text:
Q: Followed default options in installation, now have a tiny drive I spent a small fortune (6k) and made five server racks.
I have purchased Five m.2 samsung drives that run nearly at 2250 MBps.
I followed basic directions of the latest ubuntu os when installing it.
Something is wrong, the drives I have installed have 128GB capacity where as this is what my df prints out.
    Filesystem                   1K-blocks     Used Available Use% Mounted on
    udev                          16402568        0  16402568   0% /dev
    tmpfs                          3282848   320392   2962456  10% /run
    /dev/mapper/server5--vg-root  89780400 59506456  25690316  70% /
    tmpfs                         16414228        0  16414228   0% /dev/shm
    tmpfs                             5120        0      5120   0% /run/lock
    tmpfs                         16414228        0  16414228   0% /sys/fs/cgroup
    /dev/sda1                       240972   240139         0 100% /boot
    tmpfs                          3282848        0   3282848   0% /run/user/1000

Note that each machine also has 32 GB ram.
Also some of my info from the start up screen
    System load:  1.16               Processes:           173
      Usage of /:   65.8% of 85.62GB   Users logged in:     0
      Memory usage: 24%

So why is only 89 gigs allocated? How do I increase the partition size? This is a problem as I am starting to run out of disk space across all my machines.

A: Because you only chose to allocate that much when you installed.  To increase it now you can do:
sudo lvresize -L 100g server5-vg/root
sudo resize2fs /dev/server5-vg/root

redpajama_set_name: RedPajamaStackExchange


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Q & A with Sr. Angela Ann Zukowski, a pioneer in cable television
Sr. Angela Ann Zukowski in October 2013 (University of Dayton / Larry Burgess)
by Gail DeGeorge
Dec. 19, 2017 in
Sr. Angela Ann Zukowski did not intend to be a pioneer in cable television and distance learning for Catholic education and faith formation.
The sister of the Mission Helpers of the Sacred Heart prepared during formation for what she believed was her mission: serving in Latin America. When her assignment came to go to Dayton, Ohio, she thought it was a mistake.
She was told initially that the assignment to teach religious education and faith formation to rural communities would be for a few years. Yet while there, she encountered a new medium of communication: cable television.
That opened up the world for Zukowski, who became the first female president of the boards of the U.S., North American and world branches of the International Catholic Association for Radio and Television (UNDA) and the first woman on the Pontifical Council for Social Communications at the Vatican. She was instrumental in bringing UNDA and the International Catholic Organization for Cinema and Audiovisuals (OCIC) together to form SIGNIS, the World Catholic Association for Communication, in 2001.
She has been a professor in the religious studies department at the University of Dayton for more than 34 years. She is also director of the Institute for Pastoral Initiatives, where she oversees the Virtual Learning Community for Faith Formation, which offers online courses in English and Spanish in more than 40 countries.
GSR: How did you get drawn into cable ministry?
Zukowski: I was missioned to Dayton, Ohio, in 1971 to work in the archdiocese of Cincinnati in the rural areas. I was driving 2,500 miles a month from one parish and school to another as a consultant for Catholic schools and religious education and adult faith formation in parishes.
After about six months, I was at a dinner and asked to talk about what I was doing. I told them I was going from St. Rose Parish to St. John's Parish to St. Henry's Parish — all within about a 6-mile distance — teaching the same course. One of the gentlemen at the dinner said, "Sister, I own this new cable company" — because cable was new. "Why don't you go on cable television and give your course on cable television, and you wouldn't have to drive to all these places."
I said, "I know nothing about cable television. I'm on my way to Latin America."
He said, "I think you should try it."
That was the beginning. Fr. Robert Monnin was the Catholic school superintendent of the northern region of the archdiocese. Together, we produced the very first cable TV series [in 1971] on sacraments called "Celebrate Life." The program was designed to help parents prepare their children for the sacraments.
We decided to build our own mini-studio in the basement of our small house office building. When Father Monnin was moved to live in St. Patrick's parish, there was an empty one-room school house in the parish. We converted it into what we believe was the first Catholic cable television studio in the country.
A major step forward appeared when we were asked to produce a series of parish high school religious education classes to support the parish programs. The videos included a short presentation, a group dialogue with high school students around the topic and a prayer service. The videos were both aired on the local cable TV stations in the several towns as well as made available on VHS tapes and distributed to parishes as there was no such thing as the internet then for delivery. The methodology we designed is what we today call "blended learning" [which combines online learning with in-person instruction.]
Where did you go from there?
In 1974, I was invited to join another archdiocesan priest in hosting a Saturday hard rock radio program on the University of Dayton's radio station. Each program was created around a relevant issue, like ecology, and we looked for music that would complement the theme. Young people continuously called in with observations on the topics.
In 1978, the Marianists at the University of Dayton approached me to apply for a position that was opening up. They thought the communication ministry I was engaged in could complement and expand the work of the Office for Moral and Religious Education on campus.
I had made a commitment to Archbishop [Joseph] Bernardin [then the archbishop of Cincinnati] to work on a new project for the archdiocese. When I spoke with the archbishop concerning the invitation from the university, he was extremely supportive. He was partly a spiritual director to me, and he said, "You know, Sister Angela Ann, I think your future is not in a diocese. You think bigger than the diocese. I think your future is there. See if the Marianists will let you finish this project and hold the position." And the university did.
Why did you get involved in leadership in Catholic media organizations?
When I first got on cable television, I was thinking I might like to get a master's degree in communications since I wasn't yet headed to Latin America and I didn't have any background in what I was doing. My experience was pure life experience.
I went to the chairperson at the department of communications at the University of Dayton and indicated that I'd like to work on a master's degree in communications, and he asked me, "Sister, do you really want to go this way in your life? How about if you go to this meeting group called UNDA and see what these people are like."
So I went to this association, and most were in radio and broadcast television. I was the only one in cable, and I was a religious educator on cable, so I wasn't even a full-time communications person.
Around 1984 or 1985, I was elected vice president of UNDA USA. In 1988, I was acting president. That meant I became the representative to the international board of directors from North America. So then I got involved at the international level. Around 1989, I was working with Canada and the U.S., then I became the North American president for UNDA. In 1990 in Bangkok, I was nominated for vice president of UNDA World and was elected. In 1994, I was elected the first woman president.
One of the activities that you had a major role as the UNDA world president was the merging of UNDA and OCIC. Can you tell us briefly how that came about?
The idea of merging UNDA and OCIC had been on the docket since the early 1980s. It consistently met with opposition from a few vocal and assertive members in both UNDA and OCIC.
By the early 1990s, a growing number of Catholic communicators were now members of both organizations. With Catholic communication budgets tightening across the board, the reality demanded a proactive stewardship plan to address the limited resources.
As UNDA and OCIC jointly prepared for the 1994 Prague World Congress, both boards agreed that the next administration of both organizations needed to accelerate the dialogue on the merger. As I was elected the [first and last female] UNDA world president during the Prague congress, I understood our mandate to move beyond discussion to dialogue and aggressive implementation. Of course, since both organizations were officially recognized by the Vatican, our move forward needed the Vatican's approval, which it received.
Yes, there were painful moments, but the joy was knowing we were moving forward and the larger picture was more important than our individual issues and concerns. Rome in November 2001 was the venue for the historic moment for Catholic communications. It was a swift unanimous vote that swept UNDA and OCIC into SIGNIS. I knew I could leave office knowing with my colleagues we achieved what we set out to accomplish.
Sr. Angela Ann Zukowski, center, and University of Dayton graduate students Michael Ingram and Huili Stout design a new Christian Meditation website. (Courtesy of the University of Dayton's Institute for Pastoral Initiatives)
You were pioneering distance learning and now online education at the university. Is there a difference in how you approach teaching?
Yes, there definitely is a difference. I have always been intrigued with the emerging new educational technologies. Each new development has offered vast new opportunities to research and implement new educational strategies to spark the educational religious imagination of students. I chair the Catholic Schools of Tomorrow Award for Innovation in Education, which is now sponsored by Bayard Publishers Inc.
For the past 20-plus years, our team has reviewed hundreds and hundreds of entries highlighting how Catholic educators are altering learning environments in Catholic schools, particularly via technology and e-learning. I find myself constantly challenged and enthused for keeping abreast of these developments. It enables me to keep alert, fresh and, I hope, positioned to motivate my students that there are many ways to not only capture information but creatively design responses for what we are learning, challenging the status quo and imagining a new perspective that will advance living and learning in the 21st century.
In light of all this enthusiasm, we need to never lose sight of the "Art of Being Human in a Digital Milieu." I am not blindsided by the potential negative impact of artificial intelligence, robotics and intensity of living in a distracting digital milieu. There needs to be a creative human balance; in the past few years, I have been not only been engaged in research in this area but giving workshops, presentations and retreats to explore the question with Catholic educators and those in ministry around the world.
At the SIGNIS conference in June, you spoke about the future of communications and the importance of keeping a human voice in the digital age. What do you think about that when it comes to Catholic spiritual instruction?
We all need to be more intentional and reflective regarding the impact technology is and will have on being human. This conversation is rapidly emerging in copious articles and publications highlighting diverse perspectives on the topic. Our Catholic social teaching contributes to the conversation in a unique way. We cannot be passive and ignore our collaborative responsibility of the impact of evolving artificial intelligence, robotics and digital tools on the human person.
Social media is offering a unique way for connecting, forming e-communities online and researching vast horizons of information concerning people, culture, religion and all that is associated with them for nurturing an expanding sense of globalization that transcends anything we have experienced in previous times.
We have a new generation of young people whose primary existence is tethered to digital devices, particularly smartphones. There is mounting evidence that these devices are radically changing their lives in areas affecting health, unhappiness and loneliness with more time on their hands than any other generation. These factors are prime conditions for introducing Generation Z to contemplative practices.
What's the next step for you and your ministry at the University of Dayton?
Our University of Dayton online faith formation program, known as the Virtual Learning Community for Faith Formation, continues to expand both within the United States and around the world. We have established new collaborative relationships internally with the University of Dayton's vast rich IT resources and services — for example, the University of Dayton Research Institute — and new types of collaborative partnerships outside of campus. We are reimagining our websites and e-course designs to advance forward with a fresh new look and methodologies.
How do you see the Holy Spirit working in your ministry?
Every day, I witness the working of the Holy Spirit through people and events. When I listen to our students reflect upon their ministry experiences during their academic year, or when they return from a summer working in and among those in need, I sense the power of the Holy Spirit intensifying within them.
As I frequently travel to other countries and observe the evolution of innovative forms of religious life emerging among lay communities, I sense something new is transpiring within the church. The Holy Spirit is working wonders if we have hearts that are open and eyes to see. It may not be the traditional way, but it definitely validates a new Pentecost moment within the church.
My first morning prayer is to the Holy Spirit. I pray that the gifts of the Holy Spirit will be exercised during the day and the fruits of the Holy Spirit will be experienced within and among those I work and minister. I firmly live by the belief that as we surrender to the Holy Spirit alive in us, we free ourselves to be open to possibilities beyond belief.
[Gail DeGeorge is editor of Global Sisters Report. Her email address is gdegeorge@ncronline.org. Follow her on Twitter: @GailDeGeorge.]
Also in Q & A:
Q & A with Sr. Marcia Hall, producing a film encouraging African American vocations
Dawn Araujo-Hawkins (Jul 16, 2019)
Q & A with Sr. Marie Agnes Buasap, teaching young people in Thailand to avoid being trafficked
Joyce Meyer (Jul 9, 2019)

redpajama_set_name: RedPajamaCommonCrawl


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Update #54: Art Update - Work IS in Progress!
By Darren Monahan, May 29, 2013 in Pillars of Eternity: Announcements and News
rob nesler
kickin it forward
J. Trudel 31
J. Trudel
(2) Evoker
UI looks suck. Please make it better becouse at this moment UI destroys the game concepts.
So do you have any ideas ? Perhaps you could explain what you would like or what you don't. At least your post would have the merit of being useful.
Karkarov 3,693
Karkarov
Xbox Gamertag:Karkarov
PSN Online ID:Karkarov
Steam:Karkarov
Yes a large portion of the "audience" is going to be crazy hard core niche people and if you design the game around their tastes you are going to hurt your game.
You and i disagree almost completely in what is good game design. From my perpective it's the people who want a "modern"( whatever that means) game will hurt the game. I don't believe either of us is wrong, but at the same time is almost imposible to make a game that'll please both of us. That's why i said that in divisive matters like that they should follow as close to IE as they can. And i don't consider myself "hardcore" either. I have seen people who consider IE games "casual" and wanted a more oldschool hardcore experience like Realms of Arcania. I disagree with them as well.
As Avellone said, what matters is that the backers are happy with what we get. If the game has more broad appeal, great,we all hope for that. But the backers come first. And the only thing we have in common is love for the IE games. Sure, there were parts we didn't like, but that parts are different for each of us.
Well .... yes and no again. There is no uh.... how should I say it "options" when it comes to UI design. Your UI is either easy to use, functional, and enhances your experience without getting in the games way.... or it doesn't meet those criteria. I promise you if they go to production with the current UI mock up as the basis over half or more of professional reviews are going to comment on it and mention that the UI is bad, because it is. There is no other way to say it.
Lets look at modern UI designs in strategy RPG's. Like .... the game X-Com: Enemy Unknown. I know a lot of major review sites gave it game of the year. Almost everyone gave it PC game of the Year. Much like the IE games it has a top down isometric view even if it is fully 3d. Here is a link to a screen shot of the pc version during combat: http://media1.gameinformer.com/imagefeed/featured/2kgames/xcom/enemyunknown/insideufo.jpg
Obviously I am not suggesting this UI.
That said... I want you to notice that every bit of info you could possibly want about the situation at hand is shown. I see my units hp and remaining action points, I see what skills and abilities my selected unit has, I see what he is aiming at, I can tell what my units name, rank, class, and buffs vs his target are, I can even tell how much ammo he has and what guns he has available. It is all right there at a glance. What else does this UI do? It doesn't block hardly any of the actual game screen. It is there, it is fully functional, it is easy to use, I have access to everything I would need to know or use on a regular basis, and my view is barely obstructed. That's a good UI.
So this is a turn based strategy RPG that won PC Game of the Year pretty much no contest, and there is one key take away here. The only time reviewers mentioned the UI that I saw... was to say the out of combat in base UI was clunky. By comparison to the project eternity mock up the in base UI in Xcom was sleek as all hell.
What scares me is the current posted mock up already blocks 16.3% (to be specific) of the screen at 720p and Sawyer said it was actually the smallest most compact UI mock up they had. Who knows how clunky and huge the other mock ups are. The statues are really neat looking and pretty, straight up, but they serve no function. Function is the core concept of the UI. I don't care how pretty and nice to look at the UI is, if it isn't functional, easy to use, all without obstructing or (distracting you from) the gameplay, then it is a bad UI. There is really no agree or disagree on that.
Edited May 30, 2013 by Karkarov
Naurgalen 82
Naurgalen
About the UI it feels it wants to capture the style of the old games while having tons of "free" space, and I like that, but I think it should try at the same time embracing the new "minimalistic" design: intuitive, small and with lots of easy to read information. For example:
- Healths/Mana/Whatever resource bars: Go for the league of legends (and i think dota 2 too) approach, making the bar "segmented" to represent easy to read amounts of HP instead of guessing how much life is 30% of a line.
- Unite all kinds of HP in the same easily to read bar, but make them accordingly different (LOL, Mass Effect). That means: if you have a shield /extra life it goes to your health bar, but instead of "green" (or whatever) it is "white" if it works like normal health or "blue" if it only protects you from magic. (I wont recommend having more than 3 types of "extra health")
- Even more, improve that according to your game: make monks "injury's" be seen in his health: how much health they will have if they don't treat them. (this can be used with other DOTs too if you want it)
- Separate buffs from debuffs not only by color but position. Put them in order of their "actual" duration and if you can, find a way yo make that duration visually easy to read. (more trasparent? overline shich makes thiner? a clock line-border?)
Edited May 30, 2013 by Naurgalen
Prometheus 152
That is your opinion. I like the mock up more than the ui you linked and as in DA for example. I think the ui you linked looks just bad. and you can't control your characters any better than with the mockup.
khango 59
khango
In Memory of Genghis Khan
One thing I was thinking about since there seems to be so much emphasis on keeping the UI near the mouse is whether the character portrait gallery and log/journal could be anchored and the button elements track the screen edge to remain closer to the mouse. In some respects it sounds like a bad gimmick, and probably is. But maybe there's a less ugly way the UI could be more reactive? Just a thought.
Edited May 30, 2013 by khango
centurionofprix 128
centurionofprix
Well .... yes and no again. There is no uh.... how should I say it "options" when it comes to UI design. Your UI is either easy to use, functional, and enhances your experience without getting in the games way.... or it doesn't meet those criteria.
True. I think the IE interface was that way for many of us here. Remarkably easy to use, as well as aesthetic. I've never liked floating UIs or found them more effective, personally.
I promise you if they go to production with the current UI mock up as the basis over half or more of professional reviews are going to comment on it and mention that the UI is bad, because it is. There is no other way to say it.
Most of the people who funded the game disagree. The solid UI isn't bad by their preferences.
The Enemy Unkown interface looks ugly and tasteless to me. The HP floaters would detract from the aesthetics even more in PE than in EU. All that information is readily available in classic IE-style interfaces as well. Incidentally, the gamebanshee review, which probably is more representative of the sensibilities of PE fans than is the mainstream gaming press, noted the lack of customizable quick buttons: http://www.gamebanshee.com/reviews/109853-xcom-enemy-unknown-review/page-5.html
King's Bounty: Armored Princess was another recently well-received tactical game with a solid UI, and I haven't seen anyone complain about the interface. Googling it, even competitive games like the Starcraft, LoL and DotA sequels optimized for multiplayer efficiency still rock the solid look:
It seems to me you're framing an idiosyncratic preference in universal terms here.
Edited May 30, 2013 by centurionofprix
Malekith 622
Malekith
You lost me at the reviewers part. Who cares about them? Notice how all your points come to "how someone who hasn't played the IE games and is used to "modern" games will think about this game?". To that i say who gives a ****? The whole point of kickstarter is to make games not in the way the "mainstream market" and the IGN reviewers want but the way backers want. Or else what's the point? There was no need for some of us to give 100-2000 $ 2 years before. We could simply buy DA:3 (IGN 9/10, i don't even need to wait for it to know)
Fargo answered in the question "how you will attract modern gamers who didn't know the originals?" with "i don't care about them. I want for them to like my game, but my focus is the people who backed me". That is how kickstarted games should be viewed.
Unless you believe that the backers would prefer a modern UI. Then and only then you have an argument.
The reviewers who said in BGEE reviews that the main problems of the game were the "outdated" feel and the point and click gameplay instead of the genuine faults of the game(and it had many) are idiots.
Not really. A few asides, first... LoL and Dota are not strategy RPG's. They are Moba games, which is a dumb name for Multiplayer Action Game. They are designed to be fast and brutal, not slow and tactical. Screen space as a result is less important, but their UI's are still crap anyway and anyone who understands design can give you a laundry list as to why.
As for complaints about why a 16.3% brick covering the screen is no different than the 5-8% of floating icons in a strategy RPG... well all I gotta say is uh..... if you think it doesn't make a difference I doubt you have ever actually played a strategy RPG. Because you definitely need to see as much of the screen as possible.
For the haters who still think you need some retarded brick of graphics to do this UI right here comes Kark mark up 2.
So what do we have here? Well the party window is pixel for pixel the EXACT same size as the original mock up. There are 12 buttons, exactly like the original mock up. The useless brick of buttons I personally will never use is still there just flipped on it's side and repositioned to take up less space. It is literally the same exact UI as the mock up, just all the useless nonsense like statue graphics is removed, the chat box is bigger, and the chat box fades out when not in use. That's it, everything else is the same just repositioned. I didn't even change the size of the clock/pause button.
Morgulon the Wise 60
Morgulon the Wise
Some things came to my mind by reading Karkarvs post:
1. Will there be a shortkey again for showing HP bars and numbers? --> Please don't do it that way or make it changeable in circles to the characters feet which show the percentual health + numbers over their heads (also only showing by pressing a shortkey) Maybe the engagement range could also be presented in this way.
2. coloring of the character in some way if he has poison/ is blessed/buffed as in IWD2 -->I dont like that stuff. Only very potent magic shields should be visible all the time or magic which has the purpose to be shown (mantle of fear for example)
3. As it was said in the monk topic: Only show fire aroud the fists the moment they strike, magical barriers, when they repel and a good mix of shooting/weaving magic with the hands or with a possible staff. Not magic glows everywhere. There should be soul economy.
Edited May 30, 2013 by Morgulon the Wise
That looks good; it's the best take on the floating interface IMO. If they should go with that style, I'd like to see it done like yours. Still, part of the bottom of the map is always obscured, whereas with a solid UI, (I imagine) the bottom bar can be made to extend over the edge of the map.
Not really. A few asides, first... LoL and Dota are not strategy RPG's. They are Moba games, which is a dumb name for Multiplayer Action Game. They are designed to be fast and brutal, not slow and tactical.
True, but isn't seeing more of the map at a glance even more important given the fast pace of these games? You have time to look around in P:E. I ninja edited Starcraft 2 into the post; it also has a (gigantic) solid UI, and it's a purely strategy game, without even a pause function. Crucially, the professional reviewers didn't tear these UIs apart, or that of the slow and tactical Armored Princess, as you suggested they would with P:E.
Screen space as a result is less important, but their UI's are still crap anyway and anyone who understands design can give you a laundry list as to why.
Does this mean competitive players, or the professional reviewers to whom you alluded earlier, or now merely the few who happen to agree with your design sensibilities?
Not so bad, though I still feel it makes the characters feel less alive to box them in that way.
The UI looks great for a 4:3 aspect ratio, but for a widescreen resolution the viewing area becomes too wide. It would be better if it had two sidebars like Baldur's gate
Lephys 5,078
Lephys
Punsmith of the Obsidian Order
Location:The Punforge
A) Nice!
B) This made me think of an idea. I really like that parchment-like text log area, and I think it would utterly rock if, instead of just looking like a static piece of parchment and having a magical, transparent box that scrolls the text inside, it were actually like a scroll with a vertically-repeating-yet-seamless parchment-surface background texture, and whenever you scrolled, a simple animation actually made the scroll appear to literally scroll (the tops and bottoms would roll in the same direction, as if you were actually reading through a scroll).
It's not a big deal, I realize, but the idea 'twas sparked, and I felt the need to pitch it.
Should we not start with some Ipelagos, or at least some Greater Ipelagos, before tackling a named Arch Ipelago? 6_u
What is this with the portraits to the left side? Josh already said that if they do a vertical side in the UI it will be in the right side.
Sawyer also said he wants the quick buttons close to the portraits while avoiding the (apparently) uncomfortable mouse movement of two to five o'clock. And I think he wanted the dialogue box on the right side for readablity. Portraits on the left seems to fulfill these criteria while distributing some of the wide bottom bar in a vertical way so as not to ruin visibility in the twelve-six direction in the already narrow widescreen viewport.
http://forums.obsidian.net/topic/63851-update-54-art-update-work-is-in-progress/page-12?do=findComment&comment=1335403
Sorry, I misremembered. In any case, many of the left-aligned UIs do prevent the eleven-to-five direction by having the quick buttons below the portraits rather than to the right of the screen, and avoid leaving a great deal of distance between the buttons and right-aligned portraits, as well as the aesthetic problem of only covering part of the bottom of the screen. The latter problem seems to be present in Sawyer's suggestion of a right-aligned vertical bar with log box on the bottom.
Ineth 915
Ineth
I'm not a fan of floating UI boxes for this kind of game, but in this mockup they are relatively unobtrusive and don't feel too out of place.
All things considered, I'd definitely prefer this UI to the previously presented mockups which placed the portraits (or the whole UI) in a side-panel.
"Some ideas are so stupid that only an intellectual could believe them." -- attributed to George Orwell
I would prefer much bigger portraits - and thats where the side panel comes into play.
By the way: this gap between combat/quest log might give you an extra look down there but I think its unaestically compared to a closed bar on the bottom. If you want to keep that mockup please put everything in the middle of the lower screen . I'd also like some (not immersion-breaking) curves in the UI for a little less Windows/Program-Tab-aestetic.
I also very much like Karkarov's mockup. But, it does seem like there's not a lot of space to present character-specific info (such as status effects and such). They feel kind of group-hugged down there.
That seems kind of like it favors right-handed people. That's not very PC. A good compromise would be to have the vertical character-portrait rail be in the center of the screen, so that neither side gets favoritism, u_u...
<snipped>
I had thought of several ideas for parchment - both having a book with turnable pages and the endless scrolling scroll like you mention, as well as an absurd idea where lots of the UI was paperized and you could 'rip' it to make different parts into separate floating elements or change UI element locations. But they would have taken a lot of time and effort to try and mock so I didn't. But I do agree I think there ought to be be a lot of room to 'paperize' the log/journal, so to speak, and with the late-renaissance-age-of-exploration feel that's supposed to be going, there should be some room for paper done with printing presses.
Lots of us started on mocks without seeing that update and/or disagree with some of the reasoning. That's all.
Understandable. I don't fault you for not slapping something so extensive into a mockup. 8P
I was just thinking, along the whole "the UI fits into the setting and mood of the gameplay and therefore doesn't feel like a space age, out-of-place frame" idea, that you quite often have such detail put into readable inventory items and such, to make it appear as though you're simply reading the actual parchment/documents in the game world. So, why not the UI log area? As it is more notorious for vertical scrolling, I simply felt that an actual scroll-type functionality might be nice. It would still work the same as pretty much any other text log in any other RPG. But, you'd get that nice "Oooooh, this FEELS like I'm actually reading a log on some parchment!" effect that might help anchor the UI that much more.
Eiphel 104
Eiphel
Wanted to come and weigh in on the UI discussion. I've no doubt I'll be echoing comments from the other 17 pages of this topic, but nontheless:
I understand the desire for an 'IE style' User Interface. PE is trying to evoke those games, and UI design is part of what they were. But the IE games had pretty bad UIs, and nostalgia shouldn't trump functionality. The PE UI should attempt to capture the aesthetic of the Infinite Engine, but reworked into a much more functional form. This current attempt is, to me, pretty poor.
First off, it uses up a huge chunk of real estate on the screen. So much effort has been put into these fantastic landscapes, blotting out an enormous bar of them is pretty saddening. Some form of rectractable/hidable/modular UI could work well here if simply shrinking the space allowed is off the table. (Arcanum even did this a bit.)
Secondly, within the UI area itself, it's full of dead space. Large patches of blank wood texture or stone texture or whatever are very ugly and also poor for functionality since they're using up the amount of actually 'operational' screen space.
Thirdly, the text window is right aligned. If this is where all of the game's dialogue and writing is going to appear, I very much feel it needs to be centralised. If I'll have 500k words to read across my playing of PE, I don't want to be constantly looking off to the bottom corner when the focus of the scene will be centred. I want to just be able to glance down.
Those are my main thoughts, and by far my biggest concern is the amount of wasted real estate in this sample. I don't want to sound too critical, but on the other hand I was really taken aback by how poor and dated this UI looks. By all means you want to evoke the IE spirit, but you need to do so within a functional and up-to-date design paradigm. Evocative shouldn't mean dated, and it shouldn't cost functionality or aesthetics.
Deadspace is probably at least partially there to illustrate padding required for different size and aspect ratios of screens most likely. So long as UI covers full horizontal or full vertical there will probably be a need for some sort of padding-filler-moodsetting textured non-interactive bits to take up the gaps.


text:
TOTTENHAM PARISH CHURCH - ALL HALLOWS - A HISTORY
The parish church of 'All Hallows' in Tottenham is an Anglican church and said to be one of the oldest buildings in the Borough of Haringey. It was originally built as 'All Saints Church' in the 12th century, but was re-dedicated as 'All Hallows' in the 15th century. It is reputed to have been given to Tottenham by King David I of Scotland, strengthening its connection with the Bruce family who were owners of Bruce Castle. It has been the original parish Church for Tottenham for over 700 years.
The church stands in Church Lane and is adjacent to Bruce Castle and Tottenham Cemetery beyond. The church is part of the Diocese of London and its clergy have included the William Bedwell (from 1607) and John Howard Churchill, later Dean of Carlisle.
The Church has been painted by artists on many occasions, including by William Ellis, John Preston Neale, William Henry Prior, John Thomas Smith, Jean Baptiste Claude Chatelain and John Constable. The painting of 'All Hallows Church – Tottenham' by John Constable is held at the Metropolitan Museum of art in New York.
In the very early 19th century John Constable was a visitor to Markfield House, the home of William Hobson, where he painted a number of portraits of the Hobson family. During his visits to Tottenham it is also possible that he was briefly acquainted with Luke Howard who is widely recognised as being 'The Father of the Clouds'. Both William Hobson and Luke Howard were members of the Quaker movement in Tottenham. John Constable was also fascinated by clouds and they feature in many of his paintings.
There is also a fine painting by the artist John Bonny that is on display at Bruce Castle Museum.
ALL HALLOWS CHURCH TOTTENHAM - By John Bonny
The church has a long and unique history including a resident ghost and a captured bell brought to Tottenham by two soldiers following the Battle of Quebec. Local folklore also refers to the body of Lady Constantia Hare who, according to historians, jumped to her death from the top of Bruce Castle in a jealous rage, which then went missing.. Her husband, Lord Hare, had her buried in the All Hallows graveyard, but there is no record of her death or burial even though the parish records are impeccable. In the past, there were a number of sightings of Lady Constantia's ghost recorded.
William Bedwell, who was the Rector of All Hallows from 1607, was a well-known and respected historian for Tottenham and he had written : "The Church, being for a country village as Tottenham is, a reasonable large and fayre one, with a pleasant tunable ring of five bells , standeth upon an hill, inuironed on the west, north and east , with the riueret Mose" ( he refers to the close proximity of the River Moselle). As one of the translators of the King James Bible, William Bedwell was vicar at All hallows between 1607 and 1632.
THE ABOVE ARE ILLUSTRATIONS FROM WILLIAM BEDWELL'S – HISTORY OF TOTTENHAM
Another famous but more recent Tottenham Historian, Fred Fisk (1861-1935), has written a most detailed synopsis of the various stages of the Church's history which can be found in his wonderful book 'The History of Tottenham' which was first published c1913.
PICTURE GALLERY - ALL HALLOWS CHURCH
ALL HALLOWS 1790
ALL HALLOWS CHURCH
FROM CHASE FARM - LORDSHIP LANE c 1880
The building, after many alterations, comprises a chancel with north-east vestries and north and south transepts, an aisled nave of 6 bays, a south porch, and a 4-stage west tower. A contrast of textures and colours is provided by the materials: flint rubble, ragstone, varied brickwork, and dressings of stone. By the end of the 14th century the surviving tower and arcades suggest a building with an aisled nave of 4 bays and a chancel with north and south chapels. During the 15th century both aisles were rebuilt, probably to a greater width, and that on the south side was continued beyond the rood screen into the rebuilt chapel. The two-storey south porch, of red brick with dark diapering and stone dressings, was added c. 1500. A north-east vestry over a burial vault for the Hare family was erected in 1696; a circular structure with a leaded dome surmounted by an obelisk, it was demolished in 1875 on the reorganization of Lord Coleraine's charity. The fourth stage of the tower, in brick and battlemented, was added during the 18th century. At a restoration in 1816 the church was probably again extended eastward, by one bay, and the north aisle was rebuilt in yellowish-brown brick. A further restoration in 1875 included the addition of a chancel, transepts, and vestries to the east; the work, by William Butterfield, was carried out in a Geometrical style but in materials similar to those of the porch. The many changes and slight 20th-century war damage have left few of the architectural details unaffected, although much original stonework has been reset. A western gallery for children was altered to accommodate more parishioners in 1741, when a new children's gallery was built over the south-west door .A north gallery, for the use of nine subscribers and their households.
Situated alongside the Church is the Priory. It was built in 1620 for Joseph Fenton. It was saved from demolition in 1906 when the Rev Denton Jones restored the property having moved back there from the former vicarage that stood in Tottenham High Road.
We acknowledge the detailed description of the church building and its history has been extracted from 'British History On-Line'
ALL HALLOWS CHURCH & PRIORY By John Bonny
Article prepared April 2014 : Alan Swain


The Bristol Improv Theatre is the spiritual home of spontaneous and interactive theatre and comedy in the South West UK! We supporting the UK's growing improvised theatre and comedy scene with events, performances, training, shows, classes and our yearly #Bitfest weekend improv theatre festival!
As well as growing audiences and promoting theatre performance, we are working with performers to develop new improvised theatre companies.
The BIT has a 100 seat capacity, flexible and well-equipped theatre space, with adjacent bar suitable for all kinds of productions. Our volunteers are working to make the BIT a beautiful asset for the whole Bristol theatre community.


Did you publish a book about popular music in 2015? Do you know someone who did? If you answered "yes" to either question, read on!
The International Association for the Study of Popular Music-US Branch (IASPM-US) presents the Woody Guthrie Award each year to the most outstanding book on popular music. Winners are awarded $1,000 (!!) and are announced each year at the IASPM-US Annual Conference.
IASPM-US requests your nominations for the most distinguished English language monograph in popular music studies published during 2015. Books may be nominated by any member in good standing of IASPM, by members of the prize committee, by their authors, or by publishers. Copyrights must state 2015.The deadline for nominations is September 1, 2016.
Nominations should be sent electronically to Kariann Goldschmitt (kgoldschmitt@wellesley.edu) and should include the author's name, book title, and publisher's information including ISBN. The society will announce the winner at the spring 2017 IASPM-US meeting.


text:
Bournemouth boss Eddie Howe responds to Nathan Ake transfer speculation amid Man City links
Manchester City are being linked with Bournemouth defender Nathan Ake in the January transfer window.
Joe Bray
Eddie Howe has offered an update on Nathan Ake's future.
Eddie Howe has dismissed speculation linking his star defender Nathan Ake with a departure from Bournemouth this month.
Ake, 24, is linked with a January move to Manchester City plus Premier League rivals Arsenal, Man United and Tottenham. Chelsea also continue to be linked with re-signing their former defender on a buy-back clause having sold him to Bournemouth for £20m in 2017.
City insist they will not do any business in January, and Ake is a player they have monitored along with other targets. However, they have never gone further than that stage.
Ake started the season well, but has not played since injuring his hamstring last month.
Speaking ahead of Bournemouth's FA Cup third round fixture against Luton, Howe was asked about the possibility of Ake leaving the Vitality Stadium in the January transfer window.
Pep Guardiola explains why he has 'not been nice' with Man City defender Eric Garcia
Laporte, Ederson, Otamendi: Pep Guardiola gives big Man City injury update
"There is nothing to reply," Howe insisted.
"He is recovering well from his injury, we will see when he is back fit."
City have been without Aymeric Laporte for much of the season through injury, with John Stones and Nicolas Otamendi - their only other senior recognised defenders - also suffering injuries at various points. Fernandinho has deputised, and Eric Garcia has stepped up from the youth team, but the need for central defensive reinforcements is clear.
However, Laporte is back in training as he slowly steps up his recovery, and should be back in action for the final few months of the season. Stones is back from his own absence, meaning City's defensive worries could soon resolve themselves.
John Stones
Barclay's Premier League


• Read a story together. Buy two copies of your favorite book or story (or borrow them from your library) and spend the evening discussing it. You may both learn things you didn't know about the story (and each other).
• Team up on a new recipe. Instead of going out to a restaurant, delve into your cookbooks and find a meal to collaborate on. Choose something different and challenging, and enjoy the results.
• Visit a museum. Your town probably has a museum (or two) that you've never been to before. Or a landmark you haven't seen yet. Select someplace new and check it out together.
• Go ice skating. If you live in a cold climate, find an ice rink nearby and go out for an hour or two of gliding—or falling—around together. Most rinks will rent skates for a minimal fee.


Bubble counter, ground glass joint NS 14 Threaded connection GL 14 Made of type 3.3 borosilicate glass. For monitoring the gas flow in apparatus. Suitable for excess pressure and vacuum. With ground glass joint and GL 32 screw cap with PTFE-coated seal. Overall height without ground joint approx. 145 mm, Ø approx. 30 mm. Temperature stable up to +200 °C. Delivery without GL 14 connectors, please order separately for bubble counters with GL connection.
Bubble counter, ground glass joint NS 14 Tubing connector Ø 9-10 mm Made of type 3.3 borosilicate glass. For monitoring the gas flow in apparatus. Suitable for excess pressure and vacuum. With ground glass joint and GL 32 screw cap with PTFE-coated seal. Overall height without ground joint approx. 145 mm, Ø approx. 30 mm. Temperature stable up to +200 °C. Delivery without GL 14 connectors, please order separately for bubble counters with GL connection.
Bubble counter, ground glass joint NS 29 Threaded connection GL 14 Made of type 3.3 borosilicate glass. For monitoring the gas flow in apparatus. Suitable for excess pressure and vacuum. With ground glass joint and GL 32 screw cap with PTFE-coated seal. Overall height without ground joint approx. 145 mm, Ø approx. 30 mm. Temperature stable up to +200 °C. Delivery without GL 14 connectors, please order separately for bubble counters with GL connection.
Bubble counter, ground glass joint NS 29 Tubing connector Ø 7-8 mm Made of type 3.3 borosilicate glass. For monitoring the gas flow in apparatus. Suitable for excess pressure and vacuum. With ground glass joint and GL 32 screw cap with PTFE-coated seal. Overall height without ground joint approx. 145 mm, Ø approx. 30 mm. Temperature stable up to +200 °C. Delivery without GL 14 connectors, please order separately for bubble counters with GL connection.
Cooling tube NS 29/32, L 1000 mm Made of borosilicate glass 3.3. Ground glass joint. Autoclavable.
Cooling tube NS 29/32, L 500 mm Made of borosilicate glass 3.3. Ground glass joint. Autoclavable.
Dimroth condenser, DURAN f. Soxhlet-extractor-capacity 100-250 ml Made of DURAN®. For Soxhlet extractors, with two screw-off plastic olives.
Dimroth condenser, DURAN f. Soxhlet-extractor-capacity 1000 ml Made of DURAN®. For Soxhlet extractors, with two screw-off plastic olives.
Dimroth condenser, DURAN f. Soxhlet-extractor-capacity 300-500 ml Made of DURAN®. For Soxhlet extractors, with two screw-off plastic olives.


The fire on the hearth stone rose and fell at the low, monotonous sound of chanting. Flames licked over sharp-smelling pine that burned brightly, crackling, casting lively shadows against the walls of the underground lair. Living tree roots lined the walls of the centuries-old home, gnarled and entwined, looping in and out like Celtic knots. Trees lived in the space, residents as rightful as the faeries themselves. Candles burned here and there, set along those roots and across a wooden table nearby, its top thick with melted beeswax. The sweet smell of the candles, burning wolfclaw, and nettle mingled with the scents of wood smoke and earth.
The faerie Daghda—An Daghda Mór to those who once worshipped him—lounged naked beside the fire, comfortable on silken, feather pillows, drowsing as Morrighan cast her spell. But, comfortable as he was, he tired of waiting. He stirred and propped himself on one elbow to watch. She was dawdling, he knew it. He was being ignored, and he hated that. More than anything, he hated being ignored.
"Come," he said. "Lie with me and forget the damned mortal." He held his hand out to her in invitation. His ball mór swelled as he gazed upon her flushed, glistening skin. The sweet ache made him shift position and he raised his knee. It had been far too long since she'd last shown interest in him and the longing was no longer tolerable.
She declined to reply, ignoring him still, and lifted the sword over the fire to cense it in the smoke. Her words were in the Old Tongue, muttered under her breath. He couldn't hear what she said, though he lay quite near. She was shutting him out on purpose now. Anger rose, and he sat up on the pillows.
His voice took on a petulant tone, though he hated it and coughed first to clear it from his throat. "What might be the purpose of it? If it's the blood lust ye desire for him, he's human and therefore filled with it already. Or is it fear in yourself? Do ye think his powers are greater than your own?" He knew her well, and wouldn't hesitate to prod her most tender places.
That brought an evil look, and a smile touched his mouth as she paused in her chanting. Smoke drifted past the blade of the aging sword—a worn Scottish broadsword with a heart-shaped basket hilt of pierced steel. "He's but a mortal." She sneered, but he thought there was more to it. Such as lust of her own. Jealousy rose again in Daghda, and he spoke more firmly this time.
Daghda refrained from mentioning his own powers, for his best days were far behind him. Any more, he was happy enough merely to not age like a mortal, for that was nearly the only power left to him now that the Sidhe were dwindling. Only a few scattered faeries remained in the isles, hiding from the increasing numbers of men and their new powers of construction and destruction.
The pleasures of Morrighan's flesh were his only joy in life any more, and her waning interest tore at him. Longing filled him for the day he'd first seen her, straddling a burn, washing the heads of men slain in battle. Her thick, black hair had draped over her face and shoulders, and she'd eyed him with such a bright, hot look of lust, he'd taken her on the spot. In the flowing water, surrounded by the spoils of her triumphant day, he'd taken her to him and made her his own. At least, he'd thought of it that way. It had been a glorious coupling, recounted through the centuries in story and song. Remembering the mindless joy, her excitement for the death all around, the heat and strength of her body, his skin warmed, glowing red in the firelight.
The sword disappeared amid crackling, sparkling air as the fire leapt. The hairs rose on Daghda's arms, and he rubbed them down. Morrighan sighed and stared at the now empty space, satisfied.
Daghda let a smile lift the corners of his mouth as Morrighan's gaze wandered over him. A fine sheen of sweat covered her and her eyes were wild, dancing. He said, his voice husky with longing, "Seeing ye like this, recollects me of the day I came upon ye with yer feet spread wide and yer skirts tucked up to yer waist, letting the burn run between yer legs all free." Lying back on the pillows, he touched his tongue to his lip.
She smiled. Her eyes glittered in the high, hot firelight. In one movement she dropped her crimson robe from her shoulders and came to kneel between his splayed knees. His blood surged and he reached for her involuntarily, wishing to have his mouth on hers. Or any part of her. His hand slipped behind her neck, and she slithered the length of him, skin on skin, until her hips pressed hard against the insides of his thighs. He moaned, deep in his chest as the ache in his groin sharpened to sweet pain. Her mouth found his as she straddled his hips. As she claimed him and he surrendered to her, he thought that perhaps he would like her to cast a spell such as this every day.


The US Armed Forces Chess Tournament is open to all Active Duty, Reservists, Military Retirees, Cadets, Midshipmen, and ROTC who have a USCF Membership. It will be held October 6-8, 2012. A 6 Round Swiss System Chess Tournament. Free! No Entry fee. The U.S. Navy & the USCF's Military Chess Committee is proud to host this year's Open on board USS Wasp LHD-1 @ Naval Station Norfolk, VA.
This is the FIRST time that the USAFO has taken place aboard a Navy Ship! Check out all the details at the official website.


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In case if you didn't know, the speed of your website is a ranking factor now in big G. If you have a fast website, it will help you rank better in search engines. Obviously, the other picture is true too and if you have a website that takes time to load, you will lose ranking.
This is one risk to talk about and then there is another angle to look at it. If you have poor site speed, the traffic will not like it enough and that will increase bounce rate. Bounce rate is another ranking factor for Google so there's that risk too. Anyway, we are not here to talk about risks. We are here to talk about how you can avoid those risks. You can simply do that by making your WordPress site faster.
With the boom in the hosting industry, anyone and everyone now owns a hosting company. When you are choosing a hosting for your website, make sure that you are spending enough to get the perfect host. A poor hosting company will make your website load slower and if your website takes 3 or more seconds to load, the chances are high that you will lose traffic.
Some themes are clumsy and some are so well maintained. Always keep your themes up to date and make sure that you are not using a pirated copy of a non-popular theme. Always test your theme using theme test plugins before you activate it and also, make sure that you are doing speed tests before and after activating your theme to make sure that things are going well.
Caching plugins do an amazing thing for your website. These make sure that the returning visitor does not have to wait long to see the full page. The caching plugins store some of the cookies on to the browser of the user to make that happen. The best one is W3 Total Cache but you can also look for some other ones out there.
Most people think that optimization is all about doing SEO to make sure that your website goes to the top of the relevant Google pages. Yes, there is that but it is a lot more than just pushing your website up. You have to make sure that the on page optimization is there to make your site load faster. A perfectly optimized page loads fast and decreases your bounce rate. Don't forget to optimize the images. Image is a vital part as they take space and they make your site slow if they are not optimized properly. Don't make that mistake.
You do not have to load your whole website at once for the audience. Let it load slowly once your traffic reach to that parts of the website. Think about it. Is it really important to load the bottom image of your website when your traffic is reading the top paragraph? No it is not. The lazy load plugins make sure that the sections of a website are loaded separately. You can set images on lazy load and some people set comments on lazy load too which is another good idea.
If you post regularly then you know that WordPress stores all the drafts of your article which you never publish in reality. These make a site heavy and you do not really need to keep those data. If you really want to store articles, create a folder on your personal computer and simply save them as doc files. WordPress draft is not the place to store your work.
WordPress in general does stuffs that you do not ask for. For example, it will always ping your articles and will also interact with other websites which have pings. Especially if you have plugins such as Yoast SEO then this is a regular occurrence. Yoast SEO does a lot of things that you didn't ask for. For example, it will automatically index your posts even if you do not ask Google to index your website. If you do not want these auto pingbacks and tracks, make sure that you change your settings immediately after making your site live.
This is another important thing that you should keep in mind. Just because you installed WordPress and have access to all the plugins of the world, you should not install anything and everything. Try to keep things simple and minimum. There are lots of plugins around which are interesting and you will at times be tempted to go for those. Well, the suggestion here is that you should not! Only install the ones that you think will add value to your website.
Finally, it is important that you do check your website once in a while for unusual activities. Track your traffic and make sure that you have Google Webmaster and Analytics setup. If you have Webmasters, Google will tell you every important update on your email which is brilliant. Even then, do your manual analysis every week.
Try to understand why bounce rates are increasing and which pages are causing so. Try to interlink your posts so that people do not cross your website's tab. Continue doing these and you will have a fast WordPress website all the time.


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Q: two different uses of : which is the best solution for accessibility? I want to substitute a piece of text with an image (for example, the word "call" with a phone icon) along some other text in a web page. I want this to work for normal user, without penalizing people who disable css (or don't have css active) and blind people that cannot see images [addendum]. Which is the better solution between the following two ones?
1.

2.     call

with:
.s1 {
    display:inline-block;
    background: url("call.png") no-repeat scroll 0 0 transparent;
    width:24px;
}
.s2 {
    overflow:hidden;
    text-indent: 30px;
}

P.S.: no  alternative, please.

A: Between the two alternatives given, 2 is evidently the right answer, i.e. it is clearly less detrimental to accessibility. When CSS is off, the element reduces to the word "call", whereas alternative 1 reduces to the empty string. There is no guarantee that some software is able to announce the value of the title attribute. Consider, for example, the use of a normal graphic browser in purely visual mode, with no screen reader (with e.g. settings that override page CSS and enforce large enough font suitable for the user).
Even alternative 2 is bad for accessibility. When CSS is enabled, the word "call" is replaced by an icon. But there is no guarantee that the user can see it at all. And there is no way to specify alt text for a background image as you can do for content images. Moreover, what would you use as a phone icon? Most such icons are old-style, like ☎ or ✆, and there are more and more people who never used such a device.

A: SPAN is a very generic element, and should be used when no better markup element is suited for the purpose. In your case, the A (anchor) is just what you need, assuming your "call" element is something the user agent should distinguish from pure text. Even if you don't use href, it's still an anchor - just bind it to a mouse event with JavaScript.
Also, using background images here is misplaced. Background images are for backgrounds. In fact, user agents shouldn't even alow clicking on these as part of active user interface (only as a very secondary interaction) If it's a "Call" button you're after, use CSS content property instead. You are right about img though - that's for images that carry page content, not navigation. I.e. buttons, anchors and the like shouldn't use the img tag. You can also use input or button, depending on context (cannot tell from your question).
If you really want to make your pages accessible, you are on the right track, but I really think the following is a better alternative:
 Call

 .s1
 {
     content: url(call.png);
 }

You can adjust the size of your anchor that is marked with the s1 class using CSS width and height. I would use an SVG instead though. If your graphic is vector, it is definitely a much better idea. Pixels are for photos and pixel-art :-)
If you want to add some text after your element, you can use CSS :after:
.s1:after
{
    content: "Call";
}


text:
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Innovating Teacher Pre-Service Education in Bahrain: An International Partnership Model
by Lucy Bailey
Bahrain Teachers College, University of Bahrain, Bahrain.
10.46679/isbn978819484832503
This chapter reports on the process used to develop a revised curriculum for initial teacher education in the Kingdom of Bahrain, using this case-study institution to reflect on the evolving nature and purpose of teacher preparation in the twenty-first century (McMahon, Forde & Dickson, 2015), and the drivers and impediments in the Gulf Cooperation Council (GCC) countries to ensuring that teacher education programs keep abreast of wider social change. The chapter, therefore, contributes to the burgeoning literature analyzing the worldwide evolution of teacher education (Tan, Liu & Low, 2017).
The chapter begins by explaining the reasons underpinning a proposed revision of the Bachelors in Education (BEd) programme. It next reports on the process that was adopted to undertake the curriculum revision, arguing that the concepts of ―policy borrowing‖ and ―policy learning‖ are both problematic, and suggesting that these should be replaced by the idea of ―institutional partners‖. The chapter subsequently examines how potential tensions between local and global practices were leveraged in the revision through this partnership model.
This case study in the development of a pre-service teacher education curriculum is of interest to international scholars as it explores the place of teacher education in both driving and reflecting social change, and it raises questions about how competing conceptualizations of teacher education reflect contrasting visions for society (Säfström & Saeverot, 2017). Interweaving sociological and philosophical perspectives on teacher education and development, this chapter will be of interest to curriculum developers, teacher educators, and teacher practitioners alike.
Keywords: institutional partners, policy borrowing, policy learning, teacher education, curriculum revision.
This chapter is a part of: Innovations in Educational Leadership and Continuous Teachers' Professional Development (Eds. Osama Al Mahdi, Ph.D.)
Buy Fulltext
© 2020, CSMFL Publications & its authors.
Alaali, F., & Naser, H. (2019). Economic development and environmental sustainability: evidence from Bahrain. Energy, Ecology and Environment 5, 211-219.
Albaker, K. (2017). Analytical View of Bahrain's Government Schools' Performance: A Quality Perspective. SAGE Open, 7(4), 2158244017736555.
Aldabbus, S., Al-Hattami, A., &Elmahdi, I. A. (2019). Effectiveness of B.Ed teachers' preparation program offered by Bahrain Teachers College. International Journal of Education, Learning and Development 7(11), 1-11.
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AlMahdi, O., & Bukamal, H. (2019). Pre-Service Teachers' Attitudes Toward Inclusive Education During Their Studies in Bahrain Teachers College. SAGE Open, 9(3), 2158244019865772.
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Chakroun, B. (2010). National qualification frameworks: From policy borrowing to policy learning. European Journal of Education, 45(2), 199-216.
Cochran-Smith, M., Carney, M. C., Keefe, E. S., Burton, S., Chang, W. C., Fernandez, M. B., … & Baker, M. (2018). Reclaiming accountability in teacher education. Teachers College Press.
Darling-Hammond, L. (2017). Teacher education around the world: What can we learn from international practice?. European Journal of Teacher Education, 40(3), 291-309.
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Pathways School Noida
Akshun Abhimanyu
Sector 100 Noida - 201301
school.noida@pathways.in
From Biotechnology to Theatre and Dance
A mischievous child, Akshun had to be kept occupied after school in hobby classes like dancing and theatre. Fortunately, this created a spark of acting in him at an early age and he started working in educative street plays and performing theatre. His performance in Senior School's Annual Production in December 2010 "I, Van Gogh," as a lead actor, for which he received much critical acclaim, made his parents realizethat his acting skills were indeed good. Akshun graduated from Pathways World School in 2011.
Coming from a family of professionals, he was encouraged to complete his education. Along the way to his bachelor's degree in Biotechnology from Jacobs University in Germany, he dabbled in theatre and dance on the side. Eventually, he settled on acting and attended the New York Film Academy in Burbank, Calif., and trained for dancing at the Millennium Dance Complex in Los Angeles.
Akshun was not only good at theatre but was also a great football player at School and participated in a number of School Tournaments. He is now an Indian American actor/writer whose debut movie "Seven Rounds" based on the Kansas racial shootings is heading to be shown at the popular Cannes Film Festival. His new film showcases the heightened feelings of "fear and uncertainty".
Akshun Abhimanyu Interviewed by Pathways
Q1. A note on your childhood.
Growing up in New Delhi, India, I was constantly overflowing with enthusiasm. It was difficult for teachers to keep me stationary throughout the duration of the class. I was also surrounded by intellectuals who devoted themselves towards making society a better place. My father being a Scientist (Microbiologist) at TERI, (India Habitat Centre) and mother being a Doctor, gynaecologist often landed me amidst activities in the scientific world, which was an amazing experience.
My mother believes strongly in developing both sides of the brain i.e. reasoning and creativity. She lucratively tackled my hyperactivity by enrolling me in "creative" classes at an early stage which kept me positively occupied after school in various extracurricular activities. I started learning dancing and theatre at the age of 9 and 11 respectively. I enjoyed my school and was involved in making various science projects and represented my School at a National Level. I devoted my free time to the Dance Room or Drama Room. My love for stage gave me an opportunity to perform in the School's Annual Productions over the years, the last one being "I Vangough" in 2010 in which I played the lead actor.
Q2. What inspired you to make 'Seven Rounds'? What is the message that you want to convey through this movie?
Living in LA, the United States for past 3 years, upon graduating with Bachelors in Biotechnology from Jacobs University in Germany, I was motivated to work towards a change and embark on my journey as an artist. I developed my acting and dancing skills at New York Film Academy & Millennium Dance Complex in Los Angeles.
I conceptualized the story of Seven Rounds by relating to various incidents that happened in early 2017 that led to the travel ban being imposed in the United States. This ban was subjected towards a few nationalities. The number of victims of hate crime was increasing and gun violence, in any case, has been a major issue in the United States. The incident in Kansas which involved shooting of the two Indian engineers really shook me. Thus, inspired from these issues, I chose to work on this subject and got my screenwriter and a good friend, Karthik Menon who also graduated from New York Film Academy to collaborate with me on the script for the movie.
My movie conveys the message of love and kindness towards all human beings equally and to not judge people based on their appearance or their nationality.
Q3. How hard was it to get started with the movie? What roadblocks did you face?
I strongly believe that working with your friends is always dynamic and exciting. I was fortunate to work with two of my close friends. Director, George Savviddis from Greece and Karthik Menon from Dubai, who came along as very important pieces of the puzzle to make this movie happen. We worked on this project as a team and set up "Three flames productions" based in Hollywood which helped bring a strong set of co-actors and crew members to work for the movie.
I had to avoid getting too personal with the story and focus on the role of being the lead actor, Ashok. Working with my co-actor and great friend Abhay Walia, helped in developing a strong bond between the two characters and showcase genuine friendship between two Indian guys living in the United States. We faced issues in casting initially, however, we ended up with an amazing set of Cast. Producers, Miranda Guzman and Trevor Doyle handled the production efficiently and helped the team reach the desired goals.
Q4. What films have been the most inspiring or influential to you and why?
I enjoy watching all genre of films. However, I personally feel influenced by movies directed by Mira Nair, Anurag Kashyap, Garth Davis, Aamir Khan and many others working towards bringing out genuine stories of the Society we live in.
The movies that have inspired me most are "The Reluctant Fundamentalist, The Namesake, and Water by Mira Nair". These movies have influenced my understanding towards film and media, which I believe, are the new age encyclopaedia and an effective resource to voice the issues of the society at a Global level.
Q5. Please tell us about your journey at Pathways School Noida. Which is your most special memory from school?
Pathways has been a key to my exploration towards my passion. My teachers and Dorm Parents have been instrumental in developing my soft skills and have been a part of my growing up. Living in the School Campus in Aravali, Gurgaon along with my amazing fellow Boarders, who became like a family to me, was an insightful experience. The School gave me amazing opportunities to discover my potential as an inquisitive individual. While studying my core subjects - Biology, Chemistry and Maths, I continued to remain involved in Theatre and Dance in School. Some of my friends, especially, Abhishek Chadda, Pronnoy Das and Jyotsna Chaman truly inspired me. I am fortunate to have had the best High School experience at Pathways World School and learnt a lot from my peers and teachers.
Performing in the play "I, Van Gogh", as a lead actor in the Senior School Annual Production in December 2010 was one of the most memorable experiences for me. The Play was a beautiful collaboration between the Visual Art and Drama Departments. The effort made by each individual to make that production successful taught me the importance of collaboration and teamwork. Our Drama Teacher, Mr. Renjith Janardhan, and Visual Arts Teacher, Mr. Ashwani Kumar played an important role in helping me find my potential and love for acting. The Show helped me overcome my stage fear and gave me immense confidence to act in front of an audience, which included my parents. The many opportunities that I have got in Pathways World School have helped me achieve my passion and into a confident individual to face greater challenges in life.
Q6. Any particular staff/teacher/mentor whom you would like to share about from your time at Pathways World School?
This is a difficult question. Many teachers influenced and guided my thought process while studying at Pathways World School, although some of them had a stronger impact towards my choices and supported my passion for dancing and acting. I was given undaunted support to balance my responsibility as a student in academics and to pursue my passion for the Performing Arts. I was mentored by teachers like Ms. Geeta Dahiya whose constant motivation fueled my passion and allowed me to think beyond achieving higher education. Ms. Kanan Sondhi, Ms. Mesha Das, Mr. Praveen Mariadas and Ms. Bhagirathy Jhingran helped me shape my vision and mentored me through my learning phase.
My Dorm Parents also played a key role in developing my personal skills and helping me become an independent individual in a global community. The importance of time and managing my schedule was strongly inculcated by their constant presence and perseverance.
Q7. Where do you see yourself 5 years from today? What is it that you'd like to aspire for and achieve?
I cannot tell about the future right now but I am positive that I will continue to make stories and work on movies that would help bring a change in the society. I am keen on gaining further experience in the field of performing arts and business entertainment. I have enjoyed my journey in this field since my schooling in Pathways as a student, researcher, and an artist. I would like to utilise all my experiences and eventually work towards bringing out stories from the grassroots level in my home country, India and around the world.
My aspiration is to manage productions and provide a platform to other talented artists and collaborators to voice their opinions about the mitigating issues in the society.
Q8. What message would you like to give to the young students at Pathways and especially those who are aspiring to go into a film career?
Aiming to work towards any field requires dedication and practice. Film and Performing Arts are strongly inclined to this concept. We all have our hidden creativities, it's important to start exploring and experimenting as soon as you get an opportunity. Also, opportunities can be created amongst your friends and peers and just involves a camera and motivation to tell meaningful stories. Join films, theatre or a dance club based on your choice and collaborate amongst others to achieve your specialised goal.
Watch movies, documentaries, TV shows and web series especially the ones that motivate you. Observe and use the resources that are available to you to tell your own stories. Learn to collaborate and work with a team as it will help you reach greater goals. Be passionate about your work and never stop hustling. Believe in yourself as it will motivate others to believe in YOU and your passion.
Monochorme (Student Blog)


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Acute Care Surgery Fellowship - current page
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The University of Florida and UF Health Shands Trauma Center was approved as an official fellowship training site for Acute Care Surgery by the American Association for the surgery of Trauma in 2014.
Acute Care Surgery encompasses the comprehensive operative and critical care management of patients with life-threatening traumatic and surgical emergencies. The Acute Care Surgery fellowship aims to train the next generation of acute care surgeons, preparing them for clinical and administrative leadership roles in an environment of increasing need for emergency surgical treatment. While considered additional post-surgical training, the fellowship really represents a return to fundamental general surgery that includes abdominal and endocrine general surgery, head and neck, thoracic, vascular, and damage control neurosurgery and orthopedics.
ACS fellows will have a robust two-year training experience that will fulfill the requirements of the AAST Acute Care Surgery curriculum. The scope of this fellowship includes a broad clinical experience in trauma, burns, surgical emergencies, elective sub-specialty surgery and surgical critical care. The ACS fellowship is closely integrated with the Surgical Critical Care Fellowship, and at the completion of the fellowship, trainees will be eligible to take the American Board of Surgery Surgical Critical Care board examination.
Surgical Critical Care & Acute Care Fellowships
The core clinical training facility for the Acute Care Surgery fellowship is UF Health Shands Hospital, located on the University of Florida Health Science Center campus in Gainesville, Florida. UF Health is an academic, Level I trauma center and tertiary surgical referral center serving North and Central Florida, as well as southern Georgia.
The 1st year of the fellowship focuses the management of critically-ill patients in the University of Florida's ACGME/RRC approved Surgical Critical Care Fellowship training program. Surgical critical care residents are required to complete 9 months of critical care training, with 5 months being spent in the trauma intensive care (TICU) and surgical intensive care (SICU) units. The critical care electives available are vast, including but not limited to trauma surgery, burn surgery, cardiothoracic ICU, medical ICU, pediatric ICU, neonatal ICU, VA SICU/CTICU, research, nutrition, ultrasound/echocardiography, airway, gerontology and advance radiology. Upon completion of the first year, the fellow will be eligible to take the American Board of Surgery Surgical Critical Care board examination.
The 2nd year of the fellowship focuses on developing and refining both operative technique and peri-operative management strategies in order to prepare the trainee to provide comprehensive surgical care to critically-ill patients with surgical emergencies. During this year, the fellows are clinical instructors and are expected to take a leadership role on the trauma and acute care surgery service at UF Health Shands Trauma Center. Under the supervision of the clinical faculty, the ACS fellow is afforded increased operative and service management autonomy as they progress throughout the year. The trauma and acute care surgery service is a high-volume, high-acuity clinical service which practices and embodies the full-breadth of acute care surgery, including trauma, surgical emergencies, surgical critical care and elective general surgery. UF Health Shands Trauma Center is unique in that it is one of only a few Level 1 trauma centers in the United States with a fully operational 'hybrid operating room' dedicated exclusively to trauma and acute surgical emergencies. The hybrid operating room allows for a timely, multidisciplinary approach for trauma/acute care surgeons, vascular surgeons and interventional radiologists to simultaneously utilize a full range of open, endovascular and minimally invasive interventions for injuries and hemorrhage control. Additional subspecialty operative experience will be obtained with rotations on affiliated services including burn surgery, abdominal wall/fistula surgery, cardiovascular/thoracic surgery, vascular surgery, orthopedics, neurosurgery, pancreaticobiliary surgery, transplant surgery, minimally invasive surgery, and pediatric surgery, as required by the AAST Acute Care Surgery curriculum.
The division of acute care surgery has a robust research presence at the University of Florida. Multiple faculty members have active research programs within the Department of Surgery's Laboratory of Inflammation Biology and Surgical Science which focuses on the role of innate cellular immunity and inflammatory mediators in the host response to severe trauma, burn injury, and sepsis. The team, under the direction of principle investigators Fred Moore, MD, and Linc Moldawer PhD, was recently awarded a National Institutes of Health P50 center grant to establish the UF Sepsis and Critical Illness Research Center to study the persistent inflammation, immunosuppression and catabolism syndrome (PICS) following sepsis in surgical intensive care unit patients. Thus, the fellow has numerous opportunities to work on various projects, including but is not limited to translational studies (such as sepsis, trauma, inflammation and coagulation), outcomes and community outreach projects, as well as more long-term neurocognitive and muscle strength studies. The fellow is required to significantly contribute to an ongoing research project under faculty mentorship with abstract submission to a national meeting. Alternatively, original research is also encouraged, with appropriate faculty supervision and mentorship.
Application & Requirements
One position is available each academic year via application through the Surgical Critical Care ACGME match program. Applicants are required to be board-eligible in general surgery and have completed the core training requirements of an RRC-approved residency in general surgery prior to program admission.
Interested applicants will need to click on the link below in order to submit an application:
scc and acs FELLOWSHIP APPLICATION SERVICE
Alicia M. Mohr, MD, FACS, FCCM
University of Florida Health Sciences Center
1600 S.W. Archer Road
Letitia Bible, MD
Assistant Professor, Acute Care Surgery
Chasen Croft, MD, FACS
Associate Professor, Acute Care Surgery
Associate Trauma Director
Ian Driscoll, MD, FACS
Director, UF Health Shands Burn Center
Philip A. Efron, MD, FACS, FCCM
Professor, Acute Care Surgery
Medical Director, UF Health Surgical Intensive Care Units and Respiratory Therapy
Liza Laquian, MD
Clinical Assistant Professor, Critical Care Medicine
Tyler J. Loftus, MD
Professor & Chief, Acute Care Surgery
Program Director, Acute Care Surgery and Surgical Critical Care Fellowships
Andrea M. Munden, MD
Martin Rosenthal, MD, FACS
R. Steven Smith, MD, RDMS, FACS
Jessica E. Taylor, MD, MBA, FACS
Erin Vanzant, MD, FACS
Michael Walters, MD, FACS
Current and Past Fellows
current/Last position
2021-22 Ashley Thompson, MD Surgical Critical Care Fellowship, University of Florida
2020-21 Olga Zayko, MD Ocala Regional Medical Center, Assistant Professor
2019-20 Maria Alfaro, MD Level II Trauma Center, Fort Myers, FL
2018-19 Erin Vanzant, MD University of Florida , Assistant Professor
2017-18 Irina Murray Casanova, MD UF Health Shands VA Hospital
2015-16 Stephanie Markle, DO Level II Trauma Center, Kalamazoo, MI


text:
In Our Day, We Didn't Teleport to Class . . . We Walked. AND I LIKED IT! - Sauce1977 [entries|archive|friends|userinfo]
In Our Day, We Didn't Teleport to Class . . . We Walked. AND I LIKED IT! [Oct. 27th, 2007|07:00 am]
[ Tags | and i liked it!, eras, peanut vendors, technology, time ]
[ Current Location | Detroit, MI, USA ]
[ Special Music | Very Early Edison Recordings ]
My grandfather never purchased cable television.
He grew up in an era where motion pictures were still sort of new. He was ten when The Jazz Singer was released. He was probably about 40 when he purchased his first television set. I don't think he owned compact music discs. I remember him talking about going to ballrooms to dance with my grandmother and their friends. His music era was probably a mix of jazz and big band.
My parents grew up without a television at first, and then they witnessed the advent of cable TV when they were in their 30s. They witnessed the birth of the home computer era along with me. They grew up with 50s pop stars and stay primarily in that musical era.
My first computer/console gaming system Atari 400. I also had a Coleco Gemini console which played Atari 2600 and Coleco carts. My first PC was an IBM PS/2 with a 486 processor that I remember being brought home from a department store like Sears, JC Penney, or Hudson's around 1991-1992. I am intimately familiar with the music of the 1980s, but I have an appreciation from all eras and genres minus country.
I've noticed in my family that generations stay stuck in eras. That includes certain eras of technology. As one grows older, one does not entirely embrace all of the new products and services. The level of adaptation varies from person to person, but one apparently does not embrace all new standards.
My mom and aunt can barely function on a PC. Video games? Forgetaboutit. My grandfather missed the home computer era, as he retired somewhere around 1982, which was long before workstations and offices were inseparable from PCs and networks. I'm still current with ability to handle games on the latest platforms, but I'm still using the Xbox-PS2 era until the prices drop for the current generation.
One sometimes wonders about companies like Microsoft. What are Apple and Microsoft for goals and time-tables? Is it just ever-expanding profit margins at this point? We shall see.
My OS remains Windows XP. Vista smells like one of those in-between junk OS's from Bill Gates. As far as I can tell, it requires a gargantuan amount of processing and memory to run, in comparison to an average XP. The aim appears to be eventual support for stunning graphics and sound beyond the multiple channels and pixels of today's average system. Functionality seems to have either stalled or taken a slight devolution.
I specifically wonder how I'm going to relate to my children or children of my closest cousins and friends in about a quarter of a century from now. I remember what life was like before the internet. I know I was able to place myself and rationalize what I'd be doing at 30 if I lived in 1930, based off my grandparents and their information. If need be, I wouldn't have difficulty with visualization of horse as the only town-to-town travel besides going on foot. Before electricity? No problem. Before the advent of recorded sound? Music concerts have been performed for ages, so there's no loss there.
What if a kid refuses to watch a 3-D optical disc of a baseball game from 1971 because it's too low-pixel of a master copy and there's no 3-D sound to hear the peanut vendor from 4 rows away . . . let alone ability to pick a virtual seat in that stadium from which to experience the POV? Will people, in general, lose that much imagination 50 years from now?
Will this younger person listen to stories about old work eras, sporting eras, music eras, and movie eras? Will they be able to imagine those eras and relate as a secondary ability? I suppose that's relative to the intelligence level of the future younger person in question.
By the way, I wish I had the VHS copy of this information around 1983. I spent hours playing Raiders of the Lost Ark and had absolutely no clue how to get to the conclusion.
There was no GameFAQs at the time. You usually had to think on your own with these games, and you LIKED it.
From: trooper221
With the NCAA
do you mean football, basketball, or both? And while I don't disagree with your statement, I tend to take the University's point of view, and see it as a way of exploiting young people in order to rake in revenue through alumni, television and bowl appearances.
I don't know about other people, but I have no main rooting NFL interest. I wish more people were like that - or, if! - IF! - they were able to look beyond their team's patch and have a working knowledge of more than just their personal team.
I couldn't agree more. I'm a Pats fan, but I watch every game I can, because I love the sport. And as the title of my sports blog implies (even though it's a Howard Cosell homage), it's not from any glory days nostalgia --I love it from the overhead view. My dream NFL job wouldn't be as a player but as a Defense Coordinator, because of the amount of strategy and planning that goes into it. I'm able to say, "Tony Romo is a very talented athlete, but here's where he needs to work on things" -- not, "Fuck Romo, he sucks." There's no question that Brady and Manning are going into the Hall of Fame. When you add Favre in there, that's three active quarterbacks that are HOF locks, and we get to watch them every Sunday.
Re: With the NCAA
Sometimes, the "Fuck Romo he sucks" pertains to something a million years ago that is kind of an inside joke or a running argument between a couple people.