There are more connections between the neurons in your brain than there are stars in the Milky Way. That's one of those statistics that makes you gasp in awe for a moment, and then makes you shrug because it's hard to grasp what it really means. What makes those seemingly infinite connections fascinating, though, isn't just the sheer quantity of them. It's the fact that they're always changing, starting before you're born and continuing until you take your last breath.
Understanding how and why your brain changes is a key message of a new exhibition, Your Brain, at the Franklin Institute in Philadelphia. The interactive exhibition's message is particularly relevant not only to the visitors of all ages who will pass through the science museum's doors but to all of us. Knowledge about these lifelong changes fosters opportunities to keep your brain in good working order and will also influence how brain science could change our society.
Believe it or not, you used to have even more connections, or synapses, in your brain than the dizzying number you have now. Babies are born with almost all the neurons that make up an adult brain, but they develop close to twice as many synapses. As they explore the world around them to figure out how things work, the synapses that get used become stronger, while those that don't get used fade away.
This invisible but essential process in the brain underlies some classic toddler behavior. Give a toddler a rocking horse to ride on, then replace it with a small-scale version, and chances are that she'll try to jump on the tiny horse for a ride anyway, to comic effect. At this age the connections underlying the desire to play are already strong. The connections that discourage play based on the inappropriate size will strengthen later.
Adolescence is another time of drastic change. During puberty brain regions associated with the reward system are far more active than during adulthood. At the same time, synapses in the prefrontal cortex, a region of the brain particularly important for decision making and self-control, show a much slower rate of development.
We've long observed that teenagers take bigger risks than adults do. We are just beginning to understand how brain activity associated with underdeveloped self-control and a hyperactive reward response could explain this behavior. Today texting while driving is a particular source of risk for new teenage drivers. Through a driving simulator in Your Brain that challenges your ability to multitask, we want visitors to recognize the limitations of the brain that make this practice so dangerous.
When we're adults, the changes in our brains are more finely tuned, but they're no less important. Every time you learn something new, your brain's synapses change to code this new experience. How does this affect your day-to-day perception of the world? Your brain uses past experiences to filter what's important, interpret new information, and predict what to do next.
Think about the first time you travel a new route to work. You pay attention closely, noting particular landmarks that help you find your way. You are engaging your short-term memory, sending more frequent signals between active neurons. But as you retrace your commute day after day, that information is converted to long-term memory. Your brain increases the number of synapses that communicate this information and perhaps even rewires other, less-active pathways. The need for navigation fades into the background, and you are now free to focus your attention on other aspects of your surroundings.
Instances of traumatic brain injury offer more dramatic examples of the brain's ability to rewire itself. Even in cases of major brain damage, the brain can repurpose other regions to take over some tasks of the damaged area. By studying how the biological process works, scientists hope to find new therapeutic drugs or even dietary habits that can improve and accelerate this reassignment of function.
Significant changes occur again as you age. Even in healthy older adults, total brain volume shrinks, and synapses are lost, affecting cognitive functions like working memory and the ability to switch between tasks that lie in the prefrontal cortex. On the other hand, other cognitive functions like regulating emotion improve.
Emerging research about the changing brain is already reframing practical issues in our society. For example, new brain-based teaching strategies for young children recognize and relate to their developmental patterns. Many states are implementing graduated driver licensing for teenagers that tries to minimize high-risk behavior, especially since the imbalance between reward and self-control in the adolescent brain is heightened by peer pressure. And countries with aging populations might benefit from considering how the "cognitive age" of their citizens may be a better indicator to guide economic and social strategies than actual age.
With about 86 billion neurons in the adult brain, we're a long way from deciphering exactly how the connections between those cells change over the course of a lifetime. But, as Your Brain demonstrates, as technology continues to reveal new insights about the body's most complex organ, our understanding of the changing brain will change the way we live and learn.


text:
Nickelodeon CEO Brian Robbins on streaming, young viewers
CNBC's 'Squawk Box' team discusses the streaming wars, children's television and more with Nickelodeon CEO Brian Robbins.
Fri, Aug 20 20219:17 AM EDT
This roofing company says it's figured out how to make solar shingles affordable
Why Johnson & Johnson is splitting itself into two publicly traded companies
How this 22-year-old earns and spends $200,000 a year in Tulsa, OK
The economy is so strong, we'll be able to get through this, says Ariel's Bobrinskoy
Wells Fargo beats Q4 earnings estimates, shares spike

redpajama_set_name: RedPajamaCommonCrawl


It is very important for companies to characterize their objectives to achieve their goals keeping online marketing in mind. The objectives for online marketing keep on fluctuating among many stages. Facebook may be utilized for client administration whereas; Twitter is mainly utilized in promotions. Keywords play an important role in Social Media Management and to know about the importance, one must read Best Tricks to Find out Most Searched Keywords.
When you start, it is must for every person to set up a small business for Success.
We would all agree that the most important piece of Online Marketing arrangement is characterizing clear objectives. For this, you must verify that each goal is sensitive and specific.
Once you are done with building business goals, you need to chase authorized and unauthorized pages representing your services and details about your products. You must also make sure that you evacuate all spam and insignificant content. You also have to ensure that you share quality content on Social Media.
Once you are done with all of them, you can kick off the campaign.
It is very important to match your post timing with your user's timing's to build proper engagement on your website.
To find the best time you need to consider the timings, your geographic area as well as the area of your audience you are focusing on.
There are numerous tools that a person can use to discover the right timings to post.
There are numerous approaches to proficiently deal with everything you do on social media. Once all the routines are set up regarding the time spent by your audience on the social media, it can be utilized to listen to your clients and customers.
The best thing to do in this situation is to use the auto schedule tools which decide the ideal time to reach your audience.
Managing Social Media is a very important factor in the success of the business. In case, you are not able to perform the task then you can outsource your social media management.
By outsourcing social media management, you can save your valuable time and focus on enhancing your business and earning profits from it. The social media management agency would also provide solutions to grow your business.
It is very important for one to be professional so that you can turn your fans into customers.
It is believed that people trust more on the complete profile than incomplete ones. If you have an incomplete profile, better complete it first or your customers would leave.
The most important function to turn fans and followers into customers is to stay updated about your industry. You should regularly update about latest trends, technology, news, and should also share tips on social media accounts.
You should always be patient as success in online marketing does not happen immediately. You need to invest energy in searching online influencers who have quality gatherings of people. You must invest time effectively and wait for the result.
You need to ensure that you keep the quality of your content you share.
You must focus on social media and Online Marketing Strategy to build a strong brand.
As long as you post contents that are valuable for your business, you will be able to draw adherent traffic social media. The more efforts you put in social media engagement, the more profits you receive. Along with Social Media Management, Inbound Marketing also plays an important role in attracting traffic towards the website. To know in detail about the element, you must read Inbound Marketing – A Basic towards Lead Generation Strategy.


My transplant was done on 18 Dec 2013 at BLK Super Specialty Hospital New Delhi.My Serum Creatinine level is 1.77 after 1 month of transplantation its constant on it. I have appointment twice a week. Taking Vingraf(Tacrolimus)2-2 BD 2mg. Doctor advice to do DTPA Renogram Scan (Nuclear Medicine Test).
My Renal (Kidney) transplant was done on 18 Dec 2013 at BLK Super Specialty Hospital New Delhi.My Serum Creatinine level is 1.77 after 1 month of transplantation its constant on it. I have appointment twice a week. Doctor advice to do DTPA Renogram Scan (Nuclear Medicine Test).
Taking Vingraf(Tacrolimus)2-2 BD 2mg. Taking Liquid at least 3 liter per day. High protein Diet and low sugar.
I want to share my feeling after all we all are one. We need a place where we share our complications on this Kidney disease that help us to know more about this disease and we will improve on this.
Its just a new life after short death, but still there is a hope to live longer.
I am currently working with NSN Noida, India, 27-yrs Male.
Hello, I have had my kidney for 12 or 13 years now, Over the years I have had similar episodes to what you describe. In 2008 I was having an increase in my creatinine and other labs. I had a biospy and they found nothing, but I was switched from the medication I was on (can't remember) to Tracrolimus. Also I have a couple of times been increased on my lisinopril when having an increase in proteinuria. I hope you are doing better. I know these things can be very worrisome. Good luck.
Welcome to Transplant Friends. Thank you for filling out your profile in great detail. We have many transplant friends here who live in India.
Welcome to Transplants Friends Rajesh. And try to join us in the chat room at 3pm est. daily, Saturdays and Sundays at 3pm est. Take care.
Greetings Rajesh , Welcome to Friends !
Health Insurance in India !
Urine Colour appearance clear as water and no smell.


The cyclists are now all back in the UK from their tour cycling in Bangladesh. The final member to return being Phil Buckley one of the organisers, seen here arriving at Piccadilly Station in Manchester tonight. Now that they are all home we are collecting pictures and video to share in a gallery here along with a mega-gallery of official photos and videos from the sponsor and Bangla TV.
Muzahid Khan, also organiser of the tour will be posting a series of longer articles of his experiences and observations on the trip as a follow up to the popular blog he posted here while cycling.
We are told planning is already underway for next year's tour.


//Memorycache is always faster than DiskCache. Check it our for yourself.
//Set a retry policy in case of SocketTimeout & ConnectionTimeout Exceptions.
//Volley does retry for you if you have specified the policy.


text:
Will 2014 be Larry Fitzgerald's last with Arizona Cardinals?
The contract restructure saved salary cap now, but pushes a very, very difficult decision to next year.
By Jess Root Feb 8, 2014, 11:00am MST
Share All sharing options for: Will 2014 be Larry Fitzgerald's last with Arizona Cardinals?
When Larry Fitzgerald agreed to a restructured contract, it saved the Arizona Cardinals a lot of salary cap space for 2014. It also paid him a lot of money up front. He is getting all the money he was due to have ($12.75 million), only he is getting $11.75 million of it now, rather than through the season. His 2014 salary will be a mere $1 million.
It saved the Cardinals about $10 million against the cap.
It did, though, make 2015 a very interesting offseason for Arizona. It looks like 2014 will perhaps be the final one for Fitzgerald here.
Fitz' cap number in 2015 balloons to $23.6 million -- an astronomical number. According to Spotrac, Fitz' contract would still hold over $14.4 million of dead money against the cap.
Mike Jurecki reported that part of his 2015 money includes an $8 million roster bonus, which is to be paid if he is on the roster on the fifth day of the new league year.
Just looking at the contract numbers, it seems impossible for Arizona to keep Fitzgerald beyond 2014.
There is always the possibility that his contract is restructured again, but that would simply push the problem to another year or two out, unless there was a pay cut included.
Now, what even points to a Fitz release next offseason before his roster bonus comes due is the fact that a team could release him before his roster bonus is due, but then also designate him as a June 1 cut. Teams are allowed to designate up to two players each year as a June 1 cut even when they cut them before that date, allowing the cap hit of dead money to be spread over two seasons. Two seasons of $7 million in dead money could be more bearable than one of over $14 million, which certainly is a lot less than the more than $23 million his being on the roster would cost the team in cap space.
Now, going back to the possible pay cut, it seems unlikely. However, Adrian Wilson agreed to a big pay cut before the 2012 season, even though he was in the middle of his contract. But that situation was different. He understood where he was in his career. He ended up getting less playing time and was eventually released the following offseason, before signing with the Patriots, only to land on injured reserve. Whether he will return in 2014 is yet to be determined.
Fitz, if he is released next offseason, will have plenty of suitors. He plans on playing for many more seasons.
Arizona feels that the team that they have is "really close," meaning that they believe that they will be competing for a Super Bowl this season with the right moves. Fitz is still integral to that. That is why releasing him this offseason didn't make sense.
Success or failure for the team in 2014, it does look like it could be the last one in Arizona for perhaps the team's greatest player in history.
Follow @revengeofbirds Follow @SBNationNFL
Larry Fitzgerald restructures his contract for Arizona Cardinals
Arizona Cardinals' University of Phoenix Stadium rated as 22nd best fan experience in NFL
Arizona Cardinals offseason: 5 potential draft, free agency targets at safety
NFL offseason schedule: Looking ahead to the Combine, free agency and the NFL Draft
Video: 5 ways to pass the tide this NFL offseason
Will 2014 be Fitz' last season with the Cards?
What should Cards do now with cap space?


text:
Q: Styling input range for webkit with pure CSS I would like to customize input type range like this.

I tried to use the following code to change the thumb and as below but selected range color is not changed.
HTML:
<input type="range" />

CSS:
input[type=range]::-webkit-slider-thumb {
  -webkit-appearance: none;
  height: 20px;
  width: 20px;
  border-radius: 10px;
  background: red;
  cursor: pointer;
  border: none;
  margin-top: -8px;
}

input[type=range] {
  -webkit-appearance: none;
  outline: 0;
  margin: 0;
  padding: 0;
  height: 30px;
  width: 100%;
}

Could anybody please suggest me to change the selected runnable track background color?

A: Interesting approach being used by the Ionic framework for styling the range input track with just CSS. They are adding a ::before pseudo-element to the ::-webkit-slider-thumb, making it as wide as possible and then positioning it on top of the track. (I couldn't get border-radius to work with it.)

input[type='range'] {
  width: 210px;
  height: 30px;
  overflow: hidden;
  cursor: pointer;
}
input[type='range'],
input[type='range']::-webkit-slider-runnable-track,
input[type='range']::-webkit-slider-thumb {
  -webkit-appearance: none;
}
input[type='range']::-webkit-slider-runnable-track {
  width: 200px;
  height: 10px;
  background: #AAA;
}
input[type='range']::-webkit-slider-thumb {
  position: relative;
  height: 30px;
  width: 30px;
  margin-top: -10px;
  background: steelblue;
  border-radius: 50%;
  border: 2px solid white;
}
input[type='range']::-webkit-slider-thumb::before {
  position: absolute;
  content: '';
  height: 10px; /* equal to height of runnable track */
  width: 500px; /* make this bigger than the widest range input element */
  left: -502px; /* this should be -2px - width */
  top: 8px; /* don't change this */
  background: #777;
}

  <input type="range" min="0" max="100" value="10" />

As far as I am aware there is no pure CSS way to do this for Webkit powered browsers (and FF). IE provides a way to style the two portions of the track using -ms-fill-lower and -ms-fill-upper but there are no equivalents in WebKit and hence JavaScript will be needed.
You could use a linear-gradient as background image for the runnable track and then change the background-size using JavaScript to achieve the required effect. As question is specific to Webkit, the snippet provided currently works only in Webkit powered browsers. This method does allow us to add a border-radius to the track.
This snippet was adapted from Ana Tudor's CodePen Demo. That demo has ways to make it work in other browsers also.

window.onload = function() {
  var input = document.querySelector('input[type=range]'),
    style_el = document.createElement('style'),
    styles = [],
    track_sel = ['::-webkit-slider-runnable-track'];
  document.body.appendChild(style_el);

  styles.push('');

  input.addEventListener('input', function() {
    var min = this.min || 0,
      max = this.max || 100,
      c_style, u, edge_w, val, str = '';

    this.setAttribute('value', this.value);

    val = this.value + '% 100%';
    str += 'input[type="range"]' + track_sel[0] + '{background-size:' + val + '}';

    styles[0] = str;
    style_el.textContent = styles.join('');
  }, false);
}
input[type='range'] {
  width: 210px;
  height: 50px;
  cursor: pointer;
}
input[type='range'],
input[type='range']::-webkit-slider-runnable-track,
input[type='range']::-webkit-slider-thumb {
  -webkit-appearance: none;
}
input[type='range']::-webkit-slider-runnable-track {
  width: 200px;
  height: 10px;
  background: linear-gradient(to right, #777, #777), #AAA;
  background-size: 10% 100%;
  background-repeat: no-repeat;
  border-radius: 5px;
}
input[type='range']::-webkit-slider-thumb {
  height: 30px;
  width: 30px;
  margin-top: -10px;
  background: steelblue;
  border-radius: 50%;
  border: 2px solid white;
}

  <input type="range" min="0" max="100" value="10" />

A: I got a solution that does not use a style tag but css variable:

const input = document.querySelector("input");

function setBackgroundSize(input) {
  input.style.setProperty("--background-size", `${getBackgroundSize(input)}%`);
}

setBackgroundSize(input);

input.addEventListener("input", () => setBackgroundSize(input));

function getBackgroundSize(input) {
  const min = +input.min || 0;
  const max = +input.max || 100;
  const value = +input.value;

  const size = (value - min) / (max - min) * 100;

  return size;
}
input[type='range'] {
  width: 400px;
}

input[type='range'],
input[type='range']::-webkit-slider-runnable-track,
input[type='range']::-webkit-slider-thumb {
  -webkit-appearance: none;
}

input[type='range']::-webkit-slider-runnable-track {
  height: 3px;
  background: linear-gradient(to right, #293043, #293043), #D7D7D7;
  background-size: var(--background-size, 0%) 100%;
  background-repeat: no-repeat;
  border-radius: 5px;

}

input[type='range']::-webkit-slider-thumb {
  width: 15px;
  height: 15px;
  cursor: pointer;
  background: #293043;
  border: solid white 1px;
  border-radius: 50%;
  margin-top: -6px;
  box-shadow: 0px 1px 3px rgba(0, 0, 0, 0.4);
}

/** FF*/

input[type="range"]::-moz-range-progress {
  background-color: #293043;
  border-radius: 5px;
}

input[type="range"]::-moz-range-track {
  background-color: #D7D7D7;
  border-radius: 5px;
}

input[type="range"]::-moz-range-thumb {
  width: 15px;
  height: 15px;
  cursor: pointer;
  background: #293043;
  border: solid white 1px;
  border-radius: 50%;
  margin-top: -6px;
  box-shadow: 0px 1px 3px rgba(0, 0, 0, 0.4);
}
<input type="range" min="5" max="95" step="1" value="15">

This works on Chrome and Firefox :).

redpajama_set_name: RedPajamaStackExchange


We have been awarded the Full International School Award three times from the British council which shows our commitment to Global Learning and becoming a world citizen.
We have been working in partnership with Living Star School for over 11 years. The school is in the capital city of Ghana which is called Accra. 10 members of Manor House staff have visited and taught at Living Star School during this time. We have also been delighted to welcome 8 members of staff to visit and teach at Frodsham Manor House and our fantastic families have hosted 20 children which is always an amazing experience. Our project work with Living Star is through penpal cards, PSHE projects and comparing our cultures.
Over the last four years we have also been working with Red Roses School which is just outside Delhi in India. We do a lot of curriculum projects with them and they also hold the International School Award. Mr Devereux-Roberts and Mrs Anstice were invited to visit for the first time in November 2017 and despite the heavy smog conditions (which meant the school was closed for most of our visit) had a wonderful time getting to know the staff and even attending a wedding. This visit also helped Mrs Anstice with her research on Global Learning in RE. In 2018 we welcomed back two members of staff and four pupils to spend the week with us.
We also work with Westminster School, Sudan who help to develop our understanding of Islam.
Other international projects have also included working with a school in Sri Lanka and hosting associate teachers from Sweden.
Drummer the Fat Bird lives in our school grounds having completed a flying tour of Frodsham. She was commissioned as part of a project with a glass mosaic artist called Patricia Lee and represents the spirit of our friendship with Living Star.
To have a look at the website for Red Roses School, click on their logo.
To find out about the International Schools Award click the link below.


Newcastle United and Fulham played out a 0-0 draw on Saturday.
Newcastle United couldn't make it two wins in a row on Saturday afternoon as they drew 0-0 at home to Fulham on Saturday afternoon.
The Magpies had beaten Huddersfield Town 1-0 last weekend, but were hoping to see off another Premier League struggler on Saturday, this time back at St James' Park.
Rafael Benitez's men couldn't find the cutting edge though and could only muster a 0-0 draw, becoming the first Premier League side this season to fail to find the net against Fulham.
It was a frustrating afternoon for Newcastle and a dour game for the neutral, and even Aleksandar Mitrovic couldn't provide the entertainment.
Sold by Newcastle to Fulham over the summer, many were backing Mitrovic to either score or get sent off, with his talent and hot streak both predicted.
In the end, he did neither. Newcastle kept the Serbian at bay, and he didn't let his emotions get the better of him either upon his first return to St James' Park.
Newcastle boss Rafael Benitez froze Mitrovic out last season, sent him out on loan to Fulham in January and then sold him, with some questioning those decisions in light of Newcastle's lack of goals.
There was clearly no bad blood between the pair though as they embraced at full time having seen each other for the first time since the move, which was possibly more polite than some may have expected.


Medical Doctors in Cross River State yesterday protested on the streets of Calabar demanding the immediate release of another female doctor, Mrs. Emem Moses Udoh, who was kidnapped on Monday.
The protesting doctors stormed Government House, Calabar, disrupting government's and other activities over their colleague's abduction.
Speaking on behalf of the protesters, Chairman, Nigerian Medical Association (NMA), Cross River branch, Effiom Mkpanam, said the doctors have had enough and would no longer condone the continuous kidnapping of their members.
He said: "We are here because our members are being harassed, doctors are being kidnapped and their relations are molested on a weekly basis. We demand an end to the torture of doctors, snatching of their cars and the stealing of their property and other valuables.
"We are tired. We can't go to work. We can't even open our gates. Our children can't go to school because our family members are now targets. From the General Hospital in Obanliku and Ogoja to the Teaching Hospital in Calabar, we are going to sit at home.
Speaking, NMA's Public Relations Officer, Ernest Ochang, said they would continue to protest at the governor's office, Police headquarters and the office of the Department for State Services (DSS) until she was released.
"Anyone in Cross River State seeking medical attention can go to Akwa Ibom or Benue. We are tired. We are scared and our lives are in danger. Doctors and their family members are no longer safe in Cross River," he added.
Responding, Secretary to the State Government (SSG), Tina Agbor, assured that government was working tirelessly to ensure that Mrs. Udoh was released.
"The State Security Adviser (SSA) is on top of the situation. So, we are working assiduously and we are sure she will be released soon," she added.
Meanwhile, the doctors have urged the Inspector General of Police (IGP), Ibrahim Idris, to redeploy the state Commissioner of Police, Hafiz Inuwa, over the incessant abductions in the state.


text:
__all__ = [
    "read",
    "write_restart",
    "read_restart"
]

import Optizelle.Unconstrained.State
from Optizelle.Utility import *
from Optizelle.Properties import *

def read(X,fname,state):
    """Read parameters from file"""

    # Check our arguments
    checkVectorSpace("X",X)
    checkString("fname",fname)
    Optizelle.Unconstrained.State.checkT("state",state)

    # Do the read
    UnconstrainedStateReadJson(X,fname,state)

def write_restart(X,fname,state):
    """Writes a json restart file"""

    # Check our arguments
    checkVectorSpace("X",X)
    checkString("fname",fname)
    Optizelle.Unconstrained.State.checkT("state",state)

    # Do the write
    UnconstrainedRestartWriteRestart(X,fname,state)

def read_restart(X,fname,x,state):
    """Reads a json restart file"""

    # Check our arguments
    checkVectorSpace("X",X)
    checkString("fname",fname)
    Optizelle.Unconstrained.State.checkT("state",state)

    # Do the read
    UnconstrainedRestartReadRestart(X,fname,x,state)

redpajama_set_name: RedPajamaGithub


If you are interested in Indian culture, dance and music, you may like to join this new group which attends free evening concerts at the Nehru Centre in Green Park. Please contact Joya for information about future events.
Travel by Tube and little bit of walking. We meet at 5.00 pm at Morden Station and the concerts are at 6.30 pm.


text:
Q: Is it possible to execute a function using eval? I have a scenario, where I accept huge functions script in the string and need to execute it in real time. A simple example of it is as follows...
var fn = "function(){}";
eval(fn);

However, I am getting an error for the above script. Is there a way that I can do this or is it totally discouraged?

A: var fn = "function(){}";
eval("(" + fn + "())");

Or, if you want to define the function so it can be called later:
var fn = "function(){}";
eval("fn = " + fn);
fn();

A: Are you simply looking for a function constructor from string, then you can do this without eval.

// Using eval
eval("var evalfn=function(){console.log('in evalfn'); return 11}");
var ret1 = evalfn();
console.log("eval ret1:" + ret1);

// Using new Function() without arguments
var fn = new Function("console.log('in fn'); return 12");
var ret2 = fn();

console.log("fn ret2:" + ret2);

// Using new Function() with arguments
var fnwithargs = new Function("a", "b", "console.log('in fnwithargs'); return a+b");
var ret3 = fnwithargs(10, 5);

console.log("fnwithargs ret3:" + ret3);

Notice that with this technique, your strings cannot contain the keyword function(). Instead you provide variable names and the function body to the Function constructor.


Advertising in Ascent generates humungous response, becoming a problem in itself, in turn making advertising in Ascent cumbersome. Weeding out irrelevant responses requires at least 2-3 weeks of data entry. 70% of theses responses are irrelevant and therefore eat away into a large number of manhours for a recruiter. This process being manual is tedious becoming a deterrent for advertising.
1. Automated Resume Processing & Data Extraction - It automatically extracts relevant information from thousands of resumes, on parameters like Work Experience, Education, Skills Inventory and Contact Information…thereby eliminating the need for physical data entry.
2. Intelligent search & Match - It automatically goes through the entire date-base with a Fine-Search process, using a variety of different metrics, thereby allowing you to rapidly search through it and locate the best candidate/s for your needs.
3. Report Generation - It automatically generates reports for every single position, capturing full details of all short-listed candidates, interview results, hiring status etc.
4. Database Management - It automatically categorizes and captures candidates' recruitment history, recognizing their job skills, position hired and various other parameters. It thus provides a complete "snap-shot" of all short-listed candidates at any point of time.
5. e-mail Integration - It enables you to directly import all CV attachments received in your mailbox alongside the respective positions.


The discussion on university funding seems to be less of a debate and more of a shouting match pitting left against right, with arguments focussing on elitism and access for poorer students.
Of course I'm worried that throwing the education system to the mercy of the capitalist market will favour rich students and inhibit social mobility.
But I'm also worried that the current system promotes mediocrity and does little to drive standards in education. The quality and worthiness of the higher education system needs to be discussed alongside the issue of funding.
Firstly, the current fees cap creates a distorted market for funding. Students have half of the "value judgement" decided for them, in that the price of the degree course is fixed, no matter where they "choose" to study. And the other half of the equation - choosing the best quality establishment for their money - is also, to a large extent for many students, fixed due to extreme competition for places.
The net result is a disconnect between funding and choice, giving establishments who can fill their courses little incentive to improve and keeping some institutions on life support when they should simply fail.
From personal experience - I was lucky enough to go to one of the top 20 universities - the quality of undergraduate teaching was pitiful. Lecturers with a very detailed understanding of their subject area do not necessarily make good teachers. At least not without support and training.
One example I remember is a physics professor, who'd spent a lifetime building mathematical models for ground-breaking research into understanding the universe, launching straight into the maths on the first lecture on the subject. I wasn't alone in the students on my course who struggled over the next 4 semesters to learn by rote mathematical equations we didn't understand in order to pass exams.
It wasn't until 10 years after graduation when watching a BBC documentary on Einstein that I finally understood what the mountain of maths meant. Similarly it wasn't until I stumbled on a website of a Canadian university that I finally understood basic concepts of quantum physics for which I'd spent 3 of the earlier years of my life learning the maths.
The disconnect between student choice and funding coupled with a lack of competition not only impacts the quality of education at the best universities, who have no direct financial incentive to improve and attract higher fees, but also the institutions at the bottom of the pile, who should by all rights go out of business, but are kept alive receiving comparable fees per student to other institutions, able to fill their courses by demand driven by a notion that any university degree is better than none.
And it's not just the universities who need a kick. Yes - students shouldn't be bound into a rigorous life of academic toil. It's great to have time to get involved in clubs, societies and student politics and still have plenty of time for socialising. But looking back I'm shocked at my own lackadaisical attitude to attending classes - although I partly blame the quality of teaching (see above!) - and I'm even more shocked by others I met with far less interest in learning than me.
I see the contradictions. Money must not be a barrier to academic achievement, and saddling graduates with debts for life will be more burdensome on graduates from poorer backgrounds than those from rich.
Clearly there are no easy answers. I've read a few reviews of the US funding system and heard how new problems are created when fees are left to market forces. It's not hard to see how such a system is heavily reliant on grant funding and bursaries to give poorer students access to the best learning.
The Browne report and Tory proposals seem riddled with pitfalls. 21,000 per annum is not a high salary, and what if a graduate has a family to feed? A parent returning to work part time could be better off working fewer hours and keeping under the repayment threshold.
But equally I don't think it's wise to carry on with artificial equality between institutions. Clearly some universities are better than others and they should receive a premium.
Totally spot on. I usually hate "big question" posts with no answers but this nicely frames the problem.


36th Annual Greek Festival is here! Taste handmade, authentic Greek Foods prepared by the Holy Trinity Greek Orthodox Church Family using recipes handed down for generations. Hear live Greek music and see traditional folk dances. A portion of the proceeds will be donated to Habitat for Humanity of Wake County. General Admissions: $3.00. Seniors and Ages 13-18: $2.00 Children under 13: Free.


I hope that someone can help us out with a bit mor insight in the URLF features of Endpoint Security. We installed the policy as mentioned in sk112932, and it is indeed blocking the forbidden sites. However, it seems to fail on certain sites, i.e *.google.de is allowed and also passed without a problem when within the network, but on the client it's blocked whereas *.google.com is passed as required. Other sites, mainly ssl ones are also blocked on the endpoint despite being allowed in the policy. Could anyone shed some light on how hte URLF works on the client and on which point in the stack it's blocking? I would've expected to be on application layer and so seeing the actual URL, but it seems it's blocking further down the stack and not being able to see it properly but only the certificate.
We're allowing split tunneling so the client isn't going through the gateway when connected to the VPN, just in case that's important.
Are you allowing access to the application Google or are you allowing access to the URL Filtering category Search Engines?
My expectation is that it operates on a similar level to URL Filtering on the gateway and has similar limitations (i.e. not seeing HTTPS sites because it's not doing man-in-the-middle, thus can only see certificate).


text:
www.common-place.org · vol. 7 · no. 3 · April 2007
Barbara J. Balliet teaches women's and gender studies at Rutgers University-New Brunswick. She is completing a book on the work and lives of women engravers and illustrators in the second half of the nineteenth century.
Barbara J. Balliet
"Let Them Study as Men and Work as Women"
Georgina Davis, new women, and illustrated papers
I begin with a paradox: After the Civil War, middle-class white women increasingly assumed public roles in cultural, political, and economic arenas, but their achievements were rarely depicted in the illustrated press. In the engravings of popular pictorial weeklies such as Frank Leslie's Illustrated Newspaper and Harper's Weekly, women were typically represented as victims, criminals, workers in manual trades, denizens of the household, or shoppers. The rare appearance of female professionals, politicos, and culture workers begs explanation. Even on those occasions when middle-class white women were shown, they were rarely depicted as working professionals or assertive public figures. With the exception of cartoons, most of the illustrations of these women were static and constrained—portraits, rather than the rich narratives that characterized other illustrations.
Unlike the starving seamstress or the prostitute, both represented as victims of male commercial culture, the women trained as designers, wood engravers, and illustrators represented a new, respectable, potentially comfortable form of female industry.
This tendency to visually exclude active, working, middle-class white women obscured the uncomfortable fact that increasing numbers of white, middle-class families relied on the material contributions of their wives, sisters, and daughters. The work of Georgina A. Davis, an engraver and staff artist for Frank Leslie's Illustrated Newspaper, illustrates the conventional depictions of middle-class women. But it also suggests ways at least one professional woman attempted to challenge these conventional depictions. An 1881 illustration by Davis is an example of the paradox I am describing (fig. 1); can you identify the artist-reporter in the picture?
Davis's signature appeared over one hundred times in her first decade at Frank Leslie's Illustrated Newspaper (1880-1890), making hers a familiar name to readers. As a staff artist at a major nineteenth-century illustrated weekly, Davis's career was not at all typical for women working in commercial art. Although many other women artists contributed to the illustrated press as free-lancers, Davis's longevity and permanent staff position more closely resembled male artists' careers. By the time Frank Leslie's accepted her first illustration in 1880, Davis was already an established painter and engraver. Her first critically noticed illustration, "The Bridge of Sighs," appeared in 1872 in the art journal the Aldine and later found a place in the Women's Pavilion at the 1876 Philadelphia Centennial Exposition.
Fig.1. "Washington, D. C.—An official guide conducting a party of ladies through the Capitol—From a sketch by Miss G. Davis." From Frank Leslie's Illustrated Newspaper (May 14, 1881, supplement). Courtesy of Rutgers University. (Click image to enlarge.)
Fig. 2. Stanley Fox, "Women and their Work in the Metropolis." From Harper's Bazar (April 18, 1868). Courtesy of the American Antiquarian Society. A larger version of this image can be viewed on the AAS Website. (Click image to enlarge.)
That the earliest critical attention Davis received referenced Thomas Hood's popular poem, also entitled "The Bridge of Sighs," presents us immediately with the limitations artists faced in representing women's work. The poem describes the discovery of a deceased young prostitute. The fallen woman in Hood's poem follows a narrative trajectory—from wronged and seduced, to sinning and wrong, to suicide as righting all wrongs—that painters and illustrators of this era drew on to create a visual vocabulary of female victimization. As the embodiment of lost respectability and purity, the figure of the prostitute pointed to the particular dangers women faced in the modernizing, commercial city.
Additionally, for women's rights supporters, the fallen woman dramatized the problem of female dependence and the scarcity of lucrative and respectable occupations for women. One widely advocated solution to these problems was training in art and design. Beginning in the early 1850s, schools of design for women were established in New England, Philadelphia, Baltimore, and New York to prepare female artists for employment in manufacturing and publishing. The founders of these design schools hoped to create opportunities for women to work at "congenial pursuits," while elevating the design of American manufactures, thereby solving two distinct yet related problems: the dilemma of female self-support (always aligned with maintaining female purity) and the presumed inferiority of American art and design. In a familiar republican combination, maintaining women's purity was part of the prescription for maintaining national ideals. And in reducing women's material dependence on others, design schools would also help to eliminate national dependence on European art and design. The dissemination of art through print culture and art education dedicated to enhancing the design of manufactured products also promised to elevate popular taste and sustain democratic values.
At the Cooper Union Female School of Design (the name of the New York School of Design for Women after its adoption into Peter Cooper's great experiment in free education for mechanics in 1859), Georgina Davis studied with women who intended to become self-supporting artists and engravers as well as with women for whom art would remain an avocation. Although tuition was free for industrial pupils (those who intended to work), the classes were during the day when less financially secure working women were unable to attend. Those who could attend typically included women from the families of farmers, ministers, engravers, clerks, and merchants. Their fathers and brothers assumed that if they remained unmarried, these sisters and daughters would need a respectable career path. Unlike the starving seamstress or the prostitute, both represented as victims of male commercial culture, the women trained as designers, wood engravers, and illustrators represented a new, respectable, potentially comfortable form of female industry.
Fig. 3. Artist unknown, "Miss Humphrey's Studio." From S. W. G. Benjamin, Our American Artists, second series (Boston, 1881). Author's collection.
Fig. 4. Artist unknown, "The Ladies Club at Delmonico's." From Harper's Bazar (May 16, 1868). Courtesy of Rutgers University. (Click image to enlarge.)
The distinctiveness of this new form of female work is suggested by two engravings. The first, an 1868 Harper's Bazar double-page engraving of "Women and their Work in the Metropolis," featured a sleeping seamstress, cradle at her feet, at the center of a series of smaller vignettes about working women (fig. 2). The seamstress's portrait is larger than the others, perhaps indicating the significance of sewing as a source of women's employment; moreover, except for her child, she is shown alone and at home, unlike the surrounding vignettes—the latter depicting women working with other women in shops and factories. Compare this image to a portrait of Lizbeth B. Humphrey, an illustrator and classmate of Davis at the Cooper Union Female School of Design (fig. 3). Humphrey, pictured in her Boston studio bent to her task, her work lit by a nearly celestial beam of light, is surrounded by markers of art and culture—statuary, sketches, and flowers. Like the seamstress, Humphrey is shown laboring in isolation; both figures' respectability is anchored in their privacy and their domestic distance from commerce. Davis and Humphrey, as members of the first group of women to attend design schools, represented a kind of test case for self-support. Could a new kind of working woman forge a different, less dependent path for urban American womanhood while maintaining her middle-class respectability?
Midcentury women's rights periodicals supported the emergence of this new profession for women, regularly noting the efforts of women artists and profiling their schools and organizations. The success of women artists provided a clear validation of female accomplishment and symbolized women's independence. Some women artists, Davis among them, created new associations to support and promote their achievements, notably Sorosis, the first club for women professionals. Sorosis (drawn from the Greek for sister) gathered together women artists, physicians, editors, writers, businesswomen, and fashionable modistes in a new formation that emphasized women's autonomy, cultural authority, and productivity. Urbane, commercial, and public, the women in Sorosis made it possible for middle-class women readers to imagine identities beyond the home.
Fierce resistance to such incursions into these masculine professional and social precincts and identities forms another part of the visual iconography that structured the possibilities for representing middle-class women's work. Cartoons in the illustrated press such as "The Ladies' Club at Delmonico's" dismissively lampooned the women's professional identities and working lives, picturing them at leisure, playing cards, drinking tea, reading newspapers and avant-garde texts (hence the copy of Darwin's Origin of the Species in the foreground), and looking at prints (fig. 4).
Fig. 5. Artist unknown, "Treasury Department—The new secretary looking around." From Harper's Bazar (April 3, 1869). Courtesy of Rutgers University.
Fig. 6. "The last subject accepted for illustration by Mr. Frank Leslie—A Lady Visitor Reading to the Inmates of the House of the Holy Comforter, New York City—Drawn by Miss Georgie Davis." From Frank Leslie's Illustrated Newspaper (January 31, 1880). Courtesy of Rutgers University. (Click image to enlarge.)
The advent of middle-class women as clerks in the U.S. Treasury Department during the Civil War elicited similar responses in the illustrated press. An 1869 Harper's Bazar cartoon shows a male surprising a female work force as it studies bonnets, reads Harper's publications, crochets, plays, and gossips (fig. 5). Identified as part of the middling classes by their reading matter (both the Bazar and Harper's Weekly appear in the cartoon), the women clerks could not be pictured actually working outside the home.
While Davis supported women's professional aspirations and worked actively as a commercial artist for almost thirty years, the images she made rarely depicted middle-class women at work. Whether working as a staff artist for Frank Leslie's and the Salvation Army newspaper the War Cry, or as an illustrator for the children's book publisher McLoughlin Brothers, there was little call for her to represent working middle-class women. Intent on portraying white middle-class women as part of a gender economy that portrayed them solely as homemakers and consumers, most iconography in the illustrated press visualized an acceptable public femininity that ignored the movement of middle-class women into the professions and other forms of paid, respectable employment. We can view the charity volunteer, the benevolent lady, more occasionally the teacher, and frequently the shopper, but the book agent, publishers' reader, the journalist, the business woman, and the working artist are rarely glimpsed.
Davis covered "the benevolent beat" for Frank Leslie's, reporting on charity institutions, fund-raising fairs, and various Ladies Bountiful around town—the few public venues where ladies made an unchaperoned appearance. "A Lady Visitor Reading to the Inmates of the House of the Holy Comforter" shows womanhood at its ideological best: pious, graceful, and devoted to those less fortunate (fig. 6).
Fig. 7. "Illustrated interview of Our Lady Artist with the Ute Indian Chiefs and Prisoners in Washington, D. C.—From a sketch by Miss Georgie A. Davis." From Frank Leslie's Illustrated Newspaper (April 3, 1880). Courtesy of Special Collections Division, Newark Public Library.
Fig. 8. "Washington, D. C.—Social life in the national capital—An evening in the private parlors of the executive mansion—From a sketch by Miss Georgie A. Davis." From Frank Leslie's Illustrated Newspaper (April 3, 1880). Courtesy of Special Collections Division, Newark Public Library. (Click image to enlarge.)
The insistence on locating middle-class women in domestic settings is particularly striking given the increased visibility of middle-class women in urban public spaces. The lady in public generated a good deal of ambivalence among many observers. Her presence was evidence of changing mores as she paraded in venues that signaled pleasure and consumption, including the new urban shopping, art, and entertainment districts. In street scenes, department stores, and theaters we occasionally glimpse middle class women's presence and enlarged mobility in the city. But most often women are shown in these new public settings caged in interiors that recall the domestic parlor, or they are depicted in need of male protection and assistance. The dominance of these kinds of images and the relative absence of alternative visions make the forms of Davis's self-representation interesting. How do Davis's self-depictions subvert as well as align with this logic of constraint and control?
One of Davis's first illustrations for Frank Leslie's, "An Illustrated Interview of Our Lady Artist with the Ute Indian Chiefs and Prisoners," in 1880 promises to present a "new" woman (fig. 7). Davis depicts the "lady artist" facing a group of Ute men, looking on as they read a document she may have presented to them. Other Ute men lounge on a bed or sit on the floor, one smoking just behind the modest walking skirt. The artist is presented in profile, neatly dressed, carefully bonneted with a shawl over one arm. She is not drawing or writing, so her identity must be inferred from the picture's caption and the subject's respectable dress and posture. Yet is she respectable?
The image also could be read as locating white womanhood as an integral part of a hierarchy of colonial relations of power. The artist is the only white person in a room that seems markedly homosocial and "other." Although she remains standing, there is an air of quiet command in her attentiveness and some daring in her solo venture into what appears to be a hotel room filled with men who until recently were waging war against the U.S. government. The only other woman present is a Ute who stands apart from the group of men, also looking toward the white woman visitor. Displaying the physiognomic codes that denoted racial, ethnic, and class hierarchies in the period, the Ute woman's coarser features, passivity, and clothing mark her as less civilized and thus subordinate to white womanhood. Nonetheless, the lady artist is snared in the gazes of at least two of those men, pinning her to her place and raising questions about her autonomy. By including herself in the illustration, Davis records her own presence and her authority as the image maker, yet she is also markedly out of place.
Fig. 9. G. A. Davis, "New York City—The waiting-room in the building of the Working Woman's Protective Union." From Frank Leslie's Illustrated Newspaper (February 5, 1881). Courtesy of American Social History Project. (Click image to enlarge.)
Fig. 10. G. A. Davis, "Pawning the Wedding-Ring." From Frank Leslie's Illustrated Newspaper (February 9, 1889). Courtesy of Rutgers University. (Click image to enlarge.)
Compare this illustration with one Davis made during the same trip to Washington, "Social life in the national capital—An evening in the private parlors of the executive mansion" (fig. 8). In this engraving women continue to look on as men act, but the scene is decidedly domestic, tranquil, and filled with the marks of bourgeois comfort and respectability. There is no bedstead with its murmurings of sexuality; instead, the scene is anchored by the mother/child dyad at the center, bringing to the fore woman's maternal love and woman's place within the domestic order. The artist is not visible, making the scene a commonplace image of domesticity rather than the particular record Davis offered of the Utes.
Two other illustrations by Davis help delineate the narrow parameters within which working women could be portrayed. In an 1881 engraving, she captured a diverse group of women waiting in the anteroom of the Working Woman's Protective Union (fig. 9). Although the vast majority of the union's clients labored in the garment industry and as domestic servants, Davis chooses here to show us women who could be typographers, stenographers, and telegraph operators as well as women in manual pursuits. The young woman warming her foot on the stove and especially the woman behind the desk appear to be new "types," recognizing the fact that by 1870 over one-third of New York City's workforce was female. While earlier the inability to distinguish between those who worked and those who did not registered as social unease, Davis's image suggests that some forms of paid work no longer placed women outside the bounds of respectability. The seated female clerk in the right foreground, checking a register for an older woman who waits patiently, acknowledged that benevolent enterprises had emerged as major employers of educated single women and that women created and sustained the institutional infrastructure of charity.
On the other hand, an image Davis made late in her career at Leslie's demonstrates the persistent anxiety about women in commercial settings. In "Pawning the Wedding-Ring," Davis centers her narrative on a young woman holding a baby as she hands her ring to a pawnbroker (fig. 10). The image is at once sentimental about marriage and forthright about the continuing economic plight of some women. Although the pawnbroker's stereotypic physiognomy (and trade) identifies him as Jewish, the central figure evokes a ragged Madonna of the streets, a pictorial convention that often signified the immigrant working poor. The worried mother returns us to an earlier regime of female economic dependence, as her only hope for feeding her child is to pawn the symbol of matrimony. But she does this not as a typical middle-class mother, dependent on her husband's income. Rather she is a poor immigrant. For middle-class women, the struggle to survive is now revealed by the varieties of respectable working women in the waiting room of the Women's Protective Union.
Fig. 11. "A summer holiday abroad, No. 6—In and around London and Oxford. Drawn by Miss G. A. Davis, expressly for 'Frank Leslie's Illustrated Newspaper.'" From Frank Leslie's Illustrated Newspaper (October 25, 1884). Courtesy of Rutgers University. (Click image to enlarge.)
Fig. 12. "A summer holiday abroad, No. 6—Warwick and its surroundings. Drawn by Miss G. A. Davis, expressly for 'Frank Leslie's Illustrated Newspaper.'" From Frank Leslie's Illustrated Newspaper 44 (September 6, 1884). Courtesy of Rutgers University. (Click image to enlarge.)
Davis explored her own socio-economic status again in a series of illustrated travel accounts. Appearing in nine installments from 1883 to 1885, the accounts follow the familiar path of the Victorian travel narrative. They begin with the departure and attendant customs inspections and then move on to representations of landmarks and "natives." Traveling in England, Belgium, Holland, and Germany, Davis repeatedly inserts the artist-reporter into scenes of famous "sights" as she recounts her trip. In these sketches from life, she is clearly the author seen drawing the interior of Westminster Abbey (fig. 11). Although the woman artist has her back to us she is in a public, if sacred, space, recording her experience for readers. Unlike her first appearance with the Utes in the 1880 engraving, the working role of the artist is more fully revealed here. In a visit to Warwick Castle, Davis's active, productive self is made all the more explicit as she shows herself, the artist-reporter, eagerly jotting notes and making quick sketches (fig. 12). Davis's freedom to represent herself may have been the result of her distance from American shores; it may also express her growing self-confidence as a figure in the world of illustration. The latter is certainly suggested by the range of her creative work. Through the 1880s, while still working as a Frank Leslie's staff artist, Davis learned to etch and exhibited her work. She also benefited from publishers' active promotion of their illustrators. It had become clear to publishers that linking their products to particular artists helped sell those products.
The reorganization and professionalization of artistic training in formal institutional settings, and especially the expanding numbers of women crowding into art schools, made the figure of the woman artist at the turn of the century culturally significant and potentially subversive. Much like the "world turned upside down" images of woman suffragists in the 1850s and 1860s, Gilded Age cartoons of women artists warned of the likelihood that their work would render them masculine. Cultural meanings attached to the figure of the woman artist shifted: she did not simply offer a symbol feminists could draw on to dramatize women's entrance into public spaces and work; she had become a more threatening force, potentially undermining the status of the arts professions in general. In response, male artists, critics, and gallery owners built informal and formal institutions (such as clubs and exhibition venues) that excluded and marginalized women artists, that fostered an image of the professional artist as male, and that equated the highest aesthetic values with men.
Davis's only known self-portrait appeared in the Quarterly Illustrator in 1894 and suggests some of the tensions at play as definitions of high and low and feminine and masculine were redrawn. The Quarterly Illustrator, published by Harry C. Jones from 1893 to 1894 in New York City, was an unparalleled venue for anointing illustrators as personalities, even celebrities. In the years before Davis's portrait was published, she had received significant critical attention. And her growing fame makes it difficult to read her self-presentation in this very public guidebook to American illustration (fig. 13). Her "portrait" stands in stark contrast to the photographs of the mustachioed and bearded male artists who surround her. Sketched rather than photographed, we focus on her hair, the angle of her shoulders, and the light shimmering on her head and her puffed sleeves.
Fig. 13. The Quarterly Illustrator 2 (January-March and October-December 1894). Author's collection. (Click image to enlarge.)
Fig. 14. Alice Barber Stephens, "The Woman in Business." Cover of Ladies' Home Journal (September 1897). Courtesy of Rutgers University. (Click image to enlarge.)
Other portraits of women artists in the same volume are similar to those of the male artists' partly because they are photographs. But, like Davis's drawing, they also emphasize feminine details of hair, jewelry, and clothing. Although male artists are frequently shown in their workplace, the studio, or holding brushes and palettes, the tools of their trade, few women artists are so portrayed. In this context, Davis's self-representation is more than idiosyncratic, more than an expression of individual desire to foster mystery or preserve anonymity. As a drawing, her self-portrait draws attention to her skills as an artist. At the same time, the composition lends the portrait a certain ambiguity. Thoroughly fashionable and feminine, the sitter cannot be masculinized—but is she working, is she professional?
Davis's self-portrait demonstrates the difficulties of inscribing middle-class women's work into the visual record. Negotiating between the prostitute, the seamstress, the suffragist, and the domestic angel proved wearing, unprofitable, and perhaps impossible. By the end of the nineteenth century, popular depictions of working women rarely included middle-class women. Instead, they showed women whose physiognomies might have defined them as respectable but whose work could never define them in that way. Alice Barber Stephens, like Davis a pioneering woman illustrator, created a cover for the Ladies Home Journal as part of the magazine's series on "The American Woman." Her only image of women at work, "The Woman in Business," published in 1897, clearly identifies the woman in business as subordinate to the woman who consumes (fig. 14). Standing caged behind the store counter, this archetypal working woman presents fabric to her customer—a seated, fashionable woman, shopping with her dog.
Davis's self-image, made at a moment when her distinctive signature was well known, captures the paradox of representing middle-class women as workers. Her portrait appeared as pictures of young, white women at leisure drawn by male illustrators became popular icons of American womanhood. By the first decades of the twentieth century, portrayals of the leisure-loving Gibson Girl, Fisher Girl, or Christy Girl had come to dominate the popular press. It was these bicycling, swimming, golfing, and flirting middle-class women who filled the pages of the new mass circulation magazines. These "new women" served as emblems of pleasure and consumption, reinforcing the belief that middle-class white women were simply the beneficiaries of middle-class male achievement.
Kathleen D. McCarthy, Women's Culture: American Philanthropy and Art, 1830-1930 (Chicago, 1991) and Nina de Angeli Walls, Art, Industry and Women's Education in Philadelphia (Westport, Conn., 2001) offer detailed accounts of the American design-school movement. Diana Korzenik's Drawn to Art: A Nineteenth-Century American Dream (Hanover, N.H., 1985) alerts us to the popularity and outreach of American art education in the period, suggesting how hundreds of rural girls found their way into design schools. Several recent exhibition catalogues provide useful biographical sketches of individual illustrators, designers, and engravers and further develop the story of women who pioneered in these professions. These include: Helena Wright's, With Pen & Graver: Women Graphic Artists before 1900 (Washington, D.C., 1995); Judy Larson's introduction to Enchanted Images: American Children's Illustration, 1850-1920 (Santa Barbara, Calif., 1981); and Phyllis Peet's American Women of the Etching Revival (Atlanta, 1988). Alice Kessler-Harris's study of women wage earners Out to Work: A History of Wage-Earning Women in the United States (New York, 1982) provides the best overall summary of the issues confronting women workers throughout the nineteenth century. For more on white middle-class women's movement into paid work, Angel Kwolek-Folland, Engendering Business: Men and Women in the Corporate Office, 1870-1930 (Baltimore, 1994); Mary P. Ryan, In the Cradle of the Middle Class: The Family In Oneida County, New York, 1790-1865 (New York, 1984); Cindy S. Aron, Ladies and Gentleman of the Civil Service: Middle Workers in Victorian America (New York, 1987); and Ava Baron, ed., Work Engendered: Toward a New History of American Labor (Ithaca, N.Y., 1990). In Difficult Subjects: Working Women and Visual Culture, Britain 1880-1914 (London, 2002), Kristina Huneault explores the representation of working-class women in advertising, popular culture, painting, and photography. To explore the impact of Leslie's publications and understand its readership, consult Joshua Brown, Beyond the Lines: Pictorial Reporting, Everyday Life and the Crisis of Gilded Age America (Berkeley, 2002). Michelle Bogart considers the cultural location of illustrators and illustration in the Gilded Age as the lines between popular and high art hardened in Artists, Advertising and the Borders of Art (Chicago, 1985). Two recent studies debate women artists' attitudes toward professionalization and their training: Kirsten Swinth, Painting Profesionals: Women, Art and the Development of Modern American Art, 1870-1930 (Chapel Hill, 2001), and Laura Prieto, At Home in the Studio: The Professionalization of Women Artists in America (Cambridge, Mass., 2001); while Sarah Burns's Inventing the Modern Artist: Art and Culture in Gilded Age America (New Haven, 1996) considers the shifting cultural significance of artists and illustrators and their modes of self representation in the period. Carolyn Kitch surveys the emergence of the American girl in popular periodicals in The Girl on the Magazine Cover: The Origins of Visual Stereotypes in American Mass Media (Chapel Hill, 2001) and Off the Pedestal: New Women in the Art of Homer, Chase and Sargent (New Brunswick, Conn., 2006) traces her emergence in American painting.
Discuss this and other articles in the Common-place Coffeeshop


The Institute is delighted to announce the accreditation of EPEA Paris as a new assessment body in the Cradle to Cradle Certified Products Program. Product and manufacturing process information assessment determines whether a product meets the Cradle to Cradle Certified Product Standard requirements.
Have you already tried the C2C-Centre quickscan?


In our church it's true.
If lives aren't being transformed nothing matters.
Not in my opinion. One of the problems I see in the church today people are supposedly getting saved but nothing changes in how they live. I have lived too long and seen too many lives transformed by the power of the Holy Spirit to fall fall for some of the junk I see going on now. I have seen alcoholics freed overnight, drug addicts delivered without going through withdrawal. I know some will still have trouble I saw one of the biggest drug dealers in our area come running into the church and fall down at the altar get saved and 3 years later was preaching the gospel with great success. When I got right my alcoholism went away. I had a sip of wine about 10 years later and it took 2 weeks to stop craving it. I ain't touched any since. I have seen violent people transformed into teddy bears when they got saved and it didn't take a long time for it to happen.
God used many wicked men in the Bible to get his plans done. Nebuchadnezzar was called a servant in Jeremiah 27:6. Who was given the dream in Egypt that the children of Israel there to fulfill prophecy. I just know that I have seen some powerful acts from God. And I don't really know if Trump got saved but he may have. But because of the way Satan's children are acting, I believe he is trying to fulfill whatever God has in store for the nation.
I have never heard him say it, but nearly every president we have had has said they were. I never heard people complain when Obama said he was a Christian.
Much luv and sincerest apologiess. Thank you but no thank you.


What should I eat for training & racing?
This is probably the most common question we are asked, and actually very simple to answer… 'real food'.
Put simply that means locally sourced, seasonal, organic, fresh, unpackaged, untreated produce. We're blessed here in the UK to have some fantastic organic and sustainably farmed meat and vegetables. Our organic meat generally has extremely high welfare standards too. Please support your local farms and retailers by shopping locally, buying any shape vegetable or any cut of meat. Don't be fussy, the ugly stuff often tastes the best!
In terms of what to buy, below we have shown the simple traffic light food selection system (adapted from Natural Food Finder) with what's best to eat, what's ok and what to avoid at all costs. You can also get some great seasonal produce charts such as this which will help you know what you should be buying when so it's at it's best.
Never change anything on race day – this means eat your normal diet. If you always have eggs for breakfast then have eggs, don't go switching to porridge if it's not what you eat.
Coach Ryan's favourite… If it's in a packet… sack it – Nothing you buy should be packed up in plastic. Food should be fresh, not processed. There's no need to have it peeled, sliced, packed up in plastic boxes.


text:
RINGO STARR Joined THE BEATLES 56 Years Ago!
Brianne Constantino
The Beatles weren't always a solid group. The former Quarrymen experienced lineup changes during their early years, but it wasn't until 1962 when the band's official and most recognizable lineup was solidified.
"In your twenties you're just rolling, you feel that anything is possible; there's no obstacles. If they are in your way, you're determined just to knock them down." - Ringo. When have you felt most like anything is possible? pic.twitter.com/LaqRvJ5oum
— The Beatles (@thebeatles) July 23, 2018
Beatles drummer Ringo Starr took to Twitter to commemorate one very important moment in rock music history: the official forming of the "Fab Four".
56 years ago Wednesday, 15 August John Paul and George invited me to become part of the Beatles it was a great day for me peace and love. 😎✌🌟💖🤓😏🤨
— #RingoStarr (@ringostarrmusic) August 15, 2018
Ringo replaced the band's original drummer Pete Best after he was fired from the band and the rest, as they say, is history.
From The Beatles Book Picture Library #sgtpepper
A post shared by The Beatles (@thebeatles) on May 25, 2017 at 7:23am PDT
The Beatles remains to this day the most influential group in history and it's almost unimaginable where "the long and winding road" could have led them if Ringo didn't join the band.
Happy 100%


No real surprise, but Miss Mocha was ADOPTED!!!! They put in their application on Saturday (she went to Petco on Friday). Mom approved it then but they picked her up last night. Mom and Dad, 2 girls (13 & 7) and a 5 month old toy poodle. (our money is on Mocha) She was a very good girl last night going home. Mom likes doing adoptions out of this store for her kittens cause she gets to see everything and tell the babies goodbye. Happy trails Miss Mocha....we are very happy you found your forver home so quickly (and don't beat up the dog too badly).
What a beautiful lil girl! Have a great life in your forever home!
Yea for Mocha! Good work Mom.
I love seeing this beautiful girl again and knowing she has her home now. xoxox to her.
YEA Mocha!!! That's great news!
Oh how lovely for Mocha! Hooray for forever homes!
We hope she is very happy in her new forever home.
Mocha, you new home sounds wonderful.
A "Happy Forever Home" to Miss Mocha!
Yeahhh! for Mocha! Shes just beautiful. Glad this babygirl found a home.
Best of luck, Miss Mocha! She sure is a cutie!
Yay for Mocha! We hope she will be very happy!!
We wish Mocha a forever life filled with safety, security, pampering and love. Great job getting this little one ready for a wonderful life!
Yay for Mocha!! I am sure she'll make sure that doggie knows she's the boss real soon!


Bull Terrier silhouette was hand sawed out using a jewelers saw with a small saw blade, then the circle pendant was formed using raw metal (sterling silver) material. Personal touch includes stamping an overlapping bone pattern on the front of the pendant and including the bone stamp again as the letter "I" and a ♥ heart symbol stamp for "love" on the back of the pendant. Lastly an 18" cable chain was assembled to pendant then all pieces were oxidized (darkened) to enhance the texture.
Show your love for your BT pup by wearing this one of a kind "I ♥ MY BULL TERRIER" necklace.


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Curtis Hawk II
RS Models Curtiss Hawk II
by: Daniel Dacey [ DANIELD ]
The Curtiss Hawk II was an interwar biplane that was an export version of the XF11C-2 Goshawk.
First made available for sale in 1932 it met with quick sales success for Curtiss with China being the biggest market with 50 aircraft sold.
Last deliveries of the aircraft were in 1935, by which time 127 aircraft had been sold.
The Hawk did see some combat with Bolivia, China and Thailand and possibly Peru and some examples were still flying until the very early 1940's, but by this time it was effectively obsolete and had been replaced as a front line fighter by more modern monoplane designs.
The kit comes in a cardboard box that
opens with flaps from the sides. On the front of the box
is a nice painting, of the Curtiss Hawk II in the markings of the Chinese Airforce and is one of the options included in the kit.
On the box sides you get some history of the aircraft, a safety note and some other RS Models are also featured. Finally, on the back of the box are full colour illustrations from the side and top view of the four variants and markings included in the kit.
Typical of inter war year planes, some interesting and colourful paint schemes and markings can be found here.
The first three are for the land based version of the Hawk and include one for the Royal Thai air force in two tone green and brown camouflage with sky blue undersides, one for the Chinese Airforce in overall silver finish and another for the US Navy with silver fuselage and yellow wings. The fourth marking option is for a float plane equipped Hawk in the markings of Peru, which manages to just about combine all the other colour schemes with a green fuselage, yellow wings and tail and silver floats.
A basic paint callout is also included on the box top, however this simply describes colours like "brown" and does not include any further information, so you will need to do your own research on the appropriate shades of paint to use for your choice of aircraft.
The kit includes a large resealable plastic bag which contains all the parts for the kit, made up of two sprues of plastic parts, one clear canopy, a smaller bag with some resin parts, photo-etch, two decal sheets and instructions.
Most of the kit parts can be found on two sprues that are moulded in a grey mat finished plastic that feels and looks good quality.
The highlight of these parts is the finely engraved panel lines and the subtle, but very effective representation of the mix of fabric covered and metal surfaces of the real aircraft.
Ailerons and elevators are moulded as part of the wings, however the rudder can be posed as it's a separate part and comes in two variants, however only one variant (A12) is actually used for any of the planes represented in the kit. All the smaller parts look to be to scale and a very good level of overall detail can be found here.
On the second sprue is the tail wheel and optional floats. Beautifully moulded, the floats really capture the look of the real aircraft and add a visually very interesting variant you can build.
I suspect a number of modellers will buy two of these kits, so they can do the land and sea versions.
Both of the sprues included in the review sample, had some fine flash present, so some clean-up of parts will be required.
No location pins are included for aligning parts like the two sides of the fuselage or the floats, so care will also be required in aligning parts during assembly.
Also included is a separate smaller bag which contains the detail parts for the kit.
Here you will find resin parts for one of two cowling options you can choose from, wheels for the land plane, fuel tank and a representation of the planes radial engine. The resin parts are fairly softly moulded and some fiddly clean-up will be required for the engine in particular. You will also need to carefully saw the excess resin off the cowling piece for your variant of the Hawk, to open up the front of the cowling so you can fit the engine.
The photo etch includes fine parts for the seat belts, instrument panel and rudder pedals and plumbing for the radial engine.
A clear plastic sheet with the instruments printed on it is also included that is intended to be used as a backing for the photo etch instrument panel.
Decals are printed on two sheets. The first and largest sheet includes the national markings for each of the four options given to the modeller. Colours appear bright and the decal film has a gloss finish to it. Carrier film is also kept to a minimum. Unfortunately, on the review sample, these decals were printed slightly out of register and this is most evident on the roundels. Some modellers could probably live with it in this scale, but for others it might require a search for third party alternatives or a request to the manufacturer for another sheet.
The second much smaller decal sheet contains some stencil information and also some representations of aircraft instruments. These are difficult to read, but in 1:72 are perfectly adequate and its commendable that they are included at all.
The instructions come printed on a folded A4 sheet in black and white and include some basic specifications of the real aircraft, a parts map and eight stages for assembly. The assembly sequence is fairly atypical for a biplane kit and where options are available, they are pointed out in the instructions. There are however, two anomalies in step 6 where call outs make reference to variants of the Hawk not included in the markings for this kit.
In the final step you do get a handy front and side profile of the aircraft to assist in the proper alignment of the wings. These illustrations also show the rigging for the wings, however no rigging material or further instructions on how to do this are included.
This is my first exposure to an RS Models kit and I have to say its a very positive first impression. The kit includes a commendable level of detail for 1:72 scale and with some patience in construction, the kit should build into a fine representation of one of the more successful and attractive interwar year biplanes.
Highs: Highly detailed kit with fine recessed panel lines and subtle, but effective representation of fabric covered surfaces. Nicely detailed engine with resin and photo etch parts. Good representation of cockpit details. Your choice of four different markings
Lows: Decals on sample kit were out of register. Some clean-up of parts required. Mix of resin, photo etch and plastic in this small scale, means it probably isn't a kit for the inexperienced modeller.
Verdict: Recommended.
Our Thanks to Stevens International!
About Daniel Dacey (DanielD)
FROM: TASMANIA, AUSTRALIA
Software developer and teacher from Tasmania Australia. Returning to the hobby after a long absence and enjoying once again what the hobby has to offer. Mainly build kits based on aircraft, but do dabble in AFV and even the odd other subject.
Copyright ©2020 text by Daniel Dacey [ DANIELD ]. Images also by copyright holder unless otherwise noted. Opinions expressed are those of the author(s) and not necessarily those of AeroScale. All rights reserved.
Good review Daniel. I have a soft spot for RS Models as they always depict some interesting aircraft. Thanks for bring this one to our attention. All the best. tim
DanielD
Thanks Tim. I'm working on the build review right now. I'm about half way through the kit, so shouldn't be long before that is up on the site too. Your right that RS Models has some really interesting subjects in their catalog. I certainly wouldn't mind doing one or two more. Regards, Dan


Segmented Breathing: "4-to-1 Breath" – You Can Breathe Stress Away!
Sat Nam Dear Family and Friends!
Segmented Breathing simply refers to a type of breath where the inhale and/or the exhale is broken into segments or "sniffs" of equal length and power. There are several ratios in the segmented architecture, such as 4:1, 4:4, 8:1, 8:8 and so forth. Some breaths help aid detoxification. Some increase the power of prana or life force within and around you in the aura to assist you at times when you need to ward off attack or take a more ambitious stance in a difficult situation.
This simple 4-to-1 Breath is the most basic and most universal. There isn't a time when it is not useful, whether to put you in a strong position at the start of your day or to counter some pressure that has arisen during your day.
Establishing a steady rhythm of four equal sniffs through the nose on the inhale, while relaxing the diaphragm downward with each little sniff, brings relaxation and mental clarity. This is then followed with a strong pull-back of the navel, allowing a simple release evenly and simply through the nose.
This is so easy to do. For years I've told people that this is just like sniffing a rose -you always take more than one sniff before you exhale, don't you? In this case, you take four "sniffs" then exhale. In certain circles the story has grown and this has become known as "Rose Breath."
This is a basic example of what we in Kundalini Yoga call "conscious breathing." It puts you in charge of you and your mental states. This 4:1 Breath pattern in practice becomes a balm to counter so many heavy emotional surges including panic, anxiety, mental stagnation and depression.
Just do this breath each morning from 3 to 7 minutes to put yourself in charge of your mind and thus helps to prevent difficult states from arising during your day. In the event there is a surge during the day, as soon as possible stop what you're doing and take a 5-7 minute "breath break," just as many folks take a tea or coffee break. You're emerge far more refreshed and positive.
When you adopt this breath pattern on a regular basis, especially in the morning, you'll feel more assured and clear-headed even under pressure.
Click HERE for the video and follow the easy instructions.


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International Civilian Protection Monitor, Nonviolent Peaceforce (Philippines)
Mindanao, Philippines Closes: Jun 9, 2018
WebsitepeaceforceNonviolent Peaceforce
Nonviolent Conflict Resolution
Nonviolent Peaceforce (NP)launched its unarmed civilian protection (UCP) programme in Mindanao, Philippines, in 2007, after being invited by representatives of recognised local civil society and endorsed by key parties in the peace process between the Government of the Philippines (GPH) and the Moro Islamic Liberation Front (MILF).The programme aimed at enhancing human security by working on protection and human rights issues through proactive, non-violent engagement. In 2009, NP was invited by both parties to join the Civilian Protection Component (CPC) of the International Monitoring Team (IMT) that oversees the implementation of the GPH-MILF ceasefire agreement, mandated to ensure the safety and security of communities, including all non-combatants. In 2011, NP became an implementing partner of the United Nations in monitoring, reporting, verifying and facilitating response to the six Grave Child Rights Violations (GCRVs) in Armed Conflict. NP works in Central and Western Mindanao with its main office located in Cotabato City, and field teams operating in the conflict-affected areas of Maguindanao, Lanao Del Sur, Lanao Del Norte, North Cotabato, SOCSKSARGEN, Zamboanga and island provinces of Sulu and Basilan.
The International Civilian Protection Monitor (ICPM)is part of NP Philippines' (NPP) frontline field teams implementing projects in Mindanao. Currently projects cover the following focal areas: 1) Early Warning and Early Response (EWER) to armed conflict; 2) Child Protection (CP) focused on Grave Child Rights Violations (GCRVs) in armed conflict; and 3) the Civilian Protection Component (CPC)of the International Monitoring Team (IMT) focused on monitoring compliance and non-compliance of the Government of the Philippines (GPH) and Moro Islamic Liberation Front (MILF) to their commitments under international human rights and humanitarian laws.
The post-holder is expected to remain extremely flexible to support program and team needs, including changing focal area and fulfilling additional roles, as advised by HFO.
KEY OBJECTIVES/RESPONSIBILITIES:
Under the direct supervision and direction of the Head of Field Office
Work alongside and in consultation with NP's local partners in implementing the projects;
Coordinate with all relevant authorities to ensure and improve the safety and security of both the communities and NP staff;
Create and strengthen professional contacts and working relationships with local partners, women's groups, civilian and other stakeholders to the conflict, government authorities, military and recognised non-state armed groups, and peace process structures; and maintain all related documentation (contact lists, profiles);
Provide regular patrolling and proactive presence in the most vulnerable communities;
Monitor and verify conflict incidents, civilian protection issues, and patterns of violence in Mindanao in line with mandate and program focus;
Where possible, facilitate response and referral of monitored human rights, civilian protection including SGBV, humanitarian and other conflict issues to support civilian, women and child protection, and reduction of violence and impact on civilians particularly women and girls;
In consultation with the HFO and overall team, provide technical assistance to GBV and CP Working Groups activated for both the GBV and CP areas of responsibility, with links to other cluster/sector coordination mechanisms on critical inter-sectoral issues.
Monitor internal displacement incidents and trends, identify and document IDP sites and return movements;
Upon request, provide protective accompaniment to vulnerable and threatened civiliansparticularly those exposed to the risk of SGBV and harassment;
Support the field team in facilitating community meetings, orientations, workshops and dialogues with stakeholders (i.e. civil authorities, armed actors, humanitarian service providers, UN Agencies, I/NGOs, women's groups, religious and community leaders) to leverage as well as strengthen NPP's existing protection strategy in order to address emerging protection needs including SGBV;
Contribute to needs-based and context-specific training and awareness raising programs in a range of topics including but not necessarily limited to: GBV in Emergencies, Child Protection in Emergencies, conflict analysis, risk assessment and mitigation planning, case management, community mediation, human rights and IHL;
Monitor and strengthen civilian protection capacities of established structures and communities in assigned area of responsibility in partnership with key local stakeholders;
Conduct information gathering, contextual analysis, needs assessment, and risk mitigation to inform program design and strategic direction particularly to reduce the identified risks and vulnerabilities for women and girls (and project staff);
Give regular and ad hocverbal, SMS, and written updates to the field team and managers with respect to area of assigned work and the situation on the ground, particularly that which can improve mission effectiveness and staff security and safety;
Support on-going advocacy efforts related to prevention and response to GBV, particularly sexual violence in situations of crises;
Support the HFO in adequately addressing SGBV prevention and response as a cross-cutting issue and suitably integrate into the existing programmes;
Support the HFO in developing weekly & monthly work plans and budgets, specifying activities and indicators based on programmatic log frames and field-based strategic plans for project implementation;
Contribute or lead in the writing of regular program, field, and verification reports, as designated by the HFO;
Contribute or lead in all other relevant field site documentation, analysis and info management as designated by HFO; such as inter aliaconflict and stakeholder analyses & profiles; external communications materials; safety and security documentation; strategic plans; exit strategies;
Actively ensure coherent and complementary field-level implementation of all NPP projects and objectives, avoiding duplication and identifying areas to improve implementation;
Undertake all aspects of work in close coordination with HFO in line with NP's core values as well as in line with established line management, reporting, and safety and security practices;
Contribute to the implementation of all NPP projects in the field
Tasks specific to NPP projects:
Based on agreement with the HFO, the ICP may possibly have primary responsibility for a project focal area(s), and supporting responsibility for other focal area(s), as designated by HFO. The current focal areas pertain to:
Early Warning and Early Response (EWER) to armed conflict;
Child Protection (CP) focused on Grave Child Rights Violations (GCRVs) in armed conflict;
Civilian Protection Component (CPC)
Duties applicable to all staff
Actively work towards the achievement of the goals and mandate of Nonviolent Peaceforce in line with organisational values and principles
Abide and work in accordance with Nonviolent Peaceforce safety and security policies and rules
Work closely and cohesively with all field team members to ensure smooth and effective program implementation, supportive working environment and overall team security
Perform any other work-related duties and responsibilities that may be assigned by the line managers
QUALIFICATIONS AND COMPETENCIES
University degree in a related field (Social Sciences, Development Studies, human rights, International Relations, Management, etc.);
Formal training related to SGBV, conflict, peacekeeping or nonviolence.
Post-graduate degree in peace building, women's studies, gender studies;
Certificate or diploma course in peace building, conflict transformation and/or nonviolent peacekeeping.
Minimum three years relevant work experience;
Minimum one year working in an international capacity preferably in a humanitarian context;
Worked with grassroots or community-based organizations;
Experience working in peace building, human rights, child protection, GBV or development.
NGO/Humanitarian work experience;
Experience working in post-conflict or conflict contexts, especially in Mindanao;
Experience in community organizing/ mobilization and capacity-building;
Experience working with SGBV protection and prevention, women's participation in peace and security, MRM-GCRV, EWER and/or UCP.
Excellent oral and written English communication including report writing;
Understanding of conflict dynamics and peace building concepts;
Above average decision making and analytical skills;
Basic financial skills;
Ability to maintain non-partisanship and project organisational values in a range of contexts.
Ability to write progress and impact reports based on measurable indicators;
Understanding of the Mindanao conflict and the on-going peace processes;
Critical & strategic thinking;
Ability to craft budgets and liquidate expenses.
Other Specialized Requirements:
Personal/emotional maturity.
Eagerness to live, work and learn in a diverse cultural environment.
Team player in a multicultural context.
Flexibility and willingness to learn.
Remains professional and focused under volatile and stressful situations.
Ability to work in remote and developing areas with few amenities.
Cross-cultural sensitivity and adaptability.
Strict sense of discipline including full compliance with code of conduct, security protocols and other SOPs.
Strong sense of responsibility and professionalism
Sense of diplomacy and tact.
Honesty and integrity.
Minimum of three years relevant work experience required. Open to nationals of other countries except the Philippines. Female candidates are strongly encouraged to apply.
Compensation Package
Monthly Net Salary of EURO 1,400.00
Medical Insurance (Pacific Cross)
Annual Leave of 30 days
Medical Leave of 14 days
Compassionate Leave of 8 days
Rest and Recuperation of 10 – 14 days every 50 days of continuous service
Visa Expenses (application/renewal)
Provision of modest accommodation in duty location with basic utilities such light and water
Mobile Phone with allowable monthly communication allowance for official calls
Per Diems, billeting and transportation during official travels
For more information about NP and its work, as well as full job profile of the position, please go to NP's website: www.nonviolentpeaceforce.org
APPLICATION DEADLINE: Applications will be accepted and processed up to June 10, 2018.
Interested candidates who fulfill the required qualifications are asked to send their Curriculum Vitae, with a Cover Letter explaining their motivation to apply and three (3) references by e-mail, addressed to:
Delsy Ronnie, Country Director at hrm-npp@nonviolentpeaceforce.org
As we receive hundreds of applications for each position, only those selected for an interview will be personally contacted.
This material is cross-posted from the Peace and Collaborative Development Network, http://internationalpeaceandconflict.org and appears to be an interesting opportunity for the Humphrey community. This is meant for information sharing purposes only. This is a featured post on PCDN. Please cite PCDN as the source of the posting in your application.
Posted on Wednesday, May 30, 2018


Good Bread is a cornerstone of our menu at Starlings. We source our sourdough, rye and brioches rolls from Woodstock Bakery; our wholewheat bread is homemade daily, and there is a low-carb option for those who prefer.
Woodstock Bakery is well regarded for their hand shaped, wood fired loaves made from local stone ground flour with no preservatives or additives. They bake a maximum of 800 loaves a day to ensure their high quality standards.


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Home - Media - Movies
The World to Come review – secret passions in frontier-era America
Two wives fall in love amid the grinding exhaustion and violence of pioneer life, hoping to build a future for themselves
The World to Come is a tragedy and a love story – and also a puzzle, courtesy of the title. Does it mean the afterlife, the entry into paradise that will be recompense for all the hardship and injustice we've suffered here? Or does it mean the future: that progressive yearned-for place in which current bigotries will be abolished, and in fact the place from which we, in the 21st century, are looking back on this tale from the 19th, confident that we are freed from these bygone characters' constraints, content that we understand what is going on and they may not?
The director is Mona Fastvold – who also wrote and directed The Sleepwalker and wrote the script for The Childhood of a Leader – working from a screenplay by Ron Hansen and Jim Shepard, adapted from Shepard's own story. In a wintry US frontier settlement in 1856, a farming couple have it brutally hard: they are Abby (Katherine Waterston) and Dyer (Casey Affleck). Both are equally disappointed with life and vaguely ashamed of themselves for being so: Dyer yearned to be an engineer, his real passion, and Abby is oppressed with the dull weariness of a woman's lot. Their infant daughter died of diphtheria the year before, leaving them both numb with grief.
Beth Chapman


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There are five general types of assistive listening devices: audio induction (also called a hearing) loop, FM system, infrared system, personal amplified system and Bluetooth systems. The right device for you can depend on your hearing loss and where you need communication access.
This page provides a brief description of how each device works.
Audio induction or hearing loop
Transmits sound via a microphone, an amplifier and wiring that encircles the seating area.
To pick up the signals, hearing aid users must have a T (telecoil) switch or program on their hearing aids and sit within or near the wired area.
FM system
Transmits sound wirelessly via radio waves.
The speaker wears a compact transmitter and microphone and the listener wears a portable receiver.
The receiver may have a headphone, neckloop or other accessories.
Commonly used for group meetings, church settings, conferences and classes. It may be used both indoors and outdoors.
Infrared system
Transmits sound wirelessly via invisible light beams.
The receiver must be in direct line of sight of the light beam from the transmitter.
Commonly used in churches, theaters and auditoriums. It can only be used indoors; sunlight may interfere with transmission.
There are infrared devices made just for home television listening. The transmitter is placed on the TV and plugs into an electrical outlet. The user wears a battery-powered headset (receiver) with volume control. The TV volume can then be set at a comfortable level for other listeners.
Personal amplified system
A portable device that transmits sound via a microphone and transmitter to headphones, an earphone or a neck loop.
Useful for one-on-one conversations or TV listening.
Can be used indoors or outdoors.
Transmits sound via Wi-Fi.
Works directly with hearing aids that have Bluetooth.
Individuals with hearing loss who do not use hearing aids can use a smartphone or tablet with earphones to connect to the wirelessly transmitted sound.
Purchasing assistive listening devices
Deaf and Hard of Hearing Services Division can provide personal amplified systems to Minnesotans who qualify. Contact us to talk with a specialist in your area.
Generally, most assistive listening devices are only available from specialty retailers. As with all technology, prices vary widely. Consider the features and benefits that are important to you, as well as your budget.
Download the Vendor List to find retailers.


Bringing your imagination's creations to life will become even more accessible with the Kible omnidirectional snapping blocks. The 3-D pieces snap together both laterally and vertically, which gives users and endless amount of options to build and create.
The creative process starts with the Kible app, which also brings together a Kible social community. To start, users design different models through the free app, which can be accessed on any mobile or tablet devices. These online designs come in handy later as interactive instructions to make the physical models.
Users can share their creations online with the app for other Kible users to see. From there, users have the option to purchase their model or models from other users through the app so they can receive the blocks to make the physical versions of the model. The pieces are delivered right to their door so the building can begin from there.
From wine charms to kangaroos, Kible blocks can be used to make just about anything, and they can be re-used for different creations as more are collected.
Kickstarter donations range from $10 to $10,000. Prizes for backers include various amounts of Kible snapping pieces and early beta access to the Kible app.
Click here to support Kible!
What do you think about Kible Snapping Blocks Bring Array of Creations to Life?