The first factor to understand is where does the starting figure come from? If you have taken building rates from the internet that are intended for a small modern home of a brick-block construction and our subject house is a stone cottage, in a conservation area, approached via a narrow bridge across a stream, the price per metre could be at least twice as high i.e. £1,500/m² for the modern home and £3,000/m² for the stone cottage.
So let us consider the key factors which all increase the rebuilding cost of a Listed building.
Professional Fees. For a Listed building one may need or want to employ a team of professionals (architects, surveyors, mechanical and electrical engineers, planning consultants etc.) who have specific experience, qualifications and/or a proven track record of working on such buildings.
Although fees are not fixed, you are likely to find that professionals with such specialisms charge more for their services than the average because of their expertise and because more time is involved to get the job done. You may also find that the correct person is not locally based and that additional travel and accommodation expenses will be charged. Very sought after teams may be busy at the time of a loss and having to wait for them may also increase costs.
Professional fees on a standard building might come in at around 13.5% including VAT of the rebuild cost. For a Listed building, let's say an extra 5- 8% should be added. In very unique situations 30% could be expected and some insurers set aside 25% as standard.
Time delays – of various types! Work on Listed buildings tends to take longer than on a conventional building. For example, partition walls in modern buildings are often formed with plasterboard sheets nailed to timber studwork, whereas in Listed buildings timber laths and lime plaster might be used which takes much longer to construct and will involve more expensive specialist trades.
It is not uncommon for a Listed building to sit for at least a year following a major loss before reinstatement work can commence. Time delays cost money as there are still various professionals working in the background and prices tend to increase with inflation.
Time delays can also be caused by the site becoming of archaeological interest whereby the authorities insist on carrying out research etc. The cost of this is borne by the insurer. For expected delays and increased working time on site, one could reasonably expect the overall value to increase by 5-12% depending on the specific property and grading.
Conservation Approval. All work to a seriously damaged Listed building will need approval from the Local Authority who may also call in English Heritage. The home owner is therefore at the mercy of these bodies, who are keen to see that no traditional forms of construction are lost, when the damaged building is rebuilt. Although some modern materials may be accepted, the cost of rebuilding will increase greatly if they insist on retaining the original form of construction. And there is no way of knowing in advance what the authorities will specify. It is not unknown, for example, for a stone quarry to have to be re-opened to provide similar stone to that which was originally quarried and used many years ago. It is important to take into account the specific materials used on a site. For example, if constructed from ashlar stone this could increase the cost of the building by over 50% compared to rebuilding in good quality brickwork.
An acceptable contingency on a modern home would be 5%. On a Listed building we would add perhaps 5-10%. If stone is from a specific quarry as detailed above, an additional contingency would need to be added.
There are coach houses and other outbuildings which can add considerably to the sum insured as all of these buildings will be within the curtilage of the main house and therefore come within the Listing, even though they may not be separately described.
In London, there are difficult issues to contend with if the building fronts onto the pavement as materials delivered to site will need to be moved immediately inside the building. There are also problems and of course additional costs of working on building with restricted access and working space for reconstruction purposes.
It is not simply the Listed status which increases the sum insured. It is the type of materials and labour required to reinstate an historic building, the additional fees that will be incurred, specific location factors and timing; all of which increase the valuation for insurance purposes.
How To Insure Jewellery Correctly.
Record Subsidence Claims As A Result of Dry Summer.
How To Cut The Cost of Your Household Insurance.


text:
Peilerman und Flow, auch als Helden der Mudderstadt bekannt, sind ein aus Berlin stammendes Comedyduo.

Name
Der Name Peilerman (oft auch Peiler genannt) ist abgeleitet von dem Wort peilen, in der Bedeutung etwas begreifen. Deswegen muss Peiler antworten, wenn Flow seine Meinung zu einem Thema wissen möchte. Flow wird öfter von Peiler geschlagen, da Flow manchmal sehr viel Bedenkzeit benötigt und allgemein schwer von Begriff ist.

Werke
Bis April 2009 veröffentlichte der Sender Kiss FM täglich einen Skit oder ein Hörspiel, indem sich Peiler und Flow über aktuelle regionale, nationale und internationale Themen unterhalten. In ihren Skits geht es außerdem oft über Themen wie Rap, Hip-Hop und Drogen. Beide sprechen einen Berliner-Hip-Hop-Dialekt mit auffällig quäkender Stimme. Die Skits beginnen überwiegend mit Flows Frage, was Peiler von einem bestimmten Thema halte. Peiler antwortet dann meist nicht direkt auf dieses Thema, sondern spricht über ein ähnlichklingendes Wort wie das gefragte Thema. Die Witze bestehen hauptsächlich aus Ironie, Missverständnissen zwischen Peiler & Flow und daraus, sich über andere Personen lustig zu machen. Mittlerweile wurden über 500 Folgen von Peilerman und Flow produziert.
Des Weiteren wurden bereits mehrere Videos auf den Portalen YouTube und MyVideo veröffentlicht. Darunter ist eine 5-teilige Videoserie namens Peilerman & Flow auf der Suche nach Carmen, in der Peilerman & Flow auf Mallorca nach Carmen suchen, welche die Hauptrolle in Sidos Song Carmen spielt.
Peilerman rappt in der Freizeit auch, der  Schniblo-Song feat. Liquit Walker feierte auf dem YouTube-Kanal von 16BARS.TV seine Premiere und der VENUS RAP wurde auf dem YouTube-Kanal von Aggro.TV hochgeladen.

Sie sind außerdem auf Sidos Alben Ich und Ich und meine Maske als Skits zu hören, worauf sie immer Bezug auf das vorausgehende bzw. das nachfolgende Lied nehmen.

Peilerman hat einen YouTube-Kanal, auf dem er seit Januar 2012 allerdings kein Video mehr hochgeladen hat, und eine Website, auf der seitdem ebenfalls keine Aktivitäten mehr verzeichnet sind.
Ab Juli 2009 hatte er einen Vlog namens "Peilerman sein Blog" auf YouTube gemacht, in dem er ironisch Stellung zu aktuellen und zeitlosen Themen nahm. Bereits seit September 2009 hatte er auf seinem YouTube-Kanal "Peilermande" und auf dem YouTube-Kanal von Aggro.TV den sogenannten "Wochenrückfick" gemacht. Dort hatte er alle aktuellen Nachrichten der vergangenen Woche auf humoristische Art und Weise verarbeitet. Auf seinem offiziellen YouTube-Kanal hatte er außerdem ein abwechslungsreiches Programm, wie z. B. "Peiler Uff Besuch", "Peilerman Unterwegs" und "Peilers Atzenkochstudio".

Diskografie

Gastbeiträge
 2006: 4 Skits auf Ich von Sido
 2007: 2 Skits auf G.B.Z.Oholika III von Spezializtz
 2007: Weihnachtssong 2007 feat. Peilerman und Flow auf dem Weihnachtsong 2007 von Sido
 2008: 1 Skit auf Strassenpolitik von Reason
 2008: 4 Skits auf Ich und meine Maske von Sido

Weblinks
 Peilerman's neue Videoblogs
 Peilerman's Homepage

Comedy-Gruppe
Künstlerduo
Kunst (Berlin)

redpajama_set_name: RedPajamaWikipedia


Hibu, the Reading-based Yellow Pages company, has placed six US subsidiaries into Chapter 15 bankruptcy protection as the firm attempts to restructure its overseas operations, following the firm's UK restructuring which started last month.
Hibu filed with the US Bankruptcy Court in New York, listing over $1 billion (£600 million) in assets and liabilities.
Just over half of Hibu's revenue comes from the US, where it operates the "Yellowbook" (the US version of the Yellow Pages directory) across most states. The firm employs almost 5,000 personnel in America.
Hibu called itself "an integrated and complex enterprise," according to the Daily Bankruptcy Review. Hibu has operations in the US, UK, along with Spain and Latin America – and it's currently fighting tooth and nail in the UK, attempting to finalise a deal with creditors that would reduce its debt by £800 million.
If Hibu is successful in its bid to obtain Chapter 15 protection, this would protect the company from US lawsuits, and keep creditors from snaffling its US assets.
Hibu has struggled to survive as its yellow-themed print publications have become increasingly relevant in the digital age where the consumer now goes online to find local services.


A team of researchers led by Cheryl Kerfeld, faculty affiliate in the Environmental Genomics & Systems Biology (EGSB) Division, have developed a new method to manipulate miniature factories found in bacteria that could someday lead to new medical, industrial, or energy applications. The factories, called bacterial microcompartments–or BMCs–are found in bacteria all over the world.
While flexible in variety and function, the factories can be tough to work with in the lab. In a recent study published in ACS Nano Letters, the researchers describe their new method for building the BMCs in test tubes, allowing for high levels of control (see overview in GIF below). Once made, they can change the electric charge on the inside of the factory walls (or shells of the BMCs) to attract desired cargo. The resulting custom factories can perform new functions, like producing renewable materials, such as biofuels, plastic, or rubber, or be used in various medical applications like disease targeting and imaging.
Cheryl Kerfeld has a secondary appointment in the Molecular Biophysics & Integrated Bioimaging (MBIB) Division, and is also the Hannah Distinguished Professor Of Structural Bioengineering in the Department of Biochemistry & Molecular Biology and the MSU-DOE Plant Research Laboratory at Michigan State University. The team of researchers includes EGSB and MBIB's Andrew Hagen, postdoctoral scholar and first author on this study, and Nancy Sloan, research assistant, as well as Jefferson Plegaria, Bryan Ferlez, Clement Aussignargues, and Rodney Burton from MSU. Read more in the MSU-DOE Plant Research Laboratory news article.


Sales force automation (SFA) has been growing steadily over the past few years, and the folks at CRM Buyer predict that when the economy leaves its slump, SFA will surge.
Most apparently, SFA is making inroads with new price points and offerings for different verticals. Catering to specific industries is a smart move to stay competitive; the change in pricing was a bigger necessity. A Gartner analyst noted that many companies subscribing to SaaS SFA platforms are nearing the end of their contracts, and are both shopping around and negotiating lower prices for the service already in use. In addition, there's been an emerging demand for role-based pricing.
Several CRM sectors have seen boosts with the downturn, and SFA is one of them—companies looking to do more with less money frequently turned to automated systems. However, the "more with less" motto is not a recession-era fad, as it's always trendy to save money, so SFA is expected to do well after the economic decline.
With this expected increase in demand, new technologies are surfacing: Shadetree Technologies recently released an application that marries marketing automation and SFA. Whether or not more such apps emerge, SFA will likely see a boost through the purchase of marketing automation applications, as they work best in an SFA environment. And many SFA applications are getting service information integrations, which will help sales departments learn more about customers.
CRM Buyer did point out a slightly surprising absence: Facebook. While other enterprise systems are enjoying the information and opportunities created by social networking, SFA applications are eschewing them. LinkedIn still interests vendors because it maintains a professional tone throughout, but Facebook (and probably Twitter) are too unstructured and leisurely, and serve mostly as distraction.


The Punjab & Haryana High Court, in Ravinder and another vs. State of Haryana and others, has rejected a petition brought forward by two sportsmen Ravinder Kumar, an international player of kayaking, and Bijender Singh, a canoeing player from Sonepat district.
In the petition filed by them, they asserted that the state government is bound to pass an order on representation of the sportspersons for appointment to the state service under the policy of appointment of outstanding sportspersons.
After hearing contentions of the players, Justice Rajiv Narain Raina observed that there is no law which binds Haryana to pass an order on the representation, as such requests are in the discretionary domain.
It was opined that no rule or regulation has been pointed out that in a non-statutory representation, there is an obligation on the state to respond in writing and give reasons for its decision. Eligibility has got nothing to do with the case as being eligible will still not bring relief to them independently.
Further, the bench observed that sportspersons were already in service; one of them being a constable in CRPF while, the other a sepoy in the Army.
Thus, after making the above observations, the high court found no reason to interfere in the matter and commanded dismissing it.
The bench, however, clarified that the dismissal of the petition did not preclude Ravinder Kumar and Bijender Singh from pursuing their request with the state government.


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Trump Misleads on IG Report
President Donald Trump said he thinks former FBI Director James Comey committed "very criminal acts." But the facts don't support the president's opinion. Trump also claimed the inspector general's report "totally exonerates" him, but the report didn't evaluate the Russia investigation.
Video: U.S.-Canada Trade
In this week's video, CNN's Jake Tapper reviews President Donald Trump's claim that the U.S. trade deficit with Canada is "close to $100 billion a year." It's not.
Bogus Claim About Made-up Muslim Waitress
Q: Did a Muslim waitress refuse to seat 27 Christians?
A: No. That claim is completely made up. The restaurant where it supposedly happened doesn't even exist.
Claim That Sessions Resigned Is Baloney
Q: Has Attorney General Jeff Sessions resigned?
A: No. That claim came from a made-up story originally posted on a self-described satirical site.
Trump Garbles Canadian Trade Stats
The official U.S. statistics on trade with Canada show that the United States has a trade surplus with our neighbor to the north. The U.S. surplus was $2.8 billion in 2017, according to the Census Bureau. Yet, President Donald Trump has claimed that the U.S. has "close to $100 billion a year loss with Canada" or $17 billion "minimum."
Weak Link in NFL Protest Story
Q: Has George Soros been paying NFL players to protest?
A: No. A story making that claim offers no evidence to support it.
Fox News' Shepard Smith Hasn't Been Fired
Q: Is Fox News Channel anchor Shepard Smith being fired because of "his hate" for President Trump?
A: No. That debunked claim has been circulating online since last year.
Sanders' Misleading Wage Claim
Sen. Bernie Sanders claims that "the average American worker today, despite the strong economy, is not getting ahead." Not so. Hourly wages have been rising faster than inflation for years, and that trend has continued under President Donald Trump.
Video: Has Trump's Wall Construction Begun?
In this week's fact-checking video, CNN's Jake Tapper reviews President Donald Trump's repeated claim that construction has begun on his promised wall along the U.S.-Mexico border.
No Evidence of Tucson 'Child Sex Camp'
Q: Was a recently discovered encampment in Arizona used as a "child rape camp"?
A: There is no evidence to support that claim. Authorities say their investigation revealed no such criminal activity.

redpajama_set_name: RedPajamaCommonCrawl


text:
Tag: World War II
On All Fronts
by Al Hunt ('65, D.Litt. '91, P '11)
The derring-do of a newspaperman whose legacy — from the London Blitz to Pearl Harbor to Wake Forest classrooms — should not be forgotten.
The First 'Coeds': Marina H. Nowell ('43)
by Jenny Robinson Puckett ('71, P '00)
Entrusted to Lead
Dr. Susan R. Wente is installed as Wake Forest's 14th president, sharing her transformative journey and charting a historic course for the University.
Prost! Danke! He's 100 years old with a lesson about giving.
Decorated Veteran, Mentor to Black Students
Isaac Sims ('75) offered a compassionate ear and help to younger classmates facing challenges in the 1970s.
Women of Wake Forest: A History of their Own
by Carol L. Hanner, Maria Henson ('82) and Michael Breedlove
A look back at the milestones along with the millstones in the story of women at the University.
The Mystery of the Lost Dog Tag
How did a World War II dog tag with Wake Forest ties turn up in Texas decades later?
War Heroes Not Forgotten
Jackson Marshall ('80, MA '85) builds his fascination with World War I veterans into a record-setting museum exhibit
Hot spot of the Cold War
Vern Pike ('58) recalls life, death and freedom at Berlin's Checkpoint Charlie.
Author Doug Waller ('71) uncovers the secret past of America's top spymasters.
The father of Wake Forest ROTC
You probably remember Robert Helm ('39) as a philosophy professor; it's what you don't know about him that you might find surprising.


Individuals have the right to request access to documents from Australian Government ministers and most agencies under the Freedom of Information Act 1982 (FOI Act).
The FOI Act provides a right of access to documents held by Australian Government ministers and most agencies. Most freedom of information (FOI) requests involve people seeking access to documents containing their personal information. Individuals can also request access to documents containing other information, such as information about government policies, programs and decision-making processes.
Before making an FOI request, you should ask the minister or agency if they are willing to provide the information you want, outside of the FOI Act. This will often be faster and easier than making a formal FOI request for documents. It also does not affect your ability to later make a formal FOI request for documents containing the information.
send the request to a minister or agency (either by post, personal delivery or electronically).
You don't need to use your real name to make an FOI request. However, ministers and agencies may need to establish your identity in some circumstances. An example would be if you requested access to documents containing your personal information.
Bodies corporate (such as companies) and state governments can also make FOI requests.
More information about making an FOI request is available in FOI Fact Sheet 6 — How to apply and in the FOI FAQs for individuals. Advice for agencies about making information available outside the FOI Act in the first instance, known as 'administrative access', is available in FOI Agency Resource 14 — Access to government information: administrative access.
The disclosure log must list information in documents released in response to FOI requests within ten working days after the FOI applicant has received access. You will either be able to download the information directly or else find details about how to obtain the information.
other information determined by the Australian Information Commissioner.
Agencies can gain access to the 'FOI Disclosure Log' and 'Access to information' icons mentioned above, and to guidance about how to use them, on the FOI Agency resources page.
The Information Publication Scheme (IPS) applies to Australian Government agencies that are subject to the Freedom of Information Act 1982 (FOI Act). The IPS specifies categories of information that agencies must publish online. Agencies can also choose to publish other information under the IPS.
The IPS encourages agencies to proactively release information in a consistent way, reflecting the pro-disclosure goals of the FOI Act. Information published under the IPS must be accurate, up to date and complete.
the agency's operational information, which is information that assists the agency to exercise its functions or powers in making decisions or recommendations that affect members of the public. This includes the agency's rules, guidelines, practices and precedents relating to those decisions and recommendations.
Agencies must also publish a plan describing how they will comply with the IPS requirements. Agencies may also choose to highlight the IPS on their home page using icons developed by the OAIC (available through the Australian Information Commissioner's Guidance for Agency Websites: 'Access to information' web page.
The Office of the Australian Information Commissioner (OAIC) will work with agencies as part of an IPS Compliance Program to review the operation of each agency's IPS entry every five years.
The Australian Information Commissioner can also issue guidelines about the IPS (see Part 13 of the FOI Guidelines) and may also make a determination that certain kinds of information should not be published under the IPS.
Anyone can complain to the Australian Information Commissioner about how an agency manages its IPS.
More information is available in FOI Fact Sheet 4 — the Information Publication Scheme for Australian Government agencies.
The FOI Act allows you to ask a minister or agency to amend or annotate a personal record they hold about you. You can do this if you believe that the personal record is out of date, misleading, incorrect or inaccurate.
Amending a personal record involves updating the information it contains so that it is no longer out of date, misleading, incorrect or inaccurate. Annotating a personal record involves attaching a note to the record outlining your objections to the information it contains.
Unlike other FOI requests, a request for amendment or annotation applies to 'records of information' contained within a document, rather than just a 'document'. You can request amendment or annotation of any record of information about you that an agency or minister has used, is using or could use for an administrative purpose. You do not have to apply for amendment of a personal record before seeking annotation of the record.
A minister or agency can refuse to annotate a record if they consider the annotation to be voluminous, defamatory or irrelevant. They can also attach their own comments to an annotation.
If your request for amendment is refused, or if the amendment differs from what you requested, you can ask the agency to review its decision. You can also ask the minister or agency to annotate the record with a statement or file note reflecting your disagreement. Another available option is Information Commissioner review.
The Privacy Act 1988 (Privacy Act) also provides you with rights to request that ministers and agencies change information they hold about you. These rights are separate from your rights under the FOI Act.
The Office of the Australian Information Commissioner (OAIC) conducts reviews under the FOI Act.
For more information on how and when to request IC review, please see the FOI reviews process page.
Individuals can complain if they have concerns about actions an agency has taken in processing an FOI request. This is separate from requesting an IC review, as it relates to how an agency has dealt with an individual's FOI request, not the decision.


This year, Campus Ministry took two groups of 16 participants on separate trips. One went to New Orleans, LA and the other went to Kansas City, MO.
The New Orleans students served with an organization called Camp Hope. While there, they helped serve the community by repainting the crypts of a cemetery; rebuilding the community center at the Arc (a community for those with mental disabilities and their families); rebuilding a home in the 9th Ward; planting a community orchard in the 9th Ward, where all vegetation was lost in Katria; and assisting in preparations for the Native Isleños Festival.
The Kansas City students served with an organization called A Simple House, which serves the inner-city poor and homeless by attempting to address each individual's root cause of poverty. They served by rebuilding the house out of which A Simple House is based, visiting the poorest members of the city, sorting and distributing food at a food pantry, planting a garden for a self-sustaining Catholic community, and assisting in the construction of a small monastery for the Little Sisters of the Lamb.
Please select one of the trips on the left to view reflections from students who attended ASB 2012!


Some of the parameters from each of these sets can be assigned to the KARMA sliders and switches of the control surface of your keyboard, enabling you to manipulate the sounds that KARMA is generating in some very sophisticated ways. This general process is called KARMA Real-Time Control (RTC).
In "KARMA-speak," the technical term for the collection of parameters that affect the Karrna module (in programs) or modules (up to four in combis and sequencer songs), the GEs that are selected, and the way in which they are mapped across the keyboard and triggered is known as a "Performance." (You will see this term used in the KARMA Software should you have it.) You can look at a program, combi or song setup as consisting of two things: Korg's sound editing parameters, and a KARMA Performance. The KARMA part of a Program is a "Single Module Performance," while the KARMA part of a Combi or Song is a "Multiple Module Performance."
You can assign up to 8 of the various Performance Real-Time Parameters (which affect the KARMA Modules) to the switches and sliders of your keyboard's control surface for realtime control while the KARMA module(s) are playing.
These assignments are made in the Perf RTP tab of the KARMA setup pages in a program/combi.
There is only one set of Perf RTP parameters for a program/combi. When playing a combi, these are usable only when you are in the Master Module Control Layer, and cannot be controlled in realtime if your currently-selected Module Control Layer is A, B, C, or D.
When defining the Perf RTP parameters for a combi, one of the properties you define for each of the 8 parameters is which modules (A-D) this particular parameter will affect (one, several, or all of them).
Configure a switch (let's use Switch 4 for this example) to turn the module parameter Note Map Mode on/off only for Module A.
Configure a slider (Slider 8 for this example) to select among a range of values for the module parameter Note Map Table only for Module A. In this case, we'd want to choose among Note Map Tables designed specifically for Drum GEs, so we might assign a range of values from +0001 to +0018. This would make Slider 8 select Global Note Map Tables 01 through 18 (which are all drum-oriented) as you move the slider.
With this Perf RTP setup, when Switch 4 in the Master control layer is off, you would hear the default drum notes generated by drum GE in Module A. Slider 8 in the Master control layer would have no effect at all, because Note Map Mode for Module A is currently turned off. If you then turn on Switch 4 in the Master control layer, this turns on Note Map Mode for Module A, so now Slider 8 in the Master control layer will now actually change the drum sounds in the GE-generated drum groove. The notes would be remapped through the Note Map Tables selected by Slider 8. Depending on where you move the slider, the normal kick-snare notes for the GE might become sidestick-ride notes, or different hi-hat notes, etc.
You have 32 GE parameters exposed for control in your keyboard (out of more than 400 available GE parameters - see The KARMA in your keyboard is only half the picture). You can change any of the "starting" (default) values of these 32 parameters that will be in effect when you first load up the program or combi. By assigning the KARMA switches and sliders to these 32 parameters, you can subsequently control some or even all of these 32 parameters in realtime.
These assignments are made in the GE RTP tab of the KARMA setup pages in a program/combi.
There is one set of GE RTP parameters for each KARMA module. Programs have only one KARMA module, but combis (and songs in the sequencer) have 4 KARMA modules.
Programs have only one Module Control Layer, so these 32 GE parameters and the 8 module parameters must "share" the 8 available KARMA switches and 8 available KARMA sliders.
Combis/Songs have five Module Control Layers, four of which (the A-D layers) are dedicated for use only by the 32 GE parameters for each module.
The 8 sliders and 8 switches in the A layer can be assigned one or more of the 32 parameters in the GE for Module A. In other words, any switch or slider can be configured to define value changes for more than one GE parameter at the same time! For example, it could be configured to flip around the direction on the riff (up or down) while at the same time transposing the GE. If you examine the GE RTP tab in the KARMA pages for a few combis, you'll see that this is a commonly-used technique in many of the preset combis.
The 8 sliders and 8 switches in the B layer can be similarly assigned to any of the 32 parameters in the GE for Module B. And so on for the C and D layers.
When the control surface of your keyboard is set for KARMA Module Control Layer A, then the KARMA switches and sliders are acting only upon the switch/slider assignments made in the GE RTP tab for Module A. And so on for the B, C, and D layers.
A slider or switch can control multiple GE RTP within that Module at the same time. For example, it could be configured to flip around the direction on the riff (up or down) while at the same time transposing the GE. Many of the RTC Models have this sort of thing applied to a slider or switch.
To view the assigned RTP values for a particular module while moving to the sliders or pressing the switches, go to the KARMA RTC tab and then select the desired module by using the Module Control button on the control surface. As you move a slider the values will change in the KARMA Value Displays portion of the screen, shown in the below image.
The 8 sliders and 8 switches in the Master layer of the keyboard's control surface could simultaneously act upon all 8 of the module parameters (Perf RTP) and some or all of the GE RTP for all four modules at the same time. For example, in many combis, Slider 1 is standardized as "Rhythm Swing %", and is assigned to control the swing value of all 4 Modules at the same time.
Master Layer sliders and switches can control the same GE RTP that are assigned to the Module Layer. Again, using the Rhythm Swing % example from above, you can use the Master Layer slider to adjust the swing of all 4 Modules at the same time, or you can individually adjust the swing setting for each module by stepping through each Module Control Layer. In a case like this, the last moved setting is what is saved in the Scene. So you could adjust the swing of all 4 modules to 50%, then go to Layer B and adjust only that one Module's swing to 40%, and when that Scene is loaded, the 4 Modules would be at 50% 40% 50% 50%.
The way that module parameters are assigned to the Master layer is covered in the previous section.
The way that GE parameters from each KARMA module are independently assigned to the Master layer is done via the Master A, Master B, etc. tabs (in the Kronos or OASYS) or via the M A, M B, etc. tabs (in the M3).
The GE parameter assignments you make to the switches and sliders in the Module A tab (Kronos or OASYS) or the A tab (M3) can be totally different from the assignments that you make to the switches and sliders in the Master A tab (Kronos or OASYS) or the M A tab (M3). And so on for modules B-D.
If you examine the GE RTP tab in the KARMA pages for a few combis, you'll see that this is a commonly-used technique in many of the preset combis.
Example showing a Combi's RTC tab with the Master Layer selected. Here Slider 1 is controlling the swing value percentage for Modules A, B and C.


Gorham's disease, also known as Massive Osteolysis, is a rare congenital bone disorder characterized by the spread of vascular channels that are destructive to the bone matrix. Osteolysis, or vanishing of the bones, occurs as well as angiomatosis.
The disease is usually discovered when one has abnormal pain in fractures or bones. Diagnosis is done through x-ray, scanner, biopsie, lymphography, and MRI.
Treatment focuses on hindering the disease progression through therapeutic measures. These include ALPHA-Interferon, Radiation Therapy, and bisphsphonates.
The symptoms of Gorham's disease vary from case to case. Typically they include progressive weakness and musculoskeletal pain. In some cases, bone loss is not replaced by new bones. Instead, fibrous tissue may grow in its place, although this leads to a fracture which results in faster progression of the disease. In its early stages, radiographic detection will show decreased bone mass. Gorham's disease may also present itself through acute or chronic pain. Bone deformity occurs in children. Severe cases are characterized by a pleural effusion, or when fluid accumulates in the space the chest cavity and the membrane around the lungs. The bones usually affected include shoulder, arm, hand, part of the pelvis, jaw, spine, skull, spleen, hips, lungs, and femur.
The exact cause of the disease is unknown, although several hypothesis about it have been made since the first recorded case in 1954.


text:
People / Department Faculty
Ph.D., University of California, Berkeley, 2004, History of Art
M.A. University of California, Berkeley, 1999, History of Art
B.A., Swarthmore College, 1995, English Literature
419 Doe Library
Tuesdays, 2:00-4:00pm
e: juliabw@berkeley.edu
Julia Bryan-Wilson (Doris and Clarence Malo Professor of Modern and Contemporary Art) teaches art since 1945 in the US, Europe, and Latin America; she is also the Director of the UC Berkeley Arts Research Center. Her research interests include theories of artistic labor, feminist and queer theory, performance and dance, production/fabrication, craft histories, photography, video, visual culture of the nuclear age, and collaborative practices. She is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California, 2009, named a best book of the year by the New York Timesand Artforum); Art in the Making: Artists and Their Materials from the Studio to Crowdsourcing (with Glenn Adamson, Thames & Hudson, 2016); and Fray: Art and Textile Politics (University of Chicago, 2017, a New York Times best art book of the year and winner of the Frank Jewett Mather Award, the Robert Motherwell Book Award, and the Association for the Study of the Arts of the Present Book Prize). She is the editor of OCTOBER Files: Robert Morris (MIT Press, 2013), and co-editor of two special journal issues ("Visual Activism," Journal of Visual Culture, 2016; and "Time Zones: Durational Art in its Contexts," Representations, 2016). She is a 2019-20 Guggenheim Fellow.
Bryan-Wilson is an adjunct curator at the Museu de Arte de São Paulo, where in 2019 she co-curated the exhibit Women's Histories. With Andrea Andersson, she curated Cecilia Vicuña: About to Happen, which opened at the Contemporary Arts Center New Orleans in 2017 and traveled to the Berkeley Art Museum, the Henry Art Gallery, the ICA Philadelphia, and MOCA North Miami. She is currently writing a book about Louise Nevelson (under advanced contract with Yale University Press).
Bryan-Wilson has published articles in Afterall, Art Bulletin, Art Journal, Artforum, Bookforum, Burlington Contemporary, Camera Obscura, differences, Grey Room, October, the Journal of Modern Craft, Oxford Art Journal, TDR: The Drama Review, and many other venues. Her article "Invisible Products" received the 2013 Art Journal Award.
Her research has been supported by grants and fellowships from the Center for Advanced Study in the Visual Arts at the National Gallery; the Center for Craft, Creativity, and Design; the Clark Art Institute; the Georgia O'Keeffe Museum Research Center; the Getty Research Institute; the Henry Moore Institute; the International Center for Writing and Translation; the Mellon Foundation; the National Endowment for the Humanities; the Smithsonian Archives of American Art; the Terra Foundation; and the Townsend Center for the Humanities, among others. She was an inaugural recipient of the Creative Capital/Andy Warhol Foundation Arts Writers Grant, and has won several awards for her teaching and mentoring. She was the Terra Foundation Visiting Professor of American Art at the Courtauld Institute of Art in Spring 2014, and in 2018-19 she was the Robert Sterling Clark Visiting Professor at Williams College.
Bryan-Wilson is an affiliate of the Center for Latin American Studies, the Center for Race and Gender, the Designated Emphasis in Critical Theory, the Designated Emphasis in Gender, Women, and Sexuality, and the Graduate Group in Performance Studies. Before coming to UC Berkeley in fall 2011, she taught at the Rhode Island School of Design and at UC Irvine.
"What Titles Can Do," Archives of American Art Journal, fall 2019: 92-99.
"Bruce Nauman: Queer Homophobia," Burlington Contemporary, May 2019. http://contemporary.burlington.org.uk/journal/journal/bruce-nauman-queer-homophobia
"Rebecca Belmore: Material Relations," Afterall: A Journal of Art, Context, and Enquiry, 2018: 42-49.
"Keeping House with Louise Nevelson," Oxford Art Journal, March 2017: 109-131. (Download as PDF)
"Beyond Binary: New Visions of the Trans Feminism Movement," Aperture 225, special issue on feminism (winter 2016). (Download as PDF)
"Fabrications: Race, Genre et Travail du Textile," Perspective: actualité en histoire de l'art (2016): 210-215. Translated into French. (Download as PDF)
Shannon Jackson and Julia Bryan-Wilson, editors, "Time Zones: Durational Art in its Contexts," special issue of Representations 136 (Fall 2016); with co-authored editors' introduction, pp. 1-20.
Julia Bryan-Wilson, Jennifer González, Dominic Willsdon, "Editors' Introduction: Themed Issue on Visual Activism," special issue of Journal of Visual Culture, Spring 2016: 5-23. (Download as PDF)
OCTOBER questionnaire on materialisms, vol. 155, winter 2016: 16-18. (Download as PDF)
"Andrea Büttner's Little, Queer Things," Parkett 97, 2015: 20-31. (Download as PDF)
"Simone Forti Goes to the Zoo," OCTOBER 152 (Spring 2015): 26-52. (Download as PDF)
"Sharon Hayes Sounds Off." Afterall: A Journal of Art, Context, and Enquiry, issue 38, spring 2015: 16-27. (Download as PDF)
"'Out to See Video': EZTV's Queer Microcinema in West Hollywood," Grey Room 56, Summer 2014, pp. 56–89. (Download as PDF)
"Occupational Realism." TDR: The Drama Review, Winter 2012, 32-48; reprinted in It's the Political Economy, Stupid!, ed. Gregory Sholette and Oliver Ressler, Pluto Press, 2013; and in Living Labor, ed. Milena Hoegsberg and Cora Fischer, Sternberg Press, 2013. (Download as PDF)
"Eleven Propositions in Response to the Question: What is Contemporary about Craft?," The Journal of Modern Craft, March 2013: 7-10 (Download as PDF)
"Practicing Trio A." OCTOBER 140, Spring 2012: 54-74. (Download as PDF)
OCTOBER questionnaire on Occupy, vol. 142, Fall 2012: 37-39. (Download as PDF)
"Dirty Commerce: Art Work and Sex Work since the 1970s." differences: A Journal of Feminist Cultural Studies, Summer 2012: 71-112. Reprinted in Work, ed. Friederike Sigler, Whitechapel Documents of Contemporary Art/MIT Press, 2017; and reprinted in Historias da Sexualidade: Antologia, ed. Adriano Pedrosa and André Mesquita, Museu de Arte de Sao Paulo, 2017, translated into Portugese. (Download as PDF).
"Invisible Products." Art Journal, Summer 2012: 62-85. Art Journal Award for Outstanding Article of the Year, College Art Association. (Download as PDF)
"Queerly Made: Harmony Hammond's Floorpieces." The Journal of Modern Craft, March 2009, vol. 2, no. 1: 59-80; reprinted in Otherwise: Imagining Queer Feminist Art Histories, ed. Amelia Jones and Erin Silver (2015). (Download as PDF)
"Hard Hats and Art Strikes: Robert Morris in 1970." The Art Bulletin, June 2007, vol. 89, no. 2: 333-359; reprint, translated into Spanish, Brumaria: Artistic, Aesthetic, and Political Practices, winter 2010: 81-99. (Download as PDF)
"Mirror Mirror: An Austrian Town Tries to Step out of the Shadows." Cabinet: A Quarterly Magazine of Art and Culture, issue 24: Shadows (Winter 2006/2007): 90-92.
"Remembering Yoko Ono's Cut Piece." Oxford Art Journal, vol. 26, no. 1. Spring 2003: 99-123. (Download as PDF)
"Trevor Paglen at the Limit," survey essay. Trevor Paglen, Phaidon Press, May 2018: 39-103.
"Shinique Smith: Lines that Bind." Craft on Demand: The New Politics of the Handmade, ed. Anthea Black and Nicole Burisch. IB Tauris, forthcoming 2019.
"Johanna Unzueta's Soft Architectures." A Companion to Contemporary Craft, ed. Namita Gupta Wiggers. Wiley Blackwell, forthcoming 2020.
"Implicated: Feminist Art Histories and Affective Pasts." Caderno Videobrasil: An Alliance of Vulnerable Bodies, ed. Miguel López, translated into Portuguese [Brazil], fall 2015: 50-67. (Download as PDF)
"The Present Complex: Lawrence Alloway and the Currency of Museums." In Lawrence Alloway: Critic and Curator, ed. Lucy Bradnock, Courtney Martin, and Rebecca Peabody. Getty Research Institute, 2015: 166-187. (Download as PDF). Best Multi-Authored Book Award, Historians of British Art.
"Aftermath: Two Queer Artists Respond to Nuclear Spaces." Critical Landscapes, ed. Kristen Swenson and Emily Scott. University of California Press, 2015, p. 77-92. (Download as PDF)
"Posing by the Cloud: US Nuclear Test Site Photography in Process," in Camera Atomica, ed. John O'Brian. London: Black Dog Publications, 2015, p. 107-123. (Download as PDF)
"Knit Dissent." Contemporary Art: 1989 to the Present, ed. Suzanne Hudson and Alexander Dumbadze. London: Wiley-Blackwell, 2013: 245-253. Reprinted in Craft Becomes Modern: The Bauhaus in the Making (2017). (Download as PDF)
"Irma Vep/Look See." Anna Sew Hoy: Suppose and a Pair of Jeans. Oslo Editions, 2013: 41-47.
"Monument Momentum." Hans Van Houwelingen: Undone, ed. Mihnea Mircan. Jap Sam Books, 2011: 81-90. (Download as PDF)
"Handmade Genders: Queer Costuming in San Francisco circa 1970." West of Center: Art and the Countercultural Experiment in America, 1965-1977. Ed. Elissa Auther and Adam Lerner. Minneapolis: University of Minnesota, 2011, 77-92. (Download as PDF)
"A Curriculum for Institutional Critique, or the Professionalization of Conceptual Art." New Institutionalism. Ed. Jonas Ekeberg. Office of Contemporary Art, Norway. Fall 2003: 89-109. Reprinted,Beck's Futures catalog. Institute of Contemporary Art, London. Summer 2004: 8-19. (Download as PDF)
"Building a Marker of Nuclear Warning." Monuments and Memory, Made and Unmade. Ed. Margaret Olin and Robert Nelson. University of Chicago Press. Fall 2003: 183-204. (Download as PDF)
"Feminisms, Textiles, and Resilience," in Women's Histories, Feminist Histories, Museu de Arte de São Paulo, Brazil, 2019. Translated into Portuguese.
"Teresa Margolles," "Julie Mehretu," "Ulrike Müller," in May You Live in Interesting Times, 58th Venice Biennale, ed. Ralph Rugoff, 2019.
"Coercive Spaces, Desirious Spaces: Monica Bonvicini at Belvedere 21," Monica Bonvicini, Belvedere 21 Vienna, 2019. Translated into German.
"The Living Room," in Cecilia Vicuña: Seehearing the Enlightened Future, curated by Miguel López, Witte de With, 2019, 45-68.
"Landscape, or Make Texas Mexico Again," in Mario García Torres: Illusion Brought Me Here, Walker Art Center/Wiels, 2019, 30-36.
"Worn: On Time-Based Craft," in Watching Making, curated by Stephen Knott, Punkt 0, Moss, Norway, 2018, 30-39. Translated into Norweigan.
"Kiki Smith and the Counsel of Animals," in Kiki Smith: Procession, curated by Petra Gilroy-Hirtz, Haus der Kunst, Munich, Germany, 2018, 162-169. Translated into German and Finnish.
"'Be Easy but Look Hard': Conceptual Currents in Queer Chicano Art," Axis Mundo: Queer Networks in Chicano LA, curated by C. Ondine Chavoya and David Frantz, Museum of Contemporary Art LA/ONE Archive, 2017.
"A Tale of Two Sheilas," in Sheila Pepe: Hot Mess Formalism, curated by Gilbert Vicaria, Phoenix Art Museum, 2017, 17-25. (Download as PDF)
"Dry Goods and Sundries: On the Filmic Still Life," Routine Pleasures, curated by Michael Ned Holte, Schindler House, 2016: 33-50. (Download as PDF)
"'By the Power of Signs and Wonders': Corita Kent, IBM, and Political Design," Corita Kent and the Language of Pop, curated by Susan Dackerman, Harvard Art Museums, 2015: 234-243. (Download as PDF)
"Living Room, Classroom, Studio, Museum: The Cultural Versatility of Textiles," in Art_Textiles, curated by Jennifer Harris, Whitworth Art Gallery, Manchester, UK, 2015, 18-22. (Download as PDF)
"Seth Siegelaub's Material Conditions," in Seth Siegelaub: Beyond Conceptual Art, ed. Leontine Coelewij and Sara Martinetti (Amsterdam: Stedelijk Museum, 2015), 30-43. (Download as PDF)
"For Posterity: Yoko Ono," in Yoko Ono: One Woman Show 1960-1971, Museum of Modern Art, New York, 2015, p. 21-30. (Download as PDF)
"Figure it Out: On the Political Possibilities of Figuration." Take it or Leave It: Image, Institution, Ideology. Curated by Anne Ellegood and Johanna Burton. Hammer Museum of Art, 2014: 222-227. (Download as PDF)
"Mika Rottenberg's Video Spaces." Mika Rottenberg. Rose Museum of Art, Brandeis, curated by Christopher Bedford, 2014, 113-123. (Download as PDF)
"Draw a Picture, Then Make it Bleed." Dear Nemesis: Nicole Eisenman, curated by Kelly Schindler. Contemporary Art Museum, St. Louis, 2014, 96-107. (Download as PDF)
"Against the Body: Interpreting Ana Mendieta." Ana Mendieta: Traces, curated by Stephanie Rosenthal. Hayward Gallery of Art, 2013: 26-38. Translated into German, reprinted for Museum der Moderne Salzburg, 2014. (Download as PDF)
"Laylah Ali: Color Schemes." Laylah Ali: The Greenheads Series. Williams College Museum of Art, 2012:21-31. (Download as PDF)
"Still Relevant: Lucy Lippard, Feminist Activism, and Art Institutions." Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art. Curated by Catherine Morris and Vincent Bonin. MIT Press/ Brooklyn Museum of Art, 2012: 70-92. Awarded Publication of the Year by Specific Object. (Download as PDF)
"To Walk, To Dress, To Move, To Act: Playing Race and Gender in 1970s California Art." State of Mind: New California Art circa 1970. Curated by Constance Lewallen and Karen Moss, University of California Press/Berkeley Art Museum, 2011: 196-216. (Download as PDF)
"Sites of Material Production." Anne Wilson: Wind/Rewind/Weave. Knoxville Museum of Art, 2011: 53-58. (Download as PDF)
"Cristóbal Lehyt's Dissociative States." Cristóbal Lehyt: Dramaprojektion. Künstlerhaus Stuttgart, 2010: 8-15. (Download as PDF)
"Our Bodies, Our Houses, Our Ruptures, Ourselves." Ida Applebroog: Monalisa. Hauser and Wirth, New York, 2010: 13-38. (Download as PDF)
"Lisa Anne Auerbach's Canny Domesticity." Lisa Anne Auerbach. University of Michigan Museum of Art, 2009: 5-15. Reprinted in The Textile Reader, ed. Jessica Hemmings. Berg Publishers, 2012: 288-296.
"Unruliness, or When Practice Doesn't Make Perfect." Mixed Signals: Artists Consider Sports and Masculinity, curated by Christopher Bedford. Independent Curators International, 2009: 58-63. Reprinted in Spoilsport: Questions Around a Social Space, ed. Riccardo Giacconi. Bourges, France: School of Visual Arts, 2014: 52-60.
"A Modest Collective: Many People Doing Simple Things Well," Learning to Love You More, ed. Harrell Fletcher and Miranda July. Prestel, 2007: 144-146.
"Six Words about Helen Mirra, or the Six Basic Factors of Camouflage." Formalismus, Moderne Kunst. Kunstverein Hamburg, 2004: 115-123.
Various short essays on artists and subjects, Work Ethic, curated by Helen Molesworth. Baltimore Museum of Art, 2003.
"Beyond Prescription: Bodies, Art, AIDS," co-authored with Barbara Hunt. Bodies of Resistance. Real Art Ways/Visual AIDS, 2000: 9-24.
Co-editor, with Barbara Hunt. Bodies of Resistance. Real Art Ways/Visual AIDS, 2000.
Selected criticism
"Maneuver," curated by Lynne Cooke, 4Columns, November 2019, https://www.4columns.org/bryan-wilson-julia/maneuver
"Dissident Bodies: Julia Bryan-Wilson in conversation with Miguel López," Artforum, May 2019.
"Frida Kahlo: Appearances Can Be Deceiving," 4Columns, March 15, 2019, 4columns.org/bryan-wilson-julia/frida-kahlo
"Passages: Robert Morris," artforum.com, Dec. 24 2018, https://www.artforum.com/passages/julia-bryan-wilson-on-robert-morris-78210
"Astral Reign: The Otherworldly Art of Hilma Af Klint," Bookforum, Dec. 2018, https://www.bookforum.com/inprint/025_04/20434
"A new job to unwork at," 4Columns, Sept. 28, 2018, www.4columns.org/bryan-wilson-julia/a-new-job-to-unwork-at
"Tanya Aguiñiga: Craft & Care," 4Columns, June 29, 2018, 4columns.org/bryan-wilson-julia/tanya-aguiniga
"Outliers and American Vanguard Art." Artforum, May 2018.
"The Matter of Photography in the Americas," 4Columns, April 6, 2018, 4columns.org/bryan-wilson-julia/the-matter-of-photography.
"Feminist Forms: Cecilia Vicuña," Flash Art, Jan/Feb 2018: 28-35.
"Loose Threads," on Viva Arte Viva, 2017 Venice Biennale, Journal of Modern Craft, Nov. 2017: 327-330.
"Merce Cunningham: Common Time." Artforum, May 2017: 326-27.
"Woman with a Camera." Artforum, Febrary 2017: 81.
"Hooked on a Feeling." Artforum, November 2016.
"No Time to Wait" (on Susan Cahan, Mounting Frustration), Artforum, Summer 2016: 113-114. (Download as PDF)
"Opening: Robert Hodge."Artforum, March 2015: 270-271. (Download as PDF)
Zoe Leonard at Anthony Meier. Artforum, September 2015: 391.
"Dress Codes: A Queer History of Fashion." Artforum, January 2014: 85. (Download as PDF)
"Miens of Production: Women and Work at Tate Britain." Artforum, May 2014: 147. (Download as PDF)
"Just Saying No: On the Museum of Non Participation." Artforum, September 2013: 135. (Download as PDF)
Abraham Cruzvillegas at the Walker Art Center. Artforum, September 2013: 418.
"Space Trace: Trevor Paglen's The Last Pictures." Bookforum, Feb./March 2013: 32.
"Ends of the Earth: Land Art to 1974." Artforum, November 2012: 269-270.
"Orifice Baroque: Asco's Asshole Mural." Artforum, October 2011: 278.
"Pacific Standard Time," Artforum, September 2011: 112. (Download as PDF)
"Infinite Quest," on Yayoi Kusama's Infinity Net: The Autobiography. Bookforum, Sept. 2011: 45.
Best book of 2008: Zoe Strauss, America. Artforum, December 2008: 94. (Download as PDF)
"Changing the Subject: 9 Scripts from a Nation at War." Artforum, October 2007: 123-124.
"Repetition and Difference: LTTR." Artforum, Summer 2006: 109-110. Reprinted in Art and Queer Culture, ed. Catherine Lord and Richard Meyer, Phaidon Press, 2013; and reprinted in Art Practical 5.2, special issue on readership, ed. Tirza True Latimer, December 2013.
Mignon Nixon's Fantastic Reality: Louise Bourgeois and a Story of Modern Art. The Art Bulletin, December 2007: 823-826. (Download as PDF)
"Openings: Sharon Hayes." Artforum, May 2006: 278-279.
"Beyond Green: Toward a Sustainable Art," at the Museum of Arts and Design. frieze, May 2006: 180.
David Hammons: The Unauthorized Retrospective at Triple Candie. frieze, April 2006: 157-158.
more texts from Artforum can be found here: www.artforum.com/contributors/name=julia-bryan-wilson&page_id=0
Interviews and Conversations
Interview with Sharon Hayes. Sharon Hayes, Phaidon monograph, 2019, 7-29.
"Fixing or Infecting: Jade Yumang in Conversation with Julia Bryan-Wilson," Cock, Paper, Scissors, ONE Archive, 2016. (Download as PDF)
"Gay Semiotics Revisited: An Interview with Hal Fischer," Aperture 218, 2015: 32-29. (Download as PDF)
"Roundtable," with Jack Halberstam, John Holloway, and TV Reed.Disobedient Objects, edited by Catherine Flood and Gavin Grindon. Victoria and Albert Museum, 2014: 130-134. (Download as PDF)
"Currency: An Interview with Luis Jacob." Cipher: Conceptual Application 1, Spring 2014, 3-8. (Download as PDF)
"Tactility and Transparency: An Interview with Sabrina Gscwhandtner." Sunshine and Shadow: Sabrina Gschwandtner. Philadelphia Alliance of Arts, 2013, 38-45. (Download as PDF)
Interview with Sharon Hayes, Alpert Award website, Spring 2013.
"Imaginary Archives: A Dialogue" with Cheryl Dunye. Art Journal Vol. 72, Iss. 2, 2013: 82-89. (Download as PDF)
"Intelligent Discomfort," an interview with Claire Bishop, Mousse 35, Fall 2012: 114-120. (Download as PDF)
"The Nuclear Naive: An Interview with Lisi Raskin," Lisi Raskin: Mobile Observation, Bard Center for Curatorial Studies, 2010.
"We Have a Future: A Conversation with Sharon Hayes." Grey Room 37, Fall 2009: 78-93. (Download as PDF)
"The Politics of Craft: A Roundtable." Modern Painters, February 2008: 78-83. Reprinted in Choosing Craft: The Artist's Viewpoint, ed. Vicki Halper and Dianne Douglas, University of North Carolina Press, 2009; and reprinted in The Craft Reader, ed. Glenn Adamson, Berg, 2010.
"Some Kind of Grace: An Interview with Miranda July." Camera Obscura 55, Spring 2004: 180-197. (Download as PDF)


The IIE Student Chapter at OSU has created a video entry for the national IIE YouTube Video Contest to promote industrial engineering to high school students, teachers and college counselors. The goal is to inspire young students to consider IE as a profession.
ISE student, Daniel Chang, directed and edited the video and there was participation from both alumni and current IIE members. The group's goal was to create a "Justin Bieber themed parody music video, while also incorporating key six sigma principles", said Chang. He goes on to say "The video begins with a disastrous process, where Aaron Steinberg applies his knowledge and wisdom in order to streamline the process by the end of the video." Aaron Steinberg handled the lyrics and vocals while Vanessa Serrano made great contributions to their choreography. It was a group effort and other ISE students who participated include Emily Rumford, Georgia Lindner, John Cooper, Maria Pandolfi, Rachel Czapp, Christina Steiner, Ryan Lawler, Sarah Colasanti, and Derek Sasthav.


After Tom Clancy's passing this week, fans of his biggest character, Jack Ryan, have been introduced to a new phase of the movie incarnations of his geopolitical thriller novels with this weekend's release of the first trailer for Jack Ryan: Shadow Recruit. Last December we at borg.com listed Jack Ryan as one of the ten characters to watch in 2013, and we included Jack Ryan, the movie, as one of the 24 films we predicted would be worth seeing in 2013.
Since last year's announcement of Chris Pine taking on the lead, the title was changed to add the subtitle Shadow Recruit, replacing the prior subtitle Shadow One (we think Hollywood really needs to work on their subtitles). The role of Jack Ryan was, of course, first played by Alec Baldwin in The Hunt for Red October in 1990, followed by Harrison Ford in Patriot Games in 1992 and Clear and Present Danger in 1994. Ben Affleck then played a younger Jack in the 2002 prequel film The Sum of All Fears. All four of these movies were based on bestselling Clancy novels, The Hunt for Red October often being listed as one of the best thrillers of all time. Likewise, The Hunt for Red October is one of the best, and most exciting, movies of all time, with Alec Baldwin's performance still the standard for future Ryans to be measured against.


text:
Ferguson: I'm Not Retiring
Video National | 2nd Jan 2013 | admin
Ferguson, who turned 71 on Monday, has been forced to deal with questions about his retirement plans since the time he reversed his decision to leave the club in 2002.
With Pep Guardiola due to end his post-Barcelona sabbatical in a few months, Jose Mourinho tipped to leave Real Madrid and David Moyes' Everton contract close to expiring, three of the main candidates to replace Ferguson could be available at the end of the season, prompting a new round of speculation about the Scot's future.
But Ferguson, who has been in charge at Old Trafford since 1986, marked the new year by making it clear he won't be leaving United for some while.
"I'm hoping to stay on for a bit of time," he said in an interview with the Abu Dhabi Sports channel.
It is widely accepted few will get to know when Ferguson is ready to call it a day, with chief executive David Gill the man tasked with advising the Glazer family about a replacement.
And, though Guardiola, Mourinho and Moyes are bound to be at the top of the list if they are available, Ferguson knows plenty of other candidates are likely to have emerged by the time he finally quits.
"It's very difficult," Ferguson said. "Over the years, names have been bandied about but football is such a precarious industry.
"But you could be talking about one of the potentially exciting young managers in the game, but is he going to be here in two or three years' time?
"The sack race is horrendous. Sometimes a manager can only survive four games if he doesn't win a match.
"Top managers will always been in demand but nobody knows where they are going to be in two or three years' time."
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It's been a few weeks since the ION teams last hangout in which Adam Matlack, chief strategist of Ionomy.com highlighted a number of exciting milestones that developers were preparing for including an upcoming partnership for a MMORPG! Today we present an overview of Ionomy's newest Hangout in which Matlack was back to tell us that the acquisition for their MMORPG has officially taken place and the future is looking bright! He also introduced a number of proposals the ION team has been working on which they'd like to see the community vote on and of course he teased the audience with a sneak peek into some of Ionomy's newest developments!
The first proposal introduced by Adam Matlack is a soft fork happening in the next update if approved by the community which would see 6 million ION coins added to the total available supply. According to Matlack the team has determined production of ION is behind. To explain he cites Fig. 1, pointing out the first years issuance in terms of what should have happened (the creation of 12 million ION) and what actually happened (only 7.4 million ION were created).
If you look into the matter further you realize that during year 4 and 5 there will be a huge inflation rate drop off-8.5 %.
As such, the team has re-evaluated some of what they believe to be good monetary policy, their understanding of the flipping of nodes and the market as a whole. The outcome? A better understanding of how the coin should move forward and proposals 2, 3 and 4.


As part of last week's deal to end a 35 day partial government shutdown, House-Senate negotiators formally convene their talks Wednesday on border security funding, as the two sides try to deal with pressure not only from their supporters on what needs to be in a deal - but also from President Donald Trump - as lawmakers try to forge an agreement before a February 15 shutdown deadline.
"It could be a barrier, it doesn't have to be a wall," said House GOP Leader Kevin McCarthy (R-CA), as much of the political fight over any border funding package might be more semantics than anything else, as Democrats have expressed support for fencing in the past, but many oppose the President's talk of a border wall.
"We support additional investment in infrastructure, particularly as it relates to our legal ports of entry," said Rep. Hakeem Jeffries (D-NY), the head of the House Democratic Caucus.
How all of that gets sorted out in the next two-plus weeks is anyone's guess, as lawmakers face a clear deadline for action, with the chance of another shutdown looming just two weeks from Friday.
The basic starting point for negotiations is simple - this is on the Homeland Security Appropriations bill, which funds border security, immigration, the Coast Guard and more.
In the first two years of the Trump Administration, Democrats joined with Republicans in approving $1.6 billion two different times for border security - with some of that money specifically directed for border fencing.
For example, in the Omnibus funding bill which passed in 2017 - a few months into President Trump's time in office - the House and Senate agreed to use some of that border money to build "approximately 65 miles of pedestrian fencing along the southwest border in the Rio Grande Valley Sector."
Then in 2018, when lawmakers finally finished up their spending work, Democrats and Republicans agreed on a series of border fencing projects near San Diego, along the Rio Grande, and in other border regions.
While Democrats have not as yet set out the details of their own security spending plan, they have made clear they want these talks to focus on more than just the border fence/barrier/wall discussion.
"I will keep fighting for humane immigration policies that secure our borders, hold our agencies accountable for mistreatment of migrants, keep families together, end child detention, reduce the number of detention beds," said Rep. Lucille Roybal-Allard (D-CA), one of three California Democrats on the conference committee.
One unknown at this point is the ultimate scope of any agreement - normally, the members of the House and Senate Appropriations Committees would only deal with spending - how much to spend on a border fence, how much to spend on immigration judges, how much to spend on ICE agents and border patrol agents, etc.
But President Trump has also proposed temporary protections for about 700,000 younger illegal immigrants under DACA, and for 300,000 others at risk of deportation after having their "Temporary Protective Status" revoked. Usually, those type of policy decisions would not be settled in a spending bill.
"The focus of this right now is border security," said White House Press Secretary Sarah Huckabee Sanders. "We'd like to see that happen. And the President would love to deal with the overall problem of illegal immigration, fixing a number of the loopholes that would prevent some of those things from happening so that we could move forward with a system that actually works and functions."
One interesting wild card in the midst of negotiations will be next week's State of the Union Address, which will certainly give President Trump a chance to set out his demands for any border security deal, in a speech now set for February 5.
"It needs to be fixed and the President is going to do what it takes to address it," Sanders said on Monday.


text:
Irish Montrealers push for memorial to 6,000 immigrants who died of typhus
Many of the people taking the Victoria Bridge in or out of Montreal may not realize they're driving over a mass graveyard.
Francis Braddeley of the Erin Sports Association sings the Irish national anthem during the annual walk to the Black Rock at the foot of the Victoria Bridge in Montreal in 2016.	Peter McCabe / Montreal Gazette
Many of the people taking the Victoria Bridge in or out of Montreal may not realize they're driving over a mass graveyard.
A 10-foot-tall engraved stone, placed on a median between the lanes of traffic, announces that the site is the resting place of some 6,000 Irish immigrants who died of typhus in "fever sheds" along the riverbank in 1847-48 after fleeing famine in overcrowded ships.
The stone, stained black from exhaust fumes, sits in a little-visited industrial zone near the foot of the bridge, and some members of Montreal's Irish community say the city needs to do a better job of honouring the chapter of Canadian history it represents.
"This is the largest single burial site of the Great Hunger in the world outside of Ireland itself," said Victor Boyle, one of the directors of the Montreal Irish Memorial Park Foundation.
"It's also the first memorial to that event outside of Ireland."
But he says that while cities like Toronto have prominent memorials to their Irish ship fever victims, Montreal's much-larger number of dead are going unrecognized.
On Sunday, about 100 members of the Irish community took part in an annual walk to the site.
The ceremony, led by the Ancient Order of Hibernians, has taken place in some form or other since 1865 — six years after the stone was erected by mostly-Irish Victoria bridge construction workers who stumbled across the graves.
Laying the monumental stone, marking the graves of 6,000 immigrants near Victoria Bridge: The Irish immigrants who settled in Griffintown in the 19th century were a source of cheap labour, so much so that many of them were hired to work on large-scale construction projects such as the digging of the Lachine Canal, which opened in 1825, and the construction of the Victoria Bridge, inaugurated in 1860. Still, life in Griffintown was difficult as a result of frequent floods, major fires, unsanitary housing conditions and pollution from the surrounding factories. Moreover, the quarter was struck by several epidemics. In 1846-1847, 6,000 British subjects, for the most part Irish immigrants living in Griffintown, died of typhus. In 1860, workers on the Victoria Brige erected a monument in their memory. 1860 – Ink on paper – Wood engraving
Now, Boyle's foundation is trying to get permission to transform a parking lot adjacent to the site into a memorial park in time for Montreal's 375th anniversary in 2017.
Boyle says the park would honour not only the Irish victim but also the Montrealers who risked their health and safety to help them, ranging from clergy members to British soldiers to Montreal's mayor, John Easton Mills, who contracted typhus and died in 1847 after visiting the fever sheds.
He also wants to salute the many Québécois families who adopted Irish orphans into their families.
He says Montreal's mayor, Denis Coderre, has met with the park foundation on two occasions and expressed support for the project.
The group will also meet in the coming days with the federal Crown corporation that oversees the vacant lot they're hoping to transform.
Boyle said the group won't rest until there's a "meaningful" homage in place.
"All these decades later, and we're still having ceremonies here," he said. "That shows we're never going to forget."
By Morgan Lowrie
STM to hike fares on July 1 Quebec milk producers heading to Ottawa by tractor
Drowning takes seconds, but most Quebecers don't supervise children: poll


You have been and will continue to be dearly missed.
I can't say exactly when civility died, or when we stopped debating issues and started debating people, but it has happened. The shift from ad rem debates to ad hominem attacks is ubiquitous, and so too are the vitriol and venom that plague modern discourse.
But determining when civility died has become all but irrelevant. We are now living in the first generation never to see discourse in its true form. My generation is accustomed to a form of absoluteness that suggests a middle ground does not exist, only an absolute right and an absolute wrong. What's worse is that we cannot sit down with even our own neighbors to discuss an issue of vital importance if a disagreement exists. Apparently if you're not preaching to the choir, you're wrestling in the mud.
Discourse was never a flawless thing, and the modern idealization of it as some sort of infallible process is simply false. Discourse is raw. Discourse is dirty, gritty. Discourse requires many voices. However, discourse is not personal. Discourse dictates that each voice represents more than just a person, but rather an idea. Discourse is frustrating – exasperating, even. Discourse is beautiful in that nothing is certain and everything is up for debate.
But people often forget that discourse does not necessarily result in a solution. Discourse can fail – and this is not a bad thing.
Discourse and civility once stood as one in the same. The greatest way to exercise civility was to engage in discourse, because it meant you not only felt you had something to share that could benefit others, but you were also willing to listen to what others had to share since simply listening could make a difference.
Discourse always served to sharpen ideas, whether good or bad, bringing them closer to their final form. Even the bad ideas could be made better with enough discussion, and even the best ideas could be found faulty with enough argumentation.
But we have reached a point where we can't talk to each other anymore.
The filibuster, which once served a useful purpose now and then, is gone. But I'm not going to miss it. It's the Senate that I miss. The Senate that the founders designed. The Senate that had a purpose. The Senate that Americans living today have never experienced.
No facet of American life has been spared from the degradation of modern discourse, not even our political bodies. So, what does this mean for our nation?
Civility has died, and in its place has emerged a pettiness and personal hatred not seen since the dark days of the build-up to the Civil War, where one member of the House of Representatives resorted to paralyzing physical violence against a member of the Senate with whom he disagreed. Yet, even with the threat of secession hanging overhead, the U.S. government still was able to enact major pieces of legislation as late as 1860, the year the first states seceded.
Somehow, it became ingrained in our minds that people who associate with each other cannot disagree upon anything. Such a mentality eliminates the possibility of any uniting efforts and results in factional chaos. But it doesn't stop there. The factions eventually begin to disagree with one another, even if just on minor things, to the point where every man and woman stands alone. This perfectly describes the rise and fall of the Tea Party, a group that initially came together because of the members' agreement upon economic abstractions. As time went on, different factions within the Tea Party demanded specifics be laid out. Some demanded a broad, all-encompassing platform while others favored just a few key principles. Many left the Tea Party as a result of this, but still some remained. But over time, many more left the movement because of even pettier disagreements. Now the Tea Party is all but irrelevant, and the leaders who once oversaw tens of thousands are now finding themselves working with just a few dozen.
We just cannot associate ourselves with others anymore – apparently it's just too much work. We are all responsible for perpetuating this dysfunctional society we live in. And we don't deserve better.
Until we can learn to close our laptops, power down our tablets, put down our smartphones, disconnect from social networking and finally hold real conversations again, our society will continue to grow more divisive. Our distractions have made us forget the people in front of us are just that – people. We would rather send a text message or a tweet to communicate with someone instead of having to deal with a situation face to face.
I guess we just can't handle the idea of not being able to walk away from conversations – without a second thought – when they are going sour. Or having to watch what we say, as it might actually offend the people whose faces we can see sitting in front of us. You can't see the pain your biting words are inflicting upon a person through the glow of your computer screen. We take shelter behind our screens because the discourse we are having is not fit for civilized, compassionate beings. If we don't implement a course correction now, we will continue to destroy the lives of the people around us in a counterproductive and repressive form of communication masquerading as discourse.
Civility may be dead, but there is nothing saying we can't resurrect it. Just as we are the problem, we too can be the solution. If we change the discussion now and treat people like real people again, there is no challenge humanity faces that cannot be overcome.
But until that day, sleep well in your resting place, civility. I pray humanity's return to you is imminent.


text:
Conserving Life in Canada's Oceans
Beaufort Sea Sections
Northern Communities
Northern Solutions
Baffin Bay and Davis Strait
Darnley Bay
Hudson Bay Beluga Project
Tallurutiup Imanga
A hotspot of biological productivity, the Canadian Beaufort sprawls over 833,000 square kilometres (322,000 square miles) off the coasts of the Northwest Territories and Yukon. Nutrients from the Pacific Ocean mix over a shallow continental shelf with the Mackenzie River plume, the most sediment-rich waterway in the Arctic. Large open-water areas in sea ice called polynyas – such as the one at Cape Bathurst in the southeast Beaufort – provide crucial habitat for ice-dependent species.
As a result, the Canadian Beaufort is home to the largest stock of beluga whales in the world and is a primary endpoint for over 10,000 migrating bowhead whales. Seventy-one species of fish – including Dolly Varden, wolfish, Arctic cod, Arctic char, Cisco, whitefish and Pacific herring – swim in its waters. Its estuaries, wetlands and coasts are an international destination for millions of seabirds, including northern pintail, brant, long-tailed duck, thick-billed murre and lesser snow goose. Three large areas in the Mackenzie River Delta are internationally recognized as among the most productive wetlands in the world.
© Oceans North
Mackenzie River Delta
The Beaufort has provided spiritual and physical sustenance to indigenous people for thousands of years. Six Inuvialuit communities continue to hunt, fish and gather the Beaufort's biological riches. However, climate change is altering the ecological balance of the Beaufort in ways humans have not witnessed, warming the oceans and melting the pack ice. Even scientists and Inuvialuit hunters don't know how ecosystem restructuring will change the Beaufort in coming decades.
Melting ice is permitting access for new industrial uses. Major international companies have recently purchased offshore oil and gas leases. International shipping routes may soon be possible. Commercial fishing in the Beaufort is also a future possibility as marine species move north from the Bering Sea, one of the world's richest fishing grounds.
© R. Bergman, USFWS
Arctic loon and chick
The Inuvialuit Final Agreement of 1984 was the first land claim settled north of the 60th parallel in Canada. Under the agreement, Inuvialuit have the right to fully participate in decisions about conservation and economic development related to the Beaufort. Participation takes place through the Inuvialuit Regional Corporation and four co-management boards established by the final agreement.
One of these bodies, the Fisheries Joint Management Committee, has begun discussions with Inuvialuit communities about a commercial fisheries management plan as a precautionary response to the changes brought by climate change. The Arctic is one of the few regions in the world not already over-fished or fully fished by industrial fleets. Although no commercial fisheries exist in the Beaufort, the region is attracting interest from companies seeking new markets.
Recently, the Standing Senate Committee on Fisheries and Oceans issued a report endorsing this approach:
"The Committee recommends that the Government of Canada, in concert with the Inuvialuit, develop a policy regarding future fishing activity in the Beaufort Sea. In this regard, Canada should consider instituting a moratorium on commercial fishing in the Beaufort Sea (similar to the US Arctic Fishery Management Plan) on the Canadian side of the maritime border between Alaska and Yukon, west of the 141st meridian."
A precautionary commercial fisheries management plan in the Canadian Beaufort would complement the Obama administration's decision in August 2009 to close the adjoining U.S. Arctic waters to commercial fishing. That decision was supported by conservationists, scientists, the commercial fishing industry and Inupiat communities and organizations in Alaska, including the Inuit Circumpolar Conference, the Northwest Arctic Borough and the North Slope Borough.
Northern Solution
© B. Christman, NOAA
Ribbon seal lays on ice in the Bering Sea
Oceans North Canada supports a commercial fisheries management plan in the Beaufort that would close the region to commercial fishing while scientists and the Inuvialuit determine whether and how commercial fishing could occur without harming the changing Arctic ecosystem or Inuvialuit land claims.
Beaufort Sea Partnership. 2008. Social, Cultural and Economic Overview and Assessment Report for the Beaufort Sea LOMA. Social, Cultural and Economic Working Group.
Carmack. E. C. and R. W. Macdonald. 2002. Oceanography of the Canadian Shelf of the Beaufort Sea: A setting for Marine Life. Arctic. 56(1):29-45.
Cobb D. et al. 2008. Beaufort Sea Large Ocean Management Area: Ecosystem Overview and Assessment Report. DFO, Canadian Technical Report of Fisheries and Aquatic Sciences 2780.
Moore, S.E. and R.R. Reeves. 1993. Distribution and movement. In: J.J. Burns, J.J. Montague and C.J. Cowles (eds) The Bowhead Whale, pp. 313-386. Society for Marine Mammalogy, Special Publication No.2, Allen Press, Lawrence, Kansas.
Mueter, F. and M. Litzow. 2008. Sea Ice Retreat Alters the Biogeography of the Bering Sea Continental Shelf. Ecological Applications 18, no. 2: 309-320.
Steve Ganey Vice President
Christine Fletcher Senior Officer, Communications 202.540.6908
Steve Ganey
Canada Arctic Ocean


In the age-old battle between multinational corporations trying to pay as few tax dollars as possible, and the state of Oregon trying to hold them to their responsibilities, Oregon has often been out-gunned. This is worse now, due to the Oregon legislature's decision in the last legislative session to eliminate one of Oregon's most effective weapons, the tax haven law.
A new report by the Center on Budget and Policy Priorities (CBPP), a national think tank, explains that Oregon is now largely defenseless against corporations shifting profits overseas to escape paying taxes.
"Repeal of the tax haven provision was premature at best and will damage Oregon's ability to protect itself from aggressive international income shifting," writes Michael Mazerov, a CBPP Senior Fellow.
Ultimately, as corporations artificially shift their profits abroad, they avoid taxes they would otherwise pay to Oregon. That means less revenue to fund schools, affordable housing, and services that protect the most vulnerable.
The anticipation of a tax "windfall," though, served to justify the legislature's decision to get rid of Oregon's tax haven law. That law generated $28.4 million in corporate income tax revenue in 2014, the first year it was in effect.
In sum, the Oregon legislature eliminated a law that was working — it was helping Oregon fight back against corporate abuse of tax havens. The legislature's decision to repeal the law placed undue confidence in the new federal law's ability to deter these tax games.
When the legislature meets again in 2019, one of the orders of business ought to be rearming the state with new weapons to fight against corporate tax avoidance.


From straight-ahead Bop, to Big Band, Fusion, Latin, or even Hard Rock, DW Jazz Series™ drums provide a warm, tonal spectrum that is studio-friendly and perfectly suited for live applications. Inspired by the American drum sounds of the late 70's and early 80's, the Jazz Series shells feature a thick gumwood core that can be combined with maple, mahogany, or cherry inner and outer plies. Jazz shells can also be customized with any available California Custom Shop finish and drum hardware color.
This is how DW does Jazz.
This drum was taken out of its factory box, photographed, and then resealed in the original box. It may be removed from the package to be professionally tuned, which may result in some minor stick marks.


What Happens If You Can't Pay Your Credit Card Bill in Full?
Credit cards are great – right up until the time you receive your credit card statement(s) in the mail (or email if you receive e-statements). That's when all of those purchases you made during the month come back to haunt you.
Anyone can run up a huge credit card balance – it doesn't matter if you're a shopaholic or a frugal spender who got retrenched or had out-of-pocket medical expenses to pay. The reality is that there are plenty of situations and emergencies that can run up your credit card balance!
But what happens when your credit card balance is too large to pay off in full? What happens if you can only pay the minimum or worse – can't make payment at all?
How Will Paying the Minimum Affect Your Credit Card Repayments?
Ideally, you should be paying off your credit card balances every month for one major reason – to avoid the credit card interest rate on any outstanding balance you carry! That's because the credit card annual interest rates are ridiculously high – ranging from 15% to 24%+ (varies by credit card).
Of course, if you're carrying a large balance, you may not be able to pay it off in full. Sadly, too many people don't make the effort to pay off their credit card balance(s) as fast as possible.
#1 It'll Take Years to Pay off Your Balance and Cost You Thousands in Interest!
When you pay only 3% of your outstanding balance or $50 (whichever is higher), it's not a lot of money right?
But in time, the amount you'll have to pay back IF you don't make any further purchases with the card and make minimum payments will be more than you realise.
Let's say you've run up a balance of $5,000 on your credit card.
The minimum payment you'll need to make on that credit card is 3% of the $5,000 balance or $50 (whichever is higher).
Since 3% of $5,000 is higher than $50, that comes to $150 for your first repayment (keep in mind your minimum payment will decrease slightly every month as you pay down your balance).
Now, how long do you think it'll take you to pay off your credit card IF you don't add to the balance and pay $150 (keep in mind you're paying above the minimum payment required as the balance shrinks) every month until your card's balance is paid off?
It'll take 56 months (almost 5 years!) to pay off the credit card – and the interest? That 24% annual interest rate will cost you $3,324 over the course of repayment, meaning that your $5,000 credit card balance really cost $8,324 to pay back!
Let's assume that you don't pay $150 every month. Instead, you want to really pay the absolute minimum until your credit card balance is paid off. How long (and costly) would it be?
It'll take 165 months (almost 14 years!) to pay off the credit card – and the interest? That 24% annual interest rate will cost you $7,774 over the course of repayment, meaning that your $5,000 credit card balance really cost $12,774 to pay back!
Now think about this – if you paid $500 per month instead of the minimum, you would have paid off your credit card balance in 12 months (1 year) and the amount of interest you would have had to pay would have been $635.16, meaning your $5,000 credit card balance would only cost you $5,635.16 to pay back!
*Note: all calculations were rounded up to the nearest dollar and are for demonstration purposes only.
The average credit card in Singapore gives you 3X to 4X your monthly income – meaning you could potentially have spending limits of $12,000 if you're only making $3,000 a month!
Unfortunately, some credit card users see a $5,000 balance on their account and think, "bah, there's no need to worry, I can make minimum payments since I still have another $6,000 of credit remaining".
True, you might still have a lot of available credit in your account. But if you intend to continue using your credit card while making minimum payments – you're taking a dangerous step towards going over your credit limit AND accumulating a massive amount of credit card debt (especially if you're handling multiple credit cards this way).
Let's say you do have a $5,000 balance on a credit card that has a credit limit of $12,000.
You make a minimum payment of $150.
But the following month you spend another $1,000 and grow your balance to exactly $6,000.
You make a minimum payment of $180.
The following month you spend $2,000 and grow your balance to exactly $8,000.
You make a minimum payment of $240.
Seriously, if you're only making minimum payments WHILE you're still using your credit card every month – you'll go over your credit limit in a matter of months. So if you absolutely must make minimum payments on your credit card, DO NOT add to the balance!
What About if You Can't Make Payment?
If your credit card balance(s) has ballooned to an amount that you're just not able to handle, the last thing you should do is ignore your monthly payments.
Instead, you should be working with your creditor(s) to find a solution that benefits everyone. This might mean working with your creditor to come up with a payment plan that'll reduce your repayments to a more manageable level – until you're financially able to make larger repayments.
Yes, your credit score will suffer because you'll be carrying a large balance(s) on your credit card(s), but the damage would be MUCH worse if missed a payment or defaulted on your credit card account(s).
What has your experience paying off a large credit card balance been like? Share your experience with us on Facebook! For even more useful information on everything personal finance, visit MoneySmart today!


Review of the visit of the Chinese Academy of Agricultural Sciences (CAAS) to Montpellier (04-07 March 2019): signing of a cooperation agreement Agropolis International organised, from 04 to 07 March 2019, the hosting of a delegation from the Chinese Academy of Agricultural Sciences (CAAS) to strengthen and develop the partnership with the Montpellier scientific community.
Based in Beijing and created in 1957, CAAS has more than 6,000 researchers, scientists and technicians and many renowned academics focusing mainly on science and technology for the agricultural sector and rural development in China. It is developing a very active international policy, particularly towards African countries.
On this occasion, CAAS management was able to discuss with the CGIAR and the 4/1000 Initiative, visit several units of the scientific community and their structures (UMR AGAP, UMR Eco & Sols, UMR AIDA, UMR Ecotron platform, large greenhouse in Lavalette campus), discuss with CIRAD management and sign a framework agreement with the I-Site Muse.
- sharing scientific resources and/or equipment: facilities for research, education and information purposes.
To support the development of the partnership between I-Site MUSE and CAAS, the framework agreement provides for the installation of a laboratory without CAAS walls in Montpellier hosted and supported by Agropolis International. An original international collaboration mechanism with Montpellier's research and teaching institutions, and also at the European level. Laboratories without walls already involve teams from major foreign institutions such as Inta (Argentina), Embrapa (Brazil) and UPM (Malaysia).


"I love it! The bass frequencies sound amazing and the highs have the perfect brightness. Ground-breaking!"
Heavyocity's DM-307 is a highly-stylized collection of modular synth drums, live percussion, and processed classic analog drum machines. With more than 3,600 unique sounds and loops housed in 1500+ presets, DM-307 introduces innovative ways to quickly and easily create production-ready beats in a variety of contemporary styles; including electronic, hip hop, industrial, ethnic and cinematic.
DM-307's extensive content is complemented by an intuitive user interface featuring the all-new. The Grid™ is an advanced 5 voice drum machine with 8 programmable patterns, allowing you to build grooves by simply clicking on a step.
Expand your beat creation by stacking 5 grid presets in a performance multi and gain unprecedented control over each part with individual FX, modulators and envelopes.
Load one of the 180+ Kit Groove presets or 300 Performance Multis to get a true sense of the power of the Grid, or create your own complex grooves from the thousands of sounds found in the Kits and Multis.
DM-307's interface was designed for quick and simple groove creation. You can easily create a beat, alter the envelope, and drastically affect the tone of the sounds.
Similar to Damage and AEON, there are 3 levels of effects provided in the instrument. Apply effects globally with the Master effects, tweak individual sounds with the ADSR, filter, EQ, and tune, or engage the signature Advanced Trigger FX™ to quickly modulate and alter the sound.
Tempo sync is automatic, and exporting a loop's MIDI data to your sequencer is simply drag-and-drop. Tweak your grooves quickly with the integrated keyswitches for effects and stutters, and create instant impacts with the unique 'Analog Hits'.
DM-307 provides a host of loop menus and single loop presets. Stocked with over 1200 loops in 5 contemporary styles. , you can quickly mix and match kicks, snares, hits, and other elements to build complex layered rhythms and grooves.
The Loop Menus are intelligently mapped, and formatted into "breakout" presets, allowing you to perform the full loop in a single key, or mix and match the individual layers of different loops, all in one preset. Single Loop presets provide level, pan, and tuning for each slice, and allows you to recompose via midi drag-and-drop.
DM-307 offers more than 80 different kits, built from nearly 2,000 unique sounds. These kits combine organic drums with processed classic drum machines and aggressive modular synth sounds to create a one-of-a-kind palette of genre-defying percussion.
The signature 'Analog Hits' and 'Tempo Synced Risers' are perfect for adding impact and emotion to any track.
DM-307 offers 3 different levels of effects - apply effects globally with the Master FX (Reverb, Delay, Distortion, Modulation, Twist and Punish), Trigger Performance Effects, or tweak individual sounds.
The Advanced Trigger FX (pictured here) are switchable real-time effects with incredible scope for intuitive and creative sound tweaking. Control the speed at which the effect is engaged and disengaged, or turn on the sequence button, and modulate the effect changes with a 32 step sequencer.
The signature Punish and Twist knobs preside over everything, adding aggressive drive and character to your beats.
For nearly a year, Heavyocity captured in-depth recordings of a wide array of percussion instruments. Sounds were recorded through an all analog signal chain with gear including API, Grace, and Neve mic pre's, and Manley EQ's.
With instruments ranging from congas and bongos, to small metals and triangles, and an arsenal of drum kits, DM-307 provides a vast range of organic timbres at your fingertips.
DM-307 provides Heavyocity's signature 'Music-meets-sound-design' approach on the highly sought after sounds of classic analog drum machines.
Sounds were captured using pristine analog gear like the Neve, Wunder, and Chandler mic pres, and then processed with outboard gear from UA, Eventide, Dramastic Audio, and Dangerous Audio. The results are punchy, crisp and dynamic, providing serious character to the sounds.
Aggressive, Fat, and In Your Face - DM-307 contains the uncompromising sound of true analog percussion. All of these exceptional sounds stem from using complex synthesis techniques with unique custom modular synth rigs.
Using an array of modules including VCOs, Vactrol Filters, Vacuum Tube Compressors, Vacuum-tube distortion, and Analog Bit Designers, all sound shaping took place completely within the analog synthesis realm, custom designing sounds from the ground up.


text:
Pledge at University of North Texas Fraternity Reports Hazing
By: Charmaine Santos
In the fall of 2013, transfer and commuter student Derek Elrod was rushing the Sigma Phi Epsilon fraternity at the University of North Texas (UNT). The fraternity was his first choice and he thought the brothers at the fraternity were very welcoming. He felt like he finally found the social support and atmosphere he was longing for. Elrod said, "It was extremely inviting and friendly. I met so many people I thought were really nice people. The feeling was just like, 'how did I not know that this existed?' It felt like this was UNT's greatest secret." When Elrod got an offer to become a part of the fraternity, he was ecstatic.
When the Sigma Phi Epsilon pledges went to the fraternity house to celebrate, the cheerful mood quickly went away. Elrod called 911 around 3 p.m. in the afternoon to report hazing. According to the police report, the fraternity's president at the time, Richard Randall, forced the pledges to drink straight vodka and "complete countless push-ups" in one of the rooms inside the house. In 2005, Elrod had been diagnosed with a medical condition involving abnormal nervous system functions. He panicked and recalled, "I felt like I was trapped…The lights were off, the blinds were closed…the door was closed, and there were guys in front of it…I had gotten to the point where I couldn't even lift my own body up. It was the first moment in my life that I could not lift my own body up from the ground…I felt like I was not free to leave."
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Eventually Elrod got up raced down the stairs to dial 911. When a police officer arrived, Randall admitted that the brothers didn't want Elrod there because he was homosexual. Randall said to the police officer, "I honestly thought he was homosexual. Hey guys, we shouldn't invite him over to our house. It's kind of weird that he is here." The question raised is whether the fraternity invited Elrod to pledge, thinking he was gay, so they could torture him with hazing rituals. Hazing rituals are not uncommon within Greek communities at colleges, though not every fraternity or sorority participates and severity levels vary among schools.
Charmaine Santos is a junior at the University of San Francisco pursuing a Bachelors of Science in Biology as well as minors in Chemistry and Health Studies. She volunteers alongside UCSF medical students at a student-run homeless clinic in San Francisco and is also an active volunteer with Operation Access. Charmaine is also a Social Media Assistant at Cancer InCytes Magazine.
Brayton, Ed. (2015, July 18). "Another Fraternity Horror Story." Retrieved July 19, 2015 from http://freethoughtblogs.com/dispatches/2015/07/18/another-fraternity-horror-story/
Photo Credit: http://ocm.auburn.edu/stop_hazing/