Gustave Loiseau was a french Post-Impressionist painter, remembered above all for his sea and river landscapes, as well as scenes of Paris streets.
In 1887, when an inheritance from his grandmother allowed him to concentrate on painting, he enrolled at the École des arts décoratifs where he studied life-drawing. Loiseau established himself in Montmartre in 1887; first in the rue Myrrha, and then at La Maison du Trappeur in the rue Ravignan. Loiseau was one of the first artists to occupy this house, which would later achieve international fame as the Bateau-Lavoir, where Picasso lived and worked in his early career.
However, a year later he left the school after an argument with his teacher. He then invited the landscape painter Fernand Just Quignon (1854-1941) to tutor him in painting.
Although Loiseau found Quignon's luminous and airy painting appealing, he was disappointed by both his approach and his methods. He felt that Quignon's process of painting in his studio from sketches produced works that lacked spontaneity, freshness and intensity. Loiseau, with his totally different method of painting en plein air, found it inconceivable that a canvas should not be painted directly from the subject.
On Quignon's advice, Loiseau traveled to Pont-Aven for the first time in May of 1890, taking a room in the cheapest pension in the village, Marie-Jeanne Gloanec's auberge at the end of the town square.
It was at the Pension Gloanec that Loiseau met the artists Maxime Maufra and Henry Moret (1856-1913). He and Maufra, with only a four-year difference in age, had much in common and quickly became friends. Sharing a very similar artistic outlook, Loiseau was from the outset, however, naturally more inclined toward Impressionism than was Maufra. Under the influence of Gauguin's Breton period of Synthetism and Cloisonnism, Maufra turned his back on the theories of Divisionism that Loiseau was following. Loiseau commented that "in many instances the juxtaposition of spots of color in the Divisionist manner gives an accurate and powerful interpretation of the effects of light."
After experimenting with Pointillism, he adopted his own approach to Post-Impressionism, painting landscapes directly from nature.
Both Moret and Maufra urged Loiseau to exhibit at the Salon des Indépendants in 1891 and 1892. Also in 1891, Maufra introduced Loiseau to Le Barc de Boutteville, an art dealer in the rue Le Pelletier in Paris who was very supportive of young artists. It was in this gallery that the Rouen collector François Depeaux became the first to discover Loiseau's paintings. Depeaux, who was a famous collector and a close friend of Claude Monet, bought two of Loiseau's canvases.
Upon his return to Paris after spending the summer of 1894 in Brittany, Loiseau contacted Paul Durand-Ruel, the prestigious Paris art dealer who represented Claude Monet and was the leading art dealer of the Impressionists.
By 1894, Impressionism was well established and was beginning to sell and attract attention in America as well. Durand-Ruel began to handle Loiseau's work in 1894, at which time he terminated his exhibiting at Le Barc de Boutteville. Loiseau's relationship with Durand-Ruel enabled him to travel more extensively and discover the regions and subjects that would inspire him for the remainder of his career.
In the spring of 1895, Loiseau moved to Moret-sur-Loing and began painting the hills and rivers of the region. From that time on, Loiseau was to be one of the most sincere interpreters of the French landscape.
He journeyed through Normandy, Brittany, and the Dordogne in summer, returning to the Île-de-France each winter. From his paintings it is possible to follow his movements.
He painted many works in Pontoise, where he lived every winter. In 1904, he had a fine studio built in his garden there, and many of his canvases are views from his studio. After 1899, he also painted frequently in Saint-Cyr-du-Vaudreuil on the banks of the Eure, where he produced an impressive series of poplars, reminiscent of the works of Monet. He spent time in the river valleys the Eure, the Seine, and the Yonne, and in Normandy he painted in Dieppe, Fécamp, and Etretat.
Loiseau also returned faithfully almost every year to Brittany. He visited Saint-Herbot and Le Huelgoat in 1903, Cap Fréhel in 1905 and 1906 and Douarnenez-Tréboul in 1913.
His technique changed during the 1910s known as "en treillis", "touche croisée" or cross-hatching, which gave his works a special quality, now recognized as his speciality.
Toward the end of his life, while maintaining his studio on the quai du Pothuis in Pontoise, Loiseau took another studio on the quai d'Anjou in Paris, where he painted views of the city from his studio window as he had done in Pont-Aven.
Loiseau died in Paris, in 1935.
Loiseau's paintings, revealing his passion for the seasons from the beginning of spring to the harvests later in the autumn, often depict the same scene as time goes by. Series of this kind, which include many different types of landscapes, are reminiscent of Claude Monet.
15 Novembre 1985 - 17 Janvier 1986, Gustave Loiseau, Didier Imbert Fine Art, Paris, France.


Companies threaten to move out if they don't get concessions from local government. Did they learn this from sport teams or vice versa?
A major chain threatened to move out of town if the town didn't buy a soon-to-be-empty lot for them so they could build a gas station on it. The deal made was that they get to keep the town's portion of the sales tax customers so the corporation can use the retained tax receipts to make payments on the lot they now own.
Of course, that means a cut in public services and maybe a tax increase on residents to make up the difference. Private wealth extorted at the cost of public impoverishment. next comes downsized fire and police departments, school and library budgets.
The Green Bay Packers made sure their team wasn't going to fly by night by mandating distributed ownership by citizens of Green Bay's Brown County. The individual citizens own controlling shares in the team.
"The best town in pro sports is also the smallest: Green Bay, Wisconsin, home of the Packers.
"The Green Bay Packers are a publicly-owned non-profit with a unique stock ownership structure. Green Bay's bylaws state that the Packers are "a community project, intended to promote community welfare." What a refreshing approach.
Imagine if Greece or Rome had this "incentive" to destroy their own cultural history … but then again, starting with how the Catholic Church burned the intellectual property of all pagans they encountered, THIS is how you erase entire human cultures.


text:
ProctorU and Yardstick Merge to Form New Testing Company
Study: Why Women Stick with Engineering
Plagiarism Deterred Through Information, Not Threats
By David Nagel
Giving students a Web-based tutorial on plagiarism is more effective in deterring the behavior than threatening students with detection and punishment. That's according to the results of an experiment conducted by professors at the University of Michigan and Swarthmore College and published as a working paper by the National Bureau of Economic Research.
The study, "Rational Ignorance in Education: A Field Experiment in Student Plagiarism," found that incidents of plagiarism could be reduced by as much as 65 percent when students participated in a "15-minute Web-based tutorial that [taught them] what constitutes plagiarism and how to avoid it," according to information released by the University of Michigan. The experiment was conducted by Brian Jacob, Walter H. Annenberg Professor of Education Policy in the University of Michigan Gerald R. Ford School of Public Policy, and Thomas Dee, associate professor of economics and director of the public policy program in Swarthmore College's Department of Economics.
The experiment, which took place back in fall 2007, involved 1,200 papers written (or not) by 537 social-science and humanities undergraduates at a "selective post-secondary institution." Students in half of the courses involved in the study were required to participate in the plagiarism awareness tutorial via their Blackboard accounts, which included 18 pages of information about plagiarism followed by a quiz on the topic. It also provided advice about writing, including avoiding procrastination and taking careful notes. None of the students were made aware that they were participating in a study.
Among the control group, 3.3 percent of papers met the researchers' criteria for plagiarism (using Turnitin), while the frequency of plagiarism for the Web tutorial group was about 1.3 percent. The Web tutorials, according to the researchers, were especially effective with one high-risk group in particular: those who had lower SAT scores coming into their institution. Using the data gathered in this study, the researchers predicted a "plagiarism rate of 17.7 percent among students at the national mean of SAT scores (i.e., 1017) and 31.4 percent among students at the 25th percentile of SAT scores (i.e., 850)."
Further, following the experiment, researchers conducted surveys with the students. "A follow-up survey of participating students suggests that the intervention reduced plagiarism by increasing student knowledge rather than by increasing the perceived probabilities of detection and punishment," according to the researchers. "These results are consistent with a model of student behavior in which the decision to plagiarize reflects both a poor understanding of academic integrity and the perception that the probabilities of detection and severe punishment are low."
Further information about the study is available here.
David Nagel is editorial director of 1105 Media's Education Technology Group and editor-in-chief of THE Journal and STEAM Universe. A 25-year publishing veteran, Nagel has led or contributed to dozens of technology, art and business publications.
He can be reached at [email protected]. You can also connect with him on LinkedIn at or follow him on Twitter at @THEJournalDave (K-12) or @CampusTechDave (higher education).
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redpajama_set_name: RedPajamaCommonCrawl


Douglas Wignall is a solicitor with more than twenty five years' industry experience including work with Sheraton as an in-house counsel before setting up his own practice in 1984. He now works as a Corporate and Commercial lawyer for Cubism Law. Douglas has lectured on hotel management contracts at conferences in Cannes and Dubai and written articles on hotel management contracts for UK hospitality magazines.


There is always something exciting about Los Angeles. Is it the shiny cars and buildings or the idea that you may stumble across a famous person around the next palm tree? I am not sure, but the buzz of 15,000 "Speechies" at the ASHA Convention certainly helped us feel energized!
Many of our faculty and students presented at the Convention this year on a variety of topics. Dr. Emily Zimmerman and the students working in her Sensory Neural Lab had a number of posters on Infant Feeding and Maternal Wellness. Dr. O'Neil presented with MS SLP second year student, Alanna Kjoller, in her poster presentation on Memory Outcomes with Adults in various countries. Dr. Schlosser presented on Evidence Based Practice. Dr. Rupal Patel presented on a number of Motor Speech related topics as well as working at her VocaliD booth.
We are very proud of Ashley Peltier, BS/MS SLP student for her achieving First Place in the Ethics Essay Award from ASHA. I was thrilled to host a wonderful West Coast BostonSpeechies alum get together at the cool new Line Hotel in LA. Our alum are all excellent SLPs working in a variety of clinical settings enjoying life to the fullest. We are so proud of you! Leaving LA with lots of new practice ideas and research in the field of speech-language pathology and of course the fabulous fun time with all my speechie friends!


Sydney is the largest, oldest and most populous city in Australia, located in the south east of the country. It is also known as the Harbour City and has a reputation of being one of the world's most beautiful and liveable cities. The city is home to two of the most iconic structures in the world, the Sydney Opera House and the Sydney Harbour Bridge. The University of Sydney is Australia's first university and it is considered one of the world's leading universities. Here you will also find the oldest library in Australia, the State Library of New South Wales.
Worth a visit are the Royal National Park, the Royal Botanic Garden, Hyde Park, Sydney Harbour, the Rocks, Darling Harbour, Bondi Beach, Sydney Olympic Park, Luna Park, the Sydney Tower, St Mary's Cathedral, Parramatta, La Perouse, the Anzac War Memorial, the Waverley Cemetery, the Australian Museum, the Australian National Maritime Museum, the Art Gallery, the Powerhouse Museum, the Museum of Contemporary Art, the Museum of Sydney, the Bangarra Dance Theatre, and the Aboriginal Art.


Carry on the tradition of sugar skulls and the holiday Day of the Dead with this practical and cute accessory! Use it to hold make-up, make-up brushes, eyeglasses or sunglasses, money and cards, pencils and erasers, feminine hygiene products, computer accessories, and more! Not only is it practical, quilted for delicates, and has an easy to slide closure, but it is cute and out of the ordinary!
The one-of-a-kind wallet has skeleton kitties and fishies prancing around in the floral background. Although represented in skeleton forms all critters are more alive than ever! To contrast the dark background and linear forms on the exterior a bright and silky red welcomes you on the interior. When it becomes dusty with pencil shavings or everyday muck simply turn it inside out to shake it off or throw it into the washing machine with the rest of your wearables!
It is practical and cute for yourself or to gift to others!
Across (Left – Right) - 7.5"
Width (Top – Bottom) - 4.5"


text:
Station Bratislava-Rača (Slowaaks: Železničná stanica Bratislava-Rača) is een reizigersstation in de Slowaakse hoofdstad Bratislava.

Geschiedenis
Het station werd op 27 september 1840 geopend en kreeg de naam: Račištorf. Het maakte deel uit van de spoorlijn die Bratislava met Leopoldov verbond. Aanvankelijk was deze lijn enkelsporig. Pas in 1894 werd het traject naar het centraal station "Bratislava hlavná stanica" op dubbelspoor gebracht terwijl het lijngedeelte naar Leopoldov op enkelspoor bleef. Tijdens de Tweede Wereldoorlog, in 1947, veranderde men de stationsnaam. Vanaf toen werd de verwijzing naar de hoofdstad in de stationsnaam opgenomen: "Bratislava-Račištorf". In datzelfde jaar begon men met de aanleg van een tweede spoor in de richting Leopoldov.

Kort nadien, in 1948, veranderde men de naam nogmaals: "Bratislava-Račištorf" werd: "Bratislava-Rača".

Vanuit dit station is er een vertakking naar het nabijgelegen rangeerstation Bratislava-Východ. Tot 1973 hadden reizigerstreinen daar eveneens een stilstand. Thans is het reizigersverkeer naar die halte beperkt tot diensttreinen die de spoorwegarbeiders bij de aanvang en het einde van hun dagtaak, heen en weer vervoeren naar de plaats van het werk.

In de periode 2006-2007 werd het stationsgebouw vernieuwd.

Ligging
Station Bratislava-Rača is gelegen in het noorden van Bratislava, aan de Kol'ajná-straat. Dit is in het stadsdeel Rača (IIIe district).
Het bevindt zich op een afstand van ongeveer 9 kilometer van het oude stadscentrum Staré Mesto en maakt deel uit van spoorlijn 120 (Bratislava – Žilina).

Verkeer
Overwegend regionale treinen (OS) naar Leopoldov en Galanta stoppen in dit station:
 S50,
 S55.

Openbaar vervoer
Nabij het station zijn bushalten:
 halte Ihrisková: stedelijke autobussen,
 halte Trávna: stedelijke en regionale autobussen.

Illustraties

Zie ook
 Bratislava
 Station Bratislava hlavná stanica
 Slowaakse Spoorwegen ŽSSK

Externe link
  www.rail.sk Treinstations en haltes van Bratislava
  www.vlaky.net Informatie en afbeeldingen
  www.rail.sk Informatie over Bratislava-Rača
  ŽSR - Treinaanwijzer

Rača

redpajama_set_name: RedPajamaWikipedia


There was a lot of iPhone news this week. Much of it concerned rumors of features that may be included in the next iPhone that Apple will release, but so many of those predictions are mere guesswork that I won't comment on them here, except to note that I think it would be a good idea for Apple to include a better camera with video recording capabilities in the next iPhone. But there was other news, and here are a few iPhone-related stories that caught my eye this week. If you missed them, click the links for more information.
New Gmail interface for iPhone. I really like the pop-up menus.
Enjoy the weekend, and have a good Easter or Passover or whatever it is that you are celebrating.


text: New Mexico's Unit 33 begins at the intersection of US 82 and US 285 at Artesia and running north along US 285 to its junction with NM 2, then north on NM 2 to its intersection with NM 249 at Hagerman, then east along NM 249 to its intersection with the Pecos River, then north along the Pecos River to its intersection with US 70, then northeast along US 70 to its intersection with NM 114 at Elida, then south along NM 114 to Roosevelt County Road AK to Reserve Road in Chaves County to Button Mesa Road/Lea County Coad 156 to its intersection with US 380 east of Caprock, then west along US 380 to its intersection with NM 172 west of Caprock, then south on NM 172 to its intersection with NM 249, then south along NM 249 to its intersection with US 82 at Maljamar, then west along US 82 to its intersection with US 285 at Artesia.


text:
Comic Talk and General Discussion
categories > Comic Talk and General Discussion > Character types that appeal to different demographics?
Character types that appeal to different demographics?
ozoneocean at 6:18AM, Jan. 19, 2018
joined: 1-2-2004
I was just wondering if this was such a thing?
I was thinking about how when we had a certain kind of persistent troublemaker on the site most seemed to fit into the same general description:
Young males in their teen to early 20s, stroppy, drink too much, maybe into drugs, see themselves as a bit alternative or "outside" of the system.
The film characters they idolised were Cool hand Luke, Tyler Durden from Fight club, Heath Ledger's Joker and then the Guy Fawkes character from whatever that movie was…
But they had a type, that's the thing. Are there other demographics that are as predictable?
usedbooks at 8:42AM, Jan. 19, 2018
joined: 2-24-2007
A few years ago, my comic had a huge visitation spike. I traced the hits to a link from an erotic lesbian blog.
I wondered at the time if there were characters or themes in my work that were appealing specifically to that demographic. But it has very little romance or relationships at all, so it was interesting to find a link from an erotic blog. Go figure.
Used Books / DeviantArt / Other Stuff
Ironscarf at 9:12AM, Jan. 19, 2018
ozoneocean wrote:
What you're describing there almost seemed like the default internet posting style a few years back. It annoyed me at first, but you could have fun parodying it with alts. Did LeScarfe ever put in an appearance here?
Having known a good few real life substance abusers, I suspect most of those guys were just pretending in order to look cool, as young men sometimes do. Sorry I'm wandering off the point here - how about older posters who consistently fail to stay on topic, could that be a demographic?
Hawk at 3:54PM, Jan. 19, 2018
I know EXACTLY what person you're talking about, Ozone!
I definitely think it's possible to predict appeal according to demographics… in fact, for some people it's an actual job. They sit in their marketing division thinking of ways to get the money of specific demographics. And they'll even drastically change products or add characters to movies and TV Shows.
I know I've watched shows before and thought, "That character was put in JUST to appeal to the Hot Topic crowd" or some other demographic. It's usually when the character doesn't add anything to the show, other than to apparently add "flavor" or "personality".
ozoneocean at 11:58PM, Jan. 20, 2018
Hawk wrote:
Hahaha! Well there was that one notable fellow… Bust there were also a few others that also thought along the same lines as well ;)
True. It can feel a little false when it's too calculated. That's the main reason I disliked Buffy The Vampire Slayer series for so long: it was SOOOoooooo targeted towards a specific demographic with the various characters.
@Scarf - haha you're thinking of the same fellow as Hawk :D
@Usedbooks - I think I know which character had that appeal ;)


text:
"How do you feel about veterinarians in state and federal legislation?" Report Response
"How to you feel about spaying animals that are pregnant?" Report Response
"What are some new struggles in veterinary medicine and how do you think they will affect the future?" Report Response
"How do animal rights groups affect veterinary medicine?" Report Response
"How can you take a stand for animal welfare against animal rights?" Report Response
"I read the previous surveys and did mock interviews." Report Response
"It was in a very cozy room which was nice. It was like you were sitting down to coffee with your parents friends or something." Report Response
"The questions were kinda tough and if you haven't been reading veterinary journals and magazines then you probably wouldn't know a lot about the topics and you won't have a set opinion yet because you aren't involved in it." Report Response
"Because of the questions that were asked, I wish I had read some articles about these topics before my interview so I would have a more calculated answer." Report Response


It is a common adage among Commander players that aggro – a deck archetype that attempts to hammer out damage as fast as possible typically via creatures and burn spells – is not particularly viable. Part of the reasons cited are the format's high life total and a popular phenomenon of 'sweepers' like Wrath of God and its ilk. Add to that the inability to have multiple copies of aberrantly powerful creatures and aggro seems less viable, especially at cutthroat tables. While I think that aggro is undersold, it is a fair sight harder to do when playing against double life totals, and nearly the entire game's legacy of degenerate combo pieces, control spells and tutors. Additionally, as the table has more players, the less likely it will be for an aggro deck to succeed by sheer amount of damage needed to be done for victory.
While combo and control decks use a dire threat and answer model of deckbuilding and play, an aggro deck in Commander is going to operate differently; the only realistic way of bashing through 40 life per player is to use a lot of low-curve creatures, and the prohibitive cost of back-breaking threats will prevent this deck from winning before it loses. A deck primarily constructed of creatures fare better than one of burn spells, as creatures continue to deal damage until destroyed.
The first hallmark of aggro's weakness in Commander is a card advantage problem. In order to start rapidly chipping away at a table's life total, an aggro player is going to have to play a lot of creatures. When another player inevitably plays a Wrath of God-style effect, the typical aggro player is left with an empty hand and a full graveyard. Enemies are left at some non-zero life total which becomes insurmountable for the aggro player. The quick and dirty solution for this is to play draw spells. While it sounds silly, this comes with a few caveats: the spells that draw cards either have to draw huge amounts, provide a constant stream of cards for use, or key off the number of creatures or the damage a player does. In the first camp, my favourites are Wheel of Fortune, Wheel of Fate, and its new and exciting cousin Reforge the Soul. Since an aggro player is going to be playing many more cards than their opponents, wheel effects nearly always disproportionately benefit an aggro player. The second is of a kind like Phyrexian Arena, and Necropotence. There are others, like Graveborn Muse and Bloodgift Demon, which double as creatures to do damage. Draw effects that are worth considering, like a select few saboteur abilities like Tandem Lookout or Coastal Piracy. Others that defy categorization, such as Slate of Ancestry, and the Wrath-defying Fecundity, are often worthwhile inclusions as well. There are also cards that will do more than put a single creature on the battlefield. Generating tokens is a fine way of getting more creatures without having to suffer the loss of cards in the event of a sweeper.
The second problem for aggro decks is related to the first. Aggro decks do not develop mana the same way combo or control decks do. When another player sweeps the board, the aggro player not only loses all the creatures they laid out, but effectively loses the mana spent on them as well. For newer players searching for a word to reference this aspect of Magic, it's commonly called 'tempo'. Mana acceleration is going to have to pay large dividends; Sol Ring is sufficiently productive, but a standard mana rock like Mind Stone will not be. The best mana acceleration available comes in the form of the Medallion cycle from Tempest. Emerald Medallion and friends will pay out more mana as you play more creatures. Cloud Key will make all creatures similarly cheaper. There are other more narrow options, such as Etherium Sculptor, which will only work in specific kinds of decks. To be sure, how an aggro player plays the game is going to matter; you will have to hold creatures back to play after some calamity, or lose all of them.
Once you've got enough creatures and can get a continuous or sustainable supply of them, they're going to need to be made more powerful. Simply playing creatures and attacking will not be enough. Giving global bonuses to creatures rewards your investment in them. Global power bonuses are rarely permanent; something like Overrun, Overwhelming Stampede, Dark Triumph (sacrifice a lethally blocked creature for maximum value) or Torrent of Souls will give you a quick burst, perhaps enough to kill a player or two. Craterhoof Behemoth is a particularly dire version of these that comes with a body. More permanent bonuses can be found in Marshal's Anthem, Gaea's Anthem and similar cards.
Global haste is found almost exclusively in red; In the Web of War and Mass Hysteria/Concordant Crossroads effectively grant you an extra turn's work out of your creatures. To get even more mileage out of your creatures before a sweeper hits, getting in extra attack steps (via Relentless Assault) or taking extra turns (Time Warp) will let your creatures do much more. Something like Savage Beating epitomizes this. All the creatures will do extra damage. Twice.
With all this talk of playing creatures and attacking with them, it's important not to neglect finishers. While Overrun effects may kill a player or two, it does not hurt to keep a few effects in reserve to finish a player off. My personal favourites are Squall Line and Hurricane. These not only increase the aggro player's capacity to finish a player off toward the end of the game, but can remove troublesome blockers. Similarly, Devil's Play, Exsanguinate, and a handful of others will work well enough without accelerated mana, once the creatures have done most of the work.
Part of the focus on creatures means that we're going to have to play a lot of them. It is not uncommon for my aggro decks to have 35 or more. This means that some effects, especially removal, are going to need to be doubled-up on. Answers to certain cards can be easily found on bodies: Wickerbough Elder is a passable creature with a good removal ability. Similarly, Shriekmaw has decent power, evasion and can kill a problematic creature, and Bellowing Tanglewurm gives evasion to several creatures while being a passable body. Creatures with Battle Cry, such as Goblin Wardriver can also easily generate a fair amount of damage while being bodies with power themselves.
Most of the features of what an aggro deck needs are going to best available in some kind of tribal deck. Tribal lords, like Goblin King, are usually the first kind of global bonus players think of. Coat of Arms and Door of Destinies are well known to cause inward giggles. The goodies have not stopped; for nearly every aspect, there is some benefit for running a tribal deck. Extra cards and tempo can be found in Descendants' Path and Call to the Kindred, and bonuses for even the most obscure tribe can be had from Adaptive Automaton. Some older goodies, like Urza's Incubator, Cover of Darkness and Steely Resolve can provide solid advantages to investing in a single creature type. Unifying bonuses need not be exclusively tribal. Earlier, I mentioned Etherium Sculptor as a mana accelerator. Combined with Tempered Steel and Steel Overseer, there could be more reason to focus on artifacts. A deck full of flying creatures not only has an edge through evasion and cards like Favourable Winds, but can take advantage of Earthquake-style effects for extra damage and removal.
Finally, the general of an aggro deck is going to need to do at least one thing from the long list of things required to make aggro viable. A general will either have to provide global bonuses, draw cards(or otherwise extend resources. My personal favourite is Seshiro the Anointed, because he provides a flat, persistent power bonus (albeit to a narrow set of creatures) and also provides a way of getting more resources. These are arguably the two most important aspects; doing enough damage and getting enough resources to continue. There are many others that provide decent global bonuses and resources, like Stonebrow, Krosan Hero, Jor Kadeen, the Prevailer, Agrus Kos, Wojek Vetaran, Wort, Boggart Auntie, Sygg, River Cutthroat, and last but certainly not least, Edric, Spymaster of Trest.
At the end of the day, aggro will likely not stand a chance against the really dedicated cutthroat combo or prison decks, but neither will most decks people play. Some of them will be abject failures, like my own personal experience with Lovisa Coldeyes, who looked great on paper for providing both haste and +2/+2. But others, you may find more successful, and a change of pace might be welcome for a group where every player is hoping to control the game, or racing for a combo.


The new Wi-Fi enabled Blueair Classic 405 takes our incredibly popular air purifier and refines it even further. It still provides quiet, powerful yet energy-efficient air filtration for indoor air that is virtually free of allergy or asthma triggers. An updated digital display with touch-button control lets you see and control the air you breathe.


text:
Q: Having an observable the same content as another one with knockout I have an observable named packing which contains a bunch of properties. One of them is an observableArray named isotopes
packing
 - description
 - type
 - ...
 - isotopes
    - name
    - weight

I would like to create a separate observable to have the same content as packing.isotopes. This mus be dynamic so whenever something is added/removed from packing.isotopes this should be also added/removed inside mycopy.
I already try:
var mycopy = ko.computed(function () { return packing.isotopes; });

But it doesn't work. mycopy is undefined.
Any idea?
Thanks.

UPDATE
Below is my code:
define(function (require) {
    ...
    var mycopy = ko.computed(function () { return packing.isotopes; });

    var activate = function (routeData) {
        var idTran = parseInt(routeData.idTran);
        var idPack = parseInt(routeData.idPack);

        var promise = (idPack == -1) ? // -1 --> create a new empty itinerary
                        ctxTransport.createPackingDetailTransport(idTran, packing) :
                        ctxTransport.getPackingById(idPack, packing);

        return promise
              .then(ctxTransport.getTransportById(idTran, transport))
              .fail(somethingWrong);

        function somethingWrong(error) {
            var msg = 'Error retreiving data. ' + error.message;
            logError(msg, error);
            throw error;
        }
    }

    var vm = {
        activate: activate,
        canDeactivate: canDeactivate,
        resource: resource,
        transport: transport,
        packing: packing,
        mycopy: mycopy,
        ...
    };
}

A: Computed observables should track other observables, but you have not any observable call inside. Seems that you don't need computed ever.
var mycopy = packing.isotopes;

redpajama_set_name: RedPajamaStackExchange


text:
Home › Advocacy › BMX and Scooters
BMX riding in skateparks has been a contentious issue for years. Skateboarders are divided on the issue. Some feel that BMX presents a dangerous, radical element in the skatepark environment. Others don't have any issues sharing the park with BMX riders and welcome the increased activity.
Scooters are relatively new introductions to the skatepark space. BMX riders and skateboarders are as divided on scooters as skaters are with BMX. Some feel scooters are a nuisance and a hazard while others have no issues with scooters using the skatepark.
BMX riders have had difficulty over the years in finding their collective advocacy voice. Progress has been made, but more work needs to happen. A challenge within BMX is that older riders move on to other kinds of bicycles to meet their recreational needs and interests. In other words, BMX riders become mountain bikers or road riders. Their concerns shift towards issues of trail access and shared lanes, and away from the challenges of freestyle BMX riding. Skateboarders, by comparison, continue to identify themselves as skateboarders well into middle-age, and when a skatepark advocacy effort emerges in their community they will be inclined to actively support the effort. BMX, without these "elder statesmen," must build their advocacy voice over and over.
Furthermore, there are fewer BMX riders interested specifically in skatepark access as there are skateboarders. It's difficult for BMX riders to rally the kind of support from the BMX community as it is for skaters (and it's plenty challenging for skaters). This can result in the perception among skateboarding advocates that BMX is uninterested in participating in the effort.
Scooters tend to be younger and, as a result, lack the tenacity for a sustained skatepark advocacy effort. This is changing as scooter riding evolves and its participants grow older. Many skateboarders claim scooter riders, as a whole, are unaware of their surroundings and use the space differently. Being younger, in general, they tend to be more focused on their physical actions and insufficiently aware of the people using the space around them. As an activity, it is a relative newcomer to the skatepark environment and already there is growing friction among seasoned skatepark aficionados and the seemingly disoriented, bewildered scooter riders. The perception of scooters, as well as the collective behavior and needs of scooter-riders in skateparks, is still evolving.
For simplicity, we'll refer to BMX riders and scooters collectively as secondary users.
Secondary users must be involved with the development of the skatepark. When scooter and BMX riders are involved with the leadership, advocacy, and fundraising efforts that create the skatepark, the collaborative effort sets the social tone at the skatepark. Conversely, when secondary users only emerge after the skatepark is opened and expect the same "right of way" as the skaters that are enjoying the result of years of hard work, the perceived inequity can produce a sense of propriety and ownership. It's critical that BMX riders invest themselves into any skatepark effort active in their area if they want to be considered a legitimate user of the skatepark. (Lots of skateparks do not officially allow BMX but the policy is not enforced…with mixed results.)
BMX riders move through skateparks much faster than skateboarders, while scooters move slower. These differences in speed can increase the chance of collisions. The professional skatepark designer should be made aware that scooters and BMX riders will be invited to share the park. The designer will accommodate those users by reducing blind spots and areas that are only accessible to one type of user. (Pool-block coping, for example, is a point of contention between skaters and BMX riders as BMX pegs can chip the material and render it unusable to skaters.)
Skateboarders acting as skatepark advocates may struggle to recruit and retain BMX riders in their core group. Skaters have a shared interest in skating, and the shared interest makes social cohesion easy. BMX riders have their own heroes, their own videos, and they are often attracted to structures and spaces that skateboarders aren't. While many skateboarders will consider individuals that ride BMX personal friends, few skaters will feel an affinity to BMX riding as an activity (unless they also happen to ride BMX bikes).
The BMX contingent of the core group should be several individuals that are prepared to reach out to the broader BMX community when appropriate. They will advise on BMX concerns, and participate in all events where the larger skate and BMX community needs to be activated.
Skatepark Advocacy for BMX Riders
The language of BMX advocacy is plagued by challenges. For BMX advocates, there are no easy solutions. Skateboarding advocates have it tough, but BMX riders have it even tougher.
Getting involved, and staying involved, with your local skatepark advocacy effort is the most significant impact you can have in shaping BMX access. Putting in the work and becoming allies with the skateboarders will ensure your BMX-riding peers share the rewards.
The worst thing you can do is to presume that BMX will be allowed at the new skatepark simply because someone told you, or that there is a picture of a BMX rider on the sign or advocacy materials. Any time you feel like there is "nothing to worry about," you should probably worry. Nothing is guaranteed, ever, even for the skateboarders. The only way to improve the chances of BMX being allowed is for you to be at the table when BMX is being talked about. Nobody is going to invite you to that meeting out of the blue; you will need to be involved in the conversations that lead up to those moments when policy is decided. If you're not in the picture while the skatepark is being planned, it's unlikely that you'll be in the picture when the park is open.
Advocating for BMX access after a park is open, and particularly within the first year, is very challenging. Here are some flawed arguments that inexperienced BMX advocates rely on to stage their effort:
"As a 'public' facility, we have a right to access."
BMX riders have no stronger right to the skatepark than football players or remote control car enthusiasts. Just because the BMX rider is attracted to the facility doesn't mean that their presence is guaranteed. This argument is naïve and easy for anyone that opposes BMX access to shoot down.
"As tax-payers, we have a right to access."
Tax dollars pay for many things that we do not, as a community, get to enjoy. Tax dollars support the local library, but that doesn't mean that skateboarders and BMX riders are allowed to skate or ride on its steps. This argument also presumes that the skatepark was paid for using tax dollars, and that may or may not be the case. Your tax dollars are spent according to community desires, and the community has spoken. If you weren't a part of that conversation when it was happening, you missed the boat.
"We promise to ride pegless."
This is a nice gesture but it is an unrealistic concession to promise, uphold, or enforce. If a BMX rider arrives with pegs, it's reasonable to expect him or her to not do those tricks where the peg comes into contact with pool coping. However, the preservation of the skatepark relies heavily on the general respect that the local BMX community has for the facility. If they feel invited, and particularly if they were involved in the advocacy and fundraising effort, the compliance with park policy will be much higher than if they visit the park as illegitimate users or, even worse, unwanted guests. (This is commonly known as "barging the park" and involves groups of BMX riders showing up en masse and dominating the park for a short period of time before they can be kicked out by park rangers. It's more common in areas where no-BMX policies are enforced.)
Using terms like "bigoted" and "segregation."
Depicting BMX access issues in civil rights terms is fine if you're trying to attract the ACLU, but it's not going to work for skatepark access. The simple matter is that anyone is welcome to use the skatepark provided they follow the rules. If BMX is not allowed, you should focus on challenging the rule on the basis by which it was created. Furthermore, using this kind of language suggests that you are prepared to wage a campaign on grounds that you likely have little experience in. (That is, unless you happen to be a civil rights attorney.) Skateparks don't allow BMX not because BMX riders are a particular type of people, and that BMX riding is outside of their control, but rather because BMX is perceived, in these communities, as a maintenance and/or safety issue. It's the same reason why skateboards, in many areas, are not allowed to use bike lanes or to grind the library steps. These "no BMX" skateparks arrived at that conclusion because there were no BMX riders present when they were talking about it. It's that simple.
"BMX doesn't damage skateparks."
This is a good argument for BMX inclusion but the phrase is wrong. Denying that BMX damages skateparks ignores the fact that allowing BMX at the skatepark will accelerate wear and tear. So, the better argument is, "BMX will increase wear-and-tear on the skatepark but not to a degree that it significantly adds to maintenance costs." Skateboarders cause an acceptable amount of wear and tear. BMX advocates should be arguing that BMX does not significantly increase this anticipated deterioration, and that the increased activity at the park will ultimately create a more successful, inclusive public attraction.
If the skatepark is currently open and the BMX community has been working for access, there are some things that you can do to make progress:
Organize a park cleanup day—or better yet, cleanup days—with BMX and skateboarders. This will demonstrate that the BMX community is willing to be involved and collaborate with the skateboarding community. This helps skaters and the Parks Department see specific value in BMX inclusion. If the BMX community cannot offer something of value to skaters and the Parks Department, there's no incentive to invite BMX riders to recreate in the space, particularly if that skatepark is already at capacity. Without something like this being offered, BMX advocates are basically saying, "we demand access to the skatepark but we're unwilling to earn it."
Put together a fundraising event, or events, to create a maintenance fund to offset the increased wear and tear that BMX will introduce. Offer this as part of your proposal to revise the No BMX policy. This may sound like a "buy off," but it's important to remember that the local skateboarders likely had to fundraise for years before the park was open.
The foundation of the BMX message, when it comes to skatepark access, should be:
We have earned the support of the skateboarders
Our involvement brings value
The reasons for denying BMX access can be resolved to everyone's satisfaction


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Even though all the song and dance that we are witnessing in Italy about the law that would regulate (that is, limit) the usage of telephone wiretapping would only benefit a few people who would want their dirty business to remain secret, it is actually true that, at least theoretically, there is a problem concerning eavesdropping; that is, our phone calls are at risk because the GSM network, as it has been proven several times, is not completely secure.
Therefore, this places us at risk of having our conversations intercepted by prying ears, and that the information gathered could be used against us. Of course, for those who live an ordinary life, the risk of having their calls listened to by a third party does not pose a serious threat.
But for those who have interests to protect, because their professional activity moves substantial amounts of money, or simply because they want their private matters to remain confidential, the danger of telephone wiretapping might mean losing a big order, or even having to close down their business, not to mention potential family problems.
To protect ourselves against mobile phone interception, it is possible to use a tool that makes sure that no one can listen to our conversations. The Stealth untraceable cell phone delivers absolute protection against the possibility of being intercepted, by adopting a dynamic defense strategy.
To understand how it works, you should keep in mind that wiretapping on our mobile phone can be done not only by the phone number, but mostly by keeping track of phone calls placed and received by a specific handset, intercepting it by its IMEI number, that is, the 15-digit number that uniquely identifies every single telephone. So, changing your SIM card is no use if you are being intercepted, and it would actually place you into a greater risk, as while you think you are protected, you may reveal secrets and compromising details.
Instead, the Stealth Phone, thanks to a modification in its installed firmware, can automatically change its IMEI number each time it is switched on and off, or after each call; the IMEI number can also be changed manually. By doing this, even though you are physically using the same handset, for the network operator (and for those who want to discover our secrets) it will be like you are using a different phone each time.
In the extremely unlikely case that an interception attempt should be detected, your invisible Stealth phone will warn you immediately, by a sound or a vibration. In such cases, all you have to do is close your call and change the IMEI number, either manually or by switching the phone off and on again. At this point, with a new IMEI number it will be like having a new (and non traceable) phone, so you will be able to resume your call where you left it.
Of course, using a Stealth phone does not protect you if it is your conversation counterpart who is being intercepted. Therefore, for those who call always the same person (a business partner or spouse) it is recommended that both use a Stealth Phone, in order to keep your conversations 100% secure and protected.
For more information on operation and different models of untraceable mobile phones, with prices and characteristics, we recommend that you visit the Endoacustica website and request a tailored consulting, one of our operators will contact you shortly.


text:
Q: Best Programming Practice for using packages(Java) Which one is better to do...
importing package or using them directly inside a method
for eg:-
import java.util.Arrays;
int arr[] = new int[10];
Arrays.sort(arr);

Is the above one better?
-----(OR)-------
int[] arr = new int[10];
java.util.Arrays.sort(arr);

According to me both perform same thing...
But I wanted to know which of these is the best programming practice...

A: Right now there is no difference but you'll start seeing it when you have your own Arrays class.
If it is unique class name go with first way. That's the best way to organise your imports. If you have duplicated class names (although not suggestable), you'll be forced to have the second way.

A: It's all by developer but I prefer import classes because code it's more readable.
Second is old best practice but as I say it is from the developer to the developer


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Lucy Boynton Ditches Her Signature Blonde Hair for a Fresh Copper Color
lucy boynton
By Hannah Militano
The actress debuted a new 'do on the red carpet wearing Chanel
US actress Lucy Boynton arrives for the premiere of "The Pale Blue Eye" at the DGA theater in Los Angeles, California on December 14, 2022. (Photo by Michael Tran / AFP) (Photo by MICHAEL TRAN/AFP via Getty Images)
Just in time for The Pale Blue Eye premiere, Lucy Boynton dramatically switched up her signature platinum blonde tresses for a new, unexpected hue. The actress stepped out on Wednesday evening at the DGA theater in Los Angeles, with copper red strands.
Jenny Cho styled Boynton's freshly-colored hair with a straight middle part. The actress juxtaposed her edgy beauty moment (complete with a bold oxblood lip) with an ethereal ivory Chanel gown from the Fall/Winter 2020 Couture collection, styled by Leith Clark.
Boynton accessorized her ensemble with dangling chandelier earrings and a statement star ring with a vampy burgundy manicure. The actress slipped into a pair of white Chanel heels with black capped toes to complete the look.
Lucy Boynton attends "The Pale Blue Eye" Los Angeles Premiere at DGA Theater Complex on December 14, 2022 in Los Angeles, California. (Photo by Matt Winkelmeyer/Getty Images)
This year, fiery red hair became the hottest hue in Hollywood, with Emma Chamberlain, Kendall Jenner, Sydney Sweeney, Barbie Ferreira and Sophie Turner adopting the bold beauty look (and it doesn't seem to be leaving anytime soon).
The Pale Blue Eyes stars Boynton, Christian Bale, Harry Melling, Robert Duvall, Gillian Anderson and more. Set in the 1800s, the film follows detective Augustus Landor (Bale) who struggles to uncover the truth in a community upholding a code of silence. He enlists a fellow cadet to help solve the case – a man who the world would one day come to know as Edgar Allan Poe (Melling).
Lucy Boynton attends the Academy Women's Luncheon Presented By CHANEL at Academy Museum of Motion Pictures on November 16, 2022 in Los Angeles, California. (Photo by Amy Sussman/FilmMagic)
The Pale Blue Eye streams on Netflix on Jan. 6.
topics: lucy boynton, celebrity style, hair, hair color, red hair, featured, Chanel


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MEDIA & TECHNOLOGY, SCIENCE
NASA Announces Discovery Of Water On Mercury
Posted by LadyKBrandt ⋅ November 30, 2012 ⋅ Leave a comment
Filed Under Discovery, Ice, Mariner 10, Mercury, MErcury Surface Space ENvironment GEochemistry and Ranging, Messenger, NASA, Poles, Probe, Science, Space, Universe, Volcanic Activity, Water
via Andres Jauregui, The Huffington Post
NASA announced Thursday that its Messenger probe has discovered new evidence of water ice on Mercury.
In the announcement, Sean Solomon, principal investigator for the Mercury Messenger program, said the probe had uncovered new evidence that deposits in permanently shadowed regions of Mercury's poles is water ice. The ice is found predominantly in impact craters, according to data obtained by Messenger.
According to a NASA press release, the tilt of Mercury's rotational axis is almost zero — less than one degree — so there are pockets at the planet's poles that never see sunlight. Scientists suggested decades ago that there might be water ice at Mercury's poles, but the new findings provide "compelling support" for that claim.
Messenger used neutron spectroscopy to measure average hydrogen concentrations, an indicator of water ice.
"The neutron data indicate that Mercury's radar-bright polar deposits contain, on average, a hydrogen-rich layer more than tens of centimeters thick beneath a surficial layer 10 to 20 centimeters thick that is less rich in hydrogen," wrote David Lawrence, a Messenger scientist based at the Johns Hopkins University Applied Physics Laboratory. "The buried layer has a hydrogen content consistent with nearly pure water ice."
Launched in August 2004, the robotic spacecraft conducted three flybys of Mercury in 2008 and 2009 before entering the planet's orbit in March 2011.
The probe has collected more than 100,000 images of Mercury, some of which are viewable on NASA's website.
Messenger, an acronym of MErcury Surface, Space ENvironment, GEochemistry and Ranging, has already changed the way scientists think about the planet closest to the sun.
« Palestine's Upgraded UN Status Granted By Wide Margin
Israel Moves To Build 3,000 New Settlement Homes As 'Punishment' For UN Vote On Palestinian Status »


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A new poll has shown that the SNP would win back seats that they lost at the snap General Election last year, but their support has dropped slightly in Scottish Parliament voting intentions.
A Survation survey for the Daily Record also highlighted the scale of the task facing Richard Leonard as the Scottish Labour leader has seen his party's support fall in a Westminster election.
The SNP would regain seats that they lost last year, the survey finds, with Nicola Sturgeon's party on 42 per cent of the vote at a Westminster election. Ruth Davidson's Scottish Conservatives have fallen five points on their 29 per cent result in June last year.
Labour's support has fallen from 27 per cent to 23, which would leave them with just a single Scottish seat if the result was reflected nationwide.
Ms Sturgeon would also see her party remain the largest at the Scottish Parliament, though their constituency vote share has fallen to 43 per cent and their regional vote share has slumped by nine points, leaving them with 33 per cent.
The Conservatives are up two points to 24 per cent in the constituency vote, though this is offset by a three per cent fall in their regional vote share, while Labour are on 21 per cent in both votes.
It would leave the SNP the largest party on 59 seats, a fall of four, with Labour on 26 (a gain of two) and the Conservatives losing eight seats on 23.


Sergio Larrain wrote this letter in 1982, to his nephew Sebastián Donoso, who had previously asked Larrain where to begin in becoming a photographer. The letter was written a decade after Larrain quit photography and retreated to the Chilean countryside to dedicate himself to Yoga and Meditation until his death.
The original version, included in the book Sergio Larrain, Vagabond Photographer is full of erasure marks and corrections, demonstrating the effort Larrain put into making his nephew understand with simplicity, the kind of career path he was about to take.
The most important thing is to have a camera that you like, the one you like best. It has to feel right, its body, and you have to be happy with what you are holding in your hands. The tool is crucial for anyone with a trade. And it should be simple, exactly what you need, no more and no less (a good body, the Pentax with a macro 1:1 lens; Panchito has one I think so go and have a look). Then you need a 35 mm enlarger that you like, one that is as efficient and simple as possible. Leitz´s smallest model is the best and you'll have it for life. (Leitz has a branch in Santiago, they can import).
Then you have to go out and seek adventure, like a boat with all sails hoisted; go to Valparaiso or the Chiloé Archipelago, or walk the streets all day; wandering, always wandering around unfamiliar places, and when you´re tired, sit back against a tree, buy a banana or some bread … that´s it, take a train, go somewhere that takes your fancy and have a look, leave the world you know, find your way into places and things you´ve never seen, allow your own desires to guide you, travel from one place to another, go wherever you like … and little by little, you´ll discover things. And pictures will steal up on you, like ghosts; take them.
Later, once you have returned home and developed them, make some prints ands start to look at your haul, all the fish you´ve caught … stick them to the wall with tape, print them in postcard format and look at them … Start playing with the "L" shape, looking for crops, images to frame, and you´ll learn composition and geometry, you can make a perfect frame with an "L" (two pieces of card cut into an L-shape). Enlarge your framed compositions and put them up on the wall.
To live with them. To see them as you pass by.
If you´re sure a photo is no good – throw it away!
Take better ones and stick them a little higher up on the wall, in the end you will have kept only the good ones, and no others. Holding on to the mediocre ones will condemn you to mediocrity. Keep the "hits" only – the really arresting images, throw out the rest because everything you keep will be retained in the unconscious.
Then do some exercise, busy yourself with other things and don´t worry. Start looking at other photographer´s work, searching for quality in everything you came across – books, magazines, etc. Select the best and if you can cut out the good ones and stick them on the wall besides those you have taken. And if you can´t cut them out, open the book or the magazine at the page you like and leave it open, on display.
Allow them to seep in and nourish you for weeks or months on end – you will learn a lot by looking. But little by little they will surrender their secret to you and you will learn what is good, and see the depth in each one.
Continue living quietly, do some drawing.
Go for a walk, and never force yourself to take photos, as the poetry will be lost and the life it contains will be frozen. It´s like forcing love or friendship, it´s impossible.
When you are ready to start again, you can set off on other voyages and wanderings, make your way to Puerto Aguirre, you can go on horseback right down to the glaciers, from Aisén… Valparaiso is always wonderful, getting lost in the magic, taking a few days exploring the hills and lanes and spending the night in a sleeping bag somewhere … finding reality like swimming at the bottom of the sea, with nothing to distract you, where nothing is as expected, you try to take a step in your espadrilles, slowly, as if you have been purified, wanting to see … singing softly.
You will photograph what you find with great care; you have learnt to frame and compose; now do it with the camera … and bit by bit, the bag fills with fish and you go home. (Learn to adjust aperture, change the foreground, saturation, speed, etc. Learn to play with all the possibilities your camera offers).
You will come close to poetry, yours, that of other people, be inspired by what other have done well (MoMA in New York has published a number of books, my father has a few of them in his library), make a collection of excellent images, a small museum, in a folder. Do what you want to do and nothing else, trust only your own taste.
You are life and life is what you choose, don´t consider what you don't like, don't use it. Your choice is what matters, but use the work of others as inspiration.
When you have several really good photos, enlarge them and show them in a small exhibition – or make a little book. Bind them together (look at what I did during my apprenticeship, my father has them in his library). This is how you will establish a basic standard. By showing your work you will get better at picking out the good and the bad by pitting it against others – you´ll feel it.
Putting on an exhibition means giving something, like preparing a meal, it´s good for the others to show them work done with good taste, it´s not self-congratulatory, it´s a good thing, it´s healthy for everyone. And it´s good for you too as you can see how you measure up.
So now you have what you need to start.
You´ll need just to walk around a lot, sitting down under a tree somewhere or other … a solitary stroll in the universe, which suddenly you are really seeing for the first time. The conventional world is a screen, you have to get out from behind it – when you take photographs.


Heading to Greece? I'm sharing the exact itinerary I followed, with honest reviews about each place. After reading this Greece itinerary, you'll be ready to plan your journey and enjoy a well-rounded Mediterranean experience!
This Greece travel itinerary I'm about to share is based on the route I made on my first trip to the country. Some of the places were a surprise, others lived to its hype and one big disappointment. Honest policy here.
Well then, with no further ado, let's get into the details!
The rooftop on this hotel is enough of a reason to stay here. Add a charming atmosphere, great location and a superb breakfast and you're set for a great time in Athens.
📍 How to get to Athens city center: Metro Line 3 will take you to the center – Syntagma and Monastiraki squares included – in about 40 minutes (10 EUR). There's also the option of bus: lines X93 will take you to Kifissos KTEL Bus Terminal and X95 to Syntagma Square. Finally the Proastiakos train connects Athens Airport with the Central Station (also known as Stathmos Larisis). Taxi is much more expensive (40EUR+).
🕑 How long to stay: I suggest staying at least 2 full days in the city. It's not huge, but the heat can slow you down more than you think.
🔀 How to get around: no need for a car. Metro is convenient and fast and there are buses going pretty much anywhere. Uber is available and is great for some more remote places, like the Lycabettus Hill.
🍴 Best place to eat: Might be touristy, but having dinner with the Acropolis as a backdrop in Veranda was memorable. Hi-Fai Grill House was also great value for a quick dinner.
📍 How to get to Kalamata: From Athens you can get to Kalamata by a 3-hour ride on an intercity KTEL bus. There are express and normal buses departing every hour from the KTEL Bus Station Kifissou terminal in Athens.
🕑 How long to stay: This is a place to relax so you can take as much time as you need. I'd say 2 full days, at the very least.
🔀 How to get around: public transportation is limited. A car would be great to avoid dependency on taxis.
🍴 Best place to eat: all the restaurants by the beach near Avia were good value. I had great meals by the sea in Akrogalia and Hobo Beach Bar.
While it wasn't the most colorful sunset I've seen, I admit the light reflecting in this cliffside town and gorgeous sea view created an ambiance hard to beat. In the end everyone clapped, cheering to another day passed 👏.
📍 How to get to Fira city center: regardless if you come from airport or plane, you can hop on a taxi to Fira or take the cheaper option: the bus. There is also a good network of buses connecting these to the main villages of the island.
🕑 How long to stay: I suggest staying at least 2 full days in Santorini. More if you plan to go to the Caldera or have some beach time.
🔀 How to get around: You can walk most of the time or rent a bike or quad-bike starting at 30EUR/day. Don't forget the buses.
🍴 Best place to eat: my favorite place to eat was by far Theonis Kitchen. Family-owned restaurant serving huge portions of delicious Greek food!
I've shortlisted the hotels with best reviews and free WiFi for you.
📍 How to get to Chora city center: from the port it's – literally – a 2-min walk.
🕑 How long to stay: How long do you want to relax on the beach? Take at least 2/3 full days to get into the rhythm.
🔀 How to get around: You can walk to most of the beaches and points of interest. Alternatively, there are bikes available to rent. No buses on the island.
🍴 Best place to eat: the best meal I've had in the island was in Mixalios Grill House. Specialized in meat dishes, especially lamb and goat (from Keros island), and the cheese specialties from Amargos. Locally grown food and big portions and reasonable prices: the perfect combo.
📍 How to get to city center: from the port it's about 15-min by car. Check if your hotel has transfer included, otherwise take a taxi.
🕑 How long to stay: About 1-2 full days if you're not into the part scene; 2-3 days extra if that's your case (there's a lot to do).
🔀 How to get around: Although there is a decent bus network, to explore the whole island independently and conveniently, you'll need a bike. Quad-bikes are particularly popular here.
🍴 Best place to eat: to be fair, nothing was memorable, but I didn't want to stretch my budget. The gyros from Saki's Grill House were very good value though.
If possible, try to come during spring (April to June) or in fall (September-October) to bypass these issues and have a more pleasant experience.


The image world of the Kennedy era is so ripe for critical reexamination that after reading David Lubin's innovative study I kept wondering why it took this long to be tackled. Between JFK's orchestrated rise to the limelight in the early 1950s and unexpected yet captured-on-camera murder in November 1963, could one find a better turning point in modern U.S. history than the second, neo-Camelot decade of Cold War America? In the tradition of Fitzgerald, many eulogize the period as the end of American innocence, while a disenchanted minority leans toward Malcolm X's judgment of "the chickens coming home to roost." Already this schism in diagnosis suggests the intrinsic complexity of the topic, combining, as Lubin details, much banality with tragedy.
Certainly this author is hardly shy about playing the full range of available notes, however dissonant the effect. "This book is less about JFK than about the television I didn't get to watch the day of his funeral," is one of the diverting ways that Lubin introduces his study. With a similar challenge to reigning pieties, his choice of "shooting" as lead word in the title is unnervingly ambiguous, targeting both the shocking assassination and the vulgar cult of celebrity by which the handsome junior senator (with photogenic wife in tow) gained the presidency, then charmed the world in that office before his on-camera murder, followed by a carefully choreographed transfer of power and televised state funeral.
In retracing JFK's rise and fall as publicized in images, Lubin's aims are threefold at least. He makes a point of confessing his TV-oriented childhood less to gain intimacy with his reader than to establish his bona fides for a revisionist interpretation of Kennedy's appeal, since in this argument such appeal is bolstered by the way it meshed with a host of other familiar images and stories from the period. After a deft summary of the media connections and acumen that linked the Kennedy clan to the fortunes of Hollywood, LIFE magazine, and the emerging world of TV, Lubin proceeds to construct a kaleidoscope of mass media tropes that, directly or indirectly, added luster to the Kennedy mystique: Guys and Dolls, North by Northwest, Cleopatra, a whole slew of James Bond films starting with Dr. No, Marilyn Monroe, Donna Reed, Fail Safe, and The Beverly Hillbillies—to name just a few from his encyclopedic litany. If the last reference seems utterly farfetched, be advised that Lubin's centripetal field of reference will test your own potential as a Jeopardy contestant, and also your tolerance for coincidences and six-degrees-of-separation connections. Even when one remains unconvinced, the tenuous links linger provocatively; to wit, I now can't shake the skewed analogy between the Kennedy campaign trip to the Wild West and the leading 1963 sitcom of parvenu rednecks in Tinseltown.
Anticipating the critique of the shallowness of cultural studies that such a stew will incite, Lubin almost immediately performs a set of counter moves, inviting us to consider the familiar Kennedy imagery not only in relation to that which is lowly or middlebrow but also that which is elite or vanguard fare: Warhol's Sleep, Rothko's color abstractions, Bacon's deformed head studies, Plath's The Bell Jar, Mahler as conducted by Bernstein, even Happenings. In this heuristic model that never mentions Greenberg or his fall-guy named "kitsch," any instance of culture worthy of the name is always already in dialogue with a multitude of forms—high and low, central and peripheral.
Despite its cultural breadth, this study defies the now predictable condemnation of the anthropological or sociological sensibility as facile substitute for traditional art-historical analysis. The nine chronologically structured chapters—with the exception of an opening devoted to the exceptional Zapruder filmic record of the fateful motorcade—all begin with an emblematic image that is, after a host of comparisons, both enlarged and unpacked. With that consistent focus, Lubin has hardly renounced art history; on the contrary, with some frequency he could be faulted for self-indulgent displays of erudition. But the author's wealth of art-historical knowledge makes it possible to see powerful connections between photographs of Jackie cavorting with Caroline at the seashore and images of Galatea or, at the end of the JFK saga, to see in the funeral procession strong echoes of the Ara Pacis frieze.
Thus the third and arguably overarching aim is to prevent the most iconic images of that period from enjoying carte blanche acceptance as "historic," which might obviate the need for further analysis. Instead, Lubin argues that the most familiar, reproduced, and cherished images seem "naturally historic" not just because they refer to historic figures and events but do so by invoking longstanding tropes in the history of images, specifically images referring to momentous history. In sum, the one conspiracy theory that Lubin energetically advances has to do with the way images—in this case public, political images—derive their authority from a tried-and-true canon of established visual tropes of election to power, authority, romance, tragedy, and mourning.
In support of such myriad aims, Lubin's methodolgy is flexible in the extreme, mixing up and switching fast between social history, cultural studies, semiotics, formalism, and iconology. Indeed, for those wanting to see the frequently discredited system of iconology at work today, this is an excellent update of Panofsky's typological method, inflected perhaps with shades of Jungian psychology. Or possibly it is a kind of epistemological performance piece, aiming to see how close one might get to integrating the contrary instincts of fox and hedgehog, as espoused by Isaiah Berlin.
The resulting multi-directional probe is dazzling, if frequently dizzying too. Lubin subjects to analysis nearly every possible connection, association, and contingency that may enrich our understanding of the personae and iconic images surrounding Kennedy. With regard to Lee Harvey Oswald, he insists that we consider the basic plot of the two B movies that were playing in the Dallas theater where he briefly sought to hide following the assassination. And in a similar dredging labor, he asks that we consider the similarities and differences between the image of the point-blank assassination of Oswald two days later and Goya's Third of May, and even the Laocoon. If reasonably cautious readers instinctively stop short here, the author covers such moves with the recurrent comparative preamble that images A and B are both similar and dissimilar, a caveat applicable to everything under and beyond the sun. This book is like a Rorschach test to the extent that each reader will draw the line at different points between the illuminating, plausible, permissible, and outrageous; if the reader is reflective rather than merely reflexive, she or he will learn some new things about these icons and herself or himself in the process.
Of course once dispatched down this road, even the resistant may start to accept the principle of significant association if not Lubin's particular drift. I was left cold by one extended consideration of an anonymous photo of JFK pulled from the Kennedy portrait files of the Bettmann/CORBIS collection (fig. 54) that shows a double portrait of JFK peering from behind a car and reflected somewhat anamorphically in the car hood. Lubin offers no evidence that the photo had ever been reproduced, so here he uses it retrospectively to suggest its prophetic revelation of deep character flaws or, if that fails to fly, its distant relation to the manifestly disturbing portraiture of Francis Bacon. While Bacon surely studied many forms of photographic accidents, the comparison hits a wall here since the painter never supplies the physiological norm that dominates the center of this press photo. In this case, I'd counter that Lubin unearthed a rather interesting photograph but focused attention on the wrong feature. The most interesting or at least notably creepy quality of anamorphosis in this picture is not the conventional if distorted reflection of JFK in the hood of the car but rather the sliver of a second face just to the left of JFK's head. I wouldn't follow Lubin's lead and propose that this might serve as accidental prophesy of the decomposition of the president's head fourteen months later, but rather to counter the titular argument of the next chapter that however much the presidency might be considered heroically as "the loneliest job in the world," here's refutation that it is also one of the most crowded jobs. For the ever-guarded president, the third eye is not in the middle of one's forehead but right behind one's ear.
This book develops two major extended arguments about the conservative nature of culture and its relation to politics. One is that images stand out when they resonate with the already familiar, although the familiar element may not be readily apparent. Beneath the novel gloss of Jack and Jackie was their capacity to traffic very skillfully in images, often quite traditional ones regarding conventional gender roles and the noble virtues of (chiefly male) public service. This dovetails with Lubin's narrative program that ends deliberately with two chapters devoted to the briefest of interregnums and a funeral designed to provide closure with maximum pomp, in both instances to avoid political uncertainty at home and abroad. Embedded in this structure is the second, more overtly, political argument. While his last chapter revolves around the son's memorable salute to the fallen leader, Lubin pointedly considers the less familial symbolism in the big finale, following that scripted filial gesture, of fifty jets flying in formation over Arlington National Cemetery. With a traditional eye toward reception evidence, Lubin also notes the next day's front page of the Sacramento Bee, balancing coverage of the funeral with a story reassuring readers of continuity in plans for U.S. intervention in Vietnam. Thus we are reminded that the ultimate purpose of these public family dramas is to knit the body politic more tightly together to support that abstraction called national (or today, "homeland") security.
But in making this crucial argument for the weight of tradition, Lubin may have overcompensated in reaction to the century-long emphasis on modern culture's keynote as innovation. The Zapruder film warrants the extended consideration that Lubin devotes to it in two chapters, arguably, however, for different reasons. According to Lubin, it is a modernist text comparable to Warhol's Sleep in that both engage the viewer in the spectacle of real time. Moreover, Lubin even rehearses a previously noted affinity between Rothko's abstract color paintings and the blocks of color that dominate in the screenings of bootleg copies of the film that circulated in the late '60s and '70s. I contend on the contrary that the most modernist element is neither the color nor the real time per se, but rather what the enlargement of film stills reveals that the public had never viewed previously: the way one or more bullets can decompose a man's head so radically that his elegant companion involuntarily starts crawling on the trunk of the convertible in an attempt to recompose the fragments. Lubin also links those stills with David's Death of Marat, a comparison I find quite wrong-headed since David was a master of dignifying death with the calm order of finality; in the case of JFK, there could be few modes of death that involved greater indignity—absolutely no chance of an open-casket funeral for the headless leader. It is this barely thinkable condition, years before David Lynch's Eraserhead, that makes the Zapruder film so unforgettable, thus fulfilling the rationale for Pound's aesthetic decree to make it new. Indeed, I found myself thinking that the closest precedent for these stills published in LIFE magazine were the stroboscopically illuminated flash studies of Harold Edgerton, and then found myself wondering if the popularity of Edgerton's pictures after the Kennedy assassination—particularly the images of a bullet blowing an apple or light bulb to smithereens—might derive metonymically from the shock of the scene recorded in Dallas?
Yet it is less important that Lubin overlooks Edgerton while noting Arthur Penn's reenactment of the roadside assassination for the finale of Bonnie and Clyde than that he has a produced a book that stimulates its readers to pursue such thoughts, to think anew and in more nuanced fashion about the reciprocal force of convention and innovation as they interact and reinforce each other within the overlapping spheres of art and politics.


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          <note xml:id="ftn59" place="foot" n="59"> These 7 letters, along with a further 3 written in 1897,  were republished as a booklet,<hi rend="italic">Certain errors of the Church of Rome</hi>, and are republished in Vol. 3 of this series in <hi rend="italic">What I believe to be genuine and authentic</hi>—<hi rend="italic">Ed.</hi>
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redpajama_set_name: RedPajamaGithub


The sales team is one of the most vital parts of any organization. They are responsible for a lot of things, such as fetch revenue for the business, increase brand value, establish sustaining a relationship with clients, and be the first point of contact between the internal management and customer. A business cannot prosper if the marketing and sales team lacks productivity loses interest. Therefore, developing businesses and start-ups need to adapt and implement business utility and productivity apps into their sales and marketing models.
Most often, it is found that in order to balance both primary duties, such as bring in more clients, and secondary obligations, such as communication and administration, the sales team ends up not accomplishing their goals, which leaves them with unfulfilled targets and poor time management strategies. Organizations today must need some kind of reinforcement models that will help their sales force to eliminate redundant tasks and improve their performances.
Mobile applications bring so many unexplored opportunities for the sales team to make more sales, improve efficiency, and increase selling time for each sale personnel.
Access to accurate and immediate information, experiencing and inculcating seamless communication, and projecting a dynamic and clearer picture of products and services to potential clients can be enhanced and tailored to suit organization requirements through mobile applications. By implementing automation in sales, the time, effort, and skill wasted on manual work, such as data entry that leads to data error, can also be reduced.
Mobile applications enable sales personnel to have access to comprehensive information about their work, their to-do activities of the day, and the information needed to function at the tip of their fingertips.
Customized mobile applications provide marketing executives with information on the retailer, manufacturer, or distribution dug out from the company's integrated CRM. Automation also lets representatives track their own as well as external resources'activities, such as distance, time, travel, delivery, and transportation.
Quick and comprehensive access to data allows the sales force to have greater knowledge about the client, in terms of history, payment status, customer ratings, projects implemented, products ordered and so on. With complete information, executives can prepare themselves better for pitching their products and services to prospects.
Automation of sales force enables the marketing team to feed details and client information digitally and retrieve them from the cloud when and as needed. Mobile applications and the availability of information as ERP data remove traditional approach to data storage and sharing.
Automation of the workflow process of the sales team through mobile app solution leads to cent percent accuracy in project/service/product delivery time. Reps will be able to send workflow processes to clients for their approval before the project is started.
ERP system allows the sales team to store data to process when required. This promotes on-time delivery, better customer engagement, improved status updates back and forth, and proactive post-delivery service.
When it comes to client interaction, mobile applications can be extremely useful with regards to making an interactive sales presentation, building and sending proposals, and connecting with clients at a personal level. Sales reps can design their presentation with interactive apps instead of using the traditional PPT models and make each meeting more engaging.
When it comes to making proposals, it is important that executives are alert and attentive in noting down requirements and ideas. Customized mobile applications and tools can help them to create proposals on the go, which in return help them to close deals faster and increase efficiency in offering competitive prices.
Sales reps can use their smartphones in more numbers of ways than they could imagine. Integrating a CRM system to smartphone boosts work clarity and quality. You could also eliminate carrying laptops everywhere if you have everything functional in a smartphone.
More innovative ways are coming this year, number one being wearable technology. They will have a huge impact and sales representatives will be able to customize more apps using the technology.
We conclude by stating: with the advent of smart technology, you just need one mobile application to change the dynamics of the sales force. From keeping clients informed and boosting sales, to improved loyalty and trust, one can leverage mobile apps as a powerful marketing tool. The cost of development is very small compared to the payoffs you would receive in the future. A mobile can work as a promotional channel, business catalog, product/service information page, online shop, client base and a doorway for new opportunities and collaborations.
If you want to know in what ways you can leverage the power of technology through mobile applications for your sales team development, contact us for a free consultation.


Sarah Hart (nee Culley) was pregnant with her second child when her husband committed a burglary and went on the run for eighteen months before being caught and sentenced to seven years aboard a prison hulk. She managed to keep herself and her two children alive during this time. The family arrived in New Zealand on board the 'Tyne' in 1841. Sarah was my fourth great grandmother - Debbie McCauley (2013).
Sarah Culley was born in 1806 to William and Margaret Culley (nee Corne) who married in East Farleigh, Kent, England, on 7 April 1792. Sarah was baptised in Bearstead, Kent, England, on 12 October 1806.
On 24 August 1823 Sarah married bricklayer Edward Hart at St Mary's Church, Thornham [Thurnham], Kent, England. Their first child was born in 1823 and Sarah was pregnant with their second in 1825 when Edward commited a burglery and then spent the following eighteen months on the run. How Sarah coped during this period is a mystery, but she must have been a very strong character. Edward was eventually caught and convicted on 16 August 1827. He was sentenced to seven years aboard a prison hulk so Sarah and the children just had to carry on somehow without him.
After Edward's release, he returned to his wife and children. The Hart family arrived in Wellington, New Zealand, aboard the Tyne on 9 August 1841.
Sarah Hart (1823-?). Born in 1823, Sarah was baptised on 5 September 1823. She was a sempstress, aged 18 when the family arrived in Wellington, New Zealand aboard the Tyne on 9 August 1841.
Edward Hart (1825-?). Born in 1825, Edward was baptised on 17 April 1825. He was a labourer, aged 14 when the family arrived in Wellington, New Zealand aboard the Tyne on 9 August 1841. Edward married Nga Kaha in the Native Church Te Awahou in the Manawatu on 11 March 1853 (reg. 1853/1014).
Ellen Hart (1832-1929). Born in Maidstone, Kent, England, in 1832. She was aged 9 when the family arrived in Wellington, New Zealand aboard the Tyne on 9 August 1841. Ellen married Edward Birkett in Wellington on 5 December 1853. She died, aged 97, on 29 August 1929 (reg. 1929/7530).
William Hart (1834-1835). Born in 1834, William was baptised in Thornham, Kent, England on 26 October 1834. He died the following year and was buried in Thurnham on 4 October 1835.
Eliza Hart (1846-1914). Eliza was born in Wellington on 30 March 1846. She married John Wallis at the private residence of Joshua Smith in Wellington on 13 January 1863 (reg. 1863/7832). She moved to Christchurch in the 1870s. Eliza was active on the National Council of Women and the Vote for Women. Her signature appears directly under Kate Sheppard's on the first page of the petition, both of Riccarton, Christchurch.
Rose Hart (1847-?). Rose was born in Wellington in 1847. She married James Smith on 29 October 1873.
Sarah died in Wellington, aged 74, on 12 March 1880 (reg. 1880/5042). Her death notice appeared in the Evening Post: HART. – On the 12th March, at her late residence, Alma Lane, off Tory-street, Sarah Cully, the beloved wife of Edward Hart, aged 74 years (Evening Post, 13 March 1880, p. 2). She was buried in Bolton Street Cemetery, Wellington, on 15 March 1880 (Plot: 127.R).
Edward died in Wellington, aged 82, on 23 November 1884 (reg. 1884/4547). On 24 November 1884 the Evening Post reported that: An octogenarian named Edward Hart, who has resided in Wellington for exactly half of his long life, died yesterday at his residence in Tory-street. (Evening Post, 24 November 1884, p. 2). Edward was buried with Sarah in Bolton Street Cemetery on 26 November 1884.
Burial Record: William Hart (1835).
Death Certificate: Sarah Hart (1880).
Evening Post (1880 & 1884).
Frances Moss : second great granddaughter of Sarah Hart (nee Culley) and great granddaughter of Eliza Wallis (nee Hart) (personal communication, 17 April 2013).
Marriage Entry: Edward Hart and Sarah Culley (1823).
Wellington Cemetery Records Online: Edward Hart (1884).
Wellington Cemetery Records Online: Sarah Hart (1880).


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