1. Radiant warm wall heating system provides optimal uniformity and conserves chamber space for drying, curing, vacuum embedding, and plating applications.
5. Digital temperature controller with +/- 1°C accuracy.
10. Vacuum and air lines constructed with corrosion-resistant stainless steel tubing for optimum chamber cleanliness and long term performance.
● Vacuum and air lines constructed with corrosion-resistant ● stainless steel tubing for optimum chamber cleanliness and long term performance.


text:
Home / NBA / WHOLE LOTTA LOVE: CLEVELAND MOVE IS DONE DEAL
WHOLE LOTTA LOVE: CLEVELAND MOVE IS DONE DEAL
By Greg Tanner
The Cleveland Cavaliers have sent top overall draft pick Andrew Wiggins and former number one pick Anthony Bennett to the Minnesota Timberwolves for prized All-Star forward Kevin Love as part of a blockbuster three-team deal.
Cleveland also sent a protected 2015 first-round pick to the Philadelphia 76ers, who will acquire guard Alexey Shved and forward Luc Richard Mbah a Moute from the Timberwolves in exchange for veteran forward Thaddeus Young in the multi-player trade.
The addition of Love, who will team up with recently-signed four-time league most valuable player LeBron James and exciting young talent Kyrie Irving, further solidifies the Cavaliers as a favorite to represent the Eastern Conference in the NBA Finals.
"Kevin joining the Cavaliers represents a very special and unique opportunity for our team," Cavaliers general manager David Griffin said in a statement after the three-way trade was formally announced on Saturday.
"At only 25, Kevin has already firmly established himself as one the NBA's elite players and his talent, versatility and fit are major parts of our team's vision for success."
The Love deal was announced in principle earlier this month but could not be finalized until Saturday because Wiggins, who was taken first overall by Cleveland in June, could not be traded until 30 days after the signing of his rookie contract.
Bennett, the first overall pick in the 2013 NBA draft, had a rough start to his rookie campaign with Cleveland but improved as the season progressed. He averaged 4.2 points and 3.0 rebounds in 52 games.
"We are excited to add three young, talented and athletic players to our team in Andrew Wiggins, Anthony Bennett and Thaddeus Young," said Timberwolves head coach Flip Saunders.
"With the additions of Wiggins, Bennett and Zach LaVine this summer, we have brought in three exciting young athletes who all have the potential to have an impact in this league.
"I appreciate all that Kevin, Luc and Alexey have done for our organization and wish them the best of luck with their new teams."
According to local media, the Cavaliers made the deal with Minnesota with a firm agreement that Love will opt out of his contract in 2015 and re-sign with the Cavaliers on a five-year, $120 million-plus contract extension.
Love averaged 26.1 points per game, 12.5 rebounds and 4.4 assists last season for a Minnesota team that went 40-42 and was nine games back of the eighth and final playoff spot in the Western Conference.
← Previous Story BIG NAMES TO MISS SPAIN
Next Story → BONNER: WE NEED TO GET LUCKY
About Greg Tanner
Greg has been working within basketball for 15 years, as a journalist, TV presenter, events organiser and much more. See gregtanner.co.uk for more.

redpajama_set_name: RedPajamaCommonCrawl


Posted by Eric Miller on Tuesday, July 3rd, 2018 at 3:01pm.
1-When buying a New Construction Condo in Fort Lauderdale new condo how confident can I be about the developers estimate of operating expenses and future maintenance increases?
Unfortunately, if history repeats itself you may wish to count on maintenance increases during the first few years of ownership after the owners take over management of the building. Some developers will include in their offering a thing called "deficit funding". Deficit funding calls for the developer to fund any short falls in the operating budget. Overall it is a good thing, but buyers need to be aware that this deficit must be absorbed in future operating budgets, or the board will have to find ways to cut expenses. In addition, you can also count on additional maintenance expenses as the building starts to age and passes its warranty period.
2- When I purchase a Fort Lauderdale Waterfront Condominium is the dock deeded to my unit?
The answer here is, maybe? This is an excellent place to understand why working with a Fort Lauderdale Condo Expert can help throughout the process of purchasing a Fort Lauderdale Waterfront Condominium.
Some docks belong to the individual owners of the unit and are in fact "deeded". More often however, they are limited common element of the condo association, and unit owners receive the right to use, like the way they use a parking spot. Sometimes owners pay rent to the association for the dock. In some cases, the dock may actually be owned by a separate entity who rents the dock space and give no preference to unit owners. The rules of Fort Lauderdale Waterfront Condos can run the gambit and it is best to make sure that whichever Fort Lauderdale Realtor you choose to work with obtains the most current information on the availability of a dock for the unit you are buying.
3- Many Fort Lauderdale Beachfront Condos are over 40 years old should it concern me to buy in an older Ft Lauderdale Condo building?
Buyers of older Fort Lauderdale Condos need to conscious that Broward County follows the following procedure. The 40 year and older Building Safety Inspection Program was created in 2005. Broward's program calls for structural and electrical safety inspections for buildings 40 years old or older and every ten years thereafter. When buying in an older Fort Lauderdale Condominium it is important to know where they are in the 40-year inspection process. Buying after the 40-year inspection of the Fort Lauderdale Condo building has been done and all repairs complete and paid for, in a great time to purchase.
4- Some Fort Lauderdale Condos have commercial space within the property. Will being in a mixed-use building like this make my maintenance lower?
Unfortunately, this is usually not the case. Commercial space within the building is part of the overall square footage of the property and has a maintenance budget applied to it. In some cases, the commercial spaces are sold just like condominiums and have individual owners just like you. In other cases, the original developer remains the owner of the commercial space and collects rent. Occasionally the commercial space becomes the property of the association, but this is often more of a burden on the association than an asset. If you see a commercial element in a building which contains a Fort Lauderdale Condo for Sale that you are interested in it is imperative that you ask questions and understand exactly how the commercial space relates to your Fort Lauderdale Condo purchase.


text:
[ALIVE PODCAST] Interview With Renee Piechocki - A Discussion on A Liberation Abecedary
Renee Piechocki, A Liberation Abecedary, 2020-2021, 17 Minutes, Various Locations, Photo Credit: Renee Piechocki.
Interview with Renee Piechocki
[ALIVE PODCAST]
Performance is Alive Director, Quinn Dukes, interviews Renee Piechocki about her latest video collaboration, A Liberation Abecedary, inspired by Martha Rosler's Semiotics of the Kitchen. Both Piechocki and Rosler's videos screen on May 13th via Franklin Furnace Loft. Piechocki is calling for participation with the project, and invites our listeners to submit a performance response. Contact Franklin Furnace to become involved!
This podcast is presented in collaboration with Franklin Furnace.
Performance Is Alive · Interview With Renee Piechocki - A Discussion on A Liberation Abecedary
[INTERVIEW TRANSCRIPT]
Quinn Dukes: Hello out there world! My name is Quinn Dukes and I am the Director of Performance is Alive. I am so delighted to be here today with Renee (Piechocki). Could you please introduce your piece and your name?
Renee Piechocki: The name of my piece is A Liberation Abecedary and my name is Renee Piechocki.
Quinn Dukes: So today we are going to be talking about Renee's new project, which is scheduled to premiere virtually on Thursday, May 13th at 7pm (EST) via the Franklin Furnace Loft.org website.
We're coming at you from our separate zoom worlds. I am in Brooklyn right now and Renee, where are you coming from?
Renee Piechocki: I am tuning in from the beautiful city of Laramie, Wyoming.
Quinn Dukes: Before we get started I'd like to pose a little surprise prompt. Do you have access to a kitchen where you are right now, Renee?
Renee Piechocki: I do.
Quinn Dukes: Wonderful. I would like to ask you to go into the kitchen and identify three objects that you think are power objects for you. I'm going to do the same. I'm going to go into my kitchen and see what I can find. Just three objects, don't overthink it and we'll be right back.
Renee Piechocki: Okay, this is not my kitchen. It's an Airbnb kitchen, so this is an extra challenge. I love it, okay let's go.
[We search]
Renee Piechocki: Okay, I'm back. That was a challenge!
Quinn Dukes: Amazing, so tell us what you are coming back with.
Renee Piechocki: This is good, I like this challenge Quinn, I immediately know that you are funny. I like this question. All right, so what I came back with are three items, one is a scissor. Do you want to know why I chose it or you just want me to show it?
Okay, I thought, what would make me feel super liberated about a scissor is you can cut ties with things that do not work for you anymore. You can also reshape things which is really good.
So, this is not mine (the scissors), this is in the place I'm staying. But I do travel with my own tea ball all the time because I have lots of funny eating habits, but also, I thought, it can kind of go anywhere and it did. I went on a big trip in 2019, I traveled around the world for a whole year and this was in my luggage as an essential item, because I'm not a big coffee drinker. So this for me was like a super important tool to get what I needed. And it just fits in your pocket if you need it to.
But then the other thing is tongs - which I really loved. I think it's similar to the scissor. It's like a tool of being particular and selecting what you want. It's an extension of your body, this tong. You become a foot longer in all directions with this tong.
Quinn Dukes: Those are wonderful items. I enjoy this prompt also. I ran to this lemon squeezer. I mean, there is just so much that is satisfying about getting every last possible drop of juice, whether it's lemon juice or any sort of citrus. A peeler! Precision. I was totally relating to you talking about precision earlier and shaving the outer layer of something off then having that underlayer revealed and watching that change. Pretty amazing. And it doesn't need a champagne flute?
Renee Piechocki: Can't think of anyone.
Quinn Dukes: Great funny shape, pretty delicate, but also full of fun. Potential fun. All right, well, thank you for humoring me.
Renee Piechocki: I love that prompt, that was awesome.
Quinn Dukes: I'm really excited to hear you share, what led you to wanting to create this piece that you'll be presenting and was it inspired directly by Martha Rosler's Semiotics of the Kitchen piece?
Renee Piechocki: Great question. The foundation story of why I wanted to make A Liberation Abecedary is kind of a 10 year plus meditation on Semiotics of the Kitchen. Not actively every day. Her video is one that was part of my own kind of feminist awakening in my 20s. First seeing it in college, I went to Hunter College in the early 90s, and you know, seeing that piece, for the first time was really important for me.
It showed me a new way of looking at kitchens and tools and was a window into this concept. Even though it's like a young teenager in high school, like, I was very much about being as strong a person as I could be for human rights, and all those things I had never really thought about the systems that might be limiting me.
Her video is the video that gave me that window. More than any other artwork. It's like, oh wow. There's something going on with kitchens and femininity, that I wasn't clued into yet and I'm really grateful to that video and her for making it. But the other thing about that video that has always stayed with me is that her sense of humor in that video. To me it's very, very funny and also the use of sound is terrific.
But the humor and the shrug at the camera at the end. So the piece stayed in my mind.
My first encounters were still images and I was like okay, that's really interesting, it's always her with the knife and with her arms folded. So the first time that I saw the actual video, it really blew my mind.
And so you know I'd see it - I remember seeing it in museums in New York. I'm one of those persons who goes to the College Art Association just for fun. To see what people are doing. I would go to the feminist tracks of the CAA and a lot of people talk about that video and write about it. It really got me thinking for a long time, like okay, that video is in my guts. It has meant a lot to me. It'd be really interesting to do a response. If that video was calling me, what is my response?
Yeah, that's the story, it took me a long time to come up with the right idea. You can go online and a lot of people have recreated that video. There's a lot of different experiments that people have used, and I wanted to look at some of the frameworks of it. But then also not try to replicate it, it doesn't need to be replicated. In my mind when I finally came to the idea of the framework that I wanted to use, I kind of wanted to be like "Martha, I heard you", you know, "I loved your video, thank you so much." This is how I'm feeling now, or this is what I want to do with this concept of tools.
Quinn Dukes: So how in the world did you select 28 collaborators to work with you on this piece? I mean that's a significant part of this video project.
Renee Piechocki: It is a significant part. Maybe that gets to a little bit about the framework behind it, because I've had so many bad ideas connected to this in the past, and I think they're hidden deep. Although I've come across notes for some of them recently and they really cracked me up. It's great to look through your old notebooks sometimes.
But when I finally came to the idea that the video is not about me, although I am in it and I'll talk about why in a second. For me, it was part of the shift away from Martha Rosler's video. That video is about her but it's a universal woman who's in this kitchen. And I thought Oh, if I could take the concept of a universal person and then actually expand it to be more people, it fits in a little bit with my thinking about how to engage.
So, how did I do it? I really wrote people slowly. I started to invite people to participate, I came up with a draft letter. And I started inviting people one at a time, two at a time, three at a time, waiting to hear back from them. Then based on whether or not people wanted to do it, I kind of broadened the list.
There's a couple different ways that I was thinking about inviting people. First it was other artists that I admire and people that I knew would have a relationship to Martha Rosler's video as well. They would get it, you know they would understand what I was trying to do. Not recreate it, make a response to it.
And so artists who are in the video who fall under that category, or like Sheila Levrant de Bretteville, Janet Zweig, two artists I just think the world of. And then other people were other artists that I knew in Pittsburgh nationally. One artist lives internationally that I just thought, oh yeah, let's see what they would want to do. I know, most of the people in the video there's a couple of people I don't know, but they were recommended by other folks in it.
My colleague and friend in Pittsburgh, Diane Samuels, who is in the video as "time" is her tool, she helped me connect to a couple artists. Because I wanted to make sure it was a diverse representation of people.
It started before pandemic and so you'll see in the video, there're some people with masks and some people without masks. When I knew I was going to make it, my dream was to travel across the country and shoot everyone's video in person. I did get to physically make the videos for at least 20, maybe 22 of the people, and then there's a couple that people sent in phone videos.
Quinn Dukes: Okay, I was wondering about that element, too, because I recently listened to an interview with Martha Rosler talking about the creation and the production of Semiotics of the Kitchen and there was a deliberate choice for it to be on film. For it to be black and white. So I was really curious how your editing process works. Tell me about the difference between being in control of the product and then receiving home shot videos.
Renee Piechocki: That's a great question actually, I had to just be willing to give up some control. For most of the people who were in it, there was a conversation about their setup. What are you going to do? Where is the camera going to be? Whether or not I was filming them or not, and sometimes that was elaborate. It wasn't about filming my vision of what I wanted them to look like. It was about me, I tried anyway, for it to be me fulfilling their vision of how they want it to look.
For some of the folks you know thinking about, where is the camera? Where is the viewer? It was a different relationship with all 28 people.
Quinn Dukes: Wow! That's a lot of different visioning.
Renee Piechocki: It was a lot of different visioning!
Quinn Dukes: It requires a significant amount of patience and trust in the people that you were working with, so I think that really shares insight just about you and in the way that you really wanted to evolve this project. I'm interested in how the words were identified. Did the performers choose the words? Did you choose the words?
Renee Piechocki: All of the performers chose their words. The only person, who I am very grateful to who was up for a suggestion of a letter was Carin Mincemoyer, because I didn't have "Q". So, when I was like Carin, I don't have a "Q". If you can come up with a "Q," it would be great. And she's like, yeah my word was going to be quiet anyway. I was really grateful for her.
So they chose the words and that's part of the reason why I invited people slowly. Because, if I had sent out 30 invitations at once and everybody came back with an "A" or a "B." I wanted to, I think the alphabet of Semiotics of the Kitchen - you can't be making a response to that without having an alphabet. You would be responding to a different work. So I was really glad about that, I was glad that it was slow. If people asked, I would tell them what I already had. Some of the people really wanted to know, what are the words that already exist. And what am I going to say, no? Just come up with your own thing? I mean it's interesting, Quinn, because you just talked about me trusting them, but I think even more important is them trusting me.
That I'm not going to make them look bad, not just bad, but that I'm not trying to make fun of anybody. I'm not putting my vision on them, and that's serious. That level of trust is really serious and important for me.
And that's how the words worked. Most people picked their own words. That's why for some letters, there are more than one representation of that letter. Because how am I going to pick between "motorcycle" and "motherhood"? That's a choice that I don't want to have to make. And it's also why I'm in the video three times because, even after inviting everyone, it was like okay, I don't have, "U", "N" "O" and "Y." I was like all right, I will think about my own answer to this question and come up with those performances.
Quinn Dukes: Wonderful. Oh it's so great to hear you talk about behind the scenes after viewing it and I have to say that, in the first few minutes of watching it, your video, I was trying to memorize what the different words were. And then I paused, started over, and then I started writing them all down because I just thought Oh, this is such an interesting combination of words that are being selected and highlighted by this community of artists that are coming together.
It is a very tricky balance to work with performers, to work with collaborators and to present them with all sincerity, and for them to feel comfortable. And also to honor a piece that has such a root and humor. So how do you feel about presenting humor and also being sincere in the work that you have. Because I think that you really do. But what are your thoughts on those two paradigms?
Renee Piechocki: That's an intense question because humor is so personal. What you think is funny and what other people think is funny is completely different. I think one of the reasons why Martha Rosler's video stayed with me so deeply is because of the humor aspect. Because it was for me, it was an entry point.
I don't know that everyone looks at that video and thinks it's so funny. Maybe you just need to line up all those tools in the kitchen and be pretending to use them. Acting out and then you get it.
I imagine myself in that place. So giving the contributors to my project the freedom to be funny if they wanted to was really important to me. There's a couple of places in the video where the universe brings you very funny moments, and for me one of those key moments is between Rachel Klipa beating her phone with such intense focus and then the second the next section is Norie Sato going "glass cutter."
In showing the video, the draft, to know a couple of close artist friends. One of the comments back, which I'm not sure if she meant this as a compliment. She's like, there's none of the cynicism that I was expecting in this video. Everyone's having a great time. And I'll tell you, for me, one of the things I love about this video is watching people do things that makes them feel liberated. There's a lot of joy in the video. A lot of people were smiling at the end. I needed that last year.
Quinn Dukes: It seems like they did also.
I was wondering about the decision to keep in the edit where the performers were smiling. Or they would look to the camera and they would be aware of themselves and what they had just done and kind of laugh. Everyone has a different response and I don't want to give it all away because it's premiering and we want people to watch the premiere! Tell me what some of your thoughts are on leaving those edits in.
Renee Piechocki: Definitely it is one of those moments where it's a response to Rosler's work because, for me, her shrug to the camera at the end and acknowledging that she is performing. There is a viewer. There is a recorder going. That moment is so human and accessible.
Quinn Dukes: Earlier, you mentioned your relationship to feminism and, this being an entry point, perhaps to performance and feminism. So I have two questions that come to mind. How do you think the evolution of feminism over the past, well, I mean, since this was made the original was made in '75, how do you think the woman being perceived in the kitchen has involved? Or has it?
Renee Piechocki: Oh that's a tough question. I think if you asked me that 15 years ago, the answer might be women are out of the kitchen if they want to be. And what I think has changed; definitely amplified this year, starting a few years ago, is recognizing the privilege that's behind that choice. That if you have a choice to be in the kitchen or not that says something about who you are. And that it doesn't necessarily say that you are over privileged and bad. It's just you know, one of these moments where you're like Okay, like, I have a choice about the things I get to do.
That's, I think, where it's really changing. I think it was a really important discussion about privilege, class and race that we've experienced in the year, in 2020 but even before them, but it really came to a head last year. I'm not a fortune teller, I don't know where it's going, but I hope it's going somewhere really good. Where people whose voices have been really loud and in the forefront now see the benefit of being on the periphery to let other people have the stage.
Part of the reason why, it's not just me performing all the tools that have to do with my own liberation and oppression, you know it's inviting other people to participate. That's one of the things that I'm choosing to do. To include other people.
That, for me, is not in a bubble of this project. I work in public art as an administrator. I've worked on collaborative projects for decades with other people. I worked on a project for 10 years called Trappings under the guise of Two Girls Working with another artist named Tiffany Ludwig who is "zip tie" in this video. I'm so glad Tiffany's in there. That idea of participatory projects is really important to me.
Quinn Dukes: Absolutely, and in looking through your very comprehensive biography that becomes very clear to me. And I think that it's notable that you have a participatory component to the live screening of the piece. Right? Can you talk a little bit about that invitation that you have open for viewers to become a part of it.
Renee Piechocki: Yes, and I would love, if anyone listening out there in podcast land wants to participate next week, please get in touch with Franklin Furnace because we're looking for people. So we're going to screen my video. We're going to screen Martha Rosler's video and then instead of a Q&A, I thought it would be much more powerful if we had the invitation out for people to perform their own tool. People can think about their source of liberation and a tool that represents that source or symbolizes that source.
Everyone is invited to become part of the vocabulary, so let's add you in on this project. It doesn't end with the words that were chosen by my 28 collaborators, let's bring in some others. Anyone who signs up is very invited. It's not mandatory you're not going to call on people to participate if they don't want to. But anyone who wants to is invited and will turn the focus of the camera on you and you can have your minute.
Quinn Dukes: Great! So do they need to contact you in advance, or can they participate just by being there and connecting in the moment?
Renee Piechocki: If people contact Franklin Furnace in advance it's helpful but if people are inspired in the moment to participate, of course, we're gonna say guess.
Quinn Dukes: Okay. Listeners, we will give the full contact information for Franklin Furnace in the publication for this podcast (on the post). I feel like people will be inspired to participate and it's so exciting that your video and Martha's video will be presented, side by side. How do you feel about that?
Renee Piechocki: I feel so nauseous with anxiety. It's like a dream come true, and also really exciting and scary at the same time. I'm delighted that she said yes. I feel really lucky.
Quinn Dukes: Absolutely, I think that it will reveal the community is really supportive and I think that that's something that is unique to participatory projects, performance. How did you enter video and performance video? How did that, and when did that come into your world?
Renee Piechocki: So what's first coming to mind and I can't say that it's the first is, you know, definitely working on Trappings as part of Two Girls Working. That project, which was a decade long, my collaborator Tiffany Ludwig and I traveled across the United States. We interviewed over 600 women in 15 states about the meaning and presentation of power in their lives. So we asked a question which was "What do you wear that makes you feel powerful?" as a way to access, how women thought about and people identified as women, what you know how they thought about that question.
For that project, in particular, we made a conscious decision in the beginning to stay behind the camera. We never answered that question. What we thought about it was not part of what we wanted to talk about.
We recorded everyone on video. We had a traveling exhibition. There were films that came out of it. So that's one branch like if I'm the tree of my work, that one branch is Trappings. Once that project was over, and I was working more on my own practice, I made a video called Tuning In. That actually started in Wyoming a little further north at a residency program called Jentel, where it's me in a tumbleweed. And thinking about a tumbleweed as a creative creative entity in your life that you take with you, wherever you go and if you tune into that source it's always there for you.
And I think for me, that was my first time appearing on my own camera, as a performer. And it was a little wacky for me. You know it's weird to look at yourself but I love doing it. It involved doing a lot of things in public places, and getting permission to perform in stores and gas stations.
And yeah, you could just go do it, but it's actually kind of more interesting to talk to the person running the gas station. Saying hi, can I film myself at the pump with the tumbleweed for the next 20 minutes? And just be part of that conversation with them. To me that's like that's a real fun part of making art.
Quinn Dukes: I love that. I am so intrigued by you wanting to engage directly with the gas station owner or whomever, wherever you're going to perform. That is just further indication of your interest in people and establishing a line of communication with a new person or someone that you've known for a long time and want to interact in a new way.
When I was looking through your work it seems like you also have an interest in deconstructing systems and creating your own systems. I'm wondering if there are any methods, as you're looking at new projects, any methods that you've established for yourself that you think might be really beneficial to our listeners.
Renee Piechocki: Oh that's a good question.
I love that question. Okay, so I'm thinking I've been asked a similar question before and I think this answer applies, which is don't wait.
As an artist, if you are always waiting for an invitation to do something, you might wait a really long time and it might not ever happen.
If you are an artist who's always wanted to do something with a certain group of people, go build a relationship and see if they want to work with you and then make that project happen. You don't have to wait for an institution to invite you to want to do your work.
You know, I have a day job you know, okay Quinn, this is it! I'm so glad you asked me this because the other day I was talking with two people, Nadine Wasserman who I'm working on a project with now called Compass Roses and Joni Palmer and we were talking about how important it is to stop the shaming about day jobs within the art world.
There is a real thing that happens where, if you have to make money, like everybody has to make money to live and you don't do it teaching or working in an arts institution that your work is somehow shouldn't be talked about, I'm calling for a stop to day job shaming because whatever you need to do to make your work and to give yourself time, space, freedom resources to think and create that's really important. So that's really my advice in terms of deconstructing systems. Do what you need to do to give yourself the time that you need to make your work.
Quinn Dukes: Yes!
Renee Piechocki: Do you see that, with people I mean you enter - your clapping your lemon squeezer that's perfect. I mean do you see that went when you're interviewing people?
You know you're like oh so what do you do, and they kind of skirt around the main thing we're like it's like wait you're a various systems that's fascinating you know or whatever.
Quinn Dukes: Yes, 100%. I think that when artists mentioned their day job if it isn't aligned with their artistic practice in some capacity, they do tend to veer around the specifics. And I am so grateful to hear you vocalize that directly, because the shaming should absolutely stop. Taking license to be your own creative person and I love this visual of the tumbleweed. Become your tumbleweed, become the creative tumbleweed that doesn't need a license to make and you're just doing it on your own that's so beautiful, so thank you for articulating that.
Renee Piechocki: You're welcome. You know, I was thinking when you were saying that when you were saying that you also see artists skirt around, you know what that does to us, I think, as people that's really bad.
If we say that art and artists are only doing these jobs and these things, the harm is that it stops us from recognizing the creativity in every single person around us. And I'm not saying that everyone is an artist, but I am saying that there is the potential for creativity in everyone. When we assume that artists are only doing these jobs it causes a categorization. And siloing that I think is bad, I think is harmful for us.
Quinn Dukes: I think, so I think so, too, my mind was just flooded with so many things as you were saying that and it's almost as if it is another vocabulary thinking about working and what is work and there've been so many conversations about the definition of work and compensation, and there I feel like it is rife with much discussion and controversy, not just within the arts community by any means, but it feels like another video maybe.
Renee Piechocki: Maybe.
Quinn Dukes: Well, Renee, I am so grateful, I really enjoyed our discussion and getting to know you through this conversation and more about the project. Thank you so much.
I am going to also give a special thank you to Arantxa and Harley and Martha. Franklin Furnace you are wonderful and I'm so grateful for all of the work that you do to support artists working in video and live performance.
And to our listeners, a reminder to tune in on May 13th at 7pm via the Franklin Furnace Loft website.
And if you want to participate and submit a video in advance or participate on May 13 then connect with Franklin Furnace. Anything else, that you would like to add Renee before I pause the recording.
Renee Piechocki: Just thanks. I really appreciate the chance to get to know you and to learn more about Performance Is Alive and I just want a second, like where would we all be without Franklin Furnace saying yes to artists, so thank you to them for giving me this amazing opportunity to screen my video. I really appreciate it.
Renee Piechocki is an artist who works in many different settings, drawing on a range of creative practices: social practice, community arts, arts administration, photography, video, and drawing. As a result, she is sometimes an artist in the foreground as a creator, sometimes a collaborator, and sometimes an artist in the background as a facilitator.
She cares about creating situations that encourage social or emotional connections in all of her work, but especially in projects in the public realm. Depending on the project, she seeks to reach out and invite people in as observers, participants, or collaborators.
Renee currently lives in Pittsburgh, PA; is collaborating with Nadine Wasserman to produce Compass Roses: Maps by Artists; and is working as a public art consultant on projects across the US. Previously, she worked with Tiffany Ludwig through their collaboration Two Girls Working on their project Trappings, which explored the meaning and presentation of power in womens' lives. www.reneepiechocki.com
RSVP FOR THE FRANKLIN FURNACE SCREENING
RENEE PIECHOCKI'S WEBSITE
Performance is Alive is delighted to collaborate with Franklin Furnace for this podcast feature.
Franklin Furnace Archive, Inc.'s mission is to present, preserve, interpret, proselytize and advocate on behalf of avant-garde art, especially forms that may be vulnerable due to institutional neglect, cultural bias, their ephemeral nature, or politically unpopular content. Franklin Furnace is dedicated to serving artists by providing both physical and virtual venues for the presentation of time-based art, including but not limited to artists' books and periodicals, installation art, performance art, and unforeseen contemporary avant-garde art forms; and to undertaking other activities related to these purposes. Franklin Furnace is committed to serving emerging artists; to assuming an aggressive pedagogical stance with regard to the value of avant-garde art to life; and to fostering artists' zeal to broadcast ideas.
Learn more about Franklin Furnace here.
Performance Is Alive is a fiscally sponsored project of Fractured Atlas, a 501(c)(3) charity. Contributions made payable to Fractured Atlas for the purposes of Performance Is Alive are tax-deductible to the extent permitted by law.
DONATE TODAY!
Ian Deleón
Quinn Dukes
Alexandra Hammond
Luke Mannarino
Polina Riabova
Sarah G. Sharp
Alex Sullivan


text:
Q: Running consol application in debug mode with WCF selfhosting? I have a WCF service hosted in a consol application(that also acts as the Windows Service installer), pleas see more here : http://msdn.microsoft.com/en-us/library/ms733069.aspx
This is how the class in the consol application looks like :
public class MyAppWindowsService : ServiceBase
    {
        public ServiceHost _MyAppClientServiceHost = null;
        public ServiceHost _MyAppIntegrationServiceHost = null;
        public ServiceHost _MyAppserviceHost = null;

        public MyAppWindowsService()
        {
            // Name the Windows Service
            ServiceName = "MyApp Service";
        }

        public static void Main()
        {
            ServiceBase.Run(new MyAppWindowsService());
        }

        private void StopService(ServiceHost serviceHost)
        {
            if (serviceHost != null)
            {
                  serviceHost.Close();
                  serviceHost = null;
            }
        }
        private ServiceHost StartService(Type serviceType)
        {
            ServiceHost serviceHost = null;

            // Create a ServiceHost for the CalculatorService type and
            // provide the base address.
            serviceHost = new ServiceHost(serviceType);

            // Open the ServiceHostBase to create listeners and start
            // listening for messages.
            serviceHost.Open();

            return serviceHost;
        }
        private void StartServices()
        {
            StopService(_MyAppClientServiceHost);
            StopService(_MyAppIntegrationServiceHost);
            StopService(_MyAppServiceHost);

            _MyAppClientServiceHost = StartService(typeof(MyApp.ServiceImplementation.MyAppClientService));
            _MyAppIntegrationServiceHost = StartService(typeof(MyApp.ServiceImplementation.MyAppIntegration));
            _MyAppServiceHost = StartService(typeof(MyApp.ServiceImplementation.HL7Service));
        }
        private void StopServices()
        {
            StopService(_MyAppClientServiceHost);
            StopService(_MyAppIntegrationServiceHost);
            StopService(_MyAppHl7ServiceHost);
        }

        // Start the Windows service.
        protected override void OnStart(string[] args)
        {
            StartServices();
        }

        protected override void OnStop()
        {
            StopServices();
        }

    }

This is made for running in a Windows Service, how do I make so I can run this as a regular selfhost in debug mode(during development)? or do I really have to start a special project to be able to debug this servuce during runtime?
Edit:
I decided to use the existing windows service project but change the main to something like this :
public static void Main()
        {
            if (Debugger.IsAttached)
            {
                Console.WriteLine("--- MyApp Services ---");
                Console.WriteLine("Starting services...");
                Instance.StartServices();
                Console.WriteLine("--Finished--");
                Console.WriteLine("Press any key to exit");
                Console.ReadKey();
                Instance.StopServices();
            }
            else
                ServiceBase.Run(new MyAppWindowsService());
        }

A: This is what I do
Solution A

*

*Install a Windows Service using InstallUtil from my Debug\bin folder

*Stop and start service using sc start or sc stop

*Once service started do Debug > Attach to Process... and attach VS to the service

Solution B
Have a Debugger.Break call on the first line of the OnStart method.
Solution C
Add a temp separate console application that does the same job as your service.

redpajama_set_name: RedPajamaStackExchange


Fits perfectly. Very similar to the Cleo Ellis and Kira bras that I own. I am finding that my size is going up and I may need to start saying goodbye to my 30E bras which makes me sad. The embroidery is cute but I'm not really a fan of the print. Still, it gives a really nice shape and the top lace lays flat all around so this bra is a win.
Band runs very snug, it is very supportive on my 29 inch underbust but I have to take a couple breaks from it over the course of the day. Not super tight though, can still fit a few fingers under. Gore tacks perhaps a bit too much, that combined with how high it is, it can dig in at the top. Cup seems to run true to size. Very interesting construction, sides are very supportive and move everything up and forward, almost to a pointed shape. Goes well with its cute and interesting design.


text:
Далекосхі́дний фронт — оперативно-стратегічне об'єднання Червоної армії на Далекому Сході з 1 липня 1938 до 5 серпня 1945 року. Брав участь у конфлікті біля озера Хасан у 1938, протягом німецько-радянської війни в європейській частині СРСР фронт перебував у повній бойовій готовності до відбиття вторгнення японської Квантунської армії з території маріонеткової держави Маньчжоу-го.

Історія

Перше формування
Далекосхідний фронт створений за наказом Наркома оборони СРСР від 28 червня 1938 року (відповідно до постанови Головної військової ради РСЧА від 8 червня 1938) на базі Особливої Червонопрапорної Далекосхідної армії (ОЧДСА) і іменувався Червонопрапорним Далекосхідним фронтом. До складу фронту увійшли управління, 1-ша і 2-га армії, а також Хабаровська група військ.

У липні — серпні 1938 року війська Далекосхідного фронту брали участь у конфлікті біля озера Хасан. За результатами подій у цьому конфлікті з японською армією на базі переформованих управлінь 2-ї Окремої Червонопрапорної армії і Хабаровської оперативної групи у вересні 1938 року були відновлені управління 18-го і 20-го стрілецьких корпусів у Куйбишевкі-Восточній і Біробіджані, в травні 1939 року у Ворошилові утворено управління 31-го стрілецького корпусу.

Після закінчення бойових дій поблизу озера Хасан рішенням Головної військової ради РСЧА від 31 серпня 1938 року управління фронту було розформовано. З військ фронту сформовані 1-ша і 2-га окремі Червонопрапорної армії, які безпосередньо підкоряються Наркомату оборони СРСР.

Друге формування
1 липня 1940 року на підставі наказу народного комісара оборони від 21 червня 1940 року № 0029 на базі управління Читинської фронтової групи військ було розгорнуто управління Далекосхідного фронту другого формування. До складу фронту увійшли 1-ша і окремі Червонопрапорні армії, а також Північна армійська група. В оперативному підпорядкуванні фронту перебували Тихоокеанський флот і Червонопрапорна Амурська флотилія. Штаб-квартира фронту — Хабаровськ.

У тому ж році на базі управління 20-го стрілецького корпусу утворено управління 15-ї армії (генерал-майор Черемисов Л. Г.). Управління Північної армійської групи в Ніколаєвську-на-Амурі після реорганізації стало управлінням Особливого стрілецького корпусу (генерал-майор Дубков М. Г.).

Навесні 1941 року 1-ша окрема Червонопрапорна армія була переформована у дві армії — 1-шу Червонопрапорну (генерал-лейтенант Єременко А. І.), управління якої перемістилося в Спаськ-Дальній, і 25-ту (генерал-лейтенант Парусинов Ф. А.), чиє управління, сформований на базі управління 43-го стрілецького корпусу, розмістилося у Ворошилові-Уссурійському.

У липні 1941 року з 18-го стрілецького корпусу (35-та, 66-та і 78-ма стрілецькі дивізії, 109-й укріплений район, артилерійські та інші частини) сформована 35-та армія, яка обороняла кордон СРСР у Примор'ї.

У першій половині 1941 року в 1-ій Червонопрапорній армії сформований 30-й механізований корпус у складі управління, двох танкових (58-ї і 60-ї) і однієї моторизованої (239-й) дивізій, у 2-й Червонопрапорної армії — 59-та танкова дивізія, а 69-та стрілецька дивізія переформована на 69-ту моторизовану дивізію. Усі стрілецькі дивізії фронту були переведені на типову організацію з чисельністю близько 10 тис. людей.

Директивою Генерального штабу від 26 квітня 1941 року Далекосхідний фронт передав на захід управління 31-го стрілецького корпусу, 2 стрілецькі дивізії (21-шу і 66-ту) і 2 повітрянодесантні бригади (211-ту і 212-ту), що здійснювалося у відповідності до замисленого радянським керівництвом великого перекидання військ з Далекого Сходу на захід країни. До війни в Київський особливий військовий округ відбули управління стрілецького корпусу і дві повітрянодесантні бригади.

На початок німецького вторгнення до Радянського Союзу у складі Далекосхідного фронту перебувало 4 загальновійськові армії (1-ша і 2-га Червонопрапорна, 15-та і 25-та) і Особливий стрілецький корпус. Ще 4 стрілецькі корпуси входили до складу армій: 26-й і 59-й — в 1-шу, 18-й — в 15-ту, 39-й — в 25-ту. Всього у складі фронту було 17 стрілецьких, 3 танкових, 2 моторизованих і 1 кавалерійська дивізій, 3 стрілецьких і 1 повітрянодесантна бригада, 12 укріплених районів.

У серпні 1942 року на основі військових частин загальновійськових армій були сформовані 9-та, 10-та і 11-та (в грудні 1944 року перетворена в 18-й авіаційний корпус) повітряні армії. У липні 1943 року в складі фронту на базі Особливого стрілецького корпусу (Сахалін) була сформована 16-та армія.

Протягом німецько-радянської війни війська фронту перебували в постійній бойовій готовності, створювали оборонні рубежі за планом прикриття державного кордону з маріонетковою держави Маньчжоу-го, де зосередилася японська Квантунська армія. У воєнний час зі складу Далекосхідного фронту на німецько-радянський фронт були передислоковані 23 дивізії (16 стрілецькі, 2 кавалерійські, 4 танкові, 1 моторизована), 19 бригад (3 стрілецькі, 3 повітрянодесантні, 13 артилерійських) і авіаційні частини (всього бл. 250 тис. людей, 3,3 тис. гармат і мінометів, 2 тис. танків), а також понад 100 тис. осіб маршового поповнення.

19 березня 1945 року директивою Ставки ВГК частина військ фронту (1-ша Червонопрапорна, 25-та і 35-та армії, 9-та повітряна армія, 10-й механізований корпус) були виділені в Приморську групу військ (з 5 серпня 1945 року — 1-й Далекосхідний фронт).

5 серпня 1945 року Далекосхідний фронт перейменований на 2-й Далекосхідний фронт.

Військові формування у складі фронту
 На 1 січня 1945 року
 1-ша Червонопрапорна армія
 2-га Червонопрапорна армія
 15-та армія
 Північна група військ (16-та армія)
 25-та армія
 35-та армія
 9-та повітряна армія
 10-та повітряна армія

 На 1 червня 1945 року
 2-га Червонопрапорна армія
 15-та армія
 16-та армія
 10-та повітряна армія
 5-й стрілецький корпус
 Камчатський оборонний район

Командування

Перше формування
 Командувачі:
 Маршал Радянського Союзу Блюхер В. К. (1 липня 1938 — 4 вересня 1938);
 Члени військової ради:
 дивізійний комісар Мазепов П. І. (липень — серпень 1938);
 Начальники штабів:
 комкор Штерн Г. М. (липень — серпень 1938);

Друге формування
 Командувачі:
 комкор Штерн Г. М. (1 липня 1940 — січень 1941);
 генерал-полковник, з 22 лютого 1941 року генерал армії Апанасенко Й. Р. (січень 1941 — 25 квітня 1943);
 генерал-полковник (з 26 жовтня 1944 — генерал армії) Пуркаєв М. О. (25 квітня 1943 — 5 серпня 1945);
 Члени військової ради:
 армійський комісар 2-го рангу Бірюков М. І. (1 липня 1940 — лютий 1941);
 корпусний комісар Желтов О. С. (лютий — серпень 1941);
 дивізійний комісар, з 9 грудня 1941 корпусний комісар, з 6 грудня 1942 генерал-майор, з 19 січня 1944 генерал-лейтенант Яковлєв Ф. П. (серпень 1941 — травень 1945).
 генерал-лейтенант Леонов Д. С. (травень — 5 серпня 1945);
 Начальники штабів:
 генерал-майор Кузнецов М. А. (1 липня 1940 — січень 1941);
 генерал-лейтенант, з 12 жовтня 1941 генерал-полковник Смородинов І. В. (січень 1941 — серпень 1943);
 генерал-майор, з 13 вересня 1944 генерал-лейтенант Шевченко Ф. І. (серпень 1943 — серпень 1945).

Див. також
 Головні командування військ напрямків
 Оперативні групи Червоної армії (Друга світова війна)
 Чугуївська оперативна група
 Забайкальсько-Амурський військовий округ
 Бої на Халхин-Голі

Примітки
Виноски

Джерела

Джерела
 ДАЛЬНЕВОСТОЧНЫЙ ФРОНТ НАКАНУНЕ И В ПЕРИОД ВЕЛИКОЙ ОТЕЧЕСТВЕННОЙ ВОЙНЫ 1941—1945 ГГ.
 Дальневосточный фронт

Посилання
 Фронт
 Дальневосточный фронт
 Дальний Восток в войне

Література
 Краснознаменный Дальневосточный. История Краснознаменного Дальневосточного военного округа. М., 1971
 Боевой состав Советской Армии. Ч. 1. Июнь—декабрь 1941 г. М.: Военно-исторический отдел ВНУ ГШ ВС СССР. Воениздат, 1963. С. 13, 14.

Радянські фронти
Далекий Схід
Військові формування, засновані 1938
Військові формування, розформовані 1945

redpajama_set_name: RedPajamaWikipedia


USC defensive end Don Hill was arrested early Saturday morning in Boise, Idaho, for suspected driving under the influence, according to the Ada County Sheriff's dept.. Hill, 19, was arrested by the Boise City Police. He is a Boise native and was home before USC starts its spring semester today. Hill redshirted at USC this past season. USC did not comment.


Aug. 8 (UPI) -- Researchers have found a significant link between three degenerative eye diseases and Alzheimer's disease risk, offering a potential way for medical providers to detect the memory loss condition.
Age-related macular degeneration, diabetic retinopathy and glaucoma were associated with an increased prevalence in cognitive decline that are part of Alzheimer's, researchers report in findings published Wednesday in the journal Alzherimer's & Dementia.
"What we found was not subtle," Dr. Paul Crane, professor of medicine at the University of Washington School of Medicine said in a press release. "This study solidifies that there are mechanistic things we can learn from the brain by looking at the eye."
Although Alzheimer' disease is the most common dementia, it's difficult to diagnose early.
Alzheimer's researchers have focused on amyloid buildup in brain tissue.
"Referred to as 'the window to the brain,' the eye provides substantial information on brain health," the researchers wrote. "No study has investigated associations of all four sight-threatening conditions with AD risk using research AD diagnostic criteria."
The study included 3,877 age 65 and older who did not have Alzheimer's disease at the time of enrollment when the study started in 1994 as part of the Adult Changes in Thought database. Patients had followup exams within five years and afterward for an average of eight years.
Patients with the degenerative disease were at a 40 percent to 50 percent greater risk of developing Alzheimer's disease than those without these eye conditions in the study.
Because the brain is an extension of the central nervous system, occurrences in the eye may related to to the form of dementia, the researchers believe.
"We don't mean people with these eye conditions will get Alzheimer's disease," said Dr. Cecilia Lee, an assistant professor of ophthalmology at the UW School of Medicine. "The main message from this study is that ophthalmologists should be more aware of the risks of developing dementia for people with these eye conditions and primary care doctors seeing patients with these eye conditions might be more careful on checking on possible dementia or memory loss."


text:
Eclipse Membership
Supported by our member organizations, the Eclipse Foundation provides our community with Intellectual Property, Mentorship, Marketing, Event and IT Services.
Contact Us About Membership
Explore Our Members
Why become a Member of the Eclipse Foundation?
Take an active role in supporting sustainable, commercializable open source technologies that benefit all.
Participate in a thriving developer community
and provide contributions to Eclipse projects and Working Groups.
Protect your strategic investments
by signaling your support for advancing the technologies your business relies upon.
Share costs and innovation
while focusing resources on rapidly building differentiated features that customers value most.
Benefit from strong governance
solid intellectual property management, and inclusive open source community development.
Prosper by sharing
open source commercialization best practices with industry peers.
Promote accomplishments
and good corporate citizenship through contributions to open source projects.
Key Services of the Eclipse Foundation
Members can take advantage of the following key services provided by the Eclipse Foundation.
The Eclipse community has a well-earned reputation for providing high-quality software, reliably and predictably. The Eclipse Foundation provides services and support to help projects consistently achieve their goals. Our staff assists new projects in implementing the Eclipse development process, a set of procedures and rules that form our best practices.
IP Management
We focus on enabling the use of open source technology in commercial software products and services. All Eclipse projects are licensed under an OSI approved license including the Eclipse Public License (EPL). In addition, the Eclipse Foundation due diligence process helps to validate the pedigree of the intellectual property contained in Eclipse projects.
Ecosystem Development and Marketing
The Eclipse Foundation's vendor-neutral marketing programs promote Eclipse community growth and engagement, drive awareness and discoverability of projects and working groups and increase the commercial adoption of Eclipse technologies. The Foundation coordinates and implements a variety of activities, including content creation, press and analyst relations, community conferences and events, advertising, social media management, and other programs to promote the entire Eclipse community and increase engagement.
The Eclipse Foundation provides vendor-neutral, reliable and scalable services for Eclipse technology developers and users. IT infrastructure services delivered to the Eclipse community include source code repositories, build infrastructure, development-oriented mailing lists and newsgroups, a downloads site, and project and working group websites.
Contact Us About Membership Membership levels >
Membership at the Eclipse Foundation
The Foundation offers four levels of membership: Strategic, Contributing, Associate, and Committer.
Strategic Members
Strategic Members play an integral role in the Eclipse Foundation ecosystem. Strategic members are organizations that view participation in Eclipse projects as strategic to their business and are investing significant developer and other resources to further drive Eclipse Foundation technology. Typically, Strategic Members lead one or more top-level projects. Strategic membership benefits include:
A seat on Board of Directors of Eclipse Foundation
A seat on Foundation Architecture Council
The opportunity to attend and vote at all meetings of the General Assembly
Access to a number of Strategic Members-Only Programs such as banner and logo promotion on eclipse.org and eclipse.org/downloads
Ad hoc Intellectual Property analysis and reporting
Help to launch open source initiative(s)
Direct influence through board voting rights on key aspects of the Eclipse ecosystem, including licensing, governing policy development, and amendments to Membership Agreement and bylaws
Discounts towards sponsorship and attendance of Eclipse Foundation events
Access to Eclipse Foundation marketing and advertising programs
Opportunity to lead in the establishment of Eclipse Working Groups
Opportunity to join and participate on all Eclipse Foundation public mailing lists
Opportunity to show support for the Eclipse Foundation by displaying the Eclipse Foundation member logo
View Existing Strategic Members
Contributing Members (formerly referred to as Solutions Members)
Contributing Members are organizations that view Eclipse Foundation technologies as important to their corporate and product strategy and offer products and services based on, or with, Eclipse Foundation technologies. These organizations want to participate in the development of the broad Eclipse Foundation ecosystem. Most members join initially as Contributing Members. Contributing membership benefits include:
Contributing Members are represented on the Board of Directors, and thus have influence over decisions relating to licensing, governing policy development, and amendments to Membership Agreement and bylaws
Opportunity to stand for election as the representative of all Contributing Members on the Board of Directors. Elections are held annually in the first quarter
Discounts towards sponsorship and attendance of Eclipse Foundation run events
Opportunity to participate in Eclipse Working Groups, including as a Strategic Member of those working groups
View Existing Contributing Members
Associate Members are organizations that participate in and want to show support for the Eclipse Foundation ecosystem. Many research and educational institutions choose to join as an Associate Member. Associate membership benefits include:
Opportunity to join and participate on all Eclipse public mailing lists, and to attend Members meetings
Ability to join select Eclipse Working Groups as a Guest Member
The opportunity to attend all meetings of the General Assembly
View Existing Associate Members
Committer Members
The Eclipse Foundation's governance model provides individual committers with the ability to become full members and includes representation on the Eclipse Board of Directors. Committer Members are individuals that are the core developers of the Eclipse projects and can commit changes to project source code.
Committer membership benefits include:
Committer Members are represented on the Board of Directors, and thus have influence over decisions relating to licensing, governing policy development, and amendments to Membership Agreement and bylaws
Opportunity to stand for election as the representative of all Committer Members on the Board of Directors. Elections are held annually in the first quarter
Learn more about Committer membership.
< Benefits and Services Contact Us About Membership Membership Fees >
The Membership Annual Fee Comparison Chart based on membership levels is provided below for illustration purposes only. Please see the Eclipse Foundation Membership Agreement for full details. Note that Eclipse Working Group Membership fees are separate and in addition to general Eclipse Foundation Membership fees.
Annual Corporate Revenue
Annual Eclipse Foundation Membership Fees*
> €1 billion €300 000 €25 000 €25 000
€100 million - €1 billion €180 000 €17 500 €17 500
€50 million - €100 million €125 000 €12 500 €12 500
€10 million - €50 million €60 000 €9 000 €9 000
< €10 million €30 000 €6 000 €6 000
< €1 million < 10 employees €30 000 €1 500 €1 500
Govt, Govt agencies, Research Organizations, NGOs, etc. €30 000 €6 000 €0
Academic, Publishing Organizations, User Groups, etc. €30 000 €1 000 €0
*There is no cost to being a Committer member of the Foundation
< Membership Levels Contact Us About Membership How to become a member >
To become a member, follow these steps below:
Once you have chosen the level of membership (e.g., Strategic, Contributing, Associate):
Complete the Membership Application Form.
Once you have completed the Membership Application Form, the membership team will send you the agreements to sign electronically via HelloSign.
If you are unable to complete this form online, you can use the PDF form and agreements.
PDF form and agreements
Complete and sign the membership application form pdf
Complete and sign the membership agreement
Complete and sign the member committer and contributor agreement (optional, but recommended)
Email us the signed documents, including the membership application form, the membership agreement, and optionally, the member committer and contributor agreement.
Note: Membership in an Eclipse Working Group requires the execution of the respective Working Group's Participation Agreement. For more information, review the list of the current Eclipse Working Groups and their respective Participation Agreement.
If you are a Committer who is not already a Member by virtue of your employer being a Member, you may join as an individual Committer Member.
Review our governance documents for the Eclipse Foundation Bylaws, Membership Agreement, Affliates, Membership Guidelines, IP Policy and more.
Eclipse Foundation AISBL
In January 2021, the Eclipse Foundation created a new Belgian-based organization, Eclipse Foundation AISBL. All new members are strongly encouraged to join this Eclipse Foundation AISBL organization and do so using the above application and agreements.
Prior to January 2021, Eclipse Foundation membership was based on Eclipse Foundation, Inc., a Delaware-based organization, and this organization still exists. The membership benefits for both organizations are identical, and members are expected to join only one. Any new member of Eclipse Foundation who believes they have reason to join the Delaware-based organization may contact membership@eclipse.org for the appropriate versions of the Membership Agreement and Membership Application.
Eclipse Corporate Sponsors
The Eclipse Foundation relies on the support of our members and contributions from the user community to service and grow the Eclipse ecosystem. In addition to membership, corporate users of Eclipse projects can support the community by joining the Corporate Sponsorship Program.
< Membership Fees Contact Us About Membership Resources >
Membership Prospectus
Learn about Eclipse Foundation membership, and how you can become a member.
A presentation of the Eclipse Foundation and Eclipse community for new and prospective members.
Keeping Members Connected
Serving our community is the number one priority of the Eclipse Foundation.To keep our community connected, we send out a monthly newsletter to member companies and member committers. Check out some past issues of our member newsletter.
< How to become a member Contact Us About Membership Member Portal >
The Eclipse Foundation member portal provides Member organizations with insights into their participation in the Eclipse community. Find out about working groups and projects your organization is involved in and access resources curated for Members.
Additionally, this portal allows members to update key data related to their membership, including their logo, corporate description, and key contacts.
< Resources Go to the Member Portal


text:
Achternaam
 Thomas Wyatt (dichter), Engels dichter
 Thomas Wyatt (junior), Engels rebellenleider, zoon van de dichter
 Jane Wyatt, Amerikaans actrice
 Kimberly Wyatt, Amerikaans zangeres
 Robert Wyatt, Brits musicus
 Ron Wyatt, Amerikaans archeoloog

Voornaam
 Wyatt Earp, "cowboy"
 Wyatt Russell, Amerikaans acteur

Fictieve figuren
 Leo Wyatt, in Charmed
 James Wyatt, in Prison Break

Plaatsnamen
In de Verenigde Staten:
 Wyatt (Missouri)

Muziek
 Wyatt (band), een Rotterdamse band, die actief was tussen 1996 en 2006


text:
The Library History Buff
Promoting the appreciation, enjoyment, and preservation of library history
Librariana
Postal Librariana
U. S. Library People on Postage Stamps
See Library People on Stamps - An Introduction for background information.
See World Library People on Postage Stamps for a more complete list of library people worldwide on postage stamps.
When libraries and library people are depicted on a postage stamp, it is usually in recognition of something that has little to do with the role of libraries or library people in our society. Nonetheless, several individuals who have played a role in the development of America's libraries have appeared on postage stamps.
Andrew Carnegie was often referred to as the 'Patron Saint of Libraries'. He donated $56,162,622 for the construction of 2509 library buildings throughout the English-speaking parts of the world. More: Andrew Carnegie
Benjamin Franklin helped found the Library Company of Philadelphia, America's first lending library,in 1731. For a brief period (Dec. 1733-Mar. 1734) Franklin actually served as the librarian for the Library Company. More: Benjamin Franklin
John Harvard Was a Massachusetts clergyman who bequeathed his library of 400 volumes and approximately 780 pounds sterling to the the New College (founded 1636) in Cambridge which was later renamed Harvard College.
Halldor Hermannsson served as the Curator of the Fiske Icelandic Collection at the Cornell University Library from 1905 to 1948. More: Halldor Hermannsson
Thomas Jefferson was the third President of the United States, 1801-09. He cataloged and classified material for the University of Virginia Library as well as his own private library, later the nucleus of the Library of Congress. More: Thomas Jefferson
Henry Wadsworth Longfellow served as Librarian of Bowdoin College Library in Brunswick, Maine from 1829-1835 during the same period in which he taught modern languages for the College. More: Henry Wadsworth Longfellow
Larry T. Nix, the Library History Buff, on a personalized stamp issued by the United Nations in New York.
This site created and maintained by Larry T. Nix
Send comments or questions to nix@libraryhistorybuff.org
Last updated: 12-04-08 © 2005-2008 Larry T. Nix
Also check out the Library History Buff Blog.


text:
Riots Cost Portland Police $6.9 Million on Overtime
Amid calls by rioters to defund the police, the Portland Police Bureau spent $6.9 million on overtime over the span of just two months as a result of the ongoing often destructive and violent riots in the city, Breitbart reported.
According to Portland's KATU News overtime spending in June and July skyrocketed 200% compared to the same time period last year when police spent $2.3 million.
After the death of George Floyd protests against "systemic racism" and police brutality have occurred every night in Portland since May 25.
According to authorities in Portland there were 59 people arrested during the riot that took place Saturday night and Sunday morning. Forty-three were processed by the Portland Police Bureau.
Data for August has yet to be provided, however the amount spent on overtime likely exceeds $7 million, according to the News outlet.
"The sharp uptick in overtime spending during June and July account for more than half of what police had spent on overtime throughout all of 2020. From January through the end of July, PPB spent $11.4 million on OT. Last year, through mid-July, police had spent $7.7 million."
"KATU News asked PPB multiple times last week for comment, hoping to find out how the city can keep up these overtime costs but never heard back. On Monday, a PPB spokesperson cited Labor Day as the reason for not providing comment."
Over the summer Portland City Council voted to cut $15 million from police funding in June and fell short of the $50 million demanded by activists.
Breitbart News reported, on July 1 the police bureau eliminated its Gun Violence Reduction Team at the direction of the city council — a move that coincided with "the highest number of murders in one month than has been seen in over 30 years." Since the group was eliminated fifteen murders occurred in Portland in July 2020 and 63 shootings in the same month, up from the 28 seen in July 2019.
Photo: (Photo by John Rudoff/Anadolu Agency via Getty Images)


text:
Work Search: tip: words:100
An Old Acquaintance (1381 words) by DesertVixen
Chapters: 1/1
Fandom: Little House on the Prairie - Laura Ingalls Wilder
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Laura Ingalls/Almanzo Wilder, Nellie Oleson & Laura Ingalls
Characters: Laura Ingalls Wilder, Almanzo Wilder, Nellie Oleson, Mary Power
Additional Tags: Post-These Happy Golden Years, Forget the First Four Years, Happy AU
Summary:
An old acquaintance returns to DeSmet...

Little House on the Prairie - Laura Ingalls Wilder
Laura Ingalls/Almanzo Wilder
Nellie Oleson & Laura Ingalls
Almanzo Wilder
Nellie Oleson
Mary Power
Post-These Happy Golden Years
Forget the First Four Years
Happy AU
The Exchange at Fic Corner 2018
An Old Acquaintance
DesertVixen
An old acquaintance returns to DeSmet...
For Dragonbat.
(See the end of the work for notes.)
"You will never guess who I saw in town today," Almanzo Wilder told his wife as they sat down to supper on an early summer evening.
"At the rate DeSmet is growing, I'm hardly surprised at anyone being there," Laura Wilder said, thinking of all the times someone from her past had appeared.
"Oh, this wasn't a newcomer," he replied with a smile. "Nellie Oleson must have decided that New York didn't suit her after all."
He laughed when Laura made a face, but she couldn't help it. She had first met Nellie Oleson as a little girl on Plum Creek, and the two had not been friends. Nellie had been snobby and disdainful. Her father had been a storekeeper, and Nellie had flaunted her superiority. She had been impudent to Ma, and worst of all for young Laura, she had spoken harshly about the Ingalls' faithful bulldog Jack.
"Don't worry, I didn't offer her a buggy ride," he teased.
When they met again, when they were young ladies, Laura had envied Nellie her slender blonde beauty. The other girl had grown older, but she had not changed – she had still been haughty and convinced that she was better than everyone else, especially Laura. It had always infuriated Laura to see the other girl always grabbing whatever she wanted, whether it was candy or a young man's attention. It seemed as if she especially enjoyed taking things away from other people, even if she discarded them a moment later.
Nellie had definitely tried to set her cap at Almanzo, until the day the three of them – Laura, Almanzo, and Nellie – took a very memorable buggy ride. Nellie had intended to steal Almanzo's attention from Laura, knowing that her chattering presence would make the other girl stay home. Laura had seen to it that Nellie did not enjoy the experience by letting the lap robe spook the horses. The memory still made her smile. Laura had not been frightened, trusting in Almanzo to handle the horses. Even better, she had provoked Nellie into showing her true colors. When he had suggested a buggy ride the following week, she had told him she would not go if Nellie went.
There had been a few bad moments over the next week, but Almanzo had come for her the next week, and all the weeks after. He had told her he'd felt sorry for Nellie, but he had made it clear who he wanted to spend his Sunday afternoons with, and it wasn't the beautiful girl who was scared of horses.
Laura had not set her cap at Almanzo, but she had fallen in love with him – and his horses. In fact, looking back, she had been very slow to realize that he had been trying to court her with sleigh ride rescues when it was forty degrees below. They made a pretty good matched pair themselves, Laura thought contentedly – he had been brave enough to make the drive, and she had been brave enough to go with him.
Nellie Oleson couldn't threaten her now.
Laura was the one who lived with Almanzo in the pretty little house on the tree claim, with its kitchen. Every time Laura made something in her kitchen, she saw the love and care that he had put into it – something practical, and yet pleasing.
Laura was the one who not only rode behind the beautiful horses but even drove them.
Laura was the one who found herself thrilled with the promise of a new inhabitant being added to their little house.
In fact, she thought, she might even enjoy a reunion with Nellie Oleson, now that she was Mrs. Almanzo Wilder.
The Fourth of July dawned beautifully clear, and Laura was looking forward to the chance to go visiting and see the fireworks in town. There were the chores to do and the animals who needed care, but they would go visit her family for dinner.
Skip and Barnum were harnessed to the buggy, and Laura gave Almanzo a smile as he helped her into the buggy.
"Do you think they're ready for fireworks?" Laura remembered last year when they had gone to watch the fireworks. Almanzo had been forced to drive them in a circle and wheel them around to face the fireworks. Now, however, Skip and Barnum were much gentler and better behaved. They were so well-behaved that Laura found herself wondering when Almanzo would start breaking another pair.
"We'll stay out from the crowd, just in case," he told her.
Later, when they were full from one of Ma's good dinners of fried chicken, they made the drive to town. Skip and Barnum were a little fresh from standing, but running them a little and taking the long way to town was no hardship.
The town was full and lively, bustling with newcomers and old friends. The speeches were over, but they were setting up for a buggy race.
"You will race, won't you?" Laura asked, remembering the one had had won in Royal's peddler wagon. With this buggy and Skip and Barnum, he was sure to win.
"Of course." His eyes sparkled. "You will be watching?"
"Of course." She'd spotted Mary Power among the crowd, and asked him to set her down.
As much as Laura loved their claim, it was lovely to visit with her friends, seeing the things that were new. Mary Power and Laura looked at hats in Miss Bell's shop and admired fabrics, until it was time for the race to start.
Laura watched excitedly as their buggy competed with the others, watching the one driver and horses who would always capture her attention. She was so busy watching that she was surprised when Nellie Oleson spoke to her.
"Why, Laura Ingalls!" Nellie said cheerfully, dressed in what Laura imagined was the latest fashion, still slim and blonde.
"Actually, it's Laura Wilder now," she said easily, resisting the urge to wave her ring under Nellie's nose.
"How exciting! I mean, who would ever have guessed that you and Mannie would get married. So much has changed while I was in New York," she said, her voice a little hollow. "He's racing, of course."
Laura chose not to dignify Nellie's first statement with an answer. "Of course."
Mary Power joined them, and Laura was glad of the company in dealing with Nellie's empty chatter. As the race ended, she was too busy cheering for her husband and their horses as Skip and Barnum carried the day. She had to wait until he had helped her up into the buggy to press her lips against his cheek. "You won!"
"They won," he said, nodding at the horses.
Laura saw Nellie Oleson standing there, looking just a little forlorn. She should have felt good, Laura thought, happy that Nellie was finally reaping the harvest of her earlier behavior. But for some reason, she did not. Laura remembered the first time she had met Nellie, when the little girl had been greedily cramming candy in her mouth without even thinking to offer it to anyone else. They were to be neighbors again, apparently – Nellie's father had a claim out near their own.
"What would you say to giving Nellie a buggy ride?" Laura asked suddenly.
"Not going to frighten the horses this time, are you?" Almanzo grinned at her.
"She looks lonely," she told him, her voice soft.
It was not as bad as Laura had expected. Possibly because this time she sat in the middle of the seat, and because she knew that there was nothing to fear from Nellie now. In fact, Laura could even feel sorry for her, especially when they agreed to drive her home and she saw the Olesons' claim again. The last time she had seen it, Laura had thought how far behind everyone else it seemed.
Now she felt suddenly that the wheel had turned. She almost felt sorry for Nellie, especially as she stood waving farewell.
"Perhaps I will drive over next week," Laura said to Almanzo as they drove home.
He gave her a smile. "It would be a neighborly thing to do."
Yes, Laura thought, it would be. Nellie looked like she could use a friend.
She had just never thought it would be her.
I hope you liked it. I enjoyed trying to give these two some space to interact in.
I'm a firm believer that anything after These Happy Golden Years should be ignored in the Laura-verse.
Kuronekosama, ChocolateMonkies, therunningwave, Jacquie123, Rimastark, KublaChin, noekosk, Teledice, zoidwhiteshadow, Morvidra, boomersoonerash, Edonohana, tryfanstone, wendelah1, Dragonbat, maypop, Rina (rinadoll), Missy, and opalmatrix as well as 7 guests left kudos on this work! (collapse)


text:
Commentators: a commentary
by Nadine Dereza | Jun 20, 2014 | Live Events, Presenting, Tips and Ideas
"That was only a yard away from being an inch-perfect pass."
Murdo MacLeod
It's the World Cup, and at PS Programmes Towers we are very excited by the drama and spectacle of the Beautiful Game. We don't expect everyone to share our passion, but we had hoped that Phil Neville would be on our side. His 'monotonous' and 'dreary' style of commentary on the England vs Italy match prompted 445 complaints to the BBC. It was was his first ever live commentary, and he sounded like a hungover Monday morning. He was on much better form a couple of days later when Gary Linkear mentioned that the use of social media was getting fans closer to the players than ever before. Phil, with a huge grin on his face responded with 'I used to love social media until 24 hours ago!'
"I can learn as much from Darius Vassell as he can from me – but he can learn more."
Commentary is a tricky thing to get right. Often you're dealing with the adrenaline not just of the game, but also being live on one of the few television programmes capable of drawing tens of millions of viewers. There are also only so many ways you can describe a ball being kicked into a net, which must've been especially apparent in the AS Adema vs SO l'Emyrne game of 31 October 2002 in Madagascar, where the final score was 149-nil. Fortunately, we only caught the highlights of that one.
"Bristol Rovers were 4-0 up at half time, with four goals in the first half."
Tony Adamson
Football gets singled out for mockery, because players tend not to show the same eloquence with their words that they do with the ball. But there are bad commentaries in plenty of other media: The Exorcist is a brilliant film and director William Friedkin is a visionary artist, but his DVD commentary is completely dispensable, as he spends large parts of it telling the viewer what they can already see perfectly well for themselves on the screen ('The mother looks worried.').
"Bolton have won just three of their last two games".
Ian Abrahams
Likewise, musicians and artists often make tricky interviewees – the presenter having to do a lot of the heavy lifting to make the programme interesting. Alan Yentob once interviewed Pink Floyd guitarist David Gilmour about his signature sound. "How do you do the [pitch] bending?" asked Yentob. "Push," said Gilmour. Then, suspecting more was required of him, continued: "the wire gets tighter." You don't get far into the interview without realising that really it's the guitar that has all of the best lines.
"They were numerically outnumbered."
Garry Birtles
There are three things that we want from commentators:
1. Expert – if not insider – knowledge. We want someone who has been there and done it, who knows what it's like, what the pressures are and what it feels like to represent the thousands of fans on the pitch.
2. Communication. We want someone who can take us on a journey and 'tell the story' of what we are watching, without simply repeating the information we can see for ourselves.
3. Passion. We want someone who feels about the sport as strongly as we do.
"The game is not over until it is."
"Colemanballs" is the title of a column in Private Eye which gathers together the stupid things that sports pundits say when the heat of the moment bypasses the bit of the brain that deals with logic. It gives us a harmless laugh, and is hopefully no more than a moment of gentle embarrassment for whoever finds themselves featured in the column, so to Phil Neville we say: bring your passion to the fore. Not many people get it right first time, and not many people have their first time watched by 20 million football fans – many of whom also have Twitter accounts. For England, the World Cup is over, but the BBC is sticking with Phil – so he's going to be in Rio long after the English players have come home.


Provides students with proven techniques which apply to both accusatory and non-accusatory interviews. Students develop skills in preparing for the interview and interrogation with emphasis on planning and strategies. Provides a basic format and fundamentals of specialized interviewing and interrogation methods for those who have little or no experience in this phase of an investigation. Studies one of the most specialized and difficult phases of law enforcement or security investigation-interrogation.
Recognize and understand the basic concepts of behavior symptoms (verbal and non-verbal).
Ask pre-interview/interrogation questions which will assist in determining whether the person will be truthful or deceptive.
Develop a theme for the interrogation. For example, lay blame on someone else, like the victim, or establish a reason for the suspect/witness to be there in the first place.
Convert and oral confession into a written confession.
Explain U. S. Constitution and applicable case law pertaining to interviews and interrogation.
Cover twenty points while taking a written statement.


Machinery and parts online shopping, shops, e-commerce.
Offers a wide range of quality machine parts and accessories at competitive prices.
Manufactures, distributes and sells agricultural equipment and related replacement parts.
Specializes in the production of top-quality olive harvesters.
Producers of accessories for brush cutters and trimmers.
Machinery for handling and movement of agricultural materials.
Suppliers of used, new and rebuilt tractor and combine parts.
Selling of second hand agricultural equipment.
Industrial Seats, Co. offers OEM quality products for heavy equipment, heavy truck, industrial equipment and agricultural equipment.
Manufacturers of farming equipment specialized in harvest and nursery crop equipment.


What is USPS Text Tracking™?
Send a text to 28777 (2USPS) with your tracking number and a keyword. Keywords tell USPS the specific information you want to know, such whether or not delivery has been attempted. See more on keywords under the heading "How do I use keywords?"
USPS Text Tracking allows the use of a keyword in conjunction with a specific tracking number when sent from a mobile device. The chart below provides the allowable keywords to be used in conjunction with a specific tracking number and explains the response. The keyword must follow the number (e.g., 9205512345678912345678 DND). Keywords are not case sensitive. Text "KEYWORD" to 28777 (2USPS) to get this listing of definitions sent to your mobile device.
Stop	 Stop receiving Text Tracking messages for this label.
Additionally, the term "ALL" may be texted on its own (without a specific tracking number). This results in USPS sending text updates for all future activity on any tracking numbers that the user has submitted previously or may submit in the future. When used on its own, the keyword in essence sets a preference for all text tracking updates sent to the requesting mobile phone number.
What does a Text Tracking response from USPS look like?
USPS has enhanced Text Tracking such that upon first request for status updates, you will receive the scheduled, expected, or updated delivery date information that USPS has for the item. This information is also available throughout the request cycle by use of a keyword as explained in the topic "How do I use keywords?"
Text "Quiet" to 28777 (2USPS). USPS will stop sending USPS Text Tracking updates to your mobile number between the hours of 11PM CST and 7AM CST. USPS will respond to your quiet time request with "USPS Text Tracking, Quiet Time Enabled". Texting will automatically resume at 7AM CST.
To remove the quiet time preference at any time, even during the standard Quiet Time hours mentioned above, text "Awake" to 28777 (2USPS). USPS will respond to your request with "USPS Text Tracking, Quiet Time Disabled".
1.Mobile device initiated request: when a customer requests Text Tracking via their mobile device, USPS will provide a single text response with the latest tracking activity for the package. If a user would like additional updates on that package, a subsequent request needs to be sent. Or, the user must provide a keyword to request additional activity.
Option 1: a user may request Expected Delivery updates on their package, which means that a Text Tracking message will be sent to the user's mobile device for an expected or scheduled date information on the package.
Option 2: a user may request Day of Delivery updates on their package, which means that a Text Tracking message will be sent to the user's mobile device when USPS expects to deliver the package that day.
Option 3: a user may request Package Delivered updates on their package, which means that a Text Tracking message will be sent to the user's mobile device once the package has been delivered.
Option 4: a user may request Available for Pickup updates on their package, which means that a Text Tracking message will be sent to the user's mobile device when the package is available for pickup.
Option 5: a user may request Delivery Exception updates, which means that a Text Tracking message will be sent to the user's mobile device for each Delivery Exception type event on the package.
Option 6: a user may request All Options, which means that a Text Tracking message will be sent to the user's mobile device for Expected Delivery updates, Day of Delivery updates, Available for Pickup updates, and / or Delivery Exception updates on the package.
You may text "STOP" (or any of the following equivalents: "ARRET", "UNSUBSCRIBE", "CANCEL", or "QUIT") to 28777 (2USPS) any time that you wish to stop receiving tracking messages on your mobile device from USPS. Note that if you send "STOP" to 2USPS, this stops all active Text Tracking requests for any tracking numbers where you had previously requested Text Tracking. You may text "STOP" along with a specific tracking number to stop Text Tracking responses for that number only as mentioned in the "How do I use keywords?" topic.
To participate in Text Tracking, you do not need a usps.com account. However, upon your first use of the USPS Text Tracking service, you will be asked to opt-in to the service. This means that you agree to pay any applicable message and data charges that might be incurred on your mobile device upon requesting and receiving USPS Text Tracking messages. If you send a "STOP" request to 2USPS, you will need to opt-in again prior to participating in USPS Text Tracking. Additionally, if you make your request via usps.com, you will be required to reply "YES" to a welcome message to confirm that you do, in fact, want to participate.


text:
Newest WWE reporter Cathy Kelley starts on-camera work
Comments Off on Newest WWE reporter Cathy Kelley starts on-camera work
The newest WWE reporter Cathy Kelley has officially started doing on-camera appearances, more than a month after she was hired by WWE. Kelley was a host for AfterBuzz TV.
"So excited to be finally able to announce that it's my first day on the job and we're here at AT&T Stadium, the home of WrestleMania 32," the 27 year old Kelley said in a video on Twitter. In a different post, she wrote, "You have NO IDEA how hard it was to not tell you guys!! Cannot begin to describe how thankful I am for all of the support! We did it."
Kelley's first task was host the #HideAndTweet giveaways earlier today and she will be working closely with the social media team during this week.
Battleground 2016 pre-sale now on
Total Divas season 5 episode 11 rating
Catherine Kelly
WWE drops the term Diva completely, unveils new Women's title
WWE has opted to completely drop the term Diva to distinguish their women athletes and will now instead call them Superstars just like they refer to their male athletes. In an editorial on ThePlayersTribune.com, WWE Chief Brand Officer Stephanie McMahon said that…
NXT Takeover: Dallas live on the WWE Network tonight
Live tonight from the Kay Bailey Hutchison Convention Center, WWE presents NXT Takeover: Dallas, exclusively on the WWE Network. The full card is as follows: Finn Balor vs Samoa Joe for the NXT title; Bayley vs Asuka for the NXT Women's title; The Revival vs…
Life-size bronze statue of Dusty Rhodes unveiled at Axxess
WWE unveiled the bronze life-size statue of Hall of Famer Dusty Rhodes at Axxess this evening, similar to what they did last year for the Ultimate Warrior. Dustin Rhodes, Cody Rhodes, and Eden Styles were present for the unveiling of the statue which was done…


OBJECTIVE: To consider the arguments for and against funding for in vitro fertilization (IVF) and to explore potential avenues for policy change. DESIGN: Narrative literature review, policy analysis. SETTING: University Department of Obstetrics and Gynecology. PATIENT(S): Sub-fertile women and men. INTERVENTION(S): Fertility treatments, in particular IVF. RESULT(S): The two main arguments used against funding for IVF are that  subfertility is a social, not a medical problem, and therefore its treatment is not medically indicated or necessary, and  the clinical effectiveness of IVF is unproven. These and other major arguments are critiqued. CONCLUSION(S): Dismissing IVF as medically unnecessary seems premature because medical necessity has not been operationally defined. Demonstrating IVF effectiveness through a randomized trial has not been done but is feasible: a multicenter trial is currently underway in Canada. Dealing with the concern that subfertility treatment challenges the role of women in society, as well as with questions of cost-effectiveness, are more difficult challenges that deserve further debate. The potential for unethical uses and broader social implications of IVF add to its dubious status and provide a convenient rationale for refusing to pay. However, none of these concerns is unique to IVF: many currently covered health services are susceptible to the same criticisms. For all services, judgments of eligibility for coverage should be consistent and transparent and should explicitly separate the issues of cost from other factors.


The list below includes the cities that the US Post Office accepts for ZIP code 71825. The preferred city may not be the city in which the ZIP is located. The city for 71825 is usually the name of the main post office. When mailing your package or letter, always include the preferred or acceptable cities. Using any city in the list of unacceptable cities may result in delays.
ZIP code 71825 is located in southwest Arkansas and covers a slightly less than average land area compared to other ZIP codes in the United States. It also has a slightly less than average population density.
The people living in ZIP code 71825 are primarily white. The number of people in their late 20s to early 40s is extremely large while the number of middle aged adults is large. There are also a small number of single adults and a large number of families. The percentage of children under 18 living in the 71825 ZIP code is large compared to other areas of the country.
ZIP code 71825 has a slightly less than average percentage of vacancies.
The majority of household are owned or have a mortgage. Homes in ZIP code 71825 were primarily built in the 1980s or the 1970s. Looking at 71825 real estate data, the median home value of $76,300 is low compared to the rest of the country. It is also high compared to nearby ZIP codes. So you are less likely to find inexpensive homes in 71825. Rentals in 71825 are most commonly 3+ bedrooms. The rent for 3+ bedrooms is normally $500-$749/month including utilities. Prices for rental property include ZIP code 71825 apartments, townhouses, and homes that are primary residences.
For more information, see Blevins, AR house prices.
The median household income of $35,625 is compared to the rest of the country. It is also compared to nearby ZIP codes. So 71825 is likely to be one of the nicer parts of town with a more affluent demographic.
As with most parts of the country, vehicles are the most common form of transportation to places of employment. Compared to other ZIP codes in the country, 71825 has very few people that work at home. In most parts of the country, the majority of commuters get to work in under half an hour. More commuters in 71825 get to experience these short commute times than most other ZIP codes. It is very uncommon, compared to the rest of the US, for employees to have to travel more than 45 minutes to their place of employment.
ZIP Code 71825 is in the Blevins School District. There are 2 different elementary schools and high schools with mailing addresses in ZIP code 71825.


text:
PlayStation State of Play: Start time, how to watch Wednesday's livestream
Get ready for more PS5 and PS4 games on Wednesday.
Andrew Hoyle/CNET
PlayStation's State of Play livestream is happening Wednesday and focus "on announcements and updates for upcoming third-party releases headed to PS5 and PS4," Sony said. It'll last around 20 minutes. The wildly popular PS5 gaming console has been going in and out of stock at retailers since its launch in November.
It will be livestreamed starting at 2 p.m. PT/5 p.m. ET, which converts to 10 p.m. BST, and 8 a.m. Thursday AEST.
The event will be streaming from PlayStation's YouTube and Twitch channels. We've embedded the YouTube link above, so you can watch right here.
Get the CNET Daily News newsletter
Catch up on the biggest news stories in minutes. Delivered on weekdays.
What should we expect?
Sony promised "new looks at previously announced games," along with a few reveals from its partners. So you shouldn't go in hoping for any fresh details about first-party titles highlighted in September's PlayStation Showcase (like God of War: Ragnarok, Spider-Man 2 and Wolverine).
It confirmed on Tuesday that charming indie game Little Devil Inside will be included, so expect to see other indie titles as well.
Report: Activision Blizzard shed 37 employees during misconduct scandal
We haven't seen Final Fantasy 16 since the first trailer in September 2020, so it's likely we'll get an update (and maybe a release date) on Wednesday. Publisher Square Enix is also working on Strangers of Paradise: Final Fantasy Origins and Forspoken, but we've seen new footage of both in recent weeks.
During E3 2021, Capcom revealed that it's working on downloadable content for Resident Evil Village — Wednesday could bring our first look at that.
The company warned co-streamers that copyrighted music may be included and might create licensing issues for them, suggesting that either the '80s-tinged Guardians of the Galaxy or just-revealed Grand Theft Auto: The Trilogy — Definitive Edition will be among the games shown.
Should Tech Companies Be Transparent?
The Future of Web Design: What Can We Predict?


Bellagio is a hotel and casino that is inspired form the resort of Bellagio in Italy, that is famed in elegance and even their website speaks for its true beauty. There is an 8 – Acre Lake between the building and the Strip which is the most notable feature of the hotel which is called the Fountains of Bellagio that plays a synchronized dancing water fountain. This hotel and casino is located at Las Vegas Strip in Nevada.
The show of the Fountains of Bellagio takes place every 30 minutes in the afternoons and early evenings and every 15 minutes from 8pm to midnight, that catches people's attention even from the street to their neighboring structures. This is a manmade lake with freshwater and doesn't give justice to the urban myth spreading until now that it is filled with treated greywater.
The hotel has a unique feature like their Conservatory and Botanical Gardens. It has five seasonal themes such as Chinese New Year, Spring, Summer, Fall and Winter. The Conservatory celebrates the Chinese New Year with a display dominated by flowers bromeliads and Orchids from January to mid-March, as well as the animal of that particular year that the Chinese zodiac celebrates. The theme then changes over to the Spring display, which lasts until May and features a butterfly house as well as many varieties of tropical flowers.
During Memorial Day weekend, Bellagio then switches over to its All-American Summer display, featuring a large recreation of the Liberty Bell, as well as several American flags throughout the Conservatory. The Summer display is usually very patriotic featuring a lot of red, white, and blue, and is dominated by hydrangeas. The Conservatory then puts on it Fall display featuring several varieties of chrysanthemum and several large pumpkins throughout the display from late September until Thanksgiving weekend.
Finally, the Conservatory then switches over to its winter holiday display after Thanksgiving, which is dominated by its large centerpiece Christmas tree and several varieties of poinsettia. Whatever the season, colorful displays are decorated with many real fragrant flowers, and fountains may also be present. The Conservatory is located next to the lobby of the hotel and is open to the public.
The building of the main tower Bellagio has 3,015 rooms with 36 floors. The Spa Tower has 33 floors with 935 rooms. You have to grant yourself these dramatic features which distinguish their exquisite Las Vegas resort from every other destination in the world. You can't say no from their exclusive Web offers. It will give you the opportunity to have unique experiences with their air and hotel packages in one. You can book your hotel accommodation on this website with your airfare tickets including show tickets and much more. Bellagio, Las Vegas' best deals and offers can be received through mobile, social media applications are also available.