What is a good question? And, how do we teach students to work at writing good questions? In my feminist and queer theories class, a core course in the Gender and Women's Studies curriculum that I've been teaching for quite a few years now, students each have to develop discussion questions about an essay or work they will be presenting to the class. Borrowing an exercise from one of my own mentors, Linda Hutcheon at the University of Toronto, during the first or second week of the semester I have students write discussion questions out and hand them in to me. I then respond to their questions with feedback about how to make their question one that will provoke an even deeper engagement with the assigned text both on their part, and on the part of the class. I've named the handout "some notes on how to ask a good question about theory that will provoke conversation and further discussion from your colleagues" and I attach it to the back of most of my syllabi.
I like this exercise because it not only gives me an early sense of the feel of the class but, more pointedly, early intervention into discussion-question writing helps shape the conversation in the classroom for the rest of the semester, making asking questions more important than performing a perfect mastery of the text.
I wrote the handout attached below about seven years into teaching this class in part because I came to realize that as teachers we spend very little time talking to each other about how we read theory, never mind how we teach it. In one of my other disciplines – English Literature – we work very hard, for instance, at teaching close reading. But there's something about the speculative language of theory, its hostility to penetration especially by undergraduates, that really needs a lot of scaffolding.
For one, teaching theory, especially a very difficult but nonetheless introductory class in theory like this one, takes a lot of student-soothing. In this I take comfort and wisdom from Judith Butler's very fine New York Times essay in response to the charge of bad writing that she incurred in 1999. I tell my students: theory is both descriptive of the world we live in and speculative as well, in that it seeks new worlds and new language to understand what seems to be "natural" and "normal." If the ideas that theory wants to express were easy to say, they would not need to be said. The work of undoing what you know, or what you think you know, is hard. You're going to have to work hard. We aren't here to learn what we already know.
One challenge is that theory is not theology, though it sometimes tries hard to be, and though students, particularly students looking for language with which to critique various forms of power, often treat it that way. So while a great deal of the work of the classroom is excavating the argument and work of the text (as I will discuss below when I talk about the form of the presentation handouts that I expect students to share with each other), the next step is to get students to interact critically with the writing, to begin to push at the limits of not only the content, but also the shape of the thinking contained within the content. This is where rehearsing and writing discussion questions comes in. Let me walk through some of the handout here (click on the title to access the PDF of the handout).
Read theory three times: once to get a mental map of the article/chapter/ paper; once to get the gist of the argument; and once to find your questions.
Take notes in the margins: mess with the text. Underline, star, jot down questions.
Think about the pieces of the text, phrases, expressions, moments that tweak your instincts, that bother and harass you. These intuitions and "feelings" are the ends of intellectual threads that you may want to excavate.
Linger over passages that are unclear or that strike you as particularly helpful or that don't jar well with you. Why do those passages set off your instincts?
Relate those passages to the whole text: how is this piece of the text part of a larger context?
This is where I set the highest possible bar for reading practices in my class. You won't really begin to understand what you are reading until you read it at least three times; that's the difficulty and challenge of reading theory. My evaluations consistently note this about my theory classes: they say, this is the hardest class I've ever taken, or the most demanding. My only response is: good.
Contextualize the writing. You should know, and your handout should provide, the following information: who wrote the essay/chapter; what is their discipline, or interdisciplinary nexus; what else have they written; what is the/are the central arguments; who is the writer in conversation with; what are some key passages; what are some key terms; what did you not understand?
As I noted, this is actually an outline for the handout that students will produce in the class. In essence, these are crib sheets for students' future reference, and I've also returned to them many times when I'm cramming for classes as well. But the real work of the handout is also to begin to map the intellectual constellations of the essay, to start to chart patterns and cross-conversations happening in the field, to track keywords as they are used differently across the various readings. The "conversations" category cues students to read footnotes and endnotes; the inter/discipline question also provokes conversations about the interventions that our authors are trying to make. In short, it's a handout, but it's also a guideline to some good habits of mind.
Make your discussion question(s) simple, straightforward and jargon-free.
Proofread your questions so that you catch grammar and spelling mistakes.
Make your questions open-ended, i.e. not answerable with fact or by direct and immediate reference to the text.
Make sure your question doesn't rely on information the rest of the class doesn't have, OR give the class enough information and background to be able to engage the question. Make sure the question is answerable to start with, i.e., is not vague and does not rely on facts or assumptions not addressable within the confines of our class conversation.
Make reference to the text with quotes or page numbers: direct the class to look at a relevant passage, read it together out loud, and drill down into the writing and sentence structure itself to get at the problem you are looking at. Sometimes I refer to this model of reading theory as Talmudic. What I am trying to say is that we need not reserve close-reading practices to literature, particularly if we are interested in the refractive effects of language itself.
In short, start to become a teacher. Learn how to organize information, to imagine how your own questions impact or reach other people's ears and eyes. Scaffold your question with the information people need to answer it; ground your question deeper into the text itself. When I receive the questions students hand in in the first week of class, they often come scribbled on paper at the last minute and those get handed back immediately. And while the grade for the assignment is 5% of the class, which students get just for handing both questions in, I give extensive and fairly intensive feedback. I want them to understand that the bar for writing good questions is as high or even higher than the bar for mastering the text itself, and I expect them to run through at least four or five drafts of each question until they get it right.
I remember, for instance, seeing an amazingly queeny Truman Capote describe the work of fellow writer Jack Kerouac as not writing but, instead, typing. I am certain that my pre-out consciousness was completely terrified by the swishy spectacle of Capote's performance. But I also remember feeling a deep pleasure in hearing Capote make language, in "getting" the fantastic bitchiness of his quip. Like Gomez, I can locate that experience of suburban spectatorship as having a disidentificatory impact on me.
When I teach theory, as when I teach literature, my students and I do a great deal of reading out loud to each other. When I have them read the passage above, what I want them to pay attention to are the many aesthetic evaluations that shimmer within a seemingly descriptive and factual passage, one which Munoz only a few pages later will himself unpack as having been reshaped and revised by his own memory. And yet, Munoz's entire theory of disidentification is carried within these few short lines; his entire theory and also the world-sustaining joy and humor and love and affection that undergird them: "amazingly queeny"; "swishy spectacle"; "fantastic bitchiness"; "suburban spectatorship." This is a "deep pleasure" in the life of ideas, in the possibilities of living in and against and beyond the possibilities of a world that would prefer to make refuse out of every adjective-noun pairing in the text, from pathetic queen to sterile suburbia. In short, the aesthetic work of theory is also a form of theorizing, a measure of its own epistemic work, part of the world, the ontologies it hopes to produce. But you only get the full effect of that work if you listen to theoretical language in its fullness: much as Munoz allows his reconstructed memory of Capote's fantastic bitchiness to produce the future-present he described/called into being in his own work. It's writing, not typing.
A good discussion question reframes some of the problems of the text and then tries to get at internal logical problems and paradoxes or to think through the consequences, implications and applications of the theory.
As such, questions about "experience" or "responses" or "feelings" tend not to be helpful questions – try to step back from personal responses and instead focus on the intellectual shape of the ideas and argument.
This is the really hard to teach part. It's another reason why I do so much rehearsing of good questions, and it has a lot to do with what it's like to teach in feminist, queer and minoritarian-based classrooms. Students come in with a lot of feelings. And of course as minoritarian teachers working in the age of the booming Student Affairs Industrial Complex, we are often expected to manage those feelings.
But, and I want to take out a billboard that says this: managing feelings, particularly as it relates to various forms of injury IS NOT THE JOB OF THE TEACHER. As I tell my students over and over: your intuitions and feelings are what will lead you to original insight but they are not a substitute for thinking and working hard. Rather, they are the end of the psychic thread that you begin to pull at as you develop the ability to summarize and analyze the structures of thought, habits of mind, and analytic forms that undergird critical theory. What it feels like may make a bridge between you and theory and the world around us, but in my classroom we are largely going to model thinking about the last part of the tripartite clause. We are going to move from theory to the world, and not back to you.
That movement, from individual intuition or feeling, or even memory to analytic or critical intervention in larger structural issues is the movement that I try to model again and again. Asserting that movement as a critical practice makes clear the limits of my willingness to explore or manage individual feeling in the class, or in office hours. After all, as I also tell my students, the point of feminism was not to exacerbate our focus on the individual but rather to shift to structural and systemic thinking. Less me; more us. Less me-search, more research. Truthfully, once I was able to clarify this as a pedagogical practice, it revolutionized my classroom. I'm grateful to my students for picking up this volley with grace and ease and brilliance. Sometimes they even toss it back to me, when I really need it.
Often we are tempted to ask the "what about" question: e.g., what about the people who are excluded from this theory? Although not an unreasonable question, asked in this manner this is not really a sophisticated question because it doesn't open up conversation. The only answer to "what about" is: they aren't there. More productive is to ask: how do the exclusions at the heart of this work facilitate certain conclusions, problems or paradigms, what are these paradigms and what happens when we consider this theory in a broader context? What would this theory look like if re-written from a different point in history, different assumptions about political economy, etc.?
Back to the sometimes-bad habits of feminist teaching, or at least the worst and most reductive reading of feminist pedagogy here. When I was an undergrad, I was taught feminist theory on the progress model, in which each successive wave of feminism addressed and undid the exclusions of the previous one. Bad mommies!
While this methodology was important for tracing some chronologies of left, anticolonial and feminist thought, as many writers have noted, it modeled a perhaps-naïve view of a progressively improving model of feminist and queer politics, as well as a kind of negative pedagogical approach. The problem is that "what about the x's" is not a good question; it is a complaint. Asking how a piece of writing get reworked to include the x's, and what are the consequences of this exclusion and inclusion, is much more interesting and productive.
This brings me to another exercise I do in class which is to actually write out the model that I learned as an undergrad across the top of a blackboard (Wollstonecraft then Friedan then National Organization of Women then Radical feminism then Women of Color feminism etc etc, an obviously reductive and flawed genealogy) and then underneath to chart out other revolutionary timelines like third world nationalism; the civil rights movement; black internationalism and pan-Africanism; the American gay and lesbian movement back to Mattachine and through Stonewall; the labor movement; abolitionism; and anything else I can fit in. Once we start to chart these multiple genealogies we also begin to see how the figures that, for instance, feminism co-opts as its own in fact moved laterally across multiple movements, bringing models of organizing and knowledge production to each intersection. It's a kind of amazing exercise, particularly when we pool all of our knowledge because it really makes clear the overwhelmingly rich and global resources for left thinking that are both there to be accessed and also suppressed and forgotten as origins for our current thinking.
It's not the worst idea to make sure you have some thoughts about how to answer your questions before sending them on to your colleagues. However, sometimes you are just really stumped and need to work through this question with your classmates. That's okay too.
Which brings me to: it is often smart and productive to write a preamble to a question. That preamble might be a short intellectual history of your questions, it might contextualize the text you are working with, it might scaffold the question you want to ask by referring to other texts or many points in the same text. Don't make this preamble so long that no-one can excavate the original question, however. Also….
If you can answer your question while you are writing it, you probably need to just state your point of view and move on to another, related, question.
Sometimes the question you write is simply the jumping-off point for more developed questions on the part of the class. That is fine! The point is to catalyze inquiry, not perform mastery: good pedagogy means letting go of your ego-investments in your own ideas.
Okay this goes for teachers too. Often our students are so bright that they rewrite everything you think you are doing, the class goes off the rails, the world is horrible, there's too much affect running between us to ignore, the real point of what we are reading takes us into the world in ways we weren't able to predict and all rules get rewritten. Sometimes you just go with it. I have been moved to (suppressed) tears by moments in my classroom when we came to an intellectual precipice together, and we really felt what it was like to be in the crisis of this world at this time and those moments came when I threw out everything I thought I knew about what I was doing. And then we were able to make some new ideas together.
Sometimes you are stuck with an instinct, a hunch, a nagging feeling and a half-formed question and you simply can't move forward without thinking about it out loud. Bring those seemingly half-formed thoughts to the class: we will figure the direction or shape of your question together.
Finally: when you don't get it, you don't get it. Ask for help from the professor or your classmates, and feel free and supported in bringing your "I Don't Get It" questions to class. We will all profit from these acts of intellectual humility and generosity.
This is key: a successful classroom happens when every member, including the teacher, abandons ego and terrified performances of mastery and instead can show up and say: I don't get it. And I think the job of the professor – and in particular the teacher of theory – is to get the class to that point. In particular I really love it when students answer a question in class only halfway, leaving sentences and ideas percolating on the table to be picked up by others. I have half of an idea; this thought is still fermenting; do you guys understand this passage? I don't get it.
A good question, in short, is an honest question, one that, like good theory, dances on the edge of what is knowable, what it is possible to speculate on, what is available to our immediate grasp of what we are reading, or what it is possible to say. A good question, that is, like good theory, might be quite unlovely to read, particularly in its earliest iterations. And sometimes it fails or has to be abandoned.
But we don't come together to perform what we already know how to do. We come together to be unlovely and take ourselves apart, in order to mutually construct even more difficult ideas. It's not supposed to be easy. The labor is what makes it beautiful.
Riveting, gorgeous, useful. Thank you.
I will gratefully take that with me.
Splendid and immensely useful: thank you!
Thank you so much for putting this together and sharing freely.
Thank you for the "Student Affairs Industrial Complex" phrase!


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Busy Mooresville road to be widened this year
By Robin Kanady, FOX 46 Charlotte
MOORESVILLE, N.C. (FOX 46 CHARLOTTE) - The new year will bring new construction to a busy road in Mooresville. Highway 150 is set to be widened later this year.
"It's horrible it's always congested there are times you can't make a right or left off of 150 coming off any of these other roads here," Justine Watson said.
Watson has lived in Mooresville for 14 years. She says the traffic on Highway 150 hasn't always been bad.
"It's definitely gotten worse in the last couple of years."
One driver tells FOX 46 she allows an extra half hour to get where she's going if she has to use the highway.
"You always give yourself a lot of extra time," she said.
In late 2019, NCDOT plans to begin work to widen the road. Some spots will go from two to four lanes, and others will be widened to six lanes.
The project will be broken up into sections, and will eventually stretch from Highway 21 in Mooresville to the Highway 16 bypass in Denver.
Each section is expected to take four years to build. The widening of Hwy 150 in the Denver area isn't expected to start until the year 2025.
"It's just going to be four years of bad traffic," Watson said.
With the hope that the construction hassles will be worth the wait.
"I think it will help because anything will be better than what's going on now it's just a mess," another driver said.
There are signs at several businesses at the Martin Crossing Shopping Center on Williamson Road letting customers know the businesses have relocated. They got a letter several months ago from the DOT saying the shopping center will be acquired for the widening project.
Fox 46 Charlotte reached out to the shopping center owners Monday, but did not get a response back.
Utah eyes personalized license plates after 'deport' uproar
Late firefighter's newborn daughter has moving photo shoot with dad's firehouse brothers

redpajama_set_name: RedPajamaCommonCrawl


I have written a few times that from the logo, to the homemade signs, to the videos-- I've been impressed with how Barack Obama has inspired people, not just to get involved... but to bring their ideas, artistry and passion to the forefront in this election year. Artists like Shepard Fairey, Musicians like Will.i.am and others have created the fabric of this campaign.
I especially like the animation on this one!
I did this one. And I have a new one on the way. How has this election inspired you?


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Wimbledon is home to the world-famous tennis competition. Up to 40,000 tennis balls are used during the tournament, each one hand-tested for weight, bounce and compression and stored at exactly 68F. If you'd like more interesting facts like this one, have a read of this article.
The village of Wimbledon was referred to as "Wimbedounyng" in a charter signed by King Edgar the Peaceful in 967 AD. The name Wimbledon actually means "Wynnman's hill" as the last part of the name (hill) is "dun" in Celtic. The name appears on J Cary's map of London in 1786 as "Wimbleton" and it may surprise you to know that the modern spelling 'Wimbledon' was only settled on fairly recently during the 1800s.


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Run with Fitpage
Ep 96: All About Stress with Dr. Matthew Stults-Kolehmainen
Play • 58 min
In this episode of Run with Fitpage, we talk all about stress. Stress can be defined as any type of change that causes physical, emotional, or psychological strain. We had the opportunity to speak about it with Dr. Matthew Stults-Kolehmainen.
Matthew Stults-Kolehmainen, Ph.D. FACSM ACSM EP-C is an exercise physiologist (clinical role) at Yale-New Haven Hospital and Adjunct Associate Professor in Applied Physiology at Teachers College – Columbia University. His Ph.D. is from The University of Texas-Austin with post-doctoral and fellowship training at Yale Medical School, and Teachers College - Columbia University. He has authored 38 scholarly articles and book chapters. His research focuses on exercise, motivation, and stress, and his clinical specialty is in bariatric surgery and the role of exercise in weight management.
In this episode, Vikas talks with Dr. Matt about how stress occurs, how it can be either caused or cured by exercise, the impact of social media and news on physical and mental stress, how stress can cause short-term impairment of recovery, and a lot more, so, do not miss this one!
Vikas hosts this weekly podcast and enjoys nerding over-exercise physiology, nutrition, and endurance sport in general. He aims to get people to get out and 'move'. When he is not working, he is found running, almost always. He can be found on nearly all social media channels but Instagram is preferred:)
Reach out to Vikas:
Instagram: @vikas_singhh
LinkedIn: Vikas Singh
Twitter: @vikashsingh1010
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Honoree Lori Nelson, left, of Station Casinos and Lance Knight, chair of the St. Jude's Ranch board of trustees .
St. Jude's Ranch for Children held its annual Wine Women & Shoes fundraiser recently at Green Valley Ranch Resort. About 350 guests enjoyed wine tasting, food and shopping for a good cause.
The nonprofit selected Lori Nelson, vice president of corporate communications for Station Casinos, as this year's honoree. During the fashion show, models sashayed on the catwalk in stylish gowns and ensembles by fashion designer David Tupaz.
The event was hosted by Chet Buchanan of KLUC-FM 98.5, and included a performance by cast members from "Aussie Heat," appetizers by Bottiglia, Tides and Borracha, and a marketplace with jewelry, shoes, wine and handbags.
More than $100,000 was raised to support programs for abused and neglected children and homeless children and youth in Southern Nevada.


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Patti LuPone Talks Sondheim, Technique + Her Biggest Gripe With This Generation of Performers
Currently starring in "Company," Broadway's resident matriarch sits down for a (very) candid conversation. Everybody rise!
By Casey Mink | May 18, 2022
Photo Source: Stephanie Diani
While chewing on a thought during a recent video call, Patti LuPone is interrupted by the chime of a notification. It's a message from her physical therapist, with whom she has an appointment later that afternoon. He's canceling due to—what else?—a positive COVID-19 test.
She reads her response to him out loud as she types it: "Rest. And I send you Italian energy." The latest variant of the virus that has wreaked havoc on her industry for more than two years, LuPone says, "is having a blast, that little whore."
This is the thing about LuPone, whose two Tony Awards (for "Evita" and "Gypsy") and six additional nominations—including one this year for "Company"—hardly seem sufficient, considering the extent of her legend. Whether in an interview or in front of a crowd, she cannot resist being every bit herself. It's always been true, long before she was the industry titan she is today.
Take, for example, her audition for Juilliard, the prestigious institution where she eventually matriculated. "They said, 'Can you sing?' And I knew I could sing. I could have given them an aria, but I thought, Fuck that," LuPone recalls. "I sang Carol Burnett's imitation of Shirley Temple singing 'You Mustn't Be Discouraged.' I didn't care, and I was myself. In yourself, you will sparkle. In yourself, you will be spontaneous. That's what people want to see: vitality."
If there is a single word to describe LuPone today, "vitality" may be it. Just like a performer who ends their eight-show week stronger than they started, LuPone is now at the peak of her powers, fortified by every minute she's spent onstage. As Joanne in "Company," a role made famous by Elaine Stritch, LuPone is currently on Broadway commanding, "Everybody rise!"—and most nights, they do. Her big number, "The Ladies Who Lunch," has been eliciting mid-act standing ovations since performances began.
The role, the show, the production—all of it, LuPone says, is among her greatest working experiences to date. Fifty years into her career, it may be a cosmic reward for enduring all she has in the course of her own rise.
"I wasn't born tough. I was made tough in this business," she says. "I've been shocked by things that have happened to me. So to walk into a rehearsal room where I can drop all the walls, all the defenses, and be myself—oh, my God, what a relief. And that's [from] working with Marianne."
"I wasn't born tough. I was made tough in this business. I've been shocked by things that have happened to me. So to walk into a rehearsal room where I can drop all the walls, all the defenses, and be myself—oh, my God, what a relief."
LuPone is referring to London stage great Marianne Elliott, the director of this revival of "Company," whose idea it was to turn the musical's protagonist from bachelor Bobby into bachelorette Bobbie (played on Broadway by "The Band's Visit" star Katrina Lenk). The production originated in London in 2018; LuPone won an Olivier Award for her performance, and she was the only actor to make the leap across the pond with the show.
In typical showbiz fashion, though, the project initially came to her at precisely the wrong moment: the day LuPone had decided to give up musical theater. "My body's broken. I have two new hips and a new shoulder, all as a result of musical theater. We're athletes. So, I gave it up. The day I quit, Marianne called," LuPone says with a chortle. She had seen Elliott's production of "War Horse" and was completely taken with the director. "I said to myself, 'I'd put it out there [that] I wanted to work with her, and if I turn her down, she'll never ask me again.' "
The role is not one LuPone had been pining to play—far from it, particularly after an experience she'd previously had with the show's composer-lyricist and her longtime friend, the late Stephen Sondheim. Years ago, when she was planning to include "The Ladies Who Lunch" in her cabaret set, she asked for Sondheim's input on her delivery.
"At the end of the song, Steve said, 'Well, I'm surprised you understand it,' and I went, 'What the fuck does that mean?'
"Now, what it means is that a girl from Long Island can't possibly understand an Upper East Side moneyed woman, and I wanted to say, 'Steve, I am a trained actor, and I lead with lyrics,' " she says, taking a beat. "And it's not that complicated."
Despite his admittedly patronizing response, and the fact that Sondheim was, by LuPone's own account, a practitioner of tough love over the years, the two were close collaborators until his death last November. "Company" marks her latest of many roles in Sondheim shows, following performances on Broadway and beyond in "Sweeney Todd," "Passion," "Sunday in the Park With George," and of course, "Gypsy." This is all in spite of the fact that LuPone never believed she was right for any of them.
"They're not roles that were ever in my mind. Ever," she declares. For many years, she was "convinced he hated me," she adds of the composer.
Yet her work in Sondheim shows continues to be among her most fulfilling, giving weight to a position she adopted long ago. "I came to a conclusion: Don't go after roles, because you will be disappointed. The roles that come in are the ones you're supposed to play," she says. "My profession is a profession of subjection and rejection. I had cried too many tears over roles lost, and I went, 'This is not a way to live my life.' I know what my talent is. No one's going to prevent me from being onstage. No one's going to prevent me from doing what I was born to do."
"It's not arrogance to know yourself. Arrogance is fear. It has to be: 'This is what I need in order to give you everything I have to the best of my abilities.' "
Don't get her wrong; some of those rejections stung—badly. "There are roles where I've gone, 'Damn.' To this day. 'Damn,' " she says. But now, she trusts that "the universe is unfolding, and everything is as it should be." Easy for her to say, right? She's Patti LuPone. But no, she insists: Actors of all experience levels can get to that place, too, as long as their intent is pure.
"You have to know why you're doing it," she says. "The reason you are onstage—it has to be that you're honoring your talent. You have to acknowledge you have it; you have to protect it. If you know yourself, you can be confident. It's not arrogance to know yourself. Arrogance is fear. It has to be: 'This is what I need in order to give you everything I have to the best of my abilities.' But you have to know what that is."
LuPone has always had a firm grasp on who she is, but that doesn't mean she has always been a stellar advocate for herself—far from it, particularly in the early stages of her working life, when she had little leverage. She knew what she needed, but asking for it so that she could realize her full potential? That was another story.
"If you understand who you are in your craft, you can ask for something. But I didn't know that when I was young, so I sang in the wrong keys forever. How I still have a voice, I'll never know," she says with a shrug. "Know your limitations. Understand your craft. Understand your ability. I sang in keys that were too high for me in 'Les Miz.' 'I Dreamed a Dream'—I should have lowered the key. You're vulnerable to your environment when you're a kid, because you haven't got the knowledge."
Self-advocacy, as it were, isn't some abstract concept; there are concrete ways to do it. For LuPone, that now includes speaking with a production's sound mixer ahead of time. Performers, she says, may not realize how much control the mixer has over what the audience hears. But that knowledge is a game changer. "I always tell the mixer, 'You learn my voice; learn how loud and how soft I am," she says. "And trust that I'm going to use both of those things at random, so don't ride the dials. Don't control my voice.' "
How To Get Cast on Broadway
She sees this issue as part of a broader problem among the new generation of musical theater actors: over-reliance on microphones, and performers who "do not know how to project into a house." That's just the first of her gripes with up-and-comers. The second? "If you're going to sign a contract for eight shows a week, show up for eight shows a week. I don't believe in the 'personal day' bullshit that Equity has approved. Your personal day is your day off. Get used to it."
But generally, LuPone is not callous when it comes to rising actors; she's quick to offer advice on both technique and approach. Take lyric interpretation, which she has always used as her North Star. "I have to make sense of the story in order to sing the song, and that's where I start," she says. "Think of when people tell you a joke. There is energy, tension, anticipation, and there's the resolution. It's the same thing in the songs. You are leading to something. How do you build to the climax? How do you build so that you're not climaxing through the entire song, or so that you don't miss the climax altogether?"
When she's offstage or in the audience watching others perform, can she tell when an actor isn't connecting to the lyrics? "Of course you can!" she snaps. More than anything, LuPone suggests, that lack of connection to the material points to an actor's inability to truly be present in the scene.
She has no clever tips or tricks for how she manages to do so herself, night after night, year after year, show after show. Her solution is as simple as can be: "I want to be onstage."
"I want to tell the story," she says. "Before I start the show, I always look out at the audience, because I want to see who I'm playing to. I will look them in the eye. I'm in a musical. It's presentational theater. I deliver lines to people. I look in the corner of my eye and decide: Who am I gonna give the 'Kiss off, Rodney!' line to? I clock them, and that's the person I give it to. And then, throughout the show, I'm looking at people—not to make them uncomfortable, but to include them in the story. You are telling a story to someone else. You can never lose sight of that."
This story originally appeared in the May 19 issue of Backstage Magazine.
Photographed by Stephanie Diani on 4/14 in NYC. Make-up by Melissa Silver. Hair by Carly Quist. Styling by Ryan Young and Emily Drake as the stylist assistant. On cover: Dress by Norma Kamali. Shoes by Manolo Blahnik. Earrings and cuffs by Alexis Bittar. Additionally in the story: Dress by Norma Kamali. Ruffle Collar by J.R. Malpere. Outfit by Miu Miu. Dress by Semsem. Shoes by Manolo Blahnik. Necklace and rings by Alexis Bittar. Cover design by Ian Robinson.
Marianne Elliott
Patti LuPone


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The mCRL2 language is a formal specification language that is used to specify and model the behavior of distributed systems and protocols. With the accompanying toolset, it is possible to simulate, visualize, analyze and verify behavioral properties of mCRL2 models automatically. The semantics of the mCRL2 language is defined formally using Structural Operational Semantics (SOS) but implemented manually in the underlying toolset using C++.
Like with most formal languages, the underlying toolset was created with the formal semantics in mind but there is no way to actually guarantee that the implementation matches the intended semantics.
To validate that the implemented behavior for the mCRL2 language corresponds to its formal semantics, we describe the SOS deduction rules of the mCRL2 language, and perform the transformation from the mCRL2's SOS deduction rules to a Linear Process Specification. As our transformation directly takes the SOS deduction rules and transforms them into mCRL2 data equations, we are basically feeding the mCRL2 toolset its own formal language definition.
the experiments that have been conducted with our semantic transformation.
Despite its formal characterization, thorough study and broad use in many areas, our semantic dogfooding approach revealed a number of (subtle) differences between the mCRL2's intended semantics, the defined semantics and its actual implementation.
With our approach we capture the untimed semantics of mCRL2 in (roughly) 1000 lines of mCRL2 code.
The model is available as an appendix of [SRGW11].
Frank Stappers, Technische Universiteit Eindhoven, The Netherlands.
The project was a cooperation with ASML in Veldhoven, The Netherlands.


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text:
Q: Split cookies from page I was doing some coding today, but I got an error:
Cannot read properties of undefined (reading 'split')
    at getCookie ((index):38:49)
    at (index):47:31

My code (begins at line 36, ends at 43):
var cookieArray = document.cookie.split(";");
for (var i = 0; i < cookieArray.length; i++) {
    var cookiePair = cookieArray[1].split("=");

    if(name == cookiePair[0].trim()) {
        return decodeURIComponent(cookiePair[1])
    }
}

Btw, I've read that you can only split a string, but this is a string right?

A: You should put i instead of 1:
for (var i = 0; i < cookieArray.length; i++) {
   var cookiePair = cookieArray[i].split("=");

   if(name== cookiePair[0].trim()) {
      return decodeURIComponent(cookiePair[i])
   }
}

Because the first time it iterates the array cookieArray[1] my be undefind.

redpajama_set_name: RedPajamaStackExchange


text:
World Festival of Animated Film /
short film edition 3 - 8 June 2014
World Festival of Animated Film / short film edition 3 - 8 June 2014
hr | en
Selection Committees
Animafest Scanner
Animafest pro
GRAND COMPETITION
Grand Competition 1
Student Competition 1
COMMISSIONED FILMS COMPETITION
GRAND PANORAMA
Grand Panorama 1
STUDENT PANORAMA
Student Panorama 1
CROATIAN PANORAMA
MASTERS OF ANIMATION
Yuri Norstein
McLaren Classics
Croatian animated films 1964-65
Royal College of Art 1
THEME: PUPPET FILM
Masters of Puppets
Masters of Puppets 1
Croatian Puppet Film
French Puppet Film
Cartoon d'Or 2013
Visual Music
Cinema for the Ear
CHILDREN AND YOUTH PROGRAM
Films for Children Competition
Films for Children Competiton (4-7)
Films for Children Competition (7-10)
Films for Children Competition (10-14)
Films for Children Competition (14+)
Family Program (5+)
Educational activities for children
Animafest in your neighbourhood
Lecture Adam Wright: Animatronics
Videogame Workshop
Meet the filmmakers
25e - pervy den / 25th - the First Day
Yuri Norstein, Arkadi Tyurin
translation missing: en, countries, SS / 1968 / 8' 5''
Tuesday, 03. 06.,
Europa Cinema, 22:00 h
Thursday, 05. 06.,
Tuškanac Cinema, 16:00 h
Norstein's first film and his personal salute to Russia's leading avant-garde and post-revolutionary artists. The name of the film refers to the first day of the October Revolution. He combines poetry of V. Mayakovsky, with motifs of K. Malevich and images from K. Petrov-Vodkin, A. Deneka, V. Tatlin, S. Chehonin, P. Filonov, N. Altman, Yuri Piminov. The score is taken from the 11th and 12th symphonies of Dmitri Shostakovich.
One of the most important living masters of animated film, Yuri Norstein created a relatively small body of work, but his work is nevertheless included in all the anthologies and lists of the most significant achievements in recent decades and is in the animation world globally considered one of the greatest accomplishments. At first he worked as a phaser, cartoonist and animator and together with Arkadiy Tyurin he made 25th October, the First Day (1968), a film inspired by Soviet propaganda visuals. With Ivan Ivanov-Vano he made Seasons (1969) which won a prize at the first Animafest Zagreb, followed by The Battle of Kerzhenets (1971), based on a work by the great composer Rimsky-Korsakov, visually leaning on Russian medieval visual tradition.
As an independent filmmaker he mostly leaned on folklore, fairy-tale and other traditional elements, constantly perfecting photographing, animation and post-production techniques, developing a new, unique and recognisable artistic handwriting. The Fox and the Hare (1973), The Heron and the Crane (1974) and Hedgehog in the Fog (1975), exceptional and still today favourite works, served as a basis for Norstein's masterpiece Tale of Tales (1979), another Animafest Zagreb winner, the work often called the best animated film of all times. This work, characterised by recognisable nostalgia and powerful lyrical qualities, tastefully and functionally uses the broad range of techniques specific for animated film, as well as those used in other visual and audiovisual arts, always astounding the viewers with its freshness and emotional impressiveness. In addition to great successes in non-fictional writing and film education, as well as some smaller animation projects, Norstein has dedicated most of the last years to the project of his life, the still unfinished Overcoat based on a short story by Gogol.
A master of animation and a role model to the new generations of filmmakers, Yuri Norstein works painstakingly and carefully, paying attention to every detail. His serious approach and individuality has set high standards in contemporary artistic animation, the standards every new generation is always trying to attain. (N. Gilić)


text:
Highest Leave and Remain votes in 2016 EU referendum
UK News | Published: Jan 14, 2019
Boston in the East Midlands saw the highest Leave vote in the UK.
Man puts paper in ballot box
Here are the top 20 areas of the UK that recorded the highest proportion of Leave and Remain votes in the 2016 EU referendum.
In each case the region of the country is given in brackets.
Note that voting areas in the referendum were aligned with the boundaries of local authorities, not parliamentary constituencies.
– Top 20 Leave areas:
1. Boston (East Midlands): 75.6%
2. South Holland (East Midlands): 73.6%
3. Castle Point (East of England): 72.7%
4. Thurrock (East of England): 72.3%
5. Great Yarmouth (East of England): 71.5%
6. Fenland (East of England): 71.4%
7. Mansfield (East Midlands): 70.9%
8. Bolsover (East Midlands): 70.8%
9. East Lindsey (East Midlands): 70.7%
10. North East Lincolnshire (Yorkshire & the Humber): 69.9%
11. Ashfield (East Midlands): 69.8%
12. Havering (London): 69.7%
13. Hartlepool (North-east England): 69.6%
14. Tendring (East of England): 69.5%
15. Stoke-on-Trent (West Midlands): 69.4%
16. Doncaster (Yorkshire & the Humber): 69.0%
17. Cannock Chase (West Midlands): 68.9%
18. Basildon (East of England): 68.6%
19. Barnsley (Yorkshire & the Humber): 68.3%
20. Harlow (East of England): 68.1%
– Top 20 Remain areas:
1. Lambeth (London): 78.6%
2. Hackney (London): 78.5%
3. Haringey (London): 75.6%
4. City of London (London): 75.3%
5. Islington (London): 75.2%
6. Wandsworth (London): 75.0%
7. Camden (London): 74.9%
8. Edinburgh (Scotland): 74.4%
9. East Renfrewshire (Scotland): 74.3%
10. Cambridge (East of England): 73.8%
11. Southwark (London): 72.8%
12. East Dunbartonshire (Scotland): 71.4%
13. Oxford (South-east England): 70.3%
14. Hammersmith & Fulham (London): 70.0%
15. Lewisham (London): 69.9%
16. Richmond-upon-Thames (London): 69.3%
17. Westminster (London): 69.0%
18. Kensington & Chelsea (London): 68.7%
19. Brighton & Hove (South-east England): 68.6%
20. Stirling (Scotland): 67.7%
UK News | 2 hours ago
Drugs gang members who supplied cocaine worth £70m jailed for 111 years
Former teacher 'hypnotised' by younger lover accused of murder plots, court told
UK News | May 3, 2019
Meghan 'feeling very pregnant' on visit to retired performers' nursing home
UK News | Dec 18, 2018


Originally a hunting lodge, Musée Marmottan today bears the marks of elegance without the burden of gold-gilded panellings and dark, heavy interiors often seen in mansions of the past. Instead, much natural light penetrates through most of the rooms thanks to the presence of large glass windows, and the rooms airy, no doubt contributed by clutter-free layout and high ceilings. I've been told I should return in the summer, when the garden will be in full bloom and its beauty emphasised in full force.
The initial collection (now part of the permanent collection) of the museum consists of pieces from the First Empire (i.e. the Napoleonic Empire) including paintings, bronzes (I was admiring the bronze candle holders of Egyptian-inspired iconography) and furnitures (there was a bed which would be too short for me even). There is also a series of vertically long paintings of Napoleon in various parks and gardens, placed along an L-shaped corridor, which I've taken a liking to.
The museum also houses some distinguished Impressionist paintings, including Monet's "Impression, soleil levant" which gave rise to the name of the movement. More significantly, towards the central wing on the main floor is a large collection of Monet's work, mostly of waterlilies and rose hedges. You really haven't seen Monet's waterlilies properly until you've seen the dozens that are on exhibit here. This collection is highly personal and was donated by Monet's son, and a family friend.
Earlier this year, the museum played host to an exhibition of which Henri-Edmond Cross was headlining, but also featured other related artists including Seurat, Matisse, Signac and van Rysselberghe. It was a peek into the world of Neo-Impressionism, the period in which many masterpieces were created (painstakingly in detail) in the style of pointilism which I absolutely adore. Each spot of the canvas is a spot of single colour, interacting with another. With a few steps back, the full image is revealed to be bathed in tones and hues that are both vivid and divided, yet harmonious despite the meticulous precision of every spot of colour. There is method among these chaos, and they simply take my breathe away.
Among my favourites at this exhibition were Lac du Bois de Boulogne and San Giorgio Maggiore, both by Cross; Port-en-Bessin by Seurat; L'Escaut en amont d'Anvers by van Rysselberghe; Le Pont de Waterloo by Derain; and Camaret, Clair de Lune by Luce. They are truly stunning works of art, and how I wish I could own one of these. Just one (as if I could afford it, hah!).
The museum typically host 3-4 temporary exhibitions per annum, with announcement for upcoming exhibition made about 3 months in advance. In these next couple of months, it is hosting the first retrospective of the works of Berthe Morisot. One of the three main female artists of the movement in her time, Morisot was also a friend and later, sister-in-law to another Impressionist great – Édouard Manet.
Unlike her contemporaries whom often focused on street scenes and urban living, many of Morisot's paintings revolved around daily family life. One of my favourites of her works is that of her husband, Eugene, and their daughter, Julie, in the park of Bougival. She also painted many portraits, with Julie regularly sitting for her, as a little girl through to adulthood.
Musée Marmottan Monet opens daily except Monday, from 10am to 6pm (Thursday late opening till 8pm). Standard admittance ticket costs €10 and it's another €3 for the audioguide. Strictly no photography allowed.


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LBZ Advocacia (LBZ Law Firm) acts in advising its clients on the formulation, improvement or maintenance of their internal and external regulatory environment.
The firm assists in assessing risks and creating best practices for decision-making on compliance-related matters, which aim at preventing corruption, disruption of conduct ethics, and fraud in general.
The LBZ Advocacia (LBZ Law Firm) team champions the interests of its clients in the most diverse conflicts they might be involved with, related to other fields of activity.
The firm acts in negotiating agreements, mediation, administrative proceedings, arbitration and lawsuits.
It also provides due diligence to support the identification of risks and decision-making.
LBZ Advocacia (LBZ Law Firm) advises companies and families in creating instruments to facilitate the succession and protection of its assets.
In the business environment, the firm operates in negotiating and devising structures for the transfer of control between family generations and its governance, as well as the professionalization of its management. In the asset environment, LBZ Advocacia supports the client in creating rules of coexistence and rules for decision-making, and provides guidance on the tax effects of the solution.
With a focus on asset protection, the team will evaluate the associated risks and costs and provide better alternatives to prevent them. The firm assists in establishing companies in Brazil and abroad for the operationalization of the intended planning.


text:
Clubs gear up for the new school year
Key Club members earn points by volunteering to unpack new English textbooks. "It was nice to see us all working together," club President Megan Le said.
Suad Mohamed, Co-Editor in Chief
September 19, 2019|32 Views
As the school year begins, so do the hecticness and activities associated with clubs and other extracurriculars.
At AHS, there are many different types that a student could join.
The list of options ranges from sports, honors societies, cultural and religion based, community service related, and more.
In order to attract as many prospective members as possible, many clubs are introducing new programs and activities this year.
For National English Honors Society, this means making the club more interactive.
The club plans on introducing new activities, such as a book club and a program to read to children.
The goal is to make the club as interactive and engaging as possible.
"We want to ensure that we are using the club to have an impact on as many people in the community as possible," NEHS President Anoosh Tauqir said.
Meanwhile, Key Club is coordinating a drive with other schools in the county to gather food for the homeless.
"Hunger and malnutrition is a problem in the community, and we want to try to assuage the issue," President Megan Le said.
Additionally, the club plans is planning more frequent opportunities for volunteering hours.
Continuing with their efforts last year, the Black Cultural Awareness Association is further along in their attempt to
transform the club into a Black Student Union.
The reason behind the change is to make the club more organized.
Additionally, BSU is a nationally recognized group, while BCAA is not.
"Our plans are more finalized than they were last year, but there is still a lot left to do," club President Kadijah Janneh said. "However, we are getting there."
Many of these new initiatives were announced at the annual Club and Sports Fair, which was held on Sept. 6 during W4.
The fair is designed so that new students and underclassmen have a chance to learn about the ways that they can be involved.
"As a newcomer, it was nice to see what clubs and sports were available for me," freshman Correne Bellem said.
A lot of students take the fair seriously to see what they can join over the next four years, even if they are not eligible this year.
"I took note of what honors societies I could join next year, since you can't join most of them until you're a junior. sophomore Correne Bellem said.
Getting involved is an important part of succeeding in high school.
The more clubs and extracurriculars one involves themselves in, the more likely they are to reap from multiple benefits such as, making new friends, being more engaged with the community, and having more activities to show for college applications.
"If anyone has the chance, they should try to join a new club," Tauqir said.
Senior Suad Mohamed is currently the Co-Editor in Chief and this is her fourth year on staff. Last year, she was the In-Depth Editor. Besides The A-Blast,...
the_ablast
The official Instagram of Annandale High School's newspaper, The A-Blast. A student run account.
Annandale is adding a new class for the upcoming s
Students in psychology class watched a movie calle


text:
Hydrogen-powered buses coming from SRS laboratory in South Carolina
August 5, 2011	0 By Jake Banks
The future of hydrogen-powered transportation may be blossoming in Aiken County, South Carolina.
A number of buses equipped with internal combustion engines running on hydrogen have emerged from the Savannah National Laboratory at SRS. The facility that birthed the fleet of buses is relatively new, but its scientists have very ambitious aims. Led by Dr. Ted Motyka, researchers have been experimenting with ways to incorporate hydrogen into conventional technologies.
The buses uses an internal combustion engine that has been tweaked to make use of hydrogen rather than gasoline. The vehicle runs without emitting any harmful gases and Dr. Motyka claims that the engine is just as powerful as a fuel cell. The buses are equipped with massive storage tanks – which are reinforced to protect against collisions – that allow the vehicles to travel nearly 200 miles before needing to be refueled.
Scientists at SRS are also fashioning a more efficient fuel cell that promises to be less expensive than its contemporaries.
In its current incarnation, the fuel cell is to be used for forklifts, offering the same power garnered from a rechargeable battery. However, the fuel cell can be "recharged" in as little as two hours, whereas a conventional battery would take in excess of ten hours.
Dr. Motyka believes that hydrogen is, indeed, the fuel of the future and that adapting existing technology to make use of the fuel is far more prudent than trying to fabricate new systems that may or may not work well with hydrogen.
Tagshydrogen fuel system hydrogen transportation rechargeable battery rnal combustion engine Savannah National Laboratory South Carolina SRS SRS laboratory US hydrogen power
Survey says Californians reject nuclear energy, support drilling for oil and alternatives fuels
GM's CEO says fuel cells will not be practical until at least 2020


text:
Low-Dose Radioiodine Effective in Thyroid Cancer
Low-dose radioiodine is as effective as high-dose in the treatment of thyroid cancer, according to the results of two separate studies published in the New England Journal of Medicine. The results mean that radiation doses could be cut to one-third of the current level.
The thyroid is a gland in the throat that produces hormones mostly related to metabolic processes in the body. Overall, thyroid cancer is considered to be a highly curable cancer, with 97% of individuals alive at least five years following diagnosis. Standard treatment for well-differentiated thyroid cancer involves surgical removal of the thyroid. After surgery, some patients benefit from additional treatment with radioactive iodine. The iodine destroys any remaining cancer cells as well as the remaining healthy thyroid gland tissue.
Improvements in surgery mean that more of the thyroid gland is removed, which leaves fewer potential remaining cells to be treated with the iodine—meaning lower radiation doses are likely effective. This is important because higher doses of radiation carry added risks, including long-term complications such as secondary cancers. What's more—patients treated with low-dose radiation can be treated as outpatients and experience fewer side effects.
The HiLo trial included 438 patients at 29 hospitals across the United Kingdom who were randomized to receive low-dose or high-dose radioiodine, each in combination with either thyrotropin alfa or thyroid hormone withdrawal before ablation.[1] The results indicated that patients who received a much lower dose of radioiodine taken in a single oral capsule had similar treatment success to those who had the high dose—but with a much lower rate of side effects. Success rates were 85.0% in the group receiving low-dose radioiodine versus 88.9% in the group receiving the high dose and 87.1% in the thyrotropin alfa group versus 86.7% in the group undergoing thyroid hormone withdrawal. The researchers concluded that the low-dose radioiodine was equally effective and that this will change the approach to treating thyroid cancer—making it more safe and reducing the risk of secondary cancers later in life.
Another randomized, phase 3 trial compared two thyrotropin-stimulation methods (thyroid hormone withdrawal and use of recombinant human thyrotropin) and two radioiodine (131I) doses in a 2-by-2 design.[2] The trial included 684 patients enrolled between 2007 and 2010. Success rates were similar between the two radiation doses and the two thyrotropin-stimulation methods, leading the researchers to conclude that the use of human thyrotropin and low-dose radioiodine may be sufficient for managing low-risk thyroid cancer.
The results of both these studies could change standard thyroid treatment—resulting in lower doses of radiation for most patients.
[1] Mallick U, Harmer C, Yap B, et al: Ablation with low-dose radioiodine and thyrotropin alfa in thyroid cancer. New England Journal of Medicine. 2012; 366: 1674-1685.
[2] Schlumberger M, Catargi B, Borget I, et al: Strategies of radioiodine ablation in patients with low-risk thyroid cancer. New England Journal of Medicine. 2012; 366: 1663-1673.
Copyright © 2018 CancerConnect. All Rights Reserved.
Treatment & Management of Thyroid Cancer
Thyroid Cancer may be treated with surgery, radioactive iodine, chemotherapy or newer precision cancer medicines.
Jack_Ponting123
Overview of Thyroid Cancer
Understand the symptoms, signs, risk factors and diagnosis of thyroid cancers.
The CancerConnect Thyroid Cancer Newsletter
Stay Current With Thyroid Cancer Treatment Advances & Connect with Others
TraceyS
Precision Cancer Medicine Treatment of Thyroid Cancers
Precision cancer medicines and targeted immunotherapy are increasingly used or the treatment of thyroid cancer.
Papillary Thyroid Cancer Diagnosis and Treatment Planning
Julie Ann Sosa, MD, professor of medicine at Duke University discusses thyroid cancer diagnosis and treatment.
Thyroid Cancer: It's Not in Your Head-It's in Your Neck!
A thyroid cancer survivor shares valuable information about the disease and insight into the treatment process.
Treatment of Stage IV Thyroid Cancer
Treatment of stage IV - metastatic and recurrent Thyroid Cancer
Treatment of Stage III Thyroid Cancer
Treatment of Stage III or locally advanced Thyroid Cancer consists of surgery and radiation therapy.
Treatment of Stage I -II Thyroid Cancer
Treatment of Stage I - II Thyroid Cancer typically consists of surgery or radioactive iodine therapy.
The Thyroid Cancer Community - Connect With Other Thyroid Cancer Patients
Connect with Others at Top Cancer Centers - Second Opinion Options...


text:
/**
 * A collection of common Javascript functions used throughout the RMS for
 * interacting with the user study API.
 *
 * @fileOverview A collection of common Javascript functions used throughout the
 *  RMS for interacting with the user study API.
 * @name RMS Studies
 * @author Russell Toris <rctoris@wpi.edu>
 * @version April, 13 2013
 */

/**
 * Log the given message into the study_logs MySQL table. This function will
 * only work if the _EXPID global variable is defined.
 *
 * @param mesasge
 *            {string} the message to log
 */
function studyLog(message) {
  if (typeof (_EXPID) !== 'undefined') {
    // create an AJAX request
    var data = new FormData();
    data.append('expid', _EXPID);
    data.append('entry', message);
    $.ajax('../../api/user_studies/study_logs/', {
      data : data,
      cache : false,
      contentType : false,
      processData : false,
      type : 'POST',
      beforeSend: function (xhr) {
        // authenticate with the header
        xhr.setRequestHeader('RMS-Use-Session', 'true');
      }
    });
  }
}

redpajama_set_name: RedPajamaGithub


text:
History of Barnsdall Art Park
Barnsdall Arts Sundays
Junior Arts Center Gallery
Hollyhock House
LAMAG
The City of Los Angeles Department of Cultural Affairs operates the programs at Barnsdall Park, the Department of Recreation and Parks operates its grounds, and the Department of General Services maintains the buildings. As a support organization, we work closely with curatorial, building, ground and administrative staff, as well as the Mayor's Office and the City Council, to help preserve the fabric of the park and restore its historic structures.
We foster relationships with other support groups at Barnsdall Park, and with our neighbors such as Kaiser Permanente, Hollywood Arts Council, Los Feliz Improvement Association, and East Hollywood Neighborhood Council. We draw members and volunteers from across Los Angeles who donate their time and energy to our cause. And through our social media and email list, our community events such as Friday Night Wine Tastings, Barnsdall Arts Sundays free workshops, and our membership program, we reach out to the community for support.
Barnsdall Art Park
Barnsdall Art Park is located at 4800 Hollywood Boulevard, Los Angeles, California 90027
For general inquiries please contact:
info@barnsdall.org
For questions about our Wine Tasting Fundraisers please contact:
winetastings@barnsdall.org
Park Hours of Operation
Junior Art Center Gallery Hours
10:00 am - 4:00 pm (Mon - Sat)
Los Angeles Municipal Art Gallery
11:00 am - 4:00 pm (Thurs - Sun)
Last ticket sold at 3:30 pm
Barnsdall Art Park@barnsdall·
Tomorrow is the last day to see COLA 2019 at @lamagbarnsdall. Open from 11am-4pm. Hope to see you then! 📷: placesiam
#cola2019atlamag @ Los Angeles Municipal Art Gallery https://t.co/kRRdRdEWbK
Copyright (c) 2018. Barnsdall Art Park Foundation. All rights reserved.


text:
let regex = /**/ /this regex is getting tokenized as code/;

interface SomeInterface {
}
class ParentClass {
}
class MyClass extends ParentClass implements SomeInterface {
}


This morning my boss called me at 6:30am. I saw who it was and let the phone ring, hoping he would leave a voicemail. Now, I NEVER get saturdays off... However it's still slow at work, and we have to call every day to see if we are working the following day.
I wasn't on the list, but I had to double check. I called it again and sure enough my name was no where to be found. I thought it had to be some kind of emergency (nyko bleeding on pavement, etc.)... So like an idiot I call back.
Bronto: Heya T, you called?
T: Yeah, you want to work today?
Great. Now I look like I don't want to work. Next time I am just going to let the phone ring. It's SATURDAY, I was out late last night watching the UFC. This morning I made plans to go see HELLBOY.
Above all of that though, my niece Ariel is in the hospital again. So, I am on call. I am not sure 100% of what is going on, however I know she was rushed to the hospital in an ambulance yesterday. I hope and pray she will be alright. I love you sweetie.


text:
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Laws, Treaties, and Other Documents Having Operation and Respect to the ... - Sivu 17
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A History of Tobago
Henry Iles Woodcock - 1867 - 195 sivua
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A Report on the Boundaries of the Province of Ontario: By David Mills
Ontario. Commissioner on the Northern and Western Boundaries, David Mills - 1873 - 418 sivua
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The Constitutional History of Canada, Nide 1
Samuel James Watson - 1874 - 157 sivua
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Report on the Boundaries of the Province of Ontario: Containing in Part the ...
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Statutes, Documents and Papers Bearing on the Discussion Respecting the ...
Ontario - 1878 - 448 sivua
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The Lives of the Judges of Upper Canada and Ontario: From 1791 to the ...
David Breakenridge Read - 1888 - 486 sivua
...and restrictions as are used in other Colonies . and in the meantime, and until such assemblies can be called as aforesaid, all persons inhabiting in...royal protection for the enjoyment of the benefit of our laws of our realm of England ; for which purpose we have given power under our Great Seal to the...
Canadiana, Nide 2
William White - 1890
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Documents Illustrative of the Canadian Constitution
William Houston - 1891 - 338 sivua
...and restrictions as are used in other colonies, and in the meantime, and until such assemblies can be called as aforesaid, all persons inhabiting in...enjoyment of the benefit of the laws of our realm of England:3 for which purpose we have given power under our great seal to the governors of our said colonies...
...confide in our Royal protection for the enjoyment of the benefit of the laws of our realm of England:8 for which purpose we have given power under our great...the governors of our said colonies respectively to enact and constitute, with the advice of our said councils respectively, courts of judicature and public...


He was a pioneer and a great inspiration for what public statistics always strives for: more visibility, more understanding and more resonance. Two years ago Hans Rosling (27 July 1948 – 7 February 2017) died too young.
Demanding and enriching was an encounter with Hans Rosling. His demand for public statistics was urgent and a prerequisite for his enlightening work: that statistical data should be open to all. Here he saw successes. It was and is enriching how he conveyed these data combined with a message. With innovative, precise, entertaining and always very personal presentations, he clarified what had happened and what developments could be desired. He was a realist regarding his effectiveness and yet always an optimist ….. better: a "possibilist". What remains for me is how he taught to see with numbers – a constant challenge for public statistics.
Gapminder ("a fact tank, not a think tank"), with its innovative tools and commitment, continues to live with Anna Rosling Rönnlund and Ola Rosling.
No day without numbers in (social) media, in everyday life. And they not only want to inform us, they also want to orient us in one direction or the other.
And every day are among them deliberately or unintentionally false or misleading numbers.
Therefore, statistics must arm themselves against incorrect use of data and repeatedly teach the correct handling of statistical data.
There have long been numerous works on this subject. Here is another quite basic presentation by the Dutch journalist Sanne Blauw.
She picks out five statistical sins.
The fact that such presentations often use numbers themselves, which would also have to be viewed critically, does not diminish the value of her warnings.
The UNECE hackathon that has just been completed responds to this challenge.
'A hackathon is an intensive problem-solving event. In this case, the focus is on statistical content and effective communication. The teams will be challenged to "Create a user-oriented product that tells a story about the younger population". During the Hackathon, fifteen teams from nine countries had 64.5 hours to create a product that tells a story about the younger population. The teams were multidisciplinary – with members from statistical offices and other government departments. The product created should be innovative, engaging, and targeted towards the general public (that is, not specialists). There was no limit on the form of the product, but the teams had to include a mandatory SDG indicator in the product.
And the hackathon shows impressive results, even if only a few organisations have participated.
My favourites are number 3 from the National Institute of Statistics and Geography (INEGI-Mexico) and number 2 from the Central Statistical Office of Poland.
…is aesthetically pleasing and easy to use. The interaction is left to the user and can be individually controlled by him/her in the speed.
The diagrams do not stand alone, but are explained by short texts while scrolling.
The results are not just being accepted. Rather, the concepts are explained and questioned – statistics are presented with the methodological background.
…starts with a jourmalistic approach. Here too, the interactivity can be controlled by the user at the desired speed.
At the end, the authors also seek direct contact with the users; a quiz personalizes the statistical data and gives an individual assessment of where the users stand personally with regard to these statistics.
– hints on the methodological background.
Many of the other applications show the frequently encountered weaknesses: Too much information should be provided, no courage to leave something behind and concentrate on the most important elements. And this leads to long texts and complex navigation with the effect that users quit quickly.
The authors do not stop here. They also see a good scenario, but a scenario that implies a huge engagement.
This scenario is 'predicated on two major assumptions.
First, the information market will be increasingly competitive by sound regulations that prevent the emergence of dominant positions in countries and even more important across them.
Second, official statistics pursue a strong modernization to evolve towards the production of smart statistics, which fully leverage technology and new data sources while maintaining and enhancing the quality of the data provided to the public.
The good scenario already depicts some needed actions to be taken by official statisticians. The authors conclude with proposals that are not really new, ideas that have been on the table for some time but are not so easy to implement.
'It is important to change mindsets and practices which have been established, in order to put in contact the citizens with official statistics, to make data accessible, to expand the understanding of their analysis, to support individuals, business and institutions in the decision-making process.
Eurostat's biennial scientific conference on New Techniques and Technologies for Statistics (NTTS) is over, a labyrinth of a website is online and tons of documents are somewhere published.
… and the people behind it.
The target public of this corporate website are enterprises, administrations, journalists, students and whoever may be interested.
A shorter English version is integrated into the CBS website.
Corporate websites like CBS' are not quite usual. They are resource consuming but are probably very good in helping to understand statisticians' mission and work .. and in motivating employees.