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Strategy: Stay Focused and Open
Growth Guy Articles
By: Verne Harnish "Growth Guy"
Jun 1, 2010 1:00:00 AM ET
Shortly before Facebook announced that it was planning to go public, founder Mark Zuckerberg asked employees from around the world to attend a meeting at the company's new headquarters in Menlo Park, Calif. Around 2,000 of them gathered under a big white tent on the lawn, as Fortune writers Miguel Helft and Jessi Hempel reported in their compelling story in the March 19 edition.
Everyone thought Zuckerberg was going to talk about the impending IPO, but the 27-year-old CEO surprised them all. Instead, as Fortune reported, the gathering was to discuss priorities for 2012. Zuckerberg urged his team to stay focused in the year to come. "Keep shipping," he told them.
With so many businesses facing new competition around the globe, it may seem like practices such as slowing down to hold a strategy session aren't important any more. But as this gifted CEO showed, setting a clear direction—and making sure employees know what it is—is more important than ever to keeping your company's edge.
You don't have to set a battery of priorities to dominate your industry. Companies should focus on a single theme, in an ideal scenario.
We're approaching half-time for 2012. Does your team know the key priority for the next six months? Pick one thing that will have the biggest impact on your company – and focus on that. As the late Eli Goldratt, author of The Goal and creator of the theory of constraints advises, look for the weakest link or bottleneck in your industry, your company—even yourself—and find a way to address it. That will help you to focus your mission on something that's worth pursuing.
It's incredibly liberating to limit your choices – to only have one major thing to accomplish. If you get that done, many other elements of your business will almost take care of themselves. For instance, when I finally committed the time to writing the book Mastering the Rockefeller Habits, I found that getting it right helped me to solidify many other parts of my business. It attracted the right kind of customers and opportunities to help me grow my firm.
Open to Millions
Narrowing down your company's focus will liberate you to do great things. In turn, opening up your company to tap into the brains, time, and effort of millions of others will accelerate your success.
Over the last century, CEOs have needed to focus on getting the right people on the bus above all. Today, you still need to employ the best talent in paying jobs. But you also need millions of other brains on your side.
Zuckerberg's genius is that the people doing most of the labor for Facebook—and creating its value—aren't his employees. They're you and me: the "volunteers" who are posting pages on the site. None of us have been paid a penny to put our valuable content on the site—and he's making a fortune from it.
How can you get millions of volunteers on your side? That should be a key question at your next strategy session. Today, a simple effort like making an inexpensive, funny video that customers turn into a viral marketing sensation on YouTube can be worth millions, much like what founder Michael Durin has done with his Dollar Shave Club video that has attracted over 4 million views. How can you inspire your company's fans to contribute their know-how and networks to your company?
Ajay Prahbu, COO of global outsourced engineering firm QuEST, has always given strategy high priority. It's the reason the company, founded in 1997, now has about 3,500 employees and had about $180 million in revenues last year, with sales increasing by about 35% a year.
From the outset, QuEST had a clear mission: to win Goliath clients in industries such as aerospace by serving as a challenger to the existing supply chain. "The entire company is focused on going after these customers," says Prahbu. QuEST won GE as its first account by finding ways to solve its engineering challenges faster and better than competitors. It distinguishes itself through extraordinary efforts to keep customers happy and protect their intellectual property.
QuEST's growth didn't happen by accident. Twice a year, the company convenes all of its key sales and engineering executives and other pivotal players in one location. "We spend three to four days of intensive thinking and talking about what we need to do in the next six months," says Prahbu. The company focuses on setting goals—such as deciding which customers to pursue in the coming six months—and taking stock of its progress on existing initiatives. "That helps us to align people," he says.
Just as staying focused on strategy has helped Facebook, it's also helped Prahbu's firm. QuEST expects $300 million in sales this year. If you give strategic planning the same high priority he does, you'll be surprised by what you can achieve—especially if you get your fans on board.
"Black Swan" Moment: Seize Them Now


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Written by Garrett MIllerick
Guest Blog: Garrett Millerick on SUNFLOWER at Soho Theatre
There is much debate about what a classic 'Edinburgh Show' is. Does it have to have a theme, does it have to be gag-heavy, is a narrative essential?
I have spent much of the last year fielding questions on this very subject because of the huge disparity between what I had promised to deliver with my last show Sunflower and what fate ordained that I would deliver.
Prior to staging comedy shows at the Edinburgh Festival, I was engaged in the staging of theatre shows there. I've also done a sketch show and a character comedy hour. I've produced, directed, written, stared in, moved set, flyered, driven vans – just about any job connected with the staging of shows at the Edinburgh festival. This leads people to believe I have some sort of great insight about what constitutes a good Edinburgh Show. I'm not sure I do though.
The trouble really started at the beginning of last year when I decided that I wanted to challenge myself to write an hour of straight stand-up. No theme, no narrative, just stand-up. I don't think this is a better type of show than any other, it's just I'd done two narrative-driven shows and fancied a change.
The people charged with selling the show pointed out that as well as being an artistic challenge for me it presented a challenge for them too; in a crowded marketplace, it's quite difficult to market something that's about 'nothing'. I took their point and said "I know what we can do guys! We could make a virtue out of it being a pure stand-up show by saying so on the poster!".
The show was called Sunflower, a title that I'd picked just because it was the title of my favourite Beach Boys album. The rough idea I had for the poster was for it to look like organic food packaging; I'd been in a Sainsbury's and seen the packaging for some organic sausages. The packaging proudly proclaimed '100% Pure Meat, No additives'.
I decided that would be a funny thing to base my poster on, so I put a couple of stickers on the posters and flyers saying '100% pure comedy', 'No sad stories', 'Free from additives' and that kind of thing. Make it look fun, and try to differentiate yourself in a crowded marketplace. Then I set about writing the show…
First off, I love a narrative. And I love a theme. As I say, I'd done a few theme shows. But last year I just fancied doing an hour of jokes. I read a review of my show stating that "nobody has been more vocal that Garrett Millerick about shows not needing a theme". Well, if by vocal you mean putting a joke on your poster then yes maybe, but even then you'd have to ignore that I've done a fair few of those types of shows.
But, I had set out to do something specific, and then fate changed what I was writing. I think sometimes, before that happened, people wonder if I had been attempting to do an hour of jokes as a protest against classic 'sad-comedy Edinburgh Shows'. But I really hadn't been – the original plan was just born of my love of jokes and wanting to do something I hadn't done before.
I now had a show that had become what some people class as a classic Edinburgh Show, but this had happened in spite of itself; namely, my show now had a sad bit about two-thirds in. As a result of this, and the juxtaposition of what it said on my posters, I got asked, and continue to be asked, to comment on the phenomenon of what an Edinburgh Show should be.
I also get asked about The Beach Boys quite a lot too, but not as much. Which is a shame, as I have far more to say about The Beach Boys than I do about Edinburgh shows. If anyone wanted to ask me to write an article about The Beach Boys, that'd be great.
Sunflower ended up following a three-act structure simply because of the phases of writing the show. I had completed roughly 20 minutes of material by April of last year, on course for what was originally intended for the show.
Then, in April, my wife and I discovered that we were expecting our first child. This changed my world view significantly, and as a result it changed the tone and timbre of what I was writing.
Then I'd written about another 20 minutes of material when everything changed again and we were no longer expecting a baby. Then I put the show down and didn't think about it for a bit. By the time I came to try to work out how to finish it, things had got more complicated and life had got a little darker.
As is relatively well documented by now, there were a few changes between signing off on that poster and the show hitting the festival. My family suffered a tragedy a few weeks before the festival that prevented me from finishing the original show, so the final third of the piece was radically different to what it might have been.
I'm not going to go into the details of what happened here; it's covered in the show -why not come and see it? It's on at the Soho Theatre all this week. Suffice to say, any chance of finishing it in the way I'd intended had just evaporated. So I had two finished thirds of two different shows and no ending. I had to try and work out what I could do with that.
With the final third of the show, my wife and I decided that it would be a good thing to go and tell the story of why I couldn't finish writing the show I'd intended to, because one of the things that got us through the tragedy was laughter and jokes. It was the only thing we had at certain moments.
So if you'd planned to head up to the world's largest comedy festival with a show that was 100% pure comedy, but you couldn't because life got in the way, it seemed reasonable to go to try and communicate that the only thing that helped you deal with life getting in the way… was comedy. It was a plan of sorts, and with a few weeks to go it was the only option we had. And it seems to have resonated with people, and it's been cathartic to perform.
So my show ended up having a sad bit about two-thirds in, at the end of the second act. I didn't plan it like that and it wasn't anyone's intention – it just ended up following a three-act structure. That's not unique to Edinburgh Shows; most things follow a three acts structure, it's just one of the laws of the universe. Life tends to follow a three-act structure and as the fella said… life is what happens when you're making other plans.
Filed under: Sunflower, Writing
Previous My Festival: Garrett MIllerick

redpajama_set_name: RedPajamaCommonCrawl


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International Society for Research on Impulsivity
Current Meeting
Meeting Registration
Annual Meeting of the
The International Society for Research on Impulsivity (InSRI) will hold its 2019 Annual Meeting on Wednesday May 15th, 2019, as a one‐day satellite symposium to the Society of Biological Psychiatry at The Hilton Chicago, Chicago, IL.
This yearʹs theme "The Darkside of Impulsivity" will focus on: Highlighting preclinical and human research that examines features of impulsivity as they relate to disease progression, whether that be continued substance use disorders or chronic psychiatric/neurological illnesses. Also included will be impulsivity in the context of RDoC for psychiatric/substance use disorders, and as a transdiagnostic feature.
The objectives of the meeting are:
1.	To bring together scientists from multiple disciplines (preclinical and clinical neuroscience, psychiatry,
psychology, and computational modeling) working in the area of impulsivity, risky decision making and
addictions to promote interdisciplinary dialog.
2.	To involve trainees and junior faculty in the meeting and encourage their future participation in research
on impulsivity, risky decision making and addictions.
Full Program to be announced shortly
$275 Member Meeting Registration & Regular Membership
$125 Trainee Meeting Registration & Student Membership
$400 Corporate Registration & Membership
Register at: https://isri.worldsecuresystems.com/meetings/meeting‐registration
In lieu of posters, this year we are soliciting submissions for participation in a Lightning Talk format presentation, a series of 10-15 minute bite‐sized bits of research. Please contact Dr. Noelle Anastasio (ncanasta@utmb.edu) for details.
F. Gerard Moeller M.D. ‐ Virginia Commonwealth University
Charles W. Mathias Ph.D. ‐ UT Health San Antonio
Marc N. Potenza M.D., Ph.D. ‐ Yale School of Medicine
Alan C. Swann M.D. ‐ Baylor College of Medicine
Catharine Winstanley Ph.D. ‐ University of British Columbia ‐ Vancouver
Albert Arias, M.D. – Virginia Commonwealth University
Noelle C. Anastasio Ph.D. – University of Texas Medical Branch
Copyright International Society for Research on Impulsivity and it's licensor's. All Rights Reserved. | Design provided by PBD
Privacy Policy | Refund Policy | Contact Us


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Q: How to conditionally convert inches to cm in MySQL (or similar conversions during SELECT)? I have a table similar to the following:
value    unit
-----    -----
100      cm
30       in
120      cm
35       in
37       in
29       in

In my selection, I'd like to convert inches to centimeters.  Something like the following:
SELECT AVG(unit = in ? value*2.54 : value) FROM data_table;

What is the proper syntax, or method to perform this type of selection in MySQL?

A: SELECT AVG(value) FROM (
  SELECT
    CASE unit
      WHEN "cm" THEN value
      WHEN "in" THEN value*2.54
      END AS value
    FROM data_table
) AS all_in_cm

A: You could 'rollup' @Mikhail's solution into a single SELECT without subqueries:
SELECT AVG(value * CASE unit WHEN 'cm' THEN 1 WHEN 'in' THEN 2.54 END)
FROM data_table

Alternatively you could use an tiny lookup subselect for the units, like this:
SELECT AVG(d.value * u.factor)
FROM data_table d
  INNER JOIN (SELECT 'cm' AS unit, 1 AS factor UNION ALL SELECT 'in', 2.54) u
    ON d.unit = u.unit

A: SELECT CASE d.Unit
        WHEN 'in' THEN d.Value * 2.54
        ELSE d.Value
       END AS centemeters
FROM data_table at d;

A: CREATE FUNCTION CONV_IN_CM (measurement INT,  base_type ENUM('in','cm'))
RETURNS FLOAT(65,4)
DETERMINISTIC
RETURN IF(base_type = 'in', measurement * 2.54,
       IF(base_type = 'cm', measurement / 2.54, NULL));

Below is the syntax for this command. Text within square brackets (i.e, [ and ] ) are optional. Choices are separated by bars (i.e, | ). Ellipses preceded by a comma indicates a repeating pattern. Ellipses before or after syntax are used to highlight a relevant except from the larger syntax. Text displayed in italic letters represent text that should be replaced with the specific names related to the database (e.g., column with the name of the column).
CONV_IN_CM(measurement, {in | cm})

redpajama_set_name: RedPajamaStackExchange


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What's Greta Thunberg's dog got to do with jazz?
This year's Galway Jazz Festival veers from the standard model, inviting artists to respond to world events, and encouraging audiences to think about sustainability
Wed, Sep 25, 2019, 05:00
Cormac Larkin
Galway Jazz Festival director Ellen Cranitch: 'I think artists have a duty to respond. That's the whole remit of artists, is to respond to the world and the human condition'
For evidence of how different Galway Jazz Festival is to the standard jazz festival model, look no further than Roxy's Head is Melted, a words-and-music performance, named for Greta Thunberg's dog, from Dublin writer and performer Donal O'Kelly. Improbably, the teenage climate activist's beloved Labrador came to her from Cork, a rescue by the Dog Action Welfare Group (Dawg, geddit?) and O'Kelly's piece ("a jazz-words urgent contemplation in rhythm and rhyme on our house burning down"), in the Mick Lally Theatre on Saturday, is just one example of how the team behind the Galway festival are shifting the narrative around art and activism.
"Donal has worked so much with music," says festival director Ellen Cranitch. "It's a kind of Myles na gCopaleen-esque approach to the rhythm of words, and he is extremely good at playing off musical riffs and musical ideas. It's a little bit different, but we've always had a literary strand to the festival and we're delighted that this is a big mainstream literary event, and unusual in its execution."
Since Galway piano tuner Ciarán Ryan and his team took over the Galway Jazz Festival five years ago, they've been ringing the changes, building their festival model around sustainability and community engagement. Imaginative tie-ins with local restaurants and food producers involved the local business community; plastic bottles were banned from backstage; and the festival began dispensing with unnecessary merchandise such as T-shirts and plastic laminates.
Drummer Seán Carpio's Bog Bodies project is at the Mick Lally Theatre, Galway on Saturday October 5th as part of the Galway Jazz Festival
Seán is probably the most gifted drummer to come out of Ireland in a long time
But this year the festival is going all out, working with the Ryan Institute at NUI Galway to measure the entire carbon footprint of the festival and encouraging their audience to get on board, with innovative thinking around food, drink and travel. There's even a call in this year's programme for audience members to forgo one international flight in the coming year to offset a flight for a visiting artist at next year's festival.
"We're not exactly tree-huggers," protests Ryan, "but it really struck us all, personally and individually, like 'f*** me, Jesus Christ, we have an audience and we're involved in this public activity and yes, we have a responsibility to do whatever we can to not be part of the problem'. If we believe that there's a chance to turn any of this around, and that's a moot point," he adds darkly, "then it's up to every single one of us and no action is too small."
Gender and nationality
Climate wokeness isn't the only thing that's different about the Galway Jazz Festival. The programme, which runs to some 50 paid and free events across the city, covers a broad spectrum of jazz-related music, particularly those areas where jazz practice intersects with other musical traditions. And, in contrast to the more established festivals on the island, there is a noticeable diversity to the line-up in terms of gender and nationality, and a marked absence of big-name male Americans.
"Diversity is very important," says Cranitch, whose Purple Vespertine show on Lyric FM is a weekly feast of eclectic music choices, "but it's not something that we're even that conscious of any more. We just do it. Of course there's gender and nationality representation, but we're not doing it deliberately, we've just found these amazing musicians who happen to be from all over the place, and happen to be male or female or whatever they are. We don't have a quota, we just happen to have found some extraordinary musicians.
"I'm conscious of people not seeing this as virtue signalling," says Cranitch of bookings such as renowned Slovenian pianist Kaja Draksler and rising UK saxophonist Trish Clowes, "because it's not that. It's just, wow, Kaja is a great pianist, and Trish is one of the leading lights of the British jazz scene right now, so why wouldn't you have them?"
Vocalist Lauren Kinsella's Saoirse is at An Taibhdhearc, Galway on Thursday October 3rd as part of the Galway Jazz Festival
This is a perfect example of a young Irish musician looking into her own heritage to find inspiration
In contrast to some of Ireland's more established jazz festivals, Galway is also placing a bigger emphasis on local talent, drawn both from Ireland and from the wider European scene. As well as reducing the air miles of its artists, the move reflects a shift amongst European creative musicians away from aping mainstream American approaches and towards a deeper engagement with local sound worlds.
'Improvisational context'
"The European scene is very vibrant," says Cranitch, "particularly the Scandinavian musicians, who have been exploring their own traditional music for a long time and finding ways to marry that into an improvisational context." She references innovative Norwegian Hardanger fiddle player Nils Økland, whose powerful quintet is one of the headline acts in St Nicholas' Collegiate Church on Sunday. "You know they're brilliant jazzers, and they can play 20 choruses of Giant Steps if they want to, but they don't. They find different ways of coming around and bringing their own musical heritage into a jazz and improvised context, and I find that really exciting from a musical standpoint."
It's also heartening to see Galway putting its weight behind Irish creative musicians, and two headline projects in particular, both commissions by the festival, show just how strong the Irish scene has become.
Nils Økland is at St Nicholas' Church, Galway on Sunday October 6th as part of Galway Jazz Festival
The European scene is very vibrant, particularly the Scandinavian musicians
"What has become really apparent with this year's festival is that there are some incredibly good projects going on in Ireland that don't necessarily get the platform that they deserve," says Ryan, "and I think that Irish festivals can do more. Irish festivals have always looked at overseas content as being almost by definition of a higher quality. There are people that work at a very high level in Ireland but because there are so few playing opportunities, sometimes these incredible projects don't get the platform they deserve."
Innovative Dublin drummer and composer Seán Carpio's Bog Bodies is a musical response to the Connemara landscape, incorporating field recordings and composition. "Seán is probably the most gifted drummer to come out of Ireland in a long time," says Cranitch. "He's a great composer who never puts limits on his own explorations. Galway is the most westerly city in Europe and beyond it is the most extraordinary landscape, so it's lovely to see someone who is responding to that landscape in a jazz and improvised music context."
Sean nós tradition
Cranitch is also excited about Saoirse, a new work the festival has commissioned from London-based Irish vocalist and composer Lauren Kinsella, exploring the sean nós tradition. "She is one of Ireland's finest jazz performers, and this is a perfect example of a young Irish musician looking into her own heritage to find inspiration and creative traction. I just love the way people are being fearless about broadening their own particular envelope of exploration. It's going to be absolutely beautiful."
The eclectic bill also features forward-looking Irish musicians such as Belfast harpist Úna Monaghan, Galway saxophonist Matthew Berrill and Tipperary guitarist Joe O'Callaghan, but there's also plenty to satisfy fans of old-school swinging jazz, including a rare appearance on home soil by wunderkind Limerick guitarist Andreas Varady and intimate shows in restaurants and cafes around the city from legendary saxophonist Richie Buckley, popular Galway guitarist Aengus Hackett and award-winning Belfast drummer David Lyttle.
Trish Clowes is at the Mick Lally Theatre, Galway on Saturday October 5th as part of the Galway Jazz Festival
We don't have a quota, we just happen to have found some extraordinary musicians
At a time of global political turmoil, the festival's organisers are clear that the arts has a responsibility to act, and this year's event, as well as offering a new model for sustainability in live music performance, represents a clear challenge to other festivals and music promoters.
"I'm still quite surprised that certain official organisations and institutions are proceeding as if its business as usual," says Cranitch. "I think artists have a duty to respond. That's the whole remit of artists, is to respond to the world and the human condition. And if it's in our gift, then I am absolutely happy to provide that platform to artists who want to pick up that ball and run with it."
The Galway Jazz Festival runs from Wednesday October 2nd to Sunday October 6th. Full details at galwayjazz.ie
Squarehead: High Time review – wistful nostalgia mixed with unease
Sandie Jones, Irish Eurovision singer, dies aged 68
Daniel Johnston, enigmatic cult songwriter, dies aged 58
Leonard Cohen: Thanks for the Dance posthumous album announced
The best classical music and opera to see this week
Christina Aguilera: 'I came out with Dirrty and that was my f**k-it moment'
Girl Band: The Talkies review – A raucous, idiosyncratic return
Boa Morte: Before There Was Air review – slow-burning alt-folk doesn't come much smoother
Ulster Orchestra's new principal conductor: 'Opera was in my DNA'
Bruce Springsteen at 70: 13 surprising facts about 'The Boss'


I have a Raspberry Pi 3B running the latest version of RetroPi and Emulation Station. I just picked up a PIM110 Picade and wired my joystick and buttons to it. Every time I boot it up, it recognizes the controls as a keyboard, and it allows me to register the first control (joystick up). After that, I can't get it to respond at all. I'm stuck on trying to program joystick down and then the rest of the buttons. Any help would be appreciated. I'm a real noob at this (first project) but I'm great at following clear directions.
Did you Connect a USB keyboard to your Pi, and connect to Wi-Fi in the RetroPie menu. Press F4 to exit to the terminal and then type curl https://get.pimoroni.com/picadehat | bash to run the Picade HAT installer.


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NCAA Men's Basketball Regional Game Notes
March 5, 2009 — by Hope PR
Flying Dutchmen Game Notes
NCAA Regional at Wheaton College
Friday and Saturday, March 6-7, 2009
The Flying Dutchmen (21-7) are playing in the NCAA Division III tournament for the fourth year in-a-row and for the 20th time in school history. Hope has an all-time record of 26-21 (.553) in NCAA games. A year ago Hope finished third in the nation. The Dutchmen were the national runnersup in both 1996 and 1998.
Hope is one of only five schools to appear in the NCAA tournament 20 or more times. The leader is Wittenberg, Ohio with 24 appearances, but none since 2006. The others are Scranton, Pa. (22 times including 2009), Salem State, Mass. (22 times including 2009), and Franklin & Marshall, Pa. (20 times including 2009).
The Flying Dutchmen put two regular season losses to their rival behind them by defeating Calvin on the Knight's home court 69-59 to claim the Michigan Intercollegiate Athletic Association (MIAA) tournament title and an automatic berth in the NCAA tournament.
Hope is enjoying its fourth straight 20-win season and the 17th in 32 seasons under coach Glenn Van Wieren. The Flying Dutchmen over the past four seasons have a 103-19 cumulative record.
The tradition-rich Hope program came into the 2008-09 season as one of the most successful in all of Division III -- #5 by winning percentage (1,408-704, .667) and #6 by victories (now 1,429 entering this weekend).
Hope versus Regional Field
° UW-Platteville defeated Hope in the 1998 Division III national championship game, 69-56.
° The Flying Dutchmen and Thunder have been basketball rivals for half-a-century. The teams first met in 1958, a 104-93 Wheaton victory in the former NCAA College Division tournament. Earlier this season Hope lost at Wheaton, 91-79. A year ago Hope defeated Wheaton 83-70 in the NCAA Sectionals played in Holland. Hope leads the all-time series 18-15.
° Hope has no basketball history with Fontbonne although the colleges have been softball opponents in recent years.
Both Hope College basketball teams are playing in the NCAA Division III championships for the fourth consecutive year and for the sixth time this decade. The Flying Dutch are hosting a women's regional this weekend. HopeCollege will be hosting the women's Final Four at its DeVos Fieldhouse on March 20-21.
Former Legislator to Address Model UN
Former State Representative Bill Huizenga will give the awards ceremony address during this year's Model United Nations at Hope College on Friday, March 6, starting at 3:50 p.m. in Dimnent Memorial Chapel.
Flying Dutchmen at National Hockey Tournament
ACHA NATIONAL TOURNAMENT SUMMARIES
Symphonette and Chapel Choir Plan Tours
The Hope College Symphonette will be touring the Midwest during its annual spring break tour this year with performances in Illinois and Wisconsin between Thursday, March 12, and Monday, March 16.


For Honors, Intermediate, and Advanced level classes, please submit a writing sample through our online submission form. Submissions should be 3-5 pages for fiction and nonfiction classes, and 3-5 poems for poetry classes.
The process of writing fiction is frequently analogized. Some describe it as akin to carpentry, others to driving in the dark with only your headlights to see. Hemingway had a metaphor about icebergs. Whatever the analogy, the early thrill and inspiration of a good idea wears off eventually, and when it does a writer must figure out how to finish the story anyway, and how to revise it so that its intentions are understood by an audience. This course will examine an array of short stories as well as excerpts from longer works in an effort to decipher not only what a full narrative is made of, but also how individual scenes, paragraphs, and sentences are used to move plot and develop character. In discussion we will isolate and examine the basic elements of story craft—point of view, plot, character development, etc.—with special attention to how these things change through the stages of the writing process from first conception, to drafting, to revision. Students will themselves be asked to go through this process, writing their own works of fiction, submitting them for workshop, and revising.
PQ: Open bid through classes.uchicago.edu (undergrad) or student's graduate department. No prerequisite required. Attendance on first day is mandatory. If class is full, email the instructor to be placed on the wait list.
"The novel is exhaustive by nature," Steven Millhauser once wrote. "The short story by contrast is inherently selective. By excluding almost everything, it can give perfect shape to what remains." This course will consider the particular spaces that short fiction occupies in the literary landscape as a means toward giving students a clearer understanding of how to compose brief and high-functioning narratives. Through readings of published stories and workshops of students' own fiction, we'll explore the parameters of the short story, its scope and ambitions, its limitations as well. We'll read established masters like Raymond Carver, Alice Munro, and Joy Williams as well as newer voices such as Wells Tower and Anthony Doerr, breaking down their stories, not simply as examples of meaningful fiction, but as roadmaps toward a greater awareness of what makes a short story operate. Over the course of the quarter, students will submit stories for consideration in workshop, as well as other experimental efforts in short-short and micro fiction. Discussion will revolve around basic elements of story craft—point of view, pacing, language, etc.—in an effort to define the ways in which a narrative can be conveyed with economy, precision, and ultimately, power.
Fiction writing is part magic and part mechanics. This class will forgo the magic and concentrate on how a story is built: the architecture of structure, the mechanisms of character development, the fluid dynamics of dialogue. We'll take a close look at some of the building blocks that make up fiction writing: character, dialogue, plot, point of view, and setting. We'll also read and discuss a variety of short stories, always with an eye to craft and to what you, as writers, can steal for your own work. That's right, steal. Much of this class is devoted to learning how to steal the tools of great fiction writing, then to using those tools to realize your own vision. You'll write extensively in and out of class, from weekly reading responses to writing exercises that build toward a polished piece of work. Finally, you will write a complete draft and one extensive revision of a short story or novel chapter. The last third of the class will be devoted to student workshops, where each student will turn in a draft of a story or chapter to be read and critiqued by the whole class. This Honors Beginning course is open to all students but will give priority to those who are interested in declaring a Creative Writing Minor or a creative Honors Thesis. Unlike the normal Beginning courses, this class is not open bid and requires submission material and the consent of the instructor.
This course will explore different methods of crafting poetry, and the aesthetic and philosophical consequences of these approaches, and inquire into the balance between self-expression and the demands of communicative art. As a class, we will immerse ourselves in the fundamentals of poetry—sensory language, imagery, turn, epiphany, line breaks, musicality, form, structure, voice, and diction—and approach poetry from the perspective of practicing poets. Students will read voraciously in order to inform their own work and workshop their poems to learn the process of self-critique. Readings for the course will largely be drawn from 20th C. American poetry, including poetry by James Wright, Lorine Niedecker, Allen Ginsberg, Lucille Clifton, Russell Edson, Ai, and many others, giving students a sense of the particular socio-cultural context of being a poet in America today. This Honors Beginning course is open to all students but will give priority to those who are interested in declaring a Creative Writing Minor or a creative Honors Thesis. Unlike the normal Beginning courses, this class is not open bid and requires submission material and the consent of the instructor.
In this class you can write about anything you want, in any way you want, as long as you adhere to the truth. What that truth is, only you can say; our purpose is to help you find it. We welcome essays, memoirs, travelogues, oral histories, and profiles, as well as reported and journalistic stories. We also encourage radio, oral history, and comics. Nonfiction is inherently interdisciplinary, and this class should reflect that. Whatever form of nonfiction you choose, you will submit it to your classmates, who will edit and critique it. These critiques are not for the faint of heart. They require meticulous line editing, rigorous reflection, and total honesty. They require you to put as much effort into your classmates' stories as you do into your own. Be prepared to finish multiple rewrites of your story and to edit your classmates' drafts. We will also read and discuss published examples specifically chosen to illustrate the narrative concerns and problems that arise in the student work at hand. You will leave this class with the work sample and skills you will need to take intermediate and advanced workshops. This course is open to all students but will give priority to those who are interested in declaring a creative writing Minor or a creative Honors Thesis. Unlike other beginning courses, this class is not open bid and requires you to submit a writing sample and obtain the consent of the instructor before enrolling.
PQ: Open bid through classes.uchicago.edu (undergrad). No prerequisite required. Attendance on first day is mandatory. If class is full, email the instructor to be placed on the wait list.
This intermediate fiction workshop will build on the fundamental elements of craft laid out in Beginning Fiction and encourage you to cultivate your own aesthetic: not just your writing style, but more importantly your unique perspective on the world that necessarily informs and is informed by that style. We will read a selection of writers who have distinctive voices and then complement those readings with writing exercises that will help you contextualize, refine, and expand your own emerging voice. As always, there will be an emphasis on the workshop process so that you are actively engaging with the work of your peers. For the course, you will complete one full-length story, which you will present for class critique, and then write a significant revision of that story, which you will either present for a second workshop or turn into me at the end of the quarter.
The books and stories we read as teenagers are often some of the most influential in developing our tastes as adult readers and writers of fiction. In this workshop class, we'll discuss the genre of young adult literature through evaluation of your own writing: what are its defining characteristics, and what's the difference between writing for a young adult audience versus writing books and stories about teenagers but designed for adult readers? Students should be working on projects involving teenaged protagonists, no matter the intended audience; please come to the first session with either work to submit or a sense of when you'd be able to sign up for a slot. We'll spend most of our time evaluating student work, learning how to become both generous and rigorous critics, and we'll also talk about the books that influenced us the most as young adult readers and the books we're reading today, from contemporary writers like John Green and Rainbow Rowell to classic authors like S.E. Hinton and Madeleine L'Engle.
One way to think of a poem is as a series of linguistic routes, or pathways, from sound to sound, word to word, line to line, image to image. Of course, these routes don't always move in a linear fashion: they often loop, overlap, interweave, crisscross, and create enchanting entanglements. Many disciplines, such as neuroscience and geography, practice "hodology," or the study of pathways, to assess and understand similarly interconnected pathways. In comparative fashion, this poetry workshop will borrow hodological approaches to develop the practice of poetry writing. We focus on poems' potential pathways in an effort to expand formal, thematic, and craft choices. While this class will emphasize workshop discussions of your poems and your experiments with craft, we'll read widely, including work by Frank O'Hara, A. R. Ammons, T. S. Eliot, Alice Notley, Emily Dickinson, James Wright, Charles Baudelaire, Gilles Deleuze, and Harryette Mullen. Students will be expected to submit poems weekly and to write two short essays on craft.
Ekphrasis is the act of replicating the experience of one art form in another medium. In this class we'll be trying to write essays that behave like paintings, essays that work like pop songs, essays that elicit aesthetic responses normally reserved for sculpture. We will read Mark Doty's Still Life with Lemon and Oysters, Maggie Nelson's Bluets, and Kevin Young's The Grey Album: On the Blackness of Blackness. We will also be reading poets and fiction writers who've used ekphrastic techniques in their work.
Instructor: David Stuart MacLean. Day and Time: Tuesdays from 1:30 pm to 4:20pm.
In this advanced fiction workshop, students will work on novel-length projects, completing two polished chapters and an outline of a full novel. We will explore how to structure a book that is both propulsive and character-driven, and how to create a compelling, unique narrative voice. Works by authors including James Baldwin, Edith Wharton, Vladimir Nabokov, and Yan Lianke will serve as guides to understanding the crucial relationship between characters and their contexts.
What is plot—beyond the dramatic events that take place in a work of fiction? Why is it important—beyond engaging us in what happens to a story's characters? Can plot be just as consequential to character-driven, aesthetic-driven, or idea-driven fiction as it is to fiction that privileges incident and action? And what exactly do we mean when we label stories in this fashion? This advanced fiction workshop will examine these questions and the many others that concern this crucial but often underrated element of craft. We will begin with the basic mechanics of plot and work towards a deeper understanding of all its effects on a narrative, whether they be dramatic, formal, characterological, even philosophical. Most importantly, we will try to apply these lessons to our own work, no matter the label we assign to our narrative and aesthetic interests. For the course, students will complete one full-length story, which they will present for class critique, and then write a significant revision of that story, which they will either present for a second workshop or turn in at the end of the quarter. Students should expect a rigorous but constructive workshop environment where being a critic and an editor is as essential as being a writer. The course will also include writing exercises and readings of exceptional published fiction, all intended to advance the course's investigation of plot.
This course takes inspiration from the poetry of Hannah Weiner, whose work Patrick Durgin calls "avant-garde journalism." Weiner published a series of journals documenting her daily life and the words she saw as a result of her schizophrenia; the technology of the typewriter enabled her to document the different "voices" on the page. Following Weiner's lead, we will explore various material modes of documenting the everyday – writing on index cards, by transcription, by typewriter, etc. We will look at other daily works by Ammons, Oppen, Mayer, etc. to expand our ideas of what writing the "everyday" looks like. Students will be expected to write and read as a daily practice, as well as to participate in exercises and critique during class.
A writing workshop for poets and playwrights for the study and development of character-driven verse. Traditional verse for the stage (blank and rhymed, Elizabethan through 1900's) will be explored, as well as modern attempts (Eliot, Caryl Curchill, David Ives, etc.) Where does the often thin line lie between a sonnet and a soliloquy? Students will be challenged to channel their poetic voice not through the personal, confessional "I", but through the mask, through character – as Shakespeare did with his sonnets, Blake with his Songs, and Dickenson, often, with her small ballads.
In this workshop we will study and practice the craft of arts criticism for popular media, including newspapers, magazines, and online publications. We will strive to write fair, effective criticism of film, books, theater, music, cuisine, and visual arts. We will read the leading critics in many of the arts— Pauline Kael on film, Kenneth Tynan on Theater, MFK Fisher on cuisine, William Logan on poetry, Ellen Willis on rock, Michael Kimmelman on visual arts, David Pogue on tech. We also read critics critiquing their own craft: Alan Rich and Harold Schonberg on music criticism, Martin Amis, W.H. Auden, and John Updike on literary criticism, etc. We will study and adhere to the ethical standards of the profession of journalistic arts criticism. As much as possible we will emulate the working pace of the professional critic, completing weekly reviews for a specific audience.


mommy's reviews: WIN a Christmas Tree from King Of Christmas!!
Growing up, Christmas was always a huge deal at my house. Starting the weekend after Thanksgiving, Christmas would be in full swing. As a family, we would go out and pick out a tree from a local farm and then take it home to decorate it. Once the tree was decorated, we would turn off all the lights in the house and watch the tree shimmer and sparkle in the darkness. That was the best part. I have MANY fond memories of Christmas when I was growing up. My parents made sure it was a fun time for all of us and to this day, I am thankful for their efforts to make it a special time of year. Once I had my first baby, we made sure to get a Christmas tree for her first Christmas. She was just a little tyke, and we loved showing her the lights and ornaments. Trying to make memories for her was always fun and we enjoyed her first Christmas.
In thinking about Christmas trees, I wanted to share some thoughts about trees. My mom now puts an artificial tree up that is prelit but did you know that you can also get Unlit artificial Christmas trees? I had a hard time with the first time I saw her artificial tree but knew that she just couldn't get a real tree anymore...it was so much work and she has no children at home to help her with a real tree. She still loves to decorate the entire house and make Christmas special just like it was in past years.
Make sure this holiday season is merry and bright with a Christmas Tree that will keep shining year after year...from King of Christmas!
Disclaimer: This is a sponsored post from King of Christmas and all thoughts and ideas are 100% mine.


Sharp Objects – S/T LP ~EX BRIEFS!
Sharp Objects – S/T LP. Ex members of the Briefs and the Bodies playing punk rock the way it should be played. Wow...this is a killer LP from start to finish. Seriously, not a bad song in the bunch. If you liked their 7 inchers, you'll love the LP. Listening to this reminds me of how I felt when I heard the first Stithches LP. Totally floored. Perfect, catchy punk-rock, with all the right influences. Ten killer POSHBOY-esque songs instantly bringing to mind the ADOLESCENTS/SOCIAL DISTORTION/AGENT ORANGE/TSOL-era of early 80s LA punk. Dark, aggressive and loaded with hooks. LP LIMITEED TO 350 COPIES. GET IT WHILE YOU CAN!!


Zionsville Show Choirs, Inc. (ZSI) is comprised of a membership of parents of the students who are participating members of the Zionsville Show Choirs.
Zionsville Show Choirs, Inc. is a 501 (C) (3) not-for-profit organization.
Support the Zionsville Community High School Show Choir educational program as established by the Vocal Music staff and administration of Zionsville Community School Corporation.
Assist with adult supervision for the Zionsville Community High School Show Choirs when needed.
Publicize the endeavors and information regarding the Zionsville Community High School Show Choirs.
Assist in fundraising efforts to meet the financial needs of the Zionsville Community High School Show Choirs.
Every Zionsville Show Choir parent is automatically a part of ZSI until his/her child's membership in show choir has come to an end.


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text:
namespace Digipost.Signature.Api.Client.Direct.Enums
{
    public enum JobStatus
    {
        /// <summary>
        ///     All signers have performed an action to the document, but at least one have a non successful status (e.g. rejected,
        ///     expired or failed).
        /// </summary>
        Failed,

        /// <summary>
        ///     At least one signer has not yet performed any action to the document.
        ///     For details about the state, see the <see cref="SignatureStatus">status</see> of each signer.
        /// </summary>
        InProgress,

        /// <summary>
        ///     All signers have successfully signed the document.
        /// </summary>
        CompletedSuccessfully,

        /// <summary>
        ///     There has not been any changes since the last received status change.
        /// </summary>
        NoChanges
    }
}

redpajama_set_name: RedPajamaGithub


text:
\section{Introduction.}
Let us recall that the real  Dufresne laws are distributions on $(0,\infty)$ defined as follows:
Let $p$ and $q$ be in $ \hbox{I\hskip -2pt N } = {0,1,2,...} $ and $ {\bf a} = ( a_1,...,a_p)$ and $ {\bf b} =(b_1,...,b_q)$ be two sequences of positive numbers. We write for $s \geq 0$ and $p > 0 $
$$ ( {\bf a})_s = \prod_{j=1}^{p}  \frac{\Gamma (a_j + s)}{\Gamma(a_j)} $$
and $ ({\bf a})_s = 1 $ for $ p=0 $. As introduced  in [3,6], the Dufresne law
$ D(\bf{a};\bf{b}) $ on $ (0, + \infty) $ (if it exists) is defined by its Mellin transform:
$$ \int_{0}^{\infty} x^s D({\bf a},{\bf b}) (dx) = \frac{({\bf a})_s}{({\bf b})_s} $$
where $s$ is such that $a_j+s$ and $b_i+s$ are positive for all $i$ and $j.$
 For $ p = q = 1 $ an example is given the beta distribution defined for $ a > 0 $ and $ b > 0 $ by
\begin{equation}
\beta_{a,b}(dx)=\frac{1}{B(a,b)}x^{a-1}(1-x)^{b-1}{\bf 1}_{(0,1)}(x)dx,
\end{equation}
where $B(a,b)= \frac{\Gamma(a)\Gamma(b)}{\Gamma(a+b)} .$
and which therefore can also be written as $ D(a;a+b). $
Similarly for $ p=1 $ and $ q=0 $
the gamma distribution with scale parameter $1$ and  shape parameter $c>0$ is the probability on $(0,\infty)$ defined by

\begin{equation}
\gamma_c(dx)=\frac{1}{\Gamma(c)} x^{c-1} e^{-x}{\bf 1}_{(0,\infty)}(x)dx
\end{equation}
is the Dufresne distribution $ D(c,-) $.
\section{General case}
Let us now develop an extension to paragraph 5 in [3]:
\begin{prop}
Let  $A,B$ and $X$ be independent positive random variables such that $A$ has distribution $D(\alpha,\beta; \alpha+1,\beta+1)$ (i.e. is the distribution of product of two independent random variables $ \beta_{\alpha,1}, \beta_{\beta,1}$) and such that $ B $ has distribution $ \gamma_u = D(u;-) $, where $u$ is a positive real parameter. Then $X$ and $ A ( X + B) $ have the same distribution if and only if $ \Phi (s) = \hbox{I\hskip -2pt E }{(e^{-sX} )}  $ is the unique continuous solution for $ s \geq 0 $ with $ \Phi(0) = 1 $ of the following differential equation:
\begin{equation}
 (s+1)^u s \Phi''(s) + (\alpha + \beta +1) (s+1)^u \Phi'(s) + \frac{\alpha \beta}{s} ((s+1)^u - 1) \Phi(s) = 0
 \end{equation}
\end{prop}

\noindent\textbf{Proof}. Suppose that  $X$ and $ A(X+B) $ have the same distribution and consider  $ \Phi (s) = \hbox{I\hskip -2pt E }{(e^{-sX} )}  $
for $ s \geq 0 $. The law of $A$ is:
$$ \frac{ \alpha \beta }{\beta - \alpha } [ t^{\alpha-1} - t^{\beta-1} ]\ {\bf 1}_{(0,1)}(t) dt $$
If $B$ has the gamma distribution $ D(u;-) $, we have
$$ \hbox{I\hskip -2pt E }{(e^{-sB}) } = \frac{1}{(1+s)^u} $$
and the functional equation can be written:
\begin{equation}
\Phi(s)=\hbox{I\hskip -2pt E }{(e^{-sA(X+B)})} =\hbox{I\hskip -2pt E }{(\hbox{I\hskip -2pt E }{(e^{-sA(X+B)}\mid A)})} =\hbox{I\hskip -2pt E }{(\frac{\Phi(sA)}{(1+sA)^u})} =
\alpha \beta \int_{0}^{1} \int_{0}^{1} \frac{\Phi(sab) a^{\alpha-1}b^{\beta-1}}{(1+sab)^u} da db
\end{equation}
leading to:
\begin{equation}
\Phi(s)=\frac{\alpha \beta}{s^\alpha}\int_{0}^{s} \int_{0}^{1} \frac{\Phi(tb) t^{\alpha-1} b^{\beta-1}}{(1+tb)^u} dt db
\end{equation}

we rewrite this as
\begin{equation}
s^\alpha \Phi(s) = \alpha \beta \int_{0}^{s} \int_{0}^{t} \frac{\Phi(v) t^{\alpha-1} v^{\beta-1}}{t^{\beta} (1+v)^u} dt dv
\end{equation}
Taking the derivative of both sides gives:
\begin{equation}
(s^\alpha \Phi(s))' = \alpha \beta s^{\alpha -\beta -1} \int_{0}^{s} \frac{\Phi(v) v^{\beta-1}}{(1+v)^u} dv
\end{equation}
and this easily leads to the differential equation (2.4). To show the uniqueness of $\Phi$ , an elementary way is to see that all other solution of (2.4) in a neighborhood of zero can be written as $ s \longmapsto \Phi(s) z(s) $, where the unknown function $z$ satisfies
$$ s \Phi(s) z''(s) + (2 \Phi'(s) +( \alpha + \beta +1) \Phi(s)) z'(s) = 0 $$
Since from (2.4) $ \Phi'(0) =- \frac{u \alpha \beta}{\alpha + \beta +1}$, it is easily seen that $z$ is continuous on 0 with $z(0)=1$ iff $z$ is a constant.

\section{Case $u=1$}
Let us study first the case where $u=1$. Then the problem becomes a particular case of the Dufresne result $\alpha, \beta , c=1 $ (see Proposition 3 in [3] see also [5]) and the distribution of $X$ is $ D(\alpha,\beta; \alpha + \beta +1) $ . A direct proof of this result can also been obtained from the differential equation (2.4), which becomes for $u=1$ :
$$ (s+1) s \Phi''(s) + (\alpha + \beta +1) (s+1)  \Phi'(s) + \alpha \beta \Phi(s) = 0 $$
whose solutions  can be calculated by the standard tools of hypergeometric differential equations.
As noted in [3] the explicit expression of the Dufresne distribution in terms of Whittaker confluent hypergeometric function $ W(p,q;x) $ is:
\begin{equation}
\frac{\Gamma( \alpha + \beta +1)}{\Gamma(\alpha)\Gamma(\beta)} e^{-x/2} x^{\frac{\alpha+ \beta-3}{2}} W(-\frac{1+\alpha+\beta}{2},\frac{\beta-\alpha}{2};x){\bf 1}_{(0,\infty)}(x)dx
\end{equation}
 (see Erdelyi et al. 5.19 [8], or Gradsteyn and Ryzhik 7.621(6) [11]).

\section{Case $u=2$}
We now consider the more difficult case $ u=2 $.  Proposition 12 in [3] was  curiously  involving the golden ratio $ \frac{1+ \sqrt{5}}{2} $. We extend it as follows:

\begin{prop}
Let $A,B$ and $X$ be independent positive random variables such that A has distribution $D(\alpha,\beta; \alpha+1,\beta+1)$ and such that $B$ has distribution  $ \gamma_2 = D(2;-) $. Then $X$ and $A(X+B)$ have the same distribution if and only if $X$ has the distribution:
 $$ D(\alpha +\rho,\beta +\rho ;  \alpha + \beta + 1) * D(-\rho , -) $$
 where $ \rho = \frac{1 - \sqrt{1+4\alpha \beta}}{2} $ and the operation $*$ stands for an additive convolution of Dufresne variables.

 \end{prop}
\noindent\textbf{Proof}. For $n=2$ the differential equation (2.4) becomes:

\begin{equation}
 (s+1)^2 s \Phi''(s) + (\alpha+\beta+1) (s+1)^2 \Phi'(s) + \alpha \beta (s+2) \Phi(s) = 0
 \end{equation}
The characteristic equation of this differential equation relative to the singular point $s=-1$ is $ p^2 -p -\alpha \beta $, whose solutions are $ \rho_+ =  \frac{1 + \sqrt{1+4\alpha \beta}}{2} $ or $ \rho =  \frac{1 - \sqrt{1+4\alpha \beta}}{2} $. Changing the function $ \Phi $ into the new unknown function $ z$ defined by $ \Phi (s) = (1+s)^\rho z(s) $ leads to the following hypergeometric differential equation for $z$:
$$ s(1+s) z''(s) + ( \alpha + \beta +1 + ( 2 \rho + \alpha + \beta + 1 )s )z'(s) + (\rho + \alpha )(\rho + \beta ) z(s) = 0 $$
whose unique solution continuous on $ [ 0 , \infty ) $ and equal to $1$ on $0$ is the Gauss  hypergeometric function :
$$   _2F_1 ( \rho + \alpha ,\rho + \beta ;  \alpha + \beta + 1 ; -s ) $$
(see Rainville p. 54 [12]). Thus
$$ \Phi(s) = (1+s)^\rho {}_2F_1 ( \rho + \alpha ,\rho + \beta ; \alpha + \beta + 1 ; -s ) $$
We know that the Laplace transform of the Dufresne distribution $D ( \rho + \alpha ,\rho + \beta ;  \alpha + \beta + 1 )$ is $  _2F_1 ( \rho + \alpha ,\rho + \beta ; \alpha + \beta + 1 ; -s ) $ and that the Laplace transform of the distribution $ \gamma_{-\rho} $ is $ (1+s)^\rho $: the result is proved.
Note that the positivity of the parameters is given by the condition
$ min(\alpha, \beta) +1 > max(\alpha , \beta)$, this condition shows the exchange of the product of two beta variates: $D(\alpha,\beta; \alpha+1,\beta+1)$ is equivalent to $D(\alpha,\beta; \beta+1,\alpha+1)$.

\section{Corollaries}
As a consequence, we get a possibly new identity for the generalized hypergeometric function $ _3F_2 $.
\begin{cor}
For all integers $ n>0 $ we have the following identity:
\begin{equation}
(-\rho)_n {}\ _3F_2 (\rho + \alpha ,\rho + \beta,-n;  \alpha + \beta  +1 , \rho -n ; 1 ) =
\frac{1}{(n+1)^2} (2- \rho )_n  {}\  _3F_2 (\rho + \alpha ,\rho + \beta,-n; \alpha+\beta + 1 , \rho -3 -n ; 1)
\end{equation}
\end{cor}
\noindent\textbf{Proof}. With the notations of the previous proposition, we use the fact that $ \hbox{I\hskip -2pt E }{(X^n)} = \hbox{I\hskip -2pt E }{(A^n)} \hbox{I\hskip -2pt E }{((X+B)^n)}$. Now the distribution of $ X+B $ is $ D(\alpha +\rho,\beta +\rho ; \alpha+ \beta + 1) * D(-\rho + 2 , -) $, from proposition (2) and the convolution properties of the gamma distributions. We can now apply  Proposition 7 in [3] for computing the moments of $ X$ and $ X+B $. Since $ \hbox{I\hskip -2pt E }{(A^n)} = \frac{1}{(n+1)^2} $
, the corollary is proved.\\
Another consequence, where we get a possibly new integral formula for Gauss hypergeometric functions, arises from the application of the Laplace transform to the result.
\begin{cor}
If $ \alpha , \beta $ are  positive, if  $\rho=  \frac{1 - \sqrt{1+4\alpha \beta}}{2} $ and if $ _2F_1( a,b;c;s) $ is  the Gauss hypergeometric function then we have :
\begin{equation}
(1+s)^\rho {}_2F_1 ( \rho + \alpha ,\rho + \beta ;  \alpha + \beta + 1 ; -s )=
\int_{0}^{1} \int_{0}^{1}\frac{\alpha \beta x^{\alpha-1} y^{\beta-1}}{(1+sxy)^{-\rho+2}} {}_2F_1 ( \rho + \alpha ,\rho + \beta ;\alpha+\beta + 1 ; -sxy ) dxdy
 \end{equation}
 \end{cor}
\noindent\textbf{Proof}. With the notations of the previous proposition, we use the fact that $\hbox{I\hskip -2pt E }{(e^{-sX})}= \hbox{I\hskip -2pt E }{(e^{-sA(X+B)})} $. Now the Laplace transform of the distribution of $X+B$ is $ (1+s)^{\rho-2} {}_2F_1 ( \rho + \alpha ,\rho + \beta ;\alpha +\beta + 1 ; -s ). $ From Proposition 2, from the convolution properties of the gamma function and since $A$ is the product of two independent $ \beta_{\alpha,1}, \beta_{\beta,1}$ the corollary is proved.

\section{Application to the triggered shot noise}
In physics and in insurance mathematics (see [5])the following process occurs:
\begin{equation}
  Z(t) = \sum_{0 \leq T_i \leq t} B_i e^{-p(t-T_i)}
  \end{equation}
where the $(T_i)_{i \in \hbox{I\hskip -2pt N }^* }$ are the arrival dates of a Poisson process with rate $ \lambda $ and the $(B_i)_{i \in \hbox{I\hskip -2pt N }^*}$  are i.i.d. random variables . $Z(t)$ represents, for example, the shot noise as in ref. [15]. The stationary limit of this process exists if $ E(\log |B_i|) < \infty $ and is the same as the distribution limit of the sequence of random variables $(X_i)_{i \in \hbox{I\hskip -2pt N }^*} $ defined by
$$ X_1 = A_1 B_1 , X_{m+1} = A_{m+1} ( X_m + B_{m+1} ) , m> 0 $$
the $ A_j $ being powers in $ \frac{p}{\lambda}$ of independent random variables uniform on $[0,1]$ .\\
Now consider a triggered shot noise with period k (see [1,2,4]):
$$ Z_k(t) = \sum_{i| 0 \leq T_{ki} \leq t} B_i e^{-(\sum_{j=2}^{k} p_{(j-1)}(T_{(k(i-1)+j)}-T_{(k(i-1)+(j-1)})+p_{(k)}(t-T_{(ki)}))} $$
The k sucessive Poisson events are  perturbating  the exponential decay differently. The same arguments as in [9] show that the distribution limit of $ Z_{T_{km}} $ is given by the limit of $X_m$ , but the $A_i$ are independent with the same distribution as $\Pi_{j=1}^{k} U_j ^{p_{j}/\lambda} $ the $U_j$ being independent random variables uniform on $[0,1]$
which correspond to the studied cases $ u=1,2 $ where $ \alpha=  \frac{p_1}{\lambda}, \beta=  \frac{p_2}{\lambda} $  and the $ B_i$ are $ \gamma_1 $ or $ \gamma_2 $ distributed .

 \section{Products of more than 2 betas}
\begin{prop}
Let  $A,B$ and $X$ be independent positive random variables such that $A$ has distribution $D(\alpha,\beta,\gamma; \alpha+1,\beta+1,\gamma+1)$ (i.e. is the distribution of product of three independent random variables $ \beta_{\alpha,1}, \beta_{\beta,1}, \beta_{\gamma,1}$) and such that $ B $ has an exponential distribution $ \gamma_1 = D(1;-) $. Then $X$ and $ A ( X + B) $ have the same distribution if and only if $ \Phi (s) = \hbox{I\hskip -2pt E }{(e^{-sX} )}  $ is the unique continuous solution for $ s \geq 0 $ with $ \Phi(0) = 1 $ of the following differential equation:
\begin{equation}
 (1+s) s^2 \Phi'''(s) + (\alpha + \beta +\gamma+3) (1+s) s \Phi''(s) +(1+s)(\alpha\beta+\alpha\gamma+\beta\gamma+\alpha+\beta+\gamma+1) \Phi'(s)+ \alpha \beta \gamma \Phi(s) = 0
 \end{equation}
\end{prop}
\noindent\textbf{Proof}.
Using the same arguments as in proposition (2), we get
\begin{equation}
\Phi(s)=\alpha \beta\gamma \int_{0}^{1} \int_{0}^{1}\int_{0}^{1}  \frac{\Phi(sabc) a^{\alpha-1}b^{\beta-1}c^{\gamma-1}}{(1+sabc)} da db dc
 \end{equation}
from which after 3 differentiations we derive the differential equation. The problem  again becomes  a particular case of Dufresne distribution   $ D(\alpha,\beta,\gamma; c_1,c_2) $ since the differential equation is of generalized hypergeometric type
with solution $$  {}_3F_2 (  \alpha ,\beta ,\gamma; c_1,c_2 ; -s ) $$ see [14] the parameters $c_1, c_2$ being the roots of the second order equation generated by the non linear system given by the identification of the parameters of equation (7.14) with those of the canonical equation in [14]. i.e.:
$$ c_1 + c_2 +1= \alpha+\beta+\gamma+3$$
and
$$ c_1 c_2 = \alpha\beta+\alpha\gamma+\beta\gamma+\alpha+\beta+\gamma+1 $$
The roots are complex conjugate (or real positive),
$$ c_1 = \frac{\alpha+\beta+\gamma+2 +  i \sqrt{4(\alpha\beta+\alpha\gamma+\beta\gamma+\alpha+\beta+\gamma+1)-(\alpha+\beta+\gamma+2)^2}}{2}$$
 the case $\alpha=\beta=\gamma$ has been studied by Dufresne in [7] where he justifies the fact of having complex parameters for the product of beta distributions, such complex parameters have appeared already for the distribution of triggered shot noise [2], it is easily verified that the real part and the module of the roots (or the  two real roots ) are greater than the elements of $\overline{(\alpha ,\beta ,\gamma)\bigcap  max(\alpha ,\beta ,\gamma)}$  to build the Laplace transform of a beta variable. \\
Products of $n >3$  betas could be handled in the same way, leading again to Dufresne variables but with increasing complexity to calculate the parameters since for $n>5$ it will be necessary to use iterative numerical methods to solve the system of $n-1$
non-linear equations to evaluate the $n-1$ unknown parameters.
 For instance for $n=4$ the differential equation is:
\begin{eqnarray*}
(1+s) s^3 \Phi^{(iv)}(s) +(\alpha+\beta +\gamma+\delta+6) (1+s) s^2 \Phi'''(s) \\ +(\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\gamma\delta+
3(\alpha+\beta+\gamma+\delta)+7) (1+s)s \Phi''(s) \\
+(\alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta+
\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+
\gamma\delta+\alpha+\beta+\gamma+\delta+1) (1+s) \Phi'(s)\\
+\alpha \beta \gamma\delta \Phi(s) = 0
\end{eqnarray*}
the solution is:
$$ {}_4F_3 (  \alpha ,\beta ,\gamma, \delta; c_1,c_2, c_3 ; -s ) $$
the unkown parameters are the roots of the third order equation resulting from the 3 non linear equations due to the identification with the parameters of the fourth order hypergeometric equation given in [13]i.e.:
$$ c_1 + c_2 + c_3 +3 = \alpha+\beta+\gamma+\delta +6 $$
$$c_1 + c_2 + c_3 + c_1 c_2 + c_2 c_3 + c_3 c_1+1 =\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\gamma\delta+
3(\alpha+\beta+\gamma+\delta)+7$$
$$ c_1 c_2 c_3 = \alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta+
\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+
\gamma\delta+\alpha+\beta+\gamma+\delta+1 $$
There are 3 real positive roots or one real positive root and two complex conjugate roots which is allowed according to the Dufresne results [7] the positivity being given by the Descartes/Laguerre rule of signs, see appendix.\\
For the case $n=5$ the solution is:
$$ {}_5F_4 (  \alpha ,\beta ,\gamma, \delta, \eta; c_1,c_2, c_3, c_4 ; -s ) $$
the unkown parameters are the roots of the fourth order equation resulting from the 4 non linear equations due to the identification with the parameters of the fith order hypergeometric equation :
$$ c_1 + c_2 + c_3 + c_4 +6 = \alpha+\beta+\gamma+\delta+ \eta + 10 $$
\begin{eqnarray*}
3(c_1 + c_2 + c_3 + c_4 )+ c_1 c_2 + c_2 c_3 + c_3 c_1 + c_1 c_4 + c_2 c_4+ c_3 c_4+7=\\ \alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\gamma\delta
+\alpha\eta+\beta\eta+\gamma\eta+\delta\eta
+6(\alpha+\beta+\gamma+\delta+\eta)+25
\end{eqnarray*}
\begin{eqnarray*}
c_1c_2c_3+c_1c_2c_4+c_1c_3c_4+c_2c_3c_4+c_1+c_2+c_3+c_4+c_1c_2+c_2c_3+c_3c_1+c_1c_4+c_2c_4+c_3c_4+1=\\ \alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta
+\alpha\beta\eta+\alpha\gamma\eta+\alpha\delta\eta+\beta\gamma\eta+\beta\delta\eta+\gamma\delta\eta\\
+3(\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\alpha\eta+\beta\eta+\gamma\eta
+\gamma\delta+\delta\eta)+7(\alpha+\beta+\gamma+\delta+\eta)+15
\end{eqnarray*}
\begin{eqnarray*}
c_1 c_2 c_3 c_4 =
\alpha\beta\gamma\eta+\alpha\gamma\delta\eta+\alpha\beta\delta\eta+\beta\gamma\delta\eta
+\alpha\beta\gamma\delta\\
\alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta
+\alpha\beta\eta+\alpha\gamma\eta+\alpha\delta\eta+\beta\gamma\eta+\beta\delta\eta+\gamma\delta\eta\\
+(\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\alpha\eta+\beta\eta+\gamma\eta
+\gamma\delta+\delta\eta)+(\alpha+\beta+\gamma+\delta+\eta)+1
\end{eqnarray*}
There are 4 real positive roots or two real positive roots and two complex conjugate roots or two pairs of complex conjugate roots which is allowed according to the Dufresne results [7],the positivity being given by the Descartes/Laguerre rule of signs, see appendix.
The process could be extended by induction using an automatic procedure, the main difficulty being then for $n> 5$ to get a good initial guess of the location of the solution of the non-linear system by an iterative method, for the sake of simplicity the choice of the set of $\overline{(\alpha ,\beta ,\gamma, \delta, \eta,...)\bigcap  max(\alpha ,\beta ,\gamma, \delta, \eta , ...)}$ components for the starting array of the real roots of the iteration process could be made since their positivity is assumed from the Descartes/Laguerre rule of signs and each real positive  parameters $ c_i $ must be greater than one of the associated $ \alpha ,\beta ,\gamma, \delta, \eta , ...$ to build the Laplace transform of a beta variable. Otherwise the calculations could be made sequentially: set the parameters $(\alpha ,\beta ,\gamma, \delta, \eta,...)$ in increasing order $ \alpha_i, i= 1 , ... ,n+1$
compute the n roots starting the iterations  with the initial guess $ \alpha_1 $ and then $  max( c_{i-1} , \alpha_i) , i=2,...,n $. For instance, if
$\alpha=\beta=\gamma=\delta=\eta=\zeta=1$ then
 $$c_1 = 3,c_2 = \frac{3 + i\sqrt{3}}{2} ,c_3 = \frac{3 - i\sqrt{3}}{2},c_4 = \frac{5 + i\sqrt{3}}{2},c_5 = \frac{5 - i\sqrt{3}}{2}  $$
 (using wolframalpha) equivalent results have been tested which show that the special case: equality to 1 of the all the parameters gives a set of real integer coefficients for a quasi cyclotomic polynomial, the roots are the roots of unit (the real root 1 is lacking ) the unit circle being centered at $(2,0)$ on the complex plane ( C++ program available on request, see also Sloane [14]). The corresponding cycltomic polynomial is the following according to the identity [13]:
 $$ \sum_{m=0}^{m=n} (-1)^m y^{n-m} $$
 An extension to the case $\alpha=\beta=\gamma=\delta=\eta=\zeta=...$ gives the roots on the circle of radius $\alpha $ centered at $ (\alpha+1,0) $ in the complex plane. This extension due to the generalization of the relation of theorem 1.1 in [13]
 $$ \sum_{j=r+1}^{n} C_{n}^{j} C_{j-1}^{r} \alpha^{j-1-r}  =  \sum_{j=r+1}^{n} C_{j-1}^{r} (1+ \alpha)^{j-1-r} ,  0\leq r \leq n-1 $$
 For instance if $\alpha = 2$ the polynomial is $ x^3-11 x^2+43 x-65 $ the roots are $ x = 3-2 i, x = 3+2 i,  x = 5$
on the circle of radius 2 centered at $(3,0)$ the real root $ 1 $ is lacking see figure.If all the parameters are equal to $ \frac{1}{n} $ at the limit $n$ tending to infinity it can be conjectured that the result is degenereted to a circle point of radius $ \frac{1}{n} $ centered at $ (1+\frac{1}{n} , 0)$ showing an infinite product of $ \beta_{ \frac{1}{n},1} $.

\newpage

\section{References}\begin{enumerate}

\item  \textsc{\sc Blanc-Lapierre M.A.} (1955) `Consid\'{e}ration sur certains processus ponctuels et sur les fonctions al\'{e}atoires associ\'{e}es ' {\em Colloque Analyse Statistique, Centre Belge de Recherches Math\'ematiques} 25-55.

\item  \textsc{\sc Chamayou, J.-F.} (1996) `A Case of a Random Difference Equation Connected with a Filtered Binary Process' {\em Adv. Appl. Math.} {\bf 17} 88-100.

\item  \textsc{\sc Chamayou, J.-F., Letac, G.} (1999) `Additive Properties of the Dufresne Laws and Their
Multivariate Extension' {\em J. Theor. Prob.} {\bf 12} 1045-1066.

\item  \textsc{\sc Chamayou, J.-F., Dunau J.L.} (2002) `Random difference equations with logarithmic distribution and the triggered shot noise' {\em Adv. Appl. Math.} {\bf 29} 454-470.

\item  \textsc{\sc Dufresne D.} (1990) 'The distribution of a perpetuity, with applications to risk theory and pension funding' {\em Scand. Actuarial J.} {\bf 1/2} 39-79.

\item  \textsc{\sc Dufresne D.} (1996) `On the stochastic equation $ \it{L} (X) = \it{L} (B(X+C)) $ and a property of gamma distributions' {\em Bernoulli} {\bf 2} 287-291.

\item  \textsc{\sc Dufresne D.} (2010) `The Beta Product Distribution with Complex Parameters' {\em Communications Statistics Theory Methods} {\bf 39} 837-854.
\item  \textsc{\sc Erdelyi A., \it{et al.}} (1953a) {\em Higher Transcendental Functions}, McGraw Hill, New York.

\item  \textsc{\sc Erdelyi A., \it{et al.}} (1953b) {\em Tables of Integral Transforms}, McGraw Hill, New York.

\item  \textsc{\sc Feller W.} (1966) {\em An Introduction to Probability Theory and its Applications, Vol. II}, Wiley, New York.

\item  \textsc{\sc Gradstein, I.S., Ryzhyk, I.M.} (1980) {\em Table of Integrals, Series and Products}, Acad. Press,
New York.

\item  \textsc{\sc Rainville E.D.} (1960) {\em Special Functions}, Chelsea, New York.

\item  \textsc{\sc Shattuck M., Waldhauser T.}(2010) 'Proofs of some binomial identities using the method of last squares' {\em  Fibonacci Quart.} {\bf 48} 290-297.

\item  \textsc{\sc Sloane N.J.A.} (1964) {\em The On Line Encyclopedia of Integers Sequences }, OEIS.

\item  \textsc{\sc Vervaat W.} (1979) `On a stochastic difference equation and a representation of non-negative infinitely divisible random variables '{\em Adv. Appl. Prob.} {\bf 11} 750-783.

\item  \textsc{\sc WOLFRAM} (2014) {\em Hypergeometric Functions pFq },\\ http://functions.wolfram.com/HypergeometricFunctions/Hypergeometric3F2/13/01/01/01/.

\item  \textsc{\sc WOLFRAM} (2014) {\em On Line Root Finder},\\
http://www.wolframalpha.com/widgets/
\end{enumerate}
\newpage

\section{Appendix: Algorithm for the coefficients}
 \begin{center}

\begin{tabular}{|l|l|l|l|l|l|l| }
\hline

&n-5&n-4&n-3&n-2&n-1&$n=6$ \\
\hline
n&- & -&- &- &- & 1 \\
\hline
n-1&- &- & -&- & 1& $n(n-1)/2=15$\\
\hline
n-2&- &- &- &1&10& $(n-2) table_{n-2,n-1}+table_{n-3,n-1}=65$\\
\hline
n-3&- & -&1&6&25& $(n-3)table_{n-3,n-1}+table_{n-4,n-1}=90$\\
\hline
n-4&- &1&3&7&15& $(n-4)table_{n-4,n-1}+table_{n-5,n-1}=31$\\
\hline
n-5&1&1&1&1&1&  1\\
\hline
* &$\Sigma_5 +$ &$\Sigma_4 +$ &$\Sigma_3 +$ &$\Sigma_2 +$ &$\Sigma_1 +$ &$ \Sigma_0$ \\
\hline
\end{tabular}
\end{center}
Where the $\Sigma$s come from the Viete's formulae for polynoms:\\
$\Sigma_0 = 1$ $ \Sigma_1 = \alpha +\beta +...+\nu $ with n terms
$ \Sigma_2 = \alpha \beta +... $ with $ C_n^2 $ terms
$ \Sigma_k = \alpha \beta... \kappa +... $ with $ C_n^k $ terms
$ \Sigma_n = \alpha \beta ... \nu $
Note that this table shows the triangle of Stirling numbers of 2nd kind (see Sloane [13]).

\section{Appendix: Remainder (Cardan) ready for use}
From the non linear system we get the following third order equation, since the corresponding elementary symmetrical functions appear:
$$ \xi^3 -A \xi^2 + (B-A) \xi - C = 0 $$
where:
$$ A  = \alpha+\beta+\gamma+\delta +3 $$
$$ B = \alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\gamma\delta+
3(\alpha+\beta+\gamma+\delta)+6$$
$$ C = \alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta+
\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+
\gamma\delta+\alpha+\beta+\gamma+\delta+1 $$
According to the classical solution of the third order equation, let:
$$ p = B-A -\frac{A^2}{3}$$
$$ q= -\frac{2 A^3}{27} - C + \frac{A(B-A)}{3}$$
the roots are:
$$ \xi_k = \frac{A}{3} +
j^k \sqrt[3]{-\frac{q}{2} + \sqrt{\frac{q^2}{4}+\frac{p^3}{27}}}
+j^{|k-3|} \sqrt[3]{-\frac{q}{2} - \sqrt{\frac{q^2}{4}+\frac{p^3}{27}}} , k=0,1,2$$
where $j$ is the cubic root of unit.
For instance, if $\alpha=\beta=\gamma=\delta=1$ then $\xi_1 = 3,\xi_2 = 2 + i ,\xi_3 = 2 - i$ Note that the real root $1$ is lacking .

\section{Appendix: Remainder (Ferrari)ready for use}
From the non linear system we get the following 4th order equation, since the corresponding elementary symmetrical functions appear:
$$ \xi^4 -A \xi^3 + (B-3A) \xi^2 - (C-B+2A) \xi + D = 0 $$
where:
$$ A  = \alpha+\beta+\gamma+\delta + \eta +4 $$
$$ B =\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\gamma\delta
+\alpha\eta+\beta\eta+\gamma\eta+\delta\eta
+6(\alpha+\beta+\gamma+\delta+\eta)+ 18 $$
\begin{eqnarray*}
C=\alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta
+\alpha\beta\eta+\alpha\gamma\eta+\alpha\delta\eta+\beta\gamma\eta+\beta\delta\eta+\gamma\delta\eta\\
+3(\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\alpha\eta+\beta\eta+\gamma\eta
+\gamma\delta+\delta\eta)+7(\alpha+\beta+\gamma+\delta+\eta)+14
\end{eqnarray*}
\begin{eqnarray*}
D=\alpha\beta\gamma\eta+\alpha\gamma\delta\eta+\alpha\beta\delta\eta+\beta\gamma\delta\eta
+\alpha\beta\gamma\delta\\
\alpha\beta\gamma+\alpha\gamma\delta+\alpha\beta\delta+\beta\gamma\delta
+\alpha\beta\eta+\alpha\gamma\eta+\alpha\delta\eta+\beta\gamma\eta+\beta\delta\eta+\gamma\delta\eta\\
+(\alpha\beta+\alpha\gamma+\alpha\delta+\beta\gamma+\beta\delta+\alpha\eta+\beta\eta+\gamma\eta
+\gamma\delta+\delta\eta)+(\alpha+\beta+\gamma+\delta+\eta)+1
\end{eqnarray*}\\
According to the classical solution of the 4th order equation, let:
$$ p = B - 3 A - \frac{3 A^2 }{8} $$
$$ q = \frac{A^3 }{8} +\frac{ A(B-3A)}{2} + C-B + 2 A $$
$$ r = - \frac{3 A^4 }{256} + \frac{(B-3A) A^2 }{16} + \frac{ (C-B+2A)A }{4} + D $$
$$ p_1 = -r -\frac{p^2 }{12}$$
$$ q_1 = - \frac{p^3 }{108} + \frac{4 r p - q^2 }{8} - \frac{p r }{6} $$
the roots of the third order equation are:
$$ \zeta_k = \frac{p}{6} +
j^k \sqrt[3]{-\frac{q_1}{2} + \sqrt{\frac{q_1^2}{4}+\frac{p_1^3}{27}}}
+j^{|k-3|} \sqrt[3]{-\frac{q_1}{2} - \sqrt{\frac{q_1^2}{4}+\frac{p_1^3}{27}}} , k=0,1,2$$
from which $ \zeta_r $ is chosen among the real root(s), and then the 4 roots are:
$$ \xi_k =  \frac{ A }{4} + \frac{1 }{2} \sqrt{2 \zeta_r - p } +(-1)^k \sqrt{\frac{\zeta_r }{2}- \frac{p}{4} +(-1)^{[\frac{k}{2}]} \sqrt{\zeta^2_r - r }} , k=0,1,2,3 $$ For instance,
 if $\alpha=\beta=\gamma=\delta=\eta=1$ then $\xi_1 = 2+ \frac{1}{4}((1-\sqrt{5})+i \sqrt{2(5+\sqrt{5})}),\xi_2 = 2 + \frac{1}{4}((1-\sqrt{5})-i \sqrt{2(5+\sqrt{5})}) ,\xi_3 = 2 + \frac{1}{4}((1+\sqrt{5})+i \sqrt{2(5-\sqrt{5})}), \xi_4 = 2 +\frac{1}{4}((1+\sqrt{5})-i \sqrt{2(5-\sqrt{5})})$ .
 Note that the quasi cyclotomic polynomial has the real root $1$ lacking.
\newpage
\section{ Table of the coefficients of the polynomial for $\alpha=\beta=... =1$}
\begin{center}
\begin{tabular}{|l|l|l|l|l|l|l|l|l|l|l|l|}
\hline
0&1&-& -&- &- &- &-&-&-&-&-\\
\hline
1&1&-3& -&- &- &- &-&-&-&-&-\\
\hline
2&1& -5& 7& -&- &- &- &-&- &-&- \\
\hline
3&1& -7& 17& -15&- &- &- &-&-&-&- \\
\hline
4&1& -9& 31& -49& 31&- &- &- &-&-&-\\
\hline
5&1& -11& 49& -111& 129& -63&- &- &- &-&- \\
\hline
6&1& -13& 71& -209& 351& -321& 127& - &- &-&- \\
\hline
7&1& -15& 97& -351& 769& -1023& 769& -255&-&-&-\\
\hline
8&1& -17& 127& -545& 1471& -2561& 2815& -1793& 511& -&-\\
\hline
9&1& -19& 161& -799& 2561& -5503& 7937& -7423& 4097& -1023&-\\
\hline
10&1&-21 & 199  &-1121 & 4159 &-10625 & 18943  &-23297 & 18943  &-9217 & 2047\\
\hline
n&$x^n$&$x^{(n-1)}$&$x^{(n-2)}$&$x^{(n-3)}$&$x^{(n-4)}$&$x^{(n-5)}$&$x^{(n-6)}$&$x^{(n-7)}$&$x^{(n-8)}$&$x^{(n-9)}$&$x^{(n-10)}$\\
\hline
\end{tabular}
\end{center}

\newpage

\begin{figure}
\centerline{\includegraphics[width=15cm]{Wolf_root.ps}}
\caption{roots for$\alpha= 2$}=
\end{figure}
\end{document}

redpajama_set_name: RedPajamaArXiv


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The Necron are an ancient race whose origins are a mystery to the scholars of the Imperium. What precious little information has been learned from interrogations of Eldar who themselves only have stories that have become little more than legends. Known to the Eldar as the Yngir, the Necron are the remnants of an ancient race called the Necrontyr.
The Scarab Conflict Necron Army List uses the datasheets from the Necron Forces section.
Scarab Conflict Necron formations come in three types, the first two are phalanxes and support formations. Each phalanx you include in the army allows you to field any three support formations. Although you can only take a support formation if you first take a phalanx, they are treated as separate independent formations during a battle and do not have to move around together. The third type of formation are Harvestor formations. A maximum of up to a third of the points available to the army may be spent on these formations.
Finally, Necron Individuals includes special characters, formations and objective options. Each individual may only be taken once by the army. The rules for using each individual are listed in the Notes column.
A Necron formation may include any of the extra units listed in the Extras column. You may include any number of extra units in a formation unless it is specifically noted otherwise. All of the core and extra units in a formation count as being part of one formation. The different units may not move off on their own.
The Implacable Advance rule applies to all Necron formations (see Implacable Advance) and the Phase Out rule applies to certain formations (see Phase Out). Additionally, certain units and weapons have special abilities described in Necron Technology (see Necron Technology).
Any Necron formation may be held back in reserve (with the exception of the Aeonic Orb and Abattoir) if you are playing the Epic Tournament scenario. Note that formations that do not have teleport will only be able to enter play through portals. Any Necron formation in the reserves for any reason (either because it has not yet entered play or it is broken) is considered destroyed for the purpose of tiebreak, or the Break Their Spirit goal.
The Necron typically act in an offensive manner and as such, their formations may not garrison in the Epic Tournament scenario unless fielding a Tomb Complex. To represent that a tomb may contain active Necron, the player may choose to garrison up to two Infantry Phalanx formations at the Tomb Complex.
Scarab Conflict Necron armies have a strategy rating of 2. All other formations have an initiative rating of 1+, but receive modifiers depending on the action chosen when taking an action test (see Implacable Advance).
Critical Hit Effect: The unit and all units within 5cm of the unit suffer a titan killer hit on a roll of 4+.
Critical Hit Effect: Center the barrage template that is 12cm across on the unit and resolve the effect as if it were a 3BP macro-weapon barrage.
Critical Hit Effect: The unit is destroyed. All units within 5cm suffer a hit on a roll of 4+.
Critical Hit Effect: The unit is destroyed. All units within 5cm suffer a macro-weapon hit on a roll of 4+.
Critical Hit Effect: The unit looses Portal. Subsequent critical hits destroy the unit.
Can the leader special ability be used to return a destroyed Necron unit instead of removing an additional Blast marker?
Yes, but only when regrouping.
Can a Necron formation in reserve carry out a marshal action, move to enter play and regenerate destroyed units by regrouping?
Can a Necron formation carry out a marshal action, move through a portal into reserve and regenerate destroyed units by regrouping?
Can a portal be used if its formation is broken?
Can a formation enter play via a portal that is covered by, or is in the zone of control of, enemy units?
What happens when a formation in reserve fails its action test and needs to enter play via a portal that is covered by, or is in the zone of control of, enemy units?
Necron technology allows many of its units to repair themselves at an accelerated rate. This is reflected as the Necron ability in a unit's datasheet.
Units with Necron that have been destroyed can regenerate. Formations can return one previously destroyed Necron unit in the end phase of each turn either on or off the board. In addition, if a formation regroups on board it can use the dice rolls to either return units with the Necron ability to play or to remove blast markers or both (e.g., if you rolled a 2 you could return 2 units to play, remove 2 blast markers, or return 1 unit and remove 1 blast marker). Formations off board are restricted to using their regroup function to remove blast markers only.
Necron Portals are the primary means by which the Necron forces are transported across the galaxy. Any formation that is in the reserves, either because it has not entered play or has left the board for any reason, may enter play via a portal as part of any activation that allows movement. Measure their movement using the portal as the starting point. Additionally, formations may leave the board by entering a portal, taking them into the reserves. Note that once in the reserves they can either re-enter play immediately via another portal, provided they have movement, or remain in the reserves.
Necron Portals can only be used by armoured vehicles with walker, infantry, or light vehicles units. Each portal can be used only once per turn for either entering or exiting the battlefield, not for both. Thus a formation may enter one portal with part of their movement, and exit from a second, unused portal, continuing their movement from that portal.
If, at the end of the movement, a unit is out of formation it is destroyed (see Formations). Example: if you moved a formation of four units through one portal and out another and two units were unable to make the full movement (i.e. get through the second portal), the Necron player would have to choose which units were to be destroyed, the two that moved through the portal or the two that didn't.
Units made of living metal receive a second save. This save functions exactly like an invulnerable save except that it is a 4+ save rather than a 6+.
The Necron are an offensive army, always on the advance, stopping only to eliminate enemy positions before moving on to harvest others. While subject to disruption from losses and enemy fire, the mechanical nature of the Necron permits them to easily reorganize to maintain the offensive momentum. Necron formations receive a +1 bonus to Marshal actions. Due to their steady, deliberate, nature Necron formations cannot take a March action.
When a Necron formation becomes broken, it does not just fall back, but also vanishes from the battlefield without leaving any proof of its existence.
In the end phase of the turn, remove the formation from the board into the reserves, but keep it away from any destroyed units. The formation will roll to rally in the end phase, handling blast markers as per the core rules. It may re-enter by teleporting, or through a portal. If there are not enough portals to deal with all the off-table formations, then the formation must remain off the table until a portal is available for it to use. If the rally roll fails, the formation must remain in the reserves until it rallies. Note that with the exception of the C'tan, no Necron War Engines may phase out.


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The templates are spread across different categories, thus catering to different job types. For example, there's an "ATS-optimize" category for templates designed to bypass automatic tracking systems employed by some companies to scan CVs.
All the templates are a standard A4 page or US letter size, and made in Microsoft Office 2010 with the office suite's default fonts. They should also work in OpenOffice and Mac Pages, but not all might retain the formatting.
You can also get free templates on Google Docs, but Word has better formatting options. Of course, this is just the template, so you will still have to write the content to make your CV attractive, using tricks like this formula from Google's HR chief.


There is no mistaking this SUV for anything but extraordinary. Honda infused the interior with top shelf amenities, such as: a built-in garage door transmitter, power moon roof, and a blind spot monitoring system. It features an automatic transmission, front-wheel drive, and a 3.5 liter 6 cylinder engine.


1. Society for Human Resource Managment (SHRM). visit www.shrm.org.
2. Human Resources Certification Institute (HRCI). visit www.hrci.org.
Our local chapter provides certification guidance by offering a study group opportunity.
Please email shrm-gf@outlook.com for more information.
SHRM-GF is proud to offer scholarships opportunities to our members that can be used towards continuing education credits, workshops, conferences, and other approved professional development areas. Scholarship opportunities are only being extended to paid, SHRM-GF members.
Email SHRM-GF@outlook.com for our local chapter scholarship application form.


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York Employment Svc is a company that is located in 990 Ontario Mills Dr # C, ca San Bernardino, CA Ontario, CA. You can contact the company via this phone number: (909) 581-0181. This business is categorised in business services, employment agencies.
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York Employment Svc has official website address www.yorkemployment.com that is ranked #15,469,748 in the world based on Alexa.
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Add Coast National Sales to your favorite stores and receive our exclusive emails about new items and special promotions! Planet Audio Car DVD Stereo 2 Din Taupe Dash Kit Harness for 06-11 Honda Civic. Planet Audio + Best Kits. Car Audio Touchscreen Bluetooth MP3, DVD, USB Receiver with Rear Camera Ready. Radio Data System (RDS) Tuner.
Playback of CD, CD-R/RW, DVD, DVD-R/RW, MP3/WMA. Built-in Bluetooth with media streaming.
Dedicated Backup Camera Input: Used for universal rear view cameras with an RCA composite input. 2 Sets of 2V preamp outputs (front, rear/subwoofer).
Output: Rear RCA Video Used for connection to separate monitors and other devices. Metra Single/ Double DIN Install Dash Kit/ ISO Radio. Comes with removable oversized storage pocket.
Quick release snap-in ISO mount system with custom trim ring. Allows retention of factory climate controls, air vents, hazard button & passenger airbag light. Accommodate a full recessed DIN unit with a pocket.
Designed and contoured to match factory dashboard. Painted to match factory dash color. Stereo Wiring Harness Antenna Combo. Plugs into Harness at radio.
Antenna Adapter to Aftermarket Radio. Use when replacing factory radio. Quality crafted to factory's rigid specification. Vehicle Compatability Chart may vary depending on vehicle options, production dates, and install application. This Kit Does not fit Factory Navigation or Premium Sound Vehicles. Return for replacement within: 14 days.
The item "Planet Audio Car DVD Stereo 2 Din Taupe Dash Kit Harness for 06-11 Honda Civic" is in sale since Friday, April 14, 2017. This item is in the category "eBay Motors\Parts & Accessories\Car & Truck Parts\Interior\Dash Parts". The seller is "coast_national_sales" and is located in Los Angeles, California.


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/ Kirsten Davis
Kirsten Davis, Ph.D.
KirstenDavis@boisestate.edu
Phone: 208-426-7308 | Fax: 208-426-4800 | Office: RUCH 301C
Dr. Kirsten Davis joined the Construction Management Department of the College of Engineering at Boise State in January 2007. Between her bachelors' and master's degrees, Dr. Davis worked in a joint architecture/civil engineering position at the Sear-Brown Group in Albany, NY for four years, where she worked on a variety of assignments, including public school design, construction administration, and highway engineering. Prior to coming to Boise State, she was an Assistant Professor at Wentworth Institute of Technology in Boston, MA. She is a licensed Professional Engineer and a Registered Architect, both in the state of New York
Ph.D. in Civil Engineering specializing in Construction Engineering and Management from Virginia Tech in 2004
Master's degree in Civil Engineering at the University of Colorado – Boulder in 2000
Bachelor's degrees in Architecture and Civil Engineering from the University of Tennessee
Davis, K. A. and Songer, A. D. (in review). "Resistance to IT Change in the AEC Industry: An Individual Assessment Tool." Journal of Information Technology in Construction (ITCON), http://www.itcon.org.
Davis, K. A. (2007). "The Case Method in Construction Management Education." Construction Research Congress 2007, Freeport, Bahamas.
Davis, K. A. and Songer, A. D. (2004). "Individuals' Resistance to IT Implementation in the AEC Industry." CIB World Building Congress 2004, Toronto, Ontario, Canada
Davis, K. A. (2003). "Individuals' Resistance to Information Technology Change in the AEC Industry." 2003 PhD Candidate Research Symposium, Construction Research Council, Nashville, Tennessee.
Davis, K. A. and Songer, A. D. (2003). "Individuals' Resistance to Technological Change in the AEC Industry." Construction Research Congress 2003, Honolulu, Hawaii.
Davis, K. A. and Songer, A. D. (2002). "Technological Change in the Architecture/ Engineering/Construction Industry: A Look at Individuals' Resistance." International Conference on Management of Innovation and Technology (ICMIT'02 & ISMOT'02), Zhejiang University, Hangzhou City, China.
Davis, K. A. and Songer, A. D. (2002). "Technological Change in the AEC industry: A Social Architecture Factor Model of Individuals' Resistance." 2002 IEEE International Engineering Management Conference (IEMC-2002), St John's College, Cambridge, UK.
Songer, A. D., Young, R. K. and Davis, K. A. (2001). "Social Architecture for Sustainable IT Implementation in AEC." CIB-W78 International Conference: IT in Construction in Africa, Mpumalanga, South Africa.


text:
Q: How can I fetch per Apollo client to create dynamic drawer routes (React Navigation)? I cannot use the client inside my creation of navigation items.
1. I create my Apollo stuff and return
<ApolloProvider client={client}>
  <AppContainer />
</ApolloProvider>

2. AppContainer is in a separate file
createAppContainer(AppDrawerNavigator)

3. AppDrawerNavigator is in a separate file
createDrawerNavigator(
  {
    HomeStack: {
      screen: HomeStackNavigator
    },
    ...drawerRoutes
  },
  {
    initialRouteName: 'HomeStack',
    drawerPosition: 'right'
  }
);

4. drawerRoutes is an hard coded object
const drawerRoutes = {
  First: {
    screen: IndexStackNavigator
  },
  Second: {
    screen: IndexStackNavigator
  }
};

Now I want to dynamically create the drawerRoutes after querying the Apollo client.
But I did not manage to access the client inside createDrawerNavigator.
Also I cannot pass something down to the createDrawerNavigator. Is there a tricky way to do that?
Best would be to create the drawerRoutes in the 1. step an than pass down the route object to the 3. step.
When I put Apollo client creation, React Navigation Drawer creation and everything in one file, it is working. But the file gets messy.
Can anybody help? Do you need more information?

A: If I'm understand correctly you just need to export your apollo client and import it wherever you need it, For instance:
// ApolloClient.js

export const client = new ApolloClient({
  ...
});

// WhereYouNeedClient.js

import { client } from './ApolloClient'
...

A: I have not checked it yet, but it seems, that ApolloConsumer is the way to access the client in children components of the ApolloProvider:
https://www.apollographql.com/docs/react/essentials/queries/#manually-firing-a-query


text:
Sharon Stone says her AIDS activism 'destroyed' her career
Towleroad December 5, 2022 Leave a Comment
Sharon Stone says her AIDS charity work "destroyed" her career.
The 64-year-old actress first became involved with amfAR, The Foundation for AIDS Research, back in the 1990s and in 1995 she was asked to stand in for former chairwoman Dame Elizabeth Taylor at the organisation's annual fundraising event in France – but Sharon has now revealed her devotion to the cause left her without work for eight years.
Speaking during a talk at the Red Sea Film Festival in Saudi Arabia on Friday (02.12.22), she explained: "I had pretty big shoes to fill with Elizabeth Talyor at amfAR … When I was approached in Cannes, I was like, 'Can I take Elizabeth's place?'"
The actress discussed the role with her former publicist Cindy Berger, with Sharon admitting the PR guru cautioned her against it, saying: "She said, 'If you do this, it will destroy your career'. At the time you weren't allowed to talk about AIDS. She got hives on her neck. I said, 'I know, but I am going to do it, you're gonna kill me'. She replied, 'And if you don't, I am gonna kill you."
Sharon explained she faced a lot of "hate" over her activism on behalf of AIDS/HIV research causes – revealing it harmed her acting career and she even faced death threats.
She went on: "I had no idea of the resistance, cruelty, hate and oppression that we would face … "I stayed for 25 years until we had AIDS remedies being advertised on TV like we have aspiri. It did destroy my career. I didn't work for eight years. I was told if I said condom again, funding would be removed. I was threatened repeatedly, my life was threatened, and I decided I had to stick with it."
Topics: Aaon, Activism, Actor, Health, LGBTQ Now, Philanthropy More Posts About: Sharon Stone
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The Resting Place of Sugar Ray Robinson
On April 12,1989 Sugar Ray Robinson, who for years suffered from Alzheimer's disease and diabetes, died of hardening of his arteries. Robinson and his wife, Millie, were at home when the former champion began having trouble breathing. Robinson was taken to Brotman Memorial Medical Center, where he died soon after arrival.
Sugar Ray Robinson Tombstone
Ray Robinson Obituary via NY Times
Robinson funeral was a "who's who" celebrity farewell, noted celebrities in attendance were: Muhammed Ali, Mike Tyson Ray Leonard, & promoter Don King other sports figures attended the memorial were former titleholder Archie Moore, current middleweight champion Michael Nunn, boxing promoter Don King and Los Angeles Raiders owner Al Davis. Actress Elizabeth Taylor, California State Assembly Speaker Willie Brown and former Gov. Pat Brown were also in attendance.
Accessed December 4th 2019. https://www.upi.com/Archives/1989/04/18/1500-expected-at-Robinson-funeral/1927608875200/.
Accessed December 4th 2019. https://www.latimes.com/local/obituaries/archives/la-me-sugar-ray-robinson-19890413-story.html.
Sugar Ray Robinson Funeral Clip
Funeral Clip 2 (Mike Tyson)
Funeral Clip 3 (Jessie Jackson)
Funeral Clip 4 (Don King)
720 E Florence Ave
Created by jacob hatchett (Instructed by Lauren Scott, Wayne State University) on December 5th 2019, 3:53:34 am.
Last updated by Jacob Hatchett (Instructed by Lauren Scott, Wayne State University) on December 5th 2019, 6:44:31 pm.