PALMDALE – The Palmdale Aerospace Academy is seeking applications for one director to represent the City of Palmdale to fill the remainder of a term to expire on July 31, 2021.
The deadline to return applications is Thursday, Jan. 31, 2019 at 6 p.m. in the City Clerk's department, located at 38300 Sierra Highway, Suite C.
The classified ad; a description of the duties, and responsibilities; and The Palmdale Aerospace Academy application are available on the City's website at www.cityofpalmdale.org and in the City Clerk's department. Applicants are encouraged to attach a resume.
Board of Directors must be willing and able to attend regular Board meetings; participate in fund raising events on behalf of the organization; attend special events; and participate in professional development activities. If appointed, the applicant will be required to pass a background check, and submit a Statement of Economic Interests, Form 700.
The Board generally meets on the third Monday of the month at 4:15 p.m. at the Palmdale Aerospace Academy located at 3300 East Palmdale Boulevard, Palmdale.
For more information, please call the City Clerk at 661-267-5151.
1 comment for "Applicants sought for Palmdale Aerospace Academy board position"


There's a lot going on there. Generally, marketing helps companies identify their target customer, design the best product or service for that customer, and communicate their message most effectively, resulting in increased sales (and hopefully profit!).
What are the different functions/tasks in Marketing?
For startups and small companies, it can be a challenge to staff these roles separately, so often there is one "Marketing" person wearing many or all of the above hats.
What does Marketing mean for the cannabis industry?
Consumer research can be challenging due to stigmas around the product.
State and local restrictions on advertising content and placement vary.
State and local restrictions on packaging design limit branding potential.
Social Media accounts for cannabis companies are frequently shut down due to unclear/changing policies.
Cannabis product manufacturers can only operate in one state, limiting national branding opportunities.
The legal landscape and relevant policies for this industry are constantly changing, requiring extraordinary flexibility in marketing plans.
Why does a cannabis business need marketing?
Marketing may seem like a luxury for most young companies, whose focus must first be on getting their product or service built, and then on selling it.
Who is our customer? Where does she shop? How much will she pay? What does she do for fun? Why would she pick our product over others?
What is the best way to publicize our new product launch? How and where can we advertise? How and where do our customers get their news and media?
How should we design our product? What type of packaging should it be in? What should it cost? Where/how should we sell it?
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text:
in: Articles containing Japanese-language text, Articles incorporating text from Wikipedia, Castles in Kōchi Prefecture,
Parks and gardens in Kōchi Prefecture
Museums in Kōchi Prefecture
Important Cultural Properties of Japan
Historic Sites of Japan
Kōchi Castle
Kōchi, Kōchi Prefecture, Japan
The tenshu (keep) of Kōchi Castle
Hirayamashiro (hilltop castle)
Yamanouchi Kazutoyo
Earth, stone, and wood
Five stories (tenshu)
All the buildings in the honmaru (innermost bailey) are original, dating from 1729 to 1753. Most of the other parts of the castle were torn down during the Meiji Restoration.
Kōchi Castle (高知城, Kōchi-jō?) is a castle located in Kōchi, Kōchi Prefecture, Japan.
1.1 Otakasa Hill
1.2 National Treasure Status
1.3 In popular culture
2 Structure
3 Visiting
Following the Battle of Sekigahara in 1600, Kōchi Castle was constructed in what was then the province of Tosa. It was built by Yamanouchi Kazutoyo, who took control of the province after the Tokugawa victory. The castle was constructed as part of the move from Urado to the more defensible Otakasa (alt. Odakasa) area.[1]
Construction was begun in 1601 and was completed in 1611. Much of the original fortress burned down in 1727; it was reconstructed between 1729 and 1753 in the original style. The castle underwent major restoration from 1948 to 1959. Though no battles were fought at the castle, it is noteworthy because the castle is the original structure, and not a post-war replica. It is also the only castle in Japan to retain both its original tenshu, or keep, and its palace.[2] In fact, it is the only castle to have all the original buildings in the honmaru, or innermost ring of defense, still standing.
Otakasa Hill
A bronze statue of Itagaki Taisuke in Kōchi Castle
Two previous attempts were made to build castles on Otakasa Hill. Both failed. The first attempt was by Otakasa Matsuomaru sometime during the late Heian or Kamakura periods. The second was in 1588 by the conqueror of Shikoku, Chōsokabe Motochika. The area around the hill at this time was extremely swampy, due to the influx of alluvial sediments from the Kagami River. Consequently, previous builders were never successful in establishing a permanent fortress on the site where Kōchi Castle stands today.[3]
National Treasure Status
As one of only twelve intact castles in Japan, Kōchi Castle was popularly called a National Treasure (国宝) before the 1950 National Treasure Protection Law (文化財保護法施) was enacted. After the law was passed, it was demoted to the status of Important Cultural Asset (重要文化財).[4]
family crest Tosa kasiwa(Yamanouchi clan)
Kōchi Castle can be seen in the background of the animated film I Can Hear the Sea by Studio Ghibli, during the class reunion scene.
The castle figures prominently in the film The Harimaya Bridge. Key scenes in the movie take place in the courtyard just inside the Oteman Gate, on the top level of the castle itself, and at the entrance to the castle grounds just outside the Oteman Gate.
Two rivers, the Kagami River and the Enokuchi River, form the outer moat of the castle.[4] The tower is five stories high and sits atop Otakasa Hill, commanding an extensive view of the city. It rises above the Kaitokukan (palace), which was constructed in the Shoin style of the Edo period. The castle retains this structure today and has been fitted with period-appropriate items in the lower rooms.
In addition to a tearoom, Genkan (entrance area), and latrine, the Kaitokukan contains eight traditional rooms, ranging in size from three to twelve tatami. It is surrounded by a veranda on the east and south sides. The Kaitokukan also burned during the fire of 1727, but it was not repaired until 1747, with work completed in 1749.[2]
Castle and central Kōchi city
Kōchi Castle is located in downtown Kōchi. The main entrance is directly across from the west entrance of the Obiyamachi shopping area. Visitors are asked to remove their footwear before entering the building, however slippers are provided.
As the castle is quite old, the tatami rooms are visible but not accessible. There is a small museum area with information entirely in Japanese. This museum houses several cultural artefacts of the Tosa region not native to the castle itself. The upper rooms of the tower are all empty, but visitors are allowed to climb to the top. There is a railing but no net around the balcony.
Handicap access is extremely limited, as the approach to the castle involves many steps, and there is no elevator.
The castle grounds are now a public park, and a popular location in spring for hanami. They contain the Prefectural Library and the Kōchi Literary Museum, in addition to statues of notable scions of the Yamanouchi family.[1]
↑ 1.0 1.1 Kōchi City Online Guide, "Sightseeing in Kochi City" in English (archive)
↑ 2.0 2.1 Architecture in the Feudal Style: Japanese Feudal Residences, Hashimoto Fumio, trans. and adapted by H. Mack Morton, Kodansha International Ltd. and Shinonbu, 1981, pp. 144-6
↑ Kochi City Online Guide, "History" in English
↑ 4.0 4.1 Wikipedia page on Kōchi Castle in Japanese
Schmorleitz, Morton S. (1974). Castles in Japan. Tokyo: Charles E. Tuttle Co.. ISBN 0-8048-1102-4.
Motoo, Hinago (1986). Japanese Castles. Tokyo: Kodansha. pp. 200. ISBN 0-87011-766-1.
Wikimedia Commons has media related to Kochi Castle.
Kōchi Castle official site in Japanese
Coordinates: 33°33′40″N 133°31′53″E / 33.56111°N 133.53139°E / 33.56111; 133.53139
100 Fine Castles of Japan by region
Nemuro Peninsula Chashiato
Goryōkaku
Hirosaki
Taga
Nihonmatsu
Aizuwakamatsu
Banna-ji
Minowa
Kanayama
Hachigata
Tsutsujigasaki
Kōfu
Matsushiro
Takatō
Shibata
Kasugayama
Takaoka
Maruoka
Ichijōdani
Iwamura
Yamanaka
Sunpu
Kakegawa
Nagashino
Iga Ueno
Matsuzaka
Odani
Hikone
Azuchi
Kannonji
Nijō
Chihaya
Sasayama
Akō
Takatori
Gassantoda
Tsuwano
Tsuyama
Bitchū Matsuyama
Yoshida-Kōriyama
Marugame
Yuzuki
Ōzu
Uwajima
Kōchi
Kyūshūa
Yoshinogari site
Hirado
Shimabara
Hitoyoshi
Nakijin
Nakagusuku
Shuri
a including Okinawa.
Articles containing Japanese-language text
Castles in Kōchi Prefecture

redpajama_set_name: RedPajamaCommonCrawl


text:
Ibsen Scope Festival
Festival program
Ibsen Scope Grants
Rosemer's Syndrome
In 2021, Davoud Zara was awarded an Ibsen Scope Grant for the project Rosmer's Syndrome.
Winner 2021
The jury's
Iranian theatre director and actor Davoud Zare takes up one of the darkest plays of Ibsen's heritage (Rosmersholm) and theoretical views of Guy Debord, Timothy Snyder and Giorgio Agamben, and is working on a new adaptation where he brings to light the conservative (Dr Krøll) and liberal (Mortensgaard) forces and their desired strategic alliance to the clergyman (John Rosmer). Zare claims that "Rosmersholm is no longer a place, but a situation". The situation that prompts Rosmer not to sacrifice his life, but adapt to the reality where roles and missions are intertwined, as they all have become part of the "spectacle" and "democracy show". "The decline of a nation is much more tragic than a death of the main character". The jury is intrigued by such a reading of the play. Zare deconstructs the original play and builds his adaptation as a series of narrations. The narrator - Brendel, "an historic conscience who is witnessing the decline of a nation" - defines the symptoms of the "Rosmer Syndrome" and reflects on obedience, resistance, and solidarity, mechanism of "the spectacle" and how it structures a modern society, freedom and democracy, manipulation and propaganda, what it means to be a responsible member of a society, etc. These philosophical detours are illustrated with dialogues from the original play or dialogues inspired by Ibsen's texts.
What we are facing today around the world is the dominance of 'the society of spectacle', which diminishes the role of society's vital parts to a tool that serves 'the society of spectacle' as an ideal situation.
As a consequence, democracy is also constantly devaluating as the mere systematic structure which is managing this situation.
This situation on the other hand, is intending to alienate the language, the essential communicative element of human nature, and this is nothing but capturing 'the common thing' and the extreme form of it is the spectacle and for this very reason, the spectacle includes something as a positive potentiality which can be used against the spectacle itself.
The effects of such situation on the characters of well-known Rosmersholm has been investigated and based on the audience knowledge of the story, we have sort of recreated it again, in a way that situation is being regularly changed between text-performance and potentiality-action and suggest the audience interaction.
The final result of this process will be a recovering of the present moment.
Davoud Zare. Director, dramaturge, choreographer and performer.
Studied theater at the Art university of Tehran and then continued his studies at ICI-CCN/exerce in France.
He has been working as a freelance artist and collaborator for the last decade in the field of performing arts.
Davoud Zare
IBSEN SCOPE, TEATER IBSEN,
POSTBOKS 1005, 3704 SKIEN,
E-MAIL: HILDEGURI@TEATERIBSEN.NO
PHONE: (+47) 35 90 50 50 / 917 67 903
Icons by Icons8.com and Freepik from www.flaticon.com is licensed by CC 3.0 BY


text:
New York Animation Studio
Whiteboard Videos
Typography Services
Motion Graphics Services
Type a few words to find the available content.
7 Explainer Video Production Companies to Check Out in 2022
Nowadays, video production has become one of the most creative works on earth. It is also a better way to establish a healthy relationship between clients and retailers. Video production helps you transfer all the complicated ideas and viewpoints from mind to an interesting and appealing form. It involves emotions, feelings, sentiments, sensations, the combination of laugh, tears, anger, and other expressions that make an entire story to present.
However, enterprises and other big or small businesses have now adopted the trend to represent their services through video production; these videos are known as explainer videos. These explainer videos are also known as landing page videos or overview videos in which a company gives an overview of its services or products in the form of short animated film. In general, a company directly communicates to the spectators about its products or services and explains everything in a short video.
If you own a business or a company and want to market it, you would encounter millions of explainer video production companies, and select among them would be a challenge. Nevertheless, I have preselected the top seven companies which would provide you these services reliably and inexpensively.
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1. Explainify
Explainify is a US-based animation service provider that was established in 2011. This company has become an advertising expert that captures people's attention and turns it into motivation. Explainify helps businesses take their complicated and knotty concepts and deliver them simple and basic through short animated videos. Explainify conveys the message in a crystal clear and obvious means so that a mediocre person could understand about the brand. This service provider answers your every question, supporting you in creating a plan, and achieving success. Explainify has worked with numerous renowned companies like Entrepreneur Magazine, Mixergy, Venture Beat, and many other brands. It simplifies intricate ideas and communicates them to people with care and affection.
2. Studio Pigeon
Studio Pigeon is another video production company that was founded in 2012. This firm is located in Poland that produces engaging storylines and broadcasts them with well-designed characters. This company comprises a team of almost 250 members, which include copywriters, animators, directors, and illustrators, which works with the whole devotion and makes the exclusive animation video. Studio Pigeon is famous for making marketing animation, animation commercials, educational videos, and explainer videos for various companies. This firm has worked with notorious brands such as Nestle, T-Mobile, Fox Networks, Microsoft and further companies like them. The distinguishing feature of this company is that it gathers all the talents from numerous minds and places it under one roof, making the best video in the world.
3. Yum Yum Videos
Yum Yum Videos is another US-based animation company situated in Argentina, considered one of the best production companies in the market. This production group started in 2010 and has gained distinction in its work, which made it fall in the category of senior animation companies in quite a few years. This production company is unique in its work and provides a premium quality product with the best price relatively. Yum Yum Videos firm has been working in more than 20 countries and provides its customers with an incorporated video marketing tactic. A dazzling company which provides numerous services including explainer videos, animated commercial, educational videos, and several tutorials. This outstanding video production company has also been effectively working with Red Bull, Fox, WalMart, McKesson, and other popular brands. It shares all the ideas by going out of the box and work with its customers as a family. It simply puts its passion straight into making animated videos and ultimately provides you with the paramount.
4. Thinkmojo
ThinkMojo company has been spread in every corner of the world and has been settled in its offices in the US and Canada. It is an animation video production company that believes that video is the body language of the brands. It considers that a modern-day video is not just representing your brand; hence it is your brand, so it is ideal to set yourself aside and show up to the world. Thinkmojo introduces delightful ideas with delicacy by keeping them simple and representing them with people's intention to make them more curious. However, this company generates an extensive assortment of explainer videos, editorials, commercials, personalized videos, and much more. It does not concern the length or type of the video; whatever the type is, it would deliver you with entire loyalty and affection.
5. BluBlu Studio
BluBlu Studio is an award-winning Production Company that is stimulated by inspiration, motorized by expertise, and constrained by designs. This video company is sited in Poland and started its journey in 2014. This corporation has been ranked in the top production companies on the globe. With its plenty of uphill struggles, it has won numerous awards in 2019 and became the leading company for creativity and exclusive designs in the US. Although this firm has been associated with IKEA, Euro Net, Bislett Games, and Macmillan Publishers. This company satisfies its clients and grants them with superlative outcomes.
6. Idearocket
IdeasRocket is a New York-based animation studio which could be the solid choice for you to select this company. This company helps you understanding large and complex concepts more thoroughly by using metaphors and similes. Conversely, Idearocket has achieved many awards for its honor and best recognition all across the world. It provides you with a range of services like scriptwriting, storyboard, animation, sound design, explainer videos, and many more. Several brands are satisfied with their services and always pick as a prior option; New York Life, Lilly, Ralph and Loren, Novartis, and other popular brands take their services contentedly.
7. Ideas Animation
Last but not least, Ideas Animation is also a US-based animation service provider that is reputed in offering you a broad range of services like explainer videos, 2D/3D animation, commercials, and voiceovers. This studio introduces exceptional concepts and shares them with its clients for customization. It gives you a free hand in giving your opinion and transfers them into the ultimate product. There is a long line of professional filmmakers, graphic designers, copywriters, and animators who collect the entire struggle into one box and provide you with the most excellent video. It keeps in mind the target audience and precisely matches the design and style with them.
Now, I expect that this list of the top seven best production studios has made it easier for you to select any of them. These production companies have some unique idiosyncrasies which always look after your needs and requirements. The video production company which I have been related to is Ideas Animation. I acquired its excellent service with decent customer care and polite behavior. The best thing about this studio is that it offers premium quality work with competitive prices and a targeted period. Anyhow, I am completely satisfied with this corporation, if you have any idea in your mind. Hurry up and transfer these conceptions into animated videography.
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text:
Q: Why can you assign new value to tuples with concatenation? Take the following code for example:
t=(1,2,3)
t+=(4,)
print(t)

The printed value is (1,2,3,4).Didn't the value of tuple t just got changed which is similar to an append/extend method for list objects?

A: You can concatenate tuples into a new tuple. You're replacing the value of t entirely with a new value. You cannot modify an existing tuple. To illustrate:
t = (1, 2, 3)
u = t
t += (4,)  # shorthand for t = t + (4,)

t == u  # False
t is u  # False

t and u do not refer to the same object anymore.
With mutable data structures, that would not be the case:
t = [1, 2, 3]
u = t
t.append(4)

t == u  # True
t is u  # True

A: Tuples are immutable. That is they can not be changed like lists in python.
What you are doing is, just replacing old tuple with new tuple.

A: t += (4,) is more or less syntactical sugar. It translates to
t = t.__iadd__((4,))

(assuming this method exists. If it doesn't, it falls back to t = t + (4,)). Since tuples are immutable, at best __iadd__ would return a new tuple that gets bound to the old name t. For lists in a similar setting the returned list would be the (mutated) original.

A: What you are doing is re-assignment of a new tuple object to the variable t. You are not modifying the same object.
Let's start disassembling the code..
See this (Notice STORE_FAST in second block (85)):
import dis

def tup_concat():
    t = (1, 2, 3)
    t += (4,)
    print(t)

 84           0 LOAD_CONST               1 ((1, 2, 3))
              2 STORE_FAST               0 (t)

 85           4 LOAD_FAST                0 (t)
              6 LOAD_CONST               2 ((4,))
              8 INPLACE_ADD
             10 STORE_FAST               0 (t)

 86          12 LOAD_GLOBAL              0 (print)
             14 LOAD_FAST                0 (t)
             16 CALL_FUNCTION            1
             18 POP_TOP
             20 LOAD_CONST               0 (None)
             22 RETURN_VALUE

However, if you truly modify an object (say list) it would look something like this:
import dis

def modify():
    t = [4,6,7]
    t.append(4)

dis.dis(modify)

 89           0 LOAD_CONST               1 (4)
              2 LOAD_CONST               2 (6)
              4 LOAD_CONST               3 (7)
              6 BUILD_LIST               3
              8 STORE_FAST               0 (t)

 90          10 LOAD_FAST                0 (t)
             12 LOAD_METHOD              0 (append)
             14 LOAD_CONST               1 (4)
             16 CALL_METHOD              1
             18 POP_TOP
             20 LOAD_CONST               0 (None)
             22 RETURN_VALUE

Notice: There is no STORE_FAST in second block (90).
Conclusion: It does not refer to the same object (variable t before and after INPLACE_ADD).

redpajama_set_name: RedPajamaStackExchange


Creative Analysis: Art, Creativity and Clinical Process explores the dynamics of creativity in psychoanalytic treatment. It argues that the creative process of the analytic interaction is characterized by specific forms of feeling, thinking and most importantly, relating that result in the emergence of something new – therapeutic change. The artistic aspects of psychoanalysis and various features of creativity in analytic treatment are explored. Clinical examples are discussed at length.
George Hagman presents a new model of the psychology of creativity and art that helps us to better understand the clinical process. The book explores and develops several important implications of Hagman's main thesis: the psychodynamics of art, the creativity of the brain, aesthetic aspects of the treatment relationship, the creativity of the analyst and analysand.
Change in analysis is driven not just by the analyst's interventions but the patient's own motivation and capacity for self-transformation. This change is depicted here as a depth psychological process which explores the sources of the patient's resistance to self-actualization and identifies hidden potential, unrealized capacities and strengths. Creative Analysis: Art, Creativity and Clinical Process reformulates psychoanalytic therapy as a form of art that can help patients realize their potential which may have been blocked, inhibited, denied or derailed. The book will be of interest to psychoanalysts, psychotherapists, graduates and students, including the educated public interested in art.
"Creative Analysis: Art, Creativity, and Clinical Process" leads us closer to understanding how the creative process evolved as an adaptation to the human condition. Without art we simply cannot contain our deepest existential anxieties. Read George Hagman's book and you will better grasp Nietzsche's insight that, "we need art so we do not die of the truth." - Malcolm Owen Slavin, Ph.D., Co-author of, The Adaptive Design of the Human Psyche: Psychoanalysis, Evolutionary Biology and the Therapeutic Process.
"In Creative Analysis: Art, Creativity and Clinical Process, George Hagman, illustrates the relevance of the psychoanalytic arts in the 21st century. He demonstrates how patients are "failed artists of their lives," and delineates the clinical processes that establish conditions for psychological repair, vital creative living and fulfilling relationships. Clinicians will enhance their own work through a close study of Mr. Hagman's new book"- Dr. Carol M. Press, lecturer, University of California at Santa Barbara, Author of "The Dancing Self: Creativity, Modern Dance, Self Psychology and Transformative Education"; co-author "Creating Dance: A Traveler's Guide".
Preface. Creative Analysis: Introduction. What Art Is. Psychoanalysis as Art. The Creative Brain. The Aesthetic Interaction. The Creative Analysand. The Creative Analyst. Creative Analysis. Psychoanalysis and Creative Living. Appendix.
George Hagman is a psychoanalyst and clinical social worker practicing in New York City and Connecticut. He is a member of the faculty of the National Psychological Association for Psychoanalysis and the author of The Artist's Mind: A psychoanalytic perspective on creativity, modern art and modern artists, published by Routledge, 2010.


text:
Q: Rerun inline scripts at end of external script function I built a site for a client where I have a script which moves a sidebar div below the main content when in mobile view. This script is loaded in the footer:
// Move Global nav to top for mobile
$(window).on("resize", function() {
var windowSize = $(window).innerWidth();
    if(windowSize > 767){

        $(".utility-nav").insertBefore($(".global-nav"));
        $(".sidebar-secondary").insertAfter($(".subnav"));

    } else {

        $(".global-nav").insertBefore($(".utility-nav"));
        $(".sidebar-secondary").insertAfter($(".content-main"));

    }
}).resize();

They are adding a third party calendar which requires them to insert code snippets that include inline scripts. When these are placed in the .sidebar-secondary div, which is moved for mobile, the content disappears. I assume that, since my script is running after these have initiated, they are being canceled out.
Is there a way to just have my script rerun any inline scripts within that div?
Here is the page they are testing:
http://www.umary.edu/sandbox-training/index.php
The scripts in the left sidebar are the ones that are malfunctioning.
Thank you!

A: You can retrieve all the script tags within your div and eval the text inside them

$('#run').click(function(){
 $('#someSideBar').find('script').each(function(){
     eval( $(this).text() );
    });
});

<input type="button" id="run" value="Run">

** You should research the security implications of this before proceeding.

A: The reason your content disappears is because the s that hold your content are unloaded when they are detached from the DOM, and loaded upon attaching them to the DOM again. Since the s in question seem to be generated by a script, the second load yields an empty document. See this simple DOM test-case for seeing that load/unload bevhavior. As far as I can tell there is no way to move an iframe in the DOM in such a way that this behavior is prohibited.
You explicitly ask for this, but simply rerunning the inline


text:
Brian Renshaw
Tech, Productivity, Online Education
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Quotes from Dan Allender's Leading with a Limp
I recently read Dan Allender's excellent book, Leading with a Limp: Take Full Advantage of Your Most Powerful Weakness. The book is a call to think of leadership not with just strong visionary words but instead to examine humility, brokenness, courage, imperfection, complexity, and more. I found the book encouraging and it caused a lot of self reflection. I'll be turning to this one again. Below are some choice quotes from the book:
"If you love truth and bound to its proclamation, flee the cults of pretense and Christian artifice. Seek out a new context in which to lead. If you find a church or organization that is not bound to pretense but simply be ill equipped to admit what the Scriptures teach about our struggle with sin, you will be in a place honesty has the greatest potential to alter the culture of latent deceit…It takes humility to name our narcissism, and we're too married to our image to come clean about how messed up we are. This focus on self strangles authentic confession…When we at last admit our flaws and failure, we gain a stronger personal center and greater peace…Our attempt to not feel off guard actually leads to greater self-absorption and the foolish conviction that we can control the world. True core strength is willing to to feel helpless and disturbed, and it results in a self-disciplined and passionate life rather than in a controlling life that fears what may surprisingly arise…The lie of narcissism is that we can control a world that is spinning out of orbit by narrowing the field of ambiguity in to a simplistic perspective. We choose this perspective-a path of rigidity and dogmatism that limits options and lets us deny complexity in the world…Only by letting go of dogmatism and embracing complexity can a leader open her mind to a greater capacity for creativity (5-6)."
"A good leader will, in time, disappoint everyone. Leadership requires a willingness to not be liked, in fact, a willingness to be hated. But it is impossible to lead people who doubt you and hate you. So the constant tug is to make the decision that is the least offensive to the greatest number and then align yourself with those who have the most power to sustain your position and reputation in the organization (14)."
"Leadership is not about problems and decisions; it is a profoundly relational enterprise that seeks to motivate people toward a vision that will require significant change and risk on everyone's part. Decisions are simple the doors that leaders, as well as followers, walk through to get to the land to where redemption is found (14-15)."
"We should expect anyone who remains in a formal leadership context to experience repeated bouts of flight, doubt, surrender, and return. Why would this be God's plan? Why does God love the reluctant leader? Here is one reason: the reluctant leader is not easily seduced by power, pride, or ambition (18)."
"The reluctant leader doesn't merely give accolades to others. It is her true joy to see others awaken to their potential and exceed their greatest dreams. It is the hope of every good teacher to have students who take their work further than the teacher was able to do. To be surpassed is the ideal. To be replaced is the goal, not a sign of failure (22)."
"Anyone who wrestles with an uncertain future on behalf of others—anyone who uses her gifts, talents, and skills to influence the direction of others for the greater good—is a leader. No one is a mere follower. If you are a follower of God, for instance, then you are called to lead. Every believer is called to help someone grow into maturity—and such is the core calling of a leader (25)."
"God loves reluctant leaders and, even better, he loves reluctant leaders who know they are frightened, confused, and broken (53)."
"Sane, reasonable, play-it-safe people are not sufficiently engaged in life to generate great stories. Instead, they sit back and wait for a leader-storyteller to come along and get them caught up in a life worth living (54)."
"Paul calls leaders not merely to be humble and self-effacing but to be desperate and honest. It is not enough to be self-revealing, authentic, and transparent. Our calling goes far beyond that. We are called to be reluctant, limping, chief-sinner leaders, and even more, to be stories. The word that Paul uses is that a leader is to be an "example," but what that implies is more than a figure on a flannel board. He calls us to be a living portrayal of the very gospel we beseech others to believe. And that requires a leader to see himself as being equally prone to deceive as he is to tell the truth, to manipulate as he is to bless, to cower as he is to be bold. A leader is both a hero and a fool, a saint and a felon (56)."
"True confidence is courage that has been humbled (74)."
"A broken leader is a sweet paradox of confidence and openness. If those I lead have already found out the worst there is to know about me–that I am a sinner–then the login in my eye is continually being removed i the midst of every crisis. The result is better vision and great wisdom due to the freedom I feel to both live and die (75)."
"All leaders are lonely, but few are lonely for good reasons. The phrase 'it is lonely at the top' is true, but it doesn't distinguish legitimate loneliness from self-inflicted isolation. There is a fine line between the two (111)."
"Disillusionment takes us to the question: what does it profit a man if he gains this world and loses himself? And disillusionment exposes that while we were supposedly serving the kingdom, we somehow became the king, and when we thought we were following Jesus, we inexplicably made him a servant of our dreams. The only real tragedy is the leader who never allows disillusionment to wear him to a nub and expose the godlessness of his busyness (133)."
"We live in a culture where the acknowledgment of wrong or the ownership of risk and failure is paramount to forfeiting the game (158)."
"De-cide. Homo-cide. Sui-cide. Patri-cide. The root word decidere means "to cut off." All decisions cut us off, separate us from nearly infinite options as we select just one single path. And every decision we make earns us the favor of some and the disfavor of others (158)."
"To admit we are foolish, weak, and in need of repentance gives the vindictive and self-righteous camp plenty of ammunition to turn against us and to turn others against our leadership. But the alternatives to living in and living out truth are far worse: we either hide from truth or we choose to spin our sin and our story (160)."


text:
Vyse, Francis Howard, d 1891 (diplomat)
Existence: d 1891
Circular from Francis Vyse, 1859
Reference Code: GBR/0012/MS Parkes 29/1
'Notification': a printed circular issued by Francis Vyse, Kanagawa, 23 November 1859, including the text of a despatch from Rutherford Alcock, Yedo, to Vyse, 21 November 1859, and a table of applications made to the Treasury at Kanagawa for itzeboos in exchange for dollars, 2-4 November 1859.
Conditions Governing Access: From the Fonds: Any person wishing to consult the collection must obtain written permission from Matheson and Co. Ltd, 3 Lombard Street, London, EC3V 9AQ. Applicants may submit their request using the standard Jardine Matheson letter of application, which is available from the Manuscripts Reading Room and via the University Library web pages at https://www.lib.cam.ac.uk/files/jm_permission_form.pdf. They should state specifically on the form that they desire access to the Parkes Papers.
Found in: Cambridge University Library / GBR/0012/MS Parkes, Papers of Sir Harry Parkes / Miscellaneous papers
Circular from Kanagawa, 1859-1860
An undated circular by Francis Vyse, Acting Consul, Kanagawa, 23 November 1859, 1 bifolio, including a despatch from Rutherford Alcock to Vyse, Yedo, 21 November 1859, and a table of applications made to the Treasury at Kanagawa for itzeboos in exchange for dollars, 2-4 November 1859. There is also a cutting from the 'Daily Telegraph', London, 27 February 1860, pp. 5-6, including two articles, 'The Stoppage of Trade in Japan' and 'Lord Elgin and Sir M. Seymour'.
Found in: Cambridge University Library / GBR/0012/MS Parkes, Papers of Sir Harry Parkes / Printed documents


text:
Tinkham ist der Familienname folgender Personen:

 George H. Tinkham (1870–1956), US-amerikanischer Politiker
 Michael Tinkham (1928–2010), US-amerikanischer Physiker

Tinkham als Teil von Firmierungen:
 Tinkham Cycle Company, ehemaliger US-amerikanischer Automobilhersteller

redpajama_set_name: RedPajamaWikipedia


Porcelain earrings and brooches are covered with a thin layer of gold which is melted onto the surface in a third firing at 800 degrees.
All pads and poles are either sterling silver or surgical steel.
Ask for more images to have a larger variety of choice.


Can I Get a Revision? Amen!
Everyone has their hang-ups when it comes to writing. For a lot of people, finding the time or motivation to write is their biggest problem. For a friend of mine, it's discovering the confidence to write, and keep writing until the end of a story regardless of whether it comes out the way she imagined. For me, it's more a question of perspective.
When it comes to the revision process, (or, as it's sometimes referred to in the industry, the "R&R"–revise and resend process) perspective is the key, the oracle, the "one ring," if you will. Perspective can make or break the future of your story. (It can also rule your story, and in the darkness, bind… you know what, I'm a gigantic nerd.) It's simple, really. Whether it's a matter of time or distance–or both–a writer needs to have a different perspective while they're revising than the one they had while they were creating.
On the other hand, if you wait too long, or get "too much" perspective, you could fall into what I like to call the "Pit of Literary Despair." For example, some people like to read other authors' bestselling books while they're writing. I find this counterproductive. Because, let's be honest, kids. How many people's' first work is going to stand up against something that's already gone through the publishing wringer? Not many, I'm guessing. You can also fall into the chasm of "too much" online research. Let's say, for example, that your newly completed WIP is a dystopian YA about robot fairies. Tons of industry blogs talk about how this and that is "on its way out." So what do you do? Do you abandon the MS that you spent months, even years, writing? Or do you revise and query it anyway, because HEY, WHY THE HELL NOT? You never know whether you'll be the one to "bring back" something other people thought was circling the drain.
Perspective. On top of everything else, it's something that we authors really have to fight for. Personally, I feel really lucky to have the chance to gain perspective through doing. But it's also something that can happen vicariously, if you can force yourself to shut up and really LISTEN.


Little Piglet is a superb velvet example of Piglet. He stands just 4 inches tall and is on great order, with just a couple of spots on his velvet on his left lower cheek. His colour has faded somewhat but he is sound and has great detail! LOVELY!


text:
Project acronym ACCUPOL
Project Unlimited Growth? A Comparative Analysis of Causes and Consequences of Policy Accumulation
Researcher (PI) Christoph KNILL
Summary ACCUPOL systematically analyzes an intuitively well-known, but curiously under-researched phenomenon: policy accumulation. Societal modernization and progress bring about a continuously growing pile of policies in most political systems. At the same time, however, the administrative capacities for implementation are largely stagnant. While being societally desirable in principle, ever-more policies hence may potentially imply less in terms of policy achievements. Whether or not policy accumulation remains at a 'sustainable' rate thus crucially affects the long-term output legitimacy of modern democracies. Given this development, the central focus of ACCUPOL lies on three questions: Do accumulation rates vary across countries and policy sectors? Which factors mitigate policy accumulation? And to what extent is policy accumulation really associated with an increasing prevalence of implementation deficits? In answering these questions, ACCUPOL radically departs from established research traditions in public policy. First, the project develops new analytical concepts: Rather than relying on individual policy change as the unit of analysis, we consider policy accumulation to assess the growth of policy portfolios over time. In terms of implementation, ACCUPOL takes into account the overall prevalence of implementation deficits in a given sector instead of analyzing the effectiveness of individual implementation processes. Second, this analytical innovation also implies a paradigmatic theoretical shift. Because existing theories focus on the analysis of individual policies, they are of limited help to understand causes and consequences of policy accumulation. ACCUPOL develops a novel theoretical approach to fill this theoretical gap. Third, the project provides new empirical evidence on the prevalence of policy accumulation and implementation deficits focusing on 25 OECD countries and two key policy areas (social and environmental policy).
ACCUPOL systematically analyzes an intuitively well-known, but curiously under-researched phenomenon: policy accumulation. Societal modernization and progress bring about a continuously growing pile of policies in most political systems. At the same time, however, the administrative capacities for implementation are largely stagnant. While being societally desirable in principle, ever-more policies hence may potentially imply less in terms of policy achievements. Whether or not policy accumulation remains at a 'sustainable' rate thus crucially affects the long-term output legitimacy of modern democracies. Given this development, the central focus of ACCUPOL lies on three questions: Do accumulation rates vary across countries and policy sectors? Which factors mitigate policy accumulation? And to what extent is policy accumulation really associated with an increasing prevalence of implementation deficits? In answering these questions, ACCUPOL radically departs from established research traditions in public policy. First, the project develops new analytical concepts: Rather than relying on individual policy change as the unit of analysis, we consider policy accumulation to assess the growth of policy portfolios over time. In terms of implementation, ACCUPOL takes into account the overall prevalence of implementation deficits in a given sector instead of analyzing the effectiveness of individual implementation processes. Second, this analytical innovation also implies a paradigmatic theoretical shift. Because existing theories focus on the analysis of individual policies, they are of limited help to understand causes and consequences of policy accumulation. ACCUPOL develops a novel theoretical approach to fill this theoretical gap. Third, the project provides new empirical evidence on the prevalence of policy accumulation and implementation deficits focusing on 25 OECD countries and two key policy areas (social and environmental policy).
Project acronym DLEDA
Project Do Legislatures Enhance Democracy in Africa?
Researcher (PI) Anja OSEI
Summary Do Legislatures Enhance Democracy in Africa? This project seeks to investigate the role of legislatures in African electoral authoritarian regimes. There are two opposing theoretical views: While several studies have found that holding elections, introducing a national assembly and a multiparty system prolongs the life of autocracies, other authors claim the exact opposite: in their view, the more successive multiparty elections take place, the more democratic a regime becomes. Answering these questions is difficult due to the opaqueness of authoritarian regimes. Moreover, most work has concentrated on only a few cases – African cases, in particular, have remained largely absent from the research agenda. This project attempts to fill these gaps by collecting data on authoritarian legislatures in seven African countries. We focus on three areas of investigation: 1) law-making; 2) interaction patterns and political dialogue between the ruling party and the opposition; and 3) representation and constituency responsiveness. The main question is whether legislatures in authoritarian countries actually have a potential to enhance democracy. We use a Mixed Methods-Design which combines qualitative and quantitative data. To answer Question 1, we use content analysis of parliamentary debates. For Question 2 and 3, we will conduct full population surveys in the national assemblies of our seven countries. We will collect biographical and opinion data, as well as data on the social interactions between government and opposition, which will be analyzed with the methods of Social Network Analysis. Furthermore, we employ process tracing to understand the causal mechanism between legislative behaviour and the level of democracy. With a strong team of partner institutions in seven African countries, this project fills a research gap by collecting extensive and systematic empirical evidence on legislative behaviour in electoral autocracies for the first time.
Do Legislatures Enhance Democracy in Africa? This project seeks to investigate the role of legislatures in African electoral authoritarian regimes. There are two opposing theoretical views: While several studies have found that holding elections, introducing a national assembly and a multiparty system prolongs the life of autocracies, other authors claim the exact opposite: in their view, the more successive multiparty elections take place, the more democratic a regime becomes. Answering these questions is difficult due to the opaqueness of authoritarian regimes. Moreover, most work has concentrated on only a few cases – African cases, in particular, have remained largely absent from the research agenda. This project attempts to fill these gaps by collecting data on authoritarian legislatures in seven African countries. We focus on three areas of investigation: 1) law-making; 2) interaction patterns and political dialogue between the ruling party and the opposition; and 3) representation and constituency responsiveness. The main question is whether legislatures in authoritarian countries actually have a potential to enhance democracy. We use a Mixed Methods-Design which combines qualitative and quantitative data. To answer Question 1, we use content analysis of parliamentary debates. For Question 2 and 3, we will conduct full population surveys in the national assemblies of our seven countries. We will collect biographical and opinion data, as well as data on the social interactions between government and opposition, which will be analyzed with the methods of Social Network Analysis. Furthermore, we employ process tracing to understand the causal mechanism between legislative behaviour and the level of democracy. With a strong team of partner institutions in seven African countries, this project fills a research gap by collecting extensive and systematic empirical evidence on legislative behaviour in electoral autocracies for the first time.
Project acronym ENHANCEDQMMR
Project Enhanced Qualitative and Multi-Method Research in Political Science
Researcher (PI) Ingo Rohlfing
Host Institution (HI) UNIVERSITAET ZU KOELN
Summary Over the last 20 years, qualitative methods in political science have developed rapidly on three dimen-sions. First, set theory was formulated as an alternative to what is called the quantitative worldview. Second, process tracing for the analysis of mechanisms evolved as a complement to the estimation of marginal effects. Process tracing has also been tied to Bayesianism as opposed to frequentism. Third, process tracing became an element of multi-method research (MMR), integrating it with frequentist statistics or Qualitative Comparative Analysis (QCA). An important element of the development of qualitative methods is its contrast with quantitative methods. At the same time, quantitative researchers critically commented on that development. The constant exchange has contributed to the progress of qualitative methods, but the debate has reached an impasse in some respects, or has pursued one line of development while neglecting others. Building on state-of-the-art qualitative methods, ENHANCEDQMMR seeks to overcome this impasse and to explore new ground.It makes four significant contributions to the progress of standalone qualitative methods and as part of MMR. First, it examines experimentally how researchers decide between a set-relational and correlational view on causation and whether they can realize designs in accord with their initial decision. Second, it develops tools for sensitivity analyses, diagnostics, and the modeling of diverse data structures via QCA for strengthening QCA-based inference. Third, it com-pares the performance of QCA and regression analyses under simulated data-generating processes with the goal of generating comparative diagnostics, possibly allowing one to adjudicate between both methods in observational research. Fourth, it formulates standards for Bayesian MMR by combining Bayesian process tracing with Bayesian statistics and Bayesian QCA, respectively. The insights of the project will be implemented in freely available software.
Over the last 20 years, qualitative methods in political science have developed rapidly on three dimen-sions. First, set theory was formulated as an alternative to what is called the quantitative worldview. Second, process tracing for the analysis of mechanisms evolved as a complement to the estimation of marginal effects. Process tracing has also been tied to Bayesianism as opposed to frequentism. Third, process tracing became an element of multi-method research (MMR), integrating it with frequentist statistics or Qualitative Comparative Analysis (QCA). An important element of the development of qualitative methods is its contrast with quantitative methods. At the same time, quantitative researchers critically commented on that development. The constant exchange has contributed to the progress of qualitative methods, but the debate has reached an impasse in some respects, or has pursued one line of development while neglecting others. Building on state-of-the-art qualitative methods, ENHANCEDQMMR seeks to overcome this impasse and to explore new ground.It makes four significant contributions to the progress of standalone qualitative methods and as part of MMR. First, it examines experimentally how researchers decide between a set-relational and correlational view on causation and whether they can realize designs in accord with their initial decision. Second, it develops tools for sensitivity analyses, diagnostics, and the modeling of diverse data structures via QCA for strengthening QCA-based inference. Third, it com-pares the performance of QCA and regression analyses under simulated data-generating processes with the goal of generating comparative diagnostics, possibly allowing one to adjudicate between both methods in observational research. Fourth, it formulates standards for Bayesian MMR by combining Bayesian process tracing with Bayesian statistics and Bayesian QCA, respectively. The insights of the project will be implemented in freely available software.
Project acronym EQUALITY
Project CORRECTING INEQUALITY THROUGH LAW: HOW COURTS CONCEPTUALIZE EQUALITY IN THEIR CONSTITUTIONAL JURISPRUDENCE
Researcher (PI) Niels Petersen
Summary Equality is one of the main political concerns of our time. Rising economic inequality is often cited as a major reason for the recent rise of political populism. But economic inequality is not the only problem. Inequalities based on gender, race or nationality are also major issues in the contemporary discussion. While most commentators discuss political solutions, the proposed research project analyzes the contributions that courts can make to correct inequalities. Norms protecting equality form part of all major national and international human rights instruments. However, the meaning of equality is fundamentally contested. There is no agreement on what equality exactly means or entails. The question, therefore, is not whether legal equality guarantees can tolerate inequality, but to what extent they can do. Because of these conceptual difficulties, the application of equality and non-discrimination clauses is not a straightforward exercise, in which courts simply apply legal norms to a given set of facts. Instead, courts need to develop doctrinal instruments to give meaning to the concept of equality. The proposed research project analyses how apex courts conceptualize equality in constitutional and international human rights law. It will be based on a comparative study of the equality jurisprudence of 16 jurisdictions and has three aims. Firstly, it intends to create a comparative map of equality jurisprudence, i.e. to describe and categorize the constitutional jurisprudence on equality: Which doctrinal choices do courts make and how do these choices inform the conception of equality? Secondly, it seeks to explain the doctrinal choices of the analyzed courts: Which factors influence courts to arrive at particular conceptions of equality? Thirdly, it has a normative goal and examines whether courts are better suited to correct certain kinds of inequalities than other kinds of inequalities.
Equality is one of the main political concerns of our time. Rising economic inequality is often cited as a major reason for the recent rise of political populism. But economic inequality is not the only problem. Inequalities based on gender, race or nationality are also major issues in the contemporary discussion. While most commentators discuss political solutions, the proposed research project analyzes the contributions that courts can make to correct inequalities. Norms protecting equality form part of all major national and international human rights instruments. However, the meaning of equality is fundamentally contested. There is no agreement on what equality exactly means or entails. The question, therefore, is not whether legal equality guarantees can tolerate inequality, but to what extent they can do. Because of these conceptual difficulties, the application of equality and non-discrimination clauses is not a straightforward exercise, in which courts simply apply legal norms to a given set of facts. Instead, courts need to develop doctrinal instruments to give meaning to the concept of equality. The proposed research project analyses how apex courts conceptualize equality in constitutional and international human rights law. It will be based on a comparative study of the equality jurisprudence of 16 jurisdictions and has three aims. Firstly, it intends to create a comparative map of equality jurisprudence, i.e. to describe and categorize the constitutional jurisprudence on equality: Which doctrinal choices do courts make and how do these choices inform the conception of equality? Secondly, it seeks to explain the doctrinal choices of the analyzed courts: Which factors influence courts to arrive at particular conceptions of equality? Thirdly, it has a normative goal and examines whether courts are better suited to correct certain kinds of inequalities than other kinds of inequalities.
Project acronym European Unions
Project Labour Politics and the EU's New Economic Governance Regime
Researcher (PI) Roland ERNE
Host Institution (HI) UNIVERSITY COLLEGE DUBLIN, NATIONAL UNIVERSITY OF IRELAND, DUBLIN
Summary Trade unions play a major role in democratic interest intermediation. This role is currently threatened by the increasingly authoritarian strain in EU's new economic governance (NEG). This project aims to explore the challenges and possibilities that the NEG poses to labour politics. Until recently, European labour politics has mainly been shaped by horizontal market integration through the free movement of goods, capital, services and people. After the financial crisis, the latter has been complemented by vertical integration effected through the direct surveillance of member states. The resulting NEG opens contradictory possibilities for labour movements in Europe. On the one hand, the reliance of the NEG on vertical surveillance makes decisions taken in its name more tangible, offering concrete targets for contentious transnational collective action. On the other hand however, the NEG mimics the governance structures of multinational firms, by using key performance indicators that put countries in competition with one another. This constitutes a deterrent to transnational collective action. The NEG's interventionist and competitive strains also pose the threat of nationalist counter-movements, thus making European collective action ever more vital for the future of EU integration and democracy. This project has the following objectives: 1. To understand the interrelation between NEG and existing 'horizontal' EU economic governance; and the shifts in labour politics triggered by NEG; 2. To open up novel analytical approaches that are able to capture both national and transnational social processes at work; 3. To analyse the responses of established trade unions and new social movements to NEG in selected subject areas and economic sectors at national and EU levels, and their feedback effects on NEG; 4. To develop a new scientific paradigm capable of accounting for the interplay between EU economic governance, labour politics and EU democracy.
Trade unions play a major role in democratic interest intermediation. This role is currently threatened by the increasingly authoritarian strain in EU's new economic governance (NEG). This project aims to explore the challenges and possibilities that the NEG poses to labour politics. Until recently, European labour politics has mainly been shaped by horizontal market integration through the free movement of goods, capital, services and people. After the financial crisis, the latter has been complemented by vertical integration effected through the direct surveillance of member states. The resulting NEG opens contradictory possibilities for labour movements in Europe. On the one hand, the reliance of the NEG on vertical surveillance makes decisions taken in its name more tangible, offering concrete targets for contentious transnational collective action. On the other hand however, the NEG mimics the governance structures of multinational firms, by using key performance indicators that put countries in competition with one another. This constitutes a deterrent to transnational collective action. The NEG's interventionist and competitive strains also pose the threat of nationalist counter-movements, thus making European collective action ever more vital for the future of EU integration and democracy. This project has the following objectives: 1. To understand the interrelation between NEG and existing 'horizontal' EU economic governance; and the shifts in labour politics triggered by NEG; 2. To open up novel analytical approaches that are able to capture both national and transnational social processes at work; 3. To analyse the responses of established trade unions and new social movements to NEG in selected subject areas and economic sectors at national and EU levels, and their feedback effects on NEG; 4. To develop a new scientific paradigm capable of accounting for the interplay between EU economic governance, labour politics and EU democracy.
Project acronym EXCHANGE
Project Forensic Geneticists and the Transnational Exchange of DNA data in the EU: Engaging Science with Social Control, Citizenship and Democracy
Researcher (PI) Helena Cristina Ferreira Machado
Summary Today we are living in the "genetic age" of criminal investigation. There is a widespread cultural belief that DNA technology has the unrivalled capacity to identify authors of crimes. In light of this ideology, EU Law (Prüm Decision, 2008) obliges all Member States to create the conditions for the reciprocal automated searching and comparison of information on DNA data for the purpose of combating cross-border crime, terrorism and illegal immigration. Forensic geneticists play a crucial role in this scenario: they develop the techno-scientific procedures that enable DNA data to be shared across national boundaries. EXCHANGE aims to understand the close links between a highly specialised field of expert knowledge – forensic genetics – and surveillance in the EU. If the EU succeeds in this political project, about 10 million genetic profiles of identified individuals will be exchanged between agencies in all EU countries. This raises acute cultural, political and societal challenges. EXCHANGE aims to address these challenges by scrutinizing how forensic geneticists, within the context of the transnational exchange of DNA data in the EU, engage with the social values attributed to science – i.e. objectivity, truth – and the values of social control, citizenship and democracy. The expected outputs are: 1. To provide a general picture of the Prüm framework by conducting interviews with forensic geneticists in all EU countries; 2. To develop in-depth knowledge of forensic geneticists' activities relating to Prüm using ethnographic observation and qualitative analysis of criminal cases; 3. To study countries with different local positionings in relation to Prüm by means of a comparative study involving Portugal, Germany, the Netherlands and the UK. EXCHANGE stimulates interdisciplinary dialogue between the social sciences and the forensic genetics. This research also tackles questions that are relevant to all the actors involved in criminal justice cooperation in the EU.
Today we are living in the "genetic age" of criminal investigation. There is a widespread cultural belief that DNA technology has the unrivalled capacity to identify authors of crimes. In light of this ideology, EU Law (Prüm Decision, 2008) obliges all Member States to create the conditions for the reciprocal automated searching and comparison of information on DNA data for the purpose of combating cross-border crime, terrorism and illegal immigration. Forensic geneticists play a crucial role in this scenario: they develop the techno-scientific procedures that enable DNA data to be shared across national boundaries. EXCHANGE aims to understand the close links between a highly specialised field of expert knowledge – forensic genetics – and surveillance in the EU. If the EU succeeds in this political project, about 10 million genetic profiles of identified individuals will be exchanged between agencies in all EU countries. This raises acute cultural, political and societal challenges. EXCHANGE aims to address these challenges by scrutinizing how forensic geneticists, within the context of the transnational exchange of DNA data in the EU, engage with the social values attributed to science – i.e. objectivity, truth – and the values of social control, citizenship and democracy. The expected outputs are: 1. To provide a general picture of the Prüm framework by conducting interviews with forensic geneticists in all EU countries; 2. To develop in-depth knowledge of forensic geneticists' activities relating to Prüm using ethnographic observation and qualitative analysis of criminal cases; 3. To study countries with different local positionings in relation to Prüm by means of a comparative study involving Portugal, Germany, the Netherlands and the UK. EXCHANGE stimulates interdisciplinary dialogue between the social sciences and the forensic genetics. This research also tackles questions that are relevant to all the actors involved in criminal justice cooperation in the EU.
Project acronym Family Justice
Project Justice and the Family: An Analysis of the Normative Significance of Procreation and Parenthood in a Just Society
Researcher (PI) Maria Serena Olsaretti
Summary This project examines the normative significance of procreation and parenthood for theories of justice. Important questions of justice about the family arise once we acknowledge and keep in view that procreation and parenthood are both integral to the existence of any society (and therefore, a just society), and that they involve substantial benefits and burdens for parents, children, and society at large. Yet existing theories of justice generally neglect these questions by assuming that the principles they formulate are to regulate the main institutions of societies constituted by fully formed adult individuals whose creation and care are taken as given. The project identifies and analyses three main sets of questions about family justice: 1) Does justice require that parents and non-parents share, and share equally, the costs and benefits of having children, and how do different answers to this question bear on our theory of distributive justice? 2) What are the claims of justice that we have as children, how do they relate to those we have as adults, and who bears the correlative duties? 3) Do all contemporaries, regardless of whether they are parents or non-parents, have the same obligations of justice towards future generations, and how, if at all, are the justification and the content of those obligations affected by considerations about what parents owe their children and parents and non-parents owe to each other? Addressing these questions contributes to developing normative-theoretical framework needed to address pressing public policy concerns, and also turns out to be more central to the formulation of a complete and defensible theory of justice than political philosophers have realised to date.
This project examines the normative significance of procreation and parenthood for theories of justice. Important questions of justice about the family arise once we acknowledge and keep in view that procreation and parenthood are both integral to the existence of any society (and therefore, a just society), and that they involve substantial benefits and burdens for parents, children, and society at large. Yet existing theories of justice generally neglect these questions by assuming that the principles they formulate are to regulate the main institutions of societies constituted by fully formed adult individuals whose creation and care are taken as given. The project identifies and analyses three main sets of questions about family justice: 1) Does justice require that parents and non-parents share, and share equally, the costs and benefits of having children, and how do different answers to this question bear on our theory of distributive justice? 2) What are the claims of justice that we have as children, how do they relate to those we have as adults, and who bears the correlative duties? 3) Do all contemporaries, regardless of whether they are parents or non-parents, have the same obligations of justice towards future generations, and how, if at all, are the justification and the content of those obligations affected by considerations about what parents owe their children and parents and non-parents owe to each other? Addressing these questions contributes to developing normative-theoretical framework needed to address pressing public policy concerns, and also turns out to be more central to the formulation of a complete and defensible theory of justice than political philosophers have realised to date.


Yoga is a powerful tool of healing and transformation. We invite you to join us on an extraordinary journey in the holy city of Rishikesh, Uttarkhand / India.
Yoga has the almost magic power to bring calm and stability into a yoga practitioners life. A calm mind is able to concentrate and focus, and it inspires harmony in thought, word and deed in our lives. Living our life based on values helps us to gain a mind that is free of conflicts and free from regrets. Yoga helps us to make conscious choices based on the values that we carry in our heart and develop a deep sense of self adequacy and self acceptance.
The daily schedule during the retreats includes Asanas (based on Iyengar tradition), Pranayama & Meditation, Yoga philosophy, Sanskrit, Mantra chanting and Satsang.
We start every retreat with a traditional Puja conducted by the ashram's priests to invoke Ishvara's blessing for a successful program for everyone. The group will also be participating in Ganga Aartis, a classical Indian Musical recitation/concert and cultural activities as per availability of local artists at the particular time of the retreat.
Everyone is welcome who wants to join the retreat program with an open mind and an open heart to invite change & transformation into one's life.
As the retreat offers full day program during the 10 days, participants are requested to completely gives themselves to the activities and programs offered in the retreat and avoid all other activities for time being.


text:
Q: SSIS - Source Assistant is not showing the Project Level Connections I have created an OLE DB  connection to project level (Native OLE DB\SQL Server Native Client 11.0). When I try to use it from the Source Assistant,  I can not see it on the list. However, If I choose an OLE DB Source Connection, this is available without any issue.
What could be happening?
I'm using Microsoft Visual Studio Community 2019 Version 16.4.2.

A: This isn't a great answer, but I have found a work around.
I create a package level connection and then go back and edit the Source Assistant.  At that time, I am able to see the project connection.  I change it to the project connection and then delete the package connection.
It isn't ideal, but until I can find a way to fix this, I'm using this workaround.


text:
События

Римское царство
 Царь: Нума Помпилий.
 689—664 гг. до н. э. — Фараон Тахарка. Строительство в Фивах.
 После длительной осады Синаххериб взял Вавилон. Разграбление и затопление города.

Китай
 5-й год по эре правления луского князя Чжуан-гуна.
 Летом луская княгиня Цзян отправилась к цискому войску.
 Осенью ниский правитель Ли-лай прибыл для аудиенции в Лу (в «Чуньцю» он назван только по имени, ибо не признавался его титул).
 Чуский Вэнь-ван впервые учредил столицу в Ин, перенеся её из Даньяна.
 Зимой циский Сян-гун, луский князь, сунцы, чэньцы и цайцы, получив повеление вана, напали на Вэй, чтобы ввести туда Хуэй-гуна.

См. также

Примечания


STATUS: Under Offer - Immaculate villa - This is a superb 3-bed 2-bath independent villa of 150m2 on and elevated plot of 650m2 situated on the outskirts of Vera Playa. The property is walled and gated and is located on the quiet residential area of Cabuzana which is situated between Vera town and Vera Playa.
The villa is well presented and enjoys a quiet position which takes in the mountains and distant views of the sea. The villa is comprised of a bright lounge with fireplace and patio doors leading to a seated terrace overlooking the pool and BBQ area. The kitchen is fully fitted with white goods and has access to the same terrace as the lounge. The 2nd and 3rd bedrooms are on this level, both come with fitted wardrobes and ceiling fans. There is Pre-installation A/C throughout the property but the Vendors didn't feel the need to have it installed and found the ceiling fans worked very well in cooling the house in the summer months. The family bathroom is also on this level and comes with full bathtub. Moving upstairs, you will find a very impressive master bedroom, with fitted wardrobes, en-suite and patio doors leading to an equally impressive terrace which offers spectacular views of the surrounding area, together with lovely distant sea and mountains views. The terrace is big and very private and is also accessed from the landing (also with storage cupboard homing the boiler).
The front of the property has tiered garden areas, brick BBQ area (which is ideal for entertaining in the summer months) and an ample sized carport with iron gate access. The garden areas have an irrigation system connect and the whole property is very low maintenance. The pool is an 4x8m and catches the sun all day long in the summer months. The beached of Vera Playa are a short drive away and the Town of Vera offers all amenities. The property is priced to sell and offers real value for money when compared with similar properties within the area.


8.5 x 7.0 inch mousepad featuring original art by Rei.
Mousepad front features a pixel art kitsune winter scene.
Reverse side is standard all black grooved mat.
Edges are an all black 1/8 inch sewn weave. Please refer to product images.


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Q: Remotely accessing ubuntu terminal to connect to my digital ocean server I recently setup a digital ocean account for my development purposes. Just created a droplet and then connected to it using ssh though my home Ubuntu system.
Now, I want to be able to also access the same server (digital ocean droplet) remotely at my workplace. However my workplace system is running a windows os and it's a secure environment so I can't access the same way I do at home (using ssh). Even the basic websites like youtube are blocked.
The only way out I found is to somehow access the terminal (on the home server) through a web url on browser and then ssh into my DO droplet through there. To do that I can use something like tmate, gotty, webtty etc. But for that the Ubuntu terminal at my home needs to always on which is not possible.
I'm not sure how to solve this issue. Is there any way I can access that digital ocean server at my workplace using the web browser method? Are there any other options?
Thanks in advance for your help!


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The Wallace & Gromit shorts were wonderful little movies that, unfortunately, even with multiple Academy Awards, never achieved the wide acclaim they deserved. Wallace & Gromit: The Curse of the Were-Rabbit should (hopefully) rectify this. The film is more stop-motion mayhem from those wonderful guys at Aardman, who were responsible for Chicken Run a few years back. This is more than a true all-ages movie, which is in and of itself is pretty rare. Curse of the Were-Rabbit is also very clever; full of wry jokes and background sight gags. It feels very, well, British.
For those that do not know, Wallace (voiced by Peter Sallis) is a dippy inventor who adores cheese. Gromit is the sensible one of the pair. He is just a smart and doesn't say a thing, which is part of the charm of the Wallace & Gromit movies. Because Gromit doesn't speak, directors Nick Park (Chicken Run) and Steve Box need to convey all sort of emotions using Gromit's eyes and ears. Like the just-released Tim Burton's Corpse Bride, this film was made using the time consuming process of stop-motion animation. The filmmakers do a wonderful job of creating an expressive Gromit, who can cycle through more emotions than some real actors. They really believe in their product. They have to, since a full day of work can sometimes produce a few seconds, and the love and care they shower onto the story, characters, and background sight gags is very obvious.
Wallace and Gromit currently run Anti-Pesto, a company that provides a humane way to rid gardens of rabbits. The annual vegetable contest is coming up, and everybody wants to make sure that their vegetables are safe from rabbits. The pair uses Rube Goldberg-like traps, including something that basically amounts to a really cool vacuum cleaner. Things like that cause one to wonder how Park and Box were able to achieve such effects. There are multiple scenes where it looks like there are a few dozen rabbits floating in the air. It looks gorgeous, and it is completely mystifying as to how it was done.
All of a sudden, something goes wrong. Everybody's prize vegetables are disappearing, and there are rumors of a giant rabbit stalking the gardens at night. Wallace and Gromit need to restore their reputations, so they set off to find and capture this were-rabbit. Going against them is the pompous Victor Quartermaine (voiced by Ralph Fiennes, The Constant Gardener, Maid in Manhattan), whose solution is to shoot and kill the rabbit. He is already jealous of Wallace because Lady Toddington (voiced by Helena Bonham Carter, Tim Burton's Corpse Bride, Charlie and the Chocolate Factory) ignores him in favor of Wallace. Park and Box, who co-wrote the plot with Mark Burton (Madagascar) and Bob Baker, stretch the story a bit. Like Corpse Bride, Were-Rabbit is probably a bit longer than it needs to be. But it is clever and charming enough to overlook this.
Haro Rates It: Pretty Good.
1 hour, 25 minutes, Rated G.


JULIA DIMON SHARES EXPLAINS HOW TO SQUEEZE IN ONE MORE VACATION MEMORY THIS SUMMER!
There's still plenty of summer to plan a relaxing vacation, and that can be tricky when you're traveling with the kids, parents, and other family and friends. I've found that one of the best ways to combat the anxiety that tags along with summer vacation planning is by choosing a vacation rental home. Just in time for National Vacation Rental month, Wyndham Vacation Rentals offers professionally managed homes that have plenty of room for the whole family. WyndhamVacationRentals.com is where you can go to learn more about vacation rentals from the beaches in the Outer Banks, Northwest Florida and Gulf Shores to the Smoky Mountains in Tennessee.


What should first time festival participants, both students and directors, keep at the foremost of their minds when preparing for a festival?
Festival participants should focus on performing well, hearing great music and learning how to improve their overall musicality. The best performances demonstrate a variety in repertoire. The performance should focus on playing with great intonation while maintaining proper balance and blend. Ensure that the melody is heard at all times. An ensemble that performs with varied levels of dynamics is always enjoyable to hear.
Aside from the excitement and motivation of being adjudicated, what are some of the other benefits every participant will receive from participating in a music festival?
It is important for students and teachers to dedicate some time hearing the other ensembles. If clinics are available, students should take advantage of the opportunity to learn from others – even their peers provide some great ideas.
How much do you see student or director nervousness affecting their performances? Is this a major factor, in your opinion?
One main area that may be negatively impacted by nervousness and anxiety is the concept of proper breath support. All in all, anxiety does not usually impact an entire performance, once the performance begins everyone tends to settle into the concert. It is recommended that all tuning be completed in the warm up room and not on stage. The performance of a short chorale is beneficial prior to the performance of the festival repertoire and does help to minimize performance anxiety.
As an adjudicator, can you tell when a band is playing music that is too easy for them, perhaps because they are worried about making a poor showing?
The choice of repertoire is a task that should be given serious consideration. For example, jazz ensembles are encouraged to play swing, ballad and Latin funk – be sure to include improvised solos. Concert band repertoire should include a lyrical selection along with a march, transcription, or something that is contrasting to the first two selections.
Adjudicators have differing opinions regarding this issue. Personally, I would prefer to hear a band perform music with confidence and expressiveness. It is much more encouraging to recommend that a band start performing music at the next level, rather than telling them a selection appeared to be too difficult for the band to perform in a truly musical manner. Bands performing music that is too difficult often have challenges keeping the tempo/groove consistent and often the balance and intonation are very weak. Having one selection that is more challenging than the others demonstrates that the band is striving to improve.
One more tip: it is appreciated if all of the measures are numbered on each score. This makes for easy reference when adjudicators are making comments and enables them to focus more on listening and less on trying to find a reference point to support a comment.
Mr. Ullman has worked extensively in music education and performance for over 30 years. He has adjudicated at regional music festivals, Canada's Wonderland School Music Festival and affiliate festivals of MusicFest Canada, is a member of MusicFest Canada Division Committee and is Regional Co-ordinator for OCM. Mr. Ullman is a member of the Canadian Music Festival Adjudicators Association.
Recordings include Kawartha Jazz Ensemble's "Duke'n It Out". He is currently performing with Icy Redd and Reddemption Road. More information is available at www.drumsinc.ca or via drums@sympatico.ca .
This article is reprinted courtesy of Greater Hamilton Musician Ezine, a new publication dedicated to boosting and connecting musicians and music in the Greater Hamilton Area.
Free subscription to all MusicFest band directors, parents and band members!


01 Joe ☆ Decky! ! !
New generation song group · Hayabusa, long-awaited 10th single!
Opening theme song of TV Tokyo series animation "Duel Masters!" (Sunday Asama 8: 30 ~).
As the theme song of the same animation series, sound production by Kenichi Yamada before Hyadyne as well as 3 song followed by "XNUMX songs for the future" Joe! Joe !, and the previous work "Spider man's dance (single version)" !
Putting on pop sound, the vocal which the main vocal · Hikaru "fist" worked faintly, and it is perfect with the combination with the bass of Yamato's bass!
This is a new song "Upwardly !!!"!
The product releases 3 type in all! "Duel Masters!" Hayabusa Original Illustration In addition to the limited edition enclosed with a promotional card, "Normal Edition A Type" and "Normal Edition B Type" are released, which are different from each other!
Regular version A type includes a heartwarming supportive song titled "Friends" on the theme "I have to go".


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Home / Moisture Control / 900 Gram Rechargeable Silica Gel Dehumidifier
900 Gram Rechargeable Silica Gel Dehumidifier
Item # DP900
Stop Condensation
Protects 66 Cubic Feet of Enclosed Space
Prevent Rust, Mildew, Corrosion & Spoilage
2-11 $20.89 - Save 5%
12-47 $19.79 - Save 10%
48+ $18.69 - Save 15%
"Drinks Up Moisture" in Enclosed Spaces
Rechargeable silica gel dehumidifiers absorb moisture in enclosed areas preventing condensation and stopping rust, mildew, corrosion, and spoilage. 900 Gram Silica Gel Unit protects up to 66 cubic feet of enclosed space. Ideal for trunks, cabinets, vaults, and more. Each unit has a built-in moisture indicator that changes from brown (dry) to pale green (humid) to signal it has reached its maximum moisture saturation level. Once that level has been reached, the unit can easily be recharged in any conventional oven (235 degrees for 3 hours). The units can be recharged as often as needed for lifetime protection. Silica gel is inert and non-toxic. Will not emit harmful vapors, stain, or cause chemical reaction. Safe to use with sensitive materials. Measures 3" x 6" x 8.5".
The units are extremely effective at protecting your valuables such as family photos, documents, guns, electronics, jewelry, food, leather, coin and stamp collections, tools, collectibles, and much more.
Please Note: When you first use a Silica Gel Dehumidifier in a particular area, it may become saturated rather quickly as it absorbs residual moisture. Once the residual dampness is removed, you can maintain a dry condition with less frequent need to reactivate.
Shipping Weight 2.5 lbs.
Silica Gel Dehumidifier Comparison Chart and FAQs.
Click here to view all sizes of the Rechargeable Silica Gel Dehumidifiers.
Get answers to frequently asked questions about Silica Gel.
Q. Can I reuse silica gel?
A. All of our "Rechargeable" Silica gel, including this 900 gram box, can be reused after recharging. We also sell "One Time Use" Silica gel packs that cannot be reused. The packaging type dictates whether drying is practical or not.
Q. How do I recharge the silica gel?
A. It's easy to reactivate (dry) the silica gel unit so it can be reused over and over again. Simply remove the bag of silica gel from the box and place in the oven on a oven safe baking sheet at 235 degrees F for 3 hours.
Q. How many times can I reuse the rechargeable silica gel packages?
A. Indefinitely, silica gel does not go "bad" and can be used for a lifetime.
Q. How can I tell if it needs to be recharged?
A. The humidity indicator card on the bottom of the box will change from dark brown to pale green.
Firearm Care
Shop by Brand > Absorbent Industries


Mimi is a tiny owl covered in a purple fabric with a rainbow circle pattern. She has gold glittery button eyes on a fuzzy, yellow face and her tiny beak is bright orange. Mimi's feet and "wings" are blue.
The three variations of Mimi are this yellow face version, a blue face version, and a white face version.


Spirent TestCenter and Avalanche: How do I find the version that is running on my Spirent TestCenter (STC) chassis from the command line?
SSH to the IP of the chassis.
The command is for the Spirent TestCenter chassis and C100-MP.
It does not appy to STC virtual and Avalanche virtual; for the virtual machines use SSH.


As a busy, growing company achieving ISO 27001:2013 is always challenging, but our team all worked really well together, and demonstrated how well our implementation plan works.
ISO 27001:2013 is the international standard for information security. Certification by a UKAS accredited body such as BSI ensures that the highest standards are achieved and maintained. ISO 27001 provides an excellent framework to help organisations manage and protect their information assets so that they remain safe and secure. It requires you to continually review and refine how you do this, not only now, but also for the future. Importantly, value is added with ISO 27001 certification by inspiring trust, whilst protecting your business, your data and your reputation.
GDPR – 'appropriate technical and organisational controls' and unlocking markets.
One of the reasons many organisations are coming to us to help them with their implementation is that they want to use ISO 27001 to demonstrate they have appropriate technical and organisational controls in place to meet their GDPR requirements. An information security management system like this enables you to be constantly reviewing the information you have, the current risks and how these are being mitigated, then checking these to make sure they are effective.
Many third party GDPR questionnaires align to ISO 27001, and many organisations are requiring their supply chain to have this in place. For some of our clients this has unlocked new markets for them, so the added value is evident.
Good project management and a robust plan are essential.
We have been helping South West based clients to achieve ISO 27001 and have developed a robust implementation plan. This takes them through ten stages, ensuring they understand the requirements and how to embed them in their organisations as business as usual. Everything is managed by our internal project manager, Darren, who keeps everything (and everyone…he's 6ft 7) on track to ensure we meet our deliverables on time.
It was important to us that all of our team were involved in the implementation as it was an opportunity to develop our team skills by sharing knowledge and best practice. One challenge we faced was ensuring sufficient time and resource for the project. The deliverables were all booked in and assigned to each team member to meet our deadlines which made sure our time was used effectively.
There is a shortage of auditors for ISO 27001, so key was getting this booked with BSI as early as possible, but we still had to wait nearly six months. The auditor spoke to our newest team members as part of the audit and they were confident and knowledgeable, demonstrating that the knowledge sharing and training was effective.
ISO 27001 is part of how we work, and our first information risk assessment was a week later when we moved to larger offices at the Science Park Centre…business as usual.


In the next 30 years, humanity is in for a transformation the likes of which we've never seen before - and XPRIZE Foundation founder and chairman Peter Diamandis believes that this will give birth to a new species. Diamandis admits that this might sound too far out there for most people. He is convinced, however, that we are evolving towards what he calls "meta-intelligence," and today's exponential rate of growth is one clear indication.


Was Madonna's "meltdown" her greatest acting performance?
Throughout her more than thirty year career, Madonna has been a skilled media manipulator and a master of well-choreographed controversy. So were her recent performances in Australia a contrived bit of showmanship, or a legitimate meltdown? Or were they, maybe, a bit of both?
The 57 year-old entertainer, currently touring down under for the first time in 23 years, drew wildly mixed responses over the the past few days for her Melbourne shows. A Monday review in the Guardian said her current work has encapsulated "the enduring appeal of Madonna herself: only by doing exactly as she pleases can she define herself on her own terms," and summarized, "One hardly walks away unentertained. If the definition of an artist is their unique contribution to spectacle, the queen reigns supreme." Yet other news outlets have quick to spot apparent cracks in the queen's armor.
Late last week, she performed an intimate "Tears of a Clown" show that several sources reported that the show started four hours late, with the singer finally taking the stage close to one in the morning. In fan clips from the show, she can be seen gamely pedaling a small tricycle, falling over, and then getting up and chatting jokingly with the audience. A comic tumble, or poor navigation? Madonna told the audience the show was a "work in progress," but what does that mean?
She later told the crowd, "There's no end to the mistakes I've made. Everybody knows the saga of me and my son Rocco. It's not a fun story to tell or think about." She then dedicated the song "Intervention" to her Rocco, while photos of the teenager appeared projected behind her. It was a very public reference to the current — and ugly — custody battle she and her ex husband Guy Ritchie have been embroiled in. It was not her first time acknowledging her discord. During a Nashville show in January, Madonna reportedly told the audience, "I'm looking for a husband, not a c_nt. I already married a c_nt." More recently, during an Australia show, she reportedly referred to her ex as "a son of a b___h."
Then, for her bigger weekend Melbourne show, the Daily News reported the event included "a bizarre, boozy tirade" with the singer "knocking back swigs of tequila as she beckoned to the crowd to take care of her." Dlisted, meanwhile, called the performance "hazy, booze soaked gibberish." At one point in the show, she told the audience, "F__k me, please someone f__ck me," before adding, "I'm just kidding. I don't have to ask for that."
She could also seen taking swings from a bottle and a flask, though her reps say she told the audience that the contents of the bottle weren't "even real" and that the liquid in the flask "Tastes just like water." Earlier this winter, Louisville fans speculated whether she'd been drinking during her performance there, an accusation Courier-Journal writer Jeffrey Lee Puckett disputed, saying, "She never did anything that remotely seemed like the actions of a drunk person. Was she lying and/or crawling on the stage at certain points? Yes. Has she ever, in more than three decades of performing, not done those things? No."
Madonna's public image has always been that of the steely perfectionist. When, last year, she took a tumble during a performance at the Brit Awards, it garnered instant headlines, evidence that perhaps she was a human being after all. And over the past year, as her personal family drama has played out, she has seemed to have fewer damns to give about hanging on to her efficient pop robot persona. Are her tardiness and her falls and her swigs of possibly alcoholic beverages and her inarguably digressive rants a sign she's falling apart, or evidence she's turning her private pain into a new form of performance art? The funny thing about Madonna, a notoriously terrible actress, is that it's hard to tell. But when she told the Melbourne audience this week that for her "Tears of a Clown" escapade, "I just let it all hang out. I was vulnerable," I believe she was, for a change, showing her own messy, imperfect truth.


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Heat surprise forward Chris Silva, fly mom to Miami from Gabon for emotional reunion
Chris Silva was moved to tears on Friday afternoon during the Miami Heat's shootaround ahead of their game against the Indiana Pacers.
Silva, a Gabon native, had just been reunited with his mom for the first time in three years.
It's been 3 years since @SilvaObame has seen his mother. Tonight they reunited and it was everything you could imagine and more.
Thanks to @NBA Commissioner Adam Silver and Sr. VP of Int Basketball Operations Kimberly Bohuny with the support of @NBA_Africa for making it happen. pic.twitter.com/aIFvIpgd3x
— Miami HEAT (@MiamiHEAT) December 28, 2019
Silva, an undrafted rookie out of South Carolina, is playing with the Heat under a two-way contract this season. He's averaged 3.8 points and 3.6 rebounds in 25 games.
The 23-year-old left his home country of Gabon when he was 16 in an attempt to make it to the NBA, leaving his parents and siblings behind to play at a New Jersey high school in a country where he didn't know the language. He returned once for two weeks when he was a sophomore at South Carolina to get his visa renewed, but hasn't seen his family since.
"Two weeks felt like two days, to be honest," Silva said earlier this month, via the Miami Herald. "I don't think anybody besides my uncle has ever seen me play basketball."
So, thanks to NBA commissioner Adam Silver and NBA Africa, the league helped Silva's mom travel more than 6,300 miles to see her son during their back-to-back games against the Pacers and Philadelphia 76ers.
While Silva's career in the league is just beginning, Heat coach Erik Spoelstra said it was one of the most unique backstories he's ever heard from a player. When he first sat down with the 6-foot-8 forward this summer, it gave him goosebumps.
"That must be so scary," Spoelstra said, via the Miami Herald. "Coming to a new country as a high school student, not knowing the language, not knowing really anything about where you're going and being dropped off and then having to have the grit and resourcefulness to make it happen without going back, without looking in the rear-view mirror and then without have the day-to-day support of your closest ones with you on this dream and this journey.
"Once you learn his story, you want to even do more for him and help him on this journey. That's the kind of quality human being he is. It's a really unique backstory, how he has been over here basically without his family and just willing his dream."
Even though it's been tough at times throughout the years, Silva refuses to give up.
It's his family that's kept him going.
"Usually when I get to know a city, I like to find a circle where I can just run for hours," Silva said, via the Miami Herald. "Most of the time, I just think about my family when it gets hard. It just gets me going.
"I don't like to get tired. If I get tired, I'm going to find a way to come back and try to get more work in."
Chris Silva hadn't seen his mom in three years. So the Heat surprised the two-way player on Friday, flying his mom to the United States from Africa. (Michael Reaves/Getty Images)
Cowboys QB Prescott focused on his future, not Garrett's
EMU QB ejected for fighting Pitt in final seconds of bowl
Goodwill: Are the Clippers too much for the Lakers?
Liverpool strikes big blow in Premier League title race


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Els Amati  van ser una família de fabricants d'instruments musicals italiana originària de Cremona, (que quan va néixer Andrea ja es trobava sota poder de Carles I). El predomini de la família Amati en lutieria va estar vigent entre els segles  i .

Andrea Amatti (1520 - 1578) va establir la forma del violí modern. Els seus dos fills Antonio Amati (1550 - 1638) i Girolamo Amati (1561 - 1630), van treballar junts i van ser coneguts com Els Germans Amati.

Nicolò Amati (1596 - 1684), fill de Girolamo, que va seguir el treball dels seus avantpassats a Cremona, és considerat com el més eminent luthier de la família. Entre els seus més famosos deixebles es troben Giuseppe Guarneri i Antonio Stradivari. En Niccolò Amati  va substituir doncs al seu pare Girolamo Amati.

Andrea Amati és considerat el fundador de l'escola de lutiers de Cremona i el creador de la plantilla amb la forma actual del violí. Els violins Amati es considera que tenen una sonoritat d'una dolcesa extraordinària i una potència limitada (d'acord amb els gustos i necessitats de l'època en què foren construïts).

El mestre Felip Pedrell, que va ser mestre d'harmonia dels grans genis: Granados, Isaac Albéniz i Pascual i Falla, en el seu llibre Diccionario Técnico de la Música, a l'apartat violín', els anomena "els Amat de Cremona".

Vegeu també
 Batalla de Pavia
 Batalla de Landriano
 Tractat de Barcelona (1529)
 Setge de Florència (1529-1530)
 Llista de fustes
 Leonard Rose

Nota

Violers
Lutiers italians