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Wofford & Boulay: For-Profit Online Schools Are Doubling Down on Their S...
Wofford & Boulay: For-Profit Online Schools Are Doubling Down on Their Sales Pitches to Districts. Beware of Pandemic Predators
By Carrie Wofford & Matthew Boulay
Since the coronavirus outbreak hit the U.S. in mid-March, virtual classrooms have replaced in-person classes. Teachers have had to pivot quickly to online learning and are doing their best to keep their students from falling behind. School districts had not prepared distance learning plans for an extended closure, and now the Centers for Disease Control and Prevention has warned districts that remote learning may have to continue through the fall.
Virtual K-12 schools — most of them for-profit companies — have seized on an opportunity, descending on public school districts across the country to market their products and services for distance learning. Last year, enrollment in these virtual schools appeared to plateau amid complaints about poor outcomes. But now they are quickly ramping up their branding to capitalize on the COVID-19 crisis.
Some are offering free teacher training or a free month of their online curriculum, with the hope that some districts will stay with their paid virtual program in a blended learning model once they reopen. There are many good-faith operators out there offering their services, but also a slew of bad actors that have reputations for abysmal student outcomes, poor graduation rates and exorbitant costs. School districts, which spent more than $12 billion on education technology in 2019, need to research these companies before accepting any of their "no-risk" offers.
3 States Tried to Shutter Failing For-Profit Online Charter Schools. A Suspicious Pattern of Allegations, Accusations, and Legal Complaints Quickly Followed
A growing number of studies have found that when students move to online formats, it has a negative impact on student achievement. According to the National Education Policy Center, a nonprofit housed at the University of Colorado Boulder, most students enrolled in full-time K-12 virtual schools do not perform as well as their classmates attending brick-and-mortar schools. Of the 320 virtual schools with available school performance ratings, just 67, or 48.5 percent, were rated acceptable by their state education agencies, according to data collected by the center for the 2017-18 school year (71 were rated unacceptable; 182 had no rating reported). The graduation rate was 48.5 percent at virtual schools managed by for-profit companies, far below the national average of 84 percent. Less than half of students graduating and less than half of for-profit schools rated "acceptable" is not good enough for America's children.
Another critical study, conducted by the Center for Research on Educational Outcomes (CREDO) at Stanford University, concluded that students in virtual programs "learned the equivalent of 72 fewer days in reading and 180 days in math compared with the traditional public school students to whom they were matched."
The Hechinger Report recently conducted an analysis of dozens of for-profit education software companies and found that they were "promoting their products' effectiveness on their websites, in email pitches and in vendor brochures with little or shoddy evidence to support their claims." Hechinger cited Matific, IXL and Edgenuity, as well as K12 Inc., one of the largest for-profit education chains in the country.
Threatened With Closure, Virtual School Embraced Accountability, Fired Its For-Profit Manager and Made Dramatic Gains for Its 9,000 Students
We've seen this playbook before — in the higher education sector, where for-profit college chains with subpar online programs disproportionately recruit vulnerable populations, including low-income persons and veterans. To get their hands on federal funds, including GI Bill benefits, many of these colleges brand themselves as military-friendly and spend more money on deceptive advertising and aggressive recruitment tactics than on students and instruction. For-profit colleges' salespeople, under pressure in boiler room atmospheres, overpromise and underdeliver. After enrolling, students end up with worthless degrees, credits that don't transfer and loan debt they didn't sign up for.
Years of state and federal investigations finally shed light on some of these bad actors, shuttering dozens of campuses and bankrupting large for-profit chains like the Corinthian College and ITT Technical Institute. Their collapse wasn't the result of a simple business failure so much as an indictment of a business model devoted almost entirely to gaming the taxpayer-funded financial aid system. We've been fighting this battle for years, and now we're concerned about how that business model is being applied to K-12 virtual schools.
Virtual Standstill: When a Georgia Online School Tried to Fire For-Profit Operator K12, Students Were Locked Out of Their Computers
Nonprofit K-12 providers make better choices and have proven reputations when it comes to online learning. Khan Academy provides free resources and classes for students, teachers and parents. For years, Match Charter School in Boston has been posting its pre-K-12 curriculum on the platform Match Fishtank. An enhanced version, Fishtank Plus, is normally a subscription service, but it is currently being offered for free during the COVID-19 crisis, with updated materials and tips for teachers to adapt the curriculum to an online platform.
Keeping kids' learning on track is difficult enough during this time. School districts that are approached by for-profit companies would do well to take the advice they give their students: Do your homework.
Carrie Wofford is president of Veterans Education Success. Matthew Boulay is the founder of the National Summer Learning Association and author of "How To Keep Your Kids Learning When Schools Are Closed."
Carrie Wofford is president of Veterans Education Success
Matthew Boulay is the founder of the National Summer Learning Associationand author of "How To Keep Your Kids Learning When Schools Are Closed."

redpajama_set_name: RedPajamaCommonCrawl


Elizabeth Debicki has joined John David Washington and Robert Pattinson in Batman director Christopher Nolan's new movie.
The cast of Christopher Nolan's next movie continues to grow, with Variety reporting that Elizabeth Debicki has joined the top secret project. Characters details are being kept under wraps.
Christopher Nolan's next movie was recently dated by Warner Bros. after the filmmaker completed its script. The project is said to be a "massive, innovative, action blockbuster" that will receive an IMAX release. Nolan is producing it alongside his partner Emma Thomas.
For comic book fans, Christopher Nolan is best known for directing the Dark Knight trilogy. His last project was the WWII action-drama Dunkirk, which won three Academy Awards for Best Sound Editing, Best Sound Mixing, and Best Film Editing.
Warner Bros has set Christopher Nolan's next movie for July 17, 2020. Stay tuned to Heroic Hollywood for more updates on the project.


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Art, News
Banksy migrant crisis paintings sell for £2.2m in charity sale
A trio of Banksy paintings has sold for more than £2.2m ($2.9m) at an auction in London, with the proceeds being donated to a hospital in Bethlehem.
The works, titled Mediterranean Sea View 2017, were originally estimated to sell for between £800,000 and £1.2m in the Sotheby's sale.
The artist reworked three traditionally framed, romantic-era-style oil paintings depicting tumultuous seascapes, adding discarded life jackets and buoys, to produce the pieces.
They are seen as a reaction to Europe's migrant crisis of the past decade which has seen hundreds of thousands of people fleeing war and conflict and trying to reach the continent on dangerous journeys across the Mediterranean and Aegean seas.


Description: 7 Days Kenya Tanzania combined group safari to Amboseli National park at the foot hills of Mt Kilimanjaro, before entering Tanzania via Namanga boarder, Ngorongoro Crater is said to have the world's densest population of lion. In Lake Manyara lions have developed a liking for residing in the branches of trees, where they can both sleep and watch for prey whilst the Serengeti is notable for its large migratory herds of wildebeest and zebras with strings of predators in trail.
A full day in this photogenic park. Morning and afternoon game drives. Meals and overnight at Kibo Safari Camp.
Early breakfast then proceed for morning game drives exit the park and, we drive into Tanzania via the Namanga border. We also pass through Arusha to Lake Manyara National park with lunch enroute. Regardless of the direction we approach Manyara from, the view is always fantastic. We proceed to Nysa Lodge for dinner and overnight stay. Lake Manyara is a shallow, alkaline lake that is part of the Rift Valley wall; the lake is at the base of this dramatic western escarpment giving it a beautiful and serene setting. In addition to this peaceful setting, Lake Manyara's main attractions are its rich bird life, tree climbing lions and its hippos, which you can see at a closer range than many other places. Lake Manyara also hosts thousands of flamingos at certain times of the year and has diverse vegetation ranging from savannah, to marshes and acacia woodland, enabling a variety of wildlife habitats including butterflies.
Breakfast then proceed to Serengeti national park. Game is viewed as we proceed to the Serengeti thorn tree or similar for dinner and overnight stay.
Full day spent exploring the park .Dinner and overnight stay at Serengeti thorn tree or similar Serengeti is Africa's most famous and Tanzania's largest park covering 14,736 sq km and is adjoining with the Masai Mara National reserve in Kenya.
With a wildebeest population of about 2 million and several other hoofed species (which include zebra, Thomson's gazelle, impala, topi, Grants gazelle, Kongoni, Eland, Kirk's dik dik, klipspringer, roan, Oryx, oribi, waterbuck, buffalo, giraffe and warthog), the Serengeti is sure to attract a string of prey such as lion, leopard, cheetah, hyena, golden jackals and bat eared foxes. Elephants are relatively scarce and the few remaining black rhinoceros are restricted to the Moru Koppies area. Serengeti also offers rewarding bird viewing with ostrich and kori bustard being common, a variety of larks, finches, and raptors can be seen but the most distinctive small bird is the lilac breasted roller.
after an early breakfast, we drive south to the magnificent Ngorongoro crater descends into crater for a full day crater tour with packed lunches. Ascend the crater rim for dinner and overnight stay at Ngorongoro Forest lodge The Ngorongoro Crater is often called 'Africa's Eden' and the '8th Natural Wonder of the World,' a visit to the crater is a main drawcard for tourists coming to Tanzania and a definite world-class attraction. The Ngorongoro Conservation Area (NCA) is home of Ngorongoro Crater. It was formed some 2.5 million years ago from a volcanic mountain sinking due to inactivity, and was initially thought to be higher than Tanzania's famous Kilimanjaro.
The crater has evolved into a unique and integral part of Tanzania's eco-system. The crater is actually a caldera, measures 22.5 km's across and the rim walls stand 600m high. Views from within and from the rim are breathtaking (as can be seen from the picture). The crater houses 30,000 animals and a large variety of birds, which rarely move from the area due to the availability of water through wet and dry seasons.
Breakfast at leisure then drive to Arusha to arrive by 1200 hrs, board an afternoon shuttle bus to Nairobi to arrive by 1800 hrs. . Drop off at the airport to board your home bound flight or a city hotel where the safari ends.


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PW, 7-Apr-2022
Panasonic G90 vs Sony RX1
The Panasonic Lumix DC-G90 (called Panasonic G95 in some regions) and the Sony Cyber-shot DSC-RX1 are two digital cameras that were announced, respectively, in April 2019 and September 2012. The G90 is a mirrorless interchangeable lens camera, while the RX1 is a fixed lens compact. The cameras are based on a Four Thirds (G90) and a full frame (RX1) sensor. The Panasonic has a resolution of 20.2 megapixels, whereas the Sony provides 24 MP.
Panasonic G90
Sony RX1
Micro Four Thirds lenses 35mm f/2.0
20.2 MP – Four Thirds sensor 24 MP – Full Frame sensor
4K/30p Video 1080/60p Video
ISO 200-25,600 ISO 100-25,600 (50 - 102,400)
Electronic viewfinder (2360k dots) Viewfinder optional
Swivel touchscreen Fixed screen (not touch-sensitive)
In-body stabilization no shake reduction
Check G90 price at
Check RX1 offers at
Going beyond this snapshot of core features and characteristics, what are the differences between the Panasonic Lumix DC-G90 and the Sony Cyber-shot DSC-RX1? Which one should you buy? Read on to find out how these two cameras compare with respect to their body size, their imaging sensors, their shooting features, their input-output connections, and their reception by expert reviewers.
The side-by-side display below illustrates the physical size and weight of the Panasonic G90 and the Sony RX1. The two cameras are presented according to their relative size. Three successive views from the front, the top, and the rear are shown. All width, height and depth dimensions are rounded to the nearest millimeter.
If the front view area (width x height) of the cameras is taken as an aggregate measure of their size, the Sony RX1 is considerably smaller (40 percent) than the Panasonic G90. It is worth mentioning in this context that the G90 is splash and dust resistant, while the RX1 does not feature any corresponding weather-sealing.
The above size and weight comparisons are to some extent incomplete and possibly misleading, as the RX1 has a lens built in, whereas the G90 is an interchangeable lens camera that requires a separate lens. Attaching the latter will add extra weight and bulk to the setup. You can compare the optics available for the G90 and their specifications in the Micro Four Thirds Lens Catalog.
Concerning battery life, the G90 gets 290 shots out of its DMW-BLC12 battery, while the RX1 can take 270 images on a single charge of its NP-BX1 power pack. The battery packs of both cameras can be charged via USB, which can be very convenient when travelling.
The table below summarizes the key physical specs of the two cameras alongside a broader set of comparators. If you want to switch the focus of the display and review another camera pair, you can move across to the CAM-parator tool and choose from the broad selection of possible camera comparisons there.
Panasonic G90 130 mm 94 mm 77 mm 536 g 290 Y Apr 2019 999 amazon.com
Sony RX1 113 mm 65 mm 70 mm 482 g 270 n Sep 2012 2,799 ebay.com
Olympus E-M1 III 134 mm 91 mm 69 mm 580 g 420 Y Feb 2020 1,799 amazon.com
Olympus E-M5 III 125 mm 85 mm 50 mm 414 g 310 Y Oct 2019 1,199 amazon.com
Olympus E-M1 II 134 mm 91 mm 67 mm 574 g 440 Y Sep 2016 1,999 ebay.com
Olympus E-M5 II 124 mm 85 mm 45 mm 469 g 310 Y Feb 2015 1,099 ebay.com
Panasonic G9 137 mm 97 mm 92 mm 658 g 400 Y Nov 2017 1,699 amazon.com
Panasonic G80 128 mm 89 mm 74 mm 505 g 330 Y Sep 2016 899 ebay.com
Panasonic GX8 133 mm 78 mm 63 mm 487 g 330 Y Jul 2015 1,199 ebay.com
Sony RX1R II 113 mm 65 mm 72 mm 507 g 220 n Oct 2015 3,299 amazon.com
Sony RX1R 113 mm 65 mm 70 mm 482 g 270 n Jun 2013 2,799 ebay.com
Sony NEX-7 120 mm 67 mm 43 mm 400 g 430 n Aug 2011 1,349 ebay.com
The price is, of course, an important factor in any camera decision. The manufacturer's suggested retail prices give an idea on the placement of the camera in the maker's lineup and the broader market. Normally, street prices remain initially close to the MSRP, but after a couple of months, the first discounts appear. Later in the product cycle and, in particular, when the replacement model is about to appear, further discounting and stock clearance sales often push the camera price considerably down.
The imaging sensor is at the core of digital cameras and its size is one of the main determining factors of image quality. A large sensor will generally have larger individual pixels that offer better low-light sensitivity, provide wider dynamic range, and have richer color-depth than smaller pixels in a sensor of the same technological generation. Moreover, a large sensor camera will give the photographer more control over depth-of-field in the image and, thus, the ability to better isolate a subject from the background. On the downside, larger sensors tend to be more expensive and lead to bigger and heavier cameras and lenses.
Of the two cameras under consideration, the Panasonic G90 features a Four Thirds sensor and the Sony RX1 a full frame sensor. The sensor area in the RX1 is 279 percent bigger. As a result of these sensor size differences, the cameras have a format factor of, respectively, 2.0 and 1.0. The sensor in the G90 has a native 4:3 aspect ratio, while the one in the RX1 offers a 3:2 aspect.
With 24MP, the RX1 offers a higher resolution than the G90 (20.2MP), but the RX1 nevertheless has larger individual pixels (pixel pitch of 5.96μm versus 3.34μm for the G90) due to its larger sensor. However, the G90 is a much more recent model (by 6 years and 6 months) than the RX1, and its sensor will have benefitted from technological advances during this time that enhance the light gathering capacity of its pixel-units. Coming back to sensor resolution, it should be mentioned that the G90 has no anti-alias filter installed, so that it can capture all the detail its sensor resolves.
The resolution advantage of the Sony RX1 implies greater flexibility for cropping images or the possibility to print larger pictures. The maximum print size of the RX1 for good quality output (200 dots per inch) amounts to 30 x 20 inches or 76.2 x 50.8 cm, for very good quality (250 dpi) 24 x 16 inches or 61 x 40.6 cm, and for excellent quality (300 dpi) 20 x 13.3 inches or 50.8 x 33.9 cm. The corresponding values for the Panasonic G90 are 25.9 x 19.4 inches or 65.8 x 49.4 cm for good quality, 20.7 x 15.6 inches or 52.7 x 39.5 cm for very good quality, and 17.3 x 13 inches or 43.9 x 32.9 cm for excellent quality prints.
The Panasonic Lumix DC-G90 has a native sensitivity range from ISO 200 to ISO 25600, which can be extended to ISO 100-25600. The corresponding ISO settings for the Sony Cyber-shot DSC-RX1 are ISO 100 to ISO 25600, with the possibility to increase the ISO range to 50-102400.
For many cameras, data on sensor performance has been reported by DXO Mark. This service assesses and scores the color depth ("DXO Portrait"), dynamic range ("DXO Landscape"), and low-light sensitivity ("DXO Sports") of camera sensors, and also publishes an overall camera score. The table below summarizes the physical sensor characteristics and sensor quality findings and compares them across a set of similar cameras.
Panasonic G90 Four Thirds 20.2 5184 3888 4K/30p 23.2 13.0 1273 75
Sony RX1 Full Frame 24.0 6000 4000 1080/60p 25.1 14.3 2534 93
Olympus E-M1 III Four Thirds 20.2 5184 3888 4K/30p 23.3 13.1 1356 76
Olympus E-M1 II Four Thirds 20.2 5184 3888 4K/30p 23.7 12.8 1312 80
Olympus E-M5 II Four Thirds 15.9 4608 3456 1080/60p 23.0 12.5 842 73
Panasonic G9 Four Thirds 20.2 5184 3888 4K/60p 23.1 12.8 1138 74
Panasonic G80 Four Thirds 15.8 4592 3448 4K/30p 22.8 12.5 656 71
Panasonic GX8 Four Thirds 20.2 5184 3888 4K/30p 23.5 12.6 806 75
Sony RX1R II Full Frame 42.2 7952 5304 1080/60p 25.8 13.9 3204 97
Sony A3000 APS-C 19.8 5456 3632 1080/60i 23.7 12.8 1068 78
Sony RX1R Full Frame 24.0 6000 4000 1080/60p 25.0 13.6 2537 91
Sony NEX-7 APS-C 24.0 6000 4000 1080/60i 24.1 13.4 1016 81
Many modern cameras cannot only take still pictures, but also record videos. Both cameras under consideration are equipped with sensors that have a sufficiently high read-out speed for moving images, but the G90 provides a higher video resolution than the RX1. It can shoot video footage at 4K/30p, while the Sony is limited to 1080/60p.
Apart from body and sensor, cameras can and do differ across a range of features. For example, the G90 has an electronic viewfinder (2360k dots), which can be very helpful when shooting in bright sunlight. In contrast, the RX1 relies on live view and the rear LCD for framing. That said, the RX1 can be equipped with an optional viewfinder – the FDA-EV1MK. The following table reports on some other key feature differences and similarities of the Panasonic G90, the Sony RX1, and comparable cameras.
Panasonic G90 2360 n 3.0 / 1240 swivel Y 1/4000s 9.0/s Y Y
Sony RX1 optional n 3.0 / 1229 fixed n 1/4000s 5.0/s Y n
Olympus E-M1 III 2360 n 3.0 / 1037 swivel Y 1/8000s 18.0/s n Y
Olympus E-M1 II 2360 n 3.0 / 1037 swivel Y 1/8000s 18.0/s n Y
Panasonic G9 3680 Y 3.0 / 1040 swivel Y 1/8000s 20.0/s n Y
Panasonic GX8 2360 n 3.0 / 1040 swivel Y 1/8000s 10.0/s n Y
Sony RX1R II 2360 n 3.0 / 1229 tilting n 1/4000s 5.0/s n n
Sony A3000 202 n 3.0 / 230 fixed n 1/4000s 2.5/s Y n
Sony RX1R optional n 3.0 / 1229 fixed n 1/4000s 5.0/s Y n
Sony NEX-7 2359 n 3.0 / 921 tilting n 1/4000s 10.0/s Y n
One differentiating feature between the two cameras concerns the touch sensitivity of the rear screen. The G90 has a touchscreen, while the RX1 has a conventional panel. Touch control can be particularly helpful, for example, for setting the focus point.
The G90 has an articulated LCD that can be turned to be front-facing. This characteristic will be appreciated by vloggers and photographers who are interested in snapping selfies. In contrast, the RX1 does not have a selfie-screen.
The reported shutter speed information refers to the use of the mechanical shutter. Yet, some cameras only have an electronic shutter, while others have an electronic shutter in addition to a mechanical one. In fact, the G90 is one of those camera that have an additional electronic shutter, which makes completely silent shooting possible. However, this mode is less suitable for photographing moving objects (risk of rolling shutter) or shooting under artificial light sources (risk of flickering).
The Panasonic G90 has an intervalometer built-in. This enables the photographer to capture time lapse sequences, such as flower blooming, a sunset or moon rise, without purchasing an external camera trigger and related software.
The G90 writes its imaging data to SDXC cards, while the RX1 uses SDXC or Memory Stick PRO Duo cards. The G90 supports UHS-II cards (Ultra High Speed data transfer of up to 312 MB/s), while the RX1 cannot take advantage of Ultra High Speed SD cards.
For some imaging applications, the extent to which a camera can communicate with its environment can be an important aspect in the camera decision process. The table below provides an overview of the connectivity of the Panasonic Lumix DC-G90 and Sony Cyber-shot DSC-RX1 and, in particular, the interfaces the cameras (and selected comparators) provide for accessory control and data transfer.
Panasonic G90 Y stereo / mono Y Y micro 2.0 Y - Y
Sony RX1 Y stereo / mono Y - mini 2.0 - - -
Olympus E-M1 III Y stereo / mono Y Y micro 3.1 Y - Y
Olympus E-M5 III Y stereo / mono Y - micro 2.0 Y - Y
Olympus E-M1 II Y stereo / mono Y Y micro 3.0 Y - -
Olympus E-M5 II Y stereo / mono Y - micro 2.0 Y - -
Panasonic G9 Y stereo / mono Y Y full 3.0 Y - Y
Panasonic G80 Y stereo / mono Y - micro 2.0 Y - -
Panasonic GX8 Y stereo / mono Y - micro 2.0 Y Y -
Sony RX1R II Y stereo / mono Y - micro 2.0 Y Y -
Sony A3000 Y stereo / mono - - mini 2.0 - - -
Sony RX1R Y stereo / mono Y - mini 2.0 - - -
Sony NEX-7 Y stereo / mono Y - mini 2.0 - - -
It is notable that the G90 offers wifi support, while the RX1 does not. Wifi can be a very convenient means to transfer image data to an off-camera location.
The G90 is a recent model that features in the current product line-up of Panasonic. In contrast, the RX1 has been discontinued (but can be found pre-owned on ebay). As a replacement in the same line of cameras, the RX1 was succeeded by the Sony RX1R. Further information on the features and operation of the G90 and RX1 can be found, respectively, in the Panasonic G90 Manual (free pdf) or the online Sony RX1 Manual.
So how do things add up? Is the Panasonic G90 better than the Sony RX1 or vice versa? A synthesis of the relative strong points of each of the models is listed below.
Reasons to prefer the Panasonic Lumix DC-G90:
Easier framing: Has an electronic viewfinder for image composition and settings control.
Faster buffer clearing: Supports Ultra High Speed (UHS-II) SDXC cards.
More modern: Reflects 6 years and 6 months of technical progress since the RX1 launch.
Arguments in favor of the Sony Cyber-shot DSC-RX1:
Ready to shoot: Has an integrated lens, whereas the G90 necessitates an extra lens.
Less heavy: Has a lower weight even though it has a lens built in (unlike the G90).
More heavily discounted: Has been around for much longer (launched in September 2012).
If the number of relative strengths (bullet points above) is taken as a guide, the G90 is the clear winner of the match-up (17 : 6 points). However, the relevance of individual strengths will vary across photographers, so that you might want to apply your own weighing scheme to the summary points when reflecting and deciding on a new camera. A professional sports photographer will view the differences between cameras in a way that diverges from the perspective of a street photog, and a person interested in family portraits has distinct needs from a landscape shooter. Hence, the decision which camera is best and worth buying is often a very personal one.
G90 17:06 RX1
How about other alternatives? Do the specifications of the Panasonic G90 and the Sony RX1 place the cameras among the top in their class? Find out in the latest Best Mirrorless Interchangeable Lens Camera and Best Prime Lens Compact Camera listings whether the two cameras rank among the cream of the crop.
In any case, while the comparison of the spec-sheets of cameras can offer a general idea of their imaging potential, it remains incomplete and does no justice, for example, to the way the G90 or the RX1 perform in practice. User reviews that are available, for instance, at amazon can sometimes shed light on these issues, but such feedback is all too often partial, inconsistent, and inaccurate.
Panasonic G90 4.5/5 + 4.5/5 83/100 4.5/5 4.5/5 Apr 2019 999 amazon.com
Sony RX1 5/5 .. .. 79/100 4/5 4.5/5 Sep 2012 2,799 ebay.com
Olympus E-M1 III 5/5 .. 5/5 83/100 4.5/5 4/5 Feb 2020 1,799 amazon.com
Olympus E-M5 III 5/5 + 5/5 82/100 4.5/5 4.5/5 Oct 2019 1,199 amazon.com
Olympus E-M1 II 5/5 + + 5/5 85/100 4.5/5 4.5/5 Sep 2016 1,999 ebay.com
Olympus E-M5 II 5/5 + + 4.5/5 81/100 5/5 5/5 Feb 2015 1,099 ebay.com
Panasonic G9 .. + + 5/5 85/100 5/5 5/5 Nov 2017 1,699 amazon.com
Panasonic G80 .. + + .. 84/100 5/5 4.5/5 Sep 2016 899 ebay.com
Panasonic GX8 5/5 + .. 82/100 4.5/5 4.5/5 Jul 2015 1,199 ebay.com
Sony RX1R II 5/5 .. .. 82/100 .. 4.5/5 Oct 2015 3,299 amazon.com
Sony A3000 3/5 + .. .. 4/5 4/5 Aug 2013 329 ebay.com
Sony RX1R 5/5 .. .. .. 4/5 4.5/5 Jun 2013 2,799 ebay.com
Sony NEX-7 5/5 + + .. 81/100 4.5/5 5/5 Aug 2011 1,349 ebay.com
The above review scores should be interpreted with care, though. The ratings were established in reference to similarly priced cameras that were available in the market at the time of the review. Hence, a score should always be seen in the context of the camera's market launch date and its price, and comparisons of ratings among very different cameras or across long time periods have little meaning. It should also be noted that some of the review sites have over time altered the way they render their verdicts.
Did this review help to inform your camera decision process? In case you are interested in seeing how other cameras pair up, just make a corresponding selection in the search boxes below. There is also a set of direct links to comparison reviews that other users of the CAM-parator app explored.
Canon G1 X Mark II vs Panasonic G90
Canon M10 vs Sony RX1
Canon T7i vs Panasonic G90
Fujifilm X-A7 vs Sony RX1
Nikon 1 J5 vs Sony RX1
Nikon D1X vs Sony RX1
OM System OM-5 vs Panasonic G90
Olympus E-M10 III vs Panasonic G90
Panasonic G90 vs Panasonic GX7
Panasonic G90 vs Pentax K-30
Sony RX1 vs Sony RX100 IV
Specifications: Panasonic G90 vs Sony RX1
Camera Model Panasonic G90 Sony RX1
Camera Lens Micro Four Thirds lenses 35mm f/2.0
Launch Date April 2019 September 2012
Sensor Format Four Thirds Sensor Full Frame Sensor
Sensor Diagonal 21.6 mm 43 mm
Movie Capability 4K/30p Video 1080/60p Video
DXO Low Light (ISO) .. 2534
Viewfinder Type Electronic viewfinder Viewfinder optional
Viewfinder Field of View 100%
Image Stabilization In-body stabilization no handshake reduction
UHS card support UHS-II no
HDMI Port micro HDMI mini HDMI
Battery Type DMW-BLC12 NP-BX1
In-Camera Charging USB charging USB charging
You are here: Home » CAM-parator » Panasonic G90 vs Sony RX1


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Ethical investigations
Kate Turner and Robert H. Gilman
CMAJ January 04, 2005 172 (1) 76-77; DOI: https://doi.org/10.1503/cmaj.1041076
Robert H. Gilman
© 2005 Canadian Medical Association or its licensors
Double standards in medical research in developing countries Ruth Macklin Cambridge (UK): Cambridge University Press; 2004 288 pp $75 (cloth) ISBN 0-521-83388-4 $34.99 (paper) 0-521-54170-0
Figure. Photo by: Fred Sebastien
Figure. Photo by: Barbara Sibbald
Ruth Macklin, professor of bioethics at Albert Einstein College of Medicine in New York, has been publishing for many years on the theme of human rights protections in medical research and has held a number of prominent advisory positions with US and international organizations. In this, her most recent book, Macklin explores some of the most difficult ethical quandaries arising in medical research in developing countries and describes catastrophes in which sponsors of medical research have deliberately or inadvertently neglected ethical principles. Throughout, Macklin proposes many solutions to the problems of protecting research subjects, citing concrete examples to support her theories.
Although the title of this volume suggests a broader coverage, the emphasis is on ethical issues specific to human subjects in drug research trials. Specifically, Macklin gives particular (perhaps disproportionate) attention to trials in which the treatments evaluated are largely inapplicable to the population from which the research subjects are sampled. The exclusion of diagnostic, observational and epidemiologic research — modalities that frequently result in dramatic benefit to developing countries — may distort her conclusions.
Macklin sets out to establish the unacceptability of double standards in medical research in developing countries by examining four overlapping areas: disparities in the standard of care; the obligations of research sponsors to provide effective products; informed consent; and ethical reviews.
The author explores familiar ethical concepts such as distributive justice, vulnerability and exploitation to evaluate the problems in each of these areas. For example, are sponsors of medical research obligated to provide research subjects with diagnostic procedures and treatments that have been proven effective? In Macklin's opinion, sponsors, policy-makers, health officials and politicians in developing and industrialized countries should all bear this responsibility.
In her chapter on improving access to effective treatments after drug trials, Macklin presents a number of theoretical solutions to this central problem and substantiates these with concrete examples. She proposes theoretical and existing international collaborative partnerships, the relaxation of patents and differential pricing as some potential solutions. To her credit, Macklin does not assume that the good will of pharmaceutical companies will supersede the corporate profit motive. Instead, she emphasizes the promise of cooperative international efforts and public–private partnerships.
However, with regard to standards of care within research, she gives little attention to the importance of scientific design, a central but often overlooked part of protecting vulnerable participants. Although scientific criteria are an important part of the evaluation of research protocols, many ethical review committees do not include these in their evaluation. In addition, Macklin neglects to mention data safety monitoring boards, which periodically review outcome and safety data and play an important role in protecting study participants.
Although Macklin acknowledges that placing the burden of subjects' health care solely on research sponsors would likely impede medical progress and improvements in public health, she avoids taking a firm stance on whether access to proven-effective diagnotic manoeuvres and treatments must be included as part of a research proposal. The conflict between the imposition of such standards and the autonomy of local ethical committees is worth further discussion.
With regard to consent issues, Macklin does an admirable job of identifying the problems inherent in applying Western methodologies to resource-poor and culturally diverse nations. She illustrates this with several examples of situations in which a Western approach has proven to be misguided. However, she proposes few alternatives and makes no mention of the paucity of empirical data on the subject. To date, little research has investigated how well subjects comprehend the information conveyed in "informed" consent forms. There are no studies on the best ways to obtain informed consent in diverse cultures or on subjects' comprehension of benefits and risks. Although in some areas there is a consensus that current methods to protect patients are ineffective, these processes have not come under scrutiny. For example, there have been no field studies in vulnerable populations to assess the applicability of informed consent forms. Obtaining empirical data is surely the crucial first step toward bridging the gap between bioethical theory and practice; the lack of such data is an important shortcoming to explore.
Macklin explores the failures of ethical review committees in clinical research settings in developing countries. Despite a thorough review of the ways in which Western guidelines can fail patients, her evident support for the principles of the American model, in which a "more robust" system monitors the activities of institutional review boards (IRBs), hints dangerously at political imperialism. The proliferation of the procedures of such review boards can easily result in crippling overregulation. Collaborative studies conducted by federally funded institutions are a good example of this. A simple minimal risk village study (e.g., an examination of stool for the prevalence of parasites) conducted over a five-year period could require 40 separate IRB approvals (or renewals) — at great expense of money, time and effort. The fact that the multiplicity and redundancy of ethical reviews serves only to slow developments and thereby delay public health improvements is an issue that Macklin does not address.
Although we applaud Macklin's efforts to lobby on behalf of vulnerable populations of developing countries, we'd like to emphasize that ethical double standards are not confined to developing countries. There are 41 million Americans without health insurance and, according to Families USA (a national nonprofit, nonpartisan organization dedicated to the achievement of high-quality affordable health care for all Americans), 65 million without prescription drug coverage. Although Macklin condemns the paternalistic paradigm often adopted by IRB committees in industrialized countries for medical research in developing countries, in her text she often supports the American medical system as a model. As in developing countries, subjects of drug trials conducted in the United States do not have access to all effective diagnostics and treatments once the trial is over. Access is limited by poverty in the United States as much as in any other country.
The grossly unequal provision of health care in the United States seems to escape Macklin's criticism. This blindside is something of a double standard in itself. Given the lack of an ideal bioethical model in any Western nation, in any conflict between local IRBs and those of the sponsor's country the former should take precedence. This would better protect research subjects in vulnerable populations and also check the neocolonial approach adopted by many American IRBs.
Readers working in medical research in developing countries will inevitably find Macklin's frequent references to the following documents helpful: the Declaration of Helsinki (original and revised versions); the International Ethical Guidelines for Biomedical Research Involving Human Subjects, published by the Council for International Organizations for Medical Sciences; guidelines provided by the National Bioethics Advisory Commission; and UNAIDS documents. Macklin often quotes from these sources to highlight contradictions in the opinions by officials holding positions of influence within national and international agencies, such as the World Health Organization and the US Food and Drug Administration.
As we aspire to balance medical progress, public health and patient rights with the interests of industrialized countries, developing countries and pharmaceutical companies, we encounter a myriad of dilemmas. Whether one agrees or disagrees with Macklin's viewpoint, Double Standards in Medical Research in Developing Countries is a thought- provoking summation of the most troubling bioethical issues in clinical research trials and is, on balance, a worthy addition to the Law, Medicine and Ethics series of the Cambridge University Press.
Canadian Adverse Reaction Newsletter (127-138)
You are going to email the following Ethical investigations
Kate Turner, Robert H. Gilman
CMAJ Jan 2005, 172 (1) 76-77; DOI: 10.1503/cmaj.1041076
4 Main
The Olivieri story, take three
Disease as idea
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Utah Code § 76-9-102(1)(a) — A person "refuses to comply with the lawful order of a law enforcement officer to move from a public place, or knowingly creates a hazardous or physically offensive condition," by engaging in an activity that has "no legitimate purpose."
Utah Code § 76-9-102(1)(b) — A person recklessly creates a risk by taking any of the following actions, or, deliberately takes any of the following actions in order to "cause public inconvenience, annoyance, or alarm":
Fighting, or otherwise taking part in "violent, tumultuous, or threatening behavior."
Making "unreasonable noise," whether in a public place, or a private place that can be overheard by the general public. This could include a loud argument in your home, if the noise causes a disturbance to the public (e.g. a public park across the street from your house).
Blocking pedestrian traffic and/or automotive traffic in a public place.
As you can see from these definitions, certain disorderly conduct charges hinge on the alleged act occurring in, or extending to, a public place. Therefore, it's critical to understand how public places are defined under Utah Code § 76-9-102(2). This definition includes "streets, highways… [and] the common areas of schools, hospitals, apartment houses, office buildings, public buildings… transport facilities, and shops." More broadly, a public place can be defined as "any place to which the public or a substantial group of the public has access."
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Generally speaking, disorderly conduct is an infraction, a minor offense for which a person can be fined but not incarcerated. The fine for a disorderly conduct infraction may be up to $750.
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text:
Ivlia est la réplique d'une galère antique grecque à deux rangs appelée dière. Cette reproduction est un exemple d'archéologie expérimentale.

De  à , lIvlia a effectué six expéditions maritimes sur les traces des navigateurs antiques.

 Historique
 Construction de la Galère
La galère a été construite en 1989 par le chantier naval militaire  situé à Sotchi, sous la direction du contremaitre naval Damir Shkhalakhov avec la participation active des futurs membres de l'équipage.

Ce projet a été réalisé par Melnik Igor, Agbunov Mikhail, Goncharuk Pavel, fondateurs du bureau de recherche antique de la Mer Noire dénommé Pontus Euxinus, avec le soutien actif du commandant en chef de la marine soviétique militaire l'amiral Vladimir Tchernavin.

left|thumb

Le projet technique a été élaboré par les spécialistes de l'Université de construction navale. En se référant à tous les documents historiques, les bas-reliefs, les archives écrites et archéologiques, les chercheurs du Musée archéologique d'Odessa ont proposé de construire une dière comme étant le type de bateau le plus utilisé dans la Mer Noire, dans les temps antiquité.

 Periple de L'Expedition
Partant du port d'Odessa et en prenant pour référence les routes maritimes ancestrales utilisées en Mer Noire, en Mer Méditerranée  et dans l'Océan Atlantique, la galère Ivlia a parcouru plus de  milles nautiques en 6 ans (dont 500 à la rame, 1000 à la voile et le reste en remorquage), visité plus de 50 ports européens et terminé son parcours en remontant la Seine jusqu'à Paris. Cette arrivée a donné lieu à une réception offerte, à bord de la galère, par Jacques Chirac, alors maire de Paris et futur président de la République Française.

Les expéditions étaient couvertes par les médias et la presse, notamment le Club des TV voyageurs (Russie), La Stampa, Rai Uno (Italy), Thalassa France3, TF1, Le Monde, Libération, Le Télégramme, Le Marin, Le Chasse-Marée. Plus d'une centaine d'articles ont été publiés sur cette aventure. La galère a reçu la visite de milliers de touristes et de nombreuses délégations officielles. L'''Ivlia a participé à Brest 92, et à plusieurs rassemblements nautiques dont : Columbo 92 (Gênes), Cancale 93, Vieux gréements 94 et assuré l'ouverture du salon nautique Le Grand Pavois à La Rochelle. En six ans, plus de  de nationalités différentes sont devenues membres d'équipage : Russes, Ukrainiens, Allemands, Grecs, Français, Géorgiens.

 Galerie

 Notes et références

 Notes

 Références

 Voir aussi
 Bibliographie
 Historical Maritime Sailing in Models & Reconstruktions, Melnik Igor,- Phoenix, Kiev, 2010.
 Schifffahrt und Schiffbau in der Antike. Bockius Ronald,- Theiss Verlag, 2007.
 The Ancient Mariners. Casson Lionel,- Princeton University Press, 1991.
 L'Album de la Fete Brest'92. Gilles Daniel,- Le Chasse Maree, 1992, , 111, 236, 257.
 Homeric Seafaring, Mark Samuel,- Texas University Press, 2005, ch.4,5.
 The Athenian Trireme, Morrison John,- Cambridge University Press,  n.2.
 Il Secolo XIX, (Italy), 23.05.1992. "In porto, dopo 3 anni d'odissea, una triremi russa", Giorgio Carrozi.
 Il Tirreno, (Italy), 06.05.1992. "Una mostra per lIvlia".
 "Libération", (France), 07.12.1993. "Ivlia ou l'Odyssee suspendue", Patrick Le Roux, .
 "Le Monde", (France), 19.07.1992. "Pavel, galerien d'Odessa", Annick Cojean.
 Le Chasse-Marée, (France), 07.1992 (№67). "Ivlia'', la galere", .
 "Le Télégramme", (France), 02.08.1994. "La galere antique a la conquete de l'Atlantique", Noel Pochet.
 "Revue Thalassa", (France), 07.1992 (№3). "Et vogue la galere" .
 "Presse-Océan (Ouest)", (France), 09.09.1994. "Ivlia se prepare pour une transatlantique", Severine Le Bourhis, .
 "La Presse de la Manche", (France), 14.08.1993. " Et vogue la galere ukrainienne", Th. Motte, .

Articles connexes
 Olympias
 Dière

Liens Externes
 Site officiel du projet Ivlia.
 XLegio Projet.
 Magazine "Autour du Monde".
 Club Polar Odyssey.
 Navires de la Grèce antique.
 Vidéos : Projet Ivlia - Projet Olympias - Bireme à la mer.

Galère
Un-mât
Voilier
Réplique de bateau
Navire musée en Ukraine
Bateau lancé en 1989
Bateau ukrainien
Histoire maritime
Guerre navale dans l'Antiquité
Marine de la Rome antique

redpajama_set_name: RedPajamaWikipedia


text:
Q: Graphene - SqlAlchemy - Abstract Attribute I'm migrating to dock a slightly old python application, not maintained.... I made a pip freeze to see what's going into production.
I am confronted with a problem that I have difficulty solving. I have this mistake:
So I wonder if it's not a problem related to a version that's not respected. The project runs on python 3.6.2.
Do you have any idea how I can solve the problem?
stacktrace
raphql_1  |   File "/usr/local/bin/gunicorn", line 11, in <module>
graphql_1  |     sys.exit(run())
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/wsgiapp.py", line 74, in run
graphql_1  |     WSGIApplication("%(prog)s [OPTIONS] [APP_MODULE]").run()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/base.py", line 203, in run
graphql_1  |     super(Application, self).run()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/base.py", line 72, in run
graphql_1  |     Arbiter(self).run()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/arbiter.py", line 60, in __init__
graphql_1  |     self.setup(app)
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/arbiter.py", line 120, in setup
graphql_1  |     self.app.wsgi()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/base.py", line 67, in wsgi
graphql_1  |     self.callable = self.load()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/wsgiapp.py", line 65, in load
graphql_1  |     return self.load_wsgiapp()
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/app/wsgiapp.py", line 52, in load_wsgiapp
graphql_1  |     return util.import_app(self.app_uri)
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/gunicorn/util.py", line 352, in import_app
graphql_1  |     __import__(module)
graphql_1  |   File "/workspace/src/server/main.py", line 15, in <module>
graphql_1  |     from api import root
graphql_1  |   File "/workspace/src/api/root.py", line 6, in <module>
graphql_1  |     from api import mutation, query
graphql_1  |   File "/workspace/src/api/mutation.py", line 4, in <module>
graphql_1  |     from api.object_types import (availability, home, home_feature,
graphql_1  |   File "/workspace/src/api/object_types/availability.py", line 6, in <module>
graphql_1  |     from api.helpers.objecttype import QueryProvidingObjectType
graphql_1  |   File "/workspace/src/api/helpers/objecttype.py", line 49, in <module>
graphql_1  |     class QueryProvidingObjectType(SQLAlchemyObjectType):
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/graphene_sqlalchemy/types.py", line 85, in __new__
graphql_1  |     registry=None
graphql_1  |   File "/usr/local/lib/python3.6/site-packages/graphene/types/options.py", line 29, in __init__
graphql_1  |     ', '.join(sorted(meta_attrs.keys()))
graphql_1  | TypeError: Invalid attributes: abstract

requirement.txt
alembic==0.9.7
backports.csv==1.0.5
certifi==2017.11.5
chardet==3.0.4
cli-helpers==0.2.2
click==6.7
configobj==5.0.6
decorator==4.2.1
fin==2.1.8
flake8==3.4.1
Flask==0.12.2
Flask-Cors==3.0.3
Flask-GraphQL==1.4.1
Flask-SSLify==0.1.5
graphene==1.4.1
graphene-sqlalchemy==1.1.1
graphql-core==1.1
graphql-relay==0.4.5
graypy==0.2.14
gunicorn==19.7.1
httplib2==0.10.3
humanize==0.5.1
idna==2.6
ipython==6.2.1
ipython-genutils==0.2.0
iso8601==0.1.12
itsdangerous==0.24
jedi==0.11.1
Jinja2==2.9.6
Mako==1.0.7
MarkupSafe==1.0
mccabe==0.6.1
mock==2.0.0
oauth2client==4.1.2
parso==0.1.1
pbr==3.1.1
pexpect==4.3.1
pgcli==1.7.0
pgspecial==1.8.0
pickleshare==0.7.4
promise==2.1
prompt-toolkit==1.0.15
psycopg2==2.7.1
ptyprocess==0.5.2
py==1.4.34
pyasn1==0.4.2
pyasn1-modules==0.2.1
pycodestyle==2.3.1
pyflakes==1.5.0
Pygments==2.2.0
pytest==3.1.3
python-dateutil==2.6.1
python-editor==1.0.3
PyYAML==3.12
requests==2.18.4
rsa==3.4.2
setproctitle==1.1.10
simplegeneric==0.8.1
singledispatch==3.4.0.3
six==1.10.0
SQLAlchemy==1.1.12
sqlalchemy-citext==1.3.post0
SQLAlchemy-Utils==0.32.14
sqlparse==0.2.4
terminaltables==3.1.0
testfixtures==5.3.1
traitlets==4.3.2
typing==3.6.2
typing-inspect==0.1.1
Unidecode==0.4.21
urllib3==1.22
wcwidth==0.1.7
Werkzeug==0.12.2

the class in question that is related to the error:
class QueryProvidingObjectType(SQLAlchemyObjectType):
    class Meta:
        abstract = True

    # TODO: copy-pasta duplication here:
    @classmethod
    def QueryOne(cls, filter_fields):
        def resolver(self, args, context, info):
            query = cls.get_query(context)
            query = apply_filter(query, cls._meta.model, args)
            return query.first()
        all_fields = cls._meta.fields
        fields = {name: field_to_argument(cls, name, all_fields[name])
                  for name in filter_fields}
        return graphene.Field(
            cls,
            resolver=resolver,
            args=fields,
            description=f"Return the first {cls} that matches the filters"
            )

    @classmethod
    def QueryList(cls, filter_fields=(), sort_by=None):
        def resolver(self, args, context, info):
            query = cls.get_query(context)
            if sort_by:
                query = apply_sort(query, cls._meta.model, sort_by)
            query = apply_filter(query, cls._meta.model, args)
            return query.all()

        all_fields = cls._meta.fields
        model_fields = {name: field_to_argument(cls, name, all_fields[name])
                        for name in filter_fields}
        model_fields.update({
            "first": graphene.Int(),
            "after": graphene.Int()
        })
        description = f"Query for all {cls}s"
        if filter_fields:
            description += " (optionally filtered using provided arguments)"
        return graphene.List(
            cls,
            resolver=resolver,
            args=model_fields,
            description=description)

    @classmethod
    def FuzzySearch(cls, match_field):
        mapper = MapperFactory.get_mapper(FuzzySearchResult[cls])
        result_type = mapper.graphene_output_type()

        def resolver(self, args, context, info):
            first = args.pop('first', 5)
            attr_name, search_query = list(args.items())[0]

            query = cls.get_query(context).all()
            return fuzzy_search(search_query, query, key=attrgetter(attr_name), limit=first)

        all_fields = cls._meta.fields
        fields = {
            match_field: field_to_argument(cls, match_field, all_fields[match_field]),
            'first': graphene.Argument(
                graphene.Int,
                description="[optional] limit the number of results"
            ),
        }
        return graphene.List(result_type, resolver=resolver, args=fields)

redpajama_set_name: RedPajamaStackExchange


text:
US entrepreneur buys Time magazine from Meredith but will 'not be involved in journalistic decisions'
British Journalism Awards for Specialist Media 2018: Inside Housing named publication of the year + full list of winners
Television Journalism
Culture Secretary: Public service broadcasters must do more to build trust through high-quality journalism
Culture Secretary Jeremy Wright is set to urge public service broadcasters to do more to gain public trust by focusing on high-quality journalism amid a global battle against widespread disinformation.
Wright, who started as Culture Secretary in July during the latest cabinet reshuffle, will celebrate the ability of public service broadcasters in the UK to provide quality news that people trust, but challenge them to go further.
He will tell the Royal Television Society conference in London today that the sustainability of established and trusted media outlets is vital to tackle fake news.
The Reuters Institute Digital News Report 2018, published in June, showed BBC News, ITV News and Channel 4 News topped the brand trust scores, above regional and local newspapers, the Times, Sky News and other national print and online newsbrands.
Trust in news in the UK has remained stable from last year – 42 per cent (down from 43 per cent in 2017) said they trust news overall, 54 per cent trust the news they use, 23 per cent trust the news they see in search, and 12 per cent trust the news they see in their social feeds.
Wright will therefore urge the BBC and other public service broadcasters to maintain their high quality journalism, target younger audiences and increase diversity both on-screen and behind the cameras.
Wright is expected to say: "High quality journalism is the best possible weapon in our battle against disinformation, so the sustainability of our media is something that should concern us all.
"So today I am asking our public service broadcasters to go further by doing more to build trust in the accuracy of news through high quality journalism and reporting.
"I want to see them doing more to reach a diverse and younger audience, exploring innovative ways to reach the public and providing opportunities for under-represented groups both on and off screen.
"In exchange, the Government is committed to supporting the PSBs to ensure they continue to thrive, and stay prominent, as part of a healthy, sustainable and dynamic media landscape.
"A strong media means a strong democracy and a strong nation. And we cannot be complacent. Those sowing discord want to undermine this trust and the institutions upon which our liberal democracy relies. Trust is a precious commodity and bolstering it is vital to our future."
Wright will use the example of Russia's "blatant" disinformation in the wake of the Salisbury nerve agent attack as he says there is an "ever growing need" to keep a watchful eye over the media landscape.
He is expected to say: "Following the Salisbury incident, Russia has begun a blatant disinformation campaign with misleading procedural questions and over 40 different official narratives – all false.
"Many of these were carried and promoted on Kremlin-backed media. Russia Today, funded by the Russian state, is a major concern."
Broadcast regulator Ofcom is currently carrying out ten investigations into the impartiality of RT's news and current affairs programmes.
Ofcom said in April it had noted a "significant increase" in the number of RT programmes warranting concern since the poisoning of ex-Russian spy Sergei Skripal and his daughter Yulia in Salisbury on 4 March.
It began monitoring the RT service "intensively" and subsequently opened seven investigations into the channel on 18 April, launching a further three probes on 21 May.
Wright will add: "I welcome these investigations and I await their conclusions with great interest."
Also speaking at the conference today is BBC director-general Tony Hall, who will set out the corporation's plan to "help counter the global democratic deficit" and push back against fake news.
"The plague of disinformation and fake news needs to be challenged not just in the UK, but globally," Lord Hall will say.
"We need a strong BBC to push against fake news and hold those who produce it – at home and abroad – to account. BBC News is trusted across the globe. Sustaining and building on this has to be a priority for our country."
Picture: Reuters/Toby Melville
British Journalism Awards 2019 finalists revealed: 'Bravery is the quality that shines through'
2018 British Journalism Awards shortlist revealed: 'This is what Dame Cairncross needs to protect'
Gender pay gap figures in full: Conde Nast, Telegraph and Economist groups among worst offenders for pay disparity in UK media
February edition journalism jobs round-up
Culture Secretary
1 thought on "Culture Secretary: Public service broadcasters must do more to build trust through high-quality journalism"
Using the governments conspiracy theory concerning the Skripal's, allied with their unsubstantiated accusations concerning all things Russian, is rather a poor basis in order to gain trust. The orchestrated political alliance between the state and it's media doesn't go unnoticed.


Sunset Cottage is a property providing self catering in Knysna for up to 5 guests visiting the Garden Route region.
Sunset Cottage is a two bedroom log cabin with beautiful lagoon views in Fisher Haven, Knysna. There is a wide variety of outdoor activities to enjoy, from sailing, cycling, hiking and surfing to bird and whale watching, boat trips and game drives.
Excellent township tours, craft markets and cultural experiences are also available and golf addicts will be in paradise as many of the Capes finest courses are right on the doorstep.
The cabin sleeps up to five guests and has two bedrooms and a sleeper couch in the lounge. The main bedroom has a double bed and the second bedroom has two single beds. Both bedrooms have an en-suite bathroom.
The lounge has comfy seating, a cosy fireplace and a flat screen TV. The kitchen is well equipped with everything needed for your stay and includes a fridge / freezer, microwave, kettle, toaster, cookware, crockery and cutlery.
Outside there is a decked area, a table and chairs and a braai area for your enjoyment.
The cabin is wheelchair and child friendly. We allow well behaved pets by prior arrangement only.
Knysna is ideally situated to be used as a central base for exploring the Garden Route. Tsitsikamma and Oudtshoorn are 90 minutes away and Plettenberg Bay is 30 minutes away.
Two bedroom log cabin . Each bedroom has a bathroom en suite. Open plan kitchen with a decking beutiful views of the lagoon. the cabin is wheelchair friendly and allows well behaved pets.
Response timeSunset Cottage typically responds to requests in 5-10 minutes.


For specific directions click on the map and enter your address and you will receive turn by turn directions to CPCC's City View Center.
The City View Center map is available in pdf format. You must have adobe acrobat (or other pdf file viewer) installed in order to view it.
Download CPCC City View Center map.


This Luxe Knit Loop Infinity Scarf is the softest scarf we have ever found and we will be wearing it all fall and winter long!
Gorgeous deep hues in trending fall colors in a soft fabric.
Infinity style can be wrapped one or two times.
Pair with your favorite tops and jackets.
Perfect gift to give. One size fits all.


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Plamen Goranov ( Пламен Любчев Горанов; 20. října 1976 – 3. března 2013 Varna) byl bulharský fotograf, horolezec a bojovník za občanská práva. Na protest proti politickému systému a korupci místní správy včetně starosty města Varny Kirila Jordanova se 20. února 2013 polil hořlavinou a zapálil. Svým zraněním podlehl po dvou týdnech.

Odkazy

Reference

Související články
 Fotografie v Bulharsku

Externí odkazy

Bulhaři
Narození v roce 1976
Narození 20. října
Úmrtí v roce 2013
Úmrtí 3. března
Úmrtí ve Varně
Sebeupálení
Sebevraždy v Bulharsku
Sebevrazi
Muži


The Evelina London Children's Hospital pilots its first ever combined Guide and Scout group for its patients and their siblings aged 6 - 18 years.
Joining forces with Girlguiding, The Scout Association and Westminster School, staff and volunteers will bring some fun into the hospital every Monday evening.
Combining the activities, skills and learning children get from Scouts and Guides, the Evelina Guides and Scouts group hopes to ensure our patients do not miss out on fun while they are in hospital.
Some children are in hospital a very long time and look forward to every visitor they have and any activity that takes their mind off their treatment. Staff at Evelina London understand that patients must feel they are living as much of a normal life as possible, despite being in hospital.
The weekly group will officially start in May.


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Home > Archives > Vol 10, No 4 (2012) > Developmental genetics and symbiotic potential of cyanobacteria
Developmental genetics and symbiotic potential of cyanobacteria
Authors: Khudyakov I.Y.1
All-Russia Research Institute for Agricultural Microbiology, Saint-Petersburg, RF
Many cyanobacteria can differentiate specialized cells – heterocysts that fix nitrogen aerobically, akinetes able to survive under unfavorable conditions, and hormogonia providing a means of dispersal. Of great importance for evolution of the biosphere was the ability of cyanobacteria to establish symbioses with eukaryotic organisms that was a prerequisite for the emergence of chloroplasts. This review describes the genes and regulatory systems that control differentiation of specialized cells and the ability of cyanobacteria to establish symbiotic associations with a variety of hosts.
цианобактерии, клеточная дифференцировка, гетероциста, симбиоз.
Ivan Ya Khudyakov
Email: iykhudyakov@yandex.ru
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Copyright (c) 2012 Khudyakov I.Y.


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PROTESTRA
Music Inspired by Dr. Martin Luther King Jr.
Reflect, Mourn, Celebrate, and Regroup through Music
Saturday, January 15, 2022, marked what would have been Dr. Martin Luther King Jr.'s 93rd birthday. Dr. King's leadership during his lifetime led to a national reckoning over racial injustice, bringing about the Civil Rights Act of 1964 and the Voting Rights Act of 1965. It seems almost poetic that this day falls when it does in the calendar year. The holidays are now becoming a distant memory as people begin to fall into new routines. It very much feels like a fresh start, one where we have the choice between continuing to fight or becoming complacent. In 2022, let us commit to not becoming "the dangerously structured dams that block the flow of social justice," which Dr. King referred to in his 1963 "Letter from Birmingham Jail."
On this national day of remembrance, we'd like to share some pieces of music inspired by Dr. King's life and legacy. We've also created a special Spotify Playlist which includes most of the pieces outlined below, and even a few more! If you find something new, be sure to add it to your music library, concert programs, and future lesson plans. As always, we welcome you to share your favorite music selections that we may have missed.
We hope that you will find solace and strength through this music we've compiled; may you give yourself space to reflect, mourn, celebrate, or whatever you need to regroup for the long road ahead. Two bills are currently before the Senate: the Freedom to Vote Act and the John Lewis Voting Rights Advancement Act. Similar versions have already passed in the House, but the Senators who support these bills must first overcome their colleagues' filibusters. The filibuster has long been used to derail civil rights legislation in The Senate, and unfortunately, the present is no different.
Now is the time to demand that The Senate overrides the filibuster and passes meaningful voting rights legislation to stop our dangerous slide towards authoritarianism. Call or write to your Senator and the President to make your voice heard!
"Frederick Douglass told us a long time ago: 'Power concedes nothing without a demand.'" — Cliff Albright, co-founder of Black Voters Matter
Sinfonía en Negro—Homage to Martin Luther King
Leonardo Balada
Leonardo Balada grew up in Barcelona in a liberal family under Francisco Franco's fascist regime. An opponent of oppression in all its forms, Balada eventually moved to the United States, where he came in contact with the nascent Civil Rights Movement. This culminated with Balada meeting Dr. King in 1967, one year before his assasination. Impacted by this event, Balada decided to focus on Dr. King as the subject for a new symphony after receiving a commission from Spain's RTVE Symphony Orchestra. The result is a powerful depiction of the journey of Black people in the Americas from slavery to freedom in four movements: "Oppression," "Chains," "Vision," and "Triumph."
The piece is scored for full orchestra with a large percussion section that includes piano and actual chains. It was a seminal work for Balada, marking his first time fusing folk and traditional techniques with the avant-garde. It premiered in 1969 at the Teatro Real in Madrid, and soon made its way to the United States, where it was performed at Carnegie Hall and other notable venues. However, by the 1970s, classical audiences had started to become less interested in modern music and the initial success of this symphony lost much of its early momentum.
Montgomery Variations
This orchestral work is a group of freestyle variations based on the spiritual "I Want Jesus to Walk with Me." Bonds, herself a lifelong activist, wrote and dedicated the piece to Dr. King in 1964 after her 1963 Southern Tour with baritone Eugene Brice and the Manhattan Melodaires, which included stops in Montgomery, Alabama and the surrounding area. The work was never performed during the composer's lifetime, and like her friend and contemporary Florence Price, Bonds's music and legacy were almost lost to the annals of history. According to The Washington Post, Montgomery Variations and other pieces by Bonds were found in 2017 "next to a dumpster, waiting to be thrown out."
Beyond honoring the memory of Dr. King, the seven movements evoke other milestone events of the Civil Rights Movement, such as the Montgomery Bus Boycott, the spread of the Freedom Movement, and the Sixteenth Street Baptist Church bombing in Birmingham. The movements are as follows:
Dawn in Dixie
One Sunday in the South
With only a small handful of performances on record, Montgomery Variations is one of the least performed pieces in Bonds's catalogue. Most recently—and fittingly—the Montgomery Symphony Orchestra opened its 2021 season with a performance of this remarkable work, and the Minnesota Orchestra's 2021 live recording (featured below) presents a truly stunning rendition that is sure to become a paragon. However, future performances and recordings face hurdles imposed by the provisions of the Copyright Act of 1976. Because Bonds died prior to this law's passage and did not leave a will, the copyright status of her compositional output is ambiguous at best, and her music will not enter the public domain for another 20 years at the earliest. Still, we encourage orchestras with the budget to do so to consider programming this piece, an exemplary and iconic work by one of this country's most underappreciated 20th-century composers.
Three Black Kings
Although primarily known as a leader of the Big Band scene, Ellington preferred to eschew labels and often made use of a full orchestra in his compositions. One such work was Three Black Kings, commissioned by the Dance Theatre of Harlem and intended as a "eulogy for [Dr. King]." In 1973, Ellington tasked Luther Henderson with orchestrating for the piece, which he originally pictured as a ballet. Ellington rarely wrote the final notes of a composition until the day of its premiere, so when he died in 1974, it fell to his son Mercer to complete the almost finished piece in a style resembling his father's. Henderson completed his orchestration of a version for symphony orchestra and jazz ensemble that Mercer premiered at a 1976 tribute concert for his father. Also that year, renowned choreographer Alvin Ailey created the ballet to accompany the piece, which his dance troupe performed during its 1976–77 season. Ellington's longtime friend, conductor Maurice Peress, later rescored the work for orchestra with jazz soloists (featured below).
The piece is written in three movements: "King of the Magi, Balthazar"; "King Solomon, Son of King David and Beersheba"; and "Martin Luther King." The third movement in particular represents a departure from Ellington's usual compositional style, utilizing gospel themes to represent Dr. King and his role as a leader of the Baptist church. In 2021, acclaimed jazz trumpeter and composer Terence Blanchard—whose opera Fire Shut Up in My Bones opened the Metropolitan Opera's 2021–22 season, marking the first time The Met staged an opera by a Black composer in its 143-year history—created a reduced orchestration of the "Martin Luther King" movement that the Los Angeles Philharmonic premiered on February 6, 2021. Without the addition of auxiliary winds and percussion, Blanchard's new pared-down arrangement is more easily programmed by smaller orchestras.
Passion of Martin Luther King
Nicolas Flagello
Italian-American composer Nicolas Flagello wrote his "Passion of Martin Luther King" in 1968, after Dr. King's untimely death. Author Walter Simmons noted that Flagello was moved to compose the piece after hearing a comment by Pope Paul VI regarding King's death: "I liken the life of this man to the life of our Lord." He combined movements from Pentaptych, one of his earlier liturgical pieces, with new musical settings of Dr. King's speeches to create a truly unique work in ten movements for SATB chorus, orchestra, and bass-baritone soloist. The movements are as follows:
1. Hosanna Filio David
2. At the Center of Non-Violence
3. Cor Jesu
4, In the Struggle for the Freedom
5. Et Flagellis Subditum
6. We've Got Some Difficult Days Ahead
7. Death Is Inevitable
8. Stabat Mater
9. Jubilate Deo
10. I Have a Dream
Listen on Naxos: https://www.naxos.com/catalogue/item.asp?item_code=8.112065
Epitaph for a Man Who Dreamed
Dedicated to Dr. King and premiered in 1980, this gorgeous work carries a generally somber and contemplative tone throughout, but includes hopeful and uplifting moments as well. According to Hailstork, "Technically the piece is a study in understatement and control. There is no virtuosity. There are no sudden dramatic effects. Harmony is simple, coloration is medium to dark. There is a very restrained and careful control of climax, there being only one at the end of the work."
Hailstork also notes, "the delicate entrance of the harp at 5:31…[represents] Dr. King's dream 'that one day this nation will rise up and live out the true meaning of its creed.'" Listeners are encouraged to listen to "the bold way the piece finishes starting at 7:16. It begins out of thin air, but it becomes the loudest moment of the piece. I interpreted this ending as an urgent call to action."
Hailstork has stated that the piece "represents the graveside service of a great man. The mourners gather and sing a spiritual, the music gradually swelling as more people arrive and join in the singing. After reflecting on the hopes and dreams inspired by this leader, they lift their bowed heads and move to carry on the work he began."
I Dream
Douglas Tappin
The libretto and score for this Rhythm and Blues Opera was written by U.K. composer Douglas Tappin while he was living in Atlanta. In preparation, he fully immersed himself in the subject of the Civil Rights Movement, including talking to people who had been a part of it, such as members of Dr. King's family and some of his closest friends. The focus of the work is the thirty-six hours leading up to Dr. King's assassination on April 4, 1968, with some artistic liberties thrown in, as not much is known about Dr. King's last hours. In Tappin's own words, "I was pondering what Dr. King had said… about climbing to the top of the mountain and seeing a future he may not share with the people he was speaking to." Within this musical drama, the audience witnesses dreams, reminiscences, and premonitions of Dr. King's life, leading up to his final moments. The opera premiered this past September at Opera Carolina in Charlotte, North Carolina, and we hope other opera companies will add it to their lineup for future seasons!
This blog post was written by Erin Schwab (PROTESTRA Marketing Coordinator) and Ian Vlahović (PROTESTRA Co-founder, Director of Operations & Board Chair).
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