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Home > Vol 4, No 2 (2018) >	Nyre
Business models for academic prototypes: A new approach to media innovation
Lars Nyre, Joao Ribeiro, Bjørnar Tessem
This article introduces the concept of academic prototypes, and shows how they can lead to technological innovation in journalism. We propose an innovation method that transforms a value-oriented academic prototype into a market-oriented journalistic service. The principles for product development presented here are based on the lean startup method as well as business model canvassing. A prototype scenario shows how the locative information app PediaCloud could be transformed into a locative news service for a regional newspaper in Western Norway. Ideally, the academic prototype will be transformed into a novel and engaging way of reading news stories, and a profitable solution for the newspaper. Realistically, the team will have acquired empirical validation of the business model's strong and weak points. In the conclusion, we summarize the utility of the approach for validated learning, and make recommendations for further research on innovation with academic prototypes.
innovation method, academic prototype, journalism, lean start-up, business canvas modelling
Brock, G. (2013). Out of Print. Newspapers, journalism and the business of news in the digital age. London: KoganPage.
Bakker, P. (2013). Measuring Innovation. Successes and Failures in a Newspaper Market. In T. Storsul and A. Krumsvik (eds.). Media Innovations. A Multidisciplinary Study of Change (pp. 161-174). Gøteborg: NORDICOM.
Canvanizer (2015). Brainstorming: Business model canvas vs lean canvas. Retrieved from https://canvanizer.com/how-to-use/business-model-canvas-vs-lean-canvas
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Blank, S. (2010). What's a startup? First principles. Blog post at steveblank.com, January 25, 2010. Retrieved from http://steveblank.com/2010/01/25/whats-a-startup-first-principles/.
D'Este, P., Guy, F. and Iammarino, S. (2013) Shaping the formation of university–industry research collaborations: what type of proximity does really matter? J Econ Geogr 13 (4): 537-558
https://doi.org/10.1093/jeg/lbs010
Economisti Associati (2011). Feasibility study for the preparatory action "ERASMUS for journalists". Part 2 - Statistical Review. Final report to The European Commission. Retrieved from https://ec.europa.eu/digital-agenda/sites/digital-agenda/files/erjo_part2_report.pdf.
Ekdale, B., Tully, M. Harmsen, S. & Singer, J. (2015). Newswork within a culture of job insecurity: producing news amidst organizational and industry uncertainty. In Journalism Practice, 9(3): 383-398.
https://doi.org/10.1080/17512786.2014.963376
Fang, L. (2015). Do Clusters Encourage Innovation? A Meta-analysis. Journal of Planning Literature, 30(3):239-260.
Fagerberg, J. (2004). Innovation: A guide to the Literature. In Fagerberg, J., Mowery, D., & Nelson, R (eds.) The Oxford Handbook of Innovation. Oxford University Press, Oxford, 2004, p 1-26.
Foster, A., & Ford, N. (2003). Serendipity and information seeking: an empirical study. In Journal of Documentation 59 (3):321-340.
https://doi.org/10.1108/00220410310472518
Gynnild, A. (2013). Journalism innovation leads to innovation journalism: the impact of computational exploration on changing mindsets. Journalism. Vol. 15(6): 713-730.
Hevner, A. and Chatterjee, S. Design Research in Information Systems: Theory and Practice. Springer, New York, 2010.
https://doi.org/10.1007/978-1-4419-5653-8
Kawasaki, G. (2015). The meaning of meaning. Blog post at guykawasaki.com. March 1st, 2015. Retrieved from http://guykawasaki.com/the-meaning-of-meaning/.
Leurdijk, A., M. Slot, & Nieuwenhuis, O. (2012). Statistical, Ecosystems and Competitiveness Analysis of the Media and Content Industries: The Newspaper Publishing Industry. Institute for Prospective Technological Studies (IPTS). Retrieved from http://ipts.jrc.ec.europa.eu/publications/pub.cfm?id=5380.
Maiden, N., Zachos, K., Lockerbie, J., Brock, G. and Traver, C. (2016). Developing and Evaluating Digital Creativity Support in Google Docs for Journalists. 30th British Human Computer Interaction Conference, 11 Jul 2016, Bournemouth.
https://doi.org/10.14236/ewic/HCI2016.23
Maurya, A. (2010). Running Lean. In Science of Aging Knowledge Environment No. 20: 1–278.
McQuivey, J. (2013). Digital Disruption. Unleashing the Next Wave of Innovation. Las Vegas: Forrester Research.
Miller, T. L., Grimes, M., Mcmullen, J. & Vogus, T. (2012). Venturing for others with heart and head: How compassion encourages social entrepreneurship. in Academy of Management Review 37(4): 616–640.
https://doi.org/10.5465/amr.2010.0456
Morlandstø, L. & Krumsvik, A. (eds.) (2014): Innovasjon og verdiskaping i lokale medier. Oslo: Cappelen Damm Akademisk.
Nyre, L. (2009). Normative media research. Moving from the ivory tower to the control room. Nordicom Review, 30(2), 3-17.
https://doi.org/10.1515/nor-2017-0148
Nyre, L. (2010). Experimenting with new media for journalism. Nordicom Information 32(2-3): 83-93.
Nyre, L. (2014). Media design method. Combining media studies with design science to make new media. Journal of Media Innovations, 1(1).
Nyre, L. (2015). Akademiske prototypar. Ei retning for medieutviklinga på Vestlandet (pp. 165-181) in Bjerke, P., Lewe, T., Sivertsen, E., Strøm, G. og Werenskjold, R. (eds.) Festskrift for Sverre Liestøl. Oslo: Forlag 1.
Osterwalder, A. (2004). The Business Model Ontology. A proposition in a design science approach. Doctoral thesis at the University of Lausanne. Retrived from http://www.hec.unil.ch/aosterwa/PhD/Osterwalder_PhD_BM_Ontology.pdf.
Osterwalder, A.& Pigneur, Y. (2010). Business Model Generation. Hoboken, New Jersey: Wiley & Sons.
Ries, E. (2011). The Lean Start-Up - How constant innovation creates radically successful businesses. New York: Penguin.
Rivadeneira, A. W., Gruen, D. Muller, M. & Millen, D. (2007). Getting our head in the clouds: toward evaluation studies of tagclouds. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, San Jose, California, USA.
https://doi.org/10.1145/1240624.1240775
Ruttmann, R. (2012). Investing for Impact: How social entrepreneurship is redefining the meaning of return. Report by Credit Suisse Research Institute and Schwab Foundation. Retrieved from http://www.weforum.org/pdf/schwabfound/Investing_for_Impact.pdf
Ruud, G. T. (2014). Journalistiske entreprenører. Medienes krise - din mulighet. Oslo: Cappelen Damm Akademisk.
Von Schomberg, R. (2011). Prospects for Technology Assessment in a framework of responsible research and innovation. Technikfolgen abschätzen lehren: Bildungspotenziale transdisziplinärer Methode (pp. 39-61). Wiesbaden: Springer.
Sinozic,T & Tödtling, F. (2015) Adaptation and Change in Creative Clusters: Findings from Vienna's New Media Sector. European Planning Studies 23(10):1975-1992.
Sjøvaag, H. (2014). Homogenisation or differentiation? The effects of consolidation in the regional newspaper market. In Journalism Studies 15(5): 511-521.
https://doi.org/10.1080/1461670X.2014.885275
Stilgoe, J., Owen, R. & Macnaghten, P. (2013). Developing a framework for responsible innovation. Research Policy, 42: 1568-1580.
https://doi.org/10.1016/j.respol.2013.05.008
Storsul, T. & Krumsvik, A. (2013). Media Innovations. A Multidisciplinary Study of Change. Gøteborg: Nordicom.
Sørensen, K. (2010). Det norske samfunn - et innovasjonssystem? i Frønes, I. & Kjølsrød, L. (eds.) (2010) Det norske samfunn. 6. utgave. Oslo: Gyldendal Akademisk.
Tessem, B., Karlsen, S. & Nyre, L. (2016). Mobilen som distribusjonskanal for hyperlokale nyheiter. NOKOBIT 2016.
Tessem, B. Bjørnestad, S., Chen, W. & Nyre. L. (2015). Word cloud visualisation of locative information. Journal of Location-based Services, 9(4): 254-272.
https://doi.org/10.1080/17489725.2015.1118566
Trappel, J. (2015). What to study when studying media and communication innovation? Research design for the digital age. Journal of Media Innovations, 2(1): 7-22.
https://doi.org/10.5617/jmi.v2i1.879
Vaagan, R. & Barland, J. (eds) (2015): Entreprenørskap og ledelse i media. Oslo: Cappelen Damm Akademisk.
Vranica, S. (2014). TV Ad Dollars Slowly Shifting to Web Video. Wall Street Journal, May 12, 2014. Retrieved from http://www.wsj.com/articles/SB10001424052702303851804579558091795473048
Westlund, O. & Krumsvik, A. H. (2014). Perceptions of intra-organizational collaboration and media workers' interests in media innovations. In the Journal of Media Innovations 1(2): 52-75.
DOI: http://dx.doi.org/10.5617/jomi.v4i2.2616


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JAY SHAREEF
actor, writer, dreamer
Hebron 2015
Published by Jay on 27/04/2015
Hebron is a city inside the West Bank, and was occupied by the Israeli army in 1967. It's a holy city for Muslims, Jews and Christians. The Prophet Ibrahim and many of his family are buried there. This was an exclusively Muslim city for a long, long time. Then the Zionists moved in 400 colonists. And more than 4000 soldiers! They've turned the old Palestinian area into an open air prison and persecute the local people every single day.
As you approach Hebron, you see signs warning people to keep out as it is dangerous. These signs are here to scare tourists. Otherwise people might see in person what evil the Zionist occupiers are doing to the indigenous people.
One of the market streets on occupied Hebron. Notice the sheets above the alleyway. These were put there by the locals to protect themselves from the stones, rocks, rubbish and faeces that the colonist settlers (who live on higher ground above) regularly throw at them.
Ibrahimi Masjid
The Ibrahimi Mosque, also known as the Sanctuary of Abraham, sits in the heart of the old city of Hebron. The Israeli occupiers, after invading the city, forcibly ejected Muslims from most of the property and converted it into a synagogue. They fly the Star of David above the structure as a constant reminder for the locals that the Israeli military controls the building.
The army checkpoint outside the Ibrahimi Masjid, which is the burial place of Prophet Ibrahim. There are lots of armed Zionist soldiers here, and no one can enter the Masjid without going through the metal detector and being searched… unless you have a Western passport.
The army checkpoint outside the Ibrahimi Masjid
You have to be careful taking photos, especially of the Zionist soldiers. You can see a few of them at the back in this photo.
The Muslim entrance to the Ibrahimi Masjid.
Ibrahimi Masjid, Hebron
Inside the Ibrahimi Masjid.
Main prayer hall. Inside the Ibrahimi Masjid.
Inside the Ibrahimi Masjid. Main prayer hall. Where members of Prophet Ibrahim's family are buried.
Inside this closed room is the grave of Prophet Ibrahim. You cannot go inside. But you can look through this window to see inside.
At the grave of Prophet Ibrahim. Through the other side you can see the window where the Jews look into the grave room.
The grave of Prophet Ibrahim.
The old Mihrab, near Prophet Ibrahim's grave site.
Ever heard of the Hebron Massacre? Have a look at the photo below. From this balcony a murderous Zionist terrorist used a machine gun to shoot at the worshippers in the mosque. After the mass murder, the Zionists closed the mosque for nine months and refused to let Muslims back inside. When it finally reopened, the local Muslims discovered that 60% of the Masjid had been blocked off and was now being used as a Synagogue by the colonists. Who also raised the Zionist flag over the roof of the Masjid as an additional insult to the local people.
Inside Ibrahimi Masjid
Outside view of the Ibrahimi Masjid, which has been mostly taken over by the colonists who use it as a Synagogue, and fly Zionist flags from the roof top.
Hebron centre
Walking towards occupied Hebron city centre.
This is Martyr Street (Shuhada Street). It used to be the centre of Hebron and very busy. The Zionists have banned Palestinians from even walking down it, and have split the town in half. Only colonists (and Westerners) are allowed to walk down this road. Palestinians would be either shot or arrested.
Near Martyr Street (Shuhada Street), the local Palestinians have been forced out of the top floor of their homes, and the top floor is now used as a Military station by Zionist occupation soldiers.
This section of Hebron had been fenced off by the Zionists and soldiers are posted to keep the Palestinians from getting out. The locals are only allowed out during a few hours a day, which means if they have an emergency inside there, they are trapped. People going in and out are harassed by the soldiers, including young school children.
Occupied Hebron.
Zionist occupation army soldier guarding Martyr Street (Shuhada Street).
A Zionist colonist walks freely down Martyr Street (Shuhada Street). A Palestinian would not be allowed to do that.
Zionist fanatic settlers have ironically written "Free Israel" on a military guard tower. They believe all of Palestine belongs to them because Jews are the Chosen People of God and are therefore superior and deserving of the land.
400 Zionist occupier colonists live in this section of Hebron. They are defended by 4000 Israeli soldiers.
Zionist propaganda demonizing Palestinians. The occupation forces put this here for the tourists to see.
Martyr Street. Used to be the commercial hub of Hebron. Now they have banned Palestinians from even walking down here.
Martyr Street, Hebron.
This used to be the Palestinian school in Hebron. The Zionist army took it over (for "security reasons") and then a few months later turned it into a school for the colonist settlers.
The Zionist colonists who live on higher ground regularly throw their rubbish down onto the homes of the Palestinians below. This street has no people left, as they could no longer live here.
Market area, outside the Zionist control zone, where life is a bit more normal. The Palestinian Authority is allowed to run this part.
Market area, outside the Zionist control zone
The Corrie Cafe. Dedicated to American activist Rachel Corrie, who was murdered by the Zionists.
Market area, outside the Zionist control zone, where life is a bit more normal.
Zionist road blocks which have split Hebron into smaller zones, and restricted the Palestinian's ability to move around town, so they can control the local people.
Hebron glass-blowing workshop.
A motorcade of Palestinian soldiers, who are on their way to the funeral of a deceased colleague.
Butchers selling camel meat. You can even buy a whole dead camel, just like the one hung outside.
Apartheid Wall
Zionist military checkpoint which stops the Palestinians getting to Jerusalem.
Zionist military checkpoint which stops the Palestinians getting to Jerusalem. You aren't supposed to take photographs here.
The Apartheid wall. They have two types. An ugly grey one for the Palestinians. Then a prettier brick one near where the colonists live, because the colonisers complained the wall was too ugly to look at. Here you can see where the two designs meet.
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In AD 55 Lucifer Convened his council to devise a way to curb the Church's invasion. Through some tear in the space time continuum I managed to find myself there listening to their plan. It was a really good plan. It just might work. This is the Introduction to the Upper Room Congregation's Handbook.


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The Garland Touch is a 1962 Judy Garland album released by Capitol Records. The album assembles recordings made for other projects: six previously unissued selections had been cut in London in early August 1960, while four songs had been previously released—two on the 1958 album Judy in Love ("Do I Love You?" and "More Than You Know") and two from her recent 1961 single ("Comes Once in a Lifetime" and "Sweet Danger").

This was Garland's last studio album released during her lifetime. Later in London, Garland cut a 1964 EP for EMI Records: Judy Garland Sings Lionel Bart's Maggie May, which Capitol Records did not release in the United States until 2002 (on the compilation CD Classic Judy Garland: The Capitol Years 1955-1965). The rest of Garland's releases prior to her death in 1969 came from various concerts and soundtracks: recordings for the films Gay Purr-ee (1962) and I Could Go On Singing (1963); from her 1963–1964 CBS Television series, The Judy Garland Show; from 1964 concert performances at the London Palladium (featuring solos and duets with her daughter Liza Minnelli); and from Garland's last engagement at the Palace Theatre in 1967.

Track listing

References

External links
 The Judy Room: The Garland Touch Page

1962 albums
Judy Garland albums
Capitol Records albums

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text:
Q: Debug.waitForDebugger(); not working in Android studio When I worked with Eclipse, I used Debug.waitForDebugger() to enter debug mode in hard to reach classes like services.
However, since I moved to Android Studio, I was not able to get Debug.waitForDebugger() to work.
When I add it and run the app, it does not enter debug mode at all.
Does anyone know how to make Debug.waitForDebugger() work in Android Studio?

A: Quoting from AOSP issue 76040 https://code.google.com/p/android/issues/detail?id=76040 -
"DDMS in Eclipse will monitor apps run on a device. When apps show up in ddms in "waiting-for-debugger" mode and the app name (its package) match the package of an app opened in the workspace, then ADT will automatically connect the debugger configured with that particular app.
We should do this in Studio as well. Probably after 1.0 though"
Up until today this problem has not been resolve yet in Android Studio.

A: try android.os.Debug.waitForDebugger();

A: Use the emulator/device entries under "Settings>Development Options" as advised here

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Written on September 2, 2014 . Posted in Announcements + Updates, Writing Center.
Written on April 22, 2014 . Posted in Announcements + Updates, Calendar, Events, Writing Center.
Written on November 2, 2013 . Posted in Announcements + Updates, Writing Center.
The RISD Writing Center and Literary Arts & Studies are uniting to bring you a series of faculty readings. This month, join Gareth Jones and Rick Benjamin in the Writing Center, November 8th.
Written on October 4, 2013 . Posted in Announcements + Updates, Events, Liberal Arts, Writing Center.


You will look like a classic Hollywood sexpot when you are wearing this amazing lingerie set. The top teddy pf the set has been made of a sizzling red colored lace fabric. This fabric has a stretch quality which forms to your body. It has over the shoulder straps. The cups have small vertical middle seams. The front middle area has a large and rounded triangular cut out. It has been accented with a ribbon corset style lace up. Middle width, adjustable garter straps have been added to the teddy. Silky thigh high stockings have been added to this set. These stocking easily attach to these garter straps. This is a classic style set which has a hot look. It also has some more modern style design elements added to it. This gives a fresh take on this classic style look. You will fall in love with this set.


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1st September 2016 by Aspect County
Small Wonder festival at Charleston – September 28 to October 2, 2016
Charleston near Lewes, former home of Vanessa Bell and Duncan Grant, celebrates the short story in September with its unique five-day festival Small Wonder. Central to the festival is the Charleston Award for a Lifetime's Excellence in Short Fiction, which this year goes to prize-winning author Ali Smith, MBE. She is appearing at Charleston on September 28 at 5.30pm.
Ali is one of the publishing world's most original authors, equally at home with short fiction and the novel, including the prize-winning Hotel World and The Accidental. Previous winners have included William Trevor, Edna O'Brien and Jane Gardam.
Other literary heavyweights in the festival programme include Eimear McBride and Lionel Shriver and young writers making waves – Kevin Barry, Lisa McInerney and Petina Gappah.
There are compelling themes about refugees, sex and death and interactive elements such as a literary death match and short story slam. Small Wonder also hosts the BBC's National Short Story Award. The festival finale will be Juliet Stevenson reading Poems that Make Grown Women Cry.
On the 100th anniversary of the birth of Roald Dahl, Charleston celebrates his appeal for adult readers with a fascinating insight into Dahl's life by his biographer Donald Sturrock, who reveals what a complex personality he was.
Two of fiction's favourite detectives – Poirot and Maigret – are brought to life by novelist Sophie Hannah, who has written two Poirot novels (with the blessing of the Christie estate), and by Georges Simenon's son John.
The Kafka-esque plight of refugees seeking asylum has been brought vividly to life in Refugee Tales, where internationally renowned poets and writers, Patience Agbabi, Kamila Shamsie and Dragan Todorovic, retell the stories of individuals who have direct experience of Britain's policy of indefinite immigration detention.
For the second year running, Small Wonder is working with the British Council to welcome an international Writer in Residence to the festival. The writer this year is Kagiso Lesego Molope, who was born and raised in Pretoria, South Africa, before moving to Canada to study. She has written three novels for young adults but hopes the residency will help improve her short story writing skills, giving her the opportunity to meet with a wide range of authors.
For the full festival programme visit Charleston.org.uk/smallwonder. Tickets are available from the Dome box office on 01273 – 709709. There is a shuttle bus service to all events from Lewes railway station.


Special Needs Program meets in the school cafeteria on Saturday, November 3: Blessing of the Bread and Saturday, November 17: Advent Lesson. 10:00am to 12:00noon. For additional information, please contact Dr. Linda Dix in the Religious Education Office.


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Why Fort Collins' Andrew Epperson spent the…
Why Fort Collins' Andrew Epperson spent the past few weeks training in winter running gear
Distance runner readies for midnight marathon at world championships in scorching-hot Qatar
Kathryn Scott, Special to The Denver Post
Andrew Epperson, the assistant cross country and track and field coach at CSU, runs in the Fortitude 10k race on September 3, 2018 in Fort Collins.
By John Meyer | jmeyer@denverpost.com | The Denver Post
September 24, 2019 at 6:00 a.m.
Andrew Epperson is getting ready to run a marathon that starts just before midnight, which might sound like it was some race promoter's goofy idea to make a novelty of his race. That's not the reason, though.
When the rulers of international track and field decided to award their world championships to Doha, the capital of Qatar on the Arabian Peninsula, they also chose scorching hot temperatures hardly conducive to distance running. Hence the men's and women's marathons will start at 11:59 p.m. during the biennial IAAF world championships, which begin Friday and conclude Oct. 6. For similar reasons, the 2022 FIFA World Cup in Qatar will begin in November, five months later than usual, to avoid the summer heat of the desert.
Epperson, a graduate of Colorado School of Mines who is an assistant distance coach at Colorado State, sees a benefit to the odd timing of the race.
"Midnight in Doha is 3 p.m. Colorado time," said Epperson, who plans to keep his body on Colorado time while he is in Qatar for the race scheduled the night of Oct. 5-6. "Normally athletes prepare by getting adjusted to the different time schedule. Since the race is usually in the morning or the afternoon, it may not be the morning or the afternoon where they train. In this case, since they're running the race at such an odd time, it actually lines up pretty well with when I'm (normally) doing my second run."
Epperson is one of nine Colorado-based athletes who will be competing in Doha. Included among them are Emma Coburn, the reigning world champion in the women's steeplechase, and Jenny Simpson, a former world champion in the 1,500 meters who won the silver medal at the last world championships in 2017. Coburn and Simpson train in Boulder, and both claimed medals at the 2016 Rio Olympics.
Epperson has been running in winter running gear in an effort to prepare his body for the heat of Doha. High temperatures there next week are forecast to be in excess of 100 degrees, dropping into the upper 80s at night.
"Normally you get a lot of looks in the summer for not wearing as many clothes," Epperson said. "I'm getting even more strange looks now, running in full winter gear — full pants, a long-sleeve shirt and a shirt over it."
At Mines, Epperson ran for Art Siemers, who was the head coach at the time. Now Siemers is the head cross country coach at CSU and Epperson works for him. Epperson didn't have great times as a high school runner, but Siemers saw something in him.
"He had a good attitude," Siemers said, "and I thought, 'Maybe this little guy will turn out to be something special.' I probably never had a harder worker. Andrew improved from an average high school runner to one of the best Division II runners in the country. Just kept improving and kept training, just a phenomenal success story as far as a runner who never quit and had big goals."
Others from Colorado on the U.S. world championships team include Kara Winger, a javelin thrower who lives in Colorado Springs, and five naturalized Americans born in Kenya who live in Colorado Springs: Hillary Bor and Stanley Kebenei (steeplechase), Shadrack Kipchirchir and Leonard Korir (10,000), and Paul Chelimo (5,000 meters).
Winger, who will be competing in her fifth world championships, has been the American record holder in her event since 2010.
John Meyer | Outdoors reporter
The Post's expert on the outdoors including skiing, mountaineering and endurance sports, John Meyer is a member of the Colorado Snowsports Hall of Fame and the Colorado Running Hall of Fame. He climbed to 24,000 feet on Mount Everest in 1985, has run 13 marathons and is a former Olympics reporter who covered 12 Olympic Games.
jmeyer@denverpost.com
Follow John Meyer	@johnmeyer


I use GNU Screen for everything I do in Linux… perhaps you do too, but perhaps you are annoyed that every time you log in to a terminal session on your Linux machine, you have to go through the one extra step of reconnecting to your screen session or checking to see if one is already running and then maybe creating a new session.
Here's a way to make sure whenever you SSH into your Linux server, you always get right back where you were in your previous screen session just like you left it. The added bonus of this is that whenever you detach from your screen session, you are also automatically logged out of the server.
Simply add these lines to the bottom of your .bash_profile (watch out for word wrapping).
echo "Attempting to connect/create screen session."
echo "Attaching to existing screen session"
echo "Existing screen sessions are all attached"
echo "use 'screen -rd' to detach and attach here."
echo "There are no running screen sessions."
echo "Creating new screen session."
echo "Already in a screen session. Cool."


text:
Q: cross-validating a multiple time-series dataset with mixed-effect model I'm looking at the relationship of school district expenditure on the crime rate of cities/towns within that school district, specifically from 2000 to 2017. There's roughly 14,000 school districts. Crime data is the dv; there are a host of covariates: per capita inc., pop density, pop, etc. etc. Total I have 90,000 observations (I'm limited by cities/towns reporting crime to the FBI)
I have a multi-level mixed-effect model and am trying to cross validate with training/test datasets.
I've searched on-line. Have tried using caret and other methods. No dice. I find a package that works well with time-series, it doesn't work with mixed-effect models (Read through postings by Rob Hyndman and forecasting, and this was the case: would handle time-series, but not mixed-effects)
I can write code for regular cross-validation/k-fold, but I've really met my limits here.


National Vision has established a partnership with the National Optometric Association (NOA) to provide grants to the members of the National Optometric Student Association (NOSA). In its third year, the grant program recognizes three students annually, awarding a total of $7,000. The mission of the NOA, "advancing the visual health of minority populations," is parallel with National Vision's mission of making quality eye care and eyewear more affordable and accessible to all. NOA community service projects and NOSA screenings enhance vision care services in minority communities, which are often underserved. Through this grant, National Vision hopes to encourage students to continue their work in primary care and to recognize its importance in communities nationwide.
Inspired by Simon Sinek, consultant and author of "What is Your Why?," this year's grant essay topic asked students to share their "why," and explain what their personal mission as a future Doctor of Optometry will be. All active NOSA members in good standing with an optometry school in the US or Puerto Rico were eligible to enter and submit responses through a 500-word essay or short video.
The grant winners were announced Friday, July 13th at the NOSA Scholarship Awards presentation during the 10th Annual NOA Convention & CE Program in San Antonio, TX.
As a proud partner, National Vision is honored to support NOSA and to help make it possible for the NOA to continue advancing the visual health of minority populations. Congratulations to all winners!


Last year, the teaser trailer for Filmage debuted to much acclaim. Looking back at the career of The Descendents (including the formation of All when frontman Milo Aukerman left the band), local filmmakers Matt Riggle, Deedle LaCour, Justin Wilson and James Rayburn have documented something that many punk rock fans have longed for. It's one thing to chart the development of a scene, but The Descendents are an incredibly important story on their own.
The first Dallas screening will take place at 7 p.m. this Thursday, July 25 at the Texas Theatre. We talked with Justin Wilson and James Rayburn about the making of the film and his hopes for what will come next.
Is this the first public screening of the film?
No.Filmage premiered last month at NXNE in Toronto. It was a wonderful experience, with about 260 people in attendance.
Other than the primary band members, who all did you get to interview?
The list is pretty long, but some of the notable interviews in the film are; Dave Grohl, Mark Hoppus, Mike Watt, Fat Mike, Brett Gurewitz, Daniel "Bug" Snow.
How did you get Dave Grohl onboard?
We knew Dave Grohl was a big fan. We tried several different paths to get to him without success. Finally, Bill Stevenson offered to help. He was able to get in touch with Dave directly, and help make the connection for us.
What's the plan after this Texas Theatre screening? More screenings? A DVD?
We have several film festivals that have accepted the film, and we will be announcing them when we can on our Facebook page. Other than that we are working on a screening in Fort Collins, Colorado (Bill Stevenson's hometown), as well as a possible LA screening. We hope to announce more information on these soon. DVDs will be available at some point as well.
Knowing you guys are big fans of the Descendents/All, was there anything new that you learned about them by making this film?
One thing that surprised me was how they looked at Milo joining the band as just one incarnation of their musical lives. As fans, we look at that record as a seminal mark on punk rock, but they didn't look at it that way. They thought Milo Goes To College was going to be that one record they did with Milo and that would be it. It was totally acceptable to them that Milo left the band to pursue his academic career because they never thought that record would amount to anything more than any other of their musical outputs. Lucky for all of us, he came back.
How long have you guys worked on this?
Around three years, although it feels like it's been longer. We've been fortunate to have several other talented people jump on board to help us finish it up.


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Tag Archives: basilica
Saint Matthias: The Thirteenth Apostle
Posted by thereliquarian in Altarpiece, Stone Reliquary
altarpiece, basilica, Germany, Krakow, Poland, reliquary, Saint Helena, Saint James, Saint Mary, Saint Matthias, Saint Peter, Trier, Veit Stoss
Veit Stoss, Saint Mary's Altar (detail with Saint Matthias), Saint Mary's Basilica, Krakow, Poland
The Kiss of Judas
Judas Iscariot, one of the original Twelve Apostles of Jesus, infamously betrayed Christ with a kiss in exchange for thirty pieces of silver. Following the Last Supper, Judas led the priests and Temple guards of the Sanhedrin to the Garden of Gethsemane, where he identified Jesus to the gathering crowd with a kiss. His treachery set in motion the events leading to the arrest, trial, and crucifixion of Jesus.
Giotto, The Kiss of Judas (1304-06), Scrovegni Chapel, Padua, Italy (courtesy Wikimedia Commons)
Upon learning that Jesus had been sentenced to death, Judas repented. According to the Gospel of Saint Matthew, "Then Judas, which had betrayed him, when he saw that he was condemned, repented himself, and brought again the thirty pieces of silver to the chief priests and elders, saying, I have sinned in that I have betrayed the innocent blood."[1] Judas's plea fell on deaf ears. "What is that to us?" the chief priests and elders responded.[2] Judas then "cast down the pieces of silver in the temple, and departed, and went and hanged himself."[3] In a conflicting account, retold in the Acts of the Apostles, Peter states that Judas "purchased a field with the reward of iniquity; and falling headlong, he burst asunder in the midst, and all his bowels gushed out."[4]
Whatever the manner of his death, Judas's betrayal opened a void in the ranks of the Apostles. At a gathering of Jesus' followers, which met shortly after the Ascension, Peter proposed that the vacancy in the Apostolate be filled. Two disciples were nominated: Joseph, who was known as Barsabas, and Matthias.
Once Barsabas and Matthias had been singled out, the group prayed for guidance. "Thou, Lord, which knowest the hearts of all men, shew whether of these two thou hast chosen, that he may take part of this ministry and apostleship, from which Judas by transgression fell, that he might go to his own place."[5] They then drew lots to select Judas's replacement. The lot fell on Matthias, "and he was numbered with the eleven apostles."[6]
Not much is known of Matthias's life following his election to the Apostolate.[7] Some sources claim he preached first in Judea and then Ethiopia before he was eventually crucified for his faith.[8] Others state he traveled to Ethiopia, where he preached near the sea of Hyssus, and died at Sebastopolis.[9] Still others declare he was stoned and then beheaded in Jerusalem.[10]
Reliquary of Saint Matthias, Trier, Germany
Ultimately, Saint Matthias's relics were purportedly brought to Rome by Saint Helena – although some speculate that the relics in Rome are those of a different Matthias: Saint Matthias, Bishop of Jerusalem, who died in 120.[11] Some of Saint Matthias the Apostle's relics were also translated to Trier, where they are currently kept in the crypt of the abbey church of Saint Matthias.
Abbey Church of Saint Matthias, Trier, Germany, prior to Mass
Depictions In Art
Compared with the other Apostles, including Judas, Saint Matthias is infrequently portrayed in works of art. His iconography is also less well-defined. For example, while keys are a sign of Saint Peter and seashells are a common attribute of Saint James, no single symbol has come to distinguish Saint Matthias in the visual shorthand of Christian art.
Veit Stoss and Saint Mary's Altar
Veit Stoss's magnificent Saint Mary's Altar, located at the Basilica of Saint Mary in Krakow, Poland, includes one of the few depictions of Saint Matthias I've encountered. Carved in the late 15th century, Saint Mary's Altar is the largest gothic altar in the world, measuring approximately 11 m (36 ft) long and 13 m (42.65 ft) high.[12] The altar, or retable, is constructed as a pentaptych consisting of a large central cabinet and two pairs of wings: an inner pair that is hinged and can be used to close the cabinet, and an outer pair that is fixed.[13] The altar is further supported by a predella and is surmounted by a finial of carved baldachins spread between thinly carved pillars.[14]
Veit Stoss, Saint Mary's Altar, Saint Mary's Basilica, Krakow, Poland
According to multiple sources, the doors of the altar are ordinarily kept closed during the liturgical year and are only opened for important feasts.[15] On several recent visits to Krakow, however, I noted that the doors were generally opened for a few hours each day to allow visitor's to view the central scene of Stoss's masterpiece. The central scene of the open retable depicts two important events in the life of Mary – the Death of the Virgin (or Dormition) and the Assumption – while a variety of Biblical episodes are represented on the wings of the altar.[16]
The Dormition depicts a youthful Mary falling to her knees at the moment of her passing.[17] Unlike more traditional depictions of Mary's passing (such as the one pictured below), Stoss's Dormition purposely omits references to death or dying to emphasize the extraordinary nature of Mary's passage from earthly life.[18] There is no deathbed in Stoss's scene, although Mary continues to be surrounded by Apostles, including Saint Peter and Saint John.[19]
Joos van Cleve, The Death of the Virgin (detail) (1520), Alte Pinakothek, Munich, Germany
In my opinion, in addition to Mary herself, three figures in particular stand out in Stoss's portrayal of the Dormition. The first is Saint James.[20] Because of his central position and his dark, generous beard, the eye is naturally drawn to James, who stands above Mary, supporting her as she sinks to her knees. He is also one of the few figures that stares out towards to the viewer, seemingly making contact with the world outside the altar. The second is Saint John (pictured below), who stands to the right of Saint James, behind Mary.[21] John is holding a blue cloak or cape, which he is raising in an enigmatic gesture. Some suggest he is lifting it to his face to dry a tear while others argue he is extending it to Mary.[22] The third figure that stands out is purportedly Saint Matthias, whose unusual pose is noteworthy.[23]
Saint John (detail), from Saint Mary's Altar
Like the representation of Saint James, the figure of Saint Matthias is also centrally located in the scene, although he is arranged even closer to the center of the composition. His position serves as a visual link between Mary and the saints of the Dormition, and the Assumption, which takes place in the sky above his head.[24] Matthias holds his hands outspread, his fingers interlaced, just above Mary's head in a gesture some have described as one of protection.[25] To me, however, Matthias's interlaced fingers are reminiscent of a crown, and his gesture is suggestive of a coronation. Matthias almost appears ready to place a crown on the kneeling Mary's head. Could the arrangement have been intended to evoke Mary's imminent coronation as Queen of Heaven?
It is interesting to speculate why Veit Stoss might have chosen to place Saint Matthias in so prominent a position on Saint Mary's Altar. Alternatively, Saint Matthias may be the Apostle whose face, carved in profile, is just visible at the left of the composition. All twelve Apostles are present for Stoss's Dormition, so Saint Matthias must be among them. In the absence of a clear pictorial tradition, however, identifying Matthias from among Stoss's crowd of carved Apostles must remain a matter of conjecture. Nevertheless, as Rainer Kahsnitz notes in Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, "Presenting twelve apostles in a single scene—one or two of them young, the rest old and with flowing beards, was a notoriously difficult task for a Late Gothic artist. Only a very few carvers and painters proved themselves up to it."[26] Of those, Veit Stoss may have been the best.
Interior of Saint Mary's Basilica, Krakow, Poland, with Veit Stoss's Saint Mary's Altar in background
[1] Matthew 27:3 (King James Bible).
[2] Matthew 27:4.
[4] Acts 1:18 (King James Bible).
[5] Acts 1:24-25.
[6] Acts 1:26.
[7] See "St. Matthias," New Catholic Encyclopedia, available at http://www.newadvent.org/cathen/10066a.htm (providing a general overview of sources describing the ministry of Saint Matthias).
[8] Id. (citing Nicephorus, 2 Church History 40, in 1 Nicene and Post-Nicene Fathers (Philip Schaff ed., Arthur Cushman McGiffert trans, 1890)).
[9] Id. (citing the The Synopsis of Dorotheus).
[10] Id. (citing Louis-Sébastien Le Nain de Tillemont, 1 Mémoire pour servir à l'histoire ecclésiastique des six premiers siècle 406-7).
[11] Id. (citing Jean Bolland, Acta Sanctorum, Maii, III (1680)).
[12] Krzysztof Czyzewski, Veit Stoss: Mary's Altar 10 (Aleksander Ptak et. al, trans. 2007).
[13] See id. at 10-11.
[15] See, e.g., Czyzewski, supra note 12, at 11; Teresa Czerniewicz-Umer, Eyewitness Travel: Cracow 96 (2010).
[16] The following scenes are depicted on the internal wings of the altar and are visible when the doors are open: the Annunciation, the Nativity, the Adoration of the Magi, the Resurrection, the Ascension, and Pentecost. The following scenes are visible when the doors of the altar are closed: the Meeting of Saint Anne and Saint Joachim, the Birth of the Virgin, the Presentation of the Virgin in the Temple, the Presentation of Christ in the Temple, Christ Among the Doctors, the Capture of Christ, the Crucifixion, the Lamentation, the Entombment, Christ Appearing to Mary Magdalene (Noli me tangere), the Three Marys at the Sepulcher, and the Descent into Hell.
[17] Czyzewski, supra note 12, at 12. In her travel guide to Krakow, Teresa Czerniewicz-Umer opines that the "figure of the youthful Mary is one of the greatest sculptures ever made in Poland." Czerniewicz-Umer, supra note 15, at 97.
[18] Czyzewski, supra note 12, at 12. In Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol, Rainer Kahsnitz states, "In accordance with legendary tradition going back more than five hundred years—the Gospels say nothing about the death of the Virgin—the standard Dormition shows the apostles, miraculously transported from their far-flung missions, convened around Mary's deathbed . . . ." Rainer Kahsnitz, Carved Splendor: Late Gothic Altarpieces in Southern Germany, Austria, and South Tirol 137 (2006).
[19] Rainer notes that portrayals of Mary kneeling in prayer before her death was a form that "spread from Bohemia to southeast Germany, Austria, and adjacent territories in the late fourteenth century." Rainer, supra note 19, at 137.
[20] Rainer identifies this figure as possibly being Saint Paul rather than Saint James. Id. at 139.
[21] Rainer identifies this figure as possibly being Saint Philip rather than Saint John. Id. at 140.
[22] See, e.g., Czyzewski, supra note 12, at 29 (featuring a caption reading "St. John raises the rim of his coat to dry a tear," which accompanies a detail of The Dormition); Czerniewicz-Umer, supra note 15, at 97 (featuring a caption beneath a detail of Saint John stating "the saint is about to put a cape on the fainting Mary").
[23] Rainer identifies this figure as possibly being Saint John rather than Saint Matthias. Rainer, supra note 19, at 139.
[24] In the Assumption, Christ and Mary are being raised to heaven by angels.
[25] Czyzewski, supra note 12, at 12 (noting that one of the Apostles "protects" Mary with his "hands above Her").
[26] Rainer, supra note 19, at 140.
Posted by thereliquarian in Sculpture
basilica, dragon, Italy, relic, reliquary, Saint George, Saint Mark, Saint Theodore, Venice
Saint Theodore Arrives in Venice
He arrived in Venice from the East in pieces: a torso and cuirass, a disembodied head, a crocodile. The Sack of Constantinople in 1204 had devastated the city, but the Venetians, who had transported the army of the Fourth Crusade to Constantinople, managed to salvage an enormous horde of objects from the captured city. The Venetians systematically shipped these objects – statues, jeweled reliquaries, architectural columns, and marble pediments – back to Venice. Among the crates were several fragments of statuary that, when recombined, would become a statue of Saint Theodore, the great warrior-saint, dragon-slayer, and a patron saint of Venice.
Saint Theodore of Amasea
Saint Theodore of Amasea was a Roman recruit martyred in the early 4th century for professing his faith in Christianity. As a new recruit, he is also known as Saint Theodore Tiro, tiro meaning "recruit" in Latin.[1] Saint Theodore of Amasea is often confused with another Theodore – Saint Theodore of Stratelates, a Roman general – although most scholars believe the two Theodores were probably the same person.[2] Butler's Lives of the Saints notes that the stories relating to Saint Theodore of Amasea "cannot be relied on," although they probably refer to "a real martyr who may or may not have been a soldier."[3] Butler's Lives of the Saints continues, "So complicated and contradictory did his story become that, in order to make it less inconsistent, a second soldier St Theodore had to be posited and so we have the St Theodore Stratelates of February 7."[4] Saint Theodore of Amasea's feast day is November 9.
The first known mention of Saint Theodore of Amasea derives from a panegyric delivered by Saint Gregory of Nyssa near Saint Theodore's tomb in Euchaita, modern-day Turkey.[5] According to various legends, when Saint Theodore refused to offer sacrifices to the Roman gods along with his legion he was brought before the governor of the province to explain himself. He declared himself to be a Christian, and when asked why he would profess faith in an outlawed religion, the worship of which was a capital offense, he responded, "I know not your gods. Jesus Christ, the only Son of God, is my God."[6] He was dismissed and, according to some sources, went into the city of Amasea near the Iris River and burned down the temple of Cybele.[7] Not surprisingly, he was captured and was again brought before the Roman authorities who questioned and cajoled him, and then tortured him.[8] When he was returned to his prison cell, he was comforted by visions of angels.[9] Eventually, he was condemned to death and was burned alive in a furnace.[10]
Notably absent from these stories is any mention of dragons or dragon slaying. Why, then, is Saint Theodore frequently depicted slaying a dragon? Saint Theodore's identification as an heroic dragon-slayer may be related to the belief that by his intercession "devils were expelled and distempers cured."[11] In The Dragon in Medieval East Christian and Islamic Art, Sara Kuehn suggests that the belief in Saint Theodore's power to vanquish evil probably inspired the dragon-slaying motif.[12] Kuehn writes, "Dragon-slaying riders were progressively identified as warrior saints and can conclusively be interpreted as exercising an apotropaic or protective function."[13]
In early Christian art, Saint Theodore is often depicted with fellow dragon-slayer Saint George, although portrayals of Saint Theodore slaying a dragon predate those of his more famous companion. Kuehn states, "Among the military saints Theodore and George were predominantly associated with the miracle of dragon-slaying and often appear together. In the hagiographical tradition, Saint Theodore clearly preceded Saint George in the role of dragon-slayer."[14] Early references to Saint Theodore slaying a dragon can be traced to the late 9th century[15] while the earliest known depiction of Saint George smiting a dragon is from the early 11th century.[16] Before then, Saint George was sometimes shown killing a man rather than a dragon.[17] Other saints frequently depicted with dragons include Saint Margaret, Saint Martha, Saint Sylvester, the Apostle Philip, and the Archangel Michael (pictured in the carved sculpture, above, located at the Minster of the Holy Cross, Rottweil, Germany).[18]
Saint George and the Dragon
Incidentally, the celebrated story of how Saint George vanquished a dragon and rescued a princess was likely a later embellishment to the legend of Saint George the martyr – and one that clearly captured the imagination of subsequent generations. Most famously told in the Legenda Aurea (Golden Legend), Saint George was a Christian knight born in Cappadocia who, while out riding in the province of Lybia, arrived at the city of Sylene. The city's inhabitants were being terrorized by a terrible dragon, which they attempted to appease by providing two sheep every day. When the inhabitants ran out of sheep, they substituted a human victim, who was selected by lot. On the day of Saint George's arrival, the king's daughter had been selected to serve as the sacrifice. Saint George ultimately rescued the princess, but before he would slay the dragon, the saint elicited the people's promise to convert to Christianity. This they promised, and once the dragon was killed, four oxcarts were needed to dispose of its carcass.[19]
Joseph Anton Koch, Heroic Landscape with St. George (detail) (1807). Alte Pinakothek, Munich, German.
Butler's Lives of the Saints observes that "the story of the dragon, though given so much prominence, was a later accretion of which we have no sure traces before the twelfth century."[20] The authors further comment, "There is every reason to believe that St George was a real martyr who suffered at Diospolis (i.e. Lydda) in Palestine, probably before the time of Constantine. Beyond this there seems to be nothing which can be affirmed with any confidence."[21] Although Saint George is not mentioned in the Syriac Breviarium, he is mentioned in the Heironymianum, and various pilgrims of the 6th to 8th century identified Lydda or Diospolis as the site of his relics.[22]
Arm Reliquaries, Basilica of Saint Mark
Coincidentally, the arm of Saint George was apparently one of four important relics taken from Constantinople to Venice following the sack of the city in 1204.[23] Located today in the Treasury of Saint Mark's Basilica, the Reliquary of the Arm of Saint George (pictured above, in the right foreground) features an unusual cone-shaped exterior, oval in cross-section, of silver gilt and enamel and a glass lid topped with a figure of Saint George on horseback spearing a dragon.[24]
Reliquary of the Arm of St. George (detail of lid)
A plaque on the lowest part of the reliquary case, above the stems and leaves that form the base, reads in reserve against niello, "ISTVT · EST · BRAC/HIVM · GLORIOXIS/IMI · MARTIRIS S/ANCTI · GEORGEII" ("This is the arm of the most glorious martyr, Saint George").[25] This exterior, of Venetian design, dates to before 1325.[26] The outer reliquary holds an earlier Byzantine reliquary made of silver that dates to before 1204.[27] While the dragon is likely original, the equestrian figure of Saint George is probably more modern, dating to the 16th century.[28] According to some sources, Saint George became Venice's third patron saint – after Saints Mark and Theodore – sometime following the translation of his arm to the city.[29]
Reliquary of the Arm of St. George (plaque in reserve against niello)
He Came in Pieces
As noted above, the statue of Saint Theodore arrived in Venice in various pieces, although the pieces were not, in fact, part of a single, unified work. Edward Hollis, who writes about the evolution and transformation of buildings over time in The Secret Life of Buildings, explains how the Venetians recombined disparate sculptural fragments pilfered from Constantinople to create a single, monumental statute of their patron saint.[30]
After the Venetians left Constantinople, some of the treasures they had appropriated were lost at sea and some were sold along the journey, but most of the objects arrived safely in Venice, where they were unloaded and unpacked at the Arsenale.[31] After they were evaluated by various officials, they were eventually repurposed to enhance the beauty, status, and prestige of La Serenissima. For example, building material and other decorative ornaments stripped from the churches of Constantinople were used to clothe the basilica of Saint Mark "in the borrowed raiment of vanished sanctuaries" so that "what had been an austere brick structure soon shone, and sparkled, and flashed in the sun."[32]
Hollis explains that a centurion's cuirass, a crocodile, and a disembodied head "became the body of Saint Theodore."[33] Similarly, a pair of brazen angel's wings and a lion were "welded together to make the emblem of Saint Mark."[34] Both of these new creations were hoisted atop a pair of Numidian granite columns, also taken from Constantinople, and set in Saint Mark's Square.[35] The two statutes, symbolizing two patron saints of Venice, remain in the square to this day.[36]
Antonio Canaletto, Piazzetta in Venice. Alte Pinakothek, Munich, Germany.
[1] 4 Butler's Lives of the Saints 302, 301-303 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956). Alternatively, Butler's Lives of the Saints suggests that the surname Tiro more probably derives from his membership in the Cohors tironum. Id.
[2] See, e.g., id.; Rosa Giorgi, Saints in Art 345 (Stefano Zuffi ed. & Thomas Michael Hartmann trans., 2002) ("Beginning in the tenth century, Theodore split into two figures in popular devotion, a general and a soldier that were really the same person.").
[3] Butler's Lives of the Saints, supra note 1, at 302.
[5] See, e.g., id. at 301.
[7] See, e.g., Giorgi, supra note 1, at 345; Butler's Lives of the Saints, supra note 1, at 302.
[10] Butler's Lives of the Saints, supra note 1, at 302
[11] Id. (citing the panegyric attributed to Saint Gregory of Nyssa).
[12] See Sara Kuehn, The Dragon in Medieval East Christian and Islamic Art 109 (2011).
[15] Id. at 108 n.215 ("His exploit of vanquishing a dragon with a spear only appeared in the second state of his Passio Prima (dated 890) . . . ."). Kuehn also notes that the 7th century Passion of Marina of Antioch contains "antecedents" of Saint Theodore's dragon-slaying. Id.
[16] Id. at 108 n.216. Kuehn identifies the church of Saint Barbara at Soganli as possessing the earliest identifiable portrayal of Saint George vanquishing a dragon. Id.
[18] See, e.g., George Ferguson, Signs and Symbols in Christian Art 16 (1954).
[19] See 2 Butler's Lives of the Saints 148-50 (Herbert J. Thurston, S.J. & Donald Attwater eds., 2d ed. 1956).
[23] See, e.g. Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe 92 (Martina Bagnoli et al., eds., 2010). The other three important relics were a relic of the Holy Blood, a piece of the True Cross, and the head of Saint John the Baptist. Id.
[24] Id. The lid was originally made of rock crystal. Id.
[25] William D. Wixsom, Western Metalwork, in The Treasury of San Marco Venice 282 (David Buxton ed., 1984).
[26] Treasures of Heaven, supra note 23, at 92.
[28] Wixsom, supra note 25, at 282. Wixsom writes, "The horse and rider are probably directly based on Leonardo's designs for the Sforza and Trivulzio monuments, dating respectively 1485-93 and 1506-13, even though the theme of a rearing horse goes back to the early Florentine Renaissance sculptor, Bertoldo (1420-91), to Paduan bronzes dating around 1510, and to ancient bronzes." Id. (citations omitted).
[29] See, e.g., id.; Treasures of Heaven, supra note 23, at 92.
[30] See Edward Hollis, The Secret Lives of Buildings (2009).
[36] The statute of Saint Theodore in Saint Mark's Square, however, is a replica. The original is now located in the Doge's Palace. A sign next to statue states that the marble statue "is a fourteenth-century sculpture with an ancient armoured bust and a young man's head of different origins. . . . According to tradition, the saint's face is a portrait of Mithradates of Pontus."
Posted by thereliquarian in Tomb / Sarcophagus
basilica, Italy, martyr, mosaic, relic, reliquary, Saint Claudia, Saint Mark, Saint Theodore, sarcophagus, Tintoretto, Venice
Basilica di San Marco – Interior Mosaics
Saint Mark and Venice
In his lush, elegant history of Venice, Venice: Pure City, Peter Ackroyd writes, "There was one great transformation in the early history of Venice. In 828 an object was brought to this place that entirely changed its character and its status."[1] That object was the body of Saint Mark the Evangelist.
The association of Saint Mark with the city of Venice persists to this day. The symbol of Saint Mark – a winged lion – is also the emblem of Venice. Known as the Lion of Saint Mark, the symbol is everywhere in the city. Chiseled onto buildings, stamped onto tiles, and stitched into flags, it serves as a constant reminder of the enduring relationship between city and saint. The glorification of Saint Mark in Venetian culture, however, came at the expense of another saint, Saint Theodore of Amasea. Once Venice's sole patron, Saint Theodore's influence declined after Saint Mark's arrival, although he is still afforded a place of honor atop a pillar in Saint Mark's Square.
The Translation of the Relics of Saint Mark
The story of how Saint Mark's relics eventually came to Venice is a remarkable one, and it has been the subject of various works of art throughout the centuries. Tintoretto's Translation of the Body of Saint Mark, a stark, dramatic painting that has the eerie feel of a photo negative, may be one of the most recognizable. Painted between 1562 and 1566 for the Scuola Grande di San Marco,[2] the work is part of the permanent collection of the Accademia Galleries in Venice. (A companion painting, Discovery of the Body of Saint Mark, is located at the Brera Gallery in Milan.) The glittering mosaics that adorn the exterior of Saint Mark's Basilica also tell the story, in tessellated form, of the translation of Saint Mark's relics. For example, the mosaic located above the left doorway (the Door of Saint Alypius) of the west facade depicts Saint Mark's body being carried into the basilica. The mosaic, known as the Deposition mosaic, is the oldest exterior mosaic on the basilica and dates to 1260-1270.
According to legend, Saint Mark's body was stolen from Alexandria, Egypt, in 828. Two Venetian merchants traveling in Alexandria obtained the relics of Saint Mark from priests at the church of Saint Mark, where the saint's body was interred. The priests feared Saint Mark's relics might be damaged or destroyed by the Saracens during the persecution of the Catholic community in Alexandria. Promising to safeguard the saint's relics, the merchants convinced the priests to allow them to return to Venice with the body of Saint Mark.
Akroyd explains, "The body of Saint Mark was taken out of the sarcophagus and unwrapped from its silk shroud, the relic being substituted by another and less eminent saint. It was then placed in a chest and taken on board the Venetian ship, the merchants first ensuring that the saint's remains were covered by a layer of pork and cabbage. When the Muslim officials asked to inspect the chest, they cried out 'Kanzir, kanzir' (Oh horror) at the sight and smell of the pork. . . . Thus the evangelist was safely conveyed to Venice, but not before a number of miracles eased his passage across the Mediterranean."[3]
Saint Mark's body was initially kept in a chapel at the Doge's palace, a chapel originally dedicated to Saint Theodore, until a more suitable church could be built. Begun in 829, the year after the translation of Saint Mark's relics, the first church of Saint Mark was completed in 832. This church was destroyed in 976 during a rebellion against Doge Pietro Candiano IV. A second church was built in 1063 but was not consecrated until 1094, after Saint Mark's relics, which had been lost in the years following the destruction of the first church, were rediscovered.
Loss and Rediscovery of Saint Mark's Relics
The Pala Feriale, an altarpiece of tempera and gold leaf on panel created by Paolo Veneziano and his sons in 1345 for Doge Andrea Dandolo, depicts the miraculous rediscovery of the relics. Divided into two registers, the lower register of the Pala Feriale features seven panels portraying the story of Saint Mark, including the apparitio — the self-revelation of Saint Mark's relics in 1094. According to tradition, the saint's remains, which had been lost, revealed themselves to have been hidden inside a reliquary pier within the church. Earlier depictions of the apparitio, however, seemed to suggest that despite the miracle of the apparitio, the reliquary pier itself was empty; Saint Mark's body had turned to dust. As one scholar has noted, "The miracle disclosed the location of the body but did not reveal the body itself."[4]
In contrast, the Pala Feriale portrayed Saint Mark's body as intact and physically present. As Ana Munk explains in "The Art of Relic Cults in Trecento Venice," "Paolo Veneziano's shutters . . . may be the only scene among sixty-one representations of Saint Mark where the audience's devotion to the saint in his problematic tomb within San Marco was recorded; every instance and effect of Saint Mark's life, death, and his translation from Alexandria was documented in previous mosaics except the actual location of the body itself." The effect of these earlier depictions was to assure worshippers that Saint Mark was, indeed, present at the basilica – the Deposition mosaic clearly shows Saint Mark's body entering the basilica – while leaving the exact whereabouts of his relics vague and uncertain. As Munk observes, "the body of Saint Mark was simultaneously omnipresent and elusive."[5]
In 1835, Giacomo Monico, Patriarch of Venice, exhumed the body of Saint Mark from the crypt beneath the basilica and placed it in the high altar.[6] Before then, the saint's body had apparently last been seen in the 12th century, dressed in ecclesiastical robes, when it was placed on display for five months for public veneration.[7]
During my visit to the basilica, Saint Mark's simple, marble sarcophagus could only be viewed from behind the high altar. The exterior of the sarcophagus was well lit and a short inscription applied to the stone in metallic letters read: "SALUTAT VOS . . . MARCUS FILIUS MEUS." This inscription was followed by a citation in much smaller letters below the word "MEUS." The citation read "1 Petri 5.13," the source of the abbreviated quote on the tomb. The front of the sarcophagus apparently proclaims "CORPUS DIVI MARCI EVANGELISTAE" (Body of the Divine Mark, Evangelist).[8] When I visited, it was Christmas Eve, and in addition to the poinsettias and other decorations installed around the basilica in preparation for Midnight Mass, someone had placed two, single red roses on top of the sarcophagus.
[1] Peter Ackroyd, Venice: Pure City 37 (2009).
[2] Giovanni Nepi Scire, The Accademia Galleries in Venice: General Catalogue 88 (2012).
[3] Akroyd at 37-38. In his book The Secret Lives of Buildings, Edward Hollis identifies the two Venetian merchants as Buono da Malamocco and Rustico da Torcello, and he names Saint Claudia as the saint whose relics replaced those of Saint Mark in Alexandria. Hollis writes, "At the time Alexandria was in the sway of the Fatimid caliphate; but two merchants of Venice, by the names of Buono da Malamocco and Rustico da Torcello, went to the city and found an old church dedicate to Saint Mark the Evangelist. Saint Mark had been martyred in Alexandria, and his remains had been kept in this church ever since. The two merchants spoke with the guardians of the saint. They were in danger, these priests said, for the governor of Alexandria intended to demolish their church and send its marbles and columns to the caliph's new palace in Babylon. . . . One night, under the cover of darkness, the priests let them into the church. Torcello and Malamocco took the body of Saint Mark and substituted it with the body of another, less exalted martyr, Saint Claudia . . . ." Edward Hollis, The Secret Lives of Buildings 50 (2009).
[4] Ana Munk, "The Art of Relic Cults in Trecento Venice: Corpi Sancti as a Pictorial Motif and Artistic Motivation," 30 Radovi Instituta za Povijest Umjetnosti 81, 88 (2006) (citations omitted). In Hollis's telling, Saint Mark's body appears, lifeless but fully formed, from the reliquary pier. After chanting and praying intensely for the recovery of their missing saint, the Venetians at the new basilica noticed "a sweet smell began to pervade the church. Suddenly, one of the piers to the right of the altar began to shake, and the masonry began to buckle. With a crash and a roar, an arm appeared, then a shoulder, a torso, and a head; and then the whole body of Saint Mark fell lifeless onto the pavement of the sanctuary. The doge Falier placed this body in a marble sarcophagus in the crypt, and the Heroon of the Venetians received its patron saint." Hollis, supra note 3, at 52.
[6] Id. at 91 n.50.
[7] Id. at 87 (citing Bruno Bertoli, Le storie di San Marco nei mosaici e le ragioni dell'agiografia, in La Basilica di San Marco: Arte e Simbologia 114-115 (Bruno Bertoli ed.,1993)).
[8] John Nickell, Relics of the Christ 37 (2007).


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Home » Entertainment » James Van Der Beek's 'Dawson's Creek' Parents Cheer Him On at 'DWTS'
10/15/2019 Entertainment
Check out these proud parents! Dawson's Creek alums Mary-Margaret Humes and John Wesley Shipp headed to the Dancing With the Stars ballroom on Monday, October 14, to support contestant James Van Der Beek, who played their characters' son, Dawson Leery, on the WB show.
"And we are off to cheer on our favorite 'son' @vanderjames #dancingwiththestars and his beautiful partner @theemmaslater," Humes, 65, captioned a photo of herself and Shipp, 64, at CBS Television City on Monday. "They are going to slay their Paso Doble tonight!!!"
https://www.instagram.com/p/B3nahEQn52C/
And we are off to cheer on our favorite "son" @vanderjames #dancingwiththestars and his beautiful partner @theemmaslater 🕺🏻💃 They are going to slay their Paso Doble tonight!!! Hey #dawsoncreek fans etc. please don't forget to vote by texting the word James to 21523 ten times between 8:00 and 9:45 EST… don't worry I'll remind you throughout the evening!!!! ❤ #teamvanderslate
A post shared byMary-Margaret Humes (@thereal_marymargarethumes) on Oct 14, 2019 at 3:45pm PDT
She also had a message for devotees of the seminal teen drama: "Hey #dawsoncreek fans etc. please don't forget to vote by texting the word James to 21523 ten times between 8:00 and 9:45 EST… don't worry I'll remind you throughout the evening!!!! ❤ #teamvanderslate."
Humes played Gail Leery in all six seasons of Dawson's Creek. More recently, the former Miss Florida USA has appeared in episodes of Grey's Anatomy and Criminal Minds. Shipp, meanwhile, starred as Mitch Leery in the first four seasons of the show. Lately, he has recurred in multiple roles on The Flash and cameoed on Supergirl and Arrow.
Dawson's Creek also starred Katie Holmes, Joshua Jackson, Busy Philipps and Michelle Williams — the last of whom, funnily enough, recently revealed she had no idea her former costar was waltzing his way through DWTS.
Van Der Beek, 42, previously reunited with his TV mom in December when she brought cookies for his kids to his house. (The actor recently revealed on Dancing With the Stars that he and his wife, Kimberly, are expecting their sixth child.)
But 90s nostalgia only goes so far: Van Der Beek previously told Us Weekly that he probably wouldn't dance to the show's theme song, Paula Cole's "I Don't Wanna Wait," during the ballroom competition. "Can you dance to that song? If you danced to that song … show me how you do it," he said. "I don't think so. You can't dance to that song."
Dancing With the Stars' Disney Night airs on ABC Monday, October 14, at 8 p.m. ET.
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Former CBS Corredspondent Ben Silver Dies at 85
Former CBS news correspondent and Arizona State University journalism professor Ben Silver has died. He was 85.
The university says he died Wednesday from complications of Parkinson's disease at his home in St. Louis Park, Minn.
Silver was a CBS national correspondent in the 1960s and covered race riots, school integration and Sen. Edward M. Kennedy's accident at Chappaquiddick.
Silver worked at WCKT-TV in Miami from 1957 to 1966, reporting from the Soviet Union and Latin America. He won a Peabody Award in 1960 for his coverage of Latin America.
He began teaching at ASU in 1972 and continued to file CBS reports for several years. He retired in 1990.
He is survived by his wife, six children and 11 grandchildren. Services will be held Sunday in Minneapolis.
This entry was posted in Journalism News and tagged CBS, Walter Cronkite School of Journalism and Mass Communication by Valley of the Sun SPJ. Bookmark the permalink.


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Q: Question mark in structured content description In opencms-modules.xml ,
I set the <explorertype name="aboutus" key="fileicon.aboutus"
and set the fileicon.aboutus = About Us in workplace.properties file
But when I create the new structured content in workspace, the item is showing as
??? fileicon.aboutus ???

Any kind help is appreciated.

A: Make sure you have published the workplace.properties and restarted Tomcat afterwards as well.


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A two-line element set (TLE) is a data format encoding a list of orbital elements of an Earth-orbiting object for a given point in time, the epoch. Using a suitable prediction formula, the state (position and velocity) at any point in the past or future can be estimated to some accuracy. The TLE data representation is specific to the simplified perturbations models (SGP, SGP4, SDP4, SGP8 and SDP8), so any algorithm using a TLE as a data source must implement one of the SGP models to correctly compute the state at a time of interest. TLEs can describe the trajectories only of Earth-orbiting objects. TLEs are widely used as input for projecting the future orbital tracks of space debris for purposes of characterizing "future debris events to support risk analysis, close approach analysis, collision avoidance maneuvering" and forensic analysis.

The format was originally intended for punched cards, encoding a set of elements on two standard 80-column cards. This format was eventually replaced by text files as punch card systems became obsolete, with each set of elements written to two 69-column ASCII lines preceded by a title line. The United States Space Force tracks all detectable objects in Earth orbit, creating a corresponding TLE for each object, and makes publicly available TLEs for many of the space objects on the website Space Track, holding back or obfuscating data on many military or classified objects.  The TLE format is a de facto standard for distribution of an Earth-orbiting object's orbital elements.

A TLE set may include a title line preceding the element data, so each listing may take up three lines in the file. The title is not required, as each data line includes a unique object identifier code.

History
In the early 1960s, Max Lane developed mathematical models for predicting the locations of satellites based on a minimal set of data elements. His first paper on the topic, published in 1965, introduced the Analytical Drag Theory, which concerned itself primarily with the effects of drag caused by a spherically symmetric non-rotating atmosphere. Joined by K. Cranford, the two published an improved model in 1969 that added various harmonic effects due to Earth-Moon-Sun interactions and various other inputs.

Lane's models were widely used by the military and NASA starting in the late 1960s. The improved version became the standard model for NORAD in the early 1970s, which ultimately led to the creation of the TLE format. At the time there were two formats designed for punch cards, an "internal format" that used three cards encoding complete details for the satellite (including name and other data), and the two card "transmission format" that listed only those elements that were subject to change. The latter saved on cards and produced smaller decks when updating the databases.

Cranford continued to work on the modelling, eventually leading Lane to publish Spacetrack Report #2 detailing the Air Force General Perturbation theory, or AFGP4. The paper also described two simplified versions of the system, IGP4 which used a simplified drag model, and SGP4 (Simplified General Perturbations) which used IGP4's drag model along with a simplified gravity model. The differences between the three models were slight for most objects. One year later, Spacetrack Report #3 was released, included full FORTRAN source code for the SGP4 model. This quickly became the de facto standard model, both in the industry as well as the astronomy field.

Shortly after the publication of Report #3, NASA began posting elements for a variety of visible and other well known objects in their periodic NASA Prediction Bulletins, which consisted of the transmission format data in printed form. After trying for some time to convince NASA to release these in electronic form, T.S. Kelso took matters into his own hands and began manually copying the listings into text files which he distributed through his CelesTrak bulletin board system. This revealed a problem in NASA's checksum system, which traced back to the lack of the plus character (+) on the teletype machines used at NASA, which ultimately turned out to be a problem from the punch card era that occurred when NORAD updated from the BCD to EBCDIC character set on the computer sending out the updates. This problem went away when Kelso began to receive data directly from NORAD in 1989.

The SGP4 model was later extended with corrections for deep space objects, creating SDP4, which used the same TLE input data. Over the years a number of more advanced prediction models have been created, but these have not seen widespread use. This is due to the TLE not containing the additional information needed by some of these formats, which makes it difficult to find the elements needed to take advantages of the improved model. More subtly, the TLE data is massaged in a fashion to improve the results when used with the SGP series models, which may cause the predictions of other models to be less accurate than SGP when used with common TLEs. The only new model to see widespread use is SGP8/SDP8, which were designed to use the same data inputs and are relatively minor corrections to the SGP4 model.

Format
Originally there were two data formats used with the SGP models, one containing complete details on the object known as the "internal format", and a second known as the "transmission format" that was used to provide updates to that data.

The internal format used three 80-column punch cards. Each card started with a card number, 1, 2 or 3, and ended with the letter "G". For this reason, the system was often known as the "G-card format". In addition to the orbital elements, the G-card included various flags like the launching country and orbit type (geostationary, etc.), calculated values like the perigee altitude and visual magnitude, and a 38-character comments field.

The transmission format is essentially a cut-down version of the G-card format, removing any data that is not subject to change on a regular basis, or data that can be calculated using other values. For instance, the perigee altitude from the G-card is not included as this can be calculated from the other elements. What remains is the set of data needed to update the original G-card data as additional measurements are made. The data is fit into 69 columns and does not include a trailing character. TLEs are simply the transmission format data rendered as ASCII text.

An example TLE for the International Space Station:
 ISS (ZARYA)
 1 25544U 98067A   08264.51782528 -.00002182  00000-0 -11606-4 0  2927
 2 25544  51.6416 247.4627 0006703 130.5360 325.0288 15.72125391563537

The meaning of this data is as follows:

Title line

Line 1

Line 2

Where decimal points are assumed, they are leading decimal points. The last two symbols in Fields 10 and 11 of the first line give powers of 10 to apply to the preceding decimal. Thus, for example, Field 11 (-11606-4) translates to −0.11606E−4 (−0.11606×10−4).

The checksums for each line are calculated by adding all numerical digits on that line, including the line number. One is added to the checksum for each negative sign (-) on that line. All other non-digit characters are ignored.

For a body in a typical low Earth orbit, the accuracy that can be obtained with the SGP4 orbit model is on the order of 1 km within a few days of the epoch of the element set. The term "low orbit" may refer to either the altitude (minimal or global) or orbital period of the body. Historically, the SGP algorithms defines low orbit as an orbit of less-than 225 minutes.

Two-digit Epoch Years from 57 to 99 correspond to 1957-1999 and those from 00 to 56 correspond to 2000–2056.

The maximum number of Satellite Catalog Numbers that can be encoded in a TLE is rapidly being approached with the recent commercialization of space and several key break-up events that have created a massive number of debris objects. Future adaptations of the TLE have been imagined to extend the number of encodable Satellites within the TLE.

References

Spaceflight concepts
Orbits
Computer file formats

de:Satellitenbahnelement#Das Two Line Elements Format TLE


To make Thai Peanut Dressing: In mixing bowl, combine peanut butter, ginger paste, fish sauce, cayenne pepper, apple cider vinegar, soy sauce and sugar. Add 1 tablespoon water and whisk well. Continue adding water 1 tablespoon at a time until sauce is the consistency of heavy cream. (Note: You may not use full 1/4 cup water, and could use more depending on preference of thickness.) To make Quinoa Bowls: Heat oven to 400 degrees. In medium pot, heat water and quinoa. When it boils, turn heat to low and cover. Cook until water is absorbed and remove from heat. Drain and dry chickpeas. In bowl, combine chickpeas with olive oil, garlic powder and salt and pepper, to taste. Spread chickpeas on baking sheet; bake 20 minutes, or until golden brown. Remove from oven and cool. Spiralize zucchini at medium thickness. Using potato peeler, slice carrot in thin strips. Chop red cabbage. Drain and chunk tuna. In two bowls, split cooked quinoa evenly. Top with carrots, zucchini, cabbage, roasted chickpeas onions and tuna. Season with lime juice, cilantro and Thai Peanut Dressing.