Coordinator of TRACE, Philippe Ciais is working at Laboratoire des Sciences du Climat et de l'Environnement. He is an expert in climate change, carbon cycle research, greenhouse gas emissions and has authored more than 600 peer-reviewed articles including many in high profile journals like Nature or Science. Dr. Ciais acted as coordinating lead author of the IPCC for the fifth Assessment Report and co-chaired the Global Carbon Project. He has led the preparation of the European ICOS research infrastructure dealing with high precision observations measurements to quantify and understand GHG emissions and natural sinks at regional scale and was awarded the European Copernicus Medal in 2016 and the Silver Medal of CNRS in 2017.
After a PhD at LSCE studying the global emissions of molecular hydrogen, Camille Yver has done a postdoc at the Scripps Institute of Oceanography working on the modelling of halogenated compounds. Since 2013, she joined LSCE as permanent staff. Her main research topic is the estimation of methane industrial emissions using mobile measurement and she has supervised two PhD students on this subject since September 2013. Camille Yver is also part of the ICOS Atmospheric Thematic Center Metrology Laboratory and has expertise on new instrumentation testing.
Michel Ramonet is a researcher at CNRS in charge at LSCE of the French national monitoring network for greenhouse gases, currently 16 stations in France, Europe, Indian Ocean and South America. M. Ramonet is one of the leading scientists in ICOS, and contributes to the Atmospheric Thematic Center to the near real time data processing of GHG data, the evaluation of new analyzers and the definition of sampling/measurement protocols. He led the Indo-French project CAFICA/CEFIPRA that established the first GHG monitoring station in India, and coordinates the French-Mexican project MERCI-CO2 aiming to monitor CO2 over Mexico-City. As part of the COPERNICUS program, M. Ramonet is the editor of the GHG validation publications of the CAMS near-real-time atmospheric composition service. He has published more than 100 peer-reviewed publications.
Grégoire Broquet has a 14-year expertise in data assimilation systems. SiGrégoire Broquet has a 14-years expertise in data assimilation systems. Staff of UVSQ since 2013, he supervises a range of atmospheric inverse modeling activities for monitoring natural and anthropogenic GHG fluxes from continental to city / industrial site scales, based on in situ and satellite data. He coordinated key activities in the BridGES project with 7 scientists working on GHG city and industrial emissions and satellite monitoring. He is the french PI of the french - swedish EUROCOM project coordinating European inversions of the European CO2 fluxes based on the ICOS network. He has led the investigation of future satellite concepts, including GeoCARB (selected by NASA; in collaboration with Univ. Oklahoma) and CarbonSat, candidate to the ESA EE8 opportunity (in the ESA - LOGOFLUX project).
Olivier Laurent is a research engineer at LSCE with 10-years expertise in metrology and in-situ instrumentation for environmental monitoring. After working for the industry, he took a CNRS position in the field of geophysics. Permanent staff of CEA since 2013, he leads the Metrology Laboratory for the Atmospheric Thematic Center activities of the European research infrastructure ICOS, and coordinates the training of staff working in many European countries in charge of atmospheric GHG and tracers measurements at the ICOS stations.
Philippe is professor at UVSQ, working at LSCE on GHG fluxes using inversions (85 publications). He got his PhD in 1997 on CO2 and atmospheric transport and develops his research activities on the global methane cycle. P.B. is a senior member of Institut Universitaire de France (IUF). He supervised 9 PhD students and 5 postdocs. Present coordinator of the Global Carbon Project methane and French PI of the Franco-German space mission Merlin dedicated to CH4. P.B. will coordinate all training activities in component 1.
Awarded a PhD in microbiology from Guelph University, Canada, he has 20 years of experience in the water and waste treatment industry sectors. He occupied various positions within SUEZ, Group Leader, Global Microbiology Research, Director of Research and Development & Industrialization, Director of Technical Assistance. Currently responsible for managing two services within the Group's advanced solutions portfolio, NOSE –global management of nuisance odors and air emissions associated with industrial activities and BIOGAS professional stewardship for bio-methanization.
Awarded with a PhD in "Physical Methods in Remote Sensing" in 1994, Sandrine has worked on the Meteosat Third Generation and Copernicus Sentinel 3 programs as a technical manager of image quality tools. She has also been leading ESA and CNES R&D studies and theses in spatial image analysis. She coordinated the "Booster" initiative in the South-East region in order to develop more products and services that enhance space data. She is now in responsible of satellite product lines for Meteorology, Environment and Oceanography.
Graduated from Alès « Ecole des Mines », Claire-Anne started her career in 1981 at Bouygues, then joined Aerospatiale in Cannes (Satellites). She focused her activities on Core Business by exercising various management functions within the production, quality, assembly, integration and testing departments for the development and manufacture of telecommunications and earth observation satellites.
Today, Claire-Anne is Director of the European program Copernicus for the THALES Group.
Denis started his career in 1984 in the optical division of Aerospatiale. After a PhD in interferometry, he was a technical and the project manager in the IASI (Infrared Atmospheric Sounder Interferometer) program which him to specialize in meteorology and in the fields of air quality and climate.
Denis is design Authority in Meteorogical, Environment and Oceanography at Thalès.
Antoine joined the optical department of Thales Alenia Space in September 2016.
After being awarded with a PhD in the field of spintronics in 2011, he became a postdoc in the Swiss Federal Institute of Technology in Zurich (ETHZ). Since his arrival at Thales Alenia Space, he has been mainly involved in Carbon-related spectrometer projects, using his experience with complex optical systems but also his scientific knowledge such as the diffusion of light in a gas, critical area of measurements in the field of reflection of sunlight.
Catherine Juéry is an Environment Engineer graduated in 1991 from ENSIP Poitiers.
She's the manager of TOTAL Air Quality Laboratory, center of expertise for TOTAL group based at the Research Center in Solaize (France). She has 25 years of experience in Environment (water, air and waste) and joined Total 10 years ago. In this position she participated in numerous R&D projects dealing with measurements, analytical tools development and modeling of gaseous pollutants. She's involved in air quality, air emissions and health impact studies on the field inside TOTAL sites (refineries, petrochemical plants, exploration platforms). She coordinates research and development activities related to Air Quality in the Corporate R&D program.
Olivier received his PhD in Kinetics and Catalysis from the University of Lyon in 1997 for his work on VOC's destruction. With combined industrial and academic experience, his research includes numerical modeling of atmospheric processes, pollutant analysis and reduction technologies.
Currently, Olivier is a Senior Researcher in the Air Quality Laboratory at the Oil & Gas Company TOTAL. The current research focuses on the quantification of pollutants by combining measurement from various technologies (optical; punctual, monitoring network) to reverse modeling approach. He participates to the elaboration of several CEN standards for fugitive / diffuse emission quantification by remote sensing and reverse modeling approach. Olivier is involved as expert in the CONCAWE (CONservative Clean Air & Water for Europe) consortium for the quantification of emission from the refining activity.
Marie-France is a chemical engineer who graduated from CPE Lyon in 1989. She has worked as an analytics researcher with TOTAL, in gas chromatography and distillation for 7 years. She was chairman of European Standardization committees (CEN). During 12 years, she managed topics related to Environmental issues, with a focus on Air Quality in the Solaize Research center. Specialized in volatile organic compounds emissions, she has been part of the teams evaluating microsensors for hydrocarbons detection and systems for remote sensing on industrial sites. After an operational experience on a Production site, specialized in additives and fuels, she joined the Corporate Research department of TOTAL in October 2016 to coordinate research and development activities related to HSE.


I try to submit something to Pockets for each issue. I have not had any response from them since my submission for their March 2019 issue- that means I now have 7 items sent to them and have had no responses. Wondering if this is true for others who may have submissions out to the magazine?
I've sent three items to Pockets by e-mail, and I didn't get a response at all.
I submit by email and I don't hear anything unless they decide to use one of my submissions. Then I hear via snail mail.
That's what I was wondering- if they had changed their response actions. Thanks all!
How long does it generally take to hear from them? My only submission to them was sent six months ago. Is that too long?
It depends on which theme you were submitting for. They don't respond until they're ready to work on a particular month's issue. They usually are working on an issue about 4 months before it's published, but sometimes it can be 5 or 6 months before.
If it's 3 months before the issue is due to come out and you haven't heard, I think you can safely decide they aren't planning to use your piece.
If your piece is not for a particular theme, I have no information on their response time.
Thanks. So you're saying that they don't respond at all if the answer is no?
Yes, that seems to be the case since they started accepting email subs. My first time to sub via email, I got a snail mail rejection which seemed odd. Then, I haven't heard anything since. But from what Eve says, they must have stopped responding unless it's an acceptance.


text:
// --------------------------------------------------------------------------------------------------------------------
// <copyright file="PhotonTeamsManagerEditor.cs" company="Exit Games GmbH">
//   Part of: Photon Unity Utilities,
// </copyright>
// <summary>
//  Custom inspector for PhotonTeamsManager
// </summary>
// <author>developer@exitgames.com</author>
// --------------------------------------------------------------------------------------------------------------------

using System;
using UnityEngine;
using System.Collections.Generic;
using Photon.Realtime;
using UnityEditor;

namespace Photon.Pun.UtilityScripts
{
    [CustomEditor(typeof(PhotonTeamsManager))]
    public class PhotonTeamsManagerEditor : Editor
    {
        private Dictionary<byte, bool> foldouts = new Dictionary<byte, bool>();
        private PhotonTeamsManager photonTeams;
        private SerializedProperty teamsListSp;
        private SerializedProperty listFoldIsOpenSp;

        private const string proSkinString =
            "iVBORw0KGgoAAAANSUhEUgAAAAgAAAAECAYAAACzzX7wAAAAGXRFWHRTb2Z0d2FyZQBBZG9iZSBJbWFnZVJlYWR5ccllPAAAACJJREFUeNpi/P//PwM+wHL06FG8KpgYCABGZWVlvCYABBgA7/sHvGw+cz8AAAAASUVORK5CYII=";
        private const string lightSkinString = "iVBORw0KGgoAAAANSUhEUgAAAAgAAAACCAIAAADq9gq6AAAAGXRFWHRTb2Z0d2FyZQBBZG9iZSBJbWFnZVJlYWR5ccllPAAAABVJREFUeNpiVFZWZsAGmBhwAIAAAwAURgBt4C03ZwAAAABJRU5ErkJggg==";
        private const string removeTextureName = "removeButton_generated";
        private Texture removeTexture;

        private bool isOpen;

        public override bool RequiresConstantRepaint()
        {
            return true;
        }

        private void OnEnable()
        {
            photonTeams = target as PhotonTeamsManager;
            teamsListSp = serializedObject.FindProperty("teamsList");
            listFoldIsOpenSp = serializedObject.FindProperty("listFoldIsOpen");
            isOpen = listFoldIsOpenSp.boolValue;
            removeTexture = LoadTexture(removeTextureName, proSkinString, lightSkinString);
        }

        /// <summary>
        /// Read width and height if PNG file in pixels.
        /// </summary>
        /// <param name="imageData">PNG image data.</param>
        /// <param name="width">Width of image in pixels.</param>
        /// <param name="height">Height of image in pixels.</param>
        private static void GetImageSize( byte[] imageData, out int width, out int height )
        {
            width = ReadInt( imageData, 3 + 15 );
            height = ReadInt( imageData, 3 + 15 + 2 + 2 );
        }

        private static int ReadInt( byte[] imageData, int offset )
        {
            return ( imageData[ offset ] << 8 ) | imageData[ offset + 1 ];
        }

        private Texture LoadTexture(string textureName, string proSkin, string lightSkin)
        {
            string skin = EditorGUIUtility.isProSkin ? proSkin : lightSkin;
            // Get image data (PNG) from base64 encoded strings.
            byte[] imageData = Convert.FromBase64String( skin );
            // Gather image size from image data.
            int texWidth, texHeight;
            GetImageSize( imageData, out texWidth, out texHeight );
            // Generate texture asset.
            var tex = new Texture2D( texWidth, texHeight, TextureFormat.ARGB32, false, true );
            tex.hideFlags = HideFlags.HideAndDontSave;
            tex.name = textureName;
            tex.filterMode = FilterMode.Point;
            tex.LoadImage( imageData );
            return tex;
        }

        public override void OnInspectorGUI()
        {
            if (!Application.isPlaying)
            {
                DrawTeamsList();
                return;
            }
            PhotonTeam[] availableTeams = photonTeams.GetAvailableTeams();
            if (availableTeams != null)
            {
                EditorGUI.indentLevel++;
                foreach (var availableTeam in availableTeams)
                {
                    if (!foldouts.ContainsKey(availableTeam.Code))
                    {
                        foldouts[availableTeam.Code] = true;
                    }
                    Player[] teamMembers;
                    if (photonTeams.TryGetTeamMembers(availableTeam, out teamMembers) && teamMembers != null)
                    {
                        foldouts[availableTeam.Code] = EditorGUILayout.Foldout(foldouts[availableTeam.Code],
                            string.Format("{0} ({1})", availableTeam.Name, teamMembers.Length));
                    }
                    else
                    {
                        foldouts[availableTeam.Code] = EditorGUILayout.Foldout(foldouts[availableTeam.Code],
                            string.Format("{0} (0)", availableTeam.Name));
                    }
                    if (foldouts[availableTeam.Code] && teamMembers != null)
                    {
                        EditorGUI.indentLevel++;
                        foreach (var player in teamMembers)
                        {
                            EditorGUILayout.LabelField(string.Empty, string.Format("{0} {1}", player, player.IsLocal ? " - You -" : string.Empty));
                        }
                        EditorGUI.indentLevel--;
                    }
                }
                EditorGUI.indentLevel--;
            }
        }

        private void DrawTeamsList()
        {
            GUILayout.Space(5);
            HashSet<byte> codes = new HashSet<byte>();
            HashSet<string> names = new HashSet<string>();
            for (int i = 0; i < teamsListSp.arraySize; i++)
            {
                SerializedProperty e = teamsListSp.GetArrayElementAtIndex(i);
                string name = e.FindPropertyRelative("Name").stringValue;
                byte code = (byte)e.FindPropertyRelative("Code").intValue;
                codes.Add(code);
                names.Add(name);
            }
            this.serializedObject.Update();
            EditorGUI.BeginChangeCheck();
            isOpen = PhotonGUI.ContainerHeaderFoldout(string.Format("Teams List ({0})", teamsListSp.arraySize), isOpen);
            if (EditorGUI.EndChangeCheck())
            {
                listFoldIsOpenSp.boolValue = isOpen;
            }
            if (isOpen)
            {
                const float containerElementHeight = 22;
                const float propertyHeight = 16;
                const float paddingRight = 29;
                const float paddingLeft = 5;
                const float spacingY = 3;
                float containerHeight = (teamsListSp.arraySize + 1) * containerElementHeight;
                Rect containerRect = PhotonGUI.ContainerBody(containerHeight);
                float propertyWidth = containerRect.width - paddingRight;
                float codePropertyWidth = propertyWidth / 5;
                float namePropertyWidth = 4 * propertyWidth / 5;
                Rect elementRect = new Rect(containerRect.xMin, containerRect.yMin,
                    containerRect.width, containerElementHeight);
                Rect propertyPosition = new Rect(elementRect.xMin + paddingLeft, elementRect.yMin + spacingY,
                    codePropertyWidth, propertyHeight);
                EditorGUI.LabelField(propertyPosition, "Code");
                Rect secondPropertyPosition = new Rect(elementRect.xMin + paddingLeft + codePropertyWidth, elementRect.yMin + spacingY,
                    namePropertyWidth, propertyHeight);
                EditorGUI.LabelField(secondPropertyPosition, "Name");
                for (int i = 0; i < teamsListSp.arraySize; ++i)
                {
                    elementRect = new Rect(containerRect.xMin, containerRect.yMin + containerElementHeight * (i + 1),
                        containerRect.width, containerElementHeight);
                    propertyPosition = new Rect(elementRect.xMin + paddingLeft, elementRect.yMin + spacingY,
                        codePropertyWidth, propertyHeight);
                    SerializedProperty teamElementSp = teamsListSp.GetArrayElementAtIndex(i);
                    SerializedProperty teamNameSp = teamElementSp.FindPropertyRelative("Name");
                    SerializedProperty teamCodeSp = teamElementSp.FindPropertyRelative("Code");
                    string oldName = teamNameSp.stringValue;
                    byte oldCode = (byte)teamCodeSp.intValue;
                    EditorGUI.BeginChangeCheck();
                    EditorGUI.PropertyField(propertyPosition, teamCodeSp, GUIContent.none);
                    if (EditorGUI.EndChangeCheck())
                    {
                        byte newCode = (byte)teamCodeSp.intValue;
                        if (codes.Contains(newCode))
                        {
                            Debug.LogWarningFormat("Team with the same code {0} already exists", newCode);
                            teamCodeSp.intValue = oldCode;
                        }
                    }
                    secondPropertyPosition = new Rect(elementRect.xMin + paddingLeft + codePropertyWidth, elementRect.yMin + spacingY,
                        namePropertyWidth, propertyHeight);
                    EditorGUI.BeginChangeCheck();
                    EditorGUI.PropertyField(secondPropertyPosition, teamNameSp, GUIContent.none);
                    if (EditorGUI.EndChangeCheck())
                    {
                        string newName = teamNameSp.stringValue;
                        if (string.IsNullOrEmpty(newName))
                        {
                            Debug.LogWarning("Team name cannot be null or empty");
                            teamNameSp.stringValue = oldName;
                        }
                        else if (names.Contains(newName))
                        {
                            Debug.LogWarningFormat("Team with the same name \"{0}\" already exists", newName);
                            teamNameSp.stringValue = oldName;
                        }
                    }
                    Rect removeButtonRect = new Rect(
                        elementRect.xMax - PhotonGUI.DefaultRemoveButtonStyle.fixedWidth,
                        elementRect.yMin + 2,
                        PhotonGUI.DefaultRemoveButtonStyle.fixedWidth,
                        PhotonGUI.DefaultRemoveButtonStyle.fixedHeight);
                    if (GUI.Button(removeButtonRect, new GUIContent(removeTexture), PhotonGUI.DefaultRemoveButtonStyle))
                    {
                        teamsListSp.DeleteArrayElementAtIndex(i);
                    }
                    if (i < teamsListSp.arraySize - 1)
                    {
                        Rect texturePosition = new Rect(elementRect.xMin + 2, elementRect.yMax, elementRect.width - 4,
                            1);
                        PhotonGUI.DrawSplitter(texturePosition);
                    }
                }
            }
            if (PhotonGUI.AddButton())
            {
                byte c = 0;
                while (codes.Contains(c) && c < byte.MaxValue)
                {
                    c++;
                }
                this.teamsListSp.arraySize++;
                SerializedProperty teamElementSp = this.teamsListSp.GetArrayElementAtIndex(teamsListSp.arraySize - 1);
                SerializedProperty teamNameSp = teamElementSp.FindPropertyRelative("Name");
                SerializedProperty teamCodeSp = teamElementSp.FindPropertyRelative("Code");
                teamCodeSp.intValue = c;
                string n = "New Team";
                int o = 1;
                while (names.Contains(n))
                {
                    n = string.Format("New Team {0}", o);
                    o++;
                }
                teamNameSp.stringValue = n;
            }
            this.serializedObject.ApplyModifiedProperties();
        }
    }
}

redpajama_set_name: RedPajamaGithub


First CD of this French band that has recently opened for Magma at Bourg les Valence. A superb recording, heavily influenced by Magma (sound, compositions & spirit). Very much recommended to all Zeuhl fans!!
Neom is a new entry into the legions of French "zeuhl influenced" bands, although that doesn't become totally apparent until about three minutes into the first track when the Fender Rhodes kicks in and starts a nice repetitive groove with the bass and drums. The choral arrangements follow, some French lyrics though understated, mainly just cool vocal effects that enhance the steady drive and the groove. Their music regularly cycles through more aggressive sections and quieter introspective phases, growing and evolving as it goes, building on its own strength. What's really different here is the very prominent role for electric guitar, very out-front recalling bands like Eider Stellaire and Eskaton in their prime, which is played by drummer, composer, vocalist and presumptive bandleader Yannick Duchene Sauvage. It's this overtly aggressive guitar, almost psychedelic at times, that keep this writer coming back for more listens. Other musicians are credited with the electric piano, bass, and 'introduction drums' (whatever that means), and there are additional uncredited female vocals. There are really only two tracks here, the lengthy four-part "Act I" clocking in at a mere 43 minutes, and the 12 minute "Act II" that follows it. This is a promising band presenting an excellent production their first time out, and I certainly look forward to what they follow this up with. Fans of the zeuhl sound will definitely want to check this out.


text:
Defective Will "Cured" S. 58 WESA
In Contested Wills, S. 58 WESA – Is it a will?, WESA Procedures
S. 58 of WESA (Wills, Succession and Estates act) once again came to play to cure an otherwise defective will in Re Smith Estate 2016 BCSC 350.
Once again the leading case in BC to date of re Young estate 2015 BCSC 182 was followed.
The deceased and her husband lived together in a common law relationship for about 35 years until they married in 2012 .
The applicant was the deceased's granddaughter who as a child was very close to the deceased and lived with her for period of time.
The applicant remained very involved with the deceased as an adult.
The deceased advised that she had drafted three documents and signed them having asked the applicant if she would be the executor of her will and she agreed.
After the death of the deceased, the applicant searched for any testamentary documents in all places she thought they might reasonably be found including funeral box .
The applicant found a clipped and stapled together copy of a 2008 document, an original 2011 document, and an original "funeral arrangements" document. ( three in total)
The applicant brought applications for determinations that two handwritten records represented the testamentary intentions of deceased, and were fully effective as though they had been made as or part of her will; and for orders and declarations setting out results of these determinations as well as orders dispensing with service of notice of application on particular beneficiaries, and her special costs .
The Court granted the orders.
17 Turning to the applicable law, WESA came into force on March 31, 2014. Among other things, section 58 permits the court to allow a document to be fully effective as though it had been made as a will, where the court determines the document represents a deceased's testamentary intentions. Before WESA, documents that failed to strictly comply with the formal requirements of the Wills Act, R.S.B.C. 1996, c. 489 regarding the making, signing, and witnessing of a will were invalid.
18 Section 58 was first considered in Young Estate, Re, 2015 BCSC 182 (B.C. S.C.). Madam Justice Dickson observed the provision is curative, providing the court with a discretion in prescribed circumstances to relieve against the consequences of non-compliance with testamentary formalities. It cannot however be used to uphold a will that is invalid for substantial reasons such as testamentary incapacity or undue influence. Her decision relied upon the principles set out in George v. Daily (1997), 143 D.L.R. (4th) 273 (Man. C.A.) which dealt with similar provisions in the Manitoba Wills Act.
19 At paragraph 35, Dickson J. described the approach to an application under s. 58 of WESA as follows:
… (t) he key question is whether the document records a deliberate or fixed and final expression of intention as to the disposal of the deceased's property on death. A deliberate or fixed and final intention is not the equivalent of an irrevocable intention, given that a will, by its nature, is revocable until the death of its maker. Rather, the intention must be fixed and final at the material time, which will vary depending on the circumstances.
20 She concluded the factors relevant to determining whether a document embodies the deceased's testamentary intention are context-specific and may include the presence of the deceased's signature, the deceased's handwriting, witness signatures, revocation of previous wills, funeral arrangements, specific bequests, and the title of the document.
Discussion and analysis:
21 During the hearing the applicant quite properly raised an issue about the validity of the gift to her set out in the 2011 document suggesting it may be construed as creating an unenforceable gift-over. I agree entirely with her further submission, however, that it is not the role of the court on an application pursuant to s. 58 to determine the validity of the instrument per se including the validity of the gifts it sets out. To the extent this approach may have been taken in Beck Estate, Re, 2015 BCSC 676 (B.C. S.C.), I decline, respectfully, to follow that decision.
22 Turning to the application of s. 58 to the facts of this case, the applicant recognizes the handwriting in the documents as that of the deceased. In any event, it is clear to me the handwriting matches known samples of her handwriting. Accordingly, I find the documents are authentic.
23 In this case, the factors relevant to determining whether each of the documents records a deliberate or fixed and final expression of the deceased's intention regarding disposal of her property on death include:
The presence of her signature indicating her approval of the content of each document.
The titles she gave to each of the documents.
The content of the documents:
The first sets out and distributes a long list of clearly identified personal items to many specific beneficiaries on the event of her death and,
The second, includes a specific distribution of her real property, again, on the event of her death.
Both documents are expressed in language that conveys an air of finality.
The deceased met with Mr. Smith to discuss her will and presented him with both of these documents along with a third regarding funeral arrangements. She advised him she had drafted them herself and signed the first two. Her husband was also present for that meeting.
She subsequently met with the applicant and expressly asked her if she would agree to be her executor which she did. She advised the applicant that all of the necessary documents would be found in a funeral box she had prepared.
After the death of the deceased, the applicant then found a copy of the 2008 document, the original 2011 document and the funeral arrangements document in that funeral box. No other documents setting out a testamentary intention were ever located despite a diligent search.
24 After weighing all of these factors, I find on the balance of probabilities that the 2008 and 2011 documents represent the deliberate and final expressions of the deceased's testamentary intentions. I therefore grant the orders sought by the applicant.
25 Pursuant to Rule 25-14(8)(i), I grant a further order dispensing with the requirement to serve the beneficiaries of the gifts set out in the 2008 document with notice of the application. I am satisfied that most of these gifts have already been distributed. As described in the document, they appear to involve personal items with little monetary value, and the beneficiaries would not have an entitlement upon an intestacy.
26 The applicant shall have special costs.
Mental Capacity to Make a Will

redpajama_set_name: RedPajamaCommonCrawl


Committee assignments: State Government (Minority Spokesperson); Transportation; Financial Institutions; Sen. Comm. Whole.
Biography: Engineer; University of Illinois; formerly with Illinois Department of Transportation and Clark Engineers, Inc.; Wife, Joyce, three adult children.


As important as the selection of a supplier and in this particular case a strategic ally for the logistics operation of a company (3PL supplier), is to know if the performance of this ally is in line with what was expected in the selection process. Considering this importance, a methodology is proposed to evaluate the performance of a logistics service provider. The proposed methodology considers scientific and analytical elements to define a set of criteria which include not only the most important features of services container transport, but also those competences which may affect the development and sustainability of a strategic alliance. Those criteria are described and it has associated sub-criteria and indicators too, with their respective measurement frequency. Then, the criteria are weighted using the basic AHP methodology. In the next place, all those items are recorded in a format designed to make the final assessment ally, in order to proposed model.
AHP, performance evaluation, Strategic Allied, Supplier.


text:
Mega Millions $625M jackpot largest in nearly 2 years
A man walks his dog past lottery signs Tuesday, Jan. 12, 2021, displaying the recent jackpot amounts in Chicago's fames Loop. Lottery players have a chance to win the largest jackpots in nearly two years as Tuesday's Mega Millions has grown to an estimated $625 million and Wednesday's Powerball to an estimated $550 million. (AP Photo/Charles Rex Arbogast)
Credit: Charles Rex Arbogast
Lottery players will have a shot at the eighth-largest jackpot in U.S. history, thanks to months without a winner of the big prize
DES MOINES, Iowa (AP) — Lottery players had a shot Tuesday night at the eighth-largest jackpot in U.S. history, thanks to months without a winner of the big prize.
The Mega Millions $625 million jackpot is the largest lottery prize in nearly two years. The big prize for Powerball, the other national lottery game, isn't far behind, at $550 million for Wednesday night's drawing.
The winning numbers in Tuesday night's drawing of the Mega Millions game were: 12-14-26-28-33, Mega Ball: 09.
The jackpots promoted by lotteries refer to the winnings of those who opt for annuities paid out over 30 years. Nearly all jackpot winners actually take the cash option, which would be an estimated $458.8 million for Mega Millions and $411.4 million for Powerball.
Those dreaming of instant riches might want to remember that the odds of winning Powerball are one in 292.2 million. They're even steeper for Mega Millions, at one in 302.5 million.
Lottery signs remind motorists Tuesday, Jan. 12, 2021, the jackpot amounts at a downtown Chicago gas station. Lottery players have a chance to win the largest jackpots in nearly two years as Tuesday's Mega Millions has grown to $625 million and Wednesday's Powerball to $550 million. (AP Photo/Charles Rex Arbogast)
A digital lottery billboard on the Kennedy Expressway in Chicago, Tuesday, Jan. 12, 2021, shows the recent jackpot for the Mega Millions game. Lottery players have a chance to win the largest jackpots in nearly two years as Tuesday's Mega Millions has grown to an estimated $625 million and Wednesday's Powerball to an estimated $550 million. (AP Photo/Charles Rex Arbogast)
A digital lottery billboard on the Kennedy Expressway in Chicago, Tuesday, Jan. 12, 2021, shows the recent jackpots for the Mega Millions and Powerball games. Lottery players have a chance to win the largest jackpots in nearly two years as Tuesday's Mega Millions has grown to an estimated $625 million and Wednesday's Powerball to an estimated $550 million. (AP Photo/Charles Rex Arbogast)


Dakota Hoska is a graduate student in the Master of Arts in Art History program. Dakota was awarded a Department of Art History Research Grant to support travel and research for her Qualifying Paper.
There's a lot I thought I knew. I had seen Andrea Carlson speak several times, and I had watched many of her interviews. We hold her piece Sunshine on a Cannibal at the Minneapolis Institute of Art where I work, and I have seen it installed on a few occasions. I thought I had good insights on this artist as a topic for my Qualifying Paper (QP), but, even so, many things changed after I was able to travel to Chicago and meet with Carlson in person. The opportunity to travel to Chicago was supported through a grant from the University of St. Thomas Department of Art History. I am very thankful that I was afforded that opportunity because it really influenced the direction of my final paper.
Andrea Carlson is a deeply thoughtful artist with a very complicated deliberation process as it relates to the visuals found in her work. It would have been very difficult for me to whittle down which direction to take in my analysis of her work without meeting with her in person. Before going to Chicago, I had a 3 ½ page outline of things that I believed were possible to address in my QP. After meeting with Carlson, I was able to carve 2 ½ pages off my outline. Not simply because the topics were no longer relevant, but because after speaking with Carlson I realized the subjects were either SO meaningful for the artist that I would need considerable more time to address them than the QP allowed, or because I discovered the issues didn't relate to the artist in the way I had assumed.
Andrea Carlson, studio visit. Carlson's work is often so large, she can only see sections of it at a time because of her small space.
Traveling to the artist's location allowed me to visit her museum, meet her friends, and tour institutions where she often serves as an advisor or where she simply goes for inspiration and learning opportunities. This helped me prioritize the subjects I wanted to address in my QP as well as develop a new and very important professional relationship.
After leaving Andrea after a long day of touring the Chicago Art Institute, she directed me to cross through this park to return to my hotel where I had a lovely skyline view of the city of Chicago.
One day, I would like to do the first major exhibition of Carlson's work, as well as produce her first monograph. I don't know if I'll get that opportunity, but if I do, it is this trip that began my journey towards that destination. I think non-academics may assume that we scholars are sitting home in front of our computers with stacks of books in front of us, seldom seeing the light of day. (OK, that is very true some of the time). But I think the best scholarship is closely tied to the personal experience, and travel grants like this one help to make those kinds of individual encounters possible.
A sneak peek of some of the imagery Carlson is working on for her next big painting, Red Exit.
My deepest thanks go to the University of St. Thomas Department of Art History for my grant. It really changed the trajectory of my paper, helped me streamline my research, and allowed me create a strong and lasting relationship with this very important Native artist, who I'm sure will continue to be a focus for me throughout my career.
Abby Slawik is currently in her first semester in the Non-Degree Program in Art History. She is enrolled in Imaging the Other: Representation of/in Pre-Columbian and Early Colonial Mexico and Peru.
Where did you go as an undergrad and what did you study?
I went to NYU for studio art.
What was your career prior to your decision to enter the Non-Degree program in Art History?
I was a picture framer (design and production), as well as an art installer, for several years after graduation. I am also interning with a couple of conservation labs in the Twin Cities. These experiences have helped me understand some of the material language in the class.
What drew you to the University of St. Thomas?
Their course offerings are innovative, not overly generalized, and all have the potential for primary source study here in the Twin Cities. Also, they offer courses at night. I have a busy schedule during regular business hours with jobs and internships, so the class schedule really helps me out.
What advice would you give someone considering graduate study in art history at the University of St. Thomas?
Take advantage of all of the networking and professional development opportunities! The Twin Cities have a world-class, but accessible, arts community, and you WILL meet people who will help you out professionally. The arts/museum field is very competitive and sometimes you have to make it up as you go along. Don't forget to stay flexible, stay interested, and have a plan B, and maybe a plan C too, just in case.
I recently helped with a conservation treatment on an artwork by Simon Sparrow, a self-taught, or "outsider" artist. I am interested in studying the processes of this artist more in depth, and more broadly, how the "outsider" artist phenomenon caught on in the 20th century and sparked a cutthroat resale market.
How are your classes this semester?
I am enjoying the informal research we are doing in Dr. Barnes's class about various rumors, scandals, or unproven theories. It is a real hands-on approach, and is helping hone my research skills.
Keeping up with the reading is keeping me on my toes. I haven't had this much homework for a few years, so I'm out of practice! I am also behind some of my classmates, because I haven't taken any of the foundational "Methods" courses.
Michelle Turner is a graduate student in the Master of Arts in Art History and Graduate Certificate in Museum Studies program. Michelle was awarded a Department of Art History Student Research Grant to support her Qualifying Paper research.
A screen-shot of the temperature differences between the locations on my trip and Minneapolis, which was experiencing the 2019 Polar Vortex.
This January, right as the 2019 winter vortex hit, the University of St. Thomas provided me the opportunity to leave. Thanks to the Department of Art History Student Research Grant, I was able to travel to England and develop my Qualifying Paper abroad. My paper focuses on British artist Sonia Boyce and her ongoing relationship with wallpaper throughout the span of her career. Many scholars and critics either focus on the conceptual similarities across Boyce's oeuvre or they silo her work into two camps: her drawings pre-1990 and her collaborative work post-1990. My paper aims to bridge Boyce's art practice by also attending to the aesthetic.
I was first introduced to the work of Sonia Boyce by Dr. Heather Shirey in her spring 2018 seminar "Afropean: Africa and Europe." Boyce was suggested to me by Dr. Shirey as a possible research subject. My paper began by exploring Boyce's visual commentary on Britain's race relations. Her work was intended to be one case study among a collection of others that highlighted the disparity between ideas of diversity and inclusion. Yet, as I began to survey the breadth of Boyce's work, in particular, her collaborative and often performative pieces post-1990, I became fascinated by her new use of wallpaper. In her pre-1990 drawings, wallpaper was used as a regular backdrop behind her figures, but in her later work, Boyce took wallpaper off the canvas and gave it new dimensions, the ability to engulf and alter the space we inhabit.
A photo with Sonia Boyce.
Nervous that at any point I would step upon a source which had undoubtedly already written on this topic, I both voraciously surveyed whatever records and writings I could find and proceeded with caution. With less than ten days before our final class presentations, I emailed Dr. Shirey my intention to switch my paper's focus. I was met with "you are in the trenches with the research, and you'll be the best judge as to what is possible at this point in the research/semester." I took that as a go.
Ultimately the topic was well received and turned into my Qualifying Paper. Over the summer, I reached out to Boyce directly and in the fall, I applied for the Department of Art History Student Research Grant. My time abroad allowed me the opportunity to see many of Boyce's work in person, hold conversations with a number of art professionals who had worked directly with Boyce and/or her work, as well as meet and interview Sonia Boyce.
Me in front of Boyce's 1986 drawing Lay back, keep quiet and think of what made Britain so great.
England was a RUSH but a wonderful one. My first day in the UK, I dropped my bags in London and travelled 2+ hours out of the city to visit the Royal Albert Memorial Museum in Exeter. Here I viewed "Criminal Ornamentation," an exhibition curated by British-Nigerian artist Yinka Shonibare. Boyce's 1986 drawing Lay back, keep quiet and think of what made Britain so great was a part of this show. Lay back, keep quiet and think of what made Britain so great was the work which first introduced me to Boyce, so it was moving to begin my travels by seeing this piece.
A section of the Newham Trackside Wall, now empty. Sonia Boyce's collaborative design will be installed on this surface before the end of 2019.
Over the next two days, I ebbed and flowed around and out of London. I had the chance to visit the Arts Council Collection where Curator, Beth Hughes generously pulled Boyce's 2010 etching I Have Found a Song for me. On another day, UP Project's Commissions Curator, Niamh Sullivan introduced me to Boyce's current commission project, the Newham Trackside Wall. Due for completion in 2019, the Newham Trackside Wall will be the longest public artwork ever made in the UK, stretching over a mile long. Additional stops included the British Museum, The Lightbox gallery in Woking where Boyce' work From Tarzan to Rambo: English Born 'Native' Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction was on view as part of an exhibition, and a detour to the Young Vik to see a one-man show by the actor who famously cried "You shall not pass!" to protect a band of hobbits.
A section of the Newham Trackside Wall with remnants of wallpaper promoting the commission project.
Following this run, I took the weekend to explore Birmingham and Manchester. In Birmingham, one highlight was seeing the exhibition "Women Power Protest." Boyce's 1985 drawing Mr. Close Friend-of-the-Family Pays a Visit Whilst Everyone Else is Out was on display here. A second highlight was visiting EastSide Projects and meeting Director Gavin Wade. Mr. Wade was kind enough to tour me through what the space was like when Boyce held her 2017 Wallpaper / Performance sessions at the gallery. In Manchester, the main stop was – as should come as no surprise – the art gallery. What did come as a surprise, however, was seeing Boyce's 2018 work Six Acts on view as part of the permanent collection. This was the first material wallpaper by Boyce I had seen in-person; better still, it was installed and on view in a public space.
An educational panel of the "History of Black Britain" on display at the Black Cultural Archives in London.
Returning to London, there was a lot to take in from the weekend, but a lot left to see and do over my last two days. Visits were made to the John Soane Museum, the Tate Modern, the Whitechapel Gallery, the Black Cultural Archives, and the Victoria & Albert Museum – where I was lucky enough to view an assortment of wallpaper samples, by Boyce and others, thanks to Senior Curator of Prints, Gill Saunders. Another thanks is due to Curator Claire FitzGerald of the Government Art Collection who led me past security and guards to see a large screenprint of Boyce's Devotional chart in the Foreign and Commonwealth Offices. Of course, the trip came full circle by having the chance to meet Sonia in person. We met at the Royal Academy and she treated me to English cake and tea, a welcomed refreshment for one too nervous to eat anything beforehand. There may not have been any icing on the cake, I can't remember, but none was needed. My thanks to all who in their generosity made this trip more than I could have hoped or imagined.
Ann Arntson recently completed her first semester in the Museum Studies Certificate program at the University of St. Thomas in fall 2019.
I went to the University of Minnesota-Twin Cities and studied History. My emphasis was in Egyptian and Middle Eastern history.
Why did you want to continue your studies with the University St. Thomas?
I am currently enrolled in the Masters of Library and Information Science with an emphasis in Archives and Special Collections. A classmate told me about the Museums Studies program and I thought it would be an important complement to archives and libraries.
What advice would you give someone thinking of coming to St. Thomas for the Graduate Certificate in Museum Studies?
I would tell them that St. Thomas provides a supportive environment from both the Art History department and other students. I very much enjoy my time here because of this. Also, I would tell them to go to the department events!
Psychology of collecting, especially how it applies to museums, archives, and other related fields.
How were your classes last semester?
The semester was good but very busy. I very much enjoyed Museum Studies II: Collections, Curation, and Controversy. I was also taking Archives and Mmetadata courses at St. Kate's.
Balancing coursework, student groups, networking, internships/jobs and personal life.
Marilyn Burnett is a graduate student in the Master of Arts in Art History and Graduate Certificate in Museum Studies program. This summer, Marilyn worked with a team of graduate students and Dr. Heather Shirey to research street art across several major metropolitan areas in the United States.
Los Angeles Art District. Photo by the author.
In the summer of 2018, I joined three other Art History graduate students and Dr. Heather Shirey to complete an independent study course investigating street art across the United States. We decided to do comparative research on street art by visiting some important hubs of street art in the United States, sometimes traveling together and sometimes separately. We started by investigating street art in our own city, St. Paul. We then visited Los Angeles together, and I ventured off to Denver on my own. The journey of learning about the art movement of graffiti, street art, and urban murals was a fascinating discovery of self-expression, placemaking, ambition, and profit.
Denver RiNo Arts District, Photograph by the author.
Graffiti started in the 1970s and 1980s as a form of rebellion against capitalism and coincided with the establishment of a subculture of rebellious youth in the crumbling inner cities. The sheer repetition of a writer's signature or tag proclaimed individual worth and recognition, and tagging evolved into a competition for recognition and fame based upon risk, location, and artistic talent. The exaggerated lettering is generally intended to be understood by an internal audience, and so tags may be seen as exclusive to the crews and writers of the street, as the casual observer usually cannot decipher them.
Street Art Independent Study class in LA: Kira Lipinski, Floris Lafontant, Gustavo Castillo, Theresa Nelson, Marilyn Burnett. Photo by the author.
Next, let's consider forms of street art that, like graffiti, are produced by illegal means, taking the form of images as an irreverent voice against capitalism and the establishment. This type of street art is inclusive because the sometimes political and subversive messages are intended for the casual passerby. Street art is contextual with necessary elements like location on the street and painting within the human scale to confer to the viewer the skill and risk of the painter and create a human connection. Its illegal nature allows for complete freedom of expression and also the potential for revision. The traditional rules of street art hold that other street artists add, respond or delete existing street art as part of a conversation balanced by a respect of established artists on the street. The risk of illegal art is part of the intrigue, and also becomes payment for the lack of external control regarding the subject matter or quality of the art.
LA Miracle Mile area. Photograph by the author.
Sanctioned murals, on the other hand, are generally commissioned, placed in the public realm, and therefore encounter control of content at several levels. The policies of the city, the property owner, the commissioning body and the funding body can all provide restrictions on content. There is a belief by 'street art purists' that sanctioned street art is the enemy of the spirit of street art. They claim painting for payment is unadventurous and a 'selling out' of the fundamental principles of street art. The reality is that Street Art festivals are wildly popular events across the world which foster paid urban murals labeled as street art. Urban developers capitalize on 'creative districts' and street art festivals which gentrify aging neighborhoods but also can raise property values and displace low-income families. Social media has provided a path to fame or invisibility in the glut of images online. Disdained by traditional street art, the internet is part of the future and provides opportunities for artist and individual interpretations. The lines of traditional street art are blurred and scholars and leaders in the street art world debate the next phase for the genre.
Photo courtesy of the Minnesota Museum of American Art. L to R: Nicollazzi Xiong, Christina Vang, Vanghoua Anthony Vue, Xee Reiter, Shoua Yang, Melissa Vang. Photo: Sarah White.
Vanhoua Anthony Vue is an Australian artist who identifies with his Hmong culture. Vue was selected for this project by the MMAA and wanting to be inclusive, he initiated Hmong community discussions and incorporated local Hmong artists into the project. The mural on the Jackson Street parking structure, Flows of Interconnected Motifs, recalls traditional Hmong story cloths. Vue painted a colorful camouflage background upon which the local artists painted a personal motif representing the Hmong-American experience. The image is powerful as the camouflage veils the Hmong stories of misrepresentation and invisibility in plain sight.
Flows of Interconnected Motifs. St. Paul, MN. Photo by the author.
Honeybees and Poppies is a motif by Xee Reiter. The work references underlying tensions between Laos as an opium producer and the opiate crisis in the United States. Laos has a long history as a place of violence and war and displaced many Hmong farmers. Reiter gives a cultural nod to their survivalist nature and ability to thrive in areas of diaspora.
'Honeybees and Poppies' motif by Xee Reiter. St. Paul, MN. Photo by the author.
The Jackalope is an illustration by Christina Vang. Her mythical creature is typical of oral Hmong folklore. The jackalope represents Hmong stereotypes of being both feared and a pest. She references the 2004 case where Chai Vang was convicted of shooting 6 people after they confronted him and hurled racial slurs for his hunting on private property. The murder of 6 people was tragedy mixed with racial tensions. An MPR story indicates cultural misunderstandings of private property, hunting seasons and that the Wisconsin hunting rules are not available in multiple languages.
'The Jackalope' motif by Christina Vang. St. Paul, MN. Photo by the author.
Healer is a motif by Melissa Vang. The depiction of a woman with herbs and leaves in her hair is inspired by the Hmong women who have generationally passed down the knowledge of how to ease pain with plants and herbs. This motif honors Hmong cultural healing but is reminiscent of opium pain-killing properties. Possibly linking the commodification of this innate healing knowledge to companies who financially benefit from this ancient practice without reciprocation to the women who possess the knowledge.
Photo courtesy of the Minnesota Museum of American Art. 'Healer' motif by Melissa Vang. St. Paul, MN. Photo courtesy of the artists.
Wood Frogs is a creation by Shoua Yang. Yang feels that wood frogs represent the Hmong people and their amazing ability to adapt. The wood frog is known for the adaptations which allow its body to actually freeze in hibernation. The frog might also be a metaphor for the suffering that the Hmong have survived. Frogs have a special meaning in Hmong spirituality for initiating a curse which brought suffering and restricting man's access to the spirits and the Otherworld.
Photo courtesy of the Minnesota Museum of American Art. 'Wood Frogs' motif by Shoua Yang. Photograph courtesy of the artists.
The next chapter of street art is appearing in the form of sanctioned urban murals. They share the street with traditional street art and can share the power of their message through a call for documentation versus the alternative definition of wallpaper. The St Paul Mural project can serve as an example of community building, respect, giving voice to the struggles of a displaced people and for white-led institutions to hear them.
Molly McIntosh is currently in her first semester of the Master of Arts in Art History and Graduate Certificate in Museum Studies. She is enrolled in Methodology and Approaches of Art History and Museum Studies II: Collections, Curation, and Controversy.
Where did you go as an undergraduate and what did you study?
I studied at the University of St. Thomas and majored in History.
What were you doing before you decided to switch gears and get your Master of Arts in Art History and Graduate Certificate in Museum Studies?
I volunteered at a local historical society – the Aitkin County Historical Society and the MilleLacs Indian Museum while continuing to work at the Minnesota State Capitol as a historic interpreter.
What drew you to the University St. Thomas?
I mainly came for the museum studies program. I had been made familiar with it beforehand from some of my professors in the history program. They said it was a good fit for me because I was always talking about museums. I was offered a museum fellowship with the Minnesota Historical Society (MNHS) at the History Center. This is a fellowship that they do once or twice a year to help young professionals navigate the museum field. I accepted that, and it was awesome!
Were you designated to one department during the fellowship or did you do a little bit of everything?
The Museum Fellows do a little bit of everything. We get to meet a lot of professionals at the Minnesota Historical Society from different areas. I got to learn a little bit about grant writing, the process of asking for donations, the educational side of it, as well as programming and finance. People from MNHS would come and do a talk in front of the class about what they do and then you did a lot of reading on their area of expertise, which was intensive. We ended with a week-long trip to Chicago to see over a dozen museums. It was a great experience!
What advice would you give someone thinking of applying to the M.A. in Art History and Museum Studies Certificate program?
If it was for the Graduate Museum Studies Certificate I would definitely tell them to do internships, volunteer, or try to secure a position within some historical society or within a museum and feel your way through. There are so many paths that you can take in museums.
When it comes to art history, I've explored a lot into the history of tattoo art, body art, and some body modification. I think it is a form of art that is really underappreciated, especially considering it has an unconventional canvas. There are some fantastic tattoo artists in the world and here in Minnesota that are underappreciated because their art comes from a different medium. I would like to see more tattoo artists and graffiti artists in particular, being given the chance to display their art in a formal way and given the time of day for what their talents are. I would like to see their work considered in the same way that people appreciate the old masters or contemporary works.
My classes are going great. I enjoy the challenge of upper-level courses and the gratification of learning things that pertain to the career field I aspire to work in. I've also made great new friends with like-minded people as passionate as I am about art and museums.
The biggest challenge with graduate school is the time and the expense. You'll see a lot of people in graduate school from all walks of life, some people more settled and those that aren't more settled. I went to undergraduate here mainly on scholarships and grants. I was very lucky to graduate with very minimal loans. I didn't come from a particularly well-off family. Graduate school, for me, is working three jobs and working six days a week and devoting myself to what I am really passionate about. It makes it all worth it in the end, but you just need to remember you are going to school for something you are passionate about.
Keely Wardyn is currently in her first semester in the M.A. Art History program. She is enrolled in Methodology and Approaches of Art History and Sacred Spaces in Unexpected Places.
I went to Minnesota State University – Mankato. I studied Art History. Previously, I got an associate degree at South Central College and took a year off afterward and went to Italy, Switzerland, and France.
My advisor, Alisa Eimen highly recommended St. Thomas for me. I wanted to stay in the state, which leaves St. Thomas and the University of Minnesota. I knew I didn't want to go to the University of Minnesota – I just knew it was going to be a competitive atmosphere instead of a collaborative one and that's not what I was looking for. She recommended this program, so I applied for it and got in!
What advice would you give someone thinking of applying for the M.A. in Art History at St. Thomas?
Come in very open-minded and be willing to communicate with the faculty. Heather Shirey (Associate Professor and Director of Graduate Studies), emailed me after a week to check how I was doing with my classes and the commute to campus. Having someone to communicate with has been very important to me.
I am really interested in Persian art – especially manuscripts pages. The project I did for the Minneapolis Institute of Art (Mia) undergraduate symposium explored a manuscript page they have in their collection. I was actually able to uncover some pretty amazing things about its attribution that the museum was unaware of. For me, that was the point where I knew that I wanted to focus on Persian and Islamic art.
They have been very good – extremely engaging. During my most recent Methods class, we had some amazing discussions. As for the Sacred in Unexpected Places, this has been amazing – getting to meet Bartholomew Voorsanger – that was inspiring to hear him talk about his work.
Learning how to structure my weeks now. The last year and a half I haven't been in school, so being disciplined about my time (and not binge-watching shows on Netflix whenever I feel like it) has been a change. After you're in school for a while you just back into the routine. Basically, balancing full-time work and two grad-level classes continues to be the greatest challenge.
Erdene Zuu Monastery in Kharkhorin, Övörkhangai Province, Mongolia. Erdene Zuu is likely the oldest extant Monastery in Mongolia.
Sam Wisneski is a graduate student in the Master of Arts in Art History program. Sam was awarded a Department of Art History travel grant to participate in a Buddhist Art field seminar in Mongolia this summer and to conduct research on contemporary art in Ulaanbaatar.
In July 2018, I had the opportunity to travel to Mongolia to study Buddhist art and architecture and contemporary art. As a recipient of a Department of Art History travel grant, I spent a month traveling in both rural Mongolia and in the capital, Ulaanbaatar. My goal for this trip was to learn more about the historical development of art and Buddhism in Mongolia, in order to better understand modern and contemporary Mongolian art.
This was not my first time visiting Mongolia. I had been there for an extended stay in 2016 where my exposure was limited to mostly rural life, but it proved to be an absolutely invaluable and formative experience. Since returning to my graduate studies in 2017, I felt strongly that I wanted to visit Mongolia again, but to examine it with the eyes of an art historian.
During spring semester 2018, I enrolled in Dr. Elizabeth Kindall's Buddhist Art class, where it first occurred to me to examine Buddhist imagery in contemporary Mongolian art. It was one of those few serendipitous moments in which my interests in Buddhist art and contemporary art intersected in an exciting way. A few weeks into the semester, I got the chance to seriously entertain the idea of traveling to Mongolia again when I came upon a summer Buddhist art field seminar led by art historian Dr. Uranchimeg "Orna" Tsultem.
For ten days, I traveled alongside Professor Uranchimeg with another pupil, a trip organizer, and our expert driver, mostly via the rutted dirt paths (a.k.a roads) in rural Mongolia. For a lot of the time, we were off-roading in a mini-van and occasionally found ourselves in some peculiar situations. At one point, we literally drove through a river.
We had an ambitious itinerary with travel planned across several provinces. Unfortunately, we did not make it to all of the sites on our itinerary due to an outbreak of hoof-in-mouth disease that had stricken livestock in one of the provinces we planned to visit.
With our altered itinerary, we split our time between two central provinces and the capital, Ulaanbaatar, where we visited many of Mongolia's most significant temples, monasteries, and museum collections. We, of course, had to visit the famous ancient Mongol capital of Karakorum (Kharkhorin), home to (likely) the oldest monastery in Mongolia, Erdene Zuu. We also visited Övgön Monastery, with its charming clusters of small colorful temples, and the mountain retreat meditation caves and temples of Tövkhön Monastery, my favorite site on the itinerary.
Tövkhön Monastery is situated in the mountains and has spectacular vistas.Visitors must drive to the base of the mountain and hike or travel by horseback to reach the monastery. I am pictured here with Professor Uranchimeg and fellow traveler, Jack.
In Ulaanbaatar, we visited major Buddhist sites including the Gandantegchinlen Monastery, the Daishchoilin Monastery, the Bogd Khan Winter Palace Museum, and the Choijin Lama Museum. The latter two sites house impressive museum collections and several temples. We also visited the Zanabazar Museum of Fine Arts, which houses important Buddhist works, many of which were executed by the museum's namesake, Zanabazar. Zanabazar was the sixteenth Jebtsundamba Khutuktu and the first Bogd Gegeen of Mongolia, effectively the spiritual head of Mongolia. He was also a polymath and artistic visionary and is credited with ushering in a golden age of art in Mongolia.
Daishchoilin Monastery has temples built in the shape of a Mongolian ger (yurt).
Having dedicated the entire seminar to Buddhist art and architecture, it is shocking to consider that the sites we visited are only a tiny fraction of the temples and monasteries that once dotted the Mongolian landscape. It is estimated that more than 1,000 monasteries and temples were destroyed during the communist period (1924-1992). Only a handful of monasteries survived, two of which we visited. Since 1990, some monasteries have been rebuilt, and many Mongolians practice Buddhism once again, though its revival has not been without difficulty. Limited financial support and a young monastic community are just two of the challenges Buddhism faces in Mongolia.
After ten days of the field seminar, I still had nearly three weeks left to explore Mongolia's contemporary art scene. I planned to keep a loose schedule for those three weeks, with the hope that I could arrange some studio visits with artists, while fitting in gallery and museum visits as well. With the gracious facilitation and help of Professor Uranchimeg, I got in touch with several artists, many of whom are trained in the style of Mongol zurag (literally, 'Mongolian pictures'). Mongol zurag is characterized by fine brushwork, vivid colors, narrative composition, and a flat perspective. I have long had an affinity for South Asian miniature painting and Tibetan thangka, so I was immediately drawn to the shared formal qualities of Mongol zurag.
Mongol zurag artist Baatarzorig poses in front of his recent work, MGL. MGL was recently exhibited in "Five Heads (Tavan Tolgoi)—Art, Anthropology and Mongol Futurism" in London.
I was eager to meet any artists willing to speak with me, but I was especially excited to meet two in particular: Nomin Bold and Baatarzorig Batjargal, two Mongol zurag artists who also happen to be married. I had followed both artists on Facebook and elsewhere online, hoping to someday see their work in person. I found their work vibrant, complex and rich with social commentary.
Works by Mongol zurag artist Nomin Bold in the artists' joint studio.
Works by Mongol zurag artist Uuriintuya, which were recently included in a solo exhibition at Art Space 976 in Ulaanbaatar in September 2018.
I was quietly ecstatic and slightly nervous about the opportunity to meet Baatarzorig and Nomin, along with several of their Mongol Zurag peers, including Uuriintuya and Baasanjav. The hospitality and openness of each artist was humbling, and the experience reaffirmed my interest in contemporary art in Mongolia as each artist described their work and practice to me.
Mongol Zurag artist Baasanjav poses in front of a work in progress. This narrative painting contains scenes of Mongolian history. He has been working on this piece for three years now, on and off. The opportunity to see this work in person was incredible!
Once more, I left Mongolia with a resolve to return and a deep sense of gratitude for all that I experienced. In addition to my advisor Dr. Kindall and the Department of Art History, I owe a special thanks to Professor Uranchimeg and my Mongolia Quest guide Ayush, and to the gracious artists who opened their studios to me.
Emily at Cadillac Ranch outside Amarillo, TX.
Meet Master's Program alumni in our series Life After Graduate School. In this month's feature, get to know Emily Koller, who graduated from the M.A. in Art History program. Emily currently works as a Planner with the Texas Historical Commission.
I wanted to study historic preservation and architectural history and did not want to leave the Twin Cities. Once I met with Dr. Victoria Young, I knew it was the place for me. I appreciated the evening classes as I continued working. I think having students in the MA program that were working provided a real-world perspective that suited me. Everyone seemed so grateful for the opportunity that it created a really amazing, supportive and inspiring environment for learning.
What was your favorite moment while a student at St. Thomas?
Hmm. Exploring neon through Dr. Craig Eliason's typography class was definitely a turning point, but the highlight may have been our trip to Chicago with our American Architectural History class.
What are you up to these days? How did you get to where you are?
I work as a planner with the Texas Historical Commission. My program is the Town Square Initiative and we focus on pro-active strategies to fill vacant historic buildings in downtowns across Texas.
How has the time you spent in our graduate program influenced your career and life?
Dr. Young helped me articulate my passion for historic buildings which led me directly to where I am now. While my planning degree provides some technical skills that are necessary for my work now, studying art and architectural history shaped the way that I write, think, present, create persuasive arguments. I still have many friends from the program and enjoy following their careers. I feel so proud of all of us. Overall, it was just a great education!
Advice for new and current graduate students?
Taylor Menendez is currently in her first semester in the M.A. Art History. She is enrolled in Methodology and Approaches of Art History, The Sacred in Unexpected Places, and Museum Studies II: Collections, Curation, and Controversy.
I went to Buena Vista University in Iowa. I studied studio art and Spanish. I especially liked installation art. For my capstone I created a large installation project.
I was trying to decide if I wanted to get my MFA or M.A. in Art History. I wanted to go into museum studies, so I chose the Art History route instead of being a starving artist. St. Thomas had an art history program, but also a museum studies certificate as well.
What advice would you give someone thinking of coming to UST Graduate Art History?
Even if you live far away, still go for it. I can tell after the first couple of weeks here that this place has high standards for their students and professors really care about your future.
I really like Dadaism and especially Marcel Duchamp – pioneer of the movement. But also, I like 70s performance art such as feminist artist Carolee Schneemann. I can't forget my love for contemporary art. Being an artist myself, I am always trying to find inspiration. You find a lot of that in artists that are living today.
Pretty good – it is a lot more reading than I am used to. I'm used to a lot of studio time, but I am keeping up. I don't have a full-time job, just a part-time job at the Asmat Museum. I feel like I have plenty of time to do my homework for now.
Moving here was really hard. Just trying to find a place. Trying to rent an apartment and schedule visits was difficult being so far away. I've never lived in huge city with more than 10,000 people. First, my husband had to find a job to see if he could move here with me. Then, we had to figure out which area we wanted to live in. It's the little things – what hospital should I go to? Grocery store? You are relearning everything and trying to trust people.


text:
Q: Using input inside facets on composite components I am using a composite component in my application that declares and renders a facet section inside a tab view:
<composite:facet name="ambienteEspecifico" required="true"/>
...
<p:tabView value="#{cc.attrs.gerenciador.entries}" var="servidor">
   <p:tab title="#{servidor.key}">
    <composite:renderFacet name="ambienteEspecifico"/>
   </p:tab>
</p:tabView>...

The problem is when I am using the component, if I put any input tag like:
<f:facet name="ambienteEspecifico">
   <h:inputText value="#{servidor.value.espaco}"/>
</f:facet>

The server returns a "Target Unreachable, identifier 'servidor' resolved to null: javax.el.PropertyNotFoundException". If I change to an output tag:
<f:facet name="ambienteEspecifico">
   <p:outputLabel value="#{servidor.value.espaco}" />
</f:facet>

The value is correctly displayed without any exception being thrown. So it seems that the problem is related only to input components. If I put the input tag in the component side:
<p:tabView value="#{cc.attrs.gerenciador.entries}" var="servidor">
   <p:tab title="#{servidor.key}">
    <composite:renderFacet name="ambienteEspecifico"/>
    <h:inputText value="#{servidor.value.espaco}"/>
   </p:tab>
</p:tabView>

It also works without any exception being thrown. Am I dealing with a bug?
By the way, I am using jsf 2.2.2.
Thanks!

A: As suggested by Ali C, using <composite:insertChildren/> solved the problem.
<p:tabView value="#{cc.attrs.gerenciador.entries}" var="servidor">
  <p:tab title="#{servidor.key}">
    <composite:insertChildren/>
  </p:tab>
</p:tabView>

It works as a workround, at least to me. The only problem is that sometimes you have to render more than one child on different places of the composite.

redpajama_set_name: RedPajamaStackExchange


text:
FINOS Expands Financial Services Open Source Ecosystem with Six New Members and Creation of Associate Member Program for Nonprofits
Cross Technology, Press Release, Projects
Intel, SUSE and Diffblue Broaden Industry Representation in the Open Ecosystem for Financial Services; Associate Membership Provides Open Source On-Ramp for Nonprofits, Industry Consortia, Academic Institutions and Public Agencies
NEW YORK, NY / ACCESSWIRE / November 12, 2020 / Today, at its annual flagship conference, the Open Source Strategy Forum (OSSF), the Fintech Open Source Foundation (FINOS), announced three new corporate members – Intel and SUSE, joining as gold members, and Diffblue at the silver level. FINOS also announced today the launch of its Associate Member Program and three inaugural associate members, the Alliance for Innovative Regulation (AIR), InterWork Alliance(IWA), and the International Swaps and Derivatives Association (ISDA).
"From big tech to financial institutions, from regulators to fintech vendors, we are bringing together a community that is actively contributing valuable IP and sweat equity because it has now realized how the 'open source way' has the concrete potential to solve long standing challenges in this industry and beyond," said Gabriele Columbro, executive director, FINOS.
These six new members further broaden industry representation across FINOS' membership base, which now includes over 10 financial institutions and 20 technology vendors. Today's announcement is also the latest example of accelerating growth in FINOS membership in the last year; with today's announcement, the total count of FINOS members is now 38. "Our continued growth in members reflects the ongoing shift in financial services as more institutions embrace open collaboration to drive new business models, reduce costs, attract and retain talent, and gain competitive advantage," remarked Tosha Ellison, FINOS Chief Operating Officer.
"Open source in financial services is a positive-sum game," added Columbro. "Not only does it help industry consortia and regulators resolve important and complex issues at the crossroads of policy and technology, but it also provides technology and fintech companies with the ability to generate business opportunities through a commercial open source ecosystem, especially for those who will enjoy a first-mover advantage by engaging early in communities like FINOS."
Technology Companies Join the Financial Open Source Movement
Intel is joining FINOS as a gold member. The company is an industry leader, creating world-changing technologies that enable global progress and enrich lives. Intel is also one of the largest software organizations in the world, and a leader in the development of open source technology.
"Intel technology can help banks unleash the power of data to deliver real-time insights and more value to their customers," said Mike Blalock, general manager for the financial services industry at Intel. "As a strategic partner with FINOS, we will actively collaborate with the open source community to deliver leading-edge hardware and help bring this transformation to reality."
SUSE, also joining FINOS as a gold member, is similarly an open source innovator. The world's largest independent open source company, SUSE is a leader in enterprise Linux, edge computing and artificial intelligence. Its container and cloud platforms and software-defined infrastructure, enable businesses to create, deploy, and manage workloads.
"SUSE is passionate about open source innovation. We foster the potential to simplify complexities, modernize systems and accelerate discovery in banks and financial institutions," said Alan Clark, who leads the SUSE Industry Standards and New Initiatives Program. "SUSE is proud to be a contributing member of FINOS and we will collaborate and address industry challenges around financial technologies, data modeling, machine learning, edge computing, hybrid cloud, security and containerization. Building on our FinTech experience and partnerships, SUSE will be an active member and guidepost for the FINOS community."
A spin-out from Oxford University backed by Goldman Sachs, Diffblue is the creator of one of the world's first AI for code solutions that automates writing unit tests and will join FINOS as a silver member. Its first product, Cover, writes Java unit regression tests that help software teams to find bugs sooner and so ship faster, with fewer defects. Its pioneering technology, developed by researchers from the University of Oxford, is based on reinforcement learning.
"We're thrilled to be joining FINOS as a silver member so that we can collaborate more broadly with our financial services customers on open source projects that matter to them," said Mathew Lodge, CEO of Diffblue. "As a commercial open source company, Diffblue's Community Edition is free for open source projects so we will be contributing both better tests and tools as part of the community."
New Associate Members Showcase FINOS' Capabilities Beyond Traditional Financial Services
FINOS' Associate Membership is for nonprofits, foundations and academic institutions with complementary missions to FINOS. These organizations can contribute to projects and bring attention to the numerous applications of open source technology, while FINOS provides its expertise and battle-tested open source governance to enable faster innovation in these adjacent communities.
As the regulatory landscape is ever changing, globally, AIR, a nonprofit dedicated to modernizing the financial regulatory system, will share its expertise with FINOS to drive open source solutions that standardize the way financial regulation is implemented and supervised.
"The mission of FINOS and the open source orientation of the FINOS community are an ideal complement to the work we do with financial regulators," said David Ehrich, executive director, AIR.
ISDA is a trade association for participants in the global derivatives market, with more than 925 member firms in 75 countries. A key part of ISDA's role is the development of standards and mutualized industry solutions for the derivatives market, including the Common Domain Model (CDM), which establishes a set of digital standards for trade events and processes. ISDA joins FINOS as an associate member, having recently participated in the successful pilot of Legend, the data platform contributed to FINOS by Goldman Sachs.
"The standards developed by ISDA are critical to derivatives workflows and, by extension, tons of fintech use cases," said Rob Underwood, Chief Development Officer of FINOS. "In the pilot phase of Legend, extensions to the CDM were built using Legend. ISDA was central to Legend's pilot and that overall open sourcing effort."
"ISDA has long produced standards and definitions for the derivatives industry, and we have been working to digitize and distribute those standards in formats that work best for the fintech community. Engaging with fintech firms and providing those standards in open source should result in a rapid development of industry solutions and contribute to the transformation of financial markets," said Ian Sloyan, Director, Market Infrastructure and Technology, ISDA.
IWA is a nonprofit, member-led organization creating platform-neutral specifications and trusted certification to define how digital token business processes can interwork regardless of location or market segment. Areas of expected collaboration include specifications for tokenizing institutional bond and equity instruments.
"World-scale adoption of standards is accelerated when those standards can be paired with open source reference implementations," said Paul DiMarzio, executive director, IWA. "The IWA is excited to collaborate with FINOS to build pairings between FINOS open source projects and the IWA business working groups standardizing tokenized services for financial services."
The announcement comes on the first day of OSSF, which is an annual conference recognizing leaders within the open source and financial services industry. The virtual event will bring together experts for engaging conversations and breakout sessions on how to best leverage open source software to solve industry challenges.
Some notable keynotes include:
Opening Remarks by FINOS Chair and Global Head Kim Prado – RBC and Dov Katz FINOS Chair, Morgan Stanley
Welcome and Opening Remarks – Gabriele Columbro, executive director, FINOS
"Open Sourcing Legend: The Flagship of Goldman Sachs' Data Strategy — and Now Yours?" – Pierre de Belen, managing director, Goldman Sachs
"Innovation + Security = Innovation Joy: Stop Sacrificing Customer Experience for Security" – John Jeremiah, product marketing leader & DevOps evangelist, GitLab
"Quickly Deliver Modern Open Source Projects and Services with Modularity, the Enterprise Open Source Way" – Alessandro Petroni, global director and head, strategy financial services, Red Hat
Talks with Sarah Novotny, open source wonk, Azure Office of the CTO, Microsoft and Alejandra Villagra, managing director, Citi
To check out sessions from today's virtual conference, please visit: https://events.linuxfoundation.org/open-source-strategy-forum/program/schedule/.
About FINOS
FINOS (The Fintech Open Source Foundation) is a nonprofit whose mission is to foster adoption of open source, open standards and collaborative software development practices in financial services. It is the center for open source developers and the financial services industry to build new technology projects that have a lasting impact on business operations. As a regulatory compliant platform, the foundation enables developers from these competing organizations to collaborate on projects with a strong propensity for mutualization. It has enabled codebase contributions from both the buy- and sell-side firms and counts 33 major financial institutions, fintechs and technology consultancies as part of its membership. FINOS is also part of the Linux Foundation, the largest shared technology organization in the world.
FOR MEDIA INQUIRIES PLEASE CONTACT:
Stephen Sumner
Caliber Corporate Advisers
p. 917.985.6630 ext.15
stephen@calibercorporate.com
SOURCE: FINOS
November 12, 2020 /by Kristin O'Connell
https://linuxfoundation.org/wp-content/uploads/2020/10/lf_logo.svg 0 0 Kristin O'Connell https://linuxfoundation.org/wp-content/uploads/2020/10/lf_logo.svg Kristin O'Connell2020-11-12 13:40:202020-12-20 05:33:51FINOS Expands Financial Services Open Source Ecosystem with Six New Members and Creation of Associate Member Program for Nonprofits


text:
Q: Way to calculate road distances in a city very quickly So I have a set of points in a city (say houses or residences) and I want to find the shortest distance between these points and a set of candidate points for a store. I am looking for the best store locations that will minimize the distance to all of the houses in the set. So I will iteratively move the candidate store points and then recompute the distances between each store and house (again using Djikstra's algorithm). Because of the sheer volume of calculations, I cannot keep hitting the database for each iteration of the optimization algorithm.
I have used pgrouting many times and this would work, however it would be too slow because of the large number of points and the fact that it has to search the disk each time.
Is there a tool where I an load some small Open Street Maps city map in memory and then calculate the shortest routes in memory? I would need something fast, so preferably in C or python? But any language is okay as long as it works.

A: In python you can use networkx for graph work.
It has breadth-first search functions.
https://networkx.github.io/

A: Heres and idea. Get the latlongs of the house and all the stores.
Calculate the geohash of all points(house and stores) with maximum precision (12) and check if geohash of any stores matches that of the house. If it doesnt, calculate the geohash with lower precision (11) and then rinse and repeat till you get a store(May be multiple Ill get into that later) that matches the geohash of the house.
This is a fuzzy-distance calculation. This will work great and with minimal processing time. But this will fail if you get two or more stores with the same geohash with some precision. So this is what I recommend you do

*

*The geohash loop with decreasing precision. Break when geohash of store(s) match the gohash of the house

*IF (more than one sores match) Go for plain distance calculation and find the closest store and return it

*ELSE return the one store that the matches the geohash

Advantage of this method : Changes your strict requirements to a fuzzy probability problem. If you get a single sore, great. If you dont at least you reduce the number of candidates for distance calculation
Disadvantage of this method: What if all stores land in the same geohash ? We introduce the same complexity here.
Youll be banking on the chances that not all(or most) stores come under the same geohash. Realistically speaking, the disadvantage is only a disadvantage in corner cases. So overall you should soo performance improvement


text:
describe('deepSet', function() {
  it('should set at the given path', function() {
    var obj = {};
    Ember.Resource.deepSet(obj, 'a', 'foo');

    expect(obj.a).to.not.equal(undefined);
    expect(obj.a).to.equal('foo');
  });

  it('should overwrite at the given path', function() {
    var obj = {a: 'foo'};
    Ember.Resource.deepSet(obj, 'a', 'bar');

    expect(obj.a).to.not.equal(undefined);
    expect(obj.a).to.equal('bar');
  });

  it('should create empty Object at missing nodes', function() {
    var obj = {};
    Ember.Resource.deepSet(obj, 'a.b.c', 'foo');

    expect(obj.a).to.not.equal(undefined);
    expect(Ember.typeOf(obj.a)).to.equal('object');

    expect(obj.a.b).to.not.equal(undefined);
    expect(Ember.typeOf(obj.a.b)).to.equal('object');

    expect(obj.a.b.c).to.not.equal(undefined);
    expect(obj.a.b.c).to.equal('foo');
  });

  it("should not pass a reference to another objects data", function() {
    var ticket = {
      data: {
        group: {
          id: 1,
          name: 'Support',
          users: {
            id: 3,
            name: 'User 1'
          }
        }
      }
    };

    var group = {
      data: {
        id: 2,
        name: 'Development',
        users: {
          id: 4,
          name: 'User 2'
        }
      }
    };

    Ember.Resource.deepSet(ticket, 'data.group', group.data);

    expect(ticket.data.group.id).to.equal(group.data.id);
    expect(ticket.data.group.name).to.equal(group.data.name);

    expect(ticket.data.group).not.to.equal(group.data);
    expect(ticket.data.group.users).not.to.equal(group.data.users);
  });

});


The beauty of the Presbyterian Church is that we are a bottom-up denomination. This means that one person or group does not make all of the decisions and lord it over churches and people. Every church (and even individuals) has the ability to influence the work and position of the church. Every two years representatives from around the country gather to examine our church constitution, finances and ministry emphases. We all get a say, but that doesn't mean we get our way.
When we get into the midst of discussion we do everything decently and in order. While we may feel passionately, we follow the rules of debate. We refer to the Bible, the Book of Order and the Book of Confessions (together they are our constitution), rather than just act on our own whims. We allow our history and experience to inform what we do.
But in the end, the business that we do is about God and God's people.
The votes we take on this resolution or that motion aren't left behind in an over air-conditioned conference center, they are incarnated in our churches and in the world. There are people attached to each of the decisions that we make.
In a big anonymous space with PowerPoints, florescent lights and too much air conditioning, it can be easy to forget that our business is about love.
The changes in the way we do business.
The stand we take on God's justice issues.
The way we count our people.
Sue Washburn is a Teaching Elder Commissioner from the Presbytery of Redstone.


text:
Bitcoin SV (BSV) hit by massive 51% attack – attackers create three new chains of BTC fork
The controversial Bitcoin fork Bitcoin SV (BSV) was hit by a so-called 51% attack yesterday evening. The attackers have since retreated, but considerable damage has been done.
Heavy attack on BSV
Bitcoin SV (BSV) was hit by a 51% attack last night. This has resulted in more than three malicious chains being created and several blocks being "reorganised", data from various sources shows.
Lucas Nuzzi, product manager at CoinMetrics, commented:
"AFTER AN ATTEMPTED ATTACK YESTERDAY, SERIOUS HASH POWER WAS UNLEASHED AT 11:46AM TODAY AND THE ATTACKERS SUCCEEDED. MORE THAN A DOZEN BLOCKS ARE REORGD & UP TO 3 VERSIONS OF THE CHAIN ARE MINED SIMULTANEOUSLY VIA POOLS."
Nuzzi adds:
"THERE WAS A LOT OF CONFUSION IN THE MINING POOLS AFTER THE ATTACK, BUT ONLY ONE (SUCCESSFUL) 14-BLOCK REORG SINCE THE ATTACK BEGAN."
BSV is going through a massive 51% attack. After an attempted attack yesterday, some serious hashing power was unleashed today at 11:46AM and attackers are succeeding. Over a dozen blocks are being reorgd & up to 3 versions of the chain being mined simultaneously across pools.
https://twitter.com/LucasNuzzi/status/1422637361138130944
In response to the attack, the Bitcoin Association said that node operators should mark the fraudulent chain as "invalid" to put the node back on the chain supported by honest miners and "lock out the attacker's chain".
"TO INVALIDATE THE FRAUDULENT CHAIN, NODE OPERATORS SHOULD RUN THE FOLLOWING COMMAND ON THEIR #BITCOINSV NODE: BITCOIN-CLI INVALIDATEBLOCK 00000000000003B67AEC95E9B5DA897EB5EBF3227D5A6A67835104367840."
In response to the ongoing re-organisation attack on the #BSV network, Bitcoin Association recommends that node operators mark the fraudulent chain as invalid. This will immediately return your node to the chain supported by honest miners and lock the attacker's chain out. 1/2
https://twitter.com/BitcoinAssn/status/1422648041161609224
The major crypto exchanges did not delist BSV at the time of publication. However, Huobi, OKEx and Bittrex had previously delisted BSV after a similar attack last month. Illegal block restructuring occurred during the attack.
BSV prices and explanation of the 51% attack
A 51% attack occurs when more than half of the miners running a proof-of-work network join forces and gain power over the majority of the entire network. This results in the chain being completely "at their mercy" and some transactions being carried out at their whims.
Miners who control such a network can theoretically do the following: exclude transactions from being included in the blockchain, prevent transactions from being confirmed, change the order of the chain, prevent other miners from validating the chain, and reverse transactions to issue tokens twice.
Such a scenario is rare. This is because: it requires a large amount of money, energy and miner coordination to carry out such an attack. But as Bitcoin SV advocates learned last night: It happens, and it poses a serious threat to Chains, whose miners are more centralised than the community otherwise believes.
Meanwhile, BSV prices remain relatively unchanged - even though the attack proved that the network faces an existential threat. Prices moved from $139 to almost $134 - a change of only -4%. This is relatively little considering the scale of the attack.
It has low fees, and further fee discounts for using its native currency, Electrum Wallet, and does offer some educational content through its on-site blog. Despite its low fees, we do not recommend Electrum Wallet, especially for beginners.


INSTANCE: Graph , length function , weight function , specified vertices , and integer W.
SOLUTION: A simple path in G with total weight at most W, i.e., a sequence of distinct vertices such that, for any , and .
MEASURE: The length of the path, i.e., .
Good News: Admits an FPTAS  and .


Here's a closer look at the inaugural Mark Gallo Invitational, which begins Dec. 11 and runs through Dec. 15. The Gallo Invitational is hosted by Central Catholic.
DRAWING POWER: The tournament will feature teams from four sections, including the Sac-Joaquin Section, North Coast Section, Central Section and Central Coast Section.
CHAMPIONS LEAGUE: The Gallo Invitational boasts a strong group of defending league champions. Among the league champions are: Bear Creek (San Joaquin Athletic Association), Patterson (formerly of the Western Athletic Conference, now in the Central California Conference), Ripon (Trans-Valley League), Sonora (Mother Lode League), Sacramento (formerly of the Metropolitan League, now in the Capital Athletic League), Santa Cruz (Santa Cruz Coast), Vanden (Solano County Athletic Conference), and of course, Central Catholic (Valley Oak League).
SECTION ROYALTY: Two teams will defend section championships this season. Central Catholic won its third straight Sac-Joaquin Section championship last winter, defeating public school power Beyer in the Division III final, 66-56. Could a rematch await us at the Gallo Invitational? Beyer, fresh off a 3-0 performance at the Modesto City Classic, is one of the 16 teams entered in the Gallo Invitational. ... Immanuel edged Sanger in the Central Section Division III final, 68-57.
STATE-LY BUNCH: Eight teams qualified for the 2017-18 CIF State playoffs, including Beyer, Central Catholic, Grant, Immanuel, Santa Cruz, Sonora and Vanden.
Follow James Burns on Twitter @jburns1980, or email frontrowpreps@gmail.com.