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Cymbalta is a drug used for several purposes, including anxiety, depression, and chronic pain—conditions that also appear on many state lists of approved uses for medical marijuana. Patients who have been prescribed Cymbalta may have questions that need to be answered, such as whether the drug can be taken alongside medical marijuana and whether medical cannabis can serve as a replacement for Cymbalta. This article will answer those questions.
Cymbalta, also known as duloxetine, is a selective serotonin and norepinephrine reuptake inhibitor (SSNRI). As the name implies, SSNRIs increase the serotonin and norepinephrine in the brain. Therefore, Cymbalta helps manage the chemicals in your brain that influence mood and pain levels.
It comes in the form of a capsule that you take with water or another drink. The standard capsule immediately releases the medicine, providing an immediate and strong benefit. On the other hand, the delayed release capsule slowly releases the medicine into your system, producing a milder effect that lasts longer.
Side effects of Cymbalta range from mild to severe. Common and minor side effects include aches, frequent urination, excessive sweating, sleep issues and weight loss. Rarer side effects include digestive issues and sexual problems.
In extreme cases, a patient can experience withdrawal symptoms you should immediately get emergency medical care for. Some have to do with muscle control, such as muscle spasms, tremors, coordination problems, overactive reflexes and loss of bladder control. Others relate to overstimulation, like agitation, restlessness, sleep issues and uncontrollable excitement.
If you use Cymbalta for depression, be aware it can worsen your depression symptoms, sometimes to the extent that you feel suicidal. If you deal with increased depression when you take it, contact your doctor right away.
Cymbalta can be used to treat health issues such as:
Keep in mind that Cymbalta isn't suited for every population. People who have certain health conditions, including diabetes, problems with urination, high blood pressure and liver disease, shouldn't use it. And research hasn't definitively concluded whether it can be safely taken by children, the elderly, pregnant women and those who are breastfeeding.
While marijuana and Cymbalta can be used for similar purposes, you should use caution if you take them together. Some of their side effects are also similar, which means they could be magnified if the two substances are taken together.
The problems that can occur when the two drugs interact tend to be related to cognitive and motor function. Cognitive side effects include concentration problems, confusion, impaired judgment and difficulty thinking. Motor side effects include impaired coordination and dizziness. These side effects can become even worse when you use alcohol.
Drugs.com classifies the interaction between Cymbalta and marijuana as moderate. According to the site's guide, doctors should recommend the combination only in special circumstances. If you and your doctor decide that the benefits outweigh the risks and you try taking both together, closely monitor your symptoms and stay in touch with your physician.
Marijuana has been shown to provide relief from a wide variety of conditions, including those for which doctors prescribe Cymbalta.
Marijuana may relieve depression symptoms, for example. Research has shown that patients who use medical marijuana experience less depression than patients who don't use it.
Cannabis can ease anxiety as well. One of the major components of marijuana, cannabidiol (CBD), was found to reduce anxiety in clinical trial subjects. Since marijuana can also heighten anxiety, monitor your symptoms closely if you medicate with cannabis.
Chronic pain is one of the most common uses of medical marijuana. According to the National Pain Report, 62% of medical marijuana patients said that cannabis relieved their pain very effectively. Meanwhile, 10% of study participants thought Cymbalta was very effective.
Drugs.com classifies the interaction between Cymbalta and marijuana as moderate. According to the site's guide, doctors should only recommend the combination in special circumstances.
Consider this blog post a primer on Cymbalta and marijuana. As always, medical professionals well-versed in cannabis medicine can answer the other questions you have. Start the search for a trained physician or medical dispensary near you.
No Information on MarijuanaDoctors.Com should be used to diagnose, treat, prevent or cure any disease or condition. You can view our Full Disclaimer here.


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Little big stories: The judge – justice in crises (VIDEO)
By stopping life, we save lives – said the President of Serbia, and declared a state of emergency on March 15th. From an insignificant virus, corona has become an invisible enemy, to whom the government has declared war. In that state, some suffered a swift judgement.
Milan Njegovan, accused of violating self-isolation: "30 days of detention, and the judge says - there must have been an appeal from our president in Germany as well, you had to listen to the appeals"
Dragomir Milojevic, President of the Supreme Court of Cassation: "There is no justification. It's well known where the law is, and not in the statements of the president"
Goran Stupar, Milan Njegovan's lawyer: "I think it was a demonstration of power of sorts"
In the justice of war, the government is the one to both sue and judge.
Katarina Golubović, Committee of Lawyers for Human Rights: "The whole story is being carried out by the executive authorities, they condemn people, 21:57 and then in the end free them"
Lidija Komlen Nikolić, President of the Association of Prosecutors: "The state of emergency suspends certain rights, but does not suspend everything. And that's something that a lot of people forget. "
"Surrender is not an option" however, is not just a motto of the government.
Milan Njegovan: "I said that we will go till the end, wherever the end is, we'll go till the end"
We still don't know what decision the Constitutional Court will make at that end.
Katarina Golubović: "The Constitutional Court always has a passive stand, and that is also a big problem, and it will bring a lot of damage to the Republic of Serbia"
Will all the citizens have to pay for the damage, yet again, and who will be pardoned and in what way, are the questions that open Insider's Little Big Stories.
The first case of coronavirus in Serbia was confirmed on March 6th. In the following days, it became clear that this was not a local disease, and that the virus arrived in Serbia even before the expected wave of those who usually come from abroad during the approaching Easter holidays.
Milan Njegovan: "Everyone went to work quite normally in Germany and all that, and I asked my boss if I could take some vacation days. We got in the car on the morning of March 14th, thinking I will go home, I will be with my family, I will spend Easter with them, after that, I'll go back to work, and then everything goes back to normal. However, it turned out totally different. "
That it turned out differently, even from what the authorities in Serbia first said, it all soon became apparent.
The decision about borders not going to be closed changed, and the appeal to citizens not to return to the country was made by the officials and the President of Serbia at the same place where only 9 days earlier they made jokes about the virus.
Aleksandar Vučić, President of Serbia, (February 26, 2020): "Wherever you put alcohol, corona disappears. Now I have one more reason to drink a glass a day, although it has nothing to do with that kind of alcohol, but that's how I like to think of it, you know".
The number of corona victims, however, grew and took some lives, as well. It moved from China to Europe.
The movement of people made the virus spread quickly everywhere, so the authorities in Serbia pointed the finger at their own citizens who are coming from abroad.
Milan Njegovan: "If I had known that this was the situation, that it turned out like that, I would not have come, because in Germany, I have health insurance, and in Serbia I don't."
Although the coronavirus was declared a contagious disease in Serbia on March 10th, the borders did not close. The airports were more and more crowded, and people waited for hours at the border crossings.
Milan Njegovan: "A border police officer took the passports, checked them, returned them, the customs officer checked what we have in the car, we also asked if we needed something, like an isolation or something... He said that we don't need anything, he said "Just double the dose of liquor and that's your isolation".
He arrived home in Novi Sad on March 15th. That evening, a state of emergency was declared in Serbia.
He followed the instructions from a flyer he received at the border.
Milan Njegovan: "On Monday morning, I called the number that was on the flyer. + I asked what should I do, if I should go somewhere to get examined, they said "if you are not manifesting any symptoms, you're free to go out, just don't make close contacts with people"."
It turned out that the rules have changed several times within 4 days.
Lidija Komlen Nikolić, Association of Prosecutors "From March 10th to March 15th, the procedures were changed four times, how and what to do when someone enters the country, what country are they coming from, what should be done, and then at some point you have this, to say the least, legal chaos, as I call it."
Life was still relatively normal. Schools have closed, but cafes, shops and shopping malls were still open.
Milan Njegovan: "It was a lovely evening, we went out for a walk, when we came back, the police was in front of the house, they were making a record, 02:49 and they started asking questions - where was I, why did I leave the house, what does it say in the resolution. When I said that I don't have any written resolution – "Impossible, you have to have a resolution, you had to follow the procedure", same things as the judge said, "you have to listen the media, you must not leave the house". From the evening of March 16th to March 20th, I did not go out anywhere."
Complete self-isolation was introduced for all people over 65 years of age, and the ban of movement, that is, the curfew, for all other citizens, as well. With the bans, along came the violations.
Olivera Ristanović, President of the Misdemeanour Court in Belgrade: "Out of 111 judges, approximately 25 of us worked, there were day and night shifts, until 4,5 in the morning, on some nights when we had up to 30 defendants, there were another 60 police officers accompanying them. 07:28 So actually, the bigger problem was to organize the reception of those people, so that they weren't all together in one place. At first, mostly the homeless were brought in, you are conducting proceedings against a person because they violated a ban of movement, and they don't even have a home in the first place, they were being brought to the court, to the police stations, we all come in contact with him, and there's really no point in that. There were cases of whole families being brought in, with children who are only 4 or 5 years old, one child in the courtroom said "ma'am, please don't let mom and dad go to prison". It is difficult to judge in such circumstances. "
Milder punishments were also given in some cases of older people caught in violation. A video of an elderly lady explaining to the police that she's going to her English class, became viral on social networks, on which the information that she was fined with a maximum of 150 thousand dinars quickly spread, as well. That information was incorrect, and the lady was found disobedient again.
"Ma'am, how old are you?" – "45". "How old?" - "45". "So where are you going?" - "To play tennis with a friend". "So, are you aware you're not allowed to go out?" - "So, what should I do?". "Well, stay home." - "Well, I can't".
Olivera Ristanovic, president of the Belgrade Misdemeanour Court: "A colleague who worked on this case fined her with 50,000 dinars, because she looked into her social life, and saw that she was constantly going out."
Olivera Ristanovic, President of the Misdemeanour Court in Belgrade: "Fortunately for us, statistically speaking, the least cases are against people over the age of 65. Mostly, these people have had their sentences mitigated. There was this lovely elderly gentleman, who reminded me of my grandfather, and it was very hard for me to punish him. At one point he said - "Child, I can see it's a lot harder for you than it is for me."
Authorities and experts were angry with the citizens, stating that their misbehaviour would lead to the Italian scenario. However, those who returned from abroad were blamed the most.
Ana Brnabić, Prime Minister of Serbia: "You all know or have heard of at least one person who returned from abroad, who does not abide with the measures of mandatory quarantine, unfortunately. After all, you have all seen the examples of our footballers who come from abroad, and they have contracts, million-dollar contracts, they come here and completely disregard the self-isolation, and that is something that our authorities will be dealing with.
Aleksandar Vučić, President of Serbia: "It's easy to punish, I am sure that those two boys, young men, who are being mentioned all over the news, are regretting at this moment what they did. They have been isolated according to the regulations. If they try to go out, they will be immediately arrested, but I hope it won't come to that."
One of them, Luka Jović, along with a public statement of remorse, explained that he was tested in Spain, and that he was not given instructions at the border in Serbia on how to behave in self-isolation. It turns out that the official notice did not even exist until the Committee of Lawyers for Human Rights (YUCOM) intervened.
Katarina Golubović: "Some did not even receive any information at the very beginning, and then they received a verbal notice, but very often that verbal notice is not stated in a legally valid manner, there were no documents to be signed or anything like that. So, mistakes were made at the very beginning. "
The mistakes were not limited only to those who came from abroad. In just 2 weeks, the number of calls to YUCOM increased to 100 per day.
Katarina Golubović: "We also realized that there is a systemic problem, because people all over Serbia called and asked what their legal position is and how they should behave, and we realized that we have to react, that there is legal uncertainty, that there is no knowledge about the situation.
There was also inequality. While public figures simply gave public apologies and were put in quarantine at home, others were tried under urgent procedure, some were severely punished, and many were imprisoned in special detention units.
Katarina Golubović: "We had the case of Jovana presented at that time, where the case was presented as political pressure on Jovana, considering that she was, so to speak, also politically engaged."
Not everyone reported about the case of a student and artist from Kikinda, Jovana Popović, but thanks to social networks, the public was able to learn that the author of the song "Bagra", which criticizes the government, ended up in custody. The day before the introduction of the state of emergency, she entered Serbia from Montenegro, where there were no cases of coronavirus at that time. She was arrested 10 days later, and the prosecution submitted blank record and the resolution from sanitary inspectors to the court as evidence, without any signatures. This strengthened the belief that this case also has a political background. But this case did not remain sole.
Milan Njegovan: "And then I waited for the resolution from 6 in the morning, so that at 3 o'clock in the afternoon they would say there will be no resolution, but that I am going directly before the judge. The judge sentenced me to 30 days in custody. Police came again and they arrested me, and I was in custody until April 15th."
It turned out that the first arrests and detainments began as soon as the Prime Minister announced the allocation of special detention units for those who violate self-isolation.
Ana Brnabić: "The Government of Serbia, the Ministry of Justice, through the Administration for the Execution of Criminal Sanctions, has provided three special facilities in Vršac, Požarevac and Pirot, which will be used to accommodate these individuals, until further notice. If they violate the isolation, they will be quarantined in these facilities."
Simultaneously with this announcement, the Ministry of Justice sent appeals to the judicial authorities. Prosecutors were advised to order detention for all individuals who violate the measures of self-isolation, and the State Prosecutor was advised to initiate disciplinary proceedings for dismissal against prosecutors who do not comply with that.
Vladimir Beljanski, President of the Bar Association of Vojvodina: "On the one hand, it is a demonstration of power of the executive authorities, and a threat to prosecutors. Let's see what they are saying in other words, they are telling prosecutors to disregard the CPC. You must seek custody whether or not the legal requirements are met. Thus, the executive authorities suspend the most important procedural act in criminal law, the CPC."
The State Prosecutor, however, acted on the recommendation of the Ministry, and issued a mandatory instruction advising prosecutors to order detention in cases of violation of self-isolation.
Lidija Komlen Nikolić: "That general mandatory instruction cannot precede every concrete action, you will propose it, but you must have an explanation for that. So that is what is crucial here, you have to have the conditions foreseen by law to be able to do so.
The manner in which prosecutors and judges acted also determined the fear of infection. The Ministry of Justice recommended that the trials be held via Internet application Skype.
Milan Njegovan: "Monitors are placed in the office, and that's how it's done, you sit in front of the monitor. The judge can be heard because the camera is right in front of them 11:01, but as soon as a lawyer or a prosecutor start speaking, you can't hear them very well, then there are echoes, and then disconnection, typical internet problems".
In response to Insajder, the Ministry of Justice stated that the trials via Skype were introduced at the request of judges, and that it is in line with the practice that exists in other countries.
Vladimir Beljanski: "We are not the only ones who introduced this type of trials, but as far as I know, we are the only ones who introduced them in this way. No one introduced them through a government decree, which overcomes the legal power and rights of the defendant, and no one works in such a way that the defendant sits in custody, from where his picture is being transmitted, and everyone else, i.e. defence attorneys, judge, prosecutor, stenographer and maybe some others - in the courtroom"
Although there is no provision in the Criminal Procedure Code for such a trial, some courts applied the ministry's recommendation immediately, without even waiting for a government decree on trials via video link, which was passed only on April 1st. The court in Dimitrovgrad passed the first verdict the day after the ministry's recommendation. The sentence was in line with the president's statement.
March 23, 2020 Aleksandar Vučić, President of Serbia: "In the coming days, you'll be able to see first cases of people being sentenced to 3-12 years in prison for violating self-isolation advised by doctors at the borders or elsewhere, because these people are putting thousands of lives of others in our country in danger."
The defendant received the verdict from the court in Dimitrovgrad, with the maximum sentence of 3 years, via Skype in the detention unit in Pirot, where he was placed.
Dragomir Milojevic, President of the Supreme Court of Cassation: "It simply violates human rights, that's undisputable. This citizen has the right to say "I will not be tried", and I think that the judge should then respect his rights."
Milovan Njegovan's lawyer referred to that right.
Milan Njegovan: "So, the judge agreed to postpone my trial so that I can attend in person, and it was postponed to April 30th."
This case, however, will be remembered for something else. In the decision to order detention, the judge literally referred to the appeal sent to the citizens by the president.
Goran Stupar, lawyer: "I asked the judge outside of the hearing when does the president's appeal become effective, he did not answer, he removed himself from the panel and made a decision to order his detention."
Dragomir Milojević: "You want it in two words or one? There is no justification. That is my opinion. It's well known where the law is, and not in the statements of the president, or any statement in the media for that matter, I don't want to sound too harsh."
Milan Njegovan: "I think that we were a collateral, someone had to be, so that the citizens would be warned."
Katarina Golubović: "As a party, you can definitely claim that your right to a fair trial has been violated"
Milan Njegovan: "First I was sent to Klisa, to the Klisa prison in Novi Sad. However, when we got there, they checked the papers, and they said that they can't take me in because I was supposed to be in quarantine, that I have to go for Vršac".
The shock of entering the detention centre was followed by the additional fear of infection, because, there were other people in the same place who are suspected of violating self-isolation, which means that they could potentially be infected.
Milan Njegovan: "That was constantly on our minds, we just wished that no one gets infected, because if one infected person comes in contact with 40 people, then all 40 will be infected."
The Ministry of Justice says that all prisons have protection measures defined in accordance with the recommendations of the Institute of Public Health, the Batut Institute and the Infectious Diseases Clinic. They also claim that the temperature of all detainees is being measured, a medical examination is performed and the epidemiological anamnesis is determined, that everyone is under constant medical supervision, and that everyone receives masks, gloves and disinfectants.
"We emphasize that all three units have rooms that are intended to accommodate people with symptoms of infection, in order to be immediately separated from people who do not have any symptoms. Rooms for accommodation of people, as well as other areas in the institutions, are being disinfected several times a day. People spend at least two hours in the fresh air" - the ministry said in a written response to our questions.
Katarina Golubović: "My personal opinion is that it was necessary to perform tests on these people, primarily because of their mental health, because being in detention meant that they were endangered."
Milan Njegovan: "The first fifteen days we all looked at each other, payed close attention if someone would cough, whether someone had a fever. People started to break mentally."
Katarina Golubović: "I would even consider it a kind of torture"
The Ministry of Justice, which recommended the detention, envisioned it to be with almost no limits, that is, to act as if people were in quarantine.
Radomir Ilić, State Secretary, Ministry of Justice (March 20, 2020): "Detention lasts 30 days, but imagine seven days later, because they are not in solitary confinement, a person who is also suspected of having coronavirus enters, then the detention of the first person that came is extended. What this means is that those who ended up in such detention units, practically won't come out until the end of the epidemic, and possibly even for some extra days."
Goran Stupar, lawyer: This is an obvious example where the impression is that the executive authorities are influencing the judiciary ones, since the Secretary of State from the Ministry of Justice was in position to state that defendants who violated the measures of self-isolation will remain in custody.
Katarina Golubović: "I still believe that there are people of integrity in the judicial system, and my faith was confirmed through these trial monitorings, as there were requests from prosecutors to end the detention, and some courts accepted such a proposal."
Milan Njegovan was released from custody on April 15th and is not even considering a settlement with the prosecution.
Milan Njegovan: "Wherever the end is, we're going to get there. I don't want them to put burden on me because of something I didn't do, I will not confess, if we need to go to Strasbourg, we go to Strasbourg".
With the termination of the state of emergency, the decrees according to which people were tried, will cease to be valid. Until then, it will be possible to file appeals against court decisions. After more than 100 Skype trials, it is apparent that verdicts have changed and mitigated over time, and that lawyers' appeals have been accepted and detentions lifted.
Katarina Golubović: "We had a collision of messages, a collision of legal regulations, and definitely requests that people should be convicted. I think that in these cases this instruction overpowered even when the situations were difficult, the judges ruled convictions, although with a minimum sentence of 3 months in house arrest, and all that, once again, relying on the following instruction and the announcement of the Ministry of Justice that a law on amnesty is going to be passed."
The law on amnesty was announced due to the good behaviour of prisoners in all Serbian prisons, and it is not known to whom it could refer to it.
Vladimir Beljanski: "Let me remind you that during the bombing we had military courts that were working at the time, some of those courts were even ad hoc courts, not permanent, and they conducted proceedings that were of urgent nature, with very rigorous punishments in the end, we had similar situations such as today's self-isolation, then the violation of self-isolation, then immediate detention, then immediately after that the Skype trial, and the very severe sentences that are still being served today. In the end, those proceedings were finalized with overt verdicts, but after all, with amnesty. It is very wrong for the judiciary authorities to rely on amnesty.
Before the court, the Constitutional Court, there will also be a resolution on the introduction of a state of emergency which, as the Constitution stipulates, was not introduced by the Assembly because, as stated, it could not gather. The opportunity for introduction of a state of emergency was, in that case, used by the President, the Prime Minister and the President of the Assembly.
Vladimir Beljanski: "Constitutional provisions and the rule of law are a legacy of the civilization, and we have now pushed them into the background with the justification that now everything is allowed"
Katarina Golubović: "The Constitutional Court failed during the state of emergency, and that's something that should not have happened"
Lidija Komlen Nikolić: "Something that is very important, that is in these times of the state of emergency, is to not make the same mistakes that happened to us 12:01 in previous states of emergency, when we had a large number of compensation proceedings and where the state, that is, the Republic of Serbia, after all, all the citizens of Serbia, paid the price for the urgency and cunning steps of their colleagues and everything else."
Publishing parts of this text or the text as a whole is allowed, but with the obligatory citation of the source and indication of a direct link to the source text on www.insajder.net.

subset: commoncrawl


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American Society of Agricultural and Biological Engineers
The American Society of Agricultural and Biological Engineers is an educational and scientific organization dedicated to the advancement of engineering applicable to agricultural, food, and biological systems. Founded in 1907 and headquartered in St. Joseph, Michigan, ASABE comprises members in more than 100 countries.
Agricultural, food, and biological engineers develop efficient and environmentally sensitive methods of producing food, fiber, timber, and renewable energy sources for an ever-increasing world population. The image above provides a profile of ASABE's membership and their contributions to society.


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Another one grinds the dust: Variability of the planetary debris disc at the white dwarf SDSS J104341.53+085558.2Authors:Manser et alAbstract:We report nine years of optical spectroscopy of the metal-polluted white dwarf SDSS J104341.53+085558.2, which presents morphological variations of the line profiles of the 8600 \AA\ Ca II triplet emission from the gaseous component of its debris disc. Similar changes in the shape of the Ca II triplet have also been observed in two other systems that host a gaseous disc, and are likely related to the same mechanism. We report the Mg, Si, and Ca abundances of the debris detected in the photosphere of SDSS J1043+0855, place upper limits on O and Fe, and derive an accretion rate of (2.5 - 12)x108 g/s, consistent with those found in other systems with detected debris discs. The Mg/Si ratio and the upper limit on the Fe/Si ratio of the accreted material broadly agree with those found for the crust of the Earth. We also review the range of variability observed among white dwarfs with planetary debris discs.
Friday, November 4, 2016
Variability of the planetary debris disc at the white dwarf SDSS J104341.53+085558.2
Posted by Will Baird at 12:00 PM
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Why & When: Fractal Extrapolation Leads, Linear Extrapolation Misleads
by Robert Folsom
Updated: September 21, 2022
This Is What We Mean When We Say, "You Won't See This Elsewhere"
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EXCLUSIVE: Run director explores post-war Ivory Coast.
Ivorian director Philippe Lacote is developing a feature inspired by a real-life, street-gang leader called Zama, who was hacked to death on the streets of the Ivory Coast's de-facto capital Abidjan by angry residents in April.
The project, entitled Zama, follows on from Lacote's debut feature Run, which was set against the backdrop of his country's decade-long civil war and premiered in Cannes' Un Certain Regard in 2014.
"Zama is a product of the war, a former child soldier who went on to become the leader of an infamous street gang. Through his trajectory, I'll explore the Ivory Coast's post-war era," Lacote, who lives between the Ivory Coast and France, told Screen.
The film-maker was speaking at the Jerusalem Film Festival (July 9-19) ahead of a screening of Run on Sunday (July 12).
Run was developed with the support of the Jerusalem-based Sam Spiegel International Film Lab and went on to win its top $50,000 prize in 2012.
The real-life Zama was an infamous figure on the streets of Abidjan who ran a street gang called Les Microbes, inspired by the name of a gang in Fernando Meirelles and Katia Lund's City Of God.
"The gang was made up of young people aged from eight to 20-years-old," explained Lacote. "Zama, was the son of a so-called magician. The gang members believed that if they tried to escape, the father's ghost would track them down."
"The project covers the mystic, the political and the cinematic… these three elements are perfect for the way I like to make films," he added.
As with Run, Lacote will produce Zama through Paris-based Banshee Films and Abidjan-based Wassakara Productions in which he is a partner. He is currently working on a first draft and plans to start officially looking for other partners this autumn.
Lacote was also in attendance in Jerusalem as a co-producer on Israeli director Oren Adaf's Darwin, which was pitched at a special event last Friday (July 10) presenting the latest batch of projects being developed at the Sam Spiegel International Film Lab.
He is co-producing the Africa-set project, about an Israeli wild-life photographer rejected by his orthodox family because he is gay, under the Banshee banner with Tel-Aviv based Spiro Films


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This disc has not yet been reviewed. The following information has been provided by the distributor.
VIXEN: The Movie combines the first two seasons of the CW Seed digital series into a single uniform story, and includes 15 minutes of all-new, never-before-seen content. The special features include a brand new featurette, and two Vixen-focused episodes of Justice League Unlimited, handpicked by Bruce Timm.
Produced by Warner Bros.' digital studio Blue Ribbon Content, VIXEN: The Movie features Megalyn Echikunwoke (CSI Miami, The 4400, Damien) as the voice of Vixen/Mari McCabe. She is joined by the voices of Stephen Amell (Green Arrow), Grant Gustin (The Flash), Emily Bett Rickards (Felicity Smoak), Carlos Valdes (Cisco Ramon), Katie Cassidy (Black Canary), Victor Garber (Martin Stein) & Franz Drahmeh (Jax) collectively as Firestorm, and Brandon Routh (The Atom), reprising their roles from Arrow, The Flash and DC's Legends of Tomorrow.
Originally from Africa, Mari McCabe grew up an orphan after her parents were killed by local greed, corruption and wanton violence. But Mari refuses to succumb to the terrors surrounding her. Inheriting her family's Tantu Totem, Mari can access the powers of animals...anything from the strength of a gorilla to the speed of a cheetah. As Vixen, she fights valiantly to protect the world from threats like those that claimed her family.


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ThinkPad E470
Recently I've been looking for a Linux-friendly, budget laptop. I like ThinkPads, and all of my laptops have been either T-series or X-series but this time I didn't want to spend that amount of money and was looking for cheaper alternatives.
Browsing Lenovo website, I realised that a reasonably configured E470 would cost about €1000 which was about how much I was willing to pay. I configured it, so it has:
- Intel® Core™ i7-7500U
- NVIDIA® GeForce® 940MX 2 GB
- 14" FHD (1920x1080) anti-glare IPS
Including VAT it set me back €1032 which I think is reasonable.
Unlike my other laptops, this time I kept the Windows mainly because it has a discrete GPU—granted not a high-performance one but still much better than Intel HD ones—and I thought I might be able to use it for some light gaming.
I installed Debian testing on it, and everything worked out of the box! The only issue I have with it is that middle-click isn't working, but this patch will fix it.
Being a budget laptop, E470 lacks some features of X and T series. For example, it doesn't have ThinkLight or the keyboard isn't backlit. Its only video output is HDMI which caused me some headache. My monitor only has DisplayPort input; so I bought an HDMI to DisplayPort adapter not realizing that those cables aren't bi-directional. They're suitable for scenarios in which you need to connect your DisplayPort-capable device to an HDTV, not the other way around. However, there are converters capable of doing such transformation, at higher costs.
The Good
- Reasonably priced.
- 45WH battery lasts 8 hours.
The Bad
- FHD is the most high-resolution option.
- Keyboard is not backlit.
- No ThinkLight.
The Ugly
- It's weighty, ugly, bulky, and the design is unimaginative.


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Indian Delight
115e0, Sisowath Quay
023 724 885
Phnom Penh
I'm an Indian food snob. I lived in Bangalore for six months back in 2008 and went back in 2010: I'm no fan of the uber-heavy, cream-rich Muhgali food that's favored outside the Subcontinent. However, I was very happy to discover India Delight on Sisowath Quay, which turns out Indian food much closer to the non-coronary-inducing masalas and curries I remember from India. They even pay attention when you ask for your food spicy. Furthermore, there isn't a heady layer of grease hanging over everything you order.
I find chicken tikka masala way too rich the way most places make it, but Indian Delight's version is just about akin to crack for me. You know what this stuff is (hint: it was invented in Britain) but I'll describe it again: pieces of roasted tandoori chicken cooked in a very spicy, slightly creamy sauce with a profusion of fresh spices. This is definitely the tastiest tikka masala I've had – hell, ever, I think – and it's only $5.00. I sometimes wish I could just eat this for lunch every day. It's especially good with the yellow rice peas pulao they serve here, which has a bit of saffron in it.
There's also a rich version of vindaloo, the Portugese-inspired Goa dish of curried chicken with plenty of vinegar and meat, as well as potatoes. My boyfriend is rather fond of the stuff and orders it regularly. I haven't ordered it myself – the tikka masala has its siren song – but it is decent stuff.


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Complete the following sentences.
1. That was a …………………… film.
Correct! Wrong!
2. She speaks Chinese …………………
Correct! Wrong!
3. The steak smells …………………
Correct! Wrong!
4. My new car runs …………………..
Correct! Wrong!
5. She sings really ………………….
Correct! Wrong!
6. I admire her. She is a ………………… writer.
Correct! Wrong!
7. Her English is very …………………
Correct! Wrong!
8. The holiday did me a lot of …………………
Correct! Wrong!
9. They gave me some ………………….. advice.
Correct! Wrong!
10. We think …………………… of him.
Correct! Wrong!
1. That was a good film.
2. She speaks Chinese well.
3. The steak smells good.
4. My new car runs well.
5. She sings really well.
6. I admire her. She is a good writer.
7. Her English is very good.
8. The holiday did me a lot of good.
9. They gave me some good advice.
10. We think well of him.
Well and good have similar meanings, but in this case well is an adverb, while good is an adjective.


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As the industry gears up to fly to Las Vegas for the NBWA Convention, BBD sat down briefly with NBWA chief Craig Purser to talk about the convention highlights, a surprise guest, and distributors' relationship with the big brewers. You are a fly on the wall
You are unauthorized to view this page.
© Beer Business Daily 2023


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Many hot springs and bath houses in Japan ban customers with tattoos
Slurping indicates the dish is delicious. It also cools down the hot noodles.
The Gate Tower Building in Osaka has a highway that passes through the building, between the fifth and seventh floors.
Useful information to help you decide if Japan is the right destination for your event!
Recommended group size
Best for...
Flight connections
10 - 300 pax
Incentives and conferences
There are several international airports around Japan, with direct connections to many of the capitals around the world. The domestic air and bullet train network is also very effective.
Best time to visit
October - May are the best months to visit
Avoid traveling on...
Japan has a lot of domestic travel, especially for the Golden Week and Cherry Blossom season.
Local currency
Japanese Yen (JPY) is the local currency.
While most hotels and larger restaurants and shops accept cards, the country is still very reliant on cash. ATMs for foreign cards can mostly be found in Seven Eleven convenience stores.
Japan is an ancient culture that is remarkably unique with a fascinating juxtaposition of old versus popular culture in cuisine, architecture, performing arts, fashion and customs, clinging to traditional culture at the same time as it explores new expressions.With over 6,800 islands ranging from the tropical islands of Okinawa with its beautiful beaches to northern Hokkaido with snow-capped mountains and ice festivals, the country has no less than 18 UNESCO Sites in Japan - 14 cultural and 4 natural, as well as 30 National parks, including Mt Fuji.


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Pastor, Celebrate!
Every so often there is what I call, "The Pastor's Lament." This is when pastors take to the social media and explain how hard it is to be a pastor. They share memes of how pastoral ministry is so hard that they age like the President of the United States. They complain about the people they serve (not in public, but in private forums).
Basically, they whine.
I too am a pastor. Are there difficult things that go with being a pastor? Absolutely.
However, let us not lament, whine, or complain for we get to be cared for by the people of God to pray, serve, study, write, preach, and lead.
In my mind, there is nothing better than being a pastor. We get to live out our identities as our profession. We get to be with people in their most exhilirating moments and their hardest times. The experiences we have with the people of God are ones that we would not get to have otherwise.
When someone's life changes and you know that you played some small role in that, it is magic.
Everyday I wake up and the top of my work to do list is to pray. The next thing is to meditate on the Scriptures. Then write. Being with people is a central part of what I do on a daily basis. Being present in my community is at the heart of my job description.
No, my brothers and sisters, there is no lament in being a pastor. There is joy and gratitude. Let us remember what it is that we are called to. Let us celebrate and bless God for calling us into the service of the Church.
The final song of ascents in the Psalms is Psalm 134 and in it there is a call for the ministers to bless God. I imagine this was a reminder to them that they are doing something that everyone wished they could do. That they getting to experience something that the pilgrims to the Temple wish they could experience every day.
All you who serve the Lord: bless the Lord right now! All you who minister in the Lord's house at night: bless God! Lift up your hands to the sanctuary and bless the Lord! May the Lord, the maker of heaven and earth, bless you from Zion.


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with humans and their day-to-day challenges
how to use design-thinking to solve problems
solutions driven by digital technologies
products that are enhanced by modern manufacturing
Start Date: 1st May 2023
Submission Deadline: 1st May 2024
Design and make a 3D printed product or prototype that improves the day-to-day life of someone with a disability or the elderly. Then share your story in a video submission for the chance to win amazing prizes. **Please note that we will be releasing a challenge toolkit update in November 2023. The majority of the toolkit will remain the same but we will be adding in new resources.Register for Free
Going beyond a competition, the Make:able design challenge centres around an online challenge toolkit, which takes you through a step-by-step process to design and make an assistive device.
Libby, Opal, Tyler and Drew designed an individual pill dispenser for Steve, who has Parkinson's disease.
Joshua, Lilly and Enrique designed a learning device for Luti, a kindergartner who is blind and non-verbal.
Shepard, River, Alex, Noah and Henry designed a tactile chess board for their end user Ed Summers, who has visual impairments.
Fab Lab El Paso designed a bicycle grip prosthetic for Juaisca, who was a former swimmer of the national team in Venezuela and a water polo player.
The challenge is for anyone with an interest in 3D design and 3D printing. There are 3 categories based on age groups – under 14, 14-18 and over 18. If students in a class are divided between an age group category, we can accept their entries into a single category of your choice. Teachers, hobbyists and professionals are also welcome to participate in the over 18's category.
Make:able and all associated resources are completely free. We may however recommend supplementary content that may support you, such as PrintLab's 3D printing curriculum.
You can either design a product for a real end user (e.g. someone in your local community), or design a product for a Make:able Champion. Make:able Champions are people with disabilities who have shared their story and day-to-day challenges in a series of videos within the Make:able challenge toolkit.
The full brief and guidelines are outlined in the challenge toolkit and teacher's pack (for schools), but the key rules are as follows:
• You may work in teams of up to 5 people in the same age category.
• The design process must include the use of either Tinkercad or Fusion 360 software and the digital 3D model produced should be 3D printable.
• A physical 3D printed prototype must be created. If you do not have 3D printers available, we recommend contacting local organisations/ makerspaces, who may be able to support you with 3D printing services.
The submission format is a 2-4 minute video, which shows information about your end user, how you developed empathy, how you framed a challenge, the idea generation process, the design-make-iterate process and visuals of the final product in action. Videos must be uploaded to the online form included in section 8 of the toolkit by the 1st May 2024. In addition to the video, you will be required to provide the following information during your online form submission:
• 3D design files (Tinkercad or Fusion 360).
• Bill of materials and assembly/usage instructions (if any).
• License (type of permission granted to others who wish to use their designs).
Full guidance on submissions is provided in section 8 of the online toolkit.
Upon signing up, you will receive access to the teacher's pack. This will provide you with a full teacher's guide and a set of standards-aligned lesson plans that can be used as inspiration when planning your own lessons. It should be noted that the lesson plans and challenge toolkit can be used as little or as much as you like. As long as the brief and guidelines are adhered to, feel free to create your own pathway for students.
Our approach is to be flexible on how much time you spend on your submission. However, we recommend that a minimum of 6 x ≈ 1 hour sessions are allocated to the make:able challenge.
Video submissions will be judged by a global panel of industry experts in May 2024 and winners will be announced in July 2024. There are a total of 6 prizes to be awarded for each age group. Prizes are under consideration but will include 3D printers and other technology products for the winning teams. Please see the challenge toolkit for a breakdown of the prize categories. *Prizes for the under 14 and 14-18 winners will be provided to the school/organisation of the participants.
Experience in 3D design and 3D printing is helpful but not required. 3D design tutorials are included within the toolkit and additional training resources are also recommended in the challenge materials.


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You've Decided to Rent Out Your Birmingham Property, What Do You Do First?
Deciding to rent out your Birmingham property is a wise financial decision. Not only will you collect monthly rental income, you'll watch your property grow in value. Tenants are essentially paying down your mortgage and contributing to expenses like taxes, insurance, and maintenance while they live there. If your home is paid off – even better! You're earning straight cash flow and holding onto a valuable and appreciating asset.


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Bombardier owned a lot covering more than 20 million square feet. This land had been left vacant following the closure of the Cartierville airport. Adjacent to Nouveau Saint-Laurent, completion of the Bois-Franc project was expected to take more than ten years. The basic concept was to offer residents an exceptional quality of life thanks to its green spaces (an expected 20,000 trees were to be planted), its numerous lakes and open squares, and its proximity to downtown Montréal.
During the groundbreaking ceremonyBuilding the Bois-Franc District
Bois-Franc District


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Note: Review copy supplied by MVM Entertainment
Title: Fate/Stay Night Heaven's Feel: Spring Song
Anime Studio: ufotable
Publisher: MVM Entertainment
Genre: Action / Fantasy
Released: March 14, 2022
Classification: 15
Language: Japanese/English
To save the girl…to enact the justice he's chosen…The young man will no longer turn a blind eye to the truth.
Mages (Masters) and Heroic Spirits (Servants) work together in the battles of the HolyGrail War…a fight for an omnipotent wish-granting container called the Holy Grail. However, this war has become horribly twisted. A young woman named Sakura Matou, with the sins she has committed, drowns in the murky darkness. A young man named Shirou Emiya, who vowed to protect Sakura, works together with Rin Tohsaka and throws himself into the raging battle to put a stop to the Holy Grail War.
Illyasviel von Einzbern, as one of the few who knows the truth behind the conflict, confronts her own fate, while Zouken Matou uses Sakura to try to fulfill his own desires. Will the young man's wish reach her even as he challenges fate itself, battling against the rising tide? The Holy Grail War is coming to an end…The final battle is about to begin.
So, with this, the Heaven's Feel film trilogy comes to an end. Now, this has been a series that I've really enjoyed. I scored Pressage Flower 4 out of 5, and Lost Butterfly 4.25 out of 5, after all. That means this had a lot to live up to. The good news is everything that made the first two films so special is still in place here. Yuki Kajiura's score is absolutely wonderful, lifting the attached scenes the way a great soundtrack should. Meanwhile, ufotable continued to do a great job with the animation. All the flash is still here, and the more subtle touches that play with lighting are just as beautiful to look at. The studio does a really good job at blending 2D and 3D animation, and I would say it's the strongest in the trilogy in that regard. Both the sub and dub cast are also on form here, meaning you'll have a decent experience, whichever way you want to hear the characters.
Where the film manages to surprise is that the most impactful fight gives itself less opportunity for the over-the-top action we see more often. Being, essentially, a fistfight, it should feel out of place. There's enough emotional impact there though that it works within the overall narrative. I was also happy to see the film deal with some of the more emotional story moments as well as it did. For me, this was far smoother than the previous films, and certainly less rushed than Pressage Flower was. Things do begin to tie together here, and certain characters, such as Sakura, get to shine brightly in that regard.
The downside is that the film does still suffer from some of the issues that have plagued the trilogy from the get-go. Without prior knowledge of the franchise, things get confusing. Even as someone who has spent more time with the franchise in more recent times, this still felt less accessible to me. Does that mean you can't come into this as a newcomer? No, but you'll certainly find it more of an aesthetic spectacle than anything else if you do. It should also be noted that when the animation has a rare drop in quality, it's really noticeable when compared to the rest of the film.
Overall, I do feel that this continued the upward trajectory of the films. The great stuff is as great as ever, and the weaknesses, while still there, are lessened. This is a strong conclusion, and I give it a 4.5 out of 5.


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I'm a huge fan of taking short breaks, and a quick trip on the ferry to Amsterdam seemed an ideal way to see somewhere new in a relaxed way.
My journey started from Newcastle-upon-Tyne railway station. I'd opted to travel to the ferry port by transfer bus, which seemed less stressful than having to find my way through an unfamiliar city.
The pick-up point was just across the road from the station, and the directions I was given were excellent. The bus stop was clearly marked, and the bus itself was difficult to miss.
It wasn't overcrowded and there was plenty of room for luggage, so I'd recommend this as a way of reaching the port.
The terminal was easy to navigate, and we collected our cabin keycards. After passport control, we were straight onto the ferry, which was ready and waiting for us.
It took a while for everyone to board, which gave us time to find our way around onboard before it set off.
This is a ferry, not a cruise ship, but there was still an onboard cinema, nightclub and several places to eat. We sat by the windows watching the harbour pass by as we left port – some hardy souls braved the weather to go to the bar on the top deck.
There wasn't a lot of room to sit outside, but as we set off in the early evening and it was pretty chilly, this didn't matter.
There were a variety of places to choose from to have dinner – a cafe, a buffet and a couple of restaurants. We went for the Italian restaurant, which was very good.
There are also a variety of cabins to choose from, and as this was a spur-of-the-moment break, we'd chosen the most basic, which was a small cabin with bunks in the lower part of the ship.
There wasn't a lot of space, but it did have an ensuite with a shower, and as the cabin was just for sleeping in it wasn't a problem.
The cabins are secure as they can only be opened with your keycard, and there wasn't a lot of external noise.
We had a pretty stable sailing both ways – obviously you can tell that you're on a ship, but we were lucky to have a calm crossing.
Arriving in Amsterdam in the morning, we went through customs and then were led out to buses which took us into the centre of Amsterdam.
We were dropped off centrally, and picked up later that day from the same place.
By the time we reached Amsterdam centre, we had about 4 hours before we had to catch the bus back for the return journey.
If you want to go to Amsterdam and are interested in going to Anne Frank House, I'd recommend getting tickets online as soon as you can – I'd left it too late, and didn't want to spend my precious on-shore time queuing to get in.
We did have time for a canal boat ride (with commentary in Dutch and English), a bit of lunch and a walk round the Jordaan district, which is lovely and not packed with tourists.
I would have liked to have had more time in Amsterdam – I would take the ferry again, but next time I'd like to spend a night in the city before having to think about the return journey.
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In the Image of the Beloveds
"Even in these early pastorals, ghosts threaten quietude. Storm clouds loom; wind tosses trees; a farmer looks anxiously at the sky; a horse and cart are rendered by trick of perspective tiny and vulnerable under a brooding penumbra of woods and dusk. It is as if there is a knowing nod here to a reckoning; that this fragile peace, this imagined past redeemed by longing, this beloved new-old arcadia, yearly greening, will in its turn fail, and will fall into some new axis of monetary necessity or opportunity: debt or investment; cash or credit."—William Ramp
Small Things Recollected
By Dr. William Ramp
"Ideas are to objects as constellations are to stars."—Walter Benjamin, translated from Trauerspiel, 1928.
LETHBRIDGE, ALBERTA Canada—(Weekly Hubris)—April 2019—This is the third in a series of reflections on the meanings granted by encounters with old photographs. Some of my meditations are anchored in inscriptions or labels, or in shared memory. Some respond instead to an apparent lack of information; to orphaned, ambiguous, or ghostly images. In my last column, I said I would present the present batch with minimal commentary, allowing you to form and consider your own impressions. Instead, I confess to having chosen images to fit the general theme of this issue of Weekly Hubris, the greening (again) of love. Having thematized them, I couldn't resist the urge to comment on some, impressionistically and at length. Read and appreciate the commentary for what it is and however far it takes you. Beyond that, please do feel free to read these images against the grain of the words given with them. Read them in light of your own responsive impressions, and then perhaps also against your own grain. See what you come up with.
For a sense of the thinking and approach I bring to them, not always consistently, see here, and also here.
This April's melting snow returns life to a northern hemisphere not yet ruined by climate change, though as I write, large swathes of the US Midwest have been devastated by floods of historic proportions. The warming that brings life brings both promise and pain, as Eliot noted already a century ago—
April is the cruellest month, breeding
Lilacs out of the dead land, mixing
Memory and desire, stirring
Dull roots with spring rain.
Winter kept us warm, covering
Earth in forgetful snow, feeding
A little life with dried tubers.
The soil warms for another year's germination. Let the seedbed of reflection do the same.
Present In Absentia: Beloved Landscapes
This is the kind of landscape that set elderly farmers and their newly-urbanized and nostalgic children to dream and reminisce a hundred and thirty years ago. An elegiac landscape of the sort painted by hundreds of 19th-century artists great and small; members of the Hudson River School, imitators of the Barbizon School, and thousands of amateurs unschooled. The signature landscape of North American admirers of Constable.
It is also the type of landscape that accompanied the end of a conquest, or what seemed like it. The land had been taken and surveyed and lotted and logged and stumped. Its raw wounds had long since grassed over; its remaining trees huddled in woodlots or served as boundary sentinels lining pasture where cattle safely grazed. These were images that celebrated quietude. In them, sweat and worry, privation and failure; the bite and blood of a mis-swung axe or crush of a crank-felled tree; the cough of consumption in close cabins; the dead children and spouses buried under trees like these, could fade into a dream of Arcadia as if Arcadia had not exacted its cost; had always been present to the wonderment of drovers, shepherds and harvesters.
These paintings are of a quite different genre from the contemporaneous line-drawn images found in lithographs and county atlases produced and sold by subscription across southern Ontario in the 1870s and 1880s. In the latter, the houses and barns of prominent farmers testify to the work of stone-boats and saws and pike poles; to busyness and building. Horses and democrats clip-clap smartly along straight roads and orderly fence-lines that advertise the reign of Accomplishment in all its commercial pride. In a way, these idealizations of Enterprise were more honest than the bucolic quietude of pastoral scenes in oils. Such vistas were only available to artists because of hard labor by hard men driven by imperial designs, survival necessity and economic desire. The pastoral idyll forgets fondly, places "under erasure" all the work of displacement, destruction and transformation: seizing, blazing, measurement, boundary-making, felling, stumping, burning. Of the first generation of European axe-wielders in this particular countryside, one observer wrote: "They have no life, no animation, no desire, no consideration save in and for the possession of 'Hard Cash.' Care, caution and calculation sit ever upon their brow, and they have not the least soul, save for 'Improvements,' 'Water Privileges' for saw and flour mills and any other method or contrivance for accumulating wealth."
But in Watson's early pastorals, as in so many the type, the conceit of the painter is that the resultant agricultural vistas aren't accomplishments of settlement; they simply are. This sort of cover-up, if we can call it that, dresses old wounds, physical and psychic, that settlers inflicted on themselves and on the land in the process of "taming" a wilderness. Commerce, work and worry give way to a neverland of peaceful ground in which stern and parsimonious forebears and their dead children and spouses are alike entombed with crippled axe and scythe-wielders, hearth-burned or drowned infants, stooped ploughmen and tile-diggers. All fades into an eternity of green and grain. Et In Arcadia Ego.
Watson's landscapes thus were likely intended more for appreciation by the children of the pioneers; successors to the successful, already in the market for nostalgia. These were their beloved vistas; idealized kingdoms of cattle, trees, and streams that answered a longing for home and hearth and homestead; that glossed over and soothed and smoothed rough childhoods and the betrayals of leave-taking and loss. But under Watson's brush, this was a nostalgia haunted by past and possible future portents. He was better than most at this genre and if he began as a child of classical Romanticism, he moved on to Impressionism and ended a Modernist. Even in these early pastorals, ghosts threaten quietude. Storm clouds loom; wind tosses trees; a farmer looks anxiously at the sky; a horse and cart are rendered by trick of perspective tiny and vulnerable under a brooding penumbra of woods and dusk. It is as if there is a knowing nod here to a reckoning; that this fragile peace, this imagined past redeemed by longing, this beloved new-old arcadia, yearly greening, will in its turn fail, and will fall into some new axis of monetary necessity or opportunity: debt or investment; cash or credit.
Behind me, as I took this photo: a highway bridge, an intersection, and a sign on the flood-plain announcing commercial land for sale, for fast-food outlets.
There is a contrast between the romantic pastoralism of Watson's agricultural landscapes and some rural photographs taken in the same era. In the latter, it becomes evident that settlers and loggers did not cut every single tree in their way. Some were left standing, naked and spindly, without companion. Most farms retained woodlots, though the biggest trees in these were usually logged out later. But a few ancient giants with a wow in their length or ill-situated knots were left alone: in silviculture as in the moral culture of the time, straightness of stature signaled productive potential. Others lingered on the slopes of ridges or ravines that made felling too risky. Still others, towering twice as high as the surrounding bush, marked a failed field clearance. And some few, perhaps, were left out of whimsical respect. Lightning-blasted and surrounded by a clutter of lost limbs, these punctuated pastureland well into the 20th century.
When Europeans first entered the primeval forest and oak plains of Southern Ontario, they often represented the former as places of danger and disorientation which trapped sleighs and carts in bogs or blocked their way with windfalls. Stands of timber grew so thickly in imagination as to form impenetrable walls. The above watercolor marks a turning-point at which those walls were breached and finally levelled, about 40 years and 40 miles from where Watson would later get out his sketchbook and paints. Note the rawness of the landscape depicted studiously by the regimental surveyor. The remnant conifers are giving way to new deciduous growth. One, still alive and apparently healthy, leans at a crazy angle. Most of the others still standing are dead, deliberately girdled at the base and left to blow over on their own.
One of my ancestors thought here to record a remnant stand of 100- to 150-foot eastern white pines along the eastern edge of our farm; the last of a population of giants that once covered much of Ontario. Some are estimated to have reached 220 feet. Old photographs show 65-foot clear, straight logs with enormous boles bob-sledded down the streets of small towns to sawmills or the piers of lake and river ports. (At a farm auction near my home town, I once bought an old harvest table, roughly and locally-made, its leg-ends rotting, simply because it had for a top a single inch-thick pine board measuring a full three feet by six. In consternation at my foolishness, my family nicknamed it the "stinky table.")
The Old Ones caught in this snapshot managed to escape the 19th-century logging craze that made board-foot calculations out of their peers simply by virtue of growing on a low sand ridge. It made little sense to the first settlers to expend energy and court danger by cutting them down solely to add a few acres of unproductive blow-sand to an "arable" box on a census. Perhaps some now-unknown early proprietor also resisted a logger's blandishments. In any event, they persisted, to be transformed in memory from a stubborn enemy of clearance, or a calculation of relative worth, into a sylvan refuge we called "the grove." They loom in the background of countless family photos. Note the very tallest: its extreme height and almost evanescent slimness indicates that once it was likely surrounded by others, impossibly taller still. Under their soughing canopy, my mother sat on a granite boulder throne and played princess, while Monarchs and Admirals, Painted Ladies and Hairstreaks, Great Spangled Fritillaries and Tiger Swallowtails paid her a fluttering court.
The photo dates from the 1930s; all these trees were still standing when I was young, and my grandfather swore they were the same size when he was a boy. But by the 1990s, long after we left, they had all been taken down for lumber—all except for the very tallest, which I like to think saw the end coming and died on its own in the early 1980s. Perhaps, as the neighbor who made the decision argued, their thinning future had already become untenable.
Later still, the knoll on which they stood was truncated by excavators intent on the sand in which they had rooted their biomes. Sand is now a scarce resource in a booming world market for construction materials, and thus is profitable to mine. We think of fossil fuel extraction these days as the Main Enemy, but it is the development and construction industries which have concreted much of the living planet, which have in country after country avidly cultivated ties to mafias, gangs, and mobs, which have beaten back labor unions and regulation, which see no vista, no ecosystem as sacred; which make no connection between any of this and a carbon crisis. Sand, like oil and, now, fresh water, is just another material for extractivism; a regime in which a skein of law-abiding business masks shadowy deals that undo laws and zoning and compliance with payoffs, and with threats.
We loved those trees. Did they love us back? Trees, it was once thought, were not sentient and were, like us, individuals. More recent botanical research indicates otherwise. Trees sense threat collectively; they co-operate with other organisms in rooted biological communities, they do not just compete for canopy space but give way to each other. Perhaps, while we loved them, they saw in our temporary adoration only the interim stanching of a still-open wound.
Stephen P. H. Butler Leacock, FRSC (1869–1944) studied under Veblen at Chicago, and for many years chaired the Department of Economics and Political Science at McGill University in Montreal. He was a staunch conservative and imperialist in his politics. But he was far better known between 1915 and 1925 as the most popular humorist in the English-speaking world and, if he is read at all today, it is for his Sunshine Sketches of a Little Town (1912); tales of rustic foibles in a small lakeside town he called Mariposa, a lightly-fictionalized version of Orillia, Ontario.
This photo is un-prepossessing, and I have cropped it rather heavily to straighten it. It was taken between 1910 and 1916 by a very Edwardian young woman, perhaps leaning from a timber bridge below a mill seat, or out for a row in a rental boat. Her Kodak Brownie lens is pointed toward Goosey Island, which sat in the middle of Silver Lake. The resultant image is an exercise in nature romanticism, of a piece with the first stirrings of a conservation movement in Canadian settler culture. And the young woman remained a nature-lover all her long life. But now, the kicker: Silver Lake was artificial. Its waters were held, in pent-up penstocked passion, by Penman's Dam. It provided power for a mill that turned out knit undies and knickers and other naughties by the thousands of pairs. The mill featured a comfort station for its workers that emptied straight into the river below the dam, earning the wrath of a Provincial Waterways Inspector, who, one hopes, did not inspect it from directly below.
In short, this is a most Mariposian idyll.
Beloved Ones: The Human
Two photographs, one above, one below, separated by six decades. Each portrays a boy who was father to the man. Both images, to me, are revealing. Both call out in me a response I do not have to later pictures of the same subjects.
The earlier photo is of my grandfather and his two elder sisters. In adulthood, he could be a hard man to be easy around. He could be by times shy and a performer larger-than-life; a man of definite and at times contradictory opinions, a keen observer, a willing and at times endless talker. He was also wound tight, often wildly-frustrated, a worrier, a pessimist, at times an arbitrary and difficult employer and parent. He suffered but made others suffer, too. Regardless, I spent a good deal of time with him and listened to him; we had a bond that my father (his son-in-law and employee) did not fully approve.
Here, he is knotted with a ridiculously-huge bow tie, and clad in overstated, starched togs in caricature of some future adult role (like the ubiquitous sailor suit). In the middle-class habitus of the day, the sorrowful little boy serves the iconography of the cute and the ghost of his future. But I look into his eyes and all of that falls away, except as a stage-prop contrast. Clearly, he has been bidden to stand still and follow instructions. He wants it all to be over. He does not really understand. He tries to do what is wanted of him, but he cannot yet mask the effort with a smile.
My mother tells me she took this photograph of me in the dining-room mirror. If so, she had skills with a camera that I failed to recognize for decades. It's a superb image. There is no flash reflection, no reflected image of the taker; the picture is decently-exposed.
What does this image, and my decision to include it, say of me? That even then I had a tendency to introspection, looking into but also past myself? Perhaps. I also find the inclusion of the candle apposite. That is where it often sat; I doubt it was placed there for symbolic effect. But, somehow, it adds a very great deal to the picture in a way I can't quite explain.
I flinch at most other pictures of me. I was an awkward, ungainly child, ever too-conscious of being seen and imagining the worst of it. As an adult, I developed a squint that looks like a perpetual smirk, as if I am chuckling at some superficial inside joke. I tend to imagine myself visually in the ugliest and most critical of terms. But here, before this image, I feel empathy. I know you, child. I know how things were for you. I know how things turned out. I wish I could have given you a happier future.
Of all writers, Roland Barthes speaks most fluently of looking back on the child, not without pain, but nonetheless with some sort of . . . I don't know—absolution isn't quite the right word, but it comes close:
"What right does my present have to speak of my past? Has my present some advantage over my past? What 'grace' might have enlightened me?—except that of passing time, or of a good cause, encountered on my way? …
From the past, it is my childhood which fascinates me most; these images alone, upon inspection, fail to make me regret the time which has vanished. For it is not the irreversible I discover in my childhood, it is the irreducible: everything which is still in me, by fits and starts; in the child, I read quite openly the dark underside of myself—boredom, vulnerability, disposition to despairs (in the plural, fortunately), inward excitement, cut off (unfortunately) from all expression."
The year is 1923. This is her first grand-daughter, and her namesake. I am drawn to her hands. What a lifetime of scrubbing and wringing and ear-boxing and kneading and cooking and sewing and lifting and holding is folded into them! The darkened skin is partly a trick of the light. But a fortuitous one.
The same child, same year, here held by her other grandmother. A grandmother described to me by one grandchild as formal and austere; watchful of proprieties, bending from a great height to land a dry peck on the cheek. Here, however, she bends close. Her face is intent but expressionless. Or is it?
I admit that I cropped both snapshots for dramatic effect.
Why does this image fairly shout "Dickens!"?
"They had 21 children. They died like flies."
I've left all the artifacts in and on view here: the spectral fingers, smudged fingerprints and crooked alignment from the amateur use of home developing equipment a century ago. Plus the banding added by the dying scanner I used to digitize this image last year.
But I confess I was tempted to crop and remove them all in order to focus your eye on the pathos of the scene. Two young women on the cusp of adulthood, in about 1912, one sliding a protective and affectionate hand around the waist of the other but directing her gaze downward to meet the eyes of the dog; the perfect white curve of the dog's neck as it lifts its face toward her attention.
The girl on the left is Annie, and she lived well into her 90s.
The one on the right with the shy, almost ethereally-reserved half-smile is Florence. Florence died at 16. And no one is now alive who holds in their heart a personal memory of her, or of the ache of her loss.
Beloved Ones: The Animal & Anthropomorphic
Transportation, transfiguration: This is Jack Dog (who, I was assured, "was a girl") as horse, with her passenger. Was she told to sit up and present her paws? Or to pull?
Whatever the case, she gestures to us still from the far winter of 1925, from between the ranks of fruit trees long since bulldozed, here stretching back to the woodlot marking the far end of this domesticated space.
Jack Dog again, in the hands of one John Brown. Again, here, we are in the realm of what passed as cute in the arrangements of humans and animals. But one look at her face tells us differently: fear, confusion, obedience, passivity, a will nonetheless to please. And John Brown? He thought to do no harm. This was a thing humans did to their fellow animals: pose them as if doing human things; dress them in skirts or long johns; train them to hold pipes in their mouths, to shake-um a paw. I read into that compulsion a kind of longing to bridge the human-animal divide.
Jack Dog loved her humans, and they loved her back, sometimes with thoughtless and passing cruelties.
I doubt that the dog or the two women were deliberately posed. This sort of fortuitous moment defines the culture of the snapshot. All three are caught up in sheer, transcendent enjoyment. The two women forget themselves; the dog basks in a present for which forgetting has no register. The similitude in facial expression is an irresistible anthropomorphic conceit on the part of the viewer. And yet, who can gainsay that, in a flash, these three were truly one before the moment passed?
The sun imprints the window opposite on the wall behind, and casts the cat in half-shadow like a phase of the moon. No one knows its name. My mother, the only one who might still remember, is past telling. But someone, eight decades ago, thought to take its picture, alert as if guarding the realm of shadowplay and pattern behind.
Longing: Water & Fire
"Blue is the color of longing for the distances you never arrive in . . . in this world we actually live in, distance ceases to be distance and to be blue when we arrive in it."—Rebecca Solnit
On the 13th of May, 1814, a squadron of 750 United States Army troops and Pennsylvania militia under the command of Lieutenant-Colonel John B. Campbell set out from Presque Isle aboard a US Navy flotilla, and crossed Lake Erie, landing the afternoon of the next day at the mouth of a small stream on the north shore of Long Point Bay, south-west of what was then the village of Dover Mills. Their landing-place was a few hundred feet from the forested boundary of the farm on which I would spend my childhood, a century and a half later. The stream that gave on to the lake there ran through and divided our farm—my great-grandfather tiled one branch of it into submission—and I have walked its length. Its centuries of patient gully-formation define space which still, on the eve of its final disappearance under development, furnishes the geography of my dreams.
There was a small skirmish that evening between the raiders and a few local defenders, who then withdrew inland. The next day, 15 May, Campbell's squadron burned the village and its mills to the ground, sparing the now-homeless women and children their lives but slaughtering all the livestock they found, leaving them dismembered in the street. It was later said that the subsequent British torching of Washington, including the yet-unfinished White House, was in part retaliation for this act.
Campbell was excoriated by both his subordinates and his superiors for his conduct of the raid. But a century later, modern warfare would take similar raids on indigenous villages as a template for a new military objective: the functional destruction of an enemy society to eliminate its capacity to assert itself in war. Campbell landed too soon, and targeted people and things still regarded as sacrosanct.
The image above, taken 201 years later, shows the approximate location of that fateful landing; the sandbar blocks the stream at low water.
What blue led Campbell across that inland sea? What did he long for so strongly that he would darken the blue of a May sky with the smoke of a burning settlement? What love sails before the wind intent on a horizon of destruction?
Image 1. "Tableau vivant, about 1912"
- This is a family photo, but obviously composed with rather more than the usual care, and printed on a postcard (though like many such prints it was never mailed). It features a Kodak box Brownie pointed back at the Brownie-holder who is taking the shot. And a safety bicycle, unsafely half-straddled. At center are the eldest daughter and the Matriarch, watchful and not quite cracking a smile. The women are swaddled in yards of Edwardian fabric. Note the wire fencing; you can still buy that stuff today. In the background, the summer kitchen of a typical Ontario saltbox frame farmhouse of roughly 1840s vintage.
"April is the cruelest month . . ."
- T. S. Eliot, The Waste Land, I. The Burial of the Dead. Boni and Liveright, 1922, online at Poetry Foundation: https://www.poetryfoundation.org/poems/47311/the-waste-land
"They have no life, no animation, no desire, no consideration save in and for the possession of 'Hard Cash.'"
- William Pope, quoted in Harry B. Barrett, The 19th-Century Journals and Paintings of William Pope. Toronto: M. F. Fehely Publishers Ltd., 1976, p. 87
"This sort of cover-up, if we can call it that, dresses old wounds, physical and psychic, that settlers inflicted on themselves and on the land in the process of 'taming' a wilderness."
- I have written about this in three earlier Weekly Hubris columns: see "An Ocean of Grass, A World of Song," June 22, 2014; "Reason's Ghosts: The Settling & Unsettling of the Plains," August 21, 2014, and "Forgotten Commonwealths: Agrarian Legacies & Lessons," October 19, 2014.
"Et In Arcadia Ego."
- Title of three 17th-century Baroque paintings of pastoral scenes. One, by Giovanni Francesco Barbieri (Guercino) is at the Galleria Nazionale d'Arte Antica in Rome. Two subsequent and more famous studies (one held at Chatsworth House and one at the Louvre) are by Nicolas Poussin. Both refer to passages in Virgil's Eclogues (V, VII and X), and the earlier Idylls of Theocritus that transposed idealized rural Sicilians to the Greek Arcadia. In paintings of this genre, shepherds or other classically-robed rustics encounter and contemplate symbols of death (a skull, a tomb, etc.) in pastoral settings. See "Et In Arcadia Ego," Wikipedia.
". . . a last stand of a population of giants (some reached 220 feet with 7-foot boles) that once covered much of Ontario . . ."
- "I found a description in the Canadian archives of a white pine that was cut from southern Ontario, a portion of which was displayed at the international exhibit of London in 1862. It was over 200 cm (7 feet) in diameter, 67 metres (20 stories) tall, and the first branch was more than 10 stories above the ground—higher than the tops of most pine trees today. The tallest white pine in Ontario today is only 47 metres tall, a little over two thirds the height of this historic tree. The 1862 pine contained enough wood to build six modern three-bedroom bungalows. Near the shores of Lake Erie the larger pines were reported to often reach 60 metres in height and over 150 cm (5 feet) in diameter." Michael Henry, "The past isn't what it used to be," Ancient Forest Exploration & Research, July 16, 2015.
"Sand has now become a scarce resource . . ."
- Josh Gabbatiss, "Sand mafias and vanishing islands: How the world is dealing with the global sand shortage," The Independent, December 6, 2017.
- See also Aurora Torres, Jodi Brandt, Kristen Lear, Jianguo Liu et al., "A looming tragedy of the sand commons," Science 357(6355), 8 September, 2017, pp. 970-971.
"Trees sense threat collectively; they co-operate with other organisms in rooted biological communities, they do not just compete for canopy space but give way to each other."
- Richard Schiffman, "Are Trees Sentient Beings? Certainly, Says German Forester," YaleEnvironment360, Yale School of Forestry & Environmental Studies, November 16, 2016.
- Kent McFarland, "Eastern White Pine: A Meat-Eater?" Adirondack Almanack, August 27, 2013.
- "Canopy shyness," Venerable Trees, n.d.
". . . known between 1915 and 1925 as the most popular humorist in the English-speaking world."
- See "Stephen Leacock," Wikipedia.
". . . the sorrowful little boy serves the iconography of the cute . . ."
- Sianne Ngai, Our Aesthetic Categories: Zany, Cute, Interesting. Harvard University Press, 2015.
"Of all writers, Roland Barthes speaks most eloquently of looking back on the child . . ."
- Roland Barthes, by Roland Barthes (Hill & Wang, 1977)
"Blue is the colour of longing for the distances you never arrive in . . ."
- Rebecca Solnit, A Field Guide to Getting Lost (Penguin, 2006)
"The next day, 15 May, Campbell's squadron burned the village and its mills . . ."
- See "Raid on Port Dover," Wikipedia.
Image Credits
Image 1. Author collection.
Image 2. Homer Rainsford Watson, "Near the Close of a Stormy Day" (1884), Winnipeg Art Gallery. Public domain. From Wikimedia Commons, https://commons.wikimedia.org/wiki/File:Homer_Ransford_Watson_-_Near_the_Close_of_a_Stormy_Day_(1884).jpg
Image 3. Author photo.
Image 4. Library and Archives Canada, Acc. No. 1955-129-2. Copyright expired. See under "Record Information—Details," at http://www.bac-lac.gc.ca/eng/CollectionSearch/Pages/record.aspx?app=FonAndCol&IdNumber=2833188, and http://www.bac-lac.gc.ca/eng/Pages/terms-and-conditions.aspx#copyright.
Image 5. Author collection.
Image 6. Family collection, scan courtesy of B. Rawlings.
Images 7 and 8. Author collection.
Images 9 and 10. Family collection, scans courtesy of B. Rawlings.
Image 11. Author collection.
Image 12. Family collection; negative scan courtesy of B. Rawlings.
Images 13—15. Author collection
Image 16. Family collection; negative scan courtesy of B. Rawlings.
Image 17. Author collection.
Image 18. Author photo.


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MNA Application Q & A
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September 22, 2021 @ 12:00 pm - 12:30 pm
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