text:
Southend West MP wants better deal for people with rare cancers
On the Wednesday 10th July, Sir David Amess attended a Parliamentary event marking the launch of a report into rare and less common cancers.
Every year in England, 144,600 people ae diagnosed with rare or less common cancers which include leukaemia, sarcoma, testicular and pancreatic. These rarer cancers kill 74,500 a year.
In the summer of 2018, Cancer52 ran an online survey to which over 670 responses were received. The organisation has now published a report which is calling for greater awareness and further treatment advances for patients.
Following the event, Sir David said "Almost half of cancers diagnosed in England are rare or less common forms of the disease. Having spoken to people suffering with rare cancers today, I know that more must be done to ensure that greater information and support is made available. I commend the work of Cancer52 and would like to thank everybody for their hard work campaigning for improvements to the system."
On the weekend of 13th- 14th July, Sir David travelled to Tirana in Albania to attend the International Conference of the National Council of Resistance in Iran.


A World of Architectural History is the 4th annual conference of the Architectural Research in Europe Network Association (ARENA).
Recognition will be given to a more inclusive approach to architectural history that seeks to incorporate the histories of all countries/regions, and to the significant contributions now being made through interdisciplinary links with other subjects. As such, the conference will represent the forefront of the field internationally and discuss where architectural history ought to head in the future.
Conference presenters will include those from a wide range of subject areas within The Bartlett Faculty of the Built Environment and leading figures in architectural history across the world. Both invited speakers and those selected via an open call will contribute their papers.
The primary conference organiser is Murray Fraser, in close association with Camillo Boano, Adrian Forty, Jonathan Hill, Barbara Penner, Rokia Raslan, Jane Rendell, Tania Sengupta and other colleagues from The Bartlett Faculty, with advice and help also from the International Academic Committee. Selected papers will be published either as essays in the ARENA Journal of Architectural Research (AJAR) or in a subsequent edited book.
The conference programme is available to download as a PDF in the side bar, but please note that this is subject to change.
This conference will coincide with the publication of Sir Banister Fletcher's Global History of Architecture (Bloomsbury Press).


text:
Mathematicians Say They've Figured Out How to Brew a Better Espresso Shot
The sacred belief that finely ground espresso beans are supreme doesn't hold up to scientific testing.
By Megan SchmidtJan 22, 2020 10:00 PM
(Credit: Shutterstock.com)
If the Americano or latte from your favorite coffee shop tasted a bit off this morning, don't jump to blaming it on the barista. There may be a more complex explanation for your disappointing beverage.
Inconsistent espresso pulling (coffee-shop slang for making espresso) has long been a mystery in the coffee industry. Even among the most skilled baristas, some shot-to-shot variation is a given.
Now, a team of researchers — which included baristas and roasters — used math to help solve this coffee conundrum. They linked inconsistencies in espresso flavor to grind size, challenging a popular belief in the industry that finely ground beans make better coffee.
According to their work, published in the journal Matter, a coarser grind and fewer beans results in espresso that's more consistent in taste and packs just as much punch.
And these changes go beyond taste, the researchers say. Implementing these modifications can help baristas brew espresso shots faster while cutting down on coffee waste.
An espresso machine relies on a pressure pump to force water that's near boiling through a "puck" of ground coffee and a filter, producing a thick and concentrated coffee known as espresso.
Most coffee shops use extra-fine grind settings and a large amount of coffee — around 20 grams — to brew a single shot of espresso. It's thought that using a fine grind exposes more of the coffee's surface area to water, which should increase extraction yield, a measure of the amount of coffee that actually dissolves and ends up in the final beverage. While this industry practice sounds good in theory, the researchers found that it leaves a lot of room for variation that can affect taste.
According to study author Christopher Hendon, a computational chemist at the University of Oregon (and who has sidelined as a competitive barista), most coffee shops aim for an extraction yield that's between 17 to 23 percent. Lower extraction yields taste sour, while higher yields are too bitter.
In this study, the team developed a mathematical model and brewed thousands of espresso shots to pinpoint the variables required to achieve coffee with consistent extraction yields. They discovered that when beans are ground too fine, it can gum up the espresso machine and impact the taste of the final product.
"Clogging is happening when you over-grind. So, you can imagine if you've got a very finely ground coffee, when you turn the [pressure] pump on, all of the very fine bits are swept along with the water, and they all kind of clog up," said study author Jamie Foster, a mathematician at the University of Portsmouth in the U.K. "This is what leads to that inefficient extraction that we're referring to. And that clogging process is very random and hard to predict."
In other words, using a coarser grind and reducing the amount of coffee per shot leaves some extra room in the coffee bed, leading to a fuller, more even brewing process.
And don't worry about your caffeine boost. A slightly coarser grind and around 15 or 16 grams per shot is just as potent as the standard fine-grained 20-gram espresso shot, Hendon said. These changes can also result in very fast shots of less than 15 seconds, which is less than the standard 20 to 30 seconds it takes to brew a serving of espresso.
The Other Extreme
But, a word of caution: Coffee that's too coarse can be just as problematic as coffee that's too fine. The grind size adjustments recommended in this study are so slight they would be undetectable to the naked eye.
"It would be an unpleasant experience trying to brew espresso using a French press grind setting, (it would) explode out of the group head in a matter of seconds" explained the paper's lead author Michael Cameron in an email. "Instead, we're saying you'd need to grind slightly coarser than you typically would for espresso."
Cameron, a barista and special projects manager at ST. ALi cafe in Australia, explained that the economic impact of these findings cannot be understated — especially for local, independent coffee shops. Using fewer grounds per shot could result in a savings of several thousand dollars a year for a coffee shop, he says.
"That's enough for a new coffee grinder, or pay raises for those star baristas pulling shots," Cameron said.
When asked about the impact of this work, Hendon said he's "pretty confident this is going to change the way people think about making espresso." But the last thing the researchers want is to take the creativity out of brewing coffee.
"I think one of the beautiful things about the industry, and why people like coffee so much, is because there's a human component you can't remove," Hendon said. "All we want to show is the scientific component that allows one person to make decisions about flavor and translate that flavor to you every single time. The science is a critical supporting actor in the coffee industry."
Great Balls of Fire: How Flames Behave in Space
Here's How Cooking Fumes Can Harm Your Health
A Brief History of Champagne: Were Those Bubbles an Accident?

redpajama_set_name: RedPajamaCommonCrawl


Business leaders often balk at the thought of sharing their company's numbers with employees. But that attitude leaves a significant opportunity for business growth on the table.
Have you ever considered: Why does the owner think about the business differently than the clerk?
Humans generally want to "win" so it's not that the clerk doesn't care about the success of the store. It's that the owner has a complete picture of what's really going on. She knows the numbers and can link everyone's actions to positive or negative results.
If the owner doesn't share the store's data, all the clerk knows is whether he beat his personal best in stocking shelves or checking out customers. Without a deeper understanding of the business, he can't help the store compete.
By sharing your business' data, you increase your chances of driving discretionary effort among employees – those extra ideas and actions that help your business grow stronger and bigger. You move them from the mindset of "just earning a paycheck" to actively finding ways to improve the bottom line.
The first step to sharing company information in a useful manner requires answering a question: What are we trying to accomplish?
Are you trying to motivate the sales team or decide on a new health insurance policy? The answer determines what you share. Know "why" and you'll know what to share.
For example, say your company needs to change its health insurance coverage and would like employee feedback on which changes would be palatable to the greatest number of employees.
You'll need to start by giving employees a baseline for understanding the choices you face. To do this, you could share numbers such as total number of employees, percent of employees opting into the current policy, what the current policy costs, and the percent of those costs paid by the company versus the employees. Then, you could present costs and benefits of alternative policies.
By explaining your choices, your employees can make well-informed recommendations that help you make better decisions. For instance, you may find employees more amenable to paying more out-of-pocket for benefits or more accepting of procedural changes.
Another important reality when sharing company data: Information should be presented in digestible chunks spread over time. Keep in mind your audience and the objective you want to accomplish. Remember that you aren't presenting to a bunch of accountants or experienced business owners, but line employees who may never have seen a balance sheet or income statement.
Make the data accessible to non-accountants through the liberal use of charts and graphs. This allows you to show the costs of salaries, benefits, equipment, buildings, travel, etc., as percents of the whole rather than to-the-penny line items.
For example, explain in general terms what the company spends to make a single sale, the revenue generated by that sale and the profit that results. Once the basics have been covered, employees can make informed, business-grounded recommendations.
It also helps if you tie specific actions to specific numbers. For instance, marketing specialist Selena wrote an email that generated 100 leads for the sales team, which later resulted in 10 sales and $100,000 in revenue. Of that $100,000 in revenue, $35,000 was profit.
Then, you can guide the discussion to whether more emails are needed for higher sales.
Remember, relevant data goes beyond the financials. Employees need all sorts of information to better understand your business and their role in it. Consider the sales funnel and how knowing more about it would help departments other than sales.
In this example, you could explain the value of warm leads versus cold leads, or days from initial contact to a final sale. It's easy for someone outside the sales department to understand why it's important to share their warm leads for the sales team once they understand that cold leads cost the company more, take longer to close and therefore reduce revenue.
Another tactic: Show where your company falls in relation to its peers through benchmarking. Employees may feel you're not spending enough on benefits until you show how your company compares to similarly sized companies in the same industry.
Say you need to capture data on how employees are spending their time. This information will be used to compare your company to industry benchmarks, to determine whether you'll hire more people and the type of job you'll fill. So, you ask employees to post detailed weekly time sheets but forget to explain why.
Because they don't know the purpose behind the request, compliance is lousy. You get incomplete information or it's late. But once you explain how the information will be used, the team understands the importance of delivering accurate, timely data and their behavior changes.
Once you get good data, you and your team may find unexpected ways to improve your performance. Benchmarks can also generate the desire to compete and beat industry norms.
There's no single formula for what to present or how often. Your goal is to encourage those discretionary efforts from your employees that set your company apart from the competition.
Find more ways to inspire and motivate your employees by downloading our free e-book, How to Develop a Top-notch Workforce That Will Accelerate Your Business.


A pleasant, short walk takes one from the Visitor's Centre to a good viewing platform.
The twin falls are referred to as the "Father" (to the left) and "Mother (to the right). The more intrepid can continue on to swim in the refreshing waters of the smaller waterfall (Mother) or hike up to the Father Falls (guide recommended) where you will find a lovely hot spring. Always exercise extreme caution as boulders can be slippery and challenging.
NOTE: The hot water pools along the track to the falls are no longer accessible. They were covered during Hurricane Maria (September 2017).
Trailhead: Accessed from the Visitor's center. These famous twin waterfalls are about a 20 minute drive from Roseau. To get here drive to the village of Trafalgar and continue straight along the main road until to reach the end. You will reach a large parking area with some vendor stalls and a visitor center.
Best time of day to visit: Anytime but for optimal lighting, mid afternoon.
Kid-friendly! This activity has been kid-tested.
Caution: As with any hikes in Dominica that involve rivers, Flash flooding or swollen rivers are a risk. Know the signs and exercise caution.
The Twin falls are fed by two different rivers. Freshwater Lake and various Tribuataries pass through the Titou Gorge feeding the long 'skinny' falls known as the Male, Father or Papa Falls. Breakfast river, which is marks the halfway point on the hike to the Boiling Lake feeds the short 'fatter' one is known as the Female, Mother or Mama falls.
There is a small bar at the base of the trailhead and the visitor's center contains basic amenities. The village is close by with various small bars, restaurants and lodging.


Did some camera operating on this video at the end of last year, but the result has not come out until now. Shot at a studio in north Whitechapel, Hackney, London on a Sony F5 in all natural light shining in from the windows in the ceiling. I believe pretty much all of the material was shot in 1080p 150 fps in the Sony XAVC codec. Some parts of it might have been 4k 60 fps. I used a bunch of Canon EF primes for lenses and the Slog2 gamut for colour space.
The shot of the ceiling was done on a rail with the camera pointed upwards. As you can see, that was the only source of light (the bulb was not utilised, for many reasons, one being the temperature, one being the high frame rate, one being the lack of power). As it was at the end of the day and the sun was going down, we started out with a decent bit of light but it all went away very quickly. The noise levels in the close shots might reflect this if one looks into the details.
The wide shots (above) were done on a tripod but the vast majority of the rest are handheld and what I presume to be stabilised in post production, which is a process I was not involved in. The high frame rate also helped a lot in taking the shakes off and in steadying the movement.


text:
Venuz White
AURUM GLASS
VAHO
Textile BAWOA
THE SPIRIT OF WATER
A subtle and enveloping presence, has crossed the course of Venuz White over the gaps of divination, unveiling its mysteries and finding a place of resonance within her spiritual message in art.
From the flow of the rivers, the intensity of the rain and of the incessant sprouting of the springs, this eternal, infinite and fertile presence emerges. Like the breath of life, the spirit of the water visits VW and spills into the canals of her artwork.
The encounters they hold are both the form and content of a joint creation, the result of a patient investigation of both, in which the artist has learned to modulate the language of the waters and they dance in the movements of her strokes.
Closer to a mystical ritual than to a creative project, this dialogue, has become a discovery and deep knowledge, which VW has collected in a pitcher, where the submerging of her hands amalgamates and distills a message.
Soaking her mind of this conversation with the subtle, she glimpses her sense as an artist, following the routes of a water map that unites cultures and continents, monks and mamos, bowls and totumas, in the search for water masters.
Moving from the artist's cloths to the mystique, from composer to fortune teller, from woman to body of water, VW has delved into the grottoes of the alchemy of life, where she has bathed in the gorges of the Andean paramos and the falls of the cenotes of the peninsula, deciphering the song of the currents to remind us of the secrets of the aquifer mantle of the universe.
The creation of her paintings, liquid state of color, flows like a medium willing to reveal the faces of this multifaceted spirit, which is in its very essence transformation and metamorphosis. Like an eye that allows us to see the immanent vitality that inhabits even inert matter, the VW telescope presents us with a mangrove of totems. Roots and crowns of the tree of life.
Each of them, with their own mineral compositions, their choice of colors and their bifurcations, is presented to us, familiar and unknown at the time. We are children of the same mother, and we will return to the waves of her womb.
Denying the spirituality of water and its more metaphysical dimensions, has led to a dangerous ignorance of our origin, our limits and our survival. Scar that has settled the nonsense of modern life. The same that becomes in VW's hands a receptacle to bring in light.
Her work directs the dance of the rivers that have not marked in vain our tracks, throughout the wide hemispheres.
Today its currents prepare the way to end in the ocean of a new encounter, between the ancestral and contemporary technologies, that of the hand of VW are diluted and conform messages for our awakening as guardians of the eternal.
Let us relax our senses, let us drink from the clear liquid of their understanding, and the deep respect that flows from them, and we will receive the mission of preserving our own spirit with it. The spirit of water.
Text by Nicolas Silva Silva
© 2018 Venuz White. Todos los derechos reservados. venuzwhite@gmail.com


text:
<?xml version="1.0" encoding="utf-8"?><!--
  ~ VoIP.ms SMS
  ~ Copyright (C) 2015-2020 Michael Kourlas
  ~
  ~ Licensed under the Apache License, Version 2.0 (the "License");
  ~ you may not use this file except in compliance with the License.
  ~ You may obtain a copy of the License at
  ~
  ~     http://www.apache.org/licenses/LICENSE-2.0
  ~
  ~ Unless required by applicable law or agreed to in writing, software
  ~ distributed under the License is distributed on an "AS IS" BASIS,
  ~ WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
  ~ See the License for the specific language governing permissions and
  ~ limitations under the License.
  -->

<androidx.drawerlayout.widget.DrawerLayout xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto"
    android:id="@+id/drawer_layout"
    android:layout_width="match_parent"
    android:layout_height="match_parent">

    <androidx.coordinatorlayout.widget.CoordinatorLayout
        android:id="@+id/coordinator_layout"
        android:layout_width="match_parent"
        android:layout_height="match_parent">

        <com.google.android.material.appbar.AppBarLayout
            android:layout_width="match_parent"
            android:layout_height="wrap_content">

            <androidx.appcompat.widget.Toolbar
                android:id="@+id/toolbar"
                android:layout_width="match_parent"
                android:layout_height="wrap_content"
                android:theme="@style/ToolbarTheme"
                app:collapseIcon="@drawable/ic_close_toolbar_24dp"
                app:titleTextColor="@android:color/white" />
        </com.google.android.material.appbar.AppBarLayout>

        <FrameLayout
            android:layout_width="match_parent"
            android:layout_height="match_parent"
            app:layout_behavior="@string/appbar_scrolling_view_behavior">

            <TextView
                android:id="@+id/empty_text"
                android:layout_width="match_parent"
                android:layout_height="match_parent"
                android:layout_marginStart="@dimen/margin"
                android:layout_marginEnd="@dimen/margin"
                android:gravity="center" />

            <androidx.swiperefreshlayout.widget.SwipeRefreshLayout
                android:id="@+id/swipe_refresh_layout"
                android:layout_width="match_parent"
                android:layout_height="match_parent">

                <androidx.recyclerview.widget.RecyclerView
                    android:id="@+id/list"
                    android:layout_width="match_parent"
                    android:layout_height="match_parent"
                    android:divider="@null"
                    android:dividerHeight="0dp"
                    android:scrollbars="vertical" />
            </androidx.swiperefreshlayout.widget.SwipeRefreshLayout>
        </FrameLayout>

        <com.google.android.material.floatingactionbutton.FloatingActionButton
            android:id="@+id/chat_button"
            android:layout_width="wrap_content"
            android:layout_height="wrap_content"
            android:layout_gravity="bottom|end"
            android:layout_margin="@dimen/margin"
            android:contentDescription="@string/conversations_action_chat"
            android:src="@drawable/ic_chat_toolbar_24dp"
            app:tint="@null" />
    </androidx.coordinatorlayout.widget.CoordinatorLayout>

    <com.google.android.material.navigation.NavigationView
        android:id="@+id/nav_view"
        android:layout_width="wrap_content"
        android:layout_height="match_parent"
        android:layout_gravity="start"
        app:headerLayout="@layout/conversations_nav_header"
        app:itemTextAppearance="@style/Body1"
        app:menu="@menu/conversations_nav" />

</androidx.drawerlayout.widget.DrawerLayout>

redpajama_set_name: RedPajamaGithub


text:
Q: Gulp Package JSON I have created a demo using GULP, but facing issues to run the gulp js file.
Process of installing:
sudo npm init
sudo npm install gulp-jshint gulp-sass gulp-concat gulp-uglify gulp-rename --save-dev
sudo npm install --save-dev gulp

Console Warn:
mnbcvd3456:glp user$ sudo npm install gulp
npm WARN package.json gulp@3.8.6 No repository field.
npm WARN install Refusing to install gulp as a dependency of itself

package.JSON:
{
  "name": "gulp",
  "version": "3.8.6",
  "description": "Gulp Demo",
  "main": "index.js",
  "directories": {
    "doc": "doc"
  },
  "scripts": {
    "test": "echo \"Error: no test specified\" && exit 1"
  },
  "author": "User",
  "license": "ISC",
  "devDependencies": {
    "gulp-concat": "^2.3.3",
    "gulp-jshint": "^1.7.1",
    "gulp-rename": "^1.2.0",
    "gulp-sass": "^0.7.2",
    "gulp-uglify": "^0.3.1"
  }
}

Gulp.js file.
// Include gulp
var gulp = require('gulp');

// Include Our Plugins
var jshint = require('gulp-jshint');
var concat = require('gulp-concat');
var uglify = require('gulp-uglify');
var rename = require('gulp-rename');

// Lint Task
gulp.task('lint', function() {
    return gulp.src('js/*.js')
        .pipe(jshint())
        .pipe(jshint.reporter('default'));
});

// Concatenate & Minify JS
gulp.task('scripts', function() {
    return gulp.src('js/*.js')
        .pipe(concat('all.js'))
        .pipe(gulp.dest('dist'))
        .pipe(rename('all.min.js'))
        .pipe(uglify())
        .pipe(gulp.dest('dist'));
});

// Watch Files For Changes
gulp.task('watch', function() {
    gulp.watch('js/*.js', ['lint', 'scripts']);
});

// Default Task
gulp.task('default', ['lint', 'scripts', 'watch']);

Now If am trying to run my gulp js file, using the command "gulp". then its thowing an error as:
mnbcvd3456:glp user$ gulp

    module.js:340
        throw err;
              ^
    Error: Cannot find module 'gulp'
        at Function.Module._resolveFilename (module.js:338:15)
        at Function.Module._load (module.js:280:25)
        at Module.require (module.js:364:17)
        at require (module.js:380:17)
        at Object.<anonymous> (/Users/glp/gulpfile.js:5:12)
        at Module._compile (module.js:456:26)
        at Object.Module._extensions..js (module.js:474:10)
        at Module.load (module.js:356:32)
        at Function.Module._load (module.js:312:12)
        at Module.require (module.js:364:17)

A: The problem is that you named the "name" "gulp".
Change your "name" to anything you like but "gulp".
You can also see this:
https://github.com/npm/npm/issues/13898

A: I think the problem might mbe that you have both installations on the same level. So both grunt and gulp try to access pakage.json.
Try to install them in different folders.
Also, install gulp globally, then locally on a different folder than grunt, create an empty package like this:
{
  "name": "name_you_want",
  "version": "0.0.1",
  "devDependencies": { }
}

and add plugins for dev like this (command line over folder where your package.json is: npm install --save-dev plugin_name
Plus: why will you use both grunt & gulp ?

redpajama_set_name: RedPajamaStackExchange


Sweet Jesus can You hear me?
and wait for You to call.
for I will surely fall.
"that I should never quit."
who tore my world apart.
that floods inside of me?
in hopes that I might see.
that marr my soul inside.
where evil deeds are done.
and cleanse my weary soul.
lead to me to Your shining Light.


text:
Clarksville-Montgomery County School System
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WORK WITH THE BEST.
CMCSS EMPLOYMENT
Current CMCSS Certified and Classified employees eligible for transfer should use the Employee Transfers app in ClassLink.
At CMCSS, you have access to an array of high-quality professional learning, leadership development, and specialized training courses. Opportunity for growth is a reality at CMCSS for all professions. Advance your career, build upon your technical skills, and know that we are ready to invest in you.
The benefits of a career with CMCSS stretch far beyond our exceptional medical, dental, and vision coverage. The district understands the importance of a positive work environment and a supportive team. We believe that all employees should embrace a work-life balance.
Clarksville-Montgomery County is one of the fastest-growing communities in the nation. The awards and recognition stack up for this bustling Tennessee town including being named the Best Place to Live, Top Ten Cities Where Millennials are Moving, and one of the Best Places to Retire in Tennessee. CMCSS plays a huge role in making our thriving community an amazing place to call home.
CMCSS believes that all 5,200+ employees are difference-makers in the lives of our students. It is inspiring to see the innovative and passionate work done both in and out of the classroom. We're always looking for motivated people who take pride in their work to join our team.
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text:
Akshay Kumar, Sara Ali Khan & Dhanush starrer Atrangi Re gets a direct digital release
Bollywood actor Akshay Kumar is on a roll with the release date announcement of his upcoming movies and has confirmed booking Diwali for the current and next year. In a recent media interaction, the actor confirmed a direct-digital release...
Atrangi Re: It's a wrap for Sara Ali Khan, pens a heartfelt note for Akshay Kumar & Dhanush
Sara Ali Khan has been shooting for her next, Atrangi Re, alongside Akshay Kumar and Dhanush for some time and on Saturday, Sara Ali Khan wrapped her schedule. Informing her fans about the wrap and thanking her crew for their...
Dhanush to play Indian Chess Grandmaster Vishwanathan Anand in his biopic? Find out
Bollywood is raining with biopics and remakes since the last decade and the trend is not going away any soon. While the filmmakers are constantly looking for great stories or characters for their movies, the latest addition to the...
Akshay Kumar joins Sara Ali Khan and Dhanush for the last schedule of Atrangi Re; Details inside
The Anand L Rai directorial Atrangi Re was announced earlier this year with a group photoshoot of the principle cast and the movie went on the floors before the nationwide-lockdown was announced. However, due to the ongoing pandemic, the shooting...
Dhanush receives bomb threat; Bomb squad conducts search operation with sniffer dogs
While the Indian entertainment industry used to have links with the underworld, the Kollywood industry is currently facing back to back threat calls. On Tuesday morning, former leader of opposition in the Tamil Nadu Legislative Assembly, Vijayakanth received a...
Askhay Kumar to collaborate with Sara Ali Khan and Dhanush for Anand L Rai's next, read report
Akshay Kumar is on a roll with back to back movie announcements. The actor recently announced the new release dates for his upcoming movies, Bell Bottom and Bachchan Pandey, and Thursday came out as another surprise for his fans. Akshay Kumar will...
Hrithik Roshan and Sara Ali Khan to pair in Anand L Rai's next with Dhanush
Hrithik Roshan is having a great year as his much-awaited movie, Super 30, finally made its way to the big screens and opened with some great reviews from critics and audience. Meanwhile, the movie is performing great at the...
Soundarya Rajnikanth And Vishagan Vanangamudi To Wed On Feb 11!
Vaishnavi - 2019-02-05 0
It's wedding bells time for director-producer Soundarya Rajnikanth and businessman-actor Vishagan Vanangamudi on February 11. Soundarya made her directorial debut in 2014's animated movie Kochadaiyaan starring her superstar father Rajnikanth and Bollywood star Deepika Padukone. Followed by Vellaiyila Pattathari 2...
Super Star Dhanush's Dream Project 'Vada Chennai' to Release on October 17! (Tamil)
Southern super star Dhanush, recently announced the release date of his upcoming Vetri Maaran's movie 'Vada Chennai'. It is Tamil Cinema's first ever Trilogy. The first installment of the movie is all set for its release on 17th October...


I was inspired by character sketch/ painting by Alexander Trufanov and contacted him to see whether i could try and turn it into a miniature.
It meant a little redesign and some slight changes to the armour but Mr Trufanov was happy to let me have a go. A huge thanks to him for being so wonderful about it!
The print came from Shapways (still not true resin bath prints but resin filament) and was done all in one piece at 32mm tall. Overall, i'm quite happy with the product but it will take a little bit to get it looking nice.


text:
Gałąźnia Mała (deutsch Klein Gansen, kaschubisch Môłô Gałązniô) ist ein Dorf im Powiat Bytowski (Kreis Stolp) der polnischen Woiwodschaft Pommern.

Geographische Lage
Gałąźnia Mała liegt in Hinterpommern, etwa 28 Kilometer südöstlich der Stadt Słupsk (Stolp) und 17 Kilometer nordwestlich der Stadt Bytów (Bütow). Das Dorf liegt im Urstromtal der Słupia (Stolpe), die mitten durch die Gemarkung der Ortschaft fließt.

Geschichte
Klein Gansen war eines der ältesten Lehen der Familie Zitzewitz. Als erster Gutsbesitzer dieses Namens in Klein Gansen wird Jarislaw von Zitzewitz für den Zeitraum 1360–1412 genannt. 1568 wurde hier Lucas von Zitzewitz ansässig, auf den der erste sogenannte Klein Gansener Zweig der Familie Zitzewitz zurückgeführt wird.

Um 1784 hatte Klein Gansen ein Vorwerk, eine Ziegelei, einen Kalkofen, sechs Vollbauern, von denen jedoch einer zu dem ebenfalls alten Zitzewitzschen Lehen Goschen gehörte, einen Halbbauern, drei Kossäten, einen Schmied, einen Schulmeister und auf der Feldmark ein neues Vorwerk, Julianenhof genannt, mit einem Kossäten und zwei Büdnern, eine neu angelegte Schäferei, die als Krampnitzsche Schäferei bezeichnet wurde, mit zwei Kossäten und zwei Büdnern, die Kolonie Friederichsthal, die mit acht Halbbauern besetzt war, eine Getreide- und Schneidemühle, sieben Holzwärtereien, und zwar mit den Bezeichnungen Schwarzer-Born, Kolowny, Krampnitz, Borowe, Kaliesch, Swiatken und Schovawe, und insgesamt 48 Haushaltungen.

Im Zeitraum 1911 bis 1914 wurde in Klein Gansen das elektrische Wasserkraftwerk Glambocksee fertiggestellt. 1926 wurde fünf Kilometer weiter stromabwärts ein zweites Kraftwerk mit Stausee erbaut.

Im Jahr 1925 standen in Klein Gansen 76 Wohngebäude. 1939 wurden 102 Haushaltungen und 407 Einwohner gezählt. Im Jahr 1939 gab es in Klein Gansen außer dem Gut 55 landwirtschaftliche Betriebe. 1938 hatte das 868 Hektar große Rittergut Klein Gansen 286 Hektar Ackerland, 29 Hektar Wiesen, 370 Hektar Wald, 160 Hektar Unland, Hofraum und Wege sowie 23 Hektar Wasserfläche. Vor 1945 waren in der Dorfgemeinde eine Mühle, ein Gasthof mit Fremdenbetten und einem angeschlossenen Verkaufsladen, ein Kolonialwarengeschäft, eine Bäckerei und verschiedene Handwerksbetriebe vorhanden.

Bis 1945 gehörte das Dorf Klein Gansen zum Landkreis Stolp im Regierungsbezirk Köslin der Provinz Pommern. Die Gemeindefläche war 1.978 Hektar groß. In der Gemarkung Klein Gansen gab es insgesamt 11 Wohnorte:
 Buchkaten
 Borowe
 Bruchhof
 Friedrichsthal i. Pom.
 Klein Gansen
 Krampnitz
 Muskowski
 Mühle
 Prosetze
 Vorwerk Julianshof
 Zerowe

Gegen Ende des Zweiten Weltkriegs begaben sich die Dorfbewohner von Klein Gansen am 6. März 1945 vor der herannahenden Roten Armee im Pferde-Treck auf die Flucht. Das Kraftwerk Klein Gansen wurde am 7. März 1945 stillgelegt. Um die Stolpe-Brücke kam es in der darauffolgenden Nacht zu Abwehrkämpfen. Der Treck der Dorfbewohner wurde in Bornzin und Schöneichen von den schnell vorrückenden sowjetischen Truppen überrollt. Da die Pferde ausgespannt und konfisziert wurden, mussten die Dorfbewohner die Rückreise zu Fuß antreten. In den ersten Wochen seit der Besetzung von Klein Gansen wurden 22 Personen verschleppt, von denen nur vier zurückkehrten. Am 1. April setzten die sowjetischen Soldaten das Kraftwerk mit deutschem Personal wieder in Betrieb. Nach Kriegsende wurde Klein Gansen zusammen mit ganz Hinterpommern unter polnische Verwaltung gestellt. Im Juli 1945 wurde das Kraftwerk von der verstaatlicht. Im Oktober 1945 wurden weitere Polen in das Dorf umgesiedelt. Die deutschen Dorfbewohner wurden enteignet und vertrieben. Das Fachpersonal des Kraftwerks blieb bis zum 6. Oktober 1948, bis polnisches Personal ausgebildet worden war.

Später wurden in der Bundesrepublik Deutschland 244 und in der DDR 98 Dorfbewohner aus Klein Gansen ermittelt.

Schule
Die in Klein Gansen vor 1945 vorhandene Schule war dreistufig. Sie hatte drei Klassen, in denen zwei Lehrer insgesamt etwa 80 Kinder unterrichteten.

Kirche
Die vor 1945 in Klein Gansen anwesende Bevölkerung war evangelischer Konfession. Im Jahr 1925 hatte Klein Gansen fünf Bewohner katholischer Religionszugehörigkeit.

Literatur
 Karl-Heinz Pagel: Der Landkreis Stolp in Pommern. Lübeck 1989, S. 603–608 (Ortsbeschreibung Klein Gansen; PDF)
 Ludwig Wilhelm Brüggemann: Ausführliche Beschreibung des gegenwärtigen Zustandes des Königl. Preußischen Herzogtums Vor- und Hinterpommern. Teil II, Band 2, Stettin 1784, S. 964, Nr. 46.

Weblinks
 Die Gemeinde Klein Gansen im ehemaligen Kreis Stolp. Gunthard Stübs und Pommersche Forschungsgemeinschaft, 2011
 Zur Vorkriegsgeschichte von Gallensow und seinen Nachbarorten Gisela Seipenbusch und Siegfried Krause, 2007

Einzelnachweise

Ort in Pommern
Ort der Woiwodschaft Pommern
Gmina Kołczygłowy

redpajama_set_name: RedPajamaWikipedia


Writing guest posts for blogs and websites can be a great way to build connections both with fellow writers or potential readers. Guest posts can help you get a "foot in the door" with members of your target audience who you wouldn't normally reach through your own blog or social media channels. These posts and articles can also help stretch your writing skills and build your credibility if you're trying to "break into" a new genre or niche. These days, with so much publishing happening online and with blogs gaining respect as sources of information and news, writing guest posts isn't just a fun thing to do, it's the smart thing to do.
Before you start pitching guest posts at every blog under the sun, you need to consider what your goals are because they will influence your entire guest post process. Do you want to promote a blog you just started? If so then your strategy will be very different from a writer who has just published a book and wants to get noticed on the book blog circuit. Or what if you don't have a blog, or you're just starting out and have no idea whether you should even write guest posts at all? Don't worry, we've got a guest post strategy for you too.
This article outlines the five most common strategies writers have for doing guest posts and it can help you jump-start the process of finding these opportunities. In upcoming articles, we'll get into more of the details about the who, what and how in next few weeks. First and foremost, you need to identify your purpose or strategy for writing guest posts–your WHY–because every step after that will be based on this initial decision.
One of the best ways to get more people to visit your site is to write guest posts for other sites. It's a win-win. The site that's hosting your post gets free content that you write exclusively for them. You get exposure and if you include your blog's link in the article (in your bio at the end of the post is a simple and classy way to do this), you'll probably see a nice spike in traffic as well. Just avoid a few key pitfalls and this strategy can be a great way build credibility in the blogosphere and gain some new loyal fans at your site.
The main place where guest bloggers tend to slip up is in pitching articles to websites before doing their due diligence. You need to do your homework, get to know the site where you're pitching a guest post and the topics you pitch must be relevant to that site. Even if your area of expertise isn't directly related to a given website, you can find creative angles for your topic that can be relevant to that site. You can even take the same basic idea and spin out articles for several websites in completely different niches just by looking at your topic from the perspective of different audiences.
Related to Strategy #1, this strategy is all about what to do when you want to break out of a blogging rut and add a new group of people to your band of followers. In this case, think about sites that don't directly connect to your area of expertise, but are peripherally related. For instance, at DIY MFA the obvious strategy is to write guest articles for other writing blogs. To expand beyond this niche, though, I also sometimes write for other publications that are related to writing or books or publishing, but are not quite as obvious. For instance, I might pitch a "Read with Purpose" type of article to a book blog. Book blogs tend to focus on book reviews and connecting with readers, so this type of post would allow me to broaden the DIY MFA audience while still drawing on my areas of expertise.
Connect you with potential readers. Ideally if you write a guest article, you want it to be for a website that will reach your ideal reader. Think about who your ideal reader is, what blogs he or she might read, and then figure out an article that will bridge the gap between the focus of that site and your expertise.
Build your credibility as a writer or expert on your topic. Some websites might not be the go-to site for your ideal reader, but if a website is well-respected, having an article on that site can be valuable nonetheless. The more you build your credibility as a writer and expert, the more doors will open for you down the road, both with promoting your book and also building your career in general.
Following you on Facebook, Twitter or other social media. Just beware about peppering your bio with too many links. Too many choices between possible actions means people end up doing nothing altogether. Choose one and include a link so people can follow with one click.
Checking out your Amazon or GoodReads author page. Again, keep the CTA to one choice and make it easy for readers to complete the action.
Don't think guest posting is for you? Think again.
When you write an article for someone else–be it a blog or website or print publication–you have to bring your A-game. By pushing yourself to do guest posts for other websites, you'll strengthen those writing chops and you'll learn to look at your preferred topic through the lens of different audiences. Not to mention that by working with bloggers, pitching post ideas and making requested edits, you'll be practicing skills that will serve you throughout your writing career.
Don't fret if you're just starting out. You don't need to pitch to heavy-hitter websites right out of the gate. In fact, some of the best blogger-friends I've made over the years are with bloggers who were at the same stage of writing as I was and we would swap posts, hosting each other on our sites. Sort of like being in the same graduating class in school, there's a certain camaraderie of growing your writing careers side-by-side. This is a great way to forge relationships and collaborations with other writers, and you can meet some great people to boot!
As I announced on Tuesday, we have a new Web Editor at DIY MFA. Bess and I are working on putting together guest article submission guidelines for this site but we still haven't nailed down all the details. For the time being DIY MFA will be closed to unsolicited submissions.
But fret not, over the next few weeks, we'll be posting a few more articles on navigating the guest post process: from developing a pitch to crafting an excellent article. Our hope is that when we open up submissions, you'll have all the information you need to write something fantastic. Hint: The skills you'll learn here aren't just relevant for writing articles at DIY MFA, but most of these concepts also apply when writing for most blogs and even print publications.


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One in five breast cancer patients could benefit from existing treatment, genetic study reveals
by Wellcome Trust Sanger Institute
Micrograph showing a lymph node invaded by ductal breast carcinoma, with extension of the tumour beyond the lymph node. Credit: Nephron/Wikipedia
Researchers from the Wellcome Trust Sanger Institute and their collaborators have discovered that a greater number of breast cancers are genetically similar to rarer cases with faulty BRCA1 or BRCA2 genes. The results published today (13 March) in Nature Medicine open up the possibility of up to 20 per cent of women being treated with PARP inhibitors, a class of drug previously only thought to be effective for women with an inherited BRCA1 or BRCA2 mutation.
Breast cancer is the most common cancer in the UK, affecting nearly 55,000 women a year. Globally it accounts for nearly 1.7 million cancer cases. Between 1 and 5 per cent of breast cancer cases are due to inherited mutations in BRCA1 or BRCA2 genes.
Inherited mutations in BRCA1 and BRCA2 genes mean that some of the machinery required to fix DNA is faulty. People with these faults have higher risks of developing certain cancers, like breast and ovarian cancer.
Drugs called PARP inhibitors have been designed to specifically treat tumours with faulty BRCA1 and BRCA2 genes in breast and ovarian cancers, and their use against prostate cancer is currently being investigated.
In the study, researchers analysed the breast cancer genomes of 560 patients and looked for every single type of mutation possible. The team developed a new computer-based tool called HRDetect to identify patterns of mutations - mutational signatures - in the tumours, which were similar to people who have mutations in the BRCA1 and BRCA2 genes.
Scientists discovered that many breast cancer patients had mutational signatures that were identical to people with faulty BRCA1 and BRCA2 genes, even though they had not inherited the mutations.
The results suggest that roughly 1 in 5 breast cancer patients could benefit from existing PARP inhibitor treatments. This would need to be tested through a clinical trial, with participants being selected based on the mutational signatures of their tumour.
Dr Serena Nik-Zainal, lead author from the Wellcome Trust Sanger Institute, said: "In the past, clinical trials for PARP inhibitors have focused mainly on the 1-5 per cent of women with breast cancer. However, our study shows that there are many more people who have cancers that look like they have the same signatures and same weakness as patients with faulty BRCA1 and BRCA2 genes. We should explore if they could also benefit from PARP inhibitors. The results suggest that clinical trials now need to look at cancer patients who share the same genetic signature in their cancer. This could change how clinical trials are designed in the future."
Until now, most clinical trials of PARP inhibitors have focused on patients with inherited mutations in the BRCA1 and BRCA2 genes. This research suggests that systematic clinical trials on a wider set of patients will be required to see if they might also be responsive to the drugs.
Dr Helen Davies, joint first author from the Wellcome Trust Sanger Institute, said: "From the mutational signatures we were able to spot many more tumours with defects in their DNA repair machinery that we couldn't see before. This was only possible by sequencing the entire genome of these cancers. Further work needs to be done as there could be tumours with the same mutational signature elsewhere in the body that may respond to these drugs."
Professor Sir Mike Stratton, Director of the Sanger Institute, said: "This work uses mutational signatures to identify the complete set of cancers that will respond to certain drugs that are already known to be effective in a subset. To translate these results into treatments, further sequencing of cancer genomes and more clinical trials are urgently needed, but this is a most promising start."
Changes in gene contribute independently to breast and ovarian cancer
More information: Helen Davies et al. (2017) HRDetect is a predictor of BRCA1 and BRCA2 deficiency based on mutational signatures. Nature Medicine. DOI: 10.1038/nm.4292
Journal information: Nature Medicine
Provided by Wellcome Trust Sanger Institute
Citation: One in five breast cancer patients could benefit from existing treatment, genetic study reveals (2017, March 13) retrieved 18 July 2019 from https://medicalxpress.com/news/2017-03-breast-cancer-patients-benefit-treatment.html
Researchers discover BRCA1 gene is key for blood forming stem cells
Five new breast cancer genes and range of mutations pave way for personalized treatment
Genomic fingerprint can highlight which breast, ovarian, pancreatic and gastric cancers likely to respond to treatment
'Cell' article reveals new resistance mechanism to chemotherapy in breast and ovarian cancer
Murine study finds potential boost for ovarian cancer drug Olaparib


Watch for income when purchasing Fischer Storage Ottoman ByLatitude Run. Usually furnishings are put on selling. If you want a particular part, it can save you lots of money by patiently awaiting the purchase price to become minimized. You might even ask your favorite Fischer Storage Ottoman ByLatitude Run retail store when the piece will probably be designated for less money. If you need a new settee, try getting one with a few completely covered pillows. These cushions stay longer and may be flipped on a regular basis. Ideally, you should get a couch with removable addresses so that you can easily scrub them. Detachable addresses can also be substituted effortlessly in the event you cannot nice and clean a spot Buy Fischer Storage Ottoman ByLatitude Run later during. After this year, it is typical for retailers to get these sections off of their store ground. This can lead to some good income and savings.
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Senator Fontaine says the support given to Lennox Linton reaffirmed his confidence in Dominicans
And UWP Senator, Dr. Thompson Fontaine, says the pouring of support from the Dominican public for Opposition Leader Lennox Linton, has reaffirmed his confidence and belief in the people of Dominica at home and abroad.
Dr. Fontaine says he has been worried about the direction in which Dominica was going, but this incredible response from the Dominican people has influenced his perspective.
Over EC $100,000 was raised this week to assist Linton in a matter involving Chartered Accountant, Kieron Pinard-Byrne following a judgement by the Privy Council.
Thursday was the deadline date on which Linton had to pay almost $80,000 to Pinard-Byrne for defamation. The drive to raise funds for Linton was led by Hot Seat Host Mathias Peltier, on Q95 FM Radio.


text:
Cheyenne Police Looking for New Leads in Coin Shop Murders [VIDEO]
Joy Greenwald
Although three years have passed since the murders of Dwight Brockman and George "Doc" Manley, Cheyenne Police Department spokesman Officer Kevin Malatesta says the case "hasn't gone cold."
"It's still an active case," said Malatesta. "The leads are coming in more slowly, but we are still getting leads."
The 67-year-old Brockman and 76-year-old Manley were gunned down during an armed robbery at The Coin Shop on July 20, 2015, while the Cheyenne Frontier Days pancake breakfast was going on just blocks away.
Since then, police have poured thousands of man-hours into the case, but have yet to find the men's killer.
"Our detectives have done a great job of accessing all the evidence, going through everything that's been there, but we are looking for some new leads to help break this case," said Malatesta.
Because it's an "ongoing investigation" Malatesta couldn't talk about the specifics of the case, other than to say that "DNA analysis has been completed" and they "still haven't ruled anything out as far as (the suspect) being a local person or somebody from out of town."
"We really do want to make sure that we find out who did this," said Malatesta. "We don't want to just let this get put in a folder somewhere and have it be done, we want to continue pursuing leads."
Filed Under: cheyenne police department
Categories: Casper News, Crime, Wyoming News


This article is about the South African political scientist. For the co-founder of Johnson and Johnson and his descendants, see Robert Wood Johnson.
R.W. Johnson speaking at the 10th Barry Streek Memorial lecture in Cape Town, South Africa in August 2016.
R. W. Johnson (born 1943) is a British journalist, political scientist, and historian who lives in South Africa. Born in England, he was educated at Natal University and Oxford University, as a Rhodes Scholar. He was a fellow in politics at Magdalen College, Oxford, for twenty-six years; he remains an emeritus fellow. His 2015 book Look Back in Laughter: Oxford's Postwar Golden Age is a memoir of his years at Magdalen, including his work with college president Keith Griffin to rescue the College's finances and buildings. In reviewing his memoirs, The Economist described Johnson as a "romantic contrarian liberal".
On his return to South Africa in 1995, he became director of the Helen Suzman Foundation in Johannesburg until 2001.
He is currently a South Africa correspondent for the London Sunday Times and also writes for the London Review of Books His articles for the LRB generally cover South African and, to a lesser extent, Zimbabwean affairs.
In early March 2009, Johnson injured his left foot while swimming, it became infected with necrotizing fasciitis and his leg was amputated above the knee.
^ The Guardian contributor profile.
^ R W Johnson: Look Back in Laughter: Oxford's Postwar Golden Age, Threshold Press (2015).
^ "Romantic contrarian". The Economist. Retrieved 2017-11-14.
^ Orion Archived 2009-01-06 at the Wayback Machine author profile.
^ London Review of Books contributor page.


An inviting target for improvement in small business bookkeeping is accounting for sales of business property. Proper recording of these events assures the usage of appropriate tax rules.
A most important element of correct accounting for selling business assets is that the nonrecurring nature of these transactions is removed from ordinary income categories. This process renders a rational perspective on routine income sources. Analysis that compares past periods and assesses trends, therefore disregards income distortions triggered by uncommon asset sales.
Selling an asset used in business is always reported on a different tax form than normal business income. Therefore, the main bookkeeping procedure deserving of vigilant oversight is recording the sales price of each sold asset in a separate account for Other Income on the Profit and Loss Statement. Some sales are complicated because they involve multiple assets. For instance, a sale of land with a building and a fence is three distinct assets. You must divide the total sales price among the assets sold.
Of course, the entire sales price is not profit. You also have costs for the sale. These are recorded in an Other Expense account on the P&L. Examples of these expenses are commissions paid to a selling agent or delivery costs for sending the sold asset to the buyer.
The biggest expense related to a business property sale is normally the original cost of the asset. This was not an expense deduction when you acquired it. Rather, it was added to an asset account on the Balance Sheet. A bookkeeping procedure that's commonly unfamiliar at first but sensibly grasped following able assistance, is the removal of a sold asset's original cost from the Balance Sheet. It's transferred to the Other Expense account.
A crucial issue to remember is that some of the original asset cost has already been expensed as depreciation. Prior depreciation expense was offset by equal negative values to an asset account for Accumulated Depreciation. This negative Balance Sheet figure combined with the account for the asset's original cost reveals net depreciated cost. Your bookkeeping maneuver that transfers the original asset cost to Other Expense must also move to Other Expense the Accumulated Depreciation for that particular sold asset. Consequently, the net depreciated cost becomes the primary component of Other Expense.
A complex collection of tax statutes applies distinctive rules to different types of sold business property. But entrepreneurs can turn vice into virtue by the simple process of separately accounting for each asset sale and its associated costs.


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Nikolai Alexeyev was the first person charged and fined in Russia under the local municipal law that would eventually become Russia's infamous "anti-gay law." More
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On July 15, 2009, Natalia Estemirova, a journalist and human rights defender, was abducted by four gunmen on her way to work in Grozny, the capital of Chechnya. Estemirova… More
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Htin Lin Oo, a former information officer for the National League for Democracy, was sentenced to two years in prison with hard labor in June 2015 on charge of… More
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Dawit has been held in prison for more than a decade without being charged or brought to trial by the Eritrean government. He is a playwright, writer, and co-owner… More
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Four journalists Lu Maw Naing, Yarzar Oo, Paing Thet Kyaw, and Sithu Soe for the newspaper, Unity, along with the CEO, Tint San, of the newspaper were sentenced to… More
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Anna Politkovskaya was an accomplished journalist, writer, and human rights activist. She produced a large body of work on human rights abuses in Russia and was murdered for her… More
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Xue Deyun (pen name Ma Zhe) was arrested on January 26, 1998. Xue was sentenced at the Guiyang Municipal People's Court to five years in prison on charges of… More
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In 1989, Bei Dao was accused of helping to incite the events in Tiananmen Square, and was forced into exile from China. Since then, he has lived in seven… More


text:
Successful track record of developing and commercializing innovative and clinically significant healthcare technologies.
Scott Schorer
Scott brings over 20 years of executive experience in the medical device industry, having both founded and helmed numerous public and private companies in the medical device, biologics and healthcare IT space.
Scott served as a president and consultant to numerous boards and CEOs across a wide variety of companies in the medical device, biologics and related markets. He has raised ~ $150m in equity in public and private entities. Scott currently serves on the Advamed Board of Directors and the Advamed Accel Board of Directors.
Prior to joining GI Dynamics, Scott served as a turnaround executive working on behalf of multiple venture capital and private equity firms. Scott served as president of Americas of Systagenix, the private equity buyout of the J&J Advanced Wound Care Division- sold to Acelity. Scott led the uplisting of PlasmaTech Biologics from the OTC to Nasdaq. He founded and led Innovative Spinal Technologies prior to its sale to Integra, and CentriMed, which was sold to the Global Healthcare Exchange (GHX). GHX transacted over $45bn in 2018 and has saved member organizations over $5bn since inception.
Scott began his medical device career as a sales representative for a surgical distributor, working for Anspach and Carl Zeiss. Scott served as a Scout Platoon Leader and Rifle Platoon Leader in the 82nd Airborne Division.
Scott holds a Bachelor of Arts and Bachelor of Engineering from Dartmouth College.
Charles Carter
Chief Financal Officer
Charles brings over 15 years of experience as a finance executive in the medical industry, having worked with a wide variety of life sciences, therapeutics, and medical device companies.
Charles has been serving as a consulting finance executive to a broad array of life sciences companies for Danforth Advisors, LLC since February 2018, and previously from 2012 to 2015. In 2015, Charles joined the Guild for Human Services, Inc., as CFO then returned to Danforth Advisors to resume consulting for life science companies in February 2018.
During his time with Danforth, Charles has served as a senior finance executive for Marina Biotech (NASDAQ: MRNA) and Interleukin Genetics (NASDAQ: ILGN) and continues to serve as the head of finance for numerous privately and venture backed life science companies.
Prior to joining Danforth in 2012, Charles held the position of CFO for Aeris Therapeutics, Inc. and Intelligent Medical Devices, Inc., vice president of finance for Adnexus Therapeutics, Inc., and senior director of financial planning and analysis for Transkaryotic Therapies, Inc. (NASDAQ: TKT).
Charles holds an MBA and MS degree in Molecular Genetics and Cell Biology from the University of Chicago and a BS in Biology from Colgate University.
Stephen Linhares
Vice President of Clinical and Regulatory Affairs
Stephen brings over 30 years of experience in development, regulatory, preclinical and clinical operations, quality and resource management with a focus on medical devices.
Prior to joining GI Dynamics, Stephen held the position of vice president of regulatory, clinical affairs and quality assurance at Neograft Technologies Inc. He also held leadership roles at Insulet Corporation, Boston Scientific Corporation Inc., and Phase Forward Inc., as well as vice president roles at PLC Medical Systems.
Stephen brings extensive knowledge of the diabetes disease and medical device space, where he has led 10 clinical trials, multiple CE Mark approvals, and numerous 510(k) clearances. Stephen holds nearly 20 United States and international patents and co-author of two peer-reviewed publications.
Stephen holds a BS in Physics from Bridgewater State College.


NEIL Harris wants his side to give Birmingham City a rough ride at The Den on Wednesday following Blues' weekend defeat at rivals Aston Villa.
Garry Monk's Birmingham have conceded 10 goals in their three league games, and face a Lions side that has won three and drawn one of their last four at home.
"What we've got to realise is that when we get into good areas we've got to take up better positions in and around the penalty area. Too many times we got into good areas and didn't quite have the nous there to make all the good play count.
Harris watched the second city derby and is wary of Birmingham's attacking quality.
Harris said: "It was a very enjoyable game for the neutral, a lot of chances at both ends. Birmingham have been involved in some really good games recently for us to watch, but I'm sure Garry would be disappointed with the goal-scoring opportunities given up.
"They're a real threat going forward and have a super front pair in [Che] Adams and [Lukas] Jukiewicz. They're direct and very Millwall-like with and without the ball, and I mean that as a compliment to them, obviously. They're a real handful to deal with. We'll certainly have to be good defensively.


Aly Spaltro, better known under her stage name of Lady Lamb, takes some time to talk to Maddie Harris about her new record, Tender Warriors Club, as well as her Living Room Tour that comes to The Sinclair (Cambridge, MA) on February 10th.
Thanks so much for taking the time out of your day to talk with me, I know you're probably very busy preparing for your tour. I was actually going to start off with talking about the tour, since it is a little unconventional being that most of the shows are in living rooms. Can you tell me a little bit about how that came to be or what you're most excited for about that?
Yeah, I got the idea after playing a couple house shows around New York throughout the years and had really memorable experiences doing that where—you know— I was playing to just 50 to 70 people completely unplugged and I just love the intimacy of it. I went on tour with some friends and I was asking them if they've played any living room shows and they recommended to focus exclusively on living room shows. They said they've done a couple of tours that was and really loved the experience. And I just knew that the new record I made would be really conducive for small rooms and luckily the company wanted to work with me on booking the tour and we got a bunch of fan submissions, so essentially I'm playing in fan's homes, or art galleries, or places that they run after hours—that sort of thing.
Very cool, that must mean that a lot of the booking and logistics for this tour would directly involve fans and those who admire your work. How has that been different or interesting interacting with them so much, as opposed to a venue or company? Did you enjoy this more?
Yeah, it's definitely really exciting to learn who the hosts are and see them inviting their friends on the Facebook event pages. You know, I've never really done anything like this before and I'm really glad to involve people who have the room to host the show in their house, as opposed to a traditional venue—which I also love—but obviously this is just a very different type of tour.
Right of course, you mentioned that you think the new EP is conducive to having a more intimate set, so I kind of wanted to talk about your lyrics. You have a pretty expressive and poetic way of telling stories and such and I've always wondered, personally, about your song writing process. What do you find is running through your mind when you write?
Well, it's tough to pin down exactly how it works, but I always write lyrics first, and usually, an idea will come to me in a phrase and I'll write it down and collect phrases overtime. Sometimes, I'll write a whole poem and a verse and I'll set it right to music right then and there, or shortly after. I wrote the songs for this [album] in May and June , and I was recording by the first day of August. So for me, as a process, it was a little but speedier than usual. But in a way, I really appreciated it because it felt more urgent. The songs all came to me in a pretty short amount of time in a burst and I was able to record them all in 10 days. And you know, for me the lyrics are the most important thing, so the music has always been a vehicle for the message.
Yeah, because I've noticed on this EP the lyrics kind of take center stage, whereas before on previous albums the production was a bit more intensive. Was that intentional because of the lyrics or did you have an idea behind this album that you wanted to express through that?
Yeah it was definitely intentional. What was not intentional was that I was sitting down to write for my next full length, full band record, but I was noticing that the songs I was writing—they just weren't fitting their way into the structure that I was trying to make them fit into. For example, I was trying to write drums and full arrangements for a couple of the songs and noticing that it just wasn't quite what the song wanted, so it was intentional to decide to strip the songs back and try to let them breathe and speak for themselves with very little accompaniment or arrangement. And then like I said, I recorded them live too, so mostly what you're hearing is just my voice with my guitar or a banjo with maybe just a couple of things here and there for dynamics. But all in all, pretty sparse.
So obviously, you're starting off tour now. I actually saw you a few years back supporting The Decemberists in Portland, Maine. I was wondering what you're looking forward to most about headlining your own tour or what you may have in store for us?
I'm most excited to just be playing the way I'm playing. I haven't toured with just acoustic instruments ever, so this is the most stripped down I'll ever be touring. You know, a lot of the tours I've done on electric guitar, but now a lot of these shows don't even have amplification. So I'm really excited for the intimacy of that: for the connections, for the lack of a boundary between myself and the audience who will most likely just be sitting on the floor—you know—right there in front of me. So yeah I'm just really looking forward to not having that barrier for most of these shows. There's a show in the Boston area at the Sinclair so that will be a little bit different, but that's also the biggest one I'm doing, which I'm also really looking forward to.
So to wrap things up, I just have a question or two left. I was wondering about the title of the album, Tender Warriors Club. What does it mean, or is there a certain type of audience you think you were trying to encapsulate there?
Well, I have noticed over time that the people who connect to my music are emotional people and aren't afraid of their emotions—and they're sensitive. And I love that. I love that because I'm the same type of person. So I think that the music draws in like-minded, sensitive people and I find that my closest friends are similar, too. So, the title came to me when I was on the telephone with one of my best friends walking through Manhattan, and she was going through a really rough time. So she told me that she had just bought an impulse ticket to go to Paris by herself and I was so proud of her because, to me, it felt like she was showing courage even though she was really terrified. And so I called her a tender warrior just out of the blue. And then on my walk, I started wondering about what that meant to me and I realized that a lot of my friends are that type of person that, even through difficulty, they care enough about taking care of themselves that they're courageous, and sensitive, and emotional. It just made perfect sense. It all came together. So while I was writing the songs, right off the bat that was the title. And I would use that title to create this kind of club that fans of mine would collect under—and even merch for it—so we could all be able to spot each other out. Creating like a little tiny community. So yeah, that's what the records about and what the tour's all about.
Thank you so much to Aly for taking the time to interview with Maddie Harris of WRBB, and thank you to Morgan at Mom + Pop Music for coordinating.


text:
Sports Broadcasting Hall of Fame 2020-21: Fred Gaudelli, Father of the Modern Pro-Football Broadcast
Sports Broadcasting Hall of Fame 2020-21: Fred Gaudelli, Father of the Modern Pro-Football Broadcast By Jason Dachman, Chief Editor
Thursday, December 2, 2021 - 11:34 am
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In a ceremony postponed by the pandemic, the Sports Broadcasting Hall of Fame Class of 2020 will be inducted on Dec. 14 at the New York Hilton. SVG is profiling the nine inductees in the weeks prior. For more information, CLICK HERE.
Few - if any - individuals have had as indelible an impact on the look and feel of NFL broadcasts over the past three decades as Fred Gaudelli. The producer of NBC's Sunday Night Football, ABC's Monday Night Football, and ESPN's Sunday Night Football has reimagined how viewers watch pro football, deploying groundbreaking technical innovations, inimitable storytelling tactics, and an impeccable sense of style to bring the game into the modern age for millions of fans.
There's no one better than Fred Gaudelli, says Sports Broadcasting Hall of Famer John Madden, who worked with the 24-time Emmy Award winner at ABC and NBC. He's the hardest-working person in TV, and he's a great coach.
The Early Years: Sports-Crazed Kid Eyes the Broadcast Booth A native of Harrison, NY, Gaudelli grew up obsessed with sports and was a fan of Knicks and Rangers announcer Marv Albert and ABC Sports' Keith Jackson, Chris Schenkel, and Howard Cosell.
I figured out that I wasn't going to be a professional athlete around 13 or 14, Gaudelli explains, but I still had this great passion for sports, and I grew up constantly listening to sports on radio and watching on television. I thought it would be a fun job to call games and get paid for it. That's when I really started thinking hard about it and paying attention to the broadcast of games.
After graduating from Harrison High School, where he served as PA announcer for basketball and baseball games, Gaudelli headed to Long Island University - C.W. Post. As a communications major, he was extremely active at the campus radio station, calling football and basketball games and serving as sports director his senior year. However, he soon came to realize that his future was behind the scenes rather than behind the mic.
I just didn't feel like my voice was the kind of voice that you would hear at a Super Bowl or a World Series and realized that would put a pretty quick ceiling on how far I could go, he remembers. So I took an internship at Channel 5 in New York City in the production department. I fell in love with it right away and thought that it would be a better path for me because I would still get to use my sports knowledge and satisfy my passion for sports, but my success wasn't going to be incumbent on something I couldn't control: my voice.
Bristol-Bound: Landing at the Worldwide Leader in Sports After graduating and while working on a weekend sports-radio talk show at WFAS White Plains, NY, Gaudelli heard via the station's owner about potential job opportunities at a fledgling cable sports network in Bristol, CT. He soon found himself working in the mailroom at ESPN and, by 1983, had worked his way through the ranks of ESPN's remote-production department to become an associate producer on a variety of sports, including college football, basketball, and baseball; the USFL; the U.S. Olympic Festival; and the NFL Draft.
I was extremely fortunate to work closely with Fred from the very beginning of his career at ESPN, says Sports Broadcasting Hall of Famer and former ESPN exec Steve Anderson. Right from the start, he was the most talented, hardest-working, and best-prepared producer I have ever known. He always set incredibly high standards for himself and for everyone on his team. In my opinion, Fred has developed into the best live-event producer in the history of television sports.
Gaudelli got his first front-bench gig in 1986, producing ESPN's live Thursday-night college-football package, and he went on to produce the broadcaster's Big Monday college-basketball and College World Series packages as well.
The people and the camaraderie that we had at ESPN back then are what sticks with me to this day, as well as the work ethic that was embraced and shared by everyone, says Gaudelli. I was fortunate to have two bosses in [Sports Broadcasting Hall of Famers] Bill Fitts and Scotty Connal, who were giants in the business teaching a bunch of young kids that didn't know anything. They were demanding but, at the same time, understanding, kind, and they were terrific teachers in terms of storytelling, organization, and how to lead. I still use those lessons today.
In 1990, Gaudelli took over as producer of ESPN's Sunday Night Football package - the highest-rated series on cable television at the time - along with serving as producer of ESPN's NFL Draft coverage. Named senior coordinating producer at ESPN in 1996, he also oversaw the network's X Games broadcasts and its Cable Ace Award-winning Major League Baseball coverage in 1997.
He would go on to produce SNF on ESPN through 2000, with the show winning an Outstanding Live Sports Series Emmy in his final year.
In my opinion, Fred Gaudelli is quite simply the best NFL-game producer of all time, says Sports Broadcasting Hall of Famer Howard Katz, who served as Guadelli's boss at ESPN and later ABC Sports. His knowledge of the game and the way he thinks like an offensive coordinator gives him an uncanny ability to anticipate in the truck what's about to happen on the field. Combine that with his instincts and intuition along with his ability to process information in the heat of the game on so many different levels, and you've got a very, very special talent.
Monday Night Football: Taking Over an Iconic Franchise From an Industry Icon In 2001, Gau
LINK: https://www.sportsvideo.org/2021/12/02/sports-broadcasting-hall-of-fam...
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The Sampo was the first typewriter ever to be produced in Sweden. It shows a remarkable resemblance to the somewhat earlier German Hammonia, but the mechanism is totally different. The Sampo was produced by the Husqvarna Arms Factory, that, like Remington, also made a name for itself with sewing machines.
The inventor of the Sampo is said to have been one dr. Raphael Herzberg of Helsingfors, who also place the production order with the Husqvarna factory. He acted on an order for 500 of these machines from Finland. The Sampo is also known with the name Finnland, but it is not known if that name is related to the Finnish order.
The Sampo is an awkwardly impressive machine, with a large type sleeve/linear index in one piece. The character was selected by turning and shifting the sleeve. The type printed onto the narrow platen that was place centrally along the base of the machine. Inking was done by ink pads, placed in the upper and lower halfs of the machine.
Hundreds, rather than thousands of this machine seem to have been produced Husqvarna, but development of the machine apparantly went on during production. In a special survey conducted for the Virtual Typewriter Museum and the Typex newsletter, collectors Fernando Costa and Flavio Mantelli produced an inventory of differences of the Sampo. They identified 14 surviving machines that differed in the decoration on the base, the escapement mechanism, ink pads, pointer, platen and carrying case.
Of the 14 machines, with serial numbers ranging from 206 to 1287, the two earliest had a more elaborately decorated base than the later machines. Three different kinds of ink pad holders were seen, but apparently used at random, throughout the production. Very odd was one machine that sported a rubber platen. Because no other machine was found to have one, it is thought that this was a custom improvement made by the original owner of the machine.
The complete overview of differences, with pictures, can be found in the May 2002 issue of Typex.


text:
package cocagne.paxos.practical;

import cocagne.paxos.essential.EssentialProposerImpl;
import cocagne.paxos.essential.ProposalID;

public class PracticalProposerImpl extends EssentialProposerImpl implements PracticalProposer {

	private boolean leader = false;
	private boolean active = true;

	public PracticalProposerImpl(PracticalMessenger messenger, String proposerUID,
			int quorumSize) {
		super(messenger, proposerUID, quorumSize);
	}

	@Override
	public void setProposal(Object value) {
		if ( proposedValue == null ) {
			proposedValue = value;

			if (leader && active)
				messenger.sendAccept(proposalID, proposedValue);
		}
	}

	@Override
	public void prepare() {
		prepare(true);
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#prepare(boolean)
	 */
	@Override
	public void prepare( boolean incrementProposalNumber ) {
		if (incrementProposalNumber) {
			leader = false;

			promisesReceived.clear();

			proposalID.incrementNumber();
		}

		if (active)
			messenger.sendPrepare(proposalID);
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#observeProposal(java.lang.String, cocagne.paxos.essential.ProposalID)
	 */
	@Override
	public void observeProposal(String fromUID, ProposalID proposalID) {
		if (proposalID.isGreaterThan(this.proposalID))
			this.proposalID.setNumber(proposalID.getNumber());
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#receivePrepareNACK(java.lang.String, cocagne.paxos.essential.ProposalID, cocagne.paxos.essential.ProposalID)
	 */
	@Override
	public void receivePrepareNACK(String proposerUID, ProposalID proposalID, ProposalID promisedID) {
		observeProposal(proposerUID, promisedID);
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#receiveAcceptNACK(java.lang.String, cocagne.paxos.essential.ProposalID, cocagne.paxos.essential.ProposalID)
	 */
	@Override
	public void receiveAcceptNACK(String proposerUID, ProposalID proposalID, ProposalID promisedID) {

	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#resendAccept()
	 */
	@Override
	public void resendAccept() {
		if (leader && active && proposedValue != null)
			messenger.sendAccept(proposalID, proposedValue);
	}

	@Override
	public void receivePromise(String fromUID, ProposalID proposalID,
			ProposalID prevAcceptedID, Object prevAcceptedValue) {

		observeProposal(fromUID, proposalID);

		if ( leader || !proposalID.equals(this.proposalID) || promisesReceived.contains(fromUID) )
			return;

        promisesReceived.add( fromUID );

        if (lastAcceptedID == null || prevAcceptedID.isGreaterThan(lastAcceptedID))
        {
        	lastAcceptedID = prevAcceptedID;

        	if (prevAcceptedValue != null)
        		proposedValue = prevAcceptedValue;
        }

        if (promisesReceived.size() == quorumSize) {
        	leader = true;
        	((PracticalMessenger)messenger).onLeadershipAcquired();
        	if (proposedValue != null && active)
        		messenger.sendAccept(this.proposalID, proposedValue);
        }
	}

	@Override
	public PracticalMessenger getMessenger() {
		return (PracticalMessenger) messenger;
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#isLeader()
	 */
	@Override
	public boolean isLeader() {
		return leader;
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#setLeader(boolean)
	 */
	@Override
	public void setLeader(boolean leader) {
		this.leader = leader;
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#isActive()
	 */
	@Override
	public boolean isActive() {
		return active;
	}

	/* (non-Javadoc)
	 * @see cocagne.paxos.practical.PracticalProposer#setActive(boolean)
	 */
	@Override
	public void setActive(boolean active) {
		this.active = active;
	}
}


How do I bind my address candidates to a data grid?
This code loops through to obtain each address candidate. I would like to bind the address candidate to the grid as I loop through the code. How do I do that?


text:
Celebrating National Arts and Humanities Month
October 25, 2021 Shaker Village
Melissa Williams, Development Coordinator
Imagine yourself standing on the turnpike here at Shaker Village. Close your eyes for a moment.
Can you feel the soft, rustling breeze through the trees? The sun shining warm on your face? Each step you take is accompanied by the crunch of gravel on the path. In the distance the ducks are quacking, the donkey brays. There's a group of people up ahead on a tour listening intently to the guide. They are nodding and smiling.
How do you feel in the moment?
This Place Matters
When our nonprofit organization formed in the 1960s, the original board members and the public worked tirelessly to restore the Village. It was a not an easy undertaking. They persevered because they felt the same way you feel when you visit Pleasant Hill: this place is special.
How is it special? It's hard to articulate an answer to that question.
It's educational. It's entertainment. It's fun. It's an escape.
It's a sense of peace. A feeling of lightness. A connection to nature and to beauty.
It's hope in the midst of a chaotic world.
Finding Relevance Today
The 1820 Meeting House.
The Shakers built their environment to reflect their view of Heaven on Earth. Interestingly, their view of Heaven on Earth was adapted over time – both proactively and reactively. One notable example was the shift in how the Village was oriented. The community was initially laid out north to south. Within the first 20 years of establishing the Village, the orientation shifted to run east to west as the turnpike remains today. While there were likely multiple factors in this decision, the New Madrid earthquake in 1811 damaged the original meeting house. The need to construct a new Meeting House may have been the impetus for this change.
It's lessons like this that the Pleasant Hill Shakers left us to examine. Their ability to adapt over time and their resilience is an important example that we can find relevance in as we navigate our changing world.
Today more than ever, we all need someplace where we can take refuge. A place where we can rest. Where we can reflect. Where we can consider steps we can each individually take to help adapt our communities to be more inclusive, equitable, cohesive and proactive.
This year we join the Institute for Museum and Library Services (IMLS), The National Endowment for the Arts (NEA), and The National Endowment for the Humanities (NEH) to celebrate the 35th anniversary of National Arts and Humanities Awareness Month.
"Three and a half decades after its official recognition, National Arts and Humanities Month takes on new relevance to American life today. Music inspires and uplifts us, poems and stories spark our imagination, and museums teach us about the world and ourselves. The arts and humanities have the power to unite us, to heal us, to sustain us, to help us better understand each other, and to guide us through challenging times." – joint statement by IMLS, NEA and NEH.
Shaker Village is a place where everyday we think about the human experience and study history, philosophy, religion, community development and more. Sixty years ago, the leaders of our nonprofit could not have guessed just how important Shaker Village would be today, but today it's certain that Pleasant Hill will remain special for generations to come.
Sustainability	arts, community, earthquake, humanities, imls, meeting house, museum, nea, neh, sustainability
February 20, 2021 Billy Rankin
Last month we told you about a new exhibit being developed at Shaker Village. When it opens this summer, Local Economies, Global Impacts will highlight the industries and economy of the Pleasant Hill Shakers. More importantly, visitors to this exhibit will leave inspired to think about their own local economy, the industries that fuel it and their role in a global market. Well…those are our goals at least!
Lofty Goals
So, when designing an exhibit at Shaker Village, what are some of the typical goals we have in mind? In the simplest terms, our main goals are to:
This month I'd like to explore the first goal on this list: Tell a Meaningful Story.
What's the BIG IDEA
What is the story we are trying to tell, and how does it fit into the big picture?
Fortunately, at Shaker Village, we have a solid starting point to our Village-Wide Interpretive Plan. THE BIG IDEA!
The Big Idea and related sub-themes give us guidance for all the different topics we consider for inclusion in our exhibit plans. In the case of Local Economies, Global Impacts an argument could be made that this topic fits all four sub-themes!
Finding a Focus
Once we've established that a topic fits our themes, we're ready to take the next step: content development.
We begin with a brainstorming session. For this project the Shaker Village Exhibit Team was joined by additional Shaker scholars Dr. Carol Medlicott and Christian Goodwillie and our design partners, The Design Minds.
This is the stage where we narrow our focus. We consider all the angles, perspectives and stories that should be told related to the topic. For Local Economies, Global Impacts the challenge was to boil down a very broad topic into content that would fit on the first floors of two small Shaker workshops. Which industries should we include? What individual Shakers are the best to highlight? How do we most succinctly describe and share the business practices of the Shakers at Pleasant Hill?
Coming out of this meeting we are ready to assign topics for research.
Developing a Base
A scanned page from the 1850 agricultural census at Pleasant Hill.
Only a small percentage of the information gathered during the research stage actually makes its way into an exhibit at Shaker Village. It is, however, incredibly important to have a large base of research. This research gives context and depth to the information you do choose to present. It also provides accessible support material for interpretive staff to increase their knowledge of a subject that visitors will surely be asking them about!
For Local Economies, Global Impacts, short research papers were prepared on seven topics, ranging from sorghum production at Pleasant Hill to Shaker trading routes and markets. Profiles were written on a dozen selected Shakers. Agricultural and manufacturing records from the 19th century were compiled and transcribed. From this mass of content, we cull the components that are to become part of the exhibition.
Shaker Village of Pleasant Hill cares for over 4,000 objects related to the Shaker experience. Each of these objects can add immense value and meaning to the story behind an exhibit, if placed wisely. During the research stage for a new exhibit our Curator of Collections, Becky Soules, partners with the other members of the Exhibit Team to compile a first draft of all the artifacts, archival materials and photographs that may be relevant to the exhibition.
As this list is compiled, Becky adds notes to reflect size, condition, related artifacts and other considerations for public display. When we enter the design stage, a final list of recommended material objects and images is created for the exhibit. This list is then presented to a sub-committee of Shaker Village's Board of Trustees for final approval before public use.
Dozens of artifacts have been considered for inclusion in "Local Economies, Global Impacts."
Feeling the Flow
Now that we have the content selected to tell our meaningful story, we need to determine in what sequence to present it. The order that a visitor approaches each image, artifact and piece of information greatly impacts their ability to both understand and connect to the exhibit.
Using floor plans for each exhibit space, we lay out "bubble designs." These simple designs give us an idea of how visitors will enter each room, and in what sequence they will encounter each aspect of the exhibit. The team REALLY digs in to this phase of the process, because it has an incredible bearing on what the final exhibit will come out to be. We discuss, we debate, we pull out our measuring tapes, we cry, we cajole, we measure some more, and finally…we are satisfied that we will be presenting a meaningful story!
An early "bubble design" for the East Family Brethren's Shop.
Next Month: Learn how Local Economies, Global Impacts will use a variety of engaging methods to connect with different audiences at Shaker Village!
Community	artifacts, community, design, economy, exhibits, industry, museum, shaker village
Today in Pleasant Hill History
January 24, 2021 Shaker Village
On January 24, 1871, Pleasant Hill took the step of expelling a family of seven from their ranks. Interestingly enough, this newsworthy note is intermingled amongst more practical concerns in a Shaker journal:
Trip – El. H. L. Eades started for South Union via Lebanon. See 13th inst
Expelled – The Morrison family from the Society. Minerva the mother & Henry from the West Lot, & Hiram, Jacob, Leah, Belle & Ginny from the Center Family. See March 7, l870.
Trip – H. Daily went to Lexington with two wagons, & returned the following day.
LTR: James Shelton, John Pilkington, Henry Daily, Francis P., Napoleaon Brown. Girls unknown.
As the entry reveals, this expulsion had evidently been in the works for a rather long time! Going back to review that entry from March 1870:
"Mon. 7 Sent Away – The Widow Morrison family – who came some time since from the Mouth of Salt River viz. the Mother Manerva Ann & children William J. Morrison, Jacob T. Leah Ann, Sarah Isabel, Mary Jane & Henry William Morrison. the Mother & youngest from the West Lot. The rest from Centre all went on board the Boat for Louisville thence to their home."
That's all the Shakers wrote. It makes one wonder exactly what they had done to be "sent away" and "expelled" during a time of general population decline at Pleasant Hill.
Community	community, expelled, History, pleasant hill, pleasant hill shakers, shaker village, shakers
Local Economies, Global Impacts
Have you visited Shaker Village in the last few years? If so, the fact that we've made BIG changes in how we interpret the history of the Pleasant Hill Shakers is no surprise. For those who need a recap, this article is a good primer!
Shaker Village staff and consultants planning new exhibitions.
The history of the Pleasant Hill Shakers is layered, diverse, and oftentimes surprising. We want our interpretation to share those qualities!
To achieve that goal we use exhibits, workshops, multimedia content, demonstrations, tours…well, LOTS of methods. Every visitor comes with their own perspectives and learning styles. We build experiences to connect to each of them.
Something New is in the Works
This summer a new experience is coming to Shaker Village. We thought it would be neat to give you a monthly glimpse behind the scenes as we develop this exhibition on…economics!
Okay. I know. Economics isn't everyone's cup of tea, right?
But that's where our incredible interpretive team comes in. You see, it is actually really interesting to consider how a communal society that didn't believe in personal possessions got so darn good at making and selling things to the public.
And there are many more layers to this story that need peeling back.
For example: How did gender equality in Shaker society play into their business operations? Did the Pleasant Hill Shakers have any connection to enslaved labor? What happened when their population dwindled and more non-Shakers were making some "Shaker" products than Shakers themselves?
The 1845 East Family Brethren's Shop as the village office. c. early 1900s
And perhaps the most important question of all: What can we, who live in an ultra-modern order everything online "I don't care where it comes from as long as it's convenient" global marketplace, possibly learn from the economy of a small, agrarian village?
These questions and more will be addressed when Local Economies, Global Impacts opens this summer!
Developing a New Exhibit
The 1845 East Family Brethren's Shop and the 1855 East Family Sisters' Shop will host the new exhibition. Each were important workshops, and offered other unique contributions to the economy of the village.
Pleasant Hill's textile industry will be highlighted
in the new exhibit.
With the support of this grant Shaker Village has been able to conduct valuable new research about the economics of the Pleasant Hill Shakers that will come alive as part of the exhibit.
Guests will learn about the village trustees, trading deacons and office sisters. The exhibit will open a new window into the operation of mills, the management of natural resources, the work that happened in Shaker workshops, the routes travelled by trading deacons along roads and waterways, and the stories of the men and women who put their hands to work to sustain their community's economy.
Local Economies, Global Impacts is currently in an early design phase, where we draft narrative flow within each building, and plan methods for sharing each portion of the content. Artifact displays, tactile interactives, murals, multimedia content and other methods are being fit together in the plan like an integrated puzzle.
Floor plans like this, from an early phase of design, are used to discuss the flow of content in each exhibit space.
Over the next two months we will finalize our designs, write the final content and produce graphics. Then we begin fabrication, followed by installation.
We hope you'll come along for the ride with us each month as we update our progress. This summer, when you visit the exhibit, you'll feel like you were there to help create it!
Community	community, economy, exhibit, exhibitions, grant, interpret, pleasant hill, shaker, shaker village, sustainability, textiles, weaving


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