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Brazil's young female entrepreneurs step up to create jobs
Yamê Villas (second from left) pictured alongside her mother, Yandara (left corner), and her two sisters, Mayra (second from right) and Thuany (right corner). Photo courtesy: Yamê Villas
Luiza Loyo
Brazil has a high rate of unemployment and few job opportunities. But a new generation of young, female entrepreneurs and artists in the country are taking their future into their own hands by creating their own businesses.
Yamê Villas, 19, alongside her two sisters Thuany and Mayra, created GUYA, a jewelry and accessories brand , with the help of their parents who had experience in the market of fashion and accessories.
"From the start, we've done everything in the family. From the creation of the brand in a conversation at the dinner table to the making of the first pieces in our studio," Yamê said.
The name of the business came from the combination of the parent's names, Guto and Yandara.
Everything GUYA does is a team effort; each sister has a different but fundamental task. Yamê is in charge of the visual design; she pays attention to trends, organizes events and seeks new partnerships. Thuany works with the marketing and communication of the brand and Mayra works remotely in the technical part of their website.
"Our mom, Yandara, is the designer of the brand's products. She is responsible for the production and is at the forefront of new collection developments," Yamê said. "We try to divide and delegate [the tasks] as much as possible, but the big decisions are always debated and we take everyone's opinion into account."
Adapting to the coronavirus lockdown
Now, in times of crisis and the coronavirus, the brand is adapting. When the economy suffers, the price of gold and other jewelry materials rises and customers start to consume less.
"We are still adapting to the new coronavirus routine. We realized that, with the closing of schools and colleges, as well as the increase in the number of people working from home, consequently, people spend more time on the cell phone and internet," Yamê said.
"We are currently investing in the production of content to help people get through quarantine, such as giving tips on recipes, exercises, meditation, movies, books, and even creating a playlist on Spotify," she said.
The brand also created a promotional code "stayhome," which can be used on their website, to encourage clients to stay inside and self-isolate.
Promoting arts through social media
Others have also turned to creating unique things. For friends Carolina Bonani and Maria Asfora, their futures started with art.
"Since 2016 I've noticed that everyone is trying to sell their thing, girls especially, selling jewelry, paintings, embroidery. I see a lot of girls doing all sorts of things," Asfora said, "I think there comes a moment in people's lives when we want to produce, not even just art, but we start wanting to do something. I started to want that when I was 15, that's when I started with my Instagram [@mariavilhada]."
Asfora, 18, is part of the sudden influx of young female entrepreneurs that have started their own business or projects since around 2015. She focuses mostly on drawings that she makes on paper and later shares on her Instagram page, where people can admire or purchase them.
"It [art] is a form of rebellion, for those who do it and those who consume it. I think it's really cool to see that there are people looking, people who want it, that seek me and my friends out for our art" Asfora said.
Some of Asfora's artwork exhibited at the 'Floresce' event in Rio de Janeiro in 2019. Photo courtesy: Maria Asfora
Asfora emphasized the importance of supporting local young artists and entrepreneurs. "Now more than ever, in such a difficult moment, whatever art people are producing, I want to support it," Asfora said.
Although Asfora mainly focuses on drawings, she has explored other mediums of art. For a while, she made stickers with her designs to earn some extra money and she has recently started painting.
"I'm in more of a free process right now, I just start painting and sometimes I don't even like what I paint. It's an organic, everyday process, so I don't lose my mind during quarantine," Asfora said.
Difficulties posed by the lockdown
Asfora mentioned how, in quarantine, the biggest struggle for her is not the monotony of self-isolation but the lack of materials. "My [artist] friends are all painting, doing a lot of art. I don't have any supplies right now, so it's complicated. The art supply stores are all closed, so I can't buy any materials," she said.
For artist Carolina Bonani, 18, whose interest lies more on drawings, digital and graphic design, the quarantine has not been as much of a problem.
"At first I thought I wasn't going to produce at all since I usually produce less when I am not in a routine. But wow, I've been creating a lot. I've been having online college classes and they really encourage me to create," Bonani said.
Bonani is pursuing a degree in design at Pontifical Catholic University of Rio de Janeiro, but her interest in art started long before college. She said she first started drawing in high school, as a distraction during classes she found boring.
"I wanted to sleep in class but I couldn't, so I started to draw. I didn't have any technique, I just did them because I wanted time to go by faster. I ended up really liking it and wanting to learn more," Bonani said.
Now, Bonani's college classes inspire her to do work even in her free time. She started experimenting and doing collages on photoshop, which she said is her new passion.
A design by Carolina Bonani. Photo courtesy: Carolina Bonani
Now in college, Bonani has indefinitely stopped selling, but she used to take commissions for her art. People used to ask her for caricatures and other specific drawings.
"The main reason why I started taking commissions was because I wanted some extra money," Bonani said, "It was really cool at the time, in less than a month I made a good amount of money that I never thought I would just taking commissions."
Aléxia Carvalho, 19, is another young Brazilian artist who started selling her work.
"I started selling my work to make money. I'd been living in Portugal for about five months and I needed to do something to accomplish what I really wanted, which was to travel," Carvalho said, "I didn't want to ask my parents for money, because I think that takes a bit of my freedom away. Selling my art was the way I found to make my own money, since I was still underage and couldn't work."
Carvalho currently lives in Portugal but when she first started selling her art, she made earrings and painted eco-friendly bags that she shipped over to Brazil. Now, she focuses mainly on her paintings and drawings.
"Art is something that I'm interested in because it's our way of expression, I think it's our way of putting things on paper that we can't demonstrate or say out loud. That is what made me have this connection to art, because I am a person who has a lot of difficulty in speaking, in opening up," Carvalho said.
Bringing young female entrepreneurs and artists together
Carvalho was the original creator of "Floresce," which roughly translates to "Flourish," an event and collective that brings multiple young female artists together. Bonani and Asfora were among the young creators that joined the group.
Although the event was originally planned for Portugal, Carvalho decided to hold it in Brazil during one of her trips back to her home country. She was working on personal exhibitions at the time but thought it would be interesting to expand her project.
"I thought it would be really cool to get other girls who are independent artists, like me, but who don't have visibility yet. That was when I spoke to Maria [Asfora], and she instantly agreed. We talked to a bunch of other girls, presented the idea to them, and they agreed," Carvalho said.
The event is a place where various female creators can share their work and exhibit their art. Girls sell their drawings, paintings, vegan food they make, offer tattoo services and even perform songs and dances.
Aléxia Carvalho standing next to her artwork at the 'Floresce' event in 2019. Photo courtesy: Aléxia Carvalho
"The idea of the collective has always been to give visibility to women," Carvalho said, "Women are hardly ever seen as artists, they are usually seen as muses for others to paint. If you look at the history of women in art, the history is minimal. I think it is more important every day to deal with the desexualization of women in the artistic field. Women also have a voice."
The event in Rio de Janeiro was a success. "It exceeded all of my expectations, so many people went. I'm really thankful to Maria for inviting me. It was incredible," Bonani said.
The importance of arts in the age of quarantine
Carvalho now plans to execute the event in Lisbon, Portugal, where she has already gathered a group of girls that are deeply involved with the project.
In the new age of quarantine, Carvalho said self-isolation has allowed her to focus more on her art and well-being. She has been highlighting the importance of art in hard times by using the hashtag #artintimesofcrisis when she posts her work.
During this period of quarantine, when there is an increase in consumption of television shows, music and videos on social media worldwide, Carvalho said she noticed there are more talks about the importance of art.
"Art is in everything, but people don't appreciate it, they only appreciate it when they lose access to things and they find themselves needing to rely on something, which was art, in this case," Carvalho said, "I hope after everything is better, that people can keep appreciating art and supporting it like they [are] now."
Luiza Loyo, Contributor
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WEST VALLEY CITY, Utah – Police have identified the woman who was killed in a suspected hit and run as 36-year-old Tequila Garcia.
Sgt. Jake Hill said the incident occurred at 2855 West 3785 South around 2 a.m.
When police and fire officials arrived they found Garcia laying in the street with serious injuries.
Sgt. Hill said aid was administered, but Garcia was later pronounced dead at the scene.
Detectives are investigating into the official cause of the accident.
Police said Garcia had been arguing with her roommates prior to the incident.
In a tweet released by West Valley City police, the two people involved in the argument with Garcia have been taken into custody for questioning. The two were identified as Andres Mendoza, 24, and Alejandra Olivia Morales-Molina, 24.
Click here for more information on the incident.


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Backlash: Hedge Fund Kicks Out Family That Makes OxyContin
Source: ZeroHedge
As backlash against America's painkiller addiction grows, gedge fund Hildene Capital Management has cut ties with the billionaire family that controls the OxyContin maker Purdue Pharma. According to The Wall Street Journal, Hildene fund manager Brett Jefferson forced the Sackler family who is invested in the $10 billion fund to start redeeming their investments.
"An opioid-related tragedy affected someone with a personal relationship to me and other members of Hildene," Jefferson said in a statement, which he said occurred in 2017. At the time, the Stamford, Conn. hedge fund donated money to an organization fighting the opioid epidemic and has since contemplated ending the firm's relationship with the Sacklers, he wrote.
"Last year the weight on my conscience led me to terminate the relationship and initiate the redemption procedure," Jefferson wrote.
Hildene joins a long list of universities, museums, and nonprofits, including the New York Academy of Sciences and Columbia University, that have all questioned their relationship with the Family.
The Sacklers, who control Purdue which is considering filing for bankruptcy to limit its mounting legal liabilities, have come under immense pressure amid hundreds of pages of courts documents released as part of lawsuits filed by Connecticut and Massachusetts.
Connecticut and Massachusetts are the first two states to sue Purdue and Sackler family members simultaneously. Their lawsuit alleges that eight Sacklers sparked the opioid crisis with misleading marketing of OxyContin in the late 1990s, which allowed Purdue and the family to reap billions of dollars from flooding every state with highly addictive prescription drugs.
Purdue paid $4 billion to the Sackler family between 2008 and 2016, according to the Massachusetts attorney general's lawsuit.
The legal scrutiny of the Sacklers is making their family investment operations in hedge funds public knowledge.
Some family members "have financial interests, directly or indirectly, in: Airbnb Inc.; Honest Co.; ski resort operators Vail Resorts Inc. and Peak Resorts; the Smith restaurant chain in New York; the luxury Amanyara resort in Turks and Caicos; and apartment complexes and hotel developments throughout the U.S.," said the Journal. Their investments also include a biomaterials company Silk Therapeutics Inc. and a $100 stake in the firm Balter Capital Management.
The Journal said hedge funds that count the Sacklers among their clients declined to comment or didn't respond to requests for comment.
While some members of the Sackler family directly control Purdue, not all family members are involved in the company. Family members have a wide range of investments in hedge funds and other businesses.
Since the Sascklers launched OxyContin in the late 1990s, deaths involving prescription and illegal opioids have quadrupled from 2.9 per 100,000 in 1999 to 13.3 per 100,000 in 2016, according to the Centers for Disease Control and Prevention.
There are 36 states and 1,600 cities and counties that have filed lawsuits against Purdue, and four members of the family have been asked to testify this month as part of cases against Purdue in Ohio and Oklahoma.
Richard, Kathe, Mortimer D.A. and Jonathan Sackler, all members of Purdue's controlling family and former board members of the company, are scheduled to sit for depositions beginning this week. The interviews are likely to further probe family members' roles in the company and marketing of its drugs. Mortimer D.A. and Jonathan are testifying in a case brought by Oklahoma's attorney general scheduled for trial in May.
The legal scrutiny of the Sacklers is highlighting their family investment operations, which are some of the most sophisticated in the U.S. Branches of it are longtime investors in hedge funds, including successful early stakes in Perry Capital, which told clients in 2016 it would close, and Lone Pine Capital.
Understandably, Purdue and the Sacklers have tried to avoid scrutiny for their role in sparking the crisis as state and federal lawsuits mount. Now the family's multibillion-dollar investment operations and charitable efforts are also facing a backlash from the finance and academic communities in the Northeastern US, which are finding themselves under pressure for their association to the Sacklers.
Some family members also have financial interests, directly or indirectly, in: Airbnb Inc.; Honest Co.; ski resort operators Vail Resorts Inc. and Peak Resorts; the Smith restaurant chain in New York; the luxury Amanyara resort in Turks and Caicos; and apartment complexes and hotel developments throughout the U.S. They have invested in biomaterials company Silk Therapeutics Inc. and backed with $100 million Boston investment firm Balter Capital Management, according to people familiar with the matter.
The family office for Raymond Sackler's son Richard is named Summer Road LLC for a street near the Alta ski resort in Utah, near where a branch of the family owns a home that is the site of family gatherings. Summer Road, run by Richard's son David Sackler, a former hedge-fund manager himself, has recruited nearly a dozen traders in recent years, many of whom focus on quantitative trading.
As the WSJ notes, an entity called Kokino LLC invests the wealth of Jonathan Sackler and Kokino's employees. Kokino operates out of the same building in Stamford that houses Purdue's headquarters, along with other investment firms with connections to the Sacklers. Purdue's HQ in Stamford has become a site of protests by recovered addicts and people who said they had relatives who died of opioid overdoses.
Brian Olson, a co-founder of hedge-fund giant Viking Global, heads Kokino. Kokino as of late last year invested in roughly two dozen hedge funds, said a person familiar with Kokino's operations. People familiar with Kokino said its investments include DeepCurrents Investment Group and Sunriver Management, which is housed in the same building as Purdue.
Jonathan Sackler is also an investor in Brookside Equity Partners and Soundview Real Estate Partners. Their portfolios include Airbnb, the Honest Company, Lyft, apartment and hotel developments throughout the U.S. and New York food hall operator UrbanSpace, according to their websites and people familiar with the matter.
As noted previously, Purdue is contemplating filing for bankruptcy amid the barrage of lawsuits.


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Keyport is a waterfront town located on the Raritan Bay. It features a large marina and a fishing pier. Keyport also has a quaint downtown shopping area with restaurants (we heartily recommend the Keyport Fishery) and antiquing. Views of the Raritan Bay, the New York City skyline and three major bridges are available from various sections of town.
Commuters will love living in Keyport because of the location. Keyport is located close to major transportation routes. In addition, New Jersey Transits North Jersey Coast Line is available at the train station in nearby Matawan. You can also ride the high-speed ferry, SeaStreak, to New York. The boro has 1.4 square miles.
Public School students will attend Keyport Public Schools. This school system provide education to students in prekindergarten through twelfth grade.
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Premiere September 10, 2007
Airs check local listings
Creator Harvey Levin
Host Harvey Levin
Network Syndication
Style 30-minute (weekday) / 60-minute (weekend) news
Company Harvey Levin Productions,
paraMedia,
Telepictures Productions,
Warner Bros. Television
Distributor Warner Bros. Television
Episodes 1,000+
Status Currently airing season 10
Origin USA
Official Twitter @TMZ
TMZ, also referred to as TMZ on TV, is an entertainment news show that airs in syndication. Like the website it spunoff from, it focuses on celebrity gossip. Each week, six episodes are produced, with one half-hour episode running each weekday and one hour episode running on either Saturday or Sunday.
2 In-Depth
3 DVD Releases
4 External Sites
Season One September 10, 2007 September 6, 2008 312
Season Two September 8, 2008 September 5, 2009 312
Season Three September 7, 2009 2010 —
Season Four September 8, 2010 September 2, 2011 —
Season Five September 5, 2011 September 7, 2012 —
Season Six September 10, 2012 — —
Season Seven September 17, 2013 — —
Season Eight September 16, 2014 — —
Season Nine September 14, 2015 — —
Season Ten September 5, 2016 — —
At a Glance: Additional information about the series
There has not been a DVD release for this show.
Official website for TMZ
Retrieved from "http://tviv.org/w/index.php?title=TMZ&oldid=2325245"
Harvey Levin Productions
2007 Premieres


Time for Sesame Street! And a Sesame Street toddler bed is one fun way to transition your toddler from his 'baby bed' (the crib) to a 'big boy' or 'big girl' bed: a toddler bed that allows easy in and out, but is still low enough to the ground that a tumble won't hurt.
If you've decided to go with a Sesame Street toddler bed you have two good options. Both are sturdy steel frames with strong plastic headboards and rails; and both are in fun, primary colors. Both have two siderails to keep your child safe, and both are low enough to the ground that your child will have no trouble getting into bed. Which you decide may depend on whether your child's love of Sesame Street is liable to be a passing phase or if you can count on it continuing through to the end of the toddler years.
The Delta Enterprise Sesame Street 3D Toddler Bed is the ideal bed for a dyed in the wool Sesame Street lover. Not only is there a fun Sesame Street decal on the headboard, the footboard from this bed features an enormous 3D Elmo with a big orange nose. The bed is meant for a child of up to 50 lbs; but is sturdy enough that an adult can climb on for a nightly story time. Although it comes disassembled, assembly is not too difficult if you have a screwdriver and know how to use it.
The downside of the 3D Sesame Street Toddler Bed? There's no disguising it as anything else, so if, six months down the road, your toddler decides he no longer likes Elmo, he will either have to learn to deal with sleeping in a bed he doesn't care for or you will have to make your twin bed transition early. That's why some parents may prefer the 'Sesame Street Plastic Toddler Bed; in spite of the name, this bed has exactly the same proportion of plastic as the other, and is essentially the same bed, but with a different footboard. Rather than a three dimensional Elmo head at the foot, this bed has simply a minimalistic blue headboard with a relatively small Elmo decal.
Once you've bought your toddler his Sesame Street toddler bed, you may want to shop for Sesame Street bedding that can coordinate and make his bed extra fun.
The Sesame Street Construction Zone 4 Piece Toddler Set is a nice polyester/cotton blend bedding set: a comforter, top sheet, fitted sheet, and pillowcase. The design is multicolored and cute; and the material used is durable and relatively soft. If the sheets seem stiff when they first come out of the package, throw them in the washer, and you'll find the stiffness disappear with the wash water.
Another option is the ABC 123 4 Piece Toddler Bedding Set; another set that will coordinate beautifully with your child's new bed. The colors here are slightly brighter, and rather than a polyester/cotton bed, this set is 100% polyester. The comforter is on the thin side, so ideal for summer weather; in winter, consider layering.
Is your little one still nervous about making the change from his or her crib to the big Sesame Street toddler bed? Take it slowly, and talk up the change with every opportunity. Let your child get excited about the bed, and maybe even let him or her help set it up. Then read a book on 'big beds' together: a fun Elmo book on the topic is Sesame Street's Big Enough for a Bed, a board book even a two year old will enjoy and understand. Don't make it a requirement, make moving to a big bed a fun part of growing up, and something to be proud and excited about!


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Photo: PicturesWild/Shutterstock
US to allow trophy hunter to import body parts of critically endangered rhino
News Wildlife
Eben Diskin
In a controversial decision, the Trump administration is allowing a trophy hunter to import the body parts of a rare black rhinoceros into the US.
Chris D. Peyerk paid $400,000 to an anti-poaching program to kill the rhino. He hunted the animal in Namibia last year, and he will now be issued an import permit by the Fish and Wildlife Service to bring the animal's skin, skull, and horns to the US, reports the Associated Press. The animal is protected under the Endangered Species Act, which prohibits the import of endangered animal trophies.
According to the International Union for Conservation of Nature, there are only 5,500 black rhinos left in the wild, and poaching of the animal remains a huge threat. In Namibia, only five male black rhinos a year are allowed to be killed by hunters.
Permits for importing body parts to the US are only issued if doing so will benefit the species' survival. Indeed, the Fish and Wildlife Service says, "Legal, well-regulated hunting as part of a sound management program can benefit the conservation of certain species by providing incentives to local communities to conserve the species and by putting much-needed revenue back into conservation."
This is the third of such permit given to a trophy hunter since President Trump took office in 2016. Three permits were also delivered during the Obama administration.
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The North Point Lighthouse Museum is a lighthouse built in 1888 in Lake Park on the East Side of Milwaukee in Milwaukee County, Wisconsin, United States to mark the entrance to the Milwaukee River. The lighthouse was added to the National Register of Historic Places in 1984. It was also added to the Library of Congress Historic American Buildings Survey as survey HABS WI-358.

History
The first lighthouse on this bluff was built in 1855, a structure of Cream City brick with a cast iron lantern room, sited high to make it visible out on Lake Michigan. In the late 1880s it was jeopardized by erosion of the bluff and plans were made to replace it.

In 1888 a 40-foot cast-iron lighthouse tower was built 100 feet in from the edge of the bluff, and the Queen Anne-style light keeper's quarters was built. The original 1855 lantern room was used on the new 1888 tower.  Eventually trees in the park obstructed the light from the view of ships, so in 1912 the tower was dismantled and a riveted steel addition was erected and the original 1888 section was placed on top raising its height to  and light focal plane to . Today it is the only lighthouse in the country built of 3 lighthouses. 1855,1888,1912.

The first 1888 lantern burned mineral oil. It was converted to coal gas in 1912 and electrified in 1929.  The lens focused a 1,300,000 candlepower signal visible for . The Coast Guard  decommissioned the lighthouse in 1994. In 2003 Milwaukee County leased the lighthouse and keepers quarters to the North Point Lighthouse Friends and they began restoration of the tower and keepers quarters. A $984,000 grant was used to restore the light station and it re-opened to the public as a maritime museum in 2007.

See also
 Lighthouses in the United States
 Parks of Milwaukee

References

Further reading

 Havighurst, Walter (1943) The Long Ships Passing: The Story of the Great Lakes, Macmillan Publishers.
 Oleszewski, Wes, Great Lakes Lighthouses, American and Canadian: A Comprehensive Directory/Guide to Great Lakes Lighthouses, (Gwinn, Michigan: Avery Color Studios, Inc., 1998) .

 Sapulski, Wayne S., (2001) Lighthouses of Lake Michigan: Past and Present (Paperback) (Fowlerville: Wilderness Adventure Books) ; .
 Wright, Larry and Wright, Patricia, Great Lakes Lighthouses Encyclopedia Hardback (Erin: Boston Mills Press, 2006) .

External links

North Point Lighthouse Friends, Inc.
Seeing the light
Lighthouse friends article
NPS Inventory of Historic Light Stations - Wisconsin
Library of Congress Historic American Buildings Survey Survey number HABS WI-358
 North Point Light.

Lighthouses completed in 1888
Houses completed in 1888
Buildings and structures in Milwaukee
Lighthouses on the National Register of Historic Places in Wisconsin
Tourist attractions in Milwaukee
National Register of Historic Places in Milwaukee

redpajama_set_name: RedPajamaWikipedia


Here are some common lies that our culture struggles with. Have you been deceived?
Pursuing happiness is my purpose. Happiness is fleeting. You were created for more than seeking pleasure!
Love is a feeling. Real love is a decision and a choice. It must be grown like a plant. Infatuation does not equal love.
Truth is what I feel it is. Truth is absolute and is dictated by reality.
I'm a pretty good person, I'll probably go to heaven when I die. We are compared to God not to the worse person in society. We all fail when compared to God. You need more than being good.
If I don't feel "in love" anymore, then I need to move to a new relationship. Love is so much more than a feeling. You need to understand what love is before you look for happiness in the wrong places.
Life has no meaning or purpose God created you. You are not an accident.You are not the result of random chance.
Real men do not express feelings Real men have feelings, express them, and they even cry sometimes!
Women and men are interchangeable Women and men are equals, but they have different strengths. We should embrace this, not ignore it!
I cannot help the way I am. Yes we are born faulty and sinful, but we can overcome that! Do not give in.
New means better, improved, superior! Newer does not always mean better. New lies seem to commonly replace old truths. Mankind likes to think we have progressed beyond some things, when really we just recycle our problems into newer problems!
I know what is best for me. Just like a small child, we often demand our way because we know it is best. However, just like a small child, we are often wrong. What we want is often bad, wrong, unhealthy, dangerous, and the cause of many of our major issues without us realizing it.
and so many more. A comprehensive list would be huge!
I have given this some thought, perhaps you should look into it?
*Note: If someone sent this article to you, then they care about you! Spend a few minutes to read the article below. It cannot hurt. It might be the best time investment you've made in a long time.
I am not an idiot. I am not a fool. I am not happy believing a myth just because it makes me feel good. It has to be real. I am not happy to follow a behavior system simply because it might produce good citizens or good people. It has to have the power to change me. It has to have the power to save me. It has to have the power to help me when I am: lost, hurting, lonely, depressed, tired, over whelmed, confused, and scared. In other words, I want more than a warm fuzzy feeling about what I accept as true. It has to be supported by reality and be more powerful than me. A doorknob or a statue just does not cut it!
In other words, I've given my worldview some thought; perhaps even more than you. Have you ever considered your worldview and how it shapes the way you see the world? Yes, you have a worldview! We all do. If you've never intentionally thought about or shaped your worldview then your worldview has been created passively by your experiences, things you have accepted as true, things you have observed, and things you have incorporated into your thought processes.
- I believe a biblical worldview describes the goodness and the evil we see in the world around us better than any other explanation.
- I believe that science does not disprove the Bible, but supports its accuracy.
- I believe a biblical worldview answers all the big questions in life better than any other option.
- I believe that Bible gives great advice, provides great wisdom, and gives us great boundaries.
- I believe that living outside the boundaries God sets has serious consequences.
In other words, I believe the Bible is true and that the Bible accurately describes the reality we see each day. You do not have to take my word for it. I am not asking you to immediately accept my views as accurate. I just want you to consider that your worldview matters. Exploring your current worldview and researching the merits of my worldview are something you should make a high priority! Do not wait until it is too late.
A distorted worldview can utterly destroy your life and leave huge devastation in your wake. A proper worldview: gives you fulfillment, purpose, helps you make healthy choices, and explains all the big questions in life (where did man come from? what is man's purpose? Does my life have meaning? where does evil come from? etc... ). Failing to intentionally shape one's worldview can be very dangerous. It is like gambling with your future and with the future of any people who you have the power to shape their worldview.
I do not live under a rock, despite what some people may think. I am well aware that every religion in the world makes truth claims about our world and reality. I am aware of the advancements of science over the last century. I am aware that some people have discarded the Bible as a fair tale long ago. It might be popular to believe all of these other views are simultaneously true, but that cannot be. Many of their claims contradict another religions claims. Proposing 17 answers for the question, 1 + 1 = ? does not make all of them true or none of them true. One of them is still the only correct answer, it just creates a lot of noise so that you might miss the correct answer.
I would like to finish by saying: questioning your worldview and actually changing the way you have seen the world for many years, can be extremely challenging. It takes courage, strength, intelligence, and perseverance. You have to give yourself permission to accept conclusions that are unpopular, uncommon, and possibly difficult to accept. I think you can do it. It might be the best choice you have ever made!
Update: This link goes to an article which posits the idea that Planned parenthood does not do as much good as they claim and is probably not needed at all. Something to think about.
There is a lot of controversy around abortion and Planned Parenthood. I have strong views on abortion, so I understand the controversy. However, it seems that leadership somewhere in our society is intentionally associating things that could be separated in order to create controversy, conflict, and deception.
Yes, Planned Parenthood gets federal funding, but the money does not go to abortions.
Planned Parenthood does so much more than abortions, if you defund them or kick them out of a community, then women's health / care will decline in that community.
.. and some other points which focus on the moral and legal areas of abortion, but I will focus on the previous two points for this post.
Why does a community have to choose between allowing abortion and getting other family planning services or getting neither? If Planned Parenthood really cared about "women's health services" than they would do something to distance themselves from abortion and focus and real health services.
Immediately form two companies: one called Planned Parenthood that offers all the less controversial services that actually help communities. The other company would have a different name and would only offer controversial services like abortion.
Request that all federal funding be directed to the new company called Planned Parenthood, that offers no controversial services.
This way the claim that "Federal dollars do not pay for abortions" would actually be true and easy to check.
I doubt this will ever happen due to government / corporate cronyism (where the line between a corporation, government, and money is blurred beyond recognition).
Note: This article should be construed to mean that I support planned parenthood or any of the horrible actions they have done. If any crimes were committed, then perpetrators should face consequences. Even if no crimes were committed I do not support abortion.


His eyes burn through my head "/ KANYE POWER..
A new fresh show by brother Dee & Ricky called Kenzo digital … STAY TUNED!!!
Video was shot in jamaica :), They decided to go for a simple video and it paid off. Nicki Looks really good in it too with that poka dot suit ..LOVE IT!


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Home»All Photographs»BLACK & WHITE
Exposure1/6 at f/22
Agave Fibers and strings
Agave (/əˈɡɑːvi/, UK also /əˈɡeɪvi/,[1] Anglo-Hispanic: /əˈɡɑːveɪ/)[2] is a genus of monocots native to the hot and arid regions of Mexico and the Southwestern United States. Some agave species are also native to tropical areas of South America. The plants are perennial, but each rosette flowers once and then dies (see semelparity). Some species are known by the name "century plant".[3]
Agave tequilana, agave azul or blue agave, is used in the production of tequila. Agave nectar, also called agave syrup, a sweetener derived from Agave sap, is used as an alternative to sugar in cooking, and can be added to breakfast cereals as a binding agent.
Copyright © Paul Gill Photo


Known as one of the finest wine making region's in the world, the Yarra Valley is a holiday destination in Victoria's eastern region that you can taste your way through and is regarded internationally as one of the best cool climate wine making spots. Only one hour from Melbourne the Yarra Valley is a taste sensation as you make your way along the Regional Food Trail stopping in at over 100 outlets that sell everything from berries, nuts, fruit, vegetables, game meat, homemade pastas, dairy products and many other treats from the region. The Yarra Valley is somewhere where you can visit numerous cellar doors, dine in vineyard al fresco restaurants and sample some award winning wines along the way!
Mostly known for its Chardonnay and Pinot Noir the Yarra Valley also produces other beautiful wines which include Riesling, Shiraz, Cabernet, Merlot, Rousanne, Sauvignon Blanc, Franc and Malbec to name a few. Stop in at cellar doors, meet the wine makers, tour through the behind the scenes workings of the wineries and see how some of the world's finest wines are produced. You will feel like you are world away while on holidays in the Yarra Valley, as you stay in luxury accommodation that is second to none, stop in at local art galleries to view works from local artists, pamper yourself in spa retreats and natural springs and fill your days with interesting markets, food and wine festivals, music concerts, lush gardens and scenic National Parks.
The Yarra Valley is a captivating place where you can complete revive the senses and you relax in tranquillity. Your accommodation will place you close to a number of things to see and do and will provide the ideal home away from home. Book into boutique hotels, budget motels, spa retreats, backpacker hostels, caravan and holiday parks, self contained cabins and spacious apartments and for anyone searching for an accommodation property to have many things included onsite then you simply will not be able to pass up staying at one of the luxury resorts within the Yarra Valley wish will have you wishing you never had to leave.
Along with the accommodation, wineries, cellar doors and taste tempting treats prepared by some of the best chefs in the country, the Yarra Valley also serves up many other attractions and activities to please all travellers. From hiking and camping adventures, hot air balloon rides to scenic flights over the region! There is sky diving and horse riding, trout fishing, botanical gardens and lavender farms to visit. See the sunset from the top of mountain top one morning and then cap the day off with a sightseeing tour through parts of the region. Walk through wildlife parks, enjoy sunny picnics in stunning gardens, plan the perfect wedding or organise a business function at one of the ideal locations scattered through the Yarra Valley.
Whatever the occasions, business or pleasure, the Yarra Valley will provide the ideal setting for a memorable event or holiday. Enquire further about the many different possibilities that the Yarra Valley will give you!


A trademark is usually defined as 'a word, name, symbol or device that is implemented planet trade of merchandise to indicate the origin of the goods, and distinguish them from items of other individuals'. A trademark is specific to goods: product mark may be the distinguishing word, online brand name registration india, symbol or device used to discover specific services. However, the term 'trademark' typically used to relate to both trademarks and service marks, since they are basically the same.
A trademark grants its owners the legal in order to stop other companies from employing a mark will be similar their own. But trademarks is not to be used stay away from competing companies from producing or selling the same goods or services within completely different trademark.
Clever people often register their own trademarks with trademark officials in order to obtain a certified record of their rights a good individual mark. When a trademark is registered, the owner gains the legal right – although subject nevertheless for some people conditions – to prevent other companies from utilizing trademark without permission.
One of your main goals of any organization is to uphold fantastic reputation in the goods and services. Owning a registered trademark can assist with this process: it serves to inform potential infringers of the intent of the business to help keep its position within market place. If your trademark is correctly secured and endorsed, the keyboard the possibility to be a very important asset inside your company.
The business, trade, or company name is historical past of the with that your company identifies itself. Could be the name that is used for purposes of company registration, taxation, financial reporting and government dealings. A company or business name does not contain any identifiers other than the name itself.
Most company names aren't eligible for trademark registration due towards confusing similarities between all of. For a company name regarding trademarked, it needs to be distinct enough to be recognised from other companies during the marketplace.


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Daily Racing Form: NYRA Lasix Vet Terminated Over 'Conflict Of Interest'
Dr. Sandra Dixon was fired potentially because she is the mother-in-law of trainer Rob Atras.
by David Grening, Daily Racing Form
OZONE PARK, N.Y. – Dr. Sandra Dixon, a Lasix veterinarian for the New York Racing Association, was fired for what she was told was "a conflict of interest" potentially stemming from the fact she is the mother-in-law of trainer Rob Atras.
Atras, a former assistant to Robertino Diodoro, went out on his own in January and has won nine races from 15 starters at the Aqueduct meet. Atras is married to the former Brittney Dixon, who is Sandra's daughter. Brittney Atras works as an assistant to her husband, who maintains a 10-horse stable at Belmont Park.
According to Sandra Dixon, she was visiting a friend in the NYRA stewards' office on Feb. 8 and was asked by a NYRA official what she was doing there. Dixon said she was going to watch a race on television in which her daughter's horse was running. That horse, Science Fiction, won that day's sixth race.
Dixon said she was summoned the next day to NYRA's human resources department. Two meetings and eight days later, on Feb. 16, Dixon was escorted off the grounds by NYRA security and told she could not be on the grounds of a NYRA track for 90 days.
"What she was told is this was solely a matter of family status," said attorney Karen Murphy, whom Dixon has retained. "That can't be the basis to discriminate against somebody without more. There's absolutely no more."
Dixon said she was told her termination did not have anything to do with her job performance.
"I was assured more than once that my work performance was not at issue and not a problem," Dixon said.
Dixon said she had been upfront with NYRA about her daughter's marital status and whom she worked for since Brittney began working at NYRA last year, first for Linda Rice then for Diodoro, for whom she began working for last July at Saratoga.
According to Steve Lewandowski, the steward for the New York Gaming Commission, Dixon's veterinary license is in good standing.
Dixon, 53, joined NYRA in November 2017 as a Lasix veterinarian. NYRA has three Lasix vets and each is given daily assignments regarding which horses to administer Lasix, which is given 4 to 4 1/2 hours out from a horse's race. The Lasix vets do this administration independent of an examining veterinarian, who checks for soundness.
Dixon said that she has administered Lasix to Atras-trained horses on three occasions.
NYRA, in the early 2000s, was the first track to institute a third-party Lasix veterinarian. A Lasix vet also draws blood for pre-race and out-of-competition testing.
A Lasix vet is not required to be on the frontside to do his or her work. There are offices in barns on the backside of both Belmont and Aqueduct at which Lasix vets record what they've done on a given morning and also pick up their assignments for the following day.
However, Dixon said she was never told she was not permitted to be on the frontside whether on or off the clock.
Asked if she felt her son-in-law's meteoric success was a factor in her termination, Dixon said, "I can't speculate if things would be handled differently if he was 0 for 14. I don't know."
Murphy said she is hoping to get a meeting with NYRA officials to further discuss Dixon's firing. Murphy is suggesting that NYRA simply doesn't assign Dixon to treat any of Atras's horses.
Murphy said NYRA's legal department "is in a positon to say 'Okay we have this decision, let's accommodate our vet of a year who's done a great job and make sure if there's any appearance of a conflict – even if it's not actual conflict – let's change up the routes.'"
Through a spokesman, NYRA declined comment.
On its website, NYRA posts a code of ethics, which, in part, reads "It is important to avoid even the appearance of impropriety, which may occur when a reasonable observer might assume there is a conflict of interest and, therefore, a loss of objectivity while acting on behalf of NYRA. … Likewise, we should all endeavor to pursue a course of conduct that will not raise suspicion among the public that we are likely to be engaged in acts that are in violation of any trust."
Murphy said this termination would be a stain on Dixon's résumé should she seek future employment.
"We want her job back and for her reputation to be restored," Murphy said. "This is just 100 percent wrong and the consequences are 100 percent significant."
Dixon said she would like to return to work to NYRA.
"I like my job," Dixon said. "I built a life here."
NYRA has already advertised for a Lasix vet position.
David Grening, Daily Racing Form
David Grening covers the New York Racing Association circuit of Aqueduct, Belmont, and Saratoga plus such national events as the Triple Crown and Breeders' Cup. He is a contributing author to "Champions" and joined Daily Racing Form in 1998.
Witt Construction Builds Exquisite Custom And Semi-Custom Homes In Saratoga And The Capital Region
Saratoga County Restaurant Week To Celebrate More Than 40 Local Restaurants With $20 And $30 Meals
David Grening, Daily Racing Form March 1, 2019


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The Antonija Prelec Memorial Lecture: 2003 - Marcum- Transcript
Marcum Lecture
Third Annual Prelec Memorial Lecture
The Relationship of Scholars to Libraries in the Digital Age:
The Challenge of Preserving and Making Available Digital Information
Deanna Marcum
Scholars have the expectation that accumulated knowledge and the information resources that are used to create knowledge will be maintained by libraries. That expectation has been met reasonably well in the world of print on paper, but as we enter the digital age, the contract that libraries have with society is difficult to honor.
Scholarship is cumulative, and libraries have always been integral components of universities and research laboratories whether as hospitable work environments, sources of expertise on the location and use of information, or collections of current and historical data. But despite the promises of digital technology, its speed, the seemingly boundless capacity of a silicon chip to store information, and so on, we are finding that the new digital technologies are as much friend as foe to long term research and its storage and preservation. The amount of information we create on our computers plus the information to which can have access through the networks is growing exponentially, leaving us with a quantity of data to organize, archive and preserve that we have never coped with before. And even if we could solve the well-known technical problems of media and signal degradation and hardware and software obsolescence, we have yet to solve the very grave challenges of searching and retrieving relevant information in the almost unfathomable quantities of heterogeneous information that we are creating.
Experts in and outside of Government are still looking for the best solution to the problem. But clearly one thing that is not the solution is merely and mindlessly to save every tidbit of data generated. Indeed, our much-envied research libraries – Harvard, Stanford, the University of Illinois and others – manage library collections that are useful to scholars, students and the public precisely because they were shaped by men and women who used their critical judgment and subject expertise to select items that would be of value. "Save everything" is not now the rule in Government either. At most, only five percent of all Government records are selected for permanent retention. Those who decide what to keep are professional archivists who work to legally sanctioned guidelines. These guidelines are periodically reviewed to prevent partisan opinions from compromising the intellectual audit trail of state and Federal governments. Even individuals don't save every scrap of paper in their files -- tax records, restaurant receipts, dry-cleaning tickets -- and deed them to their descendants with the injunction that they be kept forever. That would be irresponsible, some might even say self-centered and lazy. We all employ judgment and selection within a framework of expectations, be those driven by the Internal Revenue Service or some vague notion of "history." Those editorial skills will become no less important in the digital era.
As a nation, where full citizenship is based on free and unfettered access to public information, we must take responsibility in shaping our digital legacy. As James Madison wrote: "A popular Government, without popular information, or the means of acquiring it, is but a prologue to a Farce or a Tragedy, or, perhaps, both. Knowledge will forever govern ignorance." Madison, of course, was worried about censorship. In our age, when too much information can numb the mind and paralyze the will, knowledge may develop a new sort of elusiveness.
But whose business is this anyway? If we can't save everything, then how do we go about better understanding what is important to save?
Part of the answer to these questions lies in understanding the scope of the problem and the nature of the challenges that face us.
The Digital Problem; the Digital Challenge
Since the mid-1990s, we've known that digital preservation is a technical, legal, and organizational problem. Storage media degrade; signals decay; and the configuration of hardware and software required to render and display stored data become obsolete. Try running Microsoft Word 2.0 -- or any pre-1990 software -- on your Windows XP system and let me know how it goes. Moreover, given the networks, it is an international problem – a facet that you, as researchers, know well. Research thrives in an atmosphere of free exchange, hence the notion of pre-competitive research. Barriers thrown up by different copyright, database, patent, and trademarks regimes, while perhaps relevant to economic competitiveness, are also antithetical to an intellectual environmental conducive to discovery and innovation.
This conundrum is by no means unique to digital information but it obtains scale and scope precisely because of digital information, in particular, because of digital communications systems that enable informal e-mail, chat and listservs among skilled practitioners and investigators and then automatically create a record of the communications. The library in your lab or university may not be called upon to referee what is and is not permissible speech. But if an archive of e-mail is turned over to the university's library, then the library has the very practical problem not only of saving the "bits," meaning preserving the ability for further generations to display the material, but also of determining when, by whom, and under what conditions the material may be retrieved and shared. To be sure, manuscript curators have faced these problems, but these were relatively specialized in the context of the library's collections. They are no longer, and manuscript curators certainly did not face issues of encryption or of licensing even to get at the material for which they were responsible.
Technology offers us tools to manage intellectual property issues and is likely to offer us more options as research flourishes. However, these tools must be deployed in organizational contexts. As the well-known examples from intellectual property law show us, the economic, social and organizational contexts are likely to pose even greater challenges than preserving the material itself. Indeed, one of the most surprising conclusions from a series of interviews, white papers and stakeholder meetings conducted in summer and fall of 2001 under the leadership of the Library of Congress's National Digital Information Infrastructure and Preservation Program (NDIIPP) was precisely that: the technological dimensions of long term preservation of digital content are difficult, but they are not the most difficult dimensions of the preservation problem and the solutions to issues of long term digital preservation are not purely technological.
As many of you may know, legislation passed in December 2000 charged the Library of Congress to lead a national effort to develop an infrastructure to support long term preservation of so-called "born digital" content. That is, material created in digital form for which there is no analog equivalent and is experienced by the user as seamless digital information. Obvious examples are Web site that have an interface and "serve up" data from distributed databases or interactive online games that might appear differently to different users at different times. The intent of the background research, interviews and planning that took place in 2001 and 2002 was to define the basic issues while illuminating the concerns brought by the library, preservation, and archival communities as well as those of the content creator and distributor communities -- publishers, authors, studios, professional associations like Recording Industry Association of America,, Motion Picture Association of American, and the Association of American Publishers, and so on.
Not surprisingly, different communities placed emphasis on different problems but there was surprising consensus on the fundamentals:
1.Technology:The basic issues are well-known:storage media degrades and that signals encoded thereon also degrade but at a different rate; software and hardware obsolesce, and preserving equipment is not a viable long term solution.Research is underway to examine these issues – how long does a DVD last, for example? But there is less consensus about strategies such as migration versus emulation, about the scope and structure of metadata, and about architectures, although there was firm consensus on the need for some sort of distributed environment.Which of course immediately begs the organizational question:whose responsibility for what? and how will one node in a distributed system "know" what other nodes have?
Philosophy: The finding and knowing that a distributed system implies description and description further implies that there is agreement on the what, or the "object" as it is known among our colleagues in computer science. How does one define the limits and boundaries of a large data set such as a web site that has many links – where do you draw the line? How does one distinguish between published and unpublished sites? Which version of a work should be archived – especially as some complex digital works, like games or scientific databases, are never finished? What constitutes "authenticity"? Several writers pointed out that the issue is not only making sure that bits survive but also ensuring the preservation of a technical environment that will permit future retrieval of the information, the work as envisioned by the author or creator, and the experience of the user.
Law: Few failed to identify intellectual property rights (IPR) management and fair use as key issues. The complexity of this set of issues varies across media. Thus, questions of international law hang heavily over the Web and any products that are distributed through the Web, while changing perceptions of who is or is not a public figure and the layered rights associated with recorded sound, moving images, and television figure prominently in discussions of those formats. Several people pointed out that copyright as a mechanism, which had arisen in the context of print, had already begun to fray under the stress of its application to media other than text, and that it was becoming increasingly unwieldy. Finally, ambiguity over the law is itself becoming a barrier. Faculty members are wary of developing new course work for online learning in an environment in which there is no consensus about appropriate conduct and the legal ramifications of their decisions are unknown.
The cultural role of libraries in general and of the Library of Congress in particular: As a librarian, I found this set of observations possibly the most revealing. The interviews showed confusion over whether archiving for purposes of preservation could be decoupled from use, a distinction that is common among traditional preservation circles in which use of rare objects, for example, can be calibrated and surrogates used in their stead. (This is one of the rationales both for bibliographic records and for metadata, which enable scholars to learn about an object without accessing the object itself.) Some of this ambiguity arose from an appreciation of the mission of the LC as an institution that supports scholarship and is in some way "the nation's library." Many from outside the Library of Congress seemed to think that its policies were similar to those of their campus or public libraries. Within those tacit assumptions, any digital work deposited with the Library for copyright might be supposed automatically to go into the general collections and automatically to become accessible via the Internet. This is not at all the case.
Although this view of collecting and lending policies is mistaken, I do believe that the underlying faith in the American library system revealed by these opinions is wonderful. It speaks to our belief in the democratizing effects of knowledge and the cultural role libraries play in furthering that democratization. Now we have to find a way to protect that role as democratic stewards while assuming ensuring for fairness and balance among all interested parties. It is not our role alone -- we will need many partners -- but clearly the public looks to libraries for leadership.
What can scholars expect from their libraries in the digital age? It should be obvious by now that long term preservation of digital content requires participation from many individuals and entities at many steps in the process -- from decisions by individuals in government agencies, for example, about weeding their e-mail files, to software designers who must come up with systems that enable users to save relevant information with the click of a mouse, to managers who must deploy these systems within coherent policies that their employees understand. Government information is a relatively well-structured example. Libraries and archives that deal with even more heterogeneous information -- everything from diaries to commercial motion pictures and so-called "indie" productions -- face an even more challenging set of questions about collections and use policies. Most librarians would agree that trying to gauge the future expectations of users 50 or 100 years hence is both necessary and problematic but key to working out a reasonable set of policies.
To understand what digital assets are being collected and archived, the Council on Library and Information Resources (CLIR), which played a pivotal role in the background studies for NDIIPP in 2001 and 2002, commissioned a series of investigations into how scholars use digital information and what institutions were doing to provide and protect access to that information. I was CLIR's president at the time.
Our findings were simultaneously disturbing and encouraging. First, the bad news:
A survey of 33 North American initiatives representing a cross-section of the cultural community, from performing arts organizations and scholarly and library associations to publishing groups and standards initiatives, revealed: a diverse array of missions, programs, services, and products and equally diverse – and frequently fragile – organizational structures with staff sizes that range a few volunteers to large groups of paid professionals.
Philanthropic foundations are the largest source of financial support for digital cultural initiatives, followed by membership fees and by grants from federal, state, municipal, and other local public agencies. But philanthropic support is unstable. The Andrew W. Mellon Foundation, a leading financial contributor, regards support for digital cultural heritage initiatives as a by-product of its mission to support scholarship. The Institute of Museum and Library Services (IMLS), the only federal agency with statutory authority to support digitization, does view such support as its mandate. However, funders evaluate sustainability among recipients and include demonstration of demand and institutional support and benchmarks to ensure accessibility over time.
Many of the initiatives surveyed in fact have not yet reached a sustainable state, and recent economic developments contribute to their tenuous status. Collaborative efforts are increasingly rare and projects observed an alarming trend among foundations to discontinue arts funding. Commercial ventures present one opportunity but may jeopardize their nonprofit purpose and status.
Many cultural organizations fail to treat digital cultural heritage projects as a permanent part of their operations. This tentativeness results in inadequate financial resources, a lack of long-term planning, and huge burdens on staff, and is exacerbated by an absence of community-wide preservation and archiving standards and management policies.
Now for the good news:
Among the projects surveyed by CLIR was recognition of the problem and some consensus about solutions, which converge with solutions proposed by NDIIPP and other international preservation initiatives. Indeed, the existence of these national initiatives is the second bit of good news. Initiatives at the National Library of the Netherlands, in the Scandinavian countries, at the Bibliotheque Nationale in France and at the British Library in the UK, and at the national libraries of Australia and New Zealand as well as NDIIPP, programs at the National Library of Medicine and the National Agricultural Library together with the electronic records program at the National Archives are making headway at several levels and most importantly are aware of concurrent work. These admittedly nascent interactions represent the third bit of good news.
Whether talking to representatives of individual initiatives while at CLIR or to leaders of other national libraries in my present position as Associate Librarian of Congress, very consistently I hear that collaboration and cooperation are essential to long term digital preservation. You will recall that one of the implications of distributed systems was understanding distributed responsibility for these systems and hence communication and cooperation among them. For some of you, that may mean the very hard questions of technical inoperability; for others (and I include myself in this category), it means the organizational challenges of partitioning responsibility for building collections, for sharing information about those collections, and ultimately for sharing the contents of those collections – again, while balancing other important concerns like copyright and integrity of documents and their display.
Increasingly, the library and archives communities are coming to terms with the notion of distributed responsibility for building collections and for long term stewardship of those collections. In addition to increasing awareness of preservation, we are also beginning to come up with at least preliminary standards and guides to good practice so that we can begin the important work of saving data at least in a primitive way while computer scientists, engineers, and behavioral scientists conduct their research. Colin Webb, from the National Library of Australia, is preparing an important new document for submission to the General Conference of UNESCO, the United Nations Educational, Scientific and Cultural Organization, "Guidelines for the Preservation of Digital Heritage". Four points deserve particular emphasis today:
1. Digital preservation will happen only if organizations and individuals accept responsibility for it. The starting point for action is a decision about responsibility.
2. Everyone does not have to do everything; everything does not have to be done all at once.
3. Preservation action should not be delayed until a single 'digital preservation standard' appears.
4. It is reasonable for programs to choose multiple strategies for preserving access, especially to diverse collections. They should consider the potential benefits of maintaining the original data streams of materials as well as any modified versions, as insurance against the failure of still-uncertain strategies.
Challenges for the Future
Probably the biggest challenge to preserving the burgeoning amount of digital information that is being created today is agreeing that this is a problem that cannot be addressed by libraries and archives alone: it is a problem that is shared by all who create and use digital information – technologists, scientists in academe and R&D labs, scholars in the arts and humanities, historical societies that have traditionally looked after local history and genealogy, and the state and national libraries and archives with mandates of national and international scope.
We can certainly articulate many of the key challenges and go to work on solutions. What are they? Well, you can probably guess:
Copyright, rights ownership and management: As we acquire content protected by copyright we must be able to preserve it, which includes copying it across platforms and media, and we must understand how it might be made available for use.
Selection: Generally understood by librarians as collection development policies, we need to think about and implement models for collaboration. To this, we also need to understand how digital information is being used, what is important (of enduring value), and where responsibility for harvesting, cataloging, organizing, maintaining content is shared.
Technology. Solutions that we already use in very small collections need to be developed and tested and scaled up to meet future needs. Some of the specifics are passive and active capture methods, harvesting, documentation, metadata, and interoperability standards, registries of digital collections and formats (current and obsolete), agreement of what constitutes a "trusted digital repository", agreement on what is what constitutes good life cycle management of digital content, and establishment of pathways for delivering content including sounds and moving images. There is very good work underway in many of these topics and that good work should be fostered and shared.
More trusted partners are needed who are willing to share collecting and administrative responsibility (and costs) for the long term preservation of content. The academic and research libraries have begun to evolve models for collaboration, and the NDIIPP holds great promise for developing a sound infrastructure for preservation. But the results of these efforts will need to be tested.
But sustainable digital preservation is much more than a technical challenge; it is a cultural challenge that requires scholars, among others, to recommit themselves to the archival enterprise. It also requires that we build new communities of stakeholders who have a vested interest in seeing that what we create today is available for our children and our children's children. Of no little importance will be our need to build and strengthen the social capital in our institutions to bring together the librarians, the scholars, the IT experts, and the computer scientists. As our good friend Benjamin Franklin said at the birth of the Republic, "We must all hang together, or we will most assuredly hang separately."
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Noored Ühiskonna Heaks (NYH) is promoting a call for participants for a Training Course called "Re-ENACT – Empowerment through Nature, Authentic Communication and Theatre" which will take place from 03rduntil 09th April 2016 in Clare, Ireland.
The training course designed to develop the competences of youth workers, trainers and youth leaders to engage and empower young people in their lives, work and communities.
Using the tools of Nature, Authentic Communication and Theatre we will learn together how to empower the young people we work with by developing their skills in enhanced communication, conflict resolution techniques, entrepreneurial thinking and active participation. The programme involves theoretical inputs and practical workshops, discussions, group processes and individual work.
This event will bring together 24 participants from Turkey, Hungry, Estonia, Czech Republic, Lebanon, Italy, Portugal, UK, Armenia, Georgia and Morocco.The event will be held in English. There are 2 vacancies available and participants should have minimum 18 years old.


text:
Rotterdam to crack down on firecrackers and rockets
Rotterdam city council want to establish designated zones for consumer firecrackers and rockets, mayor Ahmed Aboutaleb announced this week. The measure, aimed at limiting fireworks-related nuisance on New Year's Eve, will be implemented from next year, Dutch media report.
'The fireworks tradition is costing the police and the council millions of euros each year,' the AD quotes Aboutaleb as saying. 'The discussion about limiting the disruption and damage has been ongoing but unfortunately it has not led anywhere. Designated fireworks zones would make the work of the emergency services that much easier.'
Moves to ban consumer fireworks altogether in the four big cities were blocked by the government in June this year.
Rotterdammers will still be able to set off fireworks in their neighbourhoods but it will be done in locations which can be better supervised by police, the AD writes. The council has not yet said how big the zones will be or where they will be located.
Rotterdam has experimented with firework-free zones, for instance around hospitals, care homes and petting zoos but implementation has met with legal difficulties, the council said.
Designated area for fireworks would require an adjustment of the local bye-laws. The council still has to approve this, the AD points out.
'The work life balance has to be my favourite Dutch thing'


text:
Unabridged Access
7 Questions With Andi Arndt
We sit down with narrators to give you the scoop on everything you want to know (and didn't know you wanted to know!) about recording an audiobook. Today, we chatted with Andi Arndt, the acclaimed narrator of audiobooks by everyone from Debbie Macomber and Nora Roberts to Kylie Scott and Tom Perrotta.
1. How did you get into audiobook narration?
Very intentionally. When I started, I was also teaching acting and voice part-time for the James Madison University School of Theatre and Dance. I had been working in a lot of different genres of VO and narration to see which I liked best, and audiobook narration seemed to offer everything I was looking for. I knew it was a very competitive milieu, so I spent a lot of time paying attention to that world, what the important workshops and conferences were, that kind of thing. I spent a couple of years as an audiobook proof-listener and learned a ton of dos and don'ts that way, and the company I proofed for ended up giving me my first paid narration job in the fall of 2011.
2. What was the first audiobook you ever narrated?
I self-published Lucy Corin's Everyday Psychokillers: A History for Girls in 2010 after making arrangements directly with the author and with Audible. I had met Lucy Corin when she was on the faculty at JMU and she was kind enough to put me in touch with her publisher. The first audiobook I was *hired* to narrate was Pamela Sargent's Venus Trilogy—69 hours of narration across the three books! To this day, those are the longest books I've ever narrated.
3. What's your favorite genre to read and why?
I'm an omnivore, and always find something to love and/or learn with every new book. My favorite thing, no matter the genre, is when I click with an author's phrasing and word choice intuitively, and get the sense that we think along similar lines, that I know what the next word in a sentence is going to be before I turn the page, that we almost breathe together. Sarah Bannan (Weightless) is that way for me, and when I shared that with her, she admitted that when she is writing, she reads aloud as she goes, to see if she likes what she's written. I wasn't surprised at all; it really felt that way. I was so moved by her story, I definitely had to stop a few times to compose myself.
I've been quite busy with contemporary romance, of course, with recent series by Kylie Scott and Leisa Rayven. Their books deal with the tension between the onstage and offstage lives of musicians and actors, respectively. I know my way around a green room, so those are especially fun assignments.
4. Are there any particular words or phrases that trip you up again and again?
I loathe words that begin with "sl" because there's something in the architecture of my mouth that catches air bubbles near the back of my tongue and cheeks, and it makes the grossest sound, I have to stop and re-record. Other than that, though, if I'm having trouble with a phrase for whatever reason, usually I find that just altering the rhythm of the sentence ever so slightly will get me over the speed bump.
5. What's your go-to meal before recording?
A light meal, first of all, so all the blood doesn't rush to my stomach when I need it for my brain. Salads, clear-broth soups (I love hot & sour soup from Chinese takeout) and little nibbles. No dairy on recording days.
6. What's the hardest part of narrating?
Being so sedentary can be rough on the body, especially the back.
7. What's the best part of narrating?
Being connected to a book, author, series that people love and want to talk about is very rewarding. I always like when reviewers and readers talk about the content of an audiobook because it means they heard the book through me, and weren't distracted by my performance. And of course the ultimate is when I get a note from an author saying they were pleased with the audiobook. That's what it's all about.
andi arndt, kylie scott, leisa rayven, sarah bannan, weightless
I Know Him, I Know Him: George Newbern
Narrator Crushin': Campbell Scott
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The Microsoft DirectX® End-User Runtime provides updates to 9.0c and previous versions of DirectX — the core Windows® technology that drives high-speed multimedia and games on the PC.
DirectX 11 Technology Update
Presentation from Gamefest 2010
DirectX End-User Runtimes (June 2010)
This download provides the DirectX end-user redistributable that developers can include with their product.
Microsoft .NET Framework 3.5 Service Pack 1
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text:
import path from 'path';
import { Application } from 'spectron';

const fromRoot = file => path.join(process.cwd(), file);

const app = new Application({
  path: fromRoot('node_modules/.bin/electron'),
  args: [fromRoot('app')],
});

const getRemoteApp = () => app.electron.remote.app;

const captureScreenshot = async selector => {
  // Get position of target element and capture a screenshot
  const captureResult = await app.client.executeAsync((selector, done) => {
    const electron = require('electron');
    const clientRect = document.querySelector(selector).getBoundingClientRect();
    const rect = {
      x: parseInt(clientRect.left),
      y: parseInt(clientRect.top),
      width: parseInt(clientRect.width),
      height: parseInt(clientRect.height),
    };
    electron.remote.getCurrentWindow().capturePage(rect, image => {
      done(image.toPNG().toString('base64'));
    });
  }, selector);
  return Buffer.from(captureResult.value, 'base64');
};

const selectByTestId = id => `[data-test-id="${id}"]`;

export default app;
export { getRemoteApp, captureScreenshot, selectByTestId };

redpajama_set_name: RedPajamaGithub


Cheers for CHOP – Do Good. Be Fabulous.
Thank you for joining us at this year's Cheers for CHOP. It's not too late to be part of the fight against pediatric brain tumors, the deadliest childhood cancer.
Thank you to everyone who made this year's Cheers for CHOP an astounding success! With your help, we raised vital funds to support breakthroughs in pediatric research and care at Children's Hospital of Philadelphia, and we had a blast doing it, thanks to the chart-topping hits of Montell Jordan. We couldn't have done it without all of our sponsors who donated so generously — especially our presenting sponsors, Susan and Scott Perricelli.
This is how we find cures. This is how we change lives. This is how we help sick kids. This is how we do it!
Check out the fun from 2019's Cheers for CHOP!
Thank you to all of our generous 2019 sponsors.
Our inspiring patients are the reason why we started Cheers for CHOP.


text:
Sam Humphries (born March 16, 1977) is an American comic book writer located in Los Angeles. Between 2018 and 2020, he co-hosted DC Daily on the DC Universe streaming platform.

Early life
Humphries was born in Annapolis, Maryland and grew up in Minneapolis, Minnesota.

Career
Humphries began his career in the early 2000s as a Consulting Editor for Gutsoon! Entertainment and, as part of his duties to "monitor the chatter" around the American comic book industry, joined the Warren Ellis Forum where he got acquainted with several professional and aspiring comic book creators. After the dissolution of Gutsoon!, Humphries went on to work at MySpace, where he developed several projects including the network's comics section and its most popular feature, MySpace Dark Horse Presents, the digital revival of Dark Horse's signature anthology series that had been canceled several years prior. Between 2010 and 2011, Humpries was a co-host on Meltcast, the official podcast of the comic book store Meltdown Comics.

Humphries made his debut as a writer in 2010, contributing short stories to Fraggle Rock and a CBGB-themed anthology published by Boom! Studios. In 2011, he self-published Our Love is Real, a sci-fi sex satire that brought him to the attention of comic book publishers. The following year, he was hired by Marvel to write an adaptation of John Carter: The Gods of Mars and take over the scripting duties of Ultimate Comics: The Ultimates after the departure of Jonathan Hickman. During his run on The Ultimates, Humphires wrote the storyline involving Captain America becoming the President of the United States, which received nation-wide coverage in the news. In 2013, he launched the second volume of Uncanny X-Force and wrote an Age of Ultron spin-off series, Avengers A.I.. After signing an exclusive contract with Marvel, Humphries worked on Legendary Star-Lord, one of the Guardians of the Galaxy spin-off series launched in anticipation of the 2014 film, and developed the multi-title crossover storyline "The Black Vortex". In 2016, Humphries joined DC Comics, launching Green Lanterns as part of the company's DC Rebirth initiative. In 2018, he took over Harley Quinn, staying on the title for the next two years. That same year, it was announced Humphries would resurrect the Silver Age title Dial H for Hero for Wonder Comics, DC's "pop-up" imprint curated by Brian Michael Bendis.

Humphries' creator-owned comics include his second self-published series Sacrifice with Dalton Rose, Jonesy with Caitlin Rose Boyle, published by Boom! Studios, and Blackbird with Jen Bartel, published by Image.

In addition to his work in comics, Humphries was a contributing writer for several comics-oriented websites such as Artbomb, Comic Book Resources and ComicsAlliance. In 2014, he co-wrote the mobile fighting game Marvel Contest of Champions, developed by Kabam.

Personal life
Humphries has epilepsy.

Bibliography

Early work
Free Comic Book Day 2010: Mouse Guard Spring 1153/Fraggle Rock: "The Birthday Present" (with Jeremy Love, co-feature in one-shot, Archaia Studios, 2010)
 Collected in Fraggle Rock Volume 1 (hc, 136 pages, 2010, )
 Collected in Fraggle Rock Omnibus (tpb, 240 pages, Boom! Studios, 2018, )
Our Love is Real (with Steven Sanders, one-shot — self-published in July 2011, reprinted by Image in November 2011)
Sacrifice #1–6 (with Dalton Rose, self-published, 2011–2013) collected as Sacrifice (hc, 168 pages, Dark Horse, 2013, )
Virginia (with Pete Toms, 8-page webcomic, Study Group Comics, 2012)
Ahoy, Booty!: "Beach Bums" (with Sloane Leong, short segment in the zine self-published by Lainey Diamond and Emily Partridge, 2012)

Boom! Studios
CBGB OMFUG #1: "The Helsinki Syndrome" (with Rob G., anthology, 2010) collected in CBGB OMFUG (tpb, 112 pages, 2010, )
Fanboys vs. Zombies (with Jerry Gaylord and Bryan Turner (#7–8, 10); issues #10–12 are scripted by Shane Houghton from Humphries' plots, 2012–2013) collected as:
Wrecking Crew 4 Lyfe (collects #1–4, tpb, 128 pages, 2013, )
Appetite for Destruction (collects #5–8, tpb, 112 pages, 2013, )
Escape From San Diego (collects #9–12, tpb, 112 pages, 2013, )
Higher Earth (with Francesco Biagini, Manuel Bracchi (#2–3) and Joe Eisma (#5), 2012–2013) collected as:
Volume 1 (collects #1–5, tpb, 128 pages, 2013, )
Volume 2 (collects #6–9, tpb, 112 pages, 2013, )
Jonesy (with Caitlin Rose Boyle, Boom! Box, 2016–2017) collected as:
Volume 1 (collects #1–4, tpb, 112 pages, 2016, )
Volume 2 (collects #5–8, tpb, 112 pages, 2017, )
Volume 3 (collects #9–12, tpb, 112 pages, 2017, )

Marvel Comics
John Carter: The Gods of Mars #1–5 (with Ramón K. Pérez, 2012) collected as John Carter: The Gods of Mars (tpb, 112 pages, 2012, )
Ultimate Comics: The Ultimates (with Luke Ross, Butch Guice (#11–12), Billy Tan (#13–15), Timothy Green II (#14), Dale Eaglesham (#18.1), Scot Eaton (#19–21) and Joe Bennett (#22–24), 2012–2013) collected as:
Ultimate Comics: The Ultimates by Jonathan Hickman Volume 2 (includes #10–12, hc, 144 pages, 2012, ; tpb, 2013, )
 Issues #10–12 are scripted by Humphries from Jonathan Hickman's plots.
Ultimate Comics: Divided We Fall, United We Stand (includes #13–18, hc, 408 pages, 2013, ; tpb, 2013, )
Ultimate Comics: The Ultimates by Sam Humphries Volume 1 (collects #18.1 and 19–24, tpb, 160 pages, 2013, )
Uncanny X-Force vol. 2 (with Ron Garney (#1–4), Adrian Alphona, Dexter Soy (#5–6, 16–17), Dalibor Talajić (#7–9, 15), Ramón K. Pérez (#10–11), Angel Unzueta (#13), Philippe Briones (#13–15) and Harvey Tolibao (#16–17), 2013–2014) collected as:
Let It Bleed (collects #1–6, tpb, 136 pages, 2013, )
Torn and Frayed (collects #7–12, tpb, 136 pages, 2013, )
The Great Corruption (collects #13–17, tpb, 160 pages, 2014, )
Avengers A.I. (with André Lima Araújo and Valerio Schiti (#5–6), 2013–2014) collected as:
Human After All (collects #1–6, tpb, 136 pages, 2013, )
12,000 A.D. (collects #7–12, tpb, 136 pages, 2014, )
Guardians of the Galaxy:
Legendary Star-Lord (with Paco Medina, Freddie Williams II (#4, 7–8) and Andrea Sorrentino (#12), 2014–2015) collected as:
 Face It, I Rule (collects #1–5, tpb, 112 pages, 2015, )
 Rise of the Black Vortex (collects #6–12, tpb, 160 pages, 2015, )
Guardians of the Galaxy and X-Men: The Black Vortex (hc, 312 pages, 2015, ; tpb, 2016, ) includes:
 Guardians of the Galaxy and X-Men: The Black Vortex Alpha (with Ed McGuiness and Kris Anka, one-shot, 2015)
 Guardians Team-Up #3: "The Black Vortex, Chapter Six" (with Mike Mayhew, 2015)
 Guardians of the Galaxy and X-Men: The Black Vortex Omega (with Ed McGuiness and Javier Garrón, one-shot, 2015)
Secret Wars: Star-Lord and Kitty Pryde #1–3 (with Alti Firmansyah, 2015) collected as Secret Wars — Battleworld: Star-Lord and Kitty Pryde (tpb, 128 pages, 2015, )
Star-Lord vol. 2 (with Javier Garrón and Will Robson (#8), 2016) collected as:
 First Fly (collects #1–5, tpb, 112 pages, 2016, )
 Out of Orbit (collects #6–8, tpb, 128 pages, 2016, )
The Avengers vol. 5 #34.2: "Big City" (with Bengal, 2015) collected in Avengers World: The Complete Collection (tpb, 528 pages, 2019, )
Secret Wars: Planet Hulk #1–5 (with Marc Laming, 2015) collected as Secret Wars — Warzones: Planet Hulk (tpb, 120 pages, 2016, )
Weirdworld #1–6 (with Mike del Mundo, 2016) collected as Weirdworld: Where Lost Things Go (tpb, 136 pages, 2016, )

DC Comics
Green Lanterns (with Robson Rocha, Eduardo Pansica, Will Conrad + Jack Herbert (#6), Ronan Cliquet, Ed Benes (#8), Miguel Mendonça (#15), Neil Edwards (#16), Carlo Barberi (#24 and 30) and Scott Godlewski (#32), 2016–2017) collected as:
Rage Planet (collects #1–6, tpb, 168 pages, 2017, )
 Includes the Green Lanterns: Rebirth one-shot (co-written by Humphries and Geoff Johns, art by Ethan Van Sciver and Ed Benes, 2016)
The Phantom Lantern (collects #7–14, tpb, 192 pages, 2017, )
Polarity (collects #15–21, tpb, 168 pages, 2017, )
The First Ring (collects #22–26, tpb, 128 pages, 2017, )
Out of Time (collects #27–32, tpb, 144 pages, 2018, )
Legion of Super-Heroes/Bugs Bunny Special (with Tom Grummett, 2017) collected in DC Meets Looney Tunes (tpb, 248 pages, 2018, )
Manhunter Special: "The Demon and the Infernal Prisons" (with Steve Rude, co-feature, 2017) collected in Jack Kirby 100th Celebration Collection (tpb, 192 pages, 2018, )
Batman: The Dawnbreaker (with Ethan Van Sciver, one-shot, 2017) collected in Dark Nights: Metal — Dark Knights Rising (hc, 216 pages, 2018, ; tpb, 2019, )
Nightwing vol. 3 #35–41 (with Bernard Chang, Jamal Campbell (#37, 39, 41), Klaus Janson (#37) and Phil Jimenez (#39), 2018) collected as Nightwing: The Untouchable (tpb, 216 pages, 2018, )
Harley Quinn:
Harley Quinn vol. 3 (with John Timms, Alisson Borges (#48–49), Sami Basri, Lucas Werneck (#53–54), Otto Schmidt (#61–63) and Abel (#72), 2018–2020) collected as:
 Harley vs. Apokolips (includes #45–49, tpb, 168 pages, 2018, )
 Harley Destroys the Universe (collects #50–54, tpb, 160 pages, 2019, )
 The Trials of Harley Quinn (collects #55 and 57–63, tpb, 208 pages, 2019, )
 The Final Trial (includes #64–68, tpb, 168 pages, 2020, )
 Hollywood or Die (collects #70–75, tpb, 176 pages, 2021, )
Harley Quinn: Black + White + Red #15: "Happy Thanksquinning" (with Stephen Byrne, digital anthology, 2020) collected in Harley Quinn: Black + White + Red (tpb, 232 pages, 2021, )
Dial H for Hero (with Joe Quinones, Arist Deyn (#3) and Paulina Ganucheau (#8), Wonder Comics, 2019–2020) collected as:
Enter the Heroverse (collects #1–6, tpb, 160 pages, 2019, )
New Heroes of Metropolis (collects #7–12, tpb, 160 pages, 2020, )
Dark Nights: Death Metal — Infinite Hour Exxxtreme: "Chapter Three" (with Denys Cowan, co-feature in one-shot, 2021) collected in Dark Nights: Death Metal — The Multiverse Who Laughs (tpb, 208 pages, 2021, )

Other publishers
Think of a City page 21 (with Mingjue Helen Chen, Internet art project, 2014)
Image:
Citizen Jack #1–6 (with Tommy Patterson, 2015–2016) collected as Citizen Jack (tpb, 168 pages, 2016, )
Blackbird #1–6 (with Jen Bartel, 2018–2019) collected as Blackbird: The Great Beast (tpb, 168 pages, 2019, )
Attack on Titan Anthology: "Playtime on Titan" (with Damion Scott, anthology graphic novel, 256 pages, Kodansha, 2016, )
Goliath Girls #1–5 (with Alti Firmansyah, self-published digitally via Comixology under the Shadow Valley label, 2018–2019)
 The series was released simultaneously in English and Japanese (as ゴリアテ・ガールズ — translated by Youhei-Penguin)

References

External links

American comics writers
1977 births
Living people


Smoczynski, L.; Kalinowski, S.; Cretescu, I.; Smoczynski, M.; Ratnaweera, H.; Trifescu, M.; Kosobucka, M. Study of Sludge Particles Formed during Coagulation of Synthetic and Municipal Wastewater for Increasing the Sludge Dewatering Efficiency. Water 2019, 11, 101.
Smoczynski L, Kalinowski S, Cretescu I, Smoczynski M, Ratnaweera H, Trifescu M, Kosobucka M. Study of Sludge Particles Formed during Coagulation of Synthetic and Municipal Wastewater for Increasing the Sludge Dewatering Efficiency. Water. 2019; 11(1):101.
Smoczynski, Lech; Kalinowski, Slawomir; Cretescu, Igor; Smoczynski, Michal; Ratnaweera, Harsha; Trifescu, Mihaela; Kosobucka, Marta. 2019. "Study of Sludge Particles Formed during Coagulation of Synthetic and Municipal Wastewater for Increasing the Sludge Dewatering Efficiency." Water 11, no. 1: 101.