The work of the Red Cross in Singapore began in 1949 as a branch of the British Red Cross. Today, the Singapore Red Cross dedicates itself to protecting human life and dignity, relieving human suffering and responding to emergencies. Its. blood donor mobilisation programme, home for the disabled, transport aid, food aid, elder aid, community first aid and training derive from its mission to serve the vulnerable.
Among the ongoing priorities is to help the vulnerable community members who have fallen through the cracks of social service – the elderly, the disabled, the single-parent families and the working poor. Internationally, the SRC mobilises and translates contributions from Singaporeans to relief and recovery, rehabilitation and reconstruction efforts, with the aim of helping the communities devastated by disasters.
Funding: The Singapore Red Cross raises funds independently and does not rely on government support.
Legal Status: Incorporated under the Singapore Red Cross Society Incorporation Act, (Chapter 304) on 6 April 1973. First established as the Singapore Branch of the British Red Cross on 30 September 1949.
Volunteers: Total Ordinary Members: 1,188, Total Red Cross Youth Members: 10,834. In addition, Singapore Red Cross is supported by: 2,853 volunteers who assist with events, 805 General volunteers above 35 years old (non-members) – as of 31 December 2016.


text:
Mixon runs for career-high 165 yards, Bengals crush Steelers
Joe Mixon rushed for a career-high 165 yards and two touchdowns, Joe Burrow scrambled ran for a score and passed for another one and the Cincinnati Bengals crushed the Pittsburgh Steelers 41-10, sweeping the season series for the first time since 2009.
Herbert throws for 382 yards, Chargers hold off Steelers
Justin Herbert threw a 53-yard touchdown pass to Mike Williams with 2:17 remaining and the Los Angeles Chargers held off the Pittsburgh Steelers 41-37 on Sunday night.
Watt forces fumble in overtime, Steelers edge Seahawks 23-20
Pittsburgh Steelers past the Seattle Seahawks 23-20.
Fresh start: Steelers rookies understand high expectations
Several members of the Pittsburgh Steelers rookie class are embracing the organization's high expectations.
The Latest: Steelers place Haden, Ebron, Marsh on COVID list
Seattle coach Pete Carroll said Friday that Shell had a close contact with someone who tested positive but that Shell had tested negative. Carroll said on Friday the team was still trying to determine if Shell would need to go on the COVID list. ___A second Cleveland Browns coach has tested positive for COVID-19 ahead of the team's big game with the Pittsburgh Steelers. Wide receivers coach Chad O'Shea previously tested positive and will be replaced by team chief of staff Callie Brownson. Goodson and Malcolm Smith, safety Andrew Sendejo and tight end Harrison Bryant will miss the Steelers game after testing positive.
Steelers rally past Colts to end skid, lock up AFC North
Pittsburgh Steelers wide receiver Diontae Johnson (18) makes a catch past Indianapolis Colts cornerback Rock Ya-Sin (26) for a touchdown during the second half of an NFL football game, Sunday, Dec. 27, 2020, in Pittsburgh. And even as the Steelers spent the first half against Indianapolis seemingly in a full-out sprint to get to the offseason as quickly as possible. It revived Pittsburgh's floundering season and delivered the Steelers the AFC North title. The defense kept Philip Rivers, rookie running back Jonathan Taylor and Indianapolis out of the end zone in the second half. "When we had everything to play for, we just didn't have all the answers in the second half of a game we had to have.
Texans Linebacker Dylan Cole named Ed Block Courage Award winner
(Photo by Bob Levey/Getty Images)HOUSTON – The Houston Texans have selected ILB Dylan Cole as the 2020 Ed Block Courage Award winner. "I am honored to be the Ed Block Courage Award recipient this year," said Cole. "It's no surprise Dylan Cole was voted by his peers to be this year's Ed Block Courage Award recipient," said Texans Interim Head Coach Romeo Crennel. He will be recognized at the 43rd annual Ed Block Courage Awards. The Ed Block Courage Award has become one of the most prestigious awards a player can receive because it marks the only NFL award that is chosen solely by a vote of his peers.
Steelers stay perfect, keep top spot in AP Pro32 poll
(AP Photo/Michael Ainsworth)NEW YORK – In their bid to stay perfect on the season, the Pittsburgh Steelers have been cutting it really close in recent weeks. After earning last-minute wins in their past three games, the Steelers remained on top in the latest AP Pro32 poll. The Steelers held off the Tennessee Titans in Week 7 when Stephen Gostkowski missed a late field-goal attempt. "The perfect season continues, but the Steelers aren't quite perfect, as their comeback win over the woeful Cowboys showed," Newsday's Bob Glauber said. The Titans (6-2) lead the Colts by a game for the top spot in the division.
AFC features plenty of star power even without Tom Brady
Pittsburgh Steelers quarterback Ben Roethlisberger (7) throws a pass in the first half of an NFL football game against the Dallas Cowboys in Arlington, Texas, Sunday, Nov. 8, 2020. (AP Photo/Ron Jenkins)The AFC doesn't lack for drama or star power even though Tom Brady has taken his talents to Davis Beach. WEST: The Chiefs (8-1) are still the class of the conference despite a hiccup against the resurgent Raiders (5-3), who won 40-32 at Arrowhead Stadium on Oct. 11. Mahomes became the fastest quarterback in NFL history to reach 100 TD passes, doing it in 40 games, four fewer than Dan Marino. The Broncos (3-5) have been waylaid by injuries and COVID-19 opt-outs, exposures and infections and Drew Lock went 45 drives without a TD pass.
Injured Big Ben rallies unbeaten Steelers past Cowboys 24-19
The limp was gone as the 38-year-old engineered a fourth-quarter comeback that kept Pittsburgh as the NFL's only unbeaten team. Those are the four games Dallas has been without star Dak Prescott, out for the season with a broken ankle. Roethlisberger's first touchdown came after he injured his left knee after a throw on a hit from defensive tackle Neville Gallimore. "Someone hit me right on the side of the knee, kind of bent my knee a little bit," Roethlisberger said. "Just had some discomfort."Gilbert's first touchdown pass was a 20-yarder to Lamb for a 10-0 lead in the second quarter.
Steelers stay unbeaten with 28-24 comeback win over Ravens
Baltimore Ravens defensive end Yannick Ngakoue (91) applies pressure on Pittsburgh Steelers quarterback Ben Roethlisberger (7) during the first half of an NFL football game, Sunday, Nov. 1, 2020, in Baltimore. (AP Photo/Nick Wass)
Baltimore Ravens defensive end Yannick Ngakoue (91) applies pressure on Pittsburgh Steelers quarterback Ben Roethlisberger (7) during the first half of an NFL football game, Sunday, Nov. 1, 2020, in Baltimore. Ben Roethlisberger threw two second-half touchdowns, and the Steelers beat error-prone Lamar Jackson and the Ravens 28-24 Sunday to match the best start in franchise history. "I put that on me."Beyond losing ground in the division, Baltimore lost All-Pro left tackle Ronnie Stanley for the season with a severe ankle injury. The Steelers led 28-24 when the Ravens (5-2) faced a fourth-and-3 at the Pittsburgh 8 with 2 minutes left. That left Pittsburgh thin up front after DE Chris Wormley went on IR Saturday.
Steelers stay perfect, keep Texans winless in 28-21 victory
Pittsburgh Steelers tight end Eric Ebron (85) celebrates on the sideline with teammate cornerback Joe Haden (23) after making a touchdown catch against the Houston Texans in the first half of an NFL football game, Sunday, Sept. 27, 2020, in Pittsburgh. (AP Photo/Gene J. Puskar)
(AP Photo/Gene J. Puskar)(AP) – The Pittsburgh Steelers spent two quarters trying to hem in Deshaun Watson. Slicing into the backfield relentlessly, the Steelers put the clamps on the Texans in the second half to rally for a 28-21 victory that pushed them to 3-0 for the first time in a decade. Houston managed just 51 yards and two first downs over in the final 30 minutes to fall to 0-3. After opening the season with two relatively drama-free wins, the Steelers needed to overcome an early 11-point deficit to stay perfect. Steelers: Johnson exited in the second quarter due to a concussion on the play where Roethlisberger helped pave the way for a short gain.
Defense, Snell, Big Ben carry Pittsburgh over Giants 26-16
Pittsburgh Steelers wide receiver JuJu Smith-Schuster (19) comes down with a touchdown pass against New York Giants cornerback James Bradberry (24) during the fourth quarter of an NFL football game Monday, Sept. 14, 2020, in East Rutherford, N.J. (AP Photo/Seth Wenig)
Roethlisberger, who missed the final 14 games last season after elbow surgery, threw for three scores in a 26-16 win over the New York Giants at an empty and eerie MetLife Stadium on Monday night. The defense, while not quite on the level of the famed Steel Curtain, was plenty stingy and physical. It not only held Saquon Barkley to 6 yards on 15 carries, it also swarmed him in the backfield nearly all night. Even though the Pittsburgh defense broke down as the Giants marched 87 yards on 19 plays in just under nine minutes in the third quarter, it still came up with a major stop. Roethlisberger then took Pittsburgh 62 yards for the field goal and a 19-10 lead.
Elbow room: Roethlisberger confident in return from surgery
PITTSBURGH Ben Roethlisberger is pretty sure there isn't a technical term for what doctors did to his shredded right elbow last fall. The Pittsburgh Steelers quarterback is pretty sure about one thing though: no one who has ever played his position has ever recovered from it well enough to continue throwing a football for a living. Roethlisberger admitted he'd been dealing what he described as minor elbow discomfort for a while heading into Week 2 against Seattle. The two-time Super Bowl winner underwent surgery shortly thereafter that anchored the torn tendons to his elbow. I still want to win Lombardys," Roethlisberger said, referencing the trophy that goes to the Super Bowl champions.

redpajama_set_name: RedPajamaCommonCrawl


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Wendy Carlos: A Biography
by Amanda Sewell
Oxford Univ. Apr. 2020. 272p. ISBN 9780190053468. $34.95. MUSIC
Released in 1968 to great acclaim, huge sales, a long stay on the Billboard charts, and three Grammy awards, Switched-on Bach, a collection of Johann Sebastian Bach recordings performed on a Moog synthesizer, inspired many imitators and provided a giant shot in the arm for electronic music. The world wanted more, and it wanted to see the artist. But Wendy Carlos (b. 1939), then known as Walter Carlos, wanted to be left alone. Sewell (music director, Interlochen Public Radio) tells the story of this pivotal album's elusive creator. Carlos, a transgender woman, underwent hormone treatments before the release of the album and had gender reassignment surgery in 1972. Firm in her belief that music should be judged by its own merits, Carlos has avoided interviews and intrusions into her personal life. Even with limited secondary sources to rely on, Sewell has written a long-overdue scholarly work that sheds light on Carlos's creative process while never sensationalizing her private life.
VERDICT Sewell's nuanced biography of an overlooked composer is our best look yet at this groundbreaking artist, and a reminder that art can and should speak for itself.
Reviewed by Bill Baars, formerly with Lake Oswego P.L., OR , Dec 01, 2019
Letters from Hollywood: Inside the Private World of Classic American Moviemaking
by Lang, Rocky & Barbara Hall
Doomed To Fail: The Incredibly Loud History of Doom, Sludge, and Post-Metal
by Anselmi, J.J
Bowie's Bookshelf: The Hundred Books That Changed David Bowie's Life
by O'Connell, John
Raising Hell: Backstage Tales from the Lives of Metal Legends
by Wiederhorn, Jon
Horror Stories: A Memoir
by Phair, Liz
Living in Color: What's Funny About Me
by Davidson, Tommy & Tom Teicholz


Warner Bros, an innovative movie and television studio, served as the perfect backdrop for the 8th Annual Lumiere Awards. These awards recognize how cutting-edge content combines with exciting new technology.
In addition to the competitive award categories, prolific director-producer-writer multi-hyphenate Jon Favreau was honored with the Harold Lloyd Award. HTC Vive Co-founder and chairperson Cher Wang was honored with the Sir Charles Wheatstone Award. Google Earth VR was honored with the Century Award.
—>Looking for the direct links to the videos? Click here for Jon Favreau. Click here for Ivan Reitman. Click here for Ed Begley Jr. Click here for Robert Stromberg.


text:
The blue-throated toucanet (Aulacorhynchus caeruleogularis) is a near-passerine bird in the toucan family Ramphastidae. It is found in Costa Rica, Panama and far northwestern Colombia.

Taxonomy and systematics

What is now the blue-throated toucanet was two of many subspecies of the then emerald toucanet (Aulacorhynchus prasinus sensu lato). In 2008 the International Ornithological Committee (IOC) split 10 of those subspecies to create seven new species, one of which is the blue-throated toucanet, and retained four of them as subspecies of their current emerald toucanet sensu stricto. BirdLife International's Handbook of the Birds of the World (HBW) concurred. In 2016 the IOC merged the violet-throated toucanet (A. cognatus) into the blue-throated and again HBW concurred. However, the North and South American Classification Committees of the American Ornithological Society and the Clements taxonomy declined to follow them. In 2017 they did split the emerald toucanet into two species, the northern (A. prasinus) and southern (A. albivitta) emerald-toucanets, each with seven subspecies. They treat the IOC's "blue-throated" as two subspecies of the northern emerald-toucanet.

Two subspecies of blue-throated toucanet are recognized by the IOC and HBW:

 The nominate "blue-throated" A. c. caeruleogularis - Gould, 1853
 "Violet-throated toucanet" (A. c. cognatus) - Nelson, 1912: Other names used include Nelson's toucanet and Goldman's blue-throated toucanet.

Description

As in all toucans, the blue-throated toucanet has a large bill. The adult is  long and weighs about . The sexes are alike in appearance although the female generally is smaller and shorter-billed. Their bill is black with a wide yellow stripe along its culmen and a white vertical strip at its base. The nominate subspecies has a rufous patch near the base of the culmen; A. c. cognatus does not. Both subspecies have plumage that is mainly green like that of other members of genus Aulacorhynchus, and is somewhat lighter below than above. The nominate's crown has a bronze tinge and its nape and upper back a yellowy bronze tint; A. c. cognatus crown and nape are almost pure green. Their eye is dark brown surrounded by even darker bare skin. Their lower face and throat are deep blue. Their undertail coverts and the underside of the tail are chestnut. The base of their tail's upper surface is green becoming blue towards the end and the tips of the feathers are chestnut. Immatures are grayer than adults and the chestnut of the tail tips is browner and smaller.

Distribution and habitat

The nominate subspecies of blue-throated toucanet is found along most of the length of Costa Rica into western Panama as far as Veraguas Province. A. c. cognatus is found in central and eastern Panama and slightly into Colombia's Chocó Department. In elevation the species ranges between  in Costa Rica and between  in Panama. It primarily inhabits humid montane forest but is also found in more open landscapes like secondary forest, shrublands, pastures, and plantations.

A potential problem relates to the distribution limit between A. c. cognatus and A. c. caeruleogularis in Panama. Some authors place the population in central Panama in A. c. caeruleogularis, which limits A. c. cognatus to extreme eastern Panama and adjacent Colombia. However, others assert that the toucanets in central Panama are closer to A. c. cognatus.

Behavior

Movement

The blue-throated toucanet is non-migratory.

Social behavior

The blue-throated toucanet is gregarious and frequently gathers in groups of up to about 10.

Feeding

The blue-throated toucanet forages by gleaning, usually while perched. Its diet is eclectic and includes a wide variety of fruits, invertebrates of many orders, and vertebrate prey such as birds, eggs, lizards, and snakes.

Breeding

The blue-throated toucanet's breeding season is from March to August. It nests in tree cavities, either natural or those abandoned by woodpeckers. They can be as high as  above the ground. The typical clutch size is three or four but can range from one to five. Both sexes incubate the eggs but the female does so more than the male. The incubation period is 16 days and fledging occurs 42 to 45 days after hatch.

Vocal and non-vocal sounds

The blue-throated toucanet's main vocalization is "a loud, far-carrying, dry rrip rrrip rrip rrip or curré curré curré...often continued for minutes on end". In flight its wings make a whirring sound.

Status

The IUCN has assessed the blue-throated toucanet as being of Least Concern. Though its population size is not known, it is believed to be stable. No immediate threats have been identified. However, it "is vulnerable to habitat destruction".

References

Further reading

</ref>

External links
The Blue-throated Toucanet's call on Naturesongs.com
Photos of the Blue-throated Toucanet. Mangoverde

blue-throated toucanet
Birds of the Talamancan montane forests
blue-throated toucanet

redpajama_set_name: RedPajamaWikipedia


text:
Post-Office Arts Journal
Post-Office Arts Journal, Baltimore
Tag: james fuentes
Joshua Abelow of Freddy Gallery
C. Klockner
Freddy Gallery was a curatorial project located on Franklin Street in the West Downtown neighborhood. Curator/Painter/Blogger Josh Abelow sat down to talk about the project in October.
Every interview you've done so far has been under the Freddy moniker, right?
Yeah, everything I've said about Freddy in an online platform has been through the "voice" of freddy, but I also think by now most folks know it's my thing. Well, I dunno, maybe there are plenty of people who have no idea? Anyway, I think it's fine to say you're interviewing Josh Abelow about it.
So, we've talked about this a little bit personally: what the aspect of anonymity offered that curatorial project. And what nuance levels there are to that? Because there's a difference in maintaining a full cloak of obscurity so that maybe no one would know you and you wouldn't show up at all.
I mean, as an idea, I really like the concept of complete anonymity.
What's the name of the artist… God, I'm forgetting… Anyway, I'll come back to it. Oh, Vern Blosum! So, the story is that there's this AbEx guy who, in 1961, decided to make (invent?) Pop Art paintings under a false name as a kind of joke. The paintings look a lot like early John Baldessari (before Baldessari did them).
KEITH MAYERSON
Blosum was represented by Leo Castelli and I think MoMA bought one of the paintings and collectors were buying the work and what not. Basically, somebody got suspicious because there was no biographical information about Blosum and called the whole thing into question like, "This is fucking bullshit." And after this artist going up and up and up, he just disappeared and all the works went into storage for 50 years. Maxwell Graham of Essex Street Gallery organized a show of these early works in 2013 and that was the first time I had ever heard the name Vern Blosum. In today's world, where everyone knows everything about everyone because of social media, the concept of anonymity is especially attractive and interesting because it's so rare.
All that being said, that level of commitment to anonymity was impossible for Freddy and it wasn't really an objective—I was more interested in the idea of information about the gallery traveling around in the form of rumor—it was kind of inevitable that the cat would come out of the bag.
Right. Just the nature of gossip in smaller places.
It's funny with that Blosum story. They're all insincere works… is that the case?
I guess so. They're satirical works, I would say.
Do you think that those works were valued for their attempts to fake it?
Well, I think they were valued because nobody had any idea that they were, essentially, joke paintings. To me, it seems like whoever made the paintings wanted to mess with the establishment through an act of infiltration.
—And now, I think people are interested in the work and the idea of a fabricated identity because it relates to our relationship to the Internet and how we use Facebook or whatever to craft personas. There are so many artists who have careers based on playing pranks and that kind of thing. You know, Richard Prince's joke paintings or Maurizio Cattelan hanging his entire Guggenheim show from the ceiling; I mean, there are so many examples. So, I think it's an early example of that "pranking the art world as art" idea, which is very Dada.
Do you picture the Freddy character as the prankster then?
Yeah, I do.
When I got to grad school in 2006, I was so frustrated with this idea of the painter with a capital "P"—this person, alone in the studio, working on masterpieces with his or her big canvases and brushes. You know, like the romanticized idea of what it means to be painter.
So, I was fed up with this idea and I was trying to come up with different ways of staying committed to painting but, at the same time, I wanted to undermine it, critique or, to the best of my abilities, get out from underneath a purely narcissistic kind of practice.
I began to overproduce paintings as a form of defiance; Instead of focusing all my time on one large work, I would make like 60 or 70 or 80 small paintings and then I'd line them up in rows or grids like an assembly line. I was interested in a read of the work that would take into account this hyper-obsessive activity. All this led to an interest in doing my art blog, which, for me, was the antithesis of the lone painter in the studio.
Mmhm.
Freddy was sort of a segue into finding a middle ground between this Internet activity and getting back into having an actual space, talking to people, and dealing with objects. I was hoping that my blog viewership would bleed over into the Freddy audience, which I think it did.
With Peter Eide being the first Baltimore based artist that you showed, did that show have a difference in the way it came together than the shows that had happened previously?
I was excited to show Peter's work because he was the first Baltimore artist. I had seen Peter's work on Facebook probably a year before Freddy opened and I remember thinking, "This stuff is nuts, I really like this." And I sort of put it on a shelf in the back of my mind and just let it be. When I got down to Baltimore, Jordan and I were talking and I was like, "Who should I go visit?"
He said I should go check out Peter Eide—and when I looked at his work on his website, I said, "Oh, this is the guy! I love this stuff." Jordan said, "Oh, you met him last night at the opening!" and I was like, "Oh shit, really?"
PETER EIDE
So, I went to Peter's studio which is in a small town (New Windsor)—it's actually the town where Clyfford Still used to live and work at the end of his career. It's outside of the city, maybe like 45 minutes, kind of in the middle of nowhere next to a corn field.
I was intrigued by the whole thing because it was just fun to "discover" an artist working in relative obscurity in an old house, you know. He's painting in his living room; there's no proper studio. It all seemed very authentic.
And I was excited because Peter had never had a solo show in Baltimore despite the fact that he went to school here. So that was cool—to introduce the work to the local audience and also to a bigger audience via the Internet.
In the way that you talk about your own work (pushing against the solo artist myth, the painter alone in the studio), does it feel funny to lock on so much to Peter's work when it is so framed in that myth? Like the way you just described it: "In the Clyfford Still town!"
Yeah! Yeah, totally. Curating allows me to fully embrace certain parts of my thinking that I wouldn't do otherwise. To fully embrace Peter's "Painter's Painter" thing is so gratifying to me. And on the flip side, to work with Kenneth Goldsmith, who doesn't make objects, is also extremely gratifying. Because that's another side of my interests.
Did you feel like the curatorial impulse changed at all after there was criticism, like my writing or michael farley's writing or that facebook conversation?
Yeah, I think so. When I came down here, I knew that there were four or five shows that I wanted to present. I wanted to work with Kenny Goldsmith, the Ross Bleckner dick show, William Crawford, I knew I wanted to do the Albert Mertz show. There were some very specific things I wanted to present in this context, but that wasn't to say that I wasn't interested in showing people who lived here; it's just that up until 16 months ago, I wasn't living in Maryland and my access to the scene was extremely limited. I knew a couple people in the community like Jordan, Steven Riddle, Seth and Alex. I had a kind of peripheral interest in Baltimore for quite a while but, also, I was an outsider. I didn't know people well. So my intentions were to get down here, get the ball rolling, get to know people, and see what would come out of that. But, when Freddy started getting all that criticism pretty quickly, I made a conscious decision to speed up that process.
One of the questions I wanted to ask was just to touch on the gallery backing stuff, since there was gossip about backing from James Fuentes. How did that play out? What was the story with it, etc.
Well, first of all, talking about money is always weird, but—
—I only bring it up because, when I look at the art scene in Baltimore, so much of it depends on, "Where's the space?" We just talked about the request for proposals on howard street, and how if something like that went through for any project around here, because of Baltimore's size, possibly the entire trajectory for what people in town are making is altered. So it's funny to see the way that real estate and money actually affect our creative output. So I don't know—
—It's something I think about.
Yeah. In terms of the practical side of how the project came about, I had been following sophiajacob, specifically. They had invited me to participate in one of the lecture series events and I wasn't able to do it, but I liked that they had reached out. I was following their program and I was posting their stuff on my blog. And at one point, near the end of their run, I was given an opportunity to co-curate a show in New York and I was interested in the possibility of including work by an artist from Baltimore. Which sort of goes back the fact that I'm from Maryland and I feel a connection to this city.
Also another part of it—I feel like, in New York, curators think they're being adventurous if they show an artist who's in NY, but didn't go to Yale. Like if you don't have an MFA from Yale, you're a self-taught wacko or something. Like, "Whoa, you're really thinking outside the box…" Anyway, I thought (and still think) that there's talent in other pockets waiting to be discovered. And I thought (and still think) that Baltimore has a lot of creative energy. There are a lot of people making things that deserve attention.
ROSY KEYSER
So, I did a couple studio visits down here. I met with Jordan and Steven and talked with them a good bit about all these kinds of thoughts. I didn't end up including a Baltimore artist in the New York show for various reasons but, during that visit Jordan mentioned that the sophiajacob project would be ending soon. I said, "Whoa, really? What's happening with the space? What is the rent?" Jordan said, "The rent is $300 and it's gonna be available." This price would never be possible in New York and, honestly, I was shocked. I'd struggled with the high cost of living in New York since I moved there in 1999. I find it extremely stressful and, in many ways, the antithesis of making art. Money is like a virus there; it just infects everything.
So, I sort of just made the decision to make this Freddy idea happen no matter what. I'm struggling to pay my rent, I don't even have a proper studio, but I have to seize this moment. So I called my gallery in New York and said, "Hey, this is what's up, are you interested? Would you want to partner with me or help me fund this and I'll pay you back?" And at first he said yes and then he said no. Then he said yes again and we made it happen.
And the amazing thing I've learned is that, even though there's cheap rent, the cost of doing this project is actually really expensive, and there's no way we would've survived without the auction I organized with Paddle8—Freddy would've ended like 8 months ago. It was never about making money and it didn't make money, but when all's said and done I will hopefully break even. It was really just something I wanted to do and I figured out a way to do it.
Cool, that's good to understand a clear picture of that.
Well, I think there's an assumption that New Yorkers are rich—how else could they afford to live there? "That gallery or that artist must be making lots of money because they are in New York." And having lived in New York for a long time, having practiced art for 20 years, having worked with more than one commercial gallery for more than five years, I can tell you that most artists and galleries (even the ones that are very visible) are not putting away stacks of cash. There's a lot of smoke and mirrors in the art world.
If anything, I have this new level of respect for Lower East Side galleries that, you know, take risks. But even this last trip to New York, I noticed a lot of the spaces on the LES showing work that looked kind of safe, kind of salable, and what that signifies to me is exactly what I'm talking about. In order to stay afloat, these galleries are forced to show what the market wants. They do fluff shows so they can afford to stay in business. Then, hopefully, they can do a show with an artist who's making more exciting, more interesting work who is maybe not so commercially viable.
How do you reflect on the project now that it's done?
The project has been super refreshing in a lot of ways.
The fact that Freddy generated conversation, that it got a community of local artists (and maybe elsewhere) thinking and talking about these ideas is a good thing in my opinion. To be down here, to be part of a smaller scene, and also, sort of on a personal level, to see the tightness of the community has been inspiring. And it's been great to be a part of it. Working with Jordan has been amazing, discovering June Culp's work has been amazing. Peter, Stephen Booth—there's so many interesting artists.
I have a young artist friend I was talking with the other day about how she's so nervous about this show she has coming up in New York because, "if it bombs," her career's gonna be fucked and she's not gonna be able to sell anything for the next five years and that kind of thing. And on one hand, there's a side of me that's like, "Ah God, don't think like that. That's horrible." And then there's another side of me that's like, "God, you're kind of right. It's fucking very cut throat." It's a weird time to be a young artist, specifically in New York. I think it's a bad time.
It's very strange in New York—a particular artist might get some visibility in the scene and suddenly that person Has All These "New Friends." It feels very disingenuous. In Baltimore, a lot of the artist friend groups and support seem to come from a more genuine place. And I have found that to be—I think that's what I was looking for, that's why I left. It's kind of exceeded my expectations actually.
When you say, "Won't be able to sell work for the next 5 years," I think, "How can that not affect your output?"
Yeah. I think it's crazy. I think it's not a good place. I hate to sound like the Patti Smith lecture, like "Artists should leave New York! New York sucks!" but I feel very similarly to her. Have you ever watched that movie Downtown 81 with Jean-Michel Basquiat?
He goes down to the East Village and he goes to the Mudd Club and the LES looks raw and dangerous and fucked up. It was such a different scene and artists and musicians and creative minded people were all going there because it was fucking bombed out and it was cheap and there was an openness in terms of what was possible. It wasn't about selling; no one imagined that they would be making money. Now, New York is just so sanitized; you can't even walk down the street without seeing Citi Bikes everywhere. People could argue, "Well you know, that's Manhattan but you still have the other four boroughs to explore." But even that's changing—I just read a big article in the Times about how Ridgewood, Queens (where I was living) is the new hip spot.
I sublet my apartment for a year and went back to move my things out when I decided I didn't want to live there anymore and there was a new hip coffee shop right there on the corner next to my apartment. And it makes me depressed because there are generations of families that have lived in these neighborhoods that are gonna get pushed out. The rents are gonna go up and it's just what it is.
PHILIP HINGE, BRAD PHILLIPS, AARON CARPENTER
There's just something great about being down here where there're still warehouses that artists live in and weird noise shows at someone's house. And people are doing it because they wanna do it and they believe in it and they're doing it for their friends. And that's the kind of stuff that made me want to be an artist.
Right, but I think people see the Ceremony Coffee shop pop up in Baltimore and everyone's like, "Shit." I feel that everyone here is super, super sensitive to any changes in that direction, because they're like, "Well, this is it. Here it comes."
Yeah, and I think, speaking to that, I can understand why people were freaked out about Freddy at first. Like does a New York based artist doing a project in Baltimore signify that the underground scene in Baltimore is gonna get fucked up?
I think that is part of the aspect in the question about the money— about people getting backed, various ways of "Testing Market Waters," and seeing the Ceremony Coffee pop up, because, to an extent, that gossip stuff is real. I mean, I have some friends that, when they moved into their house a few years ago, went to the lease signing and the landlord said something like, "By the way, you're going to be paying $50 more per month."
They're like, "What? You spring this on us after we've already agreed and are signing the lease?" And he just pulls out a flyer and says, "If these guys in Mt. Vernon are charging this much for a one bedroom, why can't I?" Everyone is working on the same amount of information, it's a weird social space to be in.
I'm also curious on your thoughts regarding the music scene as it relates to the art scene—like, in the last 10 years or so, there have been a number of bands coming out of Baltimore who have received national and international attention—I'm thinking of Beach House, Dan Deacon, and more recently Future Islands (among others). But it seems like with music, maybe if you're in a cool band in Baltimore that the world doesn't know about yet—do you think that folks want to blow up? Do they want the world's attention? And, likewise, do you think young artists want to be engaged in a larger, more global dialogue—showing nationally and/or internationally?
JUNE CULP
Well, I think picking up on the different sects in Baltimore is super important, like you were saying, because you could point to anyone and the answer would be different.
I guess I mean the scene you're involved in.
Yeah. The importance of the cultural scene here for me has, to an extent, hinged on its autonomy, or its self sufficiency as a wildly dynamic space, as being able to function almost entirely without having to pull from other spaces or communities (like waiting for A Big Band to come to one of the more legit venues). The style has been that other communities would suck in Baltimore stuff, you know, pay $40 a ticket for a Baltimore act and then, here—
—Go to their house.
—Yeah, see them play a $5 whatever show. I mean especially with music, I would see so much of it get sucked into New York or other cultural centers. I feel like the questions that I bring up in [the art] conversation—it seems that because it's all on the East coast, everything above a certain point has to pass through New York and below a certain point, Miami. But, compare it to the way things have progressed in Europe: maybe it is biennial culture that has made smaller cities there much more apt for being able to support their own art historical lineages.
When I graduated from college, I didn't have a computer and the Internet was not developed like it is now. People were using AOL dial up to get online…
—Live journal just invented, right.
I remember there was just this tremendous push, like, if you want to be an artist, you gotta go to New York—otherwise you don't fucking exist.
And, of course, there are always gonna be people that don't buy into that, like "Fuck that, I'm gonna stay in Providence." I was more interested in what New York might have to offer. Iwanted to see my work in a white cube. That, to me, was interesting. I'd only seen my shitty paintings in shitty rooms. So living in New York at that time, my knowledge of the art world was pretty much extremely New York centric. I didn't know what was happening in Europe or Los Angeles or wherever else—I was in the dark.
In 2006, I met a guy who had been living in LA and he knew all these artists and galleries out there that I had never heard of and it was like somebody lifted up a curtain. In 2008, I moved to Berlin for a period of about nine months. That was an extremely stimulating situation because I was exposed to a whole other world of contemporary arts spaces, like in Germany and even doing a little bit of traveling and seeing interesting spaces in Prague and elsewhere. You know there were all these spaces in out of the way places in little nooks and crannies throughout Europe—that doesn't really exist in America. If you want to see contemporary art, you basically go to the LES or Chelsea and you walk a couple of blocks and that's where all the shit is. It's like spoon feeding you the stuff.
So the point I'm trying to get at—I'm pretty sure it was 2008 when Contemporary Art Daily came on to the Internet scene and that was (and still is) highly influential. And one of the things that I like about it a lot is that it's not New York centric. So I can visit that website pretty much any day of the week and see an artist I've never heard of in a gallery I've never heard of in a city I've never heard of. That's amazing. I think that becoming more aware of various artists and galleries in many parts of the world helps keep it interesting.
I would think that it's going to have an impact on… I guess what I'm trying to say is that, I think way before Freddy got here, I saw artists in Baltimore and other cities like Philadelphia extending their dialogue out to New York. Nudashank in particular, really generated a good amount of visibility for Baltimore and some of its artists. I was impressed to see Springsteen becoming a member of NADA—A small gallery in Baltimore, MD doing NADA with galleries from Zurich and Prague and the world—right on, I thought that was so cool.
So there was that desire (at least in a certain portion of the art scene here) in wanting to engage in a broader conversation. And that was also part of my thinking—I was like, "Cool, I want to be a part of that." I was curious to see how a smaller community of artists would respond to the work I planned to exhibit.
But, it always comes back to money doesn't it. People are afraid that rent's gonna go up and you might have to move to a different neighborhood and, as a result of that, I think people are kind of fearful and opposed to what might come in from the outside. So I think it's a really strange thing for you to have to navigate, for you guys, as young artists working here. How do you, if you want to engage with a bigger conversation, allow yourself to be open to that, but at the same time, to some extent, protect what you have.
There is that push and pull. Part of me is always urging against globalism because I have all these negative connotations with homogenized culture (which is the way of the world, I guess), but the aspect of seeing the way that Europe is able to have all these non-central centers that are just killing it—
—That they are able to exchange as equals, and that they are just [different] "cultures," that is very interesting to me.
And maybe that is simply from the historical [and imperial/colonial] power of Western Europe from the past 500 years, where the art scenes had overbearing histories behind them because they were directly supported by a lot of money and resources. You know, patrons commissioning "This or that scenery of our estate and it's beautiful and we're painted into it and it shows how rich we are." Maybe because there is art historical reference within their own cities, they might not have the same need for validation from another place.
There was an interview with the late Mike Kelley that I was watching recently, he was saying how American culture is vehemently anti-intellectual. Which I think is true. And having spent some time in Europe, it's truly not the case over there.
I think that's part of it, too.
Photos courtesy of Freddy Gallery. Freddy was a curatorial project that ran from June 2014 through September 2015 at 510 W. Franklin Street, Baltimore, MD 21201
Posted on December 22, 2015 April 19, 2019 Author C. KlocknerCategories InterviewTags colin alexander, freddy, interview, james fuentes, jordan bernier, josh abelow, june culp, peter eide


Leah Somerville is a Professor of Psychology and Director of the Affective Neuroscience and Development Laboratory. She received a PhD in Psychological and Brain Sciences at Dartmouth College and completed postdoctoral training at the Sackler Institute for Developmental Psychobiology at Weill Cornell Medical College before joining the department in 2012. Leah has won early career awards including the FJ McGuigan Early Career Research Prize for Understanding the Human Mind, the APS Janet Taylor Spence Award for Transformative Early Career Contributions, and the Everett Mendelsohn Excellence in Mentoring Award.
Leah's research integrates psychological and neuroscientific approaches to inform how brain development through adolescence shapes psychological changes in cognitive, motivational, social, and emotional behavior. This work is aimed at informing mechanisms underlying the achievements as well as the health risks that emerge during adolescence. Leah's research is currently supported by a National Science Foundation CAREER Award and by funding from the National Institutes of Health, the Department of Defense, the Brain and Behavior Research Foundation, and Harvard Catalyst.


is an eloquent telling of a family scattered over three continents by Nazi persecution. A heroic effort is undertaken by the authors, Rebecca Boehling and Uta Larkey on behalf the children of the generation subjected to the trauma presented in the book, to piece together the collective memory left by the Kaufmann-Steinberg family. Intriguing, as well as disturbing, this is a book that will stay with you for a long time. I came away from the read reminded once again never to take even the most ordinary moments in life for granted.
What a remarkable witness…Melanie Pritchard! "The Day I Died: Finding Hope in Suffering" is the story of a young mother's incredible sudden death during childbirth and her miraculous recovery. I remember the days during which the events chronicled took place. Mark Hart had made known to us the harrowing situation Melanie and her child were suffering. Bruce and I, our radio listeners, and people around the globe (thanks to the internet) joined in a communion of prayer and the results were indeed awe-inspiring. What a joy to talk with Melanie almost a year later, and what a delight to be able to share with all of you this blessed book.
nts and writers who have suffered, who were tempted to depair, and who were tested in everyway, but through grace and faith, they never gave up. Hope, a viture we can't live without. If you or someone you know is suffering through hard times, "Safely Through the Storm" is for you.
summer as a child. Elizabeth discovered only as an adult, that those villagers had a little known secret: they had defied the Nazi occupiers and protected hundreds of Jews during the holocaust. Elizabeth would go on to uncover the fascinating untold stories of Jews throughout Italy during WWII and the goodhearted Italian people who risked everything to save them. A heartwarming, as well as heartbreaking at times, account of the courageous efforts of neighbor truly helping neighbor in wartime Italy.


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Beautiful Pit Bulls Wear Crowns Of Flowers Just In Time For Spring
By Anna Swartz
Sophie Gamand
Photographer Sophie Gamand used to be "a little apprehensive" around pit bulls, but now that she's spent 5 years photographing adoptable pitties, she knows the truth.
"I always tell people: if you really want to make up your own opinion about them, don't just sit at home and read articles: Go to your local shelter and volunteer, be in contact with these dogs regularly, discover for yourself!" she told The Dodo.
Gamand, a native of France living in New York City, has been visiting pit bulls in shelters, dressing them in delicate flower crowns to highlight their sweet sides - in hopes of convincing potential adopters to help save their lives. The result is the Pit Bull Flower Power project, and a new batch of gorgeous portraits is out just in time for spring.
"America euthanizes upward of 1 million pit bulls every year," Gamand said. "This is a quiet massacre that is happening every day in our country. Isn't it about time we address it?"
So far, Gamand has helped dozens of pit bulls find homes with her glamorous portraits. She told The Dodo about a few of her favorite models.
Here's Akoni, whom Gamand photographed twice, once as a puppy and again when she was bigger - and in search of a home once again. "She had been adopted and returned by her adopter. Now she is finally in a forever home!"
"Brownie sat at the shelter for 2 years, overlooked. When this portrait of her came out, it only took a few days for John to see her and fall in love. He adopted her and told me 'it was love at first sight.'"
"Casper is available for adoption at Sean Casey Animal Rescue [in Brooklyn, New York]. He is a big, good boy. When the shelter shared this photo, they did not expect the response they received: the photos were shared about 80,000 times on Facebook, and viewed 9 million times!!!"
Shirley is currently up for adoption at Sean Casey Animal Rescue. "Unfortunately, she is shy so she does not show well to potential adopters who always end up going for an easier dog," Gamand said. "Yet, she is very loving once she knows you! Shirley is so worried now that her cage is the only place she wants to be. It has become difficult for her to leave her cage. How sad. She also has the cutest curly tail you'll see."
Kona has been through a lot, and he's still waiting for a family at Mr. Bones and Co in New York City: "He loses his balance, his head shakes sometimes. He probably does not have lot of time left with us, but he is the most lovable boy I have ever met! When I came in to take the photo, he just walked towards me and covered me in kisses. Such a beautiful boy who has had a very tough life. I wish a family would take him and give him the best time of this life!"
Kahula's flower crown was just a tad too big for her little head: "I mean, what can I say? I love that face and I love that crown on her. I only had adult size crowns that day." This adorable photo helped her find her forever family.
See more of Gamand's portraits on her website, or follow her on Instagram. There will be plenty of updates as she expands the project.
To find adoptable pit bulls near you, search on Petfinder or visit your local Humane Society.


• Specially address risks for Data Security from the viewpoint in the project of what data will be used, who will have access to the data and where will the data flow (2 – 4 pages in length.
Assignments are required to be submitted in either Word format (.doc, or .docx), Open Office format (.odf), Rich Text File format (.rtf) or .pdf format. Each assignment must be submitted as a single document.
Assignments should be typed using 10 or 12 point font. APA referencing style should be used. A reference list should be included with each assessment item.
All diagrams that are required should be inserted into the document in the appropriate position. Diagrams that are submitted in addition to the assignment document will not be marked.


Shown as a double-bill with its predecessor, The Death of Superman (for a limited theatrical release), Reign of the Superman is not only a worthy sequel and conclusion to the iconic storyline, but solid, entertaining film on its own. Director Sam Liu and writers Tim Sheridan and Jim Krieg give us a story large in scope, but still firmly rooted in character, making it another quality addition for the ever-growing DC Animated Movie Universe.
Reign of the Supermen takes place a couple months after Doomsday's attack; Superman's body is missing, and four new Superman -Superboy, Eradicator, Steel and Cyborg Superman – have emerged, seemingly helping society. While each of the new Supermen carry out their own agendas, Lois Lane investigates their true identities.
Once again, Sam Liu and company do a great job of balancing plot, character and action. There is a lot going on – perhaps a bit too much for its 87-minute runtime – but the film manages to weave through several character moments and storylines effectively. Plot threads from the previous movie are carried forward seamlessly and given proper closure.
The mysterious motives of each of the Supermen are uncovered gradually, and naturally fit into the film's main theme of everyone being their own Superman. Moreover, just like its predecessor, the action here is entertaining and brutal. Each version of Superman having a distinct fighting style makes their battles a lot more interesting to watch. Also, the cheeky humour sprinkled throughout is very much welcomed and elevates the already engaging character dynamics.
It's great how different each of the fake Supermen are, in not only their appearance and personality, but also their motives. While Superboy is all about the limelight and Steel is more of a low-key hero, Eradicator and Cyborg Superman's mysterious presence provide the narrative's main source of intrigue. Each of them has their own storyline, but Steel and Eradicator sadly don't get quite as much attention and development as the others. Nevertheless, the imposter that ends up being the main antagonist is actually really well set-up, with a vendetta against Superman that is personal and emotional. Even if the resolution to his climatic battle with Superman is a bit underwhelming, the actual fight itself is impactful.
To my great delight, Lois Lane is the real stand-out of this movie. She not only drives the plot with her investigation and personal involvement, but her bravery, intelligence, and wit exemplify why she's one of the DC's best characters. Lois' forced partnership with Lex Luthor was unexpectedly amusing, while her brief scene with Wonder Woman makes me really want future interactions between them. Every character interaction with Lois is enjoyable to watch.
Of course, this is still a Superman film, and thankfully he does get his due. Without spoiling anything for those unfamiliar with the storyline, the death and resurrection of the Man of Steel is handled nicely, even with the minor changes from the comics. You really feel his absence in the first half of the film, from being mourned by his loved ones, to the very characteristically different Supermen that emerge. And when he does return, you are quickly reminded why he is so loved, in both his abilities and character. The reunion between Lois and Clark is deservedly satisfying, as their relationship has been a strong part of both films. However, there was a missed opportunity in downplaying his return for everyone else. Despite showing the Kents, Bibbo, Jimmy and the Justice League mourn his death, we regrettably don't get much of their reaction to his return.
The other characters do get their moments though. All the voice actors are great in their respective roles; Rainn Wilson's voicing of Lex Luthor is much better this time around. Typical to the character, Lex is all about gaining the public's adoration, and while there are many instances of his selfish ruthlessness, he actually helps out our heroes too…since it's in his best interest. Meanwhile the Justice League provides some fun banter and cool action scenes, but their presence is rightfully small. They don't take up too much of the story but help tie this movie in with the larger universe. The post-credit scene provides a nice tease for a potential follow-up to this story's events.
Reign of the Supermen is another great entry for the DC Animated Movie Universe that makes me crave future Superman movies in this world. Both this film and its predecessor make for a wonderful double-feature that effectively captures everything we love about Superman and the people in his life. Once again, it's the character-driven nature of the film and its well executed story that make it so watchable.
What did you think about the latest DC Animated movie? Hit the comments below and be sure to follow @siobhan_j_f.
Check out some of her other work here.


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Confronting abuses of power
September 13, 2017 @ 11:38 pm · Filed by Eric Baković under Linguistics as a discipline, Linguistics in the news, The academic scene
[This post was written with input from Emily M. Bender, Claire Bowern, Andrew Garrett, Monica Macaulay, David Pesetsky, Leslie Saxon, Karen Shelby, Kristen Syrett, and Natasha Warner.]
Many linguists, and probably also many regular Language Log readers, will have by now heard about the Equal Employment Opportunity Commission complaint recently filed by a set of faculty members currently or formerly associated with the University of Rochester's Department of Brain and Cognitive Sciences. The complaint alleges a long-term pattern of sexual harassment and other abuses of power by another member of the BCS faculty, the mishandling of investigations into this pattern of abuse by the BCS and UR administrations, and evidence of retaliation against the complainants. Some key links, for those who haven't yet seen them:
EEOC complaint (9/1/2017)
"She Was a Rising Star at a Major University. Then a Lecherous Professor Made Her Life Hell." (Mother Jones, 9/8/2017)
University statement on EEOC matter (9/9/2017)
To the University Community regarding recent EEOC filing (email from UR President Joel Seligman)
Statement by University of Rochester EEOC complainants (9/10/2017, in response to President Seligman's email)
"U. of Rochester Professor Accused of Harassment Apologizes for 'Emotional Turmoil'" (Chronicle of Higher Education, 9/12/2017; updated 9/13/2017)
[Update, 9/18/2017: here are some more reports.
"Tensions Grow at Rochester on Harassment Allegations" (Inside Higher Ed, 9/13/2017)
"11 Women Accuse University Of Rochester Professor Of Sexual Harassment" (Huffington Post, 9/13/2017)
"Scientists' sexual-harassment case sparks protests at University of Rochester" (Nature, 9/14/2017)
"'An Example of the System Gone Awry'" (Slate, 9/14/2017)
"UR student criticism of handling sexual harassment allegations mounts" (Democrat & Chronicle, 9/14/2017)
"Sexual Harassment Charges Roil Elite University Department" (The New York Times, 9/15/2017)
… plus lots of reporting from the University of Rochester Campus Times, just two links to which Mark Liberman provided in a comment below. (end update)]
While we process the horror and come to terms with the publicity of this particular case, linguists everywhere are also mobilizing both to discuss and to do more to address the widespread problem of academic abuses of power, and sexual harassment in particular. We do not pretend to think that academia is somehow unique in any particular regard, but a key point that is emerging in these discussions is the recognition that its promotion procedures and incentives, its models of supervisory relationships, and its institutional structures may unfortunately serve to play mutually-reinforcing roles in attracting, fostering, and protecting abusers of power. We need to recognize that the whole field suffers when such abuse goes unchecked. Actions taken by those who would protect abusers distort the learning and research environment for victims, their allies, and our entire community.
Among the very first and most productive public discussions was this one initiated by Lauren Hall-Lew on her blog (9/9/2017). We know many department chairs have already addressed all members of their departments to express their strong commitment to working against sexual harassment and other abuses of power, and we think that this is an important discussion to begin in every department. A group of Linguistic Society of America members has been brought together by Claire Bowern to help draft an open letter to the LSA calling for attention and action from the Society, given the failures of our institutions (9/12/2017, with over 700 signatures as of this writing). The LSA, in turn, has responded to calls from both the Committee on the Status of Women in Linguistics and the Executive Committee and has announced a special workshop on "Sexism, Harassment, and Title IX Rights" for the 2018 Annual Meeting in Salt Lake City in January (9/12/2017).
[Update, 9/22/2017: The LSA Executive Committee has now officially responded to the open letter, now signed by over 1000 members of the LSA and broader linguistics community.]
And, of course, there are countless other discussions, some private, some more open, happening everywhere. Personal stories are being shared, from heartbreaking to horrific, and expressions of support for victims of abuse are everywhere. There is now a grassroots movement to foster an environment where linguists can have open discussions of this sort, sharing anonymously (or not) these kinds of stories so that the message gets out to our colleagues and junior members of the field that the problem affects more than just young women, and that there are options for responding.
All of this in just a few days. Linguists are good people. We can and will do better.
Joe Pater said,
Thanks Eric for putting this together. Here's our faculty's letter to the department – perhaps it will be useful to others.
Dear members of our Departmental community,
I am writing on behalf of the entire faculty of our Department in response to the formal complaint filed by on September 1, 2017 by Richard Aslin and Elissa Newport with the Equal Employment Opportunity Commission against the University of Rochester "for failing to act appropriately against a faculty member who has engaged in sexual harassment and has created a hostile environment for graduate students, and for retaliating against those of us who filed and pursued a complaint through university procedures", and reported on by Mother Jones in an article of September 8th.
The behavior described in the complaint document clearly contravenes our own University's sexual harassment policy:
http://www.umass.edu/eod/SexualHarassmentPolicy.pdf
It also runs completely counter to our Department's commitment to providing a safe, inclusive environment for all of its members. We especially wish to affirm that commitment in light of the complaint's description of the completely inadequate response by the UR Brain and Cognitive Sciences Department to concerns brought forth by students and faculty, which appears to have violated that University's own policy.
We will not tolerate harassment of any kind in our Department. Any member of our Department with concerns can discuss them, in complete confidence if desired, with any member of the faculty, including but not limited to the Department Chair (presently Joe Pater), the Graduate Program Director (Lyn Frazier) and the Undergraduate Advisors (Rajesh Bhatt, Ellen Woolford or Kristine Yu). We will do whatever we can to address those concerns, and will act in accordance with our University policy. We also welcome any suggestions for other ways we can work to ensure the safety of the members of our community, and equal access to educational opportunities for all of our students.
Procedures, and resources outside of the department for addressing sexual harassment and sexual violence are comprehensively listed in the following document:
https://www.umass.edu/umpd/sites/default/files/TitleIXComprehensiveResources7-7-15.pdf
Joe Pater
Professor and departmental chair
(On behalf of the entire faculty)
Mark Liberman said,
Two relevant articles in the University of Rochester's Campus Times:
"Jaeger to cease teaching undergraduate class", 9/12/2017
"Seligman faces hundreds as campus outrage peaks", 9/13/2017
Video of President Seligman's town hall meeting can be found here.
I need to clarify part of my above letter. Confidentiality cannot be guaranteed for reports of sexual harassment, at UMass Amherst, and at many other places (Sharon Inkelas has mentioned Berkeley as an example). Faculty are required to report incidents to the relevant office, as you can see in the linked document. In the latter half of the document, campus resources that can provide confidentiality are listed.
Livia Polanyi said,
Odd, that neither of these missives name "the faculty member" and nowhere is there a suggestion that (1) he be fired (2) no linguistics department should hire him (3) colleagues should not publish with him, invite him to edit journals, organize or agree to serve on panels,of any kind should he be a member. No, it's all sort of kicked upstairs as if the problem resided only with the "handling" of the matter and not with the revolting behavior of our linguistics colleague (whom I will not name either, since that see,s to be the way these things ar handled by us Language Folks.)
Stephen Senturia said,
I spent 36 years on the MIT Faculty (Electrical Engineering), including a six-year stint as the Housemaster (now called Faculty Resident) of MIT's only women's dormitory, and a 25-year-plus membership in my department's Personnel Committee, a fifteen person committee of senior faculty which acted on behalf of my very large department to advise the chairman on issues of promotion and tenure. Needless to say, gender issues came up often and, of course, were cloaked in confidentiality. That was one reason I chose to write a novel, One Man's Purpose, set in a MIT-look-alike and focused on the inside story of what cab really go on in the mentoring of a female junior faculty member and the associated tenure deliberation process. By making a fictional account based on real experience, I have tried to take the cover off an otherwise secret process. A colleague at Berkeley said he was recommending the book to all his junior faculty colleagues and their spouses. The gender issue, and the effect of the tensions inherent in the promotion and tenure process on both the candidate and his or her family are too important to leave shrouded in confidentiality, but only a fictional account based on reality has the opportunity to unshroud.
Jichang Lulu said,
@Livia Polanyi
It's true that the 'missives' don't name T. Florian Jaeger, but the press articles linked in the post and Mark Liberman's comment do. So I don't think Baković or Liberman is avoiding naming Jaeger. Following those links, or quick googling, will direct you to Jaeger's name, which is Jaeger.
As is patently googlable, this is T. Florian Jaeger's Rochester homepage, which links to his list of publications and his academia.edu page, if that's what you were looking for.
Andrew Usher said,
Another non-liguistic post: so here we go –
First, as to the point that he is not here named, his name is in the links provided, is publicly known and accessible to anyone interested. Naming him here would only give him more publicity, which could be considered a bad thing no matter how strenuously you condemn him.
I suppose it's necessary to point out first, to anyone not acquainted with details, that the alleged behavior here, as is many similar cases, did not include forcing anyone into sexual activity, and that all the claimed victims are old enough that one would expect them to be able to say no or otherwise object, if nothing else stood in the way of them doing so. This is not to justify the alleged behavior, which is in itself indefensible.
The first claim of interest is that this is a specific problem of academia, and is due to its specific power dynamics. While it is true that ordinary private companies seem to have largely eliminated this, and academia may seem 'behind the times', there are two big reasons for the difference, both of which seem to any decent person favorable to the schools: first, they have not been so completely overtaken by impersonal bureaucracy and legal nonsense as private corporations of any size; and secondly that they are less willing or able to exclude 'weird' people – and those that would commit this type of behavior certainly qualify as 'weird' (not conforming to expected social norms). As to the power dynamics, I think there's not a significant difference. Power is omnipresent and works much the same way everywhere due to human nature; if you think that a boss at a normal company can't exert as much social power as a PR in academia, I would say you're not acquainted enough with the former; and while it may be true in theory that in private industry it's easier to quit from one boss to seek another job, in practice it's really hard, and often feels traumatic, for most people to do so. In both cases the only way usually to complain against a supervisor (or even, often, a co-worker) and be listened to or not fear retaliation is to claim sexual harassment, racial discrimination, or something else about which there are specific laws; no doubt this sometimes (unfortunately) leads people to invent such claims without basis, to avoid dismissal without recourse.
The truth is, the amount of bullshit that a man must deal with in private employment is often high, and he has no assurance it will be better at a different job – as it is not possible (even more than in the university) to know the character of a company's environment and one's immediate boss before accepting a job. I have investigated the matter of 'workplace bullying' and it is easy for me to see how the power environment of the workplace allows it (though I will never understand why some people are bullies) – because there is no genuine way to complain about such behavior, and be judged fairly, and because of the implicit coercion in that people want to remain and don't feel they can just quit (as above). This is also why bullying is present on some Internet forums (and I've been bullied off several), the coercion here being that users feel that it's the only place online to discuss the pertinent subject, and even if not they may not be able to trace the same people to other forums (this is made worse by the inexcusable practice of hiding members' e-mail; it is as a protest against that that I write mine wherever allowed); so bullying can develop. The originator of a forum seldom if ever is (as his forum will not get off the ground if he shows such behavior), it is rather some other bullying person that over a long period ingratiates himself, so that the owner is unwilling to see his faults – much the same as in this case, and in many cases of bullying.
Given this analysis, it is not possible for me to see what is called sexual harassment as uniquely bad, unless it includes actual coercion into sexual behavior (rare nowadays) to which men are never or almost never subjected. The reluctance of the university to act against what could at least appear as a minor foible is thus understandable.
The second point of interest is why anyone would engage in this behavior. Assuming that the person is aware of its being abnormal and not socially acceptable (which is a safe assumption for this case), there seem but two rational explanations. One is that it is simply a kind of fetish; God knows men have all sorts of weird fetishes including 'talking dirty' to people they have no chance of actually getting sex with. This could be considered a close relative of that. The other (which many assume _without_ reasoning about it) is that it's a reaction toward being required to work with females, which such a man would prefer not to. That of course is not rare in itself; I am quite sure that most men at least subconsciously would prefer to work in an all-male environment (this is almost instinctive, and related preferences in women also exist) and feel more stress when they can't. A way to deal with this is to constantly differentiate oneself from these females (with or without ground) and this behavior is certainly a way of doing so, though not one I could approve of.
It is natural, finally, and not a sign of pathology but of strength, to be extremely unwilling to inflict upon a colleague the ultimate penalty, which seems the only possibility in the circumstances. In a more sane world he would be allowed to continue his academically valuable work but simply not to have any female students/assistants. Both sides could agree on that, were it not that it violates the feminist standard of gender 'equality', which would recognise the most minor indignity inflicted upon women while deliberately ignoring any inflicted upon men.
k_over_hbarc at yahoo.com
Delaney said,
Another voice of agreement with Livia here (and, thus, disagreement with basically everything Andrew said). Excluding women from an influential professor's mentorship is part of the problem here. Limiting the options available to a large sector of your students means those students don't get the advancement opportunities or valuable relationships in the field. Women are and will continue to be part of the student body and they deserve the respect and boundaries afforded to male students. Men in academia don't get to choose not to work with women.
By disagreeing with everything I said, I can assume that you think:
– There's no such thing as 'workplace bullying', or if there is men aren't harmed by it, because they should be able to deal with anything (how I don't know)
– Abuse of power is only a problem when women are the victims
– One of the most important functions of academia to to make women feel equal
which ought to speak for itself. By the way, while it is argued that academic research is harmed by discouraging any women, as they might contribute – I must point out that the amount of research that gets done is limited by funding (and bureaucracy), not the availability of people. There are countless people (mostly men), that would love to do academic research and would be able to contribute, but have no chance.
And in any case, the woman at the center of this case did immediately find an influential mentor in Richard Aslin. Is that not enough, and she must be able to have any man on the campus?
Termy said,
"The first claim of interest is that this is a specific problem of academia, and is due to its specific power dynamics."
Who makes this claim? The post above certainly doesn't: "We do not pretend to think that academia is somehow unique in any particular regard…" As far as I can tell, you are the only person making this claim.
"I am quite sure that most men at least subconsciously would prefer to work in an all-male environment…"
I am quite sure this is your own projection. I absolutely would not want to work (or study) in an all-male environment, or an all-female environment, nor have I ever got this impression from any of my male academic mentors (in fact, I have always received the opposite impression).
As for the rest of your post, I have no idea what you are going on about. Are you suggesting that this is really about a man being bullied, or evidence that feminism is opposed to men's rights, or that it is natural for men to be bullies because of the corporate environment, or what? I am genuinely asking because I've read your post multiple times and I am really at a loss.
mt said,
I read Andrew's claim as saying that sexual harassment is not meaningfully different from other types of workplace bullying. But of course sexual harassment is discrimination (on the basis of sex, if that needs to be made clear), and this is not the case for every type of bullying behavior.
Given that sexual harassment is basically discriminatory behavior, we should pay special attention to fighting it. Allowing it to occur systematically excludes a class of people (viz. women) from fully participating in work and society, above and beyond the damage to an individual that all bullying produces.
I suggest that anyone who doesn't believe or understand this familiarize themselves with the history of sexual discrimination as a legal concept in the US: https://law.yale.edu/system/files/documents/pdf/Faculty/Siegel_IntroductionAShortHistoryOfSexualHarrasmentLaw.pdf
I would also suggest that men holding opinions like "sexual harassment is not particularly bad if it doesn't rise to the level of rape"—even men who are not sexual harassers themselves—are functionally complicit in sex discrimination. We see this very clearly in the allegations submitted to the EEOC; there, multiple people implicitly or explicitly approved of the harassing behavior (some of them peers of the harassed, and some of them in positions of institutional power) and, as a whole, gave rise to an environment that is discriminatory to women.
I am sorry, but I had to omit a lot of pertinent argument even to make that post the length it was. The part you say you are confused about was intended to assert that workplace bullying as a whole is a much larger problem than sexual harassment – indeed, it could likely be said to be the biggest preventable cause of psychological trauma in the developed world today – and yet is ignored, because it mainly affects men. I added the part about Internet forums because I thought still more people would be familiar with that (essentially) identical phenomenon, and if someone with the power only to remove you from a forum can mess with you that much, how much more so can one with the power to remove you from your job, with (and this is key) practically just as little recourse?
Think for yourself, man, or just trust me. That you wouldn't want to work in an all-male environment is just what I'd expect someone to _say_ today, but that's OK, as I know better; millennia are on my side.
You have made a number of claims then that you haven't backed up.
1) Workplace bullying is ignored.
2) Workplace bullying disproportionately affects men.
3) The majority of men would prefer working in an all-male environment.
The first two are questionable – I receive regular emails and training from both the institution I study and both of my workplaces on bullying and other forms of harassment, and the issue frequently appears in the media, so I'm not certain that (1) is universally true by any means (although I don't doubt there are places where bullying is underreported and tolerated). And I certainly can't see why women would be any less susceptible to workplace bullying than men, nor has it been my experience that they are. The few workplace bullies I have known were equal-opportunity bullies – they flexed their power on men and women alike.
But your insistence on point 3 still seems to me to be nothing but a projection of your own particular perspective. Where is your evidence that this is the mindset of "most men"? Or, for that matter, most women?
"Think for yourself, man, or just trust me." Is this a response to me saying that I prefer working in a mixed environment? Are you suggesting that I am NOT thinking for myself by expressing what I think? Or that I should trust YOU on how I feel about this issue?
Actually I'm not sure why I'm even responding. mt's comment strikes true: "I would also suggest that men holding opinions like "sexual harassment is not particularly bad if it doesn't rise to the level of rape"—even men who are not sexual harassers themselves—are functionally complicit in sex discrimination."
I don't really believe your comments are relevant to the original post, and I certainly shouldn't be helping you hijack it to push forward what increasingly seems to be your own agenda.
Lance said,
all the claimed victims are old enough that one would expect them to be able to say no or otherwise object, if nothing else stood in the way of them doing so
It was at this point that I stopped reading the very very concerned trolling. If Andrew thinks that "nothing else stood in the way of" women speaking up against an influential department member with a degree of power over their careers, then he either didn't bother reading the complaints, or else fundamentally misunderstands the entire concept of power dynamics.
Honestly, at this point I'm mostly wondering why his comments are being allowed through as if they're intelligent and relevant discourse.
If that was why you stopped reading, you have a shaky grasp of English grammar – the passage you just quoted says the opposite of what you make out. The clause 'IF nothing else stood in the way …' does not mean that nothing did, and in fact generally implies that something did, as was my intent. The only reason I added that sentence was to defend against any comparison to Sandusky at Penn State, which I feared someone might make.
A blatant misrepresentation like that requires an immediate response, as while there is no problem with people opposing me for what I do believe, doing so because of clearly false statements about what I believe is not acceptable.
To address a couple other matters:
I know that this post doesn't make the claim of the problem being particular to academia. But the news article linked to does, and as it's pretty certain more people learned about it from that or a similar source than from this place, I was responding to that.
Also I am not trying to hijack this thread to one on workplace bullying, so I don't mean to say much more about it, but the reason I said it mostly affects men is not that few women are bullied but that (among other things) as I implied, women do have the ability to claim sexual harassment or discrimination, or threaten to, while men practically do not.
mt was correct in summarising me as saying 'sexual harassment is not meaningfully different from other types of workplace bullying' and while his analysis is reasonable, I can not agree that an action is morally worse if it has a discriminatory effect. If I lose opportunities I think I should have, it doesn't matter to first order whether the cause was discrimination against a group of which I am a part, or against me specifically.
Margaret Wilson said,
Thank you for this post. It's tremendously heartening to hear that linguists, as a group, are actively and vocally confronting this issue. I'm wondering whether we will see as much collective action from departments and societies that brand themselves as Cognitive Neuroscience.
Biku said,
To a victim it might not matter whether they lost opportunities because of discrimination against them specifically, or against them as part of some group. But as a society we have a choice: protect a large group that is vulnerable to specific forms of discrimination or not? (While we can't predict and prevent cases of individual harassment.) One result of this protection is a possibility that some women may abuse it or interpret "sexual harassment" in a broader sense than it was intended (Note, I'm not suggesting this was the case in this particular story). Another side effect is that some men would feel this gives women a kind of advantage that they do not have. The question is: is this a tolerable price to pay for protection of a vulnerable part of society? Or is there another, perhaps a better, alternative? Do you suggest that sexual harassment and bullying should be dealt with legally in the same manner and that this would be effective? (I seriously don't know the answer to this question or how to even begin answering it).
Eric Baković said,
Here is a video of Jessica Cantlon calling out UR President Joel Seligman for bringing up the discredited Rolling Stone story in the context of this case.
If that was why you stopped reading, you have a shaky grasp of English grammar – the passage you just quoted says the opposite of what you make out
Yeah, I'd like to correct my earlier post. When I said "concern troll" I meant "sea lion".
In reply to Livia Polanyi, I should perhaps clarify that the purpose of the UMass faculty letter was to assure our community that we would not tolerate harassment, to state our commitment to inclusiveness, and to provide pointers to resources. The focus on the department and administration was because we wanted to state that we would do whatever we could not to repeat UR's failings, not because we didn't think Jaeger was to blame.
Biku:
Those are very good questions. They're interesting practically and not just philosophically. But before we can even really start to ask them, we have to get past certain dogmatic assertions that we're not supposed to question. As to the last question, I think my ultimate answer would be yes, but even more desirable would be to change power structures so that serious abuses can't occur, which I am convinced is possible in most cases.
As one final point, I'd like to return to my assertion that men would prefer all-male environments. It was perhaps a mistake for me to talk to one particular man here, as that often just causes anger (from cognitive dissonance if nothing else); but the general truth (of which I have no doubt) is best illustrated by specific cases. All recorded history establishes that men do try to exclude women (at least, women that they don't have or desire a relationship with) and even if we concede that that is unjust the truth it shows about human nature is not less solid. It's not going to have changed in a generation, no matter what is publicly said about it; and I refuse to believe that the men that still in some way express such a preference are the pathological ones.
Neal Goldfarb said,
I'm confused. Is this Language Log or He-Man Woman Haters Club Log?
I want my money back.
@Neal, if it helps, Googling Mr. Usher's email address turns up the Men's Wiki that he's the administrator of as its first hit. Proceed with caution, because the essays there are full of the same…well, to paraphrase Grice, "Mr. Usher produced a series of words that correspond closely with a rational argument."
It is unfortunate that I must reply to this person again. Any benefit of the doubt I provided him the first time is definitely gone; he is here only to harass me, and his posting that link is only to further such harassment. I would not in the least trust such a person to identify a 'rational argument', as none but he has obviously violated its bounds.
I should probably not be feeding the trolls, but I can't resist this. So, Andrew, a regular visitor of this blog is here only to harass someone who just sauntered in out of nowhere? This is very revealing of the meaning you give "harassment" in general.
I have been here, at least as a reader, for quite a long time, and have made many comments mostly related to English phonology. So I did not (any more than he) 'just saunter in out of nowhere' – and, by the way, that's a funny phrase when you say it out loud, isn't it? I don't recall seeing him before, but I was certainly aware of the probability, and that's why I used the deliberately ambiguous 'here' (on this blog _or_ on this thread), and avoided the word 'troll' which is rather a 'fighting word' on the Internet to be used with much discretion.
As for Lance, I replied to him only as his posts on this thread merited. I think you can take it easy, though.
I've just updated this post with some links to further reporting on the Rochester case, and I'm now shutting down the comments. I agree with most contributors to this thread that Andrew Usher's comments have taken this conversation in a direction that is the precise opposite of what was intended with the post in the first place. He's free to do that, of course, but I don't want to continue to host that very different conversation here.


text:
PMAC Energy secures land at RBT for waste to energy plant development
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Published by Stephanie Roker, Editor
Dry Bulk, Tuesday, 24 July 2018 09:17
Plans have been unveiled for a £250 million waste to energy plant at Redcar Bulk Terminal (RBT) to help power the economic regeneration of South Tees.
Yorkshire-based (UK) waste management company PMAC Energy has secured 25 acres of the terminal's land for the development, which could create up to 400 local jobs at the heart of the South Tees Development Corporation site.
Subject to permitting and planning approvals, the plant could be producing waste derived fuels in 2021 and generating enough electricity to power 56 000 homes.
This announcement comes two weeks after RBT signed a major land and handling agreement with Sirius Minerals Plc that will see up to 10 million t of Polyhalite – a type of potash and multi-nutrient fertilizer – pass through the facility each year.
Garry O'Malley, RBT's General Manager, said: "Today's announcement is hugely significant, not only for our businesses but for the whole South Tees region. We've worked closely with PMAC Energy on this project for a number of years and it's another reflection of the continued resurgence of Redcar Bulk Terminal and this site.
"Like many others on Teesside, we were dealt a hammer blow when SSI closed – so much so you could say RBT's mere survival is a success in itself. We're grateful for the strong support we received during these difficult times, in particular from Greybull who provided us the capital and energy required to turn the corner. The fact we're seeing significant growth, diversifying our business and attracting new companies to the Tees is an incredible achievement.
"Projects like this – which could bring hundreds of millions of pounds and many valuable jobs to Teesside – are heralding the start of a new era for RBT and our employees.
"We've a healthy business pipeline and the continued investment in our operations from British Steel and Greybull means we can continue to grow with confidence and pace. These are exciting times and we look forward to working with PMAC Energy to deliver renewable energy to power the future economic success of this site and this region."
RBT's road, rail and port facilities offer access to both the UK and European waste markets. Up to 500 000 tt of refuse derived fuels would pass through the plant each year with 150 000 t of this exported to cement and energy plants across the world.
The plant would create up to 400 local jobs in the next three and a half years. These opportunities could start in 12 months' time with the construction of the plant and would continue – following a two and a half year build – with the availability of up to 100 full time operational jobs.
Unlike many other energy projects across the UK, the PMAC Energy plant would be completely free from Government subsidies and financial support with all income generated purely from waste gate fees and the sale of electricity. Following commissioning the plant would operate as a 100% commercial entity.
Rob Lewis, PMAC Energy Managing Director, said: "This is an incredible opportunity to deliver a major economic boost to the South Tees area and capitalise on the great strengths and capabilities of Redcar Bulk Terminal.
"RBT's superb port facilities and road and rail links make this the perfect location for this plant. Not only does it give us the logistical advantages of being on the River Tees, the area also provides us with the workforce we'd need to manage the volume of waste coming into the plant and the quantity of fuel being created."
Working in partnership with RBT – on a 25 year lease – the PMAC Energy facility would recover and treat municipal and commercial waste to create fuel for the renewable energy sector, capable of providing both heat and power. Generated fuels would not only power the onsite waste to energy plant but also be available and sold into the export market."
Redcar MP Anna Turley said: "This is another big investment project in our area which builds on our existing strengths in energy generation and waste management, and crucially creates new skilled jobs for people in our area.
"I was pleased to visit RBT recently to see how the business is growing year on year and this latest project is another boost for their growth ambitions. I look forward to working with RBT and PMAC as this project develops, especially to ensure local people can benefit from as many of the new jobs as possible."
Read the article online at: https://www.drybulkmagazine.com/ports-terminals/24072018/pmac-energy-secures-land-at-rbt-for-waste-to-energy-plant-development/
UK Shipping Minister highlights importance of ports and shipping during decarbonisation conference
Friday 17 January 2020 12:47
Nus Ghani talked of the importance of the industry in achieving net-zero emissions by 2050.
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The High Plains Food Cooperative delivers fresh, local food direct from our family farmers to Castle Pines, Colorado the third Thursday of every month with the gracious help of our team of volunteers and cooperative buying members. We invite residents from neighboring communities like Castle Rock to use our Castle Pines pickup location.
We offer more than 700 items from more than 50 local farmers across the High Plains in our online market including free-range and pastured eggs, finest quality local meats and natural and organically-grown vegetables. We even have hard-to-find cuts, stewing and organ meats.
Browse what's for sale right now. Like what you see? Become a buying member for only $40/year. Learn more about joining the co-op.


Like Marty McFly's banana-powered DeLorean, a future generation of flying cars could upend the idea that all flying is bad for the climate.
Firms such as the Rolls Royce, Lilium and Vertical Aerospace have argued that flying cars could be a green mode of transport, despite the large amounts of energy they need to get off the ground.
One of the first studies into the environmental impact of such vertical take-off and landing (VTOL) vehicles suggests that their backers could be right – at least in some circumstances.
Gregory Keoleian at the University of Michigan and his colleagues found that VTOLs, if they ever take to the skies, would produce 6 per cent less emissions than an electric car over a 100-kilometre journey.
"The VTOL is particularly energy intensive during take-off and descent. The cruise phase of the flight, however, is much more efficient, and over long distances, makes fully loaded VTOLs competitive with ground-based vehicles," says Keoleian.
Flying cars would also have the advantage of being able to fly in a straight line, bypassing meandering routes.
Don't jump into a VTOL just yet though. The difference was only very small and there are several big catches. Number one being that flying cars don't really exist yet – they are only at the prototype stage.
The prototypes rely on electric propulsion and can land vertically like a helicopter to act as an aerial taxi, but another issue is that the study is a bit of an apples-for-oranges comparison.
It assumed an average of 1.54 people per electric car, compared with three passengers and a driver for the flying car, working on the assumption that the latter would be a shared taxi service like UberPool – something that electric cars could also offer.
Moreover, aerial journeys shorter than 35 kilometres would produce more emissions than electric cars, because of the energy required at take-off.
Keoleian and his team conclude that flying cars could have a niche role in sustainable transport. But even if they do prove to be green, they have a lot of other hurdles to cross first.


text:
namespace tigl
{
class CTiglUIDManager;

namespace generated
{
    class CPACSWindows;

    // This class is used in:
    // CPACSWindows

    /// @brief cutOutType
    ///
    /// CutOut type, containing cut-outs
    ///
    class CPACSCutOut : public CTiglReqUIDObject, public ITiglUIDRefObject
    {
    public:
        TIGL_EXPORT CPACSCutOut(CPACSWindows* parent, CTiglUIDManager* uidMgr);

        TIGL_EXPORT virtual ~CPACSCutOut();

        TIGL_EXPORT CPACSWindows* GetParent();

        TIGL_EXPORT const CPACSWindows* GetParent() const;

        TIGL_EXPORT virtual CTiglUIDObject* GetNextUIDParent();
        TIGL_EXPORT virtual const CTiglUIDObject* GetNextUIDParent() const;

        TIGL_EXPORT CTiglUIDManager& GetUIDManager();
        TIGL_EXPORT const CTiglUIDManager& GetUIDManager() const;

        TIGL_EXPORT virtual void ReadCPACS(const TixiDocumentHandle& tixiHandle, const std::string& xpath);
        TIGL_EXPORT virtual void WriteCPACS(const TixiDocumentHandle& tixiHandle, const std::string& xpath) const;

        TIGL_EXPORT virtual const std::string& GetUID() const;
        TIGL_EXPORT virtual void SetUID(const std::string& value);

        TIGL_EXPORT virtual const boost::optional<std::string>& GetName() const;
        TIGL_EXPORT virtual void SetName(const boost::optional<std::string>& value);

        TIGL_EXPORT virtual const boost::optional<std::string>& GetDescription() const;
        TIGL_EXPORT virtual void SetDescription(const boost::optional<std::string>& value);

        TIGL_EXPORT virtual const double& GetWidth() const;
        TIGL_EXPORT virtual void SetWidth(const double& value);

        TIGL_EXPORT virtual const double& GetHeight() const;
        TIGL_EXPORT virtual void SetHeight(const double& value);

        TIGL_EXPORT virtual const double& GetFilletRadius() const;
        TIGL_EXPORT virtual void SetFilletRadius(const double& value);

        TIGL_EXPORT virtual const boost::optional<std::string>& GetReinforcementElementUID() const;
        TIGL_EXPORT virtual void SetReinforcementElementUID(const boost::optional<std::string>& value);

    protected:
        CPACSWindows* m_parent;

        CTiglUIDManager* m_uidMgr;

        std::string                  m_uID;

        /// Name of the cut out element
        boost::optional<std::string> m_name;

        /// Description of the cut out element
        boost::optional<std::string> m_description;

        /// Width of the cut element (absolute value)
        double                       m_width;

        /// Height of the cut element (absolute value)
        double                       m_height;

        /// Fillet radius of the cut element (absolute
        /// value)
        double                       m_filletRadius;

        /// UID of a structural element that reinforces
        /// the cut out
        boost::optional<std::string> m_reinforcementElementUID;

    private:
        TIGL_EXPORT const CTiglUIDObject* GetNextUIDObject() const final;
        TIGL_EXPORT void NotifyUIDChange(const std::string& oldUid, const std::string& newUid) final;

        CPACSCutOut(const CPACSCutOut&) = delete;
        CPACSCutOut& operator=(const CPACSCutOut&) = delete;

        CPACSCutOut(CPACSCutOut&&) = delete;
        CPACSCutOut& operator=(CPACSCutOut&&) = delete;
    };
} // namespace generated

// Aliases in tigl namespace
using CCPACSCutOut = generated::CPACSCutOut;
using CCPACSWindows = generated::CPACSWindows;
} // namespace tigl

redpajama_set_name: RedPajamaGithub


Delete Record - Simple ?
I need help deleting a record in FM4. I have found the recoded but when I go to delete it nothing happens, no prompt or anything. Why is this happening? I have never had this problem before... normally it's an easy thing to do.
Take a look in the menu and see if delete record is grayed out (I'm guessing you are using a key command to delete). If the option is gray, you have not opened the file with a password level that allows deletion. It can be a LOT of other things, but without more background, this is the place to start.


I want to make My mom's pineapple upside down cake in a 13x9 pan rather than the suggested 9 inch skillet. How should I change the recipe? Should I make 1.5 recipes? Or 2?
Agree with Smaug...the rectangle pan holds 15c volune, while a 9" baking pan or skillet holds about 6c.
The more relevant measurement is surface area, a proportion of about 117/63- though the sloped sides of the pie plate throw that off a little.


HAYWARD, CA SEPTEMBER 13, 2007: Delphon Industries, based in Hayward, CA named Keith Taft as General Manager of its UltraTape division. UltraTape Industries, of Salem, Oregon, is a manufacturer of adhesive tapes used in cleanroom environments. Delphon acquired UltraTape Industries on June 20, 2007 to support its mission to merge innovative technologies in order to provide unique materials and services to high technology markets. "Keith is a strong addition to our team", says Jeanne Beacham, President of Delphon Industries. "His wealth of experience in this industry, especially in the areas of engineering and marketing will be a great asset to UltraTape." Mr. Taft has more than twenty-five years of experience in engineering, marketing, sales, R&D, and operations.
Previously he held the positions of Chief Operating Officer at Advanced Material Sciences of Folsom, CA and Vice President at Electro Scientific Industries in Portland, OR. He has also held executive positions with Kyocera America in San Diego, CA. Mr. Taft holds a degree in Ceramic Engineering from the University of Washington and has additional training in strategic selling and marketing. UltraTape, founded in 1992 and purchased by Delphon in 2007, manufactures custom cleanroom construction and semiconductor process tapes in addition to antistatic and medical/pharmaceutical tapes for use in critical environments.
Delphon was started in 2004 in order to provide a platform for merging innovative technologies. The company specializes in bringing together unique high technology products and services in order to meet the specific needs of its customers. Under its corporate umbrella, the company operates Gel-Pak of Hayward, CA, Quik-Pak of San Diego, CA and TouchMark of Hayward, CA.
Jeanne Beacham, Presiden: 510-576-2220 jeanne@delphon.com.