For the purpose of this resource list, I will be concentrating mainly on the creative	nonfiction essay, and to a lesser extent, books. When their essays are often published in newspapers or magazines, authors come under the jurisdiction of journalistic bodies, ethics and standards. Because the subject matter is	supposed to be	'truth', essayists must be mindful of	the local and	international laws of copyright and libel.
My chosen field of new media is the online creative essay and also creative non-fiction, within Australia and internationally.
Within Australia the field is dominated by more traditional literary bodies such as University English and Literature departments and the literary journals they publish, literary associations and government funding bodies.
Promotes the study of Australian writing, holds annual conferences, publishes a journal and publishes selected critical and scholarly works on Australian literature. Definitely worth joining to keep up with the field of Australian literature.
Peak body for the interactive media and digital content sectors in Australia, devoted to commercial development of the industry and support of members.
Support for women writers, regular meetings at the SLNSW, guest speakers.
Information and help with industry standards, union	services, awards, industry updates and the like.
Promotes new Australian writing, and the study of Australian literature.
The Australian government's art funding body. This group not only supports young and emerging writers, but actively shapes the field by supporting particular writers and artists	over others.
Probably as close to a union as you're going to get. Plays an advocacy and mentoring role for established	and emerging writers.
Information about reporting guidelines, libel and defamation laws.
Each state capital has a Writers' Centre. These groups all have resources for writers, at the very least in acclimatising the new writer to the cultural field by meeting the people who help to define it. The websites often have information useful to the novice writer.
Fostering writings about nature and place.
Pandora Web Archive run by the National Library of Australia. When the small online literary journal you've published in vanishes from the net without trace, you may find your piece again if the journal was archived by	Pandora.
Australian Creative Nonfiction This is a	special issue of Text – Journal of the Australian Association of Writing Programs, on Australian	creative nonfiction. Includes interesting	articles by author Michael Wilder and literary editor Nigel Krauth.
· Arts in Australia, which again helps define the field.
Plagiarism, where someone has stolen the substantive content but not the expression or actual words, is against journalistic ethics but not copyright. Thus if someone plagiarises your ideas, it might not be	possible to take legal action, unless they have	substantially copied the text (wholly or in part) as well.
One of the most difficult problems is that as the	web is available all over the world, so	copyright laws from every country apply. Australian Screen Writers' Guild FAQ on copyright has some basic practical information on dealing with international copyright issues. Australian Screen Writers' Guild FAQ on copyrightIt's a little out of date though,	since the copyright lasts for 70 years after author's death, not 50.
A writer of creative nonfiction must also be careful not to transgress libel laws, especially if they want to write something which might cast a real person in a negative light. Like copyright, they should be aware of libel laws within both the country of publication, and the country where the potentially libelled person lives. For instance, in 2001, a website called Baron's Online was published in the US, which had potentially libellous material on Victorian Joseph Gutnick. A Melbourne court found that as the material was able to be viewed in Victoria, that the case could be held in Victoria under the more stringent Australian laws[v].
The Australian Press Council page on Press Law in Australia has information on libel laws in	Australia, under no. 10, Defamation. Particularly note no. 10.2 What constitutes defamation.
Information on reporting guidelines from the Australian Press Council.
Many authors, including Dorothy Hewett, Delia Falconer and Henry Reynolds, would have struggled to survive without literary	grants[vi]. In general, the more lucrative fellowships will only go to writers who have proven themselves through a number of significant works,	however there are several smaller grants available to new and emerging writers with a few	publications in recognised .
The Art of Getting the Grant, from the Age, has information tips from	writers on getting grants in the modern Australian context.
Most of the grants below are not specifically for creative nonfiction; however creative nonfiction would be eligible. See the websites for more information on any of these. Most are open to Australian residents only[vii].
As a general rule, competitions are worth vetting thoroughly before you enter. If the entry fee is excessive compared with the prize, then the competition may well be a scam.
Who is eligible, and what for?
ACT residents who are emerging writers can apply for help with professional development and editing costs. Includes nonfiction.
South Australian writers working in various areas	including on essays.
Writers with five significant works of literary nonfiction (comprising autobiography, biography, essays, histories, literary criticism or other analytical prose).
Emerging writers of literary nonfiction, with at least 10 published works in major print publications.
Applicants submit a proposal to complete a work which will advance Australian literature. Writer must live in NSW.
Living allowance granted to well established or emerging researchers to explore the archives in their field of expertise. Frank Moorhouse was a	recent recipient.
Travelling fellowship for an Australian 'of any walk of life', with a substantial body of work, to travel overseas to research or study something that they couldn't within Australia. Recipients spend over 4 weeks overseas.
Residency, an NLA office, access to stacks and interlibrary loans. Perfect for the creative nonfiction writer!
10 days' stay at Varuna house with a Harper Collins	senior editor to workshop a manuscript.
For new or emerging writers of prose fiction or narrative nonfiction.Note: the	adjudication process costs!
Writers of many genres, including nonfiction.
Review must be on a book published since 2000 by an Australian or with Australian themes.
On any nonfiction topic, must be unpublished and not on	offer to any other publication.
Writers who have made a significant contribution to the promotion and protection of human rights. Anyone who nominates themselves for this would deserve to lose.
For prose essays, fiction or nonfiction. Open to all Australian women. Themes change so	check the website.
Multicultural theme. Papyrus press has has difficulties lately, so this may yet disappear soon.
Three sections, one of which is Article or Memoir. Contact FAW for a copy of 'The Writers' Voice' for all current competition and contact information.
For the most outstanding contribution to the literary journal Westerly.
William Todhunter Literary Award, Woodsite Valley Foundation WA.
>Western Australian history preservation society. Essays of 3000-5000 (spoken) words, topic is given (this year's is 'Miasma'-infectious or toxic emanation).
Many Australian literary journals will accept creative nonfiction essays. Most have an individual slant—those attached to University English departments such as Heat, Southerly and Westerly are a little more experimental, whereas the independent journals Meanjin, Overland and Quadrant, which derive from long standing arts or social movements within Australia, tend to be more overtly political.
The most promising new journal for	essayists is The Monthly magazine, which publishes beautifully-crafted, accessible nonfiction. Although it tends to only publish well established authors, it's worth reading to get a feel for the field.
It may be easier for the novice writer to be printed in some of the smaller journals, but these will carry less prestige than a publication in the major print journals.
· include name, address and copyright on a cover sheet.
· Editors often request a brief biography (200 words).
Journal of cultural studies and new writing. Useful both for reading, and submitting articles. Accepts freelance submissions for creative essays.
Now part of the Writing and Society Research Group, Uni.	W. Syd.
University of Melbourne. Hight quality. Include a biographical note with submission. Between 10 and 20 essays per issue.
La Trobe University English Review.
Literate, creative nonfiction essays publishes. Publishes well-known names such as Don Watson, Helen Garner, Robert Manne, Gideon Haigh, edited by	Kerryn Goldsworthy. Contact editor before submission.
Max 5,000, most pieces tend to be half that.
High quality, left-leaning literary journal publishing	about 6 essays per issue.
High quality, right-leaning literary journal.
Journal of the English Association, University of Sydney. Prints a few more short stories than Meanjin.
Left wing/ progressive/rights based polemic newsletter.
Very literary, accepts short stories, fictocriticism, creative nonfiction, cross-genre and experimental prose.
Max 2,000, but often much shorter, 800.
About 4 essays per issue.
Published by a co-operative of writers from the Dandenong ranges. Accessible rather than experimental work seems to be	preferred.
Autobiographical only. Very new publication therefore	might disappear.
Overseas, but particularly in the US context, creative nonfiction falls within not only the academic field, but there is a far wider tradition of high quality essays within the journalistic field. The prestigious journals The New Yorker and Harper's Magazine are the pinnacle of this tradition.
Interestingly, creative nonfiction, along with cross-genre literature in general, is flourishing in Canada, which must have a very healthy arts budget.
Provides mentoring, a journal devoted to creative nonfiction, an education program, and a website with enormous resources.	Publishes two journals.
Development agency for the arts in the UK. Distributes government and National Lottery money.
The USA's largest funding body for the creative arts.
An international organisation providing members with job lists, a newsletter with writing and publishing advice, a grants and awards calendar, and advocacy.
This society caters for freelance nonfiction writers,	which most essayists will be.
Plays an advocacy role. Website has excellent legal advice on contracts, electronic	rights, copyright, and news. Members must be published book authors or freelance authors (having had 3 piece published in the last 18 months).
Advocacy for New Zealand Writers. Has good links	for the novice writer.
PEN is an actively political group, which aims to support writers within oppressive regimes or societies.
An online writer's resource, published by F&W press, listing agents, publishers, contests and other information for authors. By subscription only.
One of these American artistic communities set up in the 1970s, and still going	strong. Offers courses in creative nonfiction. Has a great resource listing.
Reflecting the fact that creative nonfiction is a more American genre, there are several American and one English university, offering postgraduate degrees specialising in creative nonfiction.
Nonfiction Writing Program MFA degree in literary nonfictionHas a very useful reading	list.
· 412: Pittburgh's Annual Creative Nonfiction Festival This year will cover the ethics of writing creative nonfiction.
· Bruce Dobbler's Creative Nonfiction Compendium. A definition of the field through reading lists, examples and definitions by Bruce Dobler, Associate Professor of English in the Creative Nonfiction Program at the University of Pittsburg.
· Fourth Genre (Journal of Creative Nonfiction) Forum. Has some excellent essays on nonfiction, including from Lee Gutkind, founder of the CNF movement.
· Articles from the CNF journal Brevity on the craft of the CNF essay.
· A brief description of creative nonfiction by Phil Druker of the University of Idaho .
· Aaron Pope's definition of creative nonfiction.
· Definition of Creative Nonfiction in Wikipedia.
· Creative Nonfiction Week held by Columbia College in Chicago.
· Creative Nonfiction Magazine's mentoring program.
· Writing creative nonfiction can bring up many ethical dilemmas: just how do you describe the bad points of a real person? Can you stretch the truth for poetic effect? The issue is the subject of The Creative Nonfiction Foundation's conference: 412.
· Washington radio station, WTOP, article on CNF and ethics.
· An article from	Frank Tempone, then-CNF editor of the Del Sol review, which discusses how ethical it is for Lee Gutkind and the Creative Nonfiction Foundation to claim	ownership of the field.
· A comprehensive page of resources on US copyright and fair use laws from Standford University.
· Copyscape has a search engine which matches your site with others with identical (copied) pages.
· International copyright law resources from publisher Bloomsbury Press.
· The Authors' Guild has a factsheet on US copyright, and also publishes news on copyright law changes. For instance, as this is being	written, there is a bill being considered in the US Senate which would disallow authors from using branded trademarks in their work, making it a breach of trademark laws to write about a character going to MacDonalds and	buying a Coke.
· To buy publications on creative nonfiction, click here.
I've omitted many grants on the grounds that they're only available to US or UK citizens.
Living accommodation and	stipend of $500 per month.
6 month residential fellowship at the Fine Arts Work Centre.
UK citizens and residents can apply for various grants.
Includes living expenses and meals for fellow and family.	Responsible for mentoring students in writing.
Millay Colony residential program, Austerlitz, New York, USA.
Commune-like retreat for artists and writers.
For writers of creative nonfiction who have published five essays in two or more journals, or a volume. Applicants must be citizens or permanent residents of the USA.
Note: All prize moneys are in the currency of the nationality of the contest.
Award for a work of nonfiction judged to best promote	the understanding of older people.
Award for a manuscript of creative nonfiction, open	entry.
Nonfiction prose in the style of Annie Dillard, known for her	spiritual/nature writing.
Hard copy entry, guidelines on website.
Run by Brevity, Web del Sol and 5 Trope magazines. Flash nonfiction. Was run in 1999, may be defunct?
All styles and subjects welcome.
Authors first or second nonfiction book on a historical subject. Publisher entry only.
Has a creative nonfiction section.
Administered by the UK charity, Booktrust, for the New Writing Partnership. Seems to be open to	anyone.
Good, accessible prose about politics, political thinking or public policy.
For unpublished authors only. Entry is free.
Run by a Canadian print magazine of new writing. Hard copy submission only.
Must be no more than 25 pages of double spaced typing on US-sized paper.
Awarded to a work of nonfiction by an author of any nationality, on current affairs, history, politics, science, sport, travel, biography, and autobiography. Publisher entry only.
Annual contest open to anyone over 18. Has a nonfiction section.
One division is for essays, on a writing-related or literary theme.
The most important journals devoted to creative nonfiction are River Teeth, The Fourth Genre, Creative Nonfiction Magazine, The New Yorker, and Harper's Magazine (all listed below). The first three arise from the Creative Nonfiction movement, and would probably be the easiest for the novice to try for publication. Conversely, it would be nearly impossible for a novice to get published in the latter two! Also of note is the	online journal Brevity, which has some useful archives and forums on writing creative nonfiction. Most offer only a token payment, if at all.
It's best to read the journals beforehand to gauge the magazines' aesthetics.
· Include a stamped, self-addressed envelope, with international post coupons. Some allow for an email address for reply.
· On US standard sized paper.
· And remember: set your spell-check for US	spelling!
Publishes personal essays, memoirs, experimental nonfiction and literary journalism. Reading period is	September 1 to May 1.
Quality journal publishing quality literature from established authors.
Annual journal publishing fiction & creative nonfiction. Cute flash site. 2007 theme	is 'particles and stars'.
"Journal of ideas" Publishes only nonfiction, i.e. personal essay, memoir, critique, etc. There's a Helen Garner article in the current issue.
Prestigious journal publishing experimental literature. Pays $CAD 50 per page, max $CAD 200.
Publishes only creative nonfiction with a long 'shelf life' (as publication can take a while).
Journal of poetry and creative nonfiction.
Publishes one or two creative nonfiction essays per month. Contact first with a written query before submitting.
1,500 to 7,000 with 5,000 words average.
Prestigious. Each issue is themed.
Publishes a few nonfiction essays per issue, should be	of general interest. More about submission here.
Very wordy-witty (NY Jewish humour) style, would be extraordinarily unlikely to publish a newcomer.
Accepts one nonfiction personal essay per issue. Pays $25 per printed	page to a max of $250.00.
Biannual journal of creative nonfiction. Has had essays accepted into Best American Essays, 2005. Publishes narrative reportage, essays, memoirs, critical essays of general interest.
Quarterly Online and annual print literary journal.
No submissions between Sept-Dec inclusive. Publishes narrative memoir. Prefers traditional, non-experimental forms of	narratives.
Quarterly print nonfiction literary magazine published by Cambridge grads. Publishes	nonfiction with a strong narrative.
A print journal devoted to 'personal narrative'. Submit by entering their biannual	essay contest.
Like all writing, creative nonfiction has some excellent outlets on the Internet. There are dangers, though, with publishing on one of these sites. You should make sure that you are convinced of both the quality of the journal, and that the work is your best, because	since the advent of Google, your name may be linked in perpetuity with substandard piece, on a dodgy site. Secondly, amateur journals can have a very short lifespan, and there is the possibility that they may disappear	completely, taking all traces of your work with them.
Open to all, less established, lower quality.
Submit via email with attached file. Contact first with idea.
Accepts creative, literary essays	of any length, must be more creative than academic. Usually pays a token $20 per	published article.
American youth oriented culture commentary. Guidelines ask that submissions be witty, brief, and avoiding first person references.
Established, has some quality contributors, i.e. Kevin Brophy. Only submissions received between 1 April and 30 June will be considered.
Only accepts creative nonfiction or poetry, no fiction. Prose	tends to be lyrical.
A high arts online literary magazine, mainly for poetry but also publishes about 5	or 6 essays or articles per month.
Stories or personal essays. Has published some very accomplished authors. Tone is	light, spare and erudite.
By and	for literary mothers!
Online literary magazine publishing creative nonfiction. Submissions seem to be	closed at the moment.
Well-established online literary journal. Publishes all sorts of nonfiction, but stipulates that any essays be authoritative and well	referenced.
More amateur online literary journal, tends to be	irreverent.
Publishes 'edgy', 'raw', 'experimental' pieces, including creative nonfiction. Reads a bit amateur to me.
*29 September - 2006 Trudy Graham Literary Awards. For short stories up to 3000 words and poems up to 50 lines. Theme: memoir. Entry fee: $5 per entry. Prizes in both sections: 1st $400,	Runner-up $100. An entry form is required and is available by sending a SSAE to The Receiving Officer, Trudy Graham Literary Award, Peter Cowan Writers Centre, PO Box 239, Joondalup WA 6919.
1. FAW MELBOURNE UNIVERSITY PUBLISHING AWARD Entry Fee $15 Sponsored by Melbourne University Publishing First Prize: $1000 An award for a NON-FICTION work, including biography and autobiography, of sustained quality and distinction with an Australian theme, first published after 30/11/05, and not previously published locally or overseas. Two copies of the book are required and will not be returned. Books published by Melbourne University Publishing ARE eligible for entry, as the judges for this Award are independent of MUP.
Prize $10,000, on any non-fiction topic, essays must be unpublished and not on offer to any other publication, 3,000-10,000 words. Entries close end July, but check website for updated information. Entry fee: $20 subscribers, $30 non-subscribers.
Article of nomore than 1,800 words, on a multicultural theme. Entries close 30 November. Entry fee $5.50, 1st prise $125.00.
For fiction, non-fiction or poetry written for young people of secondary school level. No entry fee, Prize	$15,000.
This seems to be a less professional publication. There is no online content and to find the competition guidelines you have to subscribe to the magazine. Therefore could be a slightly riskier proposition with respect	to copyright. Christian values.
Three sections, one of which is Article or Memoir. Max word length 1,000. Contact FAW for a copy of 'The Writers' Voice' for all current competition and contact information. Entry fee $5.00, 1st Prize	$150.00.
For an essay, of over 2000 words, which advanced public debate, and was published in the eligible period. Prize $15, 000. Previous winners include John Button, Don Watson, Malcolm Fraser and Robert Manne, so probably best not to get the hopes up!
Can enter an essay of 3000-5000 (spoken) words, on a given topic. Closing date is 1 August, entry fee $15.00,	First prize $2,000. Contact organisers for guidelines.
Online magazine from the Queensland University of Technology. Emphasis on new and innovative work,	including hypertext works and creative non-fiction.
A big, sprawling, strangely organised site with lots of resources on writing in Australia. Not affiliated with any group and doesn't seem to have been updated	much since 1999.
Highly experimental, but could well work a creative non-fictional essay into the format here.
BeeHive accepts submissions as attached files in most common formats for MAC or PC. Poetry may be submitted in	the body of an email message.
Please do not send content on initial contact.
The Capilano Review has a long history of publishing new and established Canadian writers and artists who are experimenting with or expanding the boundaries of conventional forms and contexts. International writers and artists with connections to Canada appear	in our pages too.
The Capilano Review is interested in experimental, venturesome writing and art. Our About Us and Issues links will give you a sense of the work we publish.
Enclose a self-addressed envelope. If you are submitting work from outside Canada, please include an	international reply coupon or Canadian stamps.
Print your name and address on	the manuscript.
For poetry submissions, send a	minimum of 4 pages; for fiction, a maximum of 6,000 words.
It may take as much as 4 months	to receive a response to your manuscript.
We do not accept responsibility for unsolicited manuscripts and visual art.
We do not accept submissions by	email or on disk.
We publish with First North American Serial Rights.
American-based magazine of the	Creative Non-Fiction Foundation.
Offers publication and mentorship, but at a cost. $20.00 American just to read your stuff!
Self-addressed, stamped, letter-sized	envelope (SASE) for reply.
Double-spaced, on one side of	8.5" x 11" paper.
Include your name, address, phone number, email address, the piece's title, and an approximate word count. Include a stamped and self-addressed envelope for return of manuscript. Please	limit cover letters to one page.
[i] Gutkind, L. What is Creative Nonfiction, http://www.creativenonfiction.org/thejournal/whatiscnf.htm, (viewed 26 October, 2006).
[iii] The Best	Australian Essays 2000, ed Peter	Craven, Black Inc. Melbourne, 2000.
Information Sheet G57--Creating and publishing on the internet. Available on http://www.copyright.org.au/ (viewed 26 October 2006).
[vi] The Art of getting the grant, Susan Wyndham, The Age, March	5, 2005 http://www.theage.com.au/news/Books/The-art-of-getting-the-grant/2005/03/04/1109700675102.html (viewed 24 October 2006).
Summers, J, 2000. Australian	Grants Register, Mercury, North	Melbourne.
Australian Literary Awards and	Fellowships, 2005. Thorpe-Bowker,	Melbourne.
[ix] All information condensed from entries in Australian Writer's Marketplace unless otherwise	noted.
[x] Meanjin, Palgrave Macmillan/Melbourne University Publishing, Carlton Victoria, 2005-.
[xi] Overland 177, O L Society, Footscray, Victoria, 2004.
[xii] Southerly, Volume 64:3 Halstead Press, Broadway NSW, 2005.
[xiv] Sourced from Google search engine, and Guide to Literary Prizes, (UK) 2000, Book Trust, London.


text:
<?php
/**
 * Created by PhpStorm.
 * User: Mike
 * Date: 6/2/2017
 * Time: 7:31 PM
 */

require_once __DIR__ . "/../../src/header.php";
chdir(__DIR__ . "/../../src/");

use AudioDidact\SupportedSites\SoundCloud;
use PHPUnit\Framework\TestCase;

/**
 * @covers AudioDidact\SupportedSites\SoundCloud
 * @covers AudioDidact\SupportedSites\SupportedSite
 * Class SoundCloudTest
 */
class SoundCloudTest extends TestCase {
	private $testUrl = "https://soundcloud.com/ravishouse/andy-gruhin-bring-me-down-ravi";

	public function testConstructor(){
		$sc = new SoundCloud($this->testUrl, false);
		$this->assertEquals($sc->getVideo()->getURL(), $this->testUrl);
		$this->assertFalse($sc->getVideo()->isIsVideo());
		$sc = new SoundCloud($this->testUrl, true);
		$this->assertEquals($sc->getVideo()->getURL(), $this->testUrl);
		$this->assertFalse($sc->getVideo()->isIsVideo());
	}

	public function testNonSoundCloudURL(){
        $this->expectExceptionMessage("Invalid SoundCloud URL Entered.");
		new SoundCloud("http://youtube.com/watch?v=12345678911", false);
	}

	public function testBadURL(){
        $this->expectExceptionMessage("Invalid SoundCloud URL Entered.");
		new SoundCloud("http://soundcloud.com/ravishouse/", false);
	}

	public function testDownload(){
		$sc = new SoundCloud($this->testUrl, false);
		$video = $sc->getVideo();

		// Cleanup in case a previous test run failed before deleting downloaded files
		@unlink(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getFilename() . $video->getFileExtension());
		@unlink(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getThumbnailFilename());

		if(!$sc->allDownloaded()){
			$sc->downloadVideo();
			$sc->downloadThumbnail();
			if(!$video->isIsVideo()){
				$sc->convert();
				$sc->applyArt();
			}
		}

		$this->assertFileExists(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getFilename() . $video->getFileExtension());
		$this->assertFileNotExists(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getFilename() . ".mp4");
		$this->assertFileExists(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getThumbnailFilename());
		$this->assertEquals(52, $video->getDuration());

		unlink(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getFilename() . $video->getFileExtension());
		unlink(getcwd() . "/" . DOWNLOAD_PATH . "/" . $video->getThumbnailFilename());
	}

}

redpajama_set_name: RedPajamaGithub


text:
Q: Set the path to Python 3 in an IDE on Mac OS X I'm going to write some Python 3.2 scripts in Ninja IDE on Mac OS X. However, I quickly found out that the IDE uses the Python 2.7 interpreter that came with the system by default.
The preferences' currently specified "Python Path" is simply "python". I want to use Python 3.2 all the time, and I guess it's a question of writing or finding the right path in the preferences. In "Terminal", I usually just use a "python3" statement followed a filename, but neither this nor a longer path has been of much help.
I'm sure the answer is dead simple, but my google skills and other technical know-how hasn't given me an answer so far. Any help is much appreciated :-)
EDIT: Here is a screenshot of the Preferences-window.

A: Ninja IDE is not compatible with python 3 to use python 3 you will have to find another IDE for OSX I recommend using eclipse with the Pydev plugin,
here is a tutorial on how to install pydev and eclipse: http://www.youtube.com/watch?v=vHRRiBHI3to
link to the faq: https://github.com/ninja-ide/ninja-ide/wiki/FAQ

A: Usually "/usr/bin/python3" which is a softlink to wherever you installed Python 3.
Since OS X ships with 2.7, you need to download and install Python 3 yourself.

A: http://wolfpaulus.com/jounal/mac/installing_python_osx/
I just followed that link and my system now uses python3.4 in shell.

redpajama_set_name: RedPajamaStackExchange


text:
Clarence Garrett, 77, Edmonton, KY (1938-2016)
He was a farmer and a Christian
Click on headline for complete obituary
Clarence Garrett age 77 of Edmonton died Wednesday, March 30, 2016 at his home.
Funeral services will be held at 1pmCT, Saturday, April 2, 2016, at Butler Funeral Home, 201 East Street, Edmonton, KY, with burial in the Garrett Cemetery. Visitation will be 4pm-8pmCT, Friday, April 1, 2016, and after 9amCT, Saturday, at the funeral home.
Clarence Garrett, 77, Edmonton, KY, (1938-2016)
He was the son of the late Rufus and Mary Wood Garrett. He was born September 25, 1938. He died Wednesday, March 30, 2016, at his home in Edmonton, Metcalfe County, KY, at the age of 77 years, six months, and five days.
He was a farmer and a Christian.
Survivors are:
A neice: Helen Jessie of Edmonton, KY
Four nephews: Owen Phelps, Gene Phelps, Arkley Phelps and Jimmy Phelps, all of Edmonton, KY
Several great nieces and nephews
Besides his parents he was preceded in death by two brothers Vermon and Rondall Garrett; a sister Lonia Phelps and three nieces, Linda Dickson, Rae Dial and One Phelps. Send condolences to the family of Clarence Garrett
Butler Funeral Home, 201 East Street, Edmonton, KY, in charge of arrangements.
Dixie Hay Miller, 79, Green County, KY (1936-2016)
Charlotte Chaney, 67 Casey County, KY (1948-2016)
Marie Burton Sallee, 93, Adair Co., KY native (1922-2016)
Shirley Ann Ballenger Collman, 79, Louisville, KY (d. Sun 27 March 2016)
Evelyn Hedgespeth, 89, Taylor County, KY (1926-2016)
Mr. Thomas Dale Whitlow, Green Co., KY (1944-2016)
James Logan Foley, 85, Russell County, KY (1930-2016)
Dianna June Turner, Taylor Co., KY (1940-2016)
Richard Lyle Earhart, 73, Metcalfe Co., KY (1942-2016)
Teddy G. Smith, 75, Cumberland Co., KY (1940-2016)

redpajama_set_name: RedPajamaCommonCrawl


The purpose of this review was to define compassion fatigue in the context of palliative care nursing. Compassion fatigue was first introduced as a description for nursing burnout; however, it was not fully described. An initial concept analysis within nursing placed it in terms of a psychological model for secondary traumatic stress disorder, with continual revisions of this application. Palliative care nurses are routinely exposed to pain, trauma, and the suffering they witness by nature of ongoing symptom management and end-of-life care delivery; however, the focus of care is on healthy end-of-life management rather than preservation of life. The literature was reviewed to provide clarification of compassion fatigue for palliative care nurses to assist in future identification and direction in the profession. CINAHL, EBSCO, Journals@Ovid, MEDLINE, PsycINFO, PubMed, and ScienceDirect databases were queried for peer-reviewed literature, and dictionaries were examined for subject-specific definitions. The method that was used was a concept analysis in the tradition of Walker and Avant. A concept definition was proposed for the discipline of palliative care nursing. Identification of compassion fatigue for this profession helps facilitate the recognition of symptoms for a group that deals with patient suffering on a regular basis.


text:
Hot water bottle, Sigg, 1925
Sigg AG
Hot water bottle, Sigg,
Sigg AG,
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Extruded from a single piece of aluminum, the Sigg bottle was initially developed as a hot water bottle in the 1920s, became a useful camping accessory thanks to the carrying hole in its cap, and beginning in 1980 was sold as a drinking bottle for athletes. An example of how the same form can be reimagined for different uses over the course of a hundred years.
Founded in Biel in 1908 by the metalworker Ferdinand Sigg, the Sigg company produced simple household goods, adding field dishes for the military to the product range after moving to Frauenfeld in 1917. A so-called pattern maker was responsible for the development of new products until, in 1965, the company hired Johann Munz (b. 1939), a graduate of the Kunstgewerbeschule Zürich, as a designer. Munz proceeded to unify the range, which had swelled in the 1950s to encompass over 10,000 items that followed no discernible line. The Sigg aluminum bottle proved to be the product with the greatest longevity. Its simple extruded shape could be manufactured from a single piece—an advantage over iron and copper bedpans with corrosion-prone welding seams. Painted in plain colors, in smooth or ribbed versions, it remained popular even after plastic hot water bottles were introduced. In 1968, Munz designed a new plastic screw cap that resembled the top of the Sigg frying pan cover from the same period. The practical carrying hole in the cap may have prompted people to start using the hot water bottle as a drinking bottle. It was first sold for export as a camping bottle, and then starting in 1980 as a plain-colored water bottle for mountain climbers and athletes. From 1989 to 1994, Kurt Zimmerli (b. 1946), who had trained at the Schule für Gestaltung Basel, took the next steps in the development of water bottles for Sigg AG. Diversified to hold different volumes, outfitted with sport caps and colorful decor, the erstwhile hot water bottle blossomed in the 1990s into a must-have global accessory. (Renate Menzi)
Bettflaschen, Sigg, 1925
Entwurf: Sigg AG, Aluminium und Metallwarenfabrik, Frauenfeld, CH
Herstellung: Sigg AG, Aluminium und Metallwarenfabrik, Frauenfeld, CH
Material/Technik: Aluminium, kanneliert, eloxiert
Museum für Gestaltung Zürich (Hg.), 100 Jahre Schweizer Design, Zürich 2014, S. 316.
Museum für Gestaltung Zürich (Hg.), Unbekannt – Vertraut. «Anonymes» Design im Schweizer Gebrauchsgerät seit 1920, Reihe Design-Pioniere 4, Zürich 1987.
www.sigg.com
Bettflaschen, Sigg, 1925, Herstellung: Sigg AG, Aluminium und Metallwarenfabrik, Frauenfeld, CH
Bettflasche kanneliert / Trinkflasche mit Fingerverschluss, 1925 / um 1985, Herstellung: Sigg AG, Aluminium und Metallwarenfabrik, Frauenfeld, CH
Sigg-Trinkflaschen, 1983–1990, Entwurf: Kurt Zimmerli, Johann Munz
Technische Zeichnung, Fingerverschluss, 1994, Entwurf: Kurt Zimmerli


Hewlett-Packard on Friday started shipping its US$169.99 Slate 7 tablet with Android 4.1, which signals the company's reentry into the consumer tablet market after the TouchPad imploded in 2011. Hewlett-Packard on Friday started shipping its US$169.99 Slate 7 tablet with Android 4.1, which signals the company's reentry into the consumer tablet market after the TouchPad imploded in 2011. Hewlett-Packard on Friday started shipping its US$169.99 7 tablet with Android 4.1, which signals the company's reentry into the consumer tablet market after the Toucad imploded in 2011. MWC 2013: HP Slate 7, presentó su nueva tablet 7, que cuenta con el sistema operativo Android. Pero eso no es todo lo más destacado de esta tablet, sino también el precio con el que será lanzada al Tags: 2013, slate, tablet, android, The 7 will ship with the ability to talk to printers, 's forte. The device is aggressively priced, costing half of what Apple charges for an iPad mini. made the announcement on the Hewlett Packard Sunday unveiled the 7, a 7-in. tablet that will go on sale in April in the U.S. starting at the bargain price of $169. Hewlett-Packard on Friday started shipping its US$169.99 7 tablet with Android 4.1, which signals the company's reentry into the consumer tablet market after the Toucad imploded in 2011.


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News, Reviews and Features 'This incredible play': THE NORMAL HEART – National Theatre
'This incredible play': THE NORMAL HEART – National Theatre
In London theatre, Opinion, Other Recent Articles, Plays, Reviews by Maryam Philpott 1st October 2021 Leave a Comment
National Theatre, London – until 6 November 2021
Creating socio-political change and even recognition doesn't just happen, somewhere, sometime, someone has to fight for it, and history is full of organisations who since the end of absolute monarchies (and arguably even before) have tried to make their voices heard.
Activists, anarchists, revolutionaries, freedom fighters, radicals, call them what you will, ultimately they all face the same question – do you use peaceable means to lull the government into meetings and reasonably state your case, or incite protest and even violence to force the issue?
Larry Kramer's powerful play The Normal Heart, which celebrates its 35-year anniversary with a National Theatre revival, explores this issue as a group of New Yorkers in the early 80s try to draw attention to a deadly virus stalking the gay community
Expect to hear plenty of references to Angels in America, It's a Sin and The Inheritance as recent stage and screen representations of the same era, as well as obvious allusions to our experience of the last 18-months. And while The Normal Heart indeed has much in common with these approaches in its character-driven structure on an epic scale, Kramer's exploration of the nuances, barriers and conflicts within the community set this play apart, looking as much at the political organisation of awareness campaigns and pressure groups as the stories of the men disagreeing about how they should fight for their lives.
From the Luddites to the Suffragettes, the Diggers to the Chartists, organisations demanding change have always found themselves divided on the issue of whether the end justifies the means. The Chartists in particularly were hugely conflicted between William Lovett's peaceable and domestic aims for social reform which included Sunday schools and educational improvement of the working classes, and those of fellow-leader Fergus O'Connor whose more explosive approach pushed physical force as a means of ratifying the People's Charter. And here, in The Normal Heart, Kramer expands on a similar division between the hot-headed Alexander 'Ned' Weeks and the closeted Bruce Niles who become co-leaders of a single organisation that pulls in two contentious directions.
The story runs chronologically from 1981-1984 during a period when political and medical groups refused to acknowledge the presence of an epidemic moving through a community they equally pretended did not exist. But the virus itself had yet to be properly identified and the consequences of this are the context for Kramer's play, focusing on a period of considerable uncertainty as cases were doubling rapidly in New York and the first deaths occurred. As authority figures remained unmoved, refusing even to fund pioneering medical experiments, how to break through that wall of silence is the play's dramatic driver. The formation of an advocacy and support group for the community becomes increasingly bureaucratic, and Kramer astutely balances their growing frustration with government process and the unpreparedness of its members for the scale of the fight as the disease takes hold, intricately combining the personal and the political.
The distinction Kramer draws between radical and peaceable protest is managed through the subtly changing nature of the organisation that Ned and Bruce start together. What was – to paraphrase one of Ned's impassioned speeches – a start-up in his living room becomes a formal, almost corporate-style entity with the introduction first of a President-figure as the acceptable public face of a charitable concern, and later a Board who manage operations and personnel. As the game and its scale changes, the balance between activism and lobbying makes miniscule shifts throughout the play; where once the group distributed newsletters, Kramer raises the stakes, so as more men are infected, their organisation is simultaneously required to adapt its behaviour and tactics for a bigger audience, becoming increasingly embroiled in government petitions and appeals.
What this means for the characters is equally defining and while O'Connor's belief in physical force created a temporary swell for the Chartists, Ned's outspokenness is seen to be detrimental to himself and his movement. Kramer manages this with care; Ned is the anchor of the play, an isolated figure in many ways who espouses some extreme views on abstinence that ruffle feathers, but Kramer never judges his lead and, in fact, Ned's claims are never shown to be wrong – in fact much of what he says proves in time to be correct – only his refusal to play by the rules and allow others to bury their heads in the sand, mark him out as an agitator who knows the only way to achieve his aim quickly is to forego the social niceties and create a public disturbance.
Bruce, by contrast, is the role model leader, a man concealing his sexuality to maintain a lifestyle. With a well-paid job at a leading bank, a reputation to protect and plenty of business contacts, Bruce is an inside man, someone who knows how to charm the mayor's office or a journalist into taking a meeting where he can gently apply the right kind of pressure to advance their cause. While Ned questions Bruce's bravery and desire for privacy, the context Kramer creates for him in that particular professional world in the early 1980s makes sense of Bruce as a character and his desire to use the proper channels.
And this contrast leads to considerable nuance in the presentation of the community, drawing out strands of disagreement and discontent not often seen in equivalent works. Far from one homogenous group, Kramer looks deeply at what is a fractured and confused community of men, some believing that waiting and watching is the best course of action while cases are low and undefined, while others like Ned know this is the start of something bigger. Kramer here is looking at the process of hindsight, noting that it is easy to look back and think more should have been done sooner, but the variety of responses he presents in The Normal Heart consider how little concrete information was really available during those years and how difficult it was to pitch a suitable response.
Kramer's play also considers this a crisis point in the external presentation of gay lifestyles with the fear that promiscuity was creating a negative and limited perspective on sexuality as primarily a physical act. Despite his more active approach, Ned is the one who wants to expand the impression of same-sex relationships, making another impassioned speech about the contributions of writers, scientists and creatives who he feels connected to and wanting to continue the growth of a cultural identity that extends beyond sex. By contrast, the character of Mickey Marcus in particular feels tainted by what he sees as Ned's judgemental stance and in an important middle section talks about having fought for the right to be open and free, and struggles with now being labelled a 'murderer' and shamed for it.
In Dominic Cooke's new production in-the-round on the Olivier stage, all of these themes are given the space to emerge and overlap during the show's near three hour running time. There are lots of knotty debates and interlocking strands, but there is clarity in how these very different ideas are shaped within the play as Kramer treats the broad ranges of opinion and belief espoused by his characters with compassion. They may be united by a social scene but they have very different backgrounds and attitudes, amplified by the exposing nature of the playing space.
As a director Cooke, whose earlier success in this auditorium includes the incomparable Follies, has a feel for the emotional currents within a play and the different illusions that characters have about themselves and their situations, especially at the moment these are shattered or re-routed. Cooke finds those beats in The Normal Heart, creating a minimal visual impression in order to fill the space with character arcs, social shifts and the emotional impact of a story that successfully balances the complicated process of dissidence and protest with the often devastating everyday impact on the lives of the men trying to fighting these bigger battles on all fronts.
Designed by Vicki Mortimer (who also worked with Cooke on Follies), the simple marbled floor and benches have a dual purpose, simultaneously representing the foyer of grand buildings like City Hall, where Ned and Bruce must fight for recognition, and the conventional business-like locations that symbolise Bruce's background and the governance structure that evolves within the advocacy group. There is a coldness and formality in Mortimer's design that underscores the character's struggles for official support, but there is also a subtle tomb-like feel to the staging that acts as a memorial to the countless men referenced yet never seen who die in the course of the play, enhanced further by the continuous flame that burns above the action throughout.
Delayed by the pandemic, Ben Daniels has swapped a previously announced part in the upcoming Manor for the role of Ned in The Normal Heart and it is a worthy exchange. Daniels's Ned has a true and unyielding conviction, a man of extreme emotional states who believes in his causes as ardently as he eventually comes to love Felix. That slow opening up is something Daniels presents extremely well, and while never disconnected from the suffering of his friends, his relationship gives him a different perspective on the urgency of official support and acknowledgement. Daniels's Ned can be harsh, even cruel in his desire to shake others out of their complacency while his fervency is sometimes misguided, but appearing in almost every scene Daniels fills the room with Ned's burning zeal, while delivering his very fine speeches with sensitivity.
Luke Norris is equally skilful as Bruce navigating a complex position between two very different societies. Although there is very limited time to see his more emotional side, Norris creates plenty of empathy for Bruce, struggling to balance his public life with what he believes is the right and only direction for the advocacy group. His frustrations with Ned conceal an admiration for him, and there are some explosive and tender moments between the men that Norris weaves into a very meaningful performance.
Daniel Monks is superb as ever in the role of Mickey diligently supporting the administration of the organisation while feeling increasingly burdened by the polarisation of opinion. Danny Lee Wynter adds flair as the Southern Tommy Boatwright able to lighten the mood with a sharp riposte while Liz Carr brings a crusading spirit and authority to the role of Dr Emma Brookner. Robert Bowman also adds plenty of depth as Ned's brother Ben who represents a more traditional standpoint but tries to understand this alternative perspective.
As with any in-the-round production, the blocking here tends to favour the traditional auditorium so those in the onstage seating won't see the actor's faces during many of the big speeches, but it barely detracts from the impact of this incredible play. Looking at the process of recognition and political activism during a period where almost no information was available, The Normal Heart offers a different perspective on these early days of HIV and, like the scores of political groups before them, leaves the audience wondering whether violent or orderly protest is the best way to be heard.
The Normal Heart is at the National Theatre until 6 November with tickets from £20. Follow this blog on Twitter @culturalcap1 or Facebook Cultural Capital Theatre Blog
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Maryam Philpott
Maryam Philpott has run the London-based Cultural Capital blog since 2013, predominantly reviewing theatre, but also exhibitions and special film screenings with a more in-depth and discursive approach. Since 2014, Maryam has also written regularly for The Reviews Hub, reviewing all forms of professional theatre including Fringe and West End, as well as contemporary dance, ballet and opera. She has a background in social and cultural history, and tweets as @culturalcap1.
Read the full article from Maryam Philpott, published on 1 October 2021
Tags: Ben Daniels, capital, Cultural Capital, culture, Daniel Monks, Danny Lee Wynter, Dominic Cooke, Larry Kramer, Lizz Carr, LONDON, Luke Norris, Maryam Philpott, National Theatre, Robert Bowman, The Normal Heart


The Florida Board of Bar Examiners released results Monday from the General Bar Examination administered Feb. 26-27 in Tampa.
The report shows that 50% – 11 of 22 – of the graduates of Jacksonville's Florida Coastal School of Law who sat for the first time passed the exam.
The average pass rate among all who took the exam was 57.3 percent.
Thirty-nine of the 117 graduates of law schools outside Florida passed (33.3%) and 71%, 171 of 241, of those admitted to the practice of law passed the exam.
The average pass rate was 57.3 percent, 343 of 599 who were examined for the first time.
The board points out that the results reflect the performance of individuals and do not represent an evaluation of the law schools.
1. Florida International University College of Law, 80%, (8 of 10 passing).


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Eaton Machine Gun Battery
Jeffrey Armoured Car – Eaton Machine Gun Battery 1915 Niagara Camp Ontario
"Niagara Camp 1915, Jimmy Mess (in centre) Eaton M. G. Battery"
From the photo album of my paternal grandfather, Captain William Arnott Stevens, 19th Lincoln Regiment. This was taken at Camp Niagara, near St. Catharines, Ontario, Canada. Album is in the collection of Captain Colin Macgregor Stevens.
The Jeffrey was a U.S. built armoured car. Specifications are not really known. 1 x Vickers .303″ machine gun in turret. 4×4. maximum speed about 20 miles per hour maximum (a slow speed). Anything over 12 m.p.h. gave trouble with engine fans and bearings. The narrow wheels with solid rubber tires would have hampered its cross-country performance. Petrol consumption = 5 miles per gallon (very poor). Electric lights and starters. Car could also be started with a crank from outside. Twin steering. "The gunner occupied the central turret, the driver and car commander sitting in front while the co-driver and a spare crew member faced the rear. Observation from the car was limited.
Dimensions unknown, but estimated to be 18'0″ x 6'4″ x 8'0″
Some of these cars were apparently used in India.
Reference: pp. 19-20 AFV # 9 – EARLY ARMOURED CARS Series Editor: Duncan Crow
The US Army called it the Armoured Car No. 1. At least one was used with Pershing's force on the Mexican border.
How you navigated to this page: www.captainstevens.com > Military & Police > Military Vehicles > Jeffrey Armoured Car


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The statements above indicate, in general, the nature and levels of work, knowledge, skills, abilities and other essential functions (as covered under the Americans with Disabilities Act) expected of an incumbent. This document is not designed to cover or contain a comprehensive listing of activities, duties or responsibilities required of workers assigned to this position Other duties may be required, and the statements below are subject to change at any time. This document is not a contract for employment.


My career has taken me to some interesting and some not-so-interesting places. Fortunately, I carry a camera with me to record it all for posterity. Lately it feels like I spend more time traveling than I do at home. But I'm sure that's just my imagination running away with me. It tends to do that.
I've also collected some favorite pictures and cropped and scaled them for use as desktop backgrounds. If you have a widescreen PowerBook like mine, you might enjoy them.
(By the way, does anybody remember the ITV series that gave these pages their name? No?
My first major business trip coincided with a transfer from Upstate New York to Southern California when I was all of twenty-five. I was fighting for more money. My new manager offered me two months in London. I accepted. Eight and a half months later I finally made it to California. Below are some images from that trip and the much shorter ones I've made since.
I always imagined London as described by Conan Doyle and portrayed by Basil Rathbone: a place of cutpurses and ruffians whose activities were held in check by well-meaning but often inept officials with the help of the odd talented amateur. Scotland Yard, home to Inspector Lestrade and his ilk, was a landmark I knew as well as Big Ben. Actually, this is New Scotland Yard. The original Scotland Yard is a couple of streets away and got its name from the fact that a road called Great Scotland Yard is at its rear. That building was just reopened as stables for the Metropolitan Police. And New Scotland Yard? It's been replaced with a boring chrome and glass structure near Victoria Station. It too is called New Scotland Yard, although it's a lot newer than this New Scotland Yard. Do they do this just to confuse us tourists?
A couple of views of the clock that adorns the Houses of Parliament. We all think of it Big Ben, although a purist will point out that that's the name of the clock's bells and not the clock itself. When I first saw the tower I was a little disappointed; somehow I expected it to be a lot bigger than it is. In the second volume of Following The Equator, Mark Twain talks about this phenomenon: how your own image of great landmarks is far greater than reality but how the two come together again after repeated visits. And so it is with Big Ben; after almost twenty years I can't imagine how I wasn't impressed. Smart man, Twain.
Tower Bridge is the easternmost and by far the most interesting looking of the many bridges across the Thames. I was surprised to learn that it isn't all that old, dating back only a hundred years or so. Its design is entirely practical: the drawbridge permits ships access to the docks to the west while providing a street level roadbed for the era's horsedrawn traffic. A remarkable achievement of Victorian technology and sensibilities. By the way, notice the difference in the sky color from the Big Ben pictures above. Now this is London weather the way I remember it!
On every trip I try to stop at Harrods and visit my money. Harrods food halls are spectacular, although less impressive if you've been in a Japanese department store. Still, their collections of glass and china are unmatched. And they still deliver: a friend arranged for them to deliver a copy of the Hitchhiker's Guide To The Galaxy on record (this was a while ago) for a party. They couldn't find the address the first time and we couldn't wait for their next delivery day, so they sent someone out on the Underground to complete the delivery. Extra points for service, guys.
A view of Upper Regent Street from Piccadilly Circus. Regent Street is home to some of some of my other shopping haunts, including Liberty (source of cool ties and great windows at Christmas) and Hamley's, the world's biggest toy store and the usual collection of American stores. There's even a Warner Brothers store there now. But, sadly, they don't offer any special British cartoon stuff.
London is where I first developed my passion for theatre, taking in a musical or a comedy or a thriller nearly every weekend during that first long stay. (Now when I visit I try to see something nearly every night!) Annie was in its first run during that long ago time. And what a pleasant surprise to reencounter it almost twenty years later. A couple of small changes, though. For one thing the youngest orphan is now playing one of Daddy Warbucks's servants. And for another, the evil Miss Hannigan is portrayed by a transvestite by the name of Lily Savage. What, there aren't enough roles for men on the legitimate stage?
Speaking of transvestites, London is also where I saw The Rocky Horror Show five times, completing its original seven year run at the Comedy Theatre. This marquee is from a revival at the Picadilly which, although fun, just wasn't the same. And I could have done without the audience participation. I wish people would save that stuff for the movies.
This unimpressive door belongs to Number 10, Downing Street, the Prime Minister's residence. Not exactly the White House, is it? To be fair, the doors to any of the Queen's homes are probably a lot more spectacular. I was lucky to get this shot on my first visit. Nowadays they don't let you get nearly this close. Something to do with people who have an extreme approach to expressing their political views.
A little excursion to Dover, two hours by car from London. Famous for its White Cliffs, the Channel Tunnel (which was only a dream when I was there) and this little piece of architecture, Dover Castle. By the way, I finally got my chance to to take Eurostar through the tunnel on my way from Paris to London. What surprised me about the journey is how commonplace it all is. Just a pleasant little train ride that happens to be the culmination of a hundred year old dream.


The Windows to the Universe website is a richly interlinked ecosystem for learning about the Earth and Space sciences for use by the general public, students, and teachers. Windows to the Universe has been in development since 1995. The project started, with support from NASA for a proposal submitted by Dr. Roberta Johnson, Director of Windows to the Universe, to NASA while she was on the Research Faculty at the University of Michigan's Department of Atmospheric, Oceanic, and Space Sciences. In 2000, Dr. Johnson moved with the project to the University Corporation for Atmospheric Research (UCAR), where she continued development on the project with the Windows to the Universe team on numerous grants and contracts over the past decade. In 2010, website management and ownership moved to the National Earth Science Teachers Association, where we will be expanding opportunities to collaborate with the project - with the hope that it becomes a platform for Earth and space science education globally.
Our goal is to build an internet site that includes a rich array of documents, including images, movies, animations, and data sets, that explore the Earth and Space sciences and the historical and cultural ties between science, exploration, and the human experience. Our site is appropriate for use in libraries, museums, schools, homes, and the workplace. Students and teachers may find the site especially helpful in their studying (and teaching!) Earth and Space sciences. Because we have users of all ages, the site is written in three reading levels approximating elementary, middle school and high school reading levels. These levels may be chosen by using the upper button bar of each page of the main site.
We include updates to Windows to the Universe on a regular basis, so we invite you to revisit the site regularly to see our resources grow and change. We are very interested in your comments and suggestions for the site, and we encourage you to use our comments form to pass your ideas on to us. Continue exploring the Windows to the Universe site or find out more about the Windows to the Universe project by looking at our initial proposal or by using the links below.
If Windows to the Universe is an important resource for you, we invite you to become a member, which will give you access to members-only services and opportunities. At present, we are only offering Educator Membership, but plan to offer other forms of membership in the next few months.


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Before entering into any tenancy agreement it's important to understand both your legal obligations, and what you can expect from the other parties involved.
We also specialise in assisting parties to possession proceedings and disrepair claims, as well as a range of other property related matters.
We'll be happy to help landlords or tenants draw up new agreements or discuss existing arrangements. Get in touch with our property team to find out more.
Our Landlord & Tenant Team
Simon is the managing director of Harland & Co and head of its commercial property department. Prior to joining Harland & Co in 1996 he worked for Legal 500 firms in the North East of England and was an in-house property solicitor for a substantial plc. More about Simon Cowell
Diane Grayson
Diane joined Harland & Co in 1999 and has been a director since 2004. She deals with all aspects of property work but specialises in commercial property matters. Diane currently heads up the residential property department. More about Diane Grayson
Catherine Edge
Catherine studied sociology at the University of York before converting to law. She started her training contract with Harland & Co in January 2007 before qualifying in 2009. More about Catherine Edge
Associate Solicitor
Kevin qualified as a solicitor in 2003 and is now an Associate within Harland & Co. He has many years experience of dealing with civil litigation and provides advice and assistance to clients who are involved in bringing or defending Court Claims. He also has a substantial Private Client caseload dealing with Will drafting, Powers of Attorney, Court of Protection matters and the the Administration of Estates. More about Kevin Grant


Aries is the fire element and Aquarius is the air element when air combines with fire it increases the flames of fire which signifying the flames of love and passion, will fill their love life with joy!
Aries and Aquarius love compatibility will bring positivity, happiness and tones of positive emotions. When these two signs fall in love with each other they will give a birth to a new love story.
Aries and Aquarius love compatibility are showing that these two signs are way too perfect for each other, their love life would be a roller costar ride full of twist and turns!
If we talk about the sexual life of Aquarius and Aries, they can be really stressful and extremely exciting usually, it is both. But green flags for Aries and Aquarius love compatibility both signs are showing similar personality traits which lead to better understandings and longevity of their love life.
Aries and Aquarius love compatibility will surely work because these signs have an outstanding thing in common, both are travel freak! They love to explore different places, both are born with a curious soul and having a partner with same madness is the best feeling in the world.
The backbone of every successful relationship is better understanding, trust and the most important "No to over thinking" and according to Aries and Aquarius compatibility, these signs go well together in a relationship, since they have a lot of energy to follow one another.


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Can the Next Einstein Come from Africa?
By JLABS
Paul Stoffels, M.D., Chief Scientific Officer and Worldwide Chairman, Pharmaceuticals, Johnson & Johnson
By 2050, two out of every five children on Earth will call Africa home. Any one of them has the potential to become the next Albert Einstein, Marie Curie, or Jonas Salk. Scientific research outputs made by researchers in Africa have doubled since 2003 and the quality of that research is high.
The Next Einstein Forum (NEF) is a global science and technology initiative in Africa designed to speed collaboration, innovation, and solutions, and Johnson & Johnson is a passionate supporter of their work. The NEF Global Gathering took place this week in Dakar, Senegal, with some 700 scientists, ambassadors and heads of state, Nobel Laureates, and biopharmaceutical industry and public sector representatives, in attendance. Together we are working to promote global scientific leadership in Africa, identify and foster scientific talent, and ensure there is robust opportunity for young people and women to contribute to scientific advancement.
My passion to see scientists in Africa recognized as global leaders began early in my career, when I started my medical training in Africa as the HIV crisis was emerging. That experience never left me; my spirit and my heart remain on that continent, and my perceptions of what we should expect from our global research endeavors were irrevocably changed. Africa is changing – development is occurring at a breakneck pace, wealth and urbanization is increasing, and Africans see their lifestyles changing in formerly unimaginable ways. These changes will impact the diseases affecting this continent. Researchers will need to expand their focus from communicable diseases, like malaria and Ebola, to chronic diseases like hypertension and diabetes. New and novel ideas must come from Africa if we are to address the burden of evolving and previously unseen diseases.
Johnson & Johnson Innovation recognizes the invaluable role scientists and innovators from countries in Africa play in addressing today's most challenging healthcare problems. The geographic, ethnic, religious, and socioeconomic diversity found across this continent will no doubt give rise to innovation and broaden our understanding of the world around us. We also recognize there is a role for the private sector to play in building the STEM infrastructure throughout Africa, paving the way for us to collaboratively solve complex healthcare issues. Our focus has long been on fueling technology and life science discoveries. Our involvement in NEF reinforces our priority to support, drive, and engage talent and innovative research across the globe.
I believe that scientists and researchers in Africa have the potential to solve some of the most urgent healthcare challenges of our time, and that, with the right educational and scientific infrastructure, the next great scientist will come from Africa. Let's make sure she has the education, resources and platform to turn her revolutionary idea into a reality.
[1] http://www.unicef.org/publications/files/Generation_2030_Africa.pdf
[1] http://www.worldbank.org/en/region/afr/publication/improving-the-quality-and-quantity-of-scientific-research-in-africa
Providing a model where scientists can focus on the science.
See all articles by JLABS
Resident News
Nanowear Receives FDA 510(k) Clearance for SimpleSENSE, a Cloth-Based Wearable Remote Diagnostic Monitoring Platform
MyHealth.US Awarded Best Wearable Technology Solution by Health Tech Digital
Video: JLABS Global Network


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Board index South Park Did You Notice? Season 8
801: Good Times With Weapons: Mistake or Blooper or Whatever
cheddercheese99
Postby cheddercheese99 » Wed Jul 27, 2011 7:58 am
In fight mode when Stan tries to attack Butters with a fire ball, Butters says that his cloak is made of a titanium alloy that shields him from heat. Titanium is a metal, and metals conduct heat; therefore it's impossible for a titanium alloy to shield you from heat.
Niels0827
Re: 801: Good Times With Weapons: Mistake or Blooper or What
Postby Niels0827 » Wed Jul 27, 2011 8:16 am
Titanium does conduct heat, but it has a much lower thermal conductivity than most other metals. If one were to make a heat-resistant shield and had to use a metal, titanium would be one of the best choices.
NeuroHeart
Postby NeuroHeart » Wed Jul 27, 2011 1:43 pm
Niels0827 wrote: If one were to make a heat-resistant shield and had to use a metal, titanium would be one of the best choices.
And in fact there have been several things made of titanium alloy for just that purpose, especially the heat-shields on anything that's meant to re-enter the atmosphere.
To believe in something just because you're afraid of the consequences if you don't believe in something is no reason to believe in something.
Blackmist64
Postby Blackmist64 » Mon Aug 22, 2011 3:09 pm
would Butters know what a titanium alloy even is? I think part of the point is the funny stuff that 8-year-olds would come up with while they were playing; it's not supposed to make any sense.
Big-Will
Postby Big-Will » Mon Aug 22, 2011 5:46 pm
Blackmist64 wrote: would Butters know what a titanium alloy even is? I think part of the point is the funny stuff that 8-year-olds would come up with while they were playing; it's not supposed to make any sense.
It certainly didn't to cheddercheese99.
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A sprain is an injury to the ligaments around a joint. Ligaments are strong, flexible fibers that hold bones together.
When you sprain your wrist, you have pulled or torn one or more of the ligaments in your wrist joint. This can happen from landing on your hand wrong when you fall.
See a health care provider as soon as possible after your injury.
Wrist sprains can be mild to severe. They are ranked by how severely the ligament is pulled or torn away from the bone.
Grade 1 -- Ligaments are stretched too far, but not torn. This is a mild injury.
Grade 2 -- Ligaments are partially torn. This is a moderate injury and may require splinting or casting to stabilize the joint.
Grade 3 -- Ligaments are completely torn. This is a severe injury and usually requires medical or surgical care.
Chronic wrist sprains from poorly treated ligament injuries in the past can lead to weakening of the bones and ligaments in the wrist. If not treated, this can lead to arthritis.
Symptoms such as pain, swelling, bruising and loss of strength or stability are common with mild (grade 1) to moderate (grade 2) wrist sprains.
With mild injuries, stiffness is normal once the ligament begins to heal. This can improve with light stretching.
Severe (grade 3) wrist sprains may need to be looked at by a hand surgeon. X-rays or an MRI of the wrist may need to be done. More severe injuries may require surgery.
Chronic sprains should be treated with splinting, pain medicine, and anti-inflammatory medicine. Chronic sprains may need steroid injections and possibly surgery.
Rest. Stop any activity that causes pain. You may need a splint. You can find wrist splints at your local drugstore.
Ice your wrist for about 20 minutes, 2 to 3 times a day. To prevent skin injury, wrap the ice pack in a clean cloth before applying.
Make sure to rest your wrist as much as you can. Use a compression wrap or splint to keep the wrist from moving and to keep the swelling down.
DO NOT give aspirin to children.
To build strength once your wrist starts to feel better, try the ball drill.
With your palm up, place a rubber ball in your hand and grab it with your fingers.
Keep your hand and wrist still while you gently squeeze the ball.
Squeeze for about 30 seconds, then release.
Repeat this 20 times, twice a day.
Warm up your wrist by using a heating pad or warm washcloth for about 10 minutes.
Once your wrist is warm, hold your hand out flat and grab your fingers with the uninjured hand. Gently bring the fingers back to bend the wrist. Stop just before it begins to feel uncomfortable. Hold the stretch for 30 seconds.
Take a minute to let your wrist relax. Repeat the stretch 5 times.
Bend your wrist in the opposite direction, stretching downward and holding for 30 seconds. Relax your wrist for a minute, and repeat this stretch 5 times, as well.
If you feel increased discomfort in your wrist after these exercises, ice the wrist for 20 minutes.
Do the exercises twice a day.
Follow up with your provider 1 to 2 weeks after your injury. Based on the severity of your injury, your provider may want to see you more than once.
For chronic wrist sprains, talk to your provider about what activity may be causing you to re-injure your wrist and what you can do to prevent further injury.
Gaston RG, Robinson EP, Lourie GM. Hand and wrist diagnosis and decision making. In: Miller MD, Thompson SR. eds. DeLee and Drez's Orthopaedic Sports Medicine. 4th ed. Philadelphia, PA: Elsevier Saunders; 2015:chap 71.
Williams DT, Kim HT. Wrist and forearm. In: Walls RM, Hockberger RS, Gausche-Hill M, eds. Rosen's Emergency Medicine: Concepts and Clinical Practice. 9th ed. Philadelphia, PA: Elsevier; 2018:chap 44.


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Viewpoints May 2021
Chart of the week: UK monthly GDP
Author: ICAEW Insights
This week's chart takes a look at the rebound in UK gross domestic product in March 2021, despite the country remaining in lockdown.
UK GDP jumped 2.1% in March 2021 according to the Office for National Statistics. A positive sign but, as our chart of the week illustrates, there is still a long way to go to get back to pre-pandemic levels of economic activity.
The #icaewchartoftheweek is on the economy this week, taking a look at how the latest economic statistics from the Office for National Statistics indicate a rebound in GDP in March 2021 even as the country remained in lockdown. This is a positive sign as the UK starts to emerge from the pandemic and people start to return to 'normality', albeit a new normal that is likely to be different to what came before.
However, the chart also makes clear how far the UK still has to go to return to pre-pandemic levels of economic activity, with the anticipated square-root shaped recovery stopped in its tracks in the last quarter of 2020 as COVID-19 resurged and restrictions on daily life were reimposed. The 2.1% real-terms growth in GDP in March follows a pattern of ups and downs in recent months with a fall of 2.2% in November, an increase of 1.0% in December, a fall of 2.5% in January, and an increase of 0.7% in February.
With the progress made in combating the virus over the last few months enabling lockdown restrictions to be progressively lifted across the UK, the hope is that March will be the second month on a more sustainable upward curve.
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KANSAS CITY, KAN. ----- Racing at Lakeside Speedway will be postponed until Sunday.
Mother Nature is forcing the excitement of tonight's racing action at Lakeside Speedway to be rescheduled for this Sunday, April 6, 2014. Pit gates will open at 1:30pm, front gates will open at 2:00p.m. , hot laps will start at 3:30pm and racing will start at 4:00p.m.
All four classes, the USRA A-Mods, the USRA B-Mods, the USRA Stock Cars and the Grand Nationals, will compete. While the Midwest weather continues to disrupt local racing, we hope your plans can move with us.