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Exploring Curation as a Core Competency in Digital and Media Literacy Education
Paul Mihailidis
Department of Marketing Communication, Emerson College, United States
paul_mihailidis@emerson.edu
James N Cohen
School of Communication, Hofstra University, United States
James.Cohen@hofstra.edu
Abstract: In today's hypermedia landscape, youth and young adults are increasingly using social media platforms, online aggregators and mobile applications for daily information use. Communication educators, armed with a host of free, easy-to-use online tools, have the ability to create dynamic approaches to teaching and learning about information and communication flow online. In this paper we explore the concept of curation as a student- and creation-driven pedagogical tool to enhance digital and media literacy education. We present a theoretical justification for curation and present six key ways that curation can be used to teach about critical thinking, analysis and expression online. We utilize a case study of the digital curation platform	Storify to explore how curation works in the classroom, and present a framework that integrates curation pedagogy into core media literacy education learning outcomes.
Keywords: Media Literacy, Curation, Civic Engagement, Digital Learning
In today's hypermedia landscape, youth and young adults are increasingly using social media platforms, online aggregators and mobile applications for daily information use. A 2010 Kaiser Family Foundation study found that 'Eight- to eighteen-year-olds spend more time with media than in any other activity besides (maybe) sleeping-an average of more than 7½ hours a day, 7 days a week.' The Pew Research Center's Project for Excellence in Journalism Center's (2012) annual State of the Media report found information consumption habits migrating significantly towards digital platforms. In this context, how students learn to be analytical, inquiring, and critical thinkers encompasses a new set of pedagogical approaches.
In her book Digital and Media Literacy (2011), Renee Hobbs stresses the competencies needed to prepare students for lives of constant technological evolution. She finds it ever more necessary for students of a digital age to harness human curiosity, the ability to listen, and seek diverse knowledge in the context of integrated information spaces, constant sharing, public identities, and low barriers to production (Hobbs 2011). One of the largest impacts of the Internet today is in the integration of various information types (news, entertainment, personal communication) and mediums (television, radio, print) into aggregated spaces. Search engines and social networks have replaced specific channels, shows, and even web sites as the predominant places youth go for information. Many-to-many communication platforms that allow for the large-scale reach of media messages have cultivated a vast information landscape that lacks basic organizational structure.
The result is that students not only have access to seemingly endless amounts of information, but also personalize content and reorganize it in a fashion that best allows them to make sense of a topic, and to share it with peers (Lessig 2008). Teachers at all levels of education must be prepared to negotiate the digital realities of their students as they design learning experiences around critical inquiry, analysis, and evaluation. Indeed, educators today have a certain responsibility to focus student skills and experiences in an exercise of participation with the surrounding media (Jenkins et al. 2009).
This paper explores the concept of curation as a pedagogical tool to embolden critical inquiry and engagement in a digital age. Specifically, the online digital curation tool Storify is utilized to present a theoretical justification for using curation to increase digital and media literacy, and six practical applications for curation pedagogy to teach about critical thinking, analysis, and engagement online. Storify allows for a student-driven, creation-driven and multimedia-driven approach to learning that enables students to engage and participate directly with multimedia content. This paper seeks to encourage instructors, particularly on secondary and tertiary education levels, to bridge the gap between informal learning outside of the classroom with formal learning to create a more dynamic place for students to advance critical inquiry, dialogue, and engagement through new forms of content creation, curation, and dissemination.
Why curation?
In his seminal white paper on participatory culture, media education scholar Henry Jenkins explored the capacity of new media technologies to facilitate critical inquiry, active exploration and vibrant dialog online. Wrote Jenkins et al. (2009):
"Participatory culture is emerging as the culture absorbs and responds to the explosion of new media technologies that make it possible for average consumers to archive, annotate, appropriate, and recirculate media content in powerful new ways. A focus on expanding access to new technologies carries us only so far if we do not also foster the skills and cultural knowledge necessary to deploy those tools toward our own ends" (p8).
Jenkins highlights the type of online activities that participatory spaces enable-archive, annotate, appropriate and recirculate-which occur in real time and in the context of abundant information flow. The habits that participatory technologies facilitate also offer a range of opportunities to facilitate more savvy information navigation, curation and appropriation. Jenkins (2006) identified a core set of key skills that "build on the foundation of traditional literacy, research skills, technical skills, and critical analysis skills taught in the classroom." (p4). The identified skills- play, performance, simulation, appropriation, multitasking, distributed cognition, collective intelligence, judgment, transmedia navigation, networking, and negotiation - have at their core the ability to engage multimodal inquiry, multimedia platforms, and information abundance through curation.
The word curate derives from the Latin root Curare, or 'to cure.' To curate, historically, has meant to take charge of or organize, to pull together, sift through, select for presentation, to heal and to preserve. Traditionally reserved for those who worked with physical materials in museum or library settings, curation today has evolved to apply to what we are all doing online. The preservation and organization of content online is now largely the responsibility of the individual in highly personalized information spaces. This has created a need to understand how individuals choose to pull together, sift through, organize, and present information within these spaces. Sharing, appropriation, and peer-to-peer collaboration are at the centre of what scholar Clay Shirky (2010) sees as the new communication dynamic that digital technologies have enabled:
"…the use of a social technology is much less determined by the tool itself; when we use a network, the most important asset we get is access to one another. We want to be connected to one another, a desire that the social surrogate of television deflects, but one that our use of social media actually engages" (p14).
Across all levels of education today, students enter the classroom with a certain level of familiarity with digital tools and platforms (Prensky, 2001; Ofcom, 2010; Rosen, 2010). The notion that this familiarity translates to a heightened level of technological competence has been contested at all levels of education (Hargittai, 2005; Jones et al., 2010; Kennedy et al., 2008). Nevertheless, the increasing use of digital platforms and tools necessarily calls for a re-examination of the validity of teaching about critical thinking, investigation, and analysis through traditional models of paper writing and examinations where research material is largely re-presented in different ways. Recent investigations into youth and literacies in education have shown that proper pedagogical methods that approach critical inquiry online, knowledge construction, reliability and savvy web navigation can increase digital and media literacy (Kuiper & Volman, 2008; Sanchez et al., 2006; Taboada & Guthrie, 2006). While traditional techniques remain relevant for students today, there is a need to explore pedagogical models that aim to empower critical thinking	within the context of digital realities for youth today.
To help orient pedagogical approaches for teaching curation in the classroom, below are three specific context points for media educators to consider in integrating new approaches to teaching about critical inquiry and analysis online. These approaches, while applicable across all education levels, are here written primarily for secondary and tertiary level education.
Curation as new media organization
The earliest versions of the browser-based web relied on users to search for content based on interest utilizing known keywords. The early web was constructed with traditional paper media in mind and information providers have historically been responsible for the process of organizing data. With the progress of broadband, code advancement and databases, the web's users processed information into categories that organized all existing words into subject categories. In a social media environment, the information consumer is the provider.
As information is disseminated and content on the Internet expands exponentially, organizational tools are a necessity. A search online may result in valuable discovery, but the same search days later may present completely different results. Digital aggregators were created for web users in order to organize online content. Delicious, an early online bookmarking system, provided a way to aggregate online discoveries into one place. One of the advanced features of the system was the ability for the user to reorganize content with their own category designations. This is the process known as tagging, when used with a hash mark (#), it is hashtagging. Tags work as a way for people to not only remember but to refind pages on the web (Weinberger 2007).
From tags emerged the personal feed, where users aggregated content into distinct interests that updated as information was added to the web. The practice of organizing content may result in personal value for the individual, but also allows for social value to manifest later (Shirky 2008). Shirky explained that the use of Flickr during the 2005 London Transport bombings contained immediate value. Because traditional media could not update photographs or news quickly after the incident, people already in the transport system used the Flickr service to upload pictures of the aftermath. Many news sources - as well as victims' families - used the service to gain more information (Shirky 2008).
Where information was once filtered through hierarchical systems, the average consumer had to wait until information was supplied to them. The access to advancing communication technologies encourages users, especially students, to promote education, democratic self-expression, and social progress (Kellner and Share, 2007). Access to more information from direct sources adds the responsibility of participation with media and requires savvy media engagement to consider how images and real-time information coordinate.
As the Internet continues to develop technologically, so have organizational tools for the user experience. Today, students have accounts in a multitude of platforms where they organize information. From restaurant and movie reviews to banking, travel and shopping, the web now mandates curation as a default for users navigating its exponential content. Organization is no longer simply for daily routines, pastimes or hobbies, but also for news and current affairs. As a result, news organizations have adjusted their daily routines to the logic of the web, integrating social media platforms, hypertext, video streams, and segmentation to better interact with audiences (Tewksbury and Wittenberg 2012).
From bookmarks and aggregators to Twitter lists and Facebook groups, investigation into all topics involves the user deciding what to keep, what to discard, who to trust, what is credible, and why. Within this new user-centric landscape negotiations around control and autonomy of how information is organized still exist. Through the abundance of information online, there are more valuable, trustworthy journalism and information experts, but also the possibility of collecting mistakes, mistruths, and misinformation (Bartlett and Miller 2011). Social networks and search engines like Facebook, Twitter, and Google do ultimately play a significant role in the organizational capacity of information on their platforms. From design to algorithm, the Internet reproduces some of the age-old power struggles dealing with access to information, control of content, and the relationship between distribution and reception (Morozov 2011). Within this context, however, the user now has more flexibility to interact with, shape, self-organize, and curate abundant amounts of information.
Curation as value-added
While the web offers a host of tools for organizing content, it has recently evolved to allow for the mixing of social, professional, and civic information. Social media platforms seamlessly integrate peer-to-peer and user driven content with top-down organizational news and information. As social spaces, they have also made sharing their default mechanism.
Twitter, the microblogging site, was the first social media to employ an organization tactic that encouraged curation as value-added. In 2009, Twitter added the "list" feature to the site allowing users to curate fellow Twitter users into organized feeds. The move was considered an act of exclusivity by	Business Week's David Armano, who explained that users should come to terms with 'getting value out of our networks - while filtering out the clutter' (Armano 2009). The beginning of lists encouraged users to consider the value of the information online in a more purposeful manner by categorizing their content streams for specific purposes. When the lists are public, the user becomes a de facto expert in showing the value placed on certain sources, organizations, and individuals over others. This type of curation "allows the people formerly known as the audience to create value for one another every day" (Shirky 2010, 17).
Following suit, YouTube, the largest video sharing service in the world, undertook a complete redesign of its site, allowing the user to have more control over the 60 hours of content uploaded to the site every minute. Lev Grossman (2010) explained that the user could compete with networks by simply curating and organizing content - often better than a network can. Facebook recently integrated Interest Lists into its platform, which allows the user to curate pages, friends, thought leaders, and public notes into an interest list that can be shared with other users (Constine 2012). This function is a result of Facebook's expansion into a more diverse and inclusive information repository.
Social networks, born as spaces for dialog and conversation, have grown into ubiquitous information exchanges. Youth today refer to social networks, aggregators, and mobile apps for all information habits, instead of siloing out specific media for news, politics, personal communication and leisure. In turn, social networks have provided new functions that help users curate information in meaningful and productive ways.
Curation as digital and media literacy
Curation is an act of problem solving. Curating information to tell a story creates a sense of responsibility for the curator. Storytelling advances the core media literacy principles of analysis, evaluation and creation. By curating, students can compose a story using content acquired on their search with heightened awareness of purpose and audience (Hobbs 2010). All media online is searchable by any user of the web, but the task of the curator is to organize the information into a story in order to share with others in a coherent, nuanced and clear manner. Guided by the teacher, students can access content, analyze and evaluate the messages, create presentations, reflect on findings, and work together in collaborative environments (Hobbs 2010).
Technology in an educational environment has primarily been utilized as a way to enhance the facilitation of classroom presentation and organization. Less has it been structured around meaningful integration with pedagogies for empowering critical agency for the digital future. Curation as digital media literacy, in this sense, can both inspire agency around critical analysis of information as it pertains to the individual (Erstad et al. 2007) but also as it relates to critical inquiry about hegemonic structures in participatory democracy, and about critical skills to combat passivity, groupthink, and the spiral of silence (Kellner and Share 2007).
Students fluent in online tools tend to use technologies for more and different purposes than required for the classroom (Jones et al. 2010). Bartlett and Miller (2011) found that students are often vulnerable to overconfidence in their web use and have too much blind trust in the general web. The fast and vast nature of the Internet often leads to uncritical consumption and the choice of aesthetically pleasing sites over quality content (Kiili & Mattunen 2008). These habits, if not contested in the classroom, stand to accelerate careless and uncritical information uses and habits.
To help mitigate blind trust and uncritical consumption in the web, Kellner and Share (2005) present a model for critical media literacy predicated on	non-transparency, codes and conventions, audience decoding, content and message, and motivation (374-377). Critical media literacy, in this context is utilized to combat the hegemonic power structures in society by training students to become critical thinkers, thereby transferring power from the hands of the distributers to the hands of the receivers. This line of inquiry grew from the work of the New London group (1996) who proposed a pedagogy of multiliteracies to promote educational strategies that account for the diverse set of cultural traits that societies encompass, and to help cope with the fast paced growth and evolution of new media technologies, social platforms, and mobile media. Scholars (Kellner 1998, 2004; Luke and Freebody 1997; Buckingham 1994; Tisdell, 2008) promoted such thinking in response to media landscapes that no longer fit into direct hegemonic structures.
More recently, discussions around critical media literacy have been situated in more participatory and active approaches to media education. Beyond Jenkins et al. (2009) white paper, studies have shown that increased levels of Internet literacy, digital competence and goal-oriented online learning can lead to enhanced quality and analysis in time online (Kahne et al. 2012; Rheingold 2008;). Mimi Ito, in Living and Learning with New Media (2009)	, writes of the friction between participatory youth and traditional education institutions:
"Erecting barriers to participation deprives teens of access to these forms of learning. Participation in the digital age means more than being able to access serious online information and culture. Youth could benefit from educators being more open to forms of experimentation and social exploration that are generally not characteristic of educational institutions." (p2).
Participatory approaches to media literacy both combat the new evolving hegemonic structures that youth now reside in-from Google to Facebook, Twitter, and the like-and directly relate to the new ideas of civic engagement put forth by Dalton (2009), Loader (2007), Dahlgren (2012), and Bennett (2008). These scholars eschew traditional notions of duty-based citizenship (voting, taxes and military duty) and promote engagement-based notions of citizenship (volunteering, advocacy, expression, protest) (Dalton, 2009). Participation is at the core of this engagement, and learning must incorporate such participatory and holistic approaches to reflect this new civic environment (Dahlgren 2012).
Curation, as a critical media literacy skill in a digital and participatory context, can work on a micro-level to teach about bias, manipulation, frames, and agendas through student-driven storytelling; and also on a macro-level to teach about how information creation, distribution and reception help empower healthy civic engagement in participatory democracy. Below are pedagogical approaches to curation predicated on harnessing the technological capabilities of social media for teaching and learning about critical analysis, and expression online.
Storify and pedagogical approaches to teaching curation in the classroom
An abundance of free, easy-to-use, and well-designed curation tools exist on the web today. Facebook, Twitter, YouTube, Prezi, Pinterest, Storiful, Amplify, and Scoop, to name a few, allow users to control their information behaviors across all content types and media formats. These tools are organized for fluid user control, default sharing, and personalization. One tool in particular, Storify, enables the curation of all information types from the web to stream into a single story platform.
Launched in April 2011, Storify is online software that "helps its users tell stories by curating social media" (storify.com/about). Storify allows for organizing information on the web as well as facilitating access to social media outlets like Facebook, Twitter, Flickr, YouTube, Tumblr, and external links. It contains its own search functions and allows for seamless drag and drop into the Storify timeline. Storify also allows for the insertion of text boxes within the story, so that users can provide direction, narrative, scope, justification, and context for their curated story.
Figure 1: Storify Curation Platform
Figure 2: Integrated Source Dashboard
The pedagogical implications for media educators here are great. Because of the tool's simple and dynamic layout, and because of its integration of infinite content sources from the web, it can be an efficient tool for teaching about multimedia consumption, intertextual analysis, framing and perspective, agenda setting and bias, sources, voices, and credibility online (Leu et al. 2011). Further, classrooms that can seamlessly blend learning around engaging tools and media habits that students use daily outside of the classroom within a formal setting stand to better engage a generation of digital learners.
Below we have identified six key teaching points for using Storify in the classroom that are student-driven, creation-driven and curation-driven, and that allow students and teachers to collectively explore critical inquiry and multimedia storytelling in digital spaces. The teaching points are applicable to teachers at all levels of education, but in this context specifically tailored for secondary and tertiary educators across all disciplines. Curation, however, can extend down into early childhood educational technologies as well as to lifelong learners negotiating the fast-paced new digital media environment. Storify places the responsibility of composing and creating a story, in real-time, from the depths of the Internet, in the hands of the students; shifting the educational framework from read, write and react, to create, curate, and contemplate.
Teaching point #1 - Where top down and bottom up meet
In a very simple and straightforward manner, Storify allows the integration of content from established news and media outlets with content from peer-to-peer social platforms. This integration of voices mirrors the way young adults today are exposed to a story: often through a combination of peer-to-peer networks and top-down media organizations.
In our classrooms, students are asked to create a series of curated stories that recap, for example, the Kony 2012 viral video sensation created by the non-profit Invisible Children. In one curation, students are told they can only employ true journalistic sources. In the next iteration of the curation, students can integrate content from social networks, blogs, or peer-to-peer dialog online. Their goal in both Storify curations is to retell the story as accurately as possible; pulling together as many sources, viewpoints, and angles as they can.
Figure 3a: Kony Curation Project Reports
Figure 3b: Kony Curation Project Voices
The implications of this type of scaffold-driven pedagogy are not only that students must struggle to define and build accurate recaps of a large and complex story, but also that they engage with the integration of the amateur voice in the storytelling process. From this, a series of key reflection questions arise:
When is a story complete online?
What does authority mean in storytelling?
How are mainstream media reports different from peer-to-peer reports?
Can social media be effective in helping to tell a story?
How many different voices are needed for a story to be deemed complete?
How do social media enhance a story? What do they take away?
Storify allows these questions to be explored in the context of student-centered creations that reframe everyday web activity to focus on critical inquiry. Having students create stories that negotiate traditionally "professional" sources within the hypermedia infosphere forces them to actively reflect on the media environment they use for a majority of their information habits.
Teaching point #2 - Integrating mediums, messages, platforms
It is no secret that today traditional formats for reading media are changing. No longer are students reading single information sources in linear formats from start to end. Instead, they are reading opening paragraphs, watching videos, scrolling through images, tweets, texts, and posts. Scholars have increasingly pointed out the lack of attention span the human mind can now devote to any single linear text for long periods of time. (Carr 2010; Rosen 2012). Increasingly, news organizations like the New York Times, BBC, ESPN, CNN, and Politico, to name a few, are integrating more multimedia content into their stories, allowing readers to simultaneously interact with content in a myriad of ways.
In our classrooms, Storify becomes a tool to teach both about the benefits and limitations of certain media delivery formats and platforms, and about curating multimedia stories that offer audiences an interactive and in-depth experience. In exploring the Arab Uprising, for example, we ask students to create stories entirely by video, images, or text. We then facilitate discussions explaining what advantages and disadvantages each format has for the depth of the story as well as the value for audiences in today's digital information landscape. We use that discussion to ask students to create an integrated and interactive story. They must combine print, video, and audio sources strategically to help sort through an issue with many different angles, viewpoints, audiences and sources. This type of curation allows students to think about how integrating platforms and formats can lead to depth, accuracy, and balance while remaining engaging, interactive, and thorough.
Teaching point #3 - Sources, voices, and credibility online
Credible information online is a constantly changing notion that educators must account for in today's classroom. Digital technologies and Internet search algorithms have supplanted the traditional top-down structures of information verification and flow. In the past, teaching about sources involved to a large extent trusting certain organizations and bodies based on their established reputation and industry expertise. Today, with the popularity of Wikipedia and social technologies that integrate organizational and individual information, defining sources and credibility becomes an ongoing and nuanced conversation.
In the classroom, this raises many important questions: How do we vet online information for accuracy? What is an Internet source for credible information? Can credible sources exist on Facebook, Twitter, and blogs? How do different sources online change the intent and purpose of the message? How do citizen journalists impact coverage of breaking news?
Storify allows students to build 'credibility markers' via a meta-narrative between sources, where they can discuss choice of a source, rational for the inclusion of that source, and the ability to curate a story that incorporates professional, public, and personal sources. In teaching about the coverage of gay rights, gun control, or other hot-button political issues, we ask students to justify their sources using text reflection boxes within their Storify to create layers of meaningful construction and reflection.
Figure 4: Storify Text Box Integration Function
When students develop a credible list of professional and personal sources around an issue and/or event, they must acknowledge how much subjective weight they place on a tweet, a blog, or a Facebook post and in relative comparison to an advocacy group, cable television operation, or news service. Arguing for the credibility of a myriad of voices online forces students to build valuable justifications for what they choose to believe, and why.
Teaching point #4 - Framing, bias, agenda and perspective
Building directly from Teaching Point #3, framing, bias, agenda and perspective carry the discussion to the next level of understanding how information and audiences sway the meaning of stories in significant ways. The Occupy Wall Street movement serves as a great example to explore and create perspective on how a grassroots civic movement is seen locally, nationally, and globally; by supporters, detractors, and neutral observes; on social networks and in the mainstream press; and in civic, social, economic, and political contexts.
We ask students to curate as many frames as possible about the Occupy movement, comparing the depth of the frames, the bias inherent in certain messages, and how certain frames are positioned versus others. Students explore agendas of certain stakeholders, and collectively show how media bias can alter the perspective and scope of the issue. Students utilize narrative text boxes to point out these discrepancies and insert definitions of framing, priming, and agenda-setting or other communication/media theories into their Storify. This allows theory to blend with practice, all in the context of students curating real content to make these connections, and to address pertinent questions, such as:
What agendas are at play in this issue?
What values are being portrayed?
How do different parties frame the issue?
What biases are inherent in all storytelling?
What choices did you have to make in creating your own frame?
Teaching point #5 - Appreciating diversity
Beyond teaching about message production, dissemination and reception, curation also provides the opportunity to appreciate the diversity of voices online. At no point in the past has the individual had the extent of control and reach over their information habits as they do today. To take advantage of this abundant information landscape, media educators must teach students to appreciate the amount of responsibility and control they have over their information diets. This includes both consuming messages and creating them. Learning how to curate large amounts of information helps students understand what types of diverse information can be found about an issue online and what collaborative dynamics stories adopt through social and mobile media technologies.
Figure 5: Storify Search Dashboard
Past studies have shown that if students learn simply about media abundance, framing and bias, they will be prone to cynical dispositions towards media in general, without pausing to ask questions or seek further information (Mihailidis, 2009). Curating content shifts the learning from passive to active, forming learning environments where students are creating diverse stories and viewpoints that allow them to engage with the nature of online information flow and explore how they can empower their knowledge base through this diversity. This also allows for a greater appreciation of the sheer number of voices that exist online and the implications such diversity has for the powerful, the repressed, and all stakeholders that have an online voice.
Teaching point #6 - Empowering civic values and civic voices
Finally, the overarching approach to digital curation pedagogy should be about empowering individual agency around expression, community, and value. Young adults must be made aware time and again of the responsibility that lies with them on the Internet. Each click into a page, each link shared with a group, each status update, helps to define the quality and diversity of information online.
Storify's curation platform allows students, at the conclusion of an assignment, to ask: What questions did I ask? What can I contribute to this issue through my own social circles? How can I help build a better understanding of the issue? What responsibility do I have, and to whom? While shifting the learning paradigm from response-driven to creation-driven allows for more dynamic approaches to understanding information online, this does not absolve the need for real self-reflection and introspection on what relevance the process holds for hegemonic structures and civic voices in participatory democracy.
Storify allows students to question the act of sharing the Kony 2012 video, retweeting Occupy Wall Street messages, commenting on Tahrir Square, and/or alerting friends of upcoming local events. The key to curation-driven pedagogy is that it can empower responsibility in students to understand what digital technologies give and take away, and how we can use them to better develop communication habits both on and offline. These are habits that we will increasingly need as more and more of our social functions are driven by mediated platforms and spaces.
Conclusion: Towards a Framework for Curation as a Core Digital and Media Literacy Competency
The pace of change across the communication and media industries has allowed for real creative growth in approaches to teaching and learning about the influence of media in society. If communication educators are to prepare students for lives of critical inquiry, at the heart of their mission is to develop media literate habits for an increasingly media centric world. This necessarily means that students learn savvy media consumption and production skills, critical evaluation and analysis of media messages, and participation in local, national and global dialogue (Frechette 2002; Gaines 2010; Hobbs 2010, 2011; Tisdell 2008). This also means that teachers harness the opportunity to integrate into their classrooms the informal learning that social media spaces and platforms provide.
The six teaching points above collectively approach a framework that includes curation as a core media literacy competence for the digital generation (See Figure 6). Students, as curators themselves, can struggle with assessing content, perspective, platforms, agendas, and frames as they sift, sort, and organize information from the depths of the Internet. Through student-driven, creation-driven, collective and integrated teaching approaches to curation, the framework aims to build towards savvy media consumption and production, critical evaluation and analysis, and participation in local, national and global dialog.
The framework also addresses the ability to see diversity and civic voice as core competencies in the curation process. As students learn to build cohesive stories and ideas from a wide variety of sources, they can learn about the diverse types of content that inform a story, and the avenues they have-through social media tools and platforms-to be part of the discussion.
Figure 6: A framework approaching Curation as a core Digital and Media Literacy Competence
While this framework offers a prospective attempt to build curation into the media literacy conversation, this approach to learning is limited by both theoretical and practical concerns. Technological access in schools is largely uneven. To have access to digital curation programs necessarily means that students must be online, with computers and Internet connection available, and with basic skills in online navigation. None of these needs can be taken for granted. Further, the Storify tool is a public one, and therefore can conflict with student privacy rules and regulations. Teacher preparation with the software is also a limitation of this type of education. Continuous upgrades to software and hardware, as well as the knowledge needed for teachers to readily handle both the software and the educational aspects of it will hinder its inclusion in the classroom.
Further, curation, in a sense, is what we have been doing in classrooms for decades now. Incorporating critical approaches to framing, bias, analysis of agendas and perspectives in the information landscape has been going on for quite some time, as evidenced by scholarship dating back decades. This paper makes no attempt to invent new pedagogy or claim to break new and profound ground. Rather, this paper attempts to align new educational approaches to critical inquiry with the increasing amount of time youth spend with digital, social, and mobile media technologies.
Curation is what we all do on our laptops, tablets, and phones, and in our social networks and web browsers. It starts from a young age, and continues as a lifelong competency. Curation, as an approach to bringing digital and media literacy competencies into the classroom, can help build meaningful teaching and learning approaches for today's participatory media landscape. The hope of this paper is to help engage new approaches to critical engagement around media use, creation, and expression through curation. The points made here extend beyond Storify specifically, and can work to engage learners at all stages of education. We hope that the ideas put forth lead to new creative and critical approaches to teaching with and about digital media in classrooms of today and tomorrow.
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Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: NYU Press.
Jenkins, H., Purushotma, R., Weigel, M., Clinton, K., and Robinson, A. J. (2009). "Confronting the Challenges of Participatory Culture: Media Education for the 21st Century" A Report for the MacArthur Foundation. Boston: MIT Press.
Jones, C., Ramanau, R., Cross, S., and Healing, G. (2010). Net generation or Digital Natives: Is there a distinct new generation entering university?	Computers & Education, 54(3), pp. 722-732.
Kahne, J., Lee, N., & Feezell, J.T. (2012). Digital media literacy education and online civic and political participation.	International Journal of Communication, 6, 1-24.
Kaiser Family Foundation. (2010). Generation M2: Media in the lives of 8-18 year-olds. Henry J. Kaiser Family Foundation, Menlo Park, CA.	http://www.kff.org/entmedia/mh012010pkg.cfm [Accessed March 2013]
Kellner, D. (1998). Multiple literacies and critical pedagogy in a multicultural society, Educational Theory, 48(1), 103-122.
Kellner, D. (2004). Technological transformation, multiple literacies, and the re-visioning of education, E-Learning, 1(1), 9-37.
Kellner, D., and Share, J. (2005). Towards critical media literacy: Core concepts, debates, organizations, and policy.	Discourse: Studies in the Cultural Politics of Education 26(3): 369-386
Kellner, D., and Share, J. (2007). Critical media literacy, democracy, and the reconstruction of education. In D. Macedo & S.R. Steinberg (Eds.),	Media literacy: A reader (pp. 3-23). New York: Peter Lang.
Kennedy, G., Dalgarno, B., Bennett, S., Judd, T., Gray, K., and Chang, R. (2008) Immigrants and natives: Investigating differences between staff and students' use of technology. In Hello! Where are you in the landscape of educational technology? Proceedings ascilite Melbourne 2008:	http://www.ascilite.org.au/conferences/melbourne08/procs/kennedy.pdf [Retrieved 14 January 2013]
Kiili, C., Laurinen, L., & Marttunen, M. (2008). Students evaluating Internet sources: From versatile evaluators to uncritical readers.	Journal of Educational Computing Research, 39(1), 75-95.
Kuiper, E., & Volman, M. (2008). The Web as a source of information for students in K-12 education. In J. Coiro, M. Knobel, C. Lankshear, & D.J. Leu (Eds.), Handbook of research on new literacies (pp. 241-266). Mahwah, NJ: Lawrence Erlbaum Associates.
Lessig, L. (2008). Remix: Making Art and Commerce Thrive in the Hybrid Economy. (New York: Penguin).
Leu, D., McVerry, J.G., O'Byrne, W.I., Kiili, C., Zawilinksi, L., Everett-Cacopardo, H., Kennedy, C., Forzani, E. (2011). The New Literacies of Online Reading Comprehension: Expanding the Literacy and Learning Curriculum. Journal of Adolescent & Adult Literacy 55(1), 5-14.
Loader, B., (Ed.) (2007). Young citizens in the digital age: Political engagement, young people and new media. New York, NY: Routledge.
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engagement. In W. Lance Bennett (Ed.) Civic life online: Learning how digital media can engage youth (97-118) Cambridge, MA: MIT Press.
Rosen, L. (2010). ReWired: Understanding the iGeneration and the Way They Learn. New York, NY: Palgrave Macmillan.
Rosen, L. (2012). iDisorder: Understanding Our Obsession With Technology and Overcoming Its Hold On Us. New York, NY: Palgrave Macmillan.
Sanchez, C.A., Wiley, J., & Goldman, S.R. (2006). Teaching students to evaluate source reliability during Internet research tasks. In S.A. Barab, K.E. Hay, & D.T. Hickey (Eds.), Proceedings of the seventh international conference on the learning sciences (pp. 662-666). Mahwah, NJ: Lawrence Erlbaum Associates.
Shirky, C. (2008). Here Comes Everybody: The Power of Organizing Without Organizations. New York, NY: Penguin.
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Tewksbury, D. and Wittenberg, J. (2012). News on the Internet: Information and Citizenship in the 21st Century. (Oxford Studies in Digital Politics). New York, NY: Oxford University Press.
Tisdell, E. (2008). Critical media literacy and transformative learning. Drawing on pop culture and entertainment media in teaching for media diversity in adult higher education. Journal of Transformative Education, 6/1, 48-67.
Weinberger, D. (2007). Everything is Miscellaneous: The Power of the New Digital Disorder. Chicago, IL: Holt.
Figure 1 - Storify Curation Platform
Figure 2 - Integrated Source Dashboard
Figure 3a - Kony Curation Project Reports
Figure 3b - Kony Curation Project Voices
Figure 4 - Storify Text Box Integration Function
Figure 5 - Storify Search Dashboard
Figure 6 - A Framework Approaching Curation as a Core Digital and Media Literacy Competence


text:
'Rise of the Planet of the Apes' Director Talks Sequel Ideas
By BAADASSSSS! | Tuesday, August 9th, 2011 at 3:25 pm
Rise of the Planet of the Apes (read my review HERE ) took the top spot at the weekend box office, pulling in $54 million in just its first three days of release. This is good news for 20th Century Fox and the filmmakers, who had a continuing film franchise in mind when creating the latest movie. Rise director Rupert Wyatt has a few interesting ideas of his own regarding a possible sequel.
In an interview with Bleeding Cool, Wyatt said he has a wide range of ideas for a sequel, one of which would be "Full Metal Jacket with apes." (Continue reading for Wyatt's ideas and note, if you haven't seen Rise of the Planet of the Apes, some of the content could be considered Spoilers.)
"There's so much we could do… The ideas I've had are all sorts of things, ranging from Full Metal Jacket with apes… you could start this story again eight years from where we left off, the next generation of apes, those that have come from our protagonists, perhaps going in to a conflict with humans and showing real fear, in the same way as going into war for young soldiers in this day and age, telling their story. Or how apes are taking over cities, and being moved into human environments and having to interact with them and deal with things that are part of our culture and understand and evolve through them. Spies that are in the employ of the apes, working against humans and humans maybe existing underground, because that's a way they can avoid the virus, coming up above ground wearing gas masks, and maybe that's what dehumanises them."
A war movie with apes? Consider my ass excited about that idea. Wyatt and his cast and crew definitely set the stage for a bold new Planet of the Apes film series with Rise and it will be intriguing to see how future sequels will build on that film's limitless potential and the direction suggested by its final scenes.
Seeing the apes continue to evolve and coalesce into an indomitable army as they fight to take over Earth from their human oppressors would make for a bang-up sequel if done right, and it appears this is where Wyatt wants to take the movie if he gets the chance to direct it. Going by the critical acclaim (81% Fresh rating on Rotten Tomatoes) and enthusiastic audience response (an average grade of A Minus based on audience reactions, according to the market research film Cinemascore) that has greeted Rise since its opening last Friday, Fox would be foolish to not bring back the film's creative team and cast so they can continue the story the right way. One can only hope they'll do right by this series for once. They're off to a damn fine start.
[Source: Bleeding Cool ]
Tags: Planet of the Apes, Rise of the Planet of the Apes, Rupert Wyatt
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• Watch: 'Planet Of The Apes' Video Game 'Last Frontier' Trailer, Gameplay
• Movie Review: War For The Planet Of The Apes

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Mrs Angeluz E Garcia Jimenez is a Health Practitioners - Nurse licensed to practice in Australia. The address on file for Mrs Angeluz E Garcia Jimenez is KIPPA-RING 4021. This health professional license is current. The license was granted 07/10/2008 and expired on 05/31/2016.
Are you familiar with Mrs Angeluz E Garcia Jimenez's work?


text:
Benjamin C. Hsing Partner
F fax +1 212 715 2304
bhsing@mcguirewoods.com
Ben is a patent litigator with nearly 30 years of experience enforcing patent rights in the life sciences industry who focuses on Hatch Waxman Abbreviated New Drug Application (ANDA) litigation. An accomplished trial lawyer, Ben has tried numerous high-profile cases on behalf of major pharmaceutical and technology companies. He was a U.S. patent examiner from 1986 to 1990.
Ben is well-versed in U.S. Patent and Trademark Office proceedings and assists clients in post-grant and contested patent office proceedings. He also conducts intellectual property due diligence investigations in connection with acquisitions and licensing deals. Ben is deeply involved in his clients' matters, ensuring that he understands all aspects of their businesses and cases so that he can identify, dissect and solve potential challenges facing his clients.
According to Chambers USA 2014, Ben is a "favorite of high-profile branded drug companies." Chambers USA 2018 describes Ben as "a very detail-oriented attorney." He is an active member of the legal community and frequently speaks on topics involving intellectual property and litigation.
Ben is fluent in Mandarin Chinese.
Achieved a total claim construction victory in a Hatch-Waxman action relating to the drug Sprycel for treating chronic myelogenous leukemia. The court adopted proposed constructions for all 15 terms in dispute. Bristol-Myers Squibb Co. v. Apotex Inc. (D. N.J.)
Successfully defeated an ANDA challenge in the U.S. District Court for the District of Delaware for pharmaceutical clients concerning Tarceva for treating non-small-cell lung cancer. After a five-day bench trial, the court ruled that the two patents covering Tarceva and its use were not invalid. OSI Pharmaceuticals Inc., et al. v. Mylan Pharmaceuticals Inc. (D. Del.)
Won a favorable jury verdict for a French multinational pharmaceutical company in a suit against a pharmaceutical company in the U.S. District Court for the District of New Jersey. The jury confirmed the validity of the Sanofi-Aventis Deutschland GmbH patent for Tarka and awarded $16 million in damages. Sanofi-Aventis Deutschland GmbH, et al. v. Glenmark Pharmaceuticals Inc. USA, et al. (D. N.J.)
Served as co-lead counsel for a French multinational pharmaceutical company in an infringement suit on a patent covering the antihypertensive drug Ramipril. Summary judgment of infringement was entered against the defendants. After a two-week trial, the court ruled that the patent was valid and enforceable. This victory was selected as a Noteworthy Case by The National Law Journal for its 2006 Defense Hot List. Aventis Pharma Deutschland GmbH, et al. v. Lupin Pharmaceuticals Inc., et al. (E.D. Va.)
Served as co-lead counsel for an American multinational biotechnology firm in a patent infringement suit. Permanent injunction was entered against the defendants. Chiron Corp. v. SourceCF Inc., et al. (N.D. Cal.)
Served as co-lead counsel for the plaintiff, a French multinational pharmaceutical company, in an infringement suit against a Canadian pharmaceutical company on patents related to the antihypertensive drug Ramipril. Aventis Pharma Deutschland GmbH, et al. v. Cobalt Pharmaceuticals Inc. (D. Mass.)
Represented the respondent, a leading Taiwanese integrated device manufacturer in the nonvolatile memory market, in a Section 337 proceeding at the U.S. International Trade Commission against a charge brought by a semiconductor manufacturer that the client infringed a patent covering semiconductor chips. After a two-week hearing, the administrative law judge ruled that the patent was unenforceable and not infringed. In the Matter of Certain EPROM, EEPROM, Flash Memory, and Flash Microcontroller Semiconductor Devices and Products Containing Same (U.S. Int'l Trade Comm'n)
Participated in the prosecution of an infringement action on behalf of a chemical company on three patents relating to catalysts for making ethylene oxide. After a three-week trial, the district court granted judgment as a matter of law in favor of the client on all validity issues, and the Federal Circuit affirmed grant of a new trial on infringement. Union Carbide v. Shell Oil Co., et al. (D. Del.)
The George Washington University Law School, JD, Highest Honors, Order of the Coif, The George Washington Law Review, Moot Court Board Law School, 1991
Columbia University, MS, Chemical Engineering, 1986
Columbia University, BS, Chemical Engineering, 1984
Columbia University, BA, 1983
Intellectual Property Owners Association
- Presidential Task Force on Diversity Inclusion and Leadership
Asian American Bar Association of New York: Former Board Member
American Intellectual Property Law Association
Mandarin-Chinese
Author, How the new Patent Trial and Appeal Board rules impact the practice of inter partes reviews, Pharmaceutical Patent Analyst, Vol. 5, No. 5, August 20, 2016
U.S. Court of Appeals for the Federal Circuit
U.S. District Court for the Eastern District of New York
U.S. District Court for the Southern District of New York
Chambers USA: Intellectual Property in New York, 2013-2019
LMG Life Sciences Star, 2014-2017
- General Patent Litigation
- Patent Strategy & Management
- Hatch-Waxman Patent Litigation (Branded)
- Patent Strategy & Management Atorney of the Year – New York, 2017
- Nominated for Hatch-Waxman Branded Litigator of the Year, 2014
New York Metro "Super Lawyer", 2006-2010, 2015-2018
Speaker, Developments in Pharmaceutical and Biotech Patent Law 2019, Practising Law Institute (PLI), October 18, 2019
Speaker, Patent Eligibility, Prior Art and Obviousness 2019: Current Trends in Sections 101, 102, and 103, Practising Law Institute (PLI), May 13, 2019
Speaker, New Frontiers in Pharmaceutical Patent Litigation, October 11, 2017
National Legal Media Cover Addition of Top Life Sciences IP Litigators in McGuireWoods' NY Office
Top Life Sciences Patent Litigators Join McGuireWoods as Partners in New York
Please note that unsolicited emails and attached information sent to McGuireWoods or a firm attorney via this website do not create an attorney-client relationship. If you are not a McGuireWoods client, do not send us any confidential information. We may not respond to unsolicited emails and do not consider them or attached information confidential. That means we may disclose unsolicited emails and attachments to third parties, and your unsolicited communications will not prevent any lawyer in our firm from representing a party and using the unsolicited communications against you. By clicking "accept" you confirm that you have read and understand this notice.


Will Trump's 'Flattery Machine' Work on Xi Jinping?
Mao Wished He Could Upend the World Order. Does Xi?
Why Do We Keep Writing About Chinese Politics As if We Know More Than We Do?
China is Forcing Uighurs Abroad to Return Home. Why Aren't More Countries Refusing to Help?


text:
Q: When I have a condition `if (bool = true)`, the else branch is never hit. Why? Here's the challenge:

Create a function makePlans that accepts a string. This string should be a name. The function makePlans should call the function callFriend and return the result. callFriend accepts a boolean value and a string. Pass in the friendsAvailable variable and name to callFriend.

Create a function callFriend that accepts a boolean value and a string. If the boolean value is true, callFriend should return the string 'Plans made with NAME this weekend'. Otherwise it should return 'Everyone is busy this weekend'.>

Here's what I wrote:

let friendsAvailable = true;

function makePlans(name) {
  return callFriend(friendsAvailable, name);
}

function callFriend(bool, name) {
  if (bool = true) {
    return 'Plans made with ' + (name) + ' this weekend'
  } else {
    'Everyone is busy this weekend'
  }

}

console.log(makePlans("Mary")) // should return: "Plans made with Mary this weekend'
friendsAvailable = false;
console.log(makePlans("James")) //should return: "Everyone is busy this weekend."

A: Besides the if (bool = true) part that everyone has already pointed out (you could use if (bool) for this), you forgot to add return in else statement. It should be:
} else {
    return 'Everyone is busy this weekend'
}

A: Complete code:

let friendsAvailable = true;

function makePlans(name)
  {
  return callFriend(friendsAvailable, name);
  }

function callFriend(bool, name)
  {
  if (bool)  // or  if (bool===true), but testing if true is true is a little bit redundant
    {
    return 'Plans made with ' + (name) + ' this weekend'
    }
  else
    {
    return 'Everyone is busy this weekend'
    }
  }

console.log(makePlans("Mary")) // should return: "Plans made with Mary this weekend'
friendsAvailable = false;
console.log(makePlans("James")) //should return: "Everyone is busy this weekend."

But if you want to impress your teacher do this:

const
  callFriend =
    (bool, name) =>
      bool
       ? `Plans made with ${name} this weekend`
       : 'Everyone is busy this weekend'

const makePlans = name => callFriend(friendsAvailable, name);

let friendsAvailable = true

console.log(makePlans('Mary'))

friendsAvailable = false

console.log(makePlans('James'))

some helpers:
Arrow function expressions
Conditional (ternary) operator

redpajama_set_name: RedPajamaStackExchange


text:
The advent of the self-driving car presents important insurance questions
Tue Jun 21st, 2016 on Insurance Law, VPM Legal
Anyone who finds themselves in the market for a new car after the passage of a decade or more is likely going to find a considerable difference between their trusted older model and the models on the lot.
That's because in addition to the expected improvements in existing technology and other new gadgets designed to improve the passenger experience, there's also a considerable amount of new safety technology. Indeed, gone are the days of simply having airbags and anti-lock brakes, as many new cars, trucks, vans and SUVs are equipped with everything from blind spot monitors to emergency braking systems.
As truly impressive as these advancements in auto safety technology have proven to be, they actually pale in comparison to some of the efforts currently underway by many of the major auto companies and other tech giants to develop a truly self-driving car.
In fact, these efforts are advancing at such an impressive rate that some are even predicting we'll see a substantial percentage of self-driving cars out on the roads and highways in a mere 25 years.
While impressive, this looming transportation renaissance has already raised a myriad of important questions that need answers, particularly in relation to how the insurance industry would respond to — and even thrive — in an era where auto accidents would fall by an estimated 80 percent.
Specifically, the following questions require careful consideration:
How would liability be apportioned in a crash between a vehicle driven by a human being and a self-driving car? Is the computer considered infallible?
How would liability be apportioned in a crash between two self-driving cars? Would the costs be split 50-50? Would the manufacturers be liable?
How much insurance would prove necessary for a self-driving car? Would it be sufficient to just secure insurance to cover property damage?
While the insurance industry is well aware of this issue, many officials believe that the technology is much further away than 25 years and that, even then, the love of driving is simply too engrained in American culture for people to give it up. In other words, they are confident in their long-term business prospects.
It will indeed be fascinating to see how things play out in the years — and decades — ahead. In the meantime, however, insurance companies are bound by the terms of their policies, and must be held accountable when otherwise valid claims are denied or delayed.


The lock feature of virtually something is highly vital that you keep its content secure. Whether it's for your household, your automobile, or maybe even your briefcase, tresses are indispensable tools for security and protection. However, there are numerous times when this protection might be compromised. Your lock will get broken, your keys can get lost, otherwise you may forget a lock's number combination. While they are problems that you can look at to correct yourself, there isn't any true should do so, as there are a lot of companies offering locksmith services that can get it done to suit your needs. They're expertise which will provide surefire ways of all of your lock problems.
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THE life of the Durham Court of Assize began in nearly as dramatic a fashion as the case of Mary Ann Cotton, who was hanged 17 days after Mr Justice Archibald sentenced her.
The court's first architect was sacked for incompetence, but successfully sued the second architect for libel.
The second architect – himself a jailbird – was also removed from the project, causing the bill to rocket so much that there were protest meetings across the county.
There has been a court in Durham ever since the monks, wandering about with the remains of St Cuthbert, settled inside the loop of the Wear.
From 1588, it was in the south-west corner of Palace Green with prisoners being dotted all over the place: in the castle dungeon, in the Great North Gate at the upper end of Saddler Street, and in the House of Correction on the western end of Elvet Bridge – a cell, reputedly haunted, can still be seen at the foot of the bridge.
In 1808, Sir George Wood, one of His Majesty's Justices of the Assize, condemned Durham's court and jail provisions as "insecure, unwholesome, inconvenient and wholly inadequate".
Bishop Shute Barrington threw £2,000 (£125,000 in today's values, according to the Bank of England's Inflation Calculator) into the pot to get a building project started and a field at the top of Old Elvet was bought from a local vicar for £1,200.
An old lane – Rattonraw – passed through the field, its name suggesting it was infested with either rats or robbers. Today, it is called Court Lane.
Irish architect Francis Sandys was instructed to build the new court with a jail behind. He was the son of the Earl of Bristol who was also the Bishop of Derry. After studying in Italy, Sandys had built grand halls in Suffolk and courts in Worcester and Gloucester.
In Durham, work began with a bang on July 31, 1809. Bands played and a big crowd watched as the Bishop placed gold, silver and copper coins into the foundations, on top of which Sir Henry Vane Tempest ceremonially laid the first stone. The Durham militia completed the festivities by firing volleys over everybody's heads.
But Sandys did not supervise the project in person, and the local workmen performed a "juggling trick" on him – passing off cheap materials as expensive ones. Durham magistrates concluded the work was "badly carried out by dishonest workmen" and sued Sandys, who was legally in charge of the work, even though he had not been present, for £20,000 (£1.2m today).
The magistrates won, and Sandys was finished – he never won a major contract again, although he did win £100 from his successor, George Moneypenny, who libelled him in a local newspaper article.
Moneypenny was the foremost jail designer of his day, having created prisons in Leicester, Oxford, Winchester and Exeter.
Ironically, he was one of the first people to be locked up in his own Leicester Gaol as, months after it opened in 1792, he was imprisoned due to his difficulties with debt.
Extraordinarily, his jailkeeper there was Daniel Lambert, whom every schoolboy must know to be Britain's fattest man, weighing 52 stone.
In Durham, Moneypenny's first job was to dismantle those parts of Sandys' work deemed substandard construction, and start again.
However, Moneypenny's work was also not up to scratch and in 1811, Ignatius Bonomi was brought in to complete the job. Bonomi, 24, had only arrived in the county two years earlier, to work for the Lambton family, and went on to become one of the region's most enduring architects.
However, because of the comings and goings, the re-buildings and the demolishings, the cost to the county ratepayers had spiralled.
When it reached £134,684 15s 5d, the ratepayers of Darlington held a protest meeting on June 7, 1813, in the King's Head Hotel and threatened to withhold their taxes unless the expenditure was curbed. By then, the court was open – the first case being held before Justice Chambre and Baron Wood – exactly 200 years ago on Sunday.
* The final bill, of £134, 684, equates to £7.3m in today's values, according to the Bank of England's inflation calculator.
IT is difficult to say which of the three architects designed the court, but Ignatius Bonomi saw the project to completion and behind it built the jail, which opened in 1819.
Bonomi worked throughout his life at Lambton Castle, Durham Castle and Durham Cathedral. He built numerous churches and bridges, plus Eggleston Hall, near Barnard Castle (1820), Burn Hall, near Croxdale (1821-34), the Stockton and Darlington Railway's ground-breaking Skerne Bridge, in north Darlington (1824), St Augustine's Church, Darlington (1829), Dinsdale Spa Hotel (1829), Windlestone Hall, Rushyford (1834), Croft Spa Hotel (1835), Brough Hall, Catterick (1837), Clervaux Castle, near Croft (1842-3) and Wynyard Hall (1845).


text:
Q: How to find source_location of the code executed by super? class C1
  def pr
    puts 'C1'
  end
end

class C2 < C1
  def pr
    puts 'C2'
    super
    puts self.method(:pr).source_location
  end
end

c = C2.new
c.pr

In the program above is it possible to obtain location of the code executed by super (C1::pr in our case) as well as we obtain the location of C2::pr code using source_location method?

A: You just have to get to the superclass, then use instance_method to get the method from the superclass.
class C2 < C1
  def pr
    puts "C2"
    super
    puts "Child: #{self.method(:pr).source_location}"
    puts "Parent: #{self.class.superclass.instance_method(:pr).source_location}"
  end
end

EDIT—regarding the comment about checking the ancestry chain, it (surprisingly) seems to be unnecessary.
class C1
  def pr
    puts "C1"
  end
end

class C2 < C1; end

class C3 < C2
  def pr
    puts "C3"
    super
    puts "Child source location: #{self.method(:pr).source_location}"
    puts "Parent source location: #{self.class.superclass.instance_method(:pr).source_location}"
  end
end

c = C3.new
c.pr

prints
C3
C1
Child source location: ["source_location.rb", 10]
Parent source location: ["source_location.rb", 2]

A: As per @bukk530, super_method gets you what you want but a good way to access it via the console is
ClassName.new.method(:method_name).super_method.source_location

A: If you're using pry you could use the -s flag to show the super method. Documentation about the feature is here.
show-source Class#method -s

A: From ruby 2.2 you can use super_method like this:
Class A
  def pr
    puts "pr"
  end
end

Class B < A
  def pr
    puts "Super method: #{method(:pr).super_method}"
  end
end

As super_method returns a Method, you can chain them to find the ancestor:
def ancestor(m)
  m = method(m) if m.is_a? Symbol
  super_m = m.super_method
  if super_m.nil?
    return m
  else
    return ancestor super_m
  end
end

A: To See the Whole Ancestry Of The Method...
Define this in an irb session:
class Object
  def method_ancestry(method_name)
    method_ancestors = []
    method = method(method_name)
    while method
      method_ancestors << [method.owner, method.source_location]
      method = method.super_method
    end
    method_ancestors
  end
end

For instance, in the Rails console, I can do:
# assuming User is an ActiveRecord class
User.new.method_ancestry(:save)

=> [[ActiveRecord::Suppressor,
  ["/Users/me/.gem/ruby/2.3.1/gems/activerecord-5.0.1/lib/active_record/suppressor.rb", 40]],
 [ActiveRecord::Transactions,
  ["/Users/me/.gem/ruby/2.3.1/gems/activerecord-5.0.1/lib/active_record/transactions.rb", 317]],
 [ActiveRecord::AttributeMethods::Dirty,
  ["/Users/me/.gem/ruby/2.3.1/gems/activerecord-5.0.1/lib/active_record/attribute_methods/dirty.rb",
   21]],
 [ActiveRecord::Validations,
  ["/Users/me/.gem/ruby/2.3.1/gems/activerecord-5.0.1/lib/active_record/validations.rb", 43]],
 [ActiveRecord::Persistence,
  ["/Users/me/.gem/ruby/2.3.1/gems/activerecord-5.0.1/lib/active_record/persistence.rb", 124]]]

This list alone doesn't tell you whether any of the method definitions listed actually call super or just override their inherited definition. But if you see super in one of them, it goes to the next one in the list.
If you use this a lot, you might put it in your ~/.irbrc or ~/.pryrc.


text:
Walter Santoro Baratçabal (April 29, 1922 – April 29, 2011) was a Uruguayan lawyer and politician who served as the Minister of Labour and Social Security of his nation from 1963 to 1964.

He also served as the interim President of Uruguay for a brief period of time during Luis Alberto Lacalle's presidency.

Biography
Walter Santoro was a member of the National Party, and he played a key role before and after the coup d'etat of 1973. He graduated in Law from the University of the Republic and soon became interested in politics.

Following the Uruguayan dictatorship (1973–1985), he decided to remain out of the political scene as a means of showing his disapproval of the government. This decision earned him many followers, among which there are left-wing politicians such as current president José Mujica.

In 1985, when democracy was eventually restored in Uruguay, Santoro was chosen representative from Canelones Department and served as such until 1990, when he became senator for two consecutive periods, from 1990 to 1995 and from this year to 2000.In 1994 he separated from Lacalle and promotes the presidential candidacy of Alberto Volonté the sector Bootstrap . After serving ten years as senator of the Republic, he retired in 2000 and kept a low profile until the time of his death, which took place in Santa Lucía, southern Uruguay, on April 29, 2011.

Santoro's funeral was celebrated at the Legislative Palace, in Montevideo. His remains are buried at Santa Lucía Cemetery.

References

External links
Channel 10 of Montevideo: News on Walter Santoro's death

1922 births
2011 deaths
People from Santa Lucía, Uruguay
University of the Republic (Uruguay) alumni
20th-century Uruguayan lawyers
Ministers of Labor and Social Affairs of Uruguay
National Party (Uruguay) politicians

redpajama_set_name: RedPajamaWikipedia


Over the last few decades these landrace strains have been interbred in countless combinations, drawing out and combining particular characteristics of various indica and sativa strains to give us everything from heavy yielding, strong, compact plants suited for cultivation in confined spaces, to early flowering outdoor varieties and colorful highly flavored psychedelic delights.
When growing regular cannabis seeds, the natural ratio of females to males is around one-to-one (66% female). When planning a grow, it is best to assume that half of the seeds started will turn out female and germinate extra seeds to account for the males that will be discarded early in flowering. Various factors influence whether feminized or regular cannabis seeds are the most suitable choice for an individual grower. Growing conditions, available space and time, level of experience and personal preference all play a part. If the intention is to breed cannabis and create seeds, both male and female plants are needed, so regular cannabis seeds are required.
Cloning involves taking cuttings from female plants and encouraging them to root, so that they become identical copies of the 'mother plant'. While plants from regular and feminized seeds can both be made into mother plants, it is likely that a regular female will give healthy clones for a longer period (several years, in most cases) than a mother plant grown from feminized seed.


text:
Vision, Mission, Principles
Know Your World
Home / What We Do / Where We Work / Partner Countries
The Hunger Project-UK (THP-UK) is a United Kingdom partner chapter of The Hunger Project. The Hunger Project UK is a registered charity (charity number 1164839). The Hunger Project has been active in the United Kingdom since 1979.
The Hunger Project UK's mission is to support a worldwide movement for the end of hunger in coordination with all The Hunger Project chapters across the globe. The Hunger Project UK is based in London, a world center for international development. The organization's major activities are fundraising for The Hunger Project's programs through activities, food challenges, sporting and leadership events, partnerships, and education and advocacy in the United Kingdom of our empowerment-led approach.
The Hunger Project
1st Floor, Building 5
Chiswick Park
London W4 5YF
info@thehungerproject.org.uk
Make change happen. Invest in people.
110 West 30th Street, 6th Floor,
Join the conversation on social, and stay connected with the latest from our partners around the world.
Subscribe to our weekly newsletter to receive a concise update of latest news and events near you.
Policies & disclosures PRESS & MEDIA TERMS OF USE
© The Hunger Project 2020 | Website by The Good Alliance


Penny is an actor and teacher with over 20 years' experience in all areas of theatre and performance. Graduating from WAAPA (Musical Theatre), performance career highlights include The Boy from Oz, Mamma Mia!, NED: A New Australian Musical, Hamlet (Australian Shakespeare Company) and Doubt (RL Productions).
As a teaching artist she has worked on projects and with companies as diverse as Creatability (catering for people of all abilities in the arts), JugendinWien (a summer drama program in Vienna, Austria), Punctum Live Arts (1000 word project in collaboration with Bendigo Art Gallery), La Boîte School's Chorus and Sydney Children's Festival. She facilitated the creation of Odd Sock Youth Theatre and ran drama classes for people aged 5–25 in central Victoria under the banner of Stepping Stones.
As a voice practitioner she has worked with people ranging from all areas of life on their sung and spoken voice for over 15 years. She is particularly interested in working in the interplay between spoken and sung text in musical theatre and in continuing her work in the wider community helping to reconnect people to the entire palette of their vocal potential.


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Home/Brands/JUUL/Juul plans to cut 500 jobs by the end of the year
Juul plans to cut 500 jobs by the end of the year
VAPE HKNovember 1, 2019
Juul labs announced on Monday that it will cut jobs in order to scale up its business.
By the end of last year, Juul had about 1500 employees, and this year it expanded its enrollment at an average rate of 300 per month. "In order to scale up the business, the number of employees will be reduced between now and the end of the year," Juul said.
Juul labs would not disclose the expected number of layoffs, saying that the layoffs will involve various business departments, but the recruitment of specific departments of the company will not stop. According to the Wall Street Journal, the company plans to cut about 500 jobs.
K.C. crosswaite, Juul's chief executive, said in a statement: "as the category of e-cigarettes undergoes the necessary re-engineering, this restructuring will help Juul focus on reducing underage use, investing in research and creating new technologies, while obtaining operating licenses in the United States and around the world."
Because of the staff dismissal in Juul, lots of negative news about Juul start showing up online, and Juul looks having lost control of the negative public opinions. Like this one on Reddit, Juul former exec said Juul shipped one million contaminated pods, which got 97% upvotes and 323 points from the heated discussion. And another one about the overheat of Juul, got 98% upvote and 594 points. Similar negative things about Juul like wild grass in the spring are growing madly.
According to insiders, not only Juul, famous Smok company over 30% staff were laid off because of the vape ban in the USA. Influenced companies also include Elego, Heavengifts, Ave40, etc.
RELX vs Juul, which is better?
JUUL starter kit review – SnowPlus, RELX, MOTI comparison
Study: Juul Pods Contain Caffeine. What's It Doing There, And What Does It Do?
A top exec at upstart health insurer Oscar just joined the board of vape company Juul


text:
Cute to Kill III: Indie Dark Cute Japanese Animation2 min read
12 October, 2012 0 comment
Blim and Powell Street Festival Society present:
Cute to Kill III
Sunday October 28 | 7:30 – 10 PM | $15/12 (advance tix available at Blim) | @ VIVO Madia Arts Centre
Welcome to an expose of recent video works from local, national, and international animators and video artists.
Each short film explores the artists' morbid fascination with dark subject matter through the guise of "cute" (a prevalent juxtaposition in contemporary Asian pop culture).
Monkey Dreams by Hoji Tsuchiya [3:27]
Silver Night of the Light by Saori Shiroki [3:36]
The Great Rabbit by Atsushi Wada [7:12]
Night Park by Hoji Tsuchiya [3:05]
Beluga by Shin Hashimoto [5:30]
Tashou Kougou by Hoji Tsuchiya [2:30]
Intermission [15:00]
Live set by Masahiro Takashi (TBC) [15:00]
Ringing Bell by Masami Hata [47:00]
Hoji Tsuchiya is a creator of animations, paintings, comics, and music. His animations use paper cutouts, shadow puppets, banana peels, and photocopiers. He currently resides in Berlin with his wife and daughter. http://www.hojitsuchiya.com/profile_e.html
Saori Shiroki was born in 1984 in Japan. He is a self taught animator and has been making films since 2005. He graduated from Tama Art University in 2007 with a major in painting. He also studied at Tokyo National University of Fine Arts Graduate School with a major in Film and animation in 2010. www.saorishiroki.net
Atsushi Wada was born in 1980. Graduated from Osaka kyoiku University, Image Forum Institute of Moving image and Tokyo University of the Arts. Began to create the short animation works in self-study from 2002. Like to make comfortable movements and is always thinking about the Japanese traditional concept called "Ma", the tension produced between movements. Day of Nose (2005) won the Best Short Film in Norwich International Animation Festival and Well, That's Glasses (2007) won the Best Film of the Young Jury in Rio de Janeiro International Short Film Festival. In a Pig's Eye (2010) has been nominated in Zagreb, Annecy, Hiroshima, and Ottawa, and won the Best Film in Fantoche International Animation Film Festival. The Mechanism of Spring (2010) premiered at the Venice Film Festival. calf.jp/en/jia/wada.html
Shin Hashimoto graduated from Tama Art University in Tokyo. His work has be shown in festivals internationally.www.facebook.com/shin.hashimoto.50
Masami Hata was born in 1942 in Taipei. He debuted as an animator in 1965 at Mushi Pro with Wonder 3, and while there directed his first two TV series. After Mushi Pro folded in 1973, he worked a bit for Tokyo Movie Shinsha, drawing storyboards and directing episodes in a handful of TV series. Around 1975 he began working at Sanrio, which was just moving into the anime market, and wound up staying there for over a decade, going on to direct several of Sanrio's lavish full-animation films. Since the breakup of Sanrio's animation department (Sanrio Films) in 1985 following the release of the film Fairy Florence he has been working freelance, directing and writing storyboards for TV series and movies at various studios. www.imdb.com/name/nm0368674/
Masahiro Takahashi
music: www.myspace.com/zzzzzofficial
website: sabacu2011.tumblr.com
More info available at: www.powellstreetfestival.com
Call 604 872 8180 or info@blim.ca for information.


Before the eyes of believers and non-believers, without interruption for over two thousand years, one Pope has succeeded another. Some Papacies have lasted a long time, and many have left their marks on the world, although their interpretation is often controversial. The Pope's presence on the world stage and his role as head of the Roman Catholic Church have evolved significantly over the centuries, yet the Pope remains a figure known in every corner of the world and is associated with a moral authority of universal relevance. Who is the latest successor of the apostle Peter? What role has the papacy played throughout history? Can one anticipate the Papacy's future? Will the Pope "from the end of the world" radically change the institution?
Roberto Rusconi teaches History of Christianity at the Third University of Rome.


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Surprise! If You Vote for the 2018 E! People's Choice Awards Now Your Vote Will Count as Double!!
By Johnni Macke Sep 13, 2018 1:00 PMTags
E! ShowsAwardsPeople's Choice AwardsShows2018 People's Choice Awards
Attention, everyone: Voting for our initial round of E! People's Choice Awards nominees ends on Friday.
So, you know what that means...it's time to get your votes in before it's too late!
In case you missed it, last week E! announced the nominees for its inaugural broadcast of the People's Choice Awards and after just about two weeks the first round of voting—AKA taking it from 12 nominees to the top five in each category—will be closing shortly.
The good news is that you still have time to weigh in on whether or not you think Grey's Anatomy or This Is Us is the Show of 2018, or if Shawn Mendes or Ariana Grande earned your vote for Album of 2018.
With so many categories to vote on, what are you waiting for?
Plus, since it is the final push for voting, your votes will count as double from now until the window closes at 11:59 p.m. ET on Friday.
Yes, you read that right, your vote counts as double. Surprise!
2018 PCAs Nominees: Best Celeb Reactions
OK, enough chatting, we will let you get back to voting, because voting is hard work and you need to focus, duh.
With 42 categories there is a lot to think about and we wouldn't want to distract you from choosing the Movie of 2018. It's a big decision after all!
For all your voting needs, click here. For all-things related to this year's People's Choice Awards show, click here.
PS: Don't forget your vote counts as double from now until Friday night, so celebrate by voting online now.


WANT TO BE A POWERHOUSE COACH?
We are always looking for new coaches to add to our program. A background in football is preferred and we do conduct criminal background checks on all coaches and require a signed coaches conduct agreement. We are particular about the coaches that we allow on the field with our players and look for coaches that will bring a positive energy to our program. We have a great team of coaches that work very well together. The atmosphere is positive and supportive. Coaches who talk negatively about coaches or players generally don't last long. PowerHouse runs a system that has been implemented into the entire football program, Players will run the same offensive and defensive systems their entire time with PowerHouse. Coaches who come to our program need to be willing to adapt to our system and take the time to be trained effectively. You also must be willing to go through training and become certified in USA Football and have a Background Check completed and approved. If you would like to become a coach, please contact Jeff Phillips at jeffphillips555@yahoo.com or 704-928-7545 for more info.


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Above & Beyond @ Ampersand
What: Above & Beyond @ Ampersand
When: May 1st, 2011 9:00pm - May 2nd, 2011 2:00am
Where: Ampersand  (1100 Tulane Ave., New Orleans, LA)
Promoters: insomniac
Genres: Trance
Insomniac & Ampersand presents.... Above & Beyond
Jazz Fest Weekend
Club Amperdand
1100 Tulane Avneune
www.clubampersand.com
doors at 9pm
Above & Beyond are a British trance music group formed in 2000 and consists of the members Jono Grant, Tony McGuinness, and Paavo Siljamäki. The trio are popular in the electronic dance music scene for their forward-thinking uplifting trance productions and collaborations with renowned vocalists. They manage their own record label, Anjunabeats, which releases trance & progressive music, and they also host their own weekly radio show,Trance Around the World. The group's tracks are regularly played by well-known DJs, including Armin van Buuren, Gareth Emery, Ferry Corsten, ATB, and Kyau & Albert. On 28 October 2010 DJ Magazine announced the results of their annual Top 100 DJ Poll, with Above & Beyond placed at #5 in the world.


Welcome to Art by Gillan. As you will see, I enjoy a variety of mediums in order to explore my creative musings. My work is very idea driven, while still mindful of the overall aesthetic of the piece. I enjoy working in series, and most of the projects above belong to larger collections of work. I hope something here will spark your imagination. Thanks for stopping by. Aloha!


text:
TIGHAR home
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Amelia Earhart Search Forum >
The Islands: Expeditions, Facts, Castaway, Finds and Environs >
coast guard loran station
Author Topic: coast guard loran station (Read 12177 times)
Kevin Weeks
I was wondering if someone could tell me if there has been any attempt to contact the coasties that were stationed on gardner's loran station?? Seems that there has been alot of incidences of coast guard artifacts found on the site they are digging that could possibly benefit from their input?
"Do not try. Do or do not. There is no try" Yoda
Re: coast guard loran station
We've talked all of the surviving members of Unit 92 that we have been able to find. Their recollections and photos have been very helpful.
Of the men pictured, we've interviewed the CO, Charlie Sopko (now deceased), Dick Evans, Herb Moffit, and Ernie Zehms. We've also talked to Leroy Nielsen and Glen Geisinger who arrived in December 1945 when most of the first group were cycled out.
Quote from: Ric Gillespie on June 17, 2010, 12:20:51 PM
no stone left unturned, I'm not surprised in the least!
What did they have to say about the number of excursions from the station?? being war time I would imagine that they would have a patrol that ran around the island??
While Sopko was in charge, no informal excursions from the station were permitted (but that doesn't mean they didn't happen). No routine patrols. The island was well out of the combat zone. There were occasional organized visits to the village on the opposite end of the atoll and sometimes villagers were invited to the station to watch movies. Life on "The Rock" was tedious and boring and consisted mainly of monitoring the Loran transmitter to assure that it was properly calibrated -i.e. staring at a wave on a cathode ray tube for a four-hour watch.
yes, obviously they did happen with all shells found! I can only imagine with 25 bored young coasties something was done to blow off steam. I remember reading accounts of other WWII troops stationed on occupied islands that would sneak into town to their "girlfriends" house after lights out.
there was also construction workers there to build the station. I wonder if they did anything.
is there a detailed map with all of the items marked on it?? kind of a reference to see what happened where?? Something that includes the burial site of the norwhich crew, the campsite, the coast guard station, the village and the 7 site along with anything else i may be missing. something to get an overall feel of how where and what has been used in the island.
The burial site of the Norwich City crew is unknown, as is the location of the survivor's campsite. Both are presumed to be somewhere not far from the ship.
You'll find the other features on the map at http://tighar.org/Projects/Earhart/MapsandPhotos/maps/Nikumap.html
I assume you've seen the picture of the campsite though?? I found it yesterday before I actually joined the forum.
Quote from: kevin Weeks on June 17, 2010, 01:19:48 PM
yes, obviously they did happen with all shells found! I can only imagine with 25 bored young coasties something was done to blow off steam.
I've often wondered why specifically there and not somewhere else - further up the coast or closer to the Loran site? On the other hand that seemed to have been a prime piece of real estate -didn't Gallager reserve that parcel of land for a summer cottage? Still what about the site would say to a coastie "this is a good site for target practice" ?
Contact us at: info@tighar.org • Phone: 610-467-1937 • Membership form • webmaster@tighar.org


Here is a loop animation of a 3D Emerald green Gemstone cut in an emerald style shape, which is more rectangular and less multifaceted than a diamond shape. This rotating emerald is true to life and perfect for gemstone or jewelry oriented businesses.
This emerald footage has the alpha channel so you can add any background behind this emerald stone.


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Q: How to write this functional Jacobian? I'm trying to find the correct Jacobian for an action that is invariant under the transform $X(u)\rightarrow Y(X(u))$. It involves the functional jacobian:
$$\Omega[X] = \det\left(  \partial_n X^\mu(u)  \right)^{-1} $$
in order to make the functional integration invariant under such a transformation.
$$\int\Omega[X]DX^4 = \int\Omega[Y]DY^4$$
How can I write this? Apparently you can write it in terms of fermion fields?