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The Royal Australian Mint is a listed entity within the Commonwealth Government portfolio of the Treasury and is the sole supplier of Australia's circulating coinage.
As well as the Mint's functions to produce Australia's coinage, it produces coins for other countries, along with medals, medallions, tokens and seals for private clients, both national and international.
When doing business with Royal Australian Mint - please say you saw them in Bullion.Directory.
Read or add Royal Australian Mint reviews and ratings using the "reviews" tab above.
All Royal Australian Mint details are believed to be correct at the time of listing. Please report errors here.


text:
namespace extensions {

std::unique_ptr<KeyedService> ApiResourceManagerTestFactory(
    content::BrowserContext* context) {
  return std::make_unique<ApiResourceManager<Socket>>(context);
}

class SocketUnitTest : public ExtensionApiUnittest {
 public:
  void SetUp() override {
    ExtensionApiUnittest::SetUp();

    ApiResourceManager<Socket>::GetFactoryInstance()->SetTestingFactoryAndUse(
        browser()->profile(),
        base::BindRepeating(&ApiResourceManagerTestFactory));
  }
};

TEST_F(SocketUnitTest, Create) {
  // Create SocketCreateFunction and put it on BrowserThread
  SocketCreateFunction* function = new SocketCreateFunction();

  // Run tests
  std::unique_ptr<base::DictionaryValue> result(
      RunFunctionAndReturnDictionary(function, "[\"tcp\"]"));
  ASSERT_TRUE(result.get());
}

TEST_F(SocketUnitTest, InvalidPort) {
  const std::string kError = "Port must be a value between 0 and 65535.";

  SocketConnectFunction* connect_function = new SocketConnectFunction();
  EXPECT_EQ(kError,
            RunFunctionAndReturnError(connect_function, "[1, \"foo\", -1]"));
  SocketBindFunction* bind_function = new SocketBindFunction();
  EXPECT_EQ(kError,
            RunFunctionAndReturnError(bind_function, "[1, \"foo\", -1]"));
}

}  // namespace extensions

redpajama_set_name: RedPajamaGithub


I really like how they all came out. To give you an idea of size, each block finishes at 7" so some of the pieces in the blocks are really, really tiny, which is why I love paper piecing, because it helps make those tiny pieces easier.
Reduce the number of un-quilted, but finished quilt tops. I currently have 9 tops that are complete and are just waiting to be quilted. I hope to have this number reduced by 2011. Now that I have my new machine with the fantastic BSR, I find machine quilting so much easier. My old machine was absolutely terrible at machine quilting.
Buy less fabric and use more fabric from my stash. I admit it, I'm a fabric junkie. Hopefully I'll do better this year then I did last year.
Reduce the number of UFOs I have going on right now. I have 9 quilts/projects that are already in the works (not including the 9 tops waiting to be quilted) and another 5 projects that I have picked a pattern and fabric but have not started them yet. Again, I hope to reduce these numbers as well.
Maintain this blog. I think I've figured out that I'm a 1-2 post a week person, and there's not much more I can do about that. I don't sew every since I do work full time, which means I don't have things to update on a daily basis.
That's it for me. Hopefully I'll be able to meet those goals, especially because they aren't too specific.


text:
John DeShazier: Two Saints on Sunday will be playing against their former team
Warford: 'I'm not treating it any different than any other week. But it's going to be fun, though.'
A few samplings from Saints coach Sean Payton and players from Friday's media availability:
FRENEMIES: As is often the case in the NFL, two Saints on Sunday will be playing against their former team, the Lions, in the Mercedes-Benz Superdome. Right guard Larry Warford was drafted by Detroit in the third round in 2013 and played his first four seasons with the Lions, and safety Rafael Bush was a Saint from 2012-15 before he signed with Detroit as an unrestricted free agent last year, then came back to New Orleans as an unrestricted free agent this season.
"It's another week," Warford said. "Obviously, I know a lot of these guys on this team. I'm excited to play them, but I'm not treating it any different than any other week. But it's going to be fun, though.
"I haven't talked to them in a while, and that's usually the case. I know a lot of guys from around the league on different teams, and game week comes around and it's like, you've got to back up a little. We'll talk after the game."
Bush said he's excited to face his former team.
"Any time you play against a team that you formerly played for, you want to make sure that you put your best foot forward," he said. "You want to be your best, you want to give a good impression and let them know, like, 'Hey, y'all know who I am.' So, it's a little more heightened."
MR. RELIABLE: Payton said that veteran linebacker Craig Robertson smoothly filled in when rookie starter Alex Anzalone injured his shoulder in the first quarter against Miami. Robertson started all 15 games he played for the Saints last season and frequently started during his four-year tenure in Cleveland (37 starts in 58 games).
"I thought he played well," Payton said. "He played early and played often once the injury happened. He's experienced. He's played a lot of regular snaps in our league, so that's a plus and one of the reasons we were drawn to him as a free agent (last year). He has done a good job."
ARMSTEAD UPDATE: Payton said left tackle Terron Armstead, a limited participant in practice this week, is "making progress, hanging in there and doing well. It's a significant injury that he's recovering from." Armstead possibly will make his regular-season debut on Sunday after tearing his labrum during minicamp. His return would come at an opportune time for the Saints, who placed right tackle Zach Strief on the reserve/injured list following the Miami game. If Armstead is active, rookie Ryan Ramczyk likely would flip from left tackle to right tackle (he started two games there, and switched midgame from left to right tackle against Miami after Strief's injury) and Andrus Peat would remain at left guard (Peat has played left tackle when Ramczyk has filled in at right tackle).
Flashback: Best of Saints Fan Photos during the 2021 NFL Season
A collection of the best Saints fan photos on the road and in the Caesars Superdome
New Orleans top market for 'Sunday Night Football' ratings for fourth consecutive season
It was the seventh time in the past 12 seasons that the Crescent City had best ratings
New Orleans Saints 2021 Season Recap
Game-by-game review of the Saints 2021 NFL season
Receiver Tre'Quan Smith gives New Orleans Saints offense boost against Atlanta | Helmet Stickers from NFL Week 18
CB Paulson Adebo has interception, two passes defensed
New Orleans Saints finish season with strong overall performance against Atlanta | NFL Week 18 analysis
Offense scored three touchdowns, defense forced three turnovers
New Orleans Saints beat Atlanta Falcons 30-20 but denied spot in playoffs | NFL Week 18
Los Angeles Rams blow 17-point lead, keeping Saints from playoff spot in loss to San Francisco
Live Updates from Saints at Falcons Week 18 | 2021 NFL
Atlanta Falcons vs. New Orleans Saints live game updates from social media for their week 18 matchup during the 2021 NFL season
New Orleans Saints inactives vs. the Atlanta Falcons | NFL Week 18
Right tackle Ryan Ramczyk is active; Mark Ingram is inactive
New Orleans Saints vs. Atlanta Falcons | Series History 2021
A look back at the series history, records and stats between these NFC South rivals
Saints rally towels available to fans at Ochsner Sports Performance Center in advance of showdown against Falcons in Atlanta
Saints fans traveling to Atlanta urged to create a playoff atmosphere at Mercedes-Benz Stadium
Saints at Falcons Game Preview | 2021 NFL Week 18
A New Orleans victory in Atlanta combined with a San Francisco 49ers loss to the Los Angeles Rams would catapult New Orleans into the conference's seventh playoff spot ahead of San Francisco and set up a road matchup at the Rams on NFL Wild Card weekend.
Ways to Watch: Saints at Falcons 2021 NFL Week 18
How to watch, listen and live stream New Orleans Saints vs Atlanta Falcons on Jan. 9, 2022

redpajama_set_name: RedPajamaCommonCrawl


The Ignite team had a blast last week sponsoring and exhibiting at SubSummit 2018. Our team has been participating in this conference since its inception three years ago, but this year we were able to attend on our home turf in Denver, CO! Having attended, exhibited, and co-hosted an exclusive happy hour, there was plenty to love about this year's Subscription Summit. Read on to learn the top three reasons why we loved SubSummit 2018.
One of the main reasons Ignite attends SubSummit is for the industry insights; to keep up with the hottest trends and understand how others in our field are utilizing them. Ignite Managing Director, Lauren Pfanmiller, was able to attend Hitwise's Subscription Box Consumers Top Secret Insights session and My Subscription Addiction's Reimagining The Customer Experience panel.
Some of Lauren's major takeaways from these sessions included the fact that the typical subscription box shopper is millennials with a college degree making $100k+ and/or students living in college towns or hipster neighborhoods. Knowing this, Ignite OPM has expanded their distribution for their subscription clients to publishers with these demographics. Subscription boxes are also relying less on social than in previous years, while publishers using an affiliate model are driving significantly more traffic for subscription sites year-over-year. Ignite OPM's clients have capitalized on this by creating deeper integrations with subscription sites to help scale their quality affiliate traffic. Additionally, 1 in every 50 searches to subscription sites include the word "best" or "review". This is why it is so important to build and manage an all-encompassing review site strategy, securing your brand shows up in all of these search results. Finally, while relying less on social, subscription boxes are ahead of the curve in the shift to mobile with approximately 65% of visits coming from mobile devices. Ignite OPM manages desktop, mobile web, and app distribution for their clients to ensure their strategies accommodate the customer's entire buying journey; this is becoming more important for all brands to start embracing. Thank you to Hitwise and My Subscription Addiction for making these discussions both informative and engaging.
A second reason to love SubSummit this year was the opportunity for Ignite to participate in the Affiliate Partnerships That Scale session; moderated by Lauren Pfanmiller, featuring industry experts from Blue Apron, Groupon, and Ibotta. During this session, Blue Apron spoke about how affiliate is this endless channel of opportunity and how much of a role affiliate has played in Blue Apron's overall growth since starting with Ignite OPM and the affiliate channel over 3 years ago. Groupon spoke about the impressive targeting capabilities they have in their affiliate division, and Ibotta discussed the expansive mobile distribution and engagement they can support across brands in the affiliate space. Being able to get on stage with these professionals and discuss their firsthand experiences within the subscription space was a fantastic opportunity to share our personal learnings and best practices with the audience.
Finally, Ignite's third reason for loving this year's conference was the networking opportunities. Between exhibiting, attending sessions and the Cube Awards, and co-hosting an exclusive happy hour, Ignite was able to make some fantastic new connections. Of course, SubSummit was also an opportunity to catch up with colleagues and friends, making this year's conference valuable and enjoyable.


The Number Coding Scheme—everyone in the Metro who owns a car knows about it. Also known as the Unified Vehicular Volume Reduction Program, the scheme is designed to ease traffic congestion by preventing cars with a specific number at the end of their license plate to be on the road on a particular day.
For those who own more than one vehicle, the Number Coding Scheme practically has no effect. Unfortunately, number coding today poses a problem for those who only own one car and need to ply the streets of the Metro on a daily basis. If you're unlucky enough to belong to the latter, let the information below help you find the best workaround for your situation and tip the scales in your favor.
Drivers found violating the scheme face two consequences: confiscation of driver's license or the issuance of a traffic ticket that carries a P300.00 fine. The type of penalty meted out will depend on the city where the violation occurred.
The cities of Makati and Las Piñas do not have window hours. In these two cities, number coding is upheld straight from 7 am to 7pm.
Pasig City is more generous than any other city with its window hours, which lasts from 9 am to 4 pm.
Taguig City does not enforce the scheme in its internal roads, but puts it into effect on the National Roads within its boundaries, such as C5, East Service Road and Manuel L. Quezon.
-France St. in Barangay Don Bosco.
National thoroughfares such as Roxas Boulevard, C5, Diosdado Macapagal Avenue and EDSA follow the general window hours schedule regardless of which city they're in.
As of 2016, the MMDA widened the scope of the number coding scheme and introduced a new "no window hour" policy in the city of Manila. This means that some areas that had "windows hours" will no longer let traffic pass during these times in an attempt to ease traffic congestion in the city.
When dealing with road rules and regulations such as the Number Coding Scheme, it always helps to know the landscape. Let the information above guide you to use the scheme to your advantage. Should you have more specific queries, the MMDA contact number is as follows: (02) 882 1302.
Easiest read about number coding out there thank you!
May coding ba sa side streets like Green Meadows Ave in Pasig?
May coding ba sa green meadowd ave in pasig which is a side street?
November 11 2017 po ba ay holiday? nahuli po kasi kmi dahil coding po kasi ng sasakyan nmin… salamat po!
why not exempted this restrictions on hollydays, like Xmas?


text:
"Tweedland" The Gentlemen's club
Hitler in Hollywood.
Does 'The Collaboration' Overstate Hollywood's Cooperation With Hitler?
8:48 AM PDT 7/31/2013 by Thomas Doherty / http://www.hollywoodreporter.com/news/does-collaboration-overstate-hollywoods-cooperation-595678
Brandeis professor Thomas Doherty, who wrote an earlier book on Hollywood and Hitler, calls the controversial "The Collaboration," which is excerpted in THR, "slanderous and ahistorical."
Ben Urwand's new book, The Collaboration: Hollywood's Pact with Hitler, has sparked a debate among scholars and others about the nature of Hollywood's relationship to Hitler and the Nazi party in the 1930s before the outbreak of war in Europe. Drawing upon extensive archival research, much of it not previously known, Urwand makes the case that the major American movie studios went to extraordinary lengths to cooperate with the Nazis to protect access to the German market.
Hitler's Hollywood: The Films Nazis Loved and Hated
Urwand has prominent defenders, including University of Cambridge professor Richard J. Evans, the noted historian of the Third Reich, who called the book, "full of startling revelations presented in examplary fashion." Deborah Lipstadt, a Holocaust historian at Emory University has said it "could be a blockbuster."
PHOTOS: Hitler's Hollywood: The Films Nazis Loved and Hated
But his most forceful critic has been Brandeis University historian Thomas Doherty, the author of a competing narrative, Hollywood and Hitler, 1933-39, published earlier this year. Here Doherty summarizes his criticism of Urwand's book for The Hollywood Reporter. -- Andy Lewis
Ben Urwand's The Collaboration: Hollywood's Pact with Hitler, to be published in September by Harvard University Press, dovetails in some ways with my own book, Hollywood and Hitler, 1933-1939, published last April by Columbia University Press.
Urwand's study has already generated an extraordinary amount of buzz due to the incendiary charges emblazoned in its title: that Hollywood was a hotbed of Nazi collaboration, a nest of craven greedheads whose pact with the devil made the American motion picture industry -- particularly the mostly Jewish moguls who ran the studio system -- complicit in the rise of Nazism and, presumably, the horrors that came after.
I consider Urwand's charges slanderous and ahistorical -- slanderous because they smear an industry that struggled to alert America to the menace brewing in Germany and ahistorical because they read the past through the eyes of the present.
The trouble begins with the title on the marquee. "Collaboration" is how you describe the Vichy government during the Nazi Occupation of France or Vidkun Quisling, the Norwegian double-crosser whose name became synonymous with treason. To call a Hollywood mogul a collaborator is to assert that he worked consciously and purposefully, out of cowardice or greed, under the guidance of Nazi overlords.
THE COVER STORY: The Chilling History of How Hollywood Helped Hitler (Exclusive)
The subtitled designation "pact" doubles down on the J'accuse! by echoing the two infamous treaties that abetted the forward march of Nazism: the Munich Pact, signed on Sept. 30, 1938, in which the French and the British bowed before Hitler's "last territorial demand" and acquiesced to the carving up of Czechoslovakia; and the Molotov-Ribbentrop Pact of Aug. 23, 1939, in which Nazi Germany and the Soviet Union signed an alliance that gave the green light for World War II. This is very nasty company for the likes of Louis B. Mayer, Carl Laemmle and Jack Warner.
The counterpoint is so basic it should go without saying were not historical amnesia a pervasive condition.
In the 1930s, the Nazis were not yet the Nazis of our history, our imagination. They had not yet started World War II, they had not yet implemented the Holocaust and they had not yet become what they are now: a universal emblem for absolute evil. From our perspective, the rise of Nazism looks like a linear trajectory, a series of accelerating events terminating inevitably at the gates of Auschwitz.
At the time, the endgame of Nazism was not so clear.
Most Americans, including the Hollywood moguls, had no inkling of the horrors to come, no understanding that dealing with the new regime in Germany was not business as usual. While sifting through the trade press accounts (including those in The Hollywood Reporter) and industry memos from the 1930s, I saw some greed and cupidity, to be sure, but mainly I saw confusion, wishful thinking, and disbelief. How did a nation Hollywood had long considered sane and rational become so pathological? Was this a permanent affliction or would the fever break?
Today, any dealing with the Nazis seems unimaginable. In the 1930s, it just wasn't.
Appreciating the constraints under which the Hollywood studio system operated is equally important. In the 1930s, motion pictures possessed no First Amendment rights. (Cinema was not put under the umbrella of the U.S. Constitution until the U.S. Supreme Court's Miracle decision in 1952.) Censorship of all kinds -- from foreign governments, from state censor boards, and from the industry's own in-house regulatory agency, the Production Code Administration -- was an accepted fact of life.
STORY: How Jack Warner Tried to Crush the Postwar German Film Industry (Book Excerpt)
A movie was not considered an inviolable work of art; it was a malleable product that could be tailor-made to suit the whims of the customer -- take a little off here, add something over there. Hollywood had been editing films to foreign specifications since at least 1918, when the sinister Asian villain in Cecil B. DeMille's The Cheat (1915) morphed from Japanese to Burmese after protests from the Japanese government.
Of course, the Hollywood studios tried to negotiate with Germany to leverage their films into a lucrative marketplace. This is hardly a news bulletin.
Some, like Universal and Warner Bros., found dealing with the Nazis impossible and pulled up stakes. Others, like Paramount, Fox, and MGM, stuck it out until the outbreak of war in Europe. After all, Germany was officially a "friendly nation" and the United States was not a signatory to the Versailles Treaty. In addition to the immediate profit motive, the studios sought to maintain a foothold for their distribution infrastructure; no one expected the Third Reich to last for a thousand years.
Perhaps most importantly, a fixation on the mechanics of the import market ignores the action on the homefront--a story of passionate anti-Nazi activity in Hollywood. No Popular Front group in the 1930s did more to alert Americans to the looming threat from Nazism than the Hollywood Anti-Nazi League for the Defense of Democracy (HANL). Founded in 1936 and numbering some 5,000 artists-activists from all ranks of the motion picture industry, HANL worked tirelessly to raise awareness about the menace of Nazism--holding rallies, broadcasting radio shows, and doing its best to inject anti-Nazi sentiments into Hollywood cinema (no easy task given the obstacles set up by the internal and external censors who always sought to denude American cinema of overt political content).
It would be unfortunate if the headlines about Hollywood "collaboration" were to tar the reputations of those moguls who stood tall and firm against Nazi ideology.
The work of Carl Laemmle, founder of Universal Pictures, is especially praiseworthy. Like many German-born Jews of his generation, he had an abiding affection for what he called his "fatherland" (the word gave off no unpleasant aroma then). He was astonished when the Universal production he was proudest of--the antiwar epic All Quiet on the Western Front (1930)-- precipitated riots in Berlin, incited by Joseph Goebbels himself.
With the rise of Hitler in 1933, Laemmle soon came to understand that the Germany he fondly remembered was no more. He wrote checks to the European Film Fund, a refugee charity co-founded by agent Paul Kohner and director Ernst Lubitsch, and signed hundreds of affidavits to facilitate the immigration of Jewish refugees into the United States (and thereby singlehandedly saved more Jews from annihilation than the U.S. State Department).
At Warner Bros., which had pulled out of Germany in 1933 after the head of its Berlin office was beaten up by Nazi thugs, Jack and Harry Warner consistently placed their pocketbooks and studio in service to the anti-Nazi cause--dunning their employees for "donations" to HANL, opening up the airwaves on radio station KFWB for anti-Nazi commentary and entertainment fare, and producing a series of anti-Nazi allegories emphasizing democratic aspiration and religious tolerance.
The meaning between the lines could be read by any sentient spectator in films such as Black Legion (1937), a preachment against domestic fascism; The Life of Emile Zola (1937), a tribute to freedom of expression built around the French author's advocacy for the railroaded Jewish artillery officer Alfred Dreyfus; The Adventures of Robin Hood (1938), an Errol Flynn swashbuckler that doubles as a broadside against tyranny; and the biopic Juarez (1939), in which dark Mexican peasants triumph over Aryan invaders. The allegory finally became explicit with the first real shot across the bow, the groundbreaking Confessions of a Nazi Spy (1939).
No wonder, in 1938, at a gathering of anti-Nazi activists at the home of Edward G. Robinson, Groucho Marx, in one of his few recorded straight lines, raised his glass and offered up a toast to Warner Bros.--"the only studio with any guts."
"I never knock the other fellow's merchandise," says insurance agent Walter Neff in Billy Wilder's Double Indemnity (1944)--a good policy as well for an author peddling a book. Still, I am obliged to say that I am always leery of history that encourages the present to feel morally superior to the past, that makes today's readers think: "Ah, if I were alive in 1935, I would have been far more far-sighted and morally scrupulous than those benighted and ethically compromised scoundrels who ran the studios."
My own conclusion on the subject of Hollywood and Hitler in the 1930s? On balance, and given the restrictions of the time, Hollywood did more than any other for-profit business to sound the alarm against Nazism. It is a story of not of collaboration but resistance.
Thomas Doherty is professor of American Studies at Brandeis University and the author of Hollywood and Hitler, 1933-1939 (Columbia University Press, 2013).
Ben Urwand
As a Hays Office censor, Joseph Breen (center) was able to suppress anti-Nazi films.
PHOTOGRAPH: KURT HUTTON/GETTY
Hitler in Hollywood
Did the studios collaborate?
by David Denby
SEPTEMBER 16, 2013 / http://www.newyorker.com/arts/critics/books/2013/09/16/130916crbo_books_denby?printable=true&currentPage=all
In 1937, Warner Bros. departed from its usual fare of jittery urban dramas and emotionally saturated women's pictures. In a burst of ambition, it mounted a historical spectacle set in late-nineteenth-century Paris, "The Life of Emile Zola," starring Paul Muni. "Zola" is meant to be a stirring man-of-conscience movie: after early struggles, followed by huge success, the writer, in self-satisfied middle age, gets drawn, with increasing fury, into the Dreyfus affair. "Zola," which was directed by the German émigré William Dieterle, includes episodes that were interpreted at the time as indirect attacks on Nazi Germany: scenes of state-inspired mob agitation launched first against Alfred Dreyfus, a Jewish captain in the French Army who is falsely accused of treason; and then against Zola for defending him—his books are publicly burned. At the end, in an outpouring of the progressive rhetoric that was typical of the thirties, Zola makes a grandiloquent speech on behalf of justice and truth and against nationalist war frenzy. "The Life of Emile Zola" was a big hit for Warners. It was nominated for ten Academy Awards—Muni, formerly a star of the Yiddish theatre in New York (he was born Meshilem Meier Weisenfreund), was nominated for best actor—and it won three, including best picture. But there is a pervasive oddity about the film: the word "Jew" is never spoken in it, and anti-Semitism is never mentioned. There were four instances of "Jew" in the original screenplay, but three were cut, leaving a single appearance of the word, on a printed page. As the French general staff scan a list of officers, the words "Religion: Jew" appear onscreen next to Dreyfus's name. The shot lasts about a second and a half.
Was the undeleted word an error? A solitary act of defiance? "The Life of Emile Zola" is a perfect example of the half-boldness, half-cowardice, and outright confusion that marked Hollywood's response to Nazism and anti-Semitism in the nineteen-thirties. In that decade, the industry produced a generally good-hearted and liberal cinema that celebrated such democratic American virtues as easy manners, tolerance, heroic individualism, and loathing of mob violence—all of which can be seen as a de-facto rebuke to Nazism. At the same time, the studios cancelled several explicitly anti-Nazi films planned for production, and deleted from several other movies anything that could be construed as critical of the Nazis, along with anything that might be seen as favorable to the Jews—or even a simple acknowledgment that they existed. Except for Twentieth Century Fox, headed by Darryl Zanuck, a shrewd and tough Gentile from Nebraska, the studios were run by Jews, who controlled many hectares of Los Angeles turf and worldwide distribution networks—an enormous power base that makes their timidity regarding Nazism a matter of psychological and cultural as well as political interest.
In recent years, a variety of scholars, including Neal Gabler, J. Hoberman, Jeffrey Shandler, Lester D. Friedman, Steven Carr, and Felicia Herman, have worked on different aspects of this complicated history. But the story has been charged up by the appearance of two new books: "The Collaboration: Hollywood's Pact with Hitler" (Harvard), by Ben Urwand, a junior fellow of the Society of Fellows at Harvard; and "Hollywood and Hitler, 1933-1939" (Columbia), by Thomas Doherty, a professor of American studies at Brandeis. Doherty's book is much the better of the two. A witty writer familiar with Hollywood history and manners, Doherty places the studios' craven behavior within a general account of the political culture of the movies in the thirties and forties. He finds both greed and fear in studio practice, but in a recent Times report on the controversy he strongly objects to Urwand's use of the word "collaboration." Urwand, an Australian, and the grandson of Hungarian Jews who spent the war years in hiding, flings many accusations. He speaks of Hitler's victory "on the other side of the globe," by which he means Hollywood, and he claims to see "the great mark that Hitler left on American culture." Throughout the book, he gives the impression that the studios were merely doing the Nazis' bidding. In that same Times article, he says that Hollywood was "collaborating with Adolf Hitler, the person and human being."
Urwand has established the existence of multiple contacts between the studios and German government officials, and, in an apparent coup, he makes central use of a figure whom Doherty summons only sparingly: the Nazi consul in Los Angeles, Georg Gyssling, a former diplomat whose suavely threatening manner resembles the polite menace of Conrad Veidt's Major Strasser, in "Casablanca." Urwand shows that the studios occasionally allowed Gyssling to read scripts, to see early cuts of movies, and to demand—sometimes successfully—deletions from finished films. But are Urwand's extreme conclusions warranted by what he has discovered? And, intentionally or not, his accusations stir up an old, sore question: should the Jews have done more to fight the persecutions that eventually enveloped them?
"The Americans are so natural. Far superior to us," Joseph Goebbels, the Nazi propaganda minister, confided to his diary in 1935, after seeing "It Happened One Night." American films, including musicals, were popular in Germany; they had a relaxed, colloquial way about them that German filmmakers, who tended toward agonized expressionism in the nineteen-twenties and rigid didacticism during the Nazi period, couldn't match. Goebbels's wistful appreciation of American ease is one of the bizarre ironies of the story, since he was intent on purging the cinema of anything that didn't comport with Nazi ideology. Among other things, he removed Jewish artists and workers from the German film industry and pushed out Jews who worked for the distribution arms of American studios.
The Nazis saw every movie as a potential threat to their immaculacy. Urwand quotes some solemn colloquies among Nazi officials, including a mental-health expert. Would "King Kong" (giant ape with Nordic-looking blonde) offend the "healthy racial feelings" of the German people? How about "Tarzan" (shirtless jungle man with white woman)? "King Kong" was released, "Tarzan" banned. So was the violent "Scarface," Charlie Chaplin's "Modern Times," and all the later films of Marlene Dietrich, an outspoken critic of the Nazis. Goebbels's ministry also found out which American actors and crew members were Jewish or anti-Nazi, and refused to import films on which they had worked.
All this censoring and interdiction came at the German end of the distribution chain. Georg Gyssling was installed at the production end. After arriving in Los Angeles, in 1933, he began scouring the trade press. If he thought that a movie announced for production might contain elements "detrimental to German prestige," or if he went to a screening (at the studio's invitation) of such a movie when it was finished, he would write a letter detailing cuts that he wanted made. For instance, after seeing "The Lancer Spy," a 1937 Fox picture set after the First World War, he objected to the way German officials were portrayed, and sent a list of changes, which, according to Urwand, were made before the film was released. The list was sent not to Fox but to the Hays Office, which administered the Production Code. "The production of a film of such a character will arouse very bad feeling in Germany against the producing company and may lead to serious difficulties which should be avoided in mutual interests," he wrote, by which he meant that the film, at his suggestion, could be banned in Germany.
Gyssling protested other films about the First World War period—"Captured!," set in a German prison camp, and "The Road Back," based on Erich Maria Remarque's sequel to "All Quiet on the Western Front" (a pacifist novel and movie that the Nazis hated). Urwand speculates that Gyssling, by harping on the past, was trying to forestall even more negative images of Germany set in the Nazi present. Gyssling played both the short game and the long, and, occasionally, he overplayed. In 1937, when Universal ignored his remonstrations and began adapting "The Road Back," he sent letters to the cast and crew warning that any movies they worked on in the future might be banned in Germany. The impudent letter got into the press, an uproar ensued, and the German Foreign Office had to assure the State Department that no further threats would be made against American citizens. Yet Gyssling brazened it out and remained in place.
Why did the studio bosses listen to him at all? They were not thoughtful men who revealed themselves in diaries and letters; they ruled by meetings and telephone calls, so we know virtually nothing about their thinking on such sensitive matters. An obvious reason, which both Doherty and Urwand give, is that the studios wanted to hold on to the German market. Neither author, however, gives many figures, though Urwand notes that Paramount actually lost a little money in Germany in 1936. Tino Balio, a professor emeritus at the University of Wisconsin-Madison and an expert on the American film industry, says that the German market was much smaller than that of Great Britain, and that it got smaller still as the decade went on. Warners left Germany in 1934, the year Nazi thugs assaulted its representative there (an English Jew), and, as Urwand admits, by 1936 only Paramount, M-G-M, and Fox were still distributing films in the country. In any case, the studios did not have immediate access to their returns, which were frozen in German banks—something that Urwand waits until the middle of his book to tell us.
No doubt the studio bosses accommodated the Nazis because they hoped for a more amenable regime in the future; they were businessmen, and acted as businessmen. Fox and Paramount, eager to claim some part of the frozen assets, made newsreels, with Nazi coöperation, chronicling Party activities, and sold them to overseas markets. Urwand scores a point here: these were propaganda films, though we don't know if audiences reacted to them with pleasure or with loathing. A second attempt to get at the frozen assets: at the suggestion of an American trade commissioner, M-G-M loaned money to German companies in return for the companies' bonds, which it sold at a discount. Some of those companies made arms, and Urwand concludes that the studio "helped to finance the German war machine." Yet the studio executives could hardly have known in the mid-thirties that another war was coming.
Given all the restrictions on studio operations in Germany, Gyssling's threats could not have been very plausible by the middle of the decade. Isn't it likely that the studios were responding to other pressures and fears as well?
What many people don't know about the Production Code is that the studios imposed it on themselves. In 1922, they realized that, as a new and increasingly scandalous industry, they needed an organization to represent them in Washington. They formed the Motion Picture Producers and Distributors of America, under the direction of the former Postmaster General Will H. Hays, an Indiana Republican and a Presbyterian. (It still represents the studios, under the title Motion Picture Association of America.) It also set up a moral guide, which was intended to ward off both national and local censorship. The Code was toothless until 1934, when the Legion of Decency—a conservative Catholic organization—claimed that Hollywood, with its racy productions, was polluting the nation's youth. The organization threatened to get Catholics to boycott any films that it saw as unfit. From that point, a movie couldn't get widespread distribution unless it received a Production Code seal, which certified that its morals and its politics had withstood scrutiny. Hays appointed as censor-in-chief Joseph I. Breen, a prominent Catholic layman and contributor to Catholic journals. He was also an anti-Semite. Two years before he was appointed, as Doherty reports, Breen wrote to a friend that "people whose daily morals would not be tolerated in the toilet of a pest house hold the good jobs out here and wax fat on it. Ninety-five percent of these folks are Jews of an Eastern European lineage. They are, probably, the scum of the scum of the earth."
Most of Breen's rules centered on sex and language, but the code also included this stricture: "The history, institutions, prominent people, and citizenry of all nations shall be represented fairly." The statement was so loose in meaning that it could be used to ban any critical look at a foreign country. By 1934, then, Breen and Gyssling had overlapping briefs. Breen read every script before it went into production, and he used the "fairness" justification to limit or kill any film that touched on Nazi Germany. As J. Hoberman and Jeffrey Shandler put it in their volume "Entertaining America" (2003), a history of Jews and the media, "Breen and his ecclesiastical supporters saw Hitler's rise as instrumental in their campaign to reform Hollywood. Nazi politics and anti-Semitic agitation had made Jewish studio executives newly vulnerable."
At several points in the mid-nineteen-thirties, an agent named Al Rosen—eager to become a producer—attempted to raise money for a project called "The Mad Dog of Europe." The screenplay, which had been bouncing around Hollywood since 1933, was about the destruction of a German-Jewish family during Hitler's rise to power. No studio had attached itself to the project, but the script got to Breen's office, and Breen took the matter seriously. In a long memo, he wrote:
Because of the large number of Jews active in the motion picture industry in this country, the charge is certain to be made that the Jews, as a class, are behind an anti-Hitler picture and using the entertainment screen for their own personal propaganda purposes. The entire industry, because of this, is likely to be indicted for the action of a mere handful.
This kind of reasoning, with its open threat, effectively killed the project and maimed many others.
In 1936, M-G-M acquired Sinclair Lewis's best-seller "It Can't Happen Here," a semi-satirical fantasia about American totalitarianism: a Huey Long-type demagogue takes over the Presidency, and rules by means of the secret police. When M-G-M geared up to shoot the movie, with prominent actors, including Lionel Barrymore and James Stewart, Breen wrote a letter to Will Hays, saying, "It is hardly more than a story portraying the Hitlerization of the United States of America. It is an attempt to bring home to American citizens, through the instrumentality of the screen, that which is transpiring in Germany today." (That it certainly was.) Breen also wrote Louis B. Mayer, the president of M-G-M, a seven-page letter proposing sixty cuts in the screenplay—in effect, making a Production Code seal hostage to impossible demands. Even if the cuts were made, he wrote to Mayer, the movie would be subject "to the most minute criticism on all sides," which "may result in enormous difficulty to your studio." Mayer cancelled the project.
Breen continued to pressure the studios not to mention Nazism right up to the outbreak of war. In 1938, when M-G-M wanted to adapt "Three Comrades," an explicitly anti-Nazi novel by Remarque, Breen insisted that the movie be set earlier in time. "Thus we will get away from any possible suggestion that we are dealing with Nazi violence or terrorism." The pattern was clear: no matter how vicious Nazi conduct was, any representation of it could be deemed a violation of the code's demand that foreign countries be treated "fairly." In practice, the more cruel and irrational the Nazis got, the safer they were from any Hollywood dramatization of their actions. Breen warned the studios of the danger to their German earnings, but his real intent was probably to remind the men running Hollywood that they should never feel safe.
At times, Gyssling alerted Breen that something was amiss, and they worked together. At other times, Breen worked alone, and he was definitely the more powerful of the two; withholding a Production Code seal could severely restrict a movie's commercial chances in the American market. You can discover the truth of Breen's greater power from Urwand's book, but only by patient deduction. Urwand accounts for Breen's activities (without quoting his anti-Semitic letter), but he pumps up Gyssling's role even when he's not sure that Gyssling deserves the credit. For instance, Urwand writes that Gyssling, in 1934, "probably" intervened to get "Mad Dog" killed, though "the evidence is inconclusive." And, after admitting that he has no proof that Gyssling caused M-G-M to abandon "It Can't Happen Here," he nevertheless insists that Gyssling's "presence in Los Angeles undoubtedly affected M-G-M's decision." His account of what happened with "The Life of Emile Zola" is even shakier. When Gyssling heard, in 1937, that the movie was in the works, he called the producer, Henry Blanke, who, as he later wrote, placated Gyssling with a lie. Blanke told Gyssling that the Dreyfus affair would play only a small role in "Zola." Urwand writes, "Just a few days after this phone call took place, Jack Warner dictated some important changes to the Dreyfus picture"—the three infamous deletions. But, as Felicia Herman notes, in a 2001 article in American Jewish History, citing a letter from Breen to Warner, it was the Production Code chief who persuaded the studio to make the cuts. Urwand quotes numerous letters from Gyssling to Breen but explicitly cites only one letter from Gyssling to a studio. At one point, he says that a threatening Gyssling letter to Warners has been lost, but he then reconstructs what the letter "would" have said, based on the single letter he cites (without ever quoting it). It's hard to imagine how authoritative scholarship and furious accusations can be based on missing documents, the conditional mood, and conjecture.
Gyssling continued operating in Hollywood until June, 1941, when Franklin Roosevelt broke off diplomatic relations with Germany, and the Nazi consul, regretting his separation from his "thousands of friends" in Los Angeles, abruptly left town. He made a lot of mischief in his eight years, but neither he nor even Breen was as significant a force as the studio bosses' own fears.
The future moguls came from the backwaters of Eastern Europe and arrived in the United States with nothing, not even fathers (who were mostly feckless or missing). Desperate for respectability and for cash, they worked at whatever trade lay at hand: peddling scrap metal, furs, gloves. Then, soon after the emergence of storefront nickelodeons, in 1905, they threw in their lot with a new, primitive art form that many regarded as a passing fad. Louis B. Mayer, Samuel Goldwyn, Adolph Zukor, Carl Laemmle, Jesse Lasky, and the four Warner brothers built their enterprises with a speed that even now, in the age of venture capital and mobile-app entrepreneurs, seems remarkable. And yet, outside their domain, as Neal Gabler has chronicled in his 1988 history, "An Empire of Their Own," they were silent or utterly conventional. They acted as if all their power and their personal wealth could be taken away if they made a mistake.
Their fears were not entirely irrational, since anti-Semitism was widespread in America in the twenties and thirties. It could be found in the radio broadcasts of demagogues like Father Coughlin, in the street rallies of Nazi and pro-German groups in New York and other cities. The Jews were blamed in some quarters for the worldwide economic crisis. Henry Ford, Theodore Dreiser, and Charles Lindbergh, along with a variety of outraged organizations, fulminated over Jewish control of the movie business, whose leaders were variously excoriated as "Asiatics," greedy buffoons, sexual predators, and Bolsheviks.
In response, the studio bosses wrapped themselves in Americanism, generating in their movies, as Gabler points out, an ideal country: "It would be an America where fathers were strong, families stable, people attractive, resilient, resourceful, and decent." In that America, there was no room for the kind of Jewish characters and actors who had appeared in the silent and early-sound-period movies—the ghetto dwellers, the Yiddish dialogue comics, the Jewish boy in the first sound film (from 1927), "The Jazz Singer," who turns his back on the Lower East Side and assimilates into American society.
By acting as they did, the studio bosses fell into the trap that they had allowed men like Gyssling and Breen to set for them. Because they were Jews, they believed, they couldn't make anti-Nazi movies or movies about Jews, for this would be seen as special pleading or warmongering. (The Nazi appeaser Joseph P. Kennedy, the Ambassador to Great Britain, said as much to the studio heads as late as 1940, when the Wehrmacht was all over Europe.) Breen tormented them with the spectre of what anti-Semites might do as a way of stifling their response to what anti-Semitism was already doing—and would do, in Europe, with annihilating violence. It's as if the Hollywood Jews had become responsible for anti-Semitism. Of all the filmmakers in the world, they became the last who could criticize the Nazis. Their situation was both tragic and absurd.
In their hesitations and their timidity, they were supported, as both Doherty and Urwand demonstrate, by such organizations as the Anti-Defamation League of B'nai B'rith and the American Jewish Committee, both of which took the line that the Jews had to be careful about thrusting themselves before the public. "They will get tired of us," Cyrus Adler, the head of the A.J.C., said. "What I want them to do is to get tired of Hitler"—a line that is too sad for tears. These organizations, adding to Breen's efforts, lobbied successfully against the making of "The Mad Dog of Europe" and "It Can't Happen Here." But were they overestimating the dangers of domestic anti-Semitism? In 1934, they did everything possible to get Fox to halt its production of "The House of Rothschild," a historical account of the rise of the Rothschild banking family. What troubled them most was the early scenes, set in the eighteenth century, in which Mayer Rothschild (George Arliss) attempts to hide some taxable money from a collector. Later, Mayer instructs his sons to set up banks in multiple European cities as a way of attaining power and dignity, which the movie, in its second half, shows them achieving. The film is a celebration, and, when it opened, it was widely admired by Jewish and non-Jewish audiences alike. The feared anti-Semitic reaction in the United States never materialized, though the Anti-Defamation League remained unhappy. Apparently, no Jew should be shown as greedy and power-seeking. Urwand quotes a representative of the A.D.L. saying of the film, "It's too bad that it was made at this time, for it corroborates the basic Nazi propaganda, and this corroboration is furnished by Jews." The A.D.L. quickly remedied the situation, in 1934, by holding a meeting with a group of studio bosses and production heads, the result of which was that Jewish characters were banned altogether.
Oddly, Urwand seems to think that "The House of Rothschild" was a disaster for the Jews, and he cites the fact that the Nazis used passages of it for their own propaganda as an example of the harm it did. But the Nazis would use anything for their own purposes. In 1935, they loved Henry Hathaway's paean to British imperialism in India, "The Lives of a Bengal Lancer," with Gary Cooper enduring torture rather than betray his friends. The film's endorsement of "the leader principle," Urwand says, "enforced this central aspect of Nazi ideology," and he calls "Lives," a likably silly adventure film, Nazi propaganda. In his own way, Urwand thinks like an ideologue—or a censor. For instance, he writes of a movie as if its entire emotional effect could be summarized by recounting its story—as if acting, directing, cinematography, and innumerable details of emphasis and atmosphere didn't shape our responses as much as plot does. Even Goebbels seemed to realize that American entertainment breathed freedom in a great many ways.
That a man like Georg Gyssling was allowed past the front gate of an American film studio is a disgrace, and Urwand deserves credit for bringing his role out of obscurity. But the charge of "collaboration" is inaccurate and unfair—a case of scholarly sensationalism. The studios didn't advance Nazism; they failed to oppose it. In that failure, they were joined, and even surpassed, by other American businesses, including General Motors, DuPont, I.B.M., and Ford, which operated in Nazi Germany and, in some cases, continued to operate there after the war began. None of this makes Hollywood any less cowardly, but Urwand, writing in the shadow of the Holocaust, which few people in the mid-thirties could have imagined, recasts every act of evasion as the darkest complicity. And he is too enraged to pose the obvious practical questions: What if the studios had made a slew of anti-Nazi movies? Would many people have gone to them? Could the studios have alerted the world to the threat of Nazism? It's hard to say. Still, it would have been nice if they had tried. ♦
Publicada por Jeeves em 20:09
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Information and communication technologies have a carbon footprint comparable to that of the global aviation industry. Unlike global aviation whose growth is almost flat, the traffic in communication networks continues to grow at 30% to 40% per year, doubling every two years and growing by factors of 30x and 1000x in 10 and 20 years respectively, based on current trends. GreenTouch was set up in 2010 with the goal of showing how the energy efficiency of communication networks can be improved by a factor of 1000x by the year 2020. GreenTouch achieved its research mission in 2015, and therefore we examine here the journey, the current status and future trends, especially given the recent growth in the importance of Internet of Things, virtualisation and 5G.
• Chih-Lin I, CMCC Chief Scientist, Wireless Technologies, China Mobile, "5G's Green Journey and More"
Deploying and operating the world's largest mobile network with efficiency in mind has been an ongoing pursuit of China Mobile through each and every generation. This talk will give an overview of its Green Action program that has led to the greenest 4G network from the first day of its deployment, and the world's first multi RAT, multi vendor plug and play energy saving solution. In addition, it will highlight China Mobile's 5G R&D themes (Green & Soft) that led to an E2E Soft 5G architecture and how this has been reflected in the 5G NR specifications.
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Internet technology and cellular communications technology have transformed many aspects of how we communicate, and caused us to consider and do things in ways not previously possible or for many even imaginable. 5G technology will take us further down this path.
Local Power Distribution (LPD) is a "network model of power", organized from the bottom-up into nanogrids that can be networked to each other, local generation, and a utility grid. A generic technology solution which allows for base stations to automatically adapt to any and changing power contexts can reduce costs, increase efficiencies, improve performance, and enable more use of renewables and storage. It can also enable more graceful system degradation when power is in short supply.
This presentation will describe LPD and highlight some ways that it intersects technology directions enabled by 5G technology, both for base stations and end devices.
Prof. Jaafar Elmirghani is Fellow of the Institute of Engineering and Technology (FIET), Fellow of the Institute of Physics (FIoP), and Director of the Institute of Integrated Information Systems, University of Leeds, UK. He has provided outstanding leadership in a number of large research projects, and was PI of the £6m EPSRC Intelligent Energy Aware Networks (INTERNET) Programme Grant. He is Co-Chair of the IEEE Green ICT initiative, an IEEE Societies initiative responsible for Green ICT activities across IEEE. He was awarded the IEEE Comsoc 2005 Hal Sobol award, 2 IEEE Comsoc outstanding service awards (2009, 2015), the 2015 GreenTouch 1000x award, IET Optoelectronics 2016 Premium Award and shared the 2016 Edison Award in the collective disruption category with a team of 6 from GreenTouch for joint work on the GreenMeter. His work led to 5 IEEE standards with a focus on energy efficiency, where he currently heads the work group responsible for IEEE P1925.1, IEEE P1926.1, IEEE P1927.1, IEEE P1928.1 and IEEE P1929.1, this resulting in significant impact through industrial and academic uptake. He was an IEEE Comsoc Distinguished Lecturer 2013-2016. He has published over 450 technical papers, and has research interests in green communication networks.
She was an Area Editor of IEEE/ACM Trans. NET, an elected Board Member of IEEE ComSoc, Chair of the ComSoc Meetings and Conferences Board, and Founding Chair of the IEEE WCNC Steering Committee. She was a Professor at NCTU, an Adjunct Professor at NTU, and an Adjunct Professor at BUPT. She is the Chair of FuTURE 5G SIG, the Chair of WAIA Executive Committee, the Chair of O-RAN TSC, an Executive Board Member of GreenTouch, a Network Operator Council Founding Member of ETSI NFV, a Steering Board Member and Vice Chair of WWRF, a Steering Committee member and the Publication Chair of IEEE 5G Initiative, a member of IEEE ComSoc SDB, SPC, and CSCN-SC, and a Scientific Advisory Board Member of Singapore NRF. Her current research interests center around "From Green & Soft to Open & Smart".
Ylva Jading is Seniors Specialist in Network Energy Performance at Ericsson Research, targeting low-energy operation of cellular systems. She joined Ericsson in 1999 and has since worked in different capacities within R&D as well as in strategy and portfolio management, in concept development, standardization and product innovation. As change agent and technical manager of the EU research project EARTH she facilitated introduction of several crucial power reducing features in cellular networks and the introduction of Ultra-Lean Transmission in 5G. She has published several scientific papers, holds more than 20 patents, and has been elected one of the ten most inspiring and influential woman engineers by the Swedish Tech Magazine "Ny Teknik".
Apurv Mathur is Principal Architect at Nokia responsible for driving new technology solutions for Nokia Small Cells. His primary focus on System and Product architecture for LTE & 5G Small Cells. He is experienced in various cellular technologies from GSM to 5G and holds an MS in Computer Science from Univ of Iowa.
Dr. Kirkpatrick is the co-founder and CEO of Eridan Communications, Inc., a Santa Clara based company developing transceiver products for the next generations of wireless communications – 5G and beyond. Dr. Kirkpatrick is also a founding General Partner of InnerProduct Partners (IPP), a San Francisco based early stage VC firm, and the acting CEO of a very early stage startup in rare-earth-free permanent magnets based in Cleveland. Previous to InnerProduct Partners, from 2010-2013 he was a partner at Vantage Point Capital Partners, and from 2002 – 2010 Dr. Kirkpatrick was a Program Manager and Chief Scientist at the Defense Advanced Research Projects Agency (DARPA). In addition to his DARPA role he was simultaneously the Senior Technologist for Technology Productization for the Undersecretary for Acquisition, Technology, and Logistics in the Department of Defense. Prior to his tour at DARPA he was the VP for R&D at Fusion Lighting, a lighting technology startup in the Washington DC area, and before that a VP and Division Manager for Science Applications International Corporation, also in the Washington DC area.
Dr. Kirkpatrick is a Fellow of the American Physics Society, a Member of the IEEE, and a Member of the Materials Research Society. Dr. Kirkpatrick holds a BS degree in Physics and Mathematics (1980) from the College of William and Mary and a Ph.D. in Physics from M.I.T. (1988). He is a named inventor on 16 US patents.
Dr. Anirban Bandyopadhyay is the Director, RF Strategic Applications & Business Development within Global Foundries, USA and is located in Hopewell Junction, New York. His work is currently focused on hardware architecture & technology evaluations and market studies for different RF and mmwave applications. Prior to joining Global Foundries, he was with IBM Microelectronics for 8 years where he used to manage design enablement group for wireless applications and also led RF strategic applications and marketing. During 2000-2007, Dr. Bandyopadhyay was with Intel, California where he worked on different areas like Silicon Photonics, signal integrity in RF & Mixed signal SOC's. Dr. Bandyopadhyay did his PhD in Electrical Engineering from Tata Institute of Fundamental Research, India and Post-Doctoral research in Oregon State University, Corvallis. He has more than 15 publications in international journals, wrote a book chapter on Optical Photodetectors and holds 5 US patents. He represents Global Foundries in different industry consortia on RF/mmwave applications.
This event is also co-sponsored by the IEEE Santa Clara Valley (SCV) chapter of the Communications Society (ComSoC).


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Fig. 6. (A) A multimodal microprobe with optical and electrical measurements of neural activities. The multimodal probe consisted of a dual-core optical fiber, which excited fluorescent indicators and collected emitted signals, and an electrical wire to record electrical activities in neurons. This figure in [123] is reprinted with a permission of Nature Publishing Group (Springer Nature). (B) A schematic of an optetrode, which consisted of a single optical fiber with 200 µm core diameters for optogenetic stimulations and a tetrode to record neural activities and changes when the optical stimulation occurs. The re-use of this figure published in [124] was approved by Nature Publishing Group (Springer Nature).
Exp Neurobiol 2018;27:453~471 https://doi.org/10.5607/en.2018.27.6.453
© Exp Neurobiol
Copyright © The Korean Society for Brain and Neural Sciences. All Rights Reserved. / Powered by INFOrang Co., Ltd


You'll discover Pomegranate Cottage 10km before Citrusdal, on a working fruit farm called Nuwedam. The farm sits high on the Olifants River mountains, which translates into awesome views of the Swartland escarpment to the west and hazy Cederberg to the east. Pomegranate itself overlooks both mountains and a farm dam where you can swim, canoe and fish for bass to your heart's content. It's independent and private, making it a good choice of escape for the war-weary city native.
The Pomegranate Cottage has two spacious bedrooms, both have en suite bathrooms (one with bath and one with shower). For the winter times warm up the room with the panel heater or in the summer turn on the air-con. Each bedroom is fitted with a double and single bed (covered in percale linen). In the living room you also have a sleeper couch, which means that this cottage can accommodate up to 8 people max.
The open-plan kitchen has the bonus of indoor braai, while the lounge area comes with deep leather sofas arranged around a fireplace and within reach of your DSTV remote control – dish provided but you need to bring your own decoder and card.
From the living room double doors open to an uncovered stoep with braai and hammock – heck, all these choices for that afternoon siesta! Although there is electricity, paraffin lanterns are provided. Our advice? Switch off the lights and the TV and light the lanterns and candles if you want to get the most out of the setting.
Take the N1 direction Paarl. Take the N7 turnoff (left) toward Malmesbury. While driving on Piekenierskloof pass on the N7 towards Citrusdal, look out for the "Kardoesie" coffee shop on your right hand side just before the top of the pass. 250 m after "Kardoesie", turn left into Paleisheuwel Road. Continue driving for 900m, and turn right at the "Nuwedam" sign. The gravel road will take you straight to the Pomegranate Cottage.
Get post directions and map.


Home › Press Room › Can't Wait for Summer Camp!
Can't Wait for Summer Camp!
On Monday, June 17th, YMCA's Camp Onyahsa will open for its 114th season. The following week, on June 25th, the Boys and Girls Club at Chautauqua Institution will begin its 119th season. Camp is a summer staple for kids throughout the country, and especially on Chautauqua County's waterways where summer camps have provided fun and nurturing learning vacations for youth for generations.
Founded in 1898, Camp Onyahsa is one of the three oldest "Y" camps in the nation. It is nestled in a wooded bay on the northeastern side of Chautauqua Lake and offers traditional residential and day camp sessions along with horseback riding camp, teen camp activities, and leadership development programs. While most of the staff and campers come from western New York and Pennyslvania, there is also a good chance you might meet a staff member or someone attending camp that traveled from as far away as Sweden, Spain, France, or Canada.
Considered one of the oldest day camps in America, the Boys and Girls Club at Chautauqua Institution began its first season in 1893. Now over 120 years old with a full basketball court, the Seaver Gymnasium is still a central part of Club activities today. Participants in Club are grouped accordilng to the grade they will be entering in the fall starting at age 7 and continuing through 10th grade. Each day, participants rotate through various activities such as kayaking or rowing, field games, instructional swimming, arts and crafts, music, exercises in the gym, and sailing. Club runs each weekday during the Chautauqua program season from 9am – 4pm with a recess from noon to 2 pm.
Also at Chautauqua Institution, the John R. Turney Sailing Center creates a camp like experience for youth with half-day sailing classes each week for beginners through advanced levels of experience. In addition to classes, the Center offers sailboat rentals and private lessons for both kids and adults. And, at the Chautauqua Golf Club Learning Center on the hillside above, young golfers can join junior golf clinics and camps led by LPGA teaching professional Suellen Northrop all summer long.
For years, fond memories have also been formed at church and scout camps such as Mission Meadows, the Lake Chautauqua Lutheran Center, Camp Findley, Bethany Camp, the Dunkirk Camp & Conference Center, Camp Merz, and others. But, in Chautauqua County today, summer camps include much, much more than water and lake activities.
At Infinity Performing Arts in Jamestown, students ages 8 to 18 are anxiously awaiting the start of eight different camps involving a variety of experiences including music, art, Suzuki strings, theater and literary arts, and S.T.E.A.M. (science, technology, engineering, arts and math). Students, ages 8-12 will be immersed in all kinds of arts including music, art, theater, literary arts and dance with two sessions available, July 16-20 and August 13-17. Youth ages 13 to 18 will have more intensive opportunities for study in specific forms of art, including imaginative engineering.
Since 1976, children entering pre-k through high school aged youth have been attending summer day camp programs at the Jamestown Audubon Center. Most camps are held at the Audubon's property just south of Jamestown, while teens have the opportunity to explore other natural attractions in the region. All camps are designed to get kids outdoors and to help them feel at home while learning about their surroundings.
The State University of New York at Fredonia and Jamestown Community College both provide summer youth learning camps as well. At Fredonia, it's all about music with music intensive camps starting in June and running through August. The four week NYSSA Choral Studies program begins July 1st and includes performances at the King Concert Hall at SUNY Fredonia's Rockefeller Center for the Arts and in the Amphitheater at Chautauqua Institution. At JCC, learning and fun happen through a range of experiences from building catapults and sling shots (engineering, science and math) to creating edible art. There's even Wee College Camp for kids ages 5-7.
For more summer events and activities for youth, as well as adults, visit the Chautauqua County Visitors Bureau website at www.tourchautauqua.com. There's a special What to Learn section with a directory and links to classes and camps offered regularly, seasonally and all year long. If you need help planning a trip to Chautauqua County, call 866-908-4569.


The Beautiful Disaster and Walking Disaster phenomenon continues in the first heart-pounding new adult romance in The Maddox Brothers series.Fiercely independent Camille "Cami" Camlin gladly moved on from her childhood before it was over. She has held down a job since before she could drive, and moved into her own apartment after her freshman year of college. Now tending bar at The Red Door, Cami doesn't have time for much else besides work and classes, until a trip to see her boyfriend is cancelled, leaving her with a first weekend off in almost a year.Trenton Maddox was the king of Eastern State University, dating co-eds before he even graduated high school. His friends wanted to be him, and women wanted to tame him, but after a tragic accident turned his world upside down, Trenton leaves campus to come to grips with the crushing guilt. Eighteen months later, Trenton is living at home with his widower father, and works full-time at a local tattoo parlor to help with the bills. Just when he thinks his life is returning to normal, he notices Cami sitting alone at a table at The Red. As the baby sister of four rowdy brothers, Cami believes she'll have no problem keeping her new friendship with Trenton Maddox strictly platonic. But when a Maddox boy falls in love, he loves forever—even if she is the only reason their already broken family could fall apart.In the first installment of the Maddox Brothers books, readers can experience the rush of reading Beautiful Disaster for the first time, all over again.
Trent and Cami were interesting. I think there was a little to much going on with everyone. To many secrets and stories that were not fully developed. Like Trents ex. The TJ secret, which at the end made complete sense. But also with Camis family I feel like that whole storyline was just pushed aside and I wanted more. Overall it was a great story. The ending had me shocked. Didn't see it coming and that was what made the whole story worth it.


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Hunting for rhythm's DNA: Computational geometry unlocks a musical phylogeny
"Evolutionary musicology" — the search for music's origins — has traditionally been the province of anthropologists, but why not employ the techniques of information theory and machine theory to music? "Radcliffe is about crossing boundaries and taking risks, so I think it's appropriate," said Godfried Toussaint, Radcliffe's Emeline Bigelow Conland Fellow. Image: Rose Lincoln/Harvard Staff Photographer
(PhysOrg.com) -- Does Bo Diddley rule the world? Though he died last year, the iconic singer and guitarist of American blues and rock still rules the rhythms of the world, says computer scientist Godfried Toussaint. Toussaint uses complex algorithms to ferret where the rhythms of world music came from — in the same way an evolutionary biologist might hunt for the origins of, say, an arthropod body part.
Diddley's instrument of power is the clave son, a pattern of beats so compelling, said Toussaint, that in the past 50 or 60 years it "has captured the entire planet."
Toussaint, a professor emeritus and researcher at McGill University, is a Radcliffe Fellow this year. He is a pioneer in computational geometry, a branch of computer science that expresses algorithms in geometrical patterns. In his search for ancestral rhythms, Toussaint constructs necklacelike sound patterns that resemble the face of a clock. (Rhythms are repeated throughout a piece of music, he reasoned, and therefore should be expressed in a cyclic way.)
Toussaint is quick to say his studies leave out harmony and melody, the two other facets of music's three-legged stool. But except for the last century, he said in a Radcliffe lecture Oct. 14, rhythm has been neglected as an object of study since the fourth century B.C.E.
"Evolutionary musicology" — the search for music's origins — has traditionally been the province of anthropologists, he said, but why not employ the techniques of information theory and machine theory to music? "Radcliffe is about crossing boundaries and taking risks," said Toussaint, "so I think it's appropriate."
Besides, he said, phylogenic analysis is already being used to describe the evolution of cultural objects, including spear points, swords, and helmets. The time seems right to add musical rhythm.
His research into the evolution of rhythms is an attempt to find a phylogenic tree — a graphical display of evolutionary relationships starting from a common "ancestor" rhythm and spreading upward into multiple branches.
Within this tree, musical beats - expressed as a sequence of binary numbers — form distinctly shaped "timelines." These memorable rhythmic patterns of short duration are a sort of musical DNA. Bo Diddley's clave son is one example.
Toussaint has already tested the effectiveness of computational geometry in constructing phylogenic trees for rhythms. He started with flamenco, a traditional Spanish music genre known for its intricate and rapid rhythmic patterns. Beginning with about 70 of these patterns, Toussaint arrived at five schemes of musical meter that seemed to underlay all the rest.
One of those meter schemes, in turn, seemed closest to the center of an evolutionary tree. From this, Toussaint reconstructed an "ancestral" rhythm that in theory could account for the rest. The point, he said, is that "mathematics can influence music."
Toussaint, lecturing to a crowd of 80 at the Radcliffe Gymnasium, acknowledged early on that music and mathematics have had a long relationship - beginning with Pythagoras, who said, "There is geometry in the humming of the strings." Philosopher and mathematician Gottfried Leibniz observed that a musician often "does not realize he is manipulating numbers."
Toussaint even quoted contemporary jazz guitarist John McLaughlin: "The mathematics of rhythm are universal. They don't belong to any particular culture."
Toussaint also mentioned Princeton University composer Dmitri Tymoczko, a Radcliffe Fellow in 2005-'06, who wrote "The Geometry of Chords" in 2006. It was the first paper on music theory to appear in Science magazine. (He invented graphic representations of two- and three-note chords, positing that they inhabit DNA-like "orbifold spaces," concise musical terrains shared by Chopin and Deep Purple alike. Get outside of these spaces, and chords are screeches.)
But despite having a long family history, music and mathematics largely neglected how rhythm fits in, as opposed to harmony and melody. Early Greek philosophers, Aristoxenus of Tarentum among them, wrote about music and rhythm - and about rhythm as a property of dance and speech too. Then came ages of silence.
It was not until a century ago that German ethnologists began to notate music rhythms, said Toussaint, bringing them back into play as objects of study.
But it is difficult to trace how a rhythm migrated from one place to another, he said. Diddley's contribution, for instance, is somewhere within musical migration patterns that zig and zag from Africa to Cuba, to New York, to New Orleans, and then back.
Toussaint, a jazz drummer, played snippets of rhythms on sticks or a cowbell, and illustrated pathways of evolution with modern music samples. Included were Ravel's "Bolero" on a snare drum, and "Electric City" from the Black Eyed Peas. (Hello again, clave son.)
Then came a sample from "Mosali," by Congolese singer Kanda Bongo Man. "It's a dangerous rhythm," said Toussaint, looking out at his foot-tapping audience. "It could degenerate into a party."
Provided by Harvard University (news : web)
Citation: Hunting for rhythm's DNA: Computational geometry unlocks a musical phylogeny (2009, October 20) retrieved 31 January 2023 from https://phys.org/news/2009-10-rhythm-dna-geometry-musical-phylogeny.html
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Theresa May's Brexit plans go down to historic defeat in Commons
*	Chief Minister Fabian Picardo, in touch with UK MPs and set to meet ministers next week, says: "We will continue to prepare Gibraltar for all potential eventualities."
*	GSD Leader Keith Azopardi says vote shows Mr Picardo's proximity to PM "was a political mistake".
* Independent MP Marlene Hassan Nahon says vote gives new hope that Brexit "might not happen at all".
Prime Minister Theresa May's Brexit plans were rejected by an emphatic 432 votes to 202 on Tuesday night, in a historic vote which has thrown the future of her administration and the nature of the UK's EU withdrawal into doubt.
The humiliating rebuff was delivered just moments after the Prime Minister made a last-ditch appeal for MPs to back the Withdrawal Agreement which she sealed with Brussels in November after almost two years of negotiation.
The 230-vote margin of defeat was by far the worst suffered by any Government in a meaningful division since at least the First World War and in normal circumstances would be enough to force a Prime Minister from office.
But there was little doubt in Westminster that Mrs May would hang on - and was likely to survive a motion of no-confidence tabled by Labour leader Jeremy Corbyn and due to be debated on Wednesday.
Mrs May now has until January 21 to set out a Plan B - expected to involve going back to Brussels to seek further concessions, with the clock ticking on the scheduled date of Brexit in just 73 days' time on March 29.
In a statement immediately after her drubbing, Mrs May said: "The House has spoken and this Government will listen."
She offered cross-party talks with MPs across the House to determine a way forward.
Attorney General Geoffrey Cox appeared to indicate that the PM will resist pressure to tear up her plan or to seek cross-party consensus on a new approach.
He told MPs that in the event of a Government defeat the agreement would have to return to the Commons later "in much the same form with much the same content".
Labour leader Jeremy Corbyn told the House of Commons that Mrs May's "catastrophic" defeat represented an "absolutely decisive" verdict on her Brexit negotiations and said he has tabled a vote of confidence.
Moments before the crunch vote, Mrs May told MPs: "Parliament gave the people a choice, we set the clock ticking on our departure and tonight we will determine whether we move forward with a Withdrawal Agreement that honours the vote and sets us on course for a better future."
"The responsibility of each and every one of us at this moment is profound, for this is a historic decision that will set the future of our country for generations."
But the Labour leader called on MPs to vote down the agreement, saying: "This deal is bad for our economy, a bad deal for our democracy, and a bad deal for this country."
As MPs voted, noisy crowds of pro- and anti-Brexit protesters in Parliament Square could be heard inside the Palace of Westminster.
MPs had been due to vote first on a series of four amendments chosen by Speaker John Bercow.
But Mr Corbyn, Scottish National Party leader Ian Blackford and Tory backbencher Sir Edward Leigh opted not to move their amendments, leaving only one division.
In that vote, a proposal from Conservative MP John Baron for the UK to take unilateral powers to end controversial "backstop" arrangements was rejected by 600 votes to 24.
In Brussels the president of the European Council, Donald Tusk, said the only positive solution was for Britain to stay in the EU.
"If a deal is impossible, and no one wants no deal, then who will finally have the courage to say what the only positive solution is?" Mr Tusk tweeted after the vote.
GIBRALTAR REACTIONS
The vote was closely followed in Gibraltar, where Chief Minister Fabian Picardo said he was in close contact with MPs across the political spectrum in the Commons.
"The depth of feeling against the Withdrawal Agreement as a whole has long been clear. There is a lot at stake for Gibraltar," Mr Picardo said.
"I have already been in touch to a number of colleagues in Parliament in all parties."
"Next week I will jointly Chair a meeting of the UK/Gibraltar Joint Ministerial Committee on Brexit."
"I will meet with the Chairpersons of most of the House of Commons Select Committees, who make up the Liaison Committee of the Commons."
"We will continue to prepare Gibraltar for all potential eventualities."
But the developments in Westminster once again put focus on the differing views in Gibraltar on Brexit and the Gibraltar Government's handling of the negotiations.
Keith Azopardi, the Leader of the GSD, said the outcome of the vote had been expected for weeks and that the large majority underscored "how much of a political mistake" it was for Mr Picardo "to tie himself so closely" to Mrs May's deal.
"Potentially this can give us real problems when dealing with other political parties in the House of Commons in future," he told the Chronicle.
"This is an indictment on the mishandling by Mr Picardo of this process."
"The last two years have been a lost opportunity for Gibraltar."
"What happens on the vote of confidence [on Wednesday] will dictate whether Mrs May gets a second chance to pursue a further vote on her deal."
"For us in the GSD we have made clear that her deal and Mr Picardo's deal is a bad deal for Gibraltar as it does not secure anything enduring for Gibraltar while allowing Spain a say in our affairs."
Mr Azopardi said that if the UK parliament failed to avoid a no deal Brexit, the focus would be on how adequately the Gibraltar Government had planned its contingency arrangements.
And he repeated the GSD's belief that the best outcome for Gibraltar would be for Article 50 to be withdrawn or extended, or that a second referendum was called allowing people a choice between Mrs May's deal and remaining in the EU.
"The GSD will support remaining," he added.
"The GSD has remained consistent throughout this process."
"If Brexit does happen we consider that we should attempt to secure a future relationship that provides a tailor made arrangement for Gibraltar that contains freedom of movement and single market access at its core."
Independent MP Marlene Hassan Nahon said the result in the Commons marked a shift in UK politics that could end in the decision to leave the EU being reversed.
And she said Gibraltar should now put its weight behind that momentum.
"The resounding rejection of the Brexit deal gives us new hope in Gibraltar that Brexit might not go ahead at all," she told the Chronicle.
"The EU has said that it would support an extension of article 50 for the purposes of allowing the UK government to go back to the British people."
"Now that this deal is off the table, and given that we are 72 days away from Brexit with no plan, I believe that locally we should be giving our full support to the extension of article 50 and a people's vote."
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Home » Lifestyle » Anna Marie Tendler plans to freeze her eggs following John Mulaney divorce
Anna Marie Tendler plans to freeze her eggs following John Mulaney divorce
Anna Marie Tendler
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Could be a nursery …
Anna Marie Tendler is looking to freeze her eggs following her divorce from John Mulaney, saying the split has allowed her to contemplate the idea of having children again.
"There were things I never even thought about before because that was just a closed door. So now that it feels like not as much of a closed door, it's something that I ruminate on a lot," the 36-year-old multimedia artist told Harper's Bazaar when asked about her stance on having children post-divorce.
She went on to say she "always [held] partnership above having kids" while married to the former "Saturday Night Live" writer, who filed for divorce in July 2021 after six years of marriage.
"I feel lucky that I get to be standing on the precipice of all of these new things that I get to possibly experience, and who knows how they will go?" she pondered. "And there is certainly something exciting about that."
In 2019, Mulaney spoke to Entertainment Weekly about prioritizing his career and marriage to Tendler over having children.
"They're great, but I love what I do," Mulaney said at the time. "And I love my wife and spending so much time with her and we have a really fortunate life. I get to travel, do stand-up, and our relationship is so wonderful. It's just something I wouldn't want to change."
Two months after filing for divorce, however, the "Kid Gorgeous" comic confirmed he and his new girlfriend Olivia Munn were expecting. They welcomed their first child together in November 2021.
Mulaney and Tendler's divorce was reportedly finalized just last week.
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