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Outsourcing HR & Payroll
GST Filing & Corporate Income Tax
What does it mean for you in this VUCA environment?
July 13, 2021 by Oohar | Views:
VUCA is an acronym that stands for Volatility, Uncertainty, Complexity, and Ambiguity. This term surfaced in the late 1980s and was used to describe the situation the world was in after the Cold Water. Around the globe, there have been many harsh conditions that poses significant challenges to operating a business. Some of them include Brexit, the declining world economy, and of course, the COVID-19 pandemic. The latter has been the strongest influencer in the VUCA environment in the present world, accelerating underlying trends transformation and leapfrogging evolutionary steps typically observed in business environment.
Amidst the COVID-19 pandemic and the resulting lockdown, businesses all around the world have suffered and struggled to keep standing on their own. Hence it is no surprise that most of our assumptions related to business and organizational environment have not remained the same as before. Worley, C. G., & Jules, C. (2020).
It is not however, all gloom and doom as you can start taking steps to future-proof your business.
The first step would be to embrace change or in other words, become Volatile. By this, what it essentially mean, is to successfully incorporate the following elements into your organization:
Clarity in intent: Clearly mark out boundaries in terms of where the business will and will not head. This allows your team to have clarity what the end goals are as they move through uncharted territories.
Empowerment: As the situation evolves and business cycles move through at a faster pace in these times, it should be recognized that decision-making need to be done so at a faster rate and empowering the team on the ground allows you to response swifter to customers' needs and competitors' actions.
Moving on, when it comes to dealing with Uncertainty the following two considerations should form part of your response.
Develop & embrace new perspectives: Dealing with uncertainty to a certain extent may very well mean that whatever works and in fact works well for you in the past may no longer be the case in today context. As such, keeping an open mind on how certain subjects were viewed or stances that were taken may need revisiting. Case in point – Is the assumption that one must have a physical outlet when operating a F&B business still the case today?
Risk management: Facing uncertainty means that business would be exposed to various risks and as such mapping out and having a good understanding of your risk landscape reduces the likelihood of being caught unware. Additionally, proactive risk management also serves as a meter gauge with established monitoring mechanism that give you early warning providing you crucial response time to act before it's too late.
Addressing Complexities largely boils down to finding links between cause and effect as well as simplifying procedures so they become more efficient and convenient. Two themes that we identified as key would be to avoid being rigid in work practices as well as encouraging new ideas and innovation. At the end of the day, practical and effective process tend to edge out others who follow as-is processes and don't challenge their current assumptions.
Last but not least, to effectively combat ambiguity, businesses should recognize the importance of improving clarity in communication. The communication here do not just refer to intra organization within your team, but with your external stakeholders such as vendors and more importantly, your customers. A good starting ground we usually advise our client would to have a communication plan detailing the objectives, audience, messaging highlights, communication channels and triggers (Jordaan, 2018).
It may not be business as usual in such times, however, if businesses can recognize exactly which component from the VUCA is affecting them then they can successfully work towards problem-solving and effectively future-proof their business so that they not only survive, but thrive.
Worley, C. G., & Jules, C. (2020). COVID-19's uncomfortable revelations about agile and sustainable organizations in a VUCA world. The Journal of Applied Behavioral Science, 56(3), 279-283.
Jordaan, B. (2019). Leading organisations in turbulent times: Towards a different mental model. Leading in a VUCA World, 38(4), 59.
| Tagged business model, business survival, COVID, future proof, transformation, VUCA
Rising trends in the COVID-19 Era
August 3, 2021 by Oohar
The coronavirus (COVID-19) epidemic has redefined our private life, work, travel, consumption— everything you can...
What is KYC and AML checks and why are they necessary for my business?
Tax reforms and international trade – BEPS Project
What are Financial Statements and how do i make sense of and use it to manage my business?
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About Hayden Island
HINoon
Oregon Online
Vancouver Downtown Assoc.
Jantzen Beach History
Welcome to Riverhouse Home Owners Association Web Portal
Feel free to browse the site and explore. Sign in to obtain access to different pages of the website, as well as view the restricted sections of the site.
Riverhouse is located on Hayden Island. Hayden Island is an island in the Columbia River between Vancouver, Washington and Portland, Oregon. It is bordered on the north side by the main channel of the Columbia River and on the south side by a smaller channel of the Columbia, which is also known as North Portland Harbor. Even though it is separated from the rest of the city by this smaller river channel, Hayden Island is part of Portland.
It is connected by Interstate 5 to North Portland and the city of Vancouver. The connection between Hayden Island and Vancouver is made by the Interstate Bridge. The east end of the island, often called Jantzen Beach, is highly developed as it is serviced by the first exit on Interstate 5 in Oregon.
The island is of historic importance as ferry services provided service between Portland and Vancouver from landings on its north shore. After the opening of the Interstate Bridge, streetcar service opened Hayden Island to amusement park developments due to its beaches and strategic location. Jantzen Beach, the last operating amusment park, closed down in the 1970's.
The Jantzen Beach Shopping Center and many hotels populate this part of the island. A narrow neck of land connects Hayden Island to Tomahawk Island (not an actual island), which has numerous marinas and yacht clubs. The west side of the island is as yet undeveloped, though it was added to the urban growth boundary by voters in 1983. The Port of Portland purchased the land in 1993 with the intention of building a large cargo facility. Environmental activists have successfully blocked this development for the time being, and the Port of Portland is currently looking for alternative sites
Riverhouse Mailing Address:
685 N Tomahawk Island Dr
Site Map | © 2008 - 2023 Riverhouse HOA

redpajama_set_name: RedPajamaCommonCrawl


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Marlbert Pradd Jr. (November 17, 1944 – April 27, 2014) was an American basketball player. After a standout college basketball career with Dillard University, he played professionally in the American Basketball Association (ABA) as a member of the New Orleans Buccaneers from 1967 to 1969.

Early life
Pradd was born in Chicago, Illinois. He spent his childhood as a resident of Altgeld Garden housing projects. He attended Carver High School.

Basketball career
Pradd attended Dillard University where he was a NAIA All-American in from 1965 to 1967 and made the All-Gulf Coast Conference team from 1964 to 1965. He averaged 34.3 points in 19 games as a freshman and 35.4 points in 27 games during his sophomore season. He led the NAIA in scoring during his junior season, averaging 39.1 points in 20 games. During his senior season, he averaged 42.0 points per game. He finished his career as the leading scorer in Dillard history, with 2,907 points for a 37.5 average. He was subsequently drafted by the Chicago Bulls during the sixth round of the 1967 NBA draft. In May 1967, he signed with New Orleans Buccaneers of the American Basketball Association. He played two seasons for the Buccaneers before being waived in September 1969. In 2003, he was selected to the Louisiana Basketball Hall of Fame.

References

Notes

External links

1944 births
2014 deaths
American men's basketball players
Chicago Bulls draft picks
Dillard Bleu Devils basketball players
Los Angeles Lakers draft picks
New Orleans Buccaneers players
Shooting guards
Basketball players from Chicago

redpajama_set_name: RedPajamaWikipedia


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DONNA HUNT: First Denison newspaper was 'red all over'
By Donna Hunt, Special to the Herald Democrat
Jul 23, 2019 at 10:04 AM Jul 23, 2019 at 10:41 AM
Even before there officially was a Denison, there was a newspaper in the north part of Grayson County. It was for the residents in the nearly forgotten Red River City that was established five miles north of where Denison would become a reality.
The Red River Journal was actually printed in "kind of a red brick colored ink" to be sure that the paper was "red all over" was a newspaper for residents of that little community on the Red River near the Houston and Texas Central Railroad. Actually two issues had been printed by the time Denison was four months old.
Harlen Lowe, who wrote a thesis on "A Short History of Denison, 1873-1900, as a part of work on his master of science degree in history at East Texas State University in August 1950, told how the Cutler Printing Company Office in Denison in 1872 had issued two numbers of the Red River Journal.
At that time, Harlen called Denison "a city that did things" and there are a lot of us that still believe that is true. He wrote in his paper that Cutler's Printing Office was one of a row of businesses that also included Edelstein, McCabe and Collins liquor stores; Brown's Bakery, McGreevy's Miscellaneous stock; Dr. Johnson's Drugs, Kelly's Tin Shop and L.S. Owings' dozen scrub ponies that were the nucleus of what later was a stable.
However, Red River Journal lasted about as long as Red River City and while once there was at least one copy at the Denison Public Library, Dixie Foster, retired assistant librarian once told me that someone with sticky fingers picked up the copy and walked off with it. Now, as far as is known, there are no copies of the unusual newspaper.
Once Denison was established, numerous pioneer newspapers sprang up, many of which didn't last long enough to leave a recorded history of their existence.
Then B.C. Murray came to town in 1872 as the first businesses were putting down their roots and set up a small room of unseasoned boards in the 300 block Skiddy Street that now is more favorably named Chestnut Street, and gave the city a newspaper that was printed weekly. At that time Murray lived in a tent at the corner of Austin Avenue and Morgan Street.
The Denison News was established shortly after Denison was founded and in 1876 it operated in a two story brick building at 112 West Main. The first morning newspaper began operation in June 1882 and was called The Denison Morning Herald-News.
After working with The Herald-News about a year, Charles Chapman and his father withdrew and began publishing The Denison Evening Journal.
Another newspaper that is better known to those of us living here now is the Sunday Gazetteer that published for several years beginning in 1883 under Murray's management. That newspaper put Denison on the printer's map with a large, well-equipped job printing shop that printed large posters for theatrical billboards used throughout the Southwest.
Murray published The Sunday Gazetteer that he called "Your Sunday glass of beer" until he retired in 1913. Speaking of those billboards, on "Antique Roadshow", popular television program on PBS, such items are professed to be worth many thousands of dollars if they can be found today.
The Denison Dispatch, published by M.M. Scholl and his brother, Charles, Began publication on July 4, 1888, at 212 West Main. Scholl, popularly known as the "Snake Editor" because of his thin stature, later was employed by The Herald and was a local justice of the peace, familiar to residents because of his long white flowing sideburns, flower in his lapel, cane and top hat.
The establishment of The Denison Herald in 1889 was one of a series of developments that year. The newspaper was the third active paper in the city. It undertook the responsibility of recording the important happenings, noting the growth and informing the citizens of the progress being made by the town.
The original charter for the Herald Publishing Co., was issued July 3, 1889, but the paper did poorly until 1891 when E.A. Thompson bought controlling interest and started building the paper's circulation and advertising. When Thompson died in 1910, his widow carried on until 1913 when J. Lee Greer and Henry Ellis formed a stock company and bought the paper.
A weekly paper, The Denison Press, was started in 1925 by Leroy M. Anderson Sr., whose specialty was editorials. He was joined in the business by his son, Carey in 1948 then retired two years before he died in 1961. The Denison Press continued to operate as a printing business.
While it started on Main Street, The Denison Herald was published for many years in the building at 202 and 205 West Woodard. But in 1926 fire swept through the plant, destroying many of the old records.
Machinery already was on order for a new plant being planned. The equipment was put on a rush order and set up temporarily in the fire charred quarters, where employees managed to get out the daily paper under very difficult conditions.
The new building at 331 West Woodard had been started before the fire and was occupied in November of that year. In 1966 the Herald undertook the first major remodeling of the building.
Another milestone was reached in 1971 when on Dec. 26 a new era of operation was begun with the conversion to photo-composition and offset printing, eliminating the old metal-casting equipment and metal type that had served the paper since its founding.
Then another important change took place in October 1981 when the computer age was entered with the installation of video display terminals for production of the newspaper, thus replacing the clickity-clack of typewriters and the beep-beep-beep of computers.
Color came along in 1986 when the Herald joined the ranks of 75 other newspapers across the country in adopting a color separation system invented and marketed by German immigrant Peter Moritz.
Things began to change a year later when Harte-Hanks Communications announced that the newspaper was part of a planned divestiture of four Texas newspapers along with of four other properties.
Donrey Media Inc., owner of neighboring Sherman Democrat signed an agreement in November 1987 to purchase the newspaper, thus beginning a series of events that first involved the printing of The Denison Herald in Sherman, then expected merger of the Denison and Sherman into one paper, the Herald Democrat that serves the area today under even different ownership by Gatehouse Media, printed Tuesday through Sunday in the Sherman facility. The former Denison Herald building has now been sold, erasing any evidence that a daily newspaper ever existed in the city of Denison.
Donna Hunt is former editor of The Denison Herald. She lives in Denison and can be contacted at donnahunt554@gmail.com. The views and opinions expressed here are the author's own and do not necessarily reflect those of the Herald Democrat.


The case of a Clive, Iowa man who drowned while in the custody of Missouri troopers is getting another look from a special prosecutor.
The special prosecutor that four months ago said she wouldn't charge a Highway Patrol trooper in the drowning of an Iowa man while in that trooper's custody now says she is reviewing the case after getting new information.
The Kansas City Star reports Amanda Grellner has had witnesses re-interviewed in recent weeks, including a couple who saw Brandon Ellingson in the water on the Lake of the Ozarks minutes before he drowned. She won't comment about what is being reviewed or specifics of the investigation.
Brandon Ellingson died May 31 after falling out of a Patrol boat while handcuffed and after the lifejacket that had been improperly placed on him, slid off.


The White Hart – Southwark, Bankside. Traditional family run pub located near the Tate Modern. The bar is offing a wide range of lunch-time food, real ales, wines, lagers and spirits. Near to Southwark and Borough Tube Station.


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Death notices and funeral arrangements - Monday afternoon, January 3
The death has occurred of BRIDGET BRANNIGAN (née BRENNAN)
Larchville, Waterford City, Waterford / Clonakilty, Cork
Predeceased by her husband Bernard
& daughter-in-law Patti.
Sadly missed by her loving children Catherine, Pat, Bernard, Tony and Mary, sons-in-law, daughters-in-law, grandsons, granddaughters and great-grandchildren, sister-in-law Margaret, nephews, nieces, relatives, extended family, relatives and friends.
May Bridget Rest in Peace
Reposing in Thompsons Funeral Home, Barrack Street on Wednesday from 5 pm with prayers at 6 pm
Requiem Mass on Thursday at 11:30 am in St Paul's Church followed by burial in St. Otteran's Cemetery.
Bridget's funeral cortége will be passing her residence at 12:15 pm approximately en route to St. Otteran's Cemetery giving neighbours and friends an opportunity to pay their respects.
Family flowers only please, donations if desired to St. Joseph's Home, Little Sisters of the Poor, Ferrybank
The death has occurred of Joan Cashin
The Square, Stradbally, Waterford
Joan Cashin, The Square, Stradbally on Wednesday 29th December 2021 in the loving care of the staff at St. Francis Ward, Dungarvan Community Hospital. Predeceased by her sisters Kathleen, Bid, Pauline and Margaret and her brothers Eddie, Paddy and Tomas. Deeply regretted by her loving sister Ann Byrne (California), brother-in-law, sister-in-law, nephews, nieces, extended family and wide circle of friends.
May she Rest in Peace
Reposing at Drohan's Funeral Home, Dungarvan on Friday 7th January 2022 from 6p.m – 7p.m. Funeral Mass on Saturday at 11a.m in the Holy Cross Church, Stradbally. Burial afterwards in the adjoining cemetery.
Please observe current Covid-19 restrictions regarding attendance at funerals. No handshaking in funeral home, walk through sympathising only, and wearing of face masks is requested.
Those who would like to leave a message for the family can do so in the condolence link below. The family thank you for your co-operation and understanding at this difficult time.
The death has occurred of MADGE COLLINS (née O'REGAN)
McDonagh Road, Waterford City, Waterford
Madge Collins née O'Regan
Sadly missed by her loving family: her daughter Helen, sons Anthony, Brian and Raymond, son-in-law Jim, daughters-in-law Deborah and Anne-Marie, grandchildren Gary, Alan, Ian, Kevin, Jennifer, Alex and Aaron, great-grandchildren Scott and Isla, nieces, nephews, extended family, relatives and friends
May Madge Rest In Peace
Reposing in Thompsons Funeral Home, Barrack Street on Tuesday at 7 pm with prayers at 8 pm.
Requiem Mass on Wednesday at 1 pm in St. John's Church, Parnell Street followed by burial in St. Otteran's Cemetery.
The death has occurred of MARY KELLY (née Forristal)
Cathal Brugha Street, Waterford City, Waterford
Predeceased by her husband Pierce
and her sons Andrew and Eugene and her daughter Kay.
Sadly missed by her loving daughters Mary and Sarah, sons Thomas, John, Pierce, Tony, Ger and Ray, sons-in-law, daughters-in-law, sister-in-law Betty, grandchildren, great-grandchildren, nephews, nieces, relatives and friends.
May Mary Rest In Peace
Reposing in Thompsons Funeral Home, Barrack Street on Tuesday from 4 pm with prayers at 5:30 pm.
Requiem Mass on Wednesday at 10:30 am in Ballybricken Church followed by burial in St.Mary's Cemetery, Ballygunner.
Walking from Thompsons Funeral Home, Barrack Street to Ballybricken Church at 10.15 am on Wednesday for Mass on arrival.
Mary's funeral cortége will be passing her residence en route to St. Mary's Cemetery at 11.15 am approximately giving neighbours and friends an opportunity to pay their respects whilst socially distancing.
The death has occurred of Mary Burke (née Merrigan)
Crossford, Ardmore, Waterford
Mary, unexpectedly at Waterford University Hospital, beloved wife of the late James, and loving mother of the late Liam, sadly missed by her sons and daughters Mary, Caroline, Veronica, Tina, Patrick, Thomas and Mark, sons in law, daughters in law, sisters in law, grandchildren, great-grandchild, relatives, neighbours and friends.
Mary will repose on Monday from 4pm until 6pm at Egans Funeral Home Youghal for family and close friends. Requiem Mass on Tuesday at 11am in St Bartholomew's Church Piltown, followed by burial in the old cemetery Clashmore, please adhere to current guidelines to help reduce the spread of COVID 19, please leave your condolences in the link below.
The death has occurred of MICHAEL PATRICK (DIXIE) DWYER
Tramore, Waterford
Beloved son of Angela and the late James (Séamus), cherished fiancé of Chia Yi (Momo), loving brother of Mark and David, much loved uncle of Cordelia, Edward and Aisling, brother-in-law of Franziska and Eimear. He will be sadly missed by all his family, relatives and his many friends.
May He Rest in Peace
Requiem Mass will be held at Holy Cross Church, Tramore on Saturday 8th January 2022 followed by burial in the adjoining cemetery. Times will follow.
Donations if desired to the following link: www.addisonsdisease.org.uk.
The death has occurred of NICOLA MALONE (née FLYNN)
Killure Manor, Killure, Waterford
Sadly missed by her loving husband Leighton, daughter Rebecca, father Joe, mother Maria, sister Cathy, brother Jody, best friend Shelly, brothers-in-law, sisters-in-law, nephews, nieces, relatives, neighbours and many friends.
May Nicola Rest in Peace
Reposing in Thompsons Funeral Home, Barrack Street on Monday from 4 pm with prayers at 5:30 pm.
Requiem Mass on Tuesday in the Sacred Heart Church, The Folly at 12 noon followed by burial in Kilbarry Cemetery.
Nicola's funeral cortége will be passing the entrance to Killure Manor en route to Kilbarry Cemetery at approximately 12.45 pm on Tuesday giving neighbours and friends an opportunity to pay their respects.
Family flowers only please, donations, if desired, to the charity of your choice.
The death has occurred of George Thompson
Hillside Linsfort, Buncrana, Donegal / Tramore, Waterford
The death has occurred in Letterkenny University Hospital of George Thompson, Hillside, Linsfort, Buncrana and formerly Tramore, County Waterford.
Loving brother of Jacqueline Petry, Shropshire, England.
Deeply regretted by his sister, extended family and friends.
MAY GEORGE REST IN PEACE
Funeral service Wednesday morning 5th January at 10.00am in Christ Church, Buncrana followed by removal to Lakelands Crematorium for cremation at 3.00pm.
Service and cremation can be viewed on Inishowen Funeral Services Facebook page/ YouTube channel later on Wednesday evening.
Please adhere to current Covid guidelines.
Anyone wishing to leave a message of sympathy for the family can do so by using the condolence book at the bottom of this page.
The death has occurred of Brian Beardsley
Celbridge, Kildare / Waterford
BEARDSLEY, Brian James (Celbridge and Waterford) December 30th 2021, peacefully. Dearly beloved son of Betty and the late Fred, loving husband of the late Sandra, devoted father of James, Lloyd and Wayne. Sadly missed by his daughters-in-law Paris, Ella and Sophie, his adored grandchildren Madison, Zachary and Daisy, brothers and sisters Helen, Yvonne, John, Suzanne and the late Norman, brothers and sisters-in-law, nieces, nephews and a great many friends across Ireland and around the world.
Reposing at Cunningham's Funeral Home, Lucan on Tuesday evening (January 4th) from 6.00pm to 8.00pm. Removal to Lucan Presbyterian Church on Wednesday afternoon (January 5th) for Funeral Service at 1.00pm followed by burial in Esker Cemetery.
Those who would have liked to attend the funeral but are unable to are welcome to leave a personal message by selecting "Condolences" below or alternatively leave a message at www.cunninghamsfunerals.com.
The death has occurred of Francis Brian Byrne
Brussels and Grange Cottage, Ballincoush, Dungarvan, Waterford
Byrne, Francis Brian; Grange Cottage, Ballincoush, Dungarvan, Co. Waterford and Woluwe-St Pierre, Brussels, Belgium, December 27th 2021, peacefully at Chirec Delta Hospital, Brussels. Predeceased by his parents James and Joan Byrne, formerly of Davitt Avenue, Clonmel. Sadly missed by his sister Elizabeth Ann, brother John, nieces Anne-Marie and Deirdre, nephew Peter and grandniece Laura, relatives and friends.
Brian will be cremated at Crematorium d'Uccle, Avenue Du Silence 62, Brussels 1180 on Monday, 3rd January 2022, at 2:15 p.m. A Memorial Service in Ireland will be held at a later date and inhumation of the ashes will take place in the family plot at St. Patrick's Cemetery, Silversprings, Clonmel, Co. Tipperary


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Ask The Experts: The Truth About Sci-Fi (Part Two)
June 19, 2019 Arts, Technology
The Island (2005).
Directed and co-produced by Michael Bay.
By Zacharias Szumer
With thanks to Benjamin Laird and Megan Munsie
Ever wondered what the experts would have to say about the scientific validity of certain films? We wondered the same thing. So, following part one, we ask some more experts to give us their informed opinions on popular sci-fi films.
by Banjamin Laird
Travelers (2016-2018) is a Canadian time travel show. The characters have journeyed back from their post-apocalyptic future where humans live in domed shelters following a nuclear winter. This future society is managed and controlled by a single artificial intelligence (AI) called the Director. Time travel is achieved by the Director sending the consciousness of people, travellers, into the bodies of those about to die (the "Traveler Program"). To correct the future, teams of these travellers are sent on missions to change the past in order to avoid the events that lead to the apocalypse. So in a reversal of the AI as future ending (The Terminator, The Matrix), in Travelers the AI is attempting to avoid the world-ending events.
Thematically, the show addresses a present condition, a sense that through climate destruction and war, the world is heading for a state of desolation. The events though are seemingly easier than climate change to reverse, initially an impact from an asteroid and then later a disease. In some ways, the ultimate failure of the team – for the Traveler Program fails – suggests that individuals may not be enough to fix these problems.
In Travelers, the future is reliant on records that humans have left behind in order to understand the past. Abundant information from social media and surveillance is used as legitimate sources to understand the past. It is not an objective truth, however, but the appearance of truth. For example, the initial team is incorrectly chosen for the missions they need to carry out; one traveller arrives in the body of an intellectually disabled woman on the basis of a fake social media profile done as an exercise with her social worker. Another arrives in the body of a drug addict, because his obituary claimed he had died after the first time he used heroin. Neither were malicious "fake news", but rather the simple greyness in the way people present themselves, or are represented, online.
Travelers (2016-2018).
Created by Brad Wright.
Perhaps the most significant aspect of the show though is the faith the main characters place in the Director. The Director is an artificial intelligence that controls the characters daily lives in the future, and through intermediaries, command their missions in the present. We, now, delegate much of our lives to computer systems. The complexity of present society and the interrelated software systems are not understandable in their entirety by a single person. While this complexity is currently achieved by many people working together, even if on very different software systems, disentanglement is not possible. When will we cross the line from delegating difficult and/or repetitive tasks to delegating entire decisions? How will we run our lives in relation to a computer system that knows better?
Benjamin Laird is a software developer and poet. His poems and essays have been published in various print and online journals. His electronic poetry includes The Durham Poems, a chapbook of biographical poems about William Denton, a nineteenth century spiritualist, scientific lecturer, and radical; and 'Core Values', a response to Dorothea Mackellar's 'My Country', which was shortlisted for the 2018 Queensland Literary Awards QUT Digital Literature Award.
by Megan Munsie
As a scientist involved in stem cell research that seeks to understand and treat intractable diseases, pop-culture that tackles regenerative medicine and cloning often hits a nerve for me. For example, The Island (2005) puts forward the premise that in the year 2019 the rich can grow their own spare parts using technology developed by Merrick Biotech – a nefarious corporation that uses a person's cells to effectively sell biological insurance policies. However, unbeknown to the wealthy (and celebrity) clientele, the technology developed by the evil founder and his eponymous company actually creates clones. These clones are held captive in a compound where order is maintained by tempting them with the alluring possibility that if they work hard (and stay healthy) they may 'win' the lottery that will see you reach a form of nirvana called, wait for it, The Island. Of course, the winning ticket is an appointment with the knife and a gruesome end.
I initially viewed this film with great frustration. The technology and its application were misrepresented, scientists and biotech companies were vilified, and many aspects of the story line just made no sense. For example, why would you need to create a clone when arguably a 'younger' donor's organ might function better; and why kill the clones if only a kidney or part of a liver is needed? In the graphic example of surrogacy, why create and then brutally kill the surrogate when she could provide the client with another child in the future? It also seemed highly improbable that no one knew about the antics of the evil corporation given the number of staff employed and the extent of its barbaric practices. All of these aspects of the film played into rising concerns at that time about scientists wanting to play god, clone people and essentially "farm embryos".
However, late last year it was revealed that genetically modified babies had been born in China. While not on the scale of unethical conduct portrayed in The Island, the news that it is still possible today (even with clear laws and guidelines against such use) for rouge actors to use technology in ways that are out of step with societal views (and scientific guidelines). While I had been involved in discussions about whether we should be able to use the new generation of genetic modifying technology to manipulate the genome of human embryos (currently prohibited in Australia and many other jurisdictions around the world) to better understand early human development and what goes awry in certain diseases, I was strongly of the opinion that we did not know enough about the technology (and how to ensure any future child – and their children - were not at risk of harm) to even consider its use. I was gobsmacked when the announcement was made. I was also shocked by the lack of contrition and acknowledgement of the breach of faith shown by those involved; this "achievement" took many more scientists and doctors than just Dr He Jiankui.
Notwithstanding my aversion to sensationalist portrayals of medical science in film, perhaps this recent example suggests that we need to be reminded of what is possible if we don't continue to openly discuss where such technology is at. We need to talk about its benefits, but also its limitations, and clearly address how the complex regulatory and ethical issues are best overseen, and by whom.
Associate Professor Megan Munsie is a scientist who has combined her extensive technical expertise in stem cell science with an interest and understanding of the complex ethical, social and regulatory issues associated with stem cells in research and in the clinic. A/Prof Munsie is currently the Head of the Engagement, Ethics and Policy Program at the ARC funded Stem Cells Australia initiative and Deputy Director of the Centre for Stem Cell Systems at the University of Melbourne.
Zacharias Szumer is a freelance writer who lives in Naarm/Melbourne. His writing has previously appeared in Overland, Arena, Cyclic Defrost and The Jakarta Post.
Is Avril Lavigne Proof That AI Is Getting Smarter?
Building Earthships and Transcending Trump


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Treatment with CBD
Treatment with CBD – Your Gateway to the Science of Cannabidiol
Cannabinoids as environmental pollutants
Trashed and excreted cannabinoids may act as pollutants when they enter the water system. Learn more about how the problem of cannabinoid pollutants could be tackled. We discuss the following:
How cannabinoids go to waste
The effect of cannabinoids on water life
Cannabinoids and wastewater
Cannabinoids in water treatment facilities
There are an estimated 192 million cannabis users worldwide. As such, they generate a number of different types of waste products, including trash waste and body waste. Additionally, cannabinoids may enter the environment by rain, harvest, and trashed cannabis straw and trashed cannabis products. Obviously, all this waste gets into the environment, more specifically into natural waters primarily by means of raw of treated wastewater.
Cannabinoids easily break down when they enter water systems. Indeed, the urinary metabolite of THC shows up as a pollutant in both untreated and treated wastewaters, source waters, and tap waters. Scientist assume that given the popularity of cannabidiol (CBD) products and the increased legalization of medical marijuana, the amount of cannabis compounds released into the environment will also increase.
Watch this 3:45 minute video by the Ecologic Institute: "The Drugs We Wash Away: Pharmaceuticals, Drinking Water and the Environment"
The limited amount of research that has now surfaced shows that cannabis products broken down in the environment do act as pollutants and affect the ecosystem. For example, cannabis breakdown products might lead to acute and chronic toxicity and produce complex effects on animal behavior.
Freshwater mollusks and snails exhibit a considerable imbalance in the activity of their antioxidant enzymes when exposed to cannabinoid water pollutants. Moreover, zebrafish that are exposed to THC in amounts as small as 30-50 mg/L show behavioral changes, including slowed down movement (hypolocomotion). However, scientists know little about what lethal the doses of cannabis breakdown compounds are, and what the effects of those doses are that are not lethal.
Traditional wastewater studies have usually excluded cannabis metabolites from their analyses. The reason is because methods to assess cannabinoids in natural waters is still in their infancy and therefore difficult to accomplish. This is important because fresh drinking water is becoming progressively scarce. Therefore, communities increasingly rely on treated wastewaters.
Studies now increasingly look at the presence of cannabinoid metabolites in water. For example, the body breaks down THC into THC-COOH (11-nor-9-carboxy-Δ9-tetrahydrocannabinol), which might show up in treated and untreated wastewaters at a concentration as high as almost 3,000 ng/L. This suggests that existing water treatment plans have the ability to only partly eliminate THC-CCOH.
CBD, on the other hand, does not break down in the blood, and therefore leaves the body unchanged. As a matter of fact, scientists detected CBD in 80% of sewage sludges, in a concentration of 168 ng/g. This is very disconcerting, because the measured CBD pollutant concentration is higher than the measured concentration of THC in the sludge.
One traditional and commonly used way to treat water is by halogenation (adding halogens, such as fluoride, chlorine, bromine, and iodine to the water to get rid of bacteria and other microbes). However, halogenated byproducts, especially the brominated or iodinated kinds, are highly toxic. This is especially true to the halogenated byproducts of cannabinoids.
As a matter of fact, both THC and THC-COOH readily transform into halogenated byproducts in water treatment facilities within seconds. However, when scientists decreased the concentration of chlorine from 10 mg/L to only 1 mg/L, the half-life of THC-COOH decreased to 2 seconds.
Interestingly though, when natural organic matter was present in the wastewater (or in natural waters), cannabinoid chlorination was much slower. Undoubtedly, scientists have shown that when organic matter is present, the halogenation of cannabinoids follows a multistep, complicated and therefore slow process.
In essence, it is important to keep in mind the combination of:
halogenating compound concentration,
the type of cannabinoid,
pH (acidity) and
the presence of natural organic matter.
Watch this 10:02 minute video by Concerning Reality: "How Do Wastewater Treatment Plants Work?"
There has been an increased use of cannabinoids resulting from an increase in the popularity of CBD, edible hemp products, medical marijuana, and cannabis medications. Fundamentally, more cannabinoids than before are released as pollutants into the environment, including the water systems.
Most current water treatment systems operate with halogenation. Therefore, researchers and public health professionals and authorities need to keep in mind how these cannabinoids change into potentially poisonous and toxic pollutants. As such, we will know how we can protect the environment from them. As such, current water treatment systems might be outdated to deal with contemporary situations, such as the popularity of cannabis compounds.
Apul OG, Rowles LS 3rd, Khalid A, Karanfil T, Richardson SD, Saleh NB. Transformation potential of cannabinoids during their passage through engineered water treatment systems: A perspective. Environ Int. 2020 Feb 18;137:105586.
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Oscar-winning actress Linda Hunt is best known for playing roles of powerful, authoritative women, despite her short stature. Her filmography includes The Year of Living Dangerously, Kindergarten Cop, Pocahontas and NCIS: Los Angeles — via Youtube
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Electric Pedals has been invited by the lovely people from Charity Shop DJ to get involved in a Cultural Olympiad project in the East Midlands called 'On Your Bike'.
This is a programme of three events at Derby's Big Screen during the Olympics and Paralympic Games. The themes of community empowerment and interdependence will be manifested in a direct, live and visual way by the use of bicycle-generated electricity to power aspects of the programme. The groups taking part in sport and cultural activities at the three events will provide the power for each others performances.
2nd june 2012: The project kicks off with a two-day workshop at the Derby Silk Mill. During the workshop (a collaboration with Sustrans), local people will be invited to build a bicycle powered cinema from the ground up! We'll be inviting people to get involved in building and testing bicycles generators and a mini power station over the two days. The finished bicycle powered cinema will be owned by the project and used for related arts activities in Derby Market Place from 18th-25th August 2012.
The timing of the workshops could not be better as the Derby Silk Mill will be hosting the Derby Mini Maker Faire 2012 on the same weekend! So Electric Pedals will have an opportunity to mix with the midland's finest tinkerers, inventors and all round hackers!
We finish off on Sunday night with a bicycle powered party organised by the splendid Charity Job DJ using all the equipment that is built during the workshop.
Sept 9th 2012: An event to be held in Derby Market Place will mark the closing ceremony of the Paralympic games. This event will be powered by the bicycle generation system built earlier in the year along with an additional 20–50 bike system managed by Electric Pedals.


July » 2014 » The Computer Company, Inc.
Wondering how to find a brand for your business? All you need is take some time to think about the overall purpose of your business.
Many large corporations started with one idea in mind. Chipotle Mexican Grill sets itself apparent from other fast food restaurants and Mexican food joints by proclaiming that it is not a fast food restaurant but a fast casual restaurant that allows the same quick service of a fast food joint but with ingredients of a higher quality. All State Insurance has the tagline: "You're in good hands". The company's brand is being a car insurance company that will always have your back and make sure that you'll be safe financially even if you aren't exactly the safest driver around.
I found a great article dealing with the basics of branding that I'd like to share in this blog post. This great article is called "Basics of Branding" by John Williams of Entreprenur.com.
Consistent, strategic branding leads to a strong brand equity, which means the added value brought to your company's products or services that allows you to charge more for your brand than what identical, unbranded products command.
Defining your brand is like a journey of business self-discovery. It can be difficult, time-consuming and uncomfortable.
Did you enjoy these quotes? Then read the full article on Entrepeneur! And follow eManagerSite's blog to see our own informative blog posts as well as to learn about other great articles.
Not familiar with the Internet and Web design? No Problem! With eManagerSite CMS you can know only the basics and still be able to easily manage or alter the content on your company's webpage.
Behind the scenes of the eManagerSite tool, HTML is being written to make the changes you want to see. HTML (Hypertext Markup Language), is simply the standard markup language that creates web pages.
Many of the elements used in this language are written in tags that consist of enclosing the element in angle brackets like . Tags like  usually will come in pairs. For example if you wanted to write the title to your webpage in HTML, you would use a opening tag of <title> and end your title with a closing tag of </title>. In between the two tags is where you'll write your title.
Luckily, eManager does most of that for you without you ever having to see the Source code, which is a collection of all the HTML instructions your browser receives. If you are feeling bold, go ahead and open the source code (open up the right-hand toolbar and going down to the "View Source" option). You can make changes by going into the source code and writing your own HTML!
If you wanted to create a space between either two images or two paragraphs, you have two options: press the shift and enter key at the same time to create a break in between the two elements or go inside the source code and insert a line break element literally in between the two elements. The line break element is abbreviated in HTML, and is "br" instead. The line break tag is an empty tag which means there is no ending tag to it. All you'll need is
. So put the line break tag in there, if you dare!
Want your title to be twice as big as your paragraph's font size? You can add a style onto your title element and be able to do that in less than a minute. To do this find the title element you want to make twice as big as your paragraph. Like we previously did, create a space after the word "title" in the opening tag of your title tag. After the space write the word "style" and enter in an "em" element. The em element is used as a relative measure of font size. 0.5em is half the size, 2emis twice the size and so forth.<title style=font-size:"2em"> This is my title </title>
 This is my paragraph.
You might have noticed the quotation marks for the 2em value. It is so that the HTML can understand that the font-size has to be this amount or value. Without the quotation marks the HMTL is unsure of the value.
Sometimes you might run into the trouble with your paragraphs and photos over lapping. You can easily add as much space in between your elements as you want. You can use the marginelement to do so! Like we did before, we can simply go into the code and go right to the image element. The image element will look like this: . Right after the image's name is written out, put the word "style" and give the style a value. Like this: .You can add margins to the top, left, bottom, or right of the image or paragraph. Just be sure to specify the direction of the margins. Like this: Style="margin-top:5px;margin-bottom:5px;" If the paragraphs and images on your webpage are overlapping, you might need to use a trial and error method to find the perfect amount of space in between.
If you want to create different margin for each side, you have to separate each of the style values by a semicolon (;)! And also remember to put quotation marks (" ") before and after the whole line of styling.Ex: And another note: the abbreviation "px" immediately following the number stands for pixels. Pixels are considered to be the smallest controllable element of a picture represented on the screen. Pixels in this case are a great tool of measurement.
Alright, I hope this was an easy enough introduction to HTML. If you want to learn more about HTML and other pieces of web design, go to http://www.codecademy.com/learn where you can learn and try to code for yourself!
You're a business leader and marketer. You have been for years now.You know how to appeal to your persona, you know how to create the perfect voice, and you know how to drive sales with your incredible content.
As fellow marketers, we know that there are some things that bear repeating. One such topic is how to use words that will hook, engage, and, dare we even say it, manipulate target consumers.
Buzzwords create a 'hum' or a 'buzz' in the brain of your consumer.
Buzzwords will literally light up various sections of your brain—for instance, the part of the brain associated with gratification or the expectation of pleasant things will light up when they see a title promising to give them something they want.
"Secret Tips to Perfect Deserts" and "Travel to Your Favorite Romantic GetawayDestination For Free" are examples of headlines that promise a reward for click-through.
Conversely, the part of the brain associated with curiosity or learning will be activated when they see an article with buzzwords promising a 'how-to' or indicating that they will be receiving desirable information.
Utilizing our understanding of the human brain and manipulating it is a system called neuromarketing. While we aren't going to dive deep into that topic here, remember that this theory is the basis of much of the research that has pinpointed our various buzzwords.
Some buzzwords have been in use for decades and are the little black dress of your verbiage closet, so to speak. Other trendy buzzwords are more like the hipster hornrims and moustache-bedazzled t-shirts of today.
1. Don't forget to keep your keywords to the left. When it comes to good SEO, our keywords are highly important tools in our SEO arsenal. Thus, we need to remember that keywords are most effective when they are furthest to the left. Be inventive with your title, but don't forget your basic 'good SEO' rules.
2. Don't forget to explain your topic. While caught up in the throes of creative genius, it can be easy to forget that your audience doesn't already know what your article is about. Be catchy, but don't forget that clarity nearly always outweighs being clever.
3. Keep it short. There isn't much room available for your title when it comes up in the search engine results. Keeping your title pithy and short will help you have a bigger impact on your consumer—and a greater chance of click-through.
4. Keep it simple. Ok, YOU might be a literary scholar that studies antediluvian words for fun in your free time (words like antediluvian, for example…), but you have to remember that not everyone else does as well. The words in your headlines and titles need to be ones that the general public would know. When in doubt, grab someone from your tech team and ask if they know the word. If they say no, drop it and pull out your thesaurus to find something more familiar.
It's all well and good for us to talk about it and throw some buzzwords at you—but what you actually need is a quick DIY guide to creating quippy titles. So, here are some rules of thumb that are good to file away.
Use specific numbers so that the audience knows what to expect. Research has shown that audiences and individuals feel more at ease when they know what's coming. By giving them a specific number, such as "5 Worst Places To Spend Your Money", they know that they are able to read a list of the five places, no more, no less.
Every good writer knows that the way to keep your reader turning page after page, chapter after chapter, and book after book, is by creating unbearable cliffhangers.
You want to engage the part of your consumers brain that recognizes that there is information out there that they don't know—and that they want to know. This not only engages the learning area of the brain, but also the area that is expecting a pleasant reward.
In a digital world that basically floats upon the ability to provide constant entertainment, a symptom of this media-addiction is that if it isn't surprising or eye-catching, your average consumer (especially the millennial generation) are probably going to skip on over it.
Using words like, 'startling' 'shocking' and phrases that follow the idea of 'you didn't know this, but OMG you should!' are going to be key in catching and keeping the attention of various target audiences.
Be careful with the use of surprise—if your title hints that your article is going to be dishing the latest and greatest gossip regarding thenext Google algorithm update, you'd better deliver. Readers that are disappointed with an article that didn't live up to their expectations are very rarely going to come back to you for more.
Appealing to the 'how-to' and DIY crowd, an ever-growing population of consumers, is a tried and true tactic that indicates to your consumer that you, amongst all the other businesses clamoring for their business, actually want to teach them how to solve their own problems. And, of course, we both know that the secret to writing a how-to is to honestly explain to them why DIY is (and almost always) not a truly viable solution for their problems.
Using 'how-to,' 'DIY,' and 'learn how' are excellent hooks to pull in this independent crowd.
And don't forget to use all the synonyms of 'bad' that your thesaurus can come up with.
We did it in our intro—hey you marketer that wants to get better…Using titles and headlines that directly address your buyer persona and their felt needs are going to have an instant magnetic effect on your consumer.
This personal address creates a feeling of connection with you, the business. It will help to build trust, and activate the parts of the brain associated with communication.
The reality is, our content writing friend, that the business or industry you are writing for is going to be somewhat unique with what words are your buzzwords.
While some we've suggested are tried and true words that have spanned marketing generations, others just may not jive with your target demographic. And that's ok. That's why we're teaching you how to recognize your own buzzwords. It'll take time, effort, and lots of paying attention, but understand that the arsenal of articulate, client grabbing words that you'll collect are well worth it.
Step 1. Start paying greater attention to your titles and headlines. Begin using the new strategies you've learned (or been reminded of!).
Step 2. Analyze those posts. How successful were they? How many shares did they receive? Keep track of this. Posts that you notice see a huge increase in social activity, click-throughs, and conversions should especially catch your eye. What words are in that title?
that headline that stood out to you.
Step 4. Build a list of the words that you've found to be an effective buzzword. The next time you're struggling with a title, and need a power-packed headline, you'll have this list of golden words to refer to—and they will be the special words that you've fleshed out as red-hot for your buyer personas.
What are your buzzwords for your industry? What words do you have pinned to your wall for title and headline inspiration? We look forward to assisting you with your strategies when it comes to creating exceptional content and incredible internet marketing campaigns.
eManagerSite's marketing features easily allow anyone to promote their business and maximize audience reach with our built-in blog, search engine optimization tools, and email marketing plugin. Email Marketing: Send out email campaigns to customers, employees, and other business owners through our email marketing plugin. Use HTML to design beautiful emails that can then be sent to any number of customers, as many times a month as needed. Include pictures, files, videos, links, and more in every email.
SEO: Search engine optimization used to be difficult — not any more! eManagerSite lays out the best ways to increase SEO by allowing users to change meta tags, edit keywords, and more. Because every eManagerSite website is based on simple and clean HTML and CSS, they will already bring in stronger results than a site built in WordPress, Joomla, etc. Blog: No need to sign up with an outside site to get a blog. Every eManagerSite account has a blog included for free, with access to all the blog management tools a business needs. Posting is as easy as typing on the screen, or copying and pasting from Microsoft Word! You can then add images, files, videos, and links of your choice. Schedule your blog to post now or later, and track its success with our built-in analytics. Categorize blogs by "tagging" them, and automatically allow visitors on your site to sort blogs by date, month, or topic.
Creating a story. Writing a blog. Crafting a tweet. Taking a picture. Developing a concept. Whatever social media content you're working on eManagerSite can help you. It's easy to get caught up in the creativity. That's totally understandable if you get preoccupied with ROI or brand goals. It's also likely that your focus is on the most effective way to promote a campaign or new product. This is when marketers lose sight of the question that should be on the top of their mind throughout the entire content creation process: why do people care?
Making your audience care is the key to cultivating brand loyalty. Producing content that helps develop that relationship is the key to being creative. You've got to keep your brand goals in mind and find a way to reach your business priorities, while still making content that will stand out in the social media space. Below are five easy ways to create effective content that truly resonates with your audience.
Strong social content makes fans and followers feel not something just for the brand, but about their own lives. It can make them think of a family member or friend that has been affected by the topic you're posting about, or just remind them that they should call their mom. Regardless of how it hits them, what matters are that your post makes them stop, think and feel–and then hopefully, share.
it's a no-brainer that facts do well on social. Giving people new information, engaging infographics or even useless-but-funny tips is a great way to connect. Facts are also a great way to share new and interesting info about your brand or organization. Giving the audience insight into your company creates a new level of understanding of your brand and also gets your audience thinking.
Whether it's a code for a free gift or something exclusive for the fans and followers of your page, make their connection with your brand mutually beneficial. If you're asking for their loyalty, business and support, why not give something back? It doesn't always have to be the biggest or the best giveaway, but showing them that you care enough to do something for your audience is a good way to demonstrate that you care and that you're listening to what they want.
Social media makes marketing a two-way conversation. Social is the perfect place to be a little less buttoned up and do what you can to encourage your audience to laugh a little. It's easier to show the softer side of your company, while also putting out good content. So loosen up–your audience wants to know that there's a human on the other side of all that content.
it's okay to brag about the good your brand does in the world. Most companies are doing some CSR work or at least donating…tell your fans about it! Knowing that a brand is working on more than just pursuing profits deepens the connection and helps them see your company in a new way. Show them that not only are you making a good product, but you also are able to use some of the money that you're getting from consumers to make a positive impact on the world.
The bottom line is that every post has to be a conversation that creates a deeper connection. Stay focused on your bottom line and product goals, but understand how those can be achieved through a strong relationship with consumers. Be human, be transparent, be interesting and be honest. That's how to make social work for your brand.
Want a great content manager for your website? Contact us today and let us take your site in to the future with eManagerSite.
Do you want to win customers? Let us help by giving you confidence in your website's value.
Whatever your website need, you will benefit from our: Unmatched Customer Service – you'll have full confidence in our ability to listen and understand your vision. We are not happy unless you are.
Customer Centric Website Design – you'll have more opportunity to communicate your organization's value and win customers.
Professionally Managed Projects – helps to keep things on track and within budget. After all, your time is valuable and you should be focusing on the needs of your business and not your website.
Hassle-free Website Edits – ability to make website edits and content changes without costly change requests helps ensure the final version of your website is exactly what you envision.
How do you measure the success of your mobile app? This is the question marketers struggle with today. You've convinced the brand they need an app; you've invested in development and initial testing; and you've launched in the app marketplace. That's a great start, but what comes next is even more important: the measurement, analysis and iterations. The truth is nearly 22% of apps downloaded are never used more than once. The problem. Engagement. Users are easily impressed by the promise of new apps, but their high expectations plummet during the app experience. Measuring and optimizing for the right engagement metrics is the key to attaining and keeping users. And whether your business model is driven by in-app advertising, purchases, or paid subscriptions, driving your revenue is fundamentally dependent on personalization and engagement. The metrics are available, but identifying which are the most important for tracking engagement and are the most actionable can be tricky.
Understanding usage is fundamentally important to the app iteration process. After all, what's more essential than knowing how many users are actually opening and interacting with your app? Typically measured as monthly average users (MAUs), weekly average users (WAUs) or daily average users (DAUs), user metrics can be broken out by day, device, country, time of day, and more to identify how, when, and from where your users are accessing your app. With advanced analytics, you can split user reports by retention, and highlight your most active users, or your "super fans." What you gain from it. Once you know your user base and current active users, you have a baseline for improving engagement to increase users across channels, know those who have dropped out of a desired funnel, or know those within your market space who haven't yet downloaded your app. You also gain greater insight into the monetization behavior of users, including the degree of usage, who makes in-app purchases, and who clicks through to ads. By breaking users out into segments, you can also dynamically test those segments for further optimization. Notable Numbers For the first time ever, mobile devices accounted for 55% of Internet usage in the US, with mobile apps making up 47% of that total, surpassing PCs.
Session length is the period of time between app open and close, or when the app times out after 15 seconds. It indicates how much time your users are spending in your app per individual session, and gives you an idea of how long they are engaged in one sitting. You can track the growth in session length over time to identify spikes in long sessions or dips in usage. And by segmenting out your users, you can see which audiences are spending the most time in your app and why. Session length typically varies greatly across vertical, with social and gaming apps often clocking in longer times than mCommerce. What you gain from it. Tracking the length of user sessions is critical to unlocking revenue potential in your app flows. If you've got a mCommerce app, how long does your checkout flow time take? If the average session length is five minutes and your checkout flow takes six, you need to either encourage users to stay in the app longer or simplify the checkout process to meet average session length. Similarly, you can measure the session length of purchasing vs. non-purchasing users to gain deeper insight into visitor flow. Notable Numbers From January to December 2013, average session length in Europe jumped by over 2 minutes; a 51% increase. Conversely, the average session length in the U.S. wavered, increasing only 12%, and ending the year trending downwards.
Session interval is the time between the user's first session and his or her next one, showing the frequency with which your users open the app. This can signal the immediate value gained from downloading and running the app; if the user doesn't revisit soon, he or she probably didn't get as much value out of it as expected. On the flip side, some apps are inherently prone to longer session intervals. Medical apps, for example, might have 48+ hour session intervals, as people don't always have medical concerns each day. What you gain from it . When you know the typical time lapse between sessions per user segment, you can better optimize the user experience to prompt regular opens. For example, if you notice that tablet users have longer session intervals than smartphone users, it might be that you need to improve screen flow or design in your tablet app. That could lead to a positive change in terms of shortening the interval between sessions for those tablet users. It could also be an indication that you should consider adding contextual in-app or push messaging to prompt more immersive and frequent interaction. Notable Numbers 27% of Americans say their phone is the first and last thing they look at every day.
Time in app tracks how long users spend in your app over a period of time, e.g. users spend an average of 15 minutes per month in the app. It's another metric for identifying how often your app is being used, and is an indicator of how valuable your app is to users. Similar to session length and interval, this engagement metric measures behavior over time to give you a clear view of user patterns, allowing you to easily identify how often users are engaging with your app. Much like session length, users typically spend more time in social apps within a set period of time, checking for new posts and fresh content that they might not see otherwise. What you gain from it if a certain segment of your users is consistently opening your app for long periods of time, you need to dig into the "why?" Are they all following a similar screen flow? Are they making more purchases, or doing research? If yours is a gaming app, does their time in app increase each day around a certain time? Drill deeper to understand why your user is in-app for that period of time, especially if your time in app is longer than the average. If you have a short time in app, use that to inform ongoing optimization. If users are opening the app frequently but for short periods of time, what screens are they visiting within that time period, and how can you leverage that to encourage other interactions? Notable Numbers he average consumer actively uses 6.5 apps throughout a 30-day period.
Acquisitions represent the number of users who download and install your app from a certain location, through organic search, word-of-mouth, paid campaigns or in-app referrals. This metric is especially important to track when you run campaigns through paid partners like Facebook to promote app downloads. Acquisitions reports track how much money you're spending to acquire these users, their app downloads and what they're doing when they get into your app. If your campaign is not driving downloads, pump the brakes. If it is, you can take your analysis to the next level by evaluating how users are coming in from your acquisition campaign and how they compare to the organically acquired users in terms of usage and conversions. What you gain from itRunning paid campaigns comes down to ROI, and not just in terms of downloads per campaign, but in terms customer lifetime value (LTV). You can analyze the long-term value of acquired users against organic users, and segment audiences to A/B test or promote conversions through different app messaging campaigns. Also, keep the ongoing benefit of acquisition tracking in mind.
Screen flow tracks exits by screen, flow between screens, and total occurrences of visits to screens, visualizing the typical visitor interactions in your app. With screen flows, you can look at a particular screen in your app and see both what users did while on screen and where they went afterwards. Screen flow tracks from the start of a use session to every page he or she visits, giving you a complete step-by-step view of how both purchasing and non-purchasing users naturally navigate your app. What you gain from it In looking at how users navigate your app, you can get a clear sense of problem areas, conversion road bumps, and drop off screens. Do you have multi-step conversion processes or single-step? Is your app confusing to users, who cycle back and forth between some of the pages? Where do visitors in a funnel go instead of converting or purchasing? Screen flow analytics show you exactly what those users who didn't complete a stage did instead, enabling you to fine-tune your app's flow to increase conversions. With this data in mind, you can implement redesigns to the UX to create clearer funnels, or create in-app marketing campaigns to re-engage dropped users.
Retention is measured as the percentage of users who return to your app based on the date of their first visit. Essentially, when they came in and if they're still using it. Also referred to as cohorts, retention tracking highlights your most engaged – and valuable – users, creating better targeting capabilities and allowing you to track in-app purchasing by level of engagement. Splitting out retention rate based on device, segment and campaign, or by custom dimensions like purchase frequency, you can experiment with marketing campaigns or personalize user experience to test engagement and improve your app. What you gain from it Analyzing retention allows you to determine what's working and what isn't in your app over time as updates occur. If you released a new version, one of the first things you should identify is whether or not your retention has changed. Building long-term retention is key to funneling primed users to conversions and purchases, as creating a highly-engaged user base is the best way to boost LTV and revenue. Investing in retention will steadily improve the value of each user, increasing overall revenue potential. Notable Numbers 60% of apps are opened 10 times or fewer or fewer after being downloaded.
Lifetime value is your primary revenue metric, representing the financial value of the app and how much each app user or customer is worth in his or her lifetime. It can be split out by average monthly value or value per customer, capturing worth over time financially and also in terms of loyalty and evangelism. It can also be tracked as revenue per customer, a slightly different formula that correlates directly to purchases, in-app and across other channels for overall spend. LTV can show growth over time for different segments, i.e. by acquisition channel or monthly cohorts. LTV can also have non-monetary measures, depending on your goals, such as articles viewed over time (in a media app) or levels won (in a game app). What you gain from it Your LTV signals how much more can you spend toward acquisition to gain more of these users and still turn a profit. Plus, it's a metric representing the value of mobile vs. non-mobile customers; which user segment spends more, is more loyal, and is a bigger brand evangelist. It's also the best indicator of overall app ROI, and contributes to the brand's bigger picture. When comparing revenue per channel, LTV is the app success metric to bring to the table. Notable Numbers Global app revenues hit $26 billion in 2013.
You can launch an app that was designed based on research, best practices, and web user behavior, but the truth is, that could all fall flat with your mobile audience. The only way to create a profitable app isn't to launch and rely on downloads, but to use informed data to iterate and improve. By analyzing usage, retention, and flow for engagement, you can create a model for conversions, funneling users from acquisition (paid or organic) to conversion to monetization. An informed process that includes app analytics, messaging campaigns, and user feedback is necessary to success.
Diving into these metrics can seem overwhelming, but in truth, there are easy steps you can take to gain insight and boost engagement. Measure how your highly-engaged (valuable) vs. less engaged (non-valuable) users are behaving. When it comes to your already engaged users, what are they doing differently from less engaged users? Split out your desired user segments. Segmenting by device, retention, location, purchase frequency and other key attributes gives you targeted audiences to watch. This way, in addition to a dashboard of overall app metrics, you can see how you most important or least engaged segments are tracking. Slice and dice your data to identify trends. You can measure each of these metrics across a variety of dimensions to uncover commonalities and high-level reflections of overall app value. Customize your funnels. For example, creating a funnel for your in-app shopping process that includes "category viewed," "product viewed," "added to cart," and" completed purchase" is a basic but essential way to analyze how engaged your users are when it comes to the most important actions. Tap into the natural behavior patterns of your super fans. This is a holistic starting point for creating effective funnels and marketing campaigns for other users moving forward, as you already know the behavior that pays off.
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text:
Convening 9 April 2015
Cinema: Reset-DoC Award goes to Julie Bertuccelli
PRIZE-GIVING CEREMONY
Rome, Thursday April 9th at 3 p.m.
The presentation of the award to the director Julie Bertuccelli will take place at the Quattro Fontane Cinema in Rome with a premier of the documentary "La Cour de Babel"
Bologna, Sunday April 12th at 8:45 p.m.
at the Cineteca di Bologna, Cinema Lumière
Following the screening of the documentary in Bologna, Reset-Dialogues on Civilizations has the pleasure of inviting you to attend a debate with Mariachiara Giorda, a scholar of the history of religions at Turin University and scientific coordinator of national and international research on religious pluralism in educational contexts and Marwa Mahmoud, educator and director of international educational opportunities and relations with schools for the Mondinsieme Centre in Reggio Emilia.
The 2015 RESET-DIALOGUES PRIZE
Multicultural education from Babel to dialogue
For the third year in a row the association Reset-Dialogues on Civilizations has cooperated with RendezVous, awarding a special prize to the author who, thanks to an original use of cinematographic language, has been able to portray a plural world, reprocessing concepts such as identity, diversity and dialogue. For years now the association has promoted an understanding of and respect for cultural diversity and opposes all forms of exclusivism, with its choral research and dialogue, acknowledging the importance of access paths to modernities that differ from European and American ones. For this reason too, the 2015 award will be presented to Julie Bertuccelli, who, with the documentary "La Cour de Babel", a film that stands out thanks to its spirit of dialogue and intellectual openness to differences, addresses with great sensitivity the fundamental issues of language, childhood and integration in the schools of multicultural societies.
Julie Bertuccelli
Born in 1968, Julie Bertuccelli started her career as assistant director to Krzysztof Kieślowski, Bertrand Tavernier, Otar Iosseliani and Emmanuel Finkiel. After the documentaries "La fabrique des juges ou les règles du jeu" (1998) and "Un monde en fusion" (2001), she directed "Depuis qu'Otar est parti…" (2003), which won the Grand Prix awarded by the International Critics Week at the Cannes Film Festival and a César for the Best First Film. "The Tree" (2010), inspired by Judy Pascoe's novel, was selected for the Cannes Film Festival. "La Cour de Babel" is distributed in Italy by Kitchen Film.
RendezVous 2015
An appointment with new French cinema, Italy
The fifth edition of RendezVous, the festival dedicated to the newest films produced in France, will take place from April 8th to April 12th. As happens every year, the journey through the stories and faces of contemporary French films begins in the capital, to then travel with different focus and different guests to Naples, Palermo, Bologna, Turin and as of this year also to Lecce. An initiative presented by the French Embassy in Italy, this event is organised by the Institut Français Italia, in cooperation with uniFrance films and the participation of the French Academy in Rome – Villa Medici.
For further information on the festival and the programme see
www.institutfrancais-italia
Casablanca (Morocco)
Tolerance in Mediterranean Societies: History, Ideas and Institutions
Sources of Democracy: Citizenship, Social Cohesion and Ethical Values
Zelensky's magic moment: a new era for Ukraine?
Andrea Walton 18 July 2019
Human Rights, International Affairs
Let Morsi be forgotten: The suffocation of Egypt's oppositions
Federica Zoja 9 July 2019
Cold wind across the Alps: Franco–Italian rivalry and the Europeanization of political competition
Camilla Pagani 1 July 2019
Essay – The CFA franc: A "hyper-colonial" Currency
Nicoletta Fagiolo 20 June 2019
Other analysis
State-Building in Libya. Integrating Diversities, Traditions and Citizenship
International Affairs, Society
We Need Global Solidarity
Ece Temelkuran 3 July 2019
Is Orange the New Black? New Far-Right in the Netherlands
The Dandy Thierry Baudet and the new Dutch Populism. Interview with Sarah de Lange
What the "Migrantenpartijen" Want in Amsterdam
Buruma: The Populism of the Well-off: the Case of Forum voor Democratie
Other dossiers
The Casablanca School
The international association Reset Dialogues on Civilizations is launching the Casablanca School, a yearly international program on cultural and religious pluralism and political liberties. …
Mediterranean Forum
The key aim of this project is to strengthen dialogue and common research between Europe and North Africa for promoting and researching on democratic …


text:
/**
 * A dialog for creating and managing recordings.  RecordingDialogs interact with the RecordingManager for making
 * recordings, the Sound class for playing recordings, and SaveManager for renaming and deleting recordings
 * @param {Array<Sound>} listOfRecordings - The list of recordings for the open file
 * @constructor
 */
function RecordingDialog(listOfRecordings) {
	const RecD = RecordingDialog;
	// Create an array of ids
	this.recordings = listOfRecordings.map(function(x) {
		return x.id;
	});
	// Extra space at the bottom is needed for the recording controls
	RowDialog.call(this, true, Language.getStr("Recordings"), this.recordings.length, 0, RecordingDialog.extraBottomSpace);
	this.addCenteredButton(Language.getStr("Done"), this.closeDialog.bind(this));
	this.addHintText(Language.getStr("Tap_record_to_start"));
	/** @type {RecordingManager.recordingStates} - Whether the dialog is currently recording */
	this.state = RecordingManager.state;
}
RecordingDialog.prototype = Object.create(RowDialog.prototype);
RecordingDialog.prototype.constructor = RecordingDialog;

RecordingDialog.setConstants = function() {
	let RecD = RecordingDialog;
	RecD.currentDialog = null;
	RecD.extraBottomSpace = RowDialog.bnHeight + RowDialog.bnMargin;
	RecD.coverRectOpacity = 0.8;
	RecD.coverRectColor = Colors.black;
	RecD.counterColor = Colors.white;
	RecD.counterFont = Font.uiFont(60);
	RecD.remainingFont = Font.uiFont(16);
	RecD.remainingMargin = 10;
	RecD.counterBottomMargin = 50;
	RecD.recordColor = Colors.red;
	RecD.recordFont = Font.uiFont(25);
	RecD.recordIconH = RecD.recordFont.charHeight;
	RecD.iconSidemargin = 10;
	RecD.recordingLimit = 5 * 60 * 1000;   // The maximum number of ms in a recording
	RecD.remainingThreshold = 5 * 60 * 1000;   // The remaining time is displayed when less than this many ms are left.
};

/**
 * @inheritDoc
 * @param {number} index
 * @param {number} y
 * @param {number} width
 * @param {Element} contentGroup
 */
RecordingDialog.prototype.createRow = function(index, y, width, contentGroup) {
	let RD = RowDialog;
	let largeBnWidth = width - RD.smallBnWidth * 2 - RD.bnMargin * 2;
	let recording = this.recordings[index];
	this.createMainBn(recording, largeBnWidth, 0, y, contentGroup);
	let renameBnX = largeBnWidth + RD.bnMargin;
	this.createRenameBn(recording, renameBnX, y, contentGroup);
	let deleteBnX = renameBnX + RD.smallBnWidth + RD.bnMargin;
	this.createDeleteBn(recording, deleteBnX, y, contentGroup);
};

/**
 * Creates the button for each recording that plays the recording when tapped
 * @param {Sound} recording
 * @param {number} bnWidth
 * @param {number} x
 * @param {number} y
 * @param {Element} contentGroup
 */
RecordingDialog.prototype.createMainBn = function(recording, bnWidth, x, y, contentGroup) {
	let button = RowDialog.createMainBn(bnWidth, x, y, contentGroup);
	// Track whether the button is currently playing the recording
	const state = {};
	state.playing = false;
	let me = this;
	let showPlay = function() {
		button.addSideTextAndIcon(VectorPaths.play, RowDialog.iconH, recording);
	};
	let showStop = function() {
		button.addSideTextAndIcon(VectorPaths.square, RowDialog.iconH, recording);
	};
	// When the button is tapped...
	button.setCallbackFunction(function() {
		// Check the state...
		if (state.playing) {
			// Stop the sound
			Sound.stopAllSounds();
		} else {
			// Start the sound
			Sound.playAndStopPrev(recording, true, function() {
				state.playing = true;
				showStop();
			}, null, function() {
				// When the sound stops, change the icon and state
				if (me.visible) {
					state.playing = false;
					showPlay();
				}
			});
		}
	}, true);
	// Start with the play icon
	showPlay();
};

/**
 * Create the button for deleting recordings
 * @param {string} file - The name of the recording to delete
 * @param {number} x
 * @param {number} y
 * @param {Element} contentGroup
 */
RecordingDialog.prototype.createDeleteBn = function(file, x, y, contentGroup) {
	let me = this;
	RowDialog.createSmallBnWithIcon(VectorPaths.trash, x, y, contentGroup, function() {
		RecordingManager.userDeleteFile(file, function() {
			me.reloadDialog();
		});
	});
};

/**
 * Create te button for renaming recordings
 * @param {string} file - The name of the recording to rename
 * @param {number} x
 * @param {number} y
 * @param {Element} contentGroup
 */
RecordingDialog.prototype.createRenameBn = function(file, x, y, contentGroup) {
	let me = this;
	RowDialog.createSmallBnWithIcon(VectorPaths.edit, x, y, contentGroup, function() {
		RecordingManager.userRenameFile(file, function() {
			me.reloadDialog();
		});
	});
};

/**
 * @inheritDoc
 */
RecordingDialog.prototype.show = function() {
	// Create the rows, title bar, etc.
	RowDialog.prototype.show.call(this);
	RecordingDialog.currentDialog = this;
	// Create the controls at the bottom.  These buttons are all hidden when created.
	this.recordButton = this.createRecordButton();
	this.discardButton = this.createDiscardButton();
	this.saveButton = this.createSaveButton();
	this.pauseButton = this.createPauseButton();
	this.resumeRecordingBn = this.createResumeRecordingBn();
	// Show the controls that correspond to the current state
	this.goToState(this.state);
};

/**
 * @inheritDoc
 */
RecordingDialog.prototype.hide = function() {
	RowDialog.prototype.hide.call(this);
	this.setCounterVisibility(false);
};

/**
 * @inheritDoc
 */
RecordingDialog.prototype.closeDialog = function() {
	RowDialog.prototype.closeDialog.call(this);
	RecordingDialog.currentDialog = null;
	Sound.stopAllSounds();
};

/**
 * Create the control for recording sounds
 * @return {Button}
 */
RecordingDialog.prototype.createRecordButton = function() {
	let RD = RowDialog;
	let RecD = RecordingDialog;
	let x = RD.bnMargin;
	// gets the location of additional content
	let y = this.getExtraBottomY();
	let button = new Button(x, y, this.getContentWidth(), RD.bnHeight, this.group);
	// The button has slightly larger text in red with a circle icon next to it (centered)
	button.addCenteredTextAndIcon(VectorPaths.circle, RecD.recordIconH, RecD.iconSidemargin,
		Language.getStr("Record"), RecD.recordFont, RecD.recordColor);
	button.setCallbackFunction(function() {
		RecordingManager.startRecording();
	}, true);
	return button;
};

/**
 * Create a control that is 1/3 the width of the record button
 * @param {number} buttonPosition - [0, 1, 2], whether the button is in the first, second, or third position
 * @param {function} callbackFn - Called on tap
 * @return {Button}
 */
RecordingDialog.prototype.createOneThirdBn = function(buttonPosition, callbackFn) {
	let RD = RowDialog;
	let width = (this.getContentWidth() - RD.bnMargin * 2) / 3;
	let x = (RD.bnMargin + width) * buttonPosition + RD.bnMargin;
	let y = this.getExtraBottomY();
	let button = new Button(x, y, width, RD.bnHeight, this.group);
	button.setCallbackFunction(callbackFn, true);
	return button;
};

/**
 * Creates the button for discarding the current recording
 * @return {Button}
 */
RecordingDialog.prototype.createDiscardButton = function() {
	let RD = RowDialog;
	let RecD = RecordingDialog;
	let button = this.createOneThirdBn(0, function() {
		RecordingManager.discardRecording();
	}.bind(this));
	button.addCenteredTextAndIcon(VectorPaths.trash, RD.iconH, RecD.iconSidemargin, Language.getStr("Discard"));
	return button;
};

/**
 * Creates the button for saving (stopping) the current recording
 * @return {Button}
 */
RecordingDialog.prototype.createSaveButton = function() {
	let RD = RowDialog;
	let RecD = RecordingDialog;
	let button = this.createOneThirdBn(1, function() {
		this.goToState(RecordingManager.recordingStates.stopped);
		RecordingManager.stopRecording();
	}.bind(this));
	button.addCenteredTextAndIcon(VectorPaths.square, RD.iconH, RecD.iconSidemargin, Language.getStr("Stop"));
	return button;
};

/**
 * Creates the button for pausing the current recording
 * @return {Button}
 */
RecordingDialog.prototype.createPauseButton = function() {
	let RD = RowDialog;
	let RecD = RecordingDialog;
	let button = this.createOneThirdBn(2, function() {
		this.goToState(RecordingManager.recordingStates.paused);
		RecordingManager.pauseRecording();
	}.bind(this));
	button.addCenteredTextAndIcon(VectorPaths.pause, RD.iconH, RecD.iconSidemargin, Language.getStr("Pause"));
	return button;
};

/**
 * Creates the button to unpause recording
 * @return {Button}
 */
RecordingDialog.prototype.createResumeRecordingBn = function() {
	let RD = RowDialog;
	let RecD = RecordingDialog;
	let button = this.createOneThirdBn(2, function() {
		this.goToState(RecordingManager.recordingStates.recording);
		RecordingManager.resumeRecording();
	}.bind(this));
	button.addCenteredTextAndIcon(VectorPaths.circle, RD.iconH, RecD.iconSidemargin, Language.getStr("Record"));
	return button;
};

/**
 * Draws the dark rectangle to cover the dialog while recording
 * @return {Element}
 */
RecordingDialog.prototype.drawCoverRect = function() {
	let halfStep = RowDialog.bnMargin / 2;
	let x = this.x + halfStep;
	let y = this.y + this.getExtraTopY() + halfStep;
	let height = this.getExtraBottomY() - this.getExtraTopY() - RowDialog.bnMargin;
	let width = this.width - RowDialog.bnMargin;
	let rect = GuiElements.draw.rect(x, y, width, height, RecordingDialog.coverRectColor);
	GuiElements.update.opacity(rect, RecordingDialog.coverRectOpacity);
	GuiElements.layers.overlayOverlay.appendChild(rect);
	return rect;
};

/**
 * Draws the recording elapsed timer counter with "0:00" as the string
 * @return {Element} - An SVG text element
 */
RecordingDialog.prototype.drawTimeCounter = function() {
	let RD = RecordingDialog;

	let textE = GuiElements.draw.text(0, 0, "0:00", RD.counterFont, RD.counterColor);
	GuiElements.layers.overlayOverlay.appendChild(textE);
	let width = GuiElements.measure.textWidth(textE);
	let height = GuiElements.measure.textHeight(textE);
	let x = this.x + this.width / 2 - width / 2;
	let y = this.getExtraBottomY() - RecordingDialog.counterBottomMargin;
	let span = this.getExtraBottomY() - this.getExtraTopY() - height;
	if (span < 2 * RecordingDialog.counterBottomMargin) {
		y = this.getExtraBottomY() - span / 2;
	}
	y += this.y;
	this.counterY = y;
	GuiElements.move.text(textE, x, y);
	this.counter =  textE;

	let remainingY = y + RD.remainingFont.charHeight + RD.remainingMargin;
	let remainingWidth = GuiElements.measure.stringWidth("0:00 Remaining", RD.remainingFont);
	let remainingX = this.x + (this.width - remainingWidth) / 2;
	this.remainingY = remainingY;
	this.remaingingText = GuiElements.draw.text(remainingX, remainingY, "", RD.remainingFont, RD.counterColor);
	GuiElements.layers.overlayOverlay.appendChild(this.remaingingText);
};

/**
 * Creates and shows a RecordingDialog after retrieving a list of recordings from the frontend
 */
RecordingDialog.showDialog = function() {
	RecordingManager.listRecordings(function(result) {
		let recordDialog = new RecordingDialog(result);
		recordDialog.show();
	});
};

/**
 * shows/hides parts of the dialog according to the recording state provided.
 * @param {RecordingManager.recordingStates} state - The state this RecordingDialog should enter
 */
RecordingDialog.prototype.goToState = function(state) {
	let RecD = RecordingDialog;
	this.state = state;
	let states = RecordingManager.recordingStates;
	if (state === states.stopped) {
		this.recordButton.show();
		this.discardButton.hide();
		this.saveButton.hide();
		this.pauseButton.hide();
		this.resumeRecordingBn.hide();
		this.setCounterVisibility(false);
		this.getCenteredButton(0).enable();
	} else if (state === states.recording) {
		this.recordButton.hide();
		this.discardButton.show();
		this.saveButton.show();
		this.pauseButton.show();
		this.resumeRecordingBn.hide();
		this.setCounterVisibility(true);
		this.getCenteredButton(0).disable();
	} else if (state === states.paused) {
		this.recordButton.hide();
		this.discardButton.show();
		this.saveButton.show();
		this.pauseButton.hide();
		this.resumeRecordingBn.show();
		this.setCounterVisibility(true);
		this.getCenteredButton(0).disable();
	}
};

/**
 * Notifies the current RecordingDialog (if any) that recording has started
 */
RecordingDialog.startedRecording = function() {
	if (RecordingDialog.currentDialog != null) {
		RecordingDialog.currentDialog.goToState(RecordingManager.recordingStates.recording);
	}
};

/**
 * Notifies the current RecordingDialog (if any) that recording has stopped
 */
RecordingDialog.stoppedRecording = function() {
	if (RecordingDialog.currentDialog != null) {
		RecordingDialog.currentDialog.goToState(RecordingManager.recordingStates.stopped);
		RecordingDialog.currentDialog.reloadDialog();
	}
};

/**
 * Notifies the current RecordingDialog (if any) that recording has paused
 */
RecordingDialog.pausedRecording = function() {
	if (RecordingDialog.currentDialog != null) {
		RecordingDialog.currentDialog.goToState(RecordingManager.recordingStates.paused);
	}
};

/**
 * Re-retrieves the list of names from the backend and reloads the dialog with it
 * @inheritDoc
 */
RecordingDialog.prototype.reloadDialog = function() {
	let thisScroll = this.getScroll();
	let me = this;
	RecordingManager.listRecordings(function(response) {
		me.closeDialog();
		let dialog = new RecordingDialog(response);
		dialog.show();
		dialog.setScroll(thisScroll);
	});
};

/**
 * Shows/hides the counter and coverRect
 * @param {boolean} visible - Whether the counter and background behind it should be visible
 */
RecordingDialog.prototype.setCounterVisibility = function(visible) {
	if (visible) {
		if (this.coverRect == null) {
			this.coverRect = this.drawCoverRect();
		}
		if (this.counter == null) {
			this.drawTimeCounter();
		}
	} else {
		if (this.coverRect != null) {
			this.coverRect.remove();
			this.coverRect = null;
		}
		if (this.counter != null) {
			this.counter.remove();
			this.counter = null;
			this.remaingingText.remove();
			this.remaingingText = null;
		}
	}
};

/**
 * Sets the text of the counter according to the provided time.  Formats the time into hh:mm:ss or mm:ss
 * @param {number} time - elapsed time in ms
 */

RecordingDialog.prototype.timeToString = function(time) {
	if (this.counter == null) return;
	let totalSeconds = Math.floor(time / 1000);
	let seconds = totalSeconds % 60;
	let totalMinutes = Math.floor(totalSeconds / 60);
	let minutes = totalMinutes % 60;
	let hours = Math.floor(totalMinutes / 60);
	let secondsString = seconds + "";
	if (secondsString.length < 2) {
		secondsString = "0" + secondsString;
	}
	let minutesString = minutes + "";
	let totalString = minutesString + ":" + secondsString;
	if (hours > 0) {
		if (minutesString.length < 2) {
			minutesString = "0" + minutesString;
		}
		totalString = hours + ":" + minutesString + ":" + secondsString;
	}
	return totalString;
};
RecordingDialog.prototype.updateCounter = function(time) {
	const RD = RecordingDialog;
	if (this.counter == null) return;
	const totalString = this.timeToString(time);
	GuiElements.update.text(this.counter, totalString);
	let width = GuiElements.measure.textWidth(this.counter);
	let counterX = this.x + this.width / 2 - width / 2;
	GuiElements.move.text(this.counter, counterX, this.counterY);

	const remainingMs = Math.max(0, RD.recordingLimit - time + 999);
	if (remainingMs < RD.remainingThreshold) {
		const remainingString = this.timeToString(remainingMs) + " " + Language.getStr("remaining");
		GuiElements.update.text(this.remaingingText, remainingString);
		let remainingWidth = GuiElements.measure.textWidth(this.remaingingText);
		let remainingX = this.x + this.width / 2 - remainingWidth / 2;
		GuiElements.move.text(this.remaingingText, remainingX, this.remainingY);
	}
};

/**
 * Updates the counter of the current RecordingDialog.  Called by the RecordingManager
 * @param time
 */
RecordingDialog.updateCounter = function(time) {
	if (this.currentDialog != null) {
		this.currentDialog.updateCounter(time);
	}
};

RecordingDialog.recordingsChanged = function() {
	if (RecordingDialog.currentDialog != null) {
		RecordingDialog.currentDialog.reloadDialog();
	}
}

RecordingDialog.alertNotInProject = function() {
	//let message = Language.getStr("Open_before_recording");
	//DialogManager.showAlertDialog(Language.getStr("No_project_open"), message, Language.getStr("OK"));
	let message = "Please open a project before recording";
	DialogManager.showAlertDialog("No project open", message, Language.getStr("OK"));
};

redpajama_set_name: RedPajamaGithub


text:
Ма́рек Себа́стьян Ле́сняк ( род. 29 февраля 1964 года в Голенюве) — польский футболист, нападающий. Значительную часть карьеры провёл в «Погонь Щецин» и «Байер 04». На рубеже 80-х и 90-х годов выступал в сборной Польши.

Карьера
Лесняк начал свою карьеру в клубе «Поморзанин Новоград». В 1982 году он перешёл в «Погонь Щецин». В этот период он также выступал в молодёжной сборной Польши, с которой занял третье место на чемпионате мира 1983 года. В сезоне 1983/84 он попал в первую команду «Погонь» и стал её основным нападающим. 7 октября 1986 года он дебютировал в национальной сборной в товарищеском матче против Северной Кореи в Быдгоще, соперники разошлись вничью 2:2. В 1987 году он с «Погонь» занял второе место в чемпионате и стал лучшим бомбардиром лиги с 24 голами в 30 матчах.

Будучи на сборах олимпийской сборной Польши в Дании 20 мая 1988 года, он покинул отель в Орхусе, после чего не вернулся в страну с командой. Он отправился в ФРГ, решив продолжить карьеру там. Его первым зарубежным клубом был «Байер 04», действующий победитель Кубка УЕФА. По правилам Польского футбольного союза за рубеж не выпускались игроки младше 28 лет. Тем не менее польская сторона достигла соглашения с «Байером»: к трансферной сумме в размере 2 млн немецких марок (рекорд для игрока из Польши в то время) добавлялась поставка в Польшу фармацевтических препаратов компании Bayer (общая стоимость медикаментов превысила сумму трансфера).

Лесняку помогал адаптироваться его соотечественник Анджей Бунцоль, прибывший в команду годом ранее. В итоге Лесняк стал основным игроком «фармацевтов». За четыре сезона он сыграл большую часть матчей чемпионата, он также забил 19 голов. В сезоне 1989/90 он был лучшим бомбардиром «Байера» (8 голов). Однако его карьера в сборной не была успешной. Из «Байера» в команду его вызывали только один раз в 1989 году, после чего последовала четырёхлетняя пауза. В 1992 году он перешёл из «Байера» в «Ваттеншайд 09». Он играл в этом клубе три сезона. За это время по итогам опроса еженедельника Piłka Nożna он был признан футболистом года в Польше (1993). В 1995 году он стал игроком «Мюнхен 1860», а с весны 1996 года играл за «Юрдинген 05». Летом 1996 года он отправился в Швейцарию, где выступал за «Ксамакс». В 1997 году он вернулся в немецкую Бундеслигу, став игроком «Фортуна Дюссельдорф». В 1999 году он перешёл в более скромный «Пройссен Мюнстер». Его последними клубами стали «Фельберт» и «Хилден-Норд».

После окончания карьеры игрока тренировал различные немецкие клубы низших лиг.

Примечания

Ссылки

Футболисты Польши
Игроки сборной Польши по футболу
Игроки ФК «Погонь» Щецин
Игроки ФК «Байер 04»
Игроки ФК «Ваттеншайд»
Игроки ФК «Мюнхен 1860»
Игроки ФК «Юрдинген 05»
Игроки ФК «Ксамакс»
Игроки ФК «Фортуна» Дюссельдорф
Игроки ФК «Пройссен» Мюнстер
Футбольные тренеры Польши


text:
Telefónica enters into exclusive negotiations with Hutchison Whampoa to sell O2 UK for £10.25 billion
- This announcement marks a key milestone in Telefónica's process of strategtic transformation to accelerate sustainable long term growth.
#O2
Madrid, 23 January 2015.- Telefónica has entered into an exclusivity agreement with Hutchison Whampoa in relation to Hutchison's potential acquisition of O2 UK, Telefónica's subsidiary in the United Kingdom, for £10.25bn in cash (approximately €13.5bn).
The agreement includes an initial amount of £9.25bn (approximately €12.2bn) which would be paid at closing of the transaction and an additional deferred payment of £1.0bn (approximately €1.3bn). The exclusivity period will last several weeks, allowing Telefónica and Hutchison Whampoa Group to negotiate definitive agreements, while the necessary due diligence process on O2 UK is completed.
This operation marks another step in Telefónica's transformation process, initiated by the Company to become a leading digital telco and accelerate sustainable long term growth while maintaining an attractive remuneration policy.
Additionally, this announcement occurs at a decisive moment for Telefónica, following a period during which the company has been proactively managing its portfolio of assets, significantly reinforcing its position in key markets (consolidating Germany, acquiring GVT in Brazil -pending regulatory approvals- or undertaking a commercial and technological revolution in Spain) and therefore increasing its potential for future growth.
Finally, today's agreement shows that Telefónica continues to lead the European consolidation process and it will allow the company to strengthen its financial flexibility.
Press_Release_23012015.pdfDownload
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