I had a dream

It wasn't really a dream, more of a nightmare.<br /><br />Since I've been sleeping a lot more lately I've started dreaming again. Unfortunately, most of my dreams haven't been pleasant. The one I had Friday night has stayed with me through the weekend. I can't seem to let it go.<br /><br />Usually I dismiss dreams as just that...dreams. They don't really mean anything, just silly junk our brain comes up with while we try to sleep.<br /><br />This one was different. This one is was disturbingly a reflection of my life. <br /><br />I was inside of a building, standing on a very narrow ledge along a wall. The ledge was so narrow that only the balls of my feet were on the ledge and I was standing on my tiptoes. I was very high up, and there was a cement floor below me. I knew if I fell I would die.<br /><br />I was facing the wall with my hands and body pressed flat against the wall. I slowly inched along the narrow ledge sideways. I kept feeling like I was going to fall. When I looked down it was a long way to the floor. I was very frightened. I didn't know how I was going to get down.<br /><br />Finally, I called for my husband to quickly bring me a ladder. He came with a ladder but he held if about five feet from me. I tried to reach for the ladder but I couldn't reach it. Then I lost my balance. I fell.<br /><br />I didn't die (obviously), but in my dream when I fell I grabbed onto the very narrow ledge with my fingers. Then as I was hanging from the ledge with my fingers, and my legs were dangling, I realized my feet were almost touching the floor. I could let go and I wouldn't die. I was going to be okay.<br /><br />This could be a reflection of so many things in my life. My job, my marriage, my weight loss efforts. The failure at any or all of these things will not kill me. It might scare me, but I won't die.<br /><br />Or the dream could have been about the guy at work that was wearing moccasins last week. He told me they were like slippers. I asked him if they had arch support and he said no. I told him that would kill my feet because I have extremely high arches and had to have arch support in my shoes. He told me I needed to practice standing on a Bosu ball with one foot, barefooted. Just stand there grabbing the ball with my foot. That it would build up my arches. I told him I always fall off of those stupid Bosu balls. Yes, I bet that's what the dream was really all about. :)

dream I had a dream

It wasn't really a dream, more of a nightmare. Since I've been sleeping a lot more lately I've started dreaming again. Unfortuna...

Read more »

Van Nest Polglase ~ Architect Of Cinematic Dreams, Part II

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQ5hzKKenNU9Q8zv2ix7KD0GcPgm89rNNzwmT3HZZ8TdZZ86uTK6g-xqsX-s3SqTVDIOclOneQniL-d8CnYfMKnbehGRNPRL4mkSZ-aGeFrUKn-2fk8OTxPjMV6Xr0288uYZar2JsJ_Jz/s1600/artdirectionTheInformer1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" height="320" id="BLOGGER_PHOTO_ID_5536896414924983106" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQ5hzKKenNU9Q8zv2ix7KD0GcPgm89rNNzwmT3HZZ8TdZZ86uTK6g-xqsX-s3SqTVDIOclOneQniL-d8CnYfMKnbehGRNPRL4mkSZ-aGeFrUKn-2fk8OTxPjMV6Xr0288uYZar2JsJ_Jz/s320/artdirectionTheInformer1.jpg" style="float: left; height: 320px; margin: 0pt 10px 10px 0pt; width: 257px;" width="257" /></a><br /><span style="font-family: Arial,Helvetica,sans-serif;"><i>by guest contributor Whistlingypsy</i></span><br /><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span><span style="font-family: Arial,Helvetica,sans-serif;">The emergence of those stylistic elements in American films later termed <i>noir </i>by critics is often debated and open to interpretation.</span><br /><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span><span style="font-family: Arial,Helvetica,sans-serif;">Five years before the films that captivated French critics for their “dark” plots and visual style, John Ford directed an equally dark film for RKO Studios. <span style="font-weight: bold;">The Informer</span> (1935) was based on the novel by Liam O’Flaherty and tells the story of an increasingly desperate man. <span lang="EN">Whether John Ford had the stylistic treatment of German expressionism in mind when</span><span lang="EN"> making the film seems unlikely, but </span>Gypo Nolan’s (Victor McLaglen) flight through Dublin’s fog wreathed streets suggests these atmospheric elements as an archetype of <i>noir</i> essentials. Through the effective use of black velvet drapery and fog, to disguise the minimal budget for art direction, Polglase and assistant art director Charles Kirk created an atmosphere that is alternately brooding and menacing, dark, claustrophobic and bleak. Setting the story over the course of one night gives immediacy to Nolan’s frantic race to outrun his conscience and his pursuers. <span lang="EN">This small film would proved an artistic triumph, surprising studio executives, and won four Academ</span></span><span lang="EN"><span style="font-family: Arial,Helvetica,sans-serif;">y Awards, one for John Ford’s direction and Victor McLaglen’s portrayal of the lead character.</span></span><br /><a name='more'></a><br /><div class="MsoBodyText" style="font-family: arial;"></div><div class="MsoBodyText" style="font-family: arial;">Alfred Hitchcock, before he began directing films in 1925, was active as an art director. He entered the industry in 1919 when he was employed by the Islington studio location of Famous Players-Lasky and he worked as an art director on at least six films before moving on to directing. Hitchcock’s lifelong interest in production design has often been understood in light of his experi<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegK03W6KHP0AIIXY8PICgLOKNTygJImp0HUdDjESJKHZB1T2jte_qMHUXL9TOj3H1sKXG74ghqj10UBx0HKDDOed3bpsQNp9GlI2-y9nFV4GWxAG6Z1_-6NSzZEka53fSjT1L9zo9Xz1k/s1600/artdirectionSuspicion1.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536893241127740146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiegK03W6KHP0AIIXY8PICgLOKNTygJImp0HUdDjESJKHZB1T2jte_qMHUXL9TOj3H1sKXG74ghqj10UBx0HKDDOed3bpsQNp9GlI2-y9nFV4GWxAG6Z1_-6NSzZEka53fSjT1L9zo9Xz1k/s200/artdirectionSuspicion1.jpg" style="cursor: pointer; float: left; height: 200px; margin: 0pt 10px 10px 0pt; width: 150px;" /></a>ences at German studios both in Berlin and Munich and his exposure to German expressionism.</div><div class="MsoBodyText" style="font-family: arial;"><br /></div><div class="MsoBodyText" style="font-family: arial;">Hitchcock’s first project for RKO Studios had been a comedy and with his next assignment he was given the opportunity to pursue a subject in keeping with his earlier darker films. <span style="font-weight: bold;">Suspicion</span> (1941) was notable for first introducing actor Cary Grant and director Hitchcock, and for using art d<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95S5fE57dHpHjWjcMNzBPmfN1Dkn65z07j_YP1wB65ymq-OfB6eK8KeOlohodtGX2DC00NKNjV9ewDK4hWbP2uc9ALDezkUNZr6h1lOCRI4Opcg_otgQsD3DTOzImVtnxZu1rF2aQ8dS4/s1600/artdirectionSuspicion2.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536893545410650658" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg95S5fE57dHpHjWjcMNzBPmfN1Dkn65z07j_YP1wB65ymq-OfB6eK8KeOlohodtGX2DC00NKNjV9ewDK4hWbP2uc9ALDezkUNZr6h1lOCRI4Opcg_otgQsD3DTOzImVtnxZu1rF2aQ8dS4/s320/artdirectionSuspicion2.jpg" style="cursor: pointer; float: right; height: 320px; margin: 0pt 0pt 10px 10px; width: 257px;" /></a>irection as a psychological element in storytelling. The contrast between Lina’s (Joan Fontaine) reassuringly stuffy family home and the coldly menacing home she shares with husband Johnny (Grant) personifies the tension of her state of mind.</div><div class="MsoBodyText" style="font-family: arial;"><br /></div><div class="MsoBodyText" style="font-family: arial;">The film’s art direction, supervised primarily by Carroll Clark, is also noteworthy for using the human form as an architectural element. The tall and solid form of Cary Grant balanced on the stairs is echoed in the equally tall and solid column at the foot of the stairs. The graceful line of the pinstripe in Grant’s suit is echoed, but altered, in the equally graceful lines of the treads and risers of the stairs. These lines are further mimicked in the lines falling across the wall and surrounding Grant’s head. The elements confirm and confuse by communicating both Grant’s guise of reliability and the shadow of suspicion regarding his motives, all combining to create one of the most emotionally menacing sequences in the film.</div><div class="MsoBodyText" style="font-family: arial;"><br /></div><div class="MsoBodyText" style="font-family: arial;"></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;">Van Nest Polglase is credited with supervising art direction on what is considered the finest film ever made in America. However, the credit for most of the innovative art direction rightly belongs to Perry Ferguson. Many film scholars have written in depth on the making of <span style="font-weight: bold;">Citizen Kane</span> (1941), with a focus on cinematography and the use of lighting, but few focus on the contribution of art direction.</span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE5GOH44SCXhWHTRlXsiIpWtedR2CJS1UW03i6sSieH8YP0LKGzuYWpNjpC8gky1E2vE787aTui_dy2KXCwo14wdLZ4yTldsRdTPeviAZ-GrfEXKvX583vcGG7gyHS7zbGtBO0KSL2dAdT/s1600/artdirectionCitizenKane.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536894085944090018" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE5GOH44SCXhWHTRlXsiIpWtedR2CJS1UW03i6sSieH8YP0LKGzuYWpNjpC8gky1E2vE787aTui_dy2KXCwo14wdLZ4yTldsRdTPeviAZ-GrfEXKvX583vcGG7gyHS7zbGtBO0KSL2dAdT/s320/artdirectionCitizenKane.jpg" style="cursor: pointer; float: left; height: 240px; margin: 0pt 10px 10px 0pt; width: 320px;" /></a>Pauline Kael, film critic and author of <span style="font-weight: bold;">The Citizen Kane Book</span>, mentions neither Polglase nor Ferguson. Orson Welles, in trade paper ads the day of the film’s Hollywood premiere, gave thanks “to everybody who gets screen credit for <span style="font-weight: bold;">Citizen Kane</span> and thanks to those who don’t.” Considering the risk involved in screening the film, this was a generous acknowledgment of the work of many creative individuals. Although Welles appears to have refused to acknowledge Polglase’s contributions, he praised Perry Ferguson’s historical details stopping short of giving Ferguson his due credit on the film.</span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;">Ferguson’s use of revers<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifbVsxXHB8e6FMuT3tMYs3zJK5ko01VdFYDqbHjlwVb3QOPPQs5VaXx7BerOutSBrJYQw9lSG1oq3Pd77Ilf_6FBh_2yxmQN_tWyuArKx1U2C0OpHewZfbQY0D9kjhFGmnCEaDDccAkvvL/s1600/artdirectioncollage3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5536894483708036914" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifbVsxXHB8e6FMuT3tMYs3zJK5ko01VdFYDqbHjlwVb3QOPPQs5VaXx7BerOutSBrJYQw9lSG1oq3Pd77Ilf_6FBh_2yxmQN_tWyuArKx1U2C0OpHewZfbQY0D9kjhFGmnCEaDDccAkvvL/s320/artdirectioncollage3.jpg" style="cursor: pointer; float: right; height: 320px; margin: 0pt 0pt 10px 10px; width: 211px;" /></a>al of scale as Kane’s ambitions move from larger than life to dwarfing the man who created the illusion is one of the film’s benchmarks and an example of RKO’s sophisticated art direction. A comparison of <span style="font-weight: bold;">Citizen Kane</span> with a lesser film in production the same year proves the level of RKO’s emerging visual style.</span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: bold;">Stranger on the third Floor</span> (1940) was a minor B-film that caused no great stir at the time and could have easily disappeared to the dustbin. Some film historians claim the film contains the first examples of what would later be termed <span style="font-style: italic;">noirish</span> elements (but this is open to debate). Compare the two films for their remarkable similarities: the often dream-like quality, elaborate sets, oversized props and the exaggerated reversal of perspective found in both is significant. <span class="postbody1">The photos to the right show a scene from each film that again reveals a stylistic use of the human form in an architectural environment, and nearly duplicates the body language of the lead character poised at the top of the stairs. </span>Two different art directors created the design of these films, but the designs were produced under the guidance of Van Nest Polglase and RKO art direction.</span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="postbody1">Polglase left RKO Studios as head art director in 1942 and divided his time between freelance and studio projects before retiring fifteen years later. His film credits during this period include <span style="font-weight: bold;">The Fallen Sparrow</span> (1943); <span style="font-weight: bold;">A Song To Remember</span> (1945); <span style="font-weight: bold;">Gilda</span> (1946);<span style="font-weight: bold;"> Slightly Scarlet</span> (1956) and B-films directed by Allan Dwan.</span></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;">In February of 2005, the <span style="font-weight: bold;">The Art Directors Guild</span> unveiled its new Hall of Fame and inducted the following legendary production designers at the ninth annual <span style="font-weight: bold;">Art Directors Guild Awards</span>: Wilfred Buckland, Richard Day, John DeCuir Sr., Anton Grot, Boris Leven, William Cameron Menzies and Van Nest Polglase.</span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="postbody1">A trend in film criticism seems to have developed regarding Polglase’s contributions to RKO’s art direction, dismissing them as negligible at best. An unfair appraisal of Polglase may be due to the assumption that he ran his department based on his experiences at and observations of M-G-M and Cedric Gibbons. Richard B. Jewell, film historian and author of <span style="font-weight: bold;">The RKO Story</span> states, </span>"The supreme irony of RKO's existence is that the studio earned a position of lasting importance in cinema history largely because of its extraordinarily unstable history. Since it was the weakling of Hollywood's 'majors,' RKO welcomed a diverse group of individualistic creators and provided them...with an extraordinary degree of freedom to express their artistic idiosyncrasies.... [I]t never became predictable and it never became a factory." </span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;">Jewell’s assessment that RKO was a studio of artistic freedom did not preclude conflict over creative control. David O. Selznick, the man responsible for Polglase being made head of art direction, left the studio after a brief fifteen months. Polglase remained with the studio for ten years as an administrator and art director, successfully filling both roles with films that satisfied audience demand for inventive entertainment and studio executives’ demand for new revenue.<span class="postbody1"> A change of perspective from Polglase taking credit for work he did not do would result in his making possible the outstanding work of art directors Carroll Clark and Perry Ferguson.</span></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><span class="postbody1">There are many elements that form a link between architecture and art direction. </span>The difference between the two disciplines is where architecture “encompasses” space from without art direction “evokes” space from within, and the architecture of film works within cuts and edits, frames and openings. The architect designs a space with an eye to permanence while the art director designs a space with an eye to the ephemeral. This leaves the art director a greater sense of flexibility when creating his projects unfortunately; the <span class="postbody1">architect and the art director both depend on the efforts of preservation to maintain a permanent record of the artist’s original vision.</span></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div><div class="MsoBodyText" face="arial"><span style="font-family: Arial,Helvetica,sans-serif;"><i>Scroll down to read Part I of Van Nest Polglase ~ Architect of Cinematic Dreams</i></span></div>

Alfred Hitchcock Carroll Clark Cary Grant Charles Kirk Film Noir John Ford Orson Welles Perry Ferguson RKO Studios Van Nest Polglase Victor McLaglen Whistlingypsy (author) Van Nest Polglase ~ Architect Of Cinematic Dreams, Part II

by guest contributor Whistlingypsy The emergence of those stylistic elements in American films later termed noir by critics is often debated...

Read more »

It doesn't make it all better

After looking at my stats from last year that I posted yesterday, I started pondering why I just gave up and gained 21 pounds. I was near goal, at least the Weight Watcher goal of 155. At 158 pounds I was so close to goal that I could almost feel it. I remember being happy and proud of myself. <br /><br />So what happened? Why did I just give up? Don't I want to reach goal? It appears that I don't really care anymore, that I gave up giving it my all and I'm just floating along, staying in the 170's, not really giving my weight loss much attention. <br /><br />A few weeks ago a friend that I walk with on occasion asked me, "Isn't your life a lot better since you lost so much weight?" My immediate response was "No! It's not." Then I told her some things were better, I can breathe easier and my knees don't hurt. I don't get tired as quickly. I have a little more self-confidence. However, overall, I still have the same problems I had at 240 pounds, and I still had those same problems when I was down to 152 last year. <br /><br />My job is still a job that I don't exactly look forward to each day, but it is a job. My marital problems are still here. My husband still gets grouchy when he's tired and he's tired a lot. I'm still afraid of the same things, becoming one of the morbidly obese and being homeless. I still don't think I'm smart or pretty. In a nutshell, I'm still the same person just in a healthier body. <br /><br />My friend was shocked that my weight loss didn't solve all my problems. I was only telling her the truth, even though she's trying to lose a hundred pounds and this was disheartening to hear. <br /><br />Maybe because I know it won't solve all my problems I've made reaching goal not as important to me as it was last year. I still want to reach goal, but for different reasons now. Now that I know it won't fix everything I need to look at in an entirely different light. <br /><br />I want to lose weight so I can comfortably wear all the size 10 clothes in my closet. I'm back in a size 12. I want to lose weight so I can remain healthy and continue to be active in my old age. I have no intention of moving into an assisted living home in my 80's. I want to travel and not be in a wheelchair. <br /><br />The reasons for getting to goal are different now. I know it won't make my job more fun or less stressful. I know it won't make my husband happier or my marriage better. I can't control these things, but I can control me. I can control how I handle things, what I put in my mouth, my health. <br /><br />I think <a href="http://msbitchcakes.blogspot.com/2010/10/emotional-effects-of-reaching-goal.html">Sheryl</a> said it best in her post last week when she wrote about her struggles at being at goal. The last few paragraphs really hit home for me. <br /><br />I suspect this is why so many people gain back all their weight and then some more, just like I've done many times in my life. I expected a different outcome when I lost a lot of weight. I expected life to be wonderful and everyone around me to be as happy for me as I was for myself. It just doesn't work that way.<br /><br />The bottom line is that reaching goal doesn't make it <strong>ALL</strong> better. It makes some things better, but a lot of things stay the same or only get slightly  better. That's okay, small positive changes in life are still good. I just have to expect less, accept that this isn't really a life-altering event to weight 155 versus 175 or 135 versus 175. My life will still be pretty much the same, just a thinner, healthier version of me. <br /><br />So it doesn't make it all better, but it's a little better and sometimes, a lot better. That's still a good thing.<br /><br /><em>An afterthought:  After I posted this I realized some people might think that what I'm saying is that losing weight isn't worth it. That since it doesn't fix <u>everything</u> then why bother? That's not what I meant. </em><br /><br /><em>It fixes a lot of things, but basically you'll still come out on the other side the same person with a lot of the same problems. Some things will be better, some will go away, and you might even have an entirely new set of problems. It's still a very good thing to lose weight. </em><br /><br /><em>The other thing you might think is that I'm seeking compliments when I say I'm not smart or pretty. I know what I am. I'm average intelligence, average looks. It's okay, I've accepted it. Somehow I thought losing weight would make me better in all areas of my life. Obviously, I was wrong on that account, but again, I've accepted it.</em>

reaching goal weight It doesn't make it all better

After looking at my stats from last year that I posted yesterday, I started pondering why I just gave up and gained 21 pounds. I was near go...

Read more »

Planning de la semaine du 08 au 12 novembre 2010

<BR><br /><h2><strong><span style="LINE-HEIGHT: 113%;color:#005c9b;" >Permanences<br /></span></strong></h2><ul><br /><li>Le <strong>Conseil Général du Loiret</strong> sera présent dans les locaux de la Maison de l'Emploi du bassin d'Orléans<br />- le lundi 08 novembre de 9h à 12h30,<br />- le mardi 09 novembre de 9h à 12h30 et de 13h30 à 17h,<br />- le mercredi 10 novembre de 13h30 à 17h,<br />- le vendredi 12 novembre de 13h30 à 17h.<br /><br /><li><span style="font-weight:bold;"><a href="http://news-these-days.blogspot.com/2009/01/egee-nouveau-partenaire-la-maison-de.html">EGEE</a></span> - lundi 08 novembre de 13h30 à 17h (sur rendez-vous)<br /><br /><li><strong><a href="http://news-these-days.blogspot.com/2007/11/boutique-de-gestion.html">Boutique de Gestion</a></strong> - vendredi 12 novembre de 09h à 12h30 (sur rendez-vous)</ul><br /><h2><strong><span style="LINE-HEIGHT: 113%;color:#005c9b;" >Ateliers</span></strong><br /></h2><br /><ul><li><strong>CV</strong> - mardi 09 novembre de 9h à 12h30 et mercredi 10 novembre de 13h30 à 17h<br /><br /><li><strong>Lettre de Motivation</strong> - mardi 09 novembre de 13h30 à 17h<br /><br /><li><strong>Pôle-emploi.fr</strong> - vendredi 12 novembre de 10h à 11h30<br /><br /><li><strong><a href="http://news-these-days.blogspot.com/2009/07/atelier-situtilises-tu-trouves.html">Sit'Utilises tu trouves</a></strong> - vendredi 12 novembre de 14h à 16h</ul>

Planning de la semaine du 08 au 12 novembre 2010

Permanences Le Conseil Général du Loiret sera présent dans les locaux de la Maison de l'Emploi du bassin d'Orléans - le lundi 08 no...

Read more »