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Securing a beneficial future for Queensbury Tunnel
Queensbury Tunnel Society started this petition to Minister of State for Transport Michael Ellis MP and
It's not easy to see Queensbury Tunnel as more than just a grotty Victorian relic, but we hope you'll help us realise our positive vision for it.
Built in the 1870s to take a railway from Halifax to Bradford and Keighley, this historic engineering work - almost 1½ miles long - has been redundant for the past 60 years, leaving parts of it in poor condition. But if repaired, the tunnel could play a central role in a future cycle path network - when finances allow - linking communities to the west of Bradford.
However, without Ministerial intervention, it will have been put beyond use before then as a result of abandonment plans being progressed by its custodian, Highways England's Historical Railways Estate (HRE). The cost of that work will be more than £5 million - funded by us, the taxpayer. We'll get nothing back for that expenditure; it's just money poured into a black hole.
There is an alternative though. In the summer of 2016, a specialist engineering team developed a proposal which would see the tunnel proportionately transformed from a liability into an asset, ensuring Queensbury Tunnel could double our investment over time through social, environmental, health and economic benefits.
Bradford and Calderdale councils are supportive of the cycle path proposal; however we are not seeking any funds from their coffers - we just want the money already allocated to abandonment to be spent in a way that isn't destructive. Our aim is to secure the tunnel for future reuse, delivering maximum benefit and value for that £5 million. It's about the legacy we leave for future generations.
It's now or never for Queensbury Tunnel; HRE started preparatory works in October 2018. Abandonment itself requires planning permission but, if granted, the opportunities presented by the tunnel will be lost forever. There is no going back.
We are asking the Department for Transport and Highways England to suspend the abandonment work whilst stakeholders carry out a broad assessment of the tunnel's great potential and its associated challenges.
Please sign if you share our vision. And, when you've done so, could you also please OBJECT to Highways England's planning application for abandonment. You can do this via Bradford Council's planning portal at www.tiny.cc/TunnelPlans Make sure you record your 'Stance' as 'Object'.
More information about the tunnel campaign is available on our website.
Please share my name and email address with Queensbury Tunnel Society, so that I can receive updates on this campaign and others.

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Dr. Leigh Ann received her B.S. in Health Behavior Science from the University of Delaware in 2009, with an emphasis on fitness and lifestyle management and a minor in strength & conditioning. She graduated with her doctorate in chiropractic medicine from Palmer College of Chiropractic in 2013. In addition, she earned a M.S. in Human Nutrition & Functional Medicine from the University of Western States in 2017. She holds certifications in kinesiology taping and movement evaluation through Rocktape and Functional Movement Systems. She has also completed extensive study in nutrition and lifestyle education through The Kalish Institute and has completed an intensive Applying Functional Medicine in Clinical Practice course through The Institute for Functional Medicine.
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One perfectly sensible way to tell the story of social psychology is to begin at the Holocaust. In the wake of what seemed to be unimaginable horror, there was a desperate need to understand how such a thing could have happened, not least so that we might be able to avoid it happening again. And so, the Jewish diaspora, particularly in the United States, took it upon themselves to investigate the issue: thus was born a field obsessed with such dark matters as intergroup conflict, stereotyping, prejudice, ostracism, and dehumanization. The tragedy is that these psychologists have, in the past seventy or so years after the War, found time and time again how terribly commonplace, terribly normal this darkness is among and within us. We are, all of us, prone to inhumanity.
Who is my neighbour? he asks, meaning: whom am I required to love, even as I love myself, that I may inherit everlasting life? Jesus, in this most famous of parables, seems to refuse to answer the question. Instead he speaks of a man, beaten and abandoned, who was helped, not by a priest or a Levite—people with whom this interlocutor would have identified—but by a Samaritan, an outgroup member, as social psychologists would say. The traveller's own social identity is left ambiguous, but it seems safe to assume that the lawyer would have read him as Jewish: after all, the parable is reminiscent of an old story in the book of Chronicles, in which Samarian warriors released their wounded captives—soldiers from the Kingdom of Judah—having clothed and shod, anointed and fed them, and even returned them home on donkeys to Jericho. This is therefore not a story about who our neighbours are, whom we should love as ourselves, so much as a story about whose neighbours we are, by whom we are loved. In characteristic fashion, Jesus turns the legalistic question on its head.
This reversal casts the Samaritan—the other—in unexpected light. The other is not a threat, not a violent criminal or a vigorous competitor or a voracious consumer of state-funded welfare. Nor is he merely an object of charity, a passive recipient of our magnanimity, our neighbourly love. He is neither to be feared, nor to be pitied. Rather, in this story, he—the other, the Samaritan—is the saviour: the one without whom we would have perished, abandoned by our peers, left to die alone.
This is not a story about who our neighbours are, but about whose neighbours we are. To be sure, there is a symmetry to the relation of being a neighbour: if A is a neighbour of B, then B must be a neighbour of A. In this sense, the parable of the Good Samaritan is, of course, a perfectly sensible answer to the lawyer's question. But this flipping on the head of the question is not without its significance. Jesus does not just tell his interlocutor to love the Samaritan: he tells him to be like the Samaritan. Be like the other: the immigrant, the refugee, the ethnic minority, the religious nonconformist, the queer and gender nonconforming. Love, like they love themselves, like you love yourself.
Seventy or so years after the Holocaust, and we don't know much, but we do know that there is no silver bullet with which to vanquish our deep-seated instincts to favour those we deem to be like us, even to the detriment of those we deem to be unlike us. We live in insecure times, and such insecurity and anxiety has a way of sharpening our boundaries and our claws. In such times, we are prone to build walls, rather than bridges, whatever the Pope might have to say about the matter.
Here, at this University, social psychologists tend to favour what is called the "contact hypothesis": familiarity with the other, so the research suggests, breeds liking. The well-known problem with this strategy is that the individuals with whom we come into contact and whom we discover we like are often re-categorised, and so prejudices about the group itself remain stubbornly and unrepentantly unfalsified. I cringe whenever someone tells me, under the false assumption that it is a compliment, that they don't see me as Chinese. The implication is that I'm not like the rest of them, those foreigners, to be kept at arm's length.
In the wider culture, there is also the move to "not see race": that is, to behave as though there are no differences between groups of people. As noble as this is, not least as an attempt to reduce stereotyping, it also risks collapsing into the hegemony of the culturally dominant. To ignore difference and otherness is, all too often, to refuse to make space for them, to ignore their needs and preferences and grievancesg and unique contributions to the common good. Thus, so-called "men's rights" activism against feminism and the #alllivesmatter strategy of denying the systematic bias against Black Americans. When we say that we want us all to share the same values or speak the same language or worship the same God, we usually mean that others should share our values, our language, our God. We want cooperation and unity and friendship and peace, to be sure, but only on our terms. The problem, for Christians, is that the gospel simply does not let us buy peace on the cheap.
In our fervent commitment to the doctrine of the Incarnation, we typically emphasize God's becoming one of us, like us in every respect. This is, of course, well and good. But given our current social and cultural contexts, Christ is also other. As appropriate as it is for people around the world to depict Christ in creative and contextual ways, we are rightly disturbed by that all too familiar image of the White Jesus, whether in his Aryan form or his American Republican one. Jesus of Nazareth is, in one sense, every man, woman, and child; but, at the same time, is—in scandalous particularity—a Middle Eastern peasant, once a refugee, now in occupied territory, a convicted criminal, a man on death row. It is this poor foreigner on the margins of society who is the image of the invisible God, in whom and for whom and through whom all things were created, in heaven and on earth, in whom all of the fullness of God is pleased to dwell.
This strange man, through whom God reconciles all things, makes peace with his blood, and calls us—not least in our dying, in the waters of baptism; and our offering ourselves to be broken and spilt, in the eucharist—(calls us) to do the same.
Who is my neighbour? we ask. And what we are told is that Christ is our neighbour, and therefore our call is not just to be nice to those different from us, but to see Christ in them, and to love them accordingly: in the other, the very Christ who saves us, even from ourselves, our prejudices, our insecurities and anxieties, the wounds of our privilege: the callouses on our hearts, the scales in our eyes, our limbs withered with inaction and apathy. What we are told is to see, in the other: Christ, who holds us all, together. Come, let us go and do likewise.
Words from the 82nd Psalm.
as if this inheritance depended on so fragile, on so inconsistent a thing as our ability to love.
The great twentieth-century German theologian Karl Barth once remarked that British theology was incurably Pelagian, referring to that great fourth-century heretic allegedly born in the British Isles. Never mind what Pelagius really thought or said; his name is now synonymous with the idea that to be saved, we must first be good, and being good is a matter of pulling oneself up by one's own bootstraps in order to walk in the footsteps of Jesus.
Our contemporary intuitions about the parable of the Good Samaritan are, as Karl Barth would say, incurably Pelagian. Clearly, it seems to us, Jesus's response to the lawyer specifies the condition of salvation. What should he do to inherit eternal life? Love everyone, even the Samaritan. The power of the punchline is in its surprising rigour, the terrible difficulty of qualifying for life in God's kingdom. Go and do likewise, says Jesus: I dare you to try.
This is, of course, heretical nonsense. And yet, and yet, heresy aside, this is a morally interesting reading of Luke's gospel. It is, among other things, a liberalizing force that continues to compel us to widen our circle of empathy to those traditionally considered other, outsiders, even outcasts. We are to love strangers; even more than that, we are to love those whom we are told are our enemies; we are—as the Psalmist says—to "give justice to the weak and the orphan" and "maintain the right of the lowly and the destitute", even when they are from a different religion, a different cultural background, a different psychological disposition, even when they share different beliefs and values and preferences. Looking back at the history of this country, we can—British Christians—be proud of the part we played in the expansion of moral inclusion: in the abolition of slavery, the decriminalization of homosexuality, the education of children from the lower classes, and the promotion of religious freedom for non-Christians. We can and should also be ashamed of the many times we have fallen short of this call, times when others have had to rescue the weak and needy from our wicked hands. Perhaps most importantly, we can and should and must bear this reading of this parable in mind looking forward, as we continue to engage with issues of immigration and religious pluralism and socioeconomic inequality and gender and sexuality. Whom are we to love? Our neighbours, Christian or otherwise, poor and rich, women and men, gay and straight, politically liberal and conservative, culturally alien and familiar.
It is a morally exemplary ideal, and yet we—like Pelagius—have things the wrong way around. The logic of salvation—of life, eternal and abundant—is precisely not that it is conditional upon our successfully loving everyone, beyond familial and familiar borders, across lines of ethnicity and enmity. Rather, as our spiritual fathers and mothers knew, the freedom to love beyond our nature is the consequence of salvation, not its causal antecedent. And so to ancient eyes, from Irenaeus to Clement, Origen to Augustine, it is not the Good Samaritan that we are meant to identify with, but the traveller on the road to Jericho. Far from being equipped with steed and ointment, we are abandoned empty-handed, unable to move for ourselves. Far from being generous and kind, we are at the mercy of the improbable kindness and generosity of passers-by. We are, according this oft-forgotten reading of the Parable of the Good Samaritan, neighbours to Christ who binds our wounds and saves us, bringing us to safety at great price. To the lawyer's question—Who is my neighbour?—Jesus tells a parable in which we are his neighbour, whom he loves as himself.
how am I to obtain this new kind of life?
On this ancient interpretation, life is given, not earned; the wayfarer does nothing but receive the generous intervention of one from whom he is meant to be estranged. It is, that is to say, the diametric opposite of the Pelagian view. The gospel of self-sufficiency and individualistic independence is, whatever its merits, not the gospel handed down to us from the apostles. Jesus's answer to his interlocutor's real question—What must I do to inherit eternal life?—is to tell him how a good stranger pulls us out of death and darkness, who bears our burdens and loves us with reckless abandon. What must we do to inherit eternal life? Nothing. It is only upon hearing this good news that the next question can be asked: whom must we love? Everyone.
Now, go and do likewise.


text:
Orange County Elections Office temporarily moves locations
Published 2:23 pm Friday, September 23, 2022
The Orange County Elections Office has been temporarily moved.
Judge John Gothia said the move is to 106 Border Street inside of the Adult Probation Office due to maintenance issues within the building.
The phone number to the office remains the same 409-882-7973.
Office hours remain the same: open from 8 a.m. to 5 p.m. and will be closed from noon and 1 pm for lunch.
Days of operation are Mondays through Fridays.


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Harry Clare Pentland (17 October 1914 – 1978) was a Canadian economic historian. Pentland studied labour and economic history. He served as president of the Manitoba Historical Society from 1963 to 1965. In 1970, the MHS awarded him a Manitoba Centennial Medal. His papers are held at the University of Manitoba. Archives.

Career
Pentland was born on a farm near Justice, Manitoba on 17 October 1914. He was raised in Brandon, Manitoba. He graduated from Brandon Collegiate (1931) and Brandon Normal School (1933) and Brandon College (1940) before leaving Manitoba to attend the University of Oregon from 1940 to 1942, where he earned an M.A. Thereafter, he served in the Canadian Army during World War II. He earned his PhD in History at the University of Toronto in 1961.

From 1949 until his death in 1978, he taught at the University of Manitoba.

Work
Pentland argued against the "staples thesis", which posited that Canada developed as it did because of the nature of its staple commodities: raw materials, such as fish, fur, lumber, agricultural products and minerals, that were exported to Britain and the West Indies. This trading link cemented Canada's cultural links to Britain. The search for and exploitation of these staples led to the creation of institutions that defined the political culture of the nation and its regions. This thesis, which was most prominently argued by Pentland's former academic supervisor at the University of Toronto Harold Innis as well as W. A. Mackintosh, was widely accepted during the middle portion of the 20th-century. Pentland, in contrast, has been praised as being "among the first to attempt to bring labour and class issues to the fore of development issues in Canada." Historian of the Canadian working-class Gregory Kealey argues that "the value of Pentland's work is located in its break with other existing North American schools of labour studies. Not only did his work depart significantly from the predominant staples interpretation of Canadian economic history by focusing on the development of industrial capitalism in Canada, but it also showed no affiliation with the predominant modes of labour studies." Kealey also notes that "if Pentland's Manitoba loyalties were evident in his writings on western labour, his Canadian nationalism also emerges strongly in his last essays."

Published works
 The Development of a Capitalistic Labour Market in Canada The Canadian Journal of Economics and Political Science, Vol. 25, No. 4 (Nov., 1959), pp. 450–461
 A Study of the Changing Social, Economic, and Political Background of the Canadian System of Industrial Relations (1968) Task Force on Labour Relations.
 Labour and Capital in Canada 1650-1860 (1981), James Lorimer & Co. (published posthumously)

References

1914 births
1978 deaths
20th-century Canadian historians
Economic historians
Labor historians
Canadian economists
Brandon University alumni
University of Oregon alumni
University of Toronto alumni
People from Westman Region, Manitoba
Academic staff of the University of Manitoba
Historians of Canada

redpajama_set_name: RedPajamaWikipedia


text:
Haydn, Accessible in New York in 1939: Symphonies Selling Tickets, Records and Newspapers
@ Music Room 1145
Derek Katz (Associate Professor of Musicology, UC Santa Barbara) will present a talk titled "Haydn, Accessible in New York in 1939: Symphonies Selling Tickets, Records and Newspapers" on Wednesday, April 24, 2019 from 3:30-4:45 pm in Room 1145 in the Music Building. Sponsored by UCSB Music History and Theory Forum.
On March 12, 1939, Fritz Stiedry and the Orchestra of the New Friends of Music performed Haydn's Symphonies nos. 77 and 99 in New York's Carnegie Hall. The concert was part of a season centered on five Haydn symphonies in new editions prepared by Alfred Einstein, advertised as unheard since Haydn's lifetime. Three days earlier, the same forces had recorded the Symphony no. 99 as part of the "World's Greatest Music" series (a circulation promotion for the New York Post). The concert, the recordings, and the printed materials associated with them reveal overlaps and conflicts between different modes of mediation for middlebrow audiences and consumers in the United States. Publicity materials and program essays for the public concerts foregrounded the novelty of the performances, the musicological work of Einstein in locating and editing manuscript sources, and Haydn's putative status as a modernist in the context of his time. This approach both reinforced narratives established by Lawrence Gilman's New York Philharmonic program notes in the 1920s and explicitly addressed the call to reveal a Haydn "middle period" in Donald Francis Tovey's essay "Haydn the Inaccessible." Promotional materials for the "World's Greatest Music" records, reflecting efforts like Walter Damrosch's NBC Music Appreciation Hour and Charles O'Connell's The Victor Book of the Symphony (from which advertising blurbs were paraphrased), presented music as a language of emotion. However, pieces were not placed in any historical or stylistic framework. Haydn, described in music appreciation courses as incapable of deep emotional expression, and as important only as a link in the development of sonata form, posed a particular problem, and the Symphony no. 99 end up being plugged as "startlingly new and original." Stiedry's recording superficially resembles Arturo Toscanini's contemporaneous Haydn performances but also reflects the historically informed performance practices current in Berlin when Stiedry was conducting at the State Opera in the last years of the Weimar Republic. There are also audible traces of Schoenberg's influence in Stiedry's emphasis on odd phrase lengths. Finally, Stiedry foregrounds extended harmonies in ways that support the modernist narratives shared by the concert and record promotions.
Derek Katz received his PhD from UCSB, his BA from Harvard, and has studied at The Free University of Berlin on a Fulbright Fellowship. A specialist in Czech music, he has published articles in Musical Quarterly and multiple Czech journals, as well as chapters in Nineteenth Century Chamber Music (Schirmer, 1998), Janáček and His World (Princeton, 2003), and Modernism and Opera (Johns Hopkins, 2016). His book Janáček Beyond the Borders was published by the University of Rochester Press in 2009. His more recent work deals with institutional support for professional string quartets in the United States in the mid-20th Century. In particular, he has been researching the American career of the Kolisch Quartet and the history of the New Friends of Music in New York. Katz has also worked extensively in public musicology and audience enhancement. He has written for The New York Times, the San Francisco Opera, the Teatro Real Madrid, and the Bavarian State Opera, and spoken at Lincoln Center and Carnegie Hall. He also collaborates with the San Francisco Opera Guild, the Ives Collective, and the Hausmann Quartet. He is an enthusiastic amateur violist and chamber music player.
Alice Coltrane's Negative Grammar (Michael Gallope, University of Minnesota) January 16, 2019 3:30 PM
The Raw and the Husky: Vocal Qualia and Gender Politics in Post-Millennium Tamil Cinema (Amanda Weidman, Bryn Mawr College) February 6, 2019 3:30 PM
Perfect Pitch: 432 Hz Music and the Promise of a Frequency April 10, 2019 3:30 PM
2019 Geiringer Lecture Series: Danielle Fosler-Lussier (Ohio State University) April 17, 2019 3:30 PM
A Tenor's "Voice" on the Periphery: Cesare Grandi and the Siena Production of Farnaspe (1750) May 15, 2019 3:30 PM
Working Memory and Music Theory Fundamentals May 22, 2019 3:30 PM
The Pan-American Bolero and María Grever's Idealized Woman May 29, 2019 3:30 PM
More Links: https://music.ucsb.edu/news/event/1860
Music Room 1145
Others by Music


When Coda to Coda were commissioned to create the soundscape to the Robots exhibition at the Science Museum it seemed like the perfect opportunity to think about the relationship between music and machines.
Much of what we think of as 'musical' nowadays is the result of the feedback between musicians and instrument makers. To take an obvious example, the piano is an embodiment of both a mathematical and physical solution to the concept of musical harmony. Without it and the many scholars and craftsmen who evolved both the tuning and mechanism of the piano over centuries, much of what we now take for granted in Western music would not exist.
The piano's mechanism also invites us to consider the possibility that something other than human fingers might also play it. Through this contemplation of the mechanics and possible mechanisation of musical instruments, the question ultimately arises as to why music is still almost exclusively made by humans for other humans. This was not a question that was lost on the clockwork virtuosi of the 17th century. A notable example are Jacques de Vaucanson's musical robots, the first of which was a life-sized flautist who could play 12 melodies and are perhaps the most celebrated. The capacities of these clockwork machines shocked and amazed their audiences and set us on the road of ever more complex simulations of our own human attributes.
We live in an time where music making is more mechanised than ever. To pick one example among a vast number, we are all accustomed to hearing the voices of singers corrected by a computer so as to have perfect pitch. Indeed Cher's hit song 'Believe' from 1998, through its extreme mechanical warbling, might perhaps be said to have consolidated the idea that popular music's relationship with technology is symbiotic.
The production of sound and music via mechanical means therefore describes unique and diverse narratives in the annals of technologisation. This is something we wanted to try to both explore and impart to those visiting Robots. For this reason we conceived of the soundscape for the whole exhibition as a mechanism in its own right – a musical robot that would run behind the scenes and animate the spaces with sound and music that not only illustrated the sound worlds of the eras the exhibition documents, but also the mechanical processes and constructs that underscore them.
Thematically, the exhibition moves from the dawn of clockwork mechanisms through the mechanical repetition and sequencing of the industrial revolution to the embedded synthesis and logic of electrical circuits up to the evolution of general computation and embodied intelligence. The soundscape not only attempts to describe these themes sonically but also to enact compositionally.
After an opening preface of the automaton baby, the exhibition soundscape begins with 'Marvel'; a world of untempered, microtonal melodies and numerous polyrhythmic clockwork pulses which are gradually coalesced into something that gives the illusion of music. Disparate rhythms begin to weave together, out of dissonance harmony is articulated. At its peak the soundscape sounds less like a set of mechanical elements and more like a composition, allowing us to perhaps glimpse in musical terms what the makers of the clockwork automata on display revelled in creating as physical objects.
A similar methodology is applied throughout the exhibition. Each era of the soundscape is composed and programmed in such a way to foreground some of the most pertinent technological developments of the time and their repercussions for sound and music. In the 'Dream' section of the exhibition we are introduced to radio and electronics and their impact on sound and music. We focus not only on the impact in terms of broadcasting and sound synthesis, but also ways in which 'tuning' in and out of signals and the harnessing of random numbers as elements to be used in musical composition effect our perception of what might constitute music.
As we enter the 'Imagine' section of the exhibition and the present day and beyond, our focus shifts to digital technologies, their amorphousness and ability for mimicry and extrapolation. An array of 18 speakers immerses visitors in the current and imagined sonic landscape that issues from the internet of things that increasingly surrounds us; a crowd of human synthesised voices, a chorus of synthesised birds and a habitat of phrases from the likes of 3D printers and digital communications made audible.
At the end of the exhibition and in contemplation of 'iCub' a humanoid robot about the height of a 5 year old designed for research into cognition and learning development. We attempt, metaphorically, to return to the theme of 'Marvel' by deconstructing an algorithmically generated chorale in the style of Bach via the techniques of contemporary electronic music. In this way we aim to make reference both to the sense in which research in music A.I. predominantly relies on a constrained set of musical examples on which to assess its output and conversely how many experimental music producers continue to develop the eclecticism and meta-narratives of musical expression using the same technology.


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Singer appears in retailer's summer ads, and gave input to the collection.
HOT TOPIC: It's still wintry in Sweden, but that country's most famous retailer, H&M, tapped Beyoncé to heat up its summer advertising push. The recording artist is to appear in television commercials, print ads and billboards — and she also had a hand in designing looks in the collection.
"They are full of her own personal style," said Ann-Sofie Johansson, head of design at H&M. Items include what's described as "the perfect body-con dress," a beach gown slashed to the thigh, high-waist shorts and a sleeveless shirt. In one of the ad images, Beyoncé wears a tie-dyed bikini from the H&M for Water range, with a quarter of sales donated to the WaterAid charity.
This story first appeared in the March 22, 2013 issue of WWD. Subscribe Today.
Inez van Lamsweerde and Vinoodh Matadin lensed the print spots in Nassau, Bahamas, while the commercial was directed by Jonas Akerlund and features a new Beyoncé track, "Standing on the Sun." "It was a beautiful shoot on a tropical island. It felt more like making a video than a commercial," Beyoncé commented.
The print and outdoor ads read "Beyoncé as Mrs. Carter in H&M," referencing the title of her upcoming world tour, with the collection available in stores and online starting in May.


text:
The Aux Cord
Mixed feelings on MisterWives
By Sebastian de Lasa
Phoebe Nichols
I showed up to the show at 10 p.m. on the dot, hoping to catch the opener. When I arrived, there were give or take, 30 people there. The opener, Sweet Anne and the Milkmen, played a fun set, but there were clear issues with the acoustics immediately. It was clear that things sounded off when the opening act started playing, as they made some adjustments after their first song. Morrell Gym started to fill up after the first song, and by the time "Put Your Records On" came on, the crowd was vibing.
By the time their set ended, the crowd was still going strong. Music was playing out of the speakers when the opener got off and many were dancing. Then MisterWives came on. I'm not saying that the energy was sucked out of the room, but people were noticeably less hyped about their opening tracks than when "Mr. Brightside" was pumping from the speakers. It was incredibly underwhelming.
That being said, this is not an entirely negative review. The lead singer of MisterWives, Mandy Lee, was electric on stage. Her voice was uniquely powerful, and she brought a blast of energy to their performance. The second half of their set was actually pretty good, working in some covers of a couple classics ("Dreams" by the Cranberries and "Survivor" by Destiny's Child). The crowd was appropriately hyped at this point of the show, bearing a stark contrast to the first half of the set. That being said, I thought the covers they played energized the crowd far more than the large majority of their original songs. If the crowd would rather be hearing another band's songs than your own, you've got a problem.
There was a lot that went wrong with the concert. First and foremost: the sound issues. Guitar and bass were barely discernible and vastly overpowered by Lee's vocals and the drums. This is not the fault of MisterWives, but rather the result of playing a concert in a gym. The acoustics sounded terrible. I also took issue with the lack of any stage presence from the other members of MisterWives. Aside from Lee, I don't think another band member spoke the entire show, and it was clear that without her infectious energy, the crowd would've been dead.
This leads to the last issue. The crowd fluctuated between being fun and exciting to downright apathetic. At multiple points throughout the set, Lee mentioned on stage the lack of energy from certain sides of the crowd, and there was a noticeable lack of response after songs. Onstage, Lee said, "I haven't seen a concert where the pit was dancing more than the crowd." Nothing sums up the very mixed energy of that show any better.
Read MoreLive Music
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Something very interesting happened today on my journey with Cochise (Little Horse) from the barn to the pasture. I think it was indicative that our slowing things down has been a perfect answer for us.
Today was a cold, windy fall day. The kind when even the most steady, bomb-proof horses can act up. To be honest, it was a day when I would expect some shenanigans from Little Horse. Before I share what transpired, I will have to fill you in a bit on what we've been doing.
During both the clinic with Joe Wolter, and the more recent one with Phil Oakes, Cochise had been deciding to jerk the lead rope out of the hands of his leader and run off. (Side note ~ I worked hard to overcome embarrassment that I was the one with the bad horse that was giving the clinician difficulties.) Although he exhibited this challenging behavior, for both clinics, he was tremendous under saddle. At this time, though, I have been concentrating on slowing things down and working to strengthen our partnership and deal with the jerking away.
When we get out of the arena, I usually take him in between where the cars are parked and the front porch of the observation room. It's a bit of a tricky spot; we have had much fun and success with this maneuver. Today, there was a car running at the end, which is not usual. This, coupled with the wind and cold, gave us an extra special challenge. Cochise had his head high, his ears up, and his body was shaking. In spite of this, he followed my suggestions that he walk through this a few steps at a time. I was watching him carefully, and doing the best that I could to keep my energy low and guide him with my gentle strength. It paid off! To the extent that after he made it through, he didn't squirt out of the tight quarters, which I was prepared to witness.
I feel with my whole being that this is a huge step in developing trust in our partnership for both of us. I am so proud of him, and so lucky to have him as my horse!
What are Client's Reactions to Horse Therapy?


Overseas businesses are calling a halt to the investment in Britain's commercial property market as fears over a UK exit from the European Union heighten. A new study by RICS, the Royal Institute of Chartered Surveyors, shows that demand in the sector has all but stopped as the June referendum draws ever closer.
The report takes into account all periods since the second quarter of 2015 when the referendum was officially announced and looks at the commercial property sector as a whole, including retail, office and industrial properties.
The upcoming referendum on whether or not Britain should leave the EU has caused a great deal of uncertainty in many quarters, and such uncertainty will always result in a jittery market. RICS began recording international investment demand for commercial property back in 2014 and the latest results show confidence at its lowest ebb since those records began.
A mere five per cent of all companies surveyed by the institute said that they had experienced increased interest from businesses outside of the UK over the last quarter, a significant drop from the 36 per cent recorded in Q2 2015. Thirty-eight per cent of RICS members went on to say that the EU referendum had caused uncertainty within the commercial property sector and that it was the main reason why overseas businesses were being so cagey about investing in the UK.
Of those surveyed, 43 per cent said that they felt a Brexit would negatively impact the commercial property market in Britain. Compare that with just six per cent who think the outcome would lead to a positive effect and you have a fair idea of why such uncertainty exists.
Despite the report showing that the short term uncertainty surrounding the referendum has been negative to the market, overall, the opinion for the longer term remains upbeat. Many experts are predicting that the value of property and land assets will increase once the referendum is done and dusted. People are likely to settle into the result, whatever it may be, and the market will move forward once again, even if the rate in which it increases may be slower than what we have experienced in recent years.
Another point worth mentioning is the fact that this short term uncertainty has not only slowed the interest from overseas in commercial property, but it has also affected the domestic rise of business rates, too. This knock on effect has led to analysts forecasting that the not too distant future may see conditions become beneficial for both those looking to enter into the market and business growth for existing companies.
It is also worth bearing in mind that the uncertainty over the EU referendum is not solely restricted to the commercial property sector. Many other areas of business have seen a downturn of late as 23 June comes slowly into view.
What the result will be and what happens after all votes have been cast remains to be seen, but we're confident that the British commercial property market will not only be strong enough to survive, it will also prove to be just as attractive to overseas investors as it was at the beginning of 2015.
If you found this post interesting, then you also enjoy The Rise of Commercial Property Investments In The UK.
This entry was posted in International, Investment. Bookmark the permalink.


text:
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2 edition of Summit meetings and collective leadership in the 1980"s found in the catalog.
Summit meetings and collective leadership in the 1980"s
Atlantic Council of the United States. Working Group on Political Affairs
by Atlantic Council of the United States. Working Group on Political Affairs
Published 1980 by The Council in Washington, D.C .
International economic relations,
Statement Atlantic Council"s Working Group on Political Affairs ; Charles Robinson and William C. Turner, co-chairmen ; Harald B. Malmgren, rapporteur
Series Policy papers : Political series, Policy papers : political series (Atlantic Council of the United States)
Contributions Turner, William C, Robinson, Charles W, Malmgren, Harald B., 1935-
Pagination 69 p. ;
Claes Oldenburg
Politics in Developing Countries
The Vogue sewing book.
Ritual alliances of the Putian plain
Static abreast parlour milking
Digest of the laws and enactments of the National Grange
The idea of Florida in the American literary imagination
Thailands national anti-corruption strategy
Aci oyun
Innovations in Japans community-based industries
Theories of punishment.
The Thirteen Colonies - New York (The Thirteen Colonies)
Polish arms
making of humanity
law relating to estoppel by representation.
Summit meetings and collective leadership in the 1980"s by Atlantic Council of the United States. Working Group on Political Affairs Download PDF EPUB FB2
Summit meetings and collective leadership in the 's. Washington, D.C.: Atlantic Council of the United States, (OCoLC) Document Type: Book: All Authors / Contributors: Charles Robinson; William C Turner; Harald B Malmgren; Atlantic Council's Working Group on Political :// Leadership is both a research area and a practical skill encompassing the ability of an individual or organization to "lead" or guide other individuals, teams, or entire list literature debates various viewpoints, contrasting Eastern and Western approaches to leadership, and also (within the West) United States versus European :// COVID Resources.
Reliable information about the coronavirus (COVID) is available from the World Health Organization (current situation, international travel).Numerous and frequently-updated resource results are available from this 's WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus For the first time in eight years, the leaders of the Soviet Union and the United States hold a summit conference.
Meeting in Geneva, President Ronald Reagan and Soviet leader Mikhail Gorbachev /reagan-and-gorbachev-hold-their-first-summit-meeting. Group of Eight The Group of Eight leaders at Konstantinovsky Palace in Strelna, Russia, for the summit.
Paul Morse/The White House; With no formal charter, a limited bureaucratic structure, and no permanent secretariat, leaders of the G7 discuss major economic issues in an informal setting. The agenda has changed depending on international circumstances—e.g., the oil crises in the s MPI will broadcast a day-long summit that will focus specifically on tools and skills relevant to moving forward during this unique global situation.
We will connect with our industry leaders and peers from around the world in a live, hour global broadcast and share learnings that are At U.S.-China shirt-sleeves summit, formalities and suspicions abound the Chinese over planning the summit and participated in the meetings.
one where everything is a collective leadership In Maywe're gathering the Summit community for three surreal days of connection on the beaches of Tulum, México.
We are excited to return to the Yucatan Peninsula, gathering leaders across all disciplines for three days of self discovery, community, learning, and shared dynamic :// A team is a group of individuals (human or non-human) working together to achieve their goal.
As defined by Professor Leigh Thompson of the Kellogg School of Management, "[a] team is a group of people who are interdependent with respect to information, resources, knowledge and skills and who seek to combine their efforts to achieve a common goal".
A group does not necessarily.
niarbylbaycafe.com - Summit meetings and collective leadership in the 1980s book © 2020


By April it got warm enough that I started convincing Bart to come out and busk with me, to relieve some of the itch to play and boredom. But he was afraid to bring any of his good basses outside, so he bought a set of bongos and beat on them sometimes, and he had a second hand Takamine I liked to play that was nice but not too-nice-to-play-outdoors. We rigged it with a microphone just inside the soundhole and I blew a small chunk of my salary on a little battery-powered amp (and a warmer trenchcoat, one that wasn't almost gray from age and worn-thinness) and we started getting better tips after that. We played everything we could fake, from Dylan to Boiled in Lead to The Cure. Neither of us sang, though.
One day, we were in the park outside the subway station, on one of those sunny days that tell you summer is about to arrive. A roasted nut vendor was somewhere downwind of us making the afternoon smell marijuana sweet. The sky was blue with just a slight nip in the wind. A semi-circle of people had gathered around us to listen. If I'm remembering it right, we were playing something upbeat, "Just Like Heaven," I think. I wasn't paying much attention at that moment, just kind of grooving on the afternoon and looking at Bart without really making eye contact with him.
Then someone jumped out of the crowd, dancing, an orphan vampire child, dressed in layer upon layer of ancient clothing straight from the rummage bins at Salvation Army and his eyes ringed with heavy black liner. He had on at least three different patterns of plaid. His fingers pointing from fingerless gloves, he waved his hands over our eyes. He struck cat-like poses, sprang into the air, and laughed. He danced around passers-by, miming undecipherable stories, and then, sometimes, singing.
He jigged over to Bart and said something in his ear. I couldn't hear what, but I saw Bart shrug. The stranger pointed to the amp on the ground and said something more, a wicked smile on his face, and Bart looked bemused. Bart shared a look with me then and started the chorus again.
The stranger dropped to his knees in front of me, cupped his hands to his mouth and began singing into the soundhole of the guitar. Bart watched, incredulous, but never missed a beat, and I never missed a note–not then, not ever. The hollow body picked up his voice, gave it an eerie wooden tone, and pumped it through the amp. He bounced on his knees, keeping his mouth trained on the hole. I wondered when he would stop. We did the whole song like that, with him hollering into my crotch, until his knees gave out.
I stopped playing and gave him a hand up, my eyes on him and not the dispersing crowd. I had made up my mind. We shook hands.
"The party at Susanna's. My hair was blond, then. At the end of the summer? At the loft by The Channel. And this must be the guy you were talking about." Ziggy turned his dark eyes on me, appraising something, I wasn't sure what. "The bigshot guy from Nomad." He smiled at me from under his mop of jet black hair. "I thought you'd be taller." We saw eye to eye.
"Do you sing a lot?" I put in, trying to keep the subject on him.
"In the shower," he said. He had to be underexaggerating. He'd known all the words and hadn't flubbed any.
"I think you just did." I locked eyes with Bart now, and he nodded.
Ziggy clapped his hands. "Cool. What do you call this band, anyway, Short Guy Trio?" He laughed, and we laughed and I set my mind on getting the particulars straight. Someday, if things happened the way I wanted them to, I'd be telling this story like it was part of some legend, and I wanted to remember it right. I've of course botched it by now, but that's the gist of it, anyway.
This would be the episode where I went from liking the story to LOVING it. I want to write myself into the crowd!
Re-reading! I love Daron's first impressions on Ziggy.
Reading this the second time through the entire set.
He sang the entire time into the guitar hole. Oh My God.
ctan, you are the Mistress of Sly. And forget about the Family Stone.
I knew you were a good writer when I finished DGC Volume One from Amazon. When I found myself compelled to read Volume Seven from Amazon in a single sitting – I don't mean the "this is really good let me read some more" single sitting, I mean compelled with a capital Total Loss Of Control – you were no longer good, you were great. Especially when I looked up when Volume Eight would be available and marked the day on a calendar immediately.
When I finished Eight and was considering hiring a private investigator to find you and kidnap you (that's a joke. Really. Well, I did have a dream about it and, no, I need to stop now) so I could force-feed you both major food groups (that would be popcorn and hot dogs) until you spilled everything. I recognized Beyond Great.
Then I discovered the web fiction site. I finished everything from Volume Eight through segment 672 in a single sitting, finishing about six a.m. Segment 673 drove me to start over, and now I know.
You are not good. You are not great. You are not beyond great. You are something I've only persobnally met twice in my sixty-seven years. The other two were a Nobel Prize laureate and Cannonball Adderly.
Ziggy!!!! Ziggy, Ziggy, Ziggy, Ziggy, Ziggy!!!!
This was the chapter that hooked me the first time I read it, too.


text: Q: Number of permutations (with repetition) that adhere to precedence Similar to another question that has been asked - I am looking for an equation to find a number of "viable permutations" that adhere to a rule of precedence. Lets say given set $S$ with (1, 2, 3, 4, 5, 6, 7), how many permutations with $N$ trials would have a $7$ come after a $6$, which comes after a $5$, which comes after a $4$, and so on from $1-7$. They do not need to be immediately following each other, so long as the numbers appear in that order anywhere in the permutation. For example if $N = 15$, the total possible permutations would be $7^{15} = 4.7475615e+12$. I need to know how many of these have a $1, 2, 3, 4, 5, 6, 7$ anywhere in the permutation in order, but there can be any random numbers in between them.

redpajama_set_name: RedPajamaStackExchange


Johnny Black is a young and penniless pilot turned detective in the glamorous yet dangerous thirties.
His girlfriend, the lovely Tracy Spencer-King, enlists him to help a friend, Diana Travers, and the unfolding tragedy becomes his first case.
Diana's sister, Deborah, died a few months before in what Diana believes are suspicious circumstances.
Apparently Deborah was riding with her husband, the actor Michael Seagrave, in his new Frazer-Nash sports car on Bigbury Sands when – like the star Isadora Duncan – her long scarf got tangled in the wheels and broke her neck.
Determined to start a new life and new career, Millie boards the ship, ready for a new adventure. She isn't on board the massive floating city – her new home – more than ten minutes when a dead body is discovered near the atrium bar.
But this crossing of paths between the two warriors has world-changing consequences. In a realm ravaged by war, they strike up an intense rivalry, but their obsession to destroy one another only leads them closer together.
As demons pour from the deepest bowels of Hell and a brutal war that has raged for centuries reaches its peak, where will their loyalties lie?
Quin Black is bored. All he does is work, sleep, and work some more. When he gets reassigned to the menial task of categorizing old, confiscated Doors, he slips back into one of his old habits–gambling. His first night out, the venue explodes and Quin leaves thousands in debt to the dealer. But the dealer makes him an offer–go through three Doors and find out what's on the other side, and he will erase Quin's debt, free and clear.
Meanwhile, Jo Nash wants out. Her father, a con man and petty crook, refuses to allow her to attend horticultural school and be a normal person. He would prefer she stayed in the family business. So when her father offers her a deal–do one last assignment for him and he will pay for her schooling–she jumps at the chance.
The radio goes quiet while on convoy in Afghanistan, a lost patrol alone in the desert. With his unit and his home base destroyed, Staff Sergeant Brad Thompson suddenly finds himself isolated and in command of a small group of men trying to survive in the Afghan wasteland.
The local population has been afflicted with an illness that turns them into rabid animals. They pursue him and his men at every corner and stop. Struggling to hold his team together and unite survivors, he must fight and evade his way to safety.
They'd be Queen Latifah and Danny DeVito if this were a movie. In Louisiana Lament, they're P.I.s Talba Wallis and Eddie Valentino. Talba's young, African-American, computer-brilliant, bright-eyed, bushy-tailed, and a noted poet by night; Eddie's pushing seventy, white, hopelessly tech-challenged, and pretty much burned out. Somehow, they make it work—with Talba's tech-and-street smarts, and Eddie's old-school hard-earned savvy, they even complement each other.
One stormy day Talba gets an emergency call from Janessa, the sister she barely knows, and arrives to find a body floating in a swimming pool—the mortal husk of Allyson Brown, known in New Orleans literary circles as the Girl Gatsby. Like Gatsby, Allyson was one of those mysterious rich people who move to town, give amazing parties, and seem made of moonbeams.


The latest breaking news for DAS Health.
AUSTIN & DALLAS, TX – January 30, 2019 – eMDs, Inc. ("eMDs") announced today that it has acquired Aprima Medical Software ("Aprima"), a leading provider of electronic health record (EHR) and practice management..
TAMPA, Fla. – DAS Health, an industry leader in health IT and management, announced today it completed the acquisition of Houston, TX based digital health company, Altex Business Solutions. This marks the fourth acquisition by DAS Health within j..
Tampa, Fla., Oct. 01, 2018 (GLOBE NEWSWIRE) — DAS Health, an industry leader in health IT and management, announced today it completed the acquisition of two Aurora, IL based digital health companies, M E Computer Systems, LLC and MECS Billing ..
DAS Health's Vice President of Technology Solutions Appointed to the USF Cybersecurity for Executives Advisory Committee Kyle Mynatt brings extensive healthcare information technology knowledge to the innovative committee TAMPA, Fla. (August 6, 201..


text:
MA in Black Sea and Eastern Mediterranean Studies
Home/Postgraduate programmes/MA in Black Sea and Eastern Mediterranean Studies
MA in Black Sea and Eastern Mediterranean Studieswww.ihu.gr2021-10-25T18:09:20+03:00
The MA in Black Sea and Eastern Mediterranean Studies Programme is being offered by the School of Humanities, Social Sciences and Economics of the University Center of International Programmes of Studies of the International Hellenic University. The programme is based on an interdisciplinary approach to the study of the history and culture of the Black Sea and the Eastern Mediterranean region. The study and interpretation of the historical and cultural data of these regions, areas of great geopolitical and economic importance, will provide the student with an outstanding opportunity to specialize in a research domain of such significance in our times. The courses are taught exclusively in English. The academics teaching on the programme come from universities both abroad and in Greece.
The Black Sea region and the Eastern Mediterranean basin with their special geophysical and cultural characteristics, are gaining significance as a geopolitical link between Europe and Asia. The important natural resources and the crucial position of these regions at the hub of international routes have aroused the interest of many nations over the ages, leading to numerous events of great cultural and historical significance.
The Black Sea and the Eastern Mediterranean constitute two great international gateways, of considerable importance for Europe as well as for Asia and the East. Over the last few decades, research institutions and university departments all over the world have promoted research programmes concentrating on these regions with such rich scientific material.
The MA in Black Sea and Eastern Mediterranean Studies provides specialised education in diverse areas of interest such as Archaeology, Ethnography, Historical Geography, Art, Religion, Mythology, Ancient, Medieval and Modern History, International Relations, Politics, Diplomacy and Economy. The Master's Programme 'MA in Black Sea and Eastern Mediterranean Studies' promotes learning and teaching characterized by a diversity of teaching methods.
The MA in Black Sea and Eastern Mediterranean Studies accepts, after a careful selection process, graduates of History, Archaeology, Social Sciences, Humanities, Political Sciences, Geography, International Relations, Theology, journalism, Balkan, Mediterranean or Oriental Studies and other related subject areas, from Greek universities or equivalent institutions from abroad and from Technological Educational Institutions of related subject areas according to Law 4485/2017 and 4610/2019, as applicable.
Application deadline: 1 October 2021 extended until 29 October 2021 at 15:00 or until places are filled
Duration/Mode: 3 semesters (full time) or 6 semesters (part time) / weekdays
Entry requirements: An undergraduate degree from a recognised University
Programme announcement (en+gr)
Kamile Sulcaite
MA in Black Sea Cultural studies
It was one of the bests experience in my life. Before studies in this University I could not believe that it is possible to learn so many interesting and difficult things in one year.
an undergraduate degree from a recognized University
Historical Geography and Cartography of the Black Sea in Antiquity
The Black Sea and the Eastern Mediterranean in the Hellenistic and Roman Periods
From Medieval Empires to Modern Nations: History, Ethnogenesis and State Formation in the Black Sea/Eastern Mediterranean Region
The Black Sea and the Eastern Mediterranean from the 19th until the end of the 20th century
Second Term
-Archaeology Stream
Stream Elective Courses (4 out of 6)
Topics in the Prehistoric Archaeology of the Black Sea and the Eastern Mediterranean
Ancient Art and Monumental Topography in the Black Sea
Ancient Religion and Mythology in the Black Sea
Historical and Cultural Aspects of the Black Sea and the Eastern Mediterranean in the Hellenistic and Roman periods
Topics in Byzantine and Islamic Art in the Black Sea and the Eastern Mediterranean
Modern History & Politics Stream
Multiculturalism and port cities in the Black Sea and the Eastern Mediterranean
The Hellenism in the Black Sea countries
The Silk Road and the Black Sea/Eastern Mediterranean Region: Classical Geopolitics, Energy and Security Dilemmas in a Historical Perspective.
Political Islam between three Continents
Mass Violence and Population Transfers in 20th and 21st centuries
Archival research and internship in historical archives and NGOs
Third Semester
As a part of the MA programme, students work on a subject relating to their academic interests and stream specialisation. The Master's dissertation provides a good opportunity to apply theory and concepts learned in different courses to a Black Sea related issue or challenge. The Master's dissertation tests students' ability both to apply a certain methodology and approach in the analysis of a given problem and to demonstrate reasonably original research or fieldwork.
A member of the academic faculty supervises students throughout their projects. The supervision is delivered through face-to-face meetings at the University and through the e-learning platform of the University.
IHU Educational Archaeological Excavation
Please click here to visit the excavation website
The MA in Black Sea and Eastern Mediterranean Studies is a 3-semester full-time programme of study. It is taught mainly on weekdays over three-hour teaching periods. The first two semesters cover the core courses of the programme. Each teaching term has 13 teaching weeks followed by a 10-day exam period. The third period is taken up with work on the Master's dissertation. The programme is also available in part-time mode.
Manoledakis Manolis Associate Professor of Classical Archaeology / International Hellenic University Dean of the School of Humanities, Social Studies and Economics
Director of the MA in Black Sea and Eastern Mediterranean Studies
m.manoledakis@ihu.edu.gr
Kordosis Stefanos Academic Scholar / International Hellenic University +30 2310807570
s.kordosis@ihu.edu.gr
Chatzikyriakidis Kyriakos Assistant Professor of Pontic Studies / Aristotle University of Thessaloniki +30 2310 997214
kyriakoschatz@hist.auth.gr
Giannakopoulos Nikos Assistant Professor of Ancient History / National and Kapodistrian University of Athens +30 210 727 7448
giannakn@arch.uoa.gr
Kyriakidis Theodosis Research Fellow (Pontic Studies) +30 2310 997214
tkyriakidis@ihu.gr
Sfetas Spyridon Professor of Modern and Contemporary Balkan History / Aristotle University of Thessaloniki +30 2310 997225
ssfetas@hist.auth.gr,
Urem-Kotsou Dusanka Associate Professor of Prehistoric Archaeology / Democritus University of Thrace +30 25310 39477
durem@he.duth.gr
The programme fees for the MA in Black Sea and Eastern Mediterranean Studies is 2500€. The amount is payable in two instalments for the full time mode or in four instalments for the part time mode at the beginning of each semester. The fees are also eligible for financing through LAEK 0,45% – OAED programme.
The School of Humanities, Social Sciences and Economics offers a number of scholarships for the programmes it offers, covering a significant proportion of the fees. These scholarships are competitive. Award criteria include the quality of the first degree, the undergraduate grades of the candidate, his/her command of the English language and overall profile. Candidates for scholarships should include a separate letter with their application documents in which they request to be considered for a scholarship, stating the reasons why they think they qualify.
Next MA in Black Sea and Eastern Mediterranean Studies class starts in October 2021. Interested parties are invited to submit their application by 1 October 2021 extended until 29 October 2021 at 15:00 or until places are filled, by following instructions at the application page.
The MA programme offers a critical and multifarious study of the Black Sea and the Eastern Mediterranean region, from ancient history and archaeology to art, politics, international relations and modern diplomacy. The graduates develop the competences and the ability to comprehend and discuss works of ancient to comprehend international relations, political, economic and historical data. The skills obtained allow them to work in Educational Institutions and Academies concentrating on Black Sea and the Eastern Mediterranean region, Archaeological Departments and Research Institutes, Museums as well as the Diplomatic Corps or other state services, corporations or NGOs, which have interests in the Black Sea and the Eastern Mediterranean.
The MA in Black Sea and Eastern Mediterranean Studies takes place in the facilities of the School of Humanities, Social Sciences and Economics of the University Center of International Programmes of Studies of the International Hellenic University in Thermi-Thessaloniki.
Department of School of Humanities, Social Sciences and Economics
University Center of International Programmes of Studies
14th km Thessaloniki – Nea Moudania 570 01 Thermi, Thessaloniki, Greece
Tel: +30 2310 807 529/526
Εmail: infoshsse@ihu.edu.gr


text:
Q: python selenium, get over javascript popup I'm working on a project and I have to go to a site and drop a soy there. I am trying to do this using the Python selenium module, but when I enter the site with a bot, I get a popup (an acceptance form about cookies). I cannot achieve what I am trying to do without pressing accept.

I checked the network section of the site and found the site containing cookies, when I enter that site the code works properly and it succeeds in pushing the accept cookies button, but this does not work for me because it cannot even find the accept button on the main site, I know it is not because it is written in javascript, but i don't know how to do this.
Anyway, let's get to the code part.
on the site I'm trying to login
the site that sent the cookie form the site uses
this code works for this:
from selenium import webdriver
import time
from bs4 import BeautifulSoup
from selenium.webdriver.common.by import By
from selenium.webdriver.common.keys import Keys

option = webdriver.ChromeOptions()
option.add_argument('--disable-notifications')
option.add_argument("--mute-audio")

driver = webdriver.Chrome("chromedriver.exe", options=option)

driver.get('https://consent-pref.trustarc.com/?type=jefftest_ibm&site=ibm.com&action=notice&country=tr&locale=tr&behavior=expressed&gtm=1&layout=default_eu&irm=undefined&from=https://consent.trustarc.com/#')

time.sleep(10)
driver.find_elements_by_class_name("call")[0].click()

but it doesn't work for the other, how can I get this to work for the other too?

A: You could use pyautogui instead to stimulate the click:
import pyautogui

pyautogui.click(x=100, y=200)

A: @The Pilot Dude 's answer works in a way, but it can't be said to be very dynamic so:
I went to the site with original chrome and accepted cookies and saved these cookies. When I had to re-enter the site later, I reloaded the cookies.
for download cookies:
import pickle
import time
from selenium import webdriver

option = webdriver.ChromeOptions()
option.add_argument("--disable-notifications")
option.add_argument("--mute-audio")
option.add_argument("user-data-dir=C:\\Users\\___*******__\\AppData\Local\\Google\\Chrome\\User Data")
driver = webdriver.Chrome(options = option)

driver.get('https://speech-to-text-demo.ng.bluemix.net/')

time.sleep(10)#in this time I accepted cookies

pickle.dump(driver.get_cookies(), open("cookies.pkl","wb"))#for download cookies

and after that I can use cookies for chromedriver.exe
for use cookies:
import pickle
from selenium import webdriver

option = webdriver.ChromeOptions()
option.add_argument("--disable-notifications")
option.add_argument("--mute-audio")
driver = webdriver.Chrome("chromedriver.exe", options = option)

driver.get('https://speech-to-text-demo.ng.bluemix.net/')

file = open("cookies.pkl","rb")
cookies = pickle.load(file)
for cookie in cookies:
    driver.add_cookie(cookie)#for use cookies
file.close()


text:
Home › Holidays › Editorial Features › Features › 20 islands you never knew existed
20 islands you never knew existed
Guess where Pig Island gets its name from?
Shalamov / Thinkstock
From an islet inhabited exclusively by pigs to an atoll made of seashells, we round up 20 of the quirkiest islands you never knew existed.
1) Island of the Dolls, Mexico City
Located just outside Mexico City, this eerie island is festooned with dismembered dolls, which hang spookily from trees and buildings. Legend has it a former islander, Don Julian, hung them up to honour a little girl, whom he saw drown in the nearby canal.
The tale goes that the tortured man drowned some years later in the same spot. All we know is that this island makes your spine tingle, especially when night falls.
The eerie Island of the Dolls, just outside Mexico City
Creative Commons / Esparta Palma
2) Fadiouth, Senegal
You won't feel the sand between your toes when you step onto Fadiouth. That's because this Senegalese islet – known as 'Shell Island' – is made entirely out of mollusc shells, the contents of which have been long quaffed by Fadiouth's inhabitants.
Reclaimed from the sea, the island is home to a charming cemetery where, rather unusually, Christians and Muslims are buried under the shells together.
The island of Fadiouth is made exclusively from seashells
Creative Commons / John Atherton
3) Pig Island, Bahamas
Also known as Big Major Cay, Pig Island takes its name from the plucky pigs that inhabit this tropical atoll. Expelling the myth that sows can't swim these celebrity hogs love nothing more than to take a dip with day-tripping tourists. Nobody knows how the pigs got to the island, but they've been there many years and seem quite at home.
Sun, sand and swine on Pig Island
Thinkstock / Shalamov
4) Sealand, nr England
The Principality of Sealand is an unofficial island nation founded on the remains of HM Fort Roughs, a former WWII fort located off the coast of Suffolk. Sealand was founded by the late Mayor Paddy Roy Bates, who seized the facility from a group of pirate radio broadcasters in 1967. Sealand now has a constitution, currency, passport and international football team.
Sealand is built on a Second World War sea fort
Creative Commons / Ryan Lackey
5) Socotra Island, Yemen
Commonly referred to as a 'lost world' island, Socotra Island forms part of a small archipelago off the coast of Yemen. Home to a rich diversity of flora and fauna, many of the plants found here are unique to the island – and some are more than 20 million years old. Although challenging to get to, the island attracts a small number of intrepid nature enthusiasts.
Socotra is home to plants more than 20 million years old
Creative Commons / Rod Waddington
6) North Brother Island, New York
Uninhabited since the 1960s, North Brother Island was originally home to a hospital treating smallpox and other quarantined diseases. The island later became a place for war veterans and, finally, a centre for drug addicts.
Today, North Brother's derelict buildings and untamed flora are a haven for birdlife. The authorities want to keep it that way, too, and have declared this island – located in the East River near the Bronx – off-limits to the public.
North Brother Island is emerging from a troubled history as a wildlife haven
Creative Commons / Reivax
7) Okunoshima Island, Japan
Also known as 'Rabbit Island,' this charming Japanese isle takes its name from the wild bunnies that inhabit it. Though the rabbits are wild, they're so used to tourists that they often let these visitors feed and play with them.
The island wasn't always quite so sweet and innocent – it was previously home to a poison gas factory, which visitors can learn more about in the Poison Gas Museum.
Okunoshima Island is home to hundreds of rampant rabbits
MikeLane45 / Thinkstock
8) Floating Islands, Peru
Huaca Huacani, Toranipata and Santa Maria – also known as the 'Floating Islands' – form part of an artificial archipelago made exclusively from totora reeds.
Forming part of the Titicaca National Reserve – a two hour boat ride from Puno – the Uro people inhabiting the islands survive largely by fishing, which they do from boats also made of reeds.
Huaca Huacani, Toranipata and Santa Maria make up the 'Floating Islands'
Creative Commons / Emmanuel Dyan
9) Spitbank Fort, England
Floating in the Solent, this fort was built in the 19th century to defend southern England from a nautical invasion. Today Spitbank – one of three forts off the coast of Portsmouth – is home to a restaurant, luxury hotel and rooftop pool. You can either visit for Sunday lunch (£135pp) or hire the venue for a private party.
This former fort is now an island for private parties
Creative Commons / Mike Lawrence
10) Bouvet Island, Antarctica
Bracing Bouvet is a sub-Antarctic island considered to be the most remote in the world. Claimed by Norway in 1930, a mystery vessel was found beached here in 1964 with no trace of human remains.
Covered in ice and snow, the 19 mile (30.6km) island and the surrounding waters are an important breeding ground for seabirds, whales and seals, and have been a nature reserve since 1971.
Remote Bouvet is a nature reserve for seals, whales and seabirds
hfrankWI / Thinkstock
11) Bishop Rock, England
As far as the Guinness Book of World Records is concerned, Bishop Rock in the Isles of Scilly is the world's smallest island with a building on it. That building is a lighthouse, which helps guide ships through the treacherous waters of this Atlantic archipelago. The lighthouse was built in 1851 and has weathered countless storms since.
Bishop Rock's lighthouse has been standing since 1851
Creative Commons / Lucy Rickards
12) Heybeliada Island, Turkey
Forming part of the Prince Islands in Istanbul, Heybeliada is the antithesis to the hectic city – cars are banned and the only way around is by foot, bike or horse.
The most notable landmark on the island is the Hagia Triada Monastery, home to a Greek Orthodox theological school which opened in 1894. Though closed now, there is a campaign to reopen it. In the meantime, visitors can occupy themselves in the many restaurants or on the surrounding beaches.
Heybeliada enjoys a slower pace than the rest of Istanbul
Engin Korkmaz / Thinkstock
13) Vulcan Point, Philippines
Vulcan Point is an island within a lake, on an island within a lake, on an island. Got that? Perhaps not, but as tourism booms in the Philippines, this natural phenomenon will soon be firmly on the map. Visitors venturing there should beware, though – the island forms part of the active Taal Volcano, which is prone to violent eruptions.
Brave the eruptions and beat the crowd to awesome Vulcan Point
Simon Gurney
14) Ilha de Queimada Grande, Brazil
Located off the coast of Sao Paulo, this island is best known as 'Snake Island.' That's because it's home to the Golden Lancehead, which has one of the most venomous poisons in the world – it, literally, makes your flesh fall off. The snakes are so ubiquitous and so deadly that the Brazilian navy has forbidden anyone from visiting the island.
Ophidiophobics are better off avoiding Ilha de Queimada Grande (Snake Island)
Purestock / Thinkstock
15) Clipperton Island, Pacific Ocean
With pretty palm trees, saffron sands and turquoise tides, Clipperton twinkles like a paradise. But with no fresh water, inhabitants would need regular shipments to survive here, as those placed ashore by a guano mining company discovered in 1914.
The delivery ships visited often, for a while, but when civil war broke out in nearby Mexico they ceased. Many workers died, leaving the only surviving man, Victoriano Álvarez, to declare himself King and enslave all the women. He'd been bludgeoned to death by the time a passing ship rescued survivors. The island hasn't been inhabited since.
The last king of Clipperton was slaughtered by his female subjects
James Pauls / Thinkstock
16) Song Saa Island, Cambodia
Meaning 'the sweethearts' in Khmer, this private island is living up to its name as it attracts a growing number of honeymooners and well-heeled romantics. Lovebirds come to enjoy sun, sand and solitude on this tropical island – that and the 5-star facilities, which make this one of the most luxurious islands in Southeast Asia.
5 Star Song Saa is one of the most luxurious islands in Southeast Asia
Creative Commons / Andrew Caw
17) Palmyra Atoll Island, Pacific Ocean
One of the most remote islands on Earth, Palmyra is also one of the eeriest. Located in the Pacific Ocean, south of Hawaii, it was the scene of a gruesome double murder in 1974, which has inspired countless books and films.
It is also the resting place for hundreds of sailors, whose ships fell foul of its deathly reefs. The atoll's haunted past and remote location keeps tourists away, which means local wildlife thrives.
Alluring but eerie, Palmyra was the scene of a gruesome murder
Creative Commons / Kydd Pollock
18) Poveglia Island, Italy
Said to be the most haunted island in Italy, Poveglia near Venice has just been sold for £400,000. The new owner will inherit the island's macabre history, which began when the plague wiped out thousands of inhabitants, whose bones are still said to litter the land.
Poveglia is also home to an abandoned mental hospital, where, legend has it, a doctor once threw himself from the bell tower. Though no one is there to ring the bell nowadays, many claim to hear it chime.
Passers-by claim to still hear the bell tower chime on deserted Poveglia Island
Creative Commons / Jean-Pierre Dalbe'ra
19) Forvik, nr Scotland
The Sovereign State of Forvik is an unofficial island nation near the Shetlands in Scotland. The owner and sole occupant, Stuart Hill, founded the island in 2008 as part of a campaign to gain independence for Shetland from the UK.
Currently any 'suitable person' can apply for Forvik citizenship, which entitles them to a share of the island's unspecified future income – providing they pay a small tax.
Like the Shetlands, Forvic is blessed with natural beauty
Creative Commons / Pete + Lynne
20) Flatey Island, Iceland
The inspiration behind art, literature and legend, Flatey Island is where one of the most important Icelandic saga manuscripts was found in the Middle Ages. The island is also important for seabirds such as puffins, fulmars and cormorants, which nest on Flatey Island during the summer, when the sun shines for tan-tastic 21 hours per day.
The 20 craziest festivals in the world
The 10 best pilgrimages for modern travellers
The summer sun shines for 21 hours per day on Flatey Island
Creative Commons / David Evers
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Mayor's Fitness Challenge Kicks Off Tomorrow!
Labels: Mayor
CoronaVirus Pandemic Update
Today, the City of Somerville and the Somerville Public Schools announced that effective Monday, March 16, all City buildings will be closed to the public and all Somerville Public Schools will be closed for a minimum of two weeks to help minimize the spread of COVID-19. During this time we will reassess if the closure needs to continue beyond two weeks.
Services essential to public health and safety – like police and fire responses, trash collection, and the 311 call center – will continue as normal while City offices are closed. This closure includes the Somerville Public Libraries and Department of Parks and Recreation facilities and activities. If you have questions about a specific service or official meeting schedules such as City Council, Boards, and Commissions, please call 311 or 617-666-3311. All City and School sponsored events are canceled during this period.
For more information, please visit Somerville's COVID-19 Information Page.


text:
Ellen von Unwerth
SFAQ — September 17, 2012
Written by Hannah Mullen
Freudian theories suggest that our early life influences the road we take later on down the line. That's not to say we are bound to a future decided upon by cosmic chance and the family situation we land ourselves in but there is usually a correlation between our background and our actions. Photographer Ellen Von Unwerth is an epitimisation of the above hypothesis.
Beginning her adult life as a knife thrower's assistant in a circus, she was never far from the dramatics and theatrics of stage life, something that has manifested itself in her art in the themes she uses to convey her poison of choice, female sexuality. Circus as we know it, is one of the oldest forms of entertainment, dating back to the 18th century, a time when women in the entertainment sector served a sole purpose. They were sex objects, creatures of mystique and mystery and although a lot has been done to counteract this view since, many women are loath to completely let go of this inherent sexual-ness. Times have changed and it is no longer something that needs to be concealed. Rather than have it as something for men to covet it, has become a means of self-expression and discovery. Sexuality is what it means to be a woman and Unwerth is interpreting this in all it's fifty shades.
Believing that "women are not just there to be admired, they are there to be enjoyed" Von Unwerth enjoys and provides such enjoyment across varied mediums, using umpteen muses. The award winning photographer has shot for Vogue, I-D and Vanity Fair, directed numerous short, published books of photography and created album covers for icons such as Duran Duran, Janet Jackson, Dido, Britney Spears, Christina Aguilera and Rihanna. In short, her talent has made her one of the top fashion photographers of our time and despite her countless projects has managed to stay true to her passion and continue to weave the strand of sexuality and sensuality through her work. Sexy cannot be defined as one thing. It is something different for everyone; it can be something different to the same person at different stages of their life, even at different times of the day. There are no hard, fast rules. Unwerth's culmination of gritty uninhibited sexuality, naughty fairytales, a young woman's sexual awakening along with countless others are tribute to the flexibility in the area. Now considered a guru in the realm of female sexual expression, her reign was kick started by the 1989 Guess campaign featuring Claudia Schiffer. Here was a real woman. This was sexy laid bare. Just-woke-up hair, sleepy yet seductive eyes, that pout. Von Unwerth had encapsulated this woman's sexuality in a still shot and shoved it under the nose of the public. This was the tremor that went on to cause the avalanche of Unwerth's success. The dawning of the 21st century's female sexual awakening.
Rihanna, one of the 21st century's biggest female stars, particularly when thought of in terms of sexy and female empowerment. Beginning as the pigtail clad young girl singing to a pop-tween culture only to later emerge as fully-fledged sex icon, a phoenix from the ashes. In order to change society's preconceived notions in their entirety, more was needed than grittier lyrics to reveal this woman's erotic femininity. Von Unwerth was called in to design and create the aesthetic for both albums, Rated R and Talk That Talk. Von Unwerth was behind two of the biggest recreations of this generation. By creating the platform for this woman to break free and express sexuality in a way that had previously been denied, she was breathing air into her lungs. The photo shoots provided to the public of celebrities is our only means of defining them. We do not know them personally; we probably don't see most of their interviews or television appearances unless there is scandal involved causing it to become viral in which case we will catch a glimpse via YouTube or Facebook. The picture painted by the photographer is our porthole. Von Unwerth's creation carries an entire persona.
Having explored the raw, internal sexuality of women and the tamer, softer side. Never one to favor, it was time to explore other elements of sexuality. Where else does it come from, where do women find it? In what setting does this inner bubble rise to the surface, bursting in celebration of what it means to a woman in today's day and age. Up until now, there has been a focus on what Von Unwerth sees as real. What a woman physically, mentally and emotionally is. But what about what is behind all of that. What about all of our dirty little secrets? Where do the fantasies lie? The fantasy side of sexuality has become a big part of Von Unwerth's work, residing mostly in her short films. Wendybird was created as part of Erin Fetherston's 2006 Fall/Winter collection, featuring Kirsten Dunst. Shot in black and white and very much reminiscent of conservative wartime in which a young factory girl has no release or escape. Her discovery of the Fetherson collection is her sexual awakening, her realization that there is more not only out there in the world but also within her. There is more to be being a woman than the role society has outlined to her. She is flirty and expressive. She is a woman.
Fast forward four years to von Unwerth's collaboration with VS magazine that culminated in the short film A Naughty Fairytale. Similarly to Wendybird, it is set in a time where female eroticity had less of a place in society than it has today, only a few centuries earlier. Delving deep, von Unwerth bares the female psych via models, Dioni Tabbers, Julia Oleynik and Alice Aufrey. She blurs every line we know to exist that defines the sexual woman. Not only is there sexual magnetism and magnitude between the three women, they are also related thus simultaneously breaking down boarders of both gender and family. Von Unwerth's stylistic eye shakes up the traditional fairytale, injecting it with a little bit of what we're all thinking about.
There is only so much a person can physically say about Von Unwerth and the art she produces and then the art itself must be displayed and allowed to the talking. She has shed light on female sexuality. It no longer has to be associated with either classiness or trashiness; instead it is what it is. It is real women. It is different for everyone. It is an innate trait that comes with the possession of two X chromosomes. She coins sexiness as something in the eyes. "It's a woman saying something secretive, something in her eyes that's almost animalistic"
Tags: Britney SpearsChristina AguileraClaudia SchifferDidoDioni TabbersDuran DuranElla Von Unwertherotic photographyfashion photographyGuessHannah MullenI-DJanet JacksonJulia OleynikphotographyRihannasexySFAQVanity FairVogue
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