Yesterday, Plex announced some huge additions and changes to the music side of your media server. These were so important/awesome that I had to get this out to you in case you hadn't seen it yet. Among many things, Plex has added a deep integration with Tidal, some massive mobile player overhauls, an improved shuffle system, discoverability options, and more.
Of course, Plex is most excited about the partnership with music streaming service Tidal. Read MorePlex adds new Tidal integration, artist radio stations, and more options to discover new music was written by the awesome team at Android Police.


text:
// flow-typed signature: 419bc3761d26dfc9baf1698166b1d532
// flow-typed version: <<STUB>>/node-plop_v^0.5.5/flow_v0.42.0

/**
 * This is an autogenerated libdef stub for:
 *
 *   'node-plop'
 *
 * Fill this stub out by replacing all the `any` types.
 *
 * Once filled out, we encourage you to share your work with the
 * community by sending a pull request to:
 * https://github.com/flowtype/flow-typed
 */

declare module 'node-plop' {
  declare module.exports: any;
}

/**
 * We include stubs for each file inside this npm package in case you need to
 * require those files directly. Feel free to delete any files that aren't
 * needed.
 */
declare module 'node-plop/lib/index' {
  declare module.exports: any;
}

declare module 'node-plop/lib/modules/baked-in-helpers' {
  declare module.exports: any;
}

declare module 'node-plop/lib/modules/fs-promise-proxy' {
  declare module.exports: any;
}

declare module 'node-plop/lib/modules/generator-runner' {
  declare module.exports: any;
}

declare module 'node-plop/lib/modules/node-plop' {
  declare module.exports: any;
}

declare module 'node-plop/plop-templates/ava-test' {
  declare module.exports: any;
}

declare module 'node-plop/plopfile' {
  declare module.exports: any;
}

// Filename aliases
declare module 'node-plop/lib/index.js' {
  declare module.exports: $Exports<'node-plop/lib/index'>;
}
declare module 'node-plop/lib/modules/baked-in-helpers.js' {
  declare module.exports: $Exports<'node-plop/lib/modules/baked-in-helpers'>;
}
declare module 'node-plop/lib/modules/fs-promise-proxy.js' {
  declare module.exports: $Exports<'node-plop/lib/modules/fs-promise-proxy'>;
}
declare module 'node-plop/lib/modules/generator-runner.js' {
  declare module.exports: $Exports<'node-plop/lib/modules/generator-runner'>;
}
declare module 'node-plop/lib/modules/node-plop.js' {
  declare module.exports: $Exports<'node-plop/lib/modules/node-plop'>;
}
declare module 'node-plop/plop-templates/ava-test.js' {
  declare module.exports: $Exports<'node-plop/plop-templates/ava-test'>;
}
declare module 'node-plop/plopfile.js' {
  declare module.exports: $Exports<'node-plop/plopfile'>;
}

redpajama_set_name: RedPajamaGithub


text:
Q: Problems rendering a ceiling light with ARKit I've been trying to render this model in ARKit: https://free3d.com/3d-model/traditional-ceiling-light-485.html. I have OBJ/MTL files for both the on and off version of the light. When I render them in Blender, they look like this:

When I drop them into my ARKit test app, however, they look like this:

In Blender, you can clearly see that the "on" version of the light is kind of glowing whereas in ARKit both models look exactly the same. I'm guessing that the MTL file contains something that ARKit does not support. The MTL on the "on" version is as follows:
# 3ds Max Wavefront OBJ Exporter v0.97b - (c)2007 guruware
# File Created: 19.03.2018 16:33:20

newmtl Traditional_Ceiling_Light_Metal
    Ns 100.000000
    Ni 15.000000
    d 1.000000
    Tr 0.000000
    Tf 1.000000 1.000000 1.000000
    illum 2
    Ka 0.588000 0.588000 0.588000
    Kd 0.500000 0.500000 0.500000
    Ks 0.000000 0.000000 0.000000
    Ke 0.000000 0.000000 0.000000
    map_Ka Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Kd Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Ks Traditional_Ceiling_Light_Visual_Specular.png
    map_bump Traditional_Ceiling_Light_Visual_Normal.png
    bump Traditional_Ceiling_Light_Visual_Normal.png

newmtl Traditional_Ceiling_Light_Glass
    Ns 100.000000
    Ni 1.600000
    d 1.000000
    Tr 0.000000
    Tf 1.000000 1.000000 1.000000
    illum 2
    Ka 0.588000 0.588000 0.588000
    Kd 0.500000 0.500000 0.500000
    Ks 0.000000 0.000000 0.000000
    Ke 7.500000 7.500000 7.500000
    map_Ka Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Kd Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Ks Traditional_Ceiling_Light_Visual_Specular.png
    map_Ke Traditional_Ceiling_Light_Visual_Emissive.png
    map_bump Traditional_Ceiling_Light_Visual_Normal.png
    bump Traditional_Ceiling_Light_Visual_Normal.png

newmtl Traditional_Ceiling_Light
    Ns 100.000000
    Ni 1.600000
    d 1.000000
    Tr 0.000000
    Tf 1.000000 1.000000 1.000000
    illum 2
    Ka 0.588000 0.588000 0.588000
    Kd 0.500000 0.500000 0.500000
    Ks 0.000000 0.000000 0.000000
    Ke 7.500000 7.500000 7.500000
    map_Ka Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Kd Traditional_Ceiling_Light_Visual_Diffuse.png
    map_Ks Traditional_Ceiling_Light_Visual_Specular.png
    map_Ke Traditional_Ceiling_Light_Visual_Emissive.png
    map_bump Traditional_Ceiling_Light_Visual_Normal.png
    bump Traditional_Ceiling_Light_Visual_Normal.png

Is it simply the case that ARKit can't render this model properly?

A: Looks like there is no light in your scene (or lighting environment) but it's hard to tell from your picture.
Make sure both assets have PBR materials and to get the best results, go through every single one of them. Pay close attention to the emission property, as obj files usually have them on white/clear grey. this is what will make the difference between the 2 objects. In fact, you only need to change the emissive property for 1 material to go from OFF to ON.

redpajama_set_name: RedPajamaStackExchange


text:
Събития

Родени
 16 януари – Николо Пичини, италиански композитор († 1800 г.)
 27 октомври – Джеймс Кук, британски мореплавател, изследовател и картограф

Починали
 15 август – Марен Маре, френски композитор (* 1656)

redpajama_set_name: RedPajamaWikipedia


text:
Home » Sports » Bjorklund scores 19 as…
Bjorklund scores 19 as St. Thomas downs North Dakota State
SAINT PAUL, Minn. (AP) — Parker Bjorklund scored 19 points to help St. Thomas defeat North Dakota State 78-68 on…
SAINT PAUL, Minn. (AP) — Parker Bjorklund scored 19 points to help St. Thomas defeat North Dakota State 78-68 on Wednesday.
Bjorklund also had six rebounds for the Tommies (11-4). Kendall Blue scored 15 points while going 5 of 9 from the floor, including 2 for 4 from distance, and 3 for 3 from the line. Riley Miller shot 3 for 9 (1 for 6 from 3-point range) and 6 of 6 from the free throw line to finish with 13 points.
The Bison (3-11) were led in scoring by Grant Nelson, who finished with 15 points, nine rebounds, two steals and two blocks. North Dakota State also got 15 points from Jacari White. In addition, Boden Skunberg had 12 points.
ECHL Glance
SPHL Glance

redpajama_set_name: RedPajamaCommonCrawl


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text:
Restoration (39) Apply Restoration filter
(-) Remove Amphibians filter Amphibians
(-) Remove Inventory, Monitoring, & Analysis filter Inventory, Monitoring, & Analysis
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Photo-based estimators for the Nevada photo-based inventory
The U.S. Department of Agriculture, Forest Service, Forest Inventory and Analysis Program conducted the Nevada Photo-Based Inventory Pilot in an effort to improve precision in estimates of forest parameters, reduce field data collection costs on margin lands that are covered by slow growing woodland species, and address the potential of strategic-level inventory on...
https://www.fs.usda.gov/treesearch/search?keywords=%22construction%22&%3Bamp%3Bf%5B0%5D=author_facet%3A%22Lebow%2C%20Patricia%22&%3Bf%5B0%5D=author_facet%3A%22Sun%2C%20Ge%22&f%5B0%5D=nrt_combined%3A%22Wildlife%20%20%28or%20Fauna%29%21Amphibians%22&f%5B1%5D=nrt_combined%3A%22Inventory%2C%20Monitoring%2C%20%26%20Analysis%20%22
Paul L. Patterson
infinite sampling, support region, inclusion field, photo-based inventory, large-scale aerial photography (LSP)
Res. Pap. RMRS-RP-92. Fort Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. 14 p.
Variance estimates and confidence intervals for the Kappa measure of classification accuracy
The Kappa statistic is frequently used to characterize the results of an accuracy assessment used to evaluate land use and land cover classifications obtained by remotely sensed data. This statistic allows comparisons of alternative sampling designs, classification algorithms, photo-interpreters, and so forth. In order to make these comparisons, it is...
M. A. Kalkhan; R. M. Reich; R. L. Czaplewski
Kappa statistic, land use, and cover classifications, remotely sensed data
Canadian Journal of Remote Sensing. 23(3): 210-216.
Verification of aerial photo stand volume tables for southeast Alaska.
Aerial photo volume tables are used in the multilevel sampling system of Alaska Forest Inventory and Analysis. These volume tables are presented with a description of the data base and methods used to construct the tables. Volume estimates compiled from the aerial photo stand volume tables and associated ground-measured values are compared and evaluated.
Theodore S. Setzer; Bert R. Mead
Remote sensing, aerial stand volume table, volume, southeast Alaska
Modeling current climate conditions for forest pest risk assessment
Current information on broad-scale climatic conditions is essential for assessing potential distribution of forest pests. At present, sophisticated spatial interpolation approaches such as the Parameter-elevation Regressions on Independent Slopes Model (PRISM) are used to create high-resolution climatic data sets. Unfortunately, these data sets are based on 30-year...
Frank H. Koch; John W. Coulston
Climate, forest pests, GIDS, Phytophthora ramorum, risk, spatial interpolation.
In: Pye, John M.; Rauscher, H. Michael; Sands, Yasmeen; Lee, Danny C.; Beatty, Jerome S., tech. eds. Advances in threat assessment and their application to forest and rangeland management. Gen. Tech. Rep. PNW-GTR-802. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest and Southern Research Stations: 609-620
Framework for addressing the national wildland urban interface fire problem—determining fire and ember exposure zones using a WUI hazard scale
Destruction of homes and businesses from Wildland Urban Interface (WUI) fires have been steadily escalating as have the fire suppression costs associated with them. Since 2000, in the U.S. over 3,000 homes per year are lost to WUI fires, compared to about 900 homes in the 1990s, and 400 homes in the 1970s. In 2011, in Texas alone, over 2,000 homes were...
Alexander Maranghides; William Mell
Wildland Urban Interface, WUI, fire behavior, fire exposure, ember exposure, WUI exposure scale
U.S. Department of Commerce, National Institute of Standards and Technology. 25 p
Small area estimation in forests affected by wildfire in the Interior West
Recent emphasis has been placed on estimating amount and characteristics of forests affected by wildfire in the Interior West. Data collected by FIA is intended for estimation over large geographic areas and is too sparse to construct sufficiently precise estimates within burn perimeters. This paper illustrates how recently built MODISbased maps of forest/nonforest and...
G. G. Moisen; J. A. Blackard; M. Finco
wildfire, Interior West, FIA, MODISbased maps
In: Greer, Jerry Dean, ed. Remote sensing for field users; proceedings of the tenth Forest Service remote sensing applications conference; 2004 April 5–9; Salt Lake City, UT. Bethesda, MD: American Society of Photogrammetry and Remote Sensing. CD-ROM.
A methodology for assessing departure of current plant communities from historical conditions over large landscapes
Fire frequency and severity, and vegetation composition and structure have been altered across much of North America during the past century because of fire exclusion and other land management practices. The cumulative results are now recognized to be partly responsible for dramatic increases in wildland fire severity and declines in ecosystem health. In response, the...
Brian M. Steele; Swarna K. Reddy; Robert E. Keane
multivariate statistical analysis, outliers, principal components analysis
Ecological Modelling. 199: 53-63.
A density management diagram for Scots pine (Pinus sylvestris L.): A tool for assessing the forest's protective effect
Density management diagrams (DMD) are graphical tools used in the design of silvicultural regimes in even-aged forests. They depict the relationship between stand density, average tree size, stand yield and dominant height, based upon relevant ecological and allometric relationships such as the self-thinning rule, the yield-density effect, and site index curves. DMD...
Giorgio Vacchiano; Renzo Motta; James N. Long; John D. Shaw
density management diagram (DMD), Pinus sylvestris L., protection forests, rockfall, natural hazards
Forest Ecology and Management. 255(7): 2542-2554.
Exploratory modeling of forest disturbance scenarios in central Oregon using computational experiments in GIS
Exploratory modeling is an approach used when process and/or parameter uncertainties are such that modeling attempts at realistic prediction are not appropriate. Exploratory modeling makes use of computational experimentation to test how varying model scenarios drive model outcome. The goal of exploratory modeling is to better understand the system of interest through...
Deana D. Pennington
Exploratory modeling, computational experimetns, scenarios, uncertainty, natural range of variability, wildfire
Ecological Informatics. 2: 387-403
Assessing public response to freeway roadsides: urban forestry and context-sensitive solutions
Social science methods can be used to assess how the public values contextsensitive solutions. The roadside landscape is a public lands resource that has many functions and provides many benefits. Diverse stakeholders may have varied expectations for roadside design. The urban forest is often a contested component of the urban roadside. Two research surveys based on...
Kathleen L. Wolf
Transportation Research Record: Journal of the Transportation Research Board, No. 1984, Transportation Research Board of the National Academies, Washington, D.C., 2006, pp. 102-111.
A review of the biology and conservation of the Cope's giant salamander Dicamptodon copei Nussbaum, 1970 (Amphibia: Caudata: Dicamptodontidae) in the Pacific northwestern region of the USA
The Cope?s Giant Salamander Dicamptodon copei is a stream dwelling amphibian reliant on cool streams, native to forested areas primarily west of the crest of the Cascade Range in the Pacific Northwest region, USA. Unlike other members of the genus, adult D. copei are most often found in a paedomorphic form, and rarely transforms to a terrestrial stage. As a result,...
Alex D. Foster; Deanna H. Olson; Lawrence L.C. Jones
amphibian, Pacific northwest, stream, forest management
The Excitement of Biology
Potential for a remote-sensing-aided forest resource survey for the whole globe
The Global Forest Resources Assessment 2000 (FRA 2000) relied primarily on information provided by countries, but FAO also conducted a remote-sensing study of tropical forests to complement country information and to bolster understanding of land-cover change processes in the tropics, especially deforestation, forest degradation, fragmentation and shifting cultivation...
E. Tomppo; R. L. Czaplewski
Global Forest Resources Assessment 2000 (FRA 2000), remote sensing
Unasylva. 53: 16-18.
Disturbance history of the Medicine Bow Range, Wyoming, using historical documents, contemporary forest inventory, and lake sediment cores
In the late 1860s, Euro-American settlement and related activities, including logging, began affecting the composition and structure of forests of the western United States. These impacts were likely to be most substantial along the corridor of the trans-continental railroad. Construction and maintenance of the railroad created a high dependence for wood, especially...
V. Carter; A. Brunelle; J. Shaw
disturbance history, forest inventory, lodgepole pine forest, forest management
The International Forestry Review. 16(5): 55.
Transferability of lidar-derived basal area and stem density models within a northern Idaho ecoregion
A patchwork of disjunct lidar collections is rapidly developing across the USA, often acquired with different acquisition goals and parameters and without field data for forest inventory. Airborne lidar and coincident field data have been used to estimate forest attributes across individual lidar extents, where forest measurements are collected using project-specific...
Patrick A. Fekety; Michael J. Falkowski; Andrew T. Hudak; Theresa B. Jain; Jeffrey S. Evans
lidar, basal area, stem density, inventory, forests regression, models
Applications of long-term watershed research to forest management in California: 50 Years of Learning from the Caspar Creek Watershed Study
For over 50 years, the Caspar Creek Experimental Watersheds, located in western Mendocino County, California, have been the site of long-term cooperative watershed research carried out by the U.S. Forest Service Pacific Southwest Research Station (PSW) and the California Department of Forestry and Fire Protection (CAL FIRE). Preliminary stream flow, suspended...
Cafferata Peter; Leslie Reid
climate, stream flow, forest management, erosion, logging
California Forestry Report No. 5. Sacramento: State of California, The Natural Resources Agency, Department of Forestry & Fire Protection. 114 p.
Reliability of confidence intervals calculated by bootstrap and classical methods using the FIA 1-ha plot design
In simulation sampling from forest populations using sample sizes of 20, 40, and 60 plots respectively, confidence intervals based on the bootstrap (accelerated, percentile, and t-distribution based) were calculated and compared with those based on the classical t confidence intervals for mapped populations and subdomains within those populations. A 68.1 ha mapped...
H. T. Schreuder; M. S. Williams
FIA plot, subdomains, simulation study, mapped populations, fixed-area sampling
Gen. Tech. Rep. RMRS-GTR-57. Fort Collins, CO: U.S. Department of Agriculture, Forest Service, Rocky Mountain Research Station. 6 p.
eDNA as a tool for identifying freshwater species in sustainable forestry: A critical review and potential future applications
Environmental DNA (eDNA) is an emerging biological monitoring tool that can aid in assessing the effects of forestry and forest manufacturing activities on biota. Monitoring taxa across broad spatial and temporal scales is necessary to ensure forest management and forest manufacturing activities meet their environmental goals of maintaining biodiversity. Our objectives...
Ashley A. Coble; Camille A. Flinders; Jessica A. Homyack; Brooke E. Penaluna; Richard C. Cronn; Kevin Weitemier
Environmental DNA, metagenomics, biodiversity, pulp and paper.
Science of the Total Environment. 649: 1157-1170.
Effects of timber harvest following wildfire in western North America
Timber harvest following wildfire leads to different outcomes depending on the biophysical setting of the forest, pattern of burn severity, operational aspects of tree removal, and other management activities. Fire effects range from relatively minor, in which fire burns through the understory and may kill a few trees, to severe, in which fire kills most trees and...
David L. Peterson; James K. Agee; Gregory H. Aplet; Dennis P. Dykstra; Russell T. Graham; John F. Lehmkuhl; David S. Pilliod; Donald F. Potts; Robert F. Powers; John D. Stuart
Fire effects, postfire logging, postfire management, salvage logging, soil disturbance
Gen. Tech. Rep. PNW-GTR-776. Portland, OR: U.S. Department of Agriculture, Forest Service, Pacific Northwest Research Station. 51 p
Precision gain versus effort with joint models using detection/non‐detection and banding data
Capture-recapture techniques provide valuable information, but are often more cost-prohibitive at large spatial and temporal scales than less?intensive sampling techniques. Model development combining multiple data sources to leverage data source strengths and for improved parameter precision has increased, but with limited discussion on precision gain versus effort....
Jamie S. Sanderlin; William M. Block; Brenda E. Strohmeyer; Victoria A. Saab; Joseph L. Ganey
abundance, data integration, integrated population models, recruitment, study design, survival, western bluebird, wildfire effects
Ecology and Evolution. 9: 804-817.


text:
Q: LibreOffice fails to export PDF containing arabic letters I used LibreOffice to write an arabic document.
When exporting this document to PDF through the LibreOffice "File -> Export...", I get an unexpected result:  the PDF is different from the original document (it has modified characters and letters which destroys the meaning).
I suspect it to be linked with right to left writting languages as I have no problem with English or French export but face the same problem with Farsi.
I installed the arabic language pack for LibreOffice but it didn't help.
Do you know what could be done to solve this issue?
Thanks!
EDIT : I use LibreOffice Version: 6.0.7.3 on Ubuntu 18.04
EDIT 2 : When copying the arabic content of a PDF I have a similar pattern everytime I paste it (to LibreOffice, firefox, gedit...).
For the sentence :
ما زلت أحاول  نسخ محتويات مستند مكتوب باللغة العربية.
I get the copy/paste from PDF :
ما زلت أحاول نسخ محتويات مستند مكتوب باللغة العربية أحاول نسخ محتويات مستند مكتوب باللغة العربية نسخ محتويات مستند مكتوب باللغة العربية محتويات مستند مكتوب باللغة العربيةت مستند مكتوب باللغة العربية مكتوب باللغة العربية باللغة العربية.
So the result  starts with the whole sentence, then goes from the word 2 till the end, then from word 3 till the end, then word 4 till the end, then word 5 till the end and finally word 6 till the end... So the result contains 6 times the last 4 words. Same pattern happens every time.
I think it is due to LibreOffice export, cause the formatting looks good on Adobe, but if I open the exported PDF with LibreOffice Draw, it is destroyed.

A: While it will not fix the issue with LibreOffice, have you considered using a "print to pdf" utility? Basically it shows up as a printer on your computer but when you print to it you can save the print output as a PDF file. If printing of Arabic and Farsi is working then this should work as well.
On Windows there is such a tool that comes with the free Foxit Reader. Adobe also provides such a tool with their Adobe Acrobat PDF editor (not Acrobat Reader).


text:
How much does a clinical coder earn in Australia?
The average clinical coder salary in Australia is $71,293 per year or $36.56 per hour. Entry-level positions start at $64,172 per year, while most experienced workers make up to $94,169 per year.
How much do contract coders make?
Contract Coder Salary
Top Earners $104,500 $8,708
How do I become a clinical coder in Australia?
To become a Clinical Coder, you have to complete an accredited clinical coding course. Accredited courses must comply with the ICD-10-AM, the Australian Classification of Health Interventions (ACHI) and the Australian Coding Standards (ACS).
How many clinical coders are in Australia?
1,300 workers Employment Size. 56% Full-Time Full-Time Share.
Is clinical coding a boring job?
The increasing complexity of the medical coding system has led to a greater familiarity of the importance of the role of medical coders. You might imagine that the job of medical coders is highly repetitive and boring, but there is much more to the job than sitting at a desk and writing codes in the proper place.
How hard is clinical coding?
Medical coding can be challenging, but it's not hard for people with the right aptitude and temperament. Learning medical coding systems is similar to learning new languages. Some people find this very easy, while it takes others much longer to become fluent.
What is the highest paid medical coder?
The highest paying coding certification is Certified Professional Coder. As a Certified Professional Coder professional, you are likely to earn an average annual salary of $54,051.
Is medical coding stressful?
Medical billing can be a stressful job for some. The deadlines and pacing of the work does require some getting used to, but it is not overwhelming or excessive.
Is a clinical coder a good job?
Clinical coding is a fantastic job offering people the chance to help frontline NHS staff and patients through creation of rich data. There is a lot to learn and lots of reading, and it can sometimes be quite solitary, so you need to be self-motivated and able to work under your own steam.
Is medical coding being phased out?
The short answer for those in the medical coding and medical billing fields is "no." The fact is, a coder continues to be in high-demand – especially those who have completed a Medical Coding Certification program. That's because nearly every healthcare provider uses coded documentation and records.
Can Medical coders work from home?
Medical billing and coding careers offer the following benefits: You can work from home. Many healthcare providers outsource their work, so you do not need to work from a specific office location. Many billers and coders are independent contractors.
Is group buying illegal?
Como fazer uma animação 3D no celular?


Airline Pilot Central Forums > Airline Pilot Forums > Major > JetBlue > Scope above all? Why exposed for so long?
View Full Version : Scope above all? Why exposed for so long?
A common thing posted by yes voters, those leaning yes and some in union leadership is that we can't vote no and expose ourselves to scope issues, jetblue express etc. If we can't go another 12 months without scope, why did we go this long without scope since voting in a union? If we can vote a TA in based on scope provisions at the expense of other sections.... Then why, 4.5 years ago, did we not we just cut and paste a scope section and have it in writing that no changes will be made to the FSM, PEA, or benefits without mutual agreement (with a short time before we can return to the table)? Seems like that would've been a very quick process. We could be voting on our second contract right now and had scope protections this whole time. Or could we? Am I missing something? I very likely could be as I'm not an expert on contract negotiations.
I'm not asking from the standpoint of a no voter, I'm asking from the standpoint of a confused union member.
Would you be willing to give up scope for improvements in other sections? I wouldn't.
Why 4 years ago did they not just cut and paste a scope section into our PEA? Probably because if that was our first contract it would have had an amendable date 4 years out and made impossible getting a contract before then. In the end the timeframe didn't work out that well but I doubt they would have just accepted the current PEA with scope as our CBA for 4 years. No way the union would have been voted in with that as ALPA's platform.
I can't speak to why the company hasn't explored farmed out JB flying in the past. I can only say that every day we exist as a pilot group without something firm in writing in the form of a CBA, we're exposed. 12 months may sound too short for them to ramp something up but I wouldn't put it past them.
They basically DID just copy paste our old PEA with some scope provisions.
Definitely not and sorry if I implied that. I think scope is a part of a complete contract. I was speaking more to the timeline and voting it in because it has the scope even though it doesn't have other things that we want yet.
I very likely could be as I'm not an expert on contract negotiations.
There are no experts in this game. No one can foretell the future. It doesn't matter if they're ALPA or a lawyer.
We do know that outsourcing our personal responsibility of making ourselves aware leads to a false sense of trust in people who are also making guesses. If you have a good reason based on your research, you are the expert.
Your question is precisely the kind of scrutiny that every ALPA member ought to have of their servant union. Otherwise, we'll get a sub-performance contract with permanent multi-year legal ramifications.
Why did we take this long? Why did JetBlue pilots reject union drives multiple times? Why does management not see how to fix a problem until they do?
We have the chance to protect our jobs in the future, and saying that this has no value is likely coming from the same people who voted against ALPA; those who are short sighted and didn't spend any time at the regionals.
The first ten years of my career were ruined by RJ's, I don't want the next ten years ruined by RJ's ending up here.
So to put the answer in TEM terms; a positive outcome is not a measure of safety. We were flying unstable approaches for years, and it isn't a problem until it is, and then it's catastrophic.
The current TA 1.0 is like an unstable approach... it won't be catastrophic until it is. TA 2.0 will be like putting in protections against unstable approaches.
I haven't heard anyone say that it has no value. I have only heard people question whether it has enough value to not go back to the table. It's kind of like insurance. Most people lose money on insurance (that's how the insurance companies stay in business) but having it puts your mind at ease. However, I wasn't questioning whether we need to lock in this "insurance" now or not, I was asking if it is so important why didn't we get the policy 4.5 years ago? With your TEM argument, are you saying that we made a mistake by not voting in a quick TA with scope early on and now we're realizing that we made a mistake?
I'm saying this pilot group made a mistake by not voting in a union sooner.
The TA was done about when it should have been. 3 years to do a full contract is about right.
Jtrain, softpay and the other experts that think Skywest is about to be painted blue any day now, why did the company roll over on RJ scope but build a fortress around domestic codesharing?
All they did was copy paste 70% of the PEA and FSM. What took so long?
Ok so then are you the expert? What do other contracts codesharing sections look like? Yes we all know what Southwest's is but what about everyone else?
Jetblue was never gonna do a lot of things until they decided they wanted to do it.
pretty sure that's not how it went... good story though.
And JetBlue never gives up something it holds sacred. So what did they give up in the scope section and what did they build a fortress around in the scope section?
Well, Southwest IS the model we should be striving for. But, why are you asking me what scope sections say instead of asking yourself why JetBlue rolled over on RJ scope and built a fortress around domestic codesharing?
Mint was never going to happen. Flying to as much of the Carribean wasn't part of the business plan. The 190's didn't fit the single fleet concept.
RJ's don't make sense until they do. When that happens I want protections.
I dunno man, You'd have to ask Nate, Jeff, or Tommy.
BS. They don't KNOW what the company truly intends to do. They fought to get the best scope language the company WOULD AGREE TO.
Now, it's up to you, me and the rest of us to understand why the company gave what it gave and built a fortress around certain things.
I'm glad we have RJ language, very glad. Time will tell why they were willing to give that up, but not domestic codeshare.
You're a real rocket surgeon dude.
come on man. the whole thing is not a conspiracy. you asked what they gave up for us to get that scope, those are the guys that would have the answer.
You guys are so worried about domestic code share? why not just farm it all out to delta united and swa? Why don't we just sell all our west coast seats on alaska? oh no moxy is trying to get some shiny new jets oh no!
why not? because there's no money in it. that's why. If jb wants to keep the ATM firing out fun tickets, it needs it's own planes on it's own routes.
1. I didn't ask what we gave up to get it, you must have misunderstood.
2. We won't farm out our existing flying, but we may very well use Alaska's West coast network to connect and feed our east coast network, since they actually HAVE a west coast network and we can longer CREDIBLY build one because there are no more gates at the premium airports.
I've heard we may have a deal for more gates at SFO, but until that is announced, it's just fantasy.
Moxy, no one knows where they will operate, but it may be part of JBs future.
All this is a concern.
The management of this airline had multiple carriers flying our passengers overnight in 2007 after the "Valentines day massacre". While circumstances today are different Jetblue mentality is all about paying others to do what you CAN do yourself. Spending capital to prevent this does sting but the necessity of it all CANNOT be overstated.
This is what the newer pilots here fail to understand. Neeleman told us we would not go west. Barger said we would never go Deep South. The 190's were purchased to open smaller domestic markets. I could go on and on with what we were told as to where we are today. I'm not complaining about the business model changing, the simple fact is the model does change and if we have the opportunity to affect how it evolves then we must.
*NO* one is disputing that having RJ scope is a good thing. We all want that. Done.
Now, why did the company give that up (they never give up anything they hold sacred) but choose to build a fortress around domestic codeshare?
If this company had ANY intentions of doing capacity purchase agreements, they wouldn't have agreed to our new scope. Now, things could change, and I'm glad we have that scope, but IF they had any intentions of RJs, they wouldn't have given that up. But they DID build a fortress around domestic codesharing. Why?
It's unlikely we will ever know and I am ok with that. To your point why did they give us so much control over pairing construction and work rules? Perhaps they are shortsited and simply trying to limit pay and benefits. Given the fervor with which Jetblue has used "open architecture" to code share this is still a victory in my book.
"Would agree to" with virtually no resistance from us. Air conditioned office meetings and one silent campout are hardly a show of force. If more of these events occur, then BJ would be more compelled to agree to more favorable terms.
We each have a book. In my book it's a half victory. But, I have to disagree, we may very well become aware of the "why" in the next year or two.
You may well be right. The airline, while seemingly rudderless, if often a few steps a head in a lot of ways. I still think they have other ventures they are more interested in and this was not that important. Either way Jetblue was able to monetize the "want" from the union.
Yes, other ventures, I think we'll send our airplanes east to Gatwick and connect our network intra-west onto Alaska's network, since we have no credible plan to offer a west coast network.
And just go ahead and repeat every other post you already published.
You gonna ask any questions at a roadshow or just shoot from the hip?
Interestingly enough all these questions are already answered on FAQ site.
My guess is that they don't really have a plan for an RJ operation, because UA/DL/AA have already gobbled all that up, and there just aren't enough pilots to start a new one and the existing ones already have agreements and are maxed out. So they throw a "scope bone" and say "yeah yeah we won't do any JB Express, but for you to get that we want all these pay concessions, etc" and they give you something that doesn't cost them anything but get you to give something up in return. Nothing has stopped them form doing this in the last 18 years, and if they wanted it they wouldn't give it up.
Well, we *can't* intra-west coast, no premium gates. So.......listen I'm a no vote so don't think I'm trying to defend anyone but reallocation of assets is not a big deal. You guys missed the years when we opened 14 cities and closed half of them down or stopped flying to all the original destinations. I'm not quite sure what type of language your were expecting either. The ability to domestic code share is normal and the argument supports the finances. If Jetblue can make money on it they will. Intra-west coast flying is not nearly as lucrative as east coast/Carib/LA. If you look at SEA to SFO/LAX count the number of flights and frequency. It's an extremely competitive market to fly with the frequency we did. The code share explanation of dollars and cents it factual so don't me concerned about that little detail. The ****ty healthcare, UTO and some others are much greater concern.
They don't care about the RJ market. There is too much inertia from existing 121 regionals for another to enter the market. Besides, the economics of it just don't work out. It costs a lot of $$$ to fly RJs especially when they aren't 100% full. That's why BJ is playing around with Part 135 carriers. They can feed mainline with smaller than RJ cabins at airports where there is virtually no hassle (read: no TSA). Scope is important but it's something to take for granted at this point. I wouldn't give it up, but it certainly isn't the right criteria to declare victory. BJ is winning on other things that really matter: contract language, bottom of the barrel healthcare, UTO/PTO, vacation bidding (which almost no one will be able to take advantage of), and of course the basic pay rates --- all of which is aimed at containing the cost of pilots. The Yes voters are living in yesterday not understanding that BJ is a different animal and what B6ALPA views as a victory is really a cost-neutral compromise, not a victory.
You are absolutely right... they spoofed us. They gave us something they never cared about in the first place. What they really care about is paying us less because they need to make the balance sheets look good for investors. If people listened to the investor's meetings, they would agree with you and realize that TA 1.0 is sub-standard.
listen I'm a no vote so don't think I'm trying to defend anyone but reallocation of assets is not a big deal. You guys missed the years when we opened 14 cities and closed half of them down or stopped flying to all the original destinations. I'm not quite sure what type of language your were expecting either. The ability to domestic code share is normal and the argument supports the finances. If Jetblue can make money on it they will. Intra-west coast flying is not nearly as lucrative as east coast/Carib/LA. If you look at SEA to SFO/LAX count the number of flights and frequency. It's an extremely competitive market to fly with the frequency we did. The code share explanation of dollars and cents it factual so don't me concerned about that little detail. The ****ty healthcare, UTO and some others are much greater concern.
I'm not even saying vote NO. I may not. But don't tell me as so many guys do that we are "protected".
So sound as if you agree with me more than anything, that we may well codeshare intra-westcoast (no premium gates, very saturated/competitive market).
But connecting onto someone else's west coast network is less oganic growth for us and we have lots of guys who live west and believed in the fairytale that we had a west coast plan for them "someday".
Otherwise, yeah, not the end of the world, just more "less growth".
I do agree with you. No issues there. I'm just not overly concerned about the west coast flying. It's a difficult market that is highly saturated. If for some reason domestic code share does happen it would typically increase west flying anyhow.
If jetblue hasn't done it by now I'd guess it's unlikely to happen. IMHO if it does happen it's likely a precursor to a merger anyhow.
More like less growth where you'd like it (West coast). But growth nevertheless, otherwise no codeshares.
Nope. Just more "less growth". We're already at a multi-year low growth rate. And we could cut our already low growth rate by a further 75% and STILL sign new codeshares.
Ideally we would not allow any RJs and have very very limited codesharing. The TA doesn't allow RJs and has at least some limitations to codesharing. To me this is near industry leading, and a massive improvement over what we have now.
The latest MEC video out basically poses the scenario....Skywest has 100 E175-E2 on order. They're too heavy to be used at their current mainline partners. What's to stop them from replacing our E190s? Similar situation with TransStates and the Mitsubishi jet. "The threat is real."
Ok, Skywest Inc starts another certificate, called Skywest Blue, starts selling tickets on SkywestBlue.com, codeshares with JetBlue on all their West coast routes. As long as JB grows a tiny, tiny, tiny little bit, here's your RJs. Totally permissable. The "threat is real".
Same can be said for Moxy.
So you're ok with *any* degree of improvement.. even if it's just crumbs and nowhere near what it should be?
Is there some rule that a 1st TA has to be just barely better than nothing? Or is this some arbitrary mental block most BJ pilots have?
Do you even know what a codeshare is?
In your example Skwest is starting it's own independent airline and assuming all the risk.
Exactly. Like Expressjet did once before and Moxy is about to do.
That's why I said *sell* tickets. You did say they have all those E175s that are on order too heavy for any existing mainline besides Alaska. Oh, Alaska, that brings me to my next point.
Jetblue will either exist in the market or it won't and it'll use a codeshare to fill a space where it couldn't profitably exist. There's little upside to the codeshare. If there was money to be made there (especially LGB) we have the planes and infrastructure to have done it.
It's like you think the CEO is sitting around thinking, if only we could pull out of the West Coast and use codeshares.
Hilarious. You guys either don't listen or can't fully comprehend all the possibilities.
Either way, don't care anymore.
Explain then how JB makes money off a stand alone carrier like SkyWest-blue operating west coast flights.
By getting them on a JB connecting flight.
I could, I'm just over the conversation.
But, the short version is think along the lines of how Emirates gains additional revenue and passengers by connecting into JBs network. We would gain additional revenue and passengers (that would fly on another Airline) by connecting into Alaska's (as an example) intra-westcoast network. It wouldn't make sense for JB to do that *IF* we could develop our own intra-westcoast network. We can't anymore due to gate space at the premium airports and west coast competition.
We are trying hard to attract corporate accounts in Boston. Consider a medical sales company that needs to send a rep to a surgeon in Idaho Falls or any number of other mid-sized and smaller west coast cities. We can fly them to SEA or SFO though, and then connect onto Alaska or Moxy (depending on where Moxy deploys their aircraft).
We had always thought we could build our own West coast network or buy VA. Now plan A and B are gone. It's plan C time. I have a feeling they built a fortress around domestic codesharing for a reason.
On to a new subject.
Why would they do that!!! Oh ya we can't grow because we sit on our hands while letting every other airline expand till no more room. But we only make pennies on the dollar (still making money with zero risk, and giving customers access to other parts of the country we don't go to since we won't grow anywhere besides SDQ) I give up. I voted and have my receipt showing how I voted.
Then you didn't vote, because the receipt doesn't show how you voted for confidentiality.
But the screen before it shows how you did and the time is the same as my receipt time. So ya it does show.
You just contradicted yourself. The receipt doesn't show it, but the screen before it does. 2 different things. Vote your conscience, you don't need to broadcast it.
Which is good for us.. Yea?
Half as good as growing our own organic west coast network, which is what we SAID we were going to do. They haven't.
Good for making money on our existing network. Not good for disincentivizing investment in future networks. We are still a growth company. If we have a reason not to grow, or to focus growth elsewhere, that isn't as good as incentivizing mgmt to invest and grow organically in those same markets. I'd rather grow into those markets as we always have, not codeshare into them, from both a pilot and shareholder perspective.
Yeah, but at least we'll be slowing to 7-8 deliveries a year soon. Yay.


This process must be completed by every volunteer with children or youth each October.
training. During the first year of this Policy's implementation (2011) staff persons and volunteers will submit to the screening procedures described in this document. Following the first year of this Policy's implementation, all new applicants, persons who have a break in service of one or more years and those with 3 or more years since their last background check shall submit to the screening procedures.
All forms and reference reports shall be kept as part of an applicant's personnel file. All applications and related forms must be completed prior to service. In the event that a reference follow up is accomplished by phone, detailed notes of the conversation should also be included in the personnel file. It is highly recommended that an applicant's Social Security Card is verified prior to sending forms to Conference office. When the Conference is hosting an event for which the local church is responsible for chaperones, all communications regarding the event will contain language specifying these procedures as MINIMUM BASIC GUIDELINES for all adults serving as chaperones at the event.
Print and complete the Grace United Methodist Church Volunteer Application for Working with Children or Youth, Grace United Methodist Church Covenant Form, Authorization For The Conduct Of Criminal Records And Background Checks And Release of Liability forms, and Trak1 Authorization – Volunteer (Final) or Trak1 Authorization – Employment (Final).
These forms will be mailed/returned along with the agreement to comply statement (Step Four) to the GUMC secretary.
Report of Inappropriate Behavior by Child or Youth: This form should be completed by any adult who observes inappropriate behavior by a child or youth under their supervision at GUMC or GUMC sponsored functions.
Grace Accident Report :This form is used to report a minor or major injury to a child or youth under the supervision of GUMC staff or volunteers.
Report of Suspected Child Abuse: Every staff member or volunteer of GUMC is REQUIRED BY LAW to report suspected incidents of child abuse in the life of a child or youth, whether or not the suspected incident occurs on GUMC property or while a child is under our supervision. This form provides space to document the suspected abuse and the telephone numbers for immediate reporting.
Forms must be completed on paper and original copies must be mailed/returned to the church secretary.


Planning your garden is designing an extension of your home.
Cottage gardens that are carefully planned and developed can be as dreamy as the home in which you live. In fact, I consider the garden an opportunity to surround myself with plants that fill me with contentment and delight. With each leaf that puts forth and each bulb that returns year after year to bring a welcomed splash of color, the seasons come alive!
If you don't have much of a natural green thumb or if your garden space is limited, creating a charming hardscape is the way to go. When designing my garden, I wanted the house to have an English cottage design and feel as if it had been there for years. The fountain (below) is the centerpiece of my walled garden. It is the simple trickle of water that soothes my soul and brings peace year-round, and it's the hardscape elements that shine while the surrounding flora sets a charming scene.
To create this delightful vintage-inspired English cottage garden, we mortared the Eldorado stone surrounding the home and garden to create an older look, making it seem as though our new build had been aging gracefully for decades. To keep the vintage look as authentic as possible, we used synthetic slate from DaVinci Roofscapes for the roof of the home. And although synthetic, it's often mistaken for authentic aged slate.
Raised beds are truly wonderful. You can fill them with carefully blended soil that will nourish your plants. If you are lucky enough to have a place for a garden gate, select one that makes you smile. An additional architectural element in the garden could easily be the highlight.
Garden fountains and containers offer a place for a focal point. My garden has flowers randomly placed in bunches. Other people prefer a very formal garden where plants are grown equal distances from one another. These are fabulous, too. Your garden must make you happy. Whether you have a tiny vine that creeps along year after year or bulbs that bloom like a choir standing in rows, fill your special place with flowers, shrubs, and vines that you enjoy. Add something new each year and, soon, you will find you have surrounded yourself with all things beautiful.
For more garden inspiration, check out the issue below!


Ariel, Y., Malka, V., Avidar, R., & Levy, E.C. (2017). Smartphone's usage among young Israeli adults: A combined quantitative and qualitative approach. Israel Affairs 23(5), 970-986.
Ariel, Y., Elishar-Malka, V., Weimann-S, D., & Avidar, R. (2017). Online agenda-setting research: Challenges and dilemmas. The Agenda Setting Journal 1(2), 117-136.
Avidar, R. (2017). Public relations and social businesses: The importance of enhancing engagement. Public Relations Review, 43(5), 955-962.
Toledano, M., & Avidar, R. (2016). Public relations, ethics, and social media: A cross-national study of PR practitioners. Public Relations Review 42(1), 161-169.
Weimann-S, D., Ariel, Y., Malka, V., & Avidar, R. (2016). Trends in public and media agenda setting during the 2015 Israeli elections. Israel Affairs 22(3-4), 727-742.
Malka, V., Ariel, Y.,& Avidar, R. (2015). Fighting, worrying and sharing: Operation 'Protective Edge' as the first WhatsApp war. Media, War, and Conflict 8(3), 329-344.
Malka, V., Ariel, Y., Avidar, R., and Levy, E. C. (2015). Operation "Protective Edge"- The first Whatsapp war? Kesher , 47, 88-96.
Avidar, R., Ariel, Y., Malka, V., & Levy, E.C. (2015). Smartphones, publics, and OPRs: do publics want to engage? Public Relations Review , 41, 214-221.
Ariel, Y., & Avidar, R. (2015). Information, Interactivity, and Social Media, Atlantic Journal of Communication, 23(1), 19-30.
Avidar, R., Ariel, Y., Malka, V., and Levy, E. C. (2013). Smartphones and young publics: A new challenge for public relations practice and relationship building. Public Relations Review 39(5), 603-605.
Avidar, R. (2013). The responsiveness pyramid: Embedding responsiveness and interactivity into public relations theory. Public Relations Review 39(5), 440-450.
Avidar, R. (2012). How a politician can successfully implement public relations principals online: An Israeli case study. Israeli Journal of Humor Research 1(2), 81-96.
Avidar, R., (2011). Israeli public relations and the Internet. Israel Affairs. 17(3), 401-421.
Avidar, R., & Rafaeli, S., (2009). Computer mediated charity: Israeli nonprofit use of Web 1.0 and Web 2.0 online dialogic elements. The Journal of Global Management Research 5(2), 61-70.
Avidar, R., (2009). Social media, societal culture, and Israeli public relations practice. Public Relations Review, 35(4), 437-439.
Avidar, R. (2018). Engagement, Interactivity, and diffusion of Innovations: The Case of Social Businesses. In K. Johnston, and M. Taylor (Eds.). Handbook of Communication Engagement (pp. 505-514). New Jersey: Wiley.
Avidar, R. (2017). Responsiveness and interactivity: Relational maintenance strategies in an online environment. New media and public relations (Third Edition). In S. Duhe (Ed.). NY: Peter Lang.
Malka, V., Ariel, Y., Avidar, R. & Cohen, A.A. (2017). Reconceptualizing uses and gratifications vis-à-vis smartphone applications: The case of WhatsApp. In P. Vorderer., D. Hefner., L. Reinecke., & C. Klimmt (Eds.). Permanently Online, Permanently Connected (pp. 43-50) New-York: Routledge.
Weimann-Saks, D., Ariel, Y., Malka, V., & Avidar, R. (2017). Trends in public and media agenda-setting during the 2015 Israeli elections, in E. Orkibi, & M. Gerstenfeld (Eds.). Israel at the Polls 2015 A Moment of Transformative Stability. London: Routledge. ISBN 9781138637030.
Avidar, R., Ariel, Y., & Malka, V.(2017). Wartime changes in news consumption patterns among Israeli WhatsApp users: Operation Protective Edge as a case Study. In D. Caspi, and D. Rubinstein (Eds.). Reporting the Middle East: Challenges and Chances (pp. 79-98). New Jersey: Scientific Publishing.
Avidar R., (2012). Israeli public relations and the Internet. In A. Lev-On (Ed.) New media, politics and society, London, Routledge.
Toledano, M., & Avidar, R. (2017). Public relations, ethics and social media: A cros- national study of PR professionals. Institute For Public Relations (IPR) Link here.
Toledano, M., & Avidar, R. (2016). Ethics and public relations in social media: The case of Israel and New Zeland. The Israeli Public Relations Association (ISPRA) [Hebrew] Link here.
Avidar R., Ariel, Y., Malka, V., & Levy E.C. (2015). Smartphones, publics and OPR: Do publics want to engage? Institute For Public Relations (IPR) Link here.
Malka, V., Ariel, Y., Avidar, R., & Levy, E. C. (2014). Do you have a Joke? WhatApp usage in a national crisis situation [Hebrew] Link here.
Avidar, R. (2009). Social media and its usage among Israeli practitioners. The Israeli Public Relations Association (ISPRA) Web site [Hebrew] Link here.
An advisor and a reviewer of chapters 13-14-15 in the book: Limor, Y., Mendelzis, L., & Leshem, B.(2013). Public relations: strategies and tactics. The Open University, Israel.


text:
Ericsson Broadcast and Media Services becomes Red Bee Media
Thursday, November 9, 2017 - 12:16
Ericsson is renaming its Broadcast and Media Services business to Red Bee Media, effective from 9 November 2017. The Red Bee Media name and brand identity will apply to all of Ericsson's Broadcast and Media Services businesses worldwide. As part of this change Red Bee Media is now an independent business fully owned by Ericsson with operations in Australia, France, Germany, the Netherlands, Spain, Sweden, the UK, United Arab Emirates, and the US.
Ericsson first entered into the media services business in 2007 and subsequently grew the business both organically and through acquisitions, including Red Bee Media in 2014.
Steve Nylund, CEO of Red Bee Media, said: "We looked at not only our vision and strategy for the future but also what we, as a business, now stand for. The Red Bee Media brand has a long and rich heritage in TV and media and is well recognised across the industry. Adopting this brand will enable us to strengthen our position as an independent and agile media services organisation. It will provide the basis for our business, our people and our clients to unify around a shared identity that represents our purpose, brand positioning and values."
Red Bee Media is a provider of broadcast and media services. It is headquartered in the UK and employs around 2,500 broadcast and media specialists globally. Its comprehensive services portfolio spans media management, playout, OTT, access services, content discovery and award-winning creative services and sports graphics and analysis solutions.
Every day, people on all continents watch television programs prepared, managed and broadcast by Red Bee Media staff. Every year, the business delivers more than 2.7 million hours of programming in more than 60 languages for nearly 600 TV channels. Its content discovery portfolio spans more than 10 million movies and programme titles, covering over 25 languages, and includes an image database covering over 90% of all programming available across traditional TV, video on demand (VOD) and subscription video on demand (SVOD). It provides over 230,000 hours of captioning each year, more than 100,000 hours of which is live.


Several research and innovation (R&I) projects have been implemented in the Baltic Sea area, aimed at improving our understanding of the risks, and developing analysis methods to support decision making. Much work has also been done to develop decision support systems and tools for risk mitigation. It is crucial that the results of such efforts are maximally utilized, and where necessary that follow-up efforts are made to ensure an efficient uptake of the developments by authorities or industry, or implemented into policy. To facilitate this, it is necessary to make a comprehensive review of the past R&I actions, addressing key issues such as the firmness of the method's scientific basis, the quality of the underlying evidence and existing knowledge gaps, and the utility of the methods (e.g. cost-effectiveness and technology readiness level). It is important as well to gain insights in the actual uptake of R&I results, and provide pathways for improving this in the future. Finally, a comprehensive review and knowledge gap analysis can provide important inputs for setting new research and innovation agendas, which is crucial also to anticipate new and emerging risks. Given the above, this new research project BALTIMARI will be implemented in the Baltic Sea region, in order to aim three objectives. First, a review is made of the current state of the art of risk analysis and decision support systems for managing the risks of maritime shipping and offshore energy production in the Baltic Sea area. Second, the research uptake of past R&I actions is assessed, and suggestions are made for future improvements thereof. Third, knowledge gaps are identified and research priorities proposed in consultation with key stakeholders.


text:
Ryan Standfest.
Born 1974, Detroit, Michigan USA.
Lives and works in Detroit.
Photo: Millee Tibbs / 2020
Having come of age in a collapsing industrial metropolis, my work has been driven by a preoccupation with optimism and its aftermath.
As the dust still settles on the ruins, its particles are comprised of an optimism once trumpeted—in design, in industry—that advertised a Modernist narrative of utopian progress. Because my experience has been defined by the pairing of that progress with ruin, and idealization with imperfection, it is impossible for me to engage in a nostalgic embrace of the optimism of the past. Therefore it is my tendency to subvert nostalgia by revealing it as a corruptive force that distorts and creates illusory notions of stability and greatness.
I am however not guided by pessimism. Futurist dreams of achieving utopia move me, but having lived in the shadow of the abject evolution of the working class and socio-economic ruin, I am compelled to examine the fundamental absurdity of fantasies to achieve human perfectibility and the fallibility of structures engineered to halt entropy.
In my work, unrequited yearning for progress collides with the more complex realities of late capitalism, in which failure undermines expectation and shifts centers of power in an absurd cycle of hyped aspiration and subsequent deflation. These polarities necessitate social critique with the question of who is allowed to access dreams of fulfillment and what that yields. I return to a very particular convoluted working class inclination toward longing undercut by repulsion: the need for upward mobility combined with a distrust of what that success gains access to.
My enthusiasm for obsolete print ephemera such as comic strips, tabloid newspapers, postcards, catalogs, manuals and advertisements, is intended to highlight the fugitive value of authoritative cultural currency as it advertises our vision of the ideal.
-MFA in Printmaking, School of Art and Art History, The University of Iowa, 2006
-BFA in Printmaking, Department of Art & Art History, Wayne State University, 2002
-When Day Is Done, Galerie Camille/Papier Galerie (Detroit, MI), 2022-2023
-There's Nothing So Bad That It Can't Grow Worse, Hatch Art (Hamtramck, MI), 2022
-Dumpster Fire, Southeastern Community College (Burlington, IA), 2022
-I Went to Work But I Did Not Get There, Simone DeSousa EDITION (Detroit), 2020
-This Must Not Be The Place You Thought It Would Be, Art Department Gallery, Wayne State University (Detroit), 2018
-Random Negotiations Toward an Unreasonable Happiness, Hatch Art (Hamtramck, MI), 2017
-Arghh! Stubby Punches and Fatty Ejecta, Detroit Industrial Projects (Detroit), 2007
-Printmaking in the Twenty-First Century, Detroit Institute of Arts (Detroit), 2022
-Art @the Max VII, Detroit Symphony Orchestra (Detroit), 2020
-Worlds Apart, Constellation Studios (Lincoln, NE), 2019
-Portray, Wasserman Projects (Detroit), 2019
-EDITION 2018, Simone DeSousa Gallery (Detroit), 2018
-A Conspiracy of Accidents, Popps Packing (Hamtramck, MI), 2018
-Vitrine, Eastern Michigan University (Ypsilanti, MI), 2018
-The Contemporary Print 2018, O2 Gallery (Austin, TX), 2018
-The Supplies of Viable Living, Catich Gallery, St. Ambrose University (Davenport, IA), 2018
-Printwork 2017, Artists Image Resource Gallery (Pittsburgh, PA), 2017
-HOT, FRESH!, HumpDay Gallery, Pennsylvania State University School of Visual Arts, (State College, PA), 2017
-Punk House, Mike Kelley Mobile Homestead, Museum of Contemporary Art Detroit (Detroit), 2017
-Just Under 100: New Prints 2017/Summer, IPCNY (New York) (as Rotland Press), 2017
-Kabinet d'Estampes 2 Yellow Bridge, Le Kabinet (Brussels, Belgium), 2017
-Text/Image, Ann Arbor Art Center (Ann Arbor, MI), 2017
-Conspire: Collaboration, Cooperation, Collection, Florida State University Museum of Fine Arts (Tallahassee, FL), (as part of The Moving Crew), 2017
-The Printer's Devil, The Scarab Club (Detroit), 2016
-à l'arrache 5, Association Les Abattoirs (Riom, France), 2016
-Turnover A Spread, Holding House (Detroit), 2016
-Signs of the Times, North Dakota State University (Fargo, ND), 2015
-Substrate: Printed Matter From the Rust Belt, Scene Metrospace (Lansing, MI), 2014
-I'm Your Man, ISE Cultural Foundation (New York, NY), 2014
-Publisher! Publisher!, Northeastern Illinois University (Chicago), 2014
-Line By Line: Drawing Explored, Detroit Artists Market (Detroit), 2013
-Graphic Design Exhibition, The Scarab Club (Detroit), 2013
-CIRCUS, Gallery Project (Ann Arbor, MI), 2013
-The Bitters, Whitdel Arts (Detroit), 2013
-Vision In A Cornfield, Museum of Contemporary Art Detroit (Detroit), 2012
-United Dead Artists, La Galerie Lavignes-Bastille (Paris, France), 2012
-A Shadow Side, Peru State College Art Gallery (Peru, NE), 2012
-Eat Before We Eat You, Morpho Gallery (Chicago), 2012
-The Enraged Will Inherit the Earth, Public Pool Artspace (Hamtramck, MI), 2011
-Heads on Poles, Western Exhibitions (Chicago), 2011
-As The Crow Flies, Times Club at Prairie Lights (Iowa City, IA), 2010
-What's So Funny?, Gallery Project (Ann Arbor, MI), 2010
-TOUCH, Work • Detroit, U of M Stamps School of Art & Design (Detroit), 2010
-Actual Size Biennial, Contemporary Art Institute of Detroit (Detroit), 2009
-Boing, Paint Creek Center for the Arts (Rochester, MI), 2009
-Collection Connection, Work • Ann Arbor, U of M Stamps School of Art & Design (Ann Arbor), 2009
-From a Different Perspective, Detroit Artists Market (Detroit), 2009
-Bradley International Print & Drawing Exhibition, Bradley University (Peoria, IL), 2009
-Fear, Work • Detroit, U of M Stamps School of Art & Design (Detroit), 2009
-Satisfaction Town, Columbia College (Chicago), 2009
-Andres Serrano Picks Detroit, College for Creative Studies (Detroit), 2008
-Land Grant Flag-State Construct, Bemis Underground (Omaha, NE), 2007
-Revolution Number 10, Luther College (Decorah, IA), 2006
-Rotland's False Development Promises Sales Case, Bert Green Fine Art (Chicago, IL), 2019
-How to Chop Wood in a Glass House (text + piano), Popps Packing (Hamtramck, MI), 2018
-The Dream of the Beaver (reading), Public Pool Artspace ((Hamtramck, MI), 2017
-Ricky Got It Kind of Bad / Factory Head (readings and video screenings), N'Namdi Center for Contemporary Art (Detroit), 2017
-Coitus Modern/Case Study: Modernist Erotic Delirium (reading), Holding House (Detroit), 2016
-A Radiant Cataclysm, ISE Cultural Foundation, (New York, NY), 2014
-The Carbuncle Procedure, Museum of Contemporary Art Detroit (Detroit), 2013
-3 Happy Butchers, Popps Packing (Hamtramck, MI), 2013
-Got It Kind Of Bad (reading), Work • Detroit, U of M Penny Stamps School of Art & Design (Detroit), 2013
-A Theory of Nothing & The Sound of Everything, HatchArt Collective (Detroit), 2012
-FAT BRANDO (a parable of moribundity), Detroit Artist's Market (Detroit), 2011
-HULLAB (In the Air, 3 Little Men Sing Their Terrible Song), Public Pool Artspace (Hamtramck, MI), 2011
-Meet Mister Ricky, a Regular King Smiley Boy, Detroit Industrial Projects (Detroit), 2007
EDITOR and PUBLISHER
-H.R. Giger «Atomkinder» / Cartoons 1960-1967, Rotland Press (Detroit), 2022
-Active Shooter!, by Christopher Sperandio, Rotland Press (Detroit), 2022
-American Fascism, Still!, by Sue Coe and Stephen F. Eisenman, Rotland Press (Detroit), 2022
-Anatomy of the Devil: Short Stories by Walerian Borowczyk, Rotland Press (Detroit), 2022
-The Happiness Manifesto by Martin Rowson, Rotland Press (Detroit), 2021
-The Plague Review Digest, Rotland Press (Detroit), 2021
- The Dreadfuls Special, Rotland Press (Detroit), 2020
-American Fascism Now by Sue Coe & Stephen F. Eisenman, Rotland Press (Detroit), 2020
-The Angriest Dog in the World by David Lynch, Rotland Press (Detroit), 2020
-The Plague Review (online), Rotland Press (Detroit), 2020
-Detroit Sequential Sundays (online), Detroit Novelty Press (Detroit), 2020
-Detroit Sequential No. 2, Detroit Novelty Press (Detroit), 2019
-One-Shot Rot: Precious Rubbish by Kayla E., Rotland Press (Detroit), 2018
-Mono-Rot No. 2: Bill Fick / prints, Rotland Press (Detroit), 2018
-American Flytrap No. 2: The Gun Issue, Rotland Press (Detroit), 2018
-American Flytrap No. 1: The Post-Truth Issue, Rotland Press (Detroit)
-Detroit Sequential, Detroit Novelty Press (Detroit), 2017
-Black Eye Three: A Shameful Enlightenment, Rotland Press (Detroit), 2017
-The N-Word: Paintings by Peter Williams, Rotland Press (Detroit), 2016
-Rotland Funnies: Detroit Comics, Newcity newspaper (Chicago), 2015
-Rotland Inquiry No. 1: on "Charlie Hebdo", Rotland Press (Detroit), 2015
-CHASING POSADA! A Macabre Populist in The City, Rotland Press (Detroit), 2014
-Got It Kind Of Bad, Rotland Press (Detroit), 2014
-Novus Manualis: A Handbook for the New Man, Rotland Press (Detroit), 2013
-A Little Book Of Banal Agony, Rotland Press (Detroit), 2013
-Black Eye 2, Rotland Press (Detroit), 2013
-The Rotland Dreadfuls #1-10, Rotland Press (Detroit), 2013
-Ardent Boner, Museum of Contemporary Art Detroit/Rotland Press (Detroit), 2012
-Carbuncle, Rotland Press (Detroit), 2012
-Morose Delectation, Rotland Press (Detroit), 2011
-FUNNY (not funny), Rotland Press (Detroit), 2010
-Detroit Sequential No. 1, Signal-Return (Detroit), 2017
-A Shameful Enlightenment, Popps Packing (Hamtramck, MI), 2017
-RP5: Five Years of Rotland Press, Spudnik Press (Chicago) 2015
-Chasing Posada! (A Macabre Populist In The City), Spudnik Press (Chicago) 2015
-Chasing Posada! (A Printmaker In The City), Signal-Return (Detroit), 2014
-DEADPAN: The Art of the Expressionless, Whitdel Gallery (Detroit), 2013
-A MODEST OUTRAGE, Popps Packing (Hamtramck, MI), 2013
-B3: Blooms/Bugs/Beasts (The Natural Absurd), The Scarab Club (Detroit), 2013
-Love For Sale, Work • Detroit, U of M Stamps School of Art & Design (Detroit), 2012
-EYE TEETH (a satire on the American way of life), Paint Creek Center for the Arts(Rochester, MI), 2012
-MOROSE DELECTATION, Book Beat Gallery (Oak Park, MI), 2011
-FUNNY (not funny), Work • Detroit, U of M Stamps School of Art & Design (Detroit), 2010
ARTICLES, REVIEWS AND PAPERS AUTHORED
-"A Useful Bile: André Breton's Humour Noir in 1960s America", Radical Dreams: Surrealism and Revolution, ed. by Abigail Susik and Elliot H. King, Penn State University Press, 2022
-"Essay'd No. 136: Jeffrey Abt" (essay), Essay'd, February 2020
-"Salon @David Klein Gallery Detroit" (review), Detroit Art Review, October 2019
-"Gyan Shrobree & Jim Shrosbree @Nx.ix Gallery" (review), Detroit Art Review, October 2019
-"Jim Shrosbree @Paul Kotula Projects" (review), Detroit Art Review, September 2019.
-"Essay'd No. 128: John Maggie" (essay), Essay'd, July 2019
-"Stacey Steers @K. Oss Contemporary Art Gallery" (review), Detroit Art Review, June 2019
-"Essay'd No. 124: Emmy Bright" (essay), Essay'd, May 2019
-"COMP/SITE @The Scarab Club" (review), Detroit Art Review, April 2019
-"Dustin Cook @Playground Detroit" (review), Detroit Art Review April 2019
-"From Camelot to Kent State: Pop Art, 1960-1975 @The Detroit Institute of Arts" (review), Detroit Art Review, March 2019
-"David Opdyke @The University of Michigan Institute for the Humanitites" (review), Detroit Art Review, February 2019
-"W.C. Bevan @Greenroom Gallery"(review), Detroit Art Review, December 2018
-"Ceremonial Handball: On Jim Chatelain", Cass Corridor: Connecting Times, ed. by Simone DeSousa, Simone DeSousa Gallery (Detroit), 2017 (catalogue essay)
-"Chopped-Up Figures in Boxes with Shapes Coming Out of Their Mouths: Comic Strip Poetics", Mid-America Print Council Journal, Vol. 25, ed. by Jennifer Ghormley, Matt Hopson-Walker, Joseph Lupo, Fall/Winter 2016
-"Getting Malled: Back to the Third Place", The People's Press, edited by The Hinterlands, GoodGood (Detroit), 2016
-"Coitus Modern/Case Study: Modernist Erotic Delirium", Infinite Mile: a journal of art + culture(s) in Detroit, ed. by Stephen Garrett Dewyer and Jennifer Junkermeier, 2016
-"The Naked Modern City", Infinite Mile: a journal of art + culture(s) in Detroit, ed. by Stephen Garrett Dewyer and Jennifer Junkermeier, 2016
-"Localized: Being a Satirical Fiction in Multiple Episodes / 1. On The Nature of Selling A Thing," Infinite Mile: a journal of art + culture(s) in Detroit, ed. by Stephen Garrett Dewyer and Jennifer Junkermeier, 2015
-"Macabre Populism From The Chosen Land", Mid-America Print Council Journal, Vol. 23, No. 1-2, ed. by Jennifer Ghormley, Anita Jung, Kristine Joy Mallari, 2015
-"Chicago: Comics On The Make", The Comics Journal, June 4, 2012 (on "Comics: Philosophy & Practice," a symposium at The University of Chicago), 2012
VISITING ARTIST / RESIDENCIES
-Residency: Jentel Artist Residency, Banner, WY, 2021
-Residency: Virginia Center for Creative Arts, Amherst, VA, 2018
-Visiting Artist: Print Media, Gwen Frostic School of Art, Western Michigan University, Kalamazoo, MI, 2017
-Visiting Artist: Print Media, Cranbrook Academy of Art and Design, Bloomfield Hills, MI, 2016-2017
-Visiting Artist: Modern Graphics History Library, Communication Design and Printmaking Programs, Sam Fox School of Design and Visual Arts, Washington University, St. Louis, MO, 2016
-Guest Artist and Critic: Printmaking Area, Fine Arts, College for Creative Studies, Detroit, MI, 2015
-Visiting Artist: Printmaking Area, School of Art and Art History, The University of Iowa, Iowa City, IA, 2015
-Visiting Speaker: BFA Senior Seminar, Department of Art, Art History & Design, Michigan State University, Lansing, MI, 2015
-Visiting Lecturer: First Year Program, Department of Art, Bowling Green University, Bowling Green, OH, 2012
ACADEMIC PRESENTATIONS / PUBLIC LECTURES
-Lecture: "H.R. Giger: Cold War Satire and 1960s Underground Publishing", Oakland University Department of Art and Art History, Rochester, MI, 2022
-Lecture: "From Rot New Growth Emerges, or How I Learned to be a Publisher and Like It", Wayne State University Department of Art and Art History, Detroit, 2022
-Lecture: "Threading the Needle", Frostic School of Art, Western Michigan University , Kalamazoo, MI, 2022
-Lecture: "The Tragic Gag", The University of Iowa School of Art and Art History, Iowa City, IA, 2022
-Lecture: "The Economics of Dust", Detroit Institute of Arts Friends of Prints Drawings and Photographs, Detroit, 2021
-Lecture: "From Rot New Growth Emerges, or How I Learned to be a Publisher and Like It", The New York Comics & Picture-Story Symposium, NYC, 2021
-Lecture: "Western Remains: Disaster Tourism in the American West", Oakland University Department of Art and Art History, Rochester, MI, 2021
-Panel Member: "The New Art of Protest: Artist as Publishing Auteur", Hosted by Department of Visual and Dramatic Arts, Rice University, Houston, TX, and Printed Matter Inc., NYC, 2021
-Panel Chair: "DIY Print Culture and Citizenship" for "Imagining Freedom: A Century of Illustration" symposium, The Norman Rockwell Museum, Stockbridge, MA, 2021
-Panel Member: "On Art Criticism", Birmingham Bloomfield Art Association, Bloomfield Hills, MI, 2019
-Panel Member: "Interstitial Interruptions: Discussion Panel", Lawrence Technological University Detroit Center, Detroit, 2019
-Panel Member: "Print Culture in Detroit: A Parallel to the City", Southern Graphics Conference International 2018, Las Vegas, NV
-Panel Member: "On Being Local: Strategies for being invested in a local community with goals of participating in a global art world", Print Think 2016, Tyler School of Art, Temple University, Philadelphia, PA, 2016
-Participant: "Graduate Print Workshop: Your Studio Practice As A Colloidal Suspension," The University of Iowa School of Art and Art History, Iowa City, IA, 2015
-Chair: "Chasing Posada! Macabre Populism In Print," 2014 Mid-America Print Council Conference, Detroit, MI, 2014
-Presenter: "Humour Noir: André Breton & the Transgressive Humor of 1960's America" within the session "Surrealism and Counterculture, 1960-1980," 102nd College Art Association, Chicago, IL, 2014
-Panel Member: "Education and Collaboration," 2012 Midwest Art Association Conference, Detroit, MI, 2012
PRINT PORTFOLIO CONTRIBUTOR
-Corpus Corpus X, organized by Paul Nudd, 2017
-Supplies for Viable Living Catalog, organized by The Moving Crew, 2017
-The Visceral Hand, organized by Joshua Johnson and Michael Weigman, 2016
-Intermission, organized by Shannon Collis and Erik Waterkote for SGCI Portland, 2016
-à l'arrache 5, organized by Marc Brunier Mestas, 2016
-Detroit Print City, organized by the Duffy Dept. of Art for MAPC 2014, Wayne State University, 2014
-The Box: Afro-Futurism, organized by Cary Loren and Rebecca Mazzei for The Museum of Contemporary Art Detroit, 2012
-Angelf--k, organized by Michael McGovern and Curtis Readel, University of Northern Illinois, 2009
-Print Language as Content II, organized by Professor Robert Glasgow, The University of Iowa, 2006
-Foil Imaging: The Editions, organized by Professor Virginia Myers, The University of Iowa, 2006
-American Bystander No. 2 (print periodical), edited by Michael Gerber, December, 2021
-This Must Not Be The Place You Thought It Would Be (print monograph), Simone DeSousa Gallery (Detroit), 2020
-Punk House (print catalog), edited by Cary Loren, Museum of Contemporary Art Detroit (Detroit), 2017
-MANUAL (print anthology), edited by Amze Emmons, R.L. Tillman, Jason Urban, Printeresting (Philadelphia), 2014
-Publisher! Publisher! (print catalog), edited by Amze Emmons (catalog), Northeastern Illinois University (Chicago), 2014
-And They Were Two In One and One In Two: Essays on Beheading and Cinema (print book), edited by Nicola Masciandaro and Eugene Thacker, Schism Press (New York), 2014
-Corpus Corpus 5 (print periodical), edited by Paul Nudd (Chicago), 2013
-La Tranchée Racine No. 1 (print periodical), edited by Stephane Blanquet, United Dead Artist (Achères, France), 2011
-Corpus Corpus 3 (print periodical), edited by Paul Nudd, Western Exhibitions (Chicago), 2011
-Bound & Gagged (print anthology), edited by Tom Neely, i will destroy you (Los Angeles), 2010
-RUIS (print periodical), edited by Wouter Vanhaelemeesch, KRAAK (Gent, Belgium), 2010
-Bradley International 32nd Print & Drawing Exhibition (print catalog), Bradley University (Peoria, IL), 2009
-Le Temps qui passé by Tycho Brahé (music album), Les Disques Normal (Paris), 2009
-Le Tendon Revolver, état second (print periodical) edited by Stephane Blanquet, United Dead Artists, (Achères, France), 2009
-Picturesque by Emily Wilson and Poem by Mark Levine (print broadside) Spout Graphic Press (Iowa City, IA), 2006
-Cook, Ashley. "Rotland Press: An Interview with Ryan Standfest." Runner Magazine (online), November 7, 2022.
-Liu, Jasmine. "The Curator Archiving Gun Violence Through Art." Hyperallergic (blogazine), July 11, 2022.
-Bittencourt, Ela. "Surrealist Cinema's Drive Toward Freedom." FRIEZE No. 228 (print and online), June/July/August 2022.
-Feighan, Maureen. "Detroit artist's show uses matchbooks, dark humor to skewer capitalism, social media." The Detroit News (print and online), March 23, 2022.
-VanZandt, Danny. "Making as an Act of Connection to History and Environment: In Conversation with Ryan Standfest." Detroit Cultural (online), December 21, 2020.
-Clough, Robert. "This Is Fine: David Lynch's The Angriest Dog in the World." Solrad: The Online Literary Magazine for Comics (online), November 16, 2020.
-Heller, Steven. "The Daily Heller: The Rotland Dreadfuls Are Not Deplorable." PRINT Magazine (online), November 3, 2020.
-Heller, Steven. "The Daily Heller: Sue Coe Strikes!" PRINT Magazine (online), September 24, 2020.
-Petit, Zachary. "Bringing David Lynch's Cult Comic Strip Back to Life." PRINT Magazine (online), August 20, 2020
- Kirsh, Andrea. "Two art books for our era of racial reckoning." Artblog (online), August 18, 2020.
- Letts, K.A. "The Plague Review: A New Journal for the Age of the Pandemic from Detroit's Rotland Press." The New Art Examiner (online), June 16, 2020.
- Petit, Zachary. "The Plague Reviewed." PRINT Magazine (online), May 20, 2020.
-Hodges, Michael. "Graphic artists channel end-of-world humor in The Plague Review" The Detroit News (online and print), April 29, 2020.
-Philip, Drew. "The Timelessness of Art is Doubly Poignant at this Time of Crisis, Yet How Will the Artists be Funded?" DetroitIsIt (online), April 16, 2020.
-Hodges, Michael. "Sharp Angles: An Italian Futurist Mural Takes Shape on Michigan Avenue" (feature), The Detroit News, August 22, 2019.
-Sharp, Sarah Rose. "Leaving Cynicism Aside To Take A Fresh Look At Detroit" (review), Hyperallergic (blogazine), December 6, 2018.
-Mannisto, Glen. "Ryan Standfest @WSU Art Department Gallery" (review), Detroit Art Review, November 2018.
-Hodges, Michael. "Artist Ryan Standfest Takes A Dark Look At Failed Optimism", The Detroit News, November 22, 2018.
-van Laar, Timothy. "Essay'd #110: Ryan Standfest" (essay), Essay'd.org (blog), 2018
-Sharp, Sarah Rose. "Detroit Arts and Culture: Best Gallery Shows 2017" (feature), Detroit Free Press, December 31, 2017
-Letts, K.A. "Everyday Objects: Text/Image at Ann Arbor Art Center" (review), pulp (blogazine), 2017
-Snoekx, Kurt. "Le Kabinet Crosses the Atlantic Yellow Bridge" (feature), Bruzz (magazine), May 29, 2017
-Sharp, Sarah Rose. "A Printmaker's Nonsensical Designs for an Absurd World" (review), Hyperallergic (blogazine), 2017
-Crawford, Lynn. "Up Close 2016: Detroit" Art In America (online), December 28, 2016
-Sharp, Sarah Rose. "Paintings of a Homegrown Black Superhero" (feature), Hyperallergic (blogazine), 2016
-Stateside Staff (Cynthia Canty). "Painter Aims to Capture Superhero Powers of the N-Word" Michigan Public Radio (radio interview), 2016
-Sharp, Sarah Rose. "Artists' Books that Break with Traditional Bindings" (feature), Hyperallergic (blogazine), 2016
-Berlatsky, Noah. "Chasing Posada: A Macabre Populist In The City", Chicago Reader (print and online edition), 2014
-Dowd, D.B. "J.G. Posada Visits Oklahoma", Drawing The Social Landscape (blog), 2014
-Di Fazio, Gabriele. "ROTLAND PRESS" (feature), Just Indie Comics (blog), 2014
-DeVito, Lee. "Dreadfully Good Art", Metro Times (print edition), 2013
-Clough, Rob. "BLACK EYE 2" (review), The Comics Journal (blogazine), 2013
-Milo, Jeff. "BLACK EYE 2- ROTLAND PRESS" (feature in two parts), Metro Times (online edition), 2013
-DeGalan, Clara. "It's Funny Because It's True: The Absurd in Art", artHOPPER.org (blog), 2012
-Clough, Rob. "Sharp Stick: Black Eye, Volume 1", High-Low (blog), 2012
-Hodges, Michael H. "3 Metro Area Art Exhibits Are Sure To Challenge, Satisfy", The Detroit News, 2012
-Hodges, Michael H. "Kidd and WSU Galleries Dish Up Feasts for the Eyes", The Detroit News, 2011
-Mason, Liz. "Ryan Standfest Discusses BLACK EYE 1", Quimby's Bookstore (podcast), 2011
-McConnell, Robin. "BLACK EYE : Heer, Onsmith & Standfest", Inkstuds, CiTr, Vancouver, BC, Canada (radio), 2011
-Collins, Sean T. "BLACK EYE 1", The Comics Journal (blogazine), 2011
-Flinn, Sue Carter. "Canadian Customs Seizes "Obscene" Comics", Quill & Quire, 2011
-Giampaoli, Justin. "BLACK EYE Only Funny South of the Border", 13 Minutes (blog), 2011
-Viera, Lauren. "Heads on Poles at Western Exhibitions", The Chicago Tribune, 2011
-Berlatsky, Noah. "Ryan Standfest on Art Young, Faith and Black Humor", The Hooded Utilitarian (blog), 2010
-Hodges, Michael H. "U-M's 'Touch' Exhibit Invites Interaction", The Detroit News, 2010
-Steele, Erin. "What's So Funny?", The Michigan Daily, 2010
-Giampaoli, Justin. "FUNNY (not funny)", Poopsheet Foundation (blog), 2010
-Carducci, Vince. "Wordage @ DAM", Motown Review of Art (blog), 2010
-Farber, Paul. "Pushing the Limits of Good Taste", Michigan Public Radio (radio), 2010
-Sousanis, Nick. "Arghh! Stubby Punches and Fatty Ejecta", The Detroiter.com (blog), 2010
-The Art Institute of Chicago, Ryerson & Burnham Library (Chicago, IL)
-Bibliothèque Nationale de France, prints and Photographs Department (Paris, France)
-Columbia University Library (New York, NY)
-The Detroit Institute of Arts, Prints, Drawings & Photographs Collection (Detroit, MI)
-Ecole d'Arts Plastiques de Riom (Riom, France)
-Harvard Library, Harvard University (Cambridge, MA)
-The Library of Congress, SPX Collection (Washington, D.C.)
-Metropolitan Museum of Art, Watson Library, Special Collections (New York, NY)
-Michigan State University Libraries (East Lansing, MI)
-Ohio State University, Billy Ireland Cartoon Library & Museum (Columbus, OH)
-The Schulz Library at the Center for Cartoon Studies (White River Junction, VT)
-Southern Graphics Council Archives, University of Mississippi (Oxford, MS)
-The University of Chicago Library (Chicago)
-The University of Iowa, School of Art and Art History Collection (Iowa City, IA)
-The University of Mississippi, Southern Graphics Council Archives (Oxford, MS)
-The University of Northern Illinois (DeKalb, IL)
-University of Wisconsin-Madison Archives (Madison, WI)
-Washington University, Modern Graphic History Library (St. Louis, MO)
-Wayne State University Special Collections (Detroit, MI)
-Zuckerman Museum of Art, Prints Archive, Kennesaw State University (Kennesaw, GA)
AWARDS, GRANTS and HONORS
-"On Press" program participation with Signal-Return Printshop, Detroit, 2019
-Best of Detroit Award, "Best Indie Publisher," for Rotland Press, Metro Times, 2014
-Ignatz Nominee, "Outstanding Anthology," for "BLACK EYE 1", the Small Press Exposition, Bethesda, MD, 2011
-Purchase Award for the Michael J. Brody Award, The University of Iowa, 2004
-Iowa Arts Fellowship, The University of Iowa, 2003
PUBLISHING EVENT PARTICIPATION
-2022 Detroit Art Book Fair, Trinosophes (Detroit), 2022
-Detroit Comix Party (Detroit), 2017
-Power of the Press Fest, Signal-Return (Detroit), 2017
-Quimby's Bookstore: signing (Chicago), 2017
-CAKE: Chicago Alternative Comics Exposition (Chicago), 2015
-The Dreadfuls: Bayer + Sikoryak, Desert Island (Brooklyn), 2014
-IN PRINT, Work • Detroit, U of M Penny Stamps School of Art & Design (Detroit), 2014
-The Art Book Review- On the Road: Detroit, The Jam Handy (Detroit), 2013
-Blonde Art Books in Detroit, Salt & Cedar (Detroit), 2013
-2013 Detroit Art Book Fair, Fourteen-Eighty Gratiot Gallery (Detroit), 2013
-Bookbeat Bookstore: signing (Oak Park, MI), 2011
-Get Your BLACK EYE, Desert Island (Brooklyn), 2011
-Small Press Expo: awards ceremony and presentation (Bethesda, MD)


Using Kodu, a free software from Microsoft, students can step into the world of video game design. Students will be introduced to Kodu, a game creation environment that uses a visual programming language. They will explore basic navigation, customize a landscape and create a simple program.


text:
SBU News > Newsroom > Press Release > General > Gloria and Mark Snyder Make $150,000 Gift in Support of Stony Brook University Cancer Center
Gloria and Mark Snyder Make $150,000 Gift in Support of Stony Brook University Cancer Center
Stony Brook University alumni's gift matched by Simons Foundation for $300,000 impact
Stony Brook University Cancer Center
STONY BROOK, NY, October 2, 2012 – Stony Brook Medicine has received a $150,000 gift from Stony Brook alumni Gloria Snyder '72 and Mark Snyder '69 of Belle Terre, NY, to establish the "Gloria and Mark Snyder Symposium" for Cancer Medicine, hosted by the Stony Brook University Cancer Center. Their gift will be matched as part of the Simons matching gift program, for a total impact of $300,000.
The Gloria and Mark Snyder Symposium will present emerging clinical practices and research findings that will keep Stony Brook faculty and staff at the forefront of cancer medicine and encourage clinical and research collaborations, according to the wishes of the donors.
The Snyders say they are proud to support the Stony Brook Cancer Center, a leader in clinical cancer care and research. "Mark and I understand the devastating impact cancer has on so many lives and are deeply committed to working with Stony Brook Medicine," said Gloria. "We were glad to establish a symposium for cancer medicine to help encourage collaborations, education and discussions about new research, treatments and cures."
Gloria and Mark Snyder of Belle Terre, NY
The support of the Snyders and others is vital, as the annual incidence rate per 100,000 persons is higher in Suffolk County than both national and New York State rates. In Suffolk, the incidence rate is 524.5 out of 100,000, whereas in New York it is 485.7 and nationally it is 465. The Cancer Center serves more than 20,000 inpatient and outpatient visits annually and is now under the leadership of Dr. Yusuf A. Hannun, a renowned molecular biologist and physician-scientist investigating the molecular mechanisms of cancer.
As director of the Stony Brook Cancer Center, Dr. Hannun will oversee several multidisciplinary disease management teams for all types of cancers, and will be a key player in the Cancer Center achieving NCI Cancer Center designation.
"We are profoundly grateful for the generosity Gloria and Mark have shown Stony Brook and Cancer Medicine in particular," said Kenneth Kaushansky, MD, MACP, Senior Vice President for Health Sciences, Dean, School of Medicine. "Only with the support of our donors can we achieve our goal of excellence in all we do, and we are grateful to count the Snyders among our partners and friends."
About Stony Brook University Cancer Center:
Stony Brook University Cancer Center is Suffolk County's cancer care leader and a leader in education and research. With more than 20,000 inpatient and outpatient visits annually, the Cancer Center includes 12 multidisciplinary teams: Breast Cancer; Colorectal Cancer; Gynecologic Oncology; Head, Neck and Thyroid Oncology; Lung Cancer; Melanoma; Neurologic Oncology; Pediatric Hematology/Oncology; Sarcoma; Stem Cell Transplantation and Hematologic Malignancy; Upper Gastrointestinal Oncology; and Urologic Oncology. The cancer program is accredited by the American College of Surgeons Commission on Cancer as a Teaching Hospital Cancer Program and received the Commission's Outstanding Achievement Award. The Carol M. Baldwin Breast Care Center is the first center in New York State to be accredited by the National Accreditation Program for Breast Centers. Stony Brook's Department of Radiation Oncology is accredited by the American College of Radiology and the American Society for Radiation Oncology. To learn more, visit www.cancer.stonybrookmedicine.edu.
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FPS-5 is a single integrated A4 form which has one sticky label for your customer's shipping address.
The sticky label measures 110mm x 80mm and is easy to peel to add to the outside of your packaging. The integrated form can be printed with the sticky label at the bottom on the right hand side or flipped so that the label is situated in the top left hand corner.
FPS-5 integrated label form can help streamline your despatch process, saving you both time and money, as it allows you to print your picking note/customer invoice and address label on one convenient smart form. It reduces the risk of mislabelling parcels.