text:
The Devin's Advocate: Should You Start A TV Series At The Beginning?
As TV shows get more and more serialized, how should you approach them? And more importantly, how should the show runners approach them? Where's the line between accessible and awesome?
By Devin Faraci Mar. 06, 2011
Last night Onion AV Clubbers Noel Murray (@noelmu) and Scott Tobias (@scott_tobias) had a really interesting discussion on Twitter: should you start a TV show at the beginning of the series?
The discussion grew out of the FX series Justified; I believe that Tobias took issue with statements on Slate's Culture Gabfest podcast, where some of the participants had only watched a season two episode of the show. Tobias felt that there was too much history, too many character moments from season one, to make a single-shot viewing of Justified reasonable.
Murray, on the other hand, more or less argued that television is an episodic medium, and that any TV watcher with a brain can come into a regular series episode and figure out the major backstory and character relationships.
I find myself leaning towards Murray in theory; a TV show may have a serialized, longform story, but it's being told episode by episode. It's crazy for show creators to make most of those episodes impenetrable to newcomers. People should be able to jump on later in the series or the season and be able to get coherently up to speed. A good TV show isn't a long story cut up into episodes, it's a bunch of good individual stories that, when strung together, tell a long story.
But I lean towards Tobias in practice. In the modern era, where everything is on Netflix or DVD or Hulu, I hate coming in to a show on season two or in the middle of the season run. I prefer starting at the beginning. But this means I end up watching fewer shows - nothing deters me from checking out a show than someone telling me 'It gets good on episode 10.' Frankly I have better things to do with nine hours of my life than invest them in a show that might finally improve. If I were smart I'd just watch episode 10 and then pick up on the subpar first nine later.
As much as this is a question about our own personal OCD tendencies, it feels like an important question for TV show runners to begin pondering. TV has made a shift towards the serialized; a decade ago a show like Justified would have been just stories of the week, with minimal serialization. Now it's expected that any show worth watching will have a larger story arc in addition to its weekly story.
We're moving towards a world where TV seasons almost feel like miniseries; HBO's coming A Game Of Thrones is a ten part adaptation of a novel, with proposed future seasons to adapt more novels in the series. With that sort of tight storytelling the quality of TV shows increase, and with DVRs being ubiquitous show runners can feel more comfortable telling complex stories without losing people along the way. But where's the room for the newcomer to enter? How can shows balance the quality and pleasures of longform storytelling with giving people the ability to jump onboard the tale without making a huge time and money investment in catching up?
Weigh in below.
On THE SOPRANOS As Precipice Art
Here Are Even More New Photos From THE DEFENDERS
Reminder: DOCUMENTARY NOW Returns To IFC Tonight
noel murray
onion av club
By Tom Augustine, Jan 28, 2019
Twenty years since the premiere of its first episode, television's great masterpiece continues to capture what it feels like to live in a society on the brink of collapse.
By Evan Saathoff, Jan 12, 2017
Yep. That's them. They look lost.
By Scott Wampler, Sep 14, 2016
Set your DVRs: one of television's best comedies returns tonight.


text:
EU member countries reach compromise on gas price cap
By SAMUEL PETREQUIN The Associated Press
Germany's Climate Action Minister Robert Habeck speaks with the media as he arrives for a meeting of EU energy ministers in Brussels, Monday, Dec. 19, 2022. During an emergency meeting of EU energy ministers on Monday, ministers will discuss a lower cap on Russian gas prices as the cold of winter sets in. (AP Photo/Olivier Matthys)[ASSOCIATED PRESS/Olivier Matthys]
BRUSSELS (AP) — European Union ministers on Monday finalized a long-awaited deal to implement a natural gas price cap they hope will help households and businesses better weather excessive price surges.
EU member countries failed to overcome their differences at previous emergency meetings, but several EU leaders said last week that fixing a maximum ceiling to pay for gas was likely to be achieved this time. After talks in Brussels on Monday, the Czech presidency of the European Council, which represents member countries, said a deal had been reached.
"We have succeeded in finding an important agreement that will shield citizens from skyrocketing energy prices," said Jozef Sikela, the Czech minister of Industry and Trade, adding that the mechanism will steer the 27-nation clear "from risks to security of supply and financial markets stability."
Since it could not find a consensus on the divisive topic, the Czech presidency opted for a "qualified majority" as the voting rule to reach the political agreement. Under EU rules, a qualified majority requires that 55% of member countries, or 15 out of the 27, vote in favor of a proposal. Such a vote also requires that those nations represent at least 65% of the bloc's population.
Under the agreement, the mechanism will kick off if prices exceed 180 euros ($190) per megawatt hour for three days and if it is 35 euros higher than a reference price for LNG on global markets for the same period. Once triggered, the mechanism will remain active for at least 20 days.
Czech Republic's Minister for Industry and Trade Jozef Sikela speaks with the media as he arrives for a meeting of EU energy ministers in Brussels, Monday, Dec. 19, 2022. During an emergency meeting of EU energy ministers on Monday, ministers will discuss a lower cap on Russian gas prices as the cold of winter sets in. (AP Photo/Olivier Matthys)
Photo: ASSOCIATED PRESS/Olivier Matthys
EU Energy Commissioner Kadri Simson speaks, prior to a meeting of EU Energy Ministers, at an energy council in Brussels, Monday, Dec. 19, 2022. (AP Photo/Olivier Matthys)
Croatia's Energy Minister Davor Filipovic, left, holds up a t-shirt during a meeting of EU energy ministers in Brussels, Monday, Dec. 19, 2022. During an emergency meeting of EU energy ministers on Monday, ministers will discuss a lower cap on Russian gas prices as the cold of winter sets in. (AP Photo/Olivier Matthys)
Sikela said the 180 euros limit "is not a cap as such" and that prices can still go above this level if prices on the LNG markets are higher than 145 euros per megawatt hour.
"In other words, this is not a fixed cap, but rather a dynamic one," he said.
The measure will apply from Feb. 15 next year once formally approved by written procedure.
The EU's executive Commission last month proposed a "safety price ceiling" to kick in if natural gas exceeded 275 euros ($290) per megawatt hour for two weeks and if it is 58 euros higher than the price of liquefied natural gas on world markets.
Such a system might not have averted hikes as high as in August — when prices hit nearly 350 euros per megawatt hour on Europe's TTF benchmark but fell below 275 euros within days — and was met with derision by many countries including Spain, Belgium and Greece and Poland, pushing for a lower trigger.
The 27 EU nations have stuck together through nine rounds of sanctions against Russia over the war in Ukraine and energy-saving measures to avoid shortages of the fuel used to generate electricity, heat homes and power factories.
But they were unable until Monday to close a deal on setting the complicated price cap for natural gas. The cap was promised in October as a way to reduce energy bills that have soared during Russia's invasion of Ukraine.
"We have proved that the EU is united and will not let anybody use energy as a weapon," Sikela added.
The gas cap issue is a divisive one because of fears that global suppliers would bypass Europe when other buyers offer more money.
Hungary's foreign minister, Peter Szijjarto, said Budapest continues to oppose the introduction of a gas price cap because it will lead to price increase. He said that the EU should instead focus on building pipelines and LNG terminals while looking for new sources.
The Council said an emergency brake has been devised to suspend the mechanism if "gas demand increases by 15% in a month or 10% in two months, LNG imports decrease significantly, or traded volume on the TTF drops significantly compared to the same period a year ago."
The mechanism will also automatically deactivate once LNG prices drop back below 180 euros, Sikela said.
Germany was initially reluctant but Economy Minister Robert Habeck was pleased that safeguards were introduced.
"A compromise has now been reached that limits the mechanism to temporary price spikes for certain traded products. It is automatically suspended if, for example, there is a threat to security of supply. These safety lines are important and could be concretized today in the final negotiations," he said.
The scare of exorbitant prices came in the heat of summer when a massive August spike stunned consumers and politicians, forcing the bloc to look for a cap to contain volatile prices that are fueling inflation.
The compromise on the price cap unlocked plans for joint gas purchases and a solidarity mechanism to help the neediest countries as the energy measures were agreed on as a package.
"I welcome today's agreement in the Energy Council on joint purchasing, speeding up permitting for renewables and the market correction mechanism," said European Commission President Ursula von der Leyen, who heads the EU's executive arm. "These decisions will enable the EU to prepare for the next winter more effectively and fast-track the deployment of renewables."
Member countries also agreed on a proposal to reduce methane emissions, one of the biggest causes of climate change, second only to carbon dioxide. The gas also causes serious health problems.
"This will help us meet our commitments under the Global Methane Pledge to cut methane emissions by 30% by 2030," Sikela said.
This story was corrected to reflect that under EU rules, a qualified majority requires that 15 of the 27 member countries, not 17 of them, vote in favor of a proposal.
Associated Press writer Geir Moulson in Berlin contributed to this story.

redpajama_set_name: RedPajamaCommonCrawl


text:
Ashes to Ashes är en brittisk TV-serie från 2008, en spinoff till TV-serien Life on Mars. Titeln kommer från en låt av David Bowie med samma namn, och handlar om en polis från 2000-talet som hamnar i det förflutna.

Den psykologutbildade polisen Alex Drake (Keeley Hawes) blir skjuten år 2008 och vaknar upp 1981. Precis som Sam Tyler i Life on Mars får hon Gene Hunt (Philip Glenister) som kollega. Även Chris Skelton (Marshall Lancaster) och Ray Carling (Dean Andrews) är kvar. Alex Drake har en dotter, på 2000-talet, som hon saknar.

Rollista
 Philip Glenister - Gene Hunt
 Keeley Hawes - Alex Drake
 Dean Andrews - Ray Carling
 Marshall Lancaster - Chris Skelton
 Montserrat Lombard - Sharon Granger
 Amelia Bullmore - Caroline Price
 Stephen Campbell Moore - Evan White
 Daniel Mays - Jim Keats
 Adrian Dunbar - Martin Summers
 Joseph Long - Luigi
 Geff Francis - Viv James
 Mason Kayne - Gene Hunts spöke

Referenser

Noter

Externa länkar

Brittiska TV-serier från 2000-talet
TV-seriestarter 2008
TV-serieavslutningar 2010
Engelskspråkiga TV-serier
TV-serier som utspelar sig under 1980-talet
Tidsresor på TV

redpajama_set_name: RedPajamaWikipedia


The Municipal Securities Rulemaking Board (MSRB), which regulates the municipal markets and has oversight over the sale of municipal securities, has appointed Hirschler partner Jamie Canup to its Municipal Fund Securities Advisory Group.
The advisory group provides input to the MSRB on municipal market rules, practices, transparency and education related to 529 plans and ABLE programs.
Click here to view the MSRB announcement.


The time it takes to write a story is really next to no time at all when it's true, or at the very least, a dream.
Very often when I paint there's a story running along with the brush strokes. Who lives in that farmhouse and what's it been like? Is that donkey loved and cared for? What's going on under the water? I don't know what the floral paintings say. I just know they're fun to paint.
I'm anxious to launch this website. It replaces my previous one which, I must admit, I neglected. No excuses. I chose to paint more and post those paintings on Daily Paint Works instead of my own website. I am giving myself until the end of 2019 to set up this new site as the only one where patrons can view my work and purchase what they like. I'm going to make notes in my iCal to remind me to do that as well as write more stories. They are there waiting to be painted.


text:
Eventi

Nati

 040


Have you ever been helped significantly by a self-help book?
yes, it was a book about women quitting smoking. I don't know why I bought it since I did not intend to quit at the time. Or so I thought, because then I did. It wasn't even a particulary good book, just a fictionary account about someone quitting, but it turned out that it helped a lot (it's 2 years and a half I quit).
In fact both the title and the cover are embarassing in their "selfhelpness", but it is nonetheless one the books I'm most proud to have in my library.
How to Win Friends and Influence People taught me how often sales people try to shaft me. The Go-Getter taught me that some people have no life.
How to Win Friends and Influence People is my fav self-help book too.
Haven't actually read this, but I've heard good things about "The Creative Habit" by Twyla Tharp.
Too Good to Leave, Too Bad to Stay by Mira Kirshenbaum helped me justify the decision to divorce.
I need a book that will inspire me to keep a positive attitude and undertake the difficult, lonely, but rewarding road of breaking probably 100 unhealthy habits and replacing them with a more mindful, fulfilling lifestyle. What should I read?
Basically, I want to tear everything down and just start rebuilding, from the foundations. Hard to get started and not fall back into old ways.
Cannot afford therapy rn, p.s. also this is more of a self improvement thing than a thing where i am in a crisis.


text:
Q: Reduce List Objects field in Java I have model, return and list below:
public class Occurrence {
       private Integer id;
       private String description;
       private String status;
      // gets/sets
}

List<Occurrence> list = this.getOccurrences();

My function returns:
[ {"id": 1, "description": "One", "status": "Initial"},{"id": 1, "description": "One", "status": "Doing"}, {"id": 1, "description": "One", "status": "Almost"}, {"id": 1, "description": "One", "status": "Done!!"} ]

How can I reduce the values list to this?:
["id": 1, "description": "One", "status": ["Initial", "Doing", "Almost", "Done!!"] ]

A: What you need to do is create another object that represents an Occurance but with multiple statuses. The issue is that you're trying to group multiple statuses into one but an Occurance only supports a single status.
    public static final class MultiStatusOccurrence {

        private final int id;

        private final List<String> statuses;

        public MultiStatusOccurrence(int id, List<String> statuses) {
            this.id = id;
            this.statuses = statuses;
        }

        public int getId() {
            return id;
        }

        public List<String> getStatuses() {
            return statuses;
        }
    }

Then you need to map the occurrences together if they have the same ID (assuming it's unique) and group the statuses. This assumes the description can be dropped since it's not unique and is the same throughout.
        List<Occurrence> occurrences = new ArrayList<>(Arrays.asList(
                new Occurrence(1, "Hello World!", "Done!"),
                new Occurrence(1, "Hello World!", "Done2!")));

        List<MultiStatusOccurrence> multiStatusOccurrences = occurrences.stream()
                .collect(Collectors.groupingBy(Occurrence::getId))
                .entrySet()
                .stream()
                .map(entry -> new MultiStatusOccurrence(entry.getKey(),
                        entry.getValue().stream()
                                .map(Occurrence::getStatus)
                                .collect(Collectors.toList())))
                .collect(Collectors.toList());

redpajama_set_name: RedPajamaStackExchange


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Privacy of Marginalized Groups in Serbia Not Adequately Protected
January 31, 2022Uncategorized
Partners Serbia, together with 5 civil society organizations organized their annual Privacy Week event, from 24 to 27 January 2022, which covered a variety of topics related to protection of privacy in different areas. One of the Privacy Week panels was dedicated to discrimination as a consequence of violation of privacy of sensitive social groups, such as women, children, Roma population, socially deprived persons, LGBTQ+ persons etc.
This panel included representatives of the Commissioner for the Protection of Equality, Council of Europe and three Serbian civil society organizations which are providing support to vulnerable social groups – A11 Initiative for Economic and Social Rights, Association Da se zna and Belgrade Centre for Human Rights.
Representatives of civil society used this event to present some of the most flagrant cases of privacy violations that the members of vulnerable groups are facing. During the panel, it was pointed out that some groups (such as HIV positive persons, members of the LGBTQ+ community, as well as victims of sexual violence, especially minors) are very often victims of discrimination as well. The panelists also referred to the privacy violations that trans people in the process of changing personal documents are subject to. Members of the Roma population are also often victims of privacy violations. They sometimes do not understand that privacy is their inalienable right, but view it as a privilege, due to the very poor treatment they are subjected to, in addition to all other existential problems which they face. It was also pointed out that members of the Roma population often do not fight for the protection of their right to privacy for fear that they will lose some other rights such as housing, welfare etc. The panel was also used to present the privacy violations that the refugees and asylum seekers are subject to at the asylum and reception centres. It is also important to state that the financial costs of using legal protection often represent an additional limitation for members of vulnerable groups in the process of protecting their privacy. Because of that, most of them do not initiate any legal procedures to protect their privacy, which further perpetuates the culture of inpunity when privacy violations occur.
During the panel, it was also stated that members of vulnerable groups are generally inadequately informed about their right to privacy and the ways in which they can exercise and protect those rights. Legal aid is also rarely an adequate means of protection due to the costs it entails, but also due to the long duration of the proceedings. When the violations of privacy take place online, they are even more difficult to detect and more challenging to address through legal mechanisms.
The panelists also pointed out that Serbia has the legal framework for preventing discrimination and protection of privacy of members of vulnerable groups, which is not ideal, but is slowly changing for the better. However, the burning issue is still the poor implementation of these mechanisms, as well as the inadequate treatment of representatives of marginalized groups by the relevant institutions. The need to adopt a new Strategy for the Protection of Privacy which would ensure that the existing Law on Personal Data Protection is properly implemented and that the vulnerable groups have the necessary legal mechanisms at their disposal when their privacy is being violated was also discussed.


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2. 25. 16 by Annabs Sanchez
/Virtuality
IBM's Supercomputer is Controlling a Massive Virtual Reality Game, and They Need Beta Testers
/ Virtuality/ Anime/ Ibm/ SAO
Image by Futurism M.A
Enter the Game
IBM is helping to create Sword Art Online, and they're looking for beta-testers.
Sword Art Online: The Beginning is powered by IBMs cognitive computing system Watson, which made its television debut in Jeopardy! in 2011, where it beat two of the show's greatest champions, Brad Rutter and Ken Jennings, using a combination of natural language processing and machine learning.
Those selected for beta-testing will be scanned and a 3D model of themselves will be created, which they can then customize to create their in-game avatar.
Credit: swordart-online.net
Meet the Game
Written by Reki Kawahara, who also wrote Accel World, and illustrated by abec, Sword Art Online is a young adult manga set in the not too distant future of 2022, when a Virtual Reality Massively Multiplayer Online Role-Playing Game (VRMMORPG) of the same name was released. In the game, participants put on a helmet called NerveGear, which lets them control their game avatars with their mind.
And oh, and if they die in the game, well, they are really dead.
The good news is, the IBM version of Sword Art Online is no NerveGear. Meaning you don't need to worry about whether you'll come out alive when you suffer destruction in-game. SlashGear reports that the Sword Art Online: The Beginning will be made to support Oculus Rift and HTC vibe.
Also unlike in the in-game characters, players of Sword Art Online: The Beginning won't be using their minds to control their character. Instead, they'll be using their own body as motion controls for the game.
"Something completely foreign from any other video game experience," says Kawahara. IBM is now taking applications for 208 beta-testers until March 4, 2016. Selected applicants will test a prototype from March 18 and 20 in Tokyo.
To Meta Predator
Experts Warn of Child Predators in Mark Zuckerberg's Metaverse
Defcon Fun
Princeton Researchers Create Terrifying VR Simulation of Nuke Attack to Train US Officials
Ready or Not, Inexpensive VR Sex Is Going Mainstream
Realistic, Interactive VR Sex Is Finally Here, and It's Affordable
Expert: VR Headsets Should Have Brain Interfaces
More on Virtuality
Meta Marked
Wednesday on the byte
The Metaverse Industry Is Already Going Belly-Up, for Reasons We Can't Imagine
Jan 13 on the byte
Congress Rejects Funding the Military's Microsoft AR Goggles Because They Made Soldiers Sick
Headache Sets
Jan 6 on the byte
US Army Buying Microsoft AR After Soldiers Said They "Would Have Gotten Us Killed"
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text:
Q: Decomposition of a truncated distribution This question is actually a follow up to a question I asked earlier here, but I'll supply here all the necessary details.
Let $X$ be a continuous random variable (rv) equipped with the CDF
$$F_X(x)= \begin{cases}
\frac12(2-e^{-x}) & x\ge0 \\
\frac12e^x & x\le0 \end{cases}$$
Now, we define a truncated rv Y such that
$$Y= \begin{cases}
0 & X\leq 0 \\
X & 0 < X < 5 \\
5 & X\ge 5
\end{cases}$$
Now, I know that $Y$ has a mixed type distribution and that its CDF has a decomposition
$$F_Y(y)=\alpha F^d(y)+(1-\alpha) F^c(y) $$
where $F^d(y)$ and $F^c(y)$ are the CDFs of the discrete and continuous distributions, respectively.
I'm trying to find  $F^d(y)$, $F^c(y)$ and $\alpha$.
My try:
$$F_Y(y)=P(Y\le y|Y \in \{0,5 \})P(Y \in \{0,5 \})+P(Y\le y|Y \notin \{0,5 \})P(Y \notin \{0,5 \})$$
$$P(Y=0)=P(X\le0)=F_X(0)=\frac12$$
$$P(Y=5)=P(X\ge5)=1-F_X(5)=\frac12 e^{-5}$$
Therfore
$$\alpha=P(Y \in \{0,5 \})=\frac12 + \frac12 e^{-5}$$
$$F_Y(y)= \begin{cases}
0 & y< 0 \\
\frac12 & 0 \le y < 5 \\
\frac12 + \frac12 e^{-5} & y\ge 5
\end{cases}$$
However, $F_Y(y)$ is clearly not a CDF (since its limit at $\infty$ is not $1$).
What I'm doing wrong?
Additionally, how can I find $F^c(y)$?
Any help will be greatly appreciated.

A: First, your specification of the CDF is obviously in error.  If $x \ge 0$, you state $F_X(x) = e^x/2$, thus $\lim_{x \to \infty} F_X(x) = \infty$, which is absurd.  I interpreted the intended CDF as $$F_X(x) = \begin{cases} \frac{1}{2}(2-e^{-x}), & x \ge 0 \\ \frac{1}{2}e^x, & x < 0. \end{cases}$$  With this in mind, and $Y$ defined as above, we clearly have $$\Pr[Y = 0] = \Pr[X \le 0] + \Pr[X \ge 5] = F_X(0) + (1 - F_X(5)) = \frac{1}{2}(1 + e^{-5}) \approx 0.503369.$$  Now note that $Y$ cannot be negative, nor can it be $5$ or greater:  either $Y = 0$ or $Y = X$ if $X \in (0,5)$, and in no case is $Y < 0$ or $Y \ge 5$.  So suppose $y \in (0,5)$:  we now have $$F_Y(y) = F_X(y) + (1 - F_X(5)) = \frac{1}{2}(2 - e^{-y} + e^{-5}), \quad 0 < y < 5.$$  If $y \ge 5$, then $F_Y(y) = 1$.  If $y < 0$, then $F_Y(y) = 0$.  So the CDF of $Y$ is $$F_Y(y) = \begin{cases} 0, & y < 0 \\ \frac{1}{2}(2 - e^{-y} + e^{-5}), & 0 \le y < 5 \\ 1 & 5 \le y. \end{cases}$$

While I was composing the above response, you edited your definition of $Y$ so that $Y = 5$ if $X \ge 5$.  In this case, we would have $$\Pr[Y = 0] = \Pr[X \le 0] = F_X(0) = \frac{1}{2}.$$  Similarly, $$\Pr[Y = 5] = \Pr[X \ge 5] = 1 - F_X(5) = e^{-5}/2 \approx 0.00336897.$$  And again, for $y \in (0,5)$, the same reasoning as above would give $$F_Y(y) = F_X(y),$$ so we would simply have $$F_Y(y) = \begin{cases} 0, & y < 0 \\ \frac{1}{2}(2 - e^{-y}), & 0 \le y < 5 \\ 1, & y \ge 5. \end{cases}$$  The easiest way to see this is to observe that the CDF of $Y$ is discontinuous at $y = 0$ and $y = 5$, and the size of the discontinuities are precisely the probabilities $\Pr[Y = 0]$ and $\Pr[Y = 5]$.

To test your understanding, what if instead we defined $$W = \begin{cases} -4, & X \le -4 \\ X, & -4 < X < 0 \\ 0 & X \ge 0? \end{cases}$$  What is the CDF of $W$?  And what if we defined in general $$T(m,n) = \begin{cases} m, & X \le m \\ X, & m < X < n \\ n, & X \ge n,\end{cases}$$ for $m < n$?


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text:
Home Obituaries OBITUARY: Toni Wright Poole
OBITUARY: Toni Wright Poole
Toni Wright Poole, age 48, of LaVergne, TN, went to be with the Lord on Tuesday, July 9, 2019. A native of Jamestown, TN, she was preceded in death by her father, David Wright; brother, John Wright; and her grandparents, Charlie and Lydia Lee Smith Wright and Harles and Lydia Hayes Allred.
Funeral services will be Sunday at 3:00 p.m. at True Vine Freewill Baptist Church. Brother Charlie Wright will officiate. Burial will follow in Mapleview Cemetery.
She is survived by her mother, Linda Allred Wright; daughter, Emily Poole and her father, Danny Poole; brothers, Charlie Wright and Scot Wright and his wife Tonya; sisters, Heather Wright Walper and Joy Wright; nieces and nephews, Alexus, Garrett and his wife Ashton, Haley, Matthew, Anthony, Gracie, Megan, Abby, CJ, Sam, and Autumn; great nephew, Grayson; along with many loving aunts, uncles, cousins and extended family.
Toni was a member of True Vine Freewill Baptist Church and was employed with Ingram Content Group for over 25 years. She was a loving daughter, sister, mother, aunt & friend. Toni was a diehard fan of the Belmont Bruins basketball team and she really loved singing in church. She was a devout Christian with a sweet, humble spirit who was an inspiration to everyone.
Family will serve as pallbearers.
Visitation will be Saturday 4:00 p.m. to 8:00 p.m. and Sunday from 1:00 p.m. to 3:00 p.m. at True Vine Freewill Baptist Church.
www.woodfinchapel.com
Toni Wright Poole
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text:
EU-Funded Projects
Home - Trevi
Costa Concordia Wreck Removal Project
Isola del Giglio (GR), Italy
In the aftermath of Costa Concordia accident, the ship that partially sank and came to rest on a rock ledge along the shore of Giglio Island (13th January 2012), Trevi Group played an important role since the early stages of the wreck's removal project.
The days after the disaster, 2.380 Tons of fuel filling the tanks (when the hull crashed into "Le Scole" rocks) were removed in order to protect the delicate marine environment of the Tuscan archipelago.
After this first important phase, a further study and planning phase was started, followed by the execution of all engineering works aimed at recovering the wreck having a length of approximately 290 m, a width of approximately 35 m and a steel weight of approximately 56.000 Ton.
Owner COSTA CROCIERE
Main Contractor TITAN - MICOPERI
Duration of work 2012 - 2013
The General Direction of Costa Cruises entrusted this delicate, difficult and innovative wreck removal project to the Italian-American Consortium Titan-Micoperi.
Two companies of Trevi Group participated in some of the delicate and important stages for the execution of the project between June 2012 and September 2013.
RCT, a company specializing in Soil investigation, performed all investigations (June 2012 - August 2012), to define the geological structure of the site.
Trevi, a company specialized in Subsoil Engineering and Special Foundations, carried out the foundation works (August 2012 – September 2013) of the underwater steel structures (Anchor Blocks) aimed at securing the wreck (Hold Back System) and the subsequent assembly of the retaining towers employed for rotation operations (Parbuckling).
Trevi S.p.A. 5819, Via Dismano 47023 Cesena Italy | Phone +39.0547.319311 Fax +39.0547.319313
Ground and Rock Anchors
Technical Reference Sheet


text:
Understanding Directors' Duties
Understanding Directors' Duties Research Paper by Metro
An in-depth examination of directors' duties and whether they benefit the company, shareholders, or creditors.
# 153931 | 0 words | 0 sources | 2013 |
Published on Jun 22, 2014 in Business (Law) , Business (Companies) , Law (Company)
$9.95 Buy and instantly download this paper now
"Due to the large powers directors of companies possess it is necessary to consider the limits imposed upon them. In Hutton v West Cork Railway Co Bowen LJ explained that when considering the legality of a director's actions a bone fide test is not enough; just because a director acts innocently or legally should not protect their actions. Today under the Companies Act there are limits on the exercise of the powers of directors.
Despite limits to directors' powers, one problem remains; who do directors owe these duties to? The ordinary position is that the duties are owed to the company, but as companies are legal fictions this is not sufficient. This also leads to the issue of the extent directors should consider the interests of shareholders and creditors, against the interests of the company as a whole.
"To conclude on whether directors' duties should promote the interests of individual parties to a company we must explore several key points. Firstly, we will examine current limits on directors' powers from the common law and statute, noting their rationales to set our discussion in context. Secondly, we will consider whose interests these limits genuinely promote, and whether the current position is sufficient.
Ultimately it will become clear that stating duties are owed to 'the company' is insufficient. Instead an 'entity maximisation' approach should be implemented, where duties are owed on the goal of promoting the company as a whole, where different interests will be owed at different times. Advocating for an approach that will allow directors' duties to be owed to the company as a whole, including shareholders and creditors, will allow a more flexible and workable approach to the current law.
"Changing nature of common law duties:The fiduciary duties discussed were not included in the previous 1955 Companies Act , and were not codified until recommendations by the New Zealand Law Commission in 1989 which stated that the common law duties were "inaccessible, unclear and extremely difficult to enforce." As a result of this, they suggested that statutory reforms take place to clarify the position, which occurred with the 1993 Companies Act."
Cite this Research Paper:
Understanding Directors' Duties (2014, June 22) Retrieved January 18, 2021, from https://www.academon.com/research-paper/understanding-directors-duties-153931/
"Understanding Directors' Duties" 22 June 2014. Web. 18 January. 2021. <https://www.academon.com/research-paper/understanding-directors-duties-153931/>
The Director of National Intelligence
This essay discusses the pros, cons and history of the newly created Executive Cabinet position of the Director of National Intelligence.
Female Directors on Corporate Boards
Looks at a Norwegian case about legislation requiring a greater proportion of women directors on corporate boards.
Subsidies and Countervailing Duties
A look at subsidies and countervailing duties and how they affect Third World economies.


text:
A Mother's Plea to People Who Don't Understand Food Allergies Will Break Your Heart
Mother's Plea to Those Who Don't Get Food Allergies
23 May, 2018 by Erin McIntyre
Having a child with a serious food allergy is manageable, of course, but it's still something every parent worries about. Blogger and mother Erin McIntyre of Real Mom Nutrition begs those who don't understand the dangers of food allergies to have some empathy for her son and his situation.
My son has life-threatening allergies to several foods, and I recently had an experience that brought my deepest fear to light.
I thought that I was handling everything perfectly. It turns out I was wrong. It turns out that I am way more scared than I ever thought. It turns out that a few words from strangers have the power to make me crumble in a way I never expected. It turns out that the ignorance of others can't just be brushed off as ignorance, because ignorance and lack of empathy on the part of others could be fatal for my son.
Recently, I saw a woman post an allergy alert on a Facebook community forum. She had been served peanut sauce at a restaurant even though she had alerted them that her son had an allergy. She spoke to a manager then left without eating.
Anyone who knows how dangerous accidental ingestion is understands how frightening that experience would be. It would be like the kitchen staff accidentally pouring rat poison on your food instead of Parmesan cheese. The difference is that if you accidentally ate the rat poison, you would have more time to react before it became fatal than my son would if he ate a food he is allergic to.
I opened the comments section of the Facebook thread. I thought people would chime in about which restaurants do a great job with special allergy requests (and which do not). But I was shocked at what I saw: people were shaming the mother for even taking her child to a restaurant that has peanut items and a warning on the menu.
There were restaurant employees complaining about how hard it is to work in a restaurant. One commented, "I would recommend never going out to eat . . . it's important to think about what the workers have to deal with too." That comment got 14 likes, while the woman's response ("We still eat out because we want our kids to learn how to manage their food and survive in modern society") got just one like.
One man wrote, "I assume all who consumed the food are dead now?" (13 likes) He went on for more than a dozen additional comments. He called the woman a "whiny allergic type". (16 likes) He said he didn't "see it as the rest of the planet's responsibility to bubble wrap itself to protect my beautiful snowflake". (10 likes) I felt physically ill. Trolls are a fact of life on Facebook — but why was the community I live in encouraging this type of ignorance on the subject of life-threatening food allergies?
I've known for a long time that there's not enough awareness of the dangers of food allergies. But I had no idea it was this bad. I had no idea that parents of food-allergic children were actually hated by some people. We're just trying to keep our children alive. I'm always scared in public eating situations, but I have never been more scared than I am right now.
Yes, my son is mine to protect. But maybe you would want to protect him too if you knew a little about him. He is seven years old. He is my joy, my angel, my sweet boy. He has a curious mind and asks deep questions about the world, about science, about animals, about the Bible. He cried the first time he saw someone kill a bug. He threw a fit when I killed a wasp to protect him. He thought there was a better way, where we all could have survived. He won the school's "empathy" award. He has empathy for you, so please have empathy for us.
I am moved to tears by the few very wonderful people who do take on my son as theirs to protect, like the parents who pack special allergen-free lunches for their children who do not suffer from allergies, just so that my son has friends to sit with. For those parents, I am grateful beyond words. And I am grateful for the EpiPen, a wonderful tool that we carry with us everywhere we go. But I also know that there have been cases when the EpiPen wasn't enough to save someone's life.
I promise to respect your children. I promise to protect your children from whatever may harm them when they're in my care. But please respect us too. Please don't roll your eyes when we order his food. Please know that we don't want to be annoying, that this isn't a choice. Please think twice before you criticize us online, because it hurts more than you can imagine.
I cannot bear the thought of losing my son to food most people get to eat without fear of death. And there is so much misunderstanding, much more than I ever realized. So I will keep trying my very best to help people understand. Because that's the job I have been given for the life of my son.
Image Source: POPSUGAR Photography / Grace Hitchcock
Food AllergiesPersonal EssayParentingPOPSUGAR Voices
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Ashton Kutcher Says He and Mila Kunis Won't Be Setting Up a Trust Fund For Their Kids
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by Tamara Pridgett 15/10/19
Parenting Tips and Advice
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by Angela Elias 20/10/19
I Give Myself a Monthly Breast Self-Exam Because It Could Save My Life, and You Should, Too
by Macy Cate Williams 07/10/19
Toddler Behavior
Help, My Child Loves the Cell Phone — Did I Do Something Wrong?
by Rebecca Brown 04/7/19
I Started Using This Simple Trick During My Kids' Bedtime, and It's Saved Us HOURS Each Week
by Kate Schweitzer 25/7/19
Sleep Hacks
I'm Asleep by 10:30 Every Night — Here's My Wind-Down Routine
by Christina Stiehl 19/11/19
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by Perri Konecky 25/9/19
I Swapped Screens For Books at Bedtime, and I'm So Much Happier (and Well Rested!)
by Laura Marie Meyers 12/5/19


Contestants for the Miss Green Bay Area Scholarship Pageant 2013 and Miss Green Bay Area's Outstanding Teen Pageant 2013 are now being accepted! Application forms and informational packets are available at http://www.missgreenbayarea.com. Completed applications are due by October 30, 2012.
The Miss Green Bay Area competition is open to young women ages 17 to 24, and the Miss Green Bay Area's Outstanding Teen competition is open to girls ages 13 to 17. Participants must have residency, attend school or be employed fulltime in Brown County or a county directly adjacent to it, including Calumet, Kewaunee, Manitowoc, Oconto, Outagamie and Shawano Counties.
The Miss Green Bay Area Scholarship Pageant provides opportunities for young women to make a difference in their community and promote a platform they believe in. This program helps young women to develop themselves and their futures, while providing scholarship money to further their education. The Outstanding Teen Pageant encourages positive achievement while helping to nurture and build the scholastic achievement, creative accomplishment, healthy living and community involvement of our youth.
The stages of both competitions are private interview, lifestyle and fitness (fitness attire and routine for Teen contestants), talent, evening wear, and on-stage question. Contestants also must choose a platform/topic they will build on throughout the year to improve their community.
The Miss Green Bay Area Scholarship Pageant is a local preliminary to the Miss Wisconsin and Miss America Scholarship Pageants.
Each year, the Miss Green Bay Area Scholarship Pageant awards thousands of dollars of cash and in-kind scholarships to young women. The Miss America Scholarship Pageant is the largest scholarship program for young women and one of the nation's leading achievement programs. Since the program began, the Miss America Organization as a whole has awarded more than $200 million in cash scholarships. Each year, the Miss America Organization makes available over $46 million in cash and in-kind scholarships at the local, state and national levels.
Anyone with questions should email MissGBA@missgreenbayarea.com. More information and application forms can be found at http://www.missgreenbayarea.com.


text:
#include "BaseColliderComponent.h"
#include "../../Context.h"
#include "RectangleColliderComponent.h"
#include "CircleColliderComponent.h"
#include "../TransformComponent.h"
#include "../../Helpers/Math.h"
#include "../../Scenes/SceneManager.h"
#include "../../Scenes/BaseScene.h"
#include "../../Physics/Collision/CollisionManager.h"

namespace star
{
	const tstring BaseColliderComponent::DEFAULT_LAYER_NAME = _T("default");

	BaseColliderComponent::BaseColliderComponent()
		: BaseComponent()
		, m_bIsTrigger(false)
		, m_bIsStatic(false)
		, m_bCanDraw(false)
		, m_DrawColor()
		, m_bEntered(false)
		, m_bExited(true)
		, m_OnEnter(nullptr)
		, m_OnStay(nullptr)
		, m_OnExit(nullptr)
	{
		m_Layers.amount = 1;
		m_Layers.elements = new tstring[1];
		m_Layers.elements[0] = DEFAULT_LAYER_NAME;

		SetVisible(false);
	}

	BaseColliderComponent::BaseColliderComponent(const tstring & layer)
		: BaseComponent()
		, m_bIsTrigger(false)
		, m_bIsStatic(false)
		, m_bCanDraw(false)
		, m_DrawColor()
		, m_bEntered(false)
		, m_bExited(true)
		, m_OnEnter(nullptr)
		, m_OnStay(nullptr)
		, m_OnExit(nullptr)
	{
		m_Layers.amount = 1;
		m_Layers.elements = new tstring[m_Layers.amount];
		m_Layers.elements[0] = layer;

		SetVisible(false);
	}

	BaseColliderComponent::BaseColliderComponent(
		const tstring* layers,
		uint8 n)
		: BaseComponent()
		, m_bIsTrigger(false)
		, m_bIsStatic(false)
		, m_bCanDraw(false)
		, m_DrawColor()
		, m_bEntered(false)
		, m_bExited(true)
		, m_OnEnter(nullptr)
		, m_OnStay(nullptr)
		, m_OnExit(nullptr)
	{
		m_Layers.amount = n;
		m_Layers.elements = new tstring[m_Layers.amount];
		for(uint8 i = 0; i < m_Layers.amount; ++i)
		{
			m_Layers.elements[i] = layers[i];
		}

		SetVisible(false);
	}

	BaseColliderComponent::~BaseColliderComponent()
	{
		GetParent()->GetScene()->
			GetCollisionManager()->RemoveComponent(this);
		delete[] m_Layers.elements;
	}

	void BaseColliderComponent::InitializeComponent()
	{
		InitializeColliderComponent();
	}

	void BaseColliderComponent::Update(const Context& context)
	{
		//If the component is not static and is not a trigger,
		//then we need to update the force impacts of the object.
		//For example if the collider is hit by another collider
		//and by the force he moves and rotates a little bit.
		//IN this update we'll handle that.
		//
		//if(!m_bIsStatic && !m_bIsTrigger)
		//{
		//
		//}
	}

	void BaseColliderComponent::SetOnEnterCallback(
		std::function<void(BaseColliderComponent* collider)> onEnter)
	{
		m_OnEnter = onEnter;
	}

	void BaseColliderComponent::SetOnStayCallback(
		std::function<void(BaseColliderComponent* collider)> onStay)
	{
		m_OnStay = onStay;
	}

	void BaseColliderComponent::SetOnExitCallback(
		std::function<void(BaseColliderComponent* collider)> onExit)
	{
		m_OnExit = onExit;
	}

	void BaseColliderComponent::TriggerOnEnter(BaseColliderComponent* other)
	{
		if(m_OnEnter)
		{
			m_OnEnter(other);
		}
	}

	void BaseColliderComponent::TriggerOnStay(BaseColliderComponent* other)
	{
		if(m_OnStay)
		{
			m_OnStay(other);
		}
	}

	void BaseColliderComponent::TriggerOnExit(BaseColliderComponent* other)
	{
		if(m_OnExit)
		{
			m_OnExit(other);
		}
	}

	void BaseColliderComponent::Draw()
	{
		//empty
	}

	void BaseColliderComponent::SetAsTrigger(bool isTrigger)
	{
		m_bIsTrigger = isTrigger;
	}

	bool BaseColliderComponent::IsTrigger() const
	{
		return m_bIsTrigger;
	}

	void BaseColliderComponent::SetAsStatic(bool isStatic)
	{
		m_bIsStatic = isStatic;
	}

	bool BaseColliderComponent::IsStatic() const
	{
		return m_bIsStatic;
	}

	void BaseColliderComponent::SetEntered(bool hasEntered)
	{
		m_bEntered = hasEntered;
	}

	bool BaseColliderComponent::GetEntered() const
	{
		return m_bEntered;
	}

	void BaseColliderComponent::SetExited(bool hasLeft)
	{
		m_bExited = hasLeft;
	}

	bool BaseColliderComponent::GetExited() const
	{
		return m_bExited;
	}

	void BaseColliderComponent::SetDrawColor(const Color& color)
	{
		m_DrawColor = color;
	}

	const Color& BaseColliderComponent::GetDrawColor() const
	{
		return m_DrawColor;
	}

	void BaseColliderComponent::EnableDrawing(bool enable)
	{
		m_bCanDraw = enable;
	}

	const PointerArray<tstring> & BaseColliderComponent::GetLayers() const
	{
		return m_Layers;
	}

	bool BaseColliderComponent::RectangleCircleCollision(
		const RectangleColliderComponent* rect,
		const CircleColliderComponent* circle
		) const
	{
		Rect realRect = rect->GetCollisionRect();
		float32 radius = circle->GetRealRadius();

		vec2 circleObjectPos = circle->GetPosition();
		if(rect->GetTransform()->GetWorldRotation() == 0.0f)
		{
			// Find the closest point to the circle within the rectangle
			vec2 closestPos(
				Clamp(circleObjectPos.x, realRect.GetRealLeft(), realRect.GetRealRight()),
				Clamp(circleObjectPos.y, realRect.GetRealBottom(), realRect.GetRealTop())
				);

			// Calculate the distance between the circle's center and this closest point
			vec2 distance(circleObjectPos - closestPos);

			// If the distance is less than the circle's radius, an intersection occurs
			return Mag(distance) < radius;
		}
		else
		{
			//Check with SAT
			Logger::GetInstance()->
				Log(LogLevel::Warning,
				_T("CollisionChecking between OOBB and Circle is not yet implemented"));
			return false;
			/*
			vec2 closestPoint(FindClosestPointToOOBB(circleObjectPos,rect));
			return Mag(closestPoint) < radius;*/
		}
	}

	vec2 BaseColliderComponent::FindClosestPointToOOBB(
		const vec2& vector,
		const RectangleColliderComponent* oobb
		) const
	{
		//http://notmagi.me/closest-point-on-line-aabb-and-obb-to-point/
		vec2 pos = oobb->GetCenterPoint();
		Rect rect = oobb->GetCollisionRect();
		vec2 distVec = vector - pos;
		vec2 width = rect.GetRightBottom() - rect.GetLeftBottom();
		vec2 height = rect.GetLeftTop() - rect.GetLeftBottom();
		vec2 u0(0,0);
		Normalize(width, u0);
		vec2 u1(-u0.y , u0.x);
		float32 distance = Dot(distVec, u0);
		float32 halfWidth = Mag(width) / 2.0f;
		Clamp(distance, -halfWidth, halfWidth);
		pos += u0 * distance;
		distance = Dot(distVec, u1);
		float32 halfHeight = Mag(height) / 2.0f;
		Clamp(distance, -halfHeight, halfHeight);
		pos += u1 * distance;
		return pos;
	}
}

redpajama_set_name: RedPajamaGithub


Get Paid For Doing Nothing!
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A look a ways to make money. This site put together a list of 101 ways you can make more money.
List of 101 ways to make money, some great ideas to look through and learn from.


text:
Kimberly Blaeser
Native American Writer, Photographer, and Scholar
Books by Kim
Poetry Publications
Scholarly Essays
Work in Other Arts
Picto-Poems
Poems Online
Radio Appearances & Podcasts
Photos by Kim
Excerpts from Reviews on Kim
WPR Interview
3:30 & 3:45 p.m.Tune In to 90.7
Kim will be on Wisconsin Public Radio's Central Time speaking with Rob Ferrett and Veronica Rueckert about her new appointment to the post of Wisconsin Poet Laureate. Start listening at 3:30 to hear outgoing WPL, Max Garland!
Kim at Returning the Gift Festival, 2012 in Milwaukee, Indian Summer Stage.
No More Stolen Sisters Exhibit
1:00-5:00pm, Tuesdays-SaturdaysWalker's Point Center for the Arts
Grateful to have poetry and picto-poems included in the "No More Stolen Sisters" exhibit at Walker's Point Center for the Arts in Milwaukee. Although the opening reception was cancelled because of current COVID precautions, the exhibition is open during gallery hours (1 to 5 p.m. Tuesdays through Saturdays), and a closing reception is planned March 4, 2022 6pm-8pm @ WPCA located at 839 S 5th Street, Milwaukee, WI, 53204. A virtual experience is available here:
https://my.matterport.com/show/?m=K3U2x8CGvYQ
"No More Stolen Sisters" is an exhibit curated by Teresa Faris, and Valaria Tatera which brings together artworks representing the issue of missing and murdered indigenous women, girls and 2 spirits (MMIWG2S). The exhibition showcases technically diverse artworks of indigenous artists and allies addressing a range of experiences surrounding the violence against and loss of indigenous women, girls and 2 spirits. Materials range from works on paper, mixed-media installation, metal, clay, quillwork, textile and paint.
The Poet's Republic - Issue 10
9:00 amLive on YouTube: https://www.youtube.com/channel/UC0pIpnQoJPiu6csDkBrVzHA
THE POETS' REPUBLIC - ISSUE 10
Join us for the online launch of issue ten of the magazine with a Zoom-tastic cornucopia of writing from across Scotland, Ireland, and the Indigenous Nations of America.
We are thrilled to be showcasing two of our indigenous writers, Laura Tohe and Gordon Henry alongside our guest editor, Kimberly Blaeser.
Neil, Shug, Marcas and Jessamine will be joined by some extra special Scottish guests, to be revealed.
Tune in live on YouTube:
https://www.youtube.com/channel/UC0pIpnQoJPiu6csDkBrVzHA
The launch will be recorded and uploaded to Facebook, shortly after.
Woodland Pattern Book Center's Annual Poetry Marathon
10:00am - 10:00pmStreaming Via Crowdcast: https://woodlandpattern.org/poetry-marathon
Woodland Pattern Book Center's annual Poetry Marathon streaming live this year via Crowdcast! Tune in to hear the Indigenous Nations Poets' segment Saturday, January 29th from 6-6:30 p.m. and for any of the 24 hours (YES 24 HOURS) of poetry available 10 a.m. to 10 p.m. January 29th and 30th.
The In-Na-Po Slot will feature Jennifer Foerster, Gordon Henry Jr, Margaret Noodin, Laura Tohe, & Kimberly Blaeser. Curated by Kimberly Blaeser & Sponsored by Scott Gelzer & Sherry Goldsmith.
Click below for full list of readers and to support Woodland Pattern's Annual Benefit. https://woodlandpattern.org/poetry-marathon
Poetry of Resilience: Voices of Nature
10:00am-12:00pmVideo Sessions on Zoom
This winter, at a time when, for many of us, so much of the natural world seems asleep, we'll keep our inner fires going by exploring how the voices of nature weave with our own daily lives. Each week, Danusha and James will share work by our guests, including poems and prompts, and together we'll absorb the wisdom of visionaries, poets and healers to bring ourselves more deeply into relationship with each other and with the power and beauty of this rich planet we share.
Beginning on February 4th, sessions will be held on Fridays from 10am-12pm PST / 1-3pm EST. Kimberly Blaeser's session will be on February 25th.
Each session will begin with a talk with that week's featured poet, followed by a discussion with Danusha and James, who will read poems, offer gateways into accessing your own creative treasure troves, and share accompanying prompts. For the last half hour of each class, they will answer questions from participants, and give further insights into the practice of poetry.
Before each session, a document with the poems and prompts that will be shared and discussed, will be provided to participants.
The series will be presented on Zoom. Video and audio recordings will be available to all participants within 48 hours of each session, and for two months after the course ends. Closed captioning will be available during live sessions and in video recordings.
Please join us for the journey!
The cost of the course is $300.
Registration for the six week course is available at this link: https://www.thepoetryofresilience.com/winter?fbclid=IwAR3yjpLSrumWiEdZWnF9-TSvwP3KAsgtr3kK_CVCv6dAI_-xSfkk996VkXg
Indigenous Ecopoetry: Environmental Perspectives from Those Who Came First
12:45 pmPennsylvania Convention Center (In-person & online)
(Lucille Lang Day, Kimberly M. Blaeser, Denise Low, Craig Santos Perez, Kimberly G. Wieser)
Indigenous peoples are those who've had the longest relationship with any given place. They have the deepest knowledge of the plants and animals, and they are the longest-serving stewards of the land, often for 10,000 years or more. Respect for the land is an integral part of indigenous cultures. The panelists will discuss what indigenous writers bring to the broader conversation of poetry concerning environmental preservation, ecosystem damage, and
climate change and read representative poems.
2022 AWP Indigenous-Aboriginal American Writers Caucus
Friday March 25, 2022 5:00pm 126A, Pennsylvania Convention Center, 100 Level Philadelphia
Kimberly Blaeser, Rena Priest, and Deborah Taffa — Shauna Osborn, Organizer
The Light of the World Came Through
2:20 pmPennsylvania Convention Center (In-person & online)
(LeAnne Howe, Kim Blaeser, Heid Erdrich)
Panelists discuss the making of the landmark anthology When The Light of the World Was Subdued, Our Songs Came Through. The poetry, songs, and chants in the anthology span four centuries and includes 161 Native nations poets. There is nothing like it that can account for the lands and the poets and poetry that came from these lands. Panelists will discuss the editorial structure of the book that begins in the East to North and continues West and then to the South.
Art. Sustainability. Activism. - EcoLit: Kimberly Blaeser
6:00 pmJohn Olver Design Building
Poet and prose writer Kimberly Blaeser will read from past and current work. Formerly the Wisconsin Poet Laureate, Blaeser is the author of five poetry collections including Copper Yearning, Apprenticed to Justice, and Résister en dansant/Ikwe-niimi: Dancing Resistance. A University of Wisconsin-Milwaukee professor and MFA faculty for Institute of American Indian Arts in Santa Fe, Blaeser is founding director of In-Na-Po—Indigenous Nations Poets. Santee Frazier, visiting faculty in poetry in the MFA for Poets and Writers, will moderate a Q&A following the reading.
For registration and more information, follow this link to the event page:
https://fac.umass.edu/Online/default.asp?BOparam::WScontent::loadArticle::permalink=ASA22&BOparam::WScontent::loadArticle::context_id=
Walk In My Mocs Writers Series
7:00 pmZoom
First Peoples Poetry Reading: A Tribute to the Living Nations, Living Words Project
11:00 amThe Newberry, Ruggles Hall
Join us for a morning of First Peoples poetry with American Indian poets Kimberly Blaeser, Elise Paschen, Mark Turcotte, and Gwen Westerman, moderated by poet Gordon Henry.
This reading will be dedicated to the work of Joy Harjo, United States Poet Laureate and editor of Living Nations, Living Words, an anthology of poems by American Indian poets reflecting on themes of place and displacement. The book is the companion to her online project Living Nations, Living Words, A Map of First People's Poetry.
More information about registration here: https://www.newberry.org/04092022-first-peoples-poetry-reading-tribute-living-nations-living-words-project
Beyond the Expected Poem ~ Minnesota Northwoods Writers Conference
Beyond the Expected Poem
A "successful" poem or series of poems sometimes traps us into repeating the formula. How do we keep our poetry practice vital? If writing is inquiry, where do we look for unexpected questions that will enrich our poems? In this generative workshop, writers will set aside their comfortable habits and try new tools of inquiry, bend their forms and usual approaches to writing, and engage in unexpected "collaborations." Our days will include writing exercises and prompts, discussion of excerpts from essays on poetics, and inspiration from the natural world. We will read a diverse range of poems as inspiration and with an eye on their architecture and method. As we share drafts and plan revisions, we will try to move beyond intention by following the energy of the image(s) and the detours of language. Participants should leave the workshop with a group of new poem drafts and a "bank" of ideas for further writing.
https://www.northwoodswriters.org/the-conference/faculty-workshops/poetry-kimberly-blaeser
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Facility Size: 325,000 sq. ft.
Southern Glazer's is the largest and most well-known wine and spirits distributor in North America with distribution centers spanning across 44 states, the District of Columbia, Canada, and the Caribbean. Specifically, their Phoenix-based 325,000 sq. ft. facility was spending abundant amounts on electricity and lighting maintenance costs each month. Southern Glazer's original lighting layout was composed of T5HO High Bay fluorescent lighting fixtures not suited to fit the needs in their current facility. A component of continued success in the beverage industry is cost efficiency. Southern Glazer's knew a reduction in operating expenses through a new energy efficient lighting design and intelligent system could optimize their facility and maximize productivity.
With the combination of modern technology and expertise, Relumination designed and installed an Intelligent LED Lighting Solution fit specifically for the Southern Glazer's facility. By switching to a Digital Lumens Intelligent LED system, lighting energy consumption was significantly reduced by 91.5% for Southern Glazer's. The daylight harvesting element utilized in this facility through the Digital Lumens Lighting Solution also increased savings by 23.5%. In addition to reducing energy consumption, this lighting upgrade resulted in several worker benefits including improvements in worker efficiency, productivity, and safety.


What are we looking for in an Office Coordinator?
Office Coordinators at Comprehensive are often the first point of contact for clients, service providers, and other visitors to our facilities. As a highly-visible member of a busy and varied healthcare clinic, Office Coordinators need to possess excellent communication skills and the ability to multitask with frequent disruptions. They are the primary customer service representative for the designated team or location and work frequently with clients, staff, other service providers in the community, and the general public. This position is located in our White Salmon office, and will have a regular Monday-Friday daytime work schedule.
Education/Experience: High school diploma or GED and two years of general office experience, or an equivalent combination of education and experience.


Some teeth are removed more easily than others, but the Kennedy Dental Care team takes pride in helping every patient get numb with modern anesthetics to start every procedure. Once anesthesia settles in, Dr. Mangat uses specialized instruments to elevate the tooth out of place. You will receive specific post-op instructions help you care for the area after your procedure, with prescriptions for any medications needed during the healing period.


The Theme Settings page allows you to control your theme through nine option menus. Each menu can be collapsed or expanded, reordered and hidden if not required.
The Information box displays the version and release date of the Genesis Framework.
There is a checkbox entitled "Enable Automatic Updates". Checking this box allows your server to check and apply available updates to the Genesis Framework. Further, checking this box presents you with the option to receive an email alert when an update becomes available. If you are handling updates on behalf of a client this option may prove useful. If you keep this box unchecked updates will have to be carried out manually.
If you use Feedburner or Feedblitz to handle your RSS feed(s) you can enter your custom feed URL and your custom comments feed URL in this section. Checking the "Redirect Feed" box for both the custom feed URL and the custom comments feed URL will redirect all traffic which would normally go to the default feed links to your custom feed links instead. To keep the default feeds that WordPress generates, leave these boxes unchecked.
At an individual post, page and custom post types level, as well as category, tag, author and custom taxonomy archive pages, you have the ability to deviate from the default page layout settings. These site layout options can also be removed with custom coding in the child theme to prevent clients accidentally selecting the wrong layout. Child themes with a widgetized home page can be coded to render these layout settings obsolete too.
"Dynamic Text" makes use of the site title and description entered in the Settings > General of the WordPress dashboard.
"Image Logo" allows you to set an image in the Appearance > Header of the WordPress dashboard.
Breadcrumbs helps users navigate around your site relative to the home page. This section presents checkboxes for displaying breadcrumbs on different pages of your site.
This section allows you to, by default, enable or disable Comments and Trackbacks across your site on Posts and Pages. If comments and trackbacks are enabled here they can be disabled on an individual post or page. However, if they are disabled here they cannot be enabled for an individual post or page.
In this section you can set the site-wide Content Archives options to control the way content displays on any blog listings page, including archive, author, tag, category and search pages.
Selecting to "Display post content" will cause the entire post to be displayed along with the HTML code up to the location of a tag. If you opt to use the "Limit content to [___] characters" option then the displayed text will be limited to the specified number of characters and stripped of all it's HTML code.
Alternatively selecting "Display post excerpts" will cause the first 55 words of the post to be displayed, stripped of HTML code. A manual excerpt set in a posts page will override this 55 word limit.
The "Include the Featured Image?" setting allows you to display a thumbnail of the first attached image or the currently set featured image for the post. The Featured Image will show up on index pages, but not on the single post page. The preferred dimension of the Featured Image can be set here too: the "Image Size" list is populated by the available image sizes defined in the theme and found in Settings > Media of the WordPress dashboard. However, if your displaying the full post content do not use this option lest duplicate images are displayed.
"Select Post Navigation Technique" allows you to select one of two navigation displays: Previous/Next and Numeric. These navigation links will be visible on category, tag, author date, and taxonomy archive pages, pages using the blog page template, and on homepages displaying latest posts.
In this section you can apply settings to any page using the "Blog" page template. This will not include the homepage or post archive pages. A page that is set to use the blog page template will display a list of recent posts.
The dropdown menu lets you select from which category to display posts. The default setting is All Categories. A specific category can be selected instead. Categories can also be excluded by giving their ID in the text box proceeding. Additionally, you can select how many posts you'd like to display on your pages using the blog page template.
In this section script text areas are given for both the header and footer. Within these script text areas you can add scripts for tools such as statistics tracking and other code that third party services, like Google Analytics, require.
Most of the Genesis SEO Settings can be found under Genesis > SEO Settings. Additional options can be found for pages and posts when you are in the WordPress editor for that particular page and post. We will address each in turn. The screenshots which follow show the default settings. The italic text is the text found in the various setting option boxes.
Your company's Google+ Profile URL. Must be a business, not a personal account.
HTML5 allows for multiple h1 tags throughout the document source, provided they are the primary title for the section in which they appear. However, following this standard may have a marginal negative impact on SEO.
The document title is the single most important element in your document source for search engine optimization. It succinctly informs search engines of what information is contained in the document. The title can, and should, be different on each page, but these options will help you control what it will look like by default.
Determines which side the added title text will go on.
If the title consists of two parts (original title and optional addition), then the separator will go in between them.
These settings will only apply if the home/front page of your site is your posts page or the page template is widgetised. The settings here will not apply if a static page is set as the front page, instead you will need to set the SEO settings on that particular page.
If you leave the document title field blank, your site's title will be used instead.
The meta description can be used to determine the text used under the title on search engine results pages.
This description will show on some search engine result pages under the clickable link to your site. It will not be visible once a visitor is on your site as it resides in the source code markup of the page or post.
Keywords are generally ignored by Search Engines.
Meta keywords should not be confused with the keywords used in your page contents.
'noindex' instructs search engines not to both index the homepage or include the homepage in search result listings.
'nofollow' instructs search engines not follow any any links from your homepage.
'noarchive' instructs search engines not to make an archive copy of your homepage.
If you do not want to discourage search engines from listing your site leave all these options unchecked.
By default, WordPress places several tags in your document <head>. Most of these tags are completely unnecessary, and provide no search engine optimization value whatsoever; they just make your site slower to load. Choose which tags you would like included in your document <head>. If you do not know what something is, leave it unchecked.
Unchecked by default. The tags are added by WordPress as described above. Unless needed by or for a plugin or some other custom use leaved unchecked.
Unchecked by default. Applicable only with supporting software. Unless you are using that software leave unchecked.
Note: The shortlink tag might have some use for 3rd party service discoverability, but it has no search engine optimization value whatsoever.
Unchecked by default. Unless required by a third party service leave unchecked.
Here you can select various parts of the site to apply the 'noindex' and 'noarchive' options to. For SEO purposes at least one of your archives should be indexed. Indexing multiple archives may result in a duplicate content penalty being applied by search engines.
The other options to make a decision on are 'nooodp' and 'noydir', denoting No Open Directory and No Yahoo Directory respectively. These are checked by default. Leaving these checked will add tags to the HTML of your pages and posts.
This panel deals with settings specific to Genesis. It does not act like the WordPress export feature to create a backup of your content nor does it include settings for plugins, widgets, or specific settings related to posts, pages, terms, or users. What it does do is allow you to take settings from one site running Genesis and import them into another site.
The Import settings allow you to import your Genesis Theme settings and/or SEO settings from one site to another by uploading the data file in .json format.
The Export settings give you the option to create a backup file in .json format. This is you can use for backing up and transferring your theme settings, like when going from a local host to a live server. The panel gives you two options in the form of checkboxes to include your Theme settings and/or your SEO settings in the file. Then you just download the .json file and you're ready to import your settings.
There are two methods available to you when it comes to updating the Genesis Framework. Before undertaking either of them make sure you have backup copies of your child theme and your current version of Genesis saved on your computer and that any changes you have made directly to files in the /genesis/ directory are applied to a child theme instead as these changes will be overwritten on updating.
2. Go to Genesis > Theme Settings > Information.
3. Check the "Enable Automatic Updates" checkbox.
4. When an update is available towards the top of the dashboard page you will see the "Update Now" link. Click this.
5. Click to confirm the update.
6. Click the link to complete the update process once the new version of the Framework is installed. This will link will take you to Genesis > Settings. No more action is required.
For multi-site installations of WordPress go to Genesis > Settings in each site to ensure all updates are completed.
1. Download the zip file for the updated version of the Genesis Framework.
2. Extract/unzip the zip file.
3. Navigate to your /wp-content/themes directory via FTP.
4. Delete the old genesis directory.
5. Upload the updated, unzipped genesis directory to your /wp-content/themes directory via FTP.
7. Go to Genesis > Theme Settings to complete the update.


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MainAll NewsForeign AffairsIsraeli rabbi saves boy from drowning in India
Israeli rabbi saves boy from drowning in India
Rabbi Menachem Bakush rescues 10-year-old who fell into a river in India.
Gary Willig, 10/10/19 22:59
Rabbi Bakush
United Hatzalah
An Israeli rabbi rescued a boy who nearly drowned in India two weeks ago, Mako News reported.
Rabbi Menachem Bakush, a Chabad envoy and paramedic on behalf of United Hatzalah in the city of Manali, India, received an urgent report: A ten-year-old boy from the village of Jah near the city of Teva had fallen in the river. Without thinking twice, the rabbi left his home quickly and rescued the boy.
"It's our job to help people wherever they are and to save their lives. I consider this a great mission," the rabbi explained to the Mako website, who a few days later treated an Israeli traveler who had altitude sickness, and even volunteered to fly with her to a New Delhi hospital for further medical treatment.
A few months ago, the rabbi saved the life of another Israeli hiker, who fell from a 40-foot waterfall in the Manali area, after first arriving on the scene and providing medical treatment.
An Israeli hiker posted the case in the Facebook group "India - Hiking with Miron", a large group of hikers in India, and praised the rabbi for his important work in saving human lives. "What a love, a dedication and a dedication to every person. It's amazing to me," he wrote
Tags:Chabad, India, United Hatzalah


Marie-Bernadette Charrier is a saxophone player, contemporary chamber music teacher at the Bordeaux Regional Conservatory and artistic director of the Proxima Centauri Ensemble.
You often refer to the interest taken by European composers in the way pitch is structured, something that has modified your manner of composing.
I had a very classical training, much influenced by the Russian school. I studied in Buenos Aires with a teacher who had been at the Rimsky-Korsakov School for composition and the Auer School for the violin, and so I wrote, under his guidance, chamber music, vocal and symphonic works, in which pitch was part of my heritage.
I was acquainted with contemporary composers but had never experimented with other ways of organising pitch. Coming to Paris later on enabled me to get to know spectral music, post-serialism, electroacoustic music, microtonalism and so on. I felt the need to experiment with different musical forms, even if these modest pieces were more in the way of stylistic exercises than anything else. They allowed me to use a different kind of orchestration, other ways of organising pitch, together with forms of rhythmic and tone-colour organisation that were quite new to me then.
IRCAM and the GRM in Paris, as well as the near-permanent experience with instrumentalists, opened up new horizons for me.
Much later I became interested more particularly in rhythm and, principally, in the music of various oral traditions, so that I was able to experiment with other sources of inspiration as well as other techniques that I could then apply to my own compositions.
In fact, in considering your works as a whole, we can say that there is a close relationship between the music of your country of origin and European musical styles. Has Argentinian music influenced your music in any profound way?
Ever since I started composing, around the mid-sixties, and up until the 90s, I had never used any elements of the music of my country, in fact I rejected it, my sole contact with Argentinian music being through the records of Astor Piazzolla and the recitals he gave with his quintet.
In the early 80s I got to know Piazzolla in Paris quite by chance. From that moment, and until he died, we were very close, we saw a lot of each other, and we used to talk about all kinds of music. One day, for no apparent reason, he said to me, "You should write for the bandoneon and carry on the development of my research into Argentinian music – compose for the orchestra for example".
The suggestion touched me deeply coming from him, and I felt very proud… but I had absolutely no desire to get into what would have been a new domain for me, I preferred to stay a listener and admirer. I felt absolutely incapable of making interesting music with a little-known technique and one I had not tried out myself. I knew many composers who made pastiches of Piazzolla's music, and I in no way wanted to be on that list.
It was probably the death of Piazzolla that authorised me to use, in the 90s and for ten or so years, rhythmic cells taken from his music, that enabled me to create ' rhythmic models' I could subject to transformation through the use of techniques of rhythmic development in use more or less during the last thirty years of the century. With the help of the computer, I even produced some mixed pieces in this domain, and in particular I developed these latter techniques in some works I prepared at the GRM in Paris and at IRCAM.
As I said, I used these techniques in several formations, almost solely in chamber music with or without electronics. Later I began to take an interest in other kinds of 'world music' that have served as sources of inspiration for me not just as regards rhythm, but also pitch, articulation, instrumental modes of play, tone-colour, and so on.
So you are saying that in some of your works electroacoustics has been integrated with the instrumental group. How do you conceive a composition for this type of mixed formation?
Electroacoustic techniques have become, with time, more and more indispensable for my music.
For me, they are a part of current day techniques, intimately bound up in acoustic formations, even if I don't use them in all my scores. Very often I compose scores for instruments and live electronics or pre-recorded electronics on CD. These techniques lead me to discover new horizons in sound, to novel ways of exploring the treatment of the parameters of sound. Often, so that listeners can better appreciate certain kinds of resonance, certain colours and instrumental modes of play, I even feel the need to amplify acoustic instruments. I became aware of this new perspective from Stockhausen, whom I got to know at the Paris Conservatory at one of his masterclasses.
From what you are telling me, we may deduce that, as far as you are concerned, the 'sound' itself very often forms the basis of any kind of musical research applied to your music?
I think that 'sound' lies at the origin of all human expression, whether it be used to communicate by producing echoes between one tribe and another, in religious ceremonies, music in oral or written traditions.
So for me the primary approach is: 'the sound first' – listen to it, get to know it, analyse it, examine it thoroughly, test it, transform it, decompose it, recompose it, study its evolution in musical time and space.
The second approach is to give it 'meaning', to order it, make it become the 'carrier' of musical ideas and structures, give it a direction, send it on significant trajectories in the musical discourse through the use of known forms of parametric organisation (harmonic or inharmonic spectra, momentum, dynamics and densities, polyphony/mixing, coloration and so on.
You see our partner in this compositional process is the sound itself. It guides us, presents itself and opens out to us, delivers up its secrets, tells us about the best options it can provide concerning the techniques by which we should approach it, be they acoustic, electroacoustic or a purely digital medium (CD).
It strikes me that, solely and uniquely, if these conditions are entirely fulfilled in any compositional process, the success of that work will be assured.
How do you see the musical landscape at this threshold of the twenty-first century?
I think that, present-day music, that which is written, is evolving and fusing more and more with other types of music, as well as with other artistic disciplines.
Today we are able to listen to all kinds of music, through recordings or the recitals of groups playing music of the oral tradition. Similarly, the various types of so-called light music ('techno' or others), have already, and for a long time, incorporated the new technologies. Electroacoustic music has a bigger and bigger role to play in the teaching and in the æsthetics of young creative artistes, who exchange ideas with students from other European or American cities. I think there will be fewer and fewer barriers between music in the so-called 'contemporary style' and 'light music' and 'world music', not forgetting the various multimedia productions.
In particular I very often am surprised to note this gradual yet rapid transformation in our contemporary musical landscape.


The latest monthly roundup of news, announcements and scientific discoveries from the world of Human Papillomavirus (HPV) in November 2018. If you have any comments we'd love to hear from you!
A pilot study presented at the 11th AACR Conference on The Science of Cancer Health Disparities in Racial/Ethnic Minorities and the Medically Underserved found that a culturally tailored multilevel strategy designed to remove barriers to HPV vaccination among low-income, mostly Chinese American adolescent girls and boys significantly increased vaccine uptake. There are certain sub-groups of the Asian American population where HPV vaccination uptake is much lower than the average. However, by directing efforts to increase uptake specifically at these groups, it was found that the percentage of teens who received the vaccine went up by 60%. This study will hopefully be able to be adapted to other minority groups, and so continue to increase vaccination coverage.
In HPVWorld this month, Gilla Shapiro and Katharine Head have looked at why some parents are so hesitant around HPV vaccination, and what can be done to alleviate any fears concerning the vaccine. Parents who believe the vaccine causes harm are less likely to vaccinate their children, as are parents who find the vaccine harder to access or afford. If a parent believes their child is at a higher risk of HPV infection, they are more likely to vaccinate. Additionally general positive attitudes about vaccines encourage HPV vaccination. However, there are many more reasons behind decisions whether to vaccinate that are more complex. To ensure the success of HPV vaccination programs, more research around reasons not to vaccinate, and the variables around these reasons, is needed.
GPs have warned the National Institute of Health and Care Excellence (NICE) that their guidance on referring patients to dentists if there are signs of oral cancer might delay a diagnosis. According to the guidelines, if patients have either a lump on their lip or oral cavity, or a read or white patch in their cavity, they should be sent to a dentist within 2 weeks of seeing a GP. However, the onus is then on the patient to make the appointment with the dentist, and this is often not carried out for a multitude of reasons, including affordability of the dentist and whether the patient is registered with a dentist. GPs are more likely to investigate symptoms of oral cancer, therefore referring to the dentist makes it less likely that a diagnosis will follow.
Official figures show that over 25% of women who have been invited to take a cervical cancer smear test have not attended the appointment. The number of attendees has been falling for four years, and 2017-18 was the lowest attendance rate in 21 years. Meanwhile, the number of cervical cancers being diagnosed in women is rising, from 2,528 in 2015 to 2,594 in 2016. Charities have warned the government that the barriers to getting a smear test remain too high, due to the inconvenient appointment times in GPs, budget cuts to sexual health services, and a lack of awareness surrounding cervical cancer and the importance of getting a smear test.
Talia Malagon and Juliet Guichon have been looking into how scientists and doctors respond to false or misleading claims about the HPV vaccine. The usual response is to provide evidence from clinical trials to reassure patients, and while this is important, it is also crucial to stress the public health benefits of the vaccine programme. While it can be difficult to do this effectively when the media tends to publish stories intended to scare instead of reassure, pushing this message is therefore all the more important. While using evidence may seem like the most convincing strategy, people are more likely to view facts through what they already believe and have experienced. It is therefore important to respond to false claims with this context in mind. It is also important to develop strategies to combat false information in a more informal context, such as face to face, and horizontally, such as when you are online.


My summer uniform: oversized anything, quality cotton, messy ponytail and a bare face.
I think buttons can look distracting sometimes, taking away from an otherwise clean ensemble. I appreciate that the color of the buttons on this dress matches that of the fabric and are muted that way.


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Masterpiece Cakeshop
As ACLU Asks Supreme Court to Force Creative Expression…
ACLU Website Says Courts Should Not Force Creative Expression!
The ACLU is asking the Supreme Court to force cake artist Jack Phillips to express state-approved messages through art he does not want to create. However, the ACLU's own guide says such compelled speech is wrong.
In a slice of half-baked irony, the ACLU is at the Supreme Court arguing against itself.
Colorado cake artist Jack Phillips, a devout Christian, has a policy of not creating custom artistic cakes to celebrate messages—such as divorces, lewd parties, Halloween, or hate speech—that violate his religious beliefs and moral conscience.
The ACLU agrees with Phillips.
The ACLU's official guide, "Freedom of Expression in the Arts and Entertainment" points out that the U.S. Supreme Court says "artistic expression" includes "whatever the human creative impulse produces." The ACLU guide also says, "every individual has the right to decide what art . . . he or she wants—or does not want—to receive or create."
Here are excerpts from the ACLU's own "Freedom of Expression in the Arts and Entertainment" guide:
"The commitment to freedom of imagination and expression is deeply embedded in our national psyche, buttressed by the First Amendment, and supported by a long line of Supreme Court decisions."
"A free society is based on the principle that each and every individual has the right to decide what art or entertainment he or she wants — or does not want — to receive or create. Once you allow the government to censor someone else, you cede to it the power to censor you, or something you like. Censorship is like poison gas: a powerful weapon that can harm you when the wind shifts."
"Freedom of expression for ourselves requires freedom of expression for others. It is at the very heart of our democracy."
"American law is, on the whole, the most speech-protective in the world."
"The Supreme Court has interpreted the First Amendment's protection of artistic expression very broadly. It extends not only to books, theatrical works and paintings, but also to posters, television, music videos and comic books — whatever the human creative impulse produces."
"The First Amendment is based upon the belief that in a free and democratic society, individual adults must be free to decide for themselves what to read, write, paint, draw, see and hear."
However . . .
In the case of Masterpiece Cakeshop Ltd v. Colorado Civil Rights Commission, the ACLU is arguing that Phillips must be forced to create a fully customized, elaborately decorated, effusively expressive, highly expensive artistic cake to celebrate a same-sex wedding!
It's a supreme irony. If the ACLU wins the case then its principles lose, big time. And if the ACLU loses? Then its principles of free artistic expression win. Perhaps the ACLU should have volunteered to represent both sides.
Watch video of Kelly Shackelford's analysis of the Masterpiece Cakeshop case, argued at the Supreme Court on December 5, 2017.
Watch for updates on the Klein case on our case page and by signing up for e-mail alerts.


Proxitron Hot Metal Detectors (HMDs) detect the infrared radiation which is emitted by hot material. When the material temperature exceeds or falls below a specific threshold (response temperature), they provide a switching signal; seen from this perspective, they are often called also Temperature Switches. A response time of less than half a millisecond allows the supervision of even very quick manufacturing processes in steelworks, rolling millls or in the forging industry.
Temperature Switches – are characterized by their extremely robust and maintenance-free housing. They withstand for years the harshest working conditions such as water vapour, dust, vibrations, radiation heat, and ambient temperatures up to 600°C.
Proxitron offer a large variety of infrared sensors. By selecting the basic criteria such as ambient temperature, response temperature, supply voltage, connection and field of view, you can choose the perfect sensor for your application by using our sensor selector.
Our newest series of Hot Metal Detectors - the OX series – provides a previously unknown range of functions in only one device. The sensors not only can be parameterized easily due to the Teach-In function, furthermore we equipped the sensors with a lot more smart functions. Besides the standard function (fully free parameterizable outputs), you can also choose the offset function (different response- and switch-off temperatures are parameterizable). An alarm function supplies information of unsecure operating states and the jump function can react - independently of a fixed response temperature - to sudden temperature changes of the application. Equipped with a comfortable software interface, the sensors of the OX series fulfill the requests of the industry 4.0.
We remain loyal to our concept of facing high temperature environments always with the appropriate design. If the ambient temperature is not exceeding 75°C, a simple and cheap compact housing is enough. For ambient temperatures reaching 200°C we recommend the use of a compact equipment with water-cooling, and for increasingly higher temperatures, for example up to 290°C, a device with fibre optic cable and separate optic.
The ambient conditions in steelworks, rolling mills, wire plants and foundries poses a challenge that we can solve together. Dust, scales, soot, rolling emulsions, vapour and significant mechanical stress: our accessories range is an adequate task for our accessories.
This includes an extensive and almost indestructible protection system for the cables of the temperature switches as well as tailored air purge units to protect optics from dust, scales and water spray. For the alignment, mounting and field of view-reduction we offer accessories made of stainless steel, perfectly tailored to our sensors. Extremely robust and adjusted to your requirements.