the human is actually quite thin.
RR: It's showing scenes where people in fact almost get used to living with these pests - rodents, cockroaches and all that. They become part of your environment and we kind of play with that, with Raul's psyche. Because he is a man on the edge, in fact going towards being deranged. And that's why we had short moments where he would almost speak to the rat, the cockroach. In fact when we were filming, there were longer improvisational monologues done by Raul. And they were really fascinating when we shot it but when I was editing, I had to focus where I was leading my story and I felt those takes did not really work very well for our story; so I had to cut them out. But as a performance it was very, very fascinating and almost gripping.
Gaik: With somebody like John Cassavettes, the acting seems so naturalistic but then we find out that everything was scripted word for word. With your films, how much improvisation do you allow and what actually is in the script? How do you deal with your actors?
RR: I actually wrote a 10 page treatment, or a story line or even a sequence treatment and that's basically what we worked with. So it did not have very detailed dialogue but it did explain very clearly to the actors what their characters were about. And through our sessions, meetings, and rehearsals (very short rehearsals actually) I did take time to explain to each actor exactly what I imagined, as well as took in their input. So I gave them a lot of space to immerse themselves and to create their characters. I have always admitted I am not an actor's director. I guess it's because my background is primarily visual arts so I've always looked at the film medium as a primarily visual medium so I tell my stories through the visuals. They always say that there is a danger of cinema becoming a little less emotional if it is just purely visual and yet I disagree with that, because as a painter you pour out a lot of emotion through a single frame or canvas, and what filmmaking gave me was an even bigger space to tell those thoughts, feelings and emotions. Now with the inclusion of the element of time and space, you can let your viewers go through that experience, depending on how much time you want them to go through it. So I do feel that I can express those emotions clearly. Going back to the actors, what I do is I look for actors who I'm familiar with already; most of them have become really close friends and that way they understand me very well. So when I explain ideas, thoughts and feelings, they immediately get into it and are able to impart facets of themselves into the elements that I provided. Basically I also give them parameters...
Gaik: ... so like the Crispin character for example, or the bar scenes or the drunken, semi-drunken scenes, those have an improvisatory feel, the dialogue.
RR: Yeah, almost throughout the film, it was mostly improvisation although I do give very specific key ideas, key words, sometimes phrases.
Gaik: . like the taxi scene, when they are on their way to the robbery?
RR: Right, certain ideas and phrases have really come from me or directly from our story line, so I make sure that the actors say those things even though they are improvising. And I do put some control over the improvisation because, you know, improvisation has become really popular now with indie filmmakers, especially young people doing their first films, mainly because it's an easy way into filmmaking, into making a full-length feature without really writing a script. I always say that the reason I wrote a 10 page treatment is not because I'm too lazy to write the script. I do admit I'm not much of a writer. But I felt that this film would work better that way and so I got the actors who were familiar with me, who I'm familiar with, and we discussed all these characters ...they did all those improvisations. Nevertheless I did control it. I made sure that each scene was going towards where I wanted it to go. The danger with improvisation is sometimes the actors will just go on and on and on because digital filmmaking is very cheap, so filmmakers think it's OK and just roll the camera, sometimes even taking hours, and when they sit down at the editing table, they have so much material they don't know where to cut their film.
The best proof that I had real control over film language was by the time I sat down with the editor (who had not been privy to what was happening in the shoot, they didn't know much about how we were filming), he saw the footage, he immediately knew how to edit it. Because he could see in the shots, the takes - how I wanted it to go. You can see the language already. That 'OK, I can use this, maybe cut to this, connect this' and so on. I usually have an improvisation scene, say the drinking scene at the store, and they would improv for several minutes, then I take mental notes and I review it on an HD monitor (the other advantage of digital) which is very clear, and the sound is very crisp. And we can discuss it on set. We say, 'Ok, don't say that line again' [chuckles], 'whereas you, that was a good point. Repeat that on a close up.' So I'm already editing on set. So I'll shoot the close up when you said this, you know, I'll do an alternative of the other line because you said it the wrong way. Things like that. It is really editing and that's why when an editor looks at the shots he already knows where the stories go.
Gaik: You work quite closely with your editors because I noticed that in the credits there were a few...
RR: There were three editors including me. I did sit through the whole editing process. Creatively the three of us were editors.
Gaik: Are you happy with the results?
RR: Yes, generally speaking, it's a film that I really feel strongly for, and I believe it's evoking everything that I wanted to say and visually being a cinematographer ...I treated it like a painter. I think the visuals do contribute to the story. It's not just pretty cinematography but really, having visuals that jive along with what you're trying to say.
Gaik: I like that you didn't show the violence and the conflict that the two guys getting shot... that was just left as a blank for Raul to find out only at the end. It's not gratuitous.
RR: If you look back into the film, it's being told from the point of view of Raul. It's almost a cliche when you say it's a point of view; then you have to have a lot of actual POV shots (the first person view's point of what's happening). I actually try to avoid that, I try to stick to very traditional film language, very simple story telling because I didn't want to distract the audience from the story. At the same time, visually, you are experiencing it through the eyes of Raul even though you are kind of confused. That's essentially what was happening to Raul then. That's why in scenes like the heist, you basically experienced it the way Raul did. It was just so puzzling, he fell asleep and suddenly what happened, then he realises,
Gaik: And, and it's also interesting, the soundtrack. We're not sure whether it's the soundtrack or whether he hears three gunshot-like sounds that woke him up in the cab.
RR: Yeah. It's an experience a lot of us go through when we're half asleep and then suddenly a sound wakes you up and you're not sure, 'did I really hear that or was that the end of my dream or something', so I wanted to impart that to the viewers. That's how I played with the image and the sound. Eventually in the climactic scene of the the hijacking, that was also intended as something seen either from [Gaik: some imaginary things that happened] or from the point of view of a passenger. Actually at a screening I think in the US, someone commented maybe we didn't have the budget to show the cockpit. [chuckles] We were actually shooting on a plane so I could have shot in the cockpit. We had the resources to do special effects, which we did in the jump. But I chose not to show it because I wanted the experience of being in the cabin. And that's why all the shots if you notice were like (telephoto shots, long shots) it's almost like you're watching this [un]folding right in front of you while you're sitting there. There were no fancy angles, I tried to avoid them, though sometimes they can be very powerful you know, (low angle shots...and so on) but it's not a natural view. So I wanted to see everything the way someone would witness this if you were inside the plane. And nobody ever sees the cockpit. And that's why that's so mysterious with these pilots going in and out and so on. And that was intentional. Even his jump was meant to be like that. He kind of jumps off and we almost like see him jumping out from inside the plane. And then I cut to a point of view almost the way you might see it from the ground, if you were looking up [and seeing] someone jumping from the plane. Of course that last shot with him with the parachute is just one such a magical shot. It was a special effect. That was the only shot that would not necessarily be a normal point of view, unless you were also sky jumping.
Gaik: How did you shoot that scene?
RR: We shot in a real plane. We rented a real plane that was decommissioned so it was just sitting on the airport tarmac. We shot it day till night and we had to light it.
Gaik: What about when the door opened?
RR: When the door opened, the plane was quite high up on the ground, 14-20 ft maybe. It was still quite dangerous. So we had to put platforms just outside. We had to put the blue screen...some cushioning, just a mattress actually, so it was pretty dangerous. We had this giant improvised wind machine, you know in the Philippines they are able to improvise on effects and machines and because it was cheaper to rent. It was fabricated by a group using an old Volkswagon engine, and putting an airplane propeller [Gaik laughing] and then welding grills just to protect you from that. But still it looked really dangerous because Raul had to jump out onto the platform with this giant fan blowing straight at him. You saw the grills, you know. They were quite widely spaced and Raul's head could fit into the spaces in between so his head could have been chopped off. But anyway, Raul agreed to do the stunt himself so he jumped out. Basically it's all post effects as well. We had footage of the ground and some mist and wind and all that.
Gaik: It was very well done. I kept thinking, 'Oh no, how could you open the door?' Because of course the first thing that's going to happen is the effect on all the other passengers who don't have their seat belts on.
RR: At the screening in San Francisco, some viewers were arguing that it was impossible. Then I said, 'You're telling me it's not possible but this is the way it really happened.' [chuckles] it's based on a true event.
Gaik: So he did say, 'Go down to 5000 feet'—
RR: He said Go down to 5000 feet' and at that level, it's basically skydiving altitude. And the pressure equalises. So I told the viewer, you watch too many Hollywood movies, you're expecting everybody to be sucked out. They were flying at 5000 feet and it really happened that way. The only difference was that it was a male steward who opened the door in the true story. Of course in my story I had this special character played by Sue Prado who played three characters... but that's the way it happened: they opened it, in fact the door was ripped off because of the speed they were going. In the real account, the hijacker was in fact just standing by the door for a long time. Maybe he was having second thoughts. He kept saying, 'I'm going to jump, I'm going to jump.' He just kept saying that. And everyone was panicking already because the door had been ripped off, it's open and the wind was rushing in and so the flight attendant pushed him out. That's how it happened in the real event. We had a little of that if you notice. Raul was really about to jump and then she really pushed him out as well. I kind of included that bit of fact, basing it on the treatment.
Gaik: What I find interesting, again some similarities with an earlier film, A Study for 'The Skies', is this sort of naďve quality of the characters for technology. There's this sort of determination to transcend one's limits, to make a connection with a higher being or nature or whatever, you see that in the little drafts that the man in A Study for 'The Skies' has, and then you see that very quickly in [Manila Skies ] which if you don't look, if you're distracted by the cockroach, you don't realise that that's the manual for how to build a parachute.
RR: Right. Yeah, there was that scene on his desk where there were all these magazine clippings, cut outs, illustrations and so on, just scattered on his table. And there was this one very eventful moment where the cockroach crosses along these images. Usually the viewers will totally focus on the cockroach but that was actually giving you a hint of what's going on in his mind. It was already a hint because you had seen him, weaving
Gaik: though we were not quite sure what.
RR: Yeah, you're not sure what it was but somehow you know he was collecting these strike banners and then these images.
Gaik: So what is your fascination with this kind of naďvete or determination of these characters for technology? Because the two characters in Manila Skies talk about flying; well, one doesn't talk about it, he hijacks a plane. But the boy says, 'Will I be taking a plane to the city?' So there's this fascination for flying that you see manifested earlier in Study for 'The Skies'. But at the same time, here you are, you're always innovative and using the newest technology to shoot your films. Although in the past you were more nostalgic for film or more of a purist for film.
RR: Well, maybe it's not so much about that fascination for technology in the films and stories - although you see that in the story. But maybe from an artist's point of view, it's more this effort to try and reach something that seems unreachable. As an artist you're looking for an audience. It began from my early days in painting. I was actually a frustrated painter, because I didn't really know where it was going. But I did do traditional acrylic paintings, oil paintings ... my subject matter was mostly very representational - human figures, but you can see a little bit of a story in the scenes I was painting. I was more into impressionism and also a bit of surrealism. So when I discovered filmmaking, I realise maybe this is a better medium for me to be able to tell a clearer story. And from that point on that I started shooting Super 8 films, I never got back to painting, although I do miss it and have always thought about trying to go back, but it needs real dedication and focus. And since I'm so focused on filmmaking, it's really difficult to go back. So yeah, I would say, that element of the story of these characters always seem to be searching and reaching for something is a manifestation of me as an artist, trying to reach an audience, trying to find people who feel and think the same way as I do.
Gaik: So [your films are] completely secular. And I say this because there seems to be a kind of nihilism or searching for God who is not there. And I'm only saying that because in the context of Catholicism and the Philippines that there's such a hopelessness and you see how life is cyclical and the passing of certain negative things from one generation to the next, to the younger generation. I know you talk about the possibility of hope and ambiguity of, of ....
RR: It's true... most of my films seem to be very negative, in feeling, in ideology. But I always think there's always a hint of hope in the end. There's always this questioning...
Gaik: Even in Study for 'The Skies'?
RR: In Study for 'The Skies', it was almost like a spiritual awakening and realising. It was very poetic in that sense. Here's a man trying different contraptions to fly. And eventually he realised that all he needed to do was just to set himself free. And it was symbolised by being naked, and he just jumps off. But at the same time some people can interpret that as him jumping off a cliff. Maybe he died. Maybe death was the way to freedom, to reach the skies. So you can interpret it in many ways.
What's interesting about A Study for 'The Skies' is that it is in fact a study. That's why I call it that. Because I actually have with my friend artist/collaborator Ian Victoriano, he's a schoolmate from the Philippine High School for the Arts [Gaik: he wrote the script, right?] He wrote the whole story and I expanded it. And we collaborated to write it into a full screenplay. We actually have a full script, a fictional story about Filipino rebels fighting in the last days of the Filipino-American war at the turn of the century in the 1900s, as the Americans were colonising us. That idea was also because those years were just a few years before the Wright Brothers eventually flew in the first aeroplane. It was like the space race of the 1960s. What if there were Filipinos trying to beat the French, the Germans, the Dutch, and the Americans into inventing a flying machine? But at the same time it was a symbol of their desire for freedom because they were in fact fighting in the Filipino-American war for independence. And we do have a full screenplay of that and that is a more naturalistic drama. Since I couldn't imagine doing a film like that for a very little budget, I feel, a script like that would only work if it feels very real: it has to look like the period, it has to have some of the war scenes. It can be a costly film so I realise maybe I can do a study. And that's why I did Study for 'The Skies'. I didn't know that as a short film, it would become very successful. It was recognised as a very strong, powerful short film, locally and as well as when I started showing it at film festivals abroad. And funny thing is that until now, I haven't found the right funding to do that film in feature-length. In fact for so many years and even after Anino, I was dreaming of doing that film. But since we couldn't find the right money, I decided to use the same title, because the title was , Himpapawid,, which means 'skies', I decided to use it on this new film because I thought it also has that affinity with the story and the subject - this hijacking event. So I asked permission from Ian. I said, 'I'm going to use the word but I'm not going to put the word 'the' ('Ang')' because our original title is Ang Himpapawid (The Skies). I've virtually rewritten parts of that for that screenplay and we now call it The Legend of the Skies so that in the event that we find producers and financiers, we will make that film.
Gaik: My next question was going to be, if you had the opportunity, what film would you make. You had mentioned earlier in the 2000 interview with Noel Vera about Makapili. I guess that film wasn't made either?
RR: Actually Himpapawid is one of the earliest concepts or scripts that I had because Ian Victoriano and I conceived of it, way back in '83 when we were in university in the College of Fine Arts, UP. We had just graduated from the Arts High School. In fact we attempted to shoot it as a full-length feature back in 1986 on Super 8 film. We shot a few rolls of it, we were on location. We had built some flying contraptions and had a different actor than the one from Study for 'The Skies', and that's when I realised, 'It's not gonna work because we need real money to do something like this.'
So we stopped shooting. Unfortunately, a lot of the Super 8 footage was lost. It had dialogue, we were shooting with mikes and all, using Super 8, it would have been very interesting to archive. I think we have a few stills of that—you see two characters ... and the flying contraption. Eventually in 1988 I did Study for 'The Skies' and that's when I said, maybe I can use the short film to propose for funding. Eventually I was able to use Study to try and propose for funding grants from Germany in 1990, two years later. And I got an artist-in-residence grant, I lived in Berlin for a year, and that was the time I wanted to develop the full screenplay and try to look for money in Germany. That time I saw grants possibilities but I realised the money was still not enough to do something like Skies. I ended up doing my first feature which I thought was much more feasible, Bayani [Heroes] in 1991-92.
Gaik: So what about Makapili?
RR: Around the time, I was also shooting a short film called Makapili. It was based on the Filipino collaborators with the Japanese, I was focusing on the subject of enemy collaboration during wartime. It's based on true events. There was in fact a formal organisation that declared their allegiance to the Imperial Japanese Army during the last months of World War 2. So as unusual or as negative as that may seem to a lot of people who were waiting for the Americans to liberate us, it's interesting to note that the core people who organised that did have very strong convictions. Basically it was anti-colonial; in fact some of the leaders were from the Filipino-American War. They had grown old fighting for their convictions and they'd rather side with the Japanese.
Gaik: Wait, did they not see the atrocities, I mean it's interesting that they should have this organisation only at the end when the whole Japanese promise of the Greater Asian Co-Prosperity Sphere became, of course, just a blatant lie? It was so obvious in Malaya.
RR: It's quite puzzling because the organisation was formalised towards the end of 1944 when the Americans were already about to land ... they were already going to invade the Philippines. Cos it took several months before they could finally invade Manila which was the main target, being the capital. It was those many months of suffering and conflict that my film focuses on because we actually saw, again, the internal conflict within Filipino society and then the different factions, the different ideologies. In fact the communist movement had already been growing as well. At that time the guerrillas were all fighting one common enemy, but eventually
they realised the extreme difference of their ideologies - between the pro-Americans and the communist guerillas. That's another story altogether but my story actually ends there, implying that some people went on to the hills and didn't surrender their arms.
Gaik: So Makapili was made as a film?
RR: There was another attempt. I was able to do a short film on Super 8 again back in '89. I wasn't happy with what I was shooting, because it was low budget, small format and again I realised it was such a rich subject that I should develop it into a full-length screenplay. So I never released that short film. But a few people were able to get a copy of it. I always intended it to be just a study that I didn't even want to show to anyone. I only wanted to show to prospective producers. My co-producer Roger Garcia (for Manila Skies ) actually helped me with that so he's a co-producer of Makapili. Anyway, years later, for some strange reason some copies of that study circulated to a few people and Alexis (Tioseco) was the one who was really fascinated by that because he was able to get a copy. And I always beg them not to show it to anyone else because it was meant to be just a study.
Anyway, so, you will see that through all these years of my filmmaking I, made many attempts to do certain things and then the realisation that I had to shift or, not really give up on a project but put it aside, and Makapili was one of them. There were many attempts. Right after Anino, I actually attempted to do another study, by doing a screen test. And this time a little bit more ambitious, I shot the screen tests on 35mm film and I tried to hire more known actors and actresses and did screen tests on them and hope that these screen tests were scenes that I could show to prospective producers [for Makapili]. ... with The Skie s still at the back of my mind, and still waiting there. And, you know, I really went to different institutions that would have support. I was even in the Pusan Film Festival where they had the Pusan Promotion Plan, you know, where you can take a proposal and pitch a project to prospective financiers, producers. So we pitched Makapili, there were one or two very curious very interested producers but a few years later, we just couldn't agree so all these talks fizzled out.
Gaik: Do you think it has to do with the fact that it is so much entrenched in Philippine history, and filled with the particularities of Philippine history?
RR: I guess that was what most of the potential producers saw, that maybe it was too specific to Filipino history, that the international audience may not be familiar with Filipino culture and Filipino cinema and then giving them something even more specific about our history can be confusing. But sometimes I disagree with that. I have always argued that the issue of enemy collaboration is quite common. It was happening in Europe, it was happening in France, Italy and so on. And there were all these war crime trials after the war, stories of war criminals being prosecuted. It happened exactly that way in the Philippines after WW2 and the same people who were in power before the war or maybe into the war were in power again all the way to the 1950s. I wanted to focus on that because it's basically looking at the roots of this eternal conflict which is really the root problem with Filipinos. We always say we are different islands, you know, different regions and so many different dialects that no matter how we try to pull ourselves together, there's always that friction.
Gaik: Is it because of that or is it some people might say, let's go back to 1898, and to the splits or the factions already between Bonifacio, and Jose Rizal [sic.] that ...
RR: Well, in a way in the feature films that I've been doing, I have actually been focusing on that, using history as a view of where the roots of all these problems were coming from. That's why my first film Bayani (1992) was based on the conflicts of the Katipunan Revolution against the Spanish, but focusing more on the infighting that was happening between the different factions of the Revolution; between Andres Bonifacio and General Emilio Aguinaldo who eventually becomes recognised as our first legitimate president of the Republic, although it was short-lived because the Americans immediately took over. So, I had been focusing on this issue. It's true that if you look back on that, it had something to do with being regionalistic. The Katipunan revolutionaries, basically this organised revolution, was comprised of different factions. The factions were divided according to provinces and regions. And that's why eventually there were disagreements on how to go about with the revolution.
Gaik: Benedict Anderson has written a chapter on the Philippines where he talks about imagined communities and the birth of nationalism, about how modern nationalism is really very much a product of the imagination that is realised through the dissemination of print and the media (through printing presses) and that is a very credible, very seductive idea. Because if everybody is not sharing the same language and reading the same newspapers about their country, whether it's somebody who is living in Luzon, or in Iloilo or in Mindanao, then what is it that actually binds them, right? Um, I, as an outsider, don't quite see the regional differences or pluralism as a problem, coming from Malaysia where the government is constantly playing racial politics to divide and rule. I think that for us, our biggest thing that binds us all is an anti-corruption position that is for accountability and equal justice and fairness and all of that. And I think that perhaps that is not so very different in the Philippines.
RR: It definitely is the same, you know, in that it does bind us, the conviction to fight against, at least to speak out against corruption
Gaik: at all these different levels, as many of your films point out
RR: ...the fact that it has been happening for more than a century now and all keeps repeating itself in history and in the most critical times ... all the way to our so-called People Power Revolution in 1986 which made the Philippines famous. It was a peaceful revolution. Yet years later, people realise life was pretty much the same. The only difference is that, you realise that you have so many enemies around you. During Martial Law years, it's like everybody thought, 'ok we have one enemy, Marcos,' so we got rid of one person but everyone else was still in place in the Philippines. And now the mud-slinging starts, you know, so it's like left and right, and now you don't know how your real enemy is. And it's been happening like that ever since, well, for 25 years now.
Gaik: I notice, maybe it's not so much a trend as a strand of Philippine cinema where people are making historical films, on the one hand. So you have people like, not just yourself but also, Raya Martin, and Lav Diaz working on a much broader canvas, and on the other, using also a very social realism, or a very gritty socialist realism that goes back to Brocka. So there's this combination of Brocka's social realism and then also history. Where do you see Philippine cinema going with this?
RR: I do have to admit that it's that generation of filmmakers in the '70s who were really provoked. That's not to say that there may have been other filmmakers much earlier who were using film or cinema as a medium to be almost like an activist or to speak out with their convictions and ideologies. But it was the '70s that became very prominent. It was the decade of martial law under the Marcos regime where they really tried to mould and control the whole society. And so artists started using their different mediums to speak out; and obviously Lino Brocka became very prominent because his films started travelling to prestigious events like the Cannes Film Festival. There was an emergence of many filmmakers. Of course we had Ishmael Bernal and Mike de Leon - and Eddie Romero. Romero had been making many films before that; in the '60s he was focused on making these American B-movies. But in the '70s he started doing period films that were not exactly directly socio-political in their message but did touch on the question of identity, of nationalism, that was somehow still linked to what Lino Brocka and other filmmakers were doing. That era is in fact now referred to as the New Wave from that time, that was the first new wave. Eventually in the '80s, we were inspired by that. I think it's been continuing strongly since that movement.
My generation of Super 8, 16mm filmmakers in the '80s were inspired by that first new wave. A lot of other mainstream directors in the '80s were working on very serious relevant. That's the era when directors like Peque Gallaga came about... Jose Javier Reyes, [sometimes known as Joey Reyes], Marilou Diaz had been working since the end of the '70s so she just kind of came about towards the end of the '70s when Mike de Leon and all these other guys were already quite popular - and many other directors all culminating by the time People Power happened. The funny thing is that many people were saying that after the People Power Revolution, Filipino cinema started to decline, both Filipino cinema as a cinema, as a cultural heritage, and as an industry. We can trace the slow decline from that point on; and then, probably the more radical decline with the advent of rampant piracy, cable tv, and now internet downloading. But the interesting is that many filmmakers, myself included, continued to make films.
Gaik: You didn't have that many films coming out in the 1990s, but definitely from post-2000 you had this kind of return to the Brocka tradition that is making head waves overseas.
RR: As a Filipino, if I look at the development of cinema, the '90s was in fact very important. In relation to world cinema, if Philippines cinema was not so prominent, it was simply because not too many films went to international film festivals. There were a few. But it was actually in the 1990s that Lav Diaz started making feature films. His films were still normal length, 2 hours long, he only began making longer films in 2000, in this last decade. There's also Jeffrey Jeturian, a prominent director who worked both in the mainstream as well as being independent started making films in the 90s. There were several filmmakers but maybe we didn't get any prominent festival exposure during those years; and that's why many international film critics felt that Philippine cinema was in a slump. That it disappeared. But in fact the movie industry was still very active. Those were the years when I did my first and second features. Admittedly a film like Sakay I intentionally did not make any efforts to show it abroad.
RR: So continuing on after talking about the '70s and '80s, in the '90s a lot of filmmakers have become really active especially in the independent scene. That's when filmmakers started using other formats like video. There were no consumer type digital cameras yet, not until the mid '90s but early on, a lot of filmmakers were working on analogue video or video 8 or digital 8. Regardless of format, there were a lot of filmmakers working on different categories of filmmaking like documentaries, even experimental film, such that indie cinema eventually got more recognition. Award giving bodies and institutions started supporting it. The government suddenly had more programs to support filmmaking even in the universities. and so you saw the growth of indie filmmaking amongst young people. Eventually when digital came out, a lot of young filmmakers, being inspired by Lars von Trier and so many others in Europe and America, started working in this format. The most popular then was mini DVD. Of course, we now know that in the past decade many other technologies came about, hard disk recording, HD ... many filmmakers took advantage of that.
What we're seeing now with filmmakers taking advantage of new technology for me is reminiscent of what we actually started back in the '80s when we took advantage of Super 8 film which was the cheapest film format back then. So Super 8 was our digital. Or you can say that these new digital cameras, even these digital SL still cameras with HD function are the new Super 8s of today. So we're seeing the continuation of that, the democratization of filmmaking wherein almost anybody can just pick up a camera, it's more accessible and affordable and it's happening all over the world. So Philippines is no different. And that's the reason why a lot of films are being produced now and getting recognition and exposure in international events.
Gaik: My next question is, to what extent do foreign film festivals set an agenda for Philippine cinema?
RR: What we've been seeing recently is that definitely the recognition and the opportunities to exhibit films in international film festivals help promote the cinema, more specifically indie cinema, because these are the films that are selected more often than the commercial films. Plus the fact that the commercially produced Filipino films have declined in numbers, we've seen the decline really of the movie industry as a business but Philippine cinema is in fact very much alive and active with the number of filmmakers. .But film festivals have become somewhat the main target of filmmakers.
Gaik: We had this brief discussion about Brocka before and how, perhaps the way Brocka was held up in foreign film festivals has something to do with the kinds of images that we get to see of Philippine cinema overseas. How is that replicated today?
RR: Yes, the downside is that as I've said, many filmmakers now probably are making films specifically to get into festivals. It's basically the same thing they are accusing of commercial films, of working on formulas. So, in a sense, exoticising the socio-political situation of the Philippines and putting it on screen has become a formula. You know somehow that foreign film festivals would pay attention to films with this subject matter.
Gaik: Although Anino was made in 2000, before the new wave of Filipino Cannes and Venice winners/attractions like Brillante Mendoza's films and Lav Diaz's films... were you making a statement about your own position as a filmmaker? Are Filipino filmmakers making a living by 'stealing' images of poverty and selling this image overseas to foreign film festivals? What is the difference between the social realism of Brocka then and the social realist films made by a younger generation of Filipino filmmakers today?
RR: Regarding Anino, I somehow wanted to pose the question and the challenge to both myself and to other Filipino artists, to ask themselves the most important question, "why am I making this film?". Anino somehow touches on the issues of sincerity and conviction of filmmakers who tackle sensitive sociopolitical subjects. Thus, I represented the artist as a down and out struggling street photographer for hire in old Manila, a familiar character for many decades and yet is now a dying career. I set out to do Anino the short film with the intent of only showing it in local Philippine events and try to reach a truly significant sector of Filipino audiences. The eventual recognition in international festivals is really just treated as a big bonus to any filmmaker, definitely helping promote him or her, but more importantly bringing attention to the emerging cinema as a whole. It must not be considered a personal achievement but rather recognition of a collective effort.
Observing the trend in Filipino independent cinema today, it seems that it is in danger of finding false recognition and affirmation through being legitimized by international film festival awards and recognition, while remaining generally obscure in its home front. This may lead to defeating the true purpose of the cultural heritage of cinema, which is to reach a true audience that matters the most, the very people whose stories are in fact the roots of this cinema. It is sad to see so many films being hailed now in festivals but remain as just news items or familiar titles due to the publicity it generated in its international exhibitions. It is even worse that it is inspiring an army of filmmakers now simply making films to get into the film festival gigs. There has to be a concerted effort in solving the biggest obstacle now for an emerging cinema, and that is finding a means to reach a local audience, a system to efficiently distribute and exhibit the films.
Along with the feature films, I continue to make short films as I have always believed in the power of the short form, which is the origin of all of cinema. In the past decade for example, I did the short films Salvaged Commercialism 2002 - a montage of outtakes from tv commercial productions I did, Melancholy 2004 - a very short visual poetry using the first mobile phones with video function, Mistulang Kamera Obskura - a short narrative about questions on identity 20 years after the 'People power' revolution of 1986, and lastly Pusila (Shoot) 2010 - a parody on the issue of corruption represented in an homage to the "Russian roulette" scene from the movie Deer Hunter. I have continued to do both narrative as well as experimental short films, a tradition I've continued for almost 30 years now, and I will continue to promote it amongst new filmmakers, so that they can recognize the art form as separate from full length features or even from treating shorts as mere exercises or stepping stones to bigger and longer films.
We had to rush to another appointment as Raymond was giving a seminar so the interview ended abruptly and he later followed up via email. In the post-seminar discussion on campus immediately following this interview, Red admitted that perhaps some critics would see his work as contributing to this type of subject matter too. He is aware that his middle class position and values might play a role in this, but he also explained that he grew up in a neighbourhood where he mixed with kids who did not have the same opportunities as himself.
All in all, Red's ouevres, vision and beliefs portray a picture of the nation's political, socio-cultural and economic conditions shaped by its living history. It is one that asks questions about what it means to be human, what the general environmental conditions of possibility are to sustain basic human rights let alone nurture the spirit. These are factors that no conscientious serious Filipino filmmaker can escape tussling with, in their individual filmic representations of Philippine society whether yesterday, today or even tomorrow. I'd like to thank Raymond Red for agreeing to this interview.
Copyright ©2005-2020 Criticine. All rights reserved. Web Design/Development by Inksurge and TechHiveHome | Features | Interviews | Reviews | About | Contact


text:
In honor of Holocaust Remembrance Day, Henderson County students are visiting Agudas Israel Congregation in Hendersonville this week to learn about Judaism and the Holocaust.
In honor of Holocaust Remembrance Day, Henderson County middle and high school students are visiting Agudas Israel Congregation in Hendersonville this week to learn about Judaism and the Holocaust.
The two exhibits at the congregation and lessons by Rabbi Phil Cohen are part of the "Yom HaShoah" program co-organized by Agudas and the Unitarian Universalist Fellowship.
On Tuesday, Rugby Middle students were handed individual cards with names of Holocaust survivors and searched throughout the exhibits for their corresponding profiles.
Those particular stories were of Holocaust survivors who settled in Western North Carolina, part of the exhibit "From the Shoa to the Mountains," on loan from the Center for Diversity Education at UNC Asheville.
Students read aloud poetry written in concentration camps, and letters from a mother chastising her daughter for buying into Nazi propaganda and belittling her own Jewish family.
The latter was part of the exhibit "Faces of Resistance: Women in the Holocaust," which details women's personal stories of Nazi defiance.
While one group of students toured the exhibits in the hall, a loud sound trumpeted from within the synagogue, followed by several half-hearted toots. Cohen was demonstrating how to blow a shofar, or ram's horn, and allowing students to try it out.
He explained that the shofar and its ceremonial trumpeting during Rosh Hashanah is one of a multitude of Jewish symbols and traditions.
"Rosh Hashanah service is a little long," said Cohen. "Suddenly you get to the section where you blow the shofar" and everyone wakes up, he said.
One of the synagogue's four stained glass panels incorporates at least five symbols of the Jewish Sabbath, Cohen said. The design depicts a blessing over candles and a glass of wine, braided challah bread, a Havdalah candle — the burning of which marks the end of Shabbat, or the Jewish Sabbath — and a Torah scroll.
Cohen then opened the synagogue's ark and removed the Torah to teach the students about the sacred document. Catherine Lieberman, congregation member and exhibit docent, said Cohen removing the scroll from the ark was quite an honor for the kids.
"He rarely takes that out," said Lieberman. "That's so cool."
Cohen also encouraged Rugby Middle students to ask questions about Judaism. One asked why the pew books opened backward, and Cohen explained Hebrew is read from right to left, and the prayers and songs for services are written in the traditional style — though the English translations underneath the Hebrew reads left to right.
Another student asked what is the most significant difference between Christianity and Judaism.
"Jews do not accept Jesus as the Christ ... which leads to a lot of other differences" including dietary restrictions, said Cohen.
"On the one hand, there are differences," he said. "But the similarities are much, much stronger than partisans on either side tend to think."
The 30-minute lessons on Judaism and the "Yom HaShoah" program exhibits are new to Agudas, and something Cohen wants to continue in the future.
For the past two years, the congregation held a special observance on the Sunday of Yom HaShoah. But this year, "I wanted to do something a little more educational," Cohen said. "When I put this together, I had no idea what the response would be."
So far, 200 Hendersonville Middle students have visited the exhibits and synagogue, and a total of 200 Rugby Middle students and classes from East Henderson High will attend by week's end.
The public is invited to attend speaker presentations on Wednesday and Thursday at 7 p.m. For more information, call 828-693-9838 or visit www.agudasisraelsynagogue.org.

subset: commoncrawl


text:
Employee benefits
Benefits for Clark County School District employees are outlined in the Negotiated Agreements.
For more information regarding benefits, please contact:
- Employee Benefits
Phone: (702) 799-5418
- Payroll
Phone: (702) 799-5351
- Public Employees' Retirement System (PERS)
Phone: (702) 486-3900
- CCSD Retirement Information
Human Resources
Phone: (702) 799-0206, Option 1
Email: firstname.lastname@example.com
Other Benefits Information
Early Retirement Incentive
For Teachers Only
The District will provide an incentive to licensed employees who meet the criteria and adhere to the following procedures:
- Have twenty-nine (29) years of accumulated service time in the Public Employees' Retirement System of Nevada (PERS).
- Have been employed as a teacher for at least fifteen (15) years with the Clark County School District.
- Terminate employment with the District at the conclusion of the current contract year.
- Have one hundred (100) days of accumulated unused sick leave.
The District shall provide an incentive as follows:
- The District will purchase up to one year of PERS service credit, total service including such purchase not to exceed thirty (30) years.
- An annual meeting regarding this incentive program is held in April.
For additional information go to the negotiated agreement.
Note The Following:
An employee who has received a District contribution toward the purchase of retirement service credit or health insurance may not be reemployed by the District in any position eligible for coverage under the Nevada Public Employees' Retirement System until such time as the employee has reimbursed the District for the full amount plus applicable interest contributed by the District for the retirement service credit purchased or the insurance incentive paid on behalf of the employee.
Early Retirement Incentive Program Liaison


text:
Looking at the upcoming fall TV season, we've noticed a few shows that appear to be filling the same void with similar themes. Over the next few days we'll be breaking some of them down for you.
This time around, we have a little case of "Twice Upon a Time" - two series that attempt to make fairytales the new superheroes with twisty takes on classic characters from long ago and far away...
Grimm (NBC)
Nick Burckhardt (David Giuntoli) is a homicide detective from Portland who gets thrown off his game when he starts seeing gruesome, monstrous faces appearing on seemingly normal people. While investigating the brutal murder of a young jogger, he is visited by his aging aunt who explains that he is actually a descendent of the "Grimms," a group of humans with the ability to see mythological creatures known as Hexenbiests and Blutbads (which one character explains has been butchered into "big bad wolf.") Now he has to accept his legacy and protect humans against ancient evils they don't even know were real.
U.S. & World
Once Upon a Time (ABC)
Emma Swan (Jennifer Morrison) is a bail bondsman (sorry, bail bondsperson) living a lonely, deadbeat-chasing life in Boston. One day, she is visited by a small boy who claims to be the child she gave up for adoption ten years earlier. The precocious kid coaxes her to return to his home of Storybrooke, a community she is told is made up of fairy tale characters who don't know they are fairy tale characters. In a parallel world, we find out that Snow White's (Ginnifer Goodwin) happy ending was marred by an Evil Queen's (Lana Parrilla) curse, and that the curse is why these characters are trapped in our world. Only one person holds the key to breaking the curse and setting the beloved storybook characters free.
The Fairytale Treatment
Both "Grimm" and "Once Upon a Time" owe some debt to the Vertigo Comics series "Fables" created by Bill Willingham back in 2002 which imagines fairy tale characters living and working in modern-day Manhattan. The concept caught producers' fancy before. NBC tried developing a "Fables" series in 2006, though it never aired, and ABC tried something in 2008. But this is the first time anything even remotely related has made it to the small screen.
Despite the fairy tale baseline, "Grimm" and "Once Upon a Time" vary wildly in tone and structure, making them unique enough in their own right so they could, conceivably, exist side by side. "Grimm" takes its cues from horror movies and serial killer thrillers. It's dark, it's creepy, and it's meant to be unsettling (screaming monster heads are frequent). "Once Upon a Time" on the other hand, is aiming for fantasy, with its influence clearly "Harry Potter" (humans don't know that they're magical). The tone is lighter, more like a magical mystery, and the idea behind it is that the "fairy tale" world exists in a parallel universe to this one - and that world is populated by traditional versions of classic characters (even a CGI Jiminy Cricket). "Grimm" also imagines that "their" world has always been a part of "ours," in the shadows, while "Once Upon a Time" basically positions "our" world as a fairy tale prison where happy endings don't exist.
The Creators
The tonal differences make a hell of a lot more sense when you consider the creative forces behind each show. The dark and bloody "Grimm" comes courtesy of producers David Greenwalt, Jim Kouf, Todd Millinerm and Steve Oster, who have all collectively and individually worked on similarly-themed shows like "Buffy the Vampire Slayer," "Angel," "Kidnapped," "Carnivale," "The Cape," and, um, "Hot in Cleveland."
"Once Upon a Time," however, is headed up by Adam Horowitz and Edward Kitsis, who both cut their teeth on the superhero soap opera "Birds of Prey" and then reteamed for the mysterious puzzle-solver "Lost." Both of those elements are very much in play on this show.
"Grimm" premieres on NBC Friday, October 21st at 9 PM ET. "Once Upon a Time" bows Sunday, October 23rd at 8 PM ET on ABC.


text:
Solution Spotlight: Reducing Challenges with Integration Testing
Solution Spotlight: Reducing Challenges with Integration Testing
Balancing speed and quality is a huge issue for today's software development organizations. Many have turned to application lifecycle management (ALM) tools to bring order to the potential chaos of the delivery process, but due to ALM's nature, this may be wasting precious time, effort, and costs that could be saved with a different strategy: continuous development (also known as continuous integration).
Read this expert e-guide to learn how, by coordinating rapid software builds with automated testing, continuous development reduces the costs that ALM incurs in:
- Requirements validation
- Design validation
- Testing
- Regression errors and rework
- Integration
- And release.
Also in this e-guide, get an introduction to the relatively new "DevOps" concept: i.e. what it is, if it's necessary, and who's using it.


text:
Greetings all and especially Apsattv;
This forum is a bit different from others and including the old VETRUN forum.
My little stupid question for the month: When we see spam posts, how do we report them? I saw one about a month ago and hopefully I did the reporting right as I didn't receive any acknowledgement.
Thank you.


text:
Structural and magnetic phase transitions in minerals
Springer-Verlag, 1988 - Science - 244 pages
This volume in Advances in Physical Geochemistry presents the latest synthesis of theory and experimental data pertaining to structural and magnetic phase transitions in a variety of geochemically important minerals. The book is the first to cover the impact of this rapidly progressing area of solid state physics in earth sciences and reflects its growing significance for mineralogy and petrology.
From inside the book
19 pages matching entropy in this book
Where's the rest of this book?
Results 1-3 of 19
What people are saying - Write a review
We haven't found any reviews in the usual places.
Incommensurate Phase Transitions in Quartz and Berlinite
Phase Separation in Quadrilateral Pyroxenes and Olivines
Multicritical Phase Relations in Minerals
7 other sections not shown
Other editions - View all
Structural and Magnetic Phase Transitions in Minerals
S. Ghose,J.M.D. Coey,E. Salje
Limited preview - 2012
Structural and Magnetic Phase Transitions in Minerals
S. Ghose,J.M.D. Coey,E. Salje
Snippet view - 1988
Structural and Magnetic Phase Transitions in Minerals
S. Ghose,J.M.D. Coey,E. Salje
Snippet view - 1988
Common terms and phrases
anisotropy ANNNI model antiferromagnetic approximation atoms axis Bachheimer Ballet behavior berlinite Bukowinski calculated canting cation distributions Chem chemical cluster Coey composition configuration coupling crystal field crystal structure crystallographic decreases defined density disordered Dolino Earth Planet electron entropy equilibrium experimental Fe2SiO feldspar ferromagnetic first fit free energy Geophys Ghose grunerite high-spin ilvaite inc phase incommensurate phase interactions ions Jeanloz Landau theory lattice layers Lindsley low temperatures lower mantle LS transition M2 sites magnetic order Magnetic Phase Transitions Magnetic properties magnetic structure Matsui measurements MgSiO Mineral Mn2SiO4 mode Mossbauer neutron diffraction observed octahedral olivines orbital order parameter orthopyroxene orthorhombic pairs Pbl2 perovskite phase diagrams phase transition Phys polytypes polytypic phases predicted pyroxenes quartz reflections Salje sample shown in Fig silicates SiO2 solid solutions specific heat spin glass susceptibility symmetry temperature dependence thermal expansion thermodynamic tion transformation X-ray zero pressure


text:
Frankfurt City Scenes
Frankfurt am Main, the bustling metropolis in the heart of Europe, is known throughout the world for its exciting and unusual contrasts. Here, upon the majestic River Main, tradition and modernity, commerce and culture, activity and tranquility are all harmoniously juxtaposed, with international trade shows and finance on one side, and cultural as well as historical landscapes on the other. Together, they have helped to turn Frankfurt am Main into what it is today--a vibrant and multicultural metropolis.Read More
For more information: FRANKFURT AM MAIN REGIONAL VISITOR INFORMATION
For more information: FRANKFURT AM MAIN REGIONAL VISITOR INFORMATION
19 / 62
Frankfurt Germany, St. Catherine's Church Tower


text:
Walker to push for vouchers on report cards
Gov. proposes expansion of voucher program
MADISON, Wis. — Gov. Scott Walker said he will support legislation requiring that private voucher schools be included in the same accountability system that applied to public schools, including annual report cards rating performance.
Walker didn't include that in his state budget. But on Thursday Walker said he would back separate legislation making vouchers subject to the report card.
Walker is proposing an expansion of the voucher program in his state budget. Based on his criteria, nine schools would qualify initially but that could increase.
A task force Walker created last year recommended including voucher schools in the report card, but the Legislature didn't require it.
One criticism of voucher schools by their opponents is that they aren't held to the same reporting requirements as public schools.


text:
A few weeks back, I brought my parents to Restoran Shabu-Shabu at Puchong for dinner. It was their first time visiting this place although I have been there several times. My previous attempts to take pictures at this restaurant with my old Sony Alpha 200 failed as the lighting was pretty difficult to get good shots. Thankfully, the Nikon D300 didn't have such problem as it was able to cope with the low lighting easily.
What makes Restoran Shabu-Shabu different from the rest of the buffet steamboat restaurant is the manner in which the food are being served. Placed on the conveyor belt akin to those at a Japanese restaraunt, various foods will slowly make its way to all the side tables waiting for the customers to pick them up.
Each customer will have their own steamboat pot which is a good thing for those who like to cook their own choice of food rather than sharing with other friends.
I took these slurpee which came in the form of orange flavour.
And here are some shots I took while waiting for my food to cook. Crab stick…
Crabmeat balls…
Baby octopus (my favourite!)…
And a whole lot of other stuff to choose from…
For RM 26.90 per pax, it is certainly not cheap. But the variety of food to choose from kind of justify the price. A word of advice. It is better to go early as the place will be jam packed by 7 p.m. due to its popularity.
Restoran Shabu-Shabu
No. 55, Jalan Puteri 1/6
Bandar Puteri
47100 Puchong
Selangor Darul Ehsan
Tel: 03-8063 5796
Open daily: 5:00 p.m. – 11:00 p.m.


text:
In search of some weekend sun
Temperatures warm up a little by Sunday
TGIF! Clouds are stubborn today with patchy drizzle and a light mix in our north counties this morning. Highs stick in the low 40s for today and tomorrow. Wind are much lighter and west-it will feel a little less raw today and Saturday.
Clouds will begin to thin tomorrow and we'll see at least some sunshine Saturday afternoon. Highs hold in the low 40s. Warmer for Sunday and the best part of the day will be the morning with sunshine. Low 50s for Sunday as clouds and showers return for the afternoon and evening.
Outlook for next week is dreary. Warmer highs in the mid 40s, but clouds and scattered showers stay in the forecast for much of the week.
Thank you for uploading your weather photos to ulocal on wisn.com. Keep 'em coming to ulocal, our Wisconsin Weather Updates Facebook page or send them to me on Twitter @SeversonSally.


text:
Paying for CORA
Requestors agree to pay a non-refundable 50% deposit prior to compilation of records, as well as final costs before receipt of documents. An estimate will be available to the requestor within one business day of submitting the CORA request. A refund will be given if the actual cost is less than the deposit.
All deposits and final fee payments must be paid to Accounts Receivable by cash, check, credit card or money order in the exact amount. Please contact Accounts Receivable to submit your payment. Make checks payable to "City of Colorado Springs."
30 S. Nevada Ave., Suite 203
PO Box 1575, Mail Code 250
Colorado Springs, CO 80901-1575
(719) 385-5267
Please do NOT send credit card or personal information over fax, email or the online request form. If you have any questions, please contact City Communications at 385-5906.


text:
Poreda will stay in the bullpen:
And then there's Poreda, the hard-throwing left-hander who was the team's top pick in the 2007 First-Year Player Draft. He has become an instant bullpen presence with a 0.90 ERA over eight games, but don't look for him to be stepping back into the role he held so well to the tune of a 2.38 ERA over 11 starts at Double-A Birmingham at the outset of the 2009 campaign.
"Poreda is a reliever right now, and it's unfair to him for me to start him," said White Sox pitching coach Don Cooper. "He's long since been stretched out. He's getting over the hump and showing he's a quality left-handed reliever. We don't want to pull the plug on that."


text: The PCHseries was named for California's adored Pacific Coast Highway that runs seaside along the state encompassing the country's most beautiful coastlines. Like the road's gorgeous scenery, the PCHseries is simultaneously sophisticated and relaxed. Made from subdued tones of solid teak and fitted with cast aluminum accents resembling perfectly rugged wood, the PCHseries offers a whimsical sense of refinement. Essentials of the collection include low, wide pieces supported by barely-there aluminum blades that bestow a light, floating effect despite the furniture's generous size. The collection boasts just the right combination of bulk and minimalism. Moreover, the PCHseries is meticulously crafted with natural, lacquer-free and FSC certified materials as well as aesthetic meant to transcend the test of time.


text:
Dave White Profile
Dave White
Your Movies.com Man at the Multiplex
Dave White's first movie review was of the animated feature Snoopy Come Home. He was seven years old...Read full profile
Your Movies.com Man at the Multiplex
Dave White's first movie review was of the animated feature Snoopy Come Home. He was seven years old...Read full profile
Po still packs a punch. Read full review
Grae Drake Profile
Grae Drake
Movie maven about town
Grae Drake began her love affair with cinema as a wee bairn, as she spent every weekend corralling her friends over to the local...Read full profile
Movie maven about town
Grae Drake began her love affair with cinema as a wee bairn, as she spent every weekend corralling her friends over to the local...Read full profile
I want to kiss Dreamworks on the mouth. Read full review
Critics scores range from 0 to 100, with higher scores indicating more favorable reviews.
out of 100
Metascore®Generally favorable reviewsbased on a weighted average of allcritic review scores.
Hardly a scene goes by that isn't visually striking or kinetically thrilling, and all of it enhanced by 3-D.
Read Full Review
Black is clearly suited for the role of a modern-day Inspector Clouseau, a hero clown who can't help but save the day.
At times, Kung Fu Panda 2 suggests "Bambi" redone as an episode of Oprah. Yet it's a more-than-worthy sequel.
The animation is elegant, the story is much more involving than in the original, and there's boundless energy.
It all moves along briskly, with a degree of visual grace and a solid feel for 3D.
See all Kung Fu Panda 2 reviews at Metacritic.com
OK for kids 6+
Panda hero saves the day in surprisingly deep family film.
What Parents Need to Know
Parents need to know that this sequel to 2008's hit animated film about an unlikely martial arts hero returns to China, where Po (again voiced by Jack Black) and the rest of his kung fu clan must defeat a new villain who's armed with gunpowder and cannons. The movie's surprisingly poignant, sometimes serious story addresses the conflict between tradition and modernization, as well as Po's discovery of a long-hidden tragedy and his journey to accept an unusual upbringing. Not surprisingly, there's plenty of action -- including explosions, swordfights, and lots of kung fu fisticuffs. Scenes involving parent-child separation could also be upsetting for kids. Unlike the first film, this one is offered in 3-D, which can make some of the sequences feel more intense.
Educational value: Offers positive lessons about friendship and teamwork.
Messages: The main message is that family is important, but it's not always defined by blood: The people who love and nurture you are also part of your family. The film also focuses on the need to let go of ancient slights that can only drag you down and instead seek to achieve inner peace.
Role models: Po is a great example of someone who must learn to accept -- and resolve -- complicated personal relationships. At first he refuses to acknowledge some hard truths, but eventually he's able to attain inner peace, and the results are powerful.
Violence and scariness: Plenty of hand-to-hand combat. The fight scenes are fast and furious, but hardly anybody seems to get injured. An important theme here is modernization, as the martial arts warriors must face off against an opponent who's armed with gunpowder and cannons. Scenes involving a baby Po being separated from his parent (and the parent's implied death) may upset some kids.
Sexy stuff: Not applicable
Language: Not applicable
Consumerism: No product placement within the film, but expect plenty of merchandise tie-ins.
Drinking, drugs and smoking: Not applicable
An independent nonprofit dedicated to providing families the information they need to help kids thrive in a world of media and technology.
© Common Sense Media Inc. 2010. All rights reserved.
Movies.com, the ultimate source for everything movies, is your destination for new movie trailers, reviews, photos, times, tickets + more! Stay in the know with the latest movie news and cast interviews at Movies.com.
Copyright © 2020 FANDANGO MOVIES.


text:
A month after James Cameron bought the rights to "The Last Train From Hiroshima: The Survivors Look Back," the book is being pulled by its publisher amid claims that it's riddled with inaccuracies.
At the center of the controversy is author James Pellegrino's acknowledgment that one of his interview subjects, Joseph Fuoco, had falsely claimed to have been aboard the Enola Gay, reported Variety.
"It is with deep regret that Henry Holt and Company announces that we will not print, correct or ship copies of Charles Pellegrino's `The Last Train from Hiroshima,'" said publishing company Henry Holt's statement. "It is easy to understand how even the most diligent author could be duped by a source, but we also understand that opens that book to very detailed scrutiny," "The author of any work of nonfiction must stand behind its content. We must rely on our authors to answer questions that may arise as to the accuracy of their work and reliability of their sources. Unfortunately, Mr. Pellegrino was not able to answer the additional questions that have arisen about his book to our satisfaction."
U.S. & World
Pellegrino's confession about Fuoco led to further scrutiny of the book and the publisher's inability to prove the existence of two key figures in the book, a Father Mattias and one John MacQuitty.
Not only did Cameron have the option on "Last Train," he wrote the introduction. Maybe he can go ahead with the movie as planned, but call it a work of fiction?
Better luck on Sunday, Jimmy.


text:
I have a Java textbook example that is confusing to me because the 3 parameters in a called method have their names inexplicably changed when the method is created, and I can't figure out why. The specifics are as follows:
A reference variable named entity has been instantiated in the main method like this: Growth entity = new Growth();
Then it is initialized in the main method like this: entity.initialize(startSize, endSize, fractionGrowthRate);
All 3 of those parameter names exactly match variable names initialized just below the main method heading. Then here's where I start to be confused. In the driven class Growth (where the initialize method is made), the "initialize" method looks like this:
//************************************************** **
public void initialize(double start, double end, double factor
this.startSize = start;
this.endSize = end;
this fractionGrowthRate = factor;
} // end initialize
//************************************************** **
So why did they convert the parameter names?
Further confusing me is the fact that those same named 3 variables are declared just below the Growth class heading like this:
private double startSize; // initial size
private double endSize; // maximum size
private double fractionGrowthrate; // per unit size
Why convert those names when "start", "end", and "factor" never again appear anywhere else in the program?


text:
Apparently, money can't buy happiness, and if you are using a credit card, that's not the only thing your money won't be able to buy.
Despite the belief credit cards can take you 'everywhere you want to be' — as the old Visa slogan went — the reality is there some places where your plastic won't be gladly accepted.
Here are ten items for which you might need to pocket the card and pull out the cash or checkbook.
1. Lottery tickets
If you dream of winning millions through your state's lottery program, you'll probably have to have some cash ready when you reach the register.
Most states prohibit the use of the credit cards for lottery purchases.
Even in the handful of states that accept credit cards, your card issuer may put the kibosh on lottery sales.
For example, even though Massachusetts allows credit card sales, American Express won't authorize payments for the state's Season Ticket program.
2. Gaming chips and slot machines
Like lottery tickets, many states and card issuers have made it difficult to use credit cards for casino gaming.
Many casinos are dedicated to responsible gaming practices that work to prevent behaviors that will fuel compulsive gambling.
Therefore, credit cards are off-limits for some forms of gaming while issuers may tack on additional fees for other usages.
For example, Nevada law prohibits the transfer of money directly from a credit card to many games or gaming devices such as slot machines.
Even when credit cards can be used, issuers often treat gaming purchases as a cash-equivalent purchase which can mean interest rates of up to 30 percent on your gambling habit.
3. Cars
If your limit is high enough, your credit card company would probably be thrilled to have you pay for your next vehicle with plastic.
Your dealer may not be quite so enthusiastic.
Since merchants pay a fee — typically between 1.5 and 3 percent of the purchase price — every time they process a transaction, some dealers just say no to credit card purchases.
In addition, private sellers are often not equipped to accept credit cards.
Of course, you could get a cash advance, but then you are the one stuck paying an extra fee of up to 5 percent, and you most likely get hit with an exorbitant interest rate to boot.
4. College tuition
Helping Junior get his degree can be costly.
While grants, scholarships and subsidized federal loans may be the preferred method of paying tuition, these sources don't always cover costs.
Using a credit card can be convenient, but according to a Wall Street Journal report, not all colleges are willing to let you charge tuition.
And of those that do, you may end up paying an extra 2-3 percent fee.
5. Mutual funds and stocks
Buying stocks and mutual funds can be a risky proposition — just ask all the folks who saw their savings plummet when the stock market crashed in 2008.
It's one thing to lose your money and another to lose someone else's money.
For that reason, most stockbrokers and brokerage firms won't take credit card payments for the direct purchase of mutual funds and stocks.
6. Mortgages
You might think making your monthly mortgage payment with a credit card is a sure-fire way to rack up reward points.
However, chances are, your lender will have no part of it. Most mortgage lenders refuse to take credit card payments. Why?
Lenders fear moving your debt from a secured, structured loan to an unsecured credit card could lead you to build up additional debt and make it difficult for you to maintain monthly payments.
In a worst case scenario, that could mean foreclosure — something neither you nor the bank wants.
7. Money orders
Credit card companies make lots of money when you take out a cash advance.
So they are unlikely to allow you to make an end run around their fees by converting your credit to cash via a money order.
Many retail money order providers as well as the United States Postal Service refuse to accept credit cards as payment for money orders.
Even if you can find a retailer willing to take your credit card, your card issuer may charge a cash advance fee as well as a higher interest rate.
8. Online pornography
Since 2000, the company has prohibited its users from charging purchases at online adult websites.
It's not that the company is looking down its nose at you, they probably couldn't care less.
Instead, American Express notes the high number of billing disputes that come from these transactions.
9. Medical marijuana
Medical marijuana may be legal in 17 states, but you might need some green in your pocket to buy it.
American Express and Discover cite federal laws as why they will not process transactions at dispensaries.
Visa and Mastercard haven't come out with similar policies, but many of the major credit card payment processors have made that decision for them by refusing to work with medical marijuana merchants.
10. Merchandise at discount stores
Everyone loves a bargain but you'll need cash or a debit card to shop at some discount retailers.
Credit cards aren't accepted at discount grocer Aldi nor do some Save-a-Lot stores take this form of plastic.
Head to Dollar General with your Mastercard, and you'll be turned down although these stores will take Visa or Discover.
Limitations on credit cards are often in place to reduce merchant fees and help businesses keep their costs low.
Credit cards can be convenient, but they won't buy you everything. Whether it is the decision of the credit card issuer or that of the retailer, these are a few of the items that may require some cold hard cash to purchase.


text:
Oldspeak:"The FAA is working on proposed rules for integrating these drones, which are being eyed by law enforcement and private business to provide aerial surveillance." Yes because, law enforcement and 'private businesses' need "Global Hawks", "Reapers", and "Predator" drones to perpetually surveil anything, anyone and anywhere they like. The Pentagon gets paid to rent out its front-line, state of the art, military-grade surveillance and targeted assassination drones to local law enforcement and private corporations. When you understand that the national crime rate is at its lowest rate since the 1970s, and at the same time America locks up more of its citizens than any nation on earth, you have to wonder: WHY? Why does the Corporatocracy get to surveil us with combat drones when ever they want for as long as they want, without our knowledge? There has been no act of congress or provision in the constitution made for this. Thus it is blatant violation of the Posse Comitatus Act, yet it passes as with barely a stir in corporate media. Meanwhile propaganda campaigns have succeeded in normalizing and generating favorable opinions of drone strike on American citizens. When you consider the fact that nearly 80% of Americans "think the use of targeted killing against American citizens abroad who are suspected of terrorism is justified." You see how frighteningly effective propaganda is with asserting control over the public mind. One only has to be SUSPECTED of terrorism, no substantiated evidence need be provided. Suspicion suffices. O_0 80% of Americans have been lulled into meekly relinquishing their civil liberties: due process, trial by jury, freedom of speech, right to petition, freedom of the press, freedom of assembly, freedom from unreasonable search and seizure. All as a result of a concentrated and relentless campaign of fear of the current "Emmanuel Goldstein"; "Muslim Extremists/Terrorists". That fear is also being directed at "Domestic Extremists/Terrorists" as well. Basically, we're supposed to accept as true everyone that doesn't assent to a "Western Style" Globo-imperialistic Cultural, Political, and Economic, and Environmental Hegemony based-system, is ostensibly a threat. And as we've seen with Daniel Manning, Julian Assange, Anwar Al-Alaki, and countless other 'undesirables' you've probably never heard of, the corporocrats have a myriad of ways to eliminate threats, up to and including summary execution. These drones continue to kill untold numbers of rarely mentioned civilians in a number of foreign countries around the world prosecuting the bogus "War On Terror". What is there really to keep them from being turned on civilians in this country? The Ministry of Truth is in rare form." "Ignorance Is Strength." "War Is Peace." "Freedom Is Slavery."
The Terminator: The Skynet Funding Bill is passed. The system goes on-line August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn at a geometric rate. It becomes self-aware at 2:14 a.m. Eastern time, August 29th. In a panic, they try to pull the plug…
15 years late, but no less precient….
Related Stories:
Unmanned Drones Fly Through Congress To Patrol U.S. Skies
America's Secret Empire Of Drone Bases: Its Full Extent Revealed For The First Time
U.S. Conducts Targeted Killings With Predator Drones In Somalia
Obama Activates Robot Army: U.S. Flying Armed Predator Drones Over Libya
Obama's Predator joke—no laughing matter: Faisal Shahzad witnessed drone strikes in Pakistan
The Terminator: The Skynet Funding Bill is passed. The system goes on-line August 4th, 1997. Human decisions are removed from strategic defense. Skynet begins to learn at a geometric rate. It becomes self-aware at 2:14 a.m. Eastern time, August 29th. In a panic, they try to pull the plug.
With a growing fleet of combat drones in its arsenal, the Pentagon is working with the Federal Aviation Administration to open U.S. airspace to its robotic aircraft.
As the wars in Iraq and Afghanistan wind down, the military says the drones that it has spent the last decade accruing need to return to the United States. When the nation first went to war after the Sept. 11, 2001, terrorist attacks, the military had around 50 drones. Now it owns nearly 7,500.
These flying robots need to be shipped home at some point, and the military then hopes to station them at various military bases and use them for many purposes. But the FAA doesn't allow drones in national airspace without a special certificate.
These aircraft would be used to help train and retrain the pilots who fly the drones remotely, but they also are likely to find new roles at home in emergencies, helping firefighters see hot spots during wildfires or possibly even dropping water to combat the blaze.
At a recent conference about robotic technology in Washington, D.C., a number of military members spoke about the importance of integrating drones along with manned aircraft.
"The stuff from Afghanistan is going to come back," Steve Pennington, the Air Force's director of ranges, bases and airspace, said at the conference. The Department of Defense "doesn't want a segregated environment. We want a fully integrated environment."
That means the Pentagon wants the same rules for drones as any other military aircraft in the U.S. today.
Robotic technology was the focus of the Assn. for Unmanned Vehicle Systems International's annual program review conference in Washington last week. For three days, a crowd made up of more than 500 military contractors, military personnel and industry insiders packed the Omni Shoreham Hotel to listen to the foremost experts on robots in the air, on the ground and in the sea.
Once the stuff of science-fiction novels, robotic technology now plays a major role day-to-day life. Automated machines help farmers gather crops. Robotic submarines scour the ocean floor for signs of oil beds. Flying drones have become crucial in hunting suspected terrorists in the Middle East.
Drones such as the jet-powered, high-flying RQ-4 Global Hawk made by Northrop Grumman Corp. have also been successful in providing aerial coverage of recent catastrophic events like the tsunami in Japan and earthquake in Haiti.
The FAA has said that remotely piloted aircraft aren't allowed in national airspace on a wide scale because they don't have an adequate "detect, sense and avoid" technology to prevent midair collisions.
The FAA does allow exceptions. Unarmed Predator drones are used to patrol the nation's borders through special certifications. The FAA said it issued 313 such certificates last year.
The vast majority of the military's drones are small — similar to hobby aircraft. The FAA is working on proposed rules for integrating these drones, which are being eyed by law enforcement and private business to provide aerial surveillance. The FAA expects to release the proposal on small drones this spring.
But the Pentagon is concerned about flying hundreds of larger drones, including Global Hawks as well as MQ-1 Predators and MQ-9 Reapers, both made by General Atomics Aeronautical Systems Inc. in Poway.
And last week Congress approved legislation that requires the FAA to have a plan to integrate drones of all kinds into national airspace on a wide scale by 2015.
The Army will conduct a demonstration this summer at its Dugway Proving Ground in Utah, testing ground-based radars and other sense-and-avoid technology, Mary Ottman, deputy product director with the Army, said at the conference.
These first steps are crucial, said Rep. Henry Cuellar (D-Texas), who co-chairs a bipartisan drone caucus with Rep. Howard P. "Buck" McKeon (R-Santa Clarita). Officially known as the Congressional Unmanned Systems Caucus, the panel was formed in 2009 to inform members of Congress on the far-reaching applications of drone technology.
McKeon also said he was in favor of moving along the process of integrating drones into civil airspace. This came before he was abruptly interrupted by an anti-drone female protester during a speech.
"These drones are playing God," she said, carrying a banner that read "Stop Killer Drones." She was part of a group that wants the end of drone strikes.
Within seconds, hotel security personnel surrounded the woman. She was carried out chanting, "Stop killer drones."
McKeon, who stood silent throughout the brief protest, went on with his speech.


text:
Buy Item $14.99
In StockStock No: WW16945EB
Holman Reference / 1995 / ePub
Add To Cart
Add To Wishlist
Have questions about eBooks? Check out our eBook FAQs.
The New American Commentary is for those who have been seeking a commentary that honors the Scriptures, represents the finest in contemporary evangelical scholarship, and lends itself to the practical work of preaching and teaching. This series serves as a minister's friend and a student's guide.
|Title: Amos, Obadiah, Jonah: New American Commentary [NAC] -eBook
By: Billy K. Smith, Frank S. Page
Format: DRM Free ePub
Vendor: Holman Reference
Publication Date: 1995
Series: New American Commentary
Stock No: WW16945EB


text:
beachcat on Family Tree Circles
view: full | list
Journals and Posts
Looking for any information on Joseph Lilly , who ran the Lilly Inn in Tazewell, Illinois. Born 1785 Fredrick, Maryland, D. 1855. Married Mary Fisher. My gggrandmother was their daughter, Mary A. Lilly, who married George Walker.
I can't figure out who Joseph's parents were. any help is appreciated.
Looking for "Bert" Gordon
Lived in, or frequented, Phoenix in 1950. Described as 5'8", black curly hair, blue eyes. Prob 35 to 40 years old in 1950. Was diagnosed with tuberculosis and left the area. Thought to be a clothing buyer, but that may be incorrect. (I've found my birth mother's family, now looking for the other half!!) Any help would be greatly appreciated.
Looking for Robert "Bert" Gordon, 1950 Phoenix, Arizona
I'm adopted, finding family..., and I'm looking for a relative, Robert "Bert" Gordon, who was in Phoenix in Feb 1950, but found out he had tuberculosis, so went "home". 5 foot 8, curly black hair, 200 pounds.Any ideas?
Looking for parents of John Mercer B1764
John Mercer Born Sassafras Neck, Cecil Md, 1764, married Rebecca Davis, Child Harriet 1802, died Rounds, Cecil, Md, Oct 1820. His parents, listed in other genealogies don't make sense, dates aren't correct. any info?
- Displaying 1-4 of 4 Journals
- 1
- of1


text:
PRTG for Android
Access your PRTG Installation on the go - for free!
PRTG for Android runs on your Android based smartphone or tablet, and on Kindle Fire HD.
Use PRTG for Android
- Do nearly everything you can do in the PRTG web interface: For example, acknowledge alarms, pause and resume sensors, set priorities and favorites, run device auto-discoveries, scan your network status instantly, work with the ticket system, and edit object comments.
- In addition, QR code scanning makes it easy to jump directly to a sensor or to add a user account to the app.
Get Connected
PRTG for Android connects to PRTG servers using HTTPS, or HTTP over VPN, in mobile networks or WiFi/wireless LAN.
Be Flexible
- Use multiple accounts and switch easily between them to see monitoring data of different installations immediately.
- Log in to PRTG in the cloud via Single Sign On (SSO) and add user accounts with all supported social logins in the app.
- Choose your language: PRTG for Android is available in English, German, and Dutch.
- Check your network on your wrist: As of version 15.2.1, PRTG for Android supports a wearable UI.
Use Network Tools
PRTG for Android provides network tools such as ping, traceroute, DNS, raw HTTP, and MAC address lookups. You can use them even without connecting to a PRTG server.
Get the Data
- As PRTG for Android connects to your PRTG server, you can see your device tree, sensor lists, sensor data, maps, libraries, logs, and many other things—in a familiar Android way. View also object comments and an object's history.
- The data display automatically adapts to your screen size, so you see as much information as possible at a glance.
- Get compact information by adding your own home screen widgets: See the global status of a sensor, sensor gauges, graphs, an alarm list, and the last channel value.
Get Notified
- The app can notify you of outages or breached limits.
- With push notifications, PRTG can send you instant notifications to your mobile device's notification bar. Push notifications integrate seamlessly into PRTG's notification concept and can be configured on the PRTG server. Note: In order to use push, your PRTG server must run version 14.4.13 or later.
- PRTG for Android can also poll your servers in the background and notify you on new alarms or tickets. You have flexible control over what triggers a notification and how often the app should check.
Wanna Use Your Android Device as a PRTG Mobile Probe?
No problem! As a PRTG Mobile (Mini) Probe, your mobile Android device can monitor parameters such as temperature, pressure, humidity, WiFi coverage, the device's availability, battery status and location, and the availability of websites from any desired location. Install the PRTG Mobile Probe for Android and get a "mobile perspective" of your network!
PRTG for Android—Tutorial
This short tutorial shows you how easily you can manage your PRTG installation with our PRTG app for Android. So you can even monitor your network when you're on the go!
Transcript—PRTG for Android App
Hi and welcome to the PRTG for Android app tutorial. The PRTG for Android app is installed just like any other app would be from the App Store.
And once installed you can click on the shortcut on your desktop. Once you have an account added you'll be able to see the device to review in this view that you see here. You gonna go to a specific sensor or channel you just click on the device and click through to the channel specifically.
You can see the different sensors for this device and if you wanna see the graph the data for anyone specifically you can click on that as well. Once you get to the sensor you can see other statistical information and you can see the PRTG interface, you can see your gauges and you can see the values for each one of them.
The size you looking at the sensor in PRTG for Android at the very bottom you can see the buttons for the different graphs for the sensor. If you click on the buttons it will show you the graph in full screen view. The next thing that you can do with the PRTG for Android app is you can actually set the priority for each sensor and if it's a favorite or not.
So once you have your sensors favored, you can actually go to the menu and click on your favorite sensors and it will show up right there. Also the menu you can click on the actual red sensors in your PRTG installation if you wanna see which senses are actually an error state.
If you have a red sensor that's in an error state and you need to acknowledge it positive anything else you can do it from the menu as well. You can click on the acknowledge checkbox and acknowledge it forever long you need to or you can check the POS box for the same thing. You can also give it a definition as to why.
To the PRTG for Android app you can also see the maps. You click on a menu and then go to maps you can see all the various maps that you have set up and showing them that you want on your Android phone. Here's one that we've customized for the Android phone itself. Here you can see our entire biosphere infrastructure with the CPU usage of the actual VMware device itself, along with the ping the RDP, the Disc Free, Pagefile usage and so on.
Again using the menu you can go down and go to your tickets. Here you can see the different tickets that are assigned to different people and if you want to you can click on them and add it and assign them as well.
Something else that is available in the PRTG for Android app are the notification settings. Here you can actually go in and say when you want to have an alarm actually set off on your Android device or not and it's going to blink the LED and so on and so forth. You can also set up notifications for tickets.
With the PRTG for Android app you can connect multiple instances of PRTG as well. Here you can see that we have two setups to add an account: All you have to do is click on Add Account, input the information and you have the new installation up.
Here you can see how we click on it, here's all the information for the other one. You go to your side menu and then click on the other instance. Then you go to somewhere what you have the very beginning at the tutorial. One of the unique things about the PRTG for Android app is that also includes some network tools.
You go to your side menu, click on network tools—you can see the various tools that are available. So you can while you're on the go you can do things like Ping, Traceroute, DNS lookup in a Raw HTTP requests.
Another feature of the Android app is that you can go to channel specifically for any sensor you can hold down, long click it and so use this channel as a widget. Once you have set that up your widget channel you can go to your Widgets and pull it directly on to your Android's desktop.
So the other widgets that we have there you can display all the PRTG alarms in this way a specific channel value as a small box or you can use the channel gauge like we should before. There is also a global status widget as well. For the PRTG for Android tablet application there's one extra feature that isn't on the the phone version—it's called the dashboard! You could click on the dashboard you to display a very statistics directly from PRTG signal but I look at the wall or something like that and get all the information that is important to the installation.
The last feature for the PRTG for Android app is that we also included the sunscreen. This is similar to the dashboard but if you have the device or Android device amounted to a docking station or something like that you can turn on the sunscreen for the device and this will pop up and show you the status for PRTG.
We hope that you enjoyed the PRTG for Android app that we've built for you and hope that helps you on your network more effectively and seamlessly.
Thanks for your time.
PRTG for Android Wear
As a user of PRTG Network Monitor, you probably know that you can keep an eye on your network using several different interfaces—your web browser, directly on your Windows desktop with the Enterprise Console, or by using one of our four mobile apps. Now we're extending that access to a rather less expected place: your wrist!
System Requirements
Android Version: You need Android 6 or later to install the app (or a Kindle Fire HD). Home screen widgets are available only on Android 6 or later. The QR scanner is not available on Kindle Fire.
Hardware: We regularly test our PRTG for Android app on 15 of the latest Android devices. We're confident that the app will run smoothly on any Android device.
PRTG Server: The server you connect to needs to be reachable from the network your device is connected to—either directly or via a VPN connection. The server requires PRTG version 14.1 or later. For older server versions you might have a look at our Knowledge Base article on the PRTG for Android legacy download.
About PRTG
PRTG Network Monitor is Paessler's powerful network monitoring tool. The network port monitor will help you reduce costs, increase quality of service and react proactively to downtimes and system failures.
Download the freeware or the free trial and start monitoring your network today.