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Q: Should I use Helgrind or DRD for thread error detection? Looks like Valgrind has two tools that both do thread error detection: Helgrind and DRD.  These tools are substantially similar.
My primary question is: when should I use one instead of the other to check my multi-threaded code?
More broadly, why are there two tools?  I assume they aren't entirely redundant.  What are the important differences?  Should I generally plan on running my code through both tools?

A: While Helgrind can detect locking order violations, for most programs DRD needs less memory to perform its analysis. Also, DRD has support for detached threads. There are more subtle differences too - compare the respective manuals if you want to know more. See also http://valgrind.org/docs/manual/hg-manual.html and http://valgrind.org/docs/manual/drd-manual.html.

A:
when should I use one instead of the other to check my multi-threaded code?

Depends on what you want to check that code for.
To check for data races, you might want to use ThreadSanitizer.
Comparison with DRD and others.

A: If you're using any POSIX synchronization primitives besides mutexes (e.g., semaphores, barriers, condition variables, etc.), DRD is worth a run -- it can identify some subtle misuses that Helgrind doesn't detect.
However, DRD seems to be much more resource intensive than Helgrind (in my runs using 3.14.0 there seems to be a tremendous amount of CPU overhead).

A: One other point to consider: as of valgrind version 3.6.0, DRD supports pthread spinlocks, but helgrind doesn't.  I haven't tried 3.7.0, but the release notes lead me to believe that this hasn't changed.

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Butler vs. DePaul: Quick hits - January 18, 2020
Butler vs. DePaul: Beyond the box score - January 18, 2020
BUTLER JOINING BIG EAST
After weeks of media speculation, it is now official: Butler University will be a member of the Big East.
Butler will enter the new Big East—consisting of the seven Catholic schools departing the current Big East—alongside Xavier and Creighton on July 1.
Butler President Jim Danko officially announced the school's intention to leave the Atlantic 10 Conference after one academic year through a video in Butler's Johnson Room this morning.
Ben Hunter, chief of staff, said school officials were delighted to receive an invitation to the Big East.
"For us, it creates long-term stability not only for the university's athletics and academics, but it gives us greater control over the decisions that impact our sports program," Hunter said.
Butler's football team will remain in the Pioneer Football League, as it did when the school jumped to the A-10.
The women's golf team will leave the Metro Atlantic Athletic Conference and join the rest of Butler's athletic teams in the Big East.
"Joining the Big East is an unprecedented opportunity for Butler and represents an ideal fit for us—academically, athletically and geographically," Danko said in a press release.
Hunter said he was unsure how much it would cost the university to leave the A-10 on such short notice.
Previous reports from the Associated Press said Butler would be forced to pay a $2 million exit fee, for not giving 27 months notice before switching conferences.
Xavier will also depart from the A-10, while Creighton will jump from the Missouri Valley Conference.
The three schools will join the 'Catholic 7' in the Big East after those seven schools purchased the rights to the conference name.
The seven schools already in the Big East are: DePaul, Georgetown, Marquette, Providence, Seton Hall, St. John's and Villanova.
"This new opportunity to compete against Big East universities—which have a rich tradition of excellence across a wide range of sports—will enhance the Butler experience for all our student-athletes," said Barry Collier, vice president of athletics, in the release.
This is the fifth athletic conference Butler has been a member of since 1946, excluding a yearlong independent stint.
Butler was a charter member of what eventually became the Horizon League in 1979, and the school stayed there until leaving for the A-10 in 2012.
"The A-10, like the Horizon League, is an outstanding conference, and we were honored to be a member," Danko said in the release. "After in-depth deliberations and analyses, we determined that joining the Big East was the right thing to do for our students and our institution, regardless of the timing of past conference transitions."
Hunter said the move is a bold moment for Butler and is a culmination of Danko and past presidents' leadership.
"This is writing the next chapter of Butler University," Hunter said. "This is a truly momentous change for the university. I hope there's great excitement around this, not only for the opportunities it brings in sports, but also in academics."
Tags Barry Collier, Ben Hunter, big east, Butler moves to Big East, butler university, Catholic 7, Creighton University, jim danko, new Big East, xavier university
Butler vs. DePaul: Beyond the box score
Butler vs. DePaul: What you need to know

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Action! Simi Valley is a versatile location for filming.
Looking for your next photoshoot or film? Simi Valley is located just outside of Los Angeles and offers a variety of settings and venues for your next project. From dramatic mountain landscapes and rocky cliffs, to manicured gardens, there are dozens of locations to choose from. Our more than 670 comfortable hotel rooms and conveniences to Los Angeles makes Simi Valley an excellent setting for your next production.
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What Television Shows and Films Were Shot in Simi Valley, CA?
The film's infamous spiked White Russian may have been made by Jackie Treehorn in Malibu, but the movie itself was partially filmed in Simi Valley. You don't have to be a brother Seamus to deduce why Simi Valley is such a desirable cinematic spot.
Our most patriotic hero made his leap to the silver screen by way of Simi Valley. The movie brought the 1940s to the 2010s and (with the help of actor Chris Evans) brought Steve Rogers to life as a walking, talking, relatable hero to kids and grandparents alike.
The late, great Tobe Hooper made clowns terrifying for even those brave few who weren't already afraid of them, with this story of Carol Anne Freeling and the various ghosts and ghouls that gravitate toward her. The house where the supernatural mayhem went down is in none other than Simi Valley.
Star Trek isn't the only production to go beyond the earthbound appeal of Simi Valley, as demonstrated by this classic comic adaptation about interstellar G-men.
The Hummingbird Nest Ranch is another Simi Valley location long favored by filmmakers and television directors looking for the perfect natural backdrop to make their fictional worlds align with our real one. The naval crime drama NCIS has shot on the ranch, proof that the best way to solve crimes on the sea is by starting in a valley.
Star Trek:
One visit to Simi Valley and you'll want to be assimilated too. Stardate: ASAP.
Visit Simi Valley works closely with the City of Simi Valley and other entities to expedite the permitting process
Contact the Visit Simi Valley Team to help expedite your film permitting process!
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Count the animals two by two at the Noah's Ark inspired playground at Noah's Playground in South Guildford, that opened in late 2018.
The new standard for local playgrounds has gone next level lately, and Noah's playground is no exception. This playground has something to cater for all ages, however is best suited for kids approximately 4 and above. My toddler found he couldn't climb a lot of the larger structures, so had to stick to the smaller features in the playground.
The stand out feature of the playground are the 3 large towers connected by mesh enclosed suspension bridges with a large covered slide from the middle tower.
Next to the larger structure is a similar small version in the shape of an ark, with a rope bridge connecting the two towers.
Around the base of the playground are swings plus a basket swing, water and sand play area, and a small concrete slide.
Underneath the playground is woodchipped, but there are some large grassed areas just adjacent perfect for some ball sports, with some beautiful large trees providing natural shade. Carrying with the theme of Noah's ark, there are lots of pairs of Australian animals scattered around the playground. It's a bit of fun trying to find them all.
There are also barbecues and a picnic shelter, however there are no toilets and no allocated parking (street parking only).
If you are looking for a big playground with lots of adventure for bigger kids in Perth's eastern suburbs you will love Noah's Playground in the Rosehill Waters Estate.


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Home » What's On Glasgow West End: cinema, clubs, theatre, music, events, festivals, community and more » Art, Photography, Exhibitions what's on-glasgow » The Women's Unit, CCA, Until Sunday 5th June, 2016
The Women's Unit, CCA, Until Sunday 5th June, 2016
The Women's Unit
Mon 16 May – Sun 5 June 2016
The Women's Unit meets The Sisters
The Women's Unit was the outcome of a year long residency at Glasgow Women's Library by Mandy McIntosh, influenced by projects like Judy Chicago's Womanhouse being transplanted to Castlemilk in 1990 by Adele Patrick and others.
With a background in socially engaged practice and community empowerment, via a stint as an artist at the NHS, McIntosh founded The Women's Unit as a fundamentally feminist freespace for any woman who cares to come along and make art.
The key aim of the Women's Unit is the creative empowerment of women coupled with the opportunity to speak back to male violence in the public domain, on multiple platforms and strata by describing both the impact of violence and ways women can organise against its effects. Access to art works for women as both a catalyst for personal resistance and as a sometimes non-verbal way to communicate their experiences, which go on to affect and activate other women. The Women's Unit achieves its aims by identifying women themselves as experts within the context of their lived experience and by accepting the nuance of individual approaches in a non-determined way. With permission to do so, the women's work is then made public through exhibition, film and publication, so the work is distributed as a political act of visibility. the Women's Unit strives to provide a space that is accepting of women as they are, to make whatever they like.
For their three weeks presence at CCA, the Women's Unit will be bringing their practice directly to the gallery space and inviting other women to come work and show with them in-situ, through talks, demos, an evolving exhibition and point of contact for women throughout the city. The Women's Unit reserves the right to declare certain events and openings/times as women only.
To date, the Women's Unit has worked in partnership with GOMA, Glasgow Women's Library, the Southside Film Festival, Platform, The Travelling Gallery, Say Women, WAVES, DAISY, Stalled Spaces, TYCI, GSA FemSoc and others.
Centre for Contemporary Arts
350 Sauchiehall Street
Glasgow G2 3JD
Scottish Writer's Centre, Speakeasy, CCA, Tuesday 24 May, 2016
Donald Robertson Is Not a Stand Up Comedien, The Citizens 19 – 21 May, 2016
This section: Art, Photography, Exhibitions what's on-glasgow, What's On Glasgow West End: cinema, clubs, theatre, music, events, festivals, community and more
Filed under: Art, Photography, Exhibitions what's on-glasgow, What's On Glasgow West End: cinema, clubs, theatre, music, events, festivals, community and more


A late goal for Arsenal against Southampton meant that Chelsea and Manchester City were the big gainers in the mid-week Premier League action last night, with Hull City claiming a much-needed draw at Everton to halt their losing streak.
Chelsea were convincing victors at home to Spurs, despite an indifferent performance for much of the first-half when the away side had chances to take the lead. The league leaders continued their unbeaten start to the season though and maintained their six-point advantage over closest rivals Manchester City, thanks to goals from Eden Hazard, Didier Drogba and substitute Loic Remy.
With top scorer Diego Costa unavailable through suspension after picking up five bookings already, 36-year old Drogba inspired his side to victory as he played in Hazard for the first and scored the second himself. Jose Mourinho believes that the Ivorian will have a role to play within the Stamford Bridge set up when his playing days are over, but for now he continues to defy the doubters and is a more than capable 'deputy' in Costa's absence. A youthful looking Spurs' side started well with two early chances for the enterprising Harry Kane, but he hit the bar and then dragged another shot wide of goal to let the Blues off the hook and they went on to capitalise afterwards.
Manchester City have been troubled by the Black Cats in recent seasons and went behind last night inside the first twenty minutes, when the powerful Connor Wickham held off defender Pablo Zabaleta before beating Joe Hart. That goal seemed to sting City into action, as they were behind for only two minutes before Argentinian hotshot Sergio Aguero brought them level with a fierce shot. Stevan Jovetic put them in front before half-time and Zabaleta made the points safe with a delightful chipped shot ten minutes into the second period. Aguero netted his second of the evening and 14th of this Premier League term to add to Manuel Pelligrini's delight, as City ran out deserved winners and claimed a third straight league victory in doing so.
There was better news on City's club captain, Vincent Kompany who missed the game with a hamstring strain, as it now seems likely that he will be fit enough to return for the key Champions League match next week against Roma.
Ronald Koeman's Saints came very close to earning a point at the Emirates, only for the Chilean striker Alexis Sanchez to continue his fine start to the season with a ninth league goal in the 89th minute. Southampton can count themselves a little unlucky in that they had been reduced to only ten men by then due to injury, but when Sanchez netted he was one of a number of red shirts queuing up in the centre of goal to score as the away team's defence was finally stretched to breaking point. Southampton are in the middle of a run of tricky matches at present and after consecutive losses are now down to third in the table, whereas Arsenal are up to an improving 6th place.
The south coast club were indebted to goalkeeper Fraser Forster for a string of fine saves that kept his side level up to the final stages. After Danny Welbeck had wasted a good chance for the Londoners when clear on goal, the impressive Graziano Pelle volleyed over in response to illustrate that Southampton were not just making up the numbers. Arsenal provided the greater threat though and despite Forster's heroics to keep out a succession of headers from Welbeck (twice) and Olivier Giroud, he could do nothing to prevent Sanchez at the death.
Hull ended their depressing run of recent form with a spirited draw at Goodison Park to give manager Steve Bruce something to hold on to, but they still sit precariously one place above the relegation zone.
It had looked like another disappointing night for the Tigers when Belgian Romelu Lukaku scored on 34 minutes, after being set up by the ever dangerous Kevin Mirallas. Hull's prospects seemed to improve after the introduction of substitute Sone Aluko and a twisting run from him (which confused Sylvian Distin in the Everton defence) just before the hour mark was rewarded with a goal past Tim Howard.
The home side looked for the winner and almost got one when Lukaku's shot was blocked by Craig Dawson, but were fortunate in turn to not concede again themselves at the end, but a fairytale ending for the former Merseyside striker Nikica Jelavic was not to be as his header went narrowly wide of goal.
Toffees' fans were clearly not best pleased at the result which leaves them only 11th in the league, showing their displeasure with the performance by booing the team off at the final whistle. Roberto Martinez attempted to divert the pressure from his players when interviewed afterwards, intimating that the result was down to the spoiling tactics of the opposition. Few neutrals would berate Bruce's men for their approach though, given that they are in a dogfight at the wrong end of the table at present.


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StoryLab Research Network: An Ethnomediaology Approach to Story-Development
DOI: https://doi.org/10.33008/IJCMR.2020.08 | Issue 3 | April 2020
Nico Meissner
Griffith Film School, Queensland
The StoryLab Research Network was a collaborative research project funded by the UK's Arts and Humanities Research Council. StoryLab is an international film development research network of practice-led researchers from Australia, Malaysia, Ghana, Colombia and the UK. Establishing and utilising an ethnomediaology approach, the project conducted workshops with around 15 emerging independent filmmakers in each of the three developing countries of Malaysia, Ghana and Colombia between June and October 2017, during which each participant developed a screen-based story idea. The underlying question the StoryLab Research Networked sought to explore was: if the digital age has democratised the means of filmmaking and film dissemination, thereby enabling new voices to emerge outside of the dominant Western production centres, then what are the stories filmmakers in emerging economies want to tell and how are these stories reflecting a different perspective on living in an increasingly globalised world?
This article is a report on the research project. It will introduce the StoryLab Research Network and its methodology of ethnomediaology. It will then present an overview of stories developed in the three workshops, demonstrating that these stories have strong personal impulses, discuss local socio-political matters and attempt to challenge the dominance of global and national production centres in the shaping of screen realities. I will end the report with a discussion around the workshops' impact and future plans of the StoryLab Network. Information on StoryLab can be found at: www.storylabnetwork.com.
'The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last penny into it and not let themselves be taken in by the material routines of the trade' (Bresson, 1975: 65).
For the first 120 years of its history, cinema has been dominated by a few, mostly Western, production centres. The digital revolution is challenging this hegemonic paradigm. The means of filmmaking, distribution and exhibition have become more accessible, allowing more individuals and cultures to express themselves through the screen and become part of a more diverse global cinema. An explosion of independent filmmaking across the developing world has helped to establish new voices and filmmaking styles (see Lobato, 2010; Baumgaertel, 2012).
This new diversity of voices is the starting point for the StoryLab Research Network – an international network of practice-led researchers from Australia, Malaysia, Ghana, Colombia and the UK. Establishing and utilising an ethnomediaology approach, the project conducted workshops with around 15 emerging independent filmmakers in each of the three developing countries of Malaysia, Ghana and Colombia between June and October 2017, during which each participant originated a screen-based story idea. The three countries of Malaysia, Ghana and Colombia were chosen because of a professional network that extends from the project leader in the UK, Professor Erik Knudsen, into the leading film schools in all three countries. I, for instance, had a position as Head of the Faculty of Cinematic Arts at Multimedia University in Malaysia at the time of writing the project bid. The three countries represent emerging economies of similar population sizes, along the equator, on three different continents. As an interesting side note, Malaysia and Ghana have gained their independence from Britain in the same year (1957).
Co-investigators in each country advertised the research workshops through relevant professional or educational networks. In my own example of Malaysia, the workshop was advertised through two film festivals (KL Experimental Film, Video and Music Festival; Freedom Film Festival), two professional networks (writers' and directors' associations in Malaysia) as well as three personally selected film school graduates. Most participants represented the democratised margins of their respective national film industries. They did not work in the mainstream television industry or for big production houses, but independently from these established production models. As a group, the filmmakers we met represented a wide spectrum of filmmaking in emerging markets on three continents – from seasoned veteran filmmakers to recent graduates, with and without formal film education, working across all genres of film, inside and outside of the main production centres of their countries.
The underlying question the StoryLab Research Network sought to explore was: if the digital age has democratised the means of filmmaking and film dissemination, thereby enabling new voices to emerge outside of the dominant Western production centres, then what are the stories filmmakers in emerging economies want to tell and how are these stories reflecting a different perspective on living in an increasingly globalised world? Within a team of four practice-led researchers, under the leadership of Professor Erik Knudsen from the University of Central Lancashire as principal investigator, I was the project's co-investigator, coordinator of the Malaysia workshop and I shared instructor responsibilities with my three colleagues during each of the story development workshops in Malaysia, Ghana and Colombia.
This article is a report on the research project. It is divided into three sections. I will first introduce ethnomediaology – the methodology we developed and employed for this research project. I will then present an overview of story ideas created within the three workshops, demonstrating that these stories have strong personal impulses, discuss local socio-political matters and attempt to challenge the dominance of global and national production centres in the shaping of screen realities. I will end with a discussion of the project's impact and future plans of the StoryLab Network.
Ethnomediaology as Media Practice
The StoryLab Research Network developed a methodology called ethnomediaology. Borrowing mainly from ethnomusicology, this approach allowed us to directly work with filmmakers in three developing media industries – granting deep insights into storytelling ambitions, career progression and generally the cultures from which these stories originate. The project's main working method was a 3-day storytelling workshop with around 15 local filmmakers in each of the countries of Malaysia, Ghana and Colombia. Each of the four researchers became an instructor during the workshops, working with three to four participants per workshop. During the first day of the workshop, participants introduced themselves and the themes and narratives they were interested in or had explored in the past. After an interactive group workshop (trying different ideation techniques) at the beginning of the second day, each instructor would have two individual sessions with their three to four participants in the afternoon. The first session was usually spent on asking questions about the participant's story ideas or developing a completely new idea based on the techniques we explored in the morning seminar. During the second session, we discussed the first draft of a step outline, which would then be reworked by participants overnight and presented on the third day for further feedback from other instructors and workshop participants.
The entire workshop was documented audio-visually. Participants were also asked to record a short introduction video on the first day and upload it to the closed Facebook page of the project. Participants would also upload their final step outline. The Facebook group allowed us to create a more interactive workshop, record the participants' work and, most importantly for us, expose all participants to the work and ideas of their peers in the other countries.
It is important to note that StoryLab was not a film production workshop, media lab or community storytelling project but a film development workshop that ended with a written step outline for a film idea – not a finished film. The research project was interested in the stories that participants want to tell. Participants were free to use these story outlines to develop their ideas further and some of the participants used the network's Facebook page to share work in progress after the workshops.
Figure 1: Screenshot of StoryLab Facebook group (top left), StoryLab Workshop day 1 (top right), day 2 (bottom left) and day 3 (bottom right) sessions.
Ethnomediaology, therefore, is creative practice research mixed with methods of ethnographic fieldwork. Through the direct engagement of researcher and the researched community, a mutually beneficial exchange of knowledge takes place. One of the outcomes of such engagement is the co-creation of artistic works, allowing the research to meaningfully impact the participating filmmakers – some of whom continued to develop their stories after the workshop, and/or established useful connections with other participants. This co-creation differentiates ethnomediaology from ethnofiction or ethnographic filmmaking (Sjöberg, 2014), in which creative practice constitutes the final research output, while in ethnomediaology, the creative act becomes a method of 'data collection'.
Like ethnomusicology (Nettl, 2015) or ethnochoreology (Hall, 1967), ethnomediaology has its roots in anthropology – the study of other cultures through deep engagement, often in the form of participant observation. While Nettl (2015), as one of the field's leading scholars, stays clear of arguing for a precise definition of ethnomusicology, he does describe ethnomusicologists as scholars that study non-Western music 'as a component of culture' (10). In the most basic sense, this is what the StoryLab did in its own application of ethnomediaology. As in all anthropological studies, primary 'data' in ethnomediaology cannot be found in manuscript form but lies instead in the artwork (the participants' stories) and the interaction between artists before, during and after the creative process. 'Data analysis' then becomes a form of personal reflection, based on extensive diary notes taken, video materials collected and artworks developed. Findings in ethnomediaology are personal observations.
Like autoethnography, our approach to ethnomediaology is a social constructionist epistemology (Ellingson and Ellis, 2008) that rejects the claim of the impartially observing researcher. If we cannot 'study' another group objectively, and if there is no clear opposition between the researcher and the researched, then, like in autoethnography, reporting in ethnomediaology must be subjective and personal in nature. The researcher, the 'I', becomes not observer but participant, not meaning deductor but meaning maker, not reporter but storyteller. In terms of filmmaking, autoethnographic methods are probably best exhibited in what Bill Nichols (2001) described as participatory documentaries.
Figure 2: StoryLab Workshop participants in Ghana (top left), Colombia (top right) and Malaysia (bottom)
The workshops and their stories: from the personal to the socio-political
The following section reports on all 10 stories developed by filmmakers under my mentorship in the StoryLab workshops in Malaysia, Ghana and Colombia. As is the nature of ethnomediaology, the reporting on the collected data takes the form of personal observations.
What may have surprised me the most, from the perspective of a film school lecturer, was that no workshop participant developed purely fictional/fantasy stories – no stories of space travel, mafia, guns, zombies or murder. All of the stories that the participants developed came from autobiographical impulses, often deeply rooted in personal histories and beliefs. For example, Meliza, from Colombia, started the workshop, explaining that she wanted to:
'... write for children. [Because] they consume a lot of TV shows that unplug them from their country. I want to show them characters, music, environments, animals and children like them; identifying themselves as Colombians or Latin Americans.'
Meliza was raised by a single mother. A lot of her friends did not have fathers in their lives. During the workshop, Meliza developed a short story of a single mother, who recently moved cities. Overwhelmed with her crying daughter during a hectic first day in the new apartment, the mother decides to take her daughter out for a short walk. The walk, involuntarily, extends into an overnight adventure of small obstacles that bring mother and daughter closer together and remind both of each other's love.
Jassmin is a 39-year old scriptwriter from Malaysia. During the workshop, she developed a story about a popular romance novelist, developing writer's block when writing her 10th book. Having to let go of her routine and the controlling care of her parents, the novelist leaves her mother's house to find new inspiration in 'Villa Takeiteasy' – a remote rental property occupied by different extroverted characters that challenge her norms and routines and breathe new life into the novelist and her stories. Jassmin did not reveal the inspiration for her story, but the age, gender, living arrangements and occupation of the protagonist as well as the locations within the story suggested at least some autobiographical inspirations.
Most participants used their story's autobiographical impulses to explore socio-political themes with relevance to their own lives. The workshop participants were socially conscious storytellers that care about the societies they live in. They tried to use stories as a medium to take a stand on issues of importance to them. Remy, from Malaysia, for example, started with a rather vague idea of exploring human emotions and what it means to be human. He developed a story of a young playwright with democratic ideals, asked to perform a play in which he has to accept briberies as a politician (a very common practice in Malaysia). On stage, the struggle between the playwright's political ideals and his character's choices create conflict that mirrors the Malaysian struggle between democratic ideals and political realities - between the need to do the 'right' thing and fulfil economic necessities. In the words of Remy's pitch during the workshop:
'In his character, Adli has been told to accept the 'compensation'. He goes crazy because the amount of the bribe is too much to refuse. He breaks his own democratic principles. Adli sold his soul.'
Thaaqhib, also from Malaysia, started the workshop with a broad theme: While every religion speaks about unity, no religion has ever united us. In his story, he translates this theme into the character of a writer that is tired of writing meaningless scripts for television. When he meets a grieving old piano player, the encounter changes both men's lives. They become friends, without ever discussing their religious beliefs, giving the writer new creative inspiration and meaning in his life, and the grieving old man new hope.
Divine, from Accra, has written and directed three feature films. Told specifically from an African perspective, his often epic stories explore humanitarian issues like slavery or domestic violence. He is currently writing his fourth feature film, which he partially developed during the workshop. The film explores the often unresolvable tension between mining as economic necessity for a husband and father in a rural Ghanaian village and the underlying illegality of such work.
Daniel is a young and openly gay man from Colombia. In his story, he explores the relationship between a young gay man and his loving mother, who cannot accept his sexuality. The young man leaves his hometown for the capital, Bogota, and enters into a homosexual relationship. When his father dies, he has to return home, and finds out that his mother did not just have an affair with his first boyfriend but also declared his first love for dead – all to change her son's sexual orientation.
'Julio and [his mother] Amparo argue. She discusses his sexuality, he argues that she has lied to him for so long, and now she is the lover of Adam, his ex-boyfriend.'
Luqman may sum up best what I mean by 'from the personal to the socio-political': As a young, modern Muslim, he constantly struggles between his religious beliefs and traditions and the realities of life in a modern multi-ethnic, globalised, urban Malaysia. He pitched this simple and effective story:
He and She
It's evening. He finishes his prayer with his family. He shakes hands with his mother, kisses her cheek. He goes to his room. His mom opens up her phone and watches a religious sermon on video. He is texting someone on his phone - someone with a love hurt emoji. She says 'come over tonight'. He says 'ok, see you there'. He closes his phone and wraps a small box. He meets up with her at her house. All their other friends are there. They are fun and nice but a bit 'out there'. They watch some movies and go for karaoke. Some friend says 'don't worry, nothing haram'. At the end of the night, one friend takes out a joint. It goes around the group of friends. Finally, it reaches her. She takes it and smokes. He stands up and says 'sorry, I got to get some fresh air'. Outside, he gets a phone call. It's his mom. 'Where are you?'. 'I'm having dinner with my friends'. 'Ok'. Then the girl texts him. 'Where are you?'. 'I'm just taking a walk'. 'The others want dinner now'. She texts location. He takes his car and drives to dinner. He sees the girl, and thinks. Pause. He's walking towards the girl. Then he sees the friend who said 'nothing haram'. Doubt. He goes back to the car. The girl sees him. She goes to him. He lets her into the car. She says 'what's going on?'. He says 'it's nothing, I'm fine.' 'No, what's going on?'. 'I'm just really tired. I want to go home.' As she gets out of the car, his hand slides down to the little box he wrapped earlier. He turns around to her and says 'hey'. She says 'yes?'. He says 'good night'. As he gets home, his mother yells at him for being home late. He is quiet, goes up to his bedroom and sits alone. A knock on his door. His mother is there, holding a tray with some snacks. 'Are you hungry?'. He breaks down.
It was my impression that, while participants in all three countries often felt that their voices would not be heard at a government level, they still did not stop trying to make a difference in their immediate environments through the stories they chose to tell. There was no indication of political apathy. In the case of the StoryLab participants in Malaysia, Ghana and Colombia, it seemed like the filmic medium has become so accessible that it created a positively naive energy and a need to express, regardless of commercial considerations, personal stories for small audiences, outside of the mainstream mass entertainment.
The workshops and their stories: challenging traditional production centres
Global media is dominated by stories from only a few production centres – mainly Hollywood and to lesser extent Bollywood, a few European countries, China, Korea and Japan. Participants of the three workshops acknowledged this and tried to find ways to represent their lives, experiences and surroundings through the stories they developed. By doing so, they attempted to challenge the dominance of traditional production centres in the shaping of screen realities. In Malaysia and Ghana, participants wanted to tell Malaysian or Ghanan stories. They wanted to see their country's stories represented on the screen. But in Ibague, which was the only workshop we held outside of a capital city, participants wanted to tell hyperlocal stories – stories that not only challenged the dominance of global but also national centres of media production. Traditional media industries are often situated in the capital cities. This is where the film schools are located. This is also where the production houses and major broadcasters are located. While a country can fight for representation on a political level (schools, funding, broadcasters) – most emerging economies only develop basic media structures in the capital city. The regions remain underrepresented. Digital media provides opportunities to change this and liberate voices. It makes it possible to develop stories such as these:
Adwoa, from Ghana, developed a documentary about Yaba – a high-achieving young girl from a small Ghanan village. When Yaba comes to Accra to study at university, she drifts into prostitution to afford a better lifestyle. After a series of abortions, she learns that she can never have a baby. Yaba is now working as a midwife and uses her story to educate teenage girls.
During the Colombia workshop, Julio wrote a story about a young boy who learns from his grandfather about the history and techniques of Ibague's traditional music. Traditional music that, as Julio put it, was an important part of the cultural identity of Ibague but has been largely forgotten:
The grandson asks:
Why do they call Ibague, the musical capital of Colombia?
The grandfather takes a guitar and tells the grandson that this instrument has a long history linked to his own life and the city.
Juan has worked as a video journalist and covered stories around violence and displacement in Colombia. During the workshop, he developed a beautifully tragic love story set in Cucuta – a thriving trading town at the border of Colombia and Venezuela. After a free trade agreement between Venezuela and Colombia, Cucuta developed into an important trade centre, where Venezuelans buy essential products that are not available in their country. But in late 2016, the Venezuelan Bolivar started to lose value, eventually spiralling into the world's highest inflation rate – devalued by 1,000%. Venezuelans could no longer afford to buy in Cucuta. Travelling, as a consequence dramatically decreased. Under this historical backdrop, a young Venezuelan man never returns to his girlfriend in Cucuta, who is waiting for him, expecting their first baby:
Pedro finds out about Black Friday; the Bolivar devalued. Maria is out of work and learns that she is pregnant. Pedro leaves Cucuta for Caracas, Venezuela. Maria awaits his call.
Juan reminded me of the potential, albeit hypothetical, impact of hyperlocal stories: I googled the news of Venezuela's hyperinflation in January 2018, four months after the workshop in Colombia. At that time, I could only find the story in sources from South America. The news of Venezuela's hyperinflation reached me again three days after I googled it. This time through the Western news media I consume habitually. Four months earlier, in a storytelling workshop in Ibague, Colombia, Juan had engaged me in the same event. But Juan did not offer cold, factual news. He captivated me with a personalised, emotional story that stuck with me and opened my mind and heart for the Venezuelan situation four months before the first news item reached me.
The impact of a story-development research workshop
'The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a living thing, a story' (Le Guin, 1989: 198).
'There is no agony like bearing an untold story inside you' (Hurston, 1942: 71).
The StoryLab Research Network was intentionally designed as a pilot project around a rather basic research question to test the methodology of ethnomediaology and establish a network of practice-based researchers and storytellers in three emerging economies. As such, the project was a great success. We held workshops in three countries with a total of 42 filmmakers, established a Facebook group of 59 members to further potential discussions and collaborations, and developed 42 screen-based narratives that participants were free to continue to develop outside of the workshop – either on their own or with other participants. This is fantastic impact that has laid the foundation for many follow-on projects. For example, Divine from Accra has since shot his fourth feature film on illegal mining and Adwoa continues to document the story of Yaba. Meliza, from Colombia, has not developed her story further after the workshop, but instead formed working relationship with other participants and explores funding opportunities for her storytelling workshops for kids in rural areas around Ibague.
We started the research project with the overall question of what kind of stories filmmakers in emerging economies want to tell in a digital age that has democratised the means of filmmaking. From my personal observations during the story development workshops, and as reported in this article, the answer was: personal stories that discuss socio-political matters and have an impact on the filmmakers' immediate environments. By doing so, the workshops celebrated the power of storytelling as a basic function of human communication in bringing people together, creating debate, illustrating different points of view, appealing to human emotions, forming communities around shared values, and impacting societies. All of these are important lessons to take away from a workshop and a research project like the StoryLab. But I also understood that Juan's story and all the other stories that we developed through the StoryLab project were not just exercises in storytelling. They could hold value far beyond the limitations of a 3-day workshop. This is the potential power of personal, hyperlocal storytelling. It can, hypothetically, bring local issues to the global stage. And I started wondering, why, despite the digital revolution and democratised access to media production, I am rarely exposed to the stories of Pedro, Yaba or 'He and She' through the media I consume.
During the design of the research project, we had a number of discussions about issues around impact. We tried to avoid going into a foreign country, teaching a workshop and leaving after three days as if nothing had happened. Hence, we established a Facebook group and specifically termed the workshops 'story development' workshops, to indicate to participants that they would be able to use the network established and the ideas developed to continue to work on their projects after the workshops. And a number of participants did.
The StoryLab Network's AHRC-funded research project culminated in a symposium in Preston, UK, in January 2018 (a summary version of which was be viewed online). During the symposium, we discussed the methodology and results of the research project. And we also started discussing future applications of ethnomediaology and the StoryLab Research Network. Questions arose as to whether story-development workshops could have increased impact by shifting attention away from the stories themselves towards larger impact goals around the troika of story, sustainable development and production/circulation. Stories bring us together. They hold value as personal therapy, as localised democratic debate, as advertising for ideas or values, and as thought experiments for imagined futures. We posed the question: what if a story-development workshop becomes the centre of an engagement project that works with the sciences, non-profits, local communities and storytellers to solve specific problems of our times? What if ethnomediaology becomes a tool, a methodology, to address problems that are traditionally left to the sciences?
One symposium discussion centred around the United Nations 17 Sustainable Development Goals (United Nations, n.d.). On 25 September 2015, the General Assembly of the United Nations adopted the resolution 'Transforming our world: the 2030 Agenda for Sustainable Development', based on which 17 Sustainable Development Goals (SDGs) were enforced on 1 January 2016. The 17 SDGs are: (1) No Poverty, (2) Zero Hunger, (3) Good Health & Well-Being, (4) Quality Education, (5) Gender Equality, (6) Clean Water and Sanitation, (7) Affordable and Clean Energy, (8) Decent Work and Economic Growth, (9) Industry, Innovation and Infrastructure, (10) Reduce Inequality, (11) Sustainable Cities and Communities, (12) Responsible Consumption and Production, (13) Combat Climate Change, (14) Conserve the Oceans, (15) Protect Life on Land, (16) Peace and Justice, (17) Partnerships to achieve the Goals.
The 17 SDGs address central global challenges and create actionable goals for a more sustainable world by 2030. With some sources estimating that almost 90% of the world's population under 30 years of age live in emerging markets (Euromonitor, 2014), many of these goals will have to be addressed in emerging economies. Storytelling could play a crucial role here – not just in supporting the sciences by communicating scientific findings. But by bringing stakeholders and communities together, discussing the status quo, imagining local solutions, and communicating these solutions for a sustainable implementation. Such an approach makes storytelling the central method of change, instead of a supporting afterthought.
In urban planning, an approach that puts story at the centre to balance economic growth, environmental health and social justice has been established (Eckstein and Throgmorton, 2003). South-Africa's post-Apartheid Truth and Reconciliation Commission (Wilson, 2001) or Reconciliation Australia (Altman and Hinkson, 2007) are further examples in the field of peace and justice. But more can be done. I recently had discussions with colleagues about the power of animation in not just simplifying scientific findings but in exemplifying applications and creating local communities of action that bring scientists, artists and communities together in envisioning local applications of scientific solutions through storytelling exercises, and translating these solutions into a series of animations that foster identification with shared goals.
Such an approach to story-development workshops, then, one that puts story at the centre of different stakeholders and creates clear goals for a local community, would ensure that the workshops' impact goes beyond the developed stories. Such an approach would take more resources, of course, but it would impact communities and their sustainable development through ethnomediaology and the story making process. It would also bring storytellers together with professional clients and audiences for their work, therefore impacting their own career growth.
Therefore, a central outcome of the StoryLab Research Network lies in its discussion during the concluding symposium and, in addition to having developed and tested ethnomediaology and established a network of screen practitioners, discussing bigger engagement and impact goals for follow-on projects that put ethnomediaology and the StoryLab Network at the centre of sustainable development goals around the globe.
A short documentary focusing on the impact of the StoryLab project, featuring interviews with StoryLab participants from Colombia, Ghana, and Malaysia, can be viewed below.
This research project has been funded by the Arts and Humanities Research Council in the UK. The project's principal investigator was Professor Erik Knudsen of the University of Central Lancashire. This article was first presented at the 2018 Australian Screen Production, Education & Research Association (ASPERA) conference, Melbourne, 27-29 June.
Altman, J and Hinkson, M (2007) Coercive Reconciliation: stabilise, normalise, exit aboriginal Australia. North Carlton, Arena Publications Association.
Baumgaertel, T (2012) Southeast Asian Independent Cinema. Singapore, NUS Press.
Bresson, R (1975) Notes on the Cinematograph. New York, New York Review of Books.
Eckstein, B and Throgmorton, J (eds) (2003) Story and Sustainability: planning, practice, and possibility for American cities. Boston, MIT Press.
Ellingson, L and Ellis, C (2008) 'Autoethnography as constructionist project', Handbook of constructionist research, edited by J. A. Holstein & J. F. Gubrium. New York, Guilford Press, 445-466.
Euromonitor International (2018) Emerging Markets Account for 90% of the Global
Population Aged Under 30. 20 May 2014, blog.euromonitor.com/2014/05/emerging-markets-account-for-90-of-the-global-population-aged-under-30.html. Accessed 1 April 2018.
Geuens, JP (2000) Film Production Theory. Albany, State University of New York Press.
Hall, F (1967) 'Benesh Notation and Ethnochoreology', Ethnomusicology 11(2): 188-198.
Le Guin, U (1989) Dancing at the Edge of the World: Thoughts on words, women, places. London, Victor Gollancz.
Lobato, R (2010) 'Creative industries and informal economies. Lessons from Nollywood', International Journal of Cultural Industries 13(4): 337-354.
Neale Hurston, Z (1942) Dust Tracks on the Road. New York, Harper Collins.
Nettl, B (2015) The Study of Ethnomusicology: Thirty-Three Discussion. Chicago, University of Illinois Press.
Nichols, B (2001) Introduction to Documentary. Bloomington, Indiana University Press. Sjöberg, J (2008) 'Ethnofiction: drama as a creative research practice in ethnographic film', Journal of Media Practice 9(3): 229-242.
United Nations (2018) Sustainable Development Goals. www.un.org/sustainabledevelopment. Accessed 1 April 2018.
Wilson, R (2001) The Politics of Truth and Reconciliation in South Africa: legitimizing the post-apartheid state. Cambridge, Cambridge University Press.


The Bell Email login page analysis has found it safe to use. It includes a ever growing storage space for messages and the latest in webmail spam protection for accounts.
We scanned Webmail.Bell.net and the report is generated below with a full technical scan of the login hosted on the 184.150.200.206 website IP address.
Reverse DNS matches what the Bell Email login is recorded as from the registrar. There are 188 other domains linking to it and 1 internal links from the page.


Consultants at Strive have a broad understanding of the issues facing employers within the area of human resource management.
Contact us for more information and/or to discuss a program tailored to your specific business needs.
Want to maximise productivity and improve job satisfaction?
Strive offers organisational mediation and regularly facilitates conflict resolution using appropriate techniques to assist two or more parties within a workplace to negotiate an agreement that is mutually satisfying and successfully achieves the right outcome. Our goal is to help people better manage interpersonal disputes and see conflict as an opportunity to strengthen relationships.
Conflict Management Coaching is an individual service conducted by an accredited Conflict Management Coach where the individual is able to unpack their conflict experience. Conflict Management Coaching typically occurs over three to six sessions with the aim of identifying opportunities for growth to better manage conflict situations in the future.
Investing time and resources into developing your people is a great way to contribute to your business success. Our team development and team building programs identify the strengths and skills of your team to help develop a team culture. Sessions address conflict and promote problem solving as well as decision making to help staff understand how they work to promote team effectiveness and productivity. Strive can customise a team building workshop to cater for your business and staff needs.
Strive's performance management coaching identifies communication strategies for supervisors to continually provide feedback that encourages each employee and promotes a sense of achievement within an organisation. Performance management coaching assists with clarifying the goals and expectations of an individual's job and role within an organisation and helps the employee to accomplish them. Strive coaching programs can be designed around personal and organisational objectives and challenges.
Strive supports Managers to facilitate a better understanding of individual and group behaviours. This, coupled with a better understanding of their own management style and behaviours, promotes a more cohesive team and maximises performance. This involves one-on-one coaching with the Manager and the implementation of appropriate models to provide the Manager with necessary skills to lead an efficient and effective team.
If you're interested in a program of continuous improvement for your workplace, we can help. Strive develops strong partnerships with clients to gain a comprehensive understanding of your organisation and provide measurable results. The team at Strive believes that early intervention is key to success including a focus on injury prevention and employee assistance programs designed to help people whose work is affected by a personal or job-related problem. We facilitate open and transparent communication between all stakeholders to ensure we help produce positive outcomes for each individual case.


RIo Rancho - Belen, NM was impacted with a large hail storm on Sep 30, 2017. This storm had hail up to the size of 1.25 inches and high winds! Approximately 4,509 houses were hit and with quarter size hail or larger making this a 2 Star map.


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Some interesting things about Glasgow
Posted on September 17, 2018 September 17, 2018 by Alastair Blair
Lots of students at Global School travel the short distance to the west to see Glasgow, Scotland's biggest city. It's very different from Edinburgh. Here are some interesting facts about Glasgow that you might not know.
The Horseshoe Bar in Glasgow city centre was established in 1884 by John Scouller who was a captain in the cavalry. The Horseshoe has the longest bar in the UK, measuring 104ft 4in in length.
The film star Roy Rogers and his horse, Trigger, rode all the way round the Horseshoe Bar in 1954.
Glasgow also has the tallest cinema in the world, the Cineworld in Renfrew Street. It is 62 metres high, has 18 screens spread across six floors and up to 633 people at a time can attend.
Unlike Edinburgh, Glasgow no longer has a castle. However, it does have Castle Street, near the Cathedral. That's where the castle used to be, but all traces were finally demolished in 1792.
People from Glasgow are called Glaswegians (or 'weegies' if you are from Edinburgh!). However, the term is relatively new, being first used by Sir Walter Scott in 1817.
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The inaugural Warwick Universities Summit will see student leaders, academics and experts from across the world coming together to examine the future of higher education and produce a policy document to be presented to the G8 Universities Summit in the summer of 2013.
This year's theme focuses on universities in 2030, and will see leading academics and experts, organisations, and international student leaders examine the key issues that the higher education sector faces today. These include questions on funding and widening access, and what the value of the global public university should be in a rapidly developing world where the threat of international competition stands firm as a guarantor of change within the sector.
Entirely student-run, the summit will have panels, discussions, individual speaker talks, seminars and fringe events taking place throughout the day. It promises to be an exciting and insightful event, followed by our evening wine reception with our international student leaders.
Time: 9am-5.30pm. Wine Reception 6pm-7pm.


NE to North Triad Blvd. Turn Left onto Triad. Turn Right. Turn Left on Airport Pkwy / Bryan Blvd. Merge NC 68 South. Merge I-40 West to Winston-Salem. Take I-40 Business, Exit 206. Right on US 52 North, Exit 6B. Exit 115B, hotel on right.
SW on RC Josh Birmingham Pkwy Turn R. on Rental Car Rd. Turn R on Old Dowd Rd. Straight onto Little Rock Rd. Merge on I-85 N to Concord. Merge on US 52N, Exit 87. Exit 115B on University Pkwy.


School came to bore me. It took up far too much time which I would rather have spent drawing battles and playing with fire. Divinity classes were unspeakably dull, and I felt a downright fear of the mathematics class. The teacher pretended that algebra was a perfectly natural affair, to be taken for granted, whereas I didn't even know what numbers really were.
They were not flowers, not animals, not fossils; they were nothing that could be imagined, mere quantities that resulted from counting. To my confusion these quantities were now represented by letters, which signified sounds, so that it became possible to hear them, so to speak. Oddly enough, my classmates could handle these things and found them self-evident. No one could tell me what numbers were, and I was unable even to formulate the question.
To my horror I found that no one understood my difficulty. The teacher, I must admit, went to great lengths to explain to me the purpose of this curious operation of translating understandable quantities into sounds. I finally grasped that what was aimed at was a kind of system of abbreviation, with the help of which many quantities could be put in a short formula. But this did not interest me in the least.
I thought the whole business was entirely arbitrary. Why should numbers be expressed by sounds? One might just as well express a by apple tree, b by box, and x by a question mark, a, b, c, x, y, z were not concrete and did not explain to me anything about the essence of numbers, any more than an apple tree did.
But the thing that exasperated me most of all was the proposition: If a = b and b = c, then a = c, even though by definition a meant something other than b, and, being different, could therefore not be equated with &, let alone with c. Whenever it was a question of an equivalence, then it was said that a = a, b = &, and so on. This I could accept, whereas a = b seemed to me a downright lie or a fraud. I was equally outraged when the teacher stated in the teeth of his own definition of parallel lines that they met at infinity.
This seemed to me no better than a stupid trick to catch peasants with, and I could not and would not have anything to do with it. My intellectual morality fought against these whimsical inconsistencies, which have forever debarred me from understanding mathematics. Right into old age I have had the incorrigible feeling that if, like my schoolmates, I could have accepted without a struggle the proposition that a = &, or that sun = moon, dog = cat, then mathematics might have fooled me endlessly just how much I only began to realize at the age of eighty-four.
All my life it remained a puzzle to me why it was that I never managed to get my bearings in mathematics when there was no doubt whatever that I could calculate properly. Least of all did I understand my own moral doubts. ~Carl Jung, Memories Dreams and Reflections, Pages 27-28.


Bucharest, 19th of June 2007 – Recently, during the 6th edition of the Ventura 2006 Awards Gala, SIVECO Romania participated as company that had included Enterprise Investors' funds, being nominated at "The Most Effective Company" category, due to its impressive 2006 business results.
For six editions now, the companies that integrated Enterprise Investors' funds are nominated at four categories: "The Most Dynamic Company", "The Most Effective Company", "The Event of the Year" and "The Manager of the Year". According to the Ventura Gala rules, there are nominated only three companies for each category, based on their precedent year's performances proved at the chosen category.
SIVECO Romania has been nominated to "The Most Effective Company" category based on the results obtain in 2006: complex, large and impressive projects and various national and international awards.
In July 2006, in Vienna, OECD (Organization for Economic Cooperation and Development) awarded SIVECO Romania with the "Innovative Domestic Investor of the Year 2006" distinction. This award's importance is high as OECD is one of the most important international forums that debate economical and social politics at global level. The acknowledgement of SIVECO Romania's investment effort, both nationally and regionally, represented a great honor, strengthening its statute of organization that contributes to the business climate's reform, acceleration and improvement.
When selecting SIVECO at "The Most Effective Company", there have been analyzed two of the most successful projects of the year 2006, namely the software development for the IT system for the Payment and Intervention Agency for Agriculture (APIA) and the first know-how export in the field of complex information projects for the Bulgarian National Insurance Fund.
An important mark of the year 2006 is represented by the company's participation to the Bulgarian "Reform in the healthcare sector". SIVECO Romania contributes to quality improvement of the healthcare management through its eHealth solution and the expertise held in this sector. The project is a premiere, signifying the start for the implementation of an integrated information system of huge complexity by a Romanian company in a foreign country.
Through its evolution, SIVECO Romania represents a development model for the Romanian IT industry. This means EAS (Enterprise Applications Suite), eLearning, eAgriculture, eBanking, eHealth and eBusiness performant solutions, addressed to the European unique market, an active presence in professional organizations both in Romania and abroad (ANIS, ARIES, AmCham, PACI, ISTAG) and business partnerships with software and hardware companies worldwide renown (Intel, Oracle, Microsoft, IBM, HP). The company begun to strongly affirm itself in the global technology, SIVECO's eHealth solution reaching Bulgaria and the expertise held in eLearning being acknowledged in Cyprus, Kuwait, Lebanon, Moldavia and UAE.
"The SIVECO Romania's nominalization to "The Most Effective Company" is a great honor to us, as it certifies our actions and their purpose of strengthening the trust in the Romanian business environment. This way more attention can be drawn over the potential our software industry has. We are glad to be evolving on the path we have chosen and the investment made by Enterprise Investors in 2005 sustains us in becoming an important software integrator at regional level. We are grateful for this important nominalization which recommends once again SIVECO Romania as trustful partner in developing successful businesses inside Romania and abroad", declared Anca Crahmaliuc, Marketing Manager at SIVECO Romania, during the Ventura 2006 Awards Gala.
In 2005, Enterprise Investors and Intel Capital announced a $12 millions investment in SIVECO Romania, the most important Romanian software house, marking as well the most important IT international investment in the region. Due to this action, Intel Capital and Polish Enterprise Fund V (investment fund administrated by EI) hold 32,5% of SIVECO Romania's shares.
This strategic investment came as a confirmation of the company's performances, sustaining its intention of becoming a regional IT leader in the next years. As projected, in 2006, the partnership with Intel materialized in funds invested in research & development but also in training its employees.


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What Students Need to Know About the Anatomy and Physiology Cadaver Quiz
Do My University Physiology Examination / By heather
In the past, the University of Michigan was known for having the most impressive anatomy quiz on the Internet. Now, the school is attempting to change that reputation by offering a free version of the same quiz online.
The quiz, known as the University of Michigan's Anatomy and Physiology Exam, is divided into five sections. The first section, known as the Core Exam, covers anatomy basics. This exam consists of multiple choice questions and multiple choice exercises. This test gives students an introduction to the body and its functions.
Anatomical quiz questions in the Core exam are all based on scientific studies. Students are shown how various parts of the body relate to each other and how these relationships can be used to diagnose illness. Students also learn about bone structure, muscles, bones, blood flow and tissues. All of this information can be used to create a diagnosis for patients.
The next portion of the quiz is called the Specialized Exam and it covers a variety of topics. This exam focuses on topics like cardiopulmonary resuscitation, cardiac physiology and cardiac surgery.
The next part of the exam is known as the Clinical Laboratory Exam (CLLE). The exam provides students with hands-on experience in the field of medicine. Students learn about laboratory techniques and methods that are used to diagnose, treat and cure diseases.
The final section of the University of Michigan's Anatomy and Physiology Exam consists of tests on forensic pathology. Students are given hands-on clinical experiences in the areas of pathology such as blood, tissue and urine sampling.
Students who finish the examination have the opportunity to take the exam again for credit. However, they will only be allowed to do so if they have not taken any other Anatomy and Physiology exams.
In addition to the University of Michigan Anatomy and Physiology Exam, there is another exam that is offered through the same company. This exam is called the Anatomy and Physiology Proficiency Exam and can be taken after a student has completed the University of Michigan exam.
When you take the University of Michigan Anatomy and Physiology Cadaver Quiz, you are getting a basic introduction to the body. This course prepares students for their career in medical practice and will provide them with the tools they need to be successful in their career.
The Anatomy and Physiology Cadaver Quiz is designed to give students hands-on knowledge of the human body. It will give students an understanding of the many different parts of the body and how these parts work together with one another.
In most cases, students who complete the quiz will be prepared to perform routine tasks such as performing blood tests or performing a body scan. a cadaver scan. Once students understand the anatomy of the human body, they can use the information to diagnose and treat patients.
Students will also become familiar with the types of conditions that are associated with the human body. They will also have an understanding of the different types of diseases. The Anatomy and Physiology Cadaver Quiz also give students a good overview of the organs of the body and how they work together.
Once students have learned all of the anatomy they will be able to diagnose a patient with confidence. They will know what steps to take in case of a medical emergency. They will know how to make a correct diagnosis of the problem.
Students who complete the Anatomy and Physiology Exam will be ready to enter into a world full of medical responsibility. This course prepares students to perform procedures such as performing cardiac catheterizations. and performing blood tests.
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text:
St. Louis Fed's Bullard Discusses Three Themes for Monetary Policy in 2019
St. Cloud, Minn. – Federal Reserve Bank of St. Louis President James Bullard discussed "Three Themes for Monetary Policy in 2019" at St. Cloud State University's 57th Winter Institute on Thursday.
The first theme was related to low market-based inflation expectations. Bullard noted that the Federal Open Market Committee (FOMC) may miss its 2 percent inflation target on the low side for the eighth consecutive year in 2019 based on current readings of market-based inflation expectations.
The second theme was related to the very weak feedback from labor markets to inflation. "Labor markets have been performing well, but the feedback from labor markets to inflation has weakened considerably in the last two decades," he said.
The third theme was related to the flattened yield curve. "The Treasury yield curve has flattened significantly, and a meaningful and sustained yield curve inversion would send a bearish signal for the U.S. economy," he said.
Market-Based Inflation Expectations Are Low
Bullard pointed out that the FOMC has missed its personal consumption expenditures (PCE) inflation target on an annual basis every year since 2012.
"Market-based measures of inflation expectations suggest that financial markets believe the FOMC will again miss its PCE inflation target to the low side in 2019 and, indeed, for the next five years," he said.
He noted that market-based measures of inflation expectations provide an important benchmark for current monetary policy. These expectations take into account all available information affecting the likely evolution of inflation going forward, he explained.
Feedback from Labor Markets to Inflation Is Weak
Bullard noted that U.S. monetary policymakers and financial market participants have long relied on the Phillips curve—the correlation between labor market outcomes and inflation—to guide monetary policy.
"However, these correlations have broken down during the last two decades, so they no longer provide a reliable signal," he said. "Policymakers have to look elsewhere to discern the most likely direction for inflation."
Yield Curve Inversion Threatening
Bullard then discussed the yield curve, which has flattened significantly. He noted that various measures of yield spreads are all trending toward inversion.
An inversion would suggest that financial markets expect less inflation and less growth ahead for the U.S. economy than does the FOMC, which influences the short end of the curve, he explained. He added that inversions have been associated with recessions in the postwar U.S. data.
"Market-based signals such as low market-based inflation expectations and a threatening yield curve inversion suggest that the FOMC needs to tread carefully going forward," Bullard said. "Through its normalization program, the FOMC has already been sufficiently pre-emptive over the last two years to contain upside inflation risk."


Join our next workshop! The Budapest Institute of Banking (BIB) and the Banking Association for Central and Eastern Europe (BACEE) will hold BIB – BACEE post conference worskhop on the hottest regulatory topics on 8th of May 2019 at the Danubius Health Spa Resort Margitsziget in Budapest. This workshop provides an ideal platform to discuss what will be the hottest topics of financial sector regulation in the next few years. Our instructors are excellent professionals of the global and European banking regulation from Deloitte and Central Bank of Hungary (MNB).
Supervisory focuses in 2019 – where do regulation trend in banking, capital markets and investment services. What are the hot topics on the agenda of banking regulation for upcoming years?
The EU prudential requirements will be soon changed significantly.The current modification proposals to CRD/CRR do not only implement the Basel III guidelines, but give many additional EU specific requirements to it.


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A thatched roof makes this a special piece. This lighted porcelain residence was designed to accompany Dickens Village by Department 56 and the light thatching allows for a transluscent light to shine through. It includes a switched cord with bulb.
5.75 x 4.75 x 6 in.


Our Remembrance Ceremony will be held on Sunday, October 6, 2019.
Who: Anyone who has experienced a pregnancy or infant loss of any kind.
We welcome your friends and family to join you, as well.
What: A quiet time of acknowledging, honoring and remembering with music, readings and a candle lighting ceremony.
What should I bring? Please bring a candle and a bead to add to our Remembrance Necklace.


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Colts Cheerleaders On Audition Disasters: How They Recovered And Lessons Learned
What can go wrong during audition week? Plenty. As the Colts Cheerleaders kick off their weeklong final auditions, veterans share their biggest mishaps, how they recovered, and what they learned along the way.
Heather Lloyd
It's a busy week for the Colts Cheer hopefuls as they prepare for the final audition showcase on Sunday. Long days, early mornings, late nights, and the pressure of performing - it's a mental and physical grind - one that can lead to a life-changing opportunity. From the fitness test to the interview to rehearsals and memorizing choreography - all in an effort to land their dream job as an Indianapolis Colts Cheerleader.
"We ask a lot of them this week and it's because we can see their potential," said Colts Cheer Director Kelly Tilley. "What transpires this week is us pushing them to their maximum potential and giving them the confidence to know that they can do this."
For the 47 candidates who made it through the first round of auditions, this week is ripe with opportunity - and potential missteps.
PHOTOS: Meet The 2019 Colts Cheer Finalists
Headshots of the 2019 Colts Cheer Audition finalists.
"It was my second time trying out and I was very confident. I thought I had it all together compared to the year before. I had rehearsed my questions and answers. I knew the football test. But the one thing you can't prepare for is the unexpected," said Abby.
So she made sure to leave herself plenty of time before her interview.
"I didn't want to be late, so I showed up early and I had my lipstick in my hand. I was getting ready to go into the bathroom to put it on, only to realize I had already put it on. It wasn't on my lips, it was on my dress."
She had a big, pink stain on her beautiful blue dress. But what happened next was also beautiful. The women in the lobby, who were waiting on their interviews, dropped everything to lend a hand.
She aced the interview, made the team, and made some friends in the process.
"At that point, you're still kind of learning names and faces. It wasn't until months later that I looked back at audition week and said, 'Oh my gosh! That was our first real encounter. Now, we're teammates. Now, we're best friends.'"
Audition week is a little like finals week. It's about preparing, managing time, and managing emotions.
"Last year, I was trying to balance school and I had a lot of tests during this showcase week," said three-year veteran, Ambria. "During the interview process, I was running late. I think my interview was at 11. I left home at 10:50, my gas light came on, I hit a car on the way, so bad - like, the worst day of my whole life."
Thankfully, the car she hit belonged to a friend.
"I was like, 'I have to go!' And they were fine," she laughed.
She made it with a minute to spare. And that was the lesson she took away.
"Just keep going. Nothing can stop your shine. Nothing can bring you down. On the final day, Sunday - it'll all be worth it," she said. "And you'll eventually learn to leave more than 10 minutes early."
That was the lesson Bailey learned during her rookie year of auditions.
A student at Purdue at the time, she left West Lafayette for her interview in Indy and realized her gas tank was empty. She rolled into the nearest station on fumes - only to realize she didn't have her wallet. At that point, she did the only thing she could think of - and called her mom.
"I was crying because I literally had no wallet, no money, and I was on fumes. She was like, 'Ok. Do you see any nice cars in the parking lot?' and I was like, 'No.' She was like, 'Go inside and ask if he'll give you money and you can bring it tomorrow.' I was like, 'I can't do that.' She goes, 'Take the phone in to the guy working inside.' So I hand him the phone and say, 'My mom is on the phone.' He talked to her and whatever she said worked because he goes, 'Bring me 20 dollars tomorrow.'"
Now retiring after two seasons, it's a story she shares with others to put this week in perspective.
"My message to them would be to know that things are going to go wrong. Everything is not going to go perfectly. Life doesn't work that way. Just roll with the punches, because they're also looking to see how you respond to things. Be prepared with what you can and the things you can't control, just roll with it."
Preparation is a lesson one-year veteran Caroline K. learned in college.
"When I auditioned for Butler's dance team, you needed your student ID to be able to audition. I showed up and I was early and I was ready to go. And then they asked for my ID and I was like, 'Oh my gosh, I don't have it,'" she said. "I walked because it was on campus and one of my friends was like, 'Take my car.' I got in and the car wouldn't start, so I sprinted in the pouring rain. But I needed my ID to get me into my dorm room, so I couldn't get into my dorm."
It was a series of unfortunate events, but it all worked out. She auditioned soaking wet and made the team. She also took away a valuable lesson.
"I will never forget. I always triple check my stuff."
Leaving enough time beforehand is key. But as three-year veteran, Lexie, found out - so is leaving enough time afterwards.
"Before my interview, I had to come from school. So, I left my kids with another teacher in the building," she said. "I came in for my interview and they were running a couple minutes behind. I was like, 'Oh my gosh. I don't have anybody to cover my class if I don't make it back to school on time.' I had a classroom of 22 first graders, 6 and 7-year-olds, that would not have an adult in the building if I didn't make it back on time."
She talked to Tilley and she made arrangements to get her in and out quickly. And what Lexie learned was that if you have a problem, speak up.
"You want to give so much to this process, but at the same time, you can't give up your full-time job, either" she said. "Don't lose your real job, because they're counting on you too."
Carissa has three kids at home that are counting on her while she auditions for her second season as a Colts cheerleader. And as any parent knows, life with kids is unpredictable.
"Today, I picked up Zeke, he's one, and he puked all over," she said.
Still, she made it to preliminary auditions on Saturday with time to spare.
"I'm here. I might smell like puke, but it's ok," she laughed. "It's my everyday life. We just roll with it."
After 11 auditions of her own, eight with the Pacers and three with the Colts, that's the advice Jessica R. gives everyone.
"Do not try anything new. Keep life as normal as possible," she said. "I even say don't take work off, because that's going to be an adjustment to your week. Try to keep things as normal as possible, try to stay calm, and most importantly, try to have fun and be yourself."
As she joins the sisterhood of retired cheerleaders, Jessica is happy to use her experience to help others.
"It's humbling that they want to ask me and they want my advice."
As the Colts Cheerleaders move on to the next chapter, Tilley isn't just preparing them for game day - she's preparing them for every day - and life thereafter.
"There are a lot of times you're given a situation that you're not necessarily prepared for and you've got to just go for it."
If you miss, don't miss the lesson.
Then, put it behind you and move on.
Because just like football, it's all about the next play.
Good luck to all the Colts Cheer hopefuls!
For information and to buy tickets to the Colts Cheer Audition Showcase, click here.
Colts And Anthem Team Up To Promote Hoosier Health
The Colts know how important health is - to their football team and their community. That's why they teamed up with Anthem to promote Blue Ticket to Health.
Tis The Season: Colts Give Back With Presents And Presence In December
It's the season of giving. From clothes and shoes and presents to their presence - being able to give back is something the Colts take to heart.
Colts Mascot Blue Gathers Friends And Family To Make Christmas Dreams Come True
The real meaning of Christmas is bringing people together in the spirit of love, hope, and joy. It's something Colts mascot, Blue, does all year long. But at Christmastime, he brings family and friends together to give back in a big way.
Colts And Red Gold Have Relationship Based On Family, Community, And Service
A good partner brings out the best in you. That's what the Colts and Red Gold have done for more than a decade - and it's something they look forward to doing for years to come.
Colts Mascot Blue Earns His Place In Mascot Hall Of Fame
The furry face of the franchise since 2006 - this summer, Colts mascot, Blue, will be inducted into the Mascot Hall of Fame.
Our Hearts To Your Soles: Colts And Methodist Sports Give Back At Wheeler Mission
The Colts teamed up with Methodist Sports Medicine to help men from the Wheeler Mission kick off the holiday season and start the New Year on the right foot.
Best Tailgating Recipe: Sloppy Joes 5 Ways
You've had classic Sloppy Joes, but what about Hawaiian style or Southwest? Your team will love these Sloppy Joes 5 Ways!
Colts Partner With Wagner Reese To Salute America's Heroes
In November, the Colts teamed up with Wagner Reese to kick off a monthlong celebration of events to salute and honor America's heroes.
Best Tailgating Recipe: Maple Bacon Beer Burgers
These Maple Bacon Beer Burgers will have your whole team saying, "Bring on the beef!" at your next game day gathering!
Fate Brought Emma Into Ryan Kelly's Life - And She Brought Jake With Her.
Ryan Kelly never saw himself as a small dog guy. But when his girlfriend, Emma, came into his life - she brought Jake with her. And they've been inseparable ever since.
Best Tailgating Recipe: Aloha Beef Sliders
Add a little tropical island spirit to your next tailgate with these tasty and super easy Aloha Beef Sliders!
Colts Honor Youth Football Coach From Heartwarming Video On Game Day
The video captured hearts - a young football player tearfully reading a thank you letter to his coach. On Sunday, the Colts honored Coach Richard Nelloms and Jayden on the field at Lucas Oil Stadium.


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Q: Can I have both index and create actions in the index view? Using the perennial example of a Blog webapp (and all resources are currently automatically mapped in routes.rb):
I have a simple index page that lists all my Post titles. I would like to add a form at the bottom of this page to quickly create new Posts.
I'm new to Rails and can't seem to figure this out! Please help!

A: Try something like:
<% form_for Post.new do |form| %>

(Insert fields here:)

<%= form.label :fieldname %>
<%= form.text_field :fieldname %>

<%= form.submit "Create" %>

<% end %>

Add this to app/views/posts/index.html.erb.

A: Yes you have both index and create actions in the index view.
display list in a index.html.erb then form to create a new post.
after creating new post redirect to index action only.


The first tank crews named their vehicles, in July 1917 the names were officially adopted and each tank was given a new name beginning with the battalion's letter.
Even after the battalion designation was changed from letters to numbers in January 1918 the tanks continued to carry names beginning with their battalion's former letter; even in those battalions that used crew designations beginning with the company's letter.
Tanks retained their name until they were knocked out, transferred out of the battalion or were transferred between companies. Names were often retained and used on the tanks successor, sometimes with a post nominal to indicate how many times the name had been used.
The Germans and Russians also named their tanks.
Some vehicles thus carried several names throughout their existence.
If a tank's serial number is known please refer to that entry for the tanks history.


Why the Karoq over the Ateca?
Just wondering why you're going for the Karoq over sister cars the Ateca and Tiguan?
Re: Why the Karoq over the Ateca?
I feel skoda is a better fit for my driving as comfort and value are two key priorities.
Karoq has more forgiving suspension than the Ateca, better suited to UK roads, most up to date VW group engine in the 1.5TSI, and a shorter waiting list - 3 months compared to 9 months+ for the Ateca. The Tiguan is too expensive.
Did you find the Karoq 1.5 to feel very underpowered compared to the Tiguan 2 litre? That is my main concern (110KW vs Tiguan 132 or 162KW).
As an owner of Karoq TSI 1.5 i have to say you will be surprised how quick it is. Taking into account the size of of the car 1.5 TSI is even bit of overkill for a compact suv unless you want a sportscar acceleration then this segment suv is not for you.
Regarding Ateca it was my first choice when it was released and available to preorder. I tested Ateca and i was glad i cancelled my order. It is too firm and harsh on some roads. My Karoq has 18" rims also so it takes a bit less comfort also away as tyres are only 215/50.
If you want ultra comfy ride on all type of roads even really bad ones then go for smaller rims and more tyre on wheels.
From my experience some larger potholes can be felt inside car.
Another option is to take adaptive suspension but since it was only available for 4x4 version i couldnt take it. I dont need 4x4 for most of time in city roads. But it does cost a lot if its not already in package.
Thanks to you both. I want sportscar acceleration, hahaha! But I am resigned I won't get it in an SUV. In saying that, I'd still like 'the best of the bunch' so to speak.
I test drove the Peugeot 3008 (also Suburu XV, Nissan Qashqai) and I found them all underwhelming, I have decided a CVT engine is not for me as I can't stand that 'revvy' sound or feel. The Tiguan (162) was fine, though on a test drive there's limited opportunity to really give it some gas. Mazda CX-5 was ok but salesperson was useless, even though my current Mazda has given me no grief in 14 years. Besides that, most of them don't have all the features of the Tiguan (and Karoq).
My hubby has a V6 BMW X3 and that's not helping things. Just want semi-decent acceleration is all.
Thanks for everyone's input though, keeping a keen eye on these forums.
Problem with the Karoq, is it's not due out here in Australia til Q3, it keeps being pushed out, whilst I get more and more impatient!
The Ateca forum is reporting that Seat will no longer accept orders for the 1.4TSI engine due to " overwhelming demand" If you want a Karoq 1.5 instead suggest you get in quick before the waiting list gets ridiculous.
I waited my ateca 8 months until i cancelled it then lucky for me Karoq was ready to order (Ordered end of septemeber) and i was one of the first in my country to drive it . Have not seen any other Karoq yet while driving in capital city daily.


text:
/* jshint indent: 2 */
'use strict';
module.exports = function(sequelize, DataTypes) {
  return sequelize.define('calendar', {
    CalendarDate: {
      type: DataTypes.STRING,
      allowNull: false,
      primaryKey: true
    },
    isworkday: {
      type: DataTypes.INTEGER(11),
      allowNull: false
    }
  });
};

redpajama_set_name: RedPajamaGithub


text:
/*global angular */

//single controller to handle all front-end functionality
function HomeCtrl($http) {
  var self = this;
  self.color_schemes = [{light: '#0099FF', dark: '#007ACC'},
                        {light: '#009933', dark: '#007A29'},
                        {light: '#CC00CC', dark: '#A300A3'},
                        {light: '#9966FF', dark: '#7A52CC'},
                        {light: '#FF6666', dark: '#CC5252'},
                        {light: '#00CC99', dark: '#00A37A'}];

  self.changeColor = function () {
    random_color_scheme = self.color_scheme;
    while (random_color_scheme === self.color_scheme) {
      random_color_scheme = self.color_schemes[Math.floor(Math.random() * self.color_schemes.length)];
    }
    self.color_scheme = random_color_scheme;
  };

  self.facebookShare = function () {
    var fbpopup = window.open("https://www.facebook.com/sharer/sharer.php?u=http://startup-ceo.io", "pop", "width=600, height=400, scrollbars=no");
      return false;
  };

  self.changeColor();

}

angular.module('RonQuixote').controller('HomeCtrl', ['$http', HomeCtrl]);