Chris is now living as a girl Chrissie; when still a boy thought that passing as a girl for his frat hazing try out for the cheerleader team would keep him out of trouble. Well it did. But then he actually became a cheerleader, got to join a sorority, and became a popular co-ed; after being diagnoses as a transgender, and receiving school sponsored injections of feminizing hormones, breast implants and some surgical feminization. His mom thought he deserved it all and told him as far as she was concerned he was now her daughter, until he had learned his lesson and learned how to be a girl. And after a while it wasn't that bad, being a girl.
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Yom Kippur, or Day of Atonement is the holiest day in the Jewish calendar. Fasting Jews gather to worship in their synagogues. Of all the sacred scripture available to them, they read the book of Jonah on this day. Why?
The main message of Jonah is that God's gospel is for ALL people and that no matter what your mistakes may be, if you return unto Him there is mercy and forgiveness waiting.
Today's lesson focuses on the Book of Jonah and its relevance to us today. We will also study the words of the prophet Micah.
Jonah 1:1-3 it's a fair assumption that Jonah was not singing "I'll Go Where You Want me To Go" when he received his mission call. Why not? What made a prophet of God turn down his mission call?
Ninevah is right on the banks of the Tigris in Northern Iraq. Ninevah is on the opposite bank from where modern day Mosul is today. Going there, as it is today, would have been fraught with danger.
From an earthly perspective, it is no surprise that Jonah decided to get on a ship and head in the opposite direction toward Spain. But it was not the danger of the mission that turned Jonah away from his proselyting duties. Rather it was Jonah's worry that these heathens, who had caused his people so much pain, would be forgiven and given the same gospel blessings he had. He wanted to see Ninevah destroyed. Read Jonah 4:2 Why did he flee? Because he knew that God was a "gracious God, and merciful, slow to anger, and of great kindness." This is quite amazing from a prophet and shows that Jonah is not really understanding of the true power of the Atonement. The Atonement was not a demonstration of God's love for his chosen people Israel. The Atonement was a demonstration of God's love for EVERYBODY! (cf. John 3:16) Jonah did not understand this. He was angered that those not "chosen" could be shown mercy and salvation. Jonah believes that sinners should be punished. It is a thought prevalent among all religions today including our own. Sinners should be punished. But the Lord believes sinners should be given a chance to repent and shown forgiveness. For all our cries of justice, the Lord ever answers with mercy.
So in fleeing, Jonah is declaring he wants nothing to do with a God who will not punish people. Why was Jonah swallowed by a great fish? Many will suggest it was punishment. NO! The great fish was a means of salvation for Jonah. Rather than a punishment the great fish saved Jonah. Jonah was shown mercy by the Lord and by the sailors who tried everything they could to save him. Jonah 1:17 The Lord had "prepared" the great fish. Jonah sat in the belly of the fish for three days and three nights. Imagine, being in the belly of a fish in the depths of the sea, trapped. Would you really think you were going to escape? You are waiting to die. You are as good as dead - living but as good as dead. 3 days Jonah experienced this only to be delivered on dry land. What should that teach us about the Atonement? Surely it teaches us that no matter what depths you plunge to, no matter what darkness you become a part of, no matter how long you are gone, you can still be delivered! Jonah got that lesson. At least on a personal basis. He cried unto the Lord in his darkness and he was rescued. The lesson he did not get was no matter who you are...you can be rescued.
As Latter Day Saints I think we are all aware of the saving graces of the Atonement in our own personal lives. But do we sometimes judge and discern for ourselves who is and who isn't worthy of that Atonement? Have you held back from sharing the gospel with a neighbour because they are just not the type? Have we given up on a less-active because they just don't appreciate it or make it difficult for us to do our duty? Do we sometimes react like the elder brother of the prodigal son when the Father's mercy and love enfold the repentant, quietly wishing our consistent righteousness would be noticed more?
No, he who has virtually everything, and who has in his hardworking, wonderful way earned it, lacks the one thing that might make him the complete man of the Lord he nearly is. He has yet to come to the compassion and mercy, the charitable breadth of vision to see that this is not a rival returning. It is his brother. As his father pled with him to see, it is one who was dead and now is alive. It is one who was lost and now is found.
Who is it that whispers so subtly in our ear that a gift given to another somehow diminishes the blessings we have received? Who makes us feel that if God is smiling on another, then He surely must somehow be frowning on us? You and I both know who does this—it is the father of all lies…It is Lucifer, our common enemy, whose cry down through the corridors of time is always and to everyone, "Give me thine honor.""
Jonah, for all his weaknesses was a prophet of God. His record is not here for us to condemn him, but rather as a reminder to ask ourselves whether we are active messengers of this gospel of mercy or whether we withhold it for those whom only we deem prepared and worthy? It stands as a true testimony of God's love for all - a witness that God's mercy and love, his Atonement, covers ALL who are willing to repent.
Compare Jonah 3:1-3 with Jonah 1:1-3. Jonah has at least learned enough to go on the mission he is called to. He decides going to Ninevah is not so nearly as bad as rotting in the belly of a fish for 3 days and nights. He preaches repentance but is thoroughly disappointed when the people of Ninevah repent and are saved.
The book of Jonah finishes in a very odd way. It finishes like no other book of scripture - with a question.
A.The Lord asks "Should not I spare Ninevah?"
Remember the point of chiasmic literature is to focus the reader on the central point. Interestingly though the end question here is also asking the reader to consider the books central theme of repentance and mercy. Should God cease being God by not offering mercy and salvation? If Ninevah is not to be saved, who else must therefore not be saved, by the same logic?
Jonah's answer is never recorded. It does not matter because the purpose of scripture is to ask the reader the question. Like Jonah, we all must learn that to be worthy of the Lord's mercy we must be able to be merciful.
Micah was a contemporary of Isaiah and preached repentance to both the Northern Kingdom of Israel as well as the Southern Kingdom of Judah. Like Isaiah, much of his prophecy has dual meaning, warning the people of his day while also prophesying of latter-day events.
Micah 2:1 describes a time when people eat, sleep and breath evil. Even when they sleep they are devising wicked plans to gain property and wealth and power over other people. Despite those perilous times what promises does the Lord make with his people in Micah 2:12-13? How are these promises being fulfilled today?
Micah 5:7 How does the Micah describe the Lord's people? How can the image of dew or showers upon the grass be compared to the effects of church members on the world? What does it mean that these dews "tarrieth not for man"?
Micah 5:8 How does Micah describe the Lord's people? What does this image suggest about the strength and power of the Lord's work? Who could stop it?
"No unhallowed hand can stop the work from progressing; persecutions may rage, mobs may combine, armies may assemble, calumny may defame, but the truth of God will go forth boldly, nobly, and independent, till it has penetrated every continent, visited every clime, swept every country, and sounded in every ear, till the purposes of God shall be accomplished, and the Great Jehovah shall say the work is done" (History of the Church, 4:540).
That seems like a lot to live up to? Does the load seem heavy you are called to bear? How might Micah 6:6-8 be a comfort to those of us who can feel overwhelmed?
Do justly, love mercy, walk humbly with God. That's it. And in return we have a God who will love us and show mercy to us. Micah 7:18-19.
So today we have discussed how the Atonement and God's mercy covers EVERYONE who wishes to repent and embrace the gospel message, we have spoken of how in the Latter-Days we will be called to help spread this message and gather in those who wish to hear this message. The message is a simple message. Elder Russel M Nelson described it as a message that was announced 194 years ago with just seven words: "This is my Beloved Son, Hear Him". Whatever age we are, whatever we do in life, whatever our circumstances, we can share this message. It does not have to be forced or contrived. We just have to be willing to go where he wants us to go, and do what he wants us to do and say what he wants us to say. His message is a message of love and compassion and mercy and it is a message for everyone.
"A family moved into a house near us. The home was new, so I was part of the crew of Latter-day Saints who spent a number of nights putting in landscaping. I remember the last night, standing next to the husband of the family as we finished. He surveyed our work and said to us standing nearby, "This is the third yard you Mormons have put in for us, and I think this is the best." And then he quietly but firmly told me of the great satisfaction he got from membership in his own church, a conversation we had often in the years he lived there.
In all that time, the acts of kindness extended to him and his family never ceased because the neighbors really came to love them. One evening, I came home to see a truck in his driveway. I had been told they were moving to another state. I approached to see if I could help. I didn't recognize the man I saw loading household things into the truck. He said quietly as I drew near, "Hello, Brother Eyring." I hadn't recognized him because he was the son, now grown older, who had lived there, married, and moved away. And because of the love of many for him, he was now a baptized member of the Church. I don't know the end of that story because it will have no end. But I know that it begins with love."


Program Goals: The Transformation Center is a peer-operated center that is spinning off from M-POWER to strengthen a mental health focus on wellness and life recovery through dialogue, education, systems change advocacy, and peer support. We currently offer training for Peer Specialist Certification, Leadership Academy, WRAP Facilitation, Recovery Conversations for Providers and more.
Program Mission Statement: We are peers in all stages of recovering our mental health wellness and freedom from addictions and trauma. Through our diversity, our lived experience, passion and compassion, we are fueling warmth and wisdom among ourselves and in our communities.


"The fortified historic town of Harar is located in the eastern part of the country on a plateau with deep gorges surrounded by deserts and savannah. The walls surrounding this sacred Muslim city were built between the 13th and 16th centuries. Harar Jugol, said to be the fourth holiest city of Islam, numbers 82 mosques, three of which date from the 10th century, and 102 shrines, but the townhouses with their exceptional interior design constitute the most spectacular part of Harar's cultural heritage. The impact of African and Islamic traditions on the development of the town's building types and urban layout make for its particular character and uniqueness." More information via the World Heritage Centre.


Veritas Images is the brainchild of Anne & Alwin Lai specializing in documenting dynamic portrait photography. Based in Vancouver, Canada these two laid back photographers have been producing fresh photography works to many families and couples through the art of visual storytelling. They center their business model philosophy around the Storybook concept.
Tell us about how you end up being "Storybook" photographers?
To be honest, we didn't set out to be "Storybook" photographers. We started out taking great photos of people. From couples in love to loving families, our aim is to capture snippets of their lives through images. Anne and I (Alwin) really want the audience to come away feeling that they somehow got to know the people better after viewing the images. We felt that just delivering a stack of photos or digital images can be a bit limiting in that manner. If one can craft context behind the images, then a story can be told through them. You see… every photo has a thread of story behind it. Woven together, they can become a fabric of their lives.
What's in your VI Storybook vision?
We want our photo-shoots told in a classy yet approachable coffee-style book. Something that will look great on a corner table or even placed on an ottoman. We want to induce fine-art designs that have been exclusive to high-end wedding albums. We strongly believe that while photos has to be a treat to the eyes, tactility through the fingers must not be ignored. So paper quality is high on our list. We've been trying out various paper fibers from our print houses to achieve that. It's all about the experience.
Do you have to do a lot of selling for your "Storybook" Package?
Haha… I think marketing is key. Not just to sell. But to enable people to know what you and your brand are all about. While we have different packages, we keep it simple in order to avoid options-paralysis. Our VI Storybook collection is an upper tier product. A lot of times during the early consultation stages, we talk about the client's photography goals and vision… what they want to achieve. Inevitably they will peruse some of our studio albums. We have experienced a few times where the families who initially were interested with a base package after checking out the studio samples would simply ask us "How do we get this?" or "See this is what we should have." It's great when clients share the same vision.
What goes through your head during the photo-shoot?
Most time it's when's lunch?
We would normally have a good idea of the family's style thanks to open communication throughout the process prior to the photo-shoot day.
Many a times, we shoot with the storybook spreads and image placements in mind. It becomes second nature from composition through the viewfinder to envisioning its location on the page. We also want to create interconnecting images. This way it forms "image-shorts" within the storybook. For instance we shot a series of a daughter running towards her dad and subsequently her dad lifted her and toss her up and down. Individual images of this sequence would have very little impact. But carefully placed on the page spreads it results in a wonderful moment of father and daughter. Context!
While we orient towards PJ-style portraits, there are occasions for directed poses too. They make for great dramatic spreads. But don't forget complementary shots. It's kind of like supporting casts to the main actors.
OK so we're convinced about your storybook thing. Where do you shoot?
Anywhere really. We advise our clients to select locations where they feel comfortable and have a connection to it. There was a family that wants their "story" all shot in their new home and backyard. It was great. We literally hung out in their 1/4 acre yard for an afternoon and then head into the kitchen because the entire family loves to cook! And we like to eat.
Can you walk us through the Storybook creation process?
Like most modern portrait photographers, all images go through a post processing workflow. It is important to us that the clients are part of this photographic journey. It fosters a sense of ownership. Therefore we allow our clients to pre-select a number of "Must-Haves" to be included in the book. We will then fill the rest to weave the story together. My lovely wife Anne has a knack for book design. Her fine-art minimalist approach allow the images to stand by itself yet somehow I don't what… cohesively interrelate from spreads to spreads. Really wonderful.
I must say that it has been a great joy to see the maturation of BRI's Cascade designer from its early klunky days. It really integrates well with our album/book design workflow.
Any final thoughts for photographers looking to begin offering Storybooks?
Storybooks and albums are not new to portrait photographers. It's offered by many as supplement products. We just center our photography model around it and therefore our brand. It's not for everyone because it does take time and effort. Thoughtful album design is crucial because it influences how we shoot and how we process our images. From initial consultation to image placements, it all culminates to not just a high quality fine-art Storybook. It becomes… as one of our clients told us – an heirloom.


text:
Long-term visa: Move help UAE expatriates' transition to retirement confidently
Going Out Society
UAE's new expat laws could make it top ten world financial hub in a decade
Published: September 17, 2018 16:57 Samir Salama, Associate Editor
Abu Dhabi: A UAE Cabinet decision announced on Sunday granting long-term visas for expatriate retirees is seen as a major social stabiliser and economic booster, attracting more people with advanced skills and enhancing the UAE's ability to build a knowledge-based economy, experts said.
His Highness Shaikh Mohammad Bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE and Ruler of Dubai, on Sunday announced the decision. Experts said it would help residents' transition to retirement confidently.
Dr Abdullah Al Suwaiji, a leading Emirati human resources expert, said the new Cabinet decision reflects the visionary and wise approach of the UAE leadership and government in caring for its human resources, both Emiratis and expatriates, and in moving towards building a strong and integrated national economy — based on competitiveness at a regional and international level.
"This is a great decision that will go on to help expatriates' transition to retirement confidently. It will also have a very positive impact on the economy and attract more people to the country, helping residents continue their life in the country post-retirement," Dr Al Suwaiji said.
Dr Al Suwaiji added the new long-term visas for retirees along with other allowing 100 per cent foreign ownership of companies in the UAE with a 10-year visa for investors, scientists, doctors, engineers, entrepreneurs and innovators will be a major incentive to attract foreign direct investment (FDI) as well as top talent into the UAE.
The move, he said, will add value to the UAE's economy as it will encourage professionals to live and work in the country post-retirement and attract people of advanced skills amid the UAE's goals to build a knowledge-based economy."
Expatriate retirees over the age of 55 years will get 5-year visa, with the possibility of renewal.
To qualify for the long-term visa, an expatriate retiree should have an investment in a property worth Dh2 million, or financial savings of no less than Dh1 million, or having an active income of no less than Dh20,000 per month.
Jasem Abdullah Al Naqbi, a member of the Federal National Council and a leading lawyer, said the decision reflects the wise vision of the leadership and its strong commitment to social stability of residents and stimulating the economy and adapting to the needs of its fast-growing business community.
Al Naqbi said the move will help raise the UAE's global profile as a preferred retirement hub and investment destination, positively impact the local business environment and ultimately enhance the country's economic competitiveness sends a clear message that the UAE is a competitive market which is open to international investors and conducive to business growth.
Al Naqbi stressed the new long-term visa for retirees combined with other recent measures allowing 100 per cent foreign ownership of UAE-based businesses and 10-year visas to investors, scientists and top students will not only boost confidence in the UAE's economy but will also attract more tourists to the country.
Dr Mohammad Al Khazraji, a leading Emirati lawyer, said the recent Cabinet measures is great news for long-time people who love to work and live in the UAE but don't have anywhere to go after retirement and struggle to relocate themselves.
"Expatriates have been already investing in many businesses, including construction, retail and medical services since many decades and the new measures will definitely see more investments moving forward," Dr Al Khazraji said.
Dr Al Khazraji said the law is extremely promising for people looking to keep long term ties with the UAE. "It will encourages expatriates who call the UAE home to invest here. Professionals who wish to live and work in the UAE can do so by providing consultancy services even after retirement," said Dr Al Khazraji.
Nigel Green, the founder and CEO of deVere Group, one of the world's largest independent financial advisory organisations, said the UAE could soon join London, New York and Hong Kong in the world's top 10 global financial centre rankings, thanks to new government laws affecting expatriates.
Green affirmed the UAE is perennially popular destinations for ambitious expatriates looking to embark upon or further their careers because of the incredible possibilities offered in terms of finance, trade and commerce, plus the famous 'can do' attitude and the low tax environment in these destinations.
"But they will become even more attractive locations for overseas talent thanks to the government passing these new laws that allow expats to stay on in the UAE long after they retire."
Green added: "With the UAE becoming evermore appealing relocation destinations, recruiting more top talent here will inevitably become easier for companies that are based in the country.
"In addition, I believe that it will help further drive confidence in the UAE as a place for overseas firms to do business and invest."
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7 places to go in Abu Dhabi for unique experiences

redpajama_set_name: RedPajamaCommonCrawl


A wonderful arrangement of Shostakovich's 1955 Romance by Donald Fraser. Set here for Violin and Piano, this piece comes from The Gadfly Ballet suite. It has become one of Shostakovich more popular works and comes as a welcome break in the intensity of the rest of Symphony.


Aciphex generic name is rabeprazole that is taken for the curing of GERD (gastroensophageal disease), a chronic disorder of digestive system.
Bentyl is an anticholinergic. The medication is used for the treatment of functional bowel/irritable bowel syndrome (abdominal pain accompanied by diarrhea and constipation associated with stress).
Nexium is pump inhibitor which lessens the amount of acid generated in the stomach. Nexium generic name is esomeprazole.
Prevacid is applied to cure certain esophagus and stomach troubles (such as ulcers, acid reflux).
Prilosec is proton inhibitor which lessens the acid's amount generated in the stomach.


Dimensions: 396L x 20.5W x .25H in.. Geometric design available in a variety of colors. Unpasted non-woven material. Apply over primed or painted walls. Easily removed. 5.2 in. repeat, straight match. Depending on your point of view, this illusory A - Street Prints Symetrie Kinetic Geometric Floral Wallpaper shows an interlaced ring design or four-pointed flowers. This repeating, straight-match pattern comes in a choice of bold colors. Color: Salmon.
Fresh and pretty, this happy chic wallpaper makes a lovely entryway. A sweet salmon hue adorned in a chic geometric is both stylish and modern.
Energize decor with this colorful wallpaper design. A sea of turquoise adorned in a small scale geometric has a fresh and happy vibe making walls come alive with refreshing vigor.
Featuring a small scale geometric resembling four point flowers, this exquisite wallpaper is a warm complement to decor with a touch of sparkle derived from metallic ink accents.


The plain reply isn't any, you should not, however on the similar time it does elevate questions on what we're doing as a society and what we're lacking out on. As an alternative of going and reaching goals and undertaking objectives we're sitting in entrance of a YouTube display watching others get pleasure from themselves. A very good instance of this can be a YouTube star that goes by the title of PewDiePie. PewDiePie is legendary for his movies the place he'll play video video games and make feedback about them.
Seems like a enjoyable little passion, however for him it's a full-time job the place he raked in over $7 million in 2014 himself and at one level was bought by Disney. Now what does that say a few society when as a substitute of taking part in video video games we now watch different folks have enjoyable taking part in them. It's odd that we've got the necessity to watch somebody accomplish their objectives or goals and by no means really accomplish any of ours. One other good instance is how necessary movie star gossip has turn into in our society (A simple pun on this text). In fact you need to have heard of the Kardashians, or possibly 100 different celebrities who you've gotten heard of, however know nothing about. What's our technique, why will we sit and eat up all of this data when it has nothing to do with us in our each day lives?
We wish to accomplish one thing, however by speaking about all of this nonsense nothing is definitely being achieved. Perhaps we must always cease speaking, complaining, or making a mockery of issues that don't pertain to us and begin coping with stuff that does. By doing this we may very well be undertaking what we wish to do as a substitute of eyeing up what different individuals are undertaking. On the similar time, certain some folks do like making jokes of different those that they have no idea, or complain about them and so they do obtain advantages. Wanting again on the Shia LeBeouf video, there are pun movies which have acquired tens of hundreds of thousands of views. "Shia LeBeouf – Simply Do It" is an entire joke on itself. It's entertaining and humorous with a bunch of silly motions thrown in. That's what we'd like. We want one thing that's entertaining to look at, but on the similar time the video to be motivating. Whereas it's a joke to itself he's doing what he desires and he's attempting to get different folks to do it too via the ability of motivation. So as a substitute of watching different folks obtain what they need via YouTube and different means, go obtain yours. JUST DO IT!


text:
Prof. Francesco Careri
Department of Architecture (Roma Tre University)
Francesco Careri (1966) is architect and Research Professor in the Dipartimento di Architettura of the University of Roma Tre. Since 1995 he is a founding member of the Stalker/Osservatorio Nomade urban art workshop. He is working now on the informal urban settlements, exploring innovative possibilities of intervention, in particular in Rome with critics and proposals about the living conditions of the Roma People. He teach in the Faculty of Architecture in the cours of "civic art" a peripatetic laboratory founded in the walking exploration of the neglected zones of the city and actually he is the Director of the Master MAAC_Master Arti Architettura Città. He is working actually with the LAC laboratory of Civic Art explorig the multicultural possibilities of Roma inclusion in the housing rights movement. He's main publications are the books Constant. New Babylon, una città nomade, Testo & Immagine, Torino 2001; and Walkscapes. Walking as an aesthetic practice, Editorial Gustavo Gili, Barcellona 2002, Einaudi Torino, 2006
Laboratorio Arti Civiche (LAC) is an interdisciplinary research group founded in 2011, which aims to interact creatively with the citizens through action research and projects, looking for a collective and shared transformation of the built environment. Starting from many experiences led by Francesco Careri, founder of Stalker, artist, architect and researcher, Laboratorio Arti Civiche has lately been involved in studies and projects on informal settlements and squat-occupied spaces in Rome; other projects focused on inclusive dwelling and housing emergency, possibilities of self-construction, re-creation and reappropriation of public spaces. A particular focus has been on the social and spatial exclusion of Roma people and the redefinition of their right to the city.
Stalker Is a collective subject, found in 1995, that engages research and actions within the landscape with particular attention to the areas around the city's margins and forgotten urban space, and abandoned areas or regions under transformation that are referred to here as "Actual Territories."
In may 1999, Stalker, with the Kurdish community of Rome, occupy the building of the ex-veterinarian in Campo Boario (ex slaughter house), naming it "Ararat", in order to experiment a new shape of contemporary public-space, based on the acceptance and hospitality.
Since 2002 Stalker promotes a is an interdisciplinary research network named Osservatorio Nomade. A net shaped each time around a research and action site. Just like it happened for G.R.A Geografie dell'Oltrecittà (2009), Suilettidelfiume (2007), Campagnaromana (2006) and Immaginare Corviale (2003 – 2005) in Rome. Along the via Egnatia (2003 – 2004) from Rome to Istanbul, across the Roma world from Rome to the ex Yugoslavia, with Campus Rom (2008).
Along rhose kind of experiences Stalker - ON has walk in many cityes of the world produciong some times symbolic spaces like Amacario (1998), Transborderline (2000), Tappeto Volante (2000), Along the Egnatia (2003) e Savorengo Ker (2008).
Stalker - ON promotes interventions based on the spatial practices of exploration, listening, relation and on creative interactions with the environment, its inhabitants and their "archives of memories". These processes aim to generate social and environmental relations that are self-organised and evolve over time. The sensitive and dynamic mapping of territories and communities generated through these processes remains easy to access. These interventions promote knowledge sharing, collaborative projects and raise the awareness of communities towards their territory and their cultural environment.
via madonna dei monti 40
(0039) 347 41 42 500
francesco.careri@uniroma3.it
articiviche.blogspot.it/


text:
The Battle for the New Libya
5:30 PM—7:00 PM EST
The death of Muammar Qadhafi in 2011 freed Libya from forty-two years of despotic rule, raising hopes for a new era. But in the aftermath of the uprising, the country descended into bitter rivalries and civil war, paving the way for the Islamic State and a catastrophic migrant crisis. What went wrong? Based on years of field reporting in Libya, Carnegie's Frederic Wehrey discussed his new book, The Burning Shores: Inside the Battle for the New Libya, which tells the stories of Libyan lives upended by the turmoil, sheds new light on the country's afflictions, and provides valuable lessons for the future. Longtime Libyan activist and medical doctor Laila Bugaighis served as a discussant and journalist Robert F. Worth moderated.
Frederic Wehrey
Frederic Wehrey is a senior fellow at the Carnegie Endowment for International Peace.
Laila Bugaighis
Laila Bugaighis is the former deputy director general and CEO of the Benghazi Medical Center.
Robert F. Worth
Robert F. Worth is a contributing writer for the New York Times Magazine and author of A Rage for Order: The Middle East in Turmoil, from Tahrir Square to ISIS.
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text:
Eleven Women Who Have Been Appointed to New Administrative Posts in Higher Education
Posted on Aug 20, 2020 | Comments 0
Lori Hurvitz is the new associate vice president for alumni relations at Tulane University in New Orleans. She was executive director of alumni engagement and annual giving at the University of Chicago. Dr. Hurvitz had served on the staff at the University of Chicago for 20 years.
Dr. Hurvitz is a graduate of the University of Michigan, where she majored in sociology and political science. She holds a master's degree in education from Harvard University and an educational doctorate from the University of Pennsylvania.
Connesia Handford has been named a diversity counseling and outreach specialist and staff psychologist with the Counseling and Mental Health Center at the University of Texas at Austin. She was a psychology intern at Howard University in Washington, D.C.
Dr. Handford is a graduate of Emory University in Atlanta, Georgia, where she majored in psychology. She holds a master of science degree in clinical counseling psychology from Brenau University in Gainesville, Georgia, and a doctorate of psychology from James Madison University in Harrisonburg, Virginia.
Elise Alford has been named interim special assistant to the chief of staff at Boise State University in Idaho. She mot recently served as senior associate director of the Boise State student union. Alford has been on the staff at the university since 2010.
Alford is a graduate of Vanderbilt University in Nashville, Tennessee, where she majored in English and human and organizational development. She holds a master's degree in higher education administration and policy from Northwestern University in Evanston, Illinois.
Alanka Hayes Brown is the new president of the Eduardo J. Padrón Campus of Miami Dade College in Florida. Dr. Brown recently served as the vice president for academic and student affairs at Wilbur Wright College in Chicago, Illinois. Earlier, she served as the associate vice president for academic affairs and dean of career programs at Frederick Community College in Frederick, Maryland.
Dr. Brown is a graduate of Florida A&M University in Tallahassee, Florida where she majored in political science. She holds a master's degree from Florida State University and a master of public administration degree and a doctorate in higher education administration from Nova Southeastern University in Fort Lauderdale, Florida.
Karen Restifo has been named regional vice dean of Drexel University College of Medicine's Tower Health campus in West Reading, Pennsylvania. She was associate dean of student affairs at the Keck School of Medicine of the University of Southern California. Earlier, Dr. Restifo was associate dean of student affairs at the University of Arizona College of Medicine at Phoenix.
Dr. Restifo is a graduate of the University of Pennsylvania. She earned her medical degree at Georgetown University and a juris doctorate at the University of Connecticut.
Cheryl Isaac has been named regional executive for Harrisburg Area Community College. Previously, she served as major gifts officer/associate director of development at Pennsylvania State University's Dickinson School of Law in Carlisle, Pennsylvania.
Issac holds a bachelor's degree from Capital University in Columbus, Ohio, and a master's degree in creative nonfiction from the University of Tampa.
Effie Turnbull Sanders, a community leader with more than two decades of experience advancing the rights of underserved Los Angeles communities, will join the University of Southern California in mid-September as vice president of civic engagement and economic partnerships. Turnbull Sanders most recently served as the executive director of the South Los Angeles Transit Empowerment Zone.
Turnbulll Sanders holds a bachelor's degree and a juris doctorate from the University of California, Los Angeles.
Ji-Yeung Jang was appointed interim executive director for global affairs at Ohio University. Dr. Jang has served as director of the Office of Global Affairs since 2018 and previously worked as the associate director for both the Office of Global Affairs and International Studies and Center for International Studies.
Dr. Jang holds a Ph.D. in comparative and international development education from the University of Minnesota.
Roslyn Perry is the new registrar at the University of Tennessee Knoxville. For the past four years, Perry has been registrar at Ohio State University. Earlier, she was registrar at Morehead State University in Kentucky.
Perry is a graduate of Kent State University in Ohio, where she majored in individual and family studies. She holds a master's degree in community health education from Cleveland State University.
Anne Hazlett was appointed senior director of government relations and public affairs at Purdue University in West Lafayette, Indiana. From 2017 to 2019, Hazlett served as assistant to the secretary for rural development at the United States Department of Agriculture. Most recently, Hazlett has served as senior advisor for rural affairs at the White House Office of National Drug Control Policy.
Hazlett is a graduate of Kansas State University and the Indiana University School of Law. She holds a master's degree in agricultural law from the University of Arkansas.
August Mebane was appointed associate vice chancellor of human resources at Winston-Salem State University in North Carolina. Most recently, she served as the chief human resources officer at the University of North Carolina at Chapel Hill's Adams School of Dentistry.
A native of Newark, Delaware, Dr. Mebane holds a bachelor's degree in English and legal studies from the University of Delaware, a master's degree in organizational leadership from Wilmington University, and a doctorate in organizational development and change from Colorado Technical University.
Tags: Boise State University • Drexel University • Harrsiburg Community College • Miami Dade College • Ohio University • Purdue University • Tulane University • UCLA • University of Tennessee • University of Texas


text:
#pragma once
#include <aws/elasticbeanstalk/ElasticBeanstalk_EXPORTS.h>
#include <aws/elasticbeanstalk/ElasticBeanstalkRequest.h>
#include <aws/core/utils/memory/stl/AWSString.h>
#include <aws/core/utils/memory/stl/AWSVector.h>
#include <aws/elasticbeanstalk/model/ConfigurationOptionSetting.h>

namespace Aws
{
namespace ElasticBeanstalk
{
namespace Model
{

  /**
   *
A list of validation messages for a specified configuration template.

   */
  class AWS_ELASTICBEANSTALK_API ValidateConfigurationSettingsRequest : public ElasticBeanstalkRequest
  {
  public:
    ValidateConfigurationSettingsRequest();
    Aws::String SerializePayload() const override;

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline const Aws::String& GetApplicationName() const{ return m_applicationName; }

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline void SetApplicationName(const Aws::String& value) { m_applicationNameHasBeenSet = true; m_applicationName = value; }

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline void SetApplicationName(Aws::String&& value) { m_applicationNameHasBeenSet = true; m_applicationName = value; }

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline void SetApplicationName(const char* value) { m_applicationNameHasBeenSet = true; m_applicationName.assign(value); }

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline ValidateConfigurationSettingsRequest& WithApplicationName(const Aws::String& value) { SetApplicationName(value); return *this;}

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline ValidateConfigurationSettingsRequest& WithApplicationName(Aws::String&& value) { SetApplicationName(value); return *this;}

    /**
     *
The name of the application that the configuration template or environment
     * belongs to.

     */
    inline ValidateConfigurationSettingsRequest& WithApplicationName(const char* value) { SetApplicationName(value); return *this;}

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline const Aws::String& GetTemplateName() const{ return m_templateName; }

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline void SetTemplateName(const Aws::String& value) { m_templateNameHasBeenSet = true; m_templateName = value; }

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline void SetTemplateName(Aws::String&& value) { m_templateNameHasBeenSet = true; m_templateName = value; }

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline void SetTemplateName(const char* value) { m_templateNameHasBeenSet = true; m_templateName.assign(value); }

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline ValidateConfigurationSettingsRequest& WithTemplateName(const Aws::String& value) { SetTemplateName(value); return *this;}

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline ValidateConfigurationSettingsRequest& WithTemplateName(Aws::String&& value) { SetTemplateName(value); return *this;}

    /**
     *
The name of the configuration template to validate the settings against.

     *
Condition: You cannot specify both this and an environment name.

     */
    inline ValidateConfigurationSettingsRequest& WithTemplateName(const char* value) { SetTemplateName(value); return *this;}

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline const Aws::String& GetEnvironmentName() const{ return m_environmentName; }

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline void SetEnvironmentName(const Aws::String& value) { m_environmentNameHasBeenSet = true; m_environmentName = value; }

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline void SetEnvironmentName(Aws::String&& value) { m_environmentNameHasBeenSet = true; m_environmentName = value; }

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline void SetEnvironmentName(const char* value) { m_environmentNameHasBeenSet = true; m_environmentName.assign(value); }

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline ValidateConfigurationSettingsRequest& WithEnvironmentName(const Aws::String& value) { SetEnvironmentName(value); return *this;}

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline ValidateConfigurationSettingsRequest& WithEnvironmentName(Aws::String&& value) { SetEnvironmentName(value); return *this;}

    /**
     *
The name of the environment to validate the settings against.

     *
Condition: You cannot specify both this and a configuration template
     * name.

     */
    inline ValidateConfigurationSettingsRequest& WithEnvironmentName(const char* value) { SetEnvironmentName(value); return *this;}

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline const Aws::Vector<ConfigurationOptionSetting>& GetOptionSettings() const{ return m_optionSettings; }

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline void SetOptionSettings(const Aws::Vector<ConfigurationOptionSetting>& value) { m_optionSettingsHasBeenSet = true; m_optionSettings = value; }

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline void SetOptionSettings(Aws::Vector<ConfigurationOptionSetting>&& value) { m_optionSettingsHasBeenSet = true; m_optionSettings = value; }

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline ValidateConfigurationSettingsRequest& WithOptionSettings(const Aws::Vector<ConfigurationOptionSetting>& value) { SetOptionSettings(value); return *this;}

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline ValidateConfigurationSettingsRequest& WithOptionSettings(Aws::Vector<ConfigurationOptionSetting>&& value) { SetOptionSettings(value); return *this;}

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline ValidateConfigurationSettingsRequest& AddOptionSettings(const ConfigurationOptionSetting& value) { m_optionSettingsHasBeenSet = true; m_optionSettings.push_back(value); return *this; }

    /**
     *
A list of the options and desired values to evaluate.

     */
    inline ValidateConfigurationSettingsRequest& AddOptionSettings(ConfigurationOptionSetting&& value) { m_optionSettingsHasBeenSet = true; m_optionSettings.push_back(value); return *this; }

  private:
    Aws::String m_applicationName;
    bool m_applicationNameHasBeenSet;
    Aws::String m_templateName;
    bool m_templateNameHasBeenSet;
    Aws::String m_environmentName;
    bool m_environmentNameHasBeenSet;
    Aws::Vector<ConfigurationOptionSetting> m_optionSettings;
    bool m_optionSettingsHasBeenSet;
  };

} // namespace Model
} // namespace ElasticBeanstalk
} // namespace Aws

redpajama_set_name: RedPajamaGithub


text:
Dianne L. Semingson
External Director
BA Urban Sociology and Public Administration, University of Oregon
Following successful careers in both the public and private sectors, Dianne Semingson founded DLS International in 1992. Headquartered in Philadelphia, PA, DLS partners with CEOs and chief marketing officers to provide strategic market planning, marketing communications and business development services for many of the regions' most recognizable corporations, foundations and community organizations.
Ms. Semingson also works with non-traditional clients, including life science portfolio companies of venture capital firms. A current client recently completed a successful IPO, of which Ms. Semingson was an integral part of the team.
From June 2011-2013, Ms. Semingson served as President and CEO of Semingson Enterprises, Inc. She led this natural resources, real estate, and hospitality company through the transition from its founding father. Ms. Semingson was a member of the Board of Directors of the family–owned business from 1981.
As regional director for the U.S. Department of Commerce, Ms. Semingson oversaw economic development programs in the six-state Mid-Atlantic Region. For five years, she and her staff provided briefings for the White House and the U.S. Secretary of Commerce on regional economic and industry affairs. Upon leaving government, she was named director government and industry affairs for ARCO Chemical Company. Ms. Semingson also served as corporate vice president for marketing and communications for the Hill Group, Inc, an international construction consulting and engineering firm.
Prior to moving to Philadelphia, Ms. Semingson served as deputy director of commerce for the Midwestern Region headquartered in Chicago. She also held multiple executive positions with the U. S. Department of Housing and Urban Development in Chicago, Columbus, and Detroit.
A graduate of the University of Oregon with a B.A in urban sociology and public administration, Ms. Semingson has completed executive management programs at Duke, Harvard, and Northwestern universities.


LED light bulbs included (55.2 watts, Cool white, 3800 K, 2607 lumens). Width: 18.50 inches. Dimmable with electronic dimmer. 4 LED in canopy. Pivot panels to desired position. Supplied with 30 inches, 42 inches, 54 inches and 96 inches crystal accent hanging heights.


text:
Bittnet Systems gets large contract with Defense Ministry
Bittnet Systems, one of the fastest-growing technology groups in Romania, whose shares are trading on the Bucharest Stock Exchange (BVB), announced that its subsidiary Dendrio Solutions signed a major contract with the Romanian Defense Ministry.
The framework contract is for a period of three years, during which Dendrio Solutions should supply IT&C equipment worth up to RON 22.7 mln (EUR 4.67 mln) to the Defense Ministry.
In the first nine months of 2020, Bittnet Systems recorded revenues of RON 76 mln (EUR 15.6 mln), 36% higher than in the same period of 2019.
The group, which currently has a market capitalization of RON 157 mln (EUR 32.3 mln), will soon launch a capital increase through which it aims to draw RON 10.7 mln (EUR 2.2 mln) from investors.
The subscription period starts on January 27 and ends on February 25. Investors will be able to subscribe one new share at a price of RON 0.59 (14% lower than the current market price of RON 0.688 per share) for every seven subscription rights they hold. The subscription rights are currently trading on the Bucharest Stock Exchange.
The sale of TeraSteel and Wetterbest received the agreement from the competition authority of the European Commission
Macromex is investing EUR 15 million in a new high-tech distribution centre
Cristiana Belodan joins Oxygen as the new Strategy & Transformation Director
Telekom Mobile fined for substandard mobile coverage
Casa Rusu appoints Zoltán Pilecki as CEO
DHL Express Romania's e-commerce revenues increased by over 100% in 2020 compared to the previous year
BeeFast sees triple turnover than initially estimated for 2020
Xiaomi launches online store in Romania


text:
Chicks On Anime
Women in Comics and Manga
by B. Dong, C. Brienza, S. Pocock, Mar 10th 2009
About the contributors:
Bamboo is the managing editor for ANN, and writes the column Shelf Life.
Casey is a freelance journalist, and also writes reviews for ANN.
Sara is an animator who's also released her own independent short film.
The talk goes to comics this week, as we chat with artist Barbara Guttman about female characters in comics, and how they compare to those in manga. From Wonder Woman to Sailor Moon , just what do all those super powers mean? Once again, please join us in the forums later to continue the discussion. Thanks for reading!
Sara: Welcome, ladies, to Chicks on Anime. This week, we will talk about how women are depicted in American comics in comparison to manga. Joining us this week is comic artist Barbara Guttman. Barbara, would you like to introduce yourself and give an overview of your work?
Barb: Sure. I'm a Minneapolis based artist. I work on comics for DC's imprint line Vertigo, though I've done a few bits for Wildstorm. I'm both a penciler and an inker and a great Big Comic fan, so this is pretty much living the dream here.
Bamboo: What types of comics do you work on? What genre? What's the typical target audience?
Barb: Well, you have to first keep in mind that the comics I work on are pretty different from what is generally considered the visible mainstream of comics, which is superheroes. I work in an area that concerns itself with a lot of stories based around concepts of Theology, Morality, Literature, Horror, etc. Our audience is generally 18+ and more literary that what something like, say, All Star Batman and Robin would be. All the comics I've worked on have had a pretty intense literary theme, and the women in them generally tend to be very active, self-directed characters. They've never been the main characters of the story (there are very few female leads), but they've been vital and interesting characters, fully fleshed and often times more assertive than the men.
Casey: To follow up on Bamboo's question, Barb, what sort of comics and manga do you enjoy reading?
Barb: I like reading a lot of stuff across the board. I like superhero comics that are very action packed and adventuresome without getting too dark and gritty. I don't like a lot of angst in my superhero comics because I think I had enough of that in the 90s. Robin, Young Justice, Thor... I liked Catwoman for a while, though that comic was fairly well butchered these past few years. Those were my "mainstream" books. Otherwise, I like a lot of horror and mentally driven books, things like Hellblazer and Grendel, Demo and Local, which are very intense and plot driven. For manga, I get very girly. I don't like too many of the shonen manga. I tend to gravitate towards the dramas and the romances, which I really don't see in American comics very often. HanaDan , NANA , Mars, Kimi wa Pet are some examples. I do like horror manga too, I'm a fan of Junji Ito .
Bamboo: This may be a bit silly, but what do you mean by comics that have an "intense literary theme?" Can you give us an example? I'm not sure any come to mind for me.
Barb: Lucifer was the first book I ever worked on, which told the story of a very Milton-esque devil trying to break free of the shackles of pre-destination as determined by his father (god). The entire series spans through several religious mythologies and explores the concepts of free will. This was a sort of spin-off from Sandman, which is the first series that usually comes to mind when people think of literary comics. The series I'm working on now explores how fiction shapes the world around us.
Bamboo: Amusingly, the types of comics you read, and the types of manga you read are wildly different. From the characters to the atmospheres, everything. I suppose it wouldn't entirely be apropos to even compare the females in those types of genres because they serve different purposes. Can you imagine NANA trying to take down crime, with Hachi by her side? It'd be silly, though I'd probably love to see a one-shot of it. But you mentioned that you don't really see that many dramas and romances in American comics. I'm not that familiar with American comics outside of superhero comics, to be honest. Is it really that devoid of dramas?
Sara: I imagine there's more variation in the indie scene, but in terms of high school soap-opera drama, I can't recall many titles that fit that description. Scott Pilgrim is coming to mind, but even that transcends genre.
Barb: I wouldn't say it's devoid of dramas. I would say the dramas are less about romance than they are about self-discovery. Of the most recent books I've purchased, the only one that was absolutely a romance story was Oni Press' "12 Reasons Why I Love Her." Local is definitely a drama, and it does contain romance, but the romance is not the point of the story. It's a journey of finding yourself, moving from adolescence to maturity and the bizarre mistakes you can make that help that journey.
When I'm really looking for a romance fix, with all the dramatic swooning and instant-falling-in-love, that doesn't really exist in modern American comics. Scott Pilgrim sort of skirts that sort of dramatic romance, but it's really so much more than that. It's what I've heard called the Best All Around comic, because it has everything. Romance, action, adventure, video game references.
Bamboo: Why is it that there aren't a lot of romances? Marketability? The prevalence of higih school soap-opera dramas on cable TV?
Casey: And what about Blankets for romance-driven comics? Well, that's indie. Almost literary.
Barb: I can't really say why I don't think there's that much romance in American comics, except that a lot of it is very cheesy, and most of indie market doesn't like cheesy unless is executed with very pristine and beautiful panache. I love HanaDan , I think it's great, but wow. Laying it on really thick there. Blankets, I think, works well as a more grounded young romance. It's got a lot of aspects to it that I remember from high school and even a little in college, the long distance affair, finding each other and hiding away under a....what was it? Like a hoop shooting game thing. But it's not really the sort of Happy Ending Romance I get in manga.
Sara: So do you think there's a market for American romance comics, or has that void been sufficiently filled by manga?
Casey: Perhaps there isn't that much romance in American comics because there aren't that many women comics readers and buyers? Of course, it's a stereotype that guys don't like love stories, but those sorts of stereotypes can be self-fulfilling... Manga seems to have made comics acceptable to girls and women in the US. I think there's a market, but that people aren't very keen on trying to publish it.
Barb: DC put out a line of books under the Minx imprints, which has sadly since been canceled. These were books aimed at teenage girls or thereabouts, which were about romance and friendship. The sales were alright, so I don't know what happened there. I know the books it put out were popular enough that most of the people who published books under the imprint will continue to make sequels to them outside of DC. I think the advertising might have failed. They didn't quite know how to market them. There are a LOT of women readers and buyers; a hefty bulk of the Vertigo readers are women. I think they'd be interested in romance, there have been romance books that have done well. My Faith in Frankie was popular and was at its core an (unusual) romantic story. I think the difficulty is in pitching the concepts to publishers, for whom the bottom line is the first thought.
Casey: Content aside, could it be that a part of what was happening there was that the line was called "Minx"? I don't know about the rest of you, but I cringed when I saw that.
Barb: I didn't mind the name. I sort of rolled my eyes, but it was a little clever and sort of cute. I can't imagine what else they'd have called it. Girl Books is too obvious.
Sara: Casey's question brings up a good point. The publishers seem a little tone-deaf when marketing comics for girls. Do you feel that affects the creators themselves, whose goal is ultimately to get published?
Barb: Well, it's hard to say. I can't say the creators really think about it that much. But I know that comics are not created in a vacuum. They're influenced by what is getting published right now. If zombie stories are popular, they'll pitch zombie stories. Stories about apes, they'll do that. To the extent that there aren't many independent female characters in comics, I think that effects what people pitch. When people pitch books with female leads now, I think of Top Cow or Image, where the books are very sexed up and they're obviously for a male readership. And since sexy women are what's profitable because it's what's out there, it's sort of self-fulfilling. There was a period during the Wonder Woman revamp about ten years ago where everyone had a bad Wonder Woman knock off.
Bamboo: I was thinking of that earlier—many lead female roles in comics tend to be the super sexy vixen. You do see a fair amount of sexy women in manga (especially those targeted towards men), but you also see a lot of "cute." And there isn't a whole lot of "cute" in American comics.
Barb: There are a lot that are supposed to be cute, and there are some that really were. But they don't fall into the same sort of cute. Stargirl was a very cute sort of superhero book, and there was something Image put out that was brilliant and cute. Leave it to Chance and these are very sort of cute girl characters, but they're cute little adventurers, not innocent little girls. There are cute girls in comics, but they tend to be role models for other girls. They're independent, spirited characters. Polly is like that, I think.
Bamboo: But when you talk about cute superhero girls, you have that parallel in manga, with the magical girl. They kind of fulfill the same role.
Barb: I never thought of magical girls as "cute" characters. I think of "cute" characters and I think of that girl from Fruits Basket .
Bamboo: Not even Tokyo Mew Mew ?
Sara: Or Cardcaptor Sakura ?
Barb: Magical girls are adventurous characters who are cute. When I hear "cute girl characters," I think of the cute as the defining aspect of the character. Which for magical girls, I don't think it is. I would still put Sakura above just being Cute.
Casey: Well, actually, I think it's an interesting distinction. Is the way you're using "cute" actually a comment on how the characters are in the context of the work? Whether they are supporting characters or the protagonists?
Sara: That raises a fair point. In Japanese manga, there are tons of cute girl characters that are cute just for the sake of it. It's part of the appeal to the target audience. This almost irks me more than the busty vixens of American comics.
Barb: To some extent or another, all girl characters are cute. Much like in American comics, most of the female characters are some degree or another of attractive. Wonder Woman is a sexy female character, but it doesn't define her the way it does for, say, Witchblade . When I hear someone define a character right off the bat as "sexy," or "cute," that says to me that this is the most important thing about her. It's not that she's smart, assertive, intellectual, powerful, good, evil; it's that she looks good and paper and don't you love staring at her. Whether for lascivious reasons or because you've got a big brother complex, it doesn't matter. How she looks is far more important and says more about her than anything other adjective.
I can't say what irks me more, manga eye-candy or comic eye-candy. With manga, at least they're pretty upfront. "She's not important except to look at," whereas there are some people in comics who will defend Witchblade as being a feminist icon. No shit, I've heard people try that.
Bamboo: I think I'd rather a character be "cute" than "irritating," "whiny," "clingy," which is what a decent number of female characters in comics are initially described as.
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Connect with other nursing parents to share the joys and challenges of breastfeeding. Join the group if you are breastfeeding, formula feeding, pumping, bottle feeding or supporting a breastfeeding parent. Get answers from Lara Greenberg, a board certifed lactation consultant (IBCLC). Healthy snacks and activities for older siblings provided. Five people needed to run class.


Working as a doula needs to be financially viable and I'd like to see more doulas thinking about their doula work as a proper business.
Why Are Doula Courses So Short?
One of the questions I'm often asked is: why is my doula preparation course so short? Is my four-day workshop, plus a pre and post course module really enough to get someone who has no other formal training ready to begin their career as a doula?
The Duke and Duchess of Sussex made the headlines last weekend after it was revealed they've hired a doula to support them during their baby's birth.
Being a birth doula is probably one of the most rewarding jobs in the world. To be at a woman's side, supporting her (and her partner) while she births her baby is an extraordinary privilege. However, thanks to the unpredictable nature of childbirth, one of the aspects of the job that needs to be navigated is the on-call period.
Introducing Anne-Marie Jones, BirthBliss Doula Of The Month, December 2018.
Introducing Jan Barker, BirthBliss Doula Of The Month, November 2018.
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text:
Jeff Goldblum Saddles Up (Again) In Motorcycle-Themed Episode Of His Hit Disney Show
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Jan 8, 2022, 06:44pm EST
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Dec 20, 2021, 10:58am EST |
See Why Designer Chris Bangle Makes An Urgent Case For Re-Inventing Design
Nargess Banks
I cover cars, design, and innovation - and where they intersect.
Chris Bangle in his former role as director of BMW Group design
Chris Bangle Associates
"Design as it is known and taught is unable, on a systemic level, to cope with the dimension of change coming to the world," writes Chris Bangle in an article he sends over for me to ponder. The esteemed and often controversial designer has edited a speech he gave last month for the "Pratt Institute Design Symposium 2021: Re-Inventing Luxury" at the Whitney Museum in New York. And I am hooked.
Bangle is best known for his time at BMW where he was instrumental in shaking things up and introducing novel design quirks that many other carmakers subsequently adopted. Since leaving the Bavarian company over a decade ago, Bangle has been running his own design consultancy, Chris Bangle Associates, from near Turin in Italy where his team continue to explore vehicle and transport design and ask fundamental questions surrounding the role of design.
Bangle believes we are focusing on the wrong area. We can't reassess the meaning of, say, luxury as we forge a more sustainable future without fundamentally rethinking design and the human designer. His essential argument is that design is caged in its meaning in the machine age. "Design, as it is now, rejects humanity, preferring in every way, shape and form the cold idea of the machine-made. We must jettison even the look of the machine age — full stop," he says.
Chris Bangle: "Teapots, cars, to me car design is about creating personality and this little teapot ... [+] exudes character: it's dying to tell me all about why I should want it, besides making tea."
Design continues to live in the world of the machine. But in the age of machine learning, AI and so on, does the human designer still need to be thinking creatively as a machine? Only through liberation from these chains can design help shape a better future. And this requires a fundamental shift.
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Bangle uses a dramatic example in a humble teapot, one that foreshadowed the machine age look that is still with us but was in fact designed three decades before the birth of modernism. When you listen deeply to such an object and let that guide your actions, you are no longer outside the narrative looking in, but rather part of the storytelling. He explains, "you begin to design diegetically, inside the narrative, then suddenly design processes become wonderful design adventures."
I'm reminded of the work of Isamu Noguchi, one of the most lyrical artists/designers of the last century, whose life was dedicated to sculpting the world he wished to inhabit. He too advocated listening to the stone, the object, the space. Noguchi saw sculpture as a means of creating harmony between humans, industry and nature and thus improving how we live, writing: "art for me is something which teaches human beings how to become more human".
Bangle concludes his Whitney speech on a high note. Re-inventing design, he observes, need not be a negative. "It will be the greatest creative challenge design has ever responded to. I am convinced design will succeed at redeeming itself; it will be thrilling and it happens when we stop fussing over the 'whats' we can create and move on the 'why' of what we should create."
Having spent much of the pandemic period wrapped up in discussions on the role of design and the meaning of luxury as we forge a new world, I needed to know what one of the most curious contemporary designers — with a portfolio that spans cars and industrial design to animation — can reveal about the subject. And so, we connect.
The teapot on the left was designed in 1879, but the one on the right is what most luxury teapots ... [+] looked like in 1879
Nargess Banks: You're making a compelling case for using this opportunity in time to re-invent design, to see this as a new epoch and to embrace its possibilities. I like the positive note. I also admire the call to action. What made you and your design theorist son, Derek, write this speech and why now?
Chris Bangle: It is the culmination of many discussions we have had about the inadequacy of design to address the needs of the future. It's a subject I had been considering for years, but it began to become formalized in 2019 when I was invited by the German government to give the wrap-up speech on design's point of view for the symposium, "The Future of Man-Machine Co-Existence".
Many of us are thinking about the accelerating changes around us, shaping a world that "design" is supposed to help us find meaning in. If you really look hard at design — and by this I mean not just the application of its processes but also the theory and philosophy behind it — you will find it to be totally unprepared, even strategically misdirected, for the task.
The last time we had one of these discussions, this exact time last year, you had also collaborated with Derek on a discourse on car design. I'm sensing these discussions are helping shape and evolve your own creative thinking.
Derek has a younger person's point of view in all this and it was he who coined the term Original Sin 2.0 to describe the shift in the meta-narrative that is arriving. But we both recognize that even though design is a child of the machine age, it should serve humanity first. The Pratt Institute invitation seemed like the right opportunity to collate our thinking, format it so I could deliver the message in a tight timeframe and hopefully launch it into the right talking space, so the discussion we know must happen can begin, sooner than later.
Chris Bangle: "I come from the car business, and that is exactly how the obligation for ... [+] zero-emission credits led to the transfer funds from the 'old' car manufacturers into a start-up named Tesla; it will work here too."
I agree in that the discussion around the fundamental role of design and thus the designer has not radically altered since its peak in the machine age. Can you explain why design, as we know it, lacks the power to change the problems of the future?
Because, to put it bluntly, for too long design has been the chief advocate of the other side — the "machines for living" that serve us and surround us. The entire focus and scope of design is to make what machines like to make come to fruition. Therefore, design needs to make us like/prefer/prioritize what machines make. Design lets industry make more, faster, better, cheaper. But who today can honestly say the idea of "better" when the Bauhaus was formed is still our idea of better now? Or that whatever makes things "cheaper" are worth the hidden costs? Or that "more" and "faster" are doing the planet any good?
So, we're essentially attaching values to design that are obsolete. And you're saying by doing so, we cannot move forward.
Can the values of design that were codified ten generations ago and that have driven consumer-societies into gross injustices and disenfranchised whole demographics really be the ones that will address the planetwide human condition in the future?
I agree, but why then use the concept of luxury to make the point for re-inventing design?
Luxury has always been a sort of ultimate end to the design spectrum. To keep the elitist nature of that concept there will be a price to pay everywhere — luxury too must enfranchise and empower real human beings.
The change is beyond adding a layer of craftsmen and women; it goes deep into the process we cling to for efficiency's sake and vocabularies of form and surface we apply to our creations. Like I said in my speech, we must jettison even the look of the machine age. Full stop. Even when we know it is a real human being working hard and handcrafting something we treasure, we hold them to standards that are machine qualities: precision, volume-to-cost, surface perfection and fit-and-finish quality. Basically, once we so-called creatives in design sign something off, everyone from there on down in the production chain is slaved to a machine's idea of what is good — if, that is, there are still people in that chain.
So, we need to fundamentally rethink our associations and expectations of good and bad design?
All the characteristics of design's processes and the values we embrace are wedded to this idea that the immaculate of machine made is preferable to the fallible imperfection of man. We are entering the age of Original Sin 2.0, when the effects of our interactions with our fellow man will be the deciding factor not only behind what is "good", or shows "quality", but what will be "allowable". The chief advocate of the machine age hasn't the tools, the process, or even the mindset to put people first.
You need to explain this concept of Original Sin 2.0…
The idea is a Christian one; that because of Adam and Eve's transgressions in the Garden of Eden all their "children" are born in a debt condition. The first couple acquired forbidden knowledge and it is up to every one of us to demonstrate through our faith and good works that we are worthy keepers of this ill-gotten gain. That's the general idea.
And now Eden is totally in our hands. We are fully in the Anthropocene era and all of us are once again "born" in a debt condition, but this time to the planet and everyone and everything on it. It is not a blame game about who's ancestors burned more natural resources, or any of the other hot topics of redress and justice that consume us. Rather it is a universal negative balance that all of us must work to put right. That is Original Sin 2.0.
I need to ask, what role does design and the human designer play in this Original Sin 2.0 concept?
Only concentrating on carbon footprint or water conservation or any of a host of sustainability issues — while ignoring how well we manage the human engagement side of the ledger — will not cut it, especially when we awake to discover that we're no longer the dominant sentient entities on this planet.
It will finally dawn on design that people matter most and when that happens, the symbolism wrapped up in the machine age will be, if not passively rejected, actively dismantled as totems to a culture of disenfranchisement, injustice and inequality. This re-alignment of our priorities, and our basic value schemes that design operates within, will be enforced by all manner of inquisitions driven by Original Sin 2.0. And these inquisitors will have real teeth: the technologies that will allow anything that can be known to actually be known — and tracked and tagged with the names of those responsible and put on public display — means there will be no shadow of ignorance to hide in.
Surely design as a discipline is designed to react automatically and do the right thing?
I will tell you flat-out: it cannot cope with the challenge of Original Sin 2.0 without a top-to-bottom make-over. This is what our speech at the Whitney called for.
For a long time, the machine age dealt with resources and human capital the way it wanted to. During this century-and-a-half of innocence, ignorance and irresponsibility, design has served us well as the front line of capitalism and consumerism. But these two phenomena are not known for making the sort of long-term planet saving/humanity salvaging decisions we need to make now.
Chris Bangle: "We tried to make our own '2E' teapot and I can tell you that for design it will be a ... [+] titanic shift of mind and eye. We will have to revel in the design of the 'in-between', shift the focus from holism and derive a new aesthetic narrative from what was once revered for being invisible and imagine our designs being used again and again in new ways, even design the products from their second use case and work backwards towards a first."
I couldn't agree more in that design must take a hard look in the mirror and make a decision as to which camp it wishes to belong to.
Design pays lip service to the human contribution, particularly that of the artisan — who should indeed be praised and valued — while devoting its philosophies and practices to dismantling all the human links in the chain of production in the search of cheaper, faster, better. Design, as it is now, rejects humanity, preferring in every way, shape and form the cold ideal of the machine-made.
The commandments and principles of "good design" read like a roadmap to "true perfection" — a noble goal for a machine but synonymous with death for humans who are at their best when they are "human".
That is not to say that design examples of "all that is human" do not exist, but perhaps they should be better labeled art. To learn from art is a noble undertaking, but we believe the art of Kintsugi (golden joinery and the Japanese art of mending broken pottery) is a much better reference for how design should approach solutions. Yet you would be hard pressed to find a way to fit that philosophy into design as it is formalized today.
That makes perfect sense. But what happens next? What should designers do? What's your call to action?
As I confessed in the speech, I don't have answers ready to dole out. For over a century, we designers have been the key to taking the human out of the loop of anything manufactured. Now we should put human engagement first. But where to begin?
I can only ask for the culture of design — beginning with how it is taught — to open itself up to a dialogue that will honestly admit the scope of the abyss we are staring into and the lack of means at our disposal to deal with it. Then we do what explorers have always done when confronted by the unknown and assaulted by factors out of their control: we summon our courage and buckle down and step off the stable dock and sail off on an adventure.
I like the upbeat tone.
I'm not a downer about all this. I consider this a fantastic opportunity to do some serious design research. This is a chance to unleash new parameters of bringing meaning and significance into peoples' lives.
Your project for the German government looks at man-machine co-existence. I'm intrigued with your simple proposition to re-employ humans in the factories where they were muscled out by robots. Yet, instead of competing with machines, they would do what humans do best: lateral thinking, using skills and imagination to rethink existing products to have other lives — what you term nicely "a turbocharged version of up-spiralling" with machines filling in the blanks spaces.
Our studio is experimenting with the concept we call Second Existence or 2E. It is a first draft of how governments can take positive action alongside of design to change priorities and the money flow needed to get new "unmanufacturing" opportunities moving. And we have begun mapping the territory. We have found new words to help us understand uncharted lands full of new ideas, words like diegetic design and objectomy.
'Objectomy' and 'Diegetic Design' mean starting the design processes by being open to the object for ... [+] a journey of discovery, then earnestly listening to the object and letting that guide your actions to design inside the narrative.
Well known landmarks of design are easy to plot and tough to let out of sight, but it's the one's marked "here there be dragons", those zones where design fears to tread, where we will have to go to find the answers.
I like that you end your speech on a positive note saying, "it will be the greatest creative challenge design has ever responded to". What is design and the design community afraid of?
They say that instead of ordering a person to build a boat, you should inspire them to love the sea. The boat then will happen naturally. To address the challenge of Original Sin 2.0, design needs to come to grips with what it loves. Admittedly, being in "love with stuff" is often an easier and preferable love to that of dealing with our fellow man.
The current political and social climate has brought out the most intolerant, vicious, tribal, egotistical and irresponsible behavior in humanity. Many would say that design is complicit in this tragedy, leveraged by capitalism to create vast arrays of attacks on our cognitive self-regulatory systems.
At its most substrative level, capitalism succeeds by exploiting selfishness in our neurochemistry. That's why it needs design to trigger the release of dopamine and the rest of those "reward" chemicals. But there are two wolves inside all of us: design is an enabler and it could just as well use those neurochemicals to reward selflessness and goodness. It is up to us to choose which wolf to feed.
Read my previous talk with Chris Bangle.
Follow me on LinkedIn. Check out my website or some of my other work here.


text:
Q: How do I reset my XP dual monitor configuration to single monitor? I started up an old PC which I suppose was set up with dual monitors. After the Windows XP loading screen, I just got a black screen. If I move the mouse to the left the pointer appears on screen. I think the Windows login dialog is appearing on the phantom second monitor, because I can't right click on the desktop and the Ctl+Space then M trick doesn't work. If I plug the monitor into the second VGA out I get a 'Signal out of range' error on the monitor. How do I get around this? It seems so stupid.

A: I believe you can change the resolution in safe mode. Hook your monitor up to the one that says "out of range" and then start your computer up. Repeatedly press or hold down the F8 key while the system is starting up. You should get an option to go into safe mode. It should load windows in low resolution. From there, try changing the resolution and dual monitor settings and then reboot.

redpajama_set_name: RedPajamaStackExchange


text:
Support Live Action
Planned Parenthood: We care more about headlines than the law
By Kristi Burton Brown | September 15, 2015 , 11:27am
Scandal-ridden Planned Parenthood has admitted to yet another core problem: they care more about the headlines than the law.
In today's new video, "Planned Parenthood Federation of America's Criminal Enterprise," top Planned Parenthood officials discuss the utter importance of what the New York Times has to say about them.
This concern is vocalized as being more important than the law, than what the clinics actually do, and, by connection, more important than the women they claim to "Care. No Matter What." about.
Deb VanDerhei, National Director for the Consortium of Planned Parenthood Abortion Providers (CAPS) explained that Planned Parenthood lacks a complete national policy – intentionally so – on baby body part sales. Describing the little bit of policy they do have, she said:
…the policy that we do have suggests that you just really think about what you're doing, vet your procurement service, and, um, if there's any way you can do it mission-based, that's probably better. And that if you do decide that you want to engage in remuneration, that you really need to, like think that through. And think, "New York Times headline," when you're creating your policy.
There is noticeably a lack of focus on following the law in Planned Parenthood's little bit of national policy. "Mission-based"? What about "law-based"? "Think that through"? What about "read the law and follow it"?
But no, it's the "New York Times headline" that matters above all else. In fact, according to VanDerhei, policy should be set with the New York Times in mind – never mind the law.
Astoundingly, with this advice swirling around the top levels of Planned Parenthood, Cecile Richards still has the gall to write to Congress, assuring them that Planned Parenthood follows the law and the highest ethics.
VanDerhei again emphasized the need to consider the headlines (not the law):
If they [the PP clinics] do it, that's fine. We're not going to say no. But we want them to think about really, the New York Times headline.
Vanessa Russo, Compliance Program Administrator for Planned Parenthood Keystone in Pennsylvania, had a discussion on tape with VanDerhei. She advocated, quite blatantly, for disregarding the law. Despite the federal prohibition on selling aborted baby body parts, Russo clearly believed her own logic was elevated above the "ridiculous" laws:
[D]o you like, a company like this that wants to, wants to give our organization money for the tissue, I think that that's a valid exchange. And that that's okay.
Despite short mentions of being "very sensitive to the patient and the consent" and that PP clinics should "do it right," the overall theme of the conversations was clear: media headlines matter most. The law matters very little – if at all. Russo included it in her definition of "crap:"
VanDerhei demonstrated this theme best, perhaps when she revealed the viewpoint of PP's top attorney:
Because Roger [Evans, head of PPFA Litigation & Law] said I'm going to say a number of things, and I only want you to go away with one message: I think this is a good idea. Now here's what you need to look out for, and at the end of it, he said, "And I just want to reiterate, I think this is a good idea."
This is corruption at its finest. The law be damned, quite literally, because "this is a good idea."
Stories like the one you just read transform hearts and minds.
For example, one of our followers, Ross, messaged us and commented:
"I began to question my pro-choice views after reading articles about Live Action…Live Action is primarily responsible for my becoming Pro-Life through their well-thought-out, scientific information and the emotionally and uplifting stories of real people with real experiences in saving the lives of their children regardless of what others might say."
Knowledge is power and CAN open eyes to SEE the truth. And, YOU can provide the spark to transform someone's mind, just like Ross.
The DAILY publishing at Live Action News is only made possible through generous people, like you, who give $5, $10, or $25.
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http://3dprintkit.ca/3d-shop/page/1/?add_to_wis http://karenhilliardassociates.com/QSUKZ/NkZmZ/brookline-massage-therapists/ One of Waypoint's largest events is the gathering of leaders from around the region for our for our "The Art of the Sermon" seminar. For the past decade, we have invited nationally known preachers to share their stories of learning to prepare, refine, and present dynamic sermons each work. The Art of the Sermon series is sponsored by our regional ministry partner, Johnson University.