Thank you for your interest in the School of Nursing at Touro University California. Together with other campuses within the Touro College and University System, Touro University Cailfornia uses an online application system (ApplyYourself) for collection and submission of application materials, including applicant information, application fees, letters of recommendation, and unofficial transcripts.
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The ApplyYourself system requires that you create a new account for each application, thus, the first step in the application process is to create a new in the ApplyYourself system.
Visit http://apply.touro.edu and select the CREATE ACCOUNT tab, then enter the requested information (first and last name, email address, date of birth, and zip code).
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Enter the requested information for all colleges/universities you attended, including, but not limited to, the college/university from which you earned your degree(s).
Upload an unofficial copy of your transcript for any school that was not listed in your primary application. Transcripts are not required for U.S. Schools previously included in your primary (AACOMAS/PHARMCAS/CASPA/SOPHAS) application.
If you attended a school outside of the United States, upload a copy of the official transcript evaluation even if you included that school with your primary application.
To locate your school(s) using the search function, first enter the two letter abbreviation for the state in which your school is located, then click search. Select your school from the list of schools in that State.
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For the Degree Earned field, enter both the degree type (BA, BS, MA, etc.) and the major (Biology, Psychology, etc.).
If you are applying to the School of Nursing, you must upload a resume and a copy of your Registered Nursing license. Doing so is optional for applicants to all other programs.
In this section, you may also provide information regarding any professional certifications, credentials, etc.
The Doctor of Nursing Practice program requires additional questions in the form of a personal statement. Download the Personal Statement prompts, draft responses to the additional questions, then upload your responses.
If you are requesting transfer credit for clinical/practicum hours, you will need to download and complete the Request for Clinical Hour Transfer Credit form, then upload that form. For details regarding transfer credit, review the School of Nursing Transfer Policy page.
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Once submitted, your application will be reviewed for completeness by the Office of Admissions. Any missing items will be communicated to you. After all application materials have been received, applications are reviewed by the Admissions and Standards Committee to determine interview eligibility. Decisions are typically rendered within two weeks. Thank you for your application to the TUC School of Nursing!


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Home » Destination Marketing Organizations » Destination Marketing: 5 Organizations Leading The Way
Destination Marketing: 5 Organizations Leading The Way
July 2, 2019 Julia Manoukian
When you're about to book a trip, where do you start?
You might call your travel agent. Maybe you flip through a magazine. Or, if you're like most people, you'll go online.
As we know, digital and social have changed the way people interact with brands. And in turn, almost every industry has shifted the way they go-to-market—including travel and tourism.
60 percent of leisure travel plans and 41 percent of business travel plans are made online, according to research from Smart Insights.
Almost half (55 percent) of 18-65 year-olds book trips purely based on images they see on Instagram, reports The Telegraph.
Travelers spend an average of 53 days visiting 28 different websites, with more than 50% of travelers checking social media for travel tips, according to Nielsen research.
As fascinating as these trends are, they've also brought on a new set of challenges, especially for destination marketers.
How are other destination marketing organizations (DMOs) responding to these issues? And, more importantly, what tactics can you learn from them to anticipate, react to and overcome these pains?
We've singled out 5 forward-thinking DMOs who are doing an exceptional job and highlighted them below (full disclosure: 3/5 are CrowdRiff customers).
1 | How Visit Holland Combats Overtourism
The Netherlands is so much more than just tulips and windmills. Visit Holland, part of the Netherlands Board of Tourism and Conventions (NBTC), uses user-generated content (UGC) so visitors can discover fresh new destinations that they won't always find in travel brochures.
On Visit Holland's main page, there's a UGC gallery with curated content from Instagram featuring authentic travel experiences from real people, not actors or models. Anyone can have their photos and videos appear on the page. They just need to tag their content with #thisisholland. Once you get the rights to use the content, you can feature their photo.
"It is our goal that everyone in Holland, from the northern parts to the southwestern parts, can enjoy the wealth that tourism brings," says Jasper Broekhuis, the Social Media Marketing Manager for the NBTC.
With UGC, DMOs can promote locations that few tourists visit and "lighten the load" on the major cities. Case in point: Amsterdam. Experts predicted that more than 20 million people would visit the city by the end of 2018, despite the capital's 1 million population.
Why this strategy is inspiring:
It demonstrates leadership. Visit Holland recognized a need for change and took the steps to divert crowds from Amsterdam.
The team at Visit Holland upholds their responsibility to promote the entire country, not just what's popular.
It's ingenuous and authentic. The team used a simple solution (UGC galleries) that aligned with their existing marketing strategy and message.
2 | How Visit Iceland Tackles Crowds
Thanks in part to television shows like "Game of Thrones," Iceland has received an influx of tourists in the past few years. This once-forgotten island is now one of the most popular tourist destinations in Europe, and some cities are struggling with the crowds.
Visit Iceland, the country's destination marketing organization, came up with a solution. They used something called sentiment analysis as an indicator of overtourism. Travel research company Skift used the latest digital tools to measure press sentiment toward crowded tourist resorts in the country.
"Our theory is that struggles with overtourism will show up in the form of negative stories reported in media outlets," notes Seth Borko of Skift. "By measuring the level of negative tourism stories reported in the local press, we aim to create an index that can indicate overtourism. Higher results on the index indicate that communities are struggling with the negative impact of overtourism."
It asks the tough questions, challenging what tourism success really means.
A data-driven approach provides certainty around trends the team has seen anecdotally.
It recognizes that prevention is easier than recovery, so the team can be proactive going forward.
3 | How Visit Savannah Attracts New Audiences with the Help of Locals
During a quarterly brainstorming session, Lauren Cleland, the Director of Digital Marketing, and her team at Visit Savannah decided to try something new to boost engagement. They took to Instagram to create the perfect travel itinerary for visitors.
Using the Instagram polls feature, they were able to gauge the most popular tourist-friendly locations in the city. Then, the DMO created an audience-directed video with all the chosen attractions.
The result? 64,000 people have watched the video, and 10,000 people have viewed it on Instagram alone.
This is a great example of destination marketing because it contains an interactive element and is part of a multi-platform approach. Visit Savannah shared their video across multiple platforms—Instagram, Facebook, YouTube, etc.
Consider using social media and UGC to create your own audience-directed videos that showcase local landmarks and experiences. Instagram stories, in particular, are really hot right now: 500 million people use them every day.
A focus on crowdsourcing lets locals get involved in tourism planning.
Visit Savannah amplifies that focus through social media to attract new audiences.
The video helped demonstrate the diversity of a place that people often thought of as highly homogenous, with the help and input of hundreds of people.
4 | How Black & Abroad Boosts the Number of Black Travelers to Africa
In a stroke of destination marketing genius, Black & Abroad turned the pejorative phrase, "Go back to Africa" into a positive one and used it as the basis of their campaign to encourage more black travelers to visit Africa.
The phrase features in Black & Abroad's marketing videos, which showcase the continent's most breathtaking urban and natural locations. Travelers can share these videos on their social profiles.
But there's more.
"Paid posts on Twitter, YouTube, and digital OOH play off the hashtag '#GoBackToAfrica' and throw to a campaign website, which features social images of African Americans traveling to each one of the countries," says Justin Dallaire for Strategy Magazine.
Research shows that black Americans spend $48 billion on travel every year, while 68 percent of black Americans want to learn more about their culture and history through travel.
The research highlights a key marketing opportunity within a targeted audience segment.
By reclaiming the phrase "Go back to Africa," it recognizes the role history and culture play in travel, especially for this audience.
The campaign and video communicate the importance social media has on a traveler's journey (note the Tweets at the start of the video) and uses a hashtag to amplify and track performance.
5 | How Visit Indy Maximizes ROI with A/B Testing
Destination marketing organization Visit Indy encourages more people to travel to Indiana by testing visual content on different platforms. This helps the organization repurpose visual content that best resonates with prospective travelers.
Through A/B testing, Visit Indy found that shorter videos (5-7 seconds, on average) work best on Instagram, while slightly longer videos (15 seconds) work best on Facebook. Video formats are important, too. Portrait videos are more successful on Instagram, while people prefer the 16x9 aspect ratio on Facebook.
Going all digital with their ad campaigns allowed them to identify a few different target audiences.
"We've always been a great family destination, but the persona targeting has helped us really flesh out our culinary tourism and our sports tourism," says Christine Zetzl, Visit Indy's Digital Marketing Manager.
Visit Indy's social ad buy, which is now entirely comprised of UGC videos, is currently generating a 1.33% click-through rate, according to Zetzl, which represents 53% of total paid media clicks in the DMO's 2018 campaign.
"We're always looking to do more of what's working, and right now UGC is working," says Zetzl.
It shows a clear understanding of audience: Visit Indy has nine different personas and knows how to personalize messaging to each.
The strategy has a clear ROI. By testing different visuals and using data, Visit Indy knows what's bringing them the most value and can double down on those activities.
The approach values continual feedback, innovation, and experimentation.
How Can You Better Promote Your Destination?
While every destination is unique, it's clear that an increasing number of destination marketing organizations are finding creative solutions to challenges caused by the digital age.
Using technology to put a spotlight on less-known attractions, leveraging data, and testing different visuals in your marketing—these are just some of the ways other destination marketers are building, restoring and enhancing the public image of their destinations.
What issues are you currently facing at your destination? How can you apply the above strategies to improve your own marketing?
[Editor's Note: This is a running list. Think we missed a DMO you admire? Shoot us an email at marketing@crowdriff.com.]
Julia Manoukian is the Senior Content Marketing Manager at CrowdRiff. A former journalist, she has helped several Toronto startups raise their thought leadership profiles and scale their content efforts to influence revenue. She's passionate about storytelling, traveling, and tech.
Follow on Twitter Follow on Linkedin More posts by Julia Manoukian
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How These DMOs of Varying Sizes Balance Local And Visitor Messaging
How do you clearly communicate with future visitors and your community about your destination's reopening? We recently sat down with a group of destination marketers to learn how they were responding.
#EnjoyTheViewFromCroatia: How the CNTB Uses UGC to Engage Locals and Keep Future Travelers Dreaming
A deep dive into The Croatia National Tourist Board's reopening strategy and how they're using CrowdRiff to gather local content and stay top of mind with international travelers.
How Travel Brands Like Zürich Tourism & the Denver Museum of Art Use CrowdRiff for Reopening
How travel & tourism brands like The Denver Museum of Art and Zürich Tourism are using CrowdRiff to promote messages of health and safety, as well as support local partners as they re-open.

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Communion of All Who Remember
The sacrament of holy communion is one of the landmarks of spirituality in my personal life. Many of the religious experiences I've had have taken place around the table of the Lord. That's where I was saved. That's where I was called to preach That's where I was filled with the Holy Spirit. And many other things that have happened.
Sense of communion and oneness and closeness with my family and friends who have gone on before, others that are scattered around the world. And we emphasize all these things in a ritual of the church. The ongoing love and fellowship that we have regardless of whether we're in the same building or in the same country, or even in this world or the next.
Transcript of the [audio for this sermon] preached extemporaneously
at Briensburg UMC on September 1, 2019.
And the closeness of Jesus himself, the presence of Christ in the sacrament. We have a hymn in the hymnal that isn't a very catchy tune, so it doesn't get sung much, but it's an old Wesley hymn that says that we don't really know how this happens, that somehow this bread and wine become for us the body and blood of Christ. And we don't get into the arguments that people have traditionally got into and did get into at the time that hymn was written about all of that. We just say that Christ is present here.
In my ministerial training at Candler School of Theology in Atlanta, when I went there for the course of study back in the '80s, I was really blessed to have a person who taught about the sacraments, who said that for us as Methodists, it's not so much about what happens on the table as what's happening around the table. What's important for us is what's happening in our hearts and minds and relationships, in our congregation and in the world around us when we share the supper of the Lord and extend that to others.
It's the Lord's table and it's an inclusive table. It has been, that's been a manner of controversy since the earliest days of Methodism. John Wesley broke with the training that he had and the upbringing that he had in this aspect, that it used to be for him very rigid. And there's some funny stories, sort of funny anyway. Funny, but you know, of him being very restrictive of who would be allowed to receive the sacrament from his hand.
But as he continued to minister, then he changed his view. And this new view that the table would be open to everyone became the prevailing view among the Methodists and it continues to this day because John Wesley reasoned that what better place to meet Jesus than at his table. If we're going to believe that Christ is present in the sacrament, then why would we turn anybody away from Christ?
One thing that really stands out to me is that as we highlight this, as the Methodists always have, as a means of grace, one of the great means of receiving the grace of God, why would we ever want to prevent somebody at the times of their greatest need? When people are suffering, when they're struggling, when they're questioning, when they're wondering, when they're trying to work things out, and all this, that's when they need to be here. When they're going through difficulties in their relationships and difficulties in their life and everything that they're doing, that's when they need this sacrament the most. That's when they need the grace, all the grace that we can help them find.
And so, the table is open. We extend that same invitation that whosoever will may come. And the way that I learned it normally in my ... let me word it here in a few minutes. Christ our Lord invites to his table all who love him and wish to live in peace with one another. And I always add this, usually add this I should say, regardless of your age or your religious affiliation, or any other circumstances, because for some people it's not very clear if that even means them. Yes, it does. This means you under what circumstances.
When I was a child, before my dad became a preacher, sometimes when my parents would not be going to church that Sunday, I would get dressed, I put on my tie because I was nerdy when being a nerd wasn't cool. And I'd, as a child, go across the road to the church across the way. And one Sunday I went there and they were having communion. And at that church, they passed the elements down the rows. And so they passed the bread down and when it got to the person beside me, they held it up in the air and passed it to the person next to me on the other side, make sure I couldn't reach it. And they did the same with the wine.
Of course, I didn't understand then but I did feel the exclusion. And I feel it right now as I talk about, just as real as it happened last Sunday, as it would have happened last Sunday. And it's been almost 60 years ago.
Two main reasons, I later found out, were because my age, I was a child, and because of my religious affiliation, I wasn't a member of that church. You know, I'd have to say, there's other reasons that people get excluded, a lot of other reasons. And none of them are any good. And so, I lump the rest and say, or for any other circumstance.
It's the Lord's table and Christ is the one extending the invitation. What we're doing is just what the disciples did when Jesus said, and he took the loaves and the fish from the boy and fed the 5,000, he just gave it to them and said, "You feed them." That's what we're doing when we participate. That's our role, to facilitate everybody gathering around the table and having their lives transformed by Jesus into whatever Jesus wants you to be.
Well, there's one sermon. "This my blood which seals God's covenant, my blood poured out for many for the forgiveness of sins." Remember it's in the biblical sense. It's more than just recollection. And remember it's in the biblical sense, it's more than memorializing an event or a person. Remember it's in the biblical sense, it's another word for empathy. It is where we live into an experience. Something that might have happened to us, but more often than not, something that happened to someone else, and now I've become a part of our live and we're a part of that moment.
So when Jesus says, "Do this in remembrance of me," he's inviting us to the cross with him. He's inviting us to the moments of ministry with him. And those moments become our moments. Those healings become our healings. The prayers, the meals, the fellowship, the songs, the scriptures, it all becomes a part of who we are.
The night that Jesus instituted the sacrament was a night of Passover for the Jews. And that's just exactly how it's described, when the law was given. When Moses said, "From this day on, you will remember this. You will remember this Passover." And the procedures were given to help them and to facilitate them in reliving this experience, which only one generation lived through. The next generation entered into the Promised Land, and all the rest of the generations following from then until now relived this experience and remember that experience of the Exodus, not because they were there, but because they've been brought into the experience and it has become a part of who they are by empathy, by the sacramental acts that they shared among each other and passed down from generation to generation as we do.
And so, when Jesus extended this one more way, that's what he was extending. And adding to that, "This is my body, this is my blood. It's here for you. Remember me." And so, that's what we do when we remember Christ, remember all of our own personal experiences. But that's just a drop of water in the bucket of all the ... in the ocean, you might even say. Of all the experiences of humanity that we're a part of when we remember in the biblical sense of remembering.
We're one body. When we break the bread, we emphasize this loaf, even though it's just one loaf, when we break this, it's like us being one body. Many as we are, and many as we are, it's not just as many as we are in that room, and it's not just this one loaf. This loaf becomes a part of all the other loaves that are being broken around the world in remembrance of Christ. This becomes the chalice from which all the other chalices are also filled, and we all share together as one body in Christ. The love and the sacrifice that Jesus made, and the invitation that Jesus gives to everybody, "Come unto me all ye that labor and heavy laden and I will give you rest." Bringing us into one body, even if we don't recognize it. Even if others don't recognize it. We're one body in Christ. One faith, one hope, one baptism, one calling, one God and Father of us all. And we share together the blessings of Christ.
We're being transformed and that's far from perfect in the way we live it out and express it. Amen? But that's what Christ is doing in us, is continually working to transform our lives into the likeness of him.
We're participants of the one body. In fact, one of our rituals says that and quotes the Bible where the Bible says that he is made us to participate in the body of Christ. To participate with him, who on the night he gave himself up for us took the bread and wine. We all have many different gifts, but it's one Spirit that gives them and sends us to minister those gifts to each other in a world around us. Like a royal priesthood of believers.
Then Jesus said this, he said, "Do this," and the first thing that comes to our minds, of course, is do this, take some bread, take some wine. But I think he means do this in a whole broader sense. That's the sacramental part, that's the part where we ... that has its own effectiveness of bringing us to the touch-point between the physical and the spiritual. Where "they sing the lamb in hymns above, and we in hymns below."
But as we kind of let our spirit go into that moment, it brings together all the past and all the present and all the future, and invites us to do all of what Christ was doing. Invites us to the fullness. "Do this," and not just some of you, not just one of you, not just a few, but all of us, do all of this that Christ has been doing in our lives and all along.
Think about all the things he did in his ministry. Didn't he send people to do the same things? Not just to have the communion, not just to have a worship service, but to heal the sick. To help the poor. To take care of the people who are suffering around us. To bring good news to people that were not getting any good news like this. To bring the Gospel, bettering the lives of people around us. All of this that Jesus did. Everything you see Jesus doing in the Bible, that's what he's inviting us to do as well. And he's inviting us all to do that.
So as we share the sacrament this morning, I hope that everybody has a religious experience. It's a wonderful time to think about the presence of Christ. And the presence of heaven around us. Wherever God is, heaven is there. Amen? And you know that I can affirm that, wherever God is, that's what the Psalmist said, go up to the highest mountain, down to the lowest, wherever, God is here with us. Christ is present with us as we worship and as we participate in this sacrament.
And so is everybody that's in heaven with him. Our families and friends and loved ones that have gone on before us. Those that used to come here to church but now they've gone on to be with the Lord. And that's a wonderful feeling. To be in communion with each other, with Christ. And to have a permanent relationship that the world didn't give us and the world can't take away.
Posted by Bill Lawson at 9:07 AM
Jesus Expects Us to Follow His Example
The Kingdom of God is Within You
Love Even Your Enemies


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Claudio Adrián Cáceres, avstralski nogometaš, * 10. januar 1982, Buenos Aires, Argentina.

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Princess Diana's Former Lover, James Hewitt Revealed In A Book
in ARTS
A book has revealed that James Hewitt, who is the ex-lover of Princess
Dianna might be the biological father of Prince Harry.
According to the book, the speculation, which has dogged the Prince ever since his childhood, has endlessly been fuelled by the fact that they share close resemblance such as ginger hair.
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to speak to his commanding officer.
"When James refused to give up his career, Diana let the affair wane.Though Diana stayed in contact with Hewitt after he was stationed in Saudi Arabia in 1990, the relationship was, apparently, over."
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The warm velvet evening signalled that Spring had truely sprung at last. Everything just feels better when the sun is here. The car journey down to Guildford with the window open, elbow draped outside and the radio on felt good as I made my way to Guildford to see Charlie Dore at the Electric Theatre in Guildford with support from Bryony Dunn.
The venue is located on the riverside in Guildford and has a nice cool space for the artist(e)(s) to perform in. As a bonus, Nate, the owner, actively supports new music acts.
Since Bryony's whirlwind tour promoting her debut Golden Girl single, she has evolved into a trio and was ably joined tonight by Academy of Contemporary Music alumni Lewis Ball on guitar and Martin Coe on cajon. I sensed from the performance that this was a relatively early gig as a trio but they were a fairly tight unit which will improve the more gigs they do together.
Bryony began with "I Can't Look Away" and "Monochrome" before launching into an excellent cover of Roxy Music's "Love Is The Drug". The trio then took the pace down bit for the Bryony Dunn/Charlie Dore co-written "To My Older Sister". You could feel Charlie's influence come through in the chorus chord progression of the song. Next up was "Maybe Tomorrow" and then upped the pace again for the well written "Lovers". Bryony finished with her new single "Full Bloom" which is out on Friday 20 April 2018 (co-written and produced by Tom Read).
There was an added bonus when Charlie Dore and Julian Littman invited Bryony and Martin back on stage for Charlie's "Pilot Of The Airwaves" and "Maximum Bob" finale.
Bryony is next up at the Reigate New Music Night (04 May) and Hot Vox at the Lucky Pig (15 May). Definitely worth seeing.
CLICK THE FOTO to see more from Charlie.


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text:
film reel
Jehad Choate
Part II: Changing The Programming of Racially Biased Orchestras
Following my last piece advocating the changing of the narrative behind classical music, I would like to address the practitioners of classical music -- the orchestras. My main concerns are with how they program music and how they interact with composers. Popular, big-time, orchestras have the wherewithal to embrace new (non-Eurocentric) music. However, it is often the low-level orchestras that do breach the barrier of old, antiquated, practices.Though it is certainly a possibility that I might not be seeing the bigger picture and that my observations and experiences of these issues are simply blips in my career as a composer, I will continue to highlight these concerns. I welcome any establishment to retort my points and offer me the hope that there are far more opportunities for an emerging composer of color to be exposed to. This entry discusses how some orchestras accept music submissions, the problematic aspects of their programs used to introduce new composers, and the inherent or structural biases they create and reinforce for both the common listener and music professional in this process.
I've contacted major orchestras before. Some of them boast programming new compositions, but it is far and few that really showcase a style that stretches beyond Eurocentric qualities. A few months ago, I sent an e-mail to the LA Philharmonic, and to say how low the bar is for my quality in rejections, I was satisfied with actually getting any response at all. I asked them how they go about getting new music. The response was along the lines of something an A&R rep would say for a major record label:
"We do not accept unsolicited materials."
This means that in order for you to get the music you've worked on to be heard by institutions that have the capability of exposing it to a large audience, it needs to be approved by an artist and repertoire representative, who receive demos upon demos every day from all walks of life. If they come across something that they believe will be a hit, then they recommend it to a director or producer and that person makes a deal with the artist to provide an avenue for that music to be heard.
Problem One: "Who You Know"
Because A&R reps get so much music, it is virtually impossible to sift through all of it. As a result, they solicit the advice and recommendations from representatives of artists who have good reputations of recommending quality work. Consequently, success in this business unravels into "who you know" as opposed to producing quality music. If you have an A&R rep who talks to an agent of an artist who meets the expectations of statistical hit-makers, then new stuff can be virtually ignored in favor of possibly sub-par musicians with exceptional representation.
Problem Two: New Music is Risky
Orchestra revenue comes from filling the seats, and playing the same hits is a safe bet. On one hand, patrons enjoy listening to the compositions they are familiar with and musicians don't have to work so hard learning a new piece. The conundrum, however, is that a concert composer cannot attain a reputation without landing performances, but they can't land performances without attaining a reputation. It is a snake eating its own tail, and it puts emerging composers in a troublesome position of trying to gain reputation through other measures. Aside from finding work through the back door by working adjacent to an orchestra such as volunteering as an usher, tearing tickets, and writing program notes, there are supposed to be other opportunities in place to help emerging composers get their foot in the door. But this presents more problems.
Problem Three: Youth Programs
The status quo of Eurocentric music is being taught at an early age. Youth programs are fantastic learning opportunities for kids. However, the composition diversity issues can be traced back to these programs. Young composers are being brought in to have masterclasses which still teach Eurocentric music as the only acceptable music for this setting. They are being curated into making the music that the orchestra or band leader, or even the board members want to hear, which is already a biased listening experience towards Eurocentric music,or what they presume will be guaranteed hits. Since I am a season composer with a Master's degree, these kid programs don't apply to me, right? Wrong.
Problem Four: The Residencies
These are the same concepts as the youth programs but for an older crowd. Some residencies require you to still be in college (that way a composer can not be paid for their work, because they are "gifted" with more learning experience in credit, and the honor of being told in person what they should do to get orchestras to play their music). Other residencies will age you out by thirty. There are rarely any fresh composers with graduate degrees under the age of 30. Also, at this point, they have already been developing a style to articulate their influences and culture that it's not so much an opportunity to be heard as much as it is a suppression for new music when put into a position to be a student again. Don't get me wrong, if you love your craft, then you will be a life-long student, but all philosophical pleasantries aside, a professional composer needs a fighting chance to be the best version of themselves, not a shining example of what an already biased system expects. Can you imagine Strauss never getting the chance to do Tone Poems? Or Beethoven being told that his work would not be premiered because his expectations were unrealistic to the ensemble? So why can't anyone's philharmonic orchestra program Afrocentric music? Why does the bill always have 75% to 100% old dead white male composers? Is it cause these establishments find new stylistic endeavors so risky that they do not want to risk low attendance?
A lot of these are non-profits who also gain grants to put on these shows and pay their artists. That alone should inspire an unbridled desire for risk. The orchestra, much like the local band/dj, is a staple of their community. They should reflect the people around it, by playing what the people are up to. If it's garbage, then hey, that shouldn't just be a reflection of the orchestra, but the real learning opportunity for the composer. If they are onto something, then that is when brave new styles emerge. There is no coincidence that we haven't had a new "era" of symphonic compositions since avant-garde. There is a reason why kids today know only Mozart and Beethoven, along with Hans Zimmer and Danny Elfman, as if concert and film composition can be put into the same category. It starts with changing the narrative of what classical music is with our kids and our colleges. It perpetuates by embracing emerging composers with unique backgrounds and styles instead of rebranding them into the same tired narrative. Hopefully, it doesn't stop there and orchestral programs change and evolve with a society that changes with it.
There are countless independent composers out there trying their damndest to break through to an audience. The hardest part for all of us is sequestering funds to actually get these pieces performed. The orchestras are supposed to provide these opportunities but we have had to find alternate ways to play our stuff. Composers have taken to investing their very limited funds into sample libraries to record as realistic as possible mock-ups of their writings. Rather than have a legitimate premiere, a lot of us will produce these mock-ups as recordings for streaming and downloads. These present two new problems for the composer. The reliance on technology has created music that can be virtually unplayable by human beings. The listening experience these writings were made to accomplish do not have the same impact as the concert experience.
The feel of a performance is everything. Take the band KISS. Aside from their cartoonish marketing, the musicians and the music they have made over the decades are nothing short of remarkable. But they exist for the show. When they were signed to record their first album, they had many problems recording in isolation. The songs didn't have the same gusto that they did when it was melting your face live. They ended up recording their first album live, and it worked so well that it solidified not only their showmanship but also musicianship. The same could be said for Metallica. A band in their infancy, produced metal so heavy, it would make the needle skip off the record. When a concert composer is put in a position of only putting out mock-ups, not only are they cheated from the very human experience of limitations, but they are also cheated from the experience of chemistry and interpretation from the performers. You can mess with velocities all day, buy the best convolution reverbs, and virtual instruments with a 1,000 round robins, miked inside and out, sampled to the smallest resolution. It still does not compare to the personality and considerations of a living and real ensemble.
That's not to say that is the only way to get your music performed. There are remote orchestras in Europe willing to take a pay cut to send you recordings of their performances of your music. Musiversal is one of those companies. This is outsourcing at its finest, and still poses a problem of raising funds versus fostering a musical community at all. Even as a cheaper alternative, you are still looking at a couple hundred dollars per three minutes of written music, which equates to about twelve minutes of studio time. Now imagine all of that money going outside of the country, going back into your community. Imagine a premiere of your community's composers building a sound specific to you. Imagine being excited to know what these mad scientists of sound could come up with because they answer to you? All of this could happen, if orchestras showed more inclusion, musically.
I think the last solution to help change the narrative of classical music falls under the category of competition. There are many "call-for-scores" competition out there. But the judging of these opportunities needs to be more transparent. You can have rules. It can be a specific length, or instrumentation. You can even have sanctions on participation if someone has won before or has a personal relationship with the institution or judges. But if a non-profit organization puts out such a competition for the masses, and needs entry fees to facilitate quality judging, then they need to have their judgement be completely transparent. There needs to be tangible evidence of why the judges had preference or reservations about our music. If it seems impossible, then by all means limit entries, but composers need to know how people are listening to their music so they can get better. These things are always a shot in dark for me. All stylish endeavors aside, I can maneuver a sandboxed approach to composition pretty well. I've done enough film scores to follow rules and express enough empathy to the scenes to write the appropriate underscore. I am also well-versed in commissions. If someone wants to pay me to write something for them, I have the decency to listen to what their needs are, to create the best product I can. These competitions don't communicate anything. How am I supposed to know that the judges have a broad enough ear to know the difference between my styles? Can they discern microtonal pitches well enough to judge a piece inspired by Indian music, or will they just regard the performance as out of tune? Will they regard my two dotted eighth notes in succession of each other to be a nuanced to Latin music writing, or will they consider it a folly in the invisible bar line principle? Can they tell that I've written a great Afrocentric piece of music, or consider it poorly crafted Eurocentric music? Do I even know the judges? Do they even have a legit body of work that allows them to judge mine? I don't know. None of us do, unless we have an in on the establishments that run these competitions and if that is the case... then it's like being invited to a party just to be ignored.
The film scoring competitions are just as confusing. I, like so many of my colleagues, participated in the Spitfire Westworld competitions a couple months back. It was pretty cut and dry on what rules you follow: don't alter the original audio or video, do something that respects the scene but is still unique enough to stand out. The winner ended up altering some of the dialog audio, and doing chip-tune. Albeit, it stood out, but it caused such an uproar amongst composers because the rules were bent, and the winning composer was already established (though being emerging or established was not part of the criteria). I went into the competition not expecting much, because like film festivals, a lot of getting in requires knowing people involved. I was just happy I could put on my reel amongst all the short films something at pro level. Other folks... not so much and reasonably so. They didn't know what they could and could not do, and that affected what they wrote.
So, I challenge the establishments who put these competitions out to really think twice about accepting a million scores, and not giving the professional courtesy to participants by explaining what works and what doesn't. It's not like they can't control the rules of engagement, it's that they don't have the consideration to provide a quality experience that echoes how their community deserves to be treated.
If the orchestras aren't accepting new music by listening to their surrounding communities of color, encouraging stylistic change in their programming to engage with new audiences, or hosting competitions that allow fresh blood into the mix by increasing transparency and sticking to clear rules, I again ask, where is the fighting chance for new music? That is probably why you haven't had the urge to go to a symphonic concert in a while unless they are playing your favorite film score, game score, or popular music. They are out of touch with their community and an out-of-touch establishment uses their archaic successes to implement biases that no longer speak to society. That makes it a business of nostalgia and not a center of cultural influence and we all know what a platform based on nostalgia will get us. It is imperative that we change the narrative of classical music because that will allow the newer generations to acknowledge the existence of other cultures that have done more for the listening experiences of today's audience than the traditional aspects have in a hundred years. It is important that orchestras acknowledge other cultural styles and new music to improve society and progress symphonic evolutions.
Magnum Cope-us
It is not to say that we should close shop on all the old favorites or deny the importance of Eurocentric music. You just need to know that classical isn't just them. It is an amalgamation of cultural influence, and has already laid stake in popular music. It has turned the symphonic orchestra into a class of listeners and excludes the communities they were built to serve, and the cultures they were made to embrace. But the ratio of new music to old music needs to change. You can have a piece of DeBussy, and Coltrane, and then a couple new composers flexing their new styles. You can program a theme evocative to the music being listened to and not just the composer themselves. It's not about just hiring POC musicians, though it's a good step -- it's about accepting POC music. There is no point in posting your refreshingly new principle players, with their beautiful black or brown skin, if they are still perpetuating the same practices that have broken this system to begin with. During this pandemic, I had enough time to write out what could possibly be my magnum opus: an approximately fifteen minute full symphonic orchestra score called "The Suite of a Thousand Faces." I explore in this piece Joseph Campbell's concept of the hero's journey as a collection of tone poems with a twist: the hero is completely aware of his preordained pattern. Using stylistic flexes, the hero tries to break from tradition, but wonders if it is even worth it or heroic for that matter. Usually, I would go through the motions: create an elaborate mock-up, copyright, and post it to stream. But this music deserves more. I feel it in my soul. Right now concert halls are weakened by the mass shutdowns. Right now, they are posting black squares because a small part of them are now starting to wake up to the racial biases they have baked into their own institutions. Right now, even white artists are calling out the BS of the only acceptable art in the last three centuries came from old dead white guys from Europe. This is the perfect moment for real change. The piece I wrote deserves to be actually premiered. It doesn't deserve to be MIDI, It deserves to be in a semi-laminated booklet, listed in sans-serif font, with my goofy face next to it. All pandemic comments aside, I know right now we can only have streamed concerts. But if and when society gains enough immunity to open up the theaters and concert venues... we need a change of programming. We need to show all the wonderful, magical, unique things we are capable of doing as a species when stuck to our own devices. Mozart didn't get me through Covid-19, I did. Let me play for you how I coped in hopes that it can help you find the sliver of optimism that kept me going when the crippling loneliness, fear, and hopelessness tried to get the best of me.
I know as a POC composer, people will say I am typing this while grinding my teeth on sour grapes, and to a degree I am... I have been groomed from a young age to be a professional composer, to use my unique voice and background to help contribute to society and broaden culture. Hire me then fire me, I am okay with that. But at least show me how you listen, so that I can be better the next time. Don't just burn all my money in gear and education, just to see my application to work as a novelty. If I can be better, so can you. And if you think I am the only one with such grievances, desperate to find the missing puzzle piece to establish my career, you are still not listening.
#composerlife #blackmusicmatters #newmusic #orchestralbias #POCcomposer
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© 2021 Jehad Choate. All Rights Reserved. All clips for my reel have been used with permission from their respected production companies. Logo designed by Rob DeVita. Website designed by Rob DeVita and Jehad Choate.
The Waters of Mars 8:44
The Waters of Mars
Microcosm 2:04
Predation 1:01
The Fires of Pompeii (Euphonium and Piano Duet) 5:38
The Fires of Pompeii (Euphonium and Piano Duet)
Jehad Choate (ft. Heléna Walsh on Piano and Nicolas Cardot on Euphonium)
Deep Blue 1:25
Reprise 1:08
The Man Who Laughs 7:47


We spent two years developing an Innovative Solution for our Libraries. Our EDI works with or without ISBN numbers - overcoming the issues once faced with Foreign-Language titles.
Our EDI system was developed in-house during 2009-2011, working closely with Kent, Milton Keynes, Hampshire and Kirklees. Technical consultancy was provided by Civica, SirsiDynix, Axiell and Nielsen (read more: ). We launched our EDI in 2012.
Most libraries engage us on a supplier-select basis, a trend which is perpetuating through the industry. The traditional EDI-cycle lends itself naturally to this supplier-selection process.
A London Libraries Consortium (LLC) survey showed that without automation, it cost £5.46 to 'put a book on the shelf'. With Supplier Selection, Marc Records and full EDI, this cost dropped to £0.62 per book.
More about EDI Quotes... Supplier-select and customer-select orders are submitted as EDI Quotes. Data does not need to be re-keyed by the library to 'raise an order'. Our awesome Marc records are issued before the EDI Quotes, ensuring that full biblio details are available, allowing easy review of the titles. We have worked closely with LMS vendors and libraries to engineer a solution which works seamlessly with or without ISBN numbers. We can process Quotes Messages in EDIFACT format.
The EDI process lends itself beautifully to Supplier Selection.
The often-forgotten timesaver. An unsung hero of EDI.
We can bundle and transmit as much Fulfilments data as you desire.
More about EDI Fulfilments... We have worked closely with libraries to establish Shelf Mark standards within Consortia and individual libraries. The EDI Order Response greatly reduces accessioning times as Class Numbers, Shelf Marks and Barcodes are all sent by EDI before the books are despatched. Hence, when the books do arrive, they are truly shelf-ready. We can process Fulfilments Messages in EDIFACT format.
No Invoice re-keying or scanning for the library. No errors. No delays.
More about EDI Invoices... Our EDI Invoice provides a line-level breakdown of all costs associated with each title. The Unit Price, Discounts and Servicing Charges are all provided. We also provide a PDF copy of the Invoice, with references back to each EDI line. We can process Invoice Messages in EDIFACT format.
Our EDI messages have been developed and tested in conjunction with the leading LMS Vendors.
In addition, we are BIC and Capita Accredited.
Setting up for EDI with Books Asia is a quick 3-Step process.
You Setup Books Asia as a Vendor on your LMS. You'll need our SAN / GLN, which is 5030670164455. You also need to notify your LMS Vendor to let them know you'll be EDI Trading with Books Asia.
Civica and Sirsi users will need to arrange for access to our FTP Server.
This usually takes 2-3 days to setup.
We will then set you up on our system. We'll need your SAN / GLN and the codes used in the GIR segments (eg LLO, LSQ, LFN, LSM etc) for each message type.
We'll need to work with your LMS Supplier (or your local EDI guru) and your Cataloguer.
We have a handy Template for you to fill in to make this Step pain-free.
Our development takes around 3 days.
When all the technology is in place, we run several end-to-end tests for all message types (Quotes, Orders, Fulfilments and Invoices).
The objective is to test the Message Content and the Delivery Mechanisms.
The testing cycle usually takes 5-7 days.
With so many libraries looking to increase efficiencies and reduce operating costs, we have a pipeline of libraries waiting to be EDI'd.
Please contact us, if you would like to join in.


text: Q: Convergence of $\sin(t^n)/\ln(t^n))^n$ I am trying to prove that$ \int_{t=0}^{t=1/2} \left(\frac{\sin(t^n)}{\ln(t^n)}\right)^n dt$ converges for any positive integer $n$. I thought about using a comparison test, but I don't know what to compare it to.

redpajama_set_name: RedPajamaStackExchange


Yoga in Daily Life is not only physical exercise, it is a complete session of yoga. Sarv Hitta asanas are suitable for beginners, and they are very good in old age. In Hatha Yoga there are six cleansing techniques. We want to enjoy and go to the Brahmaloka. But without renunciation, we can't go there. From Brahmaloka, Earth is like a little seed.


With the Teaching Math, Grades 3-5 online course, preservice and inservice teachers will gain a greater understanding of the National Council of Teachers of Mathematics Process Standards and find effective ways to apply the standards in the classroom and integrate them with content goals. Each course consists of six three-and-a-half hour sessions, presented entirely online through text, illustrations, animations, video programming, and interactive activities. Course participants are prompted to reflect on their learning through questions and journal opportunities. The course may be used as a self-paced course, in a facilitated online mode, or as part or all of the material presented in a face-to-face course or workshop.
Produced by WGBH Educational Foundation. 2002.
Students tackle a problem together.
This session introduces the course content and structure, providing examples of all the activities in the course. The five-part structure of each session — Observe, Explore, Define, Apply, and Evaluate — is explained in detail. Go to this unit.
Discover the role that communication plays in your teaching and in your students' learning. Topics covered include effective questioning, helping students understand and use precise language, and using writing assignments and presentations to help students clarify and deepen their thinking. The session also includes content and activities designed to help you better assess your personal formal and informal mathematical communication. Go to this unit.
Explore problem solving as a key means to introducing new material and building conceptual understanding in your students. Topics include problem selection and how to help all students develop a problem-solving disposition. A range of approaches and strategies to solving problems is introduced, as is advice on helping students identify and solve problems in contexts beyond the mathematics classroom. Go to this unit.
Investigate how reasoning and proof provide the foundations of mathematics, at all levels and in a broad context. Topics include ways to integrate the concept of deductive proof and reasoning into instruction, particularly in subjects beyond geometry. Help students understand how mathematical arguments work and the meaning of concepts like deduction, induction, validity, and conjecture. This session also introduces types of reasoning and how mathematical proof relates to and differs from proof in other subjects. Go to this unit.
Discover how mathematical representations connect concepts and prompt problem solving and communication. Topics include how to help students understand and move fluently among representations, refining informal models, and understanding when and why to move to standard representations. Activities that demonstrate how to use mathematical representations to model real-life phenomena are included as well. Go to this unit.
Explore the interrelated nature of mathematics in this session. Topics include information on how to connect concepts within mathematics to related science, engineering, technology, and non-technical topics. The session includes exercises designed to help you see how mathematics builds as a coherent, connected whole, both from grade to grade and across subject areas. Go to this unit.


text:
'Biology gives you a brain. Life turns it into a mind'
Newly discovered, and with an introduction by Johnny Depp, this is legendary American folk singer Woody Guthrie's only finished novel: a compelling portrait of two hardscrabble farmers struggling during the Dust Bowl.
Filled with the homespun lyricism that made Guthrie's songs unforgettable, this is the story of an ordinary couple's dream of a better life in a corrupt world. Living in a precarious wooden shack, Texan farmers Tike and Ella May yearn for a sturdy house to protect them from the treacherous elements. Thanks to a government pamphlet, Tike knows how to build a simple adobe dwelling from the land itself— a house of earth. But while the land on which Tike and Ella May live and work is not theirs, their dream remains painfully out of reach.
A rural tale of progressive activism, HOUSE OF EARTH is a searing portrait of hardship and hope set against a ravaged landscape. Combining the moral urgency and narrative drive of John Steinbeck with the erotic frankness of D.H. Lawrence, it is a powerful tale of America from a great artist.
Reviews of House of Earth
Praise for 'House of Earth':
'House of Earth is so alive it is hard to realise that its author has been gone for 45 years …The prose is beautiful and not lascivious. You feel that he had read his James Joyce, but the tone and quality of the writing is pure Woody Guthrie. Stark, original, brutal in spots, lyrical in others, often very funny.Could it be considered pornographic? Well, it's more original and written better than 50 Shades of Grey!' Suzanne Vega, The Times
'Such prose was clearly unpublishable in its time, and is still unusually explicit today … At its best, the book is an eccentric hymn to the everythingness of everything, a sort of hillbilly Finnegans Wake … it offers intimate, often startling access to the peculiar intellect and capacious soul of a 20th-century icon.' Michel Faber, Guardian
'A heartfelt story about grinding poverty …This novel, more than a curiosity, is both welcome and timely.' Martin Chilton, Daily Telegraph
'With Guthrie's ear for language and eye for human passions, House of Earth is an engaging and poetic story about struggle that still rings true today. Its revival is welcome' Joy Lo Dico, Independent on Sunday
'The publisher compares Woody Guthrie with John Steinbeck and D.H. Lawrence, but Woody is much funnier' Spectator
'His lyrical style shows why he had such an influence on the likes of Bob Dylan' Shortlist Magazine
More from Woody Guthrie


The New Normal sits down with the owners of Glasgow's Picnic Cafe to discuss veganism, business and the upcoming Glasgow Vegan Festival.
Noted as the vegan capital of Scotland, and second only to Brighton in the UK, Glasgow is widely regarded as one of the best cities to be a vegan. The number of vegan options available to the community has aided in this title with more and more eateries opening all the time.
A sheer glass wall, supporting an eye-catching green sign, breaks the monotony of the stone fronted buildings that line Ingram Street. Drawing closer one would see customers coming and going from the establishment, especially if one came during lunch hour.
Entering Picnic Cafe, one would be struck by the surprising feel of space that the glass window front provides, or the warm and welcoming décor. It is at once both natural and chic. Crisp white walls set against light beechwood surfaces and chrome fixtures stand alongside a pastel mural, reminiscent of a late summer sunset. One is instantly at ease in the space Picnic provides, the open view of kitchen simply adding to the welcoming atmosphere.
There are many influences Nick cites as the inspiration of the in the look and feel of Picnic. From frequent trips to Berlin, a famously vegan-friendly city, to wide ranging research on attractive design, Nick and Michelle spent a significant amount of time on how the business would appear to the customer.
When I note the warm atmosphere of the café, Nick jokes that this is entirely the result of the oven but I'm convinced otherwise. There's an underlying friendliness and openness which is in the bones of the business.
A broad and informal appeal seems to be a common thread that runs through the business, a sense of "widening the vegan message", as Nick says.
The informal, "what you see is what you get" message is evident even in Picnic's products. For the vegan smoothies, one can see all of the ingredients on display before ordering. It's an interesting concept, displaying everything of a product but the finished product, creating both a sense of mystery and complete transparency. The smoothies, like many other products on offer, provide an easy window for curious non-vegans, into the vegan lifestyle.
Veganism is continuing to grow in Glasgow, which provides a large market for Picnic to draw upon. I ask Nick why the city is so vegan-friendly.
Nick points out that it's "which came first the vegan chicken or the vegan egg situation" – the more vegans there are the more vegan businesses open which allows more people to become vegan. Thus, a city like Glasgow grows on two fronts in an almost exponential sense.
Asked on how Picnic built trust with the large vegan community, Nick said that by catering primarily to vegans there's less of a barrier in the first place, that businesses which cater to vegans but do not do so exclusively have a much harder journey in earning that trust. Nick notes that one simply is not able to know if something they've eaten may have been fried in the same oil as a meat product. Establishments that vegan-specific companies like Picnic simply do not have the option of.
He notes that there were few other changes beyond learning how to work efficiently together and build a team environment. It's clear from interacting with the staff, that's there's a real love for the business and the food it produces. Indeed, part of the warmth that Picnic has comes from the staff themselves who are as open and welcoming as the owners.
With the Glasgow Vegan Festival drawing close, focus has somewhat shifted to the upcoming event and the opportunities it provides. Nick notes that such a festival is important both for supporting and celebrating the vegan community and the various businesses which rely on it, but also for expanding the community and allowing others to find products and services they might not be aware of.
John is a Web Editor at The New Normal Magazine. Coming from Aberdeenshire, John studied English and Psychology at the University of Dundee. When not sat behind his laptop John enjoys photography and design or diving into another fantasy novel. Contact John here.


If you need 4 million element headroom then you need to use our unlimited ANSYS Academic Research Mechanical product. But an antivirus protects from these threats by creating a safety wall. Idagdag sa Gusto mo bang panoorin itong muli sa ibang pagkakataon? ANSYS Workbench will start up and show the limited subset of capabilities that you describe.
Dhananjay Hubli, India #7 Sep 15, 2013 I too had same problem. Make sure you have popups enabled 4. So if your antivirus protection is on than it will detect the crack file as a virus and will try to protect your system and crack won't work. Can you help me?
If this is the case this will leave me, and I fear many other academics in a sticky position as we may not have the time to invest in learning Workbench Also make sure the port number in License Manager is same as the port no in license.dat. We really don't wish to continue to propagate the legacy M-APDL approach. what is the suitable field in ANSYS can I opt to do such analysis ????
Paul Lethbridge on October 12, 2015 at 7:52 pm said: Please reviewed our FAQ here: http://www.ansys.com/staticassets/ANSYS/staticassets/industry/academic/ansys-student-faq-8-10-2015.pdf Also scroll up and look at the earlier blog comments and my replies. TB on November 1, 2015 at 1:11 pm said: Hi, I have the same problem. Gustavo Gonçalves 2,259 (na) panonood 5:49 Naglo-load nang higit pang mga suhestiyon... ANSYSLI_SERVERS: [email protected] FLEXlm Servers: [email protected] Step-by-step guide: 1.
I already download ANSYS for student. Please try again today. Susunod ANSYS 15 Install Tutorial - Tagal: 30:29. omaymah bany salman on September 20, 2015 at 7:05 am said: Dear Paul does ANSYS Student still not supported by windows 10 !!!!
emmanuel atta on August 18, 2015 at 10:40 am said: Hi…does this package include any electromagnetic software or any plans to include in the future? Keep up the good work! License Manager folder from the Start menu. 6. I realise you have answered this question a few times already but is there anything else you could suggest?
Isara Matuto nang higit pa View this message in English Nanonood ka sa YouTube sa wikang Filipino. Related Information FLEXlm: Cannot connect to license server-UNIX systemsAdministering the ArcGIS License Manager Created: 5/5/2016 Last Modified: 5/5/2016 Article ID: 000001798 Software: ArcGIS - ArcEditor 8.1, 8.1.2, 8.2, 8.3, 9.0, 9.1, Be sure to note that in step 5 you need to skip over the "Enter License Server Specification" step. Today we announced the immediate availability of the free of charge ANSYS Student product.
Either the application crashed or Workbench lost communication with it (Nenhuma conexão pôde ser feita porque a máquina de destino as recusou ativamente 127.0.0.1:53681). Paul Lethbridge on August 18, 2015 at 12:44 pm said: Dear Muhammad Saeed, you are most welcome! Here's an example video: https://www.youtube.com/watch?v=q-gTM4LWsnY&feature=player_embedded Rob on October 16, 2015 at 11:32 am said: Hi Paul, I'm having the same problem as a few others here- "No servers provided. Tech Videos 1,911 (na) panonood 10:53 Correção de erro em licença - Tagal: 5:49.
Choose Yes.6.The license manager files will now be installed.7.You will then be asked to browse for your license file.8.After clicking Next a browser window will open. Paul Lethbridge on October 26, 2015 at 4:40 pm said: ANSYS Student does not provide access to ANSYS Polyflow. Please let me know if this resolves you problem? Change ANSYS FLEXlm port number to any port number other than 1055 (ex. 1056) and click OK 7.
Don't show me this message again today. Reply » Report Abuse Judge it! But Every time i click on the download, the link takes me back to the same page. Cheers, Rodolfo.
Could you help me? Regarding Python: Yes, you can use Python to build scripts to automate and customize ANSYS Workbench. academia.edu/18356416/Effec… 10monthsago I just uploaded 'Integration and application of passive cooling within a wind tower for hot clim...' to @academia! If you can reply with your email here, I'll have one of our support engineers contact you, and don't worry we won't actually publish your email address.
Reply ↓ Leo on October 3, 2014 at 12:47 am said: Ei giorgos I had the same problems then I just open the Properties of the License.dat and change the permissions, Really appreciate it.


During the early hours of Thursday, several people were seen leaving the Independent Electorate Commision (Inec) office at Yenagoa Local government Area. This was due to lack of attention paid to individuals who intended processing registration of voters card, as a result of the already exceeded limitation set.
Go home and come tomorrow, we have gotten 100 persons for the day at Inec office yenagoa.
A limit of 100 people per day has been set to register for voter's cards at the Independent Electorate Commission(Inec) office at Yenagoa Local Government Area. It therefore, should not come as a shock that Bayelsa state has the lowest number of registered voters, a total of 754,394 with a population of over 1,704,515 as recorded during the 2006 census.
This poses certain underling questions. Is Inec negligent in carrying out its electoral duties? Or are Bayelsans nonchalant towards getting their Permanent voter's card (PVCs)?
It would seem a total waste of time, effort and resources and, discouragement to individuals who have been denied attention due to the limited number of people attended to as they are told to go home and return the next day. Would these people continue making out time from their busy schedules to go to the Independent Electorate Commission (Inec) office in an attempt to get their permanent Voter's cards with no positive response?


The rabbit hole hour of the day is "mental health" to blame for mass shootings. Not the gun that sprayed over a 100 bullets at Parkland killing 17 or the hundreds of bullets sprayed at Las Vegas. Never the guns fault or why we need assault weapons off the shelves. Never the manufacturers or gun sellers.
Let's recall how we got here. The ultimate rabbit hole. The videogame rabbit hole. If you recall Columbine one name should stand out especially if you active on videogame message boards on usenet or gamefaqs. Or watched the news. That person was Jack Thompson.
Decades long rabbit hole of "its DOOMs fault or Sony's Playstation or Nintendo". Well Nintendo was spared a lot of wrath. DOOM well took it on the chin especially after Columbine.
If you played DOOM then it was groundbreaking. Super Mario Brothers for the NES was groundbreaking for a 2d world with perfect controls and puzzle along with carefully hidden secrets. DOOM was that in 3d. I confess I liked Wolfenstein slightly better. Does killing videogame Nazis ever get old? No.
Yet here was Jack Thompson leading a campaign into this rabbit hole. Sadly democrats went along one reason why I despise Senator Leiberman to this day besides weaking the ACA especially his refusal to drop Medicare to 55. We are paying for that today. I just hate him so much.
So no this blame it on mental health not guns is not the first rabbit hole.
Jack's wikipage for a reminder.


text:
Business / Industries
Domestic film industry booms in China
(cntv.cn)
In 2012, the quota of imported films to China jumped from 20 to 34. The figures show that Chinese films struggled to compete with their imported counterparts. However, so far this year things have been different. The domestic film market here is positively booming.
China's domestic film industry has seen an extraordinary success in the first half of this year. That's in stark contrast to its failure just last year to compete with Hollywood blockbusters. While it might be too early to call it the golden age for Chinese cinema, the lengthening lines at theater are a clear sign that the market is healthy and growing fast.
Rapidly expanding market
Up to June the 16th, box office revenue in the Chinese mainland totalled 10 billion yuan, already surpassing 2010's annual figure, with domestic films accounting for a more than 60% share of the total market.
The rapid expansion of cinemas might be one of the most crucial reasons things have changed. Some 2,000 new screens appeared in the first four months of this year and another 5,000 are estimated to open their doors by the end of the year.
Raymond Zhou, film critic, said, "The expansion of cinema lines in the second and third tier cities. Because in the last decade, the boom is more or less in the big cities like Beijing and Shanghai. And now all these theater chains start rolling out in smaller cities. So we are getting more and more audience size. As a consequence the taste has also changed."
In smaller cities, audiences might be more interested in stars like Zhao Wei and Xu Zheng who earned their fame on TV rather than overseas super heros or fantasy franchises.
New generation of directors emegging
Zhao Wei's recent directorial debut "So Young", with its nostalgic themes, harvested over 700 million yuan at the box office. Xu Zheng's directing debut "Lost in Thailand" raked in a staggering 1.24 billion yuan and remained on the throne of the Chinese box office. Stephen Chou's "Journey to the West: Conquering the Demons" was a close runner-up in second place, with James Cameron's "Avatar" in third.
It seems that the time for a new generation of directors is upon us, with young, new talent emerging, tackling narratives that reasonate with the their target audiences. And they do it Hollywood style, on a big budget with a star-studded cast.
Previous Page 1 2 Next Page
Big picture looking better for Poly Film
Problems still hindering growth of film industry
Shanghai film festival rolls out red carpet
China faces hurdles to make its films successful
Small cities play growing role in film market


School's out, and it's time to hit the library for some summer books. I compiled a list of 18 great adventure books for kids of all ages for Outside Online.
We all know there's a lot of unsightly plastic in the ocean. But the biggest problem is the plastic that is too small to see. I wrote about microplastic for National Parks magazine.
Years ago, my father-in-law noticed a flower he liked along the Clark Fork River in Missoula. He took a cutting of it to plant in his rock garden. Later, when he noticed the flower no longer grew in its original location, he took another cutting and re-planted it.


The Section of Women's Mental Health (SWMH) undertakes mental health services research with a primary focus on women's mental health.
Our aims are to carry out research into the gendered determinants of mental health problems, the needs of women with mental health problems using epidemiological and qualitative methods, and to develop and evaluate interventions to meet those needs and inform health policy.
We have a particular interest in understanding the impact of mental health problems on women and their families and have developed an instrument to measure the health and social care needs of pregnant women and mothers with severe mental illness. Find out about the Camberwell Assessment of Need – Mothers (CAN-M).


For qualified borrowers, we are able to not only offer a jumbo mortgage with a competitive rate but we can also guarantee the lowest up-front fees. Our goal is aligned with yours. We want you to enjoy your dream home in a way that ensures your payments are not outside of your budget.
To achieve this we will work with you to ensure that the financing solution we provide is both achievable and sustainable. Just give us a call to set up an appointment and we will work together to make your dreams come true.