The vast majority of school shooters are white men; there's apparently something about masculinity—seeing one's body as an instrument of power and dominance—that contributes to a profound disconnectedness that can lead to violence when students are withdrawn from their teachers, students, and family members.
This feeling of security is what the Centers for Disease Control and Prevention (CDC) calls "school connectedness," which it defines as "the belief held by students that adults and peers in the school care about their learning as well as about them as individuals." When students feel more connected to school, the CDC says, they are more likely to engage in healthy behaviors and succeed academically.
Yet the discourse on prevention has been twisted to focus on whether or not school personnel should have guns and be trained to use them. In July, President Donald Trump and his Federal Commission on School Safety issued a call to "harden" schools, and making sure "our schools are safe and secure, just like our airports, stadiums, and government buildings." His administration plans to do this in part by providing funding for educators to receive firearms training and allowing them to bring weapons into the classroom for protection. That language echoed the rhetoric of NRA CEO Wayne LaPierre, who said during a speech in February that schools "must come together to implement the very best strategy to harden" themselves. If the administration takes more of the NRA's suggestions, I guess this would include replacing outside shrubbery with "thorn-bearing and sharp-leaved plant species," which the NRA recommended in a 2013 report.
Efforts to harden our schools have already begun in states such as Florida, where a new law could result in up to 37,000 new armed staff. A 2017 Bureau of Labor and Statistics report found that Miami already has the highest concentration of security guards of any U.S. metro, except Las Vegas. A CityLab analysis found that the United States now has nearly as many security guards as teachers, and the growth in guards has been more than double that of teachers since 2007.
Some organizations are taking a decidedly different approach to improving school safety. On Dec. 5, the philanthropic group Communities for Just Schools Fund is set to release a new report that will show educators how to foster connectedness in schools. The group will advocate for investment in teaching, conflict resolution, a diverse teaching staff, anti-bias training for educators, as well as mental and emotional health supports.
But why is connectedness so important? A 2003 study by researchers Adena Klem and James Connell of the nonprofit Institute for Research and Reform in Education found that a whopping 40 to 60 percent of all students are "chronically disengaged" from school, meaning that students don't perceive themselves as having a strong support system within their educational environment. The degree to which a student feels connected to their school can determine a host of other outcomes. The 2009 CDC study found that students who felt more connected to their schools had higher grades and test scores; dramatically lower rates of substance use; attended school more regularly; and were much less likely to engage in violence. The CDC outlines four main pillars of school connectedness: adult support, positive peer groups, a welcoming school environment, and student commitment to education.
Schools that choose to focus on these pillars reap the rewards. Just look at Sioux Falls, South Dakota, where one elementary school was able to increase attendance in just three years by rolling out the use of an app named KinVolved. The program allows teachers to communicate and engage with families directly through text messages with praise or concerns, and the software can even translate 50 languages in real time. A social studies teacher in the Bronx saw a marked difference in student attitudes toward learning after instituting a welcoming learning environment—he shifted to a more culturally relevant curriculum, beginning his black history classes with Ancient Egypt and emphasizing that his students are "the descendants of kings and queens, not descendants of slaves." And a middle school in Texas was able to reduce suspensions by 62 percent in just one year after implementing a comprehensive "restorative discipline" program, which focuses on face-to-face discussion circles that engage students with teachers and peers and aim to understand why students act out.
Don't get me wrong: We need the proper authorities to address immediate threats. But guns should never be the core solution to our safety problems. Approaches that focus on connectedness create healthier and higher-achieving students. So rather than hardening our schools, we need to do the hard work of forging quality relationships with our students.


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redpajama_set_name: RedPajamaGithub


Come live in the Byward Market in this stylish 2 bedroom,2 full bathroom condo with floor to ceiling windows that draw in light from the southern exposure.
The open concept living and dining room design is perfect for entertaining and has dark hardwood flooring that flows through the condo offering a seamless feel. The well equipped kitchen features crisp white cabinetry,ample prep space and a sleek glass backsplash. Generous windows in the master bedroom make this a wonderful space to wake up in, or to enjoy the city lights in the evening. Soak away the day in your full ensuite bath. Bedroom 2 is perfect as a guest room or home office and has a conveniently located full bath and handy in suite laundry.
Includes 1 parking spot and locker.
The party room, fully equipped fitness centre and BBQ courtyard are amenities you will appreciate in this condo.
With a Walk Score of 99! it is close to shopping,entertainment, restaurants, groceries, DND,Ott U, Parliament, DFAIT.
Ready for a new owner September 1st.


text:
The Shady Recruits: Marcus King Band After Party
Saturday October 1, 2022 11:00 PM EDT 10/01/2022 11:00 PM
Cost: $12 Advance / $15 Day of Show,
Formed in 2016, The Shady Recruits is a 5-piece band based out of Greenville, South Carolina with a funky, jazzy, and at times heavily improvisational fusion of what they describe as "tasty tunes". Influenced by the likes of Funkadelic, Frank Zappa, Soulive, Steely Dan, and so many others, the band plays an eclectic, high-energy mixture of originals and covers guaranteed to keep you dancing all night. While still relatively in its infancy as a band, The Shady Recruits have been fortunate to share stages with such acts as The Marcus King Band, Brandon "Taz" Niederauer, and Dumpstaphunk. Led by drummer Jack Ryan of the Marcus King Band, The Shady Recruits are an "all-star lineup" of sorts, consisting of musicians from several prominent local and regional bands. The ensemble includes fellow Marcus King Band member and Greenville native Justin Johnson on horns and vocals, Chris Spies on saxophone, bassist David Katilius of jamtronica rockers Scrumptious and Phish tribute outfit Adam Knight's Buried Alive, along with keyboardist Marcus White of Chattanooga who adds a musical tour-de-force, splitting his time between the Recruits and touring with Atlanta funk/improv giants Voodoo Visionary, as well as leading his own project killakeyz_band.…and a surplus of surprise special guests is always a unique part of The Shady Recruits performances.
At Vinyl
1374 West Peachtree St. N.W.
centerstage-atlanta.com
venue facebook: @CenterStage.Loft.Vinyl

redpajama_set_name: RedPajamaCommonCrawl


Given how much work goes into producing a scripted series, especially high-end drama, it is disheartening to see the ratings pecking order last night: Sports first (Fox's night-winning coverage of the Cotton Bowl, 1.9 among adults 18-49 in the non-time zone adjusted fast nationals), newsmagazines second (NBC's Dateline and ABC's 20/20, tied at 1.5) and then original scripted dramas. Following Dateline, NBC's Grimm returned from a month-long hiatus to a 1.4 in 18-49, up 17% from its last original on Dec. 13. But Dracula (0.9) was down 18% from its last original (though matching its previous three telecasts.) The only other original last night was the CW's The Carrie Diaries (0.4), which was up a tenth from its last outing.


text:
Fateh Al-Moudarres: Syrian Artist Who Fought for Justice with Brush, Pen
Abd al-Rahman Munif
Photographs of Fateh al-Moudarres from the London-based Al Arab newspaper.
When Fateh al-Moudarres died, he left like a child treading the path of Golgotha, and in his death, as in his life, he appeared like Jesus the Redeemer, who never grew tired of giving counsel and setting examples.
Writing about al-Moudarres is either long overdue or too early. We entertained many ideas for a writing project to which Fateh would make the main contribution in the form of a long dialogue or interview. Although we were prepared, we kept postponing the practical steps, awaiting a more appropriate time. It seemed we had time on our hands until that June day arrived and took Fateh away.
Thus writing about Fateh appears early, for death is not always the appropriate time for saying all that needs to be said.
I recall the mid-1980s, when Fateh read my novel, "Al Nihayaat" (The Endings), admiring one of its characters, Assaf, for the silent heroism he embodied and for which he was a symbol in his death during one of the drought years. I also recall the musical tribute Fateh gave on the piano in his studio to this popular hero, playing "Nashid al-Widah" (Anthem of Farewell), a beautiful and masterful piece; since it was spontaneous and improvised, it was not recorded to my disappointment and his.
Writing about Fateh is then early and thus should not be reactive, or influenced by the impact of the shocking loss, for when an artist like him dies, he is not forgotten. Moreover, in talking about Fateh, we need to emphasize the present and future tenses more than the past, for the importance of the artist cannot be measured by the years or physical proximity but rather in terms of presence and influence. This is why his death becomes unique when compared with the death of others, for Fateh always remains present and capable of life and renewal, while the others' death becomes the beginning of absence and forgetfulness.
We were prepared for a long dialogue but kept postponing it, believing that time would be generous, allowing such a dialogue or clash of ideas to materialize and produce the best results. We wanted a dialogue closer to debate: hot, candid, problematic, and even extremist. We hoped this interview would be different, erupt in new ideas, and reveal visions often concealed in the shadows, allowing no one to come close.
His studio resembled a nest on Ahmad al-Marioud Street in Damascus, with windows not very high. Glimpsing the dim lights coming out of them, I was inspired to visit Fateh. Inside the studio, like an old ship with its corridor leading to the large hall, Sufi music by groups from Azerbaijan played everywhere; the coffee, which was on fire, was boiling and overflowing the pot. The hands of Fateh were usually late in tending to it, as he was often busy with the idea that precluded him from paying attention to anything else. It seemed that if the idea came late, it might be lost, but attending to the coffee would wait, and if necessary, it could be remade or dispensed with.
The interview debate, which we were preparing and kept postponing time after time, is now a part of the past, an impossible wish after the interviewee passed away and the words extinguished. This happened without feeling time or fear of death, as when the moon sets without being noticed or as the sun hides behind the mountains. After the possibility of debate slipped away from our hands, nothing was left except the echo of that Sufi rhythm, which perhaps remains to play in the large hall.
Since the possibility of the debate has vanished, the most one can do is to reflect briefly on some of the stages in the life of this distinguished artist, hoping his influence on the Arts movements in Syria and the Arab world will be written about in the future, in detail, and with objectivity.
The hammer first struck the chisel into the heart of Fateh when he lost his father when he was only 22 months old. His father, in his mid-20s, was killed by a gang in a conflict over land ownership and political differences. This event deeply impacted the child and his mother, and this influence lingered with Fateh to the end.
Even though a long time had passed since his father's death, whenever his childhood was recalled, Fateh used to consider the killing as a turning point in life. This had an important impact on his formation and perspective on life, explaining certain aspects like the "subjects," which remain the material for much of what he painted. He shifted back and forth between martyrdom, crucifixion, and departure, which Fateh expressed in most of what he produced.
After his father was killed, his mother and nature became his refuge and only protection in that northern border village where the Kouwaik River begins.
In that place, he discovered nature and colors, hardship and persecution by the powerful against the weak, including himself, others, and especially women. When he had to leave the countryside for Aleppo, still a child, he carried his memory and the maximum he could carry of the fruits, the rocks, and the flow of water — a load that would constitute his supply of materials for later periods.
Although the artist's childhood is a spring that doesn't dry up, childhood was stolen from Fateh early. He was denied the place where he was born and which he knew, thus being forced to leave for the large and difficult city. What Fateh could not achieve in actuality, he realized in dreams, memories, and art.
This journey of dreams, memories, and art was long, rich, and very winding; it is one of the main keys to reading the artist. Without knowing his childhood and its feelings, wishes, and dreams, the artist's works may remain defiant to comprehension and, at times, closed.
Fateh's childhood strongly impacted his life and art, influencing him more than it did many others as if it had always been with him in many forms. Although travel and long experience shaped, refined, and at times disguised him, childhood was his main theme from beginning to end, remaining as a musical theme, disappearing at times only to reappear again stronger.
Following early childhood, the childhood of middle age arrived. When Fateh longed for happiness, death came to deprive him of it, stealing two of his children after they had grown up, full of the promise of beautiful days to come. This tragic loss remained visible in most of his art pieces during that period when childhood became subject to betrayal and breakdown. With the loss of their mother, this triple bereavement characterized his paintings for years. Even when much time had passed, the expressions of this loss would resurface as an echo of an impact that never fades.
Childhood experience, then death and its consequences, are some elements that stamp Fateh's artistic life. Martyrdom, crucifixion, and "Jesus Returning to Nazareth" — the name given to one of Fateh's paintings — are expressions that acquire new meanings closely linked to his environment. Jesus, who had been portrayed with European features for centuries in Western paintings, appears to know of no other place than Europe as if he were born there. According to Antoine Makdissi, Fateh's painting restores to Jesus his real features, language, and the place where he lived.
Besides childhood and death, Fateh was influenced by the turbulent events in the region, the French occupation, the Palestinian question, and never-ending Arab defeats, including insults, shattered pride, and changing priorities. Fateh became their historical witness.
Even when he traveled to the north, the region known for its beautiful nature and numerous colors, Fateh continued his documentation on canvas. It was as if he wanted to share with us the childhood experience one more time, the longing for past days, and also that implicit comparison between what we experience now — ugliness, hardship, pollution, absurdity — and what existed at an earlier time or what must exist in the future.
Besides the themes chosen by the artist, these paintings emphasize his choice of colors and method of painting and how he decides what to include and exclude, something that may be a testimony of a dark condition or the price of a wish or ambition realized. Thus we can read a whole period through these expressions, not only as documentation of what the artist suffered but of what his surroundings dreamed of and said. This demonstrates the merit of studying the artist through several phases to understand what is beyond the forms and the colors, as well as recognizing the factors and the forces that
made him choose this method of painting.
Fateh is one of the main witnesses of the present Arab age. He was clear in his choices and positions, siding with the oppressed and the poor and expressing himself indirectly through the painting, the word, and the commitment.
Fateh's position was expressed through aesthetic feeling rooted in the region, although he shows knowledge of and appreciation of artistic accomplishments in other places, especially during his travels to Italy and France. He interacted with modern artistic trends and schools to develop his style and discover new dimensions there. He did this without forgetting two things. First, his connection with the environment in which he was born, its character in terms of light, colors, and smell of soil, a factor that perhaps distinguishes him from others. Second, he developed a special style, or a language of his own, a goal made possible by his long experience and by testing new possibilities.
Developing his style, including features and taste, establishes the artist's identity and differentiates him from others, thus constituting a decisive stage in the life of any genuine artist. Fateh reached this stage at a relatively early period.
This was not accomplished in one push, for Fateh conducted research and experimentation, moving from realism, his first phase, to being influenced by some of the styles and trends that were dominant in Europe, especially surrealism. But he did this in his way, spending little time with these schools and trends and soon moving on to continue research until he reached musical expressionism, or in other words, his style. This is a combination of localism imposed by the place, like colors and subjects, and of a stock of poetic memory and historical inheritance, whether in terms of symbols and signs or from reviving the region's other cultures.
Fateh accomplished this after he introduced all these elements into his special laboratory, making out of them a consistent casting that distinguished him from others to the point of enabling us to unmistakenly recognize his painting, not only in terms of its structure, expressions, or colors but rather primarily in terms of its spirit.
Besides his fine art career, which consumed most of his interests, Fateh was involved in the world of letters and literature, specifically short stories and poems. Added to this was the deluge of papers scattered in his studio or among his notes in the form of wisdom and lessons from life experience. What these statements say, many marked by black sarcasm, must not remain imprisoned by the nails that fix them on the studio wall or are instead strewn about everywhere. These must be gathered and published and made accessible to the people, for they explain their author and define his positions on a wide range of issues.
Even the studio entrance has changed into a diwan (salon) of Fateh's daily life, for in addition to what he posted on the door, his friends had their additions, amendments, and revelations, continuing the dialogue when it is otherwise absent.
When he was present, and during the intermission between one paintbrush stroke and another, the temperature of the words overshadowed everything, floating over the universe searching for the essential, for the strong and the durable in things and situations. Fateh emerged as the "dynamo" in the dialogues and discussions, creating new ideas and exploring dimensions, willing to pause for a long time over certain issues.
To discover Fateh and to recognize him well, it is necessary to treat him as a whole rather than look at one side of him. His life is as important as his art, his writings equal his paintings, and his dialogues reveal much of what the paintings cannot say directly. Also, the written words become a key through which we can enter a very rich and diverse world.
Fateh was asked about a collection of unusual photographs he took on a sea trip. Said Hourania posed the following question: "What is this, Man? Do you use Man as an animal experiment?"
Fateh: "Never. I photograph the essential. I photograph the most important in the personality at the moment I liberate myself from falsification."
"The Mint Tree," the only collection Fateh published, constitutes a good example of the short story in terms of structure, language, and meaning. Perhaps other stories in his files deserve to come out, contributing to seeing this artist in a new light.
Fateh's short stories provide an important key to his world. Hourania indeed finds a similarity between Fateh and Kafka, where both see the dark side of life, focusing on human creatures and then becoming deformed. But Fateh does not reach the state of absurdity or nihilism Kafka represents due to differences in geography, concerns, and time. Furthermore, Fateh's commitment lies in the concerns, principles, and positions, which made him a rejectionist closer to rebellion, especially as he witnessed the barbaric wave represented by America, starting from its positions in Vietnam, then the Palestinian question, and later Iraq. Those who know him say nothing preoccupied him more than politics, or rather, the indictment of violence, betrayal, hypocrisy, and wickedness that dominates the political world of gimmicks and maneuvers, for which people, particularly the poor, pay a high price.
From Fateh's perspective, the written word, especially his published short stories, incite the noblest in man to oppose injustice and oppression, exerting all efforts for a better life, a life that deserves to be lived.
Fateh's prose, colorful, fertile, and sparing, is part of his personality. I had access, by chance, to one of his early memoir notebooks, which he lost and ended up in another's hands. I hope this notebook was returned to Fateh; I still do not know whether it was. As Fateh now rests in Al-Bab Asaghir Cemetery, at least this notebook can be added to the other things he left behind, now the property of all those who appreciate the artist, eager to know the details of his life. His memoirs are the most fertile and important sources and enable us to understand his life, the factors and the influences that shaped it, and to subsequently reach the essential and the truthful.
Fateh al-Moudarres is a school in itself. Even the name is a part of his personality. He is a school because of the richness and the diversity of his experience, not only in fine arts but also in his life and the multiple means of expression he adopted to present his thoughts and dreams. Since his personality was a mixture of the artist and the bohemian philosopher, often marked by some sarcasm, art became one of the many aspects of this personality in its many forms. Art concentrates Fateh's internal words, characterized by recklessness, rebellion, and rejection. These factors explain his diversification of means of expression, a decision stemming from the inadequacy of any one means to express what moved him, hence the imbalance in his expressions, particularly in painting. This may be explained by Fateh's feeling that he had not yet reached or accomplished what truly satisfied and expressed him.
Further, when Fateh found the language he was using–whether through lines and colors or in the written word — inadequate in expressing what he wanted to "say," he turned to the piano to "say" something additional, something the color could not do justice to, nor the written word. Because music is one of the most abstract means of expression, he found it, at some points, the best means of fulfilling what he wanted to say about wishes, thoughts, and dreams.
I often noticed Fateh simply looking at the white canvas. He was doing that with a mixture of love and enmity and some sarcasm, like a wolf from the northern mountains, awaiting the proper moment to attack. Every attack made him feel that what he left on the canvas was insufficient, not what he wanted. The attempts were repeated without stopping to announce the internal abundance with which he was filled and which were yet to be expressed. In this, there was an admission that everything a man attempt involves a degree of illusion, for what is sought is more difficult than what is realized.
Fateh was piling many white canvases in the corner and behind the doors as if he feared them or wished to avoid them. He was preoccupied, made busy by his many visitors — to postpone the moments of dialogue. During the escape, he searched for a new expression format regardless of its form, hoping to find it by dealing with this collection of white canvases. When he reached what he had presupposed at the beginning of the road, he did not abandon the method of the wolf in dealing with its prey: one time by deception, another by desertion, and another by close and sudden merger, as if he wanted to settle his score at once.
The Arabic version of this article appeared in At-Tarik, a Lebanese Cultural Review.
Translated from the Arabic by Elie Chalala.
This feature essay appeared in Al Jadid, Vol. 5, No. 29 (Fall 1999).


text:
Salesforce Launches CMS
Adlucent Report Reveals Younger Generations See Personalization as a Requirement
Clicktivated Survey Reveals Insights About Consumers' Ecommerce Patterns
Infutor Acquires Dunn Data Company to Enhance Consumer Intelligence Trifecta of Identities, Attributes and Insights
LiveIntent Finds Political Ads Have 10x Higher Conversion Rate Compared to Typical Ads
New Research Reinforces Old Notions About Content Marketing
Content marketing has been heralded as everything from the best way to win brand loyalty to the way to reach web users who employ ad blockers. According to a new Clutch survey some of that hype is warranted. Researchers found that the "value customers experience from content marketing influences whether they purchase from a company. Over half (55%) are likely to research a company after consuming content marketing, and 86% have at some point purchased a product due to content marketing."
Those are the kinds of statistics that have had so many brands eager to try their hands at content marketing. But not all consumers are on the content marketing bandwagon.
Content Marketing Skeptics Remain
Plenty of consumers remain skeptical about content marketing—even if their actions don't match up with what they say. The research found that nearly three-quarters of people (73%) have purchased a product as a result of content marketing, despite thinking it has no value. At first glance this stat might seem a bit odd, but there is a relatively simply explanation.
Grayson Kemper, senior content developer and marketer at Clutch, says, "People shop with intent– so, if you are intent on buying a company's products or services and you encounter marketing content that exaggerates its benefits or value, it appears you are likely to still complete the purchase."
Biased Content Turns Off Potential Buyers
Clutch research found that 49% of people who think content marketing is biased and unreliable are likely to research or consider a company's products. "Put another way, overly promotional content eliminates more than half of potential customers (51%) from researching or considering purchasing from your company," according to the report.
How does a marketer figure out where to draw the line when creating content? "I think the distinction between 'overly' promotional and just promotional is in the eye of the person consuming the content and often may relate to value," says Kemper.
"If you encounter marketing content that has a clear promotional slant but is still informative and engaging, you are more likely to value it and may further research the company that produced it," Kemper adds. "On the other hand, if you encounter content that glosses over basic facts or reasoning in efforts to promote a company, you will find little value in it and develop a negative impression of the company that produced it."
Age Influences the Content You Consume
The kind of content—and how you view it—is also likely to be influenced by what generation you fall into. Clutch found that baby boomers consume reviews (31%) the most among all business content. Millennials, on the other hand—who we're told value authenticity above all else—prefer blogs and articles (30%). Kemper thinks there are a few factors at play here. "Reviews definitely provide authentic insight, but people typically actively search for reviews before they read them, meaning they are reading them for a specific purpose," he says. "They also mostly read reviews toward the end of their purchasing process."
"Another factor that could be at play here is how they are encountering content," Kemper adds. "It's unlikely that you come across reviews when perusing social media, while it's incredibly common to find an article or blog someone in your network has shared. Since millennials are more likely to use social media to find business content, it makes sense that they would consume blogs or articles rather than reviews."
Bad Content Marketing Ruins It For Everyone
If there is one thing to take away from Clutch's research, it might be this: Content marketing best practices hold true. Your goal should be to provide value to your audience, and win their loyalty—and hopefully their dollars—not shamelessly promote your products. Or as Kane Jamison, founder of Content Harmony, a Seattle-based content marketing agency says in the report, "Give value first, and once people get that value, they'll start looking more into the company itself or researching [your company's] products."
Too many companies eager to exploit the content marketing phenomenon have rushed to market with the same old promotional content that worked for them in the past, instead of reimagining their messages. The more content brands create that don't measure up to content marketing best practices, the more we'll see consumers growing skeptical—and the sooner we'll all have to move on to the next big thing.
4 Reasons to Invest in Time-Sensitive Content
Evergreen content has long been a staple of content marketing strategies but with the rise of apps like Snapchat, time-limited content is making in-roads. Here are four reasons why you should invest in content that eventually disappears!
How Marketers Can Use Augmented Reality
Augmented reality (AR) is rapidly growing; projections from ARtillry found that AR revenue will reach a staggering $14 billion in 2021, up from $975 million in 2016. One reason for the growth is that brands are starting to see the benefits of AR as an immersive ad format. Here's a closer look at precisely how marketers can start benefiting from augmented reality now.
Nielsen Dives into the Digital Lives of Black Consumers
From Consumers to Creators: The Digital Lives of Black Consumers is the third in Nielsen's 2018 Diverse Intelligence Series, which has focused on the digital lives of multicultural consumers.


Judging from my inbox, many readers interpreted this week's column, which examines the perils inherent in the liberal interventionist style of warfare, as an implicit defense of the Bush administration's rather different approach to the invasion of Iraq. (There were hints of a similar critique from Adam Serwer and Andrew Sullivan as well.) This was not my intention at all: As I've suggested before, I think that the Iraq War was a mistake in its conception and a botch in its execution, and I wouldn't be supportive of our Libya intervention if it were being undertaken à la Rumsfeld (or John Bolton) rather than à la Samantha Power. My point, rather, was to push back against the conceit that the form of a war can vindicate its strategy that what matters most in warfare is whether you're "part of U.N. Security Council approved action" and whether the Arab League gives you the go-ahead, and that merely invoking the Obama White House's multilateralism is sufficient to prove that our Libyan venture is far more responsible than the invasion of Iraq.


text:
Zifeng Tian
Lead UX designer & Design Manager
Monetization feature
for CloudOn - a productivity app
The CloudOn service uses a freemium business model. That means that the CloudOn app is free to download and use, but that the user can pay to upgrade to a premium CloudOn Pro" account. CloudOn Pro provides a number of additional benefits for the user and makes the app much more powerful.
Define the needs
How users see our Pro features.
When do users need these features, or try to find them.
How users purchase the subscription, and what they do after they becoming Pro users.
I did a lot of research on how other apps and websites approach these problems; additional I also dug into other examples of purchasing flow design, e.g. Amazon, eBay, and Airbnb. I learned how to encourage users through purchase flows in a friendly way.
User Experience vs Business
From the user interviews, I found that users didn't even notice our Pro features. This was especially true when the users were in an editing scenario as they were solely focused on the content.
A good way to help users is to show the CloudOn Pro information only when users need it. This approach sounds obvious, but only a few applications do it successfully. Most applications are trying to be more aggressive, which can be more appealing from a business perspective. After discussing these conclusions with my PM, we agreed to focus more on user experience.
We need a solution to inform users which features are Pro features.
A user will get access to all of the Pro features once he/she upgrades, not just one of the Pro features. We need to make that clear.
The Pro features are found in several different parts of the app, including the settings list, some are in the editing tool and some are in the viewing tool. We need a central place to tell the user about all of these features so they can quickly understand what CloudOn Pro provides.
Telling users about the Pro features whenever the features appear can be annoying, and give the users the feeling that we "try too hard."
We have more than 10 Pro features, and we plan to add more and more. So designing a system that can be easily extended is really necessary.
Wireframes and Visual Spec
Contact Resumé
See more of my work:
2021 Cadillac Navigation System
2021 Cadillac Augmented Reality
Onboarding Redesign
Overlay System
2018 Opel Navigation System


text:
António Pinho Vargas was born in Vila Nova de Gaia in 1951. Composer, musician and essayist. Graduated in History from the Faculty of Letters of the University of Porto. Piano degree from the Porto Conservatory (1987) and Masters in Composition from the Rotterdam Conservatory (1990). Professor of composition at Lisbon School of Music since 1991 and Researcher at the Centre for Social Studies of the University of Coimbra since 2006, where he finished his PhD in Sociology of Culture (2010) with the dissertation "On Music and Power".
Commander of the Infante D. Henrique Order awarded by the President of the Portuguese Republic (1995). Municipal Medal of Cultural Merit of Vila Nova de Gaia (1998) and the Medal of Honour by SPA (2015). Winner of the José Afonso Prize for the album Solo II (2012), 11th University of Coimbra Award (2012) and the SPA Autores Prize for his work Magnificat for Choir and Orchestra (2014).
António Pinho Vargas recorded 10 jazz albums as composer, pianist and band leader including Solo (2008), Solo II (2009), and Improvisações (2011). The Naxos label released Requiem & Judas (2014) and re-released Os Dias Levantados and Verses and Nocturnes (2015). Warner Music has also re-released Monodiain 2015 and the CD Magnificat - De Profundis in 2017.
He has composed four operas, three oratorios, 12 orchestral pieces, 8 ensemble pieces, 20 chamber works, 9 pieces for soloists and five film scores. His most recent works include Requiem (2012), Magnificat (2013), De Profundis (2014), Violin Concert (2015) and Viola Concert (2016).
Author of the books Sobre Música: ensaios, textos e entrevistas (Afrontamento, 2002) and Cinco Conferências sobre a História da Música do Século XX (Culturgest, 2008) and Música e Poder: para uma sociologia da ausência da música portuguesa no contexto europeu (Almedina, 2011).
Biografia completa de António Pinho Vargas
Compositores A-Z In Público
Curriculum Vitae de António Pinho Vargas
"Este é o meu elogio ao António" por Afonso Miranda
A estreia de uma nova sinfonia de António Pinho Vargas e a revisitação da obra Six Portraits of Pain acompanhada de um filme de Teresa Villaverde foram recebidos com entusiasmo pelo público que se deslocou ao Centro Cultural de Belém no passado domin
Memorial para Orquestra Sinfónica, estreia no de celebração dos 20 anos do Prémio Nobel de José Saramago.
OUVERTURES AND CLOSURES (2012)
Orquestra Sinfónica
SIX PORTRAITS OF PAIN
ver discografia completa


Many thanks to our PTO who maintains our Partners in Education Information. By clicking the link below you are leaving Forsyth County Schools' Website. FCS does not manage or maintain external sites outside of www.forsyth.k12.ga.us and assumes no responsibility for the content of the material contained at external sites nor for the accuracy of any information that is found there.


text:
Intergovernmental Commission approves decisions on easing of quarantine regime
A meeting of the Interdepartmental Commission on Preventing the Spread of Coronavirus Infection in the Republic of Kazakhstan was chaired by Deputy Prime Minister Yeraly Tugzhanov.
On behalf of Prime Minister Askar Mamin, in connection with the stabilization of the epidemiological situation, the Intergovernmental Commission approved a number of decisions to ease the quarantine regime.
1. From Aug. 28, 2021, activities of the following entities allowed:
all business objects participating in the Ashyq project are allowed on weekends until 12 pm, leaders of the Ashyq project — until 2 am, provided that employees and visitors have a green status (vaccinated, the presence of a PCR test with a negative the result at least 7 days), confirmed through the Ashyq application;
on Saturday - public transport.
2. From Aug. 30, 2021, on weekdays:
the working hours of all business objects participating in the Ashyq project were extended from 10 pm to 12 pm, the leaders of the Ashyq project — from 12 pm to 2 am.
At the same time, taking into account the epidemiological situation, the weakening of quarantine measures in Almaty is planned to be introduced on weekends from Sep. 4, 2021, on weekdays — from Sep. 6, 2021.
The Commission also considered the issue of preparation for the new academic year. By the end of August 2021, the Deputy Prime Minister instructed:
- to complete the vaccination of teachers and technical personnel, with the exception of persons with medical contraindications;
- to ensure full readiness of schools in accordance with sanitary requirements;
- for teachers, employees and parents in all educational institutions to ensure the operation of the Ashyq system;
- to take measures for 100% provision of educational organizations with textbooks, educational and methodological complexes;
- to complete major and current repairs in schools.
At the meeting of the Commission, Deputy Prime Minister Tugzhanov gave a number of other instructions.


text:
Sony Registers Two Trademarks for "LBP;" Another LittleBigPlanet Game Incoming?
RumorsPS4PS3PS Vita
January 4, 2014 2:10 PM EST
Sony Computer Entertainment filed for the registration of two trademarks for the acronym LBP in the UK, indicating that something may be moving behind the scene of the LittleBigPlanet franchise, especially considering that we don't know what Media Molecule is working on after Tearaway.
Both trademarks have been published for opposition at the end of October and the opposition period ended very recently, on December the 27th, so the registration should be finalized soon. You can see two screencaps below.
While the first could match the already announced LittleBigPlanet Hub for PS3 due to the description as a "game service provided as means of the internet," the name is different, and it's not very common for an acronym to be registered like that.
The second trademark is more interesting, as it has a double class. The first is "computer game software," and the second definitely doesn't fit LittleBigPlanet Hub, as it describes physical goods, including bags for handheld devices.
Lately there has been a trend of using acronyms as titles for games, especially for reboots or spin-offs of a franchise. It's very possible that this "LBP" could be a new Vita game coming with a bundle (which could include a branded case), or even a multi-console game across Sony's different platforms, hence the multiple trademarks.
Of course no announcement has been made by Sony, and as always with trademarks we should take this with a grain of salt until the publisher gives word.
Dreams is Creating Job Opportunities for Future Game Developers
Dreams has opened doors for people who want to develop video games, and now some are finding new careers in the industry.
Sackboy Shows Some Indie Love; New Content for LittleBigPlanet 3 from Octodad, Thomas Was Alone, and More Coming This Month
New Arabic Costume Minipack DLC Coming to LittleBigPlanet
New Minipack Brings The Last of Us To LittleBigPlanet
Tear Into Tearaway This October
New Developer Diary Video Published for a Behind-the-Scenes Look at Little Big Planet on the PlayStation Vita
LittleBigPlanet 2: Thoughts on Gameplay from Beta Rooms Event
The Marvel Universe Invades LittleBigPlanet


Hop to it... Easter is just around the corner!
You'll know by now that I'm not a girlie-girl kind of girl so when I think of Easter and the Easter bunny my version has to be that of a black furred bad boy with a basket full of jewelled like eggs made of chocolate... very, very dark chocolate!
So for my first Easter tutorial I thought about making some ears... and yes, you guessed it they are black, though shock horror there is also pink glitter too!
Ha, OK so maybe I'm not that much of an anti-girlie girl after all but hey you can make your very own alternative bunny ears too by following my easy tutorial with your choice of colours.
Yes, pink glitter is optional!
Though I think a flash of colour is always great -it adds just the right amount of style!- having a solely black pair with black glitter will also look amazing!
Add a section of double sided sticky tale to both ends of your hair band.
You'll find that you might have to add an extra bit of tape or a dab of glue when you've reached the end. Fold over the tape to achieve a really nice and neat finish.
Draw and Cut a bunny ear shape on some paper, then pin onto the black felt. Cut 2 shapes.
Cut 2 smaller shapes in pink - you can use a different colour! This will be the inside of your bunny ear.
Use some PVA or fabric glue and paste the back of the pink felt. Press firmly onto the black felt. Leave to dry for a bit.
Note: You can machine sew it on instead if you don't want to use glue.
Take some glitter glue and generously cover the pink felt. Allow to dry completely.
Dab a tiny bit of glue on middle of the base of the pink felt and gently fold it inwards so it gives the ear a more natural shape.
Place a strip of double sided sticky tape on the base of the inside edge of the black felt ear shape.
Fold the base with the sticky tape over the hair band. Press tightly but gently so to glue it into place.
Sew the pinched area together to keep it together and also the base of the felt to the hair band.
Wear your Hare Band with pride, like a rockin' Easter Bunny!!!
Cut Out + Keep: Around the USA in 50 craft projects!
I had the privilege to meet Cat and Tom a while ago on the London craft scene. What struck me straight away was their amazing love not just for each other but also for the whole hand made movement!
This young couple is the driving force behind the on-line community Cut out + Keep and their immense talent and energy has made it a huge success not just with UK audiences but globally too!
Cat Morley started Cut Out + Keep as her craft blog while still at university.
In 2007, with her partner Tom Waddington, she turned the blog into a community website.
Their website receives a million visitors a month and now keeps them both busy full time.
I'm a huge fan of their web site so hearing the news that they had written a book filled me with great excitement!
Cat and Tom... cute as a button and super talented too!
"Cut Out + Keep: Around the USA in 50 Craft Projects" is a more then just a craft tutorial book though... it's also a nifty travel guide and we absolutely loved reading it!
Inspired by the extraordinary history and culture of this enormous and interesting country Cat and Tom created a selection of step-by-step projects which showcase the singularity of each state. There are also tons of recommendations of quirky places to visit too, plus plenty of photographs which add a lovely personal touch. You really get the sense that these two had a great time exploring and coming up with their project ideas.
But it's not simply a diary of their hand made road trip through the States but also a great insight on their fun loving and warm personalities... plus the projects are easily achieved by anyone due to the clear and concise instructions.
The projects cover a full range of craft disciplines from knitting, jewellery making, paper crafting to even some Kitsch Americana inspired food recipes like the UFO cake pops.
I can just imagine them camping out in Roswell holding a tray of welcoming treats waiting for our extra terrestrial friends to land!
Roswell inspired cake pops... just one of the quirky projects you can make too!
The premise of this book is pretty much my perfect idea of a great American adventure story!
It's Jack Kerouac meets Martha Stewart and if you were thinking of going on a great crafty adventure then this book will be an awesome companion!
I'm so proud of them and what they achieved here... and I love that they had such an amazing adventure.
They truly are an inspiring pair and I hope they continue offering such great projects like this book. Maybe on the next trip they can bring me along... I'd be a great roadie!
Are we back in Kansas Toto? Cute Dorothy shoe tutorial... I really have to try this one!
I love the personal touches... the tourist snaps and the intros to each section... it's pretty much like we were there with Cat and Tom!
"Around the USA in 50 projects" is a Laurence King title, published in February 2015.
Guerrilla Bars, food for busy crafters on the go!!!
OK so how much fun would life be if we couldn't sometimes enjoy a little bit of what's "bad" for us?
Not very, hence why I added some chocolate to this otherwise very healthy recipe.
Well chocolate, especially dark chocolate, isn't really bad for you but if you add milk or white chocolate then you are adding extra sugars so that's what makes it "not so healthy" but we truly believe that a little bit of what's bad for you can also be good for you!
To make these Guerrilla Bars you'll need a few ingredients which you may have already in your pantry because of course fighting the war on tat is hard work so I'm sure you're larder is well stocked with edible ammo!
We know you need lots of energy to carry out your amazing tasks so we've used ingredients which are known for their slow release energy properties but also feel free to add your own twist to our recipe and... we're sure you'll love these as they'll keep you sustained during your crafty endeavours.
dried cranberries, dessicated coconut, raisins, other dried fruits or nuts of your choice, chocolate nibs (another super food) plus an extra yummy addition is to forgo the seed topping but instead add a layer of chocolate ganache. Ha, that's quite delicious but as you can see from our photos we've been good!!!
generous handful of dark chocolate chips- or push the boat out and add a mix of milk and white chocolate chips if you're feeling super naughty!
30 g black sesame seed (for topping) or any seeds you like - pumpkin, sunflower, etc.
Preheat your oven to 180ºC (350ºF // gas mark 4). Lightly grease a shallow non-stick baking tin. I've used a 20 cm (8 in) square tin.
Place the butter, oil, sugar, honey, and orange zest and juice in a heavy-based saucepan and heat gently, stirring until the butter has melted.
Remove the pan from the heat and stir in the dates, almonds, walnuts and hemp seeds. Then stir in the oats, making sure they are evenly coated with the butter mixture.
Leave to cool slightly and gently mix in the chocolate chips.
Turn the mixture into the prepared tin, pressing it down firmly and evenly.
Sprinkle the black sesame seeds (or your seeds of choice) over the top and press down again so they are slightly embedded in the surface.
Bake for 20 minutes or until deep golden around the edges. Remove from the oven and allow to cool slightly in the tin, then mark out 16 pieces on the top surface with a sharp knife. Once cooled completely and still in the tin cut along the marked lines.
NOTE: Don't be tempted to cut while still hot as it will crumble! Believe me I know through greedy experience!
You can keep these beauties for up to a week in an airtight container... though I doubt they'll make it past a day or so. I bet they'll be eaten before you can finish your yarn bombing!!!


This is getting very difficult. The Signature Craft will be the 11th Jim Beam product we have reviewed on the site, and there is only so much history we can keep rehashing. So for this review, we are going to look at the distinguishing feature of the bourbon and run with that.
12 years old, that's a long time for a bourbon. In fact in bourbon years (think of it like dog years but less likely to shed on your carpet and chew your favourite trainers to bits) this is probably the equivalent of a 48-year-old man. Now here is the key question... does the fact this bourbon is aged longer make it better? Is there any correlation between a bourbons age and how good it is? Our answer would be - no. However, ask us if age makes a difference to the bourbon, and now you get a very quick - yes!
The key component to what makes a bourbon a bourbon is the barrel and the aging process. Sure the mash bill is very important, as is the water used & the barrel entry proof of the liquid. But until you put it in the barrel it can't actually be called bourbon. It needs to touch the inside of a new oak container before it gets the bourbon stamp. From there it's all about the interaction between the liquid and the wood. So the longer it interacts with it the more it will influence the end product - and that is where our stance comes from on the age. Just because the wood has longer to influence the bourbon it does not mean that influence is always to it's benefit. There is an excellent collection of industry views on the best age for a bourbon here at the Whiskey Wash website, we think it's well worth a read.
What we got –Very woody - splinters come to mind immediately, caramel, cherry, cinnamon, vanilla. If you wanted to introduce someone to a typical bourbon nose then this is the perfect one.
What we got – Woody, dry, not predominantly spicy, vanilla, caramel follows through, not as solid as I would expect for a 12-year-old bourbon (Mr. Pie).
There is no getting away from the wood here. Those 12 years have sucked up a lot of the oak from the barrel and it is the predominant note coming through on both the nose and the palate. Luckily though this is just the initial impression and very quickly it is followed up with caramel and vanilla with a touch of spice that all brings a balance to the bourbon.
Without a doubt, this is one of the better Jim Beam offerings and easily falls into the Gents list of everyday sippers. Very easy to drink and quite rounded once you get over the opening hit of oakiness.
We can readily recommend this as one for your collection and its price (at least in the UK) puts it nicely positioned in the mid-range bourbon area which, now that Elijah Craig has dropped their age statement, makes this the only 12-year-old in class at that price point.


Bradley's Sleep Celebrates 50 Years!
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text:
Fu ambasciatore d'Italia in Bulgaria dal 1904 e al 1910 e dal 1912 ed al 1915, in Svizzera dal 1910 al 1912 e in Giappone dal 1915 al 1917.

Biografia
Conseguì il diploma della scuola di scienze sociali di Firenze il 4 luglio 1885. Il 14 maggio 1886 venne ammesso al Ministero degli affari esteri come addetto onorario di legazione e destinato a Berlino. In seguito ad esame di concorso venne nominato volontario per gli impieghi di prima categoria nel Ministero Affari Esteri il 6 febbraio 1888 . Fu destinato a Bucarest il 9 aprile 1901 e successivamente a Santiago del Cile il 5 giugno 1902 .

Il 31 marzo 1904 venne trasferito a Sofia con patenti di agente e console generale e vi rimase fino al 1909 quando venne accreditato nella stessa sede come inviato straordinario e ministro plenipotenziario. Con la stessa funzione venne destinato a Berna il 6 febbraio 1910, tornando nuovamente a Sofia il 22 dicembre 1912.

Venne promosso inviato straordinario e ministro plenipotenziario di 1ª classe il 2 febbraio 1913 e trasferito a Tokyo il 4 dicembre 1915.

Cessò dal servizio il 3 gennaio 1916 .

Note

Collegamenti esterni

Ambasciatori d'Italia in Bulgaria
Ambasciatori d'Italia in Giappone

redpajama_set_name: RedPajamaWikipedia


text:
Q: how to avoid devise_invitable from sending a confirmation email? from the docs i think it should to not send a confirmation email, but it is doing it.
Here's my setup for the invitable action:
class Users::InvitationsController < Devise::InvitationsController

def multiple_create
    if params[:multiple_emails].blank?
        build_resource
        render :new, notice: "something went wrong"
    else
        params[:multiple_emails].each do |email|
            User.invite!({email: email}, current_user) # current_user will be set as invited_by
        end
        if current_user.errors.empty?
            set_flash_message :notice, :send_instructions, :email => params[:multiple_emails]
            respond_with current_user, :location => after_invite_path_for(current_user)
        else
            respond_with_navigational(current_user) { render :new }
        end
    end
end
end

A: For the cases, where you have to use :confirmable for user registration and want to avoid sending confirmation letters with invitation:
class User < ApplicationRecord
  after_create :skip_confirmation_notification!, unless: Proc.new { self.invitation_token.nil? }
end

A: The documentation at devise_invitable repo on github are very clear on how to skip sending the invitation email. Look at the second code snippet under Usage, which is preceded by this text:

If you want to create the invitation but not send it, you can set
  skip_invitation to true.

A: To avoid devise confirmation mail, you have to exclude :confirmable option from the User model.
For example, change:
 class User
   devise :registerable, :confirmable
 end

To:
 class User
   devise :registerable
 end

redpajama_set_name: RedPajamaStackExchange


text:
Dr. J's Education Blog
Exploration in Education
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Touro University, GSE, TESOL/Bilingual Candidate Work
Game-like Learning and hidden Ideologies
Dr. J's Thoughts on: GAME-LIKE LEARNING: AN EXAMPLE OF SITUATED LEARNING AND IMPLICATIONS FOR OPPORTUNITY TO LEARN James Paul Gee University of Wisconsin-Madison PDF of JP Gee paper Sometime…
Source: Game-like Learning and hidden Ideologies
Author: drcowinj
Education is our passport to the future, for tomorrow belongs only to the people who prepare for it today," determined Malcolm X at the O.A.A.U.'s [Organization of Afro-American Unity] founding forum at the Audubon Ballroom. (June 28, 1964). (X, n.d.) Dr. Jasmin Bey Cowin a Fulbright Scholar, SIT Graduate, completed the Education Policy Fellowship Program (EPFP™) at Columbia University, Teachers College. Dr. Cowin served as the President of the Rotary Club of New York and Assistant Governor for New York State; long-term Chair of the Rotary United Nations International Breakfast meetings; and works as an Assistant Professor at Touro College, Graduate School of Education. Dr. Cowin has over twenty-five years of experience as an educator, tech innovator, entrepreneur, and institutional leader with a focus on equity and access to digital literacy and education in the Sub-Saharan Africa region. Her extensive background in education, administration, not-for-profit leadership, entrepreneurial spirit, and technology innovation provide her with unique skills and vertical networks locally and globally. Dr. Cowin participates fully in the larger world of TESOL academic discipline as elected Vice President and Chair-Elect for the New York State, NYS TESOL organization, for the 2021 conference. Ongoing research, expressed in scholarly contributions to the advancement of knowledge is demonstrated through publications, presentations, and participation in academic conferences, blogging, and other scholarly activities, including public performances and exhibitions at conferences and workshops. Of particular interest to her are The Blockchain of Things and its implications for Higher Education; Current Global Trends in TESOL; Developing Materials and Resources in Teaching English; E-learning; Micro and Macro-Methodologies in TESOL; E-Resources Discovery and Analysis; and Language Acquisition and the Oculus Rift in VR. View all posts by drcowinj
Author drcowinjPosted on June 24, 2016 November 14, 2016 Categories Blogs and Musings
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Education is our passport to the future, for tomorrow belongs only to the people who prepare for it today," determined Malcolm X at the O.A.A.U.'s [Organization of Afro-American Unity] founding forum at the Audubon Ballroom. (June 28, 1964). (X, n.d.) Dr. Jasmin Bey Cowin a Fulbright Scholar, SIT Graduate, completed the Education Policy Fellowship Program (EPFP™) at Columbia University, Teachers College. Dr. Cowin served as the President of the Rotary Club of New York and Assistant Governor for New York State; long-term Chair of the Rotary United Nations International Breakfast meetings; and works as an Assistant Professor at Touro College, Graduate School of Education. Dr. Cowin has over twenty-five years of experience as an educator, tech innovator, entrepreneur, and institutional leader with a focus on equity and access to digital literacy and education in the Sub-Saharan Africa region. Her extensive background in education, administration, not-for-profit leadership, entrepreneurial spirit, and technology innovation provide her with unique skills and vertical networks locally and globally. Dr. Cowin participates fully in the larger world of TESOL academic discipline as elected Vice President and Chair-Elect for the New York State, NYS TESOL organization, for the 2021 conference. Ongoing research, expressed in scholarly contributions to the advancement of knowledge is demonstrated through publications, presentations, and participation in academic conferences, blogging, and other scholarly activities, including public performances and exhibitions at conferences and workshops. Of particular interest to her are The Blockchain of Things and its implications for Higher Education; Current Global Trends in TESOL; Developing Materials and Resources in Teaching English; E-learning; Micro and Macro-Methodologies in TESOL; E-Resources Discovery and Analysis; and Language Acquisition and the Oculus Rift in VR.
Dr. J's Blog
drjwordpresscomblog
Call for Proposals for The Third VirtuaTELL Conference due March 1st, 2023
EdUp host Holly Owens features Dr. Jasmin (Bey) Cowin on "Preparing Educators for the Complexities of 21st Century Classrooms"
English vs Ukrainian: A Morphology Comparison for US Educators of Displaced Ukrainian Students
A Bilingual Glossary for Administrators and Educators: English – Spanish Key Terms Describing Multilingual Learner Education Practices in New York State by Dr. Jasmin (Bey) Cowin
Want to Upskill? Study Grant Opportunity at Touro University, TESOL/BLE Department -Clinically Rich Intensive Teacher Institute programs (CR-ITI)
Touro University Bilingual Advanced Certificate Candidate Paola Gomez's Fieldwork Observations & Providing Successful Learning Environments for all Students
Touro University TESOL Candidate Nicole Andrade's Fieldwork and Observations on Code-Based Skills vs Meaning-Based Skills
Organ and Harp for Christvesper, 4. Advent, 18. Dezember 2022 Martin-Luther-Gemeinde, Orlando
CALL-IS Webinar: Authentic Materials for Second Language Acquisition: Sources and Resources presented by Dr. Lubie Alatriste & Moderator Dr. Jasmin (Bey) Cowin
Touro University TESOL Candidate Evdokia Gasparis's Content-Area Text Analysis of Samuel Morse's "That's Who! The Story of the Telegraph and Morse Code" by Tracy Nelson Maurer
Touro University TESOL Candidate Shannon Smith on Incorporating Culture into Materials for Multilingual Learners
Touro University TESOL candidate Cynthia Olavarria's Analysis of Gary the Monster by Charlesworth
Reflections on Martin Luther King's letter from Birmingham Jail
Steven Pinker: Linguistics as a Window to Understanding the Brain
Reflections on the article Sociocultural Perspectives on Foreign Language Learning by Samantha Solomita TESOL Course EDPN 673 Touro College
Dr. Cowin at GSENN 2022 on Nanoscience and Nanotechnology: A Multidisciplinary Teaching Frontier
'How to Make Pizza,' a SIOP Lesson Plan by Touro University TESOL Candidate Kelly Broshear for EDDN 637
Case Study in SLA by Touro TESOL Candidate Elcidana Camacho for EDDN 639 - Trends and Current Issues in Second Language Acquisition
The International Research and Review Journal of Phi Beta Delta Honor Society for International Scholars publication of Dr. Jasmin Bey Cowin's article "Digital Worlds and Transformative Learning: Google Expeditions, Google Arts and Culture, and the Merge Cube"
Touro University TESOL Candidates Kelly Broshears and Joanna Liriano 's Mindmaps on Comprehensible Input
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Editor's Note: The following entry was written in the spring of 2014, during Amrou Kotb's studies at the American University in Cairo through Syracuse University's World Partner Programs. Since completing his studies, Amrou has written extensively on American foreign policy in the region and the domestic political environment in Cairo.
"I am Master of Public Administration and Master of Arts in International Relations student whose focus is Egyptian politics. My focus stems from the fact that I am a first generation Egyptian-American who has always felt a strong connection to my Egyptian heritage. During a recent internship with an Egyptian scholar at the Middle East Institute, I developed a strong interest in writing about Egyptian politics. This semester was a turning point for me as I had initially thought I would go into the Foreign Service. After I co-authored an opinion piece that was published in CNN I decided to spend my last semester in Cairo. I wanted to improve my reading and writing competencies in Arabic, continue to publish pieces, and gain experiences with a credible media outlet.
I am now a little over halfway through my final semester and can happily say I am making progress on all fronts. I am taking Arabic and two other courses at the American University in Cairo and when I am not in class I am copy editing or writing stories for Ahram Online, and international English news outlet with a focus on Egypt's politics. At the same time, I have done my best to continue writing about what I see and experience on a daily basis here. I have had two pieces published and have also started a website with two Maxwell colleagues, Leila Kabalan and Seth Binder, which covers middle east politics, check it out at unclesalam.com.


text:
Toutle az Amerikai Egyesült Államok északnyugati részén, Washington állam Cowlitz megyéjében elhelyezkedő önkormányzat nélküli település.

A település nevét a hullooetell indián törzsről kapta.

Jegyzetek

Fordítás

További információk
 HomeTownLocator

Cowlitz megye települései


I can't seem to read data from the board though very fast, there is a 1-second delay, even though I know the data is coming in almost real-time.
Can anyone else speak to Bluetooth delays using any Bluetooth plugin on the marketplace for iOS, or even Android?
No experience with this, unfortunately. Maybe the data is only transmitted when some kind of connection is closed, causing the delay? Have you tried checking out all different event phases?
Maybe it's buffering the data. Are there any functions to flush the io stream? Unfortunately, we can't support third-party plugins since we don't use them ourselves and have no access to the source. I would reach out to the plugin owner.
Hi all, it was actually on my end. Was polling the wrong characteristic. I can now read the data in less than 10 or so milliseconds so all is good!


Let us allow Christ to speak through us. He desires it more than we do. For He made this instrument and wouldn't want it to be useless and idle. He always wants to keep it in His hands. Why, then, don't you make it useful for the Maker's hand? Why do you allow your soul to be unstrung, relaxed through luxury, and allow the whole harp to be useless to Him? One should keep all its parts completely stretched, well strung and reinforced with spiritual salt. For if Christ sees your soul tuned this way, He will make His music through it. When this has taken place, you will see angels leaping for joy—archangels and the cherubim, too. So then, let us become worthy of His spotless hands. Let us invite Him to strike our hearts.
"I always have an issue and concern when it comes t"


text:
#include "behavior_aux.h"

// OBSOLETE
// OBSOLETE
// OBSOLETE - replaced by internal implementation.
// OBSOLETE - if you need your own implementation - rename this behavior to something like "x-form"
// OBSOLETE
// OBSOLETE

#include <malloc.h>

namespace htmlayout
{

/*
BEHAVIOR: form
  Sends form data to the server.

  ATTENTION!: This is just a template!
  You shall implement on_data_arrived in suitable way

TYPICAL USE CASE and SAMPLE:
  sdk/html_samples/behaviors/form-test.htm

*/

// Each form has unique form_instance object assosiated with the element.
// Reason: each form has its own collection of initial_values (to be reset).

struct form_instance: public event_handler
{
    named_values  initial_values;
    wchar_t       uri[2048];

    virtual ~form_instance() {}

    struct pair
    {
      std::wstring name;
      std::wstring value;
    };

    form_instance():event_handler (HANDLE_INITIALIZATION | HANDLE_BEHAVIOR_EVENT | HANDLE_KEY | HANDLE_DATA_ARRIVED)
    {
    }

    virtual void attached  (HELEMENT he )
    {
      dom::element the_form = he;
      get_values(the_form,initial_values);
    }

    virtual void detached  (HELEMENT he )
    {
      delete this; // don't need it anymore.
    }

    virtual BOOL on_event (HELEMENT he, HELEMENT target, BEHAVIOR_EVENTS type, UINT_PTR reason )
    {
      if( type != BUTTON_CLICK )
        return FALSE;

      // handling only BUTTON CLICKs here

      dom::element btn = target;  // button - initiator
      const wchar_t* btn_type =  btn.get_attribute("type");

      dom::element the_form = he; // this is our form element we attached to

      if( aux::wcseqi( btn_type , L"reset" ) )
      {
        set_values(the_form, initial_values);
        return TRUE; // handled - don't bubble it further
      }
      else if( aux::wcseqi( btn_type , L"submit" ) )
        ;
      else
        return FALSE; // neither reset nor submit

      const wchar_t* action =  the_form.get_attribute("action");
      if( !action )
      {
        assert(false); // form without action and we've got submit.
        return FALSE;
      }

      wcsncpy(uri,action,2048);
      the_form.combine_url(uri,2047);
      uri[2047] = 0;

      bool do_post = aux::wcseqi( the_form.get_attribute("method"), L"post");

      named_values values;

      if(!get_values(the_form,values))
      {
        assert(false); // hey, where are my inputs?
        return FALSE;
      }

      // finally, we've got method, action and values to send.

      std::vector<pair> pairs;

      for( named_values_iterator it = values.begin(); it != values.end(); it++ )
      {
        pair p;
        p.name = (*it).first;
        p.value = (*it).second.to_string();
        pairs.push_back(p);
      }

      if( pairs.size() > 1000)
      {
        assert(false); // more than 1000 fields, are you crazy?
        //return FALSE;
      }

      REQUEST_PARAM *rq_params = (REQUEST_PARAM *)alloca(sizeof(REQUEST_PARAM) * pairs.size());
      for(int n = int(pairs.size()) - 1; n >= 0 ; --n)
      {
        rq_params[n].name = pairs[n].name.c_str();
        rq_params[n].value = pairs[n].value.c_str();
      }

      HLDOM_RESULT hr = ::HTMLayoutHttpRequest(
          target_element(the_form),         // element to deliver data to
          uri,                              // url
          HLRT_DATA_HTML,                   // data type, see HTMLayoutResourceType.
          do_post? POST_ASYNC: GET_ASYNC,   // one of REQUEST_TYPE values
          rq_params,                        // parameters
          UINT(pairs.size())                      // number of parameters
          );

      assert( hr == HLDOM_OK );

      return TRUE;
    }

    dom::element target_element(dom::element form )
    {
      const wchar_t* target_name = form.get_attribute("target");
      if( target_name )
      {
        dom::element view_root = form.root();
        assert(view_root.is_valid());
        dom::element target = view_root.find_first("frame[name='%s'],frame#%s",target_name);
        if(target.is_valid())
          return target;
      }
      dom::element t = form.parent();
      while( t.is_valid() )
      {
        if(t.get_ctl_type() == CTL_FRAME)
          return t; // we are in frame
        t = t.parent();
      }
      // not in frame so deliver data to the form (see on_data_arrived below).
      return form;
    }

    virtual BOOL on_data_arrived (HELEMENT he, HELEMENT initiator, LPCBYTE data, UINT dataSize, UINT dataType )
    {
      if(dataType != HLRT_DATA_HTML)
        return TRUE;

      dom::element the_form = he; // this is our form element we attached to
      HWND hwndLayout = the_form.get_element_hwnd(true);
#ifdef _DEBUG
      htmlayout::dialog dlg(hwndLayout);
      dlg.show(data,dataSize);
#endif
      ::HTMLayoutLoadHtmlEx(hwndLayout, data, dataSize, uri);

      dom::element  root = dom::element::root_element(hwndLayout);
      root.set_state(STATE_FOCUS);

      return TRUE;

    }

    virtual BOOL on_key(HELEMENT he, HELEMENT target, UINT event_type, UINT code, UINT keyboardStates )
    {
      if( event_type == KEY_DOWN && code == VK_RETURN)
      {
        dom::element form = he;
        dom::element def_button = form.find_first("[default],[role=\"default-button\"]");
        if(def_button.is_valid())
        {
          form.post_event(BUTTON_CLICK,BY_KEY_CLICK,def_button); // send bubbling event.
          return TRUE;
        }
      }
      return FALSE;
    }
};

struct form: public behavior
{
    form(): behavior(HANDLE_BEHAVIOR_EVENT, "x-form") {}

    // this behavior has unique instance for each element it is attached to
    virtual event_handler* attach (HELEMENT /*he*/ )
    {
      return new form_instance();
    }
};

// instantiating and attaching it to the global list
form form_instance;

} // htmlayout namespace


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