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Each month we'll be posting the monthly digest, including a new interview, essay, poem or other piece of original creative content related to dance making in Utah here on the blog along with some recent reviews you might have missed. We'll still publish the print version at least once a year as a dance criticism compilation.
June Digest: A Conversation with Kathy Adams
Kathy Adams, who has written dance criticism for the Salt Lake Tribune and Dance Magazine among other publications picked up the phone a few days ago to call me (Samuel Hanson, editor of this digest) in Brooklyn. We chatted about dance in Utah, New York and elsewhere past, present and future.
Kathy Adams visiting San Francisco to see the work of Justin Peck
Sam: Kathy, I've missed your voice for the last couple of months at the Tribune. You were my prime source for keeping up with dance in my hometown. I understand from talking to you just now that what happened to you was anything but personal. But I'm still struggling to understand what's going on.
[Since the time of this conversation, the Tribune laid-off 34 staff members, including Arts section editor Anna Cekola, and the only arts staff reporter Ellen Fagg Weist. Prior to these cuts, the freelance staff had been eliminated as a cost-saving measure to spare staff positions, a plan that obviously did not work.]
Kathy: I think it is well worth anyone's time to listen to the May 15, 2018 podcast of Radio West for a deeper analysis of why the Tribune and newspapers across the country in smaller markets are either sinking or swimming.
Sam: I will check that out. I know that newspapers in general are having a rough go of it. I've thought the Trib was doing a pretty good job with "hard news". I've followed their coverage of the Bears' Ears debacle. But I and others have missed your writing on dance.
Kathy: Thank you. I think investigative reporting is the lifeblood of a civil society. But young people need to learn to pay for news. Just because you can read it for free doesn't mean you should – someone wrote, edited, re-edited, designed and did the layout for every article. They all need to be paid.
Sam: I agree. So are you writing for any other local or national publications? I know you've done a lot at Dance Magazine in the past...
Kathy: I do have a query into Dance Magazine right now after receiving a call from them for pitches on a particular subject. But I've become somewhat involved in local politics. I'm the vice president of my neighborhood League of Women Voters, and am a delegate for Utah State District Two. Both positions are only because I failed to step back off the line quickly enough and was left standing as the volunteer.
Sam: Good for you! Are there things going on in dance that excite you that I might not know about?
Kathy: I've been paying a little more attention to what is going on in LA, because it's closer and since my daughter moved from NY to LA. I bought tickets for her to see LA Dance Project (next best thing to being there) at The Wallis. Her report back was very positive. Last year I wanted to see what all the fuss was about regarding Justin Peck so I flew to San Francisco to see SFBallet perform his work and found all the fuss was about his immense talent.
I check out things I come across such as New York Live Arts online – I recently watched some of Rashaad Newsome's work.
Regionally, SALT Contemporary Dance out of Lehi has made positive strides in the last two years. They commissioned several works by the NY-based choreographer Brendan Duggan, who is refreshingly creative, and recently hired Nick Palmquist to teach and create a new work. I ran across Palmquist on Instagram, he teaches at Broadway Dance Center and danced with American Dance Machine, the company that reconstructs Broadway choreography for the concert stage, so his work reflects the historical elements of jazz and adds a new flavor.
What are you seeing that interests you?
Sam: I would love to learn a little more about what's going on in LA. It's interesting though that you bring up Palmquist or Newsome because I often have this experience where I ask friends of mine outside New York what they're interested in and they bring up things that are happening here that are just outside of my orbit. NYLA (formerly Dance Theater Workshop) is a space I make it to sometimes but it's not really on the circuit of places I'm visiting almost every weekend. Even within the so-called "downtown" scene (although most of us don't live in downtown Manhattan anymore) there are these little cliques you find yourself in. The last time I was talking to Liz Ivkovich, another Utah choreographer and performer, she brought up another show at NYLA which I had no idea about. I did see Bebe Miller's show (with Susan Rethorst) there recently which I loved.
Kathy: I first saw her work in Ohio. I think she was one of a generation of artists who toured to NPN sites in the late eighties, before the national funding for dance really started to dry up. I was also fortunate to see Bill T. Jones, Creach/Koester, Stephen Petronio, Doug Varone at that time when their careers were first launching into the national spotlight. But whose work are you interested in now in NYC?
Jessie Young, NY-based choreographer who trained in Utah
Sam: Jessie Young, who went to school with me at the U, has arrived here by way of Seattle, Chicago and lately the Urbana-Champaign grad program. She went to school with a woman named Jess Pretty who did a beautiful solo I saw a few nights ago. Jonathan González's show at Danspace took some pretty incredible risks; Jasmine Hearn, who's also an incredible singer; the beguiling Emily Wexler; and Adrienne Truscott and Mariana Valencia, two powerful women who use a lot of text in creative ways. Heather Kravas, a Seattle-based artist who I think is doing what people think Beth Gill's work is doing, taking formal tools of choreography and stretching them to their limits to put the performers under a certain pressure. Do you know Charles Atlas' work? I loved his video show at the Kitchen recently, so much history. I could go on and on. It included a video about Merce Cunningham that I think was the first time I ever saw modern dance, long before I was ever in a dance class when my dad used to take me to the Utah Film and Video Center which is where UMOCA is now. It was a wonderful space destroyed by the Olympics.
Kathy: I know Charles Atlas' work...
As you go about your so-called circuit in New York, you should keep a little journal of things you see along the way. I remember just walking home from the train one night and as I passed a vacant gravel lot, there were several Butoh dancers slowly sliding down ropes with spotlights on them. It turned out to be Sankai Juku. That's part of what makes New York special.
Sam: I really should start doing that.
Kathy: Do you ever run in to Laja Field in New York? She and her husband have a new company called LajaMartin...
Sam: Maybe I should start by going to Laja's show. I actually ran into them at the airport recently when we were both coming back from Salt Lake. They just had a show at the Westbeth building where Merce Cunningham used to live. A slight digression: As you know I don't get to the ballet much, but circling back to Justin Peck I did hear a very lively discussion about his work on Reid and Jack Ferver's podcast, "What's Going on with Dance and Stuff". Bartelme is an interesting person, one of those people on the edge of the ballet world but also "downtown" dance. It's important to get out of one's little niche world and see what else is going on in the place where you live, that's part of what I loved about Atlas' show, it was all of this history, from Merce to Michael Clark to Ishmael Houston-Jones to Dancenoise and points between mixed with images from CNN and the Iraq War. But it was almost like he hadn't edited anything out. Often in history we get the hagiographic, canonized version. In my circles it's the eighties now and also Judson, Judson gets canonized a certain way. The irony being most of these people are still alive. But there are things left out, like African-American choreographer Dianne McIntyre's work with jazz musicians and dance improvisation that was happening at the same time just in a different part of the city.
Kathy: I think it would be great if more people recognized Dianne McIntyre as a groundbreaker – she is from Ohio like me (haha). I just subscribed to "What's Going On With Dance And Stuff" – thanks for the suggestion.
Sam: Are you fed by artistic or cultural interests outside of or related to the dance world?
Kathy: I'm very interested in visual art, yet I don't find it necessary to integrate dance with visual art. Except in places where it occurs naturally, combining mediums is often clumsy. Wherever I travel, I seek out live performance and art exhibits. Art is the most telling aspect of any city or place.
Earlier this year I went to a 35-year retrospective of Kerry James Marshall's work at the LA Museum of Contemporary Art. Since that time, the Obama portraits by two other African American artists caused quite a stir so I was glad I'd seen Marshall's work up close in a gallery setting and could make an informed opinion about the aesthetics of the Obama portraits. I think Marshall's work is more mature and complex than Amy Sherald's painting of Michelle Obama. Kehinde Wiley's portrait of President Obama captured his essence and the iconography will be explored and analyzed throughout the ages. Wiley is accomplished at portraiture, but Sherald's lack of experience in portraiture was apparent to me. I understand all the sociological implications of choosing Sherald – it still looks like a piece of commercial art to me.
I also went to an installation in LA at the 14th Factory curated by artist Simon Birch, it was a self-guided immersive experience. I'll send a couple photos to you Sam.
At the 14th Factory in LA, photo by Kathy Adams
I spent a couple weeks in Hawai'i this winter and went to the Honolulu Museum of Art – I saw David Hockney's L'Enfant et les sortilèges, a permanent exhibit at the Spalding House. Then I went to the main HMA that houses the largest collection of Hawaiian and Polynesian cultural artifacts in the world. It also has a nice collection of contemporary art, the Doris Duke Theater, and when I was there a tour of Shangri La, Duke's home in Honolulu.
Sam: What else inspires you these days?
Kathy: I'm inspired by Eric Handman who consistently produces intelligent work. Most choreographers describe their process as collaborative now-a-days – but when Eric's work goes up on stage it reflects the people that were there in the room.
I was also emotionally inspired when Doug Varone came to Utah recently and performed at the Marriott Center for Dance. The symbiosis of the U dance students with the professional RW dancers and Varone's exceptionally skilled dancers (including our very own Brad Beakes) coming together in a performance felt very personal and emotionally rich for me. How better to inform the audience about the value and potential of dance than by experiencing our community on stage.
When Doug Varone and Dancers performed in Cincinnati in 1987 on what I believe was his first company tour, it coincided with the very beginning of my writing career. As an audience member last month at the Marriott, I had the sense of watching an entire career evolve from a seat in the front row.
Sam: Varone certainly has had an influence on this community through the years. Through his work and others connected to him. I wonder about the sustainability of even those sorts of lineages though. Lately when I come home to Salt Lake it looks different. There are more new condominiums and the endless sprucing up of downtown seems to just be getting more intense. I have friends – not so much dancers off the top of my head, but painters, musicians –who have long viewed the city as a kind of haven where they could make their work in seclusion and not have to worry too much. I feel like it's a place where such marginal lifestyle can now not so easily be indulged. Do you feel that change in the dance world in the last three years?
Kathy: Honestly Salt Lake is still so much cheaper than any other major city. There's more work now that doesn't announce itself. You have to watch it and put together the clues to figure out where the artist is going.
A few young SLC dancers who I'm watching are Eliza Tappan, Breanne Saxton, and Katherine Adler, who now lives in Massachusetts. I've always wanted to do an article on how one builds a dance career as a freelancer in a small market. It would be about the positives (freedom to choose projects) and the negatives (scheduling, budgeting, stress). I envisioned the three dancers mentioned above as good interviews. Maybe you can write that story Sam!
Sam: Another person I might add to that list is Emma Wilson, who I interviewed last month. She reminds me a little bit of Adrienne Truscott who I mentioned above – who I worked with in Liz Ivkovich and Alysia Ramos' piece about Terry Tempest Williams last year. Alysia's soon headed to Brazil I think, she was at Oberlin, but Liz is still in town and very talented, I hope they reprise their collaboration. Anyway when I was last visiting my folks I saw Emma Wilson at 12 Minutes Max doing a solo about the perils of love and imaginary friends. I used to love Amy Freitas' work and I admire her ability to organize people into regular gatherings, I don't know what she's up to now.
In the foreground, Adams' mother dancing with RDT dancer Ursula Perry in an improvisation workshop for aging populations in 2016 lead by St. Louis-based RDT alum David Marchant. (Marchant's workshop was separate from Claudio's work referenced below.)
Kathy: I spent the past year researching and writing an article on Juan Carlos Claudio's organization Grey Matters, because I think it is at least as important for movement to be relevant in marginalized communities as it is for those seeking out daring and adventurous forms of contemporary dance.
I'm also excited to see Omar Karrum who's coming to Salt Dance Fest, he's someone I know nothing about from a scene I know little about...
Sam: It seems like there's a lot going on in Mexico these days, but I'm also uninformed about the larger situation for dance there, outside of Performática, a wonderful festival in the state of Puebla that I've been to twice. A lot of people I met there now live up here in NYC and Europe. Did you happen to go to Hilary Carrier's last Dance Company concert at West High? I was sort of moved when I found out that it was happening last night as I was performing a solo in Queens. Natosha Washington is taking over as they have long discussed.
Kathy: No! Hilary is the most practical yet creative person in the world – and she never encourages me to come to her shows. Natosha Washington's show at the Tanner Center about two years ago was also tremendous in terms of movement invention and continuity.
Sam: No one could replace Hilary but I think Natosha will be amazing in that role that has historically fostered the beginnings for so many dancers that are now spread out all over the world.
← July Digest: Linda Frank on The Space ProgramRemembering Janet Gray →


The absence of our father teaches us to in many ways surrender our potential and then we learn to obey our instructions. By accepting the status quo, we learn to surrender our ability to choose a different future.
As mentioned earlier, at some stage throughout their lives most people express a desire to express their potential be that through wealth, health happiness, social status or alike.
If you examine what most people genuinely want out of life, their answers can be expressed in terms of a desire to help others; a desire to live a life of choice; a desire to feel secure; a desire to experience peace of mind; a desire to live according to their own sense of time; a desire to be free of the everyday constraints of the need to earn a living; a desire to feel a sense of achievement; a desire to give meaning to their existence; a desire to feel certain about the future and a desire to experience increasing states of happiness. While most people desire these things, most will never achieve them because of the blockages or glass ceilings they adopt. Their programming and conditioning leads them in different directions.
From a very early age, we are taught what is best for us, what we should know, how to survive, our place and how to act within contemporary society. In short, we are taught to follow a set of rules that have been designed to make us fit the majority view, and in so doing we are taught to surrender our potential for a life of freedom.
Human development is said to pass through three major stages with the first being 'preconvention' where we enter the world as unsocialised humans. At the preconvention stage we are unaware of our sense of self, unaware of the external world, because the external world has not yet been constructed for us. We have no sense of ourselves as humans, no sense of what is required of us by our parents and no sense of what is required of us by society. As we grow our 'training' begins and we become 'educated', through the system of parents, elders, teachers, religious leaders, mass media, role models, friends, and a cast of thousands, into a wisdom based on the convention of the masses.
By absorbing an enormous amount of information, beliefs, myths and stories that are positioned for us to 'experience' we learn to adapt our behaviours to a particular view of the world and we learn to defend that view as being the 'right' one. Through the continued positioning of societal constructs we are effectively conditioned into believing that the world seen through the eyes of conventional wisdom is a world full of decent morals, legitimate beliefs, meaningful values and effective behaviours. As our 'training' nears completion we move into the stage of human development termed 'convention'.
When a major element such as our father is absent from our modelling we can subconsciously adopt a belief that we in many ways are unworthy or in some way incomplete thus seriously limiting or more accurately self determining the level of success we believe that we can or should realise.
As we mature into this stage we are encoded with a view of reality based on what Rodger Walsh refers to as a 'consensus trance of distorted consciousness'. This trance of convention is where the majority become trapped and human development grinds ever so slowly in a semiconscious existence. In this trance like state we are normally unaware of our flocking and herd behaviours.
Walsh suggests that we don't normally recognise this trance for a number of reasons. Mainly the lack of recognition has to do with the fact that we are hypnotised during infancy where we all come to believe in common goals and where we begin to share in the consensus of constructed myths. This enables us to live a life in a constructed 'culture' the biggest cult of all.
Post convention is the third stage of human development yet so very few people ever achieve progress past convention. Our social system actively discourages it. To live outside the rules of convention is to threaten the system of convention itself and the very foundations of our own beliefs. Walsh argues that much of the misery in our lives, much of the turmoil in our relationships and much of the tragedy in the world only begins to make sense once we can view such things through 'post conventional' reference points.
Unless the views of conventional wisdom are challenged and different lessons learned, the majority continue to live under the spell and follow a blueprint of lack. As a result the current state of 'collective psychosis' prevails. While some will survive more comfortably than others, few will ever achieve the potential they were born with. Those who achieve will know and live abundance, but those who do not will experience an existence in hardship and the pain of the absent father.


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Q: iOS 6 popover navigation bar issue
In the image above I got this popover with navigation bar, but the navigation bar overlaps the content and I can't find a way to make the content go below the navigation bar.  The content of the popover is fetched from the device gallery.
This is the code for getting the content and showing it:
UIImagePickerController *photosMedia = [[UIImagePickerController alloc] init];
photosMedia.sourceType = UIImagePickerControllerSourceTypePhotoLibrary;
photosMedia.delegate = self;

popoverController=[[UIPopoverController alloc] photosMedia];
popoverController.delegate = self;
popoverController.popoverContentSize = CGSizeMake(300, 400); // 768 400
imagePickerController.modalPresentationStyle = UIModalPresentationFullScreen;
[popoverController presentPopoverFromRect:btnPhotos.bounds
                   inView:btnPhotos
                   permittedArrowDirections:UIPopoverArrowDirectionAny
                   animated:YES];

redpajama_set_name: RedPajamaStackExchange


New Delhi, Feb 12 (IANS) Hundreds of youth activists of the Communist Party of India-Marxist (CPI-M) observed a hunger strike here Friday to demand the early building of a controversial shipping channel to link India's eastern and western coasts.
The Sethusamudram project will help ships avoid a 785-km detour around Sri Lanka.
CPI-M politburo member Brinda Karat inaugurated the protest organised by the Democratic Youth Federation of India's (DYFI) Tamil Nadu state unit at Jantar Mantar here.
Karat asked the central government to implement the project "without delay".
The Rs.242.7 billion ($6 billion) Sethusamudram project plans to provide ships sailing between the east and west coasts of the country with a continuous navigable sea-route through India's territorial waters.
The project is facing opposition on environmental grounds. There is fear that the channel may result in tsunami waves hitting Tamil Nadu and Kerala more fiercely.
The dredging of Ram Sethu, a mythological bridge built by Lord Ram in the Palk Strait, has been opposed by the Bharatiya Janata Party.


When considering professional communication, we put a lot of effort into what we say (the language of business) and how we say it (clear, slow speech). However, there is a third component of business communication that often goes unnoticed: how you use your voice.
When giving a presentation or speaking to a group, it's important to speak with strong volume to project confidence and ensure your audience can understand you. However, many people go about creating this volume in an unhealthy way. Speaking with too much tension or not enough breath support will cause your vocal quality to suffer, and may cause physical damage to your vocal chords. Two of the most common injuries that can affect vocal function are nodules and polyps.
Both nodules and polyps are masses of tissue that form on the vocal chords due to vocal misuse or abuse. The causes of each differ slightly—nodules form when the voice is misused over a longer period of time (similar to a callous) and polyps typically occur from a single traumatic event (more like a blister). Although neither condition is typically dangerous, both prevent the vocal chords from closing properly, resulting in a hoarse or breathy voice.
Once a person has been identified as having nodules or polyps they may be treated medically or surgically to remedy the problem. In order to rehabilitate the voice and prevent the injury from recurring, a person will then undergo voice therapy with a speech-language pathologist. The speech therapist will act as a voice coach and provide strategies and exercises to help reduce vocal abuse and learn to use the voice in a healthier, more efficient manner.
If you feel hoarse after speaking in public, you may need help modifying your vocal technique. Contact us at www.corporatespeechsolutions.com to find a corporate speech-language pathologist who can help you learn to use your voice in the healthiest manner possible, and prevent vocal chord injury.


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Everything about Covishield COVID Vaccine by Oxford–AstraZeneca
(Source: Weather)
What is Covishield?
Covishield is the brand name under which the Covid-19 vaccine from AstraZeneca (called AZD1222) is distributed in India. It helps to prevent against COVID-19, which is the disease caused by theSARS-CoV-2 virus.
As of April 2021, it is one of the Covid-19 vaccines used in India to fight against the ongoing pandemic.
Who developed the Covishield vaccine?
Covishield was developed by Oxford University's Jenner Institute and European pharmaceutical company AstraZeneca. The vaccine uses a weakened version of a common cold virus (known as an adenovirus) taken from chimpanzees.
It has been modified to have similar material to the coronavirus so that once it has been injected into the body, it can teach the immune system how to fight the real virus.
When was it approved for use?
The Oxford–AstraZeneca COVID-19 vaccine was first approved for use in the UK on 30 December 2020 and deployed on 4 January 2021. It was also approved by several countries worldwide, including India.
In India, AstraZeneca's Covishield was approved for emergency use on 1 January 2021 and began to be used at vaccination centers on 16 January 2021. It was approved by the Drugs Controller General of India (DCGI) and the Central Drugs Standard Control Organisation (CDSCO).
How effective is Covishield against Covid-19?
Oxford University's Jenner Institute began conducting trials on their Covid-19 vaccine in February 2020.
Phase III trials began in July 2020, and the interim results published in November 2020, showed a 70% efficacy of the vaccine (however, this was based on results of 62% and 90% that were taken from two different groups who were given different dosages).
Subsequent results from February and March 2021 showed that the vaccine had an efficacy of 76% beginning 22 days after the first dose, which increased to 81.3% after the second dose, when it was taken up to 12 weeks later.
In total, the Covishield vaccine is around 79% effective at preventing symptomatic Covid-19, and has a 100% efficacy in stopping severe disease and hospitalization.
Covishield has also proved to be effective against the new mutant variants, including the "Indian strain" (or the B.1.617 variant of SARS-CoV2), with patients showing milder illnesses post-vaccination.
Who manufactures the Covishield vaccine?
The Oxford-AstraZeneca vaccine is produced at several sites worldwide. In India, the vaccine is made under the name Covishield and is manufactured by the Serum Institute of India at Pune. From here, vaccines are also sent to numerous other Asian countries.
AstraZeneca continues to manufacture it in the UK and in the European Union, where it is sold under the name Vaxzevria.
How many doses of Covaxin are required?
Covishield is administered in two doses that are given. The interval between them should be 4 to 8 weeks, though an interval of 6 to 8 weeks gives enhanced protection.
How much does the Covishield vaccine cost?
The price of Covishield was initially set by the Serum Institute of India at Rs.400 per dose for state governments, and Rs.600 per dose for the private market. However, this has since been reduced to Rs.300 per dose for the state government.
The vaccines were was also made available to the central government at a rate of Rs.150 per dose.
All this means that if you are going to take this vaccine, the price may vary depending on where you get it. For example, many state governments will administer the vaccine for free at government vaccination centers, but in private hospitals, the cost for each dose will start at Rs.250.
Bihar, Jharkhand, Uttar Pradesh, Punjab, Haryana, Madhya Pradesh, Chhattisgarh, Sikkim, Bengal, Assam, Goa, Tamil Nadu, Telangana, Andhra Pradesh, Kerala, Odisha, Delhi, Jammu and Kashmir, Himachal Pradesh, Gujarat, Maharashtra, Rajasthan, Karnataka, and Uttarakhand.
What are the side effects of Covishield?
Taking the Covishield vaccine might cause some side effects such as headache, fatigue, muscle or joint pain, fever, chills, and nausea.
In extremely few cases in the UK, it was found that blood clots developed in people who had recently received the Oxford-AstraZeneca vaccine. However, this has been labelled a very rare vaccine side effect, and since there was no definite link, it was concluded that the benefits of the vaccine outweighed the risk.
How many other countries are using the Covishield vaccine?
The AstraZeneca Covishield vaccine has been granted Emergency Use Approval (EUA) in 136 countries around the world.
This includes Australia, Bangladesh, Canada, India, Indonesia, Malaysia, Mexico, Pakistan, South Korea, Sri Lanka, Thailand, and the United Kingdom.
Additionally, it has also been approved by the European Medicines Agency for emergency use throughout the EU.
Quick details about Covishield Vaccine
Who developed it?
Oxford University's Jenner Institute and AstraZeneca
When was it approved in India?
When was it deployed in India?
Who is manufacturing this vaccine in India?
Serum Institute of India (SII)
What is in the vaccine?
A weakened version of an adenovirus from chimpanzees.
How many doses are required?
2 doses, given between 4 and 12 weeks apart.
Efficacy of the vaccine
Rs 300 per dose for state governments; and Rs 600 per dose for private hospitals.
How much will you have to pay?
Price will vary depending on vaccination center and state.
What are the side effects of the vaccine?
Headache, fatigue, muscle or joint pain, fever, chills, and nausea.
AstraZeneca's Covishield vaccine is proven to be an effective defense against the virulent Covid-19. While it might not be compulsory to get vaccinated in India, it is extremely important that you try to get the vaccine at the earliest possible opportunity. Doing this can protect you against a deadly disease and greatly minimize the chances of hospitalization.
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redpajama_set_name: RedPajamaCommonCrawl


Amibay.com Forum > Want to Buy > Wanted Software > Other > Found Sega Saturn games (PAL).
View Full Version : Found Sega Saturn games (PAL).
I wish to buy Sega Saturn games PAL version at a reasonable price. As long as the disc is in good and fully functional condition I don't care about manuals and stuff (but I don't mind paying a small extra for them). I can pay thru Paypal. If there is a good offer I could make a mass order. Thanks in advance :thumbsup:.
I have some games which i have plural versions from which i could part with for the PAL saturn. All in nice box and with manual, in good condition.
Might have 1 or 2 more but ill have to take a closer look if you are interested.
I'm interested in Sonic Jam and Virtua Fighter and Virtua On. If you can PM prices I would be thankful. I'm still interested in more games too.
Payment send. Still interested in more games.
payment received, package prepared for shipping. Notification will be sent when it's shipped.
Progress on the package received !
This means you receive the item? Feedback left? Close thread?


Prime Commercial Property. On main Highway 45 Bypass as you are headed North toward Trenton or exiting from the South toward Jackson/Humboldt. Next to West Tennessee Healthcare Trenton Medical Center and directly across from Tennessee/Tractor John Deere Dealership. Two entrances, water, gas, telecom underground, city sewer. Call Jennifer Weems 731-431-2232.
Great Location on 45 Bypass. This was a previous pizza place. Great business for retail, office or restaurant!!


The central idea of an advice system based on social media can be extended into a more general social advice system. That system, which lets you get advice from people and organizations you trust, has many potential applications — applications that would keep the system in use between elections, and which could easily fund the entire project.
The original concept for the voting advice system was to make massive campaign spending irrelevant to elections and end the reign of lobbyists. It does that by letting people easily inform each other, and by letting organizations reach everyone who is interested in their advice, at virtually no cost, and with no spam. In addition, that system can help to ensure the accuracy of vote counts — which can only improve confidence in a democratic system of government.
But such a system can be tailored for other uses, as well. The remainder of this article covers those.
The main goal of the voting advice system is to eliminate the need for advertising. But that doesn't obviate the need to get candidates and the electorate together at rallys and other events. They're important for direct communication, a sense of commonality, and shared enthusiasm. So they won't go away. But the expanded social advice system can make it possible to eliminate the need for advertising those events, as well.
First, let's turn each zip code into a hashtag. For example: #zip99999. It then becomes possible for an advisor to add the #announcements hashtag as something a user can register interest in. The user can then select individual advisors for announcements, or select them all. That system would eventually make it easier for an organization to reach everyone interested, at no cost, with virtually no spam.
Of course, people interested in a given event won't be restricted to a single zip code. To solve that problem, the system can define "regions of interest". In California, for example, regions could include Northern California, San Francisco Bay, Peninsula, Southern Peninsula. On the East Coast, they could include New York City, Brooklyn, Bronx, Staten Island, etc. (naming each of the boroughs). Selecting a region would then send the announcement to each of the relevant zip codes.
The system could integrate with calendar programs. A button would let the recipient add an event to their calendar.
If more than one person passed on information about the same event, the system would have all of the information needed to ignore it, if it is a duplicate.
With 2/3 of all stocks owned by 1% of the population, the outcome is in most cases determined by that 1%. But no doubt there are times when a real proxy battle goes on. In such cases, wouldn't it be nice to know how to vote? A social advice system would make it possible.
As an added benefit for society, the fact that you would know how to vote could create impetus for a 401k investment system where a fund managers manages the investments, but in which proxies are passed to the investors!
With such a system, you could vote with your feet (or more accurately, your wallet), as well as with your voice.
I'll make up a statistic to go with that list: Every bill is 90 pages long! Ok, I don't know how long they are, exactly. But they're long. And dry. And complicated. So most legislators don't have time to read them. Heck, most of the legislators who sponsor a bill haven't read it. It was given to them by a lobbyist, and they depend on the lobbyist for money, so they put it up for a vote!
In such circumstances, how do other legislators know how to vote? In today's world, the votes happen as a result of backroom deals — you vote for my legislation, I'll vote for yours. You vote for this, and the party will fund you in the next election. And like that.
But you elected your representatives to represent you. Wouldn't it be nice if they had advice they could trust, to be sure they're voting in your best interest?
The problem they face in such circumstances is the same one you face at election time: Knowing who to trust, and getting trustworthy advice when you need it. A social advice system can solve their problem, as well as yours.
New movies come out all the time. There are reviewers out there, but word of mouth is another great tool. But when someone you know says that a movie is great, to what degree do you know for sure if they like the same things you do?
Maybe they like movies about relationships. Or movies with lots of explosions. It makes a difference! Since new movies and new music releases come out all the time, a social advice system could help you find the ones you care about.
Sure, you could wait until thousands of people rate the movie on Amazon. But you'll have to wait a while for the reviews to accumulate. Or maybe you could find Yelp reviews online, or the equivalent. But again, given that the reviews come from anyone, how do you know the degree to which those reviews reflect your tastes?
To solve that problem, the advice system could keep track of past recommendations. It could then provide you with a list of songs, bands, or movies from multiple genres. You identify items you like a lot, ones you're ok with, and ones you don't like.
The system can then recommend advisors who are likely to reflect your tastes! As long their recommendations match your tastes, you keep them. And when it turns out they don't, you drop them!
Lets people hear from others who reflect their tastes, so they're not depending on a few highly-paid reviewers, or having to wait for a large number of number of average customers to post reviews.
Like voting, it depends on having an agreed-on system of hashtags that the .ORG would establish.
Unlike voting, it would be used by many every week, which would help the system grow.
You can then specify the genres you're interested in, either from all reviewers, or for selected reviewers.
If you expressed interested in those three genres, then a movie which matched all three categories would move right to the top of the list!
This version of the social advice system could be monetized, with advisors paying to use the system, and with subscribers paying for their services.
Action hashtags would include #buy, #sell, #hold, #watch.
The remaining hashtags would be the stock symbols themselves, with subset-hashtag automatically attached.
People could subscribe for hashtags of interest — for example #buy tweets in #penny stocks, or #sell tweets for stocks they own.
Large organizations and people with large numbers of followers would pay to give advice. The amount paid could depend on the number of subscribers, or net worth.
For loss leaders, they could let people get some number of tweets for free, or get free advice for a period of time, or get some hashtags for free — so #buy would always be available, to help their investors, but to learn what/when to #sell, you need a paid subscription.
It's easy to set up a Twitter account, and it's easy to add hashtags on individual tweets. But there is no good way to categorize your tweets.
Suppose you are golf instructor who also has political views. Some people want to follow your political tweets, others want your golf notes. A rare few want both. Right now, there is no good for people to choose which tweets they want.
You can, of course, set up multiple twitter feeds — but it's harder than you might think, considering that each needs a separate email address. That requirement forces you set up dummy emails that forward messages to your main account.
But with a social advice system, many of hashtags are categories. Those are "required tags", one or more of which must be selected in order to make a tweet — and which (the good news) would not count towards your tweet character limit.
Since every tweet has one or more of the required hashtags, and since the advice system filters out tweets that are not of interest, a subscriber in our example can choose to get tweets on golf, or politics, or both.
You can think of the original voting advice system concept as Twitter on steroids. It would work a lot like Twitter, actually. The only real modification to Twitter would be to allow hashtags to be defined with details, automated search capabilities that find your tags of interest, and the ability to store tweets under the tags they pertain to, so you can find them when you need them.
For the voting advice system, you would have the ability to specify hashtags you're interested manually, in case you were following a race in another state, for example. But in general you would enter your address and zip code to automatically download a list of hashtags for your upcoming ballot — in the same way that the California League of Women Voters site, ____, currently lets you see your upcoming ballot, and get advice from major unions and news outlets.
Allow users to select their advisors in each arena.
Note that, a lot of the time, a trusted advisor is a trusted advisor. Anything they have to say that is relevant to you, you probably want to hear. But other times, you may want to be more selective.
For example, you might trust one person's advice when it comes to music, but not when it comes to movies. You might trust a golf instructor's advice when it comes to golf, but not when it comes to their politics. And so on. In such cases, you want the ability to turn off their advice stream in arenas where you don't want it.
As always, one of the main features of the system is the ability to help you find advisors who are likely to give you good advice. Fortunately, such "social matching" algorithms are well defined. In fact, books have been written about them! They are currently in use in places like personalized music streams, personalized web ads, dating services, and Amazon.com. Of course, they're not perfect. But it's early days, yet. Over time, they'll just keep getting better and better!


Great advice Chris! My wife and I find that most of the coupons we use are for "Health & Beauty" items. Those extreme couponer people crack me up! When you see the inside of their house, half of them would qualify to be on the "Hoarder" shows.
#2 is a big one for me. People keep telling me they lost money when their stocks are down and I always tell them they only lost money if they sold and locked in their losses.
That's why I like stocks. Like you said, you can only loose if you sell.
As for the font, I have no idea why it does that. I normally type the posts and word then past them into wordpress. For some reason the font changes occasionally. You're not going crazy!
Is it just me or did that whole thing sound like it was in code??
If it was confusing, let me know! Hope this helps!
I think if I read through it slowly I'll be able to get it HA. Thanks for the help.
LOL, sorry it wasn't better! You'll get it!!
I find myslef wanting to buy the $5 movies, but I know they're probably on Netflix! Thanks for the comment.
Netflix is amazing. I'm hoping they can keep posting good movies and TV shows even though they are losing contracts. I have a feeling they might raise their prices again in the near future.
You're completely right! I've done that myself when I was younger. Thanks for the advice.


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text:
#include "tensorflow/compiler/xla/client/lib/numeric.h"
#include "tensorflow/compiler/xla/client/xla_builder.h"
#include "tensorflow/compiler/xla/test.h"
#include "tensorflow/compiler/xla/tests/client_library_test_base.h"
#include "tensorflow/compiler/xla/tests/test_macros.h"
#include "tensorflow/compiler/xla/types.h"
#include "tensorflow/compiler/xla/xla_data.pb.h"

namespace xla {
namespace {

class NumericTest : public ClientLibraryTestBase {
 protected:
  template <typename T>
  void TestMatrixDiagonal();
};

// TODO(b/64798317): Delete this test case once xla::IotaGen is converted to
// xla::Iota. This test is already implemented for xla::IotaGen in
// xla/tests/iota_test.cc.
XLA_TEST_F(NumericTest, Iota) {
  XlaBuilder builder(TestName());
  Iota(&builder, S32, 10);

  ComputeAndCompareR1<int32>(&builder, {0, 1, 2, 3, 4, 5, 6, 7, 8, 9}, {});
}

XLA_TEST_F(NumericTest, Triangle) {
  XlaBuilder builder(TestName());
  Array3D<int32> input(2, 3, 4);
  input.FillIota(0);

  XlaOp a;
  auto a_data = CreateR3Parameter<int32>(input, 0, "a", &builder, &a);
  LowerTriangle(a);
  Array3D<int32> expected({{{0, 0, 0, 0}, {4, 5, 0, 0}, {8, 9, 10, 0}},
                           {{12, 0, 0, 0}, {16, 17, 0, 0}, {20, 21, 22, 0}}});

  ComputeAndCompareR3<int32>(&builder, expected, {a_data.get()});
}

template <typename T>
void NumericTest::TestMatrixDiagonal() {
  XlaBuilder builder("GetMatrixDiagonal");
  Array3D<T> input(2, 3, 4);
  input.FillIota(0);

  XlaOp a;
  auto a_data = CreateR3Parameter<T>(input, 0, "a", &builder, &a);
  GetMatrixDiagonal(a);
  Array2D<T> expected({{0, 5, 10}, {12, 17, 22}});

  ComputeAndCompareR2<T>(&builder, expected, {a_data.get()});
}

XLA_TEST_F(NumericTest, GetMatrixDiagonal_S32) { TestMatrixDiagonal<int32>(); }

XLA_TEST_F(NumericTest, GetMatrixDiagonal_S64) { TestMatrixDiagonal<int64>(); }

XLA_TEST_F(NumericTest, GetMatrixDiagonal_F32) { TestMatrixDiagonal<float>(); }

}  // namespace
}  // namespace xla

redpajama_set_name: RedPajamaGithub


text:
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