Mia's Scrapbook: OVER THE KNEE BOOTS ARE STILL IN.
Para aquellas que me seguís desde hace un año, recordaréis que publiqué un post sobre las botas mosqueteras. Si por aquel entonces era la tendencia más in del invierno, en cuanto a tema de calzado se refería. Este año han ocupado su lugar las botas Mery Popping, de las que también haré un post, sin embrago, las botas mosqueteras siguen ahí, en la calle, en las tiendas, en los anuncios de las marcas de calzado, y ahora con el frío son la mejor opción para calzarte. Con ellas seguirás vistiendo a la última y como terminan por encima de la rodilla son unas de las mejores aliada para combatir el invierno. / For those how follow me since a year ago, you might remember I made a post about over-the-knee-boots. About that time they were one of the most in trend of the winter, if we talk abot footwear. This year the Mery Pooping boots have take their place ( I will make a post about them), however over-the-knee boots are still there on teh streets, at the stores, on the ads of the footwear brands, and now with the cold weather they are a great option. With them you will still going on fashion and because the ened up ever the knee they are the best ally to fight this winter.
Stradivarius ha sacado la bota mosquetera, estilo Mery Poppins. / Stradivarius has got the Mery Popins' over-the-knee boots.
Anuncio de Mustang otoño 2010. / Mustang advertising campaing fall 2010.
¿Cuándo y cómo me las pongo? / When and how I can wear them?
1. Con pantalón. / With pants.
Muy cómodas, quedan genial con pantalones ajustados, o de raso, de piel, de ante, como quieras, pero no te las pongas con pantalones de traje o de pata de elefante me imagino que sabréis porqué ¿no? / Too confortable, and it looks great with tight pants, or satin, leather, suede pants, as you want but avoid suite pants and wide leg onces, I bet you already know why, right?
Las botas que lleva Julianne Hough son de Miu Mui. / The boots Julianne Hough wears are Mui Miu.
Victoria Beckham lleva botas de ante de Brian Atwood. / Victoria Beckham wears Brain Atwood suede boots.
2. Con leggings. / With leggings.
Los leggings siguen estando de moda, y más si son estilo pantalón ajustado o los llamados jeggings, que seamos sinceros no dejan de ser unos legging con tela más gruesa y elásticos ¿no? ¿Dónde encontrarlos? los venden en casi todas las cadenas de moda pero os recomiendo que si buscais algunos vayais a Zara, que tienen gran variedad de modelos y tonos. / Leggings are still in, and more if they are as a tight pants or the so called jeggings that let's make it clear, after all they are leggings but with more thicker fabric and elastic, right? Where to find them? they are on almost all teh stores but I recomend you the once that are in Zara, they have a huge variety of models and colors.
Ashley Greene lleva botas de Casadei. / Ashley Greene wears Casadei boots.
3. Con vaqueros. / With jeans.
Con vaqueros, es posiblemente, al opción que mas hayais visto ¿no? Además, me imagino que la mayoría de vosotras la combinará de esta manera, ¿no? / With jeans is probably, the option we have seen most, isn't it? Plus I imagine most of you wear them this way, right?
Esta foto es muy chula porque cada una de las modelos lleva un tipo de calzado distinto, es genial para ver la diferencia entre como estilizan la pierna unos y otros. A vosotros ¿cuál os gusta más? / This pic is so cool because each model wears a diffrent kind of footwear, so it let us see the differences on how they look to the leg. Witch one is your favorite?
4. Con shorts. / With shorts.
Los shorts son también para el invierno, y quedan ideales. Si, ya se que hace frío, por eso lo mejor es ponértelos con una leotardos y botas mosqueteras. / Shorts are also for winter, and they look gorgeous. Yes, I am awered it's cold out side, that's why the best way to wear them are with thights and over-the-knee-boot.
Las botas de Maria Sarapova son de Cole Haan. / The boots Maria Sarapova wears are Cole Haan's.
Estas botas son de Zara. / Those boots are from Zara.
5. Con falda. / With skirt.
Claro, esta es otra opción, aunque tengo que reconocer que no es de mis favoritas. Pero bueno eso depende de cada uno, en este caso, sobre gustos no hay nada escrito, y sobre estilos tampoco. ¿A vosotras, qué os parece esta combinación? / Of course, this other option, but I have to recognice I don't like it much. But that is up to each one, in this case about about tastes there is nothing written and about styles neither. And you, what do you think about wearing over-the-knee boots with a skirt?
Estas botas son ideales, si claro son de Tommy Hilfiger. / Those boots are gorgeous, yes of course, they are Tommy Hilfiger's.
Nina Dobrev lleva botas de Armani Exchange. / Nina Dobrev wears Armani Exchange boots.
Las botas de Ashley Tisdel son de Christian Louboutin. / The boots Ashley Tisdel wears are signed by Christian Louboutin.
4. Con vestido. / With a dress.
Esta si es una de mis mezclas favoritas, ¡es muy estilosa y chic! La mejor manera de combinarla es con un vestido jersey de lana o punto, o alguna camiseta oversize a modo de vestido. / This is one of my favorites mix, is so stylish and chic! The best way to mix them are with a sweter dress of wool or knit or a oversize shirt wear as a dress.
5. Para vestir. / To dress up.
Si, en realidad la bota la de un toque informal, ¡ojo!, no sólo la mosquetera, sino cualquiera, pero le da un aire desenfadado, rebelde, y a su vez elegante. / The truth is boots give a casual look, but not only over-the-knee ones, all of them, but it give it a free-and-easy, rebel aire but at the same time elegant.
Este modelo es de Luis Vuitton. / This model is from Luis Vuitton.
Las botas de Victoria son de Brian Atwood, son las mismas que en la foto anterior, donde aparece con un pantalón, si las comparais os daréis cuenta que quedan mejor de esta manera ¿no creéis? / Victoria's boots are by Brian Atwood. They are the same once of the picture adove.
Aquí podéis ver la diferencia, de como quedan al combinarse con una prenda u otra. Ambas botas son las mismas, pero en el caso del vestido parecen más altas porque al no llevar el pantalón por dentro terminan más altas en la pierna. / Hear you can see the diffrences, how it look like with a grament or another. Both boots are the same, but in the case of the dress they look like talle, that's because she dosen't wear pants so they end up upper on the leg.
Naomi Campbell con botas de Alexander McQueen. / Naomi Campbell with Alexander McQueen boots.
Las botas de Victoria, en esta ocasión son de Gucci. / This time Victoria's boots are Gucci.
¿Qué opináis sobre las botas mosqueteras? ¿os gustan o pasáis de ellas? / What do you think about over-the-knee boots? Do you like them or not?
Si queréis saber más o ver el post del año pasado, click aqui. / If you want to know more or see last year post click hear.
Sources: Style.com, Zimbio, Stockholm Street Style, Late Afternoon blog, Cw, Lookbook nu, Fashionisima, The Fashionist.
So cute post, love the pics.
¡me encantas estas botas! si la gente las lleva mucho por las calles y en las tiendas siguen vendiendose. Mis favoritas, las de Mustang, ¡son comodísimas!
Estas botas ya se llevaron hace tiempo pero volvieron el año pasado, y son geniales. Me las pongo con vaqueros que es como mas me gustan.
me gustan mas los botines, no, no me veo con unas botas tan altas.


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Home Essays Under Armour Case Analysis
Under Armour Case Analysis
Topics: Marketing, Strategic management, Brand Pages: 30 (6086 words) Published: June 11, 2014
Table of Contents
1.Introduction ………………………………………………………………………………………3 2.Summary of the Current Situation………………………………………………….……4 2.1Current financial Performance………………………………………………………….…5 3.External Analysis……………..…………………………………………………………………..7 3.1Driving Force for Change……………….……………………………………………………7 3.2Porters Five Forces Model……………………………………………………………………8 3.3Key Success Factors………………………………………………………………………….11 3.4Summary of External Analysis…………………………….…………………………………13 4.Internal Analysis………………………...…………………...……………………………...……13 4.1Resources and Competences………………………………………….………………………14 4.2Value Chain Analysis……………………….………………………………………………15 4.3Comparison of Strength to Rivals…………………………………………..……………….16 4.4Summary of Internal Analysis………………………………………………………………17 5.SWOT Analysis…………………………………………………………………………………17 6.Strategy Recommendations, Alternatives Analysis and Arguments……………………………19 7.Appendices………………………………………………………………………………………21 Appendix 1: Under Armour Revenue……………………………………………………………………21 Appendix 2: Under Armour Key ratios………………………………………………………………….21 Appendix 3: Value Chain…………………………………………………………………..……………22 Appendix 4: Major competitors market share………………………………….……………..………..23 Appendix 5: SWOT analysis……………………………………………………....................................23 8.Citations………………………………………..……………………………………………….24
Under Armour is a company started by the former University of Maryland football player Kevin Plank. Although the company started in a basement, they have overcome many obstacles financially to have a continual growth in sales. The founder has been successful in developing new and innovative gears and apparels to help stay ahead of their competitors. Under Armour finds it extremely important to maintain relationships with their managers and more importantly with professional teams. The company has prided itself on maintaining a competitive advantage by always having top notch products and adopting new strategies and ideas to outcompete the rivals. The company strategy and initiatives clearly seems to be working since Under Armour is able to compete with Nike and Adidas. Under Armour mainly markets to people with active lifestyle, as a result the company made it a priority to be a major player in the life of people who play sports or enjoy being physically active globally. Some competitive advantages enjoyed by Under Armour are the amount of fitness product they offer. Also the ability to recognize the company is simple because their logos are easy to identify. With the strong brand loyalty and the cost advantage that the company has, it is evident that the company will expand in domestic as well as international market.
The company needs to expand their target market from national to international and develop clothes for people interested in a more casual look. The company should move from the performance based apparels to a more diverse set of product segment which include athletic and sportswear. The fact that Under Armour narrows its product to athletes makes the company to lose customers to their competitors who sell both athletic and casual wears. Introduction
Under Armour is a profitable and 'well-known company whose strategy and initiative edge has giving it a greater recognition and attention. My analysis starts by looking at a summary of the current situation i.e. the strategic posture and the current financial performances. Secondly the analysis will summarize the external analysis of Under Armour by describing the attractiveness of the industry, threats and opportunities that are associated with the growth of the company. This section will focus on the driving forces for change, Porter's Five Forces Model, and the key success factors. The third segment of my analysis will summarize the internal analysis of Under Armour. This section will focus on the company's resources and competences, value chain analysis, and...
Citations: Appelbaum, R., and Gereffi, G., 1994. Power and Profit in the Apparel Commodity Chain in Edna
Bonacich et al
Associated Press (2009, January 31). Under Armour Takes a Chance on the Shoe Market. CBS
http://www.cbsnews.com/stories/2009/01/31/business/main4766488.shtml IMC, WVU lesson 2: IMC Foundation and Key Principles
Burke, M. (2013, November 14). Under Armour, With First-Ever Acquisition, Enters The World Of
monteburke/2013/11/14/under-armour-with-first-ever-acquisition-enters-the-world-of- software/
Cammett, M., 2006
Fool, Motley. (2011,Oct 31). Where Under Armour Is Finding Its Growth Retrieved from
http://www.dailyfinance.com/2011/10/31/where-under-armour-is-finding-its-growth/
Roberts, Daniel. (2011,Oct 26). Under Armour Gets Serious. Retrieved from
http://management.fortune.cnn.com/2011/10/26/under-armour-kevin-plank/
Industry Canada, 2008. A Canadian Approach to the Apparel Global Value Chain, [online] Available at
http://www.ic.gc.ca/eic/site026.nsf/eng/h_00102.html
Ronantonnoel. "Strategic Management in a Global Context: Under Armour". May 31, 2012.
http://www.slideshare.net/Ronantonnoel/strategic-management-in-a-global-context-under-armour
Team, Travis. (2012,Nov 25). Breaking Down Under Armours $53 Fair Value. Retrieved from
http://www.forbes.com/sites/greatspeculations/2012/11/29/under-armour-has-growth-but-is -
Morningstar.com. Retrieved December 13, 2013, from http://financials.morningstar.com/
ratios/r.html?t=UA®ion=USA&culture=en-US
Under Armour(UA). (n.d.).www, Barchart.com. Retrieved December 13, 2013, from
http://www.barchart.com/profile.php?sym=UA&view=ratios
Under Armour Case Analysis Essay
... Under Armour Case Analysis Abstract Under Armour is a sports apparel, footwear, and accessories company that is quickly becoming a global force to be reckoned with. The company is competing in a saturated market and has maintained the ability to grow. Analysis of the company shows that it should: look for alternative sources of materials and suppliers; continue a marketing campaign using athlete endorsements; and, model expansion into new foreign countries after the successful entrances into areas such as Europe. Reasoning behind these recommendations is shown in the analysis below. Background Under Armour was established in 1996 by Kevin Plank, a former football player with the University of Maryland. Plank saw the potential for the need of comfortable and lightweight workout gear to be produced. The company was originally named KP Sports, after Plank. When the company went public in 2005 the name was changed to Under Armour. Under Armour is considered a pioneer of performance apparel created from complex synthetic materials. Their gear is designed to keep athletes cool and dry throughout the course of a game, practice or workout in various conditions. The apparel product line for Under Armour consists of HeatGear, ColdGear, and AllSeasonGear....
Under Armour Case Anylasis Essay
...Case Analysis Model Begin with a brief introduction which names the company and the industry in which it operates. Then briefly describe the company's position within the industry, and how it is trying to position itself (it is a good idea to write the intro after you have finished all of your analyses). General Environment The industry is the item of interest in the GE model. Each of the following model elements addresses the industry first. 1. Make a profound statement, which characterizes the model element, relative to the industry. 2. Evidence is presented that pertains to characteristics of UA's industry. 3. In a separate paragraph, a statement is made and justified which positions the firm, relative to the competition, within the industry. Demographic In each of the 7 dimensions, you should describe the dimension relative to both the industry and the firm's position within the industry relative to the environmental dimension. Be sure to provide support for your statements. Economic Political/Legal Sociocultural Technological Physical Summary State whether the General Environment is favorable or unfavorable to both the industry and the firm. Identify which elements represent threats or opportunities that would appear in a SWOT. Porter's Five Forces Threat of New Entrants For each of the five forces, describe the industry both in general and from the firm's perspective. Be sure to provide support for your...
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...The Ultimate Fighting Championship and Culture Viability (Case 2) The Ultimate Fighting Championship also known as UFC was a case in which UFC was coming into a market that has existed for many of years, but rather was venturing into new locations around the globe. The UFC actually became a big success almost overnight. The main question starting off was whether the UFC was a culturally viable business venture that could work elsewhere. UFC was embraced at an extremely fast paced all over the world, especially in the United States of America. The first section of this analysis will cover the general environment for the MMA market. General Environment Political/Legal The legality and political side of MMA differs all over the world. MMA as a market started off with "there are no rules" motto which with this brutality brought lots of interest to the sport but also came with a lot of criticism. Due to a lot of countries failing to recognize MMA as actual athletics and having an athletic commission, many countries banned MMA fighting in their regions. Since the no rules MMA has become so big, rules and regulations had to start taking place. Referees were being placed in the fighting matches to make sure the equipment used by each fighter was legal, the clothes, and the certain styles of fights that are taken place as well as much other legality. Fights were no longer fought until someone was knocked out, although someone can...
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Artem created the giant golden globe, burning wood fire effects and some wind atmospherics.
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Mercaptopurine: What is it? How does it work? Therapy, Diagnosis and Mechanism
It is a purine analog that is effective both as an anticancer agent and an immunosuppressant, and is used to treat leukemia and autoimmune diseases.
Act in this way
Hepatotoxicity of Mercaptopurine
Mercaptopurine Therapy
Mechanism of action of Mercaptopurine
Mercaptopurine therapy is associated with a high rate of serum aminotransferase elevations that may be accompanied by jaundice . In addition, mercaptopurine has been linked to cases of clinically apparent acute liver injury and long-term treatment of nodular regenerative hyperplasia.
Mercaptopurine is an analogue of purine that acts as an antimetabolite by antagonizing the purine metabolism that produces a general inhibition of DNA, RNA and subsequent protein synthesis.
Mercaptopurine also has anti-inflammatory and immunosuppressive activity, inhibiting the maturation of T cells and blocking delayed hypersensitivity reactions.
Mercaptopurine was introduced in the 1950s for the treatment of leukemia and lymphoma and was formally approved for use in the United States in 1953. It is still used in the therapy of acute lymphocytic leukemia and labeling for autoimmune diseases such as Crohn's disease .
Mercaptopurine is available generically and under the brand name Purinethol in 50 mg tablets. The usual dose is 1 to 3 mg per kilogram or 50 to 150 mg per day, and is usually administered long-term.
Common side effects include nausea, abdominal discomfort, rash, aphthous ulcers,and bone marrow suppression related to the dose.
Mercaptopurine has been associated with several forms of hepatotoxicity.
Patients receiving mercaptopurine for leukemia often have transient and asymptomatic increases in serum aminotransferase or alkaline phosphatase levels and a proportion of these patients develop jaundice, particularly when given in high doses.
In the series of patients with autoimmune diseases (such as inflammatory bowel disease) treated with mercaptopurine, up to 30% developed elevations of serum aminotransferase and these can be persistent as long as treatment continues, resolving with dose reduction or interruption.
Liver biopsy usually shows steatosis and a centrilobular lesion with little inflammation.
Mercaptopurine can also cause acute, clinically evident liver injury, which usually presents with fatigue and jaundice and a cholestatic or mixed pattern of serum enzyme elevations 1 to 6 months after starting therapy, but sometimes later, particularly after of an increase in the dose.
Serum enzyme levels are often not very high, certainly not in the range that occurs with acute viral hepatic.
Rash, fever, and eosinophilia are rare and autoantibodies are usually not found. Liver biopsy usually shows a mixed hepatocellular-cholestatic lesion with cholestasis, focal hepatocellular necrosis, bile duct injury, and varying amounts of inflammation.
The lesion is idiosyncratic and similar to cholestatic hepatitis associated with azathioprine. Liver injury usually resolves when stopped, but prolonged cholestasis has been reported and some cases have been fatal.
In large case series and registries, mercaptopurine is usually among the top 20 causes of drug-induced liver damage, and if combined with cases due to azathioprine [a prodrug of mercaptopurine] would be among the 10 most frequent causes.
Chronic therapy with mercaptopurine and other thiopurines can lead to nodular regeneration and symptomatic portal hypertension.
This chronic hepatotoxicity usually presents with fatigue and signs and symptoms of portal hypertension (ascites, varices), with mild abnormalities of liver enzymes and minimal jaundice that occurs from 6 months to many years after the onset of mercaptopurine.
Liver biopsy shows nodular regenerative hyperplasia without significant fibrosis and variable amounts of sinusoidal dilatation and central vein injury.
This syndrome may progress to liver failure, particularly if mercaptopurine is continued, but the gradual improvement in suspension treatment is typical.
Rarely, the onset of this syndrome can be acute with abdominal pain and ascites, a situation in which the liver biopsy usually shows sinusoidal dilatation, central congestion and sinusoidal endothelial cells suggestive of veno-occlusive disease, which is currently called sinusoidal obstructive syndrome .
Typically, serum aminotransferase levels and alkaline phosphatase levels are minimally elevated, even in the presence of hyperbilirubinemia and other manifestations of liver dysfunction and portal hypertension.
Many cases present initially with unexplained thrombocytopenia, and progressive decreases in platelet counts may be the most sensitive marker for the development of non-cirrhotic portal hypertension.
Finally, long-term therapy with mercaptopurine and other thiopurines has been implicated in the development of malignancies, including hepatocellular carcinoma (HCC) and hepatosplenic T cell lymphoma (HSTCL).
Both complications are rare but have been reported in several dozen case reports and small case series.
In none of the cases, the role of thiopurine treatment as the cause of the malignant ones has been demonstrated, and similar cases have been described in patients with autoimmune diseases or after a solid organ transplant who have not received thiopurines.
Hepatocellular carcinoma usually appears after years of therapy with azathioprine or mercaptopurine and in the absence of accompanying liver disease (although sometimes with focal hepatic glycogenosis).
HCC is most often found in an imaging study of an unrelated condition. The prognosis is more favorable than that of CHC associated with cirrhosis.
Hepatosplenic T-cell lymphoma has been reported primarily in young men with inflammatory bowel disease and long-term immunosuppression with a thiopurine with or without tumor necrosis factor therapy. The typical presentation is with fatigue, fever, hepatosplenomegaly and pancytopenia.
The diagnosis is made by bone marrow or liver biopsy that shows a marked infiltration with malignant T cells. HSTCL is not very sensitive to antineoplastic therapy and has a high mortality rate. Likelihood score: A (well-known cause of clinically apparent liver damage).
It is believed that mercaptopurine has a direct hepatotoxic effect related to the dose and similar types of lesions can be reproduced in animal models.
The toxic effects of mercaptopurine, and particularly myelotoxicity, have been linked to higher levels of methyl mercaptopurine, a product of one of the metabolic pathways of mercaptopurine metabolism. Mercaptopurine undergoes extensive hepatic metabolism to other thiopurines through three different routes.
Patients with low levels or a deficiency of thiopurine methyltransferase, which mediates one of these metabolic pathways, have a higher complication rate of mercaptopurine use, particularly bone marrow suppression, but may not be at increased risk of liver injury.
The acute cholestatic hepatitis associated with mercaptopurine, on the other hand, are most likely due to the idiosyncratic reaction, although it is also common with higher doses of thiopurine.


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Many of these sessions are available through remote access from around the country and world.
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Tarik Kiswanson (b. 1986, Sweden) lives and works in Paris and in 2014 he was awarded the Prix des Amis des Beaux-Arts - Prix Agnès B. Selected exhibitions include MUDAM, Luxembourg; Musée Gallo-romain de Saint-Romain-en-Gal as part of the Biennale de Lyon; Collège des Bernardins, Paris; Swedish Institute, Paris; Fondation d'entreprise Ricard, Paris; Musée Régional d'Art Contemporain, Sérignan; Institut d'Art Contemporain, Villeurbanne; Fondation Albert Gleizes, Berryer, France; Fondation d'entreprise Galeries Lafayette, Paris, and Espace 251 Nord, Liège. He is currently in residence at ISCP - International Studio & Curatorial Program in Brooklyn, New York.
Louise Benson, Tarik Kiswanson on the Forgotten Age of Childhood, in: Elephant Magazine, September 10, 2018.
Collège des Bernardins, Paris: Tarik Kiswanson, "Ongoing Reflection You, Me, So Many", with an interview by curator Gael Charbau, December 2016.
Exhibition view at Lafayette Anticipations, Fondation d'entreprise Galerie Lafayette, 2018.


nice_agent_attach_recv(agent, stream_id, component, context, NULL, data) results in libnice repeatedly and endlessly entering component_io_cb (in a busy loop).
I suspect this is due to the fact that if neither a callback is registered nor recv_messages is pending, messages are never read from the socket, and somehow the notification keeps coming again and again (why?).
## Submitted by Philip Withnall `@pwithnall` Assigned to **Philip Withnall `@pwithnall`** **[Link to original bug (#112)](https://phabricator.freedesktop.org/T112)** ## Description (Migrated from Bugzilla: https://bugs.freedesktop.org/show_bug.cgi?id=89841) nice_agent_attach_recv(agent, stream_id, component, context, NULL, data) results in libnice repeatedly and endlessly entering component_io_cb (in a busy loop). I suspect this is due to the fact that if neither a callback is registered nor recv_messages is pending, messages are never read from the socket, and somehow the notification keeps coming again and again (why?).


text:
LD 680 Session - 127th Maine Legislature
LR 885
Bill Tracking, Additional Documents Chamber Status
An Act To Reduce Waste from Disposable Bags
Be it enacted by the People of the State of Maine as follows:
Sec. 1. 38 MRSA §1605, as repealed and replaced by PL 1991, c. 475, §1, is repealed.
Sec. 2. 38 MRSA §§1605-A and 1605-B are enacted to read:
§ 1605-A. Single-use disposable bags
1. Definitions. As used in this section, unless the context otherwise indicates, the following terms have the following meanings.
A. "Plastic" means an organic or petroleum-derivative synthetic or semisynthetic organic solid that is moldable.
B. "Retailer" means a person that offers consumer goods for sale at retail in the State.
C. "Reusable bag" means a bag with handles that is specifically designed and manufactured for multiple reuse and is made of cloth, fiber, other machine-washable fabric or durable plastic.
D. "Single-use disposable bag" means a bag made from plastic or kraft paper and designed for one-time use to carry consumer goods in a retail transaction. "Single-use disposable bag" does not include:
(1) Bags used by consumers inside stores to package bulk items, such as fruit, vegetables, nuts, grains, candy or small hardware items; to contain or wrap frozen foods, meat or fish, whether prepackaged or not; to contain or wrap flowers, potted plants or other items where dampness may be a problem; and to contain unwrapped prepared foods or bakery goods;
(2) Bags provided by pharmacists to contain prescription drugs;
(3) Newspaper bags, door-hanger bags, laundry or dry-cleaning bags or bags sold in packages containing multiple bags intended for use as garbage, pet waste or yard waste bags;
(4) Bags provided by an eating establishment licensed under Title 22, chapter 562 to customers to take food away from the eating establishment; or
(5) Reusable bags.
2. Use of single-use disposable bags by retailer. A retailer may not use single-use disposable bags at the point of retail sale, or otherwise make single-use disposable bags available to customers, unless the following provisions are met:
A. Single-use disposable bags made from plastic are 100% recyclable, display the phrase "Please recycle this bag" or a substantially similar phrase in a highly visible manner on the bag exterior and are made of high-density polyethylene film marked with the Society of the Plastics Industry resin identification code 2 or low-density polyethylene film marked with the Society of the Plastics Industry resin identification code 4, or such standards as are established by a successor organization;
B. Single-use disposable bags made from kraft paper are 100% recyclable, display the phrase "Please recycle this bag" or a substantially similar phrase in a highly visible manner on the bag exterior and contain a minimum of 40% post-consumer recycled content;
C. The retailer locates inside the retailer's store or within 20 feet of the main entrance to the store a receptacle for collecting any used single-use disposable bags and ensures that the bags collected are recycled or delivered to a person engaged in recycling plastics or kraft paper; and
D. The retailer collects a fee as required by subsection 3.
3. Single-use disposable bag fee and carryout program. A retailer shall collect a fee of 5¢ from a customer for each single-use disposable bag distributed to the customer at the point of retail sale. The retailer:
A. Retains 1¢ of each 5¢ fee collected to cover administrative costs, except as provided in paragraph B;
B. In addition to the amount retained under paragraph A, may elect to retain 1¢ of each 5¢ fee collected, for a total of 2¢ retained of each 5¢ fee collected, to implement and support a carryout program that credits a customer no less than 5¢ for each bag provided by the customer at the point of retail sale for packaging purchases, regardless of whether the bag is kraft paper, plastic or reusable material. The retailer has the sole discretion of determining the amount of the credit due to a customer at the point of retail sale; and
C. Shall provide an itemized sales receipt documenting the amount of the fee paid by a customer or, if applicable, the carryout program credit under paragraph B. The retailer shall prominently display at each point of retail sale a sign describing the fee required under this subsection and, if applicable, the carryout program.
The retailer shall document all fees collected under this subsection on a form determined by the commissioner and on a monthly basis submit to the department the completed form and fees collected, less the fee portions retained under paragraph A and, if applicable, under paragraph B. Fees remitted to the department under this subsection must be credited to the Plastics and Paper Recycling Fund established in section 1605-B.
The assessment of a fee under this subsection is not considered a sale of tangible personal property or taxable services under Title 36, section 1811, and the fees retained by the retailer are not considered revenue and are considered tax-exempt under Title 36, Part 8.
4. Reusable bags. A retailer shall provide reusable bags for purchase by customers.
5. Enforcement and penalties for violation. If the commissioner determines that a retailer has violated this section, the commissioner shall initiate an enforcement action pursuant to section 347-A to recover any unpaid fees required under subsection 3 and may impose an additional penalty on the retailer consistent with section 349. No more than one penalty may be imposed upon a retailer within a 7-day period. Revenues collected by the department from penalties assessed under this subsection must be credited to the Plastics and Paper Recycling Fund established in section 1605-B.
6. Rules. The department may adopt rules to implement the provisions of this section. Rules adopted pursuant to this subsection are routine technical rules as defined in Title 5, chapter 375, subchapter 2-A.
§ 1605-B. Plastics and Paper Recycling Fund
The Plastics and Paper Recycling Fund, referred to in this section as "the fund," is established within the department for the purpose of promoting recycling efforts related to plastics and paper, including establishing statewide or county programs to promote plastics and paper recycling and to educate the public about plastics and paper recycling and about the benefits of the alternate use of reusable bags and establishing other programs that carry out the purposes of the fund as determined by the commissioner. Revenues in the fund may also be used to provide reusable bags to residents of the State, with priority distribution to elderly and low-income residents. The commissioner shall administer the fund. The fund is funded from fees collected under section 1605-A, subsection 3. Any unexpended money in the fund may not lapse, but must be carried forward to the next fiscal year. Revenues in the fund must be used for carrying out the purposes of the fund after reasonable costs for the administration of the fund by the department are deducted.
Sec. 3. Department of Environmental Protection; public information and outreach campaigns. By January 1, 2016, the Department of Environmental Protection shall develop and conduct an intensive public information campaign aimed at educating the public on the importance of reducing the number of single-use disposable bags entering the waste stream and the impact of such bags on the environmental health of the State. By January 1, 2016, the department shall develop and implement an outreach campaign that includes a public-private partnership to provide reusable bags to residents of the State and, working with service providers that assist elderly and low-income residents, to distribute information and reusable bags to elderly and low-income households. The department may use funds in the Plastics and Paper Recycling Fund established under the Maine Revised Statutes, Title 38, section 1605-B to cover the costs of developing and implementing these campaigns.
This bill requires a retailer to assess a 5¢ fee for a single-use disposable plastic or kraft paper bag distributed to a customer at the point of retail sale. The retailer retains 1¢ from each 5¢ fee for administrative costs and may elect to retain an additional 1¢ from each 5¢ fee to provide a carryout program that credits a customer no less than 5¢ for each bag provided by the customer at the point of retail sale for packaging purchases. The revenues from the fee, less the portion retained by the retailer for administrative costs and, if applicable, the carryout program, are credited to the Plastics and Paper Recycling Fund administered by the Department of Environmental Protection for the purpose of promoting recycling efforts in the State related to plastics and paper. A retailer must provide reusable bags for purchase by customers. This bill authorizes the Department of Environmental Protection to enforce these laws and impose penalties for violations. This bill also directs that, by January 1, 2016, the Department of Environmental Protection must conduct a public information campaign relating to plastics and paper and their impact on the environment and must implement an outreach campaign aimed at providing reusable bags to residents of the State, especially to elderly and low-income households.
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FAQ - Home Safety Services, Inc.
Who pays for home modifications?
Private Pay – In California, home modifications have traditionally been paid for by the individual with a few exceptions. Although that is still largely the case, more third-party payer options exist, especially for individuals at high risk and those with limited resources. Fortunately, many home modifications are low cost, and major improvements can often be made for only a few hundred dollars.
Veterans Administration – The VA has a generous home modification benefit and grant programs available for service connected disabled veterans. The veteran needs to initiate the process through his or her VA clinician or therapist. Authorization for services from the VA is necessary prior to having any work performed in order for the expense to be covered or reimbursed.
Community Agencies – Numerous community agencies receive grant, state or city funding for home modifications. Funding and eligibility vary widely. Reaching out to each county's Area Agency on Aging (AAA) is a good place to start. Rebuilding Together is a national non-profit that provides some home modification services as well. An application and often a lengthy lead time is required in order to receive services.
Independent Living Centers – Many Independent Living Centers receive some funding for Home Adaptations. An application and often a lengthy lead time is required in order to receive services.
Programs for All-Inclusive Care for the Elderly (PACE) – Services may be provided on a case by case basis as prescribed within the plan of care.
Long-Term Care Insurance – Many long-term insurance programs include a Stay at Home benefit (also referred to as Equipment/Home Modifications) which covers home modifications specified within a Plan of Care (developed by a Care Manager). Desired modifications must be approved by the insurer prior to completion in order to be eligible for reimbursement.
Medicare Advantage Plans – Beginning in 2018, Medicare Advantage plans have the flexibility to include supplemental benefits including home modifications. Check with your insurer for their terms and conditions or consider changing plans.
Why not hire a handyman for home safety modifications?
Home safety modifications are a niche specialty that require substantial experience and training in order to be delivered appropriately. Our technicians spend months learning the appropriate standards, techniques, products and processes associated with making homes safer and more accessible before servicing a client on their own. We are expert not only at assessing your specific individual needs, but also at determining the most appropriate solution, and ensuring that it is installed appropriately given your particular home. Grab bar placement and securement are so important and so often inappropriately done by non-experts. Handymen may be terrific for other home repair tasks, but we advise against relying upon them when it comes to ensuring your safety at home.
We come to the home prepared to help as much as we can in a single visit. We assess your entire home and discuss any mobility related challenges you are experiencing. We'll share our best suggestions and provide a written proposal with the costs broken down by each solution. For our most common standard solutions, we are prepared to go ahead and perform the installations right then and there.
the individual that comes to your home is a trained safety technician (not a salesperson) capable of efficiently and securely installing solutions to enhance your independence immediately.
We do not charge for our telephone consultations, and we can usually provide firm quotes right over the phone for nearly all of our services. Our home assessments are generally free of charge as well as long as we are performing some sort of paid service (e.g. grab bar installation) during the visit. Should wish to only use our consultation expertise, we then charge $125 per hour for that service.
Installations obviously vary widely depending upon the scope of services required. Standard grab bar installations average approximately $175 per bar installed. Custom railings typically run from $500 to $1,500. Wheelchair ramps are best quoted over the phone or in person as the range is so significant. Stair lifts likewise have a significant range starting at about $4,000. Shower conversions start at $10,000, but so often we are able to offer a less costly alternative for consideration as well. It only takes a minute to call us, Chat or text us some photos, and we are happy to give you pricing indications right on the spot.
How soon can the work be done?
For our standard services, we are prepared and equipped to perform same day installations. Wheelchair ramps and straight stair lifts can often be done the next day as we keep a large inventory of both new and used equipment in stock at all times. Special order items like railings typically take a week to fabricate before we can return to install. Custom curved lifts and shower conversions often have a several week lead time.
What area do you service?
We serve all of Northern California (although remote rural areas may incur travel charges). We are happy to refer you to other providers if you reside outside of our territory as we are familiar with many providers across the country.


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Chris Bawiec's latest manifestation "Secret Passages: A Sacred Adventure" is inspired by Enigma, Deep Forest, Yanni, Queensryche and Rush. It is a dynamic mix of new age, downtempo, electronica and rock. The feel and energy associated with Bawiec's music comes from more than twenty-years of studying and experiencing Toltec, Eastern, New Age and Western spiritual concepts. Drawing from hypnosis and meditation recordings, the music is designed to help build creative energy and manifest divine purpose.
In mid-2007, Bawiec took a leap of faith. He made the decision to leave school and his full-time job to live his passion and to follow his bliss: MUSIC. Building on his over 25 years of experience as a musician, Bawiec started his own independent label, Three Point Records. His latest release, "Secret Passages: A Sacred Adventure" is a collection of spiritually energized creations.
At age 12, Bawiec was inspired by his grandfather, a jazz drummer, to pick up the sticks. Bawiec played drums exclusively for a few years and then began to learn guitar and bass. He played in rock bands throughout the 80's and early 90's writing music for his later bands. In the mid-90's, Bawiec left music to pursue other interests.
Bawiec has returned to his passion and is currently speaking and performing in support of "Secret Passages: A Sacred Adventure" at a variety of venues.
Live performances consist of an array of Crystal Bowls, Acoustic and Electric Guitar, Various Percussion and computer generated sounds.
All original music is performed interspersed with a speaking by Chris Bawiec on the art of directing spiritual energy and healing.


text:
The funny business of comedy directing
Station Films director Brendan Gibbons is one of the industry's most renowned comedy directors. His ongoing work for Progressive Insurance has built a series of established characters and, here, he discusses the processes involved in creating the right environment for comedy gold.
"Danny Edwards"
by Danny Edwards on 12th December 2019
When you do auditions with actors, what qualities win you over and what are a red flag?
BG: What's great is when an actor can reveal what's going on behind his or her eyes despite what the character is trying to show the world. This lets viewers close the gap and get the joke on their own. On the other hand, a red flag for me is when I feel the acting. Here's an example – there's an awkward situation in the scene and a character exits to avoid the awkwardness.
A red flag for me is when I feel the acting.
Jason Alexander was amazing at this in Seinfeld. He would do a little point and pause then go. This move felt real for George Costanza. But it also became a popular go-to, and when I see actors do it in casting, it makes me cringe. That move doesn't feel authentic; it feels like a choice to copy George Costanza. If it's an awkward moment and you're supposed to leave, just leave. Exits are funny. Especially if you trip.
Above: Jason Alexander as George Costanza in Seinfeld.
Having open communication and rapport with actors seems fundamental to getting great performances; can you share any tips about establishing that rapport?
BG: Commercial sets can be tense. I want the actors to be relaxed and in a mental place where they feel like they can create something, not in a stressful place where people are worried about the schedule or the gardeners mowing the lawn across the street or whatever concern just popped up in video village. So, I try to create a little bubble around the actors where they know it's safe for them to be artists.
We are making pop culture. We have a huge responsibility not to poison the world with bad advertising.
That word feels highfalutin when you're talking about a TV commercial. But it's not. We are making pop culture. We have a huge responsibility not to poison the world with bad advertising. So, I'll let them know that they're there because they're really good at what they do. And that we're all super lucky to be there together doing what we feel we're supposed to be doing on this earth. That's even more highfalutin, but it's true.
A character in a long-form piece has a backstory. Why wouldn't a character in a 30-second commercial?
It's damn cool that we get to do this, and I want the actors to start the day with that appreciation. Then I'll give them each a backstory. A character in a long-form piece has a backstory. Why wouldn't a character in a 30-second commercial? This is where those vulnerabilities come from. If that doesn't work, I'll make fun of them.
Wix.com – Shaq's Mojo
Production Company Station Film
Director Brendan Gibbons
Executive Producer Theresa Darlington
Creative Director Rob Goldenberg
Art Director Orly Kirya
Executive Producer Michelle Towse
DP Matthew Woolf
Talent Shaquille O'Neal
Above: Gibbons' worked with Shaquille O'Neal for this wix.com campaign.
What sort of environment do you encourage/foster with actors on set or during rehearsals that lends itself to improv (beyond what's scripted)? For example, do you encourage them to keep going if they flub lines?
BG: The most important thing is getting to a flow state. Improv isn't sitting back and letting the actors ad lib. I'm involved in what's happening as it's unfolding, feeling the rhythm of the scene and pushing the performances in whatever direction that rhythm needs to go. I don't like to over rehearse. I want to understand the timings and the structure before we roll, but I don't want the actors to lose their spontaneity by over doing it.
Improv isn't sitting back and letting the actors ad lib.
With this in mind, there are no flub lines. There's a vibe and there are moments we're going for. And at the end of the day, only one take of everything we do will make it to the final edit. Who's to say the magic take of that particular part of the script isn't the one that the actor got 'wrong' on the day? Unless they suddenly break character trying to be funny. That's childish and selfish. And I'd prefer they leave that to me.
Above: Brendan Gibbons.
In your experience, is it easier to improvise within a comedic scene or a dramatic scene?
BG: My mind tends to go toward what I think is funny, even if what I'm thinking about is serious. That's not to say I don't love shooting scenes that are dramatic or poignant. It's just that if I then begin to improv with the actors, I usually find myself drifting toward trying to make people laugh. So, for dramatic scenes, we'll work around the edges of the script to find something great, then I'll usually break the tension with a joke either right before or after we cut. What can I say? I find people pretending to be serious funny. I also find [religious talk show] The 700 Club funny. Those two examples may or may not be the same thing.
For dramatic scenes, we'll work around the edges of the script to find something great, then I'll usually break the tension with a joke either right before or after we cut.
Can you give an example of setting up a joke from one of your high-profile spots for an actor?
BG: One thing to keep in mind is that it's not always the joke that gets the laugh. The reaction to the joke is just as important. Jim Cashman, who plays Jamie in the Progressive campaign, is one of the funnier humans you're gonna meet. Last year we did a spot where it seems as if he's dating the mom of two teenage boys, who are none too pleased about it.
His response... is a line that I'm not sure we would've loved on paper. But coming from Jim, it's gold. Or at least, silver.
The boys were never meant to actually get upset, but it felt funny in the moment to have one of them scream, "You're not my dad!" Knowing Jim, I thought he'd react better if he didn't know what was coming. His response – "That's fair … overstepped" – is a line that I'm not sure we would've loved on paper. But coming from Jim, it's gold. Or at least, silver.
Above: Gibbons' work for Progressive, which benefitted from some actor improv.
Have you been surprised when a joke that's very funny on the page misses on camera, and vice-versa?
BG: I'm amazed at directors who know everything they want to do before they actually start doing it. An idea evolves for me. I go pretty deep before the initial agency call, and that opens up a good dialogue about the different opportunities a script has hiding in its white spaces. But this is a collaborative medium, and I find ideas during every step of the process.
Jokes are like Starbucks – you never have to go far to find one.
This is probably a holdover from when I was a copywriter, but when I read a funny script, I don't laugh. I just think, "That's funny!". Maybe that's a little sad, but writing comedy can make you over-intellectualise the process. But to answer the question – sometimes on set, that same joke doesn't work, because the page is just the beginning of a collaborative process, and sometimes jokes don't have the depth to survive that process. Luckily, jokes are like Starbucks – you never have to go far to find one.
View the full credits on
Progressive – Progressive Park
Progressive – Maid For Us
Above: More examples of Gibbons' work for Progressive over 2019.
How do your abilities as a visual storyteller and as a comedic performance director complement each other?
BG: I didn't go to film school. I never thought I could be a director until I was standing there watching a guy direct a spot I'd written thinking, "I'm coming up with better things to tell the actors than he is". Luckily, I didn't act on that impulse because this particular director would've thrown me in a dumpster. But that belief is what made me want to get into this. Then when you get the chance to actually do it, you realise there's a thousand other disciplines involved.
Luckily, I didn't act on that impulse because this particular director would've thrown me in a dumpster.
If you're lucky and driven enough to build a career, you grow into it. Layering those things together is what creates your voice, and that process never stops. The more you know, the more you realise there is to find. I'll say "find" rather than "learn" because I'm not sure it's learning. That feels more concrete, like there's an actual way to go about it. Finding what works for you seems more right. That director became my greatest teacher, by the way. I just haven't mastered the throwing-the-copywriter-in-the-dumpster part of the process.
Progressive – The Corning
Agency Arnold Worldwide
Executive Creative Director Sean McBride
ACD/Copywriter Patrick Franklin
Senior Art Director Jamie Malnati
Executive Producer Mike Lawson
Creative Director Joshua Kahn
Managing Partner Stephen Orent
Executive Producer/Partner Caroline Gibney
Music Company HiFi Project
Creative Director Nate Donabed
DP Tim Ives
Above: The Corning.
When you're directing commercials that parody genres - like Progressive's The Corning or The Seed – is playing the visual genre straight part of the humour?
BG: Every time we've gone into a genre we've made sure to stay away from parody in the way it's shot. The idea is to do the thing rather than mimic the thing. The joke is what happens inside of the genre, not in the representation of the genre itself. That means doing things like going to the mat to shoot on film when the idea demands it or using an old arc light that may or may not set the stage on fire (It didn't).
The joke is what happens inside of the genre, not in the representation of the genre itself.
It also means dumbing it down sometimes, shooting on crappy old cameras for a dated soap opera or after school special look. The more we can do in camera, the closer we get to it feeling like the actual thing. And that lets the absurdity of what the characters are doing create the most tension. It's also fun. You just have to remember to say, "Cut," when it's film. That stuff is expensive.
Director of the Year: Georgia Hudson
Karena Evans: Force of nature
On My Radar: Rodrigo Saavedra
shots Awards The Americas sets sail
Above: Gibbons 'Chicago Protocol' does away with small, messy tables.
Do you agree with the adage 'There are no rules for directing comedy'?
BG: I don't think there are rules for anything. There are, however, things that have proven to work in the past for me. I'll stress the "me" part because I have no idea if they work for other people. What I need most is space, both emotionally and physically. I need to be able to let a scene breath to find exactly how and where the comedic tension is peaking.
I need to be able to let a scene breath to find exactly how and where the comedic tension is peaking.
It's hard to be funny when things are rushed. So, I've had to learn to lose my desire to please the people whose job it is to speed things along. Also, I can get a little claustrophobic on a cramped set. I work off of notes on my laptop, which I'm constantly revising. So, the standard director's monitor tray gets crowded and awkward, and then someone puts their spearmint gum on it and everything goes to hell – I really hate spearmint.
We call it the Chicago protocol since that's where it was born.
A few years back we were shooting on a basketball court and I realised there was no reason for this ridiculously tiny set up. So, I asked for a six foot table and a low director's chair. I bring the monitor down to that level then have a huge desk to work with. We call it the Chicago protocol since that's where it was born. And when we have the space, the Chicago protocol goes into effect. It's amazing how it frees my mind to play. I also have a lot more room for drinks and snacks. Just don't put your stupid spearmint gum on it.


As temperatures in Hamilton continue to dip below the freezing mark, the mercury is rising on the Hamilton-Wentworth Catholic District School Board's United Way employee fundraising campaign which wrapped up this week with a record-breaking tally of $100,085.
This year's system goal was $92,000. Over the past several years, the board has raised between $88,000 and $91,000 through a 50/50 split of employee donations and special events.
This year's total was both wonderful and unexpected, said Special Events Coordinator Sandra Giacinti. She adds a new online pledge form may have made giving a little easier.
Special events were also up this year. As an incentive to boost school participation, Director David Hansen promised a pizza party to the school staff which demonstrated the most spirit.
The distinction was awarded to St. Bernadette staff who flaunted their red and white spirit with a #locallove photo hashtag campaign, dress down days and daily United Way impact announcements.
Commending staff for their efforts to spread local love, Hansen said the United Way funds will help to improve lives locally.
"And we know that lots of those dollars go directly to our kids," said Hansen, pointing to the Catholic Youth Organization (C.Y.O.), Catholic Family Services, and St. Joseph's Healthcare.
The board's United Way employee giving campaign ran from October 23 to November 23, 2018.
Staff at St. Bernadette won the Director's Pizza Party awarded to the school with the most creative United Way campaign. St. Bernadette flaunted its red and white spirit with a #locallove photo hashtag campaign, dress down days and daily United Way impact announcements.
Director of Education David Hansen poses with staff at St. Bernadette School. Joining staff for a pizza party, Hansen took the opportunity to announce a United Way end-of-campaign total of $100,085. This is what #LocalLove looks like.
Director of Education David Hansen delivered two party-sized pizzas to St. Bernadette School as a thank you for the school's very creative and successful United Way employee campaign. A special thank you is extended to Mr. Grande Pizza on Rymal Rd., who generously donated one of the pizzas.
As an incentive to boost school participation in the HWCDSB's annual United Way employee giving campaign, Director of Education promised a pizza party to the school which demonstrated the most spirit. On Jan. 17, Hansen delivered on his promise, delivering two party-sized pizzas to St. Bernadette School.


text:
O Universo bem afinado é a ideia de que as condições que permitem a vida no Universo só podem acontecer quando certas constantes físicas universais têm seus valores dentro de um intervalo pequeno, tal que se qualquer uma de várias constantes fundamentais tivesse somente uma pequena diferença o Universo provavelmente não suportaria o estabelecimento e desenvolvimento da matéria, das estruturas astronômicas, da diversidade de elementos, ou da vida como entendida atualmente.

Os argumentos relacionados ao conceito do universo bem afinado envolvem o princípio antrópico, que declara que qualquer teoria válida sobre o universo deve ser consistente com nossa existência como seres humanos neste tempo e locais particulares no Universos. Em outras palavras, mesmo que a probabilidade real do suportar vida inteligente seja bastante baixa, a probabilidade condicional de suportar vida inteligente, dada a nossa existência nele, é 1. Mesmo se pudessem existir outros universos, menos "bem afinados" e portanto sem vida, não haveria ninguém neles para observá-los.

Premissas
A premissa para o universo bem afinado é que uma pequena mudança em quaisquer das 26 constantes físicas fundamentais  tornaria o universo radicalmente diferente: se, por exemplo, a força nuclear forte fosse 2% mais forte do que é (isto é, se a constante associada representando sua força for 2% maior), diprótons seriam estáveis e o hidrogênio se fundiria em diprótons em vez de deutério e hélio. Isto alteraria drasticamente a física das estrelas, e presumivelmente impediria o universo de desenvolver vida como ela é observada atualmente na Terra. Entretanto, muitas das 26 constantes descrevem as propriedades dos quarks instáveis strange, charmed, bottom e top e léptons mu e tau que parecem ter pouca participação no universo ou na estrutura da matéria.

Larry Abbott escreveu: "o pequeno valor da constante cosmológica está nos dizendo que uma relação extremamente precisa e totalmente inesperada existe entre todos os parâmetros do Modelo Padrão da física de partículas, a constante cosmológica 'nua' e uma física desconhecida." John Polkinghorne, seguindo amplamente Martin Rees, formula o "ajuste fino" se dá em termos de seis constantes principais:

   1. N - a relação entre a força das forças elétricas e a força da gravidade

   2. Epsilon - definindo com que firmeza os núcleos atômicos se ligam

   3. Omega - que mede a importância relativa da gravidade e da energia de expansão no universo

   4. Lambda - a "Constante Cosmológica"

   5. Q - a proporção da energia gravitacional necessária para separar as galáxias e sua massa

   6. D - o número de dimensões semelhantes ao espaço no universo

Conforme a cosmologia moderna se desenvolveu, várias hipóteses foram propostas. Uma é um universo oscilatório ou um multiverso onde constantes físicas são postuladas para se resolverem em valores aleatórios em diferentes iterações da realidade. Portanto, partes separadas da realidade teriam características totalmente diferentes. Em tais cenários, a questão do ajuste fino não surge de forma alguma, pois apenas aqueles "universos" com constantes hospitaleiras (como o que observamos) desenvolveriam uma vida capaz de fazer a pergunta.

Existem argumentos de "ajuste fino" que são naturalistas, no entanto, a afirmação de que o universo foi projetado para ser ajustado é amplamente apresentada por defensores do design inteligente e outras formas de criacionismo. Este aparente ajuste fino do universo é citado por William Lane Craig como uma evidência da existência de Deus ou alguma forma de inteligência capaz de manipular (ou projetar) a física básica que governa o universo. Craig argumenta, entretanto, "que o postulado de um Designer divino não resolve para nós a questão religiosa".

Alvin Plantinga argumenta que o acaso aleatório, aplicado a um e um só universo, apenas levanta a questão de por quê este universo poderia ser tão "sortudo" a ponto de ter condições precisas para suportar a vida pelo menos em algum lugar (o planeta Terra) e tempo (dentro de milhões de anos até o presente):

Com base no princípio antrópico, o físico Robert H. Dicke propôs o argumento da "coincidência de Dicke" de que a estrutura (idade, constantes físicas, etc) do universo vista por observadores vivos não é aleatória, mas é limitada por fatores biológicos que a exigem ser aproximadamente uma "era de ouro".

Ver também
Hipótese da Terra rara

Teleologia

Argumento filosófico
Metafísica
Design inteligente

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War Criminal or Show Trial Victim? The Case of Albert Wass
The subject of this article is an examination of the procedure undertaken by the people's court based on authentic Romanian archival documents.
László Bernát Veszprémy
The Hungarian right-wing poet, Albert Wass, is often termed a "war criminal". This accusation is often due to a 1946 verdict of the Romanian People's Court, which sentenced Wass to death as a war criminal on charges of incitement to murder and assisting to the disintegration of Romania.
The subject of this article is an examination of the procedure undertaken by the people's court based on authentic Romanian archival documents. It is important to state in advance that I do not wish to analyse Wass's literary work in detail; neither do I wish to address the accusations related to his worldview and rhetoric which, in my opinion, are already surrounded by a body of literature.
Albert Wass and his father, Endre, were convicted in connection with two cases: for the execution of four civilians (two Jewish girls, two Romanian men) in Vasasszentgotthárdon on September 23rd, 1940, and for the execution of the neighbouring Orthodox priest of Omboztelek and his family (and their Hungarian servant girl, Sarolta Juhász) on the same evening – an evening that claimed 11 lives. In both cases, the two Wasses were accused of inciting Hungarian soldiers to commit the murders. In Omboztelkek, Lieutenant Gergely Csordás acted according to the indictment, whilst in Vasasszentgotthárd, a lieutenant with the surname Pakucs – full name not included – shot the victims.
The proceedings of the People's Court took place in the absence of the two Wasses
After Northern Transylvania returned to Romanian hands, the proceedings of the People's Court took place in the absence of the two Wasses. The investigation began in the summer of 1945 – several of the villagers demanded compensation – and the punishment of the culprits, especially Jakab Rozenberg, whose two sisters-in-law, Eszter Mihály and Rozália Mihály, were summoned to Szentgotthárdon on September 22nd and executed the next day. The Wass family comes into the picture through the accusation that Endre Wass refused to intercede on behalf of the Jews, and that the Jewish girls were taken to Albert Wass's house (to one of the family's "warehouses" according to other accounts), where Wass allegedly made comments against the victims.
The People's Court did not even attempt to prove that Albert Wass was in the settlement at all and he later claimed that he was hunting in the area. But even the witnesses often could not decide who to testify against. The Jewish girls were allegedly interrogated in the nearby Schilling castle, tortured, and then executed at the border of the village of Cege. No one has been able to definitively prove that any Wass were at Schilling Castle.
The main witness, Jakab Rozenberg, admitted in a protocol, dated August 1945, that 'I don't know how their [the Jewish girls] sentencing took place'. According to the gendarmerie investigative documents of the time, the executed Romanians were accused of allegedly being legionnaires. According to the researches of historian Károly Vekov, which were published in Rubicon 2005/6, Albert Wass was indeed interrogated by the Hungarian investigators regarding the behaviour of the executed Romanians. However, Wass's role, or even his presence in Szentgotthárd on September 22-23, was not clarified and his name is not even associated with the Jewish girls in the gendarmerie documents – even though the main accusation came from Rozenberg.
Albert Wass
Photo: Wikipedia
The trial against 63 defendants took place on March 8-9, 1946 and since the Wasses were not present (they had left for the West), the events in Szentgotthárd were discussed in their absence, without a defence lawyer. The high number of defendants in itself shows the conceptual nature of the trial, since it is difficult to imagine that so many people would have participated in the murders. The defence had no witnesses, and since there was no one to appeal, the verdict immediately became final.
An important addition to the trial is the minutes of the Romanian Council of Ministers dated March 1, 1946 – i.e. one week before the trial – which we know from Vekov's article and which clearly show that the indictment drawn up by the people's prosecutors of Cluj was approved by several members of the Romanian government – and Prime Minister Petru Groza.[1] [2]
As Vekov aptly pointed out in his study, next to the names of the accused someone had written in pencil whether they were guilty or not and whether they were perpetrators or accomplices. Next to the name of Wass Albert (No. 59) the following three words were written in Romanian: 'criminal, instigator, death'. As in several People's Court proceedings, the judgement was handed down before the trial.[3]
Another problem in the minutes of the trial was that the witnesses only mentioned 'Count Wass', which could have meant either Albert or Endre. An important example of this is the testimony of Jewish shopkeeper Géza Ordentlich, who claimed that he tried to intercede with Endre Wass in the case of the arrested Jewish girls. According to her claim, Endre Wass drove her away with cynical words, referring to the presumed communist feelings of Jewish girls.
Two other Romanian witnesses, Mărginean Ioan and Șiom Mihail, claimed that they took the Jewish girls to the house not of Endre, but Albert Wass, where the latter told the gendarmes to 'take them both.' The court failed to prove – in fact, they didn't even try – which of the two statements was true, but this is not the only proof of the chaotic and slippery nature of the procedure.
Let's see how the testimony of Ordentlich and the two Romanians was summarised in the indictment![4] The text makes no distinction between Endre and Albert Wass, calling both of them "Count Wass". According to the text, the Jewish girls were 'taken to the house of Count Wass', and Géza Ordentlich, 'an acquaintance of the count' who acted on their behalf. The first "count" refers to Albert Wass, the second "count" to Endre Wass. Indeed, as a further illustration of the legal vaguity, a third witness named the entire "Wass family" as instigators: Endre Wass, his wife and their son, Albert. Apparently the death of these Jewish girls was the fault of the father Endre, and/or his son, Albert, and also of the entire family – at the same time.
No witness claimed that Albert Wass was involved in the murders
An important point is that no witness claimed that Albert Wass was involved in the murders, and in the course of the case they contented themselves with showing that, according to the witnesses, Wass had a grudge against the victims, and that the Wasses were said to be hated by the whole village. The latter, of course, fits into the concept of class warfare adopted by the people's courts in Hungary, one of the main aspects of which was the presentation of the struggle between the oppressive lords and the oppressed proletarians. Wass's revisionist literary works (e.g. Jönnek!, 1940) were also included in the indictment – not that they had anything to do with the murders – in order to prove that Albert Wass wanted to tear the country apart.
The indictment charged Albert Wass and Endre Wass with complicity not only in the murders in Szentgotthárd, but also in the neighboring Omboztelek, despite the fact that Albert Wass's name appears only once in the materials related to the events in Omboztelek: according to the indictment, 'either because Count Albert Wass had a conflict with pópa [Orthodox priest] Andrei Bojor of Omboztelek, or because the local notables had a bad opinion of Bojor, he was subjected to endless tortures by the soldiers, many house searches took place, both during the day and at night, on the pretext that he was hiding weapons'. According to the only part that refers to Albert Wass, pópa Bojor's house was often searched because the priest was on bad terms with the poet. This is certainly interesting, but it does not prove that Albert Wass had anything to do with the priest's death.
Nonetheless, all the witnesses claimed that Endre Wass had incited the Hungarian soldiers to execute priest Bojor, but the verdict named Albert Vass [sic!] from the neighbouring village of Szentgotthárd – as the instigator – and then condemned his father and him in the same sentence.
Again, we can only briefly add that some witnesses could not decide whether they saw Wass at all during the events in Omboztelek, and if so, whether it was 'the young or the old' one; someone further admitted that 'I don't know how can the murder be connected with Count Wass'. Certain questions, such as where Albert Wass was during the period in question, or his father's role in the murders, would be worth exploring with additional documents. On the other hand, we can establish from the current sources that the people's court procedure was conceptual; the accusations were not proven, and occasionally they did not even manage to identify the accused. The result obtained in this way cannot therefore be considered authoritative.
The fact that public figures close to the Hungarian regime between the two wars were put on trial in Romania does not mean that they were not possibly guilty in some way. What is objectionable is the fact that neighbouring states to Hungary frequently used the post-war procedures to destroy Hungarian politicians and public figures. We only have to note in passing that if we were to naively accept all judgments handed down by the successor states to Hungarian public figures or public administration officials, then we would also have to believe in the guilt of Deák Leó, the főispán of Bács-Bodrog county – he who was executed by a Yugoslav people's court in Újvidék – or Béla Bethlen, főispán of Szolnok-Doboka, who was sentenced to forced labour by the Romanian People's Court for, among other things, his alleged participation in the deportations. However, both Deák and Bethlen appear in the Nazi German documents of the time as dangerous 'Jewish lackies', people who refused to collaborate.
Albert Wass's other work is not evaluated in this article. There is no doubt that the followers of the writer and poet turn a blind eye to some of Wass's more problematic writings. In her 2016 study, Orsolya Enikő Nagy cites several of Wass's articles from 1942, in which he demanded the 'extermination' of the spirit of the 'international […] cafe house heroes' with their 'helpers' and the 'Jewish heritage' among the merchants.[5] All of this, however, belongs to another study, and can hardly classify Wass's subsequent branding as "war criminal."
I'd like to express special thanks to Szabolcs Kovács and Károly Vekov for their help with the article.
[1] Vekov Károly, 'Perújrafelvétel. A Wass Albert-ügy', Rubicon (2005/6), 45-50.
[2] Ernő Raffay, Mihály Takaró, Károly Vekov (eds.), 'A gróf emigrált, az író itthon maradt. Wass Albert igazsága', Szabad Tér (2004), 180.
[3] Raffay, Takaró, Vekov (eds.), 'A gróf emigrált', 181.
[4] For this quote and all other quotes from the original documents see: Serviciul Judeţean al Arhievelor Naţionale Cluj, Fondul Tribunalul Poporului, Dos. (22/1946)
[5] Orsolya Enikő Nagy, 'A dési sajtó antiszemitizimusa és antiszemitái (1940-1944)', In: Randolph L. Braham (ed), 'Tanulmányok a holokausztról', Budapest, Balassi (2016), 109-137.
László Bernát Veszprémy, journalist, historian. After completing his MA in Holocaust history at the University of Amsterdam, he worked at the Jewish cultural monthly Szombat between 2016 and 2018. In 2017, he became a research assistant at the Veritas Research Institute for History and Archives, and in 2019, the Hungarian-Jewish Historical Institute at the Milton Friedman University in Budapest. Previously, Veszprémy was deputy editor-in-chief of Neokohn.hu, the largest Hungarian-Jewish news portal, and currently, he is the editor-in-chief of corvinak.hu, the popular science journal of Mathias Corvinus Collegium. He is also working towards completing his PhD at Eötvös Loránd University, Budapest. His dissertation specializes in the field of political theory and Jewish history.
Tags: Albert Wass, László Bernát Veszprémy
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Home Sports Oles regain momentum at Hilton Head
Oles regain momentum at Hilton Head
Benjamin Seidel
Over spring break, the women's tennis team played a series of matches at Hilton Head, S.C., competing against Wooster College, UW-Oshkosh, Virginia Wesleyen and Hollins University in preparation for its upcoming home stretch of crucial matches against conference opponents. After drop- ping two of its first three MIAC contests against St. Thomas and St. Catherine follow- ing a promising 2-1 start to the season, St. Olaf needed somewhat of a reboot to boost its confidence heading into the second, most critical half of the season. Fortunately for the Oles, the trip to Hilton Head seems to be exactly what they needed.
During its trip, St. Olaf swept the com- petition away, winning all four of its series of matches in dominant fashion, including a 9-0 shutout of Virginia Wesleyan and a near- ly equally impressive 8-1 defeat of Hollins.
Margaret Zimmermann '18 convincing- ly continued her undefeated junior season. She mowed down every individual oppo- nent without dropping a set in singles, and, together with fellow veteran and new dou- bles partner Erin McDonald '18, accom- plished the same feat in doubles, including a dominant 8-1 victory against UW-Oshkosh and blowing away Virginia Wesleyan in a comparable 8-2 rout.
"A great part about the trip was that every- one got to play in most of the matches, and as a team we had great results," Zimmermann said. "We also became a lot closer because we lived in a big house together, cooked meals together and spent a lot of time talking and learning more about each other."
Along with Zimmermann and McDonald were strong performances by Kellis Brandt '19 and Sophia Skoglund '18. The duo went undefeated at Hilton Head, not los- ing a single set in the process. After starting
the season 3-0 in singles, both Brandt and Skoglund were soundly beaten at the hands of St. Thomas and St. Catherine, slowing the team's early momentum and causing some worry about St. Olaf's depth. However, after gaining back their confidence over break, particularly Brandt, who won a nail-biting singles match against St. Benedict (3-6 6-3 10-7), both athletes have the Oles poised for another playoff run.
The key for women's tennis is translating its success to conference matches. The Oles are 6-1 against non-MIAC opponents but have stumbled to a 1-3 conference record and currently sit at ninth place. They'll need to take advantage of a second-half schedule loaded with conference matches – if its suc- cess over break is any indication, St. Olaf's fortunes against its more immediate rivals could reverse as soon as Saturday's match against St. Mary's.
seidel1@stolaf.edu
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For years we have heard about the growing deterioration of our planet and for years we have done nothing. Pollution is a serious epidemic within not only our country but the whole world. In the United States, approximately 40% of its rivers and lakes are too polluted for human interaction, which means you can't swim in it or use it. Water pollution and pollution, in general, has gotten so bad in recent years that more and more wildlife has been exposed to harsh chemicals produced by factories. This has become an extremely serious issue because of the fact that the environment relies on its wildlife just as much as wildlife relies on the environment. Without the wildlife helping to clean and balance the ecosystem, Earth has become so contaminated that even humans are being affected with diseases and other infectious bacteria.
Although many cities are starting to take charge and reduce the use of plastic straws, Santa Barbara has completely banned the dispersal of straws and other plastic items. California has become one of the first states in the U.S to not freely give out these small tubes of plastic, but only when specifically asked upon. While California is starting a trend with this new movement, many states have also begun to follow. In Washington, Florida, and New Jersey, many towns have started to also limit and or ban their use of single-use straws.
Although the plastic straw ban seems like a good idea it is also an inconvenience for many people as well. As everyone knows, hundreds of thousands of people have disabilities that prevent any hand to mouth movement. Due to their disability, it is easier for them to use a plastic straw in order for them to get the drink to their mouth without it being potentially hazardous. Furthermore, using reusable straws becomes an annoyance because you have to wash them after every use. If not cleaned properly, the straw could become filled with mold or other harmful bacteria that cannot be consumed, leading to you purchasing new, reusable straws.
As many have heard, Starbucks is on their way to becoming completely strawless. This coffee brand is a multimillionaire company with thousands of locations all throughout the U.S and world. By joining in on the straw ban, they will be reducing the use of millions of straws completely on their own. In addition to this, however, many high schools have been joining in too. New Milford High School is one of the many schools that have taken action on reducing straw use. Mr.Manuppelli, the principal of NMHS stated, "I believe we don't have straws. They have removed them at this point. Pomptonian runs our kitchen and everything related to it. It's their decision what they supply us with. They have been proactive and joined a campaign to save the sea turtles. See the flyer downstairs!" Pomptonian is a food service company that is highly involved with school lunches and has become very concerned with the well-being of the environment. They have recently joined in on the "Skip the Straw" movement where they strive to limit the straw use and save as many turtles as they can (one of the many animals being harmed by the usage of plastic straws).
By putting a ban on single-use straws, it could also lead to the ban of all single-use plastic products. Every year the world produces about 9 million tonnes of plastic waste, 2000 tonnes of it being straws. By banning straws, we will be reducing this number by 2000 tonnes every year. Now, this may not seem like much but in the long run, we are on our way to a cleaner and safer Earth. With this mindset, we could even possibly ban the use of plastic water bottles and other products which would tremendously change pollution rates. Biodegradable plastics have also been the topic of discussion, with many taking their own view on the situation. Mrs. Torpie, a science teacher at NMHS stated, ¨It's inaccurate. They do not biodegrade completely but instead, break down into many tiny pieces that still contaminate the environment." Although biodegradable plastics have not been designed to completely decompose yet, they could still reduce the amount of waste that is actually being put out into the oceans and other areas.
Regardless, by helping the environment and the public with their steps, we could eventually have a clean and healthy Earth.


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Q: What is the normal insert time in a medium size database on an indexed string column? I have a sqlite database with only one table (around 50,000 rows) and I recurrently perform update-otherwise-insert operations on it using Java and sqlitejdbc (i.e. I try to update rows if they exist and insert new rows otherwise). My table is similar to a word frequency table with "word" and "frequency" columns, and without a primary key!
The problem is that I perform this update-otherwise-insert operation hundreds of thousands of times and on average the insert or update operation takes more than 2ms. There are even times when the insert operations take some 20 milliseconds. I should also mention that the table has an index on the column on which I use the "where" clause in my insert operations (the "word" column"), which naturally should make the insert operation more expensive.
Firstly I want to make sure if 2ms for an insert operation on an indexed table with 50,000 rows is normal and there isn't anything that I've missed, and after that any suggestions to improve the performance is more than welcome. It struck me that dropping the index before performing large crunches of insert operations and recreating it again afterwards is good practice, but I can't do it here because I need to check if a row with the same word already exists.
I know all the stuff about "it depends on the hardware" and "it depends on the rest of your code" etc, but I really think one CAN have an idea of how much an insert operation should take on an average pc.

A: I partially solved my problem. For anyone interested in an answer to this, this link will be helpful. In short, turning off  journal mode in sqlite ("pragma journal_mode=OFF") improves the insert performance significantly (almost four times the previous speed in my case) to the cost of making the code prone to data loss in case of unexpected shutdown.
As for the normal insert speed, it is way faster than 2ms/operation. It can reach as high as hundreds of thousands of insert operations per second using the right pragma instructions, making best use of transactions, etc.

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We hope everyone had a great Thanksgiving!! We have so much to be thankful for this year!! I am truly thankful for everyone in my life, without anyone of you I would not be where I am at 💛.
It has been quite a long time since I've post so I'll try and catch y'all up to speed 😉 . Everything is good with our lil fam here in Baltimore, Jax is growing and learning so much every day! He is such a joy to be around! Both my husband and I are learning from him as we go along 😊 .
We got family pictures taken!! Yay! I can't wait to see them! It has been all about sweaters in our family this fall 😂😂. Jax's sweaters are from H&M ! I'm so excited to announce I've been invited to be a part of the rewardStyle LIKEtoKNOW.it ! Soon I'll be able to share more details about our styles and how and where you can get them!!