#techera

[elarea]

El récord de Techera

Tras el nuevo récord de imbatibilidad establecido por el guardameta de Uruguay Montevideo Carlos Techera, se ha actualizado la tabla con los diez guardametas que han conseguido registros históricos desde el año 1920.

[danman007]

Comic fans constantly argue if Batman kills then he wouldn't stop. They are saying he would be beyond the point of no return. No redemption.

An example of the nihilistic world view of comic book fandom:

That is hopelessness. No faith.

Zack is saying that there is hope for Batman after that; a chance for redemption. Faith. That is Batman's story in Batman v Superman. He is Man in his fallen state and isn't until he comes into contact and struggle with the Divine(Superman) that he begins to try and find salvation. In ZSJL he has a renewed sense of faith.

I'm reminded of this quote from film critic Titus Techera from his review of Zack Snyder's Justice League:

Nihilism is Snyder’s great adversary, and he wants to help the young save themselves from its nothingness.

[digiavenir]

In a world where technology reigns, we often forget the true power of the internet - to unite, to inspire, and to empower. Visit Us: www.digiavenir.com

Email : digiavenir@gmail.com

#digiavenir #digitalmarketing #webdevelopment #seo #contentmarketing #appdevelopment #technology #internetpower #unitedthroughtech #inspire #empower #techunity #techinspiration #techempowerment #digitalworld #internetimmunity #onlineinspiration #digitalinnovation #techrevolution #techera #onlinetech #techconnect #onlineunity #inspireonline #digitaltransformation #techforgood

[businessa]

Which Full Stack Developer Course is Best?

Why Choose a Full Stack Developer Course in Pune?

Pune is home to a vibrant tech community with numerous IT companies, startups, and educational institutions. The city's dynamic ecosystem provides an ideal environment for learning and growth. Here are some reasons why you should consider a full stack developer course in Pune:

Industry-Relevant Curriculum: Courses in Pune are designed to meet the current industry standards and demands.

Experienced Faculty: Many institutes boast experienced instructors who bring real-world knowledge into the classroom.

Placement Assistance: Numerous courses offer placement support, helping you secure a job in top tech firms.

Networking Opportunities: Being part of Pune’s tech community allows you to connect with industry professionals and peers.

Best Full Stack Developer Courses in Pune

1. SyntaxLevelUp Full Stack Training in Pune

SyntaxLevelUp is renowned for its comprehensive full stack developer course in Pune. The curriculum covers both front-end and back-end technologies, ensuring you become proficient in creating complete web applications. Key features of this course include:

Full Stack Java Developer Course in Pune: Specializing in Java, this course equips you with the skills needed to develop robust backend systems.

Full Stack Web Development Course in Pune: Focuses on modern web development technologies such as HTML, CSS, JavaScript, React, Node.js, and more.

Full Stack Developer Classes in Pune: Offers flexible schedules, including weekend and evening batches, to accommodate working professionals.

Full Stack Developer Course in Pune with Placement: Dedicated placement support ensures you get connected with top employers in the city.

Full Stack Course in Pune: Comprehensive curriculum covering all essential technologies.

Industry Projects: Real-world projects to give you practical experience.

Placement Assistance: Regular workshops and mock interviews to prepare you for job placements.

What to Look for in a Full Stack Developer Course

When choosing the best full stack developer course in Pune, consider the following factors:

Curriculum: Ensure the course covers both front-end and back-end technologies comprehensively.

Hands-On Experience: Look for courses that offer practical training through projects and internships.

Faculty: Experienced instructors with industry backgrounds can provide invaluable insights.

Placement Support: Courses with strong placement records can significantly enhance your job prospects.

Conclusion

Pune offers a plethora of options for aspiring full stack developers. Whether you choose SyntaxLevelUp, CodeUp Labs, or TechEra Solutions, ensure the course aligns with your career goals and provides ample hands-on experience. With the right training and dedication, you can embark on a successful career as a full stack developer.Looking for the best full stack developer course in Pune? SyntaxLevelUp offers top-notch fullstack training in Pune. Their full stack developer course in Pune includes comprehensive modules and real-world projects. For those seeking job assistance, the full stack developer course in Pune with placement guarantees excellent opportunities. Specializing in full stack Java developer course in Pune, SyntaxLevelUp ensures you master both front-end and back-end technologies. With flexible schedules for full stack developer classes in Pune, it is the ideal choice for professionals. Enroll in the full stack course in Pune and advance your career with the best full stack classes in Pune. Start your journey with SyntaxLevelUp’s full stack web development course in Pune today!Looking to master Full Stack Development in Pune with a course that guarantees placement? Discover the best Full Stack Developer training at SyntaxLevelUp! Our comprehensive program covers Java and web development, ensuring you gain all the skills needed to excel in this dynamic field. Whether you're a beginner or looking to advance your career, our Full Stack Developer course in Pune is designed for you. 

[elmartillosinmetre]

"He tratado de contentar a todos"

[Juan Luis Pérez es el responsable de la programación de la ROSS para la próxima temporada.. / ISMAEL RUBIO]

El director jerezano afincado en Sevilla ha vuelto a colaborar con la ROSS con la programación de la temporada 2024-25 que acaba de presentarse

Juan Luis Pérez ha estado siempre ahí, cada vez que la Sinfónica sevillana lo necesitaba, con un concierto de temporada, uno didáctico, una asistencia o, como este año otra vez, cubriendo los interregnos entre titulares con el diseño de las programaciones. En cualquier caso, desde el principio quiere dejar claro que “yo no he estado haciendo funciones de director artístico, sino de asesor. He tenido que consensuar, hablar con mucha gente, tratar de convencer a los artistas de que cambiaran alguna obra. A veces lo he conseguido y otras, no; quienes me conozcan verán algunos programas que yo no habría hecho nunca así”.

–¿Cuándo lo llaman?

–Antes de Navidad, al poco de ser nombrado Victoriano Martín como gerente.

–¿Había algún diseño previo?

–No. Había una serie de compromisos por los conciertos cancelados por la pandemia y la huelga. Y había varios condicionantes: uno, que el maestro Soustrot volviera, y hace dos programas que él tenía ya pensados; otro, la recuperación de público. Mi idea era sencilla: he tratado de contentar a todos… A veces me dicen que eso de contentar a todos… y mi respuesta es siempre la misma, ¿a quién quieres tú desagradar?

–Dos obras corales muy populares (Carmina Burana y 9ª de Beethoven) como apertura y cierre van por ahí...

–Exactamente. Además era una exigencia mía, que hubiera al menos dos conciertos sinfónico-corales.

–Carmina Burana es además con el Orféon Donostiarra… ¿lo negoció usted?

–No, esa medalla es para Victoriano, que además ha conseguido mejorar el presupuesto para programación artística, porque ha conseguido incrementos en las aportaciones públicas.

–¿Le pusieron limitaciones presupuestarias?

–Ninguna, porque desde el principio el gerente me dijo que no me fijara en el coste de los conciertos, sino que hiciera propuestas. Es verdad que esta orquesta paga bastante bien, aunque a lo mejor no tanto como otras y me consta que algunos músicos han rebajado sus cachés para entrar en la programación.

–Aparte el deseo de contentar y de atraer público, ¿alguna otra línea en su programación?

–Yo quería dar continuidad a la política de Soustrot de rescatar el formato de gran orquesta sinfónica, y traer obras que a mí me recuerdan las primeras temporadas, cuando la orquesta hacía Strauss, Shostakóvich, Bartók, Mahler, y evitar en lo posible conciertos de formato más reducido.

–Se gana un concierto de abono…

–Para mí era muy importante, y no se ha conseguido, que el abono terminara en junio. En principio el cierre era con la Novena en junio, pero ha habido que moverlo a principios de julio, y a mí eso no me gusta, julio es un mes de festivales y no de abono. Me consta que hay abonados que han dejado de serlo por esos programas. No tiene lógica que una ciudad como Sevilla termine su temporada más tarde que ninguna.

–¿La coexistencia con el teatro sigue siendo el gran tema pendiente?

–He hablado mucho con el nuevo jefe de producción del teatro, Augusto Techera, y se está trabajando en intentar que la orquesta no tenga que programar con las fechas libres que deje el teatro, sino que se pueda trabajar conjuntamente desde el mismo diseño de las fechas, y se ha llegado ya a acuerdos de aprovechar por ejemplo a los directores que vienen al foso para hacer ópera, algo se ha avanzado en eso.

–Como directores sólo repiten Soustrot y György Ráth, ¿hubo consignas para hacer pasar a directores a modo de prueba para la titularidad?

–Sin duda, y de hecho, se puede decir que había casi un acuerdo para que el próximo titular fuera Ráth, pero el Consejo lo ha parado para darse un tiempo mayor de reflexión. No sé si es definitivo o sólo lo ha dejado en suspenso.

[Juan Luis Pérez durante la presentación de la temporada / ISMAEL RUBIO]

–¿Y Ráth viene dos veces por eso?

–Así es.

–¿Cuál sería a su modo de ver el perfil ideal para el próximo titular de la orquesta?

–Digamos que hay dos figuras, la de director titular y la de director artístico, que suelen coincidir en la misma persona, pero creo que hay confusiones con respecto a las responsabilidades de un director artístico: se piensa que es el que hace la programación, y eso es un error. Director artístico es el que se encarga de la calidad artística de la orquesta, y en eso la programación influye, pero todos esos problemas alrededor de la orquesta, qué plantean los profesores, qué demanda el público, son también su responsabilidad, pero normalmente aquí se han ocupado sólo de hacer la programación, y eso es insuficiente. No quito méritos a hacer una buena programación, pero creo que en Sevilla hay varias personas capaces de hacer eso. Lo difícil es lo otro. Lo difícil es trabajar y controlar la calidad día a día, ir a más, y eso es responsabilidad del director artístico. Por ahí tendría que ir.

–El nivel de los solistas se ha elevado, al menos por nombres: Eldar Nebolsin, Pacho Flores, Pablo Ferrández, José María Gallardo del Rey…

–Ha habido más dinero para contratación. Sólo hay que ver que viene el Orfeón Donostiarra, lo que es un símbolo de vuelta a la época en que financiación y programación iban de la mano.

–Hay también más directores españoles…

–La comunicación con un director español parece más fácil, porque han crecido en el mismo ambiente cultural, tienen la misma idiosincrasia. Incluso Víctor Pablo Pérez llegó a decir que la unidad sería posiblemente mayor si todos los músicos de una orquesta fueran españoles. Pero eso es un debate que creo superado. Para tocar en una orquesta, ser español no es ningún mérito.

–¿Ha hablado con el nuevo gerente, Jordi Tort?

–Sí, tuve una reunión con él.

–¿Ha condicionado la programación?

–La Gala de apertura en el Alcázar la ha diseñado él. Trae muchas ideas, me las contó grosso modo. Es consciente de que la orquesta tiene que aumentar su público.

–¿Le ha propuesto seguir como asesor para la programación del curso próximo?

–No. Mientras no haya un director artístico entiendo que la programación será tarea suya.

[Diario de Sevilla. 5-06-2024]

[laus-deo]

Ad usum nostrorum (o sobre cómo veo a la Compañía de Jesús al comenzar el tercer milenio) - Julio Fernández Techera, S.I.

[anticattocomunismo]

Il declino dei gesuiti

Il padre Julio Fernández Techera, sacerdote gesuita e rettore dell’Università Cattolica dell’Uruguay, ha scritto un saggio critico ampiamente diffuso sulla Compagnia di Gesù avvertendo che l’ordine, fondato da Sant’Ignazio di Loyola nel 1534, è in “profondo declino”. Continue reading Il declino dei gesuiti

[newslettertechera]

TechEra Newsletter of March month

Introduction With the lengthening days and the arrival of spring, we are thrilled to present a newsletter brimming with inspiration, wisdom, and chances to empower, celebrate women’s accomplishments, promote diversity, and cultivate an environment of progress and creativity. Come along with us on a voyage of exploration. Whether you need encouragement, information, or networking opportunities, the TechEra Newsletter guides you on a journey to success. Let’s start this rewarding journey together and make March a memorable month! Robotic Spot-Welding Cell (for Safety Lockers - Inner Body)

Our team has successfully installed a Robotic Spot-Welding Cell for one of our patrons Godrej & Boyce – Security Division for their product range of Safety Lockers.

Key Items integrated and installed were KUKA KR2700-2/2.7-KRC4, Servo Spot welding gun with Bosch make weld controller with communication via CC-Link Protocol with PLC. The dedicated control panel using Mitsubishi PLC and Wintek 15-inch HMI is used for the completed programming and interlocks. Further for the Auto/Manual mode section for the program selection and monitoring system. Events Women’s Day On International Women’s Day, our community united to pay tribute to and honor the remarkable women in our office. The day was filled with an abundance of inspiration, empowerment, and meaningful connections. We took the opportunity to acknowledge and value the invaluable contributions made by the women in our office. Whether they hold leadership positions or contribute to innovative projects, change. We extend our heartfelt gratitude to all the women who inspire us daily with their unwavering passion, dedication, and exceptional leadership. To express our appreciation, we conclude the event by presenting them with exquisite gifts. Holi We are delighted to share the delightful moments from our recent Holi Celebration in the office! The festivals of colors brought us closer together in unity and enjoyment. Laughter and happiness filled the atmosphere as we exchanged colorful greetings and embraced the sense of togetherness. The Holi photo booth captured unforgettable instances of joy, friendship, and colorful unity. As we treasure the memories of our Holi celebration, let us carry forward the essence of harmony, diversity, and contentment in our TechEra. Employee Appreciation This month, we are proud to highlight the outstanding members of our team and extend our sincere gratitude for their invaluable contributions. Their unwavering dedication to excellence, collaboration, and forward-thinking truly exemplifies our fundamental principles. We are eager to acknowledge the remarkable accomplishments of our employees who have gone above and beyond in their respective positions. Whether it be exceeding performance targets, demonstrating exceptional abilities, or making significant contributions to projects, we deeply appreciate their hard work. “Your talent determines what you can do. Your motivation determines how much you’re willing to do. Your attitude determines how well you do it”. -Lou Holtz

[elarea]

Y Uruguay gritó campeón (1967)

Hace hoy 57 años y con gol de Pedro Virgilio Rocha, Uruguay le ganaba 1-0 a Argentina y obtenía la Copa América celebrada en Montevideo.

Uruguay 1 -0 Argentina (Gol: Pedro Rocha).

Estadio: Centenario, Montevideo (65.000 espectadores).

Juez: Mario Gasc (Chile).

Uruguay: Ladislao Mazurkiewicz, Edgar Baeza, Luis Varela, Héctor Cincunegui (82’ Pablo Forlán), Juan Carlos Paz, Juan Mujica, Domingo Pérez, Jorge Oyarbide (46’ Luis Vera), Héctor Salvá (63’ Rubén Techera), Pedro Rocha, José Urruzmendi.

DT: Juan Carlos Corazo

Argentina: Antonio Roma, Oscar Calics, Silvio Marzolini, David Acevedo, Antonio Rattín, Rafael Albertch, Raúl Bernao (75’ Norberto Raffo), Alberto González, Luis Artime, Juan Carlos Sarnari (85’ Alfredo Rojas), Oscar Mas (75’ Juan Carlos Carone).

DT: Jim Lopes

[atletasudando]

Récords y excelente nivel en las jornadas internacionales en Asunción

Paraguay vivió una gran fiesta de atletismo internacional durante este fin de semana en su pista sintética de Asunción Primero, con el Grand Prix Sudamericano realizado el viernes 10 de noviembre y luego con su tradicional Campeonato Nacional de la Victoria, que también contó con los atletas visitantes, este sábado 11 y domingo 12. La velocista Xenia Noreen Hiebert Klassen fue una de las principales protagonistas de estas jornadas al mejorar tres veces, en menos de 24 horas, el récord paraguayo de los 100 metros. Durante el GP había escoltado a las argentinas Florencia Lamboglia y Melanie Rosalez, llevando allí el tope paraguayo a 11.68. Y el sábado logró la final del Nacional con nuevo récord de 11.61 (viento de 1.9ms), seguida por su compatriota Macarena Giménez con 11.73. En los 200 metros, que se corrieron con viento de 1.1ms, Hiebert marcó 24.27, a sólo 1/100 de su tope paraguayo. En esta prueba se impuso Lamboglia con su registro personal –y tercero del historial argentino- de 23.62, quedando Rosalez en el tercer puesto de la carrera con 24.53. También la velocidad entre los hombres tuvo un excelente nivel. En los 200 metros venció la gran figura de Paraguay, medallista sudamericano en Sao Paulo, César Almirón. Marcó 20.49 (viento de 0.9ms), seguido por el juvenil Jhumiler Tobías Sánchez con 21.64 y el uruguayo Kevin Barboza con 21.81. En la final de los 100 metros venció el juvenil argentino Tomás Mondino con 10.42 (viento de 1.3ms) y luego se ubicaron dos juveniles locales: Gustavo Mongelós con 10.47 y Rodrigo Ortiz con 10.56. Mongelós batió el récord paraguayo de esta categoría u20, que Freddy Maidana mantenía con 10.57 desde hacía una década (19-5-13 en Cochabamba). Ana Paula Argüello fue nuevamente otra de las figuras locales al ganar el salto en largo con 5.82, aventajando por 2 cm a la juvenil argentina Victoria Zanolli. Los atletas de Uruguay también tuvieron un buen desempeño, especialmente en lanzamiento de jabalina (Lautaro Techera con 68.68 y Manuela Rotundo con 50.15) y sumaron otros triunfos con la posta femenina 4x100 (47.96), Millie Díaz en salto triple con 12.04w y la juvenil Sofía Ingold en 100 metros vallas con 14.98. Entre los brasileños se destacaron Wesley Bevilacqua Beraldo con sus 7.72 m. en salto en largo, Fleipe Izidoro da Silva con 15.55 en triple y Erica Geni Barbosa Cavalheiro con 57.58 en los 400 metros llanos. Y por Bolivia ganaron Kenna Ibe-Akobi en 400 llanos con 48.90 y Carla Lorena Ríos en salto en alto con 1.69 m.     Read the full article

[la-liga-jojaa]

El celeste del este jugo en la B 12 temporadas, tiene solo un ascenso, en el año 2003. En el torneo jugó 311 partidos, gano 96, empato 82 y perdió 133, hizo 380 y recibió 480 goles

El UNICO ascenso al círculo de privilegio fue en el año 2003, donde gana el torneo apertura tras ganar la final 4-1 en el estadio Mario Sobrero. De todas formas asciende tras ser el mejor equipo del interior, termino tercero en la temporada, detrás de Cerrito y Rentistas

[paaris-nadi]

#InstaWorld #InstaMadness #FoodForLife #BloggingIsFun #BlogSpot #FoodFiesta #FoodBlogger #Vlogger #Writer #Speaker #Travelling #InstaTravel #TravellingIsMyLife #World #SpeakingIsPassion #WritingIsProfession #TechGirl #TechEra #Blogger #TravelDiaries #Duabi #Malaysia #Indonesia #Pakistan #Fun #Enjoyment #Blogging #Speaking #Writing #Enjoyment #AlhamdulilahForEverything #Blessed #GodWill # #NadiaSarwar #NadiaSarwarPeshawar #NadiaSarwarMansehra #NadiaSarwarBlogger #NadiaSarwarSpeaker (at Benazir Bhutto International Airport CLC)

[arcticdementor]

One of the most stylish of American directors, Michael Mann, who made Heat and The Insider (earning three Oscar nominations), is now producing the HBO series Tokyo Vice and has directed its disappointing first episode. I watched Tokyo Vice hoping Mann could make something of our unwatchable TV, but I write to report cinema is one step closer to death.

Our entertainment is designed by people who don’t like beautiful things. It’s killing love of beauty. Our shows are made to eliminate any possibility of great art or even great moments. They perpetuate rather than relieve boredom; they doom viewers to polished mediocrity, until they lose hope that beauty is somehow transcendent. Instead, habituated to their streaming platforms, people watch soap operas that allow them to avoid a bad conscience. More technology and money is poured into TV than ever before, yet the results are ugly and filmed artlessly. A century of cinema, the distinctly American art, is being wasted. In this context, Mann in his other works tried to restore some romanticism to storytelling—the guidance of beauty and the temptation of glamour, the hope that justice will prevail and the realization it will require sacrifices—in short, he wanted to encourage audiences to become adults, which makes his failure here a little on the heartbreaking side.

Mann, in short, has ended up trapped in a Michael Mann story, a hopeless romantic in a techno-commercial world. His most famous movies are about men in search of honor, who prefer beauty to decency. Movies like Collateral and Miami Vice wanted to show the ugliness of injustice and the beauty of heroism. His characters are often rugged individualists, making American cities seem both dead to beauty and transformed by it. Perhaps Mann sees himself in that same situation in Hollywood.

…

Compared to the achievements of Japanese art, Tokyo Vice primarily serves to offer bored, suburban, white liberal women a new object of lust, Japanese gangsters, through the infamous HBO sex scenes, involving prostitutes of a race exotic to that audience. The story, written by Tony-winning playwright J. T. Rogers, was mangled in the TV transition. Lost is the shrewd, if degraded, journalist Adelstein and his remarkable, if not admirable, career investigating crime in Tokyo. What is gained instead? Not even a vision of Tokyo, which TV could offer. The real Adelstein is a scandal to multicultural Progressive prigs, because he did everything journalists are not supposed to do, from sleeping with sources to trading information with members of organized crime groups, and there’s no way he can meet politically correct or woke requirements; in Tokyo Vice, he’s a pretty boy protagonist offering titillation instead of a look at an interesting society. Further, contempt for Japanese art is noticeable everywhere in the mediocrity of the design and execution, surely excused by ignorance (although there is a bad scene of quotes from the poet Basho).

Worse, its protagonist is a boring liberal boy aspiring to be a journalist in Japan out of arrogance—the profession has prestige. His story, as televised, is gossip, bad gossip, at that; you will learn little about Japan, accordingly, even if you’re new to the subject. Why boring? Well, a virtuous protagonist would imperil artists’ and the audience’s vanity, and a vicious one the reputation of the journalist class. Unfortunately, this dooms the transparent attempt at prestige TV, but at least it offers us yet another example of a selfish, thoughtless young American with no respect for any man or institution.

So we end up with a story about Japan focusing on criminals, prostitutes, journalists, and policemen, set in turn-of-the-21st-century Tokyo, for people who have no expectations to discover the place. It’s not so much bad art as clumsy propaganda in favor of journalists’ liberal prejudices. Different place, same story, so to speak—more tourism than anything else. Whatever the writers’ ability, they work under the pious imperative not to notice that almost everything about Japan is more interesting than they are, and that Japanese people, criminals included, are more serious than they are.

…

Tokyo Vice is so provincial that liberals until recently would have called it racist for being so judgmental of a foreign culture while indulging every prejudice of liberalism; nowadays, liberals would call it racist because it’s a “white savior” story. The negative part of the story is how Japanese characters in positions of authority are presented as anti-Semites who proclaim their prejudices in public, unchallenged; whereas the American protagonist rather patiently takes abuse while also exuding the supreme liberal virtue, despising his Missouri home and adoring a foreign place. This is obviously intended to show HBO’s audience how far superior white liberals are to the intolerant Japanese. The positive side of the story is the melodrama of a strong, independent young woman, brave and stunning, who is certainly not a prostitute, whatever people who don’t respect her authenticity suggest. She’s on the run from her Mormon father after stealing money as a missionary! Crazy as her story is, the important thing is that she’s as dominant over other female characters of various races as the journalist boy in his domain.

As for the provincial, indeed monomaniacal liberalism of Tokyo Vice, the show dramatizes the woke idea of non-whites enacting “whiteness” and “white supremacy.” The Japanese are portrayed the way Hollywood usually portrays white people: They discriminate against women and ethnic minorities; they have rigid, formal manners that conceal corruption and prevent immigrants from getting jobs or getting ahead in life; and their institutions are both hypocritical and despotic, in need of shakeup by true-blue liberals, the only people shown to care about justice. One person in Japan seems to matter, a white liberal reporter—important policemen and yakuza inexplicably jump at the chance to unburden themselves to him, as equals. Of course, he also uniquely winces when women are mistreated and is the only one sensitively aware of the plight of a homosexual colleague. This is an amusing show of liberal madness. Apparently, everyone involved in making this travesty looked at Japan and all they saw was individualism struggling to express itself against an oppressive culture. It’s multiculturalism of a kind that destroys culture for disobeying the empire of Progress. Japan should be remade for the moral comfort of the liberal audience—they like the sushi and the ceremonies, but they’d like to castrate the toxic masculinity, so to speak.

…

All told, Tokyo Vice is a waste of a wonderful cast and a good opportunity. Modern Japan is indeed interesting, as it is America’s only famous success in terms of Americanization! Many of the unusual features of the society noted in the show are real and some are important��for example, the presence of somewhat tolerated organized crime in an incredibly peaceful, crime-free society; the widespread corruption that does not effectively impede the functioning of political and business institutions; and the constant competition between Japanese mores and the mass adoption of American ideas, from democracy and popular culture to capitalism and a kind of individualist consumerism. But we’d need real artists to figure out why and how these apparent antinomies work. The filmmakers might have started by treating Japan’s greatest artists with enough respect to learn what they thought about modern Japan. But this was not to be, at least not while arrogant liberalism insists on trashing learning and HBO trashes cinematic art.

[mobileappdaily-blog]

The mobile app has changed every aspect of our daily lives. If you have to buy groceries, order medicine, purchase garments, communicate or have to track our bank statements, all is just one click away, How? There is an app available for each and everything you want to do in your day to day lives.

[insidewarp]

... Fixing schools for poor kids is very, very hard. Despite our wealth and technology, our schools are failing as institutions. True, international test scores look all right if you break them down by community. Chinese kids in America compare favorably with Chinese students in the various Asian countries taking the same tests. So also with other communities. But that means some communities on average do great and others poorly. We all want the best for our children, so this is a big political problem. If education — applied Enlightenment — is the principal path to success in America, and vast numbers of people fail at it, what comes next?

Titus Techera

https://www.nationalreview.com/2019/06/book-review-13-ways-of-going-on-a-field-trip-public-schools/

[sleepykalena]

Bf: Vancouver's up 5-0 against San Jose

Me: How many minutes are left in the match?

bf: about 10.

Me: You think they can catch up by then + stoppage?

bf: HELLLLLLLLLL NO. When Wondolowski's on the field? We both know he can't score for shit when it counts