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Mathematician on a Bill: Alan Turing
by HSJOM Staff
You may have heard of Alan Madison Turing from the movie "Imitation Game," starring Benedict Cumberbatch. Born in 1912, Turing was a talented British mathematician who studied at Cambridge University. Among the many fields in which he established a solid reputation, people most note him for his impactful work in mathematics and cryptanalysis. In particular, he was the first one to genuinely examine the question "Can machines think?"
At the time, the power of today's computers would have been unimaginable. Even the relatively trivial calculators that people often use today did not exist, meaning that the calculation process was gruesomely slow. In fact, there was a vocation for people doing such calculations and mathematical work that computers do today, although to a much-limited extent. Such difficulties led to Mr. Turing's devotion to the creation of a revolutionary device that would facilitate this very process.
In 1936, Turing with Church made the shocking proof supporting their claim that the confusing Entscheidungsproblem problem had no solution to it. However, more shocking than his proof was the Turing machine that he created in the process of attempting the problem. It marked his future involvement with computers, with the University of Manchester later using it as a foundation for creating the first functioning electronic stored-program digital computer.
After numerous other successes, Turing was faced with a problem that would mark the zenith of his career: the Enigma. As evident from the name itself, the Enigma was a complex German cipher machine utilized for encryptions; the only problem was that it was indecipherable even to a team of brilliant minds. Marian Rejewski's team had created the Bomba which was impressively effective until Germany altered its operating procedures. If the Enigma was cracked, the future of World War II would undoubtedly lean in favor of Britain. Consequently, many were desperate to crack it.
When the possibility of cracking the Enigma seemed bleak, Turing and his team designed a better machine called the Bombe. Through the machine's successful ability to crack the Enigma, it played an invaluable role in the war, essentially sealing Germany's defeat. In fact, in "Imitation Game," Cumberbatch, as Turing, sarcastically inquired, "Was I God? No. Because God didn't win the war." Indeed, it would not be an understatement to say that Turning's brilliancy shaped the outcome of World War II.
After cracking the Enigma and experiencing a dramatic increase in fame, Turing would humbly continue exploring his passion for such technological devices. For instance, he later created the Automatic Computing Engine, the first model of an electronically stored program. Moreover, such creations and discoveries would have long-lasting consequences on modern artificial intelligence. For this reason, Turing is often dubbed the founder of AI, as well as the first to establish a correlation between a digital computing machine and the human brain.
Behind this mathematical genius's career as an academic, however, was a neglected individual who suffered in his last moments due to his "crime" of being homosexual.
What people often don't realize about Turing is that his life was not as full of glory and beauty as some might expect. Disillusioned by his legacy today, we often ignore the fact that Turing met a sad death because of his sexual orientation. In March 1952, Turing was charged with the crime of homosexuality and compelled to go through a year of homornal therapy. This not only meant that Turing would never get access to his past opportunities, as a criminal record prevented him from working in places such as the Government Communications Headquarters, but also suffer from depression. Eventually, he met a painful death due to cyanide poisoning.
Gratefully, in the 21st century, several apologies have been made in regards to the violation of Turing's human rights. Former British Prime Minister Gordon Brown made a public apology about Turing's forced hormonal treatment; Queen Elizabeth II even granted him a royal pardon. In 2019, Turing has been promised what many would call eternal fame and recognition: his face will be printed as Britain's highest value currency. Even Turing would have been proud to have been chosen from the 227,299 candidates for the honor, including other groundbreaking scientists and mathematicians like Steven Hawking.
The reason why Alan Madison Turing is such a respectable figure is not merely his phenomenal achievements. Regardless of how impressive they were, what makes Turing stand out is his persevering nature that was willing to forgive the mischiefs imposed upon him. He would be the one to willingly sacrifice his health and his invaluable time for the wellbeing of his country. His kind reminder to humanity, "we can only see a short distance ahead, but we can see plenty there that needs to be done," should serve as a ringing bell that one of history's most intelligent individuals – who was deprived of his fundamental rights by the government he worked for – adamantly did what needed to be done.
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Today, we stop and remember the men and women who had the courage to serve our country and gave their lives for it. This is a special day for a lot of people in America, and is a day where people calm down with all the politics and just come, because if it wasn't for them, our country would likely have been very different.
Just as a quick history for today, it was implemented as a national holiday after the civil war, due to the massive amount lives lost during that bloody conflict. If you ever get the chance, go by one of the military memorials in Washington D.C, whether it's the World War 2 memorial or the Vietnam memorial. I remember went I went to these two, during my trip to Washington 3 years ago. It was very surreal, just thinking about how these brave men gave up their, just so that we can continue to have the freedom that America was founded on. I know this phrase is used a lot, but freedom is most definitely not free.
If anyone who is reading this has had someone they love die in combat, I want to say thank you for your service as well. I know y'all have sacrificed so much, but we all are really thankful for it. Today, I encourage everyone to spend time with their families and reflect on this day. Again, thank you to those who died for this country and thank you God for giving them the courage to do so.
This is great, son! Yes, we must always remember those who paid the ultimate sacrifice for this nation.


About this talk: Ed's visual learning techniques are an effective and fun way to learn difficult information. They are ideal for children (and anyone else) who find it difficult to recall those "boring" facts.
About the speaker: Ed is a Grandmaster of memory and educational speaker. He was ranked 7th overall in the 2007 World Memory Championships. His party tricks include the ability to memorise 1000 numbers in an hour, 10 decks of cards in an hour and one deck in under 2 minutes. In 2005, Ed competed unofficially in the US Memory Championships (which is only open to US citizens). Though his score wasn't officially tabulated, he would have won hands down. In the random words event, he managed 150 words in five minutes, 50 more than the best American score. In the same year, he trained journalist Joshua Foer (brother of Jonathan Safran) to win the US Memory Championships.
To read more about Ed and get hold of his book click here.
To read about Josh Foer's romp to victory, click here.
The use of imagery: These memory techniques can be used by all children (and adults) of all ability. Often children who don't do well at school, are over active, or have learning difficulties such as dyslexia find the use of this kind of imagery fits their natural manner, intuitions and how they desire to think. One can think of memory as a process of thinking around in one's head. Almost everything in school is in one form or another memory. It is exceedingly boring and ineffective to memorise by rote. The far more effective and enjoyable approach is to transform information so it becomes unforgettable. People forget things when the image which has arisen in their mind has been insufficiently rigorous, rich, entertaining or interesting to the person involved. Memory is the flip side of perception: Anything which grabs your attention or leaps out from its environment is the kind of thing we remember. Violence, exaggeration, ludicrousness, celebrities, nakedness, the outrageous, the wonderful, the comedic, the splendid, the fabulous are the sorts of things that grab attention perceptually. The memory is exactly the same.
History example: If you wanted to learn the American presidents you might do the following. The seventh American president was John Quincy Adams. This is a name that does not engage the mind and is therefore easily forgotten. Therefore it is important to think of ways to make this name give rise to the rich representations in the mind that are so useful for remembering. If we associate John with John Lennon, quincy with the quince fruit, adams with the adams apple we can enrich the name. If we imagine John Lennon with a quince fruit stuck in his throat causing his adams apple to protrude we get a much richer image of John Quincy Adams and the sort of thing which the child as well as the adult brain can better deal with. The next president is Andrew Jackson. We can associate him with Michael Jackson and can associate Andrew with hands. If we imagine Michael Jackson moon walking on his hands away from John Lennon then we have a much easier way of remembering these two presidents.
Vocabulary example: The French word for a poster is Affiche and it's feminine. For this you could imagine a feminine looking fish attaching a poster to the wall.
Science example: To learn the electromagnetic spectrum you could use the following story. Gamma ray can be associated with gammon and therefore a pig, x-ray with a medical x-ray, UV with a sun tan, visible spectrum with a rainbow, infrared with mobile phones, microwave with a microwave and radio waves with radios. A pig (gamma ray) breaks his leg and has an x-ray (x-ray). After the x-ray the pig goes to the UV (UV ray) tanning parlor to get a tan. Feeling hot the pig climbs a rainbow (visible spectrum) to cool off. On top of the rainbow he remembers he is hungry so uses his mobil phone (infrared) to get his friend to turn on the microwave (microwave). The pig will return home to eat whilst listening to the radio (radio wave).


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redpajama_set_name: RedPajamaCommonCrawl


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Destiny 2 Shadowkeep Release Date Delayed to October 1, 2019
by Jamie Moorcroft-Sharp
August 1, 2019 3:00 pm in News
Bungie has just announced via the official Destiny 2 Twitter account that the Destiny 2 Shadowkeep release date has been pushed back until October 1, 2019. Originally the expansion was set to launch on September 17, 2019, but now it seems as though players will have to endure another month without this new content. In addition to Shadowkeep being delayed, the free version of Destiny 2, Destiny 2 New Light, is being delayed along with it.
Bungie has stated that part of being an independent developer is knowing what is best for the game. As a result, the team has made the decision to delay the release of Shadowkeep by just under a month. They have acknowledged that many people will have already booked time off for the expansion, eager to complete as much of the new content as possible once it launches, but Bungie has now said that the time for working through this expansion will come later.
Very few details, other than the expansion isn't ready, have been given for this delay. However, it's far more likely that Shadowkeep is being delayed because of New Light, rather than it being the other way around. Destiny 2 New Light is the upcoming free-to-play version of Destiny 2. Players will be able to jump into the game and access any content within a few hours, as opposed to hundreds. The idea with New Light is to allow people to play together without the barrier of hours of content, and DLCS, that prevent them from doing so. While Forsaken and Shadowkeep content will still be locked behind a paywall, New Light players will be able to access the locations in those expansions without spending any money at all.
Destiny 2 New Light is launching for all major platforms, and Google Stadia. This could be the heart of the reason for the delay of both New Light and Shadowkeep. Stadia is a brand new platform that no game developers have launched a title for yet. Destiny 2 New Light will easily be one of the largest, and most complex, available, and with cross-save to consider as well, there's a lot that could go wrong. A culmination of all of these factors, and their potential to break, is probably why Shadowkeep and New Light will now not launch until October 1, 2019.
Source: Bungie
Tags: Bungie Destiny 2 Destiny 2: Shadowkeep
Call of Duty: Modern Warfare Ground War to Feature 100-Player Matches, 10v10, 20v20 Modes Confirmed
Call of Duty: Modern Warfare Dark Edition Now Available for Pre-Order, Costs $200


There is now a sharp contrast between the empowerment modern technology has granted women, and the rights our male-dominated society allows them to enjoy - Iffat Gill on Women and ICTs in Pakistan.
The Code To Change 2016 Amsterdam; We Rocked!
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The Code To Change 2016 (kickoff for the mentoring program) was back with a bang this November! The speaker line-up fr the second edition was even more amazing than last year! Over 20 Tech leaders and emerging leaders from across the industry shared their stories and journey into the IT sector. The topics included security, big data, high performance computing, design, sharing economy, art and tech, Artificial Intelligence, social media, digital marketing.
The talks inspired our participants (and graduates Code Newbies from the Code To Change bootcamp) to pursue their dreams and learn new digital skills in order to join the technology sector.
Please take a look at the Conference description here.
For conference programme details, see here.
Watch highlights from the Code To Change conference 2016 here!
The Code To Change was invited to be part of #WomeninTech panel discussion at the Grace Hopper Celebration (an Anita Bog Institute event). The event was attended by 15,000 women technologists from around the world.
The panel highlighted the work of The Code To Change, Women Techmakers, ChickTech and Pipeline Angel investors to encourage girls and women to enter, stay and advance in tech roles and career paths. The discussions focused on how local communities and organizations are involved across all tech programs to impact diversity across the tech spectrum spanning international societies.
The panel was hosted by Anita Borg Institute's Systers community and moderated by the amazing Rose Robinson.
I had a great honour to speak at the lunch meeting hosted at the German Ambassador's residence in the Hague, Netherlands. I spoke about the role technology can play in the empowerment of women, particularly those who are under-privileged and have limited opportunities. I spoke about digital literacy and how ChunriChupaal and The Code To Change is empowering women to embrace new challenges in life and learn digital skills to reach their full potential and join the digital economy.
The event was attended by 20 diplomats from five continents. Take a look at write-up at the official website of the mission in question!
Excited to share that I was invited by the Euroforum folks to give the closing keynote at the Ada Lovelace Festival in Berlin, Germany this October. The festival is an annual event which celebrates contribution of women to the emergence of the digital age. Among them was Ada Byron Countess of Lovelace (1815–1852), a mathematician now considered a software pioneer, after whom this event is named. In the mid-19th century, she developed a program for Charles Babbage's "Analytical Engine", a forerunner of the modern computer which was sadly never completed.
The keynote highlighted the importance of investing in potential to plug the digital skills gap through The Code To Change program.
I was selected as High Level Track Facilitator, an innovation at the World Summit on the Information Society – WSIS Forum 2016 to move from policy speeches to an interactive dialogue and actions. I moderated the high level policy session on "Financing for Development and the Role of ICTs." One of the most interactive policy sessions, the panel on 'financing for development' included Ministers and high level government officials from United States, Namibia, Portugal, Argentina, Tunisia and Azerbaijan.
With 1,800 participants from 140 countries, including 85 ministers and 250 high-level representatives this year, the WSIS Forum is growing in importance. Last December at the WSIS+10 Review, the outcome explicitly called for the close alignment between the WSIS process and the 2030 Agenda for Sustainable Development. As the first meeting after that review, the Forum was an opportunity to gather the wider community to discuss the way forward.
More details at the ChunriChoupaal's website on this link.
I was invited to speak at the high level policy session as a High Level Speaker (civil society) on Inclusion at WSIS Forum 2016 which took place in Geneva,Switzerland. I highlighted the importance of diversity and inclusion of women in the existing workforce. My intervention included challenges faced by community leaders and grass-root organisations to implement digital literacy programs for girls and women. Other issues I highlighted were unconscious bias, safes spaces (both online and offline) for women to learn, work and express themselves, attitude of men towards inclusion.
I am proud to have chaired a thematic workshop on gender digital divide and digital inclusion for financial and social empowerment three years in a row. This year's workshop focused on the e-Skills gap and how The Code To Change is bridging this gap.
It was an honour to be one of the community leaders to initiate a community for women in technology in Amsterdam, ABI.Amsterdam, in collaboration with Anita Borg Institute for Women in Computing.
I spoke about "Digital inclusion: the importance of e-skills training for economic empowerment." It was an honour to share the stage with Rose Robinson from Anita Borg Institute, who spoke about he role of local communities in empowering women in technology.
The sponsors included Google UK and eBay-Marktplaats. For details of this event, please go to the event page on this link.
It was a great experience for me to share stories of women empowerment from Pakistan and how my work in the Netherlands to empower women through digital skills is helping them explore careers in the technology sector. The lecture focused on how technology can play a role in social and economic empowerment of women who are confined to their homes due to cultural norms and have limited contact with the outside world.
I am honored to be featured in Internet Society's 'Shine The Light' campaign which features digital trailblazers and leaders who are using technology to empower themselves and others.
The campaign launched by Internet Society and featured on BBC, aimed at recognizing the many contributions made by women today to the development and growth of the Internet. By encouraging others to "Shine the Light" on women who are using the Internet to innovate and make a difference in people's lives, the organization hopes to celebrate the online achievements of women and draw attention to the issue of gender inequality when it comes to Internet access.
I had the honour to be the opening speaker for the economic empowerment track at the 3rd World Conference of Women's Shelters on 4th of November in the Hague, Netherlands. The dignitaries included Queen Maxima of the Netherlands and Crown Princess Mary of Denmark.
I was the speaker for "I am that Woman" theme.
I hosted a workshop: "Digital Highway to Independence for social and economic development" at the 3rd World Conference of Women's Shelters on 4th of November in the Hague, Netherlands. The dignitaries included Queen Maxima of the Netherlands and Crown Princess Mary of Denmark.
The 3-day Code To Change e-Skills bootcamp and conference in Amsterdam just blew our minds! It was an amazing experience to lead this three day event for bridging the digital skills gap in connection with the European Code Week 2015.
The event introduced participants to e-skills and different fields of technology industry. This initiative was brought to the public by ChunriChoupaal's leaders and sponsors on a volunteer basis, through the shared belief that women deserve to have their talents developed and to achieve economic independence and that employers deserve to benefit from the full range of skills humanity has to offer.
The energy, the passion, the drive and dedication of amazing participants, the wonderful mentors, volunteers and speakers; We are in awe. Thank you for a wonderful journey of learning, teaching, debating and helping each other to make steps towards empowerment. Thank you to all our supporters!
For details on the event, please see the Code To Change project page.
I am happy to share that we presented the results of our 'Work To Equality' campaign at the World Summit on the Information Society- WSIS 2015 in May in Geneva, Switzerland.
The session looked at different experiences of organizations that are working for gender equality, both internally and externally in their organizations. With these different visions and programs, we will have a better insight about what can be done to achieve #WorktoEquality. This workshop generated a debate to raise awareness and to collect possible suggestions and solutions for addressing the issue.
The panelists included Mine Ogura, head of Work To Equality campaign, Monique Morrow-Cisco, Cheryl Miller-Verizon, Catherine Mesot-Catalyst. Remote panelists included Rifat Arif- Young Digital Leaders, Hanna Luden- consultant and Miriam Tocino- Amsterdam Women in Technology and I had the honour to chair the workshop.
Details of the workshop can be seen here and recording can be viewed here.
I had the pleasure to share my story of digital empowerment at the UN's Internet Governance Forum 2014. The Internet Governance Forum (IGF) took place in Istanbul, Turkey from 2 to 5 September. This UN-initiated body is a multi-stakeholder, non-decision making forum of global importance for forward-looking discussions on Internet issues.
I had the opportunity to present my women empowerment initiative ChunriChoupaal at the flash session. This session was chaired by Leana Mayzlina of World Pulse. I highlighted the issues faced by girls and women to access trainings related to the use of modern information and communication technology and how my women-only center was sensitizing women and girls and exposing them to new horizons of social and economic empowerment.
Female Digital Literacy in Europe- How different is it from other parts of the world?
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A few years ago, I moved to Amsterdam. Amsterdam is home to a hundred and seventy eight nationalities; the ethnic makeup of Amsterdam being 49.5% of Dutch ancestry and 50.5% of foreign origin. I am originally an activist specialized in women and youth empowerment projects. Due to my background in projects to improve female digital literacy in Pakistan, I mostly thought of the lack of resources and opportunities in the developing world. It was after I moved to Europe, that I got the opportunity to observe the digital literacy situation in a cosmopolitan city like Amsterdam.
I started working with women groups, networks and organisations in Amsterdam, working with different nationalities, ethnicities and backgrounds. During my interaction with these groups, I discovered that digital empowerment, especially for women, was needed here too!
Digital Literacy top priority for International Girls In ICT Day 2014!
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The International Girls in ICT Day is being celebrated globally this year today, on 24 April 2014. The purpose of celebrating the International Girls in ICT Day is an effort to provide an opportunity to empower and encourage girls and young women to consider studies and careers in the growing field of ICTs.
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Repugnant outcomes of a caste system
ANC spokesperson Zizi Kodwa
Like most societies, South Africa is built on a complex matrix of power, privilege and access to social mobility. Similar to many other countries, power and privilege in this country are shaped by the power-holders, who have historically been white and male.
It is they who have shaped the particularly toxic and entrenched patterns of access and opportunity to social, educational and economic progression and stratification in this country. The social stratification exists beyond deliberately race-based structures of power and opportunity. I contend that mobility is now so difficult that it has become a social caste from which most people cannot emerge.
South Africa is not alone in creating rigid social enclaves. Japan had four samurai classes, Korea had hereditary exclusion in the form of baekjeong (untouchable). The Ibos in parts of Nigeria define an Osu caste from which it is difficult to transition. And across Spain, France and Portugal social "untouchablity" prevented shared water fonts, separate places of worship and segregated doors well into the 19th century.
The sociologist Harry Hiller writes: "A class system is an open system of rating levels. If a hierarchy becomes closed against vertical mobility, it ceases to be a class system and becomes a caste system."
Class mobility is elastic, with the possibility of social mobility. In theory, a person is able to work their way to an alternative economic lifestyle through enterprise and talent.
But, when the mitigating factors against upward movement are determined by not only a person's current circumstances but by generations of factors such as health, education, income and family assets, this movement is almost impossible.
South Africa's double plague of intergenerational poverty and unearned privilege present a compelling case for redefining the vocabulary of our class stratifications. The "bootstraps" argument can hardly be useful when there are no shoes from which to pull them.
At the beginning of our democratic dispensation, South Africa was ranked among the most unequal societies in the world, as a result of the differentiated distribution of state provisions, such as health and education, and legislated physical mobility that limited African people's access to greater opportunity.
Troublingly, over the past 23 years of this dispensation, South Africa's levels of inequality have exceeded and surpassed those before 1994 — notwithstanding the anticipation that democratisation of political power would also lead to democratisation of social and economic mobility and distribution of assets.
The indigent African majority was promised a better life and that the violence of the colonial apartheid regime would be redressed, eventually reversed and rebuilt.
In many respects, the various stakeholders, including the incoming government, did not adequately understand the complexities of reconfiguring many generations of economic feudalism.
The asset deficit for African people, who could not accumulate wealth during the colonial apartheid era, remains embedded in their social and economic capacities. This mediates choices about education, where to live, where to shop, whether to seek private healthcare or to use state health provisions.
The pathway of opportunity available to youth and children offers one gauge of social mobility. These measures include intangible assets, such as whether households have or have ever had a high school graduate, as well as material assets, including whether a household has a car.
A comparison of the opportunities available to young children and youth from privileged and disadvantaged backgrounds is useful because it illustrates that they have limited opportunity to distinguish themselves based on effort and hard work. The privileged glean their status more through the serendipity of being born into it rather than their own efforts. In the same vein the indigent and largely African working and underclass is so positioned not because of a lack of effort or talent but because of the circumstances that they are born into.
False meritocracy that insists that working hard is the only determinant to social mobility is thus dishonest and unhelpful. The differences in opportunities between privileged and socioeconomically dispossessed youth are largely attributable to the intergenerational legacies that define the circumstances into which they were born. These are marked by South Africa's economic and political development trajectory and the confluence between the two.
The apartheid colonial government created patterns similar to other settler states, such as Australia, New Zealand and the United States. South Africa intentionally constructed an economy that required a pool of African labour that was the engine for its sustainability.
These were bolstered by a menu of policies and institutions that were extraordinarily coercive, accompanied by unapologetically discriminatory policies and intent.
The creation of labour market institutions was primarily to ensure the protection of white workers' incomes. This was further bolstered by a fairly advanced welfare state that was again primarily extended to white workers.
Labour market institutions were designed to depress the wages paid to unskilled African workers, depressing their social mobility and aspirations.
These policies and institutions created the ongoing architecture of acute race-based inequality in relation to short-term dividends, and also shaped a future of inequality and social caste. The design of the economic growth path was so embedded that the inequality has self-perpetuated long after its initial proponents passed on.
Colonial South Africa's other potent model was to destroy the African peasantry, including sharecroppers and landowners, by seizing community- and family-held lands. This forced Africans to migrate in two ways. The first was to seek work in better-paid urban areas despite the prohibitive sanctions on movement. The second, and possibly even more brutal, was to migrate our social aspirations steeply downward.
Class and caste are the product of the imaginations of the most powerful and privileged. This is illustrated by the rigidity of the feudal and caste systems that predetermined the untouchables merely to ensure a pool of labour to do the least desirable work.
Imagining or aspiring one's way into an alternative reality is framed by the powerful as an act of absolute social transgression (often using Christian or Hindu theology to justify the taboo against mobility).
Yet such aspiration is a necessary transgression to create the momentum for rebellion against the vicissitudes of politically and economically engineered suffering.
This predetermined social mobility has a profound effect on our young democracy. There is a correlation between our democratic expansion and our income disparities.
Furthermore, there is a strong relationship between levels of education and being able to advance certain life outcomes.
Part of the necessary act of transgression against being held intergenerationally as bonded labour to privileged capital is the identification of pathways towards upward mobility. Even though many agree these pathways should be available, there does not seem to be consensus on how to create ladders to these pathways.
For the apartheid regime, providing welfare to indigent white people was a mechanism to move them out of poverty and to subvert cross-racial worker solidarity. This successfully entrenched the idea that poverty has a racial component and ensured that black poverty remained greater across generations.
This means African poverty is both vertical and horizontal. Most African families do not have rich uncles or trust-fund grandmothers to assist during financial strain. Most peer groups, friends and neighbours are in a similar position. This has entrenched a subclass that has become an immovable caste by virtue of its inflexibility and ongoing depletion of the limited African asset base. This depletion is of voice, power, influence, choice and material.
Despite international literature on class mobility, little analysis has been done on social mobility in South Africa, largely because of limited research. Social strata remain closed, rigid and almost impossible to penetrate or to transform because they bolster the economic and social order. Economists and sociologists usually examine different outcomes such as movement in income and social class using similar paradigms. But mobility research from these disciplines is now understanding that intragenerational mobility is "the degree to which an individual's socioeconomic status depends on his or her parents' status", according to Sarah Girdwood and Murray Leibbrandt.
The idea of social mobility suggests it is not unusual for people to move up or down the social ladder. Even though most countries claim to have open classes that are subject to mobility, whether sideways, upward and even downwards, most citizens are born into a hereditary social structure with varying or limited flexibilities.
Yet our eyes daily observe the entrenched social limits of movement. The tension between race, gender, family background and effort is visible at any traffic light and in any unemployment line. The colour bar has been abolished but the legacy of intergenerational lack, limitation and deprivation continues to create an African class for whom generations of immobility, lost opportunity and diminished possibilities have created the same repugnant outcomes as any other caste system.
Lebohang Liepollo Pheko is an activist scholar, political economist, public intellectual, commentator and senior research fellow
Class Division


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El Premi Born de Teatre es un galardón de escritura dramática para obras inéditas en catalán o castellano que convoca el Círculo Artístico de Ciudadela y se entrega, anualmente, en el Teatro des Born de Ciudadela, Menorca. Actualmente está dotado con 14.000 euros, más la edición de la obra en catalán, castellano, gallego y euskera. Este hecho, sumado a su larga tradición de más de medio siglo y a la transparencia de su proceso de selección, hace que sea considerado uno de los premios más prestigiosos del estado español. Dramaturgos reconocidos internacionalmente como Sergi Belbel, Jordi Galceran o Juan Mayorga lo han ganado en al menos una ocasión. Josep Maria Miró y Lluïsa Cunillé, con tres galardones cada uno, son quienes lo han obtenido más veces.

Historia
Inicialmente fue concebido como un concurso literario cuya finalidad era promover y estimular la cultura en general y la menorquina en particular. Por este motivo, en su primera edición (1970) se premió la novela Dora i la nit, de Maria Dolors Cortey, y el trabajo Retaule menorquí en quaranta figures, de mosén Ferran Martí i Camps. Los autores fueron galardonados con 5.000 pesetas cada uno. A partir de 1971, y con una dotación inicial de 30.000 pesetas, se convocó ya con el formato de certamen de textos teatrales en lengua catalana o castellana. En el período comprendido entre 1975 y 1987 el galardón se convocó cada dos años y desde 1987 se convoca anualmente. Por lo que se refiere a la dotación económica, se ha pasado de las 500.000 pesetas de la edición de 1987 a los 14.000 euros actuales. Cuenta con el apoyo económico y la colaboración de diversas instituciones y organismos, tanto públicos como privados. En 2012, con motivo de los recortes llevados a cabo por las diferentes administraciones públicas, que hicieron que la dotación pasara de 18.500 euros a los 14.000 actuales, el Círculo Artístico de Ciudadela puso en marcha una campaña de micromecenazgo bajo el título «Creo en el Premi Born» con el objetivo de encontrar nuevas vías de financiación para su proyecto más emblemático.

Las obras galardonadas se editan desde 1987. En un primer momento (1987-1992), asumió su edición el propio Cercle Artístic. Entonces las obras ganadoras escritas en catalán fueron editadas por la editorial valenciana 3i4 (1993-1995), a la que sustituyó la editorial Bitzoc, que en 1996 y 1997 editó los textos ganadores. Es a partir del año 1998 cuando la revista Primer Acto y Arola Editors asumen la publicación de todas las obras ganadoras en catalán y en castellano. En 2006 se inició la edición de la obra ganadora en gallego, a través de la Revista Galega de Teatro, y en 2007, en euskera, a través de la editorial Artezblai. Por otra parte, en lo que se refiere al acto de entrega del premio, hasta 1992 se llevó a cabo durante el transcurso de una cena. A partir de ese año se decidió que tendría lugar en el Teatre des Born después de la representación de una obra de teatro, costumbre que perduró hasta 2005. De 2006 a 2010, con motivo del cierre del teatro, el acto de entrega tuvo lugar en el Teatro Principal de Mahón y se mantuvo la representación de un montaje teatral. A la espera de la apertura del Teatro del Born, desde 2011 el acto se volvió a llevar a cabo en Ciudadela. Finalmente, en 2020 el citado teatro se reabrió y desde entonces se celebra allí de nuevo la entrega del galardón. Alrededor del premio se organizan una serie de actividades teatrales, como mesas redondas, conferencias, presentación de las ediciones de los textos ganadores, etc.

En cuanto a la participación, de 1970 a 1987 el número máximo de textos presentados alcanzó los 29 originales, pero a partir de 1988 esta cifra se fue incrementando año tras año hasta 1997, cuando llegaron 124. En las últimas ediciones el número ha seguido creciendo, hasta alcanzar el récord en 2020, en el que se presentaron 571 obras.

Listado completo de galardonados

Referencias

Premios de teatro

redpajama_set_name: RedPajamaWikipedia


Finite Verbs are Essential in a Sentence.
Finite verbs and non-finite verbs are two broad categories of verbs.
We shall now try to understand the difference between these two categories of verbs.
We look carefully at two groups of sentences...and especially at the verbs which for the moment need appear to us only as "greens" and "reds".
We like to sing songs.
You like to sing songs.
He likes to sing songs.
She likes to sing songs.
Anita likes to sing songs.
They like to sing songs.
In sentences in Group A above, we have the verbs like and sing. The verb like takes on different forms (like, likes) in the seven sentences in the group. The verb sing has the same unchangeable form to sing in all the sentences.
So, we have one verb which changes and the other which does not change.
I am fond of eating mangoes.
We are fond of eating mangoes.
You are fond of eating mangoes.
He is fond of eating mangoes.
She is fond of eating mangoes.
Antony is fond of eating mangoes.
They are fond of eating mangoes.
In the sentences in Group B too, we have something similar to what we saw in Group A. Here, we have the verb be in different forms (am, is, are) and the unchanging verb form eating of the verb eat.
Here too, we have one verb which keeps changing and the other which remains unchanged.
The verb like in group A and the verb be in group B are verbs which change. The reason these verbs change their forms must surely be because of the words I, we, you, he, she, Anita, they...since it is clear that all other words within the same group of sentences are the same.
These verbs which change according to words I, we, you, he, she, Anita, and they, are called Finite Verbs.
The word finite means limited. Since the words I, we, you, he, etc., can make these verbs change, the power of these verbs must be limited indeed! This idea will help us to remember what these verbs are.
They are verbs which do not change. In group A above, the verb to sing and in group B, the verb eating are non-finite verbs of two different types. No word in a sentence can impose a change on these verbs. I suppose, that is why we call them non-finite, which means not limited by other words in a sentence.
Yes. Every sentence in English needs such a verb. It is an essential part of a sentence.
You may find sentences in which a noun or a pronoun is missing (because it's hidden), but you won't find a sentence in which a finite verb is missing.
No finite verb, no sentence!
They may be transitive, intransitive or linking. In a sentence you can have any one of these types.
What is there to learn about them?
We can think of these as properties of the verb or as "rules" which finite verbs obey. They are obedient and reliable verbs!
Non-finite verbs are the wayward ones in the family! Though they are born in the verb family, the non-finites often act like nouns, and sometimes like adjectives or adverbs.


a) Minimum deposit of RM200 to booking date confirmation. Later than that, booking date is considered cancel and not refundable.
b) Any 30-50% from the total payment: Booking confirmation (3-4 weeks before event date).
The client acknowledges that for the cancellation of booking, all deposits will be non-refundable.
The calculation include until outdoor photo shoot after event.
b) Toll & Parking: We claim to client for toll and parking (machine parking).
c) HAMSHA STUDIO reserves the right to impose additional charges in the event that the estimated costs involved exceeds the actual costs incurred.
b) Any changes towards a confirmed booking may lead to changes in the new booking price as well.
a) Booking is a mutual agreement. Deposit fees are compulsory. No verbal booking will be entertained.
b) Booking priority will based on first come first serve basis.
8. The photo album and video will be delivered within 3 months (working days, weekends and public holidays does not count) after the event date or after the final payment made (if final payment made after the event).
9. HAMSHA STUDIO reserves the right to withhold the delivery of goods (i.e. album/video) for any payments that have yet to be fulfilled.
All high resolution images will be provided to The Client. The Client shall bear the responsibility to check the softcopy of the images given within 3 days after the cd delivery.
a) HAMSHA STUDIO reserves the sole right to the design the photo album in any way it deems fit. The Client will be not allowed to make personal requests for the design,however the designer is under no circumstances obliged to follow the requests.
b) For any client who wants make photo selection, first they need to make full settlement. We will burn all photos in CD. Then give to client to make own selection. We give 1 week to select the best photo. More than 1 week, we can't entertain anymore. Client can only select 70 pcs of photos and give back to our Editor in CD. Just for remind, not all photos that client are chosen can be in the album. Because our Editor has a right to make the final selection for the best photos to be edit in album.
c) For any additional specific work required (new design/extra editing etc.), an additional fee of RM 500 will be charged for each album.
d) For client who wanted to have all softcopy as fast as 1 to 2 week after wedding, need to make full settlement.
12. Photo album/video can be collected at HAMSHA STUDIO. Additional courier charges will be imposed for direct delivery.
14. Maximum date for album collection is 6 Months, later than that; we are no longer responsible for the item material package.
a) HAMSHA STUDIO reserves the right to substitute/replace a photographer in the event of unforeseen circumstances such as death, illnesses, accidents & the like.
b) HAMSHA STUDIO will not be liable to Client under any circumstances if its performance is prevented or impaired due to war, insurrection, strikes, walkouts, riots, fire, including adverse weather conditions and earthquakes, shortages or unavailability of labour or materials, laws or governmental restrictions which conflict with the terms of this Agreement, or any other matter beyond the reasonable control of HAMSHA STUDIO. In the event of any unanticipated photographer illness, HAMSHA STUDIO shall make reasonable efforts to substitute another competent professional.
c) In the event of an uncertain condition such as an accident during the way of event, we will not be responsible.
d) Photographer has a right to refuse if there are guests who would like to ask photographers to take pictures using the camera / hand phone them. This is to avoid for any damage of that gadgets and also avoid interfere the photographer task.
a) The duration of coverage for an event is between 4-5 hours. The Client will be charged RM 200 for each additional hour of coverage.
c) Both parties shall agree to cooperate with one another to produce the best possible result for the given assignment.
b) The same person should brief the photographer on the protocol and so on.
18. All photos/video will be shot by photographer(s) or cinematographer(s) under the employ of The HAMSHA STUDIO.
a) All photos taken from the event are considered the intellectual property of HAMSHA STUDIO. The Client shall be entitled to use the images only for personal reasons. Unless explicitly agreed and indicated in writing permission by HAMSHA STUDIO, The Client shall not be entitled to pass on the images to any third party to be printed or shown in any form of media & publication.
b) The client hereby grants to HAMSHA STUDIO and its legal representatives and assigns, the irrevocable and unrestricted right to use and publish photographs of the client or in which the client may be included, for editorial, trade, advertising and any other purpose and in any manner and medium to alter the same without restriction and to copyright the same. The client hereby releases HAMSHA STUDIO and its legal representatives and assigns from the all claims and liability relating to said photographs.
d) All images and videos are copyright of both parties, HAMSHA STUDIO and the Client. The Client agree that HAMSHA STUDIO may use images from Client's event for commercial use, including, without limitation, promotional videos for exhibition to other potential clients of HAMSHA STUDIO.
a) 1 hour outdoor sessions are free of charge after event (apply with package Solemnization and Reception, after event on the same day); however in the event of unfortunate circumstances (e.g. rain or something completely unavoidable), the outdoor session will automatically be cancelled.
b) The location for the outdoor session shall be within 15 minutes of travel (or approximately 20 km) from where the event is held.
c) The Client shall bear the responsibility for their own transportation for the outdoor session.
d) The Client is more than welcome to suggest for the outdoor shooting session to be held around the location of the event.
In the event of an unfortunate altercation between 2 groups of photographers covering an assigned event and it is not in the best interest of HAMSHA STUDIO to continue to remain with the shooting, HAMSHA STUDIOreserves the right to leave the event with the non?refundable deposit.
service provider retained by the Client for the event identified of this Agreement. Family and friends of Client shall be permitted to photograph the event, for non-commercial purposes,provided that such person or persons do not interfere with the photographer's duties. If,in the opinion of the assigned photographer,such person or persons are inhibiting the photographer from performing his or her duties, Client shall require the person interfering with the photographer to stop all further shots.
23. Please note that every photo taken will not necessarily be uploaded online for viewing.
24. The Client shall bear the responsibility to provide food & lodging (where required) for the assigned photographers.
25.Under no terms shall The Client possess the right to tamper/delete any images still in the camera as the photos are considered the property of The HAMSHA STUDIO.
26. The Client shall explicitly inform HAMSHA STUDIO of any specific activities/scenes that they do not want to be shot during the event. HAMSHA STUDIO will not entertain any requests for to change/delete specific images that were not informed beforehand.
27. HAMSHA STUDIO reserves the right to delete any related materials from the event covered 3 months after the album has been printed.
28. Free Pre/Post wedding session in non-exchangeable with any other session i.e. maternity, outdoor family portrait, friends outdoor. We can change by other item.
29. Acceptance of HAMSHA STUDIO's service indicates an agreement & acknowledgement of all agreed packages as defined by the terms & conditions in the contract of service.
30. The Client shall agree with the style & modus operandi of HAMSHA STUDIO to allow it to provide the best form of goods & services rendered in terms of quality, workmanship and even pricing.
31. The Client Agreement shall be regularly updated to fulfil the needs of both the Client & the HAMSHA STUDIO.
32. We are selling our artwork/picture/video/film/clip and none others.
33. All important information (date of event/phone number/etc.) Have to be sent thru email, sms will not be entertained.
34. For any pre discussion before event with our Photographer or Cinematographer can only be held in our studio only. So Client needs to come to Peveyhack Studio for discussion matter.
35. Clients are binder to the company`s privacy rights in respect to the album layout. Clients are not to publish and / or reproduce any part of the content in any form of creative expression, which include blogs and websites (Facebook, BlogSpot, or any social media and website) with first getting consent from the company.
36. HAMSHA STUDIO reserves the right to make cancellation of customer booking due to unforeseen circumstances. All deposit money will be refunded 100%.
37. Photographer / Cinematographer on duty shall be granted an exemption for prayers (solat) time.
38. If the customer does not allow capturing or recording for makeup session, please being informed early to our management.
39. I/we have read and understood the terms above. I hereby agree to the terms of this agreement, I/we agree that I/we have received all pages of this agreement.


Ahh, lip liners. Once upon a time I used to think that lip liners just weren't a necessity in my makeup routine but looking back I can now see the err of my ways. Okay, so lip liners usually aren't going to make or break your whole look but damn they can be really, really useful!
For a long time the only lip liners I had were NYX's Slim Lip Pencil and I have a lot of them. (Should I do a post on these?) I'd never used another lip liner before, I was happy with what they were doing and they're super cheap so what's not to love? But then I won a giftcard on Savvyist and decided to treat myself to my first MAC lip liner to see what all the buzz was about. And within the same week, I went out and bought two more. So yeah, they're pretty awesome.
The first thing I noticed is that they are quite soft and glide on so easily, leaving behind a full opaque line. I like to apply a lip balm to my lips while doing my makeup so that they'll be nice and soft when it comes time to apply lipstick but my other lip liners just couldn't cope with the remnants of my lip balm and didn't apply very well over the slick texture of it. Not a problem for these MAC lip liners!
Another impressive thing about these liners is the staying power! These liners really just go and go and go. Even when my lipstick starts to fade, these liners are still visible and usually still nearly perfectly in place. This can create a bit of an unfortunate Cholaesque look if you aren't careful but the staying power is super impressive, none the less!
In addition to keeping your lip products from bleeding, lip liners have several other useful benefits. A sharpened pencil makes it far easier to create precise lines vs. just applying lipstick straight out of the tube. You can also use your liner to "correct" any little mishaps you may have after applying your lipstick. These lip liners are quite matte and have some real staying power so they also make a fantastic base to make your lipsticks even longer lasting! Just fill in your entire lip with liner first, apply lipstick on top and now you have a great matte base for added longevity.
My perfect pinky neutral shade. I ADORE this color for casual but still so put together lips.
Swoon. Words can't really express my love for Stone. I love the greyish brown tones of this shade on its own or with similar lipsticks but it also pairs beautifully and can make a gorgeous ombre effect with nudes and light pinks when blended well. By the way, Stone is only available online or at MAC Pro stores.
Nightmoth is another winner. Great for darker lip colors and it makes a beautiful dark base to deepen your red and purple shades.
In a nutshell, these lip liners are a worthwhile investment to any makeup collection and I can't wait to collect more shades! What are you favorite lip liners, whether it be MAC or any other brand?
Really?? I didn't have any reason to think it was online only so I went to two separate MAC stores asking for it and both stores told me it was an online only shade! Weird. Edit – I think they actually said online OR MAC Pro stores only.
I've been really wanting Stone lipliner because I heard it's great under MAC Rihanna Viva Glam II and Lime Crime Cashmere. I didn't realize it was an online only shade though, so thanks for the info! I might end up getting that and Nightmoth to pair up with Life's Entropy Blackbody. Thanks for the swatches!
Oh maybe its only MAC Pro stores… I just remember being really lucky and picking one up.
Wow I so need Stone! I've fallen hard for greigey brownish lip colours ever since I tried Lime Crime Cashmere. I have Nightmoth too but I can't seem to make it look as nice by itself as you have here, it's very dry on me.
I still haven't broken and bought Cashmere yet but I've been lusting over it since it came out! I'm probably going to have to grab one when they restock again.
Definitely transferproof-ish! Not totally transfer proof but matte and they hang around for a very long time.
I'm in love with your jewel's piercing ! Where did you buy it ?


A nice big dollop of dub here, Ray Mang gives Paqua's original the echo-chamber treatment, keeping the nice bongo beats and dubbing out the vocals to a minimum, speeded up slightly and adding a heavier bass. There is also a Ray Mang mix at 8 minutes that keeps the full vocal too.
The remixes EP consists of two tracks taken from the critically acclaimed Akaliko album and includes 3 versions of Late Train - Idjut Boy's Late Brain Version and a vocal and instrumental version by Emperor Machine.
Mushrooms Project (DJ duo - Giorgio Giri and Marco Lentano) have put out two EPs this year with two tracks on each to make up a 4 part suite. Psilocybe Odyssey Pt. I, II, III, IV is a cosmic journey through deep house, disco, funk, balearic soul and dub.
This intergalactic opus goes deep and druggy with slo-tempo 110pbm grooves that float around your head, hallucinating rhythms transcend into the dark corners of your mind. With each track at around fifteen minutes long, its' a truly mesmerising and immersive experience.
George Evelyn, AKA Nightmares On Wax showcases a broad 25 year career in music with the double LP N.O.W. Is the Time, full of bonafide classics split into two discs - Nightmares By Day and Nightmares By Night containing 28 of the best-known Nightmares On Wax tunes. The Deep Down Edition adds further material of rare and unreleased tracks including this Ashley Beedle rework of Now Is The Time.
A solid collection for established NOW fans and new comers alike. My favourite album will always be the Carboot Soul, every tracks a winner.
A perfect a comping tune to the track below, Tensnake works his grooving magic to London Grammar's Hey Now.
Another example of a band that makes music which begs for a dance make-over. Tensnake is having an excellent year all round. bring in on.
Fela Kuti's old drummer Tony Allen has made another tune with Blur's Damon Albarn. Following the Damon Albarn-fronted supergroup the Good, The Bad, & The Queen. Allen is releasing a solo LP, Film Of Life, and this is the first single, Go Back has indeed gone back to the prolific partnering with Albarn. Great Tune!
Good to hear Martyn's quality control is well in check on new LP The Air Between Words. Three years after his last album – Ghost People – Martyn joins the Ninja Tune family to present his third long player. Universally respected for his ever-evolving, but inimitable sound, the Dutch-born, Washington DC-based producer brings an entirely new sonic direction with The Air Between Words. This is an exploration of the essence of all of Martyn's music: a rugged four-to-the-floor groove, intelligently sculpted and artfully composed.
Martyn joins forces with Kieran Hebden aka Four Tet for Glassbeadgames, a powerhouse of a track that finds the perfect amalgamation of both producers' fortés. Heavy kicks, UKG-esque percussion and swirling subs dictate the groove, whilst the melodic progressions are simultaneously melancholic and anthemic, and further enhanced by a Hebden trademark thumb piano motif.
An old track from 2011, Soft Rocks eclectic LP The Curse Of Soft Rocks is an album I consistently come back to for a fix of downtempo left-field originality. We Hunt Buffalo Now is one of the many highlight of the record co-written and performed by Jorge Socarras he sounds more than a little bit David Byrnes. There is also a good remix of this tune by Andrew Weatherall.
And has a great cover design by Mario Hugo.


Scientific Workflows (SWFs) need to utilize components and applications in order to satisfy the requirements of specific workflow tasks. Technology trends in software development signify a move from component-based to service-oriented approach, therefore SWF will inevitably need appropriate tools to discover and integrate heterogeneous services. In this paper we present the SODIUM platform consisting of a set of languages and tools as well as related middleware, for the development and execution of scientific workflows composed of heterogeneous services.


While most ESU 10 schools applying Multi-Tiered System of Supports (MTSS) work to improve academic outcomes, some schools are working to improve students' social/emotional/behavioral learning outcomes. According to Elias et al. (1997), social and emotional learning (SEL) is "the capacity to recognize and manage emotions, solve problems effectively, and establish positive relationships with others, competencies that clearly are essential for all students." A 2015 cost-benefit analysis was completed by Teachers College of Columbia University which concluded, " 'for every dollar invested [in SEL]…there is a return of eleven dollars, a substantial economic return' as measured by school and community benefits such as enhanced educational outcomes (e.g., attendance rates, test scores, graduation rates), reduced crime, lowered substance abuse, and decreased teen suicide attempts." Given this information, the benefit of this type of MTSS work is obvious.
According to an MTSS model, SEL is systematically taught universally to all students in Tier 1. Schoolwide behavioral expectations are established and taught across all environments. Once a solid foundation is developed, schools can more easily focus on intervening with students who have not yet learned social/emotional/behavioral skills. The intensity of support to students matches their level of need in Tiers 2 and 3.
To help schools with this process, four members of the ESU 10 MTSS team attended the training "5 Social and Behavioral Interventions in 1 Day" in Salina, KS, on February 10. Patrice Feller, Nicole Langrud, Stacey Romick-Imig, and Jennifer Rumery prepared to lead schools in developing five focused classroom strategies which support classroom management at all Tiers. These research-based strategies include Behavior Specific Praise and Feedback, Opportunities to Respond/Explicit Instruction, Active Supervision, Instructional Choice, and Pacing and Active Engagement. Development of these strategies will align with ESU 10's current Academic Literacy Project. The team also prepared to bring back information to share with ESU 10 schools on research-based Tier 2 and 3 interventions such as Check-In/Check-Out, Behavioral Contracts, Behavior Specific Praise, Self-Monitoring, and Mentoring.
There are two MTSS teams currently structuring up to implement the social/emotional/behavioral model of MTSS: Ravenna Public Schools and Broken Bow Public Schools. Several other districts have expressed interest in working on this during the 2016-2017 year. Schools recognize that academic outcomes are supported when social/emotional/behavioral outcomes are developed in an integrated manner.
Kansas State Department of Education. (2015). Kansas Multi-Tier System of Supports: MTSS Integrated Structuring Guide. Topeka, KS: Kansas MTSS Project, Kansas Technical Assistance System Network.