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Q: Populate word document from html form I am new to web development and need your help to figure out how to use the form in HTML and use the data to populate the said field in a word document. Any advice on how to approach this problem is highly appreciated. It would really help if you could post a live example for the below. Please,do let me know if any further explanation is required.

A: As a new developer, I want to advise you that you are getting into some challenging territory here and many of the solutions might require some heavy experience with programming and MS Word. In this forum, there are many options you can try, but from what I gather you will need to learn about macros.
The second option you could try are some services that will do this for you for a fee. Here are two options. Check out Formstack or Jotform
If you use this type of service, you would create a form action within your html code that will merge the data from the form into the Microsoft Word Document using merge tags.
The third option you can try is using Javascript within the form to populate the Word Document. The code would look more like this:
function Export2Word(element, filename = ''){
    var preHtml = "<meta charset='utf-8'><title>Export HTML To Doc</title>";
    var postHtml = "";
    var html = preHtml+document.getElementById(element).innerHTML+postHtml;

    var blob = new Blob(['\ufeff', html], {
        type: 'application/msword'
    });

    // Specify link url
    var url = 'data:application/vnd.ms-word;charset=utf-8,' + encodeURIComponent(html);

    // Specify file name
    filename = filename?filename+'.doc':'document.doc';

    // Create download link element
    var downloadLink = document.createElement("a");

    document.body.appendChild(downloadLink);

    if(navigator.msSaveOrOpenBlob ){
        navigator.msSaveOrOpenBlob(blob, filename);
    }else{
        // Create a link to the file
        downloadLink.href = url;

        // Setting the file name
        downloadLink.download = filename;

        //triggering the function
        downloadLink.click();
    }

    document.body.removeChild(downloadLink);
}
Export HTML Table Data to Excel using JavaScript

HTML Content:
Wrap the HTML content in a container you want to export to MS Word document (.doc).

Last option would be using PHP, and I recommend watching this video by CodexWorld and reviewing the post that goes along with it here. This is a challenging concept, so I would encourage you to take your time.
Hopefully this will help and best of luck.

A: Well, I don't know how to exactly do that, I am also a beginner like you. What seems to help you might be connecting your form with Google Sheets. The Google Spread Sheet will store all data submitted via your form. You can then use this data wherever you want.
There is an open source project for this task, you can do that by following the steps stated here: https://github.com/dwyl/learn-to-send-email-via-google-script-html-no-server
You can see it in action here: https://nisootech.vercel.app/#contact-me

A: There are two parts in your application

*

*Enabling user to input the values in frontend. Which you can build using any frontend technology stack eg: HTML and Plain Javascript(Required for calling the Services), React JS, Angular etc.

*Backend Service which will basically does the heavy work

*

*Receiving the input from user.

*Creating Word file using any libraries such as

*

*Generate word files using Apache POI ,

*Using Node.js to generate dynamic word document using Database value

*Downloading the file after its completely generated using the values supplied by user.

*

*download a file from Spring boot rest service

*how to download file in react js
For the Backend service you can use technologies like Java and Springboot, Python, Node Js etc.

*

*Building Restful webservices using spring
Use Technology in which you are more comfortable and start building. These Links and documentation you can use to start from basic.
Suggest you to breakdown your problems focus on each specific areas and do the development as per your smaller problems and integrate them later.


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Afrosellana är ett släkte av insekter. Afrosellana ingår i familjen sporrstritar.

Kladogram enligt Catalogue of Life:

Källor

Sporrstritar
Afrosellana

redpajama_set_name: RedPajamaWikipedia


UK: An engineering assessment has found that there is a 'positive case' for fitting Siemens Desiro Class 350/2 electric multiple-units with batteries to enable off-wire operation, Porterbrook Leasing said on October 15. The company is holding discussions with battery chemistry specialists with a view to producing a demonstrator unit.
The 25 kV 50 Hz EMUs entered service from late 2008 and are currently operated by London Northwestern Railway, but are scheduled to be replaced by new Bombardier Transportation Aventra EMUs.
Porterbrook has modelled the energy demands and performance of the proposed BatteryFLEX units. On routes such as the non-electrified Windermere branch, the units would remove the need for diesel traction while retaining the ability to use 25 kV 50 Hz overhead on the main line. Porterbrook found that on the West Coast Main Line the BatteryFLEX's performance could 'match or outperform' existing rolling stock, particularly on local services.


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Amea Thompson Named Undergraduate Ceremony Commencement Speaker at VSU
Amea J. Thompson
VALDOSTA — Amea J. Thompson of Springfield, Georgia, will deliver one of two commencement addresses during the virtual Undergraduate Ceremony portion of Valdosta State University's 229th Commencement, which is scheduled for 7 p.m. on Saturday, May 9, at valdosta.edu/commencement.
Thompson graduates with a Bachelor of Fine Arts in Communication and a Minor in Advertising and Promotions.
Thompson said that it is an esteemed honor to be able to speak on behalf of the graduates at VSU's first virtual undergraduate commencement ceremony. She said "never in a million years" did she think she would ever have an opportunity such as this, and she is incredibly grateful for everyone's support.
"If there are any words of encouragement I can offer my fellow spring graduates," she added, "it's a quote by Paulo Friere, which states, 'Education does not change the world. Education changes the people who will change the world.' I believe we have been faced with more change in our world in the past few months than we could ever have imagined. But still, I have immeasurable hope for our future, knowing that our graduates will go out prepared to make it better by rising to this unprecedented occasion."
As a student at VSU, Thompson served two academic terms as student body vice president and two terms as a Student Government Association senator. She participated in the University Ambassadors Program, was a member of the Wesley Foundation Leadership Team and the Blazin' Brigade Color Guard, helped welcome first-year students to campus as a Blazer Beginnings Orientation leader, and completed a one-year internship with the Center for South Georgia Regional Impact. She was inducted into Blue Key Honor Society.
Thompson fully embraced VSU's commitment to act as a resource and innovative leader for South Georgia and sought out ways to give back to the region. She volunteered with the Boys and Girls Club of Valdosta, the Greater Valdosta United Way, and Second Harvest of South Georgia.
Taking full advantage of VSU's rich and diverse lineup of study abroad programs, Thompson enjoyed an unforgettable cultural and professional experience in Singapore.
Thompson's commitment to academic, service, and leadership excellence resulted in her earning repeated spots on the Dean's List, the VSU General Fund Scholarship, and the Ty Cobb Scholarship.
Thompson plans to continue her education and pursue a Master of Public Administration. Her goal is to start a nonprofit in the near future. She is the daughter of Ashley and Amanda Thompson.
Thompson is one of three high-powered student speakers selected to deliver commencement addresses during VSU's 229th Commencement. The other two — Ashlie M. Prain of Valdosta, Georgia, and Jacob R. Bell of Baxley, Georgia — will speak during the virtual Graduate School Ceremony and virtual Undergraduate Ceremony, respectively. Each of these students boasts a record of academic achievement, service, leadership, and campus involvement. They are excited to have the privilege of inspiring a new class of creative, conscious, and caring Blazers ready to meet the needs of a changing global society.
https://www.valdosta.edu/administration/advancement/event-services/commencement/
https://www.valdosta.edu/colleges/arts/communication-arts/dept-programs.php
https://www.valdosta.edu/programs/minor-in-advertising-and-promotions/

redpajama_set_name: RedPajamaCommonCrawl


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64th PSA: The Politics of Islam
One panel proposal entitled "The Politics of Islam" in conjunction with the PSA Specialist Group on Politics and Religion for the 64th Annual International Conference of the Political Studies Association (April 14-16, 2014, The Midland Hotel, Manchester, UK)
Debates about political issues in relation to Islam maintain a consistently high-profile in contemporary analyses of the relationship between politics and religion. The contributions for this panel explore a number of themes in this area. The papers examine the diversity of institutional and social relations between politics and religion throughout the Islamic world, the nature and justifications of radical 'Islamic' violence and terrorism, and the issue around Islam and toleration.
Title: A different epistemological approach when studying Islam and Politics
Abstract: The "Islamic World" is a huge area of land, with almost 1.6 billion people, integrating multiple different cultural, ethnic and political entities. In the contemporary period religious institutions, movements, and beliefs have had more political importance in the Muslim world than in the West. Although attributed to special features of Islam, which are of some importance, there are other causes, such as, first, different historical experiences in the West and in the Islamic world, and, second, the imperial and colonial experiences suffered by Muslims which made them defensive about Islam and to define (as did some Westerners) the situation in religious terms. One aspect which is usually focused is the Shari'a (normally translated as Islamic Law, but which is a concept with different connotations according to Time and Space) as if one single legal building were used from Morocco to Indonesia, thus giving to that geographical mass some kind of religious connotation. This grill of analysis ignores the different situations in different parts of the Islamic world, where there are countries which until recently were considered secularists but had a state religion, countries which do not have state religion but where the president must be a Muslim, countries where the head of the state is also the Prince of the Faithful, something that does not impede political groups of using Islam to delegitimize the political establishment, or countries which are considered models of secularism at the same time that having a Ministry of Religious Affairs. The aims of this paper are to analyse the diversity of political situations and the role of religion in different contexts of the Islamic world according to this diversity.
Author– Carimo Mohomed
Brief biography– Ph. D. in Political Science (Political Theory and Analysis – Islamic reformism in India between 1857 and 1947). Graduated in History. Main research interest: Contemporary Islamic History and Political Thought. Other interests include the relations between Religion and Politics, and the impact of Modernity, in different cultural and civilisational contexts. Recent publications include "Reconsidering 'Middle East and Islamic studies' for a changing world" in International Critical Thought, Vol. 2, n. 2 (http://www.tandfonline.com/doi/full/10.1080/21598282.2012.684479). Officer Research Committee 43 (Religion and Politics) – International Political Science Association. E-mail – mohomed.carimo@gmail.com
Paper Title:
Between Nomocentrism and Antinomianism: The Situational Ethics of Islamist Terror
Paper Abstract:
The present paper opens with the question of how al-Qa'ida and similar Islamist organizations justify the violence that they perpetrate. In order to come to terms with the situational ethics of Islamist terror, I argue that that political actors, whether religiously-founded or secular, are invariably embedded in both political cosmologies (understood as structures of perceptions and narratives which together constitute interest, identity, and intentionality) and political soteriologies (understood as the theory of the set of actions demanded to obtain salvific status for the political constituency). For religiously-founded terrorists, the former sets the constitutive rules, the second the regulatory rules of political engagement, violent or otherwise. It has often been suggested that Islamists, who invoke religious norms and discourses in an effort to either challenge or capture state power, operate within otherwordly ideational milieux. Other observers have suggested that radicals remain utilitarian, and as such do not transcend cost-benefit analyses, even when invoking transcendental themes. The present paper challenges both sets of arguments by considering the notion of 'the exception' or 'supreme emergency' in radical Islamism's political cosmology—unveiling thereby a cognitive and rhetorical leap which allows the radical religious activist to acknowledge traditional nomocentric theology while in practice departing from established orthopraxy by a process of discursive reconstrual.
Author Biography:
Naveed S. Sheikh teaches International Relations, with a specialization in Security Studies and Middle East Politics, in the School of Politics, International Relations and Philosophy at Keele University, United Kingdom. He is furthermore the editor of the Routledge-published quarterly Politics, Religion and Ideology (formerly, Totalitarian Movements and Political Religions). Educated at the Universities of Buckingham, Durham and Cambridge, he has held fellowships at Harvard, Hosei (Tokyo) and Notre Dame Universities.
3rd presenter is Anthony Black's Islam and Toleration.
Previous Previous post: 23rd IPSA: Islam and Politics in Turkey
Next Next post: 4th WOCMES: Co-IRIS: Islamic Perspectives on Theory and Praxis in International Relations


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Announcement/News
Gemma Ray Announces Nov/Dec U.S. Tour Dates/ Nov 11 in Pittsburgh @Hambones
By Alan D. Welding on September 8, 2016
NEW ALBUM THE EXODUS SUITE OUT NOW
credit: Steve Gullick
Watch "The Original One" video: https://youtu.be/qQuCJ_tZd_E
Watch the "We Do War" video: https://youtu.be/dxlM0T7vonE
Berlin-based, British-born Gemma Ray will bring her unique torch song psychedelia to the U.S. via a November/December tour in support of her new album The Exodus Suite. The tour will take Ray and her band throughout the country, beginning November 11th in Chicago, IL and wrapping up on December 6th in Los Angeles, CA. A current itinerary is below.
The Exodus Suite – released on June 10, 2016 – has earned Ray international praise, from outlets including Paste ("shadowy beauty"), Mother Jones ("Spine-tingling"), American Songwriter ("riveting"), She Shreds, Mojo ("beautiful, as ever"), Uncut ("a moving collision of past and present"), and Rolling Stone Australia ("deep and meaningful seduction"), among others.
Her sideways blues songs are cinematic and brooding, and sit more comfortably in the Nick Cave & the Bad Seeds/PJ Harvey school, "blowing sugary femme-pop out of the water" (NME). It should come as no surprise that Ray has collaborated with several Bad Seeds, as well as the late great Alan Vega of Suicide, Howe Gelb, Sparks, Heavy Trash and the Filmorchester Babelsberg, among others.
Recorded live in seven days at Berlin's infamous Candy Bomber Studios (situated in the former Tempelhof Airport) by Ingo Krauss, the title The Exodus Suite reflects the personal-political themes of the songs within. An unexpected yet inescapable influence on the album sessions was the presence of 8,000 Syrian refugees housed in the hangar beneath the studio during recording. While Ray's lyrical explorations of love for all life, exile and relocation, nature's sovereignty, technology, class, and most of all the need for human empathy were all written prior to entering the studio, she explains, "I realized, more after the fact, that it gave an immediate mirror to some of the lyrics which are, though not political in any direct sense, influenced by these strange and tense times."
Gemma Ray tour dates:
NOV. 7 CHICAGO, IL SCHUBAS
NOV. 9 CINCINNATI, OH MOTR
NOV. 10 GRAND RAPIDS, MI FOUNDERS BREWING
NOV. 11 PITTSBURGH, PA HAMBONE'S
NOV. 12 PHILADELPHIA, PA PHILAMOCA
NOV. 15 BOSTON, MA ATWOODS
NOV. 16 BROOKLYN, NY THE OWL
NOV. 17 ARLINGTON, VA IOTA
NOV. 18 DURHAM, NC DUKE COFFEEHOUSE
NOV. 19 ATLANTA, GA THE 529
NOV. 21 HOUSTON, TX SATELLITE
NOV. 23 AUSTIN, TX MOHAWK
NOV. 27 TUCSON, AZ CLUB CONGRESS
NOV. 28 SAN DIEGO, CA SODA BAR
DEC. 2 SPOKANE, WA OBSERVATORY
DEC. 3 PORTLAND, OR BUNK BAR
DEC. 6 LOS ANGELES, CA BOOTLEG THEATER
www.gemmaray.tv
www.facebook.com/gemmaraymusic/
www.twitter.com/gemmaraymusic
www.bronzerat.com
James Blake taps Vince Staples and Moses Sumney for North American tour
Producer Tricky is Back With Skilled Mechanics Tour
Jimmy Eat World Announce World Tour
Categories: Announcement/News, Pittsburgh Event, Tour, Video
Tagged as: Bush Hall, California, Cincinnati, Jimmy Eat World, Las Vegas, London, Los Angeles, Park City, Pomona, RIOT FEST, Santa Barbara, Utah
CRX, New Band Founded By The Strokes' Nick Valensi, Releases First Single "Ways To Fake It"
ICYMI: Grouplove Perform "Welcome To Your Life" on The Late Show with Stephen Colbert and The TODAY Show


This page lists people with the surname McLuhan. If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name(s) to the link.
This page was last edited on 27 December 2015, at 00:11 (UTC).


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To gather audio and video testimonies from Holocaust refugees who have connections with Scotland
To make these testimonies available & freely accessible on the World Wide Web.
To educate current and future generations about the resilience of these refugees
Front row, left to right:- Claire and Howard Singerman (GVA – Gathering the Voices Association), Vice Chancellor & Principal, Professor Pamela Gillies CBE (Glasgow Caledonian University), Angela Shapiro, Hilary and Steven Anson (GVA). Back row, left to right:- Stewart Maxwell (MSP), Duncan Cameron (Riverside Music Complex), David Shapiro (GVA), Heinrich Schnettger (German Consul, Edinburgh). Picture taken in 2013
This project would not have been possible without the vital contributions from the survivors of Nazi anti-Semitism and political persecution. They gave their testimonies generously despite describing experiences that were painful for them to recall.
This project is a true reflection of community for it has involved many groups and individuals.
Staff and students of Glasgow Caledonian University (GCU)
Staff and students of Riverside Recording Studio
The Glasgow branch of the Association of Jewish Refugees
The Executive of the Glasgow Jewish Representative Council
Giffnock and Newlands Synagogue
Volunteer history graduates from Edinburgh University
And many other helpers who are giving freely of their time


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Nikola Jokic named MVP: What they are saying
Nikola Jokic (15) of the Denver Nuggets takes the court against the Portland Trail Blazers during the third quarter at Ball Arena on Saturday, May 22, 2021.
By The Denver Post | newsroom@denverpost.com
PUBLISHED: June 8, 2021 at 7:24 p.m. | UPDATED: June 9, 2021 at 5:05 a.m.
"I'm so happy and respect so much the hard work and dedication that he's put in to reach this point. I've been lucky enough to coach Nikola his entire career, and to see his growth from a second-round pick trying to learn the NBA to a perennial All-Star and now the MVP is truly extraordinary. He deserves this honor and I don't take for granted getting to coach a player, and more importantly a person like Nikola." — Nuggets head coach Michael Malone
"What an amazing accomplishment for an amazing individual. Nikola has worked tirelessly to become the player that he is and we are unbelievably lucky to have him leading our franchise. He is an elite individual on and off the court who is surrounded by a loving and supportive family that have helped make this day possible." — Nuggets President of Basketball Operations Tim Connelly
"Nikola's journey from the 41st pick in the draft to MVP is one of the most remarkable individual stories we have witnessed in sports. His hard work, commitment and dedication to his craft, team and community are second to none. We couldn't be more proud and fortunate to have him with us in Denver." — Kroenke Sports & Entertainment Chairman E. Stanley Kroenke
"The only thing better than Nikola Jokic the basketball player is Nikola Jokic the person. His skill and IQ combine for beautiful basketball, and there isn't a more deserving person for such a prestigious award." — KSE Vice Chairman Josh Kroenke
"This was the best season of my life and the cherry on top is the trophy I got." – Jokic
"Congratulations to the @Nuggets first ever @NBA Most Valuable Player. You certainly earned it." — Nuggets great Alex English via Twitter (@AlexEnglish_2)
"M👏V👏P
Congrats, Nikola!" — The Denver Broncos via Twitter (@Broncos)
MVP! Best player in the NBA! Congrats to my brother the Joker! — Will Barton via Instagram
"It's not just me. I couldn't do it by myself. It's an individual award but it's the effort of everybody who is part of the Denver Nuggets organization." — Jokic
"It's really nice. Nobody believes in me, it's proving people wrong. Surprising the world." — Jokic on being an underdog
Volunteers needed for annual Food Bank Charity Sweet Corn Picking Day on Saturday, Aug. 13
Puppy Bowl XIX: Meet the Colorado pups squaring off against national players
Colorado BBQ legend and NFL Hall of Famer's restaurant legacy comes to an end
Bert Borgmann, longtime CHSAA assistant commissioner and Colorado preps influencer, dies at 67
Brush girls basketball ignites a winning streak


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Santorini Seafront Land for Sale, An indeed unique property of 63.500 m² with its own private beach, situated on a cliff top vantage location near the famous Red Beach in Akrotiri, in of the most cosmopolitan islands in the world has a 12.650m² density for the construction of a luxurious Santorinian retreat, where your guests will enjoy breathaking views of the ocean and the extravagant beauty of Santorini.
Santorini Land, An amazing piece of land of 16.460m² on the south western tip of Santorini, Akrotiri, enjoys blissful views across the ocean from its cliff top vantage point, with already paid and issued permits for twelve (12) cave houses and four (4) ground floor houses of 1000m² in total, where modern and traditional Cycladic architecture blend to create beautiful snowy white stone buildings, and the possibility for the construction of a 3250m² hotel-an indeed unique opportunity!
Santorini Land for Sale, Prestigiously located in Imerovigli a classic Santorini village with iconic whitewashed buildings with sapphire domes, narrow crisscrossing walking paths and epic sunsets, a 629,5m² plot with a 400m² building density, offering mesmerizing views of the endless Aegean sea, ideal to accomodate your dream villa on this magical island!
Santorini Home for Sale, Located in Imerovigli, one of the whitewashed villages of this spectacular island that cling to the cliff edges over the giant central lagoon,just at 300m from the Scaros rock famous for the mesmerizing sunset views, a unique, beautiful, unfinished house of 130m², with three (3) bedrooms and a pool, awaits for your final touch and personal taste to unravel its full potential!


Celebrate a wedding anniversary including the milestone 25th or 50th with a anniversary gift basket designed by Baskets On Occasion. We will add a picture frame along with a candle and chocolates to help say Congratulations! We hand deliver in the Minneapolis and St. Paul and surrounding Twin Cities areas plus ship nationwide.


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About Sprinkle Caldwell
Irkaat Kenya School
Kenzai
Executive Writer Series
Resilience Demands Sailboats and Captains, Not Cars and Drivers
by J Ross Peters
In my second post for the Resilience Initiative Executive Series entitled, "Resilience Needs the Equilibrium of Both/And," I wrote about the importance of creating and nurturing a Progress Culture as an essential resilience tool. This piece, the third of four for the Resilience Initiative, extends that thinking and offers a way to conceptualize what was laid out in the last piece. For me, sailing offers an apt metaphor for a progress culture, as well as for the resilience requisite to preserve and extend it.
My mother grew up sailing each weekend on Fishing Bay around a point from the far larger Chesapeake Bay of Virginia and Maryland. Years later when she tried to pass along her love for sailing to my sister and me, it was clear early on I would not be much of a sailor. At age six or seven, my contribution was to complain about being bored and do my best to avoid being hit in the head by the boom swinging across when we tacked. I liked going fast, but we rarely seemed to go fast.
In the moments when the wind faded to a breeze, then diminished to stillness, I wondered why we'd chosen floating in a hot boat rather than some other more entertaining hobby such as capturing bugs on the grassy edge of the narrow bay shoreline or fishing for sharp toothed Blues. During those dead air moments, as we sat waiting for any breeze that might help us move again, I realized that sailors never go straight toward their destination. They take advantage of what the wind gives them—moving closer to but not directly at their intended destination with each tack. In the context of progress culture, they tack back and forth from preservation to change in order to get where they want to go without ever losing sight of what should never change or denying the need at times to alter approach. In other words, preservation and change exist in a symbiotic relationship with a shared goal rather than existing in a war between right and wrong where one side or the other will win.
With decades separating me from my time at Fishing Bay, I have come to see sailing as more than simply as a pastime I never quite understood well enough to see why some people thought it was fun. Good boats and accomplished sailors, like successful institutions and the experienced leaders within them, know how to make the most of the situation, and importantly they know how to take advantage of an unexpected opportunity—a breeze stiffening off the port bow or the promise of an advantageous wind around the point. Additionally, they know how to stay on course as the wind slackens or shifts. And not less significantly, they know how to read the wind so they don't spend too much time directly into the wind (A).
The points of sail: A. Into the wind; shaded: "no-go zone" where a craft may be "in irons". B. Close-hauled C. Beam reach D. Broad reach E. Running
Too often we try to force strategic planning into something that pretends there is an accurate roadmap for what lies ahead for an institution—a sequence of turns along a well-delineated route guaranteed to take us where we need to go. This is dangerously misleading. To believe that we are driving on a predictable path dramatically increases our vulnerability to the unforeseen circumstances that arrive for all institutions. Such roadmap-devoted leaders and institutions look great when things are going their way, when their strategy is right on schedule, when demand is high. However, when something goes off course, or when they find themselves in a "no-go zone," they become quickly ill-equipped to take decisive action. Sailing provides a far better way of understanding a healthy approach to strategy because it prepares us both for staying on course and for finding our way back on course when the context within which we operate changes. It gives us a way of navigating all the "points of sail."
So, what do resilient non-profits, and for-profits do? They both preserve and they change…and again…and again. They recognize that in order to end up where they want to go strategically, they must sail. Such an approach defines institutional resilience, it sets a course for strategic execution and institutional sustainability.
captians
J Ross Peters
Ross Peters is a Senior Consultant for AAL: The Academy for Advancing Leadership. He focuses on Independent Schools and their national and regional associations in the areas of strategic planning, change management, board practice, and curriculum development. His extensive background in these areas also prepares him to serve in higher educational and professional educational settings as well. Prior to his role at AAL, Ross had a number of titles: Head Tennis Coach, Mountaineering Staff Member, Department Chair, Dean of Faculty, Assistant Head for Academic Affairs, Upper School Head, and Head of School. He derived his understanding of how a school should work and what leadership should look like from the classroom out, building his understanding of a school one) from the powerful relationships built with students in classrooms where high expectations and nurture are symbiotic and two) from the example of extraordinary school leaders who modeled servant leadership molded to the demanding environment of an independent school. Growing up in Richmond, Virginia, Ross was a thirteen-year graduate of St. Christopher's School. From there he went to Sewanee: The University of the South (B.A., English), followed, after six years teaching at Providence Day School, with an M.Ed from the University of Georgia. While deeply appreciative of the remarkable gift of education he received at every level, his best learning has resulted from being an educator working with students whether as a classroom teacher or as a school leader. At the core of his belief in the value of an independent school is this idea: in order to create the education our students need and deserve, schools must mirror the qualities we demand of those we teach; thus, our learning curve should remain steep and our dedication to holding up the values we name as most important should be unwavering. This commitment to match the expectations we have for students in the way we think, act, work together as an institution guides his work in leadership, and it has allowed him to play a significant and lasting role in several outstanding schools. Since his eight years at Providence Day School in Charlotte, NC, he has made an impact as a teacher and administrator in a fascinating range of schools. From founding an integrated Humanities Department to establishing an Honor System at a small, hundred-year-old boarding school (Asheville School), and from reinventing the use of time to creating an urban campus in two schools ready for significant innovation (Hawken School and The Westminster Schools), Ross has had the chance to immerse himself in strategic and aligned school cultures to a degree that has allowed him to help those remarkable places move forward within the context of their mission and culture. At St. George's Independent School, he mobilized that experience to help a younger school maintain the forward-thinking qualities that make it unique in Memphis. Ross is active in the Memphis Community and beyond. He currently serves on two Boards—the Tennessee Association of Independent Schools, and the National Association of Independent Schools. He is a former Board member of Bridges USA, which operates from the belief that "great leaders, regardless of age, must appreciate diversity, lean into courageous conversations, and build bridges across deep philosophical and physical divides." He and his wife Katie also serve as members of the Family Partners Council at LeBonheur Children's Hospital where their daughter, Eleanor was first diagnosed as a Type I Diabetic. Katie (Ph.D., Emory University, Religious Studies) teaches at Rhodes College. His interests include hiking, travel, photography, and mediocre guitar picking. A widely published poet, he has completed work on a collection of poetry entitled, The Flood is Not the River, and he has provided the foreword and over one hundred photographs for a book entitled, Sacred Views: St. Francis and the Sacro Monte di Orta due out in the next year from Punctum Press. You can find his thoughts on education, as well as anything else he might be thinking about, on his blog—Ross All Over the Map. A long time ago he had hair:
Enjoying the series. On Point!
Resilience Needs the Equilibrium of Both/And
For the Storms and Between them—The Context for Resilience


A large proportion of people are satisfied with one of Patashnik's original "standard" styles, plain, unsrt, abbrv and alpha. However, no style in that set supports the "author-date" citation style that is popular in many fields; but there are a very large number of contributed styles available, that do support the format.
an excellent survey, that lists a huge variety of styles, sorted into their nominal topics as well as providing a good range of examples, is the Reed College "Choosing a BibTeX style".


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» RosarySol QR label for Crypto Currency- by Archbishop Dr. Uwe AE.Rosenkranz, MA,DD.
RosarySol QR label for Crypto Currency- by Archbishop Dr. Uwe AE.Rosenkranz, MA,DD.
by Archbishop Dr. Uwe AE.Rosenkranz, MA,DD.
new kind of bi-directional QR code.
by using RosarySol Crypto Currency.
Published: August 24, 2017, 12:42 | Comments Off on RosarySol QR label for Crypto Currency- by Archbishop Dr. Uwe AE.Rosenkranz, MA,DD.


Lloyds Bank is the worst of the major banks and building societies for wrongly rejecting both payment protection insurance (PPI) and other banking complaints, new figures from the Financial Ombudsman Service show.
During the last six months of 2014 the ombudsman took on a total of 161,649 new cases – two-thirds of which (104,877) were related to PPI.
The average uphold rate – where the ombudsman found in the consumer's favour – over this period was 57% for PPI and 52% across all complaints including PPI, ranging from 4% to 98% across individual businesses.
Of the major providers Lloyds Bank wrongly turned away the most complaints, with a huge 82% of consumers' PPI complaints and 74% of all complaints including those about PPI upheld by the ombudsman.
If you've taken a complaint to a financial provider and want to know how to take it further, see our Financial Rights guide for help. If you're after step-by-step help on how to reclaim mis-sold PPI, see our Reclaim PPI for Free guide, which includes free template letters.
Lloyds was followed by Barclays and credit card provider MBNA – for both the Ombudsman upheld 68% of PPI complaints and 66% of all complaints made by consumers.
The overall provider with the worst uphold rate was credit broker Secret Eye Limited, which had 98% of complaints about it upheld against it.
The ombudsman only lists numbers where it has received at least 30 new cases and resolved at least 30 cases. (i) Includes First Direct. (ii) Includes Halifax.
For complaints about financial products other than PPI, the total number of cases referred to the ombudsman remained at a similar level throughout the year – 57,310 in the first half of the year compared with 56,771 in the second.
However, banking complaints increased by 8% and investment cases by 4%. Chief ombudsman Caroline Wayman says: "PPI complaints still make up the bulk of the ombudsman's workload and resolving these cases remains a priority.
"Although it's good news that complaint numbers are starting to level off, we have seen a change in the nature of the PPI complaints people are asking us to resolve – which are becoming increasingly hard-fought and more complex.
"In areas outside PPI, we continue to see many entrenched disputes that could have been avoided. We're also hearing dissatisfaction from people where their problems started with a simple misunderstanding. On these occasions, problems could often have been cleared up much earlier, if there had been better communication between the financial business and their customer."
Lloyds Banking Group customer service director, Martin Dodd, says: "We remain absolutely committed to keeping complaint levels low, and are pleased that our overall referrals are declining faster than any of our peers.
"Our industry leading banking change rates, combined with the significant reduction in the number of referrals to the Ombudsman is encouraging, and is testament to the improved experience that our customers are receiving."


Fluffy soft, delicious garlic knots made in 10 minutes – just 3 ingredients (plus some spices) and no rising required. You won't believe how easy these are… and what a scrumptious side they make to any meal!
I'm sorry, but how did we end up in April?! Cuddled up in blankets with my hands around a hot cocoa this winter, spring seemed like an eternity away. But, my growing belly has reminded me that time is chugging along and warmer weather is quickly approaching… as is our baby girl!
Thus, I've been focusing (maybe a little obsessively) over cleaning, organizing, and planning ahead to make our lives a little easier in the months to come. Freezer meals are being made, tiny onesies are folded in drawers, and I'm pretty sure I've bought out Target's entire stock of plastic bins, big and small. For storing what? EVERYTHING. And every "thing" to come.
Say hello to nesting overdrive!
All these baby projects have left little time to think about much else, including dinner. But, with a busier schedule comes quicker and easier meals. I've come up with some great solutions for keeping them scrumptious yet fast, which I can't wait to share with you!
My favorite quick dinner lately has been grilled steak, chicken or fish (easily marinated in the morning), a fresh green salad, and a basket of these soft, garlicky Parmesan knots. OMG. Lick-the-plate delicious, if I do say so myself… thanks in part to my grill-master hubby.
But, to the bread (the best part) – Have I told you how easy these knots are? What's that, I haven't?
Well, it's about darn time I do.
All you need for these doughy, delicious garlic knots is THREE ingredients, plus some spices. That's it! Grab a can of buttermilk biscuit dough and stretch each biscuit into wiggly ropes (fun for kids). Tie each rope into a little knot. Mix up butter, Parmesan, garlic powder, oregano and parsley in a bowl, and slather that buttery goodness over top. Bake 'til golden, brush on a bit more butter, and you're done!
Easy enough for weeknights, date nights in, and… well, any night! There's no limit to all the mouthwatering main courses you can serve them alongside.
Give 'em a go for yourself, and I guarantee you'll be hooked like me on this quick and easy side!
Bake for 8-10 minutes, or until golden brown. Brush warm knots with remaining butter mixture.
Love these knots, Georgia! So simple and so delicious!
They look so beautiful! Really great snack.
Want! I think I could eat a dozen of these. And I love how easy they are!
These look amazing! I love all kinds of cooking and baking — except that I've never fallen in love with making bread. But these skip the part I don't like — hooray!
Ah, the memories of nesting! I'm sure you'll have everything ready Georgia. These little bread knots are the cutest!
I love thinking of you nesting. Every mother remembers that time when the pregnancy is going along but you're quite ready to hold the little one in your arms – finally.
Wow, these look amazingly easy and delicious…love the photos! And I completely agree…all of a sudden it's April? What?!? It's still super cold here in Wisconsin, so I haven't completely gotten the feeling Spring is here!
I have a very similar recipe on my blog and I love it!
These garlic knots look amazing! I love easy recipes, but especially if they result in garlicky buttery goodness!
These little knots look amazing, pretty size to. Great pics!
These look PERFECT!! Love the recipe!
I wish I had a few of these to go with my lunch!
These are so easy and especially perfect to quickly whip up for guests! Love!
These look so good! I want to gobble down a dozen right now!!
Sounds like you are prepared for your baby, I think I would be a frazzled mess if it was me. It's funny you posted a recipe for garlic parmesan knots. My husband and I were at a pizza place over the weekend debating whether to get an order of these off the menu, glad I now have a recipe and can make them whenever we get the craving!
Garlic knots are so irresistible, I wish I had a batch right now!
oh man…I'm gonna be a wreck when I have kids….eep! It sounds like you're doing such an amazing job of preparing for your little one though!!
these garlic knots are beautifully buttery and garlicky looking, mmm!
Hi there little mama! Folding up onsies… awe so sweet and you are so ready…I remember with my last boy, we had to stop on the way home from the hospital to pick up diapers. LOL. I bet these little delicious quick and go knots might freeze well too for later on. The other day you brought a smile to my face as I was just bored with my usual chicken recipes and was looking over some food photos and I saw one of yours so of course I gravitated to your recipe and of course it was delicious.
My gosh, this looks really good!
When I saw the dough pictures I thought it's homemade dough, but I'm SUPER excited to find out you used the buttermilk biscuits! I can't believe how easy this is, and and you're right, this will be a fun project for kids. While I cook main dish, kids can make these knots for me (although the outcome will be less pretty lol). THANK YOU for a great idea. Going to buy a can (or maybe two cans) today!
Oh wow, these lovely knots sound so easy to make! I'm dying to try them soon (and you bet I will, because carb-loading means "EAT ALL THE GARLIC PARMESAN KNOTS!!!". So bookmarking these to make this week. They look incredible!
Love easy dinner sides — especially when they include garlic, cheese and bread!
These are GORGEOUS!! I wish you lived next door!
these sound so yummy! i'm excited for you!
Gorgeous rolls! I will take 1 dozen please. ;) pinned.
Pillsbury finally started selling biscuits over here which means I can make these! Eeee! They sound awesome. Can't wait!
PS – It's weird but the biscuits don't really taste similar. At all. I don't know what's up with that.
Is there a recipe for the buttermilk biscuits?
The biscuits I used in this recipe are Pillsbury canned, but I do have a homemade biscuits recipe that you can search for.
I want to make these for a friend that i am providing dinner for tomorrow night. Do you think i could make them and cover and refrigerate for the day and let them bake them? (they would be fresher) or should i bake and wrap in foil for the day?
I would recommend assembling and baking these yourself just before bringing them over, not assembling and letting the recipient bake. Hope that answers your question!
Hi, this kind of goes along with the last comment. I want to bring these for a pot luck lunch at my work but we do not have an oven here. Do you think I could reheat them in a toaster oven or microwave?
Yes, you can reheat them in the microwave.


These are some of my favorite photos prior to diagnosis. In retrospect, I had some slight symptoms of Gaucher even then, such as an enlarged spleen and nosebleeds. But mostly, these photos are of a time before we could even conceive of something like a life-changing disorder. My favorite is the family photo from my grandparents' fiftieth wedding anniversary. The photo on the driveway is with one of my favorite people, my grandfather, the only member of his family to survive the Holocaust. And then there is the photo of my dad and my sister and me. We got into Dad's cigars.


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text:
Q: Where is the stripes tag library gone? I started to develop a project with the stripes-framework some days ago. Everything worked fine - but now suddenly, eclipse tells me "Can not find the tag library descriptor for http://stripes.sourceforge.net/stripes.tld" for:
<%@taglib prefix="s" uri="http://stripes.sourceforge.net/stripes.tld" %>

In fact, if i move my browser to this website, sourceforge gives me a 404 error. Where is the taglibrary gone?
Solution
As JBNizet described below, you do not need to have access to this uri. Cleaning + rebuilding + deploying just solved everythig. Thanks!

redpajama_set_name: RedPajamaStackExchange


text:
Intrinsic Art of Labour - The Recusant
Alan Morrison on
The Pitmen Painters
by Lee Hall
Inspired from a book
by William Feaver
Lyttleton Theatre
Stage Left:
The Painters' Theory of Value
/ The Intrinsic Art of Labour
photos © 2009 National Theatre brochure for The Pitmen Painters
This is certainly a play worthy of the critical accolades surrounding it so far and comes like a breath of very pertinent fresh air in this summer of discontent, where the gratuitous streets of the capital are still reverberating to the beat of further marches against the legion injustices throughout the world. In the year of two vexed anniversaries – the 25th for the 1984 Miners' Strike and the thirtieth for the catastrophic ascendance of Margaret Thatcher back in 1979 – the atmosphere is riper than ever for a no-holds-barred tub-thumping socialist play. And, without spelling this out implicitly – because in many ways the spirit of the piece is as much a meditation on our relationship with art, as a political piece – The Pitmen Painters is, essentially, a work of socialist theatre, but, sensitively scripted with deftly nuanced characters, it is carried by its intrinsic integrity of subject and tone, making its socialism so implicit in its narrative as to need no spelling out or overt-labouring. It is, to my mind, a fair few notches up in terms of narrative, character development and script from Hall's much-celebrated Billy Elliot, a play whose real point has been arguably dumbed down by the smothering gloss of overly commercial adaptation. There's an historical and scriptural authenticity to his latest play's socialism that lacked from Billy Elliot (the latter, in a way, half-beaten by its own breadth of ambition, in a similar way to Peter Flannery's epic Our Friends In The North, which in spite of a convincing start, lapsed into a sort of politically-tempered melodrama in its later stages). The Pitmen Painters doesn't dumb down, but manages to be accessible through the 'canniness' (excuse the Geordieism, which is ubiquitous throughout the play as much as it was in the Seventies' epic When The Boat Comes In) of its scriptural involvement of the audience through its debating style; this also emphasizes much of the message of the play itself, that true art can be accessible to all, that it is for all, to be shared, both in its appreciation and practise; that, crucially, as Hall comments in his own forward to the play:
Quite clearly the Working Classes of the early part of last century were aspirational about High Art. They not only felt entitled to it, but felt a duty to take part in the best that life has to offer in terms of art and culture... Despite the advances in education and the blossoming of the welfare state, somehow we have failed to "democratize" the riches of culture. That the Group managed to achieve so much unaided and unabetted should remind us that dumbing down is not a prerequisite of culture being more accessible. That is a lie perpetrated by those who want to sell us shit. Culture is something we share and we are all the poorer for anyone excluded from it.
Anyone can dumb down in order to appeal to the broadest cross-section of society at an immediate, basic level – but this is not about making anything more accessible, it's about being too lazy to do so, instead opting to drag standards down to their most base components. This is what Blair did with the Labour Party, and so secured his three terms – but it would have been quite something far beyond that 'canny' opportunism had he managed to secure those three terms without having abandoned everything his party once stood for, but by having convinced the people of the fairness and justice of a true socialist mandate. Making something accessible is more about aiding people to access it without changing fundamentally what it is. And art, and socialism, are about raising people up, not pushing them down. Hall understands this, as did William Morris, George Bernard Shaw, and even Oscar Wilde (The Soul Under Socialism).
The Pitmen Painters' main strength is in its focus on microcosms, small details, passing moments of insight, which one character observes is what art tries to capture. The play's dissection of the meaning of art and our relationship with it, its many-levelled metaphorical bent, sets it apart from mere agitprop theatre. But at the same time, and in this sense getting the balance just about right, Lee Hall doesn't shun from voicing sporadic left-wing adages and even impassioned monologues through various characters throughout the script, showing the courage of his convictions in doing so in spite of potential criticisms of occasional lapses into naiveté – but then critics against any leftist sentiments will always cite any higher ideals outside the very limited Social Darwinism of our post-Thatcherite times as 'naive'. Based very much in the gritty chiaroscuro of the Northumberland coal-pits, inspired by the true story of the Ashington painters and their implicitly 'naive' – in the artistically best sense of the word – take on painting, any accusations of naiveté would have to be put down to the true recording of aspects of historical reality, at least, as it was in the far more culturally optimistic 1930s (in spite of, perhaps partly down to, the moral shakedown of the Wall Street Crash, another parallel to our present economic crisis). That we have lost that naiveté, or rather, that more innocent capacity for flights of wonder above the low-browed horizons of materialism, is something that is continually brought to light by Hall; his sense of opportunities missed in our shared past, opportunities to transform ourselves and society, both through social solidarity and through the language of art and self-expression, daubs the tone of the play with an undercoat of muted defeat, which contrasts strikingly with the more immediate comedy of the play's class-based farce aspects.
Hall indeed exploits the vast gulfs of class dialects between the gruff Geordie lingo of the miner-painters and the energetic, almost peripatetic middle-class abstractedness of the breathless Robert Lyon (the academic artist who has come from Armstrong College to wax lyrical on Da Vinci and the 'Rennisince' as he inflects it), for all it's worth, creating some infectiously funny moments of miscommunication through pronunciation. Even the ostensibly sitcom-esque retort from one of the miner's of 'Bless you' after the slide-projecting Lyon exclaims 'a Titian', tickled me in this particular context where such miscommunications are likely. Constantly Hall milks strong comedy out of these clashes in vernacular, but without it being cloying. But it's also in the gross disparities between working class and middle class ranges of knowledge that some of the wittiest verbal engagements take place, such as the more belligerent of the painters, in riposte to Lyon mentioning his university acquaintanceship with the sculptor Henry Moore (also, interestingly, of a mining background), beating this detail down as an irrelevant anecdote about the tutor's student gallivants, having not heard of the famous sculptor's name before. (One of my few criticisms of Hall's writings – as I also noticed in a line from Billy Elliot's miner brother calling his dance tutor a 'condescending cow' – is that, debatably, he sometimes dabs the otherwise solidly working-class vocabularies of his characters with randomly refined verbs and adjectives, though that's not to say of course that this isn't sometimes the case depending on the individual, and in this case, the word 'gallivanting' might or might not be an unlikely contender for a 1930s' miner's vocabulary). These class-farce aspects are given an extra hilarious twist, when the shop-steward-like Harry displays a sort of convoluted inverted snobbery towards Lyon when he realises he is not in fact a Professor from the University, but a mere art teacher.
Any reservations I initially had that the comedic tone to much of the dialogue of the early scenes of the play may have been detracting slightly from the underlying social messages of the scenario, however, were soon to abate gradually as the play and narrative began take on other shapes and forms of a more dramatic vein later on. Mainly the ethical dilemma of Oliver Kilbourn, one of the more talented of the artists, after he is offered a way out of the drudgery of his mining life by becoming a waged artist under the patronage of bourgeois but empathic art collector Helen Sutherland: here the play reaches its pressure point with Oliver feeling torn between artistic liberation and his sense of solidarity with his own class. Resonantly, from a socialist point of view, he ultimately declines the offer, poignantly explaining that he can't be transformed from the person he is just by money, that a miner is who and what he is, and most crucially of all, that he needs to maintain his direct, physical connection with the mining toil and the working-class lifestyle which, after all, provides him with his painting subjects. Indeed, the very earthy, sinewy, almost anthropomorphic authenticity that makes the miners' paintings so striking, absorbing and transformative to the viewer, is due to the very fact that these painters are a part of their artistic subject and not simply detached observers. Hence the paradox which also provides Hall with the beautifully unavoidable point to the whole narrative: that the true value of art, as in the value of a product of labour (cue Karl Marx's 'intrinsic value of labour' adage), is in itself, irrespective of any financial price put on it.
This differentiation between 'price' and 'value' is also pointed out, ironically, by the wealthy art collector Helen, to whom money is meaningless in comparison to the value of works of art, partly of course because she has never been in any wont of it. And yet it is precisely she who offers Oliver this apparent financial lifeline into the very 'economy' of art she also sneers at for devaluing art's point by tagging prices on it. In his own instinctive way though, thankfully, Oliver becomes aware of the danger of his and the others' paintings becoming cheapened if absorbed into the art marketing world. Thereby Oliver escapes a similar fate to the arguable 'selling-out' of the supremely gifted John Everett Millais from the socially idealistic Pre-Raphaelite Brotherhood, who went on only to churn out more generic paintings via prestigious commissions.
But, indeed, the brilliant resolution to this play is that even those who have toiled and laboured all their lives in wont of money, in this case the Ashington painters, finally realise its intrinsic worthlessness – not to mention tackiness – when awoken to the priceless value of artistic expression. Again, some critics might sniff that naiveté trickles back in to the picture at this point. But no, this isn't naiveté at all, but the small leap of insight over the parapets of material subsistence and physical nourishment, that apart from providing one with the basic necessities for life – food, clothes and shelter – there is very little else of any real value that money can provide; the only other things worth hankering after in life are these very types of insights and illuminations, that art, compassion, solidarity and sharing, all represent; collective liberation from the pettiness of individual ego.
Sharing is a key motif throughout the play: the dramatic tension of The Pitmen Painters revolves around the concept of 'sharing', which is punctuated continually by the writer cleverly highlighting those socially imposed barriers which stand in the way of peoples' ability to share, and to reap from such sharing the brilliant fruits of a collective sense of artistic achievement. Here the play is permeated by the spirit not only of Marx – whom the spectacled dialecticist of the group, George, frequently quotes – but of William Morris and the Arts and Crafts Movement, which sought to bring high culture to the masses through household decorative design and practical workshops. Hall's play is also strongly reminiscent of aspects to Robert Tressell's masterpiece, The Ragged Trousered Philanthropists, in which an auto-didactic socialist painter and decorator is pitted against the self-defeating conservativeism of his colleagues as he attempts to convert them to a cause he believes will provide their emancipation from the binds of capitalist labour. Hall's take on the working-class however differs crucially to Tressell's – albeit the latter writing earlier, in the 1900s: while Tressell's Owen ends up lapsing into an ironic misanthropic disillusion with the capacity of the working-class to obtain class consciousness, Hall does just the opposite, and portrays the miner-painters as gradually more and more aware of capitalism's big con at their expense. This illumination – helped along of course by the fact that one of their most vocal members, George, is a very 'canny' Marxist – eventually infiltrates all of the Ashington set, and eventually gives Oliver the moral courage to reject Helen Sutherland's offer of an ostentatious salvation. It's almost as if Oliver, by being awoken to the gross social and material disparities between his class and Helen's, and the poverty of his own place in society, comes in turn to see its very distinct richness: its utter truth, free of pretention and tainting intellectualisation.
It's this intrinsic spiritually unpolluted quality to the pitmens' paintings that Lyon is so envious of, as he betrays near the end in his almost self-immolating tirade in reaction to Oliver's testosterone-charged tantrum against the flat formalism of his mentor's sketch (a breathtaking piece of on-the-spot draughtsmanship by the artist-actor Ian Kelly while acting his socks off in the process). And it's some details to this tirade which perhaps also betray a tiny bit of resentment against the class Oliver and the others represent, yet one which Lyon has devotedly martyred himself to in his championing of the work of the Ashington painters: he frustratedly ejects that in order for things to truly change in society it's up to the working-classes to get off their 'fat backsides' and 'high horses' and actually have the bravery to stand up and face their oppressors (again, turning the dynamics of class on its head with a barbed comment on inverted snobbery). This is a brave piece of monologue and slightly unexpected from the hitherto self-restrained, mannered Lyon, and thus all the more resonant in its passionate contradictions of emotions. Here Hall makes an important dramatic point that the miners' learning about themselves and their innate artistic abilities is paralleled by the unlearning of their very mentor, as he finally despairs at a self-perceived 'failure' on his part to develop into a true artist; as if his education in technique and draughtsmanship has stifled any natural gift he might have once possessed. This is seemingly another kind of poverty, one arrived at through education and privilege. Lyon is of course unfair on himself, but the point still lingers, metaphorically speaking. Metaphors are also a common motif throughout, used to both excellent comic – when the deceptively crass Jimmy dumbs down the perceived symbolism in the tiny head of a toiling miner in his linocut as expediency due to his having put in the ceiling of the pit too low beforehand, though this joke is milked probably a little too much in less amusing variations later on – and dramatic effect: as the word metaphor comes from the Ancient Greek, meaning 'to transfer' something into something else, so too are the painters themselves a breathing metaphor for the transformative power of art.
But in the end, The Pitmen Painters bravely – and to many, rightly – asserts that art transcends class barriers, or at least it has the capacity to, if liberated from the exclusive fetters of academic interpretive and linguistic barriers, from the abstractedness of an encoded appreciation of it articulated in an academic patina of language only accessible through a certain education. Hall's assertion is that art is the untapped lingua franca of civilization, accessible to all in itself, but mystified by elites who don't wish to share its value with the rest of society.
Sharing, however, for Hall, and for many of us sympathetically watching his play, is really the crux of the whole issue, of art, of society, of our collective transformation into the more sensitive, creative species we have always had the potential to become. With capitalism now on trial in the hearts and minds of the masses of today, with new shoots of radicalism emerging in outrage at its growingly transparent moral anarchism, there also seems appropriately a new wave of theatre plays amassing that are pitching their standards up front stage-left – as if by way of a backlash against the junk culture that has most risibly pervaded British television over the past decade, that phillistinic diet of reality shows and chocolate-box costume soap. While David Hare has attacked the fallacies of new Labour in his contemporary Gethsemane, Hall comes up on the flank with an historically inspiring play that shows there is still much we can learn from the past of missed opportunities, how it still isn't too late to reverse the most damaging excesses of capitalism, and also manages a barbed critique of modern day politics; and a final swipe at Blair's betrayal of the Labour movement with a projected caption reminding us that in 1995 he unceremoniously disposed of his party's crucial Clause 4, the commitment to ultimately realising a society in which the means of production would be held in common ownership. This, coupled with the moving rendition of Robert Saint's The Gresford Hymn, under the curlicued banner of the Ashington Branch of the true full-blooded Labour movement of old, at the end of the play, stamps that long-maligned but fundamental rose-red colour of the political spectrum into our consciousnesses once again. The Pitmen Painters concludes movingly at the dawn of the Clement Attlee Labour Government of 1945, when the new emergent Welfare State, NHS and path to nationalisation brought a surge of optimism to the impoverished classes. How far we came back then, and how far away from the values that truly matter we've drifted since. But as Hall and many of us still like to think: history has a way of catching us up.
Production Comment
The cast of this play are outstanding in their energy and nuance of portrayals, and earned a well-deserved ovation at the end, returning on stage three times to the deluge of applause from a riveted and inspirited audience (those who have seen the play will no doubt twitter to themselves at the word 'deluge' within this context). A nicely unpretentious production – as is Hall's consummate script driven effortlessly along by the characters' punchy banter – with an appropriately stripped-down approach, easels dappled in the background against black-bricked walls, and a central projector used to imposing effect as a way for the audience to view each startling painting as one by one the painters' put up their canvases for their colleagues to comment on. The paintings themselves are truly remarkable, especially given the context of their creation, a certain Lowry-esque naiveté (sorry, that word again) abundant, particularly in the street scenes and pictures of whippet races, but the variety of styles and forms is very much something of its own distinction and, dare I say it, one or two paintings to my mind are arguably a few steps up from Lowry himself. That these painters, as individuals, are not better known, is mystifying – but then that they are remembered as a collective is more in the spirit of their artistic ethic and that of the play's: art as a shared experience. The cast, as mentioned, are all exceptional, but for me perhaps the standout performance is Ian Kelly as the nuanced, nervously didactic, almost self-apologetic Robert Lyon, whose energetic verbal delivery and awkwardly punctuating smile throughout are a delight. Overall, a refreshingly unpretentious and heart-lifting play.
Alan Morrison © 2008
photos © National Theatre brochure for The Pitmen Painters
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Q: Joint distribution of AR(1) model Let
$$y_1 \sim   \mathcal{N}(\phi_0,\,\sigma^2),$$ $$y_t|y_{t-1},\,
\phi_0,\,\phi_1,\,\sigma^2 \sim   \mathcal{N}(\phi_0+\phi_1(y_{t-1} -
 \phi_0),\,\sigma^2),$$ for $t=2,3,\cdots,T$.
I want to find the joint distribution of $y_1,\,y_2,\,\cdots,\,y_T$. I think that it is multivariate Normal with mean a vector of $\phi_0$ and precision matrix
$Q= \frac{1}{\sigma^2}
\begin{pmatrix}
 (1+\phi_1^2) & -\phi_1 & \cdots & 0 \\
 -\phi_1 & (1+\phi_1^2) & \cdots & 0 \\
 \vdots  & \vdots  & \ddots & \vdots  \\
 0 & 0 & \cdots & 1
\end{pmatrix}.$
I would like to know if this is true and if there is a proof to read it.

A: Let us write the joint density as
\begin{equation}
p(y_1,\ldots,y_T) = p(y_1)\,p(y_2\mid y_1) \, p(y_3 \mid y_2,y_1) \ldots \, p(y_T \mid y_{T-1},\ldots y_1).
\end{equation}
Furthermore, since the process is AR(1), the past values influence future values only via the latest value, i.e., we have the Markov property $p(y_t \mid y_1,\ldots,y_{t-1}) = p(y_t \mid y_{t-1})$. Substituting this in the factorization, we get
\begin{equation}
p(y_1,\ldots,y_T) = p(y_1)\, \prod_{i=2}^T p(y_i \mid y_{i-1}).
\end{equation}
The marginal density of $y_1$ and the required conditional densities were given as assumptions. From now on, we shall ignore multiplicative constants (that are independent of $y$), since they are in the end be determined by the requirement that the joint density integrates to 1.
\begin{equation}
\propto e^{-\frac{1}{2\sigma^2}(y_1 - \phi_0)^2} \times \prod_{i=2}^T e^{-\frac{1}{2\sigma^2}(y_i - \phi_0 - \phi_1\,(y_{i-1} - \phi_0))^2} = e^{-\frac{1}{2}\,E}
\end{equation}
where
\begin{equation}
E = \frac{1}{\sigma^2}(y_1 - \phi_0)^2 + \sum_{i=2}^T \frac{1}{\sigma^2}(y_i - \phi_0 - \phi_1(y_{i-1} - \phi_0))^2
\end{equation}
\begin{equation}
= \frac{1}{\sigma^2}(y_1 - \phi_0)^2 + \sum_{i=2}^T \frac{1}{\sigma^2}\left((y_i - \phi_0)^2 - 2\,(y_i - \phi_0)\,\phi_1\,(y_{i-1} - \phi_0) + \phi_1^2 (y_{i-1} - \phi_0)^2 \right)
\end{equation}
\begin{equation}
= \sum_{i=1}^{T-1}\frac{1}{\sigma^2}\,(1 + \phi_1^2)(y_i - \phi_0)^2  + \frac{1}{2\sigma^2} (y_T - \phi_0)^2 + \sum_{i=1}^{T-1}\frac{1}{\sigma^2}\,2\,(-\phi)\,(y_{i+1}-\phi_0)\,(y_i-\phi_0).
\end{equation}
So the joint density is proportional to
\begin{align}
\mathrm{exp}\bigg(-\frac{1}{2}\,\sum_{i=1}^{T-1}\frac{1}{\sigma^2}\,(1 + \phi_1^2)(y_i - \phi_0)^2  + \frac{1}{2\sigma^2} (y_T - \phi_0)^2 \\+ \sum_{i=1}^{T-1}2\,\frac{1}{\sigma^2}\,(-\phi)\,(y_{i+1}-\phi_0)\,(y_i-\phi_0)\bigg),
\end{align}
Observe that this exponent is a quadratic form of a vector consisting of variables $(y_i - \phi_0)$. Thus we conclude that the joint density is a multivariate normal with means $E(y_i) = \phi_0$ and the precision matrix can be read from the previous expression, since we have $E = (y - \phi_0\mathbf{1})\,\Sigma^{-1}\,(y-\phi_0\,\mathbf{1})$. Namely,

*

*If $i=j$ and $i<T$,  $\Sigma^{-1}_{ij} = (1 + \phi_1^2) / \sigma^2$

*If $i=j=T$, $\Sigma^{-1}_{ij} = 1 / \sigma^2$

*If $|i-j|=1$, $\Sigma^{-1}_{ij} = -\phi_1 / \sigma^2$

*If $|i-j|>1$, $\Sigma^{-1}_{ij} = 0$,

which is indeed the form of the precision matrix that was claimed in the question.

A: The title of the question points towards a functional specification of the form
$$y_t= \phi_0 - \phi_1\,\phi_0 + \phi_1\,y_{t-1} + e_t,~e_t \sim N(0,\sigma^2), t>1, |\phi_1|<1$$
with the error term $e_t$ being i.i.d.
Given the assumption on the initial available observation (which does not necessarily represent the beginning of the process, just the first observation of the sample), we can determine that the process from then on is heteroskedastic. Specifically,
$${\rm Var}(y_2) = \phi_1^2{\rm Var}(y_1) + \sigma^2 = (1+\phi_1^2)\sigma^2$$
$${\rm Var}(y_3) = \phi_1^2{\rm Var}(y_2) + \sigma^2 = [\phi_1^2(1+\phi_1^2)+1]\sigma^2$$
$${\rm Var}(y_4) = \phi_1^2{\rm Var}(y_3) + \sigma^2 = [(\phi_1^2)^3+(\phi_1^2)^2+(\phi_1^2)+1]\sigma^2$$
The pattern is clear and, asymptotically, it leads to the familiar $\lim_{t \rightarrow \infty} {\rm Var}(y_t) = \sigma^2/(1-\phi^2)$. But only asymptotically. The joint distribution of the sample therefore will be a joint distribution of random variables with different and monotonically increasing (but bounded) variances of the marginal distributions. The expected value is common for all observations, and equal to $\phi_0$.
We now obtain the covariances for a sample of three observations $\{y_1,y_2, y_3\}$. We have
$${\rm Cov}(y_2,y_1) = E(y_2y_1) - \phi_0^2 = E\Big(\phi_0y_1 - \phi_1\phi_0y_1 + \phi_1y_1^2+ e_2y_1\Big) - \phi_0^2$$
$$=\phi_0^2 - \phi_1\phi_0^2 + \phi_1\big({\rm Var}(y_1) + \phi_0^2\big) - \phi_0^2 = - \phi_1\phi_0^2 + \phi_1\sigma^2 + \phi_1\phi_0^2 $$
and so
$${\rm Cov}(y_2,y_1) = \phi_1\sigma^2,\;\;\; E(y_2y_1) = \phi_1\sigma^2 + \phi_0^2$$
Continuing,
$${\rm Cov}(y_3,y_1) = E(y_3y_1) - \phi_0^2 = E\Big(\phi_0y_1 - \phi_1\phi_0y_1 + \phi_1y_2y_1+ e_3y_1\Big) - \phi_0^2$$
$$= \phi_0^2 - \phi_1\phi_0^2 + \phi_1^2\sigma^2 + \phi_1\phi_0^2 - \phi_0^2$$
$$\implies {\rm Cov}(y_3,y_1) = \phi_1^2\sigma^2,\;\; E(y_3y_1) = \phi_1^2\sigma^2 + \phi_0^2$$
Finally,
$${\rm Cov}(y_3,y_2) = E(y_3y_2) - \phi_0^2 = E\Big(\phi_0y_3 - \phi_1\phi_0y_3 + \phi_1y_1y_3+ e_2y_3\Big) - \phi_0^2$$
$$=\phi_0^2 - \phi_1\phi_0^2 + \phi_1^3\sigma^2 + \phi_1\phi_0^2 +\phi_1\sigma^2-\phi_0^2$$
$$\implies  {\rm Cov}(y_3,y_2) = \phi_1(1+\phi_1^2)\sigma^2$$
We observe that
$${\rm Cov}(y_3,y_2) \neq {\rm Cov}(y_2,y_1)$$
namely that the first-order autocovariance depends also on $t$. The covariance matrix of a sample of three observations is therefore
$${\rm Cov}(y_1,y_2,y_3)= \sigma^2
\begin{pmatrix}
 1  & \phi_1 & \phi_1^2  \\
 \phi_1 & (1+\phi_1^2) & \phi_1(1+\phi_1^2) \\
 \phi_1^2  & \phi_1(1+\phi_1^2)  & (1+\phi_1^2+\phi_1^4)  \\
\end{pmatrix}$$
The inverse of this matrix (i.e. the precision matrix) (calculated online on this site) is given as
$$Q = {\rm Cov}^{-1}(y_1,y_2,y_3)= \frac {1}{\sigma^2}
\begin{pmatrix}
  1+\phi_1^2 & -\phi_1 & 0  \\
 -\phi_1 & 1+\phi_1^2 & -\phi_1 \\
 0   & -\phi_1 & 1  \\
\end{pmatrix}$$
which is, the general result at @JuhoKokkala answer, for $T=3$.


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League, History
November 28, 2017 Scott Veirs	Leave a comment
A quote from the 2017 Fall Bid fundraiser for DiscNW, aka "The Northwest Ultimate Association" —
"The first unofficial Seattle ultimate "league" started in 1984 at Magnuson Park with an estimated five teams and fifty people. The demand for ultimate grew and DiscNW now has year-round leagues that serve over 8000 people."
This is consistent with the slightly more elaborate history of Disc Northwest on Wikipedia (as of Nov 2017):
"DiscNW was founded by Joey Gray, Tom George, Mary Lowry, Jordan Dey, Maria Langlais, Mark Friedland, Bill Penrose and Lisa Thomas in 1995 as a nonprofit repository for funds generated by the growing Potlatch tournament. Soon, DiscNW became an umbrella for the spring ultimate league founded by Mark Friedland and others in 1984 and the fall league founded by Mike King. The first independent Juniors ultimate league was started in 1993 by Mary Lowry, Joe Bisignano, Jeff Jorgenson and others. In 2014, the DiscNW Middle School Spring League had over 1000 players on 79 mixed teams."
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September 15, 2017 10:00am Comment Aamir Siddiqui
Google Reportedly Releasing "Tez" Payment Service in India with UPI Support
Google sees the different needs and expectations of a developing market like India as against those of developed markets like the USA and EU. Which is why Google is reportedly planning to introduce a localized digital payment service, according to a report from The Ken. This launch could be as soon as the coming Monday, partly explaining Google's hesitance in releasing Android Pay in the country at the time when it could have benefited the most.
Google "Tez", meaning fast/quick in Hindi and Urdu, will reportedly aim to provide a comprehensive set of payment options, going beyond Google offerings like Android Pay and Google Wallet. Tez will include support for Unified Payments Interface (UPI), a payment platform backed by the Government of India which supports instant money transfer between two bank accounts through mobile phone (smart or otherwise). Tez will also feature support for other consumer payment services like Paytm and MobiKwik, which should help give it the edge against the various other offerings from banks that also support UPI.
The Ken's report comes through its sources, but they mention of government filings that show that Google is indeed planning to release a product named Tez in India. Google has also registered trademarks for Tez in Indonesia and Philippines, so the service will likely expand to other markets beyond India.
Google's investment in India continues on with Tez, following up on other initiatives like Google WiFi across popular railway stations, data-optimized version of YouTube and even a budget-phone optimized version of Android. It will be interesting to see how the consumers and competitors react to Google's upcoming service, and whether Google would be successful in swaying adoption towards cashless mediums of exchange in India. Google also has its job cut out in ensuring parity across Tez and Android Pay, unless they wish to end up with a fragmented portfolio of products like Google Allo-Hangouts-Messages.
Source: The Ken (paywall) Story Via: TechCrunch
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XDA » News Brief » Google Reportedly Releasing "Tez" Payment Service in India with UPI Support
Aamir Siddiqui
I am a tech journalist with XDA since 2015, while being a qualified business-litigation lawyer with experience in the field. A low-end smartphone purchase in 2011 brought me to the forums, and it's been a journey filled with custom ROMs ever since. When not fully dipped in smartphone news, I love traveling to places just to capture pictures of the sun setting. You can reach out to me at [email protected]


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Pete Vonder Haar | June 14, 2013 | 9:30am
Title: Man of Steel
Will You Believe a Man Can Fly? Depends on the man: Kal-El? Sure. R. Kelly? No.
Rating Using Random Objects Relevant To The Film: Three Kansas Jayhawks out of five.
Brief Plot Synopsis: Handsome alien battles less handsome aliens for whatever's left of the planet after they're done beating the crap out of each other.
Tagline: None. I guess they figured a character called "Superman" is pretty superlative.
Better Tagline: "If you go a million miles away, I'll track you down, girl."
Not So Brief Plot Synopsis: The destruction of his planet Krypton imminent, scientist Jor-El (Russell Crowe) launches his newborn son to a new home on Earth. Raised incognito, "Clark" learns of his past from Earth father Jonathan Kent (Kevin Costner) and sets out to learn more of his history and alien powers. "Lucky" for him, the past is about to catch up with him in the form of a rogue military leader, General Zod (Michael Shannon), who attempted to overthrow the government of Krypton, was banished for his crimes and has come to Earth seeking something he believes to be in Clark's possession.
See It/Rent It/Skip It: See it. I'm writing this part the night before release so I know there are a surprising (to me) number of negative reviews. Meh.
"Critical" Analysis: It's difficult to talk about Man of Steel without bringing up the last Superman movie (Superman Returns). Not because I want to get into an elaborate comparison/contrast, but because so much of what that movie got wrong, MoS helps us forget, somewhat.
Example? Brandon Routh's Superman was a mopey creep who seemed to enjoy spying on his ex-girlfriend more than fighting for truth, justice and something something. Henry Cavill gives us something we haven't gotten on film in a while: a SUPERman, with all the awesome power the name implies.
Director Zack Snyder wisely avoids a linear narrative, but keeps the flashbacks to a minimum, peppering Clark's current search for answers with moments from his childhood right up until the property damage takes over in the final reel. But no matter when, or what, the character always demonstrates a desire to help people; to fulfill the destiny his parents Jor and Lara (Ayelet Zurer) hoped he'd take on when they sent him away from their doomed world.
I point this out because, a few introspective moments aside, this isn't The Dark Blue Knight. Christopher Nolan produced the film and came up with the story (along with screenwriter David S. Goyer), but keeps the brooding to a minimum, even during Clark's...difficult adolescence. Supes isn't a guy looking for the first opportunity to mothball his costume and live overseas with Anne Hathaway, he's doing everything in his power to save his adopted home. If there is a criticism to be made, it's that the movie's third act is so smash-tastic it effectively brings what character development we've seen to a screeching halt. And then drops a skyscraper on it.
Growing up, I was more of a Spider-Man guy. In fact, the first Superman comic I ever got was that "Battle of the Century" Marvel/DC crossover (Two whole dollars! In 1976!). So I can't speak to certain aspects of Kryptonian life, or how much of a fascist the comic version of General Zod is (because he's pretty extreme here). None of it really matters, because Man of Steel is much closer to the Superman movie I've wanted to see since 1982.
It might be hard to judge Cavill fairly, given how little he had to do to eclipse Routh. He benefits from not instantly reminding us of Christopher Reeve and also being yoked like a mofo. He's also bolstered by solid performances from Shannon (no small feat playing a megalomaniacal tyrant without going into full ham mode), Crowe and Costner. In fact, Pa Kent might give us Costner's best tearjerk moment since Field of Dreams ("You *are* my son," you saw it in the previews, so quit bitching).
And I'm not going to claim there are no goofy plot elements. I mean, guh, you've got pajama-clad aliens throwing satellites at each other. But I will say this: The stakes this time around are a little higher than Lex Luthor's diabolically dumbass real estate scheme from Returns.
Having seen Man of Steel in 2D and 3D, I can safely say skip the latter. The conversion isn't well done, and I didn't notice any resulting enhancements. That said, it's a fairly cynicism-free summer blockbuster and you should see it on the big screen. I'm not sure what more of an endorsement I can give.
Man of Steel is in theaters today. Only kneel before Zod if, you know, you're comfortable doing so.
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The activity of consular certification does not constitute alter, eliminate or establishment that involves rights and obligations.
Consulates in China for Certification (LEGALIZATION BY EMBASSY OR CONSLATE), also known as "Diplomatic Certification" refers to the Chinese diplomatic and / or foreign institutions in China, consulates in foreign-related commercial documents and instruments that are recognized by the Chinese notarized certification authority or other certain organs by signature and / or seal for substantiated legal act. Certified documents have external legal effect which act as documents as recognized by the relevant authorities in the country for use.
At present, when foreign commercial documents or instruments for consular certification, it is in form of "Double Certification", i.e. the first act is by the Foreign Ministry or its authorized agencies to certify, confirm the documents related to foreign trade, the China notarized certification authority or some specific organs' signature and / or seal thereto is true, then it will be sent to the foreign resident country where its consulates will handle the authentication.
(2) Whether a document need to be translated for certification? Is the translation set together with the original set needed to be put together for certification? All supporting documents are required for confirmation clearly.
If it is the case for a country that is a member of Hague Convention, it only needs to be notarized by Hong Kong International notary. Should there be the one is a non-Hague Convention country, then it is required to do notarization, embassy for certification. This process is the one that the notary overseas embassies or consulates in China for undergoing the "Certification" with official signature for confirmation, such confirmation process is so called "Consulate/Embassy Certification."


You are likely to take a look at the way the difficulty is getting perceived. In case you are composing an essay about pollution, as an illustration, you may encourage them to halt by means of plastic drinking water bottles as being a get started. Consequently you'll have to dig by using quite a few resources to establish a point of look at if you do not have already got an individual. The argumentative essay should have formidable arguments influenced by considerable basic research.
Two are reserved to the introduction and conclusion, so you might be left with a few paragraphs for that entire body. You will have a person matter sentence for every paragraph, and you'll aid it with all the proof you collected in the basic research approach. Each individual of these preferably should contain one most important argument, which proves your stand. If you might be wanting to know the best way to close the essay, just assume about ending a speech.
The expository essay, relating to the other hand, is shorter and won't desire that noticeably groundwork. The argumentative essay is easily the most wide-spread one! Sometimes it is really even mandated by center faculty and highschool students.
Then, you may include proof and strong sensible reasoning that disagrees with that counterclaim. But this stand will even now be your very own. When you are masking matters for center college or high school, then again, you will find seldom a change. Then, at the end of the introductory paragraph, you will generate a clear, concise, and well-defined thesis statement.
The argumentative essay may be a form of tutorial paper that needs you to definitely examine a topic and create your personal place on it. Before you start scripting this essay, you will need an outline. These are definitely the areas of argumentative essay to deal with: After individuals general recommendations on how to produce an excellent persuasive paper, you happen to be completely ready for specifics.
Persuasive crafting, on the other hand, however depends on specifics, but is more depending on your own stand. Then again, an argumentative essay constantly has considerably more references. Here's a phase by stage direct regarding how to write this essay: Then, we are going to address the argumentative essay structure and we'll wrap up with bits of advice on how to be able to write it.
Are you ready to tackle the challenge of persuasive crafting? You are able to do it! You could possibly devote the 3rd overall body paragraph to the counterclaim, which expresses the opposing viewpoint. To learn just what the argumentative essay is, it is top rated to have a look at its framework.
In the main paragraph, you can introduce the subject by furnishing qualifications. In persuasive producing, the thesis statement will ideally categorical your own standpoint, which is based upon sensible info and arguments. The body of a persuasive essay for the most part is made up of 3 paragraphs.
At higher education and college, you can expect to face plenty of assignments. Each subject matter sentence should be directly relevant with the thesis statement. The argumentative essay must have exact sections. Any time you take the free of charge sort of the editorial, as an illustration, you can pass up the purpose it does not matter how spectacular your composing is.
It serves to current the topic and direct the reader in direction of the specific thesis assertion. At any time you deviate from that structure, your professor will conclude that you did not use their guidance and did not write an argumentative essay to start with. The purpose of a persuasive essay would be to persuade, which means you would like to encourage everyday people to choose some sort of motion.
But when you make development as a result of the method, the assignment would probably prove even more challenging than predicted. But lots of professors come up with a distinction between these assignments. Here's what the persuasive essay define should have: But how do you allow it to be captivating to the reader?
If you may have on thought how persuasive creating seems like, feel of your editorial parts you often browse through in newspapers. The author is not really attempting to take a stand and persuade, but rather to summarize specifics and explore the best way they disagree or concur with multiple factors of look at. As a school scholar, you are likely to create something comparable, but in the kind of an educational essay.
You may want to under no circumstances start off by having an extremely basic introduction. It's no wonder why a great number of pupils give up someplace alongside how. The argumentative essay ordinarily consists of five paragraphs. That's imperative, seeing that you want to stick to the format your professor expects to observe.
In idea, you will find a change. The reader would be wise to be left influenced and ready to switch a little something inside their actions. Believe that of any persuasive speech you recognize of, too. In the event you to start with have the guidance, it seems like a really rather simple and exciting paper to write down.
The writers have a stand and persuade you to feel in it by furnishing robust arguments.