text:
namespace Slicedbread.EventStore.ClusterHost
{
    using System;
    using System.Configuration;
    using System.IO;
    using System.Reflection;
    using Serilog;
    using Serilog.Events;
    using Slicedbread.EventStore.ClusterHost.Configuration;
    using Topshelf;

    public class Program
    {
        public static void Main(string[] args)
        {
            ConfigureLogging();

            var configuration = (EventStoreServiceConfiguration) ConfigurationManager.GetSection("eventStore");
            var address = NetworkHelpers.GetIPAddress();

            HostFactory.Run(
                hc =>
                {
                    hc.UseSerilog();
                    hc.RunAsLocalSystem();
                    hc.StartAutomatically();
                    hc.EnableShutdown();
                    hc.EnableServiceRecovery(c => c.RestartService(1));

                    hc.Service<EventStoreService>(
                        s =>
                        {
                            s.ConstructUsing(name => new EventStoreService(address, configuration));
                            s.WhenStarted(tc => tc.Start());
                            s.WhenStopped(tc => tc.Stop());
                        });

                    hc.SetDescription("EventStore OSS Cluster Host Service");
                    hc.SetDisplayName("EventStore Host");
                    hc.SetServiceName("EventStoreHost");
                });
        }

        private static void ConfigureLogging()
        {
            var logLayout = "{Timestamp:HH:mm} [{Level}] ({ThreadId}) {Message}{NewLine}{Exception}";

            var logFile = Path.Combine(GetAssemblyDirectory(), "Slicedbread.EventStore.ClusterHost.log");

            File.Delete(logFile);

            Log.Logger = new LoggerConfiguration()
                .Enrich.FromLogContext()
                .Enrich.WithProcessId()
                .Enrich.WithThreadId()
                .Enrich.WithMachineName()
                .WriteTo.File(logFile, outputTemplate: logLayout, restrictedToMinimumLevel: LogEventLevel.Information)
                .WriteTo.Console(outputTemplate: logLayout, restrictedToMinimumLevel: LogEventLevel.Information)
                .CreateLogger();
        }

        private static string GetAssemblyDirectory()
        {
            var codeBase = Assembly.GetExecutingAssembly().CodeBase;
            var uriBuilder = new UriBuilder(codeBase);
            var assemblyPath = Uri.UnescapeDataString(uriBuilder.Path);
            return Path.GetDirectoryName(assemblyPath);
        }
    }
}


Reduce worker exposure to hazardous materials. Product transfers are clean and product losses eliminated. Truck unloading is faster, easier, and safer.
Eliminate spills and clean-ups in your plant. Dry Link is used on solvent switching manifolds to allow leak-free transfer of solvents to multiple tanks.
Identical disc halves securely shut-off flow in the line.
When product loss is a major cost of doing business, reduce your operating expenses with Dry Link. Here ingredients are dispensed to a batch reactor in the blending room of a cosmetics plant.
Using Dry Link on vertical lines is an ideal application. With its drip-free design the work area remains clean and safe. Unloading large containers like this rail car is faster thanks to the superior flow characteristics of Dry Link.


text:
Bogolyubovka () is a rural locality (a village) in Dyomsky Selsoviet, Bizhbulyaksky District, Bashkortostan, Russia. The population was 158 as of 2010. There are 2 streets.

Geography
Bogolyubovka is located 31 km south of Bizhbulyak (the district's administrative centre) by road. Kachkinovo is the nearest rural locality.

References

Rural localities in Bizhbulyaksky District

redpajama_set_name: RedPajamaWikipedia


text:
In other Max Tundra news
1. Finally, the Max Tundra Peel Session are available for free download!
Max Tundra Peel Session
I still haven't heard these songs - I'm at work and don't have the ability to do so right now, but you can bet they'll be the first thing I listen to when I get home.
Some background: these were recorded shortly before John Peel's death and not broadcast until shortly thereafter. Four tracks taken from his first two albums, all of them re-recorded with a live. If you've never, ever heard a Max Tundra song before, please take the time to listen to Cakes at the very least - it's a phenomenally good song and the one that made me love his work.
2. If you're interested in his remixes, there's now a MySpace page of some of them available. No, the sound quality isn't wonderful and no, you can't download MP3s, but you can at least get a sense of what some of them sound like. Bonus: the posted version of his Pet Shop Boys remix isn't the one that was actually released; instead, it's his first, rejected version.
3. If you live in San Francisco, LA, Chicago, or New York, you'll have a chance to see Max Tundra live this August!
Aug 18 2009: Cafe Du Nord, San Francisco
Aug 19 2009: Spaceland,	Los Angeles
Aug 20 2009: Empty Bottle, Chicago
Aug 23 2009: Jelly NYC, Brooklyn
You can bet I'll be at the LA show - his performance in Phoenix earlier this summer was sublime, ineffable, wonderful, blah blah blah. You've heard me go on before. Now it's your turn to go. Tickets are about ten bucks. See you there!

redpajama_set_name: RedPajamaCommonCrawl


Farriers wanted for Rio 2016!
Notice added 11 November 2014.
Notice added 6 November 2014.
Notice added 23 October 2014.
Notice added 29 September 2014.
Notice added 18 August 2014.
Notice added 8 May 2014.
Notice added 25 February 2014.
Notice added 10 December 2013.
Notice added 11 November 2013.


text:
GLIMMERING LIGHT
Calight Bear
Lumière Journal Nov-Dec 2017
Although I still can't imagine Sisyphus happy, it is getting clear that there are three things I can't live without: literature, film and coffee. Recent happenings have filled me with anger, but literature and film, reminding me to be gentle and humble, help me release it when I want to repress it. A person like me who is inarticulate prefers to write than to speak. To make myself keep on writing, I decided to keep a Lumière Journal recording my brief and random thoughts on the films I watched in theatres in the months and post the entries here.
The Third Murder (2017) 三度目の殺人
Dir. Hirokazu Kore-eda
HKAFF 2017
Compared with his previous family dramas, Kore-eda presents us with an unsolved mystery questioning the legal system, humanity and the nature of truth (family is a subtle issue in the film). As the defence lawyer, Shigemori (Masaharu Fukuyama) attempts to grasp a truth to which he is indifferent at first, its face begins to blur and fade. The truth is not important but truth per se is. Another food for thought is that there are two explicit murders in the film, then what is "the third murder"? This poses a challenge to the validity of capital punishment.
Before We Vanish (2017) 散歩する侵略者
Dir. Kiyoshi Kurosawa
I should have watched Naomi Kawase's Radiance (2017) instead of this one which was originally not on my HKAFF wish list. Probably because of my unfamiliarity with the cinema of Kiyoshi Kurosawa, I don't know how to appreciate his latest work. Three aliens take over human bodies and collect human "concepts" such as "family", "work" and "self" before an invasion. I understand that Kurosawa intends to explore what qualities make us human and how those qualities enslave us, but it seems to me that the film is a cliché-filled secondary-school composition.
Farewell My Concubine (1993) 霸王别姬
Dir. Chen Kaige
Cine Fan Nov / Dec
Leslie Cheung nails it! He captures the essence of Cheng Dieyi/Consort Yu with his alluringly feminine demeanour and posture in his first appearance in the film (the sequence where his full face is visible to the audience, namely the photo shoot sequence). Gong Li also gives a superb performance as Juxian, who acts more like an overlord than Zhang Fengyi's Duan Xiaolou/Xiang Yu the Overlord (this Xiaolou, in my opinion, is a bit out of character in comparison with the original). Some critics are disgruntled with the film's homophobia as well as the absence of female subjectivity and the disappearance/castration of Hong Kong identity therein. I have no insightful comments on the first two points because when it comes to gender, I'm pretty obtuse. However, I want to raise three scenes featuring Cheng Dieyi's gaze out of the window that may be suggestive of the formation of his sexuality or gender identity, the awakening of his female subjectivity, and his desire for a female body respectively: little Dieyi, who has just got his extra finger cut off (implying castration), following his mother with his eyes as she leaves and never comes back; little Dieyi watching Xiaolou being punished by lifting a tub filled with water in the snow; and grown-up Dieyi peeping through the window into Xiaolou and Juxian's room where the couple is making love. As for the third point, it is an undeniable fact that Hong Kong is completely erased from the Chinese production, the political and cultural implications of which are very interesting. In Comp Lit, what is absent is more important. The film adaption turns the original anticlimactic ending into a tragic ending with a sense of fatedness, addressing a different thematic focus.
Manhunt (2017) 追捕
Dir. John Woo
John Woo's latest production makes those who grew up in the golden age of Hong Kong cinema feel nostalgic, whereas it is something fresh for me. I'm not particularly fascinated with the action genre, but having said that, I'm quite interested in Woo's cinematic trademark "heroic bloodshed" and his aesthetics of violence. It'll be fun seeing Alfred Hitchcock, Quentin Tarantino and John Woo engaging in a dialogue. On a side note, Masaharu Fukuyama's performance as the cop in his other Venice title is charming.
Dir. Kenneth Branagh
As someone who has read the original, I think the film adaption of the same-name novel is so-so. Branagh is obviously making an effort to reinforce the original's reflections on legal justice by portraying Hercule Poirot as a fastidious gentleman who upholds "balance". Although the film's cinematography doesn't impress me, I appreciate its vivid characterisation. I neither love nor hate the detective when I read the book, but I find Branagh's Poirot cute. My favourite Agatha Christie's works are The Murder of Roger Ackroyd and And Then There Were None. Hope the studio will work on them after shooting Death on the Nile and amaze me.
Memoirs of a Murderer (2017) 22年目の告白 ―私が殺人犯です―
Dir. Yu Irie
Of the films I watched in the past two months, Memoirs of a Murderer was the most mind-blowing and even made me have an impulse to write a research paper on it. Seeing Tatsuya Fujiwara on screen again filled me with nostalgia. Back in the day, I had a crush on him and Kenichi Matsuyama. Based on a 2012 South Korean film Confession of Murder, the Japanese production is a meditation on the media, law and truth. In terms of mise en scène, lighting is a vital cinematic technique in foreshadowing the plot twist and revealing the theme of the film. The spotlight in particular is a telling visual motif. Some of the credit should go to the original whose idea is innovative. Personally, I prefer the Japanese adaptation to the Korean original. The former is action-based, sensually stimulating and comical while the latter sheds light on humanity. Coincidentally, the three films that came out at the same time – The Third Murder, Murder on the Orient Express and Memoirs of a Murderer all centre on murder, law and truth. Here comes the question I always ask: do we still have truth in this post-truth era?
Loving Vincent (2017)
Dir. Dorota Kobiela & Hugh Welchman
What a sorrowfully beautiful artwork. Although its narrative structure isn't perfect, I don't want to be a critic here. Told from the postman's son Armand Roulin (Douglas Booth)'s point of view, the groundbreaking oil-painted animated feature revolves around an undelivered letter and the mystery of Vincent van Gogh (Robert Gulaczyk)'s death. It is interesting to see Armand's change of attitude towards Vincent during his letter-delivering journey. In finding out more about a dead man's life, he is meanwhile making sense of his own life. Vincent has a beautiful soul. As the Ravoux Inn keeper's daughter Adeline Ravoux (Eleanor Tomlinson) says, "No detail of life was too small or too humble for him. He appreciated and loved it all." I was completely captivated when the song "Vincent" ("Starry, Starry Night") played during the end credits. The line "Now I understand what you tried to say to me / And how you suffered for your sanity / And how you tried to set them free" particularly touched my heart. It brings back memories of my visit to the Espace Van Gogh in Arles, the hospital where Van Gogh stayed during his final days of life, and expresses precisely my feelings after watching the film. The Rhône has now become especially enchanting in my mind's eye. And yes, "This world was never meant for one as beautiful as you." You are always loved, Vincent.
Lost in the Fumes (2017) 地厚天高
Dir. Nora Lam
Independently Yours (also screened as part of HKIndieFF 2018)
I'm so proud of my HKU schoolmates who contributed to this meaningful documentary on Edward Leung. Despite its unsatisfactory audio quality and subtitles, it gives an honest account of the 26-year-old's ups and downs (mostly downs) following the 2016 by-election. While Leung is known as a radical localist, the director eschews political discourse with the aim of revealing his private, depoliticised side. The English title of the film, Lost in the Fumes is so on point that it embodies his confusion, anxiety and helplessness. The documentary shows his identities as a student, a patient, an activist, a politician, an accused, and most importantly, a human with flesh and blood. Watching this and then thinking about what Hong Kong is like today just moved me to tears. Perhaps Leung's response to the status quo, "There's nothing I can do to change this; the only thing I can do is to make myself a better me" is also what we can do in a world of absurdity. P.S. The English translation of 關家姐 as "La La Land's Oscar" shows a good example of cultural transposition.
Mad World (2016) 一念無明
Dir. Wong Chun
Paradigm Shift: Post-97 Hong Kong Cinema
Mad World is the last film I saw in 2017. As I was watching it, I thought of a quote from the animated feature of The Little Prince (2015), "Growing up is not the problem. Forgetting is." Interestingly, the film also makes a direct reference to the original Little Prince, quoting "It is only with the heart that one can see rightly; what is essential is invisible to the eye." Growing up, we are inevitably subject to social conditioning in which society is imposing symbolic violence on us. The film suggests how institutions, stereotypes and prejudices blind us to "what is essential". As Wong Chun said in the post-screening talk, the kid represents an individual that has not yet been institutionalised. He regards Tung (Shawn Yue) as a good man purely because he SEES he is good. Touching on institutions, how can we not talk about Michel Foucault? His book Madness and Civilization: A History of Insanity in the Age of Reason offers an insight into the historical evolution of madness under the influence of powerful social structures. Ultimately, insanity is a social construct. Just look at Van Gogh.
#HKAFF #HKIFF #HKIndieFF
Random Thoughts on Edward Yang's The Terrorizers (1986)
© Calight Bear 2020


ONE GOOD TURN DESERVES ANOTHER, and besides, they have goats! I'm going over the river and through the woods Saturday, September 21, to the hometown of Brent Ridge and Josh Kilmer-Purcell, the Beekman 1802 Boys, to give a talk and help raise money for the restoration of Sharon Springs, New York's, historic Chalybeate Park. (They did the same here Aug. 17, benefiting my rural hamlet of Copake Falls.) Join me at the Sharon Springs Harvest Festival the duo helps put on each year: Get all the festival details (or just buy a $5 ticket for my 11:30 AM slide lecture).
Do you want an Arisaema?
Margaret, I signed up for your talk in Sharon Springs on 9/21 and wondered if you would like some plants of Arisaema ciliatum var. liubaense. Let me know and I'll bring some for you. These are 4-year old seedlings in pots that haven't flowered yet but are showing the adult foliage form. Plants are dormant now but the pots are full. Mature plants will be 3' high and the leaves consist of a leaf stem topped with many leaflets radiating from a single point. The flower spathe will be striped with dark purple, culminating in a long tip that hangs down past the base of the flower. Best in bright shade, my plants get ¾ sun, and medium moisture. Initial planting depth is about 4" and then the plants will eventually grow down to their ideal depth. Mine are growing in a limestone soil but I do not know if they require it. My plants are zone 4b hardy (-25), despite what you may read otherwise. This Arisaema has one last trick up its sleeve, er roots. It's in a very small subgroup of Arisaemas that have a stoloniferous growth habit. Even very small tubers will produce them.
This is my favorite of the exotic Arisaemas and is the best for growing in cold climates. The weather lately has had stretches of warm days and nights too early in the year. This causes many plants, native and exotic, to break dormancy and begin growing too soon. The problem with most of the exotic Arisaemas, and lately with A. triphyllum, is they begin growing while we're still in a period where frost can come any night. My garden's elevation is approximately 1500' and is west and one town over from Sharon Springs. The last frost date is Memorial Day and the first is Labor Day but we've had frosts in June and August some years. A. ciliatum v. liubaense neatly avoids all these problems by never emerging until well into June and it will be in full flower by July 4th. These dates may vary for you lucky gardeners growing in the "banana belt" of the Hudson Valley.
I also have a spare pot of Iliamna remota, the Kankakee Mallow. Let me know if you want one and I'll bring it along, too. Flower color typically varies from white to light pink and this one will be almost white with the faintest suggestion of pink. Plants are divisions from mine, so I know they'll be true to type.
Garden plants are 3' high, very full-foliaged and flowers are liberally produced. It's an Illinois native that was found growing in gravelly soils in a river and is at its best in the garden with ample moisture but not wet and never dry. I didn't find this when I did a cursory search for information but plants may run when they're settled and happy and makes sense when think about where it natively grows. Although a spouse might revile them when they run into her vegetable garden, I think all of them are to be treasured. This plant is the perfect pick-me-up for the midsummer blahs.
Lastly, I also have Pinellia pedatisecta. This can easily become a garden pest/menace without proper management, so read up on it and consider carefully before saying yes. Let me know if I should bring it, too.
My email address is for work, so if you're interested please contact me before 4:00 pm on Friday. Thanks!


text:
Q: Does word order make a difference here? I was writing an essay and I wrote this particular sentence:
"No bought views"
then, while checking for grammatical errors, I thought that this sentence should be correct this way:
"No views bought"
But I couldn't explain myself, as a non-native English speaker, why the first sentence isn't correct, or if it is correct in some colloquial way.

A: Your fragments actually mean different things. In compressing the full sentence, word order becomes important.
Adjectives are rarely post-positive (positioned after the noun) in English. Because of this feature, it's possible to reason that in the first case, bought functions as an adjective; in the second, it's not a simple adjective and is therefore indicative of a headline style where main verbs are omitted.

*

*No bought views
This uses bought as a simple adjective describing views. The fragment indicates that there are no views which have been bought.

*No views bought
Here, bought functions as a participle, but it's not the main verb; that has been omitted. The full sentence would be something like "No views will be bought".
Both fragments are "correct" — inasmuch as the severe compression allows that — but the first will not be correct if the intended meaning is that of the second (and vice-versa).

redpajama_set_name: RedPajamaStackExchange


Objective To explore clinician and family experiences of conflict in paediatric services, in order to map the trajectory of conflict escalation.
Design Qualitative interview study, employing extreme-case sampling. Interviews were analysed using an iterative thematic approach to identify common themes regarding the experience and escalation of conflict.
Participants Thirty-eight health professionals and eight parents. All participants had direct experience of conflict, including physical assault and court proceedings, at the interface of acute and palliative care.
Setting Two teaching hospitals, one district general hospital and two paediatric hospices in England, in 2011.
Results Conflicts escalate in a predictable manner. Clearly identifiable behaviours by both clinicians and parents are defined as mild, moderate and severe. Mild describes features like the insensitive use of language and a history of unresolved conflict. Moderate involves a deterioration of trust, and a breakdown of communication and relationships. Severe marks disintegration of working relationships, characterised by behavioural changes including aggression, and a shift in focus from the child's best interests to the conflict itself. Though conflicts may remain at one level, those which escalated tended to move sequentially from one level to the next.
Conclusions Understanding how conflicts escalate provides clinicians with a practical, evidence-based framework to identify the warning signs of conflict in paediatrics.
Conflict between healthcare staff and patients/families present a burden to individuals and healthcare systems.
Treatment advances in paediatric care, with attendant shifts in survival and morbidity outcomes, create a ripe environment for conflicts to develop.
A trajectory of conflict escalation is described which indicates that conflicts move through mild, moderate and severe phases.
As conflicts worsen trust deteriorates, with the evolution of separate camps and micromanagement of care, before behavioural changes and a disintegration of working relationships.
The profound nature of severe conflict suggests that urgent interventions are warranted.
The aim of this project was to explore health professional and family experiences of conflict in paediatric services, in order to map the trajectory of conflict escalation.
A semi-structured qualitative interview method was adopted. Participants were initially identified through purposive sampling of health professionals working at the interface of acute and palliative services, in PICUs, neonatal intensive care units and children's hospices. Initial interviewees were asked to pass their study details to colleagues using the snowball sampling technique.22 All participants self-defined as having personal experience of 'serious disagreement' or 'conflict' about medical care. All clinicians approached consented to participate; three parents did not respond to the invitation. The sample consisted of 46 participants, including doctors (n=20), nurses (n=10), parents (n=8), chaplains (n=3), lawyers (n=2), Patient Advice and Liaison Service (PALS) managers (n=2) and hospice head of care (n=1), from two teaching hospitals, one district general hospital and two children's hospices, in England. The majority of health professional respondents worked in PICU, with some in general services.
Interview questions prompted discussion of conflict between health professionals and families, intrafamily conflict and intraprofessional conflict, with interviewees asked to describe such experiences focusing on the characteristics of conflict. They were also invited to describe the way in which conflicts escalated.
Interviews lasted between 30 and 90 min. They were transcribed and anonymised, then subjected to an iterative thematic analysis.23 Analysis proceeded through a five-stage process. Stage 1 involved familiarisation with the dataset. Stage 2 involved identifying a thematic framework. Stage 3 involved indexing the data with reference to the thematic framework. In Stage 4, responses were synthesised from across respondents into a working grid of themes. Stage 5 focused on data interpretation and finalisation of key themes arising from the data. Analysis was conducted by BT and SB, with a subsample being analysed independently by LF to verify the emergent themes. The phases of conflict escalation emerged from the data and were verified in later interviews where participants were asked to comment on the veracity and accuracy of the three phases.
National Health Service Research Ethics approval was granted by Surrey REC (11/H1109/4). All participants gave written informed consent.
Data analysis identified key characteristics for the escalation of conflicts. Clearly identifiable events and behaviours by both clinicians and families were grouped into mild (poor management of relationships with the family), moderate (deterioration of trust) and severe (disintegration of working relationships), as illustrated in table 1. Conflicts did not always escalate; however, those which did tended to move through each phase in sequence, with two or more features of each phase being apparent in respondents' accounts.
Characteristic features of the mild stage involved communication, specifically, clinicians using language insensitively and giving conflicting messages. Concerns about care management and a history of unresolved conflict were also evident.
History of unresolved conflict: Previous experiences of conflict over treatment decisions led to them becoming 'sensitised' to the risk of a disagreement escalating. Some healthcare professionals learnt only when they were taking over the care of a child from a colleague, that the family was already engaged in taking legal action over disagreements about treatment.
In the moderate stage, conflicts began to change dynamically and escalate more significantly. Communication difficulties initially experienced in the mild stage become amplified and begin to impact family–clinician relationships with the deterioration of trust resulting in faction building and parents' micromanaging care.
By the time a conflict reached this level of escalation, interviewees reported that they no longer felt in control. Terms such as 'win' and 'lose' were used to describe the intended outcome.
In several instances, the press was involved in documenting the conflict, acting as advocates for the family's point of view.
Verbal abuse was apparent within this phase and physical attacks had also occurred. I ended up shouting at an SHO, saying, what's this blood test for? (Parent) [There] must have been about ten of them in there shouting, ranting, screaming at us and hitting, and just completely out of the blue, taken from behind…I'd been beaten black and blue. (Consultant paediatrician).
A number of participants described how conflicts escalated. The following quotations illustrate escalation through the three phases. First, relationships begin to deteriorate. Then, the father begins to micromanage his child's care and finally, exhibits threatening behaviour. There's a slight mistrust in the room already because 'well we've heard lots of different things'…It takes a number of weeks to get the diagnosis and you can see in their faces, they begin to think they lose their trust in you and you begin to think that you're incompetent [The father] would take the [electronic note system] and go through the screens to see what had happened, when and what reaction had been happening and at the nurse's comments and then write everything down in a book. The father came with a camera and shoved it up everybody's nose and took photos of everybody. They were both screaming "murderers, murderers" at everybody, photographing the equipment, photographing the monitors, none of the nursing staff wanted to work there, the level of stress was enormous" […] [The father] physically pushed the nurses. (Consultant, PICU).
This paper offers an empirically-derived framework for understanding conflict escalation in paediatric services and identifies three levels through which families and clinical teams progress on the way to a complete breakdown of trust.
The framework resonates with the literature on the content and outcome of conflict; for example, suboptimal communication has a recognised role in conflict.8 ,24 Indeed, the origins of conflict in patients in long-term paediatric intensive care identifies poor communication, unavailability of parents and disagreements over the care plan as key causes.8 At the extreme end, physical violence has also been documented as a recognised outcome of healthcare conflict.25 The incidence of conflict may rise as a result of medical advances, whereby the number of children requiring ongoing palliative care services13 is likely to increase, with a corresponding increase in the impact on families.
The framework resonates with Glasl's26 nine-step model of conflict escalation, which was developed in the context of international relations. Glasl argues that researching conflict causality is less fruitful than verifying the dynamics of the conflict situation, in order to inform the appropriate choice of intervention. The evidence from this paper suggests that early recognition can equip healthcare teams to recognise mild or moderate conflict and choose appropriate interventions, to prevent further escalation. Further studies are warranted to test the model as a way of enabling healthcare teams to identify conflict at its earliest stages. However, if conflict cannot be resolved, then external interventions such as referral to a clinical ethics committee,27 mediation28 or court action may be necessary.
The study only involved a small number of parents, and no children or young people. The sample did not include families at the most extreme end of the conflict, reflecting the legal restrictions which precluded the researchers from contacting families (eg, following court action). A formal definition of conflict was not provided to interviewees.
There is an identifiable pattern of escalation to conflict in paediatrics. Insight into how conflicts escalate provides clinicians with a practical, evidence-based framework to identify the characteristics and phases of escalation. Further work is now required to pilot and evaluate the range of possible interventions which may be carried out within each phase in order to help health professionals recognise, manage and avoid future conflicts.
. Conflicts in the workplace: sources, functions, and dynamics across multiple levels of analysis. In: De Dreu C, Gelfand M, eds. The psychology of conflict and conflict management in organizations. 1st edn. New York: CRC Press, 2007:3–54.
. Beyond the Dyad: Communication in Triadic (and more) Medical Encounters. In: Martin L, DiMatteo M, eds. The Oxford handbook of health communication, behavior change, and treatment adherence. Oxford: Oxford Handbooks, 2013:136–54.
. A framework for resolving disagreement during end of life care in the critical care unit. Clin Invest Med 2010;33:E240–53.
. The practice of social research. 9th edn. Belmont, CA: Wadsworth Thomson, 2001.
. Interpersonal conflict. 7th edn. Boston: McGraw Hill, 2007.
. The process of conflict escalation and roles of third parties. In: Bomers G, Peterson R, eds. Conflict management and industrial relations. 1st ed. The Hague: Kluwer Nijhoff Publishing, 1982:119–40.
GMC. Treatment and care towards the end of life. Good practice in decision making. 2010. http://www.gmc-uk.org/Treatment_and_care_towards_the_end_of_life___English_0914.pdf_48902105.pdf (accessed 10/4/2015).
Contributors SB and BT designed the work and acquired the data; LF, BT and SB interpreted the data. LF, BT and SB drafted the work and revised it critically for intellectual content. LF, BT and SB approved the final version of the manuscript. LF, BT and SB agree to be accountable for all aspects of the work ensuring that questions related to the accuracy or integrity of any part of the work are appropriately investigated and resolved.
Funding The study was funded by the Department of Health. Grant: CPC30/94. The University of Stirling acted as sponsor for the research, providing insurance and indemnity.
Competing interests SB received a grant from the Department of Health during the conduct of the study and she is the director of the Medical Mediation Foundation—an organisation that provides mediation in situations where there is disagreement/conflict between patients and healthcare professionals. However, the manuscript focuses on how conflict escalates and only in the Discussion section refers to mediation as one potential solution.
Ethics approval Surrey REC (11/H1109/4).
Data sharing statement Any requests for raw data should be directed to the corresponding author. At present, ethical approval is not in place for the sharing of data, therefore any such request would be subject to further NHS ethical approval processes.


text:
5 questions (and then some) with Merry Scully for Yale Radio
October 22, 2015 in Yale Radio Interviews
Currently a curator at the New Mexico Museum of Art, Merry Scully she has curated exhibitions of contemporary art, photography and design in locations across the country including the New Mexico Museum of Art, San Francisco Art Institute, and the Barbara and Steven Grossman Gallery at The School of the Museum of Fine Arts, Boston. Previously she was the Associate Director of Exhibitions and Public Programs, and later the Director of Exhibitions and Galleries at the San Francisco Art Institute.
Merry has worked as a director in various organization and commercial galleries, including the Fellows of Contemporary Art, Elizabeth Leach Gallery, Richard Levy Gallery, and Graham Gallery/Raw Space. Prior to graduate school, Merry was the assistant to the artistic director and gallery coordinator for Social and Public Art Resource in Venice, California and an intern in the Media and Performing Arts Department at the Museum of Contemporary Art, Los Angeles.
Tags: Curator, New Mexico Art Museum
5 Questions for "The Art World Demystified": In conversation with Irene Hofmann for Yale Radio
Photo: Kate Russell
Irene Hofmann is the Phillips Director and Chief Curator of SITE Santa Fe, a position she has held since 2011. In her role at SITE she is expanding the breadth and reach of SITE's exhibition program, which includes reimagining SITE's signature biennial exhibition as a new series of connected biennials with a focus on contemporary art from the Americas.
Over the last decade she has curated new commissions and solo exhibitions by artists including Joseph Grigely, Mungo Thomson, Enrique Martinez Celaya, Jason Dodge, Marjetica Potrc, Fabrice Gygi, and Inigo Manglano-Ovalle. She has also held positions at the Contemporary Museum, Baltimore, the Orange County Museum of Art, Cranbrook Art Museum, the Art Institute of Chicago, the Walker Art Center, and the New Museum of Contemporary Art. She holds a BA in Art History from Washington University in St. Louis, and a MA in Modern Art History, Theory, and Criticism from The School of the Art Institute of Chicago.
Tags: Curator, Director, SITE Santa Fe, New Mexico, interview
5 questions (and then some) with Helen Molesworth
July 22, 2015 in Yale Radio Interviews
Wow, I loved sitting down with this woman. What a gift to have 20 minutes in conversation with someone changing the landscape of art history. Take a listen or read below and let me know what you think.
Helen Molesworth is the Chief Curator at the Museum of Contemporary Art (MOCA), Los Angeles. From 2010-2014 she was the Barbara Lee Chief Curator at the Institute of Contemporary Art (ICA) Boston, where she assembled one person exhibitions of artists Steve Locke, Catherine Opie, Josiah McElheny, and Amy Sillman, and group exhibitions such as Dance/Draw and This Will Have Been: Art, Love & Politics in the 1980s.
As head of the Department of Modern and Contemporary Art at the Harvard Art Museum, she presented an exhibition of photographs by Moyra Davey and ACT UP NY: Activism, Art, and the AIDS Crisis 1987-1993. From 2002 to 2007 she was the Chief Curator of Exhibitions at the Wexner Center for the Arts where she organized the first US retrospectives of Louise Lawler and Luc Tuymans, as well as Part Object Part Sculpture, which examined the influence of Marcel Duchamp's erotic objects. While Curator of Contemporary Art at The Baltimore Museum of Art from 2000-2002, she arranged Work Ethic, which traced the problem of artistic labor in post-1960s art.
She is the author of numerous catalogue essays and her writing has appeared in publications such as Artforum, Art Journal, Documents, and October. The recipient of the 2011 Bard Center for Curatorial Studies Award for Curatorial Excellence, she is currently at work on an exhibition on Black Mountain College and a monographic survey of the work of Kerry James Marshall.
Helen Molesworth, interviewed by Angela Fraleigh
>> BC: You're listening to Yale radio, WYBC. This is Brainard Carey with The Art World Demystified.
>> AF: My name is Angela Fraleigh. We're talking today with Helen Molesworth, Chief Curator at the Museum of Contemporary Art in Los Angeles. Thank you so much for being with us today.
>> HM: Thank you for having me.
>> AF : So I like to start these interviews by asking how you found yourself in this field. You know, what drew you to it in the first place and how did you get where you are?
>> HM: I ask myself that often as well. I think like many people who find themselves working in art and culture and ideas, you know, I had ‑‑ I was very lucky. I grew up in New York City. I grew up with parents who took me to museums and to cultural events.
I grew up, in other words, with a sense that the public cultural institutions in a city belonged to me. I don't know how our public school teachers were able to convey that idea to us, but somehow they did. And I remain actually quite grateful to them in that regard.
I always liked museums. Even as a kid I liked being in them. As an adolescent, I often cut school and went to the museum instead. I read a book I think that a lot of people read of my generation as children of the ‑‑ and I never remember the name, which is an odd Freudian kind of moment ‑‑ called the Mixed Up Files of Mrs. Basil E. Something‑something. But it's a children's novel or young adult fiction about two kids who decide to run away from their parents and hide in the Metropolitan and spend the night in the museum, evading the guards and doing things that you're not allowed to do, you know, like sleeping in the bed in the period rooms and stuff.
And that, in some odd way, I mean obviously I didn't know any of this at the time that all those childhood and young adult experiences were happening for me. But certainly in retrospect I came to see the museum ‑‑ one rule that the museum has is that it is a kind of place where people and ideas hide out from the culture. You know, it's a bit of a blind, where you can both see the outside world and engage with contemporary ideas and culture, but you're also a little protected from some of the stuff out there that's hard. And there's a lot out there that's hard, as we know.
Then, of course, I went to school and read a lot of theory and a lot of history about the museum and art and artists that led me to have very different feelings about the museum. I saw the museum as a place that needed to be challenged, that needed to be open, that was too elitist, too esoteric, too bound up in the past. So I have the ‑‑ you know, then I developed an adult's relationship to the institution of the museum. And I think now in middle age, I'm 49, I try to ‑‑ I'm aware that I have these two contradictory impulses in me about the museum. It's a mausoleum that needs to be ‑‑ just like if I can light a match, let it go, and I feel desperately protective of them as institutions and spaces for the things that they make possible.
>> AF : That actually leads right into a question that I was going to ask you. Because I think curatorial practice in a number of ways is a political gesture. How do you balance that desire to want to expose or reveal dormant narratives that exist without marginalizing further on the one hand some of these narratives that have been left out of history?
>> HM: Right.
>> AF : How do you do that?
>> HM: It's a really interesting question, because I just finished a week ago reinstalling about 10,000, 12,000 square feet of gallery space dedicated to MOCA's permanent collection. And one of the things I did I think is very typical of people of my generation; you know, tried to use it as an opportunity to show the result of the last twenty to thirty years of scholarship, in which the canon has been opened up, in which art narratives about what happens to post World War II art has, in fact, change demonstrably from the way it was taught to me, which was very much triumph of the New York school, and New York steals the art world.
AbEx is the beginning. Now many of us see AbEx as a closure, as actually more connected to Europe and European ideas than to contemporary American ideas, that the bar for contemporary keeps getting moved up, you know. We moved it to Warhol. I think the generation underneath me has moved it to 1989, which is a really interesting way of thinking about it.
But one of the ‑‑ we have ‑‑ MOCA has extraordinary holdings in Rauschenberg, Kline, Rothko. One could easily do rooms here, a staggering depth of these big, famous, white male names. But I don't work like that, right? So my political gestures are like how many women can I get the room, how many people of color can I get the room, how many people who aren't American can I get in the room, how many works on paper, how many nontraditional ‑‑ can I hang Helen Levitt photographs next to a Jackson Pollack? How can I make all of those little gestures?
And one of our older trustees said, why aren't you leading with your strength? Why didn't you put out all the great stuff? Why didn't you do that? And I realize that it's true. We say it isn't true. We say what we're doing is adding, and we're creating multiple perspectives. But, in fact, when you get right down to it, if you're going to break open the canon, some of the old favorites aren't going to make it back in right away.
There's only so much room. And so five or seven Rauschenbergs did get displaced so an Emerson Wolfer and a Ruth Asawa could go on the wall. And that's real, and that's true, and that's hard for a lot of folks, you know, me included. Nobody loves a room of Rauschenberg more than me.
But if you want to tell new and different stories, then those old stories do ‑‑ they've got to shrink a little bit. It's not perpetual growth. So changing the canon has effects. They're real.
>> AF : How has the response been? Do you find a public who is really willing to engage with these new ‑‑
>> HM: I have no idea; it opened a week ago. Yeah. It could be a massive failure. I have no idea. And there's another half of it coming in a month. So I really don't know. I'm very much in process thinking about it for myself.
I mean, yeah, I really can't answer that.
>> AF : Right, okay. We'll find out. I'll call you in a couple months.
So one of the questions I'm most curious about, I had a conversation with Connie Butler yesterday, and Susanne Vielmetter, and the question is who has the power in the art world, and how can we shift things so that it can be a more comprehensive experience where we get to hear all these voices without losing rigor. And they both suggested that diversifying the collecting patterns of the institutions and also just educating collectors or diversifying collectors in general.
>> AF : And that makes sense, right? Where the money is makes a big difference. Do you see any other ways to kind of puncture holes in the system? Clearly you are engaged in a very powerful way.
>> HM: Yeah. I mean, I think, yes, you have to ‑‑ I mean I think the ballast of the shift in museums is the collection. And when I first entered, I went through the academy, thought I was going to be an academic, started teaching and discovered that I did not enjoy the classroom as a site. I liked museums.
And when I got my first sort of big full‑time museum job, my first big curatorial job, I was amazed by what I realized were two canons. There was a museum canon, and there was an academic canon. So in the academic canon, you talk about Vito Aconci, and Chris Burden, and Mierle Ukeles till the cows came home. I got into the museum, none of that material was in the collection.
What we talked about in the [inaudible] since, you know, now, you know, 15 years ago, Brice Marden, Agnes Martin, you know. And I remember thinking when I first got my museum job, God, I can't even imagine who would write a dissertation on Brice Marden. Who would do that, right?
That's not where ‑‑ they might be nice, they might be even interesting to use Judd's form of aesthetic criteria. But they couldn't sustain 300 pages of scholarly analysis. So what ‑‑ so I just became really aware that the only way to change the museum narrative is to change the collection. And I just started slow and steady. You just have to buy different kinds of things for the collection. Then perhaps the trustees and collectors around you are buying. Because that's how the story gets really rich and complicated.
You mentioned Connie Butler. I sent Connie an e‑mail last week saying so many of the things that you bought over the years when you were at MOCA make the galleries downstairs so much more interesting, right? Because she bought Alina Szapocznikow. She bought Tanaka. She bought Lee Lozano. And so there they are. And they can get up now. You know, we can put Senga Nengudi on the wall. We can put Valie Export up on the wall. But that's a new ‑‑ that's only really within the last 15 years that people ‑‑ that a group of curators have been consistently just like chipping away at what gets put in those collections.
>> AF : Now, do you run up ‑‑ because it has to be approved by the board. Who chooses who is on the board? I know that's kind of maybe a silly question, but how does that get decided?
>> HM: Well, board members nominate who is the board. Directors and chief development officers are always looking for interesting people who have the means and the psychological and intellectual capacity to serve on a board. Serving on a board is a lot of work. So it's not just money. I mean you really have to have people who are civically minded, interested in the public sphere, interested in not‑for‑profit management. It's a whole complicated thing. But, yeah, and then you educate your board, and your board educates you.
One of the cool things about ‑‑ I've learned so much in the last 15 years from board members. They work in the for‑profit sector in very powerful and effective ways. There was much to learn from them.
>> AF : In terms of business and how ‑‑
>> HM: Yeah, in terms of business, in terms about how do you have an idea and implement that idea. If you think structurally, if someone has built a business up from scratch, that person probably has really interesting capacity to think about systems and analysis and structure. And there might be things to be learned from those structural things into a museum and vice versa. There are values that the museum is invested in and promotes that board members can learn from.
So I actually see it as a kind of interesting two‑way street sometimes.
>> AF : So you began your curatorial work when, in the '80s, ' 90s?
>> HM: God, no. I would say ‑‑ I mean there's two ways of answering that question. You know, as a very young person, I went to the Whitney ISP program in curatorial studies. So I organized my first museum show at the age of 22 in 1989. But then I ‑‑ I mean I bumped around in graduate school in the New York art world throughout the '90s.
>> AF : Can you describe that time a little bit for you? Like who were you hanging around with? What was it like?
>> HM: It was great. I was hanging around with ‑‑ well, my Whitney ISP life turned into making Documents, which is a small magazine that I made with a group of friends, Chris Hoover, who was distributing independent film and video, Margaret Sundell, who is now I think at Creative Time in The Drawing Center, Miwon Kwon, who is at UCLA, and Jim Markovitz, who became a lawyer, left the art world. And I was really good friends with Mark Dion, and Jason Simon, and Moyra Davey at that point in my life. I was going to ACT UP demonstrations. I was going to Colin de Land and Pat Hearn's openings. You know, that was ‑‑
>> AF : Were you writing about art? Were you ever kind of doing criticism, playing that role?
>> HM: I started writing criticism when I was in ‑‑ well, I mean I was writing criticism in Documents, but I started writing criticism for a commercial publication. I started writing criticism for Frieze in the mid '90s. And I wrote reviews of exhibitions and articles on artists. And that I did when I was in graduate school, because I really needed ‑‑ I needed a different outlet for thinking and writing than my academic outlet.
I always have had a very diverse practice, I suppose. I'm not sure that's a word I really like anymore. But I've always approached my work in a diverse way. So at the height of my academic training I was writing for an art magazine, because I could write it quickly and there was a deadline, there was a word count, and the whole impetus around what it could do and what kind of access it had was very different than the very solitary labor of writing a dissertation.
>> AF : What do you think of contemporary criticism today? That's a broad question.
>> HM: It is a broad question. I think that there are some interesting ideas out there. And I'm very aware that I'm at a point in my own life where there is a generation, you know, of people in their late 20s and early 30s who think very differently than I do. And I'm incredibly interested in how they approach material, even though I don't often agree. Because one gets formed, and then it's hard to stay actually ‑‑ I'm open to their ideas, although they don't persuade me that often. And I fear that that is in fact the definition of old age.
My biggest sadness around contemporary criticism is that very few people know how to write well anymore. And I mean ‑‑ I don't even mean the people who write jargon, I just mean grammatically correct sentences that cohere into paragraphs that are formed in the service of an idea.
The world has changed. And a certain quality of writing has been lost. And it makes me sad.
>> AF : And through that thinking or ‑‑
>> HM: Well, I do ‑‑
>> AF : ‑‑ the rigor of the thought process?
>> HM: Yes, I do think that ‑‑ yes, I do think that. Although I am ‑‑ I try not to say that too much, because there is a moment I have of ambivalence around that, that it may be that the form of argumentation that I was taught, and I mean the form of argumentation I was taught from elementary school, where you made an outline, that outline was linear, you diagrammed sentences, there were topic sentences, there was who, what, where, when and why. That was a report. You know, that was ‑‑ there was real structure.
And of course a lot of people aren't taught like that anymore. People don't ‑‑ like there are new modes of teaching. And there is this Internet and computer. And very few people edit pen on paper anymore. You edit in that horrible Track Changes program, which I use now, but I loathe to this day, because I actually think it ‑‑ it erases and manipulates and it is not as clear who is saying what on page.
And I think ‑‑
>> AF : It waters things down in a way, you mean?
>> HM: I don't know if it waters things down, but it resists a certain kind of linearity. And I don't think linear thought needs to be hierarchical, needs to be limiting. You can make an argument about nonlinearity using linear thinking.
>> AF : Do you ‑‑ just to switch tracks a little bit, do you still do studio visits now?
>> HM: Oh, yeah, sure, of course.
>> AF : And I imagine you've been in the studios of a lot of LA artists?
>> HM: I try to.
>> AF : And you are from New York?
>> HM: I am.
>> AF : I guess I'm just curious what you're seeing as some of the more interesting emerging veins of thought happening in those spaces, or what you're most compelled by right now.
>> HM: Well, it's hard to speak in generalizations about Los Angeles, because it's a city of ten million people. And it is a city that's geographically really interesting, because it's a city of pockets.
Most people here have much bigger studios than they have in New York. And because they have bigger studios, their studio life is actually really different, whether they're a very highly productive gallery artist making a ton of work with a lot of people in the studio, or it's someone who is combining a live/work space in a very kind of California inside/outside, live/work lifestyle studio.
>> AF : Sounds dreamy.
>> HM: Almost every studio visit you do here, the artist has like a bowl of nuts, a thing of coffee. There's a hospitality around the studio visit here that I see as very domestic. It's very generous. There's a big premium on a certain kind ‑‑ having a certain kind of conversation in the studio. People are more isolated here, just due to the nature of the way this city functions. You drive from studio to studio. So the visit is a visit, and it's really beautiful and can often lead to like just fantastically expansive conversations.
>> AF : But in terms of conceptual ‑‑
>> HM: The art sale business.
>> AF : Yeah.
>> HM: And you know what, when I'm in New York I'm all business too. And in New York, I'm a New Yorker. I'm like, this is great, like what have you got, let me see it, that's interesting, okay, you know, do you have a car service. I've got [inaudible]. It's really different.
>> AF : And what about the veins of thought, the conceptual motivations happening currently that you're most intrigued by?
>> HM: Well, I'm super interested in all these painters who are trying to figure out like screen culture and the relationship between screen culture and this other six hundred year old technology of oil painting. That is happening on both coasts, so I think that's happening in a lot of places.
I mean I'm interested in what Manny Farber would call termite art. I'm interested in people who are willing to go down a rabbit hole, a kind of idiosyncratic rabbit hole of their own making. That's what interests me.
>> AF : Who are some of the artists that you think of when you say termite art?
>> HM: Moyra Davey. Moyra Davey is a termite artist. Who are some of the others? Sadie Benning is a termite artist for me. I just did a great ‑‑ I just had a really nice studio visit with Nicole Eisenman. I don't know if she's a termite artist. I think she's more like a ‑‑ I guess a brilliant satirist. Lari Pittman is a termite artist. Lari Pittman is a fantastic termite artist. He'd make those paintings no matter who came, no matter where they showed. Like it's his work to do, you know? Yeah.
>> AF : Yeah. Wonderful. Is there anything else that you wanted to talk about that we haven't covered?
>> HM: No. No, this is great.
>> AF : Thank you so much for being with us.
>> HM: Thank you.
>> AF : I really appreciate it. It was wonderful.
>> HM: It's flattering that you would like to listen to me talk.
>> BC : You're listening to Yale Radio, WYBC. This is Brainard Carey with The Art World Demystified.
Tags: Helen Molesworth, MOCA, LA, Curator


Earlier this week my family was invited to a private screening of Finding Dory hosted by actress Keisha Knight Pulliam for members of her Kamp Kizzy Foundation. In attendance were several celebrities and influencers such as Sheryl Lee Ralph, Toya Wright, Monyetta Shaw, Dr. Heavenly Kimes and many others.
I remember watching Finding Nemo over a decade ago and pretty much knowing the movie word for word. My kids have seen it countless times and every time we head to the aquarium they see fish that look just like Nemo and Dory. Finding Nemo is definitely a well loved classic in my home and I expected no less from Finding Dory. Finding Dory picks up where Finding Nemo left off, except this time, Dory is the center of attention. Dory, played by Ellen DeGeneres, is a sweet fish that suffers from short term memory loss. She finally thinks back to her childhood and reminisces about her parents. The movie centers around Dory's search for her parents and meeting friendly sea animals along the way like the sea lions, one of which is played by Idris Elba.
I don't want to give too much of the movie away, but it's great for the entire family. One thing I really liked was that there wasn't any inappropriate comedy in the movie. This is truly a family film for all ages. Check out a clip of the movie below!
I'm also sharing printable activity pages for your little ones to go along with the movie!
Disney Pixar's Finding Dory is in theaters today, June 17th!


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Bernini: Sculpting in Clay
First exhibition to retrace Bernini's unparalleled approach to sculptural design
By Nada J. Ruddock and The Kimbell Art Museum Staff	• Published February 1, 2013 • Updated on April 30, 2013 at 10:38 am
The Kimbell Art Museum invites you to visit Bernini: Sculpting in Clay, the first-ever exhibition devoted to Gian Lorenzo Bernini's brilliantly expressive preparatory models in clay. These intensely beautiful works – formed by the artist's own hands – were the means by which he explored his ideas in three dimensions and presented them for review to his patrons.
To visualize life-size and colossal sculptures in marble and bronze, the great Baroque sculptor, Gian Lorenzo Bernini, began by modeling small sketches in clay. Fired as terracotta, these studies are bold, expressive works in their own right. Together, with related drawings, they preserve the first traces of Bernini's fervid imagination and unique creative process, which produced some of the most spectacular statuary in Rome, including the fountains in the Piazza Navona and the angels on the Ponte Sant'Angelo.
This exhibition features, for the first time, approximately forty of these terracotta sketch models shown together with 30 drawings. Due to unprecedented loans especially granted for this occasion, the exhibition is the first to retrace Bernini's unparalleled approach to sculptural design and his impact on the fabric of Baroque Rome.
The Kimbell Art Museum
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Tuesday - Thursday and Saturday, 10:00 a.m. – 5:00 p.m.
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The Kimbell Art Museum is located at 3333 Camp Bowie Boulevard, Fort Worth, Texas 76107.
NBC 5 is a proud sponsor of Bernini: Sculpting in Clay at the Kimbell Art Museum.


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Posted on October 22, 2019 December 17, 2019
Gaunt character actor Brad Dourif was born Bradford Claude Dourif on March 18, 1950 in Huntington, West Virginia. He is the son of Joan Mavis Felton (Bradford) and Jean Henri Dourif, a French-born art collector who owned and operated a dye factory. His father died when Dourif was three years old, after which his mother married Bill Campbell, a champion golfer, who helped raise Brad, his brother, and his four sisters. From 1963 to 1965, Dourif attended Aiken Preparatory School in Aiken, South Carolina, where he pursued his interests in art and acting. Although he briefly considered becoming a professional artist, he finally settled on acting as a profession, inspired by his mother's participation as an actress in community theater.
Beginning in school productions, he progressed to community theater, joining up with the Huntington Community Players, while attending Marshall University of Huntington. At age 19, he quit his hometown college and headed to New York City, where he worked with the Circle Repertory Company. During the early 1970s, Dourif appeared in a number of plays, off-Broadway and at Woodstock, New York, including Milos Forman who cast him in One Flew Over the Cuckoo's Nest (1975). Although this film is frequently cited as his film debut, in fact, Dourif made his first big-screen appearance with a bit part in W.W. and the Dixie Dancekings (1975). Nevertheless, his portrayal of the vulnerable Billy Bibbit in Forman's film was undoubtedly his big break, earning him a Golden Globe Award for Best Acting Debut, a British Academy Film Award for Best Supporting Actor, and an Oscar nomination for Best Supporting Actor.
Skeptical of his instant stardom, Dourif returned to New York, where he continued in theater and taught acting and directing classes at Columbia University until 1988 when he moved to Hollywood. Despite his attempts to avoid typecasting, his intensity destined him to play eccentric or deranged characters, starting in Eyes of Laura Mars (1978), John Huston's Wise Blood (1979) (arguably his best performance to date), and Milos Forman's Ragtime (1981). Dourif then teamed up with director David Lynch for Dune (1984) and Blue Velvet (1986). His high-strung style also served him well in a number of horror films, notably as the voice of the evil doll Chucky in Child's Play (1988) and its sequels.
Dourif broke from the horror genre with roles in Fatal Beauty (1987), Mississippi Burning (1988), Hidden Agenda (1990) and London Kills Me (1991). Recent film work includes the role of Grima Wormtongue in Peter Jackson's Lord of the Rings trilogy. Since his television debut in the PBS film The Mound Builders (1976), Dourif has made sporadic appearances on a number of television series, such as The X-Files (1993), Babylon 5 (1994), Star Trek: Voyager (1995), Millennium (1996) and Ponderosa (2001). He also appeared in the music video "Stranger in Town" (1984) by the rock band TOTO.
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My Trivial Sins
Fred Smith April 25, 2019 20 Comments
Listen to "My Trivial Sins" by Fred Smith No one would describe me as a product of diversity. As a Southern Baptist, I grew up sure of our traditions and practices but not our doctrine. I had a clear picture of who we were but had no idea what it was – other than hymns, potlucks, and full-immersion – that distinguished us from the imposters to the true faith around ...[Read More]
The Four Hundred Pound Day
Listen to "The Four Hundred Pound Day" by Fred Smith Tiger Woods' victory at the Master's is a myth. I know that sounds like a post on a fringe site but I'm not saying it is fake news. Instead, his winning is a perfect example of what Joseph Campbell in his book, "The Hero With A Thousand Faces" would describe as a myth – a story that symbolizes one of the fundament ...[Read More]
Listen to "Over and Over Again" By Fred Smith A favorite illustration was debunked last week. For years, I have used the image of the grain of sand in the oyster being the source of the pearl. It's not true and I will miss it! Oysters and other mollusks thrive in the shallows and if a pearl were formed each time a grain of sand slipped through, pearls would not be the rare and p ...[Read More]
Our Little Town
Listen to "Our Little Town" by Fred Smith When we moved from New York to a small town in rural East Texas thirty-five years ago small towns were not trending. That has changed. Today, there is a surge of books, articles and even documentaries celebrating the values and lifestyle of small towns. Local is in and, at least for now, global is in decline. In "The Road to Somewhere," ...[Read More]


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WestArk RSVP in Fort Smith offering free tax preparation
Hoop Hogs notebook: Arkansas at No. 17 Baylor preview; …
Camron Williams one to watch at Gosnell in Class …
Arkansas set to host third Prospect Day on Saturday
After flip from ND to Oregon, 5-star signs with Oklahoma
Peyton Bowen, the highly rated defensive back who backed off a verbal commitment to Notre Dame and said he was going to attend Oregon, ended up signing with Oklahoma on Thursday.
Bowen's flip from the Fighting Irish to the Ducks during a ceremony at his high school in Denton, Texas, was one of the biggest stories Wednesday as college football's three-day early signing period began. He was one of several high-profile recruits to make a last-minute pivot to Oregon.
But the five-star safety was never officially announced as part of Oregon's top-10 class.
Bowen posted a statement on social media Thursday, saying he regretted some of his actions and apologizing to the fans of the schools he jilted.
"Navigating this process has been a rollercoaster. … Oregon and Notre Dame faithful, I am sorry for how I handled this process. Changing my decision on signing day, the hat pump fake, all of it could have been handled better. I can't change what I did but this experience is something I will learn from," Bowen posted.
Bowen thanked the coaching staffs at Notre Dame and Oregon.
"Oklahoma family, I am excited to join this wonderful program and represent this university going forward!" Bowen said.
Oklahoma later announced Bowen had signed with the school.
The other notable signing of the second day of the early period was by Alabama.
The Crimson Tide, which has already locked up the No. 1 class in the nation, got a commitment from a seventh recruit with a five-star rating, according to 247 Sports' composite rankings.
Cornerback Desmond Rick, who is from Virginia but played at IMG Academy in Bradenton, Florida, was originally set to be a member of the 2024 recruiting class but reclassified to 2023.
Fort Chaffee Redevelopment Authority report shows …
Gravette sober living pastor arrested on sexual assault, …
Adair County deputy pleads guilty in connection to …


This article first appeared in The Edge Financial Daily, on February 8, 2019.
Malaysian artist Hock Aun Teh presents his second solo exhibition Kenangan Zaman Kanak-kanak (Childhood Memories). Despite being based in Scotland for over 45 years, he still holds fond memories of his childhood in Taiping, Perak. He has uniquely combined the essence of the east and west in his works, displayed at the National Art Gallery, 2, Jalan Temerloh, Titiwangsa, Kuala Lumpur until Feb 17. It is open daily from 10am to 6pm. For further details, visit artgallery.gov.my.
This exhibition brings together eight artworks by three visual artists from Malaysia and Indonesia. The artists present different interpretations of Collision Violence such as Amirul Alwi's studies of Chakras, Radhinal Indra's focus on celestial objects and Tomi Heri's kaleidoscopic stories. It is held at Artemis Art, Lots 21 & 22, Level G4, Publika @ Dutamas, 1, Jalan Dutamas 1, KL until March 3. It is open on Fridays and Saturdays from 11am to 7pm, and 12pm to 6pm on Sundays. Call 03-6211 1891 for more information.
Internationally renowned stand-up comedian Ro Campbell has performed in over 40 countries worldwide. He was crowned Scottish Comedian of the Year in 2010 and has since gone on to writing for British TV and radio, showing his wit to a national audience across the region. He will be performing today and tomorrow at 9pm at The Crackhouse Comedy Club, 1st floor, Lorong Rahim Kajai 14, Taman Tun Dr Ismail, Kuala Lumpur. Tickets are from RM40. For more information, visit crackhousecomedy.asia.
Come together to enjoy some of Malaysia's top comedians highlighting the Chinese New Year festive season. From stories about its customs and practises to their personal observations about fireworks, this show will feature Prakash Daniel, Rayza Mukmin, Abé Laté, Hannan Azlan, Hindravel Chandrabose, and hosted by Brian Tan. It will be from 8.30pm to 10.30pm at The Joke Factory, 27, Jalan Dutamas 1, Level G3, Block C5, Kuala Lumpur. Tickets are from RM60. For more information, call 013-523 1491.
This Australian singer-songwriter has spent most of his adulthood travelling across Asia, Europe and Australia while performing breathtaking shows, boasting his powerful stage presence and ability to draw audiences in singalong sessions. His showcase is at 10pm today and tomorrow at Alexis Bistro Ampang, Lot 10, Great Eastern Mall, 303, Jalan Ampang, Kuala Lumpur. Tickets are sold at RM10 on alexis.com.my.
Aaron Teoh comes back home before embarking on a UK tour of The King and I, playing Prince Chululongkorn. He will be performing love songs from the stage alongside easy listening contemporary songs during his show, starting at 9.30pm today at Bobo KL, 65-1, Jalan Bangkung, Bangsar. Tickets are at RM45 for diners and RM60 for non-diners. For further information, call 03-2092 5002.
Join 23-year-old Tasha Aleia as she performs her brand of pop, soul, R&B and funk tunes. Her stage presence and sultry vocals will surely captivate you. Her showcase will be at 10pm tomorrow at No Black Tie, 17, Jalan Mesui, off Jalan Nagasari, Bukit Bintang, Kuala Lumpur. Tickets are sold from RM64 on noblacktie.com.my.
Elizabeth Arden Eight Hour x Love Heals is a new limited-edition multipurpose skin protectant that moisturises and protects skin from head to toe. This all-in-one beauty balm is sold at RM121.
Be creative with your Valentine celebrations by gifting a matching Ray-Ban eyewear for your other half. Visit ray-ban.com/malaysia or a retail store to find your desired pair.
For Valentine's Day, The Hive offers an attractive pair of toothbrushes at RM22, available until Feb 14 at thehivebulkfoods.com.


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George Gordon McCrae (29 May 1833 – 15 August 1927) was an Australian poet.

Early life
McCrae was born in Leith, Scotland; his father was Andrew Murison McCrae, a writer; his mother was Georgiana McCrae, a painter. George attended a preparatory school in London, and later received lessons from his mother. Georgiana and her four sons emigrated to Melbourne in 1841 following her husband who emigrated in 1839.

Career
After a few years as a surveyor, McCrae joined the Victorian Government service, eventually becoming Deputy Registrar-General, and also a prominent figure in literary circles. Most of his leisure time was spent in writing. His first published work was Two Old Men's Tales of Love and War (London, 1865).

His son Hugh McCrae, also a poet, produced a volume of memoirs (My Father and My Father's Friends) about George and his association with such literary figures as Henry Kendall, Adam Lindsay Gordon, Richard Henry Horne and Marcus Clarke.

George McCrae wrote novels, stories, poetry, and travel sketches, and illustrated books. After his retirement, unpublished manuscripts entitled 'Reminiscences—Experiences not Exploits' contain detailed descriptions of events from his youth and present a record of the early European part of Melbourne country-side.

Late life
McCrae died 15 August 1927 at Hawthorn in Melbourne, survived by four of his six children, including Dorothy Frances Perry, also an author.

Bibliography
The Story of Balladeadro (1867)
Mamba, the Bright-Eyed: an Aboriginal Reminiscence (1867)
The Man in the Iron Mask (1873)
The Fleet and Convoy (1915)
John Rous (1918)

References
Norman Cowper, 'McCrae, George Gordon (1833 - 1927)', Australian Dictionary of Biography, Volume 5, MUP, 1974, pp 136–137.

Additional resources listed by the Australian Dictionary of Biography:
R. G. Howarth, Literary Particles (Sydney, 1946)
H. E. Chaplin, A McCrae Miscellany (Sydney, 1967)
W. Dixson, 'Notes on Australian artists', Journal of the Royal Australian Historical Society, 9 (1923)
Spinner, July 1925
The Argus (Melbourne), 11 July 1890, 16 August 1927
family papers (privately held). Extracts of McCrae's papers were reprinted, with the permission of son Hugh, in Southerly magazine in 1946.

External links
George Gordon McCrae (contains some of his poems)

1833 births
1927 deaths
19th-century Australian novelists
20th-century Australian novelists
Australian male novelists
Scottish emigrants to colonial Australia
Australian male short story writers
People from Leith
Poets from Melbourne
Australian male poets
19th-century Australian short story writers
19th-century male writers
20th-century Australian short story writers
20th-century Australian male writers
19th-century Australian public servants
Australian surveyors
Australian people of English descent


text:
Boeing jet with 62 aboard missing after takeoff in Indonesia
Authorities are searching for a 26-year-old Boeing plane that has been missing for several hours. The jet is a 737-500 model that's much older than the 737 Max aircraft that was grounded globally for about two years.
Members of the media gather at Soekarno-Hatta International Airport in Indonesia
JAN. 10 UPDATE: Indonesia locates crash site of Boeing jet. Read more here.
(Bloomberg) — Indonesian authorities are searching for a 26-year-old Boeing Co. jet with 62 people on board that lost radio contact shortly after taking off from the capital Jakarta, pushing the nation's aviation industry into crisis mode once again.
The jet is a 737-500 model that's much older than the Max 737 aircraft that was grounded globally for about two years in 2019 after two fatal crashes.
"This is not even the model before the Max, it has been in service for 30 years so it's unlikely to be a design fault," Richard Aboulafia, aviation analyst at Teal Group Corp. said by phone. "Thousands of these planes have been built and production ended over 20 years ago, so something would have been discovered by now."
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"While we don't know anything else about the cause of this crash, the biggest thing concerning me is serious concerns about Indonesian air safety standards that were identified by the European Union Aviation Safety Agency and others years ago," Aboulafia said. "I am not completely certain that the proper procedures have been put in place."
The country's search agency has picked up some debris in the Java Sea and is trying to confirm it belongs to the Sriwijaya Air Flight SJ182, the organization's deputy for operations, Bambang Suryo Aji, said at a press briefing Saturday evening.
Heavy rain in Jakarta had delayed the takeoff for the 90-minute trip to Pontianak on the island of Borneo. Shortly after departure, the plane plunged from 10,900 feet to 250 feet, according to FlightRadar24, a website that monitors aircraft movements.
The Southeast Asian nation has had a spate of plane crashes in the past decade, including the Lion Air Flight 610 disaster that killed 189 people in 2018, the first of the two 737 Max crashes that eventually led to its global grounding. In December 2014, an AirAsia Group Bhd. plane plunged into the Java Sea with 162 people on board. Weather has been a contributing factor in several of the crashes.
The jet's disappearance comes as the aviation industry is reeling from the effects of the coronavirus pandemic, which brought air travel to its knees. Covid-19 tore through in a tumultuous, unprecedented way -- leaving carriers in a deep hole, along with a constellation of aerospace manufacturers, airports and leasing firms. The International Air Transport Association said last week that global passenger demand dropped significantly during November, down 70% versus the same period of 2019 when measured in revenue passenger kilometers.
Indonesian authorities said they have sent several search vessels from Jakarta to the plane's last known location in the Java Sea, believed to be only around 25 meters deep, and divers are preparing to search for the aircraft's black box. First responders were also deployed to the site to aid potential survivors, local TV reported. Of the 62 people, 56 were passengers, including seven children and three infants, and there were two pilots and four cabin crew, local media reported. There were no foreign nationals onboard.
"We are aware of media reports from Jakarta, and are closely monitoring the situation," Boeing spokeswoman Zoe Leong said in a statement. "We are working to gather more information." Sriwijaya Air said it's working to obtain more detailed information about the flight, and will release an official statement later.
The U.S. National Transportation Safety Board has appointed a senior investigator to assist in the probe, but is awaiting more information before determining whether it will send a team, it said in an emailed statement. Under a United Nations treaty, the NTSB along with technical experts from Boeing and possibly the manufacturers of other components would participate in the probe because the jet was built in the U.S.
The 737-500 model first flew in 1989 and, according to tracking website Planespotters.net, this particular plane first flew in May 1994. The jet's last contact was at 2:40 p.m., according to Budi Karya Sumadi, Indonesia's transportation minister.
Fishermen in the Thousand Islands regency found debris and an oil spill in the water, with no confirmation of whether they're from the missing plane, according to video shown by local news channel MetroTV. The regent of Thousand Islands received a report of a plane crashing on Laki Island, which is uninhabited, on Saturday afternoon, he said to local news website Detik.com.
Indonesia, which had one of the fastest growing airline industries in the world prior to Covid, has a patchy safety record when it comes to air accidents. Its poor aviation history saw carriers from the nation banned from the European Union in 2007 and it was only in June 2018 that the full ban was lifted. In 1997, Garuda Indonesia Flight 152 crashed approaching an airport in Medan in North Sumatra, killing 234. The AirAsia Flight 8501 that crashed in late 2014 was en route to Singapore from Surabaya.
On Oct. 29, 2018, the Boeing 737 Max flown by Lion Air plunged into the Java Sea 13 minutes after takeoff, killing all 189 passengers and crew. That was Indonesia's second-deadliest aircraft accident behind Garuda Flight 152.
BOEING WOES
The coronavirus pandemic has complicated aviation insomuch as pilots aren't getting enough opportunity to fly because airlines have grounded planes and scaled back operations due to a slump in demand. On Sept. 15, an Indonesian flight carrying 307 passengers and 11 crew to the northern city of Medan momentarily veered off the runway after landing, sparking an investigation by the country's transport safety regulator. It found the pilot had flown less than three hours in the previous 90 days. The first officer hadn't flown at all since Feb. 1.
Saturday's incident also follows a tumultuous period for Boeing, which only in November had its 737 Max cleared to fly again by the U.S. Federal Aviation Administration, ending the longest grounding of a jetliner in U.S. history. Brazil's Gol Linhas Aereas Inteligentes SA was the first airline to resume regular flights using the jet, beginning Dec. 9 on domestic routes from Sao Paulo. American Airlines Group Inc. has since also reintroduced the Max on Miami-New York flights.
Earlier this month, Boeing reached a $2.5 billion agreement with the Justice Department to settle a criminal charge that it defrauded the U.S. government by concealing information about the 737 Max, capping a two-year investigation that devastated Boeing's reputation for engineering prowess.
Sriwijaya Air was established in November 2003. Its fleet is comprised of the Boeing 737 family of jets and ATR 72-600 turboprops. While the company primarily serves domestic routes, it does fly internationally to Penang, Malaysia and Dili, Timor Leste. Flag carrier PT Garuda Indonesia briefly took over the operation of Sriwijaya and its unit NAM Air back in 2018 to expedite Sriwijaya's debt restructuring, including clearance of dues to Garuda's unit.
The Boeing jet in question had been operated by Sriwijaya Air since 2012, according to fleet data on Planespotters.net, and was previously used by Continental Air Lines and United Airlines Holdings Inc.
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The General Data Protection Regulation is an EU regulation that will be in force as of May 25th 2018 and will supersede the Data Protection Directive of 1995.
GDPR relates to the collection and use of data which may include but is not limited to names, photos, email addresses, bank details, social media accounts and posts, medical information, genetics, biometric data, computer IP addresses.
If you're using Rehab Guru to prescribe exercises to your clients and patients then GDPR applies to you, even if you aren't physically located in the EU.
It's worth noting that privacy and security policies are live documents and are constantly updated, this page and it's linked policies will be constantly updated to accurately reflect how we comply with GDPR.
GDPR separate entities into Controllers and Processors. In some cases Rehab Guru Ltd, serves as both. We endeavour to provide you with the documentation, information and policies you require in order to assist you in being compliant yourself.
Documentation of our internal processes and in-house policies on how we handle your data.
Vetting third-party vendors and subcontractors for their compliance with GDPR.
Appointment of GDPR rep and Data Protection Officer (DRO).
We've updated our Privacy Policy and Terms of Service to meet the requirements of GDPR. We've cross referenced our information with the ICO in order to ensure both compliance but also provide you with a jargon-free, open and honest appraisal of the data we need to operate (and no more) as well as giving information on the platforms and services we use to remain compliant.
We've appointed a member of our team who resides in the United Kingdom to the role of DPO and EU representative. Our DPO oversees all aspects of our in-house data usage as well as wider privacy and GDPR compliance issues.
Our DPO can be contacted at [email protected]rehabguru.com.
Ensuring third-party vendors meet GDPR requirements.
Rehab Guru relies upon a number of industry-standard services and infrastructure in order to operate. As part of our GDPR preparation, we have ensured that they are all GDPR compliant themselves we well as reviewing our agreement with them in the processing of both our data and the data processed on your behalf.
We rely on services such as cloud services and transactional email providers in order to provide our service. You can read more about our third-party vendors further down this page.
Jargon Buster: "We process the data that you are the controller of" — we provide the tools, services and infrastructure to allow you to comply with the 7 pillars of GDPR.
Control over marketing communications - It is Rehab Guru's policy to not contact patients with marketing related communications. You are the controller of their data, not us therefore, we have no right to contact them directly. That includes the communication of our GDPR compliance, it is your responsibility to inform your clients and patients of where and how their data is held.
Ability to modify personal information — personal information can be modified at the request of the patient. This fulfils the GDPR requirement of Right to Rectification.
Providing patients with a copy of all their personal information — In the situation where a patient requests a copy of all the data you hold on them under their GDPR Right to Access, it must be provided in an easy to transfer / read format as defined under the Right to Portability. We assist you in fulfilling such requests by providing an export service. Simply email your request to [email protected]rehabguru.com including any relevant information (such as client name, email etc).
A patient may request the deletion of all the data you hold on them, including that held on platforms such as EHRs and Rehab Guru.
We give you the tools to perform a full deletion of a client from within all our apps. Please note that this process is irreversible and we cannot restore any information that has been deleted in error. Note: Some enterprise clients may have your authority to delete prescriptions superseded by a higher authority.
Jargon Buster: In addition to us processing the patient data that you control via our services, we are also controller of your data, for example, your name, email address, clinic information etc. As a controller, we have the same responsibility to you as you do to your patients. Below is an outline of how we comply with our data controller responsibilities under GDPR.
Full deletion of your Rehab Guru account.
On your explicit request we are able to delete your entire account and all data that we hold on you and for you (Note: This is irreversible!).
If there is a legal requirement or standing instruction from a higher authority (in the case of our Enterprise users) some data may be retained in an archive.
We offer the option to opt out of all marketing, product updates and special offers from within our Web App account panel. This does not include correspondence which directly relates to your account such as payments, security, or we are forwarding a client request that has been sent to you via us or sent to us by mistake.
The below bullet points provide a very brief summary of how we comply with GDPRs 7 pillars. We have much more verbose information on our GDPR preparation and compliance, however, this list provides a quick compliance checklist.
We endeavour to write our Terms of Service and Privacy Policies in plain English and keep jargon to a minimum. We request your consent when signing up and provide numerous tools in order to manage both your own and your patients' data.
We have gone through an extensive Business Continuity and Risk Management Planning process in order to both identify risks as well as plan our recovery. As part of this plan, we have a communication plan and required infrastructure to inform all users of potential breaches.
All requests for data are handled by our staff. We handle them on a one to one basis in order to ensure that you get the data in a readable, transferable format as stipulated by the right to portability — see below.
Within your account, you have all the features to delete a client. The option to delete your whole account and all data associated with it can be done by contacting our Data Protection Officer at [email protected]rehabguru.com (account deletion is irreversible and explicit consent from the account holder is required as evidence of this request).
We export your data in the format you require (within the bounds of what is technologically possible). Export requests can be performed by submitting a help ticket from our support portal (https://support.rehabguru.com).
Whilst not strictly necessary by the letter of the law, we've still appointed a member of our team who resides in the United Kingdom to the role of DPO and EU representative. Our DPO oversees all aspects of our in-house data usage as well as wider privacy and GDPR compliance issues.
The Rehab Guru founders all originate from a clinical background. Therefore privacy and principles such as Caldicott, patient confidentiality and clinical governance have all being considered in the design and creation the services provided by Rehab Guru Ltd.
In order to deliver a global service Rehab Guru Ltd may engage with subprocessors, who may have access to Customer Data through the delivery of their service (i.e. Our email service, Mailchimp would process your name and email in order to send out a welcome email to you). Details of all our subprocessors can be found below, where relevant we have also linked to their own GDPR and Privacy Policies for completeness.


Resistance by low-paid and precarious workers has forced working conditions onto the political agenda – from couriers with Deliveroo and UberEats, to hospitality workers employed by McDonalds, Wetherspoons, and TGI Fridays, to private hire drivers with Uber, a series of high profile strikes have taken place in recent years. Forced to at least acknowledge the issue, in December 2018 the government published a Good Work Plan, claiming to 'not only maintain workers' rights as the UK leaves the EU, but enhance them'. Unsurprisingly, the Plan offers low-paid and precarious workers nothing of substance. Serious action to improve pay and condition would threaten the profits of companies that rely on super-exploited labour. For real solutions workers can only rely on their own independent action.
The Good Work Plan is short on details, running to only 68 pages. Far from proposing a major change to labour relations, it brazenly celebrates the 'flexible labour market' that has made work precarious for so many, while pretending that flexibility only disadvantages workers where 'a minority of employers abuse the current system'. It promotes the idea that good work 'is in the interests of all businesses', ignoring the reliance of significant sectors of Britain's economy on low-paid, 'disposable' labour. The plan promises a new National Retraining Scheme that focuses on jobs under threat of automation, to support 'people to progress in work, redirect their careers and secure the high-paid, high-skilled jobs of the future', but this offers nothing to many workers who see no prospect of such jobs.
Average hours worked per week have been falling in formal terms since the 1990s, yet at the same time work has extended informally to more and more of our waking hours, for example where workers are required to make themselves available, with little or no pay, without knowing if they will be called in, and through expectations to answer emails or engage in work-related training outside of work hours. The Good Work Plan claims it will achieve more predictable hours, which would be welcome, but the Plan only proposes: 'to give all workers the right to request a more stable contract', and only after 26 weeks' employment on a zero- or short-hours contract. This implies that employers will retain a 'right' to say no to the request and creates an additional incentive for employers to hire and fire within a 26-week period. It does nothing for casualised workers who don't have a contract. Similarly, the Plan's proposal to increase the minimum period denoting a 'break in continuous service', from one week to four weeks, might simply incentivise employers to wait longer before rehiring intermittent workers in order to limit rights that depend on length of service.
Other aspects of the Plan, such as promises to remove an opt-out from equal pay for agency workers, and to require all employers to give employees and workers a statement of their rights on their first day, will mean nothing if they are not effectively enforced. Currently Britain and the north of Ireland have among the weakest labour inspectorates in Europe, with less than 0.4 inspectors for every 10,000 workers - less than half the minimum recommended by the International Labour Organisation. Labour's record is no better: at the end of the last Labour government there were 93 compliance officers tasked with enforcing the National Minimum Wage and 25 inspectors for the Gangmasters Licencing Authority, compared to 7,500 staff in local teams enforcing immigration controls. Laughably, the Plan refers to a promise to increase the number of inspectors by just five, as though this makes any difference in relation to an employed workforce of 32.4 million. It should be remembered that the prohibitive fees imposed by the government in 2013, as a barrier to employment tribunals, were overturned only because of a successful legal action by Unison. There is no reason to trust any of the government's promises; only workers themselves can be relied on to enforce workers' rights.
Workers were expected to work increasingly hard during the 1990s, and this intensification of work accelerated again between 2006 and 2012, particularly for women working full time. The Skills and Employment Survey found that in 2017, 46% of Britain's employed workforce reported their jobs required them to work 'very hard', compared to 32% in 1992. The proportion of workers who said they are exhausted by the time they leave work increased between 2012 and 2017, to around 47% of men and 55% of women. The authors of the survey argue that work intensification has been driven by new technologies that have made it easier to schedule tasks without gaps, filling up every minute of the working day, reducing opportunities for rest, and accelerating workflows. These conditions are ruining people's health. Workers in Britain and the north of Ireland take a total of 12.5 million days off work due to illness every year, with excessive workloads and resulting stress and strain a significant contributing factor. These outcomes are not the inevitable consequence of technological improvements, but result from a capitalist organisation of work that prioritises profits above all else.
The Good Work Plan claims to support workers' autonomy, but at the same time the government are making workers increasingly dependent on waged labour, with austerity and racist immigration controls leaving many workers little alternative to accepting whatever work is on offer, however low the pay and however poor the conditions. As long as there are people desperate for work, there will be employers willing to take advantage. Unsurprisingly, the government's Plan makes no suggestion that it will lift the restrictions on trade unions that have been imposed since the 1970s. In place of rights to independent organisation, the plan focuses on 'information and consultation arrangements', in which employers will continue to hold the real power. Real 'good work' for the majority of the working class can only be achieved through a struggle for workers' control and economic democracy: in other words, socialism. Every struggle by workers to improve their pay and conditions must be supported.


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Pennsylvania winters can be brutal. Stay warm when you call on the experts at Elio Construction, Inc. for help.


text:
Recount to go on ... Viewing the destruction ... Woman rescued from rubble
By The Associated Press | Posted - Dec. 2, 2016 at 3:42 p.m.
MADISON, Wis. (AP) — A federal court in Wisconsin has rejected an attempt by pro-Donald Trump groups to stop a recount of the state's presidential vote, saying there's no harm in allowing it to continue. Two pro-Trump political action committees and a Wisconsin voter sought to stop the recount, arguing that it was an unconstitutional violation of the constitutional rights of people who had voted for Trump.
GATLINBURG, Tenn. (AP) — Residents and business owners in Gatlinburg, Tennessee, got their first look today at this week's wildfire destruction. Many walked around the once-bustling tourist city in a daze, sobbing. The death toll stands at 13. Sevier County Mayor Larry Waters is defending the response to the wildfires that spread rapidly Monday, saying it was not the time for "Monday morning quarterbacking."
SAN BERNARDINO, Calif. (AP) — At the moment when shooters unleashed terror on San Bernardino, California, a year ago, county employees remembered their fallen colleagues in silence this morning. A bell rang 14 times in memory of each person slain in the terror attack that also wounded 22 others at the Inland Regional Center. Investigators say the attackers, a married couple, were inspired by the Islamic State group.
SIOUX FALLS, S.D. (AP) — Rescue workers have pulled a woman, injured but alive, from the rubble of a building that collapsed today in South Dakota's largest city. Crews continue searching for a second person believed to be trapped under the debris of the brick building in downtown Sioux Falls. Rescue workers also pulled the woman's dog — alive — from the rubble of the building where she lived.
NEW YORK (AP) — The chef who has been credited with inventing General Tso's chicken — a world-famous Chinese food staple that is not served in China — has died. He was 98. His son says Chef Peng Chang-kuei (chang-KWAY') died Wednesday in Taipei, the capital of Taiwan. Peng is said to have created the dish in the 1950s and brought it to New York 40 years ago.


Columbia Journalism Review (CJR) encourages and stimulates excellence in journalism in the service of a free society. Published by Columbia University's Graduate School of Journalism, CJR examines press performance as well as the forces that affect it. The bimonthly magazine offers a deliberative mix of reporting, analysis, criticism, and commentary.