Axel Eggert joined EUROFER in November 2007. He has served as the director general since November 2014.
Eggert was interviewed by EURACTIV.sk's Pavol Szalai.
Last December, the Slovak EU Council Presidency reached an agreement on trade defence instruments. EUROFER said the agreement "does not live up to its objective". Why do you think so?
We have to thank the Slovak Presidency for their commitment to finding a solution, which was certainly very difficult. It had a very good starting point, but the outcome is extremely complex. There are too many hurdles, too high thresholds to be able to qualify. Even the European steel industry, which today accounts for half of trade defense measures in place, would have problems to qualify.
What do you mean by "qualifying"?
There are several thresholds. The Council's proposal for the deviation from the lesser duty rule (LDR) focuses on raw materials and energy distortions. The 'distortions' have to make up at least 27% of the total product cost. Each distortion, on its own, must make up at least 7% of total production costs of one specific product. In the case of steel production, it is hot rolled coil, which is our main steel product.
As a matter of fact, there are a relatively high number of distortions by China. Many are below 7% of the total production cost. If there were to be 10 distortions, each worth 5% for example, we are already at 50 percent of the production cost. But this would still not count.
The legislation did not take into account a situation, which must be very common?
No. This is, indeed, very common. Some of our products may still qualify for the deviation from the Lesser Duty Rule (LDR). But for a country like China, the LDR could be lifted just for one out of their 20 or 30 distortions. And then it gets a free ride.
Our main raw materials are iron ore, coking coal and steel scrap, for which the LDR can be lifted. But for energy, China would not even reach the 27 percent.
So, China can continue to dump energy prices?
Yes. The incentive should be: China, for you, we lift the LDR, so that you lift your energy and raw material distortions. If the agreement in the Council leads to a situation, when countries like China have to lift one or two of the many distortions in order to get a free ride, then the EU misses objective to end as many distortions as possible.
European Union trade ministers said Friday (11 November) they must not be "naive" in the face of alleged China price dumping, as they tried to agree tougher measures to fight unfairly low prices.
Last year, the Commission proposed a new anti-dumping methodology. China has already criticised it. What do you think of the legislation and when can it take effect?
We welcome the Commission's effort to solve this issue. However, the proposal raises a number of questions. What is the burden on the Commission's services and the industry to deliver data? The new methodology is partly based on the one applied by the US, but it goes beyond. More specific data will have to be provided for each factor of production. That could be a major hurdle to come to dumping margins.
The European Commission and industry would have to provide data on dumping in China?
Yes, and per factor of production: labour, electricity, raw materials etc. That is very difficult. For example, how do you quantify government control for each factor of production? The Americans work in broader lines.
If the European Commission grants China Market Economy Status (MES) the consequences for the EU aluminium sector will be enormous, an industry group has said.
We can prove there is a significant distortion in China. This would be sufficient in the US, but maybe not for the Commission. We still need to make sure the new methodology is as effective as the current one.
The new American trade representative worked as a lawyer advocating anti-dumping measures against China in the steel sector. Is the US election good news for European steel?
The US has already adopted as many anti-dumping measures against China as the EU. You should first investigate whether there is dumping or not and if yes, implement measures. There, the US is more successful than the EU. Whether the US needs more anti-dumping measures against China? It depends on the data.
Is the new political climate beneficial for Europe's steel industry?
Is the confrontation between the US and China beneficial for Europe? It could end up being at the expense of Europe. Where will the trade flows go when the US closes its borders? It will end up in the EU and worsen our situation.
The EU launched new probes today (12 February) into imports of Chinese steel, warning it would not allow "unfair competition" to threaten Europe's industry already crumbling under a flood of cheap imports.
Brexit is another political event that will shake trade relations. The UK has been against tough measures on China. What impact will Brexit have on the Europe's position?
The UK has been a brake on more effective trade defence instruments. Brexit will make the legislative reform easier in the future. But we are talking two years from now. It may never take place. Brexit will probably facilitate modernisation of trade defence instruments in the EU.
Brexit is definitely not in our interest. We are against it. Having a smaller single market is not helpful. But the impact is likely to be greater for the UK's steel industry. More than 60% of the UK's exports head to the EU. They will also have more difficulties in importing steel from the continent.
How do you see the EU's efforts aimed at decreasing China's overcapacity via the bilateral committee and G20?
We welcome the Commission's effort. The engagement of President Jean-Claude Juncker has helped certainly to raise awareness on the issue, not only within China, but also on the global base. A global forum was created.
Unfair Chinese aluminium trading is killing the European industry and, if the country is given market economy status by the European Union, it could have a catastrophic impact on EU jobs and production, warns Gerd Götz.
China has understood the problem. The overcapacity problem does not only affect the global steel market, but also the Chinese market and environment due to the enormous emissions. They have plans to reduce capacities.
But we are talking about 400 million tonnes of overcapacity in China at the beginning of last year. If you compare that to the EU steel market, which is 150 million tonnes, you can imagine the size of the problem – in China and for the world. China exports 100 million tonnes per year and imports virtually nothing. Most of their exports are actually over-capacities. It will take a long time until China has achieved the necessary reductions.
But it would be unfair to talk only about China. Europe is decreasing capacities. We have net reduction of 15 million tonnes per year. But for every tonne we reduce, we find five imported tonnes at our border.
The EU announced that it will impose anti-dumping duties for six months on some steel imports from China and Taiwan on Wednesday (25 March), as a new trade row erupted between Brussels and Beijing.


text:
Home Virginia 500 Law: PHILIPPE J.C. SIGNORE
Law: PHILIPPE J.C. SIGNORE
MANAGING PARTNER, OBLON, McCLELLAND, MAIER & NEUSTADT LLP, ALEXANDRIA
Signore began his career as a physicist, earning a bachelor's degree in physics from the University of Tennessee at Chattanooga, and then a Ph.D. from the University of Florida. After earning his law degree from Georgetown University Law Center, he transitioned to handling patents and intellectual property matters for a variety of high-tech industries, including aerospace, semiconductors, optical systems and medical devices.
As the leader of one of the world's top patent law firms, Signore also has taught patent law as an adjunct professor at George Mason's Antonin Scalia Law School and as a faculty member at the Center for International Intellectual Property Studies in Strasbourg, France. (He speaks French fluently.) In addition, Signore lectures on U.S. patent law for multiple associations in the United States, Asia and Europe.
Signore has been named multiple times to Managing IP Magazine's IP Star list and to IAM Patent 1000: The World's Leading Patent Practitioners.

redpajama_set_name: RedPajamaCommonCrawl


address at 80 Gideons Point Road, Tonka Bay, Minnesota 55331.
Champps has developed and owns a unique and distinctive system ("Champps System"
in the future designate for use with the Champps System.
foods served at those restaurants.
standards and specifications adopted and promulgated by Champps.
specific location approved by Champps.
and operated only in strict accordance with a separate Franchise Agreement.
the  Champps  System  or the  Proprietary  Marks in the  Development  Territory.
the attached Appendix B, subject to the terms set forth in such Appendix B.
Restaurant, as Champps reasonably may require.
sales volume or be more  profitable  than a site which  Champps did not approve.
environmental contamination and in compliance with the requirements of the ADA.
applicable cure period under any agreement with Champps.
3.5.2  Developer must be current on all obligations due Champps.
3.5.3  Developer must be in compliance with terms of Appendix B.
with all Franchise Agreements and with the Champps System.
3.5 above) which  Developer  must execute and return to Champps  within 20 days.
of a Franchised Restaurant at an Authorized Site.
no further rights to develop a Champps Restaurant on such site.
recognize the pre-existing rights of Developer under this Agreement.
transactions shall be collectively referred to as "Transfers" in this Agreement.
of and operating responsibility with respect to each such restaurant.
thereupon by any sheriff, marshal or constable.
failure to carry out the terms of this Agreement in good faith.
opportunity to remedy the default.
required by the applicable law or regulation.
for which there is an effective Franchise Agreement.
service outlet substantially similar to a Champps Restaurant.
Restaurants in the Development Territory.
the Champps System without any payment to Developer.
"casual  dining"  restaurants  (i.e.  Houston's  Bandera,   P.F.
intended to cover all "casual dining" or sports-themed concepts.
restaurants are not substantially similar to Champps or Fuddruckers restaurants.
running upon the entry of a final, non-appealable judgment.
not add additional burden, limitation or restriction on Developer.
covenants in this Section 7.
documents from such matters as Champps may request.
recoveries from third parties or otherwise mitigate losses.
Agreement or by reason of any neglect, delay or denial of any request therefore.
third parties to which Champps would not otherwise be subject.
with the express  terms of this  Agreement  may be implied into this  Agreement.
parties and executed in writing.
of this Agreement. The provisions of this Agreement shall be deemed severable.
any rights or remedies under, or by reason of, this Agreement.
construction of any provisions of this Agreement.
each copy so executed shall be deemed an original.
or against, any party because of the party that drafted this Agreement.
is or was located or where the claim arose.
or that claim or action shall be banned.
member in, any class action suits and the right to trial by jury.
of these costs and expenses will be determined by the court and not by a jury.
and direct involvement in the day-to-day management of the business.
recommendations may be rejected by Champps.
Champps' Restaurants is truthful and accurate.
other than Champps Restaurants, at any location.
inducements to enter this Agreement.
use of the Champps System.
parties have waived their right to a jury trial.
exclusive territory granted by Champps to a third party franchisee or licensee.
deemed to end at the center street line.
Developer's Notice Address (Section 11).
80 Gideons Point Road, Tonka Bay, Minnesota 55331.


Princess, the Chihuahua, and Killian, the Shih Tzu, came to Tucson2Tails from the Carson animal shelter in California. They'd been at the shelter too long and found themselves on the euthanasia list. One of T2T's foster volunteers saw them posted on Facebook and within 24 hours managed to find someone willing to drive out there and had a rescue group in California to pull them.
Princess is very healthy and just waiting for a forever home. However, Killian is blind, has renal disease and is very overweight. She's on a strict diet to get healthy for both her weight and her kidneys.


text:
Home > Solidarity > Options for Targeted Support > OIE National Focal Points Training
OIE PVS Pathway
PVS Pathway Cycle Options for Targeted Support Mission Reports
Workforce Development through OIE National Focal Points Training
In 2007, the OIE launched a global workforce development programme for OIE Delegates and National Focal Points. The OIE Delegate designates a National Focal Point for each of the following eight key topics, of critical importance to the Veterinary Services: animal disease notification, wildlife, veterinary products and AMR, animal production food safety, animal welfare, aquatic animals, communication, and laboratories. The National Focal Point should assist the Delegate in fulfilling his/her responsibilities to the OIE, especially in these areas of specialisation, in order to ensure a standard setting and implementation process that is transparent and inclusive among OIE Member Countries. This training programme provides Veterinary Services' good governance concepts to OIE Members and explains the role of the OIE National Focal Point.
Regional training seminars for OIE National Focal Points are held in each OIE Region and for each topic. These seminars aim to provide participants with knowledge of the commitments and responsibilities of the OIE Delegate, and their specialist role in supporting them, in the standard-setting process, and on compliance with the OIE international standards, including in disease reporting and Veterinary Services. The training also raises awareness about regional and global issues and concerns outside of the national context. The seminars provide specialised and horizontal training across the OIE mandate on topics relevant to their area of expertise, while also promoting reflection on how national systems can further work towards compliance with the OIE standards, including via the PVS Pathway.
The OIE works to empower National Focal Points to share information with their relevant colleagues, provide further training on OIE standards to staff, and to better connect the areas of the Veterinary Services operating in the veterinary domain but not necessarily under the Veterinary Authority (e.g., aquatics, wildlife).
Efforts are underway to take advantage of the OIE's network of Collaborating Centres to provide specialised training support to OIE Member Countries as well as to develop new training mechanisms and platforms, including e-learning.


text:
.. Autogenerated by Gollum RST generator (docs/generator/*.go)

Scribe
======

/
The scribe producer allows sending messages to Facebook's scribe.

Parameters
----------

**Address**
defines the host and port to connect to.
By default this is set to "localhost:1463".

**ConnectionBufferSizeKB**
sets the connection buffer size in KB. By default this
is set to 1024, i.e. 1 MB buffer.

**BatchMaxCount**
defines the maximum number of messages that can be buffered
before a flush is mandatory. If the buffer is full and a flush is still
underway or cannot be triggered out of other reasons, the producer will
block. By default this is set to 8192.

**BatchFlushCount**
defines the number of messages to be buffered before they are
written to disk. This setting is clamped to BatchMaxCount.
By default this is set to BatchMaxCount / 2.

**BatchTimeoutSec**
defines the maximum number of seconds to wait after the last
message arrived before a batch is flushed automatically. By default this is
set to 5. This also defines the maximum time allowed for messages to be
sent to the server.

**HeartBeatIntervalSec**
defines the interval used to query scribe for status
updates. By default this is set to 5sec.

**Category**
maps a stream to a specific scribe category. You can define the
wildcard stream (*) here, too. When set, all streams that do not have a
specific mapping will go to this category (including _GOLLUM_).
If no category mappings are set the stream name is used.

Parameters (from SimpleProducer)
--------------------------------

**Enable**
switches the consumer on or off. By default this value is set to true.

**ID**
allows this producer to be found by other plugins by name. By default this
is set to "" which does not register this producer.

**Channel**
sets the size of the channel used to communicate messages. By default
this value is set to 8192.

**ChannelTimeoutMs**
sets a timeout in milliseconds for messages to wait if this
producer's queue is full.
A timeout of -1 or lower will try the fallback route without notice.
A timeout of 0 will block until the queue is free. This is the default.
A timeout of 1 or higher will wait x milliseconds for the queues to become
available again. If this does not happen, the message will be send to the
retry channel.

**ShutdownTimeoutMs**
sets a timeout in milliseconds that will be used to detect
a blocking producer during shutdown. By default this is set to 1 second.
Decreasing this value may lead to lost messages during shutdown. Increasing
this value will increase shutdown time.

**Router**
contains either a single string or a list of strings defining the
message channels this producer will consume. By default this is set to "*"
which means "listen to all routers but the internal".

**FallbackStream**
defines the stream used for messages that cannot be delivered
e.g. after a timeout (see ChannelTimeoutMs). By default this is "".

**Formatter**
sets a formatter to use. Each formatter has its own set of options
which can be set here, too. By default this is set to format.Forward.
Each producer decides if and when to use a Formatter.

**Filter**
sets a filter that is applied before formatting, i.e. before a message
is send to the message queue. If a producer requires filtering after
formatting it has to define a separate filter as the producer decides if
and where to format.

Example
-------

.. code-block:: yaml

	 - "producer.Scribe":
	   Address: "localhost:1463"
	   ConnectionBufferSizeKB: 1024
	   BatchMaxCount: 8192
	   BatchFlushCount: 4096
	   BatchTimeoutSec: 5
		  HeartBeatIntervalSec: 5
	   Category:
	     "console" : "console"
	     "_GOLLUM_"  : "_GOLLUM_"

redpajama_set_name: RedPajamaGithub


text:
Q: What is the Frequentist definition of fixed effects? Bolker (2015) writes on p. 313 that

Frequentists and Bayesians define random effects somewhat differently, which affects
  the way they use them. Frequentists define random effects as categorical variables whose
  levels are chosen at random from a larger population, e.g., species chosen at random from a
  list of endemic species. Bayesians define random effects as sets of variables whose parameters are [all] drawn from [the same] distribution. The frequentist definition is philosophically coherent,
  and you will encounter researchers (including reviewers and supervisors) who insist on it,
  but it can be practically problematic. For example, it implies that you can't use species as
  random effect when you have observed all of the species at your field site—since the list
  of species is not a sample from a larger population—or use year as a random effect, since
  researchers rarely run an experiment in randomly sampled years—they usually use either
  a series of consecutive years, or the haphazard set of years when they could get into the
  field.

Bolker continues on p 315 to state that

The Bayesian framework has a simpler definition of random effects. Under a Bayesian approach, a fixed effect is one where we estimate each parameter (e.g., the mean for each species within a genus) independently (with independently specified priors), while for a random effect the parameters for each level are modeled as being drawn from a distribution (usually Normal); in standard statistical notation, $\textrm{species_mean} \sim {\cal N}(\textrm{genus_mean}, \sigma^2_{\textrm{species}})$.

Bolker's chapter thus provides clear Bayesian and Frequentist definitions of random effects, and a clear Bayesian definition of fixed effects. However, I don't see that it provides any Frequentist definition of fixed effects.
I am aware from this answer that a wide variety of inconsistent definitions of fixed effects exist in the literature. To clarify, I'm looking for a definition that would "complete the set" of Bolker's existing ones, and be demonstrably consistent with the approach that he is taking.
Although related topics are considered at length in this question, I see this question as different and much more specific. I also don't think the answer is present in any of the responses to the other question.
Bolker, B. M., 2015. Linear and generalized linear mixed models. In G. A. Fox, S. Negrete-Yankelevich, and V. J. Sosa (eds.), Ecological Statistics: Contemporary theory and application. Oxford University Press. ISBN 978-0-19-967255-4. In press.

A: Trying to find single "authoritative" definition is always tempting in cases like this, but the variety of different definitions shows that this term simply is not used in consistent manner. Andrew Gelman seems to have reached same conclusions, you can look as his blog posts here and here, or into his handbook Data Analysis Using Regression and Multilevel/Hierarchical Models written together with Jennifer Hill, where they write (p. 254-255):

The term fixed effects is used in contrast to random effects—but not
  in a consistent way! Fixed effects are usually defined as varying
  coefficients that are not themselves modeled. For example, a classical
  regression including $J − 1 = 19$ city indicators as regression
  predictors is sometimes called a "fixed-effects model" or a model with
  "fixed effects for cities." Confusingly, however, "fixed-effects
  models" sometimes refer to regressions in which coefficients do not
  vary by group (so that they are fixed, not random).
A question that commonly arises is when to use fixed effects (in the
  sense of varying coefficients that are unmodeled) and when to use
  random effects. The statistical literature is full of confusing and
  contradictory advice. Some say that fixed effects are appropriate if
  group-level coefficients are of interest, and random effects are
  appropriate if interest lies in the underlying population. Others
  recommend fixed effects when the groups in the data represent all
  possible groups, and random effects when the population includes
  groups not in the data. These two recommendations (and others) can be
  unhelpful. For example, in the child support example, we are
  interested in these particular cities and also the country as a whole.
  The cities are only a sample of cities in the United States—but if we
  were suddenly given data from all the other cities, we would not want
  then to change our model.
Our advice (elaborated upon in the rest of this book) is to always
  use multilevel modeling ("random effects"). Because of the conflicting
  definitions and advice, we avoid the terms "fixed" and "random"
  entirely, and focus on the description of the model itself (for
  example, varying intercepts and constant slopes), with the
  understanding that batches of coefficients (for example, $\alpha_1,
 \alpha_2, \dots, \alpha_J$) will themselves be modeled.

This is a good advice.

A: First of all, the 'random effects' can be viewed in different ways and the approaches to them and associated definitions may seem conflicting but it is just a different viewpoint.
The 'random effect' term in a model can be seen as both a term in the deterministic part of the model as a term in the random part of the model.
Basically, in general, the difference between fixed effect and random effect is whether a parameter is considered fixed within the experiment or not. From that point you get all kinds of different practical applications, and the many varying answers (opinions) to the question "When to use random effects?". It might actually be more a linguistic problem (when something is called random effect or not) than something with a problem with modelling (where we all understand the mathematics in the same way).

The Bayesian and Frequentist frameworks look in the same way at a statistical model, say: observations $Y_{ij}$ where $j$ is the observation number and $i$ indicates a grouping
$$Y_{ij} = \underbrace{ \alpha + \beta}_{\substack{\llap{\text{mod}}\rlap{\text{el}} \\ \llap{\text{parame}}\rlap{\text{ters}} }}\overbrace{X_{ij}}^{\substack{\llap{\text{indep}}\rlap{\text{endent}} \\ \text{variables}}} +\overbrace{Z_{i}}^{\substack{\llap{\text{ran}}\rlap{\text{dom}} \\ \text{group}\\ \text{term}}} + \overbrace{\epsilon_{j}}^{\substack{\llap{\text{ran}}\rlap{\text{dom}} \\ \text{individual}\\ \text{term}}}$$
The observations $Y_{ij}$ will depend on some model parameters $\alpha$ and $\beta$, which can be seen as the 'effects' which describe how the $Y_{ij}$ depends on the variable $X_{ij}$.
But the observations will not be deterministic and only depend on $X_{ij}$, there will also be random terms such that the observation conditional on the independent variables $Y_{ij} \vert X_{ij}$ will follow some random distribution. The terms $Z_{i}$ and $\epsilon_j$ are the nondeterministic part of the model.
This is the same for the Bayesian and Frequentist approach, which in principle do not differ in their way to describe a probability for the observations $Y_{ij}$ conditional on the model parameters $\alpha$ and $\beta$ and independent variables $X_{ij}$, where $Z_i$ and $\epsilon_j$ describe a non-deterministic part.

The difference is in the approach to 'inference'.

*

*The Bayesian approach uses reverse probability and describes a probability distribution of the (fixed effect) parameters $\alpha$ and $\beta$. This implies an interpretation of those parameters as random variables. With a Bayesian approach the outcome is a statement about the probability distribution for the fixed effect parameters $\alpha$ and $\beta$.

*A Frequentist method does not consider a distribution of the fixed effect parameters $\alpha$ and $\beta$ and avoids making statements that imply such distribution (but it is not explicitly rejected). The probability/frequency statements in a frequentist approach do not relate to a frequency/probability statement about the parameters but to a frequency/probability statement about the success rate of the estimation procedure.
So if you like, you could say that a frequentist definition of a fixed effect is: 'a model parameter that describes the deterministic part in a statistical model'. (ie. parameters that describe how dependent variables depend on independent variables).
And more specifically in most contexts this relates only to the parameters for the deterministic model that describe $E[Y_{ij} \vert X_{ij}]$. For instance, with a frequentist model one can estimate both the mean and variance, but only the parameters that relate to the mean are considered 'effects'. And even more specifically, the effects are most often used in the context of a 'linear' model. E.g. a for a nonlinear model like $E[y] \sim a e^{-bt}$ the parameters $a$ and $b$ are not really called 'effects'.

In a Bayesian framework all effects are sort of random and not deterministic (so the difference between random effect and fixed effect is not so obvious). The model parameters $\alpha$ and $\beta$ are random variables.
How I interpret the question's description/definition of the difference in random effect and fixed effect in the Bayesian framework is more as something pragmatic than as some principle.

*

*the fixed effects $\alpha$ and $\beta$ are considered to be like "where we estimate each parameter ... independently" (the $\alpha$ and $\beta$ are randomly drawn from a distribution, but they are the same for all $i$ and $j$ within the analysis, e.g. the mean of a species is a model parameter that is considered the same for each species)

*and the random effects are like "for a random effect the parameters for each level are modeled as being drawn from a distribution" (for each observation category $i$ a different random effect is 'drawn' from the distribution, e.g. the mean of a species is a model parameter that is considered different for each species)

In a frequentist framework the fixed effect model parameters are not considered as random parameters, or at least it doesn't matter for the inference whether the parameters are a random parameter or not and it is left out the analysis. However, the random effect term is explicitly considered as a random variable (that is, as a nondeterministic component of the model) and this will influence the analysis (e.g. as in a mixed effects model the imposed structure of the random error term).

redpajama_set_name: RedPajamaStackExchange


As hype continues to build around upcoming virtual reality and augmented reality products, one Wall Street analyst doesn't think Apple will sit on the sidelines, potentially acquiring companies and working behind the scenes on its own offerings throughout 2016.
Daniel Ives of FBR & Co. told investors this week that he expects Apple will be "very aggressive" in pursuing augmented and virtual reality technology over the coming year. To him, Apple will likely investigate the fledgling market "through organic and acquisitive means in 2016."
Ives believes that virtual and augmented reality represent a "natural next progression in consumer technology." In particular, with Apple, he believes the technology is a natural fit within the iPhone ecosystem.
Apple has not publicly signaled it is working on any virtual reality products, nor have there been specific rumors of any devices coming down the pipeline. But the company has made a number of key VR-related acquisitions in recent years.
In November, Apple confirmed that it acquired motion capture firm Faceshift. The company's technology is capable of rendering human-like gestures onto the faces of virtual characters, and it was used in the new film "Star Wars: The Force Awakens."
Apple now owns Faceshift technology and patents.
Apple also purchased German augmented reality firm Metaio in May of this year. And in 2013, Apple also purchased PrimeSense, which collaborated with Microsoft for the first-generation Kinect hardware for Xbox 360.
Apple holds a variety of patents covering a wide gamut of augmented reality applications, including transparent displays, mobile mapping solutions and iPhone-powered virtual displays. One particularly interesting property details a smartphone that can identify physical objects in real time using computer vision.
In addition, it was also reported this March that Apple has a small team tasked with experimental work in the field of augmented reality. It's been speculated that AR is a long-term project for Apple in the consumer space.
To Ives, the biggest wildcard in the virtual and augmented reality markets is Microsoft. He believes the Windows maker could emerge as a "clear leader" in the space with Hololens developer kits getting into the hands of early adopters in the first half of 2016.
iPhone users can get a very basic taste of virtual reality thanks to the Google Cardboard project, which turns a handset into a cheap and easy way to test out VR apps available on the App Store. AppleInsider's comprehensive roundup of the best virtual reality apps for iPhone can help you get started.


text:
QNI Fellows
Home / Explore QNI / About us / Our People / QNI Fellows / Dr Joan Myers OBE
Dr Joan Myers OBE
QNI Fellow
No contact details available.
Joan has over 35 years' experience as a strategic nurse leader, consultant and educator in community children's nursing services across London.
She has worked as an advisor to the Chief Nursing Officer for England in the NHS for over 10 years including being the Chair of the CNO BME Strategic Advisory Group for 5 years up until 2017.
In 2018 Joan received a Florence Nightingale Foundation Leadership Scholarship and travelled to the Netherlands to learn more about the Buurtzorg model. In 2019 she became a Trustee and Director with the Florence Nightingale Foundation.
Joan is an inspirational keynote speaker and is passionate about motivating and challenging people to excel in their careers. Her independent consultancy company offers mentorship, coaching and career support.
Joan is a multi-award winning nurse and has received an OBE for services to children and nursing in the Queens Birthday honours' list in 2013. She is a Queen's Nurse and has a honorary doctorate from Middlesex University. Joan was voted one of the top 50 most influential BME figures in the NHS by the HSJ in 2020 and 2021.
Joan founded a children's charity in Kenya which provides education and support for over 25 vulnerable children and their families.
All Fellows


text:
Home / Books / AK Publications / Wish You Were Here: The Buffalo Avant-garde in the 1970s
Wish You Were Here: The Buffalo Avant-garde in the 1970s
SKU: 9781887457125 Category: AK Publications
Wish You Were Here: The Buffalo Avant-garde in the 1970s quantity
This catalogue was published on the occasion of the exhibition Wish You Were Here: The Buffalo Avant-garde in the 1970s, on view at Albright-Knox Art Gallery from March 30 to July 8, 2012. This exhibition catalogue features a historical essay by Albright-Knox Curator Heather Pesanti, as well as contributing essays by Lawrence Brose, former executive director of CEPA; Sandra Q. Firmin, Curator, UB Art Galleries; Gerald O'Grady, founder of Media Study/Buffalo and UB's Center for Media Study; Bruce Jackson, SUNY Distinguished Professor and James Agee Professor of American Culture, University at Buffalo; Renée Levine Packer, former managing director of UB's Center of the Creative and Performing Arts; and Carolyn Tennant, Media Arts Director, Hallwalls Contemporary Arts Center. It also features interviews by Pesanti with well-known figures from the period, including Linda Cathcart, Charles Clough, Tony Conrad, Catherine Jansen, Bruce Jenkins, Charlotta Kotik, Robert Longo, Roberto Muffoletto, Cindy Sherman, Jan Williams, and Helene Winer. Paperback, 208 pages, 9.5 x 7 inches, 130 illustrations. © 2012 Albright-Knox Art Gallery
Extreme Abstraction Revisited
Erin Shirreff
The Long Curve (Softcover)
The Panza Collection: An Experience of Color and Light
Shade: Clyfford Still / Mark Bradford
Hamish Fulton: Selected Walks 1969–1989
Circa 1900: From the Genteel Tradition to the Jazz Age
Imperfections by Chance: Paul Feeley Retrospective, 1954–1966


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Sājūr (hebreiska: סג'ור) är en ort i Israel.   Den ligger i distriktet Norra distriktet, i den norra delen av landet. Sājūr ligger  meter över havet och antalet invånare är .

Terrängen runt Sājūr är huvudsakligen kuperad, men österut är den bergig. Runt Sājūr är det ganska tätbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Karmi'el,  km sydväst om Sājūr. Omgivningarna runt Sājūr är i huvudsak ett öppet busklandskap.

Medelhavsklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är januari, med i genomsnitt  mm nederbörd, och den torraste är juli, med  mm nederbörd.

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redpajama_set_name: RedPajamaWikipedia


"As a private tutor for the past 20 years, I have helped countless private, public, home school, and college students make outstanding progress! I've tutored students in elementary school through college, and beyond! Most recently, I've begun working at North Georgia Technical College working with upper level math, English, and pharmacology students. Helping students succeed is what I love to do, and I believe each and every student can be successful! Students truly enjoy working with me, as I a"


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After releasing his self-titled debut album in 2017, Dion Lunadon (The D4, ex-A Place To Bury Strangers) and In The Red Records is proud to release his sophomore album, Beyond Everything. Beyond Everything will be Lunadon's first release on In The Red (an ideal match for his music), as well as his first full-length since departing A Place To Bury Strangers. Written, performed and recorded by himself, the songs tap into a raw, palpable energy that blur the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies).Lunadon says; "The record was written and recorded sporadically between 2017 and 2019. I probably wrote about one hundred songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the second record. Something that could be more conducive to repeated listens. I'd get in my studio, come up with a song title, and start working on any ideas that I had. For example, with 'Elastic Diagnostic,' the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.""An arresting, noise-infected dose of psych-garage." on "It's The Truth"-Brooklyn Vegan "An amped up garage psych ripper." on "Living And Dying With You"-Brooklyn Vegan "A ferocious rocker." on "Living And Dying With You"-Destroy Exist "A gritty and raw glam-like anthem centered around chugging power chords, Lunadon's howled and desperate delivery, forceful and propulsive drumming paired with an explosive feedback-driven coda, 'It's The Truth' further cements the Kiwi-born, Brooklyn-based artist's reputation for crafting anthems meant to be played as loud as humanly possible." -Joy Of Violent Movement
Label: In the Red Records
Beyond Everything
Artist: Lunadon, Dion
1. Goodbye Satan
2. By My Side
3. It's the Truth
4. Screw Diver
5. Elastic Diagnostic
6. Glass Doll
7. Too Hard to Love, Too Young to Die
8. Nothing But My Skull
9. Pink X
10. Living and Dying with You


In a world where competitive gaming is fast becoming the main reason we buy games and eSports officially becoming a big deal, getting one over on your opponent is a necessity. I'm not talking about cheating, god modes and infinite ammo as such, but with tools, real world tools that maximise your gaming efficiency. I've played hundreds of matches on Call of Duty and wondered how my opponents manage to kill me when I didn't even see them, I was facing in their direction, then looking at the kill-cam shows them performing an impossible move unless you have elastic fingers, jumping and shooting at the same time. Well thanks to the world famous SCUF guys and Microsoft's own Elite controller, I now know how they do it. This review isn't about those though, the guys at even-more-world-famous, Razer, have a trick up their sleeve that is safe to say, wipes out the competition.
I'm talking about the Razer Wolverine Ultimate Xbox One controller. Taking its name from a rabid beast, this thing is a beast of its own. All black apart from its trigger buttons and D-pad, the Wolverine Ultimate is no bigger than Xbox One's standard controller so holding this beauty feels no different, but Razer has made full use of the space available on all sides. How? You say. Well, it sports two extra buttons and two paddles on the rear and an extra two shoulder buttons on the top. They are positioned perfectly so that your fingers rest on them ready to be deployed at your leisure, they don't intrude and are tough enough to prevent accidentally pressing them. If your indexes are like spaghetti and you keep tripping the extra shoulder buttons, there are two switches just below them that deactivate them.
The Wolverine Ultimate is customisable with its interchangeable D-pad and thumb grips. Razer has packaged a smoother D-pad attachment if the buttons are too awkward for you as well as convex and extra concave thumb grips, all of them attach via strong magnets. What would a Razer product be without its trademark Chroma lighting? The Wolverine Ultimate has a Chroma light bar trimming around the Xbox button that can be customised via the Razer Synapse app on the PC. It's beautiful on any Razer product and oozes a certain badassery on the Wolverine Ultimate.
The extra buttons aren't extra per se, they are simply programmable to any of the other standard controller buttons. All that's required to program a button to one is simply holding down the program button located at the bottom of the Wolverine Ultimate, hold the extra button you want to program, and press the button you want it to activate when depressed. It's so simple, even a toddler could do it. A button beside the one used to program swaps between three layouts identified by a small LED on it. This increases functionality and allows you to swap layouts on-the-fly to suit your needs on any game.
Although the Wolverine Ultimate is no bigger than a standard Xbox One controller, it's significantly heavier. It's the first thing you'll notice when you take it from its super neat black and green packaging and beautiful carry case. It's expected though, this thing is a gaming treasure, a requirement for any competitive gamer. It's easy to use, gorgeous to look at and superb to hold. It's manufactured with such precision and class that you'll want to keep it in a glass case, only to come out at special occasions. Or show off to your opponents at eSports events.
I do have one complaint about the Wolverine Ultimate however, a single qualm that prevents it from being perfect (it doesn't compromise my final score though) and that is that it's a wired controller. This thing requires constant power to use and that is granted by a generously long threaded USB cable that also oozes high quality. Today, nobody likes to be tethered to the console, nobody likes wires strewn all over the place, but given the power that the Wolverine Ultimate grants to the player, the multitude of functionality and customisation and the constant light show on the front of it, it's forgiven to need a constant stream of electricity.
Sure, I'm singing about the Wolverine Ultimate like a canary, but rightly so, this thing is a fantastic product in every sense. It's so easy to program buttons to the paddles, you'll be jump shooting in no time. It's weighty and requires constant power via USB tether but who cares, the Wolverine Ultimate is a high class, high quality product that is a must own for every gamer. Power like this comes at a price though, with great power comes a hefty price tag but it's worth every penny.


Kitchens have come a long way in recent years and for anyone buying a new home or renovating their kitchen the list of dream inclusions now goes well beyond a single great oven or roomy pantry. One of the things to have changed significantly in recent years is the splashback. Once the domain of plain or feature tiles - splashbacks now come in all manner of materials. This kitchen from the Access Homes supplier is a beautiful example of what is now possible with splashbacks. If you're a fan of reality TV you might have seen the latest touchscreen splashback which integrates with tablet devices. Other trends in splashbacks include aluminium – which can be smooth or stamped – acrylic and glass, which come in a range of colours, windows – which draw the eye outside and can make an kitchen appear larger, stainless steel and of course stone. In today's kitchen the options are endless as is the potential to wow!
Pic: This kitchen from the Access Homes supplier is a beautiful example of what is now possible with splashbacks.


Would you expect anything different from a Lincoln crony.
I would not. I most surely would not.
Though utterly lacking anything even remotely resembling evidence, an amusing comment.
The interesting finding of Luther v Borden was that it is the political arms of the United States-President and Congress determine political questions like what State government to recognize. That looms large in Reconstruction. Sticking to the topic it means IMHO, that SCOTUS will not rule on Secession as a political decision. I see a future court using Texas v White as precedent if secession was successful or not. One of my pet theories is that secession is always not Constitutional because there is no Constitutional way out.
No, just proves which side won the shooting war.


This short-cut bikini set writes sweet secrets made of filigree tulle and promising, opaque floral embroidery onto your skin. With its semi-translucent, charcoal grey bra and g-string, this bikini embodies the summery romance of the covetous and flirtatious life. Adjustable, delicate bands caress your body closely.
Fabric composition: 90% nylon, 10% spandex.
Wash care instructions: Hand wash cold. Do not bleach. Line dry. Do not iron. Do not dry clean. Wash colors separately.


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VH1 Battle for the Bands Winners 2012
We are huuuge supporters of efforts to improve music education in our schools. Our site's founder, Ron Worthy, took instrumental music throughout elementary school and junior high school and later in college. Music education is vital in our schools as it keeps the pipeline of musicians coming when we need it most. In addition, music education provides a needed positive diversion for kids who are often lured into poor decisions because they lack options. Kudos to VH1 for their effort. Enjoy these submissions which won in various categories:
The Battle for the Bands winners are:
Best Original Music Video and winner of your very own Pop Up Video to be premiered on VH1.com:
Team Name: Cody Chops
City: Littleton, CO
Why is music education important to you?
I have been performing since I was eight years old with my family bluegrass band. Since then I have been in several rock and blues bands. Starting my freshman year of high school, I joined choir. My director has taught me how to perform professionally, sing correctly without hurting my vocal chords, notice those around me with an open mind, and to have dedication with everything I do. No only that, but my Recording Arts
teacher, Ron Gordon, has taught me how to mix and master music, record sessions at a professional level and timely manner, mic instruments to get a full and natural sound, and how to set up and take down recording sessions. With all that I've learned from my high school music teachers, I am now ready to jump in to the industry, either as a performer or a recording engineer.
How did your video come together?
The director of this video, Drew Byerly, has been my close friend for about 12 years. When I noticed this opportunity, I imediately called him and showed him the requirements. From there, we met several times to plot out the video, arrange dates, shoot the footage, and edit it.
What was the biggest challenge?
The biggest challenge was that there were only two of us. Drew's production team was unable to attend due to various auditions and other projects
Best Spoken Word Video and winner of a Taylor Acoustic Guitar:
Team Name: The "Music Is Important To Me Because…" Project
City: Niwot, Colorado
Music education important to me because I've personally experienced the impact that it can have on young adults. Core subjects like math, English, history, and science are all very important, but a curriculum is simply not complete without music. Having choir and band classes relieve my stress which helps me focus in my other classes. Music education has allowed me to develop leadership and networking skills through roles including section leader in choir, student director of the school musical and captain of the marching band's color guard. Music hasn't just helped me academically. Throughout high school, it has also helped me deal with difficult family situations and personal issues including depression and anxiety. I am able to cope with anything life throws at me because of the values and confidence I've gained from music education.
The goal of my video is to show how many people are positively affected by music and music education. I went straight to the source and asked people at my high school to finish the statement "Music is important to me because…". Initially, I made an event on Facebook and invited a lot people simply to raise awareness about what I was trying to do. I brought my camera and a manila envelope filled with printer paper and black markers to school and presented my idea to my classes. Everyone was excited about the concept and was eager for their voice to be heard. Over the course of two days, I took photos during lunch, in the hall, and during class. I was astonished at the sheer number of replies, ranging from simply "It brightens my day" to the heart wrenching answer of "It saved my life". Then, I spent an entire weekend editing the video, focusing on the order of the photos and making the transitions fit with the song to create the most impact. Once I uploaded the finished product to Facebook so those involved could see what they had helped create, it went viral. I had people telling me that they were incredibly touched (several even confessed to tearing up) and that the video really communicated to them just how important music is in schools. Mission: accomplished.
The biggest challenge I faced in making my video was simply getting the word out and explaining myself clearly. I had to communicate the exact format in which I wanted people to write their answers. I was also concerned that the people I asked to participate who weren't involved in music wouldn't see the project or music education itself as valid and worth their time. Fortunately, I was proved wrong, and people (even my math teacher) had a reason as to why music was important to them.
Best Parody Video and winner of tickets to a concert in your area:
LMS Contemporary Youth Orchestra
Team Name: LMS Contemporary Youth Orchestra
City: Lennox, CA
I am the music teacher at Lennox Middle School, and while we come from one of the more impoverished areas of Southern California, music is one of the few places where the language you speak at home, how long you have been in this country, or how much money you have don't matter. It's the place where every feels needed and welcome. Unfortunately, over the last 10 years, we have seen our numbers and resources consistently diminish. The goals of our LMS Contemporary Youth Orchestra are to apply our skills and resources to various social issues and gain support for our very unique music program through advocacy.
Through group discussion, the theme of bullying was chosen. Because of its raw energy and aggressive nature, we then chose the song, "Killing in the Name Of," by Rage Against the Machine as our sort of template. After several brainstorming and songwriting sessions, we recorded all the music and vocals live. Next, we discussed the look and theme of our video, then scouted locations around campus. Finally, we shot and edited the video in one day. It was a fun process that we will cherish forever.
The biggest challenge was the songwriting. We wanted to capture the emotion of bullying, but always refer to "us' and "we," to indicate that victims are not alone, and we are all part of the solution.
Rock Star Prize and winner of the opening slot at Lollapalooza:
Team Name: Point To Infinity
Music education is important to me because it gives students a chance to get away from the stress of school and freely express themselves. Also, music education helps students learn about the music that they play, whether it be orchestra, band, or choir, and understand how hard famous musical artists work to rise to the top. Also, students can receive many scholarships from music-related things and being committed to any fine arts program for four years looks good on their resume when applying for college.
This past summer, me and three musically talented friends decided to create a band called, Point To Infinity. We've played at shows before, but this was our first time playing at The Satellite Room. This song is one of our favorite songs and a fan favorite. Our good friend and photographer, Steve Hebert recorded this video of us playing our song, Twitterpated.
We wanted to start this band before the summer, but because of school we never had time to get together and practice. Now, we are all seniors and we have more time to get together regularly to practice our music which are all original songs. Though, our biggest challenge, I would say, is finding shows to play. Since we don't have a manager or an agent it is hard to arrange shows where we can play.
Scholarship Recipients:
Team Name: Music's Awesome
City: Santa Rosa, California
Music education is important to us on a variety of levels. As stated in our music video, "MUSIC'S AWESOME!" Music has been an important part of each of our lives. Music really does stimulate many aspects of your mind such as coordination, memorization, and even on some level your capacity for knowledge. It boggles my mind that people are tearing music out of the school system, for me it has always been apart of my education and I am now going off to college to pursue musical theater which, in fact, also has a bit of music in it. Music has always been there for me, it's there when I'm sad, when I'm happy, and when I;m half asleep making my morning commute to school. Music is all around us in our everyday lives so, why is it being taken out schools?
Funny story actually, I was surfing the web looking for some scholarships online when I stumbled upon this project. I did a bit of research found the requirements and signed myself up. The next day I saw my friend Barry at school and asked if he'd give me a hand. He was more than happy to help! Then I told him we could win $1,000 scholarship money. He was happy before, now he was pumped. We wrote the song originally just with the piano, but we felt it wasn't quite full enough. That's when Gabe was added into the mix, he's one of the best violin players I know and we knew this would be a good addition. We added other various instruments such as a melodica, guitar, and a couple drums. We asked our friends Jordan and Vivienne if they'd like to help us out in the video process. We wanted it to give off more of a school vibe by having a couple people walking around.
The biggest challenge was getting everyone together. We all have very busy schedules with school and various rehearsals. Actually, all of us are in a show together right now! We were eventually able to catch a break though. Barry, Gabe and I, who are all in a show being put on by Santa Rosa High School, were able to get out of two after school rehearsals so we were able to film it all then! There a couple speed bumps, but all in all it turned quite well. I'm proud of what we've done and hope everyone enjoys it as much as we enjoyed making it!
GRAND PRIZE WINNER and recipient of $5,000 grant to save music education in your school:
Team Name: Sodasia Thompson, Joe Pastore
City: Bay Shore, NY
Music education is so important to us because it opens up an entirely new lifestyle. Because music is about more than JUST the sound. it's about the words, the movement and the feeling and effort which help us as kids, teens and adults, express ourselves in a healthy way that can also help others. Our teachers show us what exactly it means to be a "musician" and they truly care about us and our music. Without them and without music ed, life would be boring and probably a lot more violent. There is absolutely no way that taking away music ed from schools could be a positive thing at ALL, and every adult who has a say in a decision like that should realize just how important music is to us and the world. it is a necessity, just like the food we eat or the air we breathe. Music is life.
The song itself was written actually a little while before we both heard about the contest. I (sodasia thompson), wrote this song because my music teacher had one day asked me to think about life without music. and the day after, i had the whole song. I saw this contest advertisement on TV and immediately called my classmate who excells in multimedia and said, "WE HAVE TO DO THIS". Our music teacher knew that we would do something great together and helped us the entire way through.
The biggest challenge for us was definitely editing the video and putting it all together. there was a lot of time and hard work spent on making it perfect and really making it a part o the song itself. the music came really easily because when you're passionate about something, and everybody is, you make time for it always and it literally becomes the flow of ones own emotions rather than making words rhyme or fit together. overall we had so much fun with this project and we really appreciate the opportunity to tell the world why music should never be taken from us.
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120 days to go until Pope Benedict XVI visits England and Scotland
Tuesday, May 18th, 2010 @ 12:00 am
General » » 120 days to go until Pope Benedict ...
Visit thepapalvisit.org.uk to tune in for the second audio update with the Papal Visit Co-ordinator Mgr Andrew Summersgill. This week Mgr Summersgill talks about the finalised plans for the Papal Visit missal.
Father Andrew what can you tell us this week, what's new?
Mgr Andrew Summersgill: What's new? Well, certainly one new thing is that we have now finalised the plans for the missal for the Papal Visit. Our intention all the way along has been to provide a missal which people could use to accompany the Visit. Either those who will be following it at home on television or being streamed on the Internet on the website, or those who are able to attend the Papal events during the Visit and who receive an invitation to do so. This is all part of us trying to make Pope Benedict's presence here in the United Kingdom as available as possible to many people. So we've been working and discussing with three Catholic publishers. That would be Magnificat, Gabriel Communications and CTS, the Catholic Truth Society, and we're in a position now to go ahead to produce the missal. And it will include prayer, it will include the Liturgy of the Hours and the Liturgy for the Eucharist leading up to the Visit and the week after the Visit. And then, during the Pope's Visit itself, it will include the Liturgies that the Holy Father will celebrate and some information and details about what the Pope is doing and why he is where he is. Just to try to bring everybody together with the Pope for the time that he is here.
Do we have a publication date for that?
Mgr AS: We don't have a firm publication date yet, but the plan would be that copies of the missal would be distributed around the parishes around about two weeks before Pope Benedict arrives, so that people have them in time for the week before the Visit. That's what we're working on at the minute. It's quite a detailed logistical operation to be able to produce enough copies for the majority of people who will be going to Papal gatherings, but also so that there is one around for every family so that it can be followed. So it's quite a detailed and complex operation.
Any update on the 'Virtual Visit'? You've just talked about sharing the experience.
Mgr AS: Yes there is. We're looking quite closely now at the mechanisms and the apparatus for streaming Pope Benedict's Visit while he is here on the website. I have to confess I don't understand this at all but I have seen what is possible and it looks very good to me, so I'm really hopeful that we're going in the right direction with that now as well.
http://www.thepapalvisit.org.uk/News-and-Media/Audio-Diary/Audio-Updates-May/Weekly-audio-update-on-the-Papal-Visit-17-May-2010
Photos from the Holy Father, Pope Benedict XVI's visit to Portugal:
http://www.flickr.com/photos/thepapalvisit/
Credit: M.Mazur/www.thepapalvisit.org.uk
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