text:
Library of Congress News from the Library of Congress 2002 Letters to President Franklin D. Roosevelt to be ...
September 16, 2002 Letters to President Franklin D. Roosevelt to be Featured in "Books & Beyond" Program on Tuesday, Oct. 15
Program to Focus on Citizen Responses to FDR's Fireside Chats
Press Contact: Craig D'Ooge (202) 707-9189
Public Contact: (202) 707-5221
Cultural historians Lawrence W. Levine and Cornelia R. Levine will present a talk about their book, "The People and the President: America's Conversations with FDR" (Beacon Press, 2002), at the Library of Congress at 6:30 p.m., Tuesday, October 15, in the Mumford Room, sixth floor, James Madison Memorial Building, 101 Independence Ave., S.E.
Part of the Center for the Book's Books & Beyond author series, the program is co-sponsored with the Recorded Sound Section of the Library's Motion Picture, Broadcasting, and Recorded Sound Division and the National Archives and Records Service. It is free and open to the public. No tickets are required.
In "The People and the President," the Levines emphasize one of the many profound changes instituted by FDR: "a revolution in the pattern of communication between Americans and their Chief Executive." They focus on the letters that President Roosevelt received in response to the 31 "Fireside Chat" radio addresses he gave to the American people between 1933 and 1945. The letters not only help re-create a remarkable picture of America from the hardship of the Depression to the turmoil surrounding our nation's entry into World War II, but also show how radio, a new technology at the time, "functioned as a primary medium of communication."
Lawrence W. Levine, a MacArthur Award-winning historian who teaches at George Mason University, is the author of "The Opening of the American Mind" (1996) and other books about American cultural history. Cornelia R. Levine is an independent scholar. They live in Berkeley, Calif., and Washington, D.C.
The Recorded Sound Section of the Library's Motion Picture, Broadcasting, and Recorded Sound Division contains the largest publicly available radio broadcast collection in the United States, including more than 650 recordings of President Franklin D. Roosevelt. The National Archives and Records Service administers the nation's presidential libraries, including the Franklin D. Roosevelt Library in Hyde Park, N.Y., the major resource for the Levine's book.
The Center for the Book was established in 1977 to use the resources and prestige of the Library of Congress to stimulate public interest in books, reading, and libraries. For information about its program and publications and the activities of its statewide and national affiliates, see its Web site: www.loc.gov/cfbook.
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text:
In order to convert TensorFlow 2.0 models to TensorFlow Lite, the model needs to
be exported as a concrete function. This document outlines what a concrete
function is and how to generate one for an existing model.

[TOC]

## Background

In TensorFlow 2.0, eager execution is on by default. TensorFlow's eager
execution is an imperative programming environment that evaluates operations
immediately, without building graphs. Operations return concrete values instead
of constructing a computational graph to run later. A detailed guide on eager
execution is available
[here](https://www.tensorflow.org/guide/eager).

While running imperatively with eager execution makes development and debugging
more interactive, it doesn't allow for deploying on-device. The `tf.function`
API makes it possible to save models as graphs, which is required to run
TensorFlow Lite in 2.0. All operations wrapped in the `tf.function` decorator
can be exported as a graph which can then be converted to the TensorFlow Lite
FlatBuffer format.

## Terminology

The following terminology is used in this document:

*   **Signature** - The inputs and outputs for a set of operations.
*   **Concrete function** - Graph with a single signature.
*   **Polymorphic function** - Python callable that encapsulates several
    concrete function graphs behind one API.

## Methodology

This section describes how to export a concrete function.

### Annotate functions with `tf.function`

Annotating a function with `tf.function` generates a *polymorphic function*
containing those operations. All operations that are not annotated with
`tf.function` will be evaluated with eager execution. The examples below show
how to use `tf.function`.

```python
@tf.function
def pow(x):
  return x ** 2
```

```python
tf.function(lambda x : x ** 2)
```

### Create an object to save

The `tf.function` can be optionally stored as part of a `tf.Module` object.
Variables should only be defined once within the `tf.Module`. The examples below
show two different approaches for creating a class that derives `Checkpoint`.

```python
class BasicModel(tf.Module):

  def __init__(self):
    self.const = None

  @tf.function
  def pow(self, x):
    if self.const is None:
      self.const = tf.Variable(2.)
    return x ** self.const

root = BasicModel()
```

```python
root = tf.Module()
root.const = tf.Variable(2.)
root.pow = tf.function(lambda x : x ** root.const)
```

### Exporting the concrete function

The concrete function defines a graph that can be converted to TensorFlow Lite
model or be exported to a SavedModel. In order to export a concrete function
from the polymorphic function, the signature needs to be defined. The signature
can be defined the following ways:

*   Define `input_signature` parameter in `tf.function`.
*   Pass in `tf.TensorSpec` into `get_concrete_function`: e.g.
    `tf.TensorSpec(shape=[1], dtype=tf.float32)`.
*   Pass in a sample input tensor into `get_concrete_function`: e.g.
    `tf.constant(1., shape=[1])`.

The follow example shows how to define the `input_signature` parameter for
`tf.function`.

```python
class BasicModel(tf.Module):

  def __init__(self):
    self.const = None

  @tf.function(input_signature=[tf.TensorSpec(shape=[1], dtype=tf.float32)])
  def pow(self, x):
    if self.const is None:
      self.const = tf.Variable(2.)
    return x ** self.const

# Create the tf.Module object.
root = BasicModel()

# Get the concrete function.
concrete_func = root.pow.get_concrete_function()
```

The example below passes in a sample input tensor into `get_concrete_function`.

```python
# Create the tf.Module object.
root = tf.Module()
root.const = tf.Variable(2.)
root.pow = tf.function(lambda x : x ** root.const)

# Get the concrete function.
input_data = tf.constant(1., shape=[1])
concrete_func = root.pow.get_concrete_function(input_data)
```

## Example program

```python
import tensorflow as tf

# Initialize the tf.Module object.
root = tf.Module()

# Instantiate the variable once.
root.var = None

# Define a function so that the operations aren't computed in advance.
@tf.function
def exported_function(x):
  # Each variable can only be defined once. The variable can be defined within
  # the function but needs to contain a reference outside of the function.
  if root.var is None:
    root.var = tf.Variable(tf.random.uniform([2, 2]))
  root.const = tf.constant([[37.0, -23.0], [1.0, 4.0]])
  root.mult = tf.matmul(root.const, root.var)
  return root.mult * x

# Save the function as part of the tf.Module object.
root.func = exported_function

# Get the concrete function.
concrete_func = root.func.get_concrete_function(
  tf.TensorSpec([1, 1], tf.float32))
```

## Common Questions

### How do I save a concrete function as a SavedModel?

Users who want to save their TensorFlow model before converting it to TensorFlow
Lite should save it as a SavedModel. After getting the concrete function, call
`tf.saved_model.save` to save the model. The example above can be saved using
the following instruction.

```python
tf.saved_model.save(root, export_dir, concrete_func)
```

Reference the
[SavedModel guide](https://www.tensorflow.org/guide/saved_model)
for detailed instructions on using SavedModels.

### How do I get a concrete function from the SavedModel?

Each concrete function within a SavedModel can be identified by a signature key.
The default signature key is `tf.saved_model.DEFAULT_SERVING_SIGNATURE_DEF_KEY`.
The example below shows how to get the concrete function from a model.

```python
model = tf.saved_model.load(export_dir)
concrete_func = model.signatures[
  tf.saved_model.DEFAULT_SERVING_SIGNATURE_DEF_KEY]
```

### How do I get a concrete function for a `tf.Keras` model?

There are two approaches that you can use:

1.  Save the model as a SavedModel. A concrete function will be generated during
    the saving process, which can be accessed upon loading the model.
2.  Annotate the model with `tf.function` as seen below.

```python
model = tf.keras.Sequential([tf.keras.layers.Dense(units=1, input_shape=[1])])
model.compile(optimizer='sgd', loss='mean_squared_error')
model.fit(x=[-1, 0, 1, 2, 3, 4], y=[-3, -1, 1, 3, 5, 7], epochs=50)

# Get the concrete function from the Keras model.
run_model = tf.function(lambda x : model(x))

# Save the concrete function.
concrete_func = run_model.get_concrete_function(
    tf.TensorSpec(model.inputs[0].shape, model.inputs[0].dtype))
```

redpajama_set_name: RedPajamaGithub


Can robots be ranked by creepiness?
I don't know about you but, I find the humanoid ones to be the creepiest.
The more they act like a human, the creepier I feel.
I was out cleaning up a carpet of leaves today. I could use a robot helper.
That big maple I have will have me out there doing it again every week for the next 2 or 3 weeks.
I run the lawnmower over them to mulch them up first. Then I go over it again with the bag on the mower.
If there weren't so many I'd just mulch them and be done with it, but they're so thick, even mulched they smother the grass.
Yes I have many such jobs.
Question Title Can robots be ranked by creepiness?


text:
Saint-Martin, officiellement le Pays de Saint-Martin (   et  ;  et ), est un des quatre pays constitutifs qui, avec les Pays-Bas, Aruba et Curaçao, forment le royaume des Pays-Bas. Saint-Martin est situé dans les petites Antilles sur l'île de Saint-Martin, dont il englobe 37 % du territoire, le reste, la Collectivité d'outre-mer de Saint-Martin, faisant partie de la France.

Saint-Martin est bordé par la mer des Caraïbes, est situé au sud de l'île d'Anguilla, au nord-ouest de l'île de Saint-Barthélemy, et à l'est de Porto Rico. Sa capitale est Philipsburg et ses langues officielles sont le néerlandais et l'anglais.

Appartenant anciennement à l'État autonome de la fédération des Antilles néerlandaises, au sein du royaume des Pays-Bas, Saint-Martin est devenu un pays au sein du même royaume le , à la suite de la dissolution de la fédération.

Saint-Martin tire une partie de sa notoriété de l'industrie du jeu.

Toponymie
 est un toponyme néerlandais adopté officiellement le . Auparavant, la partie néerlandaise de l'île de Saint-Martin était indifféremment appelée par le nom en néerlandais ou en français. Dans d'autres langues, les noms des deux entités politiques se partageant l'île de Saint-Martin sont généralement utilisés non traduits afin d'éviter toute confusion.

En forme longue, Saint-Martin est appelé , en néerlandais  ou en anglais .

Histoire

En 1959, Saint-Martin gagne le statut de territoire des Pays-Bas au sein des Antilles néerlandaises. La principale activité devient rapidement le tourisme car les visiteurs sont attirés par les plages de sable blanc et son statut de paradis fiscal avec son port franc, son secret bancaire et ses casinos.

Après des années de négociation entre les trois États du royaume (les Pays-Bas, Aruba et la fédération des Antilles néerlandaises), les électeurs sont amenés en 2006 à voter par référendum sur la poursuite de l'union avec les quatre autres îles de la fédération ou leur séparation.

Le , l'État autonome de la fédération des Antilles néerlandaises décide de sa dissolution et Saint-Martin devient un territoire autonome du royaume des Pays-Bas. Initialement prévue pour le , sa dissolution complète est effective depuis le .

Géographie

Saint-Martin constitue la partie sud de l'île de Saint-Martin et est séparée de la partie française par une frontière terrestre symbolisée par un mur de pierres sèches construit à partir de 1772. Ce mur bien qu'en très mauvais état est toujours visible. Cette frontière est la seule qu'ait la France avec le royaume des Pays-Bas.

La capitale est Philipsburg où se trouve le parlement et la plupart des administrations et services.

Les autres agglomérations sont Simsonbay, Madame Estate, Dutch Quarter, Koolbaai, Oyster-Pond, South Reward, Saint-Peters, Pointe-Blanche, Middle Region, Cay hill, Upper Prince's Quarter et Lower Prince's Quarter. L'habitat dispersé se concentre principalement sur les zones basses proches du littoral mais il commence à s'étendre sur les hauteurs des mornes.

Faune

Les autorités décident en 2023 de tuer l'ensemble de la population de vervets, estimée à au moins 450 individus. Cette espèce de singes originaire d'Afrique australe et d'Afrique de l'Est a été introduite par l'homme et est devenue invasive, selon les autorités, menaçant les cultures des agriculteurs et les écosystèmes locaux. Des militants associatifs se sont opposés à ce plan et ont proposé de faire stériliser les animaux

Population

La population de la partie néerlandaise a connu une très forte croissance en raison du développement du tourisme depuis 1960. Elle est devenue très cosmopolite (plus de 101 nationalités), mais avec une prépondérance d'immigrants issus des autres îles des Antilles et particulièrement d'Haïti et de la République dominicaine. L'immense majorité de la population  (+ de 96 %) parle un anglais vernaculaire. La première langue officielle est le néerlandais mais que très peu maîtrisent. Les originaires des îles néerlandaises « A-B-C » (Aruba, Bonaire et Curaçao) parlent le papiamento, le gros contingent d'immigrés haïtiens parle créole haïtien, d'autres espagnol et beaucoup de gens comprennent ou parlent le français.

La population qui parle le néerlandais est surtout constituée de retraités originaires des Pays-Bas, et qui parlent majoritairement anglais en seconde langue, et de fonctionnaires de l'administration, aussi originaires des Pays-Bas et qui sont souvent eux aussi bilingues.

Administration
En tant que « pays autonome », Saint-Martin dispose de sa propre constitution, d'un parlement local, d'un Premier ministre, et d'un gouvernement. Le royaume des Pays-Bas y exerce sa représentation par le biais d'un gouverneur. Les fonctions régaliennes du ministère des Affaires étrangères et du ministère de la Défense sont exercées au niveau du royaume. Ses relations avec l'Union européenne relèvent du statut des pays et territoire d'outre-mer. Elle dispose d'une cour de justice commune à l'ensemble des îles des Antilles néerlandaises, y compris donc les anciennes îles ayant choisi le statut de territorialité locale de l'État des Pays-Bas, Bonaire, Saint-Eustache et Saba.

Économie

L'économie de Saint-Martin repose sur le tourisme, les casinos et les banques offshore. Plus de 3 millions de touristes et  croisiéristes visitent l'île chaque année.

Les principales activités touristiques sont :
 les plages : face aux eaux agitées de l'océan Atlantique ou baignées par les eaux calmes de la  mer des Caraïbes. Plusieurs ont des restaurants et des activités nautiques. Le nudisme n'est toléré que sur la plage de Cupecoy.
 les randonnées pédestres sur les sentiers des collines et du littoral.
 les boutiques dont certaines de grand luxe (habillement, bijoux, high-tech, cigares, alcools, meubles, etc.)
 les restaurants : cuisine française, cuisine antillaise, cuisine internationale, etc.
 les casinos et activités nocturnes (boîtes de nuit, cinémas, etc.)
 rassemblement de voiliers pour la régate Heineken.
 le carnaval de Philipsburg début mai.
 la liqueur de Guavaberry (boisson traditionnellement dégustée à Noël).

Saint-Martin dispose d'une banque centrale commune avec Curaçao. Cette banque centrale est responsable de l'émission de la monnaie, et de la surveillance des réserves monétaires. La monnaie de 2014, le florin des Antilles néerlandaises (NAf), est appelé à être remplacé par le florin caraïbéen (CMg). Tous deux sont à parité fixe avec le dollar américain, avec un taux de change de 1 US$ = 1.79 CMg = 1.79 NAf.

Saint-Martin a longtemps tiré une importante part de ses revenus de l'industrie du jeu grâce aux casinos peu réglementés contrôlés jusque dans les années 1990 par des propriétaires turcs ou italiens et qui servaient pour le blanchiment de l'argent du crime organisé, les sommes portant sur des dizaines de milliards de dollars. L'île servait de carrefour au narcotrafic d'Amérique latine proche de paradis fiscaux comme Antigua. De 1975 à 1994, date de son arrestation, l'homme d'affaires sicilien Rosario Spadaro avait bâti dans l'île un empire touristique et hôtelier aidé en cela par des amitiés politiques corrompues. Spadaro était le mandataire social de Benedetto Santapaola, chef de la famille mafieuse de Catane. Il était lié également aux familles mafieuses de New-York. Sint Maarten est alors un point de passage majeur de la cocaïne expédiée de Colombie vers les États-Unis.

Monuments et sites particuliers
Le monument frontalier de commémoration du traité de Concordia de 1648 (Koolbaai/Sain-Jean).
 Le musée de la fondation historique (à Philipsburg).
 Le Bar-Avion Heineken (à Philipsburg), (n'existe plus à la suite de l'ouragan Irma).
 L'atterrissage spectaculaire des jets (du petit avion au 747 jumbo) sur la plage de Maho qui se trouve en bout de piste de l'aéroport international Princesse-Juliana.
 Le parc zoologique avec des animaux des Antilles (n'existe plus à la suite d'Irma), derrière Pondfill, à Madame Estate.
 Le Fort Amsterdam (à Philipsburg), lié à la jambe de bois de Pieter Stuyvesant, gouverneur de New York en 1647.
 Le Fort Willem I, bâti par les Anglais sur le haut du morne, qui fut appelé Fort Louis à un moment d'occupation par les Français.
 La route vers Dawn Beach dans le haut de « ravine rouge » (superbe panorama).

Notes et références

Voir aussi

Bibliographie

Articles connexes
 Île de Saint-Martin
 Saint-Martin, collectivité d'outre-mer française
 Empire colonial néerlandais - Compagnie néerlandaise des Indes occidentales
 Liste des îles divisées par une frontière internationale
 Listes juxtaposées des dirigeants historiques des deux parties de Saint-Martin
 Liste des dirigeants des îles du Royaume des Pays-Bas aux Antilles

Liens externes

Division administrative fondée en 2010
Caraïbes néerlandaises

redpajama_set_name: RedPajamaWikipedia


It has been claimed in a new report that Jussie Smollett 'didn't pay Nigerian brothers Ola and Abel Osundairo $3,500 to beat him up amid claims he staged the homophobic and racist attack.
This comes after the Chicago Police Department alleged the Gay Empire actor paid the brothers $3,500 (£2,681) to beat him up in Chicago, before putting a noose around his neck and poured bleach on him in what he said was a homophobic and racist attack.
Now sources connected to the case has told TMZ that the 36-year-old actually gave the pair money to train him and get him in shape for an upcoming music video.
Read the TMZ report below.
The brothers, Ola and Abel Osundairo made a deal with Jussie to train him for 5 weeks so he could get in shape for an upcoming music video. Jussie had said to Ola that he wanted abs like his. Both Abel and Ola agreed to train Jussie, and also give him a 5-week nutrition plan.
Our sources say Jussie told the brothers he would pay them for their services, but no specific amount was discussed.
Our sources say Ola and Abel told the grand jury they were paid for the 5-week program and not for the "attack." One source connected with the brothers did say Ola and Abel felt the amount was "a little high" but no one ever specifically said anything about any of the money being part of a scheme.


Art festivals can include any number of art forms. Many of these deserve their own sections, including music festivals of all genres and film festivals. While some of the top world festivals include music as well as art, there are still plenty of just plain art festivals (without the accompanying music) to go around.
Perhaps the world's best art and craft festivals are found in Edinburgh Scotland under the umbrella of the Edinburgh Festival, which is a series of different fairs and festivals held in that capital city during the month of August. One of these is the Edinburgh Fringe, which is among the world's largest art festivals—if not the largest. The Fringe events are primarily in the performing arts genre, especially comedy and theatre. Nearly 2 million tickets are sold to see about 20,000 performers from at least 60 countries. The Edinburgh Fringe began in 1947. Today there are Fringe Festivals around the world, from New York City and Orlando, Florida to Prague in the Czech Republic and Adelaide in Australia, where it is that country's largest arts festival.
The best art and craft festivals for Americans generally imply handcrafts and making things. So, you will find crafts shows and festivals all over the United States that concentrate on handcrafts from a particular region, such as Amish crafts festivals held in Pennsylvania and neighboring states or Native American shows in the Southwest. The Heard Museum Guild Indian Fair and Market held during March in Phoenix, Arizona is considered one of the country's most prestigious. The San Francisco Arts and Crafts Show held in March probably offers the widest variety, including exhibitions of everything from furniture and pottery to tours of famous craftsman homes in the city.
The largest of the free art festivals in the United States is Artscape Baltimore (Maryland) in July. Close to 400,000 attendees enjoy the work of more than 150 craftspeople and artists, including fashion and car designers, photographers and musicians, sculptors, singers, filmmakers, potters, jewelers, belly dancers, ballet dancers, rappers, and chefs.
Or you might want to head to Wassau, Wisconsin, in September for the Artrageous Weekend. Here, the entire family can enjoy two days of art hopping and shopping. It's held on both sides of the Wisconsin River in the green spaces of Marathon Park and in the downtown central business district. There are artist demonstrations, live performances of all sorts, and plenty of hands-on activities.
In the fine art category of art festivals is the Spoleto Festival that is held in Charleston, South Carolina. It begins in late May and runs for seventeen days into mid-June. It is named for the similar Festival dei Due Mondi (Festival of Two Worlds) held in Spoleto, Italy since 1958. These are two of the most prestigious of their kind in the world and showcase opera, theatre, dance, contemporary circus, music, and visual arts.
Some of the best art and craft festivals in the United States can also be found at the state fairs of any of the 50 states. Virtually all of these have their roots in local rural culture and today prominently feature local arts and handcrafts. Among the largest of these are the State Fair of Texas, held in Dallas and the Minnesota State Fair held in St Paul.


"Can I have the honor of holding your baby?" the nurse asked as I handed my daughter over for the.very.last.time. I watched myself from outside my body as I handed over my most precious girl while the world slipped from under my feet.
Isabella was the greatest nurse and she gave the biggest hugs, the kind that envelop your whole body and you wish would hold you forever. The day my daughter left us, Isabella's shift ended at 3pm but she knew what we felt aware of, today was the last day with our daughter alive. So when 4pm rolled around for our daughter's next round of meds, Isabella was waiting for the call that our daughter had died.
She entered so respectfully, explained what to expect in the moments after death and asked if I wanted to bathe my baby girl for the very last time. I was scared but also knew I wasn't ready to say goodbye, so I followed her lead as the expert, since obviously she was.
She warmed the water, she steeped sacred tea (which turned out to be Starbucks Zen) and she gently placed my daughter in the bathwater. She taught me the sacred ritual of bathing my daughter, the last act I got to perform as her mama with her earthside. It was breathtaking and my honor to perform this ritual, and it was devastating. I dressed my daughter in her last diaper and most beautiful gown, the one that she was supposed to wear home. Instead, I held my daughter with her weight upon my chest for hours as I stared out the window watching the sun fade and the moon appear to light the night.
And finally, reluctantly, the time had come. My husband and I were exhausted. After 33 days of limited sleep and heightened anxiety, we decided to say goodbye.
That walk down the hall, I knew what was coming and I wanted to stop time. My broken heart was just beginning to feel the magnitude of what was to come. Isabella's words were the only reason I could stomach handing over my daughter. It was "her honor" to hold my sweet girl.
And then I proceeded to vomit.
Isabella was only one of the many amazing nurses that cared for us during the time of our daughter's life. Her commitment so greatly positively impacted us during what can only be defined as the most beautifully heartbreaking time of our life. Because of the support we received, we are surviving. We have survived the unsurvivable.
Nurses are human, too. I can only imagine how any of the workers felt when they left work that night to be welcomed home by their families. But, combined with devastation and heartbreak, I will never forget how I felt that night. I felt loved. I felt Isabella's love for my daughter. Her words will forever be remembered, it was her honor to hold my beloved child.
You just read an excerpt from my upcoming book Our Only Time. Our Only Time was created to motivate, inspire and show appreciation for maternal health professionals through experiences told from a patient's perspective. Through heartfelt stories, families share the sacred time spent with their baby — whether in utero or after birth — and offer insights into how health professionals positively impacted their experience. Also included are recommendations on how best to be supportive of patients and what types of actions to avoid during this devastating experience.
Through these incredibly intimate stories of loss, health professionals can better understand a grieving family's experience and become equipped to support bereaved parents when they leave the hospital without their baby. Health professionals will come away with new insights on how to guide parents, empowering them to have the least amount of regret during this loss, and allowing for the greatest chance of healing in their grief as they re-enter the world.


Few apoptotic corpses are seen even in tissues with high cellular turnover, leading to the notion that the capacity for engulfment in vivo is vast. Whether corpse clearance can be enhanced in vivo for potential benefit is not known. In a colonic inflammation model, we noted that the expression of the phagocytic receptor Bai1 was progressively downmodulated. Consistent with this, BAI1-deficient mice had more pronounced colitis and lower survival, with many uncleared apoptotic corpses and inflammatory cytokines within the colonic epithelium. When we engineered and tested transgenic mice overexpressing BAI1, these had fewer apoptotic cells, reduced inflammation, and attenuated disease. Boosting BAI1-mediated uptake by intestinal epithelial cells (rather than myeloid cells) was important in attenuating inflammation. A signaling-deficient BAI1 transgene could not provide a similar benefit. Collectively, these complementary genetic approaches showed that cell clearance could be boosted in vivo, with potential to regulate tissue inflammation in specific contexts.
Lee, Chang Sup, Kristen K Penberthy, Karen M Wheeler, Ignacio J Juncadella, Peter Vandenabeele, Jeffrey J Lysiak, and Kodi Ravichandran. 2016. "Boosting Apoptotic Cell Clearance by Colonic Epithelial Cells Attenuates Inflammation in Vivo." Immunity 44 (4): 807–820.
Lee, C. S., Penberthy, K. K., Wheeler, K. M., Juncadella, I. J., Vandenabeele, P., Lysiak, J. J., & Ravichandran, K. (2016). Boosting apoptotic cell clearance by colonic epithelial cells attenuates inflammation in vivo. IMMUNITY, 44(4), 807–820.
Lee CS, Penberthy KK, Wheeler KM, Juncadella IJ, Vandenabeele P, Lysiak JJ, et al. Boosting apoptotic cell clearance by colonic epithelial cells attenuates inflammation in vivo. IMMUNITY. 2016;44(4):807–20.
Lee, Chang Sup, Kristen K Penberthy, Karen M Wheeler, et al. "Boosting Apoptotic Cell Clearance by Colonic Epithelial Cells Attenuates Inflammation in Vivo." IMMUNITY 44.4 (2016): 807–820. Print.


Since opening our doors back in 1883, Raine & Horne has been at the forefront of the Australian real estate scene, making us Australia's most trusted network and a real estate superbrand. Today, we're one of the oldest family-owned firms in the Southern Hemisphere, having survived world wars, booms, busts and depressions.
We are proud of our heritage; however, it's our ability to integrate this long history into a modern vision which allows the brand to remain an industry leader with a powerful market presence. Raine & Horne features a network of over 300 offices that are continuing to strengthen, grow and evolve.


text:
Q: Como fazer InnerJoin com tabela relacionada? Pessoal tenho uma classe Arquivo que tem um relacionamento ManyToOne com uma classe Usuario funcionando certinho. Preciso listar todos os dados que estão na classe Arquivos incluindo os relacionamentos. Como eu faço isso no Doctrine?
Relacionamento da classe Arquivo esta assim:
/**
 * @ORM\ManyToOne(targetEntity="JN\Entity\Usuarios\Usuario", cascade={"persist"})
 * @ORM\JoinColumn(name="usuario_id", referencedColumnName="id", onDelete="SET NULL")
 **/
private $usuario;

Quando eu faço assim no doctrine não volto o conteúdo do relacionamento:
$ent = $this->em->getRepository( "JN\Entity\Arquivos\Arquivo" )
                ->createQueryBuilder('t')
                ->getQuery()
                ->getArrayResult();

A: Monte sua query da seguinte maneira:
$ent = $this->em->getRepository("JN\Entity\Arquivos\Arquivo" )
    ->createQueryBuilder('t')
    ->join('t.usuario', 'u')
    ->getQuery()
    ->getResult();

O resultado será uma coleção de entidades do tipo JN\Entity\Arquivos\Arquivo. Para iterar por essas entidades e pegar o usuário de cada arquivo faça assim:
foreach ($ent as $arquivo) {
    $arquivo->getUsuario();
}

redpajama_set_name: RedPajamaStackExchange


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text:
Strengthening pest outbreak alert and response systems
"Strengthening Pest Outbreak Alert and Response Systems" is one of the Development Agenda items from the IPPC Strategic Framework (SF) (2020-2030). The desired outcome for this Development Agenda is help build a global pest alert system with mechanisms to evaluate and communicate emerging pest risks. This system would provide regular information to NPPOs on new pest interceptions as well as alert NPPOs to pest outbreaks and changes in pest status to some of the most important pests around the world. NPPOs would then use this information to quickly adapt their phytosanitary measures to help reduce the risk of introduction and spread of pests. Strengthened pest outbreak response systems and tools would help countries take more timely action against new incursions. NPPOs, RPPOs and FAO would collaborate to develop and roll out comprehensive but easy to use tools to support countries to respond quickly and effectively. RPPOs would play an active role in assisting NPPOs as well as to coordinate outbreak responses across their regions.
During CPM-14 (2019), the concept of emerging pests and emergency issues was discussed and several countries expressed their concern regarding the situation with Spodoptera frugiperda (Fall Armyworm) and strongly supported work to develop global Pest Outbreak Alert and Response Systems, as no such systems exist within the IPPC Community.
CPM-14 (2019) requested that an action plan for an IPPC pest emergency system be drafted and submitted to CPM-15 (2020), which was aligned with the development agenda item from the SF: Strengthening Pest Outbreak Alert and Response Systems.
Action plan for the IPPC programme to "Strengthen Pest Outbreak Alert and Response Systems"
The IPPC Secretariat's programme to "Strengthen Pest Outbreak Alert and Response Systems" will be limited to quarantine or potential quarantine pests and will build synergies and avoid duplication with activities conducted by other organizations. The Secretariat would first identify existing material and experiences on the topic, including initiatives such as the work of the FAO Plant Production and Protection Division (AGP), National Reporting Obligations (NROs) and CABI's new initiative on "the Global Burden of Crop Loss".
The overall objective would be to set up well-functioning pest alert and response systems which would initially be tested for a few pests of global concern (no more than 4) in countries or regions where these pests are quarantine pests or have the potential to be quarantine pests.
Initial activities started in 2020 with the financial support of the European Commission in the framework of the project GCP/GLO/040/EC "Support to the IPPC Strategic Framework: Commodity and pathways standards, Pest Outbreak Alert and Response Systems, and e-Phyto" (2020-2023).
Doc #
Agenda #
Terms of Reference CPM Focus Group Strengthening Pest Outbreak Alert and Response Systems En

redpajama_set_name: RedPajamaCommonCrawl


text:
Home/Death, Memorial, Memory, Uncategorized/Edward Colston, meet Richard III: Thoughts on Iconoclasm, History, and Embodiment
As soon as I heard the news of the toppling of the slaver Edward Colston's statue in Bristol, I was reminded irresistibly of Richard III. Just as Colston's statue was pulled down, rolled roughly through the streets, and thrown into the harbour by a jubilant crowd, so Richard's remains were said to have been treated in 1538, when the priory he was buried in was dissolved. According to the historian John Speed, Richard's tomb was "pulled down and utterly defaced," and his corpse carried through Leicester to be thrown into the River Soar. In the Victorian era, a plaque was mounted by Bow Bridge to mark the site where Richard's body had supposedly been submerged.
The discovery of Richard III's skeleton in Leicester in 2012 proved that he had not, after all, suffered Colston's fate. Yet still their two bodies – one of metal, one of bone – seem to mirror each other uncannily. David Olusoga has written vividly of the spectacle of Colston's statue, lying in a Bristol lock-up. "His fall to earth, and his rough journey across the asphalt to Bristol harbour, into which he was thrown, have left their marks. Colston is now covered in scrapes and scratches. There's a hole in his left buttock and his walking stick is missing." The present condition of Colston's statue recalls the punishment inflicted on Richard's body, as revealed by osteological analysis. In addition to shattering blows to the cranium, which caused his death, the skeleton bore evidence of a post-mortem wound in the right buttock, marking the pelvic bone. The body of the king, as it was left naked on display in Leicester for several days before his burial, must have formed a spectacle in some ways similar to Colston's.
All of this may seem like a handful of insignificant coincidences. The most important connection between Colston and Richard III, it is fair to say, is that both were outstandingly wicked men. Neither deserves to be celebrated today, or commemorated by any form of public monument. Our attention is better directed to the histories of the men, women, and children who suffered under their despotism; and, in Colston's case, to the brave protesters who put an end to his monument's insulting reign in Bristol. And yet, paradoxically perhaps, one way to recover and begin to honour these histories is by looking anew at what remains of Colston's statue and the body of Richard III. As Olusoga observes, "Beaten-up, bloodied and graffitied, Colston's statue is no longer just another piece of mediocre, late-Victorian public art… [T]he graffiti Colston has acquired is as historically significant as the object on to which it was scrawled." Richard III's body and Colston's statue have become bearers of complex histories.
Setting the spectacle of Richard's skeleton alongside Colston's battered monument can help illumine what makes each of them so visually arresting, and so historically instructive. In either case, to look upon their scars and wounds brings us into almost palpable contact with a specific moment in the past, when those blows were delivered and received. These after-images of sudden violence forge a constellation between distinct historical moments; in this sense, they make the past present. At the same time, weathering by the elements of earth, water, and air compels them to bear witness to the gulf that separates then and now. Like our own bodies, Richard's body and Colston's statue were not fated to last. The multiple histories we glimpse in gazing on their broken forms are mediated through our own experience of embodiment.
Those who decry the toppling of monuments like Colston's, or those of Confederate leaders in the United States, tell us that statues such as these embody the nation's history. They charge the activists who seek to bring them down with trying to deny or forget the past. In the flowery prose of President Trump's recent executive order, "These statues are silent teachers in solid form of stone and metal. They preserve the memory of our American story." Yet statues and monuments are notoriously poor teachers of history, if by this we mean an understanding of the past as it was, not to mention historical process. Their most profound message is often anti-historical, or at least ahistorical. Through their silent persistence from one generation and one century to the next, they imply that society's values are essentially timeless, that the most important things do not and should not change.
Colston's statue only became capable of embodying history when it was treated as a body – a body that could be felled, battered, and scarred, a body like Richard III's. The violence of its toppling has made buckled metal speak, as Richard's pierced bones still speak. Through the freshly opened gap in its buttock we can glimpse multiple pasts: the struggles and survival of the enslaved men and women who laboured on Colston's plantations in the seventeenth century; the inhuman bargain that bore fruit in Bristol's eighteenth-century civic flowering; the narrow values of the late-Victorian elite who paid for the statue's erection; the sunlit day in June of this year when it finally plummeted from its plinth.
This is not to say that iconoclastic violence is the only means whereby our "silent teachers" can be made to bear witness to history. But it does suggest that if we want statues and monuments to tell us something meaningful about the past, we should begin by understanding them not as symbols but as bodies – that is, as inescapably physical entities, with personal histories and material biographies, partaking of both the body's grandeur and its mortality. Seen in this light, every old statue, whether standing or toppled, has a story to tell, not one of timeless values but of historical change, contingency, and struggle.
By Philip Schwyzer|July 12th, 2020|Death, Memorial, Memory, Uncategorized|0 Comments
Beyond Death Conference Vienna 2 – 4 May 2018


REMOTE SUPPORT: Less travel, cost, turnaround and less environmental impact!
GREEN POWER: We use GREEN electricity at our shop provided by "Good Energy". This 100% green importantly does not contain "nuclear" in its portfolio. Be warned as most sold green energy is mostly made of nuclear which we don't consider to be green at all. So all our in house machines / Servers / Workshop repairs are all using green sources.
All hardware waste is processed by authorised handlers – ICO data regulation followed for any data drives.
PACKAGING: PCQ pays to ensure all packaging is recycled properly by licenced handlers. Packaging is important, as a damaged product would have far more environmental impact to the packaging it was shipped with. We recycle cardboard, plastics and even polystyrene. PCQ offers to take away all packaging during installations and are also happy to accept any packaging during sales in store (Unless we are concerned about the product arriving home without it!) – We prefer to know all packaging is dealt with correctly.
Recycling all toners/Ink cartridges: Most places offering these services are just interested in the money, not us! We take in all cartridges of all types even if they cannot be sold for re-manufacture as we want to ensure at the very least the plastics are recycled and not sent to landfill. Most units however are reconditioned and put back into use.
PAPER SOURCES: We sell a range of paper made with pulp from well-managed forests independently certified according to the rules of FSC® (to read more about FSC® click the logo).
We like to make the right choice easy and convenient so we mostly only stock FSC printing paper. Did you know if you want ethical printing paper it is often more environmentally friendly not to have recycled paper. FSC papers are from well-managed sources and will have less embodied chemicals and energy. We even sell mixed FSC and recycled.
CARBON NEUTRAL HOSTING: Our shared Manchester data centre is certified carbon neutral. Yes PCQ's website you are looking at now is ethical in terms of our carbon footprint. Want to raise the bar of your website for best performance, support and environmental impact.
BATTERIES: PCQ accepts batteries for recycling. From your standard AAA to laptop battery packs. As we sell them, we feel we should make sure we take them back. Make sure always to dispose of your batteries responsibly to avoid unnecessary damage to our environment.
MESSAGE IN A BOTTLE: "Reducing Plastic Waste, from Source to Sea" – PCQ is proud to be part of a community project to help highlight and tackle plastic pollution. We are working in a collective to suggest ideas, make changes and even help out with litter picking!
PCQ's head office is located in Llanidloes in the heart of stunning Mid-Wales. Llanidloes is the first town on the river Severn, Britain's longest river. Being one of the first places plastic waste can get into the water course, its an excellent place to start tackling the waste that reaches the sea.


Hadley Henriette is the Managing Editor of Haute Living in Miami. Previously she was the Editor of 944 Magazine and a regular contributor for The Miami Herald, Ocean Drive and Axess. In addition to writing, Hadley has also served as a judge at the Miami International Film Festival and has appeared on Khloe and Kourtney Take Miami, NBC Live and Afterhours with Daniel Boulud.


text:
Metagoniolithoideae H.W. Johansen, 1969  é o nome botânico  de uma subfamília de algas vermelhas pluricelulares da família Corallinaceae.

Gêneros
Metagoniolithon.

Referências
Johansen, H.W. (1969). Morphology and systematics of coralline algae with special reference to Calliarthron. University of California Publications in Botany 49: 1-98, 33 figs, 2 tables, 19 plates.
Harvey, A.S., Broadwater, S.T., Woelkerling, W.J. & Mitrovski, P.J. (2003). Choreonema (Corallinales, Rhodophyta): 18S rDNA phylogeny and resurrection of the Hapalidiaceae for the subfamilies Choreonematoideae, Austrolithoideae and Melobesioideae. Journal of Phycology 39: 988-998.
Guiry, M.D. (2009). Metagoniolithoideae. In: Guiry, M.D. & Guiry, G.M. (2009). AlgaeBase. World-wide electronic publication, National University of Ireland, Galway.

Ligações externas
"Assessing red algal supraordinal diversity and taxonomy in the context of contemporary systematic data". American Journal of Botany
 Defining the major lineages of red algae (Rhodophyta), Yoon, H.S. et al
 Subfamília Metagoniolithoideae em  AlgaeBase
  Subfamília Metagoniolithoideae em  World Register of Marine Species
 Subfamília Metagoniolithoideae em NCBI
 Subfamília Metagoniolithoideae em Zipcodezoo

Algas vermelhas
Corallinaceae


For one day, Baneatta and Beverly attempt to put their sisterly differences aside to bury their father, Bernard. But this is no easy task when it's revealed Bernard actually had three daughters, not just two.
In playwright Douglas Lyons' family comedy, directed by Zhailone Levigston, all the tea is spilled, not too far from his casket, as this African-American family confronts their skeletons head on, with lots of love, laughter, and shade along the way.
Call the Box Office at 718-760-0064.


text:
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The 13th XzentriX 2010, a retro-computing party for old computers and game consoles, will take place from 3.-5. September in Seeshaupt / Germany. Like every year you can expect that a lot of german CPC users will attend to this party. Don't be irritated that it isn't announced at the official XzentriX homepage yet :).


text:
Арт Антонян () — український письменник, митець. Автор романа-антиутопії «TÜK».

Біографія
Народився у вірменській родині військовослужбовців у Сибіру. Виріс в Угорщині та Україні. Закінчив Ужгородський національний університет, факультет романо-германської філології за спеціальністю англійська мова та світова література. Навчався в Ужгородському музичному коледжі імені Д. Е. Задора на відділенні академічного вокалу.

З 2004 по 2010 працював радіоведучим на радіо «Версія-фм». З 2008 по 2010 ведучий ранкових ефірів на телеканалі «Тиса-1» у місті Ужгороді. З 2010 до 2014 журналіст, редактор на телебаченні в Останкіно. Знімався в епізодичних ролях у серіалах та телепроектах. З 2015 по 2017 працював у дипломатичній сфері у посольстві США в РФ. З 2017 року живе та пише романи в Європі.

Письменницька діяльність
Перший вірш написав у 8 років. У 2001 вийшла поетична збірка «Ангел Мій» у співавторстві з поетесою Тетяною Гогерчак. З 2014 по 2016 пише вірші для пісень української співачки Джамали: «My lover», «Thank you», «Perfect man», «Sister's lullaby», «Обещание». Пісня «Обещание» стала саундтреком фільму «Моя бабуся Фанні Каплан». У 2016, спеціально до участі в українському національному відборі на Eurovision, Арт Антонян на основі перших українських рядків та ідеї Джамали написав англомовний текст пісні «1944», яка принесла Україні перемогу. За три дні до перемоги в пісенному конкурсі слова 'You think you are gods, but everyone dies' були відзначені окремою нагородою EUROSTORY AWARD 2016 як найсильніший рядок з усіх текстів пісень, представлених на Євробаченні у 2016.

У 2019—2020 пише роман-антиутопію «TÜK». Незабаром після повномасштабного нападу Росії на Україну вцілілі українські видавництва повернулися до видання книг. Однією з перших стала антиутопія «TÜK». Видавництво «Видавництво 21» публікує роман у травні 2022. Дія роману відбувається в країні під назвою Üмперія. üПопуляція давно втратила людську подобу. У світі öсобин серцебиття – злочин, страшна недуга. Тотальні заборони оголосили абсолютною свободою, любов до батьківщини замінив агресивний політичний мілітаризм, домашніх улюбленців – роботварини, створені задля вправляння їхніх господарів у вишуканому садизмі. Правосуддя довершили, передавши до рук прекрасних, але безжальних Äфродіт. Ідеальним суспільством керують ньÜзруми. На шляху до бездоганного порядку стоїть лише Herz-тероризм, що виник унаслідок глобальної серцевої пандемії.
Законослухняна öсобина Давид сумлінно працює на благо Üмперії в телецентрі, допомагаючи створювати новинний продукт, який повинні регулярно споживати всі представники üПопуляції. Давид – гвинтик у нещадній машині пропаганди – потрапляє у вир подій, які не лише ставлять під сумнів досконалість üмперського ладу, але й загрожують усьому людству.

Посилання

 Про спільну з Джамалою пісню «1944»
 Про пісні до нового альбому Джамали «Подих»
 Metro выяснило, кто написал текст песни Джамалы, с которой она победила на «Евровидении-2016»
 "У кожного з нас у грудях є той живий "тук". Але одночасно це й горезвісне "з дна знов постукали"." – інтерв'ю з Артом Антоняном
 Світ побачив роман-антиутопія Арта Антоняна "TÜK"
 Пісня Арта Антоняна стала саундтреком до фільму "Моя бабуся Фані Каплан"
 Побороти потрібно найсильнішого ворога — себе
 2021 Booker Prize writer Damon Galgut on his novel "The Promise" and South Africa with a Ukrainian writer Art Antonyan
 Turkish author, president of PEN-International Burhan Sönmez on the threats to freedom of speech with a Ukrainian author Art Antonyan

Українські письменники
Українські поети
Персоналії:Мукачево
Персоналії:Ужгород
Випускники Ужгородського університету
Вірменські письменники
Вірменські поети


text:
Poundstretcher warehouse in Exeter transformed into affordable housing
Jonathan Taylor, 24, is hoping to move into a former Poundstretcher warehouse that is being converted into affordable homes by the YMCA
Anita Merritt
A lack of affordable housing in Exeter will be solved for 26 young people as of this spring thanks to a former Poundstretcher warehouse being converted into new homes by the YMCA.
Among the lucky ones hoping to move into one of the new studio apartments called Sidwell Studios in Acland Road is 24-year-old Jonathan Taylor.
He has been living in YMCA accommodation since he was 19, and juggles cleaning jobs at a builders' merchant and a pub.
Read more: Police becoming 'increasingly concerned' for missing Exeter woman
Recently he was treated to a sneak peek inside the new homes initiative which can be rented well below the market rate, at £140 a week. Initially, it had been earmarked for student accommodation.
Jonathan told The Guardian: "If I lived in this place I'd feel more important. I'd feel I've landed on my feet."
Jonathan Taylor (Image: YMCA)
Building work began in January and is expected to be ready for tenants to move into in spring 2022. It is a joint venture between YMCA Exeter and Exeter City Council, alongside Homes England.
Si Johns, YMCA Exeter Joint CEO, said earlier this year: "Exeter has a challenging housing crisis. There is limited, affordable one-bed accommodation for local young people.
"In the last year alone, the housing need has increased by a further 24 per cent, with more than 350 local young people waiting for one-bed accommodation.
"Our vision is to support young people to become embedded in their communities. Many of our young people have been with us for years and are ready to move on into independent living, but although they have meaningful occupations they are priced out of traditional rented housing. They have nowhere to go."
Sidwell Studios in Exeter will be completed in Spring 2022 (Image: YMCA)
The small attempt at a solution comes as Exeter is facing a new challenge to further complicate the housing crisis: the arrival of metropolitan homebuyers seeking more space and less stress. Pandemic exiles are selling up high-value homes in places such as London and snapping up bigger properties for a fraction of the price.
In September, Devon Live reported how average house prices are rising faster in Devon than in any other part of England, according to the Halifax.
The lender said Exeter is 12th on the list of the least affordable cities to buy in. The average house price is around £320,000, yet average earnings are £32,000.
In terms of council housing stock, ECC is in the midst of building new 500 new council homes and has so far reached the 100 mark. A further 300 to 400 are planned over the next 10 years.
Sidwell Studios in Exeter (Image: YMCA)
However, a continuing battle to keep hold of its stock is hampering its efforts. Exeter City Council's (ECC) deputy leader, Laura Wright - lead councillor for Housing Development and Services - alarmingly disclosed that Exeter loses 40 houses a year through the Right to Buy Scheme.
Cllr Wright, a member of the Labour party, told BBC Radio Devon: "In Exeter, we're doing what we can as fast as we can. What we can't necessarily do is take the heat out of these rising house prices, but we are trying to build new council homes to increase our council housing stock, which is very much needed at the moment."
Exeter's social waiting list grew 47 per cent from 2017 to 2020 to reach about 2,600 households. House prices went up 8.5 per cent in the last year. Meanwhile, the population grows, more properties become second homes and private landlords increasingly switch long-term rentals to short-stay Airbnbs.
What is happening where you live? Find out by adding your postcode or visit InYourArea here
Natalie Overson, a 23-year-old who aspires to be a midwife and has been on Exeter's social housing waiting list for five years, told The Guardian: "My age group is being pushed out of the city. A lot of it is people buying second homes, or buying to rent out. It is the middle and upper classes that are making it harder for us to live in the cities we grew up in."
Becky Merriman, 34, a youth worker, has been unable to find a rental home in Exeter, which means she has to commute 40 minutes each way and continue to live with her parents.
"I've been trying since May and it has been quite traumatic," she said. "We would ring agents as soon as a property went up [online] and they would say the viewings were all gone in 10 minutes. It's mentally exhausting."
Exeter is deemed a hotspot for city people who decided during the lockdowns that another life must be possible.
Sabrina Russo, who moved from London to Exeter with her family in December 2020, told The Guardian: "The pandemic and lockdown gave us some unexpected clarity.
"We realised that a bigger home, time outdoors and a slower pace had become real priorities … Exeter is friendly and welcoming and we've started to meet people and make friends. We bought a house that we love."
More Devon Live stories:
Anger as no PCR Covid tests currently available
Walk-in vaccinations available today at Greendale


All 58 UChicago students studying abroad in Paris, as well as affiliated faculty, are confirmed safe after last Friday's terrorist attacks. Academic programs have been minimally affected.
There are four study abroad programs for undergraduate students at the UChicago Center in Paris this quarter, including European Civilizations, African Civilizations, Human Evolution, and Classics of Social and Political Thought. Last Friday, students had just finished the second of three courses of the quarter, and were about to begin a one-week break. Some had already left Paris to travel, while others were going to depart on Saturday.
The University's Center in Paris contacted study abroad students immediately after news of the Paris attacks broke on Friday evening. The safety of all students had been confirmed by Saturday, according to Sarah Walter, director of study abroad and associate dean for international education in the College.
At 1:45 p.m. on Saturday afternoon, Walter sent an e-mail to students and parents, asking students to keep updating the program administrators with their travel plans, and to be responsive to messages from the study abroad program and other University staff.
"We are…closely in touch with our colleagues at the Cité Universitaire Residence campus, who have implemented increased security measures in the houses. While we do not presently anticipate the need to make adjustments to the academic schedule in Paris (which has classes resuming on Monday, November 23), we will continue to monitor events and are prepared to make changes if needed," Walter said in the e-mail.
"Any student who wishes to return home is of course entitled to do so, and we will be glad to offer support with logistics," Walter continued.
After his finals at the Paris center and a visit to Musée Guimet, third-year Hansong Li, a student of the European Civilization sequence, originally planned to go to Canal Saint-Martin, near which some of the attacks took place. But he instead chose to come back to rest in his dorm in Cité Universitaire de Paris, located in the 14th arrondissement of Paris.
"Immediately after I came back to my dorm, I saw the news that the attacks happened near the canal," Li said.
Li planned to travel to Italy during his break. He said when he took the Metro to the airport the train was almost empty.
"You [could] feel the sadness in the atmosphere and you [could] feel how the city was so silent when it used to be so lively," Li said.
Third-year Elisabeth Huh, in the same program, had been getting ready to leave for her one-week break in Morocco when the attacks occurred.
"I felt a horrible sense of guilt at the idea of leaving Paris. I felt that the city had truly become like a second home over the five months I had stayed here…The idea of leaving on a vacation the day after the event felt disrespectful. It felt like an act of abandonment," Huh said.
Students had previously visited many of the places where the attacks happened. Canal Saint-Martin, for example, was where they just had a class session during the week of the attack, according to Li. "Le Petit Cambodge, one of the restaurants that was targeted, was one I had visited with a few friends in Chicago back in August," Huh said.
The academic program will resume next week as scheduled, and students are expected to travel back to Paris.
"I have no expectations for any particular policy in response to the Paris attacks, but I do hope that the vibrant cultural environment will resume, and Paris will recover from its wound as soon as possible," Li said.


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Series Review – Shadow and Bone (Netflix)
The long-awaited adaptation of the bestselling books offers something for fans and newcomers alike.
August 1, 2021 / Timothy Taylor
Lee Toland Krieger, Dan Liu, Mairzee Almas, Jeremy Webb
Eric Heisserer, Leigh Bardugo
Leigh Bardugo (Novels), Eric Heisserer, Daegan Fryklind, Vanya Asher, M. Scott Veach, Nick Culbertson, Shelley Meals, Christina Strain
Jessie Mei Li, Archie Renaux, Freddy Carter, Amita Suman, Kit Young, Ben Barnes, Zoë Wanamaker
Shadow and Bone on Netflix is the eagerly anticipated adaptation of Leigh Bardugo's bestselling novel. The series takes place in the kingdom of Ravka, based on Tsarist Russia, and the surrounding nations. It is a world inhabited by Grisha, people who have the ability to manipulate elements at the atomic level. Ravka is a kingdom divided. A band of living Darkness called the Shadow Fold cuts Ravka in two. The Fold is populated by flesh-eating monsters, making travel across it treacherous. The series follows Alina Starkov as she discovers she is a rare Sun Summoner, destined to bring down the Shadow Fold. The series explores themes of race, belonging, and the consequences of the choices we make. Treachery and danger wait at every turn, and Alina must use her wits to stop those who would use the Fold as a weapon.
Violence: Ravka is a nation at war, and we experience this first hand. Characters are shot, maimed, killed, stabbed, sliced in two, and beheaded.
Sexual Content: The series is relatively mild, though discussion of sexual issues exists. There are no explicit sex scenes. There is one scene between Jasper and a stable hand that cuts away before anything is shown and then rejoins the two men in the aftermath. Characters run the gauntlet of sexual orientations, and casual sex is not considered taboo. Nina and Matthias must huddle together for warmth after being shipwrecked, and do so nude under furs. Nothing is seen. Alina is bathed by attendants early in the series and is briefly seen nude from behind through a sheer curtain. Inej is indentured to a brothel and there is discussion of human trafficking.
Drug/Alcohol Use: The legal drinking age in Ravka seems to be very young. Our seventeen and eighteen-year-old protagonists frequently drink. There's also a leaf called Jurda that seems to be caffeinated tobacco.
Spiritual Content: Religion plays a key element in the story. The predominant religion in Ravka is the worship of the Saints. This seems to be loosely based on Orthodox Christianity, but without a central God or Christ figure. Instead, the Saints are martyred humans (often Grisha) who performed wonders and are now revered and prayed to for assistance. Alina finds herself the unwitting object of devotion, as many believe her Sun Summoning powers make her a living Saint.
Language/Crude Humor: Several of the characters use mild language such as a**, h***, or d**n. There is also occasional talk of sexual escapades but this stops short of anything truly vulgar. The term "tumbled" is used to indicate one character has bedded another.
Other Negative Content: A key component of the story is that magic (merzost in the series) is an abomination, something unnatural that takes from the user. This is contrasted with the natural abilities the Grisha possess. Some Grisha do resort to using magic within the story, with disastrous consequences. The television series adds a sort of mumbled incantation to the scenes where this takes place, and the books Alina reads alluding to this contain some creepy drawings. However, there is a clear distinction that this is an evil practice and not something to be trifled with.
Positive Themes: Right is right and wrong is wrong. Evil actions cost those who perform them. Those who practice the abomination of magic pay an awful price. The bad guys get their comeuppance by the end and our heroes remain heroic to the end and (mostly) get their reward.
Shadow and Bone, Netflix 2021
Alina Starkov is a mapmaker in the Ravkan army. When her childhood best friend and fellow soldier Mal is assigned to guard a land skiff crossing the Shadow Fold, Alina contrives to place herself onboard. Alina and Mal are orphans from a place of no importance, resigned to simple lives in the army. The times are perilous: Ravka is at war with all of her neighbors. The western half of the country on the other side of the Fold is also entertaining ideas of secession and the nation is perilously close to civil war.
Everyone's hopes lie in finding a way to collapse the Fold and reunite Ravka. Working toward this goal is General Kirigan, also called "The Darkling," a Shadow Summoner, leader of the Grisha, and the most powerful among them. The Grisha lead privileged lives, highlighting vast social inequality in Ravka. Their powers are coveted, and all Grisha in Ravka serve in the Second Army under Kirigan.
During the crossing, Alina and Mal's skiff is attacked by the Volcra — flesh-eating monsters that live in the Fold — and Alina suddenly manifests the ability to summon light. No ordinary Grisha, Alina is a Sun Summoner, which were thought to be mythical. Her powers rival those of General Kirigan and she may even be able to collapse the Fold itself.
Alina is whisked away to the Little Palace, home of the Grisha, to learn how to use her newfound powers. Separated from Mal and mesmerized by the glittering and privileged world in which she finds herself, Alina begins to question who she is and what she thought she always wanted. Treachery and scheming abound, and the Little Palace is not all it appears to be.
Meanwhile, off the coast of Ravka, in the city of Ketterdam on the island of Kerch, criminal mastermind Kaz Brekker learns of a lucrative opportunity to smuggle something of great value out of East Ravka and bring it across the Fold. He recruits Jasper Fahey, a sharpshooter, and Inej, a former sex slave turned thief, to help.
It turns out the job will require more than any of them bargained for and will test each of their convictions. The thing of great value is Alina herself. Many view her as a savior, while those who profit from the Fold view her as a threat. Kaz and his crew embark on a journey through the Fold to kidnap Alina and bring her back to Ketterdam. They enlist the help of Nina Zenik, a Grisha who can manipulate the hearts of others. However, before she can join their crew, she is kidnapped by witch hunters from the nation of Fjerda, who think all Grisha are evil. Disaster strikes the Fjerdan ship on its return journey, and Nina and the witch hunter Matthias are the only survivors. Suddenly Nina's powers mean the difference between life and death. As they rely on each other to survive, Matthias soon begins to question whether Grisha are the monsters he thought they were.
These three narratives twist and intersect as the show unfolds: Alina's role as Sun Summoner amongst the Grisha, Kaz and his team's attempt to kidnap her, and Nina's complex relationship with Matthias after they are shipwrecked. The tale relies on elements from the Shadow and Bone trilogy, the sequel Six of Crows duology, and new material written by Leigh Bardugo.
I discovered Shadow and Bone just before the television series came out and quickly devoured the trilogy. This may not have worked in my favor, as it was very fresh in my mind when I watched the series. Eric Heisserer who adapted the series for television is a fan, and Leigh Bardugo who wrote the books served as an executive producer. This means the transition from page to screen is mostly faithful. Some changes obviously had to be made to accommodate a visual medium. While the screen adaptation didn't quite match my imagination, I found it to be very well done.
Kaz, Inej, Jasper, Nina, and Matthias are all characters from the novel Six of Crows, which is set years after the events of Shadow and Bone. However, in an attempt to flesh out the story and pave the way for a Six of Crows series, Leigh Bardugo crafted a prequel story to bring them into the Shadow and Bone narrative. She draws on actual backstory elements she wrote for Six of Crows and weaves a new tale for these characters. This lent something fresh to the television series, with new stories to tell.
The show does an exceptional job of bringing Ravka to life. David J. Peterson, who developed languages for Game of Thrones and The Witcher, also brought his skills to bear in bringing the languages of the books to life. There's a note of familiarity mixed with the foreign that makes the world feel real and fantastic at the same time. Bardugo's world-building was a hallmark of the books, and the show does not disappoint on this front. Some of the sets and locales are less lush than they are in the books, particularly the Little Palace. However, budgets are real, so I will not fault the producers for that.
Ben Barnes and Jessie Mei Li Shadow and Bone, Netflix 2021
The casting of Jessie Mei Li as Alina adds another dimension not present in the books. Here, Alina is reimagined as biracial, with her mother being Shu. Shu Han in the books is based on China and Mongolia and has been at war with Ravka for some time. Alina experiences a fair amount of racism due to her appearance. This addition doesn't overshadow the narrative but serves as an excellent way to explore inequality and injustice in Ravka.
Ben Barnes works exceptionally well as The Darkling/General Kirigan. In the books, he is depicted as appearing very young, around nineteen or twenty, while actually being centuries old. Having an older actor play the part adds the weight of years needed.
Zoe Wanamaker as Bagra, while sprier and not as ancient as she is in the books, captures the Grisha instructor's spirit. Here, too, we see her ruthlessness which isn't touched on until later stories in the books.
Beyond the leads, I didn't love every casting choice, but the actors command their roles well. I also loved the racially blind casting, which added further diversity. Here and there dialogue is a bit clunky as the writers seek to work in all of the complex bits from the books. Perhaps this is the downside of having avid fans adapt a work. Fans will love the Easter eggs and the faithfulness to detail, but newcomers might be confused.
A few changes are made to convey plot elements in a visual medium. Most of this involves internal dialogue and decisions we knew from being inside Alina's head in the books. Obviously, different methods have to be employed to make it work visually. These changes are mostly minimal and the main points of the story are still intact. A few characters are missing, while others' stories are slightly changed.
The story's darker elements are on full display in this incarnation, and there were moments I found the visual representations a bit worse than the descriptions in the books.
A disturbing plot device is the subject of amplifiers. Grisha who kill an animal gain its power, and this amplifies their natural abilities. In the books, the animal's bones are worked into jewelry a Grisha will wear for the rest of their life. In the series, Alina needs to amplify her powers to destroy the Fold and seeks a mythical creature believed to be among the most powerful amplifiers. In the television series, the jewelry is replaced by the bones being literally melded with the wearer's body. This makes for an unsettling visual. I understood the need to make this change to enable a major plot element later on. This was my least favorite part of the books, and I found it no less unsettling on-screen.
Still, the point of the story is the triumph of light over darkness and this shines through, pun intended, to the very end. Life is more powerful than death, faith and hope can change anything, and worth is not defined by what others say or think about you.
One element I appreciated was the distinction between Grisha powers and magic. Grisha's abilities are a natural gift they possess, something that "feeds them" as one character says. In complete opposition is the notion of magic which "feeds on" Grisha and has disastrous consequences.
In scripture we often see people taking matters into their own hands with ruin to follow. Adam and Eve lost the garden. Moses lost the promised land. Saul lost his kingdom. David lost peace. In Ravka, too, those that go where they should not face awful consequences.
While the series is much tamer than much of the fantasy fare on streaming services these days, it may not be appropriate for younger viewers. Still, the violence and sexuality are scant compared to Game of Thrones. There is also a lot to digest and discuss as the series explores themes of identity, belonging, self-sacrifice, and even faith.
Shadow and Bone is an earnest and mostly faithful adaptation of the books that will appeal to fans and newcomers alike. Violence, some mild sexuality, and creepy plot elements may bother younger viewers. However, for those looking for rich world-building and fantasy adventure without more explicit mature content, Shadow and Bone is sure to satisfy.
Posted in Reviews, Sci-fi/Fantasy, TV
Timothy Taylor is a lifelong creative, nerd and story teller. He spent more time reading and drawing as a kid than being outside. He is an artist, a teacher and a writer of fantasy, science fiction, and the occasional play. He continues to devour books, plays tabletop games and video games, and obsesses over the minutiae of made up worlds, including his own.
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Odd Jobs, People, Sports
https://americanprofile.com/articles/teresa-stokes-wing-walker/
By Linda Childers on April 19, 2009
Photo Courtesy of Gene Soucy Daredevil Teresa Stokes thrills crowds with aerial antics
https://americanprofile.com/wp-content/uploads/2009/04/teresa-stokes-wing-walking-150x150.jpg
In a cloudless sky over central Indiana, Teresa Stokes, 46, steps out of the cockpit of a modified Grumman biplane and inches her way onto the wing as the plane flies at more than 100 mph, 1,500 feet above the ground. Stokes shivers as the cold wind slices through her red windbreaker. Taking a deep breath, she rises to her feet and waves to the crowd below.
The spectators gasp as Stokes, wearing a helmet, goggles and no parachute, climbs to the top wing and hangs by her knees from a pole attached to the top of the plane. Pilot Gene Soucy, Stokes' boyfriend of 20 years, smiles at her from the cockpit, giving her a confident thumbs-up, before taking the bright red and yellow biplane into a twisting series of stomach-fluttering banks, rolls and turns.
"It feels as if I'm running as hard as I can in a hurricane," she says. "It's the force of the speed and the steadiness of Gene's flying that holds me in place."
Airborne occupation
Stokes is a wing walker, a daring airborne occupation that dates back to the barnstorming era of stunt pilots, tightrope walkers, touring carnivals and big tents.
"Teresa and Gene's show takes audiences back to the great barnstorming days of the 1920s and '30s," says Roger Bishop, organizer of the Indianapolis Air Show in Greenfield, Ind. (pop. 18,401). "It's always amazing to see their show. There is such a fluid motion between them; they make wing walking appear easy."
Performing death-defying aerobatics in midair is all in a day's work for Stokes, of Houston, Texas. And while she insists that her job isn't dangerous, her only safety device is a belt worn around her waist and attached to the post on the top wing when Soucy performs rolls and flies the plane upside down.
"Wing walking doesn't scare me," she says with a laugh. "It's the sports such as skiing and riding motorcycles that terrify me, because there are so many variables beyond your control."
Aviation always has been a part of her life. Growing up in Maryland, Stokes lived in several small communities near Baltimore where her family befriended people in the aviation field. While other children have fond memories of taking car trips with their families, Stokes recalls taking impromptu plane rides across the state. In her early 20s, she earned her pilot's license and began performing aircraft aerobatics.
Daring duo
Stokes first met Soucy at the 1988 Reno (Nev.) Air Show. Soon after, the two began dating, and eventually Stokes asked Soucy to let her try wing walking. Initially practicing while the plane was on the ground, Stokes gradually began training in the air, easing her body onto the plane's wing and ultimately rehearsing routines. Months later, when Soucy's intended wing walker backed out of a full slate of performances, Stokes offered to fill in, and she's been part of the high-flying act ever since.
Like Stokes, Soucy, 58, grew up around airplanes. The son of parent pilots, he joined the U.S. Aerobatic Team at age 22, later became a captain for Northwest Airlines, and began professional air show piloting in 1968. Soucy has appeared in more than 3,000 air shows across the nation, earning the nickname "Mr. Air Show."
"He's an excellent pilot," Stokes says of Soucy, a three-time Canadian and U.S. national aerobatic champion.
Since Soucy is a seasoned pilot, he doesn't get too concerned while his girlfriend does a headstand in midair. "It looks surreal, but it doesn't scare me at all," Soucy says. "Teresa is one of the best wing walkers in the world."
He has no plans to take up wing walking himself, however. "Who would pilot the plane?" he asks with a smile.
Today, Stokes and Soucy team up to perform in more than 25 air shows between the months of April and November.
During the off-season, Stokes pursues her other talent-art. In a concurrent career, Stokes has established herself as a successful aviation and space artist, whose work is displayed in galleries and museums worldwide. Her paintings even have been in space. A painting of the Discovery STS-26 crew was placed aboard the space shuttle Atlantis in 1988. Another was flown on a 2000 Atlantis mission.
"I was very envious of my artwork," says Stokes, standing on the deck of her houseboat looking out toward the Johnson Space Center.
You can't help but wonder if she's envisioning walking on the wings of a space shuttle.
Visit www.genesoucy.com or www.teresastokes.com for more information.
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Fans back in stands a sight for sore eyes at Champion Hill
Posted on October 21, 2020 in Articles, Women's Football
At Champion Hill on Sunday, fans were returning to the Dulwich Hamlet ground for the first time since March.
As groups of friends made their way in to make the most of having to socialise outside, it was a familiar enough scene for it to seem like nothing had changed, writes Jessy Parker Humphreys.
Familiar until you took in the rest of it. Fans dressed not just in club branded hats, scarves, and shirts, but also face masks.
Every other row of seats was kept empty whilst the stadium announcer encouraged everyone to spread out around the ground so that they would "be allowed to do this again."
Great to actually see an #lofc team in action today.
Dulwich Hamlet 0 – 1 Leyton Orient WFC. Att: 582 at Champion Hill.
A good win for @OrientWFC and what a fantastic attendance, my biggest of the season so far – well done @dulwichhamfc_w on the organisation.#groundhopping pic.twitter.com/Ha2mRwleop
— Stephen Harris (@harris1881) October 18, 2020
Some changes were ingenious. A drinks trolley piled high with beer and crisps was hauled around the perimeter of the ground to ensure that no queues for a bar formed.
People were coming to see Dulwich Hamlet play Leyton Orient in the Second Qualifying Round of the Women's FA Cup.
It was a tantalising fixture on the face of it. Dulwich Hamlet's women's team are at the start of their second season after AFC Phoenix merged with the club.
Playing in the fifth tier of the women's football pyramid, they are highly rated, and had previously beaten their National League opposition Leyton Orient last season. They had already won two games to reach this stage of the FA Cup.
There is little attention paid to the earlier rounds of the Women's FA Cup. It does not feature the big name players that the FA use to market the women's game nor is it imbued with the romance that the media tend to reserve for the start of the Men's FA Cup.
600 football fans at @dulwichhamfc_w v @OrientWFC in the #facup this afternoon getting their on-terrace football fix🤔
Everyone sensibly distanced
Enjoyed that #LetFansIn #dhfc #Womensfootball #football #lionesses #weplaystrong pic.twitter.com/UScoeRzY4S
— Billy TheBee Grant (@billythebee99) October 18, 2020
There has been added confusion around the tournament this year as a result of the final rounds of the 2019/20 FA Cup being played at the same time as the early rounds of the 2020/21 Cup.
With a home advantage and significant crowd support, there was a real sense that Dulwich Hamlet would be able to compete against their opponents from the division above.
The match itself was played at a frantic pace with Dulwich Hamlet looking like much the better side from the start.
However, they were undone in the 7th minute by a clever flicked on header by Nyara Denny, one of the most skillful players on the pitch, which was calmly finished by Katherine Long.
Leyton Orient were unable to use this lead to stamp their authority on the game but it did allow them to sit back. Dulwich Hamlet pushed for an equaliser and were denied only by a series of strong saves by Naomi Ogunde in the Leyton Orient goal.
In the second half, it was more of the same. Dulwich Hamlet were dominant in possession but struggled to create anything in the final third with Leyton Orient's defence happy to frustrate them outside their penalty area.
The game finished 0-1 but there was one more important moment of the day for Dulwich Hamlet. The attendance was read out at 582 – a record for the women's team.
After the match, a disappointed Dulwich Hamlet manager, Ryan Dempsey, tried to find some positives from the game and said:
"Hopefully, it's a good enough performance to bring back the majority of 550 people."
"It's good to get the crowds back in. Get people out and about socialising. It's the only way they can socialise."
Dempsey did at least feel that the performance showed that his team were heading in the right direction.
"It's pleasing that we competed with a team in the league above us – and who have been in the league above us for a number of years."
"It's where we want to be. We want to get promoted this season. To get into the National League" he said.
For Leyton Orient manager Chris Brayford, there was an important aspect of the win beyond just progressing to the next round as he went on to say:
"There's a financial impact, as well. There's a huge gap between what the men's team get from playing in the FA Cup and winning games and what the women's team get, but even the few hundred pounds from winning the tie helps and makes an impact."
MATCH REPORT:
Report from a record-breaking afternoon at Champion Hill, as @dulwichhamfc_w were narrowly defeated in the FA Cup by @OrientWFC in front of 582 fans.
📝 – @GenWilliams
📸 – @LiamAsman#DHFCW #DHFC 💖 💙
— Dulwich Hamlet FC (@DulwichHamletFC) October 20, 2020
It is striking to hear how important the prize money is even though it is dwarfed by the prize money in the men's game.
Leyton Orient will have pocketed £450 for winning their second round qualifying tie. If they were a men's team that would have been worth £3375.
For losing, Dulwich Hamlet walked away with £115 – it would have been almost ten times more at £1125 if it were the men's side.
Brayford was also enthused by the opportunity to play in front of so many people.
"It can't help but make for a more exciting atmosphere. The players are what matter – you want them to be playing in front of those crowds because one good thing is there'll be new people who have come there.
There will be families, kids, who'll see the game and think 'Orient did well and Dulwich did well and hopefully we'll be coming to watch more women's football games.'"
Given the fears that COVID-19 would interrupt the momentum within the women's game with fans forced to stay away from grounds, it was a heartening sign that the enthusiasm was if anything increased. It made it feel even more essential for there to be a solution to make sure more matches like this can take place.
It also showed how competitive and exciting the lower rungs of women's football are. It is easy to be drawn into the bright lights of the very top of the game. But football associations across the globe are being forced to contend with the notion that this sport is not just about the handful of super-rich clubs.
Whatever level you look at there are brilliant moments. That is as true in the women's game as it is in the men's.
Follow Jessy on Twitter at @jessyjph