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SFT and the Awards
By Rachel Cordasco August 8, 2020 3 commentsUncategorizedawards, Hugo Awards, Locus Awards, Nebula Awards, World Fantasy Awards, Worldcon
From the time I started reviewing SFT* for John DeNardo's SF Signal a billion years ago (that is, November 2014) up until now (with an SFT site that just turned 4 and regular reviews in World Literature Today and Strange Horizons), I've thought a lot about the role that translation plays in the American publishing world, in general, and in the genre world, in particular.
I've heard for years about a vague assumption on the part of publishers and booksellers that Americans* are "scared"/"suspicious" of translated fiction. Sure, that may be true for some people, but I generally like to give readers the benefit of the doubt. Therefore, I don't think that readers avoid translations because they are scared or suspicious but because this fiction is, at least in America, in relatively short supply. And since reading is often a pleasurable activity, and readers seek out books that they think they'll like, they probably gravitate toward the known, rather than the unknown.
Personally, I've always been drawn to non-Anglophone literature, likely because I so very badly wanted to travel around the world when I was a kid. My parents thought it was a great idea- in theory. In practice, the money and effort required to drag them, me, my two brothers, and our luggage around the world just didn't seem feasible. I traveled, then, the only way I could: through books. Not surprisingly, I flirted with translation studies in college and considered applying to Middlebury for a summer (I worked at a daycamp instead). My life could have gone in a very different direction, but when I was told by my professors that I had a better chance finding a literature job if I studied American or British fiction, I took their advice and went to grad school for American literature (specifically, Literary Naturalism). Spoiler: I still didn't get a job as a literature professor. I know- quelle surprise.
Don't worry, I'm getting to my points. What I'm saying is, not everyone is drawn to translated fiction because they were frustrated world travelers like myself. Some people want to read books from the countries of their ancestors. Some people just randomly pick books off of library/bookstore shelves with no thought to where or in what language it was written. Some people believe that "something" is "lost" in translation and want to read only books written in their native language (I wager that this goes on, to some extent, in every country). Some people choose books to read based on friend/family/industry recommendations. Others pick what they read based on award nomination lists. Everyone has their own reasons for reading, and for liking certain genres. My own kids, for instance, look at me like I just sprouted three more heads when I gently suggest that they, for once, read something that isn't a graphic novel. After all, I tell them, books can be fun and exciting and entertaining and thought-provoking even if they don't have pictures in them (the kids aren't convinced).
Since jumping in to the exciting and varied SFT world several years ago, I've learned a lot, especially from Cheryl Morgan, Lavie Tidhar, Jason Sizemore, Francesco Verso, and Cristina Jurado, concerning if and how SFT is valued in Anglophone countries (and especially America). Tidhar's Apex Book of World SF series and World SF Blog, Morgan's Science Fiction and Fantasy Translation Awards, and Verso's Future Fiction press have helped me understand where translated speculative fiction stands in relation to the Anglophone speculative fiction that dominates and often overshadows non-Anglophone and translated speculative fiction. Chad Post of Open Letter Books has demonstrated for years that translated fiction accounts for only a sliver of the fiction published in English. Open Letter's Best Translated Book Award does its part every year to raise the profile of translated fiction in America and introduce stunning and fascinating books to those American readers who might think that the only books worth reading are sitting on the "Most Popular" table right when you walk into the local Barnes and Noble.
So translated fiction in America is hard to find (unless you know where to look). Translated genre fiction is even harder to find. Part of the reason is that it just isn't promoted in the same way as a book written in English by [insert famous, award-winning author here] is. Another part is that, even on the internet, the vast majority of English-language review sites focus on books written in English or only include translations here and there. Without several other countries on all sides of us that contain people who speak different languages, America just hasn't had the a reason, perhaps, to publish and market fiction in many languages and translated from those languages. Yes, we have Quebec to our north and Latin America to the south, so you can sometimes find Spanish-language, bi-lingual, and translated fiction and non-fiction in local bookstores. French-language SFT, though? Perhaps closer to the Canadian border- I honestly don't know.
I started this site dedicated to SFT because I found, with a little digging, that a surprising amount of SFT exists and is available to English-language readers. My first list grew and grew, so I had to break it into source languages. Then it kept growing and I had to break the list into several tabs. And four years later, you have this site, which includes lists of what is available but also links to freely-available short SFT online, spotlights on specific regions and authors, a list of non-fiction that focuses on SFT (it's a fast-growing list), tabs on as-yet-unpublished SFT that really should be picked up by Anglophone presses, reviews (both by myself and my fabulous guest reviewers), and more.
Which brings me to findability. My initial purpose in creating this site was to offer readers a (hopefully user-friendly) place to go to find the SFT available each year. Most people don't have the time to hunt around the internet for these books. They are available every year through a bunch of different Anglophone publishers (large and small), but are either not advertised as translated fiction or not advertised as speculative fiction, or both. Of course, I've had to make decisions as to whether or not a particular novel or collection is technically "speculative" but that is an entire other library full of books and articles that I'm not going to get into now. You're welcome.
At one point, after collecting a lot of data and working my way through it (I wish I had paid better attention in statistics class in high school), I started getting frustrated. Why wasn't there more SFT and why doesn't everyone love it like I do why why why. Then I heard myself and took a huge step back and breathed. Sure, I could help promote SFT and tell more people about its wonders and why I love it, but no one was going to start reading SFT because I beat them over the head with the ten volumes of the Legend of the Galactic Heroes series. And no one was not reading SFT at me. It's just that I've had this wonderful reading experience that I want to share, and not having access to a giant megaphone that reaches the ears of everyone who reads in English, I sometimes get frustrated that I can't convince everyone to read at least one work of SFT. So I keep reading and reviewing and tweeting and facebooking and recommending books to my kids' teachers and my co-workers and neighbors and family members. Many have found out that it is not a good idea to say to me "oh, there's Polish science fiction in English?" or "what is wuxia?" Two hours later, they look like they never want to see me again.
This (finally) brings me to the major point of this essay: my belief that major Anglophone SFF awards should include a separate translation category.
Those of you who have followed the SFT facebook page and twitter hashtag may remember the conversation a couple of years ago about this issue. In 2018, I asked on twitter why other SFF awards around the world have separate translation categories but Anglophone awards don't. Not long after, Chris Barkley (a member of the Hugo Awards study committee) contacted me to ask if I would write up in more detail my thoughts about why translated works should be highlighted in major awards. His subsequent post on File 770 explained in detail why he thought that a Best Translated Novel category was necessary and where he agreed with my assessment of the field of SFT. Soon after Chris's post, Neil Clarke of Clarkesworld Magazine wrote a post in which he disagreed with our contention that a translation category would highlight worthy texts that are otherwise ignored by Anglophone readers. Chris then posted a detailed response. *(Since I first posted this essay, Bogi Takács let me know that this exact issue was discussed on a ConZealand Fringe panel called "SFF Awards in the 2010s." Check it out!)
I'd like to take this opportunity now to address the major points brought up by Chris, Neil, as well as Cheryl Morgan and Jo Van Ekeren and make my case, here, on the SFT site, for why a separate translation category within Anglophone SFF awards is important to the future of the speculative fiction field. Science fiction, fantasy, magical realism, the Weird- these kinds of fictions ask readers to imagine what might exist or might happen, or look beneath the surface of everyday life, or consider alternative perspectives and ideas. Authors writing around the world approach this genre differently, and offer us new perspectives on, say, the spiritual experience in everyday life or the future of genetic engineering. It is important, if we actually do want a thriving, diverse field, to look beyond our own pond, as Francesco Verso says, and out toward the ocean.
As some of you might remember, Cheryl Morgan's Science Fiction and Fantasy Translation Awards, which ran from 2009 to 2014, was a juried award given to the best SFT published during the previous year. The short-form and long-form winners and honorable mentions came from all over the world: from the Netherlands to Japan, from Spain to Hungary, and everywhere in between. Unfortunately, due to time and financial constraints, the award closed down a few years after it launched, but it demonstrated that worthy SFT (much of which has won awards in their native countries) can and should be recognized and promoted to Anglophone readers.
Before I get to the main arguments against a separate category for translations, allow me to briefly consider the nature of the awards themselves.
The Hugos: these are "science fiction's most prestigious award" and are voted on by the members of the World Science Fiction Convention (Worldcon). (Note the word "World" here). Let me stop here and say that I have no axe to grind with the Hugos at all–I am not a member of any official organization (SF or not) and I don't know about any internal workings. I am simply taking "science fiction's most prestigious award" and giving it a good-old-fashioned, literary-studies-style close-reading.
For the purposes of this essay, I'll focus just on the "Country and Language of Publication" section of the "Hugo Categories" official rules page:
The Hugos are World awards. Works are eligible when they are first published. They can be published anywhere in the world (or out of it), and they can be published in any language.
Because the vast majority of Hugo voters currently come from English-speaking countries, works first published in a language other than English are also eligible in their first year of publication in English translation.
Because a large proportion of the people who nominate on the Hugo Awards reside in the USA, and because those people often do not get to see works first published outside the USA until those works get US publication, WSFS extends the eligibility of works first published outside the USA. Works published in prior years outside of the USA are eligible if they were published for the first time in the USA in the current year.
The first part of this explanation- "The Hugos are World Awards"- crumbles by the time you read to the end. Apparently, any text in any language is eligible for this award. In a perfect world, the Hugos, then, would be a wonderful mix of texts in and from multiple languages. Unfortunately, we don't live in a perfect world; we live in one where, for decades, Anglophone SFF has been dominant and where some readers in other countries still see Anglophone SFF as the SFF (but that's slowly, and inevitably, changing). And this brings me to the next two major points in this award explanation:
Because a large proportion of the people who nominate on the Hugo Awards reside in the USA, and because those people often do not get to see works first published outside the USA until those works get US publication, WSFS extends the eligibility of works first published outside the USA.
So if the majority of Hugo voters come from English-speaking countries and a large proportion of those who nominate on the Hugo Awards live in the USA, what we apparently have here is an award that calls itself a "World Award" that is voted on mainly by American readers. And American readers mostly read Anglophone (mostly American, British, Australian, and Canadian) SFF.
I looked through the past winners of the Hugos going back to the beginning (1953) and found no translated works (as far as I could tell- let me know if I missed some) until 2015–the year that Liu Cixin's The Three-Body Problem (tr. Ken Liu, Tor Books) won for "Best Novel" and Thomas Olde Heuvelt's "The Day the World Turned Upside Down" (tr. Lia Belt, Lightspeed) won for "Best Novelette." Since then, Hao Jingfang's "Folding Beijing" (tr. Ken Liu, Uncanny Magazine) has won for "Best Novelette" in 2016 and Liu's Death's End has been a finalist in the "Best Novel" category in 2017. Nothing since then.
Meanwhile, 2017 was one of the best years for SFT ever (so far). Sixty novels, 13 collections, 4 anthologies, and 71 short-form works were published in English by such places as New Directions, Open Letter, Indiana UP, NYRB, Dalkey Archive, Yale UP, Orbit, Haikasoru, Knopf, Wakefield Press, Deep Vellum, Clarkesworld Magazine, Samovar Magazine, World Literature Today, Weird Fiction Review, The Dark, and many more.
Really, all of this comes down to a naming problem. If the Hugos are going to be a "World Award," logically they should include works from around the world, in any language. Since that doesn't seem likely any time soon, and Anglophone readers generally don't learn multiple languages unless they have to, then the award should (again, logically) stop calling itself a "World Award" and start acknowledging that, from the very beginning, it has been and still is an award given to English-language SFF by English-language readers.
I find it very hard to believe that, for instance, internationally-acclaimed German author Andreas Eschbach wouldn't be considered "good enough" to win a Hugo. While his novel The Carpet Makers, which won the Grand Prix de L'imaginaire for Best Translated Novel (2001), the Ignotus Awards for Best Foreign Novel (2005), the Italia Awards for Best International Novel (2002), and the Prix Ozone for Best Fantasy Novel and Best Foreign Novel (2000), in the Anglophone world it was given…13th place in 2006 for "Best SF Novel" in the Locus Awards. [insert lifted eyebrow emoji here].
Take Japanese science fiction author Taiyo Fujii, as another example. Winner of two major Japanese awards for his complex science fiction thriller Orbital Cloud (tr. Timothy Silver, Haikasoru, 2017), Fujii is also known in the Anglophone world for Gene Mapper (tr. Jim Hubbert, Haikasoru, 2015) and three short-form works (you can read two of them at Lightspeed and Unfit Magazine). I have reviewed Gene Mapper on this site and Orbital Cloud on Strange Horizons, and "Violation of the TrueNet Security Act" is one of my favorite hard science fiction stories of all time. I understand that there are a limited number of spots in the nomination process, but year after year after year, authors whose award-winning works have been translated into English and are available to Anglophone readers are passed over, likely because people don't know they exist. That, I certainly admit, is a marketing problem, not an award problem per se, but with an award that had its own translation category, in which books and stories by authors like Eschbach, Fujii, Joahnna Sinisalo, Yoko Tawada, Francesco Verso, Karin Tidbeck, Rodolfo Martinez, Gorodischer, and so very many others could be featured and send people to bookstores and publishers' sites, then a "World Award" would make more sense.
Then there are the Nebula Awards, which are voted on, and presented by, members of Science Fiction and Fantasy Writers of America, Inc. and are "given each year for the best novel, novella, novelette, and short story eligible for that year's award." Though the Nebulas does not bill itself as a world award, it does consider translated works eligible. Johanna Sinisalo's "Baby Doll" (tr. from the Finnish by David Hackston for The SFWA European Hall of Fame, 2007) was nominated for "Best Novelette" in 2008. No other translated work has won or been nominated before or since.
This takes me to the World Fantasy Award, a prize that has the word "World" in its very title. I wrote a little post back in 2017 about the seeming contradiction between calling yourself a world award and reflecting very little of said world. I found 2 SFT novel winners, 1 collection winner, 1 novella winner, and 4 Lifetime Achievement winners (Borges in 1979, Calvino in 1982, Angélica Gorodischer in 2011, and Sapkowski in 2016), as well as a few finalists, between 1979 and 2016. As they say in Russia, bozhe moy.
On a more positive note, the Best Translated Book Award and the Tiptree Award (recently renamed the Otherwise Award) (Wiscon) have a very respectable track record of recognizing speculative fiction (the former) and translations (the latter). I would give you a list of the SFT awarded by these two organizations but I see that my word count is already over 4k, so I'll just ask you to take my word for it or search the internet.
Of course, several other Anglophone awards also exist, but…you know…word count. Maybe I'll get to them in another post.
And then there's the whole set of general arguments opposing, or at least not immediately embracing, a separate translation category. I've listed a few below:
We already have too many award categories.
Not enough Anglophone readers read SFT so how could they vote on it?
Creating a separate translation category will send the message that SFT is inferior to Anglophone speculative fiction.
SFT can win and has won awards without any "help."
But how can we determine if the translation is any good?
Changing award rules is too difficult.
I'm going to address each of these points separately, making sure that I reiterate that I am not involved in any of these awards at the executive level, though I did participate in the most recent Locus Awards voting and was able to bring my knowledge of current SFT to the discussion, which I truly appreciated.
You may also know that I started a "Favorite SFT" poll in 2018, which is open to anyone who would like to vote (once!). This approach has its flaws but it's the best I can do with the resources I have. Just the fact that the poll exists makes me think that more people are becoming aware that SFT does exist.
To the first point that "we already have too many award categories": so what? And also, is a translated category somehow less important than the "Young Adult" or "First Novel" category? And to the subpoint that some translated work might win in two categories, can't that happen with other categories? And aren't there ways to get around that? I freely admit that I'm not cut out for business meetings and deciding rules about rules- which is one of the reasons why I'm not on these committees. This is just me on a website putting forth my opinions, against which everyone is free to argue. (Just be respectful when you rip me to shreds, ok?).
Next point: "not enough Anglophone readers read SFT so how could they vote on it?" Oh, I beg to differ. No, I can't give you any hard numbers, but I can infer a few things. First, SFT has been, is, and continues to be published by small and large presses and magazines. This can't just be wishful thinking on the part of these organizations. Somebody is buying and reading these books and subscribing to these magazines, otherwise why continue to publish SFT at all? Second, Rachel Cordasco is about as boring as you can imagine, so no one is following my twitter feed or facebook page because I'm exciting. I talk about SFT 99% of the time on twitter and I thoroughly and frequently weed out bot accounts, and yet the SFT twitter has 2,440 followers. Again, this isn't because of wit, intelligence, beauty, or special hypnotic powers. It's because people are interested in SFT. The dedicated SFT facebook page? Followed by 1,085 people. I'm not boasting- just giving you the numbers. And might I mention the fact that, at WisCon, there's been an SFT panel since 2016, on which I've been privileged to sit, either as a moderator or a panelist. I've counted how many people attend these panels, and it's never less than 30. For a jam-packed convention with a million fabulous panels and talks, I consider 30 people a slam dunk.
Next up: "creating a separate translation category will send the message that SFT is inferior to Anglophone speculative fiction." Here's where I usually start muttering and spluttering. A separate category for YA novels, for example, sends the message that YA is inferior or somehow less-than? Or was it created because more and more number people are reading and talking about YA and awards organizers thought that it should be brought into the fold? And that worthy texts should be recognized? Isn't this the same argument I'm making about SFT? So many works of SFT win awards in their native countries–awards that are well-established and respected (the Geffen Awards in Israel, the Ignotus Awards in Spain, the Urania Awards in Italy, I could go on). No, a separate translation award wouldn't compartmentalize SFT but promote it and show voters and readers that these texts exist and maybe, just maybe, should be on their bookshelves and countertops and e-readers or in their bags or pockets.
"SFT can win and has won awards without any 'help.'" Very, very infrequently- not because it needs "help" (whatever that means) but because a lot of readers simply don't know that it exists. And I know I just argued that lots of people are interested in SFT and also that most people don't know about SFT. This is not a contradiction but an argument about scale. Relatively speaking, a thousand people interested in SFT is great but vanishingly small compared to the (potentially) hundreds of thousands or more who read Anglophone speculative fiction and guide trends in reading and reviewing. Take the case of Liu Cixin's The Three-Body Problem, a masterpiece of hard science fiction translated beautifully and lovingly from the Chinese by Ken Liu and promoted by Tor Books. This book was already beloved by millions in China (a country of over a billion people) before it was ever translated into English. Therefore, it came to the U.S. already incredibly popular. Tor Books likely poured a lot of marketing money into it, and reviewers, like myself, highly recommended it to other lovers of science fiction. But this book is an outlier, not a harbinger of things to come. If it had been, then why did Anglophone awards switch back almost immediately and completely to Anglophone texts? If the Hugos, Nebulas, and World Fantasy awards are supposedly open to texts written in English or translated into English, why are so few translated texts on the list of winners, or even runners up? Would anyone make the argument that it's because non-Anglophone texts or translated texts aren't as good? No. Which brings me to…
"How can we determine if the translation is any good?" I won't even get into this point in the depth that I could–I'll leave that to translation studies and to promoters of general translated fiction. I will, though, make the most obvious point, which is that no one is asking people to compare the original to the translation to determine if a book or story has been translated "well," whatever that means. No, the question is "is this book/story/collection/anthology" of a high enough quality, as it currently exists in English, to merit an award?" That's the question.
Finally, many people have told me that changing award rules is too difficult. I understand, and reiterate my point that I have never served on these committees. I'm sure it is difficult, but it's not impossible to change the rules. And anyway, I'm not really asking awards to change their rules, just that they come right out and acknowledge that they are not world awards because world awards would look very different.
Rather than changing the rules for the Hugos, for instance, Cheryl Morgan and Jo Van Ekeren have offered other ideas for boosting the profile of SFT, including giving awards based on "services to translation" and adding an SFT panel to Worldcon programming. I wholeheartedly support these suggestions and hope that they happen. Given that I am the main caretaker for my young kids and live in the U.S. and have few opportunities to travel, I only attend Wiscon every year, though I did have the chance to attend Readercon in 2018, which was a wonderful experience. Thus, you won't see me skipping around the Worldcons each year wherever they are held…at least, not until the kids are grown or until they are held closer to me (which sometimes happens). That's why the internet is such a useful tool for me–I can keep in touch with authors, translators, publishers, editors, and readers around the world and learn about what happens at these conventions.
Well, there you have it. My thoughts on SFT in relation to the major Anglophone SFF awards. I started this essay thinking I would write a couple of thousand words and that would be that. If you've made it this far, though, thank you for reading and I look forward to reading your (remember, respectful!) comments below and elsewhere.
Rachel Cordasco
* SFT= speculative fiction in translation. "Speculative fiction"= science fiction, fantasy, horror, magical realism, Weird, etc.
* I don't know if this assumption is pervasive in other Anglophone countries. Post about your experiences in the comments and let me know.
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3 comments on "SFT and the Awards"
Richard Murray August 9, 2020 Reply
Your point is excellent, the Hugo Awards need to have a best in translation based on their own admission to their audience. Using the history of winners of the Hugo's, Nebula, World Fantasy Award to disprove the global appearance of winners in these awards deemed the best of the best, is proof. The problem is not that you are wrong. The problem is the history of linguistical supremacy in humanity.
As a Logic through electronics scientist, I always tell people, it is interesting how many websites based in non-english speaking countries, use programming languages like HTML/Javascript, which are based on english linguistical structure. It is a lie to suggest that a programming language derived from the japanese linguistical tradition will look like HTML. But The reason is obvious. The people who learned to use logic in electronics learned in english speaking countries.
My point is, the dominance of english as the language, the prime language, in humanity was built through centuries of media manipulation in the british empire extended through to the Statian empire. This is why when Daft Punk won a grammy, that became their global zenith , as if daft punk never won awards before. The grammy's didn't validate daft punk. When Bong Joon-ho won an academy award for PArasite, it didn't validate him. He won awards in asia beforehand like Daft Punk won awards in Europe. But, to my point,global media has been dominated by the anglophone for centuries now. This is why the german city of Koln is called Cologne on official maps. What you want to happen in the awards of Science Fiction, leads into a deeper arena that involves the ranking and pre-eminence of languages amongst each other.Many will resist any attempt to lessen the influence of the USA or the anglophone world <usa/uk/australia/jamaica> and the indoctrination of english as the prime language in humanity.
I conclude by restating. You explain your position well or simply, even adding the verbosity to cite correctly others. But the challenge in my view, is beyond honoring translated works and goes into honoring equally a multilingual/multicultural humanity, which is not preferred by most human communities in power at any time. Language is the means by which the human group in control can remind all the others, not in control, by merely communicating.
David Hook August 11, 2020 Reply
Your essay is very well researched and articulated, and I appreciate your point by point response to major concerns with adding a Hugo Award for translated speculative fiction. Thanks.
Kalin M. Nenov September 14, 2020 Reply
Thank you for this in-depth analysis, Rachel! It sums up all of my impressions from the "world" awards–and then some. 🙂


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Blue Garter » Blog Archive » I love Socktoberfest.
Two of my three roses are still blooming. This is my "New Dawn" climber.
Both socks are lovely! You'll never be able to choose a favorite.
Great socks! and congratulations on winning a Socktoberfest prize!


Having mentioned the genius of Red Nose Studio earlier I thought I would example Sickels creative process when making his work. There is a huge amount of information and insight into the way he works on his blog but I wanted to illustrate it here with a specific example. This is a cover for a magazine called Angie's List.
And here is a stop-motion-esque video documenting the set-up of the shot; adding all the possessions, creating the lighting, and adding details to the set.
I see the way Sickels works as being utterly relevant to the practice of a stop motion animator, I think videos like this one demonstrate really well what I call the 'alchemy' of what it is to create and shoot little worlds. There's a time in the studio which is a constant play between, puppet, props, light, composition, shadow, staging and proxemics before filming takes place.
All material © Red Nose Studio.


text:
El husky d'Alaska (Alaskan husky en anglès) és el nom atorgat a una categoria o varietat de gossos de trineu molt eficients originaris d'Alaska (Estats Units).

No existeixen característiques fixes de pedigrí, sinó més aviat de propòsit. Els conductors de trineu solen distingir entre husky d'Alaska i encreuament de races, de forma informal, així que és possible que el husky d'Alaska tingui un grau d'aparença de gos del nord.

La major part dels huskies d'Alaska tenen les orelles puntegudes, classificant-se, de fet, com a gossos de tipus Spitz.

Especialitzacions
Existeixen algunes especialitzacions dins d'aquest tipus:
 El Husky del riu Mackenzie
 Malamut d'Alaska
 Alaskan per a curses de velocitat com l'Eurohound
 Alaskan per a curses de llarga distància

Cal tenir en compte que en els campionats de curses de trineu, aquests gossos poden arribar amb el trineu carregat als 30 km/h i que es corre durant tres dies de 30 a 50 km diaris.

Aparença
Els huskies d'Alaska són una mescla de gossos i llops originaris d'Alaska, molt similars al husky siberià, però generalment més alts i prims i d'orelles més puntegudes. Són utilitzats generalment per a curses de velocitat, ja que tenen molta energia i força. No necessiten un gos pigall, però sí que qui els condueixi tingui autoritat sobre ells, en cas contrari no respondran a les ordres.

Són de grandària moderada, amb una mitjana de 30 a 40 kg per als mascles i de 17 a 19 kg per a les femelles.

El mantell pot ser de qualsevol color però els seus ulls han de ser marrons, en cas contrari són considerats husky siberians, no els agrada bordar; són molt mansos amb els nens, són bons guardians per a la família que els adopti.

Referències

Gossos spitz
Gos de trineu

redpajama_set_name: RedPajamaWikipedia


text:
Is there truly an ocean of apathy?
By Norm Farrell on January 31, 2011 • ( 6 Comments )
On an earlier article Ole left a comment that ended:
…If only more people would become engaged, but sadly I look around at an ocean of apathy.
Blogs like this and online magazines The Tyee, Vancouver Observer and Georgia Straight and a few others provide alternative opinions on news, albeit in an eclectic mix of infotainment.
We also know that traditional media has lost readership and influence. Public reaction to HST demonstrates this clearly. Despite support of all mainstream influences, public opposition to transferring tax burden from business to individual consumers was overwhelming. Not because it was poorly explained by government, rather because it was well explained by new media.
However, the elites fear Internet based commentaries put their authority at risk. The Wall Street Journal presented an example of an unsurprising response:
The one remaining Egyptian Internet service provider was just shut down… The Noor Group, an Egyptian ISP that remained live throughout the nation's Internet blackout that the government ordered last Thursday, no longer provides Internet service…
Canada is not autocratic and comparable to Arab states. But, in a true democracy, all people influence political policies, not just a few privileged citizens.
Canada is a plutocracy, a reality assisted by centralization of political power in the heads of first ministers.
Power concentrated at the center is unhealthy. It cedes authority of elected representatives to the leader's entourage and key central agencies responsible to that person.
Egyptian autocrats shut down the Internet quickly when resistance to authority began. Well, people, we're on that road in Canada too.
Plutocrats grow more nervous as they lose control of political messaging. They want Internet privacy eliminated and gateway controls. Electronic communication is already prospected for information of interest to authorities operating in total secrecy.
Motivation to control the Internet is also economic, aimed at protecting financial interests of powerful cable suppliers such as Shaw, Bell, Telus, Videotron, etc.
For example, Netflix Canada recently offered unlimited downloads of movies and TV programs for $8 a month, about the cost of a single HD movie rented from a cable company's video-on-demand. That quickly led to Internet companies moving toward metered billing with easy approval from government regulators.
NDP digital affairs critic Charlie Angus said the CRTC's decision to allow usage-based Internet billing will unfairly hit Canadian consumers in the pocket by limiting competition from online viewing sources.
We've seen this all before with cell phones. Allowing the Internet Service Providers to ding you every time you download is a rip-off. Canada is already falling behind other countries in terms of choice, accessibility and pricing for the Internet. The large ISP-broadcast entities now have a tool for squashing their main competitors – both in internet and video services. We need clear rules that put consumers first.
However, the relationship between governments and Canada's integrated media giants is close. Each side serves the other, in obvious ways.
Competition is limited and media profits are extraordinary, helped further by direct subsidies. Despite immense profits of monopoly cable providers, they pay less and less tax as both Victoria and Ottawa hurry to lower corporate income taxes. There is no wonder that media companies are locked in full embrace with government. The plutocracy looks after itself.
If ordinary citizens wait for someone else to resolve these problems, we will wait for ever, while those with power work to enlarge their own wealth, power and influence.
The question remains: if our society fails, what will be left for their children and grandchildren?
Categories: Journalism
Thieves get rewarded even when thievery goes awry
They don't need us anymore
Excellent piece Norman!
"but what will be left for their children and grandchildren."
What indeed……………
Gary L.
unionwill says:
Superb piece Norm! Well said.
I think their actions, and intentions have proven they really don't give a damn – about their children, or their grandchildren. It appears we are now at the "every dog for himself" stage. It goes downhill from here.
islandcynic says:
The failure of the HST recall in Croak Bay/Gordon Head can be blamed on apathy. Instead of taking a stand thousands of wet noodle voters chose to make excuses instead of standing up for democracy. What a disgrace!
Thanks for nothing voters of OB/GH
The recall of Ida Chong, was difficult because of, Campbell and Craig James dirty tactics, to delay the recall. Craig James sending threatening letters, to people who had signed the petition twice. Telling these people they could be fined $10,000. These people did not realize, they could only sign in their own district. Campbell and James, had the RCMP investigate seven of the signers. One was an elderly lady in her eighties, who was terrorized. Then Craig James, sniveled about nasty e-mails from people. Bloggers all get death threats, they just didn't snivel about it. That's the crap we have with the BC Liberals. There is no way, we will give up. This evil, dirty, BC Liberal party, is so disgusting, we want them, the hell out of our province. And, don't think the BC citizens, will forget, Harper, the snake in the grass, part in the HST, either come Federal election time.
Oak Bay/Gordon Head is a very rich community. People there average very high incomes. It's not apathy, that was a strategic failure.

redpajama_set_name: RedPajamaCommonCrawl


The Rebel Sweetheart.: Eco-friendly Tips for Your Bedroom.
Even if it's not Earth Day, you can still make it a point to live green and eco-friendly. Your home is a great place to start when it comes to green living. Most people tend to go green in the most popular areas, such as the bathroom and the kitchen. But those aren't the only rooms in the house that will allow you to make a difference in the world. Your bedroom is another area of your home where you can go green, so check out some of the eco-friendly tips for your bedroom.
When thinking of going green for your bedroom, start at the bottom. There are plenty of green floors you can purchase that will make your home more eco-friendly. If you like hardwood, you can opt for a recycled wood product, or you can opt for something that's already naturally friendly, such as cork. If you would prefer carpet in the bedroom, there are some eco-friendly carpets you can choose from too, such as those made with natural materials instead of harmful chemicals.
Your bed is another area where you can make an eco-friendly difference. For example, you can replace your own bedding with an eco-friendly bedding option. These products are made from natural materials instead of those with harmful materials. Plus, during the manufacturing process, these products are created in a more natural way instead of using harmful chemicals or wasting a great deal of energy to produce. Do some research on the different green bedding options that are available, and choose the option that makes the most sense for your home and your bedroom.
Painting your bedroom is a necessity to create your dream boudoir; however, if you use traditional paints, you are putting harmful VOCs and other chemicals into the air. Instead, you should opt for a natural paint. This paint doesn't use any harmful chemicals or VOCs. Not only is it better for the environment, but it's also much better for your health too.
Lighting is also a necessity in your bedroom, but if you don't use the right bulbs, you could be wasting a significant amount of energy. If you want to make your bedroom green, then you need to replace traditional bulbs with incandescent. These bulbs use much less energy than traditional bulbs, which will not only help you reduce your own carbon footprint, but will also help you to save some money on your energy bills as well.
You may not realize how much your windows and current window coverings could be hurting your energy usage. For example, if you have sheer curtains, you could be forcing your furnace or your air conditioner to work overtime. Instead, invest in some blackout shades, curtains, or other window coverings to help you keep the sun out of your room in the summer. This will keep your room nice and cool, which will also keep your air conditioner from running constantly and wasting energy.
If you have a bathroom in your bedroom, you should consider adding some water-conservation products to the mix to help make your bedroom entirely green. For example, a water-saving faucet will eliminate the amount of water that is wasted when you brush your teeth, wash your face, or simply wash your hands. You can also invest in a water-saving shower head too, which will reduce the amount of water you use while showering. To truly complete your water-saving capabilities, you should buy a dual flush toilet. These products give you two separate flushing options, allowing you to use less water when possible and more when necessary.


Today, one specific user was having problems. Latency: total:60090. Promoted by Highfive Poor audio quality is one of the top reasons people don't use video conferencing. If we decrease it to 15, then Mailtip would be display to sender if sender add more than 15 recipients.
The CAS servers in the CAS array both have 8 gigs of ram, 2 CPUs, 64-bit, and are not over burdened for resources. Thanks for you comments. 0 Write Comment First Name Please enter a first name Last Name Please enter a last name Email We will never share this with anyone. Scan Your PC Now! © 2010-2011. How do I debug an emoticon-based URL?
In Addition it will correct and optimize your computer's performance. Timeout occurred during 'Getting-MailboxFull'. . Event 4999, MSExchange Common Watson report about to be sent for process id: 17084, with parameters: E12IIS, c-RTL-AMD64, 15.00.0995.029, MSExchangeMigrationWorkflow, unknown, M.E.M.L.L.<>c__DisplayClass11.b__10, System.NullReferenceException, 49af, unknown. I'm setup with full permissions on all user mail accounts so I'm guessing this user has changed her calendar permissions.
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Impress your party guests with 7" Oktoberfest Plates! Use these pretzel and beer plates anytime you need a fast and easy cleanup during your Oktoberfest celebration!
8 blue and white plates per package.
Use small paper plates during your Oktoberfest celebrations for appetizers, snacks, and desserts.
Celebrate in style this Oktoberfest with fun and festive tableware. Stock up on the Oktoberfest party supplies you need to make your Bavarian bash one to remember!


Relatives providing foster care to children can expect compensation soon, after a federal court ruling some months ago. In Kentucky, relatives and close family friends raising children removed from abusive and neglectful homes will receive around $750 month; the stipend is commensurate with the amount awarded to licensed foster families.
"This is fantastic news," said Lexington lawyer Richard Dawahare, who won the court case requiring such payments on behalf of a great aunt who took in two young boys. "We are so appreciative that the state is finally starting to make this happen."
If you are interested in foster care or adoption, please contact Triad Family Services.
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Relatives giving child care to kids can expect remuneration soon, after a government court administering a few months prior. In Kentucky, relatives and Corporate Animated Video Company close family companions bringing up kids expelled from oppressive. Lexington legal advisor Richard Dawahare who won the court case requiring such installments in the interest of an incredible auntie who took in two young men.
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text:
Q: Access to the parts of glue registry This might be a silly question, but I can't seem to be able to find the answer anywhere: suppose I have this simple plain TeX code:
\newskip\myskip
\myskip = 10pt plus 4pt minus 2pt

Now, how can I access (read) those stretch and shrink parts, those 4pt and 2pt values?
After David's answer: this is what I wanted:
%%%! tex
\newskip\spaceskipFixed

% nonsensical values just for testing
\spaceskipFixed = 10pt plus 4pt minus 2pt
\spaceskip = \spaceskipFixed

% wrong, glue becomes dimen, stretchability and shrinkability gone
\def\modifyspaces #1 {%
    \spaceskip = #1\spaceskipFixed
}

\def\text{Aha oho haha hoho!}
\newbox\gauge \setbox\gauge = \hbox{\modifyspaces .5 \text}
\def\showline #1#2{
    \line{\hbox to\wd\gauge{#1\hfill}\hskip 2em {\spaceskip = 0pt\tt\% #2}\hfill}
}

\line{\text\hskip 2em{\spaceskip = 0pt\tt \% unmodified, wild spaces}\hfill}
\vbox to 0pt{\noindent\kern \wd\gauge\hbox{\vrule width .1pt height 0pt depth 15mm}\par\vskip -15mm}
\showline{\modifyspaces .5 \text}{simple text with modified spaces, width \the\wd\gauge}
\showline{\hbox to 92pt {\modifyspaces .5 \text}}{hbox to 92pt, no shrinkability => overfull}

% fixed
\def\modifyspaces #1 {%
    \spaceskip = #1\spaceskipFixed plus #1\gluestretch\spaceskipFixed minus #1\glueshrink\spaceskipFixed
}
\showline{\hbox to 92pt {\modifyspaces .5 \text}}{hbox to 92pt, shrinkability preserved, all shiny}
\bye

A: You have to take care of infinite glue:
\documentclass{article}

\makeatletter
\newcommand{\extractnatural}[1]{%
  \the\dimexpr#1\relax
}
\newcommand{\extractstretch}[1]{%
  \strip@pt\dimexpr\gluestretch#1\relax
  \ifcase\gluestretchorder#1pt\or fil\or fill\or filll\fi
}
\newcommand{\extractshrink}[1]{%
  \strip@pt\dimexpr\glueshrink#1\relax
  \ifcase\glueshrinkorder#1pt\or fil\or fill\or filll\fi
}
\makeatother

\newlength{\test}

\begin{document}

\setlength{\test}{10pt plus 4pt minus 2pt}
\texttt{\the\test}: (\extractnatural{\test}) (\extractstretch{\test}) (\extractshrink{\test})

\setlength{\test}{10pt plus 4fil minus 2pt}
\texttt{\the\test}: (\extractnatural{\test}) (\extractstretch{\test}) (\extractshrink{\test})

\setlength{\test}{10pt plus 4filll minus 2fill}
\texttt{\the\test}: (\extractnatural{\test}) (\extractstretch{\test}) (\extractshrink{\test})

\edef\macro{(\extractnatural{\test}) (\extractstretch{\test}) (\extractshrink{\test})}
\texttt{\meaning\macro}

\end{document}

A: if you have etex extensions enabled you can do
\newskip\myskip
\myskip = 10pt plus 4pt minus 2pt

\edef\z{\the\gluestretch\myskip}
\show\z
\edef\z{\the\glueshrink\myskip}
\show\z
\bye

which produces
> \z=macro:
->4.0pt.
l.5 \show\z

?
> \z=macro:
->2.0pt.
l.7 \show\z

?

redpajama_set_name: RedPajamaStackExchange


text:
Man with air rifle shot dead by cops in 'blaze of glory' after yelling 'go for it'
An inquest found James Carlo Wilson was lawfully killed after he pointed the weapon at police when he called them to his ex-girlfriend's house.
Henry Clare
James Carlo Wilson was fatally shot by a police marksman after he told officers he was carrying a 9mm gun (Image: Newcastle Chronicle/North News & Pictures Ltd)
The death of a man who was shot by a firearms officer after shouting "go for it" at police as he clutched an air rifle was a lawful killing, an inquest jury has ruled.
A court heard that James Carlo Wilson, 24, had wanted to go out in a "blaze of glory" and be killed by a police marksman.
Having phoned Northumbria Police anonymously at 12.57am on the day of the shooting, Mr Wilson told a call handler he was carrying a 9mm gun and was in Frenchman's Way, South Shields, South Tyneside, where his former girlfriend lived.
At 1.15am, officers received another call from the same number, and coroner Karen Dilks told jurors: "The caller, among other threats, said he would not put the gun down, he didn't care if anyone got hurt and he was going to shoot the officers who attended."
Borussia Dortmund bus bomber caged for 14 years for attempted murder
Police at scene in South Shields after James Carlo Wilson was fatally shot by a police marksman (Image: Newcastle Chronicle)
Asked later whether he was going to be peaceful towards the armed officers, who he had asked to come to the scene, Mr Wilson told the handler: "I'm going to shoot them, you daft c***."
Having refused to drop his rifle, which was later found to be an air gun, officers fired a plastic bullet at him as a deterrent, with Mr Wilson shouting "ah cushty" - slang for "great" - after the shot hit him.
Officers told the inquest how, when Mr Wilson continued to point his weapon, a rifle round was fired at his chest.
Moments before the shot was fired, officers had told him "put it down", to which he shouted: "Go for it, go go go."
Police attempted to carry out first aid at the scene, but Mr Wilson died at Newcastle's Freeman Hospital on April 1 2016, three days after being shot in the early hours of March 29.
On Tuesday, a jury at Mansion House in Jesmond, Newcastle, ruled by majority verdict that the death was a lawful killing rather than a suicide.
In their conclusions, the jury told how Mr Wilson had been asked to drop his weapon seven times and had refused, adding that he had called for armed officers to attend the scene.
It was also confirmed that the police response complied with codes of practice.
Mr Wilson's mother, Tracy Todd, broke down in tears as she and other family members were told the ruling.
James Carlo Wilson was carrying an air rifle when he called armed police to where his former girlfriend (pictured) lived (Image: Newcastle Chronicle)
Orangutan sex slave chained to bed and pimped out to men after jungle capture
Jurors had been told how Mr Wilson had self-harmed in the past and had been rescued by police during a "cliff-top incident".
In a statement read to jurors during the inquest, his father Carl Wilson said: "I think he wanted to go out in a blaze of glory. That's why he did it the way he did.
"I think he wanted the police to kill him and he used the police to commit suicide."
But James Wilson's friend Sean McLellan, who had shared 48 bottles of beer with the 24-year-old the day before the shooting, said Mr Wilson had not wanted to go out in a "blaze of glory", adding that he hated his father and had rarely seen him.
Outside court, Ms Todd said: "All I've got to say is that I was right all along, my son didn't commit suicide, and that's it."
Top news stories today
Far-right activists sent to Scotland
Prince Harry thanks Lewis Capaldi
Gerrard's transfer priorities assessed
Mum falsely accused of killing daughter


text:
Q: How to load video HTML5 after DOM and play in loop? I have problem with load video html5 after DOM and play in loop. Video load correctly after DOM but when video start play again is load again. I want to load video one time and replay.
<video id="video" muted="true" style="width: 100% !important; height: auto !important;">
            <source type="video/mp4" id="mp4">
            <source type="video/webm" id="webm">
</video>

my script
var video = $('#video')[0];
var mp4Vid = $('#mp4');
var webmVid = $('#webm');
mp4Vid.attr('src', "video/video.mp4");
webmVid.attr('src', "video/video.webm");
video.load();
video.play();
var videoloop = video;
videoloop.addEventListener('ended', function() {
    this.play();
}, false);

EDIT//
Problem solved
It is because I have Chrome set to "Disable Cache (while devtools is open)

A: Try to use preload="auto", should load the entire video when the page loads
<video preload="auto" id="video" muted="true" style="width: 100% !important; height: auto !important;">
            <source type="video/mp4" id="mp4">
            <source type="video/webm" id="webm">
</video>


text:
package org.scalafmt

import scala.collection.mutable
import scala.meta._
import scala.meta.testkit._

import org.scalafmt.CompatCollections.ParConverters._
import org.scalafmt.config.ScalafmtConfig
import org.scalafmt.sysops.AbsoluteFile
import org.scalafmt.util.FormatAssertions
import org.scalameta.logger
import munit.FunSuite
import munit.FailException

class ScalafmtProps extends FunSuite with FormatAssertions {
  import ScalafmtProps._
  def getBugs(
      config: ScalafmtConfig = ScalafmtConfig.default,
      count: Int = Int.MaxValue
  ): mutable.Seq[(CorpusFile, Observation[Bug])] = {
    val corpus = Corpus
      .files(
        // TODO(olafur) remove once testkit 1.7 is out
        Corpus.fastparse.copy(
          Corpus.fastparse.url.replace("olafurpg", "scalameta")
        )
      )
      .take(count)
      .toBuffer
      .par
    SyntaxAnalysis.run[Observation[Bug]](corpus) { file =>
      val code = file.read
      try {
        Scalafmt.format(code, config) match {
          case Formatted.Success(formatted) =>
            assertFormatPreservesAst[Source](file.filename, code, formatted)
            val formattedSecondTime = Scalafmt.format(formatted, config).get
            try assertNoDiff(formattedSecondTime, formatted, "Idempotence")
            catch {
              case diff: FailException =>
                throw DiffFailure(
                  "Idempotence",
                  formatted,
                  formattedSecondTime,
                  diff.getMessage
                )
            }
            Nil
          case Formatted.Failure(_: ParseException | _: TokenizeException) =>
            Nil
          case Formatted.Failure(e: Error.SearchStateExploded) =>
            List(Observation("", e.line, SearchStateExploded))
          case Formatted.Failure(e) =>
            List(Observation(e.getMessage, 0, Unknown(e)))
        }
      } catch {
        case e: Error.FormatterChangedAST =>
          List(Observation(e.getMessage, -1, AstChanged))
        case e: Error.FormatterOutputDoesNotParse =>
          List(
            Observation(
              e.getMessage.linesIterator.slice(1, 2).mkString(""),
              e.line,
              FormattedOutputDoesNotParse
            )
          )
        case e: Error =>
          List(Observation(e.getMessage, -1, Unknown(e)))
        case e: DiffFailure =>
          val line = e.obtained.linesIterator
            .zip(e.expected.linesIterator)
            .takeWhile { case (a, b) => a == b }
            .length
          List(
            Observation(
              e.diff.linesIterator.take(3).mkString("\n"),
              line,
              NonIdempotent
            )
          )
      }
    }
  }

  def printReport(bugs: List[(CorpusFile, Observation[Bug])]): Unit = {
    val table = Observation.markdownTable(bugs)
    val summary =
      bugs
        .groupBy(_._2.kind.toString)
        .mapValues(_.length)
        .toSeq
        .sortBy(_._2)
        .map { case (a, b) =>
          s"$a=$b"
        }
        .mkString("\n")
    val report =
      s"""|$summary
        |
        |$table """.stripMargin
    logger.elem(summary)
    logger.elem(report)
    logger.elem(summary)
    (AbsoluteFile.userDir / "target" / "scalafmt-props.md").writeFile(report)
  }
}

object ScalafmtProps {
  sealed trait Bug
  case object NonIdempotent extends Bug
  case object AstChanged extends Bug
  case object FormattedOutputDoesNotParse extends Bug
  case object SearchStateExploded extends Bug
  case class Unknown(e: Throwable) extends Bug

  case class DiffFailure(
      title: String,
      expected: String,
      obtained: String,
      diff: String
  ) extends Exception

  def main(args: Array[String]): Unit = {
    val props = new ScalafmtProps()
    val bugs = props.getBugs()
    val idempotency = bugs.count(_._2.kind == NonIdempotent)
    val searchState = bugs.count(_._2.kind == SearchStateExploded)
    val badOutput = bugs.count(_._2.kind == FormattedOutputDoesNotParse)
    assert(idempotency <= 41)
    assert(searchState <= 34)
    assert(badOutput <= 4)
  }
}

redpajama_set_name: RedPajamaGithub


What is a vegetable garden for me? With what values do I want to feed myself? Which wishes do I want to plant/seed? These are some of the questions that have articulated the steps of the ZUPlabmini workshop in Via Cenni, a social housing project in the West of Milan. The goal of this workshop was to work, together with a motivated group of inhabitants, on the design and realisation of the vegetable garden that will be used to share and collaborate.
ZUP The Recipe for Change has proposed a workshop of co-design to elaborate the idea to create a shared garden on the terraces of their apartment building, The workshop was part of the project CenniColtiva! (the apartment is in Via Cenni, coltivare is the Italian word for cultivation) organised by Food in the Streets under the commission of Life 10 – ECO Courts (ECOlogical COurtyards United for Resources saving through smart Technologies and life Styleand supported by the Fondazione Housing Sociale.
On the last Saturday of March 2014, together with Inge (read her report here) we had only a few hours to execute a ZUPlabmini – the circumstances asked for a flexible approach from our side – in which the participants slowly discovered their personal report between their wishes and expectations related to the garden. In only a few hours the different groups defined a theme and found a name for the gardens on the four communal terraces of Via Cenni. Giving a name means finding the voices and the vocations of a place, for a garden like this one, shared by a coloured community, multi-generations and participative. Implicitly with a name one discusses the future, the continuity of a curated action and ZUP has also worked on this: from how to appropriate a space to the development of the project itself.
We collected words, ideas, desires. About twenty participants on a sunny Saturday morning have shared their expectations on the garden project. They put down a list of wishes, images and later flavours, smells colours, herbs and flowers. From the ingredients of their project, the final sum of their imagination plus concrete earth, we have defined a list of ingredients, to create a recipe that is and also explains the project.
The four recipes of Via Cenni are the soup of the Mediterranean, Zupapo', Astrozuppa and Brave flavours in Rime.
The four shared gardens have different names and different stories. A recall to the Mediterranean to follow a list of aromatic herbs, or to the effervescence and sympathy of the group of woman (the patatasgirls) that look forward to cultivate peppers and poetry. There were groups that have taken an image as starting point, others a memory. That is how one group ended-up with a soup called Bahay – Kubo, which in Philippian means House between the vegetable gardens. Last but not least the Garden under the stars (Orto sotto le Stelle or Garden under the Stars) inspired by a colourful flowers called astronano.
For those who like to read the recipes we suggest you to download them here Assaggi di Via Cenni_Il ricettario di ZUP" (in Italian).
For this beautiful experience, a new direction for ZUP The Recipe for Change, we thank all the enthusiastic participants that not only designed bu will also take care of the gardens, and Food in the Streets, Life ECO Courts – Cortili ecologici and Fondazione Housing Sociale, for their assistance, the guidance, the coordination and their support.
Ps. Two weeks after the ZUPlabmini, the participants got a technical lecture by Orti d'Azienda to learn them how to take care of their garden, and of course they planted their first real seeds. If you are curious to read what happened there, we suggest to follow the link that brings you to the blog in which Food in the Streets gives you a report.


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New Center for Tortoises Opens in Mojave Preserve
New Center for Tortoises Opens in Mojave Preserve | KCET
A baby desert tortoise | Photo: National Park Service
A segment for KCET's award-winning TV show "SoCal Connected" is based on this story. Tune in Wednesday, Dec. 3 at 8 p.m.
A first-of-its-kind center for studying the federally Threatened desert tortoise was formally donated to the Mojave National Preserve on Friday.
The Ivanpah Desert Tortoise Research Facility, built by Chevron on land provided by the mining firm Molycorp, will enable researchers to find out whether so-called "headstarting" programs for juvenile tortoises are really helping combat the tortoises' population decline.
The facility, which includes two acres of tortoise habitat with predator-proof fencing and a state-of-the-art laboratory, was completed in 2012, and was managed by the nonprofit National Park Trust until Friday's formal land transfer and dedication.
"This new facility provides scientists the opportunity to test methods for increasing the survival of juvenile tortoises to reproductive age," said Stephanie Dubois, Superintendent of the Mojave National Preserve. "This research could lead to the development of proven methods for recovering this species that continues to decline. We appreciate the work of our partners in making this facility a reality."
Juvenile desert tortoises have it tough. They're easy pickings for predators such as coyotes and ravens, both of which species have increased in number as a result of human development of the desert. Tortoises in their first few years of life haven't yet grown a shell tough enough to withstand a hungry raven's beak or coyote jaws. Increased predation by coyotes and ravens is considered a major factor in the federally Threatened species' decline.
In "headstarting" programs, female desert tortoises known to be carrying fertilized eggs are moved to the facility, allowed to lay their eggs, and then returned to their home territories. The hatchlings are kept in areas protected from predators, then released into new territories when their caretakers deem them tough enough to go it alone.
Headstarting is an expensive undertaking, and may not be an appropriate long-term tool for supplementing tortoise populations. While the practice has been used to boost populations of other tortoise and turtle species, it hasn't been conclusively shown helpful for desert tortoises. One 2009 study, in fact, suggests that headstarting might not be of much use for protecting desert tortoises if local breeding females aren't protected from the threats causing the decline in the first place.
Backers hope, however, that the practice might prove useful for temporarily boosting local desert tortoise populations. That's an issue the Park Service hopes to explore in the facility, built as partial mitigation of projects by Chevron and Molycorp that posed risks to desert tortoises. Researchers will try to craft "best practice" procedures for running effective headstarting programs.
The facility has already sheltered and released 46 tortoises since it started operating in 2012, out of a total of 185 hatchlings born at the facility. The released tortoises are being carefully monitored in their new homes.
For ongoing environmental coverage in March 2017 and afterward, please visit our show Earth Focus, or browse Redefine for historic material.
KCET's award-winning environment news project Redefine ran from July 2012 through February 2017.
Gopherus agassizii
Ivanpah Valley
Mojave National Preserve
@newsenviro
@newsfeat
@newsscitech1


Erin Ziegelbauer - Insurance Professional - Insurance Services of Washington Inc.
Erin was born and raised in the Pacific Northwest. After graduating from South Kitsap High School, she attended Western Washington University and obtained an Associate Arts Degree from Seattle Central Community College. She then took time off to raise her family and has resided in Puyallup since 1999.
By 2005, she completed a paralegal program and also became a Licensed Property and Casualty, Life and Health Agent. She has been affiliated as a licensed agent and producer with Alpine Insurance for five years and most recently with Insurance Services of Washington, Inc.
While specializing in all aspects of the Insurance Industry her main focus lays with Life and Health Insurance. Working with Medicare beneficiaries has been and continues to be a passion of Erin's and she thoroughly enjoys working with and assisting the "our older generation". She provides in-home appointments and community meetings throughout the Puget Sound Region.
Erin loves to see what a difference one person can make when reviewing and analyzing the needs of prospects and clients. She sees this as a chance to get to know the person on a personal level and let them know they are not and will never be treated.


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Q: React Final Form - Double conditional Form I have started to work on a form project using React final form, but I am struggling to do a two condition question.
Would anyone knows how to do a double conditional logic on React final form. From this example, the single conditional logic code is given :
const Condition = ({ when, is, children }) => ( <Field name={when} subscription={{ value: true }}>
{({ input: { value } }) => (value === is ? children : null)}  </Field>)

However, I don't know how to do a double conditional one that would require 2 different answers from two different questions in the form to be checked before displaying the conditional question.
Thank you :)

A: You could use useFormState from react-final-form to obtain current form state, so MultiCondition component could look like this:
const MultiCondition = ({ condition, children }) => {
  const { values = {} } = useFormState({ subscription: { values: true } });
  return condition(values) ? children : null;
};

than somewhere inside the form:
<MultiCondition condition={({ gift, firstName }) => gift && firstName === "Joe"}>
  gets rendered when condition is satisfied
</MultiCondition>


Tripathi, A and Khurshid, N and Kumar, P and Iyengar, S (2008) Expression of delta- and mu-opioid receptors in the ventricular and subventricular zones of the developing human neocortex. Neuroscience Research, 61 (3). pp. 257-270.
Recent research has documented the involvement of the endogenous opioid system in neural development, including neurogenesis and neuronal differentiation. However, the expression of opioid receptors (ORs) in different cell types of the human ventricular and subventricular zones (VZ and SVZ) has not been studied during early gestation. In the present study, we have used immunohistochemistry and quantified the results to demonstrate that the levels of delta- and mu-OR subtypes were high in the VZ and SVZ between 11 and 16 gestation weeks (GW) and decreased by 20GW. These results have also been confirmed by studying OR mRNA expression in the VZ and SVZ. Both delta- and mu-OR subtypes were expressed by multipotential stem cells, newly differentiated neurons and developing glial cells to different extents. However, migrating neurons expressed negligible levels of both OR subtypes. Our results suggest that the opioid system may affect cellular proliferation and/or differentiation of stem cells into neurons and glia during the first and second trimesters of gestation in humans. Since layers II and III of the cerebral cortex are being formed during the second trimester, their development is most likely affected by the opioid system mediated through delta- and mu-ORs.


Back Bay At Folly Folly Beach SC Homes & Properties For Sale | James Schiller & Assoc.
Back bay at folly Folly Beach SC has six properties for sale on MLS. Homes for sale in Back bay at folly subdivision have an average list price of $411,125 ranging in price from $345,000 to $530,000. The average size property is 1,664 square feet. Largest for sale 1,842 sqft & smallest 1,614 sqft. Houses for sale Back bay at folly or all real estate listings by price, size, neighborhood & age in Folly Beach SC.


Gatta.pl is one of the leading and most recognizable fashion brands in Poland. We have the pleasure of supporting it in developing and optimizing an e-commerce sales channel that is important for company.
One of the most important goals of Gatta.pl is the continuous monitoring of customer behavior and needs, on the basis of which the online shop is subject to periodic modifications and improvements. This applies to both the storage engine, the information architecture, and the ordering process. In 2017 Gatta focused on elegant styling, simplicity and chic. Our task was to turn these assumptions into a well-functioning online store.
Graphic project The most important challenge in creating a new Gatta.pl was redesigning the shop's visual page in such a way as to keep the elegance and at the same time make the store aesthetics look lighter for the customers.
As a result, we changed the main menu. It is now much simpler and more intuitive, yet allows for more categories and subcategories to be added to it than it did in the previous release.
Striving for simplicity is best seen in the main page design, listing, and product sheet. In order to give full expression to the new direction adopted by Gatta.pl, we strengthened the minimalist message with the appropriate font selection and infographics.
Product card - taking into account the most popular computer screens in Poland (1366x768 pixels), we made sure that the "To Cart" button appeared to the customer immediately at eye level without having to scroll down. Gatta.pl works on a engine that is very SEO friendly, so we could afford to include a product description at the bottom of the page, without the risk of losing position in Google search results.
Support for the marketing division Recognizing the ever-changing customer preferences, the Gatta.pl marketing department has received a refreshed version of FlowTool and a menu configurator, so it can be more effective at presenting online store offer.
The operation of the application is intuitive and based on the principle of drag'n'drop. Additionally, it is possible to define a separate banner grid for mobile devices.
Menu configurator For Gatta.pl, we have also prepared a menu configurator that allows you to edit the contents of the main menu of the store in a convenient and basically unlimited way.
The configurator also allows you to save, copy the menu structure, and even group or filter individual items.
Promote specific products as part of advertising campaigns.
Additional support for the sale is the placement of stronger pressure in the new release of the store for the newsletter. It is still in the lower section, but this time it takes up more space.
I should add that this is the team of eEngine which gained trust of representatives of IT, Marketing, Retail and Management divisions. We have been working together for over a year and we implement next modifications of the Gatta.pl shop basing on suggestions and proposal of eEngine.
After six months of intensive cooperation with Gatta.pl we created quite a new opening of the internet shop. In the latest version we put an emphasis on simplicity and usefulness, the effect being redesigning the most important sub-sites of the shop. Using heatmaps and A/B test we adjust the website to the behavior and requirements of Gatta.pl all the time, at the same concentrating on equipping the marketing and sales divisions with proper tools facilitating their work.


Part of the Fruit Cocktail Collection, the Monstera Leaf Necklace brings the tropics to your neck styling. The dainty pineapple pendant is 4.5mm high and is set in 9 carat Rose Gold. We offer a range of chain lengths so you can layer as you like.


Memorial service is being held at Azle and Lake Worth Funeral Home 850 North Cardinal Road Azle, Texas 76020, Saturday, August 25, 2018 at 2:00 PM.
Greatly loved by his daughters, April Brooks and Samantha Brooks; his grandchildren, Stephan A Brooks, Elliott Rose Robinson and Spencer Page Robinson; his brothers, Barry and Julie Robinson, Ann and Mackey Pittman and Jan Robinson, Ryan and Anita Robinson; son-in-law Danny Brooks and daughter-in-law Shannon Robinson, many nieces and nephews.
Son of Burrett and Mary Robinson both deceased.
He is greatly loved and will be missed by many.


text:
Mali arrests 5 over Qaeda attack that killed 11 soldiers
11 soldiers killed in attack on Mali camp
Islamists attack Mali army base
2 Malian soldiers killed in suspected jihadist attack
Bamako - Malian forces on Wednesday arrested five people suspected of involvement in an attack that left 11 soldiers dead, but the release of a former top jihadist sparked outrage among human rights groups.
The latest arrests come as the west African country, which has seen several uprisings since independence from France in 1960, looks to implement a peace deal despite continuing unrest from militant groups and spreading jihadist attacks since the beginning of the year.
According to army spokesperson Colonel Souleymane Maiga, the five people detained near the site of Monday's attack in northern Mali were suspected of links with al-Qaeda in the Islamic Maghreb (Aqim), the jihadist group that claimed the assault.
One of the suspects was found with a weapon belonging to an officer killed in the attack, a Malian military source said, speaking on condition of anonymity.
Monday's attack struck a Mali National Guard security post in Ghourma-Rharous, an area around 140km east of Timbuktu, leaving 11 guards dead and one wounded. It came just days after two Malian soldiers were killed and four others wounded in an ambush in the centre of the country.
The violence spurred Malian President Ibrahim Boubacar Keita to scrap a trip to Egypt, citing "domestic security reasons", with the country's prime minister taking his place.
Also on Wednesday, 14 human rights groups jointly criticised neighbouring Mauritania's release of a former top jihadist, labelling it a "blow for the victims of the Malian crisis".
A Mauritanian security source said the country on Tuesday freed Senda Ould Boumama, the former spokesman of the Ansar Dine militant group who surrendered to the authorities in May 2013.
"The liberation of Senda Ould Boumama by Mauritania is a blow for the victims of the Malian crisis," the coalition of rights groups, which included Amnesty International as well as multiple domestic organisations, said in a joint statement.
They said Ould Boumama surrendered himself to Mauritania in order to escape Mali's justice system, and accused him of being among "several alleged perpetrators of the most serious crimes", including "sex crimes".
Mali's north came under the control of Ansar Dine and two other jihadist groups - Aqim and the Movement for Oneness and Jihad in West Africa - in April 2012.
Ansar Dine, which is Arabic for Defenders of Faith, has itself been accused of close links with al-Qaeda.
A move south towards the capital by the extremists, who imposed a brutal version of sharia law on inhabitants, prompted Mali's former colonial master France to intervene in January 2013, pounding their positions in the north.
While their organisational structure has been smashed, small pockets of armed Islamists have managed to remain active, and continue to carry out deadly attacks.
Read more on: aqim | al-qaeda | mali | west africa
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Many customers consider a company's appearance to be a reflection of its products and services — don't miss this important chance to impress and build credibility. Schoenfelder Painting offers interior painting and exterior painting services that will beautify your hotel and increase its property value. Contact us today at (952) 345-2901 for a free quote.
Ever since we opened for business in 1991, we've done things differently. Everything about our process is designed to give you the highest-quality experience possible. But don't just take our word for it – see our A+ listing with the Better Business Bureau!
Our employees listen to the styles, colors, and patterns that you prefer, and then we make your ideas a reality. If you're not sure what would look best, we can offer professional guidance.
We'll analyze the job site and record any repair or prep work that needs to be done. After discussing these things with you, we'll put everything in writing so the expectations are clear. We'll also develop a viable budget. If a phase of the project is too expensive, we'll help find an alternative plan.
Our goal is to complete our project without disturbing your business. We'll discuss a painting schedule with you that won't bother your customers or interrupt your business flow.
Painting on a flawed wall will never produce superb, long-lasting results. Whether we need to wash, repair, or strip the wall, we'll ensure it's in perfect condition before we begin painting.
Once all of the prep work is completed, we'll begin painting.
Our crews have the ability to update any surface. Let the first impression of your complex be remembered for all the right reasons.
In addition to hospitality painting, we also do retail and commercial and multi-housing painting throughout the nation. If your business needs more than just a fresh coat of paint, we also provide commercial renovations. Contact us at (952) 345-2901 for a free quote today. We look forward to serving you.


A photograph captures the moment but a film captures so much more.. the emotion, excitement, sound and atmosphere.
Videos can be uploaded onto face book, or you tube, a lovely way to share your special day with those who were unable to make it.
No better way to relive your magical day and possible moments you may have missed!
Prestwold Hall Wedding Trailer from JMC PRODUCTION UK on Vimeo.
Matt & Alannas Photo Shoot from JMC PRODUCTION UK on Vimeo.
JMC PRODUCTION UK (Chatsworth House) from JMC PRODUCTION UK on Vimeo.
JMC PRODUCTION UK from Jon on Vimeo.
P1000114 from Jon on Vimeo.
Jon arrived at our wedding early to lay out his 'LOVE' and 'S&A' signs and right from 10am - 11.30pm he was capturing footage of our wedding day. Throughout the day he let us try all his new photography gadgets & showed our photographer all the best places to take amazing shots! I honestly could not recommend this man enough. Jon at JMC Production you are amazing!!!
"Just to say thank you SO much to you both for producing the video of Fiona and Jim's wedding - we are all thoroughly delighted with the result and it will be a fabulous keepsake of a truly wonderful day for the happy couple "
"This man is amazing at his job. We engaged Jon to video our recent wedding and saw the results yesterday. What an AMAZING production!!!!!! Jon you are a genius!! Many thanks Sarah & Michael P.S. We are NOT related just very happy, satisfied customers of this great guy!!!!
"We cannot thank Jon enough for making such a beautiful visual journal of our day. Jon took time to understand what was important to us on the day, was unobtrusive throughout the day, has taken so much care with the final outcome and was a pleasure to work with through the whole event and build up. We are so pleased that we asked Jon to video our wedding, we have a beautiful, permanent reminder of the day and have had so much joy (& joyful tears!) from watching the videos over again! Thank you and all our best wishes for a successful career ahead"
"Jmc production.. you are absolutely brilliant. You went the extra mile for us on our special day. I can't stop watching the video and we can't wait to see the finished product. With your video we can enjoy seeing our special day over and over. We can't thank you enough. I would recommend you to everybody. I don't think we can thank you enough."
"A big thank you to Jon for producing my promo video. Absolutely outstanding results, fantastic service and a pleasure to work with. Highly recommended!"
"Beautiful video. My hat goes off to Jon at JMC Productions, & I'm more than happy to highly recommend this videographer after working along side him Saturday."
Hope this helps as I appreciate this is a big decision. If you have any further questions please contact me.


We first moved out of our birth place Duke's Brew and Que over to Hackney Wick in 2013 eager for more space and brewing capacity to meet the first growth in demand for our beer. A year later in 2014 we moved up to Tottenham Hale and onto our first 'big' kit, wide eyed and wet behind the ears, not fully aware of what this might ultimately become. We found out very quickly that the beer we were brewing, and the industry we were in was growing faster than any of us could have predicted and over the past 4 years we haven't always been able to be immediately forthcoming with beer due to not growing beyond our production means and capacity constraints on site.
It's been update after update, new FV's after new FV's, hop cannons, centrifuges and brewing at Redchurch to help provide temporary respite from a lack of beer, the operative word being 'temporary'.
We knew a few years back that we needed more space to brew and to grow so that we could keep pushing the boundaries of where craft beer is seen and drunk. After all, there is no good reason to drink bad beer anymore in the UK! We want our beer to be accessible to all and are driven by the mantra "Let's get great beer on to every street corner!". So, we started looking at sites and plots of land all over London for a new, bigger home and finally we found one. A glorious blank canvas for us to build from the ground up, kitted out with all the stuff needed to take our beer and our brewing to the stars and beyond. To a place we like to call Beaverworld!
In brief, our vision for Beaverworld is a large-scale production facility and visitor experience designed and built by us, for us and you the drinker. We are aiming to build one of the world's best beer/brewing experiences all within this great city of London enabling us to bring more drinkers into the world of Beavertown, to entertain and stimulate and let people see what we do, how we do it and why we do it first-hand.
The timescale for all this is a little fluid, initial projections give us a move in date of Summer 2019 if all goes to plan – which is pretty fast in building terms but also a pretty long time to wait when everyone is still desperate for beer. So, we have taken what we've learned about brewing at our friends Redchurch and we're upscaling it. As part of the transition on to a much larger brew house we have reached an arrangement to brew a little more beer at Brouwerij De Brabandere in Belgium. Brouwerij De Brabandere have been family owned and operated for 5 generations since 1894 and come with a great pedigree of producing great beers from their Petrus Traditional and Petrus Sour range to their hero beer Bavik Pils. Over the course of the next 18 months, brewing with Brouwerij De Brabandere will allow us to organically grow the amount of beer available to the trade, but also, very importantly, will mean that when Beaverworld is fully operational we will have spent serious time learning how to brew on a kit the same size and specification as we are investing in, helping us to transition seamlessly into our new home and hit the ground running.
The beers brewed at Brouwerij De Brabandere will be kegs of our two most in demand brews, Gamma Ray and Neck Oil. These will both be brewed using the exact same ingredients (that we will be shipping over), to the exact same specifications and brewed and monitored by Team Beaver.
All this stable organic growth means that as the craft market continues to develop and expand in both drinker and demographic, we can continue to grow with it, and guarantee you the best Beavertown beer and experience for many years to come. We are so excited about the future of the UK brewing industry and our place within what is such a vibrant movement and we are thrilled to be taking another huge step towards what we hope will be one of the most renowned beer experiences in the world. Surpassing the dreams we concocted in the cellar of Duke's in 2012 has been truly mind blowing for Team Beaver. Striving to cement the UK and London as a beer paradise and helping to drive the craft beer sector forward is our goal. Part of this mission is all about creating great experiences based around beer and getting great amber nectar in to the hands of the masses. This is another step to fulfilling that vision and laying the foundations to Beaverworld!
We'll be regularly updating you all on the progress of Beaverworld, so keep your eyes peeled, there will be loads more details for us to share along the way.


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SACK OF BONES (Los Angeles) Info
SACK OF BONES (Los Angeles)
Dash Snow
Mark Flood
Tara Delong
Daniel McDonald
Arsen Roje
Agathe Snow
Eli Hansen
Sebastian Mlynarski
Banks Violette
November 20–December 20, 2008
Curated by Blair Taylor and Ellen Langan
November 20 – December 20, 2008
Opening reception Thursday November 20, 2008 from 6 to 9 pm
Javier Peres is pleased to present SACK OF BONES, a group exhibition featuring: Jack Goldstein, Dan Colen, Tara Delong, Dash Snow, Gardar Eide Einarsson, Mark Flood, Neil Jenney, Bill Hayden, George Herms, H.C. Westermann, Bruce LaBruce, Daniel McDonald, Andrew Rogers, Arsen Roje, Agathe Snow, William C. Taylor, Donald Urquhart, Oscar Tuazon, Eli Hansen, Kaari Upson, Sebastian Mlynarski and Banks Violette.
Toted around, thrown in the corner, recovered as relic or disposed of as useless, a sack of bones is unavoidably deformed. It is an apparently dead object subject to the intentions of its creator, or its purveyor, or its consumer, or maybe just its times.
The group exhibition "Sack of Bones" comes from a viewing of Paul Rachman's 2006 film, American Hardcore, in which Mark Flood appears as an interviewee on the topic of 1980's punk rock. The tone of the film is reverent, to be sure, but more than an ode, the voices in the film present conflicting parts pride, humor, fraternity, anger, bitterness, nostalgia, and what are often doleful mechanisms for dealing with the here-and-now. That Flood was both part of Hardcore as it existed musically (in 1980 his band, Culturcide, put out their first 7-inch: "Another Miracle/Consider Museums as Concentration Camps") and has been practicing visual art for over 30 years poses an interesting question: how, if at all, can art be hardcore? By embodying adolescent punk obsession? By miraculous use of irony? By a simple withdrawal from popular territory?
Consider, for example, the tangled 'attitude problem' precipitated by Reagan-era punk; there is the myth of a pure strain of FUCK YOU, there is the myth of the majority's snide perception of its counter-movements, and then, somewhere in the overlap, there is the problematic dilution of any rebellion's once-potent beginnings (causing cycles of backlash and resurgence pretty much ever after). In the art world this tangle is further convoluted by the relishing of trade and an inherent affluence, elitism and circuitous pandering that can compromise anyone's well-intentioned we/they stirrings.
The exhibition as a whole may appear deadpan, satirical or pathetic – in any case each of the constituent works turns its back on complacency, and, in doing so, becomes material evidence of resistance (kicking from within the sack). In other words, with all that is stacked against the mutinous artist and the mutinous viewer, hope could lie in objecthood itself.
Peres Projects Chinatown will be closing at the close of "Sack of Bones".
"Sack of Bones (Los Angeles)" will be on view at Peres Projects (969 Chung King Rd, Los Angleles 90012) through December 20, 2008. Hours: Tuesday through Saturday, from
11:00 A.M. to 6:00 P.M and by appointment. For further information or reproductions please contact Sarah Walzer at tel. + 1 213 617 1100 or sarah@peresprojects.com.


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Family Mentoring
Just Neighbors
Voices Uniting
Making Homeless Families Count
National Housing Trust Fund
A fun and creative project for children to help homeless families. Click here for details>>
Every year, Family Promise Affiliates provide temporary housing, meals, and countless other services thousands of children and parents in emergency situations. But for families to rise above cyclical poverty, further action is required to overcome systemic issues like lack of affordable housing and jobs that don't pay a living wage. Family Promise is committed to addressing programs and policies that impact low-income families daily.
Voices Uniting mobilizes and supports Family Promise clergy, volunteers, and former guests as advocates for public policies that alleviate poverty and promote economic stability of low-income families. Through this program, collectively raising our voices in the public policy arena, we create substantial and lasting changes that will affect the lives of millions of families in need.
For information on the issues addressed by Voices United please see use the links below or contact us.
Current Issues for Voices Uniting:
We want to pass The Homeless Child and Youth Act of 2015
(H.R. 576 and S. 256) to amend HUD's definition of homelessness to include children recognized as homeless by other federal programs such as health, education, domestic violence, youth and early childhood education. Learn more...
Fact: In school year 2012-13, nearly 1.3 million public school children ages 6-18 were identified as homeless; yet HUD identified only 236,690 persons in families (including adults) as homeless in the point in time count that same year.
Funding the National Housing Trust Fund
The National Housing Trust Fund (NHTF) was signed into law by President Bush in 2008, but has never been funded. Family Promise encourages Affiliates to educate their boards and volunteers about the importance of funding the NHTF so that necessary affordable rentals can be created. Learn more...
Fact: For every 100 extremely low income (ELI) renter households, there are only 31 affordable and available units.
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