text:
Q: why glGenerateMipmap makes no difference? I have a texture of size(720,1080),and I want to use glGenerateMipmap to generate 4 mipmaps.My codes are:
    float* texture = new float......
    glActiveTexture(GL_TEXTURE0);
    glGenTextures(1, &tbo);
    glBindTexture(GL_TEXTURE_2D, tbo);
    glTexImage2D(GL_TEXTURE_2D, 0, GL_RGBA16F, 720, 1080, 0, GL_RGBA, GL_FLOAT, texture);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_BASE_LEVEL,0);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAX_LEVEL, 3);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MIN_FILTER, GL_LINEAR_MIPMAP_LINEAR);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAG_FILTER, GL_LINEAR_MIPMAP_LINEAR);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_WRAP_S, GL_CLAMP_TO_EDGE);
    glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_WRAP_T, GL_CLAMP_TO_EDGE);
    glGenerateMipmap(GL_TEXTURE_2D);

I didn't see any differences when magnify or minify the texture, where I am wrong?

A: As pointed out in the comments, GL_LINEAR_MIPMAP_LINEAR is not a valid value for the texture parameter GL_TEXTURE_MAG_FILTER. Valid values are GL_NEAREST and GL_LINEAR.
Anyway, to get ride of Moire effect i suggest using Anisotropic filtering (alos see Sampler Object - Anisotropic filtering). e.g.:
glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MIN_FILTER, GL_LINEAR_MIPMAP_LINEAR);
glTexParameteri(GL_TEXTURE_2D, GL_TEXTURE_MAG_FILTER, GL_LINEAR);
glTexParameterf(GL_TEXTURE_2D, GL_TEXTURE_MAX_ANISOTROPY, 8);


text:
package org.apache.drill.exec.physical;

import org.apache.drill.exec.proto.CoordinationProtos.DrillbitEndpoint;

import com.google.common.base.Preconditions;
import com.google.protobuf.TextFormat;

/**
 * EndpointAffinity captures affinity value for a given single Drillbit endpoint.
 */
public class EndpointAffinity {
  static final org.slf4j.Logger logger = org.slf4j.LoggerFactory.getLogger(EndpointAffinity.class);

  private final DrillbitEndpoint endpoint;
  private double affinity = 0.0d;

  // Requires including this endpoint at least once? Default is not required.
  private boolean mandatory;

  /**
   * Maximum allowed assignments for this endpoint. Default is {@link Integer#MAX_VALUE}
   */
  private int maxWidth = Integer.MAX_VALUE;

  /**
   * Create EndpointAffinity instance for given Drillbit endpoint. Affinity is initialized to 0. Affinity can be added
   * after EndpointAffinity object creation using {@link #addAffinity(double)}.
   *
   * @param endpoint Drillbit endpoint.
   */
  public EndpointAffinity(DrillbitEndpoint endpoint) {
    this.endpoint = endpoint;
  }

  /**
   * Create EndpointAffinity instance for given Drillbit endpoint and affinity initialized to given affinity value.
   * Affinity can be added after EndpointAffinity object creation using {@link #addAffinity(double)}.
   *
   * @param endpoint Drillbit endpoint.
   * @param affinity Initial affinity value.
   */
  public EndpointAffinity(DrillbitEndpoint endpoint, double affinity) {
    this.endpoint = endpoint;
    this.affinity = affinity;
  }

  /**
   * Creates EndpointAffinity instance for given DrillbitEndpoint, affinity and mandatory assignment requirement flag.
   * @param endpoint Drillbit endpoint
   * @param affinity Initial affinity value
   * @param mandatory Is this endpoint requires at least one mandatory assignment?
   * @param maxWidth Maximum allowed assignments for this endpoint.
   */
  public EndpointAffinity(final DrillbitEndpoint endpoint, final double affinity, final boolean mandatory,
      final int maxWidth) {
    Preconditions.checkArgument(maxWidth >= 1, "MaxWidth for given endpoint should be at least one.");
    this.endpoint = endpoint;
    this.affinity = affinity;
    this.mandatory = mandatory;
    this.maxWidth = maxWidth;
  }

  /**
   * Return the Drillbit endpoint in this instance.
   *
   * @return Drillbit endpoint.
   */
  public DrillbitEndpoint getEndpoint() {
    return endpoint;
  }

  /**
   * Get the affinity value. Affinity value is Double.POSITIVE_INFINITY if the Drillbit endpoint requires an assignment.
   *
   * @return affinity value
   */
  public double getAffinity() {
    return affinity;
  }

  /**
   * Add given affinity value to existing affinity value.
   *
   * @param f Affinity value (must be a non-negative value).
   * @throws java.lang.IllegalArgumentException If the given affinity value is negative.
   */
  public void addAffinity(double f){
    Preconditions.checkArgument(f >= 0.0d, "Affinity should not be negative");
    if (Double.POSITIVE_INFINITY == f) {
      affinity = f;
    } else if (Double.POSITIVE_INFINITY != affinity) {
      affinity += f;
    }
  }

  /**
   * Set the endpoint requires at least one assignment.
   */
  public void setAssignmentRequired() {
    mandatory = true;
  }

  /**
   * Is this endpoint required to be in fragment endpoint assignment list?
   *
   * @return Returns true for mandatory assignment, false otherwise.
   */
  public boolean isAssignmentRequired() {
    return mandatory || Double.POSITIVE_INFINITY == affinity;
  }

  /**
   * @return Maximum allowed assignments for this endpoint.
   */
  public int getMaxWidth() {
    return maxWidth;
  }

  /**
   * Set the new max width as the minimum of the the given value and current max width.
   * @param maxWidth
   */
  public void setMaxWidth(final int maxWidth) {
    Preconditions.checkArgument(maxWidth >= 1, "MaxWidth for given endpoint should be at least one.");
    this.maxWidth = Math.min(this.maxWidth, maxWidth);
  }

  @Override
  public int hashCode() {
    final int prime = 31;
    int result = 1;
    long temp;
    temp = Double.doubleToLongBits(affinity);
    result = prime * result + (int) (temp ^ (temp >>> 32));
    result = prime * result + ((endpoint == null) ? 0 : endpoint.hashCode());
    return result;
  }

  @Override
  public boolean equals(Object obj) {
    if (this == obj) {
      return true;
    }
    if (obj == null) {
      return false;
    }
    if (!(obj instanceof EndpointAffinity)) {
      return false;
    }
    EndpointAffinity other = (EndpointAffinity) obj;
    if (Double.doubleToLongBits(affinity) != Double.doubleToLongBits(other.affinity)) {
      return false;
    }
    if (endpoint == null) {
      if (other.endpoint != null) {
        return false;
      }
    } else if (!endpoint.equals(other.endpoint)) {
      return false;
    }
    return mandatory == other.mandatory;
  }

  @Override
  public String toString() {
    return "EndpointAffinity [endpoint=" + TextFormat.shortDebugString(endpoint) + ", affinity=" + affinity +
        ", mandatory=" + mandatory + ", maxWidth=" + maxWidth + "]";
  }
}

redpajama_set_name: RedPajamaGithub


Here is a neat bullet mold that is has a lot of character. It is the iron bullet mold for casting the .38 caliber bullet for a Winchester rifle or carbine. It has the caliber designation on the top of one of the legs. The mold measures 9-1/4 inches in overall size and still has the original wooden handle intact with a nice look to them. The mold still opens and closes and is complete including the sprue cutter on top. On the side of the body it has the maker marking that reads "MANUFACTURED BY THE WINCHESTER REP. ARMS CO. NEW HAVEN CONN U.S.A. ". This is a cool late 1800s bullet mold from the Winchester Company that doesn't cost a fortune.


The Fowlerville Community School District now allows students to waive the State of Michigan seat time requirement and complete their high school diploma through a web-based program from home. Students in 6th-12th grade who have access to the Internet can earn a diploma through Fowlerville Community Schools. All classes are monitored by a certified teacher, which includes a local mentor. Students who do not have home Internet access, or those who need additional assistance, have the option of attending an after school support lab at Fowlerville High School.
Interested students should fill out the appropriate application below and then contact Ms. Alyce Simonson for an appointment.


text: Dr. David A. Cooper recently retired as The James V. Forrestal Professor of National Security Affairs at the U.S. Naval War College in Newport, Rhode Island, where he previously served for eight years as the Chair of the Department of National Security Affairs. Before transitioning to academia he served for almost two decades as a career policy official in the Office of the Secretary of Defense including as Director of Strategic Arms Control Policy, Director of Nonproliferation Policy, and Senior Director for Homeland Security Integration. His areas of expertise include nuclear strategy, arms control and disarmament, nonproliferation, multilateral negotiations, homeland security, and international relations theory. He is the author most recently of Decision-Making in American Foreign Policy: Translating Theory Into Practice (Cambridge University Press, 2019) and Arms Control for the Third Nuclear Age: Between Disarmament and Armageddon (Georgetown University Press, 2021).

redpajama_set_name: RedPajamaCommonCrawl


Complaint: the imposition of the high fees is restrictive to Malawi businesses engage in the import of the concerned products. The instrument was also implemented without giving due notice to the businesses as such it is disruptive to the businesses.
Non-actionable status note: Not an NTB but a security issue which the security persons at the border can take care of.
Complaint: Any imports into Angola of value above US$10 000 require payment through international bank transfers. The Angolan banking system is not well functioning.
Complaint: It is difficult to obtain Credit Insurance in Botswana.
Please note that the complaint has been classified as "Non Actionable'. There is no need to obtain additional information . Kindly advise if it is still being posted as outstanding so that we can remove it from active complaints .
Non-actionable status note: Engagements with two major banks in South Africa indicates that this is not the case, they do provide insurance cover for all the countries in the region. It is most likely that the client did not meet certain requirements.


Her elegant layout begins forward with the master stateroom which features a large pedestal berth with storage drawers below, two hanging lockers, numerous storage cabinets, overhead deck hatch with screen, 2 side ports with screens and drapes and a privacy door.
Just aft and to port is the guest stateroom that features a hanging locker, additional storage, a side port and a sliding pocket door.
To starboard is the spacious head which features a separate stall shower with fiberglass seat & shower door, a vacuflush toilet, stainless steel sink, mirrored vanity with cabinet, vent fan, and side port with ample storage.
The Voyager is a big boat inside. The forward portion of the main salon is raised and is where the lower helm resides to starboard. The forward visibility is excellent with 3 large forward windows that have an exterior canvas cover. There are large side windows with blinds, a large ultra-leather sofa to port with dual incliners, a ultra-leather helm chair, built-in television, storage cabinet with a bar and granite counter surfaces.
The aft port area of the salon features a U-shaped dinette with storage below. To starboard is the galley, which features a refrigerator and freezer, 2 burner electric stove, built-in microwave oven, stainless steel sink with hot and cold pressure water, built-in coffee maker, a granite countertop and abundant storage in cabinets and drawers. In addition there is a large sliding cabin entry door with screen and drapes.
Princess 2 burner electric stove.
Nova Cool AC/DC refrigerator with freezer.
Dishes, glasses, pots, and pans.
(4) (New) Golf cart batteries - 2 batteries in 2 banks 215 amp hours each.
(2) 30 amp shore power cables.
(New) Zantrex True Charge battery charger / monitor.
Robertson AP20 Autopilot with dual controls.
Motorola Depth Sounder with second display repeater.
Standard Horizon VHF with RAM Mic.
Direct TV Satellite Dish KVH 18"
Vacuflush toilet w/holding tank and OB discharge.
Pump and seacock for direct overboard discharge where permitted.
Bronze raw water sea strainers.
(2) 22X20 (med. cup) spare props with prop puller.
500 series Racor fuel filters.


text:
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STONEBLADE MERCH
NEWS & LORE
RULES & EXTRAS
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SHARDS DIGITAL SCORE TRACKER
ASCENSION FAQ
Ascension: Deck Building Game to be published by Playdek
New Expansions for the Award-winning Stone Blade game to Release in 2021
VISTA, CA., February, 2021 – Playdek, the award-winning digital board game developer and publisher, along with Stone Blade Entertainment, leading board game designer and publisher, today announce a publishing agreement that will see Playdek continue to develop and publish digital adaptations of Stone Blade's Ascension: Deck Building series of games. The goal of the partnership is to bring the best digital content and deck building game experience to gamers worldwide, while continuing to build on the global community of Ascension online players.
"I am incredibly excited to be partnered again with Playdek on the Ascension app," said Justin Gary, CEO of Stone Blade and lead designer of Ascension, "We know fans have been asking for new content and features for a long time and we can't wait to bring this all to life for our community."
The first new product to come from the renewed partnership is Ascension: Deliverance, the thirteenth expansion for the Ascension game universe. In Deliverance, the world of dreams has become a living nightmare. With the portal between dreams and reality opened, the world has descended into madness. Players must harness the power needed to close the portal to the Dreamscape and restore the world to order. Ascension: Deliverance will release in Q1 2021.
In addition, Playdek will be adding the Ascension: 10 Year Anniversary Edition art and content that was featured in the Ascension: Tactics Kickstarter as a free update for all Ascension digital players. This selectable set features remastered cards, new art featuring Ascension's most iconic characters and a 10th Anniversary game board layout. The free set will be released alongside the Deliverance expansion.
"We have been very fortunate to work with Justin and the StoneBlade team in this business," said Joel Goodman, CEO, Playdek. "We launched Playdek ten years ago this year with Ascension: Chronicle of the Godslayer and are thankful to still be able to bring this great franchise to its many worldwide fans. We look forward to the next ten years working with our friends at StoneBlade."
About Playdek, Inc.
Playdek is a premier developer, publisher and platform for the world's best tabletop gaming. Winner of BoardGameGeek's Golden Geek award for Best Mobile/Handheld game and Pocket Tactics "Publisher of the Year", Playdek brings the best of hobby gaming to digital. www.playdekgames.com| facebook/playdek | twitter/@playdek
About StoneBlade Entertainment
Stone Blade Entertainment is a top industry gaming company headquartered in San Diego. In 2010, Stone Blade released the award-winning deck-building game Ascension, which just celebrated its ten year anniversary and includes over 15 expansions. Stone Blade has continued to launch premier tabletop games including Shards of Infinity, Ringmaster, and the upcoming Ascension Tactics Miniatures deckbuilding game. More info can be found at www.stoneblade.com
We create remarkable experiences that delight, connect, and inspire people all over the world.
© 2023, Stoneblade Entertainment Powered by Shopify


The beauty of the Temper Anchor is that no matter the slope of the roof you are working on you are covered. Its unique hinged design can be used from flat, 0/12 slope roofs, all the way to 12/12 slope in Fall Restraint or Fall Arrest. It can even be used in Work Positioning if needed. Available with a standard or swivel D-Ring, the Temper Anchor gives you maximum flexibility by allowing you to traverse back and forth across the peak of a roof without having to attach to a different anchor point.
The Temper Anchor is fully OSHA and ANSI compliant, and is rated for workers from 130-420 lbs. Its thick zinc-plated-plated construction is durable and long-lasting, and when attached with approved fasteners the anchor can be reused on job after job. The Temper Anchor is compatible with wood, metal, or concrete substrates (see instructions for details), and its offset mounting holes help avoid truss damage by reducing splitting, ensuring structural integrity is not compromised during installation or removal. Combine the Temper Anchor with a harness and vertical lifeline and you have a near unbeatable system for most roofing jobs - oh wait, we've done that for you in our Bucket of Safe-Tie – check it out here.
With the Temper Anchor, you can approach roofing work with confidence knowing that you have the right gear for anything the job might throw at you. Bid confidently and be safe up there.


Some Web portals are developed to support electronic community or e-community of special interest groups (SIG) that provide the platforms to communicate, share ideas and knowledge among the members. By incorporating the Web portal with a knowledge-based system, knowledge acquisition and sharing will be more efficient. This type of knowledge system is known as knowledge sharing system rather than expert system. Existing SIG portals provide the information by listing the names of the related people in a textual form. Some Web portals reveal the level of expertise of the members but the textual representation does not manage to highlight the different level of expertise among the community explicitly. Thus we have proposed KM-ClaVis approach that consists of a point-based semi automatic classification method to classify the users' expertise levels and the tree view method to visualize the classified expertise of a software engineering interest group (SEIG) e-community. We apply KM-ClaVis approach in an existing SEIG knowledge portal. We anticipate the proposed approach will improve knowledge management among the members.


text:
1. any mental picture, that is unknowingly created and part of the time track is a facsimile, whether an engram, secondary, lock or pleasure moment. (HCOB 15 May 63) 2. a theta recording. All physical perceptions, all effort, emotion and thought which a person experiences are recorded continuously, and these recordings are called "facsimiles." They are not dependent upon an organism for their continued existence. Any facsimile which has been recorded is there to be recalled-when the individual has risen high enough on the tone scale,...more
1. any mental picture, that is unknowingly created and part of the time track is a facsimile, whether an engram, secondary, lock or pleasure moment. (HCOB 15 May 63) 2. a theta recording. All physical perceptions, all effort, emotion and thought which a person experiences are recorded continuously, and these recordings are called "facsimiles." They are not dependent upon an organism for their continued existence. Any facsimile which has been recorded is there to be recalled-when the individual has risen high enough on the tone scale, when he has regained enough of his self-determinism. (Abil 114A) 3. an energy picture made by a thetan or the body's machinery of the physical universe environment. It is like a photograph. It is made of mental energy. It means copy of the physical universe. (PAB 99) 4. the pictures contained in the reactive mind. (Dn 55!, p. 12) 5. a full facsimile is a sort of three-dimensional color picture with sound and smell and all other perceptions plus the conclusions or speculations of the individual. (HFP, p. 27) 6. a simple word meaning a picture of a thing, a copy of a thing, not the thing itself. (HFP, p. 25) 7. a facsimile is an energy picture which can be reviewed again. A facsimile contains more than fifty easily identified perceptions. It also contains emotion and thought. (Scn 8- 8008, p. 37) 8. means the physical universe impression on thought and it means that section of thought which has a physical universe impression on it and it has a time tag on it. (5203CM03B)
2. a theta recording. All physical perceptions, all effort, emotion and thought which a person experiences are recorded continuously, and these recordings are called "facsimiles." They are not dependent upon an organism for their continued existence. Any facsimile which has been recorded is there to be recalled-when the individual has risen high enough on the tone scale, when he has regained enough of his self-determinism. (Abil 114A)...More
1. a mental image picture which is a recording of a time of physical pain and unconsciousness. It must by definition have impact or injury as part of its content. (HCOB 23 Apr 69) 2. a specialized kind of facsimile. This differs from other mental pictures because it contains, as part of its content, unconsciousness and physical pain. (Dn 55!, p. 12) 3. a complete recording, down to the last accurate detail, of every perception present in a moment of partial or full unconsciousness. (Scn 0-8, p. 11)...more
Hubbard Communications Office Bulletin (technical bulletin) Also colloquially referred to as "red on white" HCOB's are always red ink on white paper.
5. emotion could be called the energy manifestation of affinity. As used in Dn, emotion could be called the index of the state of being. In the English language, "emotional" is often considered synonymous with "irrational." This would seem to assume that if one is emotional one cannot be reasonable. No more unreasonable assumption could possibly be made. (SOS, p. 48)...more
5. a scale which plots the descending spiral of life from full vitality and consciousness through half-vitality and half-consciousness down to death. (SA, p . 3 7 )...More
Ability Magazine. (a publication of the church of scientology)
1. the living unit we call, in Scn, a thetan, that being taken from the Greek letter theta, the mathematic symbol used in Scn to indicate the source of life and life itself. (Abil Ma 1) 2. the awareness of awareness unit which has all potentialities but no mass, no wave-length and no location. (HCOB 3 Jul 59) 3. the being who is the individual and who handles and lives in the body. (HCOB 23 Apr 69)...more
Professional Auditors Bulletin (a series of technical booklet issues.)
1. a portion of a person's mind which works on a totally stimulus-response basis, which is not under his volitional control, and which exerts force and the power of command over his awareness, purposes, thoughts, body and actions. Stored in the reactive mind are engrams, and here we find the single source of aberrations and psychosomatic ills. (Scn 0-8, p. 11)...MORE
Abbreviation for Dianetics. (Modern Management Technology Defined (C) 1976).
Abbreviation for Scientology. (Modern Management Technology Defined (C) 1976).
Retrieved from "https://scientolipedia.org/w/index.php?title=Facsimiles&oldid=1710"
This page was last edited on February 24, 2012, at 04:59.


text:
"Hatchet Wielding Hitchhiker" Ethics
This week Netflix offered another true crime documentary, "The Hatchet Wielding Hitchhiker." It tells the weird tale of Kai Lawrence (his real name is Caleb McGillvary) who went from viral celebrity to convicted murderer in less than a year. It is a very disturbing story, and not just because of the murder. What I found most illuminating if not surprising was the eager exploitation of an obviously disturbed young man with violent tendencies by media types who gave no thought to the likely consequences of their actions.
In 2013, McGillvary, aka "Kai" was a homeless pot-smoking vagrant, living on the streets and depending on the kindness of strangers. Hitchhiking in the Fresno (California) area, he was picked up by Jett McBride, who, Kai revealed later, he had given a cigarette laced with a hallucinogenic drug. Perhaps as a result, McBride ran down a pedestrian When a woman rushed to the pedestrian's aid, McBride, apparently bonkers, assaulted her. This is where "hatchet-wielding" comes in: Kai got out of the car and stopped McBride's attack by hitting him three times over the head with a hatchet he had in his bag.
Yes, he became a hero by striking a man with a hatchet. The woman felt Kai had saved her life, and a local reporter on the scene quickly grabbed the long-haired, handsome young man for an interview. The reporter was obviously amused and delighted by Kai's spontaneity and affinity for the camera. At one point McGillvary turned directly to viewers and delivered a well-rehearsed call for all human beings to be "respected for who they are." The reporter was charmed, even though anyone with open eyes should have known then that they were witnessing the act of seasoned grifter.
The reporter tells the documentary-maker that he had never met anyone with such energy and natural charisma. Ugh. People who are mentally ill and emotionally disturbed frequently display great energy, and sociopaths are usually charismatic. But the interview got the reporter's YouTube channel a half-million views, so he was sold. He had discovered a true media star, a phenomenon! No, the reporte had discovered a dangerous, angry, manipulative and opportunistic outcast with a good routine. A young, physically fit and intelligent young man who chooses to live on the streets is not normal, psychologically sound or trustworthy.
Never mind though; after he became a sensation in California, Jimmy Kimmel booked him as a guest on his show. This is a prefect match, since Kimmel is also a sociopath: that's the clip from the documentary covering the Kimmel appearance above. I would take me maybe three minutes with Kai to figure out that he was a few sandwiches short of a picnic, and I'm sure this was obvious to many on Kimmel's staff, if not Kimmel himself. They just didn't care.
Kai sang and played the guitar—you know, like John Hinckley Jr.—and he had performed one of his own compositions in one interview, so Justin Bieber's team reached out to him and the reality show producer to blame for "Keeping Up With The Kardashians" wanted him to star in a TV reality show. That's the tip-off right there: reality shows are the modern day equivalents of carnival freak shows. Kai was a freak, and ruthless media types wanted to squeeze as much money out of using him as they could before he wore out his extended 15 minutes of fame.
There were many clues that Kai was ticking time bomb. His attention span was fractured; he sometimes flipped into dark tales about being abused a child; he had a habit of urinating in public. The media exposure gave him power, and giving power to a troubled man like Kai is like giving a pistol to a six-year-old. He was, after all, famous for hitting a man with an axe, an episode that McGillvary re-entacted with gusto and apparent glee whenever asked
Eventually, and quickly, the inevitable happened. Seventy-three-year old lawyer Joseph Galfy was found dead in his home in New Jersey, wearing only his socks and underwear. His head was bashed in. Police found a note in Galfy's home with Kai's name and number on it, as well as a train ticket receipt.Surveillance footage from a local train station showed Galfy buying Kai a train ticket and the pair hugging goodbye. Kai also published a strange social media post asking "what would you do" if you woke up after being drugged to discover you had been sexually molested by someone. Apparently what Kai did was leave the home of Galfy, who had let him sleep there, then returned to beat him to death.
Kai is now serving a 57-year sentence for murder in a New Jersey prison. I'm sure Jimmy Kimmel, who refused to be interviewed for the documentary, has already forgotten his name. The local reporter and the reality show producer, for their part, profess to be stunned that Kai's story ended the way it did.
After all, who could have predicted it?
Arts & Entertainment, Health and Medicine, Law & Law Enforcement
Jimmy Kimmel, Netflix, sociopaths
← It's Unethical For A Leader To Refuse To Fire Incompetent Subordinates. Somebody Tell President Biden
Friday Open Forum If You Have The Stomach For It… →
15 thoughts on ""Hatchet Wielding Hitchhiker" Ethics"
… A young, physically fit and intelligent young man who chooses to live on the streets is not normal, psychologically sound or trustworthy.
I once heard of someone with the former characteristics in Vienna, just before the First World War. Opinion is divided as to whether he had the latter characteristics (then).
Steve-O-in-NJ
Take a listen of Charles Manson's recordings. He's a complete sociopath, but very charismatic. It's not hard to imagine how he led his "family" into what he did. I know all about being talented, but also disturbed. I know it because I myself have a fair amount of artistic talent (poet, storyteller, master with a camera), but I don't pretend to be well-adjusted. Better to keep a low profile, save the disturbing stories for your therapist, and do your best to try to fit in.
Manson's an excellent example. So were Jim Jones, Huey Long, and Bernie Madoff. And Bill Clinton.
Bullying CEO Jack Welch, failed king (and just this side of traitor) Edward VIII, and pedo director Roman Polanski might all qualify as well.
You just reminded me: I was watching a documentary about Teddy Roosevelt (not Ken Burns') and a historian was talking about how Roosevelt liked to fight. "He wasn't a bully—he didn't like that word," the scholar said.
Teddy Roosevelt didn't like the word "bully"????????????? My coffee came out through my nose….
No, he just acted like a six-year-old.
Were you deliberately channeling the famous quote by one of Teddy's ambassadors that "You must remember, the President is about six"?
Cecil Spring Rice, British Ambassador to the United States, friend of Roosevelt's and Best Man at his wedding to Edith Carow.
Yes! Couldn't fetch the name. Thanks.
I'm sure you are familiar with the film 'Rough Riders' — how well do you think they captured TR in that film?
Sorry. I can't read this post. Jimmy Kimmel's smug face is too annoying for me to get past.
The "pope of America." Yeah right.
Mrs. OB worked with Jim Kimmel, Sr. at American Express. Jim Sr. is a nice guy and Joan Kimmel is an Italian American from whence Jimmy gets his (now corrupted and long gone) sense of humor. Jimmy evidently grew up wanting to be Johnny Carson. And he's pulled it off. But Carson was old school and just a comedian. Jimmy is absolutely toxic. Maybe he does get his preachiness from being brought up Catholic. But man, talk about an ethics annihilator, he's the man. He's really in a league by himself. How did he and Adam Corolla ever work shoulder to shoulder on pretty good, classic comedy? I wonder whether Jimmy is just faking his wokeness. Was it Louie Mayer who said, "Once you can fake sincerity, you're really onto something."


The Effort: 1 Ton of Grapes equals 1 bottle of 500ml Grape Seed Oil!
This smooth Cabernet Sauvignon shows ripe berry fruit flavours with some delicate floral hints. Ideal on its own or partnering simple red meat dishes and pasta.
This refreshing Sauvignon Blanc has flavours of citrus, melon and herbs as well as crisp, clean finish. Serve with fish, seafood dishes and salads.
This ripe Chardonnay is fresh and fruity with flavours of melon and tropical fruit. Ideal with chicken, seafood and variety of salads.


text:
package co.kuznetsov.commando.activation;

import co.kuznetsov.commando.CommandoServiceLocator;
import co.kuznetsov.commando.registry.ConfigurationException;
import co.kuznetsov.commando.registry.ConfigurationService;
import co.kuznetsov.service.DiscoveryException;
import co.kuznetsov.service.ServiceLocation;
import co.kuznetsov.service.ServiceLocator;
import co.kuznetsov.util.Props;
import org.bouncycastle.openpgp.PGPPublicKeyRing;
import org.bouncycastle.openpgp.PGPSecretKeyRing;
import org.bouncycastle.openpgp.operator.bc.BcKeyFingerprintCalculator;

import java.util.Date;

public class Activator {
    private final static String ACTIVATED         = "activated";
    private final static String REGISTERY_PUB_KEY = "registry.pkr";

    private static Props properties = null;

    private Activator() {}

    public static synchronized Props activate(String orgDomain, String region, String configGroupName) throws ActivationException {
        try {
            ServiceLocator serviceLocator = new CommandoServiceLocator(orgDomain, region);
            ServiceLocation registryLocation = ServiceLocator.one(serviceLocator, ApplicationId.get());
            return activate(registryLocation, configGroupName);
        } catch (DiscoveryException e) {
            throw new ActivationException("Unable to locate registry", e);
        }
    }

    public static synchronized Props activate(ServiceLocation commandoLocation, String configGroupName) throws ActivationException {
        if (properties != null) {
            return properties;
        }

        PGPPublicKeyRing pubKey = ApplicationKey.getPublicKey();
        PGPSecretKeyRing secKey = ApplicationKey.getSecretKey();

        PGPPublicKeyRing registryPubKey = registerAppPublicKey(
                commandoLocation,
                ApplicationId.get(),
                configGroupName,
                pubKey,
                secKey
        );

        properties = retrieveAppConfiguration(
                commandoLocation,
                ApplicationId.get(),
                configGroupName,
                secKey,
                registryPubKey
        );

        ApplicationStore.storeValue(ACTIVATED, "" + new Date());
        return properties;
    }

    private static Props retrieveAppConfiguration(
            ServiceLocation registryLocation,
            String appId,
            String configGroupName,
            PGPSecretKeyRing secKey,
            PGPPublicKeyRing registryPubKey
    ) throws ActivationException {
        try {
            ConfigurationService service = new ConfigurationService(registryLocation);
            return service.configure(appId, configGroupName, secKey, registryPubKey);
        } catch(ConfigurationException e) {
            throw new ActivationException("Unable to activate app (wrong appId or already registered with a different key)", e);
        }
    }

    private static PGPPublicKeyRing registerAppPublicKey(
            ServiceLocation registryLocation,
            String appId,
            String configGroupName,
            PGPPublicKeyRing pubKey,
            PGPSecretKeyRing secKey
    ) throws ActivationException {
        try {
            byte [] regPubKey = ApplicationStore.getBinaryValue(REGISTERY_PUB_KEY);
            if (regPubKey != null) {
                return new PGPPublicKeyRing(regPubKey, new BcKeyFingerprintCalculator());
            }

            ConfigurationService service = new ConfigurationService(registryLocation);
            PGPPublicKeyRing  registryPubKey = service.join(appId, configGroupName, pubKey, secKey);
            ApplicationStore.storeBinaryValue(REGISTERY_PUB_KEY, registryPubKey.getEncoded());
            return registryPubKey;
        } catch(ConfigurationException e) {
            throw new ActivationException("Unable to activate app (wrong appId or already registered with a different key)", e);
        } catch(Exception e) {
            throw new ActivationException(
                    String.format("Unable to register public key, service location: %s", registryLocation),
                    e);
        }
    }
}


Jim Wanzeck, Broker/Owner of RE/MAX Masters Millennium the top-producing single office (for sales volume) in the RE/MAX network for five years running, says his 118 agents will do a billion dollars in real estate sales this year.
1. Build an inviting space where clients and agents can meet and collaborate. Wanzeck's office includes an event center that seats 60 and includes multiple televisions, a fireplace and comfortable couches. "We have closings in our own office, so our clients get to come and see the real value of our facility, which I believe is second to none in the industry," he says.
2. Don't overlook the value of personal connections. Wanzeck's office calls are answered by real people – not a voice operating system. "We probably have the largest support staff of any agency. We have transaction coordinators, we have pre-listing coordinators. We answer our own phones. We don't have technology do that. We feel that's still a vital part of the client relationship," he says.
3. Build a start-to-finish network of services in-house. RE/MAX Masters Millennium includes a dedicated moving service, on-site handymen and more so that clients understand the value-added aspect of working with Wanzeck's agents, who are able to troubleshoot any situation thanks to a readily available team of contractors.


text:
Drone flying regulations
Amazing aerial photos
Incredible drone photos
Wow, you can get a drone that can film in HD above and under water for just £50
Rik Henderson · 27 January 2016
1/7 Pocket-lint
The best drones 2020: Top rated quadcopters to buy, whatever your budget
- X-Water drone can be submerged up to 2 metres
- Films in 720p
- Can fly, dive and fly again
Flying Gadgets, the toy company that introduced the X-Voice voice-controlled drone last year, is bringing another unique quadcopter to the UK later this year, the X-Water. It can fly both above and below water, while filming 720p video.
What's more, it will only cost £50 when it arrives.
Best drone photos ever: Stunning images taken from up high
The X-Water is claimed to be the world's first waterproofed drone and effectively works like any other hand-sized flyer when zipping around the skies. The HD camera is front-facing and also encased, so it can film down to two metres while submerged.
What's more, Flying Gadgets told us at the recent London Toy Fair that, when released, the drone will be able to fly above ground, dive under water, then return to the skies, continuously filming as it goes.
Unfortunately, the version we saw at the show was just a waterproofed prototype, so we didn't get to see it fly - just dunked into a fish tank. But the one that is coming around Christmas time will be fully capable.
READ: Best tech toys for Christmas 2016: Drones, cameras, smartwatches and more
"We thought what would happen if we waterproofed a traditional toy drone," a spokesperson said to us.
It seems that inquisitive approach will pay off.
The Flying Gadgets X-Water drone will be available in winter 2016 for around £50.
Sections Drones Parenting
PopularIn Drones
Best drone photos ever: Stunning images taken from the sky
Hubsan Zino 2: Here's why it's a top drone choice
DJI Mavic Mini review: Tiny yet terrific
Today's the deadline for drone registration in the UK
Drone flying in the UK and US: All the rules and regulations explained


ATLANTA, GA--(Marketwired - Dec 15, 2016) - Oversight Systems, a leading operational expense analysis company, today announced it has completed and become EU-U.S. Privacy Shield certified by the US Department of Commerce International Trade Administration (ITA). The certification is one step to expand the access and security of data for the world's largest organizations and government agencies that rely on Oversight to transform their approach to compliance and risk management within their financial operations.
"Our active participation in Privacy Shield demonstrates Oversight's commitment to privacy and data security for clients working in a globally integrated world," said Michael McMullin, Director of Program Management at Oversight Systems. "This is one of many mechanisms we leverage in ensuring our clients' data is secure and available so customers have the insights needed to find any issues with spending and travel expenses."
The EU-U.S. Privacy Shield Framework was designed by the U.S. Department of Commerce and European Commission to provide companies on both sides of the Atlantic with a mechanism to comply with EU data protection requirements when transferring personal data from the European Union to the United States in support of transatlantic commerce. To be Privacy Shield certified, U.S.-based organizations self-certify to the Department of Commerce and publicly commit to comply with the Framework's requirements.
Oversight's software monitors more than $2 trillion of expenditures annually for some of the world's largest organizations. The web-based application applies sophisticated artificial intelligence based forensic analytics to expense transactions to identify fraud, non-compliant purchases, and wasteful spending. Through increased visibility into trends and behavior, Oversight pinpoints opportunities for ongoing improvement and helps companies make smarter business decisions, every day. Oversight's partnerships with Concur, Oracle, SAP, and TSYS allow seamless data acquisition and rapid deployment for clients.


text:
Home SHIPPING NEWS US regulations will hold back cargo delivery by drone, says Frost & Sullivan
US regulations will hold back cargo delivery by drone, says Frost & Sullivan
AERIAL drone growth from 2019 to 2023 will increase to 2
AERIAL drone growth from 2019 to 2023 will increase to 2.44 million, but only about 100,000 will be used for cargo delivery, according to a research report from Texas-based investment strategies firm Frost & Sullivan.
Drone applications have rapidly proliferated across industries, but their use for package deliveries is expected to remain largely grounded by regulatory and infrastructural hurdles during the next few years, reports American Shipper.
In December, the US Federal Aviation Administration (F) proposed a so-called 'license plate' rule for drones which could allow for their operation beyond visual contact of the operator, but the rule is fraught with privacy and operator liability concerns and will likely take years for the agency to finalise.
The company forecasts that the number of deployed drones will increase from 2.44 million in 2019 to 2.91 million in 2023.
Most drones will operate in the 'dull, dangerous, dirty and difficult' jobs category, said Frost & Sullivan vice president Michael Blades.
These types of jobs may include, for example, inspecting unsafe buildings and the inside of oil tanker hulls. Drones have proved themselves safe and effective in myriad applications, such as building, power line and wind turbine inspections; mapping and navigation; and crop spraying.
Since Amazon.com first began developing drones in 2013 for consumer deliveries, a multitude of companies, including UPS and FedEx, have stepped forward with their own plans for the technology.
But F regulations for drone flight ceilings, times of operation, and visual contact by operators during flight continue to hold back the technology's commercial cargo potential, said Mr Blades.
One of the most successful services for delivering cargo by drone was launched in 2014 by San Francisco-based Zipline. The company's small, fixed-wing drones deliver shipments of medical supplies using parachute drops to remote locations in Africa.
According to Zipline's website, the company operates strategically located distribution centres across Africa from which its drones take off and return. Zipline said its drones can make hundreds of deliveries a day from these sites to any point within an 8,750-square-mile radius.
United Parcel Service (UPS) has expanded its investments in drone technology in recent years. In March 2019, the company's UPS Flight Forward unit began using M2 drones, developed in partnership with Matternet, to deliver pharmaceutical parcels across the WakeMed medical campus in Raleigh, North Carolina.
Earlier this year, UPS entered a partnership with Wingcopter of Germany to develop heftier, longer-range drones for shipment deliveries.
Other manufacturers, such as DJI, Flirtey and Elroy Air, have successfully developed package-transporting drones in recent years.
Mr Blades said unless the F grants a waiver, the requirement for visual contact with the drone by the operator will continue to limit the technology's growth prospects for commercial cargo delivery in the US.
us regulations will hold back cargo delivery by drone says frost sullivan
Air cargo traffic holds steady at Leipzig/Halle airport
Turkish-Russian rapprochement 100 years after Ataturk's first letter to Lenin


text:
disable_comments: false
title: Vi flyttar ihop med Happiness
summary: En ny delägare är inte den enda förändringen denna höst. Vi har ni även lämnat vårt kontor i Gamla Stan och flyttat in hos Happiness.
date: 2012-09-10 00:00:00 UTC
author: per
meta_title: Vi flyttar ihop med Happiness
description: En ny delägare är inte den enda förändringen denna höst. Vi har ni även lämnat vårt kontor i Gamla Stan och flyttat in hos Happiness.
lang: sv
---

En ny delägare är inte den enda förändringen denna höst. Vi har ni även lämnat vårt kontor i Gamla Stan och flyttat in hos Happiness.

Tillsammans med Happiness befäster vi ytterligare vår position bland Sveriges absolut främsta experter inom Drupal och har nu möjlighet att ta oss an ännu större utmaningar.

Mer om sammanslagningen går att läsa i nedan pressmeddelande:

Happiness och Kollegorna flyttar ihop

Kollegorna flyttade förra veckan in till Happiness kontor i Stockholm. Henrik Sjökvist, tidigare på Newsfactory, har också anslutit till Kollegorna.

Mattias Axelsson, VD Happiness: "Ambitionen är att forma ett nytt elit-team för större Drupalprojekt. Med Kollegorna i huset har vi nu rekordmånga seniora Drupalkonsulter. Nu synkar vi system och metodik. Avsikten är att gå ihop eller ha en mycket nära samarbete, exakt hur vi gör får växa fram under hösten."

Per Sandström, Kollegorna: "Stämningen är på topp. Det här blir en kraftsamling och möjligheterna ökar för oss att arbeta med större, mer omfattande uppdrag."

    www.happiness.se

    www.kollegorna.se

Vill du jobba med oss? Kontakta mig eller Henrik och berätta mer.


An fantastic apartment in Puerto Pollensa with an incredible view overlooking Puerto Pollensa and the mountains. It is located in the town centre. Everything you need is in walking distance. The beach, shops, cafes and restaurants are only 2 minutes away.
You probably do no find a better place to invest a bit to own your own dream apartment in paradise.
The apartment has 120m2 and is divided into 3 bedrooms, 2 bathrooms, a great spacious living and dinning room with an open modern kitchen and with a spectacular view. The balcony almost surrounds the whole apartment.
With this property there is also an option to purchase the garage for 60,000 euros.


text:
Fun in Funchal
Madeira in January.
Sunshine, spectacular scenery, cheap beer, good food and British pensioners of every shape, size and accent swarming like a plague of mildly arthritic locusts, more plastic joints than bling crowding round the casino tables.
Football too. The island's 273,000 residents can boast of two teams in Portugal's top flight, both based in the main city of Funchal. The trip away teams must negotiate from the mainland would surely leave Danny Lennon apoplectic.
Extensive research - Wikipedia detained me for all of five minutes - suggests that Maritimo have often enjoyed the island upper hand and a degree of populist political patronage while Nacional have traditionally attracted support from Funchal's more well to do citizens.
Loathe as I am to forget a childhood spent on the mean, if lovingly manicured, streets of commuter belt East Lothian, a quirk of the fixture list meant it would be the toffs of Nacional graced with my patronage.
With both teams having endured financial challenges in recent years it could be that their respective support is now less divided by class or wealth.
Nacional though have preserved the air of the haughty aristoratic thanks to their stadium, modern and modest but perched high in the hills overlooking Funchal.
The Cristiano Ronaldo Academy - he was a Nacional player before Sporting Lisbon swooped when he was just ten years old - adds glamour in the mountains, the perfect spot for looking down on the masses as they look up to you.
Modern out of town stadiums often seem designed to depress. The Estádio da Madeira - a name that might well irk Maritimo - at least offers a bar and a bolo do caco stall churning out freshly made doughy bread with garlic butter and chorizo for all of €2.
(Not only is this an improvement on the "street food" of Scottish football it's also well worth seeking out in down town Funchal where most restaurants pitched at tourists think lunch should be a three course affair beginning with soup. Whether this is dictated by tradition or the dental capabilities of much of their winter clientele is unclear.)
A rather sparse club shop hints at a certain difficulty in parting the locals from their cash. Maybe not just locals, a pile of "half and half" scarves marking a European game with Birmingham a couple of years ago suggests either overly ambitious ordering or reluctant Brummies preferring to leave their money behind the bar.
Most dramatically the stadium escapes humdrum modernity thanks to its location. Windows in the newer of the two stands offer views across Funchal and give the feeling of a modern stadium that is at once apart from and a part of its city.
There was also a match to be played. Nacional, at the wrong end of the table, entertaining Braga, three wins on the trot and lying third behind Porto and Benfica.
Politeness might always have led me to root for the home team but a run in with Braga's team bus, displaying what I considered some reckless reversing in a crowded car park, the day before the game sealed the deal.
Which is why at half time I found myself sitting in a stadium that was two thirds empty, having watched "my side" look enthusiastically uninspired as visitors doing no more than go through the motions had taken a 1-0 lead.
I can cross the road to see that most weeks in Scotland.
A couple of non-alcoholic beers (€1 and pointless) and a couple of gut wrenchingly strong coffees (€0.70 and invigorating) later and I was ready for more.
And so were Nacional. Finding more point to their energy they began to threaten as Braga went from not really trying to really quite narked that things weren't going their way.
1-1 on 58 minutes, 2-1 on 60 minutes. Having broken with no real purpose to squander decent opportunities in the first half Nacional were now breaking with real purpose to make the most of half chances.
78 minutes and it was 3-1, an own goal giving the home side a cushion.
Braga rallied. In the 83rd minute Eder pulled one back, his third in three games and ninth in eleven league games since joining in the summer. The goal was a product of an urgency that hadn't been there as they went 1-0 up or even when they found themselves 2-1 down.
It might actually have taken 75 minutes before their captain, Alan, managed to find it in himself to lift the pace above holiday dawdle.
Too late though. And definitely too late when Hugo Viana got himself sent off with five minutes to go.
Nacional closed it out. Braga missed the chance to gain on the top two, Nacional moved up the league and sneaked past Maritimo on goal difference.
The taxi driver who took us up the mountain was waiting at full time to take us back down.
We were back in the centre of Funchal to catch the hotel crooner finishing off his set with a rousing My Way. Walking sticks were tapped on the dancefloor in approval, the walking dead shuffled riotously towards a live casino dreaming dreams of Euro riches.
There are, I think, worse ways to watch football.
Labels: Braga, Funchal, Maritimo, Nacional, Portugal, Portuguese football
Scottish football: Reinventing the wheel
12 + 12 + 18 = 8 + 8 + 8 + 18 = 36 + 36 + 36 + 34.
With such simple equations are Scottish football resurrections secured.
If the SPL is about to die, the dictators of the ancien regime are going to get their way before the peasants storm the castle.
12 + 12 + 18.
We could carve it in granite on the SPL's tombstone if an unmarked grave didn't seem more appropriate.
The SPL's Neil Doncaster has often been characterised on this blog as providing much of the deficit in Scottish football's leadership.
His stock fell further during the bloodletting of the summer and recently it has been his Scottish Football League counterpart, David Longmuir, who has been seen by many to better articulate the views of the ordinary punter.
Longmuir has been gazumped on the critical issue of reconstruction though. Step aside Donkey-caster, this was Don King-caster, persuading enough clubs that his dream was actually their dream too.
In the time honoured Scottish football tradition this was done with sticks and carrots, bribes and threats. Our change or no change and did we mention a redistribution of wealth? Our way or the highway and how about increasing the number of potential promotion spots?
In such ways can dreams be sold.
Fair to say that many fans have been less enamoured to the SPL's grand compromise. Never convinced by the split in the first place, supporters are unlikely to find appeasement in a further level of splittage.
This apparent disregard for the paying punter might be nothing more than some club chairmen judging that their support has been reduced to a loyal rump who will remain forlornly in attendance whatever the divisional machinations.
Or it could be that they can't quite escape playing matron. They know we don't like the idea of a three way split cabbage but it will help us grow strong and healthy so they'll force feed us it anyway.
The guardians of the game guarding the game against the romantically suicidal notions of supporters.
It's not unreasonable for directors to think that is simply a case of them doing their jobs.
Risky though. A wild stab in the demographic dark would lead me to surmise that few Scottish football fans grew up with Listen With Mother or accepting that nanny knew best.
In difficult times we might decide that paying for the privilege of eating cabbage is a miserable luxury we can forego or that the time has come to find a restaurant where the menu is more entertaining and less cabbage centric.
(And while I am throttling this cabbage nonsense to death, full disclosure: I am a fan of the Cabbage who will likely perservere with that support no matter the method of shredding the leaves in mid season. Part, as it were, of Rod Petrie's cabbagey rump.)
If clubs are prepared to gamble that 12 + 12 + 18 minimises destruction in the court of public opinion, do they have the same confidence in the corportate world?
However the cards fall on reconstruction, the model will require a title sponsor and media partners will need to be satisfied they are getting value for their investment.
Last week there were rumours that ESPN were either looking at ditching their Scottish football coverage or ditching all their remaining assets and pulling out of the UK market.
Would Sky want a monopoly? Could BT's new kid on the televised sport block be persuaded to intervene?
Has anyone even asked them?
Part of the problem with the SPL's vision is what remains unsaid.
On sponsorship and TV deals. On how a fairer distribution of money would work. On how the leagues below the SFL will be persuaded that this is a pyramid system that can actually work for them. On what exactly increasing access to promotion will mean in practice. On how willing the SPL will be to give up their rotten borough of a voting system within a single league body.
We don't know enough. Is it any surprise that fans are taking a lot of convincing when the known knowns seem so needlessly complicated and the known unknowns seem so plentiful?
Rangers have offered a counter proposal a 14 + 14 + 14 structure. That 14 team top flight was the model favoured by Rangers and Celtic a couple of years ago. It was also the model, probably quite coincidentally, outlined by Jim Traynor in 2011.
It has merits. It has flaws. Given how steadfastly a majority of SPL clubs have been in their desire to do anything but expand the top flight it seems unlikely, as Charles Green is no doubt aware, to find favour. Having kicked up a fuss about 12 + 12 + 18 and been challenged to deliver an alternative, Green was perhaps lucky to have Jim Traynor's back catalogue lying around Ibrox.
And clearly there are already SFL clubs persuaded by the 12 team second tier, that SPL2 by any other name.
Are we closer to reconstruction in time for next season?
I'd think so. But for it to happen in the next few months it will be along the 12 + 12 + 18 model.
That is the model that preserves the number of home gates the SPL clubs need to sustain their often hand to mouth existence, the model that gives clubs in the current First Division that tantalising prospect of access to the top flight and the model that seems to have found a degree of acceptance among the remaining SFL clubs.
If it's not agreed, we will be back to various brains trusts banging together in the corridors of Hampden. Again.
It's far from perfect.
It's already been branded a failure in Austria and the Swiss - who successfully sold the world cuckoo clocks, multi functional penknives with little apparent functionality and Sepp Blatter - couldn't make it work.
Fans are resistant and it seems quite an emotional resistance, one not easily countered by bland marketing and "here's the maths" spreadsheets.
That's a hard sell for an imperfect product.
Maybe honesty would be best the option:
"We want 12 + 12 + 18 for reasons of self-preservation. We're not sure the football will improve, the games will be more exciting or the blot of meaningless game will be forever erased from the top two divisions.
"But we're all skint and this is the best way we can find to try and maximise revenues, the best way to keep the greatest number of clubs alive.
"Perfect? No. A quick fix? Probably not. But if you've been watching Scottish football through the years you'll know that the problems are too deep for a change in the size of the top flight to make the game an overnight success.
"We're taking a risk that 12 + 12 + 18 will give us the stability to build something a bit better. We kind of need your help to do it."
It might not persuade a lot of fans but it could prove quite cathartic for all involved.
It might also help to rebuild trust between clubs and fans, a trust that has been eroding for too long, making it trickier to sell any reconstruction idea to the majority.
That this reconstruction has been framed as the last act of a collapsing SPL hasn't helped - people are less keen to grant your last wish if you've been universally derided for most of your life.
If pushing ahead with 12 + 12 + 18 erodes that trust further, fails to improve what we see on the pitch, leaves yet more fans choking on their cabbage then we'll be chasing down yet another dead end.
And with every passing season we're getting less and less room for manoeuvre.
Labels: David Longmuir, Neil Doncaster, Scottish football reconstruction, Scottish football restructuring, SFL, SPL


text:
Home › History of Typography
A Fun Find: Early Greek Didot (1790)
Jacob Casal Posts: 95
May 2019 in History of Typography
I've known about this for one or two years now, and intend to include it in my design of Didot from this period, but I thought it would be neat to share this small nook in type history with you all now.
I'm sure many of you are familiar with the later Greek typeface by Didot. An example in Hymne d'Aristote à la vertu: essai d'un caractère grec (1832):
I have relied mainly upon three Didot manuscripts (a set of three volumes, 1789–1790) for my design, and early on while looking through some of the footnotes I came across this in the third volume (1790):
Three instances of Greek, distinct from the later design shown previously. As I have been parsing through many other Didot manuscripts, this is still the only instance I have seen it used. Before talking about it more I'll share with you an instance of Greek from the footnote of an introductory letter in the first volume (1789) and another instance from the same letter from when it was first published in 1784, in that order:
I'm not entirely sure if the Greek shown in 1784 and 1789 are a| a very early experiment by Didot b| a design from someone working with the Didots, or c| a general design available to printers of the time. But what held my attention was the 1790 design. I know there is talk about latinizing other scripts, but one thing I have grown to respect in Didot's typefaces is how he was able to harmonize his designs across languages.
Is it rough in places, yes, but I do like it. Let's get into some of the interesting features. Look at that /omicron and how he differentiated it from the Latin /o with the little terminal cutting into it, giving it a bit of a top-of-a-fruit look. The /ζ doesn't have a hook at the bottom, appearing to end in a teardrop terminal. The /α reminds me of how he handled his italic /x. The x-height also seems to be equal with the Latin type, where it is slightly smaller later on. On a different branch, refined on its own, separate from the very beautiful Greek we see later, I think it could be made even more a group of beautiful letters in its own right.
But what are your thoughts on it? Is it heresy against Greek type design or a lovely bit of Greek type, or anything in between?
didot
type history
John Hudson Posts: 1,687
c| The 1784 and 1789 examples are in the style of Granjon's Greek types. These were the dominant forms of Greek type in western Europe prior to the introduction of the new styles by Bodoni, Baskerville, and Didot in the 18th Century.
The 1790 example looks very much like Bodoni's Greco 21, one of his few non-slanted Greeks:
Personally, I find Bodoni's Greeks too idiosyncratic, and of the 18th Century experiments in new styles of Greek types Didot's — as in your 1832 example — was by far the most successful.
Ah, I didn't even think to look at some of Bodoni's work with Greek for comparison, I definitely should have! I am curious as to when Bodoni designed Greco 21. Seeing as how the two drew some inspiration from each other, I wonder which was designed first.
I agree about the idiosyncratic appearance and flow, the letters can feel a little jumpy (as I said: rough). If the rest of Didot's Greek at this time was that close to Bodoni's, then it is that much more so rough.
However, that is where refinement comes in. Didot took it in a different direction, a superior direction, but with refinement I think something like this could still maintain its Greek character while harmonizing well across itself and the rest of a typeface.
(I suppose another possibility is that it is Bodoni's design. Perhaps Didot got some specimens from him to both use in print and research for his designs, stepping away from using the Granjon Greek types.)
Nick Shinn Posts: 1,451
Greek (lower case) type design really suffered from being in the hands of foreign designers whose main criteria was to make it the third style, after Latin Roman, with its vertical stress, and Latin Italic, with its angled stress. No surprise then that many designers have boxed themselves into a corner where crazy stress seemed a logical solution for differentiation, or, when it came to Bodoni's upright Greek, adding lots of twiddly bits.
Didot's 1832 design had another idea, better than crazy stress—"left-handed" stress. That makes it related to another famous transgressive-stress type of the same era, Caslon's Italian of 1821.
Porson's Greek was more authentic, I think, because he was a scholar who wrote a lot of Greek, and it seems to derive more closely from writing script, than be a predominantly typographically-informed concept.
The Aldine style of Greek type that led on to Garamond's and Granjon's, and that came to dominate Greek typography until well into the 18th Century, is based on the handwriting of Greek scholar printers living in Italy.* It's representative of the Byzantine cursive hand at that time. The 'crazy stress' is a reflection of the fact that this was a secretarial hand, written quickly, with a lot of flexibility in the wrist, rather than a formal book hand written more slowly and consistently.
I interpret the mature Didot style as regularising the dominant stress pattern of the cursive Greek. That's why it is more successful that Bodoni's, which tries to resolve the Greek letters within a Latin stress pattern.
Here's another part of the history: this is the Byzantine cursive style as written with a split nib pen by Louis Barbedor in the mid 17th Century (and copied directly by Bickham in the Universal Penman a hundred years later), i.e. an early attempt to interpret Greek letters with an expansion stroke model and with more consistency of stress angle. If you ignore the heavily ligated connections and just look at the pattern of the individual letters, you can see how this contributes to Didot's eventual breakthrough.
Re. Porson, it's representative of how Greek was written by an English scholar, which I wouldn't necessarily characterise as 'authentic' in terms of how Greeks write the script. Notably, it is a style of type that has had almost no use at all within Greece, and is mostly associated with the study of Classics in Britain and North America, through its use in the Loeb Library.
* Lots has been written on the subject of the contribution of native scholars to early Greek type. See e.g. Nicholas Barker's Aldus Manutius and the development of Greek script and type, and Constantine Staïkos' Charta of Greek printing.
The 'crazy stress' is a reflection of the fact that this was a secretarial hand, written quickly, with a lot of flexibility in the wrist, rather than a formal book hand written more slowly and consistently.
That's backwards.
If one is writing quickly, it is much easier to keep the pen at a consistent angle, rather than continually wrist-twisting and elbow-shifting (those are simultaneous movements involved in changing the angle of stress of a broad-nibbed pen).
At least, that's my experience.
However, perhaps with a quill changing stress angle may be done by rolling its thin barrel between one's fingers. (I've never used a quill.)
But even that seems like a superfluous level of activity to add to a scribe or secretary's work, and with any significant amount of pressure on a pointed nib (to generate contrast), it slows the writer down a lot, because the angle has to be exactly aligned with the pen's direction.
If one is writing slowly, there is time to finesse the letters, such as by varying stress angle and lifting the (broad) nib onto a corner and dragging.
Re. Porson, it's representative of how Greek was written by an English scholar, which I wouldn't necessarily characterise as 'authentic' in terms of how Greeks write the script.
I meant authentic in the sense that Porson's type was a representation of the writing of someone who wrote ("authored") a lot of Greek, not that of a type designer who probably did not.
In general, the workaday, less formal scribal work (in whatever writing system) did not have a lot of contrast. I conjecture that while it provided a good model for letter forms, contrast and angled and baroque stress were added by type designers, and those features increased during the high-contrast neoclassical and early 19th century era.
In that manner, they "upgraded" quick scribal style with the finish of slower, more formal work.
Hmm, the discussion between you two has given me an idea for a little type experiment with these Greek typefaces. You also opened more paths for me in researching proper Greek type design and its evolution, thanks! The experiment may either look really wonky or offer a competent blend; it sounds good on paper anyway, but we'll see.
If one is writing quickly, it is much easier to keep the pen at a consistent angle
Hmm. You've never seen my handwriting.
The Byzantine cursive involves a lot of complex joining behaviour, including offset vertical letters, which perhaps contributes to the variation in rotation. It's not like a Latin running hand in which the joins between letters are mostly consistent with the stroke pattern of the letters themselves.
In any case, the fact remains that Aldus' and other Venetian cursive Greek types were based on the handwriting of scholars such as Marcus Musurus, and reflects the qualities of that writing. My assumption is that some of those qualities arise from it being a secretarial cursive hand, as distinct from the formal Byzantine book hand, and hence that speed played some role in those qualities. I may be wrong in that, but I would be cautious about comparing speed and resultant qualities in one writing system with that in another.
Jacob, I think the Greek type in the 1784 example is what Enschedé records as Long Primer Greek No.590 — or something very similar (the mu seems slightly different). Enschedé got the type from the Egenolff-Berner foundry in Frankfurt, which was the principal German distributor of French types of Garamond and Granjon.
I would be cautious about comparing speed and resultant qualities in one writing system with that in another.
I don't think it's a problem, the constraints of hand movement and tool are common.
In this example by Marcus Musurus (Burney MS 96, f 144r), there is not much stroke width contrast, but from what there is, it is apparent that the pen has been held at a consistent angle, with heavier horizontals. And this is emphasized throughout by the extravagant tonos accents, which stitch the text to the layout. To increase weight in vertical stems he created solid loops (especially in mu), and at the bottom of descenders by letting the pen linger and/or overwrite slightly, producing a "blob" terminal—it wasn't done by changing nib angle. This feature was imitated by Griffo for Aldus, and much later became a thematic device in the Didot shown above.
While the Didot follows much of the putative pen movement and alignment in the Musurus sample, one can see where Didot has "cheated" and applied different (crazy) angles of stress, notably in the evenness of the thick horizontals of sigma and tau, compared with the thick diagonals of alpha, kappa, lambda and chi, and the thick vertical right stem of mu—three quite different and deliberative angles. These thick, even strokes in a variety of angles may be reproduced by nib rotation, but not at speed, where even thickness is pretty much limited to one direction. I theorize that they are typographic enhancements which addressed Didot's desire for pronounced contrast in text type: contrast in stroke thickness, and contrast with the consistent angling of stress in Latin types.
My assumption is that some of those qualities arise from it being a secretarial cursive hand, as distinct from the formal Byzantine book hand, and hence that speed played some role in those qualities.
We are in agreement, then, John, speed is of the essence.
It may very well be, John, I was definitely surprised when first researching at how much the same letters can vary in a manuscript (ink, human error, time worn, etc.).
Also noteworthy, Nick, in complement to your mention of Didot's "left-handed" stress the example you posted has a subtle "right-handed" stress particularly noticeable in the omicrons.
The Egenolff-Berner Long Primer Greek was one of the inspirations for my Clio Greek type design, a modified, regularised version of which became SBL Greek.
Ah that's a lovely design, nice job toning down some of the blobs while maintaining its character. I also really like how you handled /pi and /ϖ. Always nice to have more good examples to try and understand the forms.
Why do you suppose that the Greek lower case was never reformed along the lines of the capitals—to harmonize by being less cursive and "scripty"—which is what happened with Latin type?
Would there perhaps have been a cultish taste for Byzantine esoterica in the the Aldine Nea Akademia?
Good question. It's a vice versa situation but I kind of felt the same way about how the capitals haven't been changed to harmonize more with the lowercase! I've been doing more research, and rereading some as well, and it covers a lot of what has been said here. However, I believe Gerry Leonidas mentioned in his atypi article that Greek type design had a pretty rough history up to the first punches being made (national issues and population displacement). Much of it was "stuck" (for lack of a better word) as scribal writing, so what we see is scribal-like punches. Maybe there were some less "scripty," more refined forms by Greeks hiding out there somewhere at this early time as well.
With that said, let's dive into both of our thoughts, the vice and the versa. In terms of the lowercase, maybe the neoclassical type designs weren't the best choice to start revolutionizing the refinement of Greek type. Beautiful as Didot's latter design is, he and his son ended up sticking with the "scripty" look; Ambroise Firmin Didot worked in close proximity with all things Greece as well. If any non-Greek at the time had the opportunity to change it up and run it by Greek users to see how they felt about it it was him! I digress. We noted the 1790 Bodoni/Didot to be idiosyncratic and experimental, looking for that right direction to design a Greek typeface in harmony with the Latin styles. Apparently, as we discussed, they didn't set very well culturally speaking, especially being so experimental in trying to become familiar with Greek form, "scripty" was preferred. Again referring to Gerry Leonidas, I believe he mentioned Greeks possibly being a bit tired of the outside influence and this may have extended to their type design preferences. But hey, with the greater access to designing fonts that exist now maybe its only a matter of time before someone makes an acceptably "non-scripty" Greek lowercase that catches the national taste of Greece.
As for caps, I see some manuscripts like the Marcus Musurus example you posted, notice the script caps, and wonder why not make a few adjustments to the capitals. Nothing extreme, sort of like how some designers will make the Cyrillic /К slightly different from a Latin /K. Regardless, it seems to come down to that the Byzantine empire had a sizable impact on this aspect.
*Research Sources*
Gerry Leonidas
https://www.atypi.org/members/publications/type-1/a-primer-on-greek-type-design
https://medium.com/@gerryleonidas/designing-greek-typefaces-eac0de7767cc
Yannis Haralambous
https://www.researchgate.net/publication/2417759_From_Unicode_to_Typography_a_Case_Study_the_Greek_Script
http://www.typophile.com/node/89492
Craig Eliason Posts: 930
I suspect the Greek caps haven't changed to harmonize with the lowercase just because Latin-based typefounders have 14/24ths of the caps already at hand before they even start carving that way.
John Savard Posts: 476
Nick Shinn said:
Ah, but they did get reformed that way - for sans-serif types, like New Hellenic.
In that, I think, is the answer to your question. There was no available tradition of a Greek uncial that would have harmonized with capital letters based on Roman monumental inscriptions. (I think there is such a thing as Greek uncial, but it's terribly obscure and not particularly suitable for this purpose.)
So while the lower-case of New Hellenic or something similar could perhaps - maybe even likely and easily - have had stroke contrast and serifs added, the result wouldn't resemble anything pre-existing; instead of looking "Greek", it would seem artificial, like the "New Hebrew Typography" proposed by Schonfeld. As a minor modification of an existing typeform, though, it wouldn't be hard to read, it would just look unattractive.
On the other hand, a thoroughly Latinized Greek (with harmony and internal logic tested by time even!) is certainly possible. Just use Cyrillic as the model. But the Greeks aren't interested in learning to read over again. Particularly not just to satisfy some foreigners' idea of what the upper- and lower- case of a script ought to look like.
(I think there is such a thing as Greek uncial, but it's terribly obscure and not particularly suitable for this purpose.)
I'd hardly call Greek uncial "obscure"
On the topic of unicals—along with some of the other topics we've been going through on Greek design choices such as cursive, capitals, lowercase, latinizing etc.—I quickly came across the interesting, albeit old, A Handbook of Greek and Latin Palaeography by Edward Maunde Thompson, 1893. I've only skimmed through it so far (381 pages). However, I found some information perhaps useful to us in understanding the background designers may have been coming from in their time, if not for our time as well. Page 115 of the book (page 137 of archive.org's digital pages when viewing the full spread) starts a section called The Antiquity of Greek Writing, which goes into Greek book-hand and cursive immediately, and then unicals, capitals, and lowercase two pages later. From then on it goes into more depth extensively on each spanning centuries, with visual aid too! Here are some quick snippets, but first, the link to the book:
https://archive.org/details/handbookgreekan00thomgoog/page/n136
Unical Book Hand Papyri Example:
Some Lowercase:
It wouldn't have seemed 'esoterica' to them. Constantinople fell to the Ottoman Turks in 1453, roughly contemporaneous with Gutenberg's development of moveable type, and there was a large influx of refugees from the Byzantine empire, especially into Italy, where they contributed directly to the development of Greek publishing. Venice was itself originally a Byzantine outpost, and maintained a colony on Crete, from whence some of Aldus' Greek typesetters came. The Byzantine styles of script would have been familiar and quotidian.
In terms of Aldine book production, I think the use of the cursive style of Greek needs to be understood relative to Latin italic, not to roman. Aldus is famous for his 'pocket books', i.e. small format volumes set in italic type, mimicking the informal manuscript books of the humanist scholars. The cursive Greek types share the same inspiration, and are suited to the same kind of book production.
The interesting question, then, is why didn't Greek typography subsequently evolve the same kind of dual use of styles for distinction and articulation as roman/italic? Instead, Greek type modelled on the formal Byzantine book hand dies out pretty early, and is not significantly revived again until the 20th Century, most successfully in Scholderer's New Hellenic.
It wouldn't have seemed 'esoterica' to them… The Byzantine styles of script would have been familiar and quotidian.
For scholars no doubt, but in relation to the expanding market for books which printing had produced, Aldus' italic pocket books were highly accessible to the general reader, who wrote their native language, and Latin, in a similar-looking hand, one presumes—but would the average Greek reader/writer have been familiar with the convoluted Byzantine style?
What seems to you 'convoluted' is simply how the people who wrote Greek at that time wrote it. Some writer's hands are more or less complex in terms of the number and kind of ligature forms involve, but the general style is pretty consistent from the late 1200s through to the early 1600s. There's a huge amount of manuscript in this style, both literary and administrative.
Looking at the book in question, I see that the late Greek uncial of around 990 A.D. is clearly where Cyrillic got its start. But it's not like the Latin uncial with lots of rounded characters, so it isn't as distinct from the upper case.
Right, "complex" is a better description than "convoluted".
After looking a bit more at the Aldine Greek, it seems that it's much less complex than the Musurus verse above. But I am puzzled as to why there are so many ligatures for letters ending in a horizontal stroke at x-height (tau, theta, pi, sigma etc.) as well as gamma, when followed by a vowel. Although it was impractical, I can only conclude that the purpose was to support the idea that the style is cursive and connected.
I would imagine that it was a great relief to Aldus (not to mention Griffo) when he subsequently produced an italic type based on Sanvito's hand with its quite discrete letters.
To return to your original post, Jacob, have you seen my Scotch Modern Greek?
The roman is too stiff, according to Gerry Leonidas, but Yannis Haralambous quite liked it, because of the high contrast, which he considered appropriate for Greek, no doubt because it's well established in Monotype's Apla and Times fonts.
The reason I made the roman stiff was not just because I consider such severity to be suitably neoclassical, but because I designated the classic Greek style for the italic. I reasoned that a Latin-Cyrillic-Greek type system should have a consistent "roman" and "italic" throughout. Using the classic scripty style for the upright Greek didn't seem to fit into the overall multi-script scheme, in which the italic is otherwise the scripty partner.
I don't consider that to be Latinization of the default Greek per se, but a necessary consequence of the roman/italic duality—and thus modernization and internationalization.
I did provide some quaint alternates in a stylistic set, though (bottom line).
There is also a matching sans serif, Figgins, which follows the same scheme.
But I am puzzled as to why there are so many ligatures for letters ending in a horizontal stroke at x-height (tau, theta, pi, sigma etc.) as well as gamma, when followed by a vowel. Although it was impractical, I can only conclude that the purpose was to support the idea that the style is cursive and connected.
Something I've observed in repertoires of Greek fonts is that very often smaller sizes of types have more ligatures than larger sizes. I think the reason for this is that these smaller types are frequently used in marginal notes and other places where space is at a premium, and a lot of ligatures horizontally compress text content.
Sequences of consonant + vowel(s) are extremely common, of course, and a lot of Greek ligatures represent either full syllables or syllable-initial sequences.
Incidentally, the Internet Archive also has the revised and expanded second edition of the book, with a slightly modified title: https://archive.org/details/greeklatin00thomuoft/
John Savard, good catch! Not only extended, but with photographs of the source materials and no blurry scans on the archivist's end. It really is definitely worth looking through to examine Greek type design. Yes, I too see that /Д emerging from /Δ among other things in the vellum unical manuscripts.
John Hudson, as per your concern on the roman/italic distinction, I believe I saw it mentioned somewhere that when emphasizing something in Greek in earlier times they would increase the spacing. With the Aldine and other attempts at designing type for Greek they, as we have mentioned, focused on the minuscule book hand already present in the accessible tradition of the language. While in close proximity with other languages and their writing traditions Greek may borrow attributes from them (and give to them); Greek doesn't necessarily become one with those surrounding languages either. Already having a means of emphasis, perhaps they didn't feel a Latin pressure to make such a stylistic distinction, instead such a distinction being borrowed from the chiefly Latin designers later on to drop the use of spacing as emphasis. That's not a bad thing necessarily, just a point of evolution in a long line of evolution for the script. I think your question fits well with Nick's later post on his Scotch Modern Greek.
I had not seen it before, but I understand your rationale, Nick, as John noted in thinking about the Latin italic in relation to Greek minuscule book hand (as the book mentioned earlier would distinguish it), it is the closest analogue stylistically whether upright or slanted. Certainly it is difficult to imagine a "super-italic" to go along with the traditional Greek writing. There is no rule saying that one cannot dominantly use an "italic" if that just so happens to be the dominant form of your language's writing. I see no issue with designing both forms for such multilingual/-national purposes. It serves the Greek user in proper form and the academic user in consistency. When advertising such a thing I would emphasize such an aspect though, so as not to turn away a user who is looking for traditional form. Even in academic situations I could see Greek used much like how an author might write a character's inner thoughts in a book in English: mainly italics and the roman for emphasis.
Just adding this for reference. Tables portatives de logarithmes, 1795.
Found in the Avertissement, Didot has moved away from the Bodoni/Bodoni-like Greek. It looks different from the Granjon of even earlier and closer to Didot's later Greek. It's a little hard to tell as it is in a smaller point size, though unclear what size. I found this while looking for his designs for mathematical characters.
Jacob Casal said:
Aside from displaying an interesting early form of Greek type, is this the origin of the term Stereotype as used in typography?
...looking at Wikipedia, the term Stereotype is said to have been coined in its modern sense in 1798, so this does precede the known origin. Having gone to your link, what I glanced at seemed to be saying merely that the reason author called the logarithm tables stereotypes was because they were free from error, and would not be in need of revision.
Oh interesting, even if it didn't amount to what it seemed. I saw the word stereotype but didn't think much of it. Just out of curiosity I ran the paragraph through the ever infallible Google translate to get a gist of what it was saying (I'm not sure why /pi won't appear):
I name these tables, stereotypes, words τύπος, type, στερεός, solid, motionless; I did not call them polytypes, my method not being the same as that of the polytypage which I know little, but whose idea, very old, is ingenious; however, I do not believe that any important work has been achieved by this process, at least I do not know of any, and what I have seen has seemed to me very unsatisfactory, as the characters have not kept between them the level, and especially not being very well formed; besides, I doubt that we can succeed in correcting the faults, as I succeed by my method: perhaps susceptible, it will always be much inferior to mine, since I use the character at the moment when it comes out of the hands of the founder, and that the polytypage can only have the counter-proof.
I wasn't sure what was meant by "polytypage" so I searched "translate 'polytypage' French." The two (1) (2) immediately noticeable links denote it as "polytyping" in number 2 with two sources of its own, or (using our pal Google translate again):
Reproduction du bois gravé par cliché sur une plaque en métal
Reproduction of wood engraved by cliché on a metal plate
I guess it's a case of two professions having some shared jargon, but different definitions in terms of application.


CSI, football, hockey, other crime shows.
Stand by me, Despicable Me, the Breakfast Club.
ACDC, Pink, Eagles, too many more.
Stephen King's Different Seasons, Wicked, Lovely Bones.
Hanging out on Sundays watching football, going to the movies, dining out, going bowling with friends, camping and fishing.
Riding a Harley and go to Disney World.
I just want to be comfortable and happy with who I'm with.
Someone who is honest and willing to put me in my place when needed. I'm not into big egos, more interested in easy going.
Maybe go bowling or go for a hike with a picnic.


text:
Title: Attributional style and self concept in sex offenders with persecutory delusions : an exploratory study
Author: Pearce, Emma
Awarding Body: University of Wales, Bangor
Current Institution: Bangor University
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Immediate download. Please login to continue.
Access from Institution:
Link to institutional repository
To date no study has explored persecutory delusions in people who commit sexual offences, and whether attributional style and self-concept are any different between sex offenders with and without persecutory delusions. The present study is preceded by a literature review exploring literature on mentally ill sexually offenders. As this area of research is extremely limited to further understanding of mentally ill sex offenders, literature on individuals with persecutory delusions, specifically attributional style and self-esteem will be presented. Finally, research on attributions and self-esteem in sexual offenders is reviewed. The literature review concludes with implications for future research and clinical interventions. This is followed by a research study that aims to explore the relationship between attributional style and self-concept in men with persecutory delusions who commit sexual offences. Sex offenders with persecutory delusions, sex offenders without delusions and normal controls were compared on implicit and explicit measures of attributional style and self-esteem. The three groups were found to have similar attributional styles and levels of self-esteem and no significant differences were found between the three groups. The results are discussed in light of these findings. Limitations of the study are discussed together with future implications for research and treatment of mentally ill sex offenders.
Keywords: Mentally ill sexual offenders


text:
shes the boss Aug. 7, 2015
12 Famous Women on Their Mentors
No matter how varied their backgrounds and paths to success, accomplished women can usually agree on one thing: That somewhere along the way, they found a woman (or five) who boosted their career immeasurably. In honor of She's the Boss week, we asked famous women to reflect on the female mentors who've helped them become the badass bosses they are today. Read their responses below.
"Nora Ephron was a mentor to me. She's a real fairy godmother. I was cast in Sleepless in Seattle, and when my scene was cut, she wrote me a lovely note. I still have it somewhere. She supported me. I used to have lunch with her. She was so elegant, witty, and super intelligent. I remember one of the notes she gave me when I worked with her — I was looking up at her expectantly, and she says, 'Parker, just be funny,' and walks away, laughing."
"My tutor at university was an ancient lady with a beard, Margot Heinemann. She taught literature and was an amazing intellectual. When I'd go to her and say, 'I haven't done my essay,' she would ask, 'Why not?' And I'd say, 'Well, I'd been busy doing this.' And she'd say, 'Write an essay about what you've been doing.' She was a really cool woman, and a wise woman."
"J.J. Harris was my manager for many years, and I wouldn't be standing here today if it wasn't for her. She was an incredible woman in my life. As far as business is concerned, she taught me what it meant to be a woman and to be able to say no — to not just take a job because you are so grateful that a man gave you a job. She used to say to me, 'It's okay, you can say no,' and, 'You're going to make a career on saying no.'"
"Besides my mother, I can't think of any other woman who's had a greater influence on my life than Tina Fey. I've had such amazing years working with her and observing her genius. She's great about comedy and lady business."
"I've always believed that women should find other women to mentor them. A lot of times we think those executives don't have the time, but once you come to them, they really lift you up. Years ago, I met Rose Marie Bravo, who jump-started Burberry. She's mentored me through every move I've made with my cosmetic company. She's told me what not to do, and when I needed to meet people that might be influential for me, she introduced me. It's been amazing."
"My best friend is Mary Beth Hurt. My first job as a professional actress was understudying for her on Broadway. And my first film was Garp — she played Garp's wife, and I was Garp's mother. She's been my inspiration throughout my career. She's brilliant. There have been times in my career where I've said, 'What would Mary Beth do?' And thinking of that has led me to something good."
"I don't know if this is corny, but my mom has been there right from the start. She's the first person who accepted me as transgender, and she's taught me to love myself and embrace who I am. She's the only mentor I have and the only person who is my true inspiration. I would want to be a mom just like my mom."
"My therapist is a 70-year-old woman, and she's been though everything. She's like, abusive. Really mean, but it works. She's such a badass. She's cooler, more confident, and stronger than any other [person] I've met. She's someone I aspire to be. On Mother's Day I texted her, because she feels like a mother to me."
"I really have to tip my hat to my agent, Bonnie Bernstein. I've been with her for ten years. She's been relentless in her ability to push and support me, and she continues to inspire and motivate me. One of the greatest things she's given me is the freedom to feel like it was okay to take time off to be a mom. It's really hard — you reach a certain point in your career, and everybody says it's not a good time to have a baby. You bite the bullet, and it's a little daunting. It's scary. To have somebody say to you, 'You're doing the right thing. You're doing what's right for you,' is an incredible gift."
"My mother instilled my culture, my morals, my values — so that's who I look up to. The great values and the great influence of my parents is what has allowed me to become the woman I am today. Integrity, values, and morals are all really important. What good is it that you're pretty if you don't treat people well? The best advice my mother gave me is to never give up, work hard for what you want, and always keep on top of your hygiene."
"Jennifer Lewis took me and a lot of other young black actresses under her wing and made sure we didn't fall on our faces. It's been 20 years, and she still checks in with us."
"I recently started working with this incredible acting coach, Nancy Banks. I love her support and her belief in strong female character, and she helps me find the strength in the characters I'm playing. I have also been lucky to work with this amazing director, Jamie Babbit, who I think of as a mentor as well. I'm really inspired by her — hopefully, I'll be directing myself someday."
Additional reporting by Marcus Jones, Bennett Marcus, Jenny Peters, Trupti Rami, Renata Sellitti, Caroline Tell, Valentina I. Valentini, and Kat Ward.
shes the boss


text:
Brit + Co's Brit Morin: Modern media brands are human brands
Digiday
August 28, 2018 by Aditi Sangal
Publishers are coming up with a variety of ways to support content and encourage direct reader revenue. But it all starts with building a brand that people want to pay for. Brit Morin, founder of Brit + Co and a former Google employee, has been working on that for about seven years now.
"When really big brands joined and created YouTube channels and created videos, no matter how high quality they were, they still felt like ads. That's when it dawned on me that the future of brands are human brands," said Morin on the Digiday Podcast. "Even today, the top brands on Instagram are human brands like Selena Gomez, Taylor Swift and Beyoncé. Part of the Brit + Co mission is reinvigorating the maker spirit. In small town America, you see Jane's nails and Fred's auto shop. You know Fred and Jane. That makes you want to go deeper and ask questions. [Even] today, I answer every question and tweet."
But every brand's sustainability and elasticity has to go beyond a founder's career span. Brit + Co is working on several revenue streams to make consumers pay. Morin discusses revenue, differentiating content and more on this episode.
Subscribe: iTunes | Google Play | Stitcher | Anchor
Edited highlights below.
With great products should come great content.
"I was working on a product called Google TV, which has now evolved into Chromecast and YouTube TV. Part of my job was to help build the software product and the user experience for Google TV and market it out to the consumers. If we wanted a great product, we needed great content. I was in the offices of the big networks and operators begging them to give us to their video content. Almost all of them said no. Because they were locked into contracts with cable operators for a number of years, they didn't have engineers who could put it in the right format for us so we had to build it or they didn't believe in putting long form premium video content on the internet. It dawned on me that it was going to take a while for traditional media companies to catch up to this new digital media ecosystem. There was a big opportunity to create premium content for this millennial generation of women."
A window that leads to a business.
"The original business plan was to create content as a form of free acquisition marketing. Then we were going to create utilitarian apps for these categories, like weddings. The whole idea of our funnel was to use content as the top of the funnel and drive to conversion somewhere else. What we didn't expect that people loved the content, they were converting but they wanted more content. When you're a small startup, you want to pick a focus so we doubled down on content. We decided we start with content first and then evolve to have a learning, merchandise and experiential part of the offering."
Growth hacking into a brand.
"One of the big learnings for me at Google was to make data driven decisions. We started doing A/B testing early on at Brit + Co. We experimented on Pinterest with pin-it button and the one color stuck. It helped that we were early on when Pinterest was just taking off but today, we're still reaching half of the Pinterest audience. You can't growth-hack your way to a brand and that's where the art and science blend together. My first hire was a creative and the second was an engineer."
The digital media appeal for VCs.
"A lot of VCs do believe that with all these big traditional media companies selling, there will be a gap for new digital media companies to emerge. They're also starting to see the power of direct-to-consumer brands that have direct relationships with their audience and grow at scale eventually. We fall at an intersection of that."
"Media and advertising is two-thirds of our revenue. By 2020, we want it to be about 50-50 in advertising and direct payments from consumers. We have a high level of reach from a distributed landscape, we have doubled down on branded content than display. We don't do programmatic. We monetize Pinterest. We're starting to do more with video. Forty percent of our traffic was coming from Facebook, but now it's 20 percent. We have 30 to 40 people creating content. We have over 130 classes now. A lot of women are taking multiple courses and purchasing bundles. Sponsored classes are free and that's been a huge hit among advertisers because you could by a 30 to 40-second ad on a video or have a 60-minute branded video."
Digiday Research: The changing business model for publishers, in five charts
December 27, 2019 by Shareen Pathak