text:
Cote de Pablo Wiki, Married, Husband or Boyfriend and Net Worth
Cote de Pablo was born in the year 1979 on 12th of November and this makes her age 35 at this time. At this age she has already achieved as an actress and she is always working hard and thriving for more. She was born in a place called Santiago, which lies in Chile. She belongs to the ethnicity white and nationality Chilean-American. The names of her parents are Maria Olga Fernandez and Francisco de Pablo and they must be very proud of what their daughter has achieved in her wonderful career. She has two siblings and their names are Francisco de Pablo Fernandez and Andrea de Pablo Fernandez.
She is not very tall as she has a small height of 1.69 meters. She has perfect body measurements, which gives her stunning curves and ads to her sex appeal. Her perfect body measurements are 34-23-34. There is no doubt she looks red hot in a bikini while showing off her sexy legs and hot feet. Her fans from all over the world love her sexy pictures. There were some rumors of her being Jewish which was never confirmed.
Interested readers can read more about her and her interesting biography can be easily grabbed from popular wiki sites such as Wikipedia and IMDb. It does not seem like she is active in any kind of social networking site whether it be Instagram or Twitter. This also means she is not fond of uploading her pictures in those sites to share them with her fans and loved ones.
She has been very successful in her career and it has given her great earnings and a wonderful net worth. It is all her passion for her work that has made her this big today. She has a jaw dropping net worth of $6 million dollars and this proves how successful she has been in her career.
Her personal life has been as perfect as her career. She was dating her boyfriend Daniel Hyatt before the couple decided to convert their alleged affair into a relationship and got married. The couple is still going very strong with their relationship as husband and wife and the main reason behind this is trust and their bonding. As the couple is going so strong with their relationship, there is almost no chance of a divorce to occur in their lives. She has already been pregnant and each time she was going to have a baby, she was taken great care of. She has a total of four children.
She has been active in the industry from the year 1994 and till now she has managed to impress in each and every TV shows and movies she has portrayed any roles in. She played the role of Fiona in a TV series called The $treet in the year 2000 and impressed everyone with her acting talent. Other movies and TV shows to her credits are The Jury, NCIS, TOCA Race Driver, The Education of Max Bickford and The 33. She was awarded with the Imagen Award for the category of Best Supporting Actress in Television for her amazing role in NCIS.


Dental fees in Alberta - it's different here!
In the past 10 years, fees for dental services have climbed 56%, and Alberta is the most expensive place in Canada to care for your pearly whites.
Lee Kinasewich, Gold Key benefits advisor, says: "You need to know what exactly is covered by your plan, including how often you can visit your dentist, how many units of scaling are included, and educate yourself on the fee guide set out by your insurance company so you can compare that against a dentist's fees."
Because the Alberta Dental Association does not regulate fees, each dental office sets its own prices. Each insurance company also sets their own fee guide. What does this mean for you as a patient?


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redpajama_set_name: RedPajamaCommonCrawl


text:
Retesei è stata un'emittente locale di Alcamo in provincia di Trapani; il suo bacino di utenza comprendeva la sola Sicilia occidentale; ha fatto parte delle syndication Junior Tv e Italia 9 Network. Tra il 1993 e il 1994 ha trasmesso Zona Franca, uno storico talk-show condotto da Gianfranco Funari. Dopo la chiusura, le sue frequenze analogiche furono cedute a Radio Italia TV.

Logo
Il suo ultimo logo (dalla fine degli anni novanta fino alla chiusura) era caratterizzato da un delfino trasparente contornato da una linea bianca, che saltava fuori dalla scritta rappresentante il nome dell'emittente.

Eredità dell'emittente
Dopo la chiusura di Retesei, l'editore Pasquale Turano ha assunto la direzione di un altro canale, Videosicilia; già attivo dal 1987, la cui sede dal 1999 si è trasferita da Trapani ad Alcamo.

Reti televisive della Sicilia del passato

redpajama_set_name: RedPajamaWikipedia


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text:
Biography and CV
Voz Alta
Relational Architecture 15
"Voz Alta" (Loud Voice) is a memorial commissioned for the 40th anniversary of the student massacre in Tlatelolco, which took place on October 2nd 1968. In the piece, participants speak freely into a megaphone placed on the "Plaza de las Tres Culturas", right where the massacre took place. As the megaphone amplifies the voice, a 10kW searchlight automatically "beams" the voice as a sequence of flashes: if the voice is silent the light is off and as it gets louder so does the light's brightness. As the searchlight beam hits the top of the building of the Ministry of Foreign Affairs, now Centro Cultural Tlatelolco, it is relayed by three additional searchlights, one pointed to the north, one to the southeast towards Zócalo Square and one to the southwest towards the Monument to the Revolution. Depending on the weather, the searchlights could be seen from a 15Km radius, quietly transmitting the voice of the participants over Mexico City. Anyone around the city could tune into 96.1FM Radio UNAM to listen in live to what the lights were saying.
When no one was participanting the light on the Plaza was off but the three lights on the building played back archival recordings of survivors, interviews with intellectuals and politicians, music from 1968 and radio art pieces commissioned by Radio UNAM. In this way the memory of the event was mixed with live participation.
Thousands of people participated in this project, without censorship or moderation. Participation included statements from survivors, street poetry, shout-outs, ad hoc art performaces, marriage proposals, calls for protest and more.
The piece exists as a functional prototype that is shown with video documentation. The prototype is the same Megaphone as was used in the public art piece, except it has been modified to incorporate a powerful xenon searchlight inside, so that when a participant speaks into it, his or her voice gets converted into light flashes. An FM radio transmitter allows transistor radios to hear exactly what the light is saying: be it live participation or archival material from the memorial.
Year of creation:
database, indoor, robotic, interactive, sound, recorder, outdoor, lights, site-specific, performance.
4x10kW Xenon robotic searchlights, modified megaphone, computers, DMX distribution, live FM radio transmission
the searchlights were visible over a 15 Km radius, the Radio UNAM FM signal could be tuned everywhere in Mexico City as well as nearby towns such as Toluca and Cuernavaca
Video with prototype
1x150W Xenon light, modified megaphone, computer, live FM low power radio transmission, transistor radios, 16m 09s HD video with stereo sound
3 copies + 1 AP copy
Rafael Lozano-Hemmer: Presencia Inestable, Museo de Arte Contemporáneo de Monterrey, Monterrey, México, 2019 - 2020.
Rafael Lozano-Hemmer: Unstable Presence, Musée d'Art Contemporain de Montréal, Montréal, Québec, Canada, 2018.
Rafael Lozano-Hemmer: Preabsence, Haus der Elektronischen Künste Basel, Basel, Switzerland, 2016.
Unsaid/Spoken, The Cisneros Fontanals Foundation, Miami, Florida, United States, 2012 - 2013 Voz Alta Prototype .
Play with me, Museum of Latin American Art, Los Angeles, California, United States, 2012.
Freedom to Create, The National Museum of Bosnia and Herzegovina, Sarajevo, Bosnia and Herzegovina, 2011 (video).
Freedom to Create, Galerie Mirchandani + Steinruecke, Mumbai, India, 2011 (video).
InTERvenciones, Consejo Nacional de la Cultura y de las Artes, Valparaíso, Chile, 2010 (video).
Atopia, CCCB, Barcelona, Spain, 2010 (video).
Transition States, Haunch of Venison, New York City, New York, United States, 2009 (prototype and video).
Recent works, Galerie Guy Bärtschi, Genève, Switzerland, 2009 (video).
Being in the World, The Cisneros Fontanals Foundation, Miami, Florida, United States, 2009 (prototype and video).
5 Solos, Galería OMR, Mexico City, México, 2009 (video).
Voz Alta, Memorial for the Tlatelolco student massacre, Mexico City, México, 2008.
Gideon May - Software and Hardware Design
Gastón Ramirez Feltrín - Production manager for Antimodular
Alejandro Aguinaco - Production manager for CCT
Griselda Ramírez Feltrín, Ximena Molina, Pablo Valverde, Olfa Driss, Pierre Fournier, Andrea Navarro - production support
Commissioned by the Centro Cultural Tlatelolco of the Universidad Nacional Autónoma de México (UNAM)
Replica 21
Voz Alta's manual
"Rafael Lozano-Hemmer", Atopia, Barcelona, Spain, 2010 (english). Text of 1 page. (Book)
"Pseudomatismos, de Rafael Lozano-Hemmer muestra la luz en el arte", Zona Franca, Guanajuato, México, October 30th 2015 (español). Text of 3 pages. (Website)
"Play with me", Museum of Latin American Art, Long Beach, California, United States, 2012 (english and español). Text of 3 pages. (Book)
Anstead, Alicia, "Special effects", Inside Arts, Washington, D.C., United States, January 2009 (english). Text of 6 pages. (Magazine)
Aracil, Eythel, "Nosotros hacemos los edificios y los edificios nos hacen a nosotros", The Huffington Post, Mexico City, México, February 26th 2017 (english). Text of 12 pages. Text of 7 pages. (Newspaper)
Arozqueta, Claudia, "En la mira: reflectores, arte y vigilancia", Campo de Relámpagos, Spain, July 31st 2016 (español). Text of 7 pages. (Website)
Avilés Cavasola, Juncia, "El 68: Todo el día y toda la noche", UNAM, Mexico City, México, 2010 (español). Text of 1 page. (Book)
Avilés Cavasola, Juncia Ed., "Voz alta: Rafael Lozano-Hemmer", UNAM, Mexico City, México, 2010 (español). Text of 5 pages. (Book)
Batet, Janet, "Unsaid/Spoken CIFO", Arte al Dia Internacional, Miami, Florida, United States, May 8th 2013 (english). Text of 2 pages. (Website)
Benítez, Mónica, Gemma Argüello, "Los creadores de voces - Entrevista a Rafael Lozano-Hemmer", Universidad Autónoma Metropolitana, Ediciones Gernika, Mexico City, México, January 1st 2014 (english). Text of 16 pages. (Book)
Campbell-Dollaghan, Kelsey, "A Digital Artist Combines Ghostly Light Shows And Beatboxing", Fast Co Deisgn, United States, 2013 (english). Text of 3 pages. (Website)
Castres, Mathilde, "Rafael Lozano-Hemmer: une revolution techno-poetique", Inferno, Avignon, France, February 3rd 2016 (français). Text of 3 pages. (Magazine)
Cordero, Patricia, "Ilumina con sonido la noche de Tlatelolco", Excelsior, Mexico City, México, November 25th 2008 (español). Text of 2 pages. (Newspaper)
Davis, Ben, "Light Touch", Artnet, New York City, New York, United States, October 23rd 2009 (english). Text of 4 pages. (Website)
Druckrey, Timothy, "Bodies, voices, pulses, traces, profanations...", Rafael Lozano-Hemmer: Recorders, exhibition catalogue, Manchester Art Gallery, Manchester, United Kingdom, 2010 (english). Text of 7 pages. (Book)
Fernández, María, "Transnational culture at the End of the Millennium.", Cosmopolitanism in Mexican Visual Culture, University of Texas Press, Austin, Texas, United States, 2014 (english). Text of 28 pages. (Book)
Flores, Tatiana, Mexico's Revolutionary Avant-Gardes: From Estridentismo to ¡30-30!, Yale University Press, New Haven and London, United Kingdom, 2013 (english). Text of 7 pages. (Book)
Freedom to Create Prize 2010, Freedom to Create Prize ‒ Voices of Courage 2010, Freedom to Create Prize 2010, Cairo, Egypt, 2010 (english). Text of 1 page. (Book)
Galilee, Beatrice, "In Trafalguar Square", Icon, Epping, United Kingdom, February 2009 (english). Text of 2 pages. (Magazine)
Graham, Beryl, "Amplification" Singapore Biennale 2011, exhibition catalogue, Singapore Art Museum, Singapore, Singapore, (english). Text of 5 pages. (Book)
Haber, Alicia., "Arte, ciencia y tecnología: Rafael Lozano-Hemmer", El País, Montevideo, Uruguay, December 31st 2013 (español). Text of 9 pages. (Newspaper)
Harding, Oliver, "Surveying the new media scene with Rafael Lozano-Hemmer", Centre Phi, Montréal, Québec, Canada, March 29th 2017 (english). Text of 8 pages. (Website)
Khan, Sawaiba, "New art project will show your heartbeat in lights above UAE", What's On, Dubai, United Arab Emirates, January 6th 2015 (english). Text of 2 pages. (Website)
Martínez de la Vega, Andrea, "Artista del espacio público", Reforma, Mexico City, México, March 13th 2017 (español). Text of 1 page. (Newspaper)
Medina, Cuauhtémoc, "Producir/gozar lo público.", El Reforma, Mexico City, México, October 1st 2008 (español). Text of 1 page. (Newspaper)
Önol, Isin, "Rafael Lozano-Hemmer ve Kolektif Bellek", Artful Living, Istanbul, Turkey, July 28th 2016 (türkçe). Text of 11 pages. (Website)
Pohlenz, Ricardo, "Rafael Lozano-Hemmer", FlashArt, Vol. XLI, No. 263, Milan, Italy, November 2008 (english). Text of 1 page. (Magazine)
Reyes, Luis, "A 40 años de la matanza de Tlatelolco, 'el Legislativo no ha emitido una condena pública'", La Jornada, Mexico City, México, November 25th 2008 (español). Text of 2 pages. (Newspaper)
Roffiel, Othiana, "Rafael Lozano-Hemmer. Cuando el retrato se convierte en paisaje", Artishock, Chile, June 21st 2016 (español). Text of 12 pages. (Website)
Sierra, Sonia, "Voces de hoy se hacen luz", El Universal, Mexico City, México, November 25th 2008 (español). Text of 1 page. (Newspaper)
Walder, Paul, Rafael Lozano-Hemmer: fragmentos de un código fuente. Rafael Lozano Hemmer: fragments of a source code., Art.es, Spain, 2012 (english and español). Text of 34 pages. (Magazine)
Zücher, Isabel, "Erscheinen und verschwinden im Haus der elektronischen Künste", Basellandschaftliche Zeitung, Basel, Switzerland, June 9th 2016 (deutsch). Text of 2 pages. (Newspaper)
Memorial for the Tlatelolco student massacre, Mexico City, México, 2008
Option : Save to disk | Launch Hi-Res Quicktime (409.05 MB - 1920 x 1080)
Rafael Lozano-Hemmer, media artist by Canada Council for the Arts - 2015
Photo library (click to expand)
2008 - Memorial for the Tlatelolco student massacre, Mexico City, México
Contact © Antimodular Research, 1992-2020. View site disclaimer.
This work is licensed under a Creative Commons Attribution -Noncommercial-Share Alike 3.0 Spain License.


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text:
package com.earthflare.android.ircradio;

import android.content.BroadcastReceiver;
import android.content.Context;
import android.content.Intent;

public class HeadPhone extends BroadcastReceiver {

	@Override
	public void onReceive(Context context, Intent intent) {

		// 0 for unplugged 1 for plugged
		int plugged = intent.getIntExtra("state", 0);

		switch (plugged) {

		case 0:
			//if disconnected stop tts update state
			Globo.headphoneconnected = false;
			if (Globo.pref_headphonemute) {
				  try{

					  Globo.purgeTTS();

				  }catch(Exception e){}
			}
			break;
		case 1:
			//if connected update state
			Globo.headphoneconnected = true;
			break;
		}

	}

}

redpajama_set_name: RedPajamaGithub


text:
Tanjung is een bestuurslaag in het regentschap Purworejo van de provincie Midden-Java, Indonesië. Tanjung telt 728 inwoners (volkstelling 2010).

Plaats in Midden-Java


text:
Marion, SC
Marion is located at the northeastern area of South Carolina. Its first settlers are Native Americans who were enticed by the beauty of the Great Pee Dee Rivers and Little Pee Dee. Later on, English settlers from the coast of South Carolina started to move into the area. It was during the late 1700s when the area started to prosper, which eventually led to the establishment of Marion.
In the southeast direction, Marion is 44.83 miles away from Myrtle Beach. It's 47 miles away if you travel by car and follow the US-501 business route. If you drive non-stop, you can reach Marion from Myrtle Beach in about 55 minutes. This is the route you should take if you are looking to get to Marion right away.
It was named after Gen. Francis Marion, who was known as the "Swamp Fox" of the Revolutionary War. Through the South Carolina Legislature, a charter was issued and the town was given its name "Marion," back in 1847. You'll find a statue of this hero in the town's square. This historic district is located minutes away from US 501 and is also convenient to the Interstate 95.
Visit the Marion Country Museum if you're into antiques, oriental rugs, and other furnishings. The historic building features rotating exhibits and is listed on the National Register for Historic Sites. It was the first public school in the country and was later on transformed into a museum.
Another historic site that's worth visiting is the Rosewood Manor B&B. It features a stunning collection of antiques, and is often used as a venue for various special gatherings. Marion's Main Street is also a good place to be if you're looking for fine arts and antiques. You should also visit the Marion County Library, which was built back in 1905.
If you are into cycling and hiking, you should go on a two mile trek at the City of Marion Hike and Bike Trail. It starts from the City's Historic Train Depot to the Catfish Creek Canal.
If you're planning to visit Marion in May, you should schedule your trip during May 17-19 so you can attend the Marion Foxtrot Festival. The heritage festival features a parade, street dance, fireworks, food, arts, and crafts. Marion also offers several dining options including City Food & Spirits, Richard's, Jimmy-B's, and T-Roys. If you are visiting the county together with your kids there are several family friendly tourist spots to visit when you're in Marion.
Do you need an HVAC contractor to address your heating and cooling problems? Call Florence HVAC Experts now.
http://florencehvacexperts.com/


text:
Elite Lawyer Products
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Criminal Defense Attorney Overview
Criminal Lawyer Representation Is Key When Facing Criminal Charges
When someone is arrested and charged with a crime, they have certain rights, including the right to be represented by an attorney. A criminal conviction can have serious consequences to a person's freedom, reputation, personal relationships, and ability to obtain employment and housing. Because of these potential effects, it is essential for anyone facing criminal charges to be represented by a skilled, knowledgeable attorney.
Types of Criminal Charges
Each state has its own laws detailing the nature of certain crimes and the potential punishments. Crimes are typically classified as misdemeanors or felonies. Misdemeanors are less serious, and they are usually punished by fines and less than one year in jail. Felonies are more serious, and they can result in significant fines and long periods of imprisonment.
A variety of activities may result in criminal charges, including:
Driving under the influence of alcohol or drugs (typically referred to as DUI or DWI, depending on the state).
Drug crimes, including the possession or trafficking of marijuana or other drugs.
Violent crimes such as murder, assault and battery, or domestic violence.
Weapons charges involving the illegal possession or use of a firearm or other deadly weapon.
Theft, including retail theft (shoplifting), employee theft, or burglary.
White collar crimes such as embezzlement, forgery, identity theft, or credit card fraud.
Sex crimes such as sexual assault, sexual abuse, sexual harassment, statutory rape, or child pornography.
Internet and cyber crimes such as hacking, cyber stalking, or theft of intellectual property.
Traffic violations, including aggravated speeding and commercial driver's license (CDL) violations.
Federal crimes which fall under the jurisdiction of the United States rather than a state.
Juvenile crimes involving minors under the age of 18.
A skilled criminal defense lawyer may use a number of strategies when defending a client against criminal charges, including:
Providing an alibi which shows that the defendant was not present at the time and place the crime was committed.
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Questioning the admissibility of evidence which was obtained through illegal means.
In addition to providing defense in a criminal trial, a defense attorney may be able to negotiate with prosecutors to have charges reduced or dismissed or to obtain lesser sentences, such as probation or community service in exchange for a guilty plea. An attorney can also assist with the expungement or sealing of criminal records after a case has concluded, depending on the laws of the state in which the case occurred.
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text:
The University of Western Australia is offering more courses than ever before. Join us and Seek Wisdom.
Arts, Business, Law and Education
Engineering and Mathematical Sciences
School of Indigenous Studies
Graduate Research School
About UWA
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A -Z list of Websites
Research shows dentists are prescribing more medications
Search All UWA
Expert Series - COVID-19
Policy and opinion
22 Jul 2020 | 2 mins
Research from The University of Western Australia has revealed an upward trend in the number of medications prescribed by dentists, particularly an increase in antibiotics, opiates and benzodiazepines.
The research was carried out by UWA PhD scholar Dr Alex Park using data collected from the Australian Pharmaceutical Benefits Scheme between 2006 and 2018.
Dr Park said research suggested the increase may be attributed to an over-prescription of medicines, but also may be explained by a general increase in population and the number of dentists practising.
"Over-prescription of medicines is definitely something that needs exploring," Dr Park said. "Some of the medications dentists administer can cause problems if over-prescribed."
"Sometimes, overdose and medical emergencies can occur, so it is very important that dentists are fully aware of this research so that they can address these problems."
Dr Park said prescribing medication was an important part of dentistry to relieve pain and prevent spreading of infection.
"But just like the work of a surgeon, the balances of medications are complex, and if not exact, can have significant impacts on patient care."
Dr Park said rapidly changing pharmaceutical guidelines made understanding the right medications to administer even more challenging.
"What is correct one month may have changed a few months later," he said.
Media references
Jess Reid, UWA Media and PR Advisor, 08 6488 6876
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The University of Western Australia acknowledges that its campus is situated on Noongar land, and that Noongar people remain the spiritual and cultural custodians of their land, and continue to practise their values, languages, beliefs and knowledge.


Gmail may not yet have the same footprint as Microsoft Exchange, but megadeals such as a recently announced 30,000-seat installation at Valeo prove that large enterprises are comfortable running applications in the cloud.
Google has added the ability to search Google directly within Gmail, a move that increases the centrality of the e-mail service and gives Google a new opportunity to show advertisements.
What Google did with Gmail in conventional browsers five years ago it is expecting to do again with a new mobile version of its Web-based e-mail service.


Directed by Giovanni Bianco and Ms. Minaj, "Barbie Tingz" takes a bare bones approach, and finds Minaj sporting a multitude of colorful costumes against a white backdrop.
The Steven Klein-directed "Chun-Li" video gets more involved in theatrics and features Minaj as a femme fatale on a mission.
After months of social media silence, Minaj returned with the "Chun-Li" and "Barbie Tingz" singles on April 12.
The new "Chun-Li" video marks the second visual for the same track. Last month, the self-proclaimed Queen of Rap released a video shot in selfie mode for the song.
The Queens rap superstar hasn't put out an official album since 2014's The Pinkprint but during an interview with Beats 1 Radio, she said she started working on a follow-up last December. No official release date has been disclosed.
Watch the "Chun-Li" and "Barbie Tingz" videos above.


text:
Q: How to mimic the `sha1_file($img)` method from the browser to verify a img file? I'm trying my best to figure out how to send a sha-1 hash of the image file from my browser to verify the contents of a backblaze b2 upload.
From the browser, I need to: provide a (1) the 40-character hex checksum of the file which they verify using the PHP method sha1_file($img).
I have tried fileReader + crypto.subtle.digest('sha-1', file) and the cryptoJS package but nothing works and I get an error that the checksum didn't match.
Any ideas?
Here is the instructions I'm following: https://www.backblaze.com/b2/docs/uploading.html

redpajama_set_name: RedPajamaStackExchange


Shi Piao YiXing teapot. 160-180ml Chinese Gongfu teapot made by Mrs Shen.
A great value, classic design Shi Piao yixing teapot made with the very versatile ZiNi purple clay. Ideal starter teapot or a great addition to a collection.
FangGu YiXing Tea Pot 150ml. Classic style teapot handmade from the dark ZiNi zisha clay.


text:
Growing Up in the Company of Books - The Life of Mark Richard
Interview by Kasey Carpenter	November 16, 2011	5 comments
Mark Richard
Anyone who has read The Ice At The Bottom of the World knows what they are getting into when they pick up House of Prayer No. 2 – the latest book by Mark Richard, which happens to be a challenging and engaging memoir written in the second person. That's right, a memoir in the second person. But what else would you expect from the man who has given us such gems as:
Long-legged stretches of bone-white light come kicking through the treetops of the tallest shortleaf pines, ripping limbs and splitting crowns.
From out of the hangar comes a coo and flutter of pigeon reposition but nothing ever feathered flies.
The man can craft a sentence. And anyone who is hailed by both Chuck Palahniuk and Amy Hempel as one of the greatest short story writers ever deserves, at the very least, a read. In my case, a featherless flight. I flew to Los Angeles, where he now resides with his wife and three boys, to talk about the memoir, his past, and why he writes what he writes. I was surprised by what I found. Pleasantly so.
Kasey Carpenter: So what possessed you to write a memoir?
Mark Richard: Well, I originally started to write out of an experience I had in fifth grade when a boy brought a piece of wood to show and tell. A plank of wood that had a piece of leather tacked to it. We didn't know what it was, we all touched it and couldn't guess what it was.
KC: Like a pelt?
MR: Yeah, with carpet tacks. Just a piece of leather. Then the boy told us it was a piece of Nat Turner's skin. It was a family heirloom. Nat Turner, when I was growing up, it was almost like he was still alive. He was the black slave who led the uprising in 1831 against his overseers, and well, all white people in general. He killed 55-60 white people within two days. And in retribution they killed several hundred black people, most of whom were innocent. And then when they caught Nat, they hung him, chopped his head off, and piked it in the crossroads in the black part of town. They skinned him and boiled him into fat. And from his skin they made trinkets and heirlooms, book covers, purses - and people in the area had these items - a piece of Nat. I had always been fascinated with his story, and there were still four houses in my neighborhood where the massacre had occurred. They were derelict, but you could go in them and one of them had a huge black area, a dark stain on the floor.
KC: Yikes. Did you read Styron's book?
MR: Oh sure, Styron had been down once before for some research. He rode around with the sheriff drinking beer one afternoon.
KC: Research.
MR: [Laughs] Right. Brooks was the sheriff at the time. One of the houses had been moved via a historical society. But even as a fifth grader, I couldn't get my head around the fact that people were taking someone and slicing them up and making trinkets out of him. To this day the Nat Turner Insurrection sort of informs our town in racial matters, because a lot of the blacks would like to put up a statue of Nat Turner in the town square where the confederate memorial is, and the whites are like, are you crazy? He's a mass murderer. People still talk about it. In fact, I read recently that they are going to do a Nat Turner Trail, where you can go and follow the route he took to chop up people, mainly women and children. I mean, in one place he went into a schoolhouse and chopped up a bunch of schoolchildren and put their heads in one pile, their arms in another. But all these stories, growing up in an area like this where you know the history, it's exciting and terrifying, energizing, startling- everything. It feels like it is still going on, and in some ways it still is.
KC: So that's what you originally wanted to do?
MR: Right, I wanted to write about re-assembling Nat Turner. But what I found out, even though I could find his Bible, his sword, the rope they used to hang him with- his skull is in Chicago – I couldn't find enough of Nat to make it worthwhile. I also found out that the people who had these things weren't too forthcoming about that fact.
KC: Sure.
MR: So I was talking to Nan Talese, my editor about it, and she said, then you must write about growing up in this place, and that is how the book got started.
KC: And why did you pick a second person perspective for this?
MR: [Sighs] I don't know.
KC: [Laughs] A memoir in and of itself wasn't challenging enough?
MR: [Laughs] It's interesting, I wrote the very first part of the book as an assignment for an old editor who was compiling a bunch of essays: "Why I Write." And a lot of people from the South, it's hard for us to write essays. So they give you anecdotal essays, and for me, I don't know why I wanted to be a writer, but I can tell you what happened between the time I was born and the time I wrote my first significant piece, significant only in my own terms. It was a short story and it is hanging on the wall over there.
KC: This is the one mentioned in the memoir?
MR: Yep. So that's how I began the story, but it became second person because I think sometimes when you're a kid... I don't remember my childhood as it happened to me. It's like a dream. It happened to someone, it probably happened to you, but you're not sure. And then the other thing was that, also typically southern, when you are trying to tell someone a story that is going to have consequence, or that is difficult to describe, it's easier to enlist second person to draw them in. It's an intimacy thing, and a distance regulator.
KC: That's the thing I always find that, and it depends on the reader... it's either intimate, they take it in and accept it as their own, or it's like some omnipotent voice somewhere telling me what you're supposed to be doing.
...with second person, in a weird way, it becomes participatory on some level. Now they're in there with you. That's how we tell stories.
MR: Yeah. You have to draw the person in, you have to be seductive with it – use the second person as if you are talking with someone on a barstool. If you do the "you" – there are too many degrees of "you."
KC: It becomes adversarial.
MR: Yeah, you enter into a competition with the reader. But with second person, in a weird way, it becomes participatory on some level. Now they're in there with you. That's how we tell stories. I mean, back in Texas, when people ask you, "Kasey, how did you go about wrecking your truck," you'll say, "Well, you know how you come into there and you take that turn, you remember that?" You, you, you – you make the listener complicit, they see your point of view. Now you know why my truck is upside down.
KC: I don't think I've ever read a second person memoir.
MR: I don't know of one.
KC: I mean, Bright Lights, Big City isn't a memoir per se.
MR: No, but I do remember really liking that book.
KC: Oh yeah, and I really like second person point of view. One of my favorites that I wrote was in second person. To me, it seems more intimate.
MR: And also sometimes it just comes down to having a choice. I hate "I" – "I" is so claiming, I, I, I, me, me, me – Amy Hempel calls memoirs "ME-mores", and I think she's right. I don't think the "I" is that interesting, and truthfully, I don't trust the "I" – and then third person? You're gonna write a memoir in third person? That's way too much distance.
KC: Bob Dole doesn't care for that.
MR: Exactly.
KC: So let's talk about your childhood, the whole physical ailment thing, though physical ailment is kind of a reduction. Your constant hospitalization, your surgeries, and your inability to walk without someone noticing something isn't quite right- I think that is one of the three key things in the book that define you as a writer, and as a human being.
MR: Yeah, I think about the physicality of it. People ask me about it all the time. I talked to some USC students about this yesterday, and I said, the place that I've come to on this is that I wouldn't wish my life on anybody, and I wouldn't trade mine for anyone else's. I think that's just how you have to look at it. It was a blessing. But as one girlfriend astutely put it, it also kept me from being a bigger asshole than I already am. Probably kept me from going into law school. Challenged me, you know? You can't cry about it, it is what it is. It defines you. The key is what YOU decide to do about it. What you choose to do with it. I'm aware- maybe because I'm a writer, maybe because I've read a lot- that there have been so many forks in the road in my life, and I took some bad ones. But I could've been a raging alcoholic and blamed everything on my physicality and drank away the pain. Like those old guys we saw at the bar at 2pm with nothing to do but argue about nothing. You could be that guy, you know? And you become those guys in little small steps. I don't really dwell on my physicality that much, I mean, my friends along the way said, if you didn't have that you wouldn't be you. They say the way you walk around, that's you…
KC: It's one of those things nobody wants to say, but that's the truth of the matter.
MR: Yeah, it is what it is. I don't... in a lot of good ways, being bed ridden for all those years, I read books. I've grown up in the company of books. It didn't occur to me early on that I should be a writer -that came later. But I read the entire Franklin city library in a body cast. For all those years. It's not a bad thing. A lot of writers have convalescing childhoods in their past.
KC: Some forced acquaintance with books that gets them down that path. Because typically a child doesn't say, "Hey, I want to read nine books today."
MR: True.
KC: So I said there were three things in this book that shaped you in a great way. To me, the second one was your father.
MR: Yeah, and I write about it a lot. All the clichés are true about fathers and fatherhood.
KC: Especially concerning their relationships with their sons.
MR: [Laughs] Yes. I have three sons right now… [pauses] The more interactions I have with them, the more and more I cut my father slack. He had a hard, strange upbringing, he was just doing the best he could, he didn't know how to cope, and he was so antisocial.
KC: I wrote a note here that says he was a "dreamer." He was always searching for something. He was a standup comic, acted in plays, had all these business deals, these women, he had you, a son, but you were the son with the bad legs. It seemed like no matter what situation he put himself in, it didn't seem right. Maybe he wasn't so much a dreamer. Maybe a malcontent.
MR: I think that's more accurate. I just think he was misplaced. You know, his parents didn't really have a place for him in their house; he was an only child of two people who had him late in life. His father was gone a lot, and when he was home he was out hunting and didn't want to be home, and his mother was just domineering and thought she deserved better since she came from a family in Mississippi who had money and lost it in the civil war, which in their minds was insult to injury. He just never had a place in the world, and when I look back, he was always trying to find a community, whether it was in forestry, or acting, or whatever – I think he never realized that he was most happy just being alone. He never seemed to be happy with the group he was with at any given time. He would occasionally have glimpses of happiness, but he'd always be looking past that to something else. I feel bad for him. I think he was a tortured guy. Like once I went to see his second wife, in a whole different city, the house that they lived in was almost identical to my mother's house, the yard was landscaped just like the other house, the same trees and shrubs were planted…
KC: So as much as he hated your mother's house, he duplicated it.
MR: He duplicated it.
KC: Wow.
MR: So he didn't know. He was lost.
KC: That's kind of what I got. Just running around trying to figure out where to fit in.
MR: Yeah.
KC: So at thirteen you were a radio DJ…
MR: You know what's funny? You are the only person who's ever interviewed me here, in my office. I've got, let me see if I can find it… hold on. Here it is.
MR: Yeah, there was some sort of form where if you sent Atlantic Records your top ten rotation... my friend just fabricated one, I think, and put Roundabout by YES in there and sent it off. And it just came, so... Yeah that was cool. You know how you have recurring dreams? I have this recurring bad dream that I'm back at the little radio station, and you have two turntables and a microphone, all the dials on one side, the gauges, two tape decks, records, all this stuff, and you're doing everything, there's no engineer, and your often the only person there, and the last record is spinning down and it's time to do the news, and you haven't ripped the news off of the teletype that's down the hall.
KC: …and there's just no time.
MR: [Smiles] And there's just no time. And you go in there and you start looking through the teletype and it's all just farm reports and all this other crap, and there's no news, and you can hear the record going click-click, click-click…
KC: And that gets you out of bed in the morning in cold sweat?
MR: Yes. And I'm like, Jesus Christ, that was forty years ago. I have that dream all the time.
KC: Something else, not the third element to my previous theory, but I thought the fact that the DA and the town Preacher lived on the same street, your street, was pretty profound.
MR: [Smiles] Yup. They lived directly across the street from each other.
KC: A pretty clear church and state vibe I imagine.
MR: Completely.
KC: And you were friends with both of their sons, and had this pretty unique balance.
MR: Well the attorney's sons were a little bit older. I got to know his sons later in life, though one of his sons, I used to wear his hand-me-downs. Back in the south, clothes had no social stigma, they were just handed down. They moved around the neighborhood. His younger son became a judge. The Baptist minister across the street had four sons, and I was smack in the middle of those guys, so I grew up more in their house than even my own. They were the Baptist preachers kids, so they were generally the worst behaved.
KC: The preacher's kids are always the worst, that's a fact.
MR: And they always had people coming through. I mean they were always – it was a small town in the south, so people visiting from out of town was a big deal back then, and the preacher would have visiting theologians or people coming in for counsel about their "challenged children" or alcoholism. The preacher's house was full of interesting people. He was from northern Virginia, so he knew a lot of government people – it was fun to be at that house. Besides the fact that there was always something going on in the background with his sons and I. [Grins]
KC: It seems that despite all the negativity and challenge that you faced, you had an awful lot of encouragement, not necessarily or specifically in writing, but just towards you as a kid, as a human being.
MR: I think that's right, I think the preacher for one…
KC: I love the part where he comes and pulls you out of jail.
MR: More than once, mind you. There are some incidents that aren't in the book [Grins]. He literally got on his knees once and begged a guy not to prosecute us. Of course we paid for that dearly later.
KC: Of course.
MR: The manager at the radio station where I worked was encouraging. There was an old bachelor and his unmarried sisters who lived next door to us, and they were very encouraging. It's funny in a small town like that, the axiom is true that anyone in town can punish you. Anyone could spank you. But you were also parented and mentored by other people. It wasn't that touchy feely "it takes a village to raise a child" bull, it was more specific. The whole "it takes a village" thing seems like you're shrugging your responsibilities off, whereas in our town, parenting was… sharpened [Grins].
KC: Do you think every writer says they don't have what it takes?
MR: Oh yeah. I've never ever met a writer who said…
KC: "I'm the man."
MR: I don't think they'd believe it if they said it. Every writer has doubt.
Will trumps talent. If you understand that then you're going to be fine.
KC: And that's important isn't it? Otherwise you can't innovate or push yourself? Or is it balance, because if you allow it to crush you, you'll never write?
MR: I don't think about it. Doubt is something that I try to encourage my students to get over, because what tests you is not your talent. If you understand that what tests you as a writer is not your talent, then you're home free. Because then the question is, what does test you, what is testing you? – and it's your will. And I hate to keep saying this, but I just had this talk yesterday. When I went to New York there was about a dozen to 15 of us, New York used to be a small town, where people from the south would show up and find each other, trade jobs in restaurants and bars, and take care of each other. You know, "can you pull my shift?" And there were writing workshops. So there were maybe 12-15 of us when we got to New York, and at the end of ten years there were only two of us left – and we weren't the best writers. But people fell off for various reasons. They got married, they went to work on Wall Street, whatever.
KC: You are the fifth writer I've interviewed who's said this.
MR: Well it's true- will trumps talent. If you understand that then you're going to be fine.
KC: There's some guy out there flipping burgers who has the greatest story ever told…
MR: A genius, but he won't do it. It's easy to become a writer, it's hard to stay a writer and to remain a writer – that's the challenge. So this whole thing about doubt, my doubts aren't about my talent, my doubts are about my strength of will. If I ever have any doubts, it's more like, I don't have the strength, I think I'm tired. That's a whole different thing. All of my students can do it. They all have talent. You don't need much talent. You really don't.
KC: Folks, you heard it here.
MR: Read the books, type it up, and just keep going and going.
KC: That's the truth of the matter. The third vein in this book was your faith. You had a calling where you wanted to join the seminary to be a minister?
MR: Episcopal priest.
KC: And they talked you out of it?
MR: Well, one guy did. An Anglican bishop visiting from the UK. I had thought I would be entering the seminary in the Fall, and he said 'so I hear you want to enter the seminary'. And I said yes, and we were in these folding chairs in the chapel, and I had been reading one of the lessons, the Easter Pageant I think, and he said, 'Why do you want to enter the seminary?' and I said, I think I got the call. He countered with, 'you're also the writer in residence here, right?' Yes, sir, I am. 'Well why don't you just do that?' I told him I didn't understand what he was getting at. Then he said 'You know what's going to happen here at seminary right?' Yes, I said, three years of literature and philosophy and theology, music and all this great stuff. He said, 'Yes, and then they're going to farm you out to some little podunk parish in Alabama where you'll reach a hundred fifty people in your whole life. Why don't you just keep writing if you have the call?' I thought, well maybe… and again, nothing happened, nothing epic. It just kind of made sense.
KC: Is that why you kind of just left it at that? Like you knew you'd have a greater chance at influence this way?
MR: I felt like he was speaking the truth. And it was odd to hear someone in his position say "don't do this." And to be honest, well... I didn't write about this in the book, but there were people there who felt like they had the call, and I'm not sure I was one of those people. I'm not sure I had the call to that extent, and I felt like some of them didn't have the call either. Subsequently I've been told by a lot of Episcopalian Priests that if you can be happy doing anything else besides this, do it. So, I don't know…
KC: It's not an easy life, not that writing is…
MR: Well no, but I don't know what the call is sometimes, I guess.
KC: You got to spend an afternoon with Truman Capote?
MR: Yeah, an evening of drinking. I was on the contact committee to pick him up at the Roanoke airport, and he wanted to stop at this Polynesian restaurant so we all had a bunch of tiki drinks. I had scorpions. Capote had a crush on my roommate, and he was really trying to make that happen even though my roommate wasn't having anything to do with it. So that was interesting. He was regaling us with true crimes stories.
KC: And Jackie O?
MR: Really sweet lady and was really nice to me. She was the one who introduced me to some top orthopedic surgeons in New York that led to me getting my hips replaced. She intercepted the bills. I never saw the bills.
KC: Your background was fiction proper, how did you make the jump to screenwriting?
MR: People think it's a big leap. When I was mobile in between casts, I was either at the library or the movie theater. Screenwriting is… I was always interested in film, but I was so far from it that fiction writing seemed like an easier task. But when I got to Hollywood I found out some people I knew from Ol' Miss knew Robert Altman, and that was when I adapted a short story for him. And out of that experience of writing the screenplay I was able to generate a writing sample which in turn landed me an agent, and from the agent I got a TV job, and have been doing that for 12 years since.
KC: Current projects?
MR: A pilot loosely based on the memoir – mainly about faith, fathers, and race. A guy coming back to his town thinking things have advanced but finding they've either changed in ugly ways or hardened into polarizing ones. I'm sketching out a western horror movie. A young adult novel. I just finished work on a project for AMC called "Hell on Wheels." We're hoping it'll get picked up. It's about a confederate soldier who is hunting the union soldiers who raped and murdered his wife, set against the backdrop of the building of the transcontinental railway. Robber barons, freed slaves, frontiersmen, cowboys and Indians - the whole cast of characters. It's a big canvass, it's fun.
KC: Finally, what's your one big piece of advice for the writer?
MR: Just sit in the chair. That's the hardest thing. Finding the time. I don't write every day because I just physically can't, between my jobs in TV and at the university. Plus a family. What I do... I do three things: One- I try to give a lot, as in put myself out there. Boy scouts, volunteer work, etc… it is nourishing and it is what you are supposed to do. I think that often my spiritual walk has been informed by doubt as much as faith, and only when you are in the service of others do you glimpse God working within people. And then two- there are the times when you must take... I tell my wife I need three days, I need to go out into the desert and I need to write, alone. And three- be at peace with these two things. It is your work, your calling. It is your duty to yourself, and if you don't honor that - it will all go away.
House of Prayer No. 2: A Writer's Journey Home
Manufacturer: Nan A. Talese
The Ice at the Bottom of the World: Stories
Manufacturer: Anchor
Part Number: unknown
Interview by Kasey Carpenter
Kasey Carpenter writes on the subject of wine and looks to his ongoing fiction projects for balance. When he hits/neglects his wordcount, he just might throw up a post.
Follow @kasey_carpenter
A Conversation with Daniel Woodrell
Chuck Palahniuk Finds Hell in an Author's Suite
Solving The Puzzle of Sex and Violence With Dennis Cooper
A Conversation with Joshua Mohr about UFOs, Heart Surgeries, and His New Memoir 'Sirens'
Tiffany Scandal on 'Nasty!', A Collection Of Essays From Fierce Women
You Don't Know Michael Hastings
Post-Mortem: 'House of Leaves' by Mark Z. Danielewski
Sitting In On Chuck Palahniuk & Friend's Writer's Workshop
Joshua Chaplinsky	from New York is reading Stories of YOUR Life November 17, 2011 - 7:43am
The whole Nat Turner pelt thing is weird, gross, and completely fascinating. Can't imagine growing up in a town like that. Great interview.
Dennis	from Los Angeles is reading Necroscope by Brian Lumley November 17, 2011 - 9:53am
I agree, this interview got me wanting to read Mark Richard, more than even Chuck pimping out 'Ice at the Bottom of the World.'
Kasey	from the morally and physically challenging plains of Texas is reading 12pt. Courier font November 17, 2011 - 6:19pm
Awww, you guys... But seriously, this man was amazing to talk with. Amazing. And one of the most encouraging people I've met in the business, I can see why he's so sought after on the univeristy level. Cool guy. Complex man. Talented writer. Straight talker.
Hetch Litman	from Ojai, Ca. is reading Wise Blood by Flannery OConnor December 16, 2011 - 4:44pm
This is great. Just grabbed the book on the iPad for 9.99! Bummed out that "Ice" isn't in the ibooks store. Have to check kindle
Richard	from St. Louis is reading various anthologies December 31, 2011 - 2:52pm
ICE is excellent. the story "Strays" is just so amazing. excellent interview, kc.


text:
Pachycondyla testacea är en myrart som först beskrevs av Bernard 1953.  Pachycondyla testacea ingår i släktet Pachycondyla och familjen myror. Inga underarter finns listade i Catalogue of Life.

Bildgalleri

Källor

Externa länkar

Myror
testacea


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9 Mistakes to Avoid When Predicting Business Performance
Nate Nasralla / 4 min read.
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The state of forecasting in today's businesses is such that only 1% are able to achieve 90% forecasting accuracy 30 days out.
I think we can all agree that's sub-optimal, but why is this the case? In this post, we'll talk at a tactical level about the nine most-common mistakes that might be preventing you from accurately predicting your future business performance.
As you read through this list, consider which ones apply to you. Out of those that apply, which impacts your planning and performance most? What have you tried to correct it?
Here are the nine most-common forecasting mistakes to avoid:
1. Lack of a systematic and process-driven approach.
This is the number one forecasting sin. Many of the mistakes below could be solved by taking an unbiased and replicable, process-driven approach to forecasting, however, a minority of business has achieved a truly scalable and automated approach to forecasting (which should ideally include a complete view of all influencers and drivers affecting all business functions).
2. Taking the easy way out by peanut-butter spreading.
In the absence of a process-driven approach, or the computational power required to build forecasts at a very granular level, most staff will default to evenly distributing one high-level forecast across different dimensions of their business.
An easy analogy to see where this creates a world of trouble is if you're out to dinner with a group of friends, and you order water and an appetizer while they order steak and wine. Then, when the bill comes, they ask you to split it evenly. Does that seem like the best approach to you?
3. Expecting to aggregate poor forecasts into one good forecast.
Many enterprise forecasting approaches call for functional leaders to prepare their own, independent forecasts, so they can then be aggregated by finance. The thinking is those who are closest to the numbers today are most likely to know what reality will be tomorrow. While it's true a functional owner may be able to spot false assumptions faster than someone removed from day-to-day operations, this doesn't necessarily equate to higher-quality forecasts (see below).
4. Massaging data to fit a preferred storyline.
Forecasting is meant to provide a view of what your performance will be in reality. It should be ruthlessly pragmatic and matter-of-fact. However, this in conflict with the natural incentive we as staff have when forecasting the metrics we're also responsible for attaining.
As an operations manager, I might be tempted to sandbag delivery times to manage expectations. As a customer success manager, I might forecast a higher churn rate to anchor the targets for my variable compensation at a more attainable level.
5. Relying on tribal knowledge over statistics.
While massaging a storyline might be a deliberate choice, it's easy to let bias creep into our process without realizing it. Sales may assume headcount is the greatest predictor of revenue attainment because that's how the forecast has always been made. The next sales director might inherit that model and also assume it's correct, thereby propitiating a legacy of bias.
In other words, forecasts are often created through a particular method for no other reason than, That's the way it's always been done.
6. Misleading, spurious correlations.
This is another silent killer. We've all heard the saying, Correlation isn't causation! and yet, whenever we see two parallel lines moving in tandem or a tight group of colored dots, our first reaction is to assume causation. Even when basic statistics are used, it can be incredibly difficult to establish true causation.
For a comedic take on this reality, check out how the divorce rate in Maine correlates to per-capita margarine consumption, how computer science doctorates correlate to arcade spending, and other hilarious spurious correlations.
7. Different functional groups applying different methods.
As an offshoot from a prior misstep mentioned, when cross-functional leaders are tasked with creating their own forecasts without a common source of truth and shared process, different methodologies applied to different datasets at different levels can not only make for divergent predictions, it ignores the interdependencies each area of the business has on the other.
If marketing is forecasting lower lead volume, yet sales is telling support it's going to land more customers than the annual plan calls for, it can result in real confusion (and very awkward leadership meetings).
8. Inability to efficiently procure and structure data.
The first step to creating a forecast or modeling a decision scenario is, obviously, preparing data. But if you ask anyone who's recently created a forecast, they will tell you identifying the right sources of information, getting access to it from other departments, cleansing and structuring the data, and doing it all over to keep their model refreshed and updated can consume two to three full work weeks. Easy.
By this time, a window of opportunity or timeline to execute a decision may have passed you by.
9. Neglect of external data to inform long-range forecasts.
Another data-related challenge is the neglect of external datasets like weather, events, and economic conditions, which can improve the quality and accuracy of long-range predictions.
As a somewhat extreme example, if you're running an airport hotel and there's going to be two unprecedented blizzards within a single month, it would be career-enhancing behavior to ensure your revenue, staffing, and projected inventory all reflect this.
While these nine mistakes top our list, it could no doubt spiral to include dozens more. What's another forecasting misstep you've seen play out in your business that we've not included here? What impact has this had on you and your team?
Categories: Strategy
Tags: Business analytics, forecasting, modeling, predictive analytics
About Nate Nasralla
Nate helps executives and analysts learn what's truly driving their business results through machine learning and AI, so they can focus on improving their outcomes. In Nate's role at Nodin.ai - an AI-enabled business performance management platform - and prior work, he has been chiefly responsible for building and executing the go-to-market strategies that transform data-driven approaches to revenue generation, organizational scalability, and executive-level decision making.
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Undefeated high school football team of California town destroyed by wildfire may not make playoffs
Posted 4:33 pm, November 8, 2019, by Tribune Media Wire
PARADISE, Calif. (KTXL) - Like so many other things around the town of Paradise, which just one year ago was destroyed by California's deadliest and most destructive wildfire, the Paradise High School football team has gone through a rebirth of its own.
"I didn't know if we would have a school, if I would have a job or what was going to happen with football," said head coach Rick Prinz.
But as the town rebuilt, Prinz did the same with his program.
Only 22 players total were left after the wildfire. Now, the Bobcats have more than 100 kids playing football at the school.
"There has been nothing like this," Prinz told KTXL. "The amount of work it took to get here and to have this, and then to see the kids respond has been very rewarding."
Paradise rolled through their regular season and beat everyone in their way. It was a perfect 10-0 record.
But as of now, they are on the outside looking in at the playoffs, which is hard to comprehend.
"The reason we're not in right now is because one of the categories is league-finish points and we're not in a league," Prinz explained. "We went independent this year, so we have zero in that category."
Related: Power company says it is likely responsible for starting one of the most destructive fires in California history
The northern section of the California Interscholastic Federation uses a points system to determine playoff seedings rather than a traditional wins and losses formula. Paradise is seeded ninth and only the top eight make the playoffs.
"I don't like pulling a petty card, you know, but like we've gone through everything and we've still dominated these teams," said senior quarterback Daniel Bettencourt. "And I feel like we will do well in the playoffs and I feel like we deserve it."
The Bobcats do not have any regular-season games left but this Friday most of the northern section still does. Meaning Paradise still has a good chance of making the playoffs if some teams ahead of them lose.
"I'm very confident we'll be in the playoffs," Prinz said.
"We've come from really nothing and here we are undefeated and we're just fighting for our lives really," Bettencourt said.
Filed in: News, Sports
Topics: california, california wildfires, fire, high school football, Paradise, Sports, wildfire
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I used a day off work to listen to the new eight hour long Autechre album — NTS Sessions 1–4
It has been a while since I last used my turntable. I haven't had my coffee yet, and it has taken me a long time to put that elastic band thing back on. So I'm clocking on six minutes late.
The opening track — t1a1 — starts in near silence, as is customary with Autechre albums. My memory of listening to this first time round was that it was quite dull.
Will it ever end?
You see, although I am going out of my way to listen to the NTS Sessions all in one go, this is not the first time I have heard this music. It was originally broadcast on the online radio station NTS, in weekly two hour long chunks back in April, before landing as a digital release shortly afterwards. This vinyl edition was released in August, and this is my first chance to listen to a physical version.
Having long challenged convention when it comes to music itself, Autechre have increasingly turned their attention to challenging the formats as well. Autechre have a long history with radio broadcasts, but never before have they used radio to showcase eight hours' worth of new material.
The timeslot of the broadcasts was 4pm to 6pm on a Thursday. So I was at work when each broadcast started, being interrupted by, you know, work. During the second half I was walking my way home through a busy city. It's tough to imagine a more inconvenient way to try to listen to new music.
Inevitably, I missed huge chunks of it. And while the stream continued to loop after the original broadcast concluded, it's not exactly the best way to take in the new music, especially anything much-awaited from my favourite musical artists by far.
I revere Autechre. Since I discovered them in 2001 with Confield — still perhaps my favourite album — I have been in awe of their ability to reinvent electronic music time and again. They have many imitators, but only Autechre can pull off this sound without it sounding tired or derivative.
But some of Autechre's most recent releases have lacked some of that sonic invention. Every release sounds a bit like the last one. In the same way that Radiohead now always sort of sound like Radiohead, Autechre seem to have settled into a particular sonic pattern. With some exceptions, tracks on the NTS Sessions plough a broadly similar sonic furrow to everything they have released since 2013's Exai.
Musical artists tend to struggle to maintain their vitality once they're a few years (or decades) into their career. As t1a1 continues to plod along, I wonder if Autechre themselves understand this, and have chosen instead to experiment with the way music is released.
It all began with the bonus materials that were released around 2007's Quaristice. That album itself was unusual by Autechre's standards, in that it consisted of 21 mostly short tracks, rather than the more normal eight or nine long-ish tracks. A bonus disc of 'Versions' showcased some alternative iterations of the album tracks.
A further digital-only 'EP' unveiled yet further versions of the same tracks, typically longer and more free-form. I use scare quotes as it is an EP in name only, because it is in fact over two hours long. It culminated in an hour-long track, Perlence subrange 6-36. It is far inferior to the proper Perlence, and a decade on I still find little reward from that particular track.
But many of the versions were great in their own right. And if nothing else, it was a fascinating peek behind the curtain. Autechre are often cagey in interviews about how exactly they make their music. But by releasing these versions, they provided some insight into how their music is made, seemingly iteratively, with multiple parallel versions that can happily coexist.
In 2010, Autechre released what for my money is their best album of the past 15 years, Oversteps. It stands apart sonically from all other recent Autechre music, with a unique vision and focus. Its companion EP, Move of Ten, was less up-front about its origins as alternate versions of the album tracks. But keen ears could nonetheless immediately recognise the associations.
Following this came Autechre's first double album, Exai. In practice, it sounded like two middling Autechre albums released side-by-side. Each of them had some incredible moments. But I always wondered how much better Exai might have sounded if they had edited it down to one disc.
Then came AE_LIVE in 2015. Their first digital-only release, it consists of nine hour-long soundboard recordings from their live tour of 2014 to 2015. Each of the nine recordings is fundamentally the same set. They each share common elements and a similar structure. But the output varies incredibly. It was a fascinating peek behind the curtain of how an Autechre live set works, with the same base material evolving and adapting as the tour progresses.
Two years ago, Autechre took the next step and released their digital-only studio album, elseq 1–5. Ostensibly, this was Autechre's way of breaking free from the constraints of physical releases. Yet despite its digital-only nature, it was still released in five album-length parts.
Once again, elseq 1–5 contained some staggering moments. But I couldn't help feeling that one or two albums' worth of material had been spread thinly across five hours' worth of listening. Two years on, I still feel like I haven't fully processed elseq 1–5.
NTS Sessions 1–4 at least has something over this. Already many of these tracks have far surpassed anything on elseq 1–5 in terms of my appreciation.
Immediately, this is more like it. Side B track 1 opens with bqbqbq, a delightfully spiky, playful almost-melody. It sounds unusually colourful for Autechre, and sonically it's unlike anything I have heard before. It almost sounds like extreme MPEG compression trying to escape like a wasp in an upturned jar.
This is exactly what I come to Autechre for. After the disappointment of the opener, I wondered what might be in store for eight hours' worth of broadcast. bqbqbq was an early sign that my fears were misplaced, and it remains a key highlight of the NTS Sessions.
Side C contains one track, l3 ctrl. It tinkles into being, sounding like a rediscovered outtake from Amber (Autechre's relatively accessible melodic ambient techno album from 1994), or perhaps a previously unheard-of Plaid track. Before you know it, it whacks you in the chops with a sucker punch of brash noisy melody and beats, much more in keeping with more recent Autechre.
Like all the best Autechre, it's initially a shock, and it's tough to know what to make of it. But repeated listens are rewarded with a sparkling melody and captivating rhythms that build to an intense crescendo, before unravelling themselves again. It's a thrilling track.
I have reached side E and the sick gonk steady one. The payoff is gently teased part-way through, and comes more fully-formed towards the end of the track. But it remains incomplete, and makes the listener join the dots.
This is one of the things I love about Autechre the most. They show just enough of the working to show you what they're thinking. But the ultimate solution is for you to decide.
I could really do with it finishing soon though, because the coffee I drank after setting up the turntable is urgently making its presence felt in my bladder.
Relieved, I flip over to side F. four of seven could almost live comfortably on Autechre's LP5 from 1998. It pursues itself with urgency, which makes me thankful I didn't need the loo while listening to this. It slightly outstays its welcome, before fading out into a more plinky-plonky version of itself, inexplicably reminiscent of Surfs Up by the Beach Boys.
Out of that emerges a shining, yet ill-determined light — 32a_reflected. Perhaps this is what coming out of a coma feels like.
Onto session 2 now, the fourth LP. It begins with elyc9 7hres, a highly enjoyable track with comical cameos of swooshing interference.
xflood is another highlight of session 2. It starts out sounding repetitive, but as the track progresses it surprises in its evolution. Followed up by gonk tuf hi, this probably represents one of the strongest sides of this 12 LP epic.
It is approaching midday, and I have been listening to Autechre for almost three solid hours now. I am not yet feeling crazy.
Having said that, I have just put on session 2 side C, beginning with dummy casual pt2. I do wonder if I'm hearing samples of the sound effects iOS devices emit when receiving and sending SMS messages. This has escaped me every time I've listened to the digital versions, but it sure seems to be there now. An early sign of Autechre-induced cabin fever?
Nearly halfway through, I'm wrapping up against the cabin fever.
The title of violvoic almost suggests it could be an alternative version of Confield's Uviol — though it's not clear from listening to it that it is.
I have taken a short break to do a bit of housework, fill up on water, grab some fruit and take some time out to stave off the cabin fever.
Session 2 side D begins abruptly. As I recall, the digital version of this has an elegant crossfade. One disadvantage of the vinyl format. These NTS Sessions were, of course, originally presented in continuous two hour chunks. Some of the later tracks are so long that they must be split over multiple sides of vinyl. I'll be interested to see how this works when I get to it.
I have just read online that some of the CD versions of these tracks are longer than the digital-only versions. Should I buy the CD version as well? 🤔
I spent £127.03 on this lavish 12 LP box set of NTS Sessions. That catapults it straight to the top of my expensive vinyl purchases list, beating the 20th anniversary edition of OK Computer I bought last year. Buying the CD versions would cost me another £40 plus postage. As much as I'm a completist (and I do own a few Autechre albums in both CD and vinyl editions), this may be a step too far for me.
Having said that, the vinyl box set is beautifully designed by the Designers Republic, as is custom for Autechre. It sounds great as well.
peal MA begins session 2 side E, and brings a change in tone. Brooding and experimental, this is one of the quieter moments of the album — but one of the most interesting.
Its follower, 9 chr0, is rather forgettable. It threatens to get into the swing of things midway through, before becoming dull again.
As time has gone on, Autechre's releases have generally become more spread out, but longer. 2015's release of AE_LIVE saw them release 559 minutes of new music in one year. It's challenging to find the time in my life to listen to all that.
(2015 was the same year Aphex Twin infamously uploaded a massive batch of unreleased tracks onto Soundcloud. I still haven't listened to all of those.)
Look at me here, taking a day off work to listen to their new album clocking in at eight hours.
elseq 1–5 saw them release 'only' 248 minutes in comparison. But it was a different proposition. Whereas AE_LIVE showcased nine versions of essentially the same set, with elseq Autechre landed us with five albums' worth of brand new material to digest in one go.
As I explained above, I still haven't really processed it, and I'm not sure it landed so well. Moreover, to go for a lengthy digital-only release, only to split it up into five album-length chunks, felt like a cop-out.
In contrast, NTS Sessions feels like a great stride closer towards where Autechre might like to be in terms of how they release their music.
Coming to the end of session 2 now, it's turbile epic casual, stpl idle. Clocking in at 21 minutes, this is one of the longest tracks of the album so far. This is ambient music in its true sense — as ignorable as it is interesting. It sets a mood.
As Autechre have turned to producing longer and longer releases, they have in turn produced longer and longer tracks. Up to their eighth album, Untilted, a typical Autechre album would contain around 10 tracks lasting around five to six minutes each. In that sense, their albums had a conventional structure.
The shorter sketches of Quaristice broke that up somewhat, only for Autechre to revert to more conventional structures for Oversteps and the Exai double album.
This era of digital releases is seeing them attempt to break free of those conventional structures. elseq, for example, saw six minute long tracks sit side-by-side with tracks that were 20 to 30 minutes long.
NTS Sessions pushes this further. The constraints are there, for sure. Firstly, the two hour format afforded by their radio slot. Then, the physical constraints posed by releasing them on CD and vinyl, which were no doubt on Autechre's mind as they compiled the sessions.
Even so, this feels like a more coherent vision for how to release music in an increasingly post-physical era. Autechre are taking this opportunity to explore musical ideas more deeply, rather than editing them down to the six minute highlights packages demanded by the conventional album structure.
This does make for a less consistently exhilarating listen. Take any of their mid-period albums — Tri Repetae, Confield, Draft 7.30, Oversteps — and you are in for a solid hour of high-octane, concentrated, densely-packaged electronic experimentation.
Those moments are still here. But now they are spread out over eight hours. In between times, we have more rambling excursions. Those high-octane moments now mix it with lengthy mood pieces. This doesn't so much suit concentrated listening.
Maybe it's OK just to hear it subconsciously, rather than listen to it consciously, like you might with Brian Eno. Even some of the noisier tracks here feel more ambient in structure.
It's perfectly valid. But it requires a mindset shift. One that perhaps I was not ready for with elseq.
But isn't that why I like Autechre? To be challenged. Not just by how the music sounds. But now also by what it is, and how it's presented.
As I write, turbile epic casual, stpl idle is still playing. I have heard it subconsciously as I have been writing. Only intermittently have I paid attention. But I know it's good. I'll hear this many more times in my life. And when I listen to it rather than hear it, I know I'll probably be rewarded further.
After reaching the halfway mark, I stopped for a short lunch break. Session 3 opened with clustro casual, which sounds like a seaside attraction gone wrong.
It is followed by splesh, a seriously funky number with real attitude. A lot of my favourite tracks are in session 3, so I'm looking forward to the next couple of hours.
At times, NTS Sessions feels almost like a retrospective of Autechre's finest moments. This is one of those times. tt1pd sounds like it could have been part of 1997's Cichlisuite, or perhaps a second cousin of their 2002 b-side Cap.IV. Not complaining.
It says CD, but it's clearly an LP.
tt1pd ended very abruptly. I can't remember if the digital version was like this. Switching to the 7th disc now. Session 3 side C begins with acid mwan idle, a pulsating monster of sonic shafts.
I love love love this track — fLh. If you listen to just one track from the whole set of NTS Sessions, this is the one.
This is the genius of Autechre. A killer tune is right there, but it is distorted and mangled just enough to obscure it. This is what I mean about Autechre making (or letting) the listener join the dots. Like a Magic Eye picture, it's there — but you have to work for it.
Autechre have created their own musical language. When I first heard Autechre's music, I couldn't understand it — but I was drawn to it. I could tell it was good, but I didn't know why or how.
When I bought my first Autechre album, Confield, I was confused and let down. It sounded like noise. This is what people say to me when I introduce them to Autechre. It sounds like noise.
And at first, it does. But after a few listens, Confield all clicked into place for me. Now it's my favourite album. A true reward for perseverance, deep listening and open-mindedness.
With repeated listens, you begin to understand how to read Autechre. Now I get as much emotion and meaning from Autechre music as I with any other instrumental music. They just convey it in a radically different way.
In turn, they have created their own convention. They inhabit their own sonic landscape. Autechre music can chiefly be understood in the context of other Autechre music.
Autechre have broken free from our conventional understanding of what good music should be; of what pop music ought to be. They are imagining an impossible future of music and exposing it to our present.
Anyone else who tries to do this ends up sounding naff or pretentious. But Autechre successfully avoid cliches. That's not to say they don't ever put a foot wrong. But in their singular and successful pursuit of the new and unique, Autechre have demonstrated their boldness and bravery. They are the most vital musicians in existence.
The past few years have shown some signs of that shine coming off a little. But with NTS Sessions, they have produced some of their best music since 2010's Oversteps. It is incredible that, almost 30 years into their career, they are as relevant as ever, and more revolutionary than any younger electronic musicians.
Their many imitators can't come close to Autechre, which is in a sense a shame — because I'd love there to be more music that is this good.
I have now written over 3,000 words, and only about two thirds of the way through. No-one will read this, I think.
I need a wee again.
Hints of something from AE_LIVE — g 1 e 1 sounds like a radically slowed down version of music heard towards the end of each of those recordings. Melancholic and wistful.
It's HQ time. I can't resist playing while listening to nineFly. This has shades of ilanders from Oversteps. It sounds like what would happen if you took the bits that are compressed out of MP3s and boosted them.
I've been eliminated from HQ for not knowing that the letter Q is not in the name of any US state.
Settling in for the final stretch now. I have just started session 4.
I've got myself a snack to see me through to the end — pop and crisps.
Session 4 is the one with the longest tracks, and from memory the dullest of the four sessions. Let's see how it goes.
Side A did indeed pass through relatively uneventfully. But side B begins with the luscious column thirteen, a truly beautiful slice of ambient dissonance.
shimripl casual is the penultimate track. Both of the final tracks are split across multiple sides. A lengthy fade-out and fade-in is used.
To be fair, this track is OK. But I do wonder what has been added since the fade-out on the previous side.
Here it comes. The album's closer, all end, which is 58 minutes long. Wish me luck.
I am onto the final disc, containing parts 2 and 3 of all end. Not much has happened in part 1 yet, and I'm not anticipating much more happening in the rest of the track. It does remind me of the aforementioned Perlence subrange 6-36, which is similarly lasts an hour. Perhaps there is something I'm missing. I need to get into the right headspace, or turn the volume up really loud to get it. Perhaps I'm too old for it. Or too young.
And with all end finally, uneventfully, fading out, NTS Sessions is finished. It took me almost nine hours to listen to eight hours' worth of music.
Only Autechre could present their fans with eight hours' worth of new material, more or less in one chunk. It is almost a nod of appreciation of the levels of geekery and dedication their fans attain. They may not be the world's most famous musicians, but those who do know and like them revere them. Eight hours of music is a gift.
With Autechre, the reward comes from the effort. Not all of that effort is rewarded. But when it is, it's really worth it all.
NTS Sessions contains Autechre's best music since 2010. Not all of it is top-notch. But it has immediately made itself more vital than their previous couple of releases, elseq and Exai.
At times, it harks back a little too closely to some classic Autechre tropes. But at others, it invents the futures we expect from Autechre.
Lengthy, epic drones mingle with spiky noise-techno and glistening half-remembered melodies. That could almost describe any Autechre album in history. But the epic length of NTS Sessions makes it somehow more engaging that most. The range and diversity of sonic worlds traversed is greater than ever. And the length allows ideas to be explored more fully.
For me, not all of those ideas are worth exploring so fully. But there are enough highlights here to make this a vital Autechre release.
Autechre
Designers Republic
navivan
Another thing by sure is that the music of this guys is appreciated and understood differently, even by those of us who are already accustomed to it.
Greetings from Argentina '
Pricks — Gescom — Duncan Stephen
4 February 2020 22:29
[…] But listening today, it's striking how MiniDisc seems to have laid the groundwork for some of Autechre's most recent music, particularly on NTS Sessions. […]


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There remains insufficient evidence to weigh the balance of benefits and harms of screening for obstructive sleep apnea (OSA) among asymptomatic adults and those with unrecognized symptoms, the US Preventive Services Task Force (USPSTF) has concluded in an updated statement.
"Obstructive sleep apnea can negatively affect people's health and quality of life if left untreated. Unfortunately, after reviewing the existing research, estradiol levels pregnancy the Task Force concluded that there is not enough evidence to recommend for or against screening adults who do not know they have signs or symptoms of sleep apnea," Task Force member Gbenga Ogedegbe, MD, NYU Langone Health in New York City, told Medscape Medical News.
Therefore, the Task Force issued an "I" statement (insufficient evidence), meaning it cannot at this time recommend for or against OSA screening. This matches the "I" statement the Task Force issued in 2017, as reported at the time by Medscape Medical News.
The final recommendation statement and corresponding evidence summary were published online November 15 in JAMA and on the Task Force website.
More Research Needed
To update its recommendation on OSA screening, Cynthia Feltner, MD, University of North Carolina at Chapel Hill, and colleagues reviewed 86 studies that included 11,051 participants.
The reviewers concluded that the accuracy and clinical utility of OSA screening tools that could be used in primary care settings were "uncertain."
They did find evidence that OSA treatment with positive airway pressure and mandibular advancement devices can lead to a reduction in daytime sleepiness, improve sleep-related and general health-related quality of life, and modestly reduce blood pressure by 2 to 3 mm Hg.
However, there is a lack of clinical trial evidence that treatment of OSA reduces risk for major adverse cardiovascular events or mortality, they note.
In the end, the Task Force concluded, as it did in 2017, that there currently is not enough evidence to recommend for or against OSA screening for the general adult population.
"Importantly, we need more research on the benefits and harms of screening people with no recognized symptoms of sleep apnea and how this screening might impact their health," Ogedegbe said.
"We are calling for more research on which risk assessment tools can help detect the patients that are most likely to benefit from screening. We also need to understand more about how sleep apnea develops from mild into severe cases, and the benefits of identifying and treating sleep apnea early," he added.
Ogedegbe noted that it is critical for clinicians to know that an "I" statement from the Task Force is not a recommendation for or against screening.
"Because the evidence is unclear on whether or not routine screening is beneficial, healthcare professionals should use their judgment when deciding who to screen," he said.
"In addition, we want to emphasize how important it is that anyone who has concerns about their sleep habits talks with their clinician so that they can get connected to the care they need," said Ogedegbe.
"Sensible," but Questions Remain
In an accompanying editorial, Daniel Gottlieb, MD, Brigham and Women's Hospital and Harvard Medical School, Boston, Massachusetts, notes that OSA is "exceedingly" common in the adult US population.
"For the truly asymptomatic patient, the USPSTF recommendation is sensible, even for most patients with known cardiovascular illness," Gottlieb writes.
"However, the conflation of 'asymptomatic adults' and 'those with unrecognized OSA symptoms' is troubling, as it may suggest to clinicians that such unrecognized symptoms can be safely ignored," he adds.
Gottlieb notes that the USPSTF report "correctly highlights the need for rigorous research to identify optimal screening strategies for OSA in the primary care setting and to determine whether routine screening of asymptomatic or mildly symptomatic patients leads to improved clinical outcomes."
In addition, "strategies that involve broad application of diagnostic testing may soon be feasible," especially as "increasingly inexpensive and unobtrusive" home tests are available, he said.
"While much remains to be learned about the potential benefits of screening for asymptomatic OSA, this should not deter clinicians from identifying and appropriately managing the care of the many symptomatic patients whose OSA symptoms are currently unrecognized," Gottlieb adds.
The USPSTF is an independent, voluntary body. The US Congress mandates that the Agency for Healthcare Research and Quality support the operations of the USPSTF. All members of the USPSTF receive travel reimbursement and an honorarium for participating in USPSTF meetings. Other relevant financial relationships for the members are listed in the original article. Gottlieb has served on scientific advisory boards for Signifier Medical Technologies and Wesper and as a consultant for Powell Mansfield Inc.
JAMA. Published online November 15, 2022. Full text, Editorial
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