Carolyn Snell is an accomplished music industry veteran with over 20 years of combined touring, live event and management experience. A graduate of Emerson College, Carolyn has worked with artists including Kenny Chesney, John Mayer, Brandi Carlile, Backstreet Boys and Indigo Girls. She spent the most recent decade of her career as Reba McEntire's Tour Manager / Associate Manager. Currently, she is Manager for rising pop group, The Shadowboxers, who recently opened for Justin Timberlake on his Man of the Woods World Tour. Carolyn has served on the Board Of Directors for Thistle Farms in Nashville, TN and can usually be found plotting her next adventure with a cup of coffee and her laptop at the Café at Thistle Farms. She is also a published photographer and writer.


Grace Kelly in "To Catch a Thief". Grace Kelly as Frances Stevens in "To Catch a Thief" a 1955 film.. HD Wallpaper and background images in the Grace Kelly club tagged: grace kelly frances stevens to catch a thief screencaps 1955 film movie screen capture.
This Grace Kelly Screencap might contain segno, manifesto, testo, lavagna, poster, ritratto, headshot, primo piano, and closeup.


In A Step Towards Falling, Cammie McGovern tells a poignant, compelling story of not judging people on appearances and knowing how to fix the things you've broken.
Emily has always been the kind of girl who tries to do the right thing - until one night when she does the worst thing possible. She sees Belinda, a classmate with developmental disabilities, being attacked. Inexplicably, she does nothing at all.
Belinda, however, manages to save herself. When their high school finds out what happened, Emily and Lucas, a football player who was also there that night, are required to perform community service at a centre for disabled people. Soon, Lucas and Emily begin to feel like maybe they're starting to make a real difference. Like they would be able to do the right thing if they could do that night all over again. But can they do anything that will actually help the one person they hurt the most?
I have always wanted to read a book by Cammie McGovern after hearing a few good things about her writing, so when the chance came for me to read A Step Towards Falling by the lady herself, I was rather looking forward to delving in. I went into the book not knowing what to expect which was what I wanted and I was rather surprised.
Emily is a high schooler who always tries to do the right thing, that is until one night at a high school football game where she sees a girl, Belinda, a classmate with disabilities being attacked and does nothing at all to help. Because of this Emily, and Lucas a football player who also saw the attack and did nothing to stop it have to help out at a community centre for young adults with disabilities. With every class they go to they both realise that just because you have a disability doesn't mean you should be treated any differently. Both Emily and Lucas realise they need to make a change to these people and to Belinda, to make up for their past mistakes.
I'll admit I'd never read a book about people with disabilites before so I wasn't really sure what to expect. However, this book and it's story really did touch me and had me tearing up at some parts. It really does make you think about what life is like for those who are different to us and how they go about their days. I loved the switch of points of view between Emily and Belinda and I really enjoyed seeing the story through the eyes of two people who are completely different but somehow the same. The story does deal with some sensitive issues such as sexual assault, bullying, love, friendship and family. All of which are dealt with in an appropriate manner. None of them are glamorised, and it is pretty realistic as the things mentioned do happy on a daily basis in real life. There is a little bit of romance within the story, but if I'm honest I don't think it needed to be there. It was pretty obvious who was going to end up with who and I feel that it was just there to bulk the story up somehow.
Emily was a character who I found it hard to warm up to at the start. I did find her to be slightly rude even though you could tell that she didn't mean to be. However, as I got further into the story I did start to like her somewhat. I could tell that she was becoming more aware about how she had been and how she wanted to be. Belinda, oh I loved her! I found her character to be really interesting and at times really sweet. Her love for her mum and nan was adorable and her obsession with Pride and Prejudice should've been weird, but I found it to be her escapism. She is such a strong, brave character who is proof that you shouldn't let anything get you down. As the story isn't written from Lucas's point of view you don't really get to learn much about him, however, he is certainly the definition of 'never judge a book by it's cover'. At the start you thought he would just be another one dimensional jock. But soon you realise that that is definitely not the case.
Overall I really enjoyed A Step Towards Falling. It was a book that really got me thinking and made me realise that everyone deserves some happiness no matter what. When I finished it I got this warm fuzzy feeling inside as it gave me hope. Hope for anyone who has ever been told they can't do something. This book is perfect for learning how to change how you see and treat the people around you.
Cammie McGovern is the author of the much-acclaimed YA novel Say What You Will., A Step Toward Falling and Just My Luck. She has also written three adult novels, The Art of Seeing, Eye Contact, and Neighborhood Watch and is one of the proud founder of Whole Children/Milestones, a resource centre for children and young adults with disabilities and their families. She lives in Amherst, MA, with her husband and three sons, the oldest of whom is autistic.


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Queensland courts confirm that late adjudication decisions are void
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New bill limits greenhouse gas emissions in another step in the decarbonisation of the Russian economy
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The applicability of the statutory definition of "day" in the SOP Act in the interpretation of construction contracts
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Reflection required following responses to public procurement Green Paper
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New approach to regulating extended producer responsibility in Russia
At the end of 2020, the Russian government's administration approved a concept for improving the notion of extended producer responsibility (the "Concept"). The...
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redpajama_set_name: RedPajamaCommonCrawl


text:
package archutil

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redpajama_set_name: RedPajamaGithub


text:
Who is Riason Naidoo?
Riason Naidoo, director of Iziko South African National Gallery, talks to Bronwyn Law-Viljoen about life before taking up his job in Cape Town, reading Fanon for the first time, Mali, art education and why parliamentarians don't visit his museum
Riason Naidoo leads a press conference in his corner office, Cape Town, April 15, 2010
BLV: I thought I
would start with a personal question, and ask you about the trajectory of your
work that has led to your being the Director of Iziko South African National
RN: Where to
start? I had in intense interest in art from a very young age and studied it
till matric at school, which was unusual, since very few Indian public schools
in the townships in the 1980s offered art at all. After school I first started
studying towards architecture but I decided to pack it in and follow my heart.
So after a gap year working in Durban and backpacking around Europe I enrolled
for a degree in Fine Art at Wits in 1992. I was curious to travel and explore
and to have a broad range of experiences in the art world.
graduating I started out working at the Durban Art Gallery in charge of art
education — giving guided tours, working with school groups, university
students, etc. I also went on a scholarship to the University of Baroda, an art
school in India in 1997. It was on my return to the gallery in 1998 that I
first met photographer Ranjith Kally, who came to the gallery to take a photo
for a local newspaper. The relevance of that meeting with Kally will emerge
the Durban Art Gallery I taught history of art, drawing and painting in the
Department of Architecture at Wits. I thoroughly enjoyed the engagement with
students, and in the process I learnt a lot myself. I left for France on a
scholarship in 2001 where I spent my time at the Museum of Contemporary Art of
Bordeaux. While in France I was contacted by the French Institute of South
Africa (IFAS) in Johannesburg to work for them.
my return to Johannesburg at IFAS one of the main projects I was to work on was
a project with Ernest Pignon-Ernest, one of the curators of the UNESCO
exhibition Art Against Apartheid. I also worked with musicians, dance and
theatre companies, filmmakers from France and the broader francophone world. This exposed me to artistic possibilities across genres and I also became
fluent in French, which prepared me for my next project working in Mali, West
Africa.
I became involved in the South Africa-Mali Project: Timbuktu Manuscripts as director from 2003-2009 and it was a very productive period for me. It involved working with
a public archive of 30, 000 Arabic manuscripts in Timbuktu, Mali dating from
the thirteenth century until the nineteenth. It consisted of a few exhibitions
of the manuscripts in South Africa, research projects into the contents of the
manuscripts, and the design and construction of a new museum to house the
manuscripts in Timbuktu. It was a very high-profile project and I was working directly with the Presidencies and with the Arts and Culture departments of
both Mali and South Africa. And it was a very successful project.
Riason Naidoo, left, with Roger van Wyk at the Dada South? press conference, Cape Town, December 12, 2009
At the same time as the Timbuktu project I was doing my MA in Fine Arts and my intention was to
go back to making art, but I got a little sidetracked. Ranjith Kally'sphotographs that he showed me back in 1998 made me think about the fact that
there is still so much work to do in this country in uncovering the suppressed
histories and in getting recognition to an older generation of artists and
photographers that have for too long been overlooked. And that became a much
bigger project than my own personal one of making art.
I thought of how I could contribute to the redress of this history from my own personal experience and skills?
So I showed Kally's photos to some galleries and in 2004. I curated Ranjith Kally's first solo exhibition at the Goodman Gallery in Johannesburg. Kally was 79 years old at the time and had been working as a professional photographer for almost 60 years. The commercial exhibition was followed by a large retrospective at the Durban Art Gallery.
It later travelled to the Bamako Photo Biennale in Mali in 2005, where he received a lifetime achievement award from an international jury − none of whom had heard of Ranjith Kally before. The show then travelled to the Centre for Contemporary Culture in Barcelona, to the Kunsthalle in Vienna, and to Espace Jeumon in the Réunion Islands. People started to acknowledge Ranjith Kally and his work after
those exhibitions — and he's now represented in the major public art
collections around the country.
Then one day, quite by accident, I came across some copies of DRUM magazine from 1955 as I was browsing through old journals in the basement of the Africana library at Wits University. As I continued to page through the yellowed pages of the magazine, edition after edition, month after month, another thread emerged: intimate stories of 'Indian' life illustrated
with exquisite photographs unlike anything I had encountered before.
The Indian In Drum Cover, edited by Riason Naidoo (Bell-Roberts, 2009) ISBN 978-0-9814200-0-4 The photos in these editions of DRUM evoked thekind of stories that I had heard so much of from my parents. Here was a legendary archive of images and texts that spoke of other 'Indian' identities which no one had cared to mention before. Inspired by the need to tell these stories as an alternative to the 'official' versions
produced by the state I set about working on the DRUM archives.
I read through all the monthly editions from the
1950s and went through approximately half a million negatives from the decade
which resulted in the exhibition and book entitled The Indian in DRUM Magazine in the 1950s. The public responded very enthusiastically when it was exhibited in Durban and Johannesburg. It will be
shown in Cape Town in 2011.
I was engaged in all of this at the same time as the Timbuktu Manuscripts project so it was an extremely busy period for me. The Timbuktu Manuscripts project was also coming
to an end after the Presidential inauguration in January 2009 and it was at
this point that I decided to interview for the job at the National Gallery. The
timing was good.
BLV: What teachers influenced you or were important to you?
RN: Well firstly, the teachers at secondary and high school were quite encouraging. There was an art teacher in Woodhurst in Chatsworth called 'Lucky' and quite a talented painter called Brijmohan at Burnwood High School in Sydenham. Most of the art
teachers came from the Teacher Training Colleges. He unfortunately passed away
quite young.
At Wits, I had the likes of Karel Nel, Clive van den Berg, Walter Oltman, Peter Schutz, Alan
Crump and Penny Siopis and for a short while Pitika Ntuli. Colin Richards
taught a course on postcolonial theory, which really got my attention. This was
back in 1995. When I first read Frantz Fanon I couldn't put it down because it related so directly to our experience and it also inspired me in my own creative
One of the most rewarding moments was in my final year assessment when all of the cleaners in the Fine Art department came up to me and congratulated me on my work — I was
really moved by that. That body of work spoke of about my own experiences of
growing up in Chatsworth, articulating a working class Indian culture,
reflecting on that experience, which no-one had really touched on before. Some
of those paintings (enamel paint on pegboard) are in the permanent collections
of the Pretoria Art Museum and the Durban Art Gallery, among others.
Later while at IFAS,
I learnt a lot working closely with Ernest Pignon-Ernest, who draws in a very
classical style – almost Renaissance – but intervenes in the public space commenting
on social issues in a very poetic way. We worked on a project entitled Soweto-Warwick on the theme of AIDS,
which took place in Warwick Junction in Durban and Kliptown in Johannesburg in
2002. I learnt a lot working closely with an artist of that calibre.
BLV: What do you think the ongoing role of national galleries is, not only in South Africa but also internationally? You have had some experience in Europe and Asia, and elsewhere in Africa — what is the status of national museums on the rest of the Continent? How is the way we think about museums here, in the rest of Africa and in Europe and North America changing? Where is the museum, and are we in
South Africa at the same place as other countries?
RN: Those are very varied and loaded questions, which I will try to respond to best I can. Firstly, the state of museums in Africa is not healthy. Bamako Photo or Rencontres des Photographes Africaine is held at the Musée Nationale du Bamako, which is a wonderfully designed
architectural space. But even during the Photo Biennale the visitors are mainly foreigners — they have a real problem making the museum local and encouraging
local audiences.
The fundamental problem, and this is also complex one, is a question of art education in schools. The question that follows in Africa is whose art are we talking about — what canon are we using? There is a difficulty here in our own country and also in Mali and other countries on the continent, of prioritising the arts. Or
at least of giving it equal status as other fields of study at a school level,
because it is at that level that we start to build an interest and build new
audiences.
I think there is a need to grow new art museum audiences through art education, at a very young
age, and to sustain that. Compare this to a country like France, for example,
where going to an art museum is as common as going to the movies.
SANG was closed for six weeks for preparation of 1910-2010: From Pierneef to Gugulective. Photo: Carina Beyer, Iziko Museums
The fundamental problem is education. To illustrate my example, let me pose the question of what percentage of our parliamentarians visit the National Gallery? We know the answer to that. The question is why is the number so low? We know that historically there was no art taught in
black schools and I don't think that has been addressed yet. For me the contemporary art museum locally can also become a site for other activities.
Given the prime location of the National Gallery in the gardens we have the
potential to draw in broader cultural audiences for music and dance and even be
a consistent site of intellectual debate via a dynamic cultural events
BLV: What programmes or plans does the National Gallery have to address that particular problem?
RN: Well, I think the recent exhibition (1910-2010: From
Pierneef to Gugulective) started to address some of the problems. It was
not just an exhibition that we put up — it was an opportunity to tie in a new
vision for the gallery with the exhibition. For example how do we get audiences
who don't come to the National Gallery to see their own histories and by
implication themselves reflected in the space?
We also know
that different ideologies affect how art is collected and what exhibitions go
on display. So I expected that there would be gaps in the National Gallery collection. And so there was a drive to go out and look at other collections
around the country, which yielded a number of pleasant surprises. I had worked
at the Durban Art Gallery so I was familiar with some of the collection there,
and I had been a regular visitor at JAG during the seventeen years I lived in
Johannesburg, so I knew some of their collection. But to go through the
storerooms at the JAG, Tatham Art Gallery and Pretoria Art Museum was revealing
in the story of how art was collected around the country.
Simon Mnguni, Portrait of a Zulu Induna, undated, watercolour and black ink on paper. The Campbell Smith Collection
Jabulani Ntuli
from the UKZN Killy Campbell collection; Richard Baholo from the JAG
collection; Bongi Dhlomo's abstract painting from the Standard Bank Collection;
Harold Strachan's Nature Morte from
the Durban Art Gallery — these were unexpected. Most of the collections were
strong in collecting artists from their cities and provinces, as maybe one
would expect. I travelled around with Joe Dolby who has been a curator at the
National Gallery for many years, and he was amazed by what we found in KwaZulu
Natal.
But if we say
that we are the National Gallery, then the next question is how representative
is our collection of the nation's art? I wanted to move away from a kind of
geographic parochialism in a show that we could say was truly representative of
artists and works from around the country, celebrated the richness and
diversity on offer, while engaging with the history of the country over this
period. So it was not simply about raising the National Gallery flag, but about
meaningfully and sincerely working with other museum collections and learning
from them and showing the gaps in our own collection, for the benefit of
visitors, for research, for students and learners.
Installation view showing, at rear, Manfred Zylla's Interaction series at the Community Arts Centre (1982), with sculptures by Noria Mabasa and Claudette Shreuders at front. Photo Carina Beyer, Iziko Museums
Apart from the
chronology there are many smaller themes in the show, but one of the main
intentions was that someone walking through the gallery space would get an idea
of who the important artists are, what some of the iconic works are, that a
visitor would get to see works from around the country, and would also get a
sense of place via the history, which in my mind is one of our strongest
themes. Also, how do we speak about the diversity of cultures through aesthetics
in South Africa, about artists from different communities, about art production
through formal and informal schools and where do these all fit in to the larger
narrative of what we call South African art?
Technicians adjust the lighting while Riason Naidoo inspects the artwork, Cape Town, April 15, 2010
BLV: Can you discuss the way in which the show was curated and hung? This was the one thing that drew sharp criticism, quite apart from the criticism of the ideas or the perceived ideas of the
show.
RN: Well firstly, it was an adventure! It's important to note that when I arrived at the National Gallery what was on the National Gallery schedule were football-related exhibitions, which I thought was inappropriate. I thought that
if we expected visitors both foreign and local to Cape Town over the World Cup,
let's use the opportunity to give an overview of what we're about.
If I was a visitor to a country I would want to get a glimpse of that country's art — to
see how that political and social context and history had informed the work
produced there.
When we look at the art of the Renaissance today we can see the influence of the church and the state on art produced during that era. On a recent visit to Leipzig in the former East Germany, I visited the art museum there and it was a treat to see the art produced during the time of the GDR. At the National Gallery we had numerous requests to show high profile foreign western artists. This didn't seem appropriate to me.
Historically we have been under the radar internationally, and so this was an opportunity to focus on ourselves, to reflect on our art. This was the first shift that had to be made towards the exhibition. I felt it was the right way to go. On the one hand the exhibition had a chronological and thematic grand structure.
For instance the rooms were allocated according to themes such as: 1910-1930, early modernism from 1930-1960 and including DRUM magazine, Polly Street and Rorkes
Drift, Abstraction, Resistance Art, and half the gallery was allocated to art
from 1990-2010, including a room dedicated to the US exhibition, curated by Simon Njami and Bettina Malcolmess, which
formed part of the larger exhibition.
Reflections on artists in exile, voting for the first time and the inauguration in 1994, the TRC, initiation rites, influences after colonial Dutch masters, the influence of San art, landscape, afternoon tea, depictions of township life, humour, the formation of a new national identity, representation and reflections of Africa, romance and sexual politics, domesticity, AIDS, and identity politics give some idea of the
sub themes that were operating in this latter half, which were not prescribed,
rather, they emerged from the selected works themselves. So while we have a broad chronology and the major themes (mentioned earlier) there were also other intentions in the curation. I did not want it to be a boring staid chronology. There's no fun in that!
What is very important (this was a question in my own mind) was that if you ask a diverse group of South Africans about the history
of this country you are likely to get many, different versions. I wanted to put
those different responses next to each other, to juxtapose them, to put them in
conversation with each other.
Anton Momberg's maquette of Gandhi adjacent J.H. Pierneef's Union Buildings (1938)
you've got Pierneef's painting Union
Buildings (1938) and Willie Bester's Bench
after the 1913 Land Act (1995) directly opposite each other. You also have
the Anton Momberg's maquette of Gandhi in close proximity to the Pierneef.
Gandhi lived in the country for twenty-one years from 1893-1914, at the same
time as the formation of the Union, so this is a direct and relevant connection
to the Union Buildings and the British history in the country.
The intention is
not to obliterate the Pierneefs or Afrikaner history, or the Union, or British
colonialism — we all acknowledge these things, they are part of our history.
But what else was happening? So apart
from the Pierneefs and Sterns interpreting South African landscapes, how did
black artists such as the Moses Tladis and the Jabulani Ntulis differ in
representing the landscapes, their own environments and their own people? How
does their work differ in the broader discussion on the representation of
blackness?
How do the
ethnographic and scientific photographic studies of Alfred Martin Duggan-Cronin
differ to these portraits by Gerard Bhengu and Simon Nguni? And how do these
relate to the emergence of black photographers working for DRUM magazine in the
1950s, whom for the first time give insight into intimate instances of black
urban life. That was definitely a strategy on my part, so that someone walking
through a room gets different takes, multiple voices, rather than a master
narrative.
Also visual
connections sprang up that I could not resist. In another instance the hanging
of Pierneef's Karibib (1924) next to
Wayne Barker's Blue Colonies (1995),
a parody of Pierneef, is easy to see when these works are next to each other.
It was also about introducing an element of play, while still raising serious
BLV: Why do you
think there was such an outcry? There were certainly positive responses but the
negative ones were particularly visceral — why do you think this was? There are
layers to the responses — there are responses on the level of aesthetics,
composition and curatorial decisions. Sometimes those were disguising the other
responses.
RN: I could give
you a response about old networks of power and resistance to change. I've had
some time to think about this. But let's rather look at what the exhibition
did. We closed the gallery to the public for six weeks to prepare for the show.
It was the first time the whole national gallery was used for one show. We
loaned works from all over the country exposing gaps in the National Gallery
collection. The Abe Bailey Collection
was taken down for the first time in sixty-three years. The exhibition placed
fairly obscure artists next to South African 'masters'. A Tretchikoff was shown
in the National Gallery for the first time. Shall I go on?
Riason Naidoo in front of a work by Vladimir Tretchikoff
Interestingly at
the conference we held at the end of the exhibition panellist Lloyd Pollak, in
responding to a question from one of the members of the audience about ethics
from critics in reviewing the show, indicated that one or two of the SANG
curators and some of the Friends of the National Gallery approached him
privately to say that the new director (me) was not heeding their advice. So
I'm not sure how to read that and to what degree that influenced his review of
the exhibition that appeared on the cover of May edition of Art Times. It does pose all kinds of
questions, doesn't it?
Now that the
reviews have all been out, we can confidently say that there have only been two
out of a possible forty that were negative. The reviews that graced the covers
of Art Times and Art South Africa were totally outnumbered by the numerous positive
reviews in all major national newspapers and including reviews in New York,
London, Amsterdam and Berlin. The debate has been wonderful in drawing
attention to the exhibition and getting numbers in.
From left, Gabriel Clark-Brown, Lloyd Pollak, Gerhard Schoeman, Bronwyn Law-Viljoen, Ashraf Jamal, Alex Dodd and Thembinkosi Goniwe speaking about art criticism, Cape Town, October 2, 2010. Photo: Jenny Altschuler
BLV: Looking ahead, are there any initiatives in place or plans to strengthen ties with
similar institutions elsewhere on the continent.
RN: Yes most definitely. I was invited by the Tate Modern in October, where I gave a presentation of the 1910-2010: from Pierneef to Gugulective exhibition to the Tate curators and the London art community and curators from elsewhere on the continent. I think it is important to say that it was very enthusiastically received. I also had some valuable
discussions with curators from Nigeria, Senegal, Cameroon, Morocco, Ethiopia,
Zimbabwe and Kenya.
Hopefully something will come of that.
But more broadly looking forward my intention is to turn the conversation and the focus South, meaning South America, Africa, South-East Asia. I would like to see the Iziko South African National Gallery serving as a window on Africa. I would, for
example, like to deepen the collection of contemporary and traditional African
art from the continent. Ideally I would also like to see an exhibition of
contemporary Chinese artists, and shows on the Mexican muralists like Diego
Rivera and the painter Frida Kahlo at SANG.
It is also a question of taking our rightful place in the history of the global art world?
We should be seeking to gain insight into cultures that we have not had the opportunity to engage with because of cultural boycotts under apartheid and the Cold War. And at the same time, the North is looking to us for new ways of articulating. We should not be afraid to express that. We have to see South Africa's role in a global context as an extension of the liberation of the self. We have the potential and the opportunity to innovate in new directions.
Riason Naidoo, Cape Town, April 2010. Photo: Carina Beyer, Iziko Museums
BLV: What about future plans and what about bringing in international curators to curate shows?
RN: I don't want to give too much away but there are interesting possibilities ahead. But yes, bringing
in outside curators is essential to broaden our experience, to create
interesting dialogues and different ways of seeing. I see the National Gallery
as becoming a space not only for art but of cultural and intellectual exchange
too. We are definitely heading in that direction. Watch this space.
This interview is an edited transcript of a conversation originally conducted August 22, 2010 at Arts on Main, Johannesburg, and includes subsequent amendments.


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FCT MINISTER URGES LOVE FOR COUNTRY
By VMT News Ltd Last updated Jan 31, 2022
…AS HE DECORATES MEMBERS OF SECURITY DETAIL WITH NEW RANK
1.The Honourable Minister of the FCT, Malam Muhammad Musa Bello has called for love of country, as Nigerians have no other country to call their own.
2.The Minister said this when he decorated two members of his security detail, Saidu Bala, his Aide de Camp and Umar Mani, the escort commander who were both promoted to the rank of Superintendent of Police (SP).
3.In the words of the Minister "At the end of the day, let us not forget that we have no country other than Nigeria. This is our home and we have to love our country, love our leaders, pray for our leaders, work hard to make this country great and the only way we can do this is through the collective work of all of us, no matter how highly placed or lowly placed, once we have that love for country in our heart, the sky will not be our limit".
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4.Malam Bello, while describing both officers as outstanding and a fine example of the new crop of smart, intelligent and dedicated men and women of the Nigeria Police Force, said "Having worked with them for the last six years plus, I can tell you more than anybody else what fine officers are. They represent the new crop of the Nigerian police. Smart, intelligent and highly dedicated with tremendous love for country".
5. Describing his ADC as an officer with a keen sense of right and wrong especially with regards to city management the Minister said that governance should not be left to the principal officers alone, but should be a collective effort of all.
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6.He said "Starting with the ADC, when we started this work, as you know, the principal will always be with the ADC in the same vehicle. So, over the last few years, he has been able to study me to such an extent that the moment I see something wrong in the city, even before I talk to him to contact people, he is already sending them messages.
7.But more importantly, his amazing commitment to duty and knowledge of wrong and right, especially with respect to city management is amazing and all the Directors here will confirm this and that's how it's supposed to be. Governance is not just the principal officer. It has to be a team work of everybody. There is no way the Director or the Permanent Secretary or the Executive Secretary will be everywhere all the time.
8.On his escort commander, the Minister said "Mani Umar is something else. Usually, I call Mani Umar when the job is tough that nobody can handle it and the moment you give Mani a job, you can go back to sleep and it will be done. That's the extent of his dedication.
9.While expressing his appreciation to the Inspector General of Police and the Police Service Commission for approving the promotion of the officers, Malam Bello congratulated both officers and all other service personnel who were elevated.
10.Joining the FCT Minister to decorate both men was Assistant Commissioner of Police Ishaku Sharu who represented Assistant Inspector General of Police zone 7, Bala Ciroma.
11. Also present at the event were the Chief of Staff to the Minister Malam Bashir Mai-Bornu, the Executive Secretary, FCDA, Engr Shehu Hadi Ahmed, SSA to the Minister on Security, Abu Salihu Mohammed and other senior officials of the FCTA.
ANTHONY OGUNLEYE
CHIEF PRESS SECRETARY
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Civil society: Unpaid care work keeping women in poverty
Sharon Kantengwa
Alice Anukur, the Country Director of Oxfam Rwanda speaks at the meeting. Courtesy.
Policies and infrastructure that promote recognition, redistribution and reduction of domestic and care work between men and women are urgently needed to accelerate women's economic empowerment.
The call was made by Civil Society Organisations, which argue that unpaid care and domestic workloads that are often unevenly distributed is keeping Rwandan women in perpetual poverty.
The precarious nature of the work and the uncertainty of continuous employment, they say, undermines the economic autonomy of women, making them more vulnerable to gender-based violence.
Unpaid care work refers to all non-market, unpaid activities carried out in households – including both direct care of persons, such as children or elderly, and indirect care, such as cooking, cleaning or fetching water.
It is recognised as a women's rights, economic and equality issue under the United Nation's 2030 Sustainable Development Goals.
On average, women in rural Rwanda spend up to seven hours daily on domestic and unpaid care work, according to a study conducted in five districts by ActionAid.
Alice Anukur, the Country Director of Oxfam Rwanda, said that while the country seems to be doing well at the national level, there is still a challenge at the household level in redistribution of care work due to patriarchal tendencies and the of women participation in decision making.
She was speaking at a civil society strategy meeting on Monday, December 10, where she said while the country has raised awareness on equal participation, the inadequate compensation for the house helps persists.
Anukur, therefore, called for the government to introduce a minimum wage.
The Government, she said, ought to compute all that is lost through unpaid care work so as to recognise women's contribution and ensure fair remuneration for the less paid.
"Unless that is done, we will still have low participation of women, high workloads and high levels of GBV," she explained, stressing that unpaid care work was undermining Rwanda's gains towards gender equality.
Anatole Uwiragiye, a Project Manager at Actionaid Rwanda, there's lack of resources to address the unpaid care work.
For example, she says, the government's commitment to provide electricity by 2020 and reduce the heavy reliance on wood energy for cooking from 83 per cent to 42 per cent in rural areas by 2024 is far from implementation.
"The implementation is impeded by the shortage of resources and as a result some women in the Eastern Province do not prepare food because the cost of firewood is high," he said.
Naome Nayebare, in charge of International Conventions and Treaties at Gender Monitoring Office, called for more sensitisation to change the patriarchal and behavioural mindset so they can contribute to domestic care.
In the meantime, she added, different stakeholders also need to do much in setting facilities and infrastructures that ease the workload.
"We hope that as we move on with transformation and leaving no one behind, unpaid care work will be addressed among other gender issues that we have in the country."
According to the International Labour organisation (ILO), the average unpaid care work amongst women globally accounts for four hours and 25 minutes a day.
In the last 20 years, the amount of time women spent on unpaid care and domestic work has hardly fallen, ILO says.
Its analysis suggests that it will take 209 years to achieve parity in unpaid care work if the pace to address it remains the same.
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text:
H+K appoints Freddy Davies as new Director of Technology in London
by H+K United Kingdom | October 30, 2018
Global public relations and integrated communication agency, Hill+Knowlton Strategies (H+K), has appointed Freddy Davies as Director of Technology in London.
Freddy will focus on consumer technology and entertainment clients. He joins our technology sector team of 40+ communication specialists who share a hunger and fascination for how technology is shaping our lives, economies and society.
"I am really excited about joining H+K at such a pivotal time for the company," said Freddy. "Creating purpose-led, commercially driven work for brands is where my strengths lie, and I look forward to working with the talented team here."
"With his excellent track record of producing strategic campaigns that deliver business impact, Freddy will add exceptional value to our clients. His passion and curiosity will drive our team forward in exciting new ways, and I am really looking forward to Freddy being part of our future," said Charlie Morgan, Managing Director of Technology at H+K in London.
Freddy was most recently a Director at Red Consultancy, where he was part of the senior management team of the consumer division. He has over 14 years of communications experience, working on major consumer technology, sport and entertainment brands, such as McDonald's, Lynx, Activision and Samsung.
H+K has offices in more than 40 countries worldwide, delivering award winning campaigns to clients across all sectors and disciplines and with a focus on continued innovation for the industry. Recent innovations include Flight School+™, a crisis communications training and simulation tool; Better Impact™, a new approach to brand purpose and CSR; and Smarter+™, a behavioural science unit; among many other innovative solutions to take our clients to the next level.
Megan Jackson
Megan.Jackson@hkstrategies.com


I'm an investigative reporter, author and teacher based in Washington DC. I'm the founder and editor The Deep State, a news blog about secret intelligence agencies. I'm the author of THE GHOST: The Secret Life of CIA Spymaster James Jesus Angleton and the founder of the JFK Facts blog.


text:
Q: Crystal Reports 8.5 stopped working - failed to export the report (to PDF) Crystal Reports 8.5 installation has functioned fine for 10+ years. Suddenly, with no obvious change, the export function has stopped working.
Have isolated to problem to CR itself and it has nothing to do with VBA integration. A simple test report was created in the designer. Preview works, print to paper works. Export to PDF (Diskfile) results in error "Failed to export the report". The same goes for all kind of reports the system generates in the background.
CR: 8.5
OS: Win2000
Internet: NO
The system has not been patched for a long time and the problem arose last week.
What could that be..?

A: Had the same issue--previously working installation, no changes to the system, sudden failure. I spent all day looking up DLLs and service packs that don't exist anymore. But no, just empty your temp folder. I don't know why, but that's it. For an application so bad at cleaning up after itself, crw32 gets touchy about temp being full.

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NIS-RHTF is a Nisca generic secure thin film/ overlay compatible with Nisca PR5300, PR5310, and PR5350 card printers only. 500 images per roll.
Lamination (also referred to as overlamination) provides a layer of protection over your printed cards, making them more durable and providing protection from wear and fading. For use with Nisca printers. See the links below for more products available.


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A lot of good food, a lot of sport and a ton lot of snow during this year's Christmas vacation.
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Please do not take our University down the path of the Diversity dream. We should continue our efforts to attract and educate the top students in a hands on method of education. We do not need to and should not pander to splinter political groups. We are a unique group of students and alumni that share a passion for a Special University and special geographical area. We do not need to be classified by race or gender or political views. We are Huskies. That is more than enough.


text:
Lawmaker seeks to extend postmark date for mail-in ballots until Election Day
Feb 1, 2021, 6:00 AM
Workers prepare mail-in ballots for counting, Wednesday, Nov. 4, 2020, at the convention center in Lancaster, Pa., following Tuesday's election. (AP Photo/Julio Cortez)
(AP Photo/Julio Cortez)
BY CAMI MONDEAUX
SALT LAKE CITY — Utahns could get an extended deadline to postmark their ballots that would count votes even if they're mailed on Election Day. The proposed legislation, HB203, would send ballots to voters a week earlier and give an extra day for voters to mail it in.
Under current law, Utahns must postmark their mail-in ballots one day before Election Day to be eligible in the general election. However, one lawmaker wants to change that, calling the current measure "counterintuitive."
"Are we going to feel comfortable that it can be postmarked the day of the election, or does it need to be postmarked the day before?" said Rep. Brian King, bill sponsor. "I think it makes sense to count it if it's postmarked the day of election."
Lawmaker seeks to extend postmark date
If passed, King said he believes the extended postmark date will help fuel voter turnout. In fact, he said it's not unreasonable to believe there are several voters who wait until Election Day to mail in their ballots because they think that's the deadline.
"What we don't want to have happen is people believing they can have it postmarked the day of election and they wait until the day of election to drop it off," he said. "And that ballot won't count."
Mail-in ballots — especially the deadlines surrounding the voting method — has long been a contentious issue amid the 2020 election. Claims of voter fraud and manipulated ballots have eroded many people's trust in the system.
Roughly 59% of voters say they're confident mail-in ballots were tabulated correctly in the 2020 election, compared to 82% who said the same about in-person voting.
However, King noted Utah has operated its mail-in voting system successfully for eight years.
"We've not seen significant issues in terms of fraud, in terms of abuse or attempts to cast one or more ballots by people," King said. "It's not very common that you have people with malicious intent trying to undermine an election through the use of conscious, knowing fraudulent behavior."
Ballots may arrive earlier under proposed bill
The bill would also allow county clerks to send out mail-in ballots to voters one week earlier. Under current statute, the earliest that ballots can be sent out is 21 days before Election Day.
If passed, HB203 would extend this by one week — allowing county clerks to mail out ballots 28 days in advance.
King said the two measures would increase voter turnout and strengthen trust surrounding the election process. It would also align mail-in ballot deadlines with Utah's primary elections, which now state ballots are eligible if postmarked on Election Day.
"I think that it makes sense to make it consistent […] and allow those ballots to count."


text:
Селисок () — село на Украине, находится в Любешовском районе Волынской области.

Код КОАТУУ — 0723186105. Население по переписи 2001 года составляет 295 человек. Почтовый индекс — 44215. Телефонный код — 3362. Занимает площадь 10,02 км².

Адрес местного совета
44213, Волынская область, Любешовский р-н, с.Зарудчи, ул.Незалежности

Ссылки
 Селисок на сайте Верховной рады Украины

Населённые пункты Любешовского района

redpajama_set_name: RedPajamaWikipedia


text:
Graham Priest
Doubt Truth to Be a Liar
Graham Priest, Doubt Truth to Be a Liar, Oxford University Press, 2006, 240pp, $65.00, ISBN 0199263280
Reviewed by Hartry Field, New York University
This wide-ranging book is divided into four Parts: Truth, Negation, Rationality and Logic. Priest's discussion of these topics is centered around their bearing on his doctrine of dialetheism, the view that some contradictions are true; but the discussions are of great interest independent of dialetheism. The quality of the discussion is generally very high, and the book is a must-read for anyone interested in the central questions of the philosophy of logic. I do however have complaints, and will tend to focus on them in this review.
The book begins with a discussion of the "Law of Non-Contradiction"; Priest announces his opposition to this Law on the opening page of the first chapter. Unfortunately, he never states the version of the law that he is attacking. The Law is implicitly formulated in the opening chapter, and explicitly formulated on p. 78, as
(LNC) □ ¬[α ∧ ¬α].
But after the explicit formulation, he notes (pp. 78-9) that the Law in this form is one he himself is committed to: for given two laws he accepts (the deMorgan laws and double-negation elimination), LNC is equivalent to the Law of Excluded Middle in necessitated form
(LEM) □ [α ∨ ¬α];
and he also accepts LEM. So the target of Priest's attack can't be LNC; but then, what is it? Were it not for n. 7 on p. 78, I would have said that what he is attacking is the injunction against accepting contradictions (sentences of form α ∧ ¬α). However, in that footnote he argues that that injunction is not a satisfactory formulation of the Law of Non-Contradiction either, though he offers nothing better. Still, the injunction against accepting contradictions is clearly part of his real target, whereas LNC is not really targeted at all. Priest's unclarity about whether the "Law of Non-Contradiction" means LNC or something that a dialetheist should be opposed to plays an important role in some of his arguments, as we'll see; and later in the book (e.g. p. 120) he returns to writing as if it is LNC to which he is opposed.
Of course his view is not that all contradictions should be acceptable, only some of them. To accept some but not all, it is required that one adopt a paraconsistent logic in which contradictions don't imply everything, in contrast to classical logic; and Priest does so.
It's worth noting that a distinction could be made between accepting the truth of a contradiction and accepting that contradiction; Priest defines dialetheism in terms of the former, but takes it to involve the latter as well. Of course anyone who accepts the former is committed to the latter if he accepts the elimination rule for 'True', True()├ α, as most people (including Priest and myself) do. Still, there are possible responses to the Liar Paradox that involve restricting the rule, and so allowing dialetheism in the defined sense without the acceptance of contradictions (and in a purely classical logic). Priest's blurring of this possibility could engender confusion.[1]
The first of the three chapters in Part I (Truth) is on Aristotle's critique of the "Law of Non-Contradiction". The second argues convincingly against the idea that one can use a theory of truth to argue against dialetheism. In addition, Priest argues that the deflationist view of truth tends to favour dialetheism. How? Priest plausibly identifies the "prime thought" of deflationism as the view that 'α' and ' is true' amount to the same thing; presumably this means that they should be everywhere intersubstitutable (except in opaque contexts). Given a biconditional '↔' with the minimal law 'α ↔ α', this entails all instances of the Tarski schema
True() ↔ α.
Priest notes that the application of this schema to a Liar sentence β immediately leads (assuming Modus Ponens)[2] to the biconditional True() ↔ ¬True(), which in classical logic is unacceptable since (i) it implies True() ∧ ¬True(), and (ii) this in turn implies everything. Priest favors blocking the triviality argument only at stage (ii). He mentions that there are ways of blocking step (i) of the argument; but they rely on weakening the Law of Excluded Middle (and also the intuitionist reductio rule), and Priest will defend Excluded Middle in a later chapter. (He also cites other work of his that criticizes solutions that keep the truth schema by weakening LEM instead of going dialetheic.) So he takes the deflationist theory as providing positive support for the acceptance of contradictions and dialetheism.[3]
While I think Priest gives short shrift to non-dialetheic theories that save the truth schema (and the intersubstitutivity of 'True()' with 'α') by restricting excluded middle, I will not discuss this. It's worth mentioning, though, that Priest's own favored version of dialetheism, though it vindicates the truth schema, fails to vindicate intersubstitutivity: in particular, '¬α' fails to entail '¬True()' (though the converse implication holds). Since as he says the "prime thought" of deflationist theories of truth is intersubstitutivity, this means that these theories contradict Priest's form of dialetheism rather than supporting it.
The final chapter in Part I concerns trivialism, officially defined as the view that everything is true; since the elimination rule for 'true' is assumed, the trivialist in question accepts everything. Priest has an interesting discussion of why it is irrational to be a trivialist, given that no argument against the trivialist can have suasive force. (Since the trivialist accepts everything, any argument one offers will only reinforce something he already accepts.) In the course of the chapter Priest argues that a sensible dialetheist should reject any contradiction α ∧ ¬α for which α is an observation sentence: for if α is an observation sentence, then if α ∧ ¬α were true we should be able to observe that it's true, and we don't. (And presumably it isn't that we both do and don't observe this: we are in a position to reject the claim that we ever observe the truth of a contradiction, i.e. to rule out accepting that claim.)[4]
Turning to Part II (Negation), Chapter 4 argues that the normal understanding of negation requires the Law of Excluded Middle but allows for the acceptance of contradictions. To this end, Priest defines the negation of α to be the contradictory of α,[5] and takes the traditional characterization of contradictoriness to be by the Laws of Excluded Middle and Non-Contradiction, as given by LEM and LNC above. This is where, for the first time, Priest notes that the dialetheist may well accept LNC: indeed, that in deMorgan logics it is equivalent to LEM, so that Priest himself accepts it. So whatever form of the Law of Non-Contradiction it is that Priest has been arguing against in earlier chapters is never built into the traditional characterization of contradictoriness! This is the key to what is perhaps Priest's main argument in the chapter (p. 85), that anyone who gives up LEM must abandon the traditional explanation of contradictoriness, while the dialetheist need not. However, even on this interpretation of the Law of Non-Contradiction as LNC, the dialetheist has to reject this explanation of contradictoriness, though for a different reason: any strengthening of the negation operator that obeys deMorgan and double-negation elimination must also satisfy LEM and LNC, so the "traditional explanation" (as Priest understands it) fails to distinguish negation from the strengthening. (For instance, the operator O for which Oα is true whatever the truth-value of α satisfies these laws.) Of course a genuine law of non-contradiction, the sort that Priest was talking about in earlier chapters, would rule out such a strengthening of negation; but it would rule out negation too (according to the dialetheist), so if it were part of the traditional characterization then the dialetheist would still have to reject the traditional characterization.
The discussion of LEM is marred by the false suggestion (p. 79) that giving up LEM requires endorsing truth-value gaps. (Priest explicitly makes this claim only in the case of intuitionism, and even there admits that intuitionists might not agree that they endorse truth-value gaps; but the implicit claim seems more general.) To anyone who accepts the intersubstitutivity properties of truth and identifies falsehood with truth of negation, the claim that α is neither true nor false is equivalent to ¬α ∧ ¬¬α, and hence must be rejected if the person isn't a dialetheist. A related false suggestion (also on 79) is that without LEM one can't hold that not-α is true if and only if α is not true, or that not-α is true if and only if α is either false or neither true nor false. (Clearly one must hold these if one takes 'true' to obey intersubstitutivity and takes falsity to be truth of negation.) On the basis of this second suggestion, Priest argues that without LEM one can't regard negation as a genuine contradictory-forming operator. However, he then seems to withdraw the second suggestion, leaving him without a positive argument for LEM; instead, he gives a critique of intuitionist arguments against excluded middle. But the mistaken suggestion that to give up LEM is to endorse truth-value gaps recurs at key points later on, and important arguments turn on it (e.g., pp. 90, 106).
Chapter 5 argues against various attempts to show that a negation operator obeying the classical laws must be coherent; also, against attempts to show that a conditional obeying at least the intuitionist laws must be coherent. I recommend the discussion (though in places it is unduly biased against views of negation that restrict Excluded Middle).
Chapter 6 begins with a good discussion of why rejection must be distinguished from acceptance of the negation. (In dialetheic views with excluded middle, the latter is necessary but not sufficient for the former; in non-dialetheic views without excluded middle, it's the other way around.) The discussion seems to assume that claims about what we accept and reject are not themselves dialetheic, e.g. that it is impossible to reject p while also not rejecting it; the rationale for this would have been worth discussing. (If the claim that someone accepts or rejects p counts as observational, we can apparently get this from the thesis that observational claims are never dialetheic, though there are subtleties lurking.) The chapter also argues, somewhat independently of dialetheism, that there are situations where one has contradictory obligations; Priest argues that in Newcomb's problem one ought to take only one box and also ought to take two, and that one both ought to believe and ought not to believe a sentence γ that asserts that it is irrational to believe γ. (Not that one ought to both take the second box and not take it, or believe γ and not to believe γ; he takes these to be impossible.) Of course, knowing that one's obligations are contradictory is of little help in deciding whether to take the second box, or to believe γ.
Turning to Part III (Rationality), Chapter 7 contains a nice discussion of why it would be irrational to dismiss dialetheism out of hand, and of how accepting dialetheism leaves the possibility of rational debate unharmed. It concludes with a favorable evaluation of dialetheic treatments of the truth-theoretic paradoxes over non-dialetheic accounts that abandon the Tarski truth schema. (The main text suggests that only dialetheic accounts can vindicate the truth schema, though this is partially corrected in a footnote.) Chapter 8 deals with the question of how to deal with inconsistent sets of beliefs in formal accounts of belief revision (like AGM); this of course is important quite independently of dialetheism. Chapter 9 deals with the epistemological implications of inconsistencies within empirical science, indeed within particular theories; a nice account of this (involving "chunking") was given in Brown and Priest (2004), and it is mentioned here (though perhaps with insufficient detail). Priest also argues that if an inconsistent scientific theory entails inconsistencies at the observational level, or if it avoids observational inconsistencies only by "chunking", then the theory can be accepted only provisionally. On the other hand, he argues that if a theory is inconsistent but the inconsistency is more naturally prevented from spreading to the observational level, there is no obvious bar to accepting it as an ultimate theory. (He suggests examples where the theoretical inconsistency is in the mathematical part of the theory, but clearly intends to allow for examples in which it resides elsewhere.)
Part IV (Logic) begins with a defense of the revisability of logic, or at least, of our theories of logic. (Priest suggests that a "revision of logic" is nothing more than a revision in our theory of logic; this strikes me as questionable, though the issue is complicated.) In discussing Quine, he points out that even if the logical constants are assumed to vary in meaning between classical logic and a rival, e.g., a paraconsistent logic, this does not rule out the possibility of rationally revising the logic by rejecting connectives with "the classical meanings" in favor of those with "the paraconsistent meanings". He suggests (p. 171) that one who proposes to rationally revise logic in this way must be committed to the idea that the meanings he favors are the same as the vernacular meanings of the terms. This seems unduly conservative: why can't the vernacular meanings be criticized as laden with a bad theory? I don't see why someone who wants to reject classical logic in favor of a weaker one, say to deal with the truth paradoxes, need be committed to the view that the weaker logic accords better with the vernacular meanings than does classical logic.
Chapter 11 concerns validity. One issue I wish he had discussed is whether one can be dialetheic about validity claims: can some inferences be both valid and invalid, and if not why not? But let's confine attention to what he does discuss. A main claim of the chapter is that deductive validity, which corresponds with how we ought to reason, is the relationship of truth-preservation-in-all-situations. I don't think this is defensible given the kind of logic he accepts. For he regards Modus Ponens as a rule by which we should reason. But to accept that it is truth-preserving would be to accept that for any sentences α and β
(TP) True() ∧ True() → True().
And that would lead to triviality in Priest's logic: if β is (e.g.) 'The earth is flat', and α is a Curry sentence that says that if it itself is true then the earth is flat, then the corresponding instance of (TP) is itself equivalent to that Curry sentence in Priest's logic; so accepting that instance of (TP) would imply that the earth is flat.
Perhaps Priest could defend himself against this example by arguing that there is no "situation" in which the Curry sentence α (and its equivalent α → the earth is flat) is true? Maybe, though he does suggest that situations might include impossible situations. But the move will not in the end help: he certainly believes that the "situations" include an actual situation; and it turns out that peculiarities in his logic commit him to the view that there are acceptable deductive inferences that don't preserve truth even in the actual situation! More fully, there are γ and δ such that Priest accepts γ and accepts the inference from γ to δ, but regards the conditional True() → True() as "solely false", i.e. false and not true: he is committed to rejecting that conditional even though he accepts the inference and believes its antecedent (and its consequent).[6] For details, see section 12 of Field forthcoming. (By contrast, in logics that restrict excluded middle to save the truth schema, it is recognized that rules like Modus Ponens do not preserve truth in all impossible situations, but there is no bar to holding that they preserve truth in all possible situations including the actual one.)
The book concludes with a chapter on logical pluralism (the view that there is a multiplicity of logics that are equally correct). Priest argues that there is no interesting sense of pluralism that is correct. Part of the argument is that supposed alternative logics typically give accounts of what preserves truth in a restricted class of situations, but there can be only one logic that preserves truth in all situations, and this is distinguished as the genuine logic. It would have been worth considering the worry that the notion of "all situations" is too indeterminate for this to succeed in picking out a unique logic.
In the case of a book so filled with interesting discussion of important topics, any reviewer is bound to find a lot to disagree with. I hope my disagreements will not obscure the fact that I found this a thoroughly stimulating book. I recommend it with great enthusiasm.
Brown, Bryson, and Graham Priest 2004. "Chunk and Permeate, a Paraconsistent Reasoning Strategy, I: The Infinitesimal Calculus". Journal of Philosophical Logic 33: 379-88.
Field, Hartry forthcoming. "Truth and the Unprovability of Consistency".
[1] Conversely, accepting a contradiction requires accepting the truth of a contradiction only given the introduction rule α ├ True(). This rule too seems eminently reasonable, and Priest accepts it; but some who write on the paradoxes don't, and there could conceivably be responses to the paradoxes that accept contradictions but disallow the claim that any of them are true.
[2] A derivation directly from Intersubstitutivity is possible, obviating the need to assume Modus Ponens.
[3] Priest writes in places (e.g., p. 83) as if dialetheism provides a unified solution to the paradoxes of truth, in the sense that all paradoxical sentences turn out to be both true and false. But this is false advertising: one of the most recalcitrant paradoxes involves the Curry sentence (which asserts that if it itself is true then the earth is flat), and Priest is compelled not to regard it as both true and false but simply to regard it as false. (The assumption that it is true entails that the earth is flat, in any theory with the truth schema and Modus Ponens, irrespective of whether it is also false.) The paradox is blocked not by dialetheism but by a nonstandard account of the conditional.
[4] Indeed, presumably we're in a position to solely reject it, i.e. reject it without simultaneously not rejecting it!
[5] This may seem to be defining one notion in terms of an equivalent one; but on p. 81 Priest notes that it enables us to derive the equivalence of ¬¬α with α from the assumption that the relation of contradictoriness is symmetric.
[6] It might be proposed that the appropriate conditional for truth-preservation isn't True() → True() (involving Priest's →) but rather True() ⊃ True(), i.e. ¬True() ∨ True(). But that would be an uninteresting reading of truth-preservation, since on Priest's theory Modus Ponens fails for ⊃.


A great song makes you want to dance. A sublime heartfelt moment in a movie can bring you to tears. We have all walked away from an incredible film or amazing concert feeling moved or inspired; the impact of the arts on an individual person is very easy to gauge based on our personal experiences. But how do we measure the impact of the arts as a whole on the greater community?
Modeled after popular "restaurant weeks" in many major metropolitan centers, Boston's ArtWeek is an initiative that launched in 2013 with the goal to consolidate and highlight all of the great arts programming happening across the state. Since then, the movement has grown to over 600 events and experiences for the greater Massachusetts community. IVY sat down with Sue Dahling Sullivan, who serves as the Chief Strategic Officer for the Boch Center, who also serves as ArtWeek's Lead Champion, to ask about the potential the arts have in building and shaping a community.
What was the need in the community that spurred the genesis of ArtWeek?
Inspired by the popularity of Restaurant Week, we wondered – why isn't there an ArtWeek? Americans for the Arts' research confirmed that the public saw arts/culture as important to their lives, but National Endowment for the Arts' findings are what informed what we now call "the ArtWeek twist" – people are looking for more learning-based, socially-oriented, and hands-on experiences. (More recently, LaPlaca Cohen's Culture Track 2017 showed that the contemporary definition of arts and culture includes genre-bending ideas, memorable encounters, and cool learning experiences as well as community festivals, street art, and food/drink celebrations.) We also knew price and access remained barriers to widespread civic and cultural engagement. So ArtWeek started as a blank canvas just waiting for the color to be added! This year, ArtWeek will feature almost 600 unique hands-on, interactive, behind-the-scenes, and learning-based events – many free – over ten days, responding to these paradigm shifts by putting creativity center stage while making it affordable and accessible to people of all ages and backgrounds, no matter their socioeconomic status or geographic location.
What are some examples of concrete impact of the arts on the city of Boston and across Massachusetts that can you share with us?
The power of arts, culture, and creativity never fail to amaze and inspire people so it isn't surprising that ArtWeek's statewide expansion has proven the ideal stage for cultural innovation and investment. Success stories include the reopening of a recently-closed 100 year-old-school with a 5-year lease as an arts center, a suburban mayor increasing his town's arts programming budget, and four neighboring towns collaborating to make culture their connective thread. ArtWeek events have shined the creative spotlight on women's rights, immigration, religious tolerance, cultural diversity, LGBTQ rights, climate change, and civic debate – all timely and relevant issues amplified using an arts lens. And with over 70% events free and 90% free or under $25, ArtWeek has made access and affordability a cornerstone so that everyone can explore their creative side while discovering the vitality of creative communities across the state.
2018 Plymouth Harbor Lighthouse Cruise, where attendees could paint, photograph, and sketch local lighthouses.
What are some of the experiences offered this year as part of ArtWeek? What are you personally most excited about this year?
With almost 600 experiences to choose from, ArtWeek is like being a kid in a candy store and has become my favorite time of year. Budget-friendly, it is an amazing ten-day creative vacation where I discover new places and faces, learn new things, stretch my mind, and do things I wouldn't normally do. Demos, workshops, panels, tours, classes, lessons, festivals, talkbacks, etc. … it is all there. And it happens in very cool places across the state. A Salvador Dali or James Audubon inspired dinner event? Pop-up performances along a bike trail or commuter train stops? Poetry Knock-down or Pakistani art/music bus event? Video game design or interior design inspiration? Bird decoy carving demo or launch of a jug band festival? Art-making on a historic boat tour or at an iconic lighthouse? VIP curator's archive tour at a world-class museum or sculpture sanctuary tour including an 80-foot fire breathing dragon? Making music or making public art? If I could, I would do it all!
"Moses Supposes," at Boston College Arts Festival; Saturday night on April 28th, 2018 (from left): BC bOp! singers Michael Lyons '21 and Michael Mastellone '18, Nicholson, Simoneau, Amanda Sackmaster '18, Rowland, and Yates.
How have the arts changed the city of Boston and Massachusetts since the inception of ArtWeek?
In 2013, ArtWeek Boston launched with just 28 interactive events thanks to the vision of the nonprofit Boch Center and the Highland Street Foundation. Since then, the city of Boston has started implementing its first cultural plan under the leadership of the Chief of Arts and Culture, a newly created position overseeing a robust department. This has fostered new funding for public art initiatives, creative placemaking projects, and creative economy investments. At the same time, ArtWeek's popularity has exploded, fueling a 2018 statewide expansion that is already breaking records for 2019 (April 26 – May 5) with hundreds of events and unprecedented pro bono media support. Now recognized by Expedia, USA Today, and Forbes Travel as the "Bay State's Most Creative Festival" and a "Top Annual Special Event" by the Greater Boston Convention and Visitors Bureau, ArtWeek is positioning the power of culture alongside iconic celebrations like the Boston Marathon and Head of the Charles and helping to put creativity on the map.
What is the potential for the arts to build a stronger community?
Arts, culture, and creativity are the heart and soul of communities everywhere, but in today's world, they struggle to be seen, heard, and experienced by the general population. This year's explosive growth of 138 community partners (90% increase in one year) combined with new collaborations with groups like the Wonderfund (foster care children and families), young professional groups, and chambers of commerce, are proof that people want to support their individual creative communities as well as the larger cultural ecosystem. So it isn't surprising that ArtWeek, as a multi-site experiential festival, has rapidly become a rising tide that is lifting all boats, sparking creativity in places, spaces, and faces across the state where people live, work, and play.
How does a strong arts and culture ecosystem support the economic health of the City of Boston and the State of Massachusetts?
While embracing urban centers and gateway cities, small towns and rural communities, main streets and cultural districts, ArtWeek has helped make the social and economic benefits of culture available to everyone. It has directly spurred an increase in town arts budgets and cultural planning investments; put civic collaboration center stage as schools, government departments, cultural councils, and neighborhood chambers are starting to work together; inspired new arts walks and street festivals; and fostered new regional collaborations and intercity partnerships. Companion programs like Art of Food and Destination ArtWeek (including lodging offers) are luring curious adventurers to visit and explore, while Light Up the Night is an illuminating campaign that shines the light on how important arts, culture, and creativity is to the economic health of our communities.
What are the ways people can get involved with ArtWeek?
The Number One way to get involved is to experience ArtWeek for yourself! The calendar is now live, and you can discover hundreds of events ranging from Cape Cod to Cape Ann to the Berkshires, including almost 200 in Greater Boston. You are guaranteed to uncover something amazing during ArtWeek (April 26th – May 5th) so plan a day, a weekend, or even a mini-vacation and get inspired! Want some more ideas on how you can get creative?
Sign-up for our newsletter or follow us on social media so you get ArtWeek 2019 insider tips and early notice about ArtWeek 2020.
Introduce us to potential corporate sponsors who value innovation, creativity, and access for all … free festivals are really really hard to fund so we need investors of all kinds.
Spread the word! Maybe you know towns, organizations, restaurants, or groups that want to get involved OR you want to share the ArtWeek love with friends and family … our budget is tiny but our creative capital can be magnified with your help.
Are your creative juices flowing? Do you think ArtWeek is the next "First Night" or "Restaurant Week" phenomena that could become a nationally scaled creative celebration? Share your creative sparks with us at artweek@bochcenter.org!
ArtWeek is still looking to add Lodging Offers for #DestinationArtWeek! Learn more here and add yours by Friday, April 5th, 2019!


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Bazian Appointed to Berkeley Peace and Justice Commission
by Rob Gloster
J: The Jewish News of Northern California
https://www.meforum.org/campus-watch/26012/bazian-appointed-to-berkeley-peace-and-justice
UC Berkeley lecturer Hatem Bazian, the founder of American Muslims for Palestine, has been appointed to the Berkeley Peace and Justice Commission, a 15-member board that advises the city council and school board and also develops educational programs to enhance citizen awareness of peace and justice-related issues.
City Clerk Mark Numainville confirmed that Bazian's term began Sept. 18 after he was appointed by City Councilmember Cheryl Davila — who as a member of Berkeley's Human Welfare and Community Action Commission in 2015 presented a resolution calling for divestment from several companies doing business with Israel. Davila was removed from the commission for six months for proposing that resolution.
Davila nominated Bazian as one of her standby officers earlier this year. Standby officers are selected to serve during an emergency or disaster if an elected official has been killed or seriously injured, or is missing. Bazian passed a background check but the City Council has not yet voted to approve the nomination.
Three Berkeley rabbis were among the Jewish community members objecting this summer to Bazian's nomination. Rabbis Yoel Kahn of Congregation Beth El, Chai Levy of Congregation Netivot Shalom and Yonatan Cohen of Congregation Beth Israel said in a letter to Mayor Jesse Arreguin that they opposed Bazian's serving as a standby officer for the City Council.
"Prof. Bazian has a history of encouraging and personally engaging in speech which is offensive, uncivil and encourages demonization of others, including many citizens of Berkeley," the letter said.
Bazian was criticized by the UC Berkeley administration last year for retweeting a pair of cartoons the school determined had "crossed the line" into anti-Semitism, with one featuring caricatures of hook-nosed Orthodox Jews. Bazian apologized and deleted the images.
Bazian did not immediately respond to email seeking comment about the commission appointment. Commissioners can serve for up to eight years.
Bazian is a co-founder of Berkeley-based Zaytuna College, the first accredited Muslim undergraduate college in the U.S. A Sept. 24 tweet from Zaytuna College congratulated Bazian on the appointment.
Related Topics: Boycott, Divestment, and Sanctions (BDS), Hatem Bazian, University of California, Berkeley, Zaytuna College receive the latest by email: subscribe to the free mef mailing list


The boiler for heating at Kindergarten and Nursery is currently not working. An engineer has visited today to inspect the problem. New parts have been ordered and he will return on Friday to fix and service the boiler. The heating should be up and running for the start of next week. We'll keep you posted of any further developments.


This firmware is for Nubia Z17 Lite 4G Phablet with Qualcomm Snapdragon 653 as CPU. You can buy Nubia Z17 Lite 4G Phablet from Gearbest.com for only $269.99 with free shipping world wide.
Download Android Nougat 7.1 firmware for Nubia Z17 Lite 4G Phablet from here, here or here.


text:
redirect_from:
  - /download/windows64/beta
redirect_to: https://toggl-open-source.github.io/toggldesktop/download/windows64-beta/
---


text:
Attack on market in Congo's capital kills at least 2
KINSHASA, Congo – Congo police say a group of assailants carrying guns and machetes staged an attack in the capital's main market, killing at least two people and seriously wounding six police officers.
Police spokesman Col. Pierrot Mwanamputu said Friday the administrator of the market and the deputy commissioner of police were killed in the afternoon attack in Kinshasa.
He said the wounded officers have been hospitalized. He said one of the attackers was captured, while others fled into the city leaving their AK-47s and causing panic. Shops and businesses were all closed.
It wasn't clear who staged the attack. But in May, Christian sect members of Bundu Dia Mayala stormed a prison, freeing their leader and dozens of others.
Armed attacks have since been carried out on police positions.


Thank you for providing me with a copy of your recently published book, I Never Lied. I regret the delay in responding.
At the outset, I would like to express my sincere regret for the traumatic events you have endured. I respect and admire the courage it took for you to overcome these past experiences, and to share your story with others.
I would like to assure you that the Government of Canada is committed to improving the experience of victims as they deal with the criminal justice system process. You may be interested to know that in February, we announced our government's intention to introduce legislation to implement a Canadian Victims Bill of Rights that would entrench victims' rights into a single law at the federal level. Over the last few months, I have travelled across the country to consult with victims of crime, victim advocates, and criminal justice system professionals on this proposed legislation. I appreciate being made aware of your personal experience.
Our government has demonstrated a strong commitment to victims' issues. Since the implementation of the Federal Victims Strategy in 2006, we have allocated more than $120 million to give victims a more effective voice in the criminal justice and corrections systems through programs and initiatives delivered by the Department of Justice Canada. We remain committed to pursuing this objective through the Federal Victims Strategy and legislative reforms such as the Canadian Victims Bill of Rights.
Please accept my best wishes to you and your family in your continued healing process. Thank you again for writing.


text:
Right From The Horses Mouth
SXSW Film Festival 2016 - Honky Tonk Heaven - The Legend Of The Broken Spoke Featuring Pauline Reese
Honky Tonk Heaven - The Legend Of The Broken Spoke is an official documentary at SXSW Film Festival 2016 that will be screened at Marchesa Hall on Tuesday, March 15 at 1:45 pm and Zacharay Scott Theater on March 17 at 4:45 pm.
George Strait, Willie Nelson, Ernest Tubb, Bob Wills, George Jones and Roy Acuff have all been regulars on stage at the world famous honky tonk, The Broken Spoke. With fifty years under its belt buckle "the last of the true Texas dance halls" has endured rapid urban growth and skyrocketing rents due to the passion and hard work of its charismatic, tenacious owners. More than a history of who played and when at this landmark venue, the film reveals a universal story about what it takes to maintain a family business in our increasingly corporate-driven society. Interviews include Willie Nelson, Jerry Jeff Walker, Dale Watson, James Hand, Jesse Dayton, the Waco Brothers, Alvin Crow and Pauline Reese. http://www.brokenspokefilm.com
Willie Nelson and Pauline Reese Duet "Trail Of Tears" Will Release On Her New Album "
Pauline Hits The Road
New Music Video "Save Your Breath" Is Now Live!
That's A Wrap! Music Video "Save Your Breath" In The Can!
Pauline Reese Is Releasing Her 7th Album. Pre-order Yours Today!
Johnny Rodriguez Confirms House Concert With Pauline Reese To Support Her "Lucky Number 7"
Pauline Reese Begins Recording Her 7th Album.
Roger Creager Confirms Performing With Pauline Reese At House Concert For "Lucky Number 7&quot
Brandon Rhyder Confirms Performing With Pauline Reese At House Concert For "Lucky Number 7&quo
Need Assistance?paulinereesebooking@gmail.com
© 2022 Pauline Reese . All Rights Reserved


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Recreating a Garden Tradition: KU Garden
| 5/6/2011 12:35:12 PM
Tags: Samantha Collins, University of Kansas, Medicinal Gardens, Student Gardening,
My soon-to-be alma mater's, the University of Kansas, Native Medicinal Plant Research Program planted a medicinal garden in early May to reflect the original garden that was planted at the university in 1920.
The garden was designed by faculty and staff members of the program and will include almost all of the plants that were originally planted in 1920, except for one—marijuana. (Marijuana was legal in the United States until 1937!) They also planned to add new species to make a total of about 70 species.
The garden will contain five separate beds and each bed will have a different theme. They include:
1. Plants that have been listed in the U.S. Pharmacopeia and National Formulary.
2. Plants that were included in the original KU medicinal garden in 1920.
3. Scented plants, including various teas
4. Species of genus Echinacea, which is known to be the most widely used medicinal plants in North America.
5. Species of milkweeds, genus Asclepias.
If you are familiar with the beautiful KU campus, the new medicinal garden will grow on the south side of the School of Pharmacy building at 2010 Becker Drive in Lawrence, Kansas. If you happen to be in the area on May 14, the planters are asking for volunteers to help! Check out the group's informational flier.
Rock Chalk!
Photo by FHKE/Courtesy Flickr
Read More: School of Pharmacy to plant educational campus medicinal garden - University Relations, University of Kansas


The creation of an estate plan allows an individual to determine how financial and personal care decisions will be made if he or she becomes disabled, while also providing for an organized and seamless transmission of assets to the next generation upon death. The execution of one (1) or more of the documents described below allows the person who signed the documents (the "Maker"), to control what happens upon death or disability and ensure matters proceed on his or her terms.
There are many documents which can be utilized to bring a well thought-out estate plan into effect and the most common are described below.
8. Funeral directions, donation or organs and disposition of remains.
5. Continuing charitable donations customarily made while the Maker was competent.
7. End of life decisions.
(b) In the event a person loses mental capacity due to an unexpected accident or illness without an EPA and PD being in place, his or her family will be unable to make important decisions without obtaining a court order to be appointed as a guardian and/or trustee. The obtaining of such court orders is often very time-consuming, intrusive and cost-prohibitive.


The ship that really floats!
Battle the dragon-riders' fiercest enemy yet, Drago, as he approaches on his ship. The Playmobil How to Train Your Dragon Drago's Ship has everything Drago needs for his devious attempts to trap dragons.
The dragon cage with lock is used to contain captured dragons, while the functioning crossbows defend against any incoming fire. The Playmobil How to Train Your Dragon Drago's Ship set includes Drago, one other figure, spears, torch and other accessories.


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NewsFederal Politics
news, federal-politics, kimberley kitching, rex patrick, australia and china, belt and road, inquiry into australia and china
Crossbench Senator Rex Patrick has accused Labor of an unjustified "sensitivity" about China after the party put off a planned inquiry into Australia's relationship with China and the "belt and road" blueprint for influence. Labor insists the inquiry will happen, but wants more time to consider the terms of reference. Labor's Kimberley Kitching and Senator Patrick were to jointly sponsor a referral on Thursday morning for a wide-ranging inquiry on Australia's relations with China, but the move was abruptly withdrawn by Labor on Wednesday evening. It is now postponed till the Senate sits in September. The inquiry envisaged hearing from the government agencies, businesses working in China, people claiming human rights abuses, academics, state and territory governments and possibly also the United States. The Chinese ambassador would be invited to appear, and the Chinese government to make a submission. The inquiry was to canvass a suite of contentious and diplomatically sensitive topics, including the management of diplomatic and consular arrangements, and "Australian and Chinese perspectives on ... regional and global security issues". It was also to look at "tourism, cultural exchanges and people-to-people ties", dialogue on human rights issues and education and research links. Chinese students are by big far the biggest cohort of international students, making up 30 per cent of Australia's 620,000 international students this year, with the proportion rising. About 40 per cent of the 26,600 students at the Australian National University are international students. The university was recently caught up a hacking scandal in which China has been implicated by the intelligence community. Almost 20 years of personal data from students and staff was accessed in the hack. The Senate inquiry would have looked at trade, investment and infrastructure, including the belt and road initiative, which has caused alarm as the extent of China's inroads into Pacific Island nations has been belatedly recognised, and after the Victorian government become the first in Australia to sign a belt and road memorandum of understanding with China last year. Delving into a minefield of agreements and relationships with China, the inquiry was to have considered relationships that state and local governments, universities and other academic bodies, businesses and non-government organisations have with China. In another sweeping remit, the inquiry was to consider "the management of a mutually respectful and beneficial bilateral relationship". The inquiry proposal comes amid tensions between China and the US over trade at China's build-up of infrastructure in the South China Sea, and as US president Donald Trump pursues an unpredictable and unorthodox foreign policy, forcing Australia to rethink its position in the region. Senator Kitching, who chairs the Foreign Affairs, Defence and Trade References Committee which would conduct the inquiry, said it would go ahead but had simply been postponed to ensure the terms of reference had bipartisan support, with "a variety of people" wanting to consider it. "People just wanted to think about some of the terms of reference," she said. "It's not withdrawn. It will be happening. It's just that it's been postponed to the next sitting day." Senator Patrick said a "wide-ranging and rigorous inquiry" was in the national interest. Australia's relationship with China was extremely important and Australia must maximise benefit from the relationship, but also understand where to be cautious. "It is regretful that Labor decided at the last minute to withdraw from sponsoring the motion," he said, hoping the party would "find a way" to support it in September. Last year, Senator Patrick tried to set up an inquiry into Victoria's decision to sign a belt and road agreement with China. The move was stymied by Labor and Liberal, despite Prime Minister Scott Morrison criticising the Victorian government for not consulting the federal government. Senator Patrick said he was "getting the feeling the parliament is starting to self-censor itself on what is one of Australia's most important bilateral relationships". "That is not a healthy state of affairs for our democracy, and doesn't help efforts to think calmly and clearly about how this key relationship is to be managed in the future."
https://nnimgt-a.akamaihd.net/transform/v1/crop/frm/39tstr5cRmgDDNRz6nLHfFd/a284393d-1355-4259-9cce-24ddbd8c28d9.jpg/r3_316_6175_3803_w1200_h678_fmax.jpg
August 1 2019 - 5:00PM
Inquiry into Australia's relationship with China postponed at 11th hour
Crossbench Senator Rex Patrick has accused Labor of an unjustified "sensitivity" about China after the party put off a planned inquiry into Australia's relationship with China and the "belt and road" blueprint for influence.
Labor insists the inquiry will happen, but wants more time to consider the terms of reference.
Labor's Kimberley Kitching and Senator Patrick were to jointly sponsor a referral on Thursday morning for a wide-ranging inquiry on Australia's relations with China, but the move was abruptly withdrawn by Labor on Wednesday evening. It is now postponed till the Senate sits in September.
The inquiry envisaged hearing from the government agencies, businesses working in China, people claiming human rights abuses, academics, state and territory governments and possibly also the United States. The Chinese ambassador would be invited to appear, and the Chinese government to make a submission.
The inquiry was to canvass a suite of contentious and diplomatically sensitive topics, including the management of diplomatic and consular arrangements, and "Australian and Chinese perspectives on ... regional and global security issues".
It was also to look at "tourism, cultural exchanges and people-to-people ties", dialogue on human rights issues and education and research links.
Chinese students are by big far the biggest cohort of international students, making up 30 per cent of Australia's 620,000 international students this year, with the proportion rising. About 40 per cent of the 26,600 students at the Australian National University are international students. The university was recently caught up a hacking scandal in which China has been implicated by the intelligence community. Almost 20 years of personal data from students and staff was accessed in the hack.
The Senate inquiry would have looked at trade, investment and infrastructure, including the belt and road initiative, which has caused alarm as the extent of China's inroads into Pacific Island nations has been belatedly recognised, and after the Victorian government become the first in Australia to sign a belt and road memorandum of understanding with China last year.
Delving into a minefield of agreements and relationships with China, the inquiry was to have considered relationships that state and local governments, universities and other academic bodies, businesses and non-government organisations have with China.
In another sweeping remit, the inquiry was to consider "the management of a mutually respectful and beneficial bilateral relationship".
Senator Rex Patrick: Unhappy that Labor delayed a jointly sponsored inquiry into Australia's relationship with China. Picture: Dominic Lorrimer
The inquiry proposal comes amid tensions between China and the US over trade at China's build-up of infrastructure in the South China Sea, and as US president Donald Trump pursues an unpredictable and unorthodox foreign policy, forcing Australia to rethink its position in the region.
Senator Kitching, who chairs the Foreign Affairs, Defence and Trade References Committee which would conduct the inquiry, said it would go ahead but had simply been postponed to ensure the terms of reference had bipartisan support, with "a variety of people" wanting to consider it.
"People just wanted to think about some of the terms of reference," she said. "It's not withdrawn. It will be happening. It's just that it's been postponed to the next sitting day."
Senator Patrick said a "wide-ranging and rigorous inquiry" was in the national interest. Australia's relationship with China was extremely important and Australia must maximise benefit from the relationship, but also understand where to be cautious.
"It is regretful that Labor decided at the last minute to withdraw from sponsoring the motion," he said, hoping the party would "find a way" to support it in September.
Last year, Senator Patrick tried to set up an inquiry into Victoria's decision to sign a belt and road agreement with China. The move was stymied by Labor and Liberal, despite Prime Minister Scott Morrison criticising the Victorian government for not consulting the federal government.
Senator Patrick said he was "getting the feeling the parliament is starting to self-censor itself on what is one of Australia's most important bilateral relationships".
"That is not a healthy state of affairs for our democracy, and doesn't help efforts to think calmly and clearly about how this key relationship is to be managed in the future."


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House Rules: A Novel
byJodi Picoult
Out of stock online.
The astonishing new novel from #1 New York Times bestselling author Jodi Picoult about a family torn apart by an accusation of murder.
They tell me I'm lucky to have a son who's so verbal, who is blisteringly intelligent, who can take apart the busted microwave and have it working again an hour later. They think there is no greater hell than having a son who is locked in his own world, unaware that there's a wider one to explore. But try having a son who is locked in his own world, and still wants to make a connection. A son who tries to be like everyone else, but truly doesn't know how.
Jacob Hunt is a teenage boy with Asperger's Syndrome. He's hopeless at reading social cues or expressing himself well to others, and like many kids with AS, Jacob has a special focus on one subject—in his case, forensic analysis. He's always showing up at crime scenes, thanks to the police scanner he keeps in his room, and telling the cops what they need to do…and he's usually right. But then one day his tutor is found dead, and the police come to question him. All of the hallmark behaviors of Asperger's—not looking someone in the eye, stimulatory tics and twitches—can look a lot like guilt to law enforcement personnel. Suddenly, Jacob finds himself accused of murder.
Emotionally powerful from beginning to end, House Rules looks at what it means to be different in our society, how autism affects a family, and how our legal system works well for people who communicate a certain way—and fails those who don't.
Title:House Rules: A Novel
Product dimensions:544 pages, 9.25 X 6.12 X 1.5 in
Shipping dimensions:544 pages, 9.25 X 6.12 X 1.5 in
Published:January 17, 2014
Publisher:Atria Books