State RTAP managers not only organize conferences and roadeos, but are instrumental in getting subrecipients to these events. According to the 2013 State RTAP Managers Survey, 78% of RTAP programs hold regular conferences, and 28% of those are in partnership with other organizations. Most of the time, the other organization is a state transit association, but it may also include other government entities, other states, non-profits, universities, and vendors. Approximately 27 states host a roadeo, and of those, 75% indicated that they do host it in conjunction with other organizations, such as their state transit associations, a transit agency, or non-profits. Overwhelmingly, when states partner to put together a conference or a roadeo, they do so with state transit associations. Conferences are ideal venues for communicating with subrecipients, gathering anecdotal information about needs, and reminding subrecipients about the programs and services that your state RTAP program has to offer.
Roadeos are typically held in conjunction with conferences, or as stand-alone events. They are contests as well as training opportunities for drivers and maintenance technicians, as knowledge can be shared between participants, and experts are often on hand to answer questions. Sometimes regional roadeos will yield winners to compete in state roadeos, and those winners will go on to compete nationally. The most common type of roadeo is the traditional bus roadeo, in which drivers compete by driving through a series of obstacles. National RTAP has produced the Bus Roadeo Toolkit, which is a guide to organizing and judging this type of roadeo. Less common is the maintenance roadeo. Arizona, Florida, Washington, and other states hold maintenance roadeos, testing maintenance employees' knowledge of van maintenance, electronics, and equipment diagnosis.
RTAP programs typically provide scholarships for rural providers in the state to attend either in-state or out-of-state conferences and roadeos. See Scholarships section for more information.


As a Christmas present, my siblings and I decided to surprise our parents with new and updated photos of us. So one day, we coordinated our outfits (which was easier said than done) and snuck off to our grandparents property. My boyfriend, Ben, was my assistant and helped in snapping the photos after I set everything up on the tripod. I think they turned out pretty good! What do you think?


text:
Q: After upgrading to 13.10, no applications are visible in the application lens I upgraded from 13.04 to 13.10 and now all icons in the application lens are gone.

This is what I tried so far:

*

*apt-get install --reinstall unity-lens-applications

*unity --replace and unity --reset-icons

*moving ~/.config to ~/.config2

*deleting ~/.cache/software-center and ~/.cache/unity
Most of these things have been suggested in this question: Unity Applications lens is empty - but all to no avail.

A: I think this is likely because the unity-scope-home package is not installed.
Try using Software Center to find and install that package, log out and back in to restart Unity, and see if that resolves the problem.

A: I think I may have had a similar problem, not sure it was due to upgrading to 13.10 or due to user error. I ended up fixing it as follows:

*

*Log out of unity and log in to tty1 (ctrl-alt-f1).

*"sudo apt-get purge unity" (gets rid of unity and it's settings).

*"sudo apt-get autoremove" (gets rid of any leftover packages that unity depended on, like the lenses and such.)

*"sudo reboot" and log into tty1 again afterwards.

*"sudo apt-get install unity"

Bit drastic, but it worked.

redpajama_set_name: RedPajamaStackExchange


text:
<?php

namespace JMS\Payment\CoreBundle\Form;

use JMS\Payment\CoreBundle\Form\Transformer\ChoosePaymentMethodTransformer;
use JMS\Payment\CoreBundle\PluginController\PluginControllerInterface;
use JMS\Payment\CoreBundle\PluginController\Result;
use JMS\Payment\CoreBundle\Util\Legacy;
use Symfony\Component\Form\AbstractType;
use Symfony\Component\Form\DataTransformerInterface;
use Symfony\Component\Form\FormBuilderInterface;
use Symfony\Component\Form\FormError;
use Symfony\Component\Form\FormEvent;
use Symfony\Component\Form\FormEvents;
use Symfony\Component\Form\FormInterface;
use Symfony\Component\OptionsResolver\OptionsResolver;
use Symfony\Component\OptionsResolver\OptionsResolverInterface;

/**
 * Form Type for Choosing a Payment Method.
 *
 * @author Johannes M. Schmitt <schmittjoh@gmail.com>
 */
class ChoosePaymentMethodType extends AbstractType
{
    private $pluginController;
    private $paymentMethods;
    private $transformer;

    public function __construct(PluginControllerInterface $pluginController, array $paymentMethods)
    {
        if (!$paymentMethods) {
            throw new \InvalidArgumentException('There is no payment method available. Did you forget to register concrete payment provider bundles such as JMSPaymentPaypalBundle?');
        }

        $this->pluginController = $pluginController;
        $this->paymentMethods = $paymentMethods;
    }

    public function setDataTransformer(DataTransformerInterface $transformer)
    {
        $this->transformer = $transformer;
    }

    public function buildForm(FormBuilderInterface $builder, array $options)
    {
        $options['available_methods'] = $this->getPaymentMethods($options['allowed_methods']);

        $this->buildChoiceList($builder, $options);

        foreach ($options['available_methods'] as $method => $class) {
            $methodOptions = isset($options['method_options'][$method]) ? $options['method_options'][$method] : array();
            $builder->add('data_'.$method, $class, $methodOptions);
        }

        $self = $this;
        $builder->addEventListener(FormEvents::POST_SUBMIT, function ($form) use ($self, $options) {
            $self->validate($form, $options);
        });

        // To maintain BC, we instantiate a new ChoosePaymentMethodTransformer in
        // case it hasn't been supplied.
        $transformer = $this->transformer
            ? $this->transformer
            : new ChoosePaymentMethodTransformer()
        ;

        $transformer->setOptions($options);
        $builder->addModelTransformer($transformer);
    }

    protected function buildChoiceList(FormBuilderInterface $builder, array $options)
    {
        $methods = $options['available_methods'];
        $choiceOptions = $options['choice_options'];

        $options = array_merge(array(
            'expanded' => true,
            'data' => $options['default_method'],
        ), $options);

        // Remove unwanted options
        $options = array_intersect_key($options, array_flip(array(
            'expanded',
            'data',
        )));

        $options = array_merge($options, $choiceOptions);

        $options['choices'] = array();
        foreach (array_keys($methods) as $method) {
            $label = 'form.label.'.$method;

            if (Legacy::formChoicesAsValues()) {
                $options['choices'][$method] = $label;
            } else {
                $options['choices'][$label] = $method;
            }
        }

        $type = Legacy::supportsFormTypeName()
            ? 'choice'
            : 'Symfony\Component\Form\Extension\Core\Type\ChoiceType'
        ;

        $builder->add('method', $type, $options);
    }

    public function validate(FormEvent $event, array $options)
    {
        $form = $event->getForm();
        $instruction = $form->getData();

        if (null === $instruction->getPaymentSystemName()) {
            $form->addError(new FormError('form.error.payment_method_required'));

            return;
        }

        if (!array_key_exists($instruction->getPaymentSystemName(), $options['available_methods'])) {
            $form->addError(new FormError('form.error.invalid_payment_method'));

            return;
        }

        $result = $this->pluginController->checkPaymentInstruction($instruction);
        if (Result::STATUS_SUCCESS !== $result->getStatus()) {
            $this->applyErrorsToForm($form, $result);

            return;
        }

        $result = $this->pluginController->validatePaymentInstruction($instruction);
        if (Result::STATUS_SUCCESS !== $result->getStatus()) {
            $this->applyErrorsToForm($form, $result);
        }
    }

    public function configureOptions(OptionsResolver $resolver)
    {
        $resolver->setRequired(array(
            'amount',
            'currency',
        ));

        $resolver->setDefaults(array(
            'predefined_data' => array(),
            'allowed_methods' => array(),
            'default_method'  => null,
            'method_options'  => array(),
            'choice_options'  => array(),
        ));

        $allowedTypes = array(
            'amount'          => array('numeric', 'closure'),
            'currency'        => 'string',
            'predefined_data' => 'array',
            'allowed_methods' => 'array',
            'default_method'  => array('null', 'string'),
            'method_options'  => 'array',
            'choice_options'  => 'array',
        );

        if (Legacy::supportsFormTypeConfigureOptions()) {
            $resolver->setAllowedTypes($allowedTypes);
        } else {
            foreach ($allowedTypes as $key => $value) {
                $resolver->addAllowedTypes($key, $value);
            }
        }
    }

    public function getBlockPrefix()
    {
        return 'jms_choose_payment_method';
    }

    /**
     * Legacy support for Symfony < 3.0.
     */
    public function setDefaultOptions(OptionsResolverInterface $resolver)
    {
        $this->configureOptions($resolver);
    }

    /**
     * Legacy support for Symfony < 3.0.
     */
    public function getName()
    {
        return $this->getBlockPrefix();
    }

    private function applyErrorsToForm(FormInterface $form, Result $result)
    {
        $ex = $result->getPluginException();

        $globalErrors = $ex->getGlobalErrors();
        $dataErrors = $ex->getDataErrors();

        // add a generic error message
        if (!$dataErrors && !$globalErrors) {
            $form->addError(new FormError('form.error.invalid_payment_instruction'));

            return;
        }

        foreach ($globalErrors as $error) {
            $form->addError(new FormError($error));
        }

        foreach ($dataErrors as $path => $error) {
            $path = explode('.', $path);
            $field = $form;
            do {
                $field = $field->get(array_shift($path));
            } while ($path);

            $field->addError(new FormError($error));
        }
    }

    private function getPaymentMethods($allowedMethods)
    {
        $allowAllMethods = empty($allowedMethods);
        $availableMethods = array();

        foreach ($this->paymentMethods as $methodKey => $methodClass) {
            if (!$allowAllMethods && !in_array($methodKey, $allowedMethods, true)) {
                continue;
            }

            $availableMethods[$methodKey] = $methodClass;
        }

        if (empty($availableMethods)) {
            throw new \RuntimeException(sprintf(
                'You have not selected any payment methods. Available methods: "%s"',
                implode(', ', $this->paymentMethods)
            ));
        }

        return $availableMethods;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Singapore: Cyber Security Agency advises businesses to strengthen cybersecurity posture against cyberattacks
By Andy Leck, Ken Chia and Alex Toh March 20, 2022 4 Mins Read
With increased cyber threats arising from the invasion of Ukraine by Russia, organisations are encouraged to bolster cyber defences to protect their devices, networks and systems.
The Singapore Computer Emergency Response Team (SingCERT), set up by the Cyber Security Agency of Singapore to facilitate the detection, resolution and prevention of cybersecurity-related incidents on the internet, has issued a list of measures that organisations should adopt to ensure proper cyber hygiene controls are in place and operating correctly.
SingCERT's advisory is issued on the basis of warnings of increased cyber threats globally arising from the recent cyberattacks on Ukraine and the developments in the invasion of Ukraine by Russia.
These fundamental steps, summarised below, are intended to strengthen an organisation's defences against possible cyberattacks, such as web defacement, distributed denial of service and ransomware.
Recommended actions
To ensure fundamental cybersecurity measures are in place, SingCERT recommends the following actions:
Secure Systems and Network Infrastructure Ensure that multifactor authentication is required for all remote/privileged/administrative access to the organisation's network.Update systems, applications and software to the latest version and download the latest security patches.Disable all ports and protocols that are not essential for business purposes.Install anti-virus software and keep the software (and its virus definition files) updated. Perform a scan of the systems and networks at least once a week and scan all received files.Implement strong access controls if using cloud services.
Monitor Network Connections and Review System Logs to Quickly Detect a Potential Intrusion Enable logging of system events to facilitate investigation of suspicious events or issues.Enable user access logging and consider using a Security Information and Event Management appliance for aggregation and monitoring of logs to maintain visibility even after logging periods.Actively review both Active Directory sign-in logs and unified audit logs for unusual activity.Closely monitor inbound and outbound network traffic for suspicious communications or data transmissions.
Prepare for Ransomware Attacks Organisations should be on the lookout for potential ransomware attacks — one of the most common attacks conducted by threat actors. Falling victim to such attacks will adversely impact the operations and business continuity of any organisation.
Prepare Incident Response and Business Continuity Plans Back up data regularly and ensure that backups are isolated from network connections.Establish and validate an incident response and management plan.Ensure that critical business functions remain operable if the network becomes unavailable.
Source: SingCERT
Organisations with more resources available should also consider taking advanced actions recommended by the UK National Cyber Security Centre guidance, which includes:
Reprioritising resources and investment to accelerate cybersecurity improvement plans
Revisiting key risk-based decisions and validating whether the organisation is willing to continue to tolerate those risks or to invest in remediation or accept a capability reduction
Assessing whether it is appropriate to accept a temporary reduction in functionality (e.g., high-risk system functions such as rich data exchange from untrusted networks)
Taking a more aggressive approach to patching security vulnerabilities, accepting that this may have an impact on services
Considering delaying any significant system changes that are not security-related
Extending the operational hours of the organisation's operational security team or having contingency plans in place to scale up operations quickly if a cyber incident occurs
Procuring threat feeds for systems that take automated action or notifications based on threat intelligence
Organisations affected by a cyberattack or have evidence of any suspicious compromise of their networks should consider reporting the incident to SingCERT, using the Cyber Incident Reporting Form.
© 2022 Baker & McKenzie.Wong & Leow. All rights reserved. Baker & McKenzie.Wong & Leow is incorporated with limited liability and is a member firm of Baker & McKenzie International, a global law firm with member law firms around the world. In accordance with the common terminology used in professional service organizations, reference to a "principal" means a person who is a partner, or equivalent, in such a law firm. Similarly, reference to an "office" means an office of any such law firm. This may qualify as "Attorney Advertising" requiring notice in some jurisdictions. Prior results do not guarantee a similar outcome.
Author Andy Leck
Andy Leck is the managing principal of Baker McKenzie.Wong & Leow. Mr. Leck is recognised by the world's leading industry and legal publications as a leader in his field. Asian Legal Business notes that he "always gives good, quick advice, [is] client-focused and has strong technical knowledge for his areas of practice". Alongside his current role as managing principal, Mr. Leck has held several leadership positions in the Firm and externally as a leading IP practitioner. He currently serves on the International Trademark Association's Board of Directors and is a member of the Singapore Copyright Tribunal.
Author Ken Chia
Ken Chia is a member of the Firm's IP Tech, International Commercial & Trade and Competition Practice Groups. He is regularly ranked as a leading TMT and competition lawyer by top legal directories, including Chambers Asia Pacific and Legal 500 Asia Pacific. Ken is an IAPP Certified International Privacy Professional (FIP, CIPP(A), CIPT, CIPM) and a fellow of the Chartered Institute of Arbitrators and the Singapore Institute of Arbitrators.
Author Alex Toh
Alex is a local principal in the Intellectual Property & Technology Practice Group in Baker McKenzie Wong & Leow with over 13 years of experience. Alex is a Certified Information Privacy Professional (CIPP/EU) by the International Association of Privacy Professionals (IAPP), a certified AI Ethics and Governance Professional by the Singapore Computer Society and a member of the Cybersecurity and Data Protection Committee of the Law Society of Singapore. He holds a master's in law, science and technology from Stanford University.
Indonesia: Asset acquisitions – do you really have to notify?

redpajama_set_name: RedPajamaCommonCrawl


The Maryland Rifle Club again is sponsoring jointly with the Maryland State Rifle Team an AR-15 Rifle Clinic. The objective of this clinic is to develop proficiency in using the AR-15.
This clinic is for shooters (new or inexperienced) who want to learn marksmanship skills with the AR-15. It is also for shooters who have some experience with an AR but have not shot competitively. This is not a clinic for teaching intermediate or advanced skills.
Juniors (15-21) are encouraged to register. A junior has to be able to safely handle the rifle in the standing position.
Coaching will be provided by experienced highpower rifle shooters. Coaching on the firing line will be one on one.
Rifles and ammo will be provided.
The clinic is limited to 32 attendees and always fills up fast. So don't delay if you are interested!
NOTE: It is highly recommended that you do stretching exercises starting a few weeks prior to the clinic. This will help with getting into and maintaining the prone and sitting positions which is taught using a sling for support. Otherwise, you might find your muscles too sore to complete the clinic.
A 2 day clinic, Saturday March 18, 2017 & Saturday March 25, 2017 (7:30am-4:30pm).
Cost: $95 per adult, Juniors (under 21) $55. Preregistration required. Attendance limited to first 32 paid applicants. No refunds will be issued for cancellations less than 21 days before 3/19/16.


text:
Twitter Archiving Service TweetBackup Hits The Deadpool As Owner Backupify Focuses More On Enterprise
Time for a back-up plan for your Twitter back-up plan. Backupify — the Cambridge, MA cloud-based backup, search and restore provider for online services — is shutting down TweetBackup, a company originally founded in Sweden that Backupify acquired in 2010 for an undisclosed amount. Tweetbackup has posted a note about the closure on its site, as well as — yes — on its Twitter account, noting that new signups are stopping as of today, and that existing users will have 30 days, until June 28, to keep logging into their accounts and back up their Twitter data elsewhere.
After 45 days, it notes, "we will begin purging the data from our Amazon servers."
On one of the two FAQ pages that Backupify has created to answer some questions about the service, it suggests a couple of alternatives to TweetBackup's subscribers: for business users, the company recommends Backupify's own-branded service; for consumers, it suggests going somewhere else altogether, either Ditto from Norton Labs, owned by one of Backupify's strategic investors, Symantec; or SocialSafe.
We are reaching out to the company to find out more, but it looks like this is part of a larger strategy at the company to reposition itself more closely on its enterprise services and away from lower cost/free consumer offerings.
In fact, this may not be too new of an idea:
"We always intended to have Tweetbackup users join Backupify's base Twitter service," Backupify's Jason Ellis notes. And in July 2012, when Backupify announced the $9 million round in which Symantec invested, it noted that the free services (TweetBackup was one) were there for lead-generation for paid apps.
It is not clear how many active users TweetBackup has at the moment. In 2010, the company had a policy of requiring users of its service to follow it on Twitter — evidenced at that time because @tweetbackup was the only account Wikileaks was following at the height of its controversy with Amazon and PayPal over contributions via their payment systems. By that measure, Tweetbackup had around 57,382 users, although the same platform is likely also used as part of Backupify's wider Personal Apps social media backup service. Last year when Backupify announced its Series C round of funding it had 170,000 users, free and paid.
Backupify offers paid standalone products to back up Google Apps and Salesforce. "Personal Apps, which include Facebook and Twitter, has a freemium model. It will backup personal apps free for a limited amount of data and then charge for more features and more storage space. (Prices for paid services range from $3/month/user for the most basic Google Apps backup through to $50/month for 10 licenses of 1GB each for Salesforce.)
Given that Twitter has now made its own archiving service more widely available, perhaps the writing was on the wall for whether Backupify would ever be able to translate Tweetbackup into a more profitable service without more investment to enhance the product. Monetizing even appeared to be one of the issues behind the company's acquisition back in 2010:
"They're the number-one ranking company in Google for Twitter backup," Rob May, co-founder and CEO of Backupify, said of the company at the time of the acquisition. "I guess they had some problems monetizing their user base, and so were looking to sell."
Meanwhile, there are other services like FrostBox and SocialSafe that back up multiple social media accounts. Both of these are now offering free, six month licenses to TweetBackup refugees.


text:
using namespace std;

DividendMessage::DividendMessage(string data)
{
    _data = data;
}

UniValue DividendMessage::decode()
{
    int quantityPerUnitLen = (8*8);
    int assetIdLen = (8*8);
    int dividendAssetIdLen = (8*8);

    int offset = 0;
    unsigned long quantityPerUnit = stol(_data.substr(offset, quantityPerUnitLen), nullptr, 2);

    offset += quantityPerUnitLen;
    unsigned long assetId = stol(_data.substr(offset, assetIdLen), nullptr, 2);

    offset += assetIdLen;
    unsigned long dividendAssetId = stol(_data.substr(offset, dividendAssetIdLen), nullptr, 2);

    string asset = assetName(assetId);
    string dividendAsset = assetName(dividendAssetId);

    UniValue decodedCpTx(UniValue::VOBJ);
    decodedCpTx.push_back(Pair("type", "dividend"));
    decodedCpTx.push_back(Pair("quantity_per_unit", (int64_t)quantityPerUnit));
    decodedCpTx.push_back(Pair("asset", asset));
    decodedCpTx.push_back(Pair("dividend_asset", dividendAsset));

    return decodedCpTx;
}


text:
British Literature Wiki
Medieval and Renaissance Literature
The Restoration and the 18th Century
The Twentieth Century
Keats's Letters
The Letters of John Keats
John Keats has over 240 surviving letters that were addressed to family and friends.These letters typify the predominant nineteenth-century means of communication containing everyday inquiries about health, social planning and arrangements, and general gossip. His poetry includes many passages of literary interest which are often seen in drafts of poems–some of these are written in verse. He discusses his personal relationship with poetry, his theories of Beauty and Truth, the Imagination, Negative Capability and Soul making. He displays a talent for literary criticism while discussing Milton, Wordsworth, and Shakespeare. The latter is his favorite writer, explaining the many quotations from his plays, as well as biblical and classical references in his letters. His surviving letters, written mainly over the last five years of his life (1816-1821), reveal his loving family connections, his joyful comradeship with his friends, and his passion for Fanny Brawne. Unfortunately, family deaths, ill-health, money problems and quarreling friends are also present. When we read Keats' reactions to poetic criticism (which are quite objective compared to what Shelley would have us believe), we get an idea of the "ardours" of writing as well as some sharp comments on women (mother, sister and sweetheart excepted of course).
John Keats maintained correspondence with the recipients listed below.
For a chronological listing and archive of his letters, please click here.
For an example of an original manuscript of a letter, please click here.
Selected recipients include:
George and Thomas Keats
John Hamilton Reynolds
Richard Woodhouse
George and Georgiana Keats
Fanny Brawne
Percy Bysshe Shelley
"His letters are what letters ought to be: the fine things come in unexpectedly, neither introduced nor shown out, but between trifle and trifle."
T.S. Eliot (Modern Library)
The Importance of the Letters
Keats' contemporaries wrote specific essays and prefaces in defense of poetry, but Keats did not. He is known for the luxurious and sensational quality of his poems. These works of "art for art's sake" leave an impression of a young sensual poet who lacks depth. When his biography was published almost thirty years after his death, his letters revealed the depth to which he had thought about poetry and life. Norton claimed that Keats explored every seed of thought that he and his friends Cole and Hazlitt discussed, and these letters do indeed show that no examination of any subject was final. He was always pursuing new meaning. (p 940)
T. S. Eliot believed his judgment of poetry to be "genius" for a man so young. His 'philosophic mind' allowed him to shed his ego and "let the mind be a thoroughfare for all thoughts." Walter Jackson Bate believed that this saved him from not having to reject any thought that cannot be "wrenched into a …systematic structure of one's own making" (Modern Library). Lionel Trilling wrote that in Keats "we have the wisdom of maturity arising from the preoccupations of youth." (p 5)Keats spent his short life discussing and pursuing the "burden of the mystery.' ( Keats liked to use Wordsworth's phrase)
On Being a Poet
"I have asked myself so often why I should be a Poet more than other Men, – seeing how great a thing it is, – how great things are to be gained by it – What a thing to be in the Mouth of Fame – that at last the Idea has grown so monstrously beyond my seeming Power of attainment that the other day I nearly consented with myself to drop into a Phaeton – yet 'tis a disgrace to fail even in a huge attempt, and at this moment I drive the thought from me."
Poetry was clearly the dominant power and driving force behind Keats' short life. He writes passionately to his friends about his ambitions, about poetry and death, and his dedication to literary achievement. At one point he writes, "I read and write about eight hours a day." and expresses his dedication to perfection when he states, "…truth is I have been in such a state of Mind as to read over my Lines and hate them." In his letters to his colleagues and his brother, his poetic outlook on life and nature is outstanding and shows that it is possible to achieve the most perfect representation of poetic existence. On June 25-27, 1818, John Keats writes to his brother: "I shall learn poetry here and shall henceforth write more than ever, for the abstract endeavor of being able to add a mite to that mass of beauty which is harvested from these grand materials, by the finest spirits, and put into ethereal existence for the relish of one's fellows." Keats is seemingly aware of his gift and strives to perfect his existing talents in order to achieve and exude what it truly is to be, in his mind, an enlightened poet.
"Negative Capability"
Keats defines negative capability as, "when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact and reason." On a personal level, poetry is shaped by a writer's personal interests and beliefs. Objectively, however, the poet is receptive to "uncertainties" of experience, like death, sickness or unknowing. Any contrariness is overcome by Beauty. (Norton p 942 footnote) He believed Shakespeare was a master of seeing the truth in all the honesty of its contradictions. In a letter to Richard Woodhouse in October, 1818, (Norton p 947) Keats claims that the poet is a "(camelion… is it supposed to be chameleon?)," relishing the dark side as well as the bright "because they both end in speculation." He has "as much delight in conceiving an Iago as an Imogen." "A poet has to show some truth and pleasure and overcome any unpleasant aspect," and just as a philosopher or scientist arrives at a conclusion, a poem must be a conclusive work, and Beauty is what enables him to arrive at a complete work of art.
"Truth is Beauty"
According to The Norton Anthology, this expression could also be known as "beauty is reality" or "beauty is real" which basically breaks down to the fact that beauty is all around us. "O for a Life of Sensations rather than of Thoughts!" Since the publication of "Ode to Grecian Urn," in 1819, one of the most widely and deeply discussed lines has been, "'Beauty is truth, truth beauty,' -that is all/ Ye know on earth, and all ye need to know." This statement becomes "true" for every person when beautiful moments occur. These instants of beauty are associated with life actions, and are consequently interpreted in an infinite amount of ways. The message Keats wishes to convey is that poetry may be the mode for the expression of beauty. In a letter to his brother and sister in 1819, he wrote, "The great beauty of Poetry is, that it makes every thing every place interesting." A few years prior to "Grecian Urn," Keats wrote a letter to Benjamin Bailey (1817) which documented the beginnings of the beauty/ truth theology, "What the imagination seizes as Beauty must be truth." If beauty is true, it raises a good question. What is beauty? It is no definitive thing. We might be able to find examples of beauty, but beauty itself is merely a concept. This concept is truthful to each human, individually. This transcendent view of beauty is something that marked the Romantic period of British literature.
"Soulmaking"
Keats believed that experience was the key to finding our souls, that our hearts and minds arrive at a divinity in this world. He did not believe that we struggle in this "vale of tears" and are taken to heaven by God. "What a little circumscribed and straightened notion," he writes to his brother and sister-in-law in 1819. Our intelligences are "sparks of the divinity..atoms of perception" that know, see and are God. They 'become' souls "by the medium of a world like this." The world is like a school of learning in which our heart through circumstances learns to have a soul. Man's heart is tested by his experience and his altered nature is his soul. (Norton p 952)
Back to the John Keats Page
Complete Poems and Selected Letters of John Keats, Introduction by Edward Hirsch, The Modern Library, New York, 2001
"John Keats: Selected Letters." [Online] Available http://englishhistory.net/keats/letters.html, May 10, 2008.
The Norton Anthology of English Literature, Eight Edition, Vol. 2
Trilling, Lionel The Selected Letters of John Keats, Edited with an Introduction by Lionel Trilling, Farrar, Straus and Young, New York, 1951
"Picture of John Keats' Signature." Available: http://englishhistory.net/keats/letters.html
"John Keats." Bio. A&E Television Network, 2014. Web. 14 May 2014.
Nicole Spivey
Lindsay Uffelman
Katie Keeports
Ann Grewal
Outline/Working Version:
https://britlitwiki.wikispaces.com/Preliminary+Keats+Letters+Page
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text:
Makeup brutalism: how an Instagram account specialising in 'ugly makeup' created a new makeup trend
From tutorials on how to perfect a smoky eye to suitable makeup looks for every occasion you could think of, one thing is clear, the makeup industry has submerged the internet with a certain approach to creativity that somehow doesn't surprise anyone anymore. This led the new generation to become bored of seeing the same makeup content on social media, and rightfully so. So where does the future of the beauty industry lie? And what is the new makeup trend that will break the internet?
Surprisingly, 'ugly makeup' or 'makeup brutalism' might just be it. Screen Shot spoke to Eszter Magyar, also known as @makeupbrutalism on Instagram, about 'ugly makeup', her interpretation of makeup brutalism and how it might just be the next big thing.
G O L D | • • • • #makeup #makeupartist #makeupart #makeupbrutalism #uglymakeuprevolution #controversial #lipstick #lipart #contemporaryart #diastemacrew
A post shared by @ makeupbrutalism on Mar 15, 2020 at 12:57pm PDT
What exactly is makeup brutalism?
Makeup brutalism is basically the contrary to mainstream makeup trends that are found online—such as the 'natural glow' or 'chic cat eye'. Although the same kind of style was first visited by people like Alexander McQueen for his fall 2009 show in Paris, where makeup artist Peter Philips gave models bleached brows and oversized, smeared lips, Eszter Magyar kickstarted and added a name to the trend through her Instagram account @makeupbrutalism.
Magyar's Instagram page gained in 2018 the title of 'most hated beauty account of the year'. For her, makeup brutalism aims to create an anti-aesthetic revolution by encouraging more people to move against beauty norms. Born in Budapest and now based in London after living in Berlin for a few years, makeup activist Magyar is on a mission to disrupt the beauty industry.
How did she first start? Speaking to Screen Shot, Magyar explained that "Makeup brutalism started way before the account itself. It was a pretty organic process, me, who was bored with perfection, sat down at home and played with makeup and after a few years, here we are. I am a person who is naturally attracted to different and impactful creations. I was always questioned about everything. People told me that I don't look gay enough to be a lesbian or I don't look old enough to be a professional. I don't even look Hungarian enough to my country—my features are more German or Swedish-looking, they say. I was left outside all my own categories all the time, so I guess that was the base of my observant behaviour which lead a makeup habit to become my career."
Magyar's own sense of not 'fitting in' is highly recognisable in her makeup looks. Makeup brutalism is about taking what the beauty industry considers 'the norm' and pulling it apart to create something rough, sometimes disturbing, but real.
#makeupfuturism #makeupbrutalism #texture #contemporaryart #contemporaryart #art #artist #makeuptutorial #makeupartist #uglymakeuprevolution #aesthetics #aesthetic #aesthetic #aestheticedits #muafeaturing #avantgardemakeup #conceptualart #halloween #halloweendecor #halloweenmakeup
A post shared by @ makeupbrutalism on Oct 3, 2020 at 7:26am PDT
"[Makeup brutalism] comes from the architectural style Brutalism, which I adored from a very early age. I realised that people who don't know the reasons behind that particular style often easily consider it ugly. I am a little bit of a philosophical type, I love to look behind the evident. For me, all these additional things are adding so much to the image, to the value. For most people, brutalism is ugly and hateful, as makeup brutalism turned out for a lot of people too. I don't remember how I came up with this word, but it turned out as a perfect hit!" Disliking something because you don't understand it, or have never stumbled upon it before certainly sounds like a recurring pattern.
But Magyar doesn't seem to be preoccupied with people's perception of her work. With more than 109,000 followers on her main Instagram account @makeupbrutalism, the makeup artist also has three other Instagram accounts. Among them is @uglymakeuprevolution, which currently has 43,400 followers. The main difference between those accounts is that while the former only represents Magyar's creative vision when it comes to makeup, the latter belongs to "everyone who wants to be part of it," as she told me. By starting her experimentations by herself and then sharing her approach to beauty on social media, Magyar unknowingly created the makeup brutalism movement; a new and refreshing creative vision.
Ugly makeup as a political manifesto
What about 'ugly makeup'? Is there such a thing as ugly makeup, you might wonder. Apparently so, only, Magyar is using the term in a provocative way, while others might use it literally. "The usage of the word 'ugly' is pure gaslighting—to catch people's attention. You don't have to take it literally, but all the looks are irregular indeed, exciting and liberating."
But to Magyar, celebrating 'ugly makeup' does not only mean provoking Instagram users. While we now know the clearly-defined steps that makeup artists, fashion designers, musicians, and many other creatives have to take in order to 'make it', @makeupbrutalism is almost the antithesis of it.
Magyar steered clear from makeup tutorials and sponsorships. Her feed is not full of over-the-top positivity and girl boss attitude. Where most influential Instagram users would present the rest of the world with a perfectly-curated profile, @makeupbrutalism shares with followers such a novel approach to beauty in general that it makes it unbearable to some. And Magyar does it for the sake of creativity, not for the likes or the attention. "I had no purpose with this account, it was just experimenting. I was not driven to have that big of a following or never dreamed of getting that much attention."
Disregarding the mainstream definition of what is considered beautiful, Magyar's 'makeup activism' celebrates the ugly and disturbing, making a name for makeup brutalism in an industry that constantly looks for perfection.
In my recent interviews everyone asked me about my future plans. I don't know if this is a coincidence or people can feel it but I was thinking about this a lot lately. My main goal atm is to lead makeupbrutalism to the offline world. I would like to see it as a book, as workshops and mostly as real life "art" (💡) Why? Because what if one day this platform will be over ? I would lose all the hard work of the last years, I would lose my "legacy" ( wow such a big word .. but you know what I mean ) , my identity – I don't know who I would handle that. The truth is that as makeupbrutalism my reality is virtual. • • • • It is time for change that • • • • • #makeup #makeupbrutalism #esztermagyar #uglymakeuprevolution #makeupactivist #artist #conceptualart #conceptualartist #lashes #lashesextension #falselashes #falsies #makeupartistsupport #makeupartistfesture #makeupartistfeaturepage #skin #skincare #makeuponfleek #avantgarde #avantgardemakeup #conceptart #merchendise #unisex #myrealityisvirtual #makeupactivist #dazedbeauty #makeupcoyote #theartistedit
A post shared by @ makeupbrutalism on Sep 1, 2020 at 8:04am PDT
What is beauty anyway? And does it even exist?
When speaking to Magyar, I mentioned Kylie Jenner's monopole on the beauty industry as well as on influencer marketing. I asked her what she thought about today's beauty industry and whether she was aiming to revolutionise it. "What is beauty anyway?" she answered. Beauty is in the eye of the beholder, as they say, but then again, what happens when literally everyone has constant access to other people's false representation of themselves?
"There are so many definitions out there by so many great thinkers. Kant, Aristotle, etc… There are so many answers, layers and directions that at the end, we can choose who's definition we find the most attractive. I don't want to choose someone who felt the need to change herself entirely just to be acceptable. It's pretty ironic that someone who was so easily impressionable has such a huge impact. That's not the message I go for. Trends are something natural—they are always here around us, telling us how we should look—but the fun part is, what a flaw is today may just be the biggest and most desirable trend tomorrow. So what's the point? If something changes so quickly—does it even exist?"
For someone with such a strong influence on their social media audience, Magyar's nonchalance comes as a surprise. When beauty and wellness sectors started to realise the importance and power of influencers, they took advantage of the promotional opportunity that arose with the rise of authoritative voices. By commissioning these influencers to promote specific beauty products, they gave their customers a false sense of control, which in turn propelled the makeup industry to new heights. However, we are now wondering if this is actually changing to reverse?
No makeup brutalism for Kylie
And no Kylie Cosmetics for the makeup revolutionist Magyar. When asked whether she feels like an influencer in a niche market, she answered: "I don't think I'm an influencer in the way the Jenners and the Kardashians are. And to be honest, I have a bad taste in my mouth after this word. I don't even like to be called one, I feel it's offensive."
What about pressure then? Leading a liberated approach to the art of makeup must come with some pressure—or even hate. This is the sad reality of social media after all. "The only sort of pressure I felt was reflected in my behaviour and how I react to others. First, my mindset was to be nice with everyone, but I then realised it would be like putting a filter on my personality, so I just decided not to be nice to people I don't want to be nice to. It was liberating honestly. It is my way of self-expression—I don't owe anyone anything."
Advertise here II • • • Modern life • • • #makeup #makeupartist #makeuptutorial #makepactivist #makeuplooks #makeupideas #makeupbrutalism #uglymakeuprevolution #beautybloggers #beautyinfluencer #mua #muasupport #muasfeaturing #mualife #contemporaryart #contemporaryartist #avantgardemakeup #avantgarde #art #artistsoninstagram #contactlenses #influencer
A post shared by @ makeupbrutalism on Aug 15, 2020 at 7:49am PDT
What's next for Magyar then, if not fame and more followers? "I want to find the way to lead @makeupbrutalism in the offline world; as art, as a workshop series, as a book." Otherwise? "I'm a makeup artist, and that is a big surprise for most of the people," so her life is as busy as it gets.
Anyone who dared to share their creative vision with Instagram and received the title of 'most hated beauty account of the year' would probably have gone down another path by now—not Magyar. When it comes to makeup and beauty, her visionary ambitions have not yet been completely explored. Makeup brutalism, along with ugly makeup, is the new trend bound to revolutionise the beauty industry, whether you want it to or not, and to take it further—this movement may hold a meaning that is far more important to society than that of a trend itself.
Is carrot oil really the secret ingredient to hair growth?
Makeup artist May Tahmina Akhtar teaches us how to capture colourful and simple makeup looks
By Screen Shot
In partnership with Huawei
As part of our partnership with Huawei and its global smartphone photography competition Next-Image awards 2020, May Tahmina Akhtar responds to the 'Faces' category as she invites us into her world of portraiture and helps us understand what goes on behind the scenes of capturing a captivating portrait using a smartphone.
British-Bengali Akhtar, a Manchester-based creative, content creator and makeup artist, uses her face as a canvas as she experiments with her own history and upbringing—unafraid to show her true self in a whole new way, while unpacking what the Positive Power of Creativity means to her.
https://www.instagram.com/p/CCvqlldJtTO/
Faces: Akhtar tells us how portraiture helped her find her true self
"I loved the freedom of the category and being able to express myself. My inspiration was me. I'm really working towards having a type of work that screams me and I really think the look I did is a combination of the overall looks I love doing. It shows technique but also paints a picture of my culture and heritage!"
For Akhtar, photography has become an integral part of her work. By using the Huawei P40 Pro to film and photograph her makeup look, she draws from past experiences to inspire others in finding their own identity and to highlight the power creativity can have. Documenting her styles allows Akhtar to not only better her craft but also share her talent with the world. Using the phone's camera features, such capturing her images using the 32MP Dual View selfie camera and in the Super Resolution RAW format, Akhtar was able to depict her face and the makeup look she created for her submitted images in a resolution like no other, showcasing the intricate little details that make her face; her identity unique: "I was able to highlight the details that made this look so special for who I am, and for my identity."
Do you have a powerful portrait to share? Submit pictures of your creations taken on your Huawei smartphone to the Huawei Next-Image awards 2020 for a chance to win a creation fund of up to $10,000 USD.
The power of photography and video in Akhtar's career
After dropping out of her integrated masters and while waiting for different courses to start, Akhtar focused her attention on makeup, amassing over 40,000 followers across social media by posting simple and aesthetically pleasing makeup videos and photographs that encouraged more people to reflect on their heritage, their individualism and their creativity in unique ways. Akhtar sent out a clear message to her followers: you can do this too.
Akhtar saw her opportunity to further her approach to makeup while also redefining her British-Bengali origins: "I used to think makeup was boring and everyone did the same thing. But since finding the editorial side of it on social media and seeing the artistry behind it and how different people's style of makeup was, I began to do simple but graphic liner looks to express my style in a way modest clothing sometimes couldn't!"
What are the steps to capturing simple yet powerful makeup looks?
With the power of photography at our fingertips, capturing unique portraits is something each and every one of us can do. As Akhtar says, "Makeup is so free—you can do whatever you feel like doing."
To achieve and capture makeup looks as cheerful and fun as Akhtar's, experimentation is key. Faces are unique to each and every one of us, and the real power lies in the ability to celebrate our differences. "Don't be afraid to make mistakes as you can make a look out of it or run it out—it's not the end of the world!" explains Akhtar. Using the Huawei P40 Pro's Field-of-view fusion zoom has allowed Akhtar to capture her own interpretation of self-portraiture, adding her own mark on her ideas of faces, beauty and portraiture.
Last tip from the pro? Always remember that, whatever you decide to create, it is by capturing your creativity that you will make it stand out. Whether in makeup or in photography, "use your face as a canvas."
Akhtar uses makeup to share her culture and heritage through captivating portraits. What will you share about you? We want to know! Create your own narrative using your Huawei smartphone and submit your image to the Huawei Next-Image awards 2020 for a chance to win a creation fund of up to $10,000 USD.
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The Humor Code: Why Bridgetown Comedy Fest Is 'Summer Camp for Comedians'
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Author: Joel Warner and Peter McGrawJoel Warner and Peter McGraw
Andy Wood started the Bridgetown Comedy Festival to lure stand-up comics to Portland, Oregon.
Image: Luke Reznor
As part of their global expedition exploring what makes things funny, professor Peter McGraw and writer Joel Warner are grilling humorists about the science behind scoring laughs. The Humor Code chronicles their adventures, scientific experiments and unintentional comedy along the way. Learn more about McGraw, Warner and their escapades at HumorCode.com.
For a long, long time, the comedy scene in Portland, Oregon, was anemic. No "A-room" comedy clubs, no big comedy bookers, no national buzz.
That changed in 2008 with the launch of the city's Bridgetown Comedy Festival, which featured 50 comedians and headliner Patton Oswalt. The following year, the festival was considerably bigger, and a year after that, bigger still. Now, it's considered one of the hottest comedy events in the country, with this year's festival, running from Apr. 12 to 15, boasting hot acts like Eric Andre, Doug Benson, Maria Bamford, Amy Schumer and Myq Kaplan. (Full disclosure: The Humor Code will be there, too, hosting a presentation on the science of comedy.)
There's no question Portland is now firmly established on the national comedy map – and the credit goes largely to Andy Wood, an electrical engineer turned comic who helped launch Bridgetown and has served as its producer ever since. But success hasn't gone to Wood's head. He's still plugging away at his stand-up career, and during this year's festival, you'll find him trading sets with comedians he's invited from all over the country.
We wrangled a few minutes out of Wood's busy pre-festival schedule to grill him about the pros and cons of Bridgetown blowing up, how engineering instructs his joke construction, and why alpha males aren't funny.
Wired: What were you trying to accomplish by starting the Bridgetown Comedy Festival?
Andy Wood: When we started the festival, I don't think any of us pictured it growing into what it has become. It was a small-scale idea. As a relative newcomer to stand-up and a lifelong comedy fan, I was frustrated at the lack of attention the comedy scene in the Northwest was getting. Selfishly, I also really wanted to see my favorite comics perform live in my city, and that wasn't happening much at that time. Matt Braunger, Kimberly Brady and I put our heads together and came up with a list of comics we all liked, and it was surprisingly easy to get them up to Portland to perform.
I don't think we were trying to accomplish anything beyond throwing a big party of sorts and turning people on to some performers we thought were great.
Wired: How did being a comedian inform how you wanted to run your festival? What had other festivals always done wrong, from your perspective?
Wood: It was a blessing and a curse that I'd not only never performed in a comedy festival before starting Bridgetown, but I'd never even been to one. I just looked at the problem of how to organize a festival from the standpoint of a comedy fan: How would I want this thing to be laid out to make it the most fun to attend, and to maximize the comedy that I could see in a weekend? It's probably easier to start from square one like that rather than seeing how someone else has tackled the problem and trying to reverse-engineer it.
Some of the things people have told us they like about Bridgetown that separates it from other festivals are the close proximity of all the venues, the affordability of the tickets, the wide range of acts, and the fact that we have a ton of fun activities for the comics to do together outside of the shows they're performing on. That last part might be the most important factor in the festival's success. A lot of comics say this is the most fun weekend of their year and that it's like a giant summer camp for comedians.
Wired: For comics, what are the major differences between performing at a big festival like this and doing regular shows? Are some comedians better at one or the other?
Wood: Comedians who have been to Bridgetown say they have a good time because they're in the company of their peers, the fans are rabid, and it's a low-pressure situation. The lack of industry frees people up a bit and lets them do the kind of act they want to do. I think it has a much different feeling from doing a weekend of shows at a comedy club, where half the audience might have been coerced into coming, and the other half is just there for a bachelorette party and is drunk before the show starts.
Most comics I've seen at Bridgetown are at their best in a festival environment, but as our event grows and starts to have more of an industry presence, there's a risk of that changing. I'm not sure how to avoid that, because we want industry there to discover new talent, but we also want all the performers to have a good time and be free in the choices they make onstage.
Wired: Before becoming a comedian, you were an engineer. How does your engineering background inform your work in comedy?
>"I can't tolerate comedy that's based on a faulty premise, and I'm sure that's because of the engineer in me."
Wood: It definitely informs my work on the festival. The four months leading up to Bridgetown every year taxes both sides of my brain in equal amounts, which is fun for me. Well, maybe "fun" isn't the right word. I guess it just makes me feel less lazy about the left-brain atrophy that I go through the rest of the year. I was never the best engineer when that was my full-time job, and I'm far from the best comedian, but I'm decent at both, which might be a rarer thing than being really good at either. That comes in handy when we're trying to solve the hundreds of logistical problems that come up when you run a festival with 240 comedians performing on 12 stages in one weekend.
As a performer, my engineering background makes me approach joke-writing more analytically, and it affects my tastes as a fan of comedy. I can't tolerate comedy that's based on a faulty premise, for instance – in fact that's one of my biggest stand-up pet peeves – and I'm sure that's because of the engineer in me.
Wired: If folks are coming to your festival to try to spot the next big thing in comedy, what should they be looking for? What comic characteristics do you think indicate a shot at the big time?
Wood: A consistent, well-defined voice is as good an indicator of success as anything else. Audiences respond best when you inspire confidence in them – when they know they're in good hands and can sit back and trust that you know what you're doing. Even when someone's onstage persona is intentionally timid or low status, if the comic does it well, the audience can tell that he's in control, and they'll respond. That kind of confidence can make up for a lot of deficiencies, but when you also combine it with strong, original writing, that makes for an unstoppable comic.
Wired: Were you born funny, or did your funniness come from practice and development? Does good comedy have to come from a screwed-up childhood?
Wood: I wasn't born funny, and I don't think anybody is. I always had a love for stand-up comedy growing up, and that, combined with a dash of middle-child syndrome, is probably what pushed me into stand-up. I don't think comedy requires a screwed-up childhood, but you don't find a ton of great comics who were alpha males and females in their social circles growing up, so it certainly helps to have been an outcast in some fashion in your formative years.
Comedy does come from practice and development, even if you're not conscious of the fact that you're developing it. Some people are forced by their circumstances to start doing that at an early age, which obviously gives them a huge advantage later in life if they want to pursue a career in comedy.
Wired: How could the comedy industry do better at finding, fostering and promoting new talent?
Wood: Um, come to the Bridgetown Comedy Festival? Come on. That one's a lay-up.
I do think that our selection committee does a decent job of reviewing the hundreds of applicants to the festival objectively. We don't read people's bios and resumes first; we just watch the tapes. We try not to be influenced by managers, social obligations, etc., and pick the lineup based on whether the performances make us laugh.
As somewhat of an outsider to the comedy industry in general, I can't speak to how networks and other festivals make their talent decisions, but I sometimes get the feeling that performers are championed not because any decision maker was blown away by them, but because they thought they knew how to sell them. That seems backwards to me. Why not get behind people who actually inspire you?
To read more of this interview with Andy Wood, and learn more about McGraw, Warner and their escapades, visit HumorCode.com.
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Cattle Forage Agronomist Elver Hodges Dies at 107, Leaves Indelible Legacy
2-Oct-2019 12:05 PM EDT, by University of Florida Institute of Food and Agricultural Sciences
UF/IFAS
"Elver Hodges was an icon in Florida's beef ranching history," said John Arthington, former director of the UF/IFAS Range Cattle Research and Education Center and now the chair of the UF/IFAS animal sciences department at the Gainesville campus. "As the first forage professor at the Range Cattle REC, his work was instrumental in converting unimproved pastures into the productive forage systems that are common today."
Newswise — ONA, Fla. --- Elver Hodges blazed trails as the first scientist hired at the University of Florida/IFAS Range Cattle Research and Education Center. He introduced improved forages and management techniques for pastures.
Hodges passed away at the age of 107.
He died Sept. 25 at his home outside Wauchula, according to his daughter, Margaret Hodges Blanco. Those who wish to celebrate Hodges' life can go to his visitation at 10 a.m., followed by a celebration of life at 11 a.m., Oct. 12, at Wauchula United Methodist Church, 207 N. 7th Ave., Wauchula.
An agronomy professor with the UF Institute of Food and Agricultural Sciences for 39 years, Hodges focused primarily on legumes and grasses in his research and Extension work.
"Elver Hodges was an icon in Florida's beef ranching history," said John Arthington, former director of the UF/IFAS Range Cattle REC and now the chair of the UF/IFAS animal sciences department at the Gainesville campus. "As the first forage professor at the Range Cattle REC, his work was instrumental in converting unimproved pastures into the productive forage systems that are common today."
Hodges left an impeccable impression on his former colleagues, family and friends, not the least of which was Arthington.
Arthington recalls a time, shortly after he was hired at the center, when he met Hodges, who at the time had already been retired for many years. Hodges wanted to know if Arthington was a forage agronomist or an animal scientist. Arthington replied that he's an animal scientist.
According to Arthington, Hodges then said: "Well, let me tell you something right now. When you young guys come down to South Florida from the Midwest, the agronomists are always trying to grow alfalfa, and the animal scientists are always trying to artificially inseminate our cows. Pretty soon, they realize neither work in this country."
"I've always fondly remembered that discussion, and today, I think he may be right," Arthington said.
A few years ago, Hodges established an endowment for forage research at the center. At the center's annual Friends of Ona reception, Jack Payne, UF senior vice president for agriculture and natural resources and head of UF/IFAS, cited the success of the center's endowment growth and complimented Arthington on those efforts. Hodges interrupted Payne.
"I wouldn't say he's doing that good of a job. He just signed a 5-year agreement with a 100-year-old man," Arthington recalled Hodges saying.
Payne praised Hodges for his lifelong relationships with ranchers and cattle industry leaders.
"We all feel a huge void with the passing of Dr. Hodges," Payne said. "He knew Florida's ranchers, and they relied on his research. Well past the age of 100, Dr. Hodges went to the center regularly, and that should tell us a lot about his passion for cattle research and Extension work."
It's tough to list all of Hodge's achievements in a news article. But here are some examples.
The Florida Agricultural Hall of Fame inducted Hodges four years ago for his many accomplishments.
For instance, as part of the UF/IFAS livestock and forage program, Hodges helped develop forages such as Pangola digitgrass, Pensacola bahiagrass and star grasses. This forage improvement program revolutionized peninsular Florida beef production.
In the early 1940s, the Florida peninsula's open range provided little opportunity for cattle or forage improvement. But that changed in 1949, when the state legislature started requiring cattle to be fenced in. Another key to cattle improvements was the federal plant introduction program, through which scientists searched the world for new, beneficial forage species. This program brought grasses like Pangola digitgrass.
Hodges, known by many as "Doc," was born Aug. 2, 1912 on the Sunshine Bottom family farm, in Nebraska, an area bordered on the north by the Missouri River and on the south by 500-foot bluffs.
The Hodges family raised corn, wheat, alfalfa and hogs. Lynch, Nebraska, 10 miles away, was the closest town by horse and buggy.
In 1934, Hodges earned a bachelor's degree in agriculture from the University of Nebraska. After graduation, he returned to the family farm. The Dust Bowl ended his dreams of farming, and he returned to the University of Nebraska, where he obtained his master's degree in agronomy in 1936. Continuing his education, Hodges moved to New Brunswick, New Jersey and attended Rutgers University. He worked at the University of Hawaii from 1939 to1941 and then returned to Rutgers to earn his doctorate in 1941.
He then moved to Florida and served as an associate professor then professor with UF/IFAS at the Range Cattle REC from 1941 to 1980, retiring as a professor emeritus. Hodges then served as a professor in the U.S. Agency for International Development International Program to Malawi, 1980 to 1982.
Hodges met his future wife at the University of Nebraska, according to his daughter. They were married for 70 years when she died in 2008.
Andrea Dunlap, marketing and communications specialist at the center, described Hodges as "a man of faith."
"Dr. Hodges was an inspiration to me through his life," Dunlap said. "Thanks to his daughters and his care giver, Debbie Kuhns, he was able to continue to participate in UF/IFAS Range Cattle REC events in his later years, attending many, if not most, of our programs. The Hodges family and Debbie are, and will always be, like family to us. Dr. Hodges was a treasure-trove of historical information, always willing to answer questions and share. I will always be grateful our paths crossed."
Jim Handley, executive vice president of the Florida Cattlemen's Association, called Hodges "a remarkable person who has had a tremendous impact on the cattle industry in Florida. It is a privilege to thank him for his more than 40 years of research, teaching and service to the Florida cattle industry."
Click here to view a UF/IFAS video of a 2013 interview with Hodges.
By: Brad Buck, 813-757-2224, bradbuck@ufl.edu
The mission of the University of Florida Institute of Food and Agricultural Sciences is to develop knowledge relevant to agricultural, human and natural resources and to make that knowledge available to sustain and enhance the quality of human life. With more than a dozen research facilities, 67 county Extension offices, and award-winning students and faculty in the UF College of Agricultural and Life Sciences, UF/IFAS works to bring science-based solutions to the state's agricultural and natural resources industries, and all Florida residents. Visit the UF/IFAS web site at ifas.ufl.edu and follow us on social media at @UF_IFAS.


text:
Mike Zorz
Recommend Mike's obituary to your friends
Send Flowers for Mike
Obituary of Mike Zorz
It is with great sadness the family of Mike Zorz announce his passing at Garden City Manor on Sunday, January 8th 2023 in his 98th year. Mike leaves behind his cherished wife of 62 years, Antonia; sons, Frank Zorz and Robert (Holly) Zorz; grandchildren; sister: Dragica Popplin in Goriza Italy; Mike was predeceased by his daughter in 2020, Sandra (Roger) Bibaud; siblings: Joe, Olga, Maria and Louis. Mike will be missed by all his extended family in Canada, United States and Europe. Mike was a member of the United Brotherhood of Carpenters and Joiners of America Union Local 38 and the Slovenian National Home Lipa Park. He worked for Newman Bros. Limited before he retired. Mike found joy in the outdoors and was an avid beekeeper. The family wish to acknowledge the great care Mike received by the nurses and staff at Garden City Manor. In accordance with Mike's wishes, funeral arrangements have been entrusted with GEORGE DARTE FUNERAL HOME, 585 Carlton St., St. Catharines. The family invites guests for a time of gathering from 9:15AM-11:15AM at the funeral home on Thursday, January 12th 2023 with a Funeral Mass, at 12:00PM at St. Alfred's Church, 272 Vine St., St. Catharines with a burial to follow at Victoria Lawn Cemetery with a reception to follow at the Church Hall. As per the family wishes, donations may be made to a charity of your choice in honour of Mike.
George Darte Funeral Home
St. Catharines, Ontario, Canada
Funeral Mass
St Alfred Church
272 Vine St.
St Catharines, Ontario, Canada
Victoria Lawn Cemetery
431 Queenston Street


The Senior Staff Association of Electricity and Allied Companies (SSAEC) has on Friday, called for review and sanction of violators on electricity privatisation in the country.
The President General of the association, Mr. Chris Okonkwo made the call in Enugu at its 4th Triennial Delegates Conference themed: `Privatisation and unionism, Nigeria Power Sector Experience'.
Okonkwo said that the position of the senior staff association was that there should be a review on privatisation because they were given contracts but did not abide by the contract.
He urged the federal government to review the document on power privatisation to see if it had been violated and sanction those who had violated it and reward those who had not.
This he said is in a bid to promote the spirit of workers and partnership between and among workers, the companies and owners to enhance the cordial relationship.
The president said that basically, privatization was seen as transferring of public facilities to private hands and incidentally those private were business people and unfortunately with a bad mindset.
He said that some of the private companies disengaged experienced people and hired younger ones without experience in the power sector adding that the power sector was not a place for inexperienced people.
"Some of the workers were being handled like the casual staff as most of them do not have provision for the condition of service.
He urged the government to privatize the sector in their year to year budget so that Nigeria could have constant power in no distant future.
Igali explained that the electricity sector had for nearly 200 years became the most important determinant of the economic and social progress and material wealth of any nation.


text:
Maxine Weil
Director of Congregational Learning
Maxine Weil joined the CRC team in the summer of 2017 and has been enhancing our Jewish education and engagement opportunities from the moment she arrived. As the Director of Congregational Learning, she oversees the planning and implementation of Jewish educational experiences for all ages. Maxine's joined the CRC team with a wealth of experience in Jewish education ranging from early childhood and elementary to teen and adult engagement. Maxine has worked for the Central Agency of Jewish Education/Jewish Federation of St. Louis for the majority of her career as well as B'nai El as the Director of Education overseeing a Religious School of 300 students, and at Shirlee Green Preschool at Shaare Emeth as the Early Childhood Educator. She takes pride in the many programs she has created and implemented over the years and the personal connections that she has built with the families and children with whom she works. During her years at CAJE/JFed Maxine implemented the Jewish Community Hebrew Schools and more recently, JOLT: Jewish Opportunities and Learning for Teens which was open to all Jewish teens in the St. Louis Jewish Community.
Not only has Maxine created a welcoming atmosphere open to all children, teens and families in the programs she administered but she also worked closely with the community's Early Childhood Education Council and Youth Professionals Council which focused on collaborative programming, professional development, and mentoring. She was the recipient of the Fred A. Goldstein Award for Professional Leadership. Through her 30 plus years in Jewish education in St. Louis, she has engaged multiple generations and has become endearingly known as "Morah" Maxine.
maxine@centralreform.org
Tina Morrow
tina@centralreform.org
Terrell Wooten
terrell@centralreform.org
Sally Brown
Director of the Nest Early Childhood Center
sally@centralreform.org
Ron Davis
ron@centralreform.org


text:
O mocano (Visnea mocanera) é uma planta do género Visnea, da família Pentaphylacaceae, espécie endémica da ilha da Madeira e Canárias com a denominação Visnea mocanera'' Dryand. ex Aiton.

Apresenta-se como uma árvore de até 8 metros de altura com ramos curtos. Folhas são alternas, elípticas a lanceoladas, de 4 a 6 centímetros de comprimento, inteiras a incipientemente dentadas.

Apresenta flores esbranquiçadas com aproximadamente 1 centímetro de diâmetro, em inflorescências curtamente pedunculadas.

O fruto é uma cápsula de cor vermelho-anegrado quando maduro.

Trata-se de uma espécie endémica da ilha da Madeira e ilhas Canárias, bastante rara, que ocorre na floresta da Laurissilva do Barbusano.

Apresenta floração de Dezembro a Março.

Ao longo dos tempos a madeira desta planta, bastante pesada e de cor avermelhado, foi utilizada em embutidos. Actualmente trata-se de uma espécie muito rara cuja exploração é impossível.

Ver também
Laurissilva

Árvores e Florestas de Portugal - Açores e Madeira, Edic. Público, Comunicações, SA. Dep. Legal nº 254481/2007

Pentaphylacaceae
Flora da Madeira
Flora das Canárias
Floresta laurissilva
Flora de Portugal

redpajama_set_name: RedPajamaWikipedia


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text:
module Restforce
  module Bulk
    module Builder
      class Xml
        attr_accessor :operation

        def initialize(operation,options={})
          self.operation = operation
          @options = options
        end

        def job(object_name, content_type)
          build_xml(:jobInfo) do |xml|
            xml.operation operation
            xml.object object_name
            if @options[:externalIdFieldName]
              xml.externalIdFieldName @options[:externalIdFieldName]
            end
            xml.contentType content_type
          end
        end

        def close
          build_xml(:jobInfo) do |xml|
            xml.state 'Closed'
          end
        end

        def abort
          build_xml(:jobInfo) do |xml|
            xml.state 'Aborted'
          end
        end

        def transform(data, operation, content_type)
          operation == 'query' ? query(data) : generate(data)
        end

        def query(data)
          data
        end

        def generate(data)
          build_xml(:sObjects) do |xml|
            data.each do |item|
              xml.sObject do
                item.each do |attr, value|
                  xml.send(attr, value)
                end
              end
            end
          end
        end

        protected

        def build_xml(root, options={}, &block)
          Nokogiri::XML::Builder.new { |xml|
            xml.send(root, { xmlns: 'http://www.force.com/2009/06/asyncapi/dataload' }.merge(options), &block)
          }.to_xml(encoding: 'UTF-8')
        end
      end
    end
  end
end


text:
<?php
defined('BASEPATH') OR exit('No direct script access allowed');

class Welcome extends CI_Controller {

	/**
	 * Index Page for this controller.
	 *
	 * Maps to the following URL
	 * 		http://example.com/index.php/welcome
	 *	- or -
	 * 		http://example.com/index.php/welcome/index
	 *	- or -
	 * Since this controller is set as the default controller in
	 * config/routes.php, it's displayed at http://example.com/
	 *
	 * So any other public methods not prefixed with an underscore will
	 * map to /index.php/welcome/<method_name>
	 * @see http://codeigniter.com/user_guide/general/urls.html
	 */

	function testlibevent()
	{
		static $i;

		$i++;

		if ($i == 10) {
			event_base_loopexit(-1);
		}
		//var_dump($buf);
		//var_dump(event_buffer_read(array(), 10));
	}

	public function index()
	{
		$this->load->view('test');
		echo 'Hello World';
		phpinfo();
		testlibevent();
	}

	public function printfHello()
	{
		echo 'Hello World';
	}

}


It's time for another Thanksgiving Day with The Breathing Room! Each year we provide a complete Thanksgiving dinner for our recipient families with all the little details worked out. Everything from the Turkey to desserts are included for their feast! Of course the whole point is to provide that little bit of breathing room for our families and let 'em enjoy this great holiday without having the worry or stress that the holidays can sometimes bring.
Here are some details to guide you as you plan your uncooked dinner basket or organize your family, friends or co-workers' contributions. The families cook their own turkeys but we provide the necessary ingredients.
The uncooked meal will be delivered to the families the Saturday before Thanksgiving, November 22. This allows the families to check that all the necessary food has been supplied to them. If the ingredients for traditional side dishes are missing, they still have time to purchase them. Please have your meal to our new collection site at Immaculate Conception Hall by Wednesday, November 19. Our major distribution day is Saturday, November 22 beginning at 8:30 AM. Thank you very much in advance for your kindness and generosity for the Breathing Room Thanksgiving Dinner program!


text:
Out of the Park Baseball 20
The Golf Club 2019
Maximum Football 2018
FOFC
A Look Back At FIFA 98's Indoor Mode
Fraser Gilbert
I can still remember the moment I first laid eyes on a copy of FIFA: Road to World Cup 98 as a kid. I was just beginning to discover my affection for video games at the time, but I was instantly captivated by its addictive gameplay, and it'd go on to dominate my spare time over the next year.
I don't know where the last 20 years have gone, but my love for that game remains strong. I still fondly recall many of its unique features, such as its famous intro sequence with the sound of Blur's "Song 2" providing the perfect background. I even put The Crystal Method's "Busy Child" on my local bar's jukebox recently, purely to reminisce about FIFA 98's fantastic soundtrack. I was the only one in there that seemed to know it.
If you ask many fans who can remember back that far, they'll tell you that indoor mode was one of FIFA 98's most memorable qualities. Amazingly, we've yet to experience another iteration of the mode in EA's main FIFA series over the past 20 years, so let's take a trip down memory lane and remind ourselves of this classic feature.
(Source: Gamerankings.com)
FIFA: Road to World Cup 98
Heading into 1997, EA was only a few months removed from having released FIFA 97 itself, and its continual transition to a fully 3-D engine (on certain platforms) was providing an evident degree of struggle. The game was released to respectable acclaim, but its gameplay appeared to be lacking in certain areas.
At the time, FIFA's rivals included the revolutionary Actua Soccer (VR Soccer '96 in the US) and Konami's International Superstar Soccer Pro (also known as Goal Storm 2), with the latter company later going on to develop the Pro Evolution Soccer series. I personally enjoyed titles like these more extensively than EA's offerings at that period of time (and would eventually become an avid fan of the PES series), but when I first got my hands on a copy of FIFA: Road to World Cup 98, everything changed.
The game was released in late '97 for a variety of platforms, offering the full graphical experience for PC and high-end consoles. Finally, FIFA 98 offered refinement on a grand scale. The game's graphics were overhauled once more, as was its gameplay, to allow a smoother, more realistic feel. Its AI was also improved, causing IGN's review of the game to state: "The AI is very well executed so that the teams actually play as a proper team, rather than the simplistic kick-and-run of previous FIFA incarnations."
It wasn't just the gameplay, either. FIFA: Road to World Cup 98 offered a plethora of game modes, including, as the name suggests, a Road to World Cup mode featuring a massive 172 national teams from across the globe. Backed by an authentic soundtrack, huge roster and important upgrades across the board, FIFA: Road to World Cup 98 captured the attention of soccer fans instantly, and stuck long in the memory for those who had a chance to play it.
Indoor Mode
FIFA: Road to World Cup 98 included a variety of new features to the series, but indoor mode wasn't actually one of them. It had already been added the year before, but backed by improved gameplay and graphics, FIFA 98's version took it to a new level. It offered 5-on-5 matches inside an indoor arena, enclosed with different colored walls and pitches based on the version you played.
In indoor mode, the pitch was much smaller than usual and the ball never went out of play, ensuring that games were kept fast and furious at all times. It offered something very different from FIFA's usual fare, focusing less on the tactical nature of standard matches, and more on the frenetic, high-tempo encounters instead. It was the perfect mode for couch co-op with friends, or simply when you needed a break from the standard game of soccer.
Above all, FIFA fans remember the mode so fondly because it was a great deal of fun. You didn't have to worry about offsides, corners and throw-ins. It was exciting to hit the ball off the walls and watch it react in a unique fashion. It was just different, and back in '97, you didn't get stuff like this. At least, not with the same immersive gameplay that EA Sports was providing.
What happened to indoor mode? As of EA's World Cup 98, the mode was scrapped, and has yet to be featured since in the core series. However, let's take a detour to EA's FIFA Street series, which is the closest EA has come to replicating it.
I personally enjoy FIFA Street, and while the series has had somewhat of a hit-and-miss history, it offers something different from standard FIFA titles, sharing certain traits with the indoor mode of old. However, it's not quite the same as it's concerned with creating something niche, focusing on over-the-top skills and tricks to attract its audience. FIFA 98's indoor mode was just about playing regular FIFA in a condensed setting, and that's why FIFA Street has failed to scratch my personal itch as of yet.
2012's FIFA Street felt like a game that attempted to mesh both styles together. It took certain aspects of the sport very seriously, such as the introduction of an authentic replication of Futsal. The game attempted to mesh FIFA's existing control system with a new set of tricks, and ultimately, it did a pretty good job overall. It rarely deterred from its 'street' persona though, focusing on skills-based gameplay across all its game modes.
For that reason, I still think it's a valid option to add indoor mode to the core FIFA series, even if FIFA Street makes a welcome return at some point. You might suggest it's a bad idea from a business standpoint, but by offering a more in-depth 'street' experience for one title and a barebones indoor experience for the other, you'd hope the two could live in harmony.
It's clear that indoor mode's legacy has flourished over the years, but a 2015 VICE article suggests that it wasn't always that way. In it, former EA Canada producer Marc Aubanel appeared to suggest that the mode didn't garner much continued interest at the time.
Personally, I was a big fan of the mode back in the day, but it was at a time when internet access was somewhat of a rarity in my household, and it was hard to gauge how it was being received outside of my group of friends.
There's no doubt that indoor mode's legacy has grown over the years, though. Search for it on Google, and you'll find lots of praise being sent its way. Despite this, EA hasn't even flirted with an indoor mode in the main series over the past 20 years.
It's not like they refuse to acknowledge it. I uncovered a 2013 Mirror interview with EA's David Rutter in which he commented on its popularity, but denied that it would be coming back. Then, just last year, FIFA 17 lead gameplay producer Aaron McHardy told Digital Spy that "5-a-side football won't be in the game," crushing the hopes of its fans in the process.
So who really knows what's to become of indoor mode in the FIFA series. Will it ever be revived? Will its legacy continue to live on? The future is unclear, but for now, you can always grab your PS1 or N64 out of the attic, boot up some FIFA: Road to World Cup 98, and enjoy the nostalgic pleasures of its superb indoor action.
Do you remember FIFA's indoor mode? Would you like to see it make a return in FIFA 18? Let us know in the comments below.
Related Topics:FIFA 98, Indoor Mode, Indoor Soccer Mode
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Our Opinion: Who's going to pay for all this?
Promise-them-anything Democrat candidate for president Julian Castro was under fire last week from fellow liberals — for not promising Americans enough.
Castro, who served as secretary of Housing and Urban Development under former President Barack Obama, announced last weekend that he is running for the top office. His platform will include "Medicare for all," massive spending on "alternative" energy, universal preschool and paid tuition for all to attend college for two years, Castro said.
Two years? Not enough, Castro's critics reacted. Why other liberals are promising four years of paid tuition.
Questioned about that by The Associated Press, Castro backpedaled. "At least the first two years of college or university or apprenticeship program should be tuition-free — and preferably four years," he told a reporter.
Perhaps Castro's initial misstep was a result of thinking about the numbers. They tend to add up. Paying for all the freebies promised by some liberal candidates for president would eat up about twice what the federal government collects each year in taxes, some analysts have noted.
Even the small portion of free tuition would be an enormous new burden on taxpayers. Sen. Bernie Sanders, of Vermont, who never tires of pledging that, if elected, he will deliver all the goodies, admits free tuition for four years of higher education would cost at least $70 billion a year. He footnotes that by adding he includes only public colleges and universities in his calculations.
But don't worry, Sanders adds. The federal government would have to come up with only $47 billion a year. The remaining $23 billion would be dumped on the states.
It is early in the process of selecting nominees for president in the 2020 election. Thus far, however, Democrat leaders have encouraged ultra-liberal big spenders. Any hint of fiscal responsibility, such as that Castro demonstrated — if only briefly — is slapped down.
That grand strategy may gain lots of applause from certain crowds. Eventually, however, someone will ask the relevant question: Who's going to pay for all this?


text:
Q: setting on TargetSkd in Android App does insure that the app will work in every previous version? setting the targetsdk to 19 in my App and the minSdkVersion to 15 does ensure that my App works correctly on every previous targets (above the minSdkVersion) 18, 17 ? or we should also test our App to work on every other target ?

A: By specifying sdk version, you can not be sure, that will work in all versions above minimum sdk or not.
Android have some specific improvements time by time and also remove some old methods from code.
For old methods( depricated) you should change your code. You must ensure that you are using latest code.
Also ensure that, the code you have wrote is usable in older versions. Some of code not useful in prelollipop device, like transition animations. Android studio is great application, it also suggest method is deprecated for deprecated methods and also suggest code is only useful after android lollipop device.
When you writing code always check warning displayed by IDE .
I hope this helps you.