text:
Interview: Peter Straub (Part 2)
by John Langan
Published in Nov. 2012 (Issue 2) | 4059 words
Peter Straub (b.1943) has been, for more than three decades, one of the leading lights of horror and suspense fiction. His early successes in the field, Julia (1975) and If You Could See Me Now (1976), were followed by a set of three novels, Ghost Story (1979), Shadowland (1980), and Floating Dragon (1983), which dramatically expanded the possibilities of the horror novel. In 1984, Straub co-wrote The Talisman with Stephen King; the two would return to the material of the novel in 2001, with Black House. Straub's next solo project after The Talisman, the Blue Rose trilogy (Koko (1988), Mystery (1989), The Throat (1993)), engaged the suspense and mystery genres to construct what might be the central work of his career, one rooted in an obsession with the multifarious ways the violence of the past continues to twist the present. Since then, Straub has written two long novels that continued his exploration of the suspense and horror fields (The Hellfire Club (1996) and Mr. X. (1999), respectively), two short novels that use the tropes of conventional horror narratives to explore the relationship between loss and fantasy (lost boy/lost girl (2003) and In the Night Room (2004)), and a long novel that appeared in a limited edition as he wrote it (The Skylark (2010)), and in a mass market edition as he edited it (A Dark Matter (2010)). He has published several collections of short fiction (Houses Without Doors (1989), Magic Terror (2000), Five Stories (2008)), a collection of essays (Sides (2007)), and has co-written a graphic novel (The Green Woman (2010)). He lives in New York City with his wife, Susan.
Editor's Note: Please see our October 2012 issue for part one of this interview. You can purchase the October 2012 issue from your favorite ebook retailer, or you can just read the first part of the interview on our website at nightmare-magazine.com.
We can leapfrog from that to The Hellfire Club. One of the things that fascinates me about that book is the trilogy of children's fantasy novels that features in it. It seems to me that, when you think of children's fantasy, there's a tendency to think about it as a literature of escape. In The Hellfire Club, the "Pippin Little" books turn out to have been both a means of escape for their authors and a kind of code for what actually happened to those people, a symbolic way of representing and working through their experiences. In the context of Nora's story, this presentation of fantasy as the escape in which you might find the key to dealing with that from which you were trying to get away in the first place strikes me as tremendously important. Nora is somebody who had awful experiences in Vietnam that she's tried to run away from through fleeing into one kind of fantasy, a kind of phantasia of the bourgeoisie, if you will. That hasn't worked; that deliberately mundane existence only compounds her problems. Then she's thrust into this terrifying odyssey with Dick Dart, to quote the title of the first of the Pippin Little books, a night journey, from which she also wants to escape, but which ultimately leads her to help her to save her own life.
Yes, that's right. Nora's on a real night journey and she has to work out a kind of code. Varying impulses went into that book. It was really difficult to write, and the road to it was perilous, let's say. I was not a happy man, most of the time, trying to write that book, because I was afraid I wouldn't make the deadline, which became Draconian after a while. Therefore, I didn't know if I'd have enough money to last me to the end of the year, and God knows, I might have to get a job somewhere. This all came out of a switch of publishers that was unwise of me. I was seduced by an enormous paycheck, and then everything got worse after that. The enormous paychecks began to be whittled away, still leaving a fabulous amount of money (as with Ben Percy it was spaced out over a long time and hard to burn). I had a new editor whom I wanted to please, Joe Fox. Joe Fox was a famous editor, a legend. He was one of those rare people who just loved editing and didn't want any administrative or corporate position at all. He just wanted to be left alone, given enough money to live the way a sophisticated man would want to live in Manhattan, and he loved to do his work. And he was so brilliant at his work and such a fascinating, compelling guy that he got the deal, he was even allowed to smoke. Smoking was banned; you weren't allowed to smoke in any building in America—in New York, anyhow. They gave him passes to smoke, and he built a stack of newspapers between where he sat in his desk and the door so that if you walked in you were supposed just to be able to see the stack of newspapers and maybe the back of his chair. And you did see those things, but what you also saw was a column of smoke coming out from behind the stack of newspapers. It was never a secret. Anyhow, I had a beautiful scheme for a book that was going to be called American Night and I was really proud of it. It made a great shape. It was a plot in the form of an X about two women. I'd never had an idea like that before, and probably never will again; it was a perfect structure. And so I wrote up a long description of the book and emailed it to Joe Fox, who wrote back and said this was going to be an eight-hundred page novel, and they didn't want an eight-hundred page novel. I had to do something to trim it down. So, because I desperately wanted to please Joe Fox, whom I already revered, I said, "Okay, that's no problem. I'll take out one of the women." So I took out one of the women, and then I had no plot. I was writing away and writing away, and I had no idea where I was going for a long time. And finally, on a vacation in Puerto Rico with my wife and family, that I thought would be the last time I'd ever be able to afford anything like that—on the plane, I began thinking about Dick Dart, who had been a very, very, very minor character, and then he just sort of bubbled up and I could hear the way he would talk, I heard the things he would say, and I saw that he would be really useful. The book wouldn't be anything like American Night, but it would be something. So while we were in Puerto Rico, I went every day to the pool, and I lay down in one of those chairs and covered myself in sunblock, and I wrote in a notebook. And I sketched out the next two hundred pages of the book and every time Dick Dart rolled up, it was fun to write because I didn't have to think of his dialogue, his dialogue just appeared as though he were saying it. It sounds childish to put it that way, but it surprised me. I couldn't do it now, I don't think. The things he said were kind of an exaggeration of the way a dear friend of mine used to talk, whose opinions were very pronounced. He was a man who enjoyed the company of a great many women. It was a good two-thirds of his life. He'd earned his opinion. When I put them in the mouth of Dick Dart, they were horrible and one could say sexist and be understating, but he was tremendous fun to write. I went out of my way so Dick Dart—we never actually see Dick Dart kill anybody, or even really injure anybody, except for when he ties them up. He acted like a beauty parlor worker; he—what am I saying?
Like a beautician?
He worked as Nora's hairdresser. He turned her into a sixteen-year-old blonde. He was good at what he did. Anyhow, when I was safely into the book, most of my worries disappeared, except for the worry about the deadline, and I kept applying for extensions in my deadline, and they kept giving me another month, another two months, and finally the deadline was extended to the beginning of March in 1993, which happened to coincide with my fiftieth birthday. When there was about a month remaining, I had maybe two hundred and fifty, maybe three hundred pages to go, they gave me an ultimatum, which meant that it would only work if I got the novel into them on time, the contract would be honored only if I gave the book up by that date. I thought it was impossible, that I could never do it. And then I was riding to Lincoln Center in a taxi with my wife, to a concert, and I said to myself, "It is impossible, but I'm going to do it anyway." So I stayed for half of the concert. Then I went out and came back and went to work. And I worked literally day and night. I must have worked ten hours a day, at least. I didn't go to bed until two, from my desk, and then it became three, and finally right at the end I wasn't going to bed until four o'clock. And I did get the book in on time—barely—but I managed to do it. And I was pleased with the book. It sometimes seems to me that that book was just about to fly out of control, that there's something in it that's only barely held together. I'm not sure. I liked all the fantasy business. I liked Daisy. I loved Nora. I liked going to the former writer's colony and having all the pieces fall together and all the stories explained, that all felt real and true to me. But the fact that I wrote so much so fast makes me a little suspicious of it. While I was writing, I was amazed at the way information just flowed into me. I was never at a loss. Sometimes in the mornings, I would wake up and realize with a shudder of horror that I had forgotten something of crucial importance, and it was a problem, and I didn't know how to solve it. As I went up to my office, as I walked the five floors to my office that day, the information came to me, infallibly, every single time. This was when I began to talk about celestial telegrams, because that's the way it felt. Mr. X operated pretty much the same way, and both of these were really long books.
That's good, because that's exactly where I wanted to go next, Mr. X.
Joe Fox didn't complain about the length of The Hellfire Club; I shortened it way down. And that meant I oversaw and assisted the editing of that book, with every line. He was a true line editor and he was brilliant and I learned a lot from him. By the time he was done, he told me I was bolder than he was, I was willing to take more out of a scene than he would have, and that was very valuable. And then—oh, Joe Fox died. When I was trying to write Mr. X, he died at his desk; he had a heart attack. I couldn't do anything for a long time. I was in mourning. I felt un-housed, unprotected. You know, I'd managed to get close to him; I'd managed to get his respect. He knew what I was; he knew how I worked; he knew how I felt about it. He understood I was dependable; I wasn't full of hot air; and also that I wasn't a hack. I had a great relationship with this amazing guy and then he died. So I was useless for almost a year. I was assigned an editor whom I didn't like, but I thought I might learn to like, and who didn't much like me and who didn't understand me at all, and this was the woman who edited Mr. X. She did her best, but her best wasn't very good. I like the book but it's so complicated, there are so many wheels within wheels that I think it might be a little hard to follow sometimes.
How did you come to it? Obviously Lovecraft casts a long, long shadow over contemporary horror fiction. You have writers like Ramsey Campbell saying that the first book of Lovecraft's he read made him into a writer, and Stephen King has talked about finding those volumes of Lovecraft in a collection of books his father had left behind. These are writers for whom Lovecraft seems to be their DNA; he's a fundamental part of what constitutes them. But I've always had the impression that, for you, Lovecraft wasn't as fundamental, that when you engaged him in Mr. X, you were approaching him in a different way, one based in your recognition of his profound impact on the field. I may be completely off base, but I'm curious to know how you came to use Lovecraft in Mr. X, and if there was any connection between that and your editing the Library of America's selection of Lovecraft stories.
That's a question I cannot answer. I know that the Library of America people had wonderfully come to the idea of having a Lovecraft volume, and there was one man who had been proposing this volume to them for as long as they were in existence. This man was extremely eager and he saw himself as the only person qualified to edit it. The way the Library of America works, if you advertise for that sort of position, you're the last person they want. So they thought, "Let's get some good horror writer to do that." I was very pleased to do it and when I was done, I admired and liked Lovecraft much more than I had at the beginning. I read him when I was a kid. I read "The Dunwich Horror" when I was very young because it was in Great Tales of Terror and the Supernatural, which really is in my DNA. I toted it around everywhere. I took it to Boy Scout camp once. And all of those stories had an impact. And I liked Lovecraft because the way he wrote was a little difficult. It evoked, the style itself evoked a kind of vanished way of perceiving things or an archaic kind of observation. I was always interested in that kind of thing. And if I understood it imperfectly, I liked it all the more. After that, I didn't read anything like that until I was in London, with my friend Tom Tessier, and he used to talk about pulp writers and No Orchids for Miss Blandish and Richard Matheson, Robert Bloch, and H. P. Lovecraft. So I picked up a book of Lovecraft stories, and I enjoyed them a lot. And they were so kind of grotesque that they moved into my head and every now and then, if my wife and I were walking along, I'd see one of those red phone booths and say, "You know, Cthulhu's in that phone booth." I could see some huge tentacled thing making a phone call. I don't quite know how he got into Mr. X, but I had read Joshi's biography and I had read the other one, too, the L. Sprague de Camp. And Joshi had unearthed a couple of people who were convinced that Lovecraft was writing nonfiction, and they wanted him to know that they understood that he was writing about reality, not something he'd made up. I liked that. And so I thought I would incorporate that. I also wanted all the main characters to be black, but never to say that. I wanted it to be clear in everything that they did, or many of the things that they did, and above all in the way people responded to them—so that at various times, officials say to one of the family, "I don't want you people blah blah blah," "When you people," or when policemen are staring at my hero . . .
Ned Dunstan.
When police see Ned Dunstan walking with a white woman, they glare at him, and the woman says, "Why are they staring at us like this?" And he says, "Because of the way I am." He says something like that, anyhow. There are a million hints. I didn't know whether I'd say that at the end, whether I would make it clear at the end of the book, and I just decided not to. And so some people get it and some people don't. That's fine. I was thinking that African-Americans are our shadow, that they are inescapable and overlooked, but they must be recognized. They are intimately a part of us. I also wanted to get in all those instances of special powers and the occult. So the book has a lot of stuff in it including time travel, the Great God Pan, from Arthur Machen, just about, is a dissolute guitar player who spent all his time on a park bench. Goat—what's his name? Goat Gridwell! That's his name. I liked the idea of gods being dispossessed and kind of lounging around in the seedy places in America. And Edgerton is called Edgerton because it's a funny place; there's a slightly different reality there. I was very happy with the book and it was well reviewed, but along with The Hellfire Club, it seemed to me to be just on the verge of chaos. So it isn't chaotic at all but it's so tightly wound that it might be a little hard for some readers to take.
It strikes me that both The Hellfire Club and Mr. X show a concern with narrative—which is present in all of your work—but what fascinates me in these books is the way that the Pippin Little books and Lovecraft's stories function as ways for the characters to understand the world. Mr. X apprehends his powers by thinking, "Oh! I've read these stories and they explain everything." This, in turn, leads to his own tortured imitation of Lovecraft's style in his writing, and to his framing his life in Lovecraftian terms. But then there's a further level of irony. When we encounter the great progenitor, it's Howard, i.e. the great Daddy is Howard Lovecraft, after all. This irony gives way in turn to another: this Howard is African-American, which for Lovecraft would have been a nightmare.
Unthinkable, right.
So there is Lovecraft at the back of all this, but in a different way than Mr. X has understood him to be.
That's right. Henry James is also in that book, though he's never named I don't think. But there's a famous Henry James story, "The Jolly Corner."
Oh, I love that story.
Which I put in the Library of America Fantastic Tales. It just is a gorgeous story.
That was the story that turned me onto Henry James, believe it or not.
Oh, fabulous.
It's a great story.
Yeah. I put three versions of that I think into Mr. X because I love that part of "The Jolly Corner" where the man returns from England, is in his ancestral house in New York, and begins to be aware that there's probably somebody else in there with him, and there are hints of closed doors or the lights that go on and off or just the hint of movement. I was in love with that moment, and so I repeated it in Mr. X. Henry James and Lovecraft would make an odd pairing, but you can do it.
Oh no, you can. You absolutely can. Well look, Peter, I feel I should draw this to a close because I've kept you on the phone for a long, long time. So let me ask you two quick parting questions. If you could talk to your younger self, when you were starting writing, what would you say? What do you know now that you wish you knew then? And the follow-up to that question would be, obviously, some of the readers of this interview are going to be aspiring writers. What would you say to them?
What I would say to the young me is, "Don't be a snob. Acknowledge that work done in the genre can be just as beautiful and literary as any book by your favorite mainstream writer, Updike, Roth, Bellow. If there has not yet been a Scott Fitzgerald of horror fiction, there ought to be one day. Do what you can and don't worry so much. As long as you bring forth what is in you, everything is going to be all right. You're going to be surprised." I would also say, "Tell the truth most of the time. Just to other people. Don't drink so much and when somebody starts bringing more exotic substances over to you, do what you know is right and say no."
To young writers I would say—nobody now is as in love with drugs as we all were at one point, which did a little bit of good but way more damage. Steve King's been very frank about that. But because most younger people now don't do those drugs, the warning would be wasted or unnecessary. Instead I would say, "Well, of course read everything you can, just never stop reading. Read outside your field, or our field, read Jennifer Egan for God's sake, read Lorrie Moore, a brilliant writer, read Lethem. And read Dickens and read George Elliot and figure out what is good about fiction, what you can do with it. It isn't really about scaring people. There's much more at stake." Also I would say, "Be good to your colleagues. We are a kind of community and that is very valuable and very helpful. It's the loneliest life we can imagine, apart from being a monk, I suppose, or a fire-watcher. It is a life in which you try to sustain yourself and pay for your life by sitting alone in a room for many, many hours every day. Colleagues, i.e. people who understand what you're doing and understand what is required of you become very, very important. Of course you must always secretly laugh at the inept. Celebrate those who actually seem to be as good as you are or better than you are. You must always acknowledge that and not be jealous or envious. You must see what they are doing and value it very deeply." And that's about it, I guess.
John Langan
John Langan is the author of two novels, The Fisherman and House of Windows, and two collections, The Wide, Carnivorous Sky and Other Monstrous Geographies and Mr. Gaunt and Other Uneasy Encounters. With Paul Tremblay, he co-edited Creatures: Thirty Years of Monsters. Currently, he reviews horror and dark fantasy for Locus magazine. His third collection, Sefira and Other Betrayals, is forthcoming in 2018. He lives in New York's Hudson Valley with his wife and younger son.


On a lovely fall day in 1967, 13-year-old Teala Patricia Thompson and a friend were making their way to the Jolly Red Wiener pinball shop in their hometown of Homewood, Pennsylvania. Her family had no idea this fateful day would be their last with Teala. Somewhere along the way, she disappeared. Her case went cold for nearly 50 years.
Oddly enough, the decomposing body of a young girl was found unclothed in a landfill only two weeks after Teala Thompson vanished, but went unidentified. According to CBS News, the remains of the girl were placed with another unidentified body, (a baby boy who was found drowned in a sewer pipe), and placed in a pauper's grave.
Teala's sister, Mary Thompson, who was 4-years-old when the older girl disappeared, was able to shed light on the reason the body was not identified at the time of discovery. She said her mother, who gave birth to 10 children, could not face the horrifying truth. She passed away in 2005.
Mary Thompson reveals that her family always believed a man Teala worked with at the local dry cleaner was responsible for her disappearance, or knew who was responsible, but no one was ever brought up on charges. While the details of the Thompson murder case have not been solved, Mary says her family has some form of closure knowing where Teala is now.
The Pittsburgh Post-Gazette reports that an effort to solve the Teala Thompson case was renewed in 2014. Trooper Brian Gross was given the assignment. He had the body exhumed, vowing to search not only for the teen girl's killer but also for the story behind the baby boy's death. He is depending on the community to come forward with anything they can remember from the decades-old missing persons case.
Trooper Gross is confident that Teala Thompson was murdered.
They were, however, able to match Teala's DNA with her sister Mary and others in the Thompson family, to positively identify the girl. CBS News further notes that a recent forensic evaluation has shown the likelihood that Teala Thompson was murdered with a blow to the back of her head. Investigators have renewed efforts to find her murderer.


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We are honored to be joined this week by special guest & author/journalist/filmmaker Sebastian Junger. Junger is a #1 New York Times Bestselling author of such works as "The Perfect Storm," "War," & "Tribe." He is also a documentary filmmaker whose debut film "Restrepo" was nominated for an Academy Award. As an award-winning journalist who's covered news stories around the world, he's received both a National Magazine Award & a Peabody Award. He is also known for directing "Korengal," the sequel to "Restrepo." Hear how Junger got his start in journalism and filmmaking; hear about his interaction with Northern Alliance leader Ahmed Shah Massoud, who was assassinated just days before 9/11; and what it was like to live alongside, in combat no less, the soldiers whose story he was sharing with the world…On this very special episode of HAZARD GROUND!


Biblical scholar Dwight Peterson on what he knows to be true and why he loves Jesus. Dwight entered hospice (at home) on July 16, 2012, due to deterioration and infection of his hips and pelvis, secondary to the paraplegia he had lived with since 1979. Hospice is for people who are probably in the last six months of life, so no one expected Dwight to still be around when these films were made, in June of 2013. Dwight lived almost three more years. He died on March 6, 2016.


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text:
Q: Given that $z = \cos(θ) + i\cdot \sin(θ)$ show that
$$\text{Im} \left(z^n + \dfrac 1{z^n}\right) = 0 , n \in \mathbb Z$$

The correct solution is:
$\cos (nθ) + i \sin (nθ) + \cos (nθ) – i \sin (nθ) = 2 \cos (nθ) $, imaginary part of which is $0.$
Doubt:
why is it not $-\cos nθ$ when we convert the second term of the equation $\left(\dfrac1{z^n}\right)$ to the modulus argument form?

A: If $z=e^{i\theta}=\cos\theta+i(\sin\theta)$, then $z^n=e^{in\theta}=\cos n\theta+i\sin n\theta$. Furthermore $z^{-n}=e^{-in\theta}=\cos(- n\theta)+i\sin(-n\theta)$. Now, $\cos$ is an even function which means that $\cos(-x)=\cos x$ for all $x$ while $\sin$ is an odd function, which means that $\sin(-x)=-\sin x$ for all $x$. Consequently $\cos(-n\theta)+i\sin(-n\theta)=\cos(n\theta)-i\sin(n\theta)$.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Share Page Post Using FB.ui feed dialog Sorry I Try to search for this error and no result i try to use facebook feed dialog to share page post from my app here is my code
     function shareOnFacebook() {
FB.ui(
  {
    method        : 'feed',
    display       : 'popup',
    link : "http://www.facebook.com/photo.php?fbid=176944625849315",
  },
  function(response) {
    if (response && response.post_id) {

      // HERE YOU CAN DO WHAT YOU NEED
      console.log('OK! User has published on Facebook.');

    } else {
      console.log('Post was not published.');
    }
  }
);

}
I get error
API Error Code: 1
API Error Description: An unknown error occurred
Error Message: kError 1349117: Attachment Link Invalid: Link data invalid. Link data must have string 'href' and 'text' attributes
and When I try add Picture with facebook path then try to run agin i got blank popup
any help please ?

A: Posting CBroe's comment as it seems to be the answer...

You can not share content on facebook.com using the feed dialog. Try
  using the Share button instead:
  developers.facebook.com/docs/plugins/share-button –  CBroe

(Please +1 the comment.)

A: Your call is wrong. At the end of link : "http://www.facebook.com/photo.php?fbid=176944625849315", there should be no comma. Here is the correct code:
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Set your DVR because this Friday 12/19, Darlene Love will sing "Christmas (Baby Please Come Home)" for David Letterman one last time. She has announced that after this performance she will retire the song and not perform it on TV. The holiday tradition started in 1986, and Love has spent the last 27 years performing the holiday classic on Letterman's shows, "Late Night" and now "Late Show."
Here is a link to YouTube and a compilation video put together by CBS showing her performances on Letterman's show over the years. Watch the stage and notice over the years how the numbers of singers has grown to include choirs and other backup singers.
Do a search for Darlene Love and read about her musical career and her resurgence in the 1980s. The Rock & Roll Hall of Fame has a great biography of her as well as several other sources.


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A sat-nav mix up left a coach load of school pupils almost 80 miles from home after a trip to Paris.
The children from Tywyn, on the west coast of Wales in Gwynedd, ended up a couple of hours away at Towyn, on the north Wales coast near Rhyl.
The coach firm said the driver inputted the wrong place in his sat-nav.
Ysgol Uwchradd Tywyn head teacher Helen Lewis said the mistake was common, with deliveries sometimes wrongly sent to Towyn.
The 37 children, aged 11 to 14, had spent three nights in the French capital and were heading home overnight.
Pupils woke up after the 13-hour journey and phoned parents to say they were in the wrong town.
Ms Lewis said: "The driver, when he was told Tywyn, had made the incorrect assumption it was Towyn.
"It is something that happens a lot here although it is the first time we had a group of pupils end up in the wrong place.
"We have had deliveries wrongly sent to Towyn.
"The children were tired because it was a long journey anyway so the extra couple of hours wouldn't have made a difference. They'd had a brilliant time."
It is thought the mistake happened after the coach had changed drivers at Shrewsbury.
Some parents were said to be angry about the incident but others were less concerned.
Gwynedd councillor Louise Hughes, a school governor whose daughter was on the trip, said: "I wouldn't want anyone to lose their job over this - that would be an over-reaction.
"The main thing is they all got back safely.
"Delivery drivers make the same mistake and people ring saying 'we can't find you, we're in Towyn'. It happens all the time."


Our security and research teams spend a lot of time analyzing traffic on our network. As we reported recently, for the past year, we've seen a decrease in the number of network layer assaults. The number of application layer assaults, however, have grown reaching an all-time high of 1,099 per week.
A notable new trend is that DDoS assaults are shorter, but more complex and persistent. The report showed that 80 percent of all attacks lasted less than an hour. Ninety percent of network attacks lasted only under 30 minutes compared to an average attack duration of 100 minutes in the last quarter of 2016, demonstrating the steep increase in short burst attacks.
The rise in multi-vector threats indicates a growing trend in the complexity of the attacks. They increased from 29 percent of all network layer DDoS assaults in the previous quarter to 40.5 percent.
Andy Shoemaker, founder of NimbusDDoS, says the threat of short DDoS bursts poses a significant security threat to most websites. Small, low volume DDoS attacks are easier to deploy and can as easily disrupt online businesses.
Andy hosted a webinar "Small DDoS Attacks Can Lead to Large Outages" on June 21 to demonstrate how an attack is launched and what the affects are.
You can watch a recording of the webinar where Andy demonstrates how small attacks work and how you can protect your network against them.


text:
Utah Business
Give The Customer What They Want
By Silicon Slopes
We started Chatbooks four years ago with one simple idea: to help people hold on to their family memories by automatically turning their Instagram posts into photo books. That original product was a hit, and by 2018 we were ready to go bigger and better and solve the photo book challenge for even more people. Our goal was to automatically turn all the photos on your phone into books.
We were uniquely situated to solve this: over the last few years, customers had uploaded more than 4.5 billion photos to Chatbooks, and made millions of decisions about the photos they wanted to include (and exclude). We analyzed that data, found clear patterns in what people printed, created algorithms to find those patterns in new photo sets, and voila — we were ready to give people automatic photo books!
There was just one problem, and it took comparing photo books to self-driving cars to help us figure it out. We're all admirers of how Tesla is pioneering autonomous vehicles, but we're definitely not all driving down I-15 while reading a book. But we are gradually transitioning to cars that use driver assistance to help us all drive with less stress. The Society of Automotive Engineers lays out the levels of driving automation on a scale from 0 to 5. Level 0 includes automated warnings, like the blind spot monitors that make switching lanes safer. Level 1 is "Hands on" the wheel and adds lane-keep assistance for staying in our lane. The scale continues: Level 2 is "Hands off", 3 is "Eyes off", 4 is "Mind off", and 5 is "Steering Wheel optional." And while Level 5 sounds amazing, would you get in a car without a steering wheel and pedals?
For us at Chatbooks, launching fully automatic photo books was like going straight to Levels 3 and beyond, without first excelling at Level 1. Our intuition and data-driven culture had led us to creating and optimizing an epic solution… that no one was ready for. By early spring, we realized we needed to add a third superpower to our tool kit to turn our technology into something customers would use and love.
That superpower — and the hero of our 2018 story — is user research. To do that well, we needed to build out a whole new Product function at Chatbooks based on user-centered design. That started with a national executive search to find a fearless leader who could forge the path. We found exactly who we wanted in Lauren Treasure, a head of the DNA product at Ancestry.
We've always talked to customers at Chatbooks (it's one of my favorite things to do!) but Ms. Treasure quickly upleveled our "talk to customers" mindset. Instead of talking to a few customers at the beginning or end of a process, we now talk to many people, in many ways, throughout everything we do. It's all about empathizing with the customer: what are their problems, and what are they trying to do? The customer's job isn't to give us the solution — although they will have lots of ideas — but to share their objective and problems.
Then our job is to take their objectives and find solutions. We brainstorm concepts as a cross-functional group (UX, product, marketing, engineers), etc — and then we put very basic prototypes in front of users. We take their feedback, then quickly iterate and make new prototypes based on their responses, and the iteration cycle continues.
What we found surprised us. Nobody (nobody!) asked us to make a complete photo book for them — but they did ask for the process to be super simple and easy. People want assistance to look at the right dates, and they want us to take out garbage photos and group similar photos. But once we've cleaned things up a bit, they like to look at their photos and choose the ones with emotional resonance.
Today, we've reached "Level 1," which turns out to be exactly the delightful experience people are looking for in a photo book maker. And as we close out the year, we don't just believe we're the best way to make a photo book or card on your phone — we went out and proved it, over the course of a thousand user feedback sessions. The collective power of that individual feedback now shows up in the cold hard data: conversion rates have increased by over 50 percent since we started our user research journey! Now we get to start 2019 off with a bang and begin to iterate our way to the next level, whatever that may be for our real-life customer.
Give The Customer What They Want was originally published on Silicon Slopes
Articles, Chatbooks, Featured Articles, innovation, Tech
Silicon Slopes
Etsy, Facebook Marketplace, and now Subvia
Is employer-sponsored health insurance dead?
The time for gender equality in the workplace is now

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Does Ubuntu Netbook Remix require an Intel Atom processor? I have a laptop with an Intel Celeron 1.6GHz processor and 512MB of RAM - a similar spec to current netbooks.
Will I be able to install Ubuntu Netbook Remix on this laptop or will it only work with Intel Atom processors?

Minimum hardware requirements:

*

*Processor: Intel® Atom™ processor

*RAM: 512 MB

*Storage: 4 GB Flash disk (SSD) or hard disk

A: It uses the standard 32 bit x86 kernel, and therefore will work on any intel based system, including your celeron.


Oceans cover 71 percent of the Earth's surface, yet our knowledge of the impact of climate change on marine habitats is a mere drop in the proverbial ocean compared to terrestrial systems. An international team of scientists set out to change that by conducting a global meta-analysis of climate change impacts on marine systems.
Counter to previous thinking, marine species are shifting their geographic distribution toward the poles and doing so much faster than their land-based counterparts. The findings were published in Nature Climate Change.
The three-year study, conducted by a working group of UC Santa Barbara's National Center for Ecological Analysis and Synthesis (NCEAS) and funded by the National Science Foundation, shows that warming oceans are causing marine species to change breeding, feeding, and migration timing as well as shift where they live. Widespread systemic shifts in measures such as distribution of species and phenology—the timing of nature's calendar—are on a scale comparable to or greater than those observed on land.
"The leading edge or front-line of marine species distributions is moving toward the poles at an average of 72 kilometers (about 45 miles) per decade—considerably faster than terrestrial species, which are moving poleward at an average of 6 kilometers (about 4 miles) per decade," said lead author Elvira Poloczanska, a research scientist with Australia's national science agency, the Commonwealth Scientific and Industrial Research Organisation (CSIRO), Marine and Atmospheric Research in Brisbane. "And this is occurring even though sea surface temperatures are warming three times slower than land temperatures."
The report, which involved scientists from 17 institutions, including NCEAS associates Carrie Kappel and Ben Halpern and former NCEAS postdoctoral associates Mary O'Connor, Lauren Buckley, and Camille Parmesan, forms part of the Fifth Assessment Report of the United Nations Intergovernmental Panel for Climate Change (IPCC). The Geneva-based IPCC assesses scientific, technical, and socioeconomic information concerning climate change, its potential effects, and options for adaptation and mitigation.
"The effects of climate change on marine species have not been a major focus of past IPCC reports because no one had done the work to pull together all the disparate observations from around the world," said Kappel. "This study provides a solid basis for including marine impacts in the latest global accounting of how climate change is affecting our world."
Unlike previous climate change assessments, which relied heavily on terrestrial data to estimate marine impacts, the NCEAS working group scientists gathered from seven countries to assemble a large marine-only database of 1,735 changes in marine life from the global peer-reviewed literature. The biological changes were documented from time series, with an average length of 40 years of observation.
"Here's a totally different system with its own unique set of complexities and subtleties," said Camille Parmesan, professor in the Department of Integrative Biology at University of Texas at Austin. "Yet the overall impacts of recent climate change remain the same: an overwhelming response of species shifting where and when they live in an attempt to track a shifting climate.
"This is the first comprehensive documentation of what is happening in our marine systems in relation to climate change," added Parmesan. "What it reveals is that the changes occurring on land are being matched by the oceans. And far from being a buffer and displaying more minor changes, what we're seeing is a far stronger response from the oceans." Parmesan has been active in IPCC since 1997, and in her capacity as a lead author, she shared in the award of the 2007 Nobel Peace Prize to IPCC.
The research revealed telltale traces that collectively build the case for climate change causing modifications in the ocean. These fingerprints of climate change include movements of species toward the poles as ocean temperatures rise, with an average displacement up to ten times that for terrestrial species. Phytoplankton, zooplankton, and bony fish showed the largest shifts.
Researchers also found that the timing of spring events in the oceans had advanced by more than four days, nearly twice the figure for land. The strength of response varied among species, but again, the research showed the greatest response—up to 11 days in advancement—occurred in invertebrate zooplankton and larval bony fish.
Multiple lines of evidence supported the hypothesis that climate change is the primary driver behind the observed changes: for example, opposing responses in warm-water and cold-water species within a community and similar responses from discrete populations at the same range edge. In total, 81 percent of all observations, whether for distribution, phenology, community composition, abundance, or demography, across different populations and ocean basins were consistent with the expected impacts of climate change.
ocean," despite lack of supporting data, since the buoys don't dive so far..
It makes sense that marine life would be a lot more sensitive to these changes precisely because its temperature range is much more stable. Animals that exist at a particular temperature range tend to find it hard to exist outside of that range. Part of the reason we get fevers when we get sick. Efficiency means less flexibility - and you get efficiency where you can. An efficient animal at 12.7 degrees Celsius might expire at 12.3, if normally its environment only fluctuates by .1 degrees Celsius annually. It's amazing how sensitive to temperature change some animals can be, actually.
Gmr: Ocean life has survived several cycles of ice ages and massive decadal swings caused by asteroids. If the massive water vapor feedback amplification of the high school physics CO₂ greenhouse effect, you know THE ONE THAT FORMS THE BACKBONE OF ALL CLIMATE ALARM, were that supported by actual enhanced warming or successful instead of devastatingly falsified predictions by the supercomputer climate models this utterly speculative theory hides out in, your hand waving argument might be worth stealing billions of dollars of basic science R&D funds to study. That organisms can so easily migrate and that this migration represents an expansion of the biosphere into the naturally warming arctic in our interglacial paradise, your armchair panic may be soothed by realizing the quite obvious alternative hypothesis that a bit of warming makes Nemo quite happy.
Franklins: the NODC site you mention oddly lacks any simple plot of Argo data, just fuzzy technicalities.
Please do plot for us an alternative Argo chart, to prove the case of ocean warming. Good luck since they now only offer data from individual buoys.
"For the period since Argo achieved global coverage, 2004-2008, there is no significant trend in the globally averaged temperature. There is considerable regional and depth-variability over this time period, but the global mean temperature is approximately constant. Given the 50-year temperature record, a 4-year period of constant temperature is not particularly unusual, and should not be taken to indicate any change in the multi-decadal warming trend.
It will of course be of great interest to see how the Argo temperature record of the next 5-10 years compares to both the historical 50-year record and to the present Argo 4-year record."
Isn't this what your looking for?
Gmr: Ocean life has survived several cycles of ice ages and massive decadal swings caused by asteroids.
Some. Like some life survives a forest fire, or a volcanic eruption. There are winners and losers - and the losers make up the "other" 90% that tends to succumb.
That organisms can so easily migrate and that this migration represents an expansion of the biosphere into the naturally warming arctic in our interglacial paradise, your armchair panic may be soothed by realizing the quite obvious alternative hypothesis that a bit of warming makes Nemo quite happy.
Sadly, I do not have an armchair, nor am I panicking. Warming, however, does not make "Nemo" happy. Quite the opposite - warming changes the bands where creatures can possibly survive, and if predator and prey and the rest of the web can't move at the same rate - the tatters have the look of a world of "junk fish" and marine worms.
NikkieTard may one day learn something about statistical significance.
Until that day his comments remain mindless and insignificant.
While there is no statistically significant warming in the too short ARGO dataset. Warming is still observed as a close examination of NikkieTards reference image shows.
The author of the graphic has reduced the scale to make the warming less apparent, but it is still there.
Here is a real plot of global heat content that doesn't come from a Denialist Blog.
Global Climate change is defined over periods of 30 years or longer.
You have 26 years more data to collect, TardieBoy.
Get back to us when you have it.
Looks like I have to wait a long time for that Argo plot, you know the one that would be publicly held up as proof of rapid ocean warming if indeed that's what it showed.
Does recent warming form a statistically significant deviation from the natural trend? No, because it shows absolutely no deviation from the natural trend!
They followed thousands of fish around for 3 years? They plotted their "average" location? They surmised that that average location changed for the entire population.... rriiiigggggghhhhhht!
Have you ever snorkeled & tried to keep track of A fish, ONE FISH for TEN SECONDS?
THESE UNIVERSITIES ARE RIPPING US OFF BECAUSE THEY KNOW SOME DOLTS WILL BELIEVE THE CRAP. ARE YOU KIDDING ME?
When debate is lost, out comes sock puppet posts by fake skeptics? Bemusingly predictable in an activist world based on a field of science that awarded instead of punished water resources expert and former genius award winner Peter Gleick who stole Heartland Institute internal documents and having found no damning conspiracy linked to skeptics, this climatologist mixed in a fabricated juvenile level Dr. Evil strategy document that included mention of none other than formerly obscure "scientist" Peter Gleick. This fulfilled yet another sad cycle of fraudulent headline news.
NikkieTard is frightened. He should be.
If you are admitting that then you are admitting that your claim that the existing plot shows no warming is a lie since you now admit that it isn't long enough in duration to show any statistically significant warming.
Now the question remains as to why the plot you provided from a ConservaTard denialist blog that shows no heat absorption by the ocean is contradicted by the scientific findings of the NOAA.
I guess that Blog Author is a Congenital liar just like you NikkieTard.
Afraid of what, VendicarE? A sock puppet commander? Or are you a member of the eco-terrorist group Earth First? The FBI would like to know.
Once again, NikkieTard's ConservaTard Blogger sources just don't agree with NOAA science.
NikkieTard just isn't bright enough to realize that with ocean temperatures lagging atmospheric temperatures in their rate of temperature rise - due to the ocean's higher thermal inertia, ocean expansion - which is proportional to temperature change, has also responded slowly.
The lag will not last long.
You tell us TardieBoy. Do you fear summary conviction and execution for the crime of treason against man and nature?
"Once again, NikkieTard's ConservaTard Blogger sources just don't agree with NOAA science."
Dude, I'm not the death threat flinging psycho wearing the sandwich board.
You are! You are the face of Global Warming activism, here and now, today, for all to see, and thus my good day is done.
Your plot of "sea level" is a great example of deception since it relies on highly speculative corrections to *actually* measured tide gauge data but then it is still labelled as being actual sea level, which it very much is not.
There is no debate TardieBoy.
You are a congenital liar, and we are simply exposing your lies and childish idiocy for what it is.
We are still waiting for you to explain to us why the C-Fact graphic that was part of the gentleman's debate that was posted, has been manipulated in order to reduce the appearance of the warming trend.
Denialists never have answers. They only have lies, slander, and dishonest accusations.
Why the sudden need to change the subject? Your blog source is a lie, and you have been using it to lie yourself.
Lie, lie, lie, that is all you do. It is what you live for. Lying is your reason for existence.
The penalty for that sin is death according to the Christian God.
Does that frighten you NikkieTard?
If so then write a scientific paper proving it to be so, and get it published.
You don't, because you can't, and you can't because your accusation is a lie.
No, they monitored the positions of schools of fish and noted their gradual migration over the years.
It is only rocket science to the very stupid and the willfully ignorant.
And took millions of years to recover.
Is that the Republican plan for the world. Global Environmental devastation, mass death and extinction on a planetary scale and millions of years to recover.
That does appear to be the Republican Goal.
VendicarE : "And took millions of years to recover."
Ice ages and warm periods alternates in 100,000 year cycles over the last 7 cycles we have data of. And even with estimated 5°C global temperature swing in each cycle, ocean's temperature & biology don't change much (even when it was 130m lower during ice ages). "Millions of year to recover" is a wild fantasy.
Gmr "An efficient animal at 12.7 degrees Celsius might expire at 12.3, if normally its environment only fluctuates by .1 degrees Celsius annually. It's amazing how sensitive to temperature change some animals can be, actually."
You are be confusing body & environment temperatures. I doubt you can name a single animal for which a change of 1°C environment temperature means life or death, let alone anual change. Fishes are cold blood animals (or have a limited thermo-regulation mecanism), their body temperature change can be huge compared to us, between day and night, when they stay at the bottom or at the surface, when they are at large or near the shore... And they migrate, some of them on very long distances.
Yes. My response was to NikkieTard's comment on asteroids and mass extinction.
Those events were more destructive than the glacial cycles since they caused the extinction of ocean dwelling species as well.
With glacial events the earth has not frozen over completely. There has always been open water in the oceans and untouched land from somewhere in the mid latitudes to the equator. So there was always a region from which plants and animals could extend their habitat as the glaciers receded, and thus recovery was rapid.
This has not been the case for the great extinction events that NikkieTard was so ignorantly referring to.
The only ocean dwelling creatures that control their body temperature are the really big and fat ones - the mammals.
It is energetically foolish for most ocean dwelling organisms to even try to maintain a fixed core temperature since all they would be doing is heating the ocean.
This is why fish move to where the temperatures are most comfortable for them, and is how the scientists can to some extent measure temperature by where the fish are.
VendicarE is absolutely correct. Mr. NickfromNYC probably just does not understand that you heat water very quickly (as global warming is doing), the temperatures tend to stratify in layers that blocks oxygen to the lower layers. That creates dead oceans.
Recently, it was shown that ALL EXTINCTION EVENT where proceeded by a massive and rapid increase in CO2 and rapid global warming. We are talking massive comet strikes creating volcanism on massive scales to generate the CO2 levels that we have made burning fossil fuels in 200 years.
Nick will probably say dismissively ; "oohh sky is falling". Well, it doesn't matter as I've already dismissed his bullet points as rubbish to be disposed of in a proper manner.
The @Vendy has already tard and feathered you, and I agree with him Quit misleading people.
My response was to NikkieTard's comment on asteroids and mass extinction.
Your response was to imply that the current warming is to similar asteroids collisions and not to Milankovitch cycles conditions, causing, quote "devastation, mass death and extinction on a planetary scale and millions of years to recover", which is of course baloney, and you know it.
There has always been open water in the oceans and untouched land from somewhere in the mid latitudes to the equator. So there was always a region from which plants and animals could extend their habitat as the glaciers receded, and thus recovery was rapid.
So you agree that global warming warms cold waters especially near the poles and EXTENDS marine habitat, a no brainer. Why just not say that? Is it because it essentially defeats an alarmist narrative ?
Fish move where there is food (which depends on sunlight, photosynthesis, ocean currents, overfishing...) and less predators or more preys. That's why they change depth in the same day where temperature swing easily exceed 5°C between the surface and the bottom. Food availability is THE factor, to be "comfortable" with temperature is an anthropogenic prejudice pulled out of the blue.
Anyway, global ocean has warmed less than 0,1°C over the past 50 years, that's a fact, too small to be detectable by any marine species so any temperature change triggering marine life change can only be local and/or cyclical neither global, nor new.
All that proves is that you know how to fish. Apparently nothing else though. As the reefs heat up, you loose an incredible amount of bio-diversification, the kind that you will not find in the Arctic. Humans have never experienced the kind of change that is coming at us like a death train extinction event. Who can say with any certainty whether tuna will migrate or salmon, or any number of species. You can't. What you can do is look at what has happened in historical extinction die-offs to get an idea of what could happen with AGW.
Humans have never experienced the kind of change that is coming at us like a death train extinction event.
According to you, nobody "can say with certainty", but you KNOW death train is coming. Oh give me a break. If so, name one reefs species extinction, just one!
All I can see so far is the same tired AGW hyperboles, wild claims, no fact. If your theory holds water, you would'nt need to exagerate, right ?
No it doesn't, but that won't stop "scientists" with an agenda from attributing any discernible behavior change (real or imagined) to climate change.
Figure of speech, but you understand the meaning; the future does not bode well.
What I have yet to see, is anything from you deniers that is scientific data NOT showing me to be wrong. Not a graph, chart, publication. So far you deniers are a big NADA when it comes to science.
Your all good a creationism though.
Seriously you anti-environmentalist deniers must have no concept of how future societies will adapt to a dying planet. A planet so abused by industrialism, greed and over population that it is impossible for life on the planetary surface to exist. If there was a prediction for the future, I would say 100-200 years from now, it looks like the movie "Soylent Green". Beyond that, unless there is a global change in Mankind's world dominance, in less than 500 years life on the surface could be gone.
That's not just scare tactics, that is based on what if AGW is correct, what if science is correct, what if we project that out assume we do business as usual. What other conclusions do you guys see give the same input?


You can expect a change! This is a new time in your life and one that should be welcomed, not feared.
Prepare for distractions. These are everywhere. From your smartphone to the television to the students down the hall, you can expect to deal with noises and technology that wants to pull you away from your studies. Most students find a personal quiet place or schedule in time where they "unplug" to ensure distractions don't affect their grades.
Expect it to be harder than high school.
You need to manage your free time. Successful students use their time wisely. Don't waste valuable time. A bus ride may be enough time to listen to a lecture recording, lunchtime is long enough to catch up on a textbook chapter, and working out on the treadmill is the perfect time to review flash cards before a test.
Find your preferred study tool. College = Deadlines. Managing schedules and important due dates keeps students on pace. Determine the best methods for managing a schedule. Whether it's a planner, your tablet or phone, constant reminders and alerts can help ensure no class or assignment slips through the cracks.
Sleep is golden. The transition to a more rigorous lifestyle can leave some students sleep deprived. Successful students understand the value of a good night's sleep to be alert and engaged in class. But, when studying gets in the way, take advantage of down time with a power nap.
Class attire isn't runway fashion! Get comfortable because college is all about early classes and studying. Students wear sweatpants or jeans and t-shirts to class and oftentimes no makeup. You might even see slippers in the classroom.
Campus visits give you one-on-one time with professors, admissions teams and financial aid departments. But they also can give you a sense of what it might feel like to be a student on that college campus. Even better, schedule an overnight stay at any of Iowa's private colleges to get the full experience!
Schedule a visit and tour an of Iowa's 25 private colleges!


You will find the traditional recipe (pictured above) in your Basic Cookbook but there are so many other variations you can make. If you're stuck for ideas you only need to hop onto the Recipe Community and type 'lamington' in the search field like I did here.
Lamington variations can include slices, bliss balls, cupcakes and trifle. This year I made Skinnymixer's Raw Lamington Truffles which went viral last Australia Day. These Lamington truffles are easy to throw together and just need some time in the fridge/freezer in between steps before they are ready 🙂 Which is why it is always good to read the recipe before you start if you are in a hurry or check the total cook time if it a Thermomix recipe.


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The OKB Trio Racks up 18 weeks at RMR with The Ing…
OKB Trio enjoys 18 weeks on the RMR Top 50 Jazz Chart, Peaking at 1 Overall
"…Brian Woodruff's OKB Trio. Featuring drummer Brian Woodruff, pianist Oscar Perez and bassist Kuriko Tsugawa, this group mixes rhythmic acrobatics with an uncanny ability to swing through the Great American Songbook or dance delicately through Brazilian and Latin standards."
-brownstoner.com
The OKB Trio was born at a jam session Woodruff ran at Blackbird's in Astoria, Queens that gave him the privilege of playing with different musicians each week. On June 20th, 2010 he hit pay-dirt. He brought pianist Oscar Perez, bassist Kuriko Tsugawa, and himself together for the first time that Sunday and the chemistry was immediate. All three musicians arrived early and were set up and ready to go well before downbeat, so they made a toast, had a drink together, and proceeded to swing their butts off for the remainder of the evening. Woodruff explains "We didn't program anything super-difficult, but there were a few simple originals and some standards you haven't heard very often." At the end of the gig, Tsugawa said "I always want to play with THIS trio," and we all agreed.
Woodruff and Perez talked about the difficulties they experienced in featuring their own playing while leading larger groups that play elaborately arranged originals, so they decided that OKB would play simpler material, so they could focus on the groove and expressing themselves more freely on their instruments. As Woodruff proudly boasts, "We always keep the 'ing' in the swing." While they are dedicated to swinging, Perez and Woodruff do have a tendency to jump off of buildings and set things on fire. Fortunately, Tsugawa is there to catch them with a net or hose things off when necessary.
Perez, Tsugawa, and Woodruff are proud of two important firsts The Ing… represents:
1) The first music ever recorded at Chris Benham's thriving new studio, Big Orange Sheep, built by their dear friends Mr. Benham, and Kevin Thomas, with assistance from many members of their musical community, including Perez, who helped choose the piano, Woodruff, who spent a day laying electrical wire, and Daisuke Abe, art director for this CD, a board member of the Queens Jazz OverGround , and Tsugawa's husband. The studio was under construction as OKB was planning to record, but as they were pressuring Benham to open, the impending birth of Abe and Tsugawa's daughter bought needed time. The trio started recording on March 5th, 2015, the very morning Big Orange Sheep was open for business!
2) The first recording for QJOG Records. Founded in 2012 by Amanda Monaco, Josh Deutsch, Mark Wade, and Brian Woodruff, the Queens Jazz OverGround grew largely out of the success of the Blackbird's Session, where OKB was born. The trio is proud to have been an integral part of so many of the initial successes that helped put Queens on the jazz map. More than a piano trio, the OKB Trio considers their collective mindset, heartfelt kinship, and sense of community a cornerstone of their artistry. The ING is in the swing, but it's also evident in the "harmony" of the ensemble.
jazz okb trio radio the ing
Melbreeze Continues to Chart at RMR with Animazonia
Robert Kennedy Gets Closer to Home with The Jazz Word
Igor Kogan receives 5/5 Stars from Amazon's Top 50 Writer Grady Harp
by Grady Harp HALL…
Troy Roberts – Blogcritics Loves the Nu-Jive Perspective
Blogcritics weighs in on the…
James Austin, Jr. focuses on the Songbook of Stevie Wonder
THE VINYL ANACHRONIST by Marc…


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TechHub Tuesday Demo Night
Tue 4 Dec, 2012 from 6:30pm - 9:00pm
TechHub @ Campus
4 - 5 Bonhill Street
London, EC2A 4BX, UK (Map)
Cost: Please see website for details
Come along, meet other tech entrepreneurs, have a drink and show everyone what you're working on.
If you'd like to demo your product, enter the details in the 'Other Information' section of the registration form and we'll confirm with you a week before if you have a demo slot, as they're limited and so many great companies apply.
Demos will be kept to 3 minutes, with around 5 minutes for questions.
TechHub Demo Night isn't about pitching for funds, it's really an opportunity to show the community what you're working on, get some feedback, and see what others are toiling away on. While some angels and VCs do pop along sometimes, don't feel that it's a formal pitch.
http://www.techhub.com
The future of mobile commerce?
4 Minute Warning


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About CCNS
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Civil Unrest in America: Black Lives Matter, Antifa and Beyond
Election Chaos: Can it be Avoided?
The U.S.-Israeli Alliance and its National Security Implications
Turkey Is Key Player in U.S. Withdrawal From Syria
by Clare Lopez	January 7, 2019
As National Security Advisor John Bolton heads to Turkey today for discussions about President Trump's announced decision to withdraw U.S. troops from Syrian battle spaces, he might question Turkish President Recep Tayyip Erdogan about his expressed intent to re-establish the Ottoman Empire and how Erdogan calculates U.S. policy in the region to figure into that ambition.
He might cite from Erdogan's February 2018 assertion that "modern Turkey is a 'continuation' of the Ottoman Empire," or ask exactly what Erdogan meant when, in November 2018 he declared that "Turkey is bigger than Turkey; just know this. We cannot be trapped inside 780,000 kilometers [Turkey's total area]." He might perhaps ask also what exactly Erdogan meant by threatening the U.S. with an "Ottoman Slap," in reference to American support for Kurdish forces fighting against the Islamic State.
Then there was the November 2018 "International Islamic Union Congress," held in Istanbul. Headed by Erdogan's chief military advisor, Adnan Tanriverdi, the event's participants endorsed the aim of "unity of Islam" through establishing the "Confederation of Islamic Countries." It was not entirely clear how or if such a "Confederation" would differ from a Caliphate or Islamic State.
Clearly, U.S. objectives for the region are not the same as Turkey's.
In the areas of the former Syria closest to the Turkish border, it has been obvious for some time that Ankara intends to carve out a sphere of influence and control, aimed specifically at annihilation of Syrian Kurdish forces operating there. Turkish planes, tanks, and troops first invaded northern Syria in Operation Euphrates Shield in August 2016 and expanded that offensive with Operation Olive Branch in 2018. Turkey now controls an area of some 3,500 square kilometers, encompassing hundreds of towns and villages. There is no indication that Ankara intends to withdraw from this territory any time soon.
Because the Trump administration to date has declared the mission of U.S. troops in Syria to be only the defeat of the Islamic State, other (arguably equally important) national security objectives including standing by our Kurdish allies, re-evaluating where Turkey is headed, and blocking aggressive Iranian expansion that directly threatens Israel have been less well-articulated. President Trump's withdrawal announcement thus caught many by surprise, both in the region and apparently even among his own senior advisors. His decision followed a December 14, 2018, phone call with Erdogan in which Trump reportedly agreed that Turkey should take over the fight against the Islamic State as well as management of territory seized from it. In view of Turkey's unambiguously jihadist neo-Ottoman agenda, alarm bells began to go off. For just these reasons, then, Bolton's 4-day trip to Israel and Turkey this week will be critical as has been the apparent willingness of the president to reconsider the timetable for any troop withdrawal.
As Center for Security Policy President Fred Fleitz wrote on New Year's Day, "the President did the right thing by adjusting his plan to quickly withdraw U.S. troops from Syria. This shows that he is listening to experts, members of Congress and foreign leaders."
Speaking on Sunday, January 6, to reporters accompanying him on his trips to Israel and Turkey, Bolton said that Trump will not withdraw American troops from northern Syria until and unless the Turkish government guarantees it won't attack the Syrian Kurdish troops who've been at our side fighting against the Islamic State. Bolton also indicated that any withdrawal timetable will be conditioned on U.S. priorities for the region, saying, "Timetables or the timing of the withdrawal occurs as a result of the fulfillment of the conditions and the establishment of the circumstances that we want to see."
A comprehensive U.S. strategic policy for the Middle East has long been wanting. Indeed, a thorough overhaul of the entire post-9/11 understanding of the enemy we fight and that enemy's threat doctrine has never been more urgent. There may be no better juncture than this turning point in U.S. ME policy and no better team of advisors now on board the Trump administration to address this most critical of policy priorities.
This column was originally published at Newsmax.
The views expressed in CCNS member articles are not necessarily the views or positions of the entire CCNS. They are the views of the authors, who are members of the CCNS.
Clare Lopez
Clare M. Lopez is the Founder/President of Lopez Liberty LLC & a Member of the Citizens Commission on National Security. She was a career operations officer with the CIA & served as Vice President for Research & Analysis at the Center for Security Policy.
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