text:
The Art of the Paragraph
Everyone loves a great sentence. But paragraphs can be just as magical.
by Elisa Gabbert
in Beyond Words • 04/27/2015
In the past few months, scanning the new arrivals at my local library, I have picked up the same paperback novella several times. Drawn to its one-word title and desaturated blue and off-white spine, I never remember why I decided against it on previous occasions. Then I see the descriptive copy on the back cover, which begins with something like "Written in one long incantatory paragraph…" At this point I put it back on the shelf. I have no desire to read a book without paragraph breaks. The lack of white space on the page can make me feel a little panicky, like being on a train in an underground tunnel – what's my exit strategy? Reading a book, I always glance ahead to see where the section or chapter ends, so I know when I can stop reading if I want or need to. Stopping mid-paragraph is deeply unsatisfying – no sense of closure, no easy way to remember where I left off when I next pick it up.
Claustrophobic tendencies aside, of late I am actively interested in paragraphs, their formal possibilities. Sentences are taken to be the basic unit of prose, and we use them metonymically – we say "She writes wonderful sentences" when we mean to praise the author's prose. James Salter is so well-known for his sentences that it rises to the level (or sinks, I suppose) of critical cliché. In a 2013 profile in the New Yorker, Salter is quoted, in a letter to a friend: "I wanted to get past the great-writer-of-sentences thing. I don't care about that, at this stage." But why is it, I wonder, we rarely talk about a writer's way with paragraphs?
It may be because there is a lot more you can do with a sentence to vary it; syntax and diction, all those micro-choices that add up to the macro-style of (say) a novel, happen at the level of the sentence. There are pretty much only two ways to vary your paragraphs. The first is length. Some writers work in short paragraphs, some in fluctuating lengths, others in long, multi-page-spanning paragraphs, like our incantatory friend above. Some writers work at both ends, depending on the book – compare As I Lay Dying to Absalom, Absalom! It's no coincidence that the former, with its many breaks, is easier to read; it could almost pass for YA. Bestsellers keep paragraphs and chapters short as a tactic – they make for more addictive, snack-like reading, so the reader repeatedly thinks I'll just read one more.
The second – and in my view the far more interesting lever – is to change the way you build sentences into paragraphs, and the way you move from paragraph to paragraph. How many sentences are there per paragraph, and what links the sentences? What style is achieved in the blank space, the synapse, between end punctuation and initial letter? What governs the move to start a new paragraph? What happens in the pause after the hard return?
Single-sentence paragraphs, when not used for dialogue, are often used for humor. See the first three paragraphs of David Foster Wallace's essay on cruise ships, "A Supposedly Fun Thing I'll Never Do Again":
The comic-timing pauses around the Conga Line sentence remind me of the way the Bobby character in Richard Attenborough's film version of A Chorus Line delivers his monologue about growing up in Buffalo – strolling stage left, pausing to face the director before delivering the laugh lines, then strolling back stage right. So you get the set-up mid-stroll ("I couldn't catch a ball if it had Elmer's Glue on it. And wouldn't my father have to be this big ex-football hero. Well, he was so humiliated, he didn't know what to tell his friends, so he told them all I had polio"); then the pause, the quarter-turn, and in a tone somewhere between smirking and deadpan: "On Father's Day I used to limp for him." Wallace uses this tempo for jokes throughout his essay; on the next page, the one-line paragraphs are "(Actually it was more like I shot at skeet at sea)" and "I now understand the term 'Duty Free.'"
What most people follow is a variation of the rule established for "five-paragraph essays" in grade school, where each paragraph is built around a "topic sentence." As such, if the essay is an argument, each paragraph represents a subargument, with the first and last paragraphs reserved for introductory and closing remarks. (This seems like a big waste of two-fifths of the allotted paragraphs; in school I learned to save one of my best points for the end, to avoid having to rephrase my intro all over again.) In fiction, especially long fiction, the job of the paragraph is somewhat more subtle, but as a unit it endeavors to move the story forward in its tiny way; it's a rotation of the wheels.
In nonfiction, I'm obsessed with what I've come to think of as the invisible transition, where there is no clear, necessary connection between two paragraphs, and yet – something happens. The juxtaposition isn't as jarring as a non sequitur, but it could have been otherwise. In fact I'd argue that what's mostly "lyric" about a so-called lyric essay are these transitions, these leaps, more so than some inherently "poetic" quality of the language. Invisible transitions make a text feel more open, and inside these openings, essays gesture toward poetry. (Gertrude Stein said "Sentences are not emotional but paragraphs are," though who knows if she meant it.)
A fleuron, a typographic marker sometimes used as an inline paragraph break.
Some writers are in the habit of overwriting their invisible transitions with visible markers, be it numbers that transform the paragraphs into an ordered list (as in Bluets by Maggie Nelson), or those little typographical ornaments used to mark section breaks, the glyphs sometimes known as flourishes or fleurons or dingbats or asterisms, depending on their design. In My 1980s & Other Essays, Wayne Koestenbaum tries both approaches, though sometimes the numbered sections include multiple paragraphs. This tactic is almost a denial of conscious involvement in the ordering of paragraphs, bringing the essay closer to a notebook of pensées (or maybe a blog post); it gives the appearance of "effortlessness."
Accordingly it's in the essays that don't use section signs that I appreciate the transitions most. Take, for example, the first two paragraphs of Koestenbaum's "John Ashbery's Lazy Susan":
A John Ashbery poem behaves like a lazy Susan. Spin it and get whatever condiment you want, without having to say "pardon my reach."
His poems offer a model of writing-against-fatigue, a method of incorporating lethargy in the compositional act: "I'm too tired to write" and "I want to write" can coexist, sing together, in utterances equally industrious and dithering. How hard does an Ashbery poem work? Very hard. Not hard. Call it the Lazy Susan Sublime.
Because two paragraphs are not enough to see these transitions as a pattern versus an isolated instance, let's look at the fourth and fifth paragraphs too:
Consider each Ashbery poem an instruction manual on how to spend time fruitfully by wasting it, by growing distracted, blurry, foggy, garrulous, horny, contrapuntal. Reading Ashbery, we enter a fugue state; polysemy (Polly Seamy) overtakes us.
After Ashbery, it's impossible to use an idiom seriously. He corrupts our sincerity function, perverts it, encourages us never to mean what we say. It's banal to be transparent.
Each paragraph is almost self-contained, a mini-essay inside the essay – not fractal, but molecular. (To put more water in the pool, you don't have to consider arrangement; just add molecules.) There is no "secondly," no "furthermore." When this is carried out for the length of an essay, there's a sense of orchestrated contingency. Each sentence is perfected, but the whole could have easily included more paragraphs, or less. It had no inevitable direction. (Note how Koestenbaum seems to spring off into new paragraphs based on whim, a sonic association, a preoccupation with a single word, a desire to go back and expand. Prose is fecund this way; it can grow from the inside, not just the end, and paragraphs are opportunities for fruitful digression.) I love the way inter-paragraph gaps fight against the idea of essay as argument, and make it an act of discovery. Or rather a document of discovery, like an explorer's journal, written in pencil and gone back through – to add color more than accuracy; even at the expense of accuracy. The essay needn't be faithful to the path of the thinking, but the form can reveal how thinking happens, like when a song gets stuck in your head and only later do you realize why you thought of it, that you had read or heard a word from the third verse. There's magic there – the mind doesn't always show its work. Why should prose?
Elisa Gabbert is the author of L'Heure Bleue, or the Judy Poems (Black Ocean), The Self Unstable (Black Ocean) and The French Exit (Birds LLC). Follow her on Twitter at @egabbert.
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The Part 2 testing period will end this Sunday, December 9 at midnight eastern time. There will be no make up period for any reason. If you have not logged in to begin the test we suggest you do that today during business hours. Our office will be open until 4:30 p.m. EST to be able to answer your questions or help you with any issues you may be having.
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How have you served as an advocate for others in your life? When did you first start to see that in yourself? What inspired you to that end?
Why do we practice advocacy? What (or who) enables us to do that? What are some ways in which we, as a church, can practice advocacy?
Can you share a little about the role(s) God has given you to be an advocate for others in your current season?
I want to hone in on your role as a foster mama for a second, because I know a lot of our listeners are either fostering themselves or know someone who is practically advocating for another person in this capacity. What made you decide to pursue fostering? Do you feel like certain people are "called" to foster? Or should we all be engaging in fostering and/or adoption?
How is fostering to adopt different than fostering? Why did you chose fostering and not just going straight to adoption?
What do you wish you would have known going into the messy work of helping other people and really sharing your life with them?
How do you respond when people say, "I could never do that"?
Is it true that most kiddos in the foster care system have experienced some level of trauma? Have you ever experienced trauma, personally, being a foster mom or helping other people? How do you process through that, personally?
Is there a time in which we can go too far and actually enable someone when we're trying to help them?
Have you ever faced burn-out and gotten really tired? What did that look like? What does self care look like for you in the midst of helping people in need? And for marriage too?
How can we come together as a church to share the burden of helping those in need (particularly when we are in busy seasons of life ourselves)? How has your community come alongside you?
What's the joy of advocating for others in general, not just in the role of fostering?
What are some practical starting points for people who want to serve as an advocate for those in need?
What 3 resources would you recommend for people wanting to serve as an advocate for those in need?
Ya'll have heard me talk about how much camp has impacted my own life. Because of that, I want to tell you about a special camp, T Bar M, that's located in New Braunfels, TX. You've probably heard of T Bar M for their incredible summer camps, but did you know that you can retreat with them year round? Having spent a year on a camp property, I know there is something powerful that happens when we get away with the goal of nurturing our relationships with God and with each other. If you have a group that needs to retreat, T Bar M is definitely the place to go. It's is a unique property with lots of space, a perfect spot to strengthen your team by unplugging from routine and breathing life into your people. Best of all, the staff at T Bar M will come alongside of you to accomplish your goals in a Christ-centered environment. Right now, T Bar M is partnering with Journeywomen to help you retreat well! Visit tbarm.org/journeywomen and get a free Ebook on the value of retreating, along with 15% off your first retreat experience!


text:
Q: master-pages SharePoint2010- Show content I have created a new master page to SharePoint 2010. Right now I'm just trying to make it work. I want to display who modified the page and when. This works great whit this code:
<SharePointWebControls:DateTimeField FieldName="Modified" runat="server" ControlMode="Display"/>
by
<SharePointWebControls:UserField FieldName="Modified By" runat="server" ControlMode="Display"/>

But my problem is that when i Load the SP-page with my master-Page this part of the page stays for 0.5 seconds and then disappears. My question is: Do you know how I can make the modified and modified by content to stay on my site?
Thanks for your help!

A: The Answer to my Question was that I had to put the cod from the question before this tag:
 <asp:ContentPlaceHolder id="PlaceHolderFormDigest" runat="server">

so my finished cod looks like this:

                 Idag är det

            Senast uppdaterat:
            <SharePointWebControls:DateTimeField ID="DateTimeField1" FieldName="Modified" runat="server" ControlMode="Display"/> av
            <SharePointWebControls:UserField ID="UserField1" FieldName="Modified By" runat="server" ControlMode="Display"/>

        <SharePoint:DeveloperDashboard ID="DeveloperDashboard1" runat="server"/>

redpajama_set_name: RedPajamaStackExchange


text:
require "rspec/helper"
describe "Plugins/Frontmatter" do
  let :asset do
    env.find_asset!("plugins/frontmatter")
  end

  describe "---" do
    it "strips frontmatter" do
      expect(asset.to_s).to(match(%r!^body\s*{!))
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
BSA >> About >> Latest News >> 2017 >> October >> 'Working class children are damaged by the English education system,' says Cambridge professor
'Working class children are damaged by the English education system,' says Cambridge professor
The English school system is "profoundly unjust" and creates "demoralisation, demotivation and physical and mental distress" among working class children, a new book by a University of Cambridge professor says.
In Miseducation: Inequality, Education and the Working Classes, published on 11 October, Diane Reay says "the working classes have never had a fair chance in education... and they definitely do not have one in a 21st-century England that is scarred by growing inequalities."
Professor Reay, who comes from a working class background and was an inner-city primary school teacher in London before becoming a professor of education at Cambridge, wrote the book out of a "need to make sense of and reflect on the damage inflicted on the working classes through education.
"The damage is now very different in appearance and texture to that suffered by my generation, but its scale and intensity has not diminished. The way class works in education has shifted and changed, but the gross inequalities that are generated through its workings do not change."
The book is published by the British Sociological Association and Policy Press and is the first in their joint '21st Century Standpoints' book series, which brings important sociological work to non-specialist and academic audiences.
In it, Professor Reay, draws on more than 500 interviews she conducted with parents and children over the past few years, and statistics from educational researchers. She says that:
Private school students are 55 times more likely than children receiving free school meals to gain a place at Oxford or Cambridge. Graduates from the poorest 40 per cent of families have average debts of £57,000 compared with £43,000 for the richest 30 per cent.
Around 18% of English school educational spending currently goes on the 7% of pupils who are privately educated: "We spend more on our private school system [per child] than does any other country except Chile."
"In fairer and higher-achieving state educational systems such as those in Canada, Japan and Finland, children...who are falling behind receive extra support and more small-group input to enable them to catch up. Perversely, in the English educational system it is the white middle-class children with assertive parents who are more likely to receive extra help and additional resources. It is unsurprising, then, that socioeconomic attainment gaps widen. This may be how the English educational system has always worked, but that does not stop it being profoundly unjust."
An Organisation for Economic Co-operation and Development report in 2013 concluded that schools in England are among the most socially segregated in the developed world. In a UNICEF report in 2007 on how well children are served by their national educational systems, the UK languished near the bottom.
"From church schools to city academies to the free schools, schools in the grant maintained sector effectively impose restrictions on entry, selecting pupils with characteristics that they regard as desirable. In the 21st century, we are seeing the dissolution of a comprehensive system that was never fully comprehensive even at the outset, and its replacement by new elements that combine selection, elitism and patronage under the guise of providing diversity and choice."
Professor Reay writes about her research interviewing students who attended two elite private schools and their parents. "What was striking ...was the certainty and confidence with which these privileged parents approached their children's schooling. There were neither the hyper-anxiety of many middle-class parents sending their children to state schools nor the doubts and lack of confidence of working-class parents. In their place was an almost unassailable belief that their children were, and would continue to be, educational successes. I was told that their children were 'incredibly bright', 'destined for academic heights', 'bound for Oxbridge' and 'simply brilliant at sciences'."
By contrast, during her 20 years spent teaching, "the conditions for the working class children I was teaching worsened rather than improved. The developing culture of audit, regulation and assessment, the introduction of the National Curriculum, the growing reliance on ability setting, but above all the worsening economic conditions of the working classes, made the work of teachers like myself, who wanted all children to realise their potential, increasingly difficult and demoralising."
In the book Professor Reay also describes her own experience of education as the oldest of eight children of working class parents living on a sink estate in a coal mining town.
"I seem to have been primed to remember and hold on to all the petty humiliations and insults of class throughout my schooling," she says. "I can remember in vivid detail myriad put downs and negative interactions.
"On my first day at grammar school one of the girls from the private prep school had wafted over with her friends to tell me 'my family knows your family'. When I gave her a puzzled look she retorted, 'your grandmother was our servant', and drifted away. Although she was in a number of top-set classes with me, she never spoke to me again. I learnt from this, and myriad other daily micro acts of class discrimination, to fade into the background, to become as small and invisible as I could make myself.
"The convention in a book like this is to set out the problems and then to offer solutions. But our current situation defies any formulaic approach. What is needed is a sea-change in hearts and minds, not just better policy in education."
For more information or to contact Diane Reay, please contact:
Tony Trueman
British Sociological Association
tony.trueman@britsoc.org.uk
Review copies are available from Kathryn King at Policy Press.
1. Miseducation: Inequality, Education and the Working Classes by Diane Reay:
Paperback ISBN 9781447330653 £9.99; Epub ISBN 9781447330660 £7.99;
Epdf ISBN 9781447330646 £60. It can be ordered from the Policy Press website: www.policypress.co.uk
2. The next books in the 21st Century Standpoints series will be Snobbery, by David Morgan (July 2018), and What's Wrong with Work? by Lynne Pettinger (January 2019). The series editors are Professor Les Back, Goldsmiths, University of London, Professor Pamela Cox, University of Essex, and Professor Nasar Meer, University of Edinburgh.

redpajama_set_name: RedPajamaCommonCrawl


text:
Trading Enterprises announces
the arrival of the new S60 premium sports sedan in the UAE
Trading Enterprises – Volvo has announced the arrival of the new S60 mid-size premium sports sedan in the UAE. The Volvo S60 is the first Volvo car made in the US and produced at Volvo Cars' new manufacturing plant in Charleston, South Carolina.
Built on Volvo's Scalable Product Architecture platform, it features all the now-classic Volvo styling cues, including the T-shaped 'Thor's Hammer' LED headlight design, distinctive waterfall grille with Volvo Iron Mark and the expressive use of the Volvo wordmark on the rear.
Commenting on the launch, Oscar Rivoli, Managing Director of Trading Enterprises, said, "The new S60 is one of the most exciting Volvo cars around. It is a true driver's car that brings acclaimed technology from the 90 Series and 60 Series into this segment, making it one of the best sports sedans in the market."
The S60 will be available in two 2.0-litre turbocharged petrol options - T5 and T4 - both of which are paired with an eight-speed automatic gearbox, providing an outstanding combination of performance and fuel efficiency. The T5 engine delivers 250bhp and 350Nm of torque, while the T4 engine delivers 187bhp and 300Nm of torque.
The City Safety with Autobrake technology assists the driver in avoiding potential collisions and is the only system on the market to recognise pedestrians, cyclists and large animals. In a world-first for the mid-size sedan segment, City Safety now also engages autobraking to mitigate oncoming collisions.
The optional Pilot Assist system – which supports the driver with steering, acceleration and braking on well-marked roads up to 130km/h – has been upgraded with improved cornering performance. The S60 also includes Run-off Road Mitigation, Oncoming Lane Mitigation and other steering assistance systems. The optional Cross Traffic Alert with auto brake further enhances safety for people inside and outside the car.
Volvo Cars' Sensus Connect infotainment system is fully compatible with Apple CarPlay, Android Auto and 4G, and keeps drivers connected at all times. The intuitive control is a tablet-style touch screen interface that combines car functions, navigation, connected services and in-car entertainment apps.


text:
Local Commitment
Vulcan Founder and Chairman Honored With Ischia Humanitarian Award
ISOLA d'ISCHIA, Italy -- Vulcan founder and chairman Paul G. Allen was recognized Saturday at the Ischia Global Film and Music Festival with the Ischia Humanitarian Award.
Organizers of the event honored Allen for his contributions to social issues through his philanthropic efforts. In the past year alone, Allen has funded projects that are fighting climate change, innovating Alzheimer's research and even finding new ways to combat elephant poaching among others.
"We are honored [to have] an extraordinary personality like Paul Allen who after contributing to the advancement of technology today gives much of his wealth to humanitarian purposes and for scientific research," said Ischia Global founder and producer Pascal Vicedomini.
Held on a island off the coast of Naples, the festival is in its 13th year and honors contributors from the film and music worlds. The festival also seeks to create collaboration and change by bringing people together.
This was of particular significance to Allen as he urged those in attendance to realize the power of stories to effect change, particularly through film. This is the goal of the partnership around the upcoming documentary, "Racing Extinction," a film that highlights man's role in a potential mass extinction.
Allen joins past recipients of the Ischia Humanitarian Award including Luciano Pavarotti, Harry Belafonte, Vanessa Redgrave and Sting. This year's honorees also included Helen Mirren, Antonio Banderas, Netflix's Ted Sarandos and the Oscars President Cheryl Boone Isaacs.
Keep up to date on how we're working to tackle some of the world's biggest challenges.
jobs at vulcan
Paul G. Allen Philanthropies
PaulAllen.com
© Vulcan Inc. - All Rights Reserved


text:
BR100 4,676 Decreased By -11 (-0.24%)
KSE30 17,934 Decreased By -8.5 (-0.05%)
Pakistan, Saudi Arabia sign $3-billion deposit agreement
Deposit to help support Pakistan's foreign currency reserves and contribute towards resolving adverse effects of Covid-19 pandemic, says SBP
BR Web Desk Updated 29 Nov, 2021
In a positive development for the country's external sector, Pakistan and Saudi Arabia signed on Monday an agreement for the deposit of $3 billion in the State Bank of Pakistan (SBP).
As per a statement by the SBP, the agreement was signed by the Chief Executive Officer of Saudi Fund for Development (SFD) H.E. Sultan Bin Abdul Rahman Al-Marshad and the SBP Governor Dr Reza Baqir at SBP in Karachi.
"Under this deposit agreement, SFD shall place a deposit of $3.0 billion with SBP. The deposit amount under the agreement shall become part of SBP's Foreign Exchange Reserves," read the statement.
The deposits will help support Pakistan's foreign currency reserves and contribute towards resolving the adverse effects of the Covid-19 pandemic, it added.
The deposit comes at a time when the rupee hit a new historic low against the US dollar in the inter-bank market on Monday with foreign currency reserves held by the SBP also falling by nearly $700 million on a weekly basis. Many see the inflows from Saudi Arabia as a positive for the currency market.
"The deposit agreement reflects the strong and special relationship between the Kingdom of Saudi Arabia and Pakistan and will further augment the economic ties between the two brotherly countries," concluded the statement.
PM Imran thanks Saudi Arabia after $3-billion financial assistance
Last month, SFD announced the issuance of the Royal Directive to deposit an amount worth $3 billion into the central bank of Pakistan "to help the Pakistani government support its foreign currency reserves and support it in facing the impacts of the coronavirus pandemic".
In addition, the SFD said that the royal directive was also issued to finance the oil derivatives trade with a total amount of $1.2 billion throughout the year.
The $4.2 billion Saudi financial assistance for Pakistan came after Prime Minister Imran Khan's three-day visit to KSA, to attend the launch of the Middle East Green Initiative (MGI) Summit held in Riyadh.
Pakistan KSA SBP SFD saudi fund facility Saudi Fund for Development
Where are all the terms and conditions of this deposit. Very important that the people of Pakistan also know the terms.


text:
Published on MuseScore (https://musescore.org)
Breaks and spacers
The Breaks & Spacers palette contains the following non-printing symbols:
The first three symbols are called breaks; the vertical lines are known as spacers.
A break can be applied to either a measure or a frame. There are three types:
System break: Forces the next part of the score to start in a new system.
Page break: Forces the next part of the score to start on a new page.
Section break: Forces the next part of the score to start in a new system and starts a new section (see below). It can be combined with a page break if required.
Notes: (1) Break symbols are visible on the screen, but do not appear on printouts. (2) To add (or remove) system breaks over all or part of the score, see Add/Remove System breaks. (3) To split a measure, see Measure operations: Split and join.
Add a break to a measure
Breaks can be added using either (1) a keyboard shortcut; or (2) a break symbol from a palette.
Using a keyboard shortcut
To add a System break or a Page break only:
Select any one of the following:
Barline;
Measure;
Notehead;
Text element associated with a staff (e.g. lyric syllable, chord symbol, staff text etc.);
Range of measures (if you choose this option, a break will be applied before and after the selection);
Choose one of the following options:
System break: Press↵ (toggle).
Page break: Press Ctrl+↵ (Mac: Cmd+↵) (toggle).
Using a palette break symbol
Any break can be added from a workspace palette:
Click a break symbol in a palette (double-click in versions prior to 3.4). Repeat to toggle off.
Alternatively, drag any break symbol from a palette onto a measure.
Add a break to a frame
To add a break to a frame, use one of the following options:
Drag a break from a palette onto a frame.
Select a frame then click a palette break symbol (double-click in versions prior to 3.4).
Delete breaks
Use one of the following options:
Select one or more breaks and press Del.
See also: Add / Remove System breaks.
Move a break
Although breaks are not visible on printed output, you can reposition one, if required, by entering edit mode on it and using the keyboard arrow buttons (see Adjust position of text objects).
A Section break, as the name suggests, is used to create separate sections within a score. Like a system break, it forces the next measure or frame to begin a new system, and can also be used in association with a page break if required. A section break could be used, for example, to divide a piece into separate movements.
Each section can have its own measure numbering independent of the rest of the score. By default, the first measure of a section is numbered "1" (see image below), though like the first measure of the score itself, the number is not displayed unless configured in the measure properties dialog. The same dialog can be used to change the numbering according to your preference.
If you change Time signature or Key signature at the beginning of the new section, there will be no courtesy signature at the end of the previous section. See example below:
When you play back the score, the program adds a short pause between each section. In addition, the first end repeat barline in a section always sends the playback cursor to the beginning of the section, so a start repeat barline is optional.
The following properties can be adjusted in the Inspector after selecting the section break:
Pause: Length of pause, in seconds, at end of the section.
Start new section with long instrument names (checkbox).
Start new section with measure number one (checkbox).
Start new section with first system indentation (checkbox, as of 3.6).
Prior to version 3.4, the same properties are accessed by right-clicking the break and selecting Section Break Properties.
There are three types of spacers:
Staff spacer up (Up-pointing arrow): For adding space above a staff. The user sets a minimum height—which may increase (but not decrease) automatically if required by subsequent changes in layout.
Staff spacer down (Down-pointing arrow): For adding space below a staff. The user sets a minimum height—which may increase (but not decrease) automatically if required by subsequent changes in layout.
Staff spacer fixed down (Capital letter "I"): For adding a fixed space below the staff. The height set by the user is always adhered to and overrides any automatic layout settings. This spacer can also be used to draw staves closer than autoplacement would normally allow.
Notes: (1) Spacers are designed for local adjustments only. If you wish to adjust the space between staves across the whole score, use the settings in Format → Style... → Page instead. (2) Spacer symbols are visible on the screen, but do not appear on printouts. (3) Spacers cannot be applied to a frame.
Add a spacer
Either select a measure, then click a palette spacer symbol (double-click in versions prior to 3.4); or, drag a spacer symbol from a palette onto a measure.
To set the spacer height use one of the following:
Adjust the "Height" property in the Spacer section of the Inspector.
Select the spacer and use the ↑↓ keys and/or Ctrl+↑↓ to move the end-handle up and down
Drag the adjustment handle of the spacer.
Delete a spacer
Click on the spacer and press the Del key.
Add/Remove System breaks


Rogues Angels would like to host Fire Baptized on the 21 of February.
I'd like to do an author interview on Feb. 23.
I can do an interview on March 7th.
Hi, I would love to do a review and interview on March 5th.
We can host a guest blog on Feb 27 on Paranormal Romantics.
We can host a guest blog on February 19th at The Readers Roundtable Infinity & Beyond and do a review of the book.


text:
Call free on:
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Austria has a natural beauty from crystal clear lakes to ice capped, rugged peaks to picturesque mountain villages, dense woods and lush pasture land.
Belgium is often overlooked but it is a mistake to miss out this tiny but culturally significant territory in the North of the continent.
Croatia is a land of jaw-dropping landscapes. Plitvice Lakes National Parks holds lush, dense, forests, while Dubrovnik is surrounded by golden beaches.
Situated between Germany and Poland, the landlocked nation of Czech Republic offers visitors stunning cities and cultural delights.
Comprising of the Jutland peninsula, north of Germany, and over 400 islands of various sizes, Denmark is Scandinavia's smallest country.
Estonia's Capital Tallinn dates back to the Middle Ages and is still in pristine condition.
Finland is a land of islands and has more than any other country in the world. Nearly 70% of its area is populated by forests and roughly 10% is water.
It may come as a surprise to some people, but France receives more tourists each year than any other country.
From the vibrant cities of Cologne and Munich to the medieval villages and majestic mountains of the country, Germany always proves a hit with tourists.
Despite covering an area of just 2.6 sq miles, this British Overseas Territory has so much to offer.
Located at the southernmost tip of the Balkan Peninsula, Greece offers visitors an extensive history, fascinating mythology and beautiful golden beaches.
Situated in the heart of Europe, Hungary is a nation of just over 10 million people. The country has an extraordinary wealth of thermal spas.
Iceland is a destination that has been on the rise for several years now, as more & more people become aware of its natural beauty and untamed wild landscapes.
Italy's fantastic food, glorious weather and fascinating history make it tremendously popular for tourists from all over the world.
Divided into four areas, Monaco is the second smallest independent state in the world. It's stylish, lavish, and known as the playground of the rich and famous.
The Netherlands is known for its lively tradition, windmills and tulips, and fast-paced modern European life.
Norway is one of the world's richest countries. It has a rugged but captivating landscape and a coastline that runs for more the twelve thousand miles.
In recent years, Poland has become an increasingly popular tourist destination with tourists discovering the gems that once were hidden behind the iron curtain.
Not only can you visit the Pena National Palace just outside of the country's capital, you can also taste an authentic Piri-Piri meal, a speciality in Faro.
At roughly 6,592,800 square miles in size, Russia is the largest land mass on the planet.
Spain has always been a beloved holiday destination for us Brits, even as the trend slowly moves away from relaxing beach resorts & towards shorter city breaks.
Sweden is situated in Northern Europe. It has a wild landscape, made up of large streams & rivers and nearly 10% of its land mass is covered by glacial lakes.
As the home of fantastic natural scenery, Switzerland is becoming more and more popular every year.
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Taking Chances Review and Giveaway
Book: Taking Chances
Author: Traci Wooden-Carlisle
Friendship always seemed like the safest bet, but the possibility of love may make theirs a chance worth taking.
Almost from birth, Andrew Wolfe knew the majority of his life would be spent healing people. It's a passion that he embraces with all of his being until a dark-haired, gray-eyed girl looks up from a pile of books between them and challenges the space in his heart for his first love.
Unsure if he can have Pietra along with the life he's been destined, Andrew remains friends with Pietra for years without revealing his true feelings, but love won't be denied forever.
Those who've met Pietra Rivera think she's a shy but kind and generous woman with intelligence to rival the best minds in medicine, and they would be right.
They also believe that the ideal man for her would be an equally nice guy, with like ambitions who would move mountains for her and again they would be correct. But is Andrew that man or is she headed for heartbreak?
Will either of them take the chance at more than friendship with the other or will lifelong expectations and obligations keep them in the friend zone?
Taking Chances by Traci Wooden-Carlisle is a good read focusing on the medical field and different cultural practices within. The focus on healing through God, the use of prayer and the firm belief exhibited add to this story. There is romance and a hint of mystery. This book is worth the read.
Traci Wooden-Carlisle began writing poetry and short stories as soon as she was able to form words on paper. She used that as a way to create worlds, as well as, to communicate with God. A native of Los Angeles, California, she grew up attending United Methodist Church under the leadership of a pastor whose heart was for youth. Once she finished college she found herself at a loss. She felt caught in the transition between childhood and adulthood. She surrounded herself with saints and volunteered her services as a graphic artist. Through the early-morning prayer, all night Friday prayer and 3-day shut-ins she started on her journey toward her most desired gift, an intimate relationship with God.
She began writing to publish in 2011 and enjoys writing stories that provoke thought and evoke emotions. Her desire is to draw readers into the lives of her characters and share messages of God's love, His faithfulness and peace. The messages in her books speak to her way before they speak to her readers.
Traci lives in San Diego with her husband, David. When she isn't writing she does some light traveling or assists people with their physical fitness, creates graphics, designs pretty things for her jewelry business and swag for authors.
More from Traci
Thank you for joining my blog tour. I am so happy you have decided to participate in this part of the journey with me.
I have had the story of Andrew Wolfe and Pietra Rivera in my heart from the moment Pietra's roommate, Meagan considered the sometimes awkward, silences between her two best friends. Even as I finished other books and series whose characters yelled louder to be heard than Pietra and Andrew I could sense them waiting patiently for their turn.
Almost from the moment I put the proverbial pen to paper I saw their personalities and characteristics form them into people I would have loved to have as friends. Coming from such different backgrounds I wondered if their upbringings would work for or against them as they interacted with one another. One would think it unlikely that Pietra, who was raised by her Mexican father and uncles after the death of her mother, and Andrew who grew up under the tutelage of his grandfather, the tribe's medicine man, that these two would have anything in common, let alone become the best of friends, but they wouldn't have it any other way. Well, until the third person in their group of the 'Three Amigos' gets engaged, leaving them without the buffer they'd grown accustomed to.
For once, I thought I would get to type out a story with a straight line from start to finish, but these characters had a couple of twists and turns to send me through, so I sighed and strapped in for the ride. You didn't think I was in charge, did you? I'm just the messenger, carrying the stories of extraordinary people across the border between fiction and reality.
So join me in the small town of Chance, Virginia, where a handsome, yet awkward, NFL player does everything but move mountains to make sure his grandmother is safe and happy, and an incredibly good looking neurosurgeon searches for the answer to where holistic healing fits into a world designed to treat one cause at a time. Oh yes, and the women who, with the grace of God, give them a chance at love.
Chances Are…, Book One in the Chances series is the story of Tony Cahill and Meagan Rowe. Taking Chances, Book Two is the story of Andrew Wolfe and Pietra Rivera.
I hope you enjoy them as much as I do.
Traci Wooden-Carlisle
Betti Mace, November 19
Mary Hake, November 19
Kathleen Neely Blog, November 23
To celebrate her tour, Traci is giving away the grand prize of a Kindle Fire!!
https://promosimple.com/ps/1039c/taking-chances-celebration-tour-giveaway
← Help from Heaven Review and Giveaway → The Great Azusa Street Revival Review and Giveaway


At 20 weeks my ultrasound showed I had a lobe on my placenta, at 26 weeks I was diagnosed with pre-eclampsia, at 33weeks 5 days I found out I developed HELLP syndrome. I was induced and 2 long days later our 3rd daughter was born at exactly 34 weeks. Weighing in at 1896grams (4lbs 3oz) and 18 inches. She spent 15 days in NICU as a feeder and grower. The first year there were a few complications but she is now 3 years old, still tiny, a little delayed compared to other kids the same age, but she is super feisty and will catch up in no time! We are so lucky!


Many parents fall back on techniques used by their own parents when disciplining their children. Others may get caught up in fad parenting techniques that may actually be harmful for children. These methods of parenting may work in some cases, but the early development of children is so important that learning to discipline correctly and effectively should be a priority.
Discipline is a fine art that takes many parents years to master completely, but here are some basic tips that should be kept in mind when disciplining children.
Attachment - For discipline to be truly effective between parent and child there needs to be an emotional bond or attachment between the two. This is usually formed during infancy and childhood.
Respect - A child should never be told they are worthless or dumb, as this can begin to have an effect on the mental development over time. It's important to discipline a child with respect.
Communication - Communicating clearly with a child before, during and after discipline can help make sure the discipline is more effective. Children should be given a chance to explain their feelings during the disciplinary process.
Consistency - Learning to be consistent with discipline and punishments is important to reinforce the lessons children are learning. When discipline isn't given out consistently, it can lead to many different problems.
While discipline is a good thing in general, if a parent consistently flies off the handle and tries to discipline their child when they are angry, it may be a sign that some parenting therapy would be helpful. There is a fine line between discipline and abuse. Recognizing this line and never crossing it is important for the safety and long term mental health of a child. If a parent thinks they may need help with learning to discipline better, there are many coaching and therapy options available for parents.
If discipline gets out of hand or a parent is concerned that it may be a problem, therapy and coaching is a good idea. Here at GoMentor.com, we have therapists who specialize in helping parents deal with discipline issues, no matter the age of the child. Learning to discipline more effectively using practical tips and advice is a good way to make sure a child has the best chance to develop into a healthy and happy adult. On GoMentor.com you can find therapists and coaches that are passionate about helping families grow stronger together, which is why they offer their services online. This makes it convenient for families everywhere to get help and guidance when dealing with discipline. Discipline in single parent homes may be even more difficult, but the trained professionals on GoMentor.com can help even in these situations.
Discipline is a technique used to develop good, responsible behavior in children through the use of boundaries and punishment for breaking the rules. Many parents find getting help with discipline a comforting thing to do. Therapy can also help parents learn to properly discipline their children.


An extra 300 spaces in Brussels shelters are due to be made available to homeless people this week as temperatures plunge below zero - with snow forecast for the capital on Tuesday.
The first snowflakes are expected in western Belgium around 6.00 on Tuesday morning and in Brussels around 8.00 or 9.00, affecting both the morning and evening rush hours.
Temperatures in Brussels will not exceed 2°C on Tuesday - and overnight frost and ice will also lead to difficult driving conditions on Wednesday morning.
A spokesman for Belgian rail infrastructure operator Infrabel said the impact on train services should be minimal. "In 10 years, we've only really had problems with the snow once," he said. "That was in March 2013 when a strong wind was blowing and piles of snow stopped the points working."
The federal government's homeless shelter in Etterbeek has increased its capacity from 250 to 300 to cope with the cold snap. A new Samusocial winter shelter in Evere is due to open this week, with 300 extra places, pending the all-clear from safety inspectors.
A Samusocial spokesman said: "It was time to open more places, because these last few weeks we've had to turn away between 10 and 40 people on some evenings."


I am an assistant professor of sociology at Marquette University. Before moving to Milwaukee, I received my Ph.D. in Sociology from New York University and spent a year as a postdoctoral researcher at the Max Planck Institute for the Study of Societies. My research interests lie at the intersection of political sociology, work, finance, and social policy.
My book, Dismantling Solidarity: Capitalist Politics and American Pensions since the New Deal, published with Cornell University Pres, explores the sociological causes of the current crisis in retirement. It makes contributions to the theories of the state and policy making, developing the concept "structural contingency" to explore patterns of political causation. It was awarded the Paul Sweezy Book Award and an honorable mention for Labor and Labor Movements Distinguished Book Award, both through the American Sociological Association.
My second book, under contract with Verso Books, explores how finance can be mobilized in ways that serve the social and environmental good both in the workplace and outside of it. It is tentatively titled The Master's Tools: Using Finance Against Capital.


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Steve Halsey
Steve Halsey was born in 1958 in East Yorkshire and began playing the trumpet at the age of 9. Growing up in the Yorkshire Brass band tradition and later playing in Symphony orchestras and Dance bands gave him a wealth of experience in different fields of music. At 16 he gave the European Premiere of the Lovelock Trumpet Concerto with the City of Hull Youth Orchestra.
Steve then went on to study for a degree in Music at Huddersfield School of Music where he graduated with a 1st in composition.
As a Director of Music in 3 different Secondary schools in the NorthEast of England, Steve has continued to compose music in a wide range of styles and for players of all abilities. His works have included 10 Stage musicals, string and brass music and flexible arrangements for school ensembles.
In 1997 Steve was appointed Music Inspector for Newcastle and in 2001 created and became Director of the Newcastle Music Service. During this time he has continued to write music for all occasions, including a Royal Fanfare played for Her Majesty the Queen on her official opening of the New Central Library. Other major works have included a 10 book set of songs for the Sing Up Strategy and the 4 Pocket Trumpet Files for the Widening Opportunities initiative at KeyStage 2.
In 2009 Steve's Trumpet Concerto received its World Premiere at the Sage Gateshead and other compositions for professional players includes String Quartets, a Concerto for Flugalhorn and Brassband written for Grimethorpe Colliery band and the moving Recitatives and Arias written for the Holocaust Memorial concert in 2010.


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Hi, my name's Helen. I am Lancaster born and bred! I have been a member of St Thomas's for 21 years and have been involved in Junior Church for 9 of those. I work on the Education Team at Beaumont College in Lancaster – a specialist college for young adults with a wide range of disabilities. Primarily, I work in the Environmental Art Department and run the John Muir Award – an outdoor ed / conservation award.
I passionately believe that disabled young people should have the chance to engage in the experiences that normal children take for granted.
For this reason, and because I feel that this is what God has called me to do, I am working with Nicola Anderson to take a group of her children on holiday in August 2013.


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A professor against his word
Otto Toivanen shouldn't even have done a PhD, but then economics got hold of him.
Professor Otto Toivanen, what do you research and why?
I'm interested in the impact of technological development on economic activity. The increase of our well-being depends on our ability to come up with new things or to learn how to do old things in a smarter way.
There are three main strands to my research: innovation policy, inventors and the impact of invention on the individual level, and the different forms of competition – particularly cartels. These three also all intertwined. With the right policy, the state can, for example, ensure that innovating firms end up competing against each other with their new products. In this way, the benefits go to the consumers rather than being kept by cartels, for example.
There is an especially strong link between invention and education. In one study, we worked out the probability of becoming an inventor. The initial results showed that the children of high-income fathers were clearly more likely to become inventors than the children of low-income fathers, and this gap was significantly larger for children of very high-income fathers. When we started to control for different factors – socio-economic status, intelligence quotient and education – the importance of income in effect disappeared and by far the most important factor turned out to be the education level of both the parents and the child. This is why it is so important that we do all we can to ensure that every child has every opportunity to study as long as possible.
How did you become a researcher?
At the start of the millennium, I was director of the Finnisch Graduate Programme in Economics. In the introductory lecture, I told the students that I had made 2 promises to myself. The first was that I would never do a PhD, but would instead go straight into proper work after my Master's degree. The second was that I at least wouldn't become a researcher after completing my PhD.
After completing my Masters, I felt strongly that I still didn't know enough and that I wanted to become a true economist. And then when my PhD was coming to completion, I thought that it would be crazy not to continue now that I had all the tools ready. The underlying reason for going back on my promises was of course that this was incredibly fun, interesting and significant work.
What have been the highlights of your career?
Large grants and articles in top publications are of course important. But the best moments in this work are nevertheless when you get to think about new research problems or when you get to see the research data for the first time without any idea of what it might reveal. Solving problems and the moments of revelation that follow – these are wonderful things.
What is required from a researcher?
This work requires persistence and the ability to handle uncertainty. When you start some new research, you never know what is beginning and what it could bring, and publication processes can also be nerve-racking. There is also the vocational uncertainty, which is especially there at the beginning of one's career, when there may be no guarantee of continuing funding and work even a couple of years into the future.
What do you expect from the future?
That I can continue working on the same topics – there are interesting further questions related to each of them, and so plenty more that needs explaining. I have previously allowed myself to be carried along by curiosity and the opportunities that have arisen. When I went to work in Belgium in 2010, I had a large pile of unfinished projects. I said to myself that I would not begin anything new until at least two thirds of the pile had gone. I kept my promise, and now I am daring to gradually take a look at new things again.
Otto Toivanen and Aalto University's other newly tenured professors will speak about their research at an event to be held 31 January in Dipoli, Espoo. You are very welcome to come and listen to them and ask more about their research!
The event begins at 14.15. Check the program and details here.
Photo: Lasse Lecklin
Research & Art Published: 21.1.2020
Julia Lohmann: 'We know too much and do too little.'
Lohmann's magnificent seaweed pavilion encourages leaders to make difficult decisions and establish a 'do-tank' way of collaborating at the 50th World Economic Forum in Davos.
Tutkain 2020-2022 project provides Finnish digital newspapers and magazines for research use
Researchers will be able to use Finnish newspapers and magazines from 1930–2018 digitised by the National Library.
Three fascinating facts about space – which mystery would space researcher Joni Tammi like to understand?
When Joni Tammi was on the first grade, he gave his first school presentation about stars. It started a journey that led to a career in space research. But what was the brainwave he got during his studies on a course taught by astronomer Esko Valtaoja?
Cooperation, Research & Art Published: 16.1.2020
Aalto nuclear fusion expert becomes ITER Scientist Fellow
Dr Antti Snicker becomes the first Finnish Scientist Fellow at ITER, modelling transport of fast particles in tokamak plasmas


I have an uneasy relationship with the concept of 'brand' in the library context. On the one hand, I think it's often misunderstood. I think it's the kind of thing on which marketing consultants from outside the industry put far too much emphasis - on the list of things to fix about library marketing, I bet our users wouldn't put 'brand' that high up… On the other hand, in the academic sector that I work in, most traditional marketing goals are already being fulfilled fairly successfully: academic libraries are often full, well-used, and well-regarded. So that allows us some time to consider some bigger questions - for example, what is our brand and what would we LIKE it to be?
Before we go any further let's sort the definitions: 'brand' is not colours or logos or slogans.
Your brand is the perception of your library, your services and your collections in people's minds. It's how people think and feel about who you are as an organisation, and what you do.
Branding, on the other hand, is the process of trying to influence people's perceptions of the organisation, and the way they regard your brand.
At my place of work I've been thinking about this a lot recently, as I'm attempting to sketch out some marketing principles for my library. Before I can create a strategy for what we want to say and how we want to say it, we first have to understand what we want to BE and whether that involves changing from how we are now, or not. It's easy to get side-tracked into an existential crisis.
The UX Project mentioned in the slides above, Understanding Academics, is written up by my bosses Vanya Gallimore and Michelle Blake, here.
Thank you again to the Danish Research and Academic Libraries group for inviting me to speak, and to Christian Lauresen for his insight into Danish libaries, as well as to Jan Holmquist for his translation skills!
How do you truly embed UX at an institutional level?
At the glorious UXLibs IV Conference (more on which below), Michelle Blake and I presented on embedding UX at York. By this we mean, attempting to move the ethnography and design ideas / techniques / methods which sit under the User Experience in Libraries umbrella, from novel and niche to mainstream and, if you'll forgive the management-speak, Business As Usual. Part of the culture.
We're not all the way there yet and don't profess to have completely nailed it, but it is something we've consciously tried to achieve in the Library and we're having come success with it. Some of what we've done is outlined briefly in the presentation below, to which I've added an explanatory sentence to most slides so they make more sense without us talking over the top of it.
I'd reccomend this post from Shelley Gullikson which nicely summarises several talks and sessions from UXLibs IV, and Andy Priestner's 50 Photos post gives a nice flavour of the conference as a whole.
Emma Shaw is the Library Manager and Liaison Librarian (Medicine) at Imperial College London. I while ago I saw her tweeting about the use of Padlet in her teaching sessions - students were using it in groups to come up with search strategies for healthcare-related databases. I like Padlet anyway, but I loved this use of it - so immediately beneficial, practical, and indeed stealable! So I asked Emma to write a guest post about the whole process, and she kindly agreed. Here's an example of the use of padlet she examines below.
I'm a Liaison Librarian at Imperial College London supporting medicine, along with another 4 Liaisons. Amongst a heavy timetable of information skills training for undergraduates and postgraduates, we have for several years been running a couple of Library skills workshops which are embedded in the MBBS Medicine course timetable for the 1st year medical students. We were using the traditional presentation slides telling them about the Library and how to access it, along with a hands on database searching component using the PubMed database. The database searching was taught in the form of a paper based tutorial handout. The students would sit in the computer lab and work through it for 20 minutes whilst also having the opportunity to ask questions. More recently I would go away and wonder whether they would really apply what we were teaching, in the format we were using. I asked myself if it was really meaningful for them, particularly as it was all new to them and we were teaching them how to look up research on a database, when they hadn't even started using journal articles yet.
The other reason it got me thinking was, Information literacy is not an obvious skill that screams out 'you need me in your life' so you therefore need to convey it to the students in a way that makes them realise that they do. Especially when they have other priorities and a timetable jam packed with medical training. I've learned and observed over the years of teaching information skills that, in order for them to understand its direct use, to see its value and engage, they need to see it in context. When I say in context, I mean actually directly relating what they are learning in front of them, to a specific area in their coursework or even clinical practice. Rather than just telling them this is stuff they need to know now and in the future. This led me to question if, our presentation slides and paper tutorial were engaging and putting it in context enough. Could there be a better way of delivering the content so they engage with us, and see its direct value?
This made it apparent that we were right to question this, and that it was a good time to reconsider the delivery of our training. We could see why PowerPoint slides were just not cutting it anymore, they needed interaction and context to stay engaged. On top of this, in the MBBS Medicine course, they were already being presented with e-learning modules, and using different teaching methods and technology. I could then see that very shortly our presentation slides and paper based database tutorial was not going to be enough anymore, and that our sessions were in danger of becoming irrelevant. We needed a fresh and new approach.
I had various sources of inspiration for revamping the workshops. We just so happened to have a visit from Caroline Pang, Director of the Medical Library at Lee Kong Chian School of Medicine, Singapore. One of Imperial College London's partners. She demonstrated what library training they offered for Medical students. This consisted of initial training on the Library and database searching. They were then given a clinical question from the course tutors, and had to work together in groups to form the best search strategy to answer it. She had a whole day dedicated to this project as well as the presence of the tutors. This looked like a really good approach, not only was it more engaging by getting the students to actively search for a given question, but it was also relevant to the course content so they could directly see its value. If we wanted to do something similar however, the problem we faced was we only had 1.5 hours for each session!
It was then one day at a meeting with tutors from the MBBS Medicine course that, the idea of Flipped learning was presented to me. I won't go in to too much detail about it as you can find a very good definition here by Professor Dilip Barad (Ph.D.). It's essentially where work is given to the students to be done before the session e.g. a video lecture, or tutorial to work through. The session is then dedicated to applying the knowledge they have learnt from the pre-sessional work, through activities and group work and allowing them to ask questions. In this way it becomes student centred learning as opposed to trainer centred.
To be honest the flipped learning approach initially filled me with dread! There was the worry of giving them pre-sessional work to do with the risk of them not doing it. It also seemed like a lot of work and preparation, as well as the fear of having to get the students in to groups and managing them. Also having many other duties aside from training, it's very easy to just slip in to the habit of repeating the same old slides each year. It's easy, it's safe. However, if it would improve engagement it was worth a try, and I thought this would be an excellent model for our teaching. It would allow us to save some time in the session by getting the students to do the straight forward PubMed tutorial before the session. This would then allow us to try out the database searching exercise in groups, which we didn't think we would have time for. We could dedicate time in the session to getting them to do real searches on PubMed, using related topics in up and coming assessments, with the trainers feeding back to the groups as they did the searches. This would allow for more engagement and they would directly see the use of searching a database, by pulling up relevant articles that could be of use for their assessments.
The final plan for the session consisted of an online PubMed database tutorial created using Articulate software. This was essentially a series of online slides taking the students step by step through using PubMed, which we hosted on the Blackboard platform. We emailed the students a week in advance via the Medical School to ask them to do the online tutorial before the session. To encourage them to do it, we mentioned that it would be for a group exercise in the session. We then sent a reminder a couple of days before the session for good measure. Some good advice I got from an e-learning technologist was to give them an approximate time of how long the tutorial would take, so they could plan it around their schedules. We aimed for 30 minutes which we thought they would see as achievable.
For the session, we refined our slides on the Library induction section. We then did a brief summary of what they should have learnt from the PubMed tutorial and gave an opportunity for questions. There was some debate on what to do if the students didn't do the tutorial before the session. Should we include a more detailed summary in case, or would we run the risk of disengaging the students because of the duplication of information? We decided to go with a very brief summary just confirming points from the tutorial. We would then play it by ear and adapt the session if necessary. We then presented them with a search question related to a future assessment and arranged the students in to small groups and asked them to come up with a search strategy for that question. To provide the students with more feedback in the session and to give it a competitive edge (another bit of advice from a tutor that they liked competition!), we added some blended learning in to the mix. We used an online tool known as Padlet for the groups to add their search strategy to, for which we could then feedback to all the students how they all got on with the task. An example from one session is below.
The first sessions we ran in 2016 went very well and we had over 80% of the 320 students do the pre-session tutorial. As it was successful we ran it again last year in 2017 and over 90% of the students did the pre-session tutorial. The group exercises went well, and we could really see the students engaging with the task and coming up with good search strategies.
In terms of negative comments, in 2016 we had a few to do with some of the session's content repeating parts of the pre-session tutorial. As these were our first sessions, we hadn't yet got the balance right in terms of summarising the tutorial, so we then adapted this for the sessions in 2017 to avoid this. For the 2017 sessions, a few comments said it was a bit rushed, and they wanted more searching examples. They also struggled with some of the concepts like Subject Heading searching, and found it too advanced. This could potentially be because some of the students did not do the tutorial beforehand, but I think we perhaps also need to consider more about those students who learn at different speeds. This is a challenge when teaching 45+ students per session and with the time constraint. However, this is something to bear in mind for the next sessions, and to perhaps offer opportunities for optional follow up training on a 1-2-1 basis for those who require it.
Overall it's been a real success. Not only do I put this down to the hard work by the Liaison team but, also down to the fact we had really good support from the tutors from the Medical School who always ensure to make it clear to students that information literacy is a crucial part of the curriculum. For anyone wanting to try Flipped learning, I would therefore always recommend getting the faculty on board. Despite all the preparation work, we also enjoyed delivering the session. It was a really good experience actually going around the room and engaging with the students and giving feedback, instead of mainly stood in front of PowerPoint slides and answering questions.
For anyone interested in looking at the session content, such as the online PubMed tutorial please feel free to get in touch.
I normally record talks I give at conferences, using my phone in my jacket pocket. I have a strict 'no critiquing myself during the talk itself' rule, so the recording allows me to listen back afterwards and pick up on things that I'd want to do differently next time, or things that worked well etc.
In the past I've also put a video up on YouTube, using Camtasia to record me moving the slides along with the audio of my talk at the LIASA conference in Cape Town. I don't think this worked that well because there was simply too many long periods where nothing changed on the screen - in real life that was fine because the audience looks at the speaker, but in a video - a visual medium after all - it just feels a little inert and uninteresting.
Now I've done this, I'm wondering why I can't just do more visually exciting slides anyway? This doesn't have to be just for YouTube. I've always wanted to use video in presentations more, and it's surprisingly easy to do as it turns out.
To make the video above I used three bits of software. PowerPoint, obviously, for the slides. Audacity to edit and play the audio (this is free). And Screencastomatic for both the screen-capture videos within the slides, and the overall screen-capture of slides plus audio you can view above. Screencastomatic is a great tool, which I found much easier to use than Camtasia. It's quick and intuitive. It can be used for free, but in order to record videos of more than 15 minutes, and record PC audio, you need the pro subscription - this costs 12 quid year which is pretty great value, I reckon.
It's very easy to redraw the box around the exact part of the screen (or all the screen) that you want to record. You can pause and restart. You can also record PC audio as you go, or narrate into a mic. As you can see it gives you the option of recording from webcam at the same time if you wish, which happens in a smallish box at the top right of the screen.
It's really easy to use.
In the video above there are a number of techniques (perhaps that's too grand a word!) employed to suit different types of information.
Actual video recorded on my phone. (This happens about 25 seconds in.) I recorded a video in the usual way, emailed it to myself, and went to Insert Video in PPT. You can make it full screen, or you can overlay the branding / visual identity from your PPT over the top. I think this is crucial to how easy this is to do - the video can effectively be the background of the slide, just like an image can. You then overlay it with text, shapes, images etc as normal.
Screencasting Google Earth. I really like this one, which happens here. How to have something dynamic on screen while I talk about the University of York? Type it into Google Earth then press record on the screencasting software, and return on Google Earth. It zooms all the way in and then, delightfully, spins round the building you've chosen for a bit. I'm going to use this in library induction sessions in the future, for sure.
Using gifs. There's a couple of examples of this, but here's the most interesting one. It starts off as a regular full-screen image, and then I used animation to first of all drop the text on top of the image at the appropriate time, and secondly to trigger the gif video beginning (having downloaded the gif from a gif site, and saved it as a video).
Videos of websites instead of screengrabs of websites. There's an example here, and another example here. In the talk I just showed a screenshot of the thing I was talking about, but here it's a 15 second video of the site being used, which is much more interesting. I'm definitely going to reuse this technique.
Really the only two drawbacks are that it takes time, and it takes space.
Of course, recording a clip on a website in use takes more time than just a screenshot, but it becomes surprisingly quick. Perhaps a minute to set-up, record and save / export 20 seconds' worth of screen-capture, so not too bad at all.
In terms of space - the videos are MP4 files and pleasingly small. Most brief captures were under 1 meg. The 22 second-long Google Earth zoom right at the start of the video was 12 meg. The overall final file - a 20 minute video capturing the whole thing, was 99MB. Video files are so huge, I think this is pretty reasonable.
The title of this blog post is the opposite of click-bait: it says everything. It's the tl;dr not just of this post, but of successful library marketing per se.
One-off marketing almost never works, because people seldom act on a piece of marketing the first time they see it. When you see an ad, even a good one, you don't rush out and buy / do the thing right away. If you have Netflix for example, think about when you got it. Was it the first time you saw an ad? Or did you become more and more aware over time, and then eventually circumstances were right and you signed up?
In Library marketing terms we have to try and achieve the same thing. Build awareness over time of relevant services. Appeal to people at the right time. If we just push out lots of different messages all the time, this is too much information and its too dispersed - there's nothing for anyone to hold on to, and think 'this is for ME'. So 9 times out of 10 (at least) the successful marketing, the things which have impact and make a tangible difference to the Library, are in the form of campaigns. What does this mean in practice?
Campaign marketing consists of delivering the same message, tailored across different platforms, for a sustained period of time.
So your users see the message once, and they register it. They see it again somewhere else and they decide to act on it. And then perhaps a week later they see it again and that's when they change their behaviour, and do something they weren't going to do before. You need a week or two of focus on the same message to make that change happen.
I was at the PPRG Marketing Awards Conference last month, and the one thing which united virtually all the award winners was campaign marketing. You can see all the presentations on the PPRG website but here's some key examples.
The key thing about these four ads is the visual style is so striking, you'd easily associate one with the other if you saw them seperately. So again, perhaps the first time you see the ad you think 'oh that's great, free magazines at the library!' but that still isn't enough for you to ACT. Then you see the second one and it reminds you of the first one, you associate the two, and it's the second push you need to go and actually download an e-magazine.
That's the thing about campign marketing: it really, really works.
Another great example was from Islington Library and Heritage Services. Take a look at the #islington50s slides here. They had a one-month campaign, with a set number of social media outputs each day, a clearly defined set of objectives, and both a library-user and non-library-user audience in mind.
I love the details that their Local History Centre was rushed of its feet as the impact of the campaign spread through the community!
If you want to run a campaign, here are some things to think about.


I have two brothers and one sister. My niece is 2 and my nephews are 2, 3, 4 and 11. I don't have kids but my two dogs, Pax and Dexter are my babies!
My favorite ways to spend free time are reading and re-decorating/improving my home. I also love playing music, listening to music, and craft projects.
My favorite thing so far has been the people and the welcoming, caring environment. I am so happy to have joined the Lamphere family!


This is a Parskid painting from 2000 that I purchased from him in 2002. Painting is on sheet metal and has a wood frame backing. Features on of his older style characters that you def. don't see around that often.


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Marketing and Media
Mendip backs initiative to help residents cut their fuel bills
Mendip District Council is once again backing the popular Big Community Switch which is a collective energy switching scheme which has seen some local residents save hundreds of pounds by switching their energy supplier.
Collective Energy Switching is when consumers get together to negotiate a group deal with gas and electricity suppliers, with a third party actively negotiating a better tariff on behalf of the group through an auction process.
There is a vast array of options for people looking to compare the market and switch suppliers either individually or collectively. Mendip District Council is continuing to back The Big Community Switch run by iChoosr as one way of helping Mendip's residents get a better deal on their energy bills.
The amount saved will vary, but in previous rounds of energy switching that involved Mendip residents, people who signed up to the scheme saved an average of £205.88 on their annual fuel bills.
The Big Community Switch, which is open to all Mendip residents, aims to help prevent people slipping into fuel poverty by making easier and more convenient for people to participate in energy switching.
The way the process works is:
Residents visit iChoosr's Big Community Switch website - www.bigcommunityswitch.com - where they can follow a simple online process to register their interest.
Up to five households can be registered on one email address and residents without internet access will be supported through the registration process by the council.
Mendip residents are then pooled with other local authority schemes and energy companies bid against each other in a reverse auction to offer the group of customers the best deal.
A no-obligation offer is then sent to each resident who has registered in the scheme and they have a month to choose whether to accept it.
If residents choose to accept their offer they are then switched to the new supplier and supported to ensure a smooth and hassle-free transfer.
The collective energy scheme is now open until the auction on 12 February 2019.
Cllr Philip Ham, Portfolio Holder for Transformation, said: "Collective Energy Switching has already proved extremely popular, with people in Mendip saving an average of £205 on their annual fuel bills.
"This is a great opportunity for people to be in with a chance of making a very impressive saving on their energy bills, so I would encourage local people to take part - it really is a quick and straightforward process."
Mendip District Council has partnered with iChoosr, a leading expert in collective energy switching, to operate the scheme in the district.
Residents who are keen to be part of the process can register online via www.bigcommunityswitch.com contact Mendip District Council on 0300 303 8588 or visit any Council Access Point for more information.


To celebrate the 30th anniversary of his first chart success, Nik Kershaw will hit the road for his "Me, Myself, I Tour" with performances in the intimate setting of An Grianan Theatre, Letterkenny on Thursday, 4 September as well as appearing in Belfast, Enniskillen and Dun Laoghaire.
Kershaw and will perform songs and tell tales from his impressive career and take (potentially) awkward questions from the audience.
This is a rare opportunity to experience an intimate evening with the man, famously described by Elton John as: "one the best song writers of a generation".
Over the years, Nik Kershaw has collaborated on albums with artists including Elton John, Bonnie Tyler and Gary Barlow.


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Consent education
Upstander intervention
Comms & campaigns
Supporting a survivor
Disclosures & complaints
LAW & YOUR RIGHTS
KEY GROUPS
Migrants & refugees
The resources below provide information about providing support to a survivor of sexual harm.
Thursdays In Black: Disclosure Guide. Aotearoa New Zealand-based guide on what to say and not to say around sexual violence. https://d3n8a8pro7vhmx.cloudfront.net/thursdaysinblack/pages/14/attachments/original/1509479115/Disclosures_guide.pdf?1509479115
Safe to talk – Sexual Harm Helpline: Get help for someone else. If you want to help a person who's been sexually harmed, the best thing you can do is be someone they can trust and not make any judgements.https://safetotalk.nz/get-help-for-someone-else/
ACC: Supporting survivors of sexual abuse and assault.
https://www.acc.co.nz/newsroom/stories/supporting-survivors-of-sexual-abuse-and-assault
ACC: Caring for survivors of sexual abuse and assault.
https://www.acc.co.nz/newsroom/stories/caring-for-survivors-of-sexual-abuse-and-assault/
RAINN: Tips for Talking with Survivors of Sexual Assault. Information from a US organisation on how to help and provide support to someone who has experienced sexual abuse or harassment.https://www.rainn.org/articles/tips-talking-survivors-sexual-assault
Survivors' Network: Supporting Survivors of Sexual Assault. A UK-based resource for things to do or not to do when supporting a survivor (https://survivorsnetwork.org.uk/resource/supporting-survivors-of-sexual-assault/) and a practical guide to supporting survivors, which could be useful for student peers and family members (https://survivorsnetwork.org.uk/wp-content/uploads/2019/02/SN-Self-Help-Guide-for-Supporters.pdf).
Supporting LGBTI Survivors of Sexual Violence. Rape Crisis Scotland details unique challenges rainbow communities can face, both in sexual violence and when seeking help. https://www.rapecrisisscotland.org.uk/publications/Updated-RCS-LGBTI-BOOKLET-July-19.pdf
Supporting transgender survivors of sexual violence: Learning from users' experiences. Rymer, S and Cartei, V (2015). Critical and Radical Social Work, 3(1), 155-164. Research project on supporting trans* survivors of sexual violence. Describes many common barriers to receiving support. https://survivorsnetwork.org.uk/campaigns-projects/supporting-trans-survivors-of-sexual-violence/
About Family Violence and Protection Orders. (Ministry of Justice, 2017.) Information on how to obtain a Protection Order and what it means. https://www.justice.govt.nz/assets/Documents/Publications/About-Family-Violence-and-Protection-Orders-Booklet.pdf
ADDRESSING SEXUAL HARM ON & AROUND CAMPUS:
A TOOLKIT FOR ACTION
© 2020 Universities New Zealand | comms@universitiesnz.ac.nz


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Isaiah Brooks
Headshot + Resume
Geneava Peace Week
Isaiah was included as a voiceover artist in the youth keynote address for the annual Geneva Peace Week. The Geneva Peace Week is Geneva is a global hub for governance and international cooperation. It hosts 38 international organizations, a thriving community of non-governmental organizations and renowned academic and research institutions. It is also a diplomatic center with near universal representation of states. Together, all these actors work for peace, rights and well-being, touching the lives of individuals across the world. Geneva Peace Week offers an opportunity to connect and highlight the work of these actors and to expand the space for building peace and resolving conflict through dialogue and negotiation.
Geneva Peace Week emphasizes that each and every person, actor and institution has a role to play in building peace and resolving conflict. It recognizes that peacebuilding occurs in many different contexts and cuts across disciplines and sectors. In this sense, Geneva Peace Week breaks down professional silos in order to enable creative responses to violence, exclusion and insecurity.
By synchronizing meetings and events on different topics related to the promotion of peace during one week, Geneva Peace Week maximizes synergies between organizations in Geneva and their international partners, focusing on the cross-cutting nature of peace.
CESD
Isaiah starts their post graduate career with an exciting new chapter. They signed with Maura Maloney and Kirsten Walther at CESD in the on-camera and commercial department!
I am ecstatic to have graduated from Syracuse University with :
Bachelor of Fine Arts in Acting, Minor in Public Communications, Remembrance Scholar, Our Time Has Come Scholar, Sawyer Falk Award! I'm grateful to my community and village for getting me to this point in life. The lessons I have learned over the past four years have been incomparable. I'm thankful to God, my parents ,and mentors for helping me forge my path.
Glad to be forever Orange 🍊
Senior Showcase
Isaiah is excited to be debuting along with his senior class in the Lewis Hecker virtual Drama Showcase on April 12!
https://syracusestage.org/showinfo.php?id=109
Tepper Semester
Isaiah is starting his final semester of training at the Arielle Tepper Semester in New York City. Isaiah will spend the semester working directly with agents, producers, and casting directors.
SU Drama Virtual Sorkin Week Symposium
Isaiah was selected to participate in SU Drama's Virtual Sorkin Week Symposium. The week long symposium provides students with exposure and resources towards the Los Angeles market through alumni support, masterclasses, and workshops.
2020 Celebration of Life
The annual Celebration of Life performance variety show filled with music and poetry to honor the lives lost in the bombing of Pan Am Flight 103 will take place virtually on Dec. 21, 2020. This program is hosted and coordinated by the 2020-2021 Remembrance Lockerbie Scholars.
More information on the Remembrance Scholars
Home for the Holidays at Syracuse Stage
In November I was slated to assistant direct a production for Syracuse Stage in November. Unfortunately that production was cancelled in result of COVID-19, nevertheless we pivoted and devised a production of stories and songs about the community and its importance of holiday traditions.
Isaiah starts his senior year of training at Syracuse University's Department of Drama. This semester Isaiah will continue his on campus training , but will also complete his studies for a minor in Public Communications along with roles as a Remembrance Scholar, Our Time Has Come Scholar, and taking on a new role as Assistant Directing for Syracuse Stage.
Isaiah made their Syracuse Stage debut in Peter Shaffer's production of Amadeus.
Unfortunately the production closed in result of the novel COVID-19 virus.
https://syracusestage.org/ckeditor/userfiles/files/%E2%80%98Amadeus%E2%80%99%20Review_%20Created%20Unequal%20-%20WSJ(2).pdf


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Arbatskaya () is a station on the Filyovskaya line of the Moscow Metro. Completed in 1935, it was one of the original Metro stations. The design is the same standard pillar-trispan template used for , , and . The pillars are faced with pinkish marble and the platform is a matching shade of granite. The walls are covered with cream-colored ceramic tile. The architect was L. Teplitskiy

Arbatskaya's vestibule is a unique five-tiered, pentagonal structure with the word "Metro" written on all sides. The building is currently painted bright red, making it noticeable and instantly recognizable.

Gallery

In popular culture
The station and  on the Arbatsko–Pokrovskaya line are featured in the Resident Evil: Retribution Moscow segment.

Moscow Metro stations
Railway stations in Russia opened in 1935
Filyovskaya Line
Railway stations located underground in Russia

redpajama_set_name: RedPajamaWikipedia


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The club has just recently ran its first benchrest rifle competition and has a number of members who compete in benchrest rifle shooting.
Benchrest shooting is a sport in which very accurate and precise rifle are shot at paper targets from a rest or bench from a sitting position. Benchrest shooters are notoriously detail-oriented and constantly trying to further the accuracy potential of the rifle through experimentation.
Bench rifle shooting can be shot using a number of calibers and ranges from 50 Metres through to 1000 Yards.


I am making a separate post for the Sg. Dua mountain biking pictures because if I combine it with the other Sg. Dua post, it's gonna be flooded. The pics are all in chronological order. Enjoy!
Ilyas pushing bike across river.
Mountain View with Irfan and someone.
Me on the way down.
See Ustaz Suhaimi taking pics..
Heaving bikes across fallen trees.
I just finished lashing down the bikes.
try bukit cermin. at putra heights near puchong.
is not a xc more like downhill.


*1 A guideline for light source replacement. The maintenance-free period may be shortened due to environmental conditions.
The LED/Laser-combined light source has a higher level of color purity than an ordinary lamp, allowing it to achieve color reproduction with wider color space. Colors are more vibrant than those of conventional projectors.


I have been writing a few times about Procida: when the FourItalianFriends spent a week-end there a couple of years ago, for the Easter procession, and a few other times. I am pretty sure it is not because of our articles (:-)), but it seems Procida is becoming a famous place around the world, and the demand for hospitality is growing. In previous articles we mentioned about pictures of the Corricella fishermen port being shown during Apple and Microsoft events, and more and more pictures like that are popping up in ads and travel news in various languages. I have also other facts to confirm this increasing exposure, facts coming from a privileged source: my parents!
It was just amazing the immediate response they got, with the first guest showing up at the door just 2 days after going live on AirBnb; a clear sign of a strong interest for Procida. Since then they have gathered a good insight about visiting people. In addition to that, since their home is close to one of the main sites of the island (St. Michael Abbey), they have information also about daily flows of tourists up there. And here are the facts they inferred from their observations.
First, there is a consistent flow of tourist visiting Procida, specially from Spring to Fall. Winter, specially Christmas, is a bit slow because there is not much to do there, but in all other times of the year there are visitors every day.
Second, many visitors are from abroad: US, Nordic countries, Germany, and specially from France. There are historical ties between Procida and France, but these facts may be unrelated.
Fourth, this flow is growing, mostly due to the beauty and genuineness of the place: in fact the services for tourists are not always the best. One example is the St. Michael Abbey: often they see tourists climbing up there only to find it close, as the visit hours are pretty short and not well advertised. Anyhow nobody complains as a few meters away there is a terrace overlooking the whole Gulf of Naples where it's impossible not to feel in peace with the world! In the last years there has been anyhow a growing attention to what is offered to visitors; initiatives like ProcidaPortoniAperti ("OpenDoor" – free visits to halls and gardens of old houses), Procida Film Festival, the opening of the Museo dei Misteri (dedicated to the Easer procession floats), the "Festa del Vino" (wine fest) are steps in the right direction. Today there are many ways to discover and enjoy the Island and feel at home there.