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"Penny-Approved": Two alumni, two decades apart, share a mentor
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Stages: July 2014
Click on the title to go directly to the story
Remarks from the Chair
June Gaeke: Words of praise from friends and students
Sean Kelley takes improv to new media
Woah, what a year! Thinking back on it, I have such great memories! We welcomed so many guests to our department that was just insanity! Our collaborations with the Massaschusetts Dance Festival and Five-College Opera were wonderfully rich and successful. And these were just the two biggest examples: we had guest instructors, artists, scholars, technicians, you name it. We had ZFX help us FLY people in the Rand for Peter Pan! (Our Dean was one of them!! To see her fly click here.)
Two playwrights, Liz Duffy Adams and Tira Palmquist, joined us for the inaugural year of a new Play Lab, giving us the benefit of their artistic talents as we launched a new festival we hope has legs to stand on for many years.
However, it wasn't just the guests who helped make our year special. I would have nothing to write about without the impressive home-team talent that makes this department what it is. From the bottom of my heart, I am thankful for all the students, staff and faculty. What a talented group of artists and human beings. I am so proud of their accomplishments.
As we have done for several years now, we compiled a Year In Review that hits the year's highlights. It's sent to UMass officials and made available in the department. If you'd like to read it, you can download this year's edition as a PDF by clicking here.
We flipped the calendar to July (which is the end of our fiscal year), and are happy to note that our gift fund has grown to a sizable chunk and we have several dozen of you who have purchased seats as part of our Mark Your Spot campaign. We're trying to keep that momentum going as we work toward a fully refurbished lobby, so if you have an impulse to donate, please give in to it!
If you do buy a seat and you're in the area, let us know. We have a delightful season planned and would love to have you try out your Rand seat by joining us for a performance. Our five shows are The Merchant of Venice, A New Brain, Cat on a Hot Tin Roof, the new Play Lab, and Dead Man's Cell Phone. Our mainstage page has details.
Heck, even if you didn't cough up the money for a seat, you're welcome back at any time!
The end of this school year does mark an official end to June Gaeke's time with the department, and even as we look forward, we are taking that moment to look back and appreciate those who shaped our past, and June in particular. June was the last of a generation of theater makers in our department who cleared the path for us, and we are thankful to her for her work. Please read on below for some words of tribute and thanks from former students and colleagues.
I hope you have a wonderful summer, and I hope to hear from you soon!
Penny (with Casey and Scout)
June Gaeke: Words of praise
Upon June's retirement from the Department of Theater, we invited people to send us their thoughts about her work and time in the department. Below are a few of those contributions.
From Andy Wittkamper '99G: A tribute to June Gaeke, on the occasion of her retirement...
In the fall of 2001, I was a couple of years graduated from the UMass Department of Theater and had been living and working in New York. The job was in the costume field, but was low paying, and with my shiny new MFA I thought I should be doing better. Then a fortuitous call came that changed my life forever. It was from June Gaeke.
June told me that she was going on sabbatical, and invited me to teach her classes for the spring semester. I hadn't really thought of myself as a teacher, but decided to accept the challenge. I had just had a bad experience assisting on a show, was hopelessly sick of Long Island, and remembered Amherst with great fondness—so the decision was easy. In short order, I came home to UMass and taught June's classes. It was an exciting time. I lived part-time on Long Island and part-time in Amherst, shuttling back and forth every week. Although I was still new to teaching and made a lot of mistakes, I loved it. I came back to New York at the end of the semester with a new sense of purpose. I sought and secured a faculty position at a local community college with a very good theater program, and never looked back. June provided me with this life-altering opportunity, helping me to create a new future for myself.
Reflecting upon my graduate years with June, I am immediately reminded of how young I was. Not just in age. I was, after all, twenty-six at the time, but young in experience, attitude, and demeanor. Younger than my years. I'll just chalk that up to coming from the Midwest as I usually do and leave it at that.
June knew where I was coming from, though. And I don't mean geographically. I was ambitious and impatient, a poor combination of behavioral traits no matter how many ways you try to reconcile them. I wanted to prove myself in the quickest way possible. June wasn't phased by this. Instead, she was confident and constant, guiding me along the way with her quiet dignity, understated manner, and steadfastness. She gave me the most wonderful design opportunities in The Tempest, Marisol, Oh Dad..., and Naga-Mandala, experiences I still hold very close to my heart. I'm sure I wasn't always the easiest person to get along with, but despite my shortcomings June always believed in me and remained invested. She was persistent, but never unyielding. She knew precisely what I needed--a good bit of freedom and a strong, guiding hand. These are the qualities I remember and admire most about June. I could not have been better cared for. I was lucky to have June as my mentor. Very, very, lucky.
I am reminded of something June once told me. I was grumbling about how I never had any time, could not keep up, could not wait for this whole "grad school thing" to end (blah blah blah) so I could "start my life." She calmly advised me to consider the following: there would never be another time like this, a time when all things conspired toward my development as a person and as a theater artist. The time spent, the tasks undertaken, the lessons learned, the outcomes achieved, were worth holding on to. In other words, live in the moment, and recognize how good you have it. I didn't fully accept what she said at the time (remember: ambitious and impatient), but embraced my grad school experience as she advised and was never sorry that I did.
Today, I find that the passage of time has enabled me to better accept what June told me so many years ago. Like June, I am also a costume designer and teacher. I chair and sit on a number of college committees. I advise students, formally and informally. I attend and present at conferences. I own a house, and have all the requisite responsibilities that come with home ownership. And now, truly, I have no time. I look back on the whole "grad school thing" as some of the best years of my life, and realize she was right. June was always right.
June Gaeke recently retired after forty-one remarkable years of service to the UMass Department of Theater. (It fills me with a great deal of awe, and just a little humor, to know that June began teaching at UMass the same year I was born.) As a founding member of the department, June was an agent of its creation and endurance, a brilliant and prolific artist, and a mentor of uncommon influence. Her legacy of pure devotion resounds in me and in the thousands of students whom she has touched over the years. I am proud to have followed in her footsteps as an educator and mentor, and prouder still to confess that she speaks through me to my students--most especially when they dare to wish aloud that their lives would start more quickly.
Wishing you the best and most joyous of new adventures in your retirement, June!
Andrew L. Wittkamper, '99G
Professor of Theater
Suffolk County Community College
Selden, NY 11784
From Kenneth Chu: A video message
Kenneth Chu sent a message of thanks to June that we played at her retirement celebration.
From Calvin MacLean
This has been an eventful year for those of us who were a part of the UMass Theatre Department during the "early years." So much has happened, and now June is retiring!
… June went on a long sabbatical during my final year in the directing program, and Ron Keller and I rented her home during that year. I remember feeling both thrilled and terrified with that responsibility. I have always hoped that we did not let June down. While I never actually worked with June as a director, I remember her design class vividly and her exquisite taste and exciting imagination. Please extend to her my congratulations, my appreciation, and my gratitude for the wonderful experience during my time at UMass. It was a very fertile and exciting time.
From Gail Fresia
Gail read the following piece at June's retirement celebration.
Congratulations on your well-deserved retirement. We met when the Theater Department was just moving into the brand new Fine Arts Center. I was hired as the first Costume Shop Manager. Fresh out of Fashion School, I came to work with a solid background in pattern drafting and sewing techniques. What I did not know was that I was about to embark on 12 more years of continuous education under June's direction.
It was an exciting time, the department was growing and we were encouraged to experiment. June showed by example what it takes to be a good designer. Show after show was filled with strong characters clothed in the perfect costumes. Her renderings were always surprising and never the same. She continually raised the bar and the shop always tried to reach it.
June is a brilliant designer. Every line she puts on paper is meaningful and has a purpose. Her sense of rhythm and color breathe life and depth into the characters. Her designs are beautiful and elegant. I loved the days when she came into the shop with a new batch of designs and we talked through each character and decided what we would make, how we would make it, and worry about how little time we had.
With each show I would learn something new. June was always open and generous with her knowledge and she always challenged me to try new techniques, both historical and modern, to work with new fabrics, and to manage my time to meet the deadlines. I also learned about theater and all its complexities because this was a whole new world for me.
Ultimately, I am not only June's friend, I am one of her many successful students. I have always considered myself a technician and I am very proud of my work. But somehow, I also became a designer and I know it is through June's leadership that I was able to work in both jobs.
So June, as a student, I cannot thank you enough for all I learned while working with you. And as a friend, I hope I can see more of you now that you are retired. But, if I know you, you will be busier than ever. Enjoy every minute of it!
I spoke to Jeffrey Fiala and asked if he would like to add anything. He wanted to tell you that you were always his first choice for resident designer here at UMass and he enjoyed all the years he designed alongside you. He has been retired for 6 years now and said that the best thing is to realize that any deadlines are the ones you choose. You will be busier than ever now doing the things you love to do and want to do. Enjoy this new phase of your life. And if you ever make it to Las Vegas, give him a call.
By now, podcasts are a familiar concept to most people: a digital episodic series, most commonly of audio files, that can be downloaded and listened to on computers, tablets, phones, etc. This medium is fertile creative ground, and it's where Sean Kelley '04 has found a way to make an artistic mark. Kelley, who moved to Chicago upon graduation to immerse himself in the city's vaunted improv theater scene, parlayed his interest and connections in that arena into a role with Improvised Star Trek, a bi-weekly comedy podcast that riffs on the famous tropes and plot points of the various Gene Roddenberry sci-fi series.
Trekking online
The show, now in its fourth year and with 90 episodes and counting, began at iO Chicago (formerly improv Olympics) as a live show some years back.
"One of the things I really love about our show is the title is also the mission statement," Kelley said. "But it's not a gimmicky show. …The whole show is based around characters and relationships with each other and the flaws that they all have as people. We kind of looked at Star Trek where, like, everybody's super-perfect, everybody on the Enterprise was best in their class, best of Star Fleet, the best at what they do, and we were like, 'Well there have got to be people in the future who are just regular flawed or even awful people. Wouldn't it be interesting to see those people interact?'"
If the show title didn't clue listeners in, the show's website would do the honors. Kelley, for example, plays Lt Cdr Watson, the moon-born Chief Science Officer aboard the USS Sisyphus. His bio lists among his interests: "Science, working hard, sticking his nose up in the air, chinchillas, cleanliness, secret Earthshine nips." Another character's bio reads, in part, "Zarlene is one-quarter Betazoid, so she can empathically tell if someone is hungry, provided that they are looking at food and salivating and saying out loud that they are hungry."
But don't think that the mockery is malicious. "I proudly identify with the words 'geek' and the word 'nerd' and I do definitely think we tapped into that," Kelley said. The show functions, he said, "as an homage as much as a parody."
Despite a promising set-up, after 10 months of live performances, Kelley and his cohorts were told they weren't selling enough tickets and that the show was on the chopping block.
They were dismayed and not ready to let go quite yet. "We loved doing the show and we felt like we were just starting to get some traction," he said. "Eventually somebody in the cast was just like, 'Why don't we just do a podcast?'"
The group was quickly on board but getting up and running took some work, since their familiarity with the format was primarily as listeners. Kelley said the group workshopped the show for months as a podcast, because the dynamic is so different than performing for an audience. Trial and error helped them figure out the best equipment to use, taught them that their podcasts needed to be more concise than the live shows, and helped them figure out the pattern of their podcast work.
Just as improv shows rely on audience input, so does Improvised Star Trek. Kelley uses the show's Facebook and Twitter accounts on the day before recording to solicit suggestions for episode titles, often along a general theme.
The recordings usually happen on a Sunday in a cast member's living room. Kelley said they don't map out the episodes beforehand, although they do occasionally have discussions before hitting 'record' — the day they taped "A Shuttlecraft Named Desire," for example, they discussed Tennessee Williams and his work to make sure they were all au courant on the tropes and ideas they'd be working with. If a classic Trek episode is being spoofed, they'll likewise review the important plot points as part of their preparation.
Each recording day, they'll do two episodes — Kelley estimates they record about three times as much material as will make it into the final cut. The pieces are edited down, sound effects and music are layered in over the dialogue, and where it makes sense, voices may be processed in keeping with the actors' roles — say, with a robot-like or aging effect.
Marketing new media
Four years in, the groups has nearly 90 episodes under its belt, and has a sizable following of listeners, thanks in part to a praiseworthy post from the Onion's AV Club (Click here) and tireless work by the cast members, especially Kelley, to get the word out.
"When you do theater in a new media format, you can reach so many more people!" Kelley said. Whereas a stage show nets 140 people on its best night, even a smaller podcast like this one can find 1000 listeners per episode, he noted.
His work with Improvised Star Trek is not Kelley's only source of income — by day, he writes for HY Connect, and his blog on marketing and social media can be found online: http://lonelybrand.com/blog/author/skelley/ (Although the subject matter is unrelated, Kelley credited the writing and especially the dramaturgy work he did at UMass with giving him the skills he now uses in this facet of his career.)
Unsurprisingly, he is enthusiastic about arts marketing.
"I don't think that artists should compromise their artistic vision, EVER, but I do think we as a collective class of people need to do a better job of creating things that are accessible and understandable so that people will come and see our shows," Kelley said. "A lot of theater people think that marketing is a dirty word. 'Oh like, marketing, that's the DEVIL. You think about ways to sell things. That's really gross; I don't want to be involved in that!' OK, well, when only 10 people show up to opening night of your play…"
Kelley's set himself a mission to help his podcast gain new audiences. He spends a lot of time on social media spreading the word about the podcast, and the group has gone back to doing a monthly stage show, which now serves as a promotional tool to help popularize the podcast. The group's also been part of fan conventions.
Popular as podcasts have grown to be, people are still figuring out how to use the medium — and how to listen to it and find what they like. The most common and popular are interview-format shows, but there's a small but growing number of podcast that are putting a digital-age spin on the old radio play format.
"There are a million Nerdists and only 5 Night Vales," Kelley said, referring in turn to the popular Chris Hardwick interview show that focuses on geeky topics like science, sci-fi and film; and Welcome to Night Vale, the Stephen-King-meets-Lake-Woebegone fictional radio show. Unsurprisingly, Kelley is most interested in the latter, citing The Thrilling Adventure Hour as another of his favorites in the genre.
"You close your eyes, and your imagination is the canvas," he said.
The journey here
This both is and isn't where he thought he'd be when he set out to be a theater major.
"I was really dead-set on, you know, I'm going to be a serious actor," said Kelley. "I wanted to be an actor's actor."
Only a few weeks into his first semester, however, he auditioned for Mission Improvable. He ended up in very few shows in the department, he said, because he became so involved with the UMass improv scene.
As his friends started to graduate, they started moving to Chicago, he made plans to join them.
"I am NOT going to be left behind!" he vowed. He estimated that a group of about 40 UMass alumni that he knows of are in the city. Not all of them are still in theater, but many of them were part of the city's improv scene at some point. A number were part of iO Chicago, Kelley's erstwhile artistic home and a farm team for places like Saturday Night Live and the Daily Show.
"UMass has a real resource in those improv groups that are independently-run and operated on campus. They have produced a lot of very successful performers, you know, in New York, LA, and Chicago," Kelley said. "I always find myself wishing that there had been more institutional support for them… just because so many of the people who are leaving that school and becoming successful did some kind of time there."
"There are a few moments you can point to and say, that's exactly when my life changed forever," he said. "It changed the creative direction of what I was doing and it brought a lot of stuff into focus about what I wanted to do with my life. I met a lot of my best friends, people I'm still friends with."
Even his marriage can be credited to the shows — Kelley's wife Chelsea (Ives) Kelley '05 was a fellow theater major and frequent audience member.
With 10 years in improv, podcasting, and writing under his belt, what's Kelley's advice to students who are at UMass now?
"Aim big, do your own thing, and don't be afraid to fail a lot — because that's how you get better! When I first left UMass I think that I was a little bit safe, and I wish that I had taken more chances as a performer and as an artistic person in general."
"Also, don't drink too much!" he added. "Art before leisure!"
We thought we'd start the updates for this issue with a look at what our faculty members have been up to. As you will read, they are busy, collaborating artistically and academically with theater artists and scholars, and their projects have taken them around the country and the world.
Sound Design Lecturer Amy Altadonna designed sound for Take Me Back at Walkerspace in Soho. Her work got a positive mention in the New York Times.
New faculty member Judyie Al-Bilali was an actor in our New Play Lab's Variations of F***ed and directed a staged reading for graduate student Adewunmi Oke's thesis, trey athony's Da Kink In My Hair. She will be traveling to South Africa for the first year of the Grahamstown Festival Course's inaugural year.
The just-published African American Connecticut Explored (Wesleyan University Press) features an essay about actress Gwen Reed by Assistant Professor Christopher Baker. Reed, born in 1912, grew up working the tobacco fields in Connecticut. Her love of Shakespeare drew her to acting and she eventually was part of the Federal Theater Project's Negro Unit in Hartford, one of the few cities that had both black and white theater companies. For twenty years she earned her living as a spokesperson for Quaker Oats and impersonated Aunt Jemima at store openings and civic events. Her later career included roles at Hartford Stage and as a well-loved children's storyteller on local television. "Reed was part of theater history," says Baker, "from One Third of a Nation with the Federal Theater Project to productions at a young Hartford Stage at the beginning of the regional theater movement. She never made much money as a performer—she died in poverty—but she was tenacious. She stuck to the thing she loved." Baker was also was dramaturg/adaptor of Shakespeare's Two Gentlemen of Verona for Hartford Stage's Educational program, Breakdancing Shakespeare, and served as chair of the semi-final selection committee for the Horton Foote Prize for New American Plays. He directed a 10-minute opera about Paula Dean for Hartford Opera Theatre. The opera was written before the racial slurs controvery; instead, it was about Paula Deen being challenged on entry into heaven for the use of all that butter and sugar – but ultimately seducing the angels with her cooking! The opera is called Krispy Kremes and Butter Queens by Jennifer Jolley and Vynnie Meli.
Milan Dragicevich wrapped up his final year serving as Undergraduate Program Director and appeared in Shaw's witty exploration of romantic ideals, Arms and the Man, with the Northern New England Repertory Theatre Company.
Faculty member Harley Erdman wrote the libretto for Garden of Martyrs, a new opera that opened in September at Northampton's Academy of Music. Also involved in the production are current lecturers Margo Caddell and Sheila Siragusa. He completed an original screwball comedy, entitled Nobody's Girl, commissioned by the Northampton Academy of Music, to be produced there in October 2014, with Sheila Siragusa '03G directing, and to feature alums Keith Langsdale and Sam Rush '97G, and current student Mac Leslie. It's about the first woman manager of the Northampton Academy of Music and the controversy that ensued when she was appointed to this position in the early 1940s. Erdman co-edited an anthology about Spanish Golden Theater in adaptation, to be published by Tamesis Press (UK) late in 2014 or early in 2015. He is starting a new opera with composer Eric Sawyer, The Scarlet Professor, based on Barry Werth's biography of Newton Arvin, the Smith College professor whose career was ruined when he was arrested in 1960 for possessing softcore gay pornography. In November 2013, he presented at an international symposium on Spanish Golden Age theater in Bath, UK, focusing on our UMass production of Suitors. In November 2013, he spoke on a panel at the University of North Carolina/Charlotte for the production of alumna Sarah Brew's translation of Love the Doctor. The chair of the Theater Department there is alum James Vesce—also a former teacher of Sarah's!
Gina Kaufmann and Constance Congdon '82G received a TCG grant through Shakespeare & Company and the Colorado Shakespeare Festival to develop No Little Rebellion. Kaufmann was accepted into and attended the Society of Stage Directors and Choreographers "Symposium on Musical Theatre" in New York in April. She was also accepted into the 15th International Michael Chekhov Workshop and International Festival for which she received a $500 Flex Grant for Teaching/Faculty Development
Profs Megan Lewis and Judyie Al-Bilali are thrilled to be taking 14 students (from UMass, UC Irvine, SUNY Buffalo, Yale, York University in Canada, undergrads and grads) to the 40th anniversary National Arts Festival in Grahamstown, South Africa this summer. This brand new study abroad course will introduce students to the second largest theatre festival in the world (outside Edinburgh in Scotland) and the largest in the southern hemisphere. Students will learn how the performing arts can offer us a lens through which to examine questions of social justice, race, class and gender politics, history, language, memory, and the role of the arts in our global world.
Gilbert McCauley has received a Mellon Fellowship. Supported by the UMass Center for Public Policy and Administration, the Fellowship supports faculty members as they develop classes to connect the theoretical with real-world applications. In Gil's case, he plans to use the opportunity to create a course with a social justice perspective, in which students would work with inner-city teens to create theater pieces exploring "the roles social and cultural diversity, or lack thereof, and oppression have played in our own academic lives and in educational access more generally."
Performance faculty member Julie Nelson played Grace in Vigil, by Canadian playwright Morris Panych, at Portland Stage Company in Portland, Maine. This winter, renowned pianist Estela Olevsky invited her to perform as the narrator in collaboration with her and Charles Bestor on his composition, 13 Ways of Looking at a Blackbird. The piece is in response to and includes the Wallace Stevens poem of the same title. Finally, she performed in a workshop reading of No Little Rebellion, a play by Connie Congdon '82G. The reading included actors from the UMass Department of Theater and Shakespeare & Company.
Puppetry International featured scenic design faculty member Miguel Romero's article on the Parque de las Ciencias (Museum of Natural History and Technology, Granada, Spain) exhibit in honor of 30 years of brilliant work by the company Titeres Etcetera, Spain's Illustrious puppet company.
Guest lecturer Sheila Siragusa '03G assistant directed Harley Erdman's opera Garden of Martyrs in the fall. She is directing Sarah Treem's play The How and the Why at New Century in July, and Nobody's Girl in the fall for the grand reopening of the Academy of Music after its renovation.
Updates from students, friends and alumni
Jane Cox was nominated for a Tony Award for her work on Machinal this spring.
Recent grads Daniel Cuff, Thomas Kelsey, Annelise Nielsen, Julia Piker, Linda Tardiff, Peter Staley and Zach Smith formed The Deer Players to perform The Brink of Us in New York City this spring. They learned about Delaney Britt Brewer's play from guest UMass instructor Kara-Lynn Vaeni, who brought the playwright to UMass for a reading and directed this production as well.
Jessica Hegarty '11 emailed us to say she's currently the Assistant Box Office Manager for the Charles Playhouse, the theater made notable by Blue Man Group and Broadway in Boston.
Troy Hourie '97G went on a two month artist residency in a rural village in Portugal. He built four installations in an exhibit in a glass gallery in the town square. He has compiled images and an archival video for his Escape to Beira installation in Portugal at http://troyhourie.com/escape-to-beira-portugal
John McDermott '92 recently designed Hope and Gravity at Creede Repertory Theater in Colorado, Henry IV and V for Shakespeare in Clark Park, Philadelphia, Benefactors at Berkshire Theater Festival, Red at Dorset Theater Festival, Bright Light City at Los Angeles Theater Center, Broad Channel for UP Theater, A Fable at the Cherry Lane Theater, Ethel Sings at the Beckett Theater and 17 Orchard Point at Theater Row. He was just appointed Assistant Professor of Set Design at Adelphi University.
Justin Townsend '97 won an award for Sustained Excellence of Lighting Design at the Obies.
Brianna Sloane '14G let us know that on June 19 and 20th at The Emily Dickinson Homestead, she premiered an original work co-written with UMass student Emma Ayres entitled The Emily Dickinson Project, which was funded by a grant from the UMass Arts Council. The piece is a 9-woman promenade play moving the audience through variations of Dickinson's life and voice, while moving them through her home. All the spoken text was drawn from Emily Dickinson's personal letters. Brianna is also directing a production of Shakespeare's Comedy of Errors, part of Hampshire Shakespeare Company's 2014 Mainstage Season.
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export default class ExpressionStatement extends ASTNode {
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redpajama_set_name: RedPajamaGithub


text:
Jadanî (în ) este un sat în comuna Petro-Davîdivka din raionul Dîkanka, regiunea Poltava, Ucraina.

Demografie

Conform recensământului din 2001, majoritatea populației localității Jadanî era vorbitoare de ucraineană (%), existând în minoritate și vorbitori de rusă (%).

Note

Jadanî, Petro-Davîdivka, Dîkanka, Poltava
Jadanî, Petro-Davîdivka, Dîkanka, Poltava
Jadanî, Petro-Davîdivka, Dîkanka, Poltava

redpajama_set_name: RedPajamaWikipedia


NAIROBI, Kenya, Apr 10 – A lot of excitement followed the revelation that the sports sector in Kenya will no longer rely on direct Exchequer financing to participate in various sports activities across the world.
The big news came as an early Christmas gift to sportspeople, sports administrators and enthusiasts as it was delivered in the first week of December last year when the board was unveiled.
The composition of the oversight board was also received with open arms except for some murmurs over the inclusion of former Vice President Moody Awori.
The mutters were however addressed by none other than the President Uhuru Kenyatta when he expressed his confidence in the former Vice President in view of the recent squander of public resources by young professionals.
The open admission by the country's Commander-in-Chief that, lately, there has been wanton pilferage of state resources by well-placed and connected individuals in government did not come as a shocker to many.
In the recent past the world has been treated to scandal after another involving billions of shillings embezzled in dubious projects where money is paid with little or nothing to show for it.
In the sports sector, Kenyans are still watching in awe as a former Cabinet Secretary in Charge of Sports, later appointed Ambassador, together with other ministry officials fight it out in court in a bid to clear their names over the infamous Rio Olympics debacle where there are allegations of misuse of government funds.
The President's sentiments are worrying, just as they are the true reflection of the worrying levels of corruption in the country.
All is not lost though as we can ensure that the newly established Sports, Arts and Social Development Fund does not degenerate into another scandal given that it is home to billions of shillings accruing from betting taxes which were introduced in the Finance Bill 2018 amendments.
While functionally the role of Administrator to the fund has been vested with the Principal Secretary, State Department of Sport Development whose current holder is Amb. Peter Kaberia a lot of safeguards need to be put in place to ensure that the fund is foolproof.
If well managed, the fund could transform Kenya's sports sector in ways unimaginable and youthful talent that has hitherto been neglected would be developed at the grassroots.
Differently put, the fund is the magic wand that will inject a breath of fresh air into the country's sporting wing but if mismanaged like other projects it will easily turn out to be the poisoned chalice for the country's youthful multitude.
The most immediate and important factor for consideration by the Sports, Arts and Social Development Fund Oversight Board chaired by Athletics Kenya boss Lt. Gen (Rtd) Jackson Kiprono Tuwei is embarking on stakeholder engagement.
As we speak, football fans are salivating at the amounts Harambee Stars players will pocket in terms of allowances and other benefits as they head for the 2019 Africa Cup of Nations in Egypt in June.
At a minimum each player will pocket Sh750, 000 without even touching the ball and an additional share in the Sh250 000 set for the team in case of a win or draw.
This is part of the Sh219 million received by the federation from the government as part of the Sh244 million submitted in their budget.
According to the legal frameworks establishing the fund the Sports ministry will have 55% of the monies in their control.
The context shows that 35% of this money is meant for sports, 20% for Heritage and Arts while 40% is earmarked for health care and the remaining 5% to administration of the fund.
The onus is on the oversight board to engage all stakeholders in the sports sector on what their plan is with respect to growing the sector through prudent financial management.
The fund is meant to finance the development of sports and recreational facilities that include stadiums, gymnasiums, buildings and tracks.
It is also expected that it will enhance support and access to funding for sportspersons and sports organizations to enable their participation in sporting events and competitions.
Further, it is envisaged that it will enable facilitation for acquisition and provision of equipment to sports and leisure amenities.
Unlike other scandal-ridden government projects and programmes, the Sports, Arts and Social Development Fund Oversight Board must know that effective stakeholder engagement, supports the translation of stakeholder needs into organizational objectives and is the foundation for effective strategy development.
Determining the area of agreement or common motivation helps a group of stakeholders to arrive at a decision and ensures an investment in a meaningful outcome.
The post Stakeholder engagement key to managing new Sports Fund: Opinion appeared first on Capital Sports.


text:
ISA in Classic Quotes
Current Search - Isa in Between the Acts
1 "When we were savages," said Isa.
2 Isa pressed her way to the table.
3 Isa felt antagonised, yet curious.
4 "It's astonishing how they pick up," said Isa.
5 That's what I wished," Isa added, "when I dropped my pin.
6 For Isa's husband, the stockbroker, was coming from London.
7 Dodge denied it, for the second time in half an hour, or so Isa noted.
8 Isa thought her gaze was fixed because she saw God there, God on his throne.
9 There," Isa mused, "would the dead leaf fall, when the leaves fall, on the water.
11 Oh yes, you were saying, Isa, you'd ordered fish; and you were afraid it wouldn't be fresh.
12 Isa supplied the first words that came into her head by way of helping her husband out of his difficulty.
13 His face showed it; and Isa, not knowing what to say, abruptly, half purposely, knocked over a coffee cup.
14 Every summer, for seven summers now, Isa had heard the same words; about the hammer and the nails; the pageant and the weather.
15 Isa heard the first chime; and the second; and the third--If it was wet, it would be in the Barn; if it was fine on the terrace.
16 They were bringing up nets full of fish from the sea; but Isa was seeing--the garden, variable as the forecast said, in the light breeze.
17 Still he did remember--and he was about to tell them what, when there was a sound outside, and Isa, his son's wife, came in with her hair in pigtails; she was wearing a dressing-gown with faded peacocks on it.

redpajama_set_name: RedPajamaCommonCrawl


text:
Ро́зничная торго́вля, ро́зница или рете́йл — продажа товаров, предназначенных для личного или семейного использования (то есть, не связанного с предпринимательской деятельностью), непосредственно конечному потребителю.

Особенности
Исходя из того, что сбыт в розницу ведётся через предприятия розничной торговли, которые требуют содержания торговых площадей, обширного штата работников, большого количества товаров в наличии в зале и на складе, стоимость товаров возрастает. Для покрытия издержек и извлечения прибыли применяется торговая наценка (маржа). Величина наценки регулируется общим состоянием рынка или государственным регулированием цен (на некоторые категории товаров и услуг). На товары (услуги), не входящие в категорию регулируемых государством, наценка может составлять от 30 % до 200 % и более.

Чаще всего для подтверждения факта покупки на предприятиях розничной торговли используют кассовый аппарат (за исключением случаев, когда использование кассового аппарата не представляется возможным или при продаже через торговый автомат), печатающий два чека. Один при этом выдаётся покупателю, а второй хранится у продавца.

Кассовые чеки должны содержать:
 название предприятия, осуществляющего торговлю,
 стоимость товаров (услуг),
 сумму налога на добавленную стоимость с указанием ставки налога,
 дату и время продажи.

Кроме того, кассовый чек может содержать перечень приобретённых товаров. Если перечня покупки в чеке нет, то к нему может прилагаться накладная и/или счёт-фактура с указанием приобретённых товаров.

История

История розничной торговли уходит в далёкое прошлое. Люди обменивались товарами и услугами. Первой формой розничной торговли была торговля на рыночных площадях. Ярмарки проводились реже, но были крупнее, чем обычные рынки, они давали возможность купить товары из отдаленных регионов. По мере роста торговли в городах рынки становились крупнее и часто закреплялись на одном месте в виде специальных крытых зданий. Сапожники, портные, булочники часто предлагали покупателю товар из окна мастерской, выходящего на улицу, сначала только в период между базарными днями. К XVIII веку появились магазины, торгующие товарами повседневного спроса.

В XIX веке появились универмаги. Их изобретателями называют , который в 1872 году открыл в Париже универсальный магазин под названием «Au Bon Marché» и Чарльз Дигби Хэррода, преобразовавшего отцовский магазин Harrods в универмаг к 1880 году.

Ещё в ХV - ХVI веках в Германии разбогатевшие лавочники, торговавшие мясом, создавали сети лавок по продаже мяса под единой вывеской. В США сети магазинов появились с основания The Great Atlantic and Pacific Tea Company (A&P) в 1859 году. К началу 1920-х годов в США конкурировали три национальные сети: A&P, Woolworth's и . С 1901 году в Чикаго появилась аптечная сеть Walgreens, которая к 1913 году насчитывала уже 5 аптек.

Первым, кто задумался о контроле денежных поступлений в заведении с несколькими продавцами, был Джеймс Якоб Ритти, владелец бара Pony House в городе Дэйтон (штат Огайо), открытого в 1871 году. Популярное заведение упорно не давало прибыли, так как персонал регулярно прикарманивал выручку, а увольнение и набор новых людей не решали проблемы. Совершая путешествие из США в Европу, Ритти однажды заглянул в машинное отделение корабля и увидел там тахометр, подсказавший ему идею учитывать принимаемые от клиентов деньги так же, как тахометр учитывает количество оборотов гребного вала. В 1879 году Ритти изобрел кассовый аппарат. Запатентовав своё изобретение, Ритти продал его , который в 1884 году создал компанию National Cash Register Company. Уже к 1911 году NCR продавала более одного миллиона кассовых аппаратов в год.

Первые два магазина самообслуживания с прямым доступом к товару были открыты независимо друг от друга в 1912 году в Калифорнии. В 1916 году в Мемфисе зародилась американская сеть супермаркетов , которая спустя семь лет  насчитывала уже 2800 магазинов. К концу 1930-х годов в США насчитывалось уже несколько тысяч торговых точек, работающих по принципу самообслуживания.

В середине 1970-х годов во французской розничной сети Carrefour впервые появились товары под собственным торговым знаком сети.

Торговле требовалась автоматизация учета товаров. В 1974 году состоялась первая продажа товара с отсканированным штрих-кодом. К 1984 году уже 33% магазинов США имели сканеры для считывания штрих-кодов.

В 1992 году Чарльз Стэк основал первый интернет-магазин  по продаже книг. В 1994 году появился интернет-магазин Amazon. В XXI веке интернет-торговля бурно развивается.

В СССР

В Российской Федерации

В Российской Федерации отношения между продавцом и покупателем в системе розничной торговли регулируются Законом о защите прав потребителей.

Федеральный закон «Об основах государственного регулирования торговой деятельности в Российской Федерации» вводит следующее определение розничной торговли:

Розничная торговля — вид торговой деятельности, связанный с приобретением и продажей товаров для использования их в личных, семейных, домашних и иных целях, не связанных с осуществлением предпринимательской деятельности.

Розничный рынок России по объёму в 2011 году занимал восьмое место в мире (на его долю приходилось около 2 % мирового рынка).

Примечания


Average Price of Airbnb rentals in Mount Maunganui, Bay of Plenty is $147 per night. 74 rentals are cheaper than $50 per night. 152 rentals are between $50-$100 per night. 337 rentals cost more than $100 per night.
As of April 2019, Mount Maunganui has 563 active Airbnb rentals. 237 of these active listings are instant-book.
1st Room of 2. Quiet room overlooking garden.
Cosy Bed, En-suite & Balcony in downtown Mount.
Self contained floor in private MtMaunganui home.
Mount Maunganui, luxury, private suite.
Ground floor apartment at the base of the Mt.
At AllTheRooms.com you can use our improved ranking function to find the best Airbnb entire home rental, private room or shared room for your visit to Mount Maunganui. Mount Maunganui has 563 Airbnbs, with prices to suit budget travelers, luxury travelers and everything in between. For those traveling on a budget, the cheapest Airbnb rental in Mount Maunganui is available at $17 per night. The average price of an Airbnb is $147 per night.
Need WiFi while staying in Mount Maunganui? Then pick one of 522 Airbnbs that provide internet so that you can stay connected. If you want a breakfast to be included in your stay, we have 84 that'll provide you with the most important meal of the day. Choose from 26 rentals that provide gym facilities, so you won't miss a single workout. Those traveling by car to Mount Maunganui should ensure they are choosing one of the 532 rentals and rooms that include a parking spot. You can choose to stay in one of 52 Airbnbs that have a pool.
There are 46 pet-friendly Airbnbs in Mount Maunganui, so if you're travelling with your cat or dog you won't have any trouble.
459 Airbnbs in Mount Maunganui have been reviewed: 64% are rated excellent or good. 237 Airbnbs in Mount Maunganui are instantly bookable.


text:
Q: ViewPager and LoaderManager error by device rotation I use a ViewPager with 3 fragments in there. Additional loads each fragment data with a LoaderManager. I implement my own loader but the combination pager and loader runs in a NullPointerException if i rotate the device and the loader tab is actual selected. This is my logcat.

java.lang.NullPointerException
  android.support.v4.app.FragmentManagerImpl.moveToState(FragmentManager.java:960)
  android.support.v4.app.FragmentManagerImpl.performPendingDeferredStart(FragmentManager.java:768)
  android.support.v4.app.FragmentManagerImpl.startPendingDeferredFragments(FragmentManager.java:1104)
  android.support.v4.app.LoaderManagerImpl$LoaderInfo.onLoadComplete(LoaderManager.java:410)
  android.support.v4.content.Loader.deliverResult(Loader.java:103)
  com.android.droidfridge.loader.FridgeLoader.deliverResult(FridgeLoader.java:144)
  com.android.droidfridge.loader.FridgeLoader.deliverResult(FridgeLoader.java:1)
  android.support.v4.content.AsyncTaskLoader.dispatchOnLoadComplete(AsyncTaskLoader.java:221)
  android.support.v4.content.AsyncTaskLoader$LoadTask.onPostExecute(AsyncTaskLoader.java:61)
  android.support.v4.content.ModernAsyncTask.finish(ModernAsyncTask.java:461)
  android.support.v4.content.ModernAsyncTask.access$500(ModernAsyncTask.java:47)
  android.support.v4.content.ModernAsyncTask$InternalHandler.handleMessage(ModernAsyncTask.java:474)

Here is my complete loader code:
package com.android.droidfridge.loader;

import java.sql.SQLException;
import java.util.ArrayList;
import java.util.Collections;
import java.util.HashMap;
import java.util.LinkedList;
import java.util.List;
import java.util.TreeSet;

import android.content.Context;
import android.support.v4.content.AsyncTaskLoader;
import android.util.Log;

import com.android.droidfridge.adapters.FridgeEntryItem;
import com.android.droidfridge.adapters.Item;
import com.android.droidfridge.adapters.SectionItem;
import com.android.droidfridge.database.DatabaseHelper;
import com.android.droidfridge.database.Items;
import com.j256.ormlite.dao.Dao;
import com.j256.ormlite.stmt.QueryBuilder;

public class FridgeLoader extends AsyncTaskLoader<List<Item>>
{
    private final static String TAG = "FridgeLoader";

    private DatabaseHelper db = null;
    private List<Item> item;

    private ItemComparator option;
    private boolean ascending;

    public FridgeLoader( Context context, DatabaseHelper db, ItemComparator option, boolean ascending )
    {
        super( context );
        this.db = db;
        this.option = option;
        this.ascending = ascending;
    }

    @Override
    public List<Item> loadInBackground()
    {
        Log.i( TAG, "Started loadInBackground." );

        ArrayList<Item> result = new ArrayList<Item>();
        TreeSet<String> sections = new TreeSet<String>();

        try
        {
            // search for all items
            Dao<Items, Integer> dao = db.getItemsDao();
            QueryBuilder<Items, Integer> builder = dao.queryBuilder();
            builder.where().gt( Items.ACTUAL_AMOUNT_COLUMN, 0 );
            List<Items> data = dao.query( builder.prepare() );

            // sort items list
            data = sortData( data );

            // create list view items
            for( Items item : data )
            {
                // add Category
                if( !sections.contains( item.getCategory().getName() ) )
                {
                    sections.add( item.getCategory().getName() );
                    result.add( new SectionItem( item.getCategory() ) );
                }

                // add Item
                result.add( new FridgeEntryItem( item ) );
            }
        }
        catch( SQLException e )
        {
            Log.e( TAG, "loadInBackground: " + e.getMessage() );
        }

        return result;
    }

    private List<Items> sortData( List<Items> data )
    {
                //...
        return sortedResult;
    }

    @Override
    public void deliverResult( List<Item> data )
    {
        if( isReset() )
        {
            if( data != null )
            {
                onReleaseResources( data );
            }
        }

        List<Item> oldData = data;
        item = data;

        if( isStarted() )
        {
            super.deliverResult( data );
        }

        if( oldData != null )
        {
            onReleaseResources( oldData );
        }
    }

    @Override
    protected void onStartLoading()
    {
        Log.d( TAG, "onStartLoading()" );

        if( item != null )
        {
            deliverResult( item );
        }

        if( takeContentChanged() || item == null )
        {
            forceLoad();
        }
    }

    @Override
    protected void onStopLoading()
    {
        Log.d( TAG, "onStopLoading()" );

        cancelLoad();
    }

    @Override
    public void onCanceled( List<Item> data )
    {
        Log.d( TAG, "onCanceled()" );
        super.onCanceled( data );
        onReleaseResources( data );
    }

    @Override
    protected void onReset()
    {
        Log.d( TAG, "onReset()" );
        super.onReset();

        onStopLoading();

        if( item != null )
        {
            onReleaseResources( item );
            item = null;
        }
    }

    private void onReleaseResources( List<Item> data )
    {
    }
}

A: I found the solution for my problem. It lies in a fragment transaction. The important line was this:
setRetainInstance( true );

This line was from my fragment which use this loader from above. It was in his constructor.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How can i specify the working directory for jupyter notebooks from the command line I have a python project with jupyter notebooks and would like to save them in their own sub directory (e.g. jupyter_notebooks). Now I want to start jupyter, so that the notebooks will use the project root as cwd and not the directory they are in. Something like this:
python -m jupyter --cwd=project\root

Is there a way to do this?

A: I think you're looking for the --notebook-dir argument:
python -m jupyter notebook --notebook-dir=/path/to/directory

Or simply just:
jupyter notebook --notebook-dir=/path/to/directory

You can see all options for the command by running jupyter notebook --help.
If you want the notebook server to always use a specific directory without supplying the argument, you can generate a configuration file for the notebook server by running:
jupyter notebook --generate-config

The name of the created file will be printed to the console. Then, in this file, uncomment and edit the line where you find the variable c.NotebookApp.notebook_dir, e.g.:
c.NotebookApp.notebook_dir = '/path/to/directory'


text:
Buddhadeva Bose
Buddhadeva Bose was one of the most important Bengali literary figures of the twentieth century, producing works in almost every form. Born in Eastern Bengal, he grew up in Noakhali and then Dhaka, where he studied English Literature at Dhaka University. Relocating to Calcutta, he was the founder and editor of the poetry magazine Kabita, as well as a professor at Jadavpur University. Today, Bose's work remains pivotal to the modern Bengali literary canon, with increasing efforts to translate it for the rest of the world.
Buddhadeva Bose's work
from The Ascetic and The Courtesan


text:
Rain showers this morning with overcast skies during the afternoon hours. High 41F. Winds E at 5 to 10 mph. Chance of rain 50%..
Cloudy. Low 34F. Winds ENE at 5 to 10 mph.
Three names in the running for council seat
Angel Reyes Borton, Gladys Rivera and former Council Member Susan Johnson, have applied for the vacant position on Hood River City Council.
The deadline to apply was Nov. 18.
Former Hood River City Council member Peter Cornelison had expressed public interest last week in applying and was mentioned as a possible applicant in the Nov. 16 edition.
Cornelison has since said he will not apply. Also, another Hood River resident had submitted his application to City Hall but rescinded it because of a schedule conflict on Dec. 9.
That's the date city council will interview for the position — the open seat vacated this fall when Kate McBride was appointed to fill out the term of mayor.
Former mayor Paul Blackburn resigned in August because he moved to Washington, D.C.
The appointment is for fulfillment of the council term vacated by McBride when she was appointed mayor in September following the resignation of former mayor Paul Blackburn.
The term for this position expires in December 2020.
The council is scheduled to conduct its interviews on Dec. 9; if an appointment is made, the new council member would be sworn in and begin serving that night.
With McBride on the council are councilors Tim Counihan, Erick Haynie, Jessica Metta, Megan Saunders and Mark Zanmiller. Council's next meeting will be Nov. 25 at 6 p.m.
Kate Mcbride
Susan Johnson
Peter Cornelison
Hood River City Council
Chris Cuomo: Sen. McSally's stunt is textbook Trump
World Economic Forum: 50 years in 50 seconds
Ken Jennings wins 'Jeopardy! The Greatest of All Time'
truthdetector Nov 23, 2019 7:41am
After the overwhelming rebuke of the current mayor and city councilors that spoke out in opposition to the Parks measure there is really only one appointment choice that makes sense. Susan Johnson is experienced, she was nearly elected mayor and while on council, opposed the Morrison Park boondoggle that led to the ballot measure. I think its clear she would be the peoples choice.
'Would you like a straw?': New Oregon law restricting single-use plastic straws in full effect as of Jan. 1
An interview with Superintendent Sara Hahn-Huston: 'It's been really exciting to see the culture of collectivity and community': Part 2 of 2


text:
AvoDerm is a line of natural dog and cat food manufactured by Breeder's Choice Inc., of Irwindale, California. The company was founded by Harold Taylor in 1947.

The AvoDerm line was launched in 1982 as a specialty food for the alleviation of skin and coat problems in dogs. Eight of the brand's formulas include avocado meal to capitalize off its high levels of vitamins A, E, and C, as well as folate, potassium, niacin, and fatty acids. The food is also free of artificial preservatives. There is a vegetarian option.

It is recommended by Cheapism and Dog Food Advisor. It was recalled in 2012 for possible salmonella contamination.

References

External links

Cat food brands
Dog food brands
Companies based in Los Angeles County, California
Irwindale, California


Wow time sure flies. And I only managed to do one journal post!So I guess this post will be a mash up of everything that happened this month (so far)!
So what has been happening for the past 3 weeks ? Hmm.. good quesiton..I have no idea. days seem to past so quickly when the year is coming to an end.
Myself and rest had a photo session at Barzing. Thanks to the owners to allow us to have a bit of fun in their beautiful place. We were so engrossed upstairs we didn't manage to 'play' down stairs.
That night we shot two beautiful ladies. Elaine and Mariana. But I'm only posting Elaine's photos for now as I have not complete processing Mariana's photos. Elaine's photos are HERE.
Here are a few more of my fav pics of the night.
And following that, on Friday (18-12-2009) evening after work, me and the guys went on a street photography and sunset hunt. It didnt really pan out as the sun was hiding behind a bunch of clouds. haha!
Mosque Selling newspaperI borrowed the TAMRON 2.0x teleconverter from Chze. plugged in my 80-200.
BirdyAfter failing to find good place to shoot the sunset we all decided to go down to the water front to try our luck.
My fav of the outingThen we decided to try out some CLS.
Mr PathfinderAfter about another hour of mucking about we went to carpenter street to have our dinner, at Aladin Cafe.
Photos of the street shoot HERE.


text:
Tratzberg Castle (Schloss Tratzberg)
Tratzberg Castle (Schloss Tratzberg) Tours
Perched above Austria's forested Inntal Valley, 16th-century Tratzberg Castle is one of the Tirol's most impressive Renaissance and Gothic castles. Guided tours of this one-time defensive outpost take you on a journey through its history, and the lives of the Habsburg emperors and medieval merchants who once lived here.
Tratzberg Castle makes a great day trip from Innsbruck or Salzburg. Visitors take audio-guided tours of the castle's highlights, hearing about its past en route. Admire the courtyard, explore the hunting room once used by Habsburg Emperor Maximilian I, and see the detailed wall murals of the Habsburg Hall. Children's audio-guided tours, virtual reality tours, and a gift shop and family-friendly adventure area are also here.
Visitors can travel to Tratzberg independently, but only guided—not self-guided— tours are offered inside. It's wise to prebook tickets online to save time and avoid any long lines. If you're in Innsbruck, other options include combo tours that, among other benefits, incorporate a 48-hour Innsbruck Card entitling you to discounted entry.
Tratzberg Castle is perfect for history buffs, sightseers, and families with children.
Audio-guided tours are supplemented by live guides and offered in 7 languages.
Car parking and a restaurant lie near the main gate, with rest rooms at the castle up the hill.
The castle is partially wheelchair- and stroller-friendly.
Tratzberg Castle is easily accessible from Innsbruck or Salzburg. Most visitors drive—making a 35-minute journey along the A12 from Innsbruck or an approximate 2-hour journey from Salzburg. Trains from Innsbruck run to nearby Schwarz, from where buses transfer to the castle. The nearest town to Tratzberg is Jenbach, where buses also ferry visitors to the entrance.
The castle opens daily between April and October. Tours start at 10am, with the last at 4pm. In July and August, the last tour starts at 5pm. Allow time to reach the castle entrance from the car park: it's a steep 20-minute walk or a 8-minute ride on the free miniature train up the hill. The castle gets busy at peak times, so the earlier you arrive the better.
Highlights of Tratzberg Castle
Guided tours cover nine of the castle's rooms, including the fresco-adorned courtyard. The highlight is the Habsburg Hall, where the walls are coated in half-life-size paintings of 148 members of the Habsburg dynasty, with family lines depicted by connecting branches and clouds. Look for the stunning frescoes of deer, which incorporate sets of antlers protruding from the wall and used as chandeliers.
Address: Tratzberg 1, Jenbach, Innsbruck 6200, Austria
Admission: Varies
0 Tours and Activities to Experience Tratzberg Castle (Schloss Tratzberg)
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Recommended for Innsbruck


text:
"use strict";
var __decorate = (this && this.__decorate) || function (decorators, target, key, desc) {
    var c = arguments.length, r = c < 3 ? target : desc === null ? desc = Object.getOwnPropertyDescriptor(target, key) : desc, d;
    if (typeof Reflect === "object" && typeof Reflect.decorate === "function") r = Reflect.decorate(decorators, target, key, desc);
    else for (var i = decorators.length - 1; i >= 0; i--) if (d = decorators[i]) r = (c < 3 ? d(r) : c > 3 ? d(target, key, r) : d(target, key)) || r;
    return c > 3 && r && Object.defineProperty(target, key, r), r;
};
var plugin_1 = require('./plugin');
/**
 * @name Globalization
 * @description
 * @usage
 * ```typescript
 * import { Globalization } from 'ionic-native';
 *
 *
 * ```
 */
var Globalization = (function () {
    function Globalization() {
    }
    /**
     * Returns the BCP-47 compliant language identifier tag to the successCallback with a properties object as a parameter. That object should have a value property with a String value.
     * @returns {Promise<{value: string}>}
     */
    Globalization.getPreferredLanguage = function () { return; };
    /**
     * Returns the BCP 47 compliant locale identifier string to the successCallback with a properties object as a parameter.
     * @returns {Promise<{value: string}>}
     */
    Globalization.getLocaleName = function () { return; };
    /**
     * Converts date to string
     * @param {Date} date Date you wish to convert
     * @param options Options for the converted date. Length, selector.
     * @returns {Promise<{value: string}>} Returns a promise when the date has been converted.
     */
    Globalization.dateToString = function (date, options) { return; };
    /**
     * Parses a date formatted as a string, according to the client's user preferences and calendar using the time zone of the client, and returns the corresponding date object.
     * @param {string} dateString Date as a string to be converted
     * @param options Options for the converted date. Length, selector.
     * @returns {Promise<{ year: number, month: number, day: number, hour: number, minute: number, second: number, millisecond: number }>} Returns a promise when the date has been converted.
     */
    Globalization.stringToDate = function (dateString, options) { return; };
    /**
     * Returns a pattern string to format and parse dates according to the client's user preferences.
     * @param options Object with the format length and selector
     * @returns {Promise<{pattern: string}>} Returns a promise.
     */
    Globalization.getDatePattern = function (options) { return; };
    /**
     * Returns an array of the names of the months or days of the week, depending on the client's user preferences and calendar.
     * @param options Object with type (narrow or wide) and item (month or days).
     * @returns {Promise<{value: Array<string>}>} Returns a promise.
     */
    Globalization.getDateNames = function (options) { return; };
    /**
     * Indicates whether daylight savings time is in effect for a given date using the client's time zone and calendar.
     * @param {data} date Date to process
     * @returns {Promise<{dst: string}>} reutrns a promise with the value
     */
    Globalization.isDayLightSavingsTime = function (date) { return; };
    /**
     * Returns the first day of the week according to the client's user preferences and calendar.
     * @returns {Promise<{value: string}>} returns a promise with the value
     */
    Globalization.getFirstDayOfWeek = function () { return; };
    /**
     * Returns a number formatted as a string according to the client's user preferences.
     * @param numberToConvert {Number} The number to convert
     * @param options {Object} Object with property `type` that can be set to: decimal, percent, or currency.
     */
    Globalization.numberToString = function (numberToConvert, options) { return; };
    /**
     *
     * @param {string} stringToConvert String you want to conver to a number
     * @param options  The type of number you want to return. Can be decimal, percent, or currency.
     * @returns {Promise<{ value: number | string }>} Returns a promise with the value.
     */
    Globalization.stringToNumber = function (stringToConvert, options) { return; };
    /**
     * Returns a pattern string to format and parse numbers according to the client's user preferences.
     * @param options Can be decimal, percent, or currency.
     * @returns {Promise<{ pattern: string, symbol: string, fraction: number, rounding: number, positive: string, negative: string, decimal: string, grouping: string }>}
     */
    Globalization.getNumberPattern = function (options) { return; };
    /**
     * Returns a pattern string to format and parse currency values according to the client's user preferences and ISO 4217 currency code.
     * @param {string} currencyCode Currency Code.A
     * @returns {Promise<{ pattern: string, code: string, fraction: number, rounding: number, decimal: number, grouping: string }>}
     */
    Globalization.getCurrencyPattern = function (currencyCode) { return; };
    __decorate([
        plugin_1.Cordova()
    ], Globalization, "getPreferredLanguage", null);
    __decorate([
        plugin_1.Cordova()
    ], Globalization, "getLocaleName", null);
    __decorate([
        plugin_1.Cordova({
            successIndex: 1,
            errorIndex: 2
        })
    ], Globalization, "dateToString", null);
    __decorate([
        plugin_1.Cordova({
            successIndex: 1,
            errorIndex: 2
        })
    ], Globalization, "stringToDate", null);
    __decorate([
        plugin_1.Cordova({
            callbackOrder: 'reverse'
        })
    ], Globalization, "getDatePattern", null);
    __decorate([
        plugin_1.Cordova({
            callbackOrder: 'reverse'
        })
    ], Globalization, "getDateNames", null);
    __decorate([
        plugin_1.Cordova()
    ], Globalization, "isDayLightSavingsTime", null);
    __decorate([
        plugin_1.Cordova()
    ], Globalization, "getFirstDayOfWeek", null);
    __decorate([
        plugin_1.Cordova({
            successIndex: 1,
            errorIndex: 2
        })
    ], Globalization, "numberToString", null);
    __decorate([
        plugin_1.Cordova({
            successIndex: 1,
            errorIndex: 2
        })
    ], Globalization, "stringToNumber", null);
    __decorate([
        plugin_1.Cordova({
            callbackOrder: 'reverse'
        })
    ], Globalization, "getNumberPattern", null);
    __decorate([
        plugin_1.Cordova()
    ], Globalization, "getCurrencyPattern", null);
    Globalization = __decorate([
        plugin_1.Plugin({
            pluginName: 'Globalization',
            plugin: 'cordova-plugin-globalization',
            pluginRef: 'navigator.globalization',
            repo: 'https://github.com/apache/cordova-plugin-globalization'
        })
    ], Globalization);
    return Globalization;
}());
exports.Globalization = Globalization;
//# sourceMappingURL=globalization.js.map


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Grevillea 11(no. 57): 25 (1882)

#### Original name
Uredo ecteinanthi Kalchbr.

### Remarks
null


text:
Amir Sagharichi-Raha  (* 1979 in Teheran) () ist ein iranischer Autor.

Leben
Seit 2007 lebt Sagharichi-Raha in Berlin.
Er studierte Angewandte Kulturwissenschaft an der Alpen-Adria-Universität Klagenfurt.
Er arbeitet heute als Schriftsteller für persische Literatur und veröffentlicht in persischer Sprache Lyrik, Romane, Theaterstücke, sowie literaturwissenschaftliche Arbeiten.

Werk
Thema seiner Gedichte ist oft der Wunsch nach einer Annäherung an die Natur und die selbsterwählte Einsamkeit, Stille und Liebe. Manche seiner Gedichte wurden von persischen Musikern vertont. Darüber hinaus veröffentlichte er zahlreiche Werke aus der persischen Literatur, die in verschiedenen Ländern publiziert wurden.

Veröffentlichungen
 Gedichtbücher und Romane
 Nasim (Brise). Sayeh Publishing, Encino CA 2010, ISBN 1-933429-43-7.
 Esyan (Meuterei). Sayeh Publishing, Encino CA 2010, ISBN 1-933429-47-X.
 Khonya (Melodie). Nashr-i Gardūn, Berlin 2011, ISBN 978-3-86433-005-6.
 Dar Talatome Yek Roya. (In den Wirren der Traum). A. Sagharichi, Eberstein 2012, ISBN 978-3-200-02883-8.
 Sodaye Soukhte (Melancholie). Selbstverlag (CreateSpace-Assigned), 2013, ISBN 978-1-4839-9610-3.
 Persische Folklore & orale Literatur im Iran. Verlag "Bibliothek der Provinz", 2014, ISBN 978-3-99028-398-1.
 Ohne Bonbons?! (Kinderbuch). Verlag "Bibliothek der Provinz", 2014, ISBN 978-3-99028-401-8.

Weblinks
Website von Amir Sagharichi-Raha
 Lesung mit KSV. Museum für Quellenkultur, Klein St. Paul

Autor
Lyrik
Literatur (21. Jahrhundert)
Literatur (Persisch)
Iraner
Geboren 1979
Mann


The developers responsible for the Dolphin emulator have successfully reverse-engineered the Wii U GamePad, shedding light on exactly how the piece of tech works.
The hackers found that Nintendo is using custom protocols to beam information from the pad to the console (and back), which discounts previous theories that the Wii U made use of Miracast technology.
I don't see any reason why it could not send GamePad video/audio to the internet (both internet and GamePad might be difficult/impossible). The firmware of the chip handling communication with the GamePad (called DRH) can be upgraded, so this might be in Nintendo's future plans. Only speculation though, we didn't see anything in the firmware that would indicate they are planning to do this.
Bourdon also confirmed that support for two GamePads being used simultaneously on the same console is already present in the current firmware. Nintendo has already said that this will happen in the future, but it's nice to know that the functionality is already in place.
Below you can see video evidence of the team's work — they've successfully emulated the Wii U GamePad on a PC.
I don't understand hackers. Why can't they just enjoy the first party software?
As long as people don't use hacking to take money away from the people that deserve it I think it's okay. Using hacks to download every game for free only hurts the possibility of better games in the future.
@omega150 Not all hackers are bad. Back in the day modder were also hackers as they didn't have access to the dev kits. Those modder spawned alot of great IPs that are being released to this day.
@MonsieurRosbif I don't understand you. Why don't you want to further enjoy the first party software?
I expect Nintendo to be cloud gaming by their next console. If they roll it out on Wii-U, I would be shocked they were on the ball with this tech.
All my VC hopes will be in the cloud eventually I guess.
I always thought the gamepad streaming video images without any lag whatsoever, like never, was brilliant. I think Nintendo isn't given due credit for its innovative tech, but honestly, they never stand on a soapbox & inform us of it.
Some of information was already mentioned in Iwata Asks interviews. But it's good to know the GamePad firmware is upgradeable to some degree for possible future improvements and features.
... then why NOT have support for dual controllers now? Its more evidence 9in my eyes) that the Wii U wasn't ready for release last year. Nintendo is usally so good about getting the product right the first time, but in Wii U's case it sure appears that they dropped the ball by releasing an unfinished product.
@theadrock13 Obviously it's already supported. There's just no games yet to make use of it.
they don't have support for two controllers because each gamepad will cost US$100.00 or more which most people won't be willing to pay for a gamepad.
@Zyph by "support" I mean more than just a theoretical vision of some future ability that a hacker had to make known to us. Does Nintendo sell a second controller individually? How do I go about attaching it to the system? Can the OS currently function with two at the same time? I'm suggesting that Nintendo ought to support and push this as an option now. Its one of the most common critiques of the WiiU that only one person gets to have the cool controller. If this system was built to have two, then make it so.
why are you asking how you would attach it to the system? when it has the same function of connecting it like the wii remote o.O but another thing why release that function of 2 controllers if you will have the second one laying around not able to use it in any feature yet?
im sure they already thought of features/apps to use it in the future along with games whats the rush?
@snoox I think what Nintendo is doing is the real nextgen.... I thought that in the Wii days as well.
This idea that "nextgen" should only reference to graphical fidelity is absurd. As a primarily PC gamer I have to shake my head at everyone of these snob Sony/MS fangirls who feel the need to rip on a company because they aren't pushing the envelope graphically is beyond silly. If graphics were so important why would you gimp your experience with a PS3 or PS4 for that matter, when PC gamers have been enjoying "nextgen" graphics for 3 years now?
Motion controls were revolutionary in 2007, and I find the zero latency streaming revolutionary for 2013... I'm excited at the possibilities of being able to stream my PC games Off-Monitor play style far more incredibly thrilling then real time ray tracing (the pinnacle of graphical fidelity).
The idea that while I'm playing I can just beam my game to my controller and do other things in my house while watching cutscenes feels like the future IMO, more then the same games with a shinier coat of paint.
What I can't wait to read is all the dismals of off tv-play when PS4 owners start using their Vita to attempt off tv play.
I can see it now "Off TV play is stupid because there is too much input lag to make it worthwile, Nintendo fan boys are silly for thinking this is so great"
The vita is stuck with Wireless N... If Wireless N was fast enough to support zero latency streaming, Nintendo being a company that pursues the cheapest avenue to build hardware would have just stuck with the far cheaper wireless N instead of the costly brand new streaming tech they were able to snag.
@Hyperstar96 I didn't say that. All I said was that we already knew the Wii U controller firmware was upgradable before this 'news'. No idea how you took that to mean that I don't want to enjoy more first party titles! Like the rest of us, I'd love more first party stuff.
@theadrock13 Can you imagine the confusion if they started selling stand alone gamepads right now? People already think the Wii U is just a tablet controller for the regular Wii.... If people are angry now that they bought a $60 Wii U game and it doesn't work on their regular Wii, imagine how angry they will be when they buy the $140 Wii U controller and it doesn't work on their Wii.
Nintendo would be smart to hold off on adding second gamepad play until they feel reasonbly comfortable that "MOST" consummers know the Wii U is a new console instead of just an add on for their OG Wii.
To be honest, I think you're missing the point of the Wii U if you're so anxious to have two Wii U gamepads. Sure it could have its advantages, but the whole point is asymmetrical gameplay. You have four people using the TV to do one thing, while another person uses the gamepad to do something else.
On the Nintendo's previous systems, it was important to have multiple controllers to play multiplayer games, but on the Wii U that purpose is served by the Wii Remotes. The Wii U Gamepad is a separate beast altogether.
As for the actual support, obviously there would be a lot of logistical issues if they started providing support for two gamepads when no software existed that could use them. It is possible to sync another gamepad with the system easily (I've tried), but it disables the first one immediately. Essentially, you can only have one Gamepad connected to the Wii U currently because there is no use for more than one.
@FiveDigitLP My point is that Nintendo is selling a system that they clearly haven't finished developing. Wasn't the U billed as not just a game console but as the new hub of your livingroom entertainment system, to integrate all media with control from the gamepad? Well, a second pad could be useful, His and Hers. Not to mention that the U doesn't even fuction properly as the media hub that they claimed. Look, I'm not a Nintendo hater, but it looks like they rushed the U to market when it wasn't finished and now its suffering. If I'm wrong, then fine.
Before Nintendo makes a good first party game that makes use of 2 Gamepads they need to make 1 good first party game that makes use of the WiiU.
Read through all previous 19 comments and I didn't see anybody mention it and I felt it had to be said.
I just don't feel that this is one of those areas that was rushed. I just personally feel that it is a lower priority feature. Sure it will be nice to have two Gamepads eventually, but I don't think it's what makes the system so special.
@element187: Amen. To what you said about graphical fidelity.
Nintendo mentioned it was possible, last year... there just isn't a point to it yet.
If people are so worried about graphics, just hold out for an Expansion Pak 2.
i agree so freakin pointless this to me is the biggest form of looser there is ! what do they get out of it ?
@MonsieurRosbif I thought the same thing when i saw this article read the comment he responded with. This shouldn't be a surprise to anyone.
Ooh, that's a cool hack. Actually, I'd love to be able to do the opposite, use a Gamepad as a remote screen for my PC. I'd spend however much for an extra one if I could do that.
Great. Now contact me when I can use the Gamepad as a 2nd monitor + joystick for Steam.
Gah, this again? What is this, 1993? There needs to be a new term to describe people who utilize hacking skills for illegal or immoral purposes, such as identity theft or software piracy. People with hacking skills who use it to run custom homebrew on their own systems, dissect the machine to learn how to emulate it, or simply explore the hardware they purchased are not evil. It is exactly these types of people who help the industry thrive. Don't hate them!
If the person who made that video can help write software that will allow me to use my Wii U gamepad on my PC as a touch-screen controller, then that person is my hero. Why shouldn't I be allowed to do this? I legally own my PC, the Wii U and its gamepad, and I should be able to use it as I wish so long as it does not infringe Nintendo's rights. If Nintendo would just do what Microsoft does and make their console hardware work with my PC, I wouldn't be relying on a "hacker" to do it in the first place!
I find it fascinating that when someone hacks, emulates or creates homebrew game for a vintage gaming console, they are congratulated by the community, but when they do something of a similar nature for a modern console, they are completely shunned by the same gaming community. And add the point that modern consoles are a lot more difficult to hack and develop for than the old 8-bit throwbacks.
Well, have fun with implimenting motion control. And it's good to see a second GamePad is ready, now I just hope someone actually USES it.
I think a big part of it is that those consoles are outdated and no longer supported and to most people hacking=piracy (or leads to it) so its automatically bad. Its an uderstandable concern and to be fair the big three share a similar point of view.
I like seeing what sort of things the community can do and as long as we can benefit without harming the company I don't see a problem with it.
If one had been following the Iwata Asks articles it would be clear that the protocols linking the GamePad and console are indeed custom tailored and highly specialized.
I'm not surprised to hear that Nintendo are leaving a lot of doors open hardware wise. They often do, even if they rarely make the most interesting use of their expansion possibilities.
One step closer towards making Wii U homebrew a reality. This console could be used as a PC + Drawing Tablet combo. Perhaps a Skype client, given that Microsoft is a rival company and most likely never make an official one (I know Miiverse has a video chat functionality, but ~95% of my skype contacts don't have or use a Wii U). I'm looking forward to hearing more advances on this topic. Kudos to all those guys who make this possible without asking any money in return. Thanks to NL for this info, too.
I also reiterate that I condemn any and all attempts, successful or otherwise, to play pirated games using homebrew.
Oh and, guys? That you don't care to understand why any average Joe would want to know how the Wii U works doesn't mean that nobody should care. Not to mention this requires a lot of technical expertise, time, patience and effort.
Of course this also leads to the potential for alternative GamePads. Third party devs occasionally lead to technologically superior products.
Or better still, consider for example an app that gives you the ability to use your iPad or Galaxy Note as a Wii U controller.
Interesting development. I'm not sure how to anticipate the impact this will have in the future, but I assure you it WILL have an impact.


text:
Cosmoprof North America forges global industry ties
By Simon Pitman
22-Aug-2005 - Last updated on 14-Mar-2017 at 10:48 GMT
Related tags: Cosmoprof north america, North america
This year's Cosmoprof North America event closes its doors having
attracted just over 25,000 visitors - the same level as last year's
event. With beauty professionals from over 34 countries, the show
centered on bringing together beauty professionals from every part
of the globe in an effort to expand their businesses.
The exhibition itself was divided up into four main pavilions where more than 670 exhibitors from 30 countries were able to showcase their latest innovations and services to the industry.
The US Commercial Services saw special delegations arrive from Brazil and Vietnam, while the efforts of the event's organizers saw importers from all over Central and South America, as well as Russia, India and Mexico attending the show.
This year the show focused on business-to-business activities for packaging, sourcing, innovation and education - each of which was individually catered to by specific events and sections.
"We were able to bring our expertise to the North American market and create a space where a company from Spain can meet importers and distributors from the US but also from North and Central America," said Laura Zacccagnini, director of international affairs and strategies for Cosmoprof.
For spa and salon businesses the event focused on providing business education, rather than the usual technical hair and nails seminars and programs that shows usual focus on. Likewise, exhibitors also provided a number of new lines as well as innovations that were being shown to the industry for the first time.
Education was also a key element, with a number of courses as well as the return of the Wellness Summit - a two-day seminar that covered some of the fastest growing segments within the industry.
Amongst the presentations were those made by 'Zone' diet author Dr Barry Sears and longevity coach Oz Garcia, who imparted some of their knowledge and experience about the industry. Topics covered included marketing, leadership, distribution and trends.
There was also a presentation from Future Concept Lab, a Milan-based think-tank that delivered its latest findings about beauty and wellness trends based on data collected at retail and spa locations all over the world.
The event also included a packaging lounge, providing a space for private meetings and resources such as advisors and access to a database that provided information on packaging legislation in more than 50 countries worldwide.
Steve Sleeper, executive director for the Professional Beauty Association, a show partner, said that next year's show would focus even more on forging business deals on the show floor, in an effort to make the show even more business-friendly.
Next year's Cosmoprof North America show is planned for July 16 - 18, at the same venue, the Mandalay Bay Convention Centre in Las Vegas.
Related topics: All Asia-Pacific, Market Trends, South Asia, South East Asia, Packaging
Cosmoprof aims at international visitors
Indian fragrance market set for big growth
Sustainability: Don't Get Left Behind
Croda Europe Ltd | 09-Aug-2017 | Information Request
Pressure from consumers, governments and non-governmental organisations for companies to adopt more sustainable business practices has never been stronger...
Survey Report: Cosmetics Design Asia-Pacific first annual reader survey: state of the market
William Reed | 07-Aug-2017 | Application Note
In May 2017, Cosmetics Design Asia conducted its inaugural 'state of the industry' survey, asking cosmetic and personal care industry professionals about...
By Baralan: Embracing Beauty since 1962Quality that comes from passion creates unique design packaging that captures the essence of beauty
By DSM Nutritional Products Europe Ltd.Fast and simple with multiple benefits: What men want from a sun care product


text:
package jalse.entities;

/**
 * Listener for {@link Entity} creation and death. Unique {@link EntityEvent} will be supplied for
 * each trigger.
 *
 * @author Elliot Ford
 *
 * @see EntityContainer
 *
 */
public interface EntityListener {

    /**
     * Triggered on entity creation.
     *
     * @param event
     *            The entity event for this trigger.
     */
    default void entityCreated(final EntityEvent event) {}

    /**
     * Triggered on entity death.
     *
     * @param event
     *            The entity event for this trigger.
     */
    default void entityKilled(final EntityEvent event) {}

    /**
     * Triggered on entity being received.
     *
     * @param event
     *            The entity event for this trigger.
     */
    default void entityReceived(final EntityEvent event) {}

    /**
     * Triggered on entity transfer.
     *
     * @param event
     *            The entity event for this trigger.
     */
    default void entityTransferred(final EntityEvent event) {}
}


, we all choices the best libraries having greatest resolution just for you, and now this photos is actually one of pictures series in this greatest graphics gallery about Diy Folding Kitchen Table. I hope you'll like it.
submitted through Eric Brewer at 2017-05-10 10:08:09. To determine all images within Diy Folding Kitchen Table pictures gallery please comply with this kind of url.


Every company is confronted with dull, non-value added tasks; such as the work related to receiving, sorting and routing files to the right person. When you choose to automate those mind-numbing tasks in your company, your team will be able to spend more time on ways to differentiate your company from competition. Focus on value-added tasks: invest in customer service or develop new services. Most production automation solutions are big, complex, proprietary, and pricey. Fortunately, there are alternatives. XChange UK offer modular, open, and affordable automation. Open systems are key to finding a future proof solution for your company because they easily integrate with tools you are already relying on today. They protect your previous investments and companies can benefit greatly by automating the most basic & simple repetitive tasks and often they're the ones you don't think of when implementing automation!


The Beast from The East has been making its way across Ireland. The street value of a sliced pan is high, motivation to go into work is low, and there's talk of red alerts meaning nobody is going anywhere. Which means the schools are closed, and it's debatable as to what the escape options are over the next few days. If you're at home with the kids, this all sounds brilliant for the first 24 hours (or if it's a threenager, 24 minutes). However, after a while, cabin fever may well kick in. I've asked other members of the Irish Parenting Bloggers what they're planning to do to stave off the crazy cabin fever over the next few days of Snowmageddon – here's what they've come up with.
Pancake Tuesday is tomorrow – 13th February. In the past, it was intended as a way to use up all of the eggs, butter and fat before the Lenten fast. These days, it's much more of an excuse to get pancakes for many meals (or at least one) midweek. Whether you're a thin crepe with lemon and sugar, or thick American pancakes with all the fixings kind of person, here are a selection of pancake recipes tried and tested by parenting bloggers that you AND your family are sure to love, without any pre-made mixes in sight!
I'm a big crime fan, I have been for years – factual or fictional, I lap it up. What that says about me as a person is another question altogether, but the genre completely fascinates me. I'd love to study Criminology, but thanks to knowing full well I haven't a hope of ever passing a Garda medical, the practical side of me has left it as an armchair hobby for the moment. The genre has grown massively in popularity in recent years, in particular with documentaries and podcasts. I've been enraptured by True Crime podcasts for the last few months, they've drawn me in with eyes wide open. I guess everyone is an armchair detective at heart!
Here's a look at True Crime Podcasts that any fan of the genre will love.


text:
Ashland Center for Nonviolence to Hold Conference on 'Understanding Our Gun Culture'
12/7/15 ASHLAND, Ohio – The Ashland Center for Nonviolence on the Ashland University campus will hold a two-day conference on "Understanding Our Gun Culture" March 31 and April 1, 2017, on the AU campus.
"Something clearly has to change," says Dr. Craig Hovey, executive director of the Ashland Center for Nonviolence, in response to the fact that the United States reportedly has more gun deaths and more guns per capita than any other developed country. It is also estimated that there are now more guns than people in the U.S.
"Now, as mass shootings seem to have become routine, the political climate has settled into clear camps of those who advocate stricter gun controls and those who oppose them," Hovey said. "ACN hopes to improve and enrich these and other discussions through this 2017 annual conference, titled 'Understanding Our Gun Culture.'"
"Everyone agrees that there's too much gun violence in the United States. But we're deeply divided on how to address it," Hovey added. "I don't think we should be afraid of disagreement, but as H. Richard Niebuhr once said, the first question isn't 'What should we do?' but 'What is going on?'"
Hovey said the goal of the conference is to lead to a smarter discourse about American gun culture by helping everyone understand it. More details of the conference will follow.
The Ashland Center for Nonviolence began as an ad hoc group of individuals who wanted to challenge the willingness of American society to resort to violence. The ACN instead poses the question, "What else can we do?"
Ashland University, ranked in the top 200 colleges and universities in U.S. News and World Report's National Universities category for 2016, is a mid-sized, private university conveniently located a short distance from Akron, Cleveland and Columbus, Ohio. Ashland University (www.ashland.edu) values the individual student and offers a unique educational experience that combines the challenge of strong, applied academic programs with a faculty and staff who build nurturing relationships with their students.


Quality is about making organisations perform for their stakeholders – from improving products, services, systems and processes, to making sure that the whole organisation is fit and effective. Quality Management Process is critical process within any business, as it helps you to ensure that the deliverables produced, actually meet the requirements of your customer. This Quality Management Process will help you to improve the quality of your deliverables.
A quality management system relies on the principle that every operation needed to produce the final output should be of superior value. It, therefore, is a concept used throughout a business that also extends to customers and suppliers. It aims to improve product quality and might alter business processes, structures and personnel responsibilities to achieve this. When you incorporate a quality management system at your organization, all business activities focus on quality. So whether you purchase raw material, process it, store it or distribute it, every step is programmed to meet benchmark quality levels.
Unichrone offers Quality Management Training and Certification Courses in New Zealand that helps individuals and enterprises to gain comprehensive knowledge of quality management best practices to reduce process variance and wastage to gain maximum value from business critical projects. Unichrone offers Lean Six Sigma Green Belt, Lean Six Sigma Black Belt, Lean Six Sigma Yellow Belt, Lean Tools,Quality Tools and Operational Excellence Certification Trainings in New Zealand.
We deliver Quality Management Certification Training Courses in Classroom , Online Classroom modes and Onsite Corporate Group Trainings. Quality Management Training Courses are available across multiple cities in New Zealand.