text:
Amperity Delivers a Truly Comprehensive 360 Customer View with Next-Generation Platform
MTC NEWS DESK July 9, 2019, 9:06 pm July 12, 2019 0
Leading global customers including Alaska Airlines, Starbucks, Gap Inc, Planet Fitness, Moët Hennessy USA, and Wynn Las Vegas now have a better, faster, smarter way to use data to serve their customers
Amperity, the leading Customer Data Management platform, today announced the next iteration of its best-in-class solution to help brands connect and use data to power customer 360 initiatives across their organizations. With this new release, companies will gain a truly comprehensive and actionable customer view, helping them put customers at the center of everything they do, with the goal of understanding, engaging, and providing personalized experiences.
Through AI, the Amperity platform enables brands to unlock critical customer datasets that have historically been inaccessible and impossible to manage and unify, delivering a rich Customer 360 database complete with identities, attributes, and insights. Marketers, analysts, and customer experience specialists can then leverage their Customer 360 by directly building segments and delivering them downstream, or by using Amperity to hydrate any other tool with complete customer information. Amperity provides the highest quality customer views, improving marketing performance, fueling accurate insights, and unlocking new personalized customer experiences.
This new release gives platform users greater confidence in the accuracy of their data and a richer understanding of their customers. Enhancements to the new Amperity platform include a more intelligent data unification engine, increased speed and scalability, greater control within the segmentation experience, new ways to ingest and deliver data downstream, and greater transparency and insights.
"We built the platform to solve the chronic and pervasive data problem plaguing brands today," said Chris Jones, Chief Product Officer of Amperity. "Companies have the building blocks for world-class customer experiences, but they fail to deliver because they lack true customer 360 views they can use across the business. To serve the customer, you can't ignore key datasets or personalize in single channels. You need to bring together all your data — online and offline — and use it to understand and engage your customers as individuals, but effectively managing and unifying data from a variety of systems ends up being a Herculean task. We built Amperity to solve this problem in an entirely new way, leveraging AI and cloud infrastructure to turn data management on its head."
Building a Truly Comprehensive 360 Customer View
Amperity is the only platform that allows brands to build a truly complete customer profile that's fast and easy to implement, and flexible as systems and use cases change. The platform ingests data raw in its native format, eliminating the need for data prep or transformation before entering the system, accelerating speed to value.
Leveraging Amperity's proprietary AI-powered customer data engine, "Stitch" finds the hidden connections between records that would otherwise be impossible to resolve and unifies them at the individual level. The result is comprehensive 360 customer profiles that include identities, interactions, attributes, and transactions across point-of-sale, eCommerce, email, loyalty, mobile, and more — even when the source data is inconsistent and lacks linking keys across systems.
The Amperity platform also introduces a new Customer 360 visualization solution that enables users to easily see and understand the details of their customer databases. This view showcases insights such as lifetime value, product affinity, loyalty status, and health metrics on the completeness of profile attributes across systems. This gives business stakeholders a richer understanding of the data they have available to them for segmentation and delivery downstream — a critical component to effectively using that data to serve the customer.
Executing a Customer 360 Strategy
Amperity is designed for speed to value, building on existing investments and scaling for the future. The platform easily connects to any existing technology and is flexible when those systems change.
The new Amperity is optimized to give marketers, analysts, and customer experience specialists an easy yet powerful way to use data to serve their customers. New features include SQL shortcuts and an improved visual editor, putting customer profiles with current and predictive insights alongside transaction and interaction data, so users can build granular and effective segments. The platform also introduces a host of new integrations with downstream tools such as Snowflake, Azure, Microsoft Dynamics, Listrak, Facebook, Google Ads, as well as custom integrations with any existing systems.
Jones continues, "Since we launched Amperity less than two years ago, we've secured some of the world's leading consumer brands as customers including GAP Inc., Starbucks, TGI Fridays, Wynn Las Vegas, and Alaska Airlines, to name a few. We're delivering a better, faster, and smarter Customer 360 experience for our customers so they can better serve theirs."
"We chose Amperity because the platform enables us to build a more comprehensive customer view than any other platform on the market," said Michael Relich, COO at Lucky Brand. "This is the first step in building a holistic and actionable understanding of our customers, and the foundation for best-in-class personalization and customer experiences."
"With Amperity, Fridays is able to pull in data from point-of-sale systems, social media, credit card transactions and mobile devices, and analyze it to create personalized campaigns for the pool of more than 4 million guests who have given Fridays permission to contact them directly," said Sherif Mityas, Chief Experience Officer, TGI Fridays. "Amperity then helps us stitch all of that disparate data together to power our world-class customer experiences."
For more information and to get started with Amperity, please visit our website and schedule a demo.
About Amperity
Amperity is revolutionizing the way companies connect and use their customer data, helping them identify, understand, and serve their customers. Amperity's unique technology applies artificial intelligence to deliver a truly comprehensive and actionable view of the customer. This view improves marketing performance, fuels accurate customer insights, and enables world-class customer experiences. With Amperity, technical teams are freed from endless integration and data management, and business teams have direct access to the comprehensive data they need to build long-term customer loyalty and drive growth. Amperity serves many of the world's most loved brands, including Alaska Airlines, Starbucks, Gap Inc, Moët Hennessy USA, Wynn Las Vegas, Kendra Scott, Lucky Brand, Sounders, Stanley, and many more.
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If you're ever in Seoul from October 3 to 5, I'd suggest taking part in the 2008 Seoul Drum Festival. October 3 is a national holiday in Korea, being the country's foundation day so expect to see lots of Koreans in the festival. I have classes that day!
The Asia Song Festival is on the same month, but IMO, the drum festival is so much more worth your time. It is now on its tenth year and the good thing about this year's festival is that the venue will be at Seoul Forest, which is near the center of the city.
The Drum Festival website is up but the English site is not yet working. The Korean website isn't as complete as you'd expect since the schedules are not yet up. Aside from the Korean drummers, musicians from other countries are expected to perform in this festival.
hi Ate Betchay… been delayed for weeks here in the Philippines.. Di ko na naabutan kasal ng cousin ng husband ko, di ko pa rin maaabutan po ang Thanksgiving holidays.. and I hope, before these festivals arrive, sana makarinig na rin ako ng good news from the Korean Immigration po, haaay, hehe….
I wish I visit the festival to gain some experience in drumming.
introduce our performance to your festival.
Thank you for your time. I look forward to talking with you soon.


text:
Home News Briefs Hosen Capital collects over $619m for third fund
Hosen Capital collects over $619m for third fund
Hosen Capital, a Chinese private equity firm, has raised over $619 million for its third private equity fund, according to an SEC filing.
Hosen Capital, a Chinese private equity firm, has raised over $619 million for its third private equity fund, according to an SEC filing. No target was listed in the document.
Source: SEC filing
Firms and Funds

redpajama_set_name: RedPajamaCommonCrawl


text:
Second CFP: Disability, Prostheses and Patenting (University of Leeds)
Posted on 28th April 2014 by Hannah Tweed
Disability, Prostheses and Patenting
University of Leeds, 18th-19th September 2014
Thanks to the AHRC we have funding to support speakers' travel and accommodation expenses both in the UK and internationally, prompting a second call for papers.
By the end of the nineteenth century, an industry built around prosthetic appliances – hearing aids, spectacles, walking sticks and specialist furniture – flourished across the industrial world. Much historical work to date has been conducted on the significant effect of the American Civil War and the First World War on the rise of prosthesis production and usage in Europe and the USA (Ott, Serlin & Mihm, 2002<http://nyupress.org/books/book-details.aspx?bookId=7884#.UzrQkxy9fnI>). Yet, we are still some way from understanding the relationship between physical impairment and commerce and the ways in which the commodification of disability during this period and beyond affected everyday life and health. At least some of this production operated independently of the medical system since not all disabled groups were medicalized nor did all inventors developed assistive devices under the jurisdiction of clinical professionals. Nonetheless, this increase in production was often linked to systems of patenting. The study of patented devices for disability support therefore provides us with ways to uncover trade/user
relationships, as well as a way of assessing meanings and conceptions of disability more holistically – especially for those cases in which disabled groups themselves took the initiative in patenting activity.
Your proposal should address at least one of the following themes, covering any historical period:
What sorts of appliances (patented or unpatented) were used by people with disabilities to manage their condition? Most studies have focused on artificial limbs but we need to open up the field to include other prostheses such as breasts, dentures, ears, larynxes, noses and penises but also other appliances such as hearing aids, wheelchairs and furniture (Ott, Serlin & Mihm, 2002 <http://nyupress.org/books/book-details.aspx?bookId=7884#.UzrQkxy9fnI>). Analyses of more inclusive sets of aids should also be compared to other everyday objects, such as furniture.
What sorts of relationships can be adduced between consumption, production and patenting both in the UK and globally? Appliance manufacturers certainly seemed to patent their devices more regularly than for other medical items but how and why did this vary between appliances? Were manufacturers who were themselves disabled, or had people with disabilities among their relatives, particularly prominent in the use of patents to protect their appliances from plagiarism or infringement proceedings by rivals? Examples might include hearing aids (the Amplivox collection at the Thackray Museum in Leeds), prosthetic limbs (numerous examples from the US Civil War and subsequent conflicts) wheelchairs, and improvements to Braille. How far were medical practitioners involved with these developments? Were prosthetic appliances seen as occupying a kind of non-medical domain for which patenting was acceptable?
How did war affect patenting activity of such appliances? Lisa Herschbach, for example, has demonstrated the dramatic increase in the registration of patents in America following the Civil War and others have examined similar trends in facial reconstruction after WW1, but was this the case elsewhere and for other appliances? (Herschbach 1997<http://www.jstor.org/stable/4289518>).
How did the gendered nature of appliances affect patenting activity? Most studies of artificial limbs and facial reconstruction are almost always exclusively male because they focus on industrial works and primarily, soldiers, but how far did women also play a role in the patenting and marketing of such appliances?
If you wish to participate, please send a paper proposal (300 words maximum) to rethinkingpatentcultures@gmail.com by Friday 2nd May. Further enquiries about topic and the scope of papers are welcomed.
Conference: 'Learning Disability Studies in Academia: Challenging Attitudes, Changing Lives' (Manchester)
Posted on 23rd April 2014 by Hannah Tweed
A free conference at the University of Manchester, 9th June, 10am-4pm.
Following the recent cases of death and abuse of learning disabled people and in particular the preventable death of Connor Sparrowhawk (LB), this conference will ask:
How can Learning Disability Studies make a real difference to the lives of learning disabled people?
How can Learning Disability Studies take more of an active role in challenging abuse and improving professional practice?
How can universities become more inclusive of learning disabled people and their views and expertise?
Keynote Speakers: Dr. Sara Ryan (by video link), Connor's mother and the Partnership Steering Group, Learning Disability Studies. Other speakers include Prof. Dan Goodley, Dr. Katherine Runswick-Cole, and Dr. Andrea Hollomotz.
The conference is aimed at academics, practitioners, learning disability activists, learning disabled people, family members, carers and students.
This conference is held in support of the Justice for LB campaign. Twitter @JusticeforLB and #107days hashtag.
To get details and book your place e-mail learningdisabilitystudiesmanchester@outlook.com
CFP: 'Disease, Disability and Medicine in Medieval Europe' (University of Nottingham)
Disease, Disability and Medicine in Medieval Europe
6th-7th December 2014
This year's event focuses on infectious diseases and long term sickness and is co-hosted with the 'Homo Debilis' Creative unit at the University of Bremen. The conference will be preceded by a Graduate Workshop on medieval disability on 5th December which is free for all Graduates with an interest in disability studies.
We are inviting papers on the impact, description, detection and causes of infectious diseases in all areas of medieval health and wellbeing and we are particularly interested in papers that consider a cross-disciplinary approach between the medieval and other periods.
Please send abstracts (no more than 200 words) and any queries about the workshop to Dr Christina Lee by 15th August 2014. The registration page will open shortly (check here for more details)
CFP: Anxious Forms: Bodies in Crisis in Victorian Literature and Culture (University of Glasgow)
22nd August 2014 – The University of Glasgow
Anxious Forms is a one-day interdisciplinary conference which seeks to engage with the Victorian era as a period of anxiety manifested in physical form, be it the human body, national, ideological, and scientific bodies, or literary and artistic forms. Recent criticism of the long nineteenth century has viewed the period as one of crisis: a collection of critical moments which are framed as decisive, paradigmatic shifts. Criticism frequently considers the physical manifestations of anxieties surrounding industrial progress, imperial expansion, and scientific and medical advancements, as well as shifting concepts of gender, religion, race, class, and sexuality.
However, some scholars have started to question the basis of such a reading, asking to what extent this is a contemporary application of the concept of 'anxiety'. This conference intends to open up this debate and stimulate discussion across disciplines.
Dr Nicholas Daly (University College Dublin)
Dr Christine Ferguson (University of Glasgow)
Dr Megan Coyer (University of Glasgow)
Through this conference we wish to highlight the University of Glasgow as a major centre for multidisciplinary Victorian research and intend this to be the first annual nineteenth-century conference hosted by the University, with an accompanying published collection of papers.
Topics for papers might include, but are not limited to:
Bodies of publication
Narrative forms
Objectified, pornographic or voyeuristic bodies
Spiritual, supernatural, and spectral bodies
Bodies of commodification and consumption
Bodies politic, national and foreign bodies
Environmental, geological and archeological bodies
Medicine and the medical humanities
Biological, mechanical, and prosthetic bodies
Forms of cartography and travel writing
Art, illustration, film and photography
Collected and classified bodies
Neo-Victorianism
We welcome proposals from postgraduate and early career researchers, as well as from more established academics. Please send abstracts of no more than 300 words for 20-minute conference papers, together with an academic CV, toarts-anxiousforms2014@glasgow.ac.uk by 15th May 2014. Successful applicants will be notified by the end of the following week.
The conference is free to attend for both speakers and non-speakers; please contact us (Abigail Boucher and Alexandra Foulds at arts-anxiousforms2014@glasgow.ac.uk) to register.
Postdoc, History of Neuroscience and Psychiatry (Calgary)
Posted on 8th April 2014 by Hannah Tweed
Postdoctoral Scholar Position
Area: History of Medicine (history of neuroscience & psychiatry)
Duration: 2 Years (potential for 3rd year)
Start Date: September 1, 2014
Salary: Commensurate with Experience
The Department of Community Health Sciences in the Faculty of Medicine at the University of Calgary is accepting applications for a Postdoctoral Fellow in the History of Neuroscience & Psychiatry for a research project funded by the Canadian Institutes of Health Research (CIHR).
The UofC has an active research and educational community in the wider field of the science studies (programs in the History of Medicine and Health Care, History and Philosophy of Science, as well as Science and Technology Studies). The successful applicant will work with a team of historians and science scholars based in the Faculty of Medicine with strong links to the Faculties of Arts/Science/Nursing, the Calgary Institute for the Humanities, the Hotchkiss Brain Institute, and the Institute for Public Health. The applicant will help to advance the groups' historiographical research program and engage with (inter)national collaborators to examine the impact of émigrés physicians and researchers in North American neuroscience. The research program is aligned with current work to investigate the impact of the forced migration of German-speaking émigré psychiatrists, neurologists and basic brain researchers in Canada and the USA (see: www.homhcp.ucalgary.ca).
The successful candidate will teach 1 course per term in an area related to the History of Medicine/History/History and Philosophy of Science and contribute 40% of her/his time to research, data-banking, and publication activities of the research program. Participation in the ongoing seminars and lecture series of the program is also required. All other time, she/he can devote to her/his grant-writing activities, publications, and collaborations.
Applications are invited from recent PhD graduates (<3 years from degree) in history/sociology/STS/ philosophy/anthropology/classics with a demonstrated background in history of medicine/science/neuroscience and interest in the subject of the local research program. International applications are likewise strongly encouraged. Data-banking experience and additional knowledge of German, Hebrew, Polish, or French is appreciated; and demonstrated experiences with oral history methodology would be an advantage.
Review of applications will begin April-30, 2014 continuing until successful recruitment (anticipated start date: Sept-1, 2014). Applicants should submit a CV, a cover letter with statement of research experience, 2 writing samples (articles or books chapters), a brief outline of personal research interests along with 2 reference letters to:
Dr. Frank W. Stahnisch, Associate Professor
AMF/Hannah Professorship in the History of Medicine and Health Care
Department of Community Health Sciences & Department of History
TRW Building, Room 3E41, 3280 Hospital Drive NW
Calgary, AB, Canada T2N 4Z6
Email applications (with all supporting materials) are preferred. Applicants wishing more information are encouraged to contact Dr. Frank W. Stahnisch (fwstahni@ucalgary.ca) or Mrs. Beth Cusitar (bcusitar@ucalgary.ca).
Autism and Ethics Conference, National Autistic Society (Inverness)
Autism and Ethics conference Friday May 16th 2014
Doors open 9am for 9.20 am start, finishes 4.45pm
Smithton Church, Murray Road, Inverness. IV2 7YU
ARGH (Autism Rights Group Highland), in partnership with the National Autistic Society Scotland are delighted to be holding an Autism and Ethics conference from the Autistic perspective; all the main speakers at this conference are Autistic. With thanks to The Highland Health and Social Care partnership for supporting this event.
Chair: Kabie Brook (Chair, ARGH: Autism Rights Group Highland), co-chair Mark Lever (Chief Executive, the National Autistic Society).
Presentations will include:
Dr. Wendy Lawson: 'Autism spectrum conditions (ASC), ethics and issues of gender.'
Dr. Dinah Murray: 'Ethical Ethics.'
Dr. Yo Dunn: 'Meaningful involvement in organising our own support – ethical issues.'
Damian Milton: 'So what exactly are autism interventions, intervening with?'
Larry Arnold: 'Doing ethics the university way, is it enough?'
We have chosen autism and ethics as the theme for this conference. Ethics is not just about theory: ethical concerns directly affect the down-to-earth everyday lives of Autistic people and their families, and the practitioners who work with us. Ethics is central to today's person centred approaches that focus on quality of life and personal empowerment, as well as to best practice in research. This conference aims to step away from theory and achieve a practical understanding of what ethics in relation to autism practice really means. We hope to promote discussion and build bridges between attendees from across the autism community. This is a unique opportunity for parents, carers, Autistic people, practitioners, researchers and others to hear Autistic people speaking as experts in their field and to promote discussion and networking with the other attendees. We would also like to give the chance for reflection and strengthening of identity and networks to Autistic people on their own terms.
Expected audience: Autistic people, parents, paid and unpaid carers, practitioners, researchers, other professionals and the general public.
What to expect if you come along: Lunch is provided, there will be breaks throughout the day and a quiet room will be available.
Cost: £25 (reduced rate of £12.50 for people on out of work benefits / income support).
How to book: send payment, (postal order, or cheque made payable to 'Autism Rights Group Highland'), a stamped addressed envelope for return of tickets, phone number or email address and a note of how many tickets you require at which rate, plus any access requirements including dietary requirements if relevant to: 22 Wester Inshes Place, Inverness, IV2 5HZ.
For payment online and more information, see www.arghighland.co.uk
Note: unfortunately we have to charge additional fees for online payment.
ARGH members should contact us direct before booking.
Enquiries: info@arghighland.co.uk
Conference, 'Better with a Book: Exploring the Relationship between Literature and Mental Health' (London)
The Reader Organisation's National Conference 2014
'Better with a Book: Exploring the Relationship between Literature and Mental Health'
9am-4.30pm, Thursday 15th May 2014
British Library Conference Centre, Euston Road, London, NW1 2DB
"Shared reading is one of the most significant developments to have taken place in mental health practice in the last ten years."
Dr David Fearnley, Medical Director, Mersey Care NHS Trust
The Reader Organisation's fifth annual national conference will explore how their shared reading model uses literature to improve mental health, reduce social isolation and enhance quality of life.
Academic research into The Reader Organisation's projects has demonstrated statistically significant improvements in the mental health of those suffering mild to moderate depression, reduced agitation for those suffering with dementia, and improved emotional, social and educational wellbeing for women in prison.
A recent evaluation report calculated that every £1 invested in shared reading generates an average social return of £6.47.
Shared reading groups currently take place every week in health, criminal justice, community, and education settings across the UK, providing individuals with the tools to transform their relationship to themselves and one another.
This conference offers an opportunity for commissioners, practitioners and professionals from all sectors to examine the impact of shared reading on individuals, communities and organisations.
Lord Melvyn Bragg, writer, broadcaster, and former President of MIND, sharing his personal reading experiences.
Lord Alan Howarth, Co-Chair All Party Parliamentary Group for Arts, Health and Wellbeing, Nick Benefield,former Joint Head of the NHS and NOMS Offender Personality Disorder Implementation Programme, and Lord David Ramsbotham, former HM Chief Inspector of Prisons, discussing the effect of shared reading in secure mental health settings.
Baroness Estelle Morris, former Secretary of State for Education, and Dr Alice Sullivan, Institute for Education, discussing the role of reading in schools
Professor Philip Davis and Dr Josie Billington, the Centre for Research into Reading, Information and Linguistic Systems at the University of Liverpool, presenting the findings of their AHRC study into the cultural value of shared reading.
Full day delegate, including lunch and refreshments – £140
Book your place online: http://readerorganisationconference.eventbrite.co.uk
Alternatively, contact Abigail Leader for information on paying by cheque or invoice: abigailleader@thereader.org.uk or call 0151 207 7221
Find out more: www.thereader.org.uk/events/conference
Follow @thereaderorg, #betterwithabook for the latest updates.
New Book Series: Palgrave Studies in Literature, Science and Medicine
Posted on 2nd April 2014 by Hannah Tweed
Palgrave Studies in Literature, Science and Medicine
Edited by Sharon Ruston, Alice Jenkins, and Catherine Belling
Palgrave Studies in Literature, Science and Medicine is an exciting new series that focuses on one of the most vibrant and interdisciplinary areas in literary studies: the intersection of literature, science and medicine. Comprised of academic monographs, essay collections, and Palgrave Pivot books, the series will emphasize a historical approach to its subjects, in conjunction with a range of other theoretical approaches. The series will cover all aspects of this rich and varied field and is open to new and emerging topics as well as established ones.
About the editors:
Sharon Ruston is a Chair in Romanticism and Research Director for the Department of English and Creative Writing at Lancaster University, UK. She sits on the Executive Committee for the British Society of Science and Literature.
Alice Jenkins is a Professor of Victorian Literature and Culture at Glasgow University, UK. She is also a co-founder and former chair of the British Society of Science and Literature.
Catherine Belling is an Associate Professor in Medical Humanities and Bioethics at Northwestern University, USA. She is also the Executive Editor of the journal 'Literature and Medicine'.
Call for proposals: For information about submitting a Palgrave Studies in Literature, Science and Medicine proposal, please contact: Ben Doyle, or Catherine Belling, or Sharon Ruston, or Brigitte Shull, or Alice Jenkins.
Seminar: 'Crip Displacements: Voices of Disability, Neoliberalism, and Resistance' (Liverpool Hope University)
Posted on 1st April 2014 by Hannah Tweed
Crip Displacements: Voices of Disability, Neoliberalism, and Resistance
Prof. Robert McRuer
Date: Tuesday 15th July 2014
Time: 2.15pm–3.45pm
Place: Eden 109, Liverpool Hope University, UK
Theorists of neoliberalism, from David Harvey to Judith Butler and Athena Athanasiou, have placed dispossession and displacement at the center of their analyses of the workings of contemporary global capitalism. Disability, however, has not figured centrally into these analyses. This presentation attends to crip echoes generated by dispossession, displacement, and a global austerity politics. Centering on British-Mexican relations during a moment of austerity in the UK and gentrification in Mexico, "Crip Displacements" identifies both the voices of disability that are recognized by and made useful for neoliberalism as well as those shut down or displaced by this dominant economic and cultural system. Prof. McRuer particularly focuses on two events from 2013: a British embassy good will event touting access in Mexico City and an installation of photographs by Livia Radawanski, from the same period. Radwanski's photos of the redevelopment of a Mexico City neighborhood (and the displacement of poor people living in the neighborhood) are examined in order to attend to the ways in which disability might productively haunt theories of neoliberal dispossession.
Robert McRuer is Professor of English and Chair of the Department of English at George Washington University. He is the author or editor of numerous books and articles, including Crip Theory: Cultural Signs of Queerness and Disability (NYU Press, 2006) and Sex and Disability (edited with Anna Mollow, Duke University Press, 2012). He is also a JLCDS editorial board member.
This seminar is part of the CCDS series, The Voice of Disability, which will continue in the new academic year.
Dr. David Bolt
Senior Lecturer, Education and Disability Studies, http://www.hope.ac.uk/staff/boltd.html
CFP: Disability, Prostheses & Patenting (University of Leeds)
An international workshop supported by the AHRC Network grant: Rethinking Patent Cultures
Thanks to the AHRC we have funding to support speakers' travel and accommodation expenses both in the UK and internationally.
By the end of the nineteenth century, an industry built around prosthetic appliances – hearing aids, spectacles, walking sticks and specialist furniture – flourished across the industrial world. Much historical work to date has been conducted on the significant effect of the American Civil War and the First World War on the rise of prosthesis production and usage in Europe and the USA (Ott, Serlin & Mihm 2002). Yet, we are still some way from understanding the relationship between physical impairment and commerce and the ways in which the commodification of disability during this period and beyond affected everyday life and health. At least some of this production operated independently of the medical system since not all disabled groups were medicalized nor did all inventors developed assistive devices under the jurisdiction of clinical professionals. Nonetheless, this increase in production was often linked to systems of patenting. The study of patented devices for disability support therefore provides us with ways to uncover trade/user relationships, as well as a way of assessing meanings and conceptions of disability more holistically – especially for those cases in which disabled groups themselves took the initiative in patenting activity.
i) What sorts of appliances (patented or unpatented) were used by people with disabilities to manage their condition? Most studies have focused on artificial limbs but we need to open up the field to include other prostheses such as breasts, dentures, ears, larynxes, noses and penises but also other appliances such as hearing aids, wheelchairs and furniture (Ott, Serlin & Mihm 2002). Analyses of more inclusive sets of aids should also be compared to other everyday objects, such as furniture.
ii) What sorts of relationships can be adduced between consumption, production and patenting both in the UK and globally? Appliance manufacturers certainly seemed to patent their devices more regularly than for other medical items but how and why did this vary between appliances? Were manufacturers who were themselves disabled, or had people with disabilities among their relatives, particularly prominent in the use of patents to protect their appliances from plagiarism or infringement proceedings by rivals? Examples might include hearing aids (the Amplivox collection at the Thackray Museum in Leeds), prosthetic limbs (numerous examples from the US Civil War and subsequent conflicts) wheelchairs, and improvements to Braille. How far were medical practitioners involved with these developments? Were prosthetic appliances seen as occupying a kind of non-medical domain for which patenting was acceptable?
iii) How did war affect patenting activity of such appliances? Lisa Herschbach, for example, has demonstrated the dramatic increase in the registration of patents in America following the Civil War and others have examined similar trends in facial reconstruction after WW1, but was this the case elsewhere and for other appliances? (Herschbach 1997).
iv) How did the gendered nature of appliances affect patenting activity? Most studies of artificial limbs and facial reconstruction are almost always exclusively male because they focus on industrial works and primarily, soldiers, but how far did women also play a role in the patenting and marketing of such appliances?
If you wish to participate, please send a paper proposal (300 words maximum) to Claire Jones by Friday 2nd May. Further enquiries about topic and the scope of papers are welcomed.
Dr Claire L. Jones
Director of the Museum of the History of Science, Technology and Medicine
Woodhouse Lane, University of Leeds
Leeds, LS2 9JT


text:
The Online Encyclopedia and Dictionary
Categories: Yukon communities
Dawson City, Yukon
(Redirected from Dawson, Yukon)
The City of Dawson is a town in the Yukon territory of Canada, located at . The current population is approximately 2,000. The locals generally refer to it simply as 'Dawson', but the tourist industry generally refers to it as 'Dawson City' to differentiate it from Dawson Creek, British Columbia, which is at Km 0 of the Alaska Highway.
Aerial view of Dawson City with the Yukon river in early May
The townsite was named in January 1897 after noted Canadian geologist George Mercer Dawson, who had explored the region in 1887. It served as the Yukon's capital from the territory's founding in 1898 until 1952, when the seat was moved to Whitehorse.
The Klondike Gold Rush started in 1896 changed the native summer fish camp into a thriving city of 40,000 by 1898. By 1899, the gold rush had ended and the town's population plummetted as 8,000 people left. When Dawson was incorporated as a city in 1902, the population was under 5,000.
All the buildings of the city look old-fashioned; all new construction must follow this policy.
Many of the major buildings in town are part of the Dawson National Historic Site. There are a number of displays in some of the old buildings, and parks employees dress up like characters from the Klondike Gold Rush. Also in the Dawson area is the Dredge No. 4 National Historic Site of Canada and the S.S. Keno National Historic Site of Canada.
Dawson experiences annual temperature highs of 22 °C (71 °F) in July and temperature lows of −32 °C (−26 °F) in January. Dawson has an annual snowfall of 164 cm and 2320 mm of rainfall. Dawson averages 91 frost free days per year.
Today, Dawson City's main industries are tourism and gold mining.
Dawson City Website
Dawson City Citizens' Forum
Tr'ondëk Hwëch'in First Nation
klondike Centennial Society
Travel to Dawson City
Boat charter - Explore the Yukon River
Dawson National Historic Site
Klondike Kate's Restaurant - Dawson City
Top Of The World Golf Course - Dawson City
Dawson/Yukon Photography
Tombstone Gallery - Dawson City
Dawson City Courier/Bus Charter
Last updated: 05-14-2005 14:32:45
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The 2017 Bendigo International Festival of Exploratory Music's Music Writer's Workshop for emerging critics was conducted by Matthew Lorenzon and Alistair Noble. You'll find links to Partial Durations reviews by Joel Roberts, Kishore Minifie Ryan, Lewis Ingham and Simone Maurer in Matthew's overview of the festival below.
The festival began with four of its most virtuosic soloists balancing atop a pile of amplified wooden planks. In Plank Rodeo, Jacob Abela, Matteo Cesari, Jessica Aszodi and Jane Sheldon share each other's weight, bending and swaying according to a series of performance directions devised by the composer Jenna Lyle. At times, they hold one another as though they are delicate musical instruments; at other times they stomp around the planks, which explode in loud pops and creaks. The planks and bodies are echoed in the frames and figurative paintings adorning the walls of the performance space, a small room in the Bendigo Art Gallery. An opening ceremony of sorts, the inextricably linked sounds of bodies and wooden instruments echo out of the room and throughout the gallery's collections.
Already known for her physically demanding performances of contemporary opera and concert music, Aszodi has opened a rich seam of physico-vocal exploration through her partnership with Lyle. Their co-devised work Grafter saw Aszodi and Lyle intertwine into one sound-producing body by muting, resonating and modulating each other's sounds. Aszodi convened the BIFEM Composer Colloquium around the topic of Author/Agent/Process/Frame, where much was made of the festival's role in mediating the audience's experience of such performances. Whereas the BIFEM audience seemed happy to perceive Aszodi and Lyle's works as primarily musical, this was apparently not necessarily the case in prior showings within visual art and dance contexts.
US singer Juliana Snapper and UK composer Andrew Infanti's underwater opera You who will emerge from the flood continued the theme of vocal exploration. The modular work incorporates video, pre-recorded audio and live singing above and below water (see excerpts from earlier productions). BIFEM got the budget version, which is performed in a dunk tank, but the work can also be performed in a swimming pool with the audience's ears submerged. The context informs the work so profoundly that I doubt one can really compare the two. Atop the tank in a black dress and with long blonde hair extensions, Snapper cuts a carnivalesque figure.
A dunk tank is an instrument of ritual humiliation and frames Snapper as an object of sexualised humiliation. However, she is not dunked, but enters it willingly, lying on the platform and singing just above the water before slipping in as if as an afterthought. As she explores the tank with her voice, a close-up video feed is projected onto two large screens. Snapper forms striking and beautiful tableaux, as when, floating face down, curled in a ball, the hair extensions protruding from between her legs fan out symmetrically. Her movements become gradually more frantic and a video appears of two men repeatedly holding her underwater, letting her rise to the surface briefly to breathe. In the tank the power relationship is more nuanced. She dives to the bottom, holding herself underwater by pressing her foot into the cage above. The audience feel empathy with Snapper, holding its breath as she dives. However powerful the performance as a work of theatre, the phenomenon of underwater singing sounds exactly as you might expect.
Strip the stage back to a music stand, four speakers and some atmospheric lighting, and Juliana Snapper is able to sing with her full terrestrial force, accompanied on electronics by Miller Puckette (inventor of the ubiquitous Max/MSP software). Their program provided a panorama of possible interactions between the voice and electronics from the unobtrusive background of Philippe Manoury's En écho to the fire and brimstone of his Illud Etiam, after which the concert was titled. In a simple but powerful gesture, Snapper lights a match as bells toll at the end of this arcane work. The small flame seems to banish all the water of the previous night.
The almost universal appeal of the string quartet makes the Argonaut String Quartet's program a favourite each year. This year saw the premieres of new works by Samuel Smith and Caterina Turnbull next to works by Clara Iannotta and Anahita Abbasi. I wasn't sure whether Turnbull's quartet was animal, vegetable or mineral. Eminulos (a Latin adjective describing a slight projection) was commissioned by Julian Burnside QC, and is a menagerie of bird-like chirps and call-and-response. The repeated gestures fork and grow organically between the instruments. On the other hand, the stratification of instrumental effects folding into one another gives the sense of aeons of geological activity. Smith's BIFEM Box Office Commission, Dead Oceans, is a dense microtonal flow of harmonics, rocketing glissandi and wood-on-string death rattles. Nothing stays still, but the audience catches glimpses of harmonic repose that founder and disappear from sight. While the composer claims the work is only tangentially related to climate change, it is one of the most devastating environmental works of recent years.
BIFEM's coveted solo recital series was back with concerts by Matthew Horsley on uillean pipes, Mauricio Carrasco on classical guitar and Anna Kwiatkowska on violin. The odd one out in this list is clearly Horsley, a proponent of contemporary music for the Irish bagpipes. His performance of Liam Flenady's A Book of Migrations for electronics and uillean pipes involved the composer wayfinding through Horsley's own catalogue of almost 200 fingerings on the instrument. The microtonal part is supplemented with electronics and readings in medieval English and Gaelic from the Seamus Heaney poem Buile Shuibhne. Kwiatkowska's survey of contemporary works for violin by Polish composers was a welcome link between present and past in a festival that focuses on the bleedingly new.
This festival saw the Victorian debut of Brisbane's Kupka's Piano, the most exciting contemporary music ensemble north of Sydney. Their program included Elliott Gyger's first thoroughly microtonal work, a double concerto for flutes entitled Fray. So finely managed were the microtones that the piece did not sound very microtonal at all. Instead one was lost in the thoughtful and restrained atmosphere as Gyger carefully worked his way through all the possible permutations of two players and bass flute, alto flute, treble flute and piccolo.
Never a festival to shy away from political or controversial works, BIFEM's house band The Argonaut Ensemble performed provocative works by the Israeli composer Adam Maor and the Argentinian composer Fernando Garnero. Maor's BEYROUTH15072006 takes as its inspiration the recorded improvisation of the Lebanese trumpeter Mazen Kerbaj during the bombing of Beirut in 2006. The trumpet is here transformed into the trombone played by Charles MacInnes, which slides anxiously among samples of bombs and car alarms from the original recording.
Garnero described Neon Pig as a work "with no historical depth," but he began the concert with a speech about the disappearance of the indigenous rights activist Santiago Maldonado. It was particularly alarming given he was one of over 30,000 people "disappeared" during the Dirty War of 1974–83. At the end of the oinking and snorting work, Garnero stood up from the electronics desk at the back of the stage and 'withdrew' each performer one by one with a grasping hand gesture. Far from a work with no historical depth, in this performance context the work was a warning against ahistoricity.
An endless stream of events including the Monash Composers' Concert, the tape duo Sultan Hagavik, Erkki Veltheim's late night Ganzfeld Experiment, a concert and forum dedicated to the Australian composer Keith Humble (1927-1995), Miller Puckette's computer music workshop, a concert for massed clarinets, an electroacoustic listening room, a children's concert by the percussionist Madi Chwasta, the Music Writers' Workshop (linked liberally here) and a pre-concert analytical lecture from the Melbourne Music Analysis Summer School (by yours truly) ensured that festival goers were both entertained and exhausted throughout the weekend.
This year's concert program was perhaps most interesting within the context of Australia's wider contemporary music culture. Despite the privileged place of percussion music in Australia and all the clichés of sports-loving Australians, contemporary performers remain stubbornly glued to their instruments. The occasional scored physical gesture or sprinkle of dramaturgy usually suffices to signal a boundary-breaking work. I don't think anyone really minds an excellent performance stock-still in front of a music stand, but if you're going to move you might as well somersault with a partner, jump in a water tank, or make an overt political statement.
For reviews of BIFEM 2017 concerts go to Partial Durations.


Heading to Ireland anytime soon? There may be a few things you need to know about before you head over. These holiday tips are sourced from locals, so take our word for it.
1. It's going to rain.
It will rain! You might as well pack your wellies now if you're planning to head over because in Ireland when it rains – it pours.
2. We don't all speak in Irish.
Thankfully it's not necessary to be fluent in Irish before you arrive – English is our main language. Not many people regularly speak in Irish in Ireland unless you're wandering around in the Gaeltacht areas.
3. We drive in the "wrong" side of the road.
We're not big tippers here in Ireland except in restaurant situations where the 10% to the waiter is almost a given. But no need to tip taxi drivers unless they've shown good service.
5. Buses won't stop unless you put your hand out.
If you are taking the bus this is vitally important. But be warned, some days even putting your hand out and waving it around won't be enough to make them stop. So don't be surprised if you see people at the bus stop jumping up and down in desperation when the bus is in view.
6. Never say no to a cup of tea.
You'd be mad to say 'no!' We're known for our expert tea-making abilities so grab the opportunity to have a cuppa.
To avoid data roaming charges while make the most of your trip in Ireland you should rent a portable wifi divice from Travel Wifi.
Their pocket-sized device is great for outdoors and it can connect up to 5 divices simultaneously.Their wifi packages offer unlimited data and also delivery is free of charge anywhere in Ireland.


Hey, Laurie! Sounds like Tahoe was a blast! Glad you you had a great time.
Still working on the house and trying to fly, but took today off to ride in CicLAvia, shop with a girlfriend, and enjoy the Super Moon with J.C.
HI Alicia! Tahoe was fabulous, though it is a pretty rear-kicking ascent! We are so glad we did the boat run this time. That was a hot, tough, 35-miler. But scenery was gorgeous and we both made it with no walking!
Usual water aerobics today, then I started a new nutrition support class. Goals this week are to add greens to at least one meal and to chew bites 30x. Last one is really hard for me, so going to have to practice!
Let us know when you have some time off and maybe DH and I can come down to bike ride and see your house. How's the plumbing issue? Was so sorry to hear that was what you had for a welcome home.
Hope you two had fun in Tahoe! Can't wait to hear about it!
J.C. and I are writing off the month of May, but not really in a bad way. We normally track our exercise and aim for a minimum of 14 hours of "credit". We knew we would be moving around a lot and walking around each of the cities we visited, but didn't want to have to figure out how much time we should "earn" for each day. So we agreed to just call May a wash. No extra credit, no penalties for not making "minimums".
Starting June 1, I'll be back to tracking!
Sorry I spaced May all together Alicia! But here's a place to maybe do a wrap up and move onwards to June.
I'm maintaining diet-wise and have been getting in my regular water classes plus training bike rides - less hiking, but on track to keep up my fitness. Will ponder June goals, but first one is to complete the Tahoe Boat/Bike ride.


345. What Salary Could You Be Earning as Software Developer?
There are many sites that are useful because they provide means to let the users perform calculations of some kind from simple values entered in Web forms.
This package provides a Web interface to implement a generic system for designing and providing access to pages that provide several types of calculator tools.
The package G6K is one of the few PHP packages that was considered notable recently because it does something that is worth paying attention.
This package can generate simulator tools to perform calculations.
It can be used to create and publish pages that can present several types of calculators for different purposes such as: taxes, social benefits, etc..
The package provides a simulation engine and an administration module.


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Peter and Sheila Forrest
Historians & Writers
More about this book
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Newsroom Archives
Battling: Territorians and their war
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Most Australians now know at least something of the 'Bombing of Darwin.' If they are well informed they will know that there were two ferocious air raids in Darwin that day, resulting in terrible loss of life and physical destruction.
Not so many Australians know that the bombing of Darwin on 19 February 1942 was only one episode in a war that was bitterly fought in and around the Northern Territory through 1942 and 1943. They were the most challenging years in our national history, terrible years but deserving to be fully understood by the whole Australian community because they were so perilous, so terrible and so decisive for Australia's future.
After hostilities ended in 1945, proud Australian achievement at Milne Bay and on the Kokoda Track in New Guinea was justly honoured. At those places in 1942 Australians held the line and then turned the enemy back. There was no honour for a similar victory in the Northern Territory where the Japanese air attackers on the Australian mainland had first been challenged and then turned away. There was very scant acknowledgment of the stark truth that that in 1942 and 1943 there had been a hard fought war in this country; a war in the Northern Territory when Australians had to fight for their country on their own soil. It was an uncomfortable truth that most Australians did not want to confront and still do not readily accept.
It had been a total war, a time when for several years everything in the Northern Territory, including civilian lives, had to be subordinated to the war effort. In the late 1940s Australians heard a lot about the awful plight of refugees in post-war Europe; displaced persons who had to search for their homes, their families and their communities now that the war was over. Little was heard about Australia's displaced persons, Australians whose lives had been fractured by the war in the north.
Their war began in the 1930s when a massive defence build-up overwhelmed Darwin and pushed aside the town's civilians. Then, from December 1942 thousands of people were compulsorily evacuated from the Northern Territory and were obliged to live far from their homes for the duration and then for some time after the war's end. They were refugees in their own country, without recognition and sometimes more hindered than helped in their struggles to get home and start again. Those who had been able to stay in the Territory through the war, in hinterland places between Pine Creek and Alice Springs, found that their lives were completely subordinated to the war effort.
Those people have been left out of our history; their trials and tribulations, their tenacious struggles to rebuild their lives and reconstruct the Northern Territory have not found their way into many history books, nor into many Australian hearts and minds. That is an injustice.
We Australians look to our warriors when we seek our noblest national heroes but we overlook the fact that war isn't only about soldiers. War is also about what happens to ordinary people, civilians who happen to be entangled in war and then have to put the broken pieces back together after the soldiers have left.
Seventy years later, it is time to do justice to those people, time to bring them into more honoured places in Australian hearts and minds. That is the purpose of this book, Battling: Territorians and Their War.
Web Design by Sprout


Please make an appointment to see me after school if you have a worry or a question.
Please check your child's book bag for our up to date curriculum newsletter and planning for the term.
Please see the new planning below.
Weekly spelling tests start this week. New spellings given each Friday. The test will be on the Thursday.
Please don't forget to keep up the great reading at home and practise phonics, using the phase mats given out at parents evening.
Please see the extra pages in the summer 1 letter regarding phonics.


Our program in Astronomy and Space Sciences has 30 faculty, 42 graduate students (30 from our program and 12 from other Departments) and 22 postdoctoral/research associates and senior research associates involved with it.
It offers a wide variety of world-class research opportunities in astronomy, astrophysics and space science, with strong multidisciplinary connections, and a friendly and supportive atmosphere.
Graduate students are a central part of our Department and are actively involved in the Department's education and outreach programs, giving seminars, teaching and inviting speakers for the colloquium series.
The graduate students also have a strong network amongst themselves, with the Astronomy Graduate Network (AGN), which has weekly get-togethers, Graduate Lunch on Thursdays with the colloquium speaker, "TGIF" socials after work on Fridays and "Ice-Cream Socials" and "Dinner with a faculty member" throughout the year. They also lead outreach programs such as "Ask an Astronomer".


We are a trusted provider of advanced X-ray technologies for ports, borders, military, high-threat facilities, and critical infrastructure all over the world. No matter what your mission or where in the world you're located, our robust range of cargo and vehicle inspection systems provide maximum detection, flexibility and performance.
Helping make the world a safe and secure place.
Our customers choose us because we offer the most advanced detection technologies in a variety of configurations—all designed to meet their real-world operational requirements. With high-energy, dual-energy, and patented Z Backscatter® technology, our systems make it easier, faster, and more efficient for our customers to reveal dangerous and elusive threats and contraband.
Every day, best-in-class cargo and vehicle inspection systems from Rapiscan Systems and AS&E help customs officials, security personnel, and law enforcement combat terrorism, drug and weapon smuggling, illegal immigration, and trade fraud. Rapiscan Systems also offers a full line of cutting-edge baggage and parcel inspection, hold baggage screening, personnel sreening, and trace detecion products and services. For assistance with screening operations, integration, and training and staffing, S2 Global, can help you plan, integrate, automate, and centralize your scanning operations.


A room is never complete without something on the walls, but deciding what to fill an empty wall with can sometimes be a challenge. If you need a little inspiration in this area and aren't sure where to start, there are a few things you can do to make the process a little less overwhelming. There are no rules when it comes to decor for your living room, but we've put together this list so you can decorate your living room walls like an interior designer.
If you are feeling a little lost when it comes to decorating the large wall space in your living room, we are here to help.
The key to any decor project is to have a clear idea of what your style is, or what style you're trying to achieve. Look for some inspiration on Pinterest or Instagram and compile your favorites. Take note of what it is you like about each photo you come across.
For example, if the decor you're drawn to has clean, sleek lines with small pops of color here and there — contemporary styles might be what you're looking for. If you're finding yourself drawn to a lot of woven wall hangings, lush plants, and vintage-inspired decor, maybe the bohemian aesthetic is right for you. If you're looking at a lot of photos with neutral colors and natural wood with minimal decor and bright, natural lighting, the Nordic trend might be the way to go.
Whatever you discover during your decor search—pinpoint the style, and start searching for a piece of statement decor that fits in with your interests. Statement items are a great way to give your eye a starting point to work around. When choosing decor that compliments a piece of living room furniture — like a couch, for example — just make sure it's not placed at an awkward height and not longer than the furniture itself.
Use a large mirror or a piece of art. This will make your room appear larger and tie the decor together with a focal point.
Incorporate an accent wall. Whether you use wallpaper or paint, this is a great way to make a bold statement to build the rest of your decor around.
Use statement lighting as a starting point. Large chandeliers or bold floor and table lamps can be a great starting point for tying together living room decor.
After you've fallen in love with that one statement piece, coordinate smaller decor items like framed pictures, or another piece of art around it.
All of these pieces and their frames should include a color that coordinates with the original statement piece. If metal decor is used, perhaps in a lamp, chandelier, or frame, the smaller items should be cohesive and not clash. If you want to create an Instagram-worth gallery wall, this is the way to do it.
The great thing about windows is that they are your decor, in a sense. Too much decor near windows can distract from outdoor views so the decor surrounding them should be minimal.
Above all else — go with your instincts. Ultimately, it's your home, and you're the one who will be spending the most time in it, so just do what feels right to you. Trust yourself, move things around, and go with what makes you feel good when you look at it.
If you want one of our design experts to help you solve your wall decor dilemma, we are here to help. Click below to contact us today!
If you want to use this Oceanside everywhere we have some tips on how to make it work with your existing decor.


HAC held a teleconference of operators on April 1 to discuss operator-member concerns with the CRM AC 042. Concerns centred on the definition of Crew Member that triggers the requirement for CRM training. The current definition - strictly applied, captured a broad spectrum of aircraft occupants, including firefighters, seismic tech operators, linemen and others that carry out limited duties in flight – but still trigger a requirement for company-specific training. Strictly read, each operator on a fire would be required to provide company specific training to each firefighter. What's more, the AC does not recognize the on-demand nature of our business, where we may be unaware of the specific passengers that will be carried until the aircraft lands to pick them up. These and other concerns, will be reduced to writing by HAC in a written submission to Transport Canada, and they have indicated a willingness to revisit the elements of the AC, prior to its coming in to force on September 30 2019. Stay tuned to the newsletter for a copy of our submission. HAC would like to thank the operators that took the time to participate in the April 1, telecon.


Athens, Attica, c. 460-404 BCE, tetradrachm, silver. Obverse (not shown): Head of Athena with laurel leaves on helmet. Reverse: Owl, olive sprig, crescent moon. Inscription: AΘE ("Of the Athenians" abbreviated), 2014.039.
Over the past fifty years the art collection at Middlebury has grown to nearly 6,000 objects with many of these works having come as gifts and bequests from alumni and friends, purchases made possible by eleven endowments, or contributions by members of the Friends of the Art Museum through their annual membership dues. Museum Director Richard Saunders will provide a curatorial overview of this celebratory retrospective exhibit, which features fifty acquisitions—one from each year back to 1968—that chronicle the growth and evolution of Middlebury's collection.
Sponsored by Middlebury College Museum of Art and the Friends of the Art Museum.


The Headset Press cycling blog UK, the best of cycling for cyclists - bicycles, bikes, art, photography, design, heritage. Bristol, London.
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Review: Nine
Ryan Stewart
In the opening moments of Nine, creatively constipated director Guido Contini (Daniel Day-Lewis) notes that as a filmmaker "you kill your film several times," firstly by diluting its initial inspiration; it's an apt observation that's also applicable to this film, a twice-removed, uninspired rehashing of Federico Fellini's midlife-crisis reverie, 8 ½. Depersonalizing Il Maestro's quasi-autobiographical, feature-length inner monologue to an even further extent than its over-praised stage musical adaptation by adding a roster of dissimilar, big-name stars and a slathering of irritatingly phony, Italiano brio, Rob Marshall labors unsuccessfully to thematically unite a glitzy assemblage of roughly related episodes about the tenuous connection between love and art, each of which spotlight a stormy relationship or dramatically cool connection between the conflicted Fellini stand-in and one of the women in his Euro-glamorous orbit.
As Guido's emotionally spent, frustrated-actress wife, Luisa, Marion Cotillard is typically faultless, a teary-eyed saint suitably unaffected by the all-dancing, all-singing hullaballoo that surrounds her character's marriage-in-crisis vignette, though the same can't be said for Guido's secondary squeezes, like Carla (Penélope Cruz), a semi-comical, coochie-coo mistress whose song of obsessive devotion to her man ("Who's afraid to kiss your feet? I'm not!") makes her desperation hard to take seriously and, like most of Nine's blasé, lyrically on-the-nose numbers, holds little intrinsic value as diverting musical comedy. Other semi-intimates in Guido's crowded retinue include professional underling and confidante Lilli (Judi Dench, disastrously miscast and particularly embarrassing in a routine with accompanying showgirls) and superstar-muse Claudia (Nicole Kidman, poorly served by improper lighting and a blond weave that seems intended to distract from her face) whose blinding star quality is repeatedly presented as a given but never demonstrated. Guido and Claudia's history of mutual affection, sold mostly in one scene that's a bit too chaste to read as genuinely Italian, nevertheless typifies the inoffensive love-in vibe Marshall opts for throughout, overlooking potentially unsavory dimensions of a reputed scaliwag director's sex life in favor of a succession of bloodlessly PG-13 encounters heavy on implication.
Nine's liveliest and most promisingly dirty interlude, a crisply shot, black-and-white flashback to Guido's (implied) childhood deflowering by a Fergalicious prostitute, is a middling success as a toe-tapper, despite inexplicable cutaways to a stage-bound rendition of the film's reductive anthem "Be Italian," a lyrical travesty that seems like it was dreamed up in a fashion magazine's editorial meeting. The pervasive feeling that a superficial enthusiasm for La Dolce Vita is the true inspiration for this film's persistent Vespa-worship aesthetic and fashion industry-friendly mise-en-scène becomes harder to shake after Kate Hudson's newly-created Vogue reporter character is dropped into the proceedings for a sequin-heavy, completely inert, music video-style number about wearing sunglasses at night and being outta sight; by that point the tender magical realism of8 ½ given fleeting homage in the film's opening passages has receded far into the background and Nine has been revealed as a recursive work: a passionless production by a creatively blocked director.
Cast: Daniel Day-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Fergie, Kate Hudson, Nicole Kidman, Sophia Loren Director: Rob Marshall Screenwriter: Michael Tolkin, Anthony Minghella Distributor: The Weinstein Company Running Time: 118 min Rating: PG-13 Year: 2009 Buy: Video, Soundtrack
Review: Did You Hear About The Morgans?
Understanding Screenwriting #37: The Blind Side, The Men Who Stare at Goats, Up in the Air, Wanted, & More
Review: Season Two of Big Little Lies Fails to Justify Its Existence
Review: Kenneth Branagh's All Is True Brings Shakespeare Down to Earth
2019 Oscar Nomination Predictions


It is better to cut down a massive list than creating one out of thin air. When writing a list of schools onto a blank piece of paper, the tendency is to name lacrosse schools that an athlete is familiar with perhaps based on past contact or a school's prestige. The problem is that this technique results in a list of schools that have nothing in common other than lacrosse. If Dartmouth and Salisbury are on your list, your list is not congruent and you as a student athlete really don't understand who you are as a person and what you want.
Beginning in 8th grade, you need to start building your college list. While being prepared for early recruiting is part of the equation, the reality is most athletes won't be asked to make a decision freshman or sophomore year. However, we don't believe anyone should be waiting until fall of senior year to consider their college options. The impact of early recruiting is that we are talking about and attempting to plan someone's future, which is a great thing. If we are ahead of the process, we are can control it and not feel overwhelmed.
Certainly there's nothing wrong with a dramatic shift as time goes on from 8th grade to 10th grade. It could be a new major (engineering versus not engineering), geographic location, or school size, but at least we'll know how to make a second a list. Start even if you're not sure.
The end goal is to finish with five or six schools that are very similar. So similar in fact that you could close your eyes, drop your finger on one of those schools, and be thrilled with the result.
If you're not a varsity starter as a sophomore, you're probably not D1 unless there are D1 commits in front of you, which is unlikely because there are so few D1 athletes playing lacrosse in Pittsburgh.
If you didn't get elite grades as a freshmen, you're probably not a candidate for an Ivy League school.
If you're someone who has been a career starter, hasn't had to work very hard, going to an upper tier program might not be a good fit for you.
Parents should help with this process because there is a good chance parents know more about a college than a 16 year old boy.
What's left is a more refined list of what the player wants.
4. Start to visit as many schools as possible, even if they aren't on your list.
Remember a school's website and social media is pure marketing. They aren't going to show you images the homeless near campus, the near perpetual grey weather, the freshman dorms, or what its like getting to and from campus.
Figure out what you like about the campus you're visiting and what you don't like. Then you can further refine your list. If a school you had high hopes for has a dumpy campus that let you down, cross it off your list. If you like a particular thing about a campus, look for it in the next visit.
At some point during this whole process, you get to select where you are going to go to college. You get to select where you are going to live for the next four years. If you don't think you're going to like it after being on campus for a couple hours, you're going to be miserable when you're there for four years. Don't be sucked in by an aggressive lacrosse coach or any pressure from your parents, peers, or club coaches.
Bonus Tip: Assistant coaches do not stick around. Don't let an assistant coach positively or negatively impact your decision because he won't be there for all four years.


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GOLD STANDARDS: Missy Raines, Robbie Fulks, Steep Canyon Rangers, and More on their Favorite Songs
Stacy Chandler Posted On May 6, 2019
Every artist has a favorite standard, a touchstone they come back to when they're warming up, playing with new friends, or just having fun. Sometimes that song is what inspired them to start down a musical path in the first place, or maybe it just reminds them of home, a loved one, or a specific moment in time. We asked a few artists to tell us about the songs that have a permanent spot in their personal set list. Here's the previous online installment in this series, and you can find even more "Gold Standards" in the pages of our Spring 2019 print journal, Standards & Stanzas, in which we explore the many ways that music and words intersect. Subscribe by May 10 and you'll start with this issue, which we'll mail to you right away.
GRAHAM SHARP (STEEP CANYON RANGERS)
"Blue Virginia Blues" – Larry Sparks
Larry Sparks is one of the greatest stylists alive today across any genre. He's not so well known outside of traditional bluegrass; despite opportunities he's chosen to follow his muse and play the music he came up with. His song "Blue Virginia Blues," written by Pete Goble and Larry Drum, is Larry Sparks at his very best: soulful, playful, and virtuosic. Steep Canyon Rangers is a band that came up through the school of bluegrass, and Larry has long been a touchstone of ours and for many others, Alison Krauss not least of which. I love playing this song with the band, trying to recreate the swing and emotion of the original while making it our own. Larry paid a surprise visit to Brevard, North Carolina, for [Steep Canyon Rangers] guitarist Woody's 40th birthday and was so gracious, playing all of our favorites, including this one. After playing the guitar intro to his famous "John Deere Tractor," he looked up and said, "Did you like that? Lemme play it again."
CASEY NEILL (THE MINUS 5 and CASEY NEILL & THE NORWAY RATS)
"Chelsea Hotel #2" – Leonard Cohen
The list of songs about New York City includes a staggering number of masterworks. Having lived there on and off, I know what a struggle it is and how the pace can fray your psyche. I also believe every romantic thing ever sung about the city to be true. No song embodies that more than "Chelsea Hotel #2." While a few Leonard Cohen songs have been covered more often, "Chelsea Hotel #2" has been consistently rendered by many great singers: Regina Spektor, Lana Del Rey, Josh Ritter, Frank Turner, Nathaniel Rateliff, both Rufus and Martha Wainwright, and more. In a few short stanzas it grapples honestly with sexuality, fame, class, and beauty standards. After Leonard passed away, I sang this song in Japan one night at a club in the bohemian Shimokitazawa district of Tokyo. It was mostly a Japanese audience who didn't speak much English. I could feel the song translate itself, through the beauty of the melody if nothing else. In my youth, I spent one night in the Chelsea and the smell and feel of it came flooding back. The best songs transport you through time and distance. It was all there.
MISSY RAINES
"Footprints in the Snow" – Bill Monroe
Since I can remember, one of my favorite songs has been the bluegrass classic "Footprints in the Snow." My go-to version would be Bill Monroe's 1952 recording, which features Jimmy Martin on guitar, Ernie Newton on bass, a 14-year-old Sonny Osborne on banjo, and Charlie Cline on fiddle. Monroe actually recorded this song earlier, in 1945, with Tex Willis on guitar, Chubby Wise on fiddle, David ("Stringbean") Akeman on banjo, "Sally Ann" Forrester on accordion, and Bill Westbrook on bass. Interestingly, Bill's 1952 version, still in the key of E, offers a slightly different chord progression than did his 1945 recording. What makes this song so compelling to me is the ringing of the open E chord on the guitar as the centerpiece and the melody that starts low and then soars high and lonesome all around. To me, this song lies at the heart of Monroe's early bluegrass sound — showcasing his unique mix of raw-edged blues with driving stringband music. There's a bounce that occurs naturally with this song, making it irresistible to play. I have had the privilege of performing this on stage with some of the best, including Mac Wiseman, but I think I'd have to list my standout memory as playing this with Kentucky native Don Rigsby (J.D. Crowe, Lonesome River Band) singing lead and the great Bobby Hicks (J.D. Crowe, Ricky Skaggs) on fiddle a few years ago at a music camp in Tennessee.
ROBBIE FULKS
"Lovesick Blues"
"I've Got the Love-sick Blues" was written by a conservatory-trained violinist from Cincinnati named Cliff Friend, and first appeared in the 1922 musical Oh, Ernest!, where it was sung by Anna Chandler. Irving Mills may or may not have contributed to the lyric, but somewhere on his journey from destitute Jewish immigrant to music-publishing titan (with wallpaper salesman and department-store singer in between), Mills added his name to the copyright. Emmett Miller, the proto-country yodeler and blackface comedian, cut it in 1925. Fourteen years later, one drunken Alabamian, Rex Griffin, offered a thoughtful rearrangement on record, and in 1949, another, Hank Williams, recorded a version closely modeled on Griffin's, finally stamping the now simply titled "Lovesick Blues" as a C&W standard.
The long and unlikely path of this song, resulting in a work of entrancing ambiguity, illustrates a happy artistic twist on science's "demarcation problem": A sentiment of both intimate and universal resonance, set in a beautiful chord progression, can belong as easily to Broadway, minstrelsy, country, or even the conservatory. Also, you can't help noticing that few of the people who figure in the above story are what you would call respectable. They were a low-class bunch who, trying to make a dollar, made a monument. I don't know nearly as much about art forms outside country, but I strongly suspect this holds true across all of them.
CHRIS MASTERSON (THE MASTERSONS)
"If I Could Only Win Your Love" – The Louvin Brothers
One song that would qualify as a standard for us would be "If I Could Only Win Your Love." It was perfect when Ira and Charlie Louvin wrote and recorded it in 1958. Then Emmylou Harris and Herb Pederson made it their own when they cut it in 1975. The sentiment of the song and the harmonies are perfect. Eleanor and I sang this song at our wedding before we'd even thought about having a band and making records together. It became part of the template for what we do.
JD McPHERSON
"Rome Wasn't Built in a Day" – Nick Lowe
Though I wouldn't call it a "standard" in the way some Cole Porter tunes are "standards" in the cultural lexicon, Nick Lowe's "Rome Wasn't Built in a Day" is a tune that, for me, sets a Solid Gold Standard in songcraft.
It's romantic, it's funny … in fact, within the bridge, he manages to turn me from snickering at a goofy joke to a dreamy, romantic sigh before two lines have passed. I recorded a stripped-down version a few years back, and it's at the top of the list when we need a ballad in the live set. One of my favorite tunes by a master.
BONUS TRACKS: The Mastersons Step Away From Steve Earle's Band
By Stacy Chandler on October 7, 2022
After Founding Member Steps Away, Steep Canyon Rangers Navigate a New Road


1. To make the pickle and herb dressing, finely chop the shallots and garlic. Chop all the herbs, gherkins and capers. Make a vinaigrette by mixing olive oil, mustard, white wine vinegar and lemon-juice, then add other ingredients and season.
2. For the crispy leeks, slice leeks into ribbons and put through seasoned flour. Fry in a deep-fat fryer at 130 degrees for 2-3 minutes until golden brown. Drain off excess fat and season.
3. For the rocket mash, mix the potatoes with heated butter and cream, and season. Fold in rocket just before serving.
4. To make the skate, mix the polenta and flour and coat skate with it. Pan-fry with a little olive oil and butter and bake at about 230°C/gas 8 for 10 minutes.


text:
Q: Java: Generic Type type mismatch syntax error I have this declaration/initiation written for Java JDK 1.6
Map<String, <? extends List<?>>> groupThemTogether = new HashMap<String, ArrayList<String[]>>();

The error happens at the first comma. The error message is

Type mismatch: cannot convert from HashMap<String,ArrayList<String[]>> to Map<String,List>

Why doesn't this compile?

A: You've got too many angle brackets. Try this:
Map<String, ? extends List<?>> groupThemTogether = new HashMap<String, ArrayList<String[]>>();

This compiles for me.

A: Are you sure of this?
This, similar code, compiles OK for me:
Map<String, ? extends List<?>> groupThemTogether = new HashMap<String, ArrayList<String[]>>();

redpajama_set_name: RedPajamaStackExchange


I want to thank our State Senator Toni Boucher for being such a tireless and energetic advocate for her constituents. I have a keen interest in education issues. Senator Boucher is Co-Chair of the Education Committee in the Connecticut State Senate. Toni has proven to be a bi-partisan leader and a true champion for educational excellence from early childhood to college. Her depth of experience and accomplishments on behalf her district have been exemplary. Thank you, Toni, for all your efforts to bring first class, affordable education to all of Connecticut's children.


text:
Q: If $\delta \colon R[x_1, \dotsc, x_r] \to M$ is an $R$-derivation, then $\delta P = \sum_{i = 1}^r \frac{\partial P}{\partial x_i} dx_i$ Let $\phi \colon R \rightarrow S$ be a ring homomorphism and $M$ an $S$-module. An $R$-derivation $\delta \colon S \rightarrow M$ is a $R$-module homomorphism such that:

*

*$\phi(R) \subset \ker(\delta)$,

*(Leibniz' rule:) $\delta(s s') = s \delta s' + s' \delta s$ for all $s, s' \in S$.
Then, according to the exercises on my lecture notes, if $\delta \colon R[x_1, \dotsc, x_r] \rightarrow M$ is an $R$-derivation, then $\delta P = \sum_{i = 1}^r \frac{\partial P}{\partial x_i} dx_i$. I'm not totally sure what they mean by $dx_i$ here, since I think they don't have defined the operator $d$ as far as I know. I guess it should be just the same as $\delta x_i$?
I'd like to prove this. I thought of doing it by induction: for the case $r = 1$, it is fairly easy to see using the above properties that $\delta P = \frac{\partial P}{\partial x} \delta x$. Then, if we write a multivariable polynomial as $\sum_{j = 0}^k a_j x^j_{n + 1}$, where $a_j \in R[x_1, \dotsc, x_n]$, we may assume that the result holds for $n$ and try to prove it for $n + 1$:
$$
  \delta P
  = \delta\Biggl( \sum_{j = 0}^k a_j x^j_{n+1} \Biggr)
  = \sum_{j = 0}^k \Bigl( a_j \delta(x_{n+1}^j) + \delta(a_j) x_{n+1}^j \Bigr)
$$
… where we may use that $\delta(x_{n+1}^j) = j x_{n+1}^{j-1} \delta(x_{n+1})$ and that $\delta(a_j) = \sum_{i = 1}^n \frac{\partial{a_j}}{\partial{x_i}}dx_i$ (because of the induction hypothesis), but I don't really know where to go from there.
I guess it's a matter of manipulating expressions with polynomials in several variables, but I'm also not entirely sure what the exercise expects me to prove (as I don't know what "$dx_i$" is).

A: Let $$ be a commutative ring, let $A$ be a commutative $$-algebra and let $M$ be an $A$-module.
We abbreviate "$$-derivation" as derivation".
Some general observations.

*

*For any two derivations $δ, δ' \colon A \to M$ their equalizer $\{ a ∈ A \mid δ(a) = δ'(a) \}$ is a $$-subalgebra of $A$.
Consequently, any derivation from $A$ to $M$ is uniquely determined by its action on a $$-algebra generating set of $A$.

*Let us denote by $\mathrm{Der}_(A, M)$ the subspace of $\mathrm{Hom}_(A, M)$ consisting of derivations.
The $$-module $\mathrm{Hom}_(A, M)$ is actually an $A$-module via $(a f)(a') ≔ a f(a')$, and $\mathrm{Der}_(A, M)$ is an $A$-submodule of $\mathrm{Hom}_(A, M)$.
More explicitly, $A$-linear combination of derivations are again derivations.

*If $N$ in another $A$-module and $f \colon M \to N$ is a homomorphism of $A$-modules, then for every derivation $δ \colon A \to M$ the composite $f ∘ δ \colon A \to N$ is again a derivation.
Let now $A = [x_1, \dotsc, x_n]$.
Every $$-derivation $A \to M$ is uniquely determined by the values $δ(x_1), \dotsc, δ(x_n)$ thanks to observation (1).
The special case $M = A$.
Let us consider the special case $M = A$ for a moment.
The partial derivative maps $∂_i ≔ ∂ / ∂ x_i \colon A \to A$ are derivations with
$$
  ∂_i( x_j ) = δ_{ij}
$$
for all $i, j = 1, \dotsc, n$.
It follows from these equations that for every choice of coefficients $a_1, \dotsc, a_n ∈ A$ the derivation $\sum_{i = 1}^n a_i ∂_i$ satisfies
$$
  \biggl( \sum_{i = 1}^n a_i ∂_i \biggr)( x_j )
  = \sum_{i = 1}^n a_i ∂_i( x_j )
  = \sum_{i = 1}^n a_i δ_{ij}
  = a_j
$$
for every $j = 1, \dotsc, n$.
Since every derivation $δ \colon A \to A$ is uniquely determined by its values $δ(x_1), \dotsc, δ(x_n)$, it further follows that every element of $\mathrm{Der}_(A, A)$ is a unique $A$-linear combination of $∂_1, \dotsc, ∂_n$.
In other words, $\mathrm{Der}_(A, A)$ is free as an $A$-module with basis $∂_1, \dotsc, ∂_n$.
As formulas, every derivation $δ \colon A \to A$ is given by $δ = \sum_{i = 1}^n δ(x_i) ∂_i$, or more explicitly by
$$
  δ(p) = \sum_{i = 1}^n \frac{∂ p}{∂ x_i} δ(x_i)
$$
for every polynomial $p ∈ A$.
The general case.
Let now $M$ be an arbitrary $A$-module.
Every element $m$ of $M$ corresponds to a homomorphism of $A$-modules
$$
  f_m \colon A \longrightarrow M \,, \quad a \longmapsto am \,.
$$
According to observation (3) we can use the homomorphism $f_m$ to push forward derivations $δ \colon A \to A$ to derivations $f_m ∘ δ \colon A \to M$.
We denote the derivation $f_m ∘ δ$ by $δ m$, so that
$$
  (δ m)(a) = δ(a) m \,.
$$
We find in particular that
$$
  (∂_i m)(x_j) = ∂_i(x_j) m = δ_{ij} m \,.
$$
Since every derivation $δ \colon A \to M$ is uniquely determined by its values $δ(x_1), \dotsc, δ(x_n)$, we find that every such derivation $δ$ can be uniquely written as a linear combination
$$
  δ = \sum_{i = 1}^n ∂_i m_i
$$
with $m_1, \dotsc, m_n ∈ M$.
More explicitly, the "coefficients" $m_i$ are given by $m_i = δ(x_i)$.
This entails the following:

*

*Every derivation $δ \colon A \to M$ is of the form $δ = \sum_{i = 1}^n ∂_i δ(x_i)$, or more explicitly
$$
  δ(p) = \sum_{i = 1}^n \frac{∂ p}{∂ x_i} δ(x_i)
$$
for every polynomial $p$.

*The isomorphism of $A$-modules $\mathrm{Der}_(A, A) ≅ A^{⊕ n}$ generalizes to an isomorphism of $A$-modules $\mathrm{Der}_(A, M) ≅ M^{⊕ n}$.


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text:
Flower vendor sues Riverside County Sheriff's Department for excessive force, unlawful detention
By Sid Garcia
SOUTH PASADENA, Calif. -- Joaquina Valencia breaks down as she asks for justice for what happened to her in June of last year.
She was outside Perris High School selling flowers and Hawaiian leis at the school's graduation.
According to her attorneys, two Riverside County Sheriff's deputies confronted her, asking for her papers.
RELATED: Sister of man who died after being tased by deputies in Millbrae says video discredits official story
One of her attorneys, Ralph Rios, said video capturing the moment shows a deputy grab her left arm and start pulling on it.
"She has the flowers in her hand and that's when the action takes place. She's grabbed by the hair, pulled down and body slammed to the sidewalk," Rios said.
Valencia is now suing the department for excessive force and unlawful detention.
RELATED: Family of man who died after struggle with Anaheim police wants answers
The Riverside County Sheriff's Department wouldn't comment on the lawsuit, however, a spokesperson said at the time of Valencia's arrest, officers contacted and cited about 15 people for vending without a permit.
The last vendor contacted was Valencia. The department's statement goes on to say while the other vendors cooperated with officers, Valencia -- after giving officers a number of fake names -- was arrested and booked for resisting arrest.
Valencia's other attorney, Luis Carrillo, said the officer assumed that she was undocumented and right away asked her for her papers and preceded to use excessive force.
Carrillo said in that process, he damaged her arm.
RELATED: Vigil held for Hayward man who died in police custody
The Riverside County Sheriff's Department statement goes on to say the video of her arrest released on social media did not capture the other vendors cooperating with the citation process.
The charges of resisting arrest and giving officers false information were later dismissed.
Valencia said she hasn't been able to work because of her injuries and said every time she sees a uniformed police officer, she gets nervous and scared.
los angelesarrestsheriffpolice brutalityexcessive forceriverside county sheriff's department