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Interview with Stephen Walker: Buxton Fringe, now and beyond
July 20, 2020 July 24, 2020 chrisontheatre
It's time for another interview. This was something I'd been planning to do for months: ask the new chair of Buxton Fringe about his plans for the future. But in those said months, more event happened than anyone could have thought possible. But that's okay, because this made an interview all the more interesting.
It's a much longer interview than usual, but we did have a lot to get through. I bring you an inside account of the most extraordinary year from the festival fringes.
I have with me Stephen Walker, the chair of Buxton Fringe. This is an interview in his capacity as chair, although we will be digressing into his past role as a reviewer.
Good to see you Chris.
If we can cast our minds back to a period in the dim and distant past called November 2019, when Buxton Fringe helds its AGM. What were your original plans back then?
When I took over as chair, I didn't feel the need for massive changes. I've never been a fan of the management style that says "I'm new, I need to change everything" just for the sake of it. The fringe work pretty well, I felt it was more just getting my feet under the table.
We've a few new people on the committee, so I thought we'd have a steady year – we've had our 40th anniversary, so it would be really nice to make sure everything works and that I know what I'm doing. It's keeping the show on the road, more like being a custodian of the Fringe. The fringe runs itself to a large extent; because we don't select or censor, the fringe will be whatever it's going to be.
The last couple of weeks in June there were just so many entries coming in … and other people were putting stuff together specifically for us, which was fantastic.
Well, unfortunately you were out of luck, because events have forced you to change a lot of things. I've heard all sorts of stories across the theatre world of people going into emergency meetings in mid-March. So tell me what it was like at Buxton Fringe, At Buxton, was it an easy decision to carry on with a mostly online fringe, or was there a lot more work behind the scenes?
I'll give you a rough timeline. End of February Coronavirus, it starts to be something talked about on the news, so I put it on the agenda for our meeting at the start of March. We only meet once a month September-June on the Fringe, and it was last thing on the agenda. I said we need to keep our eyes open for this, just just be alert and everybody think about how it'll affect their jobs on the fringe. And within a week, it was a live issue, and I went in to a meeting with Marketing people at Buxton International Festival, and it was their big focus, obviously, it was a massive issue for them, because they'd just launched ticket sales, they were recruiting a company to start rehearsing, and we thought "this is more serious". And then a week after that, they'd cancelled, and we were into constant phone calls and emails discussing what we'd do.
I think what you'll find it that most organisations will have made their decisions whenever their big financial commitments came up. When you reach a financial point of no return, you have to decide whether you're going ahead or not. For us, our only massive financial commitment is the programme. So we said, let's just find out if we can delay the programme, and we did that, and put out statements saying we were still looking at it.
And so, we were really busy through April planning stuff, and then it went a bit quiet because we sat and waited. We had a hundred entries in the bank, we thought it was getting more and more unlikely there would be a physical fringe, but because we'd delayed the programme, that evolved into just not printing it. If we cancelled the fringe we would have had to refund the everybody's entry fees, but we'd have paid thousands and thousands for the programme.
So we were able to hold and hold and hold, until in May we went "Right, there's not going to be a physical fringe". At that point, we were sitting with a hundred events, only one of which was entirely Covid-free, which was our first ever online entry, which caused some consternation when it came it but proved to be a harbinger of what was to come. Then there was a huge amount of work, talking to the managed venues to see what they were doing, talking to all the acts, all the entries that weren't with managed venues. We were having weekly meetings at that point going through all the entries going "They're going to switch to online, they're going to cancel, the managed venues have pulled out", and just reshaping a fringe, and that made May/June hectic just doing that.
Then we had new entries coming in, and a new entries procedure, people saying "What do we do, how do we host things?", so we were really amazingly busy. And usually in that time we're sitting back thinking how to present the fringe, how to write our press releases, how to market it, but we were still building the programme, so we didn't know what we were marketing. And the last couple of weeks in June there were just so many entries coming in, and it was amazing. Some people that had something went "Ooh, well I can share this". There were no entry fees this year; we just refunded everybody and said no entry fees. And other people were putting stuff together specifically for us, which was fantastic.
But, yeah, it's been really busy.
So, would you say that – apart from Edinburgh Fringe – festival fringes have been at an advantage for having low financial outlays?
To a degree. To be honest, I've been so stuck with what we're doing that I haven't really been aware of what anybody else has been doing outside the big fringes. I knew that Brighton Fringe had postponed, which made sense; they obviously couldn't do anything right in the heart of the crisis, and I can understand that.
I think the low cost does give you an advantage. We're very lucky, we're a charity, we're run entirely by volunteers. We pay desk managers during the fringe, that's the only staff we pay for three weeks. We have very little costs, so we weren't going to go bust, so we were very flexible.
You mentioned Brighton postponed. Why did you opt to go ahead in July no matter what rather than postpone as well? There was a rather tempting vacated August slot.
I don't think we ever seriously considered moving. We're geared up for a July fringe, our volunteers have commitments as well. People run the fringe then go on holiday! Maybe if we'd been thinking we need to be able to charge entrance to make money, because we're having to make a living off it, we'd have maybe said, right, let's slip to August, slip to September, and that would be possible. We didn't have that, we just thought, we're going to do this in July, we're going to carry on regardless. And because we make art and culture accessible, it wasn't really an issue for us, we never thoughts about doing it at any other time. The only conversation was to either cancel or go online. It was very much the feeling that if we can do something, let's do something.
How close did you get to contemplating cancellation?
Well, we discussed it seriously in our early April meeting, whether to cancel or not, and there were certainly voices saying we should. I think, in general, at that time most people thought we don't have to make that decision now, we can delay it and cancel later if we have to. So we waited until May, and by then the mood was that people need something to look forward to. Whether that's an audience for theatre and music and comedy and whatever, they'll be looking for something. And as much as that, if not more, creative people will be wanting to work on things, will want to have a project. You'll have seen in Buxton the Covid snake of painted stones that runs virtually the whole length of the Broadwalk, which is 500-600 metres long, with thousands of stones in it. People want to be creative, people need to do things, so I don't think cancellation was ever really on our agenda.
Could the advice and instructions from the Government have been better?
I don't know, it's difficult, it's a very unprecedented situation. Nobody's really done this before. Earlier clarity would have helped, but that might have been difficult as well, because the lockdowns were every 3-4 week, then you have heavily trailed information about what was going to change. We kept thinking "maybe", and now looking at the fact that they're still talking about no performances face-to-face indoors, it might have been nice if we've known that in May that was definitely not going to happen!
But I suspect that's very hard. In the same way that we were keeping our options open, I suspect the Government weren't wanting to commit to anything beyond a few weeks at a time. So I don't think it would have made much difference to us.
So we're at the end of week two and we've had all of these online entries. How do you think it's gone?
I think it's gone well. It's very hard to judge because you're not running into people talking about shows, but you're picking things up on social media. Nothing's going viral, we're not seeing thousands of people suddenly watching fringe shows online. I suspect we never thought that would happen anyway, it's a fairly niche audience. I think people in Buxton who support the fringe have really enjoyed catching up with stuff, and on social media i see people really enthusing about what they're seeing.
I certainly know from the companies that I'm closer to that have put stuff online are pleased with the number of views that they're getting, and just the fact that they're able to do something and reach out. So I'm quite happy with it so far, I think. I don't really measure in clicks on Youtube, but we're providing an opportunity to share stuff, and our entrants seem happy with what they're getting. And sure, it's the same as anything, some people will not get an audience and be disappointed, but the same thing is true of a regular fringe, as you know. Sometimes it's got nothing to do with the quality of the work, but that's the way it is.
Would you say that pre-existing loyalty to Buxton Fringe helped this along?
Yes, I think so. People who come to our shows have gone and viewed stuff online and have taken to it. They're supporting us in that way. It's perhaps not for me to say, but I think people are grateful that we've done it.
I think there's still big question marks for fringes next year, because until we see regular venues up and running and see how they're managing it, it's hard to work out how thrown-together fringe venues will manage.
I promised myself I would discuss things other than the latest lurgi, so let's turn attention to your other career in the arts. You've previously reviewed for both FringeGuru and internally for Buxton Fringe, and at FringeGuru you've done both Buxton and Edinburgh.
That's right, and even Vault occasionally.
One thing that is unusual for Buxton Fringe is doing in-house reviews. Could you talk us through the history of this?
To be honest, the history goes back way before my time. I don't know who introduced it, I've been on the committee for twelve years and it was pre-existing when I came along, so I don't know the history behind it. I think the rationale is two-fold. You're providing a bit more independent information on what the show is about for punters; sometimes it can be hard to pick up from an entry in the programme what it's about, and those extra words give a more depth. And also, it is for the benefit of the acts themselves; they get a bit of coverage, somebody looking at the show and telling them what they think, and that can be valuable. Even if it's generally positive, you're telling them what works and what you liked about it. And you know performers as well as I do, they're all looking for the quote they can lift and put on their flyers for next time! And it's some evidence that their show has happened, and people have seen it, we have people asking for information on our reviews to use for Arts Council applications. I think it's a service that works well for both punter and entrant.
One advantage with Buxton is that if you need a review, it is certain you can have one. In recent years there's been a problem with Edinburgh in that – in spite of all the review publications out there – you can end up with not a single review. Few people suggest Edinburgh Fringe should do in-house reviews like Buxton Fringe can do – is there anything else that could be done?
I don't know really, Edinburgh is just such a massive thing. Thousand upon thousands of shows, it's such a commitment for any organisation to touch more than a fraction of those. If the festival was to bring them in house? I can't say don't, because we do it, but it's just another viewpoint. I don't know what else could be done in Edinburgh, it's a very different market, it's much more competitive, and maybe that's just the way it is. We have the advantage of a much smaller scale, so covering 100-200 shows is tough, but it's not like Edinburgh.
You talked earlier about providing a service to both performers and prospective punters. Is one more important than the other?
I don't think so, and I don't think anyone writes reviews thinking that. They're writing from their own personal perspective, and I know we have a house style that means nobody's ever going to get slated, but there is room for constructive criticism. We encourage reviewers to pick shows they think they're going to enjoy, so nobody goes to shows thinking "I'm going to hate this". So i think it works both ways. I wouldn't like to be seen as a service to our entrants, because we're not writing to order, it is independent. Certainly when I'm writing reviews I tend not to make myself known, in a similar way to you do with you reviews, I won't talk about it until after I've written it and it's published. And I think it is of use to punters, you see people at our fringe desk looking through the reviews. And if you see something in the programme and you're going "I'm really not sure", you can get a feeling from a reviewer of whether it's the kind of thing you might like. That might encourage you to go, it might not, it can work both ways.
Let's stay with comparing Edinburgh and Buxton for another issue, which is volunteers. Very thorny issue in Edinburgh, most people know the fate that befell C Venues; Buxton is obviously a very different model. There are questions of where volunteering stops and exploitation starts. Could you give a case for what Buxton Fringe does right?
Well, I think we're different in that the entire fringe is run by volunteers. We pay desk managers during the fringe, and that's the only staff we have. So I'm not paid, none of my committee is paid, so I don't think any of us feel exploited because we're all giving our time voluntarily. We take on quite a lot of work experience people at the desk, from the local schools; that's probably a service more than exploitation, the kids are getting out and having fun and meeting interesting people. We have quite a lot of volunteers that come and help on the desk, that really is the goodness of people's hearts.
Edinburgh's in a different boat because it required thousands of people to run it, and it tends to be young people who are free from university for the summer who have the time to go and do it. I have to profess ignorance to what happened to C Venues' I don't think it's an issue for our fringe; I know some of our venues will use volunteers as well, but the same volunteers will go back to those venues year after year and love it. I don't think we have an issue with exploitation; with Edinburgh, I can't comment.
At any time, a venue could go or arrive, and the fringe will morph to reflect what's available.
Obviously, at the moment, these discussions are hypothetical. Hopefully next year we should be getting back to some sort of normality. Do you dare make a prediction for what Edinburgh Fringe 2021 will be like?
I have no idea. I could think what it might be like round here, and I'm still nervous about that. The hope would be that Coronavirus will go away, the levels of transmission will be so low that we'll be back to fairly normal by next summer. But if there's another spike, if there's still transmission in the community, will we have indoor shows, in small sweaty rooms above pubs? We can't really impose social distancing without reducing the audience size to uneconomic levels.
I honestly don't know, I think there's still big question marks for fringes next year, because until we see regular venues up and running and see how they're managing it, it's hard to work out how thrown-together fringe venues will manage. They'll need to learn lessons from the professionals, I suppose.
At some point, Coronavirus will be gone for good. The other issue is whether there will be any permanent effects. Do you dare speculate over what that will means?
Obviously we're speaking a week after the Government have announced a massive aid package for the culture industry. I'm sure it's not universal, but there's quite a feeling that's a generous package. I think that's really important for the whole ecosystem. Not everybody works for the National Theatre, or the Royal Exchange where there's 65% redundancies; but that's the apex of a pyramid, beneath them there's people working in smaller theatres and independent companies and freelancers finding their way. So if the top tier had fallen, then the whole industry really starts to collapse underneath that ladder. I'd been really worried about that.
Fringe is different, isn't it? I really don't know, because you could say from an area of economic strength we'll have better audiences and more people coming to see shows, and more people wanting to put them on; but then also in times of economic crisis it could be that's when culture flourishes, and most often it would flourish from the grass roots in that case. In which case you could find a really vibrant fringe scene, but maybe nobody being able to afford to see it!
I think everything's up for grabs. Everybody tries to predict the future, it's a fool's errand, we need to wait and see.
Totally unfounded assumption, but let's assume that when Coronavirus goes away, theatre carries on where it left off. Last year Buxton had its biggest ever fringe. Do you think this can be repeated?
We haven't gained or lost any venues, so there's no reason why we couldn't have another fringe of that size. The fringe has defied our expectations probably for ten years, in that we've felt the town is pretty much full and there's surely no more scope, and then we creep up again.
It's great if it's that size, but it's not particularly a concern for me. I don't really measure our success in terms of how many shows we can have and so on. When we lost Pauper's Pit and the Barrel Room and we thought we might lose Underground completely – and they were our mainstay and for a long time our only managed venue – we thought "Well, what happens now?" They set up the Clubhouse, Rotunda turned up on the green, Green Man Gallery's gone from strength to strength, so it's hard to tell. At any time, a venue could go or arrive, and the fringe will morph to reflect what's available.
There was a time not so long ago when Brighton Fringe was as big as Buxton Fringe is now. One important point is Brighton Fringe proactively pushed for a much bigger fringe. Could you see Buxton Fringe getting bigger, and if so, could there be a spot where you start saying "too big"?
We're certainly never going to proactively push to make it bigger, it's just going to be organic, and that'll be driven by venues and entrants. If more people come and kind find spaces, and get audiences that means it's worthwhile for them to come back, we'll get bigger; if not, it doesn't particularly bother me on way or the other. It will be as big as it will be.
To have a festival with 220 acts like last year is incredible in a small town like this, and also to a large extent driven by the fact that the International Festival is here and a lot of people coming in for the opera that come to see our shows as well. I don't worry too much about size of the Fringe.
You mentioned the loss of Pauper's Pit and the Barrel Room. It's true that we've got venues coming in its place – where I did see a problem is that the Old Clubhouse and the Rotunda are bigger venues attracting bigger acts. Pauper's Pit was how I got started, and I can't think of anywhere else that does this. There is the Green Man Gallery but that's heavily over-subscribed.
Yes, and it doesn't have the same kind of equipment to put an a show as Underground has.
I think to a large extent upstairs at The Old Clubhouse does much the same job as Pauper's Pit, but I know it's not a theatre space in the same way, and it's crossing both Barrel Room and Pauper's Pit. It's a bit bigger, they can cram in 90 if they want to, it doesn't feel empty if there's 20, which makes it a nice space. I think Pauper's Pit was a wonderful thing to have, but I can't see it being repeated. I'd love to know a bit more about the history of it; it was a spare space under the hotel and some people got some old seat from a theatre and stuffed them in, put in a sound desk and lighting board and Bob's your Uncle, we had a fringe theatre.
I don't know if there's a space like that in existence, that isn't needed for something else.
Which venues would you advise entry-level acts to look at now?
That's very difficult for me, because I'm the chair and I shouldn't be showing favouritism towards any particular venue.
I think it depends. If you want to put on your own show, and do it entirely yourself, there's great venues around like the Methodist Church, the URC. You did you show there one year, didn't you?
Yes, it was actually you who persuaded me to persist with my plans.
It's a nice venue up there, probably not as many shown on there as there used to be, with the Rotunda and Green Man doing more.
I think each of the venue does something different, and has a slightly different clientele. Underground has dominated comedy for a long time, there's not an awful lot of comedy that goes on outside of Underground. In terms of theatre, which I think is your area, you've got a nice range now. The Green Man have a couple of spaces, Underground have a couple of spaces, the Rotunda have a very big professional setup, and you can do simple things yourself outside those venues. I wouldn't push anybody towards anything, because I'd get in trouble. But I think we have a nice range of options.
Near to Buxton is Greater Manchester Fringe. For people who aren't familiar, I will explain: when they say Greater Manchester fringe, they mean all of Greater Manchester, from Stockport to Bolton, so it is quite a different setup. What are relations between Greater Manchester and Buxton like?
We don't have an awful lot of contact. We're cordial, in that sense, they'll sometimes tweet about what we're doing, and if we notice what they're doing they'll tweet about that. Certainly no sense of competition at all – we don't look at them and think what are they up to.
You're right: very very different experiences. Greater Manchester Fringe is spread out all over the place, and you're not going to go running between shows like you are in Buxton or Edinburgh. It's public transport or driving, it would be hard to see more than one show in a night. What I have really liked about it, what's been really positive is that it's given acts another place to go. If you're travelling up from the south to do Buxton, you can do shows at the Greater Manchester Fringe as well, it's worth your while doing it, and it also gives Manchester-based acts somewhere else to put on performances. If they're going to be doing 3-4 nights there, it's nice to come down and do another 2-3 nights here, and you've got more value out of the show you put together. You'll know people like Rob Johnson who's a real stalwart of the Manchester scene who always brings a show to Buxton. Other do too, and I think we complement each other nicely.
So if Greater Manchester did overtake Buxton, are you saying you wouldn't be bothered at all?
No, not in the slightest. I don't know how you measure size. Number of shows? Number of audience? Whatever, I don't know. It wouldn't bother me, and let's face it, Greater Manchester has a bigger geographical scope than we have.
One thing that Buxton and Greater Manchester both have is that they are open festivals, as is, I believe, Carlisle Fringe, also this side of the Pennines. On my side of the Pennines, the idea of a festival where anyone can take part is pretty much alien. We had the great Yorkshire Fringe which was adamantly completely vetted. Is there anything you could say to persuade people in the north-east to embrace the open model?
I suppose it just takes someone to take that leap of faith. If you're setting up a festival, and you're putting a big commitment of time and effort and perhaps money into it, it's scary to say "Anyone can turn up and do anything and we're just going to take an entry fee and market you," because you don't know what's going to turn up. It could be terrible, it could be wonderful, and you can understand wanting to vet and select, because you feel in control of what you're putting on.
As for us, it's always been open access and I love it. John Wilson, our former chair, said "Buxton is always the same and always different". I think it's a great model, and it opens you up to a lot more acts. It makes it more exciting, it would be lovely if someone on the other side of the Pennines did that. I lived in Newcastle for ten years, it would be lovely to have something like that in the area.
We're nearly at the end, so I'll give you the last word. Why should people wanting to put on a show choose Buxton Fringe?
Do you know, I think about this a lot, I think we're possibly the friendliest fringe. Entrants that come, especially from those outside Buxton, enjoy the atmosphere. There's always a positive reception for everybody, nobody's coming to carp and complain. The audience is there to enjoy what's put in front of them and aren't looking to pick holes. If you hang around a venue long enough, people will come and chat to you. If they've seen your show they'll have a chat to you about it, if they haven't there's a fair chance they'll come and see it.
I think that kind of friendliness and supportiveness. I was listening to a podcast on the fringe called "Requires Improvement", and the people who do the podcast have loved coming to Buxton and doing the shows here. You get the sense from them that it's a warm and supportive environment. And things like our reviews go towards that; people that are starting off and have never done a show before, they get good feedback, they get people talking to them, they're made to feel welcome. That friendliness goes a long way, and I think that's why people are encouraged to come here, and why they keep coming back.
And on the other side of the coin: people coming to see a fringe and know there's more than one fringe on offer – why Buxton?
To be honest, I don't think we're in competition with any other fringes, go to them all and enjoy them! I think the other side of the coin works for the audience: it's a lovely environment, the venues tend to be very friendly and open, and you'll get a good reception with them. You get to chat to performers and other people. You probably know a good number of our committee because they're always in and out of shows talking to people and encouraging people and showing an interest. That works well for an audience as well, it's a nice experience coming to the fringe.
Stephen Walker, thank you very much.
Nathan Cassidy photo courtesy of Andy Hollingworth. All other photos taken by me, apart from the header which was taken by my mum.
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AI + ML
More and more CS students are interested in AI – and there aren't enough lecturers
Brain drain of researchers flocking to industry is not the real problem here, report suggests
Katyanna Quach
Thu 7 Jul 2022 // 22:43 UTC
Computer-science departments across US universities do not have enough lecturers to teach increasing numbers of students interested in AI, a report from the Center for Security and Emerging Technology (CSET) this month suggested.
Interest in machine learning and artificial intelligence has risen and fallen since the field was formally founded in the 1950s. Neural networks have made a comeback in recent years, exploding in popularity with deep learning. Demand for machine-learning courses at universities has skyrocketed, we're told, and there aren't enough lecturers to support students' interest.
Data compiled by the Taulbee survey, and quoted in the report, showed that between 2011 and 2020, the number of students enrolled in computer-science programs in America tripled from 60,661 to 182,262. But the number of faculty in computer-science departments increased under 1.5X from 4,363 to 6,230. The aggregate student-to-faculty ratio across the surveyed departments doubled up from 14-to-1 to 29-to-1.
Now, to be clear, these are stats represent all students enrolled across 140 US computer-science departments, rather than those students specifically signing up for AI classes, though the report argues the figures are indicative of a rise in interest in courses that primarily drive the teaching of machine learning. The executive summary concluded:
While it is difficult to measure the potential mismatch between the supply of instructors and the demand for AI education, available evidence suggests there is indeed a gap.
Over the last decade, the increase in computer science enrollments has far outpaced the growth in computer science faculty, who are responsible for much of the AI instruction at US universities.
While there is an undeniable rise in those taking computer science, you have to take the report's word for it that this in all probability equates to a rise in interest in ML. "Many AI courses are taught in computer science departments, and AI specialists account for a growing portion of CS faculty overall," the report noted in an appendix.
Some universities have had to cap the number of students for particular classes due to a lack of teaching staff. Limiting education will have a detrimental effect for the United States, the report's authors Remco Zwetsloot, a fellow at the International Security Program at the Center for Security and International Studies, and Jack Corrigan, a research analyst at Georgetown's CSET, explained.
Uni killed off its PhD-screening AI – just as its inventors gave a lecture about the tech
ALSO IN ML
"Teaching capacity gaps limit the amount of talent flowing into the US AI workforce, which in turn negatively impacts economic and national security," they wrote. "Research has shown innovation is partly a function of the absolute number of researchers in a particular field and the act of generating new ideas is becoming more labor intensive. Less talent therefore means less innovation."
Experts in AI have previously warned that universities are suffering from a brain drain of talent. Instead of going into academia, they're moving towards research positions in industry due to higher salaries and access to better resources, leading to fewer tutors in colleges.
But Zwetsloot and Corrigan believe the data shows this isn't the whole picture. It's not that universities are struggling to hire faculty to support more students, it's that they aren't hiring at a fast enough pace. Some academics wooed by industry often continue to stay at their departments and only spend 10 to 20 percent of their time working for a company.
"We found little evidence to suggest the outflow of AI faculty from academia to industry has increased in recent years, and, though a larger share of new PhD graduates is indeed taking jobs in industry, survey data does not indicate that they are disinterested in academic careers. However, we did find evidence that suggests universities have not increased the number of computer science faculty positions in line with the growing demand for AI-related education," the report said.
Percy Liang, an associate professor of computer science at Stanford University, however, told us: "It is true that the number of available faculty positions has not grown nearly as quickly as the number of industry positions, but I think brain drain is real: researchers choose industry over academia or leave academia to go to industry because of higher compensation, more data and compute."
Zachary Lipton, an assistant professor of machine Learning and operations research at Carnegie Mellon University, meanwhile, told The Register he doesn't see a huge brain drain of researchers going into industry. After working for a couple of years for a company, many often return to academia.
"Yes, there is more pay in industry but it's boring in a sort of way," he told us. "Their focus is more myopic. There are more important interesting problems in foundational, theoretical research that are still best studied in academia."
Boys outnumber girls 6 to 1 in CS
Lipton said the surge of interest in machine learning is for introductory courses that cover the basics, and these classes are useful for a wide range of careers outside of academia. There isn't as much demand for advanced graduate-level study. To cope with the increased demand, universities should boost teaching faculty rather than researchers seeking tenure.
"Universities should make the teaching track more attractive," he told us. "These faculty members don't have to worry about grants or running a lab, but it's very hard to accept a pay cut just to focus on teaching. Tenured academics may teach some introductory courses but their primary focus is research. We need to find more people that have a passion for teaching, who are able to connect with a broad base of students."
The report suggested the US government should step in and increase funding for universities so they can hire more faculty. There should be more options outside of academia for people to upskill and take these introductory to AI courses at community colleges or online. The private sector can help, too, by donating to universities, continuing to fund grant awards, and supporting new academic posts. ®
MCubed
Publisher halts AI article assembly line after probe
In brief Plus: Academics debate citing ChatGPT as research co-author; Getty Images sues Stability AI
AI + ML23 Jan 2023 | 12
AI lawyer to fight first legal case in court, startup claims
In Brief Plus: How much would you pay for ChatGPT? And British AI drug biz gets snapped up for half a billion
OpenAI's ChatGPT is a morally corrupting influence
No principles or virtues, people accepting everything it says – this bot is perfect for political life
Midjourney, DeviantArt face lawsuit over AI-made art
Updated Lawyer known for GitHub Copilot case to argue artists' legal struggle
ChatGPT talks its way through Wharton MBA, medical exams
This perhaps says more about the tests than the artificial intelligence on display
Publisher breaks news by using bots to write inaccurate stories
Worse still, human editors appear not to have caught the mistakes
Adobe: Take user data to train generative AI models? We'd never do that
Controversial policy change forces chief product officer to speak out
Writing tool from AI21 Labs won't do all the hard work for you
Wordtune Spices is more like an AI-powered Grammarly
So you want to replace workers with AI? Watch out for retraining fees, they're a killer
Comment Who said workforce development was just for humans?
Mentally scarred: Kenyan workers taught ChatGPT to recognize offensive text
Spare a thought for the workers who read the worst content scraped from the internet to keep you safe
Universities offered software to sniff out ChatGPT-written essays
Feature Teachers hopefully get their hands on the tool within months

redpajama_set_name: RedPajamaCommonCrawl


The Benicia Unified School District Governing Board has three open seats on the November ballot. Information provided by California School Boards Association regarding the role of the school board and school board members can be found here and here. Information for potential candidates can be found at the Solano County Registrar of Voters website.


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24News.ca
Supreme Court dismisses appeals from B.C. murderer and Montreal woman
Category: Canada News
Published Thursday, December 24, 2015
OTTAWA -- Canada's top court has rejected appeal bids by a convicted murderer from B.C. and a Quebec women convicted for trying to kill her husband.
The Supreme Court of Canada announced Thursday it won't hear appeals from Peter Quon San Wong and Elena-Gabriela Zugravescu.
Wong was convicted in February 2012 of first-degree murder for killing a sex worker and discharging a firearm at her pimp inside a Burnaby, B.C. condo as part of a botched robbery.
Wong was just shy of his 18th birthday at the time of the offence, but was sentenced as an adult to life in prison with no chance of parole for 10 years after an application by the Crown.
He was appealing on the grounds the trial judge erred in instructions to the jury.
Zugravescu was convicted of multiple charges, including attempted murder, in 2012 for stabbing her then husband multiple times while inside a Montreal subway station during rush hour in June 2010.
The stabbing followed a history of domestic violence.
Zugravescu alleged she had a blackout or temporary amnesia at the time of the assault and was appealing her conviction.
The Supreme Court does not typically provide reasons for accepting or rejecting a request to hear a case.
Latest Canada & World News
World News CBC News
Sometimes, music tells a story more succinctly than a speech, and on Wednesday, Lady Gaga managed to capture the message of Joe Biden's inauguration, and the span of American history, in just one note. It lasted four soul-stirring seconds, deep into a performance of the U.S. Source
Two Florida men, including a self-described organizer for the Proud Boys, a far-right extremist group, were arrested Wednesday for taking part in the siege of the U.S. Capitol earlier this month, authorities said. Joseph Biggs, 37, was arrested in central Florida and faces charges of obstructing an official proceeding before Congress, unlawful entry and disorderly conduct. Source
New White House press secretary holds 1st briefing this evening
U.S. President Joe Biden's new press secretary has scheduled the new administration's first White House press briefing for Wednesday evening. Jen Psaki said meeting with the news media on Day One was a symbol of the administration's commitment to transparency. Source
Canada News CTV News
BARRIE, ONT. -- A COVID-19 variant has been identified in six swab tests done at Roberta Place in Barrie, Ont., where an outbreak has claimed at least 19 lives. Since the health unit declared an outbreak at the long-term facility, cases have exploded, with 122 residents, 69 staff, and two visitors testing positive for COVID-19. Source
Director out at Ontario hospital after vaccine queue jumped
Canada News CBC News
A director at the Headwaters Health Care Centre (HHCC) in Orangeville, Ont. has retired after having a family member vaccinated during a clinic intended for hospital staff, physicians and local healthcare workers. The "unfortunate incident" happened during a vaccination clinic held by Wellington-Dufferin-Guelph Public Health on Jan. Source
How Biden's COVID-19 plan differs from Trump's
World News CTV News
TORONTO -- The inauguration of U.S. President Joe Biden doesn't just mark the end of Donald Trump's presidency but it also signals a new direction in the effort to end the COVID-19 pandemic in America. To political and health experts critical of Trump's response, the twice-impeached president's pandemic action plan was one of inaction that led the country to world-leader status in deaths and infections. Source
Hamilton city councillor got racist, threatening messages after deadly U.S. Capitol riot
A city councillor in southern Ontario says her office received two racist, threatening voice messages from a Hamilton man days after the attack at the U.S. Capitol that killed five people. Hamilton city councillor Nrinder Nann (Ward 3) revealed details of the hateful messages during a council meeting on Wednesday — the same day Joe Biden and Kamala Harris were sworn in as U.S. Source
In one of the inauguration's most talked about moments, poet Amanda Gorman summoned images dire and triumphant Wednesday as she called out to the world "even as we grieved, we grew." The 22-year-old Gorman referenced everything from Biblical scripture to the musical Hamilton, and at times echoed the oratory of John F. Source
Kamala Harris makes history as first woman of colour to take the oath of U.S. vice-president
U.S. Vice-President Kamala Harris broke the barrier Wednesday that has kept men at the top ranks of American power for more than two centuries when she took the oath to hold the nation's second-highest office. Harris was sworn in as the first female vice-president — and the first Black person and person of South Asian descent to hold the position — in front of the U.S. Source
U.S. President Joe Biden's full inauguration speech
Here is the full text of the inaugural address, delivered by U.S. President Joe Biden on Wednesday. Chief Justice Roberts, Vice-President Harris. Speaker Pelosi, Leader Schumer, Leader McConnell, Vice President Pence, and my distinguished guests, my fellow Americans, this is America's day. Source


It's been nearly 8 years since the exclusive Chicago Athletic Association closed its doors for the promise of a new hotel. In 1890 a group of Chicago's most prominent businessmen formed the Chicago Athletic Association and in 1893 erected a clubhouse along the Michigan Avenue Streetwall at 12 S Michigan. The Venitian Gothic inspired building has been a mysterious treasure for those who had not the means to visit, for over 120 years. This past May, however, that has all changed.
Now open to the public the building houses a boutique hotel, named The Chicago Athletic Association Hotel, after its predecessor. Easily the most exciting parts of the hotel are the myriad of places to eat, drink, and be merry. And each of them has retained the sophisticated feel of an exclusive club catering to the ivy league and prep school crowd.
Shake Shack - Located on the ground level this burger joint also serves wine, beer, and, of course, frozen custard shakes!
Drawing Room - Serving as the lobby of the hotel this space brings me right back to study hall in boarding school, if only they served cocktails then. A great spot to meet before dinner, you can relax with a glass of wine in front of the fireplace, browse through a book, or enjoy the views of Millennium Park below.
Milk Room - From 7:00a.m.-3:00p.m. this space serves as a coffee shop, but after 5:00 the 8 seat bar is expected to serve extremely rare spirits and a few select cocktails. I have not heard that the bar concept is open yet, but it should be coming soon.
Game Room - All games are free! Kick back and enjoy casual food along with cocktails and beer while challenging your friends to a variety of games from bocce ball, to pool, to foosball, or shuffleboard.
Cherry Circle Room - The main restaurant is a circular room with an old wood bar running along the perimeter. Have a casual meal at the bar or cozy up to a booth and have your cocktail made tableside!
Cindy's - Because Chicago is best in the summertime a rooftop bar with lake views was in need! Cindy's has the feel of a lakehouse cottage with a million dollar view. Relax inside for dinner or enjoy cocktails on a summer night by the outdoor firepits. Don't forget to enjoy the Navy Pier fireworks on Wednesday and Saturday in the summer!


We have specialized in fishing the Upper Kenai River between Kenai and Skilak Lakes since 1977. Our guides are experts in fly fishing as well as drift fishing and back trolling. You can expect an exciting eight hours of fishing for red (sockeye) salmon, rainbow trout and Dolly Varden. All top-quality gear and tackle is provided and we happily accommodate both expert and novice anglers.
Fish the Lower Kenai River (near Soldotna and Sterling) for giant king salmon from late May through July. Kenai River kings are the largest in the world. Whether you're an accomplished angler or a recreational fisherman, our professional guides will put you on the fish. Up to four people fish comfortably from our state-of-the-art Willie Predator power boats on the Kenai River.
Either on the Kenai River or in scenic Resurrection Bay, you'll have an action-packed day of silver salmon fishing in August or September. The excitement of hooking one of these prized fish is worth the trip to Alaska in itself. Our boats are equipped with the best and latest fishing gear including depth and fish finders, and top-quality rods and reels.
Daily Departures: Between 5:30 am and 6:30 am (call for meeting times & locations: 800.478.4100).
Notes: As an added value, we will fillet your salmon. Full fish processing, including vacuum sealing and freezing may be available, at extra cost. Check with your guide for details and full processing quotes. Salmon, on rare occasion, may be limited to catch and release by order of Alaska Department of Fish and Game. Once you have reached the daily limit, you may not have your line in the water the rest of that day per Alaska Department of Fish and Game regulations. Fish trip prices do not include 3% local sales tax, fishing licenses, Two Dollars A Day Program, or gratuities to guides.
For more information, please visit our day trip fishing page or visit our fishing FAQs!


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Youngsters across Coventry and Warwickshire will be pulling on their PJs for the Zoë's Place Bed and Bear Day fundraiser.
A total of 20 schools and nurseries across the region have signed up to support the Coventry baby hospice during Children's Hospice Week, which runs from Monday, May 21.
Children will pay £1 to attend school in their pyjamas and bring along a favourite teddy bear.
The bedtime theme is to acknowledge how the baby hospice, based in Ash Green, provides vital support to young children and their families round-the-clock – including overnight stays.
CoventryLive has teamed up with Zoë's Place Baby Hospice to help celebrate the many Bed and Bear Day events taking place across the region.
We're sending our photographer to as many schools as possible to take pictures of the youngsters involved – and we're inviting schools and parents to post their own pictures on social media using the #PJZP18 hashtag for a chance to be published online and in print.
All funds raised from Bed and Bear Day 2018 will go towards supporting the Hive Appeal, which aims to raise £30,000 to help develop and provide more services for families of children with complex medical conditions.
Head of care Gina Harris explained: "We want to offer more services to the families that come to Zoë's Place and to do that we need to provide additional facilities.
"So we are planning to build an additional building that will enable us to offer services such as complimentary therapy sessions, counselling, family coffee mornings and play and stay.
"We are calling the building The Hive as it will be a hive of activity and a great addition to the hospice and families that use our services.
"The hospice is now open round-the-clock every day, offering a 'home from home' environment for the children and much-needed respite for families.
"We have already introduced animal, music and rebound therapy sessions, and hydrotherapy is now happening weekly and the children really do enjoy these.
Zoë's Place provides palliative, respite and end-of-life care to babies and toddlers from birth to five years old. Every £25 donated provides one hour of high-quality nursing for a baby or infant at the hospice and much-needed respite for the family.


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These premade, highly concentrated and purified lentiviral particles deliver sequences that express fluorescent protein tags (AcGFP1 or mCherry) targeted to specific subcellular locations. Particles are available for visualization of the nucleus, endoplasmic reticulum, mitochondria, endosomes, golgi, cytoskeleton, and plasma membrane. Transduction allows direct visualization of specific organelles or structures, creating reporter cells that are useful for investigating protein localization, protein dynamics, and protein trafficking.
The fluorescent markers offered (AcGFP1 and mCherry) allow for multicolor labeling and direct detection by fluorescence microscopy.
A copy of the rLV.EF1.AcGFP1-Actin-9 product License Agreement can be found by clicking here.
Subcellular staining of actin using recombinant lentivirus to deliver and express fusions of actin to mCherry (Cat. # 0020VCT rLV.EF1.mCherry-Actin-9) and AcGFP1 (Cat. # 0013VCT rLV.EF1.AcGFP1-Actin-9), respectively.
A copy of the rLV.EF1.AcGFP1-Endo-9 product License Agreement can be found by clicking here.
Endosome labeling using concentrated and purified lentivirus. HeLa cells were transduced using rLV.EF1.AcGFP1-Endo-9 (Cat. No 0018VCT) at an M.O.I of 80. The ready-made lentivirus encodes a fusion of RhoB GTPase and AcGFP1 which, when expressed, localizes to the surface of vesicles of the endocytic pathway.
Map schematics of expression cassettes contained in particles for labeling subcellular compartments (e.g. actin, tubulin, mitochondria, etc.) with AcGFP1 fluorescent protein.
A copy of the rLV.EF1.AcGFP1-Golgi-9 product License Agreement can be found by clicking here.
The golgi apparatus of HCT116 cells visualized using recombinant lentivirus (Cat. No. 0015 VCT rLV.EF1.AcGFP1-Golgi-9) expressing AcGFP1 fluorescent protein fused to the N-terminal 81 amino acids of human β 1,4-galactosyltransferase, which contains a membrane-anchoring signal peptide.
A copy of the rLV.EF1.AcGFP1-Mem-9 product License Agreement can be found by clicking here.
Fluorescent images of mammalian cells transduced with either AcGFP1-Mem (left) or mCherry-Mem (right) virus showing clear labeling of the plasma membrane. (Cat. # 0019VCT and 0026VCT, respectively.) The blue channel in the right image is DAPI staining of the nucleus.
A copy of the rLV.EF1.AcGFP1-Mito-9 product License Agreement can be found by clicking here.
Visualizing mitochondria in mammalian cells using mCherry or AcGFP1 fluorescent proteins. HCT116 cells and Hela cells were transduced using Cat. Nos. 0024VCT and 0017VCT respectively. The lentivirus vectors express a fusion protein consisting of a fluorescent protein tagged with the targeting sequence from subunit VIII of cytochrome c oxidase that targets mitochondria.
A copy of the rLV.EF1.AcGFP1-Nuc-9 product License Agreement can be found by clicking here.
The nuclei of HCT116 cells visualized using recombinant lentivirus expressing AcGFP1 or mCherry fluorescent proteins fused to a nuclear localization signal (Cat. Nos. 0016VCT or 0023VCT, respectively).
A copy of the rLV.EF1.AcGFP1-Tubulin-9 product License Agreement can be found by clicking here.
Fluorescent labelling of tubulin in mammalian cells. HeLa cells were infected at 80 M.O.I. with ready-made lentivirus engineered to expressed AcGFP1-Tubulin (Right image; Cat. No. 0014VCT) or mCherry Tubulin (Left image; Cat. No. 0021VCT).
A copy of the rLV.EF1.mCherry-Actin-9 product License Agreement can be found by clicking here.
Map schematics of expression cassettes contained in particles for labeling subcellular compartments (e.g. actin, tubulin, mitochondria, etc.) with mCherry red fluorescent protein.
A copy of the rLV.EF1.mCherry-ER-9 product License Agreement can be found by clicking here.
Fluorescent labelling of endoplasmic reticulum (ER). Cells transduced with this premade lentivirus (Cat. No. 0025VCT) will express a fusion protein consisting of mCherry fluorescent protein; the ER targeting sequence of calreticulin, which is fused at the 5' end; and the sequence encoding the ER retrieval sequence, KDEL, which is fused at the 3' end.
A copy of the rLV.EF1.mCherry-Golgi-9 product License Agreement can be found by clicking here.
A copy of the rLV.EF1.mCherry-Mem-9 product License Agreement can be found by clicking here.
A copy of the rLV.EF1.mCherry-Mito-9 product License Agreement can be found by clicking here.
A copy of the rLV.EF1.mCherry-Nuc-9 product License Agreement can be found by clicking here.
A copy of the rLV.EF1.mCherry-Tubulin-9 product License Agreement can be found by clicking here.
Highly concentrated lentiviral particles; all lots are >109 transducing units (TU) per ml (functional titer, not a just a particle count).
High-purity lentiviral particles—transduce cells without cytotoxicity.
AcGFP1 is a true monomeric green fluorescent protein with spectral properties similar to those of EGFP.
mCherry is the most widely adopted monomeric red fluorescent protein.
Learn more about the properties of these fluorescent proteins.
Particles are available for labeling the nucleus, endoplasmic reticulum, actin, mitochondria, tubulin, endosome, golgi, and plasma membrane.
Cell organelle/structure labeling—monitor protein localization, protein trafficking, organelle dynamics, etc.


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Blog Posts > With Significant Tax Reform on the Table, Lawmakers Lack Complete Picture of WV's Future Budget Needs
With Significant Tax Reform on the Table, Lawmakers Lack Complete Picture of WV's Future Budget Needs
It's now been almost four months since Governor Justice announced that his top priority for the 2021 West Virginia legislative session would be eliminating the personal income tax. But despite the time elapsed, we've yet to see a plan put to paper. That's likely because it's really difficult to eliminate the state's largest source of revenue, particularly while fulfilling commitments to lower taxes for everyone and to preserve public services without major cuts. Equally important for policymakers to consider is that structural revenue issues in West Virginia's economy paired with a growing reliance on the personal income tax in future years will make this task even more painful in the years to come.
As lawmakers consider proposals to reduce or eliminate the state's income tax, they are being asked to do so without a complete picture of West Virginia's future budget projections. That's because this year, for the first time in recent memory, the Governor's budget proposal does not include a six year outlook, which normally outlines spending plans for future years and is an essential tool for identifying expected inflation and growth in agency budgets.
Despite such critical information being excluded from the FY 2022 budget, we do have FY 2021's six year outlook, which shows structural revenue issues and budget gaps that are likely only worsening. The FY 2021 six year plan showed significant budget gaps in the coming years, despite no new spending on higher education, declining state spending on the school aid formula, and only $157 million in new spending for Medicaid over that time frame.
While the FY 2022 budget does not contain a new six year outlook for expenditures, it does include new revenue projections, which show a deteriorating budget situation compared to one year ago. For example, the new general revenue projection for FY 2023 is $4.57 billion. That is $264 million below the projection from the FY 2021 budget, which already showed a $158 million shortfall for FY 2023. For each year that the FY 2021 six year outlook showed a budget shortfall, revenue projections have since worsened.
We already know that for two consecutive years, the state has utilized one-time reserve funds from Medicaid to close significant gaps and balance the budget, showing a longer-term revenue problem where even current revenues fall short of meeting the needs of our state. This is a problem that will only grow larger in the coming years. According to the Department of Health and Human Services, the Medicaid reserve, which has been tapped in multiple years to help balance the budget and build a surplus, will be depleted by FY 2025, and will be in a $153 million shortfall by FY 2026.
The revenue outlooks in the Governor's proposal also show that each year, it becomes more difficult to balance the budget if we reduce or eliminate the personal income tax. That is because as severance tax revenues decline and other revenues grow more slowly, the personal income tax is projected to become a larger share of the overall general revenue fund. While the income tax is projected to grow by 26 percent by FY 2026, the sales tax is projected to grow more slowly by only 10 percent and the severance tax is projected to decline by 14 percent. By FY 2026, the personal income tax will grow from 44.7 percent share of total General Revenue to over 48 percent.
Revenues from the personal income tax alone are growing faster than the rest of our state's revenue sources combined. This means that paying for eliminating the personal income tax, while very difficult up front, gets even harder each year and will require larger and larger increases in other taxes like the sales tax or increasingly severe cuts to public services. The cost of eliminating the income tax is $2.0 billion for FY 2022, but the cost grows to $2.45 billion by FY 2026.
One hint as to Governor Justice's plans for future spending is that he asked the legislature to consider flat budgets with no new spending over the next three years. Given that inflation costs and increases in the prices of goods and services grow each year, a flat budget inherently indicates cuts to programs year over year. Secretary Hardy indicated in a recent townhall with the Governor that his flat budget for FY 2022 actually saves — or more accurately cuts — $80-90 million in planned spending. And that ignores the fact that we now know Medicaid will be in a $153 million shortfall in FY 2026, meaning that even a "flat" budget will require additional cuts. But since the Governor's FY 2022 budget did not include a six year plan, we do not know where those cuts will come from.
Without access to complete information from the Governor's office regarding future spending needs and the ballooning costs of personal income tax cuts, lawmakers will be unable to make responsible and well-informed decisions about tax reform proposals.
Categories: Blog, Tax and Budget


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The Pen is presented in a candidate of "the people", Mélenchon refuses the "tricks" – Le Figaro
Encouraged by polls favourable, Benoît Hamon did not intend to change. The winner of the primary of the Beautiful people's alliance recalled Sunday, before the socialists, on the occasion of his inauguration. Aware that he must first gather your party before collecting the left, the rebellious was once again expressed on the question of the balance of the current quinquennium. The former minister listed the achievements that he considers positive, citing the no to Tafta, the marriage for All or even the action of Najat Vallaud-Belkacem, present in the assembly. Hamon has also paid tribute to François Hollande, whom he met this week. Apart from a handful of ministers discreet, the tenors of the governm ent were missing, such as Manuel Valls, officially went on vacation. His lieutenants followed the convention from the back of the room, abundant the press for their comments.
The socialist candidate, has defended his cape, his universal income, a key measure on which it is elected at the end of January and the cornerstone of its "future desirable". He replied to Emmanuel Macron, who had attacked the night before on his program. "Everything is changing on the surface, that in reality nothing changes behind. We see the young cheetah, the creatures of the system that a clever handling suddenly transformed, by grace may be a large transformer, I don't believe it," ironisé the former minister, who rejects the concept of a providential man. Hamon has devoted a large part of his speech to ecology, conversing eagerly with the candidate green Yannick Jadot to build a government agreement. The socialist also intends to engage in dialogue with Jean-Luc Mélenchon, who poses as prior to the break with some representatives of the left government as Myriam El-Khomri, invested for the legislation. The member has asked not to require a & #8220;heads up".
a Few minutes before him, the mayor of Paris Anne Hidalgo, the boss of the socialist Party Jean-Christophe Cambadélis, or the former keeper of the Seals Christiane Taubira expressed. "Your application has already become a must, all together we will be with you," assured the head of Solferino, lifting the applause of some 2,000 activists.
READ ALSO : The convention's inauguration, the first trial by fire of the candidate Hamon
Posted by Pronegrot at 11:28 AM


Thanks again for accepting me as a committer for Apache Accumulo.
(India) and M.S in EE from Stanford.
> > > Hi Accumulo!
> > > and PMC in cognition of his past contributions to the project.
> > > introduction on yourself and your interests.


With the new Minions movie finally coming out, Despicable Me is as trendy as ever! We've been big fans since it all began. To celebrate (and help you celebrate), we've come up with some easy DIY Minions party ideas that anyone can make.
Basically, we're taking basic Minions party supplies like plates and napkins and showing you how to turn them into something extra special.
Keep on reading to see the tutorials!
Make boring balloons a little more exciting! For this Despicable Me backdrop, we used blue and yellow table covers, crepe paper, fluffy tissue paper puff decorations, regular party balloons, Despicable Me balloons, and curling ribbon.
Click here to get everything in one easy kit!
To put it all together, you'll also need some regular Scotch tape and a tank of helium for the balloons. Start by simply folding your table covers into a layered triangular arrangement as shown above.
Then, begin decorating the walls. Attach a piece of blue (or yellow) crepe paper near the top of your wall. At the bottom, cut it to the proper length and give it a few twists before securing with tape. Make more parallel twists of crepe just like that, alternating in color and a few inches apart as you move across the party space.
Then, inflate your balloons and assemble your tissue puffs. Use matching shades of ribbon to hang the puffs and arrange the balloons. Try mixing things up by displaying pieces at different heights, as opposed to in a straight line. Also, if you don't have any helium, you can just as easily suspend balloons from the ceiling.
Napkins and plastic silverware are the essential party basics (unless you're okay with turning your birthday cake into finger food), but it can be easy to turn them into something special!
A simple napkin wrap with Minion flair makes for an easy DIY party project that anyone can do.
To begin, take a yellow paper napkin and rotate it so that it's arranged like a diamond in front of you. Place a plastic fork and spoon (we used blue ones) in the center, so that their ends almost come to the top corner of the napkin. Then, create a pocket by folding the bottom corner of the napkin upwards and the sides into the middle. Creasing the napkin as you fold will help it stay together for now.
Paper Minion masks come with two eyes, but we're only going to need one for this purpose. So, cut one of the eyes off, and use the remainder to wrap around the napkin. Tape it together in the back to form an easy napkin ring in the shape of some Minion goggles!
When you're finished with enough table settings for every guest, display them in a yellow plastic pail.
Sweet treats are always welcomed by all the guests, but it's easy to craft them into an amazing decoration for the table, too.
Almost too adorable to devour!
The bases of this DIY decoration are the mini metal buckets, pre-painted in the proper shade of Minion yellow. Paper Minion goggles give them the right look – secure them snugly with a piece of tape in back.
Time to fill them up! Inside the buckets, we placed some pieces of Styrofoam (not included in the kit). Then, lollipop sticks were stuck inside to be displayed and held upright. In a pinch, tightly packed paper or cardboard layers can be used, too.
Finish by disguising the base of the bucket with some blue tulle fabric. Alternately, you can also disguise the base of the bucket with more candy (we like that version better, to be honest with you)! Yellow and white swirly suckers, along with colored Sixlet candies, are included in the kit, but feel more than free to use your child's favorites.
To give your tablescape some added texture and height, raise your DIY centerpieces to varying levels with wrapped boxes or books.
Here's an adorable way to make anything into a Minion! Mason jar lids + black crepe paper + googly eyes = Minion goggles. Who knew?
We've done this project with a yellow party favor gift bag and a toy hard hat, but you can adapt it to just about anything. Soda bottles and snack containers on the food table, or even the birthday gifts themselves are both great choices.
First, you'll need to cut a piece of black crepe to fit around your object to make the "headband." Loop it around loosely to find the right length, snip it, and fix it in place with some Scotch tape.
Mason jar lid rings (not included in kit) make the most perfect frames for our Minion goggles, but we need something to make the eyeball. These paper goggles are great – cut out one of the eyes and fit it into the lid ring. If it's too small, you can always use some plain cardstock to mat it a little bit. Then, a single googly eye hot glued into place serves as the pupil. Hot glue your finished Minion goggle to the crepe headband, too.
For a finishing touch, give your Minions some scraggles of hair on top! Cut up a couple black pipe cleaners (not included in kit) and hot glue away.
Have we inspired you to throw a Despicable Me party for your little Minion? What kind of DIY party ideas and party themes should we come up with next? If you liked this post and want to see more like it, then let us know! Visit our Facebook page or find us on Twitter @BirthdayExpress and tell us what you think. Check out our Pinterest boards for even more amazingly easy party ideas for kids, too.
Click here to browse the entire Minions party supplies collection on Birthday Express.


text:
Brussegem is een plaats en deelgemeente van Merchtem in de Belgische provincie Vlaams-Brabant, op ongeveer 10 km van Brussel. De patroonheilige van Brussegem is Sint-Stefanus. Brussegem was een zelfstandige gemeente tot aan de gemeentelijke herindeling van 1977.

Geschiedenis
Brussegem kent een zeer lange geschiedenis die teruggaat tot de Frankische tijd, wanneer het dorp Brussingaheim werd gesticht. Bij de fusie in 1977 met Merchtem werd het gehucht Oppem (met de wijk Amelgem) dat tot dan deel was van Brussegem afgesplitst en bij de gemeente Meise gevoegd.

Geografie

Kernen
Naast Brussegem is er ook nog het gehucht Ossel. Het heeft een dorps karakter.

Bezienswaardigheden
 De laat-gotische Sint-Stefanuskerk in het centrum van Brussegem (gebouwd in de 16e eeuw en 17e eeuw).
 Het gerenoveerde voormalig gemeentehuis dat nu als bibliotheek fungeert.
 Het Kasteel Wolvendaal
 Het Torenhof, een historische vierkantshoeve (beschermd monument, nu fruitteeltbedrijf).
 De Sint-Annakapel
 De Neerkammolen

Zie ook: Ossel

Natuur en landschap
Het landschap bij Brussegem is heuvelachtig en heeft een hoogte van 35-80 meter. De bodem bestaat voornamelijk uit leem. Het Foeksenbos een een belangrijk natuurgebied.

Demografische ontwikkeling

Bronnen:NIS, Opm:1831 tot en met 1970=volkstellingen; 1976 = inwoneraantal op 31 december

Geboren in Brussegem
 Engelbertus kardinaal Sterckx (1792 - 1867), Belgisch aartsbisschop en kardinaal

Bekende (ex)Brussegemenaren
 Gilles De Bilde
 Geena Lisa
 Ruben Van Gucht
 Eiður Guðjohnsen

Nabijgelegen kernen
Bollebeek, Hamme, Ossel, Oppem, Merchtem

Externe links
 Website van de gemeente Merchtem
 Inventaris Onroerend Erfgoed

Plaats in Vlaams-Brabant
Merchtem

redpajama_set_name: RedPajamaWikipedia


An inclusive culture, striving for the very best outcomes for children in our care.
We invite prospective parents and pupils to view our academy in operation.
Pupils at Woodfield enjoy excellent facilities and a spacious, safe, well-maintained campus; equally, we maintain consistent and demanding standards of behaviour and have high expectations of our pupils in the classroom.


text:
<!DOCTYPE html>

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		<link type="text/css" rel="stylesheet" href="../../../page.css" />

		[page:Geometry] →

[name]

Creates extruded geometry from a path shape

Constructor

[name]([page:todo shapes], [page:Object options])

		shapes — Shape or an array of shapes.

		options — Object that can contain the following parameters.

curveSegments —  int. number of points on the curves

steps —  int. number of points used for subdividing segements of extrude spline

amount —  int. Depth to extrude the shape

bevelEnabled —  bool. turn on bevel

bevelThickness —  float. how deep into the original shape bevel goes

bevelSize —  float. how far from shape outline is bevel

bevelSegments —  int. number of bevel layers

extrudePath —  THREE.CurvePath. 3d spline path to extrude shape along. (creates Frames if (frames aren't defined)

frames —  THREE.TubeGeometry.FrenetFrames.  containing arrays of tangents, normals, binormals

material —  int. material index for front and back faces

extrudeMaterial —  int. material index for extrusion and beveled faces

uvGenerator —  Object. object that provides UV generator functions

		todo

Properties

Methods

.addShapeList ([page:todo shapes], [page:Object options])

			shapes — todo

			options — todo

todo

.addShape ([page:todo shape], [page:Object options])

			shape — todo

			options — todo

todo

Source

		[link:https://github.com/mrdoob/three.js/blob/master/src/[path].js src/[path].js]

redpajama_set_name: RedPajamaGithub


One of the most flexible automation systems available for punching. The FA-P system can handle small and large volume applications with common material type, thickness and size and small as well as large work pieces. FA-P offers advanced load/unload, part picking and a large area for stacking punched parts directly onto the allocated pallet - with no operator intervention of additional automation required.


Heidi Lewis Coleman will be exhibiting her Mixed Media Assemblage piece, TERRA, in the Stamford Art Association's upcoming show at the Ferguson Library, COMFORT ZONE. The show runs from January 25th through May 10th. The Ferguson Library is located at 1 Public Library Plaza, at the intersection of Bedford and Broad Streets, in Stamford, Connecticut.


text:
Jump up ^ LeCron, Leslie; Bordeaux, Jean (1970). Hypnotism Today. Wilshire Book Co. p. 278. ISBN 0-87980-081-X. When in a trance ... the medium seems to come under the control of another personality, purportedly the spirit of a departed soul, and a genuine medium undoubtedly believes the 'control' to be a spirit entity ... In the trance, the medium often enters a cataleptic state marked by extreme rigidity. The control then takes over, the voice may change completely ... and the supposed spirit answers the questions of the sitter, telling of things 'on the other plane' and gives messages from those who have 'passed over.'
Michael Shermer criticized mediums in Scientific American, saying, "mediums are unethical and dangerous: they prey on the emotions of the grieving. As grief counselors know, death is best faced head-on as a part of life." Shermer wrote that the human urge to seek connections between events that may form patterns meaningful for survival is a function of natural evolution, and called the alleged ability of mediums to talk to the dead "a well-known illusion of a meaningful pattern."[201]
The "passage" here is made by an older Englishwoman, Mrs. Moore, traveling to India to see her son, a British civil servant. She heads East in search of a larger view, but initially she encounters fragmentation. Hindu, Muslim, and British India are not merely different worldviews but virtually parallel worlds. Most of the English keep to themselves, but Mrs. Moore ventures out into a teeming world in which the natural is always deeply infused with the supernatural, where "to realize what God is seems more important than to do what God wants." Forster portrays her spiritual journey so authoritatively that we find ourselves, like Mrs. Moore, enlightened and overwhelmed by her new world, as she tentatively feels her way toward a comprehensive nonattachment which is finally more Hindu than British.
He is the King and head honcho. He symbolizes masculine creativity. He represents authority, power, responsibility, leadership, passion and action, and is seen as a symbol of sex, the warrior and defender. He symbolizes new beginnings, competition and aggression. He can represent the father, husband, man in your life, boss, or any authority figure.
These employees, hired by psychic service companies who know they have no paranormal skills, usually fumble through a telephone session by asking the client numerous questions and providing generic answers to the client's questions. Some callers get disgusted and hang up after several minutes, after paying a tidy per-minute sum to enrich the company.
Though historians like Kaplan and Matthews publish new information on divination decks every year, there are still many holes in the larger story of fortune-telling cards. Wolf points out that those who use cards for divination are often at odds with academics researching their past. "There's a lot of friction between tarot historians and card readers about the origins and purpose of tarot cards," Wolf says. "The evidence suggests they were invented for gaming and evolved for use in divination at a much later date. Personally, I believe they were designed for game play, but that the design is a bit more sophisticated than many tarot historians seem to believe."
The fifth, and final, thing you should know before going to a psychic medium demonstration or private reading is a piece of advice my friend John says best before every one of his demonstrations, "Don't Feed The Medium!" If the psychic medium tells you that your Uncle Charlie is present. Don't blurt out, "Oh, my goodness, my Uncle Charlie was a police officer who lost his leg in the war and died two years ago in a car accident!" Let the psychic medium tell you these things. If you offer that information yourself, then you miss out on the excitement and validation you could gain if the psychic medium was about to tell you those details.
The illustration on some decks did double duty, providing divinatory tools and scientific knowledge, like the Geografia Tarocchi deck from around 1725. "The Geografia are extraordinary cards, almost like a little encyclopedia of the world with the oracle imagery peeking out at the top," Matthews says. "The actual bit that you read from is just a cigarette-card length. So for example, the hanged man just shows his legs at the top of the card, while the rest of the card has information about Africa or Asia or other places on it."
Because the earliest tarot cards were hand-painted, the number of the decks produced is thought to have been small. It was only after the invention of the printing press that mass production of cards became possible. The expansion of tarot outside of Italy, first to France and Switzerland, occurred during the Italian Wars. The most important tarot pattern used in these two countries was the Tarot of Marseilles of Milanese origin.[1]
Speaking of readings, the first thing to know is that there actually are two different types of Tarot readings: question readings and open readings. In question readings, you are addressing a specific question. Tarot is not intended to answer specific yes or no questions. Most say it also shouldn't be used to make decisions, but instead should be used as a guide to help you make the decision yourself. For this reason, the way a question is stated is very important. Tarot reader and teacher Joan Bunning gives this advice:
For example, if a spirit wants to give the psychic medium the name Sandy, they might flash (in the psychic medium's mind) the face of a person whom the psychic medium knows named Sandy. If they want to get the psychic medium to say the word "coffee," they might show the psychic medium someone's cat that had the name Coffee. This can be confusing and requires that the psychic medium interpret what they are seeing in their mind. For instance, the psychic medium might say cat rather than coffee; and to the person being read, the psychic medium might appear wrong when the psychic medium is actually just "misinterpreting" the message.
The beauty of the wealth of knowledge available to us is there is often a book for whatever need we may have. If we encounter questions about the faith, we have resources to develop our intellectual knowledge. The Catholic blogosphere has a myriad of "Catholic mom" sites where women mutually support each other in their vocations as wives and mothers. There are books too numerous to list that have come from Catholic authors on parenting and authentic masculinity and femininity.
Taking a step back, we should be thankful that we live in an unprecedented time in the history of the Church.  Literacy is taken for granted, but it was not so in earlier times.  Access to books used to be far more limited; in Marsh's Library in Dublin, for example, books were so rare and expensive that they were chained to desks inside of cages.  Compare that to modern times, where we have some of the greatest works of literature and theology available online at our fingertips.  How blessed we are!  The tradition of the Catholic Church and all the writings of her saints are priceless aids that we need to utilize.  Yes, need!
It's not something that can be picked up and put down on a whim. If you find out that you do have the ability and want to eventually practice as a working medium, it will take dedication, patience, and time, as it can be a physically demanding job. Mediumship has to develop and grow; you'll find that most mediums spend their entire lives developing their abilities. One final point: you must also be ready to live a life of service.
During our Heart Reading, we can come across your loved one that may be having a tough time. Maybe they are in a "dark place" and can't see beyond their cloudy thoughts. We can send "long distance healing" which is as simple as a prayer and can have the same effect. Our clients have reported to "see a dramatic change" in their loved ones after we intentionally send the healing.
Direct voice communication is the claim that spirits speak independently of the medium, who facilitates the phenomenon rather than produces it. The role of the medium is to make the connection between the physical and spirit worlds. Trumpets are often utilised to amplify the signal, and directed voice mediums are sometimes known as "trumpet mediums". This form of mediumship also permits the medium to participate in the discourse during séances, since the medium's voice is not required by the spirit to communicate. Leslie Flint was one of the best known exponents of this form of mediumship.[28]
Sometimes I may even come up with a word or saying in their language that I've never spoken before. One time I did a reading for a woman who was from Romania. Her mom came through, and she'd never spoken English in her life. When she connected with me, it was all in pictures and symbols. I wasn't remotely surprised to find out that her mom was an artist and was a visual person. It was as if these pictures and symbols had words attached to them.
Oracle decks like the Lenormand tend to rely on more direct visual language than traditional tarot cards. "The tarot can often speak in broad, timeless, universal statements about our place in the world," says Wolf. "The imagery of fortune-telling decks is more illustrational and less archetypal. The images are generally more specific, simpler, and less universal, keeping the conversation more straightforward."
Keep your options open: If you have the answer before the reading, then you're not allowing the cards to guide your overall decision. Bunning offers this example: Asking how you could encourage your mother-in-law to move out, as opposed to asking how you can get along better with her, is narrowing the scope of the true question by answering it before you even get started.
When you are considering any form of psychic or spiritual reading it is always a good idea to ask yourself a few questions before picking up the phone. Do you want quick answers to questions or do you want to be enlightened and empowered? If the latter is your preferred option a spiritual reading is perfect for you. Choose a reader that specialises in spiritual growth and development and have your questions ready. You may be surprised by what you learn.
After drawing your cards, revisit your initial question to ensure that it has been addressed properly. A good tarot guide can help you interpret the images you see on the tarot cards, but there's really no substitute for personal reflection. As with any skill, practice makes perfect, so use this tarot tool often (daily, if possible), or order a set of Astrology Answers Master Deck Tarot Cards and practice at home!


You can tell the farm origin of the products, as farm produce does not only grow in harmony with nature but is also processed by hand using traditional methods that conserve all the original goodness. This takes a lot of time and is hard work, but the good results are in the taste.
So far, 66 farms selling their own products from all over South Tyrol are committed to adherence to the rigorous 'Red Rooster' requirements regarding origin and processing. At least 75% of raw ingredients must come from the family farm, and only small quantities may be purchased at another farm in South Tyrol. In addition, regular blind tastings involving an independent, expert jury have to yield positive results and guarantee consistent high quality of products.
These choice food products may be bought directly from the farm and also at local weekly markets and selected specialist shops. 'Pur Südtirol' in the Meraner Kurhaus, in Bozen, in Lana and Bruneck featuring over 200 'Red Rooster' products, also offers you a unique shopping experience.


If you are looking for a unique experience at an upscale but affordable location, look no further than Lake Hill Winery and Banquet Hall! With the beautiful Carthage Lake as the backdrop to our wedding gazebo, Lake Hill provides the perfect secluded location for the wedding of your dreams. Inside you will find two Banquet Halls that can accommodate a variety number of guest for your big day - seating 120 guest in our Barrel Room and 400 in our Banquet Hall. Our staff is committed to assisting you in all your needs to make your big day dreams come true. We will also handle all the set-up and clean-up including tables, chairs, tablecloths, dance floor, and Bridal Room. Let us help you plan your stress-free, memorable day at Lake Hill Winery!
The new banquet facility has a warm, country feel that lets you escape for an evening of fun with friends and family. We are excited to be a part of your special day! Dates fill up quickly so please contact us as soon as possible for availability, rates, and any other questions you may have.
After your ceremony, the wedding party is invited to escape to the vineyard for unforgettable photographs of your special event.


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