Block I/O is ultimately what is done to a disk drive. Disks today in open systems store data in fixed blocks (usually 512 bytes) in a linear address space. Doing block I/O means that the application or file system is sending blocks to the disk drive to be written or asking for blocks using a logical block address (LBA). File systems turn file requests into block I/O. Applications (including databases) can do file I/O or they can bypass the filesystem and do block I/O (this is usually called raw I/O). Obviously it's easier to do file I/O, and you can do file sharing much easier that way. Doing block I/O may have performance advantages (in control of the buffering/caching and not having the file system overhead).


Before going to university, I knew very little about the operation of the social care system. I had attended residential schools for blind and visually impaired people since the age of 8, where specially trained staff were always on hand to assist if and when required. The prospect of not having someone upon whom I could always call was initially very daunting, but my desire to attend university outweighed such anxieties.
When I was planning to go to university, I opted to use a care agency for my support, as I felt this was a safer option than direct payments. After all, I was moving to a new town and didn't know anyone in the area.
The idea of going to university for the first time without anyone to turn to for advice, let alone taking on the additional hassle of recruiting reliable support workers was very daunting. Agency staff, in theory at least, would be vetted and experienced and it would be the agency's responsibility to ensure that I always had the support I needed.
Sadly, as is so often the case in life, theory and reality can be very different. On several occasions, new staff would turn up at my door without me being given prior warning, something which is especially confusing for someone who can't see.
The agency would often send staff at the incorrect time, inform them that my shifts were shorter than was actually the case, and would even tell me regularly that they weren't sure if they had any staff members who could visit me on a given day, which made me feel more anxious than words can describe, given that my family lived in Ipswich, 125 miles away.
On one occasion, I was told the agency had no staff who could come and visit me that day. When I asked the agency what they expected me to do for food, I was simply told that I would have to make the best of things and that I would be fed the following day!
Half-way through my second year at university, I decided to take the plunge and switch to direct payments. The direct payments system is not plain sailing by any means. It is a constant juggling act trying to ensure that all staff have sufficient hours to keep them happy in the job and there is no guarantee that suitable applicants will respond to adverts.
Nevertheless, direct payments have given me much more flexibility and I have been able to recruit many staff with whom I have a lot in common, so these people are not only my carers but also great friends. A direct payment support service supports me with logistical issues, such as ensuring correct taxation, National Insurance contributions, and pay slips for my staff.
Until recently, I had no more than 22 hours of support while at university and around half this while living at home. This support met my basic needs, but meant that on days when I had no classes at university I could be sat in my room for nearly 24 hours at a time. I therefore had very little social interaction during term-time. This, combined with the problems I had with my previous support arrangements, took its toll upon my mental health.
However, I have recently secured an increase in my hours to 41.5 per week. As a result of this, I am confident that the forthcoming academic year will allow me to be even more independent and have an even more fulfilling university experience.
Today we launch Leading my life my way, a new research report looking at young disabled people's experiences of using support services to live independently.
We carried out this research because we wanted to find out what young disabled people expect from care and support services, what their experiences are and to what extent they are supported in different areas of their lives.
Our research shows that young disabled people don't have sufficient control over their care and support plans and consequently in major decisions affecting their lives.
With this in mind, we designed our research to ensure young disabled people's experiences and opinions were at the centre, through a series of face to face and telephone interviews as well as a wider survey of disabled people aged 17 to 30.
Young disabled people want to do all the things that every young adult does. But the social care system is letting them down and holding them back in many crucial areas of their life. This is leading to social exclusion and affecting young disabled people's wellbeing.
While access to support is a significant barrier faced by young disabled people, our research found a much more widespread issue of being able to access to support in other areas like employment. Of respondents to our survey, 60 per cent said they aren't getting the support they need to get into work.
A quarter of our survey respondents said that they are either only 'slightly' or 'not at all' involved in making decisions relating to their care and support plan. This highlights a worrying lack of choice and control young disabled people have in making decisions about how they live their lives.
Our research also found that information and advice services could be improved to better serve the needs and expectations of young disabled people. While a fifth of our respondents would like to access information and advice on smartphone apps, only one per cent are currently able to.
The impact of poor quality information and advice was clear in interviews we conducted with respondents, with many instances of young disabled people not knowing how or where to access meaningful support in areas such as finding a job, managing support using direct payments and finding the right place to live.
A lack of support beyond daily living activities can result in a negative impact on young disabled people's wellbeing.
Of the young disabled people we surveyed, a majority had experienced a significant setback in their lives such as not getting a college place or somewhere they wanted to live.
Of these people, 82 per cent had not had this resolved within six months, despite this being an obligation of local authorities under the Care Act. Such experiences are resulting in many young disabled people feeling that their lives are on hold while they struggle for resolution in specific areas of their lives.
Our research provides evidence that many young disabled people are not being supported to do the things they want to in their lives.
This is a denial of opportunity resulting in many young disabled people feeling they are being left behind while non-disabled friends and relatives leave home, progress in work, continue in education, play an active role in their communities and develop relationships. If we don't get social care support right then the huge amount of potential young disabled people have in these areas could be wasted.
The Government needs to look beyond funding support for the 'basics' in social care and ensure young disabled people are supported to live independently in all areas of their lives.
Read more about our work to improve social care on our website.
Post from Minesh Patel, Policy and Research Assistant at Scope.
The Commission on Extra Costs is a year-long inquiry that will explore the extra costs faced by disabled people and families with disabled children in England and Wales.
In September, the Commission agreed to focus on the themes of empowering disabled people as consumers, efficient supply and effective market intervention in its approach to driving down extra costs. At the same time they also held an evidence-gathering roundtable that included spokespeople from consumer champions like RICA and experts in getting markets to work for disabled people, including Motability.
Chaired by Robin Hindle Fisher, yesterday Commissioners started narrowing down the areas that they would look at in more detail, and gave thought to the main areas of extra costs that the Commission should look at. In addition, the group began to consider what the solutions might look like in addressing these costs.
One of the categories discussed was clothing and bedding, where disabled people may face extra costs through purchasing specialist items, as well as through having to purchase a greater quantity of non-specialist items due to overuse or damage.
Energy was another area, which featured regularly in the personal stories of extra costs submitted to the Commission.
Other areas included specialist disability products for which disabled people are charged a premium, e.g. powered wheelchairs, and insurance, where a significant minority pay over the odds or are unable to access products that meet their needs.
Promoting the significant size of the disabled consumer base as a way to encourage more competitors to enter and thus open up the disability market.
Collective purchasing initiatives for things such as energy to enable disabled people to obtain a lower price.
The role of digital inclusion and web accessibility to ensure that disabled people can access the best deals that are often online.
The Commission will continue to develop and flesh out recommendations for driving down extra costs. To support this process, a second evidence-gathering roundtable will be held in January that will look at what can be done to increase the availability of and reduce the cost of goods and services in key markets for disabled people.


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← W naszym kraju zmiany następują zbyt wolno – wywiad z norweską kompozytorką Mają Ratkje (PL)
Eksperimentell kvinneglam. Erfaringer fra avantgarde-musikken (NO) →
Interview in Seven1878
I had never heard of Maja S. K. Ratkje until about three months ago while coming across a recorded collaboration with vocal tormentor, Joachim Montessuis, entitled, "Janus," through Montessuis' brilliant Erratum label. More info on "Janus" is available in SEVEN1878's Best of 2013 list. On "Janus," so many voices, vocal sounds, etc were present that it was hard to make out which contributions were from Maja, and which were Joachim's. Looking into Ratkje's work, I discovered an artist who has been working on her craft (in various disciplines) for 20+ years. Her work is amazing, and I am always baffled that such a talent remains relatively unknown in the US amidst all of our chest beating over who knows about one obscure artist or another. So, for the uninitiated, here's a brief look into Maja Solveig Kjelstrup Ratkje.
I watched a documentary on electronic music on YouTube where you said that music is about communication and sharing something. What is it that you wish to communicate and share?
Curious to know where this is on YouTube… Can't recall any interview with me there. Anyway, I am of course talking to those who are not perhaps used to avant-garde music and mistake it for being non-communicative and self-indulgent. Well, I can agree that a lot of new music is giving a good reason for people to think those ways, but I feel an urge to emphasize that what I create is meant for sharing and is an attempt to reach out to people, and hopefully move or change minds. But the 'communication' is anyways two-ways. My art is a result as well of how I perceive my surroundings, and the messages I get from people, directly or indirectly. You can say that art is a response to life, and that good art should raise the inconceivable questions to life.
I first heard of you in Lasse Marhaug's Personal Best zine but never actually took the time to look into your work until I heard the excerpt of your recent collaboration with Joachim Montessuis (Janus). Since then, I have listed to your first solo album, Voice, and two others: Adventura Anatomica and River Mouth Echoes. You are such an amazing artist, yet I have only recently heard any of your work. However, outside of the US, you have achieved so much. Give us a little background into the origin of your work, please.
I have worked as a freelancer for almost 20 years. I have done a lot of stuff in the US as well. I strongly recommend you to check out my website at ratkje.com. There is a solid timeline-biography there as well.
What I can say is that performing and composing has been present my whole life, and is equally important. And that it wasn't until I hear avant-garde music (jazz, contemporary, electronic) that I really wanted to devote my life to it. I see no purpose reproducing or fulfilling exterior mainstream demands, historical or "contemporary." My music is often considered on the edge or between art-forms or genres, but I see no reason to fulfill expectations or traditions in any art-form or genre. But it happens naturally, it's not a decision to be on the fringe of things. Sometimes it really pisses me off.
I even consider genres to be something male defined, that females tend to not fit into art categories in the same predictable way, or not even wanting to claim the "ownership" to new trends or styles. Well, this is just a loose speculation, coming as a result of just having written a book on the female situation in the avant-garde in Norway. (When I use the term 'avant-garde', it's not a genre, it is a term simply describing the forefront of all genres: avant-garde jazz, avant-garde rock, avant-garde film etc. We don't use the term avant-garde before contemporary or noise, but should perhaps start using it as those terms are getting old and established and predictable as well?)
Of the three albums of yours that I mentioned, Voice resonated the most with me, as vocal experimentation is something that I have great interest in. There's such a feeling of freedom and zero inhibition present! How were you feeling going into recording your first solo, vocal work?
This is 10 years ago so you should have asked me then! Voice was a needed and natural manifestation of my vocal work at that time, and also for me, a statement that I was serious about performing, not only composing. (I studied composition at the State Academy of Music in Oslo, and the performing part was not encouraged, even though I found plenty of space to perform and keep that part up, especially by forming the group SPUNK with three other musicians, that meant a lot). I wouldn't have ended up as a pure composer anyway, but a solo album is definitely something that gives you a nice wake-up on your own choices and aesthetics. A good thing to do early in one's career. Now, the record is re-released, eventually, on vinyl from the label Rune Grammofon.
River Mouth Echoes was released on John Zorn's Tzadik label. This release featured a lot more instrumentation, and an almost avant method of classical composition. How did you and Zorn cross paths? Why did you choose to add more instrumentation to this release?
I have composed for instruments since the beginning. And I love writing scores as well! This is why I studied composition! I have written a lot of works for different ensembles, many times on commissions, and sometimes out of my own interest. It's only a very few scored pieces I contribute to as a performer myself. River Mouth Echoes is the only disc featuring some of my composed work (not me as a performer in focus).
Zorn knew about my work, and was curious that my scored pieces were not collected in any portrait release. So, he contacted me and I sent him lots of recordings and scores, and the he decided out from that material what would fit on an album on Tzadik. I had to make some new recordings of course of some of the pieces, for example the title piece was not recorded, and that is written for a quartet of viola da gambas, a pre-baroque instrument not used in modern orchestras. It was a huge process, but I am very happy for this and the result. I can see that it confuses some people that I am doing both performance work with the voice and on the other hand I can write a score for a chamber music group. However, in my world, it all connects of course.
Your new collaboration with Joachim Montessuis seems like a perfect union. Joachim almost seems like your male counterpart! How did this collaboration come about?
Joachim and I met at a festival in Netherlands, was it 2004? Anyway, we have been in touch since, and he was co-organizing a concert with me in Paris at Les Voutes, that is funnily enough the still most seen bootleg on me on YouTube. With Joachim, as you say, I think I have found someone really close to my own aesthetics when it comes to using the voice with electronics. Voice and noise is such a beautiful and strong combination. And trying out our duo has been a new territory for me. I have done voice and electronic duo with Jaap Blonk previously, but that has been more in the free improv domain, with Joachim it's much closed to the expression I normally go into in my own solo concerts. I am very proud of JANUS, our first vinyl album. And we should play together more as well.
Your work has been featured in so many different platforms over the years. I feel like European countries have a much greater appreciation, and willingness to support, unusual art forms compared to the US. Do you find this to be true as well?
I think this has two sides. On one hand, the experimental, not institutionalized art has better conditions in Europe, so that's why you can have more people like me, not needing to agree on the conformity of the big institutions (universities, orchestras, opera etc). It is possible, but not lucrative of course, to move on the outskirts of conformity. First of all because there is art support for this un-institutionalized art as well. Not much, but by giving some random support to artists, venues, festivals, the scene can exist and also it generates of course much more than what is given in the first place. And not only by connecting to the society in different ways, or employing staff, but also by contributing continuously to mainstream art. And anyone can see that, that the avant-garde is needed in a society who wants to call itself a "cultural nation", or civilized perhaps.
The situation is very different from country to country. Political winds shift, and for example in Norway now, we have a new right government which thinks that art has to be sponsored by private companies, even though there has been a long tradition of supporting free art in our country. Oil companies in Norway sponsor a lot of art and culture, and they make contracts with their artists that they cannot change image or even band members without consulting the oil company. Oil companies are in high gear with public relation all the time we are actually moving out from the oil age, and when no other, apart from the oil companies themselves and those who make money on the industry, are eager to support the industry. When the world knows that we have to let 80% of the known oil resorces in the ground, it takes a lot of cultural PR to keep the facade for the oil industry. Their dirty money creates a big dilemma for many artists, and which has moved me to start a network for artists against oil sponsorship: Stopp oljesponsing av norsk kulturliv.
But the situation in US is not so different. I feel that the audience there is very much devoted and interested. The whole avant-garde scene is held up by the audience alone, which is pretty impressive! I see real love and devotion in for extreme, experimental and/or radical art in the US which is sometimes harder to spot in Europe where people are taking art more for granted. But the art world needs support in order to exist, and to develop as an artist you simply can't have two full-time jobs on the side. All sorts of people are needed (not only those who can afford it by external reasons) for the avant-garde to move on.
Voice, electronics, and instrumentation are all tools you make use. Do you have a preferred method among these three? Are you able to communicate more through one over the other, or does each allow you to express different things?
I like expressing myself through different art medias. Sometimes I deliberately try to create unknown situations, and that triggers my creativity. As long as I get ideas, I can keep composing and performing. I feel that I am in a continuous move, always on the search for tools and new combinations. Sound is essential for me, more than concept I think, and the creation of rooms, making hybrid concert forms with direction, light, visual art, something that cannot be easily documented, that has been the most interesting works the last years. I can mention works like "Gare du Nord", "Crepuscular Hour", "Putin's Case", "ROM", "Birds & Traces", "Engebøfjellet…" etc.
Who are five artists that you believe that people should look into?
Cecilie Ore
Laurie Spiegel
Else Marie Pade
What do you have planned for 2014?
Tons of concerts, in Europe, in US, and some composing, a new piece for orchestra – my first orchestra commission from Norway. Trying to keep up my activities at my website.
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redpajama_set_name: RedPajamaCommonCrawl


Three weeks from yesterday we set out in the road again. Needless to say the next 20 days will be full of packing and checking the equipment, cleaning lenses, making reservations, and securing national park permits.
Unlike many traditional DSLRs (digital single lens reflex) cameras, when you remove the lens from the body of the camera the image sensor becomes exposed to the elements. In a traditional DSLR, a mirror blocks most debris from being able to reach the sensor which 'burns' or records the digital image. However, the Arca Swiss body is no regular DSLR and because there is no viewfinder allowing the photographer to preview the shot, there is no mirror blocking the sensor. This requires either 1) the user to never remove the lens from the body this creating a closed camera or 2) the user to clean the sensor after working in the field with an exposed sensor, or back. We are using a Phase One IQ180 back which is currently the most advanced digital back in the world. Instead of capturing hues in 12-13 bit like most Canon and Nikon cameras, the Phase One IQ180 allows for 16 bit hue capture essentially making it 16x more sensitive to color.
The other issue when shooting to a higher quality camera becomes focus. When you blow up a picture to an 8″x10″ print it's difficult to discern what subject matter is slightly put of focus. But when you blow an image up and print a 3'x9′ panoramic image, suddenly focus becomes very important. For this reason we shoot tethered with the camera directly connected via a fire-wire cable to a laptop which we take with us in the field. This allows for a couple efficiencies: first, we do not have to later import large image files to a laptop after shooting. And second, we can check for absolute focus and composition using a 15″ laptop screen and software versus a small LCD. Shooting to a laptop presents several challenges though, namely weight when backpacking, extra setup time prior to shooting, and ensuring the equipment is protected from the ever-changing elements.


Bread For the Soul Part II: Poolish!
Hi everybody, it's Mr. DD again, back for an update on my foray into bread-baking.
The last time I wrote about my first try at making crusty European style bread, which ended with some tasty baguettes. Since then, I have been reading books on bread baking, trying new techniques, and providing my family with tasty boules and baguettes.
So, what have I been doing differently?
First off, I have been experimenting with different mixes of flour: whole wheat, rye, white. I have also been trying different fermentation methods; cold vs warm. Most importantly, I have been cultivating my own sponge starter, or poolish.
There are many types of starters but they are all basically the same idea...use fermenting dough for a leavening agent, rather than just chucking in some yeast directly into your dough. While this method requires more effort, the benefits are worth it as your bread will have better crust, more complex flavor, and a longer shelf life.
I chose the poolish method because frankly it is easy to get started and maintain.
So here is how you do it: In a decent sized container (with a lid), mix in 1/2 teaspoon active dry yeast with 1 cup of warm water and let sit for 5 minutes for the yeast to get going. Add in 1 cup of flour (many recipes call for bread flour, but I just used basic all-purpose white flour and it seems to do the trick) and mix vigorously with a wooden spoon. It should be a bit watery and elastic.
From here you have two options, if you want to use it as soon as possible, let the starter sit on the countertop for 6 hours or so until it triples in volume and is bubbly.
The other option, which I recommend, is to let the starter ferment in the fridge overnight. I recommend this because by refrigerating the starter, you only have to feed it once a week or so whereas if you go the countertop route, you will be feeding daily and who wants to go through all that fuss? Plus a slow, cold-fermented starter that will develop a richer, more complex flavour to layer into your bread. My poolish is 2 months old now and you really can taste the flavours developing.
So, how do you know when to feed your starter? Like our newborn baby girl, it will let you know. After tripling in height (with gas bubbles), your starter will collapse back down and the bubbles will disappear. You may also notice a clear liquid, that smells faintly of beer, rising to the top. Simply drain the liquid, add in 1 cup of flour with 1 cup of warm water and stir just like before. Consider your poolish fed and put it back to bed in the fridge.
Given time constraints from work and family, the time involved to make good artisan bread using a starter (8 hours at a minimum!) can be daunting. However, it's all about getting into a routine and breaking up the task into more manageable steps.
Here's my routine: I feed my starter the night before I want to make my dough, typically Thursday night (it takes literally 5 minutes). Friday night I make the dough - yes life is that exciting with young kids.
Between mixing, autolyse (we'll talk about that a later date), kneading, and re-feeding the starter we're looking at 45 minutes to an hour before both the dough and starter go back into the fridge.
The next morning, Saturday..."daddy-bread day!" as our 3-yr old will say, the dough comes out to warm up, leaven, and prove before baking. Most of time involved here is hands off, letting nature take its course.
Meanwhile the starter just stays in the fridge until I bake next. So, by using cold-fermentation and a poolish, I find the process to be much easier to manage. I tend to make one big boule a week, which feeds the family, so this routine works. Clearly you will need to feed your starter more often if you plan on making more bread, but it really is that simple.
Don't be afraid to grow a little sumpin' in your fridge, your family will appreciate the extra flavor!
Until next time, when we'll discuss my experiments in flour mixes and leavening/kneading/proving.


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Q: What are the native typesafe enum patterns? I am a newbie to java, i want to learn about the native typesafe enum patterns? can anybody help me?
thanks in advance..

A: Use enums; details in the JLS.

A:
i want to know the difference between typesafe enum patterns and native type-safe enum patterns.

A type-safe enum pattern is a design / implementation pattern that provides something similar to native enums.  Since, Java 5.0 and later support native enum types (tutorial link), there is no real need to know how to do this.  Just use native enum types.
If you are curious about how it used to be done, read this: Alternative to enum in Java 1.4
(A native typesafe enum pattern is a contradiction in terms.  Java's native enum construct is a first class programming language construct ... not a design pattern.)

redpajama_set_name: RedPajamaStackExchange


Did you make your scarf? It looks handmade.
I believe it is handmade, but I did not make it. It was a gift from my mom, and she got it at Buffalo Exchange in Minneapolis.
Your outfit has a vintagey feel to it. Are you a vintage shopper?
The scarf is vintage, and so is the Dooney & Bourke purse. But surprisingly that's it for this outfit. I am an avid vintage shopper. I am a firm believer in recycling clothes. It doesn't matter when or where the clothes are from as long as you understand the look you are trying to create.
Do you generally dress this colorfully?
Color has never been something I'm afraid of. Fashion rules are meant to be broken: Wear black with brown and white after Labor Day.


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Ross's Reasons: Your o cial recap of the past three weeks in sports
By: Ross Wendlandt
In: Professional, Sports
What a crazy couple of weeks it has been in sports. The NCAA tournament was in the Sweet Sixteen last time I wrote a column that was not about Rock, Paper, Scissors. In order to try to summarize what has happened since, I am handing out five awards I made up.
The "Bartolo Colon" Award: Patrick Reed
This award is presented to athletes who achieve excellence while being a bit … hefty.
For the first 70 or so holes of the Masters, it seemed like people were talking about everything besides Patrick Reed. The first two days were dominated by talk of Tiger and that guy with the amazing hair in his group. Although he did make the cut, it soon became apparent that he would finish closer to the back of the field than the front. The narrative coming out of day three centered on Rory McIlroy and Rickie Fowler. McIlroy, a four-time major champ, is still seeking his first green jacket. Fowler, who now has finished second at three of the four major championships, has yet to get over the hump. Even on Sunday, Jordan Spieth dominated headlines as he buried eight birdies over his final 18 holes. But even he could not catch up to Patrick Reed. Reed dominated day two and three, and never relinquished the lead after the second round. It speaks to Reed's overall dominance that even after a final round score of 71 (-1), the red hot Spieth still finished two shots back.
The "Yodeling Kid" Award: Sister Jean
This award is presented to an internet sensation that will soon become incredibly unfunny.
At what point did you first hear of Sister Jean? Was it after one of Loyola-Chicago's miracle first round wins? Or were you able to hold off until the Ramblers made their Cinderella run to the Final Four? Even then, the average person still does not know much about her. When I asked six Concordia students what they actually knew about Sister Jean, they gave me the basics: "She's a nun from the school." When the Ramblers made the Final Four, it seemed like people, or at least the people I follow on Twitter, were completely over hearing about this 98-year-old lady. And yet, in the week since their elimination, we have heard not a peep about everyone's favorite nun. So I am not sure how to think of her legacy. I will choose to think of her as a high-end meme. But a meme, nonetheless.
The "Shaquille O'Neal" Award: Villanova Wildcats
This award is presented to an unstoppable force that creates its own dynasty.
Let's not mince words here: Shaq was the singular most dynamic player from the time Jordan retired in 1998 to the time that LeBron James became "LeBron" in 2007. In that window, no player was as dominant. Shaq left a legacy of basically being a one-man dynasty. In this comparison, Villanova is Shaq. Villanova dominated the NCAA tournament like no team has done in this decade. Coach Jay Wright has fully embraced the three-point line and often trots out lineups where each player is lethal from deep. The team will more than likely lose their top two players, Jalen Brunson and Mikal Bridges, but I would be completely surprised if the team drops off. Sophomore guard Donte DiVincenzo stepped up in the national championship game, and he will be joined next year by five-star recruit Jahvon Quinerly. Not only is the present bright, but the future looks promising.
The "Retractable Roof" Award: Outdoor Baseball in Minnesota
This award is presented to the whole state, where America's pastime is played (sometimes).
This is not so much an award as it is a wish. As I am writing this, my two favorite baseball teams, the Minnesota Twins and the Concordia Cobbers, have played a combined total of four home games. Not only do we need baseball games, WE DESERVE THEM.
The "Garfield" Award: Karl-Anthony Towns
This award is presented to a lovable feline who you cannot help but expect more out of.
By the time this is printed, the Timberwolves will have either missed the playoffs for the 15th straight year, or qualified for their first playoffs since Kevin Garnett carried the team to the 2004 Western Conference Finals. Either way, I will be disappointed. The best Timberwolves team I can remember will have their season end in the first round, shellacked by the Rockets or Warriors. Not great. Granted, this season has taken some unlucky turns, including Jimmy Butler's knee injury. Butler is the obvious leader of the T'Wolves, but Karl-Anthony Towns should've been able to keep the Wolves afloat. I love KAT want him to be a Timberwolf for his whole career. But I also want to see him carry a winning team rather than collect stats on a bad team.
Ross Wendlandt
Contact Ross Wendlandt at rwendla1@cord.edu
Ross's Reasons: Your betting guide for week 10 in the NFL
Ross's Reasons: Dr. Ross is here to cure your NBA playoff illness
Ross's Reasons: Your final betting guide for the 2017-18 NFL season
Ross's Reasons: Your betting guide for week 7 in the NFL
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Laura Dailey of SpectraBusters brought a strong message in favor of solar energy and against the pipeline that's proposed to cross the springs heartland.
Throughout history, the smart investor has bet his money on the future. Today, colleges and universities, even major corporations are divesting from fossil fuels. Why? Because fossil fuels are the new DINOSAURS, and we already know how that story ends! Even Duke Energy, just last week committed $225 million to the development of Solar energy. Think of the water that can be saved!


Railroad Museum of Long Island has two locations, Greenport and Riverhead, dedicated to preserving and displaying Long Island Railroad history while educating the public on the importance of the railroad and its development on the Island. Historic Railroad collection including steam engine #39, Diesel engine #1556, Porter engine #1 and 8 other vintage railroad cars. Indoor museum, miniature railroad, working site. A Path Through History attraction.


text:
Why Zionism is racism
Asa Winstanley From the Editors 15 May 2020
"Zionism is the belief that Palestinians can and must be expelled from their homeland so that settlers can take their place."
In this short video, my colleague Ali Abunimah explains the true meaning of Zionism in a nutshell.
As the United Nations General Assembly determined by a large majority in 1975, "Zionism is a form of racism and racial discrimination."
Although that resolution was repealed after the collapse of the Soviet Union, due in part to US and Israeli pressure, it is as true today as ever.
As Ali explains, in recent years, Zionist organizations have attempted to muddy the waters using a debased form of identity politics.
As I have reported for the last several years, this has been particularly successful on the left in the UK, with lifelong anti-racists like Jeremy Corbyn smeared as anti-Semitic due to their Palestine solidarity activism and their leftism.
"You made me feel unsafe"
As Ali explains, they have been trying to "convert Zionism into some sort of personal identity thing. So that if you say I'm a Zionist, and then I say to you, well Zionism is racism, it's like: Oh my God, you attacked me, you hurt my feelings, you made me feel unsafe."
I found this observation particularly astute after the Israel lobby's campaign against the Labour Party from within over the last few years.
Even a minority on the Labour left – such as Momentum founder Jon Lansman – argue that Zionism should have immunity from criticism.
The video clip is from last week's online discussion panel, "From Corbyn to Sanders: Are Zionist Organizations Targeting Progressive Politicians?" It was hosted by anti-Zionist Israeli campaigner and author Miko Peled.
Also participating in the discussion were US author and radio host Dr. Wilmer Leon and former Labour MP Chris Williamson – who was himself smeared and ultimately forced out of the party.
You can watch the entire panel in the video below.
I spoke on the panel for part two of the discussion on Wednesday night. You can watch the video of this second panel on Miko Peled's YouTube channel now.
Labour witch hunt
Miko Peled
Wilmer Leon
Chris Williamson
Jon Lansman
Asa Winstanley's blog
Permalink Adrienne Weller replied on Fri, 05/15/2020 - 17:41
I appreciate Ali Abunimah's forceful and clear definition. Also, Zionism was promoted to imperialist powers as a way to establish a friendly state in the Middle East for western capitalist dominance and a bulwark against Soviet Russia and had a "colonialist and racist outlook pervasive among the European ruling classes." (Palestine: Israel and the U.S. Empire, Richard Becker, p. 23)
Permalink Frank Dallas replied on Sat, 05/16/2020 - 11:43
I think it's useful to adhere to Thomas Suarez's distinction between spiritual Zionism and ethno-political Zionism. The former is a set of beliefs which like any others, people must have an absolute right to hold. If I want to believe there are fairies at the bottom of my garden, I should be free to do so. The problem arises if I insist you believe so too and if my belief transmogrifies into a political creed, say, those who don't believe in fairies will have their democratic rights curtailed. That ethno-political Zionism is racist is confirmed by defining it as the sum total of the policies of the Israeli State since 1948. The "identity politics" Ali refers to is really an expression of the so-called "new anti-Semitism". (See Jonathan Cook: Disappearing Palestine p 231). The essence of this is that the liberal left is in cahoots with extreme Islamism and has absorbed its anti-Semitism. The colonial European countries exported their racism to the Arabs and now the Arabs are feeding it back. Thus, the left is indisputably stained with anti-Semitism which it disguises as anti-Zionism. All people on the left are anti-Semitic, whether they know it or not. Thus, their denials of anti-Semitism are its proof. Chalk another one up for Orwell. This is extreme thought control. It goes further than Big Brother and The Ministry of Truth in that it attributes thoughtcrime and those accused have no means of escape. Of course, all that is really going on is the old Zionist nonsense that any criticism of Israel is anti-Semitism. The latter should be tightly defined: hatred of Jews because they are Jews. Criticism of Israel or of Zionism is not hatred; it is the rational procedure of democratic debate and freedom of thought. Hatred of people subsumed to a category is irrational. Criticism of government policy, any government policy, is eminently rational. Its contrary is totalitarianism, which is where Israel is heading.
Permalink Jonathan Maytham replied on Sat, 05/16/2020 - 19:21
How can one take seriously the opinions of anyone who can write "All people on the left are anti-Semitic, whether they know it or not."
I'm not sure if the error or the patronising smug superiority is worse!
This is a parody, I take it.
Permalink Art replied on Sat, 04/17/2021 - 22:55
I think you've misunderstood
Permalink Ruth Sharratt replied on Thu, 05/21/2020 - 11:43
I think you've misunderstood Frank's posting. If I understand it correctly, he was explaining the anti-Zionism = anti-semitism position and showing how absurd it is. In short, if you're anti-Zionist, you must be anti-semitic. Not knowing you are just proves that you are. He was not arguing that that was the case - as I'm not either :)
Settler colonialism is profoundly wrong and harmful. It doesn't matter how you justify it. Some justify it be referring to their 'God given birthright", others to their innate superiority. It doesn't matter - it's still wrong and needs to be opposed.
The European colonial settlements in America were a disaster for the indigenous people who were living there. The settlements of the European Jews in Israel which led to the Nakba in 1948 and which has continued since is also a disaster and also profoundly wrong. Wrong not because of who is committing the abuses, nor because of who are the victims, but just profoundly wrong. That is why anti-Zionism cannot be conflated with anti-semitism. It is a criticism of the actions and is a criticism of the perpetrators simply because they are the perpetrators of the crime.
As someone of Jewish heritage, criticising Israel and Zionism is not an attack on me. Claiming that the assault on the Palestinian people is being done in my name IS a real and profound insult.
Response to R. Sharratt's comment
Permalink Adrienne Weller replied on Thu, 05/21/2020 - 19:15
Yes, you have read the comment by Frank correctly. I first thought that he was advocating these views but then I re-read it carefully and he was explaining them and refuting them. As a Jewish leftist I understand that the blanket dismissal by Zionists of the left is part of their right wing ideology. This is why they are supportive of Trump and of right wing parties in Europe.
Asa Winstanley is an investigative journalist who lives in London.
At The Electronic Intifada he is associate editor and co-host of our podcast.
Subscribe to my Substack here
Twitter: @AsaWinstanley
Read more about me here.
Israel's Elbit sells UK arms factory targeted by activists
Asa Winstanley 10 January 2022
Protesters against Israeli ambassador exonerated by university
Asa Winstanley 22 December 2021
Not guilty: Palestine Action acquitted in first trial
Second Bristol report exonerated David Miller of anti-Semitism
Asa Winstanley 26 November 2021
UK government attacks Palestine student protesters


Join me at Apparitions of Terror, hosted by author Erik Gustafson, to discuss the muses and Finding Poe--and the ellusive connection between the two. See you there!
Buy Cheap True Religion Jeans from Cheap true religion jeans .Designer True Religion jeans are known all over the world for their trendy designs, and overall the quality of their products.We know that the quality of the product directly results in the impression given to people.


text:
Seven found guilty in people smuggler trial
The Local - [email protected] • 5 Dec, 2014 Updated Fri 5 Dec 2014 12:31 CEST
Seven asylum seekers have been found guilty of smuggling people from Asia into Europe, after a lengthy and controversial trial in Wiener Neustadt.
The men - from Pakistan, Afghanistan and India - received suspended prison sentences of between seven and 28 months, the majority of which have already been served in custody. An eighth man was acquitted.
There were accused of operating a criminal organization in which people from their home countries were smuggled into Europe.
Protesters had gathered outside the court with signs that read "escape is not a crime" and "smuggling saves lives". The verdict provoked cries of "shame on you" and "there is no democracy" from the public gallery.
After going through the evidence, which included 4,000 wire tapped phone conversations, the prosecutor admitted that the men were not running a money-making business but that nevertheless they were still guilty of the crime.
The defence, Lennart Binder, said that the men "were not a criminal organisation, they shared a common destiny with the people they were smuggling". He said that they helped other refugees in exchange for a little money, a place to sleep, or something to eat.
He argued that the trial was politically motivated as four of the defendants had camped out with 40 other asylum seekers in Vienna's Votivkirche last year, protesting against Austria's asylum laws.
They wanted the right to work permits while waiting for their asylum applications to be processed, as well as an end to deportations.
#Immigration #human trafficking


"SEÑOR, TU NOS HAS SIDO REFUGIO DE GENERACIÓN EN GENERACIÓN…" SALMO 90:1 – LA BENDICIÓN DE LA CONEXIÓN PRODUCE PROTECCIÓN.
DIOS CONECTÓ LAS GENERACIONES PARA HACER RESPONSABLE A CADA UNA DE ELLAS DE PASAR O TRANSMITIR SABIDURÍA Y ENSEÑANZA A LA QUE LE SEGUÍA.
EL ENEMIGO DE NUESTRAS ALMAS HA DESCONECTADO Y SIGUE DESCONECTANDO ESE IMPORTANTE CONDUCTO GENERACIONAL ESTABLECIDO POR DIOS (ÉXODO 10:2, LEVITICO 23:43, DEUT. 4:9, DEUT. 32:7, SALMO 78:1-7, ISA. 38:19).
ESA DESCONEXIÓN GENERACIONAL HA PRODUCIDO MENTES ENFERMAS QUE HAN CAUSADO ATROCIDADES Y DESASTRES; MENTES DESPROTEJIDAS QUE POR LA OQUEDAD GENERACIONAL HAN SIDO INUNDADAS CON IDEAS AISLADAS DE LA NORMALIDAD DE LA VIDA Y UNAS MENTES SON LLEVADAS HASTA MANEJAR IDEAS BESTIALES DE TODO TIPO.
UNA MENTE SIN PROTECCIÓN ES PELIGROSA PORQUE QUEDA EXPUESTA A UN SINNUMERO DE IDEAS DESHORDENADAS. CON TODO LO QUE ESTE SATANÁS POR MEDIO DE LOS MULTIPLES CONDCUTOS QUE HOY TIENE A SU DISPOSICIÓN LLEVA ESTO A NIVELES MUCHO MAS PELIGROSOS.
PODEMOS DECIR EL ENEMIGO YA NO NOS GRITA DE LEJOS PARA TRAER LA TENTACIÓN Y DESTRUCCIÓN, SINO YA ESTÁ EN LA MISMA CASA, DELANTE DE NUESTRA MISMA CARA RETÁNDONOS Y AMENAZÁNDONOS. LAS PALABRAS DEL PROFETA NAHÚM SON MUY RELEVANTES A ESTO CUANDO NOS DICE: "SUBIO DESTRUIDOR CONTRA TI: GUARDA LA FORTALEZA, MIRA EL CAMINO, FORTIFICA LOS LOMOS, FORTALECE MUCHO LA FUERZA" (NAHUM 2:1). LA VERSIÓN EN INGLES DICE: "EL QUE TE HACE PEDAZOS HA VENIDO DELANTE DE TU CARA: GUARDA LA MUNICIÓN, GUARDA EL CAMINO, FORTIFICA TUS LOMOS, FORTALECE TU PODER FUERTEMENTE".
EN UNOS CASOS HAN SIDO LOS LÍDERES DE LOS HOGARES QUIENES SE HAN DEBILITADO Y HAN PERMITIDO QUE "LOS FILISTEOS" TOMEN EL ARCA DE LA CASA, POR MEDIO DE DESHORDEN EN LA CASA, POR PERMITIR QUE SEA LA TELEVISIÓN QUIEN INSTRUYA A LOS HIJOS. NO CABE DUDA QUE LAS PALABRA DEL APÓSTOL PABLO RESUENAN FUERTEMENTE EN ESTOS TIEMPOS CUANDO DICE: "POR LO CUAL HAY MUCHOS ENFERMOS Y DEBILITADOS ENTRE VOSOTROS; Y MUCHOS DUERMEN" (I COR. 11:30).
DIOS NO DEJÓ A NADIE SIN RESPONSABILIDAD.


text:
HK pushes HIV/AIDS prevention in gay men
Source: Xinhua | February 19, 2009, Thursday | Print Edition
HIV/AIDS prevention among homosexual men has been accorded high priority in a five-year strategy to fight the illness in Hong Kong from 2007 to 2011, York Chow, Hong Kong secretary for Food and Health, said yesterday.
Speaking at a seminar, he said HIV cases among men who have sex with men have been rising rapidly in recent years. It was how the disease spread in about 30 percent of 300 to 400 reported HIV cases each year.
"Unprotected sex is an important factor and most of them do not know their own HIV status.
"Globally, risks and vulnerability to HIV infections are reinforced by a lack of knowledge, denial, inadequate access to treatment as well as social pressure arising from discrimination and even criminalization of sex among men," he said.
The Hong Kong government has always adopted a multi-pronged approach in the prevention and control of HIV or AIDS, including surveillance and prevention, as well as treatment and care of people living with HIV.
"We also set up an AIDS Trust Fund with HK$350 million (US$45.2 million) dedicated to funding various education projects, as well as patient support services."


Oh, what a lucky man he was—or rather, is.
Paul Baxter, 50, of Preston, Lancashire, visited a doctor after coughing up yellow mucus for over a year. He was a smoker for some 30 years, and after a round of tests, doctors feared the worst. A scan performed to determine the cause of his symptoms showed that he had a shadow on his lung—the handyman was suspected to have cancer, and his prognosis looked grim.
He was sent to a specialist for a bronchoscopy, and that's where medics identified "something small and orange" at the bottom of his lung. The test finally revealed that the mass was not a deadly tumor, but a traffic cone from a Playmobil set that had been lodged inside him.
Baxter remembered that he had received a Playmobil set on his seventh birthday and said, "I did what every kid does. I used to eat my toys. I must have had it in my mouth, and it went down my windpipe. But I don't remember feeling anything." He recognized the cone from a model railway set he had at that time.
When a doctor put a camera down his throat, Baxter recalls: "He said he could see something orange at the bottom of my lung…I couldn't think what small and orange thing could be in there. [When they pulled it out] everyone just started laughing, the doctors, nurses, all of us." Medical staff was said to be "stunned" by how the cone remained undetected and believe his is the first reported case of a "tracheobronchial foreign body" overlooked for four decades. Due to his young age when he inhaled the toy, doctors reasoned that his lungs had developed around the cone.
"He finally found his long-lost Playmobil traffic cone in the very last place he would look," medics wrote in BMJ Case Reports.


text:
Log Cabin Republicans Issues Statement on HIV/AIDS Policy
by Charles Moran | Feb 13, 2019 | Uncategorized
Washington, D.C. – Last weekend the Log Cabin Republicans Board of Directors met and reaffirmed the organization's commitment to fighting HIV/AIDS in America. This renewed focus echoes President Trump's State of the Union announcement of one of the most important public health initiatives in history: Ending the HIV/AIDS epidemic in America.
Log Cabin Republicans has a long history fighting for the development of and access to new medication and increased public and private funding for the fight against HIV/AIDS. We are thrilled to see the administration share this commitment and we look forward to working with them in every way possible.
"We believe the time is now and the tools are available to eradicate this disease. Success will demand that we work together, learning and adjusting our strategies as we go along" stated Log Cabin Republicans Executive Director Jerri Ann Henry. "It's no simple task: This effort will require cooperation across public and private sectors. But we have the ability to end a disease that is causing harm to so many in our community."
The push to end AIDS in the United States will concentrate on improving diagnosis, treatment, and prevention efforts in 48 counties; Washington, D.C.; and one municipality in Puerto Rico. Collectively, those locations account for more than half of the nation's nearly 40,000 new HIV-positive diagnoses each year.
inf[email protected]


text:
Q: flexdashboard error - pandoc: Could not fetch I am trying include a css as described in http://rmarkdown.rstudio.com/flexdashboard/using.html#css_styles
to my flex dashboard.
---
title: "test"
output:
  flexdashboard::flex_dashboard:
    orientation: columns
    vertical_layout: fill
    css: https://bootswatch.com/4/litera/bootstrap.css
---

I am getting error:
pandoc: Could not fetch https://bootswatch.com/4/litera/bootstrap.css
HttpExceptionRequest Request {
  host                 = "bootswatch.com"
  port                 = 443
  secure               = True
  requestHeaders       = []
  path                 = "/4/litera/bootstrap.css"
  queryString          = ""
  method               = "GET"
  proxy                = Nothing
  rawBody              = False
  redirectCount        = 10
  responseTimeout      = ResponseTimeoutDefault
  requestVersion       = HTTP/1.1
}
 (InternalException (HandshakeFailed Error_EOF))
Error: pandoc document conversion failed with error 67
In addition: There were 13 warnings (use warnings() to see them)
Execution halted

When trying to install pandoc its giving me this:
> install.packages("pandoc")
Warning in install.packages :
  package 'pandoc' is not available (for R version 3.4.1)

Is there any solution to this?


text:
July 5, 2017 December 23, 2017 Jana B
The poverty of student experience
"Be young and shut up", poster from the demos in France in May 1968, Museum of students, Bologna, Italy, November 2012
One of my favourite texts back from the time when I was writing my Master's thesis is the Situationist International's On The Poverty of Student Life (De la misère au milieu étudiant). Written in 1966 and distributed in 10.000 copies at the official ceremony marking the start of the new academic year at the University of Strasbourg, it provoked an outcry and a swift reaction by the university authorities, who closed down UNEF, the student union that printed it. Today, it is recognized as one of the texts that both diagnosed and helped polarize conditions that eventually led to the famous 1968 student rebellions in France. This is how it begins:
"We might very well say, and no one would disagree with us, that the student is the most universally despised creature in France, apart from the priest and the policeman. The licensed and impotent opponents of capitalism repress the obvious–that what is wrong with the students is also what is wrong with them. They convert their unconscious contempt into a blind enthusiasm. The radical intelligentsia prostrates itself before the so-called 'rise of the student' and the declining bureaucracies of the Left bid noisily for his moral and material support.
There are reasons for this sudden enthusiasm, but they are all provided by the present form of capitalism, in its overdeveloped state. We shall use this pamphlet for denunciation. We shall expose these reasons one by one, on the principle that the end of alienation is only reached by the straight and narrow path of alienation itself.
Up to now, studies of student life have ignored the essential issue. The surveys and analyses have all been psychological or sociological or economic: in other words, academic exercises, content with the false categories of one specialization or another. None of them can achieve what is most needed–a view of modern society as a whole."
This diagnosis is pretty much relevant today: most discussions of tuition fees avoid tackling the bigger question, which is the purpose of education and its role in society, beyond the invocation of the standard slogans related to either economic development or social justice and fairness. However, neither clarity of its analysis nor its resonance with contemporary issues are the main reason why I believe the Situationist pamphlet is worth reading. Instead, I would like to draw attention to draw attention to one of its underlying assumptions, reflected in the broader cultural imaginary of the 'misery' of student existence, life and social position, and then contrast it with current trends in the provision of student 'experience'. Last, I want to bring this conversation to the question of tuition fees, which recently re-gained prominence in England, but has been at the back of higher education policy discussions – both in the UK and globally – for at least the last 30 years, and then use it to reflect on the changing role of higher education more generally.
The misery of student life?
There existed a time when being a student was really an exercise in misery. Stories of dank rooms, odd jobs, scraping by on half a baguette and half a pack of cigarettes used to be the staple of 'the student experience'. Nor were such stories limited to France; I often hear colleagues in the UK complain about not being able to stand cider as they drank way too much of the cheap stuff as undergrads. All of this, as the adage went, was in preparation for a better life to come: stories of nights spent drinking cheap cider only make sense if they are told from a position in which one can afford if not exactly Dom Perignon, then at least decent craft beer.
In fact, these stories are most often told in senior common rooms, at alumni gala dinners, or cheerful reunions of former uni classmates, appropriately decked out in suits. In them, poverty is framed as a rite of passage, serving to justify one's privileged social and professional position: instituting a myth of meritocracy (look how much I suffered in order to get to where I am now!) as well as the myth of disinterestedness in the material, creature-comforts side of life (I cared about perfecting my intellect so much I was prepared to lead a life of [relative] material deprivation!).
These stories do more than establish the privilege and shared social identity of those who tell them, however. They also support the figure of 'the student' as healthy, able-bodied, and – most of all – with little to focus on besides learning. After all, in order to endure between three and eight years on packets of noodle soup, cheap booze, and no sleep, you need to be young, relatively fit, and without caring duties: staying up all night drinking Strongbow and discussing Schopenhauer is kind-of-less-likely if you've got to take kids to school or go to work in the morning. This automatically excludes most mature and part-time students; not even to mention that negotiating campus sociality is still more difficult if (for cultural, religious, health or other reasons) you do not drink or do drugs. But, most importantly, it reinforces the idea that scarcity is a choice; the 'student experience', in this myth, is a form of poverty tourism or bootcamp from which you emerge strengthened and ready to assume your (obviously advantageous) position in life. This, clearly, excludes everyone without a guaranteed position in the social and economic elite. Poverty is not a rite de passage for those who stay poor throughout their life, and there is no glory in recalling the days of drinking cheap cider if, ten years down the line, you doubt you'll be able to afford much better. Increasingly, however, that is all of us.
Situationists recognized the connection between the 'poverty of student life' and generalised poverty back in 1966:
"At least in consciousness, the student can exist apart from the official truths of 'economic life' .But for very simple reasons: looked at economically, student life is a hard one. In our 'society of abundance', he is still a pauper. 80% of students come from income groups well above the working class, yet 90% have less money than the meanest laborer. Student poverty is an anachronism, a throw-back from an earlier age of capitalism; it does not share in the new poverties of the spectacular societies; it has yet to attain the new poverty of the new proletariat."
This brings us to the misery of student experience here and now. For the romanticisation of the poverty of student life makes sense only if that poverty is chosen, and temporary. Just like the graduate premium, it is predicated on the idea that you are 'suffering' now, in order to benefit later. And, of course, in the era of precarity, unemployment, and what David Graeber famously dubbed 'bullshit jobs', it no longer holds.
The gilded cage of student experience
Of course, university degree, in principle, still means your chances on the job market are better than those of someone who hasn't got a degree. But this data skews the bigger picture, which is that the proportion of bullshit jobs is increasing: it's not that a university degree guarantees fantastic employment opportunities, it's that not having one means falling out of the competition for anything but the bottom of the job ladder. Most importantly, talk of graduate premium often omits to take into account the degree to which higher education is still a proxy for something else entirely: class. The effect of a university degree on employment and quality of life is thus a compound of education, social background, cultural capital, and race, gender, age etc., rather than an automatic effect of enduring three to eight years of exam taking, excessive drinking, and excruciating anxiety.
Perhaps surprisingly, one of the most visible reflections of the changing socio-economic structure of student existence is the growth of high-end or luxury student housing, and the associated focus on 'student experience'. Of course, in most cases universities and property developers do this in order to cater to foreign, 'overseas' fee-paying students, who are often quite openly framed as the institution's main source of income (it is particularly interesting to observe otherwise staunch critics of 'marketization' and defenders of the 'public' status of the university unashamedly treat such students or their parents as cash cows, or at the very least, consumers). But, to a not much lesser degree, it is also a reflection of (if still implicit) recognition that studying no longer guarantees a good and well-paid job. In other words, if you're not necessarily going to have a better life after university, you may as well live in decent conditions while you're in it.
The replacement of dank bedsits and instant noodles with ensuite rooms and gluten-free granola, then, is not 'selling out' the ideals of education in order to pander to the 'Snowflake' generation, as some conservative authors have argued. It is a reflection of a broader socio-economic shift related to the quality of life and life chances, as well as the breaking of the assumption of a direct (if not necessarily causal) link between education, employment, and status. In this sense, Labour's plan to abolish tuition fees is a good start, but it does not solve the greater question of poverty and precarity, both of which will increasingly impact even those who have previously been relatively shielded from the effects of the crumbling economy – graduates.
Beyond fees
Even with no tuition, graduates will either need loans to cover living costs, or – unless they rely on their parents (and here we are stuck in the vicious cycle of class reproduction) – engage in bullshit work (at least until there is an actual effort to integrate part-time study with decent jobs, something that the Open University used to do well). In the same vein, Graduate Tax only makes sense if the highly educated on the whole actually earn much more than the rest of the population (see an interesting discussion here) – which, if current trends continue, is hardly going to be the case. In the meantime, the graduate premium reflects less the actual 'earning power' a degree brings and more the further slide into poverty for those without degrees, coupled with the increasing wealth of those in top-tier jobs, hardly representative of graduates as a whole (in fact, they usually come from a small number of institutions, and, again, from relatively privileged social backgrounds).
Addressing tuition fees in isolation, then, does little to counter the compound effects of deindustrialization, financialization, and growing public debt. This is not to say that it isn't a solution – it's certainly preferable to accruing a lifetime of debt – but it speaks to the need to integrate education policy into broader questions of economic and social justice, rather than treat it as temporary solution for rapid social, technological and demographic change. Meanwhile, we could do something really radical, like, I dunno, tax the rich? Just a thought.
cultural political economy
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delvingdeepblog says:
I like how you point out the caveats in the whole "abolishing tuition" route because this issue is a lot more complicated than that. I also think there's something to be said for those who adopt the language of a poor student but aren't living it in reality. I go to a private university and although most students come from families that are very well off, I can't tell you the number of times I've heard "I'm so broke" from someone who is obviously not struggling financially.
Jana B says:
Thanks! I think there's also something to be said about the subjective experience and different meanings of 'poverty' – a lot of this is amplified by context, so even students who are objectively well off may feel they struggle to 'keep up' in a more affluent environment. That's obviously not to negate their privilege as such, but to point to the fact that conspicuous consumption and competitive spending leave everyone worse off…


First, this isn't an "algorithmic stablecoin" à la Basis, Reserve, MakerDAO, et al., although those schemes will no doubt point to the Winklevoss solution as a vindication of their (deeply flawed) approach to dollar parity.
A stablecoin is legit if it is convertible. If there is no convertibility, there can be no parity. Viewed thus the algorithmic stablecoins are basically accidental Ponzi schemes where you need to introduce new buyers constantly in order for the scheme to perpetuate itself, otherwise it collapses.
The Winklevoss scheme, by contrast, is a coupon which is redeemable 1:1 for an actual deposit held with a trust company or an actual bank. In this way the Gemini "stablecoin" is in fact quite similar to existing interbank solutions such as Clearmatics' Utility Settlement Coin, save that in Gemini's case the stablecoin is publicly viewable by anyone who wishes to inspect the smart contract and Clearmatics' system is presumably run over a VPN.
Big question mark how this is going to be done although having seen how the Winklevoss brothers run their businesses over the past couple of years I am fairly sure they got their bases covered. I'm going to be lazy and just quote my own tweet here rather than explore this issue in detail.
tl;dr the Bank Secrecy Act and the Wu-Tang Clan have one thing in common, and that is that both of them ain't nothing to f*** with.
The most interesting thing about this is structural: Gemini has built a public, permissioned application that effectively hybridizes the separate approaches of the coins on the one hand and the enterprise blockchain applications that have been developed on the other, to bring something to the marketplace that is unique and genuinely new.
Gemini's experiment with a permissioned smart contract on a public blockchain shows that there is thought by them to be considerable value in leveraging the security and auditability properties possessed by blockchains without needing to pair them with an incentive mechanism such as a coin. Few banks would expose their own internal ledgers to the public internet. Gemini has no fear of doing this as long as this ledger is on a blockchain, meaning that tampering is very hard and they can stand up the application on the public internet, public-facing, with little fear of, say, a SQL injection attack or the like altering the records.
It logically follows that any "permissioned Ethereum" implementation a la Hyperledger Burrow or BlockApps has the same security and auditability properties running in a public setting as the main public Ethereum chain. So while Gemini is running this stuff on an ERC20 now, as Gemini wants to increase the complexity of the applications it is running – say, to run a financial instrument over the public internet – it may choose to simply deploy its own blockchains – permissioned, but publicly viewable – in future.
"Why not just use the banking system?" I hear you say. Well, the answer may not immediately be apparent because the financial products to which a GeminiCoin might be best suited do not yet exist: chiefly, fully-automatic products that need to be able to interact with suppliers and retail investors with zero supervision from a centralized authority such as a bank or a registrar, but which are readily and automatically auditable on request.
Imagine for a moment that we live in a world where asset ledgers run on their own chains that can be viewed by anybody (and transacted with by anyone), and let's say you want to securitize a fleet of self-driving, battery-powered Amazon delivery trucks, not by pooling the trucks but by selling ownership in individual trucks that service particular neighborhoods, so people could invest in the Amazon infrastructure that they use on a daily basis.
Here, it might be possible for a holder of shares in a particular truck to run nodes on both the truck's chain (TruckChain) and the GeminiCoin chain. The truck's "administrator" would also run a node on TruckChain and the GeminiCoin chain. If the holder of a share in the truck (Alice) wished to sell the shares to Bob, Alice would simply post a transaction to the truck's chain, or more properly an escrow contract, stating that the administrator of TruckChain was authorized to transfer Alice's shares to the next user who who paid Alice a particular amount to Alice's account on GeminiCoin chain. If Bob, who is also running a node of GeminiCoin, then does so and provides also a public key address of a keypair to be registered on TruckChain in the transaction to Alice on GeminiCoin, the administrator's node would check the proof and transfer the ownership of the shares in the truck to Bob.
There's no need for this to be confined to GeminiCoin, either. Any liquidity/coin provider could provide this service, so long as the admin of TruckChain is willing to read the chain and Alice is willing to accept funds from it.
Completing such a transaction would happen automatically and in a matter of seconds with zero human involvement apart from the provision of payment and address details by Bob as the buyer of the shares. The low infrastructure overhead from automating the entire process is why you can securitize the truck individually instead of pooling, say, 30,000 trucks together and creating a single bond from the aggregate cashflows arising from them. Rather than tranching up the risk, as is done today and which can operate to conceal the real risk of the investment under the right circumstances, exposure here might (e.g.) be backed by Amazon's receivables and backed out by a bog-standard auto insurance policy.
More transparent financial system ahoy.
Well, Fred, I can only suggest you chew on the implications of Geminicoin, publicly-auditable trust accounts with open APIs, and fully automatic securitization of self-driving truck fleets for a little bit. After you do that, then I'd be happy to hear from you why you think permissioned blockchains don't have a future.
I certainly think they do. But then, we've known that for awhile, haven't we.
To close, here are some pictures of marmots.


A great duffel for a man, woman or child! Zip closure with short handles or detachable shoulder strap plus an inside pocket. 15"H X 28"W X 10"D. For help with sizes, colors or questions email us at sales@monogramsoffmadison.com or call us at 646 546 5993.


Cycle routines annually. Workouts, eating patterns, sleep cycles. Optimize specific strategies to shift and accelerate. Adjust accordingly. We train to sustain the setbacks.
If we don't refuel the right way we won't recover the right way. If you just had a night out boozing and binging on pizza you probably won't be ready for some intervals training ( but you can get away with some breathing, laying, flopping, and moving, even walking or hiking!).
The primary focus of George Jr's is to balance the meals 'Before' and 'After' exercise. The key feature of the Eat program is to help maintain optimal nutrient intake throughout the day, day by day, for life. If we don't refuel properly, we won't recover properly for optimal performance.
The ideal approach is one of balance. As a client of George Jr, you will discover a path that brings lifestyle, fitness and diet together into a cohesive system of lifelong fitness success and longevity.
The most important part of exercise gains, for muscle mass increase or weight loss; we need our sleep. Sleep has effects from hormones to metabolism, blood pressure and circulation.
Mood and cravings are definitely effected by lack of sleep. Not being hungry in the morning for a big meal is understandable. But making the change may be necessary.
Hydration in the morning is a must, supplementation is highly recommended, and light meals of fruit, oatmeal, 1 hard boiled egg, or something similar will always be ideal especially before exercise.
• 8 hour rule: 8 hours work, sleep, play completes your day.
• power naps: 10-20 minutes only. Sometimes simply laying on your back flopping your arms works. Don't ignore the urge to lay down.
• Lay with the Sun wake with the Sun Eat Sleep and Exercise complete the Fitness model.
Without proper sleep we need to make a change, or make an acknowledgement. Lack of sleep will severely stunt any physical or performance goals. Without sleep we have to maintain the fight not to fall off or fall back with moderate, eased-into exercise and proper nutrition.
George Jr also understands the burdens of time, consistency, and motivation. George Jr's goal is to show you body weight first so you can take it with you any time any where. The hour inside the gym is important. But the 23 hours outside the gym are more important.
everything on an instincts notice, quick! The difference between athletes and most General Population people is reaction time, alertness, and pre-determination of movements and habits.
George Jr takes a 10 point, joint-by-joint approach to ensure the body is fit and fluid to take on instinctive movements, with precision, load and intensity. There are multiple ways to build strength in the muscle. With George Jr's approach, you will gain excellence in size, endurance and aesthetics.
George Jr focuses on the purpose, the application, the flow.
If you want to train like an athlete, it requires the recovery and the foundation, the pre-requisite strength, and then the intensity. Train smart, then hard.
The goal is building a foundation doing the little things, maintaining strength with just a couple of minutes a day, and going all out when you are ready with an intense workout. We want to always be ready to try something new. We want to be ready for anything and everything on an instincts notice, quick! The difference between athletes and most General Population people is reaction time, alertness, and pre-determination of movements and habits.
As a Fitness Professional George Jr is hands on with Fitness, liberates with Lifestyle and inspires with Adventure.
To learn more about the Fitness program, keep an eye out for George Jr's guide to balance Eat Sleep And Exercise which will be coming soon for download!
Don't wait until it's too late… Reserve your spot online, and start training with George Jr in a personalized setting, or with a small group.


text:
Suspended Abbey
Film by Nicole Tostevin, 16mm/Computer Animation, 14:00. 1991
Suspended Abbey was an official Selection at the Sundance Film Festival, a finalist for the Student Academy Award and received a CINE Golden Eagle Award. It also won over 20 awards and was screened at over 40 film festivals around the world including a screening at Saint John the Divine in New York, the Pompidou Centre in Paris and The San Francisco International Film Festival.
"This well-executed mix of animation and graphic techniques illuminates the relationship of art, architecture, and ideology. Using only a Macintosh personal computer, this work incorporates the advances in multimedia computer graphics that push the frontier in motion picture imaging."
-American Film & Video Association.
FILM SYNOPSIS
A shimmering, dreamlike journey through a computer-animated mediæval monastery, where the Gothic landscape seamlessly flourishes and deteriorates before your eyes. Both haunting and beautiful, the majestic ruins echo with ghostly voices that whisper an eternal and timeless question.
Director, Producer, Photography, Computer Animator: Nicole Tostevin
Music composition: David Javelosa
Vocals: Becky Allen
I made Suspended Abbey as my MFA graduate thesis film while at California Institute of The Arts in 1991. The film was made by animating digitally manipulated still photographs on a Macintosh computer and then filming each frame off the computer screen with a 16 mm camera. The illusion of the monastery is a result of an electronically produced collage of many differing photographs from various monasteries, abbeys and cathedrals. I took most of the original photographs while traveling in Britain. Although the majority of the architecture is based on Tintern Abbey in Wales, I reconstructed the ruins by painting in windows, doors, walls and roofs in order to return the abbey to its 13th century condition. The animation follows the restored abbey through erosion and decay into a modern day ruin.
I hope to one day digitize the film for online viewing but for now, the memory of the film on the big screen will have to do since I can't stomach the idea of seeing it on a small device.
1996 Audience Choice Award – The Cacophony Film Festival, San Francisco
1993 Best Experimental Film Award 15th Festival International Du Film D'Art Paris, France
1993 Best Experimental Student Columbus International Film & Video Festival, Columbus
1993 Silver Apple Award National Educational Film & Video Festival, California
1993 Best Animation Award Louisville Film and Video Festival, Louisville
1993 Director's Choice Award Charlotte Film & Video Festival, Charlotte
1993 Finalist Award Worldfest -Houston International Film Festival, Houston
1993 Audience Choice Award Chicago Experimental Film Coalition Festival, Chicago
1992 Regional Finalist Student Academy Awards, Hollywood
1992 2nd Place Best of Festival A.R.C.O International Film Festival Of Madrid Madrid, Spain
1992 1st Place Prize Mons International Festival Of Short Films, Belgium
1992 1st Place Film as Art American Film & Video Association Film Festival, USA
1992 Coe Film Award ASIFA-East Annual Animation Festival, New York
1992 Honorable Mention 16th Annual Atlanta Film & Video Festival, Atlanta
1992 1st Place, Audience Award ASIFA San Francisco-Film Festival, San Francisco
1992 Golden Gate Award San Francisco International Film Festival, San Francisco
1992 Honorable Mention ARTSWEEK 92′, Rocky Mountain Film Center Denver, CO
1991 Golden Eagle Award CINE – Council on Int'l Non-theatrical Events, USA
1991 Grant Recipient Blum/Kovler Foundation Grant, USA
1991 Honorable Mention Bucks County Film Festival, Pennsylvania
SCREENINGS:
2004 American Film Institute, AFI/Mars Showcase New York, Silver Spring, MD
1994 Metropolitan Museum of Art, "Program for Art on Screen", New York, NY
1994 Images 94 Festival of Independent Film & Video, Toronto, Canada
1994 New York Metropolitan Museum of Art Program for Art on Screen, New York , NY
1994 16th Big Muddy Film Festival, Carbondale, IL
1993 SUNDANCE International Film Festival, Official Selection Short Film, Park City, Utah
1993 Oberhausen International Short Film Festival, Guest filmmaker, Oberhausen, Germany
1993 Best Experimental Film Award, 15th Festival International Du Film D'Art, Paris, France
1993 Semana De Cine Experimental De Madrid, Official Selection, Madrid, Spain
1993 Columbus Intl Film & Video Festival, Best Experimental Student Award, Columbus, OH
1993 National Educational Film & Video Festival, Silver Apple Award, Oakland, CA
1993 Louisville Film and Video Festival, Animation Award, Louisville, KY
1993 Charlotte Film & Video Festival, Director's Choice Award, Charlotte, NC
1993 Worldfest -Houston International Film Festival, Finalist Award, Houston, TX
1993 Onion City Film Fest, Audience Choice Award, Chicago, IL
1993 IMAGE Forum Film Festival, Tokyo, Japan
1993 International Audio Visual Experimental Festival of Arnhem, Arnhem, Netherlands
1992 HIROSHIMA'92, The 4th International Animation Festival, Hiroshima, Japan
1992 VIII International Festival Of Films Directed By Women, Madrid, Spain
1992 Tel Aviv International Film Festival, Tel Aviv, Israel
1992 A.R.C.O Int'l Film Festival Of Madrid, 2nd Place Best of Festival Award Winner, Madrid, Spain
1992 Mons Int'l Festival Of Short Films, Belgium, 1st Place Prize Student Category, Mons, Belgium
1992 American Film & Video Association Film Festival, 1st Place Film as Art, New York, NY
1992 ASIFA-East Annual Animation Festival, Coe Film Award, New York, NY
1992 16th Annual Atlanta Film & Video Festival, Honorable Mention, Atlanta , GA
1992 ASIFA San Francisco-Film Festival, 1st Place, Audience Award, San Francisco, CA
1992 San Francisco International Film Festival, Golden Gate Award, San Francisco, CA
1992 ARTSWEEK 92′, Rocky Mountain Film Center, Honorable Mention, Denver CO
1991 Bucks County Film Festival, Honorable Mention, Doylestown, PA
1991 Cinanima 91-15th International Animation Film Festival, Espinho, Portugal
1991 International Film Schools Festival, Poitiers, France
1993 Sinking Creek Film/Video Festival, Nashville, TN
1993 Ann Arbor Film Festival, Ann Arbor, MI
1993 Florida Film Festival, Maitland, FL
1992 Medicine Wheel Animation Film Festival, Toured the USA


All combustion processes release emissions. Nitrogen oxides (mainly NO and NO2) – known as NOx – are one of the main pollutants resulting from fossil fuel combustion. When these oxides interact with hydrocarbons and sunlight, they result in the formation of ground-level ozone, acid rain and photochemical smog. NOx can also have harmful effects on the respiratory system of human beings and impair plant growth. Increasingly restrictive legislation reflects the need for NOx emissions to be minimized or even eliminated.
Regulations on the release of volatile organic compounds (VOCs) are also tightening. VOCs represent a health and environmental hazard and every effort must be made to avoid the release of unwanted VOCs.
Legislation is continually changing to protect the environment and human health against these effects, especially in the face of industrial expansion. Plant operator have two choices – they can either minimise the formation of emissions or clean them up post-combustion. Regardless of your preferred method, we have technologies, services and solutions to help.
These include ground-up solutions such as REBOX® and COROX LowNOx™ to lower the formation of NOx during combustion. We also offer LoTOx™ low-temperature end-of-pipe abatement solutions. In addition, we have engineered various approaches to prevent or minimize the release of VOCs into the atmosphere, many of which are based on cryogenic condensation.


Tufts Magazine is the award-winning magazine of Tufts University. From the classroom to the boardroom, the research laboratory to the overseas bureau, the athletic field to the operating theater, Tufts is situated at the center of international discovery and accomplishment. Tufts Magazine is dedicated to telling the stories of how Tufts alumni, faculty, and students are helping to change the world.
Published three times a year—twice in print and once in a web-only format—and delivered to more than 100,000 homes, the magazine employs crisp narrative storytelling, vibrant photography, and compelling design to highlight the amazing work Jumbos are doing across the university's four campuses and, indeed, the entire globe. At the magazine's online home, meanwhile, readers find sophisticated multimedia presentations that augment the work in the print edition, as well as regular web-only articles, interviews, and blogs.


The Cyprus issue and Brexit, along with the bilateral relations between Cyprus and the UK, were discussed at a meeting between Anastasiades and Prime Minister May in Downing Street on Tuesday evening.
At the end of the meeting the Anastasiades said: "We have had a very constructive meeting with Prime Minister May, which focused on matters concerning the Cyprus issue, the bilateral relations and of course Brexit, something that preoccupies all Europeans and surely our bilateral ties or our future ties in the undesirable event of an exit without a deal. I hope that by the next European Council, on the 21st of the current month, there will be ways found to secure, one way or another, a smooth exit by Britain.


Dr. Lucinda Berry is a trauma psychologist and leading researcher in childhood trauma. She uses her clinical experience to create disturbing psychological thrillers, blurring the lines between fiction and nonfiction. She enjoys taking her readers on a journey through the dark recesses of the human psyche. If she's not chasing her ten-year-old son around, you can find her running through the streets of Los Angeles prepping for her next marathon. To be notified of her upcoming releases, visit her on Facebook or sign up for her newsletter at https://about.me/Lucindaberry.


text:
FILE – Ravi Kahlon, B.C. Minister of Jobs, Economic Recovery and Innovation, has his provincial COVID-19 vaccine card scanned by White Spot restaurant general manager Bill Warwick, before having breakfast in Delta, B.C., on Wednesday, September 15, 2021. THE CANADIAN PRESS/Darryl Dyck
B.C.'s vaccine card enters 2nd stage; bars, gyms, ticketed events to require 2 COVID shots
Vaccine card venues will be able to increase capacity to 100%
As of Sunday (Oct. 24), anyone ages 12 and up wishing to visit a restaurant, gym or go to the movies in B.C. must be fully vaccinated.
That's because the province's vaccine card program, first announced in August, comes into effect today. Between Sept. 13 and Oct. 23, patrons wishing to access a wide variety of discretionary businesses needed to show proof of just one dose of a COVID-19 vaccine. As of Sunday, they will need to show proof of two doses.
According to the province, 89.4 per cent of eligible people had received their first dose as of Friday, while 83.8 per cent had received their second dose.
Venues will have an incentive to enforce proof of vaccination requirements. As of Monday, capacity limits will be lifted to 100 per cent for venues and events that use vaccine cards, such as indoor ticketed events such as sports, concerts, dance and symphony events, as well as for indoor organized events such weddings, funeral receptions and organized parties. Businesses and event hosts must either scan or visually confirm that an attendee has a vaccine card and match it to the individual's government identification.
Places that require proof of vaccination include:
Indoor ticketed sporting events with more than 50 people
Indoor concerts, theatre, dance and symphony events with more than 50 people
Licensed restaurants and cafes and restaurants and cafes that offer table service (indoor and patio dining) Includes liquor tasting rooms in wineries, breweries or distilleries
Pubs, bars and lounges (indoor and patio dining)
Nightclubs, casinos and movie theatres
Gyms, exercise and dance facilities or studios Includes these activities happening in recreation facilities
Businesses offering indoor exercise/fitness
Indoor adult group and team sports for people 22 years old or older
Indoor organized events with more than 50 people
For example, weddings, funeral receptions (outside of a funeral home), organized parties, conferences, trade fairs and workshops
Indoor organized group recreational classes and activities with more than 50 people
For example, pottery studios, art classes or choir rehearsals
Post-secondary student housing
Spectators at indoor youth sporting events with more than 50 people.
Places such as grocery stores, salons, public transportation and unlicensed establishments without table service such as food courts, coffee shops and food trucks do not require proof of vaccination. Takeout orders also do not require immunization.
Parents more hesitant to vaccinate kids than themselves, researcher says
Africa tries to end vaccine inequity by replicating Moderna's mRNA shot


text:
Q: Why are my ads slow to load when I use Firebase? I have a react-native app and I want to show ads so I added Admob.
It worked fine until I added Firebase into the mix, then the ads began to load slower and I don't want that, I just want to test the ads.
I think it's how many users are on the app or how long the user has been active because the ads took 2 hours did not even load. I have tried this question but it didn't help. I'm very confused why it happening, can anybody help?


22. Mix garlic, oil, salt and pepper in a small bowl.
33. Rub mixture over fish.
44. Tear two 10-12 inch pieces of tin foil.
55. Lay down a few slices of orange on each piece of tin foil and place fillets over oranges.
66. Sprinkle with dill and cover with remaining oranges.
77. Fold over tin foil and close all around the edges. Place in oven for 15 minutes.
88. Remove from oven and let sit for 5 minutes. Serve.


text:
#include "catch2/catch.hpp"

#include <openspace/documentation/documentation.h>
#include <openspace/engine/globals.h>
#include <openspace/engine/windowdelegate.h>
#include <openspace/scene/assetmanager.h>
#include <openspace/scene/asset.h>
#include <openspace/scene/scene.h>
#include <openspace/scene/scenegraphnode.h>
#include <openspace/scene/sceneinitializer.h>
#include <openspace/scripting/scriptengine.h>
#include <ghoul/filesystem/filesystem.h>
#include <ghoul/lua/lua_helper.h>
#include <ghoul/misc/dictionaryluaformatter.h>
#include <exception>
#include <memory>

TEST_CASE("AssetLoader: Assertion", "[assetloader]") {
    openspace::Scene scene(std::make_unique<openspace::SingleThreadedSceneInitializer>());
    ghoul::lua::LuaState* state = openspace::global::scriptEngine->luaState();
    openspace::AssetManager assetLoader(
        state,
        absPath("${TESTDIR}/AssetLoaderTest/").string()
    );

    CHECK_NOTHROW(assetLoader.add("passassertion"));
    CHECK_NOTHROW(assetLoader.add("failassertion"));
}

TEST_CASE("AssetLoader: Basic Export Import", "[assetloader]") {
    openspace::Scene scene(std::make_unique<openspace::SingleThreadedSceneInitializer>());
    ghoul::lua::LuaState* state = openspace::global::scriptEngine->luaState();
    openspace::AssetManager assetLoader(
        state,
        absPath("${TESTDIR}/AssetLoaderTest/").string()
    );

    CHECK_NOTHROW(assetLoader.add("require"));
}

TEST_CASE("AssetLoader: Asset Functions", "[assetloader]") {
    openspace::Scene scene(std::make_unique<openspace::SingleThreadedSceneInitializer>());
    ghoul::lua::LuaState* state = openspace::global::scriptEngine->luaState();
    openspace::AssetManager assetLoader(
        state,
        absPath("${TESTDIR}/AssetLoaderTest/").string()
    );

    CHECK_NOTHROW(assetLoader.add("assetfunctionsexist"));
}

redpajama_set_name: RedPajamaGithub