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DUP Rejects Proposed Brexit Deal
The DUP says as things stand, it cannot support a Brexit deal currently on the table between the EU...
TodayFM
8:41 AM - 17 Oct 2019
The DUP says as things stand, it cannot support a Brexit deal currently on the table between the EU and UK.
The party says it has issues with the customs and consent mechanisms in the draft deal.
It also feels there is still a lack of clarity around VAT.
It comes as Brexit negotiations went on overnight in an attempt to reach a last-minute deal.
The two sides are said to be close, but the issues around how VAT will work in Northern Ireland remains.
Without the DUP, it will be difficult for the British Prime Minister Boris Johnson to get any agreement passed in the UK House of Commons.
DUP leader Arlene Foster and deputy leader Nigel Dodds released a joint statement this morning.
"As things stand, we could not support what is being suggested on customs and consent issues and there is a lack of clarity on VAT."
"We will continue to work with the Government to try and get a sensible deal that works for Northern Ireland and protects the economic and constitutional integrity of the United Kingdom", they said.
Arlene Foster Boris Johnson Brexit Deal DUP Nigel Dodds
Broadcaster Told To Pay Arlene Foster £125k For Unfounded Affair Claims
Edwin Poots Wins DUP Leadership Contest
Arlene Foster To Step Down As DUP Leader And First Minister
Further Violence Erupts In Northern Ireland

redpajama_set_name: RedPajamaCommonCrawl


You know a park is in trouble when the Interior Secretary Ken Salazar calls on the United Nations for help. This week, Salazar will petition the U.N. at a World Heritage Committee meeting in Spain to include Everglades National Park on a list of endangered World Heritage sites.
This decision reverses a controversial Bush-era decision to ask that the park be removed from the list, despite the fact that restoration programs hadn't been completed.
''I agree that the park was removed from the list without adequate consultation and without appropriate measures in place to evaluate our efforts,'' Salazar wrote in a June 16 letter.
If Everglades gets added to the list, it could make for two endangered national parks in the U.S. Glacier National Park is also under threat from nearby mining that could pollute the park's Flathead River.


text:
Q: Как правильно реализовать задачу со стрингом java? Есть такая задача :
Я написал такой код:
public class ClassRepeat {
    public static String repeat(String word, int n) {
        String[] arr = new String[word.length() * n];
        for (int i = 0; i < word.length(); i++) {
            arr[i] = word.substring(i).repeat(n);
        }
        String result = new String(String.valueOf(arr));
        return result;
    }

И оно не показывает нужный мне результат,всегда у меня проблемы с этими стрингами)

A:  static void repeat(String word, int times) {
        for (int i = 0; i < word.length(); i++) {
            for (int j = 0; j < times; j++) {

                System.out.print(word.charAt(i));

            }
        }
    }

redpajama_set_name: RedPajamaStackExchange


text:
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Cariou V. Prince and Interpretive Intentionalism
February 23, 2014 by Aesthetics for Birds | 1 Comment
What follows is a guest post by Karen Glover
Rightly or not, academic philosophy has a reputation for pursuing irresolvable debates about highly speculative questions, often with no material stakes or outcome. For some, this is proof of philosophy's futility; for others, it points to the value of dialectic not in its utility, but as a worthwhile end in itself.
The intentionalism debate in aesthetics could be seen as one such debate. This is primarily a normative debate about whether, and to what extent, artists' pronouncements about the meaning of their artworks should be determinative for the interpretation of those artworks. While there have been some exceptions, the discussion has focused to a great extent on literary artworks. (For an overview see Irvin 2006.) Anti-intentionalists and extreme actual intentionalists represent the two poles of the debate. The former divorce the meaning of the work entirely from reference to the historical author's intentions, whereas the latter collapse them. Neither pole has many remaining adherents.
For the past twenty-five years, the argument has largely coalesced around versions of two intermediate positions, often called hypothetical intentionalism (HI), and moderate actual intentionalism (AI). While there are many nuances and variations among the proponents of these positions, two representative voices in this debate are Jerrold Levinson, a proponent of HI, and Robert Stecker, who has given nuanced defenses of AI over the years.
Generally speaking, hypothetical intentionalists stop short of permitting artists' statements about work meaning to be relevant for interpretation, even as they acknowledge the necessity of referring to the intentions of the artist in determining what category the artwork belongs to. Moderate actual intentionalists, on the other hand, do consult statements by the artist about work meaning, while recognizing—this is why they are 'moderate'—that one must approach such statements skeptically. As I see it, the debate is symptomatic of an ineluctable tension in our experience of artworks: on the one hand, they are the expressions of their authors. On the other hand, artworks are not simply reducible to the meaning that their authors intended to give them. They are cultural artifacts. They have lives of their own.
As Hans Maes (2010) has pointed out, the debate between proponents of HI and AI has proven surprisingly intractable and lively, even though it seemed to be drawing to a close over twenty years ago. (Levinson published "Intention and Interpretation: A Last Look" in 1992, and yet the debate soldiers on.) This is so despite the fact that there are very few, if any, test cases that effectively divide supporters of AI and HI. The question of the proper role of authorial pronouncements about work meaning has a zombie-like persistence in clawing itself back into the arena long after it has been pronounced dead. Even Dennis Dutton, who in 1987 penned "Why Intentionalism Won't Go Away," probably thought it would have by now.
Much as I would like to, I cannot claim to have a solution to the intentionalism controversy that would end the sparring between the two sides once and for all. But I would like to call attention to its recent, unlikely appearance in a high-profile legal case involving appropriation art and copyright law. When the intentionalism debate shifts from the pages of scholarly essays into a courtroom where over $10 million worth of art is at stake, one wonders whether the change in context can shed light on the long-running and seemingly intractable academic dispute.
In 2008, the French photographer Patrick Cariou sued Richard Prince for copyright infringement over his use of the images in Cariou's book Yes, Rasta. The book is a collection of classical portraits that Cariou made of Rastafarians living in the Jamaican jungles. Prince reproduced some of Cariou's photographs in a series of thirty collages called Canal Zone, in which he pasted images of guitars in the hands of the Rastafarians, placed ovoid shapes over their eyes and mouths, and included them in collages alongside naked women in provocative poses. He exhibited the paintings in the Gagosian gallery in New York City, yielding sales of over $10 million.
By contrast, Patrick Cariou's photo book had only earned him $8,000 in royalties and was out of print. He only sold prints of his work to friends and acquaintances, and for a nominal fee. In other words, he was not aggressively pursuing a career as an artist, and was certainly not part of the elite group to which Prince belongs. However, Cariou had made arrangements for a solo show of his work in a New York gallery, which the gallery owner cancelled once she learned about the Canal Zone show at Gagosian. Christianne Celle claimed that she didn't want to do a show of Cariou's work if it had been "already done" and she did not want to appear to "capitalize on Prince's success" by showing the photographer's work. Cariou argued that Prince's appropriation of his work caused him to lose the show.
Prince countered the accusation of copyright infringement by arguing that his use of Cariou's photographs was an instance of fair use. The fair use statute permits the reproduction of authored works in certain cases, taking into account the nature and purpose of the use, the nature of the source material, the amount taken, and whether it usurps the market for the original source. It limits the rights of copyright holders in order to recognize that authors sometimes need to make reference to other works in order to develop new ones. The statute mentions works of commentary, criticism, scholarship, and news reporting as possible instances of fair use. Even parody has found protection under the doctrine. But determinations of fair use are, by design, highly context-sensitive, and provide no clear rules, only guidelines. This has meant that scholars, artists, and others must take what Judge Pierre Leval (1990) has called a "guess and pray" approach when navigating the line between fair use and infringement. Indeed, Patricia Aufderheide and Peter Jaszi just issued a report this month claiming that the uncertainty surrounding fair use interferes with the work of scholars and visual artists.
Prince argued that appropriation art should be considered a per se instance of fair use because it transforms the source material into a new artwork with a different meaning from the original. Prince has made his fame and fortune in the contemporary art world by appropriating images from the mass media, particularly magazine ads, and recontextualizing them as works of art. His Cowboys series, taken from ads featuring the iconic Marlboro Man, are particularly famous, and have fetched record-breaking prices at auction.
Prince was deposed by Cariou's lawyers for seven hours. (The transcript, which is fascinating, is reprinted in a volume edited and published by Greg Allen of the website greg.org). Prince was asked about his career, his artistic process, his thoughts about the theory behind appropriation art, and the intended meaning of his Canal Zone paintings.
Mr. Brooks [lawyer]: Okay. So your view is if you create a work of art—do you consider this a work of art?
Richard Prince: Yes, I do.
Brooks: If you create a work of art anyone else who wants to is free to copy it and sell it?
Prince: That's the optional or the operative word you just said. Free.
Brooks: Right.
Prince: And art is about freedom. It's not about being restricted. If I was restricted then I couldn't transform these images.
Appropriation art poses a particularly difficult test of the fair use doctrine because it has what we might call a formal similarity to blatant copyright infringement. It is, after all, an act of deliberate copying. While most everyone will readily acknowledge that there is an important difference between high-concept 'stealing' by artists such as Elaine Sturtevant or Richard Prince and the pirated copies of Hollywood movies and Harry Potter books on offer in marketplaces around the world, it has not been easy to translate that conceptual distinction into a fair use standard that the law can apply consistently. Over the past two decades, the concept of "transformation" has emerged as a touchstone for appropriation art cases: the secondary use must be seen as sufficiently transforming its source material into a new idea or expression, rather than merely usurping it. As Darren Hick (2013) has shown, however, this has not solved the problem of appropriation art's uncertain legal status. There is no consensus around what counts as a transformative work and how that ought to be determined.
For example, Jeff Koons failed to convince the court that his sculpture String of Puppies, based on a photograph by Art Rogers, transformed Rogers' image into a parody. A decade later, however, he prevailed in a lawsuit filed by Andrea Blanch for his use of a photo that she had taken for a Gucci sandals advertisement. He persuaded the court that his painting, Niagara, while not a commentary on Blanch's photo per se, was using the photo to comment on the banality of consumer culture generally. Koon's explanation of the meaning of Niagara carried a great deal of weight in the court's decision.
One of the problems this raises, however, is whether anyone charged with copyright infringement can get away with it by explaining that they intended to transform the source material. In some instances of appropriation art, there may be no visual difference between the source and the secondary use, and so it will be purely a matter of interpretation. Copyright suits involving appropriation art come down to the question of how to interpret such works of art, and whether the secondary use is different enough from its source that it counts as a new and valuable contribution. This leaves judges in the awkward position of art critic, and may put artists at the mercy of the judge's predisposition toward their art.
We can see the intentionalism debate play itself out rather neatly in the two opposing outcomes to the Cariou v. Prince case. The district court relied heavily on Prince's testimony about his work. But even though, as we see in the quote above, he claimed to "transform" Cariou's images, Prince's use of this shibboleth was not enough to clinch his case. Prince also told the court that his work "doesn't really have a message" and that he was "not trying to create anything with a new meaning or a new message." These statements were mentioned in the district court's ruling that the Canal Zone paintings were an infringement of Cariou's copyright. Applying the standard of "transformative commentary," in which the secondary use must comment on and transform the source material, the court found that Prince's works failed on both counts. It said that the core message of Cariou's photographs was retained in Prince's paintings, and that Prince's aim, like Cariou's, was "a desire to communicate to the viewer core truths about Rastafarians and their culture." Even more importantly, however, the court found that "Prince did not intend to comment on Cariou, on Cariou's Photos, or on aspects of popular culture closely associated with Cariou or the Photos when he appropriated the Photos," and so it concluded that Prince's use was not fair. Note that the court's interpretation of Prince's work is explicitly tied to an understanding of the artist's actual intentions.
We might wonder about the seeming contradiction between these two judgments: on the one hand, the court found that in his Canal Zone paintings Prince was attempting to "communicate core truths about Rastafarians" and at the same time it took him at his word when he claimed that they did not really have a message. It would seem that, strictly speaking, a work of art could not simultaneously have no message and be about core truths concerning Rastafarians. (One wonders what, exactly, 'core truths about Rastafarians' could be, but that is a different matter). The court took this to mean that without a new message of his own, either about Rastafarians or about Cariou's photos of them, Prince was simply copying Cariou's work and therefore violating his copyright. Judge Deborah Batts ordered Prince to deliver the illegal paintings and their publicity material to Cariou to dispose of as he wished.
The artworld took this as a blow not only against Richard Prince, but against appropriation art generally. In 2013, however, the decision was mostly reversed by the appellate court. It ruled that twenty-five of the thirty Canal Zone paintings were in fact instances of fair use. It remanded the other five paintings back to the district court for judgment using a different standard than "transformative commentary." What is interesting about this reversal is that the appellate court not only rejected the district's decision, but it pointedly rejected its use of the artist's testimony as evidence, instead giving primacy to the viewer's aesthetic judgment:
What is critical is how the work in question appears to the reasonable observer, not simply what an artist might say about a particular piece or body of work.
The courts did not use the language or conceptual apparatus of the intentionalism debate; nevertheless, they recapitulated it through their opposing positions on the status of Prince's artworks and the role that his testimony had in determining that status. The district court relied heavily on Prince's statements about the meaning of his paintings and his reasons for using Cariou's photographs, and it used those statements against him. Of course, the motivation for its reliance on Prince's testimony about the meaning of his own work may have been opportunistic rather than principled: by playing the role of a self-abnegating Cordelia to the court's Lear, Prince made it easier for the court to find that his paintings were not transformative. If he wanted to, he probably could have told a more convincing story about how, exactly, his Canal Zone series effectively transformed the material taken from Cariou.
For its part, the appellate court took what could be seen as a principled stand against actual intentionalism, in favor of a hypothetical intentionalist approach to Prince's paintings. It accorded interpretive authority to the "reasonable observer," not the artist, and it found that there were obvious aesthetic differences between the Canal Zone paintings and the Yes, Rasta photographs which did make Prince's use transformative. Whereas Cariou's photos were "serene and deliberately composed," it found Prince's paintings "crude and jarring," which showed (at least in twenty-five of them) that the paintings "manifest an entirely different aesthetic" from the borrowed material. The court found that these aesthetic differences were not merely cosmetic, but that they signified a transformation of Cariou's images into new works with new meanings. Moreover, it rejected the district court's requirement that the appropriation be a commentary aimed either at the source or at popular culture in general.
However, while the appellate court's ruling is a legal victory for Richard Prince, it is premature to label this as a win for appropriation art in general. The appellate court's decision was based on the judgment of a hypothetical "reasonable observer" of the work. The transformative character of Prince's paintings was based on the degree to which they were visibly different from Cariou's original images, upon which the expressive differences supervened. Thus it did little to set a guideline for how appropriation art per se might be protected by the fair use provision, since in its purest or most extreme instances, works of appropriation art are visually indistinguishable from their source material. Indeed, the most radical premise of appropriation art is that the meaning of a work is not borne on its face, but is determined by that which, as Arthur Danto so famously declared when discussing Warhol's facsimile Brillo Boxes, "the eye cannot descry": its context. As Hick (2013) observes,
when the court reduces the question of transformation to how the work would appear to a "reasonable observer," it fails to ask whether this observer is a member of Prince's audience, or of Cariou's, both, or neither. Even where the original and the secondary work appear visually indistinguishable, the audience familiar with the aims and practices of appropriation art will treat them very differently, and in many cases, they are likely to find something new—a new meaning, a fundamentally different aesthetic. And much of this will turn precisely on what the artist says about his work.
The conflicting decisions of the courts in the Cariou v. Prince case show that the question of how much authority to accord authors over the meaning of their artworks remains an open, unresolved problem. As I have argued elsewhere, this question becomes particularly pointed in the case of contemporary visual art because such works are not linguistic utterances in the same way that literary works are.
While the appeal to a "reasonable observer" worked in Prince's favor this time, it is easy to imagine how this device could be used to mask judicial bias when it comes to subjective aesthetic judgments. For this reason, some legal scholars have suggested that the courts should rely on experts on aesthetic theory, rather than risk allowing cognitive bias to color their judgment (McKenzie 2013). As Christine Farley (2013) puts it:
There is no excuse for courts to act as if questions of artistic value and classification have not already been theorized. It is time for these courts to begin to take advantage of that work. The law here should be better theoretically informed. Engagement in aesthetic discourse would reduce the mismatch of legal and artistic developments.
Pace Barnett Newman, perhaps birds need ornithologists after all! While the idea that courts might make use of philosophers' expertise on such matters is gratifying, I do not share Farley's optimism that it would reduce the uncertainty surrounding the status of appropriation art vis-a-vis fair use. After all, philosophers are known for their spirited disagreements with one another, as we see in the intentionalism debate. There is no reason to assume that the use of philosophers or art critics as expert witnesses will yield a consistent standard of judgment. Furthermore, one can be well versed in the historical and theoretical foundations of appropriation as an artistic trope—and very sympathetic to it—and yet find that some artists' attempts at meaningful appropriation fail to hit the mark. (An example of one such case in my opinion can be found here.) It is not as though philosophers are uniquely able to see the otherwise invisible line that marks the point where an act of infringement is transfigured into an artwork with new meaning. In a way, it is absurd to expect one, since the very point of appropriation art, as many theorists have articulated, is precisely to challenge the dichotomy between original and derivative works. And yet such a line is essentially what the law would need in order for fair use cases to be adjudicated consistently.
As for the use of artists' testimony in such cases, I think it is inappropriate to treat their statements about the meaning of their work as dispositive. Prince's straightforward, unapologetic demeanor during his deposition makes for a fascinating portrait of the artist and his ideas. It also contained conflicting statements about the intended message behind the Canal Zone paintings, a point that the prosecution tried to use to its advantage. But why should the artist have a coherent, consistent story about the meaning of his work that he can produce on demand? Under copyright law, the authored work is the expression of an idea, and copyright protects the expressions, not the ideas. To demand that an artist then explain his expression in a way that will satisfy a court of law (as opposed to an artist's statement published in a catalogue essay or press release) is unreasonable. It not only expects artists to have a logically consistent message behind their work, it requires them to articulate verbally what they have already expressed visually—something that may be an impossible task. This is not to say that Richard Prince is incapable of speaking clearly about his own work—far from it. My point, rather, is that if an artist is in the business of trying to make compelling images, which s/he may do for any number of reasons, their primary focus may not be in communicating "core truths" that can then be translated into a coherent set of propositions. Let me finish by letting the artist speak for himself on the matter:
Brooks: Do you agree that you've redefined the concept of authorship?
Prince: I would hope that I've had some hand in redefining the issues that have to do with authorship.
Brooks: How so?
Prince: It has to do with that concept that people really believe artists are special and they have something special to say. There was a time in the late '70s when I didn't go along with that concept. And there was that essay by Roland Barthes called Death of an Author, and it was just an issue that was going around town. And I think that I got caught up in it and I got involved in it and I sort of decided to do something about it in my own particular little way. And hopefully, yes, I hope that—you know, I would have called it the death of the ego, but I guess authorship is a fairly accurate and it's an okay word. I mean it's very—all it is is philosophical. And, you know, it's sort of like someone writing a term paper, you know, it's academic. You know, it's something that takes place in October Magazine, which I don't particularly like and Columbia University and you know, it's—I'm much more of a –well, I'm much more interested in trying to make art that stands up next to Picasso, De Kooning, and Warhol. That's what I'm interested in.
<!– [if supportFields]> ADDIN EN.REFLIST <![endif]–>Works Cited
Allen, Greg, ed. Canal Zone Richard Prince Yes Rasta: Selected Court Documents from Cariou V. Prince Et Al: greg.org, 2011.
Carlin, John. "Culture Vultures: Artistic Appropriation and Intellectual Property Law." Columbia VLA Journal of Law and the Arts 13 (1988): 103-43.
Dutton, Dennis. "Why Intentionalism Won't Go Away." In Literature and the Question of Philosophy, edited by Anthony J. Cascardi. Baltimore: Johns Hopkins University Press, 1987.
Farley, Christine Haight. "Judging Art." Tulane Law Review 79 (2005): 806-58.
Gover, Karen. "What Is Humpty Dumptyism in Contemporary Visual Art? A Reply to Maes." British Journal of Aesthetics 52, no. 2 (2012).
Hick, Darren Hudson. "Appropriation and Transformation." Fordham Intellectual Property Media & Entertainment Law Journal 23 (2013): 101-40.
Irvin, Sherri. "Authors, Intentions, and Literary Meaning." Philosophy Compass 1, no. 2 (2006): 114-28.
Leval, Pierre N. "Toward a Fair Use Standard." Harvard Law Review 103 (1990).
Levinson, Jerrold. "Intention and Interpretation: A Last Look." In Intention and Interpretation, edited by Gary Iseminger, 221-56. Philadelphia: Temple University Press, 1992.
Maes, Hans. "Intention, Interpretation, and Contemporary Visual Art." British Journal of Aesthetics 50, no. 2 (2010): 121-38.
McKenzie, Liz. "Drawing Lines: Addressing Cognitive Bias in Art Appropriation Cases." UCLA Entertainment Law Review (2013): 83-105.
Stecker, Robert. Interpretation and Construction: Art, Speech, and Law. Malden, MA: Blackwell, 2003.
———. "Moderate Actual Intentionalism Defended." Journal of Aesthetics and Art Criticism 64, no. 4 (2006): 429-38.
Notes on the Contributor
Karen Gover is a philosopher and art critic whose writing primarily concerns contemporary visual art. She has published articles in the British Journal of Aesthetics, the Journal of Aesthetics and Art Criticism, and the Journal of Aesthetic Education. These days, Gover is particularly interested in questions concerning artistic moral rights and intellectual property. She is one-half of the philosophy department at Bennington College, a tiny liberal arts college in Vermont.
Categories: Artforms, Essays, Guest Posts, Intro to Art, Literature, Series, The Philosopher's Perspective, What is Art
Tags: appropriation art, art and law, intention, literature
Darren Hick
Ahh… Richard Prince. Between him, Sherrie Levine, and Shia Labeouf, I doubt I'll ever run out of case studies.
Thanks for this excellent article, Karen–folding the problem of interpretation into appropriation art is something that's always been in the back of my mind (and especially because of Sherri Irvin's tackling of the matter in "Appropriation and Authorship in Contemporary Art" (2005)), but which I've so far refrained from wading into. And you lay out the problem quite nicely.
I agree with you about the issue you lay out of bringing in philosophers as expert witnesses to testify in copyright cases. As much as I eagerly await such a call, I think there's a deeper problem here.
As I argued in my "Toward an Ontology of Authored Works" (2011), the authored work (i.e. the expression, the thing protected by copyright) is not, ontologically speaking, the artwork. Rather, these are ontologically-overlapping but distinct categories. Generally speaking, the ontology underlying copyright law is a strongly formalist one (though not to the extent of, say, Goodman's view). And, as you suggest here, the case for artworks is probably not so straightforward.
I think it would be reasonable, however, to see the fair use doctrine as an attempt to make room for artistic (and other) sensibilities in a field that is—strictly speaking—not an artistic domain, but a legal one. And this is where things are bound to get dicey. There's a longstanding position in US copyright law that judges should not be expected to be art experts, and so long as the law is able to treat authored works AS authored works, this is reasonable enough. But if it's right that fair use represents an overlapping territory, then this may be a position that the courts have to bend on.
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text:
namespace base {
namespace win {

namespace {

const wchar_t kRootKey[] = L"Base_Registry_Unittest";

class RegistryTest : public testing::Test {
 public:
  RegistryTest() {}

 protected:
  virtual void SetUp() {
    // Create a temporary key.
    RegKey key(HKEY_CURRENT_USER, L"", KEY_ALL_ACCESS);
    key.DeleteKey(kRootKey);
    ASSERT_NE(ERROR_SUCCESS, key.Open(HKEY_CURRENT_USER, kRootKey, KEY_READ));
    ASSERT_EQ(ERROR_SUCCESS, key.Create(HKEY_CURRENT_USER, kRootKey, KEY_READ));
  }

  virtual void TearDown() {
    // Clean up the temporary key.
    RegKey key(HKEY_CURRENT_USER, L"", KEY_SET_VALUE);
    ASSERT_EQ(ERROR_SUCCESS, key.DeleteKey(kRootKey));
  }

 private:
  DISALLOW_COPY_AND_ASSIGN(RegistryTest);
};

TEST_F(RegistryTest, ValueTest) {
  RegKey key;

  std::wstring foo_key(kRootKey);
  foo_key += L"\\Foo";
  ASSERT_EQ(ERROR_SUCCESS, key.Create(HKEY_CURRENT_USER, foo_key.c_str(),
                                      KEY_READ));

  {
    ASSERT_EQ(ERROR_SUCCESS, key.Open(HKEY_CURRENT_USER, foo_key.c_str(),
                                      KEY_READ | KEY_SET_VALUE));
    ASSERT_TRUE(key.Valid());

    const wchar_t* kStringValueName = L"StringValue";
    const wchar_t* kDWORDValueName = L"DWORDValue";
    const wchar_t* kInt64ValueName = L"Int64Value";
    const wchar_t* kStringData = L"string data";
    const DWORD kDWORDData = 0xdeadbabe;
    const int64 kInt64Data = 0xdeadbabedeadbabeLL;

    // Test value creation
    ASSERT_EQ(ERROR_SUCCESS, key.WriteValue(kStringValueName, kStringData));
    ASSERT_EQ(ERROR_SUCCESS, key.WriteValue(kDWORDValueName, kDWORDData));
    ASSERT_EQ(ERROR_SUCCESS, key.WriteValue(kInt64ValueName, &kInt64Data,
                                            sizeof(kInt64Data), REG_QWORD));
    EXPECT_EQ(3U, key.GetValueCount());
    EXPECT_TRUE(key.HasValue(kStringValueName));
    EXPECT_TRUE(key.HasValue(kDWORDValueName));
    EXPECT_TRUE(key.HasValue(kInt64ValueName));

    // Test Read
    std::wstring string_value;
    DWORD dword_value = 0;
    int64 int64_value = 0;
    ASSERT_EQ(ERROR_SUCCESS, key.ReadValue(kStringValueName, &string_value));
    ASSERT_EQ(ERROR_SUCCESS, key.ReadValueDW(kDWORDValueName, &dword_value));
    ASSERT_EQ(ERROR_SUCCESS, key.ReadInt64(kInt64ValueName, &int64_value));
    EXPECT_STREQ(kStringData, string_value.c_str());
    EXPECT_EQ(kDWORDData, dword_value);
    EXPECT_EQ(kInt64Data, int64_value);

    // Make sure out args are not touched if ReadValue fails
    const wchar_t* kNonExistent = L"NonExistent";
    ASSERT_NE(ERROR_SUCCESS, key.ReadValue(kNonExistent, &string_value));
    ASSERT_NE(ERROR_SUCCESS, key.ReadValueDW(kNonExistent, &dword_value));
    ASSERT_NE(ERROR_SUCCESS, key.ReadInt64(kNonExistent, &int64_value));
    EXPECT_STREQ(kStringData, string_value.c_str());
    EXPECT_EQ(kDWORDData, dword_value);
    EXPECT_EQ(kInt64Data, int64_value);

    // Test delete
    ASSERT_EQ(ERROR_SUCCESS, key.DeleteValue(kStringValueName));
    ASSERT_EQ(ERROR_SUCCESS, key.DeleteValue(kDWORDValueName));
    ASSERT_EQ(ERROR_SUCCESS, key.DeleteValue(kInt64ValueName));
    EXPECT_EQ(0U, key.GetValueCount());
    EXPECT_FALSE(key.HasValue(kStringValueName));
    EXPECT_FALSE(key.HasValue(kDWORDValueName));
    EXPECT_FALSE(key.HasValue(kInt64ValueName));
  }
}

}  // namespace

}  // namespace win
}  // namespace base

redpajama_set_name: RedPajamaGithub


Alpha Phi was founded on October 10, 1872 at Syracuse University and since has grown into an international organization with chapters on 170 college campuses. The Theta Tau chapter at Rensselaer began as a local sorority with the letters Phi Alpha Sigma in 1986 and was colonized by the Alpha Phi International Fraternity in 1995. Alpha Phis strive to uphold the strongest ideals of womanhood as established by the founders through promotion of scholarship, character development, loyalty, and the strong bond of sisterhood.
The Theta Tau chapter fosters lifelong connections between women of unique backgrounds, interests, and talents. Connected by a common goal of beneficial contribution, Alpha Phis aim to become the best version of themselves. Sisters of Alpha Phi are committed to excellence in all aspects of life and share a strong desire to improve the world around them.
Philanthropic events hosted by the Theta Tau chapter benefit the Alpha Phi Foundation, an organization that empowers women to be generous givers. Funds raised go to programs that advance leadership development, encourage academic excellence, improve women's heart health, support sisters in need, preserve heritage and educate about the value of philanthropy.
Alpha Phis are very involved on campus and embody a strong presence within a variety of groups. Sisters are members of numerous honor societies, including White Key, Phalanx, and Order of Omega, and repeatedly place on the Dean's List. Alpha Phis hold academic leadership roles as members of the Woman's Mentor Program, I-PERSIST mentor program, LEAP, Engineering Ambassadors, and as classroom TAs. Other campus groups with Alpha Phi involvement include the Rensselaer Union E-Board, Society of Woman Engineers, Relay for Life, Green Greeks, and numerous sports teams at the varsity and club levels.
Rensselaer's members of Alpha Phi welcome you and cannot wait to meet you this recruitment season!


text:
Iceland Airwaves 2014 sells out
06 October 2014, 14:49 | Written by Laurence Day
(The War On Drugs) (The Knife) (The Flaming Lips) (Future Islands) (Caribou)
One of Europe's finest festivals, Iceland Airwaves 2014, has finally sold out.
A statement from the festival says:
"We are proud to announce that this year's festival has sold out! Thank you everyone for your continued support, and thank you to this year's artists for making our lineup unforgettable. There still remain a few Icelandair packages, but they won't be around for long. We look forward to seeing your beautiful faces in Reykjavik!"
Iceland Airwaves 2014 will feature over 200 artists performing in Reykjavík from 5-9 November, including Flaming Lips, The Knife (in both their first ever Icelandic show and, tragically, last ever show), The War on Drugs, as well as Caribou and Future Islands over on Best Fit's stage at the Art Musem. The festival is a true champion of new music, be that Icelandic, Scandinavian, European or worldwide.
More information can be found here, including the full line-up and times.


text:
Embracing Awkward
Depression Encouragement Humor Movies Music TV Twitter
Currently showing posts tagged movies
Muscle Shoals: You Don't Just Watch, You Worship
"Words and music did for me what solid, even rigorous, religious argument could never do, they introduced me to God, not belief in God, more an experiential sense of GOD." - Bono
I didn't know what to expect when I bought my ticket to Muscle Shoals. Like any good WASP, I'm a sucker for documentaries in general, music documentaries in particular. If you want to win a white person over simply invite them over to split a bottle of Oregon Pinot Noir and watch a music documentary on Netflix. You're well on your way to being BFFs for life.
Muscle Shoals tells the incredible story of how one poverty stricken country boy from the tiny town of Muscle Shoals, AL founded a recording studio so big artists like the Rolling Stones and Aretha Franklin were practically begging to come record there. It's a rags to riches (to loneliness) kind of story.
It's also a story about what music means to us. Where it comes from. Where it takes us. Bach once said that "the final aim of all music should be to the glory of God." He could have just as easily said that music doesn't only aim to glorify God, it also conveys the glory of God. It's why Jesus tells the people singing his praises that if they wouldn't the rivers, rocks and trees would.
How a town so small made such a huge impact in the music business is a David & Goliath type storyline, the kind Malcom Gladwell could easily write about. And the clips with Bono, Keith Richards, Mick Jagger, and Steve Winwood certainly don't hurt either. Who doesn't love to see half-drunk Brits talk about, well, anything really? Fun laced fascination.
But the thing I kept thinking during the film, and well after, is that even though you buy a ticket to watch Muscle Shoals, somewhere in the middle you find yourself not just watching, but worshipping. How does the old hymn go? Lost in wonder, love and praise? Yes. Lost in wonder, love and praise.
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Tibet Mount Kailash Tour is a pilgrimage tour to the holy Mt. Kailash and Lake Manasarovar. It is possible to enter the Tibet from Mainland of China or travel though the Kathmandu (Nepal) by Plane and overland. Mount Kailash (6714 m) - also known as Tise, Kailasa or Kang Rinpoche (Jewel of the Snows) has since time immemorial been celebrated in many eastern cosmologies as Mt. Meru, the axis-mundi. As the center of the physical and metaphysical universe, Mt. Meru (Kailash) is sacred to the Hindus, the Buddhists, the Jains, and the Bonpos. For the Hindus, the mountain represents the seat of Shiva. For the Buddhists, a terrestrial projection of the cosmic mandala of the Dyani Buddhas and Boddhisatvas .… the wheel of Life.
For the devout pilgrim a visit to Mt. Kailash and Lake Mansorovar forms the ultimate realization of their spiritual pursuit. And for the adventure-lovers it offers rugged beauty, remoteness and solitude. Each year, the month of June hosts the delightful Saga Dawa Festival while most of the other trips are planned to arrive at Mt. Kailash during the full moon period to give all participants a rare experience. A journey rightly called `once-in-a-lifetime'.
Mount Kailash and Lake Mansorovar tour itinerary is possible to make drive in and out from Nepal Tibet border (Kodari) but after 2015 earthquake the Kadari border was closed so Nowadays Mount Kailash tour only possible to operate from Lhasa (Tibet) to Lhasa means you need to fly Lhasa from Kathmandu or enter Lhasa from mainland of China. The Lhasa to Mount Kailash tour is providing an opportunity to explore the Lhasa city, Holy Mount Kailash and Lake Mansorovar at once.
We are the leading and pioneer Tibet tour operator equipped with experienced man power, contacts and resources to handle all the logistics of such a tour. Our support staffs are strong, hardy Sherpas who have been several times to Mt. Kailash and have a reputation of hospitality that is now an established legend. We welcome you all to experience the bliss and magic of being at Mt. Kailash and Lake Manasorovar with us.
Day 04: Drive Shigatse – Saga (450km – 9 hours).
We start an early morning drive to Saga, please note this will be a long drive but on the way we can make enough stop and lunch.
Drive back to Lhasa from Shigatse and transfer to Hotel.


text:
CDC Features
Making Sure Children Get the Mental Health Care They Need
Learn about innovative solutions that connect families to mental health care.
Nearly 1 in 5 U.S. children have a mental, emotional, or behavioral disorder, such as anxiety, depression, attention-deficit/hyperactivity disorder, conduct disorder, and Tourette syndrome. Early diagnosis and treatment are very helpful for these children, but some families may have trouble reaching a provider of mental health care.
Problems Accessing Mental Health Care
Some families of children with these disorders may struggle to get care:
Shortages of child psychiatrists, psychologists, and behavior therapists may cause some families to be on waiting lists to see a provider.
Other families may not have a mental health provider in the vicinity and may not be able to travel long distances to visit one.
When families are unable to see a mental health provider, their child's pediatrician or family doctor may sometimes diagnose and treat the child's disorder. But only about 1 in 3 pediatricians report that they have enough training to diagnose and treat children with mental disorders.
Improving Access to Mental Health Care
To help solve these shortages, the Centers for Disease Control and Prevention (CDC) and our partners are exploring promising practices to help connect children and their families to mental health care. These include telemedicine, efforts to build partnerships between mental health care and primary medical care, and school-based care.
Telemedicine uses phone, video conferencing, and internet technology to provide health care from a distance. For families of children who cannot otherwise reach a mental health provider, technology can connect parents and children to the help they need.
Partnerships between Mental Health Care and Primary Medical Care
Mental health and primary medical care providers can work together to include mental and behavioral health screening and treatment into primary medical care, which is known as "behavioral health integration." These efforts can include the following:
Behavioral health specialists practicing on-site in primary medical care offices.
Using technology to deliver training in mental health care and consultation to primary medical care providers, resulting in improved referrals and communication.
School-Based Care
Schools can be a convenient setting for children and families to access health care, especially in rural or isolated areas. School-based mental health care can include screening, treatment, and medication monitoring.
What is CDC Doing?
CDC's National Center on Birth Defects and Developmental Disabilities (NCBDDD) is committed to helping children who have mental, emotional, and behavioral disorders. Through research and resources, NCBDDD helps families of these children get the support they need. We study mental and developmental disorders, identify factors that put children at risk for these conditions, and share that research with state and local decision-makers and medical professionals.
CDC has created the following resources that describe problems with access to mental health care for children and promising practices to improve access:
A CDC policy report Cdc-pdf[1.11 MB] that presents promising practices for delivering mental health care in rural areas.
A CDC-sponsored report published by the Milbank Memorial FundExternal that describes approaches to better connect behavioral health professionals with primary medical care practitioners.
CDC Morbidity and Mortality Weekly Report (MMWR) rural health special issue, "Differences in Health Care, Family, and Community Factors Associated with Mental, Behavioral, and Developmental Disorders among Children Aged 2-8 Years in Rural and Urban Areas – United States, 2011-2012" and the associated New England Journal of Medicine commentaryExternal that highlights systems solutions that address differences in access to mental health treatment for those living in rural areas compared with those in urban areas.
State maps showing the number of U.S. mental health providers per 10,000 children by county
By exploring innovative ways to deliver mental health care, we can help children with mental, emotional, and behavioral disorders, and their families. State and local decision-makers, mental health and primary medical care providers, and schools can work together to support promising practices and identify new approaches that improve access to mental health care for children.
CDC's Children's Mental Health website
CDC's Child Development website
CDC's National Center on Birth Defects and Developmental Disabilities website
Page last reviewed: June 7, 2017
National Center on Birth Defects and Developmental Disabilities
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text:
Human Resource Machine
Tomorrow Corporation
Oct 15, 2015 - Wii U, PC, Nintendo Switch
FNintendo
We Got This Covered
Human Resource Machine Media
Human Resource Machine - Trailer #1 (by Tomorrow Corporation)
Critic Reviews for Human Resource Machine
Angus Morrison
A technically excellent educational game, but dry for all but maths enthusiasts.
Laura Kate Dale
I came out of Human Resource Machine unsure who it was really designed for. It's at times too simple for experienced programmers, and often made leaps too large for beginners to overcome without obtuse outside research. While I had a sense of accomplishment every time I made progress, said progress at times felt like I was an infant thrown into water and expected to swim straight away. I might manage it, but it's not the ideal teaching method to leave me feeling comfortable going forward.
Diogo Caeiro
It's very well designed and it can help those without programming skills with their first steps in this world. It also does its job with very well implemented touch controls, but it will not be a significant challenge to players who already have programming skills and its 38 levels might feel too short.
Review in Portuguese | Read full review
Steve Bowling
Human Resource Machine is one of the most difficult puzzle games we've played in quite some time. It's not difficult for difficulty's sake though, it's difficult because it's different. It requires you to think less like a gamer and more like a developer. One of Human Resource Machine's only major fault is that there are far too few puzzles; its 38 puzzles go very quickly once you have the hang of how to program, leaving a game that could be completed in under an hour depending on your skill level. For those with no programming background, these same puzzles could take hours of your time. It's an excellent game, it'd just be better if there was more of it; that's not a bad problem to have.By their nature, the puzzles in this game are going to limit its potential audience, and the explanations the game provides don't do the best job of conveying how to order commands and do little to advise on how to optimize your code to achieve secondary objectives. That's appealing for some, but is worth acknowledging as a potential drawback for others.Human Resource Machine is a good game, bordering on great. It's just missing a few little tweaks.
António Branquinho
Puzzle games rely on the difficulty of their challenges and Human Resource Machine certainly excels at that. A puzzle game that carves its own territory within the puzzle game genre, this is a work that features a very steep difficulty curve, very demanding challenges, a very peculiar sense of humour and a presence of mathematical elements throughout the whole game. Thanks to its perfect control system, Human Resource Machine is a delight to interact with, the Nintendo Switch is getting the definite version of this unique game.
Shaan Joshi
As clever as it is charming, Human Resource Machine is a must-have for anyone interested in puzzles and programming.
Jonathan Harrington
Human Resource Machine is great. The gameplay is superb, finding the perfect middle ground between complex riddles/simple solutions wrapped in an stellar set of gameplay systems. The visuals are expectedly gorgeous, clever, and unique. The music is stellar, and the story, world, and characters are engaging. There's even some well done humor thrown in. The puzzles may get too complex at times, but Human Resource Machine is a game anyone with an interest in challenging puzzlers should play.
Ron DelVillano
Human Resource Machine is a grim reminder of what life can be if you allow yourself to waste away and become part of the corporate machine. Beyond that, it's also a decent puzzle game if you're interested in simple coding and assembly language. This Switch version doesn't bring any significant changes along with it to make it stand out from previous platform releases, but it still manages to deliver a unique puzzler experience that will leave you scratching your head if you don't throw your Switch against a wall first. If nothing else, Human Resource Machine is reassurance that even if there is no escaping the soul-crushing banality of reality, at least we have videogames!


This organisation is an exceptionally well run, specialist manufacturing business that is going through major change and growth, successfully trading in the UK and across Europe. Due to increasing demand for their products and services, they have asked us to assist in the search for an impactful and focused Production Manager who can lead change throughout the shop floor and the production process.
This role will see you responsible for overseeing all production stores and dispatch staff, as the production team currently operates over 3 shift patterns. They employ almost 100 staff in this department.
Reporting directly to the Directors, you will be entrusted with a high degree of independence and have a genuine opportunity to make a meaningful impact towards the growth of the business. This will be your department to shape, and implement ideas but most importantly drive change as the organisation grows.
Not only will you develop and implemented a change culture in the business, we are also looking for the Production Manager to drive Lean and Continuous Improvement throughout the manufacturing and production process.
They are a technology driven manufacturing business specialising in the creation and fulfilment of high-volume, customised products, through batch production. Lead times will be as quick as 24 hours, therefore daily planning for your team is essential.
Ensure a safe working environment for all team members, working with the Health and Safety manager as needed.
You will have the drive to make a success of this department, and make it your own.
A major advantage would be if you have experience of fast paced manufacturing, short lead times and good working knowledge of small batch quantity manufacturing.
If you like the sound of the above role, please apply for a further conversation.


text:
New focus - Army Ancestry Ltd
I'm changing the focus of this site to concentrate on making it an information resource for people interested in finding out more about their British military ancestor/s.
More and more information is now available on-line these days, and the pattern looks set to continue. That has to be good news for everybody. On the main site then, you'll find links to free resources and to paid ones (although a lot of the paid resources can be accessed on a 14 day FREE trial basis).
If, at the end of the day though, you are still looking for a researcher, we recommend Mike Shingleton at Researching the Past. Click on the link to read more.
Labels: Army Ancestry, British Military History Research
WW1 Records from Ancestry
Good to see that Ancestry has rectified its search function and that the records for soldiers in the WO 363 series can now be interrogated properly.
Ancestry has also published De Ruvigny's Roll of Honour on-line. This contains the biographies of over 26,000 Great War casualties and includes 7,000 photographs.
Finally, Ancestry has also made available, Ireland, Casualties of World War 1, 1914-1918 which provides "information on over 49,000 Irish men and women who died in the Great War."
Search for all of these records by visiting Ancestry.co.uk.
Labels: Ancestry, Army Ancestry, De Ruvigny, Irish Casualties, WW1
WW1 Service Records
Ancestry has uploaded the remaining service records from the WO363 series on its website.
After an initial hiccup, the search function for this series now appears to be working better than it was, although it is still far from perfect. I just hope that Ancestry rectifies this soon. I find it amazing that such a large company can release such an important product without any apparent quality control checks.
Labels: Army Ancestry, WW1 service records
1911 Census - 20% discount
This has a tenuous army ancestry connection I suppose, but it's worth reminding visitors that Find My Past is currently offering a 20 per cent discount on 1911 Census searches. The offer expires on 31st October (that's Saturday), so you'll need to be quick.
Labels: 1911 Census, Army Ancestry, Find My Past
Families in British India Society - FIBIS
If your relative lived or worked in India between 1600 and 1947, he or she may just feature on the FIBIS database. I checked for some of my own relatives and was pleasantly surprised to find them listed.
Check the FIBIS site HERE.
Labels: Army Ancestry, British India Society, FIBIS
National Archives - October 2099
From the National Archives:
"This month sees the 100th anniversary of the Security Service, the UK's national security intelligence agency. Known for keeping personal files on a great range of individuals, the Security Service has released over 4,000 of these files to The National Archives since 1997.
The Security Service files cover a period up to the late 1950s and are open to the public. You can view many of them on our website, including those of Sidney Reilly, the spy thought to have inspired James Bond. Our new security history research signpost provides a good overview of the files, and offers some tips on searching them."
Do also note that the NA has revised its opening times and that from 4th January 2010, the NA will be closed on Mondays. Alright for some.
Labels: Army Ancestry, National Archives
Unit war diaries of the First World War
Ninety four years ago today, allied forces attacked the German lines at Loos and in diversionary attacks further north. By the end of the day, nearly ten thousand British troops lay dead.
There's an increasing appetite for all things WW1; an appetite that will surely continue to increase as we approach the 100th anniversary of the outbreak of war, the 100th anniversary of Mons, of Festubert, Neuve Chapelle etc.
The majority of our work is concerned with First World War soldiers and even though, thanks to a 1940 bombing raid on London's docklands, the majority of service records for Other Ranks no longer survive, it's still possible in many cases to make assumptions about a soldier's service based on his medal index card (if he has one) and the war diary of the unit to which he belonged.
War diaries often provide a treasure trove of information and are really the primary sources of information (along with Brigade and Divisional diaries) when it comes to the day to day routines of a particular battalion or battery or other army unit.
So if your ancestor's service records went up in flames in 1940, don't despair. Get in touch with us and who knows, you may find him mentioned in a war diary.
Labels: Army Ancestry, First World War, war diaries, WW1, WW1 service records
Old Harrovians in the Great War
I get sent so many links one way or the other and I forget that not everybody may be aware of the treasure trove of information available on-line. This link will take you to biographies of Old Harrovians who died during the Great War:
Harrow School - Fallen in WW1
The period covered in this volume is 23rd August 1914 to 20th March 1915.
Labels: Great War, Harrow School, World War 1, WW1
Updates - week ending 12th September 2009
It's been stop-start at the Commonwealth War Graves Commission this week. First there was a new search facility on its on-line Debt of Honour and then, in the blink of an eye, it reverted to the old one again. Meanwhile though, work at the Fromelles burial site ended this week. The BBC news website carries a number of articles on the work at Fromelles and if you have a relative buried there, the BBC website is a good first port of call.
Some interesting commissions this week involving soldiers who fought in the Crimea, South Africa and Egypt. I have a separate project covering British Army Medals and I've already touched on the Egypt Medal. In time, these pages will be updated to include details of the British Regiments which served in each campaign.
A friend of mine has sent me a link to some WW1 Regimental histories which are available on-line and can be downloaded. All you need is sufficient space on your hard drive!
Finally, I know that many enquiries for army military history research are coming via my Army Service Numbers blog. Work on the database continues apace and the data I publish on the blog is just a small sample of a far bigger work. There is limited data available elsewhere on-line but the Duke of Cornwall's Light Infantry is one of those regiments which is comprehensively covered. If you have a relative who served with the 46th (South Devonshire) Regiment of Foot or the DCLI, then THIS SITE is for you.
Drop me a line if you'd like us to quote on your military history project.
Labels: Army Ancestry, British Military History Research, military history
CWGC update
From the website of the Commonwealth War Graves Commission:
"Following extensive consultation with users of the popular CWGC website, we have made several changes to the "Search Our Records" section , which will make it easier for people to search our database of 1.7m Commonwealth casualties. However, a technical problem has affected these changes, which has required the temporary reinstatement of the previous search tool.
"It is our intention to adopt the improved system, once the technical problem has been resolved. As well as providing a more intuitive system, the changes to the records search facility allow for greater security of our database but regular users may wish to note that one of the likely results of the security upgrade is that external websites will be unable to take advantage of the links to individual casualty details which are currently available.
"We are confident that these changes to the search facility represent a significant improvement on the previous system and that users will find the changes useful."
It's a shame that external sites will not be able to link to individual casualty details but presumably CWGC has its reasons for including this restriction.
Labels: Army Ancestry, Commonwealth War Graves Commission
National Archives - update
New from the National Archives:
"To celebrate the 70th anniversary of the Second World War, we have created a series of six videocasts entitled 'War on Film'. These describe key events that inspired popular war films, using extracts from real government records and archive footage.
Discover the real stories behind films such as 'The Dam Busters' and 'The Longest Day', as retold by our military records specialist William Spencer.
The first videocast looks at the Blitz and the evacuation of children from large cities, as shown in the film 'Hope and Glory'. Watch it now."
Having reported yesterday on the new-look CWGC Debt of Honour website, I see that today it has reverted to the old-look.
A makeover for cwgc.org
It's a pity that the Commonwealth War Graves Commission has missed an opportunity to make its on-line Debt of Honour Register more user friendly.
The new-look Register appears today but its only so much old wine in new bottles and could have offered a lot more. I've always found the search function frustrating. The CWGC holds a lot of information about the men and women it commemorates but only allows the visitor to search on basic terms. The old look-look site allowed visitors to search on surname and initial and then war, year of death, service (ie army, navy etc) and force (ie British, Australian, Canadian etc). The new-look site allows visitors exactly the same options albeit you now have to make one extra click to bring up the "advanced" [sic] search options of war, year of death, service, and force if you discover that typing in "Smith" and "J" is simply going to present you with too many possibilities.
They've changed the font and the point size and also laid out the information in a different order but the search engine still falls woefully short. Why for instance can we not search on the person's full name, or actual date of death, or army number, or regiment, or battalion? Why can we not search on keywords contained in the additional information? The CWGC contains all of that data and it therefore surely can't be such an onerous or difficult task to include these as search options.
In its favour, there are more search options once the results have been returned. I see that there are 1001 results for J Smith (that's the equivalent of a WW1 battalion of men named J Smith) and once the results are returned it is then possible to sort the information by surname, rank, service number, date of death, age, regiment/service, force, memorial/grave ref, and cemetery/memorial name. All of this is an improvement and proves that it is possible to manipulate all of the data fields. So why then can we not search on all of these?
The CWGC has also missed an opportunity to link in with The War Graves Photographic Project and include details of individuals for whom a war grave or memorial photo exists. This is both surprising and disappointing, particularly as TWGPP works as a joint venture with CWGC.
If I was a teacher, marking this latest piece of 'homework' from CWGC I'd be writing "could do better" in the margin. Let's hope that the next upgrade, whenever it comes, makes the site even more user friendly.
Labels: Army Ancestry, Commonwealth War Graves Commission, CWGC
Updates - week ending 5th September 2009
I've started another blog; this time commemorating the dead of WW2.
The Second World War has never held the fascination for me that the First World War does. Maybe that has something to do with the fact that my relatives were mostly Great War era veterans rather than Second War. My childhood was peppered with anecdotes of the horrors of the trenches rather than atrocities in Burma, or heroism at Dunkirk. But this week has marked the seventieth anniversary of the outbreak of World War Two and so on 3rd September 2009, 70 years to the day that Britain went to war against Germany for the second time that century, I started a WW2 Remembrance blog and like the WW1 Remembrance blog I'll be updating that daily.
I've also started a site for military books, an attempt to draw together publishers under one roof, and again highlighting British military involvement in conflict since 1800. The Military History Bookshop is HERE.
And whilst on the subject of books, I recently picked up a number of medal reference works which make great companions for the various medal rolls that I hold and which I've used on the British Army Medals site. Medal collecting is an area I've dabbled in, albeit not as much as I would have liked to. That's one hobby that requires deep, deep pockets.
Finally, it's been a busy week again on the military research front; mostly WW1 era but with some interesting Victorian projects spanning the Indian Mutiny and Boer War. Get in touch if you'd like us to help with your own project.
The photo shows a very sodden Kirkee War Cemetery, Pune. I took around four hundred photos there for The War Graves Photographic project a few years ago.
Labels: British Army Medals, WW1 Remembrance, WW2 Remembrance
How burnt is burnt?
I was adding a WW1 Remembrance post for a man who died on this day in 1914 and I thought it might be an idea to say a few words about the documents held in the WO 363 series at the National Archives. Commonly referred to as the burnt documents, these are the papers that were damaged when the Germans bombed the War Office Record Store at Arnside Street, in London's docklands in September 1940.
The majority of papers stored at Arnside Street were completely destroyed and many of those that survive bear the scars of flame or water from the firemen's hoses. What that means for today's researcher is that if your ancestor's papers haven't been turned to ashes or even singed, the water may have obliterated the content.
Nonetheless, the WO 363 series does contain records of servicemen who died, unlike the WO 364 series which, as a series for pensions awarded to WW1 servicemen is not supposed to. That at least is the theory, but having personally found records for soldiers who died in the WO 364 series, I would suggest that it is always worth checking.
Labels: Army Ancestry, burnt documents
Updates - week ending 29th August 2009
It's been another busy week with enquiries ranging from British military campaigns in India in the mid 1800s, to the Second World War. All fascinating stuff and we're always happy to quote on your research projects.
As I indicated a couple of days ago, Ancestry has now published records on WW2 prisoners of war and a WW2 Roll of Honour. CLICK HERE to go direct to the Ancestry site.
As I mentioned, the WW2 Roll of Honour is not a complete record of service of those who lost their lives whilst in the service of their country. My own relative, Charles Stanley Bothwell, lost his life in January 1941 after being knocked down by a car during the blackout. He was in uniform, serving with the Royal Pioneer Corps, and was buried under a Commonwealth War Graves Commission (CWGC) headstone. However, his name does not appear on the WW2 Roll of Honour. The WW2 Roll is a useful addition to the WW2 archive but use it in conjunction with the CWGC roll of honour. Search the CWGC database HERE.
Whilst on the subject of Word War Two, it's worth repeating that WW2 service records are not yet accessible to the general public. These are still held by the Ministry of Defence and, if you're a relative, you would be best advised writing to the MoD in the first instance. We can help you with operational records - war diaries and the like - but the personnel files are currently off limits.
Finally, this is the last weekend of the Naval & Military Press summer sale which ends on Monday. We've taken advantage of some great discounts on previously difficult-to-find titles and have added to our library. Click on the link below to search the extensive catalogue.
The image on this post comes from the National Army Museum's archive and dates from 1858. It shows an elephant pulling a field gun in India during the Indian Mutiny. I was at the NAM last week - well worth a visit if you happen to be in London.
Labels: Army Ancestry, National Army Museum, Research, WW1 research, WW2
WW2 - New releases from Ancestry
Ancestry has announced that it has published the following two data sets for the Second World War: WW2 PoW Records and a WW2 Roll of Honour. Details as follows:
1. WW2 PoW Records
Contains over 100,000 British Army Personnel PoW records. If your ancestors were held as prisoners of war in Germany up until 30th March 1945, you can now discover where and when they were captured and where they were held.
2. WW2 Roll of Honour records
The roll covers 349,000 people who died between 1st September 1939 and 31st December 1946, detailing those killed in action, those who died of wounds or diseases and those whose deaths were from natural causes. You can also find out where these events took place and if wounded, where they were sent.
These are important additions to the Ancestry catalogue but the WW2 Roll is incomplete and should be used in conjunction with the Commonwealth War Graves Commission website.
To find out more, search the Ancestry catalogues or Get in touch with us if you'd like Army Ancestry Ltd to search for you.
The Hulton-Deutsch photo above shows British Prisoners of War being liberated by soldiers of the 9th Army at a PoW camp in Brunswick, Germany in 1945.
Labels: Army Ancestry, PoW, Roll of Honour, WW2
Updates - week ending 22nd August 2009
I was looking at the Dix Noonan website earlier in the week and noticed that the company offers a FREE facility to search various medal rolls.
The rolls on offer are:
Military General Service 1793-1814
Naval General Service 1793-1840
Army of India 1799-1826
Indian Mutiny 1857-1859
Click HERE to search the Dix Noonan medal rolls.
If the campaigns above do not cover your own ancestor's military service, don't despair. We have a number of Victorian medal rolls in our archive (including the Indian Mutiny roll above) and we can conduct searches of others held at the National Archives. Get in touch with your details.
More enquiries this week regarding First World War and Boer War veterans. There have also been enquiries regarding men who were serving after 1921. Whilst we can certainly assist with campaigns up to 1920, there is a limit to how much assistance we'll be able to provide after this date. Service records beyond this date are not currently in the public domain and your best bet - if you're a relative - will be to contact the Ministry of Defence. See our Post 1920 page for details.
We've added a British Military Bookshop link to this blog (see left) and will repeat this on the main Army Ancestry site. We also feature the Naval & Military Press which, in our opinion, offers the widest range of military history titles including many fabulous reference works which will be must-haves for serious enthusiasts and collectors alike. N&M Press is currently having a sale of stock which means that there is 20 per cent off ALL titles. Grab yourself a bargain!
Labels: Army Ancestry, Dix Noonan, medal rolls
Updates - week ending Saturday 15th August 2009
More enquiries this week from Ireland, Australia and of course, the UK; the majority of these concerning First World War soldiers.
It's a frustrating fact of WW1 research that service records for the majority of Great War Other Ranks were destroyed in a bombing raid by Hitler's Luftwaffe in 1940. Those that weren't destroyed by fire were often badly damaged by water from the firemen's hoses. These documents, collectively known as the Burnt Documents, are archived in the WO 363 series at The National Archives. A second series of (undamaged) pension records exists in WO 364 and there are also First World War records in various PIN series. PIN 26 is for men wounded and receiving a pension, PIN 71 is men invalided to pension and PIN 82 is the series for men who died as a result of war service and whose widows subsequently claimed a pension. If your WW1 ancestor was an officer, you stand a good chance of finding him in WO 374 and WO 339.
But if your ancestor's service record has been destroyed, DON'T DESPAIR! It's likely that we can still glean some information about when he joined up and possibly when he was discharged and where he would have served.
First World War medal index cards exist for men who were awarded medals or a silver war badge and we'll check any army service numbers against our extensive database of British Army numbers which extends from 1881 through to 1918. This, as far as we are aware, is a unique and invaluable reference resource which can provide vital clues about your ancestor's service.
Medal index cards refer to the actual medal rolls and if you don't know the battalion in which your ancestor served, these are certainly worth checking. Similarly, the Silver War Badge medal rolls will often give the date and place of birth of the recipient.
Armed with information from the medal index card, the medal rolls and our army service numbers database, we can then think about checking the war diaries. It's unlikely that your relative will be mentioned by name (unless he's an officer or - as an outside chance - a senior NCO) but the diaries are still worth checking. Some battalions buck the trend and mention Other Ranks by name, and in our experience you're more likely to find the name of your ancestor in the early pages of a war diary than for those written later in the war.
So, DON'T GIVE UP! We'll always advise you on our recommended approach and we'll access the relevant files for you. Drop us a line via our GET IN TOUCH page or leave a comment on any of these update posts.
The soldier pictured at the top of this post is Charles Sabourin of the East Surrey Regiment. Charles is a good example of a man with a badly damaged service record in WO 363 (see above) and also an Other Rank who is mentioned by name in the 1st East Surrey war diary. Charles, wounded on 23rd August 1914, is one of several men noted in the war diary as being missing in action. In fact he had been captured by the Germans and, minus his right leg, would be repatriated to England in February 1915. You can read more about Charles Sabourin on the Chailey 1914-1918 website.
Labels: Army Ancestry, Chailey 1914-1918, medal index cards, medal rolls, WW1 research, WW1 service records
Updates - week ending Saturday 8th August 2009
It's been another busy week with enquiries covering men whose service spanned the years 1880 to 1918 and who served with the Militia, the Volunteers, the Territorial Force and the regular army, both pre and post Cardwell reforms. We've also supplied information on a couple of Royal Navy men - service records plus details of the ships, with photographs, on which they served.
Talking of Cardwell, there's a good chapter in Edward M Spiers's book, The Late Victorian Army 1868-1902 and it's available to read on line via Google books. HERE'S THE LINK.
Enquiries this week have come from throughout the UK and overseas. We always aim to respond to enquiries within 48 hours and, when given the go-ahead, to complete the work within two weeks - and usually a good deal sooner than that. We'll also always give you an outline quote so that you know exactly how much you're going to be spending.
I used the photograph above on one of my WW1 Remembrance posts. It shows the Thiepval Memorial on the Somme, under construction in 1930. Two years later it would be unveiled, it's vast columns recording the names of over 72,000 men who died on the Somme battlefields and have no known grave. The photograph appears on the Australians on the Western Front 1914-1918 website.
If you'd like to find out more about your military ancestor, don't be shy; do drop us a line. We look forward to hearing from you.
Labels: Army Ancestry, Cardwell, Somme, Thiepval, Victorian Army, WW1 Remembrance
Updates - week ending Saturday 1st August 2009
A flood of enquiries this week, but first an appeal to DAVE BIRD, enquiring about your relative killed in action at Ypres. Dave, please re-submit your enquiry as your e-mail address was incomplete.
Queries into the Army Ancestry mailbox this week have mostly been WW1 related, although we have some potentially interesting Boer war era work and we are also checking the availability of surviving (and publicly accessible) documents relating to a WW2 Lt Colonel killed in action with an Indian regiment in 1941.
Enquiries this week have come from Australia, Canada, Britain and the Republic of Ireland.
The image on this post appears on the Hampstead Pals website and shows the Arras Memorial to the Missing. One of our projects this week was for a man whose name appears on the Arras War Memorial.
Labels: Army Ancestry, Arras Memorial, Boer War, WW1, WW2
Army Ancestry - welcome
This is the section of the Army Ancestry website where I'll provide news about on-going Army Ancestry projects as well as general developments in army ancestry and military history research which I hope our clients and visitors will find helpful.
Get in touch with us either by visiting leaving a message here, on this Army Ancestry blog, or by filling out the form on the Get in Touch section of our website. You should always expect to hear from us within 48 hours. If you don't, it means that the e-mail address you've supplied is incorrect or incomplete, or that our response back to you has not been delivered. These things happen occasionally so re-submit your enquiry if you've fallen victim to e-mail gremlins.
Paul Nixon
Army Ancestry
Labels: Army Ancestry, latest news, military history, updates


Much of the East Coast experienced record snowfalls last week. While I certainly enjoyed the beautiful pictures and videos that my friends out east shared, my heart went out to those who experienced varying degrees of disruption in their lives. We in the Midwest were spared, but it's only a matter of time before it will be our turn to experience the disruption and chaos that storms bring. In fact, the current heading on weather.com reads, ""Big Midwest Winter Storm Predicted Next Week With Possibile Blizzard Conditions." Whenever a major snowstorm occurs, or for that matter a hurricane or tornado develops, it is common to hear people complain after the storm that predictions of the storm were not accurate. Whether the storm turns out to be better or worse than anticipated people find themselves wondering how the experts could have been be so far off in their predictions. I imagine that some of the questions are simply a product of the general crankiness that people often feel when a storm has disrupted their lives. The weather stations it seems are as good as any other place for people to direct their frustrations.
What I find amusing about people being upset with storm forecasters is that storms by their nature are far outside the range of normal conditions. They are therefore inherently difficult to predict. Behaving in ways that are unpredictable are what make storms, well....storms. It seems clear that even with all our best technology, we cannot control nature. The benefit of most storm forecasts is not that they are perfect in forecasting the exact details of what will occur, but that they give us a warning. They are meant to provide us with a general warning so we have time to get prepared for extreme and unpredictable conditions.
Just this week I, too, found myself in the role of a storm forecaster, and so maybe that is why I am feeling some empathy for those who make their livings forecasting the weather. A colleague was describing a significant change through which she was leading her organization and together we agreed that storms were on the horizon as this change began, emotional storms related to changing the status quo. I also had a conversation with a young couple who is about to have their first baby. We talked about the joy and excitement they felt. I thought it was important to let the new parents know as well that there would probably be some storms ahead as this major change in their current sense of "normal" was sure to feel disruptive and chaotic at times.
As in weather predictions, it is never possible to predict the exact details of what an emotional storm related to change will look like or how severe it will be and how long it will last. It is only possible to predict that whenever significant change occurs, there will more than likely be a period of storminess as the people involved get used to the new normal.
Planning to retire? I predict there will be a storm ahead. Starting or ending a relationship? A chance of storms is clearly predicted. Moving? Starting or leaving a job? Child leaving for a place of their own? A new child in the family? New initiative at work? If you answered yes to any of these questions, then storms are in the forecast.
And as any storm forecaster will tell you, it is important to be prepared. Just knowing that a storm is coming, even if you don't know the exact details of its severity, allows you time to ready yourself mentally, physically, and spiritually for both the challenges and excitement that storms inevitably bring.


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Good Samaritan Society - Arthur
150 County Rd. 34, Arthur, ND 58006
Learn more about the Good Samaritan Society.
Child daycare services offer supervision and age-appropriate programs to foster children's social skills, language skills, physical skills and self-help skills.
Good Samaritan Society child daycare programs that are part of a senior living community provide wonderful opportunities for intergenerational experiences.
Open 6 a.m.–6 p.m.
2 meals + snacks provided
In Arthur, North Dakota, these services are provided by an outside organization, which rents the space from the Society.
Call (701) 967-8316 to learn more.
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