text:
Gameloft Ibérica, S.A.U.
Sr. UX/UI Designer (Games)
FoxNext Games
Graphic Designer/2D Production Artist
Community Management Specialist - Grepolis (m/w/d)
Game Design Deep Dive: The folktale structure of Burly Men at Sea
November 14, 2016 | By Brooke Condolora
More: Smartphone/Tablet, Indie, Video, Deep Dive
Game Design Deep Dive is an ongoing Gamasutra series with the goal of shedding light on specific design features or mechanics within a video game, in order to show how seemingly simple, fundamental design decisions aren't really that simple at all.
Check out earlier installments, including the action-based RPG battles in Undertale, using a real human skull for the audio of Inside, and the challenge of creating a VR FPS in Space Pirate Trainer.
Who: Brooke Condolora
I'm Brooke Condolora of husband-and-wife team Brain&Brain, and I acted as artist, writer, and designer on our latest project, Burly Men at Sea.
Before games, I was a freelance graphic designer and web developer. My husband David and I did occasional creative projects together, like short films, until we finally stumbled onto the idea of making a game. We started developing our first, a tiny point-and-click adventure called Doggins, in 2012.
While working on Doggins, we gradually began to realize just how young and still undiscovered this medium is, and that through it storytelling could be pushed in so many new ways. That excitement carried us into a second project, Burly Men at Sea, which we released just over a month ago.
What: A branching folktale
Burly Men at Sea is constructed as a story-building game. In it, branching scenes combine to form a variable tale with a single, overarching theme. With each session, the player returns from one journey to set sail again, uncovering new paths for a series of kindred but distinct adventures.
Of the many elements of folklore that helped to establish what we describe as a "folktale adventure," three contributed most to the design of Burly Men at Sea: length, tone, and moral. Designing for folktale length gave us a branching narrative with a short play cycle. Designing for folktale tone put the player in the role of storyteller, one step removed from our protagonists. But here we ran into a complication: how could the game present a cohesive moral tale when the tale itself is of the player's choosing?
Our solution was to structure the story in a way that both beginning and end were consistent, with the player's influence shaping all events in the middle of the story in a way that developed a single theme.
Why: Adventure for adventure's sake
Burly Men at Sea was always a game about adventure, but it took us about a year and a large-scale adventure of our own to learn what exactly we wanted to say about it—or, ultimately, what it wanted to say to us. One of my earliest notes on the game, dated a full year before we even began development, describes it as "a type of interactive adventure with a moral, drawing from Scandinavian folklore." While this is a perfectly accurate description of the game in its final state, we continued to explore what form that would take for the next two years.
We began with a far more traditional branching narrative in mind. Dialogue choices would carry the player through a series of trials and back, culminating in a lesson about choices made along the way. But we soon abandoned this direction, drawn more to the idea of using playful interaction to advance the narrative, with a sort of Windosill-like aspect of discovery that would set events into motion. With this in mind, we began to view the player character as another of the folkloric creatures in the game: an unseen being with limited influence. As such, a player could direct the protagonists' attention by interacting with the environment or changing their perspective. The characters might then react to this situational change in a way that moves the story forward.
Once we'd established this framework, we began to work out what sort of story we wanted to tell within it. We had chosen early on to set the story in early 20th-century Scandinavia, so I began to research the folklore of that region and consider what sort of moral tale we wanted to tell.
But I soon learned that each time I held too rigidly to a chosen theme, the resulting narrative felt forced. I tried to write a story to change minds, in which the player was always wrong. I tried to write a story that pretended to be what it wasn't. And finally, it occurred to me that it's actually not fun to be "taught a lesson."
What makes an ending satisfying is that it neatly puts into words something nameless you'd already begun to discover for yourself. So I began to write instead with the loose idea to explore the nature of adventure myself, rather than approach it as the knowledgeable party. Looking back, this does seem the obvious route for a story about the unknown, but letting go of intent is a scary to do.
Having set theme aside for the moment, I soon had the rough concept for a journey involving encounters with various creatures from Scandinavian folklore, all taking place at sea. My attention returned to gameplay. How would this journey unfold for the player? I began to develop the village where our characters would set out on their adventure, working from a Norwegian museum's historical account of life in a local fishing village. As I worked and reworked the location and its inhabitants, it slowly dawned on me that this was not Burly Men at Sea. I hadn't even begun to develop the setting that made up half of the game's title—and worse: I dreaded it. Reflecting, I realized that in every seafaring game I've played, the least interesting aspect of sea travel is the sea travel. Discovery is interesting. Islands are interesting. Even battles and races are interesting. But endless water and sky quickly become tedious.
The best way to keep our journey engaging, I felt, would be to focus on the encounters as self-contained nodes, with only brief moments of actual travel between. Each node would involve a new creature encounter and, for visual interest, a change in environment (time of day, weather, surface or underwater, island or cave).
Another early choice we made while designing the narrative: there would no wrong answers to choices made in the game. We felt that any story about adventure would be best supported by a world that encouraged exploration and a willingness to take chances, and to that end, no path in the game should leave the player feeling that they should've taken a different route.
While we did look to a few other games for reference, the strongest influences on the design of Burly Men at Sea actually came from more traditional media. One that ultimately became the best reference for a branching story with a single ending was O. Henry's short story "Roads of Destiny." This was an old favorite of mine that tells the story of a man who comes to a literal fork in the road and chooses one of three ways: right, left, or to return the way he'd come. The story goes on to follow each of these branches to their conclusion, each of which result in different combinations of the same events with ultimately the same fate. It was this method of weaving the same elements into wildly different variations of a single story that guided the shape of our narrative.
After working my way through nearly forty branching variations, I settled on what became the final structure of our story. We'd begin with an intro location that would also serve as a return point (the fishing village), and the story would branch three times during the course of a single journey before meeting again at the end. Each play through would take place over the course of a day and would be designed to be completed in a single sitting.
It was then that I stumbled onto what became the most pivotal piece of the game's design: the viewport. Inspired equally by the masking ability of fog and by vignette illustrations found in old books, this viewport could be dragged or stretched by the player to direct the characters' attention and so affect their movement. I immediately began to brainstorm variations on shape and usage: a house shape for building interiors, a flickering ring of firelight, an arched room. These began to combine with a secondary idea of using vignettes to style our narrative scenes like the pages of a book, further pushing the game's folktale feel. And from this new direction, a more complete narrative theme began to emerge. Our story and gameplay had begun to feel like a cohesive experience.
But the change wasn't entirely seamless. We had, after all, just attached an entirely new mechanic nearly a year into development. I now had a structural tangle to work through, worried that the game's use of interaction had become extraneous. Of even greater concern was the possibility that when the viewport mechanic's novelty wore off, it would become tedious. Somehow, we had to push it further, continue to surprise the player. I sketched out a rough idea for how the viewport might evolve in later scenes, but this only further scrambled my grasp of the structure.
Then, I came across an interview with Nintendo's Koichi Hayashida, discussing their use of the concept of kishōtenketsu, or four-act structure. In it, an idea is developed over the first two stages, then suddenly goes an unexpected direction before leading into the conclusion. That was it! I hadn't broken the game: I'd simply lacked the framework needed to contain it.
Equipped with this new lens, I could see how each stage of the game might make the best use of both mechanics, developing gameplay alongside theme. We would use the third act to alter the player's perception of the viewport and their relationship to the story. Finally, I was able to begin designing the third stage of encounters that would offer that twist, probably one of the most difficult and enjoyable parts of the process. Balance was the first challenge: did the branches in each stage match up in encounter type, level of interaction, use of mechanic, and length? How would each branch connect to the next stage? And ultimately, was it possible for all branches with their player-determined outcomes to join up again at our return point? Would we achieve that elusive through line?
Final narrative structure for Burly Men at Sea, as prototyped in Twine.
As I tackled these challenges over the following year and saw the narrative gradually take a final form, I took a fresh look at the design and story as a whole to see what themes had emerged. To my surprise and enormous relief, I found that what the game itself had to say about adventure was better than anything I had thought I wanted to say. It was about adventure for adventure's sake, about following impulse down an unknown path. Incredibly, or maybe not, even our development process had reflected this discovered theme. We tried a lot of strange ideas that managed to bind together into an honest little tale that taught us how to both tell and live a better story.
iGotcha Studios — Stockholm, Sweden
Gameloft Ibérica, S.A.U. — Barcelona, Spain
New Moon Production — Hamburg, Germany
Osmo — Palo Alto, California, United States
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What image do you keep on the opening Internet screen of your computer? A girl will have some Disney animation from "Frozen." A boy … well, don't even go there. A hunter, some desktop wallpaper, perhaps from Browning; a concealed permit holder a beautiful S&W image.
Personally, I maintain a variety of Google options on my igHome.com page. Weather. Date & Time. Top Stories from Google, CNN, NPR—and the Drudge Report.
Wikipedia's entry about Drudge notes, "Viewpoints expressed on the website are often considered conservative." I don't have a problem with conservative, although I try to judge issues and situations on merit. Yes, politically, I'm all over the place.
So when a news link to Blue Nation Review showed up on Drudge a few weeks ago, I assumed that Matt Drudge included it just to piss me off. The story was about a new-for-2014 handgun ammo from G2 Research or G2R. This new round is called the RIP—Rest In Peace or Radically Invasive Projectile—and Blue Nation absolutely went ballistic—pardon the pun—about it.
G2R markets its RIP round as "the last round you will ever need," describing its effect as "radically invasive." G2R began moving the RIP round from marketing to sales in about February, 2014, without exhibiting (neither did AmmoZone in Flippin, Arkansas (www.ammozone.com), the "exclusive distributor") at the industry trade show, the SHOT Show, held annually—usually in Las Vegas.
The selling point for the RIP round is that—let's be honest—it looks dangerous! And appearance—like in supermodels, neckties, and automobiles—sells this bullet.
In truth, the RIP is a 96-grain, CNC-machined, solid copper bullet available in 9mm and (recently) .380 ACP. G2R says it is working on .357 Sig, .40, .45 ACP, and even shotgun slugs.
The clever selling point is what G2R calls its Trocar tip design. The tip of the bullet is cut into eight sections—each weighing about six grains—which are designed to break off in eight different directions as the hollow point penetrates, leaving a 50-60 grain core.
The liberal Blue Nation screams that these tiny Trocar tips are like "shrapnel flying into various parts of the body … effectively destroying vital organs." Of course, real shrapnel, artillery shell shrapnel, is heavy, jagged, and lethal. RIP's 6-grain needles do not penetrate far in ballistic gel: 3-4 inches. The remaining core, though small and lightweight, does better: up to 14 inches.
So what we have here is a cool looking, over-hyped design coupled with dangerous-sounding copywriting. This sent our liberal brothers at Blue Nation into word frenzy. The Internet is already full of pros and cons from legitimate evaluators—mostly cons—about the RIP round.
So I'm thinking there isn't anything especially new about a fragmenting round. Air marshals have experimented with completely frangible bullets for years. Their job is to stop a terrorist at 30,000 feet without puncturing the thin skin of an airliner and killing helpless passengers. As such, the RIP round may be an excellent in a condominium, apartment, or town house complex where neighbors live cheek-by-jowl and a more conventional round blowing through drywall would cause the home owner's association to send an ugly letter.
Secondly, the claims made by G2R about the tiny 6-grain Trocar tips acting like a "hole saw" are only words, not scientifically sound. If the tips separate and only penetrate a few inches—the average male's chest is about 10 inches deeps—they are going to cause extreme irritation, if they make it through the black leather jacket, but not incapacitation. It is the solid projectile that is going to do the damage—and no one with half a brain will shoot once, and look up to see if the attacker is still coming before shooting again. Shoot once, twice, three times until the perp is on the ground or the floor and has quit—then do not shoot again.
G2R should send Blue Nation a bouquet of flowers. By demonizing a cartridge that delivers only average performance, they promote it and thereby confuse marketing performance with real-world performance.


Creation of the new model of minibus with an innovative and elegant aesthetic, and a maximum degree of modularity for the international market.
Next, the name itself reflects its innovation and superiority, with an emotional design to the last detail, transmits pure attraction.
Thanks to its modular platform, Next can be mounted on different chassis variants, and it is available in different body sizes that can reach up to 9.3m in length.


text:
Former ANGRA Singer ANDRÉ MATOS Dead At 47
André Matos, former lead singer of the Brazilian metal bands ANGRA and VIPER, has died at the age of 47. His death was confirmed by ex-ANGRA drummer Ricardo Confessori, who wrote on his Facebook page: "It is with deep pain in our hearts that we say goodbye to André once again, this time definitively."
André performed last Sunday (June 2) at the Espaço das Américas in São Paulo with SHAMAN and also made a guest appearance with the show's headliners, AVANTASIA.
AVANTASIA leader Tobias Sammet wrote on his Facebook page: "I am devastated by the tragic news about the passing of my friend André Matos whom I shared the stage with only five days ago. I am in shock. My thoughts and prayers are with his family. Rest in peace, André Matos."
German metallers RAGE wrote on social media: "We are in shock about the news of the passing of our good old friend André Matos! A big loss to the metal community. You'll never be forgotten, brother... REST IN PEACE!"
Out of respect for their former bandmate, the current members of ANGRA have decided to postpone tonight's concert at Templo Music in São Paulo. The gig will now take place on July 28. The group said in a statement: "It wouldn't make sense to go on stage to play while we cry for the loss of our journey companion, who was such a big part of our history. On this day, our instruments are quiet in mourning."
Matos's longtime friend and former bandmate, founding VIPER guitarist Felipe Machado, told Veja São Paulo: "I'm shocked, very sad. I still do not know the details, but I know he did a great show last week, and he was fine. I do not know what might have happened. I only know that Brazil has lost our greatest rock singer, the most incredible voice, a talented pianist. I do not know what to say."
Matos left ANGRA in 2000 and was replaced by Eduardo "Edu" Falaschi,. Falaschi quit ANGRA in May 2012. For the past few years, ANGRA has been fronted by Italian vocalist Fabio Lione (VISION DIVINE, RHAPSODY OF FIRE, KAMELOT).
Photo courtesy of André Matos's official Facebook page.
Topic: Band News
Related link: Former ANGRA Singer ANDRÉ MATOS Dead At 47
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redpajama_set_name: RedPajamaCommonCrawl


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text:
Use of proxies to effect appointment
17.39 Proxies generally
A proxy is an authority given by a person, "the principal", to another person, "the proxy-holder", to attend a meeting and speak and vote as his/her representative [note 1]. A proxy for a particular meeting may be given to the official receiver [note 2].
A proxy given for a particular meeting may be used at an adjournment of that meeting [note 3].
A proxy can give specific instruction for the holder to vote in a particular way on a given resolution [note 4] or confer a general voting discretion.
General information on proxies can be found in Chapter 16 Meetings - Part 6, Proxies.
17.40 Specific directions to proxy holder
Where a proxy gives specific directions as to voting, this does not, unless the proxy states otherwise, preclude the proxy holder from voting at his discretion on resolutions put to the meeting which are not dealt with in the proxy [note 4].
17.41 Rights of a general proxy holder
A proxy conferring general voting discretion "general proxy" entitles the proxy-holder to vote in favour of or against any resolution proposed and entitles that proxy-holder to propose any resolution, including one for the appointment of an insolvency practitioner as liquidator or trustee [note 5]. This allows a proxy-holder more discretion if his/her principal desires.
The chairman of the meeting needs to consider the wording of the proxy to ensure that the proxy-holder is acting in accordance with his/her principal's wishes, particularly if the proxy-holder is proposing the nomination of an insolvency practitioner under a general proxy.
If two or more proxies are received on behalf of the same creditor the chairman of the meeting will have to consider which proxy is the valid one and the official receiver should report such incidents to IP Policy Section.
17.42 Official receiver use of general proxies
The official receiver holding a general proxy or proxies may support nominations from others or vote for or against any resolution when he/she believes that in so doing he/she is securing the best interests of the majority of the creditors. The official receiver should not normally use general proxies to support resolutions that would not otherwise be passed. A file note should be kept to show the basis for the official receivers' actions.
The official receiver may exceptionally use the general proxies to secure the appointment of an insolvency practitioner (see paragraph 17.39).
17.43 Official Receiver using general proxies for appointment of insolvency practitioner
If, but only if, there is no other nomination leading to the appointment of a liquidator or trustee at the meeting convened by the official receiver, the chairman of the meeting, if holding a general proxy or proxies, may propose a resolution for the appointment of a liquidator or trustee. The chairman must propose the insolvency practitioner on his/her rota who would next be entitled to a Secretary of State appointment. General proxies held by the chairman may be used to vote in favour of that resolution.
17.44 Next rota insolvency practitioner unsuitable (updated September 2012)
Where the next insolvency practitioner on the rota is known not to be a suitable nominee for the case, either because of an association with the company or the bankrupt or for other ethical reasons, general proxies may be used to nominate the next practitioner on the rota. The chairman of the meeting must record the reasons for not using general proxies to nominate the next insolvency practitioner on the rota and must be prepared to justify his/her actions if challenged. Further details of the use of rotas can be found at Annex E.
17.45 Specialist insolvency practitioner
Exceptionally, it may be proposed that a "specialist" insolvency practitioner is required to deal with assets of an unusual nature or that a particular insolvency practitioner is more suitable as he/she is liquidator or trustee in a connected case. The official receiver may use general proxies to effect such an appointment at the meeting and must record his/her reasons for doing so.
17.46 Records of use of general proxies
The chairman of the meeting should ensure that a file note is made to record the circumstances of any nomination and appointment using general proxies held by him/her. The official receiver should record such appointments so that it can be established without difficulty that the rota has been used properly.
[Back to Part 3 - Appointment Following Meetings] [On to Part 5 - Appointments by the Secretary of State]
Chapter 17 Notes 4


Everybody loves Chex Mix! You can't have a party without it.
Seven Layer Dip makes any occasion a party! Try it with spicy chips like Doritos for an extra kick.
This mini samosas recipes brings out major, tasty crunch. The vegetarian snack is filled with potatoes and other tasty delights.
This feta dip features radish, Greek yogurt and a touch of honey. It's the perfect spring snack.
This Mediterranean Quinoa Salad Recipe makes a seriously healthy and tasty snack or light meal. Give it a try right now!
This Quinoa Granola recipe makes for a healthy snack or appetizer. And guess what: it's gluten free!
This spinach quiche recipe calls for bacon and parmesan. It's perfect for brunch!
This asparagus tart relies on a goat cheese filling and is the ideal springtime snack!
This chicken tortilla soup recipe could not be easier to make. Stir it up and enjoy a bowl now!
These Beef and Vegetable Hand Pies make for a hearty snack and/or appetizer any time of the year, but especially on St. Patrick's Day!
Our beer bread recipe is perfect for Saint Patrick's Day. Enjoy it now!
Perfect for the Super Bowl or any festive occasion, these barbecue chicken wings are easy to make and guaranteed to fire up the crowd.


Preheat oven to 180°C and line 2 baking trays with baking paper.
Cut zucchinis and carrot into 2-3cm pieces. Quarter onion. Beat the eggs and set aside.
Add zucchini, carrots, onion, beef mince and herbs to a food processor. Process on high for 1 minute or until all ingredients are well combined and the mixture is smooth.
Cut pastry sheets in half. Place 2-3 tablespoons of the mince mixture down the centre of the pastry sheets. The mixture should resemble a log shape.
Using a pastry brush, lightly brush the egg down one edge of the pastry sheet. Roll up to enclose filling and brush the top with the remaining egg.
Cut each sausage roll in half lengthways.
Tip: add a sprinkling of sesame seeds on top for delicious crunch!


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What it's like to be an asexual person in a romantic relationship
by Gabrielle Kassel, May 30, 2019
Photo: Getty Images/Westend61
A growing interest toward striking a tone of sexual inclusivity has been great for starting important conversations, cultivating an improved sense of normalcy, and increasing acceptance for who has sex with whom. But there's still a lot of knowledge to spread and confusion to clear. One place in particular is the question of what does asexual mean, especially in the scope of a relationship.
To start, asexuality describes a lack of sexual interest or desire, rather than being based on whom you want to be having sex with. "Lots of people hear about asexuality and assume it's made up, which is silly because that's how I identify," zero-waste blogger Milo Rusnak tells me. In general, there is a lack of understanding around what it means."
To that point, sexuality experts and people who identify on the asexuality spectrum answer below what does asexual mean, what it does not, and what romantic and/or sexual relationships within that community.
Asexuality: What it is and what it's not
According to the Asexual Visibility and Education Network (AVEN), "An asexual person does not experience sexual attraction. They are not drawn to people sexually and do not desire to act upon attraction to others in a sexual way."
While studies to quantify exact data are limited, psychotherapist and sex coach Carlos Cavazos, MA, LPC, says that current research points to about 1 percent of the population identifying as asexual. "These estimates rely on self-reporting, and since asexuality is not well-understood by most people, there is a possibility of the number being smaller or larger."
What asexuality isn't is something you can develop, courtesy of obligations like, say, a monthlong visit from the 'rents or a Google Cal that looks like a losing game of Tetris. Those instances may cause a dip in libido—which surely can be frustrating, especially for a partner who has a higher sex drive. Still, a lack of fire is not the same as asexuality. "Low libido and asexuality are not synonymous," says sexologist Jill McDevitt, PhD.
"A simple way to differentiate a low libido or celibacy from asexuality is to think about it like this: Libido is something you have, celibacy is your behavior, asexual is something you are."—psychotherapist and sex coach Carlos Cavazos
A low libido could be an effect of many different things—like a health issue, medications, or a number of other reasons—and is generally regarded as something to work on or improve (aka increase), but asexuality is neither caused by anything nor something to be fix. It's an identity. As AVEN notes, "asexuality is an intrinsic part of who we are, just like other sexual orientations."
Rusnak agrees: "People tend to assume that something terrible happened to me that 'made' me asexual," says Rusnak. "Sure, I've had some bad experiences, but I identified as asexual since long before then. While some people do find themselves uncomfortable with sex after a traumatic experience and may adopt the label to describe themselves (either permanently or temporarily), I think it's important to realize that not every asexual person has been traumatized."
Furthermore, asexuality is not synonymous with celibacy. Celibacy is actively not engaging sex (however the person in question defines sex). Someone who is celibate does not necessarily lack a desire (now, in the future, ever) to have sex the way someone who is asexual does, says Cavazos. Plus, while asexual folks don't experience sexual desire, they still often have sex (more on this below). "A simple way to differentiate a low libido or celibacy from asexuality is to think about it like this: Libido is something you have, celibacy is your behavior, asexual is something you are," says Cavazos.
Speaking of sex, people who identify as asexual may still masturbate. Asexuality doesn't bar anyone from reveling in the health benefits associated with orgasms by way of masturbation (like glower skin and reduced stress), Cavazos says.
Sexual orientation ≠ romantic orientation
Did you know that every individual has both a sexual orientation and a romantic orientation? "Most people don't think about this distinction because their sexual orientation is in line with their romantic orientation," says Cavazos. For example: A straight male who wants to have sex with a woman and a lesbian who wants to have sex with a woman both have a sexual orientation that aligns with their romantic orientation.
A romantic orientation, as Cavazos explains it, is "who we want to date, kiss, cuddle, be lovey-dovey with…. It's who we want to romance and who we want to romance us." Just as you can be heterosexual, homosexual, bisexual, and asexual, you can be heteromantic, homoromantic, biromantic, and aromantic, he says. "Someone who is aromantic has no desire to form a romantic, emotional relationship with anyone." So identifying as an aromantic heterosexual person, for example, means you're interested in engaging sexually but not romantically with people of the opposite sex. Alternatively, someone who is asexual and heteromantic might say the opposite.
Aromanticism and asexuality don't always go hand-in-hand.
Asexuality activist, Yasmin Benoit, identifies as asexual and aromantic: "'aromantic' because I don't experience any romantic attraction or interest, and 'asexual' because I don't experience sexual attraction or interest," she says. "I'm a friendship-oriented person. I put a lot of energy and investment into friendships. I've always said that I'd much prefer to have the Ron to my Harry rather than a Prince Charming."
But aromanticism and asexuality don't always go hand in hand, says Cavazos. "A person who identifies as asexual may also identify as heteromantic, homoromantic, or biromantic." For instance, Rusnak identities not just as asexual, but also as queer and biromantic. "Asexuality is a more personal indication of my sexual desire, and it's something only my close friends and partners know. The biromantic part of my identity defines who I'm attracted to and is what influences what my settings are in dating apps."
All of this is to say that people who identify as asexual can certainly be in romantic relationships.
Asexuality in romantic relationships
"Asexual people who are not aromantic can be in happy relationships with either asexual or non-asexual people," Rusnak says. "I'm in a long-term romantic relationship with a non-asexual person. We live together and have been dating for two years."
Wondering how the heck this can be possible is kind of like asking "what's the right amount of sex to be having?" Every single person is going to have a different answer because there's no singular asexual experience. It all depends what both partners are looking for.
Take Rusnak's situation for example: "I'm asexual, but I don't hate sex," she says. "I'm comfortable having sex. So although I don't feel much sexual attraction ever, I still remind myself of its significance to my partner (who is not asexual). I frame it in my mind as a bonding experience and focus on the emotional connection involved. And my partner knows this."
But she's quick to reiterate that how personalized and varied the asexuality spectrum is. "My experience is definitely not the same as everyone else's," she says. "For instance, some couples have boundaries set up that allow the non-asexual partner to seek sexual fulfillment elsewhere. That might be opening up the relationship, being okay with flings, or even opening yourselves up to a polyamorous relationship."
Basically, so long as as both partners are operating within the bounds of consent, any monogamous, monogamish, or other arrangement can work and be healthy. "As with any relationship, the key is for both partners to communicate their needs and what's needed to fulfill them," says Rusnak.
Confused about other aspects of sex? Here's what 10 real women of different relationships statuses and sexual preferences think about about porn. Plus, here's whether or not there's a thing as too much sex.
Relationship Tips, Sex Advice


text:
using System;
using System.ComponentModel;
using System.Drawing;
using System.Windows.Forms;

namespace DotSpatial.Symbology.Forms
{
    internal partial class PatternCollectionControl
    {
        /// <summary>
        /// Required designer variable.
        /// </summary>
        private System.ComponentModel.IContainer components = null;

        /// <summary>
        /// Clean up any resources being used.
        /// </summary>
        /// <param name="disposing">true if managed resources should be disposed; otherwise, false.</param>
        protected override void Dispose(bool disposing)
        {
            if (disposing && (components != null))
            {
                components.Dispose();
            }
            base.Dispose(disposing);
        }

        #region Windows Form Designer generated code

        /// <summary>
        /// Required method for Designer support - do not modify
        /// the contents of this method with the code editor.
        /// </summary>
        private void InitializeComponent()
        {
            this.components = new System.ComponentModel.Container();
            ComponentResourceManager resources = new ComponentResourceManager(typeof(PatternCollectionControl));
            this.lbxItems = new ListBox();
            this.panel1 = new Panel();
            this.btnDown = new Button();
            this.btnUp = new Button();
            this.btnRemove = new Button();
            this.btnAdd = new Button();
            this.panel1.SuspendLayout();
            this.SuspendLayout();
            //
            // lbxItems
            //
            this.lbxItems.AccessibleDescription = null;
            this.lbxItems.AccessibleName = null;
            resources.ApplyResources(this.lbxItems, "lbxItems");
            this.lbxItems.BackgroundImage = null;
            this.lbxItems.DrawMode = DrawMode.OwnerDrawFixed;
            this.lbxItems.Font = null;
            this.lbxItems.FormattingEnabled = true;
            this.lbxItems.Name = "lbxItems";
            this.lbxItems.SelectedIndexChanged += new EventHandler(this.LbxItemsSelectedIndexChanged);
            //
            // panel1
            //
            this.panel1.AccessibleDescription = null;
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            this.panel1.Controls.Add(this.btnUp);
            this.panel1.Controls.Add(this.btnRemove);
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            this.btnDown.Name = "btnDown";
            this.btnDown.UseVisualStyleBackColor = true;
            this.btnDown.Click += new EventHandler(this.BtnDownClick);
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            resources.ApplyResources(this.btnAdd, "btnAdd");
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            this.btnAdd.Image = SymbologyFormsImages.mnuLayerAdd as Image;
            this.btnAdd.Name = "btnAdd";
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            this.btnAdd.Click += new EventHandler(this.BtnAddClick);
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            resources.ApplyResources(this, "$this");

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            this.Name = "PatternCollectionControl";
            this.panel1.ResumeLayout(false);
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        private Button btnAdd;
        private Button btnDown;
        private Button btnRemove;
        private Button btnUp;
        private ListBox lbxItems;
        private Panel panel1;
    }
}

redpajama_set_name: RedPajamaGithub


This property is located at 99 BABINE STREET Kitimat, British Columbia V8C1Y1 in V8C 1Y1. There are currently 0 houses and flats for sale or rent in V8C 1Y1. 251 agents provide real estate service in Kitimat.
This property is located at 3 WHITTLESEY STREET Kitimat, British Columbia V8C1J7 in V8C 1J7. There are currently 0 houses and flats for sale or rent in V8C 1J7. 251 agents provide real estate service in Kitimat.
CanadaPropertyListing.com is a real estate search engine that helps you find homes for sale and make smarter real estate decisions in the process. How? By analyzing real estate information on thousands of Kitimat property records, millions of homes in British Columbia and nationwide as well as helping you understand hyper-local Kitimat real estate trends. Refine your real estate search in Kitimat, BC by price, number of bedrooms, bathrooms, property type (including townhomes, condominiums and single-family homes), and more. Use our interactive Kitimat home price map to view real estate activity across Kitimat ZIP codes and in other cities nearby Kitimat. See local real estate trends, and compare your home to recently sold homes in Kitimat and to similar homes for sale in Kitimat, British Columbia. View our Kitimat real estate guide to see average listing prices, sale prices and information for local school districts. Join Kitimat, British Columbia community to get in touch with Kitimat real estate agents, real estate brokers and other real estate sellers and buyers. Compare Kitimat mortgages from multiple lenders and mortgage brokers to finance your home purchase. Not ready to buy yet? Find and compare Kitimat Apartments for rent.


text:
Centro-Oeste beskriver den central-vestlige region i Brasilien som består af delstaterne Goiás, Mato Grosso og Mato Grosso do Sul samt Distrito Federal hvor Brasiliens hovedstad Brasília ligger.

Fakta
Areal: 1.612.077,2 km² (28,3%)
Befolkning: 11.616.750 indb. (7,2 indb./km²; 6,4%)
BNP: ~40 mia. US$ (8%)
Klima: Savanneklima (varmt, med relativt lidt nedbør gennem året) øst og nordøst i regionen. Tropisk i vest.
Største byer: Brasília (2.043.169); Goiânia (1.090.737); Campo Grande (662.534); Cuiabá (483.044); Aparecida de Goiânia (335.849); Anápolis (287.666), Corumbá (95.704)
Økonomi: Turisme, landbrug og kvægavl.

Regioner i Brasilien

redpajama_set_name: RedPajamaWikipedia


text:
PaperCept Conference Manuscript Management System
Home PIN Login Support Test your pdf document
Support menu Overview Compliance Page/Font/File Settings LaTeX Support MS-Word Support Upload Help Copyright Transfer Compliant Conversion Issues FAQ
Completing the Copyright Transfer Process.
Where do I download the copyright form, I do not see a link?
What is the Electronic Copyright Form that I have to sign?
How is an author's copyright status determined?
How do I "sign" the eCF?
Does a typed name carry the same legal weight as a handwritten signature?
Don't you need to use a higher level of security, such as digital certificates or encryption keys?
How do you authenticate the signee?
How does this eCF process work?
What if I am not authorized to sign the Form?
What exactly is copyright?
What happens when an author signs a copyright form?
Can I submit a modified version of the work in another conference/journal?
What if I have questions that haven't been answered here?
Completing the Copyright Transfer Process
Where do I download the copyright form, I do not see a link? The copyright transfer process is now fully electronic and integrated in the submission process. Hence you no longer need to download and send a signed copy of the copyright form since you will need to go through an electronic signing and transfer process.
What is the Electronic Copyright Form that I have to sign? The electronic Copyright Form (eCF) is a fully digital version of copyright forms you have been signing for past conferences. Depending on whether or not the conference is an IEEE conference, you may be forwarded to the IEEE eCopyright server to fill out the form directly at their site, or you may go through our own version of electronic copyright transfer agreement collection system.
How is an author�s copyright status determined?
If you are employed by the U.S. Government, and you are the sole author of your paper, then your electronically collected signature will appear on the �Copyright Form for U.S. Government Employees.� If you are employed by the U.S. Government, but your coauthors are in private industry, then one of your coauthors should sign the Copyright Form.
If you are the sole author and you are employed by a Crown Government (or if you and your coauthors are Crown government employees), then copyright to your paper will remain with the Crown government. Your signature will appear on the �Copyright Form for Works Subject to Crown Copyright� box. However, if you are employed by a Crown government, but your coauthor is in private industry, then your coauthor should process the eCP.
In all other cases, you may complete the process yourself, on behalf of all authors of the paper.
How do I �sign� the eCF? Simply by typing your name at the proper location and filling out the date.
Does a typed name carry the same legal weight as a handwritten signature? Until the Electronic Signatures in Global and National Commerce Act (�E-Sign�) was signed into law in 2000, a handwritten signature on all copyright transfer forms was required. The E-Sign Act now gives an electronically signed form the same legal effect as that of an original, hand-signed document.
Don�t you need to use a higher level of security, such as digital certificates or encryption keys? If this was a financial transaction then we would be obliged to use such technology. Given the relatively modest status of this kind of transaction, it is not necessary to go to such a level of security.
How do you authenticate the signee? The only way to get to the eCF is if you�ve already been authenticated through the manuscript submission process. Since only the owner of the PIN or an authorized user can access the system, the authentication process is implicit.
How does this eCF process work? You will be asked a series of questions. Once they have been answered, you will see the information on the form. After confirming the information, you will need to do is type in your name and date in provided boxes at the bottom. Once you click on the �Submit� button, the process will be completed, and you will automatically receive a copy of the signed Form via email.
What if I am not authorized to sign the Form? If you know that you are not in an authorized position to sign the Copyright Form, then have the suitable person submit the information. You will need to follow a different track in the electronic copyright transfer procedure. The burden of having the right person complete the process is left to the authors.
What exactly is copyright? Copyright is one of a group of intellectual property rights (or laws) that are intended to protect the interests of an author or copyright owner. These laws give an author/owner nearly exclusive control over the use of his/her work. In particular, copyright protects the specific expression of an idea (e.g., the specific wording of your text) but not the idea itself. Copyright comes into existence the moment a "work" (an article, a book, a computer program, an email, a symphony, a sculpture, etc.) is first fixed in any tangible medium of expression, now known or later developed, from which it can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device.
What happens when an author signs a copyright form? When an author signs the Copyright Form, he/she is transferring ownership of the copyright rights in the work to the appropriate organization. Any use of the content of the "work" in reproduction requires permission from the organization that holds the copyright to the "work".
Can I submit a modified version of the work to another conference or journal? The copyright protects the specific expression of an idea (e.g., the specific wording of your text) but not the idea itself. Hence the idea expressed in a significantly modified or expanded form may be submitted to another conference or journal.
What if I have questions that haven�t been answered here? Contact information of the person responsible for copyright related issues at the cognizant organization appears on the copyright form. Please contact them directly for further clarification on the matter.


Observatory Kent Town is a brand new residential development in the heart of Kent Town. It comprises 8 townhouses and 70 apartments across 4 buildings.
Designed by Pruszinski PACT Architects, Observatory has been thoughtfully created around a large geometrically designed, leafy terrace garden and boasts panoramic views of the city and Adelaide Hills.
Algo Más was tasked with the challenge of developing a name and brand for this new development. Inspired by the history of the location, formally the home of the Bureau of Meteorology, the name Observatory Kent Town was chosen.
The logo takes the 'O' from Observatory and introduces the geometric shapes that appear throughout the garden and building designs. The logo shares characteristics with a gem stone, which helps to reference the status and style of living in Adelaide's inner Eastern Suburbs.
The brand is positioned as a sophisticated and relaxed location between Adelaide's East End and Norwood, the ideal alternative to the busy CBD. Kent Town is fast becoming one of Adelaide's most vibrant and popular suburbs.
Algo Más have also created the Observatory website, sales brochure, floor plans, display centre signage, 3D Building Model and advertising campaigns.


text:
Tristan & Isolde
This new version of the timeless love story is a dopey, mopey, all-around bore.
"...Directed by: Kevin Reynolds. Starring: James Franco, Sophia Myles, Rufus Sewell, David O'Hara, Henry Cavill, J.B. Blanc..."
Jan. 13, 2006 Movie Review by Kimberley Jones
A TV show from the Sixties that starred marionettes gets the live-action treatment … or does it?
"...Ben Kingsley, Brady Corbet, Soren Fulton, Vanessa Anne Hudgeons, Sophia Myles and Ron Cook. This live-action version of Gerry..."
July 30, 2004 Movie Review by Marc Savlov
Mister Foe
Equal parts sweet and perverse, this Scottish coming-of-age story about a teenage voyeur is unpredictable and compelling and premieres exclusively in Austin.
"...Directed by: David Mackenzie. Starring: Jamie Bell, Sophia Myles, Claire Forlani, Ciarán Hinds, Jamie Sives, Maurice Roëves..."
Aug. 22, 2008 Movie Review by Marjorie Baumgarten
This follow-up to Terry Zwigoff and Daniel Clowes' transcendent Ghost World is too scattershot to be truly great, but their smarty-pants campus yarn is on fire with satire.
"...Directed by: Terry Zwigoff. Starring: Max Minghella, Sophia Myles, Matt Keeslar, John Malkovich, Jim Broadbent, Anjelica Huston..."
May 12, 2006 Movie Review by Marrit Ingman
Transformers: Age of Extinction
Optimus Prime finds a new pal in franchise addition Mark Wahlberg.
"...Peltz, Jack Reynor, Titus Welliver, Bingbing Li, T.J. Miller, Sophia Myles, Peter Cullen, Frank Welker, Mark Ryan, John Goodman..."
July 4, 2014 Movie Review by William Goss
Kate Beckinsale bares her fangs as a vampire assassin in in a shaggy werewolf story.
"...Beckinsale, Scott Speedman, Bill Nighy, Shane Brolly, Michael Sheen, Sophia Myles and Erwin Leder. Kate Beckinsale has come a..."
Sept. 19, 2003 Movie Review by Marc Savlov
Tom Petty, Charli XCX, and Demi Lovato Headline SXSW Film 2021 List
Festival drops complete lineup, with 2020 titles getting their shot
"...Bocock, Lea DeLaria, Sera Barbieri, Hersh Powers, Jonathan Bennett, Sophia Mitri Schloss, Cynthia Lauren Tewes, James Grixoni (World Premiere)..."
Feb. 10, 2021 SXSW Post by Richard Whittaker
Pet Sematary Remake to Close SXSW Film
Midnighters, Festival Favorites, plus shorts all announced
"...Forbidden Fruit D: Sophia Rigg A cat and her witch encounter a strange,..."
Feb. 6, 2019 Screens Post by Richard Whittaker
at Barton Creek Square


Healthy Dining Finder - Ask the Dietitians - Can Chain Restaurants be Healthy Choices for Eating Out?
Can Chain Restaurants be Healthy Choices for Eating Out?
Q: Can chain restaurants be healthy choices for eating out?
Yes! Chain restaurants, like almost every other restaurant, can be a healthy choice when it comes to eating out. Healthy Dining's team of registered dietitians always recommends avoiding the "healthy restaurant" trap. Most restaurants offer a spectrum of menu choices – from the great to the best avoided "calorie bombs" so often seen in new headlines. Your kitchen is probably pretty similar, with a wealth of lean proteins, fruits and veggies and whole grains plus a few indulgences.
Instead of avoiding certain restaurants, focus on making healthy choices at every restaurant you frequent: fast food, fine dining and everything in between. This strategy allows for much more flexibility in your healthy lifestyle.
Make fruits and vegetables the centerpiece of your meal. MyPlate recommends that at least half of your plate be filled with such foods, and for good reason. These nutrient-dense, fiber-rich and often lower-calorie foods have been linked to a variety of health benefits and can be found at almost every restaurant.
Opt for lean proteins like seafood, poultry and lean cuts of beef such as sirloin. These choices can help satisfy with less fat and fewer calories, whether they're served at your favorite fast food restaurant or the newest high-end bistro down the block.
Choose whole grains over refined to fill up and keep hunger at bay. Whole grain buns, brown rice, oatmeal and more choices are becoming more and more common at restaurants, thanks to growing demand.
Watch out for condiments, sauces and dressings to control added calories and sodium. When possible, skip these additions or ask for them on the side to help manage quantities.


text:
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Sousse or Soussa is a city in Tunisia, capital of the Sousse Governorate. Located 140 kilometres south of the capital Tunis, the city has 271,428 inhabitants. Sousse is in the central-east of the country, on the Gulf of Hammamet, which is a part of the Mediterranean Sea.
Tunisia is a North African country bordering the Mediterranean Sea and Sahara Desert. In the capital, Tunis, the Bardo Museum has archaeological exhibits from Roman mosaics to Islamic art. The city?s medina quarter encompasses the massive Al-Zaytuna Mosque and a thriving souk. To the east, the site of ancient Carthage features the Antonine Baths and other ruins, plus artifacts at the Carthage National Museum.
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Copyright © 2004-2020 gooradios.com - Claude Baillargeon (Administrator)


So, you got funding for your business—congratulations! Now, how are you going to use that money? Since there are so many ways to use funding, it's important to keep track of your funding with use of funds reporting. A use of funds report is a simple statement of why you need the funding, and how it will help your business.
A good business dashboard (also called a "financial dashboard") is important for growing businesses. A simple dashboard that you feel comfortable reading will help you keep an eye on several key metrics at once, so you can focus on steering your company effectively.
Business owners who succeed in meeting their goals have one common thread: They all track their progress toward their goals. Here are the metrics and data you should track to realistically measure performance, and what you can safely ignore.
Do Corporate Wellness Programs Really Work?
Employees want workplaces that care about their wellbeing, and business owners want healthy employees—and less sick days. Is a corporate wellness program the answer?
As you start your business and it begins to gain early traction, you are probably not thinking about your successor. However, it should be a consideration from day one—and here's what to keep in mind.
In the age of Amazon and Barnes & Noble, how can an independent bookseller compete? Here's how one small business owner took on the challenge.
An interview with Palo Alto Software's CFO Trevor Betenson, on why he switched the company from QuickBooks Desktop Enterprise Edition to QuickBooks Online, and why he feels QuickBooks Online is ready for most businesses.


text:
October Advocacy Report: when we know, we can act.
by Melanie Dufour
by David Raskin, Friends Board President
Arctic National Wildlife Refuge
The Budget Reconciliation bill includes repeal of the Arctic National Wildlife Refuge oil and gas program and a buy-back of all existing leases. However, the reconciliation bill has been delayed due to negotiations with conservative senators and representatives over their objections about its size and timing and is expected to be taken up by the full House later this month.
Extensive comments on the Notice of Intent of scoping for the Supplemental EIS (SEIS) were prepared by many organizations and experts and were organized and submitted by Trustees for Alaska. Friends and more than 20 other organizations signed on to the comments. The scoping report by the BLM is expected by the end of the year.
The threat to the Coastal Plain concerning the SF 299 application by Kaktovik Inupiat Corporation (KIC) for a winter right-of-way across the tundra in a wilderness study area continues. The USFWS reviewed their application and determined that KIC will need to provide additional information to complete their application. There will be a 30-day review period of an updated application. The significance of this effort by KIC is related to the Izembek application for a similar inholding right-of-way. Both claims of a surrounded inholding without access ignore the facts that Kaktovik and King Cove have marine access and other options. If these questionable gambits succeed, it will make that process available for similar claims in other refuges and possibly in national parks and all federal conservation units. That would be a disaster for all national conservation lands.
The contractor's evaluation of the Kaktovik claim of historical vehicle use for subsistence activities in the Arctic Refuge tundra, including Wilderness study areas, is progressing and should be completed sometime in December. The decision will be made by the Arctic Refuge Manager.
Izembek National Wildlife Refuge
There has been no word from the Court since oral arguments were held before the Ninth Circuit Court of Appeals on August 4 concerning the defendants' appeal of our second successful lawsuit that stopped the illegal land transfer for the proposed road. However, on September 6, Department of the Interior (DOI) announced that Secretary of the Interior Haaland postponed her trip due to concerns about the high level of COVID-19 infections in Alaska, but we have not heard how this latest development might influence the Court's decision regarding a possible stay of the proceedings. In the meantime, the State has appealed the decision by USFWS that denied the use of helicopters for the Special Use Permits for activities in designated Wilderness. The final decision will be made by the USFWS Acting Regional Director in Anchorage. We expect that the appeal will be denied.
Other Refuges
We have no significant updates on Kenai refuge regulations, Yukon Flats refuge oil exploration in Doyon inholdings, the Mulchatna caribou herd and possible predator control in Yukon Delta and Togiak refuges, and the BLM Central Yukon Plan.
Sturgeon Decision
We are unaware of further action following the Supreme Court decision in Sturgeon v. Frost, 139 S. Ct. (1066) 2019. Based on this ruling and Alaska National Interest Lands Conservation Act (ANILCA) Sec. 103, the State of Alaska asserted primary jurisdiction over navigable waters on federal lands in Alaska.
#publicland #homeland#wildliferefuge #alaskaAlaskaANWRArcticconservation
2022 Sheenjek Expedition Cancelled
My Time among the Peregrine Falcons: Tuesday November 16, 2021, 5pm AKT


text:
Not time to release albums, says Duane Stephenson
Kimberley Small - Staff Reporter
Duane Stephenson
There is the opinion that as more and more people are required to stay home, now is the best time for entertainers to push their material at the audience. But singer Duane Stephenson thinks that while it might be a good time to drop some singles or B-sides, it may not be the best time to release an entire album.
Stephenson's latest project was slated for release last month; however, the COVID-19 pandemic changed plans.
"Clearly, we were watching this thing. It has now been pushed back to a date unannounced, because we don't really know where this will end. Everybody is just sitting and watching where that is concerned," Stephenson told THE STAR.
Usually, promotional touring follows an album's release. But since borders are still being closed worldwide, there is no surefire way to ensure Stephenson's message gets delivered to his fans.
KEEP POSITIVE
He shared some of his shattered itinerary, and his plans to stay busy and keep positive, regardless.
"I was supposed to have a flight on April 2, headed to Honduras, to the Roatan Islands, and then on to the US for a show in Orlando, and continue on. But all shows between now and May are basically cancelled, or postponed," he said.
Other future dates are still tentative, but Stephenson isn't dwelling on that. Rather, he's happy to be home.
He added: "We have to be grateful still. We have life, and the family is good. I have nothing to complain about."
And even without shows on the roster, there are still ways to keep busy, and there is still work to do. He is using the opportunity "to do a lot of writing".
For the period, he is also working on projects for artistes such as Gyptian.
Additionally, his team is re-evaluating plans for whenever the album can be released, including music video treatments and figuring out some blitz promotions.
"We have to stay artistic. It's the nature of the work we do. We can't be too down about the situation. We have to be grateful and hopeful, and keep on trying to motivate people throughout the whole process. There are a lot of people who are in worse situations than we are, so we can't take it for granted. We have to create our own opportunities," he said.
Other Entertainment Stories
'Shenseea could be the next Rihanna'
Nature Ellis celebrates top spot on iTunes chart
Roxxie rocking to make her mark
Ffurious, Capleton are unstoppable
Little Hero views the 'world right now'
Popcaan makes history with performance in The Gambia
Music industry players split on artistes buying views


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Park Seo Joon And Kang So Ra Reunite 7 Years After "Dream High 2"
by S. Park
Actors Park Seo Joon and Kang So Ra reunited at an event.
On June 24, the "Dream High 2" co-stars attended a launching show for a beauty brand at the Four Seasons Hotel in Seoul. They posed for photos and participated in interviews to help promote the brand.
When asked if it was this was the first time they were meeting each other, Park Seo Joon answered, "It's not the first time. We've met before." Kang So Ra added, "About seven or eight years ago, we met on KBS2's 'Dream High 2.'"
Updating fans on what he's been up to, Park Seo Joon said, "The film 'The Divine Fury' will premiere soon. It's about a month away, so I'm preparing for the premiere, attending briefing sessions, and getting ready for the film to be released."
Kang So Ra added, "I'm currently reviewing projects and think that I'll be able to see you with a film sometime during the second half of this year."
"Dream High 2" aired in 2012 and told the story of high school students striving towards their dreams. Along with Park Seo Joon and Kang So Ra, the star-studded cast included T-ara's Jiyeon, Jeong Jinwoon, Hyolyn, HA:TFELT (Yeeun), Park Jin Young, GOT7's Jinyoung and JB, Ailee, and more.
Start watching "Dream High 2" with English subtitles below!
Top Photo Credit: Xportsnews
Dream High 2
Kang So Ra
XPN
How does this article make you feel?


Zack and Karen Hall of Barnesville announce the birth of their daughter Layla-Lynn Sue Hall on Friday, Nov. 18, 2011 at Spalding Regional Medical Center in Griffin.
She weighed 8 pounds, 13 ounces and was 21 inches long.
Maternal grandparents are John and Sherry Tatum of Griffin. Maternal great-grandparents are Floyd and Charlene Davis of Barnesville and Betty Tatum and the late Carl Tatum of Milner. Maternal great-great-grandparents are Mary Coleman and the late Charles Fain and the late Bob Coleman of Fort Valley, the late Ralph and Aurelia Craig of Fort Valley and Martha Davis and the late Charles Davis of Barnesville.
Bryan and Brittany Crooms of Barnesville announce the birth of their daughter Sophie Braelin Crooms Friday, Nov. 25, 2011 at 9:08 p.m. at Spalding Regional Medical Center.
She weighed 7 pounds, 13 ounces and was 20 inches long.
Maternal grandparents are Bobby and Maria Hall of Barnesville.


For The Country Inn and Suites by Sri Venketaswara Hotels Private Limited, the client put forth a straightforward image of a style that could be easily related to but unique in design and ambience. With a very linear and compact site with restrictions of height in place, resourceful use of spaces was fundamental. Adopting efficient planning approaches, removing negative spaces and keeping the base form pure, the design was deliberately kept simple from the outside, but grand from the inside. Using repetition and addition of the window element on the elevation of the structure dualy aided the functions of climate protection thus reducing energy consumption while forming an interesting array of light and shadow visually. The internal spaces are enlivened with cheerful colour schemes, unrestricted flowing spaces and innovative uses and techniques of lighting. Unique theme based concepts in areas for banqueting, lounges, public and private areas and suites further supplemented the design with added joie de vivre and finesse while working within the limitations towards an advantage for the project.


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December 10, 2020 // Opinion // // Opinion
The Now Normal Expert Spotlight Series: ANS Dan Goldberg Q&A on Marketing Societies
By: Marcel Goldstein
In our content series "The Now Normal," Allison + Partners turns to leading professionals in their fields to unpack the current state of marketing and communications and where it needs to go tomorrow. Today, we speak with Dan Goldberg, director of membership and marketing with the American Nuclear Society, about the unique Now Normal for scientific societies.
In your own words, what does ANS do?
The American Nuclear Society is the premier association for students and professionals in the nuclear scientific community. We want to see nuclear embraced as a technology for improving people's lives and preserving the planet. We provide forums for sharing information and knowledge within the community. In addition, we increase awareness of the benefits of nuclear technologies through K-12 education programs as well as through our public advocacy.
How does marketing help ANS achieve its mission?
Our external marketing function grows our members' collective voice, increasing their impact on society. In addition, internal marketing among our members and the nuclear science community strengthens bonds and connections.
What is the secret to getting internal buy-in and support for the marketing function and initiatives?
While our board of directors and membership are very supportive of marketing initiatives, we maintain that support by working closely with volunteer leadership to obtain directional inputs. By working with volunteer leadership, we also ensure messaging is consistent and avoid doing any disservice to the technology with misinformation. We also try to build support by meeting and exceeding marketing metrics, such as growth in membership and member engagement. Additionally, we track website and email analytics, touchpoints in our education program outreach, as well as meeting attendance and revenue numbers.
What marketing functions are most valued by leadership and why?
Marketing the benefits of nuclear science and technology are most valued. Members want us to promote what they do for the betterment of society beyond the ANS community.
What is uniquely difficult about doing marketing for a scientific society?
We are challenged by misperceptions of the scientific nuclear community. Sometimes, members take for granted that people outside can understand the technology, its benefits and its safety measures. We often communicate very technical content that needs to be distilled down for the public to comprehend.
What do you find the most gratifying aspect of marketing for a scientific society?
Working for a passionate and dedicated community that really cares about what they do and their impact on society. Working with volunteers who go above and beyond to further their field.
Scientific societies are well-positioned to address public perceptions. What is the key to doing that effectively?
We have a very clear strategy for communicating what ANS does and what we are trying to achieve. The complexity of nuclear technology makes it challenging to create awareness about what our members do. We focus more on the positive attributes, rather than getting defensive about the perceived negative aspects. When talking about why nuclear society is a positive for society, we focus on the impact that nuclear has on people's health and other critical areas. As the representative of more than 10,000 nuclear scientists and engineers, we are very adamant that nuclear is a very safe technology but we do not dwell on perceived safety issues.
Policymakers can heavily influence perceptions about science and technology given their platforms and influence. What role should a scientific society play in influencing the policymaking influencers?
We believe it is important to educate policymakers on nuclear science and technology, clarify misperceptions, and open a dialogue. Conversations on the local level are as important as the national level. We engage with a proactive, ongoing communications approach and not just when specific initiatives of importance arise. We are the leader in the nuclear professional field, with a significant membership in academia conducting research, and that lends to strong credibility with policymakers.
How has the COVID-19 pandemic impacted the way scientific societies like yours does marketing, and what further impacts on marketing are you anticipating in 2021?
The pandemic presented us with an opportunity to accelerate some changes that were already in progress. We enhanced our online content to reach a broader audience, increased the number of webinars and moved our annual conference online. While we attracted about 800 people to our annual in-person meeting last year, we hosted 2,300 in this year's virtual format.
How do you create and disseminate content that effectively builds audience for ANS?
In our experience, broader topics perform better than specific topics. The best content is both informative and entertaining. For example, webinars featuring past, current and future initiatives at U.S. national nuclear labs or developments in advanced nuclear reactors attract strong viewership. As we are seeing a lot of webinar and Zoom fatigue, topics that are easy to listen to in the background are best. For many of our members, nuclear science is their hobby as much as their profession. Like a good documentary, our audiences want a broadly appealing subject that offers a break from their day-to-day experiences. In terms of content distribution, we have found success building audiences through co-branded webinars and reciprocal marketing with like-minded organizations, for example, North American Young Generation in Nuclear (NAYGN) and U.S. Women in Nuclear (U.S. WIN).
What can an outside marketing partner bring to a scientific society and what do you do you look for in a partner?
We look for a partner that brings an outside perspective to help determine strategy. Staff at societies wear many different hats in one organization. Partners that offer a specialization and experience with many different organizations offer the ideal complement.
On a personal note, why have you chosen a career in marketing for a scientific society and why do you stay in it?
I truly enjoy working with ANS members who are passionate about what they do, especially those who do a lot to advance their field and improve our society. The scientific nuclear community will have a profound impact on our society and environment. Building a positive reciprocal working relationship with the many bright members of our staff and the larger ANS community keeps me engaged and grateful for the opportunity.
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Melissa Etheridge coming to the Fraze, shares lessons learned during COVID-19 lockdown
Credit: CONTRIBUTED PHOTO
By Don Thrasher
The Grammy Award winner performs Saturday.
Unlike the artists that turned inward during the early, uncertain days of the COVID-19 lockdowns, Melissa Etheridge found new ways to reach her fans. The Grammy Award winner, who performs at Fraze Pavilion in Kettering on Saturday, July 30, launched EtheridgeTV, where she began sharing video of live performances from the newly-constructed studio in her garage.
Etheridge, who released her self-titled debut in 1988, is on the road in support of her 16th studio album, "One Way Out" (2021). As her local concert date approached, she answered questions by phone about life during the pandemic, songwriting and more.
Question: What did you learn from launching EtheridgeTV?
Answer: That was just so I wouldn't go crazy during the pandemic but I learned that you never stopped learning. When I figured out it was going to be a serious, long term thing, I built the studio in my garage. Then, I learned about the Internet. I learned about streaming and cameras and sound and lights. I was my own guitar tech again. I hadn't done that in a long time. The necessity taught me so much. I'm a much better musician because of it. I just learned so much in that time.
Q: What was the biggest benefit of live streaming from home?
A: As lockdown went on and I was doing my shows from my garage, I ended up performing every single song I ever recorded. That was digging some songs up I haven't played in years. There were newer songs I did that I just let go and I don't really know why. It put me back in touch with a lot of my music so now I'm digging deeper into my catalog. I made my band learn 150 songs so we have it where every single night is a very different show.
ExploreDAYTON EATS: Summer Restaurant Week starts Sunday; special menu honors former DDN food editor Ann Heller
Q: In addition to original material, you also performed cover songs on some live streams. What did you like best about that?
A: Playing the cover songs was one of my favorite things. I used to do that. For many years, at the first part of my career, I played in cover bands and I played solo. I played in bars and it was other people's material. I got to play songs that I loved but I was also learning about songwriting. Getting back to that was so much fun. I was like, 'Oh, right, I remember why I love Bruce Springsteen.' I got to perform a lot of his songs. That was a real blast and I learned so much."
Q: You've discussed the long gestation period of "One Way Out," how you wrote the songs in the 1980s, tracked them in 2013 and released the album last year. What did you take from that experience that is applicable to songwriting?
A: Probably the big thing I learned was I don't need to be so hard on myself. Most creators are really hard on themselves. We criticize a lot and we think most of what we do is junk so I just let some of those songs go. When I found them again, I was like, 'Wait a minute, what was I thinking?' Now that I'm out of that situation and I'm older and feeling better about myself, I can recognize these are good tunes. I need to be a little more delicate with myself, recognize when it's a good piece of work and give it more of an opportunity. The song may not make it in the end but I need to, at least, let myself grow and experience it.
Q: Etheridge Island, your musical getaway in Mexico, is Aug. 30 through Sept. 5. You have a big lineup with Elle King, Ani DiFranco, Larkin Poe and others. How involved are you with selecting the acts on the bill?
A: That's all me. When I agreed to do this, I told them I really wanted to oversee everything. I wanted to make it a place where people can come and hear really good live music. It's music that is going to move them. Most of the people that like my music really like meaningful music and artists that write and sing and play. I give most of the opportunities to women. People don't understand the amount of talent out there and some of them just need to be in front of people. This is a place to give a lot of women a chance to perform but everyone is invited. Men, women and everything in between are totally invited to Etheridge Island. I'm ready for it.
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Q: In addition to Etheridge Island and the subscription streaming service, you have diversified beyond music with your foundation. How's that work going?
A: I have been so happy with what the Etheridge Foundation has done. That came out of my son passing away from opioid addiction. I had a desire to really understand this more and help other people. So many families are going through this and it's hell to have a family member who is struggling. It's really hard to see their life going away. The foundation is raising money for medical research into alternatives like plant medicines that are proven to get people off of opioid addiction, methadone and heroin. These are medicines that can help with pain and be an alternative to opioids.
Q: What's next creatively?
A: I'm in my writing phase for another album. I'm hunting and gathering and being inspired but I've got some other things in mind. There's a thing brewing at the end of the year that I'm hoping turns into sort of 'Melissa on Broadway.' I'm also working on a memoir of the last 25 years of my life. My first book was the first 25 years and so much has happened. I've grown so much. I'm a different person so I want to write something that might inspire folks. There's a lot of creativity happening but I'm not pushing one thing too hard. I'm letting it come about as it does.
Contact this contributing writer at 937-287-6139 or e-mail at donthrasher100@gmail.com.
Who: Melissa Etheridge with Cecilia Castleman
Where: Fraze Pavilion, 695 Lincoln Park Blvd., Kettering
When: 8 p.m. Saturday, July 30
Cost: $20 Tix pack, $30 lawn & terrace, $40 orchestra, $45 plaza in advance, $25 Tix pack, $35 lawn & terrace, $45 orchestra, $50 plaza day of show
More info: 937-296-3300 or www.fraze.com
Artist info: www.melissaetheridge.com
Don Thrasher
Don Thrasher, a native of Gadsden, Alabama, has been a weekly contributor for the Dayton Daily News since 2003. He covers national and international music, performance and art. Don is a versatile writer, who has interviewed ballet dancers, professional athletes, authors, comedians, filmmakers, rodeo clowns and other disparate figures.


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Q: Justifying O-estimate of Poisson's Kernel as $x$ goes to the boundary This question stems from a step of a proof in this paper: http://www.cmap.polytechnique.fr/~ammari/papers/04AKS.pdf
The question itself I didn't feel to be "research level" as it is only an asymptotic estimate, so I'm posting this here.
The step occurs near the bottom of page 8:
"Since $\displaystyle-\frac{1}{4\pi}\frac{t}{(|x-x^\prime |^2+t^2)^{3/2}}$ is the Poisson kernel for the half space and $f(\cdot,h\zeta^\prime)$ has compact support in $\Omega$,
$$-\frac{1}{4\pi}\int_\Omega \frac{h^2 (\zeta-\zeta^\prime)}{(|x-x^\prime|^2 + h^2|\zeta-\zeta^\prime |^2 )^{3/2}} f(x^\prime , h\zeta^\prime) \,dx^\prime =-\frac{h}{2} f(x,0) \frac{\zeta - \zeta^\prime}{ |\zeta-\zeta^\prime |} +O(h^2)\text{"}$$
$x,x^\prime \in \Omega\subset\mathbb{R}^2$ where $\zeta,\zeta^\prime \in \mathbb{R}$. So as a big picture, we are looking at functions of $(x,h\zeta)$ and $(x^\prime , h\zeta^\prime)$ which are in $\mathbb R^3$. As $h$ goes to zero, the third component of both go to the boundary (i.e. 0). The Poisson theorem about $x$ going to the boundary that I mention below requires the third component of both to equal 0.
In Evans' PDE book chapter 2.2 theorem 14, we have that if $\zeta^\prime=0$ and (ignoring one of the $h$ in front) then we would have
$$-\frac{1}{4\pi}\int_\Omega \frac{h (\zeta-\zeta^\prime)}{(|x-x^\prime|^2  + h^2|\zeta-\zeta^\prime |^2 )^{3/2}} f(x^\prime , h\zeta^\prime) \,dx^\prime =-f(x,0)$$
as $h\to 0$. I'm confused on (a) how they get the $O$ estimate and (b) how the fraction
$\frac{\zeta - \zeta^\prime}{ |\zeta-\zeta^\prime |}$ pops out. I think it has to do with $\zeta^\prime$ possibly not being on $\partial\mathbb{R}^{n}_+$ which is what is required in Evan's theorem, but I'm stuck there.
For (a): Let $\displaystyle u(x)= \frac{2 x_n}{n\alpha(n)}\int_{\partial\mathbb{R}^n_+}\frac{g(y)}{|x-y|^n}\, dy$ with $x\in\mathbb{R}^n_+$ and $y\in\partial\mathbb{R}^n_+$.
For convenience we write:
$u(x)=\int_{\partial\mathbb{R}^n_+}K(x,y)g(y)\, dy$ with $K(x,y)$ defined accordingly.
Following the steps in Evan's proof:
Let $\epsilon>0$ be given and $\delta>0$ such that
$|g(y)-g(x_0)|<\epsilon$ if $|y-x_0|<\delta$ and $y\in\partial\mathbb{R}^n_+$.
 we can find that for $x_0$ on the boundary, if $|x-x_0|<\delta/2$
So as $x\to x_0\in\partial\mathbb{R}^n_+$,
$$|u(x)-g(x_0)|=\left |\int_{\partial\mathbb{R}^n_+}K(x,y)[g(y)-g(x_0)]\, dy \right|
\leq \int_{\partial\mathbb{R}^n_+ \cap B(x_0,\delta)}K(x,y)|g(y)-g(x_0)|\, dy
+\int_{\partial\mathbb{R}^n_+ \setminus B(x_0,\delta)}K(x,y)|g(y)-g(x_0)|\, dy$$
$$=I+J$$
In the book it is shown $I\leq\epsilon$ and that $J=O(x_n)$. So what I'm wondering is this: does this mean I can write:
$$u(x) = g(x_0) + O(x_n)$$ as $x_n \to 0$?

A: I admire the book by Evans, but his notation for half-space Poisson kernel does not align with the way I think of it. Loosely following Wikipedia, I write
the Poisson kernel for half-space $\mathbb R^3_+$  as
$$
P_t(x,x')=\frac{t}{2\pi}\frac{1}{(|x-x'|^2+t^2)^{3/2}},\qquad x,x'\in\mathbb R, \ t>0 \tag{I}
$$
This kernel has the property that $\int_{\mathbb R^2} P_t(x-x')g(x')\,dx'$ is the value at $(x,t)\in\mathbb R^3_+$ of the harmonic extension of $g$ to the half-space. The harmonic extension of a continuous functions is continuous up to the boundary, which means we get the original function $g$ back as $t\to 0$.
Comparing (I) with the integral (with one less $h$, as in your post):
$$-\frac{1}{4\pi}\int_\Omega \frac{h (\zeta-\zeta^\prime)}{(|x-x^\prime|^2 + h^2|\zeta-\zeta^\prime |^2 )^{3/2}} f(x^\prime , h\zeta^\prime) \,dx^\prime \tag{II}$$
we decide to let $t=h|\zeta-\zeta^\prime |$. We become aware at this point that the numerator in (II) is $\pm t$, depending on the sign of $\zeta-\zeta'$. So, rewrite the integral as
$$-\frac{1}{4\pi}\frac{\zeta-\zeta^\prime}{|\zeta-\zeta^\prime|}\int_\Omega \frac{h |\zeta-\zeta^\prime|}{(|x-x^\prime|^2 + h^2|\zeta-\zeta^\prime |^2 )^{3/2}} f(x^\prime , h\zeta^\prime) \,dx^\prime \\ = -\frac{1}{2}\frac{\zeta-\zeta^\prime}{|\zeta-\zeta^\prime|}\int_\Omega P_t(x,x') f(x^\prime , h\zeta^\prime) \,dx^\prime $$
Some people, including myself, would rather write $\mathrm{sign}\,(\zeta-\zeta')$ instead of the fraction.
As $h\to 0$, two things happen. First, the function whose harmonic extension we consider changes: $f(\cdot, h\zeta')\to f(\cdot, 0)$ in some way (I hope uniformly, but did not check). Second, we approach the boundary where the Poisson integral recovers the original function. This,
$$-\frac12\frac{\zeta-\zeta^\prime}{|\zeta-\zeta^\prime|} f(x,0)\tag{III}$$  is exactly  what we should expect in the limit.
The authors claim that the difference between (II) and (III) is bounded by $h\|f\|_{C^1}$. I don't quite believe them, because harmonic extension of a $C^1$ function is not necessarily Lipschitz. Anything a little better than $C^1$, such as $C^{1,\alpha}$, would be enough.

redpajama_set_name: RedPajamaStackExchange


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Premier League transfer news and rumours
Southampton Transfer News & Rumours
Southampton's Sam Gallagher targeted by Sunderland and Aston Villa for summer transfer
Despite playing for struggling Blackburn Rovers on loan, Saints striker Sam Gallagher has impressed during his time at Ewood Park
By Jake Hughes Apr 22, 2017, 6:30pm BST
Share All sharing options for: Southampton's Sam Gallagher targeted by Sunderland and Aston Villa for summer transfer
Photo by Richard Martin-Roberts/Getty Images
Southampton striker Sam Gallagher has courted the interest of the Premier League's Sunderland (for the time being, anyway) as well as Aston Villa, Wolves and Cardiff of the Championship according to the Daily Mail.
Gallagher, 21, has impressed during his time at Ewood Park, despite Blackburn Rovers struggling to survive a relegation scrap which could see them drop into League One.
The England U20 man has netted 12 goals for Blackburn in the Championship this season.
One of those goals came against Bristol City in a game key to Blackburn's survival chances—a match presided over by Sunderland boss David Moyes.
This could be a case of the Daily Mail putting two and two together and getting five, but it is certainly viable that Championship clubs will look to Gallagher as a young, attractive striking option next season.


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São Gabriel Futebol Clube, commonly known as São Gabriel, was a Brazilian football club based in São Gabriel, Rio Grande do Sul state. They competed in the Copa do Brasil once.

History
The club was founded in 2000 after two local clubs, named Sociedade Esportiva e Recreativa São Gabriel and Grêmio Esportivo Gabrielense, merged. São Gabriel won the Torneio Cidade de São Gabriel in 2004 and in 2006. The club competed in the Copa do Brasil in 2004, when they were eliminated in the Second Round by Palmeiras, after eliminating Figueirense in the First Round.

Achievements

 Torneio Cidade de São Gabriel:
 Winners (2): 2004, 2006

Stadium
São Gabriel Futebol Clube play their home games at Estádio Sílvio de Faria Correia. The stadium has a maximum capacity of 8,500 people.

References

Association football clubs established in 2000
Football clubs in Rio Grande do Sul
2000 establishments in Brazil


The molecular biology and genetics curriculum is an integrated interdisciplinary program of study that builds on the graduate programs of participating departments in the School of Medicine. The doctoral curriculum is designed to be an intensive course of study that will provide students with the skills required to advance to research-oriented careers in biotechnology.
The curriculum includes core, specialization and elective courses. Electives drawn from various departments allow individual specialization.
The structure of the program provides a framework for the progressive development of a mastery of the current state of the subject matter of bioscience, an ability to synthesize this information and apply this foundation to the identification of key areas of investigation and experimentation. The program relates this framework to the development of the ability to design, implement and interpret experimental approaches which address the questions identified.
In addition, the program will develop skills in the various means of communicating both the core of bioscience knowledge and the expression of experimental design, results and interpretation to a variety of potential audiences.
The program centers on a research project conducted under the guidance of a selected faculty mentor and culminates in the presentation and defense of a doctoral dissertation.
Participating faculty are associated not only with programs and departments within the School of Medicine, but also with the VCU Massey Cancer Center, the Philips Institute for Oral and Craniofacial Molecular Biology (School of Dentistry), the Institute of Structural Biology and Drug Discovery (School of Pharmacy) and the VCU Center for the Study of Biological Complexity (VCU Life Sciences).
The interdisciplinary approach to the solution of biological problems provided by this training is designed to develop in students the flexibility and problem-solving skills necessary for success in a variety of scientific career opportunities or further graduate study.
Problem-solving skills: Degree candidates will demonstrate an appropriate level of skill in the identification and selection of meaningful problems to be addressed in bioscience research, including the ability to defend said identifications and to design and develop appropriate methods to solve said problems as measured by rubric.
General knowledge of sciences: Degree candidates will demonstrate an appropriate level of knowledge of the current elements of the biosciences as related to disciplinary specialization and a more detailed understanding of the individual area of scholarship, including an appropriate familiarity with the research literature and the ability to evaluate and critique publications, as measured by rubric.
Communication skills: Degree candidates will demonstrate that an appropriate level of oral, written and visual communication skills have been acquired.
Oral communication skills: Degree candidates will demonstrate the achievement of an appropriate level of oral communication skills with respect to the content, organization, logical flow, presentation and appropriate use of language incorporating the use of visual aids, as measured by rubric.
Written communication skills: Degree candidates will demonstrate the achievement of an appropriate level of written communication skill with respect to grammar, syntax, spelling and use of vocabulary to effectively present information including the use of figures, tables and citations as measured by rubric.
Experimental design: Degree candidates will demonstrate the achievement of an appropriate level of competence in the ability to appraise, modify and/or create, and implement experimental protocols and to design and develop experiments as measured by rubric.
The School of Medicine provides policies applicable to all programs administratively housed in the school. Information on doctoral programs is available elsewhere in this chapter of the Graduate Bulletin.
Applications for the program must be submitted to the Biomedical Sciences Doctoral Portal – School of Medicine – Ph.D. selected from the drop-down menu of programs on the VCU online application form.
In addition to the general VCU Graduate School graduation requirements, students must complete a minimum of 86 graduate credit hours.
During the first year, students pursue research rotations, take formal course work and become familiar with current research topics through seminars, discussion groups and lectures by distinguished scientists. By the end of the first year, students choose a faculty adviser and begin dissertation research. Prior to the beginning of the third year of study, students should successfully pass written and oral candidacy examinations. Following completion of the research project and defense of the doctoral dissertation, graduates are equipped to participate in a broad range of current biomedical research areas.
Students may complete the five-credit module sequence BIOC 530, BIOC 531, BIOC 532 and BIOC 533 in place of BIOC 503.
The minimum total of graduate credit hours required for this degree is 86.
Many students often end up taking more than the minimum number of hours required for a degree program. The total number of hours may vary depending upon the program, nature of research being conducted by a study or in the enrollment or funding status of the student. Students should refer to their program websites and talk with their graduate program directors or advisers for information about typical plans of study and registration requirements.


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