text:
Are you interested in the concepts that MOED works with, or do you want to read more about what you've seen? In our library section you can find suggestions for further reading. Scroll down to explore texts suggested by our partners.
Catalogus 'What is Left Unseen'
Buikema, Ftouni, Jouwe, Rutten, Vázquez and Wevers. What is Left Unseen. Centraal Museum, Utrecht, 2019.
Download the digital version of the catalogue What is Left Unseen, which was developed by the MOED team as part of the exhibition 'MOED: What is Left Unseen' at Centraal Museum, Utrecht.
Download the catalogue here
Printed versions of the catalogue are available for €7,50. You can acquire them by sending an email to contact@moed.online.
Web texts
Gufstafsson, Laura and Terike Haapoja. "History according to cattle." 2015.
L'Internationale Online. "Decolonising museums." 2015.
Soon, Simon. "Rethinking curatorial colonialism." 2016.
Vázquez, Rolando and Walter Mignolo. "Decolonial aestheSis: colonial wounds/decolonial healings." 2013.
Guides and initiatives
Kennisbank beeldvorming van WOMEN Inc. aims to create awareness around stereotyping in the media and the way it influences prejudices, assumptions and associations (in Dutch).
Mapping slavery NL portrays historical places relating to slavery on the map of the Dutch colonial empire.
People of Color in European Art History is a blog that showcases works of art from European history that feature People of Color and that often go unseen in museums, Art history classes, online museums and other venues.
Museum open u is a toolkit that provides museums with innovations on how to make the museum more accessible for people with (physical and intellectual) disabilities (in Dutch).
Words matter is a research publication about possibly sensitive words in the museum sector, composed by the 'Nationaal Museum van Wereldculturen'.
Studio-I is s a project initiated by two modern art museums in the Netherlands, the Stedelijk Museum Amsterdam and the Van Abbemuseum in Eindhoven.
The Black Archives is a unique historical archive for inspiring conversations, activities and literature from Black and other perspectives that are often overlooked elsewhere.
Apesh**t, a music video by Beyoncé & Jay-Z from 2018 that was filmed in the Louvre in which they engage with the European canon housed in the museum.
One is not enough, a video by the Guerrilla Girls from 2017 in which they argue how the representation of one female artist in exhibitions and museums (in this case the Van Gogh Museum in Amsterdam) is not enough.
Buikema, Rosemarie L. Revoltes in de cultuurkritiek. Amsterdam: Amsterdam University Press, 2017.
Buikema, Rosemarie L., Liedeke Plate, and Kathrin Thiele, eds. Doing gender in media, art and culture: A comprehensive guide to gender studies. London: Routledge, 2017.
Buikema, Rosemarie and Maaijke Meijer, eds. Kunsten in beweging. Cultuur en migratie in Nederland. The Hague: SDU Uitgevers, 2003.
Lidchie, Henrietta. "The poetics and the politics of exhibiting other cultures." In Representation, edited by Stuart Hall, Jessica Evans and Sean Nixon, 120-211. London: Sage, 2013.
Lorde, Audre. "Age, race, class, and sex: Women redefining difference." In Sister outsider, edited by Audre Lorde and Cheryl Clarke. New York: Crossing Press, 1984.
Mirzoeff, Nicholas. et al., ed. All the monuments must fall: A syllabus. New York City: New York University, 2017.
Vázquez, Rolando. "From globalizing towards decolonizing: Art history and the politics of time – Interview with Rolando Vázquez." Kunstlicht 29, no. 1. (2018): 98-105.
Wekker, Gloria. White innocence. Paradoxes of colonialism and race. Durham and London: Duke University Press, 2016.
Atria, Institute on Gender Equality and Women's History forms a national knowledge institute that focuses on collecting, managing and sharing the heritage of women. On the basis of research and facts, Atria promotes equal treatment of women and men in all diversity. Atria offers a library and archive and organizes events around these topics. Atria offers a comprehensive collection of texts on Dutch women's suffrage. Discover below a selection of works in their archive on this subject.
De Centrale Commissie der Rein Leven-beweging. Manifest gericht tot alle vrouwen van Nederland. Soest: Joh. H. Littooij, 1900.
Gramberg, Rahany. "Een koloniale kermis?: De representatie van Nederlands Oost- en West Indië op de Nationale Tentoonstelling van Vrouwenarbeid in 1898." Historica 21, no. 3 (1998): 16-18.
Jacobs, Aletta Henriëtte. Reisbrieven uit Afrika en Azië: Bevenens enige brieven uit Zweden en Noorwegen. Almelo: W. Hilarius Wzn., 1915.
Jansen, Ena. "De koloniale stem van Aletta Jacobs." Translated by Mischa Hoyinck. Edited by Atria. September 13, 2018.
Vreke, Désirée. "Vrouwenkiesrecht in Nederland." Atria vrouwenkiesrecht (special), June 1, 2016.
Waaldijk, Berteke. "Colonial constructions of a Dutch women's movement: 1898." Differenzen in der geschlechterdifferenz : Differences within gender studies. Edited by Kati Röttger and Heike Paul. Berlin: Erich Schmidt Verlag, 1999, pp. 285-299.
Wijnaendts Francken-Dyserinck, Welmoet. Uit het zonneland: Afrikaansche reisbrieven. Haarlem: H. D. Tjeenk Willink & Zoon, 1912.
Winters, Ria. "Vrouwenarbeid verbeeld door een man." Feminisme 19e eeuw (blog). Edited by Annetta Willemse. Atria, March 2, 2017.
Terra Critica is an international and interdisciplinary research network in the critical humanities. The network is initiated by dr. Birgit Mara Kaiser and dr. Kathrin Thiele in 2012, with a group of core members and a wider circle of participants to the regular meetings. It aims to re-examine critical theory and practice under the conditions of the 21st century, in light of our terran existences that are globally entangled across flows of capital, people, and ideas.
Given the persistent need to decolonize knowledge and institutional practice, as well as the fact that we are living in interdependent ecological and economic systems with growing inequalities, Terra Critica beliefs that critical vocabularies and practices also have to be refined and revised.
Click here to download a .pdf document that contains Terra Critica's library suggestions, based on four ReadingRoom series held in Utrecht, an initiative they organize in collaboration with Casco Art Institute.
What is the relation between algorithms, hypersea and zombies? They were brought together under the same cover, in the Posthuman Glossary (Bloomsbury, 2018).
Still from Karen Kramer, Limulus, 2013, film
The Posthuman Glossary is a multi-layered and diverse collection of both critical and creative terms selected from the contemporary debate surrounding the posthuman turn and jointly edited by prof. dr. Rosi Braidotti (Utrecht University and senior advisor to BAK basis voor actuele kunst) and Maria Hlavajova (director of BAK basis voor actuele kunst). Braidotti explains:
"Two main points of our praxis during the production of the book were that it would be a collaboration between artists and academics and that the format would be non-linear, unlike traditional academic edited volumes. In fact, the glossary is not strictly academic, and it deliberately took the risk of falling into what critics dismissively call 'activist research'. But we both found it important to highlight how much innovative thinking has been done in these hybrid fields. Our focus was on the creativity, energy and inventiveness of on-going developments in the Humanities, which so many people describe—wrongly, as it turns out—as being in a crisis … In some ways the operative model became that of a curatorial practice. While we did exercise quality control—the pieces had to be legible, scientifically accurate and verifiable— they were also allowed to be experimental in both form and content."
In this interview with Rosi Braidotti, conducted especially for MOED by Lauren Hoogen Stoevenbeld, Braidotti reflects on the editorial and curatorial work she shared with Hlavajova during the editing of this volume. For the MOED library, Braidotti highlights three selected entries from the glossary, which have been made available here: "The Pregnant Posthuman" by Rodante van der Waal, "The (Posthuman Icon) Pill" by Anneke Smelik and Elisa Flore, and "Placenta Politics" by Braidotti herself. Click on the link below to open the interview, in which Braidotti explains why she chose these entries for MOED:
Editing a Glossary as Curatorial Practice: An Interview with Rosi Braidotti by Lauren Hoogen Stoevenbeld (2019)
Posthuman Glossary entries:
Braidotti, Rosi – Placenta Politics (PHG, Braidotti and Hlavajova)
Smelik, Anneke and Elisa Fiore – The Posthuman Icon Pill (PHG, Braidotti and Hlavajova)
Waal, Rodante van der – The Pregnant Posthuman (PHG, Braidotti and Hlavajova)


Next message: [Ffmpeg-devel] ffserver issues in the regression tests.
> > > double acute accent, that I've seen in no other language.
> > u, those are not valid Hungarian characters.
> like a ', but then two of them. It looks slightly different than e.g.
(and have others under the char!).


text:
license: Licensed to the Apache Software Foundation (ASF) under one
         or more contributor license agreements.  See the NOTICE file
         distributed with this work for additional information
         regarding copyright ownership.  The ASF licenses this file
         to you under the Apache License, Version 2.0 (the
         "License"); you may not use this file except in compliance
         with the License.  You may obtain a copy of the License at

           http://www.apache.org/licenses/LICENSE-2.0

         Unless required by applicable law or agreed to in writing,
         software distributed under the License is distributed on an
         "AS IS" BASIS, WITHOUT WARRANTIES OR CONDITIONS OF ANY
         KIND, either express or implied.  See the License for the
         specific language governing permissions and limitations
         under the License.
---

geolocationError
================

La fonction de callback appelée lorsqu'une erreur survient pendant un appel de fonction de géolocalisation.

    function(error) {
        // Gérer l'erreur
    }

Paramètres
----------

- __error:__ Un objet `PositionError` contenant les détails de l'erreur. (`PositionError`)

redpajama_set_name: RedPajamaGithub


Comedy, robots, stand-up, flamethrowers & cliff jumps all go hand in hand with director Jeff Tomsic's comedy series This is Not Happening. Jeff envisioned an entirely new angle to his viral series, it was up to us to help him pair the outlandish stories of his comedian lineup with equally fantastic sequences of live action and ridiculous visual effects. We helped create stilled party montages, mid action horror movie tableaus, Thelma and Louise styled cliff jumps, a giant robot chase scenes & only had to mosaic Ari Shaffir's nether regions twice.


Add sunshine and positivity to your project with these feel-good royalty free tracks!
Looking to give your project positive vibes?
Discover some of the very best feel-good royalty free tracks in this music roundup. Each of these upbeat stock music tracks promotes feelings of youth and summer – perfect for advertisements, corporate or motivational projects. From quirky modern folk to cool indie rock, these songs are fresh and contemporary. Take a listen and discover how these royalty free music tracks can make your next project a positive one!
Playful and breezy, featuring bright ukulele and pulsing bright rhythms that create enthusiasm and energy.
Bright and breezy, featuring a simple ukulele melody and light pulsing rhythms that create a carefree mood.
Smooth with a Pop groove, featuring spacey electric guitar, building rhythms and warm textures that create an optimistic and reflective mood.
Pulsing and optimistic, featuring sparkly bells, bouncy ukulele and acoustic guitar that create a cheerful and happy mood.
Light and carefree, featuring optimistic whistles and handclaps that create a cheerful, bright mood.
Bright and cheerful, featuring a warm piano melody and light ukulele that creates a satisfied and content mood.
Bright and upbeat, featuring energetic guitar, breezy ukulele and drums that create an enthusiastic and playful mood.
Happy and cheerful, featuring bright mandolin and warm acoustic piano, hand claps and whistling that creates a carefree mood.
Happy and bright, featuring a childlike whistling melody, bouncy marimba and mandolin that creates a feel-good and carefree mood.
Happy and bright, featuring a childlike xylophone melody, smooth pedal steel guitar and ukulele that creates a feel-good and carefree mood.


text:
Chula Vista City Council Votes to Remove Discovery Park's Columbus Statue for Good
The statue was put in storage last year after it was vandalized amid pressure from groups calling for its removal
By Dave Summers and Karla Rendon-Alvarez	• Published May 25, 2021 • Updated on May 25, 2021 at 11:39 pm
The Chula Vista City Council decided the fate of a Christopher Columbus statue Tuesday after a long and contentious back and forth between those who say Columbus represents genocide and others who say they want to preserve history.
In a 4 to 1 vote, the City Council approved the permanent removal of the statue from Discovery Park. The only dissenting vote was Deputy Mayor John McCann.
Demonstrators outside Chula Vista City Council chambers and more than 3 hours of debate inside, ends with a 4 to 1 vote in favor of permanent removal of the #ChristopherColumbus statue from Discovery Park. Full story coming up #NBC7 at 11 pic.twitter.com/nxtAF3W1CE
— Dave Summers (@DaveSummersNBC7) May 26, 2021
Most people who showed up to Tuesday's council meeting were in favor of the outcome.
"I think it is great," supporter Armando Abundis said. "I think it is partially what we were asking."
Covid-19 Oct 26, 2021
Latest Coronavirus Updates: COVID Hospitalizations Down, Free N95 Masks Available
Weekend Events 17 hours ago
Things to Do This Weekend in San Diego
NBC 7's Erika Cervantes heard heated debate from people on both sides of the issue.
"We still have a lot of work to do," supporter Beatrice Zamora added. "We have a lot of work to do and we are not going to give up the fight yet. "
For 30 years, the explorer's statue stood as a landmark in Discovery Park. The city chose to put it in storage after it was vandalized with red paint on Indigenous People's Day in 2019.
A statue of Christopher Columbus was vandalized at Chula Vista's Discovery Park.
The City Council started considering its permanent removal following a request for consideration by the Chula Vista Human Relations Commission. Protesters showed up early to the meeting to demonstrate, and remained outside council chambers well after.
"Columbus represents the genocide and slavery that began in the Americans when he landed in the Caribbean," Heryl Sanchez said.
You could hear the beating of drums outside while the issue was debated in chambers for more than three hours.
"Very disgusting situation," Timothy Red Bird, a Kiowa Tribe member said. "You can't honor someone like that that killed our people."
Two members of the Catholic charitable organization Knights of Columbus offered to buy the statue and put it at the group's headquarters in Fontana, California.
"The Knights of Columbus is an organization that still has that name and honoring him because he brought Catholicism to America," Knight Michael Brault said.
San Diego's Sons and Daughters of Italy is also offering to bring the statue to a museum.
"It is a story to be told for future generations to come about our journey as Italian immigrants and how we rose above," Daughter Grace Sardina said.
The future of the statue hasn't yet been determined, but after Tuesday night it won't be in Discovery Park. The City Council approved forming a task force to determine where the statue will end up, what will replace it and whether Discovery Park will be renamed.
Groups have asked the council to consider renaming the park under the guidance of the Kumeyaay Native American tribes.
Councilmembers also voted to recognize October 12 as Indigenous People's Day.
Chula VistaChristopher Columbusdiscovery park

redpajama_set_name: RedPajamaCommonCrawl


text:
Art In The Workplace
Join The Invitation List
CHROMA Artwork
Pandemic Light September
Nina Soyfer Collection
The Endangered Collection
What Is Hanukkah? Art Collection
Hanukkah Artists
Art Impact™ International's
3rd Annual Juried Art Exhibition
Exhibition Guidelines
702 Eighth Street, NW, Washington D.C. 20068
TIMELINE of IMPORTANT DATES (2018):
Submission Deadline: Friday, March 9th (11:59 PM)
Selections Announcement: Friday, March 16th (5:00 PM)
Delivery of Artwork: Tuesday, May 1st (9:00 AM - 12:00 PM)
Opening Reception: Thursday, May 3rd (5:30 PM - 8:30 PM)
Exhibiting Artists Career Workshop: Wednesday, May 16th (5:30 PM - 7:00 PM)
Sponsors' / Collectors' Reception: Friday, May 25th (5:30 PM - 8:30 PM)
Closing Reception, Artist Talk & Silent Auction: Wednesday, May 30th (5:30 PM - 8:30 PM)
Pick Up of Artwork: Thursday, May 31st (9:00 AM - 11:00 AM)
Inquiries directed to Carolyn Goodridge -
cgoodridge@artimpactinternational.org
EXHIBITION THEME:
GOLDEN Juried Art Exhibition occurs during the month of May, which is officially Older Americans Month. This theme encompasses not only American Elders but also the Elders of the Global Community, the Elders of the Diaspora. Artists are asked to submit art which reflects some aspect of the color gold. Additionally, artists may pay tribute to the elders in their lives who have inspired them or helped them along the way. This call is open to artists around the world, 18 years of age or older. Hence, international artists are welcome to pay tribute to their elders as well. All media are accepted, except free-standing sculpture. All artwork must be hung with the Pepco Edison Place Gallery's Arakawa hanging system. Click here to see the gallery hanging system:
http://www.artimpactusa.org/arakawa.
Arranged exceptions may be possible.
The purpose of the exhibition is to grow as artists, inspire the hearts and spirits of all those who view the artwork. Brightening spirits, hearts and minds is the best effect of our artistic talent. - C. Goodridge, Curator
AWARDS: Best of Show Crystal Award
Jurors: Andrew Haley of Haley Fine Art, and Gina Lewis, Associate Professor of Art, and the Studio Arts Coordinator
ENTRY SUBMISSION FEE: $50 (non-refundable)
OPTIONAL MARKETING FEE: $1500 Marketing Package (This is not a vanity show, but a juried exhibition to exhibit up to seven works.)
There are three important aspects to the GOLDEN exhibition.
The opportunity to get exposure in the District of Columbia Metro Area art market.
You have an opportunity to up your game in the investment of your art career. Get help making serious strides in public relations, social media marketing, and community involvement. GOLDEN marketing packages offer you the opportunity to take real action. If you are selected to be a part of this exhibition, you will embark on a journey of single and group effort to be known and regarded. You may choose any level of marketing you wish during the run of this exhibition.
The Notables, selected artists who are not selected to exhibit in the physical space of Pepco Edison Place Gallery, will be included in the Golden Notables online exhibition. A digital projection presentation of their artwork will also be shown during the Pepco Edison Place Gallery GOLDEN special events. The Notables will have the opportunity to be included in the exhibition print catalog for $100 or $50 per full or half page and to also give their artist talk during the closing reception, May 30th.
PRESENTATION CRITERIA OF ARTWORK TO BE EXHIBITED: Each selected artist will exhibit three to seven pieces, juried in by the curator and judged separately by the juror.
Media Restrictions: No freestanding art.
Artwork: Works must be able to hang on the wall. All delivered paintings must be dry. All artwork must be the same pieces that were selected for this exhibition. No nudity.
Framed Dimensions: No larger than 60" w by 72" h. Exceptions may be made on a case by case basis.
Framed Work: Neat, clean, sturdy and complementing artwork.
Unframed Work: Unframed canvas should have finished edges. Mixed media artwork must be suitably framed.
Glass [if applicable]: Clean inside and out.
Hanging hardware: All framed and/or unframed artwork must have hanging wire, D-rings or screw eyes securely attached to the back of the artwork, and must support the weight of the piece. No sawtooth! The art will be hung with Pepco Edison Place Gallery's Arakawa hanging system.
Mat(s) [if applicable]: Neat, clean and professionally cut: All four sides of the mat are equal, OR top and two sides are equal and the bottom is greater. The width of mat sides, top, and bottom, must proportionally complement the size of composition; single mat with bevel cut, OR double (triple) mats with bevel cuts. Color mat(s) complement composition.
Identification Label: Label for artwork must be affixed to the back of artwork and include: Name of Artist, the title of artwork, medium, and artist's phone number and sale price or insurance value if NFS. Small business cards are a good size to use for providing the information. Affix to the back of the artwork.
All selected artwork shipped or dropped off will be reviewed by the Curator's Art Committee (CAC). CAC reserves the right to refuse any artwork different from what was selected or if it is deemed to be improperly presented, unsafe, damaged, or fails to meet the standards outlined above. All packing materials must be removed by the artist immediately after delivery.
DO NOT ship artwork to Pepco Edison Place Gallery without making clear arrangements with the curator. Out of state artists may ship work to the curator. See instructions above.
USE RIGHTS:
Promotion: Artists who have their artwork selected for participation in this art exhibition agree to the following: That A.I.I. be granted usage of the chosen artwork, for display, marketing and promotional purposes and exhibition catalog. In addition, the artwork may be used for any future promotional A.I.I. themed art exhibition and that usage of that image(s) are limited to A.I.I. press releases, A.I.I. event presentations, A.I.I. articles, A.I.I. graphics, A.I.I. slideshows, A.I.I. presentations, A.I.I. event materials and for use on the A.I.I. website.
Archive: The artist further agrees that A.I.I. can maintain an archive of the chosen artwork image for the purpose of a historical documentation and as a record of past themed shows. This archive will be available for public viewing and be limited to the A.I.I. and AIUSA websites (www.artimpactinternational.org and www.artimpactusa.org). AII will credit each image creator with their Artist Name, File Name, and the Artist Website, if applicable. The Artist shall maintain all copyrights of any images that are submitted to A.I.I.
Fine Art Publishing: The Artist whose work is selected as the official image for the exhibition grants A.I.I. limited copyright of the artwork for purpose of printing official souvenir fine art reproductions for sale or auction to the public and sponsors to further promote the artist and help cover exhibition costs. 40% royalty fee will be paid to the artist for sale of fine art reproductions printed by A.I.I. The artwork chosen to be the official image of the exhibition will be announced on July 7th. All images submitted by the artist are the property of the artist and the artist retains the sole copyright and all applicable rights to said images. Images are protected and will not be copied or downloaded from the A.I.I. website.
Exhibition Catalog Publishing: A full color, perfectly bound catalog is being published for this exhibition. Each exhibiting artist contribution is included in the entry fee and will receive 2 copies, $25 for each additional copy. For additional contribution information, visit
www.artimpactinternational.org/golden-catalog-contribution.
SALES, COMMISSIONS, STORAGE FEES:
All sales are arranged between Art Impact™ International, Inc. and the purchaser. 40% commission on sales of exhibited artwork to Art Impact™ International, Inc. 50% royalty fee is paid to the artist for sale of posters printed by Art Impact™ Publishing. The artwork chosen to be the official image of the "GOLDEN" exhibition will be announced on July 7th.
If the Artist fails to take possession of the Artwork by August 31st, or if no special arrangements have been made for the return of the Artwork and if efforts to contact the Artist at the expiration of the loan period (8/1/2017 – 8/31/2017) are unsuccessful, the Artwork will be placed in storage at the Artist's risk and expense at the rate of $100 per week. After 30 days, or the full retail value has been accrued, (whichever comes first), the artwork becomes the property of Art Impact™ International, Inc.
Pepco Edison Place Gallery does not insure the artwork during the length of the exhibition. There is a full-time security officer guarding the gallery during gallery hours. Artists are urged to insure their own work. The submitted price of the artwork may not be changed or altered once accepted. If the artist is unable to abide by these criteria and/or do not agree with any of the above the art should not and must not be delivered to the venue of this exhibition. If the artwork is delivered to Pepco Edison Place Gallery, it is understood that the artist agrees to these guidelines.
Save and print this page for future reference. Check your email on a regular basis for updates concerning your participation in "GOLDEN" If you have questions not addressed here, feel free to contact Carolyn Goodridge at curator@artimpactinternational.org.
Note: Selected Artists will have five (5) business days to accept their being selected for the show. If the artist wishes to select one of the optional Marketing Packages he or she must contact Carolyn Goodridge. The $50 exhibition fee includes expenses to promote and execute the show and the related programs (i.e., exhibition catalog publication, music performances, opening and closing reception refreshments, art workshops and live silent art auctions.)
Art Impact™ International is a 501(c) 3 non-profit organization that provides exhibition opportunities for artists to show work in awesome places. We promote the exhibition which includes spectacular receptions with live entertainment, refreshments and catalog publications. We extend our best efforts to promote our exhibiting artists in order to attract prospective collectors. We provide artists with tools to boost and showcase their popularity and talent, which will only strengthen their creative careers. We want to help artists shine, be empowered, encouraged and gain prominence. A.I.I. runs primarily on charitable contributions, so additional gifts would be appreciated.
Art Impact® International, Inc.
Studio Gallery 208
6445 Luzon Avenue, NW, #208, Washington, DC 20012
(877) 772-6045 • info@artimpactinternational.org
© 2017-20 Art Impact® International, Inc. All Rights Reserved


text:
Home > Science and Technology > S&T News > Media Advisory: DHS S&T to Demonstrate Tech Integration During Hazmat Scenario
Media Advisory: DHS S&T to Demonstrate Tech Integration During Hazmat Scenario
Contact: DHS S&T Press Office, (202) 254-2385
Houston, TX – The Department of Homeland Security (DHS) Science and Technology Directorate (S&T) is presenting a demonstration of integrating emergency response technologies during a simulated HAZMAT scenario at the Port of Houston on December 5, 2018. The Next Generation First Responder (NGFR) – Harris County Operational Experimentation (OpEx) will involve a coordinated response by Houston public safety agencies, FEMA, the U.S. Coast Guard and industry partners.
Over the past year, DHS S&T partnered with Houston-area public safety agencies, the U.S. Coast Guard, the Federal Emergency Management Agency (FEMA), and the DHS Office of Emergency Communications to identify technical capabilities that could assist first responders at the scene of an emergency. Situational awareness, responder physiological and patient monitoring, personnel location tracking, and enhanced communications were identified as priority concerns. The OpEx will evaluate how DHS-developed commercial and existing first responder technologies integrate during an emergency to fill these gaps while using open standards.
WHO: Sponsor
DHS S&T Next Generation First Responder Program
Public Safety Agency Partners
DHS Emergency Communications Division
Harris County Office of Homeland Security and Emergency Management
Harris County Sheriff's Office
Harris County Central Technology Services
Harris County Community Emergency Response Team
Houston Fire Department
Houston Information Technology Services-
Cy-Fair Volunteer Fire Department
Atascocita Fire Department
SouthEast Texas Regional Advisory Council
ARES Security Corporation
Centrex Solutions LLC
FEMA Integration Public Alert and Warning System Office
Haystax, a Fishtech Group Company
Integrated Solutions for Systems, Inc. (IS4S)
Intrepid Networks, LLC.
Keys Net LLC.
Luna Innovations, Inc.
Metronome Software, LLC
MobileIron Inc.
National Aeronautics and Space Administration (NASA) Jet Propulsion Laboratory
N5 Sensors, Inc.
SensorUp, Inc.
Sonim Technologies, Inc.
TRX Systems, Inc.
Utility Associates Inc.
WHAT: Media availability and demonstration of the NGFR – Harris County OpEx
WHEN: 1:00 p.m. – 4:00 p.m. CST, Wednesday, December 5, 2018
WHERE: 1:00 p.m. – Remarks
Port Coordination Center (follow signs for Police Station)
Port of Houston, 111 East Loop North, Houston, TX 77029
1:45 p.m. – Technology Demonstration
Sam Houston Tour Boat Pavilion, 7300 Clinton Drive, Houston, TX 77020
To attend the press availability and demonstration, credentialed media must RSVP to NGFR@hq.dhs.gov by Tuesday, December 4, 2018 to register and receive a media packet and additional information about photographs and recording at the Port of Houston. Media must register on-site.
First Responders,
HAZMAT,
HAZMAT Training,


text:
Review: Good Boys
Starring: Jacob Tremblay, Molly Gordon, Will Forte
GOOD BOYS tells the story of three childhood friends that go on an epic journey, and in the process they grow up. Oh, and it also has a bunch of raunchy comedy, sex toys, and silly drug humor. Basically what you would expect from the billing: "From the guys that brought you Superbad, Neighbors, and Sausage Party." Think, Stand By Me but dirty.
The main draw of the film is the friendship between the main boys, or "The Beanbag Boys" as they call themselves. The interactions between the three are fun to watch, but each of the characters is essentially a kid stereotype and they don't stray far from those molds. Although the characters do grow throughout the movie, their main personalities stay the same. That being said, sometimes the interactions are laugh out loud funny, and other times it feels like the same old shtick that you've seen before.
The journey the kids go on does have plenty of twists and turns, with their convoluted journey leading to all sorts of absurd and ridiculous situations. And although the locales are not exotic or particularly varied, there is enough variety that it keeps the film interesting. The humor is funny if not particularly memorable and the other characters are not bad, but similar to the main boys, pretty one dimensional. And on top of the one dimensional characters and jokes that feel like you've heard them again, the overall journey itself just isn't that memorable.
GOOD BOYS is a fun journey with plenty of laughs that you won't be disappointed in taking from the comfort of your couch.
Rent it.
Labels: Good Boy, Reviews
Search Watch or Pass
Get Updates And Recommendations!
Screening: Promising Young Woman Starring Carey Mulligan, Bo Burnham, Alison Brie
In case you didn't quite get what you were hoping for this holiday season, we have screening passes for the phenomenal new dark drama / ...
Watch or Pass's Top 10 Movies of 2020: Weathering With You, Onward, All About Who You Know, The High Note, Host, Emma, Fishbowl, Sword of God, Gutterbug, Soul
2020 has been a unique year and one that has brought lots of hardship and challenges, but also some titanic changes in the movie industry. ...
Interview: Alejandro De Hoyos from El Contratista / The Contractor, Also Starring Ana Layevska, Mario Zaragoza
Alejandro De Hoyos, the star and financier of El Contratista / The Contractor discusses the film, the quick turn around for the movie, and h...
Sylvie's Love Review: A Blend of Striking Classic Style and Modern Sensibilities
Release date: December 23, 2020 Running time: 99 minutes Starring: Tessa Thompson, Nnamdi Asomugha, Aja Naomi King, Jemima Kirke, Tone Bell...
What to Watch This Weekend: August 30, 2019
Review: Don't Let Go
Screening: IT CHAPTER TWO
Review: Ready or Not
Deal: Three years of Disney+ for $3.92 per month (...
Review: Angel Has Fallen
Review: Cold Case Hammarskjöld
Review: Angry Birds Movie 2
Review: Blinded by the Light
Review: Scary Stories to Tell in the Dark
Review: The Kitchen
What to Watch This Weekend: August 9, 2019
Screening: WHERE'D YOU GO, BERNADETTE
Screening: DON'T LET GO
Screening: GOOD BOYS
Screening: BLINDED BY THE LIGHT
Deal: Avengers Endgame Digital for $19 (4K) or $14...
Review: Fast & Furious Presents: Hobbs & Shaw
Review: David Crosby: Remember My Name


text:
Anna Hakobyan Invites Aliyev's Wife to Artsakh. But There's a Catch
by Asbarez Staff
in Armenia, Artsakh, Featured Story, Latest, News, Top Stories
Anna Hakpbyan, Prime Minister Nikol Pashinyan's spouse, during a recent visit to Artsakh
'Stapanakert Would Welcome Mehriban Khanoum," Says Artsakh Presidential Spokesperson
Anna Hakobyan, the spouse of Prime Minister Nikol Pashinyan on Wednesday invited Mehriban Aliyeva, the wife of Azerbaijan's President Ilham Aliyev to visit Artsakh. Artsakh's president's spokesperson David Babayan said Aliyeva will be welcome there.
Speaking at a conference of the UN Security Resolution on "Women, Peace and Security" in Yerevan, Hakobyab referenced a post by Aliyeva on the Russian social media network Telegram.
"Our only dream is to listen to Karabakh shikeste [a type Azerbaijani folk song known as mugham] together on the Karabakh land!" wrote Aliyeva, who is also Azerbaijan vice-president, on Monday.
"Few days ago Azerbaijan's first lady Mehriban Aliyeva said on her Telegram account that they all dream of listening to mugham in Artsakh. I invite Mehriban Aliyeva to Artsakh, and she will be our guest. Our people—the people of Artsakh—know how to host and honor a guest," said Hakobyan in her remarks.
"One of our rules of hospitality is to honor the guest with the music that he/she likes. We can make her dream come true and she can listen to her beloved mugham in Karabakh. This is an invitation, and if she accepts this invitation, I am also ready, in my turn, to be hosted in Baku," added Hakopyan adding that it would be an implementation of the U.N. landmark resolution on women know universally as UNSCR 1325.
"But if Mehriban Aliyeva means that their dream is to come to Artsakh to listen to mugham with war," warned Hakopyan. "I assure that in that case this dream will remain unfulfilled."
The Armenian PM's wife stated that if Mehriban Aliyeva on behalf of herself and the Azerbaijani people says that she dreams of listening to mugham, the only way to reach that dream is peace, the normal relations with Artsakh and the mutual visits as a guest. She said that different nations of the world managed to overcome wars, hatred over the course of years, and today live in the same economic union, as best friends.
"If this has happened with other European nations, why can't we do it? The Azerbaijani side just needs to show political resolve, reject war because it will reach nothing with it. I want to once again state that this invitation is very serious," added Hakobyan.
"I believe that it is not normal when women and children are targeted and killed based on their race in the name of religion. It is not becoming for normal people," said Artsakh presidential spokesperson David Babayan.
"That is why if Meriban Khanoum [Mrs.] would like to visit Azerbaijan's neighbor on an official visit, we will be happy to greet her as a guest [as we are] with representatives of any country on any given visit," added Babayan, adding that she must keep in mind that her visit will be as an equal peer and tourist. He added that the Azrebaijani first lady will also be welcome in Artsakh, be that as an official representative or tourist, when both countries mutually recognize one another.
Babayan went on to praise Artsakh's vast cultural offerings, as well as the variety of music that it performed, including Aliyeva's favorite mugham and other Islamic music after the settlement of relations.
Armenia's Deputy Education Minister Arrested
Արմենակ Եղիայեան says:
Ապրի՛ս, Աննա Յակոբեան, հրաշալի տուած ես այդ կնոջ քիթին ու բերնին, ինչպէս ամուսինդ տուաւ անոր էրիկին քիթին ու բերնին: Ազերիին հետ խօսելու ատեն պէտք է մարդ ձեռքը միշտ գաւազան մը ունենայ, որովհետեւ շունի ցեղէն են ասոնք. կռնակդ դարձուցի՞ր,– իսկոյն կը խածնեն:
GB says:
Mrs. Alieva is a cosmeticized fake civilized woman, for the western world, but in reality, she is a 3-rd world country oppressed lady under the influence of a corrupt oil dictator! Artsakh liberation becomes a tool for her oil Sheikhdom survival. She will remain as "vice president" until Russia decides their future, for a new palace!
Leave a Reply to GB Cancel reply


text:
Subscribe To Thor's Movies Had An Unexpected Influence On The Creation Of Black Panther Updates
Thor's Movies Had An Unexpected Influence On The Creation Of Black Panther
Adam Holmes
On the surface, Thor and Black Panther don't look like they have that much in common. Sure they're both royalty and are skilled warriors, but one is a 1,000+ year old demigod who flies and can manipulate lightning, and the other wears a vibranium-woven catsuit and obtains his special abilities by ingesting a special herb. However, according to Black Panther producer Nate Moore, when Marvel Studios was developing T'Challa's solo movie, those involved took painstaking efforts to ensure that Wakanda, the African nation filled with advanced technology, didn't feel like Thor's homeworld of Asgard. Moore explained:
Our biggest fear, and one fear that Kevin articulated very early on was, he didn't want Wakanda to feel like Asgard. This sort of magical place that was of another world. He wanted it to feel like it could exist on Earth and I think Ryan went the extra mile with his team to make sure that all of the textures for clothing were grounded in stuff that actually was worn on the continent, that the design of the buildings were things that were inspired by things built on the continent, so if you were from Africa you would feel the textures that felt real.
Nate Moore makes a good point. Even though Wakanda is packed with technology that's decades/centuries ahead of its time, and the Wakandans did a good job of hiding the country's true nature from the world, it's still located on Earth. If the Black Panther team had tried to make Wakanda emulate Asgard from the Thor movies, it wouldn't have felt like this was a country that could be found in Africa, hence why it was necessary to include realistic elements within Wakanda, from the fashion to the architecture. With Asgard, it could look as fantastical and weird as the filmmakers wanted, but for Wakanda, it was important to honor the country being nestled in the heart of Africa. Continuing in his conversation with CinemaBlend's own Conner Schwerdtfeger about Black Panther's home release, Moore said:
It was something that was very much an homage to the beauty of culture in and around Africa. We would never claim that Wakanda is an encapsulation of all that is Africa, but what we did want to do was make sure we were getting it as right as we could and pulling as much as we could.
Our time with Agsard is over following its destruction in Thor: Ragnarok, but the realm's importance to the MCU shouldn't be understated, as it was the first extraterrestrial location we visited in this universe and opened the door to other cosmic corners for the franchise. But for Wakanda, Black Panther couldn't take that same alien culture-like route, and instead wisely stuck to the comic book source material and made T'Challa's home feel both unusual and familiar
You can now buy Black Panther on Blu-ray, DVD and Digital HD, but if you're interested in seeing T'Challa and some of his allies on the big screen, head to your nearest theater to watch Avengers: Infinity War. Don't forget to also look through our Marvel movies guide to learn what other MCU cinematic projects are in development.
Watch Goose the Cat 'Audition' For Captain Marvel
How Spider-Man: Far From Home Could Lead To An MCU Sinister Six
These Clues Suggest That Dead Spider-Man: Far From Home Character Isn't Really Dead
Frank Grillo Reveals His Contract With Marvel, Clarifies Crossbones' Fate
Jay and Silent Bob Reboot Trailer Is Star-Studded And Definitely NSFW
Bachelorette Spoilers: Did Tyler C.'s Mom Reveal The Next Bachelor 2020?


text:
Ford & Lopatin Music •5/5
Electronic duo composed of musicians Daniel Lopatin (better known as...
Yaeji Music •4.4/5
Korean-American singer, DJ, and producer based in Brooklyn, New York.
Negative Gemini Music •4/5
Munya Music •5/5
British-Zimbabwean comedian.
Helena Deland Music •5/5
Domenique Dumont Music •5/5
Latvian music producer working in electronica and pop.
Young Ejecta Music •3.9/5
Synthpop duo, consisting of Neon Indian's Leanne Macomber and...
Jessy Lanza Music •4.4/5
Canadian electronic songwriter, producer, and vocalist from Hamilton,...
No Joy Music •3.6/5
Men I Trust Music •4.7/5
Electro soul and dream pop compilation released via Cartoon Network's...
Tops Music •4.4/5
Canadian indie rock band from Montreal, Quebec, which currently...
Oklou Music •2.5/5
French musician, singer, music producer, DJ, composer, and actress.
See More music
Dune 2021 Movie •4.3/5
Upcoming American epic science fiction film directed by Denis...
The Leftovers 2014 TV Show •3.6/5
Supernatural mystery drama television series created by Damon...
Too Old To Die Young 2019 TV Show •2.6/5
Crime drama streaming miniseries directed by Nicolas Winding Refn,...
Sharp Objects 2018 TV Show •3.7/5
Psychological thriller television miniseries based on Gillian Flynn's...
The Little Drummer Girl 2018 TV Show •3.2/5
British television drama based on the 1983 novel of the same name by...
True Detective 2014 TV Show •4.3/5
Anthology crime drama television series created and written by Nic Pizzolatto.
Better Call Saul 2015 TV Show •4.1/5
Crime drama television series created by Vince Gilligan and Peter Gould.
The Americans 2013 TV Show •3.7/5
Period spy drama television series created by Joe Weisberg for the FX...
Mindhunter 2017 TV Show •4.3/5
Psychological crime thriller television series created by Joe...
Breaking Bad 2008 TV Show •4.4/5
Neo-Western crime drama television series created and produced by...
The Wire 2002 TV Show •4.4/5
Crime drama television series created and primarily written by author...
The Sopranos 2000 TV Show •3.6/5
Crime drama television series created by David Chase.
Chapo Trap House Podcast •3.5/5
Political podcast founded in March 2016 and hosted by Will Menaker,...
The Daily Podcast •4.1/5
Daily news podcast and radio show by the American newspaper The New...
j p @johnnyp382
@johnnyp382


text:
Q: Spring Rest Respository Collection name case sensitivity I am using Spring Boot and MongoDB, and am trying to expose them over REST using Spring Rest Repositories.
I have a Mongo collection called user and the Java domain model class called User. My Rest Repository looks like this:
@RepositoryRestResource(  collectionResourceRel = "users", path = "users")
public interface UserRepository extends MongoRepository<User, String> {

    public User findByEmail(@Param("email") String email);

}

With this in place, I get the advertised benefits of the resource getting automatically exposed over REST. GET, PUT, POST all that jazz.
What I find though is that when I rename the Mongo collection to User, it doesn't find records on the /users endpoint. It is almost as if Spring REST Repositories assumes that the collection name will be in lowercase (yes, I did come across the documentation here - https://docs.spring.io/spring-data/rest/docs/current-SNAPSHOT/reference/html/)

Spring Data REST exposes a collection resource named after the uncapitalized, pluralized version of the domain class the exported repository is handling. Both the name of the resource and the path can be customized using the @RepositoryRestResource on the repository interface.

What I am after is a way to get this configured so that I can use a collection name like User instead of user.
I have searched a fair bit, but haven't been able to come up with answers.
Any help much appreciated!
Cheers!

redpajama_set_name: RedPajamaStackExchange


text:
Support IMS Schools When You Shop at Shoe Carnival
By Shoe Carnival, Inc.
from www.shoecarnival.com
Shoe Carnival Inspires Back to School Spirit With Addition of 350 Schools to Philadelphia Donation Program
The first day of school is weeks away, and Shoe Carnival is ready to be the number one stop on your back to school shopping list. The family footwear retailer is welcoming the season in the best way yet – by giving back to the community.
In continuation of a partnership between Shoe Carnival and Philadelphia school districts, 10 percent of total purchases at select participating locations will go back to the shopper's school of choice upon checkout. Initially launching with 71 participating schools, the program has since expanded to include 350 Philadelphia metro area schools.
"For many families, back to school shopping is one of the most exciting activities of the year," says Cliff Sifford, CEO of Shoe Carnival, "Each year, we provide students with fresh, affordable styles they need to look their best, but this year we wanted to do more. So, we launched a program in Philadelphia that provides educators with resources they need to do their best. Now, with more participating schools than ever, we can't wait to watch this program grow."
"It's a joy to see the sense of renewal our students return with each year," says Rosemary Haenn, Director of Community Partnerships at Independence Mission Schools, "That's why we felt that this program couldn't have come at a better time. We're grateful not only for the donations our schools have received, but also for the light it sheds on our community."
For a complete list of participating schools, visit www.shoecarnival.com/philly-giveback.html.
IMS Kids Soar at Northeast Philly Helicopter Camp
Camp Kelly Visits St. Barnabas
Visit School


In the strategy of our company there are two basic principles that ensure the stable growth – development and innovations. Since 2004 our company specializes on the manufacture of antifreeze agents and lubricants shipped in many regions of the Russian Federation and the Republic of Bashkortostan. "Rosneftekhim" is also a developer and manufacturer of other agents for the mining and concentrating industries.
Constant development helps us to implement the long-term plans, allowing our company to grow and prosper. Innovations are the strong points of our company and they allow us to expand the range of products and the number of partners, as well as to establish new standards of our products quality annually.
More than a half of the products do not have analogues in Russia.
The success of the company is created by people who work there, that's why we aim at team. In our employees we value the desire and ability to do one's best to improve the quality of the work performed and responsibility for its results.
Following the strategy of the constant development and improvement we offer to our partners a responsible, professional and mutually beneficial collaboration, and that is our main principle. Our products always undergo a series of experimental and industrial tests and only after that they come to the market.


Husband-and-wife acting duo Roselyn Sanchez and Eric Winter have teamed to executive produce Familia En Venta (Family For Sale), a single-camera half-hour comedy for Fox based on Fox International Channel's 2014 Colombian series, which starred Sanchez.
Familia En Venta explores conscious uncoupling and marriage through the lens of the divorce of an affluent Hispanic family. Aaron Serna (Cristela) will write the adaptation, with Ian Gurvitz (The Exes) supervising and serving as showrunner.
Following the show's successful run in South America, Sanchez and Winter approached Fox International Channels about mounting an English-language version in the U.S. The duo teamed with Brillstein Entertainment Partners, whose head of TV Robyn Schwartz will executive produce Familia En Venta with them. There are no plans for Sanchez to reprise her role as she stars in Lifetime's Devious Maids, recently renewed for a fourth season.
This is the second sale for Winter this season. He also executive produces paranormal drama Zone Of Silence at NBC alongside Eva Longoria and Jason Blum. Sanchez is repped by APA and Alchemy Entertainment. Winter is with Gersh and Brillstein. Serna is with Paradigm and attorney Greg Gellman.


text:
Les sœurs de l'Alliance forment une congrégation religieuse féminine de droit pontifical. Cette congrégation est née en 2002, de l'union de sept congrégations, dont la plus ancienne date du XIIIe siècle.

Union

En 1995, les sœurs de la Présentation de Marie de Chatel, de la Sainte Enfance de Marie de Nancy et de l'Immaculée Conception de Chambéry se mettent en fédération. Elles sont rejointes en 1999 par les sœurs de Notre-Dame du Fief, de Notre-Dame auxiliatrice de Montpellier, de saint Roch de Viviers et de la Compassion de Villersexel. Elles fusionnent en 2002 sous le nom actuel. Elles sont reconnues juridiquement par un décret de 2006 qui inclut les sœurs servites de la Compassion de Saint-Firmin.

Historique des congrégations

Les sœurs de Notre-Dame du Fief, ou sœurs noires, fondées en 1274 à Bailleul par des religieuses augustines en remplacement d'un béguinage.

Les sœurs de Notre-Dame de Compassion fondées à Le Bélieu (Doubs) en 1809 par l'abbé Lambelot et Marie-Agnès Pagnot pour l'enseignement et le soin des malades. Elles s'établissent ensuite à Villersexel.

Les sœurs de la présentation de Marie fondées à Arinthod (Jura) en 1822 par l'abbé Joseph-Marie-Felix Perray, transférée à Châtel-de-Joux en 1850.

Les sœurs de la Sainte Enfance de Marie fondées en 1823 à Dommartin-la-Chaussée par l'abbé Claude Daunot pour l'enseignement. L'abbé Daunot avait envoyé les futures religieuses se former chez les sœurs de la Providence de Portieux. L'institut est approuvée par l'église le  et la maison-mère est ensuite transférée à Nancy.

Les sœurs de l'Immaculée-Conception de Chambéry fondées en 1827 par le curé Gabriel Jeandet et Anne Nicoud.

Les sœurs gardes-malades de Notre-Dame Auxiliatrice fondées à Montpellier en 1845 par le père André Soulas (1808-1857) et Virginie Montagnol, en religion mère Marie de Jésus (1812-1875) pour le soin des malades à domicile.

Les sœurs de saint Roch fondées à Antraigues le  par l'abbé Froment, curé de la paroisse En 1877, la maison-mère est située à Viviers. En 1947, la congrégation absorbe les sœurs de Meysse.
Les sœurs de l'Immaculée-Conception de Meysse fondées en 1826 à Meysse par le curé Jean-François Seyverac (1781-1854) et Jeanne-Marie Richard (-1828).

Les sœurs servites de la Compassion fondées en 1854 à Saint-Firmin par l'abbé Thiriet et agrégées à l'ordre des Servites de Marie.

Activités et diffusion

Les sœurs se dédient à divers apostolat.

Elles sont présentes en France, Belgique, et Italie.

En 2017, elles étaient 227 sœurs dans 31 maisons.

Notes et références

Congrégation catholique féminine
Fondation en 2002

redpajama_set_name: RedPajamaWikipedia


text:
Education in Brattleboro
Brattleboro has a strong tradition of education and learning, being home to many schools with varied curriculum. Five elementary schools serve the educational needs of many of Brattleboro's children. Brattleboro is also home to the Brattleboro Area Middle School (7th & 8th grade) as well as the Brattleboro Union High School that serves the educational needs of surrounding towns as well.
The Southeastern Vermont Career Education Center, located on the Brattleboro Middle School campus, serves students from around the area, providing career education in 18 diverse areas.
The Austine School for the Deaf is located on 175 acres overlooking Brattleboro. Primarily a residential program, the school also serves many 'day' students from the area, and provides a variety of academic, social and recreational programs for deaf and hard-of-hearing students age 4-18. The campus is also home to the Hilltop Montessori School, K-5 and Project Adventure.
World Learning, formerly the Experiment in International Living, was founded in 1932 to pioneer a people-to-people exchange. It is one of the oldest international non-profit educational organizations, and the oldest of its kind in the United States. Today, World Learning's broad range of international expertise is facilitated by its three operationg sections: It's accredited college, the School for International Training; its traditional citizen exchange and language programs; and its private volunteer organization activities operated by Projects in International Development and Training. World Learning currenty runs over 260 programs in over ninety countries, providing services to more than 246,000 participants and students.
Copyright © 1996 and maintained by Level Nine, Inc.


text:
from pybrain.datasets import SupervisedDataSet
from pybrain.tools.shortcuts import buildNetwork
from pybrain.supervised import BackpropTrainer

def make_dataset():
    """
    Creates a set of training data.
    """
    data = SupervisedDataSet(2,1)

    data.addSample([1,1],[0])
    data.addSample([1,0],[1])
    data.addSample([0,1],[1])
    data.addSample([0,0],[0])

    return data

def training(d):
    """
    Builds a network and trains it.
    """
    n = buildNetwork(d.indim, 4, d.outdim,recurrent=True)
    t = BackpropTrainer(n, d, learningrate = 0.01, momentum = 0.99, verbose = True)
    for epoch in range(0,1000):
        t.train()
    return t

def test(trained):
    """
    Builds a new test dataset and tests the trained network on it.
    """
    testdata = SupervisedDataSet(2,1)
    testdata.addSample([1,1],[0])
    testdata.addSample([1,0],[1])
    testdata.addSample([0,1],[1])
    testdata.addSample([0,0],[0])
    trained.testOnData(testdata, verbose= True)

def run():
    """
    Use this function to run build, train, and test your neural network.
    """
    trainingdata = make_dataset()
    trained = training(trainingdata)
    test(trained)


text:
Babcock wins DAF sales award
Transport Solutions business scoops up DAF dealer award for Best Truck Sales Performance
Our Transport Solutions business recently scooped up the award for Best Sales - Dealer Sales Operations 2017 at the annual DAF Sales and Marketing conference held in Eindhoven, Netherlands in February this year. This accolade represented the highlight of the gala dinner where Babcock outshone 52 dealers from across the world to win the coveted award.
A significant achievement
Mark Gavin, Sales Director Transport Solutions, accepted the award on behalf of Babcock and says he was honoured to bring home the trophy for his well-deserving team. "This is a significant achievement for Babcock, as 2017 was a year of hard work for the team. All the effort has paid off and we've enjoyed a record year in terms of sales," says Gavin. "In this financial year we have doubled sales of DAF Trucks since three years ago," enthuses Gavin. He adds that 2017 was a stellar year for Babcock's Transport Solutions business, and sales of DAF Trucks in South Africa is seeing steady growth.
A flourising partnership
Much of this success can be attributed to the support from DAF Netherlands that has enabled the Babcock sales team to offer customers attractive deals and increase visibility of DAF Trucks on South African roads.
Babcock became the exclusive distributor of DAF Trucks in South Africa in 2010 and has since made strong in-roads in a highly competitive market. "In the past eight years we've focused on establishing some blue-chip fleets and building our relationships with existing and new customers," says Gavin. DAF is one of Europe's most popular transport solution supplier and since its introduction into the South African market, the DAF Trucks brand has become a force to be reckoned with. Built for the long haul, the DAF XF105 offers low operating costs, high revenues per kilometre to the operator and maximum comfort to the driver, making it the preferred choice for many of Babcock's logistics customers, and remains Babcock's best-selling truck.
The day-to-day performance of the vehicles is further reinforced by DAF Trucks' excellent productivity and fuel consumption. Coupled with this is Babcock's extensive regional network of sales and support centres, first-class availability of parts, 24-hour emergency assistance 365 days of the year, and overall total transport solutions designed to maximise earnings per kilometre. Tailor-made repair and maintenance contracts are available as well as full after-market support. Strategically located parts distribution centres ensure that parts are always available and strong emphasis is placed on continuous development and training of our technical staff.
Competitive financing options
In addition, Babcock Finance offers an extensive range of competitive financing options and the company has recently extended its financing portfolio to include operating leases and rentals. Rental options reduce financial risk to customers and improve client cash flow, and come with full maintenance packages. These and other versatile and bespoke finance packages make the world-class DAF Trucks more readily available to the local market, benefitting not only operators but also a wide spectrum of industry.
Designed and tested to perform optimally in harsh local conditions, DAF Trucks are suitable for many applications ranging from long distance haulage to regional and construction transport.
DAF 90th anniversary limited edition truck
With its luxurious fittings, exclusive striping and subtle design elements, the XF 90th Anniversary Edition is a real head-turner.
DAF's Super Space Cab on a cross-country road trip
Truck drivers and fleet owners get to experience the DAF XF Super Space Cab - the largest cab available to work and live in.
Less fuel. More profit.
Fuel consists a large portion of fleet managers budgets. Learning to use fuel efficiently presents businesses with an opportunity for cost saving.


Cape Cod Baseball League Games: A Great Family Attraction!
A "Don't Miss" Attraction for the Whole Family!
Start with a balmy summer evening on Cape Cod. Then add the best of the best collegiate baseball players, swinging a wooden bat at blistering fastballs and sneaky curves. Now, sprinkle in a few Major League scouts in search of the next MLB superstar.
A Cape Cod League baseball game - the quintessential summer fun for the entire family!
The "Cape League" traces its roots back to the mid-1800s, when young men organized into village teams, traveling from town to town, playing the all-American game.
These were devoted players! History tells that in the 1870s, games were actually played on the ice on Mill Pond in Sandwich.
The premier amateur league in the USA, drawing players from the top collegiate baseball programs across the country.
Carl Yastrzemski's grandson, Mike, played for Cotuit Kettleers in the Cape League. Mike was drafted by the Baltimore Orioles in 2014.
Today's CCBL players aren't just your average college kids playing summer ball.
These guys truly are the best of the best. They come to Cape Cod by invitation, to live, work and play baseball for the summer. And hopefully to catch the eye of the Major League scouts who come to the games in search of the next Babe Ruth.
Going to a Cape Cod Baseball League game is the ultimate "small town America" experience.
Adults set up their folding chairs or sit on the bleachers, watching the game and chatting with friends.
Teens hang by the dugouts and bullpens for an up-close view of the action. Younger kids bring their baseball gear and play on the lawn.
And really adventurous fans go high for a birds-eye view of the game!
See the guy in the tree? How about that for fantastic (but risky!) seating?!
Speaking of a "bird's eye view" ... this osprey has the best seat in the house for Y-D Red Sox home games!
Imagine how cool it'll be, a few years down the road, when you realize you have the autograph of a Major League All Star. Your kids can brag that they met him before he became famous!
The Story of the Cape Cod Baseball League"
Told by former players, coaches, and "locals" who've experienced the Cape League first-hand, this feature-length movie offers a fascinating, insider's view of a summer in the league.
Whether you're a CCBL fan like me, or you're looking forward to seeing your first game while you're here, Touching The Game is a don't miss!
From mid-June to mid-August, Cape Cod League teams play almost every day. With teams in 10 different towns across Cape Cod, it's always easy to find a game nearby!
Most games don't start until 5 p.m. or after. So there's no need to make that tough choice: "Beach or baseball game?" Have a great day at the beach, then head out to the ball field to catch the game.
Oh ... have I mentioned that admission to CCBL games is free?
CCBL teams are non-profit organizations, and they appreciate donations to help pay for bats, balls and other team necessities.
FYI: The cap-passing is a totally no-pressure thing. If you can give a few dollars or so, great! If not, that's perfectly okay, too.
Just come on out to the ballgame and have tons of fun!


This spring, community organizations, LGBTQ+ state groups, faith communities and everyday individuals are organizing to respond when the U.S. Supreme Court issues its decision in the case of Masterpiece Cakeshop v. Colorado Civil Rights Commission. No matter how the court rules, join us at an event near you and stand with the 60% of Americans who agree that no business has the right to refuse service to lesbian, gay, bisexual, transgender or queer people because of the owners religious beliefs.
We all agree that freedom of religion is one of our most fundamental rights as Americans. But that freedom does not give any of us the right to harm other people, to impose our beliefs on others, or to discriminate.
Watch the SCOTUSblog on DecisionDay.org; the earliest the case could be decided is May 21. Prepare for Decision Day by making two signs – one for celebration, the other for protest – depending on how the court decides. ON Decision Day, rally at 5:00pm at the North side of City Hall, Philadelphia, PA.
This is not "just about a cake." A negative decision could mean that some businesses will be able to discriminate against members of the public that they perceive as being minorities who they refuse to serve.
On Decision Day, will we rally, or will we protest? Follow the Decision Day website and this Page to stay informed.


text:
My Subscription Renewal
SFSYMPHONY+
Your Visit & Experience
Hall Amenities
Visitor FAQs
Davies Symphony Hall
Patron Services: (415) 864-6000
Box Office: Grove Street, between Van Ness and Franklin
Discover the Music
SFS Media
Education in SF Schools
SFS Youth Orchestra
Music Connects, Kids Edition
Symphony Fund Membership
SFS Endowments
Ticket Donation
About SF Symphony
About SFS Symphony
Esa-Pekka Salonen & Conducting Staff
SF Symphony Musicians
Tchaikovsky - Violin Concerto
Print Program Notes
Concerto in D major for Violin and Orchestra, Opus 35
PIOTR ILYICH TCHAIKOVSKY
BORN: May 7, 1840. Votkinsk, district of Viatka, Russia
DIED: November 6, 1893, Saint Petersburg
COMPOSED: He began work on the Violin Concerto at Clarens, Switzerland, in March 1878, completing it on April 11
WORLD PREMIERE: December 4, 1881. Adolf Brodsky was soloist, with Hans Richter and the Vienna Philharmonic
US PREMIERE: January 18, 1889. Maud Powell was soloist, with Walter Damrosch and the New York Symphony
SFS PERFORMANCES: FIRST—March 1912. Efrem Zimbalist was soloist, Henry Hadley conducted. MOST RECENT—July 2017. Benjamin Beilman was soloist, Juraj Valčuha conducted, as a part of the Summer with the Symphony series
INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings
DURATION: About 33 mins
THE BACKSTORY Tchaikovsky's Violin Concerto is as indispensable to violinists as his B-flat minor Piano Concerto is to the keyboard lions. Each work got off to a dismaying start. The Piano Concerto, completed early in 1875, was rejected by Nicolai Rubinstein in the most brutal terms and had to travel to faraway Boston for its premiere. Three years later, the painful episode repeated itself with the Violin Concerto, which was turned down by its dedicatee, the influential concertmaster of the Imperial Orchestra in Saint Petersburg, Leopold Auer.
From the beginning, Tchaikovsky had intended the concerto for Auer. Here is the story as Auer told it to The Musical Courier, writing from Saint Petersburg on January 12, 1912: "When Tchaikovsky came to me one evening, about thirty years ago, and presented me with a roll of music, great was my astonishment on finding that this proved to be the Violin Concerto, dedicated to me, completed, and already in print. My first feeling was one of gratitude for this proof of his sympathy toward me, which honored me as an artist. On closer acquaintance with the composition, I regretted that the great composer had not shown it to me before committing it to print. Much unpleasantness might then have been spared us both. . . .
"Warmly as I had championed the symphonic works of the young composer (who was not at that time universally recognized), I could not feel the same enthusiasm for the Violin Concerto, with the exception of the first movement; still less could I place it on the same level as his strictly orchestral compositions. I am still of the same opinion. My delay in bringing the concerto before the public was partly due to this doubt in my mind as to its intrinsic worth, and partly that I found it would be necessary, for purely technical reasons, to make some slight alterations in the passages of the solo part. This delicate and difficult task I subsequently undertook, and re-edited the violin solo part, and it is this edition which has been played by me, as also by all my pupils, up to the present day. It is incorrect to state that I had declared the concerto in original form technically unplayable. What I did say was that some of the passages were not suited to the character of the instrument, and that, however perfectly rendered, they would not sound as well as the composer had imagined. . . .
"The concerto has made its way in the world, and after all, that is the most important thing. It is impossible to please everybody."
Nicolai Rubinstein had eventually come around in the matter of the Piano Concerto, and Auer not only became a distinguished exponent of the Violin Concerto but, as he said, taught it to his remarkable progeny of pupils—Heifetz, Elman, Zimbalist, Seidel, Parlow, and others. As for Auer's editorial emendations, they may be unnecessary, strictly speaking, but they are in no sense a betrayal. But his initial rejection was a practical nuisance. His verdict, wrote Tchaikovsky, "coming from such an authority, . . . had the effect of casting this unfortunate child of my imagination into the limbo of the hopelessly forgotten." And hence the delayed premiere in a far-off and unsympathetic place.
Adolf Brodsky, who turned thirty in 1881, was of Russian birth, but trained chiefly in Vienna. He became an important quartet leader, served as concertmaster of the New York Symphony and of the Hallé Orchestra in Manchester, England, and eventually settled in the latter city as Director of the Royal College of Music. He had already tried to place Tchaikovsky's concerto with the orchestras of Pasdeloup and Colonne in Paris before he managed to persuade Hans Richter and the Vienna Philharmonic. The performance must have been awful. Brodsky himself was prepared, but Richter had not allowed enough rehearsal time, and most of the little there was went into correcting mistakes in the parts. The orchestra, out of sheer timidity, accompanied everything pianissimo. Brodsky was warmly applauded, but the music itself was hissed. What is best remembered about the premiere is Eduard Hanslick's review in the Vienna Neue freie Presse: "The Russian composer Tchaikovsky is surely no ordinary talent, but rather, an inflated one, obsessed with posturing as a man of genius, lacking discrimination and taste. . . . The same can be said for his new, long, and ambitious Violin Concerto. For a while it proceeds soberly, musically, and not mindlessly, but soon vulgarity gains the upper hand and dominates until the end of the first movement. The violin is no longer played; it is tugged about, torn, beaten black and blue. . . . The adagio is well on the way to reconciling us and winning us over, but it soon breaks off to make way for a finale that transports us to the brutal and wretched jollity of a Russian church festival. We see a host of savage, vulgar faces, we hear crude curses, and smell the booze. In the course of a discussion of obscene illustrations, Friedrich Vischer once maintained that there were pictures which one could see stink. Tchaikovsky's Violin Concerto for the first time confronts us with the hideous idea that there may be compositions whose stink one can hear."
THE MUSIC But, as Leopold Auer said, it is impossible to please everybody. Tchaikovsky pleases us right away with a gracious melody, minimally accompanied, for the violins of the orchestra. Indeed, we had better enjoy it now, because he will not bring it back. (He does the same tease with the big tune at the beginning of the First Piano Concerto.) But as early as the ninth measure, a few instruments abruptly change the subject and build up suspense with a quiet dominant pedal. The violins at once get into the spirit of this new development, and they have no difficulty running over those few woodwinds who are still nostalgic about the opening melody. And thus the soloist's entrance is effectively prepared. What he plays at first is the orchestral violins' response to the dominant pedal, but set squarely into a harmonic firmament and turned into a "real" theme. Later, Tchaikovsky introduces another theme for the solo violin, quiet but con molto espressione. The transitional passages provide the occasion for the fireworks for which the concerto is justly famous. The cadenza is Tchaikovsky's own, and it adds interesting new thoughts on the themes and provides further technical alarums and excursions.
At the first run-through in April 1878 everybody, Tchaikovsky included, sensed that the slow movement was not right. Tchaikovsky quickly provided a replacement in the form of the present Canzonetta and found a new home for the original Andante as the Méditation that begins the three-movement suite for violin and piano Souvenir d'un lieu cher. The Canzonetta is lovely indeed, both in its melodic inspiration and in its delicately placed, beautifully detailed accompaniments.
Perhaps with his eye on the parallel place in Beethoven's Violin Concerto, Tchaikovsky invents a dramatic crossing into the finale, though unlike Beethoven he writes his own transitional cadenza. So far we have met the violin as a singer and as an instrument that allows brilliant and rapid voyages across a great range. Now Tchaikovsky presents it to us with the memory of its folk heritage intact. We can read Hanslick again and recognize what he is talking about when he is so offended. Tchaikovsky's finale sounds to us like a distinctly urban, cultured genre picture of country life, but one can imagine that in the context of 1881 Vienna it might have struck some delicate noses as pretty uncivilized.
—Michael Steinberg
Michael Steinberg, the San Francisco Symphony's Program Annotator from 1979 to 1999 and a contributing writer to our program book until his death in 2009, was one of the nation's pre-eminent writers on music. We are privileged to continue publishing his program notes. His books are available at the Symphony Store in Davies Symphony Hall.
MORE ABOUT THE MUSIC
Recordings: Joshua Bell, with Michael Tilson Thomas conducting the Berlin Philharmonic Orchestra (Sony) | Christian Tetzlaff, with Kent Nagano conducting the Russian National Orchestra (Pentatone) | Nathan Milstein, with Claudio Abbado conducting the Vienna Philharmonic Orchestra (Deutsche Grammophon) | Maxim Vengerov, with Claudio Abbado conducting the Berlin Philharmonic Orchestra (Warner)
Reading: Tchaikovsky, by David Brown, a multi-volume life-and-works (Norton) | Tchaikovsky Remembered, edited by Brown ( Faber & Faber) | Tchaikovsky Through Others' Eyes, edited by Alexander Poznansky (Indiana University Press) | Tchaikovsky, by Anthony Holden (Bantam) | The Tchaikovsky Handbook: A Guide to the Man and his Music, edited by Poznansky and Brett Langston (Indiana University Press)
Your gift makes concerts possible.
Donate Today Donate Today
201 Van Ness Ave.
patronservices@sfsymphony.org
Box Office Hours (phone and emails only)
About San Francisco Symphony
Season Partners
Inaugural Partner
©2020 San Francisco Symphony | Privacy & Terms
This website uses cookies. By continuing to browse the site you are agreeing to our use of cookies. Learn More.


The MAFC Senate is at the heart of government. Most major decisions pass through the Senate at some point and must be ratified by it. It acts as a central Legislature for all Association (as opposed to Quadrant) business, and is the only arm of government with power over the MSN. Senators are selected by the Supreme Councillor of the Martian Union to run major ministries. These Senators, with the Supreme Councillor, form the Interstellar Coordination Committee, which is the Executive arm of MAFC government. The Supreme Councillor of the Martian Union becomes the President of the Interstellar Coordination Committee, and the closest thing that the MAFC has to a Head of State.
The Senate has two representatives from each Region (18 in total), plus 12 who are supposed to represent various walks of Martian life, but who tend to be major figures on New Mars and the old colonies.
Coalition partners the CDP and MCGF have had a good showing in the 3214 elections, with a poor result for the the MLWP, including the loss of both the current and former party chiefs. The CDP and MCGF now have a majority of the Senate seats between them, and could form a coalition on their own, but have elected to continue in coalition with Phil Dermond's Free Mars Party, traditional allies of the CDP. The fact that the CDP and MCGF both have the same number of seats (and that the CDP has done the best of any party in this election) means that there is the possibility of a CDP chair of the Senate Interstellar Coordination Committee, but for now the parties have been content to continue with the same set-up.
With the votes now in and counted, the results of the 3214 Martian Senatorial elections can now be declared. As you will be aware, only half of the Senate's 30 seats change hands during any single Senatorial election. Furthermore, only the eight outer quadrants directly elect their representatives in a Quadrant-wide plebiscite. The other seats are all appointed by various bodies within the MAFC. Results for the appointed seats are given later.
The amazing surge in the economy of Quadrant 1 has propelled the CDP's Selima Pasha into power, ousting the incumbent MCGF candidate Simon de Montfort.
In a major upset for the politics of this conservative quadrant, the long-serving CDP candidate has been ousted by a Martian Liberal Welfare Party candidate. The ongoing unrest on Estreham between Clewgist factions is believed to have played a part in the victory of Hengistan Horsa.
A gain for the MCGF, this time from former MLWP leader Ophelia Laertes.
The MLWP have managed to hold onto their seat in Quadrant 4, as former economics minister Richard Yorke managed to argue that the Quadrant had not benefitted as it might have done from the recent economic success of the MAFC.
A hold for the MCGF in its heartland, with Shizuka Nekonome of Dilgar replacing outgoing Senator Clay Brixx.
A surprise victory for the New Helix Party, in their first ever win in a Quadrant-based election, as disgraced former broadcaster of Channel 6's "That's Amazing!" show Davy Monroe wins the vacant seat from the MCGF.
A gain for the MCGF in a quadrant that has seen spectacular growth, as skilled MLWP political operator Bernard Woolley is replaced by Mike Diablo.
A hold for the MCGF, with Amita Parveen replacing outgoing Senator Scott Free.
Q0: Former ICC President and one-time head of the Martian Liberal Welfare Party Anton Dec retires as of this election. He has indicated that he will challenge the CDP in the Council of the Martian Union. In the meantime, the CDP stranglehold on that body continues, and Dec's replacement will be CDP-backed appointee Treesa April.
Commercial: The Commercial Senators traditionally support the CDP. Rish Johnstone, CEO of Olympus Engines Corp, has been selected by the New Mars Institute of Directors to take the Commercial seat for the next four years.
Military: The Martian Star Navy has replaced Yurika Misumaru with former Supreme Human Commander Aiashi Hojo (Thai-Sho, retd) as their new representative on the Senate. Like his predecessor, Hojo is known to lean towards the traditionalist Free Mars Party.
Religion: The religious seats rotate according to the share of populace who share that observance. Omar Ghorsht of the Martian Progressive Hindu Council cedes his seat to prominent atheist and illusionist Pennan Tella, chosen by the Martian Humanist Council. Senator-elect Tella has indicated that he will most likely vote with the Martian Liberal Welfare Party (MLWP).
Academic: The extremely popular Senator John Frink of the Underground Martian Institute of Science and Technology has been re-selected by the Martian Universities Council for a third term. He has always taken the CDP whip in the Senate.
Sports: The Martian Sports Council has elected Ron Manager, former head coach of Dynamo Sturluson, as its representative, replacing retired athlete Kelly Watson. Like his predecessor, he has long been a supporter of the Martian Liberal Welfare Party.
Social: The Martian Charities Council has selected Antonia DeMonay, head of 'Genes for Justice' as its representative for the next eight years, replacing Art Deco, the former head of 'Reprieve Interstellar'. This seat traditionally votes with the Humanity's Future Party.


text:
Nicolas Nguyen, MD, ABFM
Senior Medical Director of Clinician Recruitment, Development, and Experience, Beth Israel Deaconess HealthCare
Nicolas Nguyen graduated from Tufts University School of Medicine and completed his residency at Cambridge Health Alliance (CHA). He joined the core residency faculty at CHA, and was appointed Director of Inpatient Teaching. In 2013, he joined Beth Israel Deaconess HealthCare (BIDHC) and was named Family Medicine Site Medical Director in Brookline. He was selected for the Linde Fellowship in Primary Care Leadership in 2016 at BIDMC. At the same time, he was named Director of Physician Experience for BIDHC, and was subsequently appointed Senior Medical Director of Clinician Recruitment, Development, and Experience, a position he continues to hold at this time. Nguyen is an elected member of the Provider Advisory Board, a clinical instructor at Harvard Medical School and Tufts School of Medicine, and a former Editor-in-Chief of American Scientific Family Medicine. He has published and has been invited to speak across the country on physician experience and burnout, most recently at the Care Transformation Collaborative and at the Aspen Ideas Festival: Spotlight on Health. He maintains a full patient panel in his current family medicine practice.


Create the beautiful blossom not the prickly, thorny thistle. Have a wonderful day!
This entry was posted in Photography and tagged Arizona, flowers, nature, photography, quotes, Sabino Canyon, wildflowers. Bookmark the permalink.
I love thistles, and so do the goldfinches!
I don't think I've seen a goldfinch in this area even though we do have plenty of birds.


text:
Turunmaa var en finländsk kanonbåt, byggd 1916, som tjänstgjorde under det andra världskriget. Fartyget hade tidigare gått under namnet Orlan och Tshirok i rysk tjänst. Fartyget byggdes i Helsingfors för tsar-rysk räkning och användes under fredstid som kadettskolningsfartyg.

Fartyget kunde ta 60 ton kol.

Turunmaa har fått sitt namn efter regionen Åboland som på finska heter Turunmaa.

Fartyg av klassen

Fartyg i den finländska marinen
Finländska örlogsfartyg under andra världskriget
Fartyg sjösatta 1918
Fartyg byggda i Åbo


text:
MNP Tower is a 35-story high-rise office building in Downtown Vancouver, British Columbia. Standing at a height of 469 ft, it is the sixth tallest building in the city and the tallest office building. It was designed by the American architectural firm Kohn Pedersen Fox. Construction of the building began in 2012 and was completed in 2014.

See also
 List of tallest buildings in Vancouver
 MNP LLP

References

External links
Oxford Properties

Skyscrapers in Vancouver
Skyscraper office buildings in Canada
Kohn Pedersen Fox buildings
Office buildings completed in 2014
Modernist architecture in Canada


Is your Behavior Based Safety (BBS) running you?
Are you running your Behavior Based Safety (BBS) system or is it running you?
Are your employees walking around the job site with a stack of paper cards in their back pocket and a pencil in their front? If you know this scenario, chances are your company has a Behavior Based System (BBS) and overarching safety policy. The problems with BBS systems revolve around the latency of data, manual process, and standalone mentality of implementation. Below is a generic description of some, not all, BBS systems in operation. If this description fits your organization, please read further for a few suggestions on how to improve your processes and environment. If you are happy with your current BBS system, I applaud you and your company's efforts in successfully doing what many others have not.
In the opening paragraph I described a scene of workers carrying around pencils and paper to record safety information. Those cards (whether it be a JSA, Hazard Hunt, or any other safety record) are then manually entered into a computer at the end of the shift, week, or even worse, after they are mailed into a corporate office. This data is then stored for consumption and reporting in (usually) a standalone system that does not communicate with other company systems such as HR, Finance, Logistics, ERP, etc. While the safety records are retained, reporting is often an arduous and manual process. JSA, incidents, and other safety records are stored in the company BBS system; HR records are stored in another system; and financial records for incentives are stored in another system. All of this data is usually manually retrieved and manipulated through an Access database or Excel spreadsheet to produce reports about the previous month. The problem being, even if this process wasn't costly and time consuming, the data is still a month old! This means that any action taken resulting from the information reported is at least a month late, an eternity in safety terms.
To start the roadmap to a "better" BBS system one should follow the proven process of diagnose, analyze, design, and develop. Diagnose your BBS system's problem areas by talking to users, managers, and stakeholders to identify the processes and pain points to compile and move the data from the very beginning (job site) to the very end (report and archive). Analyze your options for each problem area, such as using a mobile device with an application instead of paper and pencil to manually fill out forms; or a simple option of sending data to an administrator for compiling instead of Director of HSE. Design how your process will look after you have decided which changes to implement (remember to make the changes with feedback from your users, managers, and stakeholders). Develop the new process by actually making the agreed upon changes. And one last thing, Communicate! Solicit feedback on your changes and constantly communicate with your BBS system users, managers, and stakeholders. Involving the organization in every step of the process increases the chance of success and helps you help them.
BBS systems are a very valuable tool for any organization managing its safety culture. As with all complex systems, it is important to pay attention to your processes and continuously improve them. Once your whole organization is involved it is much easier to make changes and your chances of success increase dramatically. Technology is a great enabler or process change, but only if the users adopt it!
What Is a Digital Transformation Readiness Assessment?
Add Power BI to your Business Intelligence arsenal!
Is Digital Transformation for you?


Belgium is a small media market. It effectively has two distinct publishing sectors for the French and Flemish speaking populations, both with strong public service broadcasters that have been outstripped by commercial brands online. Recent mergers and acquisitions have raised concerns about media concentration and pluralism in the news.
In the past year, Belgium's largest publishers, De Persgroep, Mediahuis, and Roularta, continued to consolidate their market position by scaling-up their activities through mergers and acquisitions, strongly reshuffling the Belgian media landscape. This reorganisation of ownership seems to be inspired by the desire to consolidate and expand core activities rather than to branch out into new ones.
Mediahuis is exiting the audio-visual sector, selling its stake in De Vijver Media, which runs the television channels Vier, Vijf, and Zes and audio-visual production company Woestijnvis. After having acquired the Dutch publishers NRC Media in 2015 and Telegraaf Media Group in 2017, the company is clearly betting its future on news publishing. Meanwhile telecom company Telenet has bought De Vijver Media. Linear broadcasters fear that Telenet might choose to limit local content access to its premium offerings.
Earlier, De Persgroep and Roularta traded assets. De Persgroep acquired Roularta's stake in Medialaan, the largest commercial broadcaster in Flanders. In turn, Roularta took over De Persgroep's share in Mediafin, a joint venture with Groupe Rossel, which publishes financial newspapers De Tijd/L'Echo.1 Roularta now owns a profitable, digitally savvy news brand and further strengthened its magazine portfolio. De Persgroep in turn can now focus more prominently on monetising cross-media audiences in Flanders (and the Netherlands), owning the most popular news brands in commercial television (VTM), print and online news (Het Laatste Nieuws/HLN.be), and magazines (Dag Allemaal).
In the French-speaking community, there was heated debate about the possible acquisition of Les Editions de L'Avenir by the Groupe Rossel. Fears of media concentration lead politicians to ask the Walloon government to temporarily put Les Editions de L'Avenir in public hands. Meanwhile, Rossel and news agency Belga struck a deal which will see Belga become the sole provider of news articles for the free daily Metro and its website metrotime.be.
All this took place against the backdrop of readership levels for publishers' news brands that have remained stable over the last three years, when taking into account total print and digital readership.2 But as our Digital News Report data show, print is still losing ground year after year, with television also now seeing a slight decline.
The public broadcasters VRT and RTBF remain firmly rooted in their respective regions when it comes to offline news, while still lagging behind when it comes to online news. In Flanders, the revamping of the online news offering and renaming it vrtnws.be has not yet improved usage. The revamp coincided with the new management agreement between the VRT and the Flemish government, which confined the VRT's online remit to mainly audio-visual news in order not to disrupt the online news market. By 2021 both public broadcasters are planning to build new offices on their shared current location, embedded into a bigger media-centred urban development project called Mediapark.Brussels. The first sketches of the building show VRT's ambition to become a meeting space for citizens and media professionals.
Belgium's media market seems trapped in a paradoxical situation where Belgian companies concentrate locally to better compete globally (for advertising) with the likes of Google, Facebook, and Netflix. This has raised concerns by journalism organisations and policy-makers regarding diversity in the news. After acquiring Medialaan, De Persgroep announced it would regroup and relocate journalists, layout, and production for all outlets in a central newsroom called News City. For newspaper De Morgen and magazine Humo, this also means working under a single editor-in-chief. While journalism organisations fear lay-offs, De Persgroep argues this will guarantee the future of its news brands.
Finally, in relation to the growing calls for holding platforms accountable, the Court of Brussels has found Facebook's use of personal tracking data to be non-compliant with Belgian privacy law. Facebook has appealed the decision.
Television news (70%) is gradually losing ground to online, though social media use for news has also started to decline. The use of smartphones for accessing news has grown 8 percentage points since 2016.
News brands have traditionally enjoyed high levels of trust in Belgium, especially in Flanders. Belgium did not hold elections in recent years and together with trusted public broadcasters, this might explain why fake news has not generated much attention from policy makers yet, although an expert group on fake news has been set up by the Minister of Digital Agenda Alexander De Croo.


Look at the latest collection of Jack and Lily Baby Booties with cotton chenille patterns and other great new styles for the season! Jack and Lily's specialty footwear is the next step in designer baby shoes. Made from the finest 'Lamb Touch' leather, our handcrafted slip-ons are the softest baby shoe available today. Specially designed to encourage a baby's development. We strongly suggest that parents measure the baby's feet instead of rely solely on age to decide on a shoe size. Please refer to Sizing and Size Chart for more information about choosing the right shoes. Jack and Lily Baby Booties have been featured in the latest baby and kids magazine.


Bitcoin has once more returned to $4,000 per coin. The warming markets could be attributed to a number of positive factors around Bitcoin usage, adoption, and awareness, However, assuming the largest driver of BTC price is speculation, a more important factor could be changing market sentiment.
Currently, the largest driver of volume is through Bitcoin derivatives on BitMEX, with XBT/USD trading at $3,970 per contract and occupying 11.7 percent of market volume.
As always—it's difficult, if not impossible—to identify the precise reason for bitcoin's shifting prices and volume. With thousands of factors at play, including unpredictable market forces, the change could be completely arbitrary.
The underlying reason could be related to fundamentals, with Lightning Network, transactions, and the number of wallet addresses reaching new highs within this quarter. It could also be shifting sentiment across crypto Twitter and the hundred or so most popular cryptocurrency subreddits.
According to the Crypto Fear & Greed index, the metric has increased from 17 out of 100, indicating fear, to 54 out of 100, indicating greed. The index pulls data including social media, Google Trends, market momentum, and volatility.
Over the last month, bitcoin dominance has also shrunk, going from 52.65 to 50.65 percent. When the market is greedy the dominance of bitcoin, considered a crypto "safe haven," tends to shrink while investment in riskier altcoins grows.
That said, not all the data is positive. The amount of Bitcoin-related Twitter activity and Google Trends both indicate shrinking interesting in the cryptocurrency.
Tweets per day mentioning bitcoin have remained relatively flat, staying within its approximately 20,000 tweets per day average. Meanwhile, the Google Trends score for "bitcoin" has shrunk from 75 to 50 over the last 90 days, but that could because the market has become more nuanced in its interest in the technology, with the interest over time for "blockchain" going from 58 to 74 over the last 90 days.
In aggregate, it is hard to determine whether the markets will continue within its $800 range or if it will break out within this quarter. But, the data is looking promising.
The post Bitcoin Breaks $4000, Data Indicating the Crypto Markets are Shifting appeared first on CryptoSlate.