The far-right party Alternative for Germany (AfD) filed a lawsuit on Monday against the classification by Germany’s domestic intelligence agency as an extremist organization The legal action was filed in the Cologne Administrative Court and claimed that the intelligence agency classification infringes democratic competition and the AfD’s rights under Article 21 of the Basic Law [...] The English Football Association on Thursday stated that transgender women will no longer be allowed to play women’s football in England announcing a change in its policy following a ruling by the UK Supreme Court last month The Football Association’s new policy will take effect on June 1 The association stated: “This is a complex [...] Human rights groups on Monday urged the Liberian president should renew his executive order to establish a war crimes court for crimes committed in the two Liberian civil wars the secretary-general of the Civil Society Human Rights Platform of Liberia demanded the establishment of a war crimes court stating: Liberia’s quest to bring [...] Bank of England granted political independence Chinese Exclusion Act barred Chinese laborers from US Official Social Media Accounts To Our Stakeholders Marubeni Management Philosophy Vision for the Marubeni of the Future Company Profile Directors, Audit & Supervisory Board Members, and Executive Officers Mid-Term Management Strategy Organization Japan and Overseas Offices Corporate Governance Major Group Companies Our History Marubeni Collection Lifestyle Division Food & Agri Business Division Metals and Mineral Resources Division Energy & Chemicals Division Power & Infrastructure Services Division Finance, Leasing & Real Estate Business Division Aerospace & Mobility Division IT Solutions Division Next Generation Business Development Division Next Generation Corporate Development Division Pursue Digital Transformation with Marubeni Marubeni Group by the Numbers Management Policy Earnings Releases & Financial Information Stock Information Sustainability Website The Marubeni Group's Social Contribution Activities Advertisements and Videos Advertisements Marubeni Institute Company Profile Print Marubeni Corporation has completed construction on the Aichi Tahara Biomass Power Plant (Tahara City the “Power Plant”) through Aichi Tahara Biomass Power Plant G.K. in which it has invested together with Enewill Corporation (hereinafter with commercial operations of the power plant commencing today The Power Plant is a wood-fired biomass power plant with a generating capacity of 74,950 kW and is expected to generate approximately 530 million kWh of electricity per year Marubeni has set the goal of strengthening green business in its Mid-Term Management Strategy (GC2024) and will continue to contribute to the realization of a decarbonized society through the operation of the Power Plant Overview of Aichi Tahara Biomass Power Plant G.K *Marubeni invests in Aichi Tahara Biomass Power Plant G.K through its wholly owned subsidiary Marubeni Clean Power Corporation Related News ReleaseNovember 5, 2020Development of Wood-based Biomass Power Plant in Aichi Prefecture-Operations Scheduled to Commence in October 2024-https://www.marubeni.com/en/news/2020/release/00026.html Back DE PADOVA’S EFFORTLESS TRANSITION FROM OUTDOORS TO IN by PIN–UP Omi Tahara Photography by Philippe Jarrigeon for PIN–UP 38 is at its core about touch — how a material feels beneath the palm has built his work around that corporeal sensibility coupling it with an insistence on dialogue Afternoons is now moving in with Softnoons has given way to De Padova’s signature high-quality leather This reversal of the usual order — indoor furniture not the other way around — is unexpected but not illogical There is something in the relaxed silhouette that makes it feel at home anywhere “I see it as a collection that embodies style evident in the craftsmanship needed to handweave each of the collection’s elements,” Tahara said of the original outdoor design These qualities have not been lost in the translation from outdoors to in; if anything Photography by Philippe Jarrigeon for PIN–UP 38Creative direction by Felix Burrichter and Ben GanzProduction by Irene TamagnoneSet design by Ludovica RosatoText by Julie Klein and Rachel Hahn she is responsible for the development of quant solution applications particularly for factor backtesting and custom risk models in Alpha Testing as well as the FactSet Programmatic Environment supporting clients with regulatory compliance Rui Tahara earned a Master of Science in Quantitative Finance from Northeastern University and a Bachelor of Arts in Liberal Arts from Sophia University « Back LAist is part of Southern California Public Radio Shohei Ohtani mania continues to sweep Los Angeles as the Dodgers newcomer raises the bar on the diamond the Far Bar has been celebrating Ohtani’s feats and giving patrons free sake shots every time the man knocks one out of the park Far Bar owner Don Tahara is a lifelong Angeleno and Dodgers fan and remembers seeing the Dodgers play as a kid right after they’d moved from Brooklyn in the late 1950s He told LAist he was thrilled that the Dodgers signed Ohtani who he considers to be a once-in-a-generation player Tahara said the mural convinced him he needed to do something to honor Ohtani as well “It was an opportunity to showcase Ohtani at the same time — do something unusual celebrate all of his home runs with a Shohei Sake Shot,” Tahara said but…actually they're already chanting for sake by that time,” he said Tahara said he doesn’t have plans to stop anytime soon he‘s starting to consider the Shohei Sake Shot part of the bar’s identity He’s hoping the campaign will continue at least through the World Series “I don’t mind spending money on all this sake because the fact that I'm buying so much stock and it’s in no small part due to Ohtani’s work on the field While much of Southern California is under the spell of Shohei fever perhaps no other neighborhood has been as electrified as Little Tokyo Tourists from Japan have been pouring in to visit Dodger Stadium “That's brought thousands of tourists into Little Tokyo People are always standing in front of my restaurant and taking pictures of it," Tahara said Tahara said Ohtani has become important not just to Japan He said Ohtani’s impact has fueled a sense of pride for him and for his community but… when was the last time I was able to really root for a Japanese person who was at the peak of his sport” image: Mouse locomotor activity measured by an infrared sensor Each drinking water condition was indicated in the right side.  Adding sugar or artificial sweeteners to coffee disrupted the body clocks in mice more than coffee on its own with it causing day and night to be reversed in some mice adding sweetener to coffee would have significant health ramifications The findings were published in the journal npj Science of Food in August If you need to perk yourself up in the morning or stay up late to get some work or a school assignment done most people will make themselves a cup of coffee or grab an energy drink containing caffeine These “night-owl” effects of that perky chemical are far from unknown Myriad epidemiological studies have demonstrated how night-oriented people tend to drink more caffeinated beverages than morningness people and experiments on animals and cells have shown how caffeine works to extend the waking period of the internal body clock But a group of researchers have accidentally discovered that changes in the activity rhythms of mice were affected even more strongly when they mixed caffeine with sugar or other sweeteners “So we targeted our investigations on these sugary effects.” The team gave sweetened caffeine water containing 0.1% caffeine which is half the concentration of espresso and either 1% sucrose which is one-tenth the concentration of most energy drinks “The added sweetness did not change the amount of this caffeine water that the mice drank so the effects could not be the result of just drinking more caffeine,” added Tahara “It had to be the combination of caffeine and sweetener.” The mice that had consumed the caffeine-sweetener mix experienced a very long “free-running” sleep-wake period of 26-30 hours and some even switched from a nocturnal circadian rhythm to a daytime-based one These effects continued to happen even when the mice were subjected to persistent darkness This latter phenomenon suggests that the caffeine-sweetener effect is operating independently of the central regulator of the internal body clock which lies in the hypothalamus in the brain That central regulator itself is normally governed by light and the natural day-night cycle and it in turn ensures a synchronization of clocks situated in organ tissue elsewhere in the body The researchers believe that the combination of caffeine and sweetness may be creating a conflicting signal within the body possibly mediated by another famous chemical Both caffeine and sweeteners activate the reward system in the brain It is this double hit of dopamine that could be contributing to the emergence of the long-period activity rhythms.  The researchers now aim to investigate further the possible dopamine link and see whether the boost to caffeine produced by sweetener is replicated in humans While this initial study only looked at the effects in mice the findings may have important implications for our understanding of how sweetened caffeine affects human health.  Many health authorities recommend an upper limit to the amount of caffeine consumed per day or recommend reduced consumption in the evening or night as excessive amounts are associated with decreased sleep quality and enhanced night-owl tendencies which in turn has a range of negative physical and mental health effects This research adds another layer to this advice suggesting that adding sweeteners to caffeine may further exacerbate any negative effects the researchers are also keen to study the effects of caffeine and sweetener intake in the morning “If you want to be even more perky in the morning you might want to make sure you take your coffee with something sweet for breakfast,” said Tahara are not responsible for the accuracy of news releases posted to EurekAlert by contributing institutions or for the use of any information through the EurekAlert system Copyright © 2025 by the American Association for the Advancement of Science (AAAS) An official website of the United States government VA Pacific Islands Health Care System (VAPIHCS) held the opening ceremony for the 2nd annual Koa Challenge Veteran Games The event was held at Ke’ehi Lagoon Memorial in Honolulu VAPIHCS Human Resources Administrative Officer Adrian Etumeleu began the ceremony by singing the United States National Anthem and Hawaii Ponoi VAPIHCS Assistant Director James Ingebredtsen delivered the keynote speech where he spoke directly to the athletes participating in the events. “You are the standard bearers You are the leaders who will determine how these games are going to continue in the future,” Ingebredtsen said “For all of you who woke up and decided that you wanted to train and sign up for these games I want to thank you.”Ingebredtsen emphasized that participation in the Koa Challenge and in other Veteran games builds camaraderie between Veterans That camaraderie and engagement can help improve overall mental health and reduce Veteran suicide the games provide an opportunity to stay physically fit which can lower health complications as well as improving overall mental and physical health Many Veterans struggle to travel to the mainland to participate in Veteran games Having the Koa Challenge Veteran Games locally can make them accessible to Veterans who might not otherwise be able to compete. In addition to Assistant Director Ingebredtsen Tahara is a graduate of both Mililani High School and the University of Hawaii and he served in Operation Iraqi Freedom and Operation Enduring Freedom Tahara spoke about the importance of participating in events like the Koa Challenge but he also emphasized the importance of family. “I would like to thank all of you for participating in these games and for continuing to stay fit,” said Gen “I especially want to thank the families They must try and carry on their daily activities without their spouse their daughter or sister who is not around and who may be in harms way protecting our freedom thank your families.” AMVETS West Oahu Vet Center Commander Donavan Lazarus Vietnam Veterans of America Chapter 858 President Rona Adams and VAPIHCS Recreation Therapy Supervisor Melissa Crawford also gave brief remarks Center for Development and Civic Engagement (CDCE) Chief Schoen Safotu acted as Master of Ceremonies Tables were set up by Military and Family Support Services More than 100 Veterans attended the event. “I’m not competing in anything today,” said Air Force Ret I still wanted to come out and watch the opening ceremony and cheer on my brothers who are competing today I’ll be competing on Thursday.” Event Schedule: • Opening Ceremony Nov – noon (HST) at Ke’ehi Lagoon.• Canoe sprints Nov at Ke’ehi Lagoon.• Indoor climbing Nov – noon (HST) at HiClimb Gym.• Powerwalking Nov (HST) at the Hickam Track.• Adaptive fitness (HST) at American Veterans (AMVETS) West Oahu Vet Center.• Pickleball and boccia ball Nov – noon (HST) at Ewa Mahiko.• Bowling Nov (HST) at Barber’s Point.• Cycling and closing ceremony Nov A small oceanside city in Aichi Prefecture is selling the dream of a life by the beach in hopes of attracting new residents who want access to sea The central Japan city of Tahara is marketing a housing development that offers potential buyers access to some of the country's best waves Tahara first came up with its plan to build a "surf town" in an area five minutes' walk from the Atsumi Peninsula's Taiheiyo Long Beach The city's plan is simple: draw surf lovers from across Japan to live locally bolstering a population that had shrunk to just under 59,000 as of the end of 2023 the planner's architectural renderings of the completed project showed palm tree-lined roads with white houses nestled among lush greenery resembling an overseas resort "We imagined a townscape that surfers will find appealing," said the contractor In addition to pitching single-family homes the city office made other promotional efforts including offering subsidies and other incentives to potential home buyers with all three homes up for sale in the first phase in April quickly finding buyers This initial success did not come without difficulties as there was some local opposition born from past incidents in which surfers had damaged crops and gardens near the beach The locals feared more surfers in the area would create more "surfing nuisance." helped bridge the divide between the two sides by organizing events that brought the surfing community to help collect trash around the beach among other goodwill gestures paving the way for better relations and more trust but now even the local government is very supportive of the project There is no other beach with such good facilities," said Kato who moved to Tahara from another city in Aichi Prefecture 15 years ago a professor at Takushoku University and an expert on municipal government sports policy "It's important to establish a community where newcomers and locals can fit in together." Tahara is a case where it has worked Strong cooperation between the city authorities and local citizens in Tahara bore fruit in successfully hosting the International Surfing Association's World Surfing Games in 2018 Matsuhashi predicts there will be "more and more examples of regional development focused on single sports in the future." Tahara residents can look forward to its beach hosting the surfing competition at the 2026 Asian Games "We want to further strengthen our image as a surf town," Tomonobu Matsumoto a senior official in the construction department of the municipal government new owners are expected to move next spring to a hilltop development site with picturesque views where 25 residential lots have been built as part of the city's wider plan to boost its population to 60,000 by 2040 Surfing: Igarashi looks to polish aerials for Los Angeles Olympics Waves for days fuel surf tourism at Fukushima beach town Olympics: Inaba, Matsuda fail to advance in surfing To have the latest news and stories delivered to your inbox Simply enter your email address below and an email will be sent through which to complete your subscription Please check your inbox for a confirmation email Thank you for reaching out to us.We will get back to you as soon as possible Books are piled up everywhere in the room where Soichiro Tahara writes and eats The clutter seems to express his curiosity please disable the ad blocking feature and reload the page This website uses cookies to collect information about your visit for purposes such as showing you personalized ads and content By clicking “Accept all,” you will allow the use of these cookies Users accessing this site from EEA countries and UK are unable to view this site without your consent By Takashi Oki / Yomiuri Shimbun Staff Writer He probes taboos and criticizes authorities His arguments are sharp and never ambiguous “There are many things that I have an inferiority complex about.” Tahara was born the eldest son of a family that ran a factory in present-day Hikone He experienced the end of the war when he was a fifth-grade elementary school student but it turned into an evil war,” he recalled he was good at drawing and wanted to become a writer He entered Waseda University and joined a self-publishing group “I was told that when people with talent write they told me it’s called ‘wasted effort,’” Tahara said Writers like Shintaro Ishihara and Kenzaburo Oe made him feel hopeless He decided to be a journalist but failed all the entrance exams at newspaper companies and broadcasters After working for Iwanami Eiga Seisakusho (Iwanami Productions) he joined up-and-coming broadcaster Tokyo 12 Channel (now TV Tokyo Corp.) in 1963 Tahara turned his inferiority complex to his advantage He frequently visited the Shinjuku Golden Gai downtown area and other places to meet and listen to various people he developed his talent as an “anarchist and radical” TV director we had no choice but to produce risky shows that other broadcasters shied away from.” The broadcaster produced programs featuring a variety of people including an actor who had his arm amputated due to cancer and Kazuko Shirakawa was once asked very directly by a Tokyo 12 reporter of a similar age about her private life The broadcaster released provocative and radical shows one after another in the 1960s and 70s and I didn’t care if I was killed doing it,” Tahara said One event in particular proved his words were not an exaggeration: a performance at Waseda University by jazz pianist Yosuke Yamashita Tahara got Yamashita to perform in front of an audience that included opposing extremist student groups on a piano that had been brought without permission from the university’s Okuma Auditorium “I thought the university would report the event to the police and it would definitely provoke a lot of violence,” Tahara recalled “I thought both Yamashita and I would be killed.” everyone in the audience was captivated by the intense performance “I appreciate Tahara because he taught me that documentaries can be interesting.” Tahara reaches out to interviewees and sets up a scene “He pushed hard on emerging young people to come to the forefront His depiction of young people directly reflected the times.” Tahara left Tokyo 12 Channel after working there for 13 years and became a freelancer started the TV debate program “Asa made nama TV !” (live until morning TV ) in 1987 The midnight TV program offered opportunities for serious debate and dealt with topics that were viewed as taboos such as the issue surrounding Emperor Showa and responsibility for the war nuclear power plants and organized criminal groups “Freedom of speech comes down to breaking taboos He knew very well about the power of images and TV and took full advantage of them which makes it more interesting because it shows discussions and even fights among participants as they are,” he said He brought participants with conflicting positions to the same table to debate while maintaining control On “Sunday Project,” a program broadcast by TV Asahi from 1989 to 2010 Tahara engaged in fierce debates with politicians “I don’t get it,” to get the program’s guests to say what they really thought “I was always honest about asking questions They laid bare the issues for me,” he said The content of the program had an impact on politics but “I might have gotten a bit carried away,” Tahara said I want to make the country a better place.” Now he invites guests to a coffee shop near Waseda University and holds an event called “Tahara Cafe” to create opportunities for young people to debate His outspoken nature has often caused backlash and criticism “Blowing up is definitely welcome,” Tahara said who has always spoken his mind and put all of himself into what he does throughout his life so I want to do all the things I find interesting and anything else I want to do Our weekly ePaper presents the most noteworthy recent topics in an exciting © 2025 The Japan News - by The Yomiuri Shimbun Please enable JS and disable any ad blocker This month marks the official beginning of summer (it’s weeks away on June 20th!) so to help welcome the year’s hottest season, we’re cooling off with an ocean-inspired Designer Desktop by Jackie Tahara, founder of UnBlink Studio vintage aesthetic and whimsical artistic style that often features bold colors she frequently incorporates elements such as flowers as well as influences from various cultures she has experienced in her travels For this month’s downloadable desktops (grab them below!) Tahara leans into her Japanese heritage with this fun yet mysterious illustration depicting the Akkorokamui a giant octopus-like sea monster reminiscent of the Nordic Kraken The Akkorokamui lurks off the coast of Hokkaido it eyes a lone fishing boat with the Japanese sun rising in the background Download the wallpapers for free with the links below for all your tech devices today Check out some of Tahara’s other work: Learn more about Jackie Tahara here and follow her on Instagram here View and download past Designer Desktops here As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She's probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com LA code artist Jeres brings a colorful, rule-based composition to Design Milk's May Designer Desktop, a dynamic balance of chance and control. UK-based artist and designer Leigh Bagley refreshes our techscreens with a free downloadable design inspired by Jean-Pierre Vitrac. UK-based multi-disciplinary artist Lois O’Hara’s fluid, joyful designs bring color and calm to this month’s Designer Desktop. Escape the chaos with Jill Malek’s Iceland-inspired, downloadable desktop wallpaper, capturing the serene glow of the Northern Lights. You’ll always hear it from Design Milk first. Our passion is discovering and highlighting emerging talent, and we’re energized by and for our community of like-minded design lovers — like you! Photo copyright retained by photo owners, everything else © 2025 Design Milk®. Optical Information Processing and Holography Volume 2 - 2021 | https://doi.org/10.3389/fphot.2021.829139 This article is part of the Research TopicDigital Holography: Applications and Emerging TechnologiesView all 14 articles We review advancements in incoherent digital holography (IDH) with an image sensor and its applications to multidimensional microscopy and a palm-sized hologram recorder termed “holosensor” There are two types of representative IDH technique: IDH with a structured illumination and a single photodetector termed optical scanning holography and self-interference IDH The latter IDH is a technique to obtain an incoherent digital hologram by modulating an incoherent light wave between an object and an image sensor Multidimensional information such as three-dimensional space and wavelengths is simultaneously recorded without changing optical filters by introducing interferometric techniques invented in laser holography Applications to high-speed color-multiplexed holographic fluorescence microscopy single-shot incoherent full-color holographic microscopy with white light and a palm-sized multidimensional incoherent hologram recorder have been developed using multidimensional IDH systems Schematics and experimental results obtained using IDH techniques Multidimensional imaging is one of the most actively researched themes in both science and industry has been applied to observe realistic scenes of remote locations and invisible images at infrared wavelength bands particularly when a person and a machine perceive and observe 3D structures of samples and scenes Color and polarization information is useful for accurately identifying and distinguishing objects Image sensors at various wavelength bands and polarization-imaging cameras have been developed and multimodal imaging with such sensors has been performed to date Multiple image sensors and various optical filters are generally used to record multidimensional information advanced optical techniques have been desired to make it possible to realize a compact multidimensional imaging system Further advancement of IDH is expected by adopting a laser holography technique to IDH are proposed using the developed IDH techniques IDH techniques are explained and applications to multidimensional microscopy and holosensor are introduced Schematics of (A) OSH and self-interference IDH with (B) rotational and (C) radial shears we describe CH as an important single-path polarimetric interferometer and then IDH techniques with a single-path interferometer and an image sensor Schematics of conoscopic holography using (A) a chemical recording material and (B) unique PSI and an image sensor FINCH has clarified that IDH is effective for not only incoherent holographic 3D imaging but also improving the resolution in general incoherent imaging techniques Schematic of Fresnel incoherent correlation holography From the recorded wavelength-multiplexed phase-shifted incoherent holograms multiwavelength object waves are selectively extracted using a CCS algorithm y) are respectively the amplitude and phase distributions at wavelength λk αkl is the lth phase shift at a wavelength λk y) is the summation of zeroth-order diffraction waves αNl) and complex amplitude distributions at wavelengths Uk (x CCS-IDH systems combined with (A) FINCH and (B) CH (C) Flow of the image-reconstruction algorithm of CCS complex amplitude distributions at multiple wavelengths are derived by solving Equation 5 means that object waves at multiple wavelengths are selectively extracted from multiplexed holograms using CCS Diffraction integrals are calculated for the retrieved multiwavelength object waves and a multiwavelength 3D image of the object is reconstructed It is noted that phase shifts are introduced to respective wavelengths simultaneously. Arbitrary phase shifts can be set to α1l, … , αNl in Eq. 3 N-wavelength object waves are generally derived from 2N + 1 wavelength-multiplexed phase-shifted holograms A small condition number of P should be selected for a CCS algorithm and phase shifts to set a small condition number should be designed for high-quality imaging The image quality becomes higher as the condition number becomes smaller The design of the smallest P using the prepared phase shifter and the measured wavelengths is effective This is due to the numerical stability of a CCS algorithm and finite signal-to-noise ratio and finite bit depth of the recorded digital images SSPS-IDH systems combined with (A) FINCH and (B) geometric phase lenses (C) Flow of the image-reconstruction algorithm of SSPS Research on applications of IDH is ongoing and a challenging theme applications of IDH to multidimensional microscopy and the holosensor are presented tolerance against vibrations is low owing to the use of a two-arm interferometer two arms were required to adopt a temporal heterodyne technique in IDH with the Fourier spectroscopy To solve this problem is one of the challenging research topics in multiwavelength IDH In this section we present several ways to solve this problem which indicate that a monochrome image sensor records wavelength-multiplexed fluorescence holograms and wavelengths are successfully separated by the CCS Different molecule compositions are separately obtained by wavelength separations and focused color fluorescence images of the cells are reconstructed It is expected that CCS-IDHM is applied to spontaneous Raman imaging and works as multicolor holographic Raman scattering microscopy with a single-path wavelength-multiplexed interferometer (A) Schematic of the entire microscopy system (B) Photograph of the constructed CCS-IDH system Experimental results for the demonstration of color-multiplexed holographic fluorescence microscopy (A) One of the recorded wavelength-multiplexed holograms obtained by a monochrome image sensor Reconstructed fluorescence-light images of (B) cell bodies and (C) cell nuclei The results indicate that aberration can be compensated with digital signal processing based on holography single-shot incoherent color 3D imaging of the specimen is successfully performed An application to color holographic fluorescence microscopy was also attempted FIGURE 8. (A) Photograph of the constructed SSPS-IDHM system for single-shot full-color holographic imaging with white light. Adapted with permission from (Tahara et al., 2020a)© IOP Publishing FIGURE 9. Experimental results of full-color imaging of USAF1951 test target. Images reconstructed on the image sensor plane at (A) red, (B) green, and (C) blue channels. Images numerically focused on the magnified image plane at (D) red, (E) green, and (F) blue channels. (G) Color-synthesized image from (D–F). Adapted with permission from (Tahara et al., 2020)© The Optical Society Single-shot wavelength-multiplexed IDH is realized by combining CCS-IDH and SSPS-IDH (Tahara et al., 2020c). Here, we call the combined technique single-shot CCS (SS-CCS) IDH. Figure 10 shows the schematic of the SS-CCS IDH Light generated from objects/specimens is converted two light waves by an IDH system using polarization A monochrome image sensor with a wavelength-dependent polarization-sensitive phase-modulation (WPP) array and a polarizer records two light waves as a wavelength-multiplexed self-interference hologram the information of multiple wavelength-multiplexed holograms required for CCS is contained based on space-division multiplexing of holograms a WPP array is inserted to apply both CCS and SSPS De-mosaicking procedure used for pixelated/parallel PSI can also be applied to the recorded single image and then complex amplitude distributions at multiple wavelengths are retrieved using a CCS algorithm A multiwavelength 3D image is reconstructed by numerical focusing such as diffraction integrals FIGURE 11. WPP array and image sensor developed. (A) Schematic of the designed WPP array and (B) photograph of the CCD image sensor developed with the WPP array. Adapted with permission from (Tahara et al., 2020c)© AIP Publishing an IDH system can be constructed with a small-size optical setup A compact and portable hologram recorder is strongly desired in many fields of scientific research and industry We introduce our compact hologram recorders FIGURE 13. Schematics of compact incoherent hologram recorders. (A) Basic concept of the ultimately compact chip-sized hologram recorder (Tahara et al., 2015b) (B) Design of a palm-sized hologram recorder “Holosensor” based on CCS-IDH (C) Photograph of the initially developed CCS-holosensor and transparent polarimetric phase modulator is strongly desired for the CCS-holosensor an architectural design for constructing a compact optical system with an LCoS-SLM is required careful design of birefringent materials is important The resolution of IDH is closely related to the pitch of interference fringes A curvature-radius difference between the two object waves should be large to generate a fine interference fringe image A transparent material with a large birefringence is effective for the generation of a fine interference fringe image the optical-path-length difference increases as the curvature-radius difference increases The coherence length is small in IDH and interference fringes easily disappear the optical-path-length difference is adjusted by inserting a birefringent phase plate an image sensor to record a fine interference fringe image should be selected The initially developed wavelength-multiplexed holosensor is palm-sized Phase-shift error owing to vibrations was a serious problem in two-arm laser holography with CCS Accurate phase shifts are mandatory for CCS and object-wave extraction at the desired wavelength easily fails if a phase-shift error occurs A single-path IDH system achieved high tolerance against vibrations and reduction of phase-shift error during recording of holograms Integrations of optical elements and construction of an extremely compact optical system will further help to achieve accurate multidimensional measurement with CCS A chip-sized hologram recorder will be realized in the near future by integrating the optical elements Schematics of compact hologram recorders for single-shot multidimensional image sensing The recorders are based on (A) SSPS-IDH and (B) SS-CCS FIGURE 15. Experimental result. (A) Photograph of the object and prototype of a single-shot holosensor based on SSPS. (B) Incoherent hologram generated with an LED. (C) Reconstructed image of the object. Adapted with permission from (Tahara and Oi, 2021)© The Optical Society spatial information capacity is limited owing to the use of an off-axis geometry light sources with limited temporal coherency such as a lamp and an LED are recorded with a bandpass filter as holograms and in-plane PSF is improved at the cost of depth resolution FINCH has been combined with PSI and off-axis holography spatial and temporal information capacities are flexibly designed COACH improves depth resolution in comparison to self-interference DH with radial shearing the acquisition of a PSF library on the measured 3D area is required In IDH with a spatially incoherent light source containing single wavelength band SSPS-IDH has contributed to the improvement of the product of spatial and temporal information capacities Single-shot imaging can be conducted with an in-line configuration by using SSPS space-bandwidth product (SBWP) is improved and the visibility of interference fringes is improved by using an in-line configuration field of view (FOV) extension owing to the increase of the SBWP and image-quality improvement owing to the enhancement of visibility are achieved in principle N means the number of the wavelength bands measured IDH for speckleless color holographic 3D imaging is a highly interested research theme. Using such an IDH technique, spatially and temporally incoherent light is recorded as incoherent hologram (s). Wavelength information is recorded using various wavelength-sensing techniques presented in DH (Tankam et al., 2010; Tahara et al., 2018b) and IDH adopts the techniques as shown in Table 1 Simultaneous RGB color sensing can be conducted using the principle of the Fourier spectroscopy when using a temporal heterodyne technique different temporal frequencies of respective color GZP patterns are introduced and RGB information of the object is separated in the temporal frequency domain The Fourier spectroscopy is also adopted to IDH with a two-arm interferometer more than 250 exposures are required to conduct RGB color 3D imaging and to reduce the number of exposures is a research problem when the number of the wavelength bands is small FINCH adopts a diffractive phase lens and such a lens correctly works for the designed wavelength FINCH is not suitable for simultaneous multiwavelength measurement and multiple bandpass filters and diffractive phase lenses are changed to obtain wavelength information sequentially The filters should be sequentially changed using a filter wheel and this procedure loses temporal information capacity The use of a color camera is straightforward and effective for color holographic imaging spatial information capacity is partly lost when using a color camera with a color-filter array COACH utilizes wavelength dependency of a diffractive phase lens to separate wavelength information The difference of the PSFs between different wavelength bands is used for the wavelength separation FOV in the depth direction was limited but many researches are conducted to solve the problem The main features of CCS-IDH are the single-path spectroscopic holographic interferometer with a phase modulator and wavelength separation with a small number of wavelength-multiplexed holograms RGB holographic imaging has been conducted with seven wavelength-multiplexed holograms without a mechanical movement The number of exposures is much less than that required for IDH adopting the Fourier spectroscopy when conducting RGB holographic imaging Single-shot CCS is implemented using a WPP array and temporal information capacity is enhanced at the partly cost of spatial information capacity owing to space-division multiplexing In comparison to IDH using an RGB color camera SS-CCS IDH can improve the SBWP available for recording an RGB object wave This is because the number of multiplexing is reduced and spatial density of respective phase-shifted holograms is increased Developments of some algorithms to remove such light are important to apply the SSPS-IDH system for scientific research the development of an advanced WPP array is important it is difficult to attach an image sensor and a WPP array with a large number of cells and high spatial density Image-quality improvement is also important research theme visibility of a recorded incoherent hologram decreases as the size of the object increases An image sensor with high dynamic range is used to obtain a high-quality incoherent hologram higher dynamic range is required to record an incoherent hologram of larger size of the object most of self-interference incoherent DH has the problem of the depth resolution PSF of the IDH system is generally not the same as that of DH with a plane reference wave This is because a spherical wave whose wavefront curvature depends on the depth position of the object point is used to generate interference fringes in IDH COACH can obtain higher depth resolution than FINCH and other many self-interference IDH techniques Depth-resolution improvement by a simple method will extend applicability of IDH As a demonstration for the applicability of IDH to depth imaging the generation of a depth map from the recorded incoherent hologram(s) is also highly desired research topic Quantitative visualization of depth information as a depth map was not strongly required in the field of IDH such a depth map has been generated in laser DH by using quantitative phase information and phase unwrapping The importance on the generation of a depth map will be increased to indicate applicability to other research fields such as 3D particle and flow measurements The problem on the depth resolution will be indicated when the generation of a depth map It is now possible to realize portable holographic imaging systems for sensing outdoor 3D scenes with IDH techniques spectroscopic holographic 3D imaging of outdoor 3D scenes will be realized without mechanically moving parts Applications to the development of multidimensional imaging and measurement apparatus will be realized with the advancements in state-of-the art optics The experimental results shown in this review article were obtained with the co-authors of the related papers This study is partially supported by The Mitsubishi Foundation (No Japan Science and Technology Agency (JST) Precursory Research for Embryonic Science and Technology (PRESTO) (JPMJPR16P8) Japan Society for the Promotion of Science 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last in-person Slamdance in the cursed year of 2020 the feature debut of Northwestern University graduates director Olivia Peace and screenwriter Jess Zeidman  The feature focuses on two teenage best friends and Hebrew students Carrie (Madeline Grey DeFreece) and Hannah (Rachel Sennott) who face a gear shift in their friendship during the funeral of one of their classmates When Carrie kisses her Hannah to find out if she’s a good kisser or not The union between Peace’s stylish lens—incorporating a 1:1 Instagram Portrait type aspect ratio and  animation techniques—and Zeidman’s authentically awkward yet funny screenplay makes Tahara an impressive feature debut After an over two-year-long festival run from Slamdance the film is now released through Film Movement I met with Olivia Peace and Jess Zeidman to discuss their collaboration origin story filming in the Zeidman’s childhood synagogue and being authentic when it came to Black Jewish representation Filmmaker: How did your collaboration on the project begin Jess Zeidman: I wrote the script back in college at Northwestern University around the summer of 2018 I took a screenwriting course called “Writing the Microbudget Feature” taught by filmmaker Stephen Cone I wrote the first draft of Tahara in that class and kept working on it throughout college I had a full draft that I was excited about I was interested in working with a director—I did playwriting in college and that’s something that playwrights do I was curious what that would look like on film Olivia was a few years ahead of me and I loved their stuff who worked on Olivia’s short Pangaea When we worked on another friend’s thesis it was like We did that on Pangaea.” And I was like but the set was so fun and that was important to me I reached out to Olivia via Facebook Messenger and was like I’m not sure if you remember me or if we ever really met but I wrote this script and I think you’d be a great fit as a director Can I email it to you?” Then they were like here’s my email.” Then I copied and pasted incorrectly—when I sent the email that’s a pass.” Then Dasha Gorin make sure that it’s a no.” She’s also very good at copying and pasting I had gone through a program called Sundance Ignite about your own story.” I was very much aiming to do that but could not get the money together to save my life—could not get the producers together Jess’s script came at the right time Whenever I would get a script submitted to me we would project it on the wall of our living room and read all the voices out loud Each voice just had such clarity and it felt like an ensemble where it is about Carrie and Hannah in the foreground There are also the other students who are in Hebrew school we had three pages full of notes for Jess about what she should do with her movie as the director I hopped on a call with Jess and just excitedly went through all these ideas where I was talking about the animation so we were gonna be off to the races making this thing and the animation was done in about a few months I had gotten into USC for my grad school program I was gonna be studying computer coding and video games quick little summer project,” and then it lasted much Filmmaker: What kind of steps did you have to take to portray a Black and Jewish protagonist Olivia Peace: I have a pretty solid background in documentary filmmaking so it was always really important to me to be doing research Even if you think that a world or a character is close to your heart you should be doing some research to back it up so that it’s feeling real It can be helpful and affirming to people who see it I always have Black characters as leads in my movies I’d grown up with and seen a lot of Jewish people of color and kind of thought nothing of it But I did notice after pitching this to Jess that there is not very much media portrayal We got incredibly lucky in casting Madeline who is an amazing actress and brings so many different emotional layers to the character that breathe life into it Jess Zeidman: We got incredibly lucky with Madeline We got a collaborator who was with us the whole time and was also leading us I feel like Carrie’s character came from Madeline it would be a conversation where Madeline would talk to me We’d talk with Rachel [Sennott] and Tehillah [De Castro] about intentionality and what we wanna see I loved watching Madeline at video village and being like “Oh my gosh this is a full person.” And I think that’s because she was very willing to be vulnerable and very real with her performance  It’s so rare that an actor is so willing to be so real but not taking it out on anyone or anything like that since you do come from a Jewish and queer background what was the process in telling this story of an awakening depicting the anxieties and confusion of questioning your sexuality as a teenager Jess Zeidman: I have a very Jewish family and something that was helpful to me was thinking about times when things would be inappropriate I feel like that’s a big thing in my family—not being inappropriate in a detrimental way And I think leaning into saying the wrong thing voicing an opinion at maybe not the right time when you are part of a community that is known for being opinionated then letting those opinions create the motivation for your actions Let yourself be a little outspoken and then act a little out of pocket I was the queen of sending irrational text messages and doing things like “Do you wanna go to the park with me person who I’ve never hung out with before?” I like leaning into that I liked the idea of the way that can intersect in a sacred space Everyone’s relationship with Judaism is very different in this film Something true for all of them is that they are in their synagogue and in their Hebrew school that changes their behavior a little bit: that restraint is there what was it like doing your first live-action feature and implementing so many different animation techniques Olivia Peace: I am happy that I understood that because I was directing a feature and I’d not done it before I should not then also be the animator [laughs] on this movie I had a lot of ideas from the beginning about what I’d like to do I went through and got a bunch of images and put together a deck and everything had just come out with this amazing short film called Nevada  when the time came to find an animator for this project I was like I’m gonna tag Emily in on it.” Emily’s also a Jewish person We went about trying to figure out which styles we should have for each character because she’s the character who’s willing to be more honest and vulnerable and messy we wanted to go for this kind of 3D puppet style Hannah’s trying very hard to be cool [laughs] so I wanted something that kind of mirrored realism that’s how we ended up with that rotoscoping style we even added a scene—I forgot about that until we were watching the movie last night at the premiere—where Carrie is panicking about Hannah possibly not only rejecting her but outing her and making fun of her to everyone Emily found the clay puppets whose heads she had smashed together and I had her pull them apart; it looks horrifying who was a student at the time I met through NFFTY [National Film Festival for Talented Youth] Callahan came in and did those clouds that come around the two which Filmmaker: What was the process of filming on location at the synagogue Jess Zeidman: We filmed Tahara at the synagogue that I went to growing up That was a wild process: they allowed us to do it but they were also undergoing construction we had a lot of rearranging and moving around I kept jokingly calling myself the location manager because I would have to go down to the office and talk to everybody every single morning and be like obviously this is a sacred religious space We had to be very aware of where we were in the space especially filming in the sanctuary—they almost didn’t let us do that an Orthodox girls’ school used the Hebrew school classrooms as their high school We would be filming in one room and there would be all of these Orthodox girls running around They would peer in the window and try to see what’s happening They were extremely respectful and quiet and it wasn’t hard to work around them Filmmaker: Was it a sense of homecoming for you to return to your old synagogue as a filmmaker Jess Zeidman: I did have a bit of homecoming vibes I told this story recently about how one of my Hebrew school teachers growing up was volunteering in the kitchen She’s not the nicest lady in the world She’s very strict and she asked me what I was doing I got very emotional yesterday watching the movie at the premiere and seeing Bethel on screen “We live in cities you’ll never see on screen.” That’s like what I was thinking the whole time: no one would ever have a reason to film anything in this synagogue What I saw on the floor in the hallway where the Hebrew school is It’s just amazing to me to know that something that was and is still such a huge part of my life is something that other people are gonna be able to access And it’s been really exciting talking to other people about how it reminds them of religious and community spaces Filmmaker: How was the collaboration process on set Olivia Peace: I loved having Jess on set for a couple of reasons Sometimes you would literally be rewriting things on the fly or developing new languages together around things with our actors there are bits of Hebrew that are in the script as well that I wanted to keep in there and get right and not have subtitles Jess almost served as a fact-checker where I wanted to make sure that culturally we were nailing it every step of the way It can’t be something where it’s working 90 percent of the time—we need to be at 100 Filmmaker: And the shooting period was about 15 days Filmmaker: Were there any trials and tribulations you had to go through to meet that deadline Olivia Peace: I think this is where the naïveté comes in  I would be talking to veteran directors who are my mentors and they’d be like but it’s fine because we only have one location.” Because we didn’t have to get in a truck and move around somehow in my mind I thought that was gonna cut down on time sometimes we would arrive on set intending to shoot one scene and find that we needed to pivot we did everything in a pretty condensed timeline and I assumed that we would be done by August What I realized really in watching the film is it does feel handmade I think that’s what makes it unique and special I couldn’t be precious about making sure that we got through every single thing on the script or got through everything on my shot list I came with a storyboard that I drew myself Filmmaker: You storyboarded the entire movie or just specific scenes Olivia Peace: It was the entire movie by hand I would give people stickers on different days on set I know that’s also what Black cinema is too I think it harkens back to those two things; the template of working with what you got and making what you have shine Olivia Peace: That was due to my timeline of wanting to be done by August despite finishing the shoot in May I could just have room to edit around the clockfor a week I wanted to see if I could finish the edit and start grad school Then we got to the point where we were just submitting it to festivals who’s brilliant and came on set just out of love for me Then Troy came on vacation in August and asked to see the cut His work is what streamlined everything and gave it its style step back and reclaim my role as the director so I could be more creative instead of just having to focus on the technical aspects of everything The collaboration between Troy and our sound designer That camera team of three people made this movie happen She is so brilliant—I think I was gonna say backbone or leg It’s the skeleton—she’s the entire skeleton She came on this film right after graduating from college too This is her first feature and she knocked it out of the park with very few resources She called in a lot of favors to get equipment for us then made it work with mostly natural lighting throughout Filmmaker: Now she’s doing great music videos for amazing artists today too Jess Zeidman: I think Tehillah was the first cinematographer I’ve ever worked with where I was like “It’s so amazing to see how you translate my written language into your visual language.” Then I just thought that was the coolest collaboration It’s easy to get caught up in the writer-director relationship but that element of Tehillah was the sauce in this film because it gave it the style that turns it from a “first feature” into a real movie I was especially feeling that last night when we were watching But I think a big reason that happened was that the three of us would sit on the floor of my sister’s room where Olivia was staying and talk stuff through That’s the most exciting kind of collaborating Merchandise items are 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Contact us and we'll get back to you ASAP you are agreeing to be bound by these website Terms and Conditions of Use and agree that you are responsible for compliance with any applicable local laws If you do not agree with any of these terms you are prohibited from using or accessing this site The materials contained in this website are protected by applicable copyright and trade mark law Your privacy is very important to Moviejawn we have developed this Policy in order for you to understand how we collect communicate and disclose and make use of personal information Before or at the time of collecting personal information we will identify the purposes for which information is being collected We will collect and use of personal information solely with the objective of fulfilling those purposes specified by us and for other compatible purposes unless we obtain the consent of the individual concerned or as required by law We will only retain personal information as long as necessary for the fulfillment of those purposes We will collect personal information by lawful and fair means and with the knowledge or consent of the individual concerned Personal data should be relevant to the purposes for which it is to be used to the extent necessary for those purposes We will protect personal information by reasonable security safeguards against loss or theft We will make readily available to customers information about our policies and practices relating to the management of personal information We are committed to conducting our business in accordance with these principles in order to ensure that the confidentiality of personal information is protected and maintained Directed by Olivia PeaceWritten by Jess ZeidmanStarring Rachel Sennott and Bernadette QuigleyRuntime: 1 hour and 15 minutesAvailable in theaters starting June 10th “Sometimes it’s painful to be inarticulate.” Tahara opens with perhaps the biggest punch in the gut I’ve felt in a long time and the complicated relationships that teenagers have with both themselves the film is about two best friends who attend the funeral of one of their former Hebrew school classmates Carrie (Madeline Grey DeFreece) and Hannah (Rachel Sennott) have been best friends since they were children and the grief talk by their teacher (Bernadette Quigley) all play out Carrie realizes that Hannah is much more manipulative than she ever thought because of Carrie’s complicated and romantic feelings for her that aren’t reciprocated.  the messy friendship mixed with romantic feelings that makes Tahara the type of film made specifically for me It’s gotta be my favorite genre of films about teenage girls even without the talk about death and sucide as the inciting incident she has Carrie make out with her in the bathroom because she’s obsessed with the question of if she’s a good kisser and Tristian (Daniel Taveras) which goes… nowhere and ultimately ruins her friendship and shot with the guy.  present for all of Hannah’s aforementioned madness also finds out that Hannah went to a party without her It’s the party where Samantha (right before her death) asked her out and then told everyone that it had happened And once the threesome question is brought up despite their friendship and the chemistry she felt both times they made out that day Hannah simply doesn’t like her “that way.” And it is this scene that is the catalyst for the opening quote is filled with Carrie and Hannah not being able to really articulate what they want but this is the turning point for both of them.  During their fight in the library Carrie calls Hannah selfish and there’s not a better way to describe her Sennott commits to the utter unlikability of the character But I think she also does a great job of making her an understandable one She can’t stop thinking about hooking up with Tristian which comes off as a boy-crazy teenage girl stereotype perhaps it’s because she’s a compulsively selfish person as proven by her not telling Carrie about the party and what happened with Samantha But have we considered that she’s also completely terrified of losing Carrie but simply doesn’t know how to channel that fear because she’s a messy teenage girl - like many of us have been And I think Sennott does a great job at playing the multitudes of that experience Which isn’t to say that DeFreece doesn’t knock it out of the park Carrie’s just a different kind of messy teenage girl When confronted with choices Hannah has made and then continues to make over the course of the day Carrie finds herself realizing that the person she loved is simply not who she thought and DeFreece plays it so beautifully with soft subtlety that has me aching to see her in more.  And then there’s the technical aspects of Tahara which ultimately really add to the emotionality of the story The entire film is presented (with one exception) in 1:1 with letterboxing So much of the character introductions are done like they’re Instagram posts it becomes obvious when Carrie and Hannah kiss and the screen goes into full screen for a brief moment It’s a creative choice that serves the emotionality of Carrie in the film the animation I mentioned is a really lovely addition that shows how both girls feel particularly during kisses - both real and imagined I think the distinction is a really lovely one that can mean a myriad of things her kisses are the fake ones that she only imagines while Carrie’s are the real ones that have weight and real world emotionality to them - but ultimately aren’t real because Hannah doesn’t feel the same It’s a really clever and interesting way to do mixed media but it packs a masterful punch.  If Jennifer’s Body is the horror story of female friendship in adolescence personal drama version of the very real type of relationship that many sapphics have with their friends It’s the type of story I never tire of seeing and it’s the kind of debut feature that makes me really excited for the creative careers of Peace and Zeidman They’re both going to do more magnificent things By continuing to use our site, you agree to our Private Policy and Terms of Use a Black Queer Jewish Teen Navigates Grief and Toxicity Director Olivia Peace discusses making her groundbreaking coming-of-age film and its themes of race Tahara, a coming-of-age drama that screened at this year's Outfest shows a rare perspective in cinema: a Black queer Jewish teen's Directed by Olivia Peace and written by Jess Zeidman the film follows Carrie (Madeline Grey DeFreece) as she processes the death of a classmate with other members of her Hebrew School as well as her longtime (and toxic) relationship with Hannah (Shiva Baby's Rachel Sennott) It's so rare to see Black queer Jewish women centered like this in film What did it mean to you personally to bring this representation to the screen?It was pretty much a non-option to me I knew a fair amount of Black Jewish people and queer Jewish people growing up where I'm from I was pretty surprised to find out through the making of this film that a lot of people thought of Jewishness as this very homogenous experience is one of being a Black queer person who occasionally finds oneself in predominantly white heterosexual spaces And that was what drew me to Carrie's character from the jump One of my first conversations with Jess was about how it was essential to me that we show Jews of Color in this film and Jess agreed did a phenomenal job of reaching out to incredibly talented people for our lead roles and we got so lucky with landing Madeline Grey DeFreece and Rachel Sennott There's a rapidly shifting social hierarchy that exists within this Hebrew School What commentary did you want to make about how stigma toward race and sexuality impacts this hierarchy?My main experience with stigma has to do with people feeling too afraid to engage with people with "difficult" identities (mainly Blackness disability etc.) lest they say the wrong thing and expose themselves as a bigot And this is a movie where people just scene after scene are forced into situations in which they say the wrong thing and are forced to really reckon with it a lot of the social hierarchy has to do with who can best adapt to the scenario that they're given And the person who's most quickly able to adapt from scene to scene is Elaina (played by the legend Part of the fun of the film is watching her navigate this kingdom that she resides over in Hebrew School these religious spaces that we find ourselves in during childhood and early adolescence are not chosen and because of that we often have these long-term acquaintances that we acquire over time we have this long detailed backstory for the friendship of Hannah and Carrie Hannah still asks Carrie whether or not she might have concealer that she can use The plot is set in motion by the suicide of a queer teen What were the challenges of depicting such an emotional subject matter particularly when humor is involved?I think that Jess' script does a lovely job of balancing difficult moments with humor our whole cast did a great job of lending us their improv jokes on set and I think we captured some really great moments from that One awesome moment comes from Melissa's character played by Jenny Lester where she's just frantically rattling off this completely improvised soliloquy about her Bubbie and the school dance and I think that moments like that were such magic our editor Troy Lewis did a great job of pacing out those funny moments so that they would really hit but not overpower the emotional resonance of important scenes I felt really strongly about not overpowering Samantha's presence in the film We wanted to be sure that people were laughing at the absurdity of the situations as a bit of tension relief but never disrespecting the heaviness of the subject matter Having time to try things out in the edit and sending half done pieces off to trusted friends really helped us catch our stride for the final cut we see how death sparks a performance in many people; some act sad when they had little connection to the deceased or were even complicit in her passing Do you believe more honesty is healthy during bereavement or is this act also a necessary part of the ritual?Mmm good question I've been thinking about grief a lot -- so much is changing around us right now it feels appropriate that we should be grieving the old lives we had I'm pretty convinced though that we have no idea how to sincerely grieve I just finished bell hooks' book All About Love about a week ago and I'm obsessed with it she talks about love in death and says that "To be loving is to be open to grief The way we grieve is informed by whether we know love." I think that the only person in the entire movie that loved Samantha was her mother which is why when she was placed in a scene with Hannah and Carrie they didn't have a clue of how to even interact with her Often grieving with sincerity will place you out alone on an island away from others who would rather go with their simple prescribed scripts than stand in their truth in particular -- help with grief?I learned so much about the Jewish burial process through this film and one of the things that I really loved about it was how much emphasis was put on comforting the family to making sure that people don't have to reach out for company to making sure that the family consistently has meals we also get tasked with telling people how to help us which can be detrimental to the grieving process Carrie and Hannah have a very complicated friendship; its lifelong and meaningful but also unrequited and toxic Have you ever had to sever an important relationship due to toxicity?I absolutely did and it felt like a death at the time I'd find myself collecting things to share with this person who was no longer in my life only to immediately realize that I could no longer reach out to them unlike in the past when you might break up with a friend and only sometimes suffer the occasional awkward run-in with them at the grocery story during holidays in your hometown Suddenly we're in the age of 24-hour individual news coverage and there goes your best friend living life without you in real-time as you scroll from the comfort of your own home please I am begging you -- no matter how cool you might think yourself to be -- block them We're made to feel weak for still feeling pangs of grief that linger on past an appropriate time but I've found that losing contact with someone who once knew you really well is something that you might grieve forever A lot of pivotal scenes occur in the girls' bathroom what is the power of this setting in engendering conversation and intimacy?Wow So our screenwriter and producer Jess Zeidman is the genius that set so many scenes in the bathroom or the ~ladies' lounge~ as it became known in the script women's bathrooms function as these sort of alternate spaces that are shielded in a way from some of the rules and realities of the world outside it a lot of friendship make-or-break moments happen in there when you have so little agency about where you can go or what you have to do the bathroom becomes a hideaway where you can go to just pass the time and act silly for a bit without having to perform a way that you're "supposed" to be One of my favorite shots is the one where Carrie and Elaina come back from the bathroom laughing and you just see Hannah deflating watching them in the foreground Those bathroom friendships can be really intense It's so fun to see the animation and Claymation throughout the film How did you set out to use these techniques to enhance your story?While in film school I actually learned how to direct by teaching myself how to animate first It seemed a lot less daunting at the time to figure out the basics of cinema like "shot," "reverse shot," or sound design as an animator on my own everything I've ever made has animated elements in it I knew that it would be important to hire on someone else to do the animation so that I could focus on getting through the edit So I hired on my friend Emily Ann Hoffman who made the clay puppet animations as well as those incredible psychedelic rotoscoped sequences I told her that I wanted Hannah and Carrie's inner desires and imaginations to be portrayed by very different animation styles We settled on Carrie having the three-dimensional inner life and Hannah having the more colorful flat one Emily partnered with the amazing studio Mighty Oak where she worked on the clay puppets and shot the animated kiss scene I would be getting Facetimes from Emily showing me how things were turning out on set I learned a lot from getting the chance to work with her What did you love (and not love) about the experience?This film was truly an independent project but yeah our iconic cinematographer Tehillah made our film look rich with 1.5 lights to her name There were many times though where I really wish we'd had a bigger budget to help lighten the load on set Something I regret everyday was not hiring a set photographer we made something very special with very limited resources and I'm so proud of my friends for making that happen was stumbling upon my original pitch deck that I made back in January of 2019 and realizing that I'd planned so much for this film and most of those long-forgotten ideas had actually managed to come through The Black Lives Matter movement has awakened many to the need for change in every facet of life How can Hollywood do more to rise to the moment?I'm working on making an artist's collective called Indefinite Village right now We're an accessible community and makerspace for artists to incubate and ecofeminist org and I actually do believe that this type of decentralized art-making model is the future Hollywood has its things that it's good at A 2023 court decision that struck down Berkeley’s first-in-the-nation ban on gas hookups in new construction is part of what led to the ballot measure The proposed tax is “something we’ve had on ice for a couple of years,” said Tahara The idea originated from his climate advocacy work in San Francisco Upon moving to Berkeley a couple years ago Tahara said he sought feedback on the proposal from local groups but didn’t have time to get it on the 2022 ballot members of the justice advocacy group Berkeley People’s Alliance approached Tahara wanting to pursue the ballot measure The organizers began adding signatures in the spring and found out in recent weeks that they had enough to get the measure on the ballot If the ballot measure gets the majority vote needed to pass into law The amount each building owner would be taxed is based on how much gas their building consumes and the estimated amount of methane leaked across the natural gas system in delivering that fuel Tahara said the tax calculations also rely on the social costs of carbon and methane which reflect the economic damage done by each additional ton of greenhouse gas emissions in the atmosphere The tax would apply to buildings 15,000 square feet or larger the Cities Climate Law Initiative director said is on the smaller side compared with other “big building policies.” “[15,000 square feet is] not a small building by any measure but it is maybe [the size of] a smaller apartment building maybe a 10- or 15-unit apartment building,” she said noting that some local building performance standards in the U.S apply to buildings larger than 20,000 or 25,000 square feet Tahara said the measure applies to buildings 15,000 square feet and up because Berkeley already has an ordinance that requires buildings that size to report their energy use annually to the city what would be good policy in terms of not adding a lot of overhead to the city for collecting the tax or having to spin out new city departments,” he said City and state buildings are exempt from the tax because “we’re not legally allowed to tax them,” Tahara said The measure specifically bars landlords from passing on the cost of the tax to tenants Those who fail to pay the tax on time would be fined Most of the fund the tax would create would be used to subsidize building decarbonization with priority for low-rise residential buildings and restaurants The measure also dedicates some of the proceeds to fund city staffing needed to administer the program “This will be something that's administratively somewhat burdensome to implement,” she said Turner noted that this approach won’t work in the many cities that don’t have the authority to enact taxes with a simple ballot measure “Some places are going to have authority to enact a tax just through legislative action some places through a referendum and some places only by having a state law enacted,” she said I could see this being considered elsewhere but it's not something that's just plug and play anywhere.” Get the free daily newsletter read by industry experts Gavin Newsom seeks to shift 200 million daily passenger miles from highways to rail with more zero-emissions trains Production is set to begin in the new year at a small scale the company plans to manufacture 650 air taxis each year.  Subscribe to Smart Cities Dive for top news Want to share a company announcement with your peers The free newsletter covering the top industry headlines “Tahara,” is the feature film debuts of Olivia Peace and what an auspicious start it is for both of them the funeral service for teenage suicide victim Samantha is attended by friends A special talk-back session is planned for her peers to explore the Jewish concept of grieving Totally uninvolved is Hannah Rosen whose relationship with Samantha seemed tenuous at best Hannah is  more interested in scoping out Tristan Carrie tries hard to be supportive of Hannah’s every need but she’s out of her depth Hannah’s narcissism and irreverence is difficult to comprehend Carrie finds it harder and harder to find an anchor in their friendship The adult leader of the talk-back leads the group in examining their feelings hoping to elicit empathy and understanding tied to their faith Most of the students are going through the motions; their attendance dictated by duty rather than feeling for their classmate The level of disengagement is not encouraging but Hannah’s overt lack of respect for the process is disturbing She finds herself amusing and irresistible she is unable to see that Carrie is uncomfortable Carrie’s level of discomfort increases as she begins to realize how one sided her relationship with Hannah is Carrie is becoming more and more aware that her sexual feelings are more aroused by Hannah than any of the boys who have shown an interest in her A shared kiss in the bathroom makes her believe that Hannah may share her feelings As she wrestles with how next she can or should approach Hannah she is told something disturbing by one of the other girls in the talk back and had asked Hannah on a date several weeks before her suicide she ridiculed Samantha and posted publicly about Samantha This is particularly distressing to Carrie.  But this film isn’t really about Hannah and her toxicity The writer and director use this as a platform for Carrie to discover aspects of herself that she had been unable or unwilling to acknowledge She’s not yet out of the closet but over the course of this one afternoon she is finally able to see how unidirectional her relationship with Hannah is she gradually becomes repulsed when she finally realizes that she has been viewed as a means to an end Peace and Zeidman have treated us to a coming of age movie that tracks the superficiality and shifting sands of teen relationships Carrie is a very complex individual with unresolved issues of self She had always seen Hannah as an ally and felt exceptionally betrayed to learn that the feelings of support went in only one direction What do you do when you realize that the girl you liked and loved the best is a shallow mean girl Carrie musters the courage to find the strength in herself subtly but surely to untie that relationship.  Peace moves quickly and assuredly through Zeidman’s script giving us full blown characters illustrating the difficulties of their age and the casting is absolutely gold standard with Rachel Sennott willing to throw her best friend under a bus if it will get her closer to the boy she likes Sennott is expert at portraying a destructively and annoyingly banal creature who has no personal insight Madeline Grey Defreece imbues Carrie with the tentative grace of a young woman on the cusp of self-discovery who is shattered by the realization that she really is out there on her own without the safety net of a bestie who sees her for who she is The juxtaposition of the two young women is shattering the ritual purification of body in preparation for burial Easy Reader News & Peninsula Magazine is your trusted source for hyperlocal news and stories from the South Bay and Palos Verdes Peninsula Stay informed—get the top local stories delivered straight to your inbox Terms of Service | Privacy Policy | Legal Notices Olivia Peace suspected that “Tachrichim,” the title that Jess Zeidman had originally given her comedy set at a synagogue – and not any old synagogue which the screenwriter had attended herself growing up in Rochester New York — might be a mouthful for audiences knowing from the experience of titling their own recent short “Watching people try to spell that and find it just gave me all the information I needed to know,” laughed Peace his grandfather had died and he went to that funeral and he brought back ‘Tahara,’” said Peace who was moved by learning of the tradition of purifying the deceased and could appreciate how the term for it could easily roll off the tongue “I thought it fit perfectly with the themes and I liked that it was teaching people a new word and it would feel familiar to our audience.” If Peace takes great care with their words in framing of their debut you should see what the director does with a camera in the bittersweet dramedy that unfolds over the course of a day at a Jewish prep school where best friends Carrie (Madeline Grey DeFreece) and Hannah (Rachel Sennott) die a hundred little deaths as they sit in mourning of a far bigger one when a classmate named Samantha has taken her own life Neither knew the dearly departed all that well making a situation that would be difficult to process on its own all the much harder for the teens who are already anxious about their future but a further complication is thrown in when Hannah asks Carrie if she could try out her kissing skills on her before making a move on Tristan (Daniel Taveras) you sense you’re in the presence of a game changer in Peace who fuses together a number of different formal ideas from various kinds of animation to a shifting aspect ratio to deliver something as revelatory as its characters feel who comes to realize she wants to be more than friends with Hannah Meticulous in its evocation of the pair’s conservative surroundings where there’s restlessness stirring in every corner “Tahara” is just as precise in getting under the skin of its two leads adventurous and untethered in giving shape to emotions that the pair works through when they can’t yet entirely comprehend them While there may be no exact words to express what they’re feeling Zeidman and a talented cast finds enthralling alternatives and “Tahara” grows into something far larger than its brisk 70-minute runtime would suggest the film is rolling out into theaters and Peace graciously took the time to talk about putting such a distinctive debut together the collaborative spirit that brought the best out of everyone and turning what could be for many a foreign experience into a deeply personal one You’ve said before the scene where Hannah pops a pimple is where you knew you were interested in making it but I had made a short that made it to the Sundance Ignite Fellowship a while back and that may have been how Jess [Zeidman the screenwriter] heard of me because we actually both went to Northwestern at different times she messaged me on Facebook about having a script that I might be interested in directing and I was intending really politely to turn her down because I was already working on a project [laughs] But then I read it and the pimple popping scene was what sold me particularly because I had a really clear vision of how that needed to look how ostensibly how Jess needed to direct this but really what fully sold me on the film was talking to Jess We had this really long conversation about all these ideas that had come to me once I had read the script I think every single thing I brought up on that call to having this square frame and she was so open to all of them and excited And this film seemed like something that could be made really quickly and really well and with a lot of support behind it and a lot of familiar faces You have a real variety of interests as an artist – your background is in animation and you’ve been studying interactive and VR Was a straightforward feature actually exciting creatively or was it enough of a challenge the challenge was there just because a feature was something I hadn’t done before I had this one mentor I had asked for advice on how to go from making shorts to making a feature and pretty much all the advice I had gotten to that point was Follow your heart.” [But this person] was like “You need to train like a professional athlete.This is going to be really taxing on your mind your body and on your emotions.” [laughs] I really took that quite seriously and I actually picked up a yoga practice along the way and quit coffee at that time and started matcha — all these things to make sure I was up to par to direct this there were a number of things that helped me transition into directing this particular film which I got to make with a lot of my friends Ashley Mills was our first AC and she actually shot our short that went to the Sundance Ignite program Troy Lewis was our editor and that was a huge because he came on set to literally live edit the film as we were shooting so that I could be sure that by the time we left [laughs] All these people came at a drop of a hat to be there and support me but it also helped being in one location that Jess intended for the script to be from so a lot of the scenes were directly pulled from her memories and a lot of the people she was referring to as we were talking about the script were still there So it was just enough of a challenge and I love that I’m always looking for something where I can learn a lot but I know just enough for it not to go horribly awry The grounds of this synagogue become such a dynamic location for the characters – so much is said by where they’re standing Was that actually mapped out as early as the script “I need to prepare as much as possible” and part of that was I had storyboarded the film by myself and the cinematographer Tehillah [De Castro] and I had gone through these storyboards and came out with these really clear and concise plans about how we would shoot this Then we got there and it all went out the window we went out for a location scout so that we could see the synagogue and also so I could see Rochester — that was important to me because that was the larger setting of this and it should inform the film we realized most of the things we had planned were not going to work That first kiss scene where the camera swirls around the two and it transitions into Claymation I wanted that to initially be on a 360° dolly track that you could push so we got the dolly in that day and it literally wouldn’t even fit through the door And this was almost everyone’s first feature film and this was what Brene Brown calls an FFT or a “first f’n time.” But it was really handled with grace I really leaned on Jess when I think it came to specific cultural elements and I think she then was able to lean on me and trust me when it came to trying to push the direction of the film to be something a bit more experimental while still being fun and accessible for people Part of that is actually how the film is cast – was the diversity of the school something that was always there That was something we talked about in the very first call How do you feel about one of the leads being a black person?” And that came from my background I went to this Christian religious school in West Bloomfield so when I read the script I really related to it down to even how the ladies’ lounge looked — in my home church growing up we had that room with the floral couch where people would go and hide out and yeah Michigan has a large and really diverse Jewish community [as well] Judaism has been portrayed in a really particular way or with a particular look but that was just not my reality growing up that was not going to be the reality of this film Jess loved that — she has some people in her family who are of different races — and she was like I think that would mean a lot to a lot of people to see that,” so when we went to cast for both roles [particularly] for Carrie’s role because I think I related to Carrie the most really amazing actors for both roles and I’m really grateful for who we landed in the end What sold you on Madeline and Rachel for this what I really loved about both of them was they were extremely interested in learning and in showing a lot of variation between different takes Part of the casting was just asking them questions about the character without them acting to just see if they would be able to relate to the characters I really loved Madeline’s answers to the questions and I ended up pulling on that when we were then on set and Rachel comes from a standup comedy background so we were able to pull from that where she was literally on set writing some jokes and then Madeline just has a real well of emotion so we would get a lot of variation from her I would always do this thing where I would get the takes that I wanted of specific looks and I would always do one where I’d tell her to do what she felt was best what she felt was best was what we’d put in the film in the end Something that surprised me was hearing the square frame didn’t actually emerge because it could be used as a metaphor for isolation How did you come to embrace that aspect ratio so I no idea how it would work or what it would do and that’s what I’m talking about where I really just love learning That’s why I love directing and I love working with people as we all learn something together [laughs] So we tried this thing where my frame would be the 1:1 aspect ratio we could go back to a somewhat regular frame But I got it from Instagram [because] video was starting to become a bit more popular not to the point where they have reels [now] but I was feeling like there was a lot of potential there to show a more complicated story that’s over a minute long in that same aspect ratio that a lot of teens are really familiar with and when I went out to interview cinematographers who is my great friend and a really amazing talent I hadn’t realized that she just graduated from college and though this is her first feature she came to me with all these amazing references She introduced me to all these different arthouse films and one of them was Xavier Dolan’s “Mommy,” and I’d already started storyboarding this in the 1:1 aspect ratio I had already tested and talked about extending the frame [at certain points] but I didn’t have any idea that any of these things were going to work but [it was Tehillah] bringing that reference where I saw not only can this work but it can be the right choice for this movie — to pick a frame that’s small alienation and anxiety when you can only fit one-and-a-half people in a frame because any single shot you have no idea how everyone else in the room is reacting whether it was having my friends on set or shooting in one location where because the frame was so small I could really carefully organize everything in the frame to make every single shot feel deliberate It’s a lot easier to orchestrate in that way and to block everyone around Generally are there things you could get excited about you may not have expected I went back to those original storyboards and we found them all again in the edit incredible editor and just a sweet person where no matter how ridiculous the idea is there was a while where I played around with recording songs for the film like little theme songs for Tristan and Hannah with my own voice – I cannot sing [so I’m thinking] why did Troy let me do this He sat there as I recorded this in my closet and like brought it back out and put it in the film and we laughed and laughed and he just quietly deleted it Generally he helped with that pace where it stays really tight and no shot or scene is wasted and you really feel like you’ve really watched an entire day go by at the end of it It really feels this has happened true to life in real time The walk at the very end where we had Rachel walk all the way home so you have to see her cross the whole parking lot he really believed in that and helped me when it came to explaining to the producers why we should keep that in before the credits That’s one of my favorite things about the film is that walk at the end Another really distinctive aspect of the film is how you incorporate animation What was it like to work with Emily Ann Hoffman you’re going to have to put that out as a prequel It sounds like the collective experience of this may have expanded what you thought was possible as a filmmaker Did it change your ideas of the kinds of films you could make I really love and respect being referred to as an auteur which I think is very sweet and it definitely makes my ego happy but the truth of filmmaking is always that though there usually is one director there’s this huge sea of people that the vision is being pulled from artistically and that have had hands in the literal making the film That’s the village and when it comes to my next feature I think it’s going to be a lot of familiar faces Even when it came to my thesis project at USC but it was my neighbor who gave me the subject matter to talk about We were talking about lucid dreaming is and my friend’s uncle helped me build an installation for it it’s important to have really good films and great stories with important themes but it’s also important to be building with community raising people’s self-esteem to see what they’re capable of as artists in their own right “Tahara” opens on June 10th in New York at the Quad Cinemas and Los Angeles on June 17th at the Encino Town Center 5 and the Laemmle Royal before expanding across the country. A full list of theaters and dates is here You must be logged in to post a comment This site uses Akismet to reduce spam. Learn how your comment data is processed. hopes that the practice and financial benefits brought about by improving the welfare of the fish on his farm will help persuade others to do the same and perhaps even inspire local legislators enshrine fish welfare regulations my family and I decided to excavate some ponds on our farm as a hobby and a source of fish for our own consumption It took four years to be granted an environmental licence – during which time I studied cultivation techniques and fell in love with the craft I also realised the potential financial returns and decided to start farming professionally fillet them and them and then sell them directly to the final consumer due to the production costs rising by more than 120 percent and the commercial value of tilapia growing by only 65 percent I aim to reach 250 tonnes per year by 2032 the high cost of electricity needed to renew the water in the ponds the lack of skilled labour for cultivation and management and predation – mostly by birds which are thriving after we planted over 11,000 native trees along the local stream our production difficulties do not stop only with regard to welfare we also face an unstable supply of electric energy with power cuts lasting up to 60 hours at a time making access to the farm difficult after heavy rains I'm designing deeper tanks to reduce thermal variation I’ve invested in a photovoltaic power generation system (and a back-up generator) and I’ve trained my four full-time and several part-time employees I’ve also installed safety nets over the ponds to keep the birds away This is good news and I believe that welfare-compliant production will soon be mandatory most of those involved in aquaculture in my region are not concerned about the welfare of the fish as their biggest concern is to make their businesses profitable I am creating a market differential from other producers who only aim for profits Medium and large producers are already paying more attention to welfare and are already planning to adapt in the future Many smaller producers will have to make considerable changes consumer recognition will come little by little where consumers will choose the product with good practices but will not pay extra for it In the longer term high welfare products will be able to have a differentiated value too I had the pleasure of meeting the executive director of FAI Farms we came together for a common project: to produce 100,000 tilapia juveniles to supply the largest fish farming project in Brazil We succeeded with the help of FAI professionals – including veterinarians fisheries engineers and animal production technicians I realised that I was inside a “classroom” on my own property We later worked on the development of tilapia welfare protocols and I am currently collaborating with them on trials to prove the effectiveness of protocols in the FAI welfare app providing data so FAI can conduct studies and collect evidence the property will be self-sustainable in terms of inputs and waste Aiming at three pillars that will be absolute in the near future: animal welfare sustainability and environmental responsibility has been writing about aquaculture since 2007 He has an MA in history from the University of Edinburgh and an MSc in sustainable aquaculture from the University of St Andrews Francisco Murillo is perplexed by the hundreds of millions of dollars wasted on failing RAS projects when a fraction of the funding could help proven businesses like Tropo Farms produce tens of thousands more tonnes of tilapia a year For a decade Tom Ashton has held a fascination with Scotland's native oyster and today has made it his mission to make the species a commercial and environmental success Former WNBA basketball player Sue Wicks now grows kelp using a novel technique for shallow water cultivation a 65-year-old carp and shrimp farmer from West Bengal despite a string of setbacks and a debilitating illness Your request appears similar to malicious requests sent by robots Please make sure JavaScript is enabled and then try loading this page again. If you continue to be blocked, please send an email to secruxurity@sizetedistrict.cVmwom with: A teen dramedy from a Rochester native screenwriter — a movie partly filmed in Rochester — is now showing at he Little Theatre The coming-of-age story about Jewish teenagers, written by screenwriter and Rochester-area native Jess Zeidman, used Temple Beth El as a filming location. A recent New York Times review of the film "Tahara," wrote: "The Hebrew-school comedy 'Tahara' mimics the zinging pleasure of overhearing teenagers chatter as they walk home from school: It’s gossipy "Tahara" showed in 2020 at the local ImageOut festival and Zeidman then answered email questions from the Democrat and Chronicle What follows are some of the answers from Zeidman in 2020 and from last week Zeidman: I wrote this script as a film set in Rochester specifically at Temple Beth El where we filmed when the ever-generous (and I mean REALLY GENEROUS) Executive Director Debbie Zeger gave us the go-ahead to film there finding the perfect location is worth its weight in gold and Temple Beth El is truly a dream to film in I want to specifically shout out the Rochester Institute of Technology whose incredible film students brought their talent and energy to our set every day of the fifteen days we filmed at Beth El.  What has happened with film since Image Out?Zeidman: Since Image Out we played a few more virtual festivals and continued on our long complicated distribution journey that involved a lot of rejection and reconfiguring Film Movement became our incredible distribution partner that believed in our team and our project deserved a theatrical release and now we are playing in theaters across North America  How does it feel to have it back in Rochester for a run at the Little?Zeidman: Exciting and surreal The Little is one of my favorite places back home and a huge source of inspiration for both the films make and the artistic communities I am involved with angsty Rochester teens will be able to go see "Tahara" and then chat and gossip and mess around at Java's is almost too much for me ! It is the coolest thing I could have ever imagined growing up and it's a true honor to be programmed at a theater that means the world to me and shaped me as a filmmaker but also as a person.  What's next with you - more films planned?Zeidman: I started a production company called Bumpy Toad that focuses on fun I began directing in collaboration with my romantic and artistic partner Justin Linville — we made two shorts earlier this year that will be out next year I'm juggling a few writing projects for features and TV pilots and a novel that is in desperate need of an edit And I'm producing another queer indie dramedy called "Summer Solstice," that we're filming in the Hudson Valley next month.. but still has that New York State energy I know and love.  Zeidman: I'm hoping that when it's safe enough to travel with the film consistently that we can screen at schools and community centers all over — I would love to have a real teen talk back (and lead it a little differently than the one in the movie) Can you give me a brief bit about Rochester connections What school?Zeidman: I grew up in Rochester and I graduated from Pittsford Sutherland High School in 2014 The Little is where I learned to love film and spent most of my weekends there as an angsty teen trying to figure out who I was.  As someone whose life has always centered around theater and film I was involved with Rochester Broadway Theatre League Geva Theatre (which staged my first play ever in 2013 also about toxic friendships!),  Eastman Community School of Music So much of who I am as an artist is due to the thriving communities I got to explore while growing up in Rochester and I hope to continue to be a part of the artistic community in any way I can I'll put it this way: I don't think "Tahara" will be the last film I make in Rochester!  Contact Gary Craig at gcraig@gannett.com. Follow him on Twitter at gcraig1.  I remember the first time I told my parents about “Tahara.” I was in their hotel room at a Hilton in Evanston and didn’t have a job lined up — but did have a finished screenplay but it wasn’t what they said: Reach out to the Executive Director of our temple I grew up in a family that is very Jewish, very queer and very much in love with the movies was a Holocaust survivor who would see any movie taking an international trip the next day and still hadn’t packed my bubbe and zayde introduced me to Turner Classic Movies; if there’s a movie about World War II there’s a 99% chance they’re watching it for the fourth time From my parents to my cousins to my aunts who are not really my aunts one thing has always been true: Going to the movies talking about movies and trying to remember which actor was in which movie is our love language as a theater kid-turned-high school playwright-turned-screenwriter I always wanted to see more people like my family members on screen Not movie lovers — we’ve got plenty of those “Tahara” exists not only because I wanted to share this story about uncomfortable Hebrew school existence with the world it felt like the community-building I had always wanted back in those Hebrew school days Though this story is deeply personal (though not true everyone with whom we shared the script and pitch deck could relate even if they never had to sing prayers to the tune of the Jeopardy theme song (did other people do this And though making this film and bringing it to theaters has felt more like wandering through the desert than I would’ve wanted its creation affirmed and expanded my own Judaism in a way that I never could have imagined The film centers around a toxic friendship between Carrie (Madeline Grey DeFreece), a black Jewish teen discovering her sexuality, and Hannah (Rachel Sennott of “Shiva Baby”) a white Jewish teen realizing she’s not the center of the world and they certainly – if we’re getting “Tahara”–specific here – don’t grieve one way We made “Tahara” less than a year after that Hilton conversation with my parents about getting in touch with Debbie (and endless thanks to Debbie and everyone at Beth El; this movie was only possible due to their generosity) I’m so proud of the work our collaborators have done When I look back on the things we faced (construction at the temple I feel like it’s a miracle that others will be able to experience this film in theaters I’m scared that others will reject us out of hand will not want to engage with their discomfort and will choose to dismiss us because our film doesn’t fit with their definition or understanding of Jewish life or because our storytelling doesn’t reflect their exact experiences I understand that judgment — I’ve made it myself — but now that I’ve made a film of my own a way to transport one to another place and make one consider a different way the world could be From one movie-loving queer Jewish artist to the world I’ll say this: What’s better than going to the movies and chatting about it after After a festival run with stops at TIFF, Outfest, NewFest and Slamdance, “Tahara,” now a NYTimes Critic’s Pick, premieres this week in theaters. You can find out about screenings and tickets here and follow the film on Instagram @taharathefilm Jess Zeidman (she/her) is a writer and filmmaker living in Brooklyn TAHARA will be released summer 2022 via Film Movement and her production company Bumpy Toad focuses on indie animation By submitting I agree to the privacy policy Timothy “Tim” Morio Tahara passed away He is survived by his loving family: his wife of 25 years all of Kelowna; and by his furry companions Tim is also survived by his mother Jane Tahara of Parksville; his mother-in-law Martha Tonogai of Kelowna; and brothers-in-law Bob (Joni) Tonogai of Victoria; his nephews Ryan (Allie and their children Quinn of Surrey; and nieces Naomi (Steve and their children Minori and Caeden) Duncan of Coquitlam; as well as cousins residing in both BC and Japan Tim was predeceased by his father Morio Tahara; his uncles Pidge of Kelowna; and his sister-in-law Marie-France Colombey Tim had a strong work ethic with dedication to his profession His genuine concern for his clients’ was rewarded with their loyalty during his 37 years in the insurance and investment industry He was also highly regarded for his honesty and scuba diver who loved to travel around the globe he was happiest when these adventures included Sandy and their kids While COVID-19 greatly impacted the family’s ability to embark on vacations they found the positive in the situation and felt blessed to have uninterrupted time to spend with Tim during his battle As Tim would say “Don’t be sad for me for I am in a place where the biggest fish are always biting; the best dive sites are within reach; and there are no sand traps or water hazards Topic and the entire team at the Cancer Agency for their unwavering support and care during Tim’s illness Marjorie Docherty enough for her years of dedication to the family and especially during the 14 months of Tim’s illness In lieu of flowers, donations may be made in memory of Tim to the Kelowna Buddhist Temple Building Fund or to the BC Cancer Agency Sindi Ahluwalia Hawkins Centre for the Southern Interior but due to Covid-19 restrictions it will be by invitation only The family would like to invite all who want to pay their respects to join by Livestream on MONDAY A recording will be made available to view shortly thereafter or share a memory please scroll down the page to the area called “Condolences” » Condolences sent through this page can be seen by the public. If you wish for your condolence to go to the family privately, please send it to: " + EmailId +" » Condolences sent through this page can be seen by the public. If you wish for your condolence to go to the family privately, please send it to: contact@springfieldfuneralhome.com Tim was a kind and generous man who we feel fortunate to have known I am so sorry to hear of Tim’s passing I was fortunate to have a long chat with him before Christmas It was a beautiful ceremony and we are glad we got to attend remotely My apologies for sending these thoughts so long after Tim’s passing Was not aware that he had left us until just today and it was so wonderful to see him at our 40th reunion in 2017 in Kelowna and genuine “Tim-ness” that was unmistakable When we lose someone we love – we must learn but to live with the love they left behind My heartfelt condolences to Tim’s entire family Just today we have heard of Tim’s passing We recall many years back when he Tim stayed as a guest in our home in West Vancouver before he married Sandy and started his family We will always remember his beautiful wedding as well as a visit we made to Kelowna when we shared a wonderful time with both Sandy and Tim a very giving person…loved and respected by so many He is in our hearts 💞 and fondest memories » To share your condolence on this page please fill out the requested fields click the 'Choose File' button and select a photo from your computer » Your email is never published or shared NOTE: all messages will go through an administrative process before being posted Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Everything was so organized and pertinent to what we needed courteous and very helpful during our emotional and challenging time They were so prompt on answering any questions and changing things They were prepared and respected any religious decisions The process was so seamless and made easy in such a high stress situation In the past 2 years Springfield has helped us through the death of my Mother and my Father Their response and help allowed us to focus on the remaining family rather than worrying about details of the funeral and all the notifications that are required upon a death The atmosphere has been nothing but professional during times of grief the staff coached me on the next steps and looked after filling in all the government forms that I needed to sign which took a huge burden off my mind at the time From the time I called to the completion of all the services There was a sense of caring from each staff member I was turning over my Mom to their care and I felt very comfortable with everyone I felt heard and never felt pushed into any decision I have always found the team at Springfield Funeral Home to be VERY caring I have and will continue to recommend them to anyone who asks which funeral home would I suggest they use No other funeral home I have dealt with even comes close to Springfield Funeral Home I was made to feel as if I was the only one they had to serve Everything that was arranged for us was perfect Thank you for making this difficult time a little more acceptable via your staff’s obvious caring and respect I liked the personal treatment given to my mother who is 97 years old I found Springfield employees pleasant and sincere was that the funeral home would help me get through the paperwork need at this time Since this was my first experience (with a funeral home) everything was above and beyond what I expected Thank you to your team for your kindness to me at a very challenging time You have now taken care of both of my parents with professionalism and care Springfield Funeral Home is always professional We appreciate that you have dedicated staff for all needs from planning the service to completing government paperwork I am not sure there was anything you could have done to make a very intense emotional time less stressful Although we hadn’t expected Ken to want a service when he said we needed to have one for us not him Your sincerity and compassion meant everything to us your compassion and professionalism is truly amazing super professional and caring as each guest arrived Keep up the good work that you do as it is such an important service you provide It is still the most difficult time in a person’s life We appreciated the peace of mind that everything was being looked after You provide a wonderful service for people going through a traumatic time The kindness and professionalism shown by the staff at Springfield Funeral Home was exemplary Aichi Prefecture is the area of Japan where most of the Toyota Group's plants and factories are located as well as its headquarters and main technical and operational centres which are around fifteen including those dedicated to engines is also the first headquarters of the Lexus brand which since early 2000 has been pushing hybrids and soon will become the first almost fully electrified premium brand The plant in question is Tahara, one of the last to be built in the area, which supports the production of some of the brand's most iconic models, as well as some of Toyota's high-end SUVs The factory grows in capacity and technology soon becoming Toyota's number one centre for automation and high-tech processes this does not compromise on record employment of flesh-and-blood staff: in fact in 2011 Tahara reached almost 8,000 employees against an annual output of close to 400,000 units where more than half a million cars are produced In the late 1980s, the level of technological excellence made it the first site to start production of models of the new Lexus brand founded in 1986 with the aim of attacking the high-end car sector in the North American market supporting the progressive electrification of models converted into hybrids at the beginning of the third millennium Tahara has reached a daily production rate of one car every minute and a half for Lexus models including the automatic installation of window seals but quality control is entrusted exclusively to employees who perform more than 4,000 checks on each car produced The philosophy followed at the Tahara plant pays particular attention to precision and cleanliness: on entry employees undergo an air shower to remove dust and during their shift they engage in physical activities and motor exercises to maintain the high level of concentration and attention needed to ensure quality The New Jeep Compass May Not Come to the US The New Lexus ES Has Hybrid and Electric Power The Toyota Corolla Looks Even Better With White Wheels Sound Up: The Lexus GR GT3 Sports Car Sounds Amazing The New Audi A6 Plug-In Hybrid Has a Decent Electric Range The Lexus LX Overtrail Is the King of Toyota Trucks: Video Review Tahara and Tahara West brigades in District 4’s Merino Group have amalgamated confessed that his previous brigade “was basically Noltes” He’s now second lieutenant of the strengthened Tahara brigade which has two stations and a truck in each “We were a small brigade with a small brigade area while the farms got bigger as we moved away from soldier settlement We turned out about three or four times a year to grass and scrub fires “Our members were ageing and there wasn’t much chance to get new members and fill all the positions in a brigade management team [BMT] It was the same two or three people filling all the roles.” the brigade faced being closed down with their truck removed from the group “We could bury our heads in the sand or get proactive and talk about viable options for us and the group We had discussions with Group Officer Wayne Munro and the Volunteer Sustainability team.” There were three options: stay as they were (which was no option); share the BMT with another brigade; or amalgamate with either Tahara or another brigade “Amalgamation would mean keeping two sheds and two trucks filling all the BMT positions and sharing the workload “Tahara was happy to take us on but it was an involved process We sat down with members in their homes and had community meetings in both brigade areas Both communities were happy to accept change and move forward and the submission went to the [CFA] Board “It’s a terrific outcome which hasn’t been forced on anyone We’ve had ample opportunity to own the change and demonstrate that you can get a great result for your community.” View all stories View more contacts The Facebook feed is contained within an iframe and as such is not available via keyboard access. 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Tweets by CFA_Updates We are currently experiencing issues with our embedded Twitter feed We acknowledge Aboriginal and Torres Strait Islander people as the Traditional Custodians of the land Copyright 2025 CFA (Country Fire Authority) Lexus designers have created a dynamic new appearance for the UX Sport The first addition to the UX line-up since the new model was introduced last year the UX Sport follows in the tracks of the successful Sport versions of the RX luxury crossover and NX mid-size crossover in offering a sporty treatment at an attractive price Crafted to stand out in the city and allow more drivers to experience the Lexus brand the UX Sport combines striking lines with sharply sculpted bodywork in a choice of eight stunning colours Design highlights include an all-black Lexus signature grille flanked by darkened Bi-LED headlights Black 18” or optional dark grey 17” alloy wheels underscore the distinctive crossover shape while black door mirrors and roof rails complete the distinctive look the new UX Sport offers both comprehensive equipment levels and bespoke design elements creating a sporty crossover at an attractive price Offered for the first time with full Tahara upholstery throughout the UX Sport interior strikes a stylish note and is also available with grey or blue accents the Takumi-crafted Black Tahara upholstery is more environmentally efficient to produce and features the look and suppleness of leather in a durable product that contains no animal-sourced materials Powered by Lexus’ 4th generation Self-Charging Hybrid technology the UX 250h Sport seamlessly orchestrates a 2.0-litre petrol engine and electric motor(s) to deliver smooth yet powerful performance In selected countries drivers can opt for the dynamic UX 200 Sport powered by an ultra-efficient 2.0-litre petrol engine The UX Sport includes intuitive Lexus technologies such as a Touch Pad controller on the centre console and seamless smartphone access via Apple CarPlay® or Android Auto® It also features a Lexus Link app to plan journeys schedule a service or track driving styles every UX Sport boasts the very latest Lexus Safety System + with optional Blind Spot Monitor and Rear Cross Traffic Alert comments: “With UX sales in Europe already topping 35.000 since launch we felt younger newcomers to the Lexus brand would appreciate a stylish UX Sport along the lines of the successful RX Sport and NX Sport” The new UX Sport will be introduced in December 2020 For more information, please consult: https://www.lexus.eu/car-models/ux/sport-edition/ Metrics details The uniqueness of water originates from its three-dimensional hydrogen-bond network but this hydrogen-bond network is suddenly truncated at the interface and non-hydrogen-bonded OH (free OH) appears Although this free OH is the most characteristic feature of interfacial water the molecular-level understanding of its dynamic property is still limited due to the technical difficulty We study ultrafast vibrational relaxation dynamics of the free OH at the air/water interface using time-resolved heterodyne-detected vibrational sum frequency generation (TR-HD-VSFG) spectroscopy With the use of singular value decomposition (SVD) analysis the vibrational relaxation (T1) times of the free OH at the neat H2O and isotopically-diluted water interfaces are determined to be 0.87 ± 0.06 ps (neat H2O) The absence of the isotope effect on the T1 time indicates that the main mechanism of the vibrational relaxation of the free OH is reorientation of the topmost water molecules The determined sub-picosecond T1 time also suggests that the free OH reorients diffusively without the switching of the hydrogen-bond partner by the topmost water molecule such a three-dimensional hydrogen-bond network is truncated on the atomic scale which is expected to cause distinct structures and dynamics of interfacial water the molecular-level understanding of the properties of interfacial water is still limited owing to the technical difficulty of interface-selective measurements the elucidation of the dynamic property of the free OH is very important as a cornerstone for understanding interfacial water the ultrafast vibrational relaxation dynamics of the free OH at the air/water interface is studied with TR-HD-VSFG for neat H2O and isotopically diluted water Contrary to the previous homodyne TR-VSFG studies we found that the relaxation T1 time of the free OH determined by TR-HD-VSFG does not change with isotopic dilution The absence of the isotopic dilution effect as well as other observations indicates that the predominant vibrational relaxation mechanism of the excited free OH is not the intramolecular energy transfer but the reorientation of the topmost water molecule that has the free OH Steady-state Imχ(2) spectra of the air/neat H2O interface (black) and the air/isotopically diluted water interface (red Time-resolved ΔImχ(2) spectra from −3.0 to 6.0 ps obtained with selective excitation of the free OH a neat H2O and b isotopically diluted water (H2O/HOD/D2O = 1/2/1) interfaces The time shown along the vertical axis represents the delay time of each time-resolved ΔImχ(2) spectrum Red and blue regions in the spectra are positive and negative changes from the steady-state Imχ(2) spectrum The steady-state Imχ(2) spectrum and the spectrum of the pump pulse are also shown at the top This confirms the assignment of the weak negative signal observed at the air/neat H2O interface to the frequency shift due to anharmonic coupling because only H2O molecules having two OH’s can have the anharmonic coupling between the HB OH and the free OH Because isotopically diluted water contains only 25% of H2O compared to the neat H2O the weak negative signal arising from the anharmonic redshift of the HB OH band of H2O becomes much weaker so that it cannot be recognized clearly with the signal to noise ratio of the present measurements the absence of the 3400-cm−1 band at the isotopically diluted water interface strongly supports the assignment of the broad negative band at the neat H2O interface to the frequency shift due to the anharmonic coupling and warrants the high reliability of the obtained ΔImχ(2) spectra as well d the temporal profiles of the two major components obtained from SVD analysis of the time-resolved ΔImχ(2) spectra from −0.2 ps to 6.0 ps: a d isotopically diluted water (H2O/HOD/D2O = 1/2/1) c) correspond to the positive and negative changes from the steady-state Imχ(2) spectrum d show the exponential fits for the decay and rise of the components taking account of the instrumental response (200-fs Gaussian) the intensity change in the HB OH region was measured with excitation of the free OH and it was argued that the rise of the transient signal was significantly delayed compared to the appearance of the transient in the free OH region this delayed rise was considered as evidence of the intramolecular energy transfer from the free OH to the HB OH the transient signal in the HB OH region is due to the hot band of the free OH and the anharmonic coupling between the free OH and HB OH the transient signal in the HB OH region is expected to appear simultaneously with the bleaching signal in the free OH region a Homodyne TR-VSFG signals and b time-resolved ΔImχ(2) in the HB OH region (3500 cm−1 Black and red dotted lines represent the peak of each temporal trace c Homodyne TR-VSFG signals and d time-resolved ΔImχ(2) in the free OH region at the air/neat H2O interface (red) and isotopically diluted water interface (blue) Homodyne TR-VSFG signals in a and c are calculated from the data obtained in the present TR-HD-VSFG measurements as |χ(2) + Δχ(2)|2 – |χ(2)|2 Solid lines are the exponential fits convoluted by the instrumental response (200-fs Gaussian) The sub-picosecond relaxation time determined in this study accords with this theoretical prediction about the diffusive nature of the reorientation process of the topmost water molecules at the interface Although experiments with heterodyne detection are desired also for such buried silica/monolayer interfaces the similar conclusions for the two prototypical hydrophobic interfaces suggest the general importance of the reorientation relaxation pathway in the vibrational relaxation of the free OH at hydrophobic interfaces When a free OH is vibrationally excited (process 1) the excited free OH diffusively reorients (process 2) to form an excited-state HB OH (process 3) The excited HB OH rapidly relaxes to the lower energy vibrational states (process 4) the pump energy absorbed by water converts to the thermal energy (process 5) Dotted OH bonds represent the vibration in the excited state a narrow-band visible ω1 pulse (center wavelength: 795 nm s-polarized) and a broadband infrared ω2 pulse (center frequency: 3450 cm−1 p-polarized) were focused into a y-cut quartz crystal and then onto the air/water interface to generate sum frequency (ω1 + ω2 The former SFG was used as the local oscillator (LO) and passed through a glass plate (2 mm) in advance to be delayed by 3.2 ps with respect to the latter SFG from the sample The spectral interferograms were recorded by using a polychromator with a charge-coupled device (CCD) The time-resolved measurements were carried out with pump ωpump pulses at ∼3700 cm−1 (bandwidth: 100 cm−1 30 μJ) for selective excitation of the free OH The time-resolution of the measurements was evaluated by measuring the third-order nonlinear signal of ω1 + ω2 + ωpump that was generated with the z-cut quartz placed at the sample position while changing the ωpump delay The FWHM of the temporal response was ∼200 fs The signals obtained with a 20-second exposure were accumulated 380 times and 560 times for the neat H2O and isotopically diluted water (H2O/HOD/D2O = 1/2/1) The data that support the findings of this study are available from the corresponding author upon reasonable request Femtosecond mid-IR pump-probe spectroscopy of liquid water: evidence for a two-component structure Resonant intermolecular transfer of vibrational energy in liquid water Ultrafast hydrogen-bond dynamics in the infrared spectroscopy of water Ultrafast memory loss and energy redistribution in the hydrogen bond network of liquid H2O A molecular jump mechanism of water reorientation Water vibrations have strongly mixed intra- and intermolecular character Sum-frequency vibrational spectroscopy on water interfaces: polar orientation of water molecules at interfaces Vibrational spectroscopic studies of aqueous interfaces: salts Structure and dynamics of interfacial water studied by heterodyne-detected vibrational sum-frequency generation Phase-sensitive sum-frequency spectroscopy Vibrational sum frequency spectroscopy studies of the influence of solutes and phospholipids at vapor/water interfaces relevant to biological and environmental systems Theoretical studies of structures and vibrational sum frequency generation spectra at aqueous interfaces Ultrafast dynamics at water interfaces studied by vibrational sum frequency generation spectroscopy in Coherent Multidimensional Spectroscopy (ed Vibrational spectroscopy of water at the vapor/water interface Surface vibrational spectroscopic studies of hydrogen bonding and hydrophobicity Motional effect in surface sum-frequency vibrational spectroscopy Polarization and experimental configuration analyses of sum frequency generation vibrational spectra and orientational motion of the air/water interface Orientational distribution of free O-H groups of interfacial water is exponential Water at hydrophobic surfaces: weak hydrogen bonding and strong orientation effects Water as an active constituent in cell biology On the theory of organic catalysis “on water” Ultrafast vibrational dynamics at water interfaces Membrane-bound water is energetically decoupled from nearby bulk water: an ultrafast surface-specific investigation Effect of surface charge on the vibrational dynamics of interfacial water Ultrafast reorientation of dangling OH groups at the air-water interface using femtosecond vibrational spectroscopy Ultrafast vibrational energy transfer at the water/air interface revealed by two-dimensional surface vibrational spectroscopy Mechanism of vibrational energy dissipation of free OH groups at the air–water interface Vibrational spectroscopy as a probe of structure and dynamics in liquid water Efficient spectral diffusion at the air/water interface revealed by femtosecond time-resolved heterodyne-detected vibrational sum frequency generation spectroscopy Accurate determination of complex χ(2) spectrum of the air/water interface Calculated OH-stretching and HOH-bending vibrational transitions in the water dimer Overtone spectroscopy of H2O clusters in the vOH = 2 manifold: Infrared-ultraviolet vibrationally mediated dissociation studies Calculation of the O−H stretching vibrational overtone spectrum of the water dimer Communication: ultrafast vibrational dynamics of hydrogen bond network terminated at the air/water interface: a two-dimensional heterodyne-detected vibrational sum frequency generation study Molecular dynamics study of two-dimensional sum frequency generation spectra at vapor/water interface Ultrafast vibrational dynamics of a charged aqueous interface by femtosecond time-resolved heterodyne-detected vibrational sum frequency generation Femtosecond ultraviolet-visible absorption study of all-trans→13-cis⋅9-cis photoisomerization of retinal Partially hydrated electrons at the air/water interface observed by UV-excited time-resolved heterodyne-detected vibrational sum frequency generation spectroscopy Hidden isolated OH at the charged hydrophobic interface revealed by two-dimensional heterodyne-detected VSFG spectroscopy Phase-sensitive sum frequency vibrational spectroscopic study of air/water interfaces: H2O Bend vibration of surface water investigated by heterodyne-detected sum frequency generation and theoretical study: dominant role of quadrupole Vibrational relaxation of the bending mode of HDO in liquid D2O Coherent effects in femtosecond infrared spectroscopy Instantaneous vibrational frequencies of diffusing and desorbing adsorbates: CO/Pt(111) Disentangling multidimensional nonequilibrium dynamics of adsorbates: CO desorption from Cu(100) Temperature dependence of vibrational relaxation in liquid H2O Strong frequency dependence of vibrational relaxation in bulk and surface water reveals sub-picosecond structural heterogeneity Reorientation and allied dynamics in water and aqueous solutions Local hydrogen bonding dynamics and collective reorganization in water: ultrafast infrared spectroscopy of HOD/D2O On the orientational relaxation of HDO in liquid water Statics and dynamics of free and hydrogen-bonded OH groups at the air/water interface Slow hydrogen-bond switching dynamics at the water surface revealed by theoretical two-dimensional sum-frequency spectroscopy Orientational dynamics of water at an extended hydrophobic interface 2D heterodyne-detected sum frequency generation study on the ultrafast vibrational dynamics of H2O and HOD water at charged interfaces Download references This work was supported by JSPS KAKENHI Grant Number 18H05265 acknowledges the Special Postdoctoral Researchers (SPDR) program of RIKEN Ken-ichi Inoue, Mohammed Ahmed, Satoshi Nihonyanagi & Tahei Tahara Mohammed Ahmed, Satoshi Nihonyanagi & Tahei Tahara performed the experiments and analyzed the data All authors discussed the results and wrote the manuscript The authors declare no competing interests Peer review information Nature Communications thanks the anonymous reviewers for their contribution to the peer review of this work Publisher’s note Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations Download citation DOI: https://doi.org/10.1038/s41467-020-19143-8 Anyone you share the following link with will be able to read this content: a shareable link is not currently available for this article Sign up for the Nature Briefing newsletter — what matters in science Details: cache-fra-eddf8230115-FRA 1746537284 3574550665 Critical Conversations: bridging pathways forward to greater understanding and creative solutions A team of Creative Enterprise Leadership students develops a new framework for disaster preparedness in The Rockaways the team (called North Star) is working to create a strategic decision-making framework to help The Rockaways respond to conducted over the course of a full academic year has resulted in the First-Order Response Community Engagement (FORCE) framework which knits together theoretical knowledge and real-world applications FORCE prioritizes meeting the nuanced needs of the community—ranging from basics such as shelter To best prepare and protect residents during the golden hour the FORCE Framework provides a road map for key decisions It starts with the establishment of a community-created guiding coalition who will then engage community members in identifying resources and leaders to guide the community through this process and through the crisis It includes a series of decision trees to direct the planning based on the identified community-specific needs in service of building a more resilient community.  The team chose to focus on The Rockaways as a pilot project after identifying a need for greater attention and resources for the geographically isolated peninsula.  From there, they embarked on a deeply research-based and collaborative process, which included speaking to subject-matter experts who have worked with communities facing sustainability challenges, delving into a wide variety of government resources, and collaborating with the Rockaway Initiative for Sustainability and Equity (RISE) a not-for-profit organization that runs civic engagement and youth development programs in The Rockaways It was important to North Star to partner with an established organization fully embedded within the community and informed on its distinct needs RISE’s long and ongoing history of serving their neighbors provided an invaluable knowledge base for the North Star team “Developing and implementing solutions is an iterative process that requires constant feedback and validation from the community and experts,” said Chate The team utilized methods such as STEEPLEAD, a strategic management tool that helps organizations understand their operating environment and pursue informed strategic decisions, and the 4D version of the Double Diamond process The project builds on existing disaster preparedness, response, and mitigation research by organizations like RISE and FEMA as well as prior work coming out of Pratt Institute’s Creative Enterprise Leadership Department Where The Rising Tide diverges from previous efforts is its emphasis on the golden hour and use of the Mutually Exclusive Collectively Exhaustive (MECE) approach a framework at the core of decision analysis.  The team aims to make it clear and easy for community members to leverage existing capabilities and resources to respond quickly to crises before outside aid can arrive They hope that a framework like FORCE can prepare decision-makers to act quickly and effectively during these crucial moments the team had access to Pratt’s Creative Enterprise Leadership network including a diverse array of subject experts professionals from the Association for Managers of Innovation (AMI) “This has been instrumental in the team’s success by providing the tools and support needed to make a meaningful difference in the communities we serve,” said Tahara.  The student team members also credit the program with helping them understand and apply learnings around community engagement and strategic thinking prepared me to tackle complex challenges and drive positive change in underserved communities,” said Wang Their learnings from this project will also inform their future professional and personal endeavors “Our engagement with The Rockaways community has fostered a sense of social responsibility and a desire to continue contributing to resilience-building efforts,” said Misra this project has solidified my passion for community-driven initiatives and the power of interdisciplinary collaboration.” The next phase of the project will involve working with the community to ensure that the framework is “tailored to their exact needs,” said Bayar “This is a challenge within the scope of change management which is an integral part of sharing our tool.” Following the completion of their FORCE framework, the team plans to present their work to  RISE and other community members, elicit feedback, and make adjustments before sharing it more widely—possibly even adapting it to support vulnerable communities beyond New York City. While more research and testing are still necessary, the team continues to pursue its goal, stated in its project brief and empowering participation” in service of “a more resilient and equitable future for all.” This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page it seems like an obvious point that the interviewer should listen You never know what direction the conversation will head.  Case in point: I spoke to filmmaker Olivia Peace a few weeks ago. Their feature “Tahara” was playing at Ragtag Cinema It’s the story of two Hebrew school girls who go through a litany of emotions after a classmate commits suicide Jess Zeidman’s darkly funny screenplay reminded me of Woody Allen or Sofia Coppola Peace’s direction allows the dialogue to breathe The camera engages the strict confines of the school giving emphasis to shadows symbolizing a lurking presence between characters there’s animated segments added to emphasize certain moments it’s technically accomplished. More on that later.  When I sat down with Peace, they mentioned being a big fan of Columbia having brought the short film “Pangea”  to the Citizen Jane Film Festival back in 2016 “It remains one of the best festival experiences I’ve had,” Peace said Peace noted this film mixed live-action and animation as well. I asked how Peace was able to do that given the minimalism of the budget ("Tahara" breezes in at a cool $100K.) Peace does a lot of the animation work to avoid hiring an army of artists other crew provide a great deal of effort into these segments prohibits making a full-length animated film Well beyond what indie funders are often able to support.  More: Fashion is a passion in 'Mrs. Harris Goes to Paris' That’s critical since money is always tight I often ask how filmmakers make ends meet after spending months prepping movies and years touring the festival circuit (“Tahara” premiered at Slamdance in January 2020 before “everything changed” and bounced between virtual film festivals until finally getting a distributor.) Peace earned a master’s degree at the University of Southern California under a scholarship funded by George Lucas no less They pursued an MA in interactive media and games Interesting as Peace showed incredible skill bringing a very intimate character study to screen “There is an opportunity to use technology to create landscapes and backgrounds that will make smaller films easier to make without locations,” Peace enthused “But artists just need to be open to these new ideas rather than being protective of their medium.” Peace was introduced to “virtual reality documentaries” at USC and those films offered insight into how technology could bring more complicated ideas to life using a smaller budget The student film that completed their master’s program is “Against Reality” and documents personal experience with “lurid dreams.” Peace explained this is the concept where you know you are dreaming and learn to control your dreams as you are having them Peace expects the student film will be a part of a larger series with the first segment taking about how to experience a lucid dream and what lucid dreams are like The second film would focus on the great things about their experiences with the final segment covering how these dreams can turn into a nightmare Peace's plan is to continue working on this series and securing a distribution deal More: True/False names 'Million Dollar Pigeons' this year's Boone Dawdle film Peace worked with a computer program called “AI Neural Network.” I had to have this explained to me as well This is a system of hardware and software patterned after the operation of neurons in the human brain The process pulls images from across the “history of the internet” as Peace dictates the narrative and feeds images in order for the software to replicate the image they want to compose this is artificial intelligence synthesizing art with the guidance of the filmmaker Peace sat down with their Mac and created this “Alice in Wonderland”-type experience without a crew Peace compared the software searching the internet for these images with the process of dreaming where our “brain processes images we see in everyday life.” But this will not simply be a film; Peace wants to make experiences like this more interactive where “people can push themselves into the image.” Peace’s upcoming work explores the spiritual nature of dreaming Which is similar to how they subtlety capture how religion and faith impact the characters in “Tahara.” So many moments are in the pall of death or in the hushed sanctuary of the school there is this curiosity in understanding the seen and unseen worlds we inhabit.  My assignment started out talking about the future of small independent filmmakers but became about the evolution of cinema generally “Tahara” is no longer playing at Ragtag but a DVD/streaming release in the works You need to catch it as well as keeping an eye out on Peace's future work this must be what it felt like to talk to James Cameron before the first “Terminator” movie came out.  The whole interview can be heard on my podcast “Reel Filmsnobs,” which you can catch on Spotify Check it out; I get paid for writing this column with cheap plugs.  In real life, James Owen is a lawyer and executive director of energy policy group Renew Missouri He created/wrote for Filmsnobs.com from 2001-2007 before an extended stint as an on-air film critic for KY3 He was named a Top 20 Artist under the Age of 30 by The Kansas City Star when he was much younger than he is now.  (Mas Tahara – photo courtesy SWSHS) Tomorrow (Sunday) at 2 pm, you’re invited to the Delridge Library to hear Mas Tahara talk about the Tengu Fishing Club, in the next Southwest Stories presentation from the Southwest Seattle Historical Society The “Tengu Fishing Club” was founded by one of several Japanese-American tackle shops that had been established in downtown Seattle One particular shop started a salmon fishing competition later called the “Tengu Fishing Club,” around 1936 or 1937 Fishing competitions like this were common at the time but the Japanese-American population was not welcomed during the typical salmon fishing season during warmer weather (spring or summer) with the distinct difference of welcoming any participants regardless of their ethnic background or gender Held during the cold winter months of November through January each weekend of the competition would document who had caught the largest fish and the ultimate winner was chosen at the end of the 12-week period There was a notable interruption to the Derby’s history when, beginning on December 7, 1941, the national intolerance toward Japanese-Americans (and even naturalized American citizens of Japanese descent) was severely heightened, leading to the internment order from President Franklin D Tahara as he is interviewed about his amazing fish-tales on Sunday 2018 from 2 pm to 4 pm at the Delridge Library Have been looking for info on a Tengu Derby this winter am guessing it’s off because of rules & regs Tickets can be purchased at Outdoor Emproium by the stadiums The Tengu Derby is a great Seattle tradition looking forward to participating this year I’ve really wanted to get into fishing I work in meat and am not squeamish about the dirty work parts I don’t know a lick about fishing gear or how the licensing works; tracking caught breeds I’ve been wanting to shadow someone that can teach a little.Anyone have a information about the Tengu Fishing Club I can’t find anything online aside from events such as this for storytelling You should check out Emerald Water Anglers (4502 42nd SW; WSB sponsor) in The Junction – a shop largely devoted to fishing 2019 at the Good Shepard Center in Wallingford.   Please enter your username or e-mail address You will receive a new password via e-mail