At Kikko Cafe we are dedicated to providing you with an experience, whether it's specialty coffee or our selection of amazing food. We want you to feel welcome at our table every time you visit us.
With our experience we bring a passion for what we do, specialty coffee and great food.
the best coffee in Sydney.
Our baristas have a wealth of experience from working the espresso machines and today our coffee is one of the best you could find in Sydney.
Located in the beautiful Queen Victoria Building ( Sydney ), we are open for breakfast and lunch till 6 p.m, 7 days a week, and specialise in fresh food and great coffee, as well as our famous friendly service .
(poached or scrambled or fried) served with Toasted Artisan sourdough , multigrain, rye , or Turkish bread.
Rye bread, poached eggs, Tasmanian smoked salmon, avocado mousse, rocket and citrus dressing.
Thick Artisan sliced pane di casa, sautéed wild mushroom and candy cherry tomatoes.
Mixed leaves, Tasmanian smoked salmon, corn kernels, mousse avocado, red radish, toasted pistachios and citrus dressing.
Mozzarella cheese, fresh tomatoes , roasted eggplant, basil pesto and touch of rocket on a focaccia roll.
Tasmanian smoked salmon, grilled zucchini, goat cheese , vincotto and touch of rocket on focaccia roll.
House made lamb patty, mint-yogurt sauce, roasted capsicum, baby cos on a milk bun.
BBQ marinated pulled pork, wild mushroom sliced tomatoes, mozzarella cheese, baby cos on a milk bun.


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redpajama_set_name: RedPajamaCommonCrawl


Video: Who Needs a Boat Anyway?
Never discount the will of an off-roader.
Imagine it- you and your buddy are in the mood to do a little water skiing. Only problem is neither of you has a boat.
That didn't stop these guys! One Honda 350, a wake-board and a sunny day and these guys proved a pricey, high-maintenance boat is not required to enjoy some water sports.


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Home News New rec room for young and old
New rec room for young and old
Children enjoy the play area at the conclusion of the unveiling ceremony.
A new recreation room was unveiled at the Seaview community residential units in Hangberg last week.
A collaboration between residents of the council flats' A, B and C blocks and the City of Cape Town, an unused laundry room has been converted into a space that includes a library for younger and older readers, gym equipment and children's play area.
At the unveiling ceremony on Friday September 7, ward councillor Roberto Quintas said he had been approached by residents to see if the vacant room could be put to better use.
After sending out notices of intent, Margie Biggs, a Hout Bay architect, came on board and offered to draw up the floor plan, while resident Cathy Levi-Evans also donated early childhood development toys and equipment. Switch Playground also donated gym equipment.
The project was managed by Hangberg resident Elizabeth Sias. Several residents pitched in to paint the room.
"There is a lot of building going on in Hangberg, but what is important to note is that the Seaview community chose not to use this space for themselves, but rather use it for the benefit of others, especially children who can now come in to play under supervision," Mr Quintas said.
"We intend putting in tables at a later stage, so that the facility can also be used as a dedicated study room and homework area. You must remember that this is your room now, so you will need to be responsible for it."
He quipped that older residents would now also have a space to "work off the vetkoek".
If the project was successful, Mr Quintas would appeal to the City to install similar spaces in every new housing development established in Hangberg in the future.
Stuart Diamond, the mayoral committee member for assets and facilities management who gave the project the green light, also attended the unveiling ceremony.
"I love seeing communities taking responsibility for themselves, and we as the City are trying to build communities where they can do things for themselves. This used to be an empty shell, but now you have a space where you can get to know your neighbours and each other," Mr Diamond said.
He appealed to the block residents to be a "shining example to others", and said he looked forward to seeing how they would take the space forward.
Michelle Yon, one of the residents who first approached Mr Quintas for assistance, said the facility would assist in keeping the youth off the streets, particularly after school and during weekends and school holidays.
Another resident, Elizabeth Fish, hoped the new recreation room would dissuade youth from selling tik and dagga in the block.
The old laundry was transformed into a colourful recreational space.
Roberto Quintas and Stuart Diamond muscle in on the action in the gym and weights section.
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if (!globalThis.fetch) {
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  globalThis.Request = Request
  globalThis.Response = Response
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redpajama_set_name: RedPajamaGithub


text:
The Cultural Plan
DOWNLOAD THE CULTURAL PLAN
Cultural Plan
About the Cultural Plan
Process and Methodology
Social and Economic Impact
Arts, Culture, and Science Education
Arts and Culture in the Public Space
Citywide Coordination
Health of the Cultural Sector
NYC Artists
Profiles and Case Studies
CreateNYC Strategies
Additional Background Research
CreateNYC Team-Led Engagement
CreateNYC Event Notes
Community Partner Research and Data
Engagement Events Archive
On Earth Day 2015 the City of New York released One New York: The Plan for a Strong and Just City. That plan enshrines equity as one of its core values, and for the first time in a sustainability plan of its kind, includes access to culture as one of the essential components of an equitable city.
In this context, "equity" means broadly that assets are distributed fairly and justly for the benefit of the public.
Inclusion refers to the degree to which individuals with diverse perspectives and backgrounds are able to participate fully in all elements of an organization, agency, or system. You might have a diverse staff, but is a diverse group actually involved in your organization's decision-making processes? An inclusive group is, by definition, diverse. But a diverse group is not necessarily inclusive.
"More programs for low-income residents across the five boroughs with additional work for all types of artists."
Artist, Manhattan
In 2015, DCLA launched an initiative as part of larger efforts to advance diversity, equity, inclusion, and access in the New York City cultural sector. The initiative began with a demographic study of DCLA's more than 900 grantee organizations that examined race, ethnicity, gender, disability, age, and other factors.
The results, mirroring every other national study of its kind, were troubling. According to the study, New York City cultural staffs are 38% people of color and 62% white non-Hispanic. In contrast, U.S. Census data shows 67% of New York City's population identifies as people of color and 33% white non-Hispanic. And the disparities were extreme: the whitest job in arts and culture? Curator. The jobs with fewest white workers: maintenance and security. And it gets worse. The report provided little or no data regarding people with disabilities or people of non-binary gender employed in our city's cultural organizations—pointing to deeper structural issues we need to address collectively.
While issues of diversity, equity, inclusion, and access are often addressed using categories of identity and community, people and communities are not divided neatly along lines of race, gender, age, disability, immigration, or other characteristics, and that intersectionality is a critical part of the complex and nuanced ways we experience identity. Greater equity cannot be achieved through diversity and inclusion alone. Equity requires shifting policies and practices, not just numbers. It is a fundamental principle that benefits us all.
In direct response to these findings, an internal DCLA Diversity Committee formed to advise on the agency's approach regarding diversity, equity, and inclusion, as departure points for the work the agency does in programming, partnerships, and service as catalysts for like-minded work in the field. In pivoting toward inclusion, the agency will continue to engage Future Works Institute for inclusion training programs for DCLA staff and the larger cultural field.
PATTERNS IN FUNDING
According to the National Center for Charitable Statistics, the largest percentage of the cultural community's philanthropic support (42%) comes from individual donors. Studies have shown that these resources go primarily to large institutions, following self-reinforcing patterns of social connection. Meanwhile a 2015 DeVos Institute of Arts Management study, entitled Diversity in the Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies, revealed that arts organizations whose mission is to serve people of color and low-income communities report a median of only 5% of contributed revenue from individual donors. These networks of big donors have often been unavailable to low-income communities, which instead rely on government funding. This makes it an even greater imperative that public funding is allocated with an eye toward historic inequities.
"Many low-income community members don't feel empowered to engage in the variety of arts and cultural opportunities in New York City; more needs to be done to bring the arts to low-income communities, and in bringing low-income community members to prestigious arts and cultural organizations."
NYCHA Resident, Queens
Across the country, funders are making efforts to increase equity and inclusion when distributing resources. Examples of progress are heartening. The Seattle Office of Arts & Culture has made a formal Commitment to Racial Equity that includes capacity building, space, and grant programs in alignment with the city's Race and Social Justice Initiative. Los Angeles County has undertaken a Cultural Equity and Inclusion Initiative. And the San Francisco Arts Commission continues its decades-long commitment to cultural equity through its grant programs. Like OneNYC and DCLA's sister agencies across the country, one of the main goals of CreateNYC is to promote a more inclusive and equitable cultural ecosystem in New York City.
SNAPSHOT OF PROGRESSIVE CULTURAL FUNDING
This is not the first time that New York City has made changes to more equitably fund cultural organizations. In the late 1960s and 1970s, the City added a dozen new members to the Cultural Institutions Group (CIG), the first such deliberate expansion in the history of the CIG. These new members were primarily located outside Manhattan and focused on traditionally underserved communities, including the Bronx Museum of the Arts, Jamaica Center for Arts and Learning, Snug Harbor Cultural Center, Studio Museum in Harlem, Brooklyn Children's Museum, and El Museo del Barrio. This commitment to long-term, substantial public investment in these groups has helped them become cornerstones of New York's cultural life.
Another major move toward equity came in 2008, when the City re-directed substantial amounts of capital support, funding provided to organizations for construction, renovations, and equipment. Before 2008, with few exceptions, capital funding from DCLA was available only to the CIG, whose members occupy City-owned property. Since that time, legal and policy changes have been made allowing City capital support to be available to many other groups not on City-owned property. In 2017, the City currently has over $800 million invested in cultural capital projects at around 200 organizations citywide. With little fanfare, this innovation opened a major new source of public funding to hundreds of nonprofit cultural organizations across New York City. City money now helps to provide better equipment, more accessible facilities, and indeed whole new buildings for the benefit of cultural audiences.
And over the last decade, the New York City Council has launched a series of initiatives directed at equity. These include the Coalition of Theatres of Color, the Immigrant Initiative, and SU-CASA, a creative aging program in senior centers citywide. Between these three initiatives, over $10 million will flow to organizations and artists in traditionally underrepresented groups in fiscal year 2018.
CREATENYC: A NEW CHAPTER IN PUBLIC SUPPORT
CreateNYC offers a new opportunity to increase the equitable funding of cultural organizations in New York City. Public input for the plan revealed a clear desire for more investment of resources in historically underserved communities, including people with disabilities. In addition to being a clear priority for New Yorkers, the recent Social Impact of the Arts Project (SIAP) report provides compelling argument for greater equity in cultural funding.
The conclusions of the SIAP report highlighted in more detail on pages 41-43 were clear: while arts and culture are present in all neighborhoods, certain sectors of the city have more cultural assets and higher participation. This is particularly alarming because the study also shows that those cultural resources are correlated to better outcomes in health, safety, and education. Culture is an essential component of a thriving community. And New Yorkers feel it.
"Make art and culture available in other languages. There are a lot of Russian speakers in my neighborhood, but not much information."
Resident, Rego Park, Queens
Equity and inclusion were the highest priorities expressed through CreateNYC community engagement. More than three quarters of residents participating in a phone survey conducted by Siena College Research Institute said they wished they were able to attend more arts and cultural activities. According to respondents, location and cost are what most often stand in their way.
Similarly, barriers to equitable, accessible, and inclusive artistry were also identified throughout the engagement process. New York City is alive with creativity, and New Yorkers overwhelmingly value arts and culture in their lives. However, for many artists and cultural workers, a need exists to expand access to creative opportunities. Underrepresented communities continue to be challenged by historic and persistent patterns of exclusion—both as independent artists and cultural workers at all levels within institutions. Ahead, the City is tasked with prioritizing expanded support for diverse art forms and cultural groups such as disability arts and people with disabilities.
"芸術と文化を5つの小町に持ち込みましょう。 これはアートと音楽を通して文化と受容を教えるでしょう。"
"Bring the arts and culture to the five boroughs. This will teach culture and acceptance through arts and music."
resident, queens
CreateNYC provides an opportunity to support disability artistry and to ensure that it is widely acknowledged as an artistic discipline that uses disability as a tool and a source of creativity. Further, it presents an opportunity to acknowledge and highlight disability as an area of identity among artists, staff, leadership, and boards. Looking forward, New York City's cultural ecosystem can grow in ways that allow a diversity of individuals and groups to thrive.
In New York City, arts and culture are for everyone. What follow are proposals for how we can seek cultural access for every New Yorker—no matter what neighborhood they call home—so people have access to the transformative benefits of culture as consumers and creators.
EQ.1 Create a more equitable distribution of funding for arts, culture, and science
Create new supports for arts and cultural organizations with a primary mission of serving historically underrepresented/underserved communities.
Encourage and facilitate the employment of people from diverse
communities.
Support individual artists who are from or work with diverse communities.
TIMEFRAME: Immediate PARTNER(S): DCLA
Continue to invest in City-owned cultural assets and the Cultural Institutions Group (CIG), increasing support for those in low-income communities.
EQ.2 Increase diversity in staff and leadership of arts, culture, and science organizations
Begin new efforts to support the professional development and career advancement of cultural workers from underrepresented groups.
Begin new efforts to encourage and support increased language access, including ASL, for cultural programming and funding opportunities to reach broader, more inclusive audiences.
Provide funding opportunity information in multiple languages/formats.
Increase languages represented on DCLA and re-grant panels, in informational and resource materials, and during the application process.
Support translation-related expenses, including ASL, for DCLA grantees' programming and communications.
TIMEFRAME: Immediate PARTNER(S): DCLA, MOPD, Cultural Community
Begin new strategies to encourage and support affirmative and inclusive employment policies.
Encourage all DCLA grantees to establish policies and goals for diversity, equity, and inclusion.
Measure and evaluate progress regularly.
TIMEFRAME: Short PARTNER(S): DCLA
Expand diversity, equity, inclusion, and unconscious bias training for DCLA staff and grantees.
EQ.3 Support people with disabilities at all levels of NYC's cultural life
Provide support to access-related services such as ASL interpretation, CART transcription, and audio description for audience members and for artists.
Begin to specify in all DCLA communications including requests for proposals and surveys that terms like "diversity" and "underrepresented groups" include disability.
Support disability arts, artistry, and artists with disabilities as part of supporting culture.
TIMEFRAME: Short PARTNER(S): DCLA, Arts Councils, MOPD
Encourage organizations to include information on accessibility accommodations and point of contact for public events.
TIMEFRAME: Immediate PARTNER(S): DCLA, MOPD
Increase inclusion of cultural stakeholders with disabilities on DCLA and re-grant panels.
Participate in regular discussions with the disability and disability arts communities.
Support organizations that promote disability arts and employ, support, and serve New Yorkers with disabilities.
Partner with DCLA grantee organizations on professional development and capacity building to increase employment of artists and cultural workers with disabilities at all levels.
TIMEFRAME: Short PARTNER(S): DCLA, MOPD
Create opportunities for increased access and inclusion in DCLA-funded cultural capital projects for artists, cultural workers, and audiences with disabilities.
TIMEFRAME: Short PARTNER(S): DCLA, DDC, MOPD
EQ.4 Support arts, culture, and science organizations as inclusive spaces for New Yorkers of all immigration status
Inform cultural organizations of opportunities to learn about immigration issues as they relate to their staff, participants, artists, performers, and audiences.
Encourage cultural organizations to participate in citywide opportunities to engage New Yorkers of all immigration status, such as IDNYC or similar programs.
TIMEFRAME: Immediate PARTNER(S): MOIA, Cultural Community
Support individual artists who are from and/or work with immigrant communities, cultures, and artists.
TIMEFRAME: Short PARTNER(S): Arts Councils, Cultural Community
EQ.5 Ensure that all New Yorkers have access to affordable arts, cultural, and science programming
Continue to support free admission, membership, or discounted programming with cultural organizations through the IDNYC program.
TIMEFRAME: Immediate PARTNER(S): DCLA, MOIA
Partner with City agencies and the cultural sector to better communicate cultural offerings across socio-economic, accessibility, and language barriers.
Potential partnerships include City Council, the library systems, NYC Department of Education (DOE), and Mayor's Office of Media and Entertainment (MOME).
Timeline: Short PARTNER(S): DCLA, City Council, Library Systems, DOE, MOME, MOPD
EQ.6 Ensure that older New Yorkers are given support and equitable access as cultural participants, artists, and cultural workers
Continue to support creative aging programs citywide for
New York City seniors.
TIMEFRAME: Immediate PARTNER(S): DCLA, DFTA, City Council, Arts Councils
Continue to support programs in age-neutral spaces such as cultural organizations and libraries.
TIMEFRAME: Immediate PARTNER(S): DCLA, DFTA, City Council, Arts Councils, Library Systems
Encourage and provide guidance to organizations on providing accessible accommodations to create inclusive experiences for older adults.
Support programs in senior-focused spaces such as senior centers and healthcare settings.
TIMEFRAME: Short PARTNER(S): DCLA, DFTA, City Council, Cultural Community
Provide training in techniques to support those with physical challenges or hearing, vision, or memory loss.
TIMEFRAME: Short PARTNER(S): DCLA, DFTA, MOPD
Support organizations providing programs, services, and career or volunteer support to older artists and cultural workers.
TIMEFRAME: Short PARTNER(S): DCLA, DFTA, Cultural Community
COMPREHENSIVE EMPLOYMENT AND TRAINING ACT (CETA)
The Comprehensive Employment and Training Act (CETA) illustrates how equity can be advanced through cross agency coordination. CETA was created by the Nixon and Ford administrations during times of high unemployment in the mid-1970s. It was the largest federal public service employment program since the 1930s to create opportunities for artists. The program ran from 1973-1981, providing many hundreds of millions of dollars to low-income artists. It invested $300 million in CETA arts jobs, jobs that provided steady income and benefits.
CETA provided training in artmaking, and also arts administration and technical support. It nurtured a generation of arts leaders and strengthened the community arts and alternative arts space movements in the 1970s. Many of these organizations hired their first paid staff with CETA money. Cultural critic Arlene Goldbard wrote:
There is scarcely a U.S. community artist who was around in the mid-1970s who did not either hold a CETA job or work directly with someone who did. Most community-based groups in the United States dating from that time were launched on their labor-intensive path with CETA support.
CETA shifted responsibility for design and management of its programs to the state and local level to engage local knowledge and decision-making. This was a significant break from the centralized authority of previous New Deal programs.
By using his knowledge of the government gained by working for the Department of Labor and Office of Management and Budget, savvy administrator John Kreidler helped adapt CETA from a program that did not initially include the arts to one that employed thousands of artists.
In New York City, CETA supported jobs for more than 600 artists to provide cultural services throughout the City, as well as 300 employees in maintenance, guard, and other positions at cultural organizations. DCLA under Commissioner Henry Geldzahler and the nonprofit Cultural Council Foundation played key roles in administering the largest program. Subcontractors included the Black Theatre Alliance, the Association of Hispanic Arts, and the Foundation for Independent Video and Film. Hospital Audiences, La Mama ETC, the American Jewish Congress, and the Theater for the Forgotten administered additional programs.
Artists played key leadership roles. In dance, for example, director of artist residencies, Liz Thompson, and coordinators including Blondell Cummings, Anthony LaGiglia, and William Dunas, were all dancers. The program was funded through the New York City Department of Employment. Artists received $10,000 plus fringe benefits.
Ted Berger, former Executive Director of the New York Foundation for the Arts, who helped develop CETA in New York City, describes how many of the lessons learned from CETA were applied after 9/11 in the creation of the New York Arts Recovery Fund. For Berger it is of key importance to "not have to reinvent the wheel every time there is a disaster, natural or economic. We have to think long-term and in more systemic ways."
WHAT WE CAN LEARN
Programs like CETA can promote equity and result in significant long-term relationships and ongoing artist alliances.
Like the Works Progress Administration (WPA) during the Great Depression, CETA responded to a strained economy and growing unemployment. It helped low-income cultural workers survive, build their skills, and use their creativity in support of communities.
By supporting artists to work in schools, hospitals, libraries, prisons, community centers, and subway stations, CETA increased access to and participation in arts and culture.
An evaluation of the CETA program carried out for the US Department of Labor, The CETA Arts and Humanities Experience, demonstrates that additional positive impacts can include economic and skill development for individuals, economic development for local jurisdictions, cultural development for communities, and an increased understanding of culture as an industry.
ANGEL VERA
Environmental Justice and Housing Organizer
At Make the Road, I do tenant rights education, outreach in the community, and city- and state-wide campaigns to protect low-income tenants where displacement is happening.
In Bushwick, 65% of people are Latino. Landlords are happy to arrange for newcomers but the same is not offered for a Latino family with kids.
In the wave of gentrification, a lot of art centers have come to our neighborhood. This art comes from outside. New galleries are opening in Bushwick, but they do not represent the existing community.
I was talking to members about the cultural plan, and they shared their ideas with me.
The City should value the cultures of immigrants and their countries. We should have culture but not more gentrification.
Bushwick parks are nice spaces for music festivals. They could have bands with music from different countries. Not just in English. Not just in Spanish. Bilingual.
Another idea is to promote street artists, food contests or craft festivals, art, things from different countries.
We have two libraries here in Bushwick. The City should have some ways for people to use more libraries, like cultural events for families.


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Gateshead players and staff still waiting for April wages
May 13, 2019 | Chimp Weekly Headlines, newsnow, Top Stories
Gateshead's players and staff are still awaiting receipt of their wages for the month of April.
With the wages now a fortnight overdue, the club's former sports therapist Annie Davis is continuing to help out with player treatment. Despite being sacked, along with the rest of the Heed's staff, Davis has been treating teenage midfielder Elliot Forbes, who has a significant hamstring injury.
She has now been treating Under-19 players after they picked up injuries last week. The treatment has been taking place at nearby Hebburn Town, who allowed Gateshead to use their training and other facilities after the club was no longer permitted to use the International Stadium due to unpaid council bills.


Author's Note: In the second episode, Mr. Toes and his friends started to assess the condition of the tumbling ship. They were beginning to discover what had happened to the drifter and its crew.
Freddie kept looking for signs of a terminal failure that could have caused the death of the ship, but he found nothing. Entire systems and subsystems had simply gone offline one by one. A chronology of how they went dark had emerged, however.
Freddie noticed something peculiar in the logs of the ship. The main computer had accessed everything it could that belonged to the fantom crew. Those bunstronauts only existed as a set of data points, a model or a set of models to be exact, so that the main computer could interact with "them." To the machine, "they" were as real as they could be. Just about the only thing the computer couldn't do with them was to bleed them. It had monitored their vitals, emptied their litter bins, and refilled their hay and salad holders. But why had it started going through their personal stuff? Music and book libraries, for example, were among the places it had digged into. All those things were available at the Central Library as well, and there was nothing new in what the crew buns enjoyed, but the question remained: What was the purpose of that perusing the machine had been doing? Had it been trying to get to know "them" better? Was this part of the original program's or experiment's design, or did the machine take it upon itself to learn about the crew? The ship had shown a particular interest in philosophy and over time stopped accessing materials on any other subject.
I almost choked on a piece of kale biscuit. We kept looking at bun another without saying a word. Finally, Pancake took a long sip from a beverage pouch and, with her mouf still half full of carrot tops, turned to Freddie: "Are you sure? It stopped on philosophy and ignored the arts, sciences, and everything else." Freddie didn't get a chance to answer.
"Um ..., look at this ..." Molly started to whisper. "It gets worse. If I'm reading this correctly, right here ..." Molly scrolled through a part of the log data on her monitor and paused. We stretched our necks to see her screen. "... Right here, it tried to contact the crew directly. Then something responded to it ..., and then all exchanges stopped."
"Do you think it had figured out there was no real crew onboard?" asked Penny, but no bun answered. I thought I saw Freddie shudder for a split second. Then again, it could have been a momentary glitch in our connection. Our flight deck felt much colder now. I glanced at the temperature reading on one of the biomonitors, but it had not budged from its proper setting.
As we kept on sifting through the data, we came across signs of the ship trying to reach other vessels and facilities. This wasn't your regular telemetry. It had scanned all the frequencies it could tune and then had tried to initialize contact. Of course, nothing responded. This explained the mystery interrogation that our own Buzzard had encountered a few months back. Our ship had flagged it as a penetration attack. The funny thing was that it didn't look like a penetration attack. The intruder didn't try anything nefarious, and we chalked it up to some kids playing mischief. I remember some of the crews on a break at our last stop at a resupply hub talked about something similar.
After that, the communication system went quiet. Something methodically powered it down, as if to get it ready for some major maintenance or an overhaul, except no maintenance or repairs followed. Next, the ship performed its final course correction. It had changed its trajectory to fly toward the sun and slingshot around it so it could leave for the open space. Afterward, the guidance and navigation disappeared. Attitude control went the same way, and the ship had become vulnerable to developing a tumble.
Freddie broke the silence after a good stretch of time had passed: "If you ask me, it looks like this thing ended up trying to quiet its mind. First, it turned off all communication systems. It stopped transmitting, and eventually, it stopped listening. It went blind. In the end, it slowed down its, hm... let's call it metabolism to nothing. It turned off all renaming systems and became as still as it could, short of dissolving into a quantum soup. The only system it couldn't touch was the logger, and even this one fell silent once the power plant shut down and the backup fuel cells run dry. Maybe it didn't care about it anymore?"
To complete turning itself off, the craft had gotten rid of its operating system and left us only with the activity logs. The logger observed and recorded what it "saw." It couldn't offer any explanations of what had happened.
We kept staring at the data, but after a while, I was not sure anymore of what we were trying to find. We were still afraid to miss "it" even though no bun was sure what "it" was.
Suddenly, Molly stirred as she reached for her sippy bag and said, "This is starting to read like a dairy." She sipped a gulp and floated toward the litter and supply lockers. "Bring you a snack, any bunny?" No bun answered.
"No, this is not a diary anymore. It's more of an obituary or a remembrance piece," said Ava.
When the delirium started taking over us, we took a break. We probably should have done it sooner, but the adrenaline took a while to subside.
Since our news bun friends had agreed to carry the story, it had become doubly urgent to get better control of this situation. We had found ourselves in the midst of a difficult debate. Should we have tried to stop the ship with our engines, let it go entirely, or tried to power up the main engines on the drifter and used them to stop the craft?
Abby wanted to forget this whole thing, the news story be damned. We were drifting along with the ship and sooner rather than later we would have to think about heading for home. She was getting cranky and snappy about it too. She didn't pull rank yet, but I had a feeling she was close to it. Ava and Penny stayed neutral, but Pancake insisted on staying with the craft. The news buns could rendezvous with us sooner if we could slow down this thing even a little bit. Joey was none too pleased. He wasn't getting his EBA anyway. He had excused himself and said that he would be busy with maintenance in the engine room. Freddie begged for a chance to power up the engines of the drifter. He claimed he only needed a couple more hours at this point because the crew of his Morsel was working the problem from the beginning and they were close to having a good hack on the procedure to power up those engines.
Abby relented a little. Her eyes were red and puffy. The fur on her mouf had started to get fleecy from the frequent washing and rubbing. I had not seen her like this in a long, long time. She turned the command over to Pancake and went to get a nap. Pancake's first order was simple: "Listen up, everybunny. Go and get some sleep! One of you can stay with me, but that is all. We have two ships to drive now, so you better disappear to take care of yourself for a while!"
Next morning, at breakfast, we were all quiet. Trying to sleep never works. Mix in a puzzle like the one we had been trying to decipher, and everything starts to blur.
We were tired, but one thing had become obvious to us: We had to do whatever we could to get this to the news buns. Everybunny had to know about this experiment with a fully autonomous ship. The evidence of this would not burn up in the sun; not if we could help it.
We put Joye in charge of working with Freddie to power up the drifter's main engines. Joye became ecstatic, and you would think it made up for his EBA. His legs kept twitching from time to time as he worked at his console. I couldn't tell if he was trying to thump or brink from all the excitement.
I kept floating, spellbound. Maybe Freddie was right, or maybe the forensic team would prove him silly. The ship would not do anybunny any favors in solving its mysteries. We had an idea about what the ship had done but not what it had thought. It had taken that part of the puzzle with it to the void it had joined.


text:
David King 1943 - 2016
I recently read Red Star Over Russia: A Visual History of the Soviet Union from 1917 to the Death of Stalin written by David King
David King over 30 years collected a vast collection of visual material from the Russian Revolution. A priceless resource for historians and film makers interested in that period.
This book is really great. Lots of material on how that history was rewritten and retouched by Stalin
Other books published include
Trotsky: A Documentary, PenguinBooks, 1972, ISBN 978-0140035223
I am king : a photographic biography of Muhammad Ali. 1975, ISBN 0140040889
How the GPU Murdered Trotsky, 1977, by the International Committee of the Fourth International, illustrations by David King
David Elliott & David King: Alexander Rodchenko. 1979, ISBN 090583612X
David Elliott & David King: Mayakovsky: Twenty Years of Work. 1982, ISBN 090583626X
Cathy Porter & David King: Blood & laughter : caricatures from the 1905 revolution. 1983, ISBN 0224021559
David Elliott & David King: Art into Production: Soviet Textiles, Fashion and Ceramics, 1917-35., 1984, ISBN 0905836472
Isaac Deutscher & David King: The Great Purges. 1984, ISBN 0631139230
Trotsky : a photographic biography. 1986, ISBN 063114689X, by David King, Tamara Deutscher (introduction), James Ryan (commentary)
The Commissar Vanishes. 1997
Ordinary Citizens: The Victims of Stalin. 2003, ISBN 1903427150
Red Star Over Russia: A Visual History of the Soviet Union. 2009. ISBN 978-1-854376862
Russian Revolutionary Posters: From Civil War to Socialist Realism, from Bolshevism to the End of Stalinism. 2012, ISBN 1849760195
John Heartfield: Laughter is a Devastating Weapon. 2015, ISBN 978-1849761840
David King Obituary by Richard Hollis
David King, who has died aged 73, was a graphic designer, writer, artist, photographer and, above all, a collector. On Level 4 at Tate Modern is a room hung with 40 framed magazine covers by John Heartfield, the German political artist and pioneer of photomontage; in the centre, open in a display case, are two copies of King's last book, John Heartfield: Laughter is a Devastating Weapon (2015). Over several years, a larger Tate room showed dozens of Soviet posters from the David King collection, items from which will be displayed again in 2017-18 in the exhibition Red Star Over Russia.
Amassed over several decades, the collection is made up of 250,000 photographs, books, journals, posters, documents and newspapers dating from the Russian Revolution to the Khrushchev era. Added to this was material from the Weimar Republic, the Spanish civil war, American labour organisations and Mao's China. King wanted to make his collection accessible to the public, and in recent years it was acquired by the Tate.
King's skills were those of the eye: he could speed-read an image for meaning and context. He was born in Isleworth, Middlesex. His father was a bank manager. He began his training in 1959, after leaving school, in the design department of the London School of Printing and Graphic Arts (now the London College of Communication). His political apprenticeship came from working with his teacher Robin Fior, the designer-typographer, who was then designing the weekly Peace News and covers of the quarterly International Socialism, and was a member of the anti-nuclear Committee of 100. Fior introduced King to Soviet constructivist design and political graphics.
After a time in an advertising agency, where his favoured copywriter was Elizabeth Smart, author of By Grand Central Station I Sat Down and Wept, he went to work at Queen magazine. In 1965 he joined the Sunday Times Magazine, where, under the overall art direction of Michael Rand, he was art editor for 10 years. The magazine won awards for its picture stories, arranged cinematically and uninterrupted by advertising. King took only a morning to lay out Don McCullin's celebrated photographs in a multi-page feature on the Vietnam war.
King later worked on books with former Sunday Times writers, among them the art critic David Sylvester, and with Bruce Chatwin on his Photographs and Notebooks (1993). In 1972 he was co-author with Francis Wyndham of Trotsky: A Documentary. Trotsky became so much a centre of King's career that Fior referred to King's Islington house as "Trot-ski-lodge". In the garden King constructed a personal dacha, set up a bust of Marx (left over from a film set), and laid down in brick mosaic a five-pointed star.
In 2009 King published Red Star Over Russia: A Visual History of the Soviet Union from 1917 to the Death of Stalin. The introduction to the book is an anecdotal account of his research into Soviet history. He enjoyed telling stories, sometimes cloak-and-dagger, sometimes comical, of his search for material over more than 40 years – in pre-Glasnost Russia, in eastern Europe, and in the US. This quest won him friends in many parts of the world. The dramatically orchestrated presentation of the documents is matched by a sensitivity to the human suffering they represent.
Red Star Over Russia marked the unique character of his mature book-making: writing, designing, scanning the images, all from his own archive. His frequent collaborator, Judy Groves, tells how he laid all the pages out end to end on the floor of his studio, "coupling and uncoupling them like carriages of a train", until he was satisfied with a complete view of the story unfolding. He did not use a computer in designing, but he put the text, perfectly judged for length, in emails to the typesetter. Proofs of the typeset version were then taped in position with prints of the scanned images, printed to size.
When King first went to Russia in 1970 and asked to see pictures of Trotsky, he was told there were none of "that fascist". He made the repeated response to his enquiries into a catchphrase, "not possible", uttered in a heavy Russian accent. But a diligent search in many countries eventually made an archive possible. By the time they came to do the book, Wyndham remarked that there were now more photographs of Trotsky than there were of Marilyn Monroe.
King's interest in constructivist artists led him to the studio of Alexander Rodchenko, who had died in 1956. Opening a book – he was there to look at the artist's book designs – was, he said, "like looking on to the scene of a terrible crime". Rodchenko's grandson Alexander Lavrentiev explained that his grandfather had painted over the faces of "enemies of the state": to have been found with them risked the attentions of Stalin's secret police.


If you are anything like me, you love a few good apps that can make your life a bit simpler. For me, this list is always fluid. I find new great apps to add to the list while others fade away and I find myself using them less and less. I will keep this list updated with what currently is working to simplify my life!
1. Feedly: I used to use Google Reader, but when they eliminated that tool I switched to Feedly. I actually like it better once I got my many blogs and news sources categorized in a way that made them easy for me to digest. It is easy to add feeds and delete feeds. This is the main tool I use to keep current on what is going on in the world. I schedule time each morning to read using Feedly. This tool makes it easy to skip over items that do not peak my interest and mark entire categories as read if I have fallen behind. I give myself permission not to feel guilty when I mark a category as read even if I haven't skimmed it!
2. Twitter: You can follow me by searching for @DrStaceySchmidt. This is a newer tool in my arsenal. I had personal and business accounts before, but was not using Twitter to it's full potential. After hearing George Couros's presentation on being a networked educator, I jumped in with both feet merging my personal and business accounts into one. Once I found tool #3 and combined it with tool #1–it became simple for me to share tools I was finding online with others. After learning more about hashtags it became easier for me to find the information I was seeking. Next up for me is increasing my personal connections to others on Twitter–making it more of a relational tool for networking rather than me just sharing the great things I'm learning every day and reading what others are learning.
3. Buffer: This is awesome! I'm not sure it helps me with my goal of being more relational in my use of Twitter–but it sure makes posting to Twitter easy without overwhelming the reader with too many posts at one time from me. When I read something interesting and want to share it on Twitter, I can pick the Buffer option (after installing it one time) and it will posts my tweets based on a schedule that I have set for the day. Super simple!
4. WordPress: This is the tool I use for my blog. I have used other tools before, but this one is easy to use and sophisticated in design. While it has taken more time than I initially thought to design and layout my blog, it was easy to import content from my previous blog. I'm happy that I have moved to this tool!
5. Facebook: I do have a personal Facebook page that was originally intended to help me keep up with my friends from high school and college since I have moved out of the area. However, it rapidly became a place to connect with everyone I know. While I strangely do like to know what you are up to, professionally I have designed a Facebook page for our school system to keep parents and community members informed of the great things happening in the district. It is a quick and easy way to spread the word through our community!
6. Pocket: How many times did you find something online that you really liked–but when you went to find it later could not remember where it was? Hopefully I'm not the only one that had that happen all the time! Good thing I found Pocket, a handy app to use when you find something online you want to save. I have a tiny Pocket icon in my browser and when I'm on a webpage I want to easily find again later, I click on my pocket and it saves the page for me! Brilliant!
7. Diigo: Diigo is very similar to Pocket, just more advanced. Diigo also allows you to collect, analyze, and organize the things you find online and also share them with others. I have seen many presenters use this tool very effectively for sharing tools with their audience. I admit I haven't mastered the use of this–but it is a great tool!


In a parallel world somewhere, the U.S. is ruled by a Zombie president Lincoln and he is craving the brains of all Americans. And whether they elected him out of office eventually or forced him out, this Zombie Abraham Lincoln Oil Painting is sure to hang on the White House walls today.
Enjoy Honest Undead Abe on your own wall and let your geek flag fly. This hand painted beauty is set in a 13-inch tall x 11-inch wide gold-colored frame. What a conversation piece!
This hand-painted oil painting is a portrait of Abraham Lincoln in his zombie finest, complete with blood splatters, greenish skin and a bullet hole through his top hat. Great addition to any zombie collection! Each work of art is set in an 11″ x 13″ gold colored frame.
It can be yours for just $32.99 from Entertainment Earth and $39.99 at Amazon.com with free with Super Saver Shipping.
This is beautiful! possibly my favorite oil painting that I have seen.


text:
Results 1-12 of 12 <<< Previous 1 Next >>>
Artist: Arnout, Jules
Brésil. 77. Vue de Rio Janeiro, prise du Couvent de S.te Thérèse.
J. Arnout del. Lepetit sc.
26, Brésil, Lemaitre dir. [Paris Firmin Didot freres et Cie 1837.]
Engraving. 136 x 216mm. 5¼ x 8½".
A view of Rio de Janeiro from Santa, the hilltop district upon which sits the Convent of Santa Theresa of Avila, which was founded in 1750 by sisters Jacinta and Francisca Rodrigues Ayres. From Ferdinand Denis's "L'Univers. Histoire et Description de Tous les Peuples. Bresil, ... Colombie et Guyanes".
[Ref: 26081] £90.00 (£108.00 incl.VAT)
Collége du Roi Cambridge. King's College Cambridge.
Dessiné et lith. par Jules Arnout. Imp. Lemercier r. de Seine 57, Paris.
Paris, Bulla Freres et Jouy, Editeurs. London, E. Gambart & Co. 25 Berners St. Oxf. St [n.d., c.1840].
Tinted lithograph. Printed area 310 x 425mm (12¼ x 16¾").
Le Chateau de Douvres. Vu de L'Arrière Bassin (Marée Basse). Dover Castle Seen from the Inner Docks.
Dessiné et lith. par Jules Arnout. Imp. Lemercier, à Paris.
Tinted lithograph. Printed area 310 x 425mm, 12¼ x 16¾".
[Ref: 10348] £260.00 (£312.00 incl.VAT)
[Epsom Races. View taken in balloon. Courses d'Epsom. Vue prise en ballon.]
[Drawn from nature and on stone by Jules Arnout. Printed by Lemercier in Paris.]
[London, pub.d 25th June 1846 by Gambart, Junin & Co, 25 Berners St Oxf. St. Paris, publié par Jeannin, Place du Louvre 20]
Lithograph with hand-colouring, sheet 285 x 445mm (11¼ x 17½"). Trimmed to image, losing all text.
One of a series of aerial views capitalising on the excitement offered by the new technology of ballooning in the early nineteenth century.
Epsom Races. View taken in balloon. Courses d'Epsom. Vue prise en ballon.
Drawn from nature and on stone by Jules Arnout. Printed by Lemercier in Paris.
London, pub.d 25th June 1846 by Gambart, Junin & Co, 25 Berners St Oxf. St. Paris, publié par Jeannin, Place du Louvre 20.
Tinted lithograph with hand-colouring. Sheet 335 x 465mm (13¼ x 18¼"). Trimmed close to the image, a few repairs.
An aerial view of a race meeting, one of a series capitalising on the excitement offered by ballooning.
Hopital de Greenwich près London. Greenwich Hospital near London.
[Paris, Bulla Freres et Jouy, Editeurs. London, E. Gambart & Co. 25 Berners St. Oxf. St.] [n.d., c.1840.]
Tinted lithograph. Printed area 310 x 425mm (12¼ x 16¾"). Trimmed within publication lines at bottom. Faint time staining in the margins.
A view of Greenwich Hospital from across the river. Greenwich Hospital was completed in 1694 to designs by Christopher Wren and Nicholas Hawksmoor and functioned as a hospital for sailors until 1873. The distinctive split design was adopted to allow the already existing Queen's House to keep its view of the Thames. The Greenwich Observatory can be seen on the hill behind. The waterman on paddle steamer is in the foreground.
London. Londres en Ballon. Excursions Aériennes.
Dessiné d'Après nature et lith. par Jules Arnout.
Paris, Bulla Frères et Jouy, Rue Tiquetonne, 18. London, Gambart, Junin & Co, 15 Berniers S.t. Oxf. S.t. [n.d., c.1850.]
Coloured lithograph. 355 x 455mm (14 x 18").
A view of London looking down from a hot air balloon, another in the distance. Taken from above Elephant and Castle, it shows Brunel's Hungerford Suspension Bridge and the Houses of Parliament before the completion of Big Ben's Clock Tower.
Newcastle Sur La Tyne. Newcastle upon Tyne. 34.
Dessiné et lith par J. Arnout. Imp. Lemercier, Paris.
Paris, Bulla Frères & Jouy éditeurs. Berlin, F.d Ebner, 196 Friedrichsstrasse. London, E. Gambart & Co. 25 Berners St. Oxf. St. New-York. Emile Seitz, 413 Broadway. [n.d. c.1850.]
Tinted lithograph with very large margins. 400 x 570mm (15¾ x 22½"). Some foxing off image. Uncut.
View across the Tyne towards Newcastle. A merchant with a laden carriage crosses the bridge, where the new Swing Bridge stands today; to the left stands the High Level Bridge of 1781, with the old castle keep towering in the background. Steamer and other vessels on the river.
Vue du Palais des Tuileries. Pris du bas de la Terrasse du Bord de l'Eau.
Dessiné et lith. par Jules Arnout. Imp. Lemercier.
à Paris - publié par Jeanin Place du Louvre, 20. London pub 15 April 1844 by the Anaglyphic Anaglyphic Compagny, 25 Berners St. Oxford St.
Tinted lithograph with hand colour. Blind stamp. Printed area 330 x 420mm (13 x 16½"). Very large margins.
The Paris residence of the French monarchs, shown here 25 years before its destruction by the Communards in 1871.
Dôme de la Cathédrale de St Paul Londres. St Paul's Dome (Church Yard) London.
Dessiné et lith. par Jules Arnout. Imp. Lemercier a Paris.
Paris, Bulla Freres et Jouy, Editeurs. Berlin, F.d Ebner, 196 Friedrichsstasse. London, E. Gambart & Co. 25 Berners St. Oxf. St. New-York, Emile Seitz, 233 Broadway. [n.d., c.1840.]
Rare tinted lithograph. Printed area 330 x 390mm (13 x 15½"). Very large margins.
A close view of St Paul's Cathedral, depicting the street traffic around the edifice.
Place Trafalgar Londres. Trafalgar Square london.
Dessine et lith. par Jules Arnout. Imp. Lemercier, a Paris.
Coloured lithograph, sheet 340 x 455mm. Slightly trimmed.
Trafalgar Square, with the National Gallery, Nelson's Column and St. Martins-in-the-Fields.
[Ref: 8749] £290.00 (£348.00 incl.VAT)
Pont & Chateau de Windsor. Windsor Bridge and Castle.
Paris, Bulla Freres et Jouy, Editeurs. Berlin, F.d Ebner, 196 Friedrichsstrasse. London, E. Gambart & Co. 25 Berners St. Oxf. St. New-York, Emil Seitz, 233 Broadway [n.d., c.1840].
Fine coloured tinted lithograph. Printed area 320 x 415mm (12½ x 16¼"). Slight mount stain.
A view of Windsor Castle from the cast iron Windsor Bridge, regarded as one of the best views of the castle. A passenger coach is crossing the bridge. Jules Arnout (1814-68) lithographed his own views of places including Brazil, France, Switzerland and England.


text:
DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task
D.B. Spronk, C.P.M. Veth, M. Arns, P.R. Schofield, C. Dobson-Stone, J.G. Ramaekers, B. Franke, E.R.A. de Bruijn, R.J. Verkes
Neuropsychology & Psychopharmacology
Objective: The amplitude and latency of the P300 may be associated by variations in dopaminergic genes. The current study was conducted to determine whether functional variants of the catechol-O-methyltransferase (COMT) and dopamine beta-hydroxylase (DBH) gene were associated with P300 amplitude and latency in an auditory oddball task. Methods: The P300 ERP was assessed by a two-tone auditory oddball paradigm in a large sample of 320 healthy volunteers. The Val108/158Met polymorphism (rs4680) of the COMT gene and the -1021C>T polymorphism (rs1611115) of the DBH gene were genotyped. P300 amplitude and latency were compared across genotype groups using analysis of variance. Results: There were no differences in demographic characteristics in subjects for genotypic subgroups. No genotype associations were observed for the P300 amplitude and latency on frontal, central and parietal electrode positions. Conclusions: COMT Val108/158Met and DBH -1021C>T polymorphisms do not show evidence of association with characteristics of the P300 ERP in an auditory oddball paradigm in healthy volunteers. Significance: We failed to find evidence for the association between dopaminergic enzymatic polymorphisms and the P300 ERP in healthy volunteers, in the largest study undertaken to date. (C) 2012 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland All rights reserved.
https://doi.org/10.1016/j.clinph.2012.11.008
Polymorphisms
Endophenotype
Brain Research and Integrative Neuroscience Network (BRAINnet)
CATECHOL-O-METHYLTRANSFERASE
EVENT-RELATED POTENTIALS
NEUROPSYCHOLOGICAL PERFORMANCE
FUNCTIONAL POLYMORPHISM
NEURAL GENERATORS
GENE POLYMORPHISM
WORKING-MEMORY
METAANALYSIS
10.1016/j.clinph.2012.11.008
Spronk, D. B., Veth, C. P. M., Arns, M., Schofield, P. R., Dobson-Stone, C., Ramaekers, J. G., Franke, B., de Bruijn, E. R. A., & Verkes, R. J. (2013). DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task. Clinical Neurophysiology, 124(5), 909-915. https://doi.org/10.1016/j.clinph.2012.11.008
Spronk, D.B. ; Veth, C.P.M. ; Arns, M. ; Schofield, P.R. ; Dobson-Stone, C. ; Ramaekers, J.G. ; Franke, B. ; de Bruijn, E.R.A. ; Verkes, R.J. / DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task. In: Clinical Neurophysiology. 2013 ; Vol. 124, No. 5. pp. 909-915.
@article{c112afe5a4d343eab588eb7e8a14fbf9,
title = "DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task",
abstract = "Objective: The amplitude and latency of the P300 may be associated by variations in dopaminergic genes. The current study was conducted to determine whether functional variants of the catechol-O-methyltransferase (COMT) and dopamine beta-hydroxylase (DBH) gene were associated with P300 amplitude and latency in an auditory oddball task. Methods: The P300 ERP was assessed by a two-tone auditory oddball paradigm in a large sample of 320 healthy volunteers. The Val108/158Met polymorphism (rs4680) of the COMT gene and the -1021C>T polymorphism (rs1611115) of the DBH gene were genotyped. P300 amplitude and latency were compared across genotype groups using analysis of variance. Results: There were no differences in demographic characteristics in subjects for genotypic subgroups. No genotype associations were observed for the P300 amplitude and latency on frontal, central and parietal electrode positions. Conclusions: COMT Val108/158Met and DBH -1021C>T polymorphisms do not show evidence of association with characteristics of the P300 ERP in an auditory oddball paradigm in healthy volunteers. Significance: We failed to find evidence for the association between dopaminergic enzymatic polymorphisms and the P300 ERP in healthy volunteers, in the largest study undertaken to date. (C) 2012 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland All rights reserved.",
keywords = "Polymorphisms, P300, P3, ERP, Endophenotype, Genomics, COMT, DBH, Dopamine, Brain Research and Integrative Neuroscience Network (BRAINnet), CATECHOL-O-METHYLTRANSFERASE, EVENT-RELATED POTENTIALS, NEUROPSYCHOLOGICAL PERFORMANCE, FUNCTIONAL POLYMORPHISM, NEURAL GENERATORS, GENE POLYMORPHISM, WORKING-MEMORY, DOPAMINE, SCHIZOPHRENIA, METAANALYSIS",
author = "D.B. Spronk and C.P.M. Veth and M. Arns and P.R. Schofield and C. Dobson-Stone and J.G. Ramaekers and B. Franke and {de Bruijn}, E.R.A. and R.J. Verkes",
doi = "10.1016/j.clinph.2012.11.008",
journal = "Clinical Neurophysiology",
Spronk, DB, Veth, CPM, Arns, M, Schofield, PR, Dobson-Stone, C, Ramaekers, JG, Franke, B, de Bruijn, ERA & Verkes, RJ 2013, 'DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task', Clinical Neurophysiology, vol. 124, no. 5, pp. 909-915. https://doi.org/10.1016/j.clinph.2012.11.008
DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task. / Spronk, D.B.; Veth, C.P.M.; Arns, M.; Schofield, P.R.; Dobson-Stone, C.; Ramaekers, J.G.; Franke, B.; de Bruijn, E.R.A.; Verkes, R.J.
In: Clinical Neurophysiology, Vol. 124, No. 5, 05.2013, p. 909-915.
T1 - DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task
AU - Spronk, D.B.
AU - Veth, C.P.M.
AU - Arns, M.
AU - Schofield, P.R.
AU - Dobson-Stone, C.
AU - Ramaekers, J.G.
AU - Franke, B.
AU - de Bruijn, E.R.A.
AU - Verkes, R.J.
N2 - Objective: The amplitude and latency of the P300 may be associated by variations in dopaminergic genes. The current study was conducted to determine whether functional variants of the catechol-O-methyltransferase (COMT) and dopamine beta-hydroxylase (DBH) gene were associated with P300 amplitude and latency in an auditory oddball task. Methods: The P300 ERP was assessed by a two-tone auditory oddball paradigm in a large sample of 320 healthy volunteers. The Val108/158Met polymorphism (rs4680) of the COMT gene and the -1021C>T polymorphism (rs1611115) of the DBH gene were genotyped. P300 amplitude and latency were compared across genotype groups using analysis of variance. Results: There were no differences in demographic characteristics in subjects for genotypic subgroups. No genotype associations were observed for the P300 amplitude and latency on frontal, central and parietal electrode positions. Conclusions: COMT Val108/158Met and DBH -1021C>T polymorphisms do not show evidence of association with characteristics of the P300 ERP in an auditory oddball paradigm in healthy volunteers. Significance: We failed to find evidence for the association between dopaminergic enzymatic polymorphisms and the P300 ERP in healthy volunteers, in the largest study undertaken to date. (C) 2012 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland All rights reserved.
AB - Objective: The amplitude and latency of the P300 may be associated by variations in dopaminergic genes. The current study was conducted to determine whether functional variants of the catechol-O-methyltransferase (COMT) and dopamine beta-hydroxylase (DBH) gene were associated with P300 amplitude and latency in an auditory oddball task. Methods: The P300 ERP was assessed by a two-tone auditory oddball paradigm in a large sample of 320 healthy volunteers. The Val108/158Met polymorphism (rs4680) of the COMT gene and the -1021C>T polymorphism (rs1611115) of the DBH gene were genotyped. P300 amplitude and latency were compared across genotype groups using analysis of variance. Results: There were no differences in demographic characteristics in subjects for genotypic subgroups. No genotype associations were observed for the P300 amplitude and latency on frontal, central and parietal electrode positions. Conclusions: COMT Val108/158Met and DBH -1021C>T polymorphisms do not show evidence of association with characteristics of the P300 ERP in an auditory oddball paradigm in healthy volunteers. Significance: We failed to find evidence for the association between dopaminergic enzymatic polymorphisms and the P300 ERP in healthy volunteers, in the largest study undertaken to date. (C) 2012 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland All rights reserved.
KW - Polymorphisms
KW - P300
KW - P3
KW - ERP
KW - Endophenotype
KW - Genomics
KW - COMT
KW - DBH
KW - Dopamine
KW - Brain Research and Integrative Neuroscience Network (BRAINnet)
KW - CATECHOL-O-METHYLTRANSFERASE
KW - EVENT-RELATED POTENTIALS
KW - NEUROPSYCHOLOGICAL PERFORMANCE
KW - FUNCTIONAL POLYMORPHISM
KW - NEURAL GENERATORS
KW - GENE POLYMORPHISM
KW - WORKING-MEMORY
KW - SCHIZOPHRENIA
KW - METAANALYSIS
U2 - 10.1016/j.clinph.2012.11.008
DO - 10.1016/j.clinph.2012.11.008
JO - Clinical Neurophysiology
JF - Clinical Neurophysiology
Spronk DB, Veth CPM, Arns M, Schofield PR, Dobson-Stone C, Ramaekers JG et al. DBH - 1021C > T and COMT Val108/158Met genotype are not associated with the P300 ERP in an auditory oddball task. Clinical Neurophysiology. 2013 May;124(5):909-915. https://doi.org/10.1016/j.clinph.2012.11.008


text:
Dependency injection, or DI, is an approach to software development where code doesn't instantiate certain objects; rather, they are provided, or injected, into the code. In CSLA, there are ways to do a form of DI via property injection (click [here](https://magenic.com/thinking/abstractions-in-csla) for details), but, without getting into technical details here, this approach doesn't handle a couple of edge cases. Arguably, the real issue is that CSLA doesn't really support DI/IoC as a core concept. We will change this with Ystari.

## Operations and Method Injection

The most common case of dependency usage in CSLA is to obtain a connection to a database or use a REST API when an object is fetched or saved. This happens on the "server" side of the domain object. In Ystari, we plan to allow developers to define their [operation method](operations.md) with a second parameter that specifies all the dependencies they need. In C#7, this can be stated with a tuple.

Let's give a specific example:

```
public class Customer
    : DomainBase
{
    [Registrations]
    public static void AddRegistrations<Customer>(IRegistrations registrations)
    {
        registrations.RegisterFetch<(string, int), IDbConnection>(o => o.FetchAsync);
    }

    private Task FetchAsync((int, string) criteria, IDbConnection connection) { ... }
}
```

`IRegistrations` is an object that Ystari will provide to the method marked with `[RegistrationsAttribute]`. It will call this method only once for the lifetime of the application, and it will be invoked the first time an instance needs to handle a Ystari operation.

If the developer didn't need any dependencies in `FetchAsync()`, they'd call `RegisterFetch<C>()`, which would just specify the criteria. By calling `RegisterFetch<C, D>()`, Ystari is now responsible for passing in whatever dependencies are needed. If it's just one type, like `IDbConnection`, then Ystari would default to calling the IoC container in use to resolve it. If it's a tuple type, like this:

```
registrations.RegisterFetch<(string, int), (IDbConnection, IService)>(o => o.FetchAsync);

// ...

private Task FetchAsync((int, string) criteria, (IDbConnection, IService) dependencies) { ... }
```

then Ystari will resolve each dependency that the tuple specifies, and then will pass that tuple into the operation.

## Client and Mobile Dependencies

While the majority of DI needs happens on the server, there are cases where a domain object will only need a dependency on the client side only. For example, if you have a parent-child relationship where you could have multiple children (think `Order` with `OrderItems` that contains `Order` objects), you need to add child objects in the client. To do this, you'll need a reference to something like `IDomainFactory<Order>` to call `CreateAsync()` in the client.

**RDL:** I'm not sure the assumption here is correct. In .NET Core there's a DI model that is used by ASP.NET Core (for example) and CSLA 4.9 provides a little support for DI and page injection. But really this could go much, much further. Sort of like async/await, DI seems to be one of those things that is viral - for best results you need async from top to bottom, and the same is true with DI.

Also, there are also cases where a dependency is mobile. In the previous case, we said that to create child objects you needed a client dependency. But it's also possible that the ability to add child objects needs to happen on the server as well. There are other cases where you need to reference the identity both on the client and the server. Typically, DI is location bound - that is, the dependency is never moved past the "host" in which it was resolved (which is typically an executable) and the object receiving the dependency is never serialized.

We think there are a couple of ways to handle this scenario:

* If the dependency itself is serializable and that version of the dependency can live on both the client and server, then the dependency can be injected either on the server or client, set to a field reference, and then passed back and forth via normal serialization machinery.
* If the dependency is not serializable but needs to exist on both the client and server, then the server-side version can be used in the operation methods, and the client-side version can be set after deserialization occurs, or the server-side operation is done (which would be the case if there were only logical client and server tiers in play). We're thinking of having some kind of "landing" and "takeoff" methods that the object could override or define (similar to the functional registration approached discussed in the [operations document](operations.md)). This would allow the developer to re-establish dependencies on both client and server sides where the dependency implementation is different. For example, it would look something like this:

```
public class Customer
    : DomainBase
{
    [Registrations]
    public static void AddRegistrations<Customer>(IRegistrations registrations)
    {
        registrations.RegisterLanding<IDomainFactory<IAddress>(o => o.HandleLanding);
    }

    private void HandleLanding(IDomainFactory<IAddress> address) { ... }
}
```

The "landing" method would be called whenever the object is deserialized but before the object is given to the caller. Multiple dependencies can be requested with a tuple type.


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See Job Profiles Page for more information.


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text:
HEALTH BEHAVIOR NEWS SERVICE
HOME > HBNS > END-OF-LIFE PLANNING
Early Palliative Care Cuts Costs for Critically Ill Patients
Release Date: July 10, 2014 | By Milly Dawson, Contributing Writer
Research Source: Health Services Research
For critically ill patients who died while in the hospital, receiving palliative care helped lower costs by $3,426.
Palliative care consults lowered costs for patients with a primary diagnosis of cancer, both for patients discharged alive and those who died in the hospital.
Palliative care delivered within the first 10 days of hospitalization and from teams with the greatest physician and nurse involvement resulted in significant savings.
Palliative care delivered early during hospitalization can help cut costs for critically ill patients, finds a new study in Health Services Research.
"Palliative care programs are increasingly prevalent in U.S. hospitals but the financial incentives for hospitals to deploy them are not well-understood," explains lead author Ian McCarthy, Ph.D., an assistant professor of economics at Emory. Today, 88 percent of large hospitals have palliative care teams and, said McCarthy, palliative care programs have proven "highly effective at addressing a wide range of needs felt by…patients and their families."
Palliative care aims to relieve suffering, be it physical, emotional, social or spiritual. Unlike hospice, palliative care is not limited to the last six months of life. Nor must palliative care patients be considered terminally ill: they often continue to receive disease-modifying treatments along with palliative care services.
Palliative care is a "fairly new medical specialty that has proven to substantially improve patient outcomes when it's delivered alongside routine treatments," says Sean Morrison, M.D., director of the National Palliative Care Research Center and a professor at Mount Sinai's School of Medicine. With palliative care, said Morrison, "symptoms are better managed, families are better cared for, and patients have better quality of life" with reduced pain and suffering.
The new study had two objectives: (1) to quantify potential savings from in-hospital palliative care teams; and (2) to provide guidance to hospital systems on structuring appropriate care teams and the best ways to use palliative care teams for maximal savings.
The researchers analyzed data gathered between January 2009-to-June 2012 at five hospitals within one Dallas-Fort Worth area hospital system. The sample comprised data from 38,475 inpatient stays for people 18 or older hospitalized for 7 to 30 days; and noted whether patients did or did not receive a palliative care consult.
The results, the authors wrote, revealed that "among patients who died in the hospital, there was a significant cost savings from palliative care of $3,426 per inpatient stay." Contrary to previous research, however, they found no cost savings difference for patients discharged alive. This finding, however, can be explained by difference in timing of palliative care, the patient's diagnosis and make-up of the palliative care team, noted the researchers.
They found that savings associated with palliative care were highest for patients who had a consult with a palliative care team within the first 10 days of their hospital stay and for patients diagnosed with cancer. Savings also reached their highest levels when a palliative care team included more involvement of physicians and registered nurses.
The findings showed potential savings for palliative care teams even in facilities with high hospice utilization. Hospitals can achieve the highest quality of care and greatest savings by implementing both hospice and palliative care when appropriate.
Morrison called the work "a well designed study with robust findings." Society today is seeking improved health care quality and costs savings, he said, and palliative care has demonstrated that it can contribute on both fronts. He called for requirements to be put in place for hospitals to routinely use palliative care, and to make the regular use of palliative care a condition for participation in Medicare.
TERMS OF USE: This story is protected by copyright. When reproducing any material, including interview excerpts, attribution to the Health Behavior News Service, part of the Center for Advancing Health, is required. While the information provided in this news story is from the latest peer-reviewed research, it is not intended to provide medical advice or treatment recommendations. For medical questions or concerns, please consult a health care provider.
Reach the Health Behavior News Service, part of the Center for Advancing Health, at (202) 387-2829 or [email protected]
Health Services Research is the official journal of the AcademyHealth and is published by Blackwell Publishing on behalf of the Health Research and Educational Trust. For information, contact Jennifer Shaw, HSR Business Manager at (312) 422-2646 or [email protected]. HSR is available online at http://www.hsr.org/.
McCarthy, I. M., Robinson, C., Huq, S., Philastre, M. and Fine, R. L. (2014), Cost Savings from Palliative Care Teams and Guidance for a Financially Viable Palliative Care Program. Health Services Research. http://onlinelibrary.wiley.com/doi/10.1111/1475-6773.12203/abstract
End-of-Life Planning Pay for your Health Care Plan for your End of Life Care Caregiving Inside Healthcare Medical/Hospital Practice Patient Engagement Health Care Cost
Please note: CFAH reserves the right to moderate all comments posted to the Health Behavior News Service. Any inappropriate postings will be removed.
People with Few Assets Less Likely to Plan for End-of-Life Health Care
Patients with Implanted Cardiac Devices Should Learn about End-of-Life Options
Easing Distress in Caregivers of Dying Patients
Advance Directives Evolve to Ensure Better End-of-Life Planning
Survival Tips for Family Caregivers
Advance Directives: Caring for You & Your Family
What Is Hospice?
PREPARED PATIENT® BLOGS
Shifting to Palliative Care: Help Us Change our Pace
Jessie Gruman | June 13, 2012
Why Everyone Deserves Palliative Care
Richard Besdine | July 16, 2013
Not So Easy to Stop Care When the Patient Is a Loved One
Margaret Polaneczky | June 16, 2014
On Each Other's Team: What We Can Learn by Listening to Older Adults
Chris Langston | April 10, 2014


text:
MTV Movie and TV Awards 2019 6/15/2019
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Elle Women In Hollywood 2015 10/19/2015
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Young Hollywood Book Launch Party 10/2/2014
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Mad Men Season 7 Premiere 4/2/2014
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Justin Bieber's Believe World Premiere 12/18/2013
The Hunger Games: Catching Fire Los Angeles Premiere 11/18/2013
JoyROCKS: An Evening to Benefit Joyful Heart Foundation 9/26/2013
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Mad Men Season 6 Premiere 3/20/2013
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Mr. Popper's Penguins Premiere 6/12/2011
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If you would like to recommend a seed company that sells sustainably produced, open pollinated, non-patented seed, preferably organic or biodynamic, please contact me.


text:
Home Helpful tips How much do chicken house workers make?
How much do chicken house workers make?
Poultry Farm Worker Salary
Top Earners $40,000 $769
75th Percentile $31,500 $605
Average $29,326 $563
How much profit does a poultry farm make?
Total sale value/ income from the chicken @ Rs 90/kg: Rs 21, 60,000.00. The total profit on the investment is around: Rs 4, 44,000.00 (annually). The sale of other by-products of the farms like manure and gunny bags can bring in an extra income of around Rs 20,000.
How much does a chicken farmer make per chicken?
The producers receive an overall average of $2.08/pound for their chickens, with a range depending on where and how the birds are sold. Producers receive their highest prices at farmers markets, followed by restaurants.
Is a chicken farm profitable?
The truth is that as long as you opt for organic chicken meat, it can help you lose weight and live a longer, healthier lifestyle. With an industry worth around 50 billion dollars in 2013, poultry production is one of the most profitable sectors of the American economy.
What does a poultry worker do?
A poultry farm employee assists in daily operations on the farm. This can include checking birds, collecting eggs and feeding.
How much does the average factory worker make in America?
Salary Recap The average pay for a Factory Worker is $32,488 a year and $16 an hour in the United States. The average salary range for a Factory Worker is between $25,085 and $38,471. On average, a Less Than HS Degree is the highest level of education for a Factory Worker.
Can poultry farming make me rich?
Poultry droppings are rich in nitrogen and organic material and hence, are considered valuable as fertilizers, which is another cost benefit. So you can make a huge profit and good earning from poultry farming business.
Is there money in egg farming?
Selling chicken eggs from a small homestead is more than likely not going to produce a profit. If you figure the costs of your inputs such as the cost of feed, labor for chores, and start-up costs, you could probably charge $7-8 a dozen for fresh farm eggs.
What is the most profitable chicken to raise?
The fact is that pure breed chickens are the most profitable chickens to raise. They are 3 – 4 times more valuable than the hybrid egg-laying chicken. Pure breed chickens can go for thousands of pounds or dollars if you manage to breed excellent show quality stock or breeding pairs.
What education do you need to be a poultry farmer?
A high school diploma is required. Although it is not always required associates degree in animal science or animal husbandry would be recommended. To pursue a career as a poultry farm worker: The following high school courses are recommended: agricultural education, animal science, biology, mathematics and chemistry.
What is a poultry farmer called?
poulterer. / (ˈpəʊltrɪmən) / Also called: chicken farmer a person who rears domestic fowls, esp chickens, for their eggs or meat. a dealer in poultry, esp one who sells the dressed carcasses.
What is the lowest salary in USA?
$7.25 per hour
The federal minimum wage for covered nonexempt employees is $7.25 per hour. Many states also have minimum wage laws. In cases where an employee is subject to both the state and federal minimum wage laws, the employee is entitled to the higher of the two minimum wages.
Which country pays highest salary?
The highest number of salaries in the world is in the United States, where the average salary of people is $ 57138 or 37.85 lakh rupees per year.
How can I start a successful poultry farm?
Learn poultry farming from the nearest poultry farm.
Decide the chicken products to focus on.
Select a good poultry farm location.
Set up a poultry cage for the birds.
Purchase some poultry farming equipment.
Buy starter chicks from a trusted supplier.
Employ reliable workers for the poultry farm.
Feed the chicks properly.
How much do farmers sell eggs for?
Depending on where you live, a dozen pasture-raised brown eggs can sell for as little as $2.50 or as much as $4 to $5, occasionally more; a 50-pound bag of organic chicken feed costs more than $30. A flock of six chickens will gobble down the bag in about a month; that's about 1½ pounds of food per chicken per week.
What is the easiest chicken to raise?
They tend to be easy-going, friendly, and very simple to care for.
Rhode Island Reds. Rhode Island Reds were my very first chickens, and so, of course, they had to be Number one on the list.
Australorp.
Buff Orpingtons.
Leghorns.
Barred Plymouth Rock.
Jersey Giant.
Easter Egger.
Sussex.
What is the most profitable birds to raise?
Types of Bird You Can Breed & Raise To Make Profit
1) Budgie (Parakeet) Scientific Name: Melopsittacus undulatus.
2) Lovebirds. Scientific Name: Agapornis spp.
3) Cockatiels. Scientific Name: Nymphicus hollandicus.
4) Zebra Finches. Scientific Name:Taeniopygia guttata.


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Chocolate cake is always a winner, but this recipe makes a wickedly rich, moist and earthy dessert that has a unique and beautiful flavour. Don't be scared by the addition of beetroot, as like sweet potato, it adds moisture, sweetness and a new depth of flavour. The cakes and ganache can be made in advance and put together just before serving, and can both be frozen. Go on, indulge!
Preheat oven to approximately 180 degrees Celsius and grease a mini loaf tin with plenty of vegan butter.
In a large bowl, combine sugar, cocoa and flour and mix until there are no lumps. Set aside.
In a food processor, combine beetroot and soy milk, and blend until smooth.
Add beetroot mix, oil and chocolate to flour mixture, and mix until just combined.
Spoon mixture evenly into prepared tin, and place into the oven.
Cook for approximately 40 minutes or until cakes spring back when touched.
Heat milk over a low heat until it gets hot but before it boils.
Remove milk from the heat and add the chocolate, stirring until it melts completely.
Spread ganache over cakes and decorate as desired.


Following is a tentative draft of the order of the ceremony we have created, with some explanatory notes to show our thinking. It is our hope to honor and incorporate our families' ideas. If you have something important that you would like to see included, please let us know.
Since this is an internal document, I am going to continuously update it with the latest drafts and thoughts.
(BRIDE AT MY RIGHT) We are gathered here today under this sky, beside this ocean, and in the presence of family and friends for a very special occasion: The wedding ceremony of Will and Lauren. They thank you, the special people in their lives, for coming and sharing in this occasion as they become partners for life.
Now love asks that you be united.
We'll now have a reading by Ashley.
There was never anything so sudden. For your brother, and my sister, no sooner met, but they look'd; no sooner look'd, but they lov'd; no sooner lov'd, but they sigh'd; no sooner sigh'd but they ask'd one another the reason; no sooner knew the reason, but they sought the remedy: and in these degrees, have they made a pair of stairs to marriage, which they will climb incontinent, or else be incontinent before marriage: they are in the very wrath of love and they will together. Clubs cannot part them.
Will and Lauren will give lei to the other's parents, representing their gratitude for raising each of them, and their promise to take good care of that parents' child.
They will also exchange lei in greeting to each other. Lauren's Pikake Lei is a traditional bridal flower because of its similarity to pearls and its heavenly scent. Will's Maile Lei is also a traditional wedding lei. It signifies respect and honor, and their commitment to each other.
We'll now have a reading by Nathan.
Will and Lauren will take cups of sand given to them by their parents, and pour the sand into one Koa bowl, signifying the joining of their families and lives.
Marriage is the mutual commitment of two people sincerely in love; it is the sharing of lives. You will see each other as no one else sees you. This is the most difficult part of love; it means that each of you must lay down your guard and communicate as openly and honestly as possible. Its rewards are boundless.
Love is also the understanding you feel for one another right now. Remember it. Take joy in it. Only you two can give this to one another. You are each other's first consideration, first priority, and first responsibility. This is a deep and everlasting gift only people in love can share.
There will be times of stress and sacrifice, of discouragement and despair. Face these moments together and overcome them with the same love and commitment from which your fonder memories were created.
With this love for one another in our hearts, let us turn to the vows that will seal this marriage.
I, Lauren, choose you, Will, to be my husband.
To fulfill our lives together.
I, Will, choose you, Lauren, to be my wife.
May I have the rings, please? From the earliest times, the circle has been a symbol of completeness, a symbol of committed love. An unbroWILL and never-ending circle symbolizes a commitment of love that is also never ending. As often as either of you looks at this symbol, I hope that you will be reminded of today's commitment to love each other.
LAUREN, I give you this ring, as a symbol of my commitment to love, honor, and respect you. With you I have found love, happiness, and a best friend.
WILL I give you this ring, as a symbol of my commitment to love, honor, and respect you. With you I have found love, happiness and a best friend.
TO THE GUESTS: This is a moment of celebration. Let it also be a moment of dedication. Every marriage needs the love, nurture, and support of friends and family. On this wedding day I ask you not only to be friends of LAUREN & WILL, but friends of LAUREN & WILL together.
Rejoice under the blue sky, feel the wind, taste the water, and smell the fresh earth. May this beauty enter your bodies, fill your hearts, and bless your lives.
WILL AND LAUREN, may the love you have found grow in meaning and strength until its beauty is shown in a common devotion to all that is life-giving. May your love brighten the face of the earth. To all gathered here today, may love touch and bless all of you and grace your lives with color and courage.
Before this gathering of family and friends, LAUREN & WILL have promised each other their love and have given each other rings to wear as a sign of their deep commitment. Therefore I, with the authority given to me by the State of Hawaii, now pronounce you husband and wife. Congratulations! You may kiss!
Ellen, John, Anna, Nathan, Soren: My guess is that you're going to want to get on one of the early buses so that you can have time to go to your room before the reception starts? Please meet at the front entrance of the Lodge right before 7:00 PM.
Donna, Robin, Ashley, Eugenie, Bill, Albert: Please help to get guests onto the buses as quickly as possible. Get on the buses yourself, but when you get to the Lodge, stay at the front entrance until right before 7:00 PM.
when you get to the Lodge, stay at the front entrance until right before 7:00 PM.
Will and Lauren will meet everyone at the front entrance of the Lodge right before 7:00 PM.
For the remaining schedule, see the Wedding Info spreadsheet under "Schedule."


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