text:
The Settlement of Armenians in the Ottoman Period
Istanbul, which was built between the years 325-330, has always been an important center for the Armenians because it was the capital of the Eastern Roman Empire. When the Armenian Catholicos of the period, i.e. the head bishop Surp Sahag, who came to Istanbul to obtain ratification from the Empire at the beginning of the years of the Eastern Roman Empire, together with Surp Mesrob and his students, they stayed at the Agomidian Monastery. The group studied theology and philosophy in the capital, they succeeded in their purpose for coming to the city, and they managed to develop an alphabet that was suitable for the sound system of the Armenian in the years 404-405. That is, the Armenian alpahabet that is also used today was developed in Istanbul and it was taken to Armenia from there (Grousset, 2005, s.166-169)
Since the geography in which the Armenians lived was between the Eastern Roman Empire and the Sasani Empire, the Armenians were affected the most by the wars and conflicts between the two states. Especially in the fifth century a large Armenian population, most important of which were the aristocrats, moved to Istanbul during the long war that was aged between the Armenians and Sassanians in the fifth century (Grousset, 2005, p. 185 ?vd.). The Eastern Roman Empire welcomed these new immigrants in a nice manner because the existence of Goths and Jews in the army had been ended and there was an attempt to fill the void that was left with the Armenians (Mango, 2008, s. 33). The migrations that continued in the fifth and sixth centuries reached such a stage that by the year 572, it was possible to speak of a crowded and organized Armenian community in Istanbul (Pamukciyan, 2002, p.1).
According to what Assyrian Mikhael wrote in his Vekayiname, the Armenians, who were able to organize as a separate community in Istanbul, had a church named Armenion within the city. This church was administered by the notable Armenian civilians of the city and they were headed by a priest. However, Emperor Alxios I (1081-1118), who got angry because the Armenians collaborated with the Turks, who were attacking the imperial territories, had this church destroyed and had all of the sacred properties of the Armenians burned in the squares of the city (Assyrian Mikhael). After this date, the Armenians could not have a church in Istanbul again when it was under Byzantine rule. However, they were able to establish a church and episcopate in Galata, which was under the Genoese rule (Tuğlacı, 1984, p.194).
When Sultan Mehmed the Conqueror conquered Istanbul, the city, which had not erased the traces of the Latin invasion period, had turned into ruins completely under the seige. The population of Istanbul is estimated to be between thirty thousand and fifty thousand when the Ottomans conquered it. Sultan Mehmed, who was determined to return the city to its former majesty, started a big movement for building development. New shopping centers were built in the city center and the city walls were fortified (İnalcık, 54). In addition, Subashi (Municipal official) Suleiman Bey was appointed to increase the population of the city and families were brought to the city from Anatolia – at first on a voluntary basis and then in compulsory manner- and there were also Armenians among those who came to the city (Aşıkpaşazade, 157).
Thanks to this, it became possible to create an Armenian community in Istanbul in a short amount of time. There were Armenians also among those families who were brought to the city by force. Nerses, who was an Armenian merchant from Amasya, accused Sultan Mehmed the Conqueror in his poem that he wrote in 1480 of starting storms among people by dragging his people and the Christians from place to place and he stated that he was brought to Istanbul against his will (Mansel, 15). The population of Istanbul in 1478 reached 14,803 households including the ones who came voluntarily and those who were brought by force, and 817 of those households were Armenian (İnalcık, 54). Since a large movement for building development was experienced in Istanbul in the Sultan Mehmed the Conqueror period, having mostly architects, foremen, and workers among those who were broght to the city was emphasized. While those who were tradesmen, merchants, and professionals among those who came to the city were settled in the city, others were settled in the villages around the city and artists, carpenters, ship builders, architects, and foremen were directly commissioned to work for the Sultan (İnalcık, 2000, p. 54; Karaca, 2008, p. 28).
The first big convoy of Armenians who were brought to the city by Sultan Mehmed the Conqueror were the Armenians of Bursa, who came to the city under the leadership of the Bursa head bishop in 1461. So the Armenian Episcopate, which had been in Bursa since the time of Orhan Gazi, moved to Istanbul as well. This was so important that many researchers, among whom Chamchiyan was a pioneer, deemed this migration in 1461 as the establishment of the Istanbul Armenian Patriarchate (Çamiçyan, 1776, s. 500). Among the first Armenians who came to the city were clerics, artists, architects, tradesmen, merchants, farmers, and workers. These people were mainly settled in houses and rooms in the following neighborhoods: Samatya, Kumkapı, Narlıkapı, Beyoğlu, Gedikpaşa, and Galata. Since the Armenians were mainly settled in six neighborhoods when they were first brought to Istanbul, they were called the "Six Communities" in the city until the middle of the 1800s. This expression was used not only among the people, but also in the official documents (Tuğlacı, 1984, s. 5; Pamukciyan, 2002, s. 4).
The second large-scale collective migration of the Armenians into the city during the Sultan Mehmed the Conqueror period took place in 1475 after the conquest of Crimea. The Genoese who were brought from Kaffa and who were mostly working in trade and the Armenians were settled mostly in two neighborhoods: Galata and Karagumruk. Therefore, the already high Armenian population in Galata increased and the Armenians were able to have a neighborhood for themselves apart from the mixed neighborhoods. The Galata Armenians, who constituted the wealthiest and most cultured group, also used Turkish names of Tatar origin such as Orhan, Tanrıvermish, Eyne Bey, Shadi Bey, Shirin Hatun and Melek Hatun, in addition to Armenian names, because they were from Crimea originally (Kuban, 2004, s. 217).
The second neighborhood in which the Armenians from Kaffa were settled was Karagumruk. The neighborhood started to be called "Kaffali" (i.e. from Kaffa) because mostly the Genoese and Armenians who were brought from Kaffa were settled here and it still has this name today. The two abandoned Greek churches in the area were given to be controlled by the Dominican priests who came from Kaffa. The first of these churches was named Santa Maria (Odalar Masjid) and the second one was named Saint Nicola (Kaffali Mosque). Therefore, all the church records were kept in Latin and Armenian and these books are preserved at the Saint Paul Dominican Church archives in Galata today. Later on, the right to use Saint Nicola was taken from the Armenians and the community was allocated an abandoned Greek church in Balat instead. This church is currently used by the Armenian community under the name Surp Hreshdagabed (Frazee, 16; İncicyan, 38).
The neighborhood in which the Armenian population in the city was most dense was Samatya. Most of the Armenians who were brought to the city in 1461 were brought here, and after 1470 and the conquest of Karaman, the Armenians in Anatolia were brought to Istanbul, and settled in this neighborhood. Therefore, the Armenian population in this neighborhood is generally from Anatolia. Until 1478, the Armenian population in Konya, Karaman, Aksaray, and Eregli continued to be brought to Istanbul and settled in Samatya. In addition, the Peribletoptos Monastery in Samatya, which was one of the most magnificent and sacred places of worship in the city, was allocated for the use of the Armenians and this sanctuary was the venue for the Istanbul Armenian Patriarchate until 1641. As a matter of fact, this sanctuary is still being used by the Armenian community under the name Surp Kevork (Kuban, 2004, s. 188; Eremya Çelebi, 3).
The forced relocation of the Armenians to Istanbul continued also during the reigns of the sultans that came to power after Sultan Mehmed the Conqueror. During the Iran campaign of Sultan Yavuz Selim in 1514, many Armenian families around Tabriz, Erzurum, Kemah, Muş, Sivas, and Erzincan were forced to relocate to Istanbul. In addition, many Armenian families around Ankara, Sivas, Tokat, Bayburt, and Adana were also forced to relocate to Istanbul in the same period and they were settled in various neighborhoods. Sultan Yavuz Selim had 200 Armenian trademen families brought from Tabriz to Istanbul during the Iran campaigns and he had 500 Armenian tradesmen families from Cairo brought to Istanbul and he used them in various services (İnalcık, 200, p. 67).
Sultan Suleiman the Magnificent also had Armenians brought to Istanbul in the campaigns he organized in the east and he had them settled. However, the most notable ones of the Armeinan families who were brought during the reign of the Sultan Suleiman were the goldsmiths who were brought from Eghin. These Armenian aristocrats, who traced their lienage to the Vaspuragan Armenian Kingdom because they were from Eghin and who considered themselves a remnant of that kingdom, were settled in Haskoy. These people, who took over the administration of the Armenian community in Istanbul in a short amount of time and who raised to the position of the civilan leaders of the community, maintained the administration of the community in their hands until the middle of the 1800s because they established close relations with the Ottoman palace. During the reign of Sultan Murad III many artists, farmers, workers, foremen, and architects of Armeinan origin were brought to Istanbul from Tabriz, Georgia, and Nakhchivan and they were employed by the palace and they worked in the building development activities in Istanbul (İnalcık, 2000, s. 69; Pamukciyan, 5).
The rise of the Armenian population in the city rapidly and its reaching a high number took place as a result of the Jalali rebellions, which occurred at the beginning of the seventeenth century. The rebellious movements, which took place between the years 1596-1610, started a migration movement, which was named as "The Big Escape" in Anatolia. Peoples came from not only Anatolia, but also from the different corners of the empire such as Thrace, Crimea, and Syria and there were also Armenian families among those who fled. Especially the Armenians in the Caucasus fled to Istanbul in large convoys. The Ottoman administration did not want to accept them at first, but they had to accept them after the eruption of the rebellion movements in 1612. According to what was recorded by the Simeon of Poland in his Travel Book, while there was a small Armenian population in Istanbul before, this population reached forty thousand households with those who fled the Jalali rebellions (İnalcık, 2000, s. 69; Pamukciyan, 5).
The Armenians were generally settled in the neighborhoods around the city gates. For example, Armenian gypsies called Posha used to live in Topkapi. Most of these Poshas, who generally made a living as sieve masters, converted to Islam during the reign of Ahmed III and the rest assimilated within the Armenian people (Kömürcüyan, 23). Another neighborhood in which the Armenians had a population density was Yenikapi. Before the Imperial Edict of Gulhane, the size, architectural plans and exterior fronts of the houses of non-Muslims were subject to certain rules and restrictions. Nevertheless, the neighborhood in which the Armenians were most free was Yenikapi, because this area used to be a bay before and there used to be a marble tower which was left from the Byzantine period in the middle of the sea. The stones and rubbles that emerged during the construction of the Laleli Mosque were poured into the sea, this bay was filled and this new area that was gained was sold to the non-Muslims. Generally Armenians lived here together with a small number of Greeks (İncicyan, 1976, p. 4 vd.)
Armenian Cemetary in Beyoğlu
When we look outside the city walls, the Armenians generally had a population density in the Haskoy, Kasimpasha, Beyoglu, and Galata neighborhoods. In addition, the neighborhood in which they lived generally indicated the profession in which they worked. For example, Haskoy Armenians were generally goldsmiths, Beyoglu Armenians were millers or bakers, Galata Armenians were merhcants, and Kasimpasha Armenians were mostly dock workers or sailors. Furthermore, especially wealthy Armenians started to live in the villages at the Bosphorus as summer houses and places of entertainment starting in the eighteenth century. On the other side of the Bosphorus, there was generally a dense population of Armenians in the neighborhoods of Beykoz and Uskudar. Especially Uskudar was an important center in which a close-knit community life was lived together with deep-rooted institutions such as churches, monasteries, schools, and clerical schools, which had continued their existence since the sixteenth century (Dadyan, 71 vd.).
After the Big Beyoglu Fire in 1870, the Armenians who had lived around Beyoglu and Galata started to spread mostly to the Pangalti and Kurtuluş areas and this is one of the neighborhoods in which the community is mostly concentrated today. Today the Armenian community in Istanbul is estimated to be between fifty thousand and sixty thousand, and most of this population lives in neighborhoods that are linked with the counties of Şişli, Bakirkoy, Kadikoy, and Adalar (Prince Islands).
Aşıkpaşazade. 1970. Tarih. Yay. Haz. Nihal Atsız.
Çamiçyan, M. (1786). Badmutyun Hayots. Venedik.
Çark, Y. G. (1953). Türk Devleti Hizmeti'nde Ermeniler.
Dadyan, Saro. (2011). Osmanlı'da Ermeni Aristokrasisi. İstanbul: Everest Yay.
Grousset, Réne. (2005). Başlangıçtan 1071'e Ermenilerin Tarihi. Çev. Sosi Dolanoğlu. İstanbul: Aras Yay.
Frazee, Charles A. (2009). Katolikler ve Sultanlar. Çev. Cemile Erdek. İstanbul: Küre Yay.
İnalcık, Halil. (2000). Osmanlı İmparatorluğu'nun Ekonomik ve Sosyal Tarihi. İstanbul: Eren Yay.
İncicyan, Ğugas. (1976). XVIII. Asırda İstanbul. Çev. Hrand Der Andreasyan.
Karaca, Zafer. (2008). İstanbul'da Tanzimat Öncesi Rum Ortodoks Kiliseleri. İstanbul: YKY
Kömürcüyan, Eremya Çelebi. (1952). İstanbul Tarihi. Çev. Hrand Der Andreasyan.
Kuban, Doğan. (2004). İstanbul Bir Kent Tarihi. İstanbul Tarih Vakfı Yurt Yay.
Mango, Cyril. (2008). Bizans Yeni Roma İmparatorluğu. Çev. Gül Çağalı Güven. İstanbul: YKY.
Mansel, Phillip. (2008). Konstantininyye. Çev. Şerif Erol. İstanbul: Everest Yay.
Pamukciyan, Kevork. (2002). İstanbul Yazıları. İstanbul: Aras Yay.
Polonyalı Simeon. (1964). Seyahatname. Çev. Hrand Der Andreasyan.
Süryani Mikhael. Vekayiname. (This work was translated by Hrand Der Andreasyan, it has not been published and the text of the unpublished translation is kept at the TTK Library with classification number T/44 today).
Tuğlacı, Pars. (1991). İstanbul Ermeni Kiliseleri. İstanbul.
Experience of Living Together of Turks and Armenians
Demographic Structure of Armenians in the Ottoman Lands
Disturbances in Anatolia: Protests and Anarchy
Armenians and the International System: Seeking a Solution
Historiography in Turkish-Armenian Relations
Dispatchment and Settlement: Discourses of Genocide
Trials and International Law
Armenians in Society and Bureaucracy
Armenian Diaspora
Church, Identity, and Social Structure
© 2023 - Marmara University

redpajama_set_name: RedPajamaCommonCrawl


Mr. Johnnie Sizemore is the C.E.O. of Showtime Productions, a national theatre production company specializing in creating and developing artistically excellent theatre for all. He serves as writer, director and producer alongside his business partner Mr. Kerrick Greer.
Showtime Productions debuted its first theatrical production, "A Cry Nobody Heard," in spring of 2017 and has since become a three time sold out show that fans can't get enough of.
Johnny Sizemore is also C.E.O. of JMS Media Group, a full-service photography and videography entity servicing the Upstate and abroad. Mr. Sizemore also founded and directs Johnny Sizemore & ELEVATED (formerly known as One Accord) a five time Rhythm of Gospel Award winning musical ensemble that has traveled the eastern coast and abroad.
Michael Ciaccia is a recent "transplant" from Rochester, NY and has been in Greenville since May of 2014. He came down to Greenville to take a position as the Assistant Manager in the Box Office at the Peace Center and now serves in the new role of Audience Development. In this position he actively works in the community to bring maximum awareness of the Peace Center, its programs, events and opportunities to a greater audience, insuring future audiences, and greater diversity of those audiences.


text:
package function.example;

import java.util.function.Function;

public class ReverseFunction implements Function<String, String> {

	@Override
	public String apply(String value) {
		System.out.println("Reversing " + value);
		return new StringBuilder(value).reverse().toString();
	}

}

redpajama_set_name: RedPajamaGithub


Make a 20 saving on orders over 100 at Wiggle.Wiggle have you covered with free UK delivery!New customers can sign up to the Wiggle newsletter and enjoy 5 off when they spend.78 used this week, ends 23-11-18.Puma clothing is now up to 60 off!Standard Delivery..
You will not buy the same Easter gift for older people as you will buy for kids.Brighten the life of your loved one and make them realise how quickly time is passing and how good.Several things are needed before the arrival of the baby.Browse through..
Download your free printable Mothers Day coupons here.
Cut out the coupons and envelope with a craft knife.
Well, I also made a free envelope that you can also print, cut and fold.The current version of Kraft has a more specific group of items that are primarily responsible for their profits.Print via websaver, kraft Coupons have an unknown expiry date.Louis Zoo when you make use of downloadable zoo coupons for your visit.I may earn a small commission if you decide to purchase something through my links.For online shoppers, the site offers a full set of coupon asda furniture voucher codes 2015 codes that you can use for web-based purchases.You can also get to pet several animals in the Discovery Corner or take a look at the big cats in the Red Rocks area.The next section of the site offers a list of local coupons, which are only valid saudi airlines discount in your area.These Kraft coupons are available in Print format Only.Ticket Admission Price: Adults.00, seniors.00, child.00.Go to File Print.No matter what you like to buy or where you like to shop, you can benefit from the website for your couponing needs.They generally focus on drinks, cheeses, dairy items and snacks.Please dont link directly to the downloadable file; instead link back to the URL of this page.So how to give these coupons to your mom?You can get closer to the wildlife in animal habitats such as the Penguin Puffin Coast, Insectarium, and the Antelope Area.
Included in this Mothers Day coupon kit are the following coupon messages: unlimited hugs, foot massage, paint nails, movie night, coffee date, 2 loads of laundry, car wash, and breakfast in bed.
In this, coupon Suzy Review, well look at a number of the features of the website, and also a number of the advantages you may be able to count.
That will give you a feel for the different venues you can go through for savings.What do you think about m?Please note that all freebies on my site are for personal use only, and may not be sold.Download the PDF file below, open the PDF file in Adobe Reader.With these monster brands that are so well known, Kraft is assured of a great place in the field in which they are working as long as they continue to deliver quality at a fair price.Here is a look at how the site works so you can determine if it is a site for you.
Coupon Suzy is a website designed for couponers.
All you have to do is explore the savings there to put extra money in your pocket every month.
Kraft Canada is one of Canadas largest companies In Canada, Kraft brands include Kraft Dinner, Jell-O, tassimo, Nabob, Amooza, Cracker Barrel, Kraft Peanut Butter and Kool-Aid, Cracker Barrel, Philadelphia, Kraft Singles, Maxwell House, divider.


text:
Q: Does LibreOffice have an "Outline View" similar to Microsoft 2010? I need to know where to find and how to use something similar to the outline view like in Microsoft Word?

A: There is a 3rd-party extension for LibreOffice (and OpenOffice) called Organon.
From the ReadMe on Gitub:

Organon allows to split up large texts into parts, allows tagging and opening parts of the project in new tabs.

*

*Parts are shown in a treeview. Entries can be moved by drag and drop.

*Every entry can be tagged.

*Tags are freely configurable, can be renamed, created and deleted. Organon's Organizer is a fast way of showing and editing all tags at once.

*Tabs can be opened based on these tags. They also might freely be chosen from the folders and files of the project and they might be sorted by date and/or time.

More information is available at the link, above. The author also has a blog/roadmap available with a commenting facility (there is also an issue tracker at Github).

A: LibreOffice Writer does not have any feature that is exactly like the outline view in MS Office 2010 (only Impress has that), but you can still use the Navigator, which is much more useful in my opinion.
To open it, just go to View>Navigator in the menu or press F5.
When you first open the Navigator it will be a floating Window.

If you drag the window to one side of the LibreOffice parent window, it will offer to dock the floating Navigator window.

To make it float again if it's docked, hold ctrl and double click on the Navigator (in any non-button area), and it will pop out again.

A: No outline view yet in LibreOffice Writer, but many interested users - take a look at Bug 68167 ! On the other hand, LibreOffice Impress does have a basic but usable outline view.

A: Recent changes have improved the situation. LibreOffice Impress has an outline view. When utilizing LibreOffice Writer, you can use the Navigator to go to the section that you want:

In order to make the outline of a document:

*

*You can start by typing your first outline paragraph, style it as a "Heading 1" (or press ctrl+1 if you don't want to leave the keyboard).

*When you hit Enter, the next paragraph reverts to Text Body, which is not what you expect when creating your outline. Pres ctrl+1 to style this new paragraph at level 1.

*You can use ctrl+N (N can be 1, 2, 3, 4, 5...) to set the outline level of your paragraph. Technically, that assigns a style "Heading N" to the item.

*Pressing Tab and Shift+Tab allow level changes when outline items are styled as "Heading N".
To quickly scroll to an outline item for further edit: double-click on its entry in the Navigator.
Related features were added to Navigator in Writer 7.0:

*

*Heading objects in Navigator have own context menu items like Go To or Delete.

*Headings in Navigator have Promote/Demote level and Promote/Demote chapter context menu items.

*An Outline tracking for Headings was added for Navigator. It can be in three states: Default, Focus, Off. "Try clicking with your mouse in several places in your big text document with many headings. You'll see that Headings in Navigator will be selected automatically according to text cursor position."

*This is a Screenshot of Navigator showing some new features:

In Writer 7.1, a new outline folding mode was added:

*

*[...] "you'll see a button with an arrow near any selected heading in your document. Click on it to fold all text from the current heading to next heading. Right click on it to fold all text from current heading to next the same level heading with all its subheadings".

*There's a video about it.

*The official help can be seen.

redpajama_set_name: RedPajamaStackExchange


text:
Home News & Insights Surrogacy – your questions answered
Surrogacy – your questions answered
Harriet Errington +44 (0) 20 7079 8378 email Harriet View profile More articles by Harriet
Pippa Cook +44 (0) 20 7079 8230 email Pippa View profile More articles by Pippa
The concept of surrogacy has historically been seen as a taboo subject. As a result, it is not surprising that many may be unfamiliar with the process and the legal implications in this jurisdiction.
With the ever increasing role surrogacy plays in modern families and its growth in popularity, particularly in recent times, we seek to address below some of the questions you might have about the process.
What is surrogacy?
Surrogacy has been defined as "the practice whereby one woman carries a child with the intention that the child should be handed over at birth". It is important to distinguish that there are two types of surrogacy:
Traditional (or partial) surrogacy – this is where the surrogate mother's egg is used with the sperm of the intended father. This means that the surrogate mother is genetically related to the child.
Gestational (or total) surrogacy – this is where the surrogate mother has no genetic link to the child. The genetic elements of the embryo can be comprised of various combinations, such as both a donor egg and donor sperm, or one part the donor and the other from the intended parents.
Is surrogacy legal in England and Wales?
The short answer is yes, it is. However, there is a distinction between commercial surrogacy and what some refer to as altruistic surrogacy.
Commercial surrogacy involves the surrogate mother being paid (sometimes significantly) for her role in a surrogacy arrangement and would usually involve some form of surrogacy contract. This is what many may understand surrogacy is and this form is popular in many jurisdictions including the US and South America; however commercial surrogacy is not legal in this country as payments to a surrogate mother (other than towards her reasonable expenses) are prohibited in England and Wales.
Altruistic surrogacy on the other hand is the opposite; the surrogate mother is not paid and there would not usually be a contract between the surrogate mother and the intended parents. This closer resembles the form of surrogacy law in England and Wales. In fact, the law in this jurisdiction goes further so as to say that surrogacy arrangements are not enforceable and advertising of surrogacy services is prohibited.
What is the surrogacy process in England and Wales?
The starting point is that the surrogate mother is the legal mother regardless of whether she is genetically linked to the child or not. Further, if the surrogate mother is married to a man, her husband will be the legal father of the child provided the Court is satisfied that he agreed to the process taking place. It will only be once the Court grants a parental order that the legal parentage would change.
The parental order is far reaching in its scope as it changes the legal parentage of the child and severs the links of the child to any other parents, such as to the surrogate mother. There are various requirements which need to be met for a parental order to be granted. One such requirement is that the applicant or one of the applicants must be genetically linked to the child. Most importantly, however, the surrogate mother must have freely, and with full understanding of what is involved, agreed unconditionally to the making of the order. This means, it is possible for a surrogate mother to refuse her consent to the order being granted.
When can applicants apply for the parental order?
It is worth bearing in mind that the consent of the surrogate mother cannot be provided less than six weeks after the child is born. That being said, there is a requirement that the application for the order must be made within six months from the child's birth (although there are cases where this time limit has been extended). Regardless, it is key to ensure that the process is commenced as soon as possible to minimise potential issues.
Why is surrogacy in England and Wales still so rare?
Both practitioners and parents have identified several difficulties with the current surrogacy laws, which are considered by many to be outdated. These are supported by a Law Commission consultation paper which was published in 2019. One of the key recurring themes is the lack of certainty. The central difficulty with the current law is that the intended parents are not automatically the child's legal parents from birth. This can add considerable worry to parties going through a process which is already emotionally and financially burdensome.
In response to this issue, one of the proposals suggested by the Law Commission was that intended parents should be considered to be legal parents from birth unless the surrogate mother objects. This would be a welcome shift away from the burden falling on the intended parents to ensure that the surrogate mother providers her explicit consent.
Lack of certainty is just one of the pitfalls with the current law, which may provide some explanation as to why the process is still relatively underused in England and Wales.
Where is surrogacy law going?
It is expected that the Law Commission will produce a final report with its recommendations for reform and with a draft bill in Spring 2023, which is hoped will go some way to address the issues inherent in the surrogacy process in this jurisdiction. In the meantime however, it is perhaps promising to see a continued shift in societal attitudes surrounding less conventional family units such as surrogacy, which will undoubtedly play an ever increasing role in the modern family.
Harriet Errington +44 (0) 20 7079 8378 email Harriet Errington View profile More articles by Harriet Errington
Pippa Cook +44 (0) 20 7079 8230 email Pippa Cook View profile More articles by Pippa Cook
The Surrogacy Landscape Podcast
The Surrogacy Landscape Podcast is a three-part series exploring the legal implications of growing a family via surrogacy, to help couples and individuals get to grips with the landscape at the outset to ensure that their journey to parenthood is smooth and safe for all involved. Over the series we look at the full surrogacy lifecycle, the practicalities that need to be considered and the law that currently governs the process in the UK. We reflect on the proposed reform in the law in England and Wales to bring this country up-to-date, creating a system that is fit to cater to today's modern family structures.
Family & Divorce Children


text:
Marsyas and Apollo
Marsyas and Apollo - Giulio Bonasone
Bookmark: http://triarte.brynmawr.edu/objects-1/info/161570
Giulio Bonasone
Italian (ca. 1510 - after 1576) Primary
Mid-16th century - late 16th century
7 3/8 in. x 11 7/16 in. (18.7 cm x 29.1 cm)
Gift of Abby A. K. Turner Van Pelt Griscom, Class of 1952, Katherine Drexel Van Pelt Beaver, and Charles B. P. Van Pelt
Accession Number: VP.16
Geography: Europe, Italy
Classification: Fine and Visual Arts; Prints; Engravings
Culture/Nationality: Italian
Collection: Drexel–Van Pelt Collection
*Show Keyword Descriptions
*Hide Keyword Descriptions
This object has the following keywords:
Apollo, engravings*, Italian*, lyre-guitars*, religion and mythology
engravings - Prints on paper incorporating impressions of a reverse design created on a printing plate, usually copper, into which the design has been incised (engraved) using burins or gravers. Historically, "engravings" has sometimes been incorrectly used to refer to all prints, regardless of the specific technique. For prints made from designs engraved on a flat wooden block, use "wood cuts"; for prints made from a plate that is etched rather than engraved, use "etchings."
Italian - Refers to the culture of the modern nation of Italy, or in general to cultures that have occupied the boot-shaped Italian peninsula in the Mediterranean Sea.
lyre-guitars - Guitars developed in late 18th-century France, in the form of a modified lyre with a fretted fingerboard between the two lyrelike curving arms and having from six to nine strings.
VP.16_BMC_f.jpg
Legendary Couples: Classical Mythology Prints from the College's Collections Bryn Mawr College , 10/15/1999 - 12/4/1999
Old Master Era and Related Prints
Van Pelt Collection
<ref name=BMC>cite web |url=http://triarte.brynmawr.edu/objects-1/info/161570 |title=Marsyas and Apollo |author=Bryn Mawr College Library Special Collections |accessdate=1/20/2022 |publisher=Bryn Mawr College</ref>
Your current search criteria is: Object is "Marsyas and Apollo".


Digital instruments sell, but Evan Tublitz is a throwback in a trade where sound in king.
In our noisy, shrill world, Evan Tublitz is on a mission: to bring a little more harmony, a little less discordance. One piano at a time. He is a registered piano technician.
Tublitz (pronounced TWO-blitz) is unyielding in his commitment to quality in an era in which cheapo digital tuning devices can be bought on Amazon and YouTube features quickie tutorials on piano tuning.
Evan Tublitz regulating Steinway Grand at Used Piano Center.
Instead, Tublitz speaks of Steinways and Baldwins and Ibachs as if they possess souls deep in the grain of their spruce soundboards. He will spend day after day drawing out the roundest, richest sound while "voicing" a piano.
"I can make a piano sound two sizes larger than it is," he said. "It's all about taking the time. I'm willing to put in the work the manufacturer won't do."
He has worked with numerous concert pianists, including Earl Wild, Ruth Laredo, Andre Watts and Chick Corea. Corea once had a 9-foot-6-inch Bosendorfer Imperial concert grand flown in before he played the Syracuse Jazz Festival. Tublitz was summoned.
"The action is kind of glunky," Corea said.
Tublitz went to work. But he had limited time before Corea's concert.
"I can only do what I can do," he told the jazz great as he packed up his tools. "It takes a lot of time to get great sound."
There are 88 keys on a piano. Each key has 18 different adjustments. The time it takes to get the sound just right adds up.
Tublitz is 56 and has been tuning, repairing, restoring and selling pianos for 35 years. He was born and raised in South Orange, N.J. He was a music major at Bennington College, but dropped out in his sophomore year due to financial hardship. He became a piano technician's apprentice. He is a skilled pianist, but downplays his ability.
He worked in the 1970s and '80s as staff technician at Hamilton College and Colgate University. He is a former president of the regional chapter of the Piano Technicians Guild. He was a local Yamaha dealer, but his piano store in Latham went out of business after his divorce in 1999. For the past decade he's operated the Used Piano Center in Mechanicville, where he sells instruments he has restored.
At work, he carries a small satchel of tools and supplies — tuning hammer, tuning felt, capstan tool, felt, mutes, an alcohol lamp to heat and bend wood — and an Old World sensibility.
"I'm saddened by how much the quality has gone down in pianos," he said. "I saw the trend with Baldwin. They started cheapening their pianos and then went bankrupt. A mass-produced piano is not a great piano."
His exacting standards have drawn jabs on the Internet, as well as the loyalty of some of the best pianists in the Capital Region.
At home, Shaw plays a Yamaha C3 grand purchased in the early 1980s. Tublitz might spend as much as five hours during a session to keep the instrument sounding its best. "He wants things done the right way," Shaw said. "It offends his heart to cut corners."
"He's one of the best around, and he goes beyond technical tuning to make a piano sound its very best," said concert pianist Findlay Cockrell, a retired University at Albany music professor. He met Tublitz two decades ago when he tuned the grand piano in the UAlbany Recital Hall.
Since then, Cockrell has bought two pianos from Tublitz, including a Steinway made in Hamburg, Germany, that Cockrell has at his California home. Cockrell owns five pianos, including a New York Steinway grand at his home in Albany and a used Knight that Tublitz sold him which Cockrell shipped to his vacation home in Barbados.
Tublitz has the patter and delivery of a stand-up comic. He hopped from piano to piano in his shop and demonstrated the gorgeous sound and stunning sustain of an Ibach and Steinways he has in the shop — used models that cost more than a luxury car.
He dishes funny stories about a dinner with violinist Itzhak Perlman, an exchange with flutist Jean-Pierre Rampal, and the briefest of encounters with New Age pianist Scott Cossu.
After Tublitz worked on the concert grand piano, Cossu, wearing red jester's shoes, came on stage for a sound check.
"You think the piano's in tune?" Cossu asked.
Cossu shuffled off, without touching a key.
Evan Tublitz tunes a Steinway at his shop in Mechanicville; inset: David Kim and Elizabeth Pitcairn.
Anyone who plays an instrument knows that mishaps can occur. But for professionals, those pit stops can be deal breakers. For instance, what does a violin soloist do when they're in the middle of a concerto with an orchestra and a string breaks? Stop the show? Run off stage?
Not if you're with the Philadelphia Orchestra.
"We have a protocol here. It's not uncommon," said David Kim, the orchestra's concertmaster. "If it's a soloist, they swap their violin with me and I give mine to the soloist. Then I give their violin to my stand partner who swaps his violin with me. Someone always has an extra set of strings.
String players learn to deal with these occasional breakdowns and most come prepared. Kim said he has pockets in his case that hold everything from a packet of strings to throat lozenges and even a pen to sign autographs.
But while a loss of a few minutes in playing time in an orchestral string section might not be missed, what do you do in recital? That happened to Elizabeth Pitcairn, the director of the Luzerne Music Center, who plays on the famous Stradivarius 1720 "Red Mendelssohn" violin.
But after she fixed the string and resumed playing she noticed blood on her fingerboard. The steel of the E-string had cut her pinky and despite the pain, she waded through all the fast-note passages to finish.
"I felt like Chopin playing for the revolution in the movie 'A Song to Remember' " she said.
Strings aren't the only things that can go. Mary Gilman, the artistic director for the Capitol Chamber Artists, said not only had her fingerboard once become unglued, which made the instrument completely unplayable, but during a recital she didn't stop to pull off some broken bow hairs — a common occurrence. Instead, because she continued to play, the hairs got caught and prevented her from bowing. As the pianist continued to play, Gilman had to stop, tore off the hairs and then rejoined the pianist.
Violinists' strings are made of synthetic gut wrapped with tungsten steel but they're still prone to breakage, Kim said. Made in Germany, they are very expensive. In the old days, it was sheep intestines that were not only risky — one can imagine what the 19th century virtuoso Paganini went through — but also were affected by weather and frayed easily, he said.
Violists, too, break strings and if that happens to the Philadelphia's principal violist, a swap goes to the associate principal, who does the repair. But Kim said in his entire career he had never heard of cello or bass strings breaking, probably because they're thicker.
Guitarists also suffer broken strings and sometimes so do piano strings. That happened in January during a late Saturday Albany Symphony Orchestra rehearsal with pianist Sergei Babayan for Tchaikovsky's Piano Concerto. The technician, Evan Tublitz of the Used Piano Center in Mechanicville, said he had barely 15 minutes to fix the string backstage— usually a 25-minute job— all while music director David Alan Miller was preparing to give the pre-concert talk from the stage. But like all techs, he has a motto: Be prepared.
Pianists on tour often have to contend with pianos they've never played before, especially at a new venue.
But an out-of-tune piano was nothing compared to what Charles Schneider, the music director of the Schenectady Symphony Orchestra, experienced during the 1960s. In those days, he worked as a Columbia Artists tour accompanist for opera singers. He and baritone Richard Cross stopped in Sault Ste. Marie, Michigan, where they were to open a new concert series. Columbia Artists had stipulated that a Steinway grand piano was required.
Promoters suggested he find a piano in the local churches. A Knabe grand was found and brought to the theater by Saturday, a tuner came and Schneider practiced on it for an hour. But at concert time, disaster struck.
Prior to the concert, a janitor had cleaned the stage and had greased the piano's wheels and put it on a dolly with tricycle wheels.
"You could put your pinkie on the piano and it would move," Schneider said.
At another stop in Davenport, Iowa, the piano had been left in a school cafeteria.
"When I lifted the lid, I found banana peels, orange rinds, bags of garbage," he said.
While all stringed instrumentalists have stories, wind players rarely have breakdowns.
Ann Marie Barker-Schwartz, the artistic director of Musicians of Ma'alwyck who plays violin each summer with the Glimmerglass Opera orchestra, reported that before one performance, the bassoonist's bocal broke. The bocal is an arched piece of metal tubing with one end inserted into a sidewing of the bassoon and the other that holds the reed through which the bassoonist blows.
"He used his cigarette lighter and melted the metal," she said.
Although there are the occasional moments of forgetfulness in leaving the music or even the instrument at home or in a cab, weather delays or even medical concerns, performers are made of hardy stuff. They live by one mantra: The show must go on.


Once you know which view you want, you need to select which surveys you want to view. Notice that your surveys are arranged by categories. In the Pancreatic Cancer Action Network example above, the categories are 'Basics' and 'Test Results and Scans.' Participants also see these categories in the 'My Data' view of their dashboards. The categories correspond with BLANK, and you can easily edit these categories by BLANK.
The participant data view is best used for case management, because it enables you to look at data that corresponds to each participant. For example, you can use this feature to see which participants have yet to complete their survey, filter these participants, grab their contact information (if you have permission to view it), and re-engage those participants to finish their surveys.
Next, hover over 'Additional Columns' to view the columns.
Every profile has its own foreign key as its User ID to identify participants anonymously. Remember that participants can create multiple profiles from one account; in PEER, every profile is given a unique foreign key as its User ID rather than each account.
You can therefore use the User IDs to send messages to participants within PEER, and assign participants new surveys without their contact information.
By clicking on the User ID, you can also view the participant's survey responses.
Currently, the 'Date Assigned' and 'Added/Added By' display the same information; however, the date reflected in both columns may represent different things; below is a clarification of how to interpret the dates displayed.
The date that is displayed under this column is the date when you turn the survey on, which automatically adds the survey to participants' dashboard (this would have been done in the "Assign Surveys" tab of the PEER Survey Toolkit). Therefore, don't be surprised if you see that participants have been assigned surveys before they created their accounts because this date reflects the date the survey was turned on, rather than when the participants began to fill out the survey.
However, if the survey in question is something triggered by participants in the course of taking a survey (for example, your participant responds that they have purple toenails, and this triggers a follow-up survey about purple toenails), then the date reflected in this column will display the actual date the participant received the survey (That's when this feature really starts to come in handy!).
This information is especially helpful if you want to see the time gap between when a participant first creates an account (by looking at the date the profile was created) and when they first begin the survey (thus indicating that the survey was assigned to them).
We've requested that this 'Date Assigned' feature be changed for the future so that it reflects the date that participants create their accounts so that it is easier to understand in the future.
The 'Added' date is the same as the 'Date Assigned.' We are currently waiting for this to be deleted as part of future development and feature work for PEER.
The 'Added by' shows the person who added the survey to a participant such as the administrator, the participant themselves, or a proxy, who acted on the participants' behalf.
If a survey was triggered or added by a participant, you will see 'Participant' in this column.
If a survey was assigned using the PST 'Assign Surveys' tab, then you will 'N/A' (since these are present on participants' dashboards as a default).
If someone on your staff uses any of the options in the dropdown menu at the bottom right of the screen to add surveys (like "Assign survey(s) to dashboard" or "Assign new instance of survey(s) to dashboard"), you'll see that admin's username, as the person who assigned those surveys to participants. We've had some reports of this not displaying exactly right for certain users, so if something like that happens to you please let us know!
This is one method of identifying your surveys, which is useful if you're looking at multiple surveys simultaneously or exporting multiple surveys and would like to conduct additional analysis outside of PEER.
This is the easiest way to identify your surveys, by its name. You can also view individual participant responses by clicking on the survey name.
When a participant completes the survey, they will no longer see the survey on their dashboard, and can view their data from the survey in the 'My Data' tab on their dashboard.
This means participants are partially through the survey. Participants can stop and take a break from their surveys at any time, and their responses will be saved automatically. However, we encourage participants to log out rather than leaving the survey on idle because the session will automatically time out and participants will be logged out, which sometimes affects which responses are saved. When participants are ready to finish their surveys, they can easily log back in and find a 'Resume' button next to the survey they need to complete.
This means the survey is available on their dashboards for them to take, but the participant has not yet started.
Administrators can also trigger to status by clicking on the status associated with each participant. When you hover over a participants' status, a blue bubble will appear that says, 'Remove from dashboard,' which will automatically remove the survey from the participants' dashboard and change the status to 'Archived.' Administrators may do this if participants should not have received a specific survey and/or was requested by the participant to remove this survey on their behalf.
It is important to keep in mind that there is no true delete button in PEER For both participants and administrators. Although a participant removes the survey from their dashboards, administrators and participants can still see data from this survey (if there was data entered).
Conversely, if you would like to re-add a survey that was previously archived, for example, if a participant accidentally removed the survey from their dashboards, then you can click on the survey status of the participant, which will change the status back to the status it was prior to being archived.
This survey status appears for those participants who have not yet triggered a particular survey. This status is generally applicable for groups with multiple surveys; for example, if they have an introductory survey and a caregiver survey, but the caregiver survey is only triggered (or assigned) if a participant indicated that they are a caregiver in the introductory survey. The unassigned status means that participants were not given the survey because they either have yet to trigger it because they have not started any of the surveys, or they did not trigger it at all because they need not meet the requirements to trigger the other surveys.
This shows the number of times a participant has taken a particular survey. This is particularly useful for longitudinal surveys, where participants can take the same surveys multiple times.
This is the name associated with the profile rather than the name associated with the account used to create a profile. See below for further clarification.
The contact person is the name of the contact associated with the account the profile was created in. For example, if you created a profile on behalf of your mother, then next to your mom's unique foreign key user ID, the contact information from the account in which you created her profile would be displayed in this column.
You can easily see how a User ID is related to the contact person if the profile name and contact name are different. If it says "spouse" for example, then it means that the person listed under participant first name and participant last name is the spouse of the person listed under contact first name and contact last name. In this case, the person listed under the contact first and last name used their own account to create their spouses' profile.
On the other hand, if the relation says "self" then this means that the participant listed under participant first and last name should also be the person listed under contact first and last name, which means they are the ones who created their own profile using their own account.
This date reflects the date that a participant created his/her profile. This is also the date you should use to determine when a participant joined your registry.
This shows who and when a survey was removed, or archived, from a participant's dashboard.
This date refers to the last date that a person started or resumed a survey.
You can also edit a participant's survey responses. From an IRB standpoint, this is allowable without having written documentation requesting the participant's permission. The IRB assumes that you are making modifications based on the participant's request or based on existing records. For example, if you have previous medical records from Participant A that state their birthday is on June 27 but in PEER you see that their birthday was recorded as June 26, you can edit the survey to reflect the appropriate date.
You can modify a participant's survey response by either clicking on the participant's foreign key in the User ID column or by clicking on the survey name in the Survey Name column.
You can easily re-assign or remove surveys from this participant data level view. You can do this by going to the 'Status' column. If the survey status says 'Archived', selecting on the status will re-assign the survey back to the participant's dashboard. If the survey status says 'Unassigned', then clicking on the status will assign the survey to the participant's dashboard. If you are unsure of what will happen when you click on the status, you can hover over the status and a blue bubble will appear with further details.
Another method of assigning or removing surveys for participants is to filter and select the participants you want by checking the box next to their foreign key user ID, scrolling to the bottom of the table (which is also called a kendo grid), and selecting the option that says, 'Assign Survey(s) (to dashboard)' or 'Remove survey(s) (from dashboard)'. This is an easier way of assigning or removing surveys for one, a few, or batches of participants. You can also assign a new instance in this same drop-down menu, which enables participants to take a survey that they have already filled out again.
Currently, administrators cannot delete a participant's profile or account. If you would like to delete a participant's profile, please contact the PEER team at gro.ecnaillaciteneg|reep#gro.ecnaillaciteneg|reep with a reason for why you want to delete each participant's account.
Also keep in mind that the PEER team can only delete participant profiles, not participant accounts.
The 'Search Participant Data' view is also where you can go to export your data. If you scroll to the bottom of the table (also called a kendo grid), you will see a menu that says, 'Select Action.' From there select 'Export user data' if you would like to download the data as a Comma Delimited or Excel file. You can also download the entire table as a PDF or export the data as a table.
You can also message participants through PEER without having to use the participant's contact information. This will send a message directly to the participant's dashboard, and is particularly useful when participants have not enabled you to view their contact information, and you would like to request it. This feature is also useful if you need to message a sub-set or all participants about your survey such as a new survey that is available or a reminder to finish taking their initial surveys. You can select the participants you want by using the filtering options or by navigating to the menu, which is located next to the 'User ID' column in the form of 3 underlines, and selecting 'Select All.' You can then select the 'Message all' blue link right above the 'User ID' column to send a message.
Using the 'Search Survey Data' view, you can look at survey data on an aggregate (macro) level. For example, you can use this feature to the look at the overall percentage of participants who have indicated that they are female versus male, or those who have completed versus still in progress their surveys.
This search displays your registry using data visualization tools such as bar graphs and pie charts. The default view is the number of questions in each instrument in your survey. However, you can also view the percentage of overall responses for each instrument by selecting on the 'View by % of users that have completed each instrument' (as seen below). Keep in mind that you can view percentages only to view the overall responses for each instrument.
You can also click on any of the graph bars that correspond to each instrument to look at question-level and response-level statistics. As an example, you can click on the 'Diagnosis' instrument to view the number of user responses for every question in this instrument. If you then click on the first question, you can see the number of user responses for the responses for that question.
In addition, if you scroll down to the bottom of the page, a green pie chart shows the current percentage of participants who have completed the survey compared to the percentage of participants who are still in progress of filling out their surveys. To view the specific participants in each category, click on the relevant pie slice, and you will be taken to a table (also called a Kendo grid) that shows those specific participants.
IMPORTANT: Keep in mind that the system does not track information about the number of participants who did not receive questions due to branching logic. You'll only see numbers for responses, or for skipped questions.
Overall, be sure to hover over the bar graphs to see further information on what each bar shows. In addition, below are a few suggestions on how you can also interpret the data in the 'Search Survey Data' view.
At the bottom of the green pie chart you will see the total number of participants in your registry, which is the total of participants who have both completed and are in progress of completing the surveys. If you click on the total figure (in blue with an underline), the system will take you to the 'Search Participant Data' view, where the total number of participants will also be displayed at the very top.
Looking at the instrument-level number of users who have responded in the instrument is helpful in determining where participants are dropping off. For example, if your data shows that only 50% of participants completed the Surgery instrument, while 80% of participants completed the instrument previous the Surgery instrument, then this can signal that participants are stopping the survey somewhere before or after the Surgery instrument. You may want to look further into this to see if there are too many questions within the Surgery instrument that is causing respondent burdens, if the questions are confusing to participants, etc.
The dark gray bar shows the number of participants who have either skipped or not received questions. Be sure to hover over the gray bar to see which is applicable, as it will be different for each registry.
We're still working with Private Access to document the precise details of how statistics are calculated in the 'Search Survey Data' view, as this differs between different question types (For instance, for radio questions, the number of participants who responded to the question will always be the same as the number of answers to the question, but this will not be the case for multiple choice questions). If you're looking in the aggregate view and see something that doesn't make sense to you, please let us know, and we'll try to help explain!
The aggregate data view has a few known bugs around more obscure question types and around longitudinal surveys. For instance, if you try to use the aggregate data view to drill down to the responses to a text entry question, and then attempt to pull up a table of the individual participants who entered a given response, the system sometimes returns "0" individual participants. This is not because the number is really 0, but because of an issue with an API call. Similarly, if you open a longitudinal survey (a survey designed for participants to take over and over again, such as the Surgery or Radiation surveys in the example portal), the system may have some difficulty calling the number of participants who are in complete or in progress. This does not mean that no one is complete or in progress on that survey – in fact, you can see how many are using the "Search Participant Data" view. It's simply a display issue. If you encounter other idiosyncrasies that you think indicate a problem with display, please let us know!
To go to the next section of Registry and Data Management, which looks at managing your data outside of PEER using Excel tools, please click here.


On Wednesday (21:00, local time), we will watch the first leg of the Copa del Rey semi-finals between FC Barcelona and Real Madrid. El Clásico is back with the two teams in great form and Los Blancos are seeking revenge after the dramatic loss (5-1) in La Liga, whose consequence was Lopetegui's dismissal. The two managers are hiding their cards in the preview. These are some questions to be answered.
Santiago Hernán Solari didn't want to give any clues about his line-up for the Camp Nou clash. The big question in the attacking line will be whether to include Vinicius Jr or Gareth Bale. The logic answer would be the Brazilian, as he has started the latest 9 games and the Welshman has just recovered from an injury. Besides, we could see Gareth Bale out of shape in the last La Liga game against Alavés. Karim Benzema and Lucas Vázquez, who didn't play on Sunday, have a spot scure in the line-up.
The Brazilian left back has played the last meetings in Copa del Rey, whereas the youngster has been included in the latest line-ups in La Liga. Therefore, we think that Marcelo should be the chosen one for the left-back. Besides, the Brazilian has recovered his level and he played well against Girona last week. Varane, Ramos and Carvajal should be the ones playing also in the defensive line.
Leo Messi suffered a big contusion in the last La Liga game against Valencia. The Argentinian scored both goals for FC Barcelona and was the star of the game but he missed the last minutes of the clash due to this action with Lato. 'La Pulga' might miss the first leg, as he did in El Clásico in La Liga, due to this injury, especially thinking about the difficult calendar ahead. Will Valverde risk with his star?
How will Real Madrid Perform?
This is the biggest question mark. Los Blancos made a terrible performance in La Liga with Lopetegui still on the bench. The last month of competition has been great so far, achieving good results and playing much better. However, they have several big tests ahead with El Clásico, the Derby against Atlético and the Champions League against Ajax. Will Real Madrid be able to face successfully all these challenges?


text:
'use strict';

import * as vscode from 'vscode';

enum LogLevel {
	Debug = 1,
	Info = 2,
	Warn = 4,
	Error = 8
}
module LogLevel {
	export function asString(logLevel: LogLevel): string {
		switch (logLevel) {
			case LogLevel.Debug:
				return '[DEBUG]';
			case LogLevel.Info:
				return '[INFO ]';
			case LogLevel.Warn:
				return '[WARN ]';
			case LogLevel.Error:
				return '[ERROR]';
		}
	}
}

const LOG_FILTER = LogLevel.Error | LogLevel.Warn | LogLevel.Info;// | LogLevel.Debug;

let outputChannel: vscode.OutputChannel = null;

export function initLog(context: vscode.ExtensionContext): void {
	outputChannel = vscode.window.createOutputChannel('lcov');
	context.subscriptions.push(outputChannel);
}

interface IWriteFunc {
	(what: string): void;
}

function twoDigits(n: number): string {
	if (n < 10) {
		return '0' + n;
	}
	return String(n);
}
function threeDigits(n: number): string {
	if (n < 10) {
		return '00' + n;
	}
	if (n < 100) {
		return '0' + n;
	}
	return String(n);
}

function time(): string {
	let now = new Date();
	let h = now.getHours();
	let m = now.getMinutes();
	let s = now.getSeconds();
	let ms = now.getMilliseconds();
	return `[${twoDigits(h)}:${twoDigits(m)}:${twoDigits(s)}.${threeDigits(ms)}]`
}

function bind(logLevel: LogLevel, prefix: string): IWriteFunc {
	return (what: string) => {
		if (logLevel & LOG_FILTER) {
			outputChannel.appendLine(time() + LogLevel.asString(logLevel) + prefix + what);
		}
	}
}

function rpad(str: string, n: number): string {
	while (str.length < n) {
		str = str + ' ';
	}
	return str;
}

export function LOG(prefix: string) {
	prefix = rpad(prefix, 20);
	return {
		error: bind(LogLevel.Error, '[' + prefix + ']: '),
		warn: bind(LogLevel.Warn, '[' + prefix + ']: '),
		info: bind(LogLevel.Info, '[' + prefix + ']: '),
		debug: bind(LogLevel.Debug, '[' + prefix + ']: '),
	}
}


Saturday's AAF debut, which featured a pair of games on CBS, registered a 2.1 rating, according to Sports Business Journal.
The AAF was announced in March 2018 by co-founders Charlie Ebersol and Bill Polian.
The AAF has a flawless example of how not to conduct a sub-NFL football league in the XFL. He later played professionally for the Tampa Bay Buccaneers in 1976.
Throughout the rosters, football fans will note dozens of players that they might remember from the NFL field years ago, or even this past season. The colors on the team's logo are specific representations of Florida.
Arizona is hoping their season goes a lot better than it did for their National Football League counterpart, the Cardinals.
Michael Waddell, the President of the Orlando Apollos, has big plans for fan engagement. There were two games that had gotten a lot of fan interaction.
The AAF has already found multiple broadcast partners for the 2019 season. With the National Football League championship over and done, the AAF is slated to kick off today with several games across the nation.
The Orlando Apollos will play their first game on Saturday at 8 p.m.at Spectrum Stadium, against the Atlanta Legends. Steve Spurrier has 26 years overall of coaching experience, and he holds a record for 11 victories in bowl games.
There are eight inaugural franchises in the AAF: the Arizona Hotshots, Atlanta Legends, Birmingham Iron, Memphis Express, Orlando Apollos, Salt Lake Stallions, San Antonio Commanders, and San Diego Fleet.


Owners of a long-established brewery in Burton are fighting plans to build 140 new homes as part of the £20 million Bargates redevelopment amid fears of noise complaints from residents.
Bosses at Burton Bridge Brewery have now raised fears that the 35-year-old business could be in jeopardy because of potential protests from householders over noise from the brewery.
Arguments over rights of way and fears over complaints have led to a formal objection from Burton Bridge to proposals to build homes on the seven-area Bargates site, off High Street, Burton.
The brewery, which has been put up for sale by owner Geoff Mumford, backs onto the Bargates site, which has been used by the firm for loading and unloading HGVs for 35 years.
But Mr Mumford says there will be insufficient room for lorries to manoeuvre and unload, when the new houses are built.
Mr Mumford, who has run the brewery for 35 years alongside Bruce Wilkinson, says the brewery will have to "run in harmony" with new residents if the business is to continue.
But he has raised concerns over potential noise complaints from nearby residents when the brewing plant starts its operations at 5am.
He has also revealed his plans to sell the business and retire have stalled after talks with potential buyers were shelved until a decision over Bargates is made by East Staffordshire Borough Council. The date for that decision is yet to be set.
Plans have been submitted to the authority by Cannock-based Jessup Build Development to convert the former shopping centre site into 68 homes and flats as well as 72 two-bedroom apartments for the elderly with a sheltered housing block and two shops.
Mr Mumford says the development must respect the needs and operational requirements of the residents and businesses surrounding it.
He said: "For our business to continue we must ensure that our operation runs in harmony with the future residents' lives or we may well be in a situation where, for example, people buy a house next to a church or a pub, knowing full well what to expect but successfully campaigning to have either the church bells silenced or pub opening hours restricted.
"Our three main issues are our use of the land immediately to the rear of the brewery, which we do not own, but have used without let or hindrance for more than 35 years, which has created a precedent and vehicle access for large HGVs for loading and unloading, plus the effect our working noise may have on the new home owners."
Mr Mumford claims the development has left the brewery with an "insufficient" area for loading and unloading, and has warned it would have to park forklift trucks on a street in the area to load and unload lorries.
Planning conditions currently stop the brewery from loading and unloading to the front of the property in Bridge Street.
He said: "Although each residence has allocated parking space, there inevitably will be cars parked on that street which will mean the street being blocked off for periods of time. These large vehicles will, after unloading, have to drive through the complex to get out of the development, not a popular move.
"Additionally our legal right of way will have been built over and without a legal agreement on the change of right of way we will have in effect relinquished that right of access."
He added: "Although our working activities are not particularly noisy there is some noise at 5am as parts of the brewing plant starts up automatically in preparation for the start of our working day at 7am."
"The scheme in its present form needs us to be good neighbours and as things look at the moment we cannot, with the best will in the world, fulfil that requirement."
A spokesman for Jessup was unavailable for comment.


Need a Home Accessibility Contractor in Le Gardeur?
Smart Reno Express provides you with an easy way to find Home Accessibility Contractors in Le Gardeur without having to search business directories or the Web. Just post your home accessibility project and start receiving quotes from local contractors.


text:
Www.WorldHistory.Biz
Literature. World War II
Literature. World War I
Literature. Ancient history
Literature. Middle Ages
Literature. Modern history
Literature. Contemporary history
Literature. Sundries
Photos from the Archives.
Photos and videos.
Orthodox Study Bible
Maps.
Photos. Art.
Top News:
The Great War at sea, 1914-1918
Still Fighting the Civil War: The American South and Southern History
The March on Paris: The Memoirs of Alexander von Kluck, 1914-1918
The Opium War: Drugs, Dreams and the Making of China
American General: The Life and Times of William Tecumseh Sherman
A History of the Church in the Middle Ages
First 24 Hours of War in the Pacific
The Jet Age - Forty Years of Jet Aviation
The Airline Encyclopedia 1909-2000 (3 vol. set)
The Atlanta and Savannah Campaigns, 1864 (The U.S. Army Campaigns of the Civil War)
God Save Catalonia: England's Intervention in Catalonia During the War of the Spanish Succession
Author: Xavier Rubio
Llibres de Matricula
The War of the Spanish Succession (1701–1714) was a major European conflict of the early 18th century, triggered by the death in 1700 of the last Habsburg King of Spain, the infirm and childless Charles II. He had ruled over a large active empire which spanned the globe, and the question of who would succeed him had long troubled ministers in capitals throughout Europe. Attempts to solve the problem by partitioning (dividing) the empire between the eligible candidates from the royal Houses of France (Bourbon), Austria (Habsburg), and Bavaria (Wittelsbach) ultimately failed, and on his deathbed Charles II fixed the entire Spanish inheritance on Philip, Duke of Anjou, the second-eldest grandson of King Louis XIV of France. With Philip ruling in Spain, Louis XIV would secure great advantages for his dynasty, but some statesmen regarded a dominant House of Bourbon as a threat to European stability, jeopardising the "Balance of Power".
WorldHistory -> Literature. Modern history
html-Link
BB-Link
Canadian Nuclear Weapons: The Untold Story of Canada's Cold War Arsenal
Operation Barbarossa: Strategy and Tactics on the Eastern Front, 1941
Hitler's Atlantic Wall: Pas de Calais
Strategy for Defeat: The Luftwaffe, 1933-1945
The Girls of Atomic City: The Untold Story of the Women Who Helped Win World War II
World War II in Photographs: The Imperial War Museum
General Ike: A Personal Reminiscence


A yield formulation model to estimate the amount of lithography distortion expected in a printed layout is proposed. The yield formulation relates the probability of non-failure of a lithography hotspot with the yield loss. The application of the yield model is demonstrated for three different layout configurations showing that unidimensional designs may improve manufacturing yield.
CitationGomez, S.; Moll, F. Yield estimation model for lithography hotspot distortions. "Electronics Letters", 15 Agost 2013, vol. 49, núm. 17, p. 1066-1068.


Virtua Fighter 2 was developed for the Sega Model 2 hardware, with Fighting Vipers and Sonic the Fighters subsequently using its gameplay engine. This engine has a set of thorough and beautifully implemented debugging tools which remain in the code of all three games.
When enabled, the gameplay will be paused, though environmental effects like hair moving and lightning will still animate. In this paused mode, pressing P1 Start will advance by one frame.
Holding P2 Start will show the debug menu. Pressing P1 Up/Down while P2 Start is held will scroll through the options, while pressing P1 Start will select the option. P1 Button 1 (Punch) will decrease values; P1 Button 2 (Kick) will increase values; holding P1 Button 3 (Guard) while holding either B1 or B2 will decrease/increase the value quickly. Holding P1 B3 also works for the joystick to move the cursor through menus quickly.
Note that the default option is Exit. The game will return to it's normal running mode when this is chosen, with any settings you made in debug still in effect. You will need to reactivate the cheat if you'd like to use the debugger again.
The debug options appear as windows on the screen. You can open multiple windows at the same time. P2 Button 1 (Punch) will cycle through the windows (the one highlighted in blue is active). Holding P2 B1 and pressing the P1 joystick will move the active window arouns the screen. P2 Button 2 (Kick) will refresh the current window in case its graphics get screwed up, which happens often if you move the window around. P2 Button 3 (Guard) will close the active window.
Note that cycling through windows with P2 B1 will also cycle through control of the actual player. With no active windows (all windows have a white border), you have control of the player. Holding an action (such as punch or kick) and pressing P1 Start to advance to the next frame will queue that action up in game.
The dword value at 0x508000 is the debug flags variable for the engine. Bit 2 enables the debug menu. Bit 4 pauses gameplay, with things like environment effects still running; when debug is enabled, this bit is constantly set. Bit 12 is a different kind of pause, which disabled all movement, including environmental effects. There some other bits in the lower half of this dword that seem to be used by the code as well, but I have not yet fully explored what effect these have. For now, I'm just publishing the debug menu.
If you've read this blog for a while, you're probably well aware that I use MAME for my work. You're probably also well aware that Sega Model 2 support in MAME is ... not great. So while I'm going to provide a MAME cheat here, the good news is that it's so simple that I'm sure someone will convert it to an equivalent cheat format for other emulators very soon.
This should work with any version or region of Virtua Fighter 2, Fighting Vipers or Sonic the Fighters.
If there's a need for a specific version, let me known on Twitter and I can write it up. Hopefully these cheats won't be necessary after some time anyway, as MAME improves.
As the name implies, there are some basic game parameters that can be set here. Perhaps the most interesting are setting the player characters in real time. Also interesting is changing the stage, which is loaded immediately. The round number of length of time for each match can also be set.
This option is, once again, plainly named: it allows you to move the camera all over the place. It is somewhat unique in that instead of moving the cursor to the camera attributes in the menu, each option is mapped to one of the inputs. P1 Joystick, P2 Joystick, P1 Buttons 1 to 3 and P2 Button 2 all move the camera in various ways.
This option cycles through the polygons in the game. Note that you will see the individual objects, such as arms and chests, instead of any fully assembled characters.
As a final note, I would be remiss if I didn't point out that this debug menu was already known about in Sonic the Fighters through the hacking work of biggestsonicfan and others in the Sonic hacking scene over at Sonic Retro and other sites before it. He had been working on this game for years before I started disassembling VF2 and found the leftover code seperately.
And there we have it! I hope the people who are more specialized in each of these games can take this and run with it and find lots of unused or otherwise weird content.


text:
Giving USA Report: Charitable Giving and the Millennial Generation
December 16, 2010 at 12:33 pm Barbara Talisman, CFRE	Leave a comment
Press Release: A new report published by Giving USA Foundation and researched and written by the Center on Philanthropy at Indiana University highlights the differences – and challenges – in reaching "Millennial" donors – adults born since 1981.
Because the majority of Millennials and even Gen Xers (born 1964 to 1980) have lower income than their parents and grandparents, they tend to give smaller amounts of money to charitable causes, whether secular or religious, the study found. One conclusion? Engage the younger generation as volunteers.
Generation X is entering its peak earning years and the Millennials are not far behind. Engaging people under 45 now as donors and volunteers using methods that appeal to their giving nature makes sense.
Una Osili, Ph.D., director of research at the Center on Philanthropy added, "The data are clear: The average person under 30 may have lower income and wealth (compared to older groups). However, ideas, enthusiasm, and energy are important for charities. A relationship formed now based on volunteering can become a strong donor relationship as a person's income grows over time."
The most current data from Center on Philanthropy Panel Study forms the dataset used for analysis. In this nationally representative sample of households, based on contributions in 2006:
33% of households headed by a Millennial gave, and the average total contributions were $557.
59% of households headed by a member of Gen X gave, and the average total contributions were $1,488.
69% of households headed by a Boomer gave, and the average total contributions were $2,613.
77% of households headed by someone born before 1946 gave, and the average total contributions were slightly lower than Boomers' average, at $2,540.
The report, entitled "Charitable Giving and the Millennial Generation," is available for purchase ($15) and immediate download in the Spotlight e-newsletter section of the on-line store at www.givingusareports.org.
Entry filed under: Nonprofit Research, Resources You Can Use!. Tags: Center on Philanthropy at Indiana University, Engaging Millennials, Giving by Millennials, Giving USA.
New Study: Consumers Demand Companies Implement CSR Programs	The Sharpe Group Whitepaper 2010 Tax Law Changes – Impact on Giving


Ready Trading Taos Clothing Tent Sale At Kudzu!
You are here::Home/Event/Ready Trading Taos Clothing Tent Sale At Kudzu!
Please join us at Kudzu Antiques + Modern on SATURDAY, APRIL 1 from 11-4 pm as we host the second annual clothing tent sale for Ready Trading! Catch this once-a-year warehouse clearance sale for our wonderful dealer in booth: TAOS. You'll find naturally beautiful clothing for women of all ages!
By Kudzu Staff| 2018-01-14T16:38:09+00:00	March 29th, 2017|Event|Comments Off on Ready Trading Taos Clothing Tent Sale At Kudzu!


Shrub: Succulent perennial. Grows a medium sized rosette of lance-shaped, narrow, upright pointed dark purple-to-black leaves, making it nearly black in color. Its red bell-shaped flowers contrast with this striking dark rosette generally appearing in winter or spring. Drought tolerant. Size: 5-7" x 6-8". Exposure: sun. Water: dry. USDA Z9.
Shrub: Succulent perennial. Drought tolerant. Native to Mexico. Bears tight rosettes of dk blue-green folg., which darkens to bronze as lvs mature. Contrasting red & ylw flowers appear on tall stems from late spring. Great rock garden or container plant. Echeverias are popular wedding flowers for use in bouquets, table decorations & centerpieces. Attracts hummingbirds. Size: 4-8" x 8-12". Water: mode/dry. Exp.: sun. USDA Z9.
Shrub: Succulent perennial. Native to Mexico. Evergreen. Deer & drought tolerant. Grows a medium sized rosette of lance-shaped, narrow, upright pointed leaves. Great rock garden or container plant. Popular wedding flowers for use in bouquets, table decorations and centerpieces. Best color is obtained in sun. Indoors, provide bright light. Bloom time: summer. Water: mod./dry. Exposure: sun. USDA Z9-11.
Shrub: Succulent perennial. Native to Mexico & N. America. Deer & drought tolerant. Produces large rosettes of delicately ruffled, soft blue-green leaves, adorned with pink edges. The color will vary with strong light or cold temps. Very decorative. Great rock garden or container plant. Attracts hummingbirds. Drought tolerant. Flowers are bell-shaped. Exposure: sun. USDA Z9.
Perennial: Upright shrub with many stems, but does not form rosettes like other Echeveria do. Dark blue-grey leaves can grow 1-3" long and are curved, thick and fleshy. Needs good drainage. Drought tolerant. Good rock garden, container or accent plant. Bloom time: summer. Bloom color: orange & yellow. Height: 10-12". Width: 10-12". Water: moderate/dry. Exposure: sun. USDA Z9-11.
Shrub: Evergreen. Drought tolerant. Deer resistant. A stunning succulent with dramatically ruffled, fleshy gray-green rosettes and a soft red edging that is more intense in full sun. Red-orange flowers appear on tall stalks in late summer. Adds a wonderful texture to rock gardens, dry borders, and containers. Size: 9-12" x 9-12". Exposure: full sun/part shade. Water: dry. Protect from frost.
Shrub: Succulent perennial. Drought tolerant. Plump, rounded blue-green leaves grow in a tight clump. Great rock garden or container plant. They have become popular wedding flowers for use in bouquets, table decorations and centerpieces. Bloom time: summer. Bloom color: pinkish-yellow. Size: 6-8" x 6-8". Water: moderate/dry. Exposure: sun. USDA Z9-11.
Shrub: Succulent perennial. Evergreen. Drought tolerant. Native to Mexico. Compact rosettes w/fleshy, pointed lvs are up to 2" in diameter. Spreads easily to form a low growing, compact clump. Lvs are pale blue & can be blushed w/pk. Brightly colored orng-ylw blms grow on short stems appear in summer. Plant into any small crevice or in containers. Adorable in miniature & fairy gardens. Ht: 6-12". Exp.: sun/pt shade. USDA Z9.
A beautiful gem of a plant that features symmetrical rosettes of grey leaves with rose and lavender highlights. Coral-colored flowers appear in spring. 6-12".
Shrub: Succulent perennial. Native to Mexico & North America. One of the darkest forms! Makes 8-10 inch dark chocolate to near black rosettes with lime green centers. Produces offsets very freely. Great rock garden or container plant. Attracts hummingbirds. Drought tolerant. Flowers are bell-shaped. Bloom color: red. Size: 6-8" x 9". Exposure: sun. USDA Z9.
Shrub: Succulent perennial. Makes 10-12 inch oddly recurved icy blue-green rosettes. Produces offsets heavilly. Great rock garden or container plant. Attracts hummingbirds. Drought tolerant. Flowers are bell-shaped. Bloom color: orange-pink. Size: 6" x 9". Exposure: sun.
Perennial: Evergreen. Drought tolerant. Native to desert regions of Mexico. Slow grower distinguished by it's fuzzy green leaves with bright red tips. Forms dense clumps. Red & yellow flowers appear in spring & early summer. Great for containers and in rock gardens. Size: 4-8" x 4-8". Full sun. Water: dry. Needs good drainage. USDA Z9.
Shrub: Succulent perennial. Great rock garden plant. Makes 4-6 inch gray green rosettes and produces offsets very freely. Flowers are bell-shaped. Bloom color: orange-red. Exposure: sun. USDA Z8.
Perennial: Drought tolerant. New series of Rudbeckia x Echinacea hybrids. Plants have the appearance of Rudbeckia, hardiness of Echinacea. Profuse bloomers w/ large 3-5" flowers. Vigorous. High disease resistance. Great in mass plantings, in containers, in a border or as a cut flower. Attracts butterflies & hummingbirds. Blm time: summer-fall. Blm color: chocolate-orange. Ht: 20-24". W: 18-24". Exp: sun. Water: mod. USDA Z6.
Perennial: Drought tolerant. New series of Rudbeckia x Echinacea hybrids. Plants have the appearance of Rudbeckia, hardiness of Echinacea. Profuse bloomers w/large 3-5" flowers. Vigorous. High disease resistance. Great in mass plantings, in containers, in a border or as a cut flower. Attracts butterflies & hummers. Blm time: summer-fall. Blm color: burnt orng w/dk eye. Ht: 20-24". W: 18-24". Exp: sun. Water: mod. USDA Z6.
Perennial: Drought tolerant. New series of Rudbeckia x Echinacea hybrids. Plants have the appearance of Rudbeckia, hardiness of Echinacea. Profuse bloomers w/ large 3-5" flowers. Vigorous. High disease resistance. Great in mass plantings, in containers, in a border or as a cut flower. Attracts butterflies & hummingbirds. Blm time: summer-fall. Blm color: yellow w/ dark eye. Ht: 20-24". W: 18-24". Exp: sun. Water: mod. USDA Z6.
Perennial Herb: 2013 AAS Flower Award Winner Drought tolerant. Deer resistant. Easy low maintenance plant for borders, containers, cut & dried flowers & meadows. Attracts butterflies, hummingbirds, bees & birds. Blooms summer-fall with a mix of rich purple, pink, red and orange tones to lighter yellow, creams and white daisy-like flowers and central cone. Height: 18-30". Spread: 10-20" Exposure: sun. Water: moderate. USDA Z4-9.
Perennial Herb: Deciduous. Drought, deer & heat tolerant. Named for the brightly colored Cleopatra butterfly. The 3" vibrant golden yellow flowers surround a prominent orange cone, the blooms gradually lighten to creamy yellow. Easy low maintenance plant for borders, pots, cut/dried flowers & meadows. Attracts butterflies, hummers, bees & birds. Blms: summer-fall w/daisy-like flowers. Size: 16-18" x 12-16". Exp.: sun. Water: mod.-dry. USDA Z4. PP#24,631.
Perennial Herb: Deciduous. Drought, deer & heat tolerant. The 4œ" non-fading, warm gldn ylw blms surround a large orange-green button-shaped cone. Easy low maintenance plant for borders, pots, cut/dried flowers & meadows. Attracts butterflies, hummers, bees & birds. Blms: summer-fall w/daisy-like flowers. Bloom color: honey-mango w/red-brown cone. Size: 20-24" x 18-24". Exp.: sun. Water: mod. USDA Z4. PP#19464.
At this time, we are not set up to take web orders or offer mail order services online. If you see something that we grow and you just have to have it, please email the wholesale office.
All plants are listed by their botanical name. Nomenclature was determined first by using The New Royal Horticulture Society Dictionary Index of Garden Plants, followed by The Royal Horticulture Society Dictionary of Gardening, and finally Hortus Third. If a plant was not listed in either of those reference books, the next "best" source was used.
We have done our best to give the bloom color, height, width, exposure, water requirements, hardiness and other useful comments. Please note that while we try to be as accurate as possible, the information given is considered general information. Since there are so many microclimates, cultural information cannot always be 100% accurate.


first came to Jackson while studying Architecture at Tulane University, was inspired by the natural beauty of the valley, and dedicated her thesis project to exploring new architectural ideas for Grand Teton National Park. After graduating in 2005 with a Masters in Architecture degree, she spent several years working on residential and large scale commercial projects in New York City with Perkins Eastman Architects where she became the co-chair of the Green Committee and one of their first LEED Associates. Drawn back to the Tetons in 2007, Katherine worked on residential and mixed-use commercial projects and joined Gilday Architects in the Spring of 2012. As of April 2013, Katherine successfully completed her architectural licensing requirements.


text:
2003 - Eugene Melnyk Saves the Day
Share on Facebook Share on Twitter Share on LinkedIn Share on Tumblr Share on Google Plus Pin this Share on VK Email this
On August 26, 2003, Eugene Melnyk purchased the Ottawa Senators hockey club of the NHL and their arena, Corel Centre out of bankruptcy. He is the sole owner and holds the titles of governor and chairman.
Eugene has repeatedly stated that the team is not for sale and he would never consider selling it. Although the Ottawa Senators are a Canadian ice hockey club, the team yields little to no profit year to year. In the 2012 – 2013 season, the average ticket prices of the Ottawa Senators were fifth cheapest in the league; Colorado, Dallas, Tampa Bay, and Phoenix were the only cheaper tickets.


Puzzled? Confused? Or just have a question? Chances are we have the answer to all of your questions below. If not, please contact us.
What is this program all about?
Rotary Short Term Exchange presents opportunities for students to advance their knowledge and world understanding by allowing them to exchange in a different country. Participants will live with host families in their selected land usually for three to four weeks in the summer, under the sponsorship of their local Rotary Club.
To foster world peace, international understanding and good will by extending international communication at the personal level through the exchange of students of high school age. It is our hope that these young people will be able to observe, first hand, the problems and accomplishments of other countries by living with and meeting people of cultures, creeds and colors other than their own.
Any student, age 15-18 of good character who possesses a warm personality and a desire to live abroad and host in return. Candidates should be adaptable and flexible, well mannered and want to experience life in other countries and cultures. Children of Rotarians and non-Rotarians are equally eligible.
How do you go about participating in the Rotary Short Term Exchange Program?
Applicants must be sponsored by a local Rotary Club. Contact any member of a local club who will put you in touch with its Youth Exchange Chairperson regarding details. Your High School Guidance Counselor usually cooperates with the Rotary Club and can help you make that contact.
Why is it called an exchange program?
You will be matched with a student of similar interests in a country of your selection or approval. The two of you will spend an agreed upon time together – half of that time in your home and half of the time in their home. Typical visitations are 3-4 weeks each way. It will be up to you and your foreign host family to agree upon the actual dates of the exchange. Generally our students fly to their host country first, then bring their host brother or sister back with them to complete the exchange. However, you may also agree to host first then travel abroad second.
Who makes all of the arrangements?
Go to the Orientation Meeting and a Timeline page.
What is the expected time-frame to finalize these arrangements?
Is proficiency in a foreign language needed?
No! The program is cultural in nature but is also for a short period of time. Many countries throughout the world teach English as a second language and most participating students are quite proficient in speaking our language. If you have taken a foreign language in high school and elect to visit a country that speaks that language, you will be able to gain some conversational ability. Most students do not find language to be a barrier to having a great exchange experience.
$250.00 Administration Fee which includes the cost of processing, supplemental Life and Medical insurance while abroad, and a Rotary shirt.
Administration Refund Policy: In the rare instance that a match is not found for the application we will refund all but $100.00 of the Administration Fee for those with applications submitted by February 1st. The $100.00 is used for phone, printing, mailing, and other miscellaneous costs associated with our attempts to find matches for our students. Late applications require considerably more expense and effort.
Cost of round-trip airfare from your home to the foreign country. Airfare costs have run anywhere from $1,000 to $2,000 depending on your destination and the number of connecting flights necessary to get to your destination.
PLEASE let your Rotary Youth Exchange Coordinator know your travel dates as soon as they are confirmed. Insurance coverage needs to be arranged to cover the specific dates your are traveling. Exchanges greater than 30 days overseas require an additional insurance premium payable before the student departs this country!
There is also the cost of having a guest in your house for 3-4 weeks and the additional cost of any excursions or events you may attend.
You must obtain a passport, and a visa(if required).
Provide your own spending money for the duration of the exchange.
What is so special about Rotary's Short Term Exchange Program compared to other programs?
The Rotary International Short Term Exchange Program is volunteer driven. It is organized and administered by volunteer Rotarians throughout the world. The operation is done at several levels; namely the local Rotary Club, the district and the regional levels. They screen the students, prepare them, arrange hosting abroad, insurance, etc. All this work is done by Rotarians as a service. They are not paid to provide this service. At times of immediate need, students who are away from home will be more comfortable knowing that Rotarians will be available to help and offer guidance.
Is this a mutual exchange?
Yes, a student will live with a foreign family for approximately 3-4 weeks. When he or she returns, the foreign brother or sister will also fly back with the student and stay with the U.S. student's family. The stay here will also be for approximately 3-4 weeks.
May my student select which country to go to?
Every effort will be given to match a student with his/her first choice of countries, but cannot be guaranteed. Availability of foreign students varies year-by-year. This mutual exchange only works when the genders, ages, and interests match. Quality is important in the program. A quality ambassador must be flexible.
May I request which gender my student may exchange with?
What are the host family's obligations?
In a nutshell, we expect our host families to entertain the student, to some extent, beyond the normal family activities. For example, family vacations to a summer cottage, a relative's home, or even another state are normal. Room, board, travel expenses incurred in the States are paid for by the host family as they would if the visiting student were a normal family member. Special outings to the zoo, to a baseball game, to a museum, etc. should also be provided. American students should have NO job commitments during the exchange period so they can spend time with their foreign students. We have found that our students are treated first class when they travel abroad. We would like the American host family to reciprocate with a first class experience for the foreign students.
What responsibility does the local Rotary Club have?
Each Rotary Club MUST interview the student applicant to insure he or she will be a good ambassador for their community. The Rotary Club President and Youth Exchange Officer MUST sign the application. The Rotary Club and student should remain in contact during the exchange. Both students should make every effort to attend a local Rotary meeting during the exchange and should be able to speak about their experiences.
Am I expected to attend an orientation?
How much money should the student take?
Again, this will be a personal issue. It will be up to the student and family to decide what works best in their own situation. Students have been known to leave with $200.00 and come back with $150.00. They've also been known to leave with $2,000.00 and call home for more. This must be a personal decision based upon the individual's situation.
My student has graduated from high school. May she/he still apply?
Yes, the age limits are from 15 to 18.
May the student participate in this program more than once?
Yes, they may even want to apply for the long term exchange after visiting a country for the summer. We believe the short term summer exchange can compliment the 11 month long term exchange program.