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tv Ethical Perspectives on the News ABC February 21, 2016 11:00am-11:30am CST
responsible for its content. the views and opinions expressed on this program do not necessarily reflect those of the staff and management of kcrg-tv9. scott : good morning and welcome to ethical perspectives on the news. my name is scott samuelson and i'm a professor of philosophy at kirkwood community college on the iowa city campus. after decades of politicians getting tough on crime and waging the war on drugs, now both democrats and republicans are changing their tunes a bit. leading figures on the left, including hilary clinton, whose husband passed a tough crime bill in the 1990s, has spoke out about the need for sentencing reform, as have various figures on the right including governor branstad, who in his recent condition of the state address called for serious criminal justice reform. have we gotten too tough on crime? do our sentencing rules and guidelines unfairly incarcerate people? though black american's are only 3% of iowa's
prison population. does that show, as iowa supreme court chief justice mark cady says, significant racial disparities in our system? if so, what can be done? what is the purpose of prison anyway, punishment, rehabilitation, the protection of society? what kinds of principles should guide us as we work toward criminal justice reform? we have a great panel today to discus sentencing reform in criminal justice. to my left, jerry vander sanden, a linn county attorney. thanks for being on again, gerry. jerry: good morning. it's great to be here. scott : sara riley, an attorney at tom riley law firm. sara, thanks for being on. sara: thank you for having me. scott : at the end, justin lightfoot, an assistant us attorney. thanks for being on, justin. justin: good morning. scott : well, okay, jerry, maybe we can start with you. for, now decades now, we've been getting tough on crime. have we gotten too tough? are our sentencing procedures too much? jerry: well, you're right, we have gotten tough on crime. from back in the mid 70s to the current time we have seen more and more
crime in terms of mandatory sentences, mandatory minimum sentences. i think that back in 77 we had about 700,000 people incarcerated in america. now it's closer, i believe, to 2 million so if you go just by the incarceration rates, i think some would say that maybe we've gotten too tough on crimes because our prisons are filled with so many people. but on the other hand, i don't think you can ignore also what has happened with our crime rates. i think if you look at our crime rates actually for the last 20 years, our crime rates have steadily receded and it's debatable, i think, about what you would attribute that to. some would attribute our lower crime rates to our get tough measures on crime. some would say that we've gone too far and i think it's a good debate to have. there's no doubt that, not just at the federal level but at the state levels as well, the american criminal justice system is coming under scrutiny and i think that's a good measure
get complacent in the way that we administer justice in america. the justice system is too far an important institution to be complacent without always striving for ways to improve it. scott : okay, well, let's get sara in on this conversation. do we lock up too many people than is good for our country? sara: well, if you look at each individual person you might say, well no, this person deserved to be locked up and this person did but clearly, i think especially with the drug war and not that we should- i'm not saying, "okay, let's legalize all drugs," but there are a lot of people who have a problem with drugs. maybe they sold drugs because they had a problem or they were just in possession of drugs and they're, instead of being in a treatment facility, they're in anamosa, or fort madison, or some place and
house them and keep them. then once they get out, now they're a convicted felon and it's harder for them to get a job so do they go back to selling drugs and do they just land back in there? i think, at least definitely for drugs, i mean, i'm not saying for anyone, assault and violent crimes i have a different view on, but at least for drug crimes and not everyone who's selling drugs but at least i think that treatment would be a better option or at least should be looked at. i know they've had a lot of success with the drug course that they've used here. scott : right, and it sounds like governor branstad is interested in making some kind of movement on this kind of drug stuff but let's get justin in here too. where, if at all, is there injustice in our sentencing system, justin?
jerry vander sanden said. i think you do have to first note the crime rates have gone down but the question now is we've all realized we can't arrest our way out of this problem. the question is, how can we reduce crime further or continue reducing crime without the unwarranted cost of mass incarceration, those costs being financial costs but also the human costs. the department of justice under former attorney general, eric holder, rolled out the phrase that's now pretty well known, "smart on crime." i don't think people necessarily know what it means. they think it means soft on crime but it's not. attorney general holder said, "being smart and being tough on crime is what we need to do." that means focusing on the worst of the worst so federally speaking, as a federal prosecutor, we need to put our limited resources on the worst of the worst, on getting the most bang for our buck, if you will. the people who need the long prison sentences should be those who, or excuse me, the people who get the long prison sentences should be those who really need them, that that can protect the public the most.
general sort of philosophical question, what in a sense is the point of sending someone to prison? on the one end we've talked about maybe reduction of crime rates. is it to deter crime? is it to keep criminals out of society? is it to punish them proportionat ely to their crime? is it rehabilitation in some ways? what exactly are we doing when we send someone to prison anyway? i guess the reason why i ask this is to think, you know if we think of our goal then we have to think of what is our system meeting that goal or is it sort of an all of the above thing? sara: it's probably all of the above except for depending upon what the crime is. i mean like in iowa, with first degree murder you have life in prison. i don't know that we really are that concerned with rehabilitation because unless that person's conviction is overturned or is pardoned by the governor, and it's very rare for any of our governors of any political party to pardon somebody who is convicted of first degree murder, they're going to be in prison the rest of their life. i don't think people are too concerned with rehabilitating somebody. but if somebody is going to be getting
embezzled money or they had some assault convictions, whatever the situation is, you would hope that before they get out there's some rehabilitation just for society's sake. scott : yeah, jerry, i mean is it partly, i mean you were talking about the idea of maybe the fact that we've gotten tough on sentencing crime has had something to do with the crime rates overall, is that a deterrent effect? is that keeping criminals out of society? what would be the effect there and is that part of why we're sending people to prison? jerry: well, we hope that there is a deterrent effect. that's part of the purpose of our laws is to determine or deter criminal behavior but in iowa the way the law works is that we have individualized sentencing and the law says in iowa that when a judge sentences somebody for a crime, they're to craft a sentence that would best serve the rehabilitation of the defendant and also would serve to
different factors the judge has to look at when they sentence somebody. they're supposed to look towards rehabilitation but also protection of the community is a big factor. when we talk about protection of the community, you do want to fashion a sentence that is going to provide for some deterrents. for instance, not just specific but general deterrents. when a person is convicted for instance for drunk driving, you hope that the sentence they receive is going to deter them from doing that again. likewise, when other people see that that particular kind of law is being enforced that it's going to deter them from driving impaired. scott : do we have evidence that that works? one also hears about recidivism rates being fairly high after people get out of prison. is it the case that they go to prison and learn the lesson?
for rehabilitation that's being offered for defenders. scott : right. jerry: themselves of that opportunity, it's up to each and every individual but you like to think that the effect of the law does have some impact on behavior. i believe that the facts and the statistics will bear that out. scott : but the other thing, and maybe justin can speak to this, is one does have this deep sense that the punishment should somehow fit the crime, that even if we could protect the community by locking that some crimes just don't merit that, i take it, particularly with drugs stuff. sara was mentioning this before that sometimes people feel like these sentences just don't seem fair that someone is going to prison for a long time and who knows, maybe it does reduce crime rates to send them to prison for that long but is that really fair to this person and that person's family for a
justin: right, and under the federal statute, title 18, section 3553, the federal district court judge has a set number of factors that he or she has to consider as well but the important guiding principle is that, based on those factors, generally and specific, which include treatment opportunities for the defendant, which include protecting the public certainly, include the seriousness of the offense but the guiding principle is that the judge should select a sentence which is sufficient but not greater than necessary to achieve those goals. scott : right. justin: i think the department of justice would agree that some of the sentences that are required by some of the mandatory minimums, especially in the drug context, in certain instances, depending on the specific facts of those cases, would perhaps be greater than necessary. the department of justice does support some pending legislation which would cut some of those mandatory minimums.
about that and maybe, gerry, you can speak to this. how do mandatory sentences and mandatory minimum sentences work right now in our system and to what extent is this a federal issue, to what think not everyone has a clear sense of how these things really work for people. when do these kick in and how do they work? jerry: sure. well, there's two kinds of sentences in iowa that call for a mandatory prison time. for which the judge has no discretion. scott : jerry: prison is the only possible outcome. those are reserved for the most violent offences, for instance, murder, or robbery, or the worst forms of kidnapping, or sexual abuse and so forth. then there are some crimes for which not only is prison mandatory but the offender has to serve at least 70% of their sentence before they're eligible for parole. we call those the 70%ers. this was a law that went into affect back in 1997. first, in fact, it used to be 85% and they reduced it to 70% back in 2003, i believe it was, but it's reserved for the worst of the
those people that commit crimes like murder in the second degree, attempted murder, aggravated forms of kidnapping and sexual abuse, and both forms of robbery. i don't think that we should give our public the impression that everyone who gets sentenced for a felony goes to prison. that's not the case. in fact, most don't. most get a chance on probation the first time around for the felony offence unless it's a crime of violence. what our legislature has decided is that for those people who commit certain acts of violence, not only is the term going to be mandatory, but for certain extreme crimes of violence you're going to serve 70% of your sentence before you're eligible for parole. there are reasons for that. i remember when i started back in 83, the first murder case i ever
resululd in a conviction for murder in the second degree. the sentence was 50 years in prison but we had no mandatory minimums and the defendant was paroled after serving a little bit more than 7 years. the legislature saw examples like that happening across the state and decided, enough is enough. if you go to prison for certain crimes then you're going to serve a certain mandatory sentence before you're eligible for parole. scott : but why was the person paroled after 7 years? couldn't some people make an argument that well, they met the requirements for parole, this person was not a harm anymore to the society, this person had shown proper rehabilitation ? sara: wasn't it just crowded prisons really? scott : or was iicrowded prisons? jerry: well, the parole board, i think, is always under a certain amount of pressure to keep the prison population under capacity or at capacity but i think most people would say that a person that goes to prison for murder on a 50 year sentence should do more than 7 years. but it's strictly up to
time and so sentencing discretion has really taken away from the judge, from the jury and given to a to nobody. scott : right. well, so is there a problem, sara, with our sentencing, our mandatory minimum sentencing? sara: there was a problem before they changed it where there were, i mean second degree murder was anywhere in reality 5 to 7 years. i mean that was what was standard and that was considered crazy because just because you were lucky enough to have a really good attorney, because if jerry was going for first degree murder i can tell you that person deserved to have been charged with first degree murder. if the attorney, , d he probably stillll remembers s o it was, but was good enough to get the guy off on second degree murder, which is not a minor crime, for that person to only serve 7 years, i'm quite sure that the family of the person who was killed was pretty unhay when that person got out in 7 years. my unhappiness or my concern, with that type of
you're now serving 70% of second degree murder, i have no problem with that because there's a death. the problem i have is in the federal system where you have drug crimes where the judge has no discretion. mark bennett, whose a great judge, he's now senior status but he was a chief judge in the northern district of iowa, and he's written some columns, some opinion columns that have appeared in theheazette aboututis concern with the mandatory minimums and he's sentenced people who he thinks shouldn't be going to jail at all but they're going to go for 20 years because they had a drug problem and it they had been charged in the state systems for the same crime, they probably wouldn't have gone to jail. that's a problem, is to have the bad fortune and nothing against yoyo you're dealing, youou know you don't have discretion either. if the person is charged with whatever amount of
that sentence says this is the least you can serve no matter what. scott : yeah, justin you want to- justin: yeah, a few things on that. first, there's significant differences in the federal and state system. there is no parole in the federal system right now so when someone is sentenced to a period of imprisonment, they serve that entire period other than about 15% they can get shaved off for good time credit. second, there are some policies the department of justice has adopted in recent years which give us line prosecutors more discretion in alleging the triggers that cause a mandatory minimum to apply. in drug cases it's almost exclusisily drug quantity right now, so you reach a certain point of drug quantity and a mandatory minimum applies but that's only if the drug quantity is alleged in the indictment. there's now a set criteria that the ausa and the ausa supervisor go through in each and every case to determine whether to allege the quantity. similarly there are
on recidivism, recidivist enhancement, so if you've had 3 prior violent felonies you have a mandatory minimum kick in and so we have another set of criteria; we'll look at that. it's not any more the case that we always have to charge it and those policies are part of the smart on crime e itiative that attornrn general holder initiated. but i think there are some reasons why mandatory minimums are important and i think that's important to understand. one, they offer a certainty of sentence and for some types of crimes that's important. you need the public to know that if you commit crime a, there will be a 10 years or whwhever it is. that certainty can lead
deterrent effect than if you commit crime a you might be sentenced to 10 years but you might be sentenced probation, depending on which judge you get. i think that there is value in that. there's value in limiting the unwarranted disparity. as i said, if you can commit the exact crime and have the e act same criminal history but you happen to get a judge a instead of judge b and you get 10 years difference, that disparity is something that i think the system would try to avoid but that's only when mandatory minimums are an appropriate length and for the appropriate- scott : right. justin: type of crime. again, we believe that the lengthy mandatory minimums should apply for the most serious and violent offenders. scott : well, i guess, i mean the couple problems that i think about, one is that, and sara's alluded to this already a bit, that it seems as if part of the beauty of our system is that a judge makes a judgment. that is to say, looks at the specifics of the case and somehow applies what is a kind of set of precedents
sentence ties thth hands, in some wawas, of a judge who might say, "well, there are so mmy extenuating circumstances here," so judge a and judge b might be giving different sentences and maybe that is unfair but it could also be that judge a and b are giving different sentences for the same crime but there are all sorts of extenuating circumstance s that make up for that and wouldn't having a little bit of play in our system be a kind of good thing in that regard? i guess the other thing is, is that one fear is like with having multiple, you know you've been convicted a few times and then all of a susuen some mandatory minimal sentence kicks in. i guess if that's appropriate that's okay but again one worries like, in an extreme case like a "3 strikes, you're out," and yoget like a minor crime and all of a sudden now you're serving life in prison for something that just seems disproportionate punishment to what's actually going on. s sa: yeah, there e s somebody in california that they had stolen
their third- scott : right. sara: offense it was "3 strikes, you're out," a a- scott : right, and admittedly- sara: california got- scott : it might not always be so dramatic- sara: right, right. scott : but nonetheless, it seems like we want, like i said, the punishment not to exceed the crime and even if you've done 3 crimes, you know that doesn't necessarily- jerry: sure. scott : mean you deserve some huge, long sentence. sara: we do have habitual offenders in iowa- jerry: right. sararabut isn't there also discrrtion with the court? jerry: sure, the judges still have discretion even on those who are habitual offenders and have prior felony convictions but i think it's important to note that not only are judges concerned about fashioning the appropriate sentence to fit the crime but prosecutors are interested in- scott : right, right. jerry: doing that too. prosecutors are supposed to be fair and to play by the rules, and not overcharge crimes, and try to fashion an outcome that's appropriate to the kind of crime that's involved. for instance, if somebody shoplifts and they assault a clerk on the way out, i mean technically
a mandatory minimum 7 year sentence but i think the, most prosecutors would look at that and say, "this is an assault and a theft," and so i think it's important at every position to have people of integrity working in the justice system. if you don't have faith in the people who are involved in the justice system then you don't have faith in the justice system itself. scott : right, but doesest, i mean in some ways a mandatory minimum sentence says, "we don't have faith in the system," saying, "we don't trust you guys to do it so we're going to make sure that you do it?" sara: well, i think it started with the biden crime bill, the mandatory minimums, then, and crime was much higher at the timm was that there was too much leniency. problem is some of those minimums are way too high for what people are being charged with. i mean the biggest problem people have, no- you don't hear anyone say, "oh, i don't think we should have a mandatory
somebody who kidnaps and rapes a person." i've never heard anyone say, you know, "they're sentenced too long," but when you have s sebody who, and not that i am advocating in getting involved in meth, but the sentences for meth, which there's a lot of people who have an addiction to that, are rather high and at some point our prisons just can't handle all the people that have a drug problem and steal stuff to keep going. scott : maybe we should talk about just the number of p pple in prison and in particular the kind of racial disparities that chief justice mark cady has mentioned that, you know, so the numbers i have are that, you know of 8,000 inmates in 9 state prisons in iowa, roughly 31,000, you know 25% of the population is black, whereas only 3% of our population in iowa is black. does that show that there is some kind of disparity? i meme if the goal of this stuff is to make things equal, is that equal? i mean is it the case that the- sara: well, i think there's
reasons for it. a lot of them aren't good. some are as simpleles who they have for a lawyer. i mean, i'm not going to pretend that all lawyers- scott : so it's a kind of class thing, partly? sara: there can be, there can be that, i mean, you know- scott : right, but it seems like there's a race thing on top of the class thing. sara: i'm not saying there's not. it could start with where they're getting arrested. it could, there could be a whole- that's why i said s se of the things aren't good but some of them actually are color blind. i mean if you ask somebody, "who," you know, "tell me one person you can think of that got away with murder," most people uld say who, "oj,, you know? why did he get away with murder? it wasn't because of the color of skin. it was because he had what was called the dream team so some ofofhe racial disparity is income basedd although i have a nephew who is a public defender and i think the public defenders in iowa do a great job so just because you don't have the money for
don't think that there's some, you know, necessarily some conscious thing that people are going after but it does seem startling. i mean, justin, doesn't this seem like a problem that needs to be addressed in some ways? justin: yeah, i looked up the numbers here and brought it with me from the federal system- scott : yeah, okay. justin: because i wasn't aware. i'd heard about the iowa numbers and so according to the bureau of prisons' website the african americans make up approximately 38% of the feral prison population as of, i think it was the end of 2015. that's about 74,000 inmates. now comparatively, according to the census, africananmericans make up 13.2% of the nationwide population- similar disparity- scott : disparity, sara: but not a stark, nowhere near as stark as in 3 versus 25. justin: i would agree there's a lot of issues contributing to this. i don't think it's just the criminal justice system. i think there's some, you know some crime is prompted by social or economic inequality and so i think as a society or fromomll angles and not just the criminal justice system but all angles as to how we can help this. now,
criminal justice system can do, i think one way we can take a step towards correcting this is actually focusing on offender reentry. reentry focuses on, when people get out of prison are they going to recidivate and come right back into prison, or can we help them stay out and live law abiding lives? i mean 74,000 african americans in fededel prison ririt now, almost all of them along with almost all the other inmates are coming home at some time. they're all going to be released or almost all of them will be released at some point in time and due to difficulty finding jobs or lack of community support, they have a hard time getting on their feet. if we're going to end this cycle, and not send them back to prin and contribute to this disparityty even more, w whave to help with the reentry. scott : well, what about, jerry, that just the sentencing piece of this? does that play a role in increreing the number of black americans in prison? i mean, i guess the worry would be, particularly
stuff, that all of a sudden the rug war gets waged predominantly in black communities and then all of a sudden they're paying this huge price that has been brouout on by getting tougug on crime in the way that we have? jerry: i think it's a fair question. i think the question we have to ask is this, are any of our laws that we have on the books unfairly targeting minorities? if that's the case, then those laws need to be changed but at least at the state level, the state of iowa, i don't believe there are any laws that unfairly target any segment of the population. i believe that's true at the federal level as welel many will point too the disparity in treatment of drug traffickers wih regard to the difference between crack cocaine and powder cococne but some offhese people have a very short memory. many might remember back in the late 80s and early 90s when crack cocaine wawatearing
people wanted- scott : right. jerry: a response to that problem because- scott : right, right, to crack down on. that was part of clinton's stuff- jerry: right. scott : and everything in turf : right. jerry: were dying and so our legislature crafted the sentences. it got tough on people who peddled crack cocaine and so i don't think there was any kind of insidious intent our leleslators to craft a law that was going to come down on one segment of the population. scott affect has been sort of to do that a bit. i mean even one could sort of say cynically that part of why branstad has all of a sudden worried about drug stuff is that it's s l of a sudden hitting white communities more in iowa and it's like, "oh, now we need to back off the sentence." sara: it could be that and also with budgetary concerns. you know at some point you ve to build a new prison or- scott : sure, and that might- scott : right, that might sentences are and stuff. scott : right, right. we only have a few seconds but do you want to respond to that, jerry? jerry: no, i think it's good
laws s see if there's any way that we can amend them to make them more fair for justice is not supposed to depend on who you are. what you do. scott : right. jerry: the law should apply to all equally. scott : right. well, that's maybe a good note to end on. i mean, i think as a society we lock people up and as you said, this is serious business not just for those who have suffered crimes and committed those crimes but really for all of us in whose name we are doing this. i hope that the conversation that we've started is one that you can continue in your homes and communities and i would really like to thank the panel for really a really enlivening discussion. thank you again. sara: thanks for having us. jerry: my pleasure. justin: thank you. scott : okay, thank you, and we'll see you next time on
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<div class="tv-ttl">Ethical Perspectives on the News<div>ABC February 21, 2016 11:00am-11:30am CST</div></div>
Scott 12, Iowa 11, Justin 7, Branstad 3, California 2, Jerry Vander Sanden 2, The Parole Board 1, Eric 1, Whave 1, Welel 1, Oj 1, The Iowa City 1, As Iowa 1, Anamosa 1, Regis 1, Wawas 1, Scott Samuelson 1, Doesest 1, Hilary Clinton 1, Gerry 1
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Kendall Square at MIT
updates 124
Are we missing something? Please leave us a comment or contact us at kendallsquare@mit.edu with any additional questions.
TOPICS: Programming, Retail, Transit and Parking, Bicycles and Pedestrians, Access/Impact During Construction, Sustainability
1 . What activities are going to be in the programmed open space?
We see the open space as an opportunity to open the best of MIT and our local innovation hub to the world each day through interactive activities, large and small events, art and technology installations, and a full calendar of daily programming. We envision a lively destination that draws people from across MIT, the Kendall area, and beyond in a meaningful way throughout the year. We envision all kinds of activities such as farmer's markets, fitness classes, food trucks and festivals, lectures, hackathons, community gatherings and more. Activities will be planned and coordinated by the new Director of Open Space Programming at MIT, Jessie Smith. A Retail and Open Space Advisory Committee is helping us in working with the community to shape the programs that occur within the space.
2. Do you have plans for public art?
Yes, MIT has an extensive public art program and we are working closely with the MIT List Visual Arts Center to curate pieces that will be unique, defining moments of the open space and architecture.
3. What is the MIT Forum?
The MIT Forum will be a 200 seat auditorium and event space in Site 4 that will be used for MIT admissions meetings and presentations, community events, and other activities. The space is designed so that events can spill out into the open space and engage the community year-round.
1. What retailers will be in the future space?
We are extremely excited about the future of Kendall Square, and MIT is committed to ushering in enhanced and flexible retail and dining options that will fill in the gaps of goods and services the neighborhood needs. We are planning for unique concepts by strong, local operators and to extend hours beyond the work day.
In response to demand for a pharmacy we are designing retail space that will accommodate that use. Plus, we are very excited to be opening a new grocer at One Broadway in 2019 as well as a new all-day dining concept.
Some of your other favorite spots such as Au Bon Pain, Sebastian's, and Dunkin Donuts remain open for business, in addition to the new dining options at 610 Main Street, Sulmona Italian Bistro and Café Luna.
2. Will you relocate the existing Main Street retailers?
We are working closely with current retailers to plan for closures and relocations on an individual basis. Some have left as leases ended and some will be relocated within the neighborhood during construction and in the new and redeveloped buildings once completed.
The various phases of construction will impact existing retail tenants at different times throughout the development. It is our goal to keep Main Street as active as possible during construction and we will work with our retail partners to keep access as long as possible and provide new forms of temporary activation. Updates on retail relocations and closures will be posted on this site.
The food trucks have been relocated nearby. Specific relocation sites may change over time. Check this website for the latest information on where to find your favorite food truck: http://studentlife.mit.edu/dining/retail-dining/food-trucks-are-move
3. What are you doing to make retail more inviting to the community?
The retail spaces at the ground floors of the existing buildings along Main Street will be updated to better engage a broad community audience while still providing the much needed goods and services that they offer today. The first floors of E38 and E39 will be reconstructed to meet the sidewalk level and be fully accessible to pedestrians while preserving the historic nature of these buildings.
Main Street, the open space and Broad Canal Way will feature a varied retail mix, outdoor seating and options for all audiences. The new One Broadway will feature an inviting and active ground floor with a corner restaurant, grocer, and spaces where the community can meet and gather, modeled after the best hotels.
Where possible and applicable, we will encourage retail tenants to utilize operable storefront designs that allow for merchandise and dining to occur on the sidewalks and open space.
We will work with retailers to have extended hours to provide greater convenience to the community, and make Kendall Square a true retail destination.
1. What changes are being made to the T station?
MIT is working with the MBTA to design and fund a new T head house that achieves our goal of being accessible to all and making Kendall Square a place where people want to go to gather. The new T head house will create an inviting entrance to the MIT campus and the neighborhood for riders upon exiting the station. The other entrances will remain in their current state.
2. Where will the parking be located?
Existing surface parking and loading facilities will be relocated to a new garage beneath the open space. In addition, a new, landscaped surface lot will continue to serve visitors to the MIT Medical Department. Parking at Building 1 will be above the retail.
1. What are you doing to improve bicycle and pedestrian connections and access? Are you adding bike lanes and bike facilities?
The project was carefully designed to improve pedestrian and bicycle access and safety. Loading and trash facilities will be below grade to limit their impact on the public realm. The open space will serve as an extension of the Infinite Corridor, strengthening campus connections.
The City is creating a new crosswalk on Main Street that will connect MIT's Sloan School with the new pedestrian connection between the residential building to be constructed at 165 Main Street and the office building at 139 Main Street.
A new cycle track on the east side of Ames Street will also be built to connect the existing cycle track north of Main Street, providing a contiguous path to the Charles River waterfront.
2. Where will the bicycle parking be located?
The project will add 208 short-term bicycle parking spaces throughout the open space. In addition, there will be 826 secure-access long-term bicycle parking spaces within the parking garages for building occupants. There will be repair facilities and lockers for bicycle commuters.
Access/Impact During Construction
1. What are the hours of construction?
Construction hours are weekdays 7am – 6pm, and Saturdays as needed 9am-6pm.
2. What roads will be closed during construction?
Access to Wadsworth Street from Main Street is closed to all traffic, with pedestrian access maintained through 2020. Wadsworth Street from Memorial Drive to Amherst Street is currently open to one-way traffic. Carleton Street provides access to MIT Medical and its parking lot. Some pedestrian pathways have been re-routed and may move during the course of the project. See project updates for more details on current road closures.
3. How will I get to the T Station during construction?
The T station on the South side of Main Street will be accessible from Main Street throughout construction.
4. How long will the construction of the project take?
The initial site and utility work phase will be complete in late 2018. Construction has commenced on the garage, the graduate student residence, and 314 Main Street with expected completion in 2020.We estimate 7 to 10 years for the completion of the entire development.
1. What sustainability strategies are you implementing?
Preserving the innovation ecosystem goes beyond buildings and amenities; we are implementing the most advanced sustainability measures to ensure that we are good stewards of the neighborhood now and for generations to come. We're committed to earning points as a LEED Master Site to be filed along with individual building projects, and projects will certify under the more stringent LEED v4 system for LEED Gold Ratings. In fact, Kendall Square at MIT will be one of the largest LEED v4 collections of buildings on the east coast and will incorporate the latest energy standards and sustainability initiatives.
We've learned a lot through engaging with City committees and initiatives such as the Net Zero working group, and we're committed to continually revising and reevaluating design strategies to stay at the forefront of technical developments and improve environmental performance throughout this project. Our buildings will be designed to exceed local energy standards and the open space will achieve up to 70% annual average reduction in site runoff through storm water reuse and site infiltration.
Mindful of the impact created by the added workforce and visitors to the neighborhood, we invested heavily in bike and pedestrian infrastructure, including widening sidewalks, the addition of a bike facility and contributions to the Grand Junction path and the MBTA to bolster this transit-oriented development and encourage non-vehicular travel. The two acres of open space and the transformed retail landscape ensure walkability for residents and tenants.

redpajama_set_name: RedPajamaCommonCrawl


My hubby started to suffer from anxiety, It has been about six months now. He is seeing a pschycologist. My question is, When he has an attack, The heart pulpitations, the dizziness and wanting to pass out feeling etc. Is any of this harmful to him at all? is there a chance that he will pass out when he says he is feeling these symptoms?Is there a chance of a heart attack due to the pulpitations?
I need to know so that I dont panic when he feels this way, and will be more effective in helping him.
Sounds like anxiety attacks, possibly panic disorder. During such episodes one is flooded with the same panic-inducing chemicals as would be released if you found a savage tiger entering the room --- so one feels terrified, has all the symptoms of fear, and is scared one will die, or collapse, or go mad, or all 3. Fortunately, this does not happen, but it truly feels like that. HEart attacks don't happen in these situations. ONLY Cognitive-Behaviour therapy helps ( other forms of psychological intervention are useless ) and some medications from a psychiatrist can also reduce the power behind such attacks and symptoms.
Thanks for your avise, We are still to find out what triggered this off, There were no traumatic events, our family life is a happy one.
Hubby does not want to go on medication, I just needed to re-assure myself that the symptoms he has cannot cause him any harm.
Why did he start getting these anxiety attacks? Did something traumatic happen to him?
In my case it was a car accident, more than a year ago. As CS explained it truly feels as if you could die on the spot. I also get the needles and pins feeling in my hands to my shoulders, around my mouth and in my feet. As my psycologist explained - it happens because your adrenaline levels are unbalanced (especially after a traumatic experience). So you have to give yourself time, it takes time, patience and understanding. The best you can do is be there and near him when it happens. Ask him if you can get him anything, water, wet cloth, anything.
The doc put me on an anti depressants and something to take at night to sleep. Also I take urbanol if I do suffer an attack, which is mostly in the car when we take a long trip. But it gets worse if left untreated. I started getting attacks at even the slightest bit of excitement! Your body goes into alert too quickly and does not distinguish between fear and excitement. He must not fight it, it' s like a massive wave, the more you resist or panic, the harder it will hit you. The trick is to stay calm, take deep breaths. Also - healthy diet (not too much alcohol) and exercise helps a lot.
Good luck, I hope your husband can beat this.


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How I made Hellboy in my image
Hellboy was born in a comic book, but his stunning film presence is the product of the extraordinary imagination of Guillermo del Toro, director of the Oscar-winning Pan's Labyrinth. Here, he opens up the sketchbook in which he captured his vision of the hero of Hellboy 2, and his enemies
'I find monstrous things incredibly beautiful' ... Ron Perlman in Hellboy 2
I think the only time I'm completely free is when I'm working on my no books. They are 100 per cent integral to my creative process. The first time an idea happens, it happens in these pages.
I carry the books with me in my bag and if they're not beside me, I'll quickly write in my other leather notebook, which is my left hand, and then pencil it in as soon as I can. I'll go back to the books in the final stages of writing or designing. I also do the first breakdown of colours here, both for the art direction and the lighting.
Only the essentials make it to the notebook - the moments of great enthusiasm. Hellboy 2 takes up 20 or 30 pages. Even Pan's Labyrinth was not much more than that.
Visually, I'm as proud of this new movie as anything I've already done. In the first Hellboy, I was a lot more slavish to [comic-book artist and Hellboy creator] Mike Mignola's visual universe. This time I frankly decided to let my hair loose. It was a very difficult and painful movie to shoot, but creatively it was one of the most rewarding experiences I've had.
I do the first sketch and sometimes it goes through with very few changes, as with Cathedralhead or the King. Sometimes Mike Mignola or one of the designers takes a stab, and the digital designers might even start altering it in post-production. The process is similar for the physical creatures. The Angel of Death went through several phases of sculpting and was constantly evolving.
Of the 32 creatures we created for the movie, about 90 per cent were created physically. Only the creatures that were too big, like the Elemental character, or too small, like the tooth fairies, were created using CGI [computer-generated imagery].
It's extremely unusual to make a movie like this nowadays, but I feel the film acquires an artistry and a textural value and a handmade feel - a human touch - that CGI by itself does not give. I think it's extremely important to preserve physical effects for creatures.
The wardrobe is done very carefully. We colour-code it and texture-code it as much as possible. I try to be as careful with it as I would be with the screenplay. I am essentially the grand torturer of the designers - I'm a pain in the ass - but they know I'm coming from a genuine place and that when I ask for something I know exactly why and what it implies.
Every time I'm done with a film I look back at the notes and I find that the essence of the characters is there. Obviously, there are moments when you have to compromise because of an engineering problem or a design flaw, but they come out pretty damn close.
When we use the word superhuman we always use it in the Nietzschean sense, meaning the guy that is overqualified as a human, but what I love about Hellboy is that he is superhuman in his flaws. He is like a monument to human vulnerability. He has the extraordinary job of hunting down monsters but he goes at it like a blue-collar plumber. I love that simplicity in the comics. In the movies we've taken it up a couple of notches, in that we've given him an almost childlike innocence, or a brat-like innocence in some instances. With Ron Perlman playing Hellboy, your heart goes out to him because he's such a wide-eyed, big-hearted creature.
I find monstrous things incredibly beautiful, in the way that the most beautiful carvings in Gothic cathedrals are the grotesque carvings. If I were a mason I would be carving gargoyles. I'm absolutely head over heels in love with all these things.
The main monsters in the film - the really odd and quirky ones - spring straight from the notebooks. If I could be illustrating creatures all day long every day for the rest of my life, I would be very happy.
In medieval times, they had these beautiful books called bestiaries. A lot of people are confounded by them because they think there was an ignorance of the real zoological function of the animal or they were too fanciful, but in reality bestiaries were very wise books because they tried to do a taxonomy not only of animals but also of their cosmological, symbolic and spiritual meanings.
If I could say anything about the movies I do, I would love for them to become my personal bestiaries of fanciful creatures.
I'm going to start a separate notebook for The Hobbit [Del Toro's next project, adapting the JRR Tolkien novel] or sketch on loose leaves of paper, because legally I'm still resolving some ownership issues over my sketches. These notebooks are my legacy to my daughters. I want them to remain intact so they can give them to their children in turn, or else just browse through them and see how deranged their father was.
The Del Toro CV
Born: 9 October 1964 in Guadalajara, Mexico, and raised by his grandmother. Lives in Westlake Village, Los Angeles, with his wife and two daughters.
Early life: Eight-year-old Del Toro started making movies with his father's camera. After attending the University of Guadalajara, he studied under legendary makeup artist Dick Smith (The Exorcist) and established his own special-effects company, Necropia, in the early Eighties.
Films: With his acclaimed 1993 debut, Cronos, Del Toro established himself as a creator of dark, highly imaginative fantasies with a grounding in real life. After an unhappy brush with Hollywood on Mimic (1997), he directed The Devil's Backbone, a ghost story set during the Spanish Civil War. A return to Hollywood gave rise to two comic-book adaptations, Blade 2 (2002) and Hellboy (2004).
Pan's Labyrinth (2006) received lavish praise from critics worldwide and won three Oscars, including Best Cinematography, a number of Oscar nominations, including Best Original Screenplay, and a Bafta for Best Film not in the English Language.
In Hellboy 2, the tough-talking, destructive, but ultimately good-hearted demon, who helps the US government combat dark forces, is up against the power-hungry Prince Nuada (Luke Goss).
Cathedralhead
'A flat face and two big eyes' ... Cathedralhead
I came up with this idea one day of a character with very simple features - a flat face and two big eyes - but with a cathedral at the top of his head. I sketched it really quickly and showed up at the office the next day and said: 'I want to create a creature called "Cathedralhead".'
Originally the idea was to have little humans running around the ramparts of the cathedral but the budget didn't allow for it.
Prince Nuada
'I wanted their faces to be like old ivory' ... Prince Nuada
The idea was for the prince, the princess and the king to look as if they were made of old ivory. I wanted very much for their faces to be cracked like old ivory. They would also sport a marking across the face, a very thin subtle line like a carving. I thought it would be nice for the three of them to have it.
I colour-coded everything in the movie before talking to the art director and cinematographer, and one idea I liked was to have the elf world in earth, gold, crimson and black, echoing the colours of Hellboy's library at the BPRD [Bureau for Paranormal Research and Defence]. That would emphasise the fact that Hellboy has something in common with the magic world. You can see these basic colours in the sketches.
King Balor
'What looked like a crown were in fact natural growths' ... King Balor
I wanted the markings of royalty to be natural. I didn't want the king to actually have a crown, because a separate crown is needed to control the Golden Army and it would only become confusing. I thought it would be nice if these antlers or dreamlike branches came out of his head and were regal and looked like a crown but were in fact natural growths. It was a very striking image. I did that sketch very quickly one day, and that was essentially the design we executed on the film.
'I'm influenced by artists such as Pieter Bruegel, Arnold Böcklin and Hieronymus Bosch' ... The Angel of Death
I tried to convey some sense of symmetry by having the wings in an X shape. There are some medieval artists who painted four-winged cherubs and I always liked those formations and I was trying to echo that. I'm influenced by artists such as Pieter Bruegel, Arnold Böcklin and Hieronymus Bosch, as well as the Belgian Symbolists, the Surrealists, the Dadaists and some of the Pop movement. In this case, I knew the wings were going to be black and they were going to have eyes in them and that the figure itself would be blind. The final design in the movie, the final silhouette, is very similar to the initial sketch.
Mr Wink
'I wanted him to be a one-eyed troll' ... Mr Wink
Mr Wink is one of the prince's henchmen. He was originally from a sketch by Mike Mignola but everybody at the office took a whack at him - I allowed him to evolve hand by hand. I knew I wanted him to be a one-eyed troll with a huge scar on the left side of his back. All I kept asking was for him to be very symmetrical with Hellboy, for him to have a right hand of steel and the sideburns like Hellboy has. This sketch was done to develop his colour palette. I designed the tattoo on his chest because I wanted him to have some sort of tribal marking but in fact it's barely visible in the movie. I also wanted to show his size in relation to Abe Sapien. He needed to be able to hold Abe's whole head in his hand while he whacked him with his other fist.
Science fiction and fantasy films


Philodendrons are the perfect, no-fail plant to add a tropical feel to your home or patio. Whether growing in a pot or in a hanging basket, they are one of the best plants for filtering indoor air. Outdoors in warm-weather climates, philodendrons make a wonderfully tropical addition to your surroundings, whether growing in the landscape or climbing your favorite tree. Philodendrons grow best in medium-light areas, but will tolerate low light indoor conditions as well.


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aron heller journalist
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Why Biden Could Never Beat Bibi By Aron Heller | Freelance, Tuesday, 08 Dec 2020
Protesters against Prime Minister Benjamin Netanyahu in Jerusalem, November 7, 2020. (Photo by Ohad Zwigenberg)
Israeli politics are moving in the opposite direction to America: the demographics play to the right. A Biden-style victory could simply never happen here. Op-ed published in Haaretz.
With Israel seemingly headed toward another election, many long-languishing opposition forces are hoping that Joe Biden's victory over Donald Trump in the United States can be a harbinger of the Israeli version of a moderate overcoming an extremist incumbent.
That's a false hope.
For all the similarities between Trump and Benjamin Netanyahu, from their trampling of norms to their assault on the media and law enforcement agencies to their shared disdain for elites and even for simple truths, there is one major difference. Trump, even with his cult-like base, could never come close to representing most of his country's people. Netanyahu can.
For all the falsehoods Netanyahu has peddled in his frantic campaign to stay in power, he's been right about one thing: when he says his opponents are counting on the courts to remove him from office, because they can't do it through the ballot box, he's not lying.
This is not to say that his alleged corruption should not disqualify him from serving, or that he has not lost the moral standing to do so. It's just that for those who want to vote him out, the numbers simply don't add up.
The fact is the Israel of today is a right-wing country, and Netanyahu stands head-and-shoulders above everyone else in his camp. Opinion polls show that, today, less than a fifth of Israelis identify as being on the left, with a quarter calling themselves centrists, but a huge 57 percent identifying as right-wing.
With Palestinian peace talks long off the agenda and a socialist economy a relic of the past, the left hasn't got much left to sell besides a nostalgic craving for its glorious history. The days of the fiercely-fought right vs left ideological battles between Menachem Begin and David Ben-Gurion, and Yitzhak Shamir and Shimon Peres, are over. The Labor Party that established the country and led it through its first three decades has all but evaporated.
Without the ideological rivalries of the past to stand upon, the Israeli political map has largely aligned neatly along identity lines, with the ultra-Orthodox, nationalist settlers and working-class Mizrahi periphery on one side and the wealthier, mostly Ashkenazi, educated class of the Tel Aviv metropolis on the other. The main points of contention tend to revolve less around policy and more around decorum, tradition and grievances.
In recent years, this schism has mostly boiled down to a referendum over its most obvious manifestation: Netanyahu himself.
The Ashkenazi, MIT-educated historian's son has somehow come to represent Israel's downtrodden, who feel aggrieved by what they perceive to be a crusade of the elite institutions of the state against him.
Like Trump, Netanyahu has his die-hard, unconditional supporters, and he maintains a stranglehold on his party apparatus. And, again like followers of the outgoing American president, even many of those most harmed by his leadership admire his strongman persona, and fear handing the reins over to anyone else who could potentially cave into enemies, real and imagined, both from without and within.
It took a group of three admired former military chiefs three tries to rally the sizable anti-Netanyahu camp to three unfulfilling ties with Netanyahu's bloc. The emergence of Naftali Bennett as a right-wing alternative has raised, for some, a different hope of renewal after nearly 12 years of consecutive Netanyahu rule.
But despite the country's sizable centrist camp, it's hard to see anyone to the left of Netanyahu reclaiming the premiership anytime soon. Neither ex-military chief Gadi Eisenkot nor Tel Aviv Mayor Ron Huldai appear to be the latest longed-for saviors that many hoped Benny Gantz and Gabi Ashkenazi would turn out to be.
In fact, it would take a perfect storm for the ideologically murky parties of Gantz, Yair Lapid and Avigdor Lieberman to cobble together enough mandates for a makeshift alliance with Bennett and others that could potentially freeze out Netanyahu. Such a scenario would seem to require the type of fluke that allowed Trump to sneak into the presidency in 2016, even though he earned nearly three million fewer votes than did Hillary Clinton.
In many ways, Israeli politics are moving in the opposite direction of what's happening in America.
For a Republican like Trump to become president these days, he must rely on a disproportionate electoral college, gerrymandered voting districts and questionable voter suppression tactics. Even so, the Republican candidate for president has won the nationwide popular vote just once in the past eight elections. The trend looks to continue as Democratic-leaning minorities grow into a larger share of the population.
In Israel, on the other hand, the demographics play to the right. Israel's fastest growing sector, ultra-Orthodox Jews, have been Netanyahu's most loyal coalition partners. Even if they were to somehow break with him, it's hard to imagine them ever siding with the egalitarian, gay-friendly zeitgeist of the liberal left or the secular sentiments of most of the anti-Netanyahu crowd.
It's true that ultra-Orthodox parties have sat in governments led by Rabin and Ehud Barak, but that was back in the 1990s. They are different parties today with an electorate that has shifted to the right. Regardless, Netanyahu, ever the masterful politician, has figured out what they want and gives it to them.
With the Arab-led parties still seemingly rejected as coalition partners and wary of formally aligning with any of the Zionist parties, the center-left has virtually no chance of winning a parliamentary majority.
In other words, those taking to the street in the U.S. against Trump represent the future. In Israel, those protesting Netanyahu are the past. At least we can take comfort that in Israel's democracy, the people generally get what they vote for.
Aron Heller is an Israel-based high-tech writer and a former long-time Associated Press correspondent and journalism professor. Twitter: @aron_heller
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ITALIAN 128: The Italian Renaissance and the Path to Modernity
The literature, art, and history of the Renaissance and beyond. Readings from the 15th through 18th centuries include Moderata Fonte, Machiavelli, Ariosto, Tasso, Galileo, and Goldoni. Taught in Italian. Prerequisites: ITALLANG 22A or equivalent (2 years of Italian)
Instructors: Nakata, C. (PI)
ITALIAN 128 | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 10606 | Section 01 | Grading: Letter or Credit/No Credit | SEM | In Person | Students enrolled: 5
01/09/2017 - 03/17/2017 Mon, Wed 3:00 PM - 4:20 PM at 40-42A with Nakata, C. (PI)
ITALIAN 129: Modern Italian Culture: Avant-garde and Politics
This course will provide students with an introduction to twentieth century Italian literature and culture through the lens of major trends in literary aesthetics, with an emphasis on the experimental and avant-garde. We will focus on gaining an understanding of the interrelationship between different aesthetic approaches and their expression in works of literature and film. We will also investigate political culture in twentieth-century Italy, in an attempt to map historical changes alongside ideas about literature. Taught in Italian. Prerequisites: ITALLANG 22A or equivalent (2 years of Italian)
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Comparini, A. (PI)
04/03/2017 - 06/07/2017 Mon, Wed 3:00 PM - 4:20 PM at 260-004 with Comparini, A. (PI)
ITALIAN 154: Film & Philosophy (COMPLIT 154A, FRENCH 154, PHIL 193C, PHIL 293C)
Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English.
Instructors: Dannenberg, J. (PI) ; Landy, J. (PI) ; Guinart Lopez, P. (TA) ; Lang, J. (TA)
04/03/2017 - 06/07/2017 Mon 6:00 PM - 9:00 PM at 420-041 with Dannenberg, J. (PI); Landy, J. (PI); Guinart Lopez, P. (TA); Lang, J. (TA)
04/03/2017 - 06/07/2017 Wed 2:30 PM - 4:20 PM at 60-109 with Dannenberg, J. (PI); Landy, J. (PI); Guinart Lopez, P. (TA); Lang, J. (TA)
Instructors: Dannenberg, J. (PI); Landy, J. (PI); Guinart Lopez, P. (TA); Lang, J. (TA)
ITALIAN 155: The Mafia in Society, Film, and Fiction
The mafia has become a global problem through its infiltration of international business, and its model of organized crime has spread all over the world from its origins in Sicily. At the same time, film and fiction remain fascinated by a romantic, heroic vision of the mafia. Compares both Italian and American fantasies of the Mafia to its history and impact on Italian and global culture. Taught in English.
Terms: Aut, Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-SI
Instructors: Wittman, L. (PI)
ITALIAN 155 | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-SI | Class # 31005 (CANCELLED) | Section 01 | Grading: Letter or Credit/No Credit | SEM | In Person
ITALIAN 155 | 4 units | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-SI | Class # 33155 | Section 01 | Grading: Letter or Credit/No Credit | SEM | In Person | Students enrolled: 36
01/09/2017 - 03/17/2017 Tue, Thu 3:00 PM - 4:20 PM at 380-380F with Wittman, L. (PI)
ITALIAN 181: Philosophy and Literature (CLASSICS 42, COMPLIT 181, ENGLISH 81, FRENCH 181, GERMAN 181, PHIL 81, SLAVIC 181)
Required gateway course for Philosophical and Literary Thought; crosslisted in departments sponsoring the Philosophy and Literature track. Majors should register in their home department; non-majors may register in any sponsoring department. Introduction to major problems at the intersection of philosophy and literature, with particular focus on the question of value: what, if anything, does engagement with literary works do for our lives? Issues include aesthetic self-fashioning, the paradox of tragedy, the paradox of caring, the truth-value of fiction, metaphor, authorship, irony, make-believe, expression, edification, clarification, and training. Readings are drawn from literature and film, philosophical theories of art, and stylistically interesting works of philosophy. Authors may include Sophocles, Chaucer, Dickinson, Proust, Woolf, Borges, Beckett, Kundera, Charlie Kaufman; Barthes, Foucault, Nussbaum, Walton, Nehamas; Plato, Montaigne, Schopenhauer, Nietzsche, and Sartre. Taught in English.
Instructors: Anderson, R. (PI) ; Landy, J. (PI) ; De Toffoli, S. (TA) ; Kim, H. (TA)
ITALIAN 181 | 5 units | UG Reqs: GER:DB-Hum, WAY-A-II | Class # 17835 | Section 01 | Grading: Letter or Credit/No Credit | LEC
01/09/2017 - 03/17/2017 Mon, Wed 2:30 PM - 4:20 PM at 260-113 with Anderson, R. (PI); Landy, J. (PI); De Toffoli, S. (TA); Kim, H. (TA)
Instructors: Anderson, R. (PI); Landy, J. (PI); De Toffoli, S. (TA); Kim, H. (TA)
ITALIAN 214: Pirandello, Sartre, and Beckett (COMPLIT 281E, COMPLIT 381E, FRENCH 214, FRENCH 314, ITALIAN 314)
In this course we will read the main novels and plays of Pirandello, Sartre, and Beckett, with special emphasis on the existentialist themes of their work. Readings include The Late Mattia Pascal, Six Characters in Search of an Author, Henry IV; Nausea, No Exit, "Existentialism is a Humanism"; Molloy, Endgame, Krapp's Last Tape, Waiting for Godot. Taught in English.
Last offered: Winter 2015 | UG Reqs: GER:DB-Hum, WAY-A-II
ITALIAN 215: Italian Film, Fashion, and Design, 1950-1968 (ITALIAN 315)
In a close analysis of films by Fellini, Antonioni, Rossellini, Pasolini, and Bertolucci, we will explore the various contradictions that fueled the Italian cultural imagination in the 50s and 60s: minimalism and multiplicity, male and female, industrial and archaic, comic and tragic, wealth and poverty. Special emphasis placed on fashion, design, and modernist art. Taught in English, with the option of an additional discussion section in Italian. Occasional screenings Monday evenings at 7pm.
ITALIAN 220: Early Modern Seminar (DLCL 323)
Explores some of the key texts of European early modernity and the critical paradigms according to which the idea of the "Renaissance" has been formed, analyzed, and questioned since the 19th century. Will aim to provide a broad introduction to Early Modern studies from the point of view of the Italian Renaissance and its reception in different European contexts. Taught in English.
Last offered: Autumn 2012 | UG Reqs: GER:DB-Hum
ITALIAN 224: Leopardi, Baudelaire, and Modernity (FRENCH 224, FRENCH 324, ITALIAN 324)
A close reading of Giacomo Leopardi's Canti and Charles Baudelaire's Flowers of Evil and Paris Spleen in the context of 19th-century Europe. Discussion of the poetry will be enriched by selections from their essays on literature and art and by notes from the Zibaldone and Mon coeur mis à nu. Key themes and concepts include language, imagination, "noia," "spleen," and the oppositions between nature and civilization, modernity and antiquity. Taught in English.
Last offered: Spring 2015 | UG Reqs: GER:DB-Hum
ITALIAN 225: Petrarch & Petrarchism: Fragments of the Self (COMPLIT 225E, COMPLIT 325E, ITALIAN 325)
In this course we will examine Francis Petrarch's book of Italian lyric poems, Rerum vulgarium fragmenta, and its reception in early modern France, England, and Spain. Readings from Petrarch's epistolary and ethical writings will contextualize historically and intellectually the aesthetics and ethics of the fragment in his poetry. With this foundation, we will investigate the long-lasting impact of Petrarch¿s work on Renaissance poetry and humanism, with attention to both the literary and the material aspects of its reception. Taught in English.
Last offered: Autumn 2014 | UG Reqs: GER:DB-Hum, WAY-A-II
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Inflammation is an important part of our healing process, but chromic inflammation can lead to many health problems and illnesses. Chronic inflammation is apparent in gum disease as well as arthritis, osteoporosis, diabetes, heart disease and even cancer.
There are a lot of people who suffer from chronic inflammation.
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In addition blueberries add a great flavor to smoothies, pies, cakes and salads, they are great any time of day.
Broccoli is a powerful super food and loaded with nutrition. Broccoli is packed with vitamin C, which can help improve your immune system.
You can eat it raw or steamed, or even add broccoli florets to your next salad.
Many studies show ginger as an anti-inflammatory natural food. It can reduce the motion sickness and nausea as well. Ginger is good in tea, salads, stir-fry and even jelly.
Cranberries contain an important anti-inflammatory property, the phytonutrients can protect the cardiovascular system and it can help improve many parts of the digestive, including your gums.
Avocados are perfect in the summer; they pretext your cells and nourish your body. They contains anti-inflammatory nutrients: phytosterols, carotenoid antioxidants (including lutein, beta-carotene, alpha-carotene, etc.), vitamins C and E, minerals such as manganese, selenium and zinc, omega-3 fatty acids and many other beneficial compounds.
Inflammation can be painful especially when it is in your teeth and gums. Eating foods that are high in proteins and anti-inflammatory properties will help.


The 36-credit Master of Arts in Theories of Urban Practice offers an innovative urban research program for students interested in the critical study of design practices in the context of cities, urbanization processes, and urban ecosystems as well as urban planning, policy, and governance. Entry to the program is not limited to students with a degree or professional practice in architecture, urban studies, or design. It is open to students from diverse academic and professional backgrounds interested in pursuing or learning from critical urban practices committed to social, spatial, and environmental justice.
This research-driven program is part of Parsons' School of Design Strategies (SDS) and shares a 12-credit core curriculum with the 60-credit studio-based MS Design and Urban Ecologies program. Explore the MA Theories of Urban Practice community to see what students, faculty, and alumni are doing in NYC and around the world at sds.parsons.edu/urban.
The MA in Theories of Urban Practice focuses on the production of new knowledge of the urban. Combining urban research, fieldwork, policy, design, and activism, students investigate the evolution of urban practice and the contradictions within the urban field by unearthing root causes, suppressed histories, and emerging theories. This program is for students who wish to pursue careers as researchers, critics, policy advisors, journalists, curators, and leaders of public, nonprofit, and design organizations. Students devise progressive research methodologies and collaborate with communities and agencies at the forefront of urban transformation. Together they explore design as a catalyst for new urban practices and planning approaches that address today's urban challenges.
Students in this program become agents of change by designing and engaging in urban investigations that merge traditional fields such as urban studies, urban history, and urban theory through a design and spatial approach. Research projects have addressed diverse topics including social movements, urban governance, nonprofit management, socio-spatial design in the sharing economy, racial and gender injustices, logistics and politics of infrastructure, women-led urban movements and practices, climate change and environmental justice, securitization and militarization of cities, resistance against displacement, and alternative economies. Students combine urban studies with the study of areas such as politics, visual and social art, critical geography, media, security, and the environment.
The MA in Theories of Urban Practice is housed in an academic environment that fosters innovative thinking and experimentation with the design of cities, services, and ecosystems. Parsons is part of The New School, and the MA program is uniquely representative of the university's deep commitment to social and environmental justice. The curriculum fosters participatory urban processes, equitable development, feminist urban perspectives, and transdisciplinary collaboration across the university. Guided by faculty mentors, students can personalize their course of study by selecting electives that align with their interests and thesis topic.
Graduates are trained to work in the public, private, and nonprofit sectors in positions involving a comprehensive and critical understanding of design in relation to urban planning, policy, development, and governance. They are prepared for careers in urban research and analysis; journalism; academia and research institutes; public housing; urban management and consulting; and social, cultural, and environmental think tanks. The program also provides a research foundation that enables students to pursue advanced study at the doctoral level.
The Master of Arts degree is awarded for completion of 36 credits. A maximum of six credits of graduate-level coursework can be transferred from another institution. Students must maintain a 3.0 cumulative grade point average and fulfill all requirements in a timely manner.
In their first year, students choose an elective at Parsons that introduces them to the skills involved in the study and practice of urbanism.
In the spring semester of the first year of the program, each student chooses an elective course offered by another college of The New School. Examples include courses at the Milano School of International Affairs, Management, and Urban Policy; the Julien J. Studley Graduate Program in International Affairs; The New School for Social Research; and the Schools of Public Engagement.
If you are thinking about pursuing an MA in Theories of Urban Practice, please read below for answers to frequently asked questions about the program.
What sets this program apart from other urban planning, urban studies, and urban design programs?
The MS Design and Urban Ecologies program and the MA Theories of Urban Practice program share themes and curriculum elements. What are the differences?
What kinds of projects will I work on?
Since this program is transdisciplinary, students who participate in it have different backgrounds, including architecture, industrial design, history, philosophy, geography, anthropology, law, community development and organizing, social art, economics, communication design, and film. Students entering this program may have work experience in their fields.
While this program does draw upon fields and disciplines that are assumed to be under the broad umbrella of "urbanism," this is not explicitly an urban planning or urban design program. It is designed for students who want to understand, question, and challenge the constant shaping and reshaping of cities through urban planning, public policy, real estate development, architecture, and other forms of design. Students have the freedom to pursue their own interests and endeavors, allowing their past experiences to shape their work, leading to multiple ways of practicing. The MA in Theories of Urban Practice is interdisciplinary, meaning that applicants from all bachelor degrees are considered. The program promotes urban theory and practice as a field existing in multiple sectors with a great degree of overlap of disciplines.
The notion of design that the program employs moves beyond the limited scopes of professional design or planning. Design is a medium that brings together teaching, research, knowledge, and action in order to lead critical urban transformations. With its flexible approach to research topics and a curriculum that allows students to go beyond traditional disciplinary boundaries, the MA in Theories of Urban Practice allows students to explore a wide range of topics through electives. This flexibility provides students with a grounding in the field of urbanism while enabling them to benefit from areas and disciplines throughout Parsons and The New School at large.
The two programs are run by the same faculty, use the same space for courses, and share an educational philosophy that fosters social justice and community engagement. In addition, the faculty encourage cooperation between the programs in the form of events and activities, both formal and informal. The MA Theories of Urban Practice program is not studio based but instead relies on research-based projects and papers. Students in the MA program analyze and challenge current urban practices including policymaking, economic and social development, and professional urban design practice, both past and present. Students may propose practice-based thesis projects depending on their previous education and/or work experience. Students complete 36 credits during a two-year period, which gives them the opportunity to intern, work, or continue their artistic practice outside of the program should they choose to do so.
The work within compulsory courses of the first year focuses on locations in New York City and the surrounding areas, allowing students to take advantage of available resources such as nonprofits, community organizations, and city agencies. However, students are encouraged to investigate a wide range of global topics to learn from and understand different sociospatial politics and culturally motivated approaches and can also explore the possibility of focusing on an international location in their thesis fieldwork. The program also offers opportunities for working abroad (see Travel Opportunities, below).
Projects vary greatly between classes and elective courses. Student will be expected to carry out advanced research using different methods and tools such as ethnography, mapping, site analysis, historical, quantitative, and qualitative research. The findings can lead to recommendations, interventions or demonstrate a different understanding of a certain topic, site, historical moment, phenomenon, etc. All projects should have the objective to create new forms of knowledge or different tools that can inform ways of practicing as an urbanist.
Travel opportunities in the form of individual exchange agreements, graduate student travel funds, and other possibilities are offered by centers at The New School. Students interested in traveling for their research may also work with the Tishman Environment and Design Center and the India China Institute at The New School. Both of these groups offer fellowships, travel grants, and scholarships to contribute to students' scholarly work. The urban programs at The New School also offer a three-credit global intensive elective each semester (locations vary) that provides students with a two-week travel component to their coursework.
Throughout the two years, students carry out both group and individual projects. There is a strong emphasis on the benefits of collaboration and peer learning between students, as each brings different kinds of expertise to one project. The thesis can be completed as either an individual or a group project.
The final year focuses on providing support for the student's final thesis through a series of compulsory classes on thesis preparation and advanced research methods. Students are still able to take one elective each term. The thesis research starts at the beginning of the year, and students are expected to achieve a substantial amount of work, including theoretical analysis and development of a theoretical framework, local and/or global case studies, recommendations, and (optionally) an intervention. Different formats and mediums, such as audio or video documentaries and curatorial practices, can also be used in the thesis.
Program graduates pursue advanced study, launch their own firms, and work in positions ranging from program managers to strategic communications professionals for public and private organizations including the ones shown below.
The MA Theories of Urban Practice program seeks students who are critical, creative, and curious. Critical students are willing to challenge the status quo, including fundamental assumptions about how cities are designed and built. Creative students have the capacity to explore a wide range of ideas and experiment with unconventional strategies and practices. Curious students have a genuine desire to open their minds and learn about different ways of thinking and different types of urban practice all over the world.
Part 1: Autobiographical Statement (250–500-word limit). In a short autobiographical statement, tell us about yourself. You can write about your education, your family, your talents and passions, particular intellectual influences, people you have met, work you've done that has shaped the person you have become, or about significant places or events in your life, especially as they relate to your field of study. In addition, use this portion of the essay to explain any strengths or weaknesses you may have (examples: low GPA, lack of experience, significant interruption in work or studies, unique skills and achievements as they relate to the program, or any other information you want to share). Your writing should be informative and reflect your own voice.
Portfolio or Writing Sample: The Theories of Urban Practice program welcomes applications from activists, designers, researchers, professionals, and academics. Applicants are given a choice between submitting a visual portfolio or submitting a writing sample to convey their talents and interests, especially in terms of creativity and/or critical thinking. Applicants can also submit both a portfolio and a writing sample.
Option A: Portfolio. The portfolio must be completed in SlideRoom only. Submit no more than 20 items that reflect your creativity and strengths. Examples may include pages from sketchbooks, design projects (e.g., architecture, landscape architecture, urban design, city planning, graphic design, or product design), or visual images that reflect hobbies or professional training (e.g., photographs, paintings, sculpture, posters, digital art, film, or models). Be prepared to provide descriptions for each item.
Option B: Writing Sample. The writing sample can be an academic paper, professional report, blog entry, nonfiction essay, piece of fiction, or combination of writing samples that you feel reflect your strengths as a critical thinker and writer for this program. Please submit as a single document no longer than 30 pages in length. Please note that this must be included with your online application.


BLA 51 Y aconteció que mientras los bendecía, se separó de ellos y fue llevado arriba al cielo. NIV 51 While he was blessing them, he left them and was taken up into heaven.
NIV 51 While he was blessing them, he left them and was taken up into heaven.


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The best new releases and classic re-issues on vinyl
Home › 14 Steps To A Better You
14 Steps To A Better You
LP : Regular price $48.00
Available July 10th 2020.
Lime Cordiale, the Sydney band who have been gaining huge momentum and winning over legions of fans all across the globe, officially announce the release of their hotly-anticipated second LP. The album titled 14 Steps To A Better You will be released via Chugg Music / London Cowboys on July 10.
If their 2017 debut Permanent Vacation was a permission slip to go your own way, 14 Steps is a navigation device for those who got lost. The album title is a parody of self-help books and its songs represent "lessons" on how to be your best self, packed with incisive commentary about their mates, lovers and the world at large. "We all have a certain level of power so remember, the power is yours," say the boys. "Be a better you."
Some of these messages might be sharp, but the sunny, buoyant, music makes them easy to digest. 14 Steps was recorded over two weeks on a farm in New South Wales with "no reception and no distractions." As with the first album, they worked with producer Dave Hammer and this time, with an established rapport, were able to experiment and play; "find beautiful sounds and wreck them." Elephant in the Room features choppy arrangement and vocal distortion; Screw Loose has a sludgy, ska-like vibe. On Our Own is breezy surf pop, while Money has edgy, art-rock textures. No two songs are alike, but all of them go down as easily as an ice-cold beer in a heatwave.
Still buzzing from their Hottest 100 sweep (four songs under 40 in triple j's Hottest 100 of 2019), the year ahead looks equally bright for Lime Cordiale. The release of what is sure to be one of the year's most beloved albums should see their rise go stratospheric -- and they'll be back playing their beloved live shows in venues all over the world as soon as humanly possible.
Regular price LP: $45.00
Regular price 2LP: $70.00
From 2LP: $10.00
Blend Inn
From LP: $10.00


text:
package com.sequenceiq.cloudbreak.domain.view;

import static com.sequenceiq.cloudbreak.api.endpoint.v4.common.Status.AVAILABLE;

import javax.persistence.Column;
import javax.persistence.Convert;
import javax.persistence.Entity;
import javax.persistence.OneToOne;
import javax.persistence.Table;

import com.sequenceiq.cloudbreak.api.endpoint.v4.common.StackType;
import com.sequenceiq.cloudbreak.api.endpoint.v4.common.Status;
import com.sequenceiq.cloudbreak.converter.TunnelConverter;
import com.sequenceiq.cloudbreak.domain.converter.StackTypeConverter;
import com.sequenceiq.common.api.type.Tunnel;

import edu.umd.cs.findbugs.annotations.SuppressFBWarnings;

@Entity
@Table(name = "Stack")
// It's only here, because of findbugs does not know the fields will be set by JPA with Reflection
@SuppressFBWarnings("UWF_UNWRITTEN_FIELD")
@Deprecated
public class StackView extends CompactView {

    @OneToOne(mappedBy = "stack")
    private ClusterView cluster;

    @Column(columnDefinition = "TEXT")
    private String cloudPlatform;

    @Column(columnDefinition = "TEXT")
    private String platformVariant;

    @OneToOne
    private OrchestratorView orchestrator;

    @OneToOne
    private StackStatusView stackStatus;

    private Integer gatewayPort;

    private Long created;

    private Long terminated;

    private String resourceCrn;

    @Convert(converter = TunnelConverter.class)
    private Tunnel tunnel = Tunnel.DIRECT;

    @Convert(converter = StackTypeConverter.class)
    private StackType type;

    private String environmentCrn;

    public StackView() {
    }

    public StackView(Long id, String name, String cloudPlatform, StackStatusView stackStatus) {
        super(id, name);
        this.cloudPlatform = cloudPlatform;
        this.stackStatus = stackStatus;
    }

    public ClusterView getClusterView() {
        return cluster;
    }

    public void setClusterView(ClusterView cluster) {
        this.cluster = cluster;
    }

    public OrchestratorView getOrchestrator() {
        return orchestrator;
    }

    public String getPlatformVariant() {
        return platformVariant;
    }

    public String cloudPlatform() {
        return cloudPlatform;
    }

    public void setCloudPlatform(String cloudPlatform) {
        this.cloudPlatform = cloudPlatform;
    }

    public boolean isAvailable() {
        return AVAILABLE.equals(getStatus());
    }

    public StackStatusView getStackStatus() {
        return stackStatus;
    }

    public Status getStatus() {
        return stackStatus != null ? stackStatus.getStatus() : null;
    }

    public Integer getGatewayPort() {
        return gatewayPort;
    }

    public Long getCreated() {
        return created;
    }

    public String getResourceCrn() {
        return resourceCrn;
    }

    public void setResourceCrn(String resourceCrn) {
        this.resourceCrn = resourceCrn;
    }

    public Long getTerminated() {
        return terminated;
    }

    public Tunnel getTunnel() {
        return tunnel;
    }

    public void setTunnel(Tunnel tunnel) {
        this.tunnel = tunnel;
    }

    public StackType getType() {
        return type;
    }

    public void setType(StackType type) {
        this.type = type;
    }

    public String getEnvironmentCrn() {
        return environmentCrn;
    }

    public void setEnvironmentCrn(String environmentCrn) {
        this.environmentCrn = environmentCrn;
    }
}

redpajama_set_name: RedPajamaGithub


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Daisy Collingridge's Grotesquely Endearing Bodysuits Celebrate the Intricate Beauty of the Human Body
Studio DŌ Revives Antwerp's Lapidary Tradition by Complementing Craftsmanhip with Innovation
London's Revamped Sloane Street Deli Shimmers in Nostalgic Elegance
Photography by Kensington Leverne.
Taking its name from the fashionable London address it occupies, Sloane Street Deli is a cosy neighbourhood joint whose artfully retro aesthetic is both soothing and refreshing. Opened a few years ago, it's been recently revamped by London-based architectural designer Rawan Muqaddas who has imbued the interiors with a nostalgic elegance that channels the chic refinement of Parisian bistros, adding rustic French Provençal accents and contemporary artworks for a welcoming, lived-in ambience. Functioning as a café, deli, small market and eatery, the space celebrates community and good food as well as reflects the discerning taste of its Belgravia and Knightsbridge locals.
Taking advantage of the building's large windows, Muqaddas has applied a muted palette of light-toned, earthy hues which, in conjunction with the abundant natural light, create a welcoming space underpinned by warmth and lightness. The venue's original wall mouldings, hardwood floors and marble tabletops, which have been retained as a nod to Sloane Street Deli's former incarnation as well as pay homage to the traditional European delis, have been complemented with bespoke timber furnishings incorporating rattan surfaces, soft leather upholstery in sensuous red hues and bronze accents.
Stepping inside, you are greeted by the sculptural volume of the deli counter brimming with bagels and fresh pastries, a smaller barista bar counter on the other side discreetly tucked against the shop front, and a market nook lined with shelves displaying specialty food. Clad in glossy, green-hued pencil tiles, the deli counter stands out against the marble and antiquated mirror backdrop, as does the barista bar amid the predominating cream, terracotta and natural wood hues. The deli counter's sinuous volume is picked up by the curvaceous banquettes lining the dining nooks and the rounded corners of the joinery, while a curated selection of contemporary artworks on the walls accentuates the earthy colour palette. Designed for the daily customer in mind, the deli's homely sophistication is sure to turn it into a neighbourhood staple in no time.


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John Ford of Bucknall 1683-1728
This particular John Ford was the third son of Hugh Ford of Ford Green, whose ancestry and family relationships are well known. Family historians in Victorian times stated that he had a son, also John Ford, who died without issue in 1756. However, some of the records I have uncovered do not fit with previous work, and I present here evidence in support of a suggestion that John Ford's son might be the ancestor of my line. First, a simple family relationship table:
The family of John Ford born 1683
John Ford 1683-1728 = Margery Ford c1700-1762
John 1724-????
The story of this family is perhaps the most intricate and intriguing of the family groups, so I present the factual information and discussion rather than a page appendix.
There is an entry in the Astbury Parish Register recording the marriage of John Ford and Margery Ford in 1720:
4 May 1720 Joannis Ford Parish de Wolstanton [&] Margeria Ford Parish de Astbury.
There are records in the Leek Quaker Minute Book for 1720 recording John Ford being spoken to on account of marrying out.
John and Margery Ford had a son baptised John at Newchapel in 1724. The entry in the Parish Register reads:
... privately John son of John and Margery Ford Oct 14 1724 Stadmorslow Ham.
In his will of 1728, John Ford of Bucknall, clearly the same man because he names his wife and all of his surviving brothers and sister, makes provision for his son John and any other child that might be born, by leaving them his Wolstanton property. He also gives Thomas Shufflebotham, his tennant at The Ashes, the opportunity to have said premises at any year's end.
On February 14 1757 Margery Ford, widow of Congleton, married Jonathan Eaton, widowman of Eaton [just north of Congleton].
Margery, wife of Jonathan Eaton of Buglawton [also just north of Congleton] was buried at Astbury on June 21 1762.
Jonathan Eaton's will of 1773 did not mention any Fords.
Note: Stadmorslow is in the Newchapel chapelry of Wolstanton Parish.
So how does this information fit with previous work? In the 1712 will of Hugh Ford, his father, John Ford inherited the Bucknall property and a half share in the Ashes with his brother Isaac, who died unmarried in 1722. Isaac did not mention John in his will, nor The Ashes. It is not clear where the Ashes is located. Rowley suggested that it was Norton, or possibly Horton. Until now it has never been suggested that it might have been The Ashes at Harriseahead, which is shown on William Yates map of Staffordshire of 1775. It is close to the boundary between Stadmorslow and Brieryhurst hamlets.
Hugh Ford of Spragg House, Norton, in his will of 1733, acknowledged the terms of the will of his brother John Ford of Bucknall regarding the Wolatanton property. He actually says Now in case of such contingency as aforesaid [John dying without issue] I do give devise and bequeath all and singular the said [property] to John Ford of the Ivy House Hugh Ford of Ford Green Thomas Adams Josiah Ford ... upon trust ... for my younger children. I take this to mean that Hugh is simply passing on his obligation to hold the Wolstanton property in trust for his nephew John, son of John and Margery Ford, and what is to happen if John dies without issue (before reaching the age of 21?).
Rowley (1983) thought that John Ford was almost certainly John Ford of Ivy House, Stoke on the grounds that The Ivy House was in or near Bucknall. In fact John Ford of The Ivy House, Stoke upon Trent, left a will in 1752 in which he mentioned his daughters, son-in-law and daughter-in-law, the wife of his son John who is dead, and his grand-daughter Lidia. John Ford appears to have been the tennant of the Vyse family between 1716 and 1749. So John Ford of The Ivy House is not the son of John Ford of Bucknall.
John Ford of the Ashes House, Norton, died in 1748 and his will indicates that John Ford, the younger, of Ivy House had died between 1745, when the will was made, and 1746, when a codicil was added. The will does not mention any wife or child, but it does include a long list of kinsmen: William Ford of The Bank [on the Cheshire flanks of Mow Cop], John Ford of Ivy House, Matthew Ford of Handley Green (deceased), William Ford of Cook Hill, Carswall, Samuel Ford of Audley, Ralph Fornd [sic] of Sandbach, and that is just those with the Ford name.
Not one of the relatives of John Ford of The Ivy House, Stoke upon Trent, or John Ford of the Ashes House, Norton are obviously related to The Fords of Ford Green! So if the John Ford baptised in 1724 is he who died without issue in 1756 I have not yet seen the evidence for it. If he survived, he would have been the right age to be married to Hannah Oaks at Astbury in 1750.
What might have happened to Margery and her young son John after the death her husband in 1728? She might have gone back to live with her parents, thought to be James Ford of Kent Green, although he would have been over 70 at that time. Perhaps she went to live with relatives in Congleton, where she was living when she later remarried. Perhaps she went to live on the Wolstanton property, where she was living when her son John was baptised. Who knows?
Appendix: Additional Quotations
The Leek Quaker Minute Book for 1720:
167 This meeting being informed John Ford hath married one not of our society its desired John Toft Jun and Isaac Whitehead speak to him upon it. 2nd 4th mo 1720
168 John Toft jun and Isaac Whitehead not having answered their service respecting John Ford are still confirmed. 7/5/1720
169 John Toft Jun acquainted us how with is brother Sam word [sic] with John Ford to speak to him upon account of going from us who we understand signified his satisfaction therein and total unwillingness to give any reason for his so doing, from which cannot have any hopes of his sehiz nor sight of misdoing yet if any have it upon their mind to say further to him it is desired they may not omit it. 4/6/1720