![]() # - camera: garage # zone: driveway # override frigate attempts and image per camera events: # - front-door # - garage # only process images from specific zones zones: # height of frigate image passed for facial recognition height: 500 # only process images from specific cameras cameras: # number of times double take will request a frigate latest.jpg for facial recognition latest: 10 # number of times double take will request a frigate snapshot.jpg for facial recognition snapshot: 10 # process frigate images from frigate/+/person/snapshot topics mqtt: true # add a delay expressed in seconds between each detection loop delay: 0 image: # if double take should send matches back to frigate as a sub label # NOTE: requires frigate 0.11.0+ update_sub_labels: false # stop the processing loop if a match is found # if set to false all image attempts will be processed before determining the best match stop_on_match: true # ignore detected areas so small that face recognition would be difficult # quadrupling the min_area of the detector is a good start # does not apply to MQTT events min_area: 0 # object labels that are allowed for facial recognition labels: # frigate settings (default: shown below) frigate: The number of results will also be published to double-take/cameras//person and will reset back to 0 after 30 seconds.Įrrors from the API will be published to double-take/errors. Publish results to double-take/matches/ and double-take/cameras/. condition: template value_template: ' mode: parallel max: 10 MQTT platform: state entity_id: sensor.double_take_unknown condition: John Kearns: Double Take And Fade Away is at the Soho Theatre untoil December 7 and on tour next year.- platform: state entity_id: sensor.double_take_david.Not for everyone, maybe, but which comedian is? An hour of this unique act, exquisite but robust, is more rewarding than any arena stand-up he deserves to break out of the cult niche he currently inhabits. He can write a proper gag as well, the strand about tuxedos, for so long a whimsical nostalgia as he evokes the message he would give to his younger self, eventually becomes an elaborate shaggy dog tale with a fine punchline. Kearns’s rich script might be a delight, his use of the pregnant pause masterful, but he can work in the moment, too. Some of the funniest moments on the opening night of his two-week run at the Soho Theatre come from some improvised business that emerges from initially stilted banter about fridge magnets. ![]() Nor is this piece, delicate as it is, preserved behind a fourth wall. Such witty writing is enhanced by his occasional acknowledgement of the artifice of any gig, and indeed the strange reality his own semi-successful career. ![]() His monologue is theatrical in the way it details the slightly adjusted universe he inhabits with delicate precision and amusing, eloquent phrase-making. Curious about the world, as you might expect from a former Palace Of Westminster tour guide, Kearns’s show is liberally seasoned with obscure facts such as this. What starts as a dad joke about the ceiling of the Sistine Chapel expands into a hilariously cartoonish mental image, while he completes a task on Leonardo Da Vinci’s unfinished ‘to do’ list and describes a woodpecker’s tongue. Kearns is also inspired by the Renaissance greats. For him, the carelessly written 13th step of a Nigella Lawson chocolate cake recipe accidentally contains a nugget of conceptual profundity that blows his inquiring mind. He finds inspiration in the most unlikely of places. The aspirations, the pride, the unearned air of superiority are pure Tony Hancock – as are the routines that are about essentially, nothing – but Kearns adds his own peculiar twists. He dreams of wearing a tailored tuxedo to a society event, aping the debonnaire elegance of Fred Astaire, but the reality is a shabby off-the-peg number on the night bus. On one level the existence he describes is pitiful, yet he has a fragile optimism about it all, seeing art in the cracked plaster of his ceiling. Not just the ill-fitting fake teeth and tonsure wig that has become his on-stage armour, but in the surreally exaggerated, tragi-comic portrait of his daily life that he recounts as he puts on his best bib and tucker only to wait sadly by a phone that never rings. In Double Take and Fade Away he is a man all dressed up with nowhere to go. But in praising the distinctive, quirky elegance of his philosophical vignettes, we shouldn’t overlook the fact, for all his protestations of being ‘not for everyone’, the double Edinburgh Comedy Award winner is damn funny. It’s easy to wax lyrical about the bathetic poetry of the mundane that hallmarks John Kearns’s work.
0 Comments
Leave a Reply. |