For the international exhibition, which at the time was a record-breaking show for the V&A (until Pink Floyds' Their Mortal Remains surpassed it last year) the curators were given unprecedented access to the David Bowie Archive.
It meant they were able to fill the show with incredible items and understanding, packing it into a design that reflected the musician's changeable personas and mutant-like ability to regenerate his career.
But the career-spanning show also took in not only Bowie's iconic personas, but contextualised them too. Showing us how artists like Gilbert and George were covering themselves with make-up (way before Bowie did) to entirely transform themselves, and how a JG Ballard essay informed Bowie's Ziggy Stardust performance of "Starman" on Top of the Pops.
So it'll be intriguing how this enlightening insight is transposed to a VR/AR app. And at least you won't have to queue to get in or contend with other visitors getting in the way of exhibits you're trying to view. Plus, if you really can try on a Bowie costume, well, that's worth the admission price alone.
The app is being released by Sony Music Entertainment (Japan) around autumn 2018, and will be available in nine different languages.
Check out the V&A's video 'David Bowie is blowing our minds' for more Bowie insight, where artists, journalists and fans look at why the musician was so influential. For more V&A Bowie go here. And check out the David Bowie is Real website here for updates on the VR/AR app.


Fathi Architects is based in Miami and Ft. Lauderdale, FL Since its founding, Fathi Architects has developed a distinct practice recognized for excellence and innovation. The firm is best known for its creative ability to design with memorable imagery and regional identity.
We are an architectural firm based on "IDEA" as the shaping force for all of our projects. We are committed to provide our clients with cost saving designs that result in profitable projects for developers, and efficiently operated buildings for users. Fathi Architects has a long standing record of on-time on-budget performance on a variety project types, including corporate projects with complex program requirements. Our principals have direct involvement in the design of all projects. Our design staff is committed to functional requirements of all projects with incorporation of the latest technology.
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"BIBIS II" was beautifully built by Dirk Kneulmann, Ontario Yachts Ltd., Oakville, Ont.
anticipated, which gave direction to major design decisions.
It is not known, if the boat still exists; anyone having info, please place a note.


text:
THE CATECHIST'S CAFE with Tom Burns, MA, LMHC
Established November 13, 2014
THE DAILY BREW
The Boys of Aroma Hill-Callicoon
ABOUT THE BREWMASTER
Book Club: The Catholic Books You Haven't Had Time To Read
To stay current, shop judiciously, and spread your education dollar.
Can You Hear Me, Church--part 2
This is the second part of the review of Sister Thea Bowman: Do You Hear Me, Church? [2020] by Peggy A. Sklar, released as Sister Thea [1937-1990], has come into the formal process of investigation by the Church for determining her sainthood. In the first post below, I outlined her early years in the Deep South [Canton, Mississippi] as a precocious and observant middle class African girl living in a Jim Crow state where doctors like her father were refused admitting privileges in the region's hospital. A turning point in her adolescent awakening occurred when a Catholic community of sisters, the Franciscan Sisters of Perpetual Adoration, established a school in 1948 which Bertha, [Sister Thea's Methodist baptismal name] attended. Her involvement with the sisters included conversion to Catholicism, and at age 15, acceptance into the community's formation program. Bertha, assigned the name Thea, completed her formation, and began school teaching as Sister Thea, first in Wisconsin and then in her hometown of Canton.
After several years of school teaching, Sister Thea was granted permission to attend Catholic University in Washington, D.C. I noticed in a second reading of this book that Sister Thea lived in a campus dormitory residence, and not a local convent. Although a very button-down conservative institution today, CU in the late 1960's and early 1970's was a forum for every religious, social, and political cause. [I was a student there at the time.] It appears that Sister Thea was able to network with the burgeoning black awareness movements on campus, a profound experience for an adult who had lived as a black minority of one in her professional world. She evidently gained respect for her energies on behalf of black artistic expression and education, and received an invitation to speak at Howard University, also in D.C. But Sklar observes that Sister Thea was able to balance her personal involvement in black cultural awareness activity with an ambitious and challenging course of studies on her way to an M.A. in English in 1969. Her master's thesis reflected her admiration of St. Thomas More [1478-1535], the Chancellor of England martyred by Henry VIII. Sister Thea, familiar with More's writings such as his Utopia, wrote her thesis on an early work of More [1503], "A Rueful Lamentation on the Death of Queen Elizabeth," the mother of Henry VIII.
It would seem a curious choice for one who is remembered today for raising black consciousness to liturgical expression in the Catholic Church, but as early as her Howard University address she expressed her passion that the key to advancement of her race was education, and by extension, Catholic education as a cultural and evangelization strategy. Her Catholic University years coincided with controversies in many northern cities, notably Boston, about school bussing, i.e., black children transported to public schools in affluent neighborhoods where the quality of instruction was superior. As if to confirm her passion, she remained at Catholic University to pursue her doctorate; she also taught undergraduate courses at CU in black literature
In 1970 Sister Thea was invited to a conference of African American sisters in Pittsburgh hosted by the Sisters of Mercy, forerunner to the National Black Sisters' Conference. [See the NBSC's current on-line status here.] She had undertaken the doctorate to enhance a career in university teaching at her community's Viterbo College. For her doctoral dissertation, she returned to St. Thomas More and his Dialogue of Comfort against Tribulation. Sklar writes that Sister Thea was attracted to More's rhetoric "to explain his belief and actions." [p. 48] Sklar brings home the depth of Sister Thea's academic commitment to emphasize her deeply founded belief that the education of young African Americans was the key to full equality in America.
Upon receipt of her doctorate Sister Thea returned full time to Viterbo College in La Crosse, Wisconsin [later, a university] where she taught English literature and chaired the English Department. She was invited to present a three-week summer seminar, presumably on Thomas More, at Oxford in England upon the completion of her degree, which gives us something of an idea of her standing in the international academic community. That said, she was also a free spirit in the classroom, innovative in her methods of engagement and her efforts to develop independent thinking and experiencing—though she was old fashioned in her tough grading standards.
To this point in her life, she was recognized as a colorful and brilliant religious order teacher and researcher in the inner life of the English language, something of a rarity for a woman of color. Her image as the Apostle of Black religious experience in America did not fully emerge until she returned to her hometown of Canton, Mississippi, to live with or near her elderly parents, with her community's approval. Fortuitously she was hired by her local bishop, Joseph B. Brunini, himself a remarkable advocate on behalf of the Black Catholic experience and a major supporter of St. Augustine Seminary in Bay Saint Louis, Mississippi, where suitable black candidates could study for the priesthood.
Brunini created for Sister Thea the diocesan position of "Diocesan Consultant for Intercultural Awareness for the Diocese of Jackson." This proved to be one of those deliciously broad job descriptions where an energetic self-starter with a clear vision could go where the Spirit willed her and draw from her rich experiences in both English and Black Society. Her official duties included "designing a variety for diverse audiences, including children, teens, and adults, to break down the existing barriers between cultures." [p. 54] Under this mission were listed other populations including Hispanic, Native American, and Asian communities as well.
Her presentations and programming would appropriately fall under the description of thoughtful evangelicalism. When I worked at St. Mary's in Anderson, SC, in the summers of 1970 and 1971, I had noticed that many of the Black youth of multiple churches in our section of town turned out eagerly for any summer's day activity I scheduled—bible stories, games, sports, etc.-- but on Sunday only older and more successful Black members came to Mass. Catholicism's dignity and ritual appealed to the more successful African-American population. The high-spirited, swaying, song-filled Biblical rubric we associate with Black worship, particularly but not exclusively in the deep South, never made much inroad into Catholic parochial life. Conversion to Catholicism meant conversion to a white ritual of stability for blacks, even if as in Anderson the Charleston SC diocese maintained both white and colored parishes.
Many bishops of the South—in partnership with religious communities in the twentieth century—showed considerable energies in evangelizing African-Americans in the South, with these efforts dating back to at least the 1930's. After Vatican II concluded in 1965, the adaptation of the liturgy and the style of evangelization made it permissible and possible to celebrate Church life in the evangelical style of cultural Black experience. My impression is that Black Catholicism suffered the same throes of adjustment as white Catholicism—high levels of enthusiasm for innovation among some, and an angry grief at the disruption of the known in others. I have not had the opportunity to review Sister Thea's writings or addresses—she died in 1990, before the age of the new electronics--but she seems to have appreciated the dynamics of her time.
Her style invited listeners to experience God in the idiom of their cultural experience, Among other things, she set aside her religious habit in favor of a colorful dashiki to exemplify a return to native culture. [See the cover of Sklar's book.] She invested considerable energy in forming choirs and integrating Black music into Church life, in part to help her own people recover their heritage. In the fall of 1987 Sister Thea served as contributor and editor for GIA Publications' Lead Me, Guide Me, The African American Catholic Hymnal, songs, and psalms for liturgical use.
Her position with the Jackson, Mississippi Diocese allowed her to travel widely to several continents for conferences and addresses to energize Catholic movements of cultural awareness. Diagnosed with cancer in 1984, she suffered a fatal relapse and died in 1990. She had once described her life as "a shooting star." By the numbers, she was right. Her full-time work as an evangelist of Black Catholicism lasted but twelve years, but she continues to be celebrated in a variety of ways. Siena College, my first priestly assignment, renamed a building after Sister Thea this year; the previously honored demoted individual was none other than the Catholic writer of the South, Flannery O'Connor. There is some irony in that.
As a student and English scholar, Sister Thea devoted much attention to precision and logical exposition. As an evangelical, she eschewed wordy cerebral expression for a holistic and sensual encounter with God. I hope that future scholars will be successful in piecing together her paper and experiential remains with the same skill she addressed St. Thomas More. Thirty years removed from her death, one wonders what Sister Thea would have made of the decreasing number of practicing Christians in the United States, or for that matter, the interracial response to the killing of George Floyd this past summer. The process of her canonization will no doubt progress or fall on our ability to understand where her brief life has taken us.
For Folks Who Can't Read Everything

redpajama_set_name: RedPajamaCommonCrawl


There are many ways to build a website. One way is to build it from scratch. Another is to use an existing software package from a company – like WordPress, Squarespace and Wix among others – that provide a theme and templates.


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Roosevelt Island's FDR Park Moves Towards Wheelchair Accessibility
By Christine Chung Jul 27, 2020, 9:37pm EDT
Share All sharing options for: Roosevelt Island's FDR Park Moves Towards Wheelchair Accessibility
A long-delayed lift at Roosevelt Island's Four Freedoms Park is expected to arrive in about a year.
An.dre/THE CITY
The Franklin D. Roosevelt Four Freedoms Park, a tree-lined four-acre expanse on the southern end of Roosevelt Island with panoramic views of Manhattan and Queens, is dedicated to the only U.S. president to use a wheelchair while in office.
But wheelchairs cannot be used to climb the flight of 22 stone steps at the park's entrance.
"There's no equality here," said Edith Prentiss, a wheelchair user who lives in Washington Heights. "You're kept at a distance, you're just not part of it."
Now, as the country marks the 30th anniversary of the Americans with Disabilities Act of 1990, a city and state funding agreement is in place to make the monument to the 32nd U.S. president accessible by next summer.
The stairs have long limited people with mobility issues from enjoying the memorial, which opened in 2012. So advocates — Prentiss among them — filed a class action lawsuit in 2017 against the park's conservancy and the state Office of Parks, Recreation and Historic Preservation.
A settlement reached a year later included plans to install a platform lift for people who can't use stairs, and promises to repair uneven stone paths that posed obstacles for anyone using a walker, rollator or wheelchair.
That agreement set a deadline of May 2018 for the fixes to be made, yet the lift is still not installed.
Four Freedoms Park on Roosevelt Island
Christine Chung/THE CITY
The city and state are moving toward commencing the project with $250,000 in city funds secured in the 2020 budget by Councilmember Mark Levine (D-Manhattan) now being transferred to the state parks officials.
Leslie Wright, a spokeswoman for the state Office of Parks, Recreation and Historic Preservation, said officials expect to begin seeking bids for the work in the early fall with an eye on a summer 2021 project completion date.
Rebecca Serbin, an attorney at Disability Rights Advocates, the nonprofit that filed the 2017 suit, said the lift's installation was snagged "for reasons beyond the parties' control."
"We are pleased that the park has made significant accessibility improvements under the terms of our settlement agreement, including improvements to the park's paths, dining area and other features," Serbin said. "While disappointing, we have assurances that it [the lift] is on track to be installed by mid-2021."
'Very Insulting'
Plans for the park were first announced nearly 50 years ago, when the strip of land in the East River was renamed from Welfare Island to Roosevelt Island, to honor FDR, who was from New York State.
But construction did not begin until 2010, decades after the 1974 death of Louis Kahn, the celebrated architect who designed Four Freedoms Park.
The site commemorates a speech Roosevelt delivered at his eighth State of the Union Address, in 1941, when he spoke of working to create a world where all people enjoyed four fundamental freedoms: freedom of speech; freedom of religion, freedom from want; and freedom from fear.
Joseph Rappaport, the executive director of Brooklyn Center for Independence of the Disabled, one of the plaintiffs in the 2017 lawsuit, said that the design "just wasn't made with everyone in mind and really ran directly counter to the ideals that FDR put forward in his Four Freedoms speech."
The 1970s-era design predated the passage of the Americans with Disabilities Act, a landmark civil rights law prohibiting discrimination based on disability.
Levine called Kahn's design for the park "a masterpiece," but with a flaw that "must be remedied."
"I am thrilled that funds from the City Council will enable Four Freedoms to install a new wheelchair lift — so that every New Yorker can experience that magical ascent to the park's iconic stairs," he added.
"In a year in which we are marking the 30th anniversary of the passage of the ADA, this upgrade has extra meaning."
Prentiss said she harbored few hopes for a timely resolution.
"It's the sort of thing you look at it, you like it, you sit around and go, 'It's really sort of interesting and very insulting,'" said Prentiss. "It's insulting because it's not meeting the standard."
More From THE CITY
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Education: Trends to Watch for the Future of NYC
These Are the 17 Victims of the Bronx Twin Parks Fire
By Claudia Irizarry Aponte, Dean Russell and 2 more
They're the entry level of local government, but what do community boards really do? And how are members chosen? It's application season, so here's a guide for anyone who wants to get involved.


Cheddar and White Cheddar Cheese | Almost Famous Popcorn Co.
Mr. Cheese is the big man in the popcorn shop – a delicious blend of our Land O' Lakes and Wisconsin White Cheddar cheeses.
Our freshly popped gourmet popcorn covered in our mouth-watering Land'O Lakes Cheddar mixed in with our Famous Wisconsin Cheddar creating a mix that you'll never forget.


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package org.jkiss.dbeaver.model.rm;

import org.jkiss.code.NotNull;

import java.util.List;
import java.util.Map;

public class RMEvent {

    public enum Action {
        RESOURCE_DELETE,
        RESOURCE_ADD
    }

    @NotNull
    private final Action action;
    @NotNull
    private final RMProject project;
    @NotNull
    private final List<RMResource> resourceTree;
    @NotNull
    private final Map<String, Object> parameters;

    public RMEvent(@NotNull Action action, @NotNull RMProject project, @NotNull List<RMResource> resourceTree, @NotNull Map<String, Object> parameters) {
        this.action = action;
        this.project = project;
        this.resourceTree = resourceTree;
        this.parameters = parameters;
    }

    public RMEvent(@NotNull Action action, @NotNull RMProject project) {
        this(action, project, List.of(), Map.of());
    }

    public RMEvent(@NotNull Action action, @NotNull RMProject project, @NotNull List<RMResource> resourceTree) {
        this(action, project, resourceTree, Map.of());
    }

    @NotNull
    public Action getAction() {
        return action;
    }

    @NotNull
    public RMProject getProject() {
        return project;
    }

    @NotNull
    public List<RMResource> getResourceTree() {
        return resourceTree;
    }

    public Map<String, Object> getParameters() {
        return Map.copyOf(parameters);
    }
}

redpajama_set_name: RedPajamaGithub


A review of B.C. regulatory filings points to a growing number of mortgage fraud cases involving fake incomes, phoney offshore collateral, and false tax information.
A review of B.C. regulatory filings points to a growing number of mortgage fraud cases involving fake incomes, phoney offshore collateral, and false tax information in schemes allegedly connected to real estate professionals operating in B.C.'s growing shadow banking sector.
Postmedia reported Saturday that shadow lenders — non-banks that are not federally regulated — have rapidly increased their share of Canada's mortgage market in recent years, as Ottawa has tightened lending standards for Canadian banks. Many of the big loans issued in Vancouver prior to 2017 won't be insured again, a Bank of Canada risk report says. As a result, according to a number of experts, an increasing number of borrowers are turning to shadow banks for loans in Vancouver's hot market, and the private lenders in this growing sector are more prone to fraud and careless lending.
Ficom's stats show complaints roughly doubled from 109 in 2013 to about 200 in 2016, and about a third of complaints allege loan application fraud.
Canadian housing analysts Hilliard MacBeth, Ben Rabidoux and Vancouver short-seller David LePoidevin say mortgage fraud cases they are seeing in B.C. are similar to the dodgy loans that were exposed after the U.S. subprime meltdown of 2008. All three analysts said they expect B.C.'s fraud problems will be exposed when prices correct and the real estate collateral that backs loans is reduced in value, which could trigger a domino-like drop in the market.
A number of cases reviewed in Postmedia's investigation illustrate the creative documentation and methods that some borrowers and brokers appear to be using to get home loans in Metro Vancouver.
In a March 2017 notice of hearing, Ficom alleges that a sub-mortgage broker from Surrey named Dennis Rego, of the company Shank Capital Systems, provided fabricated home purchase and sale contracts, and faked income and offshore collateral information, for numerous mortgage applications made for several closely related borrowers. The borrowers included two families who were seeking financing for three multi-million-dollar homes in Vancouver's South Granville area.
Since about 2010, this area of Vancouver has become synonymous with speculation and offshore investment, veteran realtors say.
For one of the borrowers, Ficom alleges, Rego submitted at least seven misleading mortgage applications. At first, the unidentified borrower was reported to be a "cook" with a $50,000 annual income and Canadian savings of $85,000. Next, the borrower was said to be a mechanical engineer, then an "assistant chef." In yet another application, the borrower was reported to be a "real estate investor" who had Canadian savings of $800,000, foreign savings of $500,000, and offshore real estate investments worth $5 million. Finally, the borrower was reported to be the part-owner of a related borrower's company, and reportedly possessed "foreign liquid assets" worth $400,000, and offshore real estate worth $1.5 million.
Rego's company is now closed, a number he was listed at is out of service, and he could not be reached. None of the allegations has been proven and no defence has been called yet.
In another Ficom notice of hearing, posted in March, staff accused sub-mortgage broker Anil Kumar Singh of submitting false financial information for at least six different borrowers, including a self-employed nail salon worker, a personal maid, a self-employed construction worker, a fish filleter, and a self-employed landscaper. Singh failed to confirm the accuracy of documents for another 22 mortgage applications, and submitted altered Canada Revenue Agency documents, according to the Ficom allegations.
In an interview with Postmedia, Singh said he strongly denies the allegations, and that he believes fraud is widespread in B.C.'s mortgage lending industry because brokers are poorly trained to verify loan application information, and speculative buyers are gaming the system.
Singh said that Ficom is unfairly cracking down on him because of a half-dozen erroneous notice of tax assessment documents that he believes borrowers submitted to him, knowing they were false, when he was an inexperienced broker.
Singh believes lenders are often complicit in accepting fraudulent loan applications.
In another case, involving tax documents, an agreed statement of facts in a 2016 Ficom consent order states that while working for Dominion Lending Centres Gold Financial Services, Jorawar Gosal "altered" borrowers' Canada Revenue Agency documents in order to inflate incomes for mortgage applications. Gosal was reached at the phone number listed in an online ad that says he is a real estate agent in Surrey. In a brief call, Gosal said that he is not a real estate agent, and that he has no comment on Ficom's consent order.
Details of a Ficom cease and desist order, which Ficom filings say was issued without a hearing due to the seriousness of the allegations, indicate Ficom staff investigated Rani Kaur Gill, an unregistered broker. Calls by Postmedia to Gill's listed number have not been returned.
None of the allegations has been proven and no defence has been called yet.
Other Ficom investigations involve mortgage investment corporations, which are a growing portion of B.C.'s shadow banking market, but are not always visible to Ficom.
From 2011 into 2013, respondents Donald Bruce Wilson, David Scott Wright, and Patrick Prinster, "raised approximately $1.1 million from 40 investors," and told investors their money would be invested "in mortgages secured by real estate," the notice of hearing alleged. Instead of investing in mortgages, the mortgage investment corporations put "the majority of the investors' money to other companies related to the respondents, business expenses, and commissions to finders," the notice alleged.
In an April 2017 notice of hearing, Ficom alleged that Dominion Lending Centres submortgage broker Gordon Lemon altered a bank draft, misappropriated investor funds, and was guilty of misconduct in relation to three registered mortgage investment corporations, and one unregistered mortgage investment corporation. Postmedia's efforts to reach Lemon were not successful. None of the allegations has been proven and no defence has been called yet.
In another Ficom case, an April 2017 notice of hearing alleges that Kevin Bownick of Port Moody failed to answer a summons and either "withheld, destroyed, concealed or refused to produce records" requested by Ficom investigators. Ficom investigators are trying to determine whether Bownick's company, Como Lake Ventures Ltd., "is carrying on a business of lending money secured in whole or in part by mortgages," with the proper registrations, or not.
Calls to Bownick at Como Lake Ventures were not returned. None of the allegations has been proven and no defence has been called yet.
Eby pointed to the July 2016 report by B.C. auditor general Carol Bellringer, which noted Ficom's lack of investigators for B.C. credit unions and pointed to understaffing concerns for other regulated entities. Bellringer said Ficom received adequate funding to hire staff via fees from regulated industries but the government did not "green-light" the needed hires.
Eby also points to a statement that he received from Ficom head Carolyn Rogers in 2016.
In response to Eby's criticism, a spokesperson for Finance Minister Mike de Jong told Postmedia that understaffing at Ficom was limited to staff overseeing credit unions.


text:
Hungarian Radiology
[Zsófia Farbaky: Basics of musculoskeletal ultrasound]
Hungarian Radiology - 2007;81(01-02)
[2nd National Meeting of the Radiology Residents]
NAGY Endre, PALKÓ András, LOMBAY Béla
[Scientific conference of Transylvanian Society and Museum]
WENINGER Csaba
[Az emlődaganatok radiológiai vizsgálatának újdonságai Onco Update, 2007]
FORRAI Gábor, BODOKY György
[Experiences about the breast diagnostic methods are accumulating year-to-year, rapidly. Therefore the current examination algorithm is changing continuously. New diagnostic and therapeutic modalities are entering into the daily practice. Some of them became obsolete, so far their application is becoming a faulty decision. Some other methods become obligatory steps in the diagnostics. These are the reasons why the up-to-date knowledge of the literature is mandatory. Systematic review of the most recent articles of the last two years (January 2005-December 2006) of breast radiological diagnostics and the actual place of the imaging and interventional methods are presented. The following topics are summarized: breast cancer screening with conventional and digital mammography, computer assisted diagnostics (CAD), high risk patients' screening, US, MRI, MSCT, PET/CT, diagnostic interventions, differential diagnostics, percutaneous tumour ablation, therapy-related questions in the diagnostic work up.]
[Guideline to prevent of nephrotoxic effect of contrast media]
HARIS Ágnes, NAGY Judit, MÁTYUS János
[Diagnostic and therapeutical possibilities in constipation]
ILLÉS Anita, KIRÁLY Ágnes
[Constipation is a common gastrointestinal problem. The prevalence of symptoms related with constipation fluctuates from 3 to 20 per cent. Constipation occurs more frequently in the elderly people and in females and more frequent in case of inactivity and less fiber intake. Assesment of patients with severe constipation includes specialized investigations. Exclusion of primary organic causes has to be the first step, then metabolic, neurological and iatrogenic causes (such as medicament side effects, etc) have to be excluded. After these considerations special functional gastroenterological investigations are needed which contribute to the diagnosis and differential diagnosis of the cause of the constipation. Anorectal manometry, ballon expulsion test, defecography and colon transit studies allow us to distinguish between slow colon transit, colon inertia, different subtypes of outlet obstruction, and the constipation predominant irritable bowel syndrome. The evaluation of these specific studies leads to the exact diagnosis and appropriate treatement for their problem can be given to the patients, which always has to be individually planed in all cases.]
The applications of transcranial Doppler in ischemic stroke
FINNSDÓTTIR Herdis, SZEGEDI István, OLÁH László, CSIBA László
Background: This overview provides a summary of the applications of transcranial Doppler (TCD) in ischemic stroke. Results: A fast-track neurovascular ultrasound protocol has been developed for detecting occlusion or stenosis. The technique is more reliable in the carotid area than in the posterior circulation. By monitoring the pulsatility index the increased intracranial pressure can be diagnosed. TIBI score was developed for grading residual flow. TCD has been shown to accurately predict complete or any recanalization. Regarding recanalization, TCD has a sensitivity of 92%, a specificity of 88%, a positive predictive value of 96%, a negative predictive value of 78% and an overall accuracy of 91%, respectively. Sonothrombolysis seemed to be a promising application but randomized controlled trials have shown that it does not improve clinical outcome. TCD examination can detect microembolic signals (MES) which are associated with an increased risk of stroke. Microemboli were detected in symptomatic and asymptomatic carotid artery stenosis and during carotid endarterectomy. The number of microemboli can be decreased by antithrombotic therapy. Contrast enchanced examination and Valsalva maneuver with continuous TCD monitoring can accurately screen for right-to-left shunt.
[Survey of patient education among patients with hip arthroplasty]
BÉKÉS Brigitta, KIRÁLY Edit, BALOGH Zoltán
[Aim of the study: To analyse the training level of patients underwent hip replacement therapy in different periods of their health care. Methods: Traumatology and orthopaedic departments, ambulances and musculoskeletal rehabi-litations took part in the research. A self-made questionnaire was distributed among doctors and health professionals who cured these patients directly. The received data was analysed with the IBM SPSS Statistics 20. program. ANOVA test, 2-sample T-test and Chi-squared test were applied to analyse the coherences. P<0,05 was defined as the value of the significance limit. Results: 86 health care professionals participated in the survey. The overwhelming majority of them (45%) reported that unstructured, postoperative patient education was characteristic. Their education was dominated by communication techniques (n=68), while among the instrumental methods the use of information leaflets was dominated (n=13). Their activity was limited by the time lag and work overload (76%). Analysing the training levels, it was found that information about lifestyle changes and post-operative mobilization was significantly underused. Conclusion: Significant insufficiency were found in the education of the patients in terms of organization, and in the teaching methods and topics which were further aggravated by the mentioned hindering factors. ]
[Basics and future of immunogenomics - Interview with András Falus]
LOMBAY Béla
[A CASE OF PRIMARY HEPATIC AMYLOIDOSIS PRESENTING WITH GASTRIC BLEEDING]
STOGICZA Ágnes, GRABER Hedvig, SKALICZKI József, NÁDOR Katalin, MAGYAR Tamás
[INTRODUCTION - Amyloidosis - at an early stage - has no typical clinical findings, but severe weight loss, hepatomegaly and elevated serum alkaline phosphatase level can be clues to the diagnosis. CASE REPORT - We report a 66-year-old woman presenting at our unit with massive gastrointestinal bleeding. Gastroscopy was performed and a haemorragic ulcer was found. Before admission she had lost 20 kg-s in 6 months. The patient had hepatomegaly and markedly elevated serum alkaline phosphatase level. These findings suggested the presence of malignancy, but ultrasound, CT and MR examinations did not support this hypothesis. After liver biopsy the diagnosis of amyloidosis was proven. She had rapid downhill clinical course of gastric bleeding from an ulcer resulting in death. CONCLUSIONS - So far, no specific treatment exists for amyloidosis, but there have been promising results reported about liver transplantation and autologous stem-cell transplantation.]
[New chapter in visual evoked potential studies - Clinical application of the multifocal vep method ]
JANÁKY Márta, PÁLFFY Andrea, BENEDEK Krisztina, BENEDEK György
[The multifocal visual evoked potentials are the evoked responses over the visual cortex in response to the stimulation of circumscribed small areas in the central 30 degree region of the retina. The recording of multifocal visual evoked potentials was made possible by the computer algorhythm elaborated by Sutter in 1991. Multifocal electroretinograpy, developed upon the same theoretical principles, is already an routine clinical examination method for the topographic analysis of functional damages in the central part of the retina and for the differential diagnostics in neuro-ophthalmology. The multifocal visual evoked potential, however, has not been introduced into the clinical practice, although it displays the function of ganglion cells in a given region of the retina in a more detailed way than the sensitivity threshold in the perimetry. This examination makes the objective verification of defects possible in the visual pathway, too. In our department the recording of multifocal visual evoked potentials was started in 2002. In this paper we present the basics of this method and also deal with the problems concerning its application and its status in the history of visual evoked potentials.]


text:
Home > Posts tagged "exhibition"
Tag: exhibition
para-lab report
by antonyhall - September 17, 2021 November 29, 2021 0
para-lab invite you to join us as we come together to display and discuss a series of ongoing collaborations between artists and scientists. The report will be presented through artefacts accumulated from the process of collaboration, as well as workshops and a mini-symposium (free) registration on Eventbrite) to contextualise the work. The weekend acts as a marker along the path of long-term, open-ended collaborations and a platform for the participants and the public to get together in real life after so long operating only online. Open to the public: Rogue Project Space, Thursday 23rd September, 6 - 8Saturday 25th September, 11- 5, Sunday 26th September, 12 - 4.
Proximity at Abingdon Studios
by antonyhall - August 20, 2021 August 20, 2021 0
PROXIMITY; An enquiry into the spatial and social elements of practice as research. Anne-Marie Atkinson | Ann Carragher | Antony Hall | Jackie Haynes | Rebecca Howard |Sarah-Joy Ford. 26 Aug – 16 Sept* *Window Gallery visible 24/7 *Upper Floor Project Space open Fridays and Saturdays 11-4pm or by appointmentProximity is a collective of 6 artists interested in the spatial and social elements of practice-as-research (est. May 2019). We have met online weekly since lockdown began, and have developed our approach of "convivial aesthetics" in the virtual realm. Through these meetups, we have provided professional, creative, and emotional support for one another – spending more time in proximity to one another, digitally in each other's homes. Together we have taken part in several residencies, where our proximity
Mirror Gaze Experiment @MSP
by antonyhall - March 2, 2020 March 20, 2021 1
I have been working with Manchester Science Partnerships to develop a range of workshops for their customers, the resident companies that use the park. The first session was the 'mirror gaze experiment'. During the mirror gaze experiment [MGE] participants are asked to stare at their own reflection in a mirror in a nearly dark room. An outline of the head is visible as a faint silhouette. In this state of partial sensory deprivation, the brain struggles to make sense of the information it sees. Forms and shapes begin to emerge as if from nowhere. For many observers, these develop into vivid visual hallucinations "monsters, archetypical faces, faces of relatives, and animals" (Caputo, 2012; Bortolomasi et al., 2014). This
Proximity – @ Paradise works 11/12/2019
by antonyhall - March 2, 2020 October 15, 2020 0
GANZFELD Translucent White Hemispherical Domes x 2 45mm diameter. Handmade signed edition of 20. Image: Anya Stewart Maggs Images from the Proximity show at Paradis works; I created these handmade cardboard box containing two 'Ganzfeld Hemispheres'. These are translucent white domes perfectly shaped and crafted to fit in the eye socket, with elastic strap and small ceramic bead for adjustment. Inside are a set of instructions. A signed edition of 20 was produced as a workshop resource. The work is activated through its use, and the experiences that come through its use, and continued practice. Ideally, it should be stored alongside other items in the medicine cabinet. [See the current version of this workshop - Perception without object] I also showed a series of transcripts
Seven Practical experiments
by antonyhall - October 21, 2019 March 20, 2021 0
Images from 'Seven Practical Experiments' workshop as part of Sum total of all the actions at Rogue artists studios. 1: Feldenkrais - See notes on the inwardly generated image (by deformation of the eyeball) 2. Anomalous perception scale Spontaneous sensations 3: Action intention paradox [See developmental notes] Alien hand 4: Concerning the inwardly generated image [See notes on Ganzfeld variation 1] 5: You are the object of your own observation [See notes on the mirror gaze experiment] 6: You are the object of your own observation. Mirror Gaze experiments in near darkness. 6: Perception without object [The perception of spatial relationships in respect to the orientation of one's body despite distracting information] See notes on Ganzfeld variation 2 7. The permanent possibility of experience. An based on the experiments of Ernst Mach [Notes to come]
long exposure image from Mirror gaze experiment
Mirror and light bulb mounted on a stand for Ganzfeld and Mirror gaze experiments.
Alien hand device
Lenticular goggles
Speaking with an artist while making plans for a future Action Lab, I came up with the idea of making these lenticular glasses [Above], which use a lenticular lens [textured with lines or ridges] which have the effect of dividing the visual field into lines. In an urban or interior space, vertical and horizontal lines are common. These become enhance or reduced depending on the orientation of the lens. Using the lens in a vertical alignment, steps become invisible, but when the lens is rotated they become enhanced. Using a combination of both things get even stranger. Point light sources create strong bright lines. I have yet these in a natural environment.
James Turrel – Light Reignfall
by antonyhall - December 21, 2017 2
[vimeo 75419053 w=640 h=360] James Turrell's Light Reignfall @LACMA - Andrew van Baal James Turrell's Light Reignfall Light Reignfall is a work from his series of perceptual cells, inside the participant is exposed to a uniform homogenous field of modulated light. A combination of sensory overstimulation, yet deprived of recognisable forms or space, hallucinatory effects are experienced. "Assisted by an attendant, an individual viewer enters a spherical chamber on a sliding bed. A program of saturated light (operated by a technician) surrounds the viewer for twelve minutes, allowing the visitor to experience the intense, multi-dimensional power of light and the complex seeing instrument of the human eye." "James Turrell (b. 1943, Los Angeles), a key artist in the Southern California Light and Space movement
Enki Manchester Science Museum
by antonyhall - November 23, 2017 June 16, 2020 0
Some of the early experiments for the Enki project at Museum of Science and Technology Manchester 2007... We recorded brainwave data and monitored the behaviour of the electric fish during the experiment. The electrical activity of the fish is experienced as sound and light via ENKI (a stroboscopic high frequency led placed close to eyelid) and the natural binaural frequencies produced by the interaction and communication between Black Ghost Knife fish. The participant's bio-electric field was connected to the aquarium allowing the fish to sense a human (bio)electric image or presence. Museum of Science and Industry Manchester, 7th October 2006
Enki interface 2006-2013
by antonyhall - November 23, 2013 October 27, 2020 1
This project formed the basis for my PhD proposal. Initially, it was an investigation into the behaviour of electric fish, which have the ability to navigate and communicate using electro-perception. I investigate ways in which to communicate and interact with them. , I soon started to become interested more widely in perceptual and psychological experiments with humans; themes of interconnectedness, extending sensory perception. More specifically a notion of the 'body as electric image'. " The ENKI project was developed through an Arts Council, International Artists Fellowship, Pepiniere programme, Paris, with Centre National de la Recherche Scientifique (CNRS) France in 2006. It has been shown in the UK Europe including, Dutch Electronic Arts Festival, NL, CAAC, Seville, Spain 2007. International Festival of Art /Science
ENKI exhibition at Kapellica Gallery
10/2012– 01/2013 Enki [Solo show] Kapellica Gallery, Ljubljana, Slovenia Enki experiment 5 Possibly the final showing of the ENKI project ENKI is a series of experiments in bio-interfacing between humans and certain types of Electrogenic Fish .. Ultimately this is achieved through psycho-acoustic audio and visual entrainment as a means of modulating human emotional state. During this process, bio-electrical activity is monitored and used as a means to create a feedback loop between organisms. The research aims to study the interaction between tiny bio-electrical fields of both species [human and fish] specifically the way in which these fields modulate and the means of controlling them. It also aims to discover if it is possible to create a harmonious state of interaction that can


WinCenter is a cloud-based proposal management solution designed for government contractors and commercial operations. It features asset management, proposal workflows, scheduling and review management functionalities within a suite.
Users can search through a knowledge repository of proposal assets to locate resources for proposal creation. The software also features workflow creation, which allows users to schedule resources and collaborate using comment boxes.
Users can create best-practice standards for proposal creation including collaborative review processes, debriefs and scheduling. Proposal dashboards allows users to track the status of proposals in real time. The customization wizard helps users to add new features based on business requirements. The product integrates with various business systems such as SharePoint, Deltek, Salesforce, Costpoint, SAP and Peoplesoft.
We are happy with our overall experience. R3 worked with us to create a highly useful tool which for us managed both process and document tracking/storage. We have received positive feedback from our users. The enterprise license gave us visibility company wide which improved communication across operations.
WinCenter has a clean interface and was adaptable to fit our business process which allowed us to quickly achieve a high level user adoption. My experience with setup and support was excellent. R3 listened to our needs and gave us options to help achieve our goals. All requests for support were handled timely. We liked how we were able to receive and pass data from Salesforce.com to automate process and save on duplicate entry.
WinCenter ran slow in the beginning which was frustrating but we worked through that with the great support provided. Report creation is cumbersome but once you created the report it was easy to run and view. An administrator guide would be helpful when starting to learn the many options to choose in both WinCenter and SharePoint however requests for support were quickly answered.
Excellent. By building in not only the Shipley process to our system, but also our specific corporate policies and procedures, our recent audits have been very positive.
When I came to my firm, it had been recently installed; I learned it in no time. If you are used to working with SharePoint, you will really enjoy WinCenter. It is layered on top of SharePoint, but I found it much easier to work with. Even our engineers like working with it.
There is not a lot I don't like about it except that it runs on Internet Explorer. I think it's important that they work on supporting this on other platforms, such as Edge or Chrome.
WinCenter enabled our company to double twice in two years. It has helped us gather all our opportunities onto one place, as well as execute distributed proposal writing across our geographically diverse company. This tool was a significant force multiplier for our business development process.
WinCenter is well set up'out of the box' but my favorite feature is the ability to tune the configuration of the tool to reflect our business processes.
There is some learning curve associated with configuring the tool, but the tech support was outstanding as I learned the steps to change the settings.
Since using this product over three years ago, we have noticed a gain in productivity. Specifically, Wincenter allows our proposal team members to stay focused on what we need from them. We also have benefited by increasing the productivity out of the group with our ability to manage and submit multiple proposals that are occurring at the same periods of time.
Wincenter aligns with Shipley's methodology for business development. The user interface is work flow driven and user friendly.
The reporting is basic and not as supportive as it can be at the upper management level.


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Daniel Dohnalek, DDS
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Dr. Daniel Dohnalek joins Great Lakes Dental Partners after three decades of practicing dentistry, and he continues to work clinically at the Manus Dental Lake Zurich office. Dr. Dohnalek graduated from Indiana University, where he earned a Bachelor of Science Degree in Biology. He earned a Doctorate Degree from the University of Illinois College of Dentistry in 1983. Following dental school, Dr. Dohnalek attended the Oral Cancer Program at Michael Reese Hospital.
Dr. Dohnalek believes that communication and patient education are essential for a positive doctor-patient relationship. He has a special interest in advanced cosmetic dental restorative techniques, including dental implants, crowns, bridges, and porcelain veneers.
A member of the American Dental Association, the Illinois State Dental Society, and the Chicago Dental Society, Dr. Dohnalek also serves as a board member of the American Cancer Society. Dr. Dohnalek resides on the North Shore with his wife and their two children. Dr. Dohnalek is an active sports participant and coach, and he especially enjoys running and golf.
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A candid discussion about life experiences of men of color and strategies to overcome challenges and build successful careers took place on Tuesday, Nov. 27 at Gateway Community College (GCC).
This IS Us: Career Conversations about the Black Male Experience offered insight to students about how to tackle adversity and get ahead. The event started with a panel discussion with men who have built careers in fields such as education, healthcare, law enforcement, and business and was followed by roundtable discussions.
Most of the participants in the panel either grew up in New Haven or work in New Haven. Leigh Roberts, Student Engagement and Career Development Associate at GCC, said that the panel was developed to represent men in the community who have successful careers at places students are familiar with, such as Yale University, Yale-New Haven Hospital, and the Connecticut State Police. The panelists have been engaged in the community, some have dual careers, and their stories have the ability to inspire young people, Roberts said.
Students were advised by panelists to learn about black history, be persistent and proactive, and to not only educate themselves but also to question their education. They were also encouraged to learn how to navigate around circumstances and take advantage of opportunities.
Panelist Joel Pullen, a social worker, said that life changed drastically after he was in a motorcycle accident at age 18, suffered serious facial injuries and lost two fingers. He said that despite his disappointment with how the injuries changed his life, he managed to stay focused, be true to himself, and not be a follower. Pullen added that he was fortunate to have friends who wanted the best for him and noted that it helps if your purpose becomes more than what others think of you.
According to the National Center for Education Statistics, black and Hispanic men have lower graduation rates at two-year institutions than other males examined. Roberts noted that it is important for students to see and hear from those who have overcome obstacles and achieved success. This panel discussion will be the first in what she plans as a series focusing on different topics. In March, a similar format will be used for a discussion about careers for women.


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Q: How to learn to represent complicated relationship in Django model? Consider a train ticket booking app. There are many cities, stations and trains.
Each city has one/more stations. It is obvious that a station can not be in more than one city. Each station receive one/more train(s). Every train visits one or more station and finally stops at a fixed (common) destination.
Now I want to make a form where the user is able to select his city, stations in the same city and then the train (which that station of the city receives)  and finally book the train.
 This is what I have done till now.
class City(models.Model):
    name = models.CharField(max_length=50, help_text="Your city name")

class Train(models.Model):
    number = models.IntegerField(primary_key=True)
    name = models.CharField(max_length=50, help_text="Train")
    city = models.ForeignKey(City)

class Station(models.Model):
   city = models.ForeignKey(City)
   name = models.CharField(max_length=50, help_text="All available stations in your city")

class BookedTicket(models.Model):
   city = models.ForeignKey(City)
   station = models.ForeignKey(Station)
   train = models.ForeignKey(Train)

Please suggest on how to establish relationships properly because I am not able to display correct stations for a chosen city and similarly, train for a chosen city and station.

A: You could use the _set to find the stations in a city
my_city = City.objects.get(name="my hometown")
stations_in_city = my_city.station_set.all()

Also see the documentation here and here for some examples.

redpajama_set_name: RedPajamaStackExchange


Posted March 29, 2017 • filed under Research.
I am a performance practitioner and researcher, interested in archives, personal collections, and spoken histories. My work is immersive and allows for audience participation through using audience stories as the main focus of the piece presented. It further employs creative technologies and sound art installation to exhibit and present the stories collected during each performance. In this article, I will be concentrating on one of my performance projects called Love Letters; while touring this work I have collected 200 love letters written by audience members. In this article I will describe the diverse narrative/storytelling 'interfaces' used in the performance as well as how we aim to redevelop Love Letters by making the costume/dress, used in the piece, a storytelling object that will narrate past audience letters from the collection to present day audiences.
Love Letters at Performance and Live Art Platform, Cyprus (2013). Image by PM.
Love Letters is a live, durational performance with a performer wearing an interactive dress, a station for writing love letters, and an installation of letters. It is a performance project that has toured international performance festivals and art-related events since 2012: Performing Documents (2012), Performance and Live Art Platform (2012, 2014), Tempting Failure (2013, 2014), Latitude (2015), and iDocs (2016). Reviews about the piece have been published both in online and print media, in Vice Live Art Almanac Vol. 4 and EXEUNT magazine.
Love Letters at iDocs (2016). Image by OP.
The piece invites participating audiences to write letters that capture platonic, familial or lustful emotion, to share other audiences' letters and to interact with the performer's costume by attaching the letters to her dress in addition to documenting memories and streams of consciousness onto both the costume and the performer's body. The collection of letters contains audience love letters about moment in time, letters to old friends, old lovers, family, about falling love, or even love that can never work. At the end of the performance, the dress I wear is full of audience love letters. In each performance past audience letters are revisited and new love letters are added to the collection.
Love Letters at Latitude Festival (2015). Image by MM.
Through a collaboration with creative technologists and interdisciplinary artists we aim to redevelop the dress as a storytelling object using creative technologies, as explained below. This will enable us to build upon the audience-led experience of the love letters collection encountered in the performance.
I have been living away from 'home' for the past 11 years in order to pursue my academic research and artistic practice which includes developing interactive approaches to curating and exhibiting oral histories as well as new ways of storytelling with and for the public. Within this timeframe, I have moved between 3 countries, 4 cities, and 13 houses. The process of unpacking each time is not only mundane but sometimes painful, as I often find myself, as one does, going through boxes and boxes of old photographs, reading strips of paper, dwelling on postcards and letters. This memorabilia – remnants of relationships long past, traces of intimate relationships that no longer exist, recollections of desperate apologies – is too precious to discard. Thus, it ends up hidden in the depths of my wardrobe or roughly preserved in suitcases under my bed.
The process of self-archiving – unpacking, reading, labeling and preserving my own collection of love letters and emotional luggage – made me think about how, if I consider my memorabilia important enough to keep, then other people may share similar emotional attachments to such tangible traces. This prompted a further question: is the practice of writing love letters vanishing because of technology? Surely, the love letter hasn't disappeared, but rather it has been democratised and made commonplace by technology. However, what about the actual ritual, the analogue procedure, the aesthetic, conceptual and emotional value that is found in the very act of handwriting a love letter, the physical artifact that lives on? Does the digital form of the love letter share the same value as its material form? Is it able to capture the emotional registers (anguish, longing and desire) that make the performance of writing love letters so powerful?
For Sartre, love letters awaken an affective analogue, a physiological or psychological element that is a constituent of a person's imaginative state. This is the ideal and subjectified reality or imaginary affection of the lover for the beloved. It is the subjective idea that the lover holds of the recipient of the love letter, which serves as a substitute when the beloved is absent. This emerges from within the person engaged in the physical and conceptual ritual of writing the love letter. For example, at the moment when the beloved becomes absent, the lover's desire transforms into an irreal object – something produced, not by the beloved's existing image or presence (beloved-as-real), but by the lover's idea of them, which is trying to fill in the gaps of their beloved's presence (beloved-as-imagined). As this irreal object becomes difficult to imagine because of the physical absence between the lover and the beloved, it confirms the lover's desires. Due to the physical absence, the affection and love between the lovers reverts into a type of 'deprived' or empty love, "a love for love's sake, a love that is in love with nothing other than itself" (Kearney, p.68). In this sense, lover uses their 'analogon' to make present to themselves that which is absent, the imagined beloved. The very practice of writing love letters makes this emotional process of a relationship between the lover and the beloved transparent. For both Sartre and Barthes, the lover's anguish over the beloved's absence and the longing for their presence is desire, which uses imagination to cover the voids created by an absence. In this sense, it is only the imagination writing love letters to itself, responding to its desire with its own desire. As discussed further on, absence and presence are themes that my performance project, Love Letters, plays with strongly; for the reason the performance employs creative practices that encourage human expression and therefore evoke emotions such as grief and loss. Hence, does typing a love letter, faxing it, emailing it, coding it, posting it, sharing it – have the same effect, even if its purpose is to communicate via written word the same raw emotion of human pathos?
Love Letters at Wickham Theatre, 2013. Image by YD.
The love letter has been cherished for centuries, written by: Beethoven and Embry, Napoleon to Josephine, Jean Paul Sartre to Simone de Beauvoir; Oscar Wilde to Lord Alfred Douglas, Leo Tolstoy to Valeria Arsenev, Allen Ginsburg to Peter Orlovsky; Frida Kahlo to Diego Rivera, Vita Sackville-West to Virginia Woolf; John Keats to Fanny Brawne, Voltaire to Olympe Dunover, and the list goes on. Throughout history, love letters have taken a biblical tenor, literary forms (early Renaissance, evolving in the Enlightenment), going beyond being written as literary device for romance and affection. Instead emerging into a political act of wisdom, an opportunity for self-reflection and introspection.
YOU ARE MY CRAVING FERVOUR, MY PRECIOUS FERVOUR. MY LOVE EAGERLY LUSTS AFTER YOUR LOVING FONDNESS. MY PASSION PINES FOR YOUR ENTHUSIASM. MY SYMPATHY FERVENTLY HOLDS DEAR YOUR HEART.
The chaotic remix of sentimental words indicates an 'ache of longing' which journeys "beyond the one that already accompanies the genre: one can almost sense M.U.C.'s thirst, as if the computer were struggling to speak from the heart but discovered that its vocabulary had been arbitrarily limited to the language of clichés" (Wardrip-Fruin, 2011).
Returning to my initial point, the value and beauty of this ritual of writing a love letter lives in the passionate and intentional desire to capture the message in writing, turning the praxis of writing a love letter into a performance of composition and reflection with the recipient at the heart of this action.
The symbolic actions engaging audiences in the performance project, Love Letters, do not only intervene in the idea of keeping memories private by compelling the audience to participate in an exchange of memories, but also creates a second level of intervention by compelling the audience to witness other people doing the same. This is realised by 'exposing' their intimate and personal testimonies (with their consent). The audience accounts – composed and narrated during the performance of Love Letters – make evident how narrative is a vital component of the human mind, key to making sense of the world around us. Thus, the collection of these letters acts as a type of candid cultural artefact or resource that carries 'intangible' personal heritage – the letters tell stories that are sometimes profound and intense, and at other times superficial and trivial, and are then given existence through their mediation within a performance setting. The action of writing a letter is used in the piece as a tool to evoke memories. This is achieved by having the audience engage with the performer by addressing and dressing her in particular ways so that the shared memories become attached with new environments, connotations and other ways of telling. These modes of engagement occur through two strands of audience – performer interaction: (1) writing the letter and reading an other letter aloud; (2) pinning the narrated letter onto the dress and writing on the dress and on the performer's body, which in the performance act as narrative interfaces.
The dress worn in every performance is the same. It is 'stained' with past and present audiences' contributions, playing with the notions of presence and absence. As described, the audience makes notes on the garment and or the performer's body, 'memo'-type messages left on it, for others to see and perhaps to not see. In consideration of this, the dress/the costume used in the performance is a crucial component of the piece. It becomes part of the audiences' recollections, not only for its traces of past written and narrative acts, but also as an in-between, a mediator, of what was said and what was lost. It most importantly becomes a vessel that embodies audience members' intimate stories. The dress witnesses the different tellings and shares a different type of intimacy with each and every audience member who has interacted with it. It is a technology that is physically embedded with their memories, as well as the cultural connotations it carries because of its material form.
Further research has posed new questions for the project: what if the performance's dress narrated letters written by its past audiences, as a response to its interaction with present audiences? To explore this I put together an interdisciplinary team of creatives, including artistic practitioners and technologists with experience of developing interactive technologies for storytelling and immersive performance purposes. Together we aim to concentrate on redeveloping the letter writing engagement and technological interactions of the dress, making it a storytelling object or device. To achieve this we plan to create a technological speaking attachment to the dress using electronics and by augmenting the dress with recordings of the existing collection of letters. This will allow it to speak its past audiences' letters to present-day audiences, as part of a narrative exchange in the performance. Following the original live performance process – writing love letters, depositing these in the space, reading other letters aloud and attaching these to the dress – the audience's engagement with the costume will trigger a reaction where the dress narrates another story from the collection as a response. The dress will become an interactive storytelling object and a type of 'worn' sound installation, which will give the audience a further creative agency and shared ownership over their letters and the entire collection. The primary importance is not the technology itself but the pervasive effect it has on the storytelling process. This work makes use of technology, whilst offering audiences agency/ownership allowing for creative expression and imagination, while not drawing the attention away from the performance and storytelling aspects of the piece.
To undertake this project we recently launched a crowdfunding campaign. We need the public's support to redevelop this piece. Our aim is to raise enough funds to develop the technology for the piece to build on an audience-led experience of sharing memories. We have planned two public events to showcase this work: in the UK at Centrespace Gallery (Bristol) and in Zagreb at the Museum of Broken Relationships (Croatia), where we intend to donate the entire audience love letters for collection once the project is completed. It is important to us that the letters audiences have entrusted us with in each performance are preserved in a safe and loving space, for other people to read and appreciate.
You can check out our pitch here: https://spsr.me/FxkW.
We appreciate any kind of support, If you don't feel like contributing financially, maybe you would like to send us a love letter instead. Send love letters (addressed to a significant other) to p.demetriou@gmail.com, subject line "love letter donation".
Barthes, R., (1977), A Lover's Discourse, (London: Random House, New ed. 2002).
Demetriou, P. A., Pappas, O. and Kampylis, S., (2017) "Love Letters: Wearing Stories Told – a performance-technology provocation for interactive storytelling", Body, Space & Technology Journal, 16. ISSN 1470-9120, <http://people.brunel.ac.uk/bst/vol16/>.
Kearney, R., (2006), Poetics of Imagining, (New York: Fordham University Press).
Link, D., (2016), Archaeology of Algorithmic Artefacts, (Minnesota: Univocal Publishing).
com, (2017), Love Letter generator, [online] Available at: <http://www.gingerbeardman.com/loveletter/> [Accessed 13 Mar. 2017].
Sartre, J., Elkaïm-Sartre, A., Webber, J., (2004), The Imaginary, (London: Routledge): 145.
Wardrip-Fruin, N., (2011) "Digital Media Archaeologies: Interpreting Computational Processes," Media Archaeology: Approaches, Applications, and Implications, eds. Erkki Huhtamo and Jussi Parikka (Berkeley: University of California Press): 302-322.
Dr Panayiota Demetriou/Yiota (PhD, UoB) is the PDRA for research centre Making Books: Creative Writing and the Digital, at Bath Spa University, where she also lectures in Performance Studies and Cultural Geography. She is a Live Art practitioner, performance art photographer and initiator of Performance & Live Art Platform Cyprus.


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Teach For Malaysia is part of the global Teach For All network of independent, locally-led partners in 45 countries with 15,000 participants and 55,000 alumni reaching 1 million students annually. Each network partner recruits and develops promising future leaders to teach in their nations' high-need schools and communities and, with this foundation, to work with others, inside and outside of education, to ensure all children are able to fulfill their potential.
In light of a shared vision to increasing access to education worldwide, UWC and Teach For All have formalised their working partnership with a view to collaborating and strengthening their respective missions through sharing opportunities and resources.
For more information about the partnership between UWC and Teach For All, please see this webpage or our partnership brochure.
For more information on Teach For Malaysia and Teach For All, please see teachforall.org and teachformalaysia.org.


text:
More info on Golden Liberty
Golden Liberty: Facts
Polish–Lithuanian Commonwealth facts
Szlachta facts
History of democracy facts
Monarchy facts
Constitution facts
Democracy facts
Confederation facts
Federation facts
Union of Lublin facts
Golden Liberty, the political system of the Polish-Lithuanian Commonwealth, similar to federation and democracy, became ineffective when faced with the surrounding monarchies?
Facts on topics related to Golden Liberty
Archbishop of Toledo Pedro Segura y Sáenz had to leave the city during the Spanish Civil War, because he denounced the Republican government and extolled monarchy?
Gunnar Heiberg advocated dissolution of the union between Norway and Sweden, but was dissatisfied that Norway subsequently became a monarchy?
the Brothers Grimm were amongst the Göttingen Seven, university teachers who protested changes to the constitution of the Kingdom of Hanover in 1837?
the Constitution of the Kingdom of Poland of 1815, considered among the most liberal constitutions of its time, was increasingly disregarded by the Polish government, leading to the November Uprising of 1830?
the Singapore Declaration, one of the two most important constitutional documents of the Commonwealth of Nations, is thought to have been unenforceable until the Harare Declaration twenty years later?
Pedro Vuskovic's plan to move Chile's economy to a socialist model by democratic means led to runaway inflation and economic recession?
Dashiin Byambasüren was the first democratically elected Prime Minister of Mongolia?
José Ortega Spottorno established the now-bestselling Spanish newspaper El Pais to advance liberal values at a time when the country was undergoing a painful transition from fascism to democracy?
William Phelps was foreman of the first grand jury in colonial America and played a key role in establishing the first written democratic town government at Windsor, Connecticut, in 1657?
as the world's third largest democracy, Indonesia's 2004 legislative election was the most complicated in the world?
the Social Democrats under leader Hjalmar Branting won the Swedish general election in 1921, the first fully democratic parliamentary election in Sweden?
under the Sino-Portuguese Joint Declaration on the Question of Macau, Communist China would guarantee complete autonomy and democratic self-government in Macau up to 2049?
Absolute monarchy
Juan Bravo Murillo tried but failed to impose an absolutist constitution on Spain in 1852?
the Danish Monarchy's status was changed from absolute to constitutional on 5 June 1849?
despite historical border disputes, Poland–Czechoslovakia relations were friendly, and during WWII their governments-in-exile considered forming a confederation?


We are happy to introduce the SDK 2.0, the easiest way to add link previews in your website without effort.
The version 2.0 introduce a breaking change: It removes the round property from the API Parameters that you can pass for customize the card preview.
The property round was related with apply a border-radius around your preview card.
We decide make this little change in order the reduce the number of configurable API Parameters.
But you can still extend the default style using CSS.
For example, let's create a link preview for browserless project using custom border-radius style.
Read more about styling in documentation.
Read more about styling at documentation.
In this product sprint we focused on improving our video property added into our API in the previous product brief.


CHDC offers a variety of down payment assistance programs, either directly or through our affiliate organizations and partners, including CalHome, who offers up to $38,000 in a "silent second" down payment assistance loan. To qualify for down payment assistance and other affordable homeownership opportunities, area clients must qualify as a low-to moderate income first-time homebuyer, when purchasing in Contra Costa, Alameda and Solano Counties. The great news is – qualifying clients never make a payment on this loan for as long as they live in the house. Contact us for more details about this great opportunity.
CalHome (Program Brochure in English and Spanish) offers up to $38,000 in a "silent" down payment assistance loan for low-income households purchasing in Contra Costa County. See if you qualify. Silent means you never make a payment on this loan for as long as you live in the house.
The Contra Costa-Moving Assets Toward Community Hands (or CCMATCH) and WISH grant funds are a savings program for individuals with low income that provides matched funds (also known as Individual Development Accounts or IDAs) to help clients save money to purchase a home. These grants are non-repayable, or consider it FREE money (stipulations apply). Depending on their savings goal, client deposits may be matched at the rate of 3:1 for homeownership. To qualify clients must live in Contra Costa or Solano County and not exceed income limits and meet other requirements.
First you must complete the Financial Fitness workshops, be a resident of Contra Costa or Solano County, and meet the income eligibility below. Then, working with CHDC's Financial Coach, you will set a personal savings goal and open an Individual Development Account (IDA) savings account. Once you are enrolled in the savings program, you must make savings deposits for at least 6 months before you can make a withdrawal. For those saving to purchase their first home, we can take into account monthly savings deposits you made prior to enrolling in CC-MATCH.
When you make a deposit, matching funds are also deposited into a separate account. With your savings goal of $5,000, your deposits are matched at the rate of 3 to 1 ($15,000). You must reach your goal of $5,000 to qualify for the $15,000 grant, and IDA accounts are generally not available for withdrawal during the savings period. Match funds are disbursed when you reach your savings goal and are paid directly to the appropriate vendor.
Be at least 18 years of age (or will be 18 when you meet your goal).
CHDC provides first time homebuyer and foreclosure intervention counseling to Vallejo residents who have low or very low income. Both types of counseling will improve the financial stability of program participants. Homeownership counseling will prevent unnecessary foreclosures, helps families learn how to budget, which helps to create the best possible chances for families to recover from foreclosure and create new homeowners who are prepared to protect and increase their assets.
If you're a resident of Vallejo, or want to be a first time homebuyer in Vallejo, please download and complete CHDC's First Time Homebuyer Intake Form (Intake Form in English or Spanish) and attend an upcoming Orientation.
For questions regarding the orientation or mortgage assistance program process, please call Latoya Carr at (510) 412-9290 x226 or (707) 652-7861 x226.
The City of Vallejo offers down payment assistance loans up to $40,000 for households with low incomes purchasing their first home in Vallejo. Click on the City of Vallejo's HOME-CDBG Guidelines below for program details.
The City of Vallejo offers closing cost grants up to 3% of the sales price. These grants are available to households who receive a down payment assistance loan from the City. The City of Vallejo also offers closing cost loans up to 3% of the sales price for households not receiving down payment assistance loans. Contact the City of Vallejo for more information regarding this program.


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Vintage Basement with Max & Nicky + Aparna Nancherla + Reggie Watts + More!!!
From New York-based twin brothers Max and Nicky Weinbach comes a neo-retro night of stand-up comedy and music. Max & Nicky will have you falling in love with their quirky, absurd antics and dovelike musical stylings as they welcome the additional talents of four hilarious stand-up comics. The upcoming lineup includes headliners REGGIE WATTS (Late Late Show w/ James Corden, Comedy Bang! Bang!), BRENT WEINBACH (Gangster Party Line, Conan), APARNA NANCHERLA (Netflix's The Standups, Crashing) DJ DOUGGPOUND (Tim & Eric, Pound House), and ANDREW MICHAAN (Adam Ruins Everything, SF Sketchfest)! Vintage Basement with Max & Nicky plays on Thursday, August 9th at 8 PM at Dynasty Typewriter at The Hayworth, 2511 Wilshire Blvd, Los Angeles, CA 90057.
After nearly a year of producing their one-of-a-kind monthly variety show in New York City, the Weinbach twins have decided to bring their quirky, retro brand to Los Angeles for a magical one-night-only neo vaudeville affair! Featuring a fun assortment of stand-up comedy and some heartfelt songs, Vintage Basement with Max & Nicky promises to deliver an intriguing and captivating night of entertainment. The Daily Californian describes the Max & Nicky experience as a "passionate, charming, and authentic evening", and Time Out NY adds, "Max and Nicky Weinbach bring class back to the comedy scene..." In association with Dynasty Typewriter and Learn From Me Comedy, past guests include Judah Friedlander, Todd Barry, Melissa Villaseñor, Kyle Mooney, T.J. Miller, Roy Wood, Jr., Jo Firestone, Ronny Chieng, Mark Normand, Myq Kaplan, Julio Torres, and many more. The August 9th Los Angeles edition of Vintage Basement will showcase the unique talents of headlining comics REGGIE WATTS, BRENT WEINBACH, APARNA NANCHERLA, DJ DOUGGPOUND, and ANDREW MICHAAN!
Dress Up Gang Private Screening
The Friday Forty w/ Matt Braunger + Aparna Nancherla!


Real-world events are the ultimate in social networking, and nothing beats face-to-face communication. But it can be challenging to connect with everyone you want to meet at a large event and even more difficult to follow up with the attendees afterwards. And what about those in your community who can't travel to your meeting or conference, for financial or other practical reasons? How can you bring those people into the fold of your event, too?
Social media is everywhere. Our cell phones, for instance, now come optimized for Facebook and Twitter so that we can have real-time conversations from anywhere. We can now take instant HD videos of our kids on a Flip video camcorder; out pops the USB plug and, boom, it's up on YouTube. More than 20 million global users are even having real-time videophone conversations with Skype – completely free of charge.
There's no reason that your association can't use these and many other technologies at your next meeting, trade show or conference. That's because technology doesn't always have to be expensive in order to be effective.
You've probably seen social networks in action around real-world events: Flickr for sharing photographs, Facebook for getting the word out, LinkedIn groups for continuing the conversation after the event, and – most effectively, perhaps – Twitter for real-time conversations and "customer service" support, where Twitter hashtags (#10NTC for this month's Nonprofit Technology Conference in Atlanta, for example) are used to tag "tweets" about an event, making it easy for attendees to track conversations, comment on presenters, and connect with each other in a crowded venue.
Social networking platforms like CrowdVine, Pathable, and SpaceShare are designed specifically for meetings and events. Typically, an event network integrates the most popular social networks in one place along with meeting-specific features such as interactive calendars, real-time surveys, ride-share programs, and the like.
For example, say you have identified someone with whom you want to network based on the event's pre-registration list. Spotme will alert you when that person is within a certain distance of you; it will give you their photo and information about them so that you can "spot" them and introduce yourself. … [It] enables attendees to electronically exchange business cards, check conference schedules and provide useful feedback to speakers during and after their educational sessions.
Yes, it does seem a bit like Big Brother (or, at least, vintage Star Trek), but I can certainly see the utility of this tech tool, especially if the alternative is to miss out on connecting with the people you've been longing to meet. It's surprisingly difficult to recognize someone from their social media avatar, when you're in the midst of a conference center mob!
Realistically, no matter what meeting organizers and presenters try to do to stop attendees from using their cell phones in session, it's going to happen. So why not embrace the inevitable? Batt and Kennedy suggest actively encouraging attendee feedback with real-time polling tools like Poll Everywhere, a text-messaging platform that represents a huge cost-saving over the expensive audience response hardware systems it largely replaces.
I took a real-world course recently where the instructor used a similar "classroom performance system" to give the occasional quick multiple-choice quiz, and can attest to its effectiveness in keeping the students alert (awake!) between lecture-style sections. No wonder, as Batt and Kennedy note, many speakers are already using some type of polling technology to break up long presentations, gain real-time feedback, and better engage their audiences.
Think of going to a party where you're already acquainted with many of the guests, know their areas of interest, have exchanged ideas online, perhaps already started to build a friendship – versus wandering into a room full of strangers, to start up a conversation from zero!
The key to getting a benefit from the new high-tech marketing and communications tools is to embrace them and actively find ways to integrate them into your meetings. Sure, we've seen a few "growing pains" at some events in the past year or so, as everyone tries to figure out, collectively, a whole new set of "netiquette" rules and "best practices" for events... but the well-planned integration of technology tools can add greater value to the event experience for attendees, and enhance your association's rep as a great conference host!
What's your experience with online communications around an offline event?
Thanks for the great ideas...and let me add another one.
MaestroConference is the first truly interactive teleconference I have ever seen (or heard!). You can lead a meeting or gathering with hundreds of people, move them into small groups for discussions, call on people by name, and give any person the "microphone" so they can address the entire group.
What does this mean? It's now easy for groups to work together and communicate their enthusiasm and ideas without being in the same location.
Plus, this is a huge tool for community groups and associations who want to connect more often but do not want to pay for expensive meeting rooms.


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Remy is 23 years old. She stands 5'8″ and weighs 147lbs.
Remy Rush is the new Foxy Rain around here.
The ladies are hesitant to go up against this woman. Not only is she tall and beautiful, but she is also strong and smart when she grapples on the wrestling mats.
Remy relishes the challenge. Wants to learn the moves, and take the title!
These photos show the presence and beauty of Remy Rush in real life.


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The Secret Sauce of Branding with Kerrie Finch
By Nick Westergaard on January 13, 2020
https://traffic.megaphone.fm/MPNL7575952657.mp3
"The secret sauce of brands is purpose." In a career that's taken her from wrangling brands at Wieden+Kennedy to launching her own successful global PR shop, futurefactor, Kerrie Finch has spent her career helping brands share their stories with the world. We discussed all of this and more on this week's episode of the On Brand podcast.
Enjoy This Episode Now
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About Kerrie Finch
Prior to founding futurefactor (formerly FinchFactor) in 2009, Kerrie Finch was PR Director at Wieden+Kennedy. There she wrangled brands such as Nike and Heineken, Coca-Cola and Electronic Arts. Kerrie has been voted into Adformatie magazine's top ten industry influencers for the past three years. As Founding Partner & President of futurefactor, Kerrie continues to drive change in the industry, while advancing her work as the Netherlands representative for the Cannes Lions International Festival of Creativity, board member of the ADCN, advisory board member of IncludeNow, and the founder of SheSays Amsterdam.
Kerrie Finch, Professional Brand Wrangler. As Kerrie jokingly noted at the top of the show, working with big brands can be "a bit like herding kittens."
What's changed in the decade since Kerrie founded futurefactor? "Social media is here to stay." But what does that mean? First, Kerrie notes that brands are "always on" and "being watched." And not everyone is ready for the authenticity this requires.
"We're awash with channels." It's not just about perfectly crafting the right message for the right audience. It's also about finding the right place for that message to go. "We work to add positive value to the conversation for our clients."
What brand has made Kerrie smile recently? "Believe it or not, Peloton." In the wake of their awkward holiday ad, Kerrie broke down why this brand will probably be back in the New Year. "They have fans. They have a community."
To learn more, go to futurefactor.com.
As We Wrap …
Did you hear something you liked on this episode or another? Do you have a question you'd like our guests to answer? Let me know on Twitter using the hashtag #OnBrandPodcast and you may just hear your thoughts here on the show.
On Brand is sponsored by my book Brand Now. Discover the seven dynamics to help your brand stand out in our crowded, distracted world. Order now and get special digital extras. Learn more.
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"I've recently identified a serious problem that could easily mislead researchers, but isn't necessarily obvious.
"Ancestry users need to know that the 'adjacent counties' filter in Search doesn't work. If you enter the name of a specific county in a location field, and then select 'county and adjacent counties', only the specific county you listed will be searched. I don't know how long this has been going on, but Customer Support told me today that it hadn't been previously reported. I was surprised that first level Customer Support referred me to a supervisor (without my asking), and that both people I spoke with admitted that they could replicate the problem. I tested this with two browsers (Chrome and Firefox) and various databases (North Carolina Marriages, Georgia Death Index, 1910 Census, and California Voter Registrations).
"My response: I first noticed this when searching specific collections, such as North Carolina Marriage Records, 1741-2011. But the same thing is happening with the global search form. Put Rogers in the last name field, Graham County, North Carolina, USA in the location field. Check exact to this place and hit Search. I get 2,412 results. Change the location slider to county and adjacent counties, hit Update. The number of results is unchanged. Yet it should include Rogers in the adjacent counties of Cherokee (4,123) and Swain (1,053) Counties. Yes, you are getting search hits, but they are highly misleading. Users think they have searched adjacent counties and they haven't."
Cheryl asked me to verify this for myself and suggested I brief my readers about it.
2) I used several different specific collections, and Cheryl's description is accurate in my opinion [obviously, I haven't checked all 36,000 Ancestry.com record collections].
So there are 67 John Smith entries in Worcester county, Massachusetts.
I moved the slider to "County and adjacent counties" and clicked on "Update:"
Hmmm. Still only 67 entries on the Results list.
That seemed to work - `1,026 results. some of them were from the adjacent counties of Middlesex, Norfolk, Hampden and Hampshire in Massachusetts. I don't know about Providence County in Rhode Island or counties in New Hampshire.
If you care, there are 30,990 "John Smith" entries in the 1930 U.S. Census.
* The sliders are extremely useful to narrow the search results. I am thankful that they work for the exact "county," the exact "State," and the "State and adjacent states" filter settings.
* I am concerned that the "County and adjacent counties" filter doesn't seem to work on the record collections that I and Cheryl tested, and probably on none of the collections where it is provided.
* Hopefully, Ancestry.com is now aware of this search quirk and will fix it shortly.
4) Thank you to Cheryl for bringing this to our attention. Excellent catch.
This has been happening for a couple of months in that Collection. It was reported, and Ancestry always gives the stock answer like you're stupid or something and don't know how to use their site. I've been using their site since before they had documents on it, and it was free. They tell you to first go to the Card Catalog and select the database I want to use. (gee, I don't know what they thought I was using). It's become so frustrating to report anything to them because there are so many things like that which don't work correctly, that you kind of get sick of it.
It also doesn't appear to work for the UK. I searched for a name that is not in my database but I knew lived in Essex. With an exact match, it found him. However, if I moved where he lived to Suffolk, it did not find him for "county and adjacent counties". It did find him again when I selected country.


[Solved] How can I configure rest api params (server:port) in my electron app?
I'm struggling with my first electron app.
I have had no problems with the spa version.
Check out the quasar extension dotenv (or the newly released qenv - but I may be mistaken). The way I have this set up is with a dev env and a production env which allows you to use your respective dev or production api.
In my case process.env.API = "http://localhost:8000/api"
Thank you mKomo, it works!