WASHINGTON (REUTERS) - President Donald Trump said on Thursday he will meet with Chinese President Xi Jinping soon to try to seal a comprehensive trade deal as the top U.S. trade negotiator reported "substantial progress" in two days of high-level talks.
Trump, speaking at the White House during a meeting with Chinese Vice Premier Liu He, said he was optimistic that the world's two largest economies could reach "the biggest deal ever made." No specific plans for a meeting with Xi were announced, but U.S. Trade Representative Robert Lighthizer and Treasury Secretary Steven Mnuchin will lead a U.S. negotiating team going to Beijing in early February.
U.S. and Chinese delegations held the second of two scheduled days of talks in the U.S. capital.
"At this point, it's impossible for me to predict success. But we're in a place that if things work out, it could happen," Lighthizer added.
Trump said he did not think he would need to extend a March 1 deadline for raising U.S. tariffs on Chinese goods if no deal is made.
"I think when president Xi and I meet, every point will be agreed to," Trump added.
Trump has threatened to raise tariffs on US$200 billion of Chinese goods to 25% from 10% on March 2 if an agreement is not reached and impose new tariffs on the rest of Chinese goods shipped to the United States.
"This isn't going to be a small deal with China. This is either going to be a very big deal, or it's going to be a deal that we'll just postpone for a little while," Trump, who has engaged in a series of fights with a variety of trade partners since becoming president in 2017, said earlier at the White House.
"I'd like to accommodate China if we can get the deal done," Trump said.
An official with the U.S. Chamber of Commerce business group said after being briefed on the talks that significant differences remained between the two sides, with no new Chinese proposals to address core U.S. demands that Beijing end forced transfers of U.S. technology to Chinese firms, heavy state industrial subsidies and discriminatory digital trade laws.
"Our sense from our discussions last week in China is that China is struggling to come up with anything on the technology transfer side, and from our standpoint that's problematic," Myron Brilliant, the chamber's head of international affairs, said.
Brilliant added that there was some progress in narrowing differences over enforcement of intellectual property rights such as copyright and piracy criminalisation issues.
People's Bank of China Governor Yi Gang declined comment on Chinese proposals as he left the delegation's hotel for the meetings in Eisenhower Executive Office Building, next to the White House. Asked how the talks were going, Yi flashed a thumbs-up sign.
The U.S. complaints, along with accusations of Chinese cyber theft of American trade secrets and a systematic campaign to acquire U.S. technology firms, were used by Trump's administration to justify punitive tariffs on US$250 billion worth of Chinese imports.
The U.S. tariffs on Chinese goods are just one front in Trump's efforts to upend the global trading order with his "America First" strategy. He has also imposed global tariffs on imported steel and aluminium, washing machines and solar panels and has threatened to raise tariffs on imported cars unless Japan and the European Union offer trade concessions.


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On May 14th Minister Kamal Nath (Ministry of Urban Development of India) and Minister Melanie Schultz van Haegen (Ministry of Infrastructure and the Environment of The Netherlands) signed the much anticipated MOU. The MOU focuses on technical cooperation in the field of spatial planning, water management and mobility management. The MOU is a great result for the Delhi2050 project. With this MOU, the Dutch and Indian ministries will establish a joint workgroup that will stimulate participation by Indian and Dutch public and private parties in projects and programmes. Also part of the MOU is encouraging academic and knowledge exchange between Indian and Dutch universities and research institutes. VenhoevenCS is one of the leading partners for the Indian government in this Dutch – Indian collaboration.
Delhi2050 is a collaborative exploratory exercise that seeks to inform the planning process for the long term future of Delhi in the regional context. By combining relevant disciplines, conducting exhaustive research and gathering larger public opinion, collective inputs of Indian and Dutch expertiseare combined in an open and inclusive process to fundamentally rethink the future of Delhi.
The Indian capital Delhi is the world's 8th metropolis with an estimated 18 million inhabitants and around 46 million within the total urban region. Due to the rapid growth of the economy and the population – which will possibly double over the coming decades – the city and its' region are confronted with enormous challenges. The growing demands result in galloping consumerist consumption at one end and great scarcities of basic amenities and land at the other. This is causing systemic environmental, spatial, infrastructural and social stress. Considering these challenges the city is in need of a long term integrated structural vision and a strategy to realise this vision. By making choices now for the future spatial development, problems in the fields of traffic and transport, health and (drinking) water provision can be anticipated, valuable green areas spared and potentials utilized. Through a collective effort by governmental parties, knowledge institutes, engineers, spatial designers and companies from India and the Netherlands the Delhi2050 process aims at effectively improving the quality of urban life in India.
Delhi2050 combines Indian expertise and Dutch knowledge in the fields of spatial planning, urbanization, mobility, spatial economics, water management and others, in order to develop a sustainable vision for Delhi in and towards 2050. Delhi2050 is therefore not only a spatial planning project but also a network of collaborating Indian en Dutch experts with knowledge in multiple disciplines for sustainable urban growth and dynamics. Delhi2050 stands for the collaboration of Indian and Dutch experts on a long-term vision for Delhi and its surrounding region.
The entire publication can be dowloaded from ISSUU.


text:
Finance & Markets, Technology
Canada plugs in $212k for EV charging points
It is part of a demonstration project to study and encourage the uptake of EVs in Yukon and other cold climates
Canada is providing funding totalling $212,000 (£123,680) for the installation of three charging stations for electric vehicles (EVs) in Yukon.
It is part of a demonstration project conducted by the Yukon Government to study and encourage the uptake of EVs in the Canadian territory and other cold climates.
The funding is part of the $182.5 million (£106.4m) investment to develop a "coast-to-coast" fast charging network for EVs as well as establish natural gas stations along key freight corridors and hydrogen stations in metropolitan centres.
Ranj Pillai, Minister of Energy, Mines and Resources said: "This electric vehicle project is the first of its kind in the North. The new fast chargers we are installing will provide valuable data on how electric vehicles operate and perform in a cold climate — especially in winter months.
"This fact-based study may well alleviate concerns around operating an electric vehicle in the cold. If this technology works in Yukon, it can work anywhere in Canada."
The Government of Canada has set a target for 10% of light duty vehicle sales to be zero emission by 2025, 30% by 2030 and 100% by 2040.
Technologies for energy users that can help them reduce costs and emissions will be among those on display at The Energy Solutions Show (TESS) on June 5th at Millennium Point, Birmingham.
If you wish to register as a delegate for free, you can send an e-mail here or to showcase your technology, you can get in touch here.
Canada charging points cold climate EVs study Yukon zero emission
Wasted energy 'costing businesses £60m a year in unnecessary bills'Energy wasted by offices in the City of London could be used to power more than 65,000 homes, new re...
Rolls-Royce plans mini-nuclear reactors for UK by 2029The firm said the deployment of small modular reactors could make build costs more predictable and a...
Crude oil price forecast to fall in the first half of 2020The Energy Information Administration forecasts Brent crude oil spot price will average $65 per barr...

redpajama_set_name: RedPajamaCommonCrawl


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Politics and Sustainability: The energy of "anybody but X"
The energy of "anybody but X"
As previously pointed out elsewhere in my blog I am planning to vote for Kerry, against Bush.
I'll also point out that I work for Sun, in the group that makes Java. I joined Javasoft, as it was known then, because I was (and am) in the anybody-but-Microsoft camp, and Javasoft seemed to be the place to go for anybody-but-microsoft work.
Here's a piece of truth that governs what happens when you choose "anybody but X". There's a lot of anybodies out there who can be not-X, and you haven't done anything to specify what you want to replace X, you'll be satisfied with anything that is not X.
This begs a question: How can you know whether !X is any better than X was?
The !X anybody that shows up could, well, be anybody, right?
It's a lot better to be positive about your preferences. Instead of "not-Microsoft" you might want a reliable system, that doesn't crash, that doesn't have the virus-of-the-week problem, that is designed with security in mind, that is easy to use, that works, that has sufficient software availability, that follows open standards, that does what work you want to accomplish, that you can afford, etc.
Shoot, even though I tried a couple !X's snuck in, do you see them?
Anyway, with a list of positive requirements like that you've got a better chance of being satisfied than if you just say "!X" and pick the closest available !X.
Just a little thought for you on the eve of the first of the Presidential Debates. Happy voting!


The 2015 Latin Grammys turned political Thursday night when the Mexican rock band Maná and norteño-band ensemble Los Tigres del Norte unfurled a sign on stage reading, "Latinos unidos no voten por los racistas" (or "United Latinos, don't vote for racists"), an intentional jab at some of the hateful rhetoric that some 2016 presidential candidates on the right have espoused about Latinos.
Soon after Maná and Los Tigres del Norte finished the immigrant anthem Somos Mas Americanos ("We Are More American"), the two groups jointly held up the sign while the audience cheered.
The two groups didn't call out any particular candidates. But Republican presidential candidate Donald Trump has largely built his campaign by denigrating Mexican immigrants as rapists, drug dealers, and killers. Trump has also called for extreme measures, like mass deportation for undocumented immigrants, many of whom have personal connections to Latinos.
The growing Latino electorate could swing the 2016 presidential race, though they're underrepresented in many U.S. elections. As the 2012 presidential election showed, only 27 percent of eligible Latino citizens voted, with the vast majority heavily leaning for President Barack Obama.
Though the Republican party produced a post-election autopsy report calling to embrace minority voters, many candidates are unmoved by that advice. Just recently, the Republican National Committee suspended its partnership with NBC News moderators for the Republican primary debate in February 2016, potentially shutting out debate partners at Telemundo, the second largest Spanish language network. And in some key battleground states like Virginia, Ohio, New Mexico, Florida, Nevada, and Colorado, Republican presidential candidates will need anywhere between 42 and 47 percent of the Latino vote.
According to a recent AP-GfK poll, only one in ten Latinos view Trump favorably.
Special thanks to Audrey Lopez and Juan Escalante for providing help with translations.


In this post, I have made a list of top 5, best, free, most popular URL shortener services to shorten long URLs. A URL shortener is helpful for sharing short links in Twitter, Facebook and other social networks. Especially for Twitter where you have a character limit of 140 characters. There are various URL shortener services out there with different features. However, in this post, I have made a list of top five URL shorteners. I have mentioned their advantages and sorted the list based on Alexa ranking so that you can choose the best URL shortener service for your blog as per your requirements. All of the below given URL Shortener services support 301 redirect or permanent redirect and they are SEO friendly.
1) Goo.gl: Goo.gl URL shortener is the most widely used URL shortening service. By using Goo.gl URL shortener you can generate QR codes, hide short URLs and view detailed analytics. To shorten a URL, paste the long URL in the box and click on Shorten URL button.
i) Reliable: It is a Google service so you can be rest assured that your links will always be redirected. Also the redirection will be lightning fast without any delays.
ii) Easy login: Another advantage of Goo.gl URL shortener is that most of the people are always logged in Gmail or any other Google service. So, you just have the visit the Goo.gl URL shortener and you will be logged in automatically.
iii) Hide URLs: When you have created many URLs and the list is increasing you can always hide them. This way, hidden URLs are still active but it will not be displayed in the list. To hide a URL, select the URL and click on Hide button.
iv) Analytics: Click on the Details button to view the Analytics for your URLs. You can view clicks on the URL for the past, two hours, day, week, month and all time. Also, it displays Country information, Browser information, Platforms and Referrers.
v) QR codes: QR codes are automatically created for each shortened URLs.
2) Tiny URL: By using Tiny URL, you can create short URLs without logging in, you have the option to preview short URLs, and create and add toolbar buttons.
To create a short URL, paste the long URL in the box and click on Make Tiny URL button. You can also choose a custom alias for your URL by entering numbers, letters or dashes.
The only disadvantage is that you will not be able to check the analytics for the URL.
i) Login is not required: To create a short URL in Tiny URL you don't have to login. All you need to do is to paste the long URL in the box and click on Make Tiny URL button.
ii) Preview URLs: You can enable the preview feature by which you can check where the short URL is redirecting to. You can enable or disable this feature as per your needs.
iii) Create toolbar button: You can also create a toolbar button and add it to your browser. This way you can easily create a short URL directly from your browser.
3) Ow.ly: You can use Ow.ly for shortening URLs as well as uploading files and then to post it on Twitter, Facebook and LinkedIn. Also, users can comment and vote on your images and other files.
To shorten a long URL, enter the long URl in the box and then click on Shrink it button.
i) Login with Twitter: You can use your Twitter account to login to Ow.ly.
After you have uploaded your files, you can post it to Twitter by clicking on Send to Twitter button.
iii) Share files: You also have the option to share the files on Facebook and LinkedIn.
iv) Comments and rating: Users have the option to comment and rate your files.
4) Bitly: You can sign up for Bitly by using Twitter, Facebook or your email address. Bitly has a lot of options and you can customize short URL, edit privacy settings, share it to different social networks, add custom notes view detailed statistics, add browser extensions and bitmark button, add a Bitly WordPress plugin for automatically creating short URLs for your blog, free iPhone app, create short URL bundles and connect with Twitter and Facebook to view public short URLs of your connections.
After you have created your account, paste your long URL in the box and the short link will be created.
i) Customize short URL: You have the option to customize the short URL in Bitly.
ii) Privacy settings: You can make the short URL Public or Private. A Public short URL is visible to everyone whereas a Private short URL can be shared only to people whom you wish to share.
iii) Sharing options: You can share the short URL via Twitter, Facebook or by email.
iv) Custom notes: You also have the option to add custom text notes with your short URL.
v) View stats: To view stats for the short URL, click on View Stats button under Bitmarks.
Here, you can see the traffic statistics for your short URL by hours, time clicked, 24 hours, 7 days, and all time. Also you can see where the link was shared, country information and who shared the short URL.
vi) Add browser extensions and bitmark button: You can add browser extensions and bitmark button to create short URLs directly from your browser window.
vii) WordPress plugin: Bitly has a WordPress plugin which you can use for automatically creating short URLs for posts and pages in your blog.
viii) iPhone app: Bitly offers a free iPhone app for creating, sharing and tracking short URLs.
ix) Create short URL bundles: You can create a list of short URLs and then share it with people.
x) Connect with Twitter and Facebook: You can also connect your Bitly account with Twitter and Facebook to view public short URLs of your followers.
5) Is.gd: You can shorten URLs in is.gd without creating an account. By using is.gd you can customize short URLs, view click statistics, create short URLs directly from your browser's toolbar, generate QR codes for short URLs and preview short URLs.
To shorten URL in is.gd paste the long URL and then click on Shorten button.
i) Customize short URL: Click on Further options/custom URL drop down menu to customize short URLs. You can also create short URLs with lower case and lower case pronounceable letters.
ii) Log and view stats: Check option log statistics to enable stats for the short URL. To view statistics click on "I want to see statistics for this URL". Here, you can see stats based on this week, this month, and all time. Also you can view clicks on the short URL based on top referrers, browser, platform, country, day of week, and hour of day.
iii) Create short URLs directly from browser: You can use the bookmark feature and create short URLs directly from your browser.
iv) QR codes for short URLs: Is.gd creates a QR code for short URLs.
v) Preview feature for short URLs: You have the option to enable or disable the preview feature for short URLs. When it is enabled, you can preview the links before redirection to the original page.
You already know the http://smo.do URL shortener?
Thank you, actually i am using http://so.gd shorten link service, because it support 301 redirect and works great on social media sharing.
Options: multiple long urls, custom name url, url password, expiry, limited number of url uses, save to folders, private or public url, QR code, statistics and more!


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Kylie Minogue peti je studijski album australske pjevačice Kylie Minogue. Objavljen je 19. rujna 1994. godine. Prvo je objavljen u izdanju diskografskih kuća Deconstruction Records/BMG u većini država svijeta, a u izdanju diskografske Imago Records objavljen je u SAD-u dok je u Australiji i Novom Zelandu objavljen u izdanju diskografske kuće Mushroom.

O albumu
Kylie Minogue je Minogueino prvo idanje izvan produkcijskog tima Stock Aitken Waterman. U pokušaju da poveća broj svojih obožavatelja i proširi svoj umjetnički rad, uzela je glavnu ulogu u planiranju albuma i potražila određenu grupu ljudi da surađuju s njom. Prvo snimanje bilo je 1993. godine i rezultiralo je dvjema pjesmama snimljenim sa sastavom Saint Etienne i osam pjesama u autorstvu Minogue i The Rapino Brothers. Ali A&R ured od diskografske kuće Deconstruction odlučio je da idu u pogrešnom pravcu, pa je snimljeno 16 novih pjesama – šest s Brothers In Rhythm, četiri s Jimmijem Harrijem, tr s pjevačom i tekstopiscem Gerrijem DeVeauxom, dvije s Petom Heller om i Terrijem Farleyem i jedna s M People, a dvije pjesme snimljene s Rapino Brothers ponovno su snimljene s Brothers In Rhythm. Glazbene recenzije većinom su hvalile Minogue za njen cilj, ali opisali su krajnji rezultat razočaravajućim.

Na omotu albuma Minoguen je htjela prikazati sebe kao ozbiljnu umjetnicu. Dok su promotivni videospotovi za album bili više sexy i razgolišaniji, na omotu albuma je crno-bijela fotografija Minogue u konzervativnim hlačama, jakni s velikim naočalama. Takva kombinacija je mnogim kritičarima bila čudan izbor.
Prema riječima jendog od tekstopisaca i producenata albuma, Stevu Andersonu, prodano je 2 milijuna primjeraka diljem svijeta. According to one of the album's songwriters and producers, Steve Anderson, the album has sold 2 million copies worldwide.

U svibnju 2003. godine, album je ponovno objavljen i obrađen i dodan je bonus disk, uglavnom s remiksevima.

"Falling"
Konačna inačica skladbe od Pet Shop Boys ("Falling") koja je pojavljuje na albumu veoma je drugačija od demosnimke koju je sastav dao Minogue, koja je više u stilu njenog ranijeg rada s PWL. Osnova demosnimke zapravo je napušteni remiks Pet Shop Boyseve obrade pjesme "Go West" od The Village People. Ironično, kasnija Minogueina pjesma "Your Disco Needs You" ima velike sličnosti sa zaštitinim pjesmama Pet Shop Boysa poput "Go West" i "A Red Letter Day". Kako god, takve pjesme nisu bile onakve kakve je Minogue htjela objavljivati s Deconstructionom. Originalni demo pjesme "Falling" od Pet Shop Boys (s vokalima od Neila Tennanta) kasnije je bio dostupan kao dio reizdanja od Pet Shop Boysevog albuma Very 2001.  godine.  Pet Shop Boys su kasnije direktno surađivali s Minogue na njihovom albumu  Nightlife, na kojem je ona pjevala u duetu "In Denial" s Tennantom.

Kanadski omot
"Fie-toi à Moi", inačica pjesme the "Confide in Me" od Franglais, objavljena je kao posebno kanadsko izdanje koje je imalo drugačiji omot.

Otkazani singlovi
Drugi singl s albuma umjesto "Put Yourself In My Place" trebao je biti "If I Was Your Lover". Pjesma koju je originalno remiksirao Jimmy Harry remiksirana je da dobije urbaniji zvuk. Singl je trebao biti objavljen prvo u SAD-u, a onda u Ujedinjenom Kraljevstvu, ako izdanje u SAD-u bude uspješno. No, nakon što je ugovor s diskografskom kućom u SAD-u propao, objavljivanje singla u Ujedinjenom Kraljevstvu otkazano je.

Pjesma "Time Will Pass You By" je trebala biti objavljena kao zadnji singl s albuma i za nju su napravljeni remiksevi, jedan od njih bio je Paul Masterson Mix. Umjesto ove pjesme objavljena je suradnja s Nickom Caveom, "Where the Wild Roses Grow", što je jedan od Minogueinih najuspješnijih singlova 1990-tih.

Popis pjesama

Bonus pjesme
Bonus pjesme na japanskim izdanjima albuma Kylie Minogue:
"Love Is Waiting" (albumska inačica) (M. Percy/T. Lever/T. Ackerman) – 4:52
"Nothing Can Stop Us" (7" inačica) (B. Stanley/P. Wiggs) – 4:06

Bonus pjesma na kanadskim izdanjima albuma Kylie Minogue:
"Confide in Me" (Franglais inačica) (S. Anderson/D. Seaman/O. Barton) – 5:53

Bonus pjesme na ponovnom izdanju
Sve bonus pjesme koje se pojavljuju na ponovnom izdanju albuma Kylie Minogue.
"Dangerous Game" (Dangerous Overture) (S. Anderson/D. Seaman) – 1:20
"Confide in Me" (Justin Warfield mix) – 5:27
"Put Yourself in My Place" (Dan's Old School mix) – 4:31
"Where Is the Feeling?" (akustična inačica) – 4:51
"Nothing Can Stop Us" (7" inačica) – 4:06
"Love Is Waiting" (nova inačica) – 4:48
"Time Will Pass You By" (Paul Masterson mix) – 7:34
"Where Is the Feeling?" (West End TKO mix) – 8:11
"Falling" (Alternative mix) – 8:40
"Confide in Me" (Big Brothers mix) – 10:27
"Surrender" (Talking Soul mix) – 4:26
"Put Yourself in My Place" (akustična inačica) – 4:46
"If You Don't Love Me" (akustična inačica) (P. MacAloon) – 2:10
"Confide in Me" (Franglais inačica) – 5:53

 Pjesma "Where the Wild Roses Grow" trebala je biti uključena na ponovno izdanje jer je njen gkazbeni stil sličan stilu albuma i imala je velik komercionalni uspjeh; no zbog problema s autorskim pravima ta ideja je odbačena.

Neobjavljene pjesme  (u početku)
Pjesma snimljene s Rapino Brothers (sve pjesm anapisali su G. Mallozzi/M. Sabiu/K. Minogue):
"Aston Martin" – 3:30 procurila na Internet
"For All I'm Worth" – 4:50  procurila na Internet
"Gotta Move On" – 3:37 objavljena na Hits+
"Difficult by Design" – 3:44  objavljena na Hits+
"Love Is on the Line"  Minogue je dala pjesmu Edyti Górniak koja ju je objavila kao singl
"Our Lovin' (Light That I Was Looking For)"
"Living for Your Lovin'"
"Automatic Love" (originalna inačica) - 3:50 (G. Mallozzi/M. Sabiu/K. Minogue/I. Humpe) procurila na Internet
Pjesma snimljene s Brothers in Rhythm:
"At the End of the Day"  procurila na Internet 4. svibnja 2010.
"Love Is on the Line" ponovno snimanje
Pjesma snimljene s Jimmyjem Harryjem:
"Intuition"
"The World Needs Love"
Pjesma snimljena s Gerryjem DeVeauxom:
"No Turning Back"
Pjesma snimljena sa St. Etienne:
"When Are You Coming Home?"

Singlovi

"Confide in Me"
Pjesma "Confide in Me", debitantski singl s albuma, postao je jedan od Minogueinih najuspješnijih singlova, dospijevajući na prvo mjesto u Australiji na četiri tjedna, te drugo mjesto u Ujedinjenom Kraljevstvu. U ovoj dance pjesmi sporog tempa, koju su napisali i producirali Brothers in Rhythm, čuju se Minogueini vokali uz gudačke instrumente i ritmičke zvukove bubnja.

"Put Yourself in My Place"
Pjesma "Put Yourself in My Place", objavljena kao drugi singl s albuma, dospjela ja na 11. mjesto u Australiji i Ujedinjenom Kraljevstvu. Pjesma je promovirana popularnim videospotom snimljenim pod redateljskom palicom Kiera MsFarlanea. Minogue je u videospotu odglumila scenu poput one u klasičnom filmu od Jane Fonde pod imenom "Barbarella" iz 1968. godine.

"Where Is the Feeling?"
Pjesma "Where Is the Feeling?" postala je treći singl i dospjela je na 16. mjesto u Ujedinjenom Kraljevstvu i 31. mjesto u Australiji. Pjesma je uređena za singl i videospot i tako postala jedan od Minogueinih najnekomercionalnijih singlova. U toj uređenoj inačici pjesme izraženiji su njeni šapati i recitacije nego pjevanje.

Top ljestvice

Impresum

Kylie Minogue – glavni vokali
Greg Bone - gitara
Steve Anderson - piano, producent
Brothers in Rhythm - producent, aranžer
Dancin' Danny D - producent, remiksiranje
Gerry DeVeaux - producent, aranžer
Jimmy Harry - producent, aranžer
Pete Heller - producent, inženjer
M People - producent, aranžer
Paul Masterson - producent, remiksiranje
Ronin - producent, remiksiranje
Saint Etienne - producent
Dave Seaman - producent
John Waddell - producent, aranžer
Justin Warfield - producent, remiksiranje

Will Malone - aranžmenti gudačkih instrumenata
Richard Niles - aranžmenti gudačkih instrumenata, brass arrangement, orchestral arrangements
Andy Bradfield - inženjer
Tim Bran - inženjer, pomoćni producent
Ian Catt - inženjer
Doug DeAngelis - inženjer, mikseta
Terry Farley - inženjer
Paul West - inženjer, mikseta
Gary Wilkinson - inženjer
Paul Wright III - inženjer, mikseta
Niall Flynn – pomoćni inženjer, assistant
Paul Anthony Taylor - programiranje
Tom Parker – konsultant projekta
Katie Grand - stilist
Rankin - fotografija

Izvori

 Albumi iz 1994.
Albumi Kylie Minogue

redpajama_set_name: RedPajamaWikipedia


text:
Grace Burgess may refer to:

Grace Burgess, character in Peaky Blinders (TV series)
Grace Burgess, character in The Lusty Men


If this is an emergency, please call 911. If the request is for a non-emergency public safety matter, please call the dispatch non-emergency number at 817-249-1610. This system is for routine, non-emergency requests only and is not monitored in real-time or on weekends, holidays or after normal business hours.


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The Evans Group
Functional Photoactive Materials
Spin-Out
Bolong Zhang
Bolong joined the group as a postdoctoral Research Associate in 2020, following the completion of his Ph.D. at the University of Melbourne (UoM), Australia in December 2019.
In 2012 Bolong graduated from Fuzhou University, China, with a B.Sc. degree in Chemistry, joining Dr. Wallace Wong's group at UoM the following year. In 2015 he completed his MSc. in Chemistry and re-joined the Wong Group as a Ph.D. candidate in 2016, co-supervised by Prof. Kenneth Ghiggino and Dr. David Jones. During his Ph.D., Bolong was focusing on luminescent solar concentrator related topics, and was also involved in projects of organic photovoltaics, excitonic fusion and fission. This gave him some experience in organic synthesis, electronic device fabrication and spectroscopy analysis.
Outside the lab and office, Bolong usually spends his free time in reading novels, playing video games and cooking. He can play basketball, badminton and table-tennis, swimming and hiking, if you invite him.
Bolong's research will be focusing on the development of advanced materials and systems for solar spectral converters. Currently, he is working on both solid-state down-shifting and up-conversion materials and relevant applications in flexible polymeric hosts.
Monica Reum Prize (2019), Department of Chemistry, University of Melbourne, Australia.
Best Ph.D. paper award (2019), Annual workshop of ARC Centre of Excellence in Exciton Science
Albert Shimmins Award (2019), University of Melbourne, Australia.
Best Presentation in MEI Symposium 2018, Melbourne Energy Institut, Australia
Andrew Kirby Award of Research Excellence 2016, University of Melbourne, Australia
Google Scholar: https://scholar.google.com.au/citations?user=uphDb-wAAAAJ&hl=en
ResearchGate: https://www.researchgate.net/profile/Bolong_Zhang2
Twitter: https://twitter.com/Bolong_Zhang
Article published in Materials Chemistry Frontiers November 5, 2020
New article accepted in Soft Matter October 1, 2020
Congratulations to Tom! September 10, 2020
Congratulations to Kieran! July 22, 2020
Advance Article in Nanoscale May 26, 2020
Dep. of Materials Science & Metallurgy
27 Charles Babbage Rd
CB3 0FS
Follow Rachel on Twitter


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Child Poverty can't be the elephant in the room
by Loic Menzies
For me, one of the hardest things about writing a book was knowing how to finish it.
After briefly trying to convince myself 'Young People on the Margins' didn't need a conclusion, I had to admit, the final chapter would be crucial.
The CfEY team had set out to write a book because we felt it was time to pull together the underlying themes that linked together all the projects we'd worked on, and to point to what should happen next.
Reflecting back to those motivations convinced me there was only one way to end the book: the concluding paragraph would have to be about poverty.
Young People on the Margins therefore closes with this graph which we use with the kind permission of the Child Poverty Action Group.
Almost every page of the 'Young People on the Margins' touches on child poverty. Yet although we wrote at length about poverty's pernicious effects and how we have seen it shape young people's lives, we didn't write all that much about its underlying causes or the trends that lie behind it. That's at least partly because I'm not an economist, an expert on welfare and employment, or someone who personally grew up in poverty.
Moreover, in most of the professional circles I've worked in, whether as a teacher, youth-worker or researcher and policy maker, I've more often found myself involved in conversations about how to mitigate the effects of child poverty than reflecting on the powerful grip of poverty itself – and how we can, and should loosen it.
I tend to find myself involved in conversations about how to mitigate the effects of child poverty rather than the powerful grip of poverty itself - and how we can, and should loosen it. Click To Tweet
That might sound like a big oversight, but ultimately, when you work with young people you can't just wait for the system to solve the problems. Rather than treating poverty as destiny, you have to get on with doing the best you can for young people, regardless of their circumstances.
Fortunately, the Child Poverty Action Group has been fighting the good fight at system level since 1965, and just before Christmas, they pulled together a fascinating seminar to launch their 2020 Vision.
I therefore wanted to pull together an introduction to five key questions.
What do we mean by child poverty?
How does it affect children?
How is child poverty changing?
Will anything be done?
This blog focuses on the first three of the questions and will be followed by an action-focused blog about the second two questions on Sunday.
There are different definitions of poverty and occasionally, debates flair up about whether a family's situation 'counts' as being poor.
Sometimes people's gripe is with lifestyle "But they've got a wide screen TV", "But they've all got smartphones" etc. Laura McInerney has put a lot of these misconceptions to rest in her excellent "Things Rich People Don't Understand".
There's another set of arguments about where the poverty line sits. In effect, poverty is 'norm referenced' – i.e. it is a distributional measure, unlike "destitution" which, might be thought of as 'criterion referenced' (based on whether people have what they need for their basic needs like heating, lighting and shelter.)
Even within the 'norm referenced' measure of the poverty there is an important distinction between relative and absolute poverty. Personally, I used to think 'absolute poverty' was synonymous with 'destitution' however confusingly, it is also a relative measure – but pegged to a specific year. i.e. 60 per cent of the median as it stood in 2011. Meanwhile, the 'relative poverty' definition moves around from year to year based on the Annual Households Below Average income (HBAI) survey, using a 60% cut off.
A further distinction is made between income before and after housing costs, and as we'll see in tomorrow's blog, this is a crucial consideration when seeking to turn the tide on child poverty and mend our broken system.
CPAG have some handy explainers about measuring poverty which you can find here
How does poverty affect children?
You don't often get great causal evidence in the fields of policy and education/youth. But poverty is an exception. That's because it's relatively easy to trial cash transfers that diminish it, and as a result, we can say with a good deal of confidence that poverty is very bad for children.
"The experience of persistent economic hardship as well as very early poverty undermines cognitive functioning at 5 years of age… Persistent poverty is a crucial risk factor undermining children's cognitive development – more so than family instability"
Schoon et al., 2012
"For children who are persistently in poverty throughout their early years, their cognitive development test scores at age 7 years are almost 20 percentile ranks lower than children who have never experienced poverty, even after controlling for a wide range of background characteristics and parental investment."
Dickerson and Popli 2015
"The studies provide strong evidence that income has causal effects on a wide range of children's outcomes, especially in households on low incomes to begin with. We conclude that reducing income poverty can be expected to have a significant impact on children's environment and on their development"
Cooper and Stewart 2017
"Poverty affects a child's development and educational outcomes beginning in the earliest years of life, both directly and indirectly through mediated, moderated, and transactional processes"
Engle and Black 2008
Maybe these conclusions sound obvious, but think how many times you've read articles arguing that it's poor people's lifestyle (divorce rate, television watching etc), lack of aspiration or downright laziness that scuppers their children's prospects, rather than the fact that policies have been designed in ways that lock people into poverty and out of opportunity.
It's this way of thinking that has allowed – or indeed encouraged governments to cut the support families can get. Again, we'll see in tomorrow's blog that those decisions have measurable and catastrophic consequences for who we allow to be poor.
We can say with a good deal of confidence that poverty is very bad for children Click To Tweet
Given all the evidence about how bad poverty is for children, it just can't be right that children are so dramatically over-represented amongst those living in poverty: 30 per cent of children live in households below the poverty line (after housing costs). This is almost double the poverty rate (16 per cent) for pensioners according to CPAG.
Unfortunately, the situation is getting worse. Focusing on the most extreme form of poverty, according to the Joseph Rowntree Foundation, half a million children are destitute (i.e. missing two of the basic necessities like having the clothing, food or toiletries they need). This is a 52% increase since 2017 which is equivalent to 185,000 children.
Given those numbers, it's hardly any wonder that schools and other services are overwhelmed by the additional demands this places on them.
So what can we do about it?
Tomorrow's blog will show that there are a number of practical steps that could be taken to protect children from poverty's damaging effects.
Poverty campaigners are pushing hard for change and it's time more of us who work with young people to acknowledged the elephant in the room: many of the issues that dominate debate – like workload, poor pupil well-being and squeezed budgets – can't be considered in isolation from the policy choices that give rise to the needs we then battle to mitigate.
Find out about the four key lines of attack that would allow us to mend our system and tackle child poverty in part two of this series: "Child Poverty is not Inevitable"
CfEY's new book "Young People on the Margins: Priorities for action in education and youth" will be published by Routledge later this month. Pre-order it here and get a 20% discount with the code "FLY21"
We need to acknowledge the elephant in the room: issues like workload, poor pupil well-being and squeezed budgets can't be considered in isolation from the policy choices that give rise to the needs we battle to mitigate. Click To Tweet


Buffalo Commons Cohousing is envisioned as a cohousing community of about 30 to 35 households on 21 acres adjacent to the city limits of Northfield, Minnesota (about 40 miles south of downtown Minneapolis and St. Paul). Northfield is a vibrant college community with a strong local economy; an engaged populace; highly regarded public, charter, and private schools; an historic downtown; an active local arts community; a large arboretum with hiking and cross-country ski trails; endless miles of quiet country roads for bike riding; and wonderful canoeing on the Cannon River.
About fifteen households comprise our current forming group. We vary in age from 20-somethings to 70-somethings, with households comprised of singles, couples, and families with children (newborns to adult). Most are from the Northfield area, but several are from farther afield. All of us are interested in creating a supportive, sustainable community in a beautiful semi-rural setting right on the edge of a wonderful community. We welcome you to join us!


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Editorial: The U.S. should make it clear to the Myanmar military that its power grab is the wrong way to go
Aung San Suu Kyi, left, Myanmar's de facto leader, walks with Gen. Min Aung Hlaing, right, the military's commander-in-chief, in 2016 Naypyidaw, Myanmar.
(Associated Press / Aung Shine Oo)
By The Times Editorial Board
Feb. 2, 2021 3 AM PT
The Myanmar military's seizure of power and overthrow of the country's fragile quasi-democracy should be met with a swift, definitive and coordinated response from the U.S. and its allies. President Biden denounced the coup Monday as an "assault on the country's transition to democracy" and called for the Myanmar military — which was already sharing governmental control with civilians — to give up, immediately, the power it seized and release the civilian officials detained. Those include Aung San Suu Kyi, the de facto leader of Myanmar and Nobel Peace Prize-winning champion of democracy.
If the military does not reverse course, Biden needs to reimpose at least some of the economic sanctions that Myanmar (also known as Burma) was under when it was last run by generals. The U.S. removed many of those sanctions in recognition of Myanmar's remarkable transition to democracy over the past decade. But this latest act by the military is a grim backslide into a dictatorship that the U.S. and its allies need to make clear is intolerable.
The Myanmar senior military general-turned-autocrat, Min Aung Hlaing, and three other military leaders were already under U.S. economic sanctions for their roles in the brutal campaign of violence against the Rohingya Muslim minority in 2016 and 2017. United Nations investigators have called that genocide. The sanctions prevent those individuals from banking in the U.S. or making transactions in U.S. dollars.
Now, the U.S. and its allies should impose more sweeping economic sanctions against the military itself and its leadership. In Myanmar, military leaders largely control conglomerates that own oil and gas enterprises, restaurants, banks, manufacturing companies and jade, ruby and sapphire mines, among other businesses. The U.S. can prohibit American companies — and foreign companies subject to U.S. jurisdiction — from dealing with those Myanmar businesses or with designated military individuals.
The cause of democracy in Myanmar enjoys wide bipartisan support in Congress. When that cause is under siege, as it is now, Biden should be able to muster support from both parties for an aggressive pushback against the Myanmar military. And U.S. officials shouldn't stop there — they should also get our major trading partners to join in the sanctions and magnify the pressure on the coup leaders.
It's not just the development of a democratic government at stake here. As bad as the plight of the Rohingya Muslims has been under Suu Kyi — who did almost nothing to protect them from oppression — it may only get worse under a military government that believes it answers to no one.
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The Los Angeles Times' editorial board determines the editorial positions of the organization. The editorial board opines on the important issues of the day – exhorting, explaining, deploring, mourning, applauding or championing, as the case may be. The board, which operates separately from the newsroom, proceeds on the presumption that serious, non-partisan, intellectually honest engagement with the world is a requirement of good citizenship. You can read more about the board's mission and its members at the About The Times Editorial Board page.
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Puzzle Quest: Pattern Recognition
This morning, as I looked at my desktop and its excessive clutter of icons, my eyes were immediately drawn to places where I could form rows of three similar icons by swapping adjacent ones. This is a familiar phenomenon. You play a game, it trains your brain. It can feel like the game is taking over your mind, but I'd explain it in more benign terms: Visual pattern recognition is something we humans are highly optimized for, and a game as fundamentally abstract as this gives your brain patterns that it can spot in all sorts of places. It doesn't know at first that it's only supposed to look for the pattern in the context of the game, but it usually figures this out after a while.
It isn't even really a phenomenon limited to videogames. I experienced similar things when I was learning to play Go: I'd walk into a cinema, say, and see what seats were taken, and automatically decide where the next person should be seated to increase defensive strength most efficiently. There may be something about grids in particular that encourage this kind of thought. Grids are ubiquitous in both games and in our artificial modern environment, but they aren't seen in nature. So I can imagine that the brain's pattern recognition subroutines, having evolved to deal with natural things, would tend to see all grids as anomalies and thus as likely manifestations of the same thing. But this is pure speculation.
Anyway, having just come off a stint of The Typing of the Dead, this all seems like more evidence of the medium's underutilized potential as a training tool. If we're going to be teaching our brains to do tricks, they might as well be useful tricks, no?
Puzzle Quest: The Frame
Outside of combat, Puzzle Quest plays more or less like a conventional RPG, but one played on a scale I more associate with strategy games such as Heroes of Might and Magic or Master of Orion. All travel is conducted on an overland map, and constrained to delineated paths between cities and other important sites. Anything within a city is represented as a bunch of menus. You can acquire companions over the course of the story, but they're not full characters with their own stats like the PC. Instead, they provide situational combat help, such as automatically doing 10 points of damage at the beginning of battle when fighting undead, or increasing your Battle rating by 10 when fighting Good characters 1No, you don't have the option of turning evil, or at least not in the parts I've seen. But there are some knights who you have to defeat in friendly matches to prove your worthiness. — in other words, the sort of bonus you'd get from a Leader or Hero in a strategy game. There's even the option of conquering the cities you come across and collecting tribute from them. Tribute is generated every game month, and to collect it, you have to visit the cities personally, just like certain strategy-game resource generators. All in all, the frame game might be better described, not as RPG, but as strategy game with just one hero stack. But then, strategy games of this sort share a lot of mechanics with RPGs — they have a common ancestry in miniature wargaming, and the seminal Heroes of Might and Magic series in particular was based on the Might and Magic RPG series.
I mentioned conquering cities. This is done through the same tile-matching combat system as regular encounters, except that cities as opponents have a different special powers and different equipment slots: instead of one Helmet and one Armor and one Weapon, cities get one Tower and one Gate and so forth. Unfortunately, this game doesn't support scavenging equipment from fallen foes. Otherwise, I would definitely try wearing an iron gate to my next encounter. You might think that conquering a city would be a big deal for the NPCs living there, but, in an extreme example of game/story orthogonality, no one seems to notice. At one point, I acquired a party member who gives a bonus during sieges, and he merrily helped me subjugate his home. At another point, I was on a diplomatic mission to a neighboring kingdom, trying to get their assistance against the undead hordes. On your first attempt at delivering your message, you're turned away at the gate by a guard, even if you just laid siege to the place and conquered it.
Now, to back up a step, you might be wondering where equipment comes from if there's no scavenging. Well, there are quest rewards, and there are stores in the cities, and there's crafting. Crafting is accomplished through tile-matching. But! It is different this time. There's no opponent, you can't use spells, and your goal is to delete a certain number of special "hammer and anvil" tiles (the required number depending on the power of the item you're crafting) before running out of legal moves. There are a few other variants like this for other special actions, like researching new spells (delete a quota of each color, and also of special "Book" tiles that only appear when you delete a row of 4 or more) or training mounts (defeat the mount with a time limit on each move). My favorite such minigame is the one used for capturing creatures (so you can learn spells from them or use them as mounts), which is, to my mind, the only part of the game that really qualifies as a puzzle. You're given an arrangement of tiles, but unlike all other occasions, it's not random, it's not full, and it doesn't fill up. Your goal is to delete everything, which can be trickier than it sounds.
No, you don't have the option of turning evil, or at least not in the parts I've seen. But there are some knights who you have to defeat in friendly matches to prove your worthiness.
Puzzle Quest: Gameplay Basics
The heart of Puzzle Quest, the mode that you spend about 90% of your time in, is a competitive tile-matching game. There have been other competitive tile-matching games, such as Puzzle Fighter, but all others that I know of involve two players competing in realtime on separate playfields that affect each other indirectly at best. Here, we instead have the two players — or rather, the player and a computer opponent — taking turns in the same playfield. This alone has a profound effect on how the game is played. Normally, the player of a tile-matching game can expect to devote turns to setting up combos. But here, you actually want to avoid setting things up, lest your opponent take advantage of them before you can. There are ways to get multiple turns in a row — the simplest being to make four-in-a-row instead of three-in-a-row — but you can't use such things most of the time.
At root, the tile-matching works like Bejewelled: you swap two adjacent tiles in order to make at least one row of three or more, the matching tiles are deleted, and tiles fall downward to fill the empty spaces (possibly forming new matches and triggering a cascade of additional deletions). But instead of just increasing your score, the specific types of tile have different effects. Skull tiles do damage to the opponent when matched, and are the chief way you win combat, at least in the beginning. There are coin tiles which provide bonus cash and star tiles which provide bonus XP. The remaining four basic tile types provide you with four different colors of mana, corresponding to the four elements. With mana, you can cast spells.
I find the spellcasting aspect very reminiscent of Magic: The Gathering. Like M:tG, there are a variety of effects, from direct damage to status effects to things that manipulate the board, changing tiles or deleting an entire row at a time or whatever. Like M:tG, mana color is important, and, while you can accomplish things more efficiently by specializing in a particular color, over-specializing makes you vulnerable. And, like M:tG, you can spend large portions of a match waiting for the colors you need to come up. In fact, fishing for mana is even more frustrating here than in M:tG, because of the way that the mana source is shared: you can spend turns waiting for more red tiles to come up so you can cast the direct damage spell that will win the match, only to have them come up at the end of your turn and be immediately grabbed by the opponent.
I mentioned that specializing in a color makes things more efficient. This is mainy due to the Mastery skills. There are seven skills you can assign points to when your character levels, each increasing the benefits of one of the seven basic tile types. Raising your Fire Mastery skill, for example, will increase your red mana capacity, give you extra red mana for matching red tiles, and increase your chance of getting an extra turn when you match red tiles, thus making it possible to get red mana faster. So the more advanced your character is, the faster you tend to get mana in your areas of specialty. Eventually, this can make it more efficient to deal damage using spells than doing it directly with the skull tiles (unless you're specializing in Battle, the skill that makes the skull tiles do more damage). I always find it satisfying when the rules of a game make the emergent strategies change over the course of play.
The nice thing about this whole system is that it isn't just tile-matching embedded in an RPG frame. The tile-matching affects the RPG and the RPG affects the tile-matching in a very tight loop. They are inseperable; each alters how you think about the other. The story, on the other hand, is just tacked on, and is pointedly ignored by the game mechanics in ways that I'll describe in my next post.
Puzzle Quest: Distribution Channels
Puzzle Quest seems like the logical next step in our examination of nonstandard combat mechanics. Like Bookworm Adventures, it's a RPGification of a casual game mechanic based mainly around pattern recognition, this time Bejewelled and other "match 3" games. Match 3 games are usually classified as puzzle games, even though they generally don't contain what I personally think of as puzzles — which is to say, things where the player's effort goes toward trying to figure out a solution. Presumably it's because their lineage can be traced back to Tetris, and thus to polyominoes and other assembly puzzles.
But before I go into the gameplay, I'd like to talk about distribution channels. This is a game that's available both on physical media and through online download, as is increasingly often the case. In the past, I've preferred to get games on discs where possible, but I've been rethinking this lately. On the one hand, physical discs give a greater illusion of permanence, which is important to those of us who like to play old games. There are discs on the Stack that I've had for more than 15 years. I don't think I still have any downloadable installers that old on my system (and yes, such things did exist back then, mainly for shareware titles), nor the means to re-download them from their now-mostly-defunct publishers. On the other hand, my still-green experiences with long-distance moving have taught me how easy it is for physical objects to get lost, and Steam is making downloads seem like a more solid prospect, by making downloads from multiple publishers available under a single account that you're less likely to forget about, and by being less likely to go out of business soon than a single indie publisher.
I started using Steam only very recently, and basically out of impatience: the one software retailer 1Software retailers just aren't as dense in San Francisco as they are in Manhattan. Before the move, there were four within my customary orbit. within easy walking distance of my apartment didn't have the Orange Box in stock, and I wanted to play Portal right away. And since the Orange Box was going to require "activation" through Steam even if I bought it retail, there seemed little harm to it. (I'm not happy with "activation", but I'm willing to tolerate it on the assumption that I'll be able to download a crack if Steam goes out of business.)
Now, Puzzle Quest can be obtained through Steam, but also through other online distributors. So it clearly doesn't require Steam activation (although for all I know the Steam version might require activation anyway; if the process is fast and automatic, you wouldn't necessarily notice it happening). Still, I chose Steam, mainly because I would otherwise face the inconvenience of creating an account on some other system. And when you think about it, that includes most online stores where you could buy the physical-media version. So Steam is basically the iTunes model, providing enough convenience that you'll use it in preference to other channels. I'm wary that they'll abuse this power, like any DRM-enabled distributor seems to do eventually, but not wary enough to resist being sucked in.
Software retailers just aren't as dense in San Francisco as they are in Manhattan. Before the move, there were four within my customary orbit.
The Typing of the Dead: Finished
In the final level of The Typing of the Dead, the rotting corpses give way to what look more like artificial life forms or androids, grey-skinned and sporting built-in lightsabres and other superpowers. The advanced tech doesn't stop them from just standing there like ninnies and letting you type at them for a while before they attack, though. That's just essential to the way the game is played, especially since the phrases you type are getting pretty long by that point, but it fit the zombies better, because you expect zombies to react slowly. The end boss, the Emperor (the bosses are all named for tarot cards), is even more artificial-looking, a demon made of clear plastic. According to its creator (in an unbelievably awkwardly-dubbed cutscene), it was engineered to solve the world's ecological crisis by ruling over humanity. Maybe this was less stupid in the original Japanese, maybe not. Some people have said that the schlockiness of the House of the Dead 2 material complements the game's campy and self-mocking sense of humor. I just say that the cutscenes are not a significant part of the experience, and skippable.
The first time I reached this point of the game, I had only a few remaining lives, which Emperor Perspex quickly removed. The game does some dynamic difficulty adjustment, at least for bosses: after you get killed a few times in succession, it starts using easier words. But in order to take advantage of this, you need lives to waste. So after my first attempt, I resolved to earn enough coins to play with 9 continues instead of 5.
There are five coins to be earned on each level, and each of the five is earned in a different way. You can make it easier to get particular coins by adjusting your approach to the game. For example, one coin on each level is earned by completing the level without any continues, and is most easily earned by setting the difficulty level to "Very Easy" and giving your top priority to avoiding damage, even if it means letting civilians die. Another is earned for scoring above a certain threshhold (the threshhold varies from level to level). This is best accomplished by setting the difficulty to "Very Hard" — which confers some kind of score bonus — and giving the civilians top priority — who cares if you lose lives yourself, saving those guys is worth a lot of points! A third coin comes from getting an "A" rating on a certain number of words. Ratings are based on how fast you type, but only the time from when type the first letter counts. So getting lots of A's involves refraining from initiating attacks until you're ready to type an entire word in a burst, which can mean ignoring both your health and the civilians.
This kind of strategizing may be missing the point of the game: you're supposed to win through typing prowess, not through gaming the system. But it kept me interested enough to keep on playing, by giving me goals to strive for that seemed easier than trying to fight Emperor Plexiglass again. When I had my 9 continues, I made another run for the end. Ironically, by then I'd had enough practice that I only needed 4.
After the ending, there's an interactive credits sequence: as the names of the developers scroll by, you can type them. Typing an entire section of the credits before it scrolls away releases a zombie from a bacta tank, and the released zombies dance to the background music, forming a chorus line of the dead. I found this bonus segment unexpectedly difficult, because the names are mostly Japanese, and Japanese uses different letter patterns than those the game trains you in — not many English words contain the sequence "ryo", for example. 1The only one that comes to mind immediately is "cryogenic".
Anyway, the game works! I can totally touch-type now, with punctuation and everything! It's pleasing to be able to take a skill away from this experience; somehow, it's always the weird games that are life-changing. Any game with a twitch element teaches you a skill, really, but usually it's a skill that's only applicable in playing that game, or sometimes other similar games. And this is definitely a twitch game — when I was at my best, I was typing from my brainstem. When I was at my worst, I was flailing at the keyboard madly, too panicked to see what I was doing wrong (usually something stupid like still trying to find a key I had already typed). That sense of panic, and the ability to overcome it, is something that you just don't get from ordinary typing practice. I'd guess that even Mavis Beacon doesn't provide it. No, if you really want to learn to type, what you need is zombies. Seriously.
The only one that comes to mind immediately is "cryogenic".
The Typing of the Dead: Coins
It may surprise you to learn the The Typing of the Dead was originally a coin-op arcade game. I don't know much about the arcade version beyond what it says in Wikipedia, as it was never seen outside Japan. (Japanese keyboards feature both Roman letters and Japanese hiragana on the same keys. It's not clear to me which mode the arcade version operated in; apparenly the Japanese Dreamcast version provided both options.)
You can see the game's arcade roots in the PC version: there's no notion of saving or even quitting the game (the docs actually tell you to use alt-F4 to exit!), and, as is often the case in arcade ports, it uses the concept of "Continues" as a substitute for inserting another coin. By default, you get five continues, each containing three lives. You can get more lives within the game by various means (such as rescuing civilians), but there's no way to get more continues, short of starting over.
You can play the game in two modes: Arcade mode and Original mode. I found this use of the word "original" confusing — it doesn't mean "This is the form the game had originally", which more accurately describes Arcade mode, but rather "This mode is original to this version of the game". Original mode complexifies things a little. It adds a simple inventory system — bonus items such as molotov cocktails that you trigger with the function keys. More importantly, it has a system of rewards for achievements such as completing a level without using any continues, or getting above a certain number of points. Each such achievement gives you a "coin", and certain special options are unlocked by collecting coins. At 5 coins, you can set it to give you five lives per continue instead of three. At 15 coins, you can use nine continues in a game instead of five.
Now, I've managed to get to the final level of this game, the Umbrella Corporation-like corporate laboratory that created the zombie plague. And I have my doubts about whether I'll be able to defeat the end boss under the game's normal parameters. I may need those extra four continues. So I'm asking myself how honorable this is. On the one hand, it's kind of like cheat codes. On the other hand, it's something you have to earn, and even having it doesn't guarantee that you'll win the game. If you can't type fast enough to swat down the final boss's missiles before they get you, all the continues in the world won't help you.
Ultimately, it'll probably depend on how bored I get. The game isn't terribly long — another relic of its arcade origin — and so, while there's some variability of content (depending on which people you manage to rescue), playing this game largely means seeing the same things over and over again. Which is, to be fair, the point. The whole thing is a drill.
The Typing of the Dead: Backward
I assume this game would be easy for someone who already knows how to touch-type. I can imagine a professional typist breezing through the whole thing on their first try without losing a single life. I personally never learned touch-typing, and had no real intention of doing so. Like many computer users, I had developed a certain amount of familiarity with the keyboard simply through using it a lot, and considered that adequate. I bought this game for its novelty, not its educational value. That's why I set it aside for so long.
In fact, to the extent that I ever thought about it, I always more or less assumed that I was pretty close to being a touch-typist just from practice. It wasn't until I started playing this game, years ago, that I understood how wrong I was. You just don't notice how frequently you look at your hands to reposition them. Like blinking, it's not something you're aware of doing. Not until you try to refrain from doing it. Even apart from the mere presence of zombies, the game uses various tricks to punish you for looking away from the screen, such as bonus items that you can collect by pressing the right single key during the fraction of a second they're available, and a trick boss on level 2 that goes through invulnerable phases where your keystrokes have no effect. Typing the way I had been typing was a handicap in these situations.
Still, I wasn't terribly interested in learning to type properly. The only practical advantage I see to it is that it lets you keep your hands under a blanket while you blog on a cold winter night. So I really only took an interest in trying to touch-type when I realized that I'd eventually want to beat this game in order to remove it from the Stack. Well, the game contains some basic tutorials explaining the home position and which fingers go with which keys. With this knowledge, all I needed was practice. And so, for more than a year now, I've been going about things backward, trying to touch-type in my day-to-day life in order to be better at this stupid game.
But I suppose that an educational game is working if you wind up educated because of it, regardless of exactly how it happens, and I can assert that it's been something of a success. I'm still far from the skill level of my hypothetical professional typist, but I'm doing a lot better than I was the last time I had this game installed. The scoring screens displayed after every level have me pegged at just above average right now.
The Typing of the Dead: Getting Started
And while we're talking about words as weapons, I really should bring this one out. One of the most absurdly-conceived educational games ever, The Typing of the Dead is a rail shooter — specifically, House of the Dead 2 — transformed into a typing tutor. Zombies stagger out labelled with words; typing the words damages them, with a gunshot sound accompanying each keystroke. The genius of this is that it naturally encourages touch-typing: you don't dare look down at the keyboard when there are zombies shambling toward you, and there are as many in-game motivations to type quickly and accurately as there are to shoot quickly and accurately in the original game.
The most completely brilliant thing about it, though, is that this change in the world model carries through to the character models. Everyone who has a gun in House of the Dead 2 instead has a keyboard strapped to their chest, connected to a Sega Dreamcast on their back (even in the PC port). You don't normally see your own shots being fired, but there are some cutscenes where you can see NPCs typing the zombies to pieces.
The fact that it was originally a Dreamcast game actually poses some problems for the modern PC gamer. Many console ports from that era use graphics with palettized texture maps, which is something that's been dropped from recent graphics cards. So much for Direct3D backward-compatibility! Playing this game with my ATI card makes the game revert to software rendering, which is not just slow and low-res, it's glitchy. Transparency in textures seems to just not work at all. I've solved the problem by reinstalling my previous graphics card, the nVidia one. I had given up on this card because of its inability to handle recent games well, but it seems to do alright with something this old. (Also, having inspected it again, I have some suspicion that its only problem was overheating due to parts of the heatsink being clogged with dust.) It looks like I may be doing a lot of card-swapping in the future, as the Stack contains games that are incompatible with either card. Or maybe I should just clear all the console ports of that generation from the Stack at once.
Anyway, even though it shares a basic conceit with Bookworm Adventures, it's not really the same type of game at all. Bookworm Adventures is turn-based, and asks you to come up with the killing words on your own, thus rewarding people with large vocabularies (both in the sense of vocabularies containing many words and in the sense of vocabularies containing large words). The Typing of the Dead is all about reflexes, and always tells you exactly what you should type.
Bookworm Adventures: Finished
Bookworm Adventures is a pretty short game. It has three chapters (themed on Greek mythology, Arabian Nights stories, and classic horror — all it needs is a generic fantasy/fairy tale chapter and an African chapter and it would be the Quest for Glory series). I completed one chapter per session. I'm not sure how to feel about this. On the one hand, I'm not a fan of padding games out unnecessarily. This game demonstrates all of the special attributes monsters can have — attack side-effects, defensive powers, vulnerabilities to particular categories of word — and once the game is out of new tricks, it doesn't overstay its welcome. On the other hand, padding things out is largely what RPGs do. It somehow seems wrong to keep it short.
It may have been designed this way because PopCap is more comfortable with the casual stuff, and regarded Adventure mode as a mere introduction to the real meat of the game, Arena mode, which is unlocked when you finish the plot. In Arena mode, you challenge the various boss monsters again, starting over at experience level 1, but with all of the game's magic items available. There are changes in how you acquire potions and how experience points are earned, but the main difference is that Arena mode is realtime. So much for sedate gameplay and falling asleep mid-battle. I don't really care for Arena mode: much of the pleasure in Adventure mode came from searching for the very best word that the available tiles could make, and you just don't have time for that when the enemy is killing you whether you play or not. Instead, you have to play whatever mediocre words you can find quickly. It's probably more interesting to watch than Adventure mode, though, in which (as I played it, at least) the player spends a lot of time just staring at the screen without doing anything.
Bookwork Adventures: Sleepy
Two nights now, I have played Bookworm Adventures. And two nights have I fallen asleep playing it.
That's sort of a double-edged thing to say. If it were a movie or a play, to say "I fell asleep" would be to call it boring. But in games, there's the "I kept playing until I dropped from exhaustion" option. And honestly, it was a little of both in this case. If it were genuinely boring, I wouldn't have kept playing even as I began to nod off. But it's hardly exciting, either. It's sedate. The background music is as comfortable and child-friendly as a lullaby, and the character animation consists mostly of things rocking gently in place. Aside from some optional time-limited minigames you can play for extra potions and gem tiles, it's completely turn-based. And, since knowing what happened on previous turns doesn't really help you much, you can actually doze off repeatedly during play without your performance suffering much.
Still, my mental state meant that I didn't really process the plot at the beginning of chapter 2, when my first session ended. When I came back to the game the next day, I had no idea who the player character was talking to or how they met. The story element in this game is pretty light, though, and doesn't affect player decisions at all; mainly it's just a series of excuses to put you through different monster themes. Which is not to say that it's bad — the whole thing was written by Stephen "Bob the Angry Flower" Notley, and is full of his sense of humor. It's more G-rated than Bob, and I'd almost say it's less gratuitously absurdist, but then I remember that it's a story about a worm in spectacles who fights legendary monsters inside books.


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The Rèveillon: A Christmas Eve Tradition in New Orleans
WWII and the Beauregard Center for Servicemen
It's Summertime and, Well, the Diggin' is Easy
"In those days, the river was full of ships and stevedores...": An Exhibit Update!
Keep the Old with the New: Recording Oral Histories in 2017
Reprising the St. Joseph Altar Tradition at BKH
Honoring a New Facet of Our History at BKH
Lily P. Elkins
Pictured left: BKH's first annual St. Joseph Altar displayed last year, March 17th and 18th, 2016.
In Bread and Respect, authors Jerome J. Salomone and A.V. Margavio write, of a conservatively estimated 32,000 Italian immigrants who settled in Louisiana between 1870-1930, an astounding 90% were Sicilian [1]. Today, 200,000 Sicilian descendants reside in the New Orleans area [2]. It is safe to assume therefore that many, if not most, of the the Italian traditions now practiced in New Orleans came not from the mainland, but the smaller, arid island of Sicily.
One of the more notable of these traditions is the St. Joseph Altar. Varying stories exist regarding the origin of the altar [3]: many scholars believe that Albanian refugees brought the practice to Sicily in the 15th century, while others credit a group of shipwrecked Italians who prayed to St. Joseph for deliverance and constructed an altar of thanks upon making landfall. The most widespread story remains, perhaps, the most simple. During a drought in the Middle Ages, starving Sicilians prayed to St. Joseph for rain to end their famine and when it was delivered, the tradition of offering a feast of thanks to the Saint was born.
In St. Joseph Altars, Kerri McCaffety notes that the St. Joseph Altar tradition is generally honored wherever a community of Sicilians or Sicilian descendants live [4]. In addition to Sicily itself, altars can be found all over the United States, especially in large cities where many immigrants settled. It is not surprising, given the sheer number of Sicilian descendants in New Orleans, that observation of the St. Joseph Altar is considered the most profound in the United States [5]. Even more fascinating is how the tradition has permeated throughout the culture of all New Orleanians. McCaffety writes that the Irish have embraced St. Joseph's Day (March 19th) as an extension of their own St. Patrick's Day celebration, and a number of African American churches have observed the altar tradition since the 1930s [6]. Likely since World War I, one of the city's most major parade days of the year, Super Sunday, has been observed on St. Joseph's Day: Mardi Gras Indians take to the streets to parade in their culturally singular and show-stopping, handmade costumes. [7]
A section in All This is Louisiana discussing the St. Joseph Altar Tradition. A grand altar is pictured left, and an unnamed participating child is pictured right.
The Beauregard-Keyes House's namesake former homeowner, Frances Parkinson Keyes, appreciated the St. Joseph Altar tradition, and other Sicilian aspects of her neighborhood. In her 1950 book, All This is Louisiana, Mrs. Keyes writes: "I relish the wonderful cheeses that I get at Montalbano's and the cassata that I get at Brocato's… I feel privileged to live across the street from the old Ursuline Convent. In fact, I enjoy all the local celebrations. Outstanding among these is the commemoration of St. Joseph's Day." Mrs. Keyes notes the inviting aspect of the practice by detailing how each shop or home with an open altar is marked by "branches of fresh bay leaves, fastened" to the entryway. She continues with a detailed physical description of one of the many altars in the neighborhood and children participation in its blessing, noting the "fragrant flowers" and exquisite varieties of food, from mocha layer cakes and breads to artichokes and golden wine, which have been "prepared, over a period of weeks, lovingly and by hand." [8]
Displaying a St. Joseph Altar offers practitioners the opportunity to give thanks for blessings, ask for deliverance from troubles, and bring community together in solidarity and tradition. In addition to food offerings for St. Joseph, many choose to display photos of past loved ones, and we look forward to paying tribute in this way to our house's former Sicilian residents, the Giacona family, with portraits generously loaned to the museum by Corrado Giacona II.
There is likely no way to know if the Giaconas ever participated in the St. Joseph Altar tradition during their time in the house from 1904-1925, though docent Rosanna Giacona Shepherd does remember
her Aunt Marguerite's altar from when she was growing up in New Orleans in the 1960s and 1970s. Rosanna's family shared a double shotgun with her aunt and uncle on the other side, and Marguerite would devote "almost the whole house" to her altar, which family and friends would flock to see. Sicilian tradition has long-standing roots in our house here at 1113 Chartres, and we look forward to revisiting them next week with our second annual St. Joseph Altar.
Above right: One of the portraits to be displayed during the St. Joseph Altar, featuring Corrado Giacona and wife Rosena/Rosina Punzo Giacona. Corrado purchased the family home at 1113 Chartres and also ran the family business there with his father, Pietro. Portraits provided by Corrado Giacona II.
For more information about visiting the Beareugard-Keyes House St. Joseph Altar, please visit our Facebook event page: https://www.facebook.com/events/1817974011792440/
1. Margavio, A. V., and Jerome J. Salomone. "Chapter Two: Bread." Bread and Respect: The Italians of Louisiana. Gretna, LA: Pelican Publishing Company, Inc., 2002. 38,43. Print.
2. McCaffety, Kerri. "Across the Ocean: Sicily Arrives in New Orleans." St. Joseph Altars. Gretna, LA: Pelican, Publishing Company, Inc., 2003. 19. Print.
3. McCaffety, Kerri. "Farmers or Fishermen, Exiles or Albanians: The Origin Legends." St. Joseph Altars. Gretna, LA: Pelican, Publishing Company, Inc., 2003. 14-16. Print.
4. Ibid. 19.
6. McCaffety, Kerri. "Cultural Crossover: Non-Sicilians Embrace the Old World Saint." St. Joseph Altars. Gretna, LA: Pelican, Publishing Company, Inc., 2003. 24. Print.
7. "Mardi Gras Indians Super Sunday around St. Joseph's Day." Mardi Gras New Orleans. Compucast Web, Inc.,1996-2017. Web. 9 Mar. 2017. <http://www.mardigrasneworleans.com/supersunday.html>.
8. Keyes, Frances Parkinson. "St. Joseph's Altars." All This is Louisiana. Harper, 1950. 84-85. Print.
Frances Parkinson Keyes
Giacona
Corrado Giacona
Rosena Giacona
St. Joseph's Day
St. Joseph Altar
Sicilians
Alma Neal
Angelo Brocato
Ann Masson
Captain Hawley
Carole Fuller
Dr. Cangelosi
Drainage Project
Jimmy Moran
Leonard Huber
Marion Chambon
Nadia Moise
Nadia St. Paul
National WWII Museum
Pablo & Co.
Pendleton Hogan
Piccolo Palermo
Rosanna Giacona
Sicilian grocery stores


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We have found 1 matching profile in Coos, OR for Randy Rossback.
Summary: On June 06, 2018, Coos County Law Enforcement arrested Randy Rossback in Coos, Oregon. All suspects are presumed innocent until proven guilty. Information about upcoming court dates for Rossback may be obtained from one of the following law enforcement or prosecuting agencies: Coos County Law Enforcement.


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The Law Society Award
Indigenous Scholarship
Scholarship for Graduate Legal Studies
Law Society Award for Leadership in Legal Aid
Law Society Equity, Diversity and Inclusion Award
Law Society Excellence in Family Law Award
Law Society Pro Bono Award
Law Society Gold Medal
50- and 60-year Certificates
Each year the Law Society awards gold medals to top graduating students at each of the province's law faculties.
The medal is awarded to graduating law students from the University of British Columbia, the University of Victoria and Thompson Rivers University faculties of law who have achieved the highest cumulative grade point average over their respective three-year programs.
Photos: submitted by UVic (left); Tyler Meade Photography (centre); Brian Dennehy Photography (right).
In 2019, gold medals were presented to Andrew Tigchelaar of UVic (left photo), Oliver Verenca of TRU (centre photo) and Gabriel Boothroyd-Roberts of UBC (right photo, with 2019 President Nancy Merrill, QC and Dean Catherine Dauvergne).


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American entrepreneur and radio and television pioneer
David Sarnoff, (born February 27, 1891, Uzlian [now Uzlyany], Minsk, Russia [now Belarus]—died December 12, 1971, New York, N.Y., U.S.), American pioneer in the development of both radio and television broadcasting.
As a boy in Russia, Sarnoff spent several years preparing for a career as a Jewish scholar of the Talmud. He immigrated with his family in 1900 and settled in New York City. While going to school, he helped support the family by selling newspapers, running errands, and singing the liturgy in a synagogue. In 1906 he left school to become a messenger boy for a telegraph company and with his first money bought a telegraph instrument. He soon became proficient in Morse operation and found work as a radio operator for the Marconi Wireless Telegraph Company of America (also called American Marconi), where he became a protégé of radio inventor Guglielmo Marconi.
After service on shore and at sea over the next few years, Sarnoff became manager of the radio station established by John Wanamaker atop his Manhattan department store. In April 1912 the Wanamaker station received messages from the ships that were rescuing the survivors of the Titanic, and Sarnoff relayed the news to the press. (Later exaggeration by the press and Sarnoff himself claimed that he had picked up the distress signal from the sinking Titanic and then remained at his instrument for 72 hours straight.) Rewarded by the Marconi company with rapid promotion, he became chief inspector, and in 1915 or 1916 he wrote the famous "radio music box" memo, in which he proposed the development of a commercially marketed radio receiver for use in the home.
When America entered World War I in 1917, Sarnoff attempted to enlist in the navy and then the army, but he was turned away because of his prominent role at American Marconi, which was a key supplier of radio equipment to the navy. To keep American radio technology from being controlled by foreign-owned companies like American Marconi, that company was absorbed by a new company, the Radio Corporation of America (RCA), in 1919. Sarnoff was RCA's commercial manager.
In 1920 Sarnoff reiterated his "radio music box" memo and was given a small amount of money to develop a radio prototype. As RCA's new general manager, he demonstrated radio's market potential by broadcasting the boxing match between Jack Dempsey and Georges Carpentier (July 2, 1921); the broadcast created a sensation. Within three years RCA sold more than $80 million worth of receiving sets. In 1926 RCA formed the National Broadcasting Company (NBC).
As early as 1923, Sarnoff had perceived the potential of television, which the contributions of several inventors were making technically feasible. His meeting in 1929 with Westinghouse engineer Vladimir Zworykin convinced him that home television was possible, and Sarnoff persuaded Westinghouse to back Zworykin's work. In 1930 Westinghouse's television research and Zworykin were transferred to RCA. By 1939 Sarnoff was able to give a successful demonstration of the new medium at the New York World's Fair.
Because RCA had built its business on its pool of patents, Sarnoff was jealous of any percieved infringement on the company's primacy. RCA was embroiled in lengthy court battles over patents for television and FM radio. In the first, which began in 1932, RCA filed suit against inventor Philo Farnsworth to try to invalidate his patents on electronic television. The battle lasted seven years. RCA lost and had to pay royalties to Farnsworth (who by that time had had a nervous breakdown). In the second, which began in 1948, Edwin Armstrong, inventor of FM radio (and Sarnoff's onetime friend), sued RCA for infringing on his patents. RCA managed to delay court proceedings until Armstrong's fortune was exhausted. Armstrong committed suicide in 1954.
Sarnoff became president of RCA in 1930. During World War II, Sarnoff, a reserve officer, served on General Dwight D. Eisenhower's staff as a communications consultant and was promoted to brigadier general. After the war, RCA became a leader in the television market, but it almost experienced a setback in the new field of colour television. In 1950 the Federal Communications Commission (FCC) approved the colour television standard developed by the Columbia Broadcasting System. However, existing black-and-white sets including those of RCA would not be able to receive colour programs. Sarnoff had committed RCA to developing a set that would be compatible with both black-and-white and colour images, but the RCA system was still not ready. Sarnoff initiated a crash program to develop the compatible system, and in 1953 RCA's system was adopted as the standard for colour television by the FCC. Sarnoff became chairman of the board in 1949 and retired in 1970.
This article was most recently revised and updated by Erik Gregersen, Senior Editor.
radio: The development of networks and production centres
Corporation of America (RCA), David Sarnoff, who wanted the company not only to manufacture radios but to broadcast as well. On November 15, 1926, NBC made its debut over 19 stations extending from the East Coast to Kansas City, Missouri. Over flagship station WEAF in New York City, announcer…
broadcasting: The United States
…of this early period was David Sarnoff, later of the Radio Corporation of America and the National Broadcasting Company, who first, in 1916, envisaged the possibility of a radio receiver in every home.…
National Broadcasting Co., Inc.: Origins
…of NBC was orchestrated by David Sarnoff, the general manager of RCA, which became the network's sole owner in 1930. Although he had envisioned NBC primarily as an informational service, the network gained its stronghold in the radio industry with such pure-entertainment efforts as Amos 'n' Andy and The Jack……
December 12, 1971 (aged 80)
National Broadcasting Co., Inc.
TIME 100: David Sarnoff


Personality: Abel is a talented and intelligent Cubi...which is about as far as anyone bothers to get to know him. His general disposition and tendency to cause unhappiness to those around him often leaves him alone to his own devices. Despite his anti-social behavior, he was considered to be one of the top students at SAIA...though if this was due to his skills or Fa'Lina playing favorites is rumoured. For the most part, Abel seems to prefer being alone and will often pull grand pranks and mindgames in order to keep others at a distance. However, it seems Abel lacks any real malice behind his actions and some would likely say that the majority of his actions are done out of fear and desparation. Though not to his face...cause he'd likely knee them in the groin.
History: Not much is known of Abel's life outside of the Academy, though his times in the Academy had often either been of him achieving high academic standings or epic disasters. It is known that Abel belongs to a now more or less extinct clan in that the surviving members are too fragmented and scattered to be an actual considered clan anymore. It is also known that he is more or less considered adopted by Fa'Lina herself and while he doesn't show it, she is one of the few Cubi he actually respects and cares about. At the current time, he has been assigned to watch over Dan and teach him the most basic of Cubi knowledge until Dan is ready to enroll in the Academy himself. Neither Abel or Dan seem pleased at this. Side note: Abel's past is currently being done in a comic located HERE.
Quirks/Fun Facts: Abel has a severe dislike of Cubi who use their abilities to assume complete alternate identies.
While able to absorb emotions easily, Abel is one of the few Cubi who still regularly eats normal food.
The brown tips of Abel's hair is a natural thing. If he cuts his hair, the ends will automatically turn brown.
Abel has a natural skill at picking up thoughts. This has been known to cause him headaches when in a crowd.
Abel has been banned from the SAIA Library.


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