text:
From Clenched Fists to Helping Hands
By Alec Brooks of Kazerouni Law Group, APC on Tuesday, October 18, 2016.
Nostalgia is a lovely distraction from our day-to-day lives. Reminiscing on a life without credit card payments or a coffee addiction is a sure fire way to wind down after battling bumper-to-bumper traffic on your way home. As easy as it can be to drift off and refer to our adolescence as, "The Good Ol' Days," maybe they weren't as worry free as we like to think they were.
Young boys and girls in the United States are faced with an array of anxiety-fueled situations each day. These can range from pressure to perform during standardized testing, to being the only one in their class not able to climb the rope in the gym. While these moments are unnerving and deflating, they're nowhere near as detrimental, or in some cases life threatening, to our children as bullying can be.
According to a study at Yale University, children who experience bullying are 7-9 percent more likely to consider suicide. Suicide is reportedly linked to bullying among minors in England 50 percent of the time. ABC news reported that U.S. children are so afraid of bullying at school that 30,000 of them stay at home each day to try and avoid the torment.
A case involving neglective, discriminatory, and bullying behavior was brought to KLG. "Brandon," a young boy of Mexican descent wasn't just being made fun of for his clothes, or having signs taped on his back – he was being physically held down, beaten, and berated with racial slurs and epithets. Brandon was diagnosed with depression, bipolar disorder, ADHD, and PTSD all while attempting to learn English as a second language. These circumstances left him like a wounded elk, to be pounced on and torn apart by his peers. 26 percent of Latino students report being bullied in the United States, and among disabled students the number is as high as 60 percent. Brandon fell under the negative statistics of both.
KLG attorneys Matthew M. Loker and Mike Kazerouni wanted to help but they didn't just want to help Brandon. The two attorneys wanted to help make a systemic change that would benefit all students in similar situations to Brandon. They believed that if they attacked the problem at the root our youth could go back to being afraid of pop quizzes rather than physical harm.
It started with the school. In 2012, Brandon's civil suit was filed against the School District and its Board of Trustees. The suit alleged that despite numerous complaints and requests for intervention by Brandon and his family to district officials, little to nothing was done. Loker and Kazerouni also believed that the bullying policies the district had in place were discriminatory, antiquated, and neglected the needs of both Latino and disabled students.
This wasn't a short case. The attorneys fought for four years through a demurrer and had to wait through a gruelling appellate process. In addition, Loker drove up and down the California coast frequently, interviewing medical and psychological experts to get a firm understanding on the analytics of bullying as well as interviewing experts regarding school procedures. By the time the case was winding down, Loker and Kazerouni were no longer advocating for the 15 year old boy from the beginning of this action, they were fighting on behalf of a 20 year old young man.
The case came to an end last month. Brandon and his family settled their claims, but more importantly the School District will enact changes to its bullying policies, which haven't been amended since 1996.
"This case was never about the money," Brandon's mother said. "It was about ensuring that future families in this district won't have to experience what we went through, what we're continuing to go through."
The district has now updated its bullying policies to include more specific clauses for when the bullying is race or disability-related. It's the district's, as well as our hope that these new policies are more inclusive and don't leave kids like Brandon as outliers to fend for themselves in the future.
"This case reminded me why I became an attorney," Loker said. "We had the opportunity to change the way an entire school district views bullying and after four years of litigation we forced that change to occur."
The justice we received on behalf of Brandon is huge, but at the same time it's only a fraction of the work that we as a nation still have to achieve. Among all this rhetoric about how great the old days were, and how we all wish things could be the way they used to be, do we stop enough and consider that we all haven't had the same experiences? We live in a nation where more times than not the response to difference is adversity, or, just plain bullying. We were able to win this battle on behalf of Brandon, but we know the fight isn't over.
If you or someone you know is a victim of bullying or discriminatory policies please contact us at 800-400-6808, you don't have to fight alone.


text:
The good, the bad, and the ugly of Narendra Modi, India's next leader
By Max Fisher May 16, 2014, 11:30am EDT
Share All sharing options for: The good, the bad, and the ugly of Narendra Modi, India's next leader
Kevin Frayer/Getty Images
The results from India's national election are still coming in and it's already clear who will be the country's next leader: Narendra Modi. His party, the BJP, has won at least 280 of the parliament's 545 seats, giving it a controlling majority (not to mention a stunning election victory) and enough to formally install Modi, who is their candidate for prime minister.
Modi is a big deal. He's about to take control of the world's second-most populous country at a pivotal moment in its history. He's hugely popular in India, where his party won by huge margins in large part on enthusiasm for what Modi can do for the nation. But he's also extremely controversial, in India and abroad; so much so that the State Department once denied him a visa to even the US. Here is a brief rundown on the good, the bad, and the ugly of India's next leader.
The good: Modi could be the guy to save India's economy
Lots of Indians, as well as members of the international business community, think his background as Gujarat's leader make him qualified to fix India's economic woes, and he's styled himself as India's national CEO. Optimism about a BJP win has been powering the Indian stock market to new highs this spring. The value of India's currency, which plunged last year, has been rising in 2014 again thanks to Modi-mania.
In 2012 and 2013, Indian growth slowed sharply:
There's a lot of demand in the Indian economy, but not enough supply, and India's poor infrastructure and weak governance have been unable to provide the needed increase in production of goods and services. That's meant higher prices — inflation — without enough growth.
Modi's supporters believe he'll be able to fix this by implementing cleaner governance, by cutting down on the corruption and bureaucracy that prevents businesses from growing, and by improving infrastructure so that business can sell more products domestically and abroad.
It's tough to say whether Modi would be successful. The stated economic platforms of his party and the incumbent Congress Party are not particularly distinct, particularly on corruption and infrastructure. Still, Congress has been in power for a while so it tends to take the blame for the status quo. Many Indians believe that Congress has failed and it's time for a change.
The big question, then, is whether Modi would be able to reproduce his reputation as an economic miracle worker from his time running Gujarat state. The numbers are impressive, but some analysts argue not nearly as impressive as Modi presents them to be.
The bad: Modi has a history of stirring up religious tension, of which India already has way too much
Modi's rise also reflects a worrying trend of Hindu nationalism in India, and Modi himself has a record of stirring up Hindu-Muslim animosity. That can be a sensitive, and sometimes deadly, issue in India. Fears about Modi's record of creating religious tension are so high that The Economist published a cover story urging Indians to vote against him. "By refusing to put Muslim fears to rest, Mr. Modi feeds them. By clinging to the anti-Muslim vote, he nurtures it," the magazine warned.
Hindu nationalism is a movement of right-wing nationalism and social conservatism combined with a Hindu political identity so strong that its ultimate effect has been described as, if not Hindu supremacy, then Hindu hegemony to the potential detriment of the 20 percent of Indians who are not Hindu. That often means Muslims.
"This is the time to avenge"
There is a specific incident that people often cite when talking about Modi's Hindu nationalism: the 2002 riots in Gujarat. A year into Modi's tenure running the state, mass Hindu riots broke out against Muslims and an estimated 1,200 people, most of them Muslims, died in the violence. Many reported the police of the state did nothing to stop the attacking mobs, and Modi and his government have long been accused of allowing, and potentially abetting, the riots.
This is not a fringe conspiracy theory: the US State Department denied Modi a visa to visit the US in 2005 over his suspected role in the incident.
A few months after the riots, New York Times reporter Celia Dugger asked Modi if he wished he handled the riots any differently. He told her his greatest regret was not handling the media better. Dugger said in a Times video interview that Modi did not show "any regret or [express] any empathy for those who had been slaughtered in his state, on his watch."
This is not all in the past. While Modi has scaled back the rhetoric that's drawn so much criticism in the past, there are still flashes of it — perhaps in part because he needs Hindu nationalists' votes. For example, he's made speeches condemning India's beef export industry. This may sound innocuous, but within India it's a clear dogwhistle aimed at the Indian Muslims who dominate the beef industry, and meant to stir up Hindus who find beef consumption religiously objectionable. As the Financial Times pointed out, it's exactly the kind of rhetoric that has led to communal violence in the past.
More worryingly, a video has surfaced showing Modi's top lieutenant at a private election gathering in a part of India that has seen recent Hindu-Muslim violence. He told the Hindus gathered that voting for Modi would lead to "honor and revenge" for the killings.
"This is the time to avenge," he said. It's a bit like Mitt Romney's 47 percent video — except instead of belittling welfare recipients, the Indian official appeared to be hinting at the need for religious reprisal killings.
The ugly: Modi may end up being more status quo than change
Modi is the change candidate, for better or worse: the story here is in many ways as much about the incumbent Congress Party's failure as about his success. Congress Party is the ultimate political establishment — it's the Gandhi family party and has controlled India's government for most of its history since breaking from British rule.
Indians voted out the Congress Party because they were fed up with its economic mismanagement and corruption, and voted in Modi because they thought he would change things. But the Indian government is one of the world's largest bureaucracies and it is dealing with tremendous and very basic problems at every level: things like safely distributing school lunches, or installing plumbing and electricity in rural areas, are enormous challenges for India.
It's entirely possible that Modi, whatever his differences in temperament from the old Congress Party leaders, will be subsumed by India's vast bureaucracy and by the country's many little problems, and that his rule will be more status quo than either his supporters or critics suggest. It's always easy to overestimate the good and the bad of a new government, but often those governments express a lot more policy continuity than they intend. But we'll all find out soon enough, for better or worse.

redpajama_set_name: RedPajamaCommonCrawl


Lilia C. Clemente, relaxed and cheerful, doesn't look like a woman under siege. Having jetted in from a three-week business trip to New Zealand, Australia and Honolulu, she settled into the Beverly Hills Hotel for a couple of days of West Coast meetings before taking a red-eye flight home to Manhattan. But the diminutive money manager is under attack by the scions of the some the biggest names of Wall Street. Thomas B. Pickens III, youngest son of corporate raider T. Boone Pickens Jr.


CN Global is a well-established software development company and one of the leading Information Technology providers to clients worldwide.
Based in Sydney, Australia CN Global is home to a dedicated team of skilled IT professionals who are ready to serve your software development needs with customized solutions irrespective of the size of your company. Specializing in development of business software, CN Global ensures the delivery of quality IT services to the entire satisfaction of our customers.
Established in 1998, and with over a decade's worth of experience in the industry, CN Global is one of the fastest growing IT companies in Sydney.
The Management Team at CN Global is an affluent pool of experience and expertise in disciplines of technology as well as organisational development skills. With expertise and proficiencies that are immensely critical in delivering quality services, CN Global aids their clients to achieve their goals and to ensure that the respective projects are planned and managed effectively as well as efficiently.
CN Globals' Solutions Development Team expertise ranges from the likes of web development, programming, software engineering to that of database and system architecture design to name a few. By fusing together this vast range of knowledge with proactive thinking and strategic planning we strive to deliver business solutions above par and approach new challenges with the client's business objectives in mind. With the advantage of an offshore development centre in Sri Lanka, CN Global is able to deliver cost-effective solutions to our every client.


text:
Aurelia N. Young (1915-2010) was a musician, music educator, and civil rights activist. She taught at Jackson State College (now Jackson State University) and Tougaloo College.

Early life
Aurelia Jeannette Norris was born in 1915 in Knottsville, Kentucky, the daughter of John H., a farmer, and Hilda A. Stone Norris. Young earned a bachelor's degree in 1937 from Wilberforce University, where she studied music theory, organ, and French horn.

Career
Young was part of a group of women who formed an organization called Womanpower Unlimited to support the personal needs of Freedom Riders while they were in jail in Jackson and later imprisoned at Parchman Penitentiary. Young and her fellow organizers, including Clarie Collins Harvey, raised money to buy clothes, toothbrushes, and other personal items for Freedom Riders. Young reported on the work to editors of the Pittsburgh Courier, writing: "these wonderful Jackson women risked jobs to come to the aid of those who believe enough in democracy to risk bodily harm to defend it. This is perhaps the first time we were glad to be Negroes, because we would have been ashamed to be White women and watch the injustice of our city government in operation."

Young and her husband often hosted national civil rights figures and lawyers who came to Mississippi to support the movement. These included Roy Wilkins, John Doar, and William Kunstler. Young kept a journal during the intense period of Freedom Rides. Her notes include lists of foods she served for the many suppers she prepared and hosted for lawyers, ministers, and families who came to Jackson for the Freedom Riders' trials.

Young told an interviewer in the 1980s that she was inspired to work for equality for Black citizens when she surveyed her community in the 1940s and found few opportunities for her Black children to pursue recreation, clubs, music, and enrichment. She was part of a social circle of prominent African Americans in Jackson that included civil rights activist Medgar Evers and she taught on the same college faculty as author Margaret Walker Alexander.

Aurelia Young earned a Master's of Music degree from Indiana University in 1955 paid for by a state program Mississippi operated to keep Black graduate students out of its segregated universities. In May 1975, she was selected as Teacher of the Year by the Mabel Carney Chapter (at Jackson State University) of the Student National Education Association. She took pride in expanding opportunities for young Black students and bristled at suggestions she and her Black colleagues needed training on remediation from more privileged counterparts. Aurelia Young established the bachelor's of music program at Jackson State; she retired after 30 years on the faculty.

Aurelia Young played piano for programs in communities across the state of Mississippi. She was also an artist, composing music and publishing poetry.

In 1979, Aurelia Young helped organize the nonprofit organization that pursued a license for and operated WMPR-FM, the first public radio station in Mississippi and the only one dedicated to programming for African Americans. Young served as president of J. C. Maxwell Group, Inc. and took over station management during times of financial distress.

Personal life
Aurelia Norris married Jack Young Sr. in 1938 and was the mother of two children, Jack H. Young Jr. and Hilda Jeannette Young.  Jack H. Young Sr. represented civil rights activists, including Freedom Riders. Jack Young credited Aurelia Young for her support in his decision to pursue the law after two decades as a postal worker. Aurelia Young's salary kept the family afloat during the early years of his law practice, which began when he passed the bar in 1951. She was a member of Delta Sigma Theta sorority. In 1941, she helped found the Jackson alumna chapter of Delta Sigma Theta sorority.

Death
Aurelia Young died in Los Angeles, CA, on October 17, 2010.

References

1915 births
2010 deaths
Musicians from Kentucky
American civil rights activists
20th-century American musicians
People from Daviess County, Kentucky

redpajama_set_name: RedPajamaWikipedia


text:
The Bard's Tale IV: Barrows Deep ist ein Computer-Rollenspiel von inXile Entertainment aus dem Jahr 2018. Es ist Teil der gleichnamigen Serie The Bard's Tale, die 1985 von Interplay Productions geschaffen wurden.

Entwicklung und Veröffentlichung
Im Januar 2015 kündigte Brian Fargo Pläne zur Entwicklung von The Bard's Tale IV an. Anders als inXiles vorheriger Titel bezog sich das Spiel wieder auf die zwischen 1985 und 1988 veröffentlichten Ursprungsreihe. Fargos Vision war es, einen würdigen Nachfolger zur ursprünglichen Trilogie zu schaffen. Im Mai 2015 kündigte das Studio an eine Crowdfunding-Kampagne auf Kickstarter.com zu starten, um die Entwicklungskosten für The Bard's Tale IV zu finanzieren. Die Kampagne startete am 2. Juni 2015 mit einem Ziel von 1,25 Mio. US-Dollar, das am 15. Juni 2015 übertroffen wurde.

Das Spiel wurde mit der Unreal Engine 4 entwickelt. Das Entwicklerteam verwendete Fotogrammetrie, um Texturen für 3D-Objekte zu erstellen. Die schottische Folksängerin Julie Fowlis trägt Musik zum Spiel bei.

The Bard's Tale IV wurde am 18. September 2018 für Windows veröffentlicht. Eine Director's-Cut-Version für das Spiel, wurde am 27. August 2019 für Windows, macOS, Linux, PlayStation 4 und Xbox One veröffentlicht. Bestehende Besitzer der Original-Version können das Spiel kostenlos auf die Director's-Cut-Version upgraden.

Rezeption

Bewertungen

Auszeichnungen
Das Spiel wurde für "Best Original Song" mit Across the Seven Realms und für "Best Sound Design for an Indie Game" bei den 2019 G.A.N.G. Awards nominiert, und für "Best Audio Design" bei den The Independent Game Developers' Association Awards nominiert.

Einzelnachweise

Computerspiel 2018
Windows-Spiel
Mac-OS-Spiel
Linux-Spiel
Xbox-One-Spiel
PlayStation-4-Spiel
Computer-Rollenspiel
Crowdfinanziertes Computerspiel


text:
namespace {

bool IsStackAddress(AMXRef amx, cell address) {
  return address >= amx.GetHlw() && address < amx.GetStp();
}

bool IsDataAddress(AMXRef amx, cell address) {
  return address >= 0 && address < amx.GetStp();
}

bool IsCodeAddress(AMXRef amx, cell address) {
  const AMX_HEADER *hdr = amx.GetHeader();
  return address >= 0 && address < hdr->dat - hdr->cod;
}

bool IsPublicFunction(AMXRef amx, cell address) {
  return amx.FindPublic(address) != nullptr;
}

bool IsMain(AMXRef amx, cell address) {
  const AMX_HEADER *hdr = amx.GetHeader();
  return address == hdr->cip;
}

cell GetReturnAddress(AMXRef amx, cell frame_address) {
  return *reinterpret_cast<cell*>(
    amx.GetData() + frame_address + sizeof(cell));
}

cell GetReturnAddressSafe(AMXRef amx, cell frame_address) {
  if (IsStackAddress(amx, frame_address)) {
    return GetReturnAddress(amx, frame_address);
  }
  return 0;
}

cell GetPreviousFrame(AMXRef amx, cell frame_address) {
  return *reinterpret_cast<cell*>(amx.GetData() + frame_address);
}

cell GetPreviousFrameSafe(AMXRef amx, cell frame_address) {
  if (IsStackAddress(amx, frame_address)) {
    return GetPreviousFrame(amx, frame_address);
  }
  return 0;
}

cell GetCalleeAddress(AMXRef amx, cell return_address) {
  cell code_start = reinterpret_cast<cell>(amx.GetCode());
  cell target_address_offset = code_start + return_address - sizeof(cell);
  return *reinterpret_cast<cell*>(target_address_offset) - code_start;
}

cell GetCalleeAddressSafe(AMXRef amx, cell return_address) {
  if (IsCodeAddress(amx, return_address)) {
    return GetCalleeAddress(amx, return_address);
  }
  return 0;
}

cell GetCallerAddress(AMXRef amx, cell frame_address) {
  cell prev_frame = GetPreviousFrameSafe(amx, frame_address);
  if (prev_frame != 0) {
    cell return_address = GetReturnAddressSafe(amx, prev_frame);
    if (return_address != 0) {
      return GetCalleeAddressSafe(amx, return_address);
    }
  }
  return 0;
}

} // anonymous namespace

AMXStackFrame::AMXStackFrame(AMXRef amx, cell address)
 : amx_(amx),
   address_(0),
   return_address_(0),
   callee_address_(0),
   caller_address_(0)
{
  if (IsStackAddress(amx_, address)) {
    address_ = address;
  }
  if (address_ != 0) {
    return_address_ = GetReturnAddressSafe(amx_, address_);
    if (return_address_ != 0) {
      callee_address_ = GetCalleeAddressSafe(amx_, return_address_);
      caller_address_ = GetCallerAddress(amx_, address_);
    }
  }
}

AMXStackFrame::AMXStackFrame(AMXRef amx,
                             cell address,
                             cell return_address,
                             cell callee_address,
                             cell caller_address)
 : amx_(amx),
   address_(0),
   return_address_(0),
   callee_address_(0),
   caller_address_(0)
{
  if (IsStackAddress(amx_, address)) {
    address_ = address;
  }
  if (IsCodeAddress(amx_, return_address)) {
    return_address_ = return_address;
  }
  if (IsCodeAddress(amx_, callee_address)) {
    callee_address_ = callee_address;
  }
  if (IsCodeAddress(amx_, caller_address)) {
    caller_address_ = caller_address;
  }
}

AMXStackFrame AMXStackFrame::GetPrevious() const {
  return AMXStackFrame(amx_, GetPreviousFrameSafe(amx_, address_));
}

void AMXStackFrame::Print(std::ostream &stream,
                          const AMXDebugInfo &debug_info) const {
  AMXStackFramePrinter printer(stream, debug_info);
  printer.Print(*this);
}

AMXStackTrace::AMXStackTrace(AMXRef amx, cell frame, int max_depth)
 : current_frame_(amx, frame),
   max_depth_(max_depth),
   frame_index_(0)
{
}

bool AMXStackTrace::MoveNext() {
  if (frame_index_ < max_depth_) {
    current_frame_ = current_frame_.GetPrevious();
    frame_index_++;
    return true;
  }
  return false;
}

AMXStackTrace GetAMXStackTrace(AMXRef amx,
                               cell frm,
                               cell cip,
                               int max_depth) {
  if (amx.CheckStack() && amx.GetStackSpaceLeft() >= 8) {
    amx.PushStack(cip);
    amx.PushStack(frm);
    amx.SetFrm(amx.GetStk());
  }

  AMXStackTrace trace(amx, amx.GetFrm(), max_depth);

  if (amx.CheckStack()) {
    amx.PopStack();
    amx.PopStack();
    amx.SetFrm(frm);
  }

  return trace;
}

namespace {

class IsArgumentOf : public std::unary_function<AMXDebugSymbol, bool> {
 public:
  IsArgumentOf(cell function_address) : function_address_(function_address) {}
  bool operator()(AMXDebugSymbol symbol) const {
    return symbol.IsLocal() && symbol.GetCodeStart() == function_address_;
  }
 private:
  cell function_address_;
};

cell GetArgumentValue(AMXRef amx, cell frame_address, int index) {
  cell arg_address = frame_address + (3 + index) * sizeof(cell);
  return *reinterpret_cast<cell*>(amx.GetData() + arg_address);
}

cell GetArgumentValue(const AMXStackFrame &frame, int index) {
  return GetArgumentValue(frame.amx(), frame.address(), index);
}

cell GetNumArguments(AMXRef amx, cell frame_address) {
  cell num_args_address = frame_address + 2 * sizeof(cell);
  cell num_bytes =
    *reinterpret_cast<cell*>(amx.GetData() + num_args_address);
  // Mote: num_bytes can be negative! e.g. YSI puts a negative count onto
  // the stack to do its magic. Therefore, to get the below arithmetic to
  // work correctly we need to make sure num_bytes is not converted to an
  // unsigned integer (size_t) by explicitly casting the sizeof part to a
  // signed type (cell).
  return num_bytes / static_cast<cell>(sizeof(cell));
}

bool IsPrintableChar(char c) {
  return (c >= 32 && c <= 126);
}

char IsPrintableChar(cell c) {
  return IsPrintableChar(static_cast<char>(c & 0xFF));
}

cell *GetDataPtr(AMXRef amx, cell address) {
  if (IsDataAddress(amx, address)) {
    return reinterpret_cast<cell*>(amx.GetData() + address);
  }
  return nullptr;
}

bool IsPackedString(const cell *string) {
  return *reinterpret_cast<const ucell*>(string) > UNPACKEDMAX;
}

cell GetMaxStringSize(AMXRef amx, cell address) {
  return amx.GetHeader()->stp - address;
}

std::string GetPackedString(const cell *string, std::size_t size) {
  std::string s;
  for (std::size_t i = 0; i < size; i++) {
    cell cp = string[i / sizeof(cell)] >>
              ((sizeof(cell) - i % sizeof(cell) - 1) * 8);
    char cu = IsPrintableChar(cp) ? cp : '\0';
    if (cu == '\0') {
      break;
    }
    s.push_back(cu);
  }
  return s;
}

std::string GetUnpackedString(const cell *string, std::size_t size) {
  std::string s;
  for (std::size_t i = 0; i < size; i++) {
    char c = IsPrintableChar(string[i]) ? string[i] : '\0';
    if (c == '\0') {
      break;
    }
    s.push_back(c);
  }
  return s;
}

void GetStringContents(AMXRef amx, cell address, std::size_t size,
                       std::string &string, bool &packed) {

  cell *ptr = GetDataPtr(amx, address);
  if (ptr != nullptr) {
    packed = IsPackedString(ptr);
    if (size == 0) {
      size = GetMaxStringSize(amx, address);
    }
    if (packed) {
      string = GetPackedString(ptr, size);
    } else {
      string = GetUnpackedString(ptr, size);
    }
  }
}

cell GetStateVarAddress(AMXRef amx, cell function_address) {
  if (IsCodeAddress(amx, function_address) &&
      IsCodeAddress(amx, function_address + sizeof(cell))) {
    cell opcode = *reinterpret_cast<cell*>(amx.GetCode() + function_address);
    if (opcode == RelocateAMXOpcode(AMX_OP_LOAD_PRI)) {
      return *reinterpret_cast<cell*>(amx.GetCode() + function_address
                                      + sizeof(cell));
    }
  }
  return -1;
}

bool UsesAutomata(const AMXStackFrame &frame) {
  return GetStateVarAddress(frame.amx(), frame.caller_address()) > 0;
}

class CaseTable {
 public:
  struct Record {
    cell value;
    cell address;
  };
  CaseTable(AMXRef amx, cell address) {
    Record *table = reinterpret_cast<Record*>(amx.GetCode()
                                              + address + sizeof(cell));
    int num_records = table[0].value;
    records_.resize(num_records + 1);
    for (int i = 0; i <= num_records; i++) {
      records_[i].value = table[i].value;
      records_[i].address = table[i].address
                            - reinterpret_cast<cell>(amx.GetCode());
    }
  }
  int GetNumRecords() const {
    return static_cast<int>(records_.size());
  }
  cell GetValueAt(cell index) const {
    return records_[index].value;
  }
  cell GetAddressAt(cell index) const {
    return records_[index].address;
  }
 private:
  std::vector<Record> records_;
};

cell GetStateTableAddress(AMXRef amx, cell function_address) {
  return function_address + 4 * sizeof(cell);
}

cell GetStateTableAddressSafe(AMXRef amx, cell function_address) {
  cell state_table_address = GetStateTableAddress(amx, function_address);
  if (IsCodeAddress(amx, state_table_address)) {
    return state_table_address;
  }
  return 0;
}

cell GetRealFunctionAddress(AMXRef amx,
                            cell function_address,
                            cell return_address) {
  cell state_table_address = GetStateTableAddressSafe(amx, function_address);
  if (state_table_address != 0) {
    CaseTable state_table(amx, state_table_address);
    for (int i = 0; i < state_table.GetNumRecords(); i++) {
      if (state_table.GetAddressAt(i) > return_address) {
        return state_table.GetAddressAt(i - (i > 0));
      }
    }
  }
  return -1;
}

std::vector<cell> GetStateIDs(AMXRef amx,
                              cell function_address,
                              cell return_address) {
  std::vector<cell> states;

  cell real_address = GetRealFunctionAddress(amx, function_address,
                                                  return_address);
  if (real_address == 0) {
    return states;
  }

  cell state_table_address = GetStateTableAddressSafe(amx, function_address);
  if (state_table_address == 0) {
    return states;
  }

  CaseTable state_table(amx, state_table_address);
  for (int i = 0; i < state_table.GetNumRecords(); i++) {
    if (state_table.GetAddressAt(i) == real_address) {
      if (i > 0) {
        states.push_back(state_table.GetValueAt(i));
      } else {
        states.push_back(0); // fallback
      }
    } else {
      if (states.size() > 0) {
        // State table entries appear to be sorted by address, so if
        // this one doesn't match here's no point in checking the rest.
        break;
      }
    }
  }
  return states;
}

} // anonymous namespace

AMXStackFramePrinter::AMXStackFramePrinter(std::ostream &stream,
                                           const AMXDebugInfo &debug_info)
  : stream_(stream),
    debug_info_(debug_info)
{
}

void AMXStackFramePrinter::Print(const AMXStackFrame &frame) {
  PrintReturnAddress(frame);
  stream_ << " in ";

  PrintCallerNameAndArguments(frame);

  if (debug_info_.IsLoaded() && UsesAutomata(frame)) {
    stream_ << " ";
    PrintState(frame);
  }

  if (debug_info_.IsLoaded() && frame.return_address() != 0) {
    stream_ << " at ";
    PrintSourceLocation(frame.return_address());
  }
}

void AMXStackFramePrinter::PrintTag(const AMXDebugSymbol &symbol) {
  std::string tag_name = debug_info_.GetTagName(symbol.GetTag());
  if (!tag_name.empty() && tag_name != "_") {
    stream_ << tag_name << ":";
  }
}

void AMXStackFramePrinter::PrintAddress(cell address) {
  char old_fill = stream_.fill('0');
  stream_ << std::hex << std::setw(sizeof(cell) * 2) << address << std::dec;
  stream_.fill(old_fill);
}

void AMXStackFramePrinter::PrintReturnAddress(const AMXStackFrame &frame) {
  PrintAddress(frame.return_address());
}

void AMXStackFramePrinter::PrintCallerName(const AMXStackFrame &frame) {
  if (IsMain(frame.amx(), frame.caller_address())) {
    stream_ << "main";
    return;
  }

  if (debug_info_.IsLoaded()) {
    AMXDebugSymbol caller =
      debug_info_.GetExactFunction(frame.caller_address());
    if (!caller) {
      caller = debug_info_.GetExactFunction(frame.caller_address(), false);
    }
    if (caller) {
      if (IsPublicFunction(frame.amx(), caller.GetCodeStart())
          && !IsMain(frame.amx(), caller.GetCodeStart())) {
        stream_ << "public ";
      }
      PrintTag(caller);
      stream_ << caller.GetName();
      return;
    }
  }

  const char *name = nullptr;
  if (frame.caller_address() != 0) {
    name = frame.amx().FindPublic(frame.caller_address());
  }
  if (name != nullptr) {
    stream_ << "public " << name;
  } else {
    stream_ << "??";
  }
}

void AMXStackFramePrinter::PrintCallerNameAndArguments(
    const AMXStackFrame &frame) {
  PrintCallerName(frame);
  stream_ << " (";
  PrintArgumentList(frame);
  stream_ << ")";
}

void AMXStackFramePrinter::PrintArgument(const AMXStackFrame &frame,
                                         int index) {
  PrintArgumentValue(frame, index);
}

void AMXStackFramePrinter::PrintArgument(const AMXStackFrame &frame,
                                         const AMXDebugSymbol &arg,
                                         int index) {
  if (arg.IsReference()) {
    stream_ << "&";
  }

  PrintTag(arg);
  stream_ << arg.GetName();

  if (!arg.IsVariable()) {
    std::vector<AMXDebugSymbolDim> dims = arg.GetDims();

    if (arg.IsArray() || arg.IsArrayRef()) {
      for (std::size_t i = 0; i < dims.size(); ++i) {
        if (dims[i].GetSize() == 0) {
          stream_ << "[]";
        } else {
          std::string tag = debug_info_.GetTagName(dims[i].GetTag()) + ":";
          if (tag == "_:") tag.clear();
          stream_ << "[" << tag << dims[i].GetSize() << "]";
        }
      }
    }
  }

  stream_ << "=";
  PrintArgumentValue(frame, arg, index);
}

void AMXStackFramePrinter::PrintValue(const std::string &tag_name,
                                      cell value) {
  if (tag_name == "bool") {
    stream_ << (value ? "true" : "false");
  } else if (tag_name == "Float") {
    stream_ << std::fixed << std::setprecision(5) << amx_ctof(value);
  } else {
    stream_ << value;
  }
}

void AMXStackFramePrinter::PrintArgumentValue(const AMXStackFrame &frame,
                                              int index) {
  stream_ << GetArgumentValue(frame, index);
}

void AMXStackFramePrinter::PrintArgumentValue(const AMXStackFrame &frame,
                                              const AMXDebugSymbol &arg,
                                              int index) {
  std::string tag_name = debug_info_.GetTagName(arg.GetTag());
  cell value = GetArgumentValue(frame, index);

  if (arg.IsVariable()) {
    PrintValue(tag_name, value);
    return;
  }

  stream_ << "@";
  PrintAddress(value);

  if (arg.IsReference()) {
    if (cell *ptr = GetDataPtr(frame.amx(), value)) {
      stream_ << " ";
      PrintValue(tag_name, *ptr);
    }
    return;
  }

  if (arg.IsArray() || arg.IsArrayRef()) {
    std::vector<AMXDebugSymbolDim> dims = arg.GetDims();

    // Try to filter out non-printable arrays (e.g. non-strings).
    // This doesn't work 100% of the time, but it's better than nothing.
    if (dims.size() == 1
        && tag_name == "_"
        && debug_info_.GetTagName(dims[0].GetTag()) == "_")
    {
      std::string string;
      bool packed = false;

      GetStringContents(frame.amx(), value, dims[0].GetSize(), string, packed);
      stream_ << (packed ? " !" : " ");

      static const std::size_t kMaxString = 80;
      if (string.length() > kMaxString) {
        string.replace(kMaxString, string.length() - kMaxString, "...");
      }

      stream_ << "\"" << string << "\"";
    }
  }
}

void AMXStackFramePrinter::PrintArgumentList(const AMXStackFrame &frame) {
  AMXStackFrame prev_frame = frame.GetPrevious();

  if (prev_frame.address() == 0) {
    return;
  }

  // Despite that the symbol's code start address points at the state switch
  // code block, function arguments actually use the real function address
  // for the code start because in different states they may be not the same.
  // So we start by determining the address of the function.
  cell func_address = frame.caller_address();
  if (UsesAutomata(frame)) {
    func_address = GetRealFunctionAddress(frame.amx(),
                                          frame.caller_address(),
                                          frame.return_address());
  }

  std::vector<AMXDebugSymbol> args;
  cell num_actual_args = GetNumArguments(frame.amx(), prev_frame.address());
  if (num_actual_args < 0) {
    // For better compatibility with YSI, if the the count is negative use
    // the count from the previous frame.
    num_actual_args =
      GetNumArguments(frame.amx(), prev_frame.GetPrevious().address());
  }
  cell num_printed_args = std::min(10, num_actual_args);

  if (debug_info_.IsLoaded()) {
    std::remove_copy_if(debug_info_.GetSymbols().begin(),
                        debug_info_.GetSymbols().end(),
                        std::back_inserter(args),
                        std::not1(IsArgumentOf(func_address)));
    std::sort(args.begin(), args.end());
  }

  // Print a comma-separated list of arguments and their values. If debug
  // info is not available argument names are omitted (only their values
  // are printed).
  for (cell i = 0; i < num_printed_args; i++) {
    if (i > 0) {
      stream_ << ", ";
    }
    if (debug_info_.IsLoaded() && i < static_cast<cell>(args.size())) {
      PrintArgument(prev_frame, args[i], i);
    } else {
      PrintArgument(prev_frame, i);
    }
  }

  cell num_more_args = num_actual_args - num_printed_args;
  if (num_more_args > 0) {
    if (num_printed_args != 0) {
      stream_ << ", ";
    }
    stream_ << "... <"
            << num_more_args
            << " more " << (num_more_args == 1 ? "argument" : "arguments")
            << ">";
  }
}

void AMXStackFramePrinter::PrintState(const AMXStackFrame &frame) {
  AMXDebugAutomaton automaton = debug_info_.GetAutomaton(
    GetStateVarAddress(frame.amx(), frame.caller_address()));
  if (automaton) {
    std::vector<cell> states = GetStateIDs(frame.amx(),
                                           frame.caller_address(),
                                           frame.return_address());
    if (!states.empty()) {
      stream_ << "<" << automaton.GetName() << ":";
      for (std::size_t i = 0; i < states.size(); i++ ) {
        if (i > 0) {
          stream_ << ", ";
        }
        AMXDebugState state =
          debug_info_.GetState(automaton.GetID(), states[i]);
        if (state) {
          stream_ << state.GetName();
        }
      }
      stream_ << ">";
    }
  }
}

void AMXStackFramePrinter::PrintSourceLocation(cell address) {
  std::string filename = debug_info_.GetFileName(address);
  if (filename.empty()) {
    filename.assign("<unknown file>");
  }
  stream_ << filename << ":" << debug_info_.GetLineNumber(address) + 1;
}

redpajama_set_name: RedPajamaGithub


text:
Trinity Lutheran Church of Southwest Florida
Building for Christ and Community
Pastor's Midweek Message
News and Calendar
Ian Descruction and Renovation 2022
Fellowship Buffet - Dec 19, 2018
Pastor Brian - Bible Study
Installation- Oct 21 2018
Fellowship Togetherness
Memorial Garden Dedication
TLC Quilters
LWML Ladies
Trinity Lutheran Church History
15 people met for Bible study.
As the number of people increased, the group moved to a larger facility at the
Club House in Rotonda West, then eventually to the American Legion Hall
in Rotonda West. During this time, Pastor Earl Schmidt began
leading the group in Divine Worship.
The name Trinity Lutheran Church of Southwest Florida was chosen by the congregation.
A decision was made to seek a more permanent home for the growing congregation; a building committee was formed and planning for a new church home began.
An abandoned business building and 3.6 acres of land was chosen as a viable
future home. Plans and specifications were prepared and a loan application
submitted for financing.
Lutheran Church - Missouri Synod recognized
Trinity Lutheran Church of Southwest Florida as a member
congregation at a special Charter Service
held at the American Legion Hall.
Weiler Bach was awarded the contract to renovate the building. Permits were submitted to the county for authorization to proceed with the project. Successful completion of the project required extensive congregation participation.
Charlotte County issued a permit for Trinity to initiate renovation of the bank building.
Twenty-five TLC members began demolishing the interior of the building. Members continued to work with the Contractor on a daily basis. A goal was set to complete the work by Easter Sunday 2016.
Easter Sunday April 2016
Trinity Lutheran Church celebrated the risen Christ in its new location at 1379 South
McCall Rd in Port Charlotte.
TLC began holding two Sunday services as attendance grew beyond the 150 seating capacity of the facility,


Cataloging and Classification department receives printed books, theses, and projects.
Reader and Collection Services department receives printed journals.
Information Services department receives access data of e-journals and databases.


text:
Q: What does this steam-desktop shortcut URL steam:// mean How do steam-desktop shortcuts steam:// actually work?
The URL / target of them is something like: "steam://rungameid/717"
I know similar things like "ftp://mynetworkadress:1337/subfoldercontainsgoodstuff" or for sure "http://".
But why and how does this steam thing work, can you do something similar on your own (e.g. "niceapp://launchprocess/param") and if so, why would you?

A: steam:// is the Steam browser protocol, i.e. a proprietary URL handler.
The official documentation is at Valve Software.
An article by PCWorld on the Steam URL protocol and potential security threats can be found here:

When the Steam client is installed on a system, it registers itself as a steam:// URL protocol handler. This means that every time a user clicks on a steam:// URL in a browser or a different application, the URL is passed to the Steam client for execution.

A:
But why and how does this steam thing work, can you do something similar on your own

Yes. You can implement anything on your own.
The URI format is basically:
<protocol>:<arguments>

Some protocols such as http and ftp accept URL as argument. However the argument for any arbitrary protocol does not have to be a URL. For example, the magnet: protocol used by Bittorrent does not use a URL instead it describes the torrent and the torrent hash.
As you have experienced, browsers support some protocols built in. This includes http and ftp as well as custom protocols such as about:config in Firefox and chrome://settings in Google Chrome to display the settings page.
If a browser encounters a protocol that it does not understand it will ask you what program you want to open the link with. It will then tell the OS to run that program and pass the argument as a command-line argument to that program. This is how you can get the browser to open steam: link in Steam or a magnet: link in a torrent client.
It used to be that you can type any protocol in the browser's URL bar and trigger this behavior. However, modern browsers also use the same input as a search bar so typing in protocol:argument manually these days will more likely trigger a Google search. But links still work as they used to.

redpajama_set_name: RedPajamaStackExchange


This paper presents a cross-cultural study of Wikipedia, exploring Wikipedians' conceptions of Wikipedia knowledge, sense of community and motivations for participating in Wikipedia. Previous studies concerning Wikipedia investigated its functions as an on-line volunteer-contributed encyclopedia , as a community , the value of its content  and its co-authoring . We offer the constructivist approach to knowledge  as a theoretical framework to understand the co-building knowledge in Wikipedia. This process can be examined according to the organizational knowledge creation model as proposed by Nonaka & Takeuchi . For the adaptation of this model to Wikipedia we emphasize the importance of the context, using the "Ba" concept . We suggest that key factors of the knowledge building are the users' sense of community and the processes of interactivity  that is enabled by Wikipedia. A central tenet of wiki community is users' motivation to contribute. Sangwan  suggests the 'Uses & Gratifications' framework to study users' motivations in online community as a mean to understand its success. Uses & Gratifications research investigates how people use the media to gratify their needs. Sangwan identifies three key motivators for virtual community use: Functional, Emotive and Contextual. Stafford et al.  found that a number of cognitive gratifications are used as motivators for virtual community usage. We studied Wikipedians' motivations using these perspectives, thus highlighting the user's cognitive and integrative gratifications. In order to focus on highly involved Wikipedians in Wikipedia community, we conducted an online web questionnaire in the 'Community Portal' of a specific language group. We then repeated this procedure in several language-based Wikipedia to search for cultural biased differences. Nonaka & Takeuchi's model is revisited in relation to Wikipedia community. Some preliminary cross-cultural survey data will be presented.
This paper presents preliminary results from a cross-cultural study of Wikipedia. Using an online survey targeting the population of highly involved Wikipedians, we try to shed a light on three aspects regarding Wikipedians: What are the personal motivations for participation in Wikipedia? What are the aspects of community characteristics that Wikipedians demonstrate in Wikipedia? And how do Wikipedians' perceive the knowledge creation process in Wikipedia?
When first encountering Wikipedia one cannot overlook vast number of Wikipedians taking the time and effort to voluntarily contribute to its content. An interesting question to ask will be one that concerns Wikipedians' motivation for contributing Wikipedia content.
To examine Wikipedians' motivations we will use a theoretical framework of a user-centered approach named 'Uses and Gratifications'. This approach originally established in the mid 20 Century (Herzog, 1944), while its more 'formal' definitions were expressed later by Katz, Blumler and Gurevitch (1973). In recent years, many researchers continue to make use of this approach in new media studies (e.g. Parker & Plank, 2000; Kim & Weaver, 2002; Cho et al., 2003; Stafford, Stafford & Schkade, 2004; Sangwan, 2005). 'Uses and Gratifications' literature focuses on the ways people use media to gratify their needs, based on the assumption that people are active and goal oriented in their interactions with the media.
Traditional studies of Uses and Gratifications tend to emphasize five generic clusters of needs the media could fulfill (Rubin, 1986): (1) Cognitive (2) Affective (3) Integrative (personal) (4) Integrative (social) and (5) Diversion. Cognitive needs represent the intrinsic desire for information acquisition for knowledge and understanding. Affective needs are related to emotional experiences, and intrinsic desire for pleasure, entertainment and aesthetics. Personal integrative needs derive from individual's desire to appear credible, be perceived as confident, and have high self-esteem. Social integrative needs are affiliation needs where the individual wants to be part of a group to and have a sense of belonging. Diversion needs, relate to the need for escape and diversion from problems and routines.
Most New Media studies tend to follow the traditional clusters of needs (Ruggiero, 2000). In this study, we will try to identify the cognitive and social-integrative needs that serve as motivators for wikipedians participation in Wikipedia. As a technology that promotes conversation, Wikis should be most effective in gratifying users' 'Knowledge Needs' for ad-hoc problems with decentralized knowledge sources. Sangwan (2005) studies users' motivations to become members in a fee-based knowledge community as a mean to understand the virtual community success. Satisfaction or gratification according to Sangwan is an ex-post evaluation of member experience with the community. Sangwan identifies three key motivators for virtual community use: Functional, Emotive and Contextual. These motivators represent various mixtures of needs, but that are essentially related to information acquisition and more for surfing for information for pleasure. Other example can be found in the study of Stafford, Stafford & Schkade (2004) that indicates cognitive gratifications' need for information acquisition as one of the principal motivators for virtual community usage.
We begun by saying that Wikipedians voluntarily contribute their time and efforts to build Wikipedia content, in light of the user centered approach presented above we would attempt to explore what are the personal motivations for participation in Wikipedia.
The Wikipedia project describes itself as community. Wikipedians are invited to participate in the 'Community portal' ("Wikipedia wants you! Together we are building an encyclopedia and a wiki community") and communities issues are discussed at a place called the 'Village pump'.
Wikipedia community can be described as a Community of Practice (CP). The CP model is based on the concept that knowledge cannot be separated from practice (Nonaka & Takeuchi, 1995). The model assumes that activity and mutual engagement brings members together into social entity with shared repertoire of communal resources (Wagner, 2000). The process of knowledge building (discussed later) taking place in Wikipedia enables us to identify it as Community of Practice.
One potential explanation for Wikipedians' sense of community might be Wikipedia enabled interactivity. Most of the empirical findings regarding interactivity speak for positive effects. Interactivity was found to effect increased citizens' participation in political process, positive effects on perceived users' satisfaction, effectiveness, efficiency and overall attitude towards a Web site (Stromer-Galley, 2000; Teo, Oh, Liu & Wei, 2003). Rafaeli (1988) identified interactivity as "an expression of the extent that in a given series of communication exchanges, any third (or later) transmission (or message) is related to the degree to which previous exchanges referred to even earlier transmissions" (p.111). Rafaeli, Raban & Ravid, (2005) found users' interactions as a relevant parameter of their incentives for participation. Wikipedia allows its users to interact directly through conversations about every article. However, we might consider the whole process of knowledge building in Wikipedia as interactive and not mere conversations.
Wikipedia is a 'knowledge building community'. Any process of knowledge building starts with individual knowledge. For articulating individual knowledge, the "Knowledge Creation Metaphor of Learning" (Paavola, lipponen & Hakkarainen, 2002) might be helpful. This metaphor regards learning process as analogous to process of inquiry, especially when knowledge is substantially enriched or significantly been transformed. Wikipedia environment is one that offers its participants much stimulation for these processes. The context of Wikipedia as community is most relevant to this matter, since it enables individuals' processes means to build up collaboratively.
To examine Wikipedia as a knowledge building community let us highlight the collective level. This aspect will be examined according to 'Theory of organizational knowledge creation' (Nonaka & Takeuchi, 1995) and its extension through the concept of 'ba' (Nonaka & Konno 1998). The process of knowledge creation, according to this theory, involves social interaction and the transition between tacit and explicit knowledge. This theory proposes four modes of knowledge conversion: Socialization individuals share tacit knowledge through joint activities. Externalization individuals link tacit knowledge to explicit knowledge. Combination individuals combine different explicit ideas into more complex sets of explicit knowledge. Internalization individuals extract knowledge from newly created tacit and explicit knowledge.
The data for this study were collected using an online web questionnaire, which was posted in the 'Community Portal' of the English and the Hebrew Wikipedias (http://en.wikipedia.org and http://he.wikipedia.org). The target population of this questionnaire were involved Wikipedians, Wikipedians who actively participate in Wikipedia at least several times a month. The sample included 120 Wikipedians, 85 from The English Wikipedia and 35 from the Hebrew Wikipedia. The questionnaire included a set of questions and assertions regarding respondent perceptions of Wikipedia and Wikipedians. The questionnaire also included questions concerning the respondent demographical background and Wikipedia uses patterns.
Wikipedians motivations were measured based on 8 items; each one of those items was a possible motivator for participating in Wikipedia. The respondents stated how much they think each of the possible motivators influence them using a 5-point scale measure, ranging from (1) Strongly Disagree to (5) Strongly Agree.
The data presented in Figure 1 reveals that the strongest Wikipedians motivators are Cognitive ("Learning new things" and "Intellectual challenge") Affective ("Pleasure") and Integrative ("Sharing my knowledge" and "Contributing to other people").
Communal characteristics were measured based on five assertions regarding Wikipedia communal aspects. To each of those assertions respondents were suppose to state how much they agree or disagree using a 6 – point scale ranging from Strongly disagree (1) to Strongly agree (6).
The data presented in table 1, indicates Wikipedians' perceived Wikipedia as a community ("I fell I belong to a group of Wikipedians", "I have contacted Wikipedians within Wikipedia"). Furthermore, Wikipedians refers to the work taking place within Wikipedia bounders as a "team work" ("It is important to me that other Wikipedians will refer to things I'm writing", and "Writing in Wikipedia is a team work"). Wikipedians responses to assertions regarding the four modes of knowledge building process in Wikipedia are presented below. For each of those assertions the respondents marked an answers ranging from Strongly disagree (1) to Strongly agree (6).
Looking at table 2, we see that respondents' answers regarding the Socialization mode are compatible with the definition of Wikipedia as an open encyclopedia, to which anyone can contribute. Furthermore Wikipedia is perceived as an egalitarian space. Nevertheless, we can also learn that some Wikipedians call for monitoring of both Wikipedias' content and of the Wikipedians.
When we discussed the theoretical aspects of the externalization mode, we mentioned that an example of this process could be seen in a collective creation of definitions, which involves collective reflection. As the data regarding the externalization mode reveals, the Wikipedians find it important that other Wikipedians will refer to their writing. This finding might imply a process of collective reflection.
The Combination process describes the combination of new explicit knowledge into complex and systematic sets of (existing) explicit knowledge. Wikipedias' content is rapid growth implies that the combination mode is actually taking place in Wikipedia. Wikipedians perceive this process as one that leads to wide consensus.
The mode of Internalization deals with individuals that share explicit knowledge. The assertions regarding this mode were meant to assess how likely the Wikipedians are to internalize Wikipedias' knowledge. The data presented here reveals that Wikipedians perceive Wikipedias content as better than other web sources. Furthermore, they perceive Wikipedia as contributing to the knowledge of its' active users. Those perceptions may facilitate the Internalization mode.
1. Emigh, W., Herring, S. C. (2004). "Collaborative Authoring on the Web: A Genre Analysis of Online Encyclopedias". paper presented at the 39th Hawaii International Conference on System Sciences, 2004.
4. Viegas, F. B., Wattenberg, M., Kushal, D. (2004). "Studying Cooperation and Conflict between Authors with history flow Visualizations", CHI 2004 April 24-29 2004.
8. Rafaeli, S. (1988). Interactivity: From new media to communication. In Sage annual review of communication research: Advancing communication science (Vol 16: 110-134).
in: Proceedings of the 38th HICSS Conference, Hawaii, 2005.
This page was last edited on 5 February 2013, at 10:50.


text:
Lonely Souls of Microbes
Home > Reviews > Lonely Souls of Microbes
Mikhail Romanovskiy's film is an exploration of the human character and its ever-present loneliness, even in circumstances where its presence might seem very unlikely. It portrays humane traits, flaws and the changing nature of one's personality, all while a number of things remain constant. This short film, clocking in at just under 35 minutes, adheres to the principles developed in the beginning and stemming from its title at all times, and offers a very meaningful conclusion within the context of its overarching theme.
The film starts with Tyoma, a young aspiring film director who attempts to get into film school. He temporarily moves to Moscow, and is offered a place to stay by a childhood friend, while she is away. It is in this apartment where he meets Lisa, his to-be housemate, who immediately catches his attention. She is charming, spontaneous, funny and very smart – he simply cannot resist her allure, and the thought of her soon occupies the most important place in his mind. He soon grows jealous when he discovers Lisa's adventures, and starts becoming wary about her secrets.
'Lonely Souls of Microbes' is an excellent film that fully delivers its message and multifaceted array of meanings and takeaways. First of all, it should instantly glue audiences to the screen and keep them hooked – the plot is dynamic, flows in a cohesive manner and continuously poses questions and half-questions for which the answer is not immediately given. We thought that by far, the best element of this short film was the character of Lisa – wonderfully written and brilliantly portrayed. On the exterior, she radiates a special kind of energy that comes at odds with her inner loneliness, and her hidden demons – something that Tyoma isn't fully aware of from the start. As more and more questions pile up, the young man discovers that she doesn't know Lisa at all, despite living in the same apartment with her and sharing many intimate moments with her. Tyoma's character works well in the context, and the general philosophy of the film applies to him as well, but he's largely predictable and simply doesn't inspire as much as Lisa does.
Wonderfully shot, edited and acted, no element feels out of place in the film, and nothing is there just as filler content. There is a harmonious mix of themes, each explored in enough depth to offer a meaningful and enjoyable experience. Our only small concern was with the plot – it structure is a bit predictable, and key moments can be pre-anticipated if enough similar productions have been seen by the viewer in question. While the outer elements could indeed have room for improvement, the inner meanings of the story are wonderfully exposed and warrant deep reflections on human nature. Lonely Souls of Microbes is a great achievement that should stay in the minds of audiences long after the credits role. For all the reasons stated above, TMFF selected Mikhail Romanovskiy's work as the runner-up in the Film of the Month category for the November 2017 edition of the festival.
TMFF RATING:
Click to see other reviews


Toronto Realtor Heikki Walden specializes in the representation of buyers and sellers in the Central Toronto real estate market.
Heikki's previous career in the field of real estate valuation and his ongoing studies in the field of interior design gives him a perspective on selling real estate that differentiates him from most real estate agents, and makes him a valuable resource to his clients.
Heikki's experience, education and training bring you a double benefit. First, he will help you establish an accurate market value for your property. If you are a seller, he will also make suggestions as to how to substantially increase the market value of your home. As a buyer, Heikki will help you find hidden value in a home. In addition, he will bring these skills to the negotiating table and help you negotiate the best possible price.
Prior to becoming a real estate agent, Heikki worked as a consultant in a real estate valuation company providing appraisals for major Canadian banks and mortgage lenders. This included resale homes and condos, rural and vacation properties, investment properties, and new homes and condos across the "Golden Horseshoe" area of Southern Ontario, which includes all the neighbourhoods of Toronto Megacity, the Greater Toronto Area, as well as surrounding municipalities as far as Hamilton.
Heikki's training allows him to provide his clients with accurate opinions of market value. This is particularly important in the older, more well-established neighbourhoods in Toronto where there can often be wide differences in value on the same street.
Heikki has personal background in income properties, and has been involved in the purchase, financing, renovation, and management stages. He has experience dealing with solicitors, home inspectors, mortgage lenders, and insurance brokers. As a result, he is able to offer advice on all aspects of your real estate transaction.
Prior to becoming a real estate agent, Heikki studied real estate valuation through the Appraisal Institute of Canada (AIC) and at the university level through the UBC Sauder School of Business, Real Estate Division. Included were courses in Property Appraisal, Property Law and Property Tax Assessment. As a real estate agent Heikki has taken courses in real estate investment analysis, home inspection and property law.
Currently Heikki is taking courses in Design at George Brown College and has completed specialty courses in Kitchen Design and Planning, Colour Theory for Interiors and Drafting for Interiors.
Heikki is originally from Finland, but grew up in Vancouver where he enjoyed west-coasting outdoor living such as hiking, skiing, canoeing, sailing and has since then lived in vibrant downtown Toronto. During his studies Heikki lived for a while in England, Switzerland, and Washington, D.C. He has traveled through Europe and visited China. He is a fan of big cities and also likes to escape into the countryside.


text:
POP-UP Essex Writers House 2018
Home > Projects > POP-UP Essex Writers House 2018
FOR WRITERS HOUSE 2019 – click HERE.
2018 ARCHIVE:
POP-UP Essex Writers House
1 – 29 March 2018
As part of an exciting new partnership with Essex Book Festival, Metal is transforming Chalkwell Hall into a pop-up Essex Writers House for the whole month of March 2018 to host a wide range of literary events and activities. Our aim is to provide development opportunities for writers working in all genres, whilst engaging with audiences of all ages.
The month will include talks and practical seminars by invited authors, poets, non-fiction writers, playwrights and screen writers. There will be 'open mic' opportunities for new writers to read and perform short works. Six guest writers-in-residence will stay across the month to develop new work and there will be a number of 'hot desks' with stunning Estuary views that can be booked by writers to work at (first come, first served – 2 days max).
The ground floor of the Grade II listed Hall will become a Writers Café, where people can eat, read, swap books, have a coffee and write in the inspiring grounds of Chalkwell Park. In the evenings the café will become a bar and play host to our programme of readings, events, Book Club gatherings – and even a literary pub quiz.
As part of the month, Metal will be hosting a week long, residential Culture LAB for Essex-based writers, working in any genre (fiction / non-fiction / poetry / playwright / screenwriter / graphic novels etc) which will take place from Monday 19 – Friday 23 March 2018. The LAB is designed to provide a peer-to-peer environment for intensive development of participants writing practice. This amazing opportunity includes talks and workshops with acclaimed international writers, Paavo Matsin (Estonia) and Agnieszka Studinska (Poland); one-to-one advice and tutorials; support from the Metal creative team; time and space to write and develop specific aspects of a current project – or create a new piece of writing; discussion and exchange of ideas and practice; the opportunity to meet the Essex Book Festival team and create links for the future; as well as a public reading.
Criteria and details of How To Apply for the Culture LAB – The deadline for submissions is Friday 16 February 2018.
EVENTS AND ACTIVITIES ANNOUNCED SO FAR…….
Writers-in-residence
Having hosted artists of all disciplines in residence at Chalkwell Hall for the last ten years, we know our bedrooms with stunning Thames Estuary views are an inspiring and productive place to stay and create work. During March, the Essex Writers House will play host to six writers from various parts of the UK and overseas.
Paavo Matsin – award winning Estonian author Paavo Matsin, Winner of European Union Prize for Literature 2016 for Gogol's Disco.
Agnieszka Studzinska – Polish Poet whose debut collection Snow Calling was shortlisted for London Festival New Poetry Award 2010.
Benedict Newbery – poet and journalist, widely published in literary journals including Ambit, Magma, Acumen, Other Poetry, Prole, Borderlines, South Bank Poetry – and The Morning Star.
Veronique Chance – works within a multi-disciplinary art practice that is mainly photography and video-based but also has strong links to performance.
Mark Grist – award-winning poet, teacher and battle rapper based in the UK. His first collection of poetry, 'Rogue Teacher' is out with Burning Eye Books and is currently recording a new Radio series about hip-hop called 'Mark Can't Rap'.
Keely Mills – poet, writer, producer and placemaker. She was Peterborough Poet Laureate in 2009 and has performed at multiple venues across the UK including Edinburgh Festival, the Houses of Parliament, Grow Heathrow and here in Southend at Village Green.
Clare Currie – Poet Laureate for the city of Peterborough, Clare is a regular contributor to the spoken word/poetry scene as well as working with schools and in adult education. She also works in theatre with Eastern Angles and Jumped Up Theatre, in collaboration with Battersea Arts.
Thurs 1 – Thurs 29 March (not Sun 18 March)
Two 'Hot Desks for Hire' with spectacular views of the Thames Estuary are available to writers, FREE OF CHARGE, to book by the day (9am – 9pm) for the duration of the Pop Up Essex Writers House. Named after two great Essex writers George Warwick Deeping (b. 1877 – d.1950) and Margaret Cavendish (b.1623 – d.1673) and with inspiring Thames Estuary Views, access to a kitchen, and a lively café space downstairs for breaks, what more is needed for a space away from domestic distractions. Bookings are limited to two days, per person.
To Book our Deeping Desk
To Book our Cavendish Desk
Please note – we are restricting bookings to a maximum of two days per writer, to ensure that the opportunity is afforded to as many writers as possible.
Writers Café
Thurs 1 – Thurs 29 March (closed Sun 18 March)
11am – 4pm (daily)
From Voltaire to Hemingway and Sue Townsend to JK Rowling writers have a long tradition of people watching, writing and observing life from cafés and bars. Come and enjoy a cuppa in our Pop Up Writers Cafe with Book Swap / Book Shop / Open Mic readings / and events throughout the month. If you are a writer (first time or already published) and would like an opportunity to read at our daily 1pm Open Mic: 10 Minute Read, please get in touch at chalkwell@metalculture.com
Open Mic: Daily 10 Minute Read
1pm – every day from our Writers Café
Calling all budding, emerging and established writers…….
Every day that our Writers Café is open – at 1pm we'll be handing over the stage and a mic to writers and spoken word performers who would like the opportunity to share new work. Wherever you are in your writing journey – at the very beginning or with 10 bestsellers to your name, we'd love to hear from you. Contact chalkwell@metalculture.com to book your slot – or turn up and chalk up your name against a date.
What Writers Want
A Long Table discussion for writers at all stages of their career (from aspiring to published many times). Guest speakers include Dean Atta, poet and Artistic Director, New Writing South; Chris Gribble, Chief Executive, Writers Centre Norwich and Syd Moore, author and Essex Book Festival Writer in Residence 2018.
Tickets: FREE but booking essential as places limited
Box Office: Book Tickets here
Friday 2 March
Damn Write – THIS EVENT HAS BEEN POSTPONED DUE TO ADVERSE WEATHER
Old Trunk Theatre present their popular and often raucous regular night celebrating new writing by Essex writers. Expect up to ten new pieces written to the evenings set theme of Feminist as F***
A new date will be announced soon.
Tickets: £5 (all proceeds go to Old Trunk)
Wed 7 March
Southend in Fifty Buildings
Author, journalist and historian, Ian Yearsley takes us on a whistlestop architectural tour of the Borough via his book Southend in Fifty Buildings. Just one of 17 published works on local history, fiction and poetry, all Ian's books are about, or inspired by, the county of Essex.
Tickets: FREE but booking essential
Thurs 8 March
Future Park – International Women's Day Special
Metal's regular social for artists working in all disciplines goes fully female for an evening celebration of creativity and expression. 10 x 3 min open mic spots, followed by our guest speaker, the brilliant Helen Linehan, co-writer of hilarious BBC Two hit comedy series, Motherland.
1.30pm – 3.30pm
Join Kathryn Taussig of Bookouture, specialist in digital publishing and Therese Coen from Hardman & Swainson Literary Agency for two hours of invaluable insight into how to get closer to that coveted publishing deal.
Tickets: FREE but booking essential (places limited)
Sat 10 / Sun 11 March
Open Weekend: Give Mothers a Break Special
In partnership with Pop Up Projects, the Essex Writers House brings you a weekend celebrating literature for children and young people, including:-
Readings and workshops with celebrated children's authors and illustrators
Slam poetry workshop and performance for ages 13 – 17 years
NetPark – guided digital story walk through Chalkwell Park
1pm daily Open Mic Readings
Prosecco Cream Tea (Sunday only)
Sat 10 March
Travel Through Time – with Alex Milway
Travel through time with Pigsticks and Harold! Experience the wonder of Dinopigs and Viking Hamsters with brilliant author and illustrator, Alex Milway, as he draws and reads from his latest books.
FREE – no need to book
A Paperdragon Tale – with Margaret Bateston-Hill
Come and hear from Margaret Bateson-Hill as she shares her Paperdragon Tale: Lao Lao of Dragon Mountain, a story inspired by scissors. Make papercuts of your own and Watch out for the dragon! Margaret Bateson-Hill is a prize-winning author, teller of tales, cutter of paper and singer of songs.
Slam Poetry and Performance Masterclass
Join recently published (by Otter-Barry Books) Pop Up Projects Rising Stars, Abi Cook and Ruth Awolola as they write, perform and challenge misconceptions about poetry. Learn some helpful writing techniques, produce some amazing poetry and then perform it that very evening to a live audience. This masterclass is about developing your own unique style, both in your writing and performance. Aimed at young writers with a guide age of 13 – 17 years, the format of the afternoon will be as follows:-
2pm – 4pm: Part 1: writing
4.15pm – 5pm: Part 2: performance
5pm- 6pm: Shared dinner (included in fee)
6pm: Doors for performance
6.30pm – 8.30pm: Performance – with breaks
9pm: Finish
Ruth Awolola is a student, youth worker and poet currently based in York. Born in 1998, she has been writing since 2015 and in that year she was a winner of SLAMbassadors. Watch Ruth in action on The Poetry Society's YouTube channel. @r_awolola
Abigail Cook is a performance poet from London. Born in 1997, she is a 2015 SLAMbassadors winner and has performed at the Southbank Centre. She is the recipient of a scholarship at Guildhall School of Music and Drama where she studies Performance and Creative Enterprise with a speciality in Spoken Word. Listen to Abigail on Soundcloud. @AbigailThePoet
Tickets: £6 (including dinner for all participants) – limited places
1pm till 2pm & 2.30pm till 3.30pm
CAKE WORK – a guided digital story
A guided digital adventure story and walk through Chalkwell Park to discover the escapades of Madam Pinkie Pie and her Cupcake Empire. Have you ever been for a walk in a park and wondered if everything is quite what it seems? Come along and find out why Madam Pinkie Pie ended up in the peacock's cage, learn the secrets of the Cupcake Compendium of Milton Hourglass and search the park for the cupcake thieves!
The story, Cake Work is one of 5 GPS-activated story apps that are part of NetPark. Cake Work was created by writer Jeremy Hardingham, illustrator Zoe Barker and artist Elsa James, working with the year 6 students of Milton Hall School.
Each chapter is located in a different part of Chalkwell Park and written in response to the actual park landscape, encouraging imagination and exploration of a familiar park in a completely new way.
Suitable for ages 8-15yrs. Children under 8 can attend but must be accompanied by an adult.
iPads and headphones are available to hire free of charge (ID required).
Tickets: FREE but booking essential (limited places
Note: Please arrive 10 minutes before the start of the session.
Every Tuesday (Tues 6 / Tues 13 / Tues 20 / Tues 27 March)
Little Busy Book Club
Like any other book club, except it's for children aged 3 And 4 years old (and their grown- ups). Join Jacqson Diego Story Emporium to read and share books and explore the stories and characters in fun ways. There will be a new book to explore each week and lots of games and activities to play and do.
Note: Each week the books we explore will be on sale at a subsidised price of £5 for anyone who would like continue exploring at home.
Wed 14 March (or Sun 25 March)
11am – 2.30pm (with ½ hour lunch break)
Historical Fiction Workshop
Ever dreamed of writing a story set in the past? Got a family tale that you'd love to tell? Fascinated by the World Wars, the Vikings and Tudors or the bits in between? Sam Lierens (aka Lizzie Page), author of 'The War Nurses' trilogy, (Bookouture, 2018) will take you through the practicalities of getting started, the pleasures – and the pitfalls – and routes to publication. Bring pen and paper, no experience necessary.
N.B. There are two opportunities to take part in this unique opportunity to benefit up close from the experience of a successful, published author – Wed 14 March – or if weekdays are difficult, Sun 25 March.
Tickets: £10 (limited places)
Thurs 15 March
7.30pm (reading starts at 8pm)
The Big Book Club Get Together
Did you know – Essex has more Book Clubs than any other county in the UK? Come to our mass gathering of Essex book lovers. Meet other Book Clubs, find out how to start your own, recruit new members. The evening will be mostly social, but we'll be suggesting the short, classic text The Machine Stops by E M Forster, to read before you come (if you haven't read it already). Written in 1909 this remarkable predicts social media and the internet almost 90 years before they become a reality and seems more relevant than ever to current debates about Artificial Intelligence and the Internet of Things. No need to worry if you haven't got time to read it – come along anyway – we'll be performing a short extract that evening……
Fri 16 March
7.30pm (doors)
I Am Looking For Words
Sundown Arts presents a night celebrating spoken word and performance poetry from all over the UK scene today, with local Southenders alongside established UK spoken word artists.
Spoken word from Matt Abbott, Molly Naylor, Rachel Pantechnicon and Simon Blackman. Spoken word-themed DJ sets from Michael Webster of Asylums/BAIT and Ship Full of Bombs DJs Junkshop Jukebox and Library of Aethers.
Hosted by Jo Overfield and Ray Morgan
Tickets: £5 (in advance); £6 on the door (all proceeds go to Sundown Arts)
10am – 5pm (lunch included in ticket price)
Situated Practice: a one day creative writing course relating to place
Writing to evoke an unmistakable sense of place, paying attention to people, atmosphere, soundscape and landscape. With the celebrated author Lee Rourke (short-story collection Everyday, the novel The Canal (winner of the Guardian's Not The Booker Prize 2010) and the poetry collection Varroa Destructor. His latest novel Vulgar Things is published in the UK, Australia, New Zealand, and the US by 4th Estate, Harper Collins. His debut novel The Canal is being adapted to film by Storyhouse Productions, summer 2018).
Exotic England: The Making of a Curious Nation
Yasmin Alibhai- Brown
England may be a small country on a small island, but its inhabitants have always had a boundless curiosity about the world beyond their shoreline, eagerly roaming the globe enticed by the diversity and richness of other civilizations. Join Yasmin as she traces this golden thread of otherness through five centuries of English history to reveal how it has shaped the buildings, flavoured the food, powered the economy, and created a truly diverse society.
Yasmin Alibhai-Brown is a leading commentator on race, multiculturalism and human rights, writing for the i newspaper, International Business Times and the New European. She appears regularly on TV and radio and has won many journalism awards, including the Orwell Prize in 2002, EMMA in 2014 and Columnist of the year, 2016.
Tickets: £6.50
"[Exotic England] reads like Alibhai-Brown's love letter to a partner of more than 40 years, whose faults she knows intimately, yet whom she adores nonetheless… [She] brings a terrific sense of purpose to the book… You can almost hear her talking you through her discoveries" – Maya Jasanoff, Guardian Review
Wed 21 March
Essex Writing: Is there such a thing?
Tim Burrows
Essex is a place where writers seem to come from elsewhere for inspiration, or if native, leave and even disown as "dull suburbanity". But then again, Wilko Johnson's lyrics and Sarah Perry's prose perhaps do articulate a strangeness, confusion, aggression and romanticism that is particular to Essex. Join writer and journalist, Tim Burrows as he ponders the question and reads from some of the great classic and contemporary 'Essex' literature.
Tim Burrows writes for The Guardian, Vice, the Quietus and Somesuch Stories. A recurring subject in his work is Essex. His short story Broadgate, set between the county's marshland and the City of London, is included in the anthology An Unreliable Guide to London, published by Influx Press.
Tickets: £5
Essex Writers
Hear from ten writers based in Essex who have spent the week at our Pop Up Writers House for an intensive week-long LAB looking at the evocation of place in writing – with a reading from each.
Tickets: FREE – but booking essential
3pm – 4.30pm
Being a Writer – Travis Elborough and Helen Gordon
The anthology Being A Writer is an inspiring assemblage of wit, wisdom and hard-won practical advice from some of the world's greatest authors musing on the art of writing and how they came to define themselves as writers. Join its editors, the authors Helen Gordon and Travis Elborough, as they present an entertaining survey of the pleasures and pitfalls of the writing life from the time of Samuel Johnson and Grub Street to the age of silicon roundabout and Lorrie Moore.
Spooked! – Spiritualists, Spies and Scandals
Syd Moore and Cathi Unsworth
Discuss the occult and secret service networks in operation during World War II, the mysteries that surrounded these clandestine operations and the links between clairvoyants, magicians, witchcraft and spies.
Tickets: £7 / £5 (27yrs and under)
Box Office: Mercury Theatre (01206 573948 / essexbookfestival.org.uk)
Writing the Short Film
The short film is often overlooked as a story telling medium, but it can be a great calling card for the new writer or those coming from other writing disciplines. This half day course run by Maria Solecki is designed to equip those new to writing short films. You'll leave with an understanding of: the role of the short film; the role of the screenwriter; what makes a great short; and mistakes to avoid. We'll explore why less is most definitely more- and why short form story telling can be just as powerful as other forms.
Maria Solecki holds an MA in Screenwriting (Fiction) from the Northern Film School. Her short film Moja Kochanna Anna (My Love Anna) screened at several festivals and won Audience Award at Hyde Park Picture house in 2010. Since then she has run www.thescriptpod.com
Gabriel: The Second Coming
To celebrate the new updated paperback version of Without Frontiers: The Life and Music of Peter Gabriel, its author Daryl Easlea is in conversation with the legendary Richard MacPhail, author of My Book of Genesis. Gabriel songs will then be played acoustically by Angel Melodyhorn followed by dancing until 11pm with records of a prog-psych-beaty nature played by Middle (P)Age Spread
Tickets: £3 advance / £4 door
TOMA Pub Quiz: The Painted Dada Word
The worlds of literature and contemporary art collide in our final Essex Writers House event as artists from the Metal alternative art MA programme, TOMA, host a Dada themed pub quiz evening featuring live art and music performances, 'curated' snacks and a silent auction of artworks alongside quiz questions on literature, music, art and everything in between. Get your team together and sign up for a fun night. DJs until close.
Tickets: £6 (per person) for quiz entry + FREE Dada themed cocktail (all proceeds go to fund TOMA exhibitions)
Thurs 1 – Thurs 29 March (closed Sunday 18 March)
New and second hand literary classics of all genres available to browse and buy with The Book Shop Experience who will be in residence at our Writers House Café all month. We will also be hosting an Essex Book Festival Reference Library that will have all the books featured as part of festival programme in one place.
Fancy renewing your reading pile – while giving a new lease of life to the books you've already read that have been sitting on your shelves gathering dust. Visit our Book Swap to exchange your old titles for 'new to you' books that others have enjoyed and want to share.
What Writers Want – Questionnaire
Following our opening event on Thursday 1 March – all month we'll be collecting ideas and feedback from writers about what how they could be better supported in Essex – and if a permanent Essex Writers House could work? We'd love to hear from you. Complete the questionnaire online here – or visit our Writers Café to fill in a paper form.
More details on events and activities to follow soon. In the meantime, if you are a writer with an idea – or a desire to share your work on a public platform – please get in touch, we'd love to hear from you – chalkwell@metalculture.com


text:
Франц Нонов е български католически духовник, капуцин.

Биография
Тобия Тобиев Нонов е роден на 26 февруари 1916 г. в село Балтаджии (днес кв. Секирово на град Раковски). След завършване на начално образование в родното си село, заминава да учи при отците капуцини в Италия. Завършва гимназиално образование в нисшата францисканска семинария в Южен Тирол, а след това и богословско образование. По същото време там учат Флавиан Манкин и Фортунат Бакалски. Приема името Франц. Преди завръщането си в България през 1942 г. е ръкоположен за свещеник. Първоначално служи в манастира на капуцините "Дева Мария - Царица на ангелите" в Пловдив и също отговаря за разпространение на в-к "Истина" в Пловдивско.

През 1950 г. е преместен в София, където е капелан в параклиса "Благовещение Господне" и обслужва сестрите от института "Про Ориенте". През 1952 г. по време на скалъпените католически процеси отец Франц е осъден на 10 години затвор. Той излежава присъдата в затворите в Белене и в Пазарджик.

След освобождаването му от затвора през 1959 г. е назначен в енорията "Свети Петър и Павел" в село Миромир, където работи като помощник до 1969 г. От 1970 г. е отново в София като органист в енория "Свети Йосиф", а от 1981 г. като енорийски свещеник. През 80-те години дейността на отец Нонов е наблюдавана отблизо от Държавна сигурност със заведеното дело за оперативно наблюдение под името "Хрисимия".

От повече от 35 капуцини в България неколцина доживяват до промените след 1989 г. един от тях е отец Нонов. През 1992 г. е назначен за енорийски свещеник в "Свети Франциск от Асизи" в село Белозем. След това служи за кратко в капуцинския манастир в Пловдив, преди да се върне за трети път в София, но този път като изповедник.

Умира на 21 февруари 2001 г. в София. Погребан е в католическия парцел на Софийските гробища. Бил е любимец на няколко поколения миряни от София и е почитан като българския Леополд Мандич, апостол на изповедалнята.

Източници

Български католически духовници
Капуцини (монаси)
Репресирани от комунистическия режим в България
Католически процеси
Български органисти
Родени в Секирово
Починали в София


As a business owner, you may want to provide your employees with retirement benefits and a shared stake in your company's success, while establishing a succession plan for your business.
Give us a call at 800-952-3343 ext. 22681 to find out whether an ESOP can be right for your business, or talk to your financial advisor about your options.
What makes an ESOP different?
An ESOP is a retirement benefit. But it's different than a 401(k) or pension plan.
It's an exclusive option for C- and S-corporations.
Assets are primarily invested in company stock.
It gives you a flexible way to sell all or part of your business.
For business owners, an ESOP can be a valuable piece of a succession plan. It can facilitate an efficient ownership transfer, letting you leave a legacy when you reach retirement or leave your company. You can exit on your timeline, not an outside buyer's requirement.
ESOPs offer unique tax advantages and, often, greater employee satisfaction, motivation and retention.
There isn't one perfect size or type of company for an ESOP. It's about characteristics.
ESOPs work well for companies with a history of profitability, solid cash flows and employee-centered cultures.
You often see ESOPs in multi-generational family businesses and other multi-owner companies.
An ESOP can also help a young entrepreneur sell an existing business so they can use the liquidity to fund their next business move.
Give us a call at 800-952-3343 ext. 22681 to learn more, or talk to your advisor about your options.
Want to learn more about ESOPs?
Give us a call at 800-952-3343 ext. 22681 to discuss your options.
1 Based on number of recordkeeping plans, PLANSPONSOR Recordkeeping Survey, June 2017.
2 Based on total number of plans, PLANSPONSOR Defined Benefit Administration Survey, May 2017.


text:
Death of a Salesman (Queensland Theatre)
Queensland Theatre opens its 2019 season with an unforgettable production of Arthur Miller's award-winning classic.
Playhouse, QPAC, Brisbane
Reviewed on February 14, 2019
by Elise Lawrence on February 18, 2019
Queensland Theatre has begun the year on a high note, tackling Arthur Miller's emotional and existential classic Death of a Salesman as the first production of their 2019 'Season of Dreamers'.
Widely considered to be one of the plays that defined the 20th century, Death of a Salesman won the 1949 Pulitzer Prize for Drama and the Tony Award for Best Play, as well as three Tony Awards for Best Revival, having been revived on Broadway four times as well as adapted for screen and television. The play is lauded for its timeless and universal themes, despite being set very specifically in the late 1940s.
Angie Milliken and Peter Kowitz in Queensland Theatre's Death of a Salesman. Photo supplied
Queensland Theatre's first preview show of Death of a Salesman was performed on February 10 – to the day, seventy years since the play premiered on Broadway in 1949 and 14 years since the playwright's death in 2005.
Willy Loman was once the king of the road – a successful travelling salesman, known and welcomed and respected. Hard work and integrity earned Willy the full package – dutiful wife, two sons, the white picket fence, the American Dream. But after 30 years, sales are dropping away with Willy's inability to travel far and difficulty focusing on the road. Their suburban paradise is now a weatherboard box, often in need of repair and hemmed in on every side by neighbours. Willy faces the possibility that his work and his values have become obsolete, and his oldest son has just returned home, directionless and lost in life. Willy's grip on reality is loosening, and the audience is taken inside his head as well as into his home and the Loman family, with all its troubles and triumphs.
Jackson McGovern, Peter Kowitz and Thomas Larkin in Queensland Theatre's Death of a Salesman. Photo supplied
At its core, the play questions a capitalist system that prioritises profit, falsely promises fulfilment, and unconcernedly discards people; it highlights human nature's craving for genuine connection and validation; and, ultimately, it asks how much a human life is worth, and whether that worth differs throughout a life. Heavy, timeless themes, equally as relevant to a 2019 audience living in an isolated society of constant connection as they were to 1949 audiences caught between the horror and restrictions of World War II and the boom of 1950s commercialism. Masculinity and male relationships are placed into sharp relief, from paternal pride to fraternal affirmation, as is the idea of personality and nature as inherent, not shifting as people become adults but only becoming lost among responsibilities and social pressures.
An outstanding cast assembled on the Playhouse stage for this production, directed by Jason Klarwein. Peter Kowitz delivered an unforgettable, utterly heart-rending performance as Willy Loman, whether slumped from exhaustion and depression or gripped by a maniacal kind of optimism. He embodied the character so fully and elicited such an emotional response with his performance that the audience was left with a real sense of grief when the titular event came to pass.
Charles Allen, Kevin Hides and Peter Kowitzin Queensland Theatre's Death of a Salesman. Photo supplied
Angie Milliken was fiercely devoted as Willy's long-suffering wife Linda and struck fear into the heart of the audience as she admonished her sons, Biff (Thomas Larkin) and Happy (Jackson McGovern), for their thoughtlessness. The entire theatre fell into awed, embarrassed silence to witness this scolding, a testament to the intimate atmosphere that the cast and creatives had rendered in such a large space. Larkin and McGovern were both admirable in their roles, but Larkin's interpretation of Biff's fractured relationship with Willy and his search for meaning in life were especially affecting and compelling as they came to a head.
The American accents of all cast members were consistent, and their characterisations differed depending on the age of the character in that scene, from the way they spoke to the way they moved. This was especially notable from Kowitz as Willy grew more confused and desperate throughout the play, and Ilai Swindells (as Bernard), who transformed from a nervous boy into a self-assured man. Supporting cast members Charles Allen (Charley), Kevin Hides (Uncle Ben), Sarah Ogden (The Woman/Miss Forsythe), and Gemma Willing (Jenny/Letta) more than held their own alongside these incredible performances – the calibre was consistently high across the board.
The set of Queensland Theatre's Death of a Salesman. Photo supplied
Anthony Spinaze's design of period costumes was beautifully understated and added visually to the audience's understanding of the characters, while set design by Richard Roberts brought the audience into the heart of the Loman household, to sit around their kitchen table and hear their whispers across the beds. Lighting design by Verity Hampson transported the audience to the golden light of Willy's memories, complemented by projections designed by Justin Harrison, and the colour scheme slowly cooled until Willy was left uncertain of the border between his visions and reality. Composition and sound design, also by Harrison, took Willy's visions from warm and familiar to terrifying crescendos.
Queensland Theatre delivers a truly unforgettable production of an ageless work whose ideas and questions will stay with you for days after the final curtain call.
Queensland Theatre's Death of a Salesman is at the Playhouse, QPAC until March 2
My Brilliant Adaptation: the art of bringing new life to literature on stage
Leading playwrights and directors talk about how to honour the original book, while breathing new life into it for the theatre.
Review: Mouthpiece (Queensland Theatre)
An acerbic two-hander interrogating class, privilege, and power in art and storytelling.
Review: Cursed! (Belvoir)
Kodie Bedford's raucously funny debut play gives us a big-hearted story that sings true.
Classical Music, Opera, Theatre
On Stage in November: Classical Music, Opera & Theatre
Find out what's on stage and streaming online in November from Limelight editors Jo Litson, Angus McPherson and Clive Paget.
Review: Emerald City (Queensland Theatre and Melbourne Theatre Company)
Despite being written and set in the 1980s, David Williamson's rapid-fire satire remains a relevant critique of affluence and art.
David Williamson: Curtain Call
For 50 years, David Williamson has been reflecting contemporary Australian society on stage. He talks about the addiction of playwriting, his two new plays, and why it's best to retire now, while audiences are still coming.
Review: Antigone (Queensland Theatre)
A stirring adaptation of Sophocles' tragedy, galvanised by exceptional performances from its two leading actors.
Review: Fangirls (Queensland Theatre, Belvoir, Brisbane Festival, in association with ATYP)
A glittering new musical comedy about a poorly understood and often underestimated force of nature – teenage girls in love.
Fangirls: Living the Scream
The collective power of fangirls is huge, director Paige Rattray tells us ahead of the new musical coming to Queensland Theatre and Belvoir.
A double shot of Murray-Smith
One of our busiest playwrights is directing her new work for Queensland Theatre.
Review: City of Gold (Queensland Theatre)
An urgent, honest, and unmissable debut play from a fierce new Australian voice.
Review: Heisenberg (Melbourne Theatre Company)
Kat Stewart and Peter Kowitz are both impressive, but the relationship explored in the play feels somewhat improbable.
Review: Season One (Sydney Dance Company)
An exciting triple bill with two new works, and the exhilarating mainstage debut of Melanie Lane's WOOF.
Classical Music, Theatre
The exciting young composer taking lots of Chances
Alice Chance talks about synesthesia, Eurovision, the musical Fangirls, and her new string quartet for the Bowral Autumn Music Festival.
Review: Hedda (Queensland Theatre)
Queensland Theatre's final production of 2018 reimagines Ibsen's heroine as the discontented wife of Queensland's biggest meth dealer.
An "Aussie as" Hedda for Queensland Theatre
Melissa Bubnic has set Ibsen's classic in a monstrous Gold Coast mansion.