text:
Working With Disparate Data Sources To Improve Your Trials
Anju Team March 1, 2022
For decades, trial research remained siloed, with findings carefully guarded against competing institutions. However, these data silos limit drug development, slowing down clinical trials and making them less effective.
Researchers are starting to share their findings on a global scale while turning to the data insights of their peers. At Anju Software we have developed a tool with this data sharing in mind. Get to know our TA Scan aggregation tool and why our system is the future of trial data sharing.
Aggregate Data Sources To Grow Your Knowledge
One aspect of research that slows down treatment development is the siloed nature of current publications. Researchers aren't able to easily share their findings globally and other trial developers can't tap into large data piles to understand what those findings mean. This is a particularly serious issue in the world of rare disease research, where the small patient pools limit the types of trials available and the amount of funding for them.
"Lack of access to patient data lessens the value of any specific program because individual companies and institutions are unable to accumulate a critical mass of knowledge that can substantially de-risk drug development," write Nathan Denton, et al., in the Orphanet Journal of Rare Diseases. "All stakeholders can contribute various pieces of a biological puzzle that can illuminate the full spectrum of disease when made available in shareable states."
TA Scan works to create a single source of truth for your trial research. You can mine data from hundreds of public domain sources, including 400,000 unique clinical trials taking place in almost 200 countries. With global communication, you can move your research forward to benefit patients across all walks of life.
Receive Weekly Updates on the Latest Research
Clinical trial developers are starting to see the benefit of breaking down research silos for other parts of the research process. While researchers have historically hoarded data, there are growing calls to share insights so other developers can learn from your findings.
David Shaywitz, co-author of "Tech Tonics: Can Passionate Entrepreneurs Heal Healthcare With Technology?", compares siloed clinical trial data to the Ark of the Covenant from Indiana Jones. You have incredibly valuable information that gets locked away in a warehouse once the trial is completed.
"There is a huge missed opportunity when pharma teams silo data (which were collected to answer a specific, defined question) rather than make the data easily available for further exploration or query," Shaywitz writes.
To continue the data democratization process, TA Scan sends weekly data updates that share studies from 22 clinical trial registries around the world. These registries contain 2 million healthcare professionals, 6.5 million publications, 630,000 presentations, and 260,000 unique drugs spread over 525 therapeutic areas. The era of siloed medical research is coming to an end.
Enjoy Improved Trial Feasibility Testing
Another way that researchers use data from other trials is to conduct feasibility studies. Feasibility studies determine whether a trial has the potential to succeed. If contract research organizations can't recruit the right patient populations or complete the trial as expected, then it's a waste of time, money, and resources for everyone involved. Unfortunately, these feasibility analyses themselves have proven to be expensive and time-consuming.
A research statement published by the American Society of Clinical Oncology (ASCO) asserts that the current processes for trial feasibility analyses are inconsistent, ineffective, and labor-intensive.
"Stakeholders who participated…described existing site feasibility methods as burdensome, inefficient, time-consuming, redundant, and resource intensive," writes ASCO. "They also reported that the process causes delays in time to enrollment and affects the capacity for sites to participate in clinical trials, particularly smaller research programs with limited resources and infrastructure."
TA Scan's Trial Feasibility Wizard uses historical public clinical trial data to identify factors that could limit the effectiveness of a trial design. It also looks for competing clinical trials with similar features to analyze their success. With this information, you can improve your trials via better feasibility assessments.
Data Sharing Leads to Faster, Better Treatments
With improved feasibility analyses, trial developers can increase the chances that their projects are completed on time and with reliable results. With data sharing, other researchers can improve their research on related diseases to create better patient outcomes. The ultimate goal in medical research is to improve the lives of patients and the best way to do that is through collaboration. Our TA Scan tool is one small step toward better data sharing and aggregation.
Images by: stockbroker/©123RF.com, budabar/©123RF.com


Online shopping for vintage glamorous wedding dress? DHgate.com is a wholesale marketplace offering a large selection of newest design wedding dresses with superior quality and exquisite craft. You have many choices of wedding dresses favors with unbeatable price! Take hi lo wedding dresses mother home and enjoy fast shipping and best service! Search by Weddings & Events, Wedding Dresses, Ball Gown Wedding Dresses online and more.


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Ella Romanos founds Altara Games
Firm will make loans to studios, secured against tax relief payments
News by Dan Pearson Contributor
Ella Romanos has founded a new firm, Altara Games, which will loan money to UK studios as they await payment of agreed tax relief payments, a service which has run successfully in the film industry for some time.
Currently, studios can quickly be issued with "interim certificates" of approval for cultural tax breaks, but the actual funds take some time to hit accounts, affecting the liquidity of funds and hitting smaller studios particularly hard. By rendering these funds available much more quickly, Romanos hopes to allow UK developers to make more ambitious and agile plans.
"I am very pleased to announce Altara Games, which I believe will provide crucial support for studios in the development of their own titles," said the new CEO in a statememt. "Many developers are now taking advantage of the games tax relief, and I want to encourage more to do so. By providing these loans, we can help studios to cashflow their business and develop their own IP, both of which are crucial for growth."
GamesIndustry.biz followed up with Romanos to clarify some of the aims of Altara and her position on the current provision games tax relief in the UK.
"I think that the tax breaks are a really effective way for government to support the industry," said Romanos when asked whether she thought that current tax relief foes far enough. "I do, however, think that we need to ensure that all types and sizes of companies are in a position to take full advantage of them. There are further things the government can do, like re-opening the prototype fund, which is one of the only funds that is truly targeted at startups (as it doesn't require match funding and is specifically designed to enable companies to build a prototype to raise further funding). There are then things that can be done privately and I do believe that between SEIS and the tax breaks, we are seeing more investment into the industry and in particular into earlier stage companies.
"There definitely was, and probably still is, some confusion over the cultural test, but I hope that now the tax breaks have been around a while, developers are aware that it isn't, for example, just about having a game that is explicitly set in the UK. There are some really useful guides out there, such as the one that UKIE have on their website, which explains how the tax breaks work and how to apply for them. The actual process of applying is genuinely pretty straight forward and quick, so I would hope that developers do feel they have sufficient information now and can manage that application process themselves."
Romanos also pointed out that these are interim funds, and not a replacement for other methods of financing.
"These loans are really about helping to cashflow the production of a game," she clarified. "It's money that the developer will get at some point anyway, but for a lot of studios cashflow is the biggest challenge and these loans can help address that. Developers will need other sources of funding to enable them to claim tax relief in the first place, so these loans aren't a replacement for that, they simply enable developers to maximise the amount of money they can invest in their games."

redpajama_set_name: RedPajamaCommonCrawl


Increase your employability - learn the reservations system 435,000 travel agents worldwise use. This interactive skill based training is designed for people with no previous travel workplace experience using a GDS who wish to work in operations areas of the Industry. Sabre is one system that is used on a daily basis by airline, travel agency and tour company employees. Travel Agents Computer Reservations Systems (CRS) are also known as GDS (Global Distribution System). They are used for booking a range of travel products and services. This interactive course turns your PC or MAC into a simulated GDS, and you will learn how to check for product availability (airline seats, hotel rooms and car rental vehicles). You will learn to encode and decode the world's airports, cities, aircraft, airlines and more. You will also learn to check for availability of airline seats, hotel rooms and car rental vehicles, build full reservations, then retrieve them, amend them and cancel them. Next you will learn to quote airfares, read and interpret airfare rules, issue e-tickets for clients and a host of other formats and procedures.
This interactive course could help you secure a position in working for an airline in the Reservations or Fares & Ticketing department, a Ticket Consolidator, Tour Operator or as a Travel Agent Travel Consultant. The knowledge you gain on this course underpins effective performance in many sectors of the industry.
Online - study at your own pace.
There are no formal entry requirements to enrol in this course however keyboard skills are necessary for employemnt in the travel industry. A good level of English will also help.
On demonstration of competence and successful completion of this Unit of Competency a nationally accredited and industry recognised Statement of Attainment will be issued. This represents credit towards the SIT30116 Certificate III in Tourism.
Progressive online training with optional certification on completion of course.
Web browser with Java enabled and Flash Player.
Although this unit is delivered online, we support you via email, phone and skype throughout your studies.


Spectacular King Room at W Beijing - Chang'an.
China's capital just got injected with a fresh dose of luxury, with the opening of W Beijing – Chang'an. Located in the heart of the city, on Chang'an Avenue, the hotel is not far from landmarks such as Tiananmen Square, the Summer Palace, the Forbidden City and the National Centre for the Performing Arts.
Restaurants such as The Kitchen Table (international cuisine) and Yen (Chinese).
To celebrate its opening, the hotel is offering the Ready to Rock package. With this, guests can stay in a Wonderful Room at rates starting from CNY1,288 (Rs13,000). The offer is valid for stay till 30 April 2015. Blackout dates may apply.
For details and booking, visit the website?.


text:
BTS Member
HYBE Calls for Decision On BTS' Military Exemption
bts military service soompi jin koreaboo bts jin jungkook
HYBE CCO Lee Jin Hyung talked about the attitude of BTS members and the company regarding military service. Lee Jin Hyung answered cautiously about the possible exemption from military service for the seven BTS members while attending the press conference of the Permission to Dance On Stage concert in Las Vegas on Saturday, April 9, 2022.
"It is true that we are worried about discussing this (issue), because we know how important the issue of military service is in Korea," said Lee Jin Hyung, quoted from Soompi on Sunday, April 10, 2022. "We hope that the decision on the amendment to the Military Service Act will taken immediately."
In South Korea, 28 is the maximum age for men to serve in the military. BTS members have been allowed to delay their military enlistment due to a new amendment passed in December 2020. The law allows artists who receive a recommendation from the Minister of Culture, Sports, and Tourism to postpone their military service until they are 30 years old by international reckoning.
According to the current law, the oldest member of BTS, Jin, is required to enlist in the military before the end of 2022. However, several members of the National Assembly have proposed a law that would exempt male artists like BTS, who have made great contributions to the national interest, from their military duties. Currently, the South Korean legislature has not been able to reach an agreement on the bill.
"The current BTS members have left the matter of their military service in the hands of the company. BTS has conveyed the message several times that they will receive the call of duty when the country calls them, and they have not changed that opinion," said Lee Jin Hyung.
However, because the enactment of the law is still undergoing changes to date, they will continue to monitor it. "The military service policy has changed slightly, and because the members experienced changes to the Military Service Act that they didn't expect, they are currently monitoring the situation while discussing the matter with the company," he said.
The BTS members have been notified that after a new amendment to the Military Service Act is proposed, HYBE will be careful in making decisions regarding their military service. HYBE said that all BTS members have submitted military service matters to the company.
"To be precise, the policy regarding military service is changing, and it is true that BTS members are having a hard time because it is difficult for them to predict the time (of their military service). Since it is difficult for them to come up with a plan, both BTS members and the company are currently keeping an eye on the proposed amendments," said Lee Jin Hyung.
HYBE will do its best so that the decisions taken can benefit the community and BTS. "Since the issue of BTS's military service is something that interests the whole world, it seems that the debate (on this issue) is almost over both within society and within the National Assembly, so we hope that this issue will be resolved in the current National Assembly," said Lee Jin. hyung.


Our Car Dealer Websites aren't restricted to just dealers who stock cars, we cater for commercial, motorhome and motorcycle dealers too. Here we focus on one van dealer's thoughts about their new website.
DragonDMS customer Van Sales UK have observed a significant upturn in sales over the recent months since their Dragon2000 Car Dealer Website went live at the beginning of November.
Designed to fully integrate with our Dealer Management System, our Car Dealer Websites help our Dealer Management System customers save considerable time and increase their profits, something that Van Sales UK owner, Chris Jakeways, has been quick to realise.
On the seamless integration, Chris said: "We have gone mad and sold loads of vans.
"Many of our sales are from our new Dragon2000 Car Dealer Website and the integration with the Dealer Management System.
As well as instant stock uploading and the ability to capture online enquiries and bookings from within DragonDMS, Dragon2000 Car Dealer Websites are also designed on a low-cost individual basis, a process that the Bristol-based commercial dealer has been delighted with.
On the design process, he said: "The website team have been fantastic throughout the design and implementation process.
As with any website that is built for a dealer, the main priority is for it to increase enquiries and sales, a factor that Chris has been benefitting from ever since his business went live with a Dragon2000 Car Dealer Website.
He said: "Having a Dragon2000 Car Dealer Website has had a real positive impact on our vehicle sales.
"The ability to offer detailed images, video footage, live chat and a finance calculator has enhanced our customer base.
Car Dealer Website aside, Chris, who has been using DragonDMS for five months now, was also quick to praise the impact that the Dealer Management System system has had on the processes within his business.
On their use of DragonDMS, he said: "The system has given us a much better understanding of our business.
"We now have full visibility of our stock position which allows us to manage and measure everything that we do.
The results speak for themselves. We have the best van website in the country.
Find out more about Dragon2000 Car Dealer Websites and our DragonDMS Dealer Management System.


We use neutron diffraction to study the structural and magnetic phase diagram of CeFeAs1-xPxO. We find that replacing the larger arsenic with smaller phosphorus in CeFeAs1-xPxO simultaneously suppresses the AFM order and orthorhombic distortion near x=0.4, thus suggesting the presence of a magnetic quantum critical point. Our detailed structural analysis reveals that the pnictogen height is an important controlling parameter for their electronic and magnetic properties, and may play an important role in electron pairing and superconductivity of these materials. © 2010 The American Physical Society.


Impress your friends and intimidate your frenemies with rattlesnake meat. Canned Rattlesnake is a gift worth a thousand words. It's also really tasty! 100% snake meat in a rich broth that you can eat straight out of the can, or over a bit of wild rice or pasta. Each can contains 4 oz of Smoked Rattlesnake meat and 3.5 oz of seasoned broth.
Smoked Rattlesnake is something you have to try to believe. Once you do, you'll come back for more. This makes a terrific unusual gift or a fun donation to a potluck, game day, or any occasion.
Mountain America's rattlesnake meat NEVER fails to be the hit of dinner parties! Great over rice or in stew or chili. I've used it in spaghetti sauce and even tossed a can into a big dinner salad. Sooooooo good!
Got this for the guys at Christmas and they loved it!! Tasted like smoked chicken they said. Fast shipping too!
(Smoked Rattlesnake comment) Super fast shipping and the products look great! (I am sure that my husband will tear open the packages on Christmas morning to eat the jerky and rattlesnake meat-can't wait to give it to him)! Thanks so much!


Lyft and Uber have been locked in a ruthless corporate dogfight for the past year… so why has the ride-sharing underdog been so quiet during Uber's nightmare week?
Lyft entered the marketplace in 2012 to compete with Uber and for the last year the companies' corporate dogfighting and controversial recruiting tactics have been well documented. This August CNN Money reported that Uber ordered and canceled roughly 5,000 Lyft rides in order to hurt driver availability during a recruiting push. That same week, an Uber representative alleged to the New York Times that Lyft was engaged in similarly ruthless behavior. "Lyft's claims against Uber are baseless and simply untrue. Furthermore, Lyft's own drivers and employees, including one of Lyft's founders, have canceled 12,900 trips on Uber," the spokesperson said.
Simpson said the public silence was simply a matter of policy — Lyft has historically only commented on issues with its biggest rival when it feels its own drivers have been affected by Uber policies or business practices. When asked why Lyft users weren't informed last week when the company changed its internal privacy policies, Simpson told BuzzFeed News that it has never previously made public statements about purely operational back-end technological changes. As far as attacking Uber's business practices, Simpson said the company chose not to engage, given that the issue involved private citizens outside of Lyft. "I felt it would be insensitive to comment because those circumstances affected real people. We're focused on our own unique values which speak for themselves," she said.
Gone are the smiling, friendly, and competent Lyft drivers of last summer. As these drivers have seen their compensation go from a guaranteed minimum of $ 18 per hour to a fare rate of $ 1.10 per mile and $ 0.21 per minute (when they can even get a fare; one of their complaints is that there's an overabundance of cars on the road), those with better moneymaking options have moved on to other work while the holdouts and new, completely unvetted hires are left to fight over scraps.
"One thing that's significantly different from [Gannes'] article is that as the leader of the comms team, I previously had access to user data, but now, with these changes, I now have no access to user data, since my role in comms doesn't require me to access user information," Simpson said.
While Simpson said to BuzzFeed News that the policy is a "proactive" approach to privacy as the company grows quickly, she also noted that it would be fair to say the decision to change internal policies stemmed from conversations that progressed based on the public reports on Uber from last week.
Though Lyft presents itself as the anti-Uber ("maybe you're picking up your best friend," a quote from the Today show on Lyft's press page reads), the similarities between Uber's UberX offering and Lyft are striking, down to the price points. Uber New York General Manager Josh Mohrer (who is currently under investigation by the company after reports that he tracked a BuzzFeed reporter) noted the similarities in an interview with BuzzFeed News.


text:
Henry Maundrell (1665–1701) was an academic at Oxford University and later a Church of England clergyman, who served from 20 December 1695 as chaplain to the Levant Company in Syria. His Journey from Aleppo to Jerusalem at Easter A.D. 1697 (Oxford, 1703), which had its origins in the diary he carried with him on his Easter pilgrimage to Jerusalem in 1697, has become an often reprinted  "minor travel classic." It was included in compilations of travel accounts from the mid-18th century, and was translated into three additional languages: French (1705), Dutch (1717) and German (1792). By 1749, the seventh edition was printed.

Life
Maundrell was born at Compton Bassett, near Calne, Wiltshire, in 1665. He attended Exeter College, Oxford, from 1682 and obtained his BA and then in 1688, his MA; at his graduation he was appointed a Fellow of the college, where he would remain until 1689. He accepted a curacy at Brompton, Kent, 1689–95, he was ordained priest by the Bishop of Rochester, Thomas Sprat, at Croydon, on 23 February 1691. His uncle, Sir Charles Hedges, was a judge of Admiralty Court who later served as one of Queen Anne's Secretaries of State. Another uncle, Sir William Hedges, a director of the Bank of England, had directed the Levant Company's "factory" at Constantinople, an essential factor in Maundrell's appointment (1695), which paid him £100 p.a., with room and board in the Aleppo "factory" and perquisites. The Levant Company community at Aleppo consisted of only forty men, living in monastic seclusion: Maundrell wrote to Henry Osborne, "We live in separate squares, shut up at night after the manner of colleges. We begin the day constantly... with prayers, and have our set times for business, meals, and recreations" Like other Anglican clergy of his day, Maundrell made no attempt to understand Islam or to read Arabic.  This was likely because he believed it was not true and not worth studying.

He left Aleppo in February 1697 in a company of fifteen men. Their circuit took them across Syria to Latakia, down the Syrian and Lebanese coasts as far as Acre, which they found in ruinous state save for a khan (caravanserai) occupied by some French merchants, a mosque and a few poor cottages. Thence they proceeded inland to Jerusalem, where they attended Latin rite Easter services at the Church of the Holy Sepulchre. They returned to Aleppo via Damascus, Baalbek and Tripoli; they arrived 18 May 1697. The descriptions constantly referred to relevant passages in the Bible, encounters with greedy local Ottoman officials at road blocks and checkpoints demanding payment of caphar and confirmed Maundrell in his distaste for the local inhabitants.

Maundrell was an observant reporter with a passion for precise detail:

It is concise in contents, plain and attractive in style, and precise in its natural exposition of facts, all of which make it interesting to read even to-day. When the diary, crammed with precise, factual information, began to circulate among his friends they quickly realised that here at last was one of the first factual accounts of the antiquities of the Middle East. Its impact was such that he was persuaded by his uncle and several of his acquaintances, to prepare it for publication.

—Mohamad Ali Hachicho in 1964

By the time it appeared, Maundrell, never in robust health, had died in Aleppo in 1701.

A further travel journal was published as A Journey to the Banks of the Euphrates at Beer, and to the Country of Mesopotamia (Oxford, 1699). It was appended to the  Journey to Jerusalem in the 1714 edition.

Notes

References
Mohamad Ali Hachicho, "English Travel Books about the Arab near East in the Eighteenth Century." Dictionary of National Biography Die Welt des Islams, New Series, 9.1/4 (1964:1–206) pp 42–44.
Howell, Daniel. "The Journey of Henry Maundrell." Saudi Aramco World, July/August 1964, pp 14–23.
On-line text, from an 1823 edition.

English travel writers
History of Ottoman Syria
People from Calne
1665 births
1701 deaths
Alumni of Exeter College, Oxford
Fellows of Exeter College, Oxford
Levant Company
Pilgrimage accounts
English male non-fiction writers
English expatriates in the Ottoman Empire

redpajama_set_name: RedPajamaWikipedia


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Voluptuous New Typeface Lust Hedonist Practically Begs to be Displayed
Angelynn Grant
Lust Hedonist
Could your work use a little more sexy? Luckily for you, Neil Summerour (@positype), a type designer, lettering artist, calligrapher, and graphic designer in Georgia, has just revealed the latest courtesan in his harem of Lust typefaces: Lust Hedonist, a voluptuous new addition he describes as "a little Scotch Modern, a little Didone and Didot, a dominant dose of Caslon, and a pinch of Baskerville—all wrapped up in the leggy body of a Brazilian supermodel." Ooh, we love a designer who isn't afraid to talk fonty to us. We begged him to go on.
Typefaces with voluptuous strokes and curves have been around before. What were the visual influences for Lust? Pulp paperbacks? U&lc magazine from the '70s? Blaxploitation posters like Foxy Brown?
Ha! First, let me say I'm not a pervert, but it's so difficult to not equate the beautiful moves in a letterform to those of the body. There's so much there to draw from and so much that appeals to creatives, it was hard not to use the name Lust. Many of the letterforms, especially those with the scooped teardrop, are how I tend to draw. And much of that was inspired by Herb Lubalin (so he deserves much of that credit).
The Lust family includes Didone (more contrast in stroke weights), Lust Script (grand flourishes like hair being tossed over a bare shoulder), and Lust Slim (very '80s Madison Avenue). Lust Hedonist pushes the contrasts—when too much is still not enough! What are the most salient differences between all of these, and where do you see Hedonist fitting in?
I'm grinning. You basically "get" where I'm going with this concept. Hedonist is very much part of that. A few years ago, when I sketched out what I wanted to do with the Lust Series, I wanted to hit on various periods, various ways of thinking and teasing (typographically) with type. Hedonist intentionally exploits that overindulgence by conforming the letterforms to a much more rigid system than with the looser Lust siblings. It's almost a contradiction, but "compliance brings pleasure" really does apply here. Tightening up the rules of construction yields something even more expressive.
Lust Slim
I like how you caution users about the extreme sensitivity of Lust: "WARNING! I cannot stress this enough. Please know what you are getting into with this typeface. Like a supermodel, it can't be squeezed into every situation. It needs room and size to breathe. The regular weights can support 36-point or higher settings, whereas the display weights shine above 72-point (preferably 100-point)." Was playing with dangerous extremes part of the fun of creating Lust?
Yes—what's not fun about pushing it to the point of almost being caught? And what better way to caution people than to relate it to the vernacular? Ha! I'm often a victim of my own bad metaphors. Joking aside, I wanted these typefaces (and the letterforms that comprise them) to be indulgent and fun to work with. But that still comes with a bit of responsibility—on the user's part and mine. Hedonist is no different (but it's really fun to play with).
Lust Script
Where have you seen the other Lust members flaunting their largess in the real world?
My babies have won their share of beauty contests, but it's insanely gratifying to see so many people purchase, use, and embrace the narrative behind the Lust series. It's meant to be fun, it's meant be indulgent, it's meant to be seductive. People get that and are using it wisely, and I cannot thank creatives enough for using it just enough and letting it contribute to the typographic landscape.
Comparing Lust with Hedonist
What's next for Lust? And for you?
Lust was conceived as a series and there are still two more definite iterations to be finalized (and possibly one more). A Skinny version and the Text versions are next, but I've been getting a lot of emails requesting a more expansive Lust Hedonist Script. Needless to say, I have a compulsive fear of ever being lazy. I always try to keep several typefaces in various stage of development. I actually have another thematic type series to introduce later this year and some other type goodies, but it's a balancing act between the commission and public work. But for a quick plug, on May 16–17, Ale Paul and I will be offering a Tickling Béziers workshop in Tokyo.
Could your work use a little more sexy? Luckily for you, Neil Summerour (@positype), a type designer, lettering artist, calligrapher, and graphic designer…


text:
Hang is made by Tiger Software LLC, a startup founded in 2020 and proudly headquartered in the beautiful state of Illinois. We're a couple of people who love to hang, building an app for others like us.
Carson Wang
Management Lead
Carson has always been passionate about bringing people together. He's led student organizations, research teams, and even a film crew. Now, he's on a mission to make coming together easier than ever.
Tony Kim
Tony graduated from the University of Illinois at Urbana-Champaign with a Bachelor of Fine Arts in New Media, concentrating in Interaction Design. He creates beautiful interfaces for disruptive solutions to human problems.
Suraj Roy
Suraj is Hang's secret weapon. He's had professional experience in both business development and software development, making him a versatile member of the Hang team. As a developer, he brings this background to building product.
Krist Pregracke
Krist is a computer science ninja who can jump all the way from Assembly to Node.js and back again. He steers Hang's technical direction as its algorithms man, the architect of its tech stack. He can talk WebSockets all day.
Cindia Hua
Cindia is a startup phenom. Her pro-bono consulting efforts are a key part of the Champaign-Urbana startup community, having helped startups of all kinds. At Hang, Cindia helps develop the app's front-end.
Ella Geida
Ella is a talented artist with a clear mind and a clean style. She helps Hang look presentable.
Teresa Dong
Teresa is a diligent back end developer who brings experience from companies like Amazon. At Hang, Teresa makes sure all communication is secure and private. She's our encryption czar, making sure our servers are safe!
Chae Seol
Chae gets the Hang into people's hands, and won't stop until everyone is using it.
Zachary Jia Hao Lee
Finance Lead
Zachary's nuanced understanding of finance comes from experience in both investment banking and multi-family offices. As a former founder, Zachary has an insider's view of a startup's financial pain points.
© Tiger Software LLC 2020. All Rights Reserved.


text:
\section{Introduction}
Molecular clouds are a key component of the interstellar medium (ISM), as they represent the locations where all star formation takes place. For this reason it is very important to understand how molecular clouds form. Presently, the leading theory is that molecular clouds form from converging flows of lower-density gas, driven either by stellar feedback or by large-scale gravitational instability (see Dobbs \etal, \cite{dobbs14} or Klessen \& Glover \cite{kg14} for some recent reviews of the different possible formation mechanisms). In this contribution, we briefly discuss one of the main difficulties involved in observationally distinguishing between these different models, and how we might hope to overcome it.

\section{When do molecular clouds become molecular?}
From a chemical point of view, the main obstacle standing in the way of a given patch of cold atomic gas becoming molecular is the influence of the interstellar radiation field (ISRF). The H$_{2}$ formation rate per unit volume in the cold neutral medium (CNM) can be written approximately as (Hollenbach \& McKee \cite{hm79})
\begin{equation}
R_{\rm form} \simeq 1.5 \times 10^{-17} n n_{\rm H} \: {\rm cm^{-3} \, s^{-1}},
\end{equation}
where $n_{\rm H}$ is the number density of H atoms and $n$ is the number density of H nuclei. In the absence of shielding, the H$_{2}$ photodissociation rate per unit volume is given by (Draine \& Bertoldi \cite{db96})
\begin{equation}
R_{\rm pd} = 5.6 \times 10^{-11} n_{\rm H_{2}} \: {\rm cm^{-3} \, s^{-1}},
\end{equation}
where $n_{\rm H_{2}}$ is the number density of H$_{2}$ molecules. For densities typical of those found in the CNM, $n \sim 10$--$100 \, {\rm cm^{-3}}$, the resulting equilibrium ratio of H$_{2}$ to H is very small, $n_{\rm H_{2}}/n_{\rm H} \sim 10^{-6}$. As H$_{2}$ is a necessary pre-requisite for CO formation, and CO photodissociation by the ISRF is also highly efficient, the fractional abundance of CO in these conditions is also very small.

Consequently, the gas can only become molecular once it is capable of shielding itself from the ISRF. In the case of H$_{2}$, self-shielding dominates when the radiation field is weak, becoming effective once the hydrogen column density exceeds $N_{\rm H} \sim 2 \times 10^{20} \: {\rm cm^{-2}}$. In the case of CO, however, shielding by dust dominates, becoming effective only at $N_{\rm H} > 4 \times 10^{21} \: {\rm cm^{-2}}$. There is thus a range of column densities for which the gas will be H$_{2}$-rich but CO-poor. This CO-dark molecular gas has attracted increasing interest in recent years (see e.g.\ Wolfire \etal\ 2010, Langer \etal\ 2014), particularly since simulations of converging flows have demonstrated that much of the inflowing gas will be CO-dark H$_{2}$ (Heitsch \& Hartmann \cite{hh08}, Clark \etal\ \cite{clark12}). Because of its chemical composition, this gas cannot properly be traced using either H$\,${\sc i} or CO observations. However, it may be possible to observe this gas using the  [C$\,${\sc ii}] $158 \: \mu$m fine structure line. We explore the feasibility of this in the next section.

\section{Using [CII] emission to probe CO-dark molecular gas}
\label{CII}
\begin{figure}
\begin{center}
\includegraphics[width=0.92\textwidth]{channel_map_NH2}
\caption{H$_{2}$ column density in each of the indicated velocity channels for one of the
molecular clouds formed in the simulation described in Section~\ref{CII}. Each velocity
channel has a width of $1.375 \, {\rm km \, s^{-1}}$. \label{H2chan}}
\end{center}
\end{figure}

\begin{figure}
\begin{center}
\includegraphics[width=0.92\textwidth]{channel_map_cplus}
\caption{As Figure~\ref{H2chan}, but for the  [C$\,${\sc ii}]  channel-integrated intensities. \label{CIIchan}}
\end{center}
\end{figure}

To assess how easily we can trace molecular cloud assembly using [C$\,${\sc ii}] emission, we have carried out a simulation of a representative (200~pc)$^{3}$ volume of the ISM using the {\sc arepo} moving mesh code (Springel \cite{springel10}). We inject turbulence on large scales and follow the resulting chemical, thermal and dynamical evolution of the gas using the chemistry and cooling module described in Smith \etal\ (\cite{smith14}). We assume that the gas is illuminated by a uniform ISRF, and have carried out simulations with  ISRF strengths of $G_{0} = 1$ and 10 in Habing (\cite{habing68}) units. The attenuation of the ISRF within the dense clouds that form within the simulations is modelled using the {\sc treecol} algorithm (Clark \etal\ \cite{clark12b}).

A number of molecular clouds form in each simulation. We have selected a subset of these and post-processed them using the {\sc radmc-3d} radiative transfer code to produce synthetic emission maps of the [C$\,${\sc ii}] $158 \: \mu$m line. We show some example results in Figures~\ref{H2chan} and \ref{CIIchan}. Figure~\ref{H2chan} shows the H$_{2}$ column density through one of the clouds from our $G_{0} = 10$ simulation, broken up into a series of velocity channels of width $1.375 \: {\rm km \, s^{-1}}$. Figure~\ref{CIIchan} shows the [C$\,${\sc ii}] integrated intensity in the same set of velocity channels. Comparison of the two figures shows clearly that the [C$\,${\sc ii}] line emission traces the full velocity width of the molecular gas, with little contamination from the surrounding atomic gas. In addition, it is clear that the peak [C$\,${\sc ii}] brightness temperatures are
typically $\sim$1--2~K over a large area. This is important, as this is bright enough to be mapped with high velocity resolution over angular areas of a few square arc-minutes using the {\it upGREAT} instrument on board the SOFIA observatory in a matter of hours (S.~Ragan, priv.\ comm.), making it plausible to contemplate making such maps of real clouds. Our $G_{0} = 1$ simulation yields similar results, but in this case the diffuse CO-dark H$_{2}$ is cooler and the resulting [C$\,${\sc ii}] emission is considerably weaker.

redpajama_set_name: RedPajamaArXiv


text:
Q: xcode ios objective-c mkmapview: compare MKMapView span How can I compare the current span of a MKMapView?
I am using the following code:
- (void)mapView:(MKMapView *)mapView regionDidChangeAnimated:(BOOL)animated{
    if ([[regionsMapView.region.span] doubleValue] < 1.0) {
        NSLog(@"SHOW ANNOTATIONS");
    }else {
        NSLog(@"HIDE ANNOTATIONS");
    }
}

But it shows error like this:
error: expected ':' before ']' token
confused by earlier errors, bailing out

And again if i use like below:
if (regionsMapView.region.span < 1.0) {
    NSLog(@"SHOW ANNOTATIONS");
}else {
    NSLog(@"HIDE ANNOTATIONS");
}

Then it also show error like below:
error: invalid operands to binary < (have 'MKCoordinateSpan' and 'double')

A: MKCoordinateSpan is a struct which has two values latitudeDelta and longitudeDelta, which looks like this,
typedef struct {

    CLLocationDegrees latitudeDelta;
    CLLocationDegrees longitudeDelta;

} MKCoordinateSpan;

If you want to compare any of there values. You should use,
if (regionsMapView.region.span.latitudeDelta < 1.0)

or,
if (regionsMapView.region.span.longitureDelta < 1.0)

A: remove the [] from [regionsMapView.region.span]

redpajama_set_name: RedPajamaStackExchange


text:
Fright Night at 25: Writer/Director Tom Holland
With Fright Night celebrating its 25th anniversary, while plans are underway for a remake, Earth's Mightiest salutes the film beginning with this interview with writer/director Tom Holland.
The discussion covers three of Holland's genre films: Psycho II, for which he supplied the script to the Richard Franklin-directed effort; Fright Night and the original Child's Play.
This interview with director Tom Holland was conducted while he was in the midst of production on the original CHILD'S PLAY, which has spawned three sequels with a fourth on the way. Since that time, Holland's directorial credits include the TV mini-series STEPHEN KING'S THE LANGOLIERS, and the feature film adaptation of King's THINNER.
Try as he might, writer/director Tom Holland seems unable to avoid the horror genre, despite warnings from his peers that it would be, if you'll pardon the expression, death to be trapped there.
After making his directorial debut on the highly successful FRIGHT NIGHT, Holland searched for something that would be completely different, and found it in Whoopi Goldberg's FATAL BEAUTY. Unfortunately, the film was so poorly received both critically and commercially, that it is not even listed among his credits. Moving back into more familiar territory, he next gave audiences CHILD'S PLAY, which was a tremendous hit, re-establishing Holland and making Chucky a household name.
Beginning as an actor before seguing to the roles of screenwriter and director, Tom Holland has quite literally climbed the motion picture ladder of success, fulfilling a dream he's had since childhood.
"I've always been interested in film," Holland explains reverently. "When I was four or five, I was glued to the television, and I went to see every movie that I could. I don't think that I really cared about anything else."
His entry level in the business, as stated before, was as an actor, appearing in over 250 commercials, three soap operas (LOVE OF LIFE, FLAME IN THE WIND and A TIME FOR US) and films such as THE MODEL SHOP and A WALK IN THE SPRING RAIN. Feeling creatively stifled, he turned his talents to writing.
"When I got in the business," says Holland, "I didn't know it would take so long to learn to write. I've worked my way through writing into directing. I was so naive. I came out in the early '70s, and that was at the time when all these original screenplays were going for $250,000. Then those screenwriters would turn around and direct. There were a lot of guys around who seemed to be doing it, and I thought I'd sit down, whip off a screenplay for a quarter of a million dollars, then write another one and direct it. I had no idea how hard writing was. So, ten years later, after I had, to some degree, mastered the craft of storytelling in a screenplay, I finally felt I could go on and direct. It's been a very slow, but sane forward progression."
This progression resulted in the screenplays for THE BEAST WITHIN, THE CLASS OF 1984 and SCREAM FOR HELP, a Hitchcockian tale in which a young girl suspects that her stepfather plans on murdering her mother, but can't prove it. The latter led to what may be considered one of Holland's most prestigious scripts, PSYCHO II.
"From what I understand," recalls Holland, "Robert Bloch had done a novel called PSYCHO II, then came to Universal and suggested that they make it into a film. They didn't like his book, but they thought the idea of a sequel was a great one. Richard Franklin was chosen as director, and while he was reading material looking for a writer, he found SCREAM FOR HELP. On that basis, he hired me. Then the question was, what the hell was the story going to be."
The answer was soon evident. PSYCHO II, taking place 22 years after the original, begins with Norman Bates being set free from the mental institution, and trying to get his life on track again. Unfortunately, Lila Loomis (Vera Miles), sister of the slain Marion Crane (see the original), wants revenge and sets about driving Norman crazy again. Needless to say, it's only a short matter of time before she's successful, and Mother makes a return appearance.
"I was trying desperately to be respectful," Holland says. "I didn't want to do a slasher film, but at the same time, as you can tell from some parts of the film, there was a feeling from the studio that there should be enough shock moments to satisfy that 'slice and dice' crowd out there. Given today's market, I couldn't really disagree with them. It was also, if you think about it historically, the first PSYCHO that opened up the whole genre.
"I don't think anybody picked up a knife and graphically did somebody in until Hitchcock got Janet Leight in the shower," he elaborates. "I think that sort of set everybody's mind working. They took it a lot farther, God knows. The serial murders, the nonstoryline murders, may have started with HALLOWEEN or FRIDAY THE 13TH, but I don't think the graphic killings would have been possible without Hitchcock opening it up to a whole new emotional level in PSYCHO."
He collaborated with Richard Franklin again on CLOAK AND DAGGER, a kids and espionage film, and followed with the opportunity to write and--finally--direct FRIGHT NIGHT.
"There's an old saying that writers direct in self defense," Holland laughs. "FRIGHT NIGHT marks the first time I can't say that the director didn't do it the way I intended it to be done. Often times a film turns out very well, but it's not quite what I would have liked it to be. They may have been no worse, they may have been no better, but there were choices I would not have made. Whenever you have a mediating factor of someone else interpreting your material, it always changes and not always for the best."
One must wonder what the primary difference is between writing a film, and writing and directing one. On the one hand, a person who "just" writes has to step away from it, but on the other he or she is seeing it through completion.
"The quick answer is the hours," he responds, "but they are two different functions. As you know, writing is almost asocial, which is one of the wonderful things about it. Directing is an extremely social activity, because you're dealing with a large number of people. God, I'm one of the few people who could answer that honestly...it's really a valid question. I think a lot of writers are mainly verbal; they hear dialogue. I think I tell the story in more of a visual way. In every one of my scripts, I've had at least three visual set pieces which move the story ahead visually with a minimal amount of dialogue. Often the director receives credit for that, even though it was written in the script. Because I think that way, perhaps I was a little bit more prepared to direct. Maybe more than a lot of other people.
"When you're writing, you can tell a story verbally, with words. When you're directing, you've got to let go of the words and figure out how to do it visually, where every image has to move the story forward. When you're writing a screenplay, you have to try to structure it where every scene moves it forward, but it's a very different conceptual way of thinking. It's very difficult to describe.
"On FRIGHT NIGHT, I finished writing the script, did the various revisions, took off my writer's hat, put on my director's hat and sat down. I did my own storyboards, telling the story in a shot-by-shot breakdown, so that I could figure out how to do the film with a minimal number of set-ups that could be cut together in such a way as to give the effect that you want.
"Then there's working with the actors, which is something the writer never has to do. That goes to a question of not being married to your material and being willing to accomodate the cast and/or polish. It's like playwrights who have rehearsals and tryouts. This is because the way something reads on the page is not the way it sounds on its feet. The dramatic values can change, or the actor brings something new to it. You discover something you didn't think was there. It's really complicated, yet it's instinctive. Anyway, that's a very long answer to that question.
"The genesis of FRIGHT NIGHT," Holland explains, "was really my desire to do 'the boy who cried wolf,' but updated for the 1980s. I also have a tremendous affection for vampire strories, and those two interests seemed like a natural combination for a screenplay.
"One of the reasons that the genre faded was that vampire films were done as period pieces during their heyday, and nobody could figure out how to contemporize them. the parody is usually the last gasp of the genre, and I guess damn near ten years ago it was LOVE AT FIRST BITE, which I thought was very funny. Then I got outraged when I saw THE HUNGER. It was godawful, because it was a picture ashamed of the genre. It didn't mention the word vampire once. I wanted to bring it back.
"I tried to give the film some validity for a modern audience by rooting it in reality. For the first third, try selling the fact that this is happening in a real town, to a real family, to a real boy. Just to build up a willing suspension of disbelief for the audience. Once you've done that, you can get as fanciful as you want. I'm not sure what FRIGHT NIGHT is. It's a horror-fantasy-comedy, yet it doesn't poke fun at the genre, per se. It's very faithful to the traditions of the genre. I was determined to respect all the conventions of a traditional vampire story--coffin-beds, empty mirrors and the like--but to place them in a contemporary context."
To create a sense of believability, Holland assembled a cast he felt could realistically translate his script to the screen. The results were even better than he hoped.
"I was thrilled with every one of my actors," he says, "and there aren't a lot of directors who could say that. Every one of them played an important part in helping root the film in reality, and making it work so successfully."
He compares FRIGHT NIGHT's mixture of horror and humor to John Landis' AN AMERICAN WEREWOLF IN LONDON.
"It's a good time," he says, "like a roller coaster with laughs and screams and more laughs. It's like 'Creatures Features'--something we all grew up with, and I think it's a very positive film, as strange as that sounds. I was also attracted to vampires in particular because they're a metaphor for seduction. Look at all the fun you have if you're a vampire. You get to sleep all day, sleep with any girl you want and never die. That's not a bad life. There are a lot of psychological undertones that give it texture. I think if you took the vampire element out of FRIGHT NIGHT, you would have a very valid story about a teenaged kid who's losing his girl to a very cool older guy. If it was played on that level, it would be as psychologically valid as it is now.
"I sincerely wanted to differentiate between FRIGHT NIGHT and FRIDAY THE 13TH, and the other slasher films. With the horror, there's a lot of sweetness and humor. I wanted to give people a feeling of fun like I had when I was 14 or 15 and would sit home on Friday nights watching 'Creature Features,' making out with my girlfriend and trying to feel her up at the same time. To get back to that sense of innocence. There were guys coming out of coffins on some of the most terrible sets you've ever seen..." he trails off with a laugh.
"I tried to mix in all those qualities as opposed to blood and gore. It is not blood and gore. That's not to say that the film doesn't deliver. There are some points there where you'll be jumping out of your seat, but I'm not doing it by throwing chicken blood all over the place. We worked together to make this a classy first rate film."
Judging by the scripts he's written, the impression is that Holland holds a certain fascination for tortured individuals.
"Actually, I'm more interested in psychological suspense," he differs, "although Norman appeals to me. I love Norman, but who doesn't love Norman Bates? But, no, I wouldn't say so. What's interesting, what I like to do, is create a disturbing sympathy for the villain, and there should be something not very likeable about your hero. It's a more complex experience for the audience. A great example of that, I think, is Alfred Hitchcock's VERTIGO. Kim Novack is the villain, but you start to feel sympathy for her. Jimmy Stewart is the victim and hero, but he's so obsessed that you start to dislike him. That is certainly the ambivilence you feel. It's what makes PSYCHO II, a lot of Hitchcock movies and, hopefully, some of mine so successful creatively, and gives the characters some emotional resonance."
Dismissing his next film, FATAL BEAUTY, as an "unpleasant" experience, Holland turned back to the supernatural with CHILD'S PLAY, a film that has afforded him the opportunity to do what he does best: control the audience.
"I remembered a TV movie by Dan Curtis called TRILOGY OF TERROR, where he did three shorts with Karen Black, and I thought the one he did with the Zumi-doll was terrific. I also thought that if there was a way of doing that as a feature, with the new advances in special effects, it could be something very special. I also think there's something primal about your playthings coming alive. So I was interested in doing a story about a doll, and was trying to come up with an idea," Holland relates between set-ups of the film. "United Artists and [executive producer] David Kirschner came to me with a screenplay by Dan Mancini, and it was like an extended episode of THE TWILIGHT ZONE. I liked the concept, and I guess I was the first writer/director on it, but I couldn't solve it.
"In Don's version, the doll was actually the boy's alter-ego. They were blood buddies, having exchanged blood with each other, and whenever the boy went to sleep, the doll came to life and killed whoever the boy was angry at, whether it be his dentist, his teacher or his babysitter. What happened is that you disliked the little boy, and it was uncomfortable to me to make a six or seven year old boy culpable. If he was 12-14 it wouldn't have mattered as much, but not at that age."
In his revised script (cowritten with Mancini and John LaFia), a mother buys her son a "Good Guy" doll named Chucky, which plays host to the soul of a killer. "This story is very keyed in to today," explains Holland, "given all those $130 dolls that are sold around Christmas. It's about the pressures that TV ads exert on little kids. But the main thing I wanted to do was make the boy the victim and the audience like him. So now the doll is possessed by a serial murderer, and is seeking vengeance, with the boy being blamed for it."
One thing Holland wants to make clear about this Cabbagepatch nightmare is that it is not a horror film. "I don't do horror," he says. "I do psychological suspense. I believe you'll find that at least the first 60 minutes of this movie are very suspenseful, rather than horrifying."
He describes a series of sequences from the film, almost acting them out as he does so. "I'm going in cutting order," he says. "The babysitter is in the kitchen and hears a sound that turns out to be a mouse. She moves away, and then a toy hammer wipes frame and hits her in the head. Then I cut down to the floor and go to pumping feet, which is the Hitchcock shot from PSYCHO of Martin Balsam. Then I dolly and zoom with her, pushing closer and closer. I insert a shot of her hand grasping the table for balance, but she only rakes everything from the table. Then there's a tight shot of the actress smashing in the window and we cut outside to see the stunt girl going out."
Actor Chris Sarandon, who was the vampire in FRIGHT NIGHT and a cop in CHILD'S PLAY, praises Holland's growth as a director. "He's more sure of his craft now. He's very smart; he knows what he wants and he has a big ego, which is good for a director unless it gets in the way of his work. But Tom doesn't allow that to happen."
"I really think my work in this picture is a step forward," Holland, who has recently directed an episode of HBO's TALES FROM THE CRYPT and the CBS TV-movie THE STRANGER WITHIN, agrees. "I have a greater sense of control. Each film is another step I've taken, and I'm finding that I'm able to do more complicated things, or maybe it's because things are becoming simpler as I go on."
Working with Chucky, the animatronic doll, wasn't quite so simple. "Chucky represents the most sophisticated puppetry ever, although there have been some problems," says Holland. "The main thing is that the audience has to maintain its suspension of disbelief. They had to believe that a doll three or four feet tall could really be a threat, because common sense tells you that all you have to do is lift your foot and crash down. So trying to make that doll work was a big technical problem. It took nine puppeteers to operate the doll, so you had to give the technicians a lot of rehearsal time to give them a chance to coordinate its movements, the eyes, the smile, the lips and all of that. I also couldn't stay on Chucky too long, or else the audience would really start to notice that it was a puppet rather than a 'living' thing. By cutting quickly from the doll, it helped to maintain the illusion, but the problems were many.
"God said don't make effigies, so I guess this is His way of paying us back," Holland laughs.
Not only has there been a CHILD'S PLAY 2 and 3, but a FRIGHT NIGHT II as well, and Holland has avoided them all.
"What they usually do is make sequels cheaper, and they're derivative of the original," he says. "If someone says, 'Let's do a second one bigger and better,' then fine, but nobody ever does that. They all come and say, 'Let's make one that's smaller and make money off of the success of the first one,' and that's what happens. Does the audience love Chucky enough to see him killing more people? I don't think so, but the studio seems to think that they've got another Freddy Krueger here, and that's what's driving the idea of sequels. They think a property is pre-sold, so they don't even try.
"It's very hard," Holland adds. "Hollywood sort of looks upon horror movies as their money-making step children. Yes, they're wonderful to make money with, but, God, they don't want their name on one of them. The studio system is not behind horror movies the way they are behind star movies or general audience popularity movies. The executives don't really have a taste for horror films, so it's difficult for them to judge them.
"Personally," he muses, "I think the reason I've probably enjoyed success with these films is that I bring a comedic and suspenseful sensibility to the horror genre. God knows that the genre scripts sent to me are either heavy effects or serial murders. There's not a lot that's original right now, and I need to feel that there's something special there to get me interested."
The man is a genius :D
teabag - 5/31/2010, 12:46 PM
I wouldn't put Fright Night up there with AAWIL, but it was great fun.
Cassidy - 5/31/2010, 2:51 PM
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Seoul Campus
Hawai'i campus
PAYMENT AND GIVING
APIS Story
Hibiscus Model of APIS Education
Why APIS?
Applying to APIS
Student Care
Student Clubs and Leadership
Christianity at APIS
Residential Boarding
APIS Updates
Hibiscus Model of
APIS Education
of Campuses
APIS currently has two global campuses - APIS Hawai'i in Hau'ula, O'ahu and APIS Seoul in South Korea. APIS students are able to take advantage of our global campus network and pursue, quite literally, our school's mission of bridging the gap between East and West.
Personalized and
Relationship-Based
Education for the future is no longer viable at a mega-school with a factory-like education system. Instead, as a small school by design, each child is cared for individually.
All our students graduate to go to universities in Hawai'i, on the Mainland, and around the world. In 2018, 11% of our students matriculated to the top 10 universities around the world, while another 80% managed to secure spots within the world's top 30 universities.
The Hibiscus Model of
The 21st century demands new ways of thinking towards education. The Hibiscus model is the APIS way of preparing our students for the New Pacific Century, with deliberate choices and emphasizing the following three domains: Core Curricular Emphases, Key Character Strengths, and New Pacific Century Skills and Dispositions.
Emphasis on Building
East Asian Competencies
The rise of Asia and the relationship between the East and the West will play a critical role in shaping the New Pacific Century. APIS has a fully articulated K-12 foreign language program in which students can take Mandarin Chinese, Japanese, and Korean.
New Pacific
Century Academy
Every year, our middle school students are given the opportunity to participate in a month-long project-based learning camp at our Seoul campus in South Korea.
Purpose-Built,
APIS students are able to explore and have limitless imaginations using our state-of-the-art music and dance studio, cooking labs, a makerspace, and 97-acres of rich Hawaiian land.
Opportunities to Shine
All of our students participate in student-led clubs, and the majority of our students play one or more sports and are members of a musical ensemble. Our small school environment encourages student involvement and entrepreneurship.
apis@apishawaii.org
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copyright © 2020. Asia Pacific International School. All rights reserved.
Asia Pacific International School is blessed to educate students from around the world to become leaders of the New Pacific Century. We appreciate your ongoing support as we continue to expand our offerings for students.
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Top 5 Places to Explore in Montana
1. Go for a dip at Fairmont Hot Springs Resort
Get in the water during winter thanks to the steamy, natural hot springs in Anaconda, Montana. Less than 2 hours from Missoula, Fairmont Hot Springs Resort has multiples pools and waterslides for both the thrill-seekers and the chill-seekers. The pools are open 24 hours, so you can take a midnight dip under the stars.
2. Find color and charm in Butte, Montana
Butte is a small town in Montana with a fascinating history and lots of interesting historical sights to see. There's a statue of Mary on the mountains that overlooks the city below, and tons of brightly colored homes. Butte has a lot of character to discover, and we loved it! Especially the weird facts like the former underground city (that still exists..).
3. Get cozy in cool places
If you're wondering where to stay in Montana, you'll find a ton of quirky and adorable places to cuddle up in! We loved the charming Murray Hotel in Livingston, Montana which has an amazing view of the mountains from the rooftop. In Big Sky, Montana we enjoyed our little cabin in the woods at Lone Mountain Ranch (and the sleigh ride dinner...more on that here).
4. Find good coffee in Montana (and someone to enjoy it with)
Good coffee is a road trip essential, and it's a little bit harder to find in Montana than in the big cities. Have no fear, we found three great spots to share! In Missoula, there's Zootown Brew with a rotating coffee bar and large open space, and Clyde Coffee which has a delicious breakfast and a gorgeous, bright space.
For coffee in Livingston, Montana we love Livingston Bodega and Bakery. They roast their own beans and serve scrumptious baked goods fresh out of the oven!
5. Enjoy all things nature
Last but not least, get outside! There's so much to explore in Montana, from dogsledding and bison ranges to the view at Devil's Overlook in Bighorn Canyon. Pack your snow boots and get ready for a ton of fun ahead!
This post is in partnership with Visit Montana
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A Sunny Weekend Brunch at The Flying Pig, Vancouver
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National Parks & Wildlife Adventures in Montana
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you have no need to engage the obstacle.
Reading at a Glance: The idea of 'not embroiling' is a cornerstone of Taoist philosophy. In dreams we see how all symbols and even the characters mirror aspects of ourselves that we are examining and either adopting or discarding. Because the hidden influence is Coming to Meet, we can see that a situation calling for Retreat is a heavily charged one. We give 'charge' to a situation that pushes our buttons but Coming to Meet always brings us face to face with the transformative opportunity of the Shadow. The fact that there is so much charge makes the object of your enquiry an important one. However, you cannot force your will on the situation because it is teaching you something. It is better to step back and reflect on what it is that you are learning. 'Not embroiling' means not to throw more fuel on the fire. Emotional reactions between people stoke a fire that can burn out of control. The underlying cause of Advance shows the opposite of what you need to do in this situation. Now, it is time to Retreat or disengage. When you engage an obstacle you only give it more power. The same holds true for negative thinking because you give these ideas credibility due to the charge you carry with you. You can actually stalk adversity by looking for it. Backing down does not mean you fail because it can create greater success. If you can step back, perhaps you can discover a win/win solution. Retreat is not a sign of failure but of a well thought out pathway to success.
"Things do not remain forever in their place. Therefore follows retreat." Retreat means withdrawing and when difficulty arises, you can observe how retreating from a situation cultivates power.
This is movement in stillness and allows you to conserve energy and fortify strength. "Content in your power, you have no need to engage the obstacle."
The master said: "Mountain under the Creative: the image of retreat. The wise keeps the inferior at a distance, not angrily, but with reserve." Even while you are firm in te, compassion allows you to continue in your growth. Life has a reason for bringing two strong types of energy together. Since two things that are firm do not deviate much, the chances increase that they will eventually meet in the river of life. If you are content in your power, you will have no need to engage firmness or contention in another.
"Retreat means success. In what is small, perseverance furthers." This is not a time for grand demonstrations of power, but requires care and an appreciation of your integrity. Tun is an image of a pig, representing contentment and well-being, combined with the idea of walking away. Do not be rude and indifferent; if you do not become defensive, the other party cannot pull you into a confrontation. They meet with no resistance and therefore, do not contend. This captures how "when you open, all obstacles disappear." If you are correct, there is nothing to be defended.
In martial arts, one is taught 'economy of movement.' By holding to a specific position, the opponent is kept at a disadvantage, enabling one to maximize strength. In this case, you hold to your character or integrity. As a principle of movement in stillness, Tun is the image of purposeful withdrawal. Retreat does not mean giving up, but allows you to further strengthen your ability to remain open, while firm in your character.
Coming up against any barrier, engaging the obstacle always gives it more power. "The wise meet all opposition with a quiet mind and open heart. Then all opposition naturally disappears. Without doing anything, nothing is undone." When you do something, you may create action that can trigger endless reaction that may need to be undone. This is the great power of not doing. Purposeful withdrawal can disconnect you from a charged situation that might deplete you of your integrity. "Perseverance in small matters brings success." In the small matters that take place within, integrity fortifies character so that your nature remains incorruptible.
Observing nature, you may sometimes feel that things are not what they should be. Yet, eventually you recognize how nature too, turns back to regenerate, rather than always displaying obvious forward growth. Even while you are open to growth, turning back is also a pathway forward. "The sheerest whiteness seems sullied. The great vessel takes long to complete." The great vessel holds your Te as you travel through the river of life.
Unchanging: Pushing too hard = life responds by pushing back. The idea of inflexible thinking or hard headedness can be associated with Tun unchanging. There is not much you can do in this situation but step back and give the situation or person breathing room. If your enquiry involves a relationship, you may have pushed someone into a corner. If you are examining whether or not to move forward the message can be 'no.' Either the situation isn't right for you or your thinking is too rigid and requires flexibility. Because it is unchanging, a lack of positive response can go on for a long time, possibly permanently. On a softer note, the message can be to just step back and think about what you are asking because your reasoning isn't sound. In most cases, the message is that you need to withdraw from an inferior situation, way of thinking or questioning.
Line 1 Hiding the tail from danger = do not undertake anything. Changes to (13) Fellowship. An animal hides its tail in an act of submission but that type of compromise can only leave you vulnerable to attack. You may need to step back and view your life from a distance because you may be too embroiled in it. You may be living the tone and texture of your thoughts rather than seeing what is there for you. Because you are not too deep into the situation, you can calmly withdraw avoiding danger. Don't trade integrity for a quick solution but don't assume that your perception of difficulty is real. People are there for you although you may not see this right now.
Line 2 Held fast with yellow ox hide = no one can tear it loose. Changes to (44) Coming to Meet. This line shows a powerful will, which can be helpful if it represents you. However, another may be willfully blocking any sort of connection. Coming to Meet can show projection which colors the present with an overlay of the past. The situation is emotionally charged, but you are holding tightly to your integrity and can succeed. Knowing that there is something valuable to be achieved, you are correct in holding fast to your desire.	By examining how you approach a sense of danger and why, you will learn much about ego, compassion and transformation. Nothing anyone says or does should ever make or break your day. If you feel compelled to take action, do it from a sense of integrity, honesty and compassion.
Line 3 A retreat is blocked with strings attached = sentimental attachments that can nourish. Changes to (12) Standstill. You are embroiled in a situation that does not allow for retreat. Examine what has brought it to an impasse and see if honest communication and mutual respect can solve it. The strings attached show that retreating is not something you wish to do so open to the opportunity for growth it presents. You may feel obligated in some way and can certainly learn a lot from the situation, but without the freedom to ensure your needs are met the situation can lead to Standstill.
Line 4 Voluntary retreat good for spirit not the ego = retire. Changes to (53) Development. The strong appreciate the opportunity for retreat as a way of reinvigorating one's center, but those emotionally inferior are frustrated and want to hold on to some sort of attachment. One should not be tempted to stay in an unhealthy condition because the other wants them to stay. However, if negativity or emotional immaturity retreats, the spirit is served through higher interaction. A gradual and well thought out retreat lifts spiritual goals but frustrates ego's desire to hold to a specific outcome. Let go and allow the gradual Development to occur.
Line 5 Friendly retreat = perseverance brings good fortune. Changes to (56) Wanderer. Withdrawal is achieved in a friendly matter because everyone is in agreement. Any loss is recognized to be necessary for future growth. This is an example of cutting ties because it is known to be 'for the best.' Letting go of the past happens with no ill will. However, if people are free to come and go or to fulfill their individual needs, persevering in this attitude will lead to good fortune.
Line 6 Retreat without guilt or doubt = everything serves to further. Changes to (31) Influence/Wooing. Withdrawing with the sense that it is right to do so. By letting go or retreating one is able to live abundantly. This line can be associated with retirement or taking a retreat from the daily grind in order to recharge or refresh your perspective. Sometimes we need to step back so that others have more of an appreciation for our contribution. Retreat leads to a magnetic attraction even while that is not our intention.


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The College of Psychiatrists of Ireland > Blog > Events > Path Breaking Women of NUI Galway: 1912-1922 and beyond
NUIG will host an exhibition on the Path Breaking Women of NUI Galway as part of a multidisciplinary project by researchers of the College.
This exhibition features 12 women from diverse social, political and religious backgrounds, and their extraordinary – yet little known – contributions across the arts, sciences and public life.
Each one is a former faculty member or student who made a remarkable contribution to the university or wider society in the years before and after 1916, or subsequently in the first decades of Irish independence. The Path Breaking Women exhibition foregrounds in particular the campaigns for social reform that animated Ireland in the early 20th century, including struggles for suffrage and women's access to education and professional employment, as well as later efforts for progressive social change and women's rights in modernising Ireland.
The exhibition will also celebrate Dr Ada English who was a pioneering Irish psychiatrist who was deeply involved in Irish politics and medicine during the first half of the 20th century. Throughout her remarkable, busy life English divided her energies between acting as a dedicated asylum-doctor and her devotion to the struggle for Irish freedom, even spending several months in jail for possessing nationalist literature. English spent almost four decades (1904-1942) dedicated to the reform of Ireland's large custodial psychiatric institutions in Ballinasloe District Asylum.
The featured women are:
Ada English (1875-1944)
Alice Perry (1885-1969)
Mary Donovan O'Sullivan (1887-1966)
Emily Anderson (1891-1962)
Síle Ní Chinnéide (1901-1980)
Máirin de Valéra (1912-1984)
Margaret Heavey (1908-1980)
Celia Lynch (nee Quinn) (1908-1989)
Lorna Reynolds (1911-2003)
Maureen O'Carroll (nee McHugh) (1913-1984)
Nora Niland (1913-1988)
Caitlín Maude (1941-1982)
Dates: From March 2017
Location:Hardiman Building foyer
Curator:Professor Niamh Reilly (Principal Investigator), School of Political Science and Sociology, NUI Galway
Researchers:Mary Clancy, Centre for Global Women's Studies, and Dr Muireann O'Cinneide, English, NUI Galway
Funder: Irish Research Council New Foundations Scheme 2016; School of Political Science and Sociology, NUI Galway; Moore Institute, NUI Galway
Partners:Centre for Global Women's Studies; Gender ARC; University Women's Network
For more information please visit the NUIG website.


Zen Studios continue to impress with each new table they release. This time we get three great looking tables coming soon to Pinball FX 3. Check out the trailer and details for the Jurassic World Pinball pack.
In collaboration with Universal Brand Development, Zen Studios will soon celebrate the 25th anniversary of Jurassic Park™ by releasing three all-new tables for its Pinball FX3 service. Themed around the history and lore of the iconic film franchise, Jurassic World Pinball features tables inspired by the events of the Jurassic World and Jurassic Park films.
The Jurassic World Pinball pack will be available for download on PlayStation 4, Xbox One, Nintendo Switch, Steam and Windows 10. Jurassic World Pinball will also be available on iOS, Google Play and Mac through the Zen Pinball app. All platforms will launch day and date on February 20, 2018.
Jurassic World: Fallen Kingdom releases in U.S. theaters on June 22, 2018.


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Joint Press Statements
Reception Hall, Malacañan Palace
President Rodrigo Roa Duterte and Prime Minister Shinzō Abe of Japan addressed the Malacañang Press Corps (MPC) and the Japanese media in joint press statements at the Reception Hall of the Malacañan Palace.
In his statement, President Duterte expressed his affinity with the Japanese people and government, and said that the Philippines and Japan are "proven friends and long-time partners."
The President continued by delineating the persistent support of Japan to the country, such as the promised capacity-building and upgrading of the Philippine Coast Guard, Prime Minister Abe's reaffirming of efforts to bring lasting peace in Mindanao and his interest in helping combat the illegal drug menace in the Philippines, strengthening economic cooperation between the two countries, and the fulfillment of previously discussed agreements during President Duterte's visit to Japan.
On the other hand, Prime Minister Abe emphasized that his visit to the Philippines, his first visit to a foreign state in 2017, symbolizes the importance of the partnership between the two countries.
He added that 1 trillion yen would be invested by Japan in the Philippines to support the continued development of the country over a five-year period that will be leveraged by utilizing Japanese technology and know-how.
The Prime Minister continued by reaffirming Japan's support for the Association of Southeast Asian Nations (ASEAN) and the Philippines' chairmanship of this year's summit.
Prime Minister Abe also expressed his desire to tap the private sector in order to build a rehabilitation center in support of President Duterte's war on illegal drugs, and finished his statement by saying that the two countries working closer together is essential in surpassing regional challenges.


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The Hands That Thieve is the fifth studio album by the American ska-punk band Streetlight Manifesto. It was their first studio album since 2010's 99 Songs of Revolution: Vol. 1, and their first album of original material since 2007's Somewhere in the Between. In addition to the Streetlight album, an acoustic version of the album (titled The Hand That Thieves) was intended to be released by Toh Kay, but was cancelled.
The album was originally set to be released in the summer of 2012, but was pushed back several times due to label problems and rewrites, to its eventual release date of April 30, 2013.
The album has received generally favorable critical response.

Release
The band completed the album in mid-January, and it was announced on February 15 that the album would be finally released on April 30. The band also planned to produce a live EP to compensate for the various delays, which the band claimed would be "an exclusive RISC Store gift and...the only professional live Streetlight Manifesto recording to date." On April 1, the band released the first full song from the album "The Three of Us".  On April 19 the album was leaked on many sites. On April 30, the album was released as planned, but due to conflicts with Victory Records, the band was prevented from releasing the album and fulfilling preorders from their own website. There were also claims that the live EP was canceled due to legal issues.

In May 2014, fans who originally preordered the album through the RISC Store received a "mystery gift" in lieu of the actual album, due to Victory Records not releasing any physical copies to the band. Fans received a white Digipak with a photograph of an orange tabby cat on its front cover and booklet cover, with no text or identifiers other than the track listing on the back cover. The booklet contains the lyrics to all ten songs, photographs of the band, and Aesop's Fable The Dog and the Wolf on its final page. The Digipak contained a blank CD-R with nondescript artwork of a barren tree, with the band stating on their Facebook page:

"You can use the blank cd to store your digital files, as a coaster, or even to burn your favorite songs. Any songs you want to put on it, you can put on it. You can put any amount of songs on it, as long as that amount will fit on a standard CD-R. You can burn 2 songs, 30 songs or even 10 songs, it's up to you. You can find music to burn onto the cd on the internet, or even ask fellow fans of bands you like to share their favorite songs so you can burn them, as long as you do so legally, or whatever. Then when you're done burning the cd (it takes a few minutes, but it's really quite simple to do), you can put the cd on your shelf, in your car, wherever. There are no words on the cd (besides the poems), no bar codes, no logos, no mean-hearted little dogs, nothing. It's just a blank cd that we're providing for you, along with a booklet of poetry and photography."

Track listing

Personnel
 Mike Brown – alto saxophone, baritone saxophone, backing vocals
 Jim Conti – alto saxophone, tenor saxophone, backing vocals
 Tomas Kalnoky – vocals, guitar
 Pete McCullough – double bass, bass guitar, backing vocals
Nadav Nirenberg – trombone, backing vocals
 Matt Stewart – trumpet, backing vocals
 Chris Thatcher – drums

Chart performance

Toh Kay version

In addition to the Streetlight Manifesto album, an acoustic version of the album titled The Hand That Thieves was planned to be released by Toh Kay and his acoustic trio. Tomas Kalnoky stated, "The albums may have the same song titles, lyrics and chord progressions, but the similarities end there. The album has a laid back, late night, lazy feel - something to put your feet up to, when you're not quite in the mood for the ball of frenetic energy that is Streetlight Manifesto." This album, along with the Streetlight version, was pushed back due to rewrites and label issues, and was planned to be released on April 30, 2013. On April 15, Tomas released his first full song from the album "With Any Sort Of Certainty" along with a music video animated by Scott Benson. However, the video has since been taken down by Victory Records. On April 21, 2013, according to Kalnoky's Twitter account, Victory records successfully had the Toh Kay version of the album removed from Amazon. On April 30, Kalnoky announced that the Toh Kay version of the album would not be released in the foreseeable future due to legal problems with Victory Records.  According to the band's website, Victory Records had given Streetlight the choice between pulling the Toh Kay record completely or releasing it through Victory Records. The band and Kalnoky, who have shared a notoriously turbulent relationship with the record label, decided to cancel the record. Although the album was cancelled, it was leaked on its expected release day. CDs including the album and Toh Kay's music video of "With Any Sort Of Certainty" appeared during "The End of the Beginning" tour. The CD's metadata lists the title of the disc as "Fuck Victory" and a "FuckVictory.txt" file is included on the disc, with a message from "the Punk Rock Pirate". However, after their legal troubles were settled with Victory Records, they now plan to release the album under Tomas' own Pentimento Music Company. A release date is not yet known.

Track listing

References
Notes

Footnotes

External links

The Hands That Thieve at YouTube (streamed copy where licensed)

2013 albums
Streetlight Manifesto albums
Tomas Kalnoky albums


This Rolex has an unexpected logo that must be seen to be believed!
Rolex watches are synonymous with many things including money, hedonism, diamonds, gold, you know the rest. What they aren't easily associated with is pizza. But if that's the case, why is this Rolex sporting the red white and blue logo of everyone's guilty pleasure pizza chain: Domino's?
After that, the enterprising founder started giving away Seikos to high performing employees which soon turned into $800 Air King Rolexes. Known as the "Rolex Challenge" the practice included the award of a Rolex for employees who manages to turn in $20,000 sales in a week. Air Kings were eventually discontinued in 2014.
READ: Quora answers - What is so good and special about Rolex and its watches?
These days you have to work a lot harder to snag a watch if you work at Donino's. The requirement now is to turn in $25,000 sales for four weeks in a row. The prize has also enjoyed an upgrade. Instead of a Domino's logo on the dial, you'll now find a metal version of it on the bracelet.


Partners Group aims to raise a smaller pool of capital for its newest secondary fund, as it may be less active than a few years ago, said people familiar with the situation.
The Swiss firm is targeting €2bn for Partners Group Secondary 2011, these people said. The amount is less than the €2.5bn the previous fund, Partners Group Secondary 2008, raised in 2009.