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Asked By sophie55 @ 06/10/2020 10:35 PM
Which sentence best summarizes the central conflict in Amateratsu?
Which best summarizes the resolution of the conflict at the end of "The Beginnings of the Maasai"?
To find a word's meaning, the reader can study the surrounding words, which are called the
Asked By zoe70 @ 23/09/2020 08:20 PM
Please hurry!!!! It would have been the best dance ever if the seventh grade fashion police weren't there, staring at me all night like a bunch of eagles. Which part of the sentence is a metaphor? best dance ever fashion police staring at me like a bunch of eagles
Asked By b @ 21/09/2020 08:59 PM
Which line from "Cruel Tribute" best supports the idea that the elders help to advance the plot? "O mighty king," they said, "what have we done that you should wish thus to destroy us from the earth?" "But we do deny it—we do deny it!" "What is the tribute which you require?" "It is better that a few should perish than that the whole city should be destroyed," they said.
Asked By linda @ 04/09/2020 04:51 AM
If a poem is being recreated as a sculpture, what would mostlikely be different in the new medium?
Asked By noel5 @ 31/08/2020 10:13 PM
The most likely reason this passage was included at the end of the narrative is because the narrator is setting the scene. explaining the main obstacle. reflecting on an experience. identifying people
The most likely reason this passage was included at the end of the narrative is because the narrator is
Asked By emmalyne @ 27/08/2020 05:03 PM
Ethan received a gift card and was considering three options: digital camera, cell phone, and video games. After carefully thinking about it, Ethan narrowed his decision down to the digital camera and the cell phone. Finally, Ethan chose the cell phone. In three to five sentences, define opportunity cost and trade-off and then explain the opportunity cost and trade-off of Ethan's decision.
Asked By mikyrion @ 25/08/2020 09:41 PM
Which statements accurately describe density? Check all that apply.
Asked By barbara @ 22/08/2020 03:05 AM
Your English teacher says that you need to write on anything within the broad topic of "complex processes." Remember and reference the chart above to narrow down this huge topic to something that could be discussed in a four to six-page paper. Write a paragraph stating your final choice for a topic. Be sure to mention why you think your topic is suitable given the audience, purpose, and occasion of the composition that you would write.
Asked By isolated @ 18/08/2020 07:23 PM
Consider this sentence from The Way to Rainy Mountain by N. Scott Momaday: Which two of the highlighted phrases in the passage help the reader to understand the meaning of the word deicide? The word deity means "god." The suffix -cide comes from the Latin -cida, which means "kill."
The Way to Rainy Mountain by N. Scott Momaday (excerpt) My grandmother had a reverence for the sun, a holy regard that now is all but gone out of mankind. …
Asked By abdullahyusuf @ 18/08/2020 06:43 PM
Read the article "Robots on Earth" (below) Write a summary of the article: Write a main idea sentence for each paragraph of the article. Put your main idea sentences together to create the first draft of your summary paragraph and include a topic sentence. Revise your draft to make it more concise, effective, and objective. Proofread your paragraph for complete sentences, proper punctuation, and correct spelling. Remember that the summary should be objective and should not include your opinions or experiences. Save your work to your computer or drive. Submit your work in 01.10 Write a Summary. You may submit …
Please can you help me
Which excerpt in the passage best demonstrates hope for the future?
Voices from the Veil by W.E.B. DU BOIS (adapted excerpt) I believe in Liberty for all men: the space to stretch their arms and their souls, the right to breathe …
Which two sentences in this excerpt from F. Scott Fitzgerald's "Winter Dreams" seem to foreshadow Dexter's future obsession with "possessing" Judy Jones?
On the Edmentum question these are the options to choose from; Now, of course, the quality and the seasonability of these winter dreams varied, but the stuff of them remained. …
Asked By ernsia @ 30/07/2020 08:15 PM
Read this excerpt from "Look Homeward, Angel." Like all the older children of Major
Asked By alexa @ 21/07/2020 12:29 AM
Why might Kurt Vonnegut have chosen to structure his short story "Report on the Barnhouse Effect" as an article? How does this choice influence the development and point of view of the story?
Asked By christopher36 @ 19/07/2020 05:13 AM
How many special symbols are there for vowel sounds? seven ten three
Asked By isaac @ 19/07/2020 04:19 AM
The weather forecaster predicted heavy rain and flooding. However, only a few clouds passed over, causing it to sprinkle. "That was sure a big downpour," a radio commentator noted. Which literary device did the author use in the passage?
Despite discussing similar themes of war in the story "Ambush" and essay "Symptoms," O'Brien and Steinbeck chose different genres and modes to present their views. Compare the format from both these texts and evaluate how the chosen mode influences the presentation of ideas. Which do you think is more effective in conveying its central meaning?
Asked By reese6 @ 16/07/2020 11:56 PM
"¿Quieres chicle?" the lady asks in a Spanish too big for her mouth. "Gracias." The lady gives him a whole handful of gum for free, little cellophane cubes of Chiclets, cinnamon and aqua and the white ones that don't taste like anything but are good for pretend buck teeth. "Por favor," says the lady. "¿Un foto?" pointing to her camera. "Si." She's so busy taking Junior's picture, she doesn't notice me and Keeks. Which statement best describes the irony of the woman's actions?
Asked By alexander @ 16/07/2020 10:12 AM
Which strategies are most effective to help a reader determine the meaning of an unknown word? Select three options.
Asked By genessis @ 15/07/2020 09:32 PM
In this excerpt from act V of Shakespeare's Romeo and Juliet, Romeo encounters Paris when he enters Juliet's grave.
Paris challenges him to a duel, but Romeo pleads to be left alone before he is forced to fight. What does this excerpt reveal about Romeo's character?
Asked By jose08 @ 14/07/2020 04:36 PM
Read the rough-draft paragraph. Studies support the claim that volunteering on a regular basis actually benefits one's general physical health. Depending on the needs of an organization, many volunteer opportunities can involve physical movement. Volunteers at a local soup kitchen may, for example, find themselves unloading truckloads of donated supplies. Other research related to volunteering and staying healthy found that volunteers often experienced decreased chronic pain and fewer symptoms of heart disease. Of course, not all volunteer positions involve physical exertion. Tasks involving minimal movement, such as answering phones, filing papers, and/or addressing envelopes, should be combined with some type …
Asked By virginia7 @ 13/07/2020 01:27 AM
Which genre (or genres) do you think best defines The Metamorphosis? Why?
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A radio host in the San Francisco Bay Area has been fired for making inappropriate comments about 17-year-old Olympic gold medalist Chloe Kim on SiriusXM's Barstool Sports network.
On Tuesday, KNBR-AM host Patrick Connor called Kim — who is currently competing in the 2018 Winter Games in Pyeongchang — "fine as hell" while appearing on the program. Connor made other inappropriate comments, adding "the countdown is on" until the snowboarder's 18th birthday.
KNBR-AM program director Jeremiah Crowe said in a statement Wednesday that the station fired Connor after the sexual remarks he made about Kim, according to ABC News. Connor then apologized for his "inappropriate" comments on Twitter.
Barstool Sports founder Dave Portnoy did not comment on Connor directly on Wednesday, but tweeted about the network's sense of humor.


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redpajama_set_name: RedPajamaGithub


AXXIS Consulting (Singapore), MIT (Myanmar) and Soltius (Indonesia) are the three new Asian member companies of United VARs that joined the alliance in 2018. Asia represents a land full of opportunities, and last year showed the most robust performance globally. Not only one-third of the world's largest economies are in the Asia, Pacific, and Japan region but Asia alone will add as much value as three Eurozones combined to the global economy in the next 25 years. Let's take a closer look at upcoming trends for this year and beyond for the region.
While the leading economies remain China, India, and Japan, there is also very encouraging news from the ASEAN countries, too. In fact, Q4 2017 witnessed a GDP growth of 5.3%, which gives hopes for a favorable 2018. This considerable progress has been a result of vigorous external demand, tight labor markets, and generous monetary policies which created the necessary conditions for economies in the region to flourish.
If you thought that outsourcing was practiced only by Western companies expanding their reach in search of affordable human resources, you are wrong. As the labor costs steadily increase in China and India, companies there are also joining the race to outsource labor to the lowest-wage countries. The preferred alternatives are ASEAN countries. In particular, the Philippines and Indonesia are suitable for call centers and IT, while Vietnam, Cambodia, and Indonesia provide affordable workers to businesses in the manufacturing sector.
Urbanization has been a huge trend which has accelerated in the past few years in Asia and Africa. These two continents are expected to account for 90% of the increase in the world's urban population by 2050. The economic impact could be higher growth and the expansion of the middle class in those countries. Initial forecasts show that Asia could soon be home to two-thirds of the world's middle-class population. Additionally, 88% of the next billion people joining the middle class will be in Asia.
Thanks to expanding internal demand, many SMEs are springing up and growing, some of which also reach the size of large or even multinational companies. Most of the SMEs based in Singapore, South Korea, and Singapore are service-oriented, which reflects the general trend in Asian countries of having a thriving tertiary sector, which is cutting into the manufacturing industry. According to the Asian Review last October, SMEs are the ideal customers for SAP´s solutions which claimed that these types of companies were spurring SAP´s fast penetration in Asia.
Another exciting trend according to Forrester forecasts is that in the Asia–Pacific region governments and companies' spending will increase by 5.7% in 2018. In particular, software and services purchases will rise around 8% this year and software alone will hit 129 billion US dollars. Moreover, the most significant and fastest-growing software category will be business process applications.
Additionally, Forrester's report reveals that Japan's tech market is still the largest in Asia, but that its supremacy is likely to change in the upcoming years. In China and the ASEAN countries (except Singapore) technology penetration is still not as high as in the rest of Asia. However, hardware will remain the largest share of tech expenditures in the ASEAN countries, especially in Indonesia, Singapore, Malaysia, and Thailand. Moreover, India will witness escalating growth in tech expenditures to sustain initiatives such as "Made in India" and "Digital India".


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Family of swans attacked by 'large beige coloured dog' in park
PCSOs have been told about the incident in Pittville Park in Cheltenham
A family of swans have been 'attacked' by a dog in Cheltenham's Pittville Park.
The incident was described by Pittville Swans and Friends on their Facebook page and reported to police.
It is understood the dog was being walked by a couple when the swans, named George and Zelda, were attacked.
Cheltenham's George the Swan, with some of his new brood of cygnets
All PCSOs have been notified about the incident, Gloucestershire police said.
The Facebook post said: "Yesterday evening, a large beige coloured dog attacked the swan family while they were up on the bank grazing.
If you go down to Pittville lake - just watch out for George
"The owners seemed to think this was a laughable matter.
"No injuries could be seen last night but a further check will be done today.
Heroic George: The story that captured the hearts of Gloucestershire
"But obviously the birds were very stressed, which could be seen in their body language.
Pittville Park
" It is a serious matter to have a dog out of control in a public place, not only for the wildlife but for members of the public."
By George! Look who's a dad again
A spokesman for Gloucestershire police said the incident was reported to them at 7.13pm on Monday.
They said there is no indication that the couple with the dog have been identified, but all local PCSOs have been made aware of what happened.
George the swan survived being shot through the head earlier this year.
Back in January, jaws dropped and tears were shed around the county upon hearing the shocking news that someone had used a crossbow to fire a bolt through George's head.
He was left with extremely serious injuries and was not expected to pull through – he even stopped breathing on the operating table at Vale Wildlife hospital after losing a huge amount of blood.
Anyone with information on the latest incident can call police on 101 quoting incident 429 of July 17.

redpajama_set_name: RedPajamaCommonCrawl


In an industry that is currently adding more SUVs than ever before, it can be hard for a utility vehicle to truly stand out. Fortunately, Dodge has found a pretty sound formula for that dilemma, perfecting it to present the 2017 Dodge Durango.
The Durango stays at the front of the pack with its incredible power and performance, staples of the Dodge brand. The latest technologies and amenities also provide the Dodge Durango with a distinct advantage in its ever-growing segment.
For 2017, the Dodge Durango ditches its previous Limited trim in favor of the new GT trim. Meanwhile, drivers can order the base SXT trim of the vehicle with just two rows of seats if they so choose, maximizing on cargo space.
Advancements to the Durango's rearview camera also provides driver with a better look at any trailer or load that they are hauling.
The 2017 Dodge Durango comes with rear-wheel drive or all-wheel drive configurations in six separate trim levels: SXT, SXT Plus, GT, Citadel, R/T, and Citadel Ionized Platinum.
An aggressive stance isn't the only thing that the Dodge Durango's exterior has to offer. Standard automatic headlamps and a rear window defroster and wiper provide Durango drivers with a clearer look at the path ahead.
Higher trims of the 2017 Dodge Durango offer additional exterior amenities, like a power liftgate and rain-sensitive wipers.
The 2017 Dodge Durango comes standard as one of the most powerful SUVs on the market. Its 3.6-liter V6 24-valve VVT engine produces 295 horsepower and 260 lb-ft of torque.
The Dodge Durango R/T trim only improves upon that performance with its 5.7-liter V8 HEMI® MDS VVT engine. The HEMI allows for the Durango to achieve and impressive 360 horsepower and 390 lb-ft of torque.
While the Durango may be one of the top SUV models in terms of power, it falls a little bit behind in the realm of fuel efficiency. Nevertheless, the standard powertrain configuration of the 2017 Dodge Durango still allows for the vehicle to reach a fuel efficiency of 19/26 City/Highway mpg.
Just as the powertrain under the hood of the Durango was designed by Dodge to be as powerful as possible, Dodge aimed for the interior cabin of the SUV to be as intuitive as possible. In order to achieve this goal, Dodge lined the interior of the 2017 Durango with some the best features and technologies at its disposal.
A standard 5.0-inch touchscreen display serves as the central hub of the Durango's media interface. As drivers advanced to higher trims, that 5.0-inch display is replaced with a larger and more interactive 8.4-inch touchscreen display.
In addition to the technology that is featured throughout the cabin, the 2017 Dodge Durango also has a suite of 60 available safety features and security measures. Standard technology like Hill Start Assist and Rain Brake Support allow the Durango to safely take on any terrain.


Jewelry is often valuable and fragile, which can make it a target of thieves and susceptible to damage. Jewelry insurance provides Massachusetts residents with an affordable way to protect expensive jewelry from certain potential risks like these.
Jewelry insurance is a highly specialized form of personal insurance. As such, jewelry policies are able to offer protections for jewelry that other, more general, insurance policies don't provide.
What Perils Do Jewelry Policies Offer Protection Against?
In contrast to these protections, homeowners and similar policies might only insure jewelry against theft. Even then, coverage may depend on where the theft occurred. Protection against loss, damage and disappearance is less common in non-specialized policies.
Does Homeowners Insurance Offer Sufficient Protection for Jewelry?
Homeowners, condo and renters insurance policies frequently offer some protection for jewelry, but the amount of protection these policies afford is often limited. They frequently have jewelry-specific limits that are lower than their total personal property coverage limit, and policies may cover only a few potential risks even if a rider is added to increase the jewelry-specific limit.
In contrast, jewelry policies generally offer multiple options for limits and insure pieces against a host of potential risks. With these specialized policies, pieces can usually be insured for their full value and against a range of perils.
Who in Massachusetts Needs a Jewelry Policy?
Most Massachusetts residents who own expensive jewelry can benefit from protecting their items with a jewelry policy. A piece that was purchased impulsively and inexpensive may not need to be insured, but any piece that would be financially difficult to replace might need to be insured.
What Types of Jewelry Do Jewelry Policies Insure?
Some policies even offer coverage for loose gemstones that are in storage or being set into a piece.
Do Jewelry Policies Let Policyholders Get Repairs Made Wherever They'd Like?
Some homeowners and jewelry policies require policyholders who have claims to work with a jeweler who's approved by the insurance company. Other policies let the policyholder work with any qualified jewelry who they'd like to in the event that a piece must be replaced or repaired.
Jewelry policies are frequently quite affordable because they offer such a specific coverage. While a policy's exact rates may depend on the type pieces being insured, their value, the policyholder's location, the chosen deductible and other factors, having coverage is almost certainly cheaper than replacing a lost, stolen or damaged piece.
How Can Massachusetts Residents Get Jewelry Insurance?
Because jewelry policies are so specialized, just a select number of insurance companies offer policies and only certain insurance agents are familiar with the nuances of these policies.
To speak with an independent insurance agent who's familiar with jewelry insurance, contact the team at Haberman Insurance Group. Our Massachusetts-licensed agents have the expertise necessary to help you find a jewelry policy that provides the protections you need at a rate you can afford.


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Paramount Bumps up 'Mission: Impossible 5' to Summer 2015 Date
After originally being set for release on Christmas Day this year, Paramount Pictures and Skydance Productions have just announced that Mission: Impossible 5 will arrive in theaters five months earlier. The studio has set a new release date of July 31st, 2015 (while also pushing back their Monster Trucks movie from this summer to the December 25th slot instead). The film directed by Christopher McQuarrie (Jack Reacher) is still in production, so this is surprising. I can't remember a movie getting bumped up so far, but maybe they were worried about Star Wars: The Force Awakens the week before.
But at the same time, moving the movie up five months feels like a weird decision. Though Paramount probably didn't want to dump it in the fall, and the end of summer proved to be very lucrative for Guardians of the Galaxy (it came out on August 1st last year), mostly because there's not much competition at the box office once August and September roll around. We still have no idea what Mission: Impossible 5 is about, but we do know that Tom Cruise pulled off a pretty impressive high-flying stunt for the movie. With the movie arriving much sooner, hopefully we'll get a first look sometime soon. Excited?
Find more posts: Movie News, Release Dates
Not shocking, Star Wars + Disney is a powerhouse combination of two of the strongest entertainment brands on the planet. It is wise not to go up against them. Inferno, Kung Fu Panda 3, and now Mission Impossible 5 have all moved away from Star Wars in December.
Chris Groves on Jan 26, 2015
Great comment and very true. Nothing wants to face Star Wars! I'm presuming that The Man from Uncle moves to avoid mission impossible 5 now.
Your_Mama1 on Jan 26, 2015
Can't wait for this. Never been let down by MI.
OfficialJab on Jan 26, 2015
I have a bad feeling about this episode. Wasn't impressed by Jack reacher and it's impossible to beat MI 4. But still a wise decision...
ari smulders on Jan 26, 2015


PIC 1: Top-off tank made from 4″ PVC and coupled with 2″ PVC pipe.
PIC 6: Top-Off Tank Sensor Top Section Looking In From Bottom – Note air tubing for aerating the water so it does not become stale.
After seeing the web site of a guy who built an aquarium that was controlled by an Arduino controller, I noticed he had an auto top-off tank to keep his tank full is the level drops.
So I thought I would add an auto top-off tank to my aquarium project as well. I noticed from his site that he had built a reinforced 5 gallon wastebasket into his custom tank stand. However; I am using my existing prefab stand, and it doesn't have any room for such niceties.
I really wanted a top off tank on my setup and so had to figure out how to do this. One thought was to build something like a box that would sit next to the tank, but picturing that in my mind I thought it would look really stupid. I really wanted something that would not show from the front (mostly), or at the least, not very much.
After considerable thought, I finally decided to create 3 tanks (pic 1) made from four inch PVC and strap them to the back of the stand. I built and coupled them with two inch PVC to try to keep my water volume up as high as possible without being ridicules. I knew I needed to allow air to exit and enter each tank as the water fills or leaves and so I decided to add a pipe and a drain valve to the top of two of the tanks. On the other tank, I glued a four inch to two inch reducer on top on another one to create a funnel to aid in the filling of the tank. (pic 2) I also made sure this tank was on the right side of the aquarium so it would be easier to fill since the TV will be on the left.
I felt I needed at least three float sensors for the tank and decided to put them in the middle tank. I made the middle tank so it unscrews in the middle to allow access to the float sensors. I decided to use right angle float sensors (pic 3) throughout the whole top-off tank. Ebay handled this easily. After allowing time for them to arrive, I began my work.
There will be an LED mounted close to the funnel tank so when the tanks are full it illuminates to give me an indication to quit pouring in water when filling.
I also added air tubing to all three tanks and even the connection tubes to allow the top-off water to aerate so it keeps fresh. The Ardiuno controller will kick this aeration off about 2am for an hour or so every other day, and I assigned my older and wee bit nosier air pump to fill the task.
A quick note about the top-off water in a saltwater aquarium. When the water in a saltwater tank evaporates, it leaves and the salt stays. So when adding water back into the tank due to evaporation, you want to refill it with fresh, aerated aged water. Topping off with saltwater would cause your salinity to rise to unacceptable levels and poison the tank.


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Alameda County Vote-By-Mail Envelopes Printed with Wrong Election Day Date
Alameda County elections officials are alerting 27,000 voters in the East Bay they've received mail-in ballots imprinted with the incorrect date for next month's election.
By Bay City News	• Published at 3:31 pm on October 22, 2014
Alameda County officials want to remind voters that Election Day is Nov. 4 after the county's registrar of voters sent return envelopes that say, Election Day is November 5, 2014" to 27,000 Berkeley voters.
All other materials sent to those voters have the correct date, county election officials said.
"This is an unfortunate error on some vote-by-mail envelopes sent to voters in Berkeley, and we deeply regret any confusion this may be causing," Alameda County Registrar of Voters Tim Dupuis said in a statement.
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Dupuis's office is mailing letters to each voter that received the erroneous return envelopes and is sending emails to each voter that provided an email address to the registrar. The office will also be telling voters of the correct date through social media sites such as Twitter and Facebook.
"We are glad that we discovered the error relatively early in the process," Dupuis said. "This will allow us to take a number of corrective measures in the coming weeks to remind our voters that Election Day is Tuesday, Nov. 4."
A printer used by the county and other large counties in California has taken responsibility for the error. Dupuis said his office is taking additional safeguards to avoid misprints in the future.
More than half of registered voters in Alameda County vote by mail. The 27,000 voters who received the misprinted envelopes represent about 6 percent of the 422,000 voters who are registered to vote by mail in Alameda County.
This election year, voters in the county are deciding between 278 candidates and 30 different ballot measures. This means the printing task was challenging because voting guides are as thick as 130 pages and there are 158 different ballot types, according to the registrar's office.
The Alameda County Registrar of Voters must receive a voter's mail-in ballot no later than 8 p.m. on Election Day, according to California law.
Voters in Berkeley, Oakland and San Leandro will have to pay 91 cents in postage to mail their ballot, which contains three cards. Voters in other communities in the county must pay 70 cents to mail two ballot cards.
Copyright BAYCN - Bay City News


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S.C. Jazz Masterworks Ensemble to Perform at Harbison Theatre at Midlands Technical College
The South Carolina Jazz Masterworks Ensemble is comprised of some of the most outstanding jazz musicians, soloists, and bandleaders from across the Carolinas. The band will close out the "Carolina Shout" series at Harbison Theatre at Midlands Technical College (HT@MTC) with a concert on Friday, April 26 at 7:30 PM.
The concert will feature big band classics, music from the American song book, and modern originals by the group's members.
"We are thrilled to host Robert Gardiner and the talented S.C. Jazz Masterworks musicians to close out this series that we've enjoyed producing this season," says Kristin Cobb, Executive Director of HT@MTC. She continues, "Reggie Sullivan and The Dick Goodwin Big Band were highlights on our stage, and we know this will also be a spectacular evening for the HT@MTC audience."
A love for American jazz and a desire to support awareness and appreciation of the art form led Dr. Robert Gardiner, a well-known jazz musician in the Columbia area, to form the South Carolina Jazz Foundation and its marquee performance group, the South Carolina Jazz Masterworks Ensemble, in 2018. "The Jazz Masterworks Ensemble is comprised of 18 of the finest jazz musicians, soloists, and bandleaders from across South and North Carolina," said Gardiner. "Our goal is to present jazz concerts at the highest artistic level."
Gardiner is the founder and director of the S.C. Jazz Masterworks Ensemble and the President of the S.C. Jazz Foundation. He has been teaching, playing, promoting, and advocating for jazz for three decades. He has created and directed jazz ensembles at the middle school, high school, collegiate, community, and professional level.
Gardiner is a professor of music at Lander University and has served as the director of the Lander University Jazz Ensemble for the past 16 years. He is also currently leading the Capitol City Big Band and the Robert Gardiner Jazz Quartet. Gardiner has performed with Aretha Franklin, The Charleston Symphony, The Four Tops, and many others.
Prior to the performance, visual artist Christopher Lane will be opening his most recent collection of work in the HT@MTC lobby, "Resist and Preserve." The exhibition is running through the end of May and is presented by The Jasper Project. The artist will give a brief talk at 6:15 PM, and additional details can be found here:https://www.facebook.com/events/272108500344295/


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Liberty Christian Church (x) ›
Photograph (x) ›
color negative (x) ›
1 Farmville, Va., white doctor's office, 1962-1962 1963 Peeples, Edward H. (Edward Harden), 1935-2019
2 House inhabited by an African American man on secondary road 632, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
4 House inhabited by African Americans on secondary road 692, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
5 Farmville High School, Farmville, Va., rear view, 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
6 Robert R. Moton High School, Farmville, Va., temporary building, 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
7 Mercy Seat Elementary School, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
8 Worsham High School and Elementary School, Worsham, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
9 Darlington Heights Elementary School, Darlington Heights, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
10 Mercy Seat Elementary School, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
11 High Rock Elementary School, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
12 Darlington Heights Elementary School, Darlington Heights, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
13 Robert R. Moton High School, Farmville, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
14 Epps Elementary School, Prince Edward County, Va., side view, 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
16 Rice Elementary School, Rice, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
18 Epps Elementary School, Prince Edward County, Va., 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
19 Epps Elementary School, Prince Edward County, Va., front and side view, 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
20 Robert R. Moton High School, Prince Edward County, Va., view of chains, 1962-1963 1963 Peeples, Edward H. (Edward Harden), 1935-2019
Elementary schools (79) + -
Posters -- Virginia -- Powhatan County -- History -- Pictorial works (8) + -
Architecture, Domestic -- Virginia -- Prince Edward County -- History -- Pictorial works (7) + -
Dwellings -- Virginia -- Prince Edward County -- History -- Pictorial works (7) + -
Historic buildings -- Virginia -- Prince Edward County -- Pictorial works (5) + -


STUDIO/SEMINAR is a combined forum supporting the exploration of theoretical, social, material, technical and contextual research and concerns in new media arts practice. Students are introduced to and become familiar with a vocabulary of methodologies. Students are expected to drive and determine their own area(s) of interest, and to develop a rigorous artistic research-driven practice in which conceptual intention determines form and media.
This course supports the exploration of theoretical, social, material, technical and contextual research and concerns in new media arts practice during the first year of the first year of the D + M MFA program.
This course supports the exploration of theoretical, social, material, technical and contextual research and concerns in new media arts practice during the first year of the first year of the D + M MFA program. It is a combined studio and seminar forum for Digital + Media first-year students. Participants become familiar with a vocabulary of multiple practices within digital media and, through a rigorous, hands-on approach, develop a thorough understanding of computational media as it applies to her/his individual creative practice. Students are introduced to a core set of methodologies and technologies from basic electronics and programming to interaction design to installation, and are encouraged to break comfort zones and practice through experimentation. Students conceptualize and discuss their studio-based work and their ongoing practice. Readings in critical cultural theory, media art theory, philosophy, semiotics and other areas further ground the conceptual approach of students in the Digital + Media department. The course is a mix of individual meetings, a required lecture and workshop series and group critiques. Some guest lecturers and visiting critics may also become involved with this class in terms of critical/research aspects. With a focus on studio experimentation and production, students will conceptualize and discuss their works-in-progress while beginning to work with new materials and systems in combination with a broad range media. Each student will practice articulating their ongoing studio art process and work, and will contribute to the dialogue concerning the research and work of their classmates.
This course supports the exploration of theoretical, social, material, technical and contextual research and concerns in new media arts practice during the third semester of the D + M MFA program.
This course supports the exploration of theoretical, social, material, technical and contextual research and concerns in new media arts practice during the third semester of the D + M MFA program. Students conceptualize and discuss their studio-based work and their ongoing practice as they begin the thesis process. Working artist bibliographies are developed – both projects and texts. Readings in critical cultural theory, media art theory, philosophy, semiotics and other areas further support the contextualization and grounding of the innovative practical and conceptual approaches of students in the Digital + Media department. The course is a mix of individual meetings, an optional lecture and workshop series and group critiques. Guest lecturers and visiting critics may also become involved with this class in terms of critical/research aspects. Each student will practice articulating their art process and work towards thesis, and will contribute to the dialogue concerning the research and work of their classmates.
This course supports the practical, conceptual, theoretical and historical development of the M.F.A. thesis exhibition.
Formal group critiques are required at the midterm and end of the semester. A major final critique with visiting critics is held in the context of the final MFA Exhibition.
Building on an independently directed body of research, second year D+M students develop new, leading-edge approaches to sustainable artistic practice. Working independently and in consultation with their with a thesis committee, MFA candidates integrate conceptual and technical skills in order to articulate a polished, intellectually robust thesis project. This can take a variety of forms including experimental games, performance, video installation, interactive sculpture, speculative design and more. All graduate students participate in the annual RISD Graduate Thesis Exhibition.
Graduate major requirement; Digital + Media majors only. Registration by Digital + Media department, course not available via web registration.
A series of technical workshops introducing students to a wide variety of tools and methodologies.
The workshops will give an introduction into various techniques, tools, materials, and methodologies that could be used to support a studio practice. Classes will teach foundational skills and students will gain a practical understanding of the various technologies and how they might be used within the context of research and studio practice. The course will be primarily technical, but will also encourage hands-on experimentation, and continued discussions about the impacts and activation of working with new technologies. These evaluations are not just in context of producing art, but to foster understanding about technology's cultural effects and the possibilities for its role in society.
First years are required to take a minimum of 4 workshops. Workshop are limited to Max 15 students. Second years can take workshops if space is available.
SEMINAR courses in D+M support the development of conceptual and theoretical integrity by introducing students to the history of media art and theory.
Digital + Media Theory develops student's ability to contextualize and interrogate their own work and practice within a larger cultural lineage.
This seminar course analyzes the aesthetic conventions, narratives, and formats of works in new media. As a group, we will examine the impact digital technologies and new media have had on existing media, as well as the ways in which new media function as a unique system of communication. While investigating the aesthetic conventions, economic conditions and infrastructures that affect the production of new media, we will address the social and political contexts in which new media are disseminated, interpreted and privileged. Within this course, students will be expected to identify, analyze, and critique readings that critically inform and underwrite the foundations of their written thesis and studio practice.
for discussion of readings and concepts, critique of work and to introduce methods and theory.
In this historical survey, we analyze the aesthetic conventions, narratives, and formats of works in new media.
WRITING about, or through work made in the studio is key to graduate education at RISD, with the creation of a written thesis a requirement in Digital + Media. The written thesis is a natural and necessary extension of studio practice. In the process of organizing and articulating thoughts in the form of writing, students often discover the core concepts and basic rationale underlying their work. In fact, as much as the work drives and directs the written content, the act of writing helps further clarify the conceptual thinking behind the work.
This studio course is comprised of intensive writing sessions, group critiques, and one-on-one meetings designed to support each student in assembling a comprehensive written thesis.
GENERAL ELECTIVES offered within Digital + Media typically take the form of studio courses that support the development of technical skills and conceptual integrity. General Electives may be run solely through Digital + Media or may be cross-listed with another collaborating department at RISD.
In thinking about how we design our future, it is crucial to look critically at the past.
In thinking about how we design our future, it is crucial to look critically at the past. Alternative Histories of Computation is a studio course that situates creative computation within a critical context. Drawing from science and technology studies, digital media studies, and archival material and ephemera, we will cover various trajectories in computation as they relate to labor, race and ethnicity, gender, and sexuality. Students will generate creative projects alongside these topics, allowing the critical discourses to frame and inform their work.
Building from the history and aesthetics of installation art and relational theater, and based on conceptualizations such as "Relational Architecture" by Lozano Hemmer and the "Poetics of Augmented Space" by Lev Manovich, we will learn to leverage interactive and audiovisual elements in order to enhance and re-contextualize spatial experiences that are media-rich, relational, and responsive.
We will use softwares, video-projectors, micro-controllers, sensors and VR equipment to investigate various interactive techniques including video-map ping, video-audio design, surround sound systems and computer vision. We will learn to deploy not only vision, but also hearing, olfaction, and touch to create true immersive and multi-sensorial environments.
The class comprises of lectures, hands-on workshop s and individual projects. The students will gain a deep understanding of topics of spatial thinking and user-generated experiences related to space, as well as a theoretical and critical understanding of the history of installation and interactive art.
In this course we will critically inquire into ways artists and thinkers reimagine digital technologies as we ourselves work to do the same.
In this course we will critically inquire into ways artists and thinkers reimagine digital technologies as we ourselves work to do the same. We will experiment with digital photography, video, nonlinear storytelling, digital networked performance. Throughout the semester, we will work on a series of short projects and a final individual or collaborative piece. We'll cover works by Keith + Mendi Obadike, Nam June Paik, E.A.T., Meriem Bennani, Laurie Anderson, MONGREL, VNS Matrix, Madeline Gins, Signe Pierce, Roy Ascott, Lilian Schwartz among many others!
An Independent Study Project (ISP) allows students to independently pursue a faculty supervised project in a specific, self defined area of interest.
ISPs are available Fall, Wintersession, and Spring. They may not be taken during the Summer.
With the consent and assistance of the faculty member, students prepare a proposal and an application for the work to be accomplished (electronic application forms can be obtained online from the Registrar's website). The student will be properly enrolled once the electronic form, along with the required approvals, are completed and sent to the Registrar's Office.
Approval for an ISP must be submitted to the Registrar in accordance with the timeline outlined in the Academic Calendar. In order to meet this deadline, students are encouraged to meet with their chosen tutor as soon as they know they desire an ISP in the semester prior.
This cross-disciplinary studio course explores systems and their relationship to power, economy, society and culture, through interventions in, dismantling of, hacking within, or building our own systems.
This cross-disciplinary studio course explores systems and their relationship to power, economy, society and culture, through interventions in, dismantling of, hacking within, or building our own systems. In the late 1960s, American culture began to transition from being object-oriented to being systems-oriented. Fifty years later, global systems such as supply chains, social media algorithms, neo liberal policies, surveillance infrastructure, and systemic oppression seem at the forefront of conversation. Meanwhile, the intersection of systems and power has become a dominant thread in artistic discourse. In this studio, students will choose a system from the contemporary world that they wish to explore, and will make work that employs or works against aspects of this system. Students will complete small assignments and work towards one significant final project. We will look at international artists and writers such as Hito Steyerl, Trev or Paglen, Zach Blas, Jill Magid, Cameron Rowland, and more. These individuals (in order) make work about the global circulation of images, the ethics of government vision systems, the gendered politics of pattern recognition, the poetics of bureaucracies, and the prison system's role in systemic oppression. By discussing these individuals' works, amongst others', students will leave the class with the skills necessary to deconstruct complex topics, critique artworks through the lens of power, distill nuanced perspectives into their works of art and design, and make works that center on the way things are done instead of on the things themselves.
RESEARCH STUDIOS are facilitated by top practitioners in the field, and foster an environment for interdisciplinary exploration of art and technology in context around a core theme, enabling individual inquiry and high-level collaboration. Participants engage in current dialogues and methodologies of practice directed toward meaningful impact in social and environmental realities and potential realities.
Sonic Practices is a graduate-level research group focused on acoustic, electronic, and/or computer-based means of sound production and reception.
Each semester, course content changes in response to a new unifying theme upon which students base individual and team-based research projects. Meetings consist of discussions, workshops, critiques, and collaborations that support students' individual inquiries, the exchange of ideas, and the exploration of research methodologies.
Technological Landscapes is an experimental, interdisciplinary research group focusing on the intersection of place, landscape and technology.
Participants in Technological Landscapes are passionate but critical observers of today's physical and virtual environment in relation to ubiquitous, integrated, and emerging technologies.
Throughout the semester, the group investigates new modes of creative inquiry relating to place-based practice including fieldwork and site visits, direct experience, interdisciplinary collaboration, and public art. Technological Landscapes fosters an open dialogue between creative research, critical studio practice and direct observation/real-world experience by forming research partnerships with individuals and institutions typically outside the world of art. Participants in Technological Landscapes have worked directly with the University of Rhode Island's Inner Space Center, NASA's Airborne Sensor Facility, Stanford's Linear Accelerator and the Naval Historical Collection at the Naval War College, Newport, amongst others.
Each year, participants identify, drive and facilitate the focus, research partnerships, and group excursions through conversation and consensus. Recent topics of investigation include (but are not limited to) the social and psychological impact of technological development in Silicon Valley; the intersection of land use, technology and ecology at Quonset Point, Rhode Island; the act of image-making as a means of understanding landscape; and submarine fiber optic cables and the physical manifestation internet infrastructure in the landscape. Each year the group locates and secures an exhibition space or develops a site-specific work within the site/topic of study.
WINTERSESSION allows for an intense exploration of a specific discipline, a special topic, new techniques, experimental processes and more. During Wintersession, D+M graduate students are invited to design studio electives open to the entire student body in which "the digital" is both the means and the ends of inquiry.
This course explores the interplay of performance, video, and sculpture.
In this studio/seminar students will be exploring flowers as both artistic subject and medium.
People send flowers when you're ill, when you're well, when you're born and when you die. We print flowers on clothing, we stitch flowers on upholstery, we paper our walls with flowers. They appear in songs, plays, poems and food. Flowers adorn our architecture, furniture, clothing and bodies. We use perfume to smell like flowers. We name our children after flowers. The world is (nothing but) flowers.
In this studio/seminar students will be exploring flowers as both artistic subject and medium. The class will gain a deeper understanding of how flowers have been used throughout art history; from 17th Century Dutch still life to Obama's presidential portrait. In order to comprehend the semiotics of flowers we will investigate how the their meanings vary between traditions, locations, time periods and cultures through class lectures, assigned readings, guest speakers and field trips. Students will also learn some basic botany, species identification and care.
Introduction to Projection Mapping is a studio-based course focused on using projection mapping as a way to combine physical and virtual spaces together.
Introduction to Projection Mapping is a studio-based course focused on using projection mapping as a way to combine physical and virtual spaces together. Projection Mapping is using technology to project objects onto a surface. The purpose of this technique is to stay away from flat screen projecting. This class serves as a comprehensive introduction to methods for creating projection mapping for beginners. Our exercise during the studio will be recognizing how the video content relates to the shape of the surface, making animation, and projecting onto a simple 2 or 3-dimensional surface through mapping skills. Using a combination of media, such as photography, video, animation, sound, sculpture, and installation, you will learn the basic principles behind projection mapping and then apply them to a final project that will involve a 3D projection map on an art object of your choice. You will design a video and sound component that will be mapped onto your object, bringing it to life and challenging the viewer's perception through a clever use of light and sound. During the course, you also will learn how to scale up your work for a large gallery or an architectural application. In the discussion section, students will discuss how mapping allows an audience to experience an augmented reality in which virtual space and reality overlap, as well as the expanded illusion of space in projection mapping. Historical and contemporary works of projection mapping will be presented and assigned for analysis. After Effects, Cinema 4D, Madmapper and Millumin will be the main softwares for the class.
The objective of this course is to create and work with physical materials through the lens of technology.
Technology is becoming a part of every conversation we have. What influence does it have, and how can we leverage it to create new possibilities? The objective of this course is to create and work with physical materials through the lens of technology. This class explores the various ways material may be analyzed, generated, and affected by computation. We'll be exploring how our day to day art practice can be enhanced by media and technology. Technological components will be incorporated in experimental media creation. This course is intended for object-makers who wish to introduce motion and technology into their sculpture, installation, performance, etc… Historical and contemporary works will be presented and discussed to provide a context for studio projects. Class time will consist of discussions, critiques for projects, technical workshops, trouble-shooting, studio visits, and 1 on 1 meetings. Students will be introduced to Arduino, motors, sensors, and microcontrollers in the making of art.
In the year 2018, social media is more that just a platform to message your friends; it is the primary means in which we consume the majority of our information.
In the year 2018, social media is more that just a platform to message your friends; it is the primary means in which we consume the majority of our information. People are living more and more of their lives online, which in turn means that art itself is existing more and more on these platforms as well. The artist who does not embrace platforms such as Instagram, Facebook, and Tumblr for their work is the artist who will be left behind in the dust. Yes, you can take a class on tools like laser cutting or gouache or Final Cut, but it is social media platforms are arguably the most powerful tool at an artist's disposal. If an artist wants their work to reach the masses, they are better off mastering the art of going viral than they are getting their art into the Met.
This is a studio and seminar based course. For the seminar aspect of this class, we will focus on various questions such as: How has our consumption of art changed as social media has evolved? Have these platforms enhanced or hurt art? What is even the definition of "art" on social media? Is a meme art? What about a GIF or a youtube video? What makes a piece of art go viral…and does "viral" necessarily make it "good"? How as artists can we take advantage of "viralness"? For the studio portion of this class, students will have the opportunity to create a number of social media based art projects with the goal being to make their work go viral.


Napoleon Beazley was 17 in April 1994 when he killed a 63-year-old businessman called John Luttig in an attempt to steal a car. He was convicted and sentenced to death on 28 May 2002 aged 25. So the question here arises whether it is ethical to murder a criminal? Does capital punishment serve justice? I firmly believe that capital punishment should be abrogated. Capital punishment is Immoral and has a hypocritical nature. Capital punishment has failed to deter crime. There is a superior, more compassionate and cheaper alternative.
Should Capital Punishment Be Legal? Australia For Serious Crimes?


text:
Biografia
Conseguita la laurea in filosofia il sei luglio 1974 all'Università degli Studi di Firenze, il primo agosto 1975 entrò all'Istituto di psicologia dell'ateneo fiorentino. Si specializzò il ventiquattro maggio 1982 in psicologia a indirizzo differenziale e scolastico alla Facoltà di medicina e chirurgia dell'Università degli Studi di Siena e il quindici febbraio 1986 si specializzò in psicologia dello sport presso l'associazione italiana di psicologia dello sport a Roma.

Il primo luglio 1988 fu nominato professore associato di psicologia dello sviluppo e dell'educazione alla Facoltà di magistero dell'Università di Firenze, per essere poi designato professore ordinario il primo settembre 2000 nel medesimo ateneo. Dal 2001 al 2004 fu presidente del corso di laurea in scienze e tecniche di psicologia dello sviluppo e dell'educazione della Facoltà di psicologia fiorentina.

Presidente della commissione per l'esame di Stato di psicologo nell'anno accademico 2004-2005, nel 2008 fu eletto preside della Facoltà di psicologia dell'Università di Firenze, incarico che mantenne fino al 2013.

Attività scientifica
Inizialmente interessato alle problematiche delle interazioni fra genitori e figli, ha poi approfondito il pensiero narrativo, le implicazioni sociali delle interazioni fra pari e il bullismo.

Il suo approccio scientifico è quello della psicologia culturale e della medicina narrativa.

Opere

Note

Professori dell'Università degli Studi di Firenze
Studenti dell'Università degli Studi di Firenze
Studenti dell'Università di Siena

redpajama_set_name: RedPajamaWikipedia


text:
Maurice Warshaw
Artist: Avard Fairbanks
Dimensions: unspecified
Collection: Capitol Collection
Location: fourth floor
Maurice Warshaw was born to a Jewish family in Ukraine in 1898. Warshaw relocated with his family to the United States because of heavy persecution of Jewish people in Ukraine. At age 14, he moved to a Jewish community located near Gunnison, Utah, and eventually made his way to Salt Lake City. He is remembered for his work as an entrepreneur, philanthropist, and humanitarian.
Warshaw started a fruit stand called Grand Central Market, which grew in popularity and led to him opening a grocery store–an "all in one" store–the first of its kind. His store spanned decades and was eventually bought by grocery chains Fred Meyer and then Smith's. He also worked with international humanitarian projects focusing on the handicapped and underprivileged. This may have been influenced by his only son who was injured while playing high school football and became paralyzed and wheelchair-reliant for the remainder of his life.


text:
Monday, July 31st, 2006
I Hate Winnipeg
Somehow, it's been five years since I last saw The Weakerthans live. No excuse, they've been through town lots of times. I've just never gone. Which is weird, since I really do like them and think John K Samson is one of the top songwriters this country has to offer right now – the fact that his band also rocks out is gravy. But as their headlining show at the "From The Peg" festival at Harbourfront (celebrating the city of Winnipeg) showed, it has been far far too long.
Fittingly, Samson opened the show solo with the affectionate and ironic ode to his hometown, "One Great City!". But once joined onstage by the rest of the band the Weakerthans ratcheted up the tempo for the next hour fifteen with selections from all three of their records and a handful of new songs which will hopefully see the light of day sooner than later – it's already been three years since Reconstruction Site. While the grinning Samson mostly played the shy boy frontman, his bandmates were a whirling rock machine, striking poses, doing windmills, the whole bit. I know it'd been half a decade since I'd seen them last, but I really don't remember them being such… extroverts. Samson did step up on a riser for his one guitar solo but for the most part, was content to let his words speak for him.
It's amazing that a band that at first listen sounds so straightforward can actually possess so much depth. You could call them emo-punk, power-pop or indie-rock and they'd be all reasonably accurate descriptors but at the core of it all, Samson is really a folk singer and poet of the people. Maybe because he grafts them to music so simple, energetic and melodic they can get overlooked but Samson's lyrics are some of the most splendid in contemporary music. Whether channelling a cat concerned for its owner or an Antarctic explorer, his words are never less than literate, wry and warm but never come off as overly-earnest, pretentious or cloying. He's got an almost unnatural gift in his ability to capture in words the frailty, poignancy and very essence of the human heart. I know how high-faluting that probably sounds but it's true. I don't know if the show necessarily convinced me to book my next vacation for Winnipeg, but it did remind me that The Weakerthans are a band I always forget how much I love until I hear them. Almost without fail, if I listen to one album I need to hear the other two straight after before I can move on. It surely won't be five years before I see them live again.
See gig photos here and read the The Globe & Mail piece where talk to Weakerthans guitarist Stephen Carroll about being Winnipeg icons.
MP3: The Weakerthans – "Plea From A Cat Named Virtue"
MP3: The Weakerthans – "Aside"
MP3: The Weakerthans – "The Last Last One"
Video: The Weakerthans – "The Reasons"
Video: The Weakerthans – "Psalm For The Elks Lodge"
MySpace: The Weakerthans
Billboard talks to Eric Bachmann about creating To The Races, his solo album due out August 22. I got a copy of this last week and can say without hesitation that if this is what living in a van does for your creative muse, everyone should do it. It's an amazing record. He's at the Horseshoe on September 16.
This month's Exclaim! cover story tells tale of The Sadies, country music and their live album In Concert, Volume 1, out August 8. Tickets for the Sadies' shows at the Horseshoe September 8 and 9 are now on sale for $15.
JAM! talks to Kathleen Edwards about gearing up for her third album.
Filter breaks news of Swan Lake, a new project featuring Dan Bejar (Destroyer/The New Pornographers), Carey Mercer (Frog Eyes) and Spencer Krug (Sunset Rubdown/Wolf Parade). Why do I get the feeling that there's going to be yelping on this one?
Couple show announcements – …And You Will Know Us By The Trail Of Dead (Trail Of Dead to their friends) are at the Phoenix on November 5 with The Blood Brothers and Gang Gang Dance are at Lee's for a Hallowe'en show October 31.
np – The Hold Steady / Almost Killed Me
Anyone who`s hemming and hawing about whether to go to the Hold Steady tonight, let me recommend voting yes. I saw them last night in Montreal and they were amazing. Funny, solid set. Totally worth seeing.
7/31/06 12:12 pm
Eric Grubbs says:
The Weakerthans are incredible. I don't know if they've made a bad album yet.
PG says:
the weakerthans (and even the surreal social that followed) made me a proud winnipeg expat this weekend.
A little off topic, but I liked how The Weakerthans' song "Aside" played during the closing credits of the movie "Wedding Crashers". Unfortunately I missed the Weakerthans show at Harbourfront.
misspitz says:
my god, fellow, what's become of yr "of"?!
as in, a couple "of" show announcements.
Sunday Cleaning – Volume 43 →
← Trampoline


When you love something, you are willing to do anything to be able to continue it. You want to hone your skills so you can do your very best. College is a chance to meet new people and do what you love at the same time. For some, this opportunity is worth leaving everything. Your family, friends, and in Marina Hruba's case, her country.
Hruba, a graduate of Economical High School with Sports Specialization, lived in Prague, Czech Republic for her whole life until last year when she moved to Hawaii.
"I had to go to that school [Economical High School with Sports Specialization] because teachers are not really understanding in Czech and they don't support you when you do sports. I was in another high school in my first year and it wasn't possible because my teachers hated me, my classmates hated me too because I wasn't in the class and I just came for the tests and it wasn't working very well. So I had to go to this school which was for sports people which was when you missed a few lessons it was ok with them as long as you learned it home and you did the makeup test, " she said.
Here in Hawaii you can participate in sports as long as you continue to keep up with your studies, but in the Czech Republic, they are against it and want you to focus on school and your work, unless you attended a special high school like Hruba. Many student athletes love the sport they play, and probably can't imagine not playing because of school work getting in the way. For Hruba, that was what was normal, so she had a choice. Stay and stop playing tennis or leave what she's known her entire life and go to college somewhere she would have a chance to study and continue playing tennis.
Marina Hruba speaks to newswriting reporters from a variety of high schools around the island.
She decided to leave and is now thriving in Hawaii. She was selected as the 2016 Big West Freshman of the Year, finished her season with a 21-1 overall record to record UH's best single-season win-percentage at .955, and had a perfect record of 13-0 when playing at No. 2 in the singles ladder, just to name a few of her many accomplishments as a Rainbow Wahine.
"The most important thing is for you to enjoy what you're doing because that way you don't get stuck doing something you don't really like and just don't over do it, " Hruba said. "It's really hard but even though it's hard you love it and you keep doing it because you're just glad you have the opportunity to do it.


text:
Q: Centralizing vs decentralizing of rounding-off and summation of data Let's say there is a database that persists transaction data , e.g transaction items list of sale invoices , in raw format.  Something like this

InvoceId
Item
Price

1
Product-1
2.8592

1
Product-2
10.7559

1
Product-3
5.25

Data is exposed to other backend and frontend services by an API , let's call it API-A. All the UI components need to display rounded-off data with sum in the bottom.
Simplified version of the architecture looks like this:

The question is,  should API-A take care of rounding-off and summation of data ? Such as, accepting some query string parameters to support rounding-off and summation. Or should each consumer in this architecture take care of rounding and summation separately ? and why?

A: Rounding isn't something you can undo. It's a lossy process. So if there is any chance you'll have a need to do the rounding differently (rounding comes in many styles) then do the rounding in the report. Not in the stored data.
Of course that assumes the data can be stored without rounding. Some numbers like π can't be. So when you store them as data (not symbols) you're storing errors as well. When you make those errors part of a calculation it's a good idea to track their potential impact and be sure they don't grow enough to become significant.
One lesson I learned the hard way was if you're going to sum up floats that have different exponents it's a good idea to sort them and add up the the smaller ones first. Otherwise the big ones eat the little ones because their significant bits don't line up.
But hopefully you're not doing anything as silly as representing decimal money with binary floats in the first place.
TL;DR Don't store rounding if you can help it. If you can't, be sure you're using the right kind of rounding for your domain. Make sure the calculations you do on that data can tolerate the error caused by that rounding.

redpajama_set_name: RedPajamaStackExchange


Obverse: Bare head bust of Vercingetorix with wavy hair, left. Text below: VERCI-NGETORIXS.
Reverse: Full bodied horse galloping left, spiral shape above.
History: Vercingetorix, chief of the Arverni, led the great Gallic revolt against the Romans in 53-52BC. His name in Gaulish means 'over-king of warriors'. He was eventually defeated by Caesar at the Battle of Alesia in 52BC and was imprisoned, he died in 46BC. There are less than thirty known staters that bear the Vercingetorix name. The free horse on the reverse symbolises the Arverni spirit of independence.


TGFF – Thank goodness for friends/family. This morning while I was helping my grade school friend move from an apartment to a house, my mother in law was at the mall with the kids. 5 year old wasn't quite himself, but was excited to see the 7 month old, so we agreed to all meet for lunch after moving a few truckloads. By the time I got to the mall 5 year old was asleep on the couch in the play area. I attempted to wake him for lunch to no avail. He apparently had just had a febrile seizure. He has been getting them ever since he was 1 any time he spikes a fever. Ugh. We remained at the mall until I I was comfortable that he was coherent again and ready for the drive to the drugstore for Tylenol then the ride home. Meanwhile, my Mother in law was invaluable helping to take care of 21 month old and running in to the store to get the medicine for me while I babied my baby.
I needed to pick up my veggies still, but was not comfortable leaving my boy. A neighbor kindly offered to pick them up for me so I could remain at home. I am so grateful for this. I don't think I would have had the energy to make it to the farm. Although I have witnessed these seizures 5 other times, they never get any easier and they are emotionally draining. I apologize in advance if I fall asleep at while typing this… All I can say is, Thank Goodness For Friends/Family.
Something we take for granted at times. Moving to Raleigh has given me a new level of appreciation for friends and family.
I completely agree Steve. I have a much deeper appreciation for cultures that have multi-generation households.


Koolibri kirjastuse peatoimetaja Kadri Rahusaar on segaduses: tahaks olla igati seadusekuulekas, kuid reegleid on keeruline üheselt mõista.
Could an Estonian child coloring a picture of Karlson drawn decades ago by Ilon Wikland in a coloring book really be dangerous? Dangerous enough to warrant a certificate before the coloring book published in Estonia can be sold?
That is the question publishing house Tammeraamat asked itself when the Rahva Raamat bookstore returned its coloring books titled «Ilon Wiklandi pildid. Värvi ise!». The bookstore wrote that it regrets to inform the company that coloring books fall under the category of toys and must be certified in terms of safety for children.
The same pictures of Karlson, Bullerby, and children of Troublemaker street published in an Astrid Lindgren book printed in the same printing house using the same ink are not dangerous, while a book of pictures without color and no text needs a certificate.
Tiina Tammer from Tammeraamat said that she understands full well the law is there to be complied with. «However, we should refrain from absurdity,» she said.
The publisher has not notified Ilon Wikland, who has for the first time allowed her world-famous originally black and white drawings to be used in a coloring book, of the complication yet. More so as the book was published in 2015 and had sold two-thirds of all copies by February this year. Nothing has happened to any of the children who have colored Karlson either at home or in kindergarten.
Tammeraamat is a minor victim of a larger storm between bookstores and publishers and the consumer protection authority. Houses publishing books for small children that have clearly playful components (rattles, pencils, stickers etc.) are busy applying new warning labels on top of old ones.
Editor-in-chief of publisher Koolibri Kadri Rahusaar lifts a pile of children's books by foreign authors onto the desk. Each one has a European CE marking of compliance with safety regulations and text to specify whether the book is suitable for children under the age of three. The publisher's warehouse employs five people who are busy sticking new labels on old ones. Stickers that say «warning» instead of «caution».
The difference comes down to translation. The meaning of the warning is the same as Europe has had common rules for years, and Estonian publishers trusted the markings and labels of their partners in Europe.
The Consumer Protection Board, that visited bookstores to inspect toys and children's books a few months ago, cannot fathom how publishers have been unaware of regulations for years. The agency said its control action only concerned a few books, and that the current panic is a case of overreaction by book sellers.
Rahusaar shows a copy of the Estonian version of a rattling book meant for infants the warning label on which reads: not suitable for children under the age of three. «I must have overreacted in panic,» she says sarcastically.
The association of Estonian publishers has met with the watchdog to discuss the situation and look for solutions. Head of the association Kaidi Urmet sent a letter the day before yesterday, asking the board to make requirements for children's books more legible and accurate. Publishers also want recommended guidance materials translated to Estonian. The board has promised to comply.
«No publisher wants kids to meet with accidents, and we all want to obey the law,» Urmet said.
Bookstores are missing a large number of so-called activity books for children that are being relabeled. It is pure loss for publishers in books not sold and the cost of new labels and man-hours to apply them. While the board claims Estonia observes the same rules European directives prescribe for other countries, publishers and bookstores say that is not strictly the case.
«We agree that books need to be properly marked; however, we also want to avoid a situation where Estonian publishers and bookstores find themselves at a disadvantage because of local interpretation,» said sales director at Rahva Raamat Toomas Aasmäe.
Rahusaar said that laying down the same requirements for children's books that include toys and simple coloring books could place in jeopardy the publication of coloring books by Estonian authors. The latter number few as it is: statistics from the National Library suggests that out of the total 153 children's coloring books published last year, only eight were believed to be originals. Not to mention original activity books. Estonia does not even have a laboratory where corresponding safety testing could be carried out.
Ilon Wikland's coloring book will be allowed to return to shelves once the publisher gets certificates of ink and paper from the printing house (located in Estonia) and applies the CE marking. Only then will it be certain that a black and white Karlson does not pose a threat to the children of Estonia.


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Home News "Les Parisiens" Partner with Unibet
"Les Parisiens" Partner with Unibet
June 22, 2018 January 22, 2019
France's Paris Saint-Germain F.C. has signed sports betting company Unibet as its official betting partner for the next two seasons.
According to French sports paper L'Equipe, the contract with the Kindred Group-owned betting company is worth a reputed €1.5m ($1.74m; £1.32m) a year and – according to Mathieu Drida, Kindred's France general manager – will "Offer consumers exclusive content that takes them as close as possible to the game".
Paris Saint-Germain, currently owned by the ruling family of Qatar, finished last season as the winner of France's Ligue 1 and seem destined to win the league for the foreseeable future. Not everything in the garden is rosy, however. Success in the Champions League has so far proved elusive, and this year it will be up to new manager Thomas Tuchel to improve on a disappointing record. Previous manager Unai Emery has departed for the Arsenal dug-out and the ultimate challenge of finishing above North London rivals, Spurs.
But it is off the pitch the PSG has its real problems as it struggles to meet UEFA's Financial Fair Play (FFP) regulations following the world record signing of Neymar from Barcelona. It's rumored that PSG needs to raise €60m ($70m; £52.6m) to avoid UEFA sanctions, so even the €1.5m ($1.74m; £1.32m) from Unibet will help.
The agreement will see Unibet secure branding rights at PSG's Parc des Princes stadium and, presumably, digital collaborations as well. With Unibet seeing 70% of its online bets coming from soccer, the link with PSG makes sound commercial sense, although it has to be said that Ligue 1 is not one of Europe's most widely watched leagues.
But the Premier League is…
The link between PSG and Unibet is part and parcel of the seemingly ever-closer ties between European soccer and online sports betting companies. England's Premier League champion, Manchester City, has just announced a "multi-year" tie-up with Marathon Bet, making the company its "official global betting partner". Look forward to Marathon Bet logos in the background every time Pep Guardiola or one of the City players is interviewed.
Neither are the links confined to the big boys in the Champions League. Premier League newcomers Wolves recently announced its "most lucrative sponsorship deal" with Far Eastern betting operator W88, and Championship hopefuls Aston Villa – another club struggling with FFP issues – has recently signed 32Red as its shirt sponsor, despite the company receiving a hefty fine for failing to protect a problem gambler.
For now, the relationship between soccer teams and the betting companies seems mutually beneficial. Whether it stays that way remains to be seen: there are plenty of politicians across Europe who do not favor such outright promotion of gambling. You also wonder if the EU competition authorities might at some point question all these "exclusive agreements".
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Tags: 32Red manchester city Marathon Bet PSG Unibet Wolves
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The multi-hyphenate and her partner Jen Tullock craft the kind of indie offering that doesn't always work anymore, but this strange family comedy is an amusing exception.
While exact figures are not (currently) available, it stands to reason that every Sundance Film Festival has played home to at least one film that includes a major character uttering some version of the arrested development-centric chestnut, "I need to learn how to be an adult." Ostensible grownups learning how to be actual grownups has long been a major theme of many film festival offerings, and Sundance is no exception to that seemingly mandatory programming rule.
And yet Hannah Pearl Utt's feature directorial debut, "Before You Know It," is an exception. A quirky, slightly off-kilter feature about a wacky family and the stunted people who populate it, the basic bones of "Before You Know It" sound like innumerable other American indies that have made their way through the festival world. Bolstered by Utt's wit — and that of her frequent creative partner Jen Tullock who, like Utt, also co-wrote and stars in the film — and an affection for its characters, "Before You Know It" doesn't balk at quirkiness, but it never uses it as a crutch or the only way to process the story.
It doesn't hurt that Utt and Tullock's screenplay steadily ratchets up the weirdness, and while the film's last act is far messier than anything contained in its tight beginning and middle, the result is still a low-key charmer that promises great things from the pair. Plus, there's Judith Light in some incredible wigs, not one but two tween breakouts, and a scene in which Alec Baldwin gets to be even mildly interesting again. This is Utt and Tullock's world, and they'd love for you to be a part of it.
A walk-and-talk New York City story made by people who have actually walked, talked, and been in New York City before, "Before You Know It" follows the misadventures of sisters Rachel (Utt) and Jackie (Tullock) and their modern family, including their literally theatrical dad Mel (Mandy Patinkin) and Jackie's appropriately eye-rolling daughter Dodge (Oona Yaffe). The foursome live in a well-loved, but crowded Greenwich Village brownstone, the bottom of which holds their scrappy theater space, in which the eldest trio all work (for little money and, it seems, even less respect).
When Mel unexpectedly passes away after upending one of his last bids for professional relevancy, Rachel and Jackie are stuck picking up the pieces, which come to include the revelation that their long-gone mother is not actually dead and is instead working uptown on a longstanding soap opera. Secret children and alternate identities are the lifeblood of soap operas, and while Rachel and Jackie set about meeting and bonding with their mother Sherrell (a wonderfully unruffled Judith Light), their own lives start to more closely resemble soapy, scripted entertainment.
Set over the course of just a few days, "Before You Know It" soon folds in a number of other characters that might have previously been out of place in Rachel and Jackie's lives. There's a smooth-talking and incredibly dumb young lawyer (Ben Beher), the kindhearted accountant Charles (Mike Colter) and his whipsmart daughter Olivia (Arica Himmel), plus the aforementioned Baldwin in a small but amusing role as Dodge's underprepared therapist. If it all sounds a bit Wes Anderson-y, it is, but Utt and Tullock have such a keen sense of their own themes and tones that it never feels reductive.
The duo are less successful when it comes to wrapping up the feature, having built in some hard-and-fast targets (Jackie wants to put on their father's final play, Rachel is concerned about their mother making off with their brownstone) and then letting both fall by the wayside through quick and easy conversations. These characters are easy to love, and while the idea of putting them through more pain can be daunting, they're more than up for the task of making the quirky and weird parts of their lives work out for the best — just like Utt and Tullock.
"Before You Know It" premiered at the 2019 Sundance Film Festival. It is currently seeking U.S. distribution.


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Newsy Nuggets: Taste this
Written by Scott Joseph on 05 October 2022 on 05 October 2022 .
Photo: Taste of College Park
We have a couple of Taste ofs coming up and one that's ongoing into next month,
The first is Taste of College Park, Thursday, Oct. 13, from 6 to 9 p.m. in and around Historic Dubsdread.
The event is sponsored by the Rotary Club of College Park who claim it is the "oldest and most important social event in College Park." TOCP is the club's primary fundraising event, with net proceeds going to local and national charities. In addition to ticket sales, proceeds include bids from a silent auction.
Tickets are $75 plus a fee of $6.20 and can be purchased at the Eventbrite page. And while the Rotary Club's site notes that the evening will feature "over a dozen local restaurants and distributors," it doesn't name any of them. (But I'm pretty sure we can count on Tap Room at Dubsdread being there.)
The following week it's the 21st annual A Taste of Thornton Park, Thursday, Oct. 20, from 6:30 to 9:30 p.m. The event is centered around the fountain at the intersection of Hyer Avenue and Washington Street. ATOPT is sponsored by the Thornton Park Neighborhood Association, which uses the proceeds from the sale of tickets – $40 in advance, $50 at the gate – for beautification projects, special events and maintenance of that fountain.
The association's ticket sales site also does not list the participating restaurants, but there's enough tasty things in the area to make it worthwhile. The sales site specifies that IDs will be checked at the gate and that strollers and pets are not allowed. People with pets in strollers may be detained for questioning.
Over at the Kennedy Space Center, now through Nov. 6, it's Taste of Space: Fall Bites!, which may or may not be a derogatory comment about autumn.
This one is different from other Taste of... events. First of all, you are not required to go to space to attend. TOS:FB! offers samples from some of the complex's food outlets with the purchase of a ticket to KSC ($75). However, you're limited to just two of the samples, which thankfully do not include food in squeeze tubes or anything made with Tang.
Not that the items listed on the center's website sound all that more alluring. They include:
Space Bowl Bistro: Cranberry Smoothie
Milky Way: Apple Blossom with Caramel Sauce
Orbit Cafe: Citrus Jell-O with Lemon Foam, Black Forest Cupcake, Cheesy Potato Casserole with Bratwurst
Chat with an Astronaut*: Beer Cheese Dip with Pretzel
Moon Rock Cafe: Wisconsin Beer Cheese Soup with Bacon and Pretzel; Pumpkin Cheesecake
The asterisked Chat with an Astronaut requires a separate fee and will feature an actual live astronaut to share your beer dip and pretzel with and ask questions. (Many years ago I took a tour of Radio City Music Hall and it included meeting an actual Rockette who preened for us; I can't get the image of an astronaut wearing a feather plumed out of my head.)
A better option might be the event's one-night-only Marstini Shake-off, Friday, Oct. 7, from 6:30 to 9 p.m. Tickets are $159 per person and include tastes from an expanded menu (also includes beer cheese dip with pretzel bites but without an astronaut attached). You'll also taste samples of local bar and restaurant versions of what a Marstini should taste like. Participants include Playalinda Brewing Company, Third Culture Kitchen, The Space Bar (not the keyboard kind) and Jack & Harry's. The information page notes that participants can "purchase full versions of any of the Marstinis created that evening." But if you do, please have a designated pilot. More information at the Kennedy Space Center website.
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The freight company we had been using for several years was really dropping the ball with our pickups and deliveries. They were missing pickups constantly and giving very poor excuses for the mistakes. The freight company also had pretty steep prices and we were ready to find a new freight company. We started calling different freight companies in Perth WA (such as Tail Lift Transport) to get pricing information on our customer locations. We were able to get quotes right away from one of the freight companies and their customer service was great.
We decided to go with this particular freight company and couldn't believe the difference in companies. We started using the freight company with just one of our customer locations to see how they would do. The truck arrived at the pickup location on time, picked up the freight and delivered it to our location without any problems at all. The price was much cheaper and their drivers are very competent and safe. We have given all of our customer locations for pickups and delivery to this new freight company and have had zero complaints thus far. We are very pleased with their work and are happy to continue to do business with them.


What is research impact? How do we currently measure it? How should we measure it? Should scientists be measured in the same way that we measure scientific output? How do we effectively compare different kinds of impact?
The Better Science Initiative is delighted to be hosting the first panel discussion on Impact in Science bringing together leaders from different aspects of science. This event aims to bring all players to the table: students, researchers, academics, editors and entrepreneurs who want to make science better.
In the modern world, "impact" appears to be the fulcrum around which the entire research universe revolves. Not intellectual curiosity, not technical robustness and certainly not reproducibility. Impact. First and foremost: What impact has this research had? What impact will this research have? Acceptor of papers. Giver of grants. Maker of careers. Impact is king. In a highly competitive world of limited funding and limited time, evaluations of impact appear unavoidable. But what exactly is "impact" and how well do the current frameworks of evaluating research impact live up to the task? How could they be improved?
What is The Better Science Initiative?
We are a newly founded organisation that aims to improve the systems around science. The systems that support and surround scientific research are often far from ideal and the conversations that are required to change them far from all-inclusive. We invite contributions from researchers at every level and all those in associated industries to address the shortcomings of our current systems and to seek strategies for improvement. Ultimately, we are concerned with facilitating better outcomes both for science and for scientists.


The National Theatre's production of Cleansed, by Sarah Kane, is causing a fuss. The response spans from vitriolic condemnation (Susannah Clapp's review in the Observer) to tentative praise (Andrzej Lukowski's review for TimeOut). Usually I love mixed reviews of shows. It tends to mean that a reaction has been incited in the audience. But this fuss is 18 years old, and I cannot find it in me to get all riled up. Well, I get worked up for different reasons.
Cleansed is a dystopian exploration of torture. Tinker is the sadistic, Orwellian ruler of the little world of the play. He tortures the inhabitants in a seemingly clinical attempt to understand love. The play overflows with graphic scenes of violence and after having watched this production from the second row, I can tell you from personal experience that it is disturbing. I do no delight in observing brutality, but I did not go to be comforted. I went because I know that torture and brutality happen in the world, and I believe that it is crucial that art responds to this in some way. So I went to see what this production had to say.
Sarah Kane (the author, ed) believed something similar. She thought that there should be nothing you cannot put on stage. Her point was that as soon as you say something should not be staged, you take a step towards trying to pretend that it does not exist. Kane was causing much consternation back in the nineties. Because of their extremity, it was difficult not to be polarized. On the one side, there were the political-correctness mongers, yelling about how obscene it all was. On the other, there were open-minded audiences (and a lot of theatre makers) who hailed her work as revolutionary, and a necessary development in British Theatre. What gets me worked up is that it feels like we're back having that same debate this time. It feels terribly regressive.
A scene from Cleansed. Photo by Stephen Cummiskey.
The first thing to hit the news about this production was that people were fainting. Oooh, all the crazy things happening on stage were causing people to faint. And then, horror of horrors, people were walking out. Our delicate sensibilities in the First World (or perhaps only in Britain) do not like to be confronted with the extremities of life elsewhere. In a modern culture of hyper political-correctness, many people seem to feel that they have a right to be insulated against anything that offends them.
The commentary and reviews about Cleansed fixate on comparing the play to its original production 18 years ago. It's as though people are having difficulty taking the production on its own terms. How much more interesting, perhaps, to consider the dialogue between Cleansed and what Islamic State is doing? There have been people thinking in these terms and fascinating debates are happening. But I wonder whether we're missing the point when we get stuck worrying about how harrowing the play is. Perhaps instead, mainstream theatre has become too sanitized, rather than Cleansed being too extreme.
From the offended camp, a flurry of tired questions gets flung at the public, and the pontificating begins. Here are three of the criticisms I find most objectionable. I come across them regularly in the media and even with my theatre colleagues.
"Is this production better or worse than the 1998 original?" Loud, polarized opinions everywhere. But I think this is entirely missing the point. A 2016 production is dealing with a different world. The play is offering us the opportunity to consider what it's saying about today.
"Does this production respond to something today, or is it simply gore for gore sake?" A very convenient flag to wave if you want to dismiss this production. Critics were calling Kane 'filthy' back in 1998. Here's an answer: yes, it is depicting disgusting activity. Let go of that and think about why it's being presented.
"Shouldn't they have found a less literal way of doing the violence? I mean really, why should we sit through such brazen displays of gratuity?" Another way of brushing the production under the carpet. It's amazing how everyone becomes an expert at what should have been done if they don't like what they saw.
The final question frustrates me more than the others. I have come across it frequently, worryingly often among theatre makers. My analysis of the question is this: "the violence offended me, because it made me feel something icky. You have no right to make me feel icky, so I unilaterally condemn you for doing it." But this is theatre, right? No one is actually getting hurt. We all know that. It's metaphorical by definition.
So why do a play like Cleansed? I've already offered Sarah Kane's answer: this kind of violence happens. It's not some remote memory of a barbaric time, now long gone. It is woven into the modern world. How many beheadings has Islamic State done? How many children are forced into the brutalist militia in Africa? How many women have had acid thrown in their faces for daring to challenge a crippled form of obsessive patriarchy? I could go on, but I think my point has been made.
There is a side to all this which I don't have space to properly address. I'll summarise my feelings. Sarah Kane isn't the only enfant terrible this time. Perhaps part of the reason for all the hoo-ha is because Katie Mitchell is directing. She dismantles texts and reconstructs them around her own directorial vision. We in the UK are not supposed to like her auteur style of directing. We in the UK are supposed to put text first, biblically, at the expense of basically anything. Mitchell does not do that and therefore we are supposed to box her away as that naughty, disrespectful child who just doesn't understand how things are done here. Bah, humbug.
I want to conclude with a rather larger point, and perhaps a call to arms. I am a freelance director and I am sick of being made to justify why I am an artist. It's only ever non-artists who make this demand of me. Under their dismissive, condescending gaze, I begin to flounder: "um, well, I make theatre because I believe I have something to say about the world I find myself living in. You see, theatre, at its core, is a storytelling art form and stories seem to me to be a good way of reflecting my experiences of the world and so maybe say something about yours …" Blah blah, all true, but wait. Why are you a lawyer? Why does the world need accountants? Can you justify why your job so fundamental to the functioning of the world?
This is the core of the problem. When artists make tame, light, entertainments, we can be categorized as clowns to lighten the burden of everyone else's heavy lives. But if we confront people with unpalatable realities, question accepted norms, then we need to be able to offer rigorous justifications. Why should the National put on a production of Cleansed? Go on, convince me.
How easy it is to squash an artist's work. Yet every oppressive regime begins by censoring artists. Food for thought.
Tom Mothersdale in Cleansed. Photo by Stephen Cummiskey.
Friday Rush. Every Friday, at 13:00, the theatre released a limited number of £20 tickets for the next week's performances.
Day Tickets. If you are willing to queue in person, possibly from quite early in the morning, you can nab yourself a £15 ticket.