text:
\section{INTRODUCTION}

Rushmeier et. al \cite{rushmeier2007revisiting}, defined visual education as a work in progress. Meanwhile, the number of students enrolled in visualization courses, both face-to-face and online, has grown dramatically in recent years---a growth that makes it difficult to provide students the feedback they need to improve the quality of their work.

Visualization evaluation has been addressed by a number of researchers \cite{Shamim2014Evaluation, eppler2006comparison, Novak2006Theorigins}. While many techniques and algorithms can be objectively measured, most recognize that there are also significant subjective measurements necessary to completely evaluate the effectiveness of a visualization~\cite{viegas2015design}. Such forms of subjective measurement are not just important for the instructor's assessment of students, but the students also need the ability to critically evaluate a visualization.

For practical purposes, visualization education can be split into two categories. The first is learning the proper construction of visualization---using the right visualization principals in creating your own visualization. This tends to be the primary focus of visualization courses. In an era with increasing proliferation of visualization in science and mass media, the second category is focused on evaluation of the quality and accuracy of visualizations in general. These skills tend to be taught through less formal methods, such as group or class discussion. Less formal methods, while critical, leave students' skills underdeveloped.

To this end, we propose a framework for engaging students in peer review as part of their formal visualization coursework. This framework contains 2 parts. First, we provide a reconfigurable assessment rubric for students to learn how to properly peer review visualizations. Second, we provide a step-by-step approach to educate students in proper evaluation techniques by gradually reducing the constraints on their peer reviews over the course of a semester.

\section{Education and peer review}

Assessment is the heart of formal higher education. Bransford et. al \cite{national2000people} defines assessment as a core component for effective learning. Student assessment has many forms in higher education, and one of these forms, used most commonly in the liberal and creative arts, is peer review. Peer review was established as an essential component for many professional practices, such as the scholarly publication process. The fundamental principle for peer review is that experts in any given domain appraise the professional performance, creativity, or quality of scientific work produced by others in their area of competence. Peer review is often defined as the evaluation of work by one or more people of similar competence to the producers of the work \cite{spier2002history}. The principle component of student peer review is assessment of students by other students, both formative reviews to provide feedback and summative grading.

\section{Moxley Rubric}

Moxley \cite{moxley2013big} reports that the use of peer review technologies is changing the ecology of assessment and student motivation. ``Rather than happening after the fact, online assessment systems are becoming part of the teaching and learning process, part of the digital experience that students are so motivated to be part of.'' Moxley utilizes this rubric to develop online peer review, where the instructor can choose between two versions of the common rubric: (1) the numeric rubric, which requires students to score rubric criteria (Focus, Evidence, Organization, Style, and Format) based on a five-point scale; and (2) the discussion rubric, which requires students to write textual comments regarding these criteria rather than scores. While the textual feedback provides more detail, research has shown that instructors have favored the numeric version of the rubric over the discussion version \cite{moxley2013big}. A reproduction of the rubric is seen in Figure~\ref{fig:moxley}.

\section{Background in Visualization Education}

In 2006, the ACM Siggraph Education Committee started the discussion on what visualization education should be. Domik~\cite{domik2000we} recaptured this discussion by posting the question: ``Do we need formal education in visualization?'' She answered this question by stating that we do at least need informal visualization education. In the 2000s, humanities departments started to offer visualization courses to their students, and as a result, Pat Hanrahan proposed implementation of core topics to fit the humanities, including:  data and image models; perception and cognition; interaction; space; color; shape and lines; texture; interior structure with volumetric techniques; and narrative with animation~\cite{ma2005teaching}.

For this study, we embraced Hanrahan's core topics in our classes, due in part to the different backgrounds our students bring to our classes. Understanding the breadth of these topic areas is not necessarily sufficient to be considered skilled in visualization. Gilbert \cite{gilbert2008visualization} described 5 levels of competency that give insight to the depth of topical understanding in visualization. His method outlines step-by-step instruction on visualization design that includes: step 1, representation as depiction; step 2, converting early symbolic skills; step 3, the syntactic use of formal representation; step 4, semantic use of formal representations; and step 5, reflective, rhetorical use of presentation. However, we did not find any discussion or references on how to embed these steps into the analysis of visualization or peer review of visualization.

\section{Approach}

In 2013 and 2014, the University of South Florida hired two faculty into the College of Arts and Sciences and College of Engineering, respectively, to build visualization into their curriculum. This effort was taking place in the context of a larger university-led effort towards improving visualization skills and access to visualization equipment. Both faculty focus on teaching visualization as any technique for creating images, diagrams, or animations to communicate a message using different platforms and programming languages.

In the  School of Information under the College of Arts and Sciences, a course called ``Visualization of Big Data'' was offered. The class is part of new area of concentration in Data Science and was offered to students via an online setting only. In the College of Engineering the Department of Computer Science and Engineering offered the class called ``Scientific Visualization.'' The class was offered in traditional classroom format only as an elective. The key differences between these courses were format (i.e., online vs.\ classroom) and emphasis (i.e., design for the Information Science course and algorithmic for the Computer Science course). In both classes the instructors focused not just on design and algorithmic technique, but they also focused on the analysis of visualizations using models such as the ``what, why, and how'' model of Liu and Stasko \cite{liu2010theories} as a framework for discussion.

During these 2 courses, we employed several peer review techniques. We collected the students' peer review comments with the hope to find patterns. Our premises for the investigation was based on the three principals of Monk et al.~\cite{monk2002funology}:

\begin{itemize}
   \item Careless mapping from data to pictures may lead to erroneous interpretation.
   \item A substantial amount of knowledge is necessary to generate images depicting complex information in a way that prevents erroneous interpretation.
   \item Decision making is increasingly based on visual representations.
\end{itemize}

\begin{figure}[!t]
	\centering
	\includegraphics[trim = 0 6pt 0 0, clip, width=1.0\linewidth]{mox.png}
	\caption{Reproduction of the Moxley Rubric from~\cite{moxley2013big}.}
	\label{fig:moxley}
\end{figure}

\section{Results}

We did not find a single student who directly refereed to the Monk's principles in their peer review, as they were covered in class and in their assignments. Many of the students selected one aspect of visualization without considering the other aspects that are involved in creating and evaluating visualization work. For example, many students simply ignored considerations such as the variables embedded, visual patterns, or time. To illustrate our findings, the following is a common example from a student peer review. The student in this case was asked to review their peer's histogram created using R, based on Monk's principles. The histogram had to be displayed in multiple colors as part of the assignment.

\vspace{10pt}
\noindent\hspace{0.075\linewidth}\begin{minipage}{0.85\linewidth}
\emph{This is the first time in my life I had to provide comments and criticism on my peers' work using open-source R. I certainly had my struggles with R to create visualization, but in this assignment, I have problems understanding to the complexity of visualization and visualization creation using R.}
\end{minipage}
\vspace{10pt}

Furthermore, many of the comments we examined did not have any direct connection to the content of the visualization itself. Thus, we propose a new framework to better teach the evaluation of visualizations.

\section{Proposed Framework}

In the field of Writing Studies, researchers have reported on the practice of using generic rubrics to make global claims about writing development. Beaufort \cite{beaufort2008college}, Nowacek \cite{Nowacek2011Agents}, and Wardle and Roozen \cite{wardle2012addressing} have explored how the ability to write well is a skill that can be mastered in one context and then simply carried over to another context. Moxley \cite{moxley2013big} opposed this approach stating that arguments that make grand claims about student ability based on a handful of rubric scores need to be seriously challenged. Students' scores on one rubric are not necessarily predictive of how they will do when facing alternative genres. To address the limited availability of visualization peer review tools and techniques in the classroom, we propose the following framework adhering to Moxley's recommendation.

\subsection{Peer Review Rubric for visualization education}

The basic structure of our rubric is to divide topics into 5 major assessment categories, with each category having sub-assessments. The sub-assessments contain 3 scoring categories affixed to a 5-point scale (though no scale is shown). The category on the left is reserved for poor performance on the assessment, middle for average performance, and right for excellent performance. Each sub-assessment contains a comments box for providing details about the scoring.

For our rubric, the 5 major assessment categories are: algorithm design, interaction design, visual design, design consideration, and visualization narrative. The categories cover the following subjects: The algorithm design category is concerned with algorithm selection and implementation. Interaction design is concerned with how the user interacts with the visualization. Visual design is concerned with the technical aspects of how data are placed in the visualization. Examples include, visual encoding channels, their expressiveness, and their effectiveness. Design consideration focuses on composition and aesthetics aspects of the visualization, such as embellishments. The final category visualization narrative is critical in projects where the story surrounding the visualization is as important as the visualization itself. This category provides a basic framework for assessing whether the visualization supports the story and vice versa.

\subsection{Customize Rubric}

We also consider customization of the rubric, so it can be built based upon the content of an assignment or customized to fit the course content. Instructors should take our full template, extract the critical components, and add missing components with respect to their assignment and course content. For example, on a computer science assignment, the rubric provides the ability to remove or reduce the number of components dealing with aesthetics and narrative, while emphasizing those for algorithm. On the other hand, for projects that do not implement an algorithm or those for which the algorithm is not critical may skip this category.

Another aspect in which this rubric can also be customized is to reduce the constraints of the rubric itself. Assuming the critical thinking skills of students, particularly in the topic of visualization, are weak, the rubric itself can be a tool to help improve those skills. At the beginning of the course, the rubric can be provided that includes all scoring categories to build an analytic framework in the students' minds. As their skills improve, the 5-point scoring scale can be removed, leaving only the comments section behind. Finally, as students begin to perfect their skills, the sub-assessments can be removed altogether, leaving only the major categories of evaluation. In this way, students will go from highly constrained and guided evaluation to free-form evaluation over the course of a semester.

Finally, we foresee the peer review process appearing much like conference or journal reviews. First, double-blind review helps to reduce the risk of collusion or malicious review. Second, multiple reviews per visualization help to ensure that consensus is built around the evaluation. In addition, each student having to produce multiple reviews helps to reinforce the critical thinking skills. Some of these functionalities are available in learning management systems, such as Canvas.

\section{Risks in Peer Review}

As we implement this framework in our own classrooms, we are keeping an eye out for a couple of key issues. For example, peer review is a compliment to existing educational approaches, but the instructor, as the expert, still needs to provide feedback. Otherwise, some important subtleties may be missed. Second, the risk for collusion or malice are great, even with double-blind reviews. Students talk, and when they talk, they will undoubtedly discover they are evaluating each other's visualizations. Therefore, instructors should take care to randomize peer reviewers, and grades should only be loosely based upon the results of the peer review. It is also important to remember that there is both art and science to design with no single optimal design. Therefore, a peer review may not necessarily be the best mechanism for providing grades. However, peer review naturally supports iterative design improvements~\cite{viegas2015design}.

\section{Conclusion}

We have presented a new framework for evaluating student visualizations based upon peer review rubric. This rubric has a couple of important aspects. First, it provided students a framework for critical thinking and evaluation of visualizations. Second, it provides a mechanism to help with issues of larger class sizes, while still providing students feedback about their work.

Finally, we do not believe that the rubric as presented will be the final static version. We anticipate it will be a growing and evolving document as community members provide their input and the focus of the visualization community changes. As a result,  Appendices A-E represents our proposal for student peer review rubrics based on specific subjects from algorithmic design, interaction design, visual design, design consideration, and  visualization narrative.  For the full proposed visualization rubric, see Appendix A-E. A \LaTeX version of the rubric can be cloned/forked at \url{https://github.com/USFDataVisualization/VisPeerReview}.

\section*{APPENDIX}

\begin{table}[H]
\centering
\caption*{\textbf{Appendix A}: Algorithmic Design }
\label{t1}
\resizebox{\columnwidth}{!}{%
\begin{tabular}{|l|ccccc|}
\hline
	\begin{tabular}[c]{@{}l@{}}\uline{Selection of Algorithm} -   Of the \\ available algorithm options was the best \\ selected?  What aspects of this algorithm \\  make it better or worse than the \\  other possible choices?\end{tabular}
	& \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}c@{}}Below\\ Average\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \multicolumn{1}{c|}{\Square \ Average}
    & \multicolumn{1}{c|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}c@{}}Above\\ Average\end{tabular} \\
    \cline{2-6}
 	& Comments: &  &  &  &  \\ \hline

\begin{tabular}[c]{@{}l@{}} \uline{Correct Implementation} - Does the \\ algorithm appear to produce the correct \\ result, given your knowledge of the data?\end{tabular}
	& \multicolumn{1}{c|}{\Square \ No}
    & \multicolumn{1}{c|}{\Square}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}c@{}}Minor\\ Errors\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}c@{}}Appears\\ Correct\end{tabular} \\
    \cline{2-6}
 	& Comments: &  &  &  &  \\ \hline

	\begin{tabular}[c]{@{}l@{}} \uline{Efficient Implementation} - Is the \\ performance (speed) of the algorithm what \\ you expected? Is is slower? Is it faster?\end{tabular}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}Much \\ Slower\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}As \\ Expected\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}l@{}}Much \\ Faster\end{tabular} \\
    \cline{2-6}
 	& Comments: &  &  &  &  \\ \hline

	\begin{tabular}[c]{@{}l@{}} \uline{Featureful Implementation} - Does the \\ implementation contain the basic \\  required features or are additional features \\ included?\end{tabular}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}Major \\ Features \\ Missing\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}As \\ Expected\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}l@{}}Major \\ Features \\ Added\end{tabular} \\
    \cline{2-6}
 	& Comments: &  &  &  &  \\ \hline

	\begin{tabular}[c]{@{}l@{}} \uline{Datasets Used} - Do the datasets provided \\ give enough information to evaluate the \\ correctness, efficiency, and featurefulness \\ of the implementation?\end{tabular}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}Not \\ Useful\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \multicolumn{1}{c|}{\Square \ \begin{tabular}[c]{@{}l@{}}As \\ Expected\end{tabular}}
    & \multicolumn{1}{c|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}l@{}}Better \\ Than \\ Expected\end{tabular} \\
    \cline{2-6}
 	& Comments: &  &  &  &  \\ \hline
\end{tabular}%
}
\end{table}

\begin{table}[H]
\centering
\caption*{\textbf{Appendix B}: Interaction Design}
\label{t2}
\resizebox{\columnwidth}{!}{%
\begin{tabular}{|llllll|}
\hline
\multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Interaction Selection} - What \\ interaction mechanisms are \\ being used?\end{tabular}}
	& \multicolumn{5}{|l|}{
        \begin{tabular}[c]{lll}
  			\Square \ Linked Views  & \Square \ Filtering  	  & \Square \ Geometric Zoom	 \\
			\Square \ Selection		& \Square \ Aggregation	  & \Square \ Pan/Translate	 \\
  			\Square \ Highlighting 	& \Square \ Semantic Zoom & \Square \ Rotate 			 \\
        \end{tabular}
  	}
	\\ \cline{2-6}
	\multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

	\multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Interaction Effectiveness} - Are \\ the interactions provided highly \\ effective? In other words, does \\ the visualization react in a \\ manner that makes it easy to \\ use or capable of providing rich \\ content?\end{tabular}}
    & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Missing \\ Key\\  Interactions\end{tabular}}
    & \multicolumn{1}{l|}{\Square}
    & \multicolumn{1}{l|}{\Square \ Expected}
    & \multicolumn{1}{l|}{\Square}
    & \Square \ \begin{tabular}[c]{@{}l@{}}Better \\ Than \\ Expected\end{tabular} \\ \cline{2-6}
\multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline
\end{tabular}%
}
\end{table}

\begin{table}[H]
\centering
\caption*{\textbf{Appendix C}: Visual Design}
\label{t3}
\resizebox{\columnwidth}{!}{%
\begin{tabular}{|llllll|}
\hline
  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Visual Encodings} - What visual channels \\ were used to encode data?\end{tabular}}
	& \multicolumn{5}{|l|}{
        \begin{tabular}[c]{llll}
  			\Square \ Position  & \Square \ Curvature	& \Square \ Area	& \Square \ Color Hue  \\
			\Square \ Depth		& \Square \ Shape		& \Square \ Volume	& \Square \ Texture  \\
  			\Square \ Angle 	& \Square \ Length		& \Square \ \begin{tabular}[c]{@{}l@{}}Luminance/\\ Saturation\end{tabular} & \Square \ \begin{tabular}[c]{@{}l@{}}Motion /\\ Animation\end{tabular}
  	\end{tabular}
    }
  \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Intended/Unintended Encodings} - Do all \\ of the visual encoding appear to be \\ intended, or were some accidentally \\ created?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Many \\ Unintended\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Few \\ Unintended\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}All \\ Intended\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Expressiveness of Encodings} - Are the \\ visual encodings attached to the correct \\ type of data for that encoding (i.e. are \\ quantitative data attached to quantitative \\ encodings and categorical data to \\ categorical encodings)?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Many \\ Errors\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Few \\ Errors\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Correctly \\ Assigned\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Effectiveness of Encodings} - Have the \\ maximally effective visual encodings \\ been selected in all cases?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Many \\ Ineffective\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Few \\ Ineffective\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Most \\ Effective\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Integral vs. Separable (Conjunction)} - \\ When visual encodings are mixed, do \\ the combined encodings make the \\ visualization more effective or do they  \\ make interpretation more difficult?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Mostly \\ Ineffective\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}None \\ Used\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Highly \\ Effective\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Effective Use of Color} - Is color used \\ in a same fashion? Do the colors chosen \\ and the application of those colors make \\ the visualization effective?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Mostly \\ Ineffective\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}None \\ Used\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Highly \\ Effective\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Color Contrast and Harmony} - Do the \\ selected colors properly contrast and \\ harmonize?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ No}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Color \\ Used\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ Yes \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}\uline{Colorblind Safety} - Is the visualization \\ colorblind safe? Were redundant visual \\ encodings used?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ No}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Colorblind \\ Safe \\ Color\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ Redundant \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline
\end{tabular}%
}
\end{table}

\begin{table}[H]
\centering
\caption*{\textbf{Appendix D}: Design Consideration}
\label{t4}
\resizebox{\columnwidth}{!}{%
\begin{tabular}{|llllll|}
\hline
  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Clear, Detailed, and Thorough \\ Labeling - Is appropriate and \\ complete labeling used throughout \\ or do missing labels require \\ assumptions about the data?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Labels\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Some \\ Missing \\ Labels\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Completely \\ Labeled\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Missing Scales - Are scales \\ provided for the data?\end{tabular}} & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Scales\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Some \\ Missing \\ Scales\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}All \\ Scales \\ Present\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Missing Legend - Is a legend \\ provided for the data? Does the \\ legend provide useful information?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Legend\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Incomplete \\ Legend\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Complete \\ Legend\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Scale Distortion - Is any scale \\ distortion or deception used in \\ the visualization?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Severe \\ Distortion\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Minor \\ Distortion\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}No Distortion\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Lie Factor - Is there any lie factor? \\ How extreme is the lie factor?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Major \\ Lie\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Minor \\ Lie\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}No \\ Lie\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Data/Ink Ratio - Is the data to ink \\ ratio reasonable? Could it be more \\ efficient?\end{tabular}}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ \begin{tabular}[c]{@{}l@{}}Way Too \\ Little /\end{tabular} \\ \Square \ Much Ink\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ \begin{tabular}[c]{@{}l@{}}Slightly Too \\ Little /\end{tabular} \\ \Square \ Much Ink\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Perfect \\ Amount \\ of Ink\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Chart Junk, Embellishments, \\ Aesthetics - Are appropriate \\ embellishments used? Are the \\ embellishments distracting? Do \\ the embellishments add to \\ the visualization?\end{tabular}}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ \begin{tabular}[c]{@{}l@{}} Way Too Few /\end{tabular} \\\Square \ \begin{tabular}[c]{@{}l@{}} Many \\ Embellishments\end{tabular}\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ \begin{tabular}[c]{@{}l@{}} A Bit Too \\ Few /\end{tabular} \\\Square \ \begin{tabular}[c]{@{}l@{}} Many \\ Embellishments\end{tabular}\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Perfect \\ Number of \\ Embellishments\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Data Density - Has too much data \\ been included in the visualization \\ making interpretation difficult?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Too \\Sparse\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Expected\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Too \\Dense\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Task Selection - Does the \\ visualization enable appropriate \\ visual analysis tasks for the data \\ type and/or dataset?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Unclear \\ Task \\ Selection\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Some \\ Tasks \\ Missing\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Wide Range \\ of Tasks \\ Support\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Gestalt Principals - Have Gestalt \\ principals been used to improve \\ analysis?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Gestalt \\ Principals\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Some \\ Gestalt \\ Principals\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Many \\ Gestalt \\ Principals\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline
\end{tabular}%
}
\end{table}

\begin{table}[H]
\centering
\caption*{\textbf{Appendix E}: Visualization Narrative}
\label{t5}
\resizebox{\columnwidth}{!}{%
\begin{tabular}{|llllll|}
\hline
  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Description of Visualization - Is \\ a description of  the visualization \\ accurate and informative?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Description\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ Incomplete / \\ \Square \ Self-Explanatory\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Complete \\ Description\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Support of Narrative - Does the \\ visualization support the message \\ of the narrative?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}No \\ Description\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\begin{tabular}[c]{@{}l@{}}\Square \ Incomplete / \\ \Square \ Self-Explanatory\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ \begin{tabular}[c]{@{}l@{}}Completely \\ Supportive\end{tabular} \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline

  \multicolumn{1}{|l|}{\begin{tabular}[c]{@{}l@{}}Dataset Used - Do the dataset(s) \\ provide enough information and \\ detail to support the narrative?\end{tabular}}
  & \multicolumn{1}{l|}{\Square \ \begin{tabular}[c]{@{}l@{}}Not At \\ All\end{tabular}}
  & \multicolumn{1}{l|}{\Square}
  & \multicolumn{1}{l|}{\Square \ Partially}
  & \multicolumn{1}{l|}{\Square}
  & \Square \ Completely \\ \cline{2-6}
  \multicolumn{1}{|l|}{} & Comments: &  &  &  &  \\ \hline
\end{tabular}%
}
\end{table}

\bibliographystyle{IEEEtran}

redpajama_set_name: RedPajamaArXiv


Benson-Orth General Contractors serve the hospitality industry locally in the Twin Cities and Metropolitan area as well as nationally, producing stores all around the US. We're established with several national hospitality brands. From our president to our project managers to our field personnel, we understand the aggressive, deadline-driven environment of retail projects and are equipped to deliver on-time and on-budget solutions for retail/hospitality construction projects of any scope to the highest standards.


text:
Public sector unions plan heightened strike action if demands aren't met this week
November 28, 2022 Siyabonga Mtangana
South Africa's public sector workers, who await the government's response to their list of demands this week, have vowed to heighten strike action should the state revert with an unfavourable response.
Labour unions are demanding salary increases of 10% and handed over a memorandum of demands to Public Service and Administration Minister Thulas Nxesi at a protest staged outside the offices of National Treasury in Pretoria last week Tuesday.
The unions gave government seven days to respond to their demands and present a better offer than the 3% baseline and 4.5% non-pensionable increases which the state has unilaterally implemented.
Public sector workers call on government to return to negotiating table
Govt 'hikes' wage offer to 7.5%, public wage bill may balloon to R700bn
"If government fails to respond, we are going to take the battle to them," National Education, Health and Allied Workers' Union (Nehawu) national spokesperson Lwazi Nkolonzi told Moneyweb on Monday.
He said the SA Federation of Trade Unions (Saftu), the Federation of Unions SA (Fedusa), the Congress of South African Trade Unions (Cosatu) and Nehawu will meet on Tuesday morning to discuss the next plan of action.
"If the government doesn't bring a positive response to our demands, there's going to be a serious fight and struggle that we'll be launching," said Nkolonzi.
"Workers are not going to take this lying down, they are going to fight, rest assured. Up until they are offered a better offer than what the government has unilaterally implemented," he added.
Read: Public sector wage talks leave Ramaphosa in tight spot
Nationwide stayaways
Speaking to Moneyweb on Monday, Public Servants Association (PSA) national manager Claude Naicker said its workers will continue to stage pickets from Tuesday, followed by nationwide stayaways that will take place on different dates.
"We'll start our plan of action on Tuesday, going forward in all the provinces. We've earmarked a specific date for [stayaways and protests] in each province," said Naicker.
Meanwhile, Department of Public Service and Administration spokesman Moses Mushi has said negotiations for the 2023/2024 financial year need to commence before the next budget vote next year.
"We are saying that the current negotiations need to be concluded, and we need to do that with the bargaining council so that we can finalise the current wage negotiations, and then look at the next round, that we try and finalise it before the next budget vote," said Mushi.
In its argument, the government has said the 3% baseline increase and 4.5% non-pensionable cash gratuity payment that will last until March next year effectively translates to a 7.5% increase – a salary increase structure unions have outright rejected, calling it "sneaky".
Common practice
But that is common practice, Hugo Pienaar, director in employment law at law firm Cliffe Dekker Hofmeyr, tells Moneyweb.
"It's not uncommon for companies to do that, and why they do it is because future increases would depend on the current basic increase," he explains.
"If there's a 3% [increase] in the pensionable, and a 4.5% on the balance, the 3% will forever be there to the benefit of the employees … However, the 4.5%, not necessarily so. That's about negotiations, and it [government] is trying to make it attractive to the employees.
"Ultimately, the government's affordability levels play a huge role."
If the government's offer is implemented according to the 7.5% increase, the public service wage bill would rocket to nearly R700 billion. If the 10% hike demanded by unions is met by government, that would add R49 billion to the state's wage bill, which would see the total public wage bill spiral even higher to R714 billion.
Previously, Nxesi and Finance Minister Enoch Godongwana said the 7.5% increase is in addition to a 1.5% pay progression that is payable to all qualifying workers. This, they claimed, pushed the total package to a 9% increase for some workers.
Source: moneyweb.co.za
← Nersa sub-committee recommends drastic increase in Eskom diesel budget
Sibanye Stillwater plans $616 mln of spending on Finland lithium project →
UK lawmaker asks Biden to suspend Bain over South Africa graft
February 3, 2022 Siyabonga Mtangana
Wall St ends up with tech, energy; Target falls after margin warning
June 8, 2022 Juanita Slabbert
Rand extends fall after arrest warrant for ANC secretary-general

redpajama_set_name: RedPajamaCommonCrawl


Os Lusíadas, usually translated as The Lusiads, is a Portuguese epic poem.
Written in Homeric fashion, the poem focuses mainly on a fantastical interpretation of the Portuguese voyages of discovery during the 15th and 16th centuries. Os Lusíadas is often regarded as Portugal's national epic, much in the way as Virgil's Aeneid was for the Ancient Romans, as well as Homer's Iliad and Odyssey for the Ancient Greeks. It was first printed in 1572, three years after the author returned from the Indies.
This page was last edited on 8 August 2013, at 12:13.


Reg D is a federal regulation that limits the number and type of withdrawals from Savings or Money Market Accounts to 6 (six) per month (per account).
Which accounts does Reg D affect?
East County Schools Regular Savings or Money Market Accounts are affected. Checking accounts do not have any transaction limits.
The Reg D counter resets at the beginning of each calendar month.
ACH transfers from a Savings or Money Market Account to another financial institution or third party for payment by means of a preauthorized or automatic transfer, telephone agreement, or transfer via Online Banking, including services such as PayPal.
How can I make a transfer if I have exceeded Reg D?
If I have two Savings Accounts am I limited to 6 transactions for each account or 6 in total for both?
Each month you are permitted 6 transfers from each Savings Account.
Please note that once you reach the maximum 6 (six) transfers in a month from the same account, future transfers from the account will not take place. This could result in insufficient funds or overdraft fees, depending on your account balance.


Online giving is a hot topic in the church world. I have posted several times on the topic. I feel every church, no matter the size, should have an electronic giving strategy. I decided to ask others who work with churches their opinion about electronic giving. I will have a series of guest posts over the next few weeks on the subject. I hope you enjoy.
The first is Tim Cool. Tim is a Project Executive with Visioneering Studios Envision.Design.Build. and Founder of Cool Solutions Group. Since 1986, Tim has assisted more than 300 churches, throughout the United States, with their facility's needs. Tim has collaborated with churches in the areas of facility needs analysis, design coordination, construction management, development and facility management.
For those of you who know me, will know me best for my work with church facility development and management. My specialization for the past ¼ century (dang…that just sounds OLD) has been associated with facility planning, design, development, construction and facility management. So what do I know about online giving? Good Question.
I do not know a lot about how online giving works from a technology perspective, other than I use it for all of my family's giving at our church. Our family also pays the lion-share of our bills and expenses on line. So we are well versed and aware of the usage of online giving and believe it to be the trend for the future…like it or not.
While I am not an expert in ACH/Credit Card payment processing or other details of the electronic giving mechanisms, I can tell you that of the 300+ churches I have led through development projects, they all needed money….either cash or borrowed or a combination of the 2. I have never worked with a church with unlimited funds which did not have to pay close attention to their giving trends, generosity initiatives as well as some form of capital campaign planning.
Over the past 3-5 years, the adoption and growing utilization of online giving has had a significant impact on the financial initiatives for the churches we have served, and so understanding these trends has become very critical. Churches need to understand how online giving can stabilize their giving and in many cases actually increase it while also providing a tool that their congregation is most likely already utilizing for their financial affairs outside the church.
Is it really worth it to push people to online giving? Yes, without a doubt. Studies continually show that online donations are more than in person donations. If you teach your people to automate their giving, then your giving will be more consistent. The overwhelming response was that all types of electronic giving improves the regularity of giving.
The average amount of online giving as a percentage of total giving was about 15-25%. But, with many of the fastest growing churches in America, especially with a "below 40 year old demographic", the percentage is much higher. In fact, we have seen as high as over 60%.
While the overall amount of total giving was not dramatically impacted (usually less than a 5% increase in total giving being attributed to the online initiatives) the consistency of giving has drastically improved which provides a much more stable environment for planning, budgeting and implementing new ministry initiatives.
"Seasonal giving" has been much more stable with the implementation of online giving. Even when people are on vacation, they continue to give via their online accounts. This is a real help during the summer and other holiday seasons.
So, while I am not a financial genius, it would appear that implementing online giving in some form or fashion should be strongly considered by any church desiring to great more financial stability as well as providing a method of giving that most of their congregation is utilizing in there every day life. Sounds like a WIN-WIN.
PreviousIs your church website an electronic bulletin board?


Ever since 1997, The RoboCup Federation has been holding annual international research competitions and symposia in an effort to push the state of the art in robotics, artificial intelligence, and related fields.
The community remains healthy and vibrant, with students, postdocs, professors, and industry professionals meeting each year to compete and share their knowledge in a wide range of research competitions.
Based on the beliefs that 1) RoboCup is a unique and special community and venue within the research community, and 2) that the only way to fully appreciate what it has to offer is to experience it firsthand, the RCF is pleased to announce a new RoboCup Visiting Fellows program.
- full travel support for two people from your home institution and free registration to the 2019 international RoboCup Sydney, Australia July 3-8, 2019 as an honored guest and observer.
- up to an additional $10k USD in reimbursements of start-up expenses needed to start a new team for entry in 2020 and/or 2021 RoboCup events.
- detailed, behind-the-scenes education about how the RoboCup community works, including meetings with current organizers and participants.
- a pair of University faculty and a Ph.D. student or postdoc who have never participated in RoboCup, and are interested in learning about and becoming a part of the community.
- please send your CVs and a 2-page statement of interest that includes research interests, how RoboCup could support those interests, and possible RoboCup league(s) of interest.
- a statement detailing what exposure the applicants have had to RoboCup in the past, if any, as well as a statement of commitment to attend RoboCup in Sydney for 6 days, from July 3rd-8th.


text:
Bowlero Corp. (NYSE:BOWL) CEO Thomas F. Shannon Sells 192,654 Shares
Bowlero Corp. (NYSE:BOWL – Get Rating) CEO Thomas F. Shannon sold 192,654 shares of Bowlero stock in a transaction that occurred on Friday, January 20th. The shares were sold at an average price of $14.37, for a total transaction of $2,768,437.98. Following the sale, the chief executive officer now owns 1,225,774 shares of the company's stock, valued at $17,614,372.38. The transaction was disclosed in a document filed with the SEC, which is available at the SEC website.
Bowlero Trading Up 0.6 %
BOWL stock opened at $14.28 on Wednesday. The firm has a 50 day moving average of $13.38 and a 200-day moving average of $12.92. Bowlero Corp. has a 12-month low of $6.96 and a 12-month high of $15.28. The company has a market cap of $2.37 billion, a price-to-earnings ratio of -25.05 and a beta of 0.25.
Get Bowlero alerts:
Bowlero (NYSE:BOWL – Get Rating) last issued its quarterly earnings data on Wednesday, November 16th. The company reported $0.03 earnings per share for the quarter, hitting analysts' consensus estimates of $0.03. Bowlero had a negative net margin of 8.22% and a negative return on equity of 157.07%. The business had revenue of $230.26 million during the quarter, compared to analysts' expectations of $222.35 million. Sell-side analysts forecast that Bowlero Corp. will post 0.73 earnings per share for the current fiscal year.
Separately, Oppenheimer started coverage on shares of Bowlero in a research report on Monday, October 3rd. They set an "outperform" rating and a $16.00 price target for the company.
Institutional Inflows and Outflows
A number of hedge funds have recently modified their holdings of the business. Soros Fund Management LLC increased its stake in shares of Bowlero by 2.2% during the 2nd quarter. Soros Fund Management LLC now owns 9,673,524 shares of the company's stock worth $102,443,000 after purchasing an additional 206,858 shares in the last quarter. Apollo Management Holdings L.P. increased its stake in shares of Bowlero by 3.7% during the 2nd quarter. Apollo Management Holdings L.P. now owns 9,455,680 shares of the company's stock worth $100,136,000 after purchasing an additional 337,482 shares in the last quarter. Vanguard Group Inc. grew its stake in Bowlero by 134.3% in the 3rd quarter. Vanguard Group Inc. now owns 3,602,828 shares of the company's stock worth $44,352,000 after acquiring an additional 2,064,961 shares during the period. BlackRock Inc. grew its stake in Bowlero by 0.8% in the 3rd quarter. BlackRock Inc. now owns 2,508,405 shares of the company's stock worth $30,878,000 after acquiring an additional 20,392 shares during the period. Finally, Marshall Wace LLP grew its stake in Bowlero by 73.2% in the 3rd quarter. Marshall Wace LLP now owns 1,044,264 shares of the company's stock worth $12,853,000 after acquiring an additional 441,399 shares during the period. 64.88% of the stock is owned by hedge funds and other institutional investors.
About Bowlero
Bowlero Corp. operates bowling entertainment centers under the AMF, Bowlmor Lanes, and Bowlero brand names. The company also provides hosting and overseeing professional and non-professional bowling tournaments and related broadcasting. As of July 3, 2022, it operated approximately 317 centers in the United States, Mexico, and Canada.
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Credit Acceptance Co. (NASDAQ:CACC) Shares Purchased by Allspring Global Investments Holdings LLC
Ares Management Co. (NYSE:ARES) Major Shareholder Ares Management Llc Purchases 730,000 Shares of Stock
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text:
Dennis Debbaudt, Enemy of Autistic Children, Enabled by Age of Autism
I joined Dennis Debbaudt's Autism Risk and Safety newsgroup yesterday. Today, I discovered I had been thrown out. Dennis Debbaudt is the cop who has achieved fame by trying to raise awareness among first responders on how to deal with autism. That's a good thing since it's less likely that some cop will blow my kid's head off if he doesn't put his hands in the air when ordered to do so.
However, Debbaudt has made the error that pervades our society today of putting a bandaid on a symptom instead of solving the problem. Here's what Debbaudt claims his group is about: "This moderated group is open to everyone interested in improving interactions and relationships between children and adults with autism and criminal justice law enforcement professionals,fire rescue,...". Sounds reasonable, a good idea that I wouldn't take issue with. So, why would Officer Debbaudt take offense when I suggested to him that the best way to keep our kids safe and prevent these interactions from happening is to cure these children?
Debbaudt claims to have an autistic son who is in his twenties, has a job and drives a car. Since Dennis gave me one tersely worded warning after I mentioned curing autism before he threw me out of his group, I didn't have a chance to find out how autistic his son is. Being able to hold a job and drive suggests Asperger's but I can't make that assumption, so maybe Dennis will help us out by telling us more about him. The assumption I can make is that his son's brand of autism has nothing in common with the horror that my son endures.
This may be part of the answer as to why Debbaudt is opposed to improving the lives of children with autism. The other part is that his group is infested with neuroinsane psychopaths who definitely want to harm our children. Being in bed with neuroinsanity and doing anything to help autistic kids are two things that just do not go together. The character assassination from the neuronitwits began as soon as I made one comment on Debbaudt's group and Dennis seemed to be right in line with them. It's hard to believe that a cop who should have some street savvy could fall victim to this insanity but, perhaps the volume of propaganda from these sophisticated liars overwhelmed him.
For this con job to work, we have to thank Lenny Schafer and Kim Stagliano for their preaching about ignoring these nefarious propaganda experts. This is one more autism site I have visited where the infestation of neurodiverse nitwits is well entrenched and well meaning parents of autistic children have been conned into tossing their brains out the window. I'd be remiss in not congratulating Dan Olmsted and David Kirby for helping the nitwits to achieve this propaganda victory by their support of the most evil woman on the planet, Kathleen Seidel. While I write the truth about these child abusers, Schafer, Stagliano, Olmsted and Kirby choose to abet them while they spread their evil message far and wide. These "leaders" in the autism community have chosen to hide under their beds in the hope that the boogeyman will go away instead of stuffing their disingenuous words back down their throats. I just can't find words to express how disgusted I am with these people who support curing autism while they refuse to recognize and defeat the explosion of propaganda that prevents people from learning the facts to help their autistic children.
Back to Debbaudt, we find this seemingly well meant suggestion on his Yahoo group: "Let's share information here that can improve community experiences for autism spectrum children and adults, their families and care providers---and the law enforcers they may have contact with." Dennis, what better way to improve things for our kids could there be besides giving them back their lives by curing the God damn autism?
NOTE: I'm told that Dennis Debbaudt has never been a cop, just a private investigator. I apologize to cops for mistakenly including this guy as one of you and damaging your good name.
Posted by John Best at 7:46 AM
Hi John, i met Brad Debaudt (Dennis' son) last week at ASA in Florida. He works as a janitor and i don't think has ever been to college so he is not like the really high functioning supereducated aspies who constantly criticize anyone who wants to cure autism. I guess he is high functioning compared to Sam. Also, Brad told me that Dennis has never been a law enforcement officer per se, just a private investigator at one time or something like that. His son can talk, but wants to dress up like a cowboy and have a mock southern accent for some reason so has a few autistic quirks.
Sun Jul 20, 11:02:00 AM EDT
One has to wonder why his father is not open to learning how to improve his condition. From the level of rodent infestation on his Yahoo group, he must be easily conned.
Have you been to college Jonathan?
yes i went to santa monica community college and then got a bachelors degree in psychology from ucla but did not do very well, and no graduate school and don't work presently.
Sun Jul 20, 01:19:00 PM EDT
Wow...has anyone ever considered that there may NOT be a cure for autism...and maybe rather than try to cure these incredibly special children, we ought to just love them? What if there is no solution to the problem? Do we spend our lives being angry at Dennis Debbaudt and those like him who want to make the best of a situation? While I agree that so often in society today we try to put band-aids on situations and miss solving the problem, I've also seen some parents of autistic children who spend so much of their energy trying to cure their kids that they aren't able to enjoy them as the blessings that they are. There's got to be a balance....
Thu Jul 31, 10:05:00 PM EDT
It used to be true that there was no cure for autism. Since that's no longer true, anyone who loves their child will try to help them escape from the horror that is autism.
All we can do about morons like Dennis Debbaudt is to point out that he is wrong and hope he decides to learn. Of course, we have to do thus publicly to warn others about his stupidity since he pretends to know something about autism.
How can anyone work toward something positive while so incredibly angry?
Tue Aug 19, 06:30:00 PM EDT
Government Manufactured Avian Flu Pandemic
Irrefutable Proof That Vaccines Kill Babies and Ca...
A Case Study in Autism Propaganda
Hillary Clinton's Media Matters, A Criminal Enterp...
Free Seminar, How to Abuse Autistic Children in Ne...
Michael Savage Through the Eyes of Joseph Goebbels...
Will Dan Olmsted and David Kirby Support Michael S...
Government Plans to Murder Autistic Children
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Expert Advice About Avian Flu
How Autism Speaks Will Murder Normal Babies
Amanda Peet Causes Autism Via Stupidity
Please Ask the Red Sox to Ban Autism Speaks
Dr Steven Parker, WebMD Jackass
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text:
Sneak Peek: HK's MR556A1
Note the polymer dust cover, the HK model diopter rear…
Jorge Amselle
Note the polymer dust cover, the HK model diopter rear site, and the ergonomic pistol grip on the MR556A1 rifle. Click for larger image.
Heckler and Koch's piston-driven AR variant, the HK416, was originally developed with input from U.S. Special Operations forces and has been serving in that capacity for several years. The civilian version of this rifle, the MR556A1 (M.S.R.P. $2,995), has recently started shipping out to dealers in limited quantities. So what made this the weapon of choice for Delta Force, and what differences are there in the civilian version? We were invited to a special preview at H&K's offices in Ashburn, VA to check it out.
The MR556A1 rifle from H&K is the civilian version of the US Special Forces HK416, but designed as a match grade rifle. Look for tight tolerances between the upper and lower receiver and no play in the collapsible stock. Click for larger image.
Derived directly from the HK416, the MR556A1 uses many of the same parts, including the barrel and gas block which still features the grenade launcher attachment point, but was built as a match capable rifle. Both rifles use HK's proprietary short stroke gas-piston operating system so no fouling or gasses enter the receiver or affect the bolt, improving reliability and ease of cleaning. Both rifles also include an easily removed rail system with four MIL-STD-1913 "Picatinny" rails. A charging handle designed for one-handed operation can be readily adapted for left- or right-handed use.
HK's new MR556A1 rifle features a free-floated barrel with a quick-detach quad rail handguard. Note the grenade launcher attachment point on the bottom of the barrel under the front sight.
The MR556A1 exhibits extremely tight tolerances with no play between the upper and lower receiver thanks to take down pins with spring loaded bearings that help seal the upper and lower. To disassemble the rifle, a special tool is needed which is stored inside of the six-position telescoping stock behind the rotating removable shoulder pad. This tool can also be used to lock the stock in the desired position, eliminating the usual play found in these types of stocks.
HK's piston driven system means fouling ad gasses stay out of the receiver, keeping the bolt cool and clean during firing and needing little lubrication.
This rifle has a 16.5 inch heavy free floated barrel with 1:7 twist, but unlike the HK416, the MR556A1 does not have a chrome-lined barrel. This is due to the fact that HK's engineers determined that an unlined bore delivers better accuracy.
Images: HK USA
How will HK's civilian piston-driven AR perform on our own range test? Look for a detailed review in a future Harris Publications magazine. In the meantime, visit HK-usa.com for more information.
'Band of Brothers' inspiration Winters dies at 92.
Note the polymer dust cover, the HK model diopter rear site, and the ergonomic…
by Tactical-Life.com	/ Jan 10, 2011
GIVEAWAY: WIN a Daniel Defense DDM4V7 Pistol, Ammo, Scope &...


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Q: jQuery .fadeIn (and all jQuery) Not Working I know there's quite a few other threads about this, but none of them have worked for me.
I have a div that I'd like to fade in with jquery. (I originally wanted it to fade in when the user scrolled down, but that didn't work either, but if somebody could help me with that too, it would be great!)
Here's my code:

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Now fadeIn., or anything jquery stuff for that matter, won't work. I can't figure it out. Any ideas?

A:

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Real time odds for Tottenham Hotspur and Manchester City game and the rest of SOC.
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> LCD Monitors
> DG86QPD07
DG86QPD07
DG49FPD07
DG65QPD405
86" UHD LCD monitor
Designed as a cost-effective option for 24/7 applications such as crisis suites and breakout rooms, the DG86QPD is a 86" 4K monitor delivering a resolution of 3840 x 2160 pixels, with 400 cd/m² brightness and 1200:1 contrast ratio. In common with all products in the 4Diamond Grid range, the DG86QPD is the perfect complement to Mitsubishi Electric's well-established portfolio of high-end, mission-critical control room displays.
DG86QPD has an average lifetime of 50,000 hours of continuous operation and is equipped with Intelligent pixel shift technology (IPS) that helps prevent image sticking issues in 24/7 applications. The high-specification display comes fully equipped with OPS slot, DisplayPort™ 1.2a, HDMI, 3 x USB, component and VGA video inputs, and is remotely controllable via LAN or RS232. Up to seven displays can be daisy-chained together, with built-in scaling enabling simple video wall applications to be easily created without the need for an external controller. One of the three USB ports allows the automatic replay of media content stored on a memory stick, and there is also a built-in internet browser which can be programmed to default to a designated local or external URL on power-up, making it an extremely versatile standalone display solution. The USB player port is secured under a lockable cover to prevent unauthorized access. The displays also come equipped with programmable scheduling, automatic content switching on signal failure, panel locking and screen saver.
The display is equipped with 12W stereo speakers and can be used in either portrait or landscape orientation. A range of accessories are also available, including optional touch screen overlays, wall mounting brackets and a powered monitor stand.
All 4Diamond Grid display products come with a 3-year warranty and are fully compatible with Mitsubishi Electric's complete range of hardware and software screen controllers.
Intel® OPS slot
The DisplayPort 1.2a inputs and outputs can be daisy-chained to easily share content to another diplay or create multi-screen installations. Built-in image scaling allows the creation of simple video wall-type applications with no external controller required.
Intelligent Pixel Shift (IPS)
IPS greatly reduces the occurrence of image sticking, which can occur if static content is displayed on LCD screens for long periods of time. The 4Diamond Grid monitor automatically makes small adjustments to the image position to ensure individual pixels are not over-stressed and allowing the display to operate continuously 24/7 when used as recommended.
Auto Launch
A built-in HTML 5 browser with auto-launch capability allows the display to default to any online application on start-up. HTML 5 content can be hosted either on the local network or anywhere on the internet, making it an extremely versatile and robust standalone display solution.
USB Auto-Play
The monitors features a secure USB port that allows any media content stored on a memory stick, including photos, video and audio, to be played automatically on start-up with no user intervention required. The special USB port is designed to prevent unauthorised access, making the 4Diamond Grid ideal for standalone display applications.
No-Signal Failsafe
If input signal to the display fails unexpectedly, the 4Diamond Grid monitor will automatically search for alternative content via it's other inputs, or it can be programmed to default to pre-stored static content, such as a service announcement or company logo.
All 4DG displays are fully manageable remotely via RS232 or LAN. A remote operator is able to edit volume levels, power the display on and off, schedule content display or direct the built-in browser to any URL. A wide range of other real-time functions are also available for complete versatility.
OPS Support
All 4DG monitors come with OPS (Open Pluggable Standard) support to further increase versatility. OPS enables DG monitors to become powerful standalone application servers running Windows or Android OS, opening up a world of possibilities.
UHD 3840x2160 pixels
LCD type
IPS 24/7
8 ms (typ. G-to-G)
1200 :1
LED (Edge)
Landscape / Portrait
Cascading function w/ DP Daisy Chain: up to 7 (units) w/HDCP, no limit w/o HDCP, Scaling function: up to 10(units) x 10 (units), Scheduler, Auto-switch on Failover, OSD Rotation, NoSignal PowerOff, Screen Saver, Pixel Shift
Video signal terminal
DisplayPort™ (1.2a) x1, HDMI 2.0 x2, D-sub 15 x1, YPbPr (BNC) x1
Audio signal terminal
F3.5 Jack
Control signal terminal
RS-232C: (D-Sub 9 pins), RJ12, LAN: RJ45 (10BASE-T/100BASE-TX)
Thermal dissipation
1060 BTU/h
QSG, User Guide, Power Cord, Remote Control, Mounting Kit, IR Extender Cable
Input board slot
Intel® OPS slot x 1, USB 3.0 x 1, USB 2.0 x 2


Now about the capability to respond. Perimeter (Dead Hand), the Russia's ultimate defense system, will dispatch a retaliatory nuclear strike even if the command and communication lines of its Strategic Missile Forces are totally destroyed. There is no way to detect the system – which is a part of a single command and control network – hidden deep underground.


Every so often, you hear a story that makes you say "No, it couldn't…or could it?" This is one of those stories.
My sister lives in a small town outside of London called Centralia. On a whim, I did a quick Google search for Centralia not knowing what the expect. It turns out that the top ranking search is not Centralia in Ontario, but a town called Centralia in Pennsylvania.
Centralia is a ghost town– and there's a good reason for it. The town sits atop a coal mine that has been on fire since 1962. You read it right– 1962. Remember that game/movie Silent Hill? Yeah, this is what inspired it.
It's not known exactly how the fire started. And there's still a few people holding out. It's crazy. Check out the video below. This is probably as close as you can get to hell on earth.


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text:
Основна школа "Бранислав Нушић" у Ратају постоји и ради више од дванаест деценија. Кроз ову заједничку кућу прошле су многе генерације младих Ратаја и околних села и своја прва основна знања стицали управо у њој.

Историјат

Година 1894. је узета као година почетка рада Основне школе у Ратају. Први учитељ је Коста Пешић. Са колико ученика је радила ова школа није нам познато, сем што можемо, ради илистрације само, навести да је школске 1898/99 године било уписано 118 ученика и да је школа у Ратају била једна од највећих у Пчињском срезу. До почетка Првог светског рата школу у Ратају похађају деца из Ратаја и околних села: Александровца, Купининца, Црног Луга, Д. Жапског, Миланова и Ристовца.
Прва зграда зидана за школу налазила се на месту где је данас сеоска амбуланта. У време пре балканских ратова настава је извођена у овој згради. У њој је школа била смештена све до подизања нове школске зграде 1924. године, на месту где је и сада школа.
По завршетку Првог светског рата школа у Ратају је почела да ради 1919. године под називом Државна народна школа "Краљ Петар Велики Ослободилац". Развој школе која је већ била створила солидне услове за свој рад: материјалне (нова школска зграда и уређено школско двориште), кадровске (стручни, искусни учитељи), ученике (довољан број да сваки разред има посебног учитеља) и друге, прекинут је поново(као у Првом светском рату) услед аграсије фашистичке Немачке и њеног послушника Бугарске 1941. године. Школа је почела да ради на бугарском језику. Доведени су и учитељи из Бугарске. После две године рада ове школе, пошто је запаљена школска зграда, она је престала да постоји, а потом је дошло и ослобођење. Обнављање спаљене школске зграде почиње 1946. године, а настава у њој јануара 1948. године. До 1950. године у школи целодневно раде два одељења: I-III и II-IV разред. Ове године школа се проширује у продужну- отвара се и V разред, а наредних година она постепено израста у осмогодишњу и постаје матична за школе (одељења) у Александровцу, Павловцу, Доњем Жапском и Миланову, које се њој, према извршеној територијално-административној реорганизацији осмогодишњих школа од априла 1957. године, припајају као одвојена одељења. Године 1959. школу похађа 312 ученика у осам разреда. У то враме, школа добија назив – име "25. мај".

Нова школска зграда

Године 1962. Школски одбор доноси одлуку о подизању нове школске зграде. Ова идеја је остварена тек двадесетак година касније. Камен темељац за нову школску зграду је положен 1984. године. Модерна школска зграда, једна од најлепших у крају, предата је на употребу 03.09.1984. године, на свечан начин и уз општу радост и весеље ђака, њихових родитеља и свих мештана.
Данас централна, матична школа у Ратају ради у модерној згради која има осам учионица, две кабинета, фискултурну салу са пратећим просторијама- свлачионицом, санитарним просторијама и просторијом за наставника. Такође, зграда има просторије за канцеларије директора школе, наставнике, школског педагога и администрацију, пространи вишенаменски хол са позорницом. Користи се и стара школска зграда за потребе библиотеке, школске радионице и за рад забавишне групе Предшколске установе Наше дете из Врања. Данас ова школа носи име највећег српског комедиографа Бранислава Нушића.

Издвојена одељења

Школа данас има издвојена одељења у селима: Александровац, Русце, Доње Жапско, Буштрање, Миланово, Лепчинце и Павловац. Укупан број ђака је 360 (матична школа и истурена одељења). Ову школу похађају ученици из 19 околних села.

Директори школе
Директори су се смењивали током година од оснивања школе.
 Сима Јањић (1946—1951)
 Светозар Радовић (1951—1954)
 Јован Димитријевић (1954—1957)
 Хранислав Михаиловић (1957—1963)
 Добривоје Стојиљковић (1963—1971)
 Миодраг Стојановић (1972—1976)
 Трифун Трајковић (1976—2000)
 Горан Трајковић (2000—2016)
 Слађан/Ивица Јањић (2017-)

Школске секције

Разноврсни су облици ваннаставног рада са ученицима ради задовољавања њихових потреба у области културе и уметности, науке, технике, спорта, рекреације, забаве и сл. Ове се активности организују у облику секција, интересних група, друштава, организација, задругаи сличних форми. Заснивају се на добровољности ученика да учествују у њима. Програм њиховог рада конципира се тако да задовољава интересовања ученика, да је у складу са њиховим способностима, али и са потребама и могућностима школе и средине. Секције које постоје у школа су: литерарна, драмско-рецитаторска, ликовна, фолколорна, спортска, млади математичари, млади физичари, млади биолози, млади хемичари, и др.

Културне и друге јавне активности школе

Школа у Ратају је увек имала наглашено културно и јавно деловање у средини. Она је управо била место где су се окупљали ђачки родитељи и остали мештани, не само да се обавесте о учењу и успеху своје деце, него и да дођу до нових сазнања о томе како са их успешније васпитавају и подижу. А ту су задовољавали и разне друге своје друштвене и кутурне потребе, будући да у селима на подручју школе и није било дригих културних институција, ако се изузме одељење Врањске библиотеке (које је смештено у згради старе школе).

Признања школи за остварене резултате

Када се данас уђе у школску зграду, у њен пространи зеленилом и ђачким радовима украшен хол, падају одмах у очи изложена признања (дипломе, плакете, захвалнице, повеље, пехари) које је школа добијала за изузетне резултате у појединим областима васпитно-образовног рада, као и у културном и јавном деловању у средини. Посебно је школа поносна на Седмосептембарско јавно признање које је за изузетне резултате у целокупном васпитно-образовном раду добила 1977. године поводом Дана ослобођења Врања од фашистичког окупатора у Другом светском рату. Ту су и признања за освојена прва, друга или трећа места на такмичењима од општинског до републичког из више васпитно-образовних подручја.

Референце

Бранислав
Бранислав Нушић

redpajama_set_name: RedPajamaWikipedia


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Грабушиці () — село в окрузі Спішска Нова Вес Кошицького краю Словаччини. Площа села 40,89 км². Станом на 31 грудня 2015 року в селі проживало 2486 жителів.

Історія
Перші згадки про село датуються 1279 роком.

Примітки

Села округу Спішська Нова Весь
1279 у Європі


COMMISSION PAINTING - MADE TO ORDER: Please contact me directly regarding Commissioned work at Artagayne@gmail.com. A 50 % deposit of the work is required to start the order, and a 50 % final payment at confirmation receipt of the order. I often do commissions and love helping people find just the right piece of work for their home or for a gift. I can do just about anything in terms of content. All commissions will be done in the style similar to the work posted on my website. Paintings cost $100 per square foot and can be made on canvas or wood, and the shipping cost will depend on the size.
Portland, Oregon buyers can arrange to pick up at my studio.


text:
Trocadero può riferirsi a:
 Trocadéro, area monumentale di Parigi situata sulla riva destra (Rive Droite) della Senna, nel XVI arrondissement;
 Trocadéro (metropolitana di Parigi), stazione della Metropolitana di Parigi sulle linee 6 e 9, sita nel XVI arrondissement di Parigi;
 Trocadero (bevanda), bevanda analcolica di produzione svedese a base di caffeina, aromatizzata alla mela e all'arancia;
 Trocadero Theatre, storico teatro situato a Philadelphia, Pennsylvania, inaugurato nel 1870;
 Battaglia del Trocadero, scontro armato avvenuto il 31 agosto 1823 tra le truppe francesi e l'esercito del governo liberale spagnolo.


text:
NEW RELEASE: FALSE WITNESS by Karin Slaughter
NEW RELEASE: ISN'T IT BROMANTIC by Lyssa Kay Adams
NEW RELEASE: THE PERFECT RUIN by Shanora Williams
New ReleasesThriller/Suspense
"It's Slaughter's prodigious gifts of characterization that make her stand out among thriller writers." – WASHINGTON POST
Recommended by GMA.com • Popsugar • Bustle • Atlanta Journal-Constitution • Mystery and Suspense Magazine • and more!
He saw what you did.
He knows who you are…
From the New York Times bestselling author of Pieces of Her and The Silent Wife, an electrifying standalone thriller.
AN ORDINARY LIFE…
Leigh Collier has worked hard to build what looks like a normal life. She's an up-and-coming defense attorney at a prestigious law firm in Atlanta, would do anything for her sixteen-year-old daughter Maddy, and is managing to successfully coparent through a pandemic after an amicable separation from her husband Walter.
HIDES A DEVASTATING PAST…
But Leigh's ordinary life masks a childhood no one should have to endure … a childhood tarnished by secrets, broken by betrayal, and ultimately destroyed by a brutal act of violence.
BUT NOW THE PAST IS CATCHING UP…
On a Sunday night at her daughter's school play, she gets a call from one of the firm's partners who wants Leigh to come on board to defend a wealthy man accused of multiple counts of rape. Though wary of the case, it becomes apparent she doesn't have much choice if she wants to keep her job. They're scheduled to go to trial in one week. When she meets the accused face-to-face, she realizes that it's no coincidence that he's specifically asked for her to represent him. She knows him. And he knows her. More to the point, he may know what happened over twenty years ago, and why Leigh has spent two decades avoiding her past.
AND TIME IS RUNNING OUT.
Suddenly she has a lot more to lose than this case. The only person who can help is her younger, estranged sister Callie—the last person Leigh would ever want to drag into this after all they've been through. But with the life-shattering truth in danger of being revealed, she has no choice…
Karin Slaughter is one of the world's most popular and acclaimed storytellers. Published in 120 countries with more than 40 million copies sold across the globe, her twenty-one novels include the Grant County and Will Trent books, as well as the Edgar-nominated Cop Town and the instant New York Times bestselling stand-alone novels Pretty Girls, The Good Daughter, and Pieces of Her. Slaughter is the founder of the Save the Libraries project—a nonprofit organization established to support libraries and library programming. A native of Georgia, she lives in Atlanta. Her standalone novel Pieces of Her is in production with Netflix, starring Toni Collette, and the Grant County and Will Trent series are in development for television.
Beach Read of 2021
5-STAR REVIEW: SCAVENGER HUNT by Chad Boudreaux
4.5-STAR REVIEW: THE DEVIL'S RANSOM by Brad Taylor


meet our panelists women in the urban entertainment industry, The Murda Mamis. This prolific group covers all industry genres from DJs, recording artists, media personalities, producers, executives, journalists, and models including placements at MTV, Don Diva Magazine and power stations like KBXX-Houston to name a few. Lady El notes that "I started Murda Mamis to unify women in Hip Hop. Women are very powerful and together we can be invincible." With a hustler's ambition this strong, the Murda Mamis will always be respected to the 1st degree. GREEN LANTERN – DJ Panel (New York, NY) Aside from the infamous Jadakiss DVD incident which led to Green's dismissal from Eminem's camp, Green is known for being one of the sickest mixtape DJs, dropping unique blends and exclusive songs regularly.
GREG "GATE$" DAVENPORT / Murder Dog - Media Panel (N. Florida) GREG STREET – DJ Panel (Atlanta, GA) The Ultimate Hustler, Greg once balanced dual radio shows in Atlanta and Dallas and has expanded his brand to encompass car shows, sneaker shows, and other entrepreneurial ventures. JAMES EICHELBERGER / A&R, TVT Records – A&R Panel (New York, NY) JASON GETER / Co-CEO, Grand Hustle – Indie CEO Panel (Atlanta, GA) As both T.I.'s manager and business partner, Jason can be largely credited with not only the success of T.I.'s individual career, but the success of the label as a whole. Grand Hustle was responsible for the Hustle & Flow soundtrack and, in addition to the veteran P$C crew, recently brought in new acts like Young Dro and Yola who are set to follow in T.I.'s footsteps and achieve worldwide success. JESUS TRIVINO ALARCON / Senior Editor, Scratch Magazine – Media Panel (New York, NY) Jesus Trivino Alarcon has been apart of the Scratch Magazine family from the beginning as a founding editor of the DJ publication. Alarcon is not relegated to the desk as he has interviewed Nas, Kanye West, Willie Colon, Jay-Z while writing for Vibe, The Source, XXL, King, People.com and others. As a Brooklyn-born South American, Alarcon provides a unique experience that readers can't enjoy more. JILL STRADA / Program Director, WPYO Power 95.3 FM – Women In The Industry Panel (Orlando, FL) Jill Strada is currently the Program Director of Orlando hip-hop station WPYO/Power 95.3. Jill entered the entertainment industry in January 1996 as a promotion intern at WJHM/102 Jamz in Orlando. In 1999, she became the Marketing Director of a new start up radio station in Orlando, WPYO/95.3 Party. Jill is always challenging herself, and over time she took on additional responsibilities in the station's programming department and added Assistant Program Director & Music Director to her title. Jill also believes that giving back is one thing that is missing in the industry, so she started up Stradagy Inc. – a non-profit organization that fosters mentorship within the entertainment industry. JIM JONSIN - Producers Panel (Miami, FL) Formerly 1/2 of the Unusual Suspects duo with Big D, Jim has now branched off into a solo production career and also maintains an executive position at Southbeat Records. Production credits include Trick Daddy "Let's Go," Pitbull f/ Piccalo "Dammit Man," Jamie Foxx f/ Ludacris "Unpredictable," Pretty Ricky "Your Body," Pretty Ricky "Grind With Me," and Trina f/ Kelly Rowland "Here We Go." JOIE MANDA / Head of A&R & Promotions, Asylum Records - A&R Panel (New York, NY) Asylum, billed as an "incubator" label, serves as the "umbrella" for many successful indie labels like Swishahouse. As head of A&R, Joie is involved with projects from artists like Paul Wall, Mike Jones, Webbie, Lil Boosie, Cam'Ron, and Bun B.