text:
#include <arrayfire.h>
#include <stdio.h>
#include <af/util.h>
#include <cstdlib>

using namespace af;

static const unsigned ITERS = 64;

array normalize(const array &p_in) {
    float mx = max<float>(p_in);
    float mn = min<float>(p_in);
    return (p_in - mn) / (mx - mn);
}

array sobelFilter(const array &p_in) {
    int w = 5;
    if (p_in.dims(0) < 512) w = 3;
    if (p_in.dims(0) > 2048) w = 7;

    int h = 5;
    if (p_in.dims(0) < 512) h = 3;
    if (p_in.dims(0) > 2048) h = 7;

    array ker    = gaussianKernel(w, h);
    array smooth = convolve(p_in, ker);

    for (unsigned i = 1; i < ITERS; ++i) smooth = convolve(smooth, ker);

    array Gx, Gy;
    sobel(Gx, Gy, smooth, 3);

    return normalize(hypot(Gx, Gy));
}

array in, edges, smoothed;

void anisotropicSmoothing() {
    smoothed = anisotropicDiffusion(in, 0.125, 0.35f, ITERS);
}

int main(int argc, char *argv[]) {
    int device = argc > 1 ? atoi(argv[1]) : 0;

    try {
        setDevice(device);
        info();

        printf("** ArrayFire Gradient Anisotropic Smoothing Demo **\n");

        Window myWindow("Gradient Anisotropic Smoothing");

        in = loadImage(ASSETS_DIR "/examples/images/man.jpg", false);

        array sEdges = sobelFilter(in);

        anisotropicSmoothing();

        array Gx, Gy;
        sobel(Gx, Gy, smoothed, 3);

        edges = normalize(hypot(Gx, Gy));

        while (!myWindow.close()) {
            myWindow.grid(2, 2);

            myWindow(0, 0).image(in / 255.0f, "Input Image");
            myWindow(0, 1).image(normalize(smoothed),
                                 "Anisotropically smooted Input");
            myWindow(1, 0).image(normalize(sEdges),
                                 "Gradient Magnitude after gaussian blur t=64");
            myWindow(1, 1).image(normalize(edges),
                                 "Gradient Magnitude after diffusion t=64");

            myWindow.show();
        }

        printf(
            "\nAnisotropic Diffusion avg runtime for current image in Seconds: "
            "%g\n",
            timeit(anisotropicSmoothing));

    } catch (af::exception &e) {
        fprintf(stderr, "%s\n", e.what());
        throw;
    }

    return 0;
}

redpajama_set_name: RedPajamaGithub


text:
Here's the Story Behind Tato Caraveo's Biggest Mural Ever
Detail of Tato Caraveo's new mural on Central Avenue, as it was nearing completion.
Tato Caraveo/Photo by Lynn Trimble
Lynn Trimble | March 29, 2018 | 6:00am
Phoenix artist Tato Caraveo recently painted a new mural on the south-facing wall of Arizona Opera. It depicts a couple sitting on a grassy knoll, holding bubble wands. They're part of a landscape that includes desert plants and flowers, and a sunset sky.
The mural was commissioned by Lennar, a Florida-based home construction company that recently developed the Muse Apartments adjacent to Arizona Opera. It's part of a larger art initiative, according to Kara Roschi.
Roschi orchestrated the project last year while serving as chief curator for Curator Engine, a Phoenix-based small business that focuses on connecting artists with potential buyers. Recently, Roschi left Curator Engine to work for Local First Arizona, but she's seeing the Caraveo project through.
Guide to El Mac Murals in Metro Phoenix
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Roschi connected with Lennar early in the development phase for Muse, and they came up with a series of art projects totaling about $100,000. Caraveo's untitled mural, which measures about 120 feet across, is just the latest part of that effort.
"It's the largest mural I've ever painted," Caraveo says. Phoenix artist JJ Horner helped paint parts of the landscape.
Checking out Tato Caraveo's new mural for The Muse on Central Avenue, while he was doing some finishing touches.
Earlier elements of the Muse project included a mural of opera singer Maria Callas painted on one side of a courtyard that opens onto North First Avenue. Tyson Krank and Caraveo painted a series of panels called Monarch Alley, with help from Horner, on the other side of the courtyard.
Work on Monarch Alley started in November, and wrapped up earlier this year. Caraveo started his mural on March 1, and has been finessing final details in recent days.
Collectively, the murals reference local arts and culture, including Arizona Opera and Phoenix Art Museum.
The museum is across the street from Muse. It's exhibited works by Ed Mell and Philip C. Curtis, two artists whose styles share some commonalities with Caraveo's style. Mell paints dramatic skies and Curtis is known for surrealistic figures.
Drawing that helped inspire the design for Tato Caraveo's newest Phoenix mural.
The imagery also includes classical musicians, which serve as an homage to the Phoenix Symphony, Roschi says. Caraveo is a musician as well as an artist, so music is a prevalent theme in his work.
He works with other subject matter, too. For Cookie Brokers on Grand Avenue, he painted a man eating a plateful of cookies. Caraveo painted abstract designs on a south-facing wall at The Blocks of Roosevelt Row, near an El Mac mural that recently was defaced. Last year, Caraveo collaborated with Graham Carew on several works for Crescent Highland Apartments.
Going from initial concept to finished mural for the latest Muse mural took some time, because several people were involved with the decision-making process. The city of Phoenix owns the building that houses Arizona Opera, so it had a say in what would go there. The city approved the design in February.
Caraveo submitted several designs, Roschi says. The final version looks a lot like a charcoal drawing he made years ago. "They wanted me to make the couple less goth," he recalls of making small tweaks to the design.
For now, the couple's identity is a mystery. Caraveo won't say whose image he painted, but Roschi suspects it's the artist and his girlfriend.
"That's part of the charm of the mural," Roschi says. "We're just left to wonder."

redpajama_set_name: RedPajamaCommonCrawl


"What do you see? I see RED"
RED is the play about the American expressionist Mark Rothko, that had his premiere in 2009 and then was transferred to Broadway, where it won 6 Tony Awards.
Rothko was commissioned to paint a series of murals for the prestigious Four Seasons restaurant in new York for several thousand of dollars.
Alfred Molina and Alfred Enoch give a world class mesmerizing performance in their roles as Mark Rothko and his assistant, Ken.
It is an intense 90 minutes, two men show about a complicate and conflicting relationship, but most of all about art, and about life. Molina as Rothko is difficult, aggressive, egocentric, passionate and mean. Rothko was not a lover of small chats, so the play is quite intellectual and the dialogues are fast and laboured; be prepared! The character of Ken, played by Enoch, becomes more dominant in the second half of the play, and Alfred is simply outstanding – with a very intense moment when he reveals to Rothko about the murder of his parents.
It is incredible how a play, written 10 years ago, about a painter who died almost 50 years ago, can be so alive.
When I talked with Michael Grandage, who directed the play in 2009 and directs this revival too, I could feel all the passion and dedication that have driven him to put on a stage this story.
Theatre is art, and when is made with such devotion and intensity it becomes something that elevates the human spirit to another level. And that's what RED is and does.


Your tailor-made system promotes everything you need to your customers instantly!
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The system is fully customizable and is composed of modules suitable to a broad range of industries. Modules include media galleries, online gallops, content articles, news publishing and many more.
If you would like to know more about our Bespoke solutions please contact us.


text:
Brugge/Zeebrugge
- Practical
- Sightseeing
- Museums
- Shopping
- Bruges with kids
Upon visiting Bruges, you will immediately notice that this city has always carefully cherished its architectural and artistic treasures from the past.What makes Bruges so unique though, is the way it deals with this past today.
Known as the Venice of the North, Bruges is one of the most beautiful cities in Europe.
It was a justified motive that prompted UNESCO in 2000 to include the entire historical city centre on the World Heritage list. Walking along the maze of winding cobbled alleys and romantic canals, you imagine yourself to be in medieval times. The wealth of museums is a striking image of this city's stirring history.
Bruges is also home to contemporary culture, such as the new Concert Hall, which is one of the most prominent music complexes in Flanders.
The restaurants in Bruges which offer gastronomic cuisine and the exclusive hotels are a true feast for those who enjoy the good things in life.
Source: www.brugge.be


This all-purpose white knitted terry cloth hooded cover up should truly be a wardrobe staple for every little girl. This short-sleeved cover-up has a Velcro closure for easy on and off. The hood is trimmed with a ruffle around the edge and a yellow flower at the neck. Wearable with any swim suit at any time. Perfect to warm up your little one when she gets out of the pool!


A kép illusztráció, nem ezt a verziót mutataja!
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devices like Android, iPhone, Sony reader.
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A new house on a subdivided block with street frontage. The design was driven by a response to site.
The northern facade is stepped in response to sun angles, admitting winter sun to ground floor living areas, yet excluding direct sun in summer.
Notable vistas, however, are to the south, in the direction of the ocean and groves of mature natives .
The southern facade is therefore a projection of our aim to establish strong visual connections between ground floor living areas and these natural feature to the south.
The resulting design is best illustrated by the section. In plan it consists of a stacked plan, with a band of services / circulation along the southern edge. Yet in section one registers the porosity of this services band and the distinct view corridors that are carved through it.
The occupants are able to interact with this vista to a greater of lesser degree, the projecting balcony offering most direct involvement, with the rammed limestone walls of the ground level providing more intimate enclosure.


Geezer Skier: Geezer Ski Boarders?
Recently I have been speculating whether there are or will be geezer ski boarders. I have yet to see what I think would be a 70+ ski boarder on the slopes. Perhaps there are some on the many slopes of the world but I doubt that there are more than a few hundred if that much. Since snow boarding is a relatively new sport by measures of long time geezer skiers, maybe it just will take another decade to age the boarders into geezerhood. However, I doubt that 70+ people are equipped to take the falls to knees and butts that are common with the boarding activity. Some of us geezers have talked about trying boarding but have concluded we would not survive the learning curve. We are at the point of minimizing our falls!
The other day I saw what might be a glimmer of the future of the senior boarders. As I was waiting to get on the triple chair I saw a father and two young sons all on boards line up to take off. Who knows? Perhaps 30 years from know those grown up boys and their geezer father will all be hanging out on the slopes on their boards. Meanwhile, I'll stick with the skis. Thank you very much!


text:
Catalog > Money & Life > Writing > Write Your Book: Start Strong And Get It Done > Write A Two-tier Outline
Write Your Book: Start Strong and Get It Done
Write a Two-Tier Outline
Now we come to a really big lesson in story structure, which is about the two-tier outline. So this is a thing that I made up. And I made it up because I saw some problems in the way that outlining is done, and I wanted a more nimble way. So most outlines are just you follow the plot. So that thing that we draft, right, that's the outline. And we start filling in scenes and knowing what's gonna be in that structure. But what it misses is that whole second tier, which is, why does it matter? Why does it matter to the character, why does it matter to the reader, the whole emotional underpinning. And that's, the two together create a cause and effect trajectory that puts the narrative drive all the way through. And this might sound a little confusing but I'm gonna explain it and show you exactly what I mean. So the problem with just plotting it out on the graph the way we did it, is that all we get then is the what. Remember, in the story, you want who it happens to, what happens, why it ...
matters. If we just plot it out, all we get is the what, we get the straight up plot structure. This happened and then this happened, and this happened, and this happened. It's not a story that's gonna sustain our attention. So there are a lot of systems that come at story from a total plot perspective. They tend to be very grid like, they tend to be very rigid, they tend to look at, they have these very strict rules like, well, at page 120 this thing has to happen, or, they're very external. And they tend to result in stories that are very flat. There's dramatic things that go on, but that whole underpinning of why we should care just goes missing. The problem with not plotting at all and doing what's called pantsing, that's the term that is often used in writing, like it's the seat of my pants, I'm just gonna go by the seat of my pants. I'm just gonna write the story, I'm just gonna go forward, I'm gonna write my way to a solution. The problem with that is that what goes missing there is the logic. The, if you're building a world, maybe the logic is not in there. If you don't know where the ending point is, we just did this whole thing on the starting and ending point, if you don't know where you're aiming, like we did with Jennie's example with the pregnancy, you could aim anywhere. You could end up in a million different places but is that the place that's gonna help you tell your story? So pantsing, and I can speak with a lot of authority about this, I've written a lot of books this way, just sort of winging it. And it's hard. And it takes, I can promise you that it takes so much more time to do it this way. It can work. You can write your way to a good book, I have done it. It just takes a really long time. Because you're doing 250 pages, and then you step back and you look at it, and you think, oh, that's not really what I wanted to say, that's not really the point I wanted to make. That's not really the journey I wanted to go on, this is not really right. So you throw it out, or you save a little piece of it and then you do it again. And you know, it takes you four years, and then you finally get something that holds together. So it works, it's just extremely inefficient. And I think that one of the reasons that pantsing kinda has a hold on our imagination, goes back to that idea of the genius in the attic. And a lot of our most revered writers who are most successful writers in the marketplace, have a kind of genius where they can do this. And they have a kind of native intelligence where they can sit down and kick out an amazing story without doing the sort of intentional work that the rest of us have to do, but there's not many people who could do it. And I would suggest that if you were one of those people, you probably already know it, and you're probably already doing it. So I always say, if it's working for you, keep doing it. If it's not working for you, you might wanna think of a different method. So the method that I teach is this two-tier outline where we marry together the plot and the point. They're in a hierarchy, they're linked together, one can't exist without the other. So the way to think of this is just to do it one step at a time, scene by scene. So, here's an example from a book that one of my clients is working on about a chicken restaurant food war in Kansas City with these two sisters. So the scene, this is the plot, this is what happens. Amanda is frantically searching for evidence of the original chicken recipe, because everybody thinks that she's stolen it. The point, the whole reason this scene exists is because she's lost, there's no one she can trust, she's realized that she's screwed up everything, she's made a big mistake. So we've got just a simple scene, something that happens, and then we've got, why are we even being told the thing? Why does it matter? What point does it make in the whole story? And we can do this again, I pulled this from one of Jocelyn's novels because Jocelyn has been coached by some of my coaches for a while so I have access to all of Jocelyn's writing and she's kind enough to share it. But the scene here is Lilly is at the Noodle Shack. She's eating dinner, and she gets a call from the bar, her father's drunk, she has to go get him. That's the plot. And if we just have that, it's sort of like, okay, alright, that's a thing that happens. But why does it matter? The point is, in this scene Lilly knows something's really wrong, my dad hasn't had a drink in years, he stopped drinking after mom left. Something's happened. He wouldn't be at the bar unless something bad has happened. Did he get fired? What if he's sick, what if he's dying? So this is now marrying the scene and the point together. And then what we do is we sketch out the whole book like that. So we take that graphed line, those high and low points, and we start sketching it out like this and we begin to get a whole spine for the story, that's what the two-tier outline does. So there's a couple rules for doing your own two-tier outline. No more than two pages total, which is incredibly difficult, on purpose. So back to that idea about clay. I want this to be really nimble. I want you just to have the bare bones of the structure of your story so that we can see, is there something missing in the middle? Is the end resolving the thing that happens in the beginning? Does the structure hold? So no more than two pages total, and I get every single time I teach this, and I've taught this a lot, I get people saying, I can't possibly do that because my story is 700 pages long, my story is multi-generational, multi-POV, multi whatever the thing is, I can't possibly do it. And I would say, you can, and I have seen every writer ultimately do this. It goes back to the idea we were talking about about boundaries, putting boundaries around things in order to understand them better. So we're doing this on purpose to make it very very reductive, we're just going down to this very base level idea of the shape of your story so that we can see it, and you'll see how we can see it. The other rule is no more than two lines per bullet. Now in those other examples I saw 'cause they were on the screen they were a little bit more than that, and you can fudge this a little bit, but what I don't want is pages and pages or paragraphs and paragraphs for each bullet, because now you're just explaining. You're just dumping information. We want just the idea, what happens, why does it matter? Just the simple two ideas. And then this is the key to the whole thing. What I wanna do is I wanna look at your two-tier outline and see this cause and effect trajectory where one scene causes the next to happen. They have to be locked in together. If you took one scene out, the whole thing wouldn't work. So it's, this causes this causes this causes this, and the reason we need that, there's so many reasons we need that. But this is gonna bake in the fact that your character has agency. They're making decisions, they're making choices, they're on their own path. Things are not just happening to them. That cardboard cut-out idea we looked at before, this is how we avoid that. Is we want your character to be at a crossroads, to make decisions, to make a mistake, to make things worse, we want to see them have agency. And if we don't have this, what we get are these stories where dramatic stuff happens, but it's not anchored to anything that has to do with that protagonist and what they want, and what they're trying to get. The other reason that we want this is the whole narrative drive of the story. So narrative drive is just that engine that's chugging along when you're reading a story. You've all had the experience where you've read a book and you cannot put it down. And you turn the chapter and you think, okay, just one more. I'm just gonna read one more. And you can't stop because it's just, there's this engine that's just chugging. That's narrative drive, and it comes from this, where you're saying in your head, what's gonna happen? And what you're looking for is what action is that protagonist gonna take to get out of this situation? What's the next decision they're gonna make? What's the next problem they're gonna solve, we want to see people struggling with it. Which is why we design the protagonist to have a problem they're struggling with. They want something, and they can't get it. So if we don't have those foundational things in place, what your outline of your book is gonna look like is one of those giant plot things where just all this stuff happens that's totally disconnected from the point, or it's gonna be just some massive explainy thing that is not useful at all. So are there any questions about the rules? Yeah, we got two questions, so let's see one. Let's start with one. Quick question. Yeah. With the two-tier outline, do you want it to be, 'cause if there's subplots or other details going on padding those scenes and points throughout, or should it just be, just that outline, for that main action? So it's a great question. So when I'm coaching a writer, I always make people start with two pages, the barest bones possible, the graph, the shape, the beginning, the end, let's just get those in place. Once you have those in place, the way that I teach this two-tier outline is it becomes a living, breathing, roadmap for your novel. So that means that, let's say you're writing forward and you're on chapter five, and you have a revelation and you do something new and it like, has an impact on all the other things to come. You go back to the two-tier outline and you bake it into that, so that you've codified it almost, and what happens is it tends to grow. So I'm working with someone right now on a very complex sci-fi, multiple POV, giant thing. And her two-tier outline, she did the two pages just like the rules are. And then she started seeding in all the rest of the things and the different layers and it became eight pages, and then it became 14 pages. And as she writes forward, it's a living, breathing document, and it captures that iterative nature. So here's the thing you guys. Writing a novel is an incredibly complex intellectual undertaking. Or a memoir, a book length narrative. It is very very complex. There are so many things going on. And to hold them all in your head is ridiculous. It's not possible. And to put them all down in some rigid format is also not possible, 'cause that's not the way creativity works. Creativity moves and flows and you have inspiration. I was actually listening to a talk by Malcolm Gladwell about his creative process, and he was talking about this exact thing, and he just was so beautiful the way he was describing it where he's researching something, and then he just follows this idea and this spark, and then it sparks this other thing, and that grows, and that's exactly how it works, and you want a thing to capture all that. To capture all the ideas in your head, and that's what I use this for. So I like to insist that it start out very spare, but then it absolutely can grow. Does that answer the question? Yes. And did that answer your question? No. Okay, well we have just a little second for your question, and then we'll move on. Okay, quick question on the second bullet point. When you'd say point, is that internal? Yeah, exactly. Why does this matter to the character, what is the point of this scene even being here? What is the point showing, what is it showing inside, yeah. So like, going to the misbelief. Yeah. Okay. So the way to think about this cause and effect trajectory in this causal nature that gives a narrative drive. This is an exercise, I call it the because of that exercise, and it's not mine, it's from Pixar. So, Pixar and their unbelievable storytelling process is captured in a book by Ed Catmull who was one of the founders, Creativity Inc. is the book and he talks about the Pixar brain trust. And the brain trust is very much like being coached. It's being in with some extremely high level storytellers and story analysts to help with your story. And this is the basic structure that Pixar uses for story. And it captures a little bit what we're talking about, the beginning and the end point, the narrative drive. So this idea, once upon a time there was something. There was a day before this was a story. Life was going on as normal. Every day, some normal thing was happening. And then one day, that's when our story starts. One day something happens and because of that, some other thing happens, because of that, some other thing happens, until finally, there's a resolution. And ever since that day, this is the new person. So this captures the arc of change, it captures the protagonist becoming someone new, seeing the world with new eyes, all of that. And it's just this nimble, simple, fantastic little exercise, and if you start with this and then you translate it to the two-tier outline where you take each one of the because of thats and you make it the scene and the point. You're gonna have an incredibly powerful roadmap for your whole story. So this is just a little version of the two-tier outline that you can start with, and keep it really small. Keep it as spare and simple as you can. You wanna be able to see this and see that it's a whole thing, it's got that shape. This is showing us the structure, and once you see that then you can plot it out and marry the two points together and it's gonna be great. So with the two-tier outline I always say, don't cheat. (laughs) Everybody always wants to cheat. They make their fonts really small, they make their margins really small, they do all kinds of crazy things, which I think is always so funny 'cause they think that we're not gonna notice. (laughs) But editors look at pages all day long, and we look at standard, I can tell you in a heartbeat if something's not. I was once working with my daughter on her resume, and I was reading it, and I said, well, it looks great except for those two lines are 10 point font, not 11 point, and the whole rest of your thing is 11 point. And she looked at me like, how do you know that? Like, this is what I do all day long. So don't cheat, because you're actually only gonna be cheating yourself. And I suggest that people take about 60 minutes to do this, which is ridiculously short. But again, we're trying to not belabor. We're trying to not be perfect. We're trying to work with clay, like just throw the pot on the wheel, make the pot, and let's see how it looks, and then you can step back and think, okay, how can we make this better? And with the two-tier outline, we can work literally for days on it, and we actually do. With my personal clients, I often go back and forth on the two-tier outline five, six, seven, eight times until we get it right, because this will solve every story problem before you actually start writing. It's really super fantastic. Would you recommend, 'cause the two-tiered outline was probably the hardest part of the workbook for me, would you recommend that you start small, with like, here's my opening, my turning points, and my end, would you recommend you go four pages and cut it down, do you work from the outside in, or the inside out, how do you recommend getting a handle on this? That's a really good question. And I think it just depends on what feels good to you. I know, you're like, that's not helpful. If you wanted me to tell you what I would do, what I would do is I would do the start and end point of your story, make sure those are locked in and you've nailed those down. Then draw a graph. I would do it, Jocelyn showed us, and label the graph. So now you've got four or five, maybe six points. Because they're the high points, they're the low points, they're the beginning, they're the end. And I would just start with those. And do a two-tier outline just for those. What is the scene? Meaning, what happens, what's the plot, what are we watching unfold? And then the point underneath it. Why does it matter? How does that resolve into the whole? How does it help us with that meaning, with that deep layer of meaning? And just start very small, and then look back on your graph and say, okay, between these two points, this has to happen. Or this other thing has to happen. Now with a memoir what's really interesting is you're choosing from nine million stories that actually happened, and which one is gonna help you make that point the best. Which one is gonna be the best iteration of that thing that you need to show or you need to have happen? You know, you probably went to the doctor five million times. We don't wanna go with you to the doctor five million times. You know, that's not an interesting story. We want the ones that show us your decision making, how are you resilient in the face of this horrific thing? How did you keep your hope up? What helped you do that, and to pick the moments that help with that and start placing those on the graph and building it out. That's what I would do. Until you get to two pages, and then you can step back and look at your two pages and think, do I like this? Is this the story I wanted to tell? Go back to your point and think, does this reflect the point that I wanted to make? Is it in there, do I see it, do I feel it? Does it have that arc of change? And you ask those questions of your little spare outline, and then you might, we're gonna look at one in a minute where you're gonna see, we might have to take out the whole middle. (laughs) So you're gonna kind of analyze it. Does that help a little bit? (student speaks indistinctly) Okay, well a little is better than none. Was there a question back here? Yeah, it's just kind of a follow up to that. 'Cause I did my two tiers. And I had a bunch of blobs, like you drew on the board. So now what? Yeah, it's a really good question. Okay, so if you have a bunch of, and I say this a lot, info dumps, or random things that happen, or in the case of a memoir I'll get people saying, but that really happened. Those things really happened. That's not a good criteria for story. A story is manipulated, a story is curated, a story you select what you want to say. So knowing that, you would look at each individual blob and you would think, how do I connect this? So everything wants to be connected. The scene that happens wants to be connected to a point, and each scene wants to be connected to each other. So these chains of connection. So what I would start doing is looking at, how come it's not connected to the next thing? The next thing is random, it sort of comes out of the blue, can it connect? Can I tie them together, can this thing cause the next thing to happen? And I'm gonna show you, hopefully, an example of that. But ask, you had another? No, no, no, that's good, it's a good start because I'm realizing that some of my stories say the same thing, so I can cut those down. Totally, and that's exactly what you're gonna see, is you're gonna see like, oh wow, these five scenes do exactly the same thing. That's why I make the point in there. Because without it the plot, it may look really dramatic, like, ooh, dramatic thing happens, dramatic thing happens, other dramatic thing happens, but you look at the point and it's like, oh, it's the same point. Yeah. And it's like, okay, we only need one of those. And then, why do we need one of those? Well we need it because it drives to this next thing. So we're gonna connect it on. So let me show you an example of that. I'm gonna go, this is back to Jocelyn, who is really kind to let us show this. (laughter) Or foolish. Or she didn't have a choice and I made her, one of those things. She's very kind. So let me give a little overview of what Jocelyn is writing so we know what this two-tier outline is about. And then you can correct me if I butcher this, Jocelyn. So this is a YA story. It's about a girl, a 17 year old girl who has cancer, and everyone thinks she's going to die. And then she doesn't die. She has an experience in the hospital where she awakens, and she doesn't have cancer anymore, and it's a miracle, and everyone's going, yay, except for her. She's going, wait a minute. I'm not dead, I don't have cancer, I don't really feel like I am who I was before, I don't think something is right here in this world. And then there are some things that happen where she grapples with that and tries to figure that out, and makes some choices, and the point that you're trying to make is about, be who you are, not who other people want you to be. So that's the underpinning. Did I get that right? Perfect, yes. Okay. See, you did a really good job of conveying it if I was able to get that. So what we have here in the two-tier outline is first of all I would like to praise Jocelyn because you can see it really was only two pages. Good job. You can also see, I mean, they're little. These are little, they're just a couple lines. And you can see as we proceed, so here's this opening scene. Audrey's getting ready for school, putting on clothes she hates. That's a plot, we can see that, it's a scene that happens. What's the point, why do we care? It introduces Audrey to the reader, what she survived, and that she doesn't thing think, think things, wow, that's hard to say. She doesn't think things are all right with her. Who am I, am I crazy? This is just a perfect example of a two-tier outline. It's a thing that happens, and why are we paying attention to it? What is it showing us, why does it matter to this character? Well it matters because she's doing a regular thing, going to school, but she hates these clothes, and she doesn't know who she is. Like that's pretty profound. And if we think about the start and the end points, well now we know, okay, this character is either going to figure out who she is, and come to terms with it, or she's not. That's the journey that we are going to go on. So we can get a sense of the shape or structure of the story. So here I made a comment, what we want is for these events to cause the next scene, what does experiencing this force Audrey to do or understand? So immediately I see no cause and effect trajectory. (laughs) I don't either! She's grimacing over there. So what happens is, Audrey's at school. People treat her carefully, they avoid her in the halls, they talk about her behind her back. A girl who had been her friend before is awkward around her, it's revealed that Audrey has forgotten this girl's birthday, she's forgotten a lot of things. Audrey, because she's been through this huge traumatic thing. And the point is, she's the girl who survived cancer, she doesn't wanna be treated differently, doesn't wanna be constantly reminded of who she used to be or who she should be. So the reason I made a comment here that immediately we lose the cause and effect trajectory is because it's that so what, right? So, she gets dressed, she hates it, she wonders if she's crazy, she goes to school, and it's just stuff that happens. Do you see that? I'm sorry. (laughs) That's okay, that's why I'm here! Right? It's just some more stuff that happens. And it's interesting. Like of course she doesn't wanna be the girl who survived cancer, that's interesting, that's good. And of course she doesn't wanna be treated differently. But it doesn't move anything forward. Nothing happens as a result. So we go on and it gets worse. (laughter) So I said, same thing here. This one, this feels totally disconnected. Can she do something, can she have some agency, can she make a choice? Here's my famous, and so? What does this realization mean to her, do for her, cause her to do? So it's kind of what you were saying back here, the same thing, right? Here Audrey, things happen, there's some drama that happens, she wakes up in the hospital, she was brought in having a seizure, doctors can't find anything wrong that would provoke a hallucination, her parents are there, they're worried the tumor is back. The mother wants the hospital to keep her for observation, the doctor agrees. Like we get some medical drama going on. But so what? So what? Poor Audrey. And she's afraid she's losing her mind, well guess what, she was afraid of that in scene one. So now we have four or five scenes where nothing has happened to drive it forward. Nothing has, what we want is for her to make some decision, take some action, take some kind of stand, do something, to make it worse for her own self. And then, and I know, I mean you're just so nice to let us go through this whole thing. (laughter) But okay. So this is the logic thing, when I said, your book coach, if you purchased the book coaching, this is exactly the kind of thing you're gonna get. We're just great at poking holes in things. So like, this stranger comes into her hospital room and is the first person who reflects to her, actually something has happened to me. Here's a guy who understands that. But I'm like, why would she let a random strange man come into her hospital room, and why would she believe him? So that's just like one of those logic things, like, no, we don't buy that. We don't. So if that's gonna happen, you need to bake in somewhere why she would do that. And that you could do that. So if you want that to happen, it's so fine, but you need to build in that logic. Does that make sense? Yeah. And you can see in my note there, I can see, I instinctively know it's falling apart. Okay, so I love this so much about your two-tier outline. Okay. You know how when you go to the doctor, and often times, like you just tell them what's wrong with you, even if it's some esoteric thing, like you know what's wrong with you? Then they have to do all the tests and all the things to prove that they, but you're like, I knew that. It's like this. Writers almost always know when they're not getting it. But you've gotta trust that instinct. I mean you almost always know. So TK is a term that is a proofreaders term, and Jocelyn knows it because she has been in our coaching before, it means, to come. Something to come. It means, I don't know something so I'm just gonna put TK in here. And it's actually really kind of cool, the reason that this is the term that is used is because TK does not appear in the English language. So you can search your whole document for TKs and find where there's holes, so that's why we use it. But yeah, you totally knew. That's why I like this. Well I just kept throwing stuff at the wall. At that point it's like, okay, I know this is not working but I just throw some more at the wall. So Audrey needs to be a primary catalyst of getting information. Yes. And you totally have the solution. Right there, which is great. And I was asking, so Audrey has to meet and chat with one of the other, there's like a spiritual supernatural thing going on, that she has been sort of co-opted into. Now it's taken us way too long to get to that. Yes. So we, it's kind of a thriller, there's the thriller ish thing. And you wanna know, the wolf wants to be at the door way at the beginning. So she can wake up, go to school, hate what she's wearing, think she's crazy, but we want right away, there's a glimmer of, something's not right, right? And then, so she has to meet, so I say, who, why, who's forcing her? What's compelling her? That's the author imposing her plot on the story. Like, now this cool thing will happen. And it's like, no, we want her, and you said it, we want her to be figuring it out. Her to be doing something. Her to take some action. And she learns that the guy in her hospital room is a bad guy, and it's like, well duh. I say, she learns this too easily and possibly too easily in the story. Right. So, we want her to struggle, and fight, and figure this out. So what this girl wants is to know who she is, and is she still her own self, and what is identity? Huge questions, right? And who am I if I'm not who I am? And so we want her to be like, working and struggling and figuring it out, and how am I gonna get this, and earning it, not just like, and now somebody should come in and tell her, right? Right. I know. It's so hard. So then we continue on. (Jocelyn laughs) So here, I say, so she figures out that the guy is a bad guy, she's not going to be or do what he wants her to do. And I said, I think this should come before she learns of his intentions. So if she learns he's a bad guy, and then she's like, well I don't wanna do what the bad guy says, like so what? What we want is for the 17 year old to be like, I don't like this guy, something about him creeps me out, and I'm not gonna do what he says. And then learn he's a bad guy, 'cause then she's like, I'm awesome, right? That's what we want, we want her to earn it, so she can have agency. And then (laughs) I love this. I love this so much. I love this, this is my favorite thing. Something something. (Jocelyn laughs) It's very technical. Something something. She finds out she's really a fragment of the bad guy. TK. Okay, this is so great, because like, why not? Like why not do it, you don't know. So that's a great thing, you don't know. Now you know you don't know. And you need something in there, you need to go back to your world building, back to your point, back to your why and figure out what is the something something. Because guess what, that's your whole story. Right. (laughter) The something something is her whole story. And it's just completely not on the page. And I say, good, but what does she do as a result? So what I just love about this is you know. You're so good. You know. It's like in black and white that you know that you don't know, right? (laughter) So all you have to do is go figure that out and go back and just a couple of steps. What does she do? Right. How does she figure it out? You know, think about all the great quest stories. How they figure it out. They dig, they go to a magic library, they go to a great sorcerer on the hill, like whatever the thing. She gets a sign, gets a headache and it turns out she has a vision, like something, you know? Something something. Something something. And then, oh my gosh, I'm so sorry. So, and what does she do as a result? What does it cause her to do? And then this was so great. (laughter) Okay wait, I wanna make sure people can rad the whole thing. (laughter) Some sort of confrontation. I mean, for sure, that's great. Some sort of confrontation. And then, this is my favorite. So she has this badass moment, and you actually say that. She gets to have a kick ass moment where she claims her identity, rawr! And it's like, yes. She does, but she has to earn it. Right. She has to, so you know where it's going, you know exactly where it's going. But you have to have it be, I say, yes, I love that, but she needs to earn it by making decisions and choices that bring her to the moment, otherwise it will feel empty and flat, it needs to cost her something. Something needs to be at stake. What is she gonna lose? That goes all the way back to, so what if she doesn't find out who she is? When you're talking about your protagonist. Okay, she wants to know who she is, she wants to be comfortable in her own skin. So what if she doesn't? You know, lots of us don't. (laughs) Right, like so what if she doesn't? And that's what you've gotta kinda answer. Is what would be lost, what would be at stake, and maybe it's that she grows up and looks like all the sad depressed suburban people around her, which is all of us. You know like, I don't wanna be that. I don't wanna grow up and be that. I don't wanna be like those sad adults. Or whatever, that's a lot to be at risk. It doesn't have to be the fate of the world. It just has to be like, I want that, for my own self. And then we wanna see her earn it. And then what was really interesting was at the end, you actually brought it around really nicely. So here, Audrey's getting ready to go to school. TK. (laughs) So she stared getting ready to go to school, now she's putting on clothes she likes, so it's like, that's a thing, we see that arc of change. Okay, she got comfortable in her own skin. She knows who she is. She's okay with herself, and she's decided who she's going to be for herself, she claims her own identity. This is fantastic, I mean it's great. We're totally there. We just need the whole middle. (laughter) Smooshing the clay again. Exactly. So you're gonna smoosh the clay again, but knowing, great setup, I love your setup. I think it's really interesting. A girl who everybody thinks is gonna die, doesn't die. Wakes up, whoa. And everyone's like, oh thank goodness, you're alive. What a great medical miracle. And she's like, uh huh. This is not okay. And then that slow unfolding of like, my mom doesn't know who I am. My best friend doesn't know who I am. They boy I like doesn't know who I am. My English teacher doesn't know, I mean that's profoundly disturbing. We wanna see that, and then what does she do as a result of that? She's like, forget my English paper, I'm gonna go research weird medical trauma, I'm gonna go talk to some doctor guru. Like, she's gonna do something. And then she's gonna learn something, and then soon, like I would say really soon, she's gotta get a glimmer, something's not right. And we talked before about structure, you can steal structure. Go look at something like, I mean, it's just my go to thing, Harry Potter, 'cause everybody's read it. There's a magical system at work here. We're introduced to a regular boy in a regular sad life. But there's something afoot, you can feel it. There's magic afoot. There's a cat who's reading a newspaper, and you're like, what? There's a snake who talks, and you're like, hmm. Like there's something going on. And then (explosion sound) he's yanked into magical school. But like a glimmer that not is all as it seems, is what we want. And we want her to feel that, we wanna be in her skin. Like how horrifying, actually. It's horrifying. And I think it's really great for your ideal reader. What 17 year old doesn't feel like, nobody knows me, I am totally not this girl, in this body, in this school, in this place, and nobody gets me, and I just have to do what they all want and I hate it? Like that's what they think, so this is fantastic. This is what they want. It's so good, you're gonna give them to her. So you gotta get the whole middle. I've just gotta get it! I know. So does anybody, I think we have time for maybe one question, does anybody after going through that, have an idea, a better idea about how that two-tier outline works? You wanna ask a question? Oh, I do have a better idea, but we wanna know what a fragment is, that's what we wanna know. (laughter) Well I can tell you. So it's like your soul gets split into a bunch of pieces and there's a war of all the fragments to consolidate power, and they want her as a pawn in their game, so she's gotta fight for her own self. It's a great setup. It's super fantasy, you know, sci-fi sort of stuff going on, it's great. (laughs) Okay, back there, and then back to you. You spoke about your characters having agency. Yes. Several times, and I don't understand that adjective, could you explain that a little further? Yeah, definitely, so it's just simply this. The character is making decisions and choices that impact their own self. The opposite of that is, stuff is just happening to me. Just, the world is impacting me. Just stuff keeps coming at me, bad stuff just keeps happening to me, and I'm just sitting there like, reacting. Or not reacting. Or, it's that paper cardboard cutout thing. Like, here I am in this bad situation, here I am in this bad situation. And never making a decision or taking action, and it makes the readers crazy. You're like, do something! Right, you're yelling at them. Now the only way that this wouldn't be something you have to have is if you have a character whose goal is to not change. So that would be a goal. Like, I'm thinking of Anne Tyler's The Accidental Tourist, which is kind of an old book. But it is a fantastic book about a guy who was a travel writer and he hated to travel. And he would go and he would do these, like he'd go to Paris and he'd write this book on how to be in Paris if you don't wanna be in Paris. Like how to be there if you have to be there, but you don't really wanna be there. And he's the perfect person to write these things, 'cause he didn't wanna be there. And it turned out, the underlying thing was, his marriage had fallen apart. And he was just this guy who was just trying to survive and make his way through the world. So his whole goal was, he didn't wanna get better. He didn't wanna go to Paris and be like, this is awesome. He just wanted to do the least amount of work possible. So that type of character is actually trying really hard not to change. So a character that doesn't wanna change, you have to work really hard not to change. You have to fight for that. So even a character who's not changing is making choices. So he's making choices so that he doesn't have to talk to anyone. He's making choices so he doesn't have to enjoy Paris. So he doesn't have to spend time with people. You know, all the choices he's making are to be alone, and to have everybody leave him alone. So agency is just having the power to make your own choices, and to make your own way in the world. We want to see people taking action. And it can even be inaction. I mean, Hamlet's a perfect example of a character who takes no action, but that's the arc of change. Like will he do something, or will he not do something? And we're watching him wrestle with the existential crisis of having to do what he thinks he has to do. So you know, you want your character to choose. That's the simplest way to say it. To do things that cause things to happen. It's all about just action. And action can be mindset. It can be decisions. It could be taking a risk. It could be choosing not to do something. You know, I shall not do it, I'll not do it, I'll not do it, I'll not do it, and then there's a moment where I have no choice. But they're constantly choosing. That's the best way to describe it.
Do you dream of writing a book but can't seem to get started? Or maybe you've started but can't quite get to "The End"? You're not alone! Most people who set out to write a book don't know how to begin or how to proceed through the development of their story. They quickly get overwhelmed with the sheer number of decisions to be made and often fall into frustration or even despair.
The truth is that creativity alone won't get your book out of your head and onto the page.In this course, you'll learn to capture your creative energy and master your craft with a step-by-step plan to build your story from the ground up. You'll create a framework that can support your book-writing process the same way a foundation holds up a house.
Author, teacher and book coach Jennie Nash will help you learn about your characters, your structure and your story so you can stop staring at a blank page wondering what to write next and instead move forward with confidence. You'll get to know your story inside and out so that this time, you'll finally finish your book—and finish strong.
In this class, you'll learn how to:
Design every element of your novel or memoir, including the protagonist, plot, story structure and a project success plan.
Define your narrator's voice.
Determine where your story begins and where it ends.
Decide what point you're making about human nature.
Make sure you're giving your ideal reader exactly what they want.
Gain the confidence you need to push past any doubts and finish your book.
Class Introduction
Project Fundamentals: Introduction
Why Write this Story?
What's the Point of your Story?
Who's your Ideal Reader
Write a Catchy Elevator Pitch
Write an Engaging Title
Genre Specific Elements
Story Structure: Introduction
Define your Protagonist and their Desires
Choosing your Narrator
Where does your Story Start and End?
Graph your Story
Start Writing: Introduction
Write your Opening Scene
Write your Closing Scene
Strategic Plan: Introduction
The No-Excuses Book Map
Create a Plan for Success
The Power of Getting Coached
Nom Johnson
This is the first class I purchased on CL. I listened in on the Live Streaming day, taking notes furiously while feeling sooo blessed to finally have found such an outstanding industry expert who knew -- really knew -- what writers problem areas and blindspots were. Furthermore, Jennie is a GREAT teacher who doesn't just tell her listeners how to do things smarter but takes us by the hand and leads us through smart exercises or great stretches of well laid out logic that is deeply illuminating on how to do our job, LOADS better! And that, in the 1st draft instead of the 5th or 10th (if we're still tenacious enough to be hanging in by then.) I purchased it because streaming quality was poor (not sure why, I have top rate streaming package; made me think it could be a CL purposeful thing) and the course content too great to not own. I've started relistening, and will do so as many times as I need to in order to receive full benefit from Jennie's obvious expertise and great instruction. For ANYONE starting out in the world of novel or memoir writing, I DEEPLY RECOMMEND you get this course along with Lisa Cron's Story Writing one. With the 2 of them you will have done yourself the biggest favor EVER on the learning curve of the art -- and the science -- of writing the best book you're capable of.
Loved watching Jennie give this class. She brings great clarity to the writing process that for so long for me, has been so daunting. I can't wait to learn more from Jennie who's passion for writing is incredible, but also her heartfelt compassion for us writers is nothing I have ever seen. Thank you Jennie. ~Denise
Deborah Lucas
I love listening to Jennie Nash, especially for free any day. But I found this class to be so valuable, I bought it in a flash. I recommend it for anyone working on a novel. Even if you are well into a manuscript, this class will give you structure to understand your plot/emotional trajectory as well as the audience you are writing for. I can't say enough good things about it. FABULOUS!!!!


The Oklahoma Farm Bureau Foundation for Agriculture is accepting donations to help farmers and ranchers affected by late winter storms that brought high amounts of snow and rainfall, causing widespread flooding in Nebraska and neighboring states.
All storm relief donations collected by the foundation will be used to assist those who have been impacted by the springtime storms and floods.
To donate, mail checks to the OKFB Foundation for Agriculture, 2501 N. Stiles, Oklahoma City, OK 73105. The foundation also can accept donations via PayPal on the foundation's website at OKFBFoundationForAgriculture.org/donate. Please designate donations are for springtime storm relief.


FBI Director Christopher Wray on Friday criticized the ongoing US government shutdown.
"It takes a lot to get me angry, but I'm about as angry as I've been in a long, long time." "Making some people stay home when they don't want to, and making others show up without pay - it's mind-boggling, it's short-sighted, and it's unfair." Most of the FBI agents are still on the job during the ongoing partial shutdown, which has now lasted over a month.


Electronics equipment maker Foxconn India has re-employed over 2,000 workers of its two closed plants near here for its assembling unit at Sri City SEZ in Andhra Pradesh.
The company has also hired most of around 3,000 staff at Nokia's facility at Sriperumbudur where production was suspended last year after a long drawn tax dispute.
Foxconn was a major supplier to Nokia's plant and its two facilities run into rough weather after suspension of production at the Finnish company's facility.
It has now set up a new manufacturing unit at Sri City Special Economic Zone located at Tada about 110 km from here which assembles smartphones for Chinese firm Xiaomi.
An official of Foxconn India said that the company has re-employed almost all workers of its two plants at Sriperumbudur. Also, most of the workers who took voluntary retirement at Nokia's facility have been recruited by it.
"Actually, we have taken "hundreds of them" to our factory. They are now employed in our factory at Sri City SEZ..," the official told PTI on the condition of anonymity.
The official, however, refused to reveal the number of workers that have been hired.
"Most of the employees who were working in Nokia factory were in the age group of 20 years to 35 years. They have received training (at Nokia plant)," the official added.
The Chennai plant of Nokia was kept out of the USD 7.2 billion deal signed by the company with Microsoft for selling its mobile handset unit in 2014 due to a tax dispute.
Fearing job losses, several employees had observed a hunger strike in Chennai in 2014. However, the company offered them voluntary retirement service.


Thes One Dj Set @ Tres Night!
Check it out!!! Anyone in the LA area should come to this event. Gona be a great night for an extremely worthy cause. Ohmega Watts Djin as well.
I'll be there for sure so if you spot an english dude in an FTC cap and probably a Fun Dmc hoodie then come say wassup!!
plus Ohmega Watts! Dope - support this!
Just a reminder that this is going on tomorrow night! FREE ENTRY. Who's coming through??
And just another friendly reminder that ALL proceeds will go to Red Cross to help earthquake victims in Japan.
There's also going to be merchandise available from Piecelock 70, Tres, Stokyo, Ubiquity and Pop Killer!
Ahhh....i am sooo gutted i cannot attend.....not only are Thes and Ohmega playing but its all for a good cause....Damn the fact i live in the UK....damn it!!!!


A protest against the construction of a waste burning site in the middle of Sofia will be held today, Nova TV reported. The idea was to use alternative fossil fuel made through burning waste.
The project will launch in 5 years on the territory of the TPP-Sofia. The objective is to reduce both fine particulate and carbon emissions. But people in the area are worried about air pollution.
Protesters also disagree with the idea of the municipality to finance the site with a loan of EUR 60 million. The Environment Committee in Parliament has already announced that all ecoprocesses have been met and the project will provide alternative fuel for the needs of District Heating.


Whether you are running a small/medium business or a functional leader responsible for the bottom line, understanding the language of numbers is the key to success. Knowledge about fundamental concepts in Accounting will not only provide you with an edge, but it will also improve the performance of your business, as you will make more informed management decisions. This highly interactive full day session will be an eye opener!
5. The workshop facilitator is always focused on making this a GREAT experience for you!
· Small to medium business owners & entrepreneurs who would like to get a conceptual understanding of Accounting/Finance aspects in order to monitor financial performance.
· Leaders/Senior managers/supervisors who are responsible for the bottom line of their department and would like to have an in-depth knowledge of the Accounting / Finance implication of their decisions.
· Working professionals keen to gain Accounting/Finance skills to take on board some additional responsibility at work.
This is a highly interactive concept based learning course where you will get a chance to apply concepts of Accounting & Finance to practical situations. Participants will be working in groups and in pairs throughout the course to apply the learning of concepts taught. Case studies, role plays, individual exercises and power games will all be part of the learning experience.
Anish Baheti is the Founder of Train My Brain® He is a Qualified Chartered Accountant (IND), an MBA in Accounting & Finance (AUS), a Certificate in Life Coaching (AUS), and a Certificate IV in Training and Assessment (AUS). He is also a Certified Practitioner for Brain Mapping (UK). He specializes in working with business owners, working professionals and senior managers who struggle to understand the Accounting & the Finance side of their business/work. He aims to create a unique concept based education/training platform Entrepreneurs & Professionals by helping them understand the logic behind the numbers in SIMPLE & easy language.All the concepts in this workshop are designed keeping in mind that the participant is from a non-accounting/financial background and focus is to keep it concise, jargon free and simple.
Duration: 2 hours. Take the early bird advantage.
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Home » Friends » Luneta » Singer Philippines » I'm so tired, I give up!
I'm so tired, I give up!
My officemates from my previous work have arranged an impromptu get together prior to the planned Singer Employees mini reunion that would be happening come the 20th of this month. During the holidays some of them have taken their vacation back home and part of their itinerary would be seeing friends from their former friends from work, that's Singer.
To a Singer employee, that is a Singer legacy not just the first ever sewing machine invented as what everyone has perceived. Singer was not just a place of work but a second home. Most of its previous employees would resign because they were petitioned by their family or they have to work abroad while others due to its retirements, most of them have rendered more than 20 years of happily serving the company, by the way.
It was only in Singer that you can find a previous employee who despite traveled the globe when they have a chance to visit home they cannot forget to bring pasalubong, chocolates would always be the generic items that would be distributed equally to all the employees even it would mean a combination of any two bite sizes of Kisses, Snickers, Mars or Babyruth.
Until some four years ago, a new management was installed. Manned by a Srilankan who resembles to a growling ape (I'm sorry, Srilankan I just happen to hate this man, I like you matter-of-factly, except him, lol). He was the kind of boss who everyone won't want seeing him (imagine the movie – The Devils wears Prada). He was the worst person this earth have ever walked.
And while it is true that I despise Singer, that's because of the mismanagement by the power monger and money hungry individuals. The truth of the matter, Singer would always be a family to me. With Singer, I have made friends not just friends but bestfriends.
I am one of those infamous employees, Singer has employed yet they never deprived me of the friendship. Despite of my hard-to-please attitude, lols, surprisingly I am friends to most of them. I have made quite of godsons and god-daughters mostly because their parents were a friend from Singer. Singer may have gone but to its previous employee, the friendship still lives on, thanks to Facebook, we can say "Hi and Hello" regardless of what continent we are in.
Now, as you can see – this is not what my title suggests. So, let's start the real topic, lol. Because we want a venue that would be accessible to anyone, we have trimmed down the options and unanimously agreed to hold the reunion at the Rizal Park, Luneta as they popularly call it.
It was my first time to actually explore Luneta in its nakedness. Previously, Luneta's credibility was always links to be a "Jologs" place that home to pickpockets, snatchers and robbers. Now, Luneta is a picture of class with lots of fun in it. It's clean, the area is well maintained and with security guards visibility, a sight that would make you safe in a way.
Aside from the classic statue of Dr. Jose Rizal, another eye-catching figure would be the enormous stone figure of Lapu-lapu facing our national hero, it's really a big one. The statue looks like, Machete; imagine the horror if you happen to be in the area at midnight and all of a sudden the figurine comes to life, ayayay, lol.
And who would ever want to miss the famous dancing fountain that changes its rhythm according to the melody of the song being played. This one is a big hit, the moment it start dancing people around would start running to the closed fence that surrounds the area just to make a closer looks to the giggling waters. I myself can't help moving my body as Lady Gaga's Bad Romance was playing while shots of water accompanied by red lights would splash up to the air in rhythmic with the song.
No again, this doesn't suggest about the title, eh?
Prior to going to Luneta we had made SM Manila to be the rendezvous. And one of my friends, whom I have made his son my godson, came. The last time, I seen him was on his first birthday. I gave him a small motorbike, I didn't knew he grows up to be a foreigner, lol. Yes, a foreigner that's because he do not speak local, I mean he's English speaking. Uh, you really are so "totyal", I told her mother. Why, didn't you give me a hint, I wasn't prepared. In short I had a nose-bleeding experience - haha.
Now after seeing me he immediately asked me to buy him a toy and drag me to a toy store, "whoah wait". I only have enough money to keep me from going home because I thought we're just going to see the place. And my godson, started to hand me the toys of his choice, "Oh my God", it cost, Php 1,279, Pphp 499 and Php299. I was relieved by the last one but he was crying because he wants all. Good riddance, his Mommie come to the rescue and tell him where off to go. We left the toy store without the toys and he's crying "I give up", "I give up".
When we reached Luneta we were in good terms and he started to drag me around the place. I have suddenly enrolled to "How to Babysit in 3 Hours". I become the instant babysitter. We have roamed every part of Luneta where the Heroism of Rizal was re-enacted.
Fifteen minutes before six a loud voice was heard, thanking everyone for the patronage and that section of the Park will closed at exactly six.
I was relieved and shouted.
"I'm so tired! I give up!
Resulted them to laugh hilariously.


text:
Editorial: Are Additional D...
Editorial: Are Additional Degrees Needed to Support Advanced Medical Dietetic Therapy?
September/October 2007, Volume :42 Number 5 , page 194 - 197 [Free]
Greger, J. L. PhD
Clinical Dietitians/Nutritionists Have Complex Training Needs
I think most nutritionists would agree with Drs Skipper and Lewis that now is a good time to examine the educational needs of clinical dietitians and nutritionists. Both the opportunities and threats facing the field of clinical nutrition are greater than they were 30 years ago.
However, the problems facing clinical dietitians and nutritionists are not unique. Most healthcare workers (physicians, dietitians/nutritionists, pharmacists, physical therapists, occupational therapists, registered nurses, clinical psychologists, audiologist, etc) are facing similar increased demands for basic training and continuing education.1-7
* The potential of medical therapies and preventive measures is expanding rapidly with new scientific advances. However, these advances are of little value if healthcare professionals are not provided with more training in evidence-based medicine so that they can apply this new knowledge. This generally means that all health professionals need more training in molecular biology/genetics, biostatistics/epidemiology, and pharmacology/toxicology.
* Clinical trials are an essential part of translating basic research into practice and often give patients quicker access to new therapies. Many new clinical therapies for chronic diseases involve multiple modalities of diet, pharmaceuticals, and physical therapies (such as exercise). Thus, healthcare providers need a more interdisciplinary training and more updates on scientific ethics and federal regulations on clinical research.
* Our healthcare system is extremely complex and is approaching an economic crisis. Our growing population of elderly, especially those with chronic diseases, fuels this problem. Furthermore, the differential in healthcare available to low- and high-income Americans is increasing. Thus, all healthcare workers need a broader understanding of economics, law, and ethics with constant updates on the rules and regulations enforced by Medicare and other third-party payers.
* We live in a consumer-oriented society that expects high-quality and rapid updates on their health issues, often from a distance. Moreover, unfortunate incidents about healthcare delivery, public health, and prior clinical trials have reduced the confidence of many consumers in healthcare systems. Thus, healthcare professionals require more training in all types of communication technologies and consistent updates on federal regulations and current events.
National Institutes of Health Is Suggesting One Potential Solution
The National Institutes of Health (NIH) is addressing these issues through its Roadmap. A major initiative in NIH's Roadmap is to award the Institutional Clinical and Translational Science Awards (CSTAs).8 These new CSTAs are expected not only to replace the old General Clinical Research Centers in medical schools but also to provide more interdisciplinary training to healthcare professionals, to provide more outreach to patients, and to do more translational research. As part of these CSTAs, institutions are expected to provide "career paths in clinical and translational science[horizontal ellipsis]leading to advanced degrees (MS and PhD)."8 Those trained are expected to become the leaders in modernizing American healthcare systems.
One common interpretation of this mandate by the 12 universities receiving these CSTA grants and the 52 universities receiving CSTA planning grants is that institutions must establish interdisciplinary master's and, ultimately, doctor of philosophy (PhD) degree programs in "clinical sciences." It is assumed that those entering these programs will already have a basic degree in a healthcare profession.
These new graduate programs in clinical sciences could meet the needs of some dietitians/nutritionists seeking to gain increased depth and breadth of knowledge so that they can more effectively treat their patents' medical dietetics needs. They also will be empowered to direct clinical trials to improve medical/nutritional therapies. Moreover, because of the NIH mandate, universities are apt to preferentially invest their (often limited) resources for graduate education in these new graduate programs in "clinical sciences."
What Are Clinical Doctorates?
The doctorate suggested by Drs Skipper and Lewis would be considered a clinical doctorate. Clinical doctorates (sometimes called first professional degrees) are not new. Consider doctor of medicine and doctor of veterinary medicine degrees.
On many campuses, the creation of clinical doctoral programs and then approval by all-campus review committees have been controversial and difficult processes. Those proposing clinical doctorates usually state that entry-level practitioners in their field need more training than currently provided to meet the bulleted points listed above.2-7 Thus, training periods were too long to be just baccalaureate or perhaps master's degree programs.
However, many critics claim that the motivation for these degrees is really the desire of healthcare professionals to work independently of physicians and be able to bill Medicare for their service directly and accordingly raise their salaries (personal communications from other graduate deans and faculty to J. L. Greger, 1990-2006).1 Some academics think that clinical doctorates are really master's-level programs with internships. Critics also question the ability of individuals without doctorates to train those seeking doctorates. They note that it is already difficult for busy healthcare professionals in hospitals (who are paid totally through clinical revenues) to spend time on training.
What Can We Learn From Other Clinical Professions?
The development of clinical doctorates has varied among fields. The following short overviews of clinical doctorates in various fields may offer potential models for those considering new training options in clinical dietetics/nutrition.
Clinical psychology is perhaps the field with the most "mature" clinical doctoral program options.9 In 1949, clinical psychologists recommended that the training of scientist-practitioners be accomplished through PhD programs (which included a yearlong internships) in clinical psychology. In 1973, a national training conference on clinical psychology reported that practitioners needed less research experience and recommended the creation of doctor of psychology (PsyD) programs.
These 2 options have functioned long enough to provide useful statistics.9 PhD programs in clinical psychology are under the aegis of graduate schools at universities; the PsyD degrees are often located in freestanding psychology schools or in professional schools. As of 2002, the acceptance rate of students into PsyD programs was higher than into PhD programs in clinical psychology (40%-41% vs 11%-15% of applicants, respectively). However, nationally, PsyD programs were less apt to provide financial support to students than PhD programs (ie, 18% vs 70%-80%, respectively, of students were offered tuition and assistantships). Generally, students in PhD programs took 1 to 1.5 years longer to complete their doctorate than did students in PsyD programs. However, PsyD students were more apt than PhD students to enter the doctoral program with a master's degree already completed. Graduates of PsyD programs, on average, did not perform as well as graduates of PhD programs on the national licensing examination for psychologists.
Relevance to nutrition. At many universities, a graduate program in clinical nutrition (as has been done in psychology) could be created as just another option under the already approved PhD program in nutrition. A number of universities already have done this. Internships could become a required part of PhD programs in clinical nutrition (as they do in psychology).
In 1992, the American Association of Colleges of Pharmacy recommended that the clinical doctorate in pharmacy (PharmD) replace the bachelor in pharmacy as the entry-level professional degree in pharmacy.3 PharmD is a 4-year professional degree preceded by at least 2 years of preprofessional education. All pharmacy schools in the United States have discontinued their baccalaureate degrees as a first professional degree.
Miller and Webb3 believe that the pharmacists with doctorates "are better prepared to address the complexity of patient-medication management" and have hence earned "increased respect from professional colleagues." The average national base salary of all pharmacists is $87,000, but of PharmD graduates, it is $110,000.10
Relevance to nutrition. PharmD has been cited as a success story for clinical doctorates. However, pharmacists operated more independently than other healthcare professionals and earned higher salaries before the creation of PharmD programs. Hence, the benefits attributed to this clinical doctorate are not apt to accrue (at least as much) to other health professionals with clinical doctorates.
The American Physical Therapy Association actively campaigned for the creation of a clinical doctorate, that is, a doctorate in physical therapy (DPT).4,6 This degree has become the main route by which current students can become professionals in physical therapy. The net result is that in 2000, there were 9 baccalaureate, 184 master's degree, and 19 doctoral (accredited and developing) programs in physical therapy. In 2006, there were no baccalaureate, 43 master's degree, and 167 doctoral (accredited or developing) programs in physical therapy.
Ward4 noted that "there have been many challenges associated with transitioning to a clinical doctorate" but that patients are better served by physical therapists who have a strong background in evidence-based care. He notes that the American Physical Therapy Association found that practitioners with a clinical doctorate earned only slightly more than those with a master's degree after limited work experience (1-3 years) but reported greater job satisfaction.
Relevance to nutrition. More information is needed before the usefulness of doctorate in physical therapy programs as models for clinical dietetics/nutrition can be judged. Questions need to be answered: Do differences exist in salary and job satisfaction among clinical (not academic) physical therapists with doctorates in physical therapy and those with master's degrees in physical therapy after 5 or more years of experience? How were university structures altered to accomplish these transitions (ie, did physical therapy programs leave departments of kinesiology, and were the physical therapy programs moved to medical schools)? Accordingly, did these programs become less interdisciplinary and more isolated (ie, instruction after the first 2 years of college training was accomplished by primarily physical therapists)? If so, this type of training model would be counter to NIH's suggestions in the CSTAs8 and probably would not prepare clinical dietitians/nutritionists for long-term careers.
Audiology and Occupational Therapy
The American Academy of Audiology recommended that the doctor of audiology degree become the entry-level degree for clinical audiologists by 2007.7 At least 30 universities are offering doctor of audiology degrees in 2007.
As of 2007, a master's degree or higher is the minimum educational requirement for entry into the field of occupational therapy.11 In December 2006, an accreditation council of the American Occupational Therapy Association, Inc, adopted the standards for doctoral degree-level education programs in occupational therapy.12
In general, assessments of the advantages and costs of these clinical doctorate programs to universities, students, and ultimately patients, remain debatable.
It Is Time for Nutritionists to Consider Options?
Those proposing a clinical doctorate in dietetics and/or nutrition should carefully analyze data from other clinical fields and try to answer the following questions: Will the creation of a doctorate lead to this degree becoming the minimum educational requirements in clinical nutrition within 10 years? Will students graduate with larger debt loads? Will the additional training have long-term effects on clinical dietitians/nutritionists' salaries and job satisfaction or will the effect last only for about 3 years? Will the number and quality of students seeking PhDs in nutrition be affected by the creation of clinical doctorate in dietetics/nutrition?
Faculty members in nutrition departments should reevaluate their current graduate programs in nutrition. Can master's programs, courses, and thesis topics be made more relevant to clinical dietitians/nutritionists? Should every advisory (MS and PhD) committee for clinical dietitians/nutritionists include at least 1 faculty member from pharmacy, medicine, physical therapy, biostatistics, or some other clinical field? Are there other ways to encourage students to gain more interdisciplinary skills? Should more faculty members in nutrition departments be actively involved in the CSTA training programs?
Are Salaries the Real Issue?
This is an undiplomatic question, but it was asked in several reviews of clinical doctorate programs in which I participated. This question is particularly relevant to clinical dietetics/nutrition. Generally, dietitians are paid lower than other healthcare workers (Table 1).
Table 1. Annual Salaries of Healthcare Professional as of May 2004
I think it behooves all nutritionists in academia to be interested in improving the salaries of clinical dietitians/nutritionists because this is a very good way to show that we care about our students, which is a good way to recruit more and better students at all degree levels. In the long run, this is also a way to improve patient care by providing well-trained, satisfied clinical dietitians/nutritionists. I am not sure that a clinical doctorate in dietetics/nutrition will accomplish this goal.
1. Siler WL, Randolph DS. A clinical look at clinical doctorates. Chron High Educ. 2006;52:B12. [Context Link]
2. Lancaster J. Clinical degrees in pharmacy and other fields [letter to the editor]. Chron High Educ. 2006;53:B16. [Context Link]
3. Miller KW, Webb CE. Clinical degrees in pharmacy and other fields [letter to the editor]. Chron High Educ. 2006;53:B16. [Context Link]
4. Ward RS. Clinical degrees in pharmacy and other fields [letter to the editor]. Chron High Educ. 2006;53:B16. [Context Link]
5. Weinstein BA. Clinical degrees in pharmacy and other fields [letter to the editor]. Chron High Educ. 2006;53:B16. [Context Link]
6. American Physical Therapy Association. 2007. Available at: http://www.apta.org/AM/Template.cfm/Section.=education_Programs1&Template=1Tagge. Accessed May 2, 2007. [Context Link]
7. American Academy of Audiology. AuD programs. 2007. Available at: http://www.audiology.org/aboutaudiology/studentinfo/aud. Accessed May 2, 2007. [Context Link]
8. National Institutes of Health. Clinical and Translational Science Awards (consortium). 2006. Available at: http://www.ncrr.nih.gov/clinicaldiscipline.asp. Accessed May 3, 2007. [Context Link]
9. Norcross JC, Castle PH. Appreciating the PsyD: the facts. Eye Psi Chi. 2006;7:22-26. [Context Link]
10. Allied Physicians. Pharmacist salaries & pharmacy salary surveys. 2007. Available at: http://www.alliedphysicians.com/salary-surveys/pharmacy. Accessed May 2, 2007. [Context Link]
11. Bureau of Labor Statistics. Occupational therapists. 2006. Available at: http://www.bls.gov/oco/ocos078.htm. Accessed May 1, 2007. [Context Link]
12. The American Occupational Therapy Association. ACOTE accreditation. 2007. Available at: http://www.aota.org/Educate/Accredit/StandardsReview/3810.aspx. Accessed August 10, 2007. [Context Link]
13. CollegeGrad.com. (Data source the Bureau of Labor Statistic). Professional, technical, and related careers. 2007. Available at: http://www.collegegrad.com/careers/proft.shtml. Accessed May 3, 2007. [Context Link]


Does iAngels raise convertible loans for startups?
Yes. Multiple startups have raised convertible notes on our platform.
How does iAngels receive its deal flow?
Our deal flow comes from multiple channels: close networking with Israel's top entrepreneurs, inward traffic from entrepreneurs that apply on our site, referrals from lead angel investors, and referrals from other entrepreneurs. Having a lead angel committed to the round is a prerequisite for receiving funding from iAngels.
Do you automatically take any deal an angel gives you?
No. We conduct a rigorous internal due diligence process, which involves assessment of the entrepreneurs, market, technology, product, customers, legal, financials and product traction. Only companies that successfully make it through our due diligence process are selected. Currently we select around 3% of the deals we evaluate.
How do you know you're not suffering from adverse selection?
We have found that angel investing in Israel is often a syndication business. Angels tend to invest together, since they each have caps on their initial investments, which come out of their personal funds. Specifically, even the largest and most successful angels in Israel typically invest no more than $100-200k per opportunity. As such, angels are always looking for good partners to help them close rounds fast and add value to their companies.
Who decides which opportunities to raise on the platform?
All investment decisions must have a consensus vote by our investment commitee, which includes our management, Chairman, and Portfolio Manager.
Do you take a board seat?
Depending on what stage in a company's growth iAngels invests at, and what stake we take, we will often take membership or observer status on a company's board. On occasions when we opt not to take a board seat, We ensure that the angel or VC we invest with has board membership, thereby ensuring that our interests will be protected as well.
What's in it for the angels sourcing the deals for iAngels?
Lead angels work with us because we bring value to investors and entrepreneurs – helping to raise capital quickly and efficiently, and building global networks of influential co-investors.
How many deals do you select?
We assess approximately 100 companies per month, selecting two on average.
What is my tax obligation when investing through iAngels?
In most cases, your tax obligation is the capital gains tax in your country of origin. Please refer to our tax page for more information. In any case, you should check the specifics with your accountant or financial advisor.
Is it possible to sell my shares to other investors on the platform?
Our vision is to create a secondary market within our investor community in which purchased shares can be sold to other investors in future rounds. That said, we do not currently have an official secondary market. You may contact us if you are an iAngels investor and are interested in divesting your position in one of our portfolio companies. However, our ability to find a buyer is largely dependent on the respective company's traction.
What happens if the company I invested in goes out of business?
Investing in startups is a high-risk venture. Our due diligence process is rigorous in order to mitigate the risks involved as much as possible, but at the end of the day each investor assumes risk when investing in early stage companies. If the start-up fails and goes out of business, most investors lose their money unless there is a liquidation event that makes them whole.
Does iAngels raise follow-on rounds for startups as well?
Yes. Many of our portfolio companies have already run successful follow-on investments through iAngels. In the scenario of a follow on, we routinely provide the original investors with the opportunity to follow up their initial investment, and at times we may open the opportunity to our full investor community.
How involved can I be as an investor?
While we have many investors who take a "hands off" approach, we also have investors who want to provide value to our startups through mentorship, relevant connections, or advice. Should you wish to assist a startup you invested in, please contact us and we will put you in touch with a member of their team.
How do I know if I qualify as an "accredited investor"?
Investor accreditation is determined by the financial regulations in your country of residence (usually, the country in which you pay income tax). To see if you qualify, check the regulations in your country or check with your financial or tax advisor.
Why are these opportunities open only to "accredited investors"?
The purpose of the law is to protect investors from risk. Regulators assume that high net-worth individuals or corporate executives have greater ability to understand the risks associated with angel investing and can afford to take those risks.
Can I invest in the name of my business/association?
Yes, if your corporation, LLC or association qualifies as an accredited investor. Many iAngels investors are corporations. You will be required to provide proper identification proving that you are connected to the relevant corporation and you may be asked to verify your corporation's credentials as an accredited investor.
What is iAngels' fee structure?
iAngels charges a one time fee of 10% paid upfront, and a 20% carried interest on profits.
What currency does iAngels use for its transactions?
All of our transactions are designated in US Dollars. If you are more comfortable investing in your country's currency, iAngels will convert your local currency into US dollars and will report wealth creation in US Dollars.
If the target amount is not raised by a startup, will I receive a refund?
All investments in startups via iAngels are underwritten by iAngels itself. As such, all deals launched will reach their respective target sum.
How is my money transferred to the startup?
After you commit to an investment, you will wire the funds to a secured escrow bank account. Upon the closing of the round the money is transferred to the startup.
What is the investment vehicle for iAngels investments?
iAngels invests via iAngels Technologies LP, a Delaware Series Limited Partnership, which issues a separate series for each iAngels investment. In each case, iAngels Crowd Ltd. acts as the general partner, and investors act as limited partners. For a detailed overview click here.
Can I ask the entrepreneurs questions?
Immediately after launching a new startup on our platform, we host a webinar with the founder(s) in order for our investors to get to know and interact with them. This webinar includes a Q&A session, which is then available online for those unable to attend the webinar. If you have further questions for the company, you can ask these via a member of the iAngels team.


text:
The British 5,000 metres athletics champions covers four competitions; the current British Athletics Championships which was founded in 2007, the preceding AAA Championships (1880-2006), the Amateur Athletic Club Championships (1866-1879) and finally the UK Athletics Championships which existed from 1977 until 1997 and ran concurrently with the AAA Championships. The distance was originally 4 miles but in 1932 switched to 3 miles.

Where an international athlete won the AAA Championships the highest ranking UK athlete is considered the National Champion in this list.

Past winners

 nc = not contested
 + = UK Championships

References

5,000 metres
British
British Athletics Championships

redpajama_set_name: RedPajamaWikipedia


text:
Won/Loss Records
We now have 497 teams &
121,369 games on AHSFHS.org.
Centerville Football Team History
Centerville Bulldogs
Hickman County High School
1645 Bulldog Blvd. Centerville, TN
Stadium:
Colors: Red & Black
Coach: John Springer
Select Year: Select One 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995 1994 1993 1992 1991 1990 1989 1988 1987 1986 1985 1984 1983 1982 1981 1980 1979 1978 1977 1976 1975 1974 1973 1972 1971 1970 1969 1968 1967 1966 1965 1964 1963 1962 1961 1960 1959 1958 1957 1956 1955 1954 1953 1952 1951 1950 1949 1948 1947 1946 1945 1944 1943 1942 1941 1940 1939 1938 1937 1936
1936 <-- 1962 <- 1963 -> 1964 --> 2021
1963 Season Highlights
John Springer enters his 9th season as Head Coach at Centerville.
Date Opponent Score
Sat., Aug. 24 Adamsville 48 0 W
Thu., Aug. 29 vs. Waverly 54 6 W
Fri., Sep. 6 OPEN
Fri., Sep. 13 @ Loretto 38 0 W
Fri., Sep. 20 vs. Smyrna 14 19 L
Fri., Sep. 27 @ Waynesboro 7 14 L
Fri., Oct. 4 @ Dickson 7 14 L
Fri., Oct. 11 vs. Lewis County 26 0 W
Fri., Oct. 18 @ Charlotte 20 33 L
Fri., Oct. 25 vs. Mt. Pleasant 25 7 W
Hardin County 13 19 L Waynesboro
Record 5-5
Points Scored 252
Scoring Average 25.2
Points Allowed 112
Defense Average 11.2
Opponents Record 41-64
Home Record 3-1
Away Record 1-3
Join us to submit corrections and new information.


text:
Bottles / Bottle Making Companies
Michael Traxler heads Mould Technology division of Engel
14 Jun 2019 13 Jun 2019 Heike Fischer 238 Views
The share of integrated system solutions in Engel's order volume is increasing globally. In addition to the injection moulding machine, automation and other peripheral devices, the mould is often part of the overall scope. Therefore, an in-house department at Engel's headquarters in Austria has been involved in the project planning of injection moulds for more than ten years. The team of experts combines the experience and know-how gained from worldwide projects to develop a mould solution that is precisely tailor-made for the product and the production process in partnership with a mould manufacturer.
Following the retirement of Udo Stahlschmidt, Michael Traxler has been appointed head of this strategically important division. Traxler has more than 30 years of experience in precision tool making and injection moulding. He joined Engel in 2015 and previously headed the Packaging business unit in North America.
"We would like to thank Udo Stahlschmidt for his many years of great commitment. With his sound expertise and keen sense of the specific requirements of the markets, he has very well positioned Engel's mould technology department internationally," says Dr. Christoph Steger, CSO of the Engel Group. "With Michael Traxler, we are delighted to have found a successor who has already a lot of experience in this area and who will continue the work without skipping a beat. With Mr Traxler, we will continue to advance the decentralised development of the mould technology know-how".
Engel started this process in China where a new Mould Technology department was established at its Shanghai site. "The project planning of injection moulds requires a great deal of coordination and very close cooperation between us as a system solution provider and the plastics processors. That's why it's so important to be on site and speak the native language of our customers," says Steger.
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