text:
\section{ACKNOWLEDGMENT}

\bibliographystyle{abbrv-doi}

\section{Related Work}

Dynamic graph visualization has been extensively studied in the past decades.
The major dynamic graph visualization methods include animation-based and timeline-based approaches~\cite{beck2017taxonomy}.
Animation-based approaches show the temporal evolution through animated transitions~\cite{rufiange2014animatrix}.
Timeline-based approaches visualize dynamic graphs through a time-to-space mapping, where the graph structure of each timeslice is shown along a timeline~\cite{bach2015small,bach2014visualizing}.
Most of these approaches focus on displaying the graph structures in each timeslice directly.
To identify the temporal evolution patterns of dynamic graphs, users need to mentally compare the changes or differences between adjacent timeslices in the animated graphs or between a sequence of static graphs~\cite{archambault2010animation}.
\mod{
For dynamic weighted graphs, such a process relies on users' mental memory due to the complex weight changes, hindering users from effectively and quickly analyzing the temporal changes.}

\mod{
A few prior studies have also investigated highlighting the removed or inserted edges and nodes between two adjacent timeslices in small multiples~\cite{archambault2009structural,rufiange2013diffani} and animated transitions~\cite{bach2013graphdiaries,crnovrsanin2020staged}.
Archambault et al.~\cite{archambault2010difference} further performed a user study on such methods and showed that highlighting changing edges is helpful.}
\mod{
However, these studies focus on using color to indicate whether an edge occurred or not
and are unable to reveal change details
in dynamic weighted graphs such as edge weight~\cite{bach2014visualizing}.
\newmod{
For dynamic weighted graph, users need to understand both the edge weight differences and the original graph structures.}
\newmod{
Previous studies have never explored leveraging detailed edge weight differences to display the evolution of dynamic weighted graphs.}
}

\newmod{
Different from prior studies, \techName{} is a novel difference-based visualization approach for dynamic weighted graphs. It explicitly visualizes the edge weight differences over time, and enables systematic exploration of the temporal evolution of dynamic weighted graphs with multiple levels of details.}

\section{Background}\label{sec:tech}

In this paper, we focus on the undirected dynamic weighted graph and give concrete definitions as follows.
A \textit{dynamic weighted graph} $ \Gamma $ can be regarded as a sequence of graph snapshots $G$ in each timeslice:
\begin{equation}
    \Gamma = \left \{ G_{1},G_{2},...,G_{T}  \right \},
\end{equation}
where each graph snapshot $G_{i} = (V_{i},E_{i})$
has a different node set $ V_{i} =\left \{v_{1},v_{2},...,v_{N}\right \} $ and a different edge set $ E_{i}=\left \{e_{1},e_{2},...,e_{M}\right \} $ in each timeslice.
Each edge $ e_m $ is defined as follows:
\begin{equation}
    e_m = (u,w,v) \in  E_{i} \subseteq V_{i} \times R ^ {+} \times V_{i},
\end{equation}
where $u, v \in V_{i}$ are two nodes linked by $ e_m $, $w$ denotes the weights of edges in the graph.

\mod{
We define the node set $V$ as all the nodes that appear at least once throughout the whole time range, and define the \textit{graph difference} between two adjacent timeslices of a dynamic weighted graph as follows:}
\begin{equation}\label{diff}
     Diff_{i} = (V,D_{i}),
\end{equation}
where
$ D_{i} $ is the set of edges with weight changes in the i-th timeslice.
${Diff}_{i}$ is intrinsically a graph as well.
Specifically, $D_{i}$ is defined as:
\begin{equation}
   D_{i} = \left \{d_{1},d_{2},...,d_{H}\right \} ,2\le i\le T,
\end{equation}
where $H$ is the total number of edges with a weight change from $G_{i-1}$ to $G_{i}$, and each changed edge $d_{k}$ is:
\begin{equation}
   d_{k} = (u,w^{\prime}_k,v) ,1\le k\le H,
\end{equation}
where $w^{\prime}_k$ is the edge weight change of the $k$-th edge  between $G_{i-1}$ and $G_{i}$ and can be positive or negative.
A positive edge weight change indicates an increase of edge weight, while a negative one indicates a decrease of edge weight.

Like existing dynamic weighted graph visualizations~\cite{yi2010timematrix,bach2014visualizing}, we focus on the changes of edge weight, one of the important features of dynamic weighted graphs.
\newmod{
It is possible that some nodes may also appear or disappear in a dynamic weighted graph at some timeslices, which can be indicated by the appearance or disappearance of their associated edges.
The dotted node in Figure~\ref{fig:teaser}a shows an example of node disappearance.}

\section{DiffSeer}

\begin{figure*}
  \centering
  \mbox{} \hfill
  \includegraphics[width=0.98\linewidth]{figures/systemnew.png}
  \hfill
  \mbox{}
  \caption{\mod{The \techName{} interface consists of
  (A) a timeline view and (B) a nested matrix design including ($b_{1}$) the nested overview and detail matrices, ($b_{2}$) a stacked bar chart, ($b_{3}$) some area charts representing the overview of changes in nodes weights, and ($b_{4}$) a toolbar to provide some necessary interactions. The rows and columns in the nested matrix represent nodes and timeslices respectively.}
  (C) shows the nested matrix when an original detail matrix ($c_{1}$) and a difference detail matrix ($c_{2}$) are unfolded in the overview matrix. (D) is the explanation of each cell in the overview matrix. (E) shows the difference mask attached to ($b_{5}$) in the overview matrix.}
   \label{fig:system}
\end{figure*}

\mod{
We propose~\techName{}, a novel difference-based approach for dynamic weighted graph visualization.
Its core component is a nested matrix design (Figure~\ref{fig:system}B) to provide both an overview and fine-grained details of edge weight differences.
A difference mask (Figure~\ref{fig:system}E) can be interactively enabled to emphasize the significant changes, and stacked bar charts (Figure~\ref{fig:system}$b_{2}$) and area charts (Figure~\ref{fig:system}$b_{3}$) to overview the edge weight changes at each timeslice and associated edge weight change distribution of individual node respectively.
}
Besides the nested matrix design,
we also present a timeline view (Figure~\ref{fig:system}A) to enable a temporal summary of the original dynamic graph. It is achieved by projecting the graph structures at each timeslice into one dimension and the offset on the vertical axis can be a rough indication of the changing intensity~\cite{van2015reducing}, providing a quick insight into the entire period.
A prototype system of \techName{} is available at \textcolor{blue}{\url{https://diffseer.github.io/}}.

\subsection{Nested Matrix Design} \label{sec:nested}
This section introduces the visual design and the node reordering strategy of the nested matrix design in detail.

\textbf{\textit{Nested overview and detail matrices.}}
The nested matrix design has two core parts: an \textit{overview matrix} (Figure~\ref{fig:system}$b_1$) shows the graph differences between adjacent timeslices over a period of time to inform users of the temporal evolution of dynamic graphs, and \textit{detail matrices} (Figure~\ref{fig:system}$c_1$,$c_2$) display the details of graph difference or original graph structure at individual timeslices when a user double-clicks a timeslice of the \textit{overview matrix}.

\textit{Overview matrix.}
As shown in Equation \ref{diff}, graph difference can also be regarded as a type of graph.
\mod{
To effectively visualize the overall graph differences along time within the limited space,
we aggregate edge weight differences into their connected nodes in the overview matrix, which is an effective way of aggregation for graph visualization~\cite{bach2014visualizing}.
The rows of the overview matrix (Figure~\ref{fig:system}$b_{1}$) represent graph nodes, the columns correspond to different timeslices, and each cell intuitively shows the weight changes of all edges connected to one node in the corresponding timeslice.
For each cell (Figure~\ref{fig:system}D), we use
a stacked-bar glyph to encode the number of edges in the \textit{graph difference}, i.e., the number of edges with a weight change between two adjacent timeslices in the original dynamic weighted graph.
The height of the upper or bottom bars of a glyph encodes the number of edges with a positive or negative weight change, respectively.
The color scheme of bars refers to average weight changes of all the edges connected to a node in the \textit{graph difference}, and we use a diverging red-to-blue color scheme to encode it.}

\textit{Detail matrix.}
To check the details of the differences or the context in which the differences occurred, we allow users to interactively unfold the detail matrices of individual timeslices within the overview matrix by double-clicking the corresponding timeslices, as shown in Figure~\ref{fig:system}C.
We use the matrix layout to visualize graph details because the detail matrices can share the same node order with the overview matrix to help users maintain analysis continuity.
The detail matrix has two types: the \textit{difference detail matrix} (Figure~\ref{fig:system}$c_{2}$) and the \textit{original graph detail matrix} (Figure~\ref{fig:system}$c_{1}$).
The difference detail matrix displays the specific difference between adjacent timeslices, where the rows and columns both represent nodes, and each cell represents a weight change of an edge.
\mod{
Similar to the overview matrix, we also use a diverging red-to-blue diverging color scheme here.
The original graph detail matrix
visualizes the graph structure
in an individual timeslice,
allowing users to inspect the exact graph structure details.
A sequential gray-scale color scheme is used to encode the original edge weights.}

\begin{figure}
  \centering
  \includegraphics[width=0.95\linewidth]{figures/diffmask.png}
    \setlength{\abovecaptionskip}{0.2cm}
    \setlength{\belowcaptionskip}{-0.2cm}
  \caption{\mod{The drawing procedure of \textit{difference mask}: (a) select nodes with significant changes, (b) highlight nodes, (c) connect highlighted nodes in one timeslice, (d) connect highlighted nodes cross timeslices.}}
  \label{fig:mask}
\end{figure}

\begin{figure}
  \centering
  \includegraphics[width=1\linewidth]{figures/linkedview.png}
    \setlength{\abovecaptionskip}{-0.4cm}

  \caption{\mod{
           Visual encoding of stacked bar chart (a) and area chart (b) of each node. N is the number of nodes in the graph.}}
    \label{fig:linkview}
\end{figure}

\textbf{\textit{Difference mask.}}
\mod{
To further facilitate an easy exploration of dynamic weighted graphs,
we propose a difference mask (Figure~\ref{fig:system}$E$) to emphasize the temporal patterns of graph differences (e.g., outliers or repeated changes~\cite{van2015reducing}).
Specifically, we highlight the nodes with a significant edge weight change above a user-defined threshold by using red and blue rounded rectangles (Figure~\ref{fig:mask}b). Here a significant edge weight change refers to either the average weight changes of edges connected to a node or the total number of edges with a weight change.
Then, we use paths to connect nodes with similar changes within and between timeslices, respectively.
}
\mod{For one timeslice, we use vertical paths to join the highlighted nodes of the same color in a column, red for positive and blue for negative (Figure~\ref{fig:mask}c), indicating that these nodes have similar significant changes.
To emphasize the temporal patterns, paths are also drawn between the columns with at least one highlighted node.
Some of the paths are horizontal connecting the same highlighted nodes of two columns to denote that similar changes appear repeatedly, of which color depends on whether the two nodes are positive or negative (Figure~\ref{fig:mask}$d_{1-4}$).
In addition, when the number of consecutive columns with no highlighted nodes exceeds a predefined threshold, no path is drawn between them because this may imply a stable period (Figure~\ref{fig:mask}$d_{8}$).}

\textbf{\textit{Stacked bar chart and area chart.}}
\mod{
To provide the overall context, we add
a stacked bar chart and some area charts to the nested matrix design.}
The stacked bar chart (Figure~\ref{fig:linkview}a) presents the distribution of the changed edges' number over time, which shares the same timeline as the overview matrix, and the height of the red part encodes the number of the positive edges while the blue part encodes the negative edges.
The area charts (Figure~\ref{fig:linkview}b) present the distribution of the changed edges' number of each node during the selected period, which can imply which nodes always have many edges with a weight change.

\subsection{Node Ordering Strategy}
The node order of a matrix-based design can directly determine the visualization effect~\cite{valdivia2019analyzing}.
In nested matrix design, overview matrix and detail matrices share the same node order, so a proper node order is of vital importance.
Figure~\ref{fig:reorder}a shows the overview matrix and detail matrices in an alphabetical node order.
We can discover some patterns in the overview matrix, such as the timeslices with significant changes, but it is hard to get deep insights like some nodes with similar patterns.
As for detail matrices, it is hard to figure out any interesting patterns beyond the value of each cell, such as clusters and subgroups.

To this end, we propose a node reordering strategy, which can simultaneously provide a single order that works well for both overview matrix and unfolded detail matrices.
Users can adjust the reordering strategy's priority for specific analysis needs.
Figure~\ref{fig:reorder}b,\ref{fig:reorder}c shows the overview matrix and detail matrices after node reordering, respectively.
Figure~\ref{fig:reorder}d shows the nested matrix after node reordering by treating the detail matrix and the overview matrix equally.
Compared to Figure~\ref{fig:reorder}a, each of the ordered matrices can provide some additional insights, such as some nodes with similar changing patterns (Figure~\ref{fig:reorder}$b_{1}$), two nodes that have little relationship to other nodes (Figure~\ref{fig:reorder}$c_{1}$), and a group of nodes that have stronger connections within them (Figure~\ref{fig:reorder}$c_{2}$) but weaker connections with other nodes (Figure~\ref{fig:reorder}$c_{3}$).
Further, the node reordering by equally considering both detail matrix and overview matrix can also preserve their own visual patterns as much as possible (Figure~\ref{fig:reorder}d).

\begin{figure}
  \centering
  \includegraphics[width=1\linewidth]{figures/reorder.png}
  \caption{ The figures showcase the nested matrix design with different node orders to show the effectiveness of our node reordering strategy.
  (a) order by alphabetical. (b) order by the distance between rows, mainly designed for the overview Matrix. (c) order by spatial auto-correlation, mainly designed for the detail matrix. (d) order by considering both overview matrix and detail matrix equally. }
          \label{fig:reorder}
\end{figure}

Most existing methods reordered the matrix by calculating the inner-rows distance of the matrix and then solving it as a traveling salesman problem (TSP)~\cite{behrisch2016matrix}.
Our strategy follows a similar framework, but the difference is that we need to find an appropriate order for different types of matrices simultaneously.
\mod{
Specifically, we augmented the reordering method using Moran's I~\cite{van2021simultaneous}, which is designed for unweighted and undirected dynamic graphs, to work for weighted dynamic graphs.}
Maximizing Moran's $I$ can be translated into minimizing the similarity $I_{s}$ between two adjacent rows:
\begin{equation}
  I= {\textstyle \sum_{a=1}^{n-1}}I_{s}(M,\rho\left ( a \right ),  \rho\left ( a+1 \right ) ) ,
\end{equation}
where $\rho\left ( a \right )$ denotes the a-th row of matrix $M$ ($n$ rows) in any node order and $ I_{s}\in \left [ -\frac{1}{n-1}, \frac{1}{n-1} \right ] $.
We normalize the distance between two rows as $D_{detail}$.
For the overview matrix, since the spatial auto-correlation index can not work in the condition that the rows and columns are not symmetric, we only consider the distance between the two rows based on similarity.
The inner-row distances are calculated with Manhattan distance as $D_{overview}$.

\mod{After getting the distances between rows of different types of matrices, the final node order should be calculated based on the user-defined weight to satisfy the user's preference.
We normalize the distance matrices of both the detail matrices and the overview matrix to the same scale and then
set an adjustable weight parameter $  \alpha \in \left [ 0, 1 \right ] $ to capture the user's preference, and the final inter-row distance $ D $ is defined as:
\begin{equation}
    D = \alpha D_{overview} + \left ( 1-\alpha \right ) D_{detail},
\end{equation}
which is used as the input of the leaf order algorithm~\cite{fekete2015reorder}.
It can calculate the final node order by constructing a hierarchical clustering on node rows according to the distance matrix.
}

When $\alpha$ is adjusted to 1, the reordering algorithm only focuses on the overview matrix (Figure~\ref{fig:reorder}b).
On the contrary, when $\alpha$ is 0, nodes are reordered only based on Detail Matrices (Figure~\ref{fig:reorder}c).
When $\alpha$ is set to a value between 0 and 1, such as 0.5, an overall suitable order may be obtained as shown in Figure~\ref{fig:reorder}d.

\subsection{Interactions}\label{sec:interaction}

\techName{} enables rich interactions to allow users to smoothly analyze and explore dynamic weighted graphs.
Users can brush the time range of their interest in the timeline view and explore the details in the nested matrix view.
\techName{} provides users with the flexibility of configuring the visual design, such as setting the reordering weight and the difference mask threshold.
More details of interactions can be found in the prototype system.

\section{Case Study}
We conducted two case studies to demonstrate the effectiveness of \techName{} on real-world dynamic weighted graph datasets, which are collected from the domains of finance and social network.
\mod{Two expert users (U1, U2) were involved in the case studies, and they have attended our user interviews and learned how to use \techName{}.
They were asked to use~\techName{} to explore dynamic weighted graphs. Their exploration procedures and the corresponding findings were recorded.
We used two dynamic weighted graphs whose details are as follows:
}

\textit{Sector Index Correlation Network (SICN).}
We collected time-series records of 28
sector indices in the Chinese stock market\footnote{\url{https://www.joinquant.com}}.
\mod{It consists of the stock trading records
from June 3, 2010 to October 18, 2021 (2,761 timeslices), which covers the time period of the COVID-19 outbreak.} We calculated the Pearson correlation between any two indices each day to model the association between different indices~\cite{simon2018hunting}.
The sector indices are regarded as the nodes, and the correlations between each pair of sector indices are regarded as the edge weight.

\textit{Rugby Team Tweet Network (RTTN).}
This dataset contains more than 3,000 tweets between 12 teams in the Guinness Pro12 competition from 2014 to 2015~\cite{simonetto2017drawing}. Each team is regarded as a node, and the edge weight denotes the number of tweets between two Rugby teams.
There are 12 nodes and 329 timeslices in total.

\subsection{Case 1: Impact of the COVID-19 on China Stock Market}

U1 is a financial expert, and he was quite interested in
the impact of COVID-19 on the correlation between different sector indices in China stock markets. So he brushed the period after the COVID-19 outbreak (i.e., from January 17, 2020, to March 13, 2020), as shown in Figure~\ref{fig:case1-2}.
\mod{
From the overview matrix, U1 gained a quick understanding of the overall temporal evolution of the sector correlation network across 35 trading days.}
Specifically, he quickly noticed two periods with a significant increased in the sector correlations: the Chinese New Year period of 2020 and around early March, as indicated by the dense red bars in Figure~\ref{fig:case1-2}a and Figure~\ref{fig:case1-2}c.

\begin{figure}
  \centering
  \includegraphics[width=1\linewidth]{figures/case-1-2.png}
  \caption{\label{fig:case1-2}
           Overview matrix of the sector index correlation network dataset after the COVID-19 outbreak. (a) and (c) show a significant increase in the sector correlations. (b) and (d) show that several sectors have weakened their connection with others.
           }
\end{figure}

\textbf{\textit{Chinese New Year of 2020.}}
\mod{
With~\techName{}, U1 easily noticed that there were significant increases of edge weights for many nodes before Chinese New Year (Figure~\ref{fig:case1-2}a), indicating a global correlation increase among different sectors.
At the beginning of the outbreak of COVID-19, it was observed that Node \textit{LS} (Leisure Service) first experienced a significant negative change (Figure~\ref{fig:case1-2}$a_{1}$), followed by the blue difference mask between Node \textit{HC} (Health Care) and Node \textit{TA} (Textile \& Apparel) (Figure~\ref{fig:case1-2}$a_{2}$).
It makes sense because Leisure Service (\textit{LS}), a crowd-intensive sector, was first affected by the COVID-19 pandemic, and (\textit{HC}) and (\textit{TA}) declined in correlation with other sectors due to the shortage of treatment, masks, and other protective resources.}
U1 unfolded two original graph detail matrices to check the context at the beginning and end of this period.
He found several clusters before the outbreak (Figure~\ref{fig:case1-2}$M_{1}$), but almost all the nodes were connected after the Chinese New Year (Figure~\ref{fig:case1-2}$M_{2}$), indicating that these sectors were responding in a similar manner to the outbreak.

\textbf{\textit{Work and production resumption.}}
U1 further identified several nodes connected by the
blue difference
mask in Figure~\ref{fig:case1-2}b.
\mod{
Except for these nodes,
the edge weights of all the other sector nodes
did not change very much during this period.
According to U1, the reason for this pattern was a succession of national policies aimed at these changed sectors, i.e., these nodes all had similar changing patterns after the introduction of the policy to resume work and production.
Observing the detail matrix after the resumption (Figure~\ref{fig:case1-2}$M_{3}$), he found that the color of these rows was lighter than those in $M_{2}$ and confirmed that the work and production resumption did make some sectors less relevant to others.}

\textbf{\textit{Stock market crash.}}
Next, U1 wanted to analyze the significant correlation increase in Figure~\ref{fig:case1-2}c.
He unfolded the difference detail matrix
(Figure~\ref{fig:case1-2}$M_{4}$) by double-clicking
the corresponding timeslice.
U1 found only an apparent blue column (row) of Node \textit{TA} appearing in a wide range of red and noticed a negative difference mask on Node \textit{TA} and Node \textit{LS} after that day (Figure~\ref{fig:case1-2}$d$).
\mod{
U1 mentioned that the global increase of edge weight may result from the stock market crash, and the interesting pattern on Node \textit{TA} and Node \textit{LS} is owing to the policy support that kept these sectors isolated from the negative influence of the whole market.}

By using \techName{}, U1 concluded that the COVID-19 pandemic has had a great impact on the industry association network, with significant fluctuations in closely related sectors.
U1 said that gaining these insights would have taken much longer without using \techName{}.

\subsection{Case 2: Tweet Interactions between Rugby Teams}

U2 has a background in social network analysis and is curious about the evolution of the Rugby team tweet network.
With \techName{}, U2 found interesting Tweet interaction patterns between Rugby teams from April 2015 to June 2015 (Figure~\ref{fig:case2-1}).

\begin{figure}[htb]
  \centering
  \includegraphics[width=0.95\linewidth]{figures/case-2-1.png}
    \setlength{\abovecaptionskip}{0.cm}
    \setlength{\belowcaptionskip}{-0.4cm}
  \caption{\label{fig:case2-1}
           Dynamic evolution of the rugby team tweet network dataset from April to June. (a) and (b) show some significant changes occurred during the game, but few changes occurred after the game. (c) shows the changed edges' number of two nodes increased continuously before the finals.}
\end{figure}

\textbf{\textit{Similar highlighted shapes.}}
\mod{
In the overview matrix, U2 found that some similar highlighted shapes were always separated by several columns with almost no changes,
where positive edge weights (red rectangles) often appear before negative edge weights (blue rectangles), as shown in Figure~\ref{fig:case2-1}.
It indicates recursive repeats of abrupt increase followed by abrupt decrease of edge weights.
To identify the reason behind it, U2 checked the schedule of the Rugby competitions for these teams~\footnote{\url{https://en.wikipedia.org/wiki/2014-15_Pro12}}.}
He found that these patterns are extremely relevant to the rounds of the competitions, i.e.,
there is a significant increase of the tweets between different Rugby teams on the start date of each round of competition, which would cease after the competition.
To further check the interaction details,
he unfolded two difference detail matrices in one of the highlighted shapes (Figure~\ref{fig:case2-1}a) and saw that two pairs of nodes were dark red in Figure~\ref{fig:case2-1}$M_{1}$ but dark blue in Figure~\ref{fig:case2-1}$M_{2}$.
\mod{
It turned out that they were exactly the four teams participated in the two matches on that day, indicating the abrupt increase or decrease of interaction mainly come from the teams involved in the competition.
Then, he compared the original graph detail matrices of a game day (Figure~\ref{fig:case2-1}$M_{3}$) and a day without a competition (Figure~\ref{fig:case2-1}$M_{4}$).
He confirmed that the stable period (e.g., Figure~\ref{fig:case2-1}b) was due to almost no tweets on days without games.}

\textbf{\textit{A pre-game hype.}}
\mod{
In Figure~\ref{fig:case2-1}c, U2 found that the red bars of the two nodes kept increasing from May 27 to May 30, indicating an increasing interaction between the two teams and other teams. but they suddenly switched to blue bars on June 1st.
By reordering nodes and comparing difference detail matrices, U2 found an obvious spread pattern of the two nodes, as shown in Figure~\ref{fig:case2-1}$M_{5}$, which shows that more and more teams started to have tweet interactions with these two teams.}
According to the schedule, May 30 was exactly the final round date between the two teams, so U2 inferred that this pattern probably results from the pre-game hype, which is also why the connections between teams decreased rapidly after the finals.

Overall, with \techName{}, U2 can figure out the deep correlation between the competition schedule and the evolution of the tweet interactions between Rugby teams.

\section{User Interview}
\label{sec-user-interview}
We conducted semi-structured interviews with 12 expert users who work on network data analysis and visualization to evaluate the effectiveness and usability of \techName{}.

\subsection{Participants and Apparatus}
We invited 12 target users (U1-U12) to participate in the interviews.
U1 and U2 are researchers from financial and internet companies, and U3-U12 are students from several universities (two doctors and eight masters).
The participants (eight males and four females, aged 25 to 32, with normal vision) are engaged in network data analysis or visualization.
Four (U1-U4) have more than five years of research experience, and others have at least one year.
Due to the COVID-19 pandemic, our interviews with 7 participants were conducted online via Zoom, where they used their own computers to access \techName{} deployed on a Cloud server.
The interviews with the remaining participants were conducted offline on a desktop with a 23.8-inch 1920 x 1080 monitor.

\subsection{Datasets and Tasks}
\mod{
The SICN and RTTN datasets were used in our user interviews.
\mod{A small period of the RTTN dataset was used for the tutorial, while the other period of the RTTN dataset and the whole SICN dataset was used for the exploration by participants.
During the interviews, the participants were asked to complete the following five tasks to fully explore the dataset with \techName{}.}}

T1. Find the changes occurring over time.

T2. Describe the type of changes.

T3. Find repeated changes in this period.

T4. Find the nodes with similar change patterns over time.

T5. Find the nodes with similar patterns in one timeslice.

T1 and T2 are designed to test whether the nested matrix design can accurately represent differences and help participants quickly identify graph structures that have changed over time.
T3 is used to guide participants to discover some temporal patterns of differences with \techName{} since the repetition of changes is one of the major temporal patterns~\cite{van2015reducing}.
T4 and T5 aim to evaluate the usefulness of our node reordering strategy.
Since these tasks are subjective for users, we only use them to provide guidance but do not discuss the accuracy and time consumption.

\subsection{Procedure}
During the interview, we first introduced \techName{} to the participants.
Then, we went through an example usage scenario on the RTTN dataset to show how to use \techName{} to explore a dynamic weighted graph.
Then, the participants were allowed to explore the RTTN dataset freely to make themselves familiar with \techName{}.
The tutorial above lasted about 20 minutes.
\mod{
After that, they were invited to use \techName{} to analyze either the RTTN dataset of another time period or the SICN dataset
and finish the above tasks.
Participants could freely explore the dataset
until they felt that the tasks had been well finished.
Their comments and suggestions were recorded.
After that,
we further invited them to finish a post-study questionnaire, including the set of questions in Table \ref{tab:table 2}.
Nine closed-ended questions (Q1-Q9) were designed to evaluate the usability (Q1-Q4) and effectiveness (Q5-Q9) of \techName{}, and two open-ended questions (Q10, Q11) were used to gather suggestions from participants. }
Overall, the whole interview lasted about 60 minutes for each participant.

\begin{table}
\caption{The questionnaire for user interview. Q1-Q9 are closed-ended questions (Q1-Q4 for usability and Q5-Q9 for effectiveness). Q10-Q11 are open-ended questions.
}\label{tab:table 2}
\centering
\begin{tabular}{c|p{6cm}}
    \toprule
    ID & \multicolumn{1}{c}{Questions} \\ \midrule
    Q1 &Is \techName{} easy or hard to learn? \\
    Q2 &Is \techName{} easy or hard to use?  \\
    Q3 &Is the visual design easy or hard to understand? \\
    Q4 &Is the interaction helpful or not in the analysis process?  \\  \midrule
    Q5 &Is it easy or hard to understand differences across timeslices with the overview matrix?  \\
    Q6 &Is it easy or hard to identify nodes with significant changes in the difference mask? \\
    Q7 &Is it easy or hard to check connection changes in each timeslice by unfolding the detail matrices?\\
    Q8 &Is the node reordering strategy helpful or not to enhance the visual pattern (like clustering) of the nested matrix?   \\
    Q9 &Overall, is the proposed method helpful or not for identifying the temporal evolution of dynamic weighted graphs?\\ \midrule
    Q10 &What are the advantages of the proposed method? \\
    Q11 &Which part of the method can be improved? How?      \\ \bottomrule
\end{tabular}
\end{table}

\subsection{Results}
\mod{
Participants always got satisfactory answers for all tasks within 15 minutes, and we summarized the participants' standard of tasks as follows.
Firstly, participants found the changes over time by observing the blue/red cells in the overview matrix (T1). They checked both overview and detail matrices and described the changes by the changed edge number and weight (T2).
For T3, they found some repeated changes linked by difference mask. For T4 and T5, they reordered nodes and found nodes with similar changes gathering together.
}

Figure~\ref{interview} summarizes the participants' responses to our post-study questionnaire.
Overall, both the usability and effectiveness of \techName{} are highly rated by participants.
They agree that the \techName{} is convenient and efficient for exploring the temporal evolution of dynamic weighted graphs.
However, two of them thought that the visual design might not be friendly for a novice to understand.
The detailed comments from participants are summarized as follows:

 \begin{figure}
 \centering
 \includegraphics[width=1\linewidth]{figures/evaluationV2.png}
 \setlength{\abovecaptionskip}{-0.5cm}
 \setlength{\belowcaptionskip}{-0.2cm}
 \caption{\label{interview} User interview results. Q1-Q4 is for usability, and Q5-Q9 is for effectiveness.}
 \end{figure}

\textbf{\textit{Usability.}}
All participants confirmed that they could easily learn and use \techName{}, and the visual designs are intuitive.
\mod{
Some of them have used small-multiples or animation to explore dynamic weighted graphs before, and they confirmed that they can find changes of edge weight more quickly and accurately with \techName{}.
U1 mentioned that ``\textit{Since matrices are very common in graph analysis, I can easily understand the nested matrix design.}"
U5 commented, ``\textit{It takes me some time to learn the meaning of Difference Mask, but it is quite useful after understanding it.}"
In terms of the interaction, the participants appreciated the existing interactions of \techName{}, which were confirmed to be beneficial and could satisfy the analysis requirements.}

\textbf{\textit{Effectiveness.}}
\mod{
Overall, all participants praised the effectiveness of \techName{} in exploring the dynamic weighted graph evolution.
They pointed out that the nested matrix design can help them quickly identify dynamic graph evolution characteristics, such as abrupt significant edge weight increases and recurrent edge weight changes. They said that it is more effective than the existing methods like small multiples.
}
U3 pointed out that ``\textit{With the node reordering strategy, the detail matrix can be more helpful to confirm the graph details within one timeslice.
But as for the weight of node reordering, I almost only chose 0 or 1 to focus on one matrix type since a median value is hard to interpret.}"
\mod{
However, U2 said that the adjustable weight feature helped him find a balance to analyze multiple matrices simultaneously.}

\section{Discussion}
This section further discusses the generalizability, time range, and node number of \techName{}.

\textbf{\textit{Generalizability.}}
We have shown the generalizability of \techName{} by two case studies on real-world datasets with different characteristics, and the results can prove that \techName{} is useful for different types of dynamic weighted graphs that need to be analyzed for changes.
Our method can also support the dynamic unweighted graphs by considering the presence or absence of edges as an edge weight of 0 or 1.
Although \techName{} does not focus on the directed dynamic graphs, we can just encode one of the out-degree or in-degree in the overview matrix and reorder nodes with inner-row similarity instead of the auto-correlation index, then \techName{} can still work as expected.

\mod{
\textbf{\textit{Scalability.}}
\techName{} has good scalability in terms of the time range to be explored.
The overview matrix can help explore more than one thousand timeslices simultaneously since the column width can be narrow enough as long as users can identify it.
The time range can be further extended by brushing on the timeline view.
}

\section{Conclusion and Future Work}
We propose \techName{}, a dynamic weighted graph visualization approach, by explicitly visualizing the differences on edge weight between adjacent timeslices, which incorporates a novel nested matrix design, a new node reordering strategy, and a rich set of interactions to help users fully understand the temporal evolution of dynamic graphs.
For evaluation, we conduct two case studies on real-world datasets and in-depth interviews with 12 target users, and the results demonstrate that \techName{} is useful and effective in visualizing dynamic graphs.

\mod{
In future work, we plan to characterize differences from more perspectives, such as the removal or addition of nodes, to support broader analysis requirements.
It is also interesting to further explore how the proposed difference-based visualization approach can be extended to the visualization of other datasets, like high dimensional time-series data.
}

redpajama_set_name: RedPajamaArXiv


So the 2.30p flight from San Jose to Seattle doesn't take off until 5p.
characteristically American service industry: The fast-food restaurant.
call it "Burger Kong" and "The Whimper".
I arrive at the counter and order a Whimper with cheese combo.
Burger Kong Droid: You mean a Bacon Whimper with cheese combo?
Me: No, just a regular Whimper with cheese combo.
BKD: You mean a Whimper combo?
Me: No, a Whimper with cheese combo.
Me: Nevermind. I'd like a Whimper combo. ...  Number 2 on the menu.
BKD: Would you like cheese on your Whimper?


In short, when running in shoes people tend to heel strike, which causes a sudden impact. When barefoot, people land on the balls of their feet and gently set their heels down, creating a much lighter impact. This translates into less injury long-term.
Thank god you replied instead of me, shadowfoot. I was going to answer "take your shoes off and try it."
I love barefoot running! It's incredibly freeing. I prefer to go barefoot whenever I can, though for social reasons and also due to not trusting city streets I've compromised with Vibram 5-Fingers - and am generally quite happy with it.
I have a question, though. I managed to mess up my ankles a little under a year ago doing barefoot running and I haven't fully recovered yet. I was following the FBI's suggested training regimen, figuring that was a good baseline for health and ability. I was even trying to be careful about getting into running slowly, going just 4mph on a treadmill for about two minutes at a time and switching to a walking pace for another two minutes and then week by week slowly increasing the time I spent running between each resting period. That was working really well, so much so that I was running for 15 minutes straight and decided to start upping the speed a bit. I upped it by a tenth of a mile per hour about every three to seven days, based on what I seemed to be able to conservatively handle. That continued until I was going at 6mph for the duration. But the moment I went up to 6.1mph, my ankles startes screaming blood murder at me.
I've been to a number of therapists, although for ridiculous reasons related to insurance I haven't been to a physical therapist more than once. The short version is that it seems that either my flexor digitorum longus or my flexor hallucis longus has been damaged in some fashion.
Now, I know it has gotten a lot better. I had to spend about two weeks walking on the blades of my feet to keep from being in limping agony, and now I can walk pretty much normally. However, if I spend too much time practicing with a sword for martial arts (which apparently involves some arch-collapsing bad habits on my part), my ankles start hurting again. And if I sprint for more than about five seconds, my ankles hurt again.
I learned how to change where my weight lands so that my ankles support my weight better and don't collapse my arches so much. That has been a grand boon of wearing the Vibrams. (Wearing insoles in proper shoes didn't help at all. Hormetism in action once again!) But I really want to get back into running and sprinting, and at the rate at which I seem to be recovering I'll be able to start doing that maybe in a year. That seems absurdly long to recover from a single injury.
Does anyone here have some suggestion for me?
I don't have any suggestions for healing faster, but I do have some for keeping this in check in the future. When running barefoot, my biggest problem has always been my ankles, which would start to ache after 10-15 miles. I was able to ameliorate this by improving my form: bending my knees more, increasing my cadence, etc. I would try experimenting with your running technique and find what works best for you. It took me about a year and maybe 200-300 miles to really figure out what was best for me in terms of form.


text:
HARMAN Professional Showcases Complete Range of Audio, Lighting and Control Solutions at InfoComm India 2014
MUMBAI, India — At InfoComm India 2014, HARMAN Professional will exhibit a comprehensive array of audio-visual solutions for the Indian systems integration market at the Bombay Exhibition Center in Mumbai on September 17 – 19.
This year, the HARMAN booth will feature a range of AMX solutions including – Enzo, a Collaboration Tool and a cloud based presentation and a content sharing platform built specifically for meeting rooms, classrooms and other collaboration spaces, providing instant access to a wide variety of content and presentation services. Also on display will be the Sereno Video Conferencing System, designed to support conferencing applications in smaller meeting rooms. Sereno provides HD quality video with outstanding voice capture to deliver exceptional conferencing capability.
Highlighting the latest in conferencing solutions, AKG will demonstrate ConferControl - a desktop and mobile application that was developed by the engineering team in India. ConferControl Version 3.0 is a completely redesigned desktop application to configure & control both CS5 and CS3 conferencing systems from AKG. ConferControl features a visually stunning and intuitive user interface with simplified workflow to manage a conference and comes with a mobile app (for iOS, Android & Windows) providing greater flexibility for users.
For the first time in India, BSS Audio will showcase Soundweb Contrio Wall Controllers. The wall controllers are designed to provide a simplistic, yet powerful interface that allows for greater control of audio for a variety of applications and venues. Contrio wall controllers are powered via PoE (Power over Ethernet) and are compatible with HARMAN HiQnet™. The controllers are designed to provide integrators and end-users alike with better control, management and performance of their audio systems.
"India has seen substantial growth in recent years across a variety of markets and applications where professional grade audio systems are now required. In line with HARMAN's focus on differentiation through innovation, a complete end–to-end range of AV solutions are seen as an imperative to meet the customer needs. With the addition of AMX our portfolio, it gives us a bigger share of the install markets and video, while delivering a total AV Experience, said Prashant Govindan, Director – India Operations, HARMAN Professional.
Crown's range DriveCore Install (DCi) Series power amplifiers – the greenest amplifier line ever will also be on display. DCi amplifiers incorporate a host of improvements including HARMAN's exclusive DriveCore™ technology to set new industry standards in reliability, sound quality, flexibility and efficiency.
From JBL, the booth will feature the all-weather and all weather compact loudspeakers including the JBL AW 595 and JBL AWC 82. JBL AW and AWC Series models combine durable construction with premium drivers and components to deliver clear, intelligible speech and music reproduction over a wide area. The All Weather Series was designed for applications that require the highest level of fidelity for safety announcements and theme music.
Furthering its commitment to deliver an integrated solution in sound & light, architectural lighting solutions from Martin will also be displayed at the HARMAN booth - including the Exterior 400, Exterior 100 and Exterior 50 ranges of fixtures.
Commenting on HARMAN's participation at the show, Ankush Agarwal, Director, Marketing, HARMAN Professional India stated, "InfoComm as an organization has spearheaded several programs to integrate the AV industry throughout the world. In India, the show has grown and evolved as a platform that gives us the opportunity to connect with a variety of install partners and consultants and inform them on the latest product solutions that will help them to meet the challenges they face with their clients on a daily basis."
HARMAN (www.harman.com) designs, manufactures and markets premier audio, visual, infotainment and integrated control solutions for the automotive, consumer and professional markets. With leading brands including AKG®, Harman Kardon®, Infinity®, JBL®, Lexicon® and Mark Levinson ®, the Company is admired by audiophiles, musicians and the entertainment venues where they perform. More than 25 million automobiles on the road today are equipped with HARMAN audio and infotainment systems. HARMAN has a workforce of approximately 16,000 people across the Americas, Europe, and Asia and reported sales of $5.3 billion for the twelve months ended June 30, 2014.

redpajama_set_name: RedPajamaCommonCrawl


Pharmacists can help accountable care organizations (ACOs) both in population health and in direct patient care services, said Susan C. Winckler, BSPharm, JD, Senior Advisor at Leavitt Partners, in a March 12 webinar for APhA members.
In direct patient care services, ACOs may use pharmacists and their medication expertise in care transitions because ACOs are especially focused on quality measures for hospital readmissions, she continued. Other areas of opportunity for pharmacists in ACOs include medication adherence, medication management, and disease state management.
The conventional wisdom on ACOs was that medications wouldn't have a significant role in ACOs because Medicare ACOs don't include the Part D drug spend in their financial calculations. But in some Medicaid ACOs and private sector plans, drug spend is included, according to Winckler. And even in ACOs where the drug spend is not included, the conversation is transitioning to "what can we do to improve the outcomes that come from that medication use," she added.
Key differences between accountable care and managed care include a more robust health information technology (HIT) environment for better collaboration across the health care continuum, a better understanding of the need for preventive efforts, the use of quality metrics, and the fact that Medicare is a driver in promoting ACOs.
Pharmacists who want to work with an ACO should learn about the ACO market in their local area and how it is structured (e.g., hospital led, physician led, insurer led). Pharmacists should open the conversation with ACO leaders not with how pharmacists can save money on the drug spend, but rather with how pharmacists can help the ACO to "get the most of that investment made in medications" through improvements in outcomes, quality metrics, readmission rates, and medication use.
Currently, most ACOs are engaging pharmacists by hiring them into their system, although it is anticipated that, in the future, ACOs will contract with pharmacists in the community, perhaps as part of a pharmacy network.
Much of the content from Winckler's presentation can be read in a series of eight ACO briefs being published on pharmacist.com (see page 62 for more information). The first ACO brief is open access. The rest are for APhA members only. In related news, this month Leavitt Partners released a white paper, Optimized Medication Use: A Growing Priority for ACOs. The white paper, targeted to ACO decision makers, provides insights into the state of medication use strategies among early ACO adopters. On March 10, APhA collaborated with the National Alliance of State Pharmacy Associations to host a webinar for state pharmacy association executives on Medicaid ACOs and the role of pharmacists.


the daily flow of life.
real time, creating a whole new set of 'shopping moments.'"
integration of digital tools into our daily lives.
with consumers who have much higher expectations."
shopper/buyer/influencer will become her own virtual pointof-sale.
frictionless and distributed commerce for an audience of one,"
said Scartz. "In essence, solve for shopping in the flow."
all becoming standard in the shopper marketing mix."
7. "How Virtual Reality Will Change the World". Gaudiosi, John. Consumer Technology Association (www.cta.tech). January 8, 2016.


Kill adventurers with quick strikes, by dashing through them (Left-Click behind them to attack). Kill more adventurers with your specials skills once you are promoted (Press Q / W / E ). Do not upset the CEO, it will be fine. If you disappoint him 4 times, you will be fired.Mobs, Inc. won the Ludum Dare 33 contest out of 2700+ exciting games. In this game, you have to take care of the dungeon, which has become so popular that it attracts too many adventurers. If you do your job well, the CEO might decide to promote you and give you some new powerful skills.Much fun!Join now and have fun!


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redpajama_set_name: RedPajamaGithub


text:
Satu Marjatta Kiljunen, född 8 maj 1955 i Helsingfors, är en finländsk konstnär.

Kiljunen studerade 1974–1978 vid Finlands konstakademis skola och 1977 i Stockholm vid Kungliga akademien för de fria konsterna samt ställde ut första gången 1977. Hon är känd som målare och tecknare samt som foto- och videokonstnär. Hon innehade en central ställning som konstnär och regissör i den experimentella Jack Helen Brut-gruppen och deltog i performancer och med miljökonstverk på utställningar i hemlandet. I sitt måleri på 1980-talet forskade hon i relationerna mellan bild och rum. Sedan 1992 har hon bott och verkat på Kökar, där naturen inspirerat henne till tredimensionella "teckningar" av öns klippformationer, som hon utformat i lera och ställt ut som installationer tillsammans med kartliknande fotografier. Hon har sedan 1986 undervisat vid Konstindustriella högskolan och ledde 1997–2000 forskarutbildningen vid Bildkonstakademin, där hon var professor 2000–2003. Hon var 1995–2000 ordförande för statens centralkommission för konst.

Källor

Finländska målare under 1900-talet
Finländska tecknare
Finländska fotografer under 1900-talet
Finländska videokonstnärer
Finländska installationskonstnärer
Finländska konstnärliga professorer
Födda 1955
Kvinnor
Levande personer
Konstnärer från Helsingfors
Finländska fotografer under 2000-talet

redpajama_set_name: RedPajamaWikipedia


The Unmutual Website is very sad to announce that Robert Monks, camera operator on "The Prisoner" and friend to TUW , passed away suddenly at his home on 26th September 2012.
An incredibly talented and innovative camera operator, Bob was present at both the 1966 and 1967 Portmeirion shoots and at MGM where he headed the second unit, and was also responsible for all the helicopter footage seen in the series and for filming the opening sequence in London.
A fascinating speaker, Bob will also be remembered for his incredible memory of events working on the series including his wonderful interview at PM2006.
A truly talented, kind, and generous man, Bob will be sorely missed by all who knew him and TUW extends its sincerest sympathies to his wife Ina, his seven children, and countless other family and friends. Farewell, Bob. Rest In Peace.
With thanks to Michael Lee.


This project will ensure at least 30 people fleeing a domestic violence relationship trans-nationally will receive danger-to-safety relocation and reintegration services.
We provide hundreds of battered American women and abused children with the information and services necessary to enable them to live their lives without violence. Since 2001 we have helped over 10,000 women and children free themselves from abuse.
Each year we provide battered American women and children with information and services necessary to enable them to live their lives without violence. Since 2001 we have helped over 10,000 women and children free themselves from abuse.
Provide 5 emergency reintegration and trauma counseling sessions with a relocation and domestic violence therapist.


text:
Home » Our Faculty » Faculty Profiles » Emeritus » Martin Shapiro
Martin Shapiro
Professor of Law (Emeritus)
mshapiro@law.berkeley.edu
305 Boalt Hall, Berkeley, CA 94720 MC:7200
Faculty Support Contact: Stephanie Dorton
Martin Shapiro has taught in the political science departments at Harvard and Stanford Universities and at UC Berkeley, UC Irvine, and UC San Diego. He joined the Boalt faculty in 1977 and has been a visiting professor at Amherst University, Yale, Ecole des Hautes Etudes in Paris, Universita degli Studi di Milano, and the Summer Institute of the European Group for Public Law in Greece.
He is past president of the Western Political Science Association, past vice president of the American Political Association, a trustee of the Law and Society Association, and a member of the American Academy of Arts and Sciences. He has been a Jean Monet Fellow at the European University Institute in Florence, Italy, and a research scholar at the Institute for Judicial Research in Bologna, Italy.
Shapiro is the author of Law and Politics in the Supreme Court; Freedom of Speech: The Supreme Court and Judicial Review; Supreme Court and Administrative Agencies; Courts: A Comparative and Political Analysis; and Who Guards the Guardians: Judicial Control of Administration. His recent publications include "The Politics of Information: U.S. Congress and the European Parliament" in Lawmaking in the European Union (1998) and "Judicial Review, Democracy and the European Court of Justice" in the Israel Law Review (1998).
In 2003 Shapiro received a Lifetime Achievement Award from the Law and Courts section of the American Political Science Association.
B.A., UC Los Angeles (1955)
Ph.D., Harvard University (1961)


My STYLE is informed through process. Each color, shape or material informs what the next will be. The paintings evolve as if on a journey. The INSPIRATION for my paintings is personal and is generally a reflection of my relationship with my surroundings.


Wegner, W., Silva, M., Peres, M., Bandeira, L., Frantz, E., Botene, D., & Predebon, C. (2017). Patient safety in the care of hospitalised children: Evidence for paediatric nursing. Revista gaúcha de enfermagem, 38(1). doi: 10.1590/1983-1447.2017.01.68020.
Sandoval, E. (2016). Music in peacebuilding: A critical literature review. Journal of Peace Education 13(3), 200-217.
University of Minnesota Libraries Publishing. (2016). This is a derivative of Research Methods in Psychology by a publisher who has requested that they and the original author not receive attribution, which was originally released and is used under CC BY-NC-SA. This work, unless otherwise expressly stated, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.


"The exceptionally dedicated Headteacher leads the school with an absolute determination that all pupils can achieve highly and be happy in a nurturing environment".
"The highly engaging curriculum is a strength of the school. Pupils learn very well across a range of subjects, but particularly in reading. They develop skills which are equipping them very well for life and work in modern Britain".
"Pupils achieve exceptionally well in reading, writing and mathematics. They make good or better rates of progress to achieve the standards expected for their age. Many pupils exceed expected standards to attain highly"


Comprar Kit para Construccion Nevera a bordo al Proveedor Mayorista A MITAD DE PRECIO!!
Kit 3 insulating panels to build an isothermal bonding with glue poliurecan, where it is not possible to fit standard fridges. The panels are coated on both sides by 2 mm. of plastic laminate for food and have a thickness of 46 mm. closed cell foam insulation. Complete with covering strips for the edges of the lid. Dims. mm. 978 x 487.


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green color composite exterior stair treads green color composite exterior stair treads.color: many colors for base and insert . color: red, green, blue, grey . stair . wood composite deck stairs .


text:
About Theatre
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Desimir Stanojevic (1950 – 2020) – IN MEMORIAM
Home News Desimir Stanojevic (1950 – 2020) – IN MEMORIAM
On March 10, 2020, at the age of 70, actor Desimir Stanojevic, a former member of the the Terazije Theater ensamble in Belgrade and the National Theater in Nis, passed away.
Desimir Stanojevic (October 7, 1950 in Nis – March 10, 2020 in Belgrade).
Desimir Stanojevic played his first role in the National Theater in Nis on October 7, 1969 (Ah, the Wild, directed by Dusan Rodic). Until 1990, he played over 80 roles (Djido – Milic, Ivko's slava – Neko, Eternal students – Boss, Forest – Nesreckovic, Zona Zamfirova – Mane, Experiences of Nikoletina Bursac – Nikoletina, Don Juan returns from the war – Don Juan, Father on on a business trip – Father)…
Since 1990 he is employed in the Terazije Theater, where he played over 30 roles (Greek Zorba – Zorba, Violinist on the roof – Tevje, Marathoners run the lap of honor – Laki Topalovic, Ivko's slava – Kalca, Three Musketeers – Richelieu, Gypsies are found near heaven – Talimon and father Zobar, Jubilee – Champion)… He also played in other theaters in Belgrade (Belgrade Drama Theater, Slavija Theater, Puz Theater).
He played in TV series, dramas and films of domestic and foreign production (Happy people, Peasants, The village is burning and Grandma is combing, We will be world champions, Lager Nis; RAI – Toulouse Lautrec, Carravagio, Lo scandalo della banca romana, Paura di amare, Restauratore ).
He recorded 5 full-length television shows for RTS and RTV (Let the song hurt, And my beautiful dreams collapsed, Evening in the theater, Musicals for all times, Kalca's stories, children's songs), as well as 4 albums for PGP RTS.
He directed over 10 plays (Violinist on the Roof, the first musical in the history of the Nis Theater on March 11, 2010, Musical Gypsies are found near heaven, December 16, 2017, Cafe with everyone, Sima returns home, Fishing on the asphalt)…
He participated in 8 festivals of popular, traditional and children's music ("Manager" in Belgrade, "Belgrade Spring", "Tamburitza" in Novi Sad, "Nis Autumn" – double winner).
He has won several awards and recognitions in the field of theater, television and music.
The commemoration for Desimir Stanojevic will be held in the hall of the National Theater on March 13 at 12 noon.
Farewell from Desimir Stanojevic will be on Monday, March 16 at 3 pm at the New Cemetery in Belgrade.
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"We are happy to congratulate Stephan and Erinn of Kansas City as new owners of the Lennox system that we gave away at the 2019 HBA KC Home Show!
Many show goers stopped by to pick up gifts and get information on the Lennox products. It's always great to make new friends and see many current ones.
We will have pictures of the Kansas City family and the installation soon.
At Mike Bryant Heating & Cooling, We know how important the comfort and security of your home is to you and your family. We also understand that your heating and air conditioning systems are two major components of the comfort your home provides to you, and when there are extreme outdoor temperatures, they can be also a huge part of your family's health and safety. So when you hire us for any heating and cooling services, we'll do whatever it takes to make sure you're receiving the highest quality workmanship and most professional customer service possible.
Our founder, Mike Bryant, was raised in the heating and cooling industry and has been working professionally in the industry of over 36 years. Mike Bryant Heating & Cooling has been in business since 2004, and we've focused on new home constructions from the beginning.
Our HVAC Contractors are all licensed, trained, and experienced, and we can guarantee your complete satisfaction with all of the work that we provide.
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Our expert Air Conditioning Contractor will ensure that the duct work is perfect for your home, and we guarantee that the new system will be totally functional, effective, and efficient.
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You can always rely on your expert Heating Contractor to provide you with reliable, thorough, and accurate heating repairs. With our expertise and experience, we'll be able to quickly diagnose and repair any problems you're having with your heating system.
Our professionals can provide you with completely customized sheet metal fabrications to ensure that your new duct work is perfect for your home. Many AC and heating replacements require duct work modifications, and if you're installing a system for a new construction, the duct work needs to be built specifically for the home and the HVAC system.
We can design and build your new duct work so that it provides the ultimate effectiveness and the maximum amount of efficiency to your Lenexa home's heating and cooling systems.
Whether you need major repairs, a full replacement, or just a tune-up for your Lenexa home's air conditioner, the professionals at Mike Bryant Heating & Cooling will be ready to tackle the job. We'll do whatever it takes to make sure that your AC can provide your entire home with cool air to keep you comfortable throughout the hottest parts of the year. We'll also make sure that your AC is running as efficiently as possible, so you won't ever be paying more than you need to for your cooling costs.
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text:
studios!
Avalanche Studios is one of the largest privately held, independent studios in the world. Our goal is simple: to develop the best open world games in the industry. To achieve this monumental mission, we believe in hiring the best and providing a diverse and supportive environment where great talent can flourish. Here's how.
working at avalanche studios
Welcome! Below, we aim to share everything you need to need to know about Avalanche Studios. We'll go into every aspect of the studio; culture, technology, benefits and more. But if you don't have the time to dive in just yet, here's the short and sweet version. If you'd like to sneak peek at the new Avalanche Studios studio space in Stockholm, click here.
Avalanche Studios is the original creator of the award-winning Just Cause franchise (published by Square Enix) with the third entry released on December 1st, 2015. Just two months prior, we released Mad Max (published by Warner Bros. Interactive Entertainment).
During the 13 years since the company was founded, Avalanche Studios has also created acclaimed twin stick shooter Renegade Ops (published by SEGA) and self-published free-to-play service theHunter (developed by subsidiary Expansive Worlds) which now has over 6 million registered players across 190 countries.
Avalanche Studios was founded by Christofer Sundberg and Linus Blomberg. It is still privately held, and both founders spend their time developing the emergent gameplay and cutting edge proprietary technology that is at heart of every Avalanche Studios game.
In 2011, we opened our doors in New York City. Having a presence on each side of the Atlantic is beneficial in many ways, from publisher relations to hiring the greatest talent and offering a unique work environment. It goes without saying that team members have the opportunity to exchange ideas, visit or even move between our studios.
Nothing is more important than our developers, so we work hard to ensure their health and happiness. We believe in a sound work/life balance and go to great lengths to protect this often championed but rarely realized concept.
There you have it, in a nutshell. Sounds interesting? Keep going to learn more.
UNIQUE, CUTTING EDGE TECH
Thanks to our proprietary technology, the Avalanche Engine, our design teams are empowered to create explosive, emergent gameplay in beautiful open worlds.
There are a number of unique opportunities that come with using in-house developed, one of kind technology: it's designed entirely with Avalanche Studios' games in mind, it's ever-evolving (always in the same direction we are) and if you ever need support or have feedback, the people who created the engine are probably grabbing a coffee just around the corner.
-- Everything we do is geared toward the end goal of creating explosive open worlds, says Studio Lead Architect Johan Fläckman. Our strength lies in the ability to create custom solutions for every aspect of the engine. I would say that's a prerequisite for us as a relatively small company to be able to compete with the biggest teams and games throughout the AAA world. Read the full interview with Johan Fläckman here.
UNRIVALED WORK/LIFE BALANCE
Everyone at Avalanche Studios – from founders and producers to engineers and artists – strive to ensure an industry leading work/life balance. Overtime is considered a failure. As such, it's the exception, not the norm.
As the games industry grows and evolves, so do many of the people who call it home. If you are a parent, we support you in a number of ways. And it's paying off. In a recent equality survey conducted by Avalanche Studios, more than 94% of all responding parents reported feeling supported.
In any largely sedentary industry, health initiatives are important. We offer massages and meditation during work hours, along with a variety of sport activities like soccer, basketball, yoga, badminton, kickboxing and running. Our studios are stocked with healthy eating options, hot and cold drinks and fresh fruit. We have BBQ nights, Friday beers and Monday breakfasts. Most of the time we celebrate for a reason, but sometimes... Just 'cause.
NO WALLS
Our open-world mindset extends to our physical space. We don't believe in confining creative talent within walls, figuratively or literally. This belief is expressed in a few different ways.
The founders run the company and take part in everything we do, just like they did a decade ago. They don't have walled-off offices. Their primary passion and focus is still to create amazing games.
As a developer at Avalanche Studios, you are not constrained by a hefty set of rules, policies or guidelines. While we are always happy to help, we believe in your judgement and more importantly in your freedom to shape the way you create, collaborate and communicate, inside and out of the studio.
WE HEAR YOU
Transparency is important to us. We want our objectives, strategies and goals to be visible to all Avalanchers. We also want every Avalancher to share their hopes, motivations and - let's not pretend they don't exist - frustrations, with us. To this end, we conduct recurring surveys to find out what we're doing well, and what needs to improve. Our founders and managers have been known to schedule one-on-one meetings with every single employee, or invite everyone to "Ask Us Anything" style open forums where questions can be asked anonymously. The Operations team evaluates and adapts their work every fourth month, based on the feedback they get from every other discipline in within the company.
In short - as an Avalancher, if you say something, we hear you.
PROUDLY INDEPENDENT SINCE 2003
Being a privately held company has its advantages. The stock market does not dictate which games we create - we do. Strategic decisions are not made by some far removed board, but by the founders and managers that work alongside everyone else, building our games. We are not locked into working with one parent company. Because we're corporate orphans we can (and do) choose our publishing partners wisely. Over the years, we have worked with SEGA, Square Enix and Warner Bros. Interactive Entertainment, to name a few.
HONE YOUR CRAFT
At Avalanche Studios, we do not only work within teams dedicated to creating amazing open-world games. We also belong to something called Crafts; teams based around disciplines that function independently of studio locations and projects.
- Crafts serve a number of different and important purposes, explains Jennie Wilund, Studio Manager in Stockholm. We designed this framework to create a greater sense of place and direction. We want to allow competence to evolve and spread within a given discipline, across our current projects. It's a way to for senior staff to share their knowledge, but also to make sure that ideas from new Avalanchers are heard and considered.
Crafts serve a strategic purpose, where every developer is invited to shape the company's future. They are of course guided by the general direction set by the founders and owners, but within the Art, Programming or Animation Crafts (to name a few), any given individual has a chance to make a significant impact in the long term strategic goals. We believe this creates an organic, inclusive forward momentum which is unique to Avalanche Studios.
LEARN, GROW, THRIVE
At Avalanche Studios, we believe in developing our talent by offering clear career paths and development plans. We strongly believe in knowledge sharing between teams, projects and individuals. We arrange regular workshops where Avalanchers can share information they acquired during a trade show, lecture or trip to a partner company. There is always a delegation of Avalanchers at GDC in San Francisco and in Cologne. For those not able to attend, we have started to mirror the event locally - but not simply by rehashing what those fortunate enough to go were able to learn. Within each team, there's a wealth of intrinsic knowledge. By scheduling formal talks during lunches and work hours, we make sure that knowledge permeates the entire organization.
ONE COMPANY, TWO GREAT CITIES
Our premises tell the story of our games, from the hood of the car we pumped full of lead during a sound session, to old skeletons and framed knives. We think of them as functional art. Our studios provide cutting edge technology, comfortable and functional work spaces, exhaustive reference libraries and amazing views of Stockholm and New York City.
From the vibrant and culturally unparalleled Soho district in New York to Södermalm in Stockholm, increasingly known as Northern Europe's premiere tech and gaming hub, we offer suitably inspiring surroundings for the new stars of the entertainment industry.
JUST THE RIGHT AMOUNT OF INDIE
As one of the biggest indie developers in the world, we do things a little differently. While we have processes in place to keep development progressing smoothly, there is also room for quirks and big personalities. We never want to become a faceless corporation and we're working hard to always remember our garage roots. There's a certain amount of chaos, not only in our open-world games, but also in how we create them. Not a lot, just enough to keep things interesting. After all, we're creating games, and creativity lives next door to chaos.
DIVERSE. FOR REAL.
What's the expression most commonly used to describe New York City? Well, except "The Greatest City in the World" (which is true, by the way). It's called a "melting pot", and it is. It's where the smartest, most talented and driven people from all over the world come to make it. Stockholm is a much smaller city, but equally progressive, inclusive and unique. Avalanche Studios want to help drive diversity in both cities. We happily welcome people of any ethnicity, sexuality, background or belief. If you are a respectful individual and a passionate professional, that's all that matters. We'd love to have you.


text:
Q: multiply a value of each item of a json array with postgres 9.6 I tried many different things that I gathered here and there (official docs, blog posts, SO, …) but didn't succeed, so here's my question to you all:

Given this table:
basik=# select id, jsonb_pretty(range_price_list_values::jsonb) from product;
                  id                  |       jsonb_pretty
--------------------------------------+--------------------------
 cc80c862-c264-4bfe-a929-a52478c8d59e | [                       +
                                      |     {                   +
                                      |         "to": 10,       +
                                      |         "from": 5,      +
                                      |         "price": 1      +
                                      |     },                  +
                                      |     {                   +
                                      |         "to": 20,       +
                                      |         "from": 15,     +
                                      |         "price": 1298000+
                                      |     },                  +
                                      |     {                   +
                                      |         "to": 30,       +
                                      |         "from": 25,     +
                                      |         "price": 500000 +
                                      |     }                   +
                                      | ]

How to multiply by 1000 the price key of each element of each row of the table ?

PS: my failed tentative was to look around jsonb_* functions and window functions:
WITH prices as (select id, jsonb_array_elements(range_price_list_values::jsonb) from product)

UPDATE product SET range_price_list_values = JSONB_SET(
    range_price_list_values::jsonb,
    '{' || price.rank || ',price}', jsonb_extract_path('{' || price.rank || ',price}')::int * 1000, false
)::json;

Thanks for taking time to read! :)

A: First that came (quite ugly):
t=# create table product (id text, range_price_list_values jsonb);
CREATE TABLE
t=# insert into product select 'cc80c862-c264-4bfe-a929-a52478c8d59e','[
t'#   {
t'#       "to": 10,
t'#       "from": 5,
t'#       "price": 1
t'#   },
t'#   {
t'#       "to": 20,
t'#       "from": 15,
t'#       "price": 1298000
t'#   },
t'#   {
t'#       "to": 30,
t'#       "from": 25,
t'#       "price": 500000
t'#   }
t'# ]';
INSERT 0 1

t=#  with b as (with a as (select id, jsonb_array_elements(range_price_list_values::jsonb) j from product) select id,jsonb_set(j,'{price}',((j->>'price')::int * 1000)::text::jsonb) from a) select distinct id, jsonb_pretty(concat('[',string_agg(jsonb_set::text,',') over (partition by id),']')::jsonb) from b;
                  id                  |        jsonb_pretty
--------------------------------------+-----------------------------
 cc80c862-c264-4bfe-a929-a52478c8d59e | [                          +
                                      |     {                      +
                                      |         "to": 10,          +
                                      |         "from": 5,         +
                                      |         "price": 1000      +
                                      |     },                     +
                                      |     {                      +
                                      |         "to": 20,          +
                                      |         "from": 15,        +
                                      |         "price": 1298000000+
                                      |     },                     +
                                      |     {                      +
                                      |         "to": 30,          +
                                      |         "from": 25,        +
                                      |         "price": 500000000 +
                                      |     }                      +
                                      | ]
(1 row)

having that in CTE, you can update values against it

A: You'll need a sub-select, as you want to update multiple fields in your JSON:
update product
set    range_price_list_values = (
         select jsonb_agg(case
                  when jsonb_typeof(elem -> 'price') = 'number'
                  then jsonb_set(elem, array['price'], to_jsonb((elem ->> 'price')::numeric * 1000))
                  else elem
                end)
         from   jsonb_array_elements(range_price_list_values::jsonb) elem
       )::json;

Note: this will only update numeric price keys, otherwise an exception would be thrown, when a price is not a number.
http://rextester.com/PQN70851

redpajama_set_name: RedPajamaStackExchange


Additional: Savage Lands is an Early Access game and specifications may change during development.
Additional: As of March 31, 2016, we will stop developing for Windows XP and focus exclusively on developing DirectX 11 and 64-bit Windows. You can read more about it here.


text:
Gomud.net
What touches of characterization in the early part of the story prepare us for Paul's eventual suicide?no
In Cather's "Paul's Case," Paul is isolated from the beginning. I suggest that what's at the center of Paul's misery is his disdain for everyone and everything around him. Which came first, the depression or the disdain, I don't know, but the only environment and people he accepts in Pittsburgh is the theater and the actors that perform there."Disdain" may not be a word that's accurate at all times for what Paul feels. Sometimes he just seems to feel boredom with the tediousness of things, the sameness of everything: his father waiting for him at the stairs, for instance. But disdain covers much of his attitude toward others: his teachers, most notably.He also intuitively feels he knows something no one else does, and he does: suffering and isolation. Unfortunately, that's not what he thinks he knows. He thinks he knows more about the finer things in life than others do, and that makes him "better," more aware than them. Thus, he will never accept them.Once the theater is made off-limits to Paul, he is doomed unless he can escape Pittsburgh. When it becomes clear that he will not be able to stay in New York and live life like he needs to, he has no option except suicide. I suggest Paul's suicide is absolutely motivated by everything we know about Paul, not only in the beginning of the story, but in the entire story. The suicide is the natural ending to the plot. It's the only possible ending for Paul's character in early 20th-century America.The story is an accurate portrayal of a person suffering from a "case" of depression.
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text:
How Old Is Madonna?
Anonymous answered
Madonna Louise Veronica Ciccone Ritchie was born on August 16, 1958. Now more famously known by her first-name, the performer was born in Bay City, Michigan, the third of six children. Her mother died of breast cancer at the age of 30, the event which the singer has since said had the largest impact on her life.
As was the case with her five siblings, Madonna was required by her father, a Chrysler engineer, to take music lessons although, after some months of piano tuition, she was allowed to switch to ballet. Her ballet teacher mentored her progress as a dancer and, in 1980, Madonna signed a singles deal with Sire. Her first release found success on the Billboard dance chart, with her eponymous debut album reaching number 8 in the American charts. It has since gone five times platinum.
Madonna's career has been characterized by the influences of her early days as a dancer. In particular, her exposure to gay clubs at the hands of her mentor has had a profound effect. Madonna has subsequently become the most successful female performer of all time.
Thank Writer
thanked the writer.
blurted this.
Lou Cleaves answered
Madge is currently 108yrs old and she looks it,the video of her cavorting in a purple leotard reminded me of my nan trying to look young,horrible.
When are people going to stop worshiping this talentless bimbo,with a voice so thin and overproduced,that you wonder if she bothers to turn up for recording sessions and gets one of her backing singers to fill in.
Off the top of their heads,ask anyone to name or sing her last ten singles,you'd have a hard job getting past number 4
She's in the business of "shifting units" not music,if you are looking for the most succesfull recording artist,look no further than Areatha Franklin,now there's a SINGER
Madonna is now 48 years old.
She was born on August 16, 1958
Anonymous commented
Again, 109 - 58 = ? 51...
She is 51
T answered
Madonna is 50 years old. Will be 51 in August of 2009.
and a rincally bag
She is 47, soon to be 48 and still an amazing performer for her age. I think it is beginning to show however, as she keeps damaging her knees before major tours!
If she was born in 1958 and now we have 2009 than that means she's 51...do your homework, seriously...I see that more people can't do basic maths here (down).
Dan Gusola answered
Some say that she exercises very regularly to stay in shape. Having as much money as she does must help with that side of things.
The top answerer is not very good at math, they say that she is 48, yet they say that she was born in 1958, which would make her 52, so she's somewhere between 48-52, but looks more like 60
Madonna Louise Veronica Ciccone was born on August 16th, 1958, which makes her almost 48 years old. Madonna, as she is more commonly referred to, is the most successful female recording artist of all time, with worlwide album sales topping 200 million to date.
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As a cosmetic dentistry office in Plano, we are in the business of transforming smiles and do so on a daily basis. We love what we do because it gives us the opportunity to give our clients a fresh start, a renewed confidence that really shines through. Still, many people call asking if cosmetic dentistry is really any different from regular dentistry and what we can do to help them. We understand that there is a great deal of confusion surrounding what we can and cannot do, which is why we focus on patient education.
Bottom line: As a cosmetic dentist, we can give you a beautiful smile and correct most aesthetic problems you have with your smile. How we do so and what the exact results will be, depend on the condition of your teeth right now.
In our Plano cosmetic dentistry office, we have a variety of tools to accomplish these goals. Our objective is to solve any challenges you are facing in a way that looks entirely natural. We want your replacement teeth or restorations to look like natural ones, so no one will know you ever had a dental health issue. Whether you were in an accident or lost a tooth, we can help repair the damage. If we are completing a full smile makeover, our goal is to give you a smile that looks so beautiful and so natural, people will think you were born with it. Our skill and expertise allow us to make you look as though you were born with the most brilliant, beautiful and perfect smile.
Dental bonding. For a fast restoration, we can place bonding material on the surface of your tooth, shape, and harden it. This is an excellent solution if you have a cracked or chipped tooth that needs to be fixed immediately.
Dental veneers. Our patients love dental veneers because they can solve virtually all aesthetic issues. They can cover dark stains, close gaps in between teeth, change their shape and size, and create a truly stunning Hollywood-style smile.
Dental crowns. When teeth are more severely damaged or much of the enamel is missing, a crown can be placed around the tooth instead. A crown is a cap created using tooth-colored porcelain or ceramic. It works incredibly well when your tooth structure is missing.
Teeth whitening. This is one of the easiest ways we can improve your smile in our cosmetic dentistry office. Whitening your teeth can make you look younger and healthier. Plus, it is very affordable.
Dental implants. We can replace your teeth and strengthen your jawbone. By placing dental implants, we can restore your smile, appearance, and the functionality of your missing teeth.
There is so much we can do for you in our Plano cosmetic dentistry office. To learn more, call and schedule an appointment.


text:
Der Traumgörge () est un opéra en deux actes et un épilogue d'Alexander von Zemlinsky sur un livret de Leo Feld.

Œuvre posthume, l'opéra est créé le  à Nuremberg sous la direction de Hans Gierster.

L'œuvre a fait l'objet d'une recréation dans une orchestration chambriste de Jan-Benjamin Homolka, à l'auditorium de Dijon en octobre 2020.

Distribution

Notes et références

Œuvre d'Alexander von Zemlinsky
Opéra des années 1980
Opéra autrichien
Opéra en allemand
Opéra créé en Allemagne


text:
Elijah Lee
College: Kansas State
TCKLS
Defense Fumbles
Sundays 13 51 40 11 1 2
Mondays 2 2 2 0 0 0
Other Days (not Mon or Sun) 1 1 1 0 0 0
September 4 14 12 2 1 0
October 4 4 4 0 0 0
November 3 7 6 1 0 1
December 5 29 21 8 0 1
Opponents by Group
vs Own Division 6 20 14 6 0 0
Outside Own Division 10 34 29 5 1 2
vs AFC Teams 4 6 5 1 0 1
vs NFC Teams 12 48 38 10 1 1
Opponents by Team
Chicago Bears 1 8 7 1 0 0
Denver Broncos 1 4 3 1 0 1
Detroit Lions 1 10 8 2 1 0
Green Bay Packers 1 1 1 0 0 0
Kansas City Chiefs 1
Los Angeles Rams 2 10 7 3 0 0
Oakland Raiders 1 1 1 0 0 0
Minnesota Vikings 1 3 3 0 0 0
New York Giants 1 1 1 0 0 0
Arizona Cardinals 2 2 2 0 0 0
Los Angeles Chargers 1 1 1 0 0 0
Seattle Seahawks 2 8 5 3 0 0
Tampa Bay Buccaneers 1 5 4 1 0 1
Wins 4 23 17 6 1 1
Losses 12 31 26 5 0 1
Arrowhead Stadium 1
U.S. Bank Stadium 1 3 3 0 0 0
State Farm Stadium 1 2 2 0 0 0
Levi's® Stadium 8 33 26 7 1 1
Lambeau Field 1 1 1 0 0 0
Los Angeles Memorial Coliseum 1 9 6 3 0 0
Raymond James Stadium 1 5 4 1 0 1
ROKiT Field at StubHub Center 1 1 1 0 0 0
CenturyLink Field 1
OWN FR
OPP FR
Sundays 13 1 1
Mondays 2 0
Other Days (not Mon or Sun) 1 0
September 4 1
October 4 0 1
November 3 0
December 5 0
vs Own Division 6 0 1
Outside Own Division 10 1
vs AFC Teams 4 0
vs NFC Teams 12 1 1
Chicago Bears 1 0
Denver Broncos 1 0
Detroit Lions 1 1
Green Bay Packers 1 0
Los Angeles Rams 2 0
Oakland Raiders 1 0
Minnesota Vikings 1 0
New York Giants 1 0
Arizona Cardinals 2 0 1
Los Angeles Chargers 1 0
Seattle Seahawks 2 0
Tampa Bay Buccaneers 1 0
Losses 12 0 1
U.S. Bank Stadium 1 0
State Farm Stadium 1 0 1
Levi's® Stadium 8 1
Lambeau Field 1 0
Los Angeles Memorial Coliseum 1 0
Raymond James Stadium 1 0
ROKiT Field at StubHub Center 1 0
Goldmine
Lee says he doesn't let a day go by without giving credit to his mother, ShaRon, for teaching him to always work hard and strive for more. "My biggest motivation is my mom and working hard for her," said Lee. After moving in with his mother in high school, he and his two sisters relied on their mother to play the role of both parents. Lee says he couldn't have asked for more from her as a child. "She got me to this point. I work as hard as I can every day to make her proud." After receiving a scholarship to play football at Kansas State University, ShaRon never let her son settle, pushing him to excel on the field and in the classroom as a business major. "I am a believer that if you want something, you have to work and sacrifice to get it," said ShaRon. "When I watch Elijah now and see how much he has grown as a football player and as a person, it makes it all worth it."
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