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Common DEI-Related Terms and When to Use Them
by Danielle Gauthier
A critical component of fostering inclusivity is the language we choose to use. Inclusive language means using the preferred language of an individual or group to show support and respect, and to avoid biases, discrimination, or false assumptions. In this article, we outline some common DEI-related terms, along with guidelines about when (and when not) to use them.
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African American / Black
The terms "African American" and "Black" are often treated as interchangeable, but the use of "Black" has increased in recent years, becoming the preferred term for many. Most Black people in America cannot trace their lineage to a specific country in Africa, so it is advised to use the term "Black" unless otherwise requested.
BIPOC/ POC
The acronyms BIPOC (Black, Indigenous, and People of Color) and POC (People of Color) are umbrella terms that enable a shift away from terms like 'marginalized' and 'minority'. The term "BIPOC" was created to address concerns raised by some Black and Indigenous people that the term "People of Color" or "POC" overgeneralizes and does not acknowledge that there are specific issues only Black and Indigenous people face. At the same time, research shows that the term "People of Color" has been effective in uniting people from various backgrounds around a commonality: the marginalization they have all faced in a predominantly white society.
Which term you use will depend on the context and your intent. At times, it makes sense to emphasize the commonalities among a group of people, and other times, you may be seeking to emphasize differences in experiences.
Historically, "color blind" meant treating all individuals/groups the same regardless of their race. However, the term is now widely considered problematic as it fails to acknowledge the very real and measurable impact that the color of someone's skin has on the discrimination, disadvantages, and/or privilege they experience. When we choose to instead acknowledge race, we acknowledge the inequities that exist in society.
Culture Fit / Culture Add
"Culture Fit" has long been a common term in the world of recruiting; when an organization seeks to assess a candidate's culture fit, they are trying to evaluate whether their beliefs, ethics, and personality align with those of existing staff. While assessing culture fit may seem like a harmless practice, it often allows for unconscious biases to come into play. 'Fit' is highly subjective and hard to quantify, which means that more often than not, recruiters/hiring managers actually end up assessing likeability. Relying heavily on culture fit can also result in a homogenous staff, which can prohibit a culture of innovation and diversity. Instead, focus on 'culture add' – the ways in which a candidate can bring a new perspective and/or skills to your organization, which in turn diversifies and improves your culture.
Diverse Person
Diversity is defined as being comprised of people or things that are different from each other. Thus, a single person cannot be diverse; only a group can. Furthermore, describing a person as diverse is not only inaccurate, but also depersonalizing. Instead, be specific. If you are referring to an individual with a certain racial background, then clearly state so. The same advice applies if you are referring to specific underrepresented groups or protected classes.
Hispanic vs Latino / Latino vs Latinx
Prior to 1977, the U.S. Census Bureau classified Latin American immigrants as white. Activists lobbied for the term "Hispanic" to be created as a way to collect data about how the group was under-resourced and had different needs than white communities. The term was also a way to organize as an identity. Today, the term is seen as controversial by some because of Spain's history as a colonizer of Latin American countries. Many prefer the term Latino/Latina, which was created in the early 2000s as an alternative. Latino/Latina includes people from Spanish- and Portuguese-speaking countries of Latin America, but not people from Spain or Portugal.
In the past few years, the word Latinx has gained popularity, as a more inclusive and gender-neutral alternative to Latino/Latina. However, according to the Pew Research Center, only 23% of U.S. adults who self-identify as Hispanic or Latino have heard of the Latinx term, and just 3% use it to describe themselves. As always, defer to whomever you're speaking with, and use the word that they identify with most closely.
Minority/Minorities / Communities of Color
Using the term "minority" as a euphemism for non-white people implies the population of America is composed of only two groups: whites and minorities. However, over a third of the U.S. is Latino, black or Asian American, according to the 2010 Census, and many sources project that non-whites will become the majority of the U.S. population by 2050. Beyond inaccuracy, the language itself reinforces status and sub-status, ignores the influence of people of color on mainstream culture, and erases specific identities.
When seeking to refer to non-white people, the collective term "communities of color" is preferable, as it does not detract from individual races and ethnicities. However, whenever possible, be specific with your language. "Communities of color" should not function as a catch-all phrase if you're actually referring to a certain group of people, e.g. Black, Latino/Latina, Asian, Middle Eastern, or Indigenous people, etc.
To learn more about these DEI-related terms and their uses, explore the following sites: The Atlantic, DiversityEdu, NPR, Pew Research Center, and Radical Copy Editor.
Development Guild DDI recognizes that diverse voices, perspectives, and experiences are required for the greatest impact, and we are committed to supporting and strengthening DEI industry-wide—through our work as nonprofit consultants—and internally as a firm. Learn more about our commitment to DEI.
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- Probably Sir Anthony de Rothschild (1810-1876); collection of M. Yorke, Christie's, London, May 5, 1927, lot 82; sold Paris, Me Ader, Galerie Charpentier, May 24, 1935, lot 96 (not illustrated).
The two "cercles tournants" dials are made of copper bands with white enamel cartouches that indicate the Roman numeral hours and the Arabic numeral five-minute intervals. They are set in a very fine tapering vase made of Sèvres porcelain that is deep blue in color with elaborate gilt bronze mounts, including acanthus leaves at the foot, a leaf-decorated pedestal, a snake with finely chased scales that indicates the time with its head, handles from which are suspended flower and leaf garlands, and a lid that is adorned with acanthus leaves, fluting, and a seed finial. The vase rests upon a molded plinth whose pedestal is decorated with acanthus leaves and is set on a high quadrangular base containing the movement, which is signed "CHles. Dutertre AParis". Its cornice is embellished with a cabochon frieze and its molded base is adorned with a frieze of laurel leaves and seeds. The base is decorated with flower and leaf garlands that are suspended from roundels. The back panel is glazed, the sides and front are adorned with Sèvres porcelain plaques featuring molded frames with palmette spandrels (one marked in blue with a double L). The plaques are decorated with polychrome reserves within blue frames decorated with bead and olive friezes, and featuring scientific books, telescopes, an armillary sphere, and a compass on the sides, and a putto sitting on a cloud with a telescope on the front. The plain quadrangular base sits upon a double oblong plinth that is embellished with a laurel torus.
The third type of clock, larger than the other two and from the same period, is the same model as the present clock. It is almost certainly the one that was formerly in the collection of Sir Anthony de Rothschild, which was sold at auction in Paris on May 24, 1935; at the time it was the property of Monsieur C… d'A… : "A clock in Sèvres porcelain and bronze from the time of Louis XVI. The movement, by Charles Dutertre, with rotating dial, is housed in a porcelain vase with a "gros bleu" ground. A coiled bronze snake indicates the hours. Quadrangular base adorned with porcelain plaques depicting Cupids and trophies. Height 55cm." It should be noted that the model is extremely rare; to the best of our knowledge only one other identical clock is known. In the late 19th century it belonged to the collector and dealer Charles Stein and was sold at the Galerie Georges Petit in Paris, June 8 – 10, 1899, lot 265 (illustrated in E. Niehüser, Die französische Bronzeuhr, Eine Typologie der figürlichen Darstellungen, Munich, 1997, p. 263, fig. 1285). After the sale it was placed on small lion's head feet. It appears to have been offered at auction again during an anonymous sale in Paris (Me Rheims, Galerie Charpentier, December 7-8, 1954, lot 118).
Was one of the most important Parisian clockmakers of the 18th century. The son and brother of clockmakers, he was trained in his father's workshop on the Quai des Orfèvres, became a master on July 7, 1739 and opened a workshop in the rue Dauphine. He quickly became famous among important Parisian collectors of luxury horology, and acquired a wealthy clientele that included the powerful Dukes of Luxembourg and Penthièvre.


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Rise of the Lionesses
This Week in London – Women in the British Army; communications secrets exposed; and, cinema at Somerset House…
by exploringlondon August 1, 2019
• An exhibition exploring the changing roles of women in the British Army from 1917 to the present day has opened at the National Army Museum in Chelsea. Rise of the Lionesses, which is being held in partnership with the WRAC Association, charts the major contributions women have made to the Army's history as well as how perceptions of "appropriate" roles for females have affected these contributions and how women have fought to redefine those roles. Highlights include the combat shirt and medical kit belonging to Sergeant Chantelle Taylor – the first female British soldier to kill in combat, the first Army-issue bra, and the vehicle chassis used to train Princess Elizabeth (now Queen Elizabeth II) while she served in the Auxiliary Territorial Service during World War II (pictured above). The free display can be seen until 20th October and is accompanied by a programme of public events. For more, head to this link. PICTURE: Courtesy of National Army Museum.
• Communications intelligence and cyber security are explored in an exhibition at the Science Museum, making the centenary of UK intelligence, security and cyber agency, GCHQ. Top Secret: From ciphers to cyber security features more than 100 objects including cipher machines used during World War II, secure telephones of the type used by British Prime Ministers, and an encryption key used by the Queen. There's also encryption technology used by Peter and Helen Kroger who, until their arrest in the 1960s, were part of the most successful Soviet spy ring in Cold War Britain, and the remains of the crushed hard drive alleged to contain top secret information which was given by Edward Snowden to The Guardian in 2013 while the work of GCHQ's National Cyber Security Centre is also explored with visitors able to see a computer infected with the WannaCry ransomware which, in 2017, affected thousands of people and organisations including the NHS. Runs until 23rd February. Admission is free. For more, head to www.sciencemuseum.org.uk.
• The pioneering work of Hungarian avant garde artist Dóra Maurer goes on show at the Tate Modern on South Bank next Monday in the first UK exhibition celebrating her five decade career. The free display brings together 35 of her works – from conceptual photographic series and experimental films to colourful graphic works and striking geometric paintings – with highlights including Seven Foldings (1975), Triolets (1981), Timing (1973/1980) and the six-metre-long Stage II (2016). The year-long display is one of several free displays opening at the Tate Modern this month. Others include an exhibition of Sol LeWitt's graphic woodcut prints, a show featuring photograms, films, painting and drawings by Polish émigré artists Franciszka Themerson and Stefan Themerson, and photography displays by Mitch Epstein, Naoya Hatakeyama and David Goldblatt. For more, see www.tate.org.uk.
• Cinema is being celebrated at Somerset House this month with the launch of Film4 Summer Screen at Somerset House. The event includes courtyard screenings, specially curated DJ sets and live performances, and panel discussions from industry insiders. Actor Antonio Banderas will join Spanish director Pedro Almodóvar to introduce the festival's opening night premiere, Pain and Glory, with other special guests including the cast of Shane Meadows' BAFTA-award winning film This is England, Francis Lee, the director and writer of God's Own Country, and the film's lead actor Josh O'Connor as well as Peter Webber, director of Inna de Yard. Runs from 8th to 21st August. For more, see www.somersethouse.org.uk.
Send all items for inclusion to exploringlondon@gmail.com.
Chelsea Elizabeth II Galleries Museums News South Bank Twentieth century West EndDora Maurer Film4 Summer Screen GCHQ London events National Army Museum Rise of the Lionesses Science Museum Somerset House Tate Modern Top Secret: From ciphers to cyber security

redpajama_set_name: RedPajamaCommonCrawl


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This movie has earned over $750million so it is a huge success by many standards and it certainly has a lot going for it. It looks spectacular – this is obviously what Disney were aiming for when they hired Robert Stromberg, whose previous experience was in special effects, as director. They took a risk by giving him the largest ever budget for a first time director and it paid off. The style of the film is individual and the worlds he created are lush and beautiful.
Angelina Jolie is perfect for the part, always visually striking. As Maleficent, she is cold and polished, yet she is compassionate and composed when necessary and she makes us believe these changes in temperament. She needs to be strong as this film is all about her, every other role is almost a cameo.
It was nominated for an Academy Award for Costume Design and this was deserved.
It is darker than expected for a Disney film, but this adds a little depth and probably reflects the slightly older audience they were aiming for.
Overall, although it does not really go any where new, it is a high quality, enjoyable Disney telling of a classic fairytale.
LOVED this movie. Based around the love and protection of a child. I agree, Angelina was fantastic in her role, and I'm not a fan at all.
If anyone was perfect for that role it would be Angelina. Perfect mix of menace and vulnerability. Doesn't hurt that she looks otherworldly to begin with.
I just wanted to let you know I've nominated you for a Liebster award on my site. It's an award meant to spread the word about small but worthy blogs. Check out my post to find out how to participate.


In the wake of a sexual harassment accusation against Dustin Hoffman, another story about the actor's behavior has resurfaced.
Meryl Streep recalled in a 1979 Time interview resurrected by Slate that the first time she met Hoffman, he touched her breast.
"Meryl, why don't you stop carrying the flag for feminism and just act the scene," Hoffman said, according to a feature on Streep in Vanity Fair last year, after she suggested a change on set that would further highlight her character's motivation.
Hoffman was accused of sexual harassment by Anna Graham Hunter last week. She said that he repeatedly harassed her during the 1985 shooting of "Death of a Salesman," when Graham Hunter was 17 and Hoffman was 47.


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Gibbard's Resolution of Our Disagreements
(p.182) 46 Gibbard's Resolution of Our Disagreements
This chapter investigates a wider, non-realist cognitivist form. In this view, our normative concepts and claims cannot be defined or restated in naturalistic terms. As non-naturalists believe, these concepts and claims are irreducibly normative. According to metaphysical non-naturalists, these claims imply that there exist some ontologically weighty non-natural entities or properties. But if non-naturalists gave up their ontological beliefs in these mysterious non-natural properties, the best version of non-naturalism would coincide with the best version of the quasi-realist expressivism discussed in this chapter. Some non-naturalists, however, do not have such ontological beliefs, as there are some non-empirical truths which have no weighty ontological implications.
Keywords: non-realist cognitivism, non-naturalism, ontological beliefs, non-natural properties, quasi-realist expressivism


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La estación de Perpiñán, (en francés: Gare de Perpignan; en catalán: Estació de Perpinyà), es la principal estación ferroviaria de la ciudad francesa de Perpiñán.

Por ella transitan un gran número de trenes de alta velocidad, así como de grandes líneas y regionales. La ciudad dispone de varios enlaces con España, a través de trenes de alta velocidad operados por Renfe-SNCF en Cooperación (Elipsos), que une Barcelona con las principales ciudades francesas.

Situación ferroviaria
La estación se sitúa en nudo ferroviario que abarca las siguientes líneas férreas:
 Línea férrea Narbona - Portbou. Importante trazado que tiene su origen en Narbona y une la red ferroviaria francesa con España.
 Línea de alta velocidad Perpiñán-Figueras. Línea internacional de alta velocidad que conecta Francia con España superando los Pirineos gracias a un túnel de 8,3 kilómetros.
 Línea férrea Perpiñán - Villefranche - Vernet-les-Bains. Línea transversal que conecta Perpiñán con el sur de la región.
 Línea férrea Perpiñán - Thuir. Pequeña línea de 15 kilómetros cerrada al tráfico en 1994 y desmantelada tres años después.

Historia

La llegada del tren a Perpiñán se produjo en 1858 con la llegada de la línea Narbona-Perpiñán que luego continuaría hasta la frontera con España. Los primeros trenes se detenían en una estación provisional situada en Le Vernet hasta que se concluyó la construcción de un puente sobre el río Têt.

Servicios ferroviarios

Alta velocidad
Un elevado número de trenes de alta velocidad transitan por la estación:

 Línea Barcelona-Sants ↔ París. Tren TGV.
 Línea Barcelona-Sants ↔ Toulouse. Tren AVE.
 Línea Barcelona-Sants ↔ Lyon. Tren AVE.
 Línea Madrid-Atocha ↔ Barcelona-Sants ↔ Marsella. Tren AVE.

Grandes líneas
Los siguientes trenes de grandes líneas transitan por la estación:

 Línea Cerbère ↔ París. Tren Intercités de Nuit.

Regionales
Los siguientes trenes regionales transitan por la estación:

 Línea Cerbère / Portbou ↔ Narbona / Nimes / Aviñón.
 Línea Cerbère / Portbou ↔ Toulouse.
 Línea Villefranche - Vernet-les-Bain ↔ Perpiñán.

Referencias

Enlaces externos

Estaciones de ferrocarril de Francia inauguradas en 1858
Estaciones de ferrocarril de la región de Occitania
Estaciones de ferrocarril del departamento de Pirineos Orientales
Edificios y estructuras de Perpiñán
Edificios y estructuras de Pirineos Orientales

redpajama_set_name: RedPajamaWikipedia


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NYCC 2017: Watch the Trailer for 'Philip K. Dick's Electric Dreams' and a New Clip from 'Man in the High Castle'
Sunday, 08 October 2017 - 4:31PM
image credit: Amazon
Philip K. Dick is one of those science fiction writers that throws everything at the wall and sees what sticks. His stories range from mind-bending (Man in the High Castle) to nightmarish and surreal (Ubik) to just weird (Time Out of Joint). With the announcement that Amazon will be launching Electric Dreams, a new series that explores his short stories, we're going to see a lot more weird stuff from the PKD vault—stuff no one else would touch before now.
We sat in on the New York Comic-Con panel on Electric Dreams and Man in the High Castle this year to get the details. Here are the highlights!
Michael Dinner, Showrunner, Executive Producer, Producer, Director
Ronald D. Moore, Executive Producer, Writer
David Kanter, Executive Producer
Liam Cunningham, As General Olin in Human Is
Eric Overmeyer, Executive Producer
Dan Percival, Executive Producer
Jason O'Mara, as Wyatt Price
Alexa Davalos as Juliana Crane
Rufus Sewell, as John Smith
Isa Dick Hackett, Executive producer
According to David Kanter, one of the difficulties of adapting the short stories came from making them fit into a 48-minute timeslot-creating what he calls "a series of ten movies." Some of the stories, he notes, are "super conceptual," which adds another challenge to making them work as traditional episodes.
He notes that some of the most interesting episodes are the ones where the writers "freely adapted" the stories, bringing them into a more contemporary setting. This is a big deal, since many of the stories were written in the 1950s.
For Liam Cunningham, the highlight of the show is Bryan Cranston as Philip K. Dick himself. He also praised the "humanity" of the episodes. This was echoed by Isa Dick Hackett, PKD's daughter and one of the executive producers on the show.
According to Hackett, the questions of what it means to be human, the nature of reality and identity, and the concept of empathy are all central ideas to PKD's work and the show. No one had really delved into Dick's short stories in earnest (beyond movies like Minority Report), and she says one their great strengths is the sheer diversity of their ideas.
When the trailer for the show was finally revealed, some of the phrases that jumped out were "The future is still human," and "I think I dreamt you, and you dreamt me, too." Here's the full trailer:
Man in the High Castle
One of the questions that came up during the panel is whether Season Three is going to show more of the world of High Castle, including places like Africa and Berlin. The answer was that instead of focusing more on individual locations, the show would be more of an exploration of the multiverse. According to Hackett, "We play a lot more with multiple realities, twisting and folding realities in the new season."
"We pulled back from exploring places like Africa and the world to focus more on the character-driven aspect, because the spectacle doesn't always work," said another executive producer. "We're telling the stories of individual lives."
In an exclusive New York Comic-Con clip, we got to see a scene from the third episode of the upcoming third season. In it, we see Rufus Sewell's character, the Nazi officer John Smith, being led through a laboratory by a scientist, who brings him to an observation room with a one-way mirror. Inside the room beyond is what appears to be an African woman strapped to an operating chair.
Here's the clip:
This, says Sewell, is where "The worlds start to crack open for John Smith."
You can check out Electric Dreams and Man in the High Castle on Amazon.
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Wayne Richard Embry (né le  à Springfield, Ohio) est un ancien joueur américain de basket-ball ; il a joué au poste d'intérieur durant onze années de 1959 à 1969. Il évolua sous les couleurs des Royals de Cincinnati, des Celtics de Boston et des Bucks de Milwaukee en NBA.

Biographie

Carrière de joueur

Il a joué à l'université Miami et au lycée Tecumseh de New Carlisle, Ohio.

Il participa à cinq NBA All-Star Games consécutifs (de 1961 à 1965) et remporta un titre NBA avec les Celtics en 1968.

Carrière de manager

Après sa retraite de joueur, il est devenu le premier Afro-américain à devenir General Manager en NBA, dirigeant les  Bucks de Milwaukee (de 1971 à 1979), les Cavaliers de Cleveland (de 1986 à 1999) et les Raptors de Toronto (en 2006). Il fut désigné NBA Executive of the Year en 1992 et 1998. Ces actions les plus mémorables en tant que general manager fut le transfert controversé de 1975 de Kareem Abdul-Jabbar des Bucks de Milwaukee vers les Lakers de Los Angeles et le désastreux transfert de 1989 des Cavaliers de Cleveland de Ron Harper et deux premiers tours de draft aux Los Angeles Clippers en échange des droits de Danny Ferry. Ce transfert pénalisa durement les Cavaliers durant les années 1990. Abdul-Jabbar remportera cinq titres avec les Lakers, alors qu'il n'en gagna qu'un seul avec les Bucks. Les Cavaliers réussirent leur meilleur bilan en saison régulière sous la houlette de Embry, mais ne connurent jamais de succès en playoffs.

En 2004, Embry fut engagé en tant que Senior Basketball Advisor par les Raptors de Toronto à la place du General Manager Rob Babcock. Embry fut nommé à ce rang après une seule saison passant devant Babcock dans la hiérarchie, alors que le conseil d'administration invoqua son manque de confiance envers le travail de Babcock. Le , Wayne fut nommé « general manager » par intérim des Raptors après le licenciement de Babcock.

Lors du mois où il occupa l'intérim en tant que G.M., Embry réalisa deux transferts. Le premier inclut le pivot Aaron Williams envoyé aux New Orleans Hornets contre les seconds tours de draft 2006 et 2009.
Le second transfert envoya Jalen Rose, un premier tour de draft et une somme d'argent non défini (autour de 3 millions de dollars) aux Knicks de New York en échange de l'ex-pivot des Raptors Antonio Davis. La motivation derrière ce transfert était fait dans le but de libérer du cap (Rose gagnant près de 15 millions de dollars par an) afin d'acquérir un pivot expérimenté qui puisse suppléer Chris Bosh.

Quand les Raptors engagèrent Bryan Colangelo en tant que nouveau président et « general manager » le , Embry retrouva son rôle de Senior Advisor.

Il fut intronisé au Basketball Hall of Fame en 1999 (en tant que contributeur).

Palmarès

En tant que joueur
  en 1961, 1962, 1963, 1964 et 1965
 Champion NBA en 1968 avec les Celtics de Boston

En tant que
 Dirigeant de l'année en 1992 et 1998
 Intronisé  en 1999

Notes et références

Liens externes

  Embry key to Raptors success (Article du Toronto Star du 8 avril 2007)

Naissance en mars 1937
Joueur américain de basket-ball
Joueur des Celtics de Boston
Joueur des Royals de Cincinnati
Joueur des Bucks de Milwaukee
NBA Executive of the Year
Joueur Champion NBA
Joueur sélectionné pour les NBA All-Star Game
Membre du Basketball Hall of Fame
Naissance à Springfield (Ohio)


What does it mean when a licensee receives a "cancelled" response from the FBI to a NICS background check?
On occasion, the FBI may provide the FFL with a "cancelled" response. Transactions will be cancelled if the FBI discovers that the NICS check was not initiated in accordance with ATF or FBI regulations, e.g., a NICS check was initiated for a non–authorized purpose or by a non–authorized individual. A licensee cannot transfer a firearm when a "cancelled" response is provided by NICS.


text:
Hands off ESC, hands off the city of solidarity!
Krytyka Polityczna January 19, 2016, 7:49 pm January 21, 2016
In a city in disarray, grey and provincial like no other European capital, in a corrupt and inhospitable city, it is astonishing that the "civic throb" claimed by Commissioner Tronca resulted in the fury against self-managed social centres and cultural associations. But through little healthy realism, we put our astonishment to a side and try to grasp the problem for what it is: among the rhetoric of decency, the apology of civic-mindedness, and the neoliberal government of the territory – that is the government for the market – fully coincide. Moreover, the figures of dissent and active participation are now hit in order to hide the unprecedented squandering of Metro C, the discomfort of people waiting hours for a bus in the suburbs, the unemployment of thousands of young people and the many currently facing the employment crisis.
We are also outraged, although not surprised, by the resolution that the Municipality of Rome placed on 30th of December in order to evict Esc: the self-managed atelier we animate, the space that has lived in this city and has accompanied and given life to many of its struggles for more than 11 years. The excuse is some pending arrears. In fact, as it is well known, following several years of occupation, after the eviction we faced on January 2007 and the immediate reoccupation of the building, Esc entered negotiations with the city government on the application of a social lease in exchange of the allocation of our space that occurred in 2009.
But the real objective is to wipe out an experience of radical democracy and new welfare, of mutualism and solidarity, of independent cultural production and of youth social relations. At Esc, migrants get free legal assistance and learn Italian; freelancers, informal, and precarious workers organize new tools of unionization and self-defence (Councils of Freelance and Precarious Workers); the Free Metropolitan University nurtures national and international critical thinking through seminars, publications, book launches; every year we hold a festival of independent publishers and winemakers, L/ivre, that is crossed by thousands of people; young people experience new musical trends and cultural styles. It's true: all of this does isn't business and the market, which rhymes with decency, must win over all.
Troubles, however, come from further away. The previous municipal council of Major Marino, in a botched attempt, has tried to meddle with the deliberation that provides the social lease: a resolution that the council was forced to put through by the struggles of social centres of the city twenty years ago. The Commissioner, in defiance of his role, has turned this rule into a tool of meritocracy against the political and social recognition of occupied and self-managed spaces.
The main issue of this twist is the ideology of "tenders as a saviour",where the tender is considered a neutral tool in order to enhance meritocracy. Even a child knows that evaluation is based on criteria, and the criteria is determined by the strongest, who is in charge. And who is in charge, especially in Italy, hardly ever respects the popular mandate or the consensus. That is to say, that lifting meritocracy, one always gets a clear glimpse of the market and its power, quite far from being neutral.
Then, the social lease is on target to pay and pay a lot. In other words, if solidarity and culture are not a business, a nice shopping centre is better! Meritocracy is the facade, but what this essentially is, is the privatization and dismissal of public assets when not profitable. Less culture and more market, less solidarity and more competition: this is the aim of the resolution that has hit Esc last December, the resolution that is hitting dozens of social centres and cultural associations. This has absolutely nothing to do, in fact it is as far as possible, with the mercy of the Jubilee of Pope Francis that every great "moralizer" of Rome is talking grandly.
The administrative management of the commissioner has accelerated down a path that was already paved. It was just as predictable, as unacceptable. We speak about Esc, because it concerns us, but we are convinced that the issue concerns all: it is about the clash between common use of public assets (new welfare, independent cultural production, self-education, social unionism, co-working, etc.) and its neoliberal valorisation. If the ideology of market lease will prevail, the anomaly of self-management and good solidarity practices of Rome will be cancelled. We shall NOT allow it, and we will defend Esc with "any means necessary". Few words are enough to the wise. At the same time, we need to transform the defense of Esc in a great political opportunity for programmatic alternative, more so in this complicated phase that is commissarial and electoral at the same time.
We address the thousands of women and men that, for long or just more recently, have crossed and live Esc. We turn to migrants and workers who, through Esc, are less fragile. We turn to the social movements and struggling unions. We address local administrators and politicians who have bowed their heads to the arrogance of the merchants or technicians. We turn to grassroots Catholicism that made mercy a practice of life. We turn to the world of culture that does not stop hating the misery of the present…
They want to kill Rome by means of privatization, speculation, legalist hypocrisy: we shall NOT let them!
Defend Esc, defend the city of solidarity, defend self-management!
[Unedited version]. This op-ed was originally published in www.dinamopress.it blog.
Combatting prejudices through the forgotten stories of the Roma community
Transeuropa Caravans: connecting citizen's struggles and building alternatives


This is essentially an ethical code with out any literary pretensions. However a simile here and a turn of words there do succeed in charming the reader. She has shown lyrical capabilities in situations that are suffused with human emotions. The portrayal of a woman waiting for her husband is very poetic.
'Hadibadeya Dharma' should be studied as an extremely rare instance where in a woman gains an entry in to the portals of literature.


A draped, asymmetrical skirt brings fluid movement to this maxi dress. Elastic cinches the off-shoulder neckline. Smocking for fitted waist. Unlined.
Romantic ruffle v neck line lends to timeless elegance to this chambray wrap dress. Tie closure and sleeveless.
Light weight high neck muscle tank crop top that ties at the hemline.
Elastic cinches off the shoulder neckline for this maxi dress with over lapping romantic ruffle detail sleeves. Mini skirt liner.
Bridesmaid or cocktail dress with sweet ruffle along the neckline. Spaghetti strap detail. Double lined lightweight flowing dress.


text:
Treupe is een gehucht in het Franse departement Nord. Het ligt in de gemeente Avelin. Het ligt twee kilometer ten zuidoosten van het dorpscentrum van Avelin, tegen de grens met Pont-à-Marcq. Het is een redelijk omvangrijk landelijk gehucht waar enkele straten samenkomen in een pleintje. Een weg in het westen leidt naar Le Croquet, een in het zuiden naar Prez.

Plaats in het Noorderdepartement
Avelin


text:
Q: Display animated sequence of images without blocking the interactive terminal I want to be able to display an animated sequence of images in Python without blocking the Python REPL. (The "sequence of images" is an array of static images). I've found a kludgy way of doing this, which is to launch a separate process which displays the animation using Tkinter. Launching a whole process in this way is quite inefficient in terms of memory.
Another way of putting this is, I want something like Pillow's Image.show, but which can display animations. Notice that Image.show launches a new window, and doesn't block the REPL.
Is there a non-kludgy way to do this?

A: I used the following code to display a sequence of images as an animation using Matplotlib:
import matplotlib.pyplot as plt
import matplotlib.animation as animation

def display(images, title):
    """Display an animated sequence of images in a new window."""
    fig = plt.figure(figsize=(images[0].width/100,images[1].height/100))
    ims = []
    for i in range(len(images)):
        im = plt.imshow(images[i], animated=True)
        ims.append([im])
    ani = animation.ArtistAnimation(fig, ims, interval=10, blit=True,
                                    repeat_delay=0)
    plt.axis('off')
    plt.axis("tight")
    plt.axis("image")
    fig.tight_layout(pad=0)
    fig.canvas.set_window_title(title)
    plt.show()

This doesn't hog the terminal. It's still quite slow though.

redpajama_set_name: RedPajamaStackExchange


Several types of protective orders are available in Texas to protect you and your family from family violence, abuse or serious injury.
"Family violence" is (i) violence by a member of a family or household against another member of the family or household, (ii) abuse by a member of a family or household against a child of the family or household, or (iii) dating violence.
"Violence" is an act intended to result in physical harm, bodily injury, assault or sexual assault, or is a threat that reasonably places a family member or household member in fear of imminent physical harm, bodily injury, assault or sexual assault.
"Dating violence" is an act by an individual against another individual with whom the offending person has or had a dating relationship that is intended to cause physical harm, bodily injury, assault or sexual assault, or is a threat that reasonably places the individual in fear of imminent physical harm, bodily injury, assault or sexual assault.
The three types of protective orders available in Texas to protect you and your family from family violence, abuse or serious injury are (i) temporary ex parte protective orders, (ii) final protective orders, and (iii) magistrate's orders for emergency protection.
Temporary ex parte protective orders. Temporary ex parte protective orders may be issued when there is a clear and present danger of family violence. Temporary ex parte protective orders can be granted by a court without notice to the other party or a hearing unless the applicant asks the court to remove the offending person from the residence. This type of protective order is effective for up to twenty days unless extended. A person who violates a temporary ex parte protective order can be punished in a civil proceeding for contempt and subject to civil penalties and criminal prosecution.
Final Protective Orders. Final protective orders may be issued when family violence has occurred and is likely to occur in the future, or when a previously rendered protective order has been violated. Final protective orders issued for these purposes require notice to the offending party and a court hearing. This type of protective order is generally effective for up to two years, although a final protective order can be effective longer in certain circumstances (such when the offending party is confined or imprisoned on the date the protective order is set to expire). A person who violates a final protective order can be punished in a civil proceeding for contempt and subject to civil penalties and criminal prosecution.
Magistrate's orders for emergency protection. A magistrate may order emergency protection after a person has been arrested for family violence, sexual assault or stalking. A magistrate's order for emergency protection can be granted by a court without notice to the offending party or a hearing. This type of protective order is effective for at least 31 days, but no longer than 61 days – unless the family violence involved the use or exhibition of a deadly weapon. In such instances, a magistrate's order is effective for at least 61 days, but no longer than 91 days. A person who violates a magistrate's order for emergency protection can be punished in a civil proceeding for contempt and subject to civil penalties and criminal prosecution.
Under Texas law, peace officers are obligated to enforce protective orders, including protective orders issued in another state if an officer reasonably believes a valid protective order is in effect and has been violated.
Don't subject yourself to ongoing family violence or abuse when a protective order might save you and your family from serious injury. Call Sonya Coffman. Because . . . family matters.


Year 5 travelled to Kew Gardens to learn about plant life cycles, in particular 'pollination'. We got to explore some of the 132 hectares of magnificent plant life, and took part in a workshop that allowed us to observe pollinators at work. We were also able to visit The Hive; a unique, multi-sensory experience designed to highlight the extraordinary life of bees.
For science this half term, year 1 children went to Holland Park on a hunt for autumn. They collected leaves and talked about their colour and shape and the types of trees they had come from. In a follow up lesson, they sorted the leaves using a tree identification key.
In late Spring Term Class One and Two attended an event at the Chelsea and Westminster Hospital. 'The Teddy Bear Hospital' is a project run by Imperial College medical students for local children in order to alleviate any fears children may have about hospitals. This educational experience involved members putting on a range of activities for the children including: healthy eating, parts of the body and their functions, teddy bear surgery, a pop up ambulance and much more! Class 1 and 2 brought their 'sick' teddy bears and the staff acted as teddy bear doctors.
Year 4 and Reception class were thrilled to have a visit from Zoolab in the last week of February. The Zoolab presenter brought in five animals for the children: a Giant African Snail, a Madagascan Cockroach, a Chilean Rose Tarantula, an American Corn Snake and a Leopard Gecko. The children in both classes were fascinated to observe these creatures up close and touch them. They also learnt about their habitats, diet, behaviour and adaptations. Year 4 re-visited what was learnt and completed follow up work in a subsequent science lesson. Click here to view some of the learning the children recorded.


Randy Frey is a serial entrepreneur with over 30 years of experience in complex laser and electo-optical systems development. He is the founder of LensAR and currently a member of the LensAR Inc board of directors and is its technology development and IP consultant. Previously, as founding CEO, Mr. Frey raised over $50 million in Venture Capital for LensAR, built the team and led the development of the LensAR Laser System for cataract surgery. He was LensAR's systems engineer and primary inventor, having filed 30 patent applications behind the LensAR technology including the development of the 3DCSI measurement and laser guidance technology Mr. Frey founded LensAR in 2004 to conduct research leading to product development in the treatment of presbyopia by lasing the natural crystalline lens to increase power and flexibility. Mr. Frey initiated license agreements for three key pieces of intellectual property addressing this novel concept. Currently LensAR is the only company in the world having performed human clinical studies for laser treatment in the lens for presbyopia.
Previously, Mr. Frey was the single founder and CEO of Autonomous Technologies in 1986 which began as an R&D company developing laser radar (LADAR) technology for NASA and Star Wars space borne tracking applications but later transformed to a commercial medical laser company. As its Chairman & CEO, Randy took Autonomous public in 1996 (NASDAQ NMS: ATCI) and in total raised over $50 million for Autonomous, for the development, through FDA approval, of the LADARVision System and Custom Cornea. This technology includes three new capabilities receiving the first FDA approvals for eye tracking, small beam scanning and wavefront driven customized LASIK treatment. The LADARVision System was operational in over 500 sites worldwide performing over 1 million LASIK procedures. After Autonomous merged with Summit Technology in late 2000, Mr. Frey served on the Board of Directors and guided the sale to Alcon Inc., the largest company in ophthalmology, for $950 Million in cash.
Prior to Autonomous Mr. Frey spent seven years in the Aerospace industry and an engineer and Principle Investigator including five years at Martin Marietta Aerospace (now Lockheed Martin) in Orlando and two years at Raytheon Company in Boston area. Mr. Frey was amongst a small number of national leaders in the field of coherent laser radar for 3 dimensional imaging, missile and aircraft tracking and sensitive Doppler LADAR detection of vibration signatures.
Mr. Frey has been awarded over two dozen US Patents and was inducted into the NASA Space Technology Hall of Fame. He is currently a founding sponsor and board member of the Rollins College, Crummer Graduate School of Business, Center for Advanced Entrepreneurship. He is also a Trustee of the Polytechnic Institute of NYU and has been honored as a Polytechnic Sesquicentennial Medalist. He received his BS in Electrical Engineering/Electrophysics from the Polytechnic Institute of Brooklyn in 1979 and did graduate work in engineering at Northeastern University and toward an MBA at the Crummer School.


Preheat oven to 350°. Butter a shallow 3-quart baking dish and a sheet of foil. Place bread in a very large bowl.
Toast nuts on a rimmed baking sheet, tossing once, until golden brown, 6-8 minutes. Let cool; add to bowl with bread.
Meanwhile, heat oil in a large skillet over medium-high. Cook pancetta, stirring often, until browned and crisp, 5.8 minutes. Transfer to bowl with a slotted spoon.
Add leeks and celery to skillet, season with salt and pepper, and cook, stirring often, until leeks are golden brown and soft, 10.15 minutes. Transfer to bowl.
Reduce heat, add Cognac to skillet (take care, as it can ignite), and cook, scraping up any browned bits, until almost all evaporated, about 1 minute. Add 1/2 cup butter; cook, stirring, until melted. Drizzle over bread mixture.
Whisk eggs and 2 cups stock in a medium bowl; pour over bread mixture. Add oysters, thyme, sage, and lemon zest, season with salt and pepper, and toss, adding more stock 1/4-cupful at a time as needed (you may not use it all), until combined and bread is hydrated. Transfer to prepared dish and dot with remaining 1/4 cup butter. Top with lemon slices.
Cover with buttered foil; bake until a paring knife inserted into the center comes out hot, 30-35 minutes. Increase oven temperature to 450°. Uncover and bake until top is golden brown and crisp, 20-25 minutes. Let sit 10 minutes before serving.


This is not a Planet Weidknecht giveaway.
for a spot on the contest form. Good luck!
I never knew how much my life could benefit from a Steam Machine until I met the Steam Machine Multi Purpose Power Steamer.We've lived in my house for 8 years now and I am constantly amazed at how dirty the floors can get! It's horrible!
I'm not much of a mop person. I'm not sure why. I just clean my floors with a rag and cleaner on my hands and knees. It makes me feel like I am actually cleaning and not just rubbing the dirt around. Well, that's what I thought... then I used the Steam Machine on my floors!
There's definitely a good reason why they call it a Multi Purpose Steamer and that's because it has so many different functions. From room-to-room the Steam Machine is amazing! If you need to remove wallpaper, simply use the Steam Machine to quickly remove it and best yet - it's chemical free! The kids drag in a little dirt on your carpet? No problem, use the attachment to not only clean up the carpet, but also to sanitize your tile, hardwood or vinyl floors. And that's not the only thing it sanitizes either! Use it to sanitize your kitchen area including your stove top and oven. And don't forget about your grills and bathrooms!
One of my favorite things to use the Steam Machine for is my dirty kitchen floor. It sanitizes my floors while cleaning them at the same time. The steam blasts them clean and then I use the cleaning pad to wipe them clean. It does a much better job than me scrubbing them on my hands and knees! And it's so much easier too.
How does it work? The Steam Machine works by pressurized high temperatures to efficiently steam away grime and dirt, grease, and even bacteria.
Use the Steam Machine with ease by grabbing the handle and then using the two wheels to roll it around with you wherever you may need it. Take advantage of the 8 foot hose to reach hard to reach places both high and low. Rest assured - your purchase is totally covered with a two year guarantee.
WIN It: Want to win a Steam Machine Cleaning System of your own? It's easy! Just enter on the rafflecopter below!
Giveaway open to US and Canadian residents, 18 years of age or older.
Giveaway ends May 31st at midnight.
I am a "are you kidding" type!!
I do not enjoy cleaning, but it must be done.
I try to do a big spring cleaning.
I do what has to be done, but not happily.
I'm a are you kidding person.