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The Law of Self-Direction, Orbital Mechanics, Quantum Entanglement & The Aging Process
Home/8 Universal Laws for Energy: Changing Reality/The Law of Self-Direction, Orbital Mechanics, Quantum Entanglement & The Aging Process
The Law of Self-Direction affects everything that is part of one huge Energy field: from the cells of our bodies, all of nature, to planets, galaxies, and everything else in the Universe, including our actions, thoughts & even the aging process. It states, that everything that we send out – we ultimately send to ourselves.
Here is the next installment of my series dedicated to all the seekers of truth:
The Universal Law is one of the 7 Powers/Energies creating the physical world. It affects everything in the physical/material world, including all of our thoughts, actions, our physical and emotional health, what we experience and where we are heading:
It consists of 8 component Laws.
The sixth one is called:
The Law of Self-Direction
A short overview of how this law affects the quality of our life.
NOTE: Each of the laws is an Energy wave with unique frequencies that can be measured in Hz. Those frequencies can be replicated with the use of technology (specific mathematical equations are used at more advanced levels of Master Teachings of Hope) – but also can be produced by the human brain.
The Law of Self-Direction tells us that every frequency, with no exception, comes back to its Launching Point.
– In our everyday living, it will translate to the self-direction of our actions and thoughts.
– In biology, this Law is responsible for the aging process of organisms, the cells division, self-preservation via producing seeds, eggs, fruit, offspring, etc.
– In metaphysics, not only the statement "what you do to others, you do to yourself" reflects the Law of Self-Direction but also the idea of the constant evolution of consciousness via experience.
– In astronomy, we can look into the basis of Celestial Mechanics, which deals with the motion of celestial objects – and particularly with Orbital Mechanics (astrodynamics) the application dealing with practical problems concerning the motion of rockets and other spacecraft.
The motion of these objects is usually calculated from Newton's laws of motion and his law of universal gravitation. Newton's third law of motion states that if body 1 exerts a force on body 2, then body 2 will exert a force of equal strength, but opposite in direction, on body 1.
In other words: "for every action, there is an equal and opposite reaction". And Newton's law of universal gravitation states that two particles separated by a distance are attracted to each other with equal and opposite forces directed along the line joining the particles.
We also remember from quantum mechanics that any things that have ever interacted are forever connected, "entangled." Although that phenomenon was considered to be impossible, as it violated the local realism view of causality (the principle of locality states that an object is directly influenced only by its immediate surroundings.), quantum entanglement has been demonstrated experimentally with photons, neutrinos, electrons, molecules as large as buckyballs and even small diamonds.
In order to better understand how The Law of Self-Direction for Energy works, let's recall a short excerpt from the book "Master and the Green-Eyed Hope":
"Imagine a returning boomerang," said the Master.
I looked away and tried to see it fly among the courtyard trees.
"It seems to make a loop while it is rotating. It comes back where it came from," I said. "I'm not quite sure why it does that though."
"It's because the combination of spin and forward motion causes uneven lift on its wings," he explained. "At any given time, one of the wings rotates forward in the direction of the flight and the other rotates backwards against the direction of the flight. The uneven lift is trying to tip the boomerang over. Yet, just as when you lean over a moving bicycle and it makes a turn, a spinning of the boomerang twists the tipping force at right angles and so the flight is curved."
I was amazed by the genius design. Especially knowing that the inventors of the boomerang had been the Aboriginal people from Australia.
How could they ever come up with such a sophisticated idea without knowing any physics? — I thought.
"Doesn't one need to be educated to understand physics?" I asked.
"There are not only humans but also animals who know these things well only by observing nature," said the Master.
I agreed. I recalled that birds sometimes build very sophisticated houses. Ants created whole towns and beavers knew how to regulate rivers. "Apparently humans are not the only smart ones," I concluded.
The Master nodded. "The next constituent law is based on a principle similar to the boomerang effect," he said. "Whatever is being sent out returns to its Launching Point."
"Except that it gets altered during its 'flight' because of the Law of Chain Reaction, right?" I said, happy that I already knew that much.
"Very good," he smiled. "You see, it's not difficult to learn the laws. Even if you are not a physicist."
"I hope so," I sighed. "Please go on."
"What you send out comes back," continued the Master. "That's the law. Even when nothing comes back, it's only due to the principles of the Law of Chain Reaction. It's because the low frequencies of your Intentions turned into Nothingness on their way back to you."
"And what is the name of the 'boomerang law?'"
"The Law of Self-Direction," he said.
"How true! Anything we send out, we send it to ourselves," I said with a big smile.
Whatever we intend for others — I thought — has an effect on us. We are the final recipients of our own ideas and creations.
I imagined a sea filled with numerous waves and whirls. On a sunny day, the water would evaporate and become clouds. Then the clouds would turn into rain clouds and the rain would fall onto the Earth. Somewhere, in the depths of the underground, springs would come to life and then burst out to the surface. They would become streams and rivers. And then they would go back to the sea.
The Law of Self-Direction works exactly like that — I thought.
WHAT WE SEND OUT COMES BACK, EACH AND EVERY TIME.
The 6th Universal Law, the Law of Self-Direction, affects every frequency in our Universe. Did you know that the aging process of organisms can be altered and perhaps even overcome by making adjustments at the Launching Point (i.e. the sending point of every frequency) according to the mechanism of that particular Law? But this is an entirely new topic.
Let's start with simple steps.
We are all connected one way or another. We live in the same world and breathe the same air. We learn from each other, and teach each other. We can be kind. We can be strong. We can care for one another. We can be humans in the most beautiful way.
REMEMBER ALSO:
1. OUR SUBCONSCIOUS rules 90% of our thinking and behavior. It is responsible for our habits, emotions, automatic reactions, defensive mechanisms etc., which may keep us stuck in unwanted situations in life. You can reprogram your subconscious and get rid of the negative patterns stopping you from living the life you want.
2. On the level of consciousness beyond the senses, we have access to every single bit of information that exists.
Whether that information originated in what we perceive as past, present or future – does not matter. In the field of the One Whole, time does not bind us, because on that level all is timeless.
Take your time – that always works the best. Have love and patience for yourself.
The 8 Components of the Universal Law help us at every step.
SEE: Changing Reality: 8 Universal Laws for Energy – Introduction
These laws affect us with no exception in all areas of life: private and professional, art and science, business and politics etc. – whether we are aware of it or not:
The 8 UNIVERSAL LAWS ARE:
1. The Law of Cause & Effect / Cause & Solution
2. The Law of Originating & Growing & Passing
3. The Law of Reduction and Expansion
4. The Law of Appearances
5. The Law of Chain Reaction
6. The Law of Self-Direction
7. The Law of Matrix and Volume
8. The Law of Infinity
8 Universal Laws for Energy
By Johanna Kern|May 5th, 2020|8 Universal Laws for Energy: Changing Reality|
The Law of Appearances & The Launching Point for Energy Frequencies


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Allen, Grant (Charles Grant Blairfindie Allen). THE BRITISH BARBARIANS: A HILL-TOP NOVEL. London: John Lane, Vigo Street. New York: G. P. Putnam's Sons, 1895. Octavo, pp. [i-vi] vii-xxiii [xxiv] [1] 2-202 + 14-page and 16-page publisher's catalogues inserted at rear, original pictorial olive-green cloth, front and rear panels stamped in white, spine panel stamped in gold and white, fore and bottom edges untrimmed. First edition. "Grant Allen was a Darwinian. Like Wells, he used the future to mirror the evils of the present, and his THE BRITISH BARBARIANS (1895) presents a scientist from a distant future working as an anthropologist among a savage tribe in an English suburb ..." - Aldiss and Wingrove, Trillion Year Spree, p. 142. "Very good satire." - Suvin, Victorian Science Fiction in the UK, p. 59. Anatomy of Wonder (2004) II-15. Bailey, Pilgrims Through Space and Time, pp. 90-1. Bleiler, Science-Fiction: The Early Years 36. Clareson, Science Fiction in America, 1870s-1930s 010. Clarke, Tale of the Future (1978), p. 21. Locke, A Spectrum of Fantasy, p. 20. Bleiler (1978), p. 4. Reginald 00194. Wolff 100. Early owner's signature on front free endpaper. Touch of rubbing to cloth at spine ends and corner tips, a very good, attractive copy. (#90064).
See all items in Time Travel, Victorian Fiction
See more items by Grant Allen, Charles Grant Blairfindie Allen
No statement of printing.

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It's a term which describes a decline in thinking skills, such as memory, and is big enough to impact the person's daily life. Dementia itself is not a disease, it describes a group of symptoms caused by various diseases or conditions.
Damage to the brain cells interferes with the brain cells' ability to communicate with each other and therefore affecting the person's normal communication and thinking.
Things that damage brain cells could include alcohol, depression, the side effects of medicine or most commonly, Alzheimer's disease.
Alzheimer's disease (more information below) is what causes around 50% of all dementia.
There are many symptoms of dementia but the person must have at least two of the symptoms for it to be dementia.
Usually the first symptom is a great loss in memory. The person will not notice it, but their friends and family will. Eventually they may forget where they are or who their loved ones are.
Getting lost in places they regularly go to such as the supermarket or their own home.
1. Be patient with the person. It's not the person's fault that he or she has dementia. You may have to repeat what you say a few times because the person will probably not remember what you say the first time.
Alzheimer's is a type of dementia that occurs when the brain chemicals change and the number of neurotransmitters (chemical messengers in the brain) decrease.
Also, the brain may form protein and fiber clumps which stop the brain cells from communicating properly and eventually this destroys the area of the brain used to form memories.
Though Alzheimer's is currently incurable, there are medicines that can help slowdown the disease. They may even be able to slow Alzheimer's long enough that it won't ever really affect the person that much in their life.
Alzheimer's is being highly researched though and much of the information we know about it has only be discovered in the past few years.


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gin fizz egg white
The better your shaking skills the better the foam comes out. Some bartenders add an egg white to their version of the sloe gin fizz. Aquafaba is the liquid that's in a can of chickpeas. The Spruce Eats says a gin fizz is one of the many drinks that calls for egg whites when made following a traditional recipe. Of course you can buy soda water for a Gin Fizz. There's lots more you can do with gin, from classic Gin and Tonic to Watermelon Gin Cocktail, from a Hanky Panky to a Gin Gimlet. How does it all work? Don't you love the foam?! It's basically the frothy, bubbly, protein-packed cousin to the Tom Collins, which combines gin, lemon, sugar and soda. Since 2 tablespoons of aquafaba equal 1 egg white, you can use 2 tablespoons of aquafaba in this recipe as an equivalent to the actual egg white. Oh and it takes only 5 minutes to make! Put your gin and other ingredients in a shaker, add an egg white, and shake it like crazy. Here in Indianapolis, our friends over at 8th Day Distillery make a local gin that's a fun local find. Double-strain into a chilled Collins glass and top with club soda. Put the gin, lemon juice, sugar syrup and egg white in a cocktail shaker. Let us know if you make it in the comments below! The gin fizz is a historical cocktail that is traditionally made with lemon juice, sugar, egg white and, of course, gin. You see, a friend of ours run a distillery in town and she had just dropped off a bottle of gin for us to try. A Couple Cooks has been featured on the TODAY Show, and in numerous national print and online publications, including Washington Post, Huffington Post, Food & Wine, and Bon Appetit. Keywords: Gin fizz, Gin fizz cocktail, Gin fizz ingredients, How to make a gin fizz, Gin egg white cocktail, Tag @acouplecooks on Instagram and hashtag it #acouplecooks. As the only spirit in the cocktail, it provides the base that everything else stands on, so now's not the time to skimp on quality. This is a drink with a long history, dating back to 1888 and a unique taste and consistency that is hard to find in almost any other drink. Are you ready? It typically contains gin (obviously), lemon or lime juice, simple syrup, club soda, and an egg white (more on that in a sec). The Gin Fizz has been around since the late 1880s. You could add some simple syrup to this drink instead of the sugar so … Though the original recipe uses grapefruit juice, variants including lemon juice exist as well. Sonja and Alex Overhiser are writer and photographer behind A Couple Cooks and authors of Pretty Simple Cooking, named one of the best vegetarian cookbooks and best healthy cookbooks. But you may appreciate its siblings more after tasting the original. Add ice and shake until cold. It's got that classic foam layer, and is topped off with soda water which adds even greater height. What's a substitute for a cocktail shaker? And it's a trick that's sure to impress all your guests. Subscribe for free weekly recipes & more! Containing gin, citrus, cream and egg white… Shake all the ingredients twice, firstly with no ice, then add some ice and shake again. Depending on where you live, you can often find locally produced maple syrup as well. The Ramos Gin Fizz often ranks as one of the most annoying cocktails to make. Featured from the TODAY Show to Bon Appetit, Sonja seeks to inspire adventurous eating to make the world a better place one bite at a time. Don't buy the cheapest gin you can find. But the shaking can take a … In fact, the presence of egg whites in the drink is one of the key differences that distinguish a gin fizz from a Tom Collins. Make the best gin cocktail we could find. What to use as a vegan egg white substitute in cocktails? It's delicious, but not all of us enjoy egg whites in our drink. Ever had a Gin Fizz? Place the gin, lemon juice, syrup and egg white in a cocktail shaker. But in this Gin Fizz you'll do what's called a Dry Shake. The dry shake lets the cocktail build up that foam without the extra dilution caused by shaking with ice. A Couple Cooks was awarded the IACP Best Individual Blog award in 2019 by the International Association of Culinary Professional, © 2020 - A Couple Cooks®| Privacy Policy and Disclosure. We hope that you'll find this Gin Fizz to be your new favorite cocktail. This creamy gin based cocktail feels delightful and silky with the milk and egg white complimenting the creamy undertones. The key difference between a regular gin fizz … You'll simply shake together the gin, fresh lemon juice, maple syrup, and egg white in a cocktail shaker with ice to make it cold, then pour it into two glasses. If you want a thicker drink, you can dry-shake the cocktail first, which means to shake it without ice. On any given day, if I were offered a properly made Ramos Gin Fizz I would never turn it down. Here's the cocktail shaker we use: Cocktail Shaker | Amazon. When pouring out the cocktail, you'll need to use a strainer or some other mesh to keep the ice inside the mason jar. Go to our Best Gin Cocktails. The egg white adds a lovely texture that is common in classic fizz drinks. Ramos Gin Fizz. Pro Tips For Making a Gin Fizz. It's also a great arm workout. Then shake it again with ice until everything's cold, and strain the contents into your glass for a gorgeous layered look. Because it's so starchy, it can work as a binder similar to an egg. Well, since this drink calls for heavy cream, bartenders have to use all their strength to shake it properly. Alex Overhiser is an acclaimed food photographer and author based in Indianapolis. Put on the top and shake away! To make it happen, start with a good gin. You could also be on the lookout for local gin, if you have distilleries in your area. So glad you enjoyed! Place the gin, lemon juice, syrup and egg white in a cocktail shaker. But even better, you don't have to make a simple syrup at home: just grab a bottle of real maple syrup! 2. In a cocktail shaker (with no ice), shake gin, egg white, lemon and lime juice, heavy cream, simple syrup, and orange blossom. Shake it up with muddled mint and garnish with a few mint sprigs for a super-refreshing, silky masterpiece. Sloe Gin Fizz (purple fizz) A traditional sloe gin fizz contains sloe gin (a blackthorn plum flavored spirit), grapefruit juice, simple syrup, egg white, and carbonated water. It's like magic! This helps the liquid ingredients merge with the egg white. We like making naturally sweet drinks with no refined sugar, and find that maple syrup is a gentler sweetener than a simple syrup. Pour into an ice-filled highball glass, and top with the soda water. What's that? This cocktail is great if you are having friends over as you can prep the syrup in advance. Fill the shaker with ice and shake for 30 seconds until cold. A classic gin fizz is refreshing, effervescent, and velvety in texture thanks to the egg white, soda water, lemon and gin coming together in a magical mixture. So what to do with a bottle of gin? Check out the frothy foam on this one. Try to invest in a mid-price range gin: the drink will only taste as good as the gin you invest in! I'm historically terrified of eggwhite drinks and this one inspired me to give it a go. Outside of this gin fizz recipe, here are a few more of our favorite drink recipes: Sonja Overhiser is author of Pretty Simple Cooking, named one of the best healthy cookbooks of 2018. Vegetarian, gluten-free, dairy-free, refined sugar free, and naturally sweet. Shake vigorously for 15 seconds. See our Boston Sour for another foam-topped drink. And Alex hit it out of the park with this one: this Gin Fizz is perfectly balanced, both sweet and tart, and adding soda water magically creates a frothy egg white foam topping. He's host of the food podcast Small Bites and founder of the recipe website A Couple Cooks. Featured from the TODAY Show to Bon Appetit, Alex is author of Pretty Simple Cooking, named one of the best vegetarian cookbooks by Epicurious. Bloggers Julie and Debbie, of Cooks With Cocktails, created this grapefruit juice, vodka, and egg white cocktail —and it's the perfect antidote to heavier brunch eats, such as eggs Benny, home fries, and French toast. Learn how your comment data is processed. Then you'll add the ice and shake again. I'm not a vegan, but I get a little weirded out by drinking raw egg … Strain into a … There's also the Sloe Gin Fizz, a riff that sports tart, berry-flavored sloe gin and often skips the egg white. The answer: Aquafaba. To make our soda water, we used our SodaStream (which we're obsessed with!) It makes for the same type of foam! For vegan and plant-based, use aquafaba (see below). (A Tom Collins uses a little more lemon juice, too.) We bought it to make healthy alternatives soda pop, and we ended up falling in love with the refreshing bubbles. DEEELISH!! The fizz is a type of cocktail that features a spirit alongside citrus, sugar and sparkling water. Well if you're in a pinch, you can use a glass mason jar instead! But you can also make it at home! Shake without ice for a few seconds, then add ice and shake again until well mixed, frothy and cool. 3. The History and Secrets of the Ramos Gin Fizz, 6 Collins-Style Cocktails to Try Right Now, Cocktail Shaking Methods: How to Use Them Properly, 11 Essential Cocktails to Try in September. Serve immediately. A Dry Shake means you'll shake the ingredients first without ice. 13/02/2020 The Washington Post Getty Images. We made our own ginger syrup, which is super easy too! Recipes › Drink Recipes › Cocktails › Gin Fizz Cocktail. Directions. By Victoria Chandler. Consuming raw and lightly-cooked eggs poses a risk of food-borne illness. Add the gin, single cream, sugar syrup, orange flower water, vanilla, egg white and lemon and lime juices in a cocktail shaker. For this Gin Fizz, you'll want to use the high quality gin! While it's never 100 percent safe to drink or consume any egg that's raw, the risks of consuming egg whites in cocktails are extremely minimal. Thanks for this recipe! There's also the Sloe Gin Fizz, a riff that sports tart, berry-flavored sloe gin and often skips the egg white. Both drinks often contain egg white, too. The Gin Fizz is one of the most iconic egg white cocktails! A London Dry gin will add bracing botanical notes against the tart citrus and creamy egg, while a modern-style gin with softer, more floral notes will produce an equally delicious version.
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Linguist Hong Ki Mun
Posted on May 22, 2021 May 22, 2021 by KFAUSA Administrator
Buried in the Patriotic Martyrs Cemetery in the Democratic People's Republic of Korea are the remains of martyrs who performed brilliant feats for national liberation, socialist construction and reunification of the country. One of them is Academician, PhD and Pro. Hong Ki Mun (September 1903—July 1992), who made a contribution to the development of the nation's linguistics.
Born in September 1903, he was the eldest of five sons of a writer.
Though he was unusually eager to learn, he could not go to school because his family was in a miserable economic situation. So he started to teach linguistics himself.
While learning the fine principles of Hunminjongum one by one, he made a determination to devote his whole life to the study of linguistics by emulating the spirit of the ancestors who created the national alphabet. But it was not an easy job to put his determination into practice. He worked for wages in the daytime and engrossed himself in the study at night. So he slept less than two hours a day.
In spite of his hard life, he could not give up his dream. He published his first paper "Study on Ridu Characters" and wrote a series of articles named "Korean History" and had them published in different newspapers.
But due to the Japanese imperialists' policy of stamping out the Korean nation during their military occupation (1905-1945), his linguistic studies could not bear any fruit.
In May 1948, three years after Korea's liberation (August 1945), he came over to the northern half of Korea and became a teacher of Kim Il Sung University, when he was provided with all conditions to engross himself in his linguistic studies.
Eventually, his efforts bore fruit, some of which were the publication of such important papers as "History of Development of Hunminjongum", "Interpretation of Korea's Native Songs" and "Study on the History of Korean Language" and the translation of several national classics, including "Taedongyasung" (Vol.1). In addition, he wrote several textbooks on linguistics.
He used to tell his students, "You are responsible for your own study. You should outdo your teachers."
When he was working as a deputy director of the Academy of Social Sciences, he made a contribution to the complete translation of "Chronicles of the Feudal Joson Dynasty," a huge collection of historical materials, in a little over ten years instead of the estimated period of 25 to 30 years. He also played a big role in translating the 80 000 Blocks of the Complete Collection of Buddhist Scriptures.
He rendered a great service to the efforts for raising the country's international prestige and achieving the independent reunification of the nation while working as a vice-chairman of the Standing Committee of the Supreme People's Assembly and a vice-chairman of the Committee for the Peaceful Reunification of Korea. For those merits he was awarded the Order of Kim Il Sung, the title of Labour Hero, the National Reunification Prize and many other orders and medals.
KFAUSA Administrator
A Lot of Electricity Saved
Medical Services Mark Child Health Day


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Q: Best way to protect POSTED data over http? I have a Chrome extension that I am working on that will POST data to a remote server. I wish to encrypt the data before it gets sent. My server doesn't have HTTPS so I have to send it over plain HTTP.
I currently use RSA 4096-bit public key encryption in the extension in Javascript, and SHA1 hash the data and send the hash and encrypted data via an Ajax post request.
Is this acceptable encryption to be sent over HTTP?

A: Well, what Wikipedia tells is:

...and that 2048-bit keys are sufficient until 2030...
  An RSA key length of 3072 bits should be used if security is required beyond 2030

So I'd guess using 4k Bit encryption is kind of paranoid

A: Client: Hash your message.  Append the hash to your message.  Encrypt your message + hash.  Send your encrypted message + hash.
Server: Decrypt your message + hash.  Split the message and the hash.  Hash the message.  Make sure that the hash on the server side is the same as the hash from the client side.  If these don't match, then there was either some bits that switched on the wire, or someone has altered your message.
And yes,  RSA 4096-bit public key encryption is more than sufficient.

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Independent authors believe every self-publisher is a revolutionary. Gatekeepers in traditional publishing think self-publishers are losers, at least until those same losers use their self-publishing success to humbly petition for a book deal. Vanity publishers insist all self-publishers are overlooked geniuses, and happily back up that assertion with high-priced services and promises they never intend to keep.
All of these definitions are unhelpful at best, self-serving at worst. In order to talk about self-publishing with any legitimacy we need a way to differentiate among self-publishers that is meaningful and objective. For that reason I created the Ditchwalk Self-Publishing Scale, which uses rising levels of production complexity to categorize self-published authors.
To see the Ditchwalk Scale in action, we'll follow a writer named Patrice as she transitions from category to category, cutting a self-publishing swath deep into the heart of the publishing industry.
Patrice writes a book. She tries writing query letters and submitting chapters to agents and editors, but tires of the condescension and interminable delays. Patrice looks at the available self-publishing options, checks her bank account, and decides she has no choice but to do everything herself if she wants to make her work available to readers.
While preparing her book Patrice gets cover-design software help from a friend of a friend. She also has several friends read the book for typos and usage errors, and gets e-book and print-on-demand (POD) formatting help from online forums.
Because she does not pay anyone to help create her self-published work, Patrice is a D0 self-publisher on the Ditchwalk Scale.
Patrice's self-published book does well. It doesn't bring in enough money to pay the rent, but it's enough to encourage her to write a second book, which she does.
When she's ready to publish her second title Patrice decides she wants professional help. She learned a lot publishing her first work herself, but with her second title she wants a more professional look and feel. Patrice hires a cover designer, and a professional proofreader to check her text before she locks it down.
Patrice is now a D1 self-publisher because she paid people to help her prepare her book for manufacturing.
Patrice's second book gets buzz but also draws criticism. She is recognized as a good writer, but there's general agreement that the pace of the book might have benefited from tightening.
Patrice takes the criticism to heart. She realizes she needs trained eyes not only on her cover but on her content as well. When she finishes the first draft of her third title Patrice hires a freelance editor to help overcome blindness to her own work.
Because she hired someone to help shape the content of her work, Patrice is a D2 self-publisher on the Ditchwalk Scale.
Patrice's third title receives solid critical response. Even better, it prompts renewed sales of her first two titles, generating a fair amount of income for several months.
While contemplating her fourth book Patrice realizes she can tie it in with an upcoming cultural event. When Patrice outlines the book and works up a schedule, however, she discovers she won't be able to finish the book in time to take advantage of the opportunity.
In a moment of inspiration Patrice decides to hire another writer to help her. The subcontracted writer will do research and write several first-draft sections of the time-sensitive title while Patrice works on the rest of the book. Patrice will then revise the entire work in her own voice and rush it into production using the team that helped produce her previous titles.
Paying someone to write original content for a book she is authoring makes Patrice a D3 self-publisher.
Patrice's time-sensitive title brings in considerable cash. Patrice acknowledges the contracted writer's contribution both in the book and in interviews.
Excited by the possibility of replicating this success Patrice lays out a book series that takes similar advantage of predictable cultural moments. While she recognizes that there's a risk in launching a series, she knows she can subcontract other writers to write part or all of each first draft, leaving her free to provide overarching editorial control while also working on her own book.
After weighing the pros and cons Patrice decides to go a step further. She starts a small press and hires writers to write first drafts in the series using stepped contracts, with the intent of keeping them on as the credited writer if they do a good job or she runs short of time to finish the books herself.
Hiring other writers to write books under her editorial control makes Patrice a D4 self-publisher on the Ditchwalk Scale.
Some of Patrice's sub-contracted titles pan out, others flop. Patrice learns from the experience and finds herself contemplating even more ideas for books. She maps out several possible schedules for the coming year, but no matter how she juggles titles and writers she comes up short of time to write, edit and release those books. Patrice realizes she needs to start a dedicated business with in-house editors overseeing aspects of projects that don't need her direct supervision.
For those titles that Patrice and her staff originate and maintain editorial control over, Patrice is a D5 self-publisher.
Patrice takes her company public and retires from day-to-day control while still maintaining a financial interest. The board of directors hires a new CEO and expands aggressively. Some projects come from agent submissions, some are collaborations with bankable industry names, but a fair portion of the books her company publishes are developed in-house, in keeping with Patrice's established practices.
Because she maintains a financial interest in her publishing company, Patrice is a D6 self-publisher for those titles developed in-house.
To see why the Ditchwalk Self-Publishing Scale reflects reality — and did so even before self-publishing came to the masses — consider what it means to be published. If you write a book and Knopf publishes it to critical acclaim, you're published, not self-published. If Boris from Russia opens a publishing company with profits from his murder-for-hire business, and publishes your book at a massive loss because it allows him to launder his blood money, you're published, not self-published. If you have a rich aunt with social connections in the publishing industry, and you whine long enough to get yourself a small book deal for a work that must be ghostwritten in order to protect the professional reputations of all those involved, you're published, not self-published.
No matter how you approach the question of what it means to be published, the only thing that actually matters is that the publisher — the actual legal entity that produces the book — is separate from you. If you write a book and somebody else produces/manufactures that book (without charging you up-front money, which would make them a vanity/subsidy press) then you're a published author, not a self-published author. On the other hand, if you create the contents and you make the book, then you're self-published, no matter how complex 'you' as a legal or business entity may be.
Implicit in the idea of publishing and self-publishing is the question of authorship. Because a writer is usually credited on the cover of a book, authorship is often assumed even when it's not an accurate description of the writer's role on a project. When you see "Ernest Hemingway" on the cover of "The Old Man and the Sea", you can reasonably assume that Hemingway was the author of that title. But when you see "Suzy Silly" on the cover of "The Cretin's Guide to Calico", it's not necessarily the case that Suzy is the author of the book, even if she wrote most of the contents.
Why? Because authorship is defined by the creation and ownership of a work. If you're the writer of a work but you don't own that work then the question of authorship becomes murky. Conversely, a writer who self-publishes an original work is unambiguously the author because that writer both created and owns that work.
The common assumption about traditional publishing is that a writer writes a book which is then submitted to various publishers for consideration. If a publisher likes the work a financial deal is struck in which the original writer retains all rights of authorship because they originated and executed the idea.
Anyone who has a passing familiarity with the publishing industry knows there are many projects which do not meet this test of independent authorship. For example, who is the author of A Shore Thing? Is it Nicole "Snooki" Polizzi? Is it ghostwriter/collaborator Valerie Frankel? Is it the agent, editor and/or publisher who pitched and brokered the deal? Who had final editorial control over the book? Who owns the contents? Any of the above? Does it even make sense to talk of authorship in cases like this?
On the other hand, if you're hired to write a book, and you can be told to make changes, and you can be fired if you refuse or fail, then I don't think you're the author of that book. Your name may be on the book as the writer, and you may claim authorship in your bio, and you may be able to defend that claim because nobody else wrote the words in the book, but relative to someone who creates and executes an original idea themselves, I think it's clear that your contribution is less. Throw in the test of ownership and I think the issue is decided.
If you've spent any time observing the publishing industry you've inevitably heard a project described as in-house — meaning it was initiated by an editor or someone in management at the publishing company that produced the work. No matter who the publisher hires to write the words for an in-house title, is not the admission that something was developed in-house proof that such works are literally self-published?
If a writer can self-publish a book even after hiring a cover designer, proofreader, designer, editor, marketer, publicist, accountant, tax lawyer, estate lawyer and chauffeur, how does merely hiring a writer (or ghostwriter) shelter a publisher from the charge of self-publishing if the publisher controls and owns all aspects of the resulting work? Isn't that the very definition of self-publishing — albeit abstracted in both a business context and as a collaborative process?
What the Ditchwalk Scale shows is that when the owner of a title hires others to write all or part of the contents under contract, and that same owner also manufactures the resulting work, that person does not get to claim that the work was published by that business. Rather, the work was, by definition, self-published.
What publishers have been saying as long as publishers have been in existence is that creating and self-publishing books is okay for them, but not okay for you. Yet hiring others to do work on a title doesn't determine whether a work is published or self-published. The only thing that matters is whether publication is bankrolled by the content owner or by a separate business.
By that definition, many of the books published around the world are self-published by publishers in exactly the same way that independent authors are now self-publishing their own work. The only difference is a difference in scale.
That was an enlightening article, very useful to me, as I am considering self publsihing with hired help for developing the manuscript from editors.
I'm glad you liked the post. I learned a long time ago that it's impossible to have a rational discussion if all parties aren't using the same definitions. My hope is that the Ditchwalk Scale moves us all closer to a common understanding of what it means — and doesn't mean — to self-publish.
Thanks for the scale. That helped clarify the process (and to-do list). As a first time self-publisher of a novel that was previously trad published, I'm D1. When I self-publish the next novel, I'll be D2. I'm a little confused about D3. I write fiction and can't imagine feeling authentic if I let someone else draft my novel,even after giving credit to the draft-writer. Is D3 for non-fiction writers only or am I missing an accepted self-publishing philosophy for fiction writing?
The scale was written to apply to both fiction and non-fiction. I don't know that it's common for fiction writers to subcontract work to other writers, but I do know that it happens.
As to who might do something like this, it would be someone who sees fiction as a product to be sold. Someone like yourself (or me) who values authenticity, artistic integrity, and the journey of writing as much as the destination, would never do something like that.
In this case Patterson is letting other writers do the heavy lifting (original work is always more difficult than revision or adaptation), then he's putting his name on the book — if not taking ownership directly.
I can also think of an Academy-Award-winning screenwriter who worked in a similar way. He was known to have access to top-line producers, so young screenwriters were always willing to write a first draft (or second, or third, or tenth), then let him put his name on the script.
To my mind this is an ugly (if not fraudulent) way to do business, but only because of the tendency to confuse authorship with writing. Authorship — the thing you're interested in — is one way to write books. Mining needy unknown writers for original material, then obscuring or lying about your own contribution to the final work is another.
Now that's a helpful way to differentiate between rank amateurs and embryo professionals. We have groups of D1 and D2 writers here in Auckland NZ who are trying to devise a recognised quality standard in order to promote our work. This scale is one step in the right direction and I hope it sweeps the world! I'll certainly do my bit to spread the word. Other suggestions for measuring book quality are very welcome.
I agree that quality is a big issue for self-published authors (at all levels). It's not necessarily integral to sales or commercial success, but it still matters. In my own experience, the biggest bottleneck I face as a self-publisher is the lack of reliable and recognized reviewers that I can submit my work to. Most of the people who review books are enmeshed in the traditional publishing industry because that's where the eyeballs and prominent authors are.
Interesting categorization. Not sure it works for fiction beyond "D2".
By "D3" your imaginary writer is no longer a writer, but a commissioning editor, and only continues to move further away from writing with each new category.
Before this ebook wave there were (and still are) people obsessed with getting a publishing deal. Publishers had all the power, and that power was unpredictable, but a publisher's benediction was the be all and end all for some.
Your scale reads like the fantasy of these desperate-to-be-published, one where they get to be on the other side of the deal where all the power is. "D3" is even labelled "The Player". Only when Patrice starts commissioning other writers does she start participating in the "game".
Which implies that according to this scale, the game was never writing, it was publishing. Given that each step is seen as a progression, it is also saying that publishers are intrinsically at a higher level of quality and value than independent authors, with the giant multi-national, publicly traded publisher at the very aspirational peak.
I guess what I am trying to tease out here, is that this scale is really about independent publishers, rather than independent authors. Independent authors, those who see themselves as authors, writers devoted to the art/craft, don't need to go above your "D2". And given the values expressed in the scale noted above, I think they should be explicitly excluded from it.
For anyone who dreams of becoming an independent publisher, or more, the scale is a good and clear ladder of the steps they need to take in order to haul themselves up by their bootstraps.
We need more independent publishers, but the independent publishing segment also needs more, and better, independent authors. Our messages should be that they can just write and publish, write and publish, not that they should aspire to publish, publish, publish.
A very thought-provoking list. Have you considered adding marketing efforts to your definitions?
The scale is first and foremost concerned with demolishing the myth that a traditional publisher cannot also be a self-publisher. All of the functions of publication — including writing — can be outsourced, either by the original writer/author (as is traditionally the case in self-publishing), or by a controlling legal entity (as in the case of traditional publishing). To talk about self-publishing as inherently only applicable to individuals is simply a fraud perpetuated by the industry.
I don't agree that, "By 'D3' your imaginary writer is no longer a writer…", but I agree with the gist of your point. At D3 the writer is still writing most of the original content, and depending on circumstances might even make the case for a claim of authorship.
Clearly at D4 your point about writing holds, but note: the responsibility for all publishing functions has not changed from D0. Indeed, the responsibility to meet the demands of publication do not vary from D0 to D6, no matter what you call the person/entity doing the publishing, and no matter who is creating the original content.
I considered touching on marketing but decided against it. First, it's too variable. Traditional publishers with deep pockets may decide not to spend money on one title while shoveling money at another. Second, the only aim of marketing is to increase sales, meaning the applicable metric is not one of authorship or writing or publication, but money. Given that celebrity relates more to sales than anything else, and has nothing inherently to do with authorship, I decided that the whole issue was tangential at best.
Good points. I believe I mis-interpreted your intention for this list.
Self-publishing has got some historical baggage, and the traditional publishing industry is using it to beat the independents down.
I think we need some re-framing of the publishing process. The term "self-published" needs to die, and we need to move towards "independently published". Every author and independent publisher needs to shift to this terminology.
In the music industry, putting out your own LP or CD gets you respect. If you were putting out cassettes with hand lettered inserts you could still be legendary. You were independent. Maybe this is because the music industry had a reputation of screwing over musicians, so there was an audience that appreciated the motives and generated the necessary anti-establishment press/rhetoric/attitude/etc.
That hasn't happened in publishing. Possibly because unlike musicians writers don't have the performance option. You can't get a deal, but you can still perform, people can still hear your music. Up until recently, if you were a writer and didn't have a deal, you didn't have an audience. Your only choice has been to play along, accept low royalty rates, terrible return terms, etc.
Traditional publishers laud themselves as gatekeepers, or curators, making sure only the best writers get through to the reading audience.
But a gate works both ways. Traditional publishing, due mainly to the expense of book distribution, has also been keeping the audience from the writers. Now traditional publishers are trying to keep control over that same gate, but the barriers to book distribution are gone.
All they have left is their checkbooks and reputation. The checkbooks are shrinking, so they are having to rely heavily on their reputation, which requires elevating themselves above the independents by denigrating "self-publishing".
Your list is good ammo. And with concerted effort independent authors and publishers could take traditional publishers' solitary attack away from them.
I think you're right about the need for re-framing. Over time I think trad publishers will be part of that process because 'self-publishing' will replace the function of the slush pile — if not also the brokering/sifting functions of agents.
It's pretty hard to look down on self-published authors when you're promoting them. And that's particularly true for self-pubbed writers who gain enough celebrity to make trad publishers pay attention.
Great post, Mark. It's always helpful to get a little refresher on some of the functional aspects of publishing and how they should be properly defined. Terms often get bandied about to the point where they lose their power to hold any meaning. I would argue, however, that the process you delineate doesn't have to necessarily evolve linearly or require each step as you've outlined. An individual may enter at a "higher" step or skip steps in their evolution.
Saul, I agree that you don't need to progress step-by-step. My point was really to show that there's self-publishing continuity from the pure independent all the way up to the corporate publishing house.
The idea that self-publishing is only for the lone writer is simply wrong: big companies self-publish all the time, so the label should apply equally. In a very short amount of time I think people have recognized that fact, which is why self-publishing suddenly has almost no associated stigma.
Reading this gave me chills, because, as you can see… I am Patrice. I guess I'm past your D0 and D1, since I used a professional cover artist for my first self-published book, and got a friend to do the copy-editing. It is doing very well, I'm thrilled to say!
I have three short stories out as well as my first full-length novel, and I'm now also publishing others, which I guess makes me a small press. But they are writing under their own names, not mine.
Thanks for a fascinating examination of the various steps ahead… and all the possibilities.
What I'm really glad about, though, is that you're getting your writing out and not waiting for anybody else to give you permission. Whatever you need to get the job done (and can afford), I say do it.
And thanks for helping other people get started, too. Writing should be available to everyone who's interested in the process, for any reason.
agapimenoi mou ma o George Bush antiprosopevi ayoplta tous amerikanous etsi eine oloi kai etsi ton theloun kiafton. Asta na pane kai mh xeirotera na leme emeis pou zoume edo sto America me tetio arxigo. Pantos makari na mou erthete kai tha sas exo na katheste mono kai na zisete esto kai mia mera ton amerikano kai tin nootropia tou. Kala namaste oloi emeis oi alloi laoi pou alaxame aftin tin xora kai ta matia tous se osous epsaxnan to fos vevea. Perimeno fonitiko klipaki diko sas apo tin ekmpompi sas pleaseeeeeeeeeeeeee.


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'Hocus Pocus 2′ headed to Disney Plus, will be directed by Adam Shankman
Posted: Mar 5, 2020 / 01:37 PM CST / Updated: Mar 5, 2020 / 01:37 PM CST
(Photo: Disney via KTLA)
It's taken almost three decades, but the sequel that is sure to put a spell on you is finally happening.
A sequel to the 1993 cult favorite "Hocus Pocus" is coming to streaming service Disney Plus.
The new film will be directed by Adam Shankman, Variety reported Wednesday.
Shankman is well known for his work as the director of "Hairspray" and "Rock of Ages."
He is currently in pre-production on another Disney film, "Disenchanted," the sequel to "Enchanted."
Shankman confirmed the news on Instagram, saying he is "incredibly honored and humbled to be guiding forward these two Disney crown jewel legacies."
As of right now, there are no details about the plot or a confirmed cast. The original cast features Bette Midler, Kathy Najimy and Sarah Jessica Parker as the Sanderson sisters.
Disney hopes the trio will become involved in some capacity, according to Variety.


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Retired archbishop told to stop publicly celebrating Mass after calling Pope Francis a 'heretic'
Jonathan Luxmoore
A retired archbishop has rejected a Church instruction barring him from public appearances and vowed to go on denouncing "heresy and sectarianism."
"Christ gave me authority through the Church to proclaim the truth, and I'll do so as long as I live," said retired Archbishop Jan Lenga, 69, who lives in Lichen, Poland, after serving in Kazakhstan.
"I won't yield to degradation by those whose own statements and actions are entangled with heresy and sectarianism," he said. "What right do they have to recall what pertains to the Church when they themselves have never upheld it?"
Bishop Wieslaw Mering of Wloclawek ordered Archbishop Lenga to stop preaching, celebrating Mass or speaking to the media, after the archbishop accused Pope Francis of "spreading untruths" and refused to include the pope in prayers.
In a February 25 interview with the internet-based Gloria TV, the archbishop said Bishop Mering's order would have "no effect," since no one in the Polish Church had authority to prevent him from speaking out.
He added that he had no wish "to belong to a church run by Protestants, Islamists and Jews," and believed his critics should "form their own Church, rather than usurping power in the Catholic Church."
Meanwhile, a senior member of Archbishop Lenga's Marian order said bishops were empowered by canon law to decide who could conduct services in their dioceses, but added that the archbishop had left the order's jurisdiction after his 1991 consecration as bishop.
"Archbishop Lenga is living at Lichen as our guest, at his own request and that of the Vatican, with a monastic roof over his head," Father Piotr Kieniewicz, secretary of the Congregation of Marians of the Immaculate Conception Warsaw-based province, told Catholic News Service Feb. 27.
"He is subject solely to the Holy Father, and if Bishop Mering was licensed by the nuncio to take some decision about him, that is their business."
Archbishop Lenga, born in Ukraine, trained secretly in Soviet-ruled Latvia and Lithuania and was ordained in 1980, later becoming newly independent Kazakhstan's first bishop. He was named bishop of Karaganda in 1999, ministering mostly to Catholic families deported to Central Asia under czarist and communist rule.
After leaving Kazakhstan in 2011, he co-signed several letters urging Pope Francis to clarify marriage and family teachings after the pope's 2016 encyclical "Amoris Laetitia." He also signed a May 2019 "Declaration of Truths" alongside U.S. Cardinal Raymond Burke.
In a book-length interview, circulating in Polish on YouTube, he said he still recognized Pope Benedict XVI as pope and had dropped the "usurper and heretic" Pope Francis from his prayer intentions after concluding he was spreading "untruths and sins" and "leading the world astray."
In a Polish TV interview, he said "many bishops and cardinals" lacked a "deep faith" and had adopted "an attitude of betrayal and destruction" by seeking to "correct Christ's teaching," adding that current confusion in the Church indicated "the Antichrist is here."
The Polish bishops' spokesman, Father Pawel Rytel-Andrianik, said Archbishop Lenga's statements could not "in any way be identified" with the Polish Church or bishops' conference, adding that it was "a matter of regret" the prelate was "appearing in the media and leading the faithful into error."
In an open letter, Bishop Mering said he had tried "to ease growing tension" in two unsuccessful meetings with the archbishop and would leave a "final decision" on his fate to the Holy See.
"I'm acting in the name of the Church, which has a hierarchical structure — we cannot tolerate a situation in which this archbishop omits the Holy Father's name from the canon of the Holy Mass," the bishop said.
"My request that he stop speaking to the media is to prevent an evil sensation. Some will praise the archbishop, while others will be scandalized by the divisions he's initiated."
Belarus president accused of 'insults and slander' against exiled archbishop
Spanish bishops decry government plan to redesign national memorial
Russia's Catholic Church warns against proposed curbs on clergy
Catholics in Belarus criticise lack of information on fate of archbishop
Beating peaceful demonstrators is 'grave sin,' says Belarusian archbishop
After election in Belarus, Catholic leaders urge restraint and dialogue
Nuns make rap videos to help healthcare workers
For some Eastern European Catholics, lockdown draws parallels with communist rule


Maingear Inc. recently made the pre-order availabiliy of its all new gaming notebook, named Maingear eX-L 17.The new Maingear eX-L 17 notebook comes pre-loaded with either Windows 7 Home Premium, Professional, or Ultimate (64bit) OS.The notebook comes in for exclusive M.A.R.C. laser etching designs.
The all new Maingear eX-L 17 notebook comes equipped with a 17.3-inch Full HD display with a resolution of 1920×1080 pixels and is powered with Intel's latest Core i7/i5 processors.The gaming laptop comes with graphics options including either 1GB ATI Mobility Radeon HD 5870 or 2GB nVidia GeForce GTX 480M graphics card.
Maingear eX-L 17 gaming notebook supports up to 8GB DDR3 RAM and up to two HDD/SSD with 1.5TB total capacity for storage data.Other features of the eX-L 17 notebook includes 2 megapixel webcam, Gigabit Ethernet, DVD or Blu-ray drive, Wi-Fi 802.11b/g/n, Bluetooth, HDMI output, and a 7-in-1 card reader.
The Maingear eX-L 17 gaming notebook is already available for pre-order with a price tag that starts at $1,900.
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Driver's choices and human error contribute to about 90% of car crashes. The good news is that there is new technology that helps drivers avoid a car crash.
1. AUTOMATIC EMERGENCY BRAKING. Automatic Emergency Braking senses a potential crash and the car initiates braking for you.
2. FORWARD COLLISION WARNING. This system uses laser, radar, or cameras to assess potential crashes and judge speeds of approaching cars. It alerts the driver with a signal of a potential car crash -- this gives the driver time to react and try to avoid the crash.
3. BLIND SPOT WARNING. Blind spot warning technology warns drivers of cars they cannot see. This technology scans the sides of your car for other cars' presence in your blind spots. It uses a signal to warn you of a danger you can't see.
4. BACKUP CAMERAS. Put your car in reverse and a camera comes up on your console to show you what is behind you. This safety feature will be standard on all vehicles made in 2018 or later.
5. REAR CROSS TRAFFIC ALERT. This system senses traffic that could cross your travel path as you travel in reverse. Some of these systems automatically brake for you to avoid impact.
6. ADAPTIVE CRUISE CONROL. ACC systems automatically adjust vehicle speeds so a driver can maintain a safe following distance while using cruise control.
7. LANE DEPARTURE WARNING. A warning is given to let you know when you drift out of your lane so you can correct it.
These new technologies can help all drivers reduce their chances of an accident. Look for these features in your new car.


Indocalamus tessellata is a bamboo with very large mid to dark green leaves on slender stems/canes which arch over and form mounds of greenery. Not likely to reach a great height, is useful for a shady, moist spot in the garden or for planting in a container. Plant in fertile, moisture retentive soil in mostly shady position.


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Q: How to solve checkerboard problem caused by input patches in deep learning based super resolution? I am studying a DBPN model, which is deep-learning model for the super resolution, with the tensorflow framework. I am suffered from "checkerboard problem" at scale x4 restoration. I know that the cause is using input patches (32x32 size) due to computing powers so that there is problem every 32 stride..
could anyone give me the solutions to cope with this problem ? Thanks!!
I already checked that kernel size should be multiple of the stride size

A: There's an excellent article about this on Distill. They state there:

One approach is to make sure you use a kernel size that is divided by
  your stride, avoiding the overlap issue. This is equivalent to
  "sub-pixel convolution," a technique which has recently had success in
  image super-resolution [8]. However, while this approach helps, it is
  still easy for deconvolution to fall into creating artifacts.
Another approach is to separate out upsampling to a higher resolution
  from convolution to compute features. For example, you might resize
  the image (using nearest-neighbor interpolation or bilinear
  interpolation) and then do a convolutional layer. This seems like a
  natural approach, and roughly similar methods have worked well in
  image super-resolution (eg. [9]).

A quick Google search also reveals a number of papers and source code dealing with this issue.


KLRT/Channel 16/Little Rock has named a new anchor for Good Day, the channel's morning news program. Susanne Brunner joins Pat Walker and Natalie Walters for the daily morning program. Susanne joined KLRT in 2013 as a weekend anchor/reporter.
Brunner replaces Deedra Wilson who moved to Baton Rouge to work at the Nexstar Broadcasting station there.
This from the tip box: Several KFSM viewers have emailed saying a new blond anchor is on the air and has taken the place of MIA Ashley Beck and her bio has been taken down from the station's website.
TV Spy reports Randy Stone has been named the new General Manager for KARD/Channel 14/Monroe, LA. Stone was previously General Manger at Nexstar's stations in Grand Junction, Colorado. TV Spy says he will also oversee Mission Broadcasting's KTVE which is operated under a joint sales agreement.
Seems May sweeps means no news to post here. Got a tip? use the anonymous tip link to the right and send it to us.


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Q: Combining boolean evaluation with indexing change without list comprehension I'm working on a problem that involves subdividing edges that are stored as indices in three index arrays because the project requires knowing information at the previous node, current node, and next node.
For example, a set of 3 edges is being subdivided at each edge to produce a set of 6 edges.
The edge information is initially input as two index matrices, with the following geometric information.
Global information matrix (key to index)
<Key>   <Global Location>
"1"            0
"0"            1
"3"            2
"2"            3

The corresponding coordinate information in a numpy matrix is:
 <Coordinates>
 [[3.0, 0.0, 3.0]
  [0.0, 0.0, 0.0]
  [10.0, 0.0, 0.0]
  [7.0, 0.0, 3.0]

The directional connectivity (pt0, pt1) is stored as index matrices,
pt0_index = [1 0 3 0]
pt1_index = [0 1 2 3]
pt2_index = [3 0 0 2]

My first question is if there is a way to store a "Null" value in the pt0 index and pt2 index for keys "0" and "3" respectively. I've been getting around any problems with the boundary condition nodes via logical arrays, as follows:
start_pts = [False True False False]
end_pts   = [False False True False]

My next question concerns being able to isolate the edge indices that need to change during the subdivision. I've been accomplishing this via several for loops, but I think there must be a better way. For the purposes of this example, all 3 edges will be subdivided, so new points will be added to the global information matrix, which is now:
Global information matrix (key to index)
<Key>   <Global Location>
"1"            0
"0"            1
"3"            2
"2"            3
"4"            4
"5"            5
"6"            6

 <Coordinates>
 [[3.0, 0.0, 3.0]
  [0.0, 0.0, 0.0]
  [10.0, 0.0, 0.0]
  [7.0, 0.0, 3.0]
  [1.5, 0.0, 1.5]
  [8.5, 0.0, 1.5]
  [5.0, 0.0, 3.0]]

Based on these insertions, the index arrays for pt0, pt1, and pt2 should now be as follows:
pt0 = [4 0 5 6 1 3 0]
pt1 = [0 1 2 3 4 5 6]
pt2 = [6 4 0 5 0 2 3]

*Remember that the duplicate "0" indices are due to start and end nodes
I have a function that returns the edge indices as tuples for the new points.
i.e.
new_edges = set([(1, 0), (3, 2), (0, 3)})

I am editing the index matrices through a series of for loops as follows (example given for the start edges):
ind_change = []
for pt,_ in new edges:
    all_pts = where(pt0_index == pt)[0][:].tolist()
    for sub_pt in all_pts:
        if start_pts[sub_pt] == False:
            ind_change.append(sub_pt)

Basically I want the index locations that are in the start point for new edges (0, 2, 3) without the start point index
Is there a way to combine the boolean evaluation with the index search?


Virginia | Chesapeake, VA: Slaven, Snyder & Wise, P.C.
The Court Building is located at 2425 Nimmo Parkway, Virginia Beach, Virginia 23456. It is within the Virginia Beach Municipal Campus Complex and is also referred to as Building 10.


Saturday was a day of small town surprises and celebrations. We awoke to find hundreds of military veterans lined up outside of our RV for a Veterans Administration "Stand Down." They were able to obtain clothing, shoes, dental care, haircuts, food and financial advice. Some had been waiting in line since 3am for the 8am opening. A little reminder to be thankful for what we have.
This day was John's "rest day," but he had his sights set on riding the Family Ride of Blazing Saddles, followed by the USBR 10 ribbon-cutting. He was joined this day by WA Bikes executive director Barb Chamberlain, and staffers Seth Schromen-Wawrin and Kate Johnson. Fellow WA Bikes board member Marc Mims of Spokane Valley was also on hand.
The century and metric century riders started early in the morning, followed by the 40 mile and family rides, all designed to get riders back to the Stevens County Fairgrounds in time for the big Chili Cook-off competition from noon to three. Crossings and aid stations were manned by Colville Rotary Club members in bright orange. An optional hill climb was included with temporary "Feel the Burn" tattoos given to riders who made the grade.
Back at the fairgrounds, the chili cook-off was getting underway. In addition to the chili cook-off competition, there were vendors, non-profit groups, and a beer garden. The Sara Brown Band provided musical entertainment.
During the cook-off, USBR 10 briefly took center stage. Barb and John were joined on stage by local bike advocate and Colville Rotary president Lynn O'Connor and Stevens County Commissioner Don Dashiell for a ribbon-cutting ceremony for Washington's first entry in the national bike route network.
ColVelo Bike Club and Colville Rotary were thanked for putting on an incredible event. Bicycle tourism's impact on small city economics and USBR 10's ability to improve safe riding for both visiting and local cyclists was mentioned. Noting that this is the first designated US bike route in Washington, in the northwest and in the contiguous west coast states brought a cheer from the approving crowd. Barb cut the ribbon and the route was dedicated in Colville!
This article was posted in Adventure, Rides, Stevens County, Tourism, Travel, USBRS and tagged Blazing Saddles, Colville, usbr 10. Bookmark the permalink. Follow comments with the RSS feed for this post. Both comments and trackbacks are closed.


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Eachwick dagger
The Local Historian's Table Book: Of Remarkable Occurrences, Historical Facts, Traditions ... Connected with the Counties of Newcastle-upon-Tyne, Northumberland and Durham. Moses Aaron Richardson (1843). Volume 3, Chapter 6, p.129.
Battle of Newburn Ford monument, Newburn. Photo A Curtis (2015).
In 1640, the Scottish army, consisting of 20,000 foot and 2500 horse, crossed the Borders, under the command of Lesley, a soldier of experience and abilities. Having marched through Northumberland without encountering any opposition, they encamped on the 27th of August upon Heddon Law. The king's army [King Charles I] was commanded by the Earl of Northumberland, and consisted of 10,000 foot and 2000 horse. A detachment of 3000 foot and 1500 horse, under Lord Conway, was stationed at Stella Haugh, and protected by two breast-works and four pieces of cannon. On the following day, hostilities commenced. The Scottish cannonade drove the English from both their sconces; while a battery of nine cannon, which Lesley had raised on a hill to the east of Newburn, threw the king's horse into disorder. It being now near low water, the Presbyterian general seized this favourable juncture to order a body of horse and two regiments of foot to pass the river. The infantry, in a panic, fled up Ryton and Stella banks, while the horse that covered the retreat, after a short encounter, were dispersed; and the English suffered what Lord Clarendon emphatically called "an infamous and irreparable rout."
Battle of Newburn Ford
History of the Battle
Passage of Newburn Ford. By James Grant - From p. 224 of the 1873 book British Battles on Land and Sea, volume 1.
It is easy to confuse this Battle of Newburn and the occupation of Newcastle with a repeat encounter which led to the Siege of Newcastle. That took place in 1644. At stake was always the prize of controlling the coal trade from the Tyne. In 1640 the Newcastle corporation had to pay £38,888 to the Scots. This won them no friends and when on 20 June 1642 the king appointed a governor and erected batteries to guard the Tyne, no-one of consequence complained on Tyneside although Parliament was alarmed. Newcastle became a royalist city in the English civil war. Newburn was used as a bridging point by Scottish forces in 1644.[
In the autumn of 1644 was fought one of the most sustained and desperate sieges of the First Civil War when Scottish Covenanter forces under the Earl of Leven finally stormed Newcastle-upon-Tyne, the King's greatest bastion in the north-east and the key to his power there. The city had been resolutely defended throughout the year by the Marquis of Newcastle, who had defied both the Covenanters and northern Parliamentarians. Newcastle had held sway in the north-east since the outbreak of the war in 1642. He had defeated the Fairfaxes at Adwalton Moor and secured the City of Newcastle as the major coal exporter and port of entry for vital Royalist munitions and supply. Without this the north was lost. If anything, Newcastle was more important, in strategic terms, than York and it was the city's fall in October which marked the final demise of Royalist domination of the north.
On the 6th, Lesley brought his heavy ordnance by sea to Blythsnook, from whence they were dragged up to the camp. The Scots remained before Newcastle till the 22d of February, without gaining any material advantage, and determining to waste no more time before the place, they left only six regiments of foot and some troops of horse, on the north side of the town to observe the garrison, and marched on that day with the gross of the army to Heddon-on-the-Wall, where they lay all night in the open field.
The Great Siege of Newcastle, 1644 by Rosie Serdiville. The History Press (2001).


It was a great Saturday at Apex Lions' Relays. Go through the slideshow and go through out favorite races or performances from the day. Below highlights the elite performances from the meet. Thanks to Dan Loughlin for taking photos of the event and Jeff George for giving us commentary during our live stream!


The Huron County Health Unit supports child care centres with tools and resources to help keep children healthy and safe by controlling the spread of infection within your centre.
You will also find information on steps you can take when caring for ill children in your center.
If you have questions or concerns about the health and safety of children in your care, please contact us at 519.482.3416 or toll-free at 1.877.837.6143 and ask to speak to a member of the Infectious Diseases team.


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As joint staff leaders (together with Dr Nora Honkala) on the current Law Feedback Project, we recently presented a paper exploring aspects of the project to the second annual Enhancing Student Learning Through Innovative Scholarship Conference, held at University College London on 28-29 June 2016. This blog post explains a little about the Law Feedback Project, how (and why) value co-creation principles were incorporated within it, and what we found useful at the 2016 ESLTIS conference.
The Law Feedback Project was set up in September 2015, in response to Periodic Review recommendations and student feedback in the NSS and elsewhere, which while generally positive, indicated some room for improvement. Periodic Review had recommended involving students in development of feedback (and other) strategies, and this provided us with the impetus to put students at the heart of the project, supported by our Head of School, Professor Susan Breau. Rather than simply seeking student views on assessment and feedback in a way potentially driven and limited by staff preconceptions and preferences, we set up the project drawing on principles of value co-creation, as espoused by writers such as Catherine Bovill and Alison Cook-Sather (Bovill et al, 2012 & 2014; see also McWilliam, 2008; Mihans et al, 2008; Tabrizi & Ackfeldt, 2013) .
CCV envisages students acting as partners in learning, moving beyond a consumer-oriented role, and has been successfully used with a wide range of teaching and learning projects. For the Law Feedback Project this would mean involving students from the start and throughout the project – in scoping, designing and running the project, and ultimately creating and implementing changes to policies and practice. Students were recruited on a voluntary basis, via the SSLC, to co-lead the project working group (alongside the three staff members). Additional students participated in focus groups which explored more widely and deeply the issues identified within the working group.
Our primary aim in using CCV was to lead to more meaningful assessment and feedback practice that better met student needs, while still recognising system and staffing constraints. The project showed that students had quite clear views on what they needed and what they liked and disliked. While often their views matched staff expectations, this was not always the case. Fears of some staff that students will always demand more feedback were somewhat unfounded – quality and specificity were favoured over quantity (although quantity mattered too). Importantly the project indicated that students did not always understand and share the language of assessment and feedback, suggesting student dissatisfaction with feedback is sometimes due to miscommunication rather than deeper failings. Involving students through CCV will assist in finding a common language for our discourse with students and allow us to identify ways to improve their assessment literacy.
The paper was well received at the ESLTIS conference, and was followed by some interesting discussion relating to our experiences and the challenges and benefits presented by CCV. It was valuable to have the input of fellow teaching-intensive colleagues from a wide variety of institutions and disciplines, in such a supportive and thoughtful atmosphere. In total the conference was attended by well over 100 teaching focused staff from institutions across the UK and further afield, with representation from all career levels.
There were two excellent keynote speeches. The first was given by from Dr Dilly Fung of UCL, who spoke around her recent HEA publication 'Rewarding educators and education leaders in research-intensive universities'. Her vision of what education means – and its depth and breadth beyond 'just' teaching – was particularly interesting. Professor Carol Evans of the University of Southampton gave the keynote address on the second day: 'Developing and implementing holistic assessment practice'. Professor Evans looked at bringing together different aspects of good assessment practice, including the importance of students understanding the assessment and feedback – something with obvious links to our own project. The rest of the two days offered a multitude of papers under themes of assessment and feedback, scholarship of teaching and learning, supporting students, and the role of teaching-focused academics – so many stimulating ideas and new approaches to old (and new) problems. We were also treated to an entertaining panel discussion which gave insights into different institutions' attitudes to teaching-focused staff.
The experience of running the project, and presenting at the conference, has been very rewarding. Following a CCV approach has taken us out of our comfort zone and added another dimension to our teaching and learning, and it was interesting to explore with others how to successfully involve students further in teaching design. As far as the project is concerned, it is hoped this will continue into 2016-7 (with some change of membership due to staff changes and student graduations), to develop and implement policies and assessment criteria in partnership with students. As for ESLTIS – well, the next conference, which is organised through the Teaching Focussed Academic Network, will be held in Newcastle in the summer of 2017; hope to see you there!
This entry was posted in Assessment & Feedback, Conference Updates, Student Engagement and tagged assessment and feedback, CCV, ESLTIS, feedback, Imogen Moore, Laura Bennett, Law, Value co-creation. Bookmark the permalink.


text:
Grant number like: PW-50288-09
PW-50288-09
University of Rochester (Rochester, NY 14627-0001)
James Farrington (Project Director: August 2008 to September 2011)
Digitizing Public Domain Musical Scores and Books from the Sibley Music Library
The digitization of 10,000 rare or unique late 19th- and early 20th-century musical scores and books for online access through the university's digital repository, the rehousing of original materials, and the production of preservation photocopies.
The principal goal of this project is to provide free online access to approximately 10,000 uncommon public domain musical scores and books selected from the collections of the Sibley Music Library at the Eastman School of Music. Our plan is to digitize and make them available from the University of Rochester's Digital Repository.
Music History and Criticism
Humanities Collections and Reference Resources
Preservation and Access


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Josh has been going better since I put him in a loose ring french link snaffle, but I still think he could go better. He seems to thrive on a bit being incredibly stable in his mouth, and for him, the thinner the bit, the better.
So I would love to either buy or borrow some different bits to try on him for a few rides and see how he goes. I don't have heaps of money at this stage, but will just see how I go getting responses and make up my mind then..
Josh takes a 5 inch bit.
Like I said, the thinner the better as Josh has a REALLY thick tongue and the roof of his mouth is quite low..
The bauchers are the ones I am most keen to try, as the "arm" provides a little more stability which I think Josh might appreciate!


text:
Injunctively financial definition of injunctively
https://financial-dictionary.thefreedictionary.com/injunctively
(redirected from injunctively)
Also found in: Dictionary, Thesaurus, Medical, Legal, Encyclopedia.
a court order issued to a person or company requiring them to desist from behaving in ways which are harmful to other people. See CONTRACT, TORT.
Collins Dictionary of Business, 3rd ed. © 2002, 2005 C Pass, B Lowes, A Pendleton, L Chadwick, D O'Reilly and M Afferson
A court order requiring a party to do something,or to stop doing something,until further notice.If the party fails to perform according to the injunction, then the party will be required to appear in court, defend his or her actions, and show cause why he or she should not be held in contempt of court.If held in contempt,the party may be ordered to pay a fine,may be jailed until the contempt is cured,or could suffer both consequences.
Injunctions come in three varieties:
1. Temporary restraining order (TRO). Usually obtainable with little or no notice to the defendant, sometimes as quickly as within an hour or so if the complaining party can convince a judge that there is immediate risk of irreparable harm if the restraining order is not issued.
2. Preliminary injunction. Usually issued after a TRO, if the judge decides that an injunction should remain in effect until such time as there can be a full trial on the merits of the case. Failure to obtain a TRO does not mean a judge will not issue a preliminary injunc- tion; it simply means the judge did not agree with the plaintiff's evaluation of the neces- sity for urgent action.
3. Final injunction. The final order issued by a court after it has heard all the evidence and legal arguments for and against the injunction. The order is a final order, from which the parties may appeal.
The Complete Real Estate Encyclopedia by Denise L. Evans, JD & O. William Evans, JD. Copyright © 2007 by The McGraw-Hill Companies, Inc.
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The last weekend in April, the Chomutov "Square of 1st May" will travel into history against the tide of time.Yet again the Chomutov Festivities will take place here, this time commemorating two anniversaries.
The fi rst is connected with 1605, when its residents took advantage of the town's owner falling into disfavour with Emperor Rudolf II and bought themselves out of serfdom. Thus the town received the status of a royal town with all the freedoms associated with it. The second anniversary commemorates the fi fteenth year of the actual festivities. From modest beginnings this has grown into an event of regional importance with the number of visitors ranging between15 and 25 thousand over the course of the two days.
Organisers believe that even this year the festivities will lure a similar number of people not only from Chomutov but also its wide environs. They can look forward to an interesting programme called the Mystery of Chomutov Clocks, witness the arrival of an entourage with a message from the Emperor, headed by Adam Hrzán of Harasov, who mediated for the Chomutov burghers when they bought themselves out of serfdom in that year. Moreover, they can cheer for the guilds led by Chomutov councillors in the traditional skill competition or take part in a carnival parade or even join in the attempt to break the record for the number of people in carnival masks in one place. Children may enjoy competing for the title of Guard of the Town of Chomutov or can get involved with their parents in searching for the treasure of the headless monk. It will be possible to view the old town hall, admire various music groups, conjurers, the Berto circus, a bear handler, a dancer, children's theatre and so on. Traders dressed in period costumes selling historical specialties and several types of beer will cater for all the needs of the visitors.