Panoramic view of brick and frame commercial buildings in downtown Denver, Colorado and the flooded South Platte River nearby. Shows the brick Denver Mint building at 16th (Sixteenth) Street and Market Street and businesses on probably Larimer Street. Signs on buildings read: “Chamberlain’s Ambrotype & Photographic Gallery” “Ladies Emporium” “Woolworth & Moffat, Blank Books, School Books, Maps & C” “Metropolitan Billiard Hall” “Bank” and “Denver Meat Market.” Shows fenced livestock yards. Frame houses are surrounded by flood water.
Common usage – “New York and adjacent cities”
Contemporary usage – ‘adjacent’ as meaning close to but not exactly standard.
Example – “I don’t think of Soundgarden as heavy metal, but they are heavy metal adjacent.”
Dream delivers us to dream, and there is no end to illusion. Life is a train of moods like a string of beads, and as we pass through them they prove to be many-colored lenses which paint the world their own hue, and each shows only what lies in its focus. From the mountain you see the mountain. We animate what we can, and we see only what we animate. Nature and books belong to the eyes that see them. It depends on the mood of the man whether he shall see the sunset or the fine poem.
Seen from 16th street Denver
The goal of the Dogme collective is to purify filmmaking by refusing expensive and spectacular special effects, post-production modifications and other technical gimmicks. The filmmakers concentrate on the story and the actors’ performances. They believe this approach may better engage the audience, as they are not alienated or distracted by overproduction. To this end, Lars von Trier and Thomas Vinterberg produced ten rules to which any Dogme film must conform. These rules, referred to as the “Vow of Chastity,” are as follows:
1 Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
2 The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot.)
3 The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.
4 The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).
5 Optical work and filters are forbidden.
6 The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
7 Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
8 Genre movies are not acceptable.
9 The film format must be Academy 35 mm.
10 The director must not be credited.
This building is in Denver, on Broadway and just south of I-25. The boxiness is fine, the color scheme chaps my hide though. Loud and inharmonious. Reminds me of the old orange roof on Howard Johnson’s. Least that had the justification of letting people know there’s some place to eat.
WBUR is on it ->
In cities like Seattle, Boston, Denver and Charlotte, new “luxury” condos and apartment buildings are going up to meet demand for new housing. But many of these buildings look like simple, plain boxes.
She stood in front of me as beautiful as the day is long, sending a shiver down my spine. I had fallen head over heels in love with her. However the writing was on the wall, I had always been a glass half empty kind of guy and there was no way in a million years she would ever feel the same.
She had packed her bags and stood at the terminal, merely a stones throw away from me, but I couldn’t pluck up the courage to let her know I loved her. Perhaps it was written in the stars and this is how it was meant to be. If it’s true that it’s better to have loved and lost than to never have loved at all, then I guess I’m just a fool in love.
Perhaps I was barking up the wrong tree, a girl like that would never love a guy like me. I was stuck between a rock and a hard place, biting my tongue.
Then it hit me – I was head over heels in love with her and couldn’t let her go. It’s now or never I told myself. I had to make a last ditch effort to persuade her to stay.
I laid my cards on the table to her, told her how I felt and asked her to look into her heart. I knew it was a long shot, but in for a penny in for a pound…
‘Just in the nick of time’ she said.
I know all that glitters isn’t gold, but surely it was better to have jumped in at the deep end than to live a life in regret? Will we live happily ever after? Only time will tell.
The ‘lambda operator’. It’s read as ‘goes to’. As in, x => 2 * x is read as “x goes to 2 times x .”
A lambda expression is an anonymous function that you can use to create delegates or expression tree types. By using lambda expressions, you can write local functions that can be passed as arguments or returned as the value of function calls. Lambda expressions are particularly helpful for writing LINQ query expressions.
To create a lambda expression, you specify input parameters (if any) on the left side of the lambda operator =>, and you put the expression or statement block on the other side. For example, the lambda expression x => x * x specifies a parameter that’s named x and returns the value of x squared.
via ms docs
“The hermeneutic circle,” he was saying. “That’s what Dilthey called it. You don’t know what to do with the details unless you have a grip on the structure, and at the same time, you don’t know what to do with the structure unless you know the details. It’s true in life and in literature. The hermeneutic circle. It’s a vicious circle.”
David Denby quoting Columbia professor in the essay Does Homer Have Legs?
Soldier from the wars returning,
Spoiler of the taken town,
Here is ease that asks not earning;
Turn you in and sit you down.
Peace is come and wars are over,
Welcome you and welcome all,
While the charger crops the clover
And his bridle hangs in stall.
Now no more of winters biting,
Filth in trench from tall to spring,
Summers full of sweat and fighting
For the Kesar or the King.
Rest you, charger, rust you, bridle;
Kings and kesars, keep your pay;
Soldier, sit you down and idle
At the inn of night for aye.
EDELSTEIN: It depends on the guy playing Marcellus doing a take after you say, “The air bites shrewdly.” So, your listeners will have to imagine that in the beat between the two halves of the line that the other guy is looking at you with a look of perplexity on his face and then you’ll get it. Go ahead.
BOGAEV: “The air bites shrewdly.”
BOGAEV: “It is very cold.”
EDELSTEIN: Oh. Right, so that’s, right he doesn’t say “huh” and he doesn’t say, “oh,” but there you go, that’s the idea.
BOGAEV: [LAUGH] Well, I can see it.
EDELSTEIN: Very good, see that’s it, you’re now a Shakespearean actor because we are asking ourselves, “Why am I talking this way?” And it’s never good enough to simply say, “Well, because it’s a Shakespeare play, and that’s how Shakespeare writes.” In the rehearsal room we’re trying to create human reality.
BOGAEV: So, it is this marriage of “Why am I saying these words now?” and “How is the language built?” because this is how you organize your master class, and your teaching, and I think we just talked about heightened language. You also include in these four categories “antithesis.” Now remind us what antithesis in rhetoric is.
EDELSTEIN: Antithesis is… sure. Antithesis is the big, big, big, big thing of Shakespeare. That’s the technique that he relies on really most. And antithesis is very simply opposition.
Dealing With The Exception
The exception is perhaps the greatest obstacle for any moral theory to deal with. You adopt a supposedly ideal moral system which should tell you what to do to act morally in any possible case: all you have to do is deduce the proper action from your principle or set of principles, then follow it. No problem. You’ll be doing the right thing, and acting without sin. But then you run into that odd, unexpected situation where following your rulebook doesn’t seem so neat and tidy. This new case is special, unique, and unanticipated by your ethical system. In fact, it just feels wrong to follow the rules here in this instance. Do you go with your rulebook, or your current intuition?
There are many who would step in and try to defend principled (rulebook style) ethics. They have three obvious defenses:
(1) Simply deny that apparent problems create exceptions.
(2) Hold the view that principles can be rewritten so that the apparent exceptions are no longer exceptions.
(3) Argue that each apparent exceptional case is really a case of conflicting principles, where two or more principles both apply, but one is overruled by another of greater priority.
Why You Shouldn’t Be A Person Of Principle,
Ramsey McNabb, Philosophy Now
If you want to know how you feel about someone take note of the impression an unexpected letter from him makes on you when you first see it on the doormat.
Every parting is a foretaste of death, and every reunion a foretaste of resurrection.
After your death, you will be what you were before your birth.
Every man takes the limits of his own field of vision for the limits of the world.
The assumption that animals are without rights and the illusion that our treatment of them has no moral significance is a positively outrageous example of Western crudity and barbarity. Universal compassion is the only guarantee of morality.
The first rule of style is have something to say.
Money is human happiness in the abstract; and so the man who is no longer capable of enjoying such happiness in the concrete, sets his whole heart on money.
We seldom think of what we have, but always of what we lack.
Life and dreams are leaves of one and the same book. The systematic reading is real life, but when the actual reading hour (the day) has come to an end, and we have the period of recreation, we often continue idly to thumb over the leaves, and turn to a page here and there without method or connection. We sometimes turn up a page we have already read, at others one still unknown to us, but always from the same book.
“First, you have to psych yourself into a good night’s sleep, after having arranged a fool proof wake-up call. Second, you have to be sure of your transportation arrangements when you do get up in the morning because your time is their money, and if you don’t know how you are getting to the studio or the location on time, you won’t have the job when you do get there, late. Establish where to go (the venue of your shoot might always be changing) and then mentally rehearse your journey there as if it were the first scene in the film. You’ve got to get your own act together before the camera’s act can begin. Being prepared isn’t just for the demands of your part; it’s also for the demands of the studio or location. You must get your bearings and establish where to go and what to do when you get there.”
Acting in Film: An Actor’s Take on Movie Making, Michael Caine