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The Art and the Science of Classroom Management
Created by Trevor Mepham | 06/12/2018 | Teaching Practice
Classroom Management- is there really any more to it than knowing where the scissors are kept? Or, how a teacher might get a class of children to line up, with chairs, and file into a hall in an orderly fashion? Apparently so, if the library shelves of teacher training programmes are anything to go by.
On a recent visit to the library at a nearby University, a glimpse at the fiche revealed a grand tally of 835 titles referring to classroom management. One of these tomes describes classroom management as:
"The orchestration of classroom life: planning curriculum, organizing procedures and resources, arranging the environment to maximize efficiency, monitoring student progress, anticipating potential problems." (1)
Set against such a haul of titles it is interesting to note that in his lectures and discussions with the teachers of the First Waldorf School, Rudolf Steiner makes few specific references to classroom management. Instead, he has much to say about the invisible and intangible elements of classroom life and the relations between pupils and teachers. For example, in a lecture in 1920, Steiner highlights the importance of working with the children in an artistic way.
"We must as teachers become artists. Just as it is quite impossible for the artist to take a book on aesthetics in hand, and then to paint or carve according to the principles laid down there, so should it be quite impossible for the teacher to use one of those instructor's manuals in order to teach. What the teacher needs is true insight into what the human being is in reality, what he or she becomes as he or she develops through the stages of childhood." (2)
Rather than taking the view that these two rather different perspectives are simply contrasting, it is more helpful to regard them as complementary and contrasting.
The essence of effective classroom management is being able to do the right thing in the right way in the right place at the right time. Nothing more or less is required. Techniques and instruments will count for naught in the absence of know-how and pedagogical instinct.
When problem-free, classroom management is simple and clear, like a tree standing in the forest. At its best, classroom management is a non-event; it is unnoticeable, like health and well-being. From another perspective, classroom management is a complex and technical subject. A break-down in classroom management is apparent where nerves are frayed and time is frittered.
To Manage
Managing is a skill. It is also an attitude. It is not leadership exactly, but it includes it. Neither is it simply concerned with power and position; responsibilities and service are just as much features of management. Taking charge, having control, being accountable and acting with certainty are dimensions of management, but so too are sensitivity, flexibility, an ability to communicate and get on with people and a facility to enthuse, motivate and engender trust in those whom one meets and works with.
Four aspects of classroom management can be outlined, which, metaphorically, can be described as dimensions:
1. The point and the line. Another way of describing this aspect would be 'centre and periphery'. The teacher needs to combine an awareness of the centreof the class - the prevailing mood, the essential qualities and dynamics - with an alertness to what is happening on the margins, or the periphery of the class at any given moment;
2. The plane, orthe surface. The landscape of classroom management consists of the daily, down to earth planning, organizing, deciding and implementing of decisions and actions. This is the pragmatic underpinning of classroom life, the caring for quality, which provides safety, certainty, regularity, continuity and a general sense of well-being in the pupils and the teachers;
3. In geometrical terms, the third dimension is concerned with volume. In this context, the third dimension of classroom management is concerned with the substance and breadth of preparation and meditative study and the heights and depths of the sleeping hours. The volume of classroom management is the linking of the days inwardly and the intention to provide educational continuity by allowing the power of sleep and the helping hours of the night to work;
4. The fourth dimensionis hard to pin down, although it is a pivotal factor. To describe it, one must go into the intangible realms of pedagogical instinct, human fallibility, authority and teacher-ness. In this dimension of classroom management, the teacher is moving ,in the task, towards self-direction, self-recognition, self-disclosure and self-transformation.
The Four Rules
If the four dimensions of classroom management can be sketched on a single page, there are some other models or schemes that are briefer still. A 'four rule' framework outlined by Smith and Laslett (3) is sparing enough to fit on the back of an envelope. The directness and practical forthrightness of this model may lack sophistication and elegance, yet as a bullet-point formula, it has a certain pragmatic conviction to it. The 'rules' relate to timing and pace, activities, transitions and human dynamics. They are:
get them (the pupils) in
get on with it (the lesson)
get on with them (the pupils)
get them (the pupils) out
While these rules may not constitute an integrated blue-print for classroom practice, it is probably true to say that many of the complex and seemingly intractable problems of classroom management can be traced to difficulties which occur in the application of one of these four rules.
The Three Prongs
If this 'back of an envelope' format is too ponderous, then the following three-pronged cue could fit on the back of a postage stamp with room to spare. Content, technique and contactare major themes of classroom practice. When a teacher faces a difficulty or a doubt, which, in concrete terms, is difficult to describe, or pinpoint, the chances are that the problem is located in one of these three broad areas. Many examples are imaginable of the sort of problem or difficulty referred to: losing the thread in the telling of a story, addressing the low self-esteem of many of the children in mathematics, or the fact that the teacher often seems to have to resort to threats to maintain order.
In terms of the scientific method of classroom management J S Kounin (4) carried out some research in the 1960's and 70's, looking at specific matters of classroom technique.
A flip-flopis where a teacher skips from one topic to another and then zig-zags back and forth between them in a confusing and ambiguous manner. With a dangle, an instruction, or comment would be left incomplete and therefore likely to cause some confusion. In a thrusta combination of forcefulness, poor timing and going off at a tangent are featured. The teacher attempts to deal with a disturbance clearly and robustly, yet ends up uttering sentences that verge on the surreal.
Kounin also focuses on techniques dealing with general attitudes to discipline. Attention is drawn to the 'ripple effect'of a teacher's manner and the difference between clarity, firmnessand roughness. Researchers concluded that when a child is cautioned or reprimanded, the behaviour of the whole class is affected. It was found that when a teacher is clear, there is a reduction in non-conforming behaviour in the class; when a teacher is firm, the non-conforming behaviour sometimes declines; while in response to a rough or sharp approach, children rarely change their behaviour and demeanour in a positive direction.
Learning Needs – Human Needs
The work of humanistic psychologist Abraham Maslow offers another perspective that is helpful with regard to the health and running of a class and a classroom (5). The theory describes an incremental framework of essential human needs, and applies equally to learning and educational needs. According to Maslow, the progressive fulfillment of these needs enhances a person's quality of life and enables a person to fulfill their human potential.
There are six broad levels to Maslow's 'pyramid' of human needs.
Within a classroom, factors such as a cold or stuffy room temperature, a poorly-lit blackboard, children who are hungry or sugar-saturated, may serve to restrict the children's capacity to pay attention and be active in their learning.
The second level of need: in a classroom, if, for whatever reason a child does not feel safe and perceives that life in the classroom is not 'all right', then this disposition will mitigate the child's learning experience.
The third level of need - a sense of belonging - is connected to the criterion of safety, although it is a refinement of it and more concerned with the person's inner state. To feel part of a class, or a group of colleagues, or a school community is a potent and qualitatively significant experience for most people.
The fourth layer in Maslow's pyramid is to do with aspects of 'esteem'. Esteem is concerned with more than simply having a certain station in life, or role within a group, or carrying out agreed tasks and functions.
The fifth and sixth layers of Maslow's pyramid are focused on learning. To begin with, attention is on the realization of achievement in learning and individual progression and development. Then, the focus moves towards the realization of learning and the development of understanding in such a way that one's own particular interests are transcended and the learning acquired is garnered for the good of all and for the love of learning itself.
By Implication
A working framework for classroom management consists of a series of complementary couplets. Activity and stillness, initiative and responsiveness, planning and improvisation, breadth and detail, flexibility and certainty are integral features of this framework. Fundamentally, teaching is an active business that can and should be prepared beforehand and pondered and reviewed afterwards, but which, first and foremost, exists and unfolds in the present. The polarity in classroom management is 'Bohemian broad brush'set against 'Herculean micro-management'(6). The task for the teacher is to find the balance between the uncertainty and chaos that accompanies creativity and the restrictive, curtailing nature of form and structure.
Having established a foundation for classroom management, a fascinating paradox arises concerning the teacher's expertise and professionalism. It might seem inept for a teacher to meet a question, or a problem, with an attitude which can be summarized as, "I don't know".
Two questions are integral to the science of classroom management and the process, which the questions imply, is essentially an artistic process.
· Do I have a sense and an idea of what it is I don't know?
· Do I have an appetite to learn what I don't know?
From a basis of interest, care and 'not knowing', which dwell together in the teacher's consciousness, the teacher can be very active in an unfolding process. In many aspects of pedagogy, including classroom management, a path of development can be traced, which leads from the teacher's starting motives of care, interest and 'not knowing', towards help, transformation and 'the right thing'. In a sequence which is not linear, the path proceeds from the starting point described above, through stages of observing, noticing, knowing and understanding, which lead towards truthful perception, or insight, which manifest in practical activity and helpful guidance.
In a lecture given to teachers, Steiner referred to the learning community in which pupils andteachers participate and he also pointed to the fact that imponderables are among the most important things in the teaching and learning process.
"If we had really been capable, at the beginning of the year, of everything we were able to do at the year's end, then our teaching would have been bad. We have given good lessons because we have had to work at them as we went along. I must put this in the form of a paradox. Your teaching has been good if you did not know to start with what you have learned by the end of the year; your teaching would have been harmful, had you known at the beginning what you have learned at the end. A remarkable paradox!" (7)
From Principle to Technique and Back
In the business of classroom management, general principles have to be applied to unique, differentiated educational situations. Hence, the need for art and science in this domain. Elkind makes this general point in a book on adolescence and adolescents,
"One problem with techniques is that they are just that, techniques. They are not founded on the basis of established psychological research and theory nor upon moral or ethical principles. Sometimes they work, sometimes they don't." (8)
In managing a classroom, general principles and expectations provide the groundwork in which specific situations are handled. This happens in such a way that an environment of general well-being and preparedness for learning is established, in which pupils and teachers share recognition, acceptance and respect.
In terms of expectations of, and rules for, behaviour and conduct, it is crucial that there is a tangible connection between the agreements and shared principles of a group of colleagues and the situation of the individual teacher working with a particular class. Where colleagues have worked to clear an area of 'common ground' concerning behaviour, transitions, rules, habits and so forth, this can be a hugely concrete, economical and supportive feature of the working day. The establishment of a taken for granted zone of do's, don'ts and working habits can make life simpler, more efficient, less repetitive and generally more interesting, for children and teachers alike. However, on its own, this area of 'common ground' is not a sufficient condition for classroom health and harmony.
This points to the need for a teacher to be both an artist and a scientist in pursuit of classroom management. Yet, for these two qualities and gestures to provide a valid working proposition, the teacher must add an element of individual or autonomous authority (9). Acting as a bridge between the kingdoms of art and science, the teacher's authority works to provide credibility, integrity to each and integration to both. Kounin (4) described this quality of authority as a state of 'withitness'. In popular terms, this is the teacher who is thought to have eyes in the back of the head, ears in every wall and general omniscience.
Essentially, the effectiveness of classroom management resides in the person and the practice. There are books galore on techniques, strategies, things to do, things to avoid, 'top tips' and examples of good practice. However, manuals, checklists, theories and strategies will not serve as replacements for teacher presence and pedagogical awareness. These elusive and indefinable qualities can perhaps be described in the following terms: In order to manage a learning environment well, the teacher needs to have a sense for place, a sense for time and a sense of timing. Married to these senses, a real care and interest in the children and their learning will offer a positive foundation for a healthy classroom dynamic and ethos. Finally, an ability to express this interest and care with clarity and a sense of purpose will strengthen the teacher's educational foundations.
In broad terms, the key to understanding the riddles of classroom management – the imponderables– lies in the nature of art, while the knowledge of classroom management – the nuts and bolts– is suited to a scientific treatment and method. The quality of classroom management is served when one-sidedness and extremes are avoided. In other terms, classroom management is enhanced when both fixation and dispersion are avoided. In their place, when the qualities of rhythm, vitality and human presence are able to flow through the lessons, then classroom management is not only present but also unnoticeable!
Trevor Mepham is Principal of the Steiner Academy Frome, a publicly-funded 'Free School' in Somerset, England. In previous jobs he was Principal of the Steiner Academy Hereford, and Co-Director of the Steiner BA Programme at the University of Plymouth. Prior to that, he worked as a Class Teacher at the South Devon Steiner School. He has also worked as a classroom adviser and served as a member of the Executive Group of the Steiner Waldorf Schools Fellowship (SWSF) and the European Council for Steiner Waldorf Education (ECSWE). He is a Trustee of the charity, Children of Peace - an organisation committed to working with the children of Palestine and Israel to build peaceful, positive relationships for a future generation.
Edited by Katharina Stemann, February 2018
(1) Lemlech J (1988), Classroom Management, Longman, New York
(2) Steiner R (1983), Meditatively Acquired Knowledge of Man, Lecture 1, Steiner School Fellowship Publications, Sussex
(3) Smith C & Laslett R (1993), Effective Classroom Management, Routledge, London
(4) Kounin J S (1970), Discipline and Group Management in Classrooms, Holt, Rinehart & Winston, New York
(5) Maslow A H (1998), Towards a Psychology of Being, John Wiley & Sons Inc.
(6) O'Neil O (2002), A Question of Trust – the BBC Reith Lectures 2002, Cambridge University Press, Cambridge
(8) Elkind D (1998), All Grown Up and No Place to Go, Perseus Books, New York
(9) Mepham T (1997), The Value of Authority in Education, Paideia, No. 13
Jersild A (1955), When Teachers Face Themselves,University of Columbia Press, Columbia
Reps P (1980), Zen Flesh, Zen Bones, Pelican Books, London
Steiner R (1966), Study of Man, Lecture 9, Rudolf Steiner Press, London
Steiner R (1981), A Modern Art of Education, Lecture 1, Rudolf Steiner Press, London
Urieli B (2001), Male and Female,Temple Lodge, London


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Disgraced Cardinal Pell awaits appeal verdict
5 April 2020, 10:15 pm ·1-min read
Pell had steadfastly maintained his innocence throughout a high-profile and lengthy court process
Cardinal George Pell will learn whether his appeal against child sex abuse convictions has been successful Tuesday, when Australia's High Court hands down its judgement. The former Vatican treasurer is trying to overturn a six-year sentence for sexually abusing two 13-year-old choirboys at a Melbourne cathedral in the 1990s. Pell, who once helped elect popes, is the highest-ranking Catholic Church official ever convicted of child sex crimes. He maintains his innocence. The 78-year-old was found guilty on five charges by a jury in December 2018 before losing his first appeal in Victoria state's Court of Appeal last August. Judges could yet deny Pell's appeal, order a retrial or quash his conviction altogether. One of Australia's highest-profile court cases, the judgement will be delivered to a near-empty Brisbane courtroom as coronavirus social distancing measures limit the public gallery to a maximum of three people. That is in stark contrast to earlier hearings which have drawn large crowds of his supporters and detractors, the world's media, and members of the legal profession. The case relied largely on the testimony of Pell's surviving victim, who testified in a closed-door hearing. The second choirboy -- who is not known to have ever spoken of the abuse -- died of a drug overdose in 2014. Neither man can be identified for legal reasons. Pell was quietly removed from top Church bodies while a wide-ranging court gag order suppressed mention of his trial, but he remains in the priesthood. The Vatican previously said it would avoid launching an investigation into his conduct until after all legal avenues are exhausted.
LIVESCIENCE
13-foot-long 'Book of the Dead' scroll found in burial shaft in Egypt
A funerary temple belonging to Queen Nearit has been discovered in the ancient Egyptian burial ground Saqqara next to the pyramid of her husband, pharaoh Teti.
BBC addresses complaints after Mrs Brown's Boys was dropped from schedule
The sitcom was pulled after the football went into extra time.

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Mohammad Asghar AM is to petition Newport City Council to create more green spaces in Newport
Mohammad Asghar AM for South Wales East is today launching a petition to support his bid to create a community green space in Newport.
A Planning Application currently before Newport City Council proposes to demolish St Mathew's Church, Church Road Newport and construct fourteen self-contained flats.
"It has come to my attention that there is a planning application currently before Newport City Council for flats on the site of St Mathew's Church."
"The Council has advised me that Planning Officers intend to recommend approval of the proposal subject to conditions."
"I believe this site should be used to create a community green space for the benefit local residents, particularly children who could use the space as a play area."
"I recognise there is a need for affordable housing in Newport but there are plenty of other empty buildings around the city that could be converted for such use."
"I am therefore launching a petition for a community green space which I will present to the Planning Committee."
Do you support Mohammad Asghar's call for more green spaces?
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THANK YOU FOR YOUR SERVICE, and then a group of soldiers returning from Iraq who seek to integrate back into civilian life and family and live in the memory of the war, which threatens to destroy long after they leave the battlefield.
A group of soldiers returning from Iraq ymladdi reintegrationpeaceful life and family who live with chofiad war that threatens to destroy them after they leave the battlefield. DreamWorks Pictures' Thank you for your service. A group of soldiers returning from Iraq who seek to integrate back into the family zhytstsii sifil.bywyd and war memory that threatens to destroylong after they leave the battlefield. Ensemble cast, headed by Maylz Teller, Heyli Bennett, Dzho Koul, Emi Shumer, koala White, Scott HAZ, Castle-Hughes Kish, Brad Beyer, Omar Jordi Dorsey Warner and Dzheyson Smit drama based on the bestselling book The reporter and author David Finkel PulitzerAward. Jason wrote Hollyaki «Sniper" American director will do it well thank you for your service, as well as deynichaeu sgriptwr. John Cilicia (series The Hunger Games, Babel) in the film industry, and Enn Roak (Biutiful) and Dzheyn Evans (Blue City) free artist.
A group of soldiers in the side of the flood, on his return, will seek to integrate the service lorem before, follows the civil law as well as the house, and left hanging over the edge of the greatly I long after the war, to destroy the memory of the living.
The Zombiocalypse of a walk of immortality, in the same world, but originally in Los Angeles. The show continues to learn to survive the growing collapse of civilization, at the beginning of the sigh of zombies.
The world we knew was lost. The tragedy of surgery has transformed the world, dying and strengthening life. In the month, the community has already been deleted. At least in the world is led by the dead, we must live. Robert Kirkman in one name According to the comic book, this AMC project focuses on the worldafter the apocalypse of the zombie. The series goes on with police officer Rick Grimes, raising the zombie command to get the world. In search of his family, he and the living group are trying to live to fight with zombies.


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Q: Performing value_counts() on multiple columns in DataFrame shifts count column to the right after each iteration From a subset of a DataFrame:
>>> df[['Source','Destination','Attack Name']].head()

               Source                     Destination    Attack Name
0              10.x.x.116                 10.x.x.71      RDP Enforcement Violation
1              43.x.x.233                 152.x.x.148    Scanner Enforcement Violation
2  hn.kd.dhcp (61.x.x.192)                152.x.x.148    NaN
3             104.x.x.241                 152.x.x.116    Scanner Enforcement Violation
4              117.x.x.61                 152.x.x.52     NaN

I want to count the number of attacks from top 10 sources per destination.
I tried something like:
import pandas as pd

outReport='test.xlsx'
df = pd.read_csv("IPSLogs2.csv")

def statsPerAttacker():
        topSrc = df['Source'].value_counts()[:10]
        mastaSR = pd.Series()
        for ip in topSrc.to_dict():
                df_statsPerAttacker = df[df['Source']==ip][['Source', 'Destination', 'Attack Name']].value_counts().to_frame()
                mastaSR = pd.concat([mastaSR, df_statsPerAttacker], axis=1)

        with pd.ExcelWriter(outReport, engine='openpyxl') as writer:
                mastaSR.to_excel(writer, startcol=2, startrow=2, header=False)

if __name__ == '__main__':
    statsPerAttacker()

I do get the results, but the final column shifts to the right one position after each source IP iteration (see screenshot):
https://postimg.cc/8FBnq07g
What am I doing wrong?
Thanks

A: Issue probably raised due to my ignorance of Series and DataFrame objects.
I solved my issue using different approach:
def statsPerAttacker():
    topSrc = df['Source'].value_counts()[:10]
    stats = df.groupby(['Source','Destination'])['Attack Name'].value_counts()
    ips = topSrc.index.tolist()

    statsPerSourceIP = stats.loc[ips]
    with pd.ExcelWriter(outReport, engine='openpyxl', mode='a', if_sheet_exists='overlay') as writer:
        statsPerSourceIP.to_excel(writer, sheet_name='StatisticsByCriticality', startcol=2, startrow=35, header=False)

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It is a fascinating detail that the label of the shop comes from the name of the book… The White Corporation was a old journey book made by Arthur Conan Doyle in 1891.
The items provided by the company are described as a luxurious items which can help you to make your interiors unique and trendy. Each of the provided goods will emphasize your original style and look of your rooms.
The White Manufacturer is an ideal store for everybody who values high excellence of goods and wants to create their rooms special and out of standard. Moreover, thanks to those discount codes, the shopping can be less expensive and they offer a possibility to attract more men and females who will get the White Manufacturer better.
This entry was posted in Home Decor, Lights for designers, Unique Furniture and tagged book, clothes, day, gender, location, love, people, shop. Bookmark the permalink.


... ....badly! The last full digital scrapbooking layout that I made was in July 2008 but I was able to make a digi layout for my niece's 18th b-day tarpaulin. My co-bebots are talking about scrapping over at Twitter and just today I they insipired me because of the hard bound photobook that they ordered over at Artscow.
Digital Scrapbooking is so much fun, if you haven't tried it yet you've got to. You just need to be patient in order to finish a layout that usually takes hours. If you are not patient, forget it haha.


Babysitters in Glasgow G13: they're available!
Hi, my name is Rachael I will be studying Social Care (level 4) at Clyde College in August and I'm looking to become a evenings and weekends babysitter for children between 6 months and 10 years old. I love kids very much and enjoy looking after them, making the child a good healthy meal and haveing fun playing outdoor games, arts and crafts, dress up or just a film or book and giving them chill out time to let them unwind after a busy day.
Hi, my names Zoe. I'm 17, 18 in January and looking for a babysitting job to help me through University. I have 7 Highers and 8 National 5 qualifications. I attended Williamwood High School for 6 years. I love looking after children as I often look after my brother, sister and my nephew. I can work mainly evenings and weekends and can also help with schoolwork if needed. If you have any further questions please do not hesitate to ask!
I am a 21 year old student living in Glasgow home for christmas and January from studying abroad. I have lots of previous experience babysitting for different families and have have done jobs such as picking the kids up from school, doing homework, going to the park or cinema etc, can also cook dinner and do the nighttime routine. I am completely flexible and mostly free for the month of january. I can also drive and have access to my own vehicle. Thanks for your consideration.
My name is Toni and I am 18years old . I have always wanted to do childcare and I am currently working my way through my qualification. I have worked in nursery's for 2 and a bit years now and I love it. I am looking for some weekend work as I work till 6 Monday to Friday . I love to help young children expand there learning in many different ways and watch them develop into there own person . I would love to hear from yous thanks Toni .
Hiya! I'm Amelia, I'm 20, and currently in my second year of Nurse training at the University of Glasgow. Because of this training, I have had plenty of experience looking after the vulnerable and those that need attention and care. I've also grown up with a younger brother, who I've looked after growing up. I am often have free weekends and some evenings and would like to make use of this time more productively.
I am Maureens line manager in her role as dental health support worker. Maureen has a good relationship with clients and treats clients with dignity and respect. Maureen is a hard worker is reliable and communicates well.


College football players will now participate in a bowl sponsored by the virtual currency.
Bitcoin will be the new title sponsor for the St. Petersburg Bowl, according to ESPN. The Bitcoin St. Petersburg Bowl will kick off Dec. 26, and the sponsorship deal was recently signed between BitPay (Bitcoin's payment processor) and ESPN Events. The contract will last four years, and people will be able to purchase bowl merchandise with Bitcoin.
Bitcoin has become increasingly mainstream over the past few months, as companies such as Dish Network, Expedia Inc. and Overstock.com Inc. have all announced they will accept Bitcoin for customer transactions. The Sacramento Kings were the first sports team to accept Bitcoin after allowing fans to buy tickets and merchandise with the virtual currency starting in March.
This is a bad look at an inopportune time for defenders of the current college athletics model, as we will now see student-athletes compete in a bowl game sponsored by a currency, albeit virtual. The optics of this deal — between a bowl game sponsor and a television network — end up being poor for the NCAA and its representatives, who are currently in the midst of the O'Bannon trial. The NCAA would certainly like to disassociate itself from this type of sponsorship, and the deal undoubtedly leads to fodder for critics. As the organization continues to defend its current model in court, it's not getting any help in the court of public opinion.


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Q: Performing block reduction with many takeoff/summing points in sequence I'm an audio programmer, and I've recently gotten into using transfer functions to model the response of my DSP. However, I've hit a roadblock in trying to reduce a block diagram of one of my DSP classes (specifically, a phaser), but I'm really having trouble trying to figure it out. The basics of block diagram reduction make sense to me, but where I'm having issues is trying to scoot around some takeoff points and summing points that are all in sequence with no blocks in between.
Here's the diagram I made for my phaser:

For reference, C0 and C1 are constants (but they're subject to change in the code, so I'm treating them like variables), P is the bank of allpass filters that actually create the phasing effect, and F is a one-sample delay multiplied by the feedback amount. I'm using Y(z)/X(z) because I'm in the discrete domain, which (I believe) means I'll be using the z-transform instead of the Laplace.
My first instinct was to try and scoot the takeoff points feeding into C0 and C1 in an attempt to combine them, but it always seems to make the entire affair get very messy. My only other guess would to be to try and move P to the left of both the takeoff and the summing point that precede it, but that also feel like it doesn't really get me closer to solving my problem.
I'd appreciate any guidance on this — I'm totally brand new to transfer function block diagrams, so there could be some obvious solution that I'm failing to see here

A: First step is to unwind what you can...

Then put in a variable into the loop so you can come up with a system of equations:

The output of F would be
$$ F*(Y(z)*C_1+M*C_0) $$
The so the upper disconnected block would be
$$ M = P*(F*(Y(z)*C_1+M*C_0)+X(z)) $$
The so the lower disconnected block would be
$$ Y(z) = 0.5*(X(z)+M) $$
So that's a two equation system that should be solvable.
$$ M = P*(F*(Y(z)*C_1+M*C_0)+X(z)) $$
$$ Y(z) = 0.5*(X(z)+M) $$

A: I'd solve it by circuit-redraw thus, making it easy to spot any errors made along the way: -

Can you take it from here (it's simple now)?


(Older) Nation 2018 identifying access to health services, particularly preventative oral and dental health, as key contributors to quality of life for older Australians whether they are living at home or in residential aged care.
The report identifies access to health services (including mental health services), preventative health programs, and measures aimed at improving financial security as key areas impacting on the wellbeing of the older population.
"Today's COTA report highlights the strong link between physical health and quality of life for older Australians but also singles-out access to oral and dental health as an area to improve upon if we're serious about improving health outcomes for older people," said ACSA CEO Pat Sparrow.
The report found dental services remains the most difficult health service to access, with 6 per cent of those 2,562 older persons (Aged 50 years and over) in the survey unable to access the services they wanted in the last year.
"ACSA has long advocated for improving the oral health of older people through prevention strategies which, in turn, will improve health outcomes," said Ms. Sparrow. "Oral disease is one of the four most expensive preventable chronic diseases in Australia. There are many links between poor oral and poor general health including coronary heart risk, rheumatoid arthritis and diabetes mellitus.
"Reducing the incidence of oral disease is critical to improving health and wellbeing and reducing avoidable hospital admissions and costs to the acute health care sector.
Other areas identified as key to meeting the needs of older Australians include rising cost of living challenges, including renting and paying bills and access to affordable housing.
We know the preference of many older Australians preference is to remain living independently in their community and this report feeds the mounting evidence that an increasing number of older Australians, in particular widows and single women, do not have secure or stable accommodation.


You can get a detailed look at what went into the AMC production - The Walking Dead, right now with this new two part 17-minute behind-the-scenes documentary. Hear from Executive Producers Frank Darabont and Gale Anne Hurd about what attracted them to the comic book series, and why AMC proved the perfect network to bring it to life.
Learn from Production Designer Greg Melton what it takes to turn downtown Atlanta into an apocalyptic wasteland, and from Consulting Producer and Special FX Make-Up Designer Greg Nicotero what makes The Walking Dead's walkers so unique.
The Walking Dead comic creator Robert Kirkman and artist Charlie Adlard, meanwhile, share their amazement over how true to the series the television show is, and how the actors' physcial similarities to their sketches inspired the Comic Con poster.
The cast weigh in on the series as well, with Andrew Lincoln (Rick), Jon Bernthal (Shane), Laurie Holden (Andrea) and Sarah Wayne Callies (Lori) all praising the strength of the ensemble. "When we had our first group scene," Bernthal reflects, "I just looked looked around, I was like, 'Oh my God. There is not a weak link in this group.'"
So check out the videos and get ready for The Walking Dead series premiere on Halloween, Sun., Oct. 31 at 10/9c.


Received a call first thing this morning from Mark he was out shoveling snow from his sidewalk and his Vehicles and lost his key fob and could I possibly help him find his key fob? I told Mark I would be there within 1/2 hour.
Drove up to his house parked on the street as I got out of my truck I felt something under my foot and their in the snow was Mark's key fob, pick it up walked up to his door knocked on the door and introduced myself and asked him is this what you lost.
I received a text from a girl named Linda (on Monday 11-23-15) while I was hunting. She asked me if I could help find her ring. She had lost her ring she received for her 15th birthday while walking. It had been two weeks since she had lost it while walking. It was Saturday, I told her I will be back in town Sunday and I could come Monday after work. She said okay. I received another text, a family member went into the hospital and the ring had to wait. (When things settled down I texted Linda and we set up a day. She said sure but it's probably gone. It's been a month I said no we are not giving up.) I finally was able to search for her ring two weeks after the initial call. I made the 45 minute drive from broken arrow. When I got there her brother met me, he took me two houses down from their's. He showed me the area the size of a house door. I was have way thru the area when I got a great signal, I bent down with my whites TRX pinpointer and guess what it was just below the grass level. I asked, her brother if this was her ring he smiled and said yes. I started to call Linda as she was out of town he said wait. He wanted to surprise her I said Kool. A smile is worth it all when something is found that was once lost.Thanks Linda and Guillermo…..


text:
Establishment wins: Export-Import Bank is back!
ERICA WERNER AP Congressional Correspondent
WASHINGTON (AP) – In a victory for the business establishment over tea party conservatives, President Barack Obama signed legislation Friday reviving the federal Export-Import Bank five months after Congress allowed it to expire.
The bank is a small federal agency that makes and guarantees loans to help foreign customers buy U.S. goods. A measure extending it through 2019 was included in a massive transportation bill that cleared the House and Senate late Thursday and was signed Friday by Obama.
The development was cheered by business groups like the U.S. Chamber of Commerce, which say the Ex-Im Bank is necessary for U.S. competitiveness since most overseas competitors rely on similar government help. But conservatives pushed by the billionaire GOP Koch Brothers decried the development, arguing that the bank amounts to government interference in the free market and many of its beneficiaries are large corporations that don't really need the help.
"The Export-Import Bank's revival in this bill is especially offensive to taxpayers who want to end corporate welfare handouts and let the free market finance overseas investments by American companies," said Sen. Marco Rubio, R-Fla.
Rubio is among the GOP presidential candidates and other leading Republicans who've lined up against the bank, a once-obscure entity that's become a cause celebre for conservatives led by the Koch Brothers in recent years. For decades it was renewed by bipartisan agreement, with little or no debate and often not even a roll-call vote. But after the Koch Brothers and other conservative groups began to seize on the opportunity to kill off a federal agency, leading Republicans such as House Majority Leader Kevin McCarthy who once supported the bank, turned against it.
Amid that pressure and with tea party lawmakers on the ascent on Capitol Hill, Congress failed to act when the bank's charter was up for renewal June 30, allowing it to expire for the first time in its 81-year history.
All along, though, a majority of lawmakers in the House and Senate, including Republicans and Democrats with major manufacturers such as General Electric, Caterpillar or Boeing in their districts, supported the bank. An unusual series of maneuvers and alliances followed, including a rarely used procedure in the House to force a floor vote on the bank over the objections of top GOP leaders.
The end result was that the measure ended up in the highway bill and five months after expiring, the Ex-Im Bank is getting back in business.
"We brought the Export-Import Bank back to life, so American manufacturers and workers can compete against our foreign competitors on a level playing field," said GOP Sen. Mark Kirk of Illinois, who is facing a tough re-election fight and took the opportunity to issue a joint statement with leading CEOs. The bank says that last year it authorized $20 billion worth of transactions which supported $27.5 billion of U.S. exports and 164,000 U.S. jobs.
However, conservatives and the Koch Brothers said they're not done yet.
In an interview, Marc Short, president of the Koch-backed Freedom Partners, said that in four years' time when the bank is up for renewal again, opponents will prevail, thanks to efforts over the past several years to raise the issue's profile.
"Ironically … we believe we're putting the final nails in the coffin of Ex-Im," Short said. "We've been able to elevate Ex-Im as an issue that resonates with a broader cross-section of the American people."
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Stay at Home Mum's Conception and Fertility Section covers trying to get pregnant, problems with conceiving and real IVF stories from real Mums.
The reasons your period might be missing...without being pregnant.
Making it happen for yourself!
Congratulations! You're pregnant, but what do you do now?
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Big Issues But Little Choices..
A walk through of In Vitro Fertilisation..
Babies are more feasible for parents who are struggling to conceive.


If we're honest, most of us are foodies, but we don't think of ourselves that way. The online Free Dictionary defines a foodie as, "One who has an ardent or refined interest in food; a gourmet. Also called foodist." There might be a slight disconnect here, because when you throw in the word, "refined" that probably disqualifies a lot of us who like to woof down a greasy burger and fries occasionally. Although Merriam-Webster's definition of foodie is "a person who enjoys and cares about food very much." There you go, back in the group.
Despite all this talk about doing food with flair, perfect Pinterest dishes, and cooking shows like syndicated Food Network celebrity Rachael Ray's, it appears most Americans aren't doing a great job when it comes to doing dinner right. According to best-selling author, Dr. Leonard Sweet, our culture is in desperate need of remembering how to share a meal. "We consume fast food in front of our smartphones, never facing each other, barely acknowledging the existence of one another," this quote is from the back cover of Sweet's recent book, From Tablet to Table. "The majority of US families report eating a single meal together less than five days a week. And even then our 'dinners together' are mostly in front of the TV," writes the author of more than sixty books. Apparently, my hubby and I aren't the only ones who are looking forward to supper watching a new season of The Voice or Downton Abbey.
After all, with local pools closing for the season, along with experiencing a few unseasonably cool days, discerning Midwesterners can sense that winter is just around the corner. When the frigid temperatures and snow keep us indoors, summer barbeques and dinner on the patio will become a distant memory. That's when many individuals hunker down in their homes on icy evenings, but it wasn't always this way.
Just look at the recent feature, "Bairs Share Secrets of Long Love," by Melody Vallieu, TDN editor. The story documents the 70 year marriage of Casstown residents, Frank and Betty Bair who were part of the annual Miami County Fair's Golden Couple Anniversary photo. "They got to know each other during the long Ohio winters where families would take turns hosting evenings of food and games," writes Vallieu.
If it wasn't for sharing a meal and conversation during those bitter cold nights, perhaps, the Bairs might never have fallen in love. That's the point, as a society we used to not only break bread, but we also spent time talking about the things that mattered to us at the dinner table. It was even more entertaining, when we were joined by a few interesting guests.
In today's society, we don't always take time to sit down to share a meal either. Instead we grab a sandwich on the run. Sweet's book reports that, "We eat one in every five meals in our car." How many busy football and soccer parents out there can attest to the fact that sharing a bag of fast food in the minivan is a way of life? Even if we are seated at a table, how possible is it to have a significant discussion with another human being with our cell phones ringing and texts beeping? That's why at the Sweet family table, technology isn't allowed.
Still, not all parents are willing to make suppertime a no technology zone for themselves. A 2014 Psychology Today article by Anne K. Fishel Ph.D. explains, "According to our Digital Family survey responses of over 300 parents, only 18% of them allow their children to use technology at the dinner table, while almost twice that number of parents believe that [it] is OK for them to use their phones and screens at the table." As a nation, we seem deeply concerned about issues like obesity and food insecurity. But have we considered how our new way of eating meals is affecting our kids? Sweet cites information compiled by sociologist Cody C. Delistraty for Atlantic Monthly, "The #1 factor for parents raising kids who are drug-free, healthy, intelligent, kind human beings? Frequent family dinners….The #1 predictor of future academic success for elementary-age children? Frequent family dinners…" etc. From Tablet to Table is also a deeply spiritual book that only church futurist Sweet could write. The consummate theologian always points us back to relationship whether it is relationship with others, or ultimately our relationship with a God who wants us to dine at His table.
To improve our culture, maybe we could institute a guideline like the unwritten Code of the West found on www.legendsofamerica.com. It reads, "Remove your guns before sitting at the dining table," updating it to say, "Remove your technology before sitting at the dining table." If you don't, someone might call the sheriff!
Christina Ryan Claypool is an Amy and Ohio Associated Press award-winning freelance journalist and inspirational speaker. Her Website is www.christinaryanclaypool.com.
If you are young person today, there are probably a lot of things that annoy you. If you are not young, then you have to understand that over the last decade the word, "annoy" has taken on a whole new meaning. At first, I was intrigued by the way a teenager angry at their parents, teacher, or a peer could say, "They are so annoying," and make it sound like a degrading profanity. If you listen closely, you will find that some teens find most of life's frustrating circumstances "annoying" like having to do homework, clean their room, or even a bad hair day.
That's why I thought the word, "annoy" so aptly describes how I felt some years ago when attending a meeting with hundreds of college students, and one very renowned speaker. This man had traveled countless miles to address the group hoping to impart some of the wisdom that he had learned on his life's journey. Unfortunately, many undergraduates in attendance that day probably didn't hear a word he said. After all, they were really busy. Earbuds were everywhere, with most students either engaged with an electronic device, or else frantically texting on their cell phones.
Bottom-line, an alarming percentage of the learners gathered had opted to listen to another source of technological input, cutting off the speaker's ability to be heard. The presenter finally seemed "annoyed" himself, and finished his talk rather abruptly and somewhat disheartened. I wondered what happened to the age-old principle to "listen when someone is speaking." Or what about the etiquette rule of turning off technology when a meeting begins?
I was more than annoyed; I was truly heartbroken, concerned that these bright students were a precursor of the future. This topic is personal for me, because I've had to battle ongoing distractions as a public speaker for the past two decades. I've talked through screaming babies, women filing their nails, teenagers looking bored to death, and ringing cell phones. It's difficult to explain away distracting phones, yet I have always comforted myself with the knowledge that the mom of the screaming baby or the woman manicuring her nails might need to hear what I'm saying. Same way, with a seemingly uninterested teen, since many times, hurting adolescents are listening intently but have to act bored for fear of being labeled uncool.
My school administrator husband whom I affectionately refer to as "Mr. Rules," was visibly disappointed when I reported the technology frenzy of that morning's event. He mumbled the word, "confiscate," which I have since learned is what most K-12 public school policy dictates when students are using cell phones or technology inappropriately. Sadly, this policy was obviously not in place in the post-secondary gathering which I attended. Since the most distressing part is that the elderly speaker was African American, and his audience was comprised of about 95 percent Caucasian college kids. This eloquent orator had a culturally diverse message that those young people needed to hear. He might think he was disrespected due to his age or race.
But the truth is that many students were just too obsessed with their electronic devices to pay much attention.
The problem is that the development of technological devices has rapidly exceeded the rules for their use. Maybe universities could create a course entitled, "The Etiquette of Personal Technology 101," which we all could benefit from.


A stone slab covered in Anmol Sarna's blood and found in the flat where the 21-year-old was partying could help demystify his death, investigators said.
"According to his friends, Sarna was allegedly high on 'acid' -- which could either be a reference to LSD or eraser fluid. This can be verified only after his post-mortem. He lost his bearings because of having consumed a voluminous quantity of alcohol as well," said an officer.
"In his stupor, according to his friends, he became violent, lost control and started banging his forehead on a stone slab in the balcony when his friends tried to restrain him. A forensic investigation is underway to ascertain the veracity of this claim," the officer added.
This, the police said they were told by Sarna's friends, occurred between 11.45pm and midnight and led them to call his father over the phone around 12.05am.
The phone call was followed by another one with one of his friends telling Sarna's father Anil that he had fallen sick and had been taken to the AIIMS.
"His friends called me to meet them there but instead of waiting, they just left him there to die. My son was killed," he said.


Photoshop Elements makes it easy to prepare your digital photography for gorgeous custom canvas prints. One way to create stunning images without a lot of effort is to convert them into black and white and sepia. Though most digital cameras have a mode to take monochrome pictures, the monochrome modes on a camera discard a lot of detail. Photography Mad has a great article that goes into the details on why this happens. If you plan on ordering custom canvas prints, it's definitely better to take your digital photography in color and do photo editing later for the highest quality images. Here are two ways to create black and white and sepia images from color photos in Elements.
Elements has a Monotone Color photo editing function that allows you to create a monochrome image in six basic color pallets with a few clicks. To use Monotone Color, go to Edit in the panel bin on the right side of the screen, select Effects, and click on Photo Effects.
In the dropdown menu to the right, choose Monotone Color. The options box will fill with the color pallets to choose from. Click the desired color, then choose Apply.
Elements will convert your digital photography to monochrome and show the result. This method of creating monochrome images is very easy, but doesn't allow much adjustment. Fortunately, there is a way to create black and white and monochrome images with fine tuned color and shadow perfect for custom canvas prints it just takes a few more steps.
With your original color image open, go to Image, select Mode, and click on Grayscale. You may see a box pop up asking "Discard color information?" Make sure that you have saved your file previous to this step and then click OK.
Elements will discard the color information in the file to black and white. To make sure that the next photo editing you will do is satisfactory, zoom in on the focus point of the image by pressing CTRL and the + key. Next, go to Enhance in the menu bar, hover over Adjust Lighting, and click on Brightness/Contrast. The Brightness and Contrast Menu will appear.
Moving the arrow to the left will increase the brightness or contrast, and moving the arrow to the right will decrease it. This gives you the ability to fine tune an image. Play with the brightness and contrast until you are satisfied with the way it looks on the screen, then zoom out to see the whole image (press CTRL and the key). If you don't like the way it looks, you can click Edit in the menu bar and select Undo, then go back to the Brightness/Contrast menu and adjust it again.
Converting digital photography to black and white is actually the first step to make a sepia print for classic custom canvas prints. After following the steps above to create your black and white image as a starting point, click on Image in the menu bar, select Mode, then click on RGB Color. Your image will still be black and white, but now the color information will be read differently by the software.
Click on Enhance in the menu bar and hover over Adjust Color, then choose Adjust Hue/Saturation. The Hue/Saturation box will appear.
Click the Colorize box in the lower right hand corner. Your image showing in the background may turn a different color immediately this is OK. To pick the color tone you want, just move the Hue sliding arrow into the desired color range shown on the bar. Once you are close to the desired shade, you can adjust the Saturation. Saturation adjusts the intensity of the chosen color; moving the Saturation sliding arrow to the right will decrease the intensity, while moving it to the left will increase it.
Since we already adjusted Brightness/Contrast during the black and white conversion, it shouldn't be necessary to do any photo editing with Lightness. Moving the Lightness sliding arrow at this point will result in major changes to the image.
Once you are happy with your image, click OK in the Hue/Saturation box. Elements will apply the changes to your image. After just five minutes of photo editing, your sepia toned photos are ready to be made into striking custom canvas prints!
Spend some time photographing textures or patterns in nature. It will start to open your eyes to beauty you may have been passing by everyday. The grain of wood or crackled paint can be very interesting when photographed close up.


text:
Q: I'm trying to fix a reference error when using Gulp 4, It won't watch my sass nor show the changes in the browser I can't seem to figure out what the error is talking about. I set up everything else correctly but none of it works because of the error. And I can't seem to find this exact problem anywhere. Any help would be appreciated.
I keep getting this error.
ReferenceError: watchFiles is not defined
    at Object.<anonymous> (gulpfile.js:42:29)

The specific code that the error is pointing to.
const watch = gulp.parallel(watchFiles, initBrowsersync);

the code above the error for context
function initBrowsersync(done) {
    browserSync.init({
        server: {
            baseDir: 'app',
            index: 'index.html'
        },
        startPath: '/html'
    });

    done();
}

gulp.task('watchFiles', () => {
    gulp.watch('app/scss/**/*.scss', gulp.series('style'));
    gulp.watch('app/**/*.html').on('change', browserSync.reload);
    gulp.watch('app/css/*.css').on('change', browserSync.reload);
    gulp.watch('app/javascript/**/*.js').on('change', browserSync.reload);
});

The code below the error for context
exports.style = style;
exports.watch = watchFiles;
exports.default = watch;

and just below that are the other tasks I set it to run like uglify and minify-css.

A: Change
const watch = gulp.parallel(watchFiles, initBrowsersync);
to
const watch = gulp.parallel('watchFiles', initBrowsersync);
When using the gulp.task('watchFiles',... way of defining tasks, then your other references to that task must be as a string.
When using the  function initBrowsersync(done) { define a function version than you can refer to those tasks as a simple non-string function reference.
So your other option is to define watchFiles like so:
//gulp.task('watchFiles', () => {

function watchFiles() {
  gulp.watch('app/scss/**/*.scss', gulp.series('style'));
  gulp.watch('app/**/*.html').on('change', browserSync.reload);
  gulp.watch('app/css/*.css').on('change', browserSync.reload);
  gulp.watch('app/javascript/**/*.js').on('change', browserSync.reload);
//});
};

and then you could use:
const watch = gulp.parallel(watchFiles, initBrowsersync);
I suggest this second approach.


text:
Rituparno Ghosh – The 'Enfant Terrible' of Contemporary Indian Cinema
May 30, 2015	| By Amitava Nag
In a strange way Rituparno's positioning in the Bengali cultural space has similarities and parallel with two most revered Bengali film-makers of all times – Satyajit Ray and Ritwik Ghatak. A tribute on the death anniversary of this path-breaking filmmaker.
Debasree Roy and Aparna Sen in Unishe April
May has a very special connotation in the Bengali psyche. It is in this very month when two of Bengal's brightest stars of the cultural sky were born – Rabindranath Tagore and Satyajit Ray. It is on a rainy day in the end of the same month two years back when Bengal lost its most versatile film-maker of contemporary times. It was a romantic rainy day in 2013 unlike the sweltering summer this year and I was driving to my office when the news of Rituparno Ghosh's untimely death hit me quite hard, like many others. Two years later and the initial shock evaporated by now what does Rituparno Ghosh's cinema mean to me?
Bengali cinema was in tatters following two major setbacks – the death of Uttam Kumar in 1980 and the demise of Satyajit Ray in 1992. Interestingly enough, Rituparno's films just filled this void to start with. There were the likes of Buddhadeb Dasgupta, Goutam Ghosh or Aparna Sen – however, the middle-class educated and intelligent Bengali was slowly turning away from cinema in general.
In parallel there was a rising of another type of Bengali films which was targeted and marketed for the less cerebral section of the audience, primarily in the rural belt though not always. The phenomenon of Prasenjit surfaced from this trend as well as Chiranjit who had a shorter stay with fame though. To Rituparno Ghosh's credit he brought a section of the Bengali audience back to the cinema halls – to me this is his greatest contribution to Bengali cinema and any history of it will remain largely incomplete unless this due tribute is paid to him.
Aishwarya Rai in Chokher Bali
Interestingly, Rituparno's films bagged him a lot of national awards and also to the actors of his films – one probable reason why a host of Bollywood flocked to work in his films – Aishwarya Rai (Chokher Bali, Rain Coat), Rakhee and Sharmila Tagore (Subho Maharat), Ajay Devgan (Raincoat), Abhishek Bachchan, Soha Ali Khan and Jackie Shroff (Antarmahal), Madhavan, Naseeruddin Shah and Jaya Bachhan (Sunglass – unreleased), Bipasa Basu (Sab Charitra Kalponik) and Amitabh Bachchan (The Last Lear).
Rituparno often commented he wanted to make films made in the Bengali language but for an Indian audience – one of the reasons he took stars of the Bombay film industry quite often and at times made films in Hindi (Raincoat) or even English (The Last Lear). This is unique of him since not even Satyajit Ray (apart from occasionally taking Sharmila Tagore and one Hindi film in Shatranj Ke Khilari) ever reached out to the Bombay stars in a conscious bid to make his films more acceptable outside of Bengal. In this effort and with moderate success, Rituparno not only broadened the horizons of Bengali cinema but has given the entire fulcrum of 'regional' cinema a whole new dynamics – the debate, problems and the future of which is beyond the scope of discussion for this article.
If we now analyse the filmic career of Ghosh, he started off with films which were largely indoors with loads of dialogues and a complete disregard for silence – something I never liked then, and even now. However he was intelligent in controlling his budget in keeping his cinema mostly static in the initial years – he was probably trying to gain faith of his producers and ensured that he is not being extravagant and in the process missing out being able to make the films at all! And in having a lot of verbal communication in the indoor setting he just sparked off the side of Bengali psyche which quintessentially loves to remain indoors and unexplored.
Rituparno Ghosh and Deepti Naval
In his choice of subjects and films Rituparno helped the Bengali urban middle-class to identify themselves with his reel characters – lazy and laidback and hence resolved to talking mostly and staying indoors! Side by side it was Rituparno who brought back Rabindra Sangeet in the Bengali film (which disappeared mostly in the '80s) which can be considered as a pioneering act and his settings in his indoor-dominated movies set up the interior design of a host of Bengali mega-serials of the 2000's. To me none of the above two aspects work – but looking back there is no way but to admire the way he had paced his creative innings. The first ten years till Titli were a phase of Ghosh – mostly dialogue-centric, indoors (though Titli was an exception) and urban. The year 2003 saw him make Chokher Bali – this was not only his first attempt at a Tagore story but more significantly with this film he broke the barrier round him – took Aishwarya Rai, the biggest heroine of Mumbai at that time and just increased the budget manifold. And there was no looking back after that.
In a strange way Rituparno's positioning in the Bengali cultural space has similarities and parallel with two most revered Bengali film-makers of all times – Satyajit Ray and Ritwik Ghatak. If Satyajit gave masculinity to the body of Bengali cinema, Rituparno without doubt added feminity to it. This feminity is of the mind – which many female film-makers with a patriarchal bent can never think of bringing forth.
Take the example of Sob Choritro Kalpanik (All Characters are Imaginary). To me this is one of Ritu's finest films for being cinematic where he could blend visuals with sound effectively – lack of which in general is one big drawback of Ritu's cinema according to me. In this film a woman finds solace in another woman – Radhika in Nando's mother and later, more interestingly Radhika in Kajari, Indranil's literary muse. In some deft montages the director mixes Radhika and Kajari in one soul – Radhika's transcendence from Indranil's wife to the perception that she herself can be his muse. The light and shade brings in Kajari and submerges her identity in the cool sublime exteriors of Radhika. And during this immense turmoil of soul exchanges we hear the marriage chanting of East Bengal, now Bangladesh. These are folk songs that reverberate with the resonance of the marriage between Radhika's and Kajari's identities… and possibly Nando's mother's? Perceived from the director's point-of-view it can be safely assumed that here the gaze on the muse Kajari is a female gaze – Radhika's illusive fantasies in search of a girl or, is it the self she has long lost which she finally discovered after her husband's death. More importantly he talks about sisterhood – something not known in Indian cinema in the popular mainstream space.
The reason why Rituparno is so endeared amongst Bengalis along with Ray is probably also because both of them would take up Rabindranath Tagore's novels and short stories and transform them into films which will remain important renditions in the history of Indian cinema, the only other to share the same fame is Tapan Sinha. If Charulata by Ray is an all-time great movie of the world, Ghosh's Chokher Bali will remain a fitting adaptation of one of Tagore's modernist novels. Like Ray, Ghosh as well was at the helm of the cultural identity that shaped the Bengali intelligentsia – Ghosh would edit popular magazines and host two of the best talk-shows in Bengali media of all times – Ebong Rituparno (And Rituparno) and Ghosh & Co.. There is no doubt that his formidable literary and artistic readings and knowledge along with a sensitive rendition of the acquired information made these shows very popular.
Rituparno Ghosh and Amitabh Bachchan at the set of The Last Lear
Any discussion on Rituparno Ghosh would be incomplete without his gender stance and his notions of sexuality. He himself started decorating him like an artifact. Artificial – maybe but he never cared and no one else should as well. His quest for his own sexual and gender identity was something he harped on in his appearances in the public open space. He got jeered down for his alternative ways of thinking and living which just proves how patriarchal and 'typical' male-oriented the society is. He lamented in an interview in Silhouette – "I know my city can neither handle me nor ignore me". [1] It is important to understand that the city which took him up, held him high, made him such a hit film-director who could blend art with commerce with fair success just couldn't handle his alternate sexual choice and desires. He believed in gender fluidity and in being a 'parallel' to the man-woman duality. For him it was not important to be gay or a lesbian or a transgendered – it is important probably to be something in-between but over-encompassing. He probably had experienced this plurality in him which resulted in his decoration of himself and also his choice of films. He took to acting probably to spread his cause, his self, more than anything else.
In this regard he is closer to Ritwik Ghatak in the fact that Ritwik with his life-style and propaganda was equally stomped down by the Bengali middle-class 'bhadralok' albeit in a different context altogether. If Rituparno's sexuality and his 'living one's life' the way he wanted was something that the mass couldn't digest, it was Ritwik's alcoholism and his big-mouth which rarely suited the educated. In both cases the person was more the point in discussion and not the oeuvre he left behind – utterly unfortunate and a bitter reality. Interestingly enough for both their last films have elements of autobiography and would remain hallmarks in their own career and in understanding them within their creative space. With Jukti Takko Aar Goppo Ritwik opened up a new window of personal cinema where the creator gets juxtaposed with his creation and his visions – extremely political and rooted within critical cinematic flaws and shortcomings. Nonetheless, this last film is one which has a didactical influence in understanding Ritwik's nuances and his dichotomies.
Ironically, in similar veins, Chitrangada's Rudra will be one rubric for analyzing the critical dilemma of the artist in Ghosh and the physical turmoil he had to undergo. There were two prevalent themes in many of Rituparno's films based on his own script/story – the relation with the parents and the embracement of death. Time and again from his first film Unishe April, through Asookh and finally in Chitrangada it is the relation between generations which he deftly touches upon and gives importance equal to the one between genders. In parallel, in all of these films it is the shadow of death in different forms – suicide, death of near ones and of relations – not the physical death alone but more importantly 'biraha' which transcended the physical, mortal separation.
This feeling of loss of the self for the other is grounded in Rituparno's experience of Tagore – something which he could use to tap the Bengali mind with élan. Both Ghatak and Ghosh experimented with their body but in different ways – and used their 'body' as the canvas of their denial of the system and their own revolt against the society. Tragically for both it was their very body which did a renegade and both died soon after making the films in discussion above – Ritwik at the age of 51 and Ritu at 49!
In the final analyses there are a few in Rituparno Ghosh's cinema oeuvre which expanded the medium of cinema and championed the creator's vision and beliefs. The others died with a damp whimper. Rituparno Ghosh probably will remain an 'enfant terrible' of contemporary Indian cinema – less for his creations but more for his 'self'.
[1] My City Can Neither Handle Me Nor Ignore Me: Rituparno Ghosh – Interview of Rituparno Ghosh
(This article has borrowed handsomely from my two previous tributes to Rituparno Ghosh in Dearcinema and DeepFocus after his demise in 2013)
Tagore's Noukadubi And Rituparno's Inspiration: Interrogating Marriage And Home
Playing Passion Over Penance – Re-viewing Chokher Bali (1902-2002)
(All pictures used in this article are courtesy the Internet)
Hope you enjoyed reading…
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Remembering Rituparno Ghosh
An Exquisite Labour of Love
My City Can Neither Handle Me Nor Ignore Me: Rituparno Ghosh
Visible Voice And Imaginary Appearance: Let Her Absence Speak For Herself
Bahu Manorathe Saju Abhisare
Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to amitava@silhouette-magazine.com
Amitava Nag (48 Posts)
Amitava Nag is an independent film critic based in Kolkata and editor of Silhouette. His most recent book on cinema is Satyajit Ray's Heroes and Heroines published by Rupa. He has also authored the acclaimed Beyond Apu: 20 Favourite film roles of Soumitra Chatterjee published by Harper Collins India. He also writes poetry and short fiction in Bengali and English – observing life in a platter.
All Posts of Amitava Nag
4 thoughts on "Rituparno Ghosh – The 'Enfant Terrible' of Contemporary Indian Cinema"
Swati Ganguly May 30, 2015 at 5:31 am
Amitava's bracketing of Rituparno Ghosh with Ritwik Ghatak in terms of Bengali audience's inability to "digest"the truly exceptional personal lives of these directors will raise many eyebrows. Alcoholism and aggressive posturing have always been part of the cult of avant-garde poets in Bengal and thus somewhat within the horizon of expectations. But experimenting with one's gender identity, flaunting "effeminate" sartorial and other styles, and finally SRS is not something that Bengali middle-class would be comfortable with. Though I must say I was impressed with the viewer response( in the theatre) with Ar Ekti Premer Galpo. There was none of the usual snigger in the same sex intimacy scenes or Rituparno's exaggerated gender performances. We must have come a long way.
Reply To This Comment ↓
Amitava Nag, Editor, Silhouette June 2, 2015 at 2:17 am
Thanks for reading. As I mentioned, both Ghatak and Ghosh used their 'body' as the canvas of their denial of the system and their own revolt against the society. This is the link I wanted to portray – their own gratification by using their 'body' they wanted to 'exploit' beyond the obvious and in doing so their protest – however for Ritwik the self-destruction started with his failures in cinema so in effect it was a byproduct of that. For Rituparno it was probably latent within him and with success he got more 'power' to exercise his experiments on his 'body'. Both had diametrically opposite situations but somehow went down similar path which no doubt affected their cinematic prowess and unfortunately tried to post them as individuals bigger than their work.
Keep reading Silhouette
Amitava
amritaspeaks May 30, 2015 at 8:03 am
Very well written article Amitava. In fact as you say Rituparno tacked a daughter's relationship with her father and issue of bowel movements long before Piku came along. Keep writing.
Thank you Amrita
Tags: filmmaker Rituparno Ghosh, Remembering Rituparno Ghosh, Rituparno Ghosh, Rituparno Ghosh on his films
Silhouette Magazine publishes articles, reviews, critiques and interviews and other cinema-related works, artworks, photographs and other publishable material contributed by writers and critics as a friendly gesture. The opinions shared by the writers and critics are their personal opinion and does not reflect the opinion of Silhouette Magazine. Images on Silhouette Magazine are posted for the sole purpose of academic interest and to illuminate the text. The images and screen shots are the copyright of their original owners. Silhouette Magazine strives to provide attribution wherever possible. Images used in the posts have been procured from the contributors themselves, public forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Please inform us if any of the images used here are copyrighted, we will pull those images down.
Amitabh Bachchan Anand Bakshi Aparna Sen Asha Bhosle Bengali Cinema Bimal Roy Bollywood Trends Dev Anand Dilip Kumar Geeta Dutt Gulzar Hasrat Jaipuri Hemant Kumar hrishikesh mukherjee Ingmar Bergman Jaya Bachchan Jaya Bhaduri Kishore Kumar Lata Mangeshkar madan mohan madhubala Majrooh Sultanpuri Manna Dey Meena Kumari Mohd Rafi Mrinal Sen Pather Panchali Rajesh Khanna Rajinder Krishen Raj Kapoor Raj Khosla RD Burman Rituparno Ghosh Sahir Ludhianvi Salil Chowdhury Satyajit Ray SD Burman SD Burman music Shabana Azmi Shailendra Shankar Jaikishan Soumitra Chatterjee Suchitra Sen Uttam Kumar Waheeda Rehman


text:
Foundation Scotland marks 25th birthday after distributing more than £130m in funds
Originally established in 1996 as 'Scotland's Community Foundation', the major funder has distributed more than £130 million to charitable organisations, social enterprises, and community groups operating across Scotland since its launch 25 years ago.
Edinburgh Live
Claire Carpenter, Founder and CEO of The Melting Pot.
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Foundation Scotland, Scotland's community foundation, is marking the organisation's silver anniversary this St Andrews Day – also aptly 'Giving Tuesday' this year.
The foundation specialises in supporting charitable initiatives within local communities.
From local food banks to counselling services, to youth groups and education and training funds. Set up with an initial group of three staff, the Edinburgh-based foundation now has over 30 managing around 100 different national and local funding programmes each year. Earlier this year the foundation began offering investment for social enterprises following the integration with Resilient Scotland, further expanding the breadth of financial support offered to charitable groups and enterprises.
Through the pandemic, Foundation Scotland awarded over £1.1 million in crisis support grants to 268 Edinburgh-based community projects. Supported groups included The Eric Liddell Centre, East Lothian Roots and Fruits, Sikh Sanjog, Bridgend Farmhouse and The Edinburgh Tool Library.
Quite often, groups can be eligible for more than one source of funding from the foundation and some organisations have received ongoing support from Foundation Scotland for many years. The team pride themselves in getting to know and understand funded groups, supporting them with essential funding and vital advice to help them to develop and sustain their services.
Giles Ruck, Chief Executive at Foundation Scotland, said: "We are proud to be Scotland's community foundation. For 25 years, we've maintained the vision of supporting confident, thriving, resilient communities across Scotland. And for every community to thrive, it should be resourced to match its vision and powered by transformative funding. That's where we come in. Over the last quarter of a century, we have connected the generosity of donors, corporates and individuals, to enable and empower vital projects and grassroot-led change.
As we look ahead, we will continue to work hard to reach and connect with new donors keen to distribute funds effectively at a local level so that together we can continue to deliver extraordinary support."
The Melting Pot is Scotland's Centre for Social Innovation. Based in Edinburgh's city centre on Carlton Road, the organisation runs a large coworking hub, meeting venue and events programme for charities, social businesses, campaigners, and freelancers.
Foundation Scotland has supported The Melting Pot for over 15 years. The organisation received its first award from the funder back in 2006 and has received £120,000 from a number of different funds to support their growth and development since 2006.
Claire Carpenter, Founder and CEO of The Melting Pot said "Foundation Scotland have been an instrumental investor for me and The Melting Pot. They've been part of the birthing story - twice now! Back in the 00's when "Coworking" wasn't a thing you could Google, they saw the potential in my big, novel and very practical idea to better support our sector, in all its diversity. Then, due to Covid, the landscape changed once again – for good. We've been able to play to each other's strengths to help #BuildBackBetter. I'm looking forward to seeing how together we co-create the conditions for social innovators to thrive in the years ahead."


text:
Q: XAMPP installation: mailoutput folder: info & docs about PHPMailer sought I am running XAMPP on a local installation of Windows 7.
I have not been running XAMPP's Mercury server because I've tried it
once in the past and could not get it to work. So I thought
I did not have SMTP working on my machine, until yesterday
I installed a localized version of WordPress and then
found the following folder:
C:\Users\JSonderson\Desktop\mailoutput\
containing a message named:
mail-20131024-1946-826000.txt
containing the following message:
To: admin@rainbow.com
Subject: Nuovo sito WordPress
Date: Thu, 24 Oct 2013 19:46:05 +0000
Return-Path: wordpress@127.0.0.1
From: WordPress <wordpress@127.0.0.1>
Message-ID: <64abe75651ddef4a4b0c4351bb927d21@127.0.0.1>
X-Priority: 3
X-Mailer: PHPMailer 5.2.4 (http://code.google.com/a/apache-extras.org/p/phpmailer/)
MIME-Version: 1.0
Content-Transfer-Encoding: 8bit
Content-Type: text/plain; charset=UTF-8

[snip]

I've looked at the URL http://code.google.com/a/apache-extras.org/p/phpmailer/
for PHPMailer but could not find out about it and it does not seem to be
documented on the page http:// localhost/xampp where it is not listed
under "Components" and could not see it with phpinfo();
Could someone please explain to me how to find out more about how PHPMailer
is configured to work with my XAMPP installation and how to send mail (so
that it presumably shows up on my desktop's mailutput folder).
How do I configure e-mail accounts with PHPMailer?
Thanks.

A: I don't think it has anything to do with PHPMailer.  It might be because newer XAMPP comes with several options for mailing:

*

*using a regular SMTP server (what you're looking for)

*using "fakemail"

*using mailtodisk (what you're experiencing)

Look around line 1130 of php.ini for:

[mail function]

There are a bunch of lines afterwards like:

; XAMPP: Comment out this if you want to work with an SMTP Server like Mercury
; XAMPP: Comment out this if you want to work with mailToDisk, It writes all mails in the O:\Programs\XAMPP\mailoutput folder

You probably have the following uncommented:

sendmail_path="O:\Programs\XAMPP\mailtodisk\mailtodisk.exe"

This means that whenever you send an email, it gets routed through the included tool 'mailtodisk.exe' which is what's saving it to that output folder.
If you make any configuration changes, don't forget to restart Apache (not the XAMPP control panel).

A: PHPMailer, assuming we are talking about the same program, is not part of XAMPP (although I am not familiar enough to know if it's incl with WordPress, but I doubt it).
To install PHPMailer, you upload a few files to a folder on your web server (or in the document root, which in XAMPP is the htdocs folder). These files are important:

*

*class.phpmailer.php --> Necessary

*class.pop3.php --> Optional

*class.smtp.php --> Optional

*PHPMailerAutoload.php --> Useful
To load PHPMailer, you need a line like:
<?php
    require("class.phpmailer.php");

or
<?php
    require("PHPMailerAutoload.php");

You don't create email accounts in PHPMailer; you create them on your webserver (or other mail host, like google mail). Then you provide the email account login/password to PHPMailer in its instructions.
Here are some docs and tutorials for PHPMailer:
Tutorial from Apache
Installation Docs
Helpful Answer on SO <-- Also note the (accepted) answer immediately above this one


text:
Karl Schönfeldinger (Bernstein, 7 augustus 1897 – Bernstein, 26 mei 1979) was een Oostenrijks componist, dirigent en klarinettist.

Levensloop
Schönfeldinger werkte vanaf 1911 bij de Kapelle Schönfeldinger, die hij van 1913 tot 1977 dirigeerde. Tijdens de Eerste Wereldoorlog was hij lid van een militaire muziekkapel van het Oostenrijks-Hongaars leger. In 1966 stichtte hij de zogenoemde Spielmusik Schönfeldinger. Verder dirigeerde hij een bepaalde tijd de Bernsteiner Gesangverein.

Als componist schreef hij meer dan 150 werken.

Composities (selectie)

Werken voor harmonieorkest
 A Landla, ländler
 Auf, Auf!, mars
 Auf der Alm, ländler
 Auf zum Kirtag, ländler
 Bernsteiner Raiffeisenkassa-Marsch
 Burgenland-Marsch
 Die letzte Ehre
 Ein schöner Walzer, wals
 Für junge Leut, polka
 Herbstklänge, wals
 Klarinetten-Polka
 Lieblingswalzer, wals
 Tenor Achtung, wals

Kamermuziek
 Aufgeweckt, polka schnell
 Natürlich ein Walzer

Externe link
  Officiële internetpagina

20e-eeuws componist
Oostenrijks componist
Oostenrijks dirigent
Oostenrijks klarinettist

redpajama_set_name: RedPajamaWikipedia


After you done with the auditing part you have to proceed for the Keyword Research in SEO. This is the heart part of the SEO we can say. Whether you are doing SEO or SEM or SMM, Keyword research is a must. Because everything depends on the keyword research. How? For example, If you are selling a product how you will make efforts so that the audience can reach up to your product? By advertising right. But for advertising, you have to take care of the audience need. what they are searching for. what keywords they are putting to the internet. These keywords can be more than one, two or three. You have to focus on the present trend that people, audiences are looking for.
There are a number of options available tools available for the keyword research. The most popular and free tool is google keyword planner. I always prefer google keyword planner by Google Adwords. Wordtracker scout, SEO power suit, Soovle etc are the other ones.
The very first thing for the keywords that first go with long tail keywords. These are the combination of 3 or 4 words to form a phrase. This is the most important tip for the newly formed website. For one topic there can 2 or 3 keywords.
Using more than 3 keywords may create keyword stuffing and its dangerous provided you are doing white hat SEO.
Here is the small example of keyword planner tool for you people.
Just put the URL and you will get the relevant results.
Which keywords should choose depends on the monthly searches and competition also. whether it is having low, medium or high competition. Also, you will find the bid value range for the keywords when you go with this tool.
So all the best for the Keyword Research in SEO!


text:
Two Aspects of "May"—A Case Study in Interpreting Contract Language
18 November 2007 14 June 2007 | Ken Adams
The other day, a reader of this blog—I'll call him John—contacted me about a problematic bit of contract language. (I'll refer to it as "John's language," although he didn't draft it.) To him, it was something of a mysterious nuisance, but when I read it, my heart went pitter-patter, in that I saw that it would give me the opportunity to further explore the dark heart of may.
Here's John's language, with some cosmetic cleanup by me (it's still not a thing of beauty):
Developer may develop and sell competing products with any of its current partners, subject to a 50% reduction in royalties.
John wanted to know whether the developer would be in breach of contract if it were to develop and sell competing products on its own. To provide him with an answer, I had to look into two issues.
The Scope of Discretion
One issue is the scope of the discretion granted in John's language.
To make things easier, let's consider a simpler sentence that exhibits a comparable structure:
[1] You may attend the party wearing shorts.
[1a] You may attend the party only if you wear shorts to it.
[1b] You may wear shorts to the party.
Sentence [1] is ambiguous. If taken at face value, it conveys the meaning expressed in [1a]—the discretion granted applies equally to attending the party and wearing shorts. By contrast, in [1b] the discretion granted applies only to wearing shorts. The meaning expressed in [1b] is possible only if permission to attend the party was granted in an previous utterance (You may attend the party), so that in [1] it can be taken as a given.
But neither of these meanings helps John's client, the developer. It's interested in developing and selling competing products on its own rather than with one or more of its current partners, and a meaning analogous to that expressed in [1a] wouldn't allow it to do that. And whereas a meaning analogous to that expressed in [1b] would be entirely possible in conversation, the required repetition would seem unlikely in the rigid context of a contract.
So how could one express the meaning sought by John's client? By incorporating a separate grant of discretion for each component, as in the following sentence:
[2] You may attend the party and you may wear shorts to it.
In other words, to express the meaning sought by his client, one would need to revise as follows John's language: "Developer may develop and sell competing products and may do so with any of its current partners, subject to a 50% reduction in royalties."
Although neither meaning expressed in John's language helps the developer, it could achieve its goal by another route. It could claim that the language had been inartfully drafted—in effect, that omitting and may do so was a mistake and didn't reflect the intent of the parties. This would seem a plausible argument—it's unlikely that the parties had in mind that the developer could sell competing products with its partners but not on its own. Courts are receptive to this sort of argument. For example, they're willing to read and as meaning or, or vice versa, if that would better reflect the intend of the parties. (That's something I discuss in MSCD 8.70 and in this article.)
Expectation of Relevance
Assume that the developer had been unable to convince the other party, or a court, that a meaning analogous to that expressed in [2] was what the parties had intended to express in John's language. It could in theory attempt another argument—it could claim that the discretion afforded in John's language isn't limited.
The logic behind this argument is as follows: if I grant you the discretion to attend the party wearing shorts, I'm not thereby precluding you from attending the party wearing trousers, a dress, or any other article of clothing. With respect to John's language, the developer would claim that discretion to develop and sell competing products with its current partners doesn't constitute a prohibition against its doing so by itself.
It's certainly true that a grant of discretion to do one thing doesn't necessarily constitute a prohibition against doing other things. If I tell you that you may go to the movies, it wouldn't necessarily follow that I'm thereby forbidding you from engaging in any alternative activity.
But the presumption that a grant of discretion doesn't also constitute prohibition comes up against the notion of relevance. The more specific a grant of discretion is, the more likely it is that the reader would conclude that the discretion is limited. If that were not the case, there would be no point in being so specific. Consider the following example:
A student may withdraw from courses before the end of the fourth week of classes.
Strictly speaking, this sentence is open to the interpretation that withdrawal is possible after the fourth week, but the usual interpretation would be that withdrawal is allowed only before the end of the fourth week of classes. Also being able to withdraw afterwards would seem to render this sentence pointless.
If you consider John's language from that perspective (and assume that it conveys a meaning analogous to [1a]), there would seem no point in granting the developer discretion to sell and develop competing products with its current partners if it were also free to do so on its own.
So in the unlikely event of a court's holding that John's language conveys a meaning analogous to [1a], it's hard to imagine the developer skirting the expectation of relevance and convincing the court to hold that the discretion granted in John's language isn't limited.
But here's an important drafting consideration: If you grant discretion and want it to be limited, you should make that explicit rather than relying on the expectation of relevance. You accomplish that by using may … only: "Developer may develop and sell competing products only if it does so with any of its current partners, subject to a 50% reduction in royalties."
I mention may … only in MSCD 3.55, but the next edition of MSCD will contain a full discussion of the expectation of relevance and limited discretion.
In mulling over John's language, I was privileged to be able to bounce ideas off Professor Jeffrey P. Kaplan, chair of the Department of Linguistics and Asian/Middle Eastern Languages, San Diego State University. I'm responsible for any residual incoherence.
And thanks to reader Martin Clausen for prompting a refinement.
1 thought on "Two Aspects of "May"—A Case Study in Interpreting Contract Language"
Brian Day
3 January 2008 at 12:31 pm
This language strikes me as problematic for another reason. Does the royalty-reduction provision apply if the developer acts on its own?
The "subject to" language could be read as a limitation on the developer's authority to cooperate with its partners. Consider the phrase, "You may attend the party wearing a Speedo, but only if you pay a $5 charge." A reasonable interpretation of this phrase is that I am invited to the party, but must pay to wear my slinky swim trunks (a very low price in light of the emotional trauma that would be imposed on the other party-goers). In the same vein, a reasonable interpretation of the contract provision is that the developer is authorized to develop products, but must pay to work with third parties.
Obviously, any interpretation depends upon the context supplied by the rest of the contract. But taking this provision alone illustrates one of the principle problems of legal drafting–too much material in too little space.
There are three separate issues crammed into a single sentence: (i) the authority to develop products; (ii) the cooperation with third-parties; and (iii) the conditional royalty reduction. By dealing with these issues in two or even three sentences, the author would have been able to control the interplay between the three issues. By forcing them into one brief sentence, he or she has surrendered much of that control.


text:
Valderedo o Valdefredo fue un eclesiástico visigodo contemporáneo de los reyes Ervigio y Égica, obispo de Zaragoza a finales del siglo VII.

Consta su existencia por su participación en el XIII Concilio de Toledo celebrado en el año 683, en el que estuvo representado por el abad Freidebaldo,
y por su presencia en el XV Concilio de Toledo del 688,
en el III de Zaragoza del 691
y en el XVI de Toledo del 693.

Referencias

Obispos de Zaragoza
Obispos de España del siglo VII
Zaragoza visigoda


I've mentioned in years past that I love to bake my own birthday cakes, because I really can't tolerate store bought. I was craving a yellow cake with chocolate frosting this year, which took me on a search for cake layers made with buttermilk. For the frosting, I wanted a mix of melted chocolate and cocoa powder in order to make it ultra rich. After looking at images online, visit websites and thumbing through my baking books, I found what I was looking for.
If you happen to own Martha's 'Cakes' book, you will find the recipe for buttermilk cake layers, along with a rich chocolate frosting recipe. It's a great birthday cake for those of us who like to keep things simple.
Once you bake and ice the cake, you can leave it as is, but you can also enhance it with colorful sprinkles, nonpareils or even some sparkly dragées. Add whatever you wish.
Swirled frosting is a simple way to frost a cake, because it looks so tempting and very homemade. However, if you feel like giving your cake a polished look, then use a bench scraper or spatula, and a cake decorating turntable to make it smooth. Finished this way, the cake will look perfect.
When you slice into the cake you will see what a nice crumb each layer has, and you will notice how dense and chocolaty the frosting is. Who would't like to have a birthday cake like this?
A closeup of the sliced cake shows you what I mean. I love the way Valrhona chocolate (both in cocoa and bar form) makes everything taste so good. The addition of the rainbow nonpareils gives it that nostalgic quality from childhood birthday parties and holidays.
A friend of mine wondered at the neatness of each slice. There is no mystery behind a perfect slice of cake, if you follow a few simple tips. What I do, is use a large 8" chef's knife (like a Wusthof or Henckels), and I make sure to dip the entire knife in hot water (wiping it dry with a clean kitchen towel) for each slice I make. That's all there is to it. This alone will give you a perfectly neat slice every single time.
If you haven't baked a cake in a while, give this buttermilk cake with chocolate frosting a go the next time your celebrating an event or a special person in your life. Even the non chocolate lovers will eat every last crumb.


text:
Jared Bynum Lorenzo Edwards Rashaan Holloway Taylor Funk Charles Brown Jr. Curtis Cobb Sports College basketball Basketball College sports Men's basketball Men's sports Men's college basketball
Saint Joseph's Atlantic 10 Brown Ivy Massachusetts
Saint Joseph's edges UMass 64-62 on Brown's 20 points
- Feb. 02, 2019 07:03 PM EST
PHILADELPHIA (AP) — Charlie Brown Jr. scored 20 points and Saint Joseph's held on late to beat Massachusetts 64-62 on Saturday afternoon.
Lorenzo Edwards added 14 points for the Hawks (10-12, 3-6 Atlantic 10 Conference). Jared Bynum had 10 points and Taylor Funk led the team with 12 rebounds and finished with eight points.
The Hawks led 36-30 at the break but UMass surged 18-7 to open the second half, moving ahead 48-43 with 13:16 to play. The Hawks, who sent only seven players onto the court, remained within striking distance, tying the score three times before retaking the lead on a Bynum layup followed by a Brown jumper for a 58-54 edge with 3:22 remaining. Brown followed up with a pair of free throws to extend it to 60-54 and the Hawks held on for the win.
Rashaan Holloway scored 23 points and grabbed 12 rebounds to lead the Minutemen (8-14, 1-8). Curtis Cobb added 13 points, five rebounds and seven assists.


sea turtle, name for several species of large marine turtles found in tropical and subtropical oceans. These turtles are modified for life in the ocean by having flipperlike forelimbs without toes and lightweight shells. Their heads are too large to be withdrawn into the shell. They spend most of their lives in the water, but come ashore to lay their eggs. Nearly all species have a circumglobal distribution although there are differences between the Atlantic and the Pacific populations. Most sea turtles are found in North American waters as far N as the U.S. S Atlantic coast and Baja California.
The ridleys, the smallest sea turtles, inhabit shallow offshore waters. The 2-ft (60-cm) long, gray Kemp's, or Atlantic, ridley, Lepidochelys kempii, breeds only in the Gulf of Mexico, although the young are often carried by the Gulf Stream to the Carribean Sea and Europe. The slightly larger, greenish olive, or Pacific, ridley ( L. olivacea ), also known as the oliveback, is found in the Indian and Pacific oceans. The leatherback is the largest of all turtles; it belongs to a separate family from the other sea turtles.
All sea turtles other than the leatherback are classified in the phylum Chordata , subphylum Vertebrata, class Reptilia, order Chelonia, family Chelonidae; the leatherback belongs to the family Dermochelidae.