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COHEED AND CAMBRIA To Release First Non-Conceptual Album 'The Color Before The Sun'
COHEED AND CAMBRIA will release its new album, "The Color Before The Sun", on October 9 via 300 Entertainment. The band is giving fans an early listen, streaming the song and lyrics for "You Got Spirit, Kid" below, with the digital download of the single available globally on July 10.
"The Color Before The Sun" is the outfit's eighth studio album and their first non-conceptual release, with the previous offerings forming the larger story of "The Amory Wars", a science-fiction saga depicting the story of COHEED AND CAMBRIA Kilgannon. "The Color Before The Sun" was recorded at St. Charles Studio in Nashville, and produced by Jay Joyce (CAGE THE ELEPHANT, ERIC CHURCH, HALESTORM).
"The Color Before The Sun" marks the first time Claudio Sanchez is exposing his raw feelings, narrated from his own perspective. "I kind of want people to know that COHEED can write that sort of record," he explained of the album's departure from "The Amory Wars". "I've always said in the past that there's never been a limitation on the band. It makes no sense to me to draw a line in the sand and never cross it."
The New York-based band's album arrives via the recently formed label, 300 Entertainment who pride themselves on being an independent, creative driven record label that focuses on intense artist development.
300 Entertainment co-founder Lyor Cohen offers: "COHEED AND CAMBRIA have created a lane and legacy for themselves that is very much their own. Their DIY approach fits the ethos of 300. They've taken some brave artistic steps on this forthcoming new album and we are looking forward to sharing it with the world."
Funny Or Die recently shared an unexpected new song from the band, with the quartet putting Supreme Court Justice Scalia's dissenting opinions from the Affordable Care Act and Same-Sex Marriage rulings to music. The video, which has been viewed over 250,000 times, was not only picked up by music and comedy outlets but led a chorus of tweets and re-tweets from politicos, including Michael Moore, Paul Begala and Chris Hayes.
COHEED AND CAMBRIA return to the road in August with several festival appearances including headlining spots at Riot Fest and Fun Fun Fun Fest as well as a trio of special European performances of "In Keeping Secrets Of Silent Earth: 3".
Photo credit: LeAnn Mueller
Tags: coheed and cambria
DEEN CASTRONOVO's Absence From JOURNEY's New Year's Eve Performance Explained
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DEEP PURPLE's IAN PAICE Shares Personal Practice Video
SHINEDOWN Releases First Teaser Video For Seventh Studio Album
CRADLE OF FILTH Has 'Many Exciting Things Planned For 2022'

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The Wild, Remarkable Sex Scenes of Lidia Yuknavitch
By Garth Greenwell
Halfway through Lidia Yuknavitch's "The Small Backs of Children," a man we know only as "the painter" enters his studio. He feels trapped in his life and his marriage, desperate to escape what he calls "the devouring wife love hole." "If he can just inhale the nothingness and dark around him," he thinks, "and breathe out the light of the wifehouse behind him, he won't have to kill himself." He has been drinking, and in the studio he drinks more; he lights a joint; he paces; he undresses. After covering his face and chest with paint, he masturbates; using the paint as lubricant, he fingers himself "in budded juiced thrusts." After his orgasm, he makes a cut at his jaw, beginning beneath his ear, and lets his blood mix with the paint. "Then and only then does he move with real intention to the canvas," Yuknavitch writes. "He paints wildly, physically, with his body, his hands, brushes, oils, fluids, blood…. He paints with the fluids of a self outside language and thought, he paints in barbaric attacks of color on the canvas of white."
PHOTOGRAPH BY RENE BURRI/MAGNUM
"The Small Backs of Children" is Yuknavitch's second novel, and her first book to appear from a major press. (She's also the author of a memoir, "The Chronology of Water," and three books of short fiction, two of them with the avant-garde publisher Fiction Collective Two.) In all of her work, sex, violence, and art are inextricably linked. Her new novel centers on a photograph of a girl taken in an unnamed, war-torn Eastern European country, her image haloed in fire, captured at the moment when an explosion "atomizes" her home and family. The photographer sends it to a friend and former lover, a writer who, traumatized by the image of the girl, soon refuses to get out of bed. She stops speaking and eating; eventually, she's hospitalized. Convinced that the fate of the writer and the girl in the photo are connected, the writer's circle of friends, all of them artists—her filmmaker husband, her playwright brother, a renowned poet who is her "dearest and fiercest friend"—hatch a plan to bring the girl to America. Characters are not identified by name in the novel, but the details of the writer's life—she has recently delivered a stillborn child, she has struggled with addiction, her childhood was marked by sexual abuse—match many of those Yuknavitch offers in her memoir. Images, sentences, even whole scenes of the novel are recycled from that book and from her collections of short fiction.
In interviews, Yuknavitch has said that, in conceiving the novel's characters, she rejected "psychological realism," and instead "selected a moment or two of emotional intensity and put those emotional intensities in motion." The effect is a novel propelled not by a linear narrative but by something closer to the imagistic logic of poems. Much has been made of Yuknavitch's formal experimentation, especially the text's use of hybrid forms: some scenes are presented as dramatic scripts; verse is inserted in prose; one chapter consists of two columns of text to be read, somehow, simultaneously. But the genuinely subversive and challenging aspect of Yuknavitch's work is her foregrounding of the body, and especially her presentation of sex. Yuknavitch forces us to see the body in all its physicality, its flesh and fluids and excretions, and she depicts scenes of sex, including fetishistic and sadomasochistic sex, that are brutally visceral. Yuknavitch's sex scenes are remarkable among current American novelists, not just for their explicitness but for the way she uses them to pursue questions of agency, selfhood, and the ethical implications of making art.
Art and sex are both morally fraught activities for Yuknavitch. In "The Small Backs of Children," the painter, the photographer, and the playwright all believe that art places them outside the moral order, licensing—because "art is everything"—even serious harm. The photographer will argue with the writer about her responsibility to the lives she documents; the painter will save himself from "the wifehouse" with an act of shocking violence. "The painter shot his wife and the photographer shot me, to make art," the girl thinks late in the book. And sexual violence is omnipresent in the novel, suffered especially by the girl in her world of anarchic conflict. "There is no girl we are not always already making into a woman from the moment she is born," Yuknavitch writes. This is a charge both against the men who sexually violate the girl and the artists who want to turn her into their muse.
But, for Yuknavitch, extreme experience—which includes rough sex, inebriation, pain, and making art—offers access to a self that precedes or exceeds the rational; it submerges her characters in the corporeal and instinctual, bringing them to what she calls "the brink of animal." In such a state, violence can be "productive of beauty." After a night of intense, sadomasochistic sex, in which she directs one woman to pierce another's thighs with needles, "creating railroads across the territory of a woman's body," the poet wakes with the first line of a poem in her head. The girl from the photograph masturbates while she looks at art books, licking their pages; she begins to paint with her own blood, her menstruation triggered early by repeated sexual assault. As she discovers her talent, the girl is "delivered … from ash to art," and when she paints her own portrait she transforms the "victim of violence" of the photographer's image into a woman who "comes out of fire with a vengeance in her stare." "Such images make me a different kind of alive," the girl says, a statement that could be spoken by any of the novel's characters about the intense experiences they seek. Writing those experiences, Yuknavitch is willing to risk melodrama, obscenity, and sentimentality, seemingly indifferent to the supposed canons of good taste.
By insisting on a conception of art and writing that emphasizes the physicality of both, and by finding in the erotic what Audre Lorde called "a well of replenishing and provocative force," Yuknavitch draws on a specifically queer and feminist tradition of thought. She joins the assaultive presentation of sexuality in the work of the Marquis de Sade and Georges Bataille—a tradition Yuknavitch calls "the underbelly of literature"—with the ecstatic lyricism of the French novelist and theorist Monique Wittig, plus the conviction, shared with Hélène Cixous, that formal experiments can be politically liberating**.** "Such is the strength of women that, sweeping away syntax, breaking that famous thread," Cixous wrote, "…women will go right up to the impossible." Yuknavitch's sadomasochistic sex scenes also owe a debt to another French thinker, Michel Foucault, and his notion that consensual, ritualized sexual violence can affirm "the limited being and … the limitlessness into which it leaps." Such acts, in this view, have the potential to renew or even reinvent the self. Cixous, Wittig, and Foucault were among a number of French thinkers who became popular on university syllabi after the "theoretical turn" in literary studies in the nineteen-eighties, and in her memoir Yuknavitch notes the exhilaration she felt when she first encountered them as a graduate student. Not since Kathy Acker—Yuknavitch's "literary foremother," to whom she dedicated her second book of stories—has an American novelist written so vitally from within this tradition, claiming the body, especially the female body, as her primary subject, and writing polymorphous sexuality not only so explicitly but with such joy.
Yuknavitch resists the grandest claims of thinkers like Cixous, especially their hope that aesthetic commitment can lead to social transformation, a hope Yuknavitch tempers with American skepticism. "It's not as if anything in all of pukey human history has ever changed because some painfully brilliant person wrote down their ideas," a narrator says in her second collection of stories, "Liberty's Excess." Her aesthetic project centers on more intimate transformations: "This is a mother-daughter story," she writes in the new novel. "Just once, the story will keep its allegiance to the body of a single woman." And, for all the violence and even brutality of her work, she rejects the nihilism and death-hauntedness of Sade and Bataille, in favor of a commitment to community and mutually sustaining love. "This has been my life," the writer thinks, late in "The Small Backs of Children," expressing a sentiment that could as easily be spoken by the girl. "It is not a black hole of grief. It is making art." Yuknavitch's formal experiments attempt, like Acker's, to communicate extreme emotional states, the intensity of lived experience. "I am trying to put things into the world that alchemize the dark," she says, "and turn it to something beautiful."
Garth Greenwell is the author of "What Belongs to You." His most recent book, "Cleanness," was published in January.
More:BooksLiteratureSexual Violence
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Fern Siegel, Contributor
Deputy Editor, MediaPost
Stage Door: Da, The Woodsman
To Hugh Leonard, his father is the one thing he cannot escape. The autobiographical Da, now at the DR2 Theater off-Broadway, is the Irish Rep's revival of his bittersweet Tony-winning play.
Set in Dalkey, County Dublin in 1968, the memory play focuses on middle-aged Charlie (Ciaran O'Reilly), who has just buried his father. Yet the irascible Da (Paul O'Brien) returns as a ghost, unwilling to leave his angry son.
As Charlie wrestles with his past, neatly staged before his eyes, he confronts his younger self (Adam Petherbridge), his mother (Fiana Toibin), and Drumm (Sean Gormley), the civil servant who gave him his first job. Drumm, who seems to regard Charlie as the son he never had, is forever giving him advice.
The contrast between the unsophisticated gardener Da, who takes in Charlie, an illegitimate baby, and Drumm, an educated man, is striking. Da often embarrasses Charlie, roots for Hitler to win, and refuses any assistance his grown son offers.
In Catholic Ireland, his illegitimacy was a stigma, which explains, in part, his mother's sense of martyrdom. While both parental relationships are combative, the push-pull of his relationship with Da, which combines affection and frustration in equal measure, endures.
Da isn't nostalgia; it's a wry sense of how the past is prologue. Be it Charlie's first, awkward attempts at sex with the girl dubbed "the Yellow Peril" (Nicola Murphy) or re-connecting with an old friend Oliver (John Keating), the experience is telling. Charting his journey from working-class childhood to literary success in London, Charlie confronts his anger, cynicism and disdain. His debt to Da, like the love they share, is inescapable.
Director Charlotte Moore has assembled a strong cast, the scenes between Ciaran O'Reilly and Paul O'Brien are especially good, aided by brisk pacing and James Morgan's spot-on set. Da speaks to the miasma of regret that accompanies death -- in all its guises.
Transformations are also the subject of The Woodsman, an inventive artistic production at 59E59 Theaters. Noted for its clever programming, the theater has scored another winner in the dark tale of the Tin Man. Wicked made the multilayered back story to The Wizard of Oz riveting. Here, the focus is on one of Dorothy's triumvirate, the Tin Man, who begins life as the son of beloved parents. Originally named Nick Chopper (James Ortiz), he lives in a cursed region in the Land of Oz.
The strains of a violin are a perfect backdrop to the eerie atmosphere that envelops Munchkinland, thanks to Edward W. Hardy, the composer/music director and violinist. A sensory experience, The Woodsman is told primarily through music, movement and puppetry -- rendering the show both striking and mesmerizing.
It's Nick's ill fortune to fall for slave girl Nimmie (a wonderfully expressive Eliza Simpson), who is tormented by the Witch of the East (a fantastic two-person puppet). Love affairs are anathema to the evil witch -- and Nick pays dearly for his passion. Watching The Tinkers revamp Nick is a creative high point.
Creator and director James Ortiz, who also plays Nick, and costume designer Molly Seidel, have fashioned a compelling 60-minute show, a fantasy ideally suited to the space. The Woodsman invites us into a foreboding Oz that taps into the heart of darkness.
Woodsman photo: Hunter Canning
Arts Theatre New York Off Broadway


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Home // University // Data Protection // Data Protection Policy and FAQ
Data Protection Policy of the University of Luxembourg
Version of 14 May 2018
Dates of approval or advice:
Information de la Délégation du personnel: 27 June 2017
Rectorat: 20 February 2018
Conseil universitaire: 7 March 2018
Conseil de gouvernance: 14 May 2018
1. Purpose of the Policy
Employees at the University of Luxembourg (hereafter "the University") collect and process large amounts of personal data in the course of their research, scholarship of students and administrative tasks.
This Policy (hereafter "the Policy") forms part of the University's commitment to safeguarding personal data processed by its staff and personal data concerning its staff. Processing as used here has a very broad definition and includes activities such as the collection, storage, consultation, modification, disclosure (including publication), and destruction of data.
European and Luxembourg regulations on the protection of natural persons with regards to the processing of personal data and the free movement of such data (hereafter referred to as the "Data Protection Rules") apply with respect to the processing of all such personal data.
The purpose of the Policy is to provide rules and guidance in order to ensure compliance with the Data Protection Rules. Controllers and processors such as the University have a duty to strictly comply with the Data Protection Policy.
Each staff member, principal investigator of a research project, head of department in the central administration or administrative staff member within a faculty or interdisciplinary centre has a fundamental obligation to protect personal data and to comply with the Data Protection Policy in the performance of his/her tasks.
The terms used in the Policy are defined in the Appendix.
2. Objectives
The objectives of this Policy are the followings:
Assist the University staff in identifying personal data processing at an early stage and provide guidance;
Ensure that proper procedures are in place for the processing and management of personal data;
Inform and educate employees of their responsibilities when storing and processing personal data and ensure that they adopt appropriate measures;
Reassure individuals that their personal data is processed in accordance with the Data Protection Policy, which stipulate that their personal data is at all times secure safe from unauthorised access, alteration, misuse or loss;
Ensure that other organisations with which University data shares personal data also meet compliance requirements;
Guarantee that any existing or future system implemented by the University to process personal data is assessed to determine whether it represents any risk to individuals' personal data and whether it involves appropriate technical and organisational measures;
Ensure that University staff members contact the Data Protection Officer in a timely manner regarding any issues related to the protection of personal data; and
Ensure that University staff members document the processing of personal data in order to guarantee compliance with the Data Protection Rules
The Data Protection Policy applies to all personal data and any associated sensitive data, regardless of format (electronic, paper, audiovisual, etc.), collected and processed by the Universityin the conduct of its research, learning and administrative activities within the central administration, faculties and interdisciplinary centres.
The Policy applies to all University employees, whether permanent or temporary, and external staff such as contractors, consultants, service providers, adjunct teaching staff, visiting professors/researchers, guest professors and affiliated professors (hereafter referred to as "staff"). This Policy applies to those members of the university that are salaried or not, including PHD Students self-financed.
The University is the controller, processor or recipient of personal data processed in the course of research projects, learning activities and administrative tasks, such as the personal data of the following data subjects:
Natural persons who participate on a voluntary basis in research projects and consent to the collection and processing of their personal data;
Natural persons whose personal data is collected indirectly for the purposes of a research project;
Natural persons who have applied for or been awarded funding for research or related scientific activities including events, seminars and workshops;
Past, current and prospective employees;
Past, current and prospective students; and
Suppliers, consultants, external business partners and other third parties with whom the University communicates.
4. Legal Framework
The processing of personal data is regulated by the Luxembourg Data Protection Act of 2 August 2002, by the European Data Protection Directive 95/46/EC, replaced by the European Union (hereafter "EU") General Data Protection Regulation (GDPR) on 25 May 2018, and by any new Luxembourg data protection legislation adopted to implement the GDPR.
This legal framework was developed to protect the freedom and fundamental rights of individuals, especially their private life, in relation to the processing of their personal data.
In Luxembourg, the Commission Nationale pour la Protection des Données (CNPD, National Commission for Data Protection) is responsible for enforcing these rules for controllers and processors located in Luxembourg.
Further material and references can be found on the CNPD website and on relevant European Union websites or by consulting the University Data Protection Officer (hereafter "DPO").
5. Principles of the Policy
The University adheres to the following principles:
5.1. Fair collection and processing
Personal data is collected and processed only to the extent that it is needed to fulfil research, learning or administrative needs (hereafter "University needs") or legal requirements.
Personal data held is accurate and kept up to date.
The retention of personal data is appraised and risk assessed in light of University needs and legal requirements and appropriate data retention schedules are applied. The storage duration of personal data should be determined at the outset of the project. If the definition of the storage period is not possible, criteria should be used to determine the period at a later stage.
Personal data is processed respecting the rights of the subjects concerned.
Staff must inform the DPO of any intended new purposes for processing personal data. No new purpose for processing data beyond the scope for which the original consent was granted may be permitted unless the subject has consented to this new purpose or the consent form provides for explicit consent for further research.
University staff and data subject are specifically informed regarding the use of their information and how their legitimate objections will be addressed. If legally required, the consent of the subject(s) is obtained and documented whenever personal data is collected.
Personal data is used only in ways that ensure the confidentiality of that data (including appropriate anonymisation or pseudonymisation whenever required and technically feasible).
Staff have access to personal data only to the extent that it is required to perform their tasks.
5.2. Security
Security of personal data is a legal requirement to which the University is fully committed:
The University has approved policies and procedures to ensure the security of information/data contained in buildings, offices, etc.
The University implements policies for the security of its IT systems and for the physical security of both IT systems and manual/paper files. This applies to personal data held at the University, its transmission and its disposal.
By default, the University complies with the basic rule that access to personal data will be limited to individuals only on a need to know basis.
The security and confidentiality of personal data processed by an external processor or partner is controlled via service agreements, collaboration agreements, data sharing agreements or data processing agreements including a data protection clause and/or a data protection policy. The DPO should be consulted about such agreements if necessary.
Staff shall report any potential data breaches to the University's service portal as soon as they become aware of them, within 24 hours if possible and no more than 48 hours after discovering the breach. The service desk will inform the DPO of any cases of personal data breaches. Confirmed data breaches shall be documented by the Chief Information Security Officer (hereafter "CISO") and the DPO. A dedicated procedure shall be implemented to address any personal data breaches and a register of personal data breaches shall be maintained.
Any attempt to identify research project participants by University staff will be considered a breach of the Policy, unless research project participants have given their express written consent that they may be identified and contacted.
Any disclosure or transmission of sensitive or personal data to unauthorised persons and the sending of sensitive or personal data by email without appropriate safeguards such as encryption or another equivalent measure is a breach of the Policy.
The use of private email addresses by staff to send or receive personal or sensitive data will be considered as a breach of the Policy.
University staff must take measures to protect and secure any documents containing personal information and inform recipients about the appropriate measures that will be taken.
Use of personal data on non-University-controlled equipment is the responsibility of the user. The security settings of such equipment should be regularly checked by the user in accordance with recognised protection techniques.
Responsibility for protecting the confidentiality of personal data extends to any individual(s) and institutions to which information is transmitted. The University shall include provisions in relevant contracts (i.e. service agreements, collaboration agreements and data sharing agreements) stating that any personal data supplied by the University is done so on the understanding that the recipient will keep it secure and confidential and use it only for the agreed purpose.
Pseudonymised data is also considered as personal data. Processing of pseudonymised data must therefore comply with the principles of the Policy.
5.3. Personal Data Protection Register
A Personal Data Protection Register (hereafter "the Register") shall be maintained by the DPO for the purposes of identifying and recording personal data processed at the University, in collaboration with principal investigators, heads of department in the central administration and administrative staff members in faculties and interdisciplinary centres. In particular, the Register will document where personal data is held, how it is processed, who processes it, what the legal grounds for processing it are, who has access to the data and the measures in place to ensure security and confidentiality. Each principal investigator, head of department in the central administration and administrative staff member in a faculty or research centre is responsible for informing the DPO of any personal data processed under his/her responsibility in due time to complete the Register. Completion of the Register may be delegated to a colleague or to the Data Protection Coordinator of the department. The Register is kept at the disposal of the CNPD.
5.4. Data Sharing
The sharing of personal data should comply with the following rules:
Procedures for sharing personal data by any electronic means must ensure that the risks of unforeseen breaches of information security are kept to a minimum. General guidance is provided in the University information security policies and specific advice can be requested from the CISO.
Where a contract is concluded with another organisation for services involving the disclosure or sharing of personal data, it should explicitly lay out the data protection requirements and standards, including confidentiality and security.
Personal data cannot be transferred outside the EU or European Economic Area (EEA) unless the country or territory in question ensures a suitable level of protection for personal data, or unless it is transferred with the consent of the data subject if appropriate or with an appropriate and legally admissible safeguard. The DPO must be informed about any transfer of data outside the EU and EEA and will provide advice about appropriate safeguards.
Personal data in any format may not be shared with a third party unless there is a legal ground and/or an appropriate agreement is in place, and without consent from the data subject if consent is required.
In some cases, the removal of personal identifiers (name, surname, initials, etc.) alone may be insufficient to protect the identity of a data subject(s) such as a study participant or employee. If anonymisation is to be relied upon as the condition for disclosure without consent, it requires the removal of any information that may allow identification of the data subject by any reasonable means.
5.5. Risk-based Approach and Data Protection Impact Assessment
The University makes every reasonable effort to control the processing of personal data and to implement protective measures commensurate with the level of risk of its personal data processing activities. If it is engaged in activities posing a high risk for the data subject, a Data Protection Impact Assessment (hereafter "DPIA") must be performed in collaboration with the DPO and the CISO. A DPIA is a procedure designed to describe any data processing, assess the necessity and proportionality of such processing, help manage the risks resulting from the processing of personal data and safeguard the freedoms of natural persons in this regard.
In other words, a DPIA is a process for developing and demonstrating compliance where personal data processing is likely to result in high risks for the rights and freedoms of the data subjects concerned. A DPIA should help to assess the risk related to the processing of personal data and determine the measures which need to be implemented to mitigate this risk.
A DPIA shall in particular be required in the case of:
A systematic and extensive evaluation of personal aspects relating to natural persons which is based on automated processing, including profiling, and on which decisions are based that produce legal effects concerning the natural person or similarly significantly affect the natural person;
Processing on a large scale of special categories of data or of personal data relating to criminal convictions and offences; or
A systematic monitoring of a publicly accessible area on a large scale.
The University will implement the DPIA methodology and template via a dedicated procedure in compliance with the GDPR.
5.6. Right of Access for Data Subjects
Data subjects are entitled to exercise their rights, especially the right of access, in accordance with but not limited to the following principles:
All data subjects have a right of access to their own personal data; the University undertakes to assist data subjects and provide information on how to request or access their personal data held by the University.
Informed Consent Forms must include a contact address for data subjects to use if they wish to submit a Subject Access Request, withdraw their consent or request additional information.
Subject Access Requests are handled and relevant information is delivered to the data subject within a reasonable time frame. This time frame should be no more than one month, in compliance with the Policy.
A data subject's personal data is not disclosed to him/her until his/her identity has been verified.
A Subject Access Request is only available for the personal data of the requestor. Requests for access to personal data of third parties should not be fulfilled unless the data subject has given his/her formal consent.
Requests from the police to access information from a University database containing personal data require prior consultation with the DPO, who will check the legality of the request and consult the Head of Legal Affairs.
5.7. Other Rights of Data Subjects
Data subjects also enjoy other rights: the right to be informed, the right to have personal data regarding him/her rectified, the right to be forgotten (also known as the right to erasure), the right to restrict the processing of personal data and the right to object.
To further strengthen the control over his/her own data, where the processing of personal data is carried out by automated means, the subject(s) should also be allowed to receive personal data regarding him/her, which he/she has provided to a controller in a structured, commonly used, machine-readable and interoperable format that enables data portability.
5.8. Rights of Data Subjects whose Personal Data is Processed for Scientific or Historical Research Purposes or Statistical Purposes
EU Member States are authorised by the GDPR to provide, under specific conditions and subject to appropriate safeguards for data subjects, specifications and derogations with regard to the information requirements and rights to rectification, to erasure, to be forgotten, to restriction of processing, to data portability and to object when processing personal data for archiving purposes in the public interest, for scientific or historical research purposes or for statistical purposes. These derogations apply where personal data are processed for scientific or historical research purposes or statistical purposes, in so far as such rights are likely to render impossible or seriously impair the achievement of the specific purposes and such derogations are necessary for the fulfilment of those purposes.
Data protection laws in Luxembourg and other EU countries will provide derogations from the data subject's rights under the conditions laid down in the GDPR. These data protection laws will provide information about the appropriate safeguards to be implemented depending on the nature, scope, context and purposes of the data processing as well as any risks, of varying likelihood and severity, for the rights and freedoms of natural persons. Appropriate safeguards may include pseudonymisation techniques, prior impact analysis, encryption, access restrictions, awareness raising and data management plans.
It can be difficult to obtain specific consent for the processing of personal data for research purposes. In many cases the exact purpose of personal data processing for scientific research at the time of data collection is not fully known. Data subjects should therefore be allowed to give broader consent to certain areas of scientific research in accordance with recognised ethical standards.
If in doubt, the DPO is available to offer guidance and advice.
5.9. Academic Expression
EU Member States should reconcile the rules governing freedom of expression, including academic expression, with the right to the protection of personal data pursuant to the GDPR. Data processing may be subject to derogations or exemptions notably on general principles, to protect the rights of the data subject (for example the right of information) and for the transfer of personal data to third countries.
By way of derogation to the general data protection principles provided under the GDPR, the processing of personal data for the purpose of academic expression will be allowed in EU Member States under the conditions laid down in the legislative measures adopted.
For example, EU Member States may allow for the processing of personal data relating to criminal convictions and offences and remove the restrictions on transfers of personal data to third countries. Member States may also allow a derogation to the right of information where personal data have been collected indirectly, under specific conditions.
5.10. Awareness and Training
This Policy is being supported by awareness-raising campaigns for all University staff and appropriate training for those with specific responsibilities.
Staff involved in personal data processing will receive training on how to keep this information secure and confidential. They will be informed as to what information they may or may not disclose outside their immediate work environment in compliance with the Data Protection Rules.
The Policy will be included in the training program for new staff.
Staff handling sensitive data should attend a training session before being allowing those individuals access to such data.
5.11. Retention and Deletion
The retention of personal data shall be documented and justified. The retention of personal data is appraised and risk assessed in light of the University's needs and legal requirements, with the application of appropriate retention schedules. Personal data may be kept in a form which permits identification of data subjects for no longer than is necessary for the purposes for which the data were collected and processed. The data subject shall be informed of the period for which the personal data will be stored, or if that is not possible, the criteria used to determine that period.
5.12. Documentation
All personal data processing shall be clearly documented to confirm compliance with the Policy; such compliance must be demonstrate during audits performed by the CNPD or other auditors and checks performed by the DPO.
6. Roles and Responsibilities
Overall responsibility for data protection remains with the Rectorate and/or the Administrative Director, in accordance with the Law on the Organisation of the University of Luxembourg. Each staff member should also take responsibility for complying with the Policy. Individuals with specific responsibilities include the following:
1) The Data Protection Officer (DPO) has a strategic role in data protection. The role of the DPO is to perform the following tasks at the University:
Develop data protection policies and best practices in research, education and central administration activities;
Provide staff training on data protection;
Provide advice, guidelines and procedures on processing personal data;
Collaborate with the supervisory authority and act as a point of contact;
Inform the University management of data protection requirements, advise on annual improvement plans and agree and present an annual Data Protection Report to the management team;
Provide assistance for the University in the performance of DPIAs; and
Implement and maintain the University 's Personal Data Protection Register as controller or processor based on information provided by principal investigators, heads of department in the central administration and administrative staff members in faculties and interdisciplinary centres.
2) The Chief Information Security Officer (CISO) is a strategic partner of the DPO in ensuring compliance with the Policy.
The CISO is responsible for monitoring, documenting and communicating on information security, including handling breaches, and for compliance of the IT network with recognised information security standards. He/she collaborates with the DPO on data protection matters and reports any personal data breaches brought to his/her attention to the DPO.
3) Heads of department in the central administration, administrative staff members in faculties or interdisciplinary centres and principal investigators are responsible for:
Ensuring that their staff understand how data protection principles apply to their day-to-day work through training and monitoring, and monitoring compliance within their own areas of responsibility;
Ensuring that Data Protection Coordinators have been appointed for their department , or interdisciplinary centre, and that they are provided with appropriate training and guidance with the support of the DPO and the CISO;
Ensuring appropriate technical and organisational measures are taken within their department to comply with the University Data Protection Policy and prevent personal data breaches;
Informing the DPO of any personal data processing within their faculty, interdisciplinary centre, or department and of any changes in the nature and procedures of that processing;
Ensuring compliance with CNPD procedures for new research projects or other data processing activities related to administration or teaching, informing the DPO where needed and completing the information to the Personal Data Protection Register;
Reporting any breach of personal data to the CISO and the DPO via the University's service portal within 24 hours, if possible, and no more than 48 hours after discovering the breach;
Implementing a DPIA if needed with the support of the DPO and the CISO; and
Supporting the DPO with any requests from the CNPD or foreign data protection authorities and audits by the CNPD or any other body (internal or external).
4) Data Protection Coordinators are the point of contact for the DPO and the CISO concerning data protection in the faculties, interdisciplinary centres, or departments. They are required to
Raise awareness about data protection within their department, faculty or research centre in collaboration with the DPO and the CISO;
Disseminate information about data protection; and
Enhance the compliancy of the Policy. Such tasks can also be carried out by another person in the department.
5) The Ethics Review Panel (ERP) collaborates with the DPO regarding research projects submitted to the ERP for matters concerning data protection issues, as appropriate.
6) Authorised users – those authorised (and trained) to use particular data systems or collections in accordance with University policy and procedures.
Appendix – Glossary
Anonymisation: the process of rendering personal data anonymous in such a manner that the data subject is not or is no longer identifiable.
Controller: a natural or legal person, public authority, agency or any other body which, alone or jointly with others, determines the purposes and means of the processing of personal data; where the purposes and means of such processing are determined by national or EU laws or regulations, the controller or the specific criteria for its nomination may be provided by national or EU law.
Data subject consent: any freely given, specific and informed indication of the data subject's wishes by which he/she or his/her legal, judicial or statutory representative signifies his/her agreement to personal data relating to him/her being processed. This consent must be documented through an Informed Consent Form.
Genetic data: any data concerning the hereditary characteristics of an individual or a group of related individuals.
Health data: any information concerning the data subject's physical or mental health, including genetic information.
Personal data: any information of any type, regardless of the medium, including images and audio or video material, relating to an identified or identifiable natural person ("data subject"); an identifiable person is one who can be identified, directly or indirectly, in particular by reference to an identifier such as a name, an identification number or one or more factors specific to his/her physical, physiological, mental, economic, cultural or social identity.
Personal data breach: a breach of security related to the accidental or unlawful destruction, loss, alteration, unauthorised disclosure of or access to personal data transmitted, stored or otherwise processed.
Pseudonymisation: the processing of personal data in such a manner that the personal data can no longer be attributed to a specific data subject without the use of additional information, provided that such additional information is kept separately and is subject to technical and organisational measures to ensure that the personal data are not attributed to an identified or identifiable natural person. One example of pseudonymised data is data which has had its personal identifiable information (name, surname) replaced with a code to prevent data subject identification.
Processor: a natural or legal person, public authority, agency or any other body which processes personal data on behalf of the controller.
Recipient: a natural or legal person, public authority, agency or any other body to which personal data are disclosed, whether a third party or not. Authorities that may receive personal data in the framework of a legal enquiry shall not be regarded as recipients.
Sensitive personal data or special categories of data: personal data revealing racial or ethnic origin, political opinions, religious or philosophical beliefs, or trade union membership, and the processing of data concerning health or sex life, including the processing of genetic data. Sensitive personal data are subject to a stricter legal regime.
Third party: any natural or legal person, public authority, agency or body other than the data subject, controller, processor and persons who, under the direct authority of the controller or the processor, are authorised to process personal data. In the public sector, a third party refers to a ministry, an administration, a public institution, a regional authority or a public service other than the controller or processor.
Third country: a country that is not a Member State of the European Union or the European Economic Area. The GDPR states that personal data can only be transferred to countries outside the EU and the EEA when an adequate level of protection is guaranteed. The GDPR requires that data transfers should not be made to non-EU/non-EEA countries that do not ensure adequate levels of protection. However, exceptions (or "derogations") to this rule may be applicable.
The European Commission may determine whether a country outside the EU or EEA offers an adequate level of data protection and adopt an adequacy decision with regard to that country. The effect of such a decision is that personal data can flow from the 28 EU countries and three EEA member countries (Norway, Liechtenstein and Iceland) to that third country without any further safeguard being necessary. The Commission has so far recognised Andorra, Argentina, Canada (commercial organisations), Faroe Islands, Guernsey, Israel, Isle of Man, Jersey, New Zealand, Switzerland, Uruguay and the US (limited to the Privacy Shield framework) as providing adequate protection.
FAQ on the Data Protection Policy of the University of Luxembourg
1. Why do we need a Data Protection Policy at the University of Luxembourg?
The aim of this Policy is:
to provide guidance and rules for employees to facilitate compliance with the General Data Protection Regulation (GDPR), which comes into force on 25 May 2018;
to document the University's rules on data protection;
to align the University's approach with the GDPR, which places greater emphasis on the principle of accountability within organisations.
2. What is the scope of the Data Protection Policy?
The Policy concerns all personal and sensitive data processed by the University (regarding health, political opinions, union membership, criminal offences, etc.) in any of the following contexts:
Teaching;
Administrative tasks.
3. Who has to comply with the Data Protection Policy?
All University employees (whether permanent or temporary), PhD students including self-funded, as well as external staff such as contractors, consultants, service providers, visiting and affiliate professors and researchers have to comply with the Policy.
4. What are the main principles of the Data Protection Policy?
The Policy is based on principles that facilitate compliance with data protection legislation. It contains guidelines on:
Fair collection and processing;
Data sharing;
Data retention and deletion.
It also includes new obligations introduced by the GDPR:
Establishment and maintenance of a University Personal Data Protection Register;
Risk-based approach;
Documentation of compliance with the GDPR.
5. What provision is made for the rights of data subjects?
The Policy focuses on incorporating new rights and strengthening existing rights.
The Policy includes a section on adaptations in the fields of research and academic expression in line with the GDPR and the future national law.
6. Are roles and responsibilities defined in the Policy?
The roles and responsibilities of key players are clearly laid down in the Policy.
7. Who is responsible for compliance with the GDPR?
The Data Protection Officer (DPO), Chief Information Security Officer (CISO) and other key stakeholders are on the front line when it comes to data protection, but compliance with the GDPR is not just an IT or legal issue; everyone has a part to play.
8. Has the University appointed a Data Protection Officer (DPO)?
Yes. In its capacity as a public institution, the University is obliged to appoint a DPO.


text:
Elvia glaucata är en fjärilsart som beskrevs av Walker 1862. Elvia glaucata ingår i släktet Elvia och familjen mätare. Inga underarter finns listade i Catalogue of Life.

Källor

Mätare
glaucata

redpajama_set_name: RedPajamaWikipedia


text:
Parallax Art Fair February2020
Gorelov Gavriil Nikitich
Home >> Artists >> Gorelov Gavriil Nikitich
Gorelov Gavriil Nikitich (1880-1966)
Gorelov (1880-1966) studied at the Academy of Arts in Saint Petersburg, where he was taught by I.Repin, F.Rubo and P.Chistyakov. After graduation, Gorelov was awarded a grant for a trip abroad, and worked in Italy, Germany and France in 1911-1912. After the Revolution, in 1924, he became a member of AkhRR, the Association of Artists of Revolutionary Russia, and was a member of the USSR Academy of Arts from 1953. Gorelov was an Honoured Artist of Russia. He received the Society for Artists Encouragement Prize in 1906, as well as the gold medal at the International Art Exhibition in Munich in 1911. He was also a Laureate for the Stalin Prize in 1950. Gorelov's works are exhibited at the State Tretyakov Gallery, the Moscow Central Museum of Armed Forces, the Central Museum of the Revolution in Moscow; the State Russian Museum in St. Petersburg and the State Art Museums in Saratov, Lvov, Odessa, Irkutsk and Dnepropetrovsk and at other important museums of the former USSR.
Work from the Artist
Please click on the large image for more information.
Moscow Gallery
See the Slideshow
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Leonid Shishkin Gallery
The world renowned Leonid Shishkin Gallery is recognised within a number of multinational art organisations including the International Confederation of Antique and Art Dealers (ICAAD) and the Confédération Internationale des Négociants en Oeuvres d'Art (CINOA). Its success has earned it the reputation of one of the most esteemed galleries in Moscow. For over a decade, the Leonid Shishkin Gallery has held regular auctions, selling works by Russian artists from the 19th Century until modern day.
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Bored of plain storage boxes? Us too! Our vintage transport design storage bag is great for storing bedding, clothes and toys, and adds a little style to the room. They are also a great alternative to boxes when you're moving house, going on a trip in the car, or for students moving into their new accommodation. And once you're done with them you can fold them up and put them away until you need them again.
This bag holds loads of clothes. So pleased I bought it. Very well made.
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These Storage bags are brilliant. We will be using them for our grandson's toys. Very tough, well made and very good price.


Courtesy of Umbra at Grist.
An awesome way to reduce the waste we're pouring into landfills, save some cash and stay ahead of the fashion curve. Win-win!
I'm going to do it and use it for groceries! Anyone else out there gonna do this (or already done it?)?


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Length: 36cm and comes gift packed in a clear display cylinder.
Also available in two smaller sizes. Contact us for further details.
This product is too delicate to ship and is available in for pick up from our Gladesville store.


Eric Huggers, Director of Future Media and Technology at the BBC, has announced that the iPlayer could be opened up to include third-party broadcasters.
Speaking at IBC (International Broadcasting Convention) in Amsterdam – a place where the BBC has already been very vocal about the future of 3D – Huggers revealed that the broadcaster is willing to accept outside content.
"We've had a lot of requests from domestic and international broadcasters to open out iPlayer technology and we're responding to that," he explained.
We have a lot of people searching for Coronation Street on our sites and if ITV were to come on board we could redirect them."
This idea of an open iPlayer has been mooted for some time by the BBC, under the name Marquee. The idea came after Project Kangaroo was blocked by the Competition Commission.
Huggers continued: "The concept of opening up our investment and technology infrastructure, user experience and design is central for us in helping other broadcasters achieve their goals of continuing to have a direct relationship with users rather than being disintermediated by third-party aggregators."
He concluded with: "The iPlayer isn't something you can stick on a DVD, install and run.
"We can offer other free-to-air broadcasters a chance to share in our investment and get into on-demand."


text:
(NEWZIMBABWE) 95 percent Zimbabweans approve new constitution
95 percent Zimbabweans approve new constitution
by AFP/Reuters
ALMOST 95 percent of Zimbabweans voted in favour of a new constitution that paves the way for new elections, results showed Tuesday.
Tallies released by the Zimbabwe Electoral Commission (ZEC) reported 3,079,966 voters were in favour of the new constitution and 179,489 were against. A total of 56,627 votes were spoilt. The official turnout of 3,317,695, which is well more than half the 5,6 million eligible voters, was higher than many analysts had expected.
The voter turnout easily dwarfs the 1,282,302 votes cast in the 2000 referendum when Zimbabweans rejected a draft constitution sponsored by President Robert Mugabe's government and opposed by trade unionists and rights groups.
The turnout is also higher than the 2,696,670 who voted in the 2005 general elections, the 2,421,973 who cast their ballots in the March 2008 general elections and the 2,514,750 who voted in the June 27, 2008, presidential election run-off.
The new constitution sets a maximum of two five-year terms for the president. However, the limit will not apply retroactively, so Mugabe, 89, and in power since independence from Britain in 1980, could rule for the next decade.
Presidential decrees will also require majority backing in the cabinet, and declaring emergency rule or dissolving parliament will need the approval of two-thirds of lawmakers, changes that will take effect after the next election.
A new constitution and a referendum were conditions of a 2008 power-sharing deal between Mugabe's Zanu PF and the two rival MDC factions led by Morgan Tsvangirai and Welshman Ncube.
The constitution will now be rushed through Parliament and then be delivered to President Mugabe's desk for assent before it becomes the supreme law.
Mugabe is expected to announce dates for the general elections shortly afterwards.
Labels: CONSTITUTION, COPAC
Livingstone has taught HH a lesson - Masebo
Milupi questions UPND's morality
Fr Chilinda criticises MPs for removing Rupiah's i...
(NEWZIMBABWE) Political violence saddens churches
(NEWZIMBABWE) My problem with Ambassador Bruce


text:
brain break: The People of the Pit and Other Early Horrors from the Munsey Pulps, (ed). Gene Christie
Black Dog Books, 2010
If you're reading this book on an airplane, prepare to be stared at as people go down the aisle and check out what you're reading. The scantily-dressed women (and the two naked babes in the background) certainly drew attention from passers-by, and I felt a bit squirmy when I'd meet people's eyes. How do you explain a cover like that? On the other hand, I love love love these old covers --they're an art form unto themselves and should be appreciated as such.
The first thing that caught my eye was the foreword by Robert Weinberg. In it he notes that the old pulps were written with "a modicum of "good taste" as contrasted to some of today's modern horror, most notably splatterpunk, which "murders good taste." I agree -- when writers write mainly for effect, to see how much "blood and guts and brains and gore" they can get on a page, well, to me that's just tasteless. Try writing. Not that these old pulps are great literature, but like good horror, in most of these tales, the horror is implied. That's another point Weinberg makes -- that
"The pulp horror stories require that the the reader possesses some smatterings of intelligence. The tale assumes that you can follow a plot and don't need to be force fed every clue or every twist and turn of the story."
Oh, Robert Weinberg, your entire foreword is singing my song.
There are fifteen stories in this little book, some of which I've read before:
-- "The People of the Pit," by A. Merritt,
-- "The Orchid Horror," by John Blunt (which I read in Robert Dunbar's wonderful anthology Dark Forest)
-- "The Ship of Silent Men," by a most obscure pulp writer Philip M. Fisher, whose collection of tales can be found in Beyond the Pole and Other Weird Fantasies (also published by Black Dog)
and beyond those little gems, the rest are new to me:
-- "Behind the Curtain," by Francis Stevens: Mummy pulp
-- "Number Thirteen" (excerpt), by Edgar Rice Burroughs, which I must say I did not care for at all, but I can't win them all.
-- "The Tenth Question," by George Allan England: a tale of revenge where a man's life depends on getting the right answer to question number 10. Delightfully strange.
--"Disappointment," by Achmed Abdullah: More atmospheric than anything, but still quite pleasing.
--"The Pretty Woman," by Owen Oliver: I love a good madness tale, and this is one of the best.
-- "The Living Portrait," by Tod Robbins: Exactly as the title implies.
--"An Offer of Two to One," by Talbot Mundy: auto-suggestion at work -- great story.
--"Beyond the Violet," by J.U. Geisy: the war leaves a man able to see well beyond the normal spectrum, and you just wouldn't believe what's out there.
--"The Elixir of Life," by C. Langton Clarke -- another absolute stunner.
-- "The Mystery of the Shriveled Hand," by Sax Rohmer -- set in Cairo, another cool tale of justifiable revenge.
-- Damon Runyon's very well-known "Fear", in which a police chief gets his comeuppance. Very Damon Runyon.
and last, but by no means least,
--"Monsieur de Guise," by Perley Poore Sheehan (whose name just screams "I write pulp fiction"), which takes place down in the swamp. The atmosphere on this one alone makes it very much worth the read.
For just pure entertainment, this book is worth its weight in gold, and having the names of several new and (to me) obscure authors to look up is a side benefit. Many of the stories here are seeing their first time in reprint since the days of the old pulp mags; some are definitely what I would consider horror; some others are more of a mystery-ish bent, but all (with the exception of the entry by Edgar Rice Burroughs) are just plain fun. It's an ahhh read, comfort food between two covers, and for fans, a very, very nice collection. Just put a brown cover over it or something out in public.
Posted by NancyO at 12:42 PM
Labels: 2016, anthology, Black Dog Books, delicious pulpy goodness
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The Man Who Sees Ghosts, by Friedrich Schiller


John Deere voluntarily recalled about 1,700 of its 4000 Ten Series compact utility tractors, according to SafetyAlerts. Consumers should stop using the product immediately unless otherwise instructed.
For more information, contact John Deere's Customer Communications Center on (800) 537-8233, Monday through Friday, 8:00 am until 6:00 pm (Eastern Time), Saturday, 9:00 am until 3:00 pm, or at the John Deere web site at www.johndeere.com.


I met Brady and his family recently at Oak View Park to celebrate his first birthday! I LOVE ONE sessions! They are so much fun to see the little ones explore and experience all things related to having a first birthday. With Red Bridge, that means spelling, cake and a bath. I do like to return kids cleaner than I found them; that has to be the girl scout in me. And I love coming up with themes for each session and making it very personal for each child and family.
Brady turned one in June and we had lots of green at the park. His mama picked PERFECT color theme for the day of blue and white. Toss in a red accent for his chair, his wagon and a hint of blue for the cake smash it was the perfect compliment for the day!
I do hope you enjoy some of my favorites from this great Raleigh child ONE session! Stay tuned for some highlights from the family session coming up tomorrow!


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Camerich hold an extensive range of our sofas and designer furniture in our warehouse ready for immediate delivery.
Our Interior Architecture qualified team members can provide digital scale drawings of our modern and modular sofas or contemporary furniture to your specifications.
If your sofa is not available for immediate delivery, we will be happy to loan you another. Contact us for more information.
We can carry out access checks at your home before delivery should you be at all concerned about accessibility.
We can offer advice to give your modern sofa or designer furniture added protection from the rigours of everyday life.
If you have a query related to modern designer furniture or any of our services, you should find an answer here. If your question isn't listed or for anything else please contact us.
Delivery nationwide is just £59.00, free for orders over £5000.
Worldwide delivery quotes including outside UK mainland are available on request.
There is a £48 surcharge for Saturday deliveries, payable directly to the delivery company.
There is also an option to remove any unwanted furniture. This is charged direct by the delivery company, £102 for the first item, £48 for each additional item (prior warning essential).
Our dedicated delivery firm, Atlas of London are experts in delivering large contemporary furniture items with care and consideration. Many Camerich designer sofas feature split frames for easy access, but in extreme cases Atlas are 'awkward access' specialists and will carry out an access check in advance if you have any worries about accessibility.
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Yes. we have a number of showrooms right across central London.
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Click here to order a Camerich furniture brochure. Or you may wish to collect one from one of our London showrooms.
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Yes, you may order fabric samples for free via our website - click here to view our range of Swatches, choose your preferred fabric sample and then click to order. You should receive your samples by Royal Mail within a few working days. Or you are welcome to call and order samples over the phone, or visit one of our London showrooms and pick them up.
Yes, we aim to stock almost all of our designer furniture range in selected fabrics for immediate delivery. The items marked as 'in stock for immediate delivery' on the website are those that we aim to have available. Please call one of our London showrooms for latest stock levels and availability.
Our superior materials and workmanship are sourced from the best the world has to offer. Our cold rolled stainless steels are engineered in Germany with anti-corrosion technology. Our exquisite, soft and durable leather and hides are sourced from Texas USA. Our modern furniture pieces are designed and crafted in China, using high-class birch and naturally striking ash.
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We offer each item in a range of shapes and sizes, but cannot create one-off custom-sizes for customers. This keeps the price down. Camerich sofas are designed to be highly modular and come in a wide range of component pieces. We are confident you will be able to find something to fit your space. Our fully trained showroom staff will be happy to advise on the many options and alternatives available.
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All our fabric sofas have removable and, most importantly, dry-cleanable covers. For added reassurance, we offer a Stainguard service at our warehouse at an additional cost, so before delivery you can ensure that your sofa is professionally protected. If a change of colour or texture is what you are after then you can purchase replacement covers for your sofa in any one of over 100 fabrics.
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In the unlikely event that you do not receive the service you expect, please email sales@camerich.co.uk or contact the Retail Sales Manager at any of our showrooms, who will be happy to assist you further. We take any complaints very seriously and will aim to resolve your issue swiftly and to your satisfaction.
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What is the guarantee on the products and what does the guarantee cover?
All Camerich modern furniture (excluding sofas) comes with a free five year guarantee against faulty workmanship and/or faulty materials.
All Camerich contemporary sofas come with a free 15 year guarantee against faulty workmanship and/or faulty materials. We will endeavour to repair any defective goods free of charge. If repair is not possible you will be offered a replacement and only if a suitable replacement is not available will you be offered a refund.
The guarantee does not cover fillings and coverings. The guarantee does not cover fair wear and tear, neglect, abuse or misuse of your goods, loss or damage (including rusting and corrosion) due to unreasonable exposure to water, heat or weather; loss or damage due to fire, smoke, explosion, lightning, sunlight, infestation by animals or boring insects, theft or accidental damage or loss caused by a third party.
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text:
Q: Formik does not update value to IonSelect tag I have an Array that takes some strings of Category, and I want to update the Array field based on the selectedCategory using formik. Below is what I have done.
categories.ts
const categories: string[] = [
  "Gadgets / Electronics",
  "Home accessories",
  "Phones & Tablets",
  "Computing",
  "Office Accessories",
  "Sporting Goods",
  "Automobile",
  "Stationarities",
  "Farming",
  "Books",
  "Technologies",
  "Medicine",
  "Architecture ",
  "Oil & Gas",
  "Discoveries",
  "Real Estate / Housing",
  "Wears (Footwears)",
  "Textile Industry",
  "Paint Industry",
  "Furniture",
  "Apps/Software ",
];

export default categories;

SignUp.tsx
import categories from "../../data/categories";

I set my initialValues to
 salesCategories: [],

....
 <IonCol size="12" className="ion-no-padding">

                          <IonItem className="form-label ion-no-padding">
                            <IonLabel
                              position="floating"
                              className="fw-light color-light"
                            >
                              Select Sales Category
                            </IonLabel>
                            <IonSelect
                              multiple
                              name="salesCategories"
                              onChange={handleChange}
                              onBlur={handleBlur}
                            >
                              {categories.map((cat, idx) => (
                                <IonSelectOption key={idx}>
                                  {cat}
                                </IonSelectOption>
                              ))}
                            </IonSelect>
                          </IonItem>
                          {errors.salesCategories && touched.salesCategories && (

                              {errors.salesCategories}

                          )}

                      </IonCol>

I get this Error below each time I try to select an item, and it is meant to be multiple select field. I don't understand the reason Formik can't update the value.
Uncaught TypeError: undefined is not iterable (cannot read property Symbol(Symbol.iterator))
    at Function.from (<anonymous>)
    at getSelectedValues (Formik.tsx:1133)
    at Formik.tsx:635
    at Formik.tsx:655
    at HTMLElement.<anonymous> (Formik.tsx:1202)
    at HTMLElement.handler (attachProps.ts:105)
    at emitEvent (index-3ccd7557.js:1)
    at Object.emit (index-3ccd7557.js:1)
    at e.valueChanged (ion-select_3.entry.js:1)
    at index-3ccd7557.js:1
    at Array.map (<anonymous>)
    at setValue (index-3ccd7557.js:1)
    at HTMLElement.set [as value] (index-3ccd7557.js:1)
    at attachProps.ts:35
    at Array.forEach (<anonymous>)
    at attachProps (attachProps.ts:12)
    at ReactComponent.componentDidUpdate (createComponent.tsx:50)
    at commitLifeCycles (react-dom.development.js:20684)
    at commitLayoutEffects (react-dom.development.js:23426)
    at HTMLUnknownElement.callCallback (react-dom.development.js:3945)
    at Object.invokeGuardedCallbackDev (react-dom.development.js:3994)
    at invokeGuardedCallback (react-dom.development.js:4056)
    at commitRootImpl (react-dom.development.js:23151)
    at unstable_runWithPriority (scheduler.development.js:646)
    at runWithPriority$1 (react-dom.development.js:11276)
    at commitRoot (react-dom.development.js:22990)
    at performSyncWorkOnRoot (react-dom.development.js:22329)
    at react-dom.development.js:11327
    at unstable_runWithPriority (scheduler.development.js:646)
    at runWithPriority$1 (react-dom.development.js:11276)
    at flushSyncCallbackQueueImpl (react-dom.development.js:11322)
    at flushSyncCallbackQueue (react-dom.development.js:11309)
    at scheduleUpdateOnFiber (react-dom.development.js:21893)
    at dispatchAction (react-dom.development.js:16139)
    at Formik.tsx:662
    at Formik.tsx:1202
    at Formik.tsx:693
    at Formik.tsx:703
    at HTMLElement.<anonymous> (Formik.tsx:1202)
    at HTMLElement.handler (attachProps.ts:105)
    at emitEvent (index-3ccd7557.js:1)
    at Object.emit (index-3ccd7557.js:1)
    at HTMLButtonElement.onBlur (ion-select_3.entry.js:1)

Formik does not get the Value.

A: you need to let formik handle the events
<Formik
  initialValues={{
    color: null
  }}
  validationSchema={validationSchema}
  onSubmit={values => {
    alert(JSON.stringify(values, null, 2));
  }}
>
  {formikProps => (
    <IonContent>
      <form onSubmit={formikProps.handleSubmit}>
        <IonItem>
          <IonLabel>Select Color</IonLabel>
          <IonSelect
            name="color"
            value={formikProps.values.color}
            onIonChange={formikProps.handleChange}
          >
            <IonSelectOption value="brown">Brown</IonSelectOption>
            <IonSelectOption value="blonde">Blonde</IonSelectOption>
            <IonSelectOption value="black">Black</IonSelectOption>
            <IonSelectOption value="red">Red</IonSelectOption>
          </IonSelect>
        </IonItem>

          {formikProps.touched.color && formikProps.errors.color}

        <IonButton type="submit">SAVE</IonButton>
      </form>

    </IonContent>
  )}
</Formik>

*

*See the video here - https://www.youtube.com/watch?v=ChttRF2p3Bc

*Full source code here - https://stackblitz.com/edit/ionic-react-forms-formik

A: Just use one of formik goodies setFieldValue
 <IonSelect
   multiple
   name="salesCategories"
   onIonChange={(e: any) =>
   setFieldValue("salesCategories", e.target.value)
   }
   onIonBlur={handleBlur}
    onBlur={handleBlur}
 >

redpajama_set_name: RedPajamaStackExchange


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text:
Students share their stories of MMIR at McPherson Chapel. ( Sarah Flower/KSUT)
"The Stories We Wear" exhibit honors Missing and Murdered Indigenous Relatives at Fort Lewis College
Through hoop skirts and traditional Native regalia, dozens of students at Fort Lewis College created clothing to honor their Missing and Murdered Indigenous Relatives.
"The Stories We Wear" is an exhibition that the Center of Southwest Studies at Fort Lewis College has created for students to honor Missing and Murdered Indigenous Relatives.
In total, 31 students helped create these pieces. Lauryn Baldwin is from the Inupiaq tribe in Northwest Alaska and a senior at the college. Baldwin has recently lost relatives to this violence. She chose to use images of her loved ones that were sewn on a pocket of traditional Native regalia. Baldwin said some of her peers didn't want to contribute for fear of overshadowing other people's experiences.
McPherson Chapel at Fort Lewis College hosts Missing and Murdered Indigenous Relatives Exhibition "The Stories We Wear" ( Sarah Flower/KSUT)
"People are affected in one way or another, whether they realize it or not. A lot of people that didn't want to maybe, contribute to this piece because they were afraid that they were taking away from others that were maybe affected more, but I mean, everybody knew somebody that went missing."
The Center of Southwest Studies is looking for more opportunities to display this exhibition.
Don't have time subscribe to KSUT Tribal Radio Podcast and listen whenever.


text:
Around 31,000 refugees in India to be first beneficiaries of citizenship bill
GUWAHATI , July 8, 2019 3:49 pm
Image for representative purpose only. Image Credit - change.org
Around 31,300 Hindus and other minority community members from Pakistan, Afghanistan and Bangladesh are expected to get immediate benefit if the continuous Citizenship (Amendment) Bill, 2016 is passed in the Parliament.
According to the Intelligence Bureau (IB) to the Joint Committee of Parliament on the Bill, as per a report placed in Parliament last week around 31,000 Hindus have already entered the country with long term visa in the aftermath of alleged religious persecution, reports edennews.
According to the report, the IB had told the panel that a section of illegal Bangladeshi migrants are indulging in anti-national activities.
The agency went on to say that there is 'no security implications' if citizenship is given under the new amendment as 'all these persons are already living in the country for decades'.
After the committee tabled its report, the Lok Sabha passed the Bill on January 8 but could not take it up in Rajya Sabha. Assam witnessed large-scale violence over the passage of the Bill, which seeks to give citizenship to Hindus, Sikhs, Christians, Buddhists, Jains and Parsis who faced religious persecution in Pakistan, Afghanistan and Bangladesh. When asked by the committee, the IB said, 'as per our records, 31,313 persons belonging to minority communities who have been given Long Term Visas on the basis of their claim of religious persecution in their respective countries and want Indian citizenship. Hence, these persons will be immediate beneficiaries."
Among 31,313, the IB said, 25,447 are Hindus, 5,807 are Sikhs, 55 Christians and two each Buddhists and Parsis.


text:
Christopher Cannon
Port of Los Angeles
Director of Environmental Management
Christopher Cannon is the Director of Environmental Management for the Port of Los Angeles, a position he has held since October 2010. In 2015, he was named Chief Sustainability Officer of the Port.
In this role, Mr. Cannon is responsible for balancing commerce and growth with ecological sustainability and social responsibility at the nation's busiest container port. The Environmental Management
Division provides full environmental services related to water, soils and sediments, air and biological resources, and is responsible for preparation of environmental impact assessments mandated by state and federal law; special studies involving dredging, noise abatement, water quality and air quality; site restoration, remediation and contamination characterizations; wildlife management; and establishment of policies regarding environmental quality issues.
Mr. Cannon first worked at the Port of Los Angeles as a consultant, starting in 2004, where he worked with the Port Environmental Management Division's Air Quality and CEQA groups, supporting the development of key air projects such as the Clean Air Action Plan as well as the Harbor Department's efforts to complete critical environmental impact reports for Port-related projects. In 2008, he helped to develop and served as the Project Manager of the Port's highly successful Clean Truck Program.
Mr. Cannon has 28 years of experience in the environmental services industry, working on a range of projects while employed by ENVIRON International Corporation and TRC Environmental Solutions.
Mr. Cannon also spent two years as a legislative assistant for environmental policy on the Washington, D.C. staff of U.S. Representative Martin Sabo of Minnesota.
Cannon received a bachelor's degree in Government from Dartmouth College and a law degree from University of California at Berkeley's Boalt Hall School of Law. He currently lives in Los Angeles.