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photo by James Foster
Jesse Ball Finds The Grace In Being Misunderstood
'Census' is out today
by Kristin Iversen
Familiarity is a hell of a drug. There are those things, those places, those people, those routines we know so well that we come to believe we rely on them, that we need them in order to exist, rather than the other way around. It's a kind of magical thinking, familiarity, even if its central premise is so predicated in the banal. But it's something people seek out: the smooth edges, over the rough; the easy path, over the struggle. We speak in cadences other people will quickly understand, move in patterns at once identifiable, live our lives as if on-script, as if any aberrant moves will send us spiraling into a world we don't recognize anymore, as if we would never be able to understand the differences, as if that's a bad thing.
And yet, it is all too frequent that the familiar makes us, if not miserable, at least complacent, often scared, and definitely conservative. The familiar comprises an often-perverse set of rules, and its existence is dependent on our participation in it, our refusal to accept differences. It suffocates. It makes it impossible to see the details of what's around us, so focused are we on the whole, and how we fit into it. Until something changes, is added or subtracted, bends or warps in such a way to offer a new perspective on that whole, on ourselves.
In Census, his latest novel, Jesse Ball creates a world that plays with the concept of the familiar, bending the rules and warping society's customs just enough to construct a world that is recognizable yet also disconcerting. We know this place. We know these people. We know these words. And yet there's something about the way Ball puts it all together that offers a specifically strange version of reality, one whose oddities offer a new kind of freedom to see and feel things in a heightened way, as an antidote to the way familiarity dulls the senses. It's a liberation of sorts, even if it offers no escape or even refuge from tragedy or cruelty.
But let's start at the beginning. Or actually, before the beginning. Census is dedicated to Ball's older brother Abram, who died at the age of 24 in 1998 when Ball was 21. In an introduction to the novel, Ball explains that this book was inspired by Abram, who had Down syndrome: "What is in my heart when I consider [Abram] and his life is something so tremendous, so full of light, that I thought I must write a book that helps people to see what it is like to know and love a Down syndrome boy or girl." Perhaps this sounds familiar to you. Perhaps you think you know how this book will proceed. Perhaps once you find out that it's a road trip story that centers around the voyage of a dying elderly father and his disabled son, you think even more that you know what is going to happen. But, as Ball also explains in his introduction, "It is not like what you would expect."
Rather, while Ball operates within certain narrative constraints—the father and son are traveling from point A to point Z; they are on a census-taking mission that involves visiting people and tattooing them—there is otherwise a wildness, a refusal to stay within known limits, a potential for rapture, even if it's a quiet one, centered around the love between a father and son, a protector and the protected. What is not in this book is any kind of mawkish sentimentality and a sense that a person with Down syndrome is little more than a vessel for teaching other, "normal" people a lesson about life or love. Instead, Ball offers a chance to reflect on the ways in which familiar language is wholly inadequate in describing those things that are unfamiliar to us, and that by embracing discomfort, or at least its possibility, we might have a better chance of finding and offering compassion and love, and even a sense of grace.
Below, I talk with Ball about Census, the dream of being a traveler, and how to "be graceful in [being] misunderstood."
At what point did you know that this was a book you wanted to write, one centered around your brother—or, at least, the absence of him?
I think the time that elapsed between when I came up with the idea, that I should write about him, about the Down syndrome character in the book, and the time that I actually wrote it, it might've been less than a month. So, it was short in terms of the idea, but I would say the main share of the work had been put in when I was a child. Because—what do they say?—the thoughts of youth are long, long thoughts. You know? The time that I spent thinking about my brother and thinking about what my life with him would be like, it was just an enormous amount of time. He was in the hospital from when I was 12 until 21. And I was with him all the time. So, a lot of my childhood just really revolved around him. But the important part of the book really was coming up with the idea, this conception of the way the book could be executed, which was writing about him without having the character be center stage. And so, I don't think that it would've been possible to write the book without that. It would've been too defensive of a task.
A lot of people, whether it's as readers or even in how they approach life, and maybe in both ways, get really scared when things aren't perfectly explained to them. How do you approach that as a writer?
I have some rules that I try to follow in my life, and one of them is to try to be graceful in allowing myself to be misunderstood. Not just in an artistic sense but in all kinds of senses. You and someone else are walking to the same chair in the DMV and then you swerve away because you're afraid they're gonna think that you're trying to steal their chair. You know, the constant miscommunication and misunderstandings that erupt in our modern life. So, to be graceful and allowing yourself to be misunderstood is one of the things that I try—and fail at. But, in my work, I find that it's always been very difficult to say even the simplest thing and have it be understood. My agenda, the assumptions, and the basis of what I see when I look at the world are so inherently different from the consensus version in Hollywood and in the books that win the Pulitzer Prize. And the prevailing narrative, I think, is so misbegotten and mistaken that when I present just a very simple thesis, it's hard for people to understand it because I want to throw out a lot of basic hierarchical dynamics that exist in modern life. I think that they're unnecessary and that we shouldn't start with them as assumptions. That's one of the things that really drew me, within this book, as a mechanism to the depiction of the relationship to a person with Down syndrome.
Of course, people with Down syndrome are not all the same; like anyone else, they're quite different. But, one of the things is that some of them are not as fluent in the cultural and human scripts of behavior that we all can wear as masks. They make it so that we don't actually have to interact with each other when we're interacting with each other, you know? Like, I speak to the bank teller, and there are all these ways that I speak to the bank teller as such that I don't have to be myself when I'm standing there, or I... maybe I even have someone over at my house for dinner, and I'm sitting there across the table from them, and everyone's so practiced in being who they're purporting to be, that no one is affected by the other person. But, because some people... obviously my brother, he was not, insomuch that he was aware that these scripts did exist, he did not know them well enough to use them all the time. So, he would be constantly off-script in how to behave with people. That meant he would meet real people. When he met someone, he would be meeting the real person, not the fake person. But if I met them, I would be meeting the fake person. So I thought that was just fascinating.
The road trip that the father and son are on makes for a perfect basis for them to have as many interactions with as many different types of people as possible. Did you always know it was going to be a road trip that they would embark upon?
I almost never know very much about the book that I'm gonna write when I sit down to write it. I have a basic structure, like, the book will take place over three days. From maybe some kind of geographical thing. But, the substance will be something that arises under the pen, under the fingers that are typing. I think part of that is because of the way in which I tend to write. I write the least I can, which... I write the most of what I feel sure of. Which is the least that I can write. And I put that down. So maybe it's just the first sentence or the first paragraph. And then I look at it and I don't think like, Oh, the world that I have in my head about this book is the world that's gonna go on the page. I look at the page and say, "What is that?" Okay, so I had ideas about it, I had intentions when I put it down, but that's not important any longer. Now there's something there, and what is it? And then, looking at it and deciding what it is, the next thing that's possible just appears. And then I write the next thing down. And I ask myself, Oh, this thing I just wrote down: What is it? That allows me to not have to fear that the world that I created in my head and then tried put down on the page won't appear because it's never about the planning of some world. It's about this simple speech on the page. I didn't know that it was gonna be a road trip, but then it just ended up that that was a reasonable way to proceed.
It was interesting to have such a defined structure in the sense of literally going from A to Z, but within that structure are so many surreal elements. Just, things that wouldn't align at all with what we might expect as recognizable. But you had nothing of it in mind when you started writing?
Really nothing. The culture and the cities and the towns and places in my books, even though it may seem to be far-fetched, or not the present, really, it is the present. It's always the present, it's just that I refuse to include these corporatized elements. So, simply by removing the corporatized elements, we're left with this very strange landscape. And I feel that that's the landscape that, day-to-day, I inhabit. That's the one I'm trying to move through without touching these poisonous products, this poisonous advertising. It really is just a very rigorous factual account of a day-to-day life.
After finishing it, I just thought, I need to just be completely offline. I had such a profound sense of wanting to escape all of the trappings of what it is to be... participating in society right now.
It's almost like we should have some kind of Geiger counter that we're given that ascertains value. So, it's okay to go to this website if you press a little button that goes [beeping noises] and there's actual value there. There's certainly maybe one of the hundreds of things on the internet that are magnificent and amazing. You would, of course, want to go and read this website or something. But, all the rest of it... it's just so confusing because it's made to prey on us. Twenty minutes have gone by, and you've been clicking through ads about soap and of trucks, in order to get to somebody making some nonsensical video statement, which you weren't even interested in watching. [laughs]
It's really fascinating and tragic because we're aware of it and we can't... it's not even that we can't help it, we just succumb to it in this way.
If you're a potter, then a lot of your time is spent at the wheel, you use your hands, the wheel is turning, your fingers are in the clay; for writers, we're not so lucky. You can write a book by hand, but it's tedious to do so. And in some cases, it's certainly worthwhile, but that would be more like some artistic performance, being put in a room with a coyote or something. So, I think that the dangers of this computer-borne illness affect writers particularly. It's pretty tough. Also, if you're writing, just trying to make a life selling articles, you kind of feel like you need to know what people are thinking and saying, which then leads to this confusing terrain of like, Oh, this is research for me. [laughs]. Which is not... it can be a little too much research.
There is a part in the book wherein you write about how the dream of the traveler is "finding the place you await, does in fact lie in wait for you," and I thought that was a very beautiful and true thing about what we're all searching for in our lives, even when that thing that awaits us isn't necessarily a good thing. There is a freedom that exists for both the father and son in this book, in that the father has this knowledge that what awaits him is his death and the son just doesn't have any of that. They're both free from even the fantasy of thinking that there's some easy paradise that's ahead of them, and so even if it's for different reasons, they both have a similar sense of liberation.
I think for me it's interesting because the position that I was in, writing it, is sort of... is that synthesis. Naturally, because my brother passed away many years ago. All the uncertainty and suffering and—I mean, he was on a ventilator and quadriplegic in this hospital, and there were many, many operations, and quite a lot of suffering and pain that he went through—not only has it happened but now it's happened long ago. So, I know even more so than looking to the future and being able to guess at what might happen as the father is doing. I know, actually, and I was there. I did not feel it, but I empathized with him as he felt these things, and that battlefield is already been almost erased by my footsteps. But then on the other hand, of course, my brother is still present in me as a force. And I don't know what my future life will be like, and I try—and have tried for a long time—to be more like him and his outlook. So, it really is a lot of the generative force of the book that comes from that dichotomy and it resolving itself and then failing to be resolved and then resolving itself and failing to be resolved.
That quote that you said, about the traveler, immediately reminded me of the authors that end up always looming up in my heart and appearing on the page. So, for instance, there's that bit about the dog and the scab, and that's very clearly something from The Castle, some Kafka-esque thing. So that was just popped up in my face and then brought it back to that. I mean this traveler thing is so clearly [Italo] Calvino. It's nice to have these... I had no anxiety about influence, I think it's... nothing is yours anyway. So, it's just, there's this panoply of voices that ring out from the space behind your head, and no one of them is yours. They're all borrowed.
One of the most meaningful parts of creating something, I think, is getting to reflect on all of the other works that you've been influenced by. It makes everything feel part of something larger and moving and growing. I think not acknowledging that is a weird sort of shame-based thing. Which, shame is something you deal with in Census, in terms of how we treat differences. We think of disabilities as something to solve. Do you think that this is just teaching people less compassion or responsibility to other people?
I think everyone is lessened by these conceptions that reduce human life to some kind of game with discrete goals. With success or intelligence, or whatnot, you have a child and you think, the best thing for this child would be if it is beautiful and wealthy and intelligent and charismatic, and all these positive qualities. But, in fact, we don't know what makes a life better or what makes a life worse. It's not really clear. Even something so simple, like, if a child dies at five, and lives in some way until five, and then somebody lives a life that they're a business magnate or Steve Jobs or something, it's not really possible to say that Steve Jobs had a better life than this unnamed child that died in the hospital at five. We just don't know what makes it better or what makes it worse. That hasn't been... we behave as if that's been philosophically solved. But certainly, it was not. I think if I could make a guess what makes life more worthwhile and more valid... If we could measure some kind of unit of vividness, or some, defamiliarization, that a person has a kind of curiosity and then the bravery with which to use it to address the world, with this curiosity. The persistence to do that, year after year. And just a few years of that are certainly superior to many years of just being a robot that eats and shits, which is how a lot of people live. So, I think that looking at people as—even the term "disability" speaks to that, how it's fully superior to have ability—and, of course, to some degree, it's true because, from a survival standpoint, a person with Down syndrome is gonna have difficulty surviving in an Ice Age. But the fact that we're not in an Ice Age, we're in this time now, where there is actually enough food for everyone in the world, if only we would distribute it properly—we don't. So, of course, there's starving people everywhere and inequality, but as we stand, it's not clear whether a person who is deaf is having an inferior life experience to someone who can hear. That, at least to me, that hasn't been proven. So to pretend that it has is just an error. So when you base your life on... I'm a fairly scientific person, and I think just basing your life on that data is such a mistake. So the validation of able-bodied people and the demeaning of people with disability is just bad data. It's just an error.
Census is available for purchase here.
6 Shows To Binge Once You've Finished 'The White Lotus'
Anna Delvey Is Getting A Reality TV Show


Innovative Interior Designs: Tip of the day: Add living art!
Tonight's tip of the day is to add living art to your space.
This is a beautiful framed living art piece that you can make or buy yourself and add to any space for a zesty pop of color and fragrance.


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Trains from Cologne to Kleve
Cologne to Kleve
Take the train from Cologne to Kleve in 12 hours 25 minutes
If you want to travel from Cologne to Kleve by train, you've come to the right place.
You can expect the journey from Cologne to Kleve by train to take around 15 hours 57 minutes. If you want to get there as quickly as possible, it can take as little as 12 hours 25 minutes on the fastest services. You'll usually find around 25 trains per day running on this route, which spans 745 km. You'll have to make 3 changes along the way on your journey to Kleve.
Use our Journey Planner at the top of the page to search for cheap ticket prices and we'll show you how much you can save. Tickets from Cologne to Kleve start from $233.91 when you book in advance.
If you want to know more about the journey, keep reading for train schedules, tips on finding cheap tickets and FAQs, including first and last train times. Want to go straight to booking? Start a search with us today!
Cologne to Kleve by train
It takes an average of 15h 57m to travel from Cologne to Kleve by train, over a distance of around 463 miles (745 km). There are normally 25 trains per day traveling from Cologne to Kleve and tickets for this journey start from $233.91 when you book in advance.
Cologne to Kleve train times
Check out the next trains departing from Cologne to Kleve for Tuesday Jan 31st 2023. For the full train timetable/schedule, or to search for a later time or date, click here.
08:40 21:35 12h 55m, 8 changes
Cheap train tickets from Cologne to Kleve
The price of train tickets from Cologne to Kleve starts at $233.91 one-way for a Standard Class ticket if you book in advance. Booking on the day is usually more expensive and costs can vary depending on the time of day, route or class.
Most of the train companies across Europe release their tickets around three to six months in advance, many of which can be cheaper the earlier you book. If you know the dates you want to travel, you may be able to find some cheaper train tickets from Cologne to Kleve by booking early.§
FAQs for Cologne to Kleve
Want to know more about your journey from Cologne to Kleve? We've compiled some of the most frequently asked questions by our customers to help you plan your journey.
How long does the train from Cologne to Kleve take?
The average journey time by train between Cologne and Kleve is 15 hours and 57 minutes, with around 25 trains per day. The journey time may be longer on weekends and holidays, so use our Journey Planner on this page to search for a specific travel date.
What's the fastest journey time between Cologne and Kleve by train?
The fastest journey time by train from Cologne to Kleve is 12 hours and 25 minutes.
How much does the train from Cologne to Kleve cost?
Train tickets from Cologne to Kleve can start from as little as $233.91 when you book in advance and are usually more expensive when purchased on the day. Prices can also vary depending the time of day, route and class you book.
Is there a direct train from Cologne to Kleve?
No, there are no direct train services from Cologne to Kleve. Travelling from Cologne to Kleve by train will require a minimum of 3 changes.
What time does the first train from Cologne to Kleve leave?
The first train from Cologne to Kleve leaves at 05:20. Times and services may vary during weekends and holidays.
What time does the last train from Cologne to Kleve leave?
The last train from Cologne to Kleve leaves at 22:30. Trains that depart in the early morning hours or very late evening may be sleeper services, time and services may also vary during weekends and holidays.
What's the distance between Cologne and Kleve by train?
Trains travelling from Cologne to Kleve cover a distance of around 463 miles (745 km) during the journey.
The information provided is calculated based on scheduled train services for Cologne to Kleve for a typical week day using timetable data for 01/31/2023. On weekends, holidays or other exceptional times, fewer services may be available. The fare range provided has been found by our customers on Trainline on 05/27/2021 for travel on 05/27/2021 and for adult tickets in economy, discount cards and coach journeys excluded.
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Bloomberg. (2013). State judge halts Bloomberg ban on large sugary drinks in New York City.
approach. J Health Econ. 2012;31:219-30.
CBS BOSTON. (2011). Study: Boston Public Schools Sugary Drink Ban Is Working.
Cawley J, Meyerhoefer C. The medical care costs of obesity: an instrumental variables approach. J Health Econ. 2012;31:219-30.
Comments: Comments are provided in the Reason for Decision. Comments are provided in the Reason for Decision.
Proposition made it clear the framework/evaluation for this debate should be made on utilitarian grounds, where we look to provide happiness for the largest amount of people. At best, it seemed like the Opposition said that the banning might not work, which the Proposition responded to citing evidence, and extending the argument, and making it clear a utilitarian perspective is best. Therefore, I came away from the debate thinking the highest chance of providing happiness is with the Proposition.
Overall, I thought it was a good debate, and there was a fair amount of clash and responsiveness from both. Good job!


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SLC Awards
H2O PUBLISHING TO LAUNCH CONTRACT CATERING MAGAZINE
H2O Publishing has announced that popular monthly magazine B&I Catering will be evolving into a huge new multi-sector title.
Launching in October, following a merger with H2O titles EDUcatering and Sports & Leisure Catering (SLC), Contract Catering Magazine will cover everything across business and industry, education, sports and leisure, healthcare, and government and defence food and drink provision.
The result will be the only title in the UK to focus solely on the world of contract catering. The magazine has an impressive pedigree, combining over a decade's worth of experience of publishing B&I Catering, EDUcatering, SLC and FSM magazine – the launch will offer unrivalled coverage of this enormous industry.
This new monthly title will have a circulation of over 5,000, serving an industry that is worth in excess of £11bn. It will be complemented by the Contract Catering Awards 2021, which will replace the hugely successful FSM Awards that have been honouring the industry for the past decade.
Editor Henry Norman said: "I joined H2O Publishing over 10 years ago to edit the then new FSM Magazine, covering the whole of contract catering. Through Contract Catering Magazine, executive editor Jane Renton and I are delighted to be returning to our roots, exploring and reporting on this hugely successful and innovative industry once again. We can't wait for you to pick up the first issue."
To ensure you receive a copy of the new Contract Catering Magazine, you can request your free subscription today by clicking here.
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Issue: MAR/APRIL 2020
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Home » ZOE ZOBRIST SHARES "FIRE" LIVE PERFORMANCE VIDEO
ZOE ZOBRIST SHARES "FIRE" LIVE PERFORMANCE VIDEO
Leave a Comment on ZOE ZOBRIST SHARES "FIRE" LIVE PERFORMANCE VIDEO
Singer-songwriter Zoe Zobrist rounded out last year with the release of her single "Fire." Today, she presents a video showcasing an intimate performance of the track in its most distilled version, premiering exclusively on Stage Right Secrets.
Listen to "Fire" on all streaming platforms:
https://smarturl.it/ZZFire
Watch the "Fire" live performance video:
The sparse, melancholic track lends itself well to the stripped-back performance that features Zobrist relying on just her guitar and vocals. "'Fire' is about the uncertainty of loving someone. Life happens and nothing is guaranteed but we choose to love them anyways," she writes. "It's about how that doesn't go away through difficult times. It's such an incredible thing that we can see someone and be seen in each others entirety and stick through that."
Hailing from Dallas, Texas and now living in Los Angeles, singer-songwriter Zoe Zobrist crafts songs that are as personal as they are dynamic. Like many of her contemporaries, her love affair with music began at an early age. She was just 5 years old when she learned to play piano and she began writing songs only 2 years later. But her passion was fully ignited when she stumbled upon her father's 70s-era record collection in the garage of her childhood home and fell in love with the hard-hitting choruses and memorable melodies of classic rock.
She debuted her first single in 2018 and has since gone on to rack up over 40K monthly listeners and praise from publications like Under The Radar Magazine and Culture Collide. She has also performed and toured across North America, gracing the stages of iconic music venues like The Viper Room, The Troubadour, and Dallas Fort Worth's Six Flags Amphitheater. In 2019, she was featured in John Mellencamp's tour documentary that played on-screen during his "John Mellancamp Show" North American Tour.
Zobrist has spent the past few years refining her sound and experimenting with different styles, ultimately leading to her unique blend of classic rock inspired indie music. Her next single, "Fade Away," is set to release on February 26th and marks another defiant, deliberate, and deeply personal addition to her fast-growing repertoire.
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The family of late Hon. Olatoye Sugar has announced Friday, May 3rd, 2019 as unanimous picked date for the remains of late Hon. Temitope Olatoye to be interred, Westerndailynews confirmed.
The family of Lagelu local government born politician said, the programme of the burial will starts with the commissioning of completed projects of Late Sugar.
Hon. Temotope Olatoye Sugar, an honorable who represented Akinyele/Lagelu federal constituency is said to be a man of performance and honour during his live time, as an honorable politician, he had completed and commissioned many projects in his constituency and still having many completed projects to be commissioned before his untimely death.
29th of April: Commissioning of a block of 20 Toilets at Durbar area of Oyo East local government.
Commissioning of a block of three Classrooms at Aroro Makinde area of Akinyele local government.
30th April: Commissioning a Public Health Centre at Ayepe area of Egbeda local government.
Commissioning of a reconstructed Chief Magistrate Court at Ejioku area of Lagelu local government.
1st May : Commissioning of Olatoye Sugar Memorial Hall at University of Ibadan, UI, Center for Peace and Conflict Studies.
2nd May : Hon. Sugar's hotel, Everlasting garden will be centre for the Christian Wake – Keep in the evening as the Oyo State House of Assembly will projectss late Sugar remains in the morning during their plenary session.
Late Hon. Temitope Olatoye Sugar will be buried on Friday in yet to be disclose venue.


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- No changes yet.

# v3.1.12 (2018-01-25)

- Remove dependency on a pty. We no longer need to scan the pty output
  for authentication warnings. The pty module does not support Node.js versions
  we still use, dating back to 0.10.

# v3.1.11 (2018-01-25)

- Fixes fetch and update in the absence of version tags. Both of these commands
  now update the snapshot of the idl registry to reflect the current master
  commit. It is no longer possible to fetch and receive a stale version of a
  service's IDL directory, since we fetch based on the current version instead
  of the version at the time of the last update.
- Fixes idl for Mac OS X High Sierra. This OS update breaks the pty.js library
  idl uses to hide git command output from the user while still being able to
  monitor the terminal output for PAM authentication prompts. Replacing this
  with node-pty, which is still maintained, addresses the problem.

# v3.1.10 (2017-11-29)

- Addresses a bug in collecting includes from multiple IDL files in the same
  directory. (@josiabgrace)
- Threads --git-debug flag, so we can see git log output when debugging. (@pvonr)

# v3.1.9 (2017-09-28)

- Fixes a bug where IDL would fail to update the cache repository. (@dnathe4th)
- Fixes a bug in displaying time since last IDL package sync. (@pvonr)
- Stops pushing timestamp tags.

# v3.1.8 (2017-07-24)

- Uses shallow clone and fetch to expedite all IDL commands that interact with
  their IDL registry. (@kriskowal)

# un-numbered release on master

- Filters yab files from IDL lists. (@prashantv)

# v3.1.7

- Fixes a bug when an IDL depends on another IDL that is not in the root of the
  dependency's repository path. (@ankits)

# v3.1.6

# v3.1.5

- Bug fix to address issues with EMFILE errors
  (back-off on depletion of file descriptors).

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I found this product at Photo Booth Nook and thought you might find it of interest.


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Nordfjord District Court () was a district court in Sogn og Fjordane county, Norway. The court was based in the village of Nordfjordeid. The court existed from 1591 until 2005. The court had jurisdiction over the municipalities located in the Nordfjord region. This included the municipalities of Selje, Vågsøy, Bremanger, Eid, Gloppen, Hornindal, and Stryn. Cases from this court could be appealed to Gulating Court of Appeal.

The court was a court of first instance. Its judicial duties were mainly to settle criminal cases and to resolve civil litigation as well as bankruptcy. The administration and registration tasks of the court included death registration, issuing certain certificates, performing duties of a notary public, and officiating civil wedding ceremonies. Cases from this court were heard by a combination of professional judges and lay judges.

History
This court was established in 1591 when the district court system was implemented in Norway. On 1 January 2005, this court was merged with the Sunnfjord District Court and most of the western part of Ytre Sogn District Court to form the new Fjordane District Court.

References

Defunct district courts of Norway
1591 establishments in Norway
2005 disestablishments in Norway

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Copyright © 2019 Ten Hikari Books. All rights reserved.
This version (there are several) of The Art of Peace is of high importance to a person's study of Aikido as a daily resource.
The Art of Peace begins with Morihei Ueshiba's brushed signature which means "Abundant Peace." Part One, Morihei Ueshiba, Prophet of the Art of Peace is a new biography of the Founder of Aikido, O'Sensei. Professor John Stevens Sensei manages to infuse each essay or book he has written about the Founder with fresh concepts and information. Part One ends with O'Sensei's Five Principles of Aikido with Aikido as the Way of Love.
Part Two is preceded by another calligraphy piece by Morihei Ueshiba, the character for "Love." In an essay on The Art of War versus the Art of Peace, this section of the book provides readers with important information on how O'Sensei perceived Aikido, along with some of his advice to students.
Part Three, The Art of Peace, is preceded by O'Sensei's calligraphy for "hidden" and presents doka, the Founder's "poems of the Way". This section is filled with O'Sensei's calligraphy and important information regarding the study and practice of Aikido, from how to perform an Aikido technique to learning from nature.
A treasure house of information, teachings and art, The Art of Peace is a must have for daily practice for sincere Aikido practitioners.


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Fenichel, Otto
FENICHEL, OTTO (1897–1946), Austrian psychoanalyst. Born in Vienna, he moved to Berlin in 1922 and studied at the Psycho-Analytic Institute under Max *Eitingon and in 1926 joined the staff. With the coming of the Nazi regime he left Berlin in 1933 and went to Norway and Prague, where he taught. In 1938 he went to the U.S. and taught in Los Angeles. He wrote two important textbooks on psychoanalysis, The Outline of Clinical Psychoanalysis (1934) and The Psychoanalytic Theory of Neurosis (1945). Some of these contributions have become classics in their field, for example, "Elements of a psychoanalytic theory of anti-Semitism" in which he tried to trace the sources of anti-Jewish prejudice. The Psychoanalytic Theory of Neurosis is a systematic, comprehensive, and detailed study of every major form of neurosis from a psychoanalytic point of view. The theoretical formulations are painstakingly worked out along with old, new, and controversial points of view. Freud's thinking is followed historically on each issue, along with the major contributions of Karl Abraham, Sándor Ferenczi, and Ernest Jones. In addition, there is an encyclopedic bibliography containing more than 1,600 items. Fenichel also wrote a short monograph, Problems of Psychoanalytic Technique (1941), which is a classic in its systematic clarity and scientific discipline. His collected papers were published in two series in 1953–54.
[Hilel Klein]
"Fenichel, Otto ." Encyclopaedia Judaica. . Encyclopedia.com. 19 Jan. 2023 <https://www.encyclopedia.com>.
"Fenichel, Otto ." Encyclopaedia Judaica. . Encyclopedia.com. (January 19, 2023). https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/fenichel-otto
"Fenichel, Otto ." Encyclopaedia Judaica. . Retrieved January 19, 2023 from Encyclopedia.com: https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/fenichel-otto
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Home>staples of irish culture
staples of irish culture
20 Traditional Irish Food for St. Patrick's Day - Irish Dishes- staples of irish culture ,Feb 28, 2021·Still, there are plenty of distinctly Irish recipes that have long been staples of the culture—from soda bread to a seriously tasty trifle. Whether you're looking to celebrate your heritage or host a super authentic St. Patrick's Day party , we asked Irish …Vince Staples, Regular Genius | The FADERJun 20, 2016·Vince Staples, Regular Genius. North Long Beach was Vince Staples's whole world growing up. Now that the 22-year-old has escaped its grip, …
Australian food: 40 dishes locals call their own | CNN Travel
Dec 18, 2017·Battered and fried and served with chips, or pan-fried with herbed oil on a bed of mashed potato with salad, this is a versatile, meaty fish and popular Australian food. Get it: Golden Sheaf Hotel ...
Irish Cultural & Heritage Center - Performance & Event ...
Irish Cultural & Heritage Center. March 13 ·. As we continue on forward in these crazy times, we want to bring to your attention, our Annual Shamrock Drive! As most of you may know, The Shamrock Club Post-Parade Party being cancelled is a huge hit to our venue (As well as The Shamrock Club).
What is Appalachian Culture? - Welcome to UACC
Jul 24, 2015·Gene Wilhelm's theory of Appalachian culture is that it is a way of life and thinking that developed in the 1700s when the Scotch Irish and other British Isles and German people came into the valley and ridge country of Virginia and North Carolina and lived with the Indians. We thus became "Indianized white people.".
Island Ireland: Irish Folk Culture
You're very welcome to the Island Ireland directory for Irish folk culture. The following hand-picked links will take you to resources on Irish cooking, customs, myths, folklore, Celtic spirituality, old dress and costume and more. Here's our own collections of Irish words of wisdom.
C.S. Lewis - Quotes, Books & Religion - Biography
Oct 30, 2017·Early Life. Clive Staples Lewis was born in Belfast, Ireland, on November 29, 1898, to Flora August Hamilton Lewis and Albert J. Lewis. As a …
18 Best Irish Movies - Great Movies to Watch on St ...
Mar 15, 2019·The traditional Irish pub is a cultural institution: whether for the character, the company, or a perfectly pulled pint of Guinness. ... Starring Hollywood staples John Wayne and Maureen O'Hara ...
How the Irish Became White - Pitt
Becoming white meant losing their greenness, i.e., their Irish cultural heritage and the legacy of oppression and discrimination back home. Imagine if the Irish had remained green after their arrival and formed an alliance with their fellow oppressed co-workers, the free blacks of the North.
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Irish Contributions to the American Culture Mother Jones. The Irish immigrants who entered the United States from the sixteenth to twentieth centuries were changed by America, and also changed this nation. They and their descendants made incalculable contributions in politics, industry, organized labor, religion, literature, music, and art. ...
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Irish cuisine is the style of cooking that originated from the island of Ireland or was developed by Irish people.It has evolved from centuries of social and political change and the mixing of the different cultures in Ireland, predominantly from nearby Britain and other European regions. The cuisine is founded upon the crops and animals farmed in its temperate climate and the abundance of ...
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The Irish Cultural Centre of New England (ICCNE) promotes and organizes Irish cultural, educational, sporting, and social events, aiming to establish and sustain a facility where current and future generations of the New England community can participate in activities that promote Irish culture and heritage.
Mon, Mar 14, 2022 / Thu, Mar 17, 2022 – Canada. St Patrick's Day is a global celebration of Irish culture on or around March 17. It particularly remembers St Patrick, one of Ireland's patron saints, who ministered Christianity in Ireland during the fifth century. St Patrick's Day is celebrated in countries with people of Irish descent.
Irish History: The 1800s - ThoughtCo
Jan 29, 2020·Wolfe Tone was an Irish patriot who moved to France and worked to enlist French help in an Irish rebellion in the late 1790s. After one attempt failed, he tried again and was captured and died in prison in 1798. He was regarded as one of the greatest of Irish patriots and was an inspiration to later Irish nationalists.
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May 23, 2013·Crisps, rashers and tea - Irish staples that emigrants really miss Technology can make us feel closer to home but there's certain food items that'll transport you …
Ireland Forever: 3 Staples of Irish Pride
Mar 02, 2018·Scroll down to see 3 staples of Irish pride, and how you can share it in style all year! The Claddagh One of the most iconic symbols of Ireland, the first appearance of the Claddagh traces back to jewelry makers from the early 1700s in the …
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Feb 13, 2021·Stuart Staples: "In the back of a London cab driving through the city at night is a very special space for me." You'll Have to Scream Louder, a 1984 post-punk anthem, means a lot to Staples ...
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Top 10 traditional Irish foods to try - BBC Good Food
The Irish weren't the only ones to discover the delights of black pudding (pork meat, fat and blood mixed with barley, suet and oatmeal in an intensely flavoured sausage). White pudding (similar, but minus the blood) may be less common around the globe, but no full Irish …
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A tele-call with Rose De Dan of Wild Reiki and Shamanic Healing; Susan Eirich of Earthfire Institute; and Mia Schiff, Pipe Carrier for the Lakota Sioux tradition.
Earthfire Institute has been gifted a white buffalo calf by a Native American retreat participant. The White Buffalo Calf Woman came to the Lakota people at a time they were in conflict and she brought unity – teaching people the correct way of interacting with each other and with the land – how to walk on Mother Earth in a sacred manner.
Earthfire's vision is one of teaching people how to come back into circle through animals, enlarging our sense of community to include all living beings. Rose De Dan's vision is one of bringing people back into relationship with wildlife; gathering Peoples of all nations (including the animal nation) together in ceremony to restore peace, harmony and balance to the Earth.
Because of her mixed heritage (98.5% bison, 1.5% domestic cow) our little calf is uniquely suited to Earthfire's work of bringing people together into community. Though not 100% genetically pure we still consider her to be a sacred messenger and want to treat her accordingly.
We are being guided to find a name for her – and because the white buffalo calf represents bringing together people from different paths – to open the search for her name to the community.
To achieve this Rose De Dan and Mia Schiff will take participants on a shamanic journey during the one-hour telecall to see what guidance can be obtained about the white buffalo calf's name and purpose. This virtual gathering will bring together North and South American shamanism, people and animals, domestic and wild. The guidance and energy obtained during this call will then be included in ceremonies led by Rose at the upcoming event A Walk on the Wild Side at Earthfire Institute 2012 in late September.
After the call concludes you are invited to share what you experienced and the messages you received. Comments can be made at the Earthfire Institute community message board earthfireinstitutecommunity.ning.com or emailed to info@earthfireinstitute.org.
All proceeds from this call go to support the animals of Earthfire.
To learn more about Rose De Dan, please visit www.reikishamanic.com.


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(this is the version of June 19, 2002) NEW SITE COMING JANUARY 2003 complete revamping... Many new resources to serve the 9/11 Truth Movement...
9/11 Skeptics Unite ? ?What is the true story of the Sept. 11 attacks?
We do not know, because it is shrouded in secrecy. But thousands of 9/11 Skeptics on the Internet have used evidence from the mainstream and foreign press to demonstrate beyond doubt that the official story is incomplete, inconsistent and rife with lies. In March and April 2002, Congresswoman Cynthia McKinney (D-GA) became the first American politician on the federal level to question the official story and suggest that elements of the U.S. government may have known of the attacks in advance. On May 16, the White House was forced to admit receiving warnings, in the months before Sept. 11, of a Qaeda plot to hijack airliners in the United States. This admission was coupled with the claim that no one in the administration could have guessed that these planes would be used in suicide attacks - a demonstrable falsehood. Since then, many revelations from government agencies have corroborated the 9/11 Skeptics' claims that pre-Sept. 11 investigations by the FBI, which might have prevented the attacks, were obstructed from within the government. The government also confirmed that the war in Afghanistan was prepared in advance of Sept. 11, and that a finished plan for the war was presented to George W. Bush two days before the attacks on New York and Washington. By then, large British and American forces had already arrived or were underway to the Central Asian theater. In an effort at damage control, the revelations of the past month have been limited. Congressional investigators and the mainstream U.S. media have made little effort to connect the dots logically, which would yield an even more troubling picture of the government's actions at the highest levels. Attention has focused instead on middle-level "failures" of bureaucracy and analysis, with an accompanying campaign to justify more radical surveillance and police measures and the creation of a new Homeland Security Department. But the revelations have served to support many of the cardinal assertions of the oft-maligned 9/11 Skeptics movement. On June 10, C-SPAN refused to broadcast a major press conference in Washington organized by former government officials, relatives of 9/11 victims and investigative journalists, who posed vital "Unanswered Questions" about the attacks and their true background. This setback was predictable; the issue is still too controversial for the mainstream media. 9/11 Skeptics should not therefore despair. The time has come for skeptics to unite, to speak openly, to stay loud and proud, and to employ creative, determined and peaceful means with heart and humor, to force disclosure of the full story of the Sept. 11 attacks. History is with us!


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Ormaxsläktet (Parapholis) är ett släkte av gräs. Ormaxsläktet ingår i familjen gräs.

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Playtime Productions provides quality speech and drama resources for drama teachers and schools. We are therefore always interested in new ideas, original short stories, poetry and one act plays, character recitals, drama activities and creative pieces relating to speech and drama, especially items that can be used across the curriculum.
Adapt your short story for stage.
Provide stage directions for your play, character recitals, skits.
Suggest and supply illustrators and artwork.
Advise on Cover Design and Inclusions.
Provide you with an International Standard Book Number (ISBN).
Provide you with a barcode.
Attend to your Legal Library Deposits.
Organise your Book Launch and Publicity.
Please Note: Playtime Productions is not a distributor. We can guide and assist you in bringing your written work to publication stage. It is then the responsibility of the author to place the book with agents or booksellers.
However, if Playtime Productions becomes the publisher of your book, that book can be placed on the Playtime Productions website under the category of Drama Books. Also, the availability of the newly released book will be made know to the book suppliers that are currently purchasing books from Playtime Productions and a copy of your book will be mailed to them for perusal.
Playtime Productions does not charge for a brief appraisal of submitted work. Assessment is made upon the appeal of the content and on its adaptability to stage or performance. If it is thought to have potential for possible publication, under the umbrella of Playtime Productions, then discussion will be entered via telephone, email or a meeting. The publishing process, time lines and Author's anticipated costs and outlays will then be explained in detail. If the manuscript is not considered to be acceptable for publication, Playtime Productions will notify the writer by email.
To submit your work - Please download the MANUSCRIPT APPRAISAL FORM and forward the completed document with your submitted piece. Works will not be viewed without this form. Manuscript should be presented on white A4 paper, using one side only, double spacing between lines and a generous margin space on each side. Works will not be accepted by email.
Please mark envelope 'Manuscript Appraisal'. If the work is to be returned, please enclose a pre-paid postage pack.
Download MANUSCRIPT APPRAISAL FORM here.


PICZ is a community of photographers sharing our passion for photography. The english speaking club organizes photo activities in and around Zurich open to everybody interested in photography. Our goal is to promote and develop the practice of photography. Joining people from different countries and with different cultural background is one first step to reach this goal.
PICZ promotes the practice of Photography through its activities (click on the image to see details).
LABS AND STUDIO: We group our activities by LAB in order to cover different aspects of photography: Analog and Digital, Creativity (it is not only about technique!) and the social and networking part (we love to share, get together and speak about photography, gears, etc.!.. also just to meet and greet around a nice drink ;)) Each lab has a leader who keeps a certain level of attention to his aspect of photography.
In the labs forums, you will find discussions, workshops and other activities. You can join one or several of the labs and start being informed or to participate but most of our exchanges happen during our monthly meetings.
When members want to organise an activity, host a workshop or have any other idea the lab is here to help organising.
COMPETITION: Regular competitions (quarterly) where participants have a chance to challenge their skills and creativity. In the competition menu, you will find more details about the current competition. You will also find the forum where to post your participation to the forum. Please note that non members of PICZ may be required a small payment to enter the competition.
PROJECTS: Our members work together practice photography or show their work: exhibitions, trips, etc. Each project has a corresponding forum where members can work together and exchange opinions.
EQUIPMENT SHARING: The Club is purchasing equipment that the members can use. We also promote the exchange of material between the members.
SOCIAL MEDIA: We are sharing content on Facebook and Instagram with the account @PICZ.ch. You can let us see your work by using the hashtag #piczurich or by tagging us on your pictures when the pictures were taken in our studio or during one of our events. Thank you to share our content and let people know about us and about our members !


Your Mustang Family is over 21,000 strong and we are glad you're a part of it.
Whenever you graduated and wherever you live, you will always remember your days at Southwest. Once a Mustang. Always a Mustang!
Let your SMSU Alumni Association help you along your Southwest journey. On this website, you will find everything you need to stay connected with SMSU and your Mustang family.
Bluebird Creek Conservation Club of Ghent has donated 48 acres of natural prairie land to the SMSU Foundation, to be used as an environmental classroom.
Curiosity is a key to learning, feels Instructional Design Librarian Kate Borowske.
Three individuals have been selected to receive Campus Compact Presidents' Awards at Southwest Minnesota State University.
The three, and their awards, include senior Aaron Bible, Presidents' Student Leadership Award; Environmental Science Professor Dr. Emily Deaver, Presidents' Civic Engagement Steward Award; and Pat Thomas, former Adult Basic Education Program Director, Presidents' Community Partner Award.
Southwest Minnesota State University, A member of Minnesota State, is an affirmative action, equal opportunity educator and employer.


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Home > Resources > Articles > WVU kicks off STEM camps to pique curiosity, encourage innovation
WVU kicks off STEM camps to pique curiosity, encourage innovation
The Davis College of Agriculture, Natural Resources and Design and WVU Extension Service will host two science, technology, engineering and math camps to showcase the need for and use of these skills in today's dynamic world. The camps provide hands-on learning opportunities to pique the curiosity of students grades 7-9 in the STEM fields, and show how these skills are integrated across various fields of study.
GRI was established in 1984 and has offices in Oregon and Washington. Today, the firm is headed by principals Mike Reed, Wes Spang, and Scott Schlechter. Co-founders Stan Kelsay and Dave Driscoll and former GRI president Dwight Hardin continue to serve the firm as principal consultants.
Detail Rebar Your Way with Allplan
A typical rebar detailing office has a spread of different ages working there – from those with just a few years of experience, to staff who have been detailing rebar for decades. In many ways, this mirrors the architecture, engineering, and construction (AEC) industry itself. However, as experienced staff are so quick to produce rebar documentation, often existing ways of working remain in use long after they have been replaced with more efficient methods. After all, by using familiar workflows only new detailers require training, rather than a whole office. Yet 3D rebar detailing software provides more benefits than just quicker deliverables – the benefits to the business, as well as the entire workflow, are significant. With the right rebar CAD software, this does not have to involve a steep learning curve that staff are not ready for, either.
The Efficiency of BIM for Bridges
When the Tamina Bridge in the Swiss Alps was first proposed, the engineers were uncertain how they would create a bridge that spanned two different heights at each end of the valley, at a height of 220m (772 feet) above ground. Yet despite these challenges, the bridge was completed a year ahead of schedule in just four years – mainly due to the efficiencies that Building Information Modelling (BIM) provided. While the name may inadvertently imply that only buildings can benefit, BIM offers a host of advantages when designing and building bridges as well.
How prefab can enable the design and construction industry to bring much needed beds to hospitals, faster
Managing the COVID-19 pandemic-and saving lives-depends largely on the availability of medical supplies, including the capacity of hospitals. But the United States lags behind other nations, with only 2.8 beds per thousand people compared to 4.3 in China and 12.8 in South Korea. The sheer pace of the outbreak raises the question of how we can expand our healthcare infrastructure and do so at speed. When China put up a hospital in just ten days, many people asked if the same would also be possible here in the U.S.


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How Would a Self-Driving Car Handle the Trolley Problem?
In an excerpt from "Robot Ethics," professor Mark Coeckelbergh examines how self-driving cars would decide which humans to save
Mark Coeckelbergh
Photo: Justin Sullivan (Getty Images)
What would you do if you saw a self-driving car hit a person?
In Robot Ethics, Mark Coeckelbergh, Professor of Philosophy of Media and Technology at the University of Vienna, posits a trolley problem for 2022: Should the car continue its course and kill five pedestrians, or divert its course and kill one?
Cops Pull Over Self-Driving Car
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In the chapter presented here, Coeckelbergh examines how humans have conceptualized of robots as a larger framework and plumbs how self-driving cars would handle lethal traffic situations—and whether that's even a worthwhile question.
In the 2004 US science-fiction film I, Robot, humanoid robots serve humanity. Yet not all is going well. After an accident, a man is rescued from the sinking car by a robot, but a twelve-year-old girl is not saved. The robot calculated that the man had a higher chance of survival; humans may have made another choice. Later in the film, robots try to take over power from humans. The robots are controlled by an artificial intelligence (AI), VIKI, which decided that restraining human behavior and killing some humans will ensure the survival of humanity. The film illustrates the fear that humanoid robots and AI are taking over the world. It also points to hypothetical ethical dilemmas should robots and AI reach general intelligence. But is this what robot ethics is and should be about?
Are the Robots Coming, or Are They Already Here?
Usually when people think about robots, the first image that comes to mind is a highly intelligent, humanlike robot.Often that image is derived from science fiction, where we find robots that look and behave more or less like humans.Many narratives warn about robots that take over; the fear is that they are no longer our servants but instead make us into their slaves. The very term "robot" means "forced labor" in Czech and appears in Karel Čapek's play R.U.R., staged in Prague in 1921— just over a hundred years ago. The play stands in a long history of stories about human-like rebelling machines, from Mary Shelley's Frankenstein to films such as 2001: A Space Odyssey, Terminator, Blade Runner, and I, Robot. In the public imagination, robots are frequently the object of fear and fascination at the same time. We are afraid that they will take over, but at the same time it is exciting to think about creating an artificial being that is like us. Part of our romantic heritage, robots are projections of our dreams and nightmares about creating an artificial other.
First these robots are mainly scary; they are monsters and uncanny. But at the beginning of the twenty- first century, a different image of robots emerges in the West: the robot as companion, friend, and perhaps even partner. The idea is now that robots should not be confined to industrial factories or remote planets in space. In the contemporary imagination, they are liberated from their dirty slave work, and enter the home as pleasant, helpful, and sometimes sexy social partners you can talk to. In some films, they still ultimately rebel— think about Ex Machina, for example— but generally they become what robot designers call "social robots." They are designed for "natural" human- robot interaction— that is, interaction in the way that we are used to interacting with other humans or pets. They are designed to be not scary or monstrous but instead cute, helpful, entertaining, funny, and seductive.
This brings us to real life. The robots are not coming; they are already here. But they are not quite like the robots we meet in science fiction. They are not like Frankenstein's monster or the Terminator. They are industrial robots and, sometimes, "social robots." The latter are not as intelligent as humans or their science- fiction kin, though, and often do not have a human shape. Even sex robots are not as smart or conversationally capable as the robot depicted in Ex Machina. In spite of recent developments in AI, most robots are not humanlike in any sense. That said, robots are here, and they are here to stay. They are more intelligent and more capable of autonomous functioning than before.And there are more real- world applications. Robots are not only used in industry but also health care, transportation, and home assistance.
Often this makes the lives of humans easier. Yet there are problems too. Some robots may be dangerous indeed— not because they will try to kill or seduce you (although "killer drones" and sex robots are also on the menu of robot ethics), but usually for more mundane reasons such as because they may take your job, may deceive you into thinking that they are a person, and can cause accidents when you use them as a taxi. Such fears are not science fiction; they concern the near future. More generally, since the impact of nuclear, digital, and other technologies on our lives and planet, there is a growing awareness and recognition that technologies are making fundamental changes to our lives, societies, and environment, and therefore we better think more, and more critically, about their use and development. There is a sense of urgency: we better understand and evaluate technologies now, before it is too late— that is, before they have impacts nobody wants. This argument can also be made for the development and use of robotics: let us consider the ethical issues raised by robots and their use at the stage of development rather than after the fact.
Self-Driving Cars, Moral Agency, and Responsibility
Imagine a self- driving car drives at high speed through a narrow lane. Children are playing on the street. The car has two options: either it avoids the children and drives into a wall, probably killing the sole human passenger, or it continues its path and brakes, but probably too late to save the life of the children. What should the car do? What will cars do? How should the car be programmed?
This thought experiment is an example of a so-called trolley dilemma. A runway trolley is about to drive over five people tied to a track. You are standing by the track and can pull a lever that redirects the trolley onto another track, where one person is tied up. Do you pull the lever? If you do nothing, five people will be killed. If you pull the lever, one person will be killed. This type of dilemma is often used to make people think about what are perceived as the moral dilemmas raised by self-driving cars. The idea is that such data could then help machines decide.
For instance, the Moral Machine online platform has gathered millions of decisions from users worldwide about their moral preferences in cases when a driver must choose "the lesser of two evils." People were asked if a self- driving car should prioritize humans over pets, passengers over pedestrians, women over men, and so on. Interestingly, there are cross-cultural differences with regard to the choices made. Some cultures such as Japan and China, say, were less likely to spare the young over the old, whereas other cultures such as the United Kingdom and United States were more likely to spare the young. This experiment thus not only offers a way to approach the ethics of machines but also raises the more general question of how to take into account cultural differences in robotics and automation.
Image: MIT Press/Mark Coeckelbergh
Figure 3 shows an example of a trolley dilemma situation: Should the car continue its course and kill five pedestrians, or divert its course and kill one?Applying the trolley dilemma to the case of self-driving cars may not be the best way of thinking about the ethics of self- driving cars; luckily, we rarely encounter such situations in traffic, or the challenges may be more complicated and not involve binary choices, and this problem definition reflects a specific normative approach to ethics (consequentialism, and in particular utilitarianism). There is discussion in the literature about the extent to which trolley dilemmas represent the actual ethical challenges. Nevertheless, trolley dilemmas are often used as an illustration of the idea that when robots get more autonomous, we have to think about the question of whether or not to give them some kind of morality (if that can be avoided at all), and if so, what kind of morality. Moreover, autonomous robots raise questions regarding moral responsibility. Consider the self-driving car again.
In March 2018, a self- driving Uber car killed a pedestrian in Tempe, Arizona. There was an operator in the car, but at the time of the accident the car was in autonomous mode. The pedestrian was walking outside the crosswalk.The Volvo SUV did not slow down as it approached the woman. This is not the only fatal crash reported. In 2016, for instance, a Tesla Model S car in autopilot mode failed to detect a large truck and trailer crossing the highway, and hit the trailer, killing the Tesla driver. To many observers, such accidents show not only the limitations of present-day technological development (currently it doesn't look like the cars are ready to participate in traffic) and the need for regulation; they raise challenges with regard to the attribution of responsibility. Consider the Uber case. Who is responsible for the accident? The car cannot take responsibility. But the human parties involved can all potentially be responsible: the company Uber, which employs a cart hat is not ready for the road yet; the car manufacturerVolvo, which failed to develop a safe car; the operator in the car who did not react on time to stop the vehicle; the pedestrian who was not walking inside the crosswalk; and the regulators (e.g., the state of Arizona) that allowed this car to be tested on the road. How are we to attribute and distribute responsibility given that the car was driving autonomously and so many parties were involved? How are we to attribute responsibility in all kinds of autonomous robot cases, and how are we to deal with this issue as a profession (e.g., engineers), company, and society—preferably proactively before accidents happen?
Some Questions Concerning Autonomous Robots
As the Uber accident illustrates, self- driving cars are not entirely science fiction. They are being tested on the road, and car manufacturers are developing them. For example,Tesla, BMW, and Mercedes already test autonomous vehicles. Many of these cars are not fully autonomous yet, but things are moving in that direction. And cars are not the only autonomous and intelligent robots around. Consider again autonomous robots in homes and hospitals.
What if they harm people? How can this be avoided? And should they actively protect humans from harm? What if they have to make ethical choices? Do they have the capacity to make such choices? Moreover, some robots are developed in order to kill (see chapter 7 on military robots). If they choose their target autonomously, could they do so in an ethical way (assuming, for the sake of argument, that we allow such robots to kill at all)? What kind of ethics should they use? Can robots have an ethics at all? With regard to autonomous robots in general, the question is if they need some kind of morality, and if this is possible (if we can and should have "moral machines"). Can they have moral agency? What is moral agency? And can robots be responsible? Who or what is and should be responsible if something goes wrong?
Adapted from Robot Ethics by Mark Coeckelbergh. Copyright 2022. Used with Permission from The MIT Press.


Looking back to last year, some of the most fun I had at shoots were the Grads that I did. And it got me thinking.
Seniors Photography is huge in the states. Not the over 65 crowd, but the High School Seniors. It's never taken off in Canada, and I'm not sure why. I know that now, as a 34 year old, I would LOVE some awesome portraits of myself when I was in High School. All I have are the year book photos, the photos that my Mom took with me saying "cheese" and a bunch from my graduation day – with my boyfriend at the time – again, taken by my Mom.
I'm not talking about formal graduation day photos ONLY – I'm talking about a one on one photo session – of you in your coolest outfit, or your everyday jeans, just being you. An hour (or more) of just you behind the camera, showing your silly self, your serious self, your diva self…whatever you want.
We'll hang out in Fish Creek, or a deserted barn, or in Inglewood, or anywhere you want.
The best part? You are going to love your pictures! And you're going to tell your friends (and they'll see your pictures on Facebook), and then they'll book too. And if you (or your pictures) refer 8 other Teens/Grads to me – you get a brand new iPad*.
Don't know 8 people? How about a $25 Chinook Center Gift Card for every ONE referral?
Basic Package – $300 – gets you a 1 hour photo session. From this session you get to pick 4 digital files with photo enhancements and digital retouching (that pimple on your forehead? Gone.) You can do whatever you want with these files, post them on Facebook, make prints, email them to Grandma, whatever! That's a value of $440. (Additional prints and files can be purchased as well – my prices are here).
Glam Package – $800 – You'll get your hair done, then meet me for 2 hour photo session with up to two outfit changes. With this package you receive 10 digital files and one 11×14 print (with photo enhancements and digital retouching.) Value of $970.
BFF Package – $900 – You'll both get your hair done, then meet me for a 2 hour photo session. I'll get some shots of you together, and individually, and you can change your outfits twice. You will both be able to pick 5 digital images, plus an 11×14 each (with photo enhancements and digital retouching). Value of $1240.
Teen & Grad shoots are meant to be outdoor shoots – so they will be weather dependent. There will be no refunds for hair styling, but rainchecks for the photo shoot can be given.
*In order to be eligible for the iPad, you must "Like" Shannon Hilton Photography on Facebook and tag the page on your images. You must also be alright with me using your images in my promotional materials on-line & in print. The referrals' shoots must take place within 2012.


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Mary (1776–1857), the Fourth Daughter of George III
Richard Cosway	(1742–1821)
The Courtauld, London (Samuel Courtauld Trust)
Photo credit: The Courtauld
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graphite & watercolour on paper
D.1952.RW.3561
bequeathed by Sir Robert Clermont Witt, 1952
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Somerset House, Strand, London, Greater London WC2R 0RN England
Group of Connoisseurs Towneley Hall Art Gallery & Museum
Allegorical Scene with Juliana, Countess of Carrick (1727/8–1804), as Wisdom Directing Her Younger Daughters, Lady Henrietta Butler (1750–1785), Later Viscountess Mountgarret, and Lady Margaret Butler/Lowry-Corry (1748–1775), as Beauty and Virtue, to the Altar of Diana National Trust, Castle Coole
Vice Admiral Colonel James Seton, Governor of Saint Vincent and the Grenadines (1787–1798) Government Art Collection
John Rolle (1750–1842), Lord Rolle Torrington Town Hall Office
William Shipley, Founder and First Secretary of the Society of Arts Royal Society of Arts
Mary (1776–1857), the Fourth Daughter of George III The Courtauld, London (Samuel Courtauld Trust)
Portrait of a Woman and Her Four Daughters The Courtauld, London (Samuel Courtauld Trust)


After Reto Suri and Dominic Lammer, the Hockey Club Lugano has the pleasure to announce a third new arrival for the offense. It's the "right" winger Sandro Zangger, born in Jona 27.08.1994. He's currently playing with Lausanne, and he signed a two-years contract (2019/2020, 2020/2021).
Zangger (184 cm. x 88 kg.) grew up in the Rapperswil's Youth sector before his transfer to ZSC Lions. He played for GCK Lions winning the Novizi Elite's title and three time the Juniores Elite title, playing for the U18 and U20 Swiss National team.
After two season where he played both for ZSC Lions and GCK Lions he changed jersey and layed for Zug until 2017.
In his career in National league Zangger played 267 games scoring 88 points (38 goals, 50 assists).


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Pawn Scars: 10 Closed & Abandoned Pawn Shops
Article by Steve, filed under Abandoned Places in the Architecture category
(image via: In Search of the Frightening and Beautiful)
Heather Johnson calls her blog In Search of the Frightening and Beautiful, and in this abandoned Lake Charles, Louisiana pawnshop she's discovered some frighteningly beautiful content. We can "thank" 2005's Hurricane Katrina for turning vast expanses of Louisiana's Gulf coast into urban exploration fodder on a par with Detroit and Pripyat.
Broken Broker
(images via: Stars & Stripes Okinawa and Passport/Cortnie)
Located about 6 km (almost 4 miles) northwest of the Motobu Peninsula in Okinawa, Japan, the island of Iejima was invaded by the U.S. Army's 77th Infantry Division in April of 1945 during the Battle of Okinawa. During the course of the fierce fighting, legendary photojournalist and war correspondent Ernie Pyle lost his life to a sniper's bullet.
(image via: Kenneth Spink, Picasa)
Among Iejima's few structural war relics is the former Municipal Pawnshop in the town of Ie. Built in 1929 from local stone and reinforced concrete, the pawnshop was managed by the town as a pseudo-bank serving local farmers affected by the era's crushing loan interest rates. During the battle for Iejima, the pawnshop was used as a pillbox by defending Japanese troops and suffered significant damage. Unrestored in the manner of the Hiroshima Atomic Dome, the pawnshop today serves as a reminder of the harrowing last days of World War II. Props to Kenneth Spink for the gritty photo above.
Poor In Richmond
(images via: Fading Ad Blog, Frank H. Jump)
From the faded status of this Richmond, Virginia pawn shop sign and the ancient look of the brick building whose wall it's printed on, this un-named pawnbroker's shop may have first opened during the Reconstruction… maybe earlier. Note the iconic "three balls" motif that traditionally symbolized pawn shops from time immemorial and credit Frank H. Jump for the stark and somewhat sad images above.
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SUMMA HQ / Reinforcement and Rehabilitation in the Seyrantepe District
By busra
In AVCI ARCHITECTS, SUMMA Head Quarter
The Büyükdere – Maslak area in İstanbul started to develop first as a continuation of the city itself in the 50's, after the big pharmaceutical companies settled their production facilities there. As in every urban development scenario, first public and private transportation was facilitated to the area and the district was given residential qualities. The final stage of this scenario was completed in the 80's when multi-storey, dense settlement type of buildings were integrated to the fabric.
Today the Büyükdere axis extends towards the Oto Sanayi zone (the industrial district of the automotive sector) and the adjacent Seyrantepe district. This urban line reveals the encounter of old industrial buildings with unorganized settlements and new cutting edge business headquarters. The area that was considered to be the periphery soon was connected to the city.
In this complicated context, despite the high demand and value of property, construction legislation 'obliges' certain old buildings to be renewed but not completely reconstructed.
The Seyrantepe project, that Avcı Architects has recently taken on, is an exemplary renovation project of its kind; an existing building in an important position within the district. The building that has been left almost at its construction phase for years, has been purchased by one of the leading companies in the construction sector and is going to be renovated in order to host the company' s new headquarters office.
There isn't an existing basement level in the structure and the construction legislation doesn't allow such interventions. For this reason in the Avcı Architects' renovation plan the car park is moved to the entrance and the first floor levels. The two top floors are arranged as administrative office floors. The second and third floor host public areas such as a restaurant and an art gallery. These public areas containing the entrance, lobby, art gallery and the restaurant are connected through an atrium and have a separate circulation from that of the offices. The rest of the area is designed for rentable office units.


Picture this: you have been called into Human Resources. They sit you down. They terminate your employment. You are worried about finding another job, losing insurance benefits, and keeping up with your bills. This is not the greatest day of your life! Then they put a magical document with the title "Severance Agreement" in front of you. Perfect! They are offering you some money, plus they will continue your medical insurance for a few months! Where's the pen? Problem solved, right?
1. Release – do you have to release your employer regarding any future legal claims?
You may not want to give up the right to bring a legal action against your employer if your termination was for an impermissible reason, for example if you were terminated after reporting illegal working conditions or practices, taking leave under the Family and Medical Leave Act (FMLA), or complaining about illegal discrimination on the basis of race, gender, national origin, or some other prohibited basis.
2. Non-compete – does the agreement make it more difficult for you to find another job?
If you had an employment contract, it may contain non-compete language designed to prevent you from working, or soliciting employees or customers, in a specific area for a specific amount of time. While these provisions may be legal, they must be reasonable in terms of time and scope, and a sneaky employer might make it more difficult for you to find work through language inserted into the severance agreement.
3. Time – are they forcing you to make up your mind on the spot?
Under the federal Age Discrimination in Employment Act (ADEA), you are entitled to 21 days to consider the severance agreement before signing, and must give you the opportunity to talk to an attorney. And then you are entitled to another seven days after signing to revoke if you change your mind.
4. References – what will they say about you when a new employer calls for a reference check?
Severance agreements usually have language which prohibits you from disparaging your former employer. But do you get that benefit too? Probably not. Before signing a severance agreement, make sure it addresses how they will address future reference calls about you.
If you have any questions about whether signing a severance agreement is in your best interests, please contact Fournier Legal Services for a free consultation at info@jeflegal.com or 860.670.3535.


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Gene Simmons: 'I'm Not Worried if an Idiot Gets COVID and Dies'
Corey Irwin Published: August 9, 2021
Contributing Authors: Matt Wardlaw
In an exclusive conversation with UCR, Gene Simmons revealed his thoughts on touring during the COVID-19 pandemic.
"My druthers would be that everybody is mandated to get vaccines," the Kiss bassist confesses. "I hope everybody is going to be wearing their masks. But we can only control what we can control and different states and different countries have different rules."
Kiss is currently slated to resume their End of the Road tour on Aug. 18. The trek spans deep into 2022, with Simmons estimating that the band will add "anywhere between 150 to 200 cities additionally." In years past, the iconic rock group has offered ticket packages that included meet and greets. However, given health and safety protocols, those have been eliminated for this tour.
"Backstage, we're not doing any meet and greets. Obviously, we're giving up a pretty penny, because fans pay a premium to come up and take photos and stuff. That's gone," Simmons explains. "We are not allowing roadies or anybody else to be anywhere backstage unless they're vaccinated and the masks are on the whole time."
Simmons further explains that he has no time for people who stubbornly insist that COVID vaccinations impede upon their freedoms.
"'I have my rights, don't tell me what to do.' Which is curious, because you do not have the right to drive down the highway in a car without a seatbelt. You must stop at a red light. That's not a right you have," the rocker declares. "And you don't have the right to walk naked down the street. These are not life-threatening ideas. We're talking about a fuckin' pandemic and people are fighting it."
"I blame our former president," Simmons admits, referring to Donald Trump, whom he spent extended time with on the reality TV show Celebrity Apprentice. "I knew the man before he entered politics. But he got vaccinated and so have most of the other party."
Ultimately, Simmons says he's less concerned with people who choose to stay unvaccinated than those who they may impact.
"I'm not worried -- and it's unkind to say this -- I'm not worried if an idiot gets COVID and dies," the rocker matter-of-factly states. "I'm worried he takes other people with him. Who didn't have a choice. It doesn't have to be death. Being in a hospital is horrific. There are so many cases of people who were deniers and who are begging in the hospital to get the vaccine. But it's too late."
While the End of the Road tour was paused during the pandemic's height, Simmons reignited his passion for drawing and painting. This fall, the legendary musician will show some of his artwork publicly for the first time. Gene Simmons ArtWorks will run Oct. 14-16 at the Animazing Gallery in Las Vegas.
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Source: Gene Simmons: 'I'm Not Worried if an Idiot Gets COVID and Dies'
Filed Under: Covid-19 Coronavirus, gene simmons
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Home Cycling Tour de France 2020 today, stage 21: profile and route
Tour de France 2020 today, stage 21: profile and route
After three weeks of racing, the Champs-Élysées in Paris will host the final of the Tour de France that will crown Pogacar. Bennett, to confirm the green jersey.
The Tour de France comes to an end. Possibly the most atypical Tour in history, in September due to the pandemic, and with one of the most spectacular outcomes ever with the victory of Pogacar. The Slovenian will be crowned today in Paris, at just 21 years old, as the winner of the Tour de France on his debut in the event. He will be accompanied by his compatriot Roglic in the second drawer while Porte, after a long career pursuing being among the three chosen, will climb the podium at the age of 35 in a stage that will be for sprinters except for a historical surprise.
The moderation of the beginning will give way to the celebrations, the congratulations and even the occasional sip of champagne during the stage before reaching the streets of Paris and its characteristic circuit, in which the teams of sprinters will begin to take the reins. It only remains to decide the green jersey of regularity, although Sam Bennett has it very expensive. He leads Peter Sagan by 55 points, and there are 70: 20 left in the intermediate sprint and 50 at the finish line. He could close it before even reaching Paris, although Sagan will fight to the end. Ewan, Kristoff, Viviani, Van Aert ... they will all want to win on the Champs Elysees.
Tags : Cycling