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Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy
Advisory and Editorial Board
Musings on #PopPedagogy
Pedagogy in times of crisis
Call for Musings
Call for Book Reviews
Guidelines for Submissions
Tag Article List: Technology
Collaborative Pedagogy: Teaching (with) the Grateful Dead On Tour, On Campus, and Online1
in V9 Issue 1 & 2
Rebecca G. Adams
University of North Carolina Greensboro
r_adams@uncg.edu Continue Reading →
Experimental Forms and Identity Politics in 21st Century American Poetry
in V8 Issue 2
Ronnie Stephens
ronnie.stephens@tccd.edu
"Experimental Forms and Identity Politics in 21st Century American Poetry" explores the function of form in American poetry and its proximity to whiteness. Through an analysis of experimental and nontraditional forms I argue that poets Fatimah Asghar, Jericho Brown, Franny Choi, Natalie Diaz, Ilya Kaminsky, and Danez Smith challenge traditional notions of what a poem is; these authors use graphics and co-opt familiar text objects to challenge larger assumptions about gender identity, ableism, and the immigrant experience. These experimental forms are grounded in a larger poetic tradition that alters traditional forms, such as the sonnet, to disrupt and further dialogue related to oppressive tactics in American poetry. They also signal an intentional departure from strict forms associated with colonialism and mark a shift in contemporary American poetry. For educators, including nontraditional and experimental form poems in the curriculum encourages students to engage poetry as a living genre. It also invites conversation about the implications of gatekeeping in both the publishing and education industries. The co-opting and evolution of form is not just a rebellion against classic American poetry but an opportunity for students of color to engage with the literary canon on their own terms.
Keywords: Poetry, Counternarrative, #DisruptTexts, Decolonize, Technology, Sonnet, Cyborg, Pedagogy
Suggested References
Stephens, R. (2021). Experimental forms and identity politics in 21st century American poetry. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, 8(2). http://journaldialogue.org/issues/v8-issue-2/experimental-forms-and-identity-politics-in-21st-century-american-poetry/.
Stephens, Ronnie. "Experimental Forms and Identity Politics in 21st Century American Poetry". Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 8, no. 2, 2021. http://journaldialogue.org/issues/v8-issue-2/experimental-forms-and-identity-politics-in-21st-century-american-poetry/.
Review: The Design Museum, London, and "Fear and Love: Reactions to a Complex World."
Michael Samuel
University of Leeds,
Leeds, England, UK.
mlmsa@leeds.ac.uk
The Design Museum, Exhibition, Design, Architecture, Technology.
In his address at the School of Architecture at McGill University, Arthur Erickson, modernist architect and urban planner, declared that "whenever we witness art in a building, we are aware of an energy contained by it. The intensity of that energy reflects the intensity of the creative act, the degree of devotion invested in the work, that is communicated immediately to the viewer." Erickson's words, in the opinion of this reviewer, perfectly communicate The Design Museum in London: from visitors' first impressions entering the immense foyer, continuing up to the top-floor and permanent gallery.
Reopened November 24, 2016, The Design Museum already feels comfortable in its new surroundings, situated in the trendy and upmarket location Kensington High Street (from its previous address at the former 1940s banana warehouse on the south bank of the Thames). Yet, it does everything in its efforts to stand out. The Design Museum, in the spirit of Erickson's ideas (as expressed in his McGill address), exuberates the "energy contained by it." Specifically, the architecture and space perfectly captures, and moreover curates, the energy and ambition of designers of the twentieth and the twenty-first century in one successful public space. This is entirely due to the unique vision for the museum by British minimalist architect John Pawson and Rem Koolhaas' OMA (Office for Metropolitan Architecture) group.
Of particular note are two exhibitions on display at the time of The Design Museum's opening: "Designer Maker User," the permanent collection situated on the top-floor, and "Fear and Love: Reactions to a Complex World," which was situated in the ground-floor gallery between 24 November 2016 – 23 April 2017.
Illustrating the interconnectedness of design, production and the end user experience, "Designer Maker User" takes advantage of its proud display of over a thousand items – ranging from engineering, product design, fashion, graphic design and architecture – from the twentieth and twenty-first century. Standout features include the simple yet effective (and seemingly timeliness) designs of British road signs by Margaret Calvert and Jock Kinneir, a standard of design that is experienced daily by drivers and pedestrians, nationwide, alike; American technology giant Apple's technological breakthroughs which, especially at the helm of British designer Sir Jonathan Ive, have had a profound influence on how we access computers, music and mobile devices since the 2000s; and a range of timeless products like the Vespa Clubman (by Corradino d'Ascanio, 1946), the Phonosuper SK5 record player (by Hans Gugelot and Dieter Rams, 1956) and Japanese entertainment giant Sony Computer Entertainment's paradigm shifting PlayStation 1 games console (1994). The success of the "Designer Maker User" exhibition is that it communicates, with clarity, not only the value of the fusion between design, production and the end user, but it invites its audiences, with the aid of nostalgia, to experience the demonstration of the twentieth and twenty-first century's contribution to not only technology, architecture and graphic design, but to lifestyle and society.
Whilst the permanent exhibition displays technological progress alongside societal change with a positive message, successfully rekindling a relationship between the objects and their audience, The Design Museum's inaugural show, curated by former design critic and writer Justin McGuirk,[1] interrogates the complicated nature of design in the 21st Century. McGuirk's selection of the work of eleven designers includes OMA/AMO, the international practice co-founded by Rem Koolhaas; Hussein Chalayan MBE; Madeline Gannon of ATONATON, a studio which researches human interactions and communication with machines; the art-director of MUJI Kenya Hara; Neri Oxman; Andrés Jaque; architecture collective Arquitectura Expandida; the Rural Urban Framework (RUF); Metahaven, a creative collaboraion founded by Vinca Kruk and Daniel van der Velden; influential Chinese designer Ma Ke; and Christien Meindertsma.
"Fear and Love" carefully considers its exploration of both the positive and negative effects of design and technology socially and politically, as the collection explores themes such as identity, culture, sexuality and geography; everyday life, such as fashion and home furnishings; lifestyle, notably nomadism, and commerce, whilst also ruminating on pressing contemporary issues, which connect as well as divide, such as globalization, the environment, technological anxiety and privacy. Notable pieces, in the opinion of this writer, include OMA's reaction to the Brexit vote, "Pan-European Living Room," in which the group furnished a space with designs from each of the member countries, the room colourfully illuminated by the pouring of light through the striped blind, the colours of a flag designed by the firm for the EU in 2001; Jaque's "Intimate Strangers," an audiovisual installation made up of four films that explores the impact of social networking culture, specifically gay dating apps, on identity, the pursuit of love and sex, the body, and perception of the urban spaces; and finally, Gannon's installation "Mimus," a 1200 kg robot that has been programmed, using custom software, to sense and respond to the presence of people near its glass enclosure as they stand or move past it. Gannon's piece, with the support of software company Autodesk, addresses head-on our increasing anxieties about technology and specifically robots, an anxiety at the fore of a string of recent (and not so recent) science fiction films such as I, Robot [Alex Proyas 2004] and A.I. Artificial Intelligence [Steven Spielberg 2001], for example, and attempts to demonstrate that we, as humans, have the capacity to develop empathy and companionship with machines.
On a last note, one must consider and commend the setting of the exhibition, within the Sam Jacobs Studio designed space. Sam Jacobs Studio deserves merit, as with its careful design, it attempted, and moreover succeeded, to overcome some of the environmental obstacles that museums sometimes place between its exhibitions and its viewing (and in this case, interacting) public. The ambition of Sam Jacob Studio's design is intelligent from the start: from with the firm's creation of the huge 2.5 meter glass box containing the fantastic neon "Fear Love" sign at the entrance to the exhibition space, to the translucent and minimalistic drapes that guide visitors through the exhibition; the bespoke steel and glass cases and cabinets that not only house and display the installations; to the framing of the information and the mounting of iPads to allow for ease of accessibility and promote interaction. "Fear and Love," whilst problematising the relationships between design, technology and the modern world and provoking numerous concerns over the impact of globalisation and technology on identity, society, politics, commerce and culture, never seeks to answer such questions. Rather, as architect and designer Edwin Heathcote suggests in his Financial Times review, it "creates another set of complications."
The Design Museum. designmuseum.org. Accessed 23 Jan. 2017.
Erickson, Arthur. "McGill University School of Architecture." Arthur Erickson. 21 Oct. 2000. www.arthurerickson.com/about-arthur-erickson/speeches/1/. Accessed 31 Jan. 2017.
"Fear and Love: Reactions to a Complex World." The Design Museum. designmuseum.org/exhibitions/fear-and-love. Accessed 23 Jan. 2017.
Heathcote, Edwin. "Fear and Love, Design Museum, London – 'Big questions'." Financial Times. 16 Nov. 2016. www.ft.com/content/5c0b36a4-abf7-11e6-9cb3-bb8207902122. Accessed 20 Jan. 2017.
[1] Justin McGuirk's writing – which covers various subject matters including architecture, design and cities – has appeared in a range of mainstream news outlets, such as The Guardian and Al Jazeera, and notably design-centred publications, such as Dezeen and Icon magazine, which he was also the editor of. He is also the writer of Radical Cities: Across Latin America in Search of a New Architecture (Verso, 2015).
Michael Samuel is a doctoral researcher at the University of Leeds. His research examines the deployment of British heritage across a variety of British non-fiction television series and how they function in the wider context of the current heritage climate. He was awarded both a Masters by Research in Media Studies and a BA in Screen Studies from Swansea University, and a PGCE from the University of Wales Newport. He has published widely on British and American television and contemporary television viewing cultures, video games, fiction and reviews. His work has been featured in edited collections, The New Western, 10 Years After Katrina and Exploring Downton and journals, University of Toronto Quarterly, Birmingham Journal of Literature and Language, Journal of Popular Culture, Journal of Popular TV and Studies in European Cinema. He is the co-editor (with Dr Scott F. Stoddart) of True Detective: Critical Essays on the HBO Series (Lexington Books 2017).
Samuel, Michael. "Review: The Design Museum, London, and 'Fear and Love: Reactions to a Complex World.'" Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, vol. 4, no. 1, 2017, www.journaldialogue.org/issues/v4-issue-1/the-design-museum-london-and-fear-and-love-reactions-to-a-complex-world/
Samuel, M. (2017). Review: The Design Museum, London, and "Fear and love: Reactions to a complex world". Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. 4(1). http://journaldialogue.org/issues/v4-issue-1/the-design-museum-london-and-fear-and-love-reactions-to-a-complex-world/
Dialogue is an open access online journal that explores multiple aspects of American and global popular culture and offers a scholarly examination of the broader culture in which we live, addressing relationships between literature, culture, music, technology, gender, ethnicity, and media. As an open access journal, it is free to submit and read all content. Read more.
Volume 9, Issue 3 — Critique and "Controversy" in Pedagogy and Pop Culture
Volume 9, Issue 1 & 2 — Teaching and Learning with the Grateful Dead
Volume 8, Issue 3 — Traversing Borders, Transgressing Boundaries in Popular Culture and Pedagogy
Volume 8, Issue 2 — Infusing Pedogogy with Empathy, Social Action and Value through Popular Culture
Volume 8, Issue 1 — Evolving Awareness in Popular Culture and Pedagogy
Volume 7, Issue 3 — (Un)conscious Representation: Race, Gender, Ideology
Volume 7, Issue 2 — Engaged Popular Culture and Pedagogy: Awareness, Understanding and Social Justice
Special Series: Pedagogy During COVID-19
Volume 7, Issue 1 — Bodies in Motion: Challenging Imagery, Tradition, and Teaching
Volume 6, Issue 3 — Otherness, Survival and Hope: Pedagogies in Popular Media
Volume 6, Issue 2 — Criminals as Heroes: Problems and Pedagogy in Popular Culture
Volume 6, Issue 1 — Reinterpretation: Situating Culture from Pedagogy to Politics
Volume 5, Issue 3 — Behind the Scenes: Uncovering Violence, Gender, and Powerful Pedagogy
Volume 5, Issue 2 — Reading into Creativity: New Approaches in Concept and Practice
Volume 5, Issue 1 — Visualizing Popular Culture: From Theater to the Graphic Novel
Volume 4, Issue 1 — Intersections: Belief, Pedagogy, and Politics
Volume 3, Issue 2 — Adapting Our Approaches: (In)Formal Learning, Stereotypes, and Traumas
Volume 3, Issue 1 — Popular Culture Pedagogy: Theory and Application in Academia
Volume 2, Issue 1 — Traversing Realities: Genres, Histories, and Politics in Popular Culture
Volume 1, Issue 1 — Classics in Contemporary Culture
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Are you hiding from you?
We are so accustomed to disguise ourselves to others that in the end we become disguised to ourselves.
~François Duc de La Rochefoucauld
The Story: I was talking with a fellow coach this week about my desire to find a new geographical location to live and continue with my teaching, coaching, and energy healing work. She asked where I had lived- and I could hear her smile as I rattled off 15 places in the last 10 years. Naturally, she wanted to know why I had felt the desire to leave each time. Each move had its own practical reason, but as I began each explanation she said she felt her throat closing. And, it was obvious as her voice became a hoarse whisper. She asked what this meant to me and it hit me like a lighting bolt. I told her it was me suffocating when I started to feel my spirit was being stifled. Yes! Every time I felt the desire to move, I realized I had surrounded myself in an environment where I felt the need to hide from my true spiritual nature. In subtle ways, I had became silent and had stopped being the true me. I can see it now and will choose places/situations in life where I will speak and act my truth.
Time for action: Recognize when you feel most uncomfortable in life. When do you feel like screaming because everything feels wrong? What aspects of you are you hiding? What role are you playing for someone else instead of being truly you? Extend your arms out to the side. And slightly tilt your head back to the sky. Breathe in and commit to being all of you. Leave hide-n-seek to recess. Speak with Coach Wendy.

redpajama_set_name: RedPajamaCommonCrawl


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Meet HELP Talks Speakers - Mr.Ajit Telang
www.healthlibrary.com
Mr.Ajit Telang
Founder of Reiki Vidya Niketan
Mr. Telang is one of the senior most Reiki Masters in the country and has been teaching Reiki since 1997.Telang is also a founder of Reiki Vidya Niketan- a premier institution in Reiki Healing in India and abroad, with more than 30,000 students all over. RVN has 17 centres in India and 7 training locations in USA. He is also a visiting faculty on Interfaith Training at Northeastern Illinois University in Chicago USA since 2005.
View All HELP Talks by Mr.Ajit Telang
About Mr.Ajit Telang
Mr. Ajit Telang was born to parents who were born and brought up in Goa in December 1952 and did his schooling with Ram Mohan English School in Girgaum in Mumbai. He got his graduation from the prestigious Elphinstone College in Chemistry and post- graduation with specialization in Nuclear & Radiochemistry from Institute of Science, Mumbai University as well as Postgraduate in Management (MMM) from Jamnalal Bajaj Inst. of Management Studies of Mumbai University Mr. Telang worked with industries like Tatas and Mafatlals for about 10 years in the areas of Strategic Business Planning and Marketing. He founded Synergesic Business Research as independent Business Consultant since 1985 advising many large and medium sector companies in India and abroad.
Click Here to read more about Mr.Telang


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Q: Can I and should I use CMake for my setup The projects I work on are organised into root folders (VOBS) as follows:
|--BUILD_FOLDER
| |-- BUILD_SCRIPTS
| |-- SOME_MORE_CODE
|
|--COMPONENT_A
|--COMPONENT_B

Because they are ClearCase VOBS there is no higher level root folder to place a CMakeLists.txt This setup doesn't seem to fit the CMake pattern...

*

*Is this a show-stopper to using CMake?

*

*It seems that CMake requires everything to be hierarchical as it descends down from one point.
.

*Is CMake the right tool for non-windows/Linux targets?

*

*The projects use custom c compilers and invoke 3rd party tools to generate application files in several formats.

A: Your components don't have to be subdirectories of the directory you have the CMakeLists.txt file in.  Place it in the folder with same rank as of the components and just use relative paths in your ADD_SUBDIRECTORY command:
ADD_SUBDIRECTORY(../componentA)
ADD_SUBDIRECTORY(../componentB)

That's how i suggest you to arrange your folders
|--BUILD_FOLDER           <-- this directory is created by "make" (???)
| |-- BUILD_SCRIPTS
| |-- SOME_MORE_CODE
|
|--META_FOLDER  <--- place CMakeLists.txt here
|--COMPONENT_A
|--COMPONENT_B

Similar directory layout was used to build OpenJDK 6 (but instead of CMake, a usual make was used those days).

redpajama_set_name: RedPajamaStackExchange


Pioneering Drum & Bass producer Roni Size has been confirmed to appear live at this September's Hospitality In The Park.
Taking centre stage on Saturday 23rd September, Roni Size will perform a live rendition of his seminal album New Forms which celebrates its 20th anniversary this year.
Returning to Finsbury Park, London, for its second edition, Hospitality In The Park rounds up the capital's leading bass purveyors and selectors for a day long celebration of underground club culture.
Since its release in 1997, few drum & bass albums have been able to surpass New Forms for its cutting edge sensory soundscapes and seamless blend of live instrumentation and samples. With Hospitality In The Park as its backdrop, the New Forms live show should have no trouble evoking the record's status as a seminal body of work, with the record still proving to be lightyears ahead of the times 20 years down the line from its initial release.
Roni Size's appearance at this year's festival is set to be a rare London exclusive, and will see the Bristol native reimagining the Mercury Prize winning album with the help of futuristic hardware and tantalizing live production which incorporates the use of pod 3D A/V effects.


Book your visit to Buckingham Palace for a glimpse inside one of the few working royal palaces remaining in the world today.
During the summer, you can tour the 19 spectacular State Rooms. These magnificent rooms are decorated with some of the greatest treasures from the Royal Collection, including paintings by Rembrandt, Rubens and Van Dyck.
Outside of the summer opening, you can still see the iconic exterior of the palace and watch the famous Changing the Guard.


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INCCA Newsletter: January 2023
Screenshot of INCCA Café with M+ Museum: On Meaning and Interchangeability.
Happy New Year to the INCCA community! We hope you've had some good rest during the holidays!
As we entered 2023, we got some news to share with you. INCCA is currently looking for an early career member to join the Steering Committee (SC). This SC member will be active in sparking new initiatives, and will also gain experience serving on a committee of an international organisation. We are looking for a recent conservation graduate who is keen on volunteering some time towards advancing the role that INCCA can play in the contemporary art conservation field. If you are interested in this role, please send a one-page CV and a short statement to info@incca.org by the 10th of February. For more information visit INCCA.org.
In the meantime, INCCA-Asia Pacific is also inviting new members to join the Working Group. INCCA-Asia Pacific was established in 2014 as a regional group to provide local input into the programs of INCCA. Previous projects included INCCA Café with M+ Museum: Looking Forwards and Backward and INCCA Talk with M+ Museum: On Meaning and Interchangeability. You can find more details here. If you are interested, send a short statement about your experience and interests to incca.ap@gmail.com by the 10th of February for a start date in late February 2023.
Last but not least, we are hosting INCCA (Book) Talk with Thea van Oosten on the 9th February at 5 pm CET. Join us to learn about Thea's publication Properties of Plastics – a Guide for Conservators and recent developments in the conservation of plastics. Register here.
We are looking forward to this new year with all of you!
INCCA Steering Committee
Ps. If you've missed INCCA Café with M+ Museum: On Meaning and Interchangeability from last year, the recording of the Café is already online!
Looking for an early career INCCA Steering Committee member 2023!
INCCA was established two decades ago to facilitate the exchange of information created by professionals in the conservation field. So much has changed since 1999, particularly in...
Join the INCCA-Asia Pacific working group
INCCA-Asia Pacific was established in 2014 as a regional group to provide local input into programs of INCCA (International Network for the Conservation of Contemporary Art). Early...
INCCA Asia Pacific
Thea van Oosten is a world-renowned expert in the conservation of plastics. Last year, she published a rich and extensive guide for conservators, curators, collectors and students...
Recording: INCCA Talk with M+ Museum
Thank you all for joining the INCCA Café with M+ Museum: On Meaning and Interchangeability on the 30th November 2023. Below you can find the recording of the Café and feel free to...
Call for Participants - Conserving Canvas: Cotton Duck (July 10-2…
CALL FOR WORKSHOP PARTICIPANT APPLICATIONS - APPLY BY FEBRUARY 6, 2023 (see application details below) Conserving Canvas: Cotton Duck July 10 – 21, 2023 – Full time, in-person...
Ellen Davis
Registration is now open! ICOM-CC Joint Interim Meeting Modern Ma…
We are very pleased to announce that the registration for the upcoming Joint Interim Meeting by the Modern Materials and Contemporary Art & Textiles Working Groups "Semi-synthetic...
Julia Langenbacher
We are hiring: Head of Conservation Division, HKB Bern University…
HKB Bern University of the Arts, Division of Conservation and Restoration of Works of Art is seeking: HEAD OF CONSERVATION DIVISION, 60% to commence from August 2023. What you may...
Hanna Hölling
Job Posting - Full Time: Associate Conservator, Metropolitan Muse…
Job Opportunity: Metropolitan Museum of Art, Associate Conservator, Modern & Contemporary (Department of Objects Conservation)
Kendra Roth
Job Posting – Lecturer in Conservation of Contemporary Art…
Come and work with us to train the next generation of contemporary art conservators! This is an exciting opportunity to join the team delivering a dynamic new MSc in the...
Pip Laurenson
The National Museum of Norway is happy to announce the conservation conference: Bridging the gap - synergies between art history and conservation, to be held in Oslo on the 23rd...
Anja Sandtro
Call for Contribution to the Speed Exchange at the ICOM-CC Modern…
The ICOM-CC Modern Materials & Contemporary Art and Textiles Working Groups are planning an informative Speed Exchange Session for the upcoming Joint Interim Meeting on Semi...
The Art of Preservation: Research seminar with Anna Schäffler / o…
Wednesday, December 21, 2022, 17:00-18:30 CET / online Scroll down for the registration link. ______________________________ SNSF Activating Fluxus in collaboration with SNSF...
Aga Wielocha


What classic captures Radhika ! I loved all of them.The recipe looks perfectly tempting.
I did not understand why should we refrigerate it.
The salt added may make the peas moist so it is best to refrigerate to help keep dry as the peas will remain crunchy even after baking and will not become soft.
wow dats a tempting snack !!
I have seen similar recipes around and had tried them once.. But mine didn't bake evenly.. some were black and others were soft.. I guess my baking tray was a but crowded.. Seeing yours I am tempted to try them one more time..
Looks awesome. Will try this for my vegetarian friends as a drinks snack. Keep on posting!
Wow, they look superb, nicely done..
A guilt free snack…can't stop with one Radhika.
What a healthy and wholesome snack!
Wow, these look delicious, I am going to make some today. Thanks for your inspiration and your great photographs.
Never tried this though I have brought these from the store. Thanks.
wow! must taste as tasty as it looks!
Great idea to get the kids to munch on these!
Perfectly baked chickpeas Radhika. Love to munch few while I read some books. So Yumm.
Quiet interesting recipe !! super tempting one !!
Mouthwatering here, what a terrific and super tempting….
wow!! thanks for such a great snack..
can't wait to try this one! Yum!!!
LOVE this idea and can't wait to try it. I'm new to pressure cooking and know that you can't open the pot to test to see if they are soft. How many minutes in the pressure cooker or how long on the stove?
With the flame in medium, you can wait for 4-5 whistles by the pressure cooker. Wait for the pressure to release, open and check if it soft. If not once again close it after making sure there is enough water and cook for 2 more whistles. That should do.
Will definitely be making these. Thanks Radhika, this recipe is so inspiring!


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We are simply trying to hold space for
people interested in group relations work.
We serve as a home for people who have experienced the power of group relations work, particularly in combination with spirituality and social justice. We want to nurture the GR network by offering a place to co-create as individuals and/or organizations. We are open to collaboration around group relations conferences and application events, writing, reflecting and meeting. We offer to stay connected with "the work" in various ways. We pay attention to where the energy takes us.
The programs we offer at this moment are listed in the activities section. As we are growing in numbers, we are beginning to create local (and virtual) communities that people may join to nurture "the work."
One-Day Events
Global GRC
Group Relations
Zachary Green
Racial Inquiry: A Question of Common Humanity and Unique Individuality
"Hold fast to dreams, for if dreams die, life is a broken-winged bird that cannot fly."
- Langston Hughes
In this moment of racial awakening, the urgency to "get it right, right now" can often create a rush that crushes any degree of nuance in the discourse. We become like a broken-winged bird whose flight is cut short by even the slightest deviation from course. Why are we not fully listening to each other? Why not find another way?
Racial Inquiry (RI) is an answer, but it is certainly not the answer. Indeed, RI is an approach to personal and organizational leadership development as well as racial equity dialogue that is not for the faint of heart. It is not recommended for the newly "woke" or those who lack agility in navigating their fragility. While RI has various general learning applications, it an orientation to racial equity work that demands a reckoning with oneself as well as an unflinching willingness to encounter "the other" — including when that other is the shadow within ourselves. The primary characteristic of RI is a stance of curiosity about the relative role of race in situations that we face personally or professionally. This approach acknowledges the centrality of systemic racism in nearly any context that is given focus. As such, issues of power and privilege related to race are not subject to debate. RI begins with the presumption that such core tenets have been explored deeply and personally, even if ambivalently. RI asks for a different level of action-oriented, deliberative dialogue where the effort and energy is no longer placed on offering evidence on how there are inequities in how we treat one another and how such inequities are related to race. No time is devoted to presenting the data to educate parties about the degree of disparity that is present in access to opportunities. There is little attention given to the incredulity that comes when the nature of scrutiny and sense of security as a lived reality as a function of race is voiced. There is no illusion or confusion about whether implicit bias, microaggression, and discrimination based in racial attitudes are present in a dynamic. The RI difference begins with the acknowledgement that such elements of racism are givens. The work of RI is to transform the impact of such racism on personal development and professional attainment. RI places the emphasis on a process of ever-emergent learning that moves beyond known and cherished narratives to create the conditions for practices that change the place and face of race in our behaviors and lived experience.
At present many efforts that take an equity mindset to dismantle systemic racism rooted in white supremacy may also serve unwittingly to perpetuate this process. The degree of racial trauma experienced by Black Americans is undeniable and well-documented. From an RI perspective, the urgency of contemporary efforts to rapidly educate whiteness about blackness leave out a corresponding inquiry. The question of whether our racial constructions are real in the first place is left largely unanswered. RI incorporates and expands beyond the current diversity, equity and inclusion approaches. The central question in RI thereby becomes one where what we call "race" remains a core subject of exploration as we also embrace a deeper inquiry into the complexities of our relationships to one another and within ourselves.
The objections to raising even this basic inquiry are understandable and predictable. The strongest such argument is that the windows of opportunity to have race, and anti-Black racism in particular, garner such full attention by so much of the populace rare. History teaches us that we will likely need to wait for another 50 year cycle before we again see such depth of focus on race. RI recognizes that evidence of social and historical oppression based in race is irrefutable. The lived experiences of Black Americans now and for centuries are rooted in surviving and thriving in the face of a dominance culture where violent degradation, debilitating exploitation, and sanctioned discrimination remain normative. We see the impact of these pernicious practices in racial disparities. Data on wealth and economic prosperity, infant mortality and life expectancy, education and incarceration, reveal that quality of life indicators for Black Americans lag well below those of whites. Yet, it is precisely this continued attention on such factors without the corresponding inquiry into why that reinforces imagery of white supremacy. RI does not suggest color-blindness. More directly, RI calls on color mindfulness whereby there is the practice of releasing attachment to the embedded assumptions, beliefs, constructions, history, polarities, and even aspects of ascribed identity based in race. In short, RI sees color and recognizes it representation in human interactions while questioning the ways race is made essential, central, and exceptional in determining how we live into who we are. In short, RI acknowledges systemic racism and the need to dismantle the white supremacy patriarchy that promulgates it. RI asks what now?
At present there is investment in the use of whiteness and blackness to reify identities and affirm realities. RI invites us to continue to hold these identities AND asks the question about how do we begin to define ourselves, our identities, and our relationships to one another differently. RI does not seek to deny the presence of race but does entreat us to make efforts to begin inquiry into and beyond race. What RI holds to be more essential than race is both common humanity and unique individuality. Race alone, from an RI perspective, delimits all parties who subscribe to such singularity of identity of our personal agency beyond learned and prevailing narratives. RI invites us to explore other dimensions of self-definition as well as set an intention to see race and more in our relationship to others — perhaps to the point of seeing ourselves in them; and they allowed to see themselves in us. Further RI seeks to ignite discovery of our particular talents, capacities, and abilities to encounter a world of our own creation. RI takes the default off of experience and simply asks, "what else" may be present.
In writing about Racial Inquiry, there is a recognition already of how this thinking has the potential of being abused and misused. Some will critique it as minimizing the impact of power and privilege on Black Americans or the larger Black, Indigenous, People of Color (BIPOC) collective. Some will use this model and skip the required work and difficult conversations about racism, trauma, and reparations that are presumed before beginning RI. Others will see RI as an apologist treatise that is suggesting that race does not matter and is simply touting the "all lives matter" mantra in different words. Even more disturbing is that some will see the premise of Racial Inquiry being one that excuses us from discussing race — moving on to the part about common humanity and unique individuality without inquiring into systemic racism, patriarchy, hegemony, and white supremacy. If any of these uses of this framework are present, then the practice is other than Racial Inquiry.
Racial Inquiry sees such critiques as evidence of an investment in keeping things as they are, recycling the well-worn chosen narratives, and denying ourselves the opportunity to question our own behavior beyond the known and the familiar. RI requires courage to look directly at what already is to see what also may be.
Please, in our next conversations on race, may we take a moment to notice what we are saying. Please find the stillness and substance beyond the automatic and well-practiced remarks. Let's allow ourselves to embark on a new journey — and ask ourselves these questions:
"Why am I saying this now?"
"How did I come to believe it?"
"Why not a different way?"
In these questions, we begin Racial Inquiry. As we continue to ask why the face of race will change, beginning with our own.
"Some…see things as they are and say 'Why'? I dream things that never were and say 'Why Not'?"
- George Bernard Shaw
Previously posted on medium.com on July 13, 2020.
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Dinosaurs, Mermaids and Zazzle - Oh My!
I love being able to give everyone the opportunity to buy Elizabeth Kidder illustrations anywhere. That's why I got a gallery space, a Society6 store, and now, a Zazzle store called ekidderillustrator. I just opened it yesterday, so it looks a little bare right now, but soon it will be filled with all sort of awesome products - not just canvas prints, but t-shirts, tote bags, buttons and do-dads galore! I'll keep you posted here and on Facebook when new products are uploaded (Oh yeah, if you haven't liked my Facebook page, Like it now HERE).
I also like showing you guys my progress on recent pieces, and I've been very busy these past couple weeks. Those who follow Elizabeth Kidder: Illustrator know all about it, but I can't neglect the blogosphere. Below is my in-progress latest painting, about a mermaid and an actual sea-horse.
I'm super excited about them, but before I can finish, I have one my longest-running projects to date approaching the finish line, a trading card set for the online site NeonMob. It's completely free to collect and trade, and all the different artwork is phenomenal. If you want to join, just click this HERE and you're in! And to entice you more, here are some snippets from my nearly finished set, tentatively titled "Steampunk Dinosaurs."


It may seem pretty obvious, but we're fully obsessed with sneakers. We love anything and everything to do with the beautiful thing that is the trainer. We're always searching for the next fix, and for sneakerheads, there's no better place to get that, than Crepe City. Which, in case you didn't know, is the UK's biggest sneaker festival.
We took our schuh Kickpicker along to the event at the Old Truman Brewery in London where thousands of sneaker obsessed sellers, collectors and brands gather to swap and ogle heat. Let me tell you, it was fun.
We filled our exclusive Kickpicker up with classic styles like adidas Superstar and Stan Smith, new launches from Saucony including the Halloween pack and Converse's coveted Chuck II along with some our favourite retro runners. Then we watched as 1000s of sneakerheads tried out their tekkers in an attempt to pick up some free creps. There were lots of happy winners (check out the dude in our video), if you weren't one of them – better luck next time!
The event has grown since its launch in 2009, to one of the most respected trainer events in Europe. Sellers and collectors from around the world gather to trade and sell their trainers. From classics to box fresh new styles, the sneakers were piled high. Exclusive and impossible to find? Not at Crepe City.
Thousands of sneaker hungry shoppers queued for hours to bag a schuh x Crepe City VIP bag then were set loose into a sea of trainers. It's literally trainer heaven. Missed the event and in need of some new heat for your feet? Check out our men's and woman's trainers.
schuh HQ Halloween Pumpkin Carving competition: Who will be crowned Pumpking?


North Palm Beach is a lively base perfect for exploring MacArthur Beach State Park. Two miles of pristine sand and crystal clear water awaits you. Hire a kayak and paddle beneath Burnt Bridge whilst keeping an eye open for manatees and dolphins.


If you don't have a pension you are paying more tax than you need to. Have you even thought about when you are going to retire? How much will you need when you do retire?
We know how much the state will give you and we make sure that your pension will make up the difference between state and your present income. And we how to do this and save you tax!
As a self-employed individual you qualify for two different types of pensions.
Personal Pension Plans are available to an individual who is in non-pensionable employment or does not have access to an employer's pension plan.
An Executive Pension is available to the owners of their own limited company or as employee of a limited company.


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Mayweather Says Khabib Fight Will Only Happen In…
Floyd Mayweather has heard the talk from MMA fighter Khabib Nurmagomedov's camp and Dana White saying it has to…
Floyd Mayweather Backs Out Of NYE Fight
Just three days after announcing he was returning to fight on New Year's Eve against kickboxer Tenshin Nasukawa, Floyd…
Money May To MMA? Floyd Sets Fight Date…
Floyd Mayweather is fighting once again, this time in Japan on New Year's Eve. His opponent, Tenshin Nasukawa, has…
#WTFasho FLOYD MAYWEATHER: Tried To Gamble $400k On…
Floyd Mayweather wagered on himself the day of the fight. The boxer told ESPN how he attempted to place 400-grand on winning in…
Floyd Mayweather Takes a Break from Retirement, Plans…
The drum beats grow louder for a massive-money showdown between Floyd Mayweather and Conor McGregor. Mayweather announced Saturday in England,…
Birthday Catastrophe! Floyd Mayweather Was Robbed
A damper was put on Floyd Mayweather's 40th birthday when he returned home this week. According to TMZ, the boxer's…
Floyd Mayweather Sits Down With Adrian Broner At…
At the Barclays Center in Brooklyn, New York where promoter Floyd Mayweather and multi-division former world champion Adrien Broner held…
So Low: Soulja Boy Involves Baby Royalty In…
The rapper hit Instagram with a photo of Chris Brown's little girl.
SMH: Watch Floyd Mayweather Rant That 'All Lives…
When will celebs realize arguing "All Lives Matter" is not a good move, considering every week another unarmed Black man…
Here's How Floyd Mayweather Is Dealing With Rising…
Floyd Mayweather has the nickname "Money" for a reason. The prized boxer is looking for ways to avoid paying for…
Floyd Mayweather Banned From Strip Club For……
According to documents retrieved by the Daily Mail, Floyd Mayweather sent a IRS 1099 tax form to the strip club…
Floyd Mayweather Responds to Adrien Broner Calling Him…
Last night after Adrien Broner defeated TMT fighter Ashley Theophane. He let everyone know how he felt when Floyd Mayweather…
#TheRealScoop: Looks Like Adrien Broner & Floyd Mayweather…
Floyd Mayweather keeps coming for Adrien Broner and it looks like AB is fed up with the sneak dissing. Check out…
Will Smith Reveals Hesitancy To Take 'Concussion' Role…
Will Smith shared his hesitancy to take the role in his upcoming movie 'Concussion' with Variety.
Michael B. Jordan Returning For "Black Panther…
Mattel Unveils Barbie Doll Honoring Maya Angelou
The IRS Is Delaying The Start Of…


text:
Encyclopedia > Arthur Brown
Arthur Brown was a British rock and roll singer in the late 1960s, known for outlandish performances. His debut album, The Crazy World of Arthur Brown was a surprise hit on both sides of the Atlantic. The album included Pete Townshend as producer. Though Brown never managed to release another terribly successful recording, he did release several albums as Kingdom Come[?] in the early 1970s.
... Contents Autocracy Autocracy is a form of government which resides in the absolute power of a single individual. The term can b ...


HMD Global has recently been embroiled in a controversy, after a report said its Nokia handsets sent information to China. Finland's data protection ombudsman also said that it would investigate whether Nokia-branded phones had breached data rules or not. Now, HMD Global has released a new statement, shedding more light on the allegations, and whether the Nokia 7 Plus indulged in data breach or not. It says that a software mistake caused this error, but no personally identifiable information has been shared with any third party.
The company says that it has already fixed the issue in February itself, by switching the client to the right country variant. It also confirms that nearly all devices have already installed the fix. To check if your Nokia 7 Plus has received the security fix, head to Settings > System > About Phone > Scroll down to 'Build Number'. If your phone shows '00WW_3_39B_SP03' or '00WW_3_22C_SP05' as the Build number, you have already installed the fix on your Nokia 7 Plus. If your phone isn't up to date, then check for an update by heading to Settings >System >Advanced >System Update >Check for Update.
HMD Global also refutes allegations of other Nokia phones sharing similar data with third-party servers. "We can confirm that this is incorrect speculation and no Nokia phones are impacted. All device data of Nokia Phones other than the China variant is stored at HMD Global's servers in Singapore provided by Amazon Web Services. HMD Global takes the security and privacy of its consumers seriously and complies with all applicable privacy laws. Data collected from our devices is stored safely in accordance with applicable laws," the company notes.


text:
Порт Байка́л — грузо-пассажирский порт, расположенный на озере Байкал у истока реки Ангары в посёлке Байкал Слюдянского района Иркутской области России.

История

 В 1900 году началось движение по Байкальской железнодорожной переправе, связавшей берега Байкала. С Иркутском порт был соединён железнодорожной веткой, идущей по левому берегу Ангары от станции Байкал. Вокруг порта начал разрастаться посёлок Байкал.
 В 1905 году в эксплуатацию была введена ветка Кругобайкальской железной дороги от станции Байкал до станции Слюдянка-2, необходимость в Байкальской железнодорожной переправе отпала, порт получил железнодорожную связь со Слюдянкой.
 В 1956 году ветка Байкал — Иркутск была выведена из эксплуатации, порт сохранил своё значение как перевалочный пункт между поездами, прибывающими из Слюдянки и плавающими по Байкалу судами
 По состоянию на 2012 год порт осуществляет пассажирские (до расположенного на другом берегу Ангары посёлка Листвянка) и грузовые перевозки.

Инфраструктура

По состоянию на 2012 год в порту Байкал имеются:
 защищённая акватория площадью 0,11 км2 с вертикальной причальной стенкой, длина причальной стенки — 150 м, конструкционный материал — деревянная ряжевая конструкция; количество одновременно принимаемых судов — одна единица несамоходного флота грузоподъёмностью 2000 тонн;
 ремонтные мастерские с минимумом необходимого станочного оборудования;
 подъездные железнодорожные пути;
 судоподъездной плавучий док грузоподъёмностью 2500 тонн;
плавучими природоохранными объектами:
 судно комплексной переработки отходов «Самотлор»;
 зачистная станция очистки подсланевых вод проекта № 3989.

Порт не осуществляет погрузочные работы, раньше на балансе порта находились  портальные краны «Ганц-8» и «Ганц-10» грузоподъёмностью 5 тонн.Сейчас их вывезли .

Примечания

Ссылки

 Достопримечательности Порта Байкал на сайте AkuAku.ru
 Порт Байкал  на сайте ОАО «Восточно-Сибирское речное пароходство»
 Лист топографической карты M48-006-B-c

Транспорт Иркутской области
Байкал
Байкал
Ангара
Кругобайкальская железная дорога

redpajama_set_name: RedPajamaWikipedia


Just wanted to let you know again how happy we are with the solar system you installed. It has been doing its thing cranking out power all summer and even now a little bit. We especially appreciated working with John Harley who made special efforts in making the panel placement and wiring be the most efficient and least intrusive. The electrician also worked with us to get the inverter and meters placed for least impact on our garage storage cabinets.
We really are happy with the system.


text:
Inhabiting the eyes
Luis Felipe Kojima Hirano
Inhabiting the eyes, walking along images and following lines drawn with a camera are some of the experiences proposed in this film. It is based on the story and compositions made by photographer Evelyn Torrecilla, based on her experiences in Arte Org therapy, responsible for a transformation in her ways of seeing and photographing. The film invites the viewer to move their senses along photos taken by Evelyn. The soundtrack, composed by the musician and Arteorgian therapist Javiera Abufhele, also reflects the learning of this therapy. The result is a synaesthetic experience that suggests a shuffle between cinema, photography, drawing and music.
The production is the result of Post-Doctoral research, entitled "Ways of perceiving and ways of taking care of oneself: an audiovisual ethnography of Art Org therapy", carried out by Luis Felipe Kojima Hirano at PPGAS-USP and at the Laboratory of Image and Sound in Anthropology , under the supervision of Sylvia Caiuby Novaes, between 2019 and 2020. The research sought to systematize eight years of fieldwork in Arte Org therapy, created by Jovino Camargo Jr., which follows the principles of body and perceptive psychology by Wilhelm Reich. From a series of exercises that work the body and perception, Arte Org seeks to deal with contemporary human functioning, enhancing ways of seeing and feeling the world. In this research, I mapped the crossings of bodily and perceptive experience in the artistic production of photographers, musicians, dancers, actors and actresses from Arteorgu. The short film "Habitar oslhos" is the first episode of a series in preparation, which aims to imagetically explore the movements of these artists. The Covid-19 pandemic posed challenges to the film's initial conception. The impossibility of continuing the filming made room for an intense work of editing with photographs by Evelyn Torrecilla. If it was not possible to film the photographer's wanderings through different landscapes due to the quarantine, it was at least possible to walk along her photographs, thus seeking to get out of the confinement imposed by the pandemic. The result is a mix of documentary and photofilm – an invitation to listen to Evelyn's experience at Arte Org and to walk with one's eyes through her photographs.
Direction and search:
All photographs are authored by
Evelyn Torrecilla©
Editing and color: Leonardo Fuzer
Direct sound: Luis Felipe Kojima Hirano
Mixing and mastering: Paulo Assis
Protagonist:Evelyn Torrecilla
Songs (in order of entry):
Coventana
Lyrics and Music by Javiera Abufhele
Stripped an arbol
Contradicha
Lyrics by João Apolinário
Composition by João Ricardo
Interpretation of Wet and Dry.
Amor(João Apolinário/ João Ricardo) – 100% - Universal-MCA Do Brasil Ltda. – Universal Music Publishing MGB Brasil Ltd.
Amor (Secos e Molhados Interpretation) Licensing of the phonogram was kindly provided by Warner Music Brasil Ltda., a Warner Music Group company".
Lucarita
Translation (English):
Tatiana Lotierzo and Luis Felipe Kojima Hirano
Translation (Spanish)
Tatiana Lotierzo
Ohanna Jade do Amaral
Production: Laboratory of Image and Sound in Visual Anthropology at USP Institutional Support: University of São Paulo, Federal University of Goiás and Wilhelm Reich Institute of Brazil.


HGA executed a 2-year compression system upgrade program with an unnamed transmission company (due to confidentiality agreements). HGA provided detailed engineering services including civil/structural, mechanical, piping, electrical, instrumentation, controls, and design of interface necessary for connection to main-line tie points. Procurement services included inquiries, bid tabs/evaluations, preparation of requisitions, and expediting of vendor data.


While I loved what Christopher Nolan has done with Batman series, I still hold a special place in my heart for the 1989 Tim Burton movie. His Batman kicked off a new re-interest in comic-book inspired movies and television shows – some great (Batman: The Animated Series), some good (The Flash, 1990's version) and some bad (the 1990 Captain America movie).
Last week, I blogged on the Rocky Original Motion Picture Score. That post got me thinking about how the most iconic scenes from my favorite movies are bolstered by their musical scores. Over the next few months, I'll share a few thoughts on some of my favorite scores. First up: Carlito's Way.
Carlito's Way is a 1993 crime drama directed by Brian DePalma and starting Al Pacino. The three sentence summary: Carlito Brigante is an incarcerated drug dealer just freed on a technicality. Vowing to go straight, Carlito finds himself in situations where his sense of honor and loyalty pull him into law-breaking activities. Those decisions play out with dire consequences – with him ultimately losing his life, though not before he can get Gail, and his unborn child, off to safety.


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Interview: Inside the mind of Bluesfest director Peter Noble
John Goodridge
Bluesfest has been a staple on the Australian music scene for well over twenty years and director Peter Noble has been involved for most of that time. We had a chat with Peter on what motivates him and some of the reasons behind the success of the event.
Let me start by asking how does your year evolve heading into Bluesfest?
My role has changed. I just got back from a conference, I'm in the office for a week then back off again. I'm going to Darwin for the Australian tourism awards finals. Bluesfest is nominated again, but always get beaten by the Victorians. Last year we were up against the Melbourne Cup. As if we had a fucking chance. This year, we're up against the Australian Grand Prix. Then I'll go back to my place in Bali, because I'm so close. Hang out there for a week then off to London for meetings. So that's what I do, I travel. That's my job. Since December I've been in Bali three times, America twice, the UK, Africa, Singapore; that's what I do.
I've been around the world one and a half times and I'm going again. I'll probably have more meetings with people from Australia than I would here. We all tend to go to the same conventions. I'll be on a massage table Saturday, getting ready for a festival; bringing out my creative thoughts.
Sounds like a perfect lifestyle.
It is if you don't mind flying. A lot. But that's what this business is. That's what guys like me really do. You can't do it all on the phone and Australia is perceived as being a long way away by a lot of people, but it's not the truth; it's a good sleep from anywhere. The fact that you're in offices in Nashville or LA or London, eyeballing people, you get a lot more done.
Do you book acts like that? Face to face?
Well, they can come any way. I can go after them, or be offered artists, by email or phone, or it can be by sitting down with someone and getting an idea of all the artists that they have and their future touring plans. Most people are thinking a year or more ahead nowadays. Let's face it you want to be on sale a good six months before a show so you'd better be thinking a year or more ahead.
On the Bluesfest page, some of your staff have picked their top five acts they are looking forward to seeing. To me, the big advantage of a festival is not just seeing the acts that you know but discovering new music. It must be a real juggling act finding artists that fit.
That's one of the most exciting parts of being in our business. Good managers and good agents are always looking for great new talent and so should good festivals be doing that. You always must be developing talent and there's nothing better for the fan that comes to see an artist because he's a household name and discovers x amount of other artists that he thinks are great.
I spoke to Beth Hart last year, for example and she loves Bluesfest; she said it was her favorite festival. I really get the feeling that a lot of other artists feel the same.
We try to do it in a way that makes the artists feel very welcome. We create an ability for them that all they have to think about is being creative people. It's kind of a no-brainer when you think about it. There's nothing worse than if you arrive at an event and your dressing room's not available or there's a bunch of things not working, so you're dealing with all that and you're not getting in the zone, getting ready to do a great show. There shouldn't be an issue with dressing rooms. There shouldn't be an issue with meals. You walk on stage and the sound should be great. That's all the artist wants, a place to create and it's amazing how many people get that stuff wrong.
Obviously, looking at the number of awards that Bluesfest has been getting recently, you're doing something right. There seems to be an incredible number of other festivals failing for some reason.
We're a music festival. We're not trying to appeal on any other basis apart from that. We're all about music, creative music, and having artists get up there and do what they do and giving them the environment where that can occur. That to me is what my role is. Sure, finding the right artists that appeal to the public, so I can continue to do that on a financial level and with Bluesfest we've been fortunate that we've attracted this amazing team around us, so it makes my job easier. I'm not worried about who's going to be working the carpark, for example. All that stuff that takes you years.
I always imagine that the average concert-goer has no concept of how much work goes on behind the scenes.
The complexity of it, no. They only know that the hot water in the shower stopped working in campground X and I'd better put it on Facebook and tell these guys what arseholes they are. Rather than look at my wristband and call the number listed if anything goes wrong. Western attitude is to act in aggressive manner if you don't get what you need. The louder the better.
So how do you think social media has changed us?
Well there is that side to it, but in another way, it's a great way to meet people. You can get to know people better who have been associates, and I look forward to getting up in the morning and seeing what my friends have posted. Somebody you knew a bit ten years ago, they live in New York, and those people become your friends. I think it's brilliant for that reason.
So onto Bluesfest, I'm really excited to see Patti Smith and Billy Bragg to name just two.
I just saw Billy Bragg play in Glasgow, in the Old Fruit Market, which of course is an old fruit market which has been changed into a theatre. I have to tell you that show he does with Joe Henry that is a beauty.
I remember meeting him many years ago after a concert I went to.
He's an interesting guy to talk with, isn't he? He's got a stage at Glastonbury and he gave my kids access to the back of that stage to camp. I was his guest, so up he comes and says, "So what do you think of Brexit?" The whole thing had happened while they were there at Glastonbury. You went to bed with all the pundits going, "We're staying in the European Union," and woke up with, "We have left." It was a shock and many people in Glastonbury would be in the "remain" camp, so Billy and I got into a great conversation about it. It was quite interesting. He asked, "What was your take in Australia?" and I said it seemed like lemmings headed to the cliff. I found he was an engaging listener as well as speaker.
What he's doing now, with his train songs, is really interesting. Some of the songs are quite well known, if you know folk music, but the stories of getting on the Amtrak and going across the US. They even went to the room where Robert Johnson recorded his classic album; things like that. He recorded there. Fascinating stuff; I'm not just going to do a train record. Not with Billy.
It's always interesting for me to understand if the recording environment changes the music. Some artists don't seem to care, for some it becomes very important.
There's a whole world of music out there. I'm going to flick the switch for a moment. I have had years where I've never traveled. Basically sitting at home, on the web, and discovering artists that way. A lot of it can come to you, but the fact that you do travel takes you to areas where you discover things. On Celtic Connections, I discovered a wonderful band called Elephant Sessions. I never would have found them if I didn't go. I guess for some artists it's just a studio, but I think for some artists, going to a studio where something brilliant has been done – the only recordings that Robert Johnson ever made were in that hotel room – and they're some of the most seminal recordings ever made in Blues music.
You just can't think about Blues without thinking about those recordings. For me, I'd never been to Glastonbury; I had to go. It was the worst weather ever, there was four or five inches of mud across the whole site. SO what should have been a twenty minute walk was a two hour walk and with every step, the mud's trying to pull your gumboots off. I only went over once, but once was enough; covered in it.
But to do that, it was fun. Aussies wouldn't put up with it. They don't even have showers at Glastonbury. At Bluesfest if our showers go cold we hear it. What's on the stage is brilliant but I wouldn't dare offer the public what they do. They're quite counter-cultural, but I still think hippies wash.
I always think of music as the one art form that is both immediate, yet enduring. People remember musical times, yet it's fleeting. It's not like a picture on the wall.
Music goes around in my head all the time. Humanities have got the ability to move you and creativity is what we always need on the planet. There are guys that come and go, like the current US President, but things like that are great opportunities. We can go out as artists and present a strongly differing viewpoint and all of a sudden you have the age of protest beginning again.
You must always be watching and aware. You have to be involved otherwise half of our species may go and do something terrible. May we all live in interesting times, as they say. The arts is the bellwether for all that.Music is in the now then it's gone. That's what's great about it too. But the memory isn't.
What motivated you to start Bluesfest?
I'd always been in the music business since I was fifteen or sixteen, when I picked up a guitar. I was professional by the age of seventeen. That part of my life ended after about ten or twelve years, and I'd been a pro musician in the US, so went into business. When I came back to Australia for a holiday, I thought "Gee, I don't mind this place." I'm an Australian, but I'd left and was living in the US.
Bluesfest came about because I started touring a lot of Reggae, Jazz and Blues which just wasn't happening here. People would say to me "How are you going to make a living touring John Mayall?" I toured other stuff too, from The Sweet to Anti-Nowhere League, but when the guys started Bluesfest in 1990, I was just supplying them acts. I think I supplied them Canned Heat in the first year and John Mayall in the second.
By the third and fourth year they went outdoors and lost a lot of money, as is easy to do in festivals and that's when I got offered a partnership. So I wasn't an original, I came in in 1993. After about ten years my original partner and I had a big bust up, so it was up to one to buy the other out, so I bought him out. People like Chuggi came in for a few years, but it didn't work. We both had different ways of looking at it, so I bought him out, so I've only had the event since 2009. It still feels new; I finally got to do it myself for eight years.
What would give you the most satisfaction?
I was just in LA for the Pollstar Awards and Bluesfest was nominated for the fifth year in a row for the world's best (non-American) music festival. Glastonbury wins every year, but we're the only event to be nominated that many times and we're the only event from Australia to be nominated for over a decade. It's our peers, the agents and managers that nominate you, year after year, and I realise that Bluesfest is being nominated, where Montreux Jazz Festival isn't, North Sea Jazz Festival isn't, Jazzfest isn't, Reggae Sunsplash isn't and I go, "My God, we're rated above those events." That realisation is an amazing one and we're in Australia and Australia is much more difficult to do presentations in; people have to fly in and devote time. Everything costs more to do here. So that's a pretty big wow.
I think the bills that I put on are engaging and creative. It's finding that line of doing a commercially successful event and an event that's challenging. You have the headliners but you also have artists who will become your new favourites. You never get it 100% right but if it's around 80 or 90% there's a lot of satisfaction. Money's not my main motivator; you have to be financially successful or you won't be around, but I decided to be less hands on and travel more and discover more.
I just spent a week in Ghana listening to the music there. Last year I went to Morocco, I spent time in the south of Spain listening to Flamenco. I was also freezing my butt of in Glasgow. Believe me, Glasgow in January is not a pleasant place. But you have to do that; if you want your event to be the frontrunner, get on your bike.
The social responsibility part of Bluesfest is something that you take very seriously.
We have an apiary on the farm site, which produces Jelly Bush honey, which is the equivalent of Manuka. It's a business occurring on my farm and the guy just gives me honey. But we have incredibly special wetlands in the area, which produce certain flowers at certain times of the year which allow this amazing honey. It can only be produced in one area of Australia, the north coast of NSW. With koalas, our big thing was, to buy a site and take responsibility for the fact that there were koalas on the site.
Our initial study showed a highly diseased colony, nobody had ever studied them and they were dying in huge numbers, three or four between every study. I got the University of Queensland research centre in five years ago, Bill Ellis who is the eminent koala researcher in Australia. He said, we need to create a healthy site. Whatever the population, it's immaterial, as long as it's healthy. Healthy can breed healthy young and we can repopulate the site. So we started capturing diseased koalas, taking them to the Crocodile Hunter Zoo and treating them. We put in sensor lights and discovered wild dogs were coming in so we started trapping them. It took five years, but this year is the first year we haven't had one koala death, in fact we've had two females give birth to healthy young.
We have a successful disease free colony now and it's proven that on bushland that has been fractured by roads, that you can have a disease free colony. If we can keep this up for another couple of years we believe that we have the blueprint for koalas in NSW, to bring them back from the brink of extinction. If you're going to do something in life you have to have social responsibility. We're now leading in that area because we did take that on. I'm a Buddhist, I honour all sentient beings. I think that philosophy comes across in the festival as well. I hope so. You only have to come.
There are incidents of course; for example Neil Young cancelled. He didn't go out there and do a press conference or press release; all his fans were left frustrated and angry and of course they took it out on us. The artists that we booked at the same timeslot… Jimmy Buffett wasn't acceptable, but you know what, they really wanted Neil. If he had come out and said, "You know what, my life has changed; I need to do this now, I'm sorry," it would have really helped. But he chose not to. You just have to deal with that and roll with that. You can't get caught up in things that you can't control. I guess at his age he can get away with it.
Last question, how is the Boomerang Festival going?
The Boomerang Festival has one issue, and that is that the government has stopped funding. As of today the Boomerang Festival doesn't have funding and I'm attempting to get to a point where we can figure out how to address that. We at Bluesfest are not going to walk away from Indigenous Australians, the first nation's people.
The Australian government is attempting to balance the books and forgetting that black people have rights in this country, and one of those rights is to have their story told. They're more marginalised when they're not allowed to present their culture to the rest of us, so we need to become more involved in it. We will find a way to make Boomerang work. Anybody who has a heart and votes for liberal party after what they've done to the arts and our indigenous brothers and sisters, really you don't have a heart. How can those people ever feel a part of Australia when we treat them like that?
Bluesfest showcases music from around the world annually on the Easter long weekend on 120 hectares at Tyagarah Tea Tree Farm, just north of Byron Bay, NSW. For more information and tickets, head here.
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Tags: Bluesfest, Bluesfest Byron Bay, Peter Noble


These powerful words, spoken by Tom Moran, Chairman and CEO of Mutual of America, reflected the spirit of Fedcap's 2015 Celebration of Work Gala, which took place on November 30th at the Pierre Hotel in Manhattan. Mr. Moran, a noted philanthropist and exemplar of giving back, was this year's recipient of Fedcap's prestigious Outstanding Corporate Citizen Award.
The theme of the evening – dignity and respect through work – was echoed by each of the evening's speakers. The evening opened with a video that provided an overview of Fedcap's work in 2015, a year in which we impacted over 100,000 lives and our combinations with agencies that share our commitment to excellence and service – The Way to Work, Wildcat, ReServe, Community Work Services, and in 2015, Easter Seals New York. This extraordinary family of agencies enables us to expand our impact throughout the nation and overseas – changing service-delivery systems and bringing the dignity of work to more individuals, families, and communities.
Fedcap board chair Mark O'Donoghue highlighted the Power of Possible – providing employment opportunities for individuals with barriers, so that they can know the dignity of providing for themselves and their families.
Emmy-winning sportscaster Ed Lucas, Fedcap's 2015 Excellence in Media Award winner, thanked Fedcap for helping those who are struggling to overcome barriers. Mr. Lucas, who is blind, has often described blindness not as a handicap but simply as a mere inconvenience. He is an ideal role model for Fedcap's consumers, and his core message - to never, ever give up - resonated with the Gala audience, and was exemplified by the three consumers who introduced the honorees.
The consumers – Jennifer Garcia, Luis Dejesus and Antoine Wood - all shared stories of overcoming hardships with the help and support of Fedcap, to ultimately gain employment and climb their chosen career ladder. With words, poetry and tears, they demonstrated what it means to garner the self-esteem and dignity that come with hard work and perseverance.
Fedcap board members Lynn Morgen, Larry Ach, Peter Aschkenasy, Anoop Dhakad, and Ken Raisler all echoed the message of respect and dignity through work, clearly demonstrating their dedication and hard work in service to Fedcap's mission, growth, and innovation.
ISS Facility Services, Inc., a leading provider of integrated facility services, was presented with Fedcap's Distinguished Corporate Partner Award. Accepting the award was Peter Ankerstjerne, Chief Marketing Officer and Head of Group Marketing for ISS World Services A/S. Mr. Ankerstjerne shared that visiting a Fedcap workforce training site provided him with a new perspective on how individuals can be helped to realize their full potential. "ISS is very proud to be associated with Fedcap," he said.
Fedcap President and CEO Christine McMahon spoke eloquently about the work of Fedcap and the many opportunities that lie ahead. Fedcap has grown since the agency was founded 80 years ago, expanding its reach and its mission nationally and internationally. Ms. McMahon made it clear that it is Fedcap's job not only to change with the times but to lead the change, and to continue to drive innovation and growth, honoring those who came before us.


I didn't watch much television while we were away, but I saw one show that I must recommend, because the second episode it tonight. Appropriate Adult is the story of Fred and Rosemary West. For non-brits, these were depraved murderers, who were caught in 1994. This is the first mainstream drama about the case.
The story is told in a restrained and oblique way, with no prurient detail of the victims' suffering, and even so it was almost unbearably chilling and crushing. It unfolds from the point of view of a volunteer social worker who was asked to sit in on the police interviews. She is completely out of her depth, and West confides in her, putting her in a difficult moral dilemma. This is all based on fact, and the interview scenes are taken from transcripts. The acting is extremely good. The social worker is played by Emily Watson and Fred West is played by Dominic West, in a sickeningly accurate performance.
Two aspects of the drama are worth commenting on. One is the success in portraying miserable oppressive horror without resorting to explicit detail of the crimes, which would have been demeaning and cheapening of human suffering. I have rarely seen the balance struck so well. It is important that the evil of the crimes is not diminished, but it is also important that the suffering of innocent women is not paraded before us for titillation. While this was not perfect by any means, it should be taken as a standard for crime drama in the way it handles this difficult subject.
The other aspect which struck me very forcibly was the occasional shocking laughter. I was appalled at myself for laughing a couple of times, and I was glad to read reviews later from other viewers who had also laughed, at the shocking incongruity of the transcript. Again, I think it was exemplary in making you realise that it was funny, but never losing the horror. The horror and the appalled laughter were right next to each other.
Here is the kind of thing I am talking about (this from memory), a policewoman is interviewing Fred West.
Police: So, you are saying that you murdered and dismembered nine or ten women in that house, and buried them in the garden, and your wife never noticed?
West: I did it while she was out shopping.
Police: She must have spent a lot of time shopping.
West: Oh yes, it takes ages to walk to Tesco from our house.
Just out of interest, have you read or come across "She Must Have Known"? It's an interesting argument that Rosemary West might not have known after all. I read it ages ago and found it persuasive, but without really knowing anything much about the other side of the argument.
This sounds like a very interesting show. I'll seek it out.
I haven't read it. The actress who plays Rose West was very good, and made her a thoroughly unpleasant person, but obviously that's just within the structure of this particular drama.
I think the first episode of the two was probably stronger because it was more claustrophobic. The second ep last night dramatised the trial and so the atmosphere became more matter-of-fact.
I only caught a bit of the second episode, but agree that it was very well made!
In the first episode she was rabbit-in-the-headlights stunned throughout, and this was also how the viewer felt, because the atmosphere was so ghastly. In the second episode she seemed dulled into a semi-comatose state by the emotional violence that had been done to her (and then having a stroke, of course, which surely was a reaction to the stress). I must say, I think it was irresponsible of the police to use a newly qualified inexperienced volunteer for this task.


At some points as you travel through the game an icon in the bottom right of the screen reading 'conversation' will appear. When this happens pressing the ok key will activate a short scripted sequence that features two or more of the characters in your party at that time having a conversation. This is used to explain the history of an area, flesh out character background and interaction, as well as provide comedy interludes. These conversations appear all over the world map throughout play (even in areas that you have already visited) and are not essential to completion of the main story. Fans of the Gamecube game 'Tales of Symphonia' will already have a rough idea of how this system works.
After having joined the Hunter's Guild you will be able to partake in the biggest mini-game that Shadow's Reach has to offer. Spread out across the whole of the worldmap is a series of heafty boss encounters that become ever more challanging as you complete each one. In much same way as the conversation system, the text 'Mark' will appear in an icon at the bottom left hand side of the screen and pressing the ok button will automatically throw you into the battle. Once found, these battles can be fled from and returned to at a later date for completion, but only one mark can be inlocked at a time. Upon winning a battle the next mark will be set loose and will have to be tracked down.
Later in the game you will be given a special mission to track down and dig up an ancient artifact that is hidden somewhere on the world map. In order to do this you will have to have a THIEF class character in your party, and when you walk across a spot where treasure has been buried a low sound will indicate that there is something in the area. After that it's up to you to dig down and see what that item is. It could be anything from the humble 1 GP piece to a special item. This minigame becomes available as soon as the character of Athena is unlocked.


Hummus – currently a very popular item in shopping baskets. Much, much cheaper to make than to buy, plus there are lots of flavouring options.
To make the hummus, cook the chickpeas as above. Place in a food processor and whizz with the oil and enough water to make a thick paste. Season to taste with salt and pepper. If you don't have a processor, mash the chick peas with a fork.
To assemble the sandwich, using half the hummus, spread it over the 4 slices of bread, sprinkle the grated carrot over two slices, and top with the other slices.
If you have a lemon, a little fine grated zest and a spritz of juice is lovely. Garlic too is a classic addition, we just don't have any available on this meal plan. Or add a few very slow cooked, caramelised onions, stirred through. Or add a bit of red pepper from a jar, either chopped and left in chunks, or whizzed when you make the paste. And of course, if you have some tahini, stir a tsp through, yum. Or how about a tsp or so of Aunt Mabels Green Tomato Chutney that's been in the cupboard for 4 years. Or dry fry 2 or 3 tsps of curry powder, or any combination of spices you have (if whole, they will need to be ground up fine) and stir them through – goodness, this is making me hungry!
I added 1/2 tsp cumin, 1/2 tsp paprika and a clove of garlic. I think it would be a little bland without. Alot of people say you need olive oil, I disagree, unless you are spending a tenner on olive oil to get a really nice one, it would be quite bitter.
I have gone from spending 60+ a week on food to about 12 quid. I'm amazed I am eating so well, and if the truth be told, since I have cut out most of the meat from my diet, I feel so much more healthy and energetic! I thought cutting out meat would kill me!


text:
Work & Family Mailbox
Columnist Sue Shellenbarger answers readers' questions
Nov. 26, 2008 12:01 am ET
Q: My wife and I are expecting our first child and have hired a nanny. While we'll be paying the nanny tax, I'm not sure what year-end tax credit may be coming to us. Can you provide information?
-- R.S.
A: Generally, if either you or your spouse has access through your employer to a dependent-care spending account, also called a flexible spending account, you should be able to pay with pretax dollars up to $5,000 of child-care expenses, including the nanny's wages plus payroll taxes, says Tom Breedlove of Breedlove & Associates, an Austin, Texas, payroll-services concern. Depending on your marginal tax rate, your family will save about $2,000 to $2,300 a year, he says. Check with benefits managers at your employers for information.
If you don't have access to such an account, you can file for a child or dependent-care tax credit, Mr. Breedlove says. File Form 2441 with your federal income-tax return to itemize up to $3,000 of child-care expenses per child, per year, up to a maximum of $6,000; a 20% tax credit is allowed on those expenses. With one child, this will save you up to about $600 per year, he says. More information is available at breedlove-online.com, by clicking on "FAQs and Helpful Links."
Q: I read your coverage of the impending student-loan bailout. My son will be entering a college next fall that costs $50,000 a year. Will we be paying college tuition bills for the rest of our lives?


text:
Q: How to get real prediction from TensorFlow I'm really new to TensorFlow and MI in general. I've been reading a lot, been searching days, but haven't really found anything useful, so..
My main problem is that every single tutorial/example uses images/words/etc., and the outcome is just a vector with numbers between 0 and 1 (yeah, that's the probability). Like that beginner tutorial, where they want to identify numbers in images. So the result set is just a "map" to every single digit's (0-9) probability (kind of). Here comes my problem: I have no idea what the result could be, it could be 1, 2, 999, anything.
So basically:
input: [1, 2, 3, 4, 5]
output: [2, 4, 6, 8, 10]

This really is just a simplified example. I would always have the same number of inputs and outputs, but how can I get the predicted values back with TensorFlow, not just something like [0.1, 0.1, 0.2, 0.2, 0.4]? I'm not really sure how clear my question is, if it's not, please ask.


For over 60 years the Government Experimental Orchard at Blackwood played an important part in the early development of the orchard industry in SA.
Blackwood Forest Recreation Park is located in the Mt. Lofty Ranges suburb of Hawthorndene, 12km. south of Adelaide. The 21ha. area of land forms part of the country of the Kaurna people, who possibly used the site for hunting.
After white settlement the land was used for grazing and hay growing.
In 1908, George Quinn, Chief Horticultural Instructor with the newly formed Department of Agriculture, purchased the 52.5 acres of land from G.Dall for £88 for the purpose of establishing an experimental orchard. Clearing, soil preparation and planting began immediately.
The orchard's role was to provide for trials and experiments into flowering and ripening periods, habits of growth, fruiting capacities and quality, drying, canning and storage properties and resistance to pests and diseases of a wide range of fruit tree varieties.
A 1927 census found over 4,000 different varieties of fruit trees, at the time considered to be the largest collection of varieties in one plantation anywhere in the world.
Today only a few of the original trees (or self-sown seedlings and rootstocks) remain - walnuts, pecans, loquats, mulberries, quinces, greenguage plums and notably a row of 27 named varieties of olives along Turners Avenue boundary. These olives are officially listed by The National Trust of SA as being locally historically important.
In the late 1930's, problems with soil erosion and fertility led to the orchard being mainly replanted with varieties more suited to the local climate. Contour planting was used for the first time in SA and green manure crops were planted between rows of fruit trees.
In 1952, a compartment of Monterey pines, Pinus radiata, was planted near the eastern boundary to provide shelter for fruit trees and to stop soil erosion.
As orcharding in the area declined in the 1960's, resources were progressively transferred to a new facility at Lenswood and the orchard ceased functioning in 1968, with management being handed over to the Woods and Forests Department.
A second compartment of pines was planted in 1972, with a view to eventual harvest.
By the mid 1980's, the land was no longer required by the government and attempts were made to sell it off for housing. Thankfully, due to sustained community pressure over many years to retain the area as open space, the forest was finally proclaimed a Recreation Park in November 2001. This was a real tribute to the efforts of the local community, reflecting the significance of the forest to the community. Now the reserve is under the management of the Department of Environment, Water and Natural Resources. The Friends group was formed in 2002 and offers the opportunity for residents to continue to have a say in the forest's management and to lend a hand to improve the site.


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Vancouver beluga's death renews push to free the whales
ALEKSANDRA SAGAN
Kavna the beluga whale, shown with her baby, Qila, appears to have died of cancer associated with old age.Meighan Makarchuk
Raffi Cavoukian fell in love with Kavna in 1979, and the beautiful whale inspired his hit song Baby Beluga.
"She was just so playful and smiling, I would say," Mr. Cavoukian said on Tuesday.
Kavna, the beluga who was visited by about 30 million people over her 36-year career at the Vancouver Aquarium and graced a Canada Post stamp, died over the long weekend at an estimated 46 years old.
Mr. Cavoukian, a B.C. resident, had been against capturing wild whales for public entertainment, a paradox he said he has still not resolved. Yet, the intimate meeting between Kavna and the children's entertainer – she kissed him on the cheek –sparked his love for belugas and inspired the song, he said, which then helped foster a love of nature and animals in millions of his fans.
"If you love something, you naturally want to protect it," he said.
Kavna is believed to have been the oldest of her species in an accredited North American aquarium, said Clint Wright, the aquarium's senior vice-president and general manager, although aquariums in the United States have some belugas in their 30s. Wild belugas can live up to 30 years, he said.
Mr. Wright said Kavna helped millions of visitors understand the problems in the Arctic where climate change may threaten thousands of belugas. Currently, only two out of Canada's seven beluga populations are endangered.
"It's only by bringing these animals, talking about them, having great interpretation [and] talking about the issues that we make people aware," he said.
The Vancouver Aquarium intends to increase its beluga population, which is now down to a mother-daughter pair. After construction is completed on a new Arctic habitat around 2016, staff will bring in a male partner to breed another whale, said Mr. Wright, for continued public education and academic research, despite concerns from animal welfare groups.
Public education does not have to rely on an animal's captivity, said Barbara Cartwright, the chief executive officer of the Canadian Federation of Humane Societies.
"We can do public education out in the wild," she said, referring to popular whale-watching tours. "We don't need to have [animals] brought in or bred in captivity where their needs can't be met." She said aquariums are unable to provide enough space for a beluga's natural behavioural and environmental needs, such as travelling long distances.
But captive belugas are easier to study because their natural habitat makes research difficult, according to the aquarium's website. Vancouver Aquarium researchers have learned a lot by studying their captive whales, Mr. Wright said. Kavna's teeth were studied in whale-aging research.
Researchers still study wild belugas, said Ms. Cartwright of the CHFS, which does not support the aquarium's decision to breed more captive whales. The organization says the animal's suffering in captivity outweighs the potential research.
The aquarium acquired Kavna in the summer of 1976 off Churchill, Man., and she died at about 3:30 p.m. on Aug. 6, said Martin Haulena, the staff veterinarian. Veterinary staff were able to estimate her age because she gave birth after arriving at the aquarium. Dr. Haulena said he attributes her old age to luck, good genes and veterinary medicine advancements.
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Death of dolphin Spinnaker remains a mystery
Heart failure led to death of beluga whale at Vancouver Aquarium
Endangered whale begins to recover after Bay of Fundy shipping lanes moved