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John Brown's Public Diplomacy Press and Blog Review
Want to Join the Foreign Service? Prepare Now.
bidd.org.rs
Public diplomacy [JB emphasis] students often ask me if I think now is a good time to join the Foreign Service. The answer is, "Of course." The next question is trickier: how does one get in? The usual uninspiring response is, "Take the annual Foreign Service test." But there are many ways to get a foot in the door and gain precious experience while trying to land a permanent career.
Chief among them is to be both stubborn and patient. I'm convinced that if you watch for opportunities, bust your butt, and are willing to do just about any kind of work to get in, you'll succeed. That's how I did it. You may have to temporarily park your higher degree, but everything in this career requires a long-term view.
So getting in isn't really the issue. It's being effective once you're there and finding ways to enjoy your job so you don't burn out. It's also standing out from the Foreign Service mob to get promoted and stay employed.
Accordingly—this being the era of lists—here are my top six things to do now as a student that will pay off for you later, once you've been sworn in:
1. Learn. Learn anything and everything. Whatever you learn, you will use it in a PD career, in one way or another. I'm not talking about diplomacy or foreign policy—you're already cramming that into your brain. Instead, read books on science. Literature. Philosophy. Vegan cooking. Teach yourself to dance or play an exotic instrument. Indulge your inner renaissance person. And don't kid yourself you're learning lots from articles or videos, they go through you like prunes. Instead, immerse yourself in topics and hobbies. Volunteer somewhere. Go deep—that's where value is.
2. Learn a language. I mean really learn it. Get good and have fun with the accent and memorize popular sayings or poetry. Maybe that's easy for me to say, since I've done it. But you want to be a public diplomat, right? Now, you don't need to be completely fluent to draw a paycheck—you might get by, depending on your job. But if you want to do good things and win people over and like your work and stand out, then get comfortable in a foreign language. If you learn the right "hard" language, you can parlay it into many assignments, develop regional expertise, and earn more money. I'm thinking Chinese, Arabic or Russian. Still, if French or Spanish or Hungarian is your thing, go for it.
3. Cultivate the light side of the force: practice being a nice person. If you can't, please find another career. The world has enough stiff, distant, even unfriendly bureaucrats. Americans need to be different. A foreign national colleague once told me, "Americans are known to be efficient with no interest in anything except work." Others note how some of us pass them in the hallway without saying hello. Really? Folks, this is Humanity 101. Cultivate the niceness they taught you in kindergarten. If nothing else, it will come in handy later, when you go asking for 360 evaluations and people decide if they'd want to work with you again… Also the quickest way to get thrown out while you're untenured is to be a jerk.
You don't need to wait three years until your first PD tour to start: you can practice now.
4. Beat your smartphone addiction. There's nothing more annoying to a contact or boss (or professor) than to be talking to people who can't stop checking their phones. You say everyone's doing it? Well they're not. You'll be working in countries where people still go to cafes to converse, not write reports or status updates or check their mail. In any case, I don't care what others at the table are doing when you get there: be the one who is fully present. This is how you get diplomacy done where others fail. Fight the addiction now.
5. Go beyond your syllabus, job description and other forms of conventional wisdom. Remember that one project you did in school or college that nobody asked you to do, but you thought it would be interesting and fun and worthwhile and others benefited? That, in a nutshell, is the ideal of public service. The policymakers tell us what the goals are, but we use our brains and internal compasses to find the best way to do it. We take initiative and help others pursue their ideas. You don't need to wait three years until your first PD tour to start: you can practice now. What might that be at your university? Damned if I can tell you. Campuses are huge with tons of committees and clubs and problems that you care about that need fixing and undergrads who need tutors. You have skills and just may be the person to help out.
6. Learn to write. Sorry to sound condescending, but I'll put it this way: professors and senior diplomats have noticed that writing skills haven't exactly improved over the decades. Writing well gives you influence in the State Department, its embassies, and in foreign countries. It is also how you get promoted past people who don't write well. Writing is a learned skill, but you have to write to learn. So write.
Those are just a few things you can double down on today. There are many others. For example, most people are lousy public speakers. So join Toastmasters. I'm totally not kidding. It's first-rate experience, and you'll be addressing audiences nonstop as a PD officer.
Also stay healthy; you can't be a strong student, let alone travel as a diplomat around countries on packed schedules, if you are physically and emotionally unwell. And be ethical: integrity is the bottom line for public service and governs everything from administration and leadership to policy implementation.
The main thing is to prepare now so that, once you are assigned to represent the American people overseas, you will be one of our finest examples—and you'll be ready to find real enjoyment in the best career ever invented.
Note from the CPD Blog Manager: The opinions represented here are the author's own and do not necessarily reflect the views of the U.S. government. For more information on public diplomacy careers with the U.S. Department of State, visit careers.state.gov.
Posted by John Brown at 5:46 PM No comments:
Why U.S. can't retreat from the world
Tara D. Sonenshine, newsday.com
image (not from article) from
Attack in Sri Lanka reminds us that nations are linked and that terror has no home.
Maybe some nations are not doing enough in terms of sharing intelligence and public diplomacy [JB emphasis] to counter violent extremist narratives online. Often nations are lulled into a false sense of security in the absence of terrorism. Governments must fight terror in a global age in which money, weapons and radical ideas move quickly.
It is easy to hunker down behind walls and fortresses and pretend nothing can affect the United States. But those walls didn't protect ... terror victims. ...
Tara D. Sonenshine is a former U.S. undersecretary of state for public diplomacy. She advises students at The George Washington University Elliott School of International Affairs.
U.S. Broadcaster Under Scrutiny for Disseminating Propaganda
A Western voice has tilted toward post-Soviet authoritarian leader in Central Asia, say diplomats and the network
Tajikistan's capital, Dushanbe, where U.S.-owned and -funded Radio Ozodi tilted toward the president and his family, diplomats and the network's parent say. PHOTO: ALEYEV YEGOR/TASS/ZUMA PRESS
By Jessica Donati, The Wall Street Journal, April 25, 2019 5:30 a.m. ET; below article as posted has since then been updated; please refer to the article's (same website) for its latest version
WASHINGTON—Federal officials are scrutinizing the U.S. government's Radio Free Europe / Radio Liberty news service, established to promote democratic values abroad, after complaints it has distributed foreign propaganda favorable to authoritarian regimes in Central Asia, according to the network, its employees and an internal State Department memo.
The State Department officials also noted that they had asked the State Department Office of Inspector General to investigate several contracts between the Tajikistan network, called Radio Ozodi, and a broadcast company controlled by a relative of Mr. Rahmon for evidence of corruption and fraud. The contracts were intended to deliver U.S.-backed programming to a wider audience.
Radio Free Europe/Radio Liberty — once two separate organizations that have merged — is part of the U.S. government network that broadcasts in areas with restricted press freedoms.
U.S. Agency for Global Media (formerly called the Broadcasting Board of Governors)
Radio Free
Europe / Radio
Voice of
Source: USAGM
Radio Free Europe / Radio Liberty said it too had asked the State Department Office of Inspector General to investigate. Its officials acknowledged the complaints in a statement published online after The Wall Street Journal approached the agency with questions about them. "Earlier this month, RFE/RL asked the State Department's Office of the Inspector General to investigate," it said in the statement in late March. "Corrective action will follow any investigation by the OIG, as warranted." The statement said the Tajikistan service had "failed to live up to RFE/RL standards."
The Office of Inspector General, which doesn't confirm or deny whether it is conducting investigations, declined to comment. A State Department spokesman declined to discuss the details of the memo reviewed by the Journal. The official said the State Department had raised concerns with Radio Free Europe / Radio Liberty.
Representatives of Mr. Rahmon, who has ruled Tajikistan since 1992and has been criticized in the U.S. and internationally for nepotism and for stifling dissent and religious freedom, didn't respond to requests for comment about the coverage and other issues.
Radio Free Europe, founded in 1950 to broadcast to Eastern Europe, and Radio Liberty, founded in 1953 to broadcast to the Soviet Union in Russian, both of them to combat Soviet propaganda, merged in 1976. Use of the network's broadcasts to support authoritarian regimes would run counter to the network's mission statement, which says it is designed to "promote democratic values" in places where independent journalism is banned.
Tajikistan's President Emomali Rahmon meets with Russian President Vladimir Putin at the Kremlin in Moscow in mid-April. PHOTO: POOL/REUTERS
The network is overseen by the U.S. Agency for Global Media, or USAGM, an independent agency formerly known as the Broadcasting Board of Governors, which also controls Voice of America and other outlets and is monitored by the State Department. In the wake of the complaints and continuing investigation, two high-level officials of Radio Free Europe / Radio Liberty, its regional director for Central Asia and its Tajikistan service director, have resigned, Radio Free Europe / Radio Liberty said.
Indicating the depth of concern, a group of academics who specialize in Central Asia wrote in a letter published in March on the Open Democracy website: "Radio Ozodi, once the most credible source of news and information in the country, has become a mouthpiece for the deeply corrupt authoritarian government of Tajikistan's President, Emomali Rahmon."
The academics and U.S. diplomats said the network's leaders haven't recognized the extent of the problem and the potential damage to U.S. credibility in the region. "I don't think it should be swept under the rug," said Edward Lemon, a fellow at the Daniel Morgan Graduate School of National Security in Washington, D.C., who was among scholars who signed the published letter. "We want to raise public awareness."
Among coverage criticized as questionable, most of which was carried in Tajik, an article on the Tajikistan service's website in December reported that youth in the Tajik capital of Dushanbe increasingly were asking their barbers to style their hair like that of Mr. Rahmon's oldest son, Rustam Emomali, his political heir, who is the city's mayor. [JB emphasis] It quoted a student explaining that many consider the son "a model of a young and successful leader and they are trying to imitate him in everything."
Heirlines work together: Image of Rustam and his dad (caption and image not from article) from
below image (JB: not from article ) from
Posted by John Brown at 8:56 AM 1 comment:
Five rules for a successful Expo pavilion
inparkmagazine.com
By Andrew Snowhite (Snowhite Strategies)
ABOVE: Entry to the USA Pavilion at Expo 2017, Astana Kazakhstan
Expo 2020 Dubai opens its doors to the world in only a year and a half. An amazing feat—there currently are two hundred country and thematic Pavilions being imagined, designed and built. And with 25 million guests expected, hundreds of millions of unique interactions will take place onsite, with countless millions more happening online.
If you are not familiar with an "Expo," you might know it by its other name, a World's Fair. Today's Expos are similar to the grand World's Fairs of days past that brought people together from different countries and showcased new innovations to the world. Over the last 150 years, Expos introduced us to inventions and iconic designs such as the telephone, diesel engine and video conferencing and brought us the Eiffel Tower and the first Ferris Wheel.
While it's been over thirty-five years since an Expo was hosted in the United States (hopefully that will change soon), they are still important and well-known events worldwide. In the last few decades this has been especially true for "nation branding," countries leveraging Expo to show their progress and geopolitical importance. This is similar to countries hosting other global events like the Olympics or World Cup, but Expos are unique in their focus on humanity and the future, versus sport. As my Astana colleague Joshua Walker says, "Expos are the Olympics of soft power."
There are two types of Expos. The first is a "World Expo" that runs for six months and focuses on a universal theme relating to the human experience. In this case, many participating countries construct an entire Pavilion building from the ground up, program and operate it, and dismantle it after the Expo ends. The second, a "Specialized Expo," is a three-month event where participants are provided space for their Pavilion that they fit-out and operate according to a specific theme. You can see the difference between the two by comparing Dubai 2020 whose more ethereal theme is "Connecting Minds, Creating the Future" versus Expo 2017 Astana (Kazakhstan), a Specialized Expo that had a very clear theme of "Future Energy." At the conclusion of the Expo, the site is usually repurposed as a tourism or commerce hub.
All Expos are governed by the Bureau International des Expositions (BIE), a Paris-based intergovernmental organization that has 170 member countries. Similar to the big global sporting events, member countries bid to host Expos and vote to decide who is awarded the honor of hosting. World Expos occur every five years and Specialized Expos happen sometime in between. After Dubai hosts in 2020, there will be a Specialized Expo in 2023 in Buenos Aires, followed by the next World Expo in Osaka, Japan in 2025.
In most normal situations, the year and a half timeframe until Dubai opens might seem like a long time to get almost anything accomplished. However, in Expo world, especially for a six-month World Expo, it means the clock is ticking, and fast. Buildings have to be designed and built, teams assembled, cross-border companies and bank accounts opened and lots and lots and lots of visas and credentials processed and approved (this list could go on and on).
My intent on writing this piece is to provide guidance to anyone and everyone who is responsible for an Expo Pavilion, either at Dubai 2020 or into the future. The two Pavilions that I helped to lead were the most challenging and rewarding experiences of my life. There's no other event where you can represent your nation on the global stage, crafting and sharing a story with millions of people who might otherwise never have a direct interaction with your country, your citizens or your organization. My teams and our partners took this honor seriously, working tirelessly to ensure we delivered our message, strengthened our ties with the host country and created the best guest experience possible. This resulted in incredible teamwork and comradery, and while the process was intense, we had fun and built relationships that will last a lifetime.
So, what did I learn after delivering two USA Pavilions on budget and on time? I learned about the intricacies of Expos, about public diplomacy [JB emphasis], about storytelling, about international business, about teamwork, and a ton about myself. Through these experiences I've identified a number of common challenges and solutions that apply to all phases of a Pavilion's planning, design and operations. I hope these provide guidance for those working on Dubai as you hit crunch time as well as a roadmap for those already thinking ahead to Buenos Aires 2023 and Osaka 2025.
Here are my Five Rules for a Successful Expo Pavilion:
Rule 1: Create a Clear Theme and Story
This first step when approaching a Pavilion is to determine your theme. Everything, and I really mean everything, is dependent on choosing a clear and relevant theme that can be communicated across multiple mediums. This includes the physical Pavilion building and exhibit space, digital platforms, communications and PR materials and every operational aspect of the initiative.
The Pavilion's theme needs to relate to the Expo's overall theme, while reflecting what is unique about a Pavilion's country or brand. It also needs to reflect the goals for the Pavilion/organization's participation, for example public diplomacy, promoting commerce, and nation or corporate branding. For reference, the USA Pavilions I worked on were public-private-partnerships with the U.S. Department of State where we were chosen through a competitive bid process and responsible for designing, buildings and operating the Pavilion on behalf of the United States of America. Our physical space and communications were focused on public diplomacy while our overall participation in the Expo was critical to strengthening government to government diplomacy and economic ties.
Guests watching the USA Pavilion 2012's presentation being projected on the Pre-Show water screen
A good theme and theme statement serve as the foundation for the experience that is created and how it is explained and promoted. More so, remember that visitors have limited time in a Pavilion, so choose at most three simple takeaways you would like them to remember from their visit.
Here is an example. At Expo 2012, Yeosu Korea, the Expo's theme was "The Living Ocean and Coast" and we created a USA Pavilion theme of "Diversity, Wonder and Solutions." This theme provided a roadmap for every aspect of the project and allowed us to craft an engaging story. See how the following Theme Statement provided the foundation for our story and the key takeaways for our guests:
Theme Statement: USA Pavilion 2012, Yeosu Korea
Diversity, Wonder and Solutions are the unifying themes of the USA Pavilion. Through a host of exciting technologies, and storytelling through America's multicultural lens, the USA Pavilion experience will explore the vital connection between the health and well-being of cultures and communities and the future of one of our most important resources: the ocean. Highlighting the diverse and dynamic nature of America's ocean and coastal environments, the USA Pavilion will reveal the colorful mosaic of American life. Its stories and experiences will convey the core values of innovation, partnership and hope that define the American spirit.
"Diversity" of America's people and landscapes provided an ideal backdrop for content and provided guests with a better understanding of how culturally and geographically diverse we are as Americans. Showing our landscapes, from Alaska to Hawaii to Maine focused on the beauty of our coastal and underwater regions, inspiring awe and "Wonder" and presenting amazing visuals. "Solutions" allowed us to acknowledge the immense challenges facing the ocean while creating an opportunity to focus on American solutions and American-South Korea partnerships.
We interpreted our theme through a multi-part storytelling experience to create three simple takeaways for our guests: 1) Americans and South Koreans continue to be friends and partners, 2) Americans and America are culturally and geographically diverse, and 3) the ocean is in trouble but if we work together we can make a positive difference.
Creating the story and how it is expressed through the guest experience requires considerable internal thought and feedback. Also, it needs to be interesting and engaging to the end user, so focus on the people who will visit the Pavilion. Who are they? What language(s) do they speak? What are they interested in? How long might they stay? How might they feel about your country or brand upon entry? What do you want them knowing and feeling when they walk away? Exploring these questions will reveal your story and the optimal tools and methods to share it with your guests.
While nothing replaces an in-person visit to an Expo or a Pavilion, to get a feeling for our theme and story in Yeosu, please check out this video overview on YouTube. It has footage of the Pavilion experiences we created, which included a Pre-Show presentation projected on a curtain of water, with greetings from President Obama and Secretary Clinton, as well as a custom wide-screen film that engaged and inspired our guests and had them repeating our mantra "This is Our Ocean" as they left the show (cheers to our creative partner, The Hettema Group).
Yeosu planning with Phil Hettema (right) and my longtime friend and collaborator Philippe Cousteau (center)
It is important to note that while textually the theme and theme statement might be brief, their development entails a huge amount of time, effort and brainpower. This required hours upon of hours of collaboration between our core team and our creative and communications teams, in person and virtually. Moreover, we needed to ensure that our concept, how it was worded and manifested physically, was reflective of the Department of State's Pavilion goals. The storytelling and design process required thousands of hours of collaboration, with Department of State input and review and approval of every piece of content we created (from footage in our films to the photos on the walls of the VIP Lounge).
The opportunity to work with such a variety of people with diverse areas of expertise was amazing. I don't think there are many other projects where a meeting includes architects and designers, operators, policy and diplomacy experts, international businesspeople, cultural interpreters, storytellers, educators and world-class subject matter experts. Moreover, it's a magical experience once the theme and story begin coming to life, especially for team members that aren't from a creative industry. One of the most rewarding milestones of the Pavilion process was sharing the first draft of a film or media presentation with our colleagues at the Department of State. I loved their excitement at seeing how we collectively planned to represent America, their ability to contribute to the creative process and the realization that the Pavilion was indeed moving beyond ideas to a real and physical space.
Coordinating this many people to craft a theme and story doesn't come without challenges. For Yeosu and Astana, which both were on the other side of the world, it demanded a 24-hour work cycle. Middle of the night phone and video calls occurred regularly in order to accommodate schedules between D.C., Los Angeles and local teams on the ground. We got together in person with our colleagues at the Department of State in D.C. so frequently that I'm not sure either project could have been pulled off if I didn't happen to live locally.
Rule 2: People Relate to People
"Technology is amazing." "What's new today couldn't have been imagined a few years ago." "The line between the digital and physical world continues to blur." [Insert the next cliché that comes to mind].
We all get it. The tools that are now available to tell a story are incredible and will only continue to blow our minds in the coming years. But you know what? As much as people love flashy whiz-bang tech, what makes the most impact…wait for it…is interacting with other people! Crazy, right? I know it sounds passé, but I've seen with my own eyes that people-to-people interactions are the most powerful means of telling your story!
Over the last few decades the United States has consistently implemented a Student Ambassador program. Although the program and its execution vary from Expo to Expo depending on the public sector partner of the Department of State, the concept is simple. American university-aged young people who speak the host country's language are chosen to attend Expo as part of the USA Pavilion team and to volunteer as Ambassadors in the Pavilion. Not only do they meet and interact with the guests, but often they are integrated into the experiences while also helping with all of the operational aspects of the space (from running the shows to helping with VIPs to managing queues). In Astana we saw other Pavilions starting to utilize a similar Ambassador program, and often did exchanges between our Student Ambassadors and those representing other countries.
Nothing beats a direct person-to-person interaction and therefore these should be specifically built/designed into the guest experience. It doesn't have to be complicated but needs to be integrated into the fabric of the Pavilion…opportunities to talk with people waiting in line, having a Student Ambassador on a microphone welcoming people into the Pavilion or having lots of selfie stations (you can't have enough photo ops).
Astana Student Ambassador meeting a local Kazakhstani guest
In Astana, we had a significant percentage of guests who had never met an American before, let alone spoken to them in one of their native languages. This was especially important as the view on Americans in that region is still evolving. As much as the Pavilion's multimedia made an impact, nothing was more memorable or meaningful in terms of breaking down preconceived thoughts than small talk, a smile or a handshake.
In Yeosu, which is about as far away from Seoul as you can get, we had a lot of guests visiting from very rural areas. Similarly, many had never met or spoken with an American before or had a predetermined notion of what an American should look like. I can still remember the reactions of surprise and joy when an African American Student Ambassador would speak to a guest in fluent Korean, and I still get chills thinking about the moment I shared with a Korean War veteran who embraced me, and thanked me, simply because I was an American.
Preparing for America's National Day in Yeosu with our Student Ambassadors
It's also important to note that our Student Ambassadors didn't simply represent America and the Pavilion at the physical Expo space, they also traveled throughout the host countries. They volunteered in orphanages and at schools, visited manufacturing facilities of our corporate partners and went on culinary and cultural adventures. Take a look at the Yeosu and Astana Final Reports in my LinkedIn profile for more great examples of people-to-people interactions.
Rule 3: Design and Operations Go Hand in Hand
In many ways, an Expo Pavilion is similar to a business startup. Typically, it requires creating one or more new business entities, fundraising, opening bank accounts, building teams, engaging all sorts of vendors, securing insurance, creating HR policies, communications, etc. etc.
This is what I refer to as the "business operations" of the Pavilion. The operations referred to in this piece are the "Pavilion operations," the operating of the physical Pavilion during the run of the Expo.
There are two basic ways to plan a Pavilion. Option 1 is to centralize the planning of the design, content and operations, having each stakeholder at the table throughout the process (as described above). This can be managed by a single organization with the engagement of various third-party subject matter experts. Option 2 is to first engage a design and experience team, design and build the Pavilion, and then hire a company to operate it during the Expo.
To save time I'll get straight to the point. Whatever you do, please DON'T choose Option 2!
It is imperative that the creative folks (architects, designers, storytellers, techies, etc.) are working with an operations expert during every step of the planning process, ideally someone with Expo experience. This should start during the concept phase and continue through construction and opening. Expo is like nothing else…it's not a sporting event like the Olympics or a conference like SXSW or Davos…Expo has many unique aspects and details that can only be learned the hard way…by doing it!
And to take things a few steps further, it is also critical to include the project "owner" throughout the process. As noted, as the private sector partner responsible for every aspect of the USA Pavilion, our project "owner" was our partner, the U.S. Department of State. Most often a Pavilion's project owner is a government entity, but for Thematic or Corporate Pavilions, it is the Expo Organizing Committee or a business (both of whom are writing massive checks with lots of expectations).
USA Pavilion 2017 team (L to R): Steve Keil (U.S. Department of State), Adolat Nadjimova (U.S. Department of State), Arman Sapargaliyev (Kazakhstan Embassy, DC), Joshua Walker (President, USA Pavilion 2017), Jenn Miller (U.S. Department of State), Margery Kraus (Chairman, USA Pavilion 2017 and APCO Worldwide), Erzhan Kazykhanov (Ambassador of Kazakhstan to the U.S.), Andrew Snowhite (Executive Director, USA Pavilion 2017), Anthony DeAngelo (USA Pavilion 2017), Alice Cosgrove (U.S. Department of State).
As I learned, the placement of an entry door and how it defines a queue line can have massive operational ramifications, as can the difference between people standing or sitting on benches during a show. Does the tech staff have direct, back-of-house access to the servers? How do VIPs access a bathroom? Are the type of fish being used in a wall graphic currently part of an intense international treaty negotiation? Will people recognize that a waterscreen projection surface is actually water? Hint—the answer to this is yes, most people do, but there are always a few rogue guests who have to get wet learning the hard way, no matter what you tell them.
These are only a few examples of the importance of combining design and operations planning into one process.
Rule 4: Don't Reinvent the Wheel
By now it should be clear that designing, building and operating a Pavilion is a challenge (albeit a rewarding one). Please don't try to figure it all out yourself. There simply isn't enough time. This doesn't apply only to Pavilions teams but to Expo Organizers as well. The lack of institutional knowledge passed down from Pavilion to Pavilion or Expo to Expo is surprising. It often times feels like everyone wants to learn the hard lessons themselves!
However, it doesn't need to be this way. Keep in mind that there are wonderful people who have done it before, most of whom would love to provide their feedback and guidance, or even join you on a new Expo adventure. And they aren't too hard to find, many are on LinkedIn and social media, and as I've found they often form tight bonds that last for years and can quickly facilitate additional connections (my family still gets together with staff and Student Ambassadors from Yeosu and Astana a few times a year).
When we did Yeosu, Expo was new to us, but we had the foresight to build a team with deep experience. We had multiple people on our team who had recently wrapped up at Expo 2010 Shanghai and whose knowledge about operations and VIP were invaluable (many thanks to Mark and Nancy Germyn). We leveraged relationships to find a Korean law firm to help us guide a variety of administrative requirements as well as a knowledgeable in-country team member, who proved invaluable (Andy Kim, who also was a wonderful culinary and cultural guide).
Pre-construction visit to Yeosu, with Mark Germyn (w/hardhat), Andy Kim (right) and the incomparable Bob Ward (w/baseball cap)
We were fortunate in Yeosu to have partners at the State Department who also had been at Shanghai that were able to provide Expo-specific guidance, especially relating to protocol and public diplomacy. A huge bonus in Yeosu and Astana was having the in-country U.S. Ambassador serve as our Commissioner, who along with their teams at the Embassy provided leadership and deep local expertise (Ambassador Sung Kim in Yeosu and Ambassador George Krol in Astana). Important to note is that for years America had decentralized Expo management which often required a learning curve in D.C. and at the Embassy or Consulate in the host country. That's now changed, and a new "Expo Unit" is managing Expos into the future while cataloging work from the past.
External partners are also key to provide subject matter expertise, content and funding. Most often, a country's federal government provides the funding for Pavilions; however, there is legislation in the USA that prohibits State Department fundraising as well as funding without an act of Congress (which hasn't been an option for a long time now). This means USA Pavilions have to raise all of their funds from the private sector, which is another story for another time (for example, Yeosu and Astana would not have been possible without the support of our "Global" level sponsors Chevron, Citi, and GE). We are now seeing that some other countries are either adopting this model or creating a hybrid version where the government provides base-level funds that are supplemented by corporate donations.
To help navigate corporate and political landscapes, we developed strong partnerships with the cross-country business associations. Their knowledge and relationships were important to fundraising efforts and to understanding how to operate a business in-country. We also developed partnerships with a variety of organizations to facilitate the overall effort, from providing content for our shows (Monterey Bay Aquarium), guidance on sustainable operations (U.S. Green Building Council), communications expertise (APCO Worldwide) and identifying Student Ambassadors (University of Virginia).
Last, along with staff and partners, finding experts and companies with experience creating stories and designs, as well as constructing Pavilions, is a must. The United States committed to participating in Astana at absolutely the last minute. If our design team, BRC Imagination Arts, hadn't already done multiple Pavilions at past Expos, coupled with my knowledge from Yeosu, there is no way we would have had time to complete our design and build (in over thirty years of business it was BRC's most compressed project ever).
Giving a talk about Expos with BRC's Christian Lachel (right) in our VIP Lounge in Astana
Rule 5: Murphy's Law…or Everything Costs More and Takes Longer
If ideas like these cross your mind…
We can raise half our money now, start our design and build, and raise the rest as we go.
I won't get charged a last-minute fee to get materials through customs or onto the Expo site.
It'll be easy to get fifty local cell phones for our international staff.
Of course, someone locally can make a 1×1 meter sheet cakedesigned like an American flag for National Day.
Why wouldn't there be enough projector bulbs in-country in case ours blow out…
Well, you may have some challenges to deal with ahead. Due to their complexity, tight time frames and the variables of working internationally, a Pavilion serves as a perfect platform to experience Murphy's Law. Having done two Expos now I've learned that almost everything that can go wrong at some point very likely will. You'll also find that everything costs more and takes longer than you would rationally expect. But in the end, like me, hopefully you will find it one of the most magical experiences of your life.
Surround yourself with supportive team members, mine institutional knowledge and leverage the expertise of your stakeholders so you are prepared for surprises throughout the process. It's one thing to be surprised with a demand or costly situation, it's another to be without the funds to fix it.
And remember the most important lesson of all…there is only one thing that money can't buy, and that's time.
Andrew Snowhite is the principal of Snowhite Strategies, a global advisory firm focused on urbanization, sustainability, experiences and storytelling. He was the Executive Director of the USA Pavilion at Expo 2017 Astana Kazakhstan and the Chief Executive Officer of the USA Pavilion at Expo 2012 Yeosu Korea. Connect with him on LinkedIn or Twitter.
Posted by John Brown at 12:53 PM No comments:
A Princeton PhD, was a U.S. diplomat for over 20 years, mostly in Central/Eastern Europe, and was promoted to the Senior Foreign Service in 1997. After leaving the State Department in 2003 to express strong reservations about the planned U.S. invasion of Iraq, he shared ideas with Georgetown University students on the tension between propaganda and public diplomacy. He has given talks on "E Pluribus Unum? What Keeps the United States United" to participants in the "Open World" program. Among Brown's many articles is his latest piece, "Janus-Faced Public Diplomacy: Creel and Lippmann During the Great War," now online. He is the compiler (with S. Grant) of The Russian Empire and the USSR: A Guide to Manuscripts and Archival Materials in the United States (also online). In the past century, he served as an editor/translator of a joint U.S.-Soviet publication of archival materials, The United States and Russia: The Beginning of Relations,1765-1815. His approach to "scholarly" aspirations is poetically summarized by Goethe: "Gray, my friend, is every theory, but green is the tree of life."
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Watch our video about developing this play.
The piece is based on the 'Forum Theatre' style, where the audience explore how to make positive outcomes through changing the actions of the characters.
It explores the issues for a group of young people with learning disabilities, and includes multiple communication tools including music, movement, poetry, makaton and film.
Improve understanding of the local offer and the Education, Health and Care Plan (EHCP).
Teacher's notes with exercises and ideas based on the play.
Downloadable film for parents/carers to use with their young person.
Face Front created this theatre and training programme in 2014 in partnership with the Cultural Institute at Kings College, and the disability arts organisations Heart n Soul, Action Space, Vital Xposure and Blink dance theatre.
The show has toured nationally to young LDD people and professionals who work with them, in special schools, colleges and theatre venues, reaching 1050 people over the first tour with 30 shows.
"The actors had disabilities like me and they were fantastic, so it shows I could do performing arts when I leave school."


We give you the tools, to try our Artwork on your Wall. Take a look at out 1 minute demo video below, to see just how easy it is. Once you download our app onto your ipad, simply take a picture of your wall space, then "drag & drop" any of our artworks onto your wall, the artwork will scale to size on your wall.
As sculptures are 3-dimensional, they require more specialist skills to superimpose into your space.
Please email us a photograph of your area, let us know the position you'd like to see any of our sculptural works and we'll email back your visual within 24 hours.


text:
namespace ImageApp.ImageBrowserPage
{
    using System;
    using System.Collections.Generic;
    using System.Linq;
    using System.Text;
    using ImageApp.Utils;
    using Newtonsoft.Json;
    using Windows.Foundation.Collections;

    public class ImageBrowserSettings : LocalSettings
    {
        private readonly string viewModelKey;

        public ImageBrowserSettings()
        {
            this.BaseKey = "ImageBrowser";
            this.viewModelKey = MakeKey("ViewModel");
        }

        public ImageBrowserViewModel ViewModel
        {
            get
            {
                var serializedViewModel = this[this.viewModelKey] as string;
                if (string.IsNullOrEmpty(serializedViewModel))
                    return new ImageBrowserViewModel();
                return JsonConvert.DeserializeObject<ImageBrowserViewModel>(serializedViewModel);
            }

            set
            {
                var serializedViewModel = JsonConvert.SerializeObject(value);
                this[this.viewModelKey] = serializedViewModel;
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Context would like to welcome Jing Tang to our staff. Originally from Urumqi, Xinjiang, China, Jing is a recent graduate from the Master of Landscape Architecture program at Ball State University. She brings with her a fresh and creative approach to design. We are excited to incorporate her international influences into our team.


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text:
A quarterly publication dedicated to sharing untold stories from our favorite muses and creators.
Little Pets
The Porch Economy
Rhubarb Galettes
Gathering Growth
Alex Daly
Alex here, founder of Daly and Publisher of The Daly News. Welcome! ❤
This year, we unveiled Daly Media, which comprises our print effort, The Daly Paper, and now, its quarterly digital counterpart: The Daly News. For each publication, we connect with people in our community who inspire us, asking them to share an untold story around a central theme.
This issue's theme is Bloom, which has taken on a whole new meaning for me, considering the current devastating and challenging climate. After two weeks in quarantine in New York, my boyfriend and I decided to drive down to my hometown of Miami, where I have now been for over a month.
Most mornings, I wake up early and take walks with my mom––exercise is the only thing that is keeping me present-focused in this chaos and uncertainty. In Miami, nature is booming with cars off the roads––peacocks perch on roofs, yellow and blue parrots soar across the skies, and flowers explode with life. Nature gives me hope.
We landed on the theme of Bloom well before the onset of the pandemic, but realize that it's now particularly apt, considering the difficult moment we are in. My wish is that Bloom will provide you with a respite of color and warmth after weeks in isolation. Perhaps it will give you hope; or maybe it will just make you smile.
Jamieson Thomason Thomas
"Observing nature allows us to grasp the emotional and spiritual aspect of the cycle of life: seed, seedling, bud, bloom, pollination, wilting, and reseeding. There is no death, just resurrection in a new form."
A continuation of Jamieson Thomson Thomas' "Language of Flowers".
Rava Films
In this short documentary by Rava Films, environmental artist Mary Mattingly creates Swale, a floating food forest set on a reclaimed barge—which invites the public to cultivate fresh food as it travels through NYC harbors, acting as a setting for conversations about food and water as a human right.
"In these days of sheltering-in-place, seeing images and memories of being in the outdoors, as well as communing and sharing space with others, can provide inspiration and much needed escapism from our current confined realities. Looking back can also bring out our worst fears: perhaps of losing a way of life that as New Yorkers we once held so dear. But as this film shows, NYC is as resilient as its inhabitants; New Yorkers have always used creativity and imagination to find ways to care for their city, as well as for each other.
In this short documentary from 2016 (which feels like a lifetime ago!) the artist and creator of Swale, a floating edible forest set on a reclaimed barge, reminds us that we need to reach for creativity and art to create utopias, even while immersed in our dystopian realities. Despite the force with which the coronavirus has swept our dear city, spring is in full bloom across New York and we must remind ourselves that beauty and hope are still possible within our reach."
About Rava Films
Rava Films is a documentary production studio led by husband and wife filmmaking duo Ava Wiland and Rafael Salazar. Rava is dedicated to translating complex and thought-provoking ideas into engaging and consumable films that bring art closer to the general public. Their clients include renowned institutions such as The Metropolitan Museum of Art, American Institute of Architects, and the Whitney Museum of American Art, among others.
Ava and Rafael
Gilian Rappaport & Seth Caplan
"In creating this piece, we aim to form dialogue between humanity and the Earth, to provide a springboard for listeners and ourselves into the wonder of our interdependence—when we chance upon it, and when it chances upon us."
—Gilian & Seth
Photography for Little Pets by Seth, poem by Gilian.
For Kajuyali Tsamani, Nabi Nunhue
They are writing about you, Earth—good stuff,
you know—the refuge, reset, and that
place you now claim in this new life you
are crystalline clearing smog-haze clouds
the two-footed creatures staying inside—
you said we would wake up with this New
let it slip shapeless from this fever dream
we only have to sit up and listen
home is a sense of place too—though
most of us keep pets for pleasure you
wink as the vulture crests with our wail
it is of no importance to you—you just tend
sway nurture grow
and hold past a buried hearth
About Gilian & Seth
Gilian Rappaport is a writer and an artist. She is Naturalist-At-Large at The Outside Institute, founded in upstate New York to foster a greater connection to the natural world. She co-authors The Field Guides, which offer an accessible introduction to the Catskills' most prevalent flora, fauna, and fungi. Gilian is also a creative consultant specializing in brand strategy and research. Her work has been featured by The New York Times, Vogue, and Fast Company, and recognized by AIGA, Cannes, Grand Clio, D&AD, and the One Show. She loves collaborating with creators and leaders who distinguish themselves visually and verbally, and who value ecological intelligence, social responsibility, and abundance.
Seth Caplan is a photographer and an artist. Inspired by how spaces affect cultural norms, his work spans interiors and portraiture. Seth is currently working on a project about the people behind queer nightlife in New York City. He is also an arts educator, currently in his 8th year teaching at the Guggenheim Museum. His work has been featured in New York Magazine and Architectural Digest, among others.
Gilian and Seth
Katie Gourley
"The possibility of paradise hovers on the cusp of coming into being, so much so that it takes powerful forces to keep such a paradise at bay. If paradise now arises in hell, it's because in the suspension of the usual order and the failure of most systems, we are free to live and act another way."
—Rebecca Solnit, A Paradise Built in Hell
Last night, I hosted a potluck entirely through contact-less porch exchanges. As I sit down to write this, Oregon has been on a "Stay Home, Stay Safe" order for over three weeks. So, as the April full moon approached last week, I felt a growing sadness over an anticipated loss. I have been hosting full moon dinners for a while now as a way to slow down, take stock of the present moment, and to acknowledge the tender ways our lives depend on the rhythms of Earth. Feeling sore over not being able to gather for this ritual, my mind raced to find solace in the bits of beauty this global disaster has manifested.
Dehydrated carrots. Corn cookies. A stick of incense. A jar of local honey. A pretty rock. A painting of a vase of tiny pink flowers. A quart of brown sugar. Hundreds of loaves of sourdough bread. Rose plants transplanted from my new community garden plot. Squash seeds. Bubbling sourdough starters. A slice of pie. A wheel of cheese. Fermentation experiments. The largest head of cabbage I've ever seen. A 'hello from the other side of town' zine. These are just a few of the things I have given or received via porch drop-offs in the last three weeks. I have started calling what is happening the "porch economy."
The porch economy—which consists of gifting, trading, and bartering through socially-distanced exchanges on porch steps—has spread like a network of mycelium under the forest floor, gathering and distributing nourishment, mutual support and resource redistribution as we witness all the rules we have been taught to play by crumble in the wake of COVID-19. So, on the day of the full moon (the Pink Moon, a day to acknowledge the life force of Spring bounding forth) I wrapped up my pink rhubarb galettes (recipe below), loaded them into my car, and orchestrated an admittedly inefficient communal meal. From each porch, I collected a contribution to the meal: delicate pink kombucha from Emily's porch, mesmerizing dark hued beet crackers from Ariela, moon stickers from Lily, and so on. After everyone's goods had been circulated across the porches, we ate dinner separately; alone but together. Later that night as the moon rose, we each released intentions to the moon in a fire burning ceremony shared over video message. Nine friends, five fires, five porches, one ritual.
At first I hesitated to use the word 'economy' to describe the porch economy, given our cultural association of the word as a synonym for 'capitalism.' But then I reminded myself to cling to the real root of the word. "Eco" comes from the Greek word oikos, meaning "home." At its root, the economy refers to the ways we collectively manage our home places. The porch economy represents nothing new. However, it is breathing a new life into the enactment of economic alternatives that has taken place across communities for generations. This is a breath of life I hope we can capture and hold on to.
A lot of people, myself very much included, are feeling quite unsure of how to talk about or navigate the feeling of beauty in the presence of one of the most surreal, scary, and unknowable times of our recent memories, a reflective state I recognize as inherently privileged. The porch economy has helped a partner and I deal with the reality that, just weeks after entering a wonderful new romance, we were no longer allowed to touch; it has given me a sense of belonging when the anxiety of the present moment builds up to a breaking point; it has kept my community fed nourishing foods without going into a grocery store where we could contract or contribute to the spread of a deadly virus. I think the porch economy feels like a glimmer of hope for what a new kind of economy of care looks like.
The reality is, I am very scared in the midst of this pandemic. But what if we let parts of our fears and anxieties become a new normal? As Rebecca Solnit writes in A Paradise Built in Hell: "Many events plant seeds, imperceptible at the time, that bear fruit long afterward." What seeds have been planted in this truly peculiar moment? What fruits can we choose to harvest?
Katie's Rhubarb Sourdough-Spelt Galettes for the Pink Moon
"I made these rustic tarts loaded with jammy pink rhubarb for the April full moon, to remind us that the Earth's rhythms are still going strong throughout the trying times we find ourselves in. When rolling out the dough, I like to meditate on the journey the grains took to get from seed to field to mill to me. I like to take a moment to say, 'thank you'."
2 ½ cups whole grain spelt flour
1 stick + 6 tablespoons unsalted butter, cold and cut into 1-inch cubes
Two large spoonfuls of sourdough starter mixed into ½ cup ice-cold water to create a runny paste
4 cups rhubarb sliced to 1-inch pieces
⅓ cup sugar (I use half cane sugar half brown sugar)
½-1 tablespoon spelt flour
Egg yolk mixed with a splash of milk (optional)
Coarse sugar (optional)
You may have leftover fruit mixture; cook it down on the stove into a soft compote and spoon it over yogurt or on a piece of toast!
Let's Bake!
Make the Dough
Whisk the flour, sugar, and salt together in a large bowl. Use your fingers or a pastry cutter to cut the butter into small pieces somewhere between the size of a walnut and a pea. You can also do this by pulsing the flour, sugar, salt, and butter in a food processor. Create a well in the middle of your flour and butter mixture, and slowly add the cold liquid a little bit at a time, mixing in by hand or pulsing in the food processor. You may not need to use all of the liquid. The dough should stick together if you squeeze a piece between your fingers but you don't want it to feel 'sticky.' Dump the dough onto the counter and bring it together into one solid mass with your hands. Wrap in plastic wrap or a large freezer bag and place in the fridge at least overnight or for up to 3 days (this stage allows the whole grains to fully hydrate, and gives the sourdough a chance to impart flavor and tenderness to the crust).
Prep the rhubarb
Mix rhubarb, sugar, flour, and salt together in a large bowl. Let sit to get nice and juicy for at least 30 minutes before baking.
Assemble and bake the galettes
Preheat the oven to 350º F.
Divide the dough into 6-8 even balls (if you would like to make one large galette and serve as slices, rather than individual servings, ignore this step). On a lightly floured surface, roll the dough out to roughly ¼-inch thick. Transfer the rounds to the baking sheet lined with parchment paper. Scoop a generous mound of rhubarb onto the middle of each round. Fold the edges of the dough up and over the edges of the fruit center, crimping the crust to create corners (embrace the "rustic" nature of a galette here). If you would like to ensure an extra crispy tender crust, stick the unbaked galettes in the refrigerator for about 20 minutes.
Using a pastry brush or your fingers, apply the egg-milk mixture to the top of the crust and sprinkle with coarse sugar (optional). Nestle small pats of butter on top of the fruit.
Bake for 20-30 minutes, depending on the size and thickness of your galettes. You want the crust to be golden brown and firm around the edges and the fruit to be jammy inside. Let cool on a rack.
Enjoy, perhaps with a plop of unsweetened cream on top.
Katie is a baker, writer, creative practitioner, and grain nerd whose work is grounded in the creative relationships between humans and their environments. Katie currently bakes for her housemate's community supported bread (CSB) bakery distributing over 200 loaves of sourdough bread from their homestead in Portland, OR, and she operates her own micro-bakery offering small batch whole grain pastries. She holds a Master of Urban Planning from the Harvard Graduate School of Design and a Bachelor's degree is in English Literature from Kenyon College.
Brian Kelley
"I began working on the Gathering Growth project in 2017, focusing on documenting Champion Trees across the U.S. as an ambassador for American Forests. Over the last year, I have refocused and widened the direction of the project to documenting Trees of Significance and Old Growth Forests, at the highest quality possible. We have now become the Gathering Growth Foundation, with the goal to preserve the legacy of these trees and forests in an attempt to aid in curving the baseline on how trees are perceived in everyday life.
It was only a few years ago that I found myself in an old growth forest in the Pacific Northwest. Growing up on the East Coast, we don't have those. It felt other worldly… something you'd only read about or see in movies.
From that first experience, I was fully hooked, and found myself doing late night Google searches on old growth forests and big trees. Getting my hands on every tree book I could find. Having this newfound obsession educated me and opened up a whole new way of thinking about trees and forests.
When I think of the word 'bloom' in the context of forests and trees and my experiences, I think about how people feel and react to nature, from flowering trees in NYC to old growth forests. It makes us feel alive."
Brian Kelley moved to New York City in 2006 and received his BFA in photography from the School of Visual Arts. Kelley's work resists the hurried march of consumerist modernity, seeking to halt the cyclical emptiness of our material lives to capture a sense of culture at "the end of history." A mixed-media approach has allowed him to pursue artwork with disruptive capacities—exhaustive research, slow & meditative composition, and the repurposing of photographic mediums—all employed to reveal the artifacts left behind by the precession of simulacra. Kelley was born in Horseheads, NY and currently lives in Lumberland, NY.
About Jamieson
Jamieson Thomson Thomas holds an MFA from the School of Visual Arts in NYC and a BS in Fine Art and Business from Skidmore College. An interdisciplinary artist, she selects the medium according to the subject she is focusing on. Her work explores the delicate intersection of humanity in natural environments.
Jamieson Thomson Thomas
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join@daly.nyc
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© 2021 Daly

redpajama_set_name: RedPajamaCommonCrawl


Tata Institute of Social Science (TISS) recently announced the results for the TISS National Entrance Test 2019. The results were published by TISS on its official website. The results were announced for the M.A. aspirants who took the TISSNET exam on January 13th, 2019. Candidates can also download their scorecard from the candidate's portal on the official website.
TISSNET is a national level entrance exam conducted annually by Tata Institute of Social Science. TISSNET exam is conducted to induct candidates into M.A. program offered in various disciplines by the various campuses of Tata Institute of Social Science (TISS).
How to Download TISSNET 2019 Scorecard?
Visit the TISSNET 2019 official website: https://admissions.tiss.edu/.
Click on 'TISSNET 2019 M.A. Results'.
Candidate's login portal would appear on the screen.
Fill in the login details like TISSNET registration number, DOB, Password etc.
Candidate portal's dashboard would open.
Candidates are advised to take the printout of the scorecard for future references.
Since the results of the written exam have been announced, qualified candidates would now proceed for further stages of testing and evaluation.
Shortlisted candidates (satisfying the TISSNET 2019 cut-off) would be issued call letter for PIT and PI rounds. The PIT would comprise of a written test whereby candidates would be asked to write an essay in English in any of the given topics. For certain specific courses, PIT would be Group Discussion round rather than a written test.
Candidates selected for PIT and PI would require to download and fill detailed application form from the official website. The detailed application form would be required to be carried by the candidate at the time of PIT and PI. The detailed application form would be made available on the official website in this month only (February 2019).
TISSNET 2019 final merit list for admission would be prepared by combining the final score of candidates in all the three rounds. That is the sum total of Written Test Score, PIT Score and the PI score will determine the position of a candidate in the merit list for the purpose of admissions.
Though the written exam contains more weightage, candidates can't neglect the PIT and PI round as it can be determinant for their selection. Thus, a candidate has to perform consistently well in all the three rounds to qualify the TISSNET exam.
Candidates who are planning to take the TISSNET exam in future (and those who took this year) can check the previous year cut-off tabled below. Having an idea about the cut-off will help you in analyzing a safe score that you should aim so, as to qualify the written leg of the exam.
The official cut-off for TISSNET exam will be released post the declaration of final results in April 2019.


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text:
Yukon/NWT Men's Curling Championship 2012, turniej wyłaniający reprezentację Jukonu i Terytoriów Północno-Zachodnich mężczyzn w curlingu na Tim Hortons Brier 2012. Zawody rozegrano dniach 9-12 lutego 2012 w Whitehorse, na lodowisku Yellowknife Curling Club.

W zawodach brały dział 4 drużyny, po dwie najlepsze z rozgrywek terytorialnych. Tytuł mistrzowski obronił Jamie Koe.

Drużyny

Klasyfikacja końcowa

Round Robin

Sesja 1.
9 lutego 2012; 15:00

Sesja 2.
10 lutego 2012; 10:00

Sesja 3.
10 lutego 2012; 15:00

Sesja 4.
11 lutego 2012; 13:00

Sesja 5.
11 lutego 2012; 19:00

Sesja 6.
12 lutego 2012; 8:30

Zobacz też
 Sezon 2011/2012 w curlingu

Bibliografia

2012 w curlingu
2012

redpajama_set_name: RedPajamaWikipedia


Effective action is a natural result of alignment. When your thinking, your emotions and your physical being are attuned to each other, it is clear if, how and when action wants to happen.
I believe we are all doing too much.
We definitely make too much effort in our bodies.
Embodied Practices are one way to learn acting with more ease.


text:
Q: wierd crash when using new[] in qt The following code will crash, I found it was related to "new []"
MainWindow::MainWindow(QWidget *parent) :
    QMainWindow(parent),
    ui(new Ui::MainWindow)
{
    ui->setupUi(this);

    QPushButton *buttons = new QPushButton[5];
    for(int i=0;i<5;++i){
        buttons[i].setGeometry(0,0,30,40);
        buttons[i].setParent(this);
    }

}

after change new[] to normal array, it works fine
#mainwindow.h
QPushButton buttons[5];

#mainwindow.cpp
MainWindow::MainWindow(QWidget *parent) :
    QMainWindow(parent),
    ui(new Ui::MainWindow)
{
    ui->setupUi(this);

    for(int i=0;i<5;++i){
        buttons[i].setGeometry(0,0,30,40);
        buttons[i].setParent(this);
    }

}

any ideas? thanks

A:
any ideas?

I suspect the QPushButton is overloading the operator new[] and something in that operator is not quite right.
Because of this operator new[] you are seeing a difference between the static and allocated objects.
To see what I mean consider the following code:
#include <stdio.h>

class QPushButton
{
public:
    QPushButton() {
        printf("Constructor\n");
    }

    void *operator new[](size_t size) {
        printf("New operator overloaded.\n");
        return new char[size];
    }
};

int main(int argc, char *argv[])
{
    argc;argv;
    printf("Stack defined objects\n");
    QPushButton button[5];

    printf("Allocated objects\n");
    QPushButton *p = new QPushButton[5];
    delete [] p;

    return 1;
}

and the resulting output:
C:\TEMP>test
Stack defined objects
Constructor
Constructor
Constructor
Constructor
Constructor
Allocated objects
New operator overloaded.
Constructor
Constructor
Constructor
Constructor
Constructor

As you can see from the output above the new operator creates a difference between the local and allocated objects.

A: I'm no Qt expert, but as far as I can tell, a QObject assumes ownership of all its child objects (it deletes them in the destructor).
If that is the case, you're not supposed to do any of those things you're doing - every QPushButton should be allocated dynamically and individually using new, and the fact that your second example doesn't crash is what's weird.

redpajama_set_name: RedPajamaStackExchange


text:
A Story Untold (Paperback)
By Michael L. Thurmond
Beta Delta of Alpha Chi Sigma (A History) (Hardcover)
Justice: Crimes, Trials, and Punishments (Paperback)
By Dominick Dunne
The Trumpet of Conscience (King Legacy #3) (Paperback)
By Dr. Martin Luther King, Jr.
Animal Histories of the Civil War Era (Conflicting Worlds: New Dimensions of the American Civil War) (Hardcover)
By Earl J. Hess (Editor), Joan Cashin (Contribution by), Lorien Foote (Contribution by)
Stirling Legends (Paperback)
By Zillah J. Jamieson (Editor)
The Greatest Treasure-Hunting Stories Ever Told: Twenty-One Unforgettable Tales of Discovery (Paperback)
By Charles Elliott (Editor)
The International Jew The World's Foremost Problem (Paperback)
By Henry Ford
Twelve Against the Gods: The Story of Adventure (Paperback)
By William Bolitho
Making Ukraine: Negotiating, Contesting, and Drawing the Borders in the Twentieth Century (Hardcover)
By Olena Palko (Editor), Constantin Ardeleanu (Editor), Ulrich Schmid (Foreword by)
The Story of America: Essays on Origins (Paperback)
By Jill Lepore
Magnolia Elegy: Place In the Edisto Fork (Paperback)
By Tom T. Traywick


text:
Home » Reviews » Traces of "Goblin Market" in The Ashford Affair
Traces of "Goblin Market" in The Ashford Affair
Author: Lauren Willig
Publisher: St. Martin's Griffin
Reviewed by Ann Ronald
"Goblin Market.", 1920s Kenya, Christina Rossetti, Lauren Willig, The Ashford Affair, World War I
WORLD WAR I, KENYAN COFFEE, AND ROSETTI
An unseasonable stormy day? Time to curl up with a good book? Lauren Willig's The Ashford Affair is the perfect choice. The novel's time frame spans nearly a hundred years, beginning in England just before the onslaught of World War I, moving to Kenya after the war, and concluding in America as the twentieth century draws to a close. Throughout the pages, the narrative moves back and forth, layering the trials and tribulations of one generation atop the events and encounters of another.
When Addie, the daughter of a second son disgraced by his marriage to a bohemian woman, is suddenly orphaned, her aristocratic uncle and his wife take her into their ancestral home. Lord and Lady Ashford treat little Addie indifferently, but their daughter Bea instantly befriends her cousin. Beautiful blonde Bea grows up to be a glamorous magnet for men, while the less dynamic Addie hovers in the background. Despite their differences, however, the two remain friends, cherishing childhood memories while moving into a post-war future that can't possibly match their pre-war expectations.
That future involves Kenya, where Bea and her husband, Frederick, own a coffee plantation, Ashford Redux. The circumstances of their marriage and the details of how they came to settle so far from regal England unfold gradually in the pages of The Ashford Affair. Addie's role gains clarification, too. The reader knows from the outset that some mystery surrounds these people, but the details are blurred at first, becoming clear only when one of Frederick's granddaughters begins to investigate her family story.
This is the part of The Ashford Affair that takes place in 1999 when an elderly Addie mistakenly calls her granddaughter "Bea." Puzzled, Clemmie questions her grandmother, who is too confused to answer coherently, and then begins to probe the family secrets. Neither her mother nor her aunt is willing to disclose very much, but Clemmie is persistent. What makes Clemmie's pursuit all the more engaging is the fact that her life, in many ways, reflects facets of her grandmother's, her mother's, and her aunt's. Willig reconstructs the generations' parallel actions and emotions in subtly smart ways. She does so in healthy non-neurotic ways, too. Her characters are flawed, indeed, but not horrifically so, more like real-life men and woman than cardboard fictional caricatures.
One more smart ingredient of The Ashford Affair is its recurring echo of "Goblin Market," Christina Rosetti's nineteenth-century narrative poem about two sisters, one blonde, one dark, one seduced by the evil temptations of the goblin market, the other passively acquiescent for a while, the one dying from eating the tainted fruits of the goblin market, the other desperately trying to save her beloved sister. Addie loves the poem and frequently reads it to Bea when they are young. Later, Willig refers to "Goblin Market" only occasionally but always in an edifying way. To anyone who reads The Ashford Affair, I recommend reading "Goblin Market," too. The poem's verses make the novel's chapters all the richer.
I read The Ashford Affair almost without pause. From the outset, the reader senses the nub of the mystery surrounding the two cousins, but the denouement is nonetheless surprising. Sometimes I'm uneasy when a novel ends; sometimes I wish an author had found a better way to conclude connected stories. This time I was totally satisfied by the fates of these flesh-and-blood creations.
One final recommendation: do purchase an edition of The Ashford Affair that includes "A Note from the Author." It's the perfect end to a perfect rainy day read. – Ann Ronald
Also available from Lauren Willig: The Glass Ocean; The English Wife; The Summer Country; The Mischief of the Mistletoe; The Other Daughter; The Betrayal of the Blood Lily; The Mask of the Black Tulip; The Orchid Affair; The Garden Intrigue; The Temptation of the Night Jasmine; The Seduction of the Crimson Rose; The Lure of the Moonflower; The Deception of the Emerald Ring; That Summer; The Passion of the Purple Plumeria; The Mask of the Midnight Manzanilla; Two L; All the Ways We Said Goodbye; Secret History of Pink Carnation.
Please support your local Independent Bookstore and your Public Library.
Ann Ronald
Ann Ronald is a retired English professor from the University of Nevada, Reno. Author of dozens of reviews, she's also written a number of books about the American West. They include literary studies such as The New West of Edward Abby and Reader of the Purple Sage, cultural studies such as GhostWest and Oh, Give Me a Home, and nature writing such as Earthtones: A Nevada Album. Her latest is a work of fiction, Friendly Fallout 1953. Since retiring, she's been reading vociferously, so "Bookin' With Sunny" is giving her a wonderful opportunity to share thoughts about her favorite new discoveries.
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Truckee, CA - The Tahoe-Truckee region is known for a lot of great things and now you can add innovative entrepreneurs to the list! Six local founders presented their companies at the Tahoe Pitch Showcase on Monday, September 11th to a packed house at Tahoe Donner's Pizza on the Hill. The event, produced by Tahoe Silicon Mountain (TSM) and Sierra Business Council - with the support of generous local sponsors - was held during the TSM's Mountain Minds Monday meeting and attracted over 100 people in person, dozens streaming from home and even more at 2 simulcast locations in Reno.
"Our goal was to help build local entrepreneurial spirit by showcasing some of the amazing work being done here in Tahoe and to encourage people to pursue their business ideas," said Rachel Arst McCullough, lead organizer of the Pitch events and co-founder of Tahoe Silicon Mountain. "An important part of these events and TSM in general is fostering a strong and supportive entrepreneurial culture with the ultimate goal of creating a more diverse and less weather-dependent economy, so that we can all continue to live, work and thrive here."
The event featured six finalists from the 18 who participated in Tahoe Pitch Camp, an intensive, month-long workshop led by Sierra Business Council, designed to help participants refine their business model and create a "pitch deck" to deliver to potential investors. Participants benefitted from the expertise of eight experienced coaches, helping them refine their messaging, question assumptions, review financial projections, and critique the overall quality of their delivery. Pitch Camp participant Trina Gold of Bigwater Studios said afterwards, "I have been working on this expansion for six years and the only thing holding me back was having to pitch my proposal.Your help and guidance has given me the confidence to begin this journey."
On the final night of the Camp, the entrepreneurs competed for one of six spots to deliver their pitch at the Showcase. "The competition was tough," said Jan Holan, Pitch Camp coach, entrepreneur and investor. "I was so impressed with the commitment and quality of the business models but ultimately that made selecting the finalists quite difficult."
Community Yogi, an app designed to disrupt the home yogi market by matching community spaces with freelance yoga instructors.
Conscious Container, a reusable bottle business, reducing carbon footprints one craft beer at a time.
Eddy Bowl, a convenient, reusable, compostable water bowl for dogs.
Fate, a "choose your own adventure" story app.
KeepOnMovin', a mobile health solution designed to help physical therapy patients do their exercises at home. Correctly. Every day.
LuDela, a social venture candle company, using better light to create better lives.
At the Showcase, the finalists had five minutes to present their best pitch to a panel of three judges. The presentations were followed by five minutes of questions from the judges and audience. "It was so awesome to see how polished all the entrepreneurs were. It is a testament to hard work and preparation for something you believe in," said Kristin York, Vice President of Sierra Business Council and facilitator of the Pitch Camp. "We have been working with some of these founders since their companies were just an idea. Now, they are on stage inspiring a room full of people with their tested business models, cool products and compelling missions. I absolutely loved Showcase night!"
Ultimately, the judges selected KeepOnMovin' as the winner, based on the company's strong traction in the market and their ability to scale. KeepOnMovin' was pitched by Ellen Raynor, and co-founded by Mark Feinholz and Truckee local, Scott Williams. "What was different about the Pitch Camp was that local company founders viewed each other less as competitors than as peers that were interested in helping one another succeed," said Raynor. "In fact, KeepOnMovin' has refined our products with local patient input and is excited to be expanding both within Truckee and with large employers elsewhere in the country. We appreciate the professional acknowledgment of our progress and the vote of confidence that we are poised for growth."
Honorable mention went to Jamie Bianchini's business, LuDela.
The People's Choice award went to the Eddy Bowl team of Carol Piechocinski, Ramona Cruz, Linda Slack-Cruz, and Darilyn Kotzenberg. Eddy Bowl was voted the product that the audience was most drawn to.
Both winners were awarded prizes from a variety of local businesses including W&T Graphix, Sierra Pacific Coffee, The Roundhouse, Nina Photography, Big Water Studios, Banibands, the Reno Collective, Girlmade, and the Truckee Chamber of Commerce.
Now that Pitch Showcase organizers have had time to reflect, both Tahoe Silicon Mountain and Sierra Business Council are looking to what's next for the entrepreneurial community in Tahoe.
Perhaps the most important outcome from the Camp and Showcase is that the stage is set for organizing both an angel investor group and mentoring network in our community, and for recruiting sponsors to offer prize money for marketable ideas at future Pitch Showcases. These efforts will serve to help eager entrepreneurs succeed here without having to move to the Bay Area to reach the next level. "We are always looking for ways to improve and increase support for local businesses and we encourage anyone interested in doing the same to contact Tahoe Silicon Mountain or Sierra Business Council and we'll get you on board," said York. "Exactly," added McCullough. "We've built so much momentum in seven years with TSM, and the Pitch Showcase raised the bar. Truckee is full of talent and we are dedicated to supporting entrepreneurs in any way we can."
Details will be available soon for expanded programming and support for entrepreneurs through Sierra Business Council's Small Business Development Center, including adding a series of workshops in 2018 specific to business planning and pitch deck creation.
Two additional monthly free TSM events are held at the The Lift in Truckee: First Friday at Five is an entrepreneurs' roundtable, where entrepreneurs connect and support each other to grow their businesses on the 1st Friday of each month at 5pm and TahoeJS is a friendly gathering of software developers of all levels who meet to drink beer and talk code on the 3rd Tuesday of each month.
Learn more about TSM events by signing up free here: http://bit.ly/TSMEmail.
To watch a recording of the entire Pitch Showcase, check out the video on Tahoe Silicon Mountain's YouTube channel: https://www.youtube.com/watch?v=nqeEARjfiyg.


We drove up after work and finally arrived at the cabin. The unit we are in is called Utopia. It is actually really spacious and only about 100 yards from the resort, which is great.
This is the main living area. Obviously, there is the family room with a big TV. Out the back doors, is the back deck and hot tub. To the left you can see the dining room and a half bath.
This photo was taken from the family room looking back into the kitchen. It wasn't a fancy updated kitchen, but it had everything you could need, including full appliances and dishwasher, plates, glasses, silverware, pots and pans, etc. To the right is the front door. On the far right there are stairs that lead upstairs and stairs that go to the basement.
There are 3 bedrooms upstairs. Two queens size beds and one king. Each bedroom had a TV and DVD player. This was our room. It was very nice.
This is the basement. The couch has a queen pull-out. The basement also had a DVD player and Xbox. The washer and dryer were also in the basement.
This is the overall floorplan. The cabin is listed as sleeping 10. We are all getting settled in and ready for a full day on the slopes tomorrow.


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text:
Massachusetts Maritime Academy unveils $50 million renewable energy initiative
Doug Fraser
BUZZARDS BAY — Massachusetts Maritime Academy is taking a $50 million leap into the renewable energy field with the construction of an energy, engineering and science laboratory building and a new conference center and hotel.
Design work on the energy, engineering and lab building is expected to begin this fall with an opening in 2024, academy officials say. It will contain an aquaculture facility, offshore wind technical training labs and marine science labs for the academy's studies in fuel cells, tidal power generation, energy storage and offshore wind.
The offshore wind industry is being birthed right on the Cape's doorstep with billions in projected economic benefits and thousands of jobs in construction, operating and maintenance associated with massive wind farms south of the Cape and Islands.
Vineyard Wind, the nation's first utility scale offshore wind farm, with over 60 turbines and an 800-megawatt capacity, received its final federal permit in May and will begin onshore construction this year.
The academy sees its new Maritime Center for Responsible Energy as a hub for offshore wind and other renewable energy technologies that can also serve as a workplace development center for the underemployed seeking to enter those fields, academy spokesperson Elizabeth Simmons said in an email.
Three years ago, the academy joined the University of Massachusetts Dartmouth and Bristol Community College in an agreement to share resources and collaborate on curriculum development and programs focused on offshore wind. Bridgewater State University, Massasoit Community College and Cape Cod Community College also developed training programs and outreach. The academy's offshore wind training center uses safety standards set by the Global Wind Organization.
"This investment codifies our ongoing work in support of renewable and responsible energy and, more importantly, signals our deep global commitment to our stewardship of the world's oceans for decades to come," Rear Admiral Francis X. McDonald, academy president, in a press release.
Founded in 1891, the academy has approximately 1,700 cadets and offers seven undergraduate degrees centered around science, engineering, technology and math.
In 2015, the academy partnered with UMass Dartmouth and Bristol Community College on a $1 million state research and workforce development grant to help create a testing area at the Cape Cod Canal for tidal power generators. It has a 660-kilowatt wind turbine, rooftop solar arrays, a geothermal heat pump and solar power battery storage.
The new renewable energy project also includes the construction of a new 36,000-square-foot conference center and hotel. The existing conference center will be demolished to build the new one, which will have multiuse conference and training space and a 180-seat function room.
This portion of the project will cost approximately $20 million and is currently in the review and planning phase with the Massachusetts School Building Authority, Simmons said.
To pay for the renewable energy initiative, the academy looked to state grants, federal appropriations, corporate partnerships and its own funds, Simmons said.
"This would not be possible without the continued support of our public officials and private donors," McDonald said in the press release.
Follow Doug Fraser on Twitter:@dougfrasercct


text:
Sainte-Croix-en-Jarez este o comună în departamentul Loire din sud-estul Franței. În 2009 avea o populație de  de locuitori.

Evoluția populației

Note

Vezi și
 Lista comunelor din Loire

Comune din Loire


text:
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                <TimeBasedTriggeringPolicy interval="1" modulate="true"/>
                <SizeBasedTriggeringPolicy size="10 MB" />
            </Policies>
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text:
Q: Smooth scroll to top pagination from Ajax extension How can I implement smooth scroll to top in a ajax extension that does pagination. The extension has the code following
if (block && amshopby_scroll_to_products) {
    $$('body')[0].scrollTo();
}

and I have following code in my theme phtml which does smooth scroll to top functionality. Is it possible to call this functionality from the extension js file mentioned above.If not what is the the solution to implement?
    var windowScroll_t;
    $(window).scroll(function(){

        clearTimeout(windowScroll_t);
        windowScroll_t = setTimeout(function() {

            if ($(this).scrollTop() > 100)
            {
                $('#scroll-to-top').fadeIn();
            }
            else
            {
                $('#scroll-to-top').fadeOut();
            }

        }, 500);

    });

    $('#scroll-to-top').click(function(){
        $("html, body").animate({scrollTop: 0}, 600, "easeOutCubic");
        return false;
    });

A: You probably use Amasty module, I had the same problem. There is hidden option in amshopby-ajax.js just change false to true. and ajax filtering will scroll to top
var amshopby_toolbar_selector = 'div.toolbar';
var amshopby_scroll_to_products = false;

A: Though this question is not related to magento at all but, I love to answer this question,
use this Jquery plugin , and integrate in product view page. see its demo and how to implement section you will easily integrate this beautiful plugin.
https://markgoodyear.com/2013/01/scrollup-jquery-plugin/


text:
YouTube FAQ
Who claimed my video?
FROM YOUTUBE: Want to learn more about the copyright owner who claimed material in your video through Content ID? You can find information about them in your YouTube account.
Where to look
Go to your copyright notices.
Click the underlined link to the right of the video's Edit menu. This will take you to a page with information about what's been claimed in your video and who claimed it.
If you see a link that says Play match, you'll be able to play the part of your video that was claimed. If more than one copyrighted work was found in your video, there may be multiple links to help you identify which parts of your video were claimed.
Who is the copyright owner?
The copyright owner who claimed content in your video may be a television network, a movie studio, a website that makes online videos, a recording artist, their record label, or another third party who owns or is authorized to manage the rights to the content.
While you might not recognize the owner, that doesn't necessarily mean their claim is invalid.
Sometimes, you'll get claims from several different copyright owners for different pieces of content you used in your video. You could also end up with several claims for the same piece of content, from companies that own rights to the work in different countries.
If your video has been claimed by "one or more music publishing rights collecting societies," you may want to learn more about collective rights management.
YouTube Content ID FAQs
YouTube art tracks explained
What is a Content ID Claim?
What is a YouTube Claim or Copyright Dispute?
What happens after a dispute?
Is YouTube monetization only for music?
Can I change my URL to a custom one?
What if the YouTube video only uses part of my recording?
Can I just signup directly with YouTube?