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Building Up STEAM
Written by Barbara Krebs,
Young Audiences volunteer and Sunburst Society member
If you follow education trends even a little, you can't avoid the STEM acronym. In fact, at many area high schools, getting a slot in the highly popular STEM (Science, Technology, Engineering, and Math) magnet program is tricky at best.
Why is that? Why do people automatically assume that if you want your student to get ahead in life, your best bet is to seek out an education that prioritizes a STEM-based curriculum over one that values the humanities or visual and performing arts? Now, enrolling in a STEM-focused program is certainly not bad advice. But, it's definitely not the only path to success as one recent Washington Post article reported.
"Kids have been educated in a computer world. But that computer world continues to threaten traditional jobs, so success will rely on the ability of students to innovate and use tools in a non-traditional way."
In the article, "The surprising thing Google learned about its employees – and what it means for today's students," the Post reported on a 2013 study that Google conducted on its own hiring practices. Its founders, with solid backgrounds in computer science, felt certain that only "technologists can understand technology." But after every bit of data was gathered and analyzed, the company discovered something unexpected. Of the top eight criteria considered essential for a top employee, STEM expertise rated… um… eighth.
This led to a deeper dive into the data, which ultimately led to Google re-evaluating its employment processes and putting more emphasis on hiring "humanities majors, artists, and even MBAs." Other companies (such as Chevron and IBM) have also discovered the positives of hiring liberal arts majors because they "prize their ability to communicate."
Students at Western High School worked with fiber artist Pam Negrin to stitch the likenesses of important, black, female scientists onto one collaborative work of art.
On a personal level, I feel very strongly about this. My daughter, Colette, spent seven years (three in middle school and four in high school) pursuing a Performing and Visual Arts education. She learned to sing, dance, act, write, and most importantly from my perspective, think creatively. And while she was singing and acting her way through high school, she was also taking AP Physics and Calculus and learning to wire circuit boards. So it didn't come as a huge surprise when she enrolled in Engineering as a college freshman.
While some people were shocked at the 180° turn she made, I viewed it as the logical conclusion to a style of learning that she honed as an arts major in high school. Combining a love of math and science with the arts is not as unusual as you might think.
"Finding a path to my final images is a complex choreography of math, my sensibilities as an artist/scientist, and the subtleties of the subject."
Take, for instance, Dr. Tim Christensen, biology professor at East Carolina University (ECU) and Senior Faculty Fellow in their Honors College (full disclosure – that's how I first met him, when touring ECU with my daughter, who was accepted into both ECU and their Honors College). Dr. Christensen is primarily a scientist but also an artist. Merging the two disciplines, he fully embraces and personifies the concept of STEAM (Science, Technology, Engineering, Arts, and Math).
Dr. Tim Chritsensen's photograph, Rosette Nebula
I was immediately struck while perusing the awe-inspiring galactic photographs on his website, AstroWimp. "As an artist, I've been heavily influenced by my scientific training," he wrote. "To a scientist, images are 'data.' Standing in both art and science worlds, I attempt to convey the art of the data." In his role as teacher, Dr. Christensen transfers the wonder he experiences as a scientist and an artist to his students.
He readily admits that while he finds jumping back and forth between scientific and artistic worlds a natural leap, that is not the case with every scientist. "Some are still wary of anything that can't be measured scientifically." Nevertheless, he continues to champion the intersection of science and art, as evidenced in his own artwork. "Finding a path to my final images is a complex choreography of math, my sensibilities as an artist/scientist, and the subtleties of the subject."
Dr. Christensen is currently collaborating with a fellow faculty member, Daniel Kariko, Associate Professor of Fine Art Photography. Their project, dataSTEAM, "focuses on artists who work directly with scientists to develop a deep understanding of the data, preparing artists to contextualize data in their art, connecting both disciplines… art to science, and science to art."
First graders in Young Audience's Summer Arts & Learning Academy created monsters, then partnered with classmates to write mathematical word problems based on their different numbers of eyes.
Starting in the fall semester, the two will "facilitate collaborations between Art and Honors/Science students" leading to a gallery exhibit at the university. But more important than the exhibition is, of course, the concept of cross-fertilization between the two disciplines.
As Dr. Christensen explained it, "Kids have been educated in a computer world. But that computer world continues to threaten traditional jobs, so success will rely on the ability of students to innovate and use tools in a non-traditional way." He feels that merging science and art will create students who are quicker to think outside the box and can straddle both the worlds of imagination and hard-core data.
YA artist Amanda Pellerin worked with Brooklyn Park Middle School students to create a Cells and Viruses mural that will hang in MedStar Harbor Hospital.
Similarly, what Google has identified as the top characteristics of successful employees are not unlike the same skills that educators and other business leaders identify as being critical to a person's success in careers, in college, and as a citizen: critical thinking, collaboration, communication, and creativity. These are behaviors that Young Audiences' teaching artists observe and nurture every day among students in arts-integrated classrooms. And so, for those folks who doubt the value of arts integration into core curriculum subjects such as science and math, the, ahem, data demonstrate that arts and science together create a more balanced individual who can successfully work in today's fast-paced, ever-changing work environment.
An in-progress section of the ceramic Cells and Viruses mural that artist Amanda Pellerin and Brooklyn Park Middle School students are creating.
But don't take my word for it, just ask my daughter. In a recent phone call, Colette was excitedly discussing her Statics class. The definition of her Statics class from ECU's website- the analysis of equilibrium of particles, addition and resolution of forces, equivalent system of forces, equilibrium of rigid bodies, centroid and moment of inertia, structural analysis, internal forces, friction, and virtual work- left my head spinning.
When I commented on the apparent difficulty of the class, she assured me breezily, "Oh Mom, it's easy for me. After all those arts classes in high school, I can see in 3-D."
Categorized: News
Tagged: 21st Century Skills, Amanda Pellerin, arts integration, Astronomy. Art, Barbara Krebs, clay, Embroidery, Engineering, fiber art, Math, Pam Negrin, photography, science, STEAM, STEM, Summer Arts and Learning Academy, technology
North County High School: Creating Learning Opportunities Through the Arts
The Arts Empowered Minds Initiative (AEMI) is aimed at ensuring equitable access to the arts for Northern Anne Arundel County Public Schools through in-school arts integration, out-of-school arts programming, and professional development for teachers. Now in its second year, the initiative has been expanded to include all twelve schools in the region thanks to generous funding from the National Endowment for the Arts!
North County High School
Notable among the additional schools is the North County High School (NCHS). All students in every other school impacted by AEMI are zoned to complete their secondary education at this high school. North County High School's new designation as an AEMI school will enable local students to continue their learning through arts integration throughout their school years. This creates a unique opportunity for the school to serve as a beacon for arts engagement, not just for high school students, but for the whole Northern Anne Arundel County community.
NCHS is already home to a variety of performing band and orchestra ensembles, and offers students the opportunity to become involved in a number of in-school and after-school arts activities. "The medium of music is a fantastic way to teach some wonderful life lessons as part of the comprehensive program at North County," wrote NCHS Music Director Theresa Bange on the school's extensive music program's webpage. The school climate encourages a culture of respect for the arts in its many forms. NCHS has also shown a commitment to innovation, offering special programs including the STEM (science, technology, engineering, mathematics) Magnet Program, the IT3 (International Trade, Transportation, and Tourism) Program, and the Early College Access program.
This year, the high school will participate in several arts-integrated opportunities where artists will professionally deliver instruction through the arts. Math Department chair Amy Goodman is leading the charge of integrating the arts at North County High. She is currently coordinating a residency developed by YA artist and spoken word poet Femi the DriFish in collaboration with the school's Algebra 1 team as well as collaborating with theatre artist, storyteller, and YA roster artist TAHIRA to develop a residency through the Teaching Artist Institute (TAI). Also through TAI, 9th grade algebra teacher Sarah Dobry is collaborating with steel drummer, Kevin Martin, integrating music with the curriculum!
"It's all about creating opportunities," said Mrs. Goodman. She recalled her experience working with teaching artist Carolyn Koerber in the previous school year. "There was one student who struggled all year, but finally felt success working with Carolyn. Bringing artists into the classroom is an amazing opportunity for not only our students, but for faculty as well."
We are looking forward to sharing the collaborative work of YA artists and educators in arts integration at North County High School over the next few months and for years to come.
The Arts Empowered Minds Initiative is the combined effort of many groups and individuals seeking to build a movement for increased equity through the arts in their community. With funding from the NEA in 2016, we built partnerships with Anne Arundel County Public Schools (AACPS), Chesapeake Arts Center (CAC), Arts Education in Maryland Schools Alliance (AEMS), Arts Council of Anne Arundel County, and University of Maryland – Baltimore County (UMBC).
Tagged: AEMI, Algebra, Anne Arundel County, Anne Arundel County Public Schools, arts, Arts Empowered Minds, arts integration, drumming, Femi the Drifish, high school students, Kevin Martin, Math, Music, North Arundel High School, performance, poetry, residency, spoken word poetry, steel drums, STEM, TAHIRA, theatre, trigonometry
AoSL Releases Report Linking Arts-Based Learning to STEM Innovation
Arts Integration in Action! Young Audiences' Summer Arts & Learning Academy 2nd graders learned math and multiplication through the arts with teaching artist Mama Rashida of Wombwork Productions.
The Art of Science Learning (AoSL), a National Science Foundation (NSF)-funded initiative, spearheaded by its Principal Investigator, Harvey Seifter, has released its newest report, titled The Impact of Arts-Based Innovation Training on the Creative Thinking Skills, Collaborative Behaviors and Innovation Outcomes of Adolescents and Adults. The report was written by Audience Viewpoints Consulting, the independent research firm AoSL retained to conduct the study. The effort compared the impacts and outcomes of arts-based innovation training with more traditional innovation training that does not incorporate the arts.
"With this research, we now have clear evidence that arts-based learning sparks creativity, collaboration, emotionally intelligent behavior and innovation in both adolescents and adults," Seifter said. "The implications for 21st Century learning and workforce development are profound."
Working with Worcester, MA high school students and early career STEM (Science, Technology, Engineering and Math) professionals from San Diego, the results were compiled through a series of experimental studies testing AoSL's hypothesis: that integrating the arts into STEM innovation training results in enhanced individual creative thinking skills, increased collaborative behaviors, and more robust team innovation outcomes.
The research yielded compelling results; a strong causal relationship does indeed exist between arts-based learning and improved creative thinking skills and innovation outcomes in adolescents, and between arts-based learning and increased emotionally intelligent and collaborative behavior in adults.
The study divided participants into control and treatment groups. Both groups used a hands-on project based approach to learning innovation. The treatment curriculum replaced 9 hours of the traditional innovation pedagogy used in the control curriculum with 9 hours of arts-based activities designed to achieve the same learning objectives. The study lasted five weeks.
"Our research provides quantitative evidence that validates what artists, inventors, scientists, technologists, educators, entrepreneurs and humanists have known for thousands of years," Seifter said: "discovery and innovation happen at the intersection of art, science and learning."
The research demonstrates that arts-based learning directly strengthens many key 21st Century learning and workforce skills, a finding with numerous immediate and longer-term practical applications for K-12 and post-secondary education, informal learning and workforce development.
The data strongly suggests that arts-based learning can help STEM companies to spark high performance innovation teams among a new generation of professionals, and that schools, museums and science centers can create environments that foster creativity, collaboration, innovation and engagement by integrating the arts into STEM learning.
Read the full report and its key findings
About Harvey Seifter
Art of Science Learning was founded by Harvey Seifter 2008, and grows out of his decades of work at the intersection of art, science and learning. In addition to his research work, Seifter brings his arts-based approaches to innovation, leadership development and high performance teamwork to dozens of global corporations, and serves as Visiting Associate Professor of Design, Arts and Cultural Management at Pratt Institute in New York City. He is also a classically trained musician with a 25-year career at the helm of several distinguished arts organizations including Orpheus Chamber Orchestra and the Magic Theatre of San Francisco. During his tenure these organizations garnered 5 Grammy Awards, 24 Obie and Critics Circle Awards, and the Kennedy Center Award.
About The Art of Science Learning
The Art of Science Learning (AoSL) is a National Science Foundation (NSF)-funded initiative, founded and directed by Harvey Seifter, that uses the arts to spark creativity in science education and the development of an innovative 21st Century STEM (Science, Technology, Engineering and Math) workforce. AoSL's national partners include The American Association for the Advancement of Science, Americans for the Arts and The Association of Science-Technology Centers.
All text Republished with permission from the Art of Science Learning (AoSL)
Tagged: 21st Century Skills, Art of Science Learning, arts integration, Arts-Based Innovation, Arts-based Learning, arts-in-education, Engineering, Math, science, STEAM, STEM, STEM Innovation, STEM Learning Through the Arts, technology
Meet Our Artists: Scott Patterson
Young Audiences' roster of artists continues to grow to encompass new artists, ensembles, and art forms, from slam poets to improvisers to Capoeira masters. We'll be regularly posting interviews with our artists, giving them a chance to share more about themselves and their experiences bringing their Young Audiences programs to schools.
How did you first hear about Young Audiences? What made you decide to become a roster artist?
A colleague told me about the Arts Education in Maryland Schools (AEMS) Alliance, and I found information about Young Audiences on the AEMS website. My reasons for deciding to become a roster artist are twofold. First, I have fond memories of the school assemblies I attended as a child. Whether the assembly was about public safety or a performance, the message always stuck with me. Assemblies were presented as something special, a time to get out of the classroom and see information presented in a fun and interesting way. It is my hope that Outer Space Improvisations leaves the same kind of positive impression on students as the assemblies I attended as a child. Second, I place a high value on professional development, and when I learned about the Teaching Artist Institute (TAI), I realized that Young Audiences does too.
How does your art form help connect students to what they are learning in school?
When composing music I utilize basic math concepts. Additionally, I rely on my skills as a writer to create song lyrics and devise hypotheses. As I experiment with new sounds, I recall historical events and scan my current environment for inspiration.
Through music, I encourage students to see the convergence of academic disciplines, rather than single out one in particular. In using improvisation activities, I invite students to pull from what they know about math, literature, science, and history to create something entirely new and unique.
We love your concept of connecting live, improvisational music with the theme of space exploration. Can you tell us more about your program "Outer Space Improvisations"?
"Outer Space Improvisations" is a program designed to stoke students' imaginations. The students and I take a musical space journey, leaving our day-to-day existence on Earth to travel to far and distant places, both charted and uncharted. It is the uncharted place that most excites me because students have to use their imagination to create what these places look, feel, sound, taste, and smell like; this is where the improvisational aspect of the program comes into play.
Through sound design, I welcome students into the performance with the sounds of space. When I play, students are immersed in original space-themed compositions inspired by composers and musicians like Beethoven, Franz Liszt, Earth, Wind & Fire, Led Zeppelin, Jimi Hendrix, and Thundercat. Facts about space are woven into the program to deepen their intergalactic experience, and improvisation activities connect students to the infiniteness of their imagination.
How do the lessons/skills you teach students about or through your art form apply to and affect their everyday life outside of the classroom?
An important aspect of my work as a composer is improvisation; however, it is through my imagination that I can improvise. The ability to create something that has never existed before is an essential skill that all people must have. Without it, the ability to solve the simple and complex problems that pop up in everyday life would be impossible.
It is important to me that students feel confident in their capacity to think through and learn how to present a new idea. The problems children are solving today and those they will address in the future require a strong imagination, critical thinking, and courage.
Why do you believe it is important for every student to have access to the arts?
I am committed to arts education. It was through the arts that I learned how to improvise, communicate, and imagine. The arts education I received as a child helped shape the person I am today. Seeing that I had a passion for music, my parents enrolled me in arts programs. In high school, I attended a performing arts magnet program where I had the opportunity to interact daily with teaching artists. They challenged me to think creatively and critically about how to contribute to the world around me through my art.
What is the most rewarding aspect of becoming a Young Audiences roster artist?
Performing in front of students who at first don't know what to expect when they see me, and then seeing the impact my music has on them as their imaginations light up is exciting. I believe the ability to use imagination, to see beyond one's circumstance or everyday reality is not a privilege, but a necessity. To see students grasp this concept, and then watch them use it to do something that has never been done before is my greatest joy.
Learn more about Scott Patterson's assembly "Outer Space Improvisations"
Categorized: Artist Spotlight
Tagged: Improvisation, Math, meet our artists, Music, Piano, science, Scott Patterson, STEM
Use simple circuitry in sculpture in March's smART Tip
In March's smART Tip, Young Audiences visual artists and STEAM experts FutureMakers show how students can use simple and affordable LEDs to make sculptures that light up! Press play to learn more:
[youtube https://youtu.be/TkNZsA-92SU]
smART Tips is a monthly video series sharing tips for educators who are interested in new, creative ways to use the arts in their classroom with students. See all smART Tips to date here. Interested in a specific topic? Let us know!
Categorized: News, smART Tips
Tagged: FutureMakers, LEDs, smART Tip, STEAM, STEM, visual art
Meet our new artists: FutureMakers
During the last two years, our roster has grown in size to encompass new artists, ensembles, and art forms. From slam poets to improvisers to Capoeira masters, these new artists are undeniably unique.
To introduce audiences to our new artists, we'll be posting interviews with those who recently joined our roster, giving them a chance to share more about themselves and their experiences with Young Audiences so far. We recently sat down with Matt Barinholtz of FutureMakers.
What is your background as an artist?
FutureMakers started from work I was doing as a visual artist and sculptor with other makers and educators. I was frequently asked if I could bring the type of work I was doing to classrooms. I had met artists, engineers, and technologists that wanted to do projects with young people, but didn't feel confident about how to approach it. I wondered if an organization could connect makers and educators, so both could build their skills.
During the summer of 2012, I was invited to work with a supportive cohort of community colleges in Maryland to bring STEAM workshops (Science, Technology, Engineering, Arts, Mathematics) into their summer programs for youth. Since then, we've steadily been growing our staff, or as we call them, coaches, and are excited to be working with Young Audiences to provide a formal pathway for those interested in joining FutureMakers to deliver programs to schools.
How did you hear about Young Audiences?
Someone shared a workshop offered by Pat Cruz, Young Audiences Education Director. I wasn't able to attend, but reached out to Pat to find out how FutureMakers could learn from and work with Young Audiences. In 2013, we were invited to support a summer learning program in Harford County, and participate in the Teaching Artist Institute (TAI) Seminar. Through TAI, we developed a FutureMakers residency. We've been making things that wiggle, draw, glow, and do crazy stuff with kids ever since.
See these sculptures in action here!
What has been the most memorable part of the programs you've had through Young Audiences?
I was watching morning announcement videos at a school which used puppets created by students with TAI instructor and playwright John Morogiello. They were funny and sharp. It wasn't about adults, it was about youth development with young people out in front. I was impressed by the way art was completely integrated into that school. It made me wish that more places would work and integrate this way.
What was your favorite part of the Teaching Artist Institute (TAI) Seminar? How has the experience changed your approach to teaching?
TAI solidified the way we at FutureMakers think about the pathway our coaches follow. It focuses our expertise and creativity on student engagement, measurable outcomes, and addresses the needs of our teacher partners. They get to see and do what they'd like within boundaries of what they need to do.
Our coaches are experiencing how maker education can connect in classrooms because of Young Audiences. Being observed, receiving feedback, and having scheduling and communications support is an enormous value that Young Audiences adds to our organization.
What does your art form–particularly as it relates to STEM subjects–teach students?
With technology, things are moving toward additive processes – for example, 3D printing, which is a process we incorporate in many community workshops. Traditional craft and art media are now expanding to incorporate materials often found in science or technology classrooms, or only available to higher education students. In a rapidly evolving, project-based learning world, coaches help young people embrace the design process in their creative lives – think like engineers to figure out how to solve a design challenge, and have the confidence to iterate, or try again, when things go in unexpected directions.
How do the lessons or skills you teach students apply to their everyday life outside of the classroom?
Students asking, imagining, planning, creating, and improving is the core of what we're about. Young people have limitless imaginations, and are open to learning how to take a step back and ask questions. In the past, young makers followed plans or prescriptive examples to complete a project. We're learning that truly effective coaches facilitate their discovery of paths and options that lead to mastery – supported by the design cycle.
Why do you believe art is important for every student to have access to?
Young people need to have the opportunity to try something and fail, and a coach who can help them through difficult spots. Art was the only thing that kept me focused and motivated in high school; it was my identity early on. When we're working with students in upper-elementary and middle school, identity is a large and important part of what our residencies are about. Art is a fast path to forming and grabbing onto an identity, whatever the content is.
What is the most rewarding aspect of being a Young Audiences roster artist?
It's incredibly validating to know as an organization we're doing something that our school systems embrace. I think the most rewarding aspect is knowing that we're working in a community of other practitioners who are phenomenal performing and visual artists and amazing coaches. That is a very rare mix, and we're honored to be a part of it.
Learn more about FutureMakers' offerings through Young Audiences.
Keep an eye out for more interviews featuring our newest roster artists! See past new artist interviews here.
Categorized: Artist Spotlight, News
Tagged: artist-in-residence, arts integration, creating, Engineering, FutureMakers, imagining, improving, Matt Barinholtz, meet our artists, new artists, planning, residency, roster artists, science, STEAM, STEM, TAI, Teaching Artist Institute, teaching artists, technology
Summer learning comes to a close
See photos from the Young Audiences arts-integrated summer learning site!
The summer can be a time for fun in the sun with family and friends, but for many students across the country, it is a time of uncertainty. Without school, many at-risk students are left without adequate supervision, access to regular, healthy meals, and opportunities to participate in engaging and constructive activities. On average, all children can lose approximately two months of learning from the previous school year during the summer months without engaging education activities, and for low-income students, the loss is even greater. More than half of the achievement gap between low-income students and their more affluent peers can be attributed to the unequal access to summer learning opportunities.
For five weeks this summer, Young Audiences again partnered with Baltimore City Public Schools to combat summer learning loss through a free math- and science-focused summer camp opportunity for Baltimore City middle school students. Young Audiences artists provided arts enrichment activities at seven Baltimore City 22nd Century Pioneers Summer Camp sites. In addition, for the first time, Young Audiences managed an eighth completely arts-integrated camp site at Edmondson Westside High School.
At the Young Audiences camp, morning math and science classes were co-taught by Baltimore City teachers and Young Audiences artists, who explored STEM subjects through the arts. Students had a choice in the art form they focused on during afternoon enrichment classes, including dance, photography, illustration and mural painting, improvisational theatre, Hip Hop, steel drum, or VEX robotics. The camp also included field trips, giving students the chance to apply their knowledge outside of the classroom.
The program was a learning opportunity for participating teachers as well, some of whom were new to arts integration as a teaching practice. Co-teaching with Young Audiences artists gave teachers the opportunity to try out a different way to approach each lesson, growing their knowledge of the arts and the natural connections that exist between core subjects and the arts.
In a recent survey of 500 U.S. teachers, 66 percent said it takes at least three to four weeks to re-teach content from the previous school year to get their students up to speed at the start of each new school year. At Edmondson Westside, the arts made learning fun and students both stayed intellectually engaged so they would not fall behind in their classes this coming school year, and also discovered a new way of learning through the arts. Students had the opportunity to develop their knowledge in math and science in a hands-on way, learning how the length of sound waves relates to the pitch of each note on a steel drum, or how a photographer or illustrator uses mathematical ratios to compose a piece. Students learned about themselves as they tried new things; took risks during classroom activities; and showcased what they had learned for others.
Read more about the Young Audiences arts-integrated summer learning site and see photos from this summer here.
Tagged: 22nd Century Pioneers Summer Camp, achievement gap, arts integration, dance, Hip Hop, illustration, improv, improvisational theatre, Math, mural painting, photography, risk taking, science, steel drum, STEM, summer learning, summer learning loss, summer learning slide, VEX robotics.
The Deutsch Foundation shares its TAI experience
The Teaching Artist Institute (TAI) is made possible in partnership with Young Audiences, Arts Education in Maryland Schools Alliance (AEMS), and the Maryland State Arts Council (MSAC). TAI partners and generous sponsors, like the Robert W. Deutsch Foundation, provide funding and support that make this training opportunity accessible to all qualified artists.
Taylor DeBoer, Communications Manager for the Deutsch Foundation, joined us for the first day of the 2013 TAI Seminar retreat last week and shared his experience on the foundation's blog. Check it out!
See more photos from the TAI Seminar retreat.
Learn more about the TAI program.
Tagged: AEMS, arts integration, Common Core, MSAC, professional development, Robert W. Deutsch Foundation, STEAM, STEM, teachers, Teaching Artist Institute, teaching artists
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Our staff is here to assist you in choosing the type of program that meets your curricular and budgetary needs. We provide a no-hassle approach to bringing our artists to your school or venue.
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Interviews of Ice and Fire: Hamish Duncan aka Militant Penguin
Written by Ian Thomas Malone, Posted in Blog, Game of Thrones, IOIAF, Pop Culture
Season five might be over, but I'm excited to keep the Interviews of Ice and Fire going with our next guest. Hamish Duncan, known throughout the ASOIAF community as Militant Penguin is a contributor to Wars and Politics of Ice and Fire. He is also one of the moderators for the ASOIAF subreddit.
One of your essay series covers the "would be" kings of Westeros. Given that none of them have POV chapters to call their own and we can only see them through the perspectives of other characters. Obviously this leads to some discrepancies depending on how the individual character felt about each king. Which do you think got the fairest shake from the characters in the series?
I'd say that Stannis probably gets the fairest shake of all of the kings. Robb is definitely a close second though. Stannis is viewed from multiple POVs all of whom have their own agendas and biases. However, I think that the greater number of POVs representing their own views about Stannis actually benefits his overall character and gives him a more realized form. Eventually all of these biases and views start overlapping and you see the more realized form of a character. It's sort of a blend of a mosaic and a Venn diagram in a way.
Davos Seaworth, Eddard Stark, Maester Cressen, Melisandre of Asshai, Asha Greyjoy, and Jon Snow give us a more reasoned, positive, and deeper perspective into Stannis. They see beyond the hard, stubborn, teeth grinding king and battle commander. They see the man for what he is, a deeply conflicted, imperfect, and flawed man who is ultimately good in his own niche way.
Cersei Lannister, Tyrion Lannister, and Catelyn Stark have their own views on Stannis that are somewhat negative but do give a great insight into how hard it is to like Stannis when you deal with him on a shallower, administrative basis. Stannis is a stickler for the rules and the law, with some bending one way or another, and people like that are not really fun to be around and are quite unpopular. They get the job done but they are not well liked for it.
Theon Greyjoy and Samwell Tarly are scared of Stannis, although Theon is more afraid of Ramsay, because Stannis is absolutely terrifying. However, they give ample insight into what it means to know such an imposing man and be at the mercy of his mood.
Stannis gets the fairest shake of any king in the series because we hear far more peoples' thoughts on him than any other king. The positive, the negative, the fearful, the shallow, and the deep all give a far more complete picture of Stannis Baratheon both as a king and as a man.
If you could give one of the kings a POV chapter, which would you pick?
Definitely Robb Stark. I would have loved to have seen the Westerlands campaign from his point of view. However, I think that Robb as a POV character would have been a great read. He strikes me as one of the more tragic and tormented characters of the series. He's left in charge on his own at a very young age while a lot of the family he grew up with leave Winterfell, he rides to war to save his father who is ultimately killed, he is effectively blackmailed into a marriage pact with a woman he may never love, he has to earn the respect and win the loyalty of battle hardened veteran soldiers under his command, he must win victory after victory or risk annihilation, he is elected king at a very young age, he has to defend the indefensible Riverlands while the Greyjoys attack his home, his best friend betrays him and apparently burns down his home and kills his brothers, he is wounded and accidentally sleeps with a kind girl who nurses him in his darkest hour, he betrays a marriage pact to save her honour at the expense of his own because he'd never want his own possible child to suffer like Jon Snow did, his uncle apparently unknowingly botches his entire campaign plan that ultimately results in the him being effectively surrounded, he is abandoned by the Freys and Karstarks because he did what he thought was right if not smart, in his desperation he turns to the man whose marriage pact he betrayed for help while one of his top generals actively sabotages the war effort and plots behind his back, he finally figures out how to get back home before a wedding where his friends and allies are butchered before his eyes before he himself is murdered after possibly dying inside of his own direwolf beforehand.
Imagine reading all of that from Robb's perspective. If you thought Catelyn's chapters could be depressing imagine reading Robb's right up until his death.
One of your other essays goes in-depth into The Great Council, which has an impact on the series that most people don't really realize which of course directly lead to the Dance of the Dragons. How different do you think the series would be if Rhaenyra had ascended to the thrones?
I think the end result may have been the same on the condition that a civil war still occurred. The people would have turned against her, providing the war lasted the same amount of time and did the same amount of damage, and she would have likely died, probably being murdered by one person or another. I think Aegon III probably still would have ascended to the throne but would have had a lot of difficulty in ruling a land ravaged by dragons.
If the war never happened and succession went ahead like Viserys I planned with Rhaenyra ascending to the Iron Throne without issue there may have been a decent chance for peace. However, given her later paranoia, violence, and the past moves of Alicent Hightower, it probably would have come to war in one way or another if Rhaenyra made a move against the Hightowers and Aegon if she felt they were a big enough threat to her continued reign.
The thing that bugged me about season five more than anything else was Jorah contracting greyscale. In reading your Rhaegar essay over, I see a fair amount of book parallels between Ser Friendzone and Jon Connington.
Jorah and Connington are definitely birds of a feather when it comes to their histories and personalities. Both were exiled from their homelands, lost their honour in some way or another by being sellswords and either by slaving or by allegedly dying as a thieving drunk, and both are doomed to love Targaryens even if it ruins and kills them.
They are similarly tragic characters who are ultimately the architects of their own destruction and they'll do it all for someone unattainable that they obsessively love.
Jorah wants to get back in Daenerys' good graces after betraying her and being exiled. It's about guilt for Connington who blames himself for Rhaegar's death and is willing to do anything to make up for it. Guilt is one of their commonalities; Jorah's actual guilt for being a spy and Connington's imagined guilt over Rhaegar's death. Love and guilt are ultimately going to destroy these men and they are too wrapped up in it to the extent that they haven't quite realized the mortal danger they have put themselves and/or others in.
I really enjoyed your essay on Domeric Bolton. Is it safe to say you're not a believer in the "Bolt-On" theory that Roose plans to pull a Buffalo Bill and wear Ramsey's skin?
Thanks very much. I really enjoyed writing that essay. It was great fun trying to play detective. I'm not a believer in "Bolt-On" but I love that theory. It is a hell of a lot of fun to read. I think there was a YouTube video last year that laid out "Bolt-On" in all of its skinless glory and it somehow made not seem as farfetched as you'd initially think after reading it for the first time.
I will always encourage and support fans who do that amount of out of the box thinking. A Song of Ice and Fire is a great universe to play around when you make your theories.
You're a moderator for the ASOIAF subreddit. Since this time last year, we've seen the releases of "The Rogue Prince," The World of Ice and Fire, season five of Game of Thrones, and another TWOW sample chapter while of course the one thing everyone really wants is still sitting on GRRM's Wordstar, Have you noticed a heightened sense of urgency within the fandom as the show is only a few months away from blowing past the books?
I would definitely agree that there is a heightened sense of urgency within the fandom and I am absolutely a part of that as well. When you've been waiting for a series of books to finish for a number of years and its show adaptation is blowing straight past it to completion while hitting almost every single high note that you've been waiting years to read about, it can absolutely affect your sense of urgency.
Not to sound like a purist but the book fans love the intricacies of the story and how it all builds up to each individual climax. I'd say that we love the journey as much if not more than the climax but when a ten episode season often blows over the journey and straight to the climax it feels underwhelming and unfair. We walked the journey, analyzed the text, and theorized about the probable outcome. The show, often by necessity, can skip the large part of the fun journey and build up, and just do the highlights.
I'd say the urgency in the fandom comes from a lack of journey in the show, due to basic budget and production requirements, and the seemingly unearned and spoiler heavy climaxes. We want to see what happens with Jaime and Brienne in the Riverlands when they meet Lady Stoneheart. We want to watch the Battles of Fire, Ice, and Winterfell and see how it compares to our beliefs. Will Jon Snow be reborn in the lordly light of R'hollor? Will Daenerys conquer the Dothraki? Will Euron hit Oldtown and how will the Redwyne Fleet fair against the might of the Greyjoys? How will Littlefinger fall? Will Arya get her revenge? Will hype be acquired? And most importantly, will the North Remember?
It's about the how, when, where, why, and what. Like the Faith of the Seven would argue, it's not just about one aspect, it's about how they fit together to make the greater organic whole.
I want to read about the events as they were originally built up and meant to be told before the show spoils the outcome of these events for me.
I recently wrote an article calling Kit Harrington's interview with Entertainment Weekly a red herring. Have we seen the last of Jon Snow?
I'm thinking he'll be back but in what sense is beyond me and that is something I am dying to read and watch. How will he return? Will we have a Beric Dondarrion/Lady Stoneheart situation? Will Jon live out his days in Ghost while his body is wighted? Or, and this is taken from an awesome, if grim theory I read a while back, will it even be Jon inside his body or will a much greyer character possess Jon's body for his own purposes while Jon is left stranded inside of Ghost and trying to maintain his humanity before it fades away – the apparent fate of wargs when they make their final journey into their animal companions?
Jon will be back but he might not be the Jon we know.
Casting speculations have lead many to believe that we'll see a Tower of Joy prequel scene next season. If you could film one event from before the main series, which would you pick?
Probably the Dance Over Harrenhal, an aerial dragon duel between Aemond 'One-Eye' Targaryen and Daemon Targaryen.
What were your thoughts on season five as a whole?
Season 5 had a lot of good going for it that prevented it from sucking outright. It was just meh to me. I wasn't at all emotionally engaged. It was an entire season of "oh, well that happened", imperfect writing, and not well thought out changes. I think it could have been really great if things were just executed better.
Season 5 was about a 7/10 for me. It was okay when it could have been brilliant.
In further detail though and to encapsulate it in one phrase, lack of immersion.
Unlike the previous seasons I just wasn't encapsulates by the show. I just didn't care overall apart from when it came to the Stannis changes but that's an external and not an internal thing. To me there was just no tension or emotion in this season. It just felt hollow and there was no reason to give a damn or emotionally invest in characters anymore.
With previous seasons you were drawn into the show and felt less like a passive viewer and more of an in universe observer, as pretentious as that sounds. Stuff like the music and the effects drew you in and made you feel; hate, joy, love, fear, and even morbid laughter at times.
I wasn't at all emotionally engaged with this season.
Episode 9 is a good example to highlight the issue I had.
The previous penultimate episodes definitely made me feel something before.
Baelor – Sadness for Ned, hatred for the Lannisters, and sadness and pride for Robb and Catelyn.
Blackwater – Hatred for Joffrey, morbid laughter with Cersei, pity for Sansa and Lancel, pride for Tyrion, Podrick, and Bronn, and awesomeness for Stannis.
The Rains of Castamere – Dread for Robb, Catelyn, Talisa, and the Northerners, morbid laughter with Walder Frey and the Blackfish, fear from Roose Bolton, happiness and sadness for Robb and Talisa, pride for Robb, happiness for Edmure, hatred for the Boltons and Freys, sadness for Grey Wind, and horror. It's my favourite episode and I fucking love and hate it all at the same time.
The Watchers On The Wall – pride for Jon, Grenn, Sam, and Thorne, sadness for Grenn and Pyp, sadness for Jon seeing Ygritte die, morbid laughter at Hob, the Giant archer, and Janos Slynt.
Dance of the Dragons – meh.
What worked and what didn't for you?
What Didn't Work
– Dorne was not great save for Siddig, Flynn, and Coster-Waldau. Things like the dialogue, choreography, editing, and writing just didn't work.
– Loras is a problem I've mentioned before. He's a really bad gay stereotype, a pretty demeaning one at that, when he could be a really interesting character. Despite its wonderful and awesome gratuity at times, Spartacus knew how to write gay characters and they were awesome.
– Bad writing and characterisation. This affected a lot of people. Stannis, Olly, Sansa, Melisandre, Selyse, Sand Snakes, Elliara, Loras, Doran, etc. A lot of plot contrivances.
– At times, bad fighting choreography.
– Littlefinger's ridiculous plan.
– Too many black and white characters. Not enough grey.
– New material often wasn't that well thought out, written, and executed. I have no problem with new material but just as long as it is executed well.
What Did Work
– House of Black and White along with Arya.
– Acting was on point for a lot of the season, save for our serpent friends.
– Effects were great as always except for Dany on Drogo in episode 9.
– Hardhome was excellent. One of the best the series has ever done.
– Faith Militant and Sons of the Harpy were suitably imposing and intimidating.
– I liked Daznak's pit and the gladiator showcase. A lot of good differing fighting styles were put on display for us to enjoy.
– Cersei's walk was well executed.
– A lot of great chemistry between the cast members.
– Excellent music as always.
I often felt that this past season saw some unnatural character deviations, mainly from Littlefinger, Stannis, and Brienne. Am I being too hard on D&D?
I think it there are definitely some deviations in the show that are unnatural for characters. Littlefinger, as much as I hate him, is not stupid and wouldn't risk Sansa's life like that. She's far too valuable to leave in that kind of unknown situation.
As for Brienne, I think this comes down to not having much for her to do this season. Some of her scenes were a little too obvious at times and a bit contrived but I think she remained as intact as she could, save for calling Renly the king – in no world was Renly not a usurper.
Properly characterizing Stannis has always been an issue for the show from his first appearance. Stannis is arguably one of the most morally grey characters in the series and that can be incredibly hard to capture in a limited amount of scenes that are just a few minutes long. Sometimes, and I'm hardly unbiased about this so take it with a pinch of salt, I think the showrunners intentionally made him a lot darker than he should have been. They just didn't do a great job of adequately capturing a lot of Stannis' inner and outer character conflict. They made him a sexually obsessive religious fanatic who proclaims his love for his Greyscale infected daughter one day and burns her alive the next and that is rushed characterization for anyone. There was no tension or build up. It would have been better if we got a truer sense of how truly desperate Stannis' situation was. Also, giving him Melisandre's lines from A Storm of Swords about the value of an innocent life against a kingdom, removing the fact that it was Stannis who, following Davos' council, chose to go to the Wall to rescue the Night's Watch, and having him burn people for being infidels as opposed to the outright traitors they were really sticks in my craw. Stuff like that is unnecessary and annoying.
Getting back to your original point, sorry for the rant by the way, I think we are all entitled to our criticisms and praise for a piece of work. When it comes to adaptations of a beloved series this gets slightly more intense because there is already a piece of original work to compare the adaption to, this original work is often almost sacred to a fan base and a lot of them don't like changes being made to the source material, which I totally understand.
However, as much as I dislike a lot of the changes made by D&D, I accept that a lot of them are necessary for one reason or another. I think as long as you don't make it personal, there is no reason why you shouldn't critique a piece of work as much as you like for what that work is and how it is executed.
It's an adaptation, and as much as I'm salty about various changes, it is its own beast now. Books are still awesome and the show is really good too, for the most part. In all honesty I really don't have this kind of enlightened attitude during the show season. Come next season I'll probably be caught bitching with the best of them.
What's the craziest theory that you actually believe could be true?
Howland Reed could actually be the High Sparrow and I would be totally okay with that. It would definitely detract from the characterization of both the Faith Militant and Cersei in the books but I really wouldn't mind that much.
Generic question, but one that I always like to ask. Who's your favorite character? Is the same true for the TV show?
Favorite book character has got to be my beloved Wyman Manderly. This doesn't carry over to the show unless he is cast for next season so my favorite show character is Ser Bronn of the Blackwater.
I was excited to see Benjen in the "previously on" for the season five finale, though the wolf pup didn't appear. I've always though there's a bigger reason that he joined the Night's Watch besides the fact that he wouldn't inherit Winterfell. Why do you think he took the black?
Well, the Starks do have a history of sending younger sons to the Wall but given all that happened during Robert's Rebellion and how many Stark lives were lost, I always thought there must be a greater reason why Benjen took the black. I'm thinking, in a fashion similar to Ned, Benjen carries around the guilt of knowing something, probably the truth that Lyanna willingly ran off with Rhaegar, and has essentially gone into self-imposed exile in order to assuage his guilt by serving a realm that he played a minor part in nearly destroying. He may have also taken the black in order to prevent him from benefitting in one way or another from the deaths of his father, brother, and sister if a succession issue should've arisen.
asoiaf game of thrones
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redpajama_set_name: RedPajamaCommonCrawl


After months of study of our agency, the Sunset Advisory Commission yesterday made final decisions on the Texas State Library and Archives Commission. The panel—which is comprised of five state senators, five representatives, and two public members—made several recommendations, the most important of which is that TSLAC continue to operate for another 12 years. There is no recommendation for any loss of authority or any combination with another agency.
The Sunset recommendations represent a welcome vote of confidence by the state in the work TSLAC performs for the state. The Sunset Commission staff report spoke about the value of the agency to the state and the commission's recommendations today underscore their appreciation of the importance of TSLAC's work and the integrity of our staff and our processes in delivering that work.
I want to thank Assistant State Librarian Gloria Meraz for being the lead staff person in writing our agency self-evaluation and in leading our very strategic approach to the Sunset process. But this was a team effort that took work by many people inside and outside the agency including our commissioners, our division directors, and many of our staff. We are also very grateful to support we received throughout process from key stakeholders such as the Texas Library Association, the Texas State Historical Association, and the Texas Historical Records Advisory Board.
Sunset review has been a long road over many months and the process is not over yet. The most important steps lie ahead in introducing and passing legislation to reauthorize TSLAC for another 12 years. But with these recommendations we will approach the session with confidence and an expectation of a favorable outcome.
All decision documents for yesterday's meeting, including for TSLAC, can be found here.
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Scotia, CA
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Scotia (formerly, Forestville) is a census-designated place in Humboldt County, California. It is located 8.5 miles (13.7 km) south-southeast of Fortuna, at an elevation of 194 feet (59 m). The ZIP Code is 95565. The population was 850 at the 2010 census.
Scotia is a company town which was previously wholly owned by the Pacific Lumber Company (PALCO). While it is home to approximately 800 past or present mill employees and their dependents, a process is underway to divide the homes into lots for sale. Located in northwestern California's Humboldt County, its partially wooded hillside near the Eel River is highlighted by the sheer size of mammoth lumber mill buildings located between the town and the river. Via U.S. Route 101, the town is 28 miles (45 km) south of Eureka, California and 244 miles (393 km) north of San Francisco.
Scotia was founded in 1863 as Forestville and renamed 25 years later. At the time of its founding, Scotia was just one of many company towns across the Pacific Northwest, many of which closed down during the Great Depression. Scotia, however, was one of a relative handful of company towns to survive this period. Most of the existing homes were built between the 1920s and 1950s.


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There are many data processing utilities present on all Linux systems which allow you to both process text and to manipulate almost all files: By default, data on a Linux system is sent to utilities using standard input, stdin, output is sent to standard output, stdout, and error messages are sent to standard error, stderr.
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The sort utility allows files to be sorted numerically or alphabetically.
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The dl utility adds line numbers to a file.
Regular expressions create powerful tools for specifying and searching for text.


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redpajama_set_name: RedPajamaWikipedia


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National Tertiary Route 910, or just Route 910 (, or ) is a National Road Route of Costa Rica, located in the Guanacaste province.

Description
In Guanacaste province the route covers Santa Cruz canton (Tempate, Cartagena districts).

References

Highways in Costa Rica


The first version of Microsoft's Parallel Data Warehouse is out for a while, now I had the chance to get my hands on it during a customer POC. Because PDW is an appliance solution the software is hardware bounded. You can't download and install PDW on a normal server, you need the right hardware which needs to be MPP capable. Currently there are only 2 vendors providing PDW hardware, HP andDELL.
Since his current hardware is not able to scale beyond this size he is looking for a new solution. Together with HP & Microsoft we started a 3 weeks POC to check if PDW can meet customer needs. Without going to much into detail let me quickly highlight the current customer pain points.
ETL Performance: Currently all data loads are implemented with SQL Server Integration Services. Altogether there are about 400 SSIS package that are responsible for source system connectivity and to support data loading over 3 data warehouse layers. In the current environment data loads are done daily and have a predefined time frame for execution. The customer requirement was to get a least the same SSIS-Performance as on the current production system and to be able to scale SSIS in case of adding additional load processes to the daily load without breaking the current loading window.
Relational Query Performance: Today nearly 80% of all customer analysis is done based on an Analysis Services cube. The cube gives us the ability to present the complex data model and business logic in a simplified form that end users understand and are able to work with. But there is also a small amount of technical affine power users which want to be able to analyze data directly on the relational data model. So the demand for a scalable relational reporting solution is growing.
Scalability: As mentioned before my customer is looking for a scalable Data Warehouse solution that is able to handle up to 50TB of relational data (estimated growth in the next 2 years).
Administration: This area is not a real critical success criteria but the customer is also interested in administration efforts and IT operation processes like backup / restore, database administration, database reorg, etc.
As you can imagine we can't test all this within 3 weeks and there are also points that doesn't make sense to test on your own, like scalability. I think based on the given MPP architecture it's totally clear, that the system is able to scale for data volume. If you need more space, you need to buy an additional rack, this is how it works.
So clearly we had to focus on what we can really test within 3 weeks and what are the most important things the customer wants to see that are working so that he is able to make a decision to go ahead with PDW or not. Together with the team we agreed that we have a deeper look at ETL Performance and relational query performance.
The first question that came up was "where do we executed the SSIS packages"?
As we all know from Best Practices it is recommended to have a dedicated environment for ETL and one for the relational engine. But what about PDW?
PDW is a solution for a relational SQL Server engine based on a MPP architecture. So the Best Practice about a dedicated ETL server is still valid. The good news is, that within the PDW architecture there is also a small ETL server included.
Why small? The server itself is not a high end scalable ETL server (it only has 6 Cores, 24 GB RAM, connected via Infiniband to the other servers). And because PDW is an appliance there is no option to put in more cores or memory in. So for the POC this server was good enough but for a real life project scenario an additional ETL server with enough hardware resources would be needed.
To measure relational query performance the customer provided us 3 representative relational SQL queries with corresponding runtimes on the current environment. So we took these and executed them against PDW.


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A Connor O'Leary Win & India Robinson Runners Up Trophy At 2021 Quiksilver and ROXY Pro France
Capbreton / Hossegor / Seignosse, Landes, Nouvelle-Aquitaine – France (Saturday, October 23, 2021) – Connor O'Leary (AUS) and Brisa Hennessy(CRI) have won the Quiksilver and ROXY Pro France, claiming victory in the Final bouts against Michel Bourez (FRA) and India Robinson (AUS) respectively, held in three-to-four foot surf at Culs Nus.
Stop No. 3 of 4 on the 2021 World Surf League (WSL) Challenger Series, the Quiksilver and ROXY Pro France had to negotiate through a very tricky forecast and timed competition perfectly to finish in classic French beach break conditions to crown the event winners in front of capacity crowds once again.
"I'm so happy to win and to have all the support from my amazing family and friends it's a really special moment for me," Hennessy stated. "India is a great competitor, I'm so proud of her and I believe she deserves to be at the top. It was definitely back-to-back and the waves totally changed and I was grateful I got that wave at the end."
After two seasons on the Championship Tour, Hennessy failed to retain her spot at the end of the 2021 season but today took a big step forward in her requalifying effort for next year. Her path to the Final was flawless as she defeated all the form surfers of the moment to claim her first win at this level of competition. Coming into France ranked second on the Challenger Series after a 5th place in Portugal, Hennessy moved into 1st overtaking Gabriela Bryan (HAW) who had an uncharacteristic first-round exit in France.
In the Final, Hennessy swung first with a quick two-turn combo and a 6.83 to jump in an early lead and apply pressure on Robinson. The next exchange happened on smaller waves that didn't offer quite as much wall to work with and both surfers walked away with an average number for their effort, the Australian with a slight advantage.
Under priority, Hennessy managed to find a couple of inside lefts to further improve her lead while her opponent was unable to position herself in the shifting sets out the back. On the 5-minute mark, Robinson finally found herself on a bomb and tagged it a number of times on her backhand for a 7.83 to turn the heat. But the Costa Rican answered right away with two massive turns for an excellent 8.40 to seal the deal on her ROXY Pro France victory.
India Robinson (AUS)'s runner-up today marks her career-best result so far. The Australian has been building momentum since the series started at the US Open and posted a huge statement today. The result will propel her into qualifying discussions in the 4th spot on the rankings before the final stop of the season.
"I'm super stoked on making my first Final at the Challenger Series level," Robinson said. "I knew going up against Brisa was going to be tough, but ultimately my goal is to make the CT so I better get used to it. I'm super excited to go to Haleiwa next, where I'm from we have a lot of waves and power so I feel like I'm going to be comfortable there. The whole Aussie crew we're such a close bunch and to see Connor win was really cool!"
In the Men's Final, a pretty even first half of the heat saw Michel Bourez (FRA) and Connor O'Leary (AUS) exchange similar scores on the rights and lefts of Culs Nus with an advantage for the Australian. O'Leary pushed the Tahitian's requirement a touch higher with a good little left he punctuated with a clean straight air midway through the heat.
Unfortunately for the Frenchman, the rights that gave him his best scores so far had disappeared and the lefts clearly favored O'Leary's forehand attack and air game. As the clock ran down, Bourez was unable to fight back and O'Leary walked away with the win in the Quiksilver Pro France.
"I feel amazing, it's been a huge day," O'Leary said. "I'm literally on top of the world right now and cramping up, can't wait to have a beer! I'll just really enjoy the afternoon with the lads, they've been incredibly supportive so we'll try to keep it up and finish the year strong!"
After a terrible start both in California and Portugal, the Australian from Cronulla needed something big in France and delivered with his first major win since Ballito in 2016. Today's 10,000 points moved him up 94 spots into 6th on the Challenger Series rankings and virtually within reach of a fourth season among the world's best in 2022.
Tahiti's Michel Bourez (FRA) was in a similarly tough position coming ranked 108th before today. The Championship Tour veteran, a former winner on tour at Pipeline, Margaret River and Rio, grabbed the runner-up points to move into the Top 20 with one event remaining in Hawaii, a place where Bourez has performed exceptionally well in the past.
"Second place is good but first is always better," Bourez said. "I've really tried my best and unfortunately it got a little tricky at the end there and he got the best of me. Connor's one of the best surfers on tour and I want the best for him so I'm really happy for him. Hawaii and the good waves are coming so I'm really going to focus on that right now."
Other big winners in France this week include Lucca Mesinas (PER), Joao Chianca (BRA) and Carlos Munoz (CRI) who all moved within the qualifying Top 12 currently. Semifinalist Mateus Herdy (BRA) got closer in 17th position, and Kanoa Igarashi (JPN) takes the rankings lead, but has already qualified via the CT.
In the women's rankings, Sawyer Lindblad (USA) and Vahine Fierro (FRA) both move into the current Top 6 and Caitlin Simmers (USA) regains a little breathing room with her Semifinal finish in France that anchors her in 3rd on the rankings.
Here are the current Men's Top12 and Women's Top6 on the Challenger Series:
Men's Challenger Series Top 12:
1 – Kanoa Igarashi (JPN)
2 – Ezekiel Lau (HAW)
3 – Jake Marshall (USA)
4 – Imaikalani Devault (HAW)
5 – Nat Young (USA)
6 – Connor O'Leary (AUS)
6 – Lucca Mesinas (PER)
6 – Joao Chianca (BRA)
9 – Liam O'Brien (AUS)
9 – Griffin Colapinto (USA)
11 – Carlos Munoz (CRI)
12 – Callum Robson (AUS)
Women's Challenger Series Top 6:
1 – Brisa Hennessy (CRI)
2 – Gabriela Bryan (HAW)
3 – Caitlin Simmers (USA)
4 – India Robinson (AUS)
5 – Sawyer Lindblad (USA)
6 – Vahine Fierro (FRA)
The final stop on the 2021 Challenger Series will bring some of the world's best surfers to Haleiwa, Hawaii from November 26 – December 7, 2021.
The 2021 Quiksilver and ROXY Pro France will unfold from October 16-24, 2021, at Capbreton / Hossegor / Seignosse, Landes, Nouvelle-Aquitaine – France. For all results, photos, video highlights and press releases, log on toworldsurfleague.com.
The Quiksilver and ROXY Pro France are made possible with the support of the cities of Capbreton, Hossegor and Seignosse, MACS, Landes, Nouvelle-Aquitaine, Quiksilver and ROXY, Oakley, Hydro Flask, Tourtel Twist.
QUIKSILVER PRO FRANCE FINAL RESULTS:
1 – Connor O'Leary (AUS) 12.76
2 – Michel Bourez (FRA) 10.73
ROXY PRO FRANCE FINAL RESULTS:
1 – Brisa Hennessy (CRI) 15.23
2 – India Robinson (AUS) 13.16
QUIKSILVER PRO FRANCE SEMIFINAL RESULTS:
SF 1: Connor O'Leary (AUS) 13.93 def. Kanoa Igarashi (JPN)12.40
SF 2: Michel Bourez (FRA) 15.17 def. Mateus Herdy (BRA) 5.53
ROXY PRO FRANCE SEMIFINAL RESULTS:
SF 1: Brisa Hennessy (CRI) 14.50 def. Sawyer Lindblad (USA) 13.73
SF 2: India Robinson (AUS) 15.60 def. Caitlin Simmers (USA) 10.27
QUIKSILVER PRO FRANCE QUARTERFINAL RESULTS:
QF 1: Connor O'Leary (AUS) 12.84 def. Maxime Huscenot (FRA) 7.37
QF 2: Kanoa Igarashi (JPN) 14.70 def. Lucca Mesinas (PER) 13.84
QF 3: Mateus Herdy (BRA) 13.73 def. Carlos Munoz (CRI) 2.30
QF 4: Michel Bourez (FRA) 9.77 def. Frederico Morais (PRT) 9.60
ROXY PRO FRANCE QUARTERFINAL RESULTS:
QF 1: Sawyer Lindblad (USA) 15.17 def. Dimity Stoyle (AUS) 7.20
QF 2: Brisa Hennessy (CRI) 13.33 def. Alyssa Spencer (USA) 8.83
QF 3: India Robinson (AUS) 10.50 def. Molly Picklum (AUS) 10.07
QF 4: Caitlin Simmers (USA) 11.93 def. Vahine Fierro (FRA) 11.04


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text:
Melolonta é um género de besouros da família Scarabaeidae. A melololonta europeia pertence a esse gênero. As larvas vivem geralmente em terrenos arenosos, onde se alimentam das raízes da vegetação herbácea e lenhosa.

Taxonomia
Linnaeus chamou a melolonta europeia de Scarabaeus melolontha. Étienne Louis Geoffroy usou Melolontha como um gênero (1762), mas seu livro foi suprimido pelo Código Internacional de Nomenclatura Zoológica, e a determinação do nome é feita depois (1775) publicada por Johan Christian Fabricius.

Espécies

A seguir uma lista de espécies dentro do gênero Melolontha:
Melolontha aceris Faldermann, 1835
Melolontha afflicta Ballion, 1870
Melolontha albida Frivaldszky, 1835
Melolontha anita Reitter, 1902
Melolontha argus Burmeister 1855
Melolontha bifurcata (Brenske, 1896)
Melolontha chinensis (Guerin, 1838)
Melolontha ciliciensis Petrovitz
Melolontha flabellata Sharp, 1876
Melolontha frater Arrow, 1913 – Indonesia
Melolontha fuscotestacea Kraatz, 1887
Melolontha guttigera Sharp, 1876
Melolontha hippocastani Fabricius, 1801 – European forest cockchafer
Melolontha incana Motchulsky, 1853
Melolontha insulana Burmeister, 1939
Melolontha japonica Burmeister, 1855
Melolontha kraatzi Reitter 1906
Melolontha melolontha (Linnaeus, 1758) – common European cockchafer
Melolontha papposa Illiger, 1803
Melolontha pectoralis Megerle von Mühlfeld, 1812 – European large cockchafer
Melolontha rubiginosa
Melolontha rufocrassa Fairmaire, 1889
Melolontha satsumaenis Nijma & Kinoshita
Melolontha virescens (Brenske, 1896)

Escarabeídeos


text:
Q: Continuations or suspend and resume in the Servlet 3.0 API for communication with the client? We are in the process of migrating a Swing two tier application to a web application (tomcat, Spring MVC, extJS if it makes any difference).
We found code like this in the application (simplified Javaesc pseudo code).
class DoSomethingComplicatedAction extends Action{
    public performAction(..){
        // do lots of stuff here
        // decend about 40 steps in the call stack
        answer = JOptionPane.showConfirmDialog()
        if (answer == something){
            // do something convoluted here
        } else {
            // do something even more convoluted here
        }
}

i.e. in the middle of some processing, some interaction with the user is started. Obviously I can't do that directly with a servlet.
One thing that could handle this rather nicely are continuations. So I checked if I can use those and were surprised that there are actually libraries that enable this kind of stuff: Continuations in Java
When checking the libraries mentioned in that question and its answers I ran across this statement

Continuations will be replaced by standard Servlet-3.0 suspendable
  requests once the specification is finalized. Early releases of
  Jetty-7 are now available that implement the proposed standard
  suspend/resume API

But I couldn't find an example how to do stuff like the above with the Servlet 3.0 API
So the questions are:

*

*Can the above be done using the Servlet-3.0 API without completely
refactoring the code sketched above into two or more separate
actions

*If the answer to the above is yes: How? Are there somewhat complete examples for this or a similar use case available?

*Should I use Continuations or the Servlet API? Or if this can't be answered directly on what conditions does this decision depend on?

A: The continuation api proposed by jetty was a leading workaround to overcome the limitations of the servlet api at the time. (one request, one thread)
Now, you should be pretty much only use the Servlet 3.0 only.
Note that in your case, you may not even need to do anything special, because Actions are re-active, and you can go the usual ajax way.
I am adding a few relevant links:

*

*Ajax, Reverse Ajax

*Async vs sync servlets

*Jetty 8.0 and continuations

A: I'd say that a more reasonable approach to porting a Swing application to a web application would be to use GWT. This would allow you to not only do what you're asking, but it would also provide a much faster UI, since there would be more processing happening on the client (i.e. no roundtrips to the server).
Also, you'd be able to reuse a lot of the existing client code, since GWT is pretty much standard Java (with some restrictions).

redpajama_set_name: RedPajamaStackExchange


We tend to think of products in the consumer space and things like Apples new phone captures our attention. The new phone seems to have features consumers love and it appears to be Apple's best phone ever. Yet, we all know Apple will have a better phone in a couple of years.
We never consider the possibility that Apple could make a phone that was so good consumers would never upgrade. That sounds ridiculous. The same true for a number of other products. We would never believe Coca Cola will run out of customers or that consumers will stop buying clothes.
But, there is one market that is different. We actually hope that drug companies will come up with products that are so good that they cure the disease. Once the disease is cured, ideally, the patient never needs the company's product again. And, one company faces that problem.
Hepatitis C was once a disease that was chronic. Once infected, a patient could expect to require treatment for the rest of their life. This treatment included drugs meant to minimize the symptoms and if that didn't work, there could be a liver transplant.
That all changed when Gilead Sciences (Nasdaq: GILD) came out with a drug that cured hepatitis. There was no longer a plan to manage the disease. Physicians were able to cure the disease in as little as eight weeks.
Of course, this cure came at a price and the price tag was hefty. Gilead offered the pills at $1,000 each and the treatment cost $84,000 or more. This was the list price. Insurers and many consumers paid less. The patient would not require treatment after being cured. The high price was a bargain, in many ways.
This drug had a powerful impact on GILD, as well. The stock became one of the best performers in the market as the hepatitis drugs came to market.
The stock's gains were driven by the impressive gains in sales that Gilead experienced. But, as the number of patients in treatment declined, the company's sales have been falling.
To reverse the trend in sales, and the stock's price, the company needs another blockbuster drug. Gilead has been investing heavily in research and development over the years and may have another drug that will change the company's fundamentals, again.
Could GILD Change Another Market?
Right now, Gilead and GlaxoSmithKline are both preparing to launch new products for patients with HIV. Analysts believe Gilead is likely to secure the bigger near-term win, as it builds on a 20-year-old strategy of combining three drugs to control the AIDS virus.
GlaxoSmithKline is placing a longer bet that its core drug is potent enough to work with just one other. If it succeeds, this drug could completely change the standard treatment by delivering cheaper two-drug regimens with fewer side effects.
Experts associated with Gilead aren't sure this will work. They say the idea may risk drug resistance because the virus will only have to evade two drugs rather than three.
The potential market is worth $27 billion a year for HIV drugs. Gilead is the market leader with a 53% market share while GlaxoSmithKline has 22% of the market.
Whichever treatment proves to be more widely accepted will have a significant on the manufacturer's bottom line. Both companies need a hit to push their stock price to new records. But, we won't know which drug works best for patients for some time.
That means this is an issue that we should follow in the long term. Investors focused on the level of profits three or five years from now will need to understand how the acceptance of each drug in the market unfolds.
Traders with a shorter time horizon in mind can follow a different approach. From the shorter term perspective, the introduction of the new drugs is likely to lead to increased volatility in the prices of both drug makers.
GILD is likely to remain in a relatively narrow trading range while investors wait for news on the number of prescriptions being written and other details related to the new drugs. This indicates a significant move in the stock price is unlikely.
For Gilead Sciences, a bull put spread could be opened with the November 17 put options. This trade can be opened by selling the November 17 $70 put option for about $0.30 and buying the November 17 $67.50 put for about $0.10.
The maximum possible risk is the difference between the exercise prices of the two options less the premium received. For this trade, the difference between exercise prices is $2.50 ($70 – $67.50). This is multiplied by 100 since each contract covers 100 shares.
Subtracting the premium from that difference means, in dollar terms, the total risk on the trade is then $230 ($250 – $20).
The potential gain is about 8.6% of the amount of capital risked. This trade will be for about one month and the annualized rate of return provides a significant gain.
Options pricing models indicate there is a 84% probability of a profit on this trade. This could make the trade appealing to risk averse investors.


The last week in politics was full of breaking news, controversial statements, and leaked information as more revelations related to the investigation into Russia's meddling into the 2016 election unraveled from the firing of former FBI Director James Comey. Unlike the rest of the nation, Speaker Paul Ryan was apparently unfazed and unbothered by the news, opting to toe the party line and reject what the majority of Americans are clamoring for: an independent commission and special prosecutor to handle the investigation into Russia's actions.
After the unexpected firing of former FBI Director James Comey, Speaker Paul Ryan took nearly twenty-four hours to respond to the news and once he did speak he outright rejected calls for an independent commission and special prosecutor to handle ongoing investigations into alleged ties between the Trump campaign and Russia. Last Friday, Ryan chose his party over his country again, doubling-down on his rejection during a stop in Racine parroting White House talking points on Comey's firing and declaring that the FBI should lead the remainder of the investigation.
A new NBC/WSJ Poll shows the majority of Americans disagree with the Janesville Republican on the topic. 53 percent of Americans who are informed on the details reported on Comey's firing disapprove of the President's decision. And when asked if they prefer Congress or an independent commission or special prosecutor to investigate Russia's involvement, 78 percent support an independent commission or special prosecutor.
Read the news on the NBC/WSJ Poll here.


Haha yeah i only just found out from a friend, totally wasn't expecting that. I've been meaning to post up the dyno charts to show how disappointed i am at the lacking of power on the dyno but that's not to say the car isn't performing, in fact its running really consistent now & didn't miss a beat on the dyno.
Anyway this time i only got 94wkw which is 9wkw less than the other dyno, so it goes to show there is a massive power difference between 'Rolling Road' & 'Hub' dynos (DynaPac). STM did say their dyno is a low reading dyno but at least the figures are more likely to be accurate & not overrated so i would rather take the lower power figure to be the more realistic one.
Just pointing out that STM use Dynapack dyno's that are bolted to the hub & the other dyno's i've used are in Hastings & Tauranga which are Rolling Road Dyno's which are drum rollers that the car is driven on so theres no need to calculate the wheel diameter/circumference for wheel speeds as the drum is already calibrated.
As for the nitrous well damn i was way off, i can't work out how the nitrous seems to perform better than running HI BOOST which is almost 20wkw more, the only thing i can put it down to is that the nitrous creates so much torque down low that it compensates for lack of power, down side to the nitrous is that the torque drops rapidly as the revs climb, i don't know but it feels better than on 24psi boost.
One thing to take note of is that the T1 injectors started to lean out at around 22psi, although still ok the tuner said it just falls below the safe A/F ratio, so with that said about 20psi is about tops for T1 injectors & they have a good A/F ratio on 18-20psi, note that i am running a VL Commodore fuel pump & adjustable fuel pressure regulator which is likely to help with fuel delivery.
Blue - 10psi boost with igniton retarded around 5degree (ready for nitrous so power is right down), probably would have made between 50 & 55wkw if timing was set to normal.
Last edited by KingCity on Sun Feb 08, 2015 9:26 am, edited 2 times in total.
Ok only two weeks away from the next drag meet at Meremere & things all look set to go although i found that i have cracked another injector. Now im not to sure if its due to there age of these injectors but im starting to think that even though standard T1/T2 injectors can flow enough fuel for over 20psi boost i don't think they can handle the fuel pressure delivered which is causing them to leak/crack, i do have spares so will swap but i wander if i should go back to the Prelude ones as i never had an issue with them leaking but the car will run really rich again.
Well i went to the drags on Friday but couldn't get close to my personal best so im starting to think i just got really lucky with that 14.1 a few years back. The best i could do this time was a 14.6, my 60 foot times were slower & down a few mph over the line so this could be due to the engine being tired & using different tires & wheels, either way it doesn't look good for that 13 second pass, i still haven't used the nitrous on a run yet though. Also the car ran great all evening without a single issue & was consistent with six of the 11 passes that evening in the 14.6's.
Found this City on Youtube, apparently its got a B18c in it but cant find any info on it but yeah anyway here are the links below.
Its been playing in my mind to do a B-Series conversion for quite some time now so i measured up a B18c & it turns out the B-Series engine & gearbox is only between 100mm-120mm longer & will likely fit.
I've been playing around with brake upgrades for the red City to find that the front ones i removed from the GA2 City (1988-1993) & calipers bolt straight onto the standard City-E hubs & knuckles, Now with that said the standard City-E disk are 210mm diameter solids but the GA2 City ones are 230mm diameter solids (if they are the original GA2 parts) which are the same size as T2 disks but T2 ones are vented which are that one step better but they don't just bolt on without the T2 knuckles & calipers. GA2 pads are much bigger than City-E ones so braking performance is likely to be noticeable when working the brakes hard & is a very easy upgrade without having to search for harder to come by T2 brake & hub/knuckle components.
One thing to take into account is that the standard 12 inch steely's wont quite fit around the GA2 calipers so some 13's or bigger are going to be needed for this upgrade. For your information T1's have a vented 210mm disk.
If anyone is keen to do a GA2 brake upgrade to there first gen City then there are a few things you need to know. First thing to note is that it will only bolt straight up to a City-E which is a NZ new N/A City which uses the larger 140mm caliper bolt spacing's, JDM City's use smaller 110mm caliper bolt spacing's so City-R's & (from memory) Turbo 1 City's are out of luck here but there is a solution & that is to change to City-E hubs & knuckles which will bolt straight up to City-R & T1 City's however its likely you will have to change the outer CV to a City-E one as there are two types of outer CV splines for City's. NZ new use a full length spline & JDM use 3/4 length spline or it's the other way around, i can't quite remember so if you are unsure what I mean well it's to do with the hubs, i'm not sure if you can just change the hubs to get around this (I don't see why not) but its probably just as easier to get the outer's with the City-E hubs & knuckles so then its a straight forward swap over.
If you are unsure what knuckles you have then just measure between the caliper bolts, it's wise to check this whether or not it's a City-E.......period! I'm unsure what the Pro-T City in Australia has in it regarding knuckles & hubs but if they are Australian new then its likely to have the same setup as New Zealand new City's, I hope I have my facts right regarding the Pro-T City as I am assuming they are the equivalent to the City-E in NZ, please correct me if i'm wrong.
So I had Saturday off work for a change & used that time wisely to hunt around the wreckers for some brake upgrades as it seems to be a common topic here on this site so I thought I would post something about it. I had never really worried about brake upgrades until I thought more about a Vtec conversion & realized bigger brakes are must if I ever do attempt the B series swap & try to get it road legal, with that said here are some comparisons.
Same two disks showing the thickness difference.
Here is a comparison between 260's, 240's, 230's & 210's. From left to right we have DA6 Integra 260mm vented disk, caliper & pad above then some 240mm DC1 Integra vented disk, caliper & pad above, 230mm T2 disk with GA2 caliper & pad above(I don't have any T2 calipers for a comparison but gauging from the GA one its likely to be around that size) & last we have a 210mm disk, caliper & pad from a N/A City.
This is just showing the thickness differences.
So with the photos there I will explain some more. I was looking around the wreckers for possible brake upgrades for my N/A knuckles but found basically nothing, they seem to be an odd offset to most other Honda's but found it much easier to find a upgrade for T2's instead which is a good thing considering i wasn't looking for T2 upgrades. First thing to note is that N/A City's use a 40mm offset disk & i'm also sure T1's do to but T2's & i'm sure Cabriolet's use a 45mm offset disk which seems to be much more common in the Honda range, so common in fact that 90% of the cars i looked at had 45mm offset disks, Mazda, Ford, Nissan, Toyota & almost all Honda's had 45's which ranged from mid to late 80's Accords, preludes, Integra's through to the 90's which makes it very easy to find a set.
The DA6 Integra disks & calipers are no good for either N/A or turbo City's even thought the disk fits the hub it's the calipers that don't as the mounts on the City knuckles do not protrude far enough out to allow the DA6 caliper to bolt on with that disk even though the DA6 caliper is a 140mm, it also has a thicker 14mm mounting flange than the rest which are 10mm so if they did bolt on then the disk would need to be a 40-41mm offset so it contradicts it's self a bit here.
So the other option which i found plenty of was the 240mm vented disks & calipers, i got these ones from a DC1 Integra (1994 on) which has the bug eye (twin) headlight which here in NZ normally means NZ New but in Australia I think only the Australian New Type-R's have those fronts. This DC1 i found at the wreckers had a D16 in it so it's the lowest spec one i believe. DOHC Vtec DC2's use 260's or bigger & maybe even some SOHC Vtecs but i'm not completely sure of this.
The 240mm DC1 disks & calipers bolt straight onto the T2 hubs/knuckles & even though some of you may think that its only 10mm bigger than T2's so what's the point well if you look at the photos above you will see even though they are only 10mm bugger in diameter its the larger thickness of them & the considerably larger pad that is going to make a difference especially if doing a lot of hard braking which is going to create a lot of heat which the thinner T2 disks wont handle so well & are likely to brake fade earlier. Anyway i's up to the individual what they think but for a simple straight bolt on upgrade then i feel it is worth it.
Good load of info mate! You should probably cross post this to the infobase section, could be very handy stuff. What are you trying to do here in the long run? Which brakes on which car?
Cool info well done! - With swapping will you end up with a 4x100 PCD or will it go up to 4x114? Seems 95% of cool oldschool rims are 4x114.
Nah im giving Turdbo the 240's as I don't run T2 knuckles so cant use them, I just got them for him. I have spare T2 knuckles that I test fitted the 240's on. If you want to get 240's for N/A 140mm knuckles then use GA3 ones, they come off the TS version Honda Logo which uses larger 240's, that's what I have just put on the GA2 City, this is why I have taken the disks & calipers off the GA2 City & put them on my Turbo City. As for what im trying to do well its winter time & I was bored so thought i'd go suss out some brake options to help guide other City enthusiasts but I do plan on doing a bigger brake setup as its going to be needed later on with the B-series conversion so just looking around for options at the moment. I really am aiming to get 260's on there & there are a couple options but cant find calipers to suit.
Nah man still 4x100, I don't want to have to change hubs to a 4x114 configuration but it could be done if you found the right one that will fit the City knuckle or a custom made one but its probably easier to just get the wheels drilled to suit PCD.
Hey just wondering if you run bigger injectors and if so what cc and from what? I remember you had some bigger ones for sale a while back but was unsure what you're using now?
Hey man, yeah I had some gen1 B16a injectors & some from a B20 Prelude which are the same. I stopped using them as they were noticeably more hungry on fuel & because the T2 injectors were up to the task but found that standard T1 & T2 injectors cant handle the high fuel pressures when running 20psi & over, I've cracked 3 in the last year when running high boost, not to sure if its just a coincidence since they are old or because of high boost but haven't had any issues with the B-series ones. Standards are between 180cc & 190cc & the B-series ones that I used are 240cc so i've read. If you only run a max of 18psi your standard injectors should be fine.
Nice work! I was wondering about this the other day, does Honda do twin or four put callipers?