WingNuts 2 takes you on a fantastic journey to over 30 real, (and not so real), locations and time periods as you hunt Baron Von Schtopwatch and the mysterious "Raina".
Play through time as you encounter enemies from the 1920s into the distant future. With over 100 real world aircraft, helicopters, blimps, tanks, ships and submarines, you'll never run out of things to shoot!
WingNuts 2 features dozens of "Boss" planes and ground units, a plethora of power-ups, (including Super Mecha Mode), and a Flying Aircraft Carrier as your base of operations. The game sets a new standard for arcade action!
Advanced OpenGL and 3D particle effects allow you to take advantage of high-end graphic cards, and the custom-built game editor lets fans create their own scenarios and share them online.
• provides compatibility and stability enhancements over the initial release.
Awfully difficult and way too complex. Gives me a headache! Stick with the original. Much funner.
Time Pilot on steroids (plus a few Psychedelics) - great graphics and gameplay. 32 Levels to explore. What's not to love?
Very hard levels. Bad things like flipping plane at edge of map and running it into boss. Carrier won't always accept the plane. Takes too long.
Hi guys, To anyone haveing problems with the game not starting up. It's because the game is trying to read your display. If you hold down option when starting the game, you can set your resolution. The newest version of the demo does this for you.
I have the same as The Reviewer (1.8 Dual G5) and it ain't working. And my download was corrupted.. ??? WHA ??? Three sticks for annoyingness..


text:
Hip-Hop artist J. Cole visits San Quentin
September 1, 2017 by San Quentin News Contributer
Platinum Hip-Hop artist Jermaine Cole ("J. Cole") used a day off during his tour to come see mass incarceration up close.
In a two-hour visit with a juvenile lifer support group at San Quentin, Cole reaffirmed his belief that we need education instead of mass incarceration.
Scott Budnick, producer of the Hangover movie series and founder of the Anti-Recidivism Coalition, invited Cole to visit the Kids Creating Awareness Together (Kid CAT) group. By working together, Budnick, Kid CAT members and many others have gotten some harsh laws changed.
"Cole is here to help," Budnick said.
Scott Budnick introduces Kid CAT members to J. Cole
Kid CAT didn't have a meeting scheduled, so the surprise visit began with Budnick, wearing a T-shirt that said, "#SchoolsNotPrisons," standing on the yard next to Cole surrounded by a few fans. A few feet away stood Ibrahim Hamad, president of Dreamville Records and Felton Brown, of Dreamville Creative.
The incarcerated men told him about how the lower security section of San Quentin is different from the higher level prisons where they started their long sentences. They spoke about how Quentin allows community members access to the prison to facilitate more than 80 programs. Some of the programs include the Prison University Project, which provides a free college education taught by professors; a coding program; SQUIRES, which mentors at-risk youth; and a media center.
These opportunities have produced rehabilitated men and led to the hit podcast Ear Hustle, as well as Curtis "Wall Street" Carroll's financial literacy program.
As the word spread that J. Cole was on the yard, more men circled him. Cole sat on a thigh-high ledge wearing a white Polo T-shirt, black sweatpants and original Jordan sneakers. He took the time to greet each new face that joined the group.
"He cares about people like us in blue," said Kid CAT member Israel Aguilar. "He's really down to earth and he relates to our struggle. He sees there's a flaw in this criminal justice system and he wants to see what he can do."
Budnick shared a story about meeting Cole and said bringing him to Quentin developed through a chain of mutual friends, including a lighting man and a DJ.
Budnick had gone to Cole's concert in Los Angeles and saw him come out on stage to preform "For Your Eyes Only" dressed in an orange jailhouse jumpsuit, handcuffed and escorted by men dressed as correctional officers. The song itself, named after the album, is about an incarcerated man making a time capsule for a daughter he doesn't think he'll ever see again.
J. Cole feels the confines of a prison cell
While the St. John's graduate has never served prison time, Cole has friends who have. Every song on the album is meant to change perspectives about incarcerated people.
"Whole point of the album was to humanize people they demonize," Cole said. "You only get to see killing in the most glorious way, my (thing) was no, let me show the other side. I don't care how hard you are, if you have a child, that's done."
After the concert, Budnick went back stage and found Cole with his wife and their baby. Budnick said, "When you are done with your tour, I'd love to take you into a prison."
"64% of California's jail population is awaiting trial or sentencing as of December 2016." Most remain in pretrial custody because they cannot afford bail. Jail Profile Survey, http://www.bscc.ca.gov/
Cole answered, "Forget when I get off tour. I have a day off on Sunday. What prison is near Oakland?"
Sunday, July 15, Cole was posing for pictures with San Quentin fans surrounding him.
Someone on the yard asked Cole to perform "For Your Eyes Only" on the spot. Cole warned that it was four verses and eight minutes long and offered to do two verses. Everyone wanted to hear the complete song so Cole obliged with an a cappella rendition. The men's heads nodded to the rhythm of Cole's voice and at lines like, "Hope you find a (brother) with a perspective bigger than the corner, or else it will corner you."
From the yard, Lt. Sam Robinson led Cole to the prison's media center where an impromptu Kid CAT meeting took place. About 30 men sat in chairs forming an elongated circle.
Felton Brown with J. Cole and Ibrahim Hamad
takes a tour inside North Block
Budnick suggested each person briefly tell Cole what brought him to prison and what he wants to do in the future. Curtis "Wall Street" Carroll, whose TEDx talk has over 2 million views, was the first to speak. Carroll said he wants to see financial literacy taught in all prison and schools.
"I want to hire this dude," said Cole.
Antoine "Aziz" Brown, an ex-gang member who is now a college student and one of Kid CAT's founders, said "I have a 21-year-old son I'm looking to mentor. I'm just looking to give back."
Philippe Kelly said, "I was 15 when I committed a gang-related murder and got 40 to life. Thanks to Scott [Budnick], what he's been able to do has given me light. I might have a chance to get out."
Louis Scott spoke about his sentence of 199 years to life for pimping and pandering. Now he's part of a group called STEP, which is dedicated to stopping sex-trafficking.
Earlonne Woods, co-founder and co-host of Ear Hustle, stopped by to ask Cole for a tweet out.
Shadeed Wallace-Stepter, convicted of attempted murder and who has a TEDx talk on YouTube called The New American Hustle, said, "Everybody has the potential to run a multimillion dollar company. I really believe that."
After everyone spoke, Cole said, "Thank y'all for sharing y'all stories. When I hear y'all talk … I see a CEO in all y'all. Everybody in those spots y'all came from have that same potential."
Again, Cole performed the single, "For Your Eyes Only," as a media center member recorded him.
Cole is one of a growing number of celebrities speaking out against mass incarceration. On Aug. 21, Budnick, Common and J. Cole met in Sacramento. According to a Fox 40 story by Ali Wolf, Common gave a free concert featuring Cole and CNN host Van Jones to advocate for sentencing and bail reform. The following day Common visited Folsom State Prison, where he performed for more than 1,000 men in blue and staff members, and held a roundtable discussion with Budnick and a group of volunteers about criminal justice reform and the importance of rehabilitation.
Departing somewhat from the direction of his mix-tapes, his first studio albums focused on making radio hits. On his second studio album, Born Sinner, Cole dropped the single, "I let Nas Down." It expressed how he felt hearing that Nas, a rapper he looked up to, was disappointed his music had turned in a commercial direction.
Now that Cole has four studio albums, BET and Billboard Awards, several mix-tapes, his own label and a minor stake in the music streaming service Tidal, he makes the music he cares about.
"Now nobody can tell me nothing," Cole said.
http://sanquentinnews.com/optionb-org-support-group-overcoming-effects-incarceration/
Restorative Justice's role in the #metoo movement
Kid CAT facilitator curriculum now available
Overview of inmate deaths in 2017 in CDCR
Filed Under: Featured, Most Read Tagged With: Anti-Recidivism Coalition, Earlonne Woods, J. Cole, kid cat, Louis A. Scott, Lt. Sam Robinson, Scott Budnick, SQUIRES, urtis "Wall Street" Carroll

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: How to run an existing MIDP jar file inside another MIDP jar file? I have a j2me jar file(game). I am told not to change the existing jar file. Now I have to develop a new j2me application which will run the existing jar file based on some conditions.
it will be best if I can make a single jar file containing both. plz give me some IDEA and SAMPLE code.

A: You can put more than one midlet in a single JAR, just make sure you name each one in the jad file.
You cannot start one midlet from another.

A: I have finally found that one jar file can not start another. But I have to start one jar file from another based on some conditions. I have solved this problem some other way. One of them is create a new Midlet and extends the exiting one. then call existing constructor from new constructor and start pause and destroy method from new... in this way it is working for me.. but if any one have any better idea plz mention it..
 public class Midlet extends DiceMidlet {
    public Midlet() {
        super();
    }
    public void startApp() {
        for(int i=0;i<1000;i++){
            if(i==999){
                super.startApp();
            }
        }

    }
    public void pauseApp() {
        super.pauseApp();
    }
    public void destroyApp(boolean unconditional) {
        super.destroyApp(unconditional);
    }
 }

redpajama_set_name: RedPajamaStackExchange


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Cantine del Notaio is a relatively new winery, located amidst the volcanic landscape of Mount Vulture. It was born in 1998 from the vision of Gerardo Giuratrabocchetti and his wife Marcella, who set out to restore the estate that once belonged to Gerardo's grandfather. After years of research and experimentation with the Aglianico variety, they are achieving notable results with both red and white wines.
Situated at 450-600 metres above sea level, the vineyards are planted in the volcanic soil around the extinct volcano of Vulture. The vines range from four to sixty years old and are planted at five thousand plants per hectare. No green harvest is necessary as yields are relatively low; the grapes were hand-picked in the first ten days of October.
The grapes were macerated for seven days and fermented in temperature-controlled stainless steel tanks at 25°C for fifteen days. The wine was then kept in three- and four-year-old French barrels for six months before release.


[insert nifty annotation here] In regards to my own research, de Pedro Ricoy's article is extremely useful as the author breaks down the global advertising strategies of the top three game companies — Sony, Microsoft, and Nintendo — based not only on gender, but also on nationality, language, and cultural expectations. It is fascinating to think of all of the elements that have to be taken into account as the public relations and marketing teams plan the release of games and consoles, and how a misstep in any of the plans can lead to decreased interest in an entire country for the products associated with that console. One of the author's examples that gave me pause was the lack of interest by Japanese consumers in Microsoft's Xbox because Microsoft had chosen a date they thought would be auspicious without doing enough research to find out that Japanese employees would not be paid until a few days after the release date, leading the Japanese to doubt Microsoft's ability to successfully localize their campaigns. As I move forward with my analysis of Sony's "Greatness Awaits" campaign commercials in North America, de Pedro Ricoy's article will give me a foundation through which to understand the rhetorical strategies that formed the basis of Sony's approach to localizing their campaign to draw in an American audience.
For her article, de Pedro Ricoy approaches the topic of localization versus internalization and the rhetoric employed in global video game advertising through the lens of translation theory, marketing, and semiology. The main research question seems to be centered on what type of analysis would be best suited to exploring and evaluating the marketing strategies of video game console developers as they reach out to global audiences, and whether it is localization or internationalization that is most prevalent in these strategies. With regards to the methodology, the author establishes the target audience for video game marketers by moving through the demographics of the players and the buyers as well as discussing the importance of global marketing strategies to the success of the top three video game console developers— Sony, Microsoft, and Nintendo — as they spend millions of dollars in their quest to draw in new players while continuing to cater to existing fanbases. As she moves through her analysis of global advertisings by Sony, Microsoft, and Nintendo, de Pedro Ricoy looks at examples of textual, static visuals (promotional images), and televised advertisements to explore how the companies' marketing teams attempted to either localize their advertisements to a specific country/culture they were trying to reach, or internationalize their advertisements in order to reach the greatest number of potential buyers/players with the belief that globalization has eroded cultural boundaries.
The author highlights how certain advertisements were received in the countries they were targeting and notes how/why some failed (sometimes miserably) in those countries. de Pedro Ricoy (2007) concludes that "it seems that internationalizing strategies (which imply a degree of foreignization) are more prevalent than localizing strategies in the global campaigns for these products. Whilst different regions may have preserved their overall cultural singularity, certain demographic segments (young, relatively affluent consumers, in this instance) share a common identity that transcends geographical borders" (p. 273). She also lists four "examples of linguistic translation" that she uncovered while doing her research: "1) Literal translation, 2) Free translation, 3) gist translation, and 4) Generation of new text (based in a set of common features) in the context of copy adaptation" (de Pedro Ricoy, 2007, p. 273).
In regards to my own research, de Pedro Ricoy's article is extremely useful as the author breaks down the global advertising strategies of the top three game console companies based not only on gender, but also on nationality, language, and cultural expectations. It is fascinating to think of all of the elements that have to be taken into account as the public relations and marketing teams plan the release of games and consoles, and how a misstep in any of the plans can lead to decreased interest in an entire country for the products associated with that console. One of the author's examples that gave me pause was the lack of interest by Japanese consumers in Microsoft's Xbox because Microsoft had chosen a date they thought would be auspicious without doing enough research to find out that Japanese employees would not be paid until a few days after the release date, leading the Japanese to doubt Microsoft's ability to successfully localize their campaigns. As I move forward with my analysis of Sony's "Greatness Awaits" campaign commercials in North America, de Pedro Ricoy's article will give me a foundation through which to understand the rhetorical strategies that formed the basis of Sony's approach to localizing their campaign to draw in an American audience.
This post covers my responses to two of my peers' Digital Writing Assessment & Evaluation Annotated Bibliography entries. For this particular assignment, I chose to respond to Jenny's entry on Reilly and Atkins, and Leslie's entry on Brunk-Chavez and Fourzan-Rice.
I chose Jenny's annotations on Reilly and Atkins' article, "Rewarding Risk: Designing Aspirational Assessment Processes for Digital Writing Projects," as it seems to align very well with the article I read by Eidman-Aadahl et al., "Developing Domains for Multimodal Writing Assessment: The Language of Evaluation, the Language of Instruction." Reilly and Atkin's emphasis on the process of designing assessment that did not alienate students (rather, it encouraged them to be a part of the process) was encouraging, especially in terms of "trial-and-error" and students being self-reflective about how they chose to approach the work. Both trial-and-error and self-reflection are tools for people to become aware of their own processes, which can be critical when a person is struggling to learn and master new material and technological tools. Jenny did an excellent job linking the material from the article she read to not only what we are reading in class but also the kind of work and the digital tools that we are all slowly developing skills within. So often, work in the classroom becomes more about a percentage than the skills that are being learned and refined while working through material. I have seen some college professors and grade school instructors who were very concerned with their students proving themselves in a number scale that showing progress in learning course content was placed second. In their assignments, the students seem to come up against assessment that was all or nothing. The process of learning and producing should be even more important than the grading system that only looks towards the final product without any regard for the academic journey of the student. With the rise of digital writing projects and the fluidity with which such technologies can offer students in terms of not only how they produce their texts but also how they distribute them, is going to be very informative in watching students and instructors learn to navigate their changing relationships to texts.
Leslie's article annotation on "The evolution of digital writing assessment in action: Integrated programmatic assessment" by Brunk-Chavez and Fourzan-Rice was fascinating in that, as a case study, it was concerned with a particular instance of digital writing assessment in a way that Jenny's article and my article were not. It was fascinating to read about the University of Texas at El Paso (UTEP) acknowledging that new technologies require the curriculum and instructing practices to adapt so as to "improve student feedback" processes, "professional development," "improved quality of programmatic assessment and feedback," and to enable "students to write for a discourse community beyond their instructor." While the goals of the program are laudable, the concern of students about feeling alienated from their professor (ideally, the one person whose aid is what they come to depend on in terms of learning how to improve and to seek guidance from) as their work is sent to "WriterMiner….[and] then randomly distributed to the Scoring Team, which is made up of first-year graduate teaching assistants," raises questions not just about the language of assessment as seen in other articles in the Digital Writing Assessment & Evaluation, but what kind of structure should be in place so that students learn to work within in a digital learning atmosphere and what kind of network of evaluation would emerge to allow for an efficient "programmatic consistency." My former university had something similar to UTEP's process. The course was a required Humanities class taken by all students who had entered into the university with 59 credits or less (Junior-level transfer students lucked out), and was solely online. The course is strictly online and has an enrollment of up to 400 students a semester, divided between instructing professors with a certain number of graders assigned to each instructor. The material for the class was divided into two modules–Art and Music–and each module had designated units, which were based on different styles and mediums. While the class sounded highly efficient, students and graders tended to get lost in the mire. Each grader was generally in charge of anywhere between 40 to 75 students (though some graders could take on a greater number of students, but those were exceptions rather than the rule), so responding to student work was done through general stock comments according to a rubric that was both very specific (in terms of what needed to be covered) and very vague (in terms of how those content items should be covered). The students themselves never met their instructors (as the content of the course did not vary from semester to semester) and dealt virtually with their graders (who were better known as proctors). The course itself became a kind of assembly line of learning and the critical skills required of students in the coursework was meant to be learned elsewhere and channeled into their writing (despite most students taking the class were usually freshmen with no prior college writing classes). The course was redesigned my final year working with the university, but the administrators' stance was that there should be stricter rules and more of them (many more rules) so that passing the course was a matter of moving through a checklist rather than strengthening critical and creative academic skills. That was a long-winded explanation to make a point that both Leslie's entry and my experience with that Humanities course is that it seems instructors and administrators are right in the idea that curriculum and teaching styles should adapt to integrate new technologies, but the new technologies should not cause students to feel alienated. As digital assessment and evaluation are newer to the academic environment, some trial-and-error are to be expected, but the ultimate goal should be the encouragement and facilitation of student learning with an emphasis on students' coming to understand their own progress with the materials and tools.
We can run no longer. The era of critical making is here. Daniel's blog discussed the implications of data collection in digital spaces, and Leslie's blog discussed the need for digital composition and assessment strategies. Both have the inherent argument that the ramifications of digital spaces are firmly embedded within our discipline. What this tells me is that as scholars and instructors we have the responsibility to understand how to create technologies for scholarship and the classroom. We have to understand it as fully as teachers need to understand anything they teach and as scholars need to understand to analyze. It's a kind of fluency with technology production that most of us lack, or are scared of, or refuse to accept is part of the discipline. If there was a historical schism between linguistics and English, oral communication and English, and creative writing and English, with these disciplines being splintered off from the department, we must do the opposite for technology. As it now exists in completely separate discipline, technology studies needs to be enveloped by English studies. We have to bring these courses in technology production, management, and theory into our world alongside our surveys and seminars in literature and rhetoric. If we are going to teach students to be producers of digital content, we must understand the technology that facilitates that production. The time has come; I hope it has not passed.
The assignment for this entry asked for a summary of what/how/why I learned. The what is pretty easy. My comment above speaks to that. The how and why are far more difficult to answer. How did I learn? Collaboratively would be one way to answer that. My peers, whom I hold in the highest regard and regularly inspire and teach me, were able to comprehend the readings, coherently summarize them in their pieces, and offer broader implications for our course and discipline. The knowledge that I built is on their solid foundation, so in that sense I learned by working with Daniel and Leslie. These kind of jigsaw activities (I believe they are called if my memory of undergraduate courses in education are serving me right) are among my favorite ways to learn. Others often bring ideas to the table or make connections that I would not have made based on our diverse experiences and bodies of knowledge.
Why did I learn what I learned? I was open. I was willing. I was humble in the face of the vastness of things that I do not know. My peers are intelligent. My instructors asked me to. The material was selected for me. I have been trained in and have practiced the active reading and critical thinking skills needed to learn. I have prior knowledge from which to draw. All of these are potential answers to the question of why I, or anyone for that matter, might have learned. But I think that the real answer here if that I learned these particular take-aways because I am acutely aware of the issues surrounding critical making or technology production as a result of my own research. The "why" is inextricable from the "what" in which I am interested. The human mind most easily makes the connections across the pathways that are already there. As new information comes in, my mind works to fit it into the files that exist, to see the relevance to that which I already find important. Perhaps this is why networks grow organically. I want to expand the nodes I value. I seek out the connections that can be made to and from it. The network grows where knowledge can be easily created and around nodes that are most valued.
Synthesis Post: What did I learn from the Annotated Bibliography?
Eidman-Aadahl, Elyse, Kristine Blair, Dànielle Nicole DeVoss, Will Hochman, Lanette Jimerson, Chuck Jurich, Sandy Murphy, Becky Rupert, Carl Whithaus, and Joe Wood. "Developing Domains for Multimodal Writing Assessment: The Language of Evaluation, the Language of Instruction." Eds. Heidi A. McKee and Dànielle Nicole DeVoss. Digital Writing: Assessment and Evaluation. Logan, UT: Computers and Composition Digital Press/Utah State University Press, 2013. Web. 30 Jan 2014.
This article, written by the Multimodal Assessment Project (MAP) committee for the National Writing Project's Digital Is…Initiative, identifies five domains they believe are "vital for the assessment of digital writing offers the possibility that the language of assessment can inform—and build upon—discussions more often associated with interaction, instruction, and text creation than with evaluation": 1) artifact ("the finished product"), 2) context ("the world around the artifact, around the creation of the artifact, and how the artifact enters, circulates, and fits into the world"), 3) substance ("the content and overall quality and significance of the ideas presented"), 4) process management and technique ("the skills, capacities, and processes involved in planning, creating, and circulating multimodal artifacts"), and 5) habits of mind ("patterns of behavior or attitudes that reach beyond the artifact being created at the moment"). The authors elaborate on the definitions of these five domains by centering each one on a specific example of a student(s) project that they feel best exemplifies each domain. My favorite example was that of context with the example being a class/individual project of creating war poems based on The Things They Carried and the class' microblog. Each example represents a multimodal project incorporated into a grade school classroom and the strengths and weaknesses that were demonstrated in the final "artifact." MAP, with its emphasis on the five domains as the focal point, suggest that such projects could encourages students to become active producers of rhetoric and more aware of how they and others are using rhetorical strategies, and be a progressive step towards a better understanding of how to evaluate multimodal projects that go beyond the uniform writing skills that are being taught in accordance with standardized testing.
This article was very surprising in just how creative the grade school multimodal project instructions and productions were. The aim of the MAP committee's project was interesting in that it founded itself upon multimodality, with an emphasis on how students and teachers were operating within rhetorical genres. I was heavily reminded of the reading by Miller (with her idea of fluid motivations for genres) and Popham (with her dissection of boundary genres and the cohesion and tension such meldings can bring). The Google Earth Historical Figures Tour (not quite the right name for the project, but still) was a fascinating boundary genre because students were drawing on skills learned in history and English courses, using technology as the go-between despite that level of technology being an unexpected surprise to the teachers who had simply expected students to use the more traditional PowerPoint. The article itself presented alternatives to the standardized writing assessments that are lacking in many areas that multimodal writing projects could unveil, such as a student's growing awareness of situational needs that would play into the rhetorical choices they make with their work. By picking and choosing among existing projects being done in various schools (and even a camp setting at a university) the authors did a nice job of uncovering just how well K-12 grade students can learn to adjust and even thrive with writing assignments that go beyond the traditional print platform and the new skill sets that emerge when rhetorical forms are being engaged by youths who are learning to navigate what can be accomplished with advancements in technology while still retaining and honing skills that can be learned with more traditional modes of communication.
In terms of the Theories of Networks course, this article seems especially useful in that multimodal writing assignments create a network unto themselves between different kinds of technologies, students and teachers, students and students, and students, teachers, and larger audiences involved. One particular example in the article that stood out to me in terms of how a project discussed by the authors became more than just a project but a network of skills and participants/creators was that of the website created by the girls at a technology camp. The girls were broken into groups of 3 and given a short amount of time to create a website that reflected their own emerging digital identities but also that of the camp itself. By collaborating so regularly on specific projects, the girls became a network of shared skills and well as a collective intelligence about the project and camp as a whole. This network then grew larger as the website was put on display as the final project to visiting family members, but then attained a greater sense of network as the aim of the project was to be used for potential campers and their parents. The girls involved essentially created a network between themselves as existing campers, the camp leaders, and anyone interested in the camp as a camper or as the guardian of a potential camper. The multimodality of the project is a physical representation of the collaborative nature of the camp and the relationships between the campers that made the website possible.
Reilly, Colleen A., and Anthony T. Atkins. "Rewarding Risk: Designing Aspirational Assessment Processes for Digital Writing Projects." McKee, Heidi A., and Dànielle Nicole DeVoss, Eds. Digital Writing Assessment & Evaluation. Logan, UT: Computers and Composition Digital Press/Utah State University Press, 2013. Web.
In the article "Rewarding Risk" Reilly and Atkins describe a process of creating a method of assessing digital writing projects that encourage students to take risks. In the beginning of the article, Reilly and Atkins discuss the challenges of assessing digital writing projects and the ways in which assessments can either discourage or encourage students from taking risks while undertaking a digital writing project. While students are learning to use new technologies, they benefit from assessments that take into account their attempts to learn to use technologies without punishing them for imperfect outcomes. Reilly and Atkins claim that the language of assessments of digital writing projects should be generalizable, generative, aspirational (encouraging students to use new tools and learn new skills), and should solicit student involvement in assessment creation, which Reilly and Atkins claim will localize and contextualize the assessment). In creating assessments, Reilly and Atkins claim that assessment should clearly support pedagogical practices, that the educational values of the course should be evident, that the assessment should focus on instructive aspects of the course, and that the assessment should give feedback to guide future work (2-3). The assessments that are developed for digital writing projects need to be nimble, adaptable, and take into account students' unfamiliarity with the technologies that they are utilizing. By connecting assessment to student learning outcomes, can help encourage students to learn new skills. Digital writing projects, according to Reilly and Atkins, should include collaboration, acknowledge the way in which writing has changed, incorporate peer review, and include a revision plan (5). The author's suggest the use of deliberative practice, which "overtly requires a process that includes trial and error, the experience which leads to expanding proficiencies and developing expertise" (5). They say that assessment must encourage students to move past their current skills level and develop their expertise (6). Deliberative practice requires increasing the level of challenge, so assessments should take into account that students will make mistakes in the learning process. Reilly and Atkins say that assessments that students view as a checklist "discourage the deviation and innovation essential to engaging in deliberate practice and embarking on the process of developing expertise" (7). Attempts by both Reilly and Atkins to develop aspirational processes of assessment are detailed in the passage. They suggest that one way to facilitate assessment is to have students write reflections of their experiences working on projects, can help students to think about their work in rhetorical terms, to demonstrate their knowledge of course concepts, top provide rationales for design choices, and to learn through analyzing their experiences (9). Another approach that they explores was the use of primary trait scoring for digital writing assessment (10). This process involves the students into the creation of an assessment that "accounts for the risks they ned to take to complete a project successfully while simultaneously blurring distinctions between formative and summative assessment and making assessment part of the writing process, informing the development, production, and revision of digital compositions" (11). This process begins with assessment of the assignment, and also includes "analyzing the writing performance, and formulating primary traits" (12). This approach acknowledges that student "accomplishments may be much greater than the product they submit" (13). When involving students in the making of the assessment, the assignment becomes aspirational (15). In their conclusion, Reilly and Atkins acknowledge that there are some limitations to the process, such as time-constraints, but they explain the benefits that they have seen in their courses, such as increased student motivation and helping students learn to determine how projects should be assessed. The outcomes and the results suggest that by utilizing the aspirational process of assessment or the primary trait scoring process can increase student motivation and encourage them to take risks as they learn to use new technologies.
One way in which the discussion of the creation of assessment of digital writing projects is relevant to the course is that we are ourselves creating digital writing projects that some of us do not necessarily have much experience with. Before my first 894 class, I had a blog but had never really used it. We also use other technologies like Popplet. While I don't need to know how to write code in the class, I have run into a few issues with Word Press.
As I was reading this article by Reilly and Atkins, it occurred to me that some of the writing prompts, particularly the reading notes prompt, were designed to be an aspirational process of assessment. Because we have choices in the type pf content and the format, we students have the freedom to try new things with our blogs. We have the opportunity to aspire to continue developing our skills with blogging. The reading notes assignment prompt accomplishing two things that Reilly and Atkins felt were important in assessment of digital media projects: It encourages experimentation with composing in digital media, and it motivates "students to move beyond the basic activities necessary to produce the digital compositions" (np.).
Another parallel that I saw was that some of our assignments (particularly the Mind Map) include built in reflection on the use of technology. Reilly and Atkin explain that using a written reflection for digital projects encourages students to think rhetorically about their technological choices, show knowledge of course concepts, and articulate goals. The written discussions of our Mind Maps help us explain the rhetorical choices that we made and give us a place to delve deeper into how course concepts guided our choices.
Vatz and the Rhetorical Situation: How can assessment encourage rhetorical thinking?
Reilly and Atkins say that student reflections "about their digital compositions should involve rhetorically oriented rationales of content and design choices" (9). Why is it important that students be able to explain their rhetorical choices? For the answer to that question, we can turn to Vatz. Vatz says that if "you view meaning as a consequence of rhetorical creation, your paramount concern will be how and by whom symbols create the reality to which people react" (158). I think that this quote by Vatz is sheds some light on the ways in which attention to rhetorical concerns can impact assignment design and assessment.
1. By writing rhetorical rationales, students begin to develop an awareness of the ways in which meaning is "a consequence of rhetorical creation".
2. Reflection on the assignment helps teachers understand the rhetorical nature of their assignment designs. By examining students' discussions of the ways in which they interpreted and grappled with an assignment, teachers begin to see how symbols [particularly assignment design symbols] "create the reality to which people react" (158).
Poe Mya. " Making Digital Writing Assessment Fair for Diverse Writers." Eds. Heidi A. Mckee and Dànielle Nicole DeVoss. Digital Writing Assessment & Evaluation. Logan, UT: Computers and Composition Digital Press/Utah State University Press, 2013. Web. 3 February 2014.
In "Making Digital Writing Assessment Fair for Diverse Writers," Mya Poe argues that digital writing assessment must consider fairness in order to provide an equal opportunity to all students. Digital writing assessment is becoming more important due to the rise in digital writing and multimodal composition. Poe presents two theories about assessment and technology: "writing assessment as technology" and "writing assessment with technology. First, writing assessment is a technology. Poe sites the work of George Madaus, who argued that assessments fall under "very simple definitions of technology—the simplest being something put together for a purpose, to satisfy a pressing and immediate need, or to solve a problem" (qtd in Poe). Second, digital writing is being assessed through automated essay scoring (AES). The research on AES is mixed. On one hand it has been shown as reliable. On the other hand, the programs are said to have the "raced ideologies of their designers" (4). In response to this, Poe presents 3 key terms in digital writing assessment: validity, reliability, and fairness. She defines validity and reliability; however, the focus here is fairness.
Under the fairness, instructors consider the goal of the assessment and to ensure that students understand the purpose of the assessment. In addition, when interpreting assessments, instructors consider the social context and connect writing program data to institutional data. The fairness guidelines also encourage instructors to gather evidence about digital identities, understanding students' past digital writing experiences and the nature of those experiences. The Standards "provide us ways to think about the interpretation and use of assessment results" (14). Digital writing assessment has to go beyond traditional rubrics to seeing digital assessment as a way for instructors to make informed choices for the benefit of their teaching and student learning.
The questions posed in Poe's work (and in the entire collection) remind me of our initial class discussion where we talked about defining a network and understanding the affordances and roles of networks. Poe's work aims at the question: "How might the multimodal, networked affordances of digital writing affect issues of equity and access?" (Preface). This goes beyond questions of access to the network but also the benefits that sad network offers to that particular group. A minority group may have access to the network, but lack the knowledge or ability to capitalize on this access. This could be a network of physical friends and co-workers or a digital network.
Poe's work also made me think of assessment as a kind of boundary genre. Boundary genres are defined as genres that "may actively participate in interprofessional struggles about hierarchies, dominance, and values, helping to create, mediate, and store tensions" (Popham 283). Assessments work in this way, as scholar-teachers we struggle over the role of assessment and when and how to assess. Assessment goes across professional disciplines/boundaries because teachers, administrators, and the public use them to make changes to pedagogy, develop policies, and judge quality/effectiveness, respectively.
I am still pondering the connection between boundary genres and networks. Would boundary genres serve as nodes, providing connections between disciplines and groups in order to redistribute information and communicate between different points?
McKee, Heidi A., and Dànielle Nicole DeVoss, Eds. "Preface." Digital Writing Assessment & Evaluation. Logan, UT: Computers and Composition Digital Press/Utah State University Press, 2013. Web.
Popham, Susan L. "Forms as Boundary Genres in Medicine, Science, and Business." Journal of Business and Technical Communication 19.3 (2005): 279-302.
Deuren, Joe Van. "Fairness heading" Balanced Life Sills. Web. 3 February 2014.
Tarbell, Jared. "Node Garden." Gallery of Computation, 2004. Web. 3 February 2014.
Zoetewey, Meredith W., W. Michele Simmons, Jeffrey T. Grabill. "Assessing Civic Engagement: Responding to Online Spaces for Public Deliberation." Digital Writing Assessment & Evaluation. Eds. Heidi A McKee and Danielle Nicole DeVoss. Logan, UT: Computers and Composition Digital Press/Utah State UP, 2013. Web. 3 Feb 2014.
The primary concern explored in this chapter is the evaluation of student-produced civic web sites; these web sites are defined as "community-based digital spaces that can be used to enable public deliberation."
The authors explain that there is an inherent difficulty with assessing civic web sites in that usefulness - the ultimate goal of a civic web site - can only be determined after the public has had a chance to utilize the site. However, a student will need a grade at the end of a semester before the public has had that chance to interact with the final project students produce. If the site cannot be evaluated based on its usefulness to the public, then what criteria and methods can be employed to determine a fair evaluation?
The authors are clear to distinguish between "usefulness" and "usability." Usability is a site that is easy to use, makes efficient use of graphics and interfaces. Usefulness is the idea that a site helps users "do better work"; the site supports learning and knowledge-making.
Civic web sites can be difficult to assess because traditional rubrics favor usability when evaluating digital products; concepts like simplicity, scanable content, and efficiency are privileged. However, civic web sites have a different purpose, which is to provide users with deeper educational content, unfettered access to data, and communicates in specialized vocabularies specific to the field. These criteria are often incompatible with traditional usability rubrics, requiring an alternative method for evaluation.
The authors explain their concept of "productive usability" which accounts for these advanced needs and is based on the features that users of civic web sites have identified as being important to the work they wanted to do. Productive usability is based on three main criteria: consideration of alternative use, consideration of technical literacy, and consideration of interactivity.
Alternative use is the idea that site creators should consider the multiple ways in which the information may be of use to the public, and they should plan for the kinds of alternative uses that might occur that differ from the creators' intentions. For example, the creators may want a civic web site that provides information for policy makers, but the site may also be visited by citizens looking to become involved in a cause. The site should be evaluated based on whether the creators accounted for the multiplicity of purpose in visiting the site.
Technical literacy is the idea that the civic web site is educational at its core, and if people visiting the site are to be able to participate in the discourse, they must have the fluency in the specific jargon used therein. There must also be an inclusion of full-text reports and other data that can be read and interpreted by the user. Technical literacy is the term applied to the jargon and data, and it should be evident on the site in links to data or the inclusion of glossaries.
Interactivity is the idea that visitors to the site must be engaged in order to participate in the discourse surrounding the particular civic issue being highlighted online. Interactivity is the pathway to engagement by building emotional and psychological connections to the issue. The site should encourage various forms of interaction to build the sense of engagement and ultimately action. Evidence might take the form of photographs designed to induce an empathetic response or a place devoted to user uploaded narratives.
Finding indicators of the three criteria above should also be combined with evidence of the students' process in creating the site. Process-based evidence might include journal-style work logs, which track the groups' discussion and implementation of the three criteria.
By evaluating a civic web site based on the indicators and process-based evidence of the three criteria of productive usability, instructors will be able to confidently assess student-produced digital spaces before the public has a chance to determine their usefulness outside the academic exercise.
The article describes civic web sites as having "the potential to aid change in communities." This is reminiscent of Miller's work with genre. She explains that we can view genre as being able "to marshal linguistic resources for the sake of social action" (71 "Rhetorical Community"). She continues to argue that genres help "communities do their work and carry out their purposes" (75 "Rhetorical Community"). There are also connections to Popham's claim that "genres are the means by which things get done within a community, ideas get transmitted, and plans get made" (281-2). Both civic web sites and genres are significant because of the work they can perform with a community, for their ability to create action and change.
This ability for the audience to perform social action is also linked to the claims by Bitzer. He argues that the "rhetor alters reality by bringing into existence a discourse of such a character that the audience, in thought and action, is so engaged that it becomes mediator of change" (4). Here, the rhetor can be understood as the makers of civic web sites. They bring the site into existence much like Bitzer's rhetorical discourse and the audience reached becomes engaged in the topic enough to foster change. The term engaged is significant especially since interactivity to increase engagement is on of the three criteria the article proposes to use for evaluation. Furthermore, the civic web site is evaluated based on usefulness - the concept that the user can "do better work". This doing of work by the audience is the same as Bitzer's argument that "rhetorical discourse produces change by influencing the decision and action of persons who function as mediators of change" (7). Civic web sites provide the tools and information needed for the audience to do work that will ultimately change a community.
The concept of alternative use is related to Popham's ideas about boundary objects. Popham states that "a boundary object serves the needs of multiple sites or multiple professions" (284). This is exactly what makers of civic web sites must take into consideration under the article's proposed evaluative criteria. The site should be agile enough to meet the needs of users that the site-creators may not have in mind as the initial audience; it should be a boundary object that can serve the needs of multiple users. There is also the Bazerman idea from the chapter "Systems of Genres and the Enactment of Social Intentions" embedded here that there is a "multiplicity of action" (90) in texts with multiple intentions and interpretations possible from the same speech-act (87). Alternative use suggests that civic web sites have multiplicity, the potential to be useful to the community in more than one way.
We can also see connection to Foucault in the discussion. Consider the following quote from the article: "[The alternative use criterion] requires seeing the audience in context, considering how the information relates to a range of stakeholders, and positioning them as active participants, capable of exploring their own interests." In this sense, the civic web site becomes meaningful in terms of its relations. Foucault is interested in scholars' ability to "analyse the interplay of [concepts'] appearances and dispersion" (35). Creators of civic web sites are evaluated on how well they can analyze how information relates to various audiences, how the active participants will be positioned against the information provided, and where they will be dispersed throughout the field.
Foucault is also present in interactivity as the concept is grounded in the theory that there should be "no pre-set entry points or stopping points" (Mirel qtd. in Zoetewey). This is discussed in context of the notion that interactivity and engagement can be reached through user-guided explorations. The web site should be designed in such a way to support this free exploration without pre-set starts and stops. This is like Foucault's ideas about general history versus total description. He writes, "A total description draws all phenomena around a single center - a principle, a meaning, a spirit, a world-view, an overall shape; a general history, on the contrary, would deploy the space of dispersion" (10). By building in a principle of free exploration to enhance engagement, the civic web site is less structured or restrictive, much like the general history using the "space of dispersion". Users are allowed to move as they will through the dispersed space, leading himself or herself to the knowledge and connections important to them.
Bazerman, Charles. "Systems of Genres and the Enactment of Social Intentions". Genre and the New Rhetoric. Eds. Aviva Freedman and Peter Medway. London: Taylor and Francis, 1994. 79-104. Print.
Bitzer, Lloyd F.. "The Rhetorical Situation". Philosophy & Rhetoric 25 Selections from Volume 1 (1992): 1-14. Print.
Foucault, Michel. Archaeology of Knowledge. New York: Vintage Books, 2010. Print.
Miller, Carolyn R.. "Rhetorical Community: The Cultural Basis of Genre". Genre and the New Rhetoric. Eds. Aviva Freedman and Peter Medway. London: Taylor and Francis, 1994. 23-42. Print.
Popham, Susan L.. "Forms as Boundary Genres in Medicine, Science, and Business". Journal of Business and Technical Communication 19 (2005): 279-303. Print.
Annotated Bibliography Entry: Bourelle et al.


text:
Richard Rogers + Architects: From The House To The City
British architect Richard Rogers has been described as the last humanist, in recognition of his determination to create public spaces that encompass the diversity and complexity of the contemporary world. This book takes a look at the work of Rogers and his partners, from his early career in the Sixties and Seventies, to his collaboration with Renzo Piano on the design of the Pompidou Centre (1971-77), to numerous projects up to present day through his architectural practice, Richard Rogers Partnership (now Rogers Stirk Harbour + Partners).
Rogers and his team use new materials and innovative techniques to build structures that are lightweight, transparent and environmentally friendly. His buildings create a seductive interplay of light and shadow and are simple to understand and use. In this book, projects executed by Richard Rogers and his partners are presented in sections devoted to the various architectural themes that define his work: legible; transparent; lightweight; systems; green; urban; public; together with sections on both early work and work in progress.
The Practice has won many awards including, exceptionally, the Stirling Prize for Terminal 4 Barajas Airport in 2006 and again in 2009 for Maggie's London. Richard Rogers is the 2007 Pritzker Architecture Prize Laureate, the recipient of the RIBA Gold Medal in 1985 and winner of the 1999 Thomas Jefferson Memorial Foundation Medal.
Exposed; Early Work; Public; Legible; Lightweight; Green; Timeline; Transparent; Systems; Urban; Cities and the Future; Work in Progress; Inside Out; Directors' Biographies; Manifesto.
Richard Rogers is a great architect. He is the only architect I know that can be a humanist at 9 o'clock in the morning, a builder at 11, a poet just before lunch and a philosopher at dinner time. This is what I call a great architect. Renzo Piano


text:
package org.apache.syncope.common.types;

import javax.xml.bind.annotation.XmlEnum;
import org.apache.syncope.common.to.AbstractSchemaTO;
import org.apache.syncope.common.to.DerivedSchemaTO;
import org.apache.syncope.common.to.SchemaTO;
import org.apache.syncope.common.to.VirtualSchemaTO;

@XmlEnum
public enum SchemaType {

    /**
     * Standard schema for normal attributes to be stored within syncope.
     */
    NORMAL("schema", SchemaTO.class),
    /**
     * Derived schema calculated based on other attributes.
     */
    DERIVED("derivedSchema", DerivedSchemaTO.class),
    /**
     * Virtual schema for attributes fetched from remote resources only.
     */
    VIRTUAL("virtualSchema", VirtualSchemaTO.class);

    // TODO remove name once CXF migration is complete
    private final String name;

    private final Class<? extends AbstractSchemaTO> toClass;

    private SchemaType(final String name, final Class<? extends AbstractSchemaTO> toClass) {
        this.name = name;
        this.toClass = toClass;
    }

    public String toSpringURL() {
        return name;
    }

    public Class<? extends AbstractSchemaTO> getToClass() {
        return toClass;
    }
}

redpajama_set_name: RedPajamaGithub


The Yankees took the rubber match of the three game set with the Sox by clubbing six home runs, two of which jumped off the bats of ex-Sox Carlos May and Bucky Dent. The Sox then headed out to Minnesota for a two game set with the first place Twins. The Sox were two games behind at the start of the series, a sweep would put them in 1st by percentage points.
Wilbur Wood took the mound this Sunday afternoon for his first start since May 9 of the previous year, when he had his knee shattered by a line drive. The competition would be the very same Tigers club against whom that had happened. The results were just as pretty.
The Sox get hot in May, going 8-3 over their first 11 games. They came home from a two week road trip to meet the Indians on Friday the 13th, which the ever-creative Veeck promoted as "anti-Superstition Night." Mirrors were brought out to the field and smashed in defiance of old wives' tales. The Sox then slapped the Indians 5-3.


This is a great little apartment Media Carrot Photographed for our client Diana Rosero with Keller Williams www.DianaRosero.com. This is a 1 bedroom, 1 bathroom in Canoga park. It's a small 511 sq ft...but it feels much larger! It's a simple space that's been very nicely updated! Take a look at all the photos on the website!


My boys (who resist school work) actually enjoy going to tutoring, and they feel very empowered after each session!
Our child's tutor is on top of everything and makes the whole process so smooth and enjoyable for all of us!
My daughter absolutely loves her tutor, trusts her, and always comes home a bit more confident than when she left!
Commonwealth Learning Center provides one-to-one teaching using a customized plan to meet the needs of each student.
Our teachers have special expertise working with students who have learning disabilities, including dyslexia, ADHD, language-based learning disabilities, non-verbal learning disabilities, and executive function difficulties. CLC also offers educational assessments.


text:
LyondellBasell and Bora Start-up New Joint Venture Facility
ROTTERDAM, The Netherlands and HONG KONG, Sept. 1, 2020 /PRNewswire/ -- LyondellBasell (NYSE: LYB) and China's Liaoning Bora Enterprise Group (Bora) today announced the establishment and start-up of their new joint venture polyolefin complex in the Liaoning province of northeastern China. First announced in September 2019, the 50:50 joint venture (JV) will operate under the name Bora LyondellBasell Petrochemical Co. Ltd. (BLYB).
"Demand for polyolefins has returned in China after the pandemic-related economic slowdown earlier in the year and the long-term growth trends are very favorable for this project," said Bob Patel, CEO of LyondellBasell. "Our BLYB joint venture brings together the best of both LyondellBasell and Bora, leveraging the companies' knowledge and experience to help to meet the growing demand for polyolefin products in China. We look forward to potential future opportunities that would allow us to expand our local manufacturing footprint."
The two parties are planning medium-to-long term collaboration on additional petrochemical projects that could be deployed in multiple phases over the next 10 years.
"The Northeast is on the forefront of China's next round of regional revitalization. It is an increasingly attractive destination for investment, blessed with abundant natural resources, upgraded infrastructure, and a rapidly improving business environment, supported by the government's long-term development vision," said Qu Baoxue, the controlling shareholder of Bora. "We are excited to work with LyondellBasell through BLYB to better serve our customers' needs, support the development of China's petrochemical industry, and contribute to the revitalization of northeastern China."
The BLYB complex is one of the world's most advanced polyolefins production sites and is one of the largest of its kind in China. The facility includes a 1.1 million metric ton per annum flexible naphtha / LPG cracker and associated polyethylene production capacity of 800,000 metric tons per annum and 600,000 metric tons per annum of polypropylene. The BLYB complex utilizes LyondellBasell's industry-leading Spheripol and Spherizone polypropylene technologies along with the company's Hostalen ACP polyethylene technology. The materials produced at the facility will be sold for use within China.
"We are very proud of the new joint venture and this facility. It will play a critical role in efficiently providing high-performance materials to existing and new customers through our four hubs across China," said Limin Fu, Chairman of the Board of BLYB. "The complex will supply polyolefin products for various industries in China, including packaging, transportation, building and construction, and healthcare and hygiene."
About LyondellBasell
LyondellBasell (NYSE: LYB) is one of the largest plastics, chemicals and refining companies in the world. Driven by its employees around the globe, LyondellBasell produces materials and products that are key to advancing solutions to modern challenges like enhancing food safety through lightweight and flexible packaging, protecting the purity of water supplies through stronger and more versatile pipes, improving the safety, comfort and fuel efficiency of many of the cars and trucks on the road, and ensuring the safe and effective functionality in electronics and appliances. LyondellBasell sells products into more than 100 countries and is the world's largest producer of polypropylene compounds and the largest licensor of polyolefin technologies. In 2020, LyondellBasell was named to Fortune Magazine's list of the "World's Most Admired Companies" for the third consecutive year.
About Bora
Liaoning Bora Enterprise Group is one of the largest private petrochemical enterprises in northeastern China, with total assets of more than RMB 100 billion. PNAF, a core subsidiary of Bora Enterprise Group, has the right to use 7 million metric tons per annum of imported crude oil, the license for non-state trading of importing crude oil and the qualification for wholesale of refined oil products. In 2019, PNAF ranked 299th among the "Top 500 Chinese Enterprises".
Forward-looking Statement
The statements in this release relating to matters that are not historical facts are forward-looking statements. These forward-looking statements are based upon assumptions of management which are believed to be reasonable at the time made and are subject to significant risks and uncertainties. Actual results could differ materially from the projections, anticipated results, or other expectations expressed in this release, including, but not limited to, the successful operation of the complex described; future demand and the growth of the global polyolefin market and in the regions described; and general economic conditions in geographic regions or markets served by LyondellBasell and its affiliates, or where operations of the company and its affiliates are located. While these statements and projections are made in good faith, LyondellBasell and its management cannot guarantee that anticipated future results will be achieved. Additional factors that could cause results to differ materially from those described in the forward-looking statements can be found in the "Risk Factors" section of our Form 10-K for the year ended December 31, 2019, and our Form 10-Q for the quarter ended March 31, 2020 which can be found at www.LyondellBasell.com on the Investor Relations page and on the Securities and Exchange Commission's website at www.sec.gov. LyondellBasell assumes no obligation to publicly update or revise any forward-looking statements made herein or any other forward-looking statements made, whether as a result of new information, future events, or otherwise.
LyondellBasell to Discuss Fourth Quarter Results on Friday, February 3, 2023
LyondellBasell Selects Executive Vice President of People and Culture
LyondellBasell Increases Greenhouse Gas Emissions Reduction Targets, Includes Scope 3


text:
Ha praticato le competizioni di difficoltà e boulder, l'arrampicata in falesia, il bouldering e le vie lunghe.

Biografia
Nato ad Albertville, nel cuore del Parco nazionale della Vanoise, ha cominciato ad arrampicare fin da piccolo grazie alla passione trasmessagli dai genitori. Ha condiviso la passione col fratello maggiore Arnaud Petit. Entrambi hanno vinto delle Coppe del mondo: due per François e una per Arnaud.

Ha salito fino all'8c+ lavorato, anche se col tempo ha prediletto l'arrampicata indoor. Ha lasciato le competizioni nel 2004 e dal 2010 è l'allenatore della nazionale francese di boulder. È direttore del Le Mur de Lyon, la palestra per arrampicata indoor più grande di Francia, sita a Lione.

Palmarès

Coppa del mondo lead

Campionato del mondo

Statistiche

Podi in Coppa del mondo lead

Falesia
Ha scalato fino all'8c+ lavorato.

 8c+/5.14c:
 Superplafond - Volx (FRA) - 1995 - Via di Jean-Baptiste Tribout del 1994
 Le Bronx - Orgon (FRA) - 1994 - Prima salita

Vie lunghe
 Via Bonington - Torres del Paine (Patagonia) - gennaio 2007
 Eternal Flame - Torri di Trango/Nameless Tower (PAK) - 20-22 luglio 2005

Note

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Body of missing worker recovered from Gwangju construction accident site
Rescue workers recover the body of a worker who went missing after the collapse of an apartment building at the construction site in Gwangju, Jan. 14. Yonhap
Rescue workers on Friday recovered the body of a worker who went missing at the site of a construction accident in the southwestern city of Gwangju earlier this week.
The remains of the unidentified man, presumed to be one of six missing workers, were recovered near the handrail of stairs on the first basement floor of the damaged building in Gwangju, about 330 kilometers south of Seoul, as search and rescue operations continued for the fourth day. The body was taken to a hospital.
Exterior walls of the 39-story building under construction in Gwangju, 330 kilometers south of Seoul, crumbled Tuesday, trapping construction workers at the site.
Three workers were rescued in the initial search operation on Tuesday, with one of them sustaining injuries from falling rubble. But the six who were working on upper floors of the building went missing.
Authorities expect the search and rescue operations to take a considerable amount of time due to a heap of fallen objects. Heavy objects were being lifted with heavy equipment, and rescue workers were dismantling reinforcing bars. (Yonhap)


text:
Q: C#: How the Event handler is bound to a method named "On....."? hi all
My friend says "in c#, every event handler is bound to a method which its name is On...."
I mean, for example, SelectedIndexChanged of a combobox is bound to a method named OnSelectedIndexChanged.
My question is: How can I see it?
Please tell me more about that if its possible.
Thank you

A: Your statement is not entirely true.
You can bound any method to the event as long as that method has the required signature.
Not every event is bounded to a method, and not every method bounded to an event starts with "Onxxx". The naming convention is quite popular among developers though. (by default Visual Studio naming convention is [Name of the component]_[Name of the event].
You can see which methods are bounded to which events from the design view, Properties subpanel, select the event tab (icon similar to a storm light). You will have the list of events and the method bounded to it (if there is one)

A: This is class design convention, not something .NET enforces. Most of .NET and 3rd party libraries use this convention. Its simply code, that needs to be coded to meet this convention. Its not automatic, if you wanted to ask that.

A: The methods that start with "On...." are used as a convention. These methods are not "bound" in any way with an event nor an event is "bound" to them (taking into consideration the generally accepted definition/procedure of registering for an event).
What they actually do is raise the event suggested by the words following the "On" prefix.
For instance:
protected void OnSelectedIndexChanged(EventArgs e)
{
   if(SelectedIndexChanged!= null)
      SelectedIndexChanged(this, e);
}

where SelectedIndexChanged event is defined somewhere like this:
public event EventHandler SelectedIndexChanged;

The convention and .net practices state that for each event you should have a overridable protected method that raises the event.
In a derived class you could do something like that:
protected override void OnSelectedIndexChanged(EventArgs e)
{
   base.OnSelectedIndexChanged(e);

   // your custom code here
}

NOTE: To be absolutely correct, this event and others may use different derived types from the EventArgs class but the concept is the same.


Tradeasia is a Global Chemical Distribution established in 2002. since our establishment, we keep growing rapidly and widen our market presence.Our representative offices have fostered our company to grow rapidly and we are able to attend customers at their time zones and in their languages to better understand their needs. we have been growing continuously at a steady rate of about 20% annually. Since the beginning Tradeasia has provided optimized supply chain services that has paved the way for long term business relation with our clientele. Read more..


text:
The first woman commemorated with a statue in Parliament Square
Dame Millicent Garrett Fawcett 1847 - 1929
The first woman to be commemorated with a statue in Parliament Square was the suffragist campaigner Dame Millicent Garrett Fawcett.
Millicent campaigned for women's suffrage through legal change and led Britain's largest women's rights association, the National Union of Women's Suffrage Societies, from 1897 to 1919.
Her elder sister, Elizabeth Garrett Anderson, became Britain's first female doctor and was a significant influence on Millicent.
Then, in July 1865, aged 17, Millicent heard the philosopher and politician John Stuart Mill address an election meeting and commented, "This meeting kindled tenfold my enthusiasm for women's suffrage".
On 20 May 1867, Millicent sat in the Ladies' Gallery of the House of Commons when John Stuart Mill tried to introduce his famous amendment to the 1867 Representation of the People Bill. As a Member of Parliament, Mill tried unsuccessfully to amend the Reform Bill and have the word 'man' substituted with 'person'.
In The Suffragette's Daughter, I mention how suffragists targeted the Ladies' Gallery. In the 1830s, the grilles had been designed to screen the ladies in the Gallery from the men below. MPs were not to be distracted by women watching them at work. The grilles restricted the view of the debating chamber and made the Ladies' Gallery extremely hot. To suffragists, they became a symbol of repression.
In 1908, Helen Fox and Muriel Matters of the Women's Freedom League chained and padlocked themselves to the grilles while Violet Tillard pushed a large banner through the latticework on the end of a rope into the debating chamber below.
Two months after her visit to the Ladies' Gallery, Millicent attended the first meeting of the National Society for Women's Suffrage and joined its executive committee.
She once stated: "I cannot say I became a suffragist. I always was one, from the time I was old enough to think at all about the principles of Representative Government."
Millicent disapproved of the tactics employed by more militant organisations such as the Women's Social and Political Union (WSPU), whose motto was 'Deeds not Words'. Millicent believed their actions would turn public (and parliament's) opinion against them and damage the prospects of women gaining the right to vote.
In her book, What I Remember, Millicent said:
I could not support a revolutionary movement, especially as it was ruled autocratically, at first, by a small group of four persons, and latterly by one person only.... In 1908, this despotism decreed that the policy of suffering violence, but using none, was to be abandoned. After that, I had no doubt whatever that what was right for me and the NUWSS was to keep strictly to our principle of supporting our movement only by argument, based on common sense and experience and not by personal violence or lawbreaking of any kind.
During the First World War, the NUWSS turned their activities towards the war effort, supporting hospital services in training camps and financing women's hospital units.
After the war, in 1919, the NUWSS renamed itself the National Union of Societies for Equal Citizenship and continued to campaign for equal rights.
In the 1925 New Year Honours, Millicent was appointed Dame Grand Cross of the Order of the British Empire (GBE).
Dame Millicent Garrett Fawcett died in 1929 at the age of 82. In 1932, a memorial to Fawcett was unveiled in Westminster Abbey with the inscription: "A wise constant and courageous Englishwoman. She won citizenship for women."
In 2018, to commemorate the centenary of the Representation of the People Act, which had granted limited franchise, Millicent became the first woman commemorated with a statue in Parliament Square.
Statue by Gillian Wearing, unveiled in Parliament Square in 2018
Despite pioneering women such as Millicent Fawcett, the next generation still had to fight for equality.
suffragist
Parliament Square
Suffrage movement
Dame Millicent Fawcett
suffragette protests


what a pain to document you code in some other HTML format right ? … well why not document where it makes sense and then get a tool to create the HTML ?
I have been working on Eclipse RCP products (rcp plugins/features/products) for 10 years for Schneider Electric and in my spare time I have develop what ever is interesting at current times… right now GWT web apps.


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This entry was posted on January 22, 2017 by hbarbour, in Day 12 of DrakeinDC and tagged #WomensMarchOnWashinton, DrakeinDC, Feminism, Metro, NARAL, Planned Parenthood, Protests. Bookmark the permalink.	1 Comment
By Haley Barbour
A metro train the morning of the Women's March on Washington. Photo Credit Haley Barbour
Yesterday I attended the Women's March on Washington. I had been looking forward to attending this march since it was first announced after the election, but I was especially excited after my experience at the inauguration. The experience was everything I wanted to be. I left my room and walked to the metro to find other marchers waiting at the station. This already brought me a sense of joy, but that was multiplied a hundred times when the train arrived and it was so packed with people wearing pink that we could not get on.
Once I finally got on a train we traveled through metro stop after metro stop that was so packed with people our train did not stop because there would be no possible way to fit any more bodies on the platform. Once I was off the train I traveled with the sea of people flooding the streets as I made my way towards the Capitol. I saw so many clever signs and like-minded women and men that I felt all of the sadness from the day before leave me. I made my way through the crowd as I chanted along to "love trumps hate" and "this is what democracy looks like." I was struck with the incredibly diverse crowd I was surrounded by. There were women and men of all ages and ability levels. There were people of all races and religions. The crowd was a huge contrast to the one I stood in twelve hours earlier.
Among the organizers of the Women's March on Washington are three women of color that wanted to ensure that the march was inclusive of all women and allies. Tamika Mallory, Carmen Perez, and Linda Sarsour worked tirelessly alongside their national committee to put on this march the day after President Trump was inaugurated. Turn out to the march certainly indicates success. D.C. city officials estimate that over 500,000 people attended the march in Washington. Many news outlets also believe that more than 1 million people attended all of the women's marches around the country and the world. While I personally found marching to be therapeutic, in the aftermath I have more questions than answers.
First of all, Washington's march was inclusive. The event on Facebook said, "This is an INCLUSIVE march, is FREE to join and EVERYONE who supports women's rights are welcome." This is amazing, and it makes the message even more powerful the more people that support it. There is no doubt that the emphasis on diversity was intentional given the president's statements towards specific marginalized groups. The feminist movement in this country however does not have a history of being inclusive. Certainly there have always been proponents of including more women and more ideas, but those ideas have regularly been shut down. Some of the exclusion is due to pure racism and prejudice towards other religions. But there is also a history of exclusion of ideas, something that the organizers of the march Saturday had to face. For example, the official platform of the march calls for "open access to safe, legal, affordable abortion and birth control for all people…" The event was also co-sponsored by Planned Parenthood and NARAL. But the march gained a lot of controversy when a few pro-life organizations were added to the list of official partners. The abortion question is one of many that has haunted the women's movement in this country.
A group of marchers headed to the Women's March on Washington. Photo Credit Haley Barbour
While I strongly support that march being pro-choice, it does bring up some important conflicts. Many pro-life women were just as outraged by President Trump's comments during the campaign. The march organizers responded to public outrage by removing the pro-life groups from the list of official partners and assuring people that "from day one" the march has been pro-choice. How can we have intersectional feminism without diversity of ideas alongside diversity of people? How does a movement create a cohesive platform with such a range of issues affecting modern women? I do not have the answers to these questions, but moving forward it is important that they be considered.
As someone who worked for Hillary Clinton's campaign and was told by democratic women and allies daily that they did not want to help the campaign, I also considered where all of this support was before the election. Perhaps the election was what many people needed to wake them up. If that is the case, I am going to ignore the fact that they are late to the party and embrace the fact that they are here now. That being said, for those of us that understand the sacrifice and literal blood, sweat, and tears that go into organizing it is concerning that this was many people's first time participating. Moving forward what action steps will they take, if they couldn't be bothered to take action during the election? Marching is one thing, working together as a network to lobby for issues we care about in a government in which the democrats are a minority is not easy. I also fear that many people view the goal of the march as getting allies elected in 2018 and 2020. That is a goal, but certainly not the first. We have to continue the momentum of the march tomorrow to fight for the programs we care about.
Many questions must be answered, but that is a problem that every movement has at its birth. Nevertheless, I am encouraged by the people that attended the marches around the world that real action will come next.
One thought on "Where Do We Go From Here?"
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Occupational & Environmental Medicine (OEM) Residency consists of 3 years of training as follows: The Internship year or PGY-1 (includes 11 months of direct patient care) is completed prior to the start of residency during any clinical internship. Typically residents come from Internal Medicine, Family Practice or Transitional Internships. The PGY-2 year of the residency gives residents an opportunity to earn a Master of Public Health degree and begin seeing patients in hospital based Occupational Medicine Clinics. During the PGY-3 year, the residents complete administrative and clinical rotations that continue teaching the clinical, preventive medicine and occupational medicine competencies introduced during the PGY-2 year. Since the OEM residency does not offer a PGY-1 or internship year, all physicians must complete a clinical PGY-1 year and must hold a state medical license before beginning the PGY-3 year of training.
During the PGY-2 year, the occupational and environmental medicine residents attend the Uniformed Services University of the Health Sciences, Bethesda, MD and earn a Master of Public Health degree in the Occupational and Environmental Medicine concentration.
The objective of the PGY-2 year is to provide the resident with a foundation in the core disciplines of public health and to prepare the resident for occupational medicine practice during the PGY-3 year.
Core MPH Program Course Requirements: The courses listed below are the required core MPH Courses that all students must take to graduate from the MPH Program. The course descriptions for these courses are provided in the MPH Handbook.
In addition to the academic and practicum training described above, the residents participate in a weekly journal club and the PMB seminar throughout the entire two years of training. The journal club introduces the resident to evidence based medicine and requires each resident to review the literature of occupational and environmental medicine and preventive medicine/public health. The seminars include special emphasis on the military unique aspects of occupational and preventive medicine.


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Tuesday Morning Quarterback: Top Players, Top Teams and Week 7 look-ahead
Mike Pucci | October 22, 2013
OFFENSIVE PLAYERS OF THE WEEK
Ansonia's Arkeel Newsome: Rushed for 396 yards and six touchdowns to become the state's all-time leading rusher in a 56-21 win over Masuk on Thursday.
Foran's Sean Deegan: Caught seven passes for 188 yards and three touchdowns in a 54-18 win over Lyman Hall on Friday.
Hillhouse's Harold Cooper: Rushed for 183 yards and two touchdowns to become the state's sixth player to surpass 6,000 career yards in a 42-2 win over Sheehan on Thursday. Cooper also made a touchdown reception and scored on a punt return.
Middletown's Dario Highsmith: Rushed 24 times for 346 yards and two touchdowns and threw two touchdown passes in a 49-21 win over Bristol Central on Friday.
Shelton's Jason Thompson: Rushed for 303 yards and two touchdowns in a 36-19 win over Wilbur Cross on Friday.
Newington's Jake Hedberg: Set a school-record by throwing for 459 yards in a 52-36 win over South Windsor on Friday. Hedberg completed 26 of 39 passes with four for touchdowns.
Jack Shaban, Barlow — Ran for 231 yards and five touchdowns in Barlow's romp of Torrington.
Trumbull's Nick Roberts: Threw for 371 yards and three touchdowns in the Eagles' 50-44 shootout win over Greenwich.
Greenwich's Austin Longi — Ran for 330 yards and five touchdowns in the loss to Trumbull.
DEFENSIVE PLAYERS OF THE WEEK
Bullard Haven's Hakeem Fletcher: Made 12 tackles, one sack and forced a fumble in a 28-0 win over Platt Tech on Friday.
Hamden Hall's Jason Criscio: Had 12 tackles and a sack in a 36-31 victory over King on Saturday.
Hand's Dan Rogers: Returned an interception 25 yards for a touchdown in a 35-27 win over Fairfield Prep on Friday.
Cheshire's Colin Thorne: Made 10 tackles, an interception and blocked an extra point in a 13-6 win over Hamden on Friday.
SPECIAL TEAMS PLAYERS OF THE WEEK
Notre Dame-West Haven's Chris Stanio: Kicked a 26-yard field goal and made five extra points in a 38-20 win over Amity on Friday.
Granby's Matt Holmes: Kicked a 36-yard field goal with three seconds remaining in a 17-14 win over Lewis Mills on Saturday.
Hand's Tom Wilson: Returned a kickoff 85 yards for a touchdown in a 35-27 win over Fairfield Prep on Friday. Wilson also caught seven passes for 177 yards and two touchdowns.
Morgan's Gabe Eriksen: Scored on an 82-yard kickoff return in a 47-8 win over Haddam-Killingworth on Friday.
Vinal Tech/East Hampton's Ryan Fazzino: Returned the game's opening kickoff 73 yards for a touchdown in a 21-0 win over O'Brien Tech on Saturday.
Manchester's Anthony Rivas: Returned the second-half kickoff 91 yards for a touchdown to begin a run of 38 straight Manchester points in a 68-41 win over Conard.
TEAMS OF THE WEEK
Crosby: Chris Matthews rushed for 218 yards and two touchdowns as the Bulldogs defeated Immaculate 43-20 on Friday to win their first game of the season.
Hall: Tom Honyotski completed 31 of 42 passes for 399 yards and three touchdowns as the Warriors (4-1) rallied past previously unbeaten Southington 49-37 on Saturday. Hall trailed by 21 and 16 points before scoring 28 unanswered points to emerge victorious.
Tolland: Defeated Rockville 19-0 on Friday to win its first game of the year.
West Haven: Stuffed a two-point conversion attempt in overtime in a 35-34 win over Xavier on Friday. That allowed Westies coach Ed McCarthy to tie former Ledyard coach Bill Mignault for career wins (321).
PLAYS OF THE WEEK
We're still taking nominations for 'PLAYS OF THE WEEK.' Send a video link to sbowley@nhregister.com or Tweet at us at @SPBowley or @GameTimeCT Deadline is 6 p.m. Tuesdays.
Torrington (0-6) at Holy Cross (4-2), Thursday, 6 p.m.: WATR 1320-AM
West Haven (5-1) at Hamden (3-3), Friday, 7 p.m.: WELI 960-AM
Weston (3-3) at Newtown (6-0), Friday, 7 p.m.: CPTVSports (check local listings)
Xavier (4-2) at Notre Dame-West Haven (3-3), Friday, 7 p.m.: WCNX 1790-AM | GoGreenKnights.com
New Canaan (6-0) at Staples (5-1), Friday, 7 p.m.: WWPT 90.3-FM | MSGVARSITY.com
Ansonia (6-0) at Wolcott (4-2), Friday, 7 p.m.: WATR 1320-AM
Fairfield Warde (2-4) at Greenwich (3-3), Saturday, 3 p.m.: WGCH 1490-AM
GET OUT AND GO
Valley Regional/Old Lyme (5-0) at Morgan (5-0), Friday, 6:30 p.m.: Time to find out who the best team in the Pequot Conference is.
Hand (5-1) at Shelton (5-1), Friday, 7 p.m.: A chance for Shelton to earn a statement victory, or Hand to keep rolling.
New Canaan (6-0) at Staples (5-1), Friday, 7 p.m.: Staples has won five straight since losing to Xavier in its season opener.
Seymour (3-3) at Derby (4-2), Friday, 7 p.m.: A must-win for both teams if they expect to qualify for the playoffs.
West Haven (5-1) at Hamden (3-3), Friday, 7 p.m.: West Haven coach McCarthy will attempt to set the state record for career victories.
State football beat: Morgan riding Ward into unbeaten clash with Valley
The GameTimeCT.com/Register Top 10 for Week 7
The Day of New London coaches poll for Week 7
Ray Curren's Inside the SCC: Hillhouse's Cooper quietly completing stellar career
About Mike Pucci
Old Comments
Correction, Notre Dame is at Xavier
ciacfollower says
The only thing the Staples players are gonna catch this Friday is a beat'n from their neighbor.


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Flipping the Script
Northwest Film Forum
Non-Union Student Film
Project Begins: Jul 23, 2019
Project Ends: Jul 27, 2019
Contact Person: Vivian Hua
Please write / call for appointment and send all materials upon contact. Headshot, resume, demo reels, clips, all appreciated.
Northwest Film Forum is seeking actors of color (Asian-American and African-American) for two lead roles, as well as actors of varying race and age, for a one-day narrative short film shoot.
LOGLINE: After an Asian-American actor auditions for an endless string of stereotypical roles, he searches for the best way to disrupt a racist system.
Auditions will be held at Northwest Film Forum (1515 12th Ave.) on July 9th from 7:00pm to 8:45pm. Please send headshots, resume, and demo reel, if possible, to vivian@nwfilmforum.org to schedule a time and receive script sides for the roles of Tai and Greg.
NOTE: Lead actors must be available for REHEARSAL (Tuesday, July 23rd from 6:30pm to 9:30pm) and SHOOT DAY (Saturday, July 27 from 9:00pm to 2:00pm). All actors must be available on SHOOT DAY.
Script is co-written by students from Northwest Film Forum's Filmmaking Fundamentals: Narrative course -- https://nwfilmforum.org/education/workshops/filmmaking-fundamentals-narrative-july-2019/ -- along with Vivian Hua, a writer, director, and Executive Director of NWFF: https://vimeo.com/hellomynameisvee
Tai (Lead): Male, Asian-American, 21-40. PAID.
A young-faced actor who has spent far too much of his acting career only pandering to sterotypical roles of Asian-Americans, Tai's frustrations leak out like a slow balloon until they finally explode in a very public way. "Street Hustler" wardrobe, open to your interpretation.
Greg (Lead): Male, African-American, 21-40. PAID.
A young-faced actor who has spent far too much of his acting career pandering to stereotypical roles of African-Americans, Greg recognizes the problems within the system but is unwilling to take the actions needed to break out of it, despite seeing more radical actions taken by his friend Asian-American friend, Tai. "Street Hustler" wardrobe, open to your interpretation. /// NOTE: Role was originally written for an African-American actor but we are opening the pool for additional multiracial or non-white talent to widen the potential pool of applicants, and will shift the script accordingly, as needed.
Casting Agents (Supporting): Males & Females, older. NON-PAID.
Cogs in the system who are auditioning actors. Minimal speaking roles. Semi-professional wardrobe.
Casting Assistants (Supporting): Females, 18-30. NON-PAID.
Cogs in the system who are calling actors into an audition. Minimal speaking roles. Semi-professional wardrobe.
Actors (Extras): Males, Various Non-White Ethnicities, 21-40. NON-PAID.
Actors waiting for a casting call. No speaking. "Street Hustler" wardrobe.
July 9th, 2019 from 7:00pm to 8:45pm
Reading from provided script sides.
Available upon e-mail.
Paid for roles of Tai and Greg. $75 for Tai and $50 for Greg. Other roles are unpaid.
Flipping the Script added July 3, 2019, 7:58 pm
This listing will be deleted on: Tuesday, July 23, 2019
comments on Flipping the Script:


Dental bridges are appliances used to replace one or more missing teeth. A bridge is made out of three pieces that fit into the open space between teeth, "bridging" the gap.
Most bridges are made of a pontic tooth (or false tooth), held together by two crowns (a "cap" that covers the tooth, approximating its normal size and shape). This combination is then attached (cemented) to the abutment teeth (the surrounding teeth on each side of the gap).
Your dentist will take impressions of your mouth and a dental technician make exact plaster models of your upper and lower teeth and gums which show how your teeth bite together. The teeth that will support the bridge are prepared to take the fixings and to make sure that the bridge is not too bulky.
Another impression is taken of the teeth and any gaps and the dental technician uses this to make the bridge. A plastic temporary bridge or temporary crown may be fitted while it is being custom made.
At the final visit, your dentist will check that the bridge fits and make any adjustments that may be necessary and then fix it permanently in place. You will be then shown by your dentist the best way of keeping your new bridge clean.
A bridge let you almost forget that you have missing teeth and can improve the way you look, bite, chew and even speak. The bridge can last many years if kept clean and no damages occur.
The teeth can be matched to the colour of your own teeth and natural teeth are protected from wear and tear and tilting out of line which could cause your teeth to bite together incorrectly.
If you have some teeth taken out, a denture might be first made and a bridge fitted at a later stage when the gum is healed.
How you clean will depend on where the bridge is in the mouth and its design. As well as normal brushing with a fluoride toothpaste and flossing at each end of the bridge, you need to keep the bridge clean underneath.
Floss with a threader or a special floss with a stiff end which you can poke underneath the bridge and pull through or bottle brushes. Regular hygienist visits are also valuable in keeping your bridge clean.


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Which Ryder Cup team is better looking? We asked a group of women
George Mackenzie
On average 75% men shave their face every day, but just a few take pride in this morning ritual. Cornerstone provide German-engineered razor blades and British-blended skincare products that ensure your routine gets off to the best possible start.
"Beauty is in the eye of the beholder." Your mum probably uttered this as she mopped your face with a saliva-covered tissue. A pointless perspective as your semi-pubescent self attempted to make sense of your changing interests.
Some years later she might add this crude footnote: "you can't polish a turd but you can certainly roll it in glitter." Comforting words from the person who will always love you unconditionally, no matter how disgraceful your topknot.
So we sat down with four women and asked them to trawl through a collection of Ryder Cup pictures, knowing full well that each preference would be different.
We asked them to rank each player based on style, grooming and "standalone hotness." We then asked them to pick a top 10 and from this we could see which team was the winner. We didn't reveal the nationality of each golfer.
Squad goals ? pic.twitter.com/Ywj8ndbZZv
— Ryder Cup Team EUR (@RyderCupEurope) September 30, 2016
There was little doubt which team won this round. Dressed head to toe in Loro Piana, the Europeans were the comfortable winners. The clothing bill was staggering; $10,000 per tuxedo, $3,000 for a pair of shoes, even the the wool pique polo cost an eye-watering $865.
(Source/RyderCup: Twitter).
Does this expense equate to style? "No," said Amy, "it's just the American's look ridiculous," she added. "They look like they've just walked off Jordan Belfort's yacht," Emily interjected. "I prefer the European's laid back style, nice colours, nothing too outrageous. The American players are trying way too hard, far too ostentatious for me."
It would appear that less is more when it comes to impressing this panel. The American should sack Dennis the Menace, his designs have beano and gone – sorrynotsorry.
(Source/CarbonCostume)
Match Over! Spieth & Reed win 3&2. #GoUSA pic.twitter.com/gln3DtwDTo
— Ryder Cup USA (@RyderCupUSA) September 30, 2016
This wasn't a clear-cut round. Asked about their preference for grooming, three of the four admitted they preferred clean-shaven men. Still, an appreciation for "confident" facial hair was also apparent.
Dustin Johnson was a clear hit with the group: "His beard isn't 'pubey,'" observed Fiona. "It's well kept, without being too keen."
Brooks Koepka and Rafa Cabrera-Bello were a big hit with the ladies.
Jordan Spieth and Rickie Fowler were never far from their graces, nor was Brooks Koepka, but it was a succession of Europeans that consistently got the votes. Rafa Cabrera-Bello, Martin Kaymer, Henrik Stenson and Rory McIlroy were all described as "clean." "They look super manly, but I'd say a little metrosexual," said Amy. "I'm seeing too many weird, gingery beards all round, it's like they've discovered facial hair for the first."
"If you can't grow a full beard, don't bother" added Bethan, the only one of the group who preferred facial hair.
This was an unbelievably close round, with a clear divide in the type of man each participant preferred. Europe take this by a margin, but it was a close shave (which ironically swayed the final judgement).
"Standalone hotness"
The group insisted that personality, charisma, overall style and general body language, all played a big part in overall attractiveness. But that wasn't the question. I placed 24 pictures on a table and left them to decide who would make their top 10. After much discussion about topics like "smugness" they came to a consensus.
10. Thomas Pieters
"He's nice and tall. Looks slightly unusual, in a good way."
9. Chris Wood
"Wow, 6ft 5! "Again, odd looking, but looks like a modern guy."
8. Henrik Stenson
"Nice build, well dressed, the older man."
Alexis Sanchez Chile header
6. Martin Kaymer
"Nice build, looks enigmatic. He's got a nice clean look."
German-engineered blades and British-blended shaving products delivered to your door.
5. Rory Mcilroy
"Did you just say he won $10 million."
fabian feature
Messi Court
Football Boots Header
1. Rickie Fowler.
"He looks like Dicaprio." (Source/Getty Images).
It came as a small to surprise to see Europe win every section of this small study. Apparently our American cousins are supposed to be superior in the looks department. Our panel proved that conventional looks don't mean everything.
It was fascinating to hear some of the intricacies that came into their decision making; facial hair, body language, perceived confidence, all seemed to play a part. One conclusion was that "unusual and the quirky" always got the attention.
Cornerstone offer a flexible, convenient shaving service. Members choose which products they would like and how often they require replacements. Orders can then be changed or cancelled at anytime. It really is that simple.
Part-time work as Tuvalu's World Cup correspondent.