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This news is classified in: Sustainable Energy Climate Change
Plastic Energy and TotalEnergies sign an Agreement for an Advanced Recycling Project in Spain
Plastic Energy and TotalEnergies have announced a new agreement to promote the development of advanced plastic recycling. Under this agreement, Plastic Energy plans to build a second advanced recycling plant in Sevilla, Spain, in addition to their existing operational plant, which will transform end-of-life plastic waste into a recycled feedstock called TACOIL using Plastic Energy's patented recycling technology. TotalEnergies will convert this raw material into virgin-quality polymers, which can be used for food-grade packaging.
The plant will process and convert 33,000 tons of post-consumer end-of-life plastic waste yearly, that would otherwise be destined for landfill or incineration. The plant is expected to become operational in early 2025, with TACOIL to be used for the manufacturing of high-quality polymers in TotalEnergies' European-based production units, following successful processing experimentation in TotalEnergies' petrochemical platform in Antwerp. With identical properties to virgin ones, the recycled polymers will be suitable for use in food-grade applications, such as flexible and rigid food packaging containers.
Plastic Energy and TotalEnergies are both firmly committed to developing plastics recycling to address the issue of plastic waste and to build a circular economy in Europe and globally. In line with this commitment, TotalEnergies and Plastic Energy have announced in September 2020 a joint venture to build a plastic waste conversion facility with a capacity of 15,000 tonnes per year at the TotalEnergies Grandpuits zero-crude platform in France. The project is expected to be operational in 2023.
Additionally, Plastic Energy, Freepoint Eco-Systems, and TotalEnergies announced a strategic partnership in October 2021 for a similar recycling plant in Texas, U.S.A. This plant, which is a joint venture between Plastic Energy and Freepoint Eco-systems, will have the capacity to recycle 33,000 tonnes of plastic waste per year and is expected to be operational by mid-2024. Under the agreement, TACOIL will be converted by TotalEnergies in its Texas-based production units.
"I am pleased to announce another new Plastic Energy plant in Spain, and a new collaboration agreement with our partner, TotalEnergies," said Carlos Monreal, founder, and CEO of Plastic Energy. "This new large-scale recycling plant will be an impactful addition to our existing portfolio of operational plants in Spain and will allow for an increase in the amount of end-of-life plastics that we can recycle in Europe."
"This new project with Plastic Energy in Spain follows two collaboration projects already announced in France and the U.S. Those projects contribute to addressing the challenge of the circular economy and to our ambition of producing 30% recycled and renewable polymers by 2030," said Valérie Goff, Senior Vice President, Polymers at TotalEnergies.
Interesting news item! Plastic Energy and TotalEnergies sign an Agreement for an Advanced Recycling Project in Spain
More news releases from TotalEnergies
Biogas in France: Totalenergies Commissions BioBearn, the Country's Largest Anaerobic Digestion Unit
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Vestas ranked as global leader in sustainability performance


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Barbara est un film danois réalisé par Nils Malmros, sorti en 1997, et dont l'action se déroule aux îles Féroé. Il est basé sur un roman éponyme, publié en 1939 par l'écrivain féroïen Jørgen-Frantz Jacobsen, lequel s'était lui-même inspiré des traditions entourant la figure de Beinta Broberg et ses trois mariages. En 1998, Barbara a remporté le Robert, qui récompense chaque année la meilleure production danoise.

Synopsis

Arrivant du Danemark, la goélette Fortuna, au nom prédestiné, débarque à Tórshavn, la capitale des îles Féroé le jeune Poul Aggersø (Lars Simonsen). Frais émoulu de la faculté de théologie, il a été nommé à la charge de pasteur sur l'île de Vágar. Parmi la foule qui se presse pour l'accueillir, « M. Poul » remarque Barbara (Anneke von der Lippe), la jeune et alerte veuve de deux pasteurs, dont la rumeur publique lui impute la mort et qui traîne une sombre réputation d'oiseau de malheur. Le pasteur tombe sous son charme, malgré les avertissements qui lui sont prodigués et bien qu'il ait pu lui-même constater l'inconstance de Barbara – et de bon nombre d'autres Féroïennes –, lorsque trois bateaux français accostent au port. Poul et Barbara gagnent Vágar, où elle occupe encore le presbytère de son défunt mari, tandis que lui-même dispose d'un logement de fonction. Mus par le destin, ils se marient mais leur félicité charnelle ne sera que de courte durée : animée d'une immense et ardente passion, Barbara nourrit des désirs qui dépassent le frêle pasteur, lequel, dès lors, s'angoisse et redoute de la perdre. Lors d'une visite à Tórshavn, elle succombe au charme de dandy d'Andreas Heyde, jeune étudiant venu effectuer des recherches aux îles Féroé, mais Poul réussit à la persuader de rentrer avec lui à Vágar. À l'approche de Noël, il s'estime toutefois tenu, pour respecter les obligations de sa charge, de se rendre dans l'île voisine de Mykines, d'accès malaisé. Barbara le supplie de n'en rien faire, Andreas ayant débarqué à Vágar pour séjourner chez le premier magistrat durant la période de Noël. Malgré ses appréhensions, le pasteur n'écoute que la voix de son devoir, non sans espérer revenir rapidement auprès de sa femme. Cependant, le mauvais temps et la houle le bloqueront, onze jours durant, à Mykines. Il a le pressentiment que Barbara est en train de le quitter. À son retour, c'est effectivement un presbytère vide qu'il trouve : Barbara est partie pour Tórshavn avec Andreas. Pour son malheur, il se lance à sa poursuite, est confronté à Andreas, perd toute dignité et finit en prison. La nouvelle idylle de Barbara sera tout aussi éphémère que la précédente : Andreas ne tarde pas à se désintéresser d'elle et Gabriel, employé d'une firme de commerce, fruste et torturé par la jalousie le persuade de reprendre le bateau pour Copenhague sans Barbara, laquelle, désespérée, tentera dans un effort dérisoire de rejoindre à la rame le Fortuna qui vient de lever l'ancre.

Fiche technique
 Titre original Barbara
 Réalisation : Nils Malmros
 Scénario : Nils Malmros et John Mogensen d'après un roman de Jørgen-Frantz Jacobsen
 Producteur : Per Holst
 Bande son : Gunner Møller Pedersen
 Photographie : Jan Weincke
 Bande-annonce : Gunner Møller Pedersen
 Durée : 143 minutes
 Pays : îles Féroé
 Langue : danois et féroïen

Distribution
Le rôle principal, celui de la belle Barbara, est joué par l'actrice norvégienne Anneke von der Lippe. Un autre Norvégien, Trond Høvik, incarne le personnage tourmenté de Gabriel. Le comédien danois Lars Simonsen tient le second rôle-vedette du film, celui de M. Poul, le jeune pasteur diplômé de fraîche date, tandis que les autres protagonistes du film sont également campés par des acteurs danois connus, comme Jesper Christensen, Peter Reichhardt, Jens Okking, Birgitte Federspiel ou Bodil Udsen.

 Anneke von der Lippe : Barbara
 Lars Simonsen : Poul Aggersø
 Trond Høvik : Gabriel
 Jesper Christensen : Le greffier-président
 Jens Okking : Le premier magistrat
 Hélène Egelund : Susanne
 Jytte Kvinesdal : Anna Sophie
 Peter Hesse Overgaard : M. Wenzel
 Ove Pedersen : Le bailli
 Peter Reichhardt : Andreas Heyde
 Henning Jensen : Le doyen Anders Morsing
 Bodil Udsen : Armgard
 Birgitte Federspiel : Ellen Katrine
 Henny Moan : Magdalene
 Daniel Ceccaldi : Amiral

De nombreux figurants furent recrutés sur place pour les besoins du tournage, si bien que durant une bonne partie de l'année 1996, on put croiser dans les rues de Tórshavn quantité de Féroïens dotés d'un abondant collier de barbe et d'une chevelure fournie, comme leurs ancêtres en portaient deux siècles auparavant.

Production

Historique
En 1961, le réalisateur allemand Frank Wisbar avait réalisé une première adaptation cinématographique, assez libre, du roman de Jacobsen.

Film historique à gros budget, le Barbara danois de 1997 marque une césure dans la filmographie de Nils Malmros, qui, jusqu'alors, avait essentiellement tourné des longs métrages à caractère autobiographique, mettant en scène des adolescents de sa ville natale d'Aarhus. Le réalisateur a qualifié son film de "mélodrame, dépeignant des sentiments grandioses sur fond de nature sublime, le tout raconté avec des sous-entendus à l'ironie superbe".

Sites et dates de tournage
L'action du film se situe au milieu du dix-huitième siècle, dont l'équipe de tournage, réussit, durant l'été 1996, à recréer l'atmosphère et le décor dans les étroites venelles du vieux quartier de Tórshavn, Tinganes, bordées de maisons au toit de tourbe engazonnée, ainsi que sur un certain nombre d'autres sites, comme Hoyvík, un faubourg de Tórshavn, Saksun, un village isolé du nord de l'île de Streymoy, ou encore l'île de Koltur. Entamé en  à Stockholm, le tournage des intérieurs se termina à Copenhague à l'automne de la même année.

Financement
Avec un budget de 38 millions de couronnes danoises, Barbara fut le long métrage le plus cher jamais produit au Danemark. Des capitaux danois mais aussi suédois et norvégiens furent injectés dans la réalisation de ce projet, produit par Per Holst, qui fut également le producteur de la majeure partie des films de Malmros.

Diffusion
C'est le , à la Maison nordique (Nordens Hus) des îles Féroé que se déroula l'avant-première du film, devant un parterre de 500 invités féroïens et étrangers. Dans l'après-midi du même jour, il avait cependant déjà été projeté à 200 journalistes, au cinéma Havnar Bio, toujours à Tórshavn. La sortie proprement dite du long métrage eut lieu le . Pas moins de 7 000 billets avaient déjà été écoulés en prévente. Deux semaines plus tard, quelque 10 000 Féroïens, soit plus de 20 % de la population de l'archipel avaient vu l'œuvre. Au Danemark, elle fut exploitée simultanément dans 45 salles.

Distinctions
En 1998, le film Barbara reçut le Robert, la plus haute distinction du cinéma danois. Sur la liste des lauréats de cette récompense, il vient à la suite de Breaking the Waves de Lars von Trier : (Robert 1997) et précède Festen de Thomas Vinterberg (Robert 1999).

En France, Barbara reçut en 1998 le prix du public au Festival du cinéma nordique de Rouen. En 1998, le film fut sélectionné pour représenter le Danemark à l'Oscar du meilleur film en langue étrangère.

Notes et références

Voir aussi

Articles connexes
 Liste des longs métrages danois proposés à l'Oscar du meilleur film en langue étrangère

Liens externes

Film danois sorti en 1997
Film norvégien sorti en 1997
Film suédois sorti en 1997
Film dramatique danois
Film dramatique norvégien
Film dramatique suédois
Film romantique danois
Film romantique norvégien
Film romantique suédois
Film historique danois
Film historique norvégien
Film historique suédois
Film se déroulant au Danemark
Film tourné aux Îles Féroé
Adaptation d'un roman danois au cinéma
Film se déroulant au XVIIIe siècle
Film réalisé par Nils Malmros

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Q: ERROR when using count in R which was working before i used count in order to count the same rows and get the frequency and it was working very well like 2 hours ago and now it's giving me an ERROR that i do not understand. I wanted that every time i have the same row, add the concentration of these rows. Here is my toy data and my function.
df=data.frame(ID=seq(1:6),A=rep(0,6),B=c(rep(0,5),1),C=c(rep(1,5),0),D=rep(1,6),E=c(rep(0,3),rep(1,2),0),concentration=c(0.002,0.004,0.001,0.0075,0.00398,0.006))
 df
  ID A B C D E concentration
1  1 0 0 1 1 0       0.00200
2  2 0 0 1 1 0       0.00400
3  3 0 0 1 1 0       0.00100
4  4 0 0 1 1 1       0.00750
5  5 0 0 1 1 1       0.00398
6  6 0 1 0 1 0       0.00600

freq.concentration=function(df,Vars){
  df=data.frame(df)
  Vars=as.character(Vars)
  compte=count(df,Vars)
  frequence.C= (compte$freq)/nrow(df)
  output=cbind(compte,frequence.C)
  return(output)
}

freq.concentration(df,colnames(df[2:6]))

# and here is the error that i get when i run the function which was working perfectly a while ago!
#  Error: Must group by variables found in `.data`.
# * Column `Vars` is not found.
# Run `rlang::last_error()` to see where the error occurred.

PS: I do not know if this is related or not but i got this problem when i opened a script Rmd and did copy paste all my function to this script and all of a sudden my function stopped working .
I really appreciate your help in advance. Thank you.
Here is the output that i had when it was working properly :

 output
  ID A B C D E  concentration.C.1 concentration.C.2
1  1 0 0 1 1 0          3                0.007
2  4 0 0 1 1 1          2                0.01148
3  6 0 1 0 1 0          1                0.00600

The first 3 rows are similar so we sum the concentration of the 3 and get 0.007, and then rows 4 and 5 are the same so we add their concentration and get 0.01148 and the last row is unique so the concentration remains the same.

A: We can convert to symbol and evaluate (!!!) in count to get the frequency count based on those columns and then get the 'frequence.C' as the proportion of 'n' with the sum of that count
library(dplyr)
freq.concentration <- function(df, Vars){
     df  %>%
      count(!!! rlang::syms(Vars))  %>%
      mutate(frequence.C = n/sum(n))

    }

-testing
freq.concentration(df,colnames(df)[2:6])
#  A B C D E n frequence.C
#1 0 0 1 1 0 3   0.5000000
#2 0 0 1 1 1 2   0.3333333
#3 0 1 0 1 0 1   0.1666667

If we need the sum of 'concentration', we could use a group_by operation instead of count
freq.concentration <- function(df, Vars){
     df  %>%
        group_by(across(all_of(Vars))) %>%
        summarise(n = n(), frequency.C = sum(concentration), .groups = 'drop')
   }

-testing
freq.concentration(df,colnames(df)[2:6])
# A tibble: 3 x 7
#      A     B     C     D     E     n frequency.C
#  <dbl> <dbl> <dbl> <dbl> <dbl> <int>       <dbl>
#1     0     0     1     1     0     3      0.007
#2     0     0     1     1     1     2      0.0115
#3     0     1     0     1     0     1      0.006

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text:
A severance settlement proposal from business-rescue practitioners at embattled airline SAA will all but shut down the business, but labour representatives at the airline are of the view it can still be saved if drastic measures are taken.
At least one union thinks that insourcing all services at SAA — including cleaning aircraft, baggage handling and even downgrading of overnight accommodation for pilots and cabin crew — would go a long way towards reducing costs that have seen the airline crippled.
Part of the counterplan also includes moving SAA staff who work on SAA domestic routes to SAA subsidiary Mango in a bid to save jobs. Mango is set to take over SAA's domestic routes.
In a settlement agreement sent to eight different groups representing workers at Airways Park on Friday afternoon, SAA business-rescue practitioners Les Matuson and Siviwe Dongwana say the government's decision to reject a R10-billion bailout request last Friday means it is unlikely that SAA will be rescued.
Their spokesperson, Louise Brugman, said they would not comment on whether the agreement was signed; the next move would be to apply to the courts for business rescue to be rescinded and replaced with voluntary liquidation of the airline.
President Cyril Ramaphosa and his Cabinet have mandated Public Enterprises Minister Pravin Gordhan to present a report on SAA, and it is expected that the report will include several options regarding a way forward.
Gordhan and Finance Minister Tito Mboweni have been at odds over whether the government should continue to fund SAA's restructuring — which is being costed at R7.6-billion — and also help the airline deal with the effects of the Covid-19 pandemic, which has grounded the airline industry.
Mboweni has made no bones about the fact that SAA, which has received a total of R31.7-billion in cash bailouts and government guarantees in the last five years and is set to receive R16.5-billion until 2023, cannot continue to weigh so heavily on the government.
As a result of this a settlement agreement, all of SAA's 4 708 workers will receive a severance package comprising one month's salary, a week's pay for every year served at the airline and a payout for any unused annual leave. Employees who had signed up for 13th cheque deductions in their packages will also be paid out for these.
But the entire proposal, in terms of the settlement, rests on SAA's ability to sell its meagre assets which include property, aircraft spares and trade debts, which would take between six to 12 months to collect.
"In the event that the condition precedent set out in clause 5.3 above is met, the company will make payment of the severance packages to employees on a monthly basis, over a period of six months, once the sale of assets have been concluded," the agreement read. It also said individual workers now have until April 24 to accept the agreement in writing.
On Friday the Mail & Guardian reported that it had learnt that Matuson and Dongwana were in a race to secure severance packages for employees before SAA is forced into liquidation, as this would place priority on some of the airline's creditors over the workers.
At least one union, the National Transport Movement (NTM), has indicated that it will not only oppose the offer as it is, but it will table yet another savings plan in the hope that it will buy time for the embattled airline or protect more workers.
This plan, said NTM president Mashudu Raphetha, will include measures such as insourcing all services, including baggage handling, grooming of the aircraft, toilet and water services, as well as SAA operating its own bus service from the aircraft to the terminal. These initiatives alone will save the airline just less than R10-million a month, Raphetha said.
Raphetha said more savings could be achieved if the airline deployed its own staff to regional and international outstations and the airline's VVIP service, and booked flight deck and cabin crew in three-star accommodation for rests on night stopover.
"We are not convinced that all avenues have been covered, and we will be making this point to the BRPs [business-rescue practitioners] as early [as] Monday," he said.
How do we get beyond 'business as usual' after the pandemic?

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How and why do individuals and groups learn from elsewhere?
How are particular places of 'best practice' selected and drawn up?
What role do conferences, study tours and consultants play in shaping these mobile policies?
On this website you can view our profiles, research projects and publications.


text:
Susanna Calkins, Author
Lucy Campion Mysteries
A Murder at Rosamund's Gate
From the Charred Remains
The Masque of a Murderer
A Death Along the River Fleet
The Sign of the Gallows
The Speakeasy Murders
Murder Knocks Twice
The Fate of a Flapper
Archived Guest Posts & Interviews
17th c. England
My first short story--the case of the lady poisoner...
I'm so thrilled that my very first short story--The Trial of Madame Pelletier-- was selected for inclusion in Malice Domestic 12: Mystery Most Historical (Wildside Press, 2017).
Like my Lucy Campion novels set in 17th century England, this short story stemmed from research I did in graduate school a zillion years ago. (And yeah, that's pretty fun for me to get to use another chunk of this doctoral research in a new way!)
I won't say too much about my story other than it features the trial of a presumed poisoner in a small town in France, in 1840. The trial was a cause celebre--a trial of the century--which played out as much in the court of public opinion and in sensationalized newspaper accounts, as it did in the assize court in Limousin.
I remember being struck too, not just be the trial itself, but how the woman at the heart of it--the Lady Poisoner--was being tried both as a criminal and as a female. While my story differs dramatically from the trial that inspired it, I did want to convey that same sense of a woman being tried on many levels.
Moreover, ever since I read Agatha Christie's Witness for the Prosecution, I have wanted to try my hand at a courtroom drama. So this was such a fun piece for me to write overall. I'm really excited to read the other stories in the volume!!!
The selected stories are:
"A One-Pipe Problem" by John Betancourt
"The Trial of Madame Pelletier" by Susanna Calkins
"Eating Crow" by Carla Coupe
"The Lady's Maid Vanishes" by Susan Daly
"Judge Lu's Ming Dynasty Case Files-The Unseen Opponent" by P.A. De Voe
"Honest John Finds a Way" by Michael Dell
"Spirited Death" by Carole Nelson Douglas
"The Corpse Candle" by Martin Edwards
"Mistress Threadneedle's Quest" by Kathy Lynn Emerson
"The Black Hand" by Peter Hayes
"Crim Con" by Nancy Herriman
"Hand of an Angry God" by KB Inglee
"The Barter" by Su Kopil
"Tredegar Murders" by Vivian Lawry
"The Tragic Death of Mrs. Edna Fogg" by Edith Maxwell
"A Butler is Born" by Catriona McPherson
"Home Front Homicide" by Liz Milliron
"He Done Her Wrong" by Kathryn O'Sullivan
"Summons for a Dead Girl" by K.B. Owen
"Mr. Nakamura's Garden" by Valerie O Patterson
"The Velvet Slippers" by Keenan Powell
"The Blackness Before Me" by Mindy Quigley
"Death on the Dueling Grounds" by Verena Rose
"You Always Hurt the One You Love" by Shawn Reilly Simmons
"Night and Fog" by Marcia Talley
"The Measured Chest" by Mark Thielman
"The Killing Game" by Victoria Thompson
"The Cottage" by Charles Todd
"The Seven" by Elaine Viets
"Strong Enough" by Georgia Wilson
Midwifery and Mystery...in 19th century New England
Writers are frequently enjoined to "write what they know," and my guest blogger today has certainly taken that message to heart. Edith Maxwell, author of the the forthcoming historical mystery, Delivering the Truth, features a Quaker midwife in 19th century New England. Edith is a Quaker, has taught childbirth classes, and lives in New England. So I guess she knows what she's talking about!!!
From the official blurb:
For Quaker midwife Rose Carroll, life in Amesbury, Massachusetts, provides equal measures of joy and tribulation. She attends to the needs of mothers and newborns even as she mourns the recent death of her sister.
Likewise, Rose enjoys the giddy feelings that come from being courted by a handsome doctor, but a suspicious fire and two murders leave her fearing for the well-being of her loved ones.
Driven by her desire for safety and justice, Rose Carroll begins asking questions related to the crimes. Consulting with her friends and neighbors―including the famous Quaker poet John Greenleaf Whittier―Rose draws on her strengths as a counselor and problem solver in trying to bring the perpetrators to light.
Bicycle of the sort Rose Carroll might have used
In my Quaker Midwife Mysteries, Rose Carroll is a midwife helping pregnant women give birth in the safest way possible - in the 1888 New England mill town of Amesbury. She's twenty-four, as yet unmarried, and a Quaker. Rose is an independent businesswoman, unconventional both for going about her business on her bicycle and for being a member of the Society of Friends.
Quakers have long been known for being unconventional, though, and New England Friends of the era even more so. Rose's mother works tirelessly for women's suffrage. Rose's friend and mentor, the real John Greenleaf Whittier, was an outspoken abolitionist and supported equality among his fellow humans. Rose addresses everyone by their first name regardless of social class or occupation, and speaks using "thee" and "thy" as Quakers did, so she's used to traveling outside certain norms. She's also known for her honesty and clean living. Her clients trust her.
Although there was a New England Female Medical College, which was a training school for midwives, Rose took the traditional route and apprenticed with Orpha Perkins to learn her trade. When the elderly Orpha retires, Rose takes over her business.
The late 1880s is a fascinating period to write about because so much was changing, including the practice of midwifery and medicine. The germ theory of infection was known, so Rose is careful to wash her hands and keep the birthing chamber clean. A new hospital had been built across the river in the bustling seaport town of Newburyport only a few years earlier. Cesarean sections were done, but it was still a very risky procedure.
And male doctors were starting to do deliveries, practicing obstetrics. I read that this practice increased in part because women working in factories were living away from their female relatives who would normally support them through the birth and postpartum period. The husband of one of Rose's clients insists that his baby be delivered by a male doctor, but most of Rose's pregnant clients much prefer having a woman attend them. I also read an account of a Massachusetts midwife being sued in 1905 for practicing medicine without a license. I haven't heard of such accusations twenty years earlier, however.
Of course, being a midwife makes Rose a perfect protagonist. She can go places no male police officer can – women's bed chambers – and hears secrets the detective isn't privy to, both during labor and at client visits. I know in earlier times midwives had a obligation to extract information from unwed mothers about the father of the baby and report him to the authorities, but I haven't been able to unearth whether that practice still stood at the end of the nineteenth century. (See Sam Thomas' excellent post on the role of midwives in 17th century England, for example. -SC)
Meetinghouse interior. Photo by Edward Gerrish Mair, used with permission
I'm delighted to follow Rose around the streets of my town where many of the buildings of the late 1880s still stand, including the Friends Meetinghouse where she and Whittier worship, and write down her adventures.
Edith Maxwell writes the Quaker Midwife Mysteries (Midnight Ink) and the Local Foods Mysteries, the Country Store Mysteries (as Maddie Day), and the Lauren Rousseau Mysteries (as Tace Baker), as well as award-winning short crime fiction. Her short story, "A Questionable Death," is nominated for a 2016 Agatha Award for Best Short Story. The tale features the 1888 setting and characters from her Quaker Midwife Mysteries series, which debuts with Delivering the Truth on April 8, 2016.
Maxwell is Vice-President of Sisters in Crime New England and Clerk of Amesbury Friends Meeting. She lives north of Boston with her beau and three cats, and blogs with the other Wicked Cozy Authors. You can find her on Facebook, @edithmaxwell, on Pinterest, and at her web site, edithmaxwell.com.
Want to know more about the original Quakers from 17th century England? Check out my discussion of the political activities and writing of Quaker women. Or this post on their last dying speeches.
Question from the Reader Bag--How do English Nobles address each other?
I received a query from a reader yesterday that gets at the many meddlesome and troublesome questions that writers of British historical fiction inevitably face--How do nobles address each other?
"...I just wanted to know: if the oldest daughter of an earl was going to soon be marrying the oldest son of another earl, how would they address one another? The setting is 1860s London, if this helps answer my question. I have read many websites and guide-books that explain how the peerage would be addressed by various people in various situations, but I am having trouble finding information about two people, both children of earls, who are engaged to be married. Would they be more casual with one another? Or would it be inappropriate to address one another without their appropriate title? Your help would be greatly appreciated. Thank you." --Maryam.
This is indeed a tricky question. I know something about the forms of address in 17th century England, but I didn't want to assume what was common or expected in the 1660s would be the same 200 years later, in the 1860s. So I threw this question out to the lovely and talented Sleuths in Time, who have spent a lot more time than I have thinking about this question.
So, first, the basics. According to Tessa Arlen: "The eldest daughter of an earl would be called Lady Susan; that would be the extent of her title until she marries. If she were to marry an ordinary man she would be called Lady Susan and then his surname: Lady Susan Blogs for example. The eldest son of an earl might be given an honorary title of his father's of a lower rank this would be given to him until he inherited his father's title. For example, his father who is Roger Parker, Earl of Bainbridge might bestow the honorary title of viscount on his eldest son. So the son's name and title would then be Denis Parker, the Viscount Lord Winslow. It is also important to remember that the Earl of Bainbridge would have a family name, in this case Parker."
This seems pretty straightforward so far, right?
Tessa continues: "I can't imagine why this young couple would call one anything other than by the first names when they were alone together. And if they are English the usual terms of endearment! If they were together out in society Lady Susan would be referred to as the Vicountess Lady Winslow and her husband would be the Viscount Lord Winslow and they would be announced as Lord and Lady Winslow. When Lord Winslow's father dies and he inherits the earldom he will become the next Earl of Bainbridge - and be called Lord Bainbridge and his wife would become the Countess of Bainbridge. The order of precedence can be very confusing - even for Brits. So tell your friend to follow this pattern and she will sound like she knows what she is talking about!"
Alyssa Maxwell also commented: "Sometimes the son and heir would be called by his courtesy title without Lord in front of it, as in Brideshead or Bridey as friends and family called him in the book." She also directed us to Jo Beverley's Guide to English Titles in the 18th and 19th centuries, a very helpful resource!
As Anna Lee Huber further notes: "In the case of an earl, he usually does have a lesser title (viscount or baron) he can grant his eldest son as a courtesy, but it's also possible he doesn't. (Author's choice since it's fiction.) In that case he would be called Mr. Parker by his fiancé in public, Denis in private. The rules for daughters & sons of earls are slightly different. Daughters of dukes, marquesses, & earls receive the honorary Lady before their first name. Only sons of dukes & marquesses receive the honorary Lord before their first name."
And to round us out, Ashley Weaver says, "I have always found [Laura Chinet's] site really useful for reference. She has little charts and everything!" [I will say, however, that what Laura Chinet describes for the 18th and 19th century may be different from 17th century conventions. In my research, I have seen many letters between family members that use endearments, like "My dearest Anne." So it stands to reason that if they use such intimacies in written letters, they would do the same in private conversations. There is a formalization of speech and manners that happened in the mid 18th century that was not as pervasive in earlier centuries-SC].
Ultimately, in my opinion, this comes down to an accuracy vs authenticity kind of question. I think writers of historical fiction should try their best to be as reasonably accurate as possible, but ultimately their focus should be on telling the best story possible, without jarring the reader.
Nietzsche's advice to writers...?
A while back someone gave me a book on writing, which contained a number of random quotes by writers. As a historian, I am sometimes frustrated when presented with quotes that have been detached from their original context and passed off as inspirational or profound.
So as I was flipping through the book, I came across this one that made me sit up and take notice:
"The author must keep his mouth shut when his work starts to speak." -Friedrich Nietzsche
So without knowing anything about Nietzsche, I might interpret this as a humble phrase. Let your work speak for itself.
Perhaps, it is a warning. You must let others critique your work as they will, once it is out in the world. Do not answer your critics.
Or maybe it is just a reminder to writers. Do not edit or self-censor as you write, but allow your work to emerge in the world in its most full and beautiful form.
I assume because the quote was included in this writing book, and is oft-repeated (again, with no context) on many writing sites, that this admonition is seen as a virtue.
Do words have meaning of themselves? Do they live, and change with the times? Or do they need to be ever-framed by the context with which they were first uttered?
Consider the source of this quote. Friedrich Nietzsche.
Nietzsche was a nineteenth-century German philosopher, philologist and poet, among other things. Such as being a megalomaniac. And a syphilis-riddled man who spoke frequently of his own genius. A man whose work inspired both Nazis and Fascists alike. Altogether, an intriguing--if tortured--soul. So what did he mean when he said this?
As I indicated, it's very difficult to identify the source of this quote, so for all I know it is completely inaccurate and has just been repeated ad nauseam. Some digging for the past hour (which is about all the time I have to devote to this quest) has yielded little more context, except that I think, but can not be sure, that the quote appeared in the second edition of Nietzsche's first published book The Birth of Tragedy, in a new section called "Attempt at a Self-Criticism" (1888).
Rather than being a true self-criticism, however, the statement is widely viewed by scholars as a means for Nietzsche to clarify his earlier views, and to impose his later thinking onto his earlier work. Such a revision could be construed as more arrogant than humble ("See how brilliant I was, even when I was a young man?")
This additional context, to my mind, sheds a different interpretation on the quote.
Should we just make sense of words ourselves? Or does the larger context matter?
While there's a pleasing democracy about the idea that we can all interpret words for ourselves, for my part, I think, understanding the larger context almost always offers a more full and interpretation of words.
But what do you think?
[P.S. I also find it amusing how often the above quote by Nietzsche is used by authors, when it turns out that he actually did write "Rules for Writers" that are NEVER EVER quoted. Such as this gem: "Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation." Rich stuff indeed!]
Image: Lou Andreas-Salomé, Paul Rée and Friedrich Nietzsche (1882)
The Mortal Arts: An Interview with mystery writer Anna Lee Huber
I'm joined on my blog today by award-winning author, Anna Lee Huber. I had the pleasure of meeting this talented writer, last year at Bouchercon, during a signing for new authors. On Saturday September 14, Anna and I will be doing a joint signing at Centuries and Sleuths in Forest Park, IL at 11:00. Hope to see you there!
Love the title of Anna's 2nd book!
Scotland, 1830. Lady Kiera Darby is no stranger to intrigue-in fact, it seems to follow wherever she goes. After her foray into murder investigation, Kiera must journey to Edinburgh with her family so that her pregnant sister can be close to proper medical care.
But the city is full of many things Kiera isn't quite ready to face: the society ladies keen on judging her, her fellow investigator-and romantic entanglement-Sebastian Gage, and ultimately, another deadly mystery.
Kiera's old friend Michael Dalmay is about to be married, but the arrival of his older brother-and Kiera's childhood art tutor-William, has thrown everything into chaos. For ten years Will has been missing, committed to an insane asylum by his own father. Kiera is sympathetic to her mentor's plight, especially when rumors swirl about a local girl gone missing. Now Kiera must once again employ her knowledge of the macabre and join forces with Gage in order to prove the innocence of a beloved family friend-and save the marriage of another...
the talented Anna Lee Huber
Thanks for joining us today! Mortal Arts, the second in your series featuring Lady Kiera Darby, is set in Scotland in 1830. What made you choose this particular place and time?
When I decided to write a historical mystery series with a heroine who has some knowledge of anatomy, I knew 1830 would be the perfect time period. It's just after the trial of Burke and Hare, two body snatchers-turned-murderers, which plays into the public's fear of Kiera once news of her involvement with her late husband's dissections comes to light, and it's just a few years before the Anatomy Act of 1832. Not to mention all of the other reforms being made with the Catholic Act of 1829, the Reform Act of 1832, the beginnings of the building of railroads, the ramping up of industrialization. It's a very interesting period. Lots of conflict.
Could you also tell us a little about what inspired you?
I have difficulty pinpointing exactly what first inspired me to write the Lady Darby novels. I was very deliberate in choosing the genre, and I crafted Kiera's backstory to give her the investigative skills I wanted her to have, and the rest of her history was created from the consequences of that. The plot of Book 1, The Anatomist's Wife, even grew from that. I chose to set it in the Scottish Highlands because I needed an isolated location. I tell people that Kiera feels like she's always been there, in the back of my mind, and I think it's true. From the very first, even before I knew who she was, I could hear her voice very clearly in my writing. So perhaps that's why I have trouble deciding on the inspiration. It happened when I wasn't paying attention.
Lady Darby has been described as "an unusual and romantic heroine." What makes her so unusual? Is she someone you would want to be friends with?
First of all, she's a gifted portrait artist, determined to pursue her art—something not very common for a woman in her time. She has the ability to lose herself in her art, and to see to the heart of the person she is painting, which often unnerves people, even as it makes her portraits special. Even more startling, she was forced to assist her late husband, who was a famous anatomist and surgeon to royalty, with his dissections, sketching them because he did not wish to split the credit for his anatomy textbook with an illustrator.
So she has knowledge of anatomy that she's unwillingly collected. When the scandal broke over her involvement with her husband's work, society and the general public vilified her, concocting all sorts of gruesome rumors about her. Her standoffish demeanor and quiet reserve do not help matters. She is not comfortable in society or large gatherings, but she is fiercely loyal to those she cares about. She is intelligent, insightful, and witty. I would definitely want her for my friend.
Tell us about Sebastian Gage, Lady Darby's romantic interest. Can you give us a hint as to which actor you would cast to portray him in a film version of the novel?
Sebastian Gage is a gentleman inquiry agent who works with his father to help the upper class with their sticky situations. He is charming and extremely attractive, and a bit of a golden boy who is much in demand at society's gatherings. He also has a reputation as being a bit of a rakehell, but Kiera soon begins to doubt that persona. His true self is somewhat a mystery and he does not share himself easily, which frustrates Kiera to no end. If I got to cast Gage, I would choose someone like Rupert Penry-Jones. He was fabulous as Captain Wentworth in the BBC version of Jane Austen's Persuasion. (Hmmm...me likes!)
Anna's award-winning first book
What was your favorite part of writing Mortal Arts?
My favorite part of writing Mortal Arts was getting to spend more time with the characters I'd created in The Anatomist's Wife and take them further along on their journey. I love it when they surprise me.
Least favorite?
My least favorite part was struggling with the doubts and crisis of confidence I had in myself. I had quite a lot of trouble with "imposter syndrome." There's this fear, irrational as it may be, that you fooled everyone the first time around. That you truly can't write. And now you'll be found out. I constantly had to shore up my belief in myself as a writer.
How did writing Mortal Arts compare to writing your debut novel, The Anatomist's Wife? What was similar about the process? Different?
Writing Mortal Arts was my first attempt at writing a sequel, and it was also my first time writing to a publisher's deadline, both of which added pressure. In one sense it was harder, feeling all of that added pressure, fearing I wouldn't be able to write another good book. On the other hand, it was also easier. The book was already sold, so all of those worries I felt that I would never be published were no longer there. I'd achieved what I wanted, and that was a huge relief. I had to do more plotting with Mortal Arts. However, I already knew many of the characters, so that was less work.
When did you first know you wanted to be a writer? Do you have any manuscripts buried in a drawer somewhere?
I first started writing in elementary school, and I have a box full of old stories I wrote then. I moved away from it in high school and then college, but returned to it again after graduation. I wrote four unpublished manuscripts before The Anatomist's Wife sold. Some of those manuscripts may someday see the light of day, after extensive edits. But others will remain buried on my computer, as they should be.
What advice do you have for aspiring writers?
First and foremost, never give up. I'm a testament to the power of perseverance. I always say, the only way you are guaranteed not to succeed is if you give up. Second, write, write, write. It's absolutely the best way to learn. And then find a critique group or a few trusted people who know what they're doing to help you make your writing better.
The third Lady Darby novel, A Grave Matter, is scheduled for release in July 2014. I'm finishing that up, and then I want to work on a side project I started a while ago. It's more of a straight Gothic suspense novel set in Regency England, and I hope to have that polished and ready to go by the end of the year.
If it's anything like the first two, it will be another winner! Congrats on your success!
Anna Lee Huber is the award-winning author of the Lady Darby historical mystery series. Her debut, The Anatomist's Wife, has won and been nominated for numerous awards, including two 2013 RITA® Awards and a 2013 Daphne du Maurier Award. Her second novel, Mortal Arts, released September 3rd. She was born and raised in a small town in Ohio, and graduated from Lipscomb University in Nashville, TN with a degree in music and a minor in psychology. She currently lives in Indiana, and enjoys reading, singing, traveling and spending time with her family. Visit her at www.annaleehuber.com.
There's a rabid dog in the coffee house! (now with a small explanation)
English: "A Mad Dog in a Coffee-House" (1809) by Rowlandson, showing a rabid dog terrorizing a coffee house in 18th century England (possibly Garrison's or Jonathan's, near the Exchange)
Such chaos! Such mayhem!
Okay, that's all I've got. There's a caricature in here somewhere, but I'd have to do a little research to figure it out. Unfortunately, I don't have the time...
Once again, I need to take an extended coffee break, aka temporary blog hiatus. I knew I was having a minor problem when I kept starting posts with no time to finish them.
The introduction of chocolate into 17th England? A fascinating tale of politics and intrigue, but one that will have to wait.
The real story of St. Patrick...Happy St. Palladius Day anyone? Yup, I wanted to tell that tale too, but ran out of time. I'll tell it next year.
So I'll be finishing gallons of coffee in my attempt to balance work, teaching and writing...all while doing publicity stuff for A Murder at Rosamund's Gate...did I mention that it's coming out April 23? :-) But I'll be back soon!
In the meantime, I'll leave you with the above image as a writing prompt. What's going on here? What schemes are afoot? Or most simply of all, Who let the dog in? Happy writing!
A QUICK EXPLANATION OF THE IMAGE!!!
I just had to research the meaning behind this image (despite being on my self-imposed blog hiatus). In doing so, I came across this interesting work by Joseph Grego, who wrote extensively about Rowlandson in 1922. He offers an interesting explanation of the painting that gets at the shifting economic concerns at the time.
In his own inimitable words, Grego writes:
"March 20, 1809. The advent of a nondescript animal, … assumed to be a ferocious mad dog, has produced the utmost terror and confusion amongst the grave frequenters of a mercantile coffee-house… All the city brokers, and pillars of change found therein are seared out of their sober senses; some…are paralyzed with fear; others are trying to creep under the tables; a few are seeking escape by the door which they are effectually blocking; and groups of affrighted fugitives are endeavoring to gain the refuge of the staircase….Comfortable citizens are thrown on their backs, like turtles, and trodden on, while the pressure of viler bodies above is expressing a stream of specie from the well-filled pockets of the overthrown…."
So what does all this mean?
Essentially, something seemingly innocuous has pervaded the economy, and it will cause mayhem. The explanation for this mayhem apparently can be found on the advertisment (notice) stuck on the back wall, which offers an important piece of shipping intelligence.
The notice warns 'lay off Barking Creek," the location of a large fishing fleet in London.
Barking Creek...rabid dog, get it?
(but now back to writing!)
The casual re-writes of history...the interesting case of Mary Ingalls and Helen Keller.
Mary Amelia Ingalls (1865-1928)
Until yesterday, if you had asked me what I knew about scarlet fever, I would have been able to tell you two things: A lot of people seemed to have contracted it in the nineteenth century, and in severe cases, a person could die, or at least go blind.
My evidence?
Well, Laura Ingalls Wilder of "Little House" fame attributed her sister Mary's blindness to scarlet fever.
I, for sure, took this diagnosis at face value. Why wouldn't I?
However, as it turns out, Mary probably suffered from viral meningoencephalitis. In a recent Pediatrics article, Dr. Beth Tarini and some colleagues reported their reassessment of Mary's condition, having spent years pouring over Laura's letters and other documents which alluded to Mary's symptoms.
Even though Mary had indeed contracted the disease as a child--in both the TV show and the book, we were infomed that "her eyes had been weakened as a child"--other symptoms were more telling. She went blind as a teenager, in 1879. Half her face had apparently been paralyzed, along with her eye muscles. Most telling of all, Laura later refers to Mary's "spinal sickness" in a letter to her daughter Rose. In 1881, Mary went to the Iowa Braille and Sight Saving School.
Helen Keller, 1880-1968
Interestingly, a thousand miles away in Alabama, Helen Keller--an infant-- had also just contracted a disease that caused her to lose her sight and vision. Like Mary Ingalls, her condition was also attributed to scarlet fever. Physicians now suspect, however, meningitis was the more likely culprit.
Was the assumption of scarlet fever simply a misdiagnosis?
In the case of Helen Keller, this is quite possible. In the case of Mary, no. Dr. Tarini's team concluded that the family was aware of Mary's true disease, but that Laura had deliberately obscured the nature of her sister's condition when she discussed it in her books.
Why would Laura have changed her sister's disease?
Dr. Tarini conjectured that scarlet fever, being a common malady, would have been more relatable to the author's audience. There's something to that hypothesis, for sure.
However, at the end of the nineteenth century, there was a real stigma associated with "brain fever," a catch-all term for neural sicknesses like meningoecephaliti and meningitis). After all, this was the era of both the rise of psychology and neurology, and the accompanying classification of mental disorders and illnesses. So Laura's rewriting of her sister's history was likely because scarlet fever was more palatable, not just more relatable.
Laura is certainly not the first person to hide her family's secrets, or to rewrite her narrative. The tragedy of her own husband--Almonzo--is another example of how she reconstructed her past.
But perhaps that's the greatest feat of a storyteller. Telling the story we want to hear, not what really happened. In this case, however, Laura's retelling has probably caused generations of people to associate scarlet fever with blindness, which is certainly incorrect.
Yet another reason to constantly question what we read; to question what we know to be true.
From thief-taker to investigator: The rise of the "detective"
17th c. detective of poisons
A few weeks ago, I wrote about the first female literary sleuths, and since then I've since been wondering about the real first "detectives." I don't mean just any investigators of criminal activity, for surely, those have existed since time immemorial.
But I was curious about when the term "detective" emerged as a recognizable title and/or occupation. The word does appear in the Early English Books Online as early as 1634. However, the word detective was not used as a noun, but rather as a verb, referring to the process of detecting.
Specifically, the "famous chirugion [surgeon] Ambrose Parey" detective the effects of deadly poisons on the human body.
Turning to my trusty Oxford Etymological Dictionary, I found that as a noun, "detective" was not used before before 1843. According to the Chambers Edinburgh Journal, "Intelligent men have been recently selected to form a body called the 'detective police'‥at times the detective policeman attires himself in the dress of ordinary individuals." (12: 54).
The word was later referenced in Willis' discussion of modern thief-taking in 1850: "To each division of the Force is attached two officers, who are denominated 'detectives'" (C. Dickens, Househ. Words 13 July 368/1).
Prior to 1850, those conducting investigations might have been called a searcher (1382), intracer (?a1475), inquisitor (?1504), inseer (1532), theif taker (1535) (my favorite, and the one I use!), peruser (1549) investigator (1552), tracer (1552), scrutineer (1557), examiner (1561), revisitor (1594), researcher (1615), examinant (1620), indagator (1620) (that's a great one!), ferret (1629), (another great one!), pryer (1674A), probator (1691), disquisitor (1766), grubber (1776), prober (1777), plant (1812), grubbler (1813), and plain clothes (1822).
After 1850, additional colorful slang variants were used: Plainsclothesman (1856), mouser (1863), sleuth (1872), tec (1879), dee (1882) (shortened version of detective), sleuth-hound (1890), split (1891) (evolution of informer, turning against another person), hawkshaw (1903) (a character in a play), busy (1904), gumshoe (1906), (from the quiet stealthy shoes detectives began to adopt), dick (1908) (comes from a colloquial collapsing of 'detective'), and Richard (1914) (the common surname for nickname Dick). (Most of these expressions, it should be noted, came from criminal slang)
And the first real person to be called detective?
Well, it's hard to say...
In literature, the first detective is usually considered to be August Dupine in Edgar Allen Poe's Murder in the Rue Morgue (1841) (although I don't think he's referred to in the original version as a detective).
Paul Collins, an associate professor at Portland State, a.k.a. the literary detective, has made the case for Charles Felix's detective in Velvet Lawn (1862) as the first of the genre. (On my list to read!).
Others have argued for Inspector Buckett from Charles Dickens' Bleak House (1853), who may well have been based on a real private investigator that Dickens knew.
"We never sleep?!" Hey, that's my motto
These works, demonstrating the emerging professionalism of detectives (or inspectors), clearly were influenced by larger nineteenth-century trends--most notably the ongoing reform efforts (which called for systematic, often covert, investigations into the corrupted and abusive practices found in factories, prisons, schools, hospitals, etc).
Something else accompanied that change.
As an investigator, the nineteenth-century detective was trying to systematically solve problems, using science to find solutions to the puzzles that plagued society. The "new" detectives were adopting a scientific, logical quality to the process of capturing criminals.
The first known (and organized) private detective agency emerged in France in 1833. This occurred under the auspices of Eugène François Vidocq, a soldier turned privateer, who lived much of his early life on the run from from the law.
(Apparently, Victor Hugo was so impressed with Vidocq that he based not one, but two, of his most important characters in Les Miserables--both Jean Valjean and Inspector Javert--on the man).
Officially, however, at least in the U.S., Allen Pinkerton, a transplant from Glasgow, Scotland became Chicago's first detective in 1849. Soon after, he set up his famous Pinkerton National Detective Agency in the 1850s.
Ultimately, this professionalization of the detective--with its' new emphasis on applying science, logic and technology to catching criminals--gradually reshaped the image of the investigator from "thief taker" to puzzle solver. These trends seem to have substantially influenced at least the first few generations of literary detectives, maybe more.
Enter Sherlock, Poirot and all those who rely on "their little grey cells" to solve mysteries...
(I do think the recent trend of paranormal crime solvers indicates the inevitable backlash, however, but that's another story). What do you think?
Susanna Calkins
Historian. Mystery writer. Researcher. Teacher. Occasional blogger.
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Shachi Tyagi, MD, is a geriatrician-scientist whose research centers on nocturia (nighttime wakening to void) and insomnia. She's interested in understanding the overlap in pathophysiology of these two prevalent and comorbid conditions among the elderly, as well as their role in increasing the risk of falls and fractures. In addition, she is investigating whether treatment for one may be beneficial to both.
In March 2017, Dr. Tyagi and colleagues from the Division embarked upon a new study.1 It is designed to investigate the causes of nocturia and nocturnal polyuria. Each is a common and costly condition in older adults, with significant impacts on quality of life and risk for serious complications such as falls and fractures, depression, and increased rates of mortality. In fact, nocturia is one of the most common reasons for falls and fractures in older adults. "At night, individuals are not fully awake, their blood pressure is lower, and rushing to the bathroom to urinate provides the perfect scenario for a fall and possibly a fracture," says Dr. Tyagi.
Treatment of nocturia, especially in the elderly, is challenging because the underlying causes are not well understood. Building upon her past research2-6 into how insomnia and nocturia are intertwined, Dr. Tyagi's new NIH grant is funding a first-of-its-kind study to examine the roles that sleep and circadian rhythm - and their dysfunction and disruption - play in nocturnal urine production in older adults.
Urine production follows a circadian pattern that is typically established by age 3 to 5 years and results in less volume (and higher concentrations of waste products) being produced at night. However, in most older adults this pattern can become disrupted, causing urine production to increase at night. Thus, Dr. Tyagi's study will examine the role of key hormones in urine production and how sleep dysfunction and consequent disruption of circadian patterns alter their regulation.
"We know that the rhythm of these hormones is somewhat blunted among older adults as a consequence of the natural aging process. So, if they already have some compromise of these rhythms, how do sleep and sleep disruption further impact their nocturnal urine production? This is the basis of the study," says Dr. Tyagi.
Dr. Tyagi's study will recruit healthy older adults who are 60 years of age or older and who do not suffer from insomnia or lower urinary tract dysfunction. Participants will take part in a battery of two 24-hour measurements designed to assess the diurnal variation in secretion of the hormones responsible for regulating salt and water excretion. Circadian rhythms will be assessed for phase and amplitude, allowing for an examination of diurnal variation in the secretion of the renal regulatory hormones and how sleep influences this process. "We may be able to uncover the existence of different phenotypes of nocturnal polyuria that would then point us to other lines of research and possibly to more targeted approaches to treatment," says Dr. Tyagi.
Another study,3 conducted with Daniel J. Buysse, MD, from the Sleep and Chronobiology Center at Western Psychiatric Hospital and Clinic of UPMC, suggests that treatment of individuals with insomnia may be negatively impacted by concurrent nocturia - suggesting that nocturia impairs the effectiveness of behavioral treatment for insomnia.
1. Impact of Sleep on Chronobiology of Micturition. Funding Entity: National Institute on Aging. Project Number: 5R21AG050892-02. Primary Investigator: Shachi Tyagi.
2. Tyagi S, Resnick NM, Perera S, Monk TH, Hall MH, Buysse DJ. Behavioral Treatment of Insomnia: Also Effective for Nocturia. J Am Geriatr Soc. 2014; 362(1): 54-60.
3. Tyagi S, Resnick NM, Perera S, Monk TH, Hall MH, Buysse DJ. Behavioral Treatment of Chronic Insomnia in Older Adults: Does Nocturia Matter? Sleep. 2014; 37(4): 681-687.
4. Tyagi S, Perera S, Clarkson BD, Tadic SD, Resnick NM. Nocturnal Polyuria in Older Women With Urge Urinary Incontinence: Role of Sleep Quality, Time in Bed, and Medications Used. J Urol. 2017; 197(3pt1): 753-758.
5. Clarkson BD, Tyagi S, Griffiths DJ, Resnick NM. Test-Retest Repeatability of Patterns of Brain Activation Provoked by Bladder Filling. Neurourol Urodyn. 2017; 36(6): 1472-1478.
6. Tyagi S, Perera S, Brach JS. Balance and Mobility in Community-Dwelling Older Adults: Effect of Daytime Sleepiness. J Am Geriatr Soc. 2017; 65(5): 1019-1025.


text:
Scott T Jones Homepage
edited by Scott Jones
DetailedResume
Xcomutil Homepage
Curriculum Vitae for Scott T Jones
Scott T Jones
13027 Scofield Farms Drive
Austin, TX 78727-4599
stjones@gmail.com
Software Developer/Performance Analyst
Advisory Software Engineer: 35 years experience at IBM
Specialty: Programming Efficiency and Application Performance
IBM Master Inventor: 30 patents issued
Hobbies: Games and Computer Game Development
Interests: Artificial Intelligence and Random Scenario Generation
Baccalaureate Level Curriculum, MAR 1990
IBM University Level Computer Science Program
IBM Corporation, Boca Raton, FL
Master of Science, MAY 1974
Major: Applied Statistics
New Mexico State University, Las Cruces, NM
Bachelor of Science with Honors, AUG 1972
Major: Mathematics, Minor: Computer Science
Florida Atlantic University, Boca Raton, FL
Valedictorian, JUN 1970
Fort Myers High School, Fort Myers, FL
Operating Systems by Years of Experience
OS/2 1985 - 2002, OS Developer
MS Windows 1995 - 2002, Game Developer, Home User
2003 - 2010, Application Developer, Home User
2010 - 2013, Application Developer, Game Developer, Home User
IBM DOS 1981 - 1995, Game Developer, Home User
Series/1 RPS 1976 - 1983, OS Developer
Linux 1999, Application Developer
2002, Performance Tester
2003 - 2010, Application Developer
AIX 2001, Application Developer
z/OS 2003 - 2010, Application Developer
Apple DOS 1979 - 1981, Game Developer, Home User
Programming Languages by Years of Experience
C 1984 - 2002: OS and Game Development
2003 - 2010: Application Development
Intel Assembler 1981 - 1999: OS Development
Java 1999 - 2013: Test and Application Development
Sun Certified Programmer for the Java 2 Platform, 12 OCT 2000
Series/1 Assembler 1976 - 1983: OS Development
Structured BASIC 1979 - 1986: Game and Application Development
APL 1971 - 1974: Game and Application Development
1977 - 1979, Game Development
C# 2010 - 2012: Game Development
6502 Assembler 1979 - 1981: Game and Application Development
PL/S 1974 - 1975: Application Development
IBM Employment History
IBM Performance Inspector
MAR 2005 thru MAR 2010, Austin, TX
Development of cross-platform performance tools for AIX, Linux, Windows, and z/OS, including IBM Internal and Open-Source External versions of our tools. My work concentrated on the redesign and enhancement of our Java profiling agent and heap dump post-processor. I also developed a GUI client for viewing heap dumps and a Java program to automatically apply performance settings to WebSphere configurations. Direct support of our tools customers is an integral part of the job.
The external version of Performance Inspector is available as an Open Source project from SourceForge.
Porting Performance Tools to New Platforms
JAN 2003 thru FEB 2005, Austin, TX
I ported existing performance tools and features from Windows to AIX, Linux, z/OS, and the PERCS simulator.
Performance Test for Linux Projects
AUG 2002 thru DEC 2002, Austin, TX
Test and evaluate the performance of unannounced products on Linux.
Java Development for OS/2
JUL 2001 thru JUL 2002, Austin, TX
Develop Java 1.3.1 for OS/2.
Java Development for AIX
JAN 2001 thru JUN 2001, Austin, TX
Develop Java 1.3 for AIX 5.1.
JIT Development for OS/2
JAN 2000 thru DEC 2000, Austin, TX
Develop Java Just-In-Time Compiler for OS/2 Java 1.2.
JIT Development
AUG 1999 thru DEC 1999, Yamato, Japan
Develop Java Just-In-Time Compiler for OS/2 and Linux.
MAY 1999 to AUG 1999, Austin, TX
Develop Java for multiple platforms.
Graphics Engine Extended Development for OS/2 Warp 4.0+
JAN 1999 to APR 1999, Austin, TX
Primary interface for off-shore OS/2 Video Development being done in Riga, Latvia.
Graphics Engine Performance for OS/2 Warp 4.0+
MAR 1996 to DEC 1998, Austin, TX
Performance enhancements for the OS/2 Graphics Engine and GRADDs. This included writing two new GRADDs for the S3-Trio and Chips and Technologies 6555x families of video cards and the new SBFilter which chains to the generic video GRADD for improved performance.
Graphics Engine for OS/2 Warp 4.0
DEC 1995 to FEB 1996, Boca Raton, FL
Development and maintenance of Graphics Engine routines. This also included the design and development of a GRADD (GRaphics Adapter Device Driver) for the VGA.
Graphics Engine for OS/2 for PowerPC
MAY 1995 to NOV 1995, Boca Raton, FL
Development of common Graphics Engine routines for both the Intel and PowerPC versions of OS/2.
Game Development Support for OS/2 Warp 3.0+
JAN 1995 to MAY 1995, Boca Raton, FL
My job was to support the development of OS/2 games. This included the development of GameSrvr, an OS/2 extension I designed to enhance the performance of games. It allows Presentation Manager applications to run as full-screen applications with their own unique video mode. This translates to a 12 times performance increase for full-screen 320x200x256 graphics over an identical application maximized on a 1024x768x256 desktop. This was shipped as part of Volume 8 of The Developer Connection for OS/2.
Window Manager for OS/2 Warp 3.0
MAR 1993 to DEC 1994, Boca Raton, FL
I was a key member of the team which converted the Window Manager from 16-bit Assembler to 32-bit C, drawing on my experience gained in the conversion of the Graphics Engine. My specialty was performance, particulary in the areas of message dispatching and thunking, the transition layer between 16 and 32-bit routines, which resulted in a 10% reduction in the size of the Window Manager and a more than 2% increase in total system performance.
Graphics Engine for OS/2 versions 2.0 thru 2.1
SEP 1990 to MAR 1993, Boca Raton, FL
I was part of the team which converted the Graphics Engine from 16-bit Assembler to 32-bit C, working with MicroGrafx. I was responsible for memory management, transformations, and function dispatching and journalling. My work on performance resulted in a 10% reduction in the size of the Graphics Engine.
Help Manager for OS/2 version 1.3
FEB 1990 to SEP 1990, Boca Raton, FL
I was responsible for redesigning the compression schemes used by the Help Manager. My work resulted in a 70% reduction in the size of the OS/2 Tutorial.
Base Video Subsystem for OS/2 versions 1.0 thru 1.2
OCT 1985 to FEB 1990, Boca Raton, FL
I designed and implemented the entire text portion of the Base Video Subsystem, based on the work I did for my game, ISC. I was the team leader for version 1.1. During this time, I also created INSPECT, an automatic code inspector that identified coding inefficiencies in Assembler code by examination of listing files.
DOS and TopView interface for PC Related Products
JUL 1983 to OCT 1985, Boca Raton, FL
I was the technical interface to all DOS operating system extensions for all internal products related to the Personal Computer. During this time, I also developed an automated test tool, with record and playback features, for use with the TopView messaging system.
Series/1 Realtime Programming System versions 1.0 thru 5.2
JAN 1976 to JUL 1983, Boca Raton, FL
During version 1.0, I helped design and implement the job control language. For version 2.0, I was responsible for performance enhancement in the symbol table processing of the Macro Assembler. For version 3.0, I was responsible for the find/change portion of the full-screen editor. For version 4.0, I was a developer and team leader for the Command Language Facility, a predecessor of REXX. For version 5.0, I was responsible for all asynchronous communications drivers, especially the drivers for the IBM 3101 display terminals.
LACIE (Large Area Crop Inventory Experiment) for NASA Earth Observation Division
JUN 1974 thru DEC 1975, Johnson Space Center, Houston, TX
I was responsible for the implementation of the statistical distance computations for the main classifier task, then I designed and implemented the report processor for the classification component. During my last six months, I worked on the conversion routines necessary to support the attachment of high-speed array processor.
IBM Invention Achievement Awards
OCT 1998, "First Patent Filing"
APR 1999, "First Invention Plateau"
SEP 2001, "Second Invention Plateau"
SEP 2001, "Third Invention Plateau"
JUN 2002, "Fourth Invention Plateau"
JAN 2003, "Fifth Invention Plateau"
OCT 2003, "Sixth Invention Plateau"
APR 2005, "Seventh Invention Plateau"
APR 2005, "Eighth Invention Plateau"
AUG 2006, "IBM Master Inventor"
OCT 2006, "Ninth Invention Plateau"
SEP 2007, "Tenth Invention Plateau"
OCT 2008, "Eleventh Invention Plateau"
OCT 2009, "IBM Master Inventor"
"Apparatus for Hardware Support of Software Color Cursors and Method Therefor"
US Patent #6,337,701 issued 08 JAN 2002
"Method and Apparatus for System Enhancement to Device Backup Font Support"
US Patent #6,421,055 issued 16 JUL 2002
"Method and apparatus for reducing image data storage and processing based on device supported compression techniques"
US Patent #6,707,945 issued 16 MAR 2004
"Apparatus and Method for Providing Access Rights Information in a Portion of a File"
US Patent #6,892,201 issued 10 MAY 2005
"Method, Apparatus and Computer Program Product for Efficient Per Thread Performance Information"
US Patent #6,925,424 issued 02 AUG 2005
"Method, Apparatus and Computer Program Product for Efficient, Large Counts of Per Thread Performance Events"
"Method and Apparatus for Performing Raster Operations in a Data Processing System"
US Patent #6,972,770 issued 06 DEC 2005
"Portable Electronic Device with Adaptive Sizing"
"Omitting Forwarder Pages in a History List in a Browser"
"Method for enabling a client to specify the characteristics of an image to be downloaded from a server"
"Limiting unsolicited browser windows"
"Apparatus and method for providing a user interface based on access rights information"
"Enhanced readability with 'flowed bitmaps'"
Taiwan Patent #TW 291139 issued 11 DEC 2007
"Method, apparatus and program to prevent computer recognition of data"
"Selectively de-scrambling media signals"
US Patent #7,490,340 issued 10 FEB 2009
"Operating system-wide sandboxing via switchable user skins"
US Patent #7,519,809 issued 14 APR 2009
"Method/system to speed up antivirus scans using a journal file system"
"Removable storage media with improved data integrity"
US Patent #7,599,261 issued 06 OCT 2009
"Instruction profiling using multiple metrics"
"System and method for collecting a plurality of metrics in a single profiling run of computer code"
"Adaptive prevention of data loss during continuous event tracing with limited buffer size"
"Method and apparatus for providing backup font support for missing device glyphs"
"Displaying memory statistics for a keydrive"
"Method, apparatus, and program to prevent computer recognition of data"
"Compensating for instrumentation overhead using execution environment overhead"
US Patent #8,271,999 issued 18 SEP 2012
"Call stack sampling for a multi-processor system"
"Call stack sampling for threads having latencies exceeding a threshold"
"Compensating for instrumentation overhead using sequences of events patents"
US Patent #8,307,375 issued 06 NOV 2012
"Solving Problems Involving Variable Terrain"
Two part article in Byte Magazine, FEB and MAR 1980
"High Speed Display of Graphics Images Using Successively Greater Refinement"
IBM Technical Disclosure Bulletin, Vol. 34, No. 2, JUL 1991
"System Stack for System Code"
"Random Floorplan Generation"
Research Disclosure, 11 OCT 2002
Published Products
Structured Basic Facility, versions 1.0 and 2.0
Part of the Basic Programming Development System, published by IBM Corp, 1982. Version 2.0 was published as a separate product by IBM Personally Developed Software in 1985.
This product was a full-screen editor and language pre-processor that enhanced the BASIC language through the addition of control structures and local variables.
Structured Assembly Language Utility, versions 1.0 and 2.0
part of the IBM Macro Assembler and IBM MASM/2, published by IBM Corp, 1984 and 1986
This product was a pre-processor that implemented control structures in Assembler language code without the overhead of macros.
Imperial Space Command
published by IBM Personally Developed Software, 1986
This product is described later.
CTFORMAT
C/C++ and Text Formatter, part of the Developer Connection for OS/2, published by IBM Corp, 1993 to present
This is a 32-bit OS/2 filter which formats C/C++, Assembler, and Text. It dynamically selects the kind of formatting to be done by examining the contents of the data. The text formatting uses hidden characters that allow output of one invocation to be the input of the next. Thus, it can be hooked into a variety of text editors.
THK2ASM
Thunk Compiler for OS/2 Warp, part of the Developer Connection for OS/2, published by IBM Corp, 1995 to present
This product provides an easy way to produce efficient interface code to enable the use of old 16-bit applications within the 32-bit OS/2 system.
Game Related History
Player of historical conflict simulations since MAR 1965. I have a personal library of nearly 150 board games.
Player of role playing games since Fall 1976 with experience during at least 6 years of that time as a game master, first for Dungeons and Dragons, then GURPS.
Player of Go since Summer 1986 and member of American Go Assocation, #3297, ranked 8 kyu. I have a personal library of more than 40 books on Go in both English and Japanese.
Founder of IBM Simulation Games Club, Houston, TX, JUN 1974.
Founder of IBM Simulation Games Club, Boca Raton, FL, JAN 1976.
Founder of Boca Raton Go Club, Boca Raton, FL, Summer 1987.
Owner of the Game Design Forum on the IBM internal networks since Fall 1992.
Charter member of the Computer Game Developers' Association, Fall 1994, #1994-0446.
Attendee of the Computer Game Developers' Conference, Santa Clara, CA, APR 1994.
Attendee of the GamePC Consortium, Santa Clara, CA, OCT 1994.
Game Development Experience
UBoat, 1972
Single submarine and destroyer implementation of U-Boat by Avalon-Hill Company. This game was originally written in APL for the IBM System/360 and was later ported to BASIC on the Apple II, then the IBM PC.
Pinochle, 1972
Two-handed Pinochle with a computer opponent. This game was written in APL for the IBM System/360.
Cruiser, 1974
Full implementation of CA by SPI, with a computer opponent. It was a simulation of World War II surface naval combat with multiple scenarios. This game was written in APL for the IBM System/360.
TimeTrap, 1976
An implementation of the multi-player time travel game by Flying Buffalo. This game was written in APL for the IBM 5100.
Dungeons, 1977
A role playing game based on Tunnels and Trolls. This game used a natural English parser and supported up to 4 characters in a randomly generated dungeon. It was originally written in APL for the IBM 5100 and was later ported to Structured BASIC on the IBM PC. It was considered for release with the first IBM PC, but was dropped because there was no way to treat IBM employees as ISVs.
EnGarde, 1979
Implementation of the Fencing simulation from the game En Garde by Game Designers' Workshop. This was written in Structured BASIC for the Apple II and later ported to the IBM PC.
Imperial Space Command (ISC), 1983 to 1986
A multi-player game of space exploration, colonization, and conquest based on my own design of a paper and pencil game that was frequently played by the IBM Simulation Games Club in Boca Raton, FL. A crude version of the program was developed in BASIC on the IBM 5100 and ported to BASIC on the TRS-80 by Ed Kiser of Coral Springs, FL. He later redesigned it and wrote it in Structured BASIC for the IBM PC.
My contribution was the design and implementation of the full-screen user interface and the computer player, which can replace any or all of the eight players. The game was published by IBM Personally Developed Software in 1986, and is still played today on a number of computer bulletin boards around the country.
GoBoard, 1986 and 1994
An automated Go board that was written in C for the IBM PC. It validates moves and captures, but does not play. It was rewritten as a 32-bit OS/2 PM application using C-Set++ for OS/2.
ISC2, 1992 to 1994
This is a totally redesigned version of ISC written in C-Set++ for OS/2. It features a game definition language that allows the game to be configured as ISC or any other game of that genre. I completed the game engine and the ISC personality in late 1993. A game definition editor and user interface was being developed by others in Boca Raton. That work and my own work on a computer opponent were halted due to the development of OS/2 Warp. This work was used as a Beta test of C-Set++ for OS/2.
XComUtil, 1995 to 2005
A combat enhancer for XCOM: UFO Defense and XCOM: Terror from the Deep, by MicroProse, and UFO: Enemy Unknown by Mythos. It consists of a collection of patches and utilities for the entire line of XCOM games. All features are the result of data patches, not the modification of code, except for a one-byte patch to fix the Difficulty Bug in XCOM that MicroProse refused to fix.
XCOMUTIL allows you to view, modify, or add opponents and their equipment, dynamically set the difficulty level, redesign the ships, and even switch sides with the aliens, allowing XCOM to be played in two-player hot-seat mode. Version 7.0 added the ability to randomly redesign each alien ship after each combat.
This program was developed using C-Set++ for OS/2 and recompiled with Borland C++ for distribution to DOS users. The latest version is available from my XcomUtil Homepage.
ApocUtil, 1997
A combat enhancer for XCOM: Apocalypse by Mythos, distributed in the U.S. by MicroProse. It performs some of the same types of functions for XCOM3 that XCOMUTIL did for XCOM1 and XCOM2. All features are the result of data patches, not the modification of code.
APOCUTIL allows you modify the number of aliens on ships and the availability of equipment, and It can also be used to randomly modify weapon effectiveness to make the start of the game more challenging as you struggle to find which weapons work against which aliens.
This program was developed using Borland C++ for distribution to DOS users only, since this game does not run under OS/2. This program is available from my XcomUtil Homepage.
Star Wars: The Old Republic (SWTOR), 2010 to 2012
An MMORPG based on the Star Wars universe with activity occurring 3000 years before the movies. SWTOR was developed by BioWare, a division of Electronic Arts.
I was responsible for development of the Automaton, an automated player capable of testing the game and substituting for testers in group content.
This page was last updated on 18 JAN 2013.
Scott T Jones<stjones@gmail.com>


text: Q: is there any example to make rows in React-virtualized Table(not list) draggable and droppable with React-beautiful-dnd lib? tried all the methods mention in React-beautiful-dnd lib to make work with virtual list but can't make it work with React-virtualized-table.


In March of 2017 we wrote a Forbes article about an event titled Black Women Talk Tech. Since that time we have attended numerous events where we have met an increasing number of awesome Black women who have been successful in a variety of fields. We later wrote an additional Forbes article celebrating 28 Black women, which became the first version of this steadily growing list.
Whether you are planning an event, looking for suppliers or talent, or simply wanting to increase the diversity of your network, you should consider these awesome women, follow them on social media, and share their content. Use the social share buttons below to help us spread the word, and if you have suggestion for additional women to add to this list, or if you wish to discuss a specific opportunity with one of them, please drop us a line.
Please note that we have no commercial relationship with the women on this list, and we may not be able to respond to all requests.
President & COO, Function(x), Inc.
Sorry, there are no names that begin with the letter I.
Diversity, Equity & Inclusion Lead, Hired, Inc.
SVP of Strategy and Corporate Development, McCormick & Co.
Sorry, there are no names that begin with the letter O.
Sorry, there are no names that begin with the letter Q.
Sorry, there are no names that begin with the letter U.
Sorry, there are no names that begin with the letter X.
Sorry, there are no names that begin with the letter Y.
Sorry, there are no names that begin with the letter Z.
Didn't see an outstanding black woman who should be on this list? Send us your nomination! Please include name, title/role, organization, LinkedIn and Twitter information. Use the share buttons below to let others know about this page.


An "elevator" leader takes you to heights you would not reach on your own. A leader is truly impactful only when both the individual and team achieves more than they would have without his or her guidance.
"Elevators" are one of those rare breeds that not only see productivity beyond the expected; they also elevate every nuance of their team, including happiness. They make big things happen through actions that drive their teams upward. Workers don't simply produce more; they likewise enjoy every step of the process, which is critical for sustainability.
People need confidence to succeed. When someone believes in us, we naturally want to justify that belief. We will work a little harder, try one more time and overall give a little extra. Sharing your belief in another is one of the most powerful motivators known to mankind.
I once heard it suggested that if all leaders just walked around their office all day reciting the phrases, "You can do it" and "I believe in you," productivity would skyrocket. While we all know leading others isn't quite that simple, the main point is still powerful. If you genuinely believe in someone, share it, and then watch as they soar.
Take the journey with them.
In the movie, "Up in the Air," there's a line in which George Clooney's character says, "Everyone needs a co-pilot." As a leader, you can't ride along on every sales call or physically work with your team all the time, but you can always be with them in spirit. A leader needs to celebrate each success, console each defeat, support during adversity and stay grounded during a winning streak. Understand that your team will go through an emotional roller coaster during the year and be there, as their co-pilot, biggest cheerleader and rock to lean on.
To truly journey with your team, you must be a consistent presence. If a daily visit or update isn't possible or reasonable, make sure, nonetheless, to go above-and-beyond the expected. In other words, don't just check in before a big deadline or during a scheduled conference call. To ensure you won't get too busy or forget to do this, put a reminder in your calendar a few times a month.
Get permission to push for a little more.
Personal trainers always asks for one more set or another repetition. The good ones talk with you prior to the first workout to review your fitness goals, build rapport and establish an understanding that they will help you reach your goals by pushing you further than you would push yourself. If your trainer pushes you without knowing what you want or establishing that vital connection, it's just someone yelling. That likely will cause you to work out less, not more.
As a leader, your job is to drive the team past its comfort point of achievement. Like the personal trainer, this requires knowing your targets and establishing a rapport. Once you've established the goal, ask for the team members' permission to hold them accountable and push them to get there. If you have a sincere rapport and the goals are theirs -- not just yours -- your team will welcome you helping them achieve their vision.
An elevator leader believes in the team, supports them and challenges them. Do an effective job of all three and you'll take your people to levels they never would have reached without you.


The Los Angeles Philharmonic Association, the USC Brain and Creativity Institute (BCI), and Heart of Los Angeles (HOLA), launched a five-year longitudinal research collaboration to investigate the impact of music training on children's well-being and development in 2012. Now after only two years of music training (2013-15), the BCI has published preliminary results in a recentarticle in the notable brain science journal, Developmental Cognitive Neuroscience, that clearly demonstrates that these children already show marked progress in two vital areas: they are better at processing sound as shown by an enhanced ability to discriminate pitches i.e. being better at identifying changes in the auditory environment, and the maturation of their brain has accelerated, as suggested by specific EEG changes occurring during the processing of sound. These results add new insights and rigorous findings to the emerging discussion about the role of early music engagement in learning and brain function.
These interim results strongly support the idea that music training during childhood, even for a period as brief as two years, does accelerate brain development and improves sound processing and can benefit language acquisition, speech perception, reading readiness and consequently the intellectual development of children. The results also demonstrate that community music programs, such as YOLA at HOLA, can offset some of the negative consequences that low socio-economic status has on child development, including improving the trajectory of language development of this group. The findings suggest another attractive possibility that the acceleration of intellectual and brain development that is currently observed will continue to have beneficial consequences on the children's intellectual and emotional capacities well beyond the end of the intervention, providing a platform for further development in the future.
Through a collaboration with the Youth Orchestra Los Angeles at Heart of Los Angeles (YOLA at HOLA) program, a partnership between the LA Phil and HOLA which provides free instruments and musical training to children from the Rampart District of Los Angeles, researchers at the USC Brain and Creativity Institute – directed by acclaimed neuroscientists Hanna Damasio and Antonio Damasio – are tracking how children respond to music from the very onset of their participation in systematic, high intensity music education.
Starting with children between the ages of 6 and 7, the researchers use cutting-edge neural and psychological assessments and advanced brain imaging techniques to track brain, emotional and social development. The group of children involved in the YOLA at HOLA program is being compared to two control groups of children matched in age, socio-economic status and cognitive abilities – one involved in sports training but with no musical training and one group with no systematic training.
All children are being followed for five consecutive years, providing a rare chance for researchers to discover the effects of musical training on emotional, social and cognitive aspects of development as they actually occur, rather than inferring later-life effects.
Dr. Assal Habibi, a senior research associate at the Brain and Creativity Institute and a musician herself, USC University Professors Hanna Damasio and Antonio Damasio, directors of the Brain and Creativity Institute and the Dornsife Neuroimaging Institute at USC, and Dr. Beatriz Ilari of the USC Thornton School of Music, are conducting the study. Along with graduate students and research assistants, they work directly with YOLA children and their families, and collect data for the assessments. Research results and summaries of findings are being reported to the scientific community and are being made available to the public.
This explains Mozart's extraordinary technical capacities, like composing in his mind without sketching, and writing-out an opera while chatting with friends or during a billiard game. He was exposed to music from an early age onwards and toured around Europe under the strict instruction of his father, absorbing all types of music at any place.


I work as a doctoral student in the field of Social Media Studies. Using participatory research as the research method, my research is focused on youths´ identity construction in, and through, social media.
I have worked at the University of Borås as a teacher since 2010. Before that, I worked as a children's librarian.


Progressive radio host Thom Hartmann shares the latest Borowitz Report with his listeners.
You can read the whole thing here: McCain Urges Military Strikes Against FIFA.
It would be funnier if so much of it, sadly, were not true.


text:
Theatre Ontario is thrilled to welcome Mimi Mekler as adjudicator for the 2016 Theatre Ontario Festival in North Bay. Mimi most recently adjudicated the Western Ontario Drama League Festival in 2014, and last adjudicated for Theatre Ontario's Festival in 1999 in Newmarket.
"The hard work, discoveries, accolades and camaraderie that are the backbone of the Theatre Ontario Festival make it a special event," said Mimi. "I'm looking forward to being part of the process that goes into creating the most vibrant community theatre possible."
Mimi Mekler's work as director, actor, dramaturge, writer and adjudicator has taken her from California to Czechoslovakia and Italy to Israel. She is a professor in the Acting Discipline at Sheridan College's Music Theatre Department. She also teaches for the joint Theatre and Drama Studies programme at Sheridan and University of Toronto at Mississauga, and for the Digital Character programme for Sheridan's acclaimed Computer Animation. Mimi has adjudicated in Manitoba, the United States, and throughout Ontario, including the One-Act Playwriting Competition for Ottawa Little Theatre.
learn more about mimi mekler
Theatre Ontario Festival 2016 will be held in North Bay from May 18 to 22, 2016 and is co-hosted by Theatre Ontario, Gateway Theatre Guild, and QUONTA (the northeastern Ontario community theatre association.)
Read more about Theatre Ontario Festival


text:
Project Entrepreneur Would Rather Change the World than Buy a Luxury Car
"Reid Hoffman at Greylock Partners foresees a tectonic shift coming in the Web, with data and its many uses as the new linchpin, replacing identity and relationships." Source of caption and photo: online version of the NYT article quoted and cited below.
(p. 5) As an executive vice president, it was up to Mr. Hoffman to manage external relations. "He was the firefighter in chief at PayPal," Mr. Thiel says. "Though that diminishes his role because there were many, many fires."
Mr. Hoffman emerged as a connector and high-level strategist. He packed his schedule with meetings, charmed credit card companies and soothed the regulators.
PayPal survived, and when the company went public, in 2002, Mr. Hoffman and many of his colleagues became multimillionaires.
Mr. Thiel splurged on a Ferrari. Mr. Hoffman wanted to buy an Audi but instead invested his newfound riches in one of the first solar panel companies to come out of Silicon Valley, Nanosolar, and bought an Acura instead.
"I started to think about the value of money," he says. "I thought if I only had $75,000, would I rather invest in a luxury car or make a play in changing the world?"
Nanosolar became a multibillion-dollar enterprise.
For the full story, see:
EVELYN M. RUSLI. "A King of Connections; How Reid Hoffman of LinkedIn Became Tech's Go-To Guy." The New York Times, SundayBusiness Section (Sun., November 6, 2011): 1 & 5.
(Note: ellipsis added.)
(Note: the online version of the article has the date November 5, 2011, and has the title "A King of Connections Is Tech's Go-To Guy.")
Author Art DiamondPosted on July 8, 2013 Categories Economics, Economics of Technology, Entrepreneurship
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NASA is in crisis mode! They have lost funding and can no longer send astronauts into space. Following the lead of private companies, such as SpaceX, students are asked to create a space cruise line that will send people into space. They have a chance to build their ship, determine where they will be visiting, develop interesting activities that can be done safely at those places and market their cruise to the public.
This group decided to create a website for marketing campaign. Click here to view it.


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The On With The Show Tour will mark Fleetwood Mac's first series of concert dates in Australia and New Zealand since 2009's sold-out Unleashed Tour. Touring as a five-piece for the first time since 1998, one of music's most enduring groups of all time, Fleetwood Mac, will play a selection of arena, stadium and winery shows this October - November. All five original band members are back together, with Christine McVie rejoining band mates Mick Fleetwood, John McVie, Lindsey Buckingham and Stevie Nicks after a 16-year absence.
Tickets for all shows go on sale at 10am on Wednesday April 1.
American Express Card Members will have an opportunity to purchase tickets before the general public from midday, Thursday March 26 for Australian shows and midday Friday March 27 for New Zealand shows. Visit facebook.com/AmericanExpress for complete Card Member information.
My Live Nation members can also be among the first to secure tickets during the pre-sale beginning at midday on Friday March 24 in New Zealand members and midday Monday March 30 in Australia. For complete details visit: www.livenation.com.au or www.livenation.co.nz.