I need a good simple 5-star ratings plugin for Wordpress, to allow visitors to rate posts without requiring that they sign up, log in, leave a comment, etc. Something that they can just click and go.
I used to have comments open on the blog but found that most visitors responded better to a simple star rating widget, requiring nothing more than a single click to leave feedback. After reviewing a few years worth of comments and finding that 95% of them were spam and the rest useless, I closed comments and hid all existing comments on posts.
I am currently using an old offsite 3rd party service (JS-Kit) to insert the ratings system into the posts. JS-Kit was sold and they no longer offer this service to new blogs. I don't have much faith that this service will continue in the future and I'd like to find a replacement for it, that doesn't rely on a 3rd party offsite service.
Do any of you have any experience with any of the many plugins available, to guide me in the right direction to a plugin that works well, is actively developed and supported, in which documentation, faq, bug reports, etc. are not hidden behind a paywall? Bonus points if I can manually set the initial ratings level individually for each post (about the only way I could possibly import existing ratings).
I was considering trying GD Star Rating, till I noticed that the developer deleted his site and the original free user forum with all the documentation for it and hid most of the content behind a "pay for support" forum, in which you can't even gain read-only access, without paying. From what I understand, it's a rather complex plugin and not documented very well, difficult to get working properly without having access to the additional material that used to be available for free on the developer's site. Sure, I could access some of the original content on archive.org's Wayback Machine, but there is no way of knowing if any of the info is outdated or still applies to the current version of the plugin. Also, any documentation of newer features would not be there. For this reason, I have low confidence for this plugin and will not consider it.
I am afraid, my reply won't be helpful, but have you considered using something simpler than a 5-star rating system? As recently mentioned on DC http://www.donationc...topic=32014.msg29749 people have problems rating on a 5-step scale. Facebook's Like is a friendlier alternative, even youtube dropped star ratings and adopted I have used a 5-star rating system on my web for years and there are indeed problems with it - each person uses the scale differently - some only give 5 stars and 4 stars, others only give 5 stars or not rate at all, trolls just give 1 star to everything they see, others give random number of stars... If I had the choice now, I would choose a simple like button instead (and possibly also counted number of impressions to be able to compare likes/impressions ratio).
First of all, this isn't for visitors to let me know if they like my posts or not. This is more of a book review system, where they are rating the books, for the benefit of other visitors. Personally, I could care less what they rate them, the info isn't for me. I tried allowing visitors to leave book reviews as comments, but that didn't work out well. I think I only had one actual review in the 6 years the site has been running on Wordpress. Nearly everything else was spam, requests for pirated books, and thank you messages.
While it might be true that people may have trouble rating on a 5 step scale, they have even more trouble bothering to write a paragraph or 2 to express their thoughts and feelings about a book.
It's also kind of hard to move from a 5-star system to a thumbs up/down system, transferring previous stats to a new system. It's easy going from stars to stars, though, which is what I wanted to do.
Thanks! Gave it a try and it seems to be perfect. Less than a minute to install, configure, and add it to the template...and a settings tweak allowed me to be able to attempt to duplicate the old ratings/number of votes before commenting out the JS-Kit code. Now as long as it doesn't break every time I have to upgrade/update Wordpress, I am all set.


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text:
Datshi (Dzongkha:དར་ཚི;Wylie: da-tshi) is a traditional Bhutanese cottage cheese commonly produced from cow milk. It is a naturally fermented milk product produced using the back-slopping method. To make Datshi, Dahi is first prepared from raw milk, the Dahi is then processed into

Mar(artisanal butter) by churning in a special wooden container called Theki. The Mar is collected and the liquid residue, called Mohi, is gently heated. The heating causes Casein to coagulate and the Mohi starts forming clumps. The Datshi is collected in a cloth and squeezed to eliminate extra whey and then rolled into appropriate sized cheese balls.

Datshi is widely produced and consumed on a daily basis in Bhutan. It is a Bhutanese staple and is often used as a key ingredient in most Bhutanese curries. For example: the famous Bhutanese cuisine Ema datshi uses Datshi as the cheese and hence the name Ema Datshi. It is also used in various other dishes such as Kewa Datshi, Shakam Datshi and many more.  In 2018, 74% of produced milk was utilized in the production of dairy products. The main dairy products produced were Mar, Datshi and Chugo, with Datshi being the most produced followed by Mar and Chugo. Bhutan currently does not export Datshi since the local demand outweighs supply.

Matured Datshi, known as Zoetay(Dzongkha: ཟེ་ཏོད, Wylie:ze-te), is also widely consumed in Bhutan. It is made from storing fresh Datshi in loosely covered containers/plastic or tree leave wraps at room temperature. The Datshi develops a pungent odor and a slimy, gelatinous exterior layer which is the Zoetay.

References

Bhutanese cuisine
Bhutanese culture
Bhutan

redpajama_set_name: RedPajamaWikipedia


text:
T160K.org
Filming Music is Preserving Music! Instruments 4 Africa brings threatened West African musical traditions to life
Posted on February 9, 2015 by T160K Blog	3 Comments
Filming Music is Preserving Music!
Instruments 4 Africa brings threatened West African musical traditions
to life with their vital short films
Paul Chandler and team interview a village leader in Mali
What if the very last musician in Mali to be trained on the Mandinka warrior's harp, the Bolon, was never recorded? Or a ceremony passed down for generations goes unperformed for 20 years? We, the world, would lose a valuable, irreplaceable part of our heritage certainly, but so would the local culture. This is what makes Instruments 4 Africa's work filming, preserving and documenting the musical/cultural heritage of West Africa so critical!
According to Instruments 4 Africa co-founder, Paul Chandler,
"Wh en the kids see the village preparing for these ceremonies, they get interested in spite of themselves. The whole village gets involved, and the kids see their elders in a new light. […] And when they see these movies played on the same screens where they see American Rap videos and Brazilian Soap Operas, they see that their own culture has real value."
Instruments 4 Africa works to empower underprivileged and at-risk youth through academic and cultural educational opportunities. In addition to their film work they organize events and create spaces that bring people together with the common goal of mending the social fabric of today's Mali through shared artistic expression, culture, and history, emphasizing Malian's similarities and their long-standing tradition of tolerance.
Today, Instruments4Africa already has the footage for their next series of documentaries. Paul and his team have used private funding to keep the work going for now, but this temporary fix is not sustainable. We want to help them complete production of these videos so Instruments4Africa can release them to the worldwide public. They need $2,400 per video to cover production, including editing, sound, translation, and subtitles. With dozens of languages commonly-spoken in Mali, translation alone is a significant effort. This is where T160K comes in!
T160k is a Washington State Social Purpose Corporation that's dedicated to using technology to help create communities around exciting cultural work in Africa and to contribute resources to this work. The organization allows people to learn about projects through the t160k.org web site and to contribute funds to them. Supporters receive perks in return for their support, ranging from the satisfaction of a simple "thank you" to the opportunity to meet the people and take part in the work on the ground in Africa.
If you'd like more information about T160K, Instruments 4 Africa or any of our other projects/campaigns, or to schedule an interview with Stephanie, Tony or Naomi please email info@t160k.org or send us a Tweet @T160K.
For more information about T160K please see us online at https://t160k.org/faq/
Contact us at info@t160k.org
Bios:
Stephanie Diakité, EVP:
For many years, Stephanie Diakité, T160K founder and Vice President for Everything, has been working as a transformational development specialist in more than 40 sub-Saharan African countries. She concentrates on building capacity in key areas of human rights based socio-economic development where culture and gender play decisive roles. You can find out more about her work and share your ideas and contributions on her websites at http://dintlafrica.com and http://g-streaming.net.
To support the safeguarding of the scholarship contained in the ancient manuscripts of Timbuktu subsequent to the political and social upheaval that rocked Mali between 2012 and 2013, Stephanie began T160K – the Timbuktu Libraries in Exile Knowledge Initiative in collaboration with her friend and colleague Abdel Kader Haidara of SAVAMA DCI.
She and Abdel Kader evacuated more than 400,000 manuscripts from Timbuktu and T160K successfully implemented a crowd sourcing activity to raise funds for urgent conservation work in the corpus of evacuated manuscripts. These experiences motivated Stephanie to increase the scope of T160K to enable people world-wide to support a large variety cultural patrimony and heritage initiatives and the principles of human rights based culture and sustainable development.
Stephanie may be reached at stephanie@t160k.org for interview requests or further info.
Tony Dowler, CEO:
A Seattle-based consultant, writer, and artist, Tony Dowler became involved in crowdfunding as a way to support his own creative projects and those of others. In 2013, he organized T160k's successful crowdfunding campaign to help fund the preservation of the Timbuktu manuscripts.
Before joining T160k, Tony worked for 15 years as a technical marketing consultant and writer. In his spare time, Tony enjoys drawing, painting, board games, and playing the banjo. You can follow him on Twitter at @t160kTony.
Tony may be reached at Tony@t10k.org for interview requests or further info.
Naomi House, CMO:
Naomi comes to T160k after a decade in libraries and information centers and after founding the popular LIS (library and information science) jobs site, INALJ.com. INALJ grew from 6 subscribers to 9 million page views in a few short years through grassroots marketing campaigns and community building, things that drew her to T160k and its community. She is excited to be able to share projects she is passionate about and looks forward to building this community and sharing the incredible projects of our partners. Find her @T160k and @T160kNaomi.
In addition to her work community building Naomi is a frequent presenter and keynote speaker. She has spoken at the National Press Club and Library of Congress, both in Washington, D.C., the American University in the Emirates, Dubai, UAE, in Alaska and Hawaii and presented over 40 other places as well. In fact, Naomi and T160k founder Stephanie Diakité, met in February of 2014 in Cape Town, South Africa when they served on the same breakout panel at a library conference (Stephanie was also the keynote speaker). That chance meeting and a long bus ride back from dinner sparked a conversation and Naomi's involvement in T160K. Kismet!
Naomi is active in many professional associations including, Ellevate Network, ALA (American Library Association), SLA (Special Libraries Association), Women in Technology, and Beta Phi Mu.
Naomi may be reached at Naomi@T160K.org for interview requests or further info.
Paul Chandler, Founder, Instruments 4 Africa:
Based in Bamako, Mali, West Africa, Paul is an artist, educator and music producer living and teaching in Mali since 2003. Paul's music program at the American International School of Bamako fused western theory and pedagogy with traditional music acquisition, learning and instrumentation. The program included an artist in residence program featuring some of Mali's most accomplished artists.
He has produced events and organized projects in Mali for National Geographic, NY Times, Carnegie Hall, USAID, Johns Hopkins/Bloomberg School of Public Health, US Department of State, UNICEF, APE Artists Project Earth, ABC, National Museum of Mali, Ministry of Culture (Mali), ICRISAT, and BONO's non-profit organization DATA.
In 2011 Paul was awarded a research grant by the Bureau of Cultural and Education Affairs titled: Preservation of Endangerd Musical Traditions and Essential Related Artforms in Mali. In 2013 he was awarded a grant to produce peace and reconciliation cultural festivals in the northern regions of Mali.
Find Paul @maliculture and on i4africa's Facebook page.
Photos and video that may be used with permission:
https://t160k.org/campaign/I4AfricaFilm/
http://i4africa.org/
Attribution for all photos: Paul Chandler & Instruments4Africa
Tags: film, instruments for africa, instruments4africa, mali, music, naomi house, paul chandler, t160k, west africa. Bookmark the permalink.
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redpajama_set_name: RedPajamaCommonCrawl


Lester Aisthorpe, 58, of Basil Drive, Downham Market, and Steven Louro, 42, of South Lynn Plain, King's Lynn, have both been charged with the murder of Jan Hogan in May 2010.
The men appeared via video link from Norwich Prison and no pleas were taken. at the short hearing.
The case was adjourned for a further hearing on January 2 at the crown court when it is expected that the charges will be put to the two men.
Judge David Goodin remanded both men into custody.
A trial date has been fixed for April 29 next year and Chris Youell, prosecuting said that it was expected to last about two weeks.
Mr Hogan's body was found in his flat in Basil Drive on May 23, 2010.


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text:
Grant of bail to Kapunan: Decades of impunity from Cory Aquino to Noynoy Aquino
Submitted on Wed, 11/13/2013 - 14:35
"To grant the petition for bail of Eduardo Kapunan, Jr., accused in the Olalia-Alay-ay double murder case, citing that the evidence of guilt is not strong is a clear mockery of justice. The witnesses presented by the prosecution and their testimonies showed direct participation of the accused and the conspiracy of top military officials then namely former Defense secretary Juan Ponce Enrile and Gen. Gregorio Honasan," Secretary General of Karapatan, Cristina Palabay said.
Rolando Olalia, leader of the Kilusang Mayo Uno (KMU), and his driver Leonor Alay-ay were killed on or about the 12th or 13th day of November 1986, in Antipolo Rizal.
In its decision to grant motion for bail, the Regional Trial Court of Antipolo Branch 98, presided by Judge Ma.Consejo Gengos-Ignalaga ruled that "xxx that there is no clear evidence that he (Kapunan) directly ordered the abduction and killing of the victims, as the instruction supposedly given to prosecution witness Medrado Barreto was merely to help Sgt. Edger Sumido, team leader of the Special Operations Group (SOG) in an operation. Thus, the Court rules that the evidence against accused Kapunan is not strong, which therefore entitles him the right to bail xxx"
Prosecution witness Merdado Baretto, a retired member of the Philippine National Police who also worked as a member of the Intelligence Service of the Armed Forces of the Philippines (ISAFP), a unit of the Philippine Constabulary, unequivocally narrated during the hearing his knowledge to the killing of the victims, implicating the participation of the accused to the crime. On re-direct examination, Baretto also testified that Enrile and Honasan knew of the operation against Olalia.
Karapatan strongly appeals to the Court to reconsider its decision. "To let the perpetrators walk away with witnesses clearly identifying Kapunan as the culprit is tantamount to espousing impunity that has long been reigning since BS Aquino's mother's presidency," Palabay said.
"It has been 27 years before the case proceeded. Justice remains elusive for the victims' families. The witnesses gave direct and personal knowledge of the crime, establishing undoubted conspiracy among the perpetrators. Kapunan and his higher-ups indeed ordered the witnesses to aid Sumido in the commission of the crime yet the court made an absurd apprehension of the testimonies that evidence is not strong," Palabay added.
"The Court cannot turn blind and deaf to the pieces of evidence positively pointing to Kapunan as among the perpetrator to the crime. All the testimonies and evidence show the willful act of the accused in conspiracy with Honasan, Enrile and two other accused, Desiderio Perez and Dennis Jabatan to kill Olalia and Alay-Ay. Such decision shows the complete callousness of the Aquino government to address the killings along with hundreds of other unresolved human rights violations and the continuing impunity since his mother's presidency up to the present," Palabay concluded.###


text:
Scena Miniatura – tzw. mała scena, znajdująca się przy budynku teatru im. Juliusza Słowackiego (na jego tyłach), przy placu św. Ducha 2 w Krakowie.

Funkcję swoją (obok głównej sceny teatru) pełni od 27 marca 1976 roku.

Budynek Sceny Miniatura
Scena miniatura znajduje się w budynku dawnej elektrowni teatru (w tzw. Domu Machin), który po przebudowie zaadaptowano do nowych celów.

Elektrownia powstała w 1893 r. i była jedną z najwcześniejszych w mieście. Jej budynek zaprojektował ten sam architekt, który stworzył główny gmach teatru – Jan Zawiejski. Nieduża budowla ma charakter willi w stylu neorenesansowo-secesyjnym. Bryła miała ukryć znajdującą się w środku maszynownię, ukazując na zewnątrz estetyczne kształty z niewielkim kominem. Budynek początkowo zwany był potocznie Domem Machin, gdyż znajdująca się wewnątrz maszyneria była wówczas całkowitą nowością. Połączenie sztuki i techniki było ponadto uznawane za pretensjonalne i nietaktowne.

Na elementy techniczne elektrowni składały się silniki i prądnice. Zostały one wyprodukowane w Niemczech, a sprowadzone do Krakowa przez czeską firmę Františka Křizika, która później uruchomiła jeszcze dwie inne elektrownie na terenie miasta.

Elektrownia przestała funkcjonować w 1906 r. gdyż nowo powstała wówczas elektrownia miejska na Kazimierzu była w stanie zapewnić dostawy energii elektrycznej dla całego Krakowa.

Budynek elektrowni teatru miejskiego stanowi jeden z obiektów na trasie Krakowskiego Szlaku Techniki utworzonego 6 kwietnia 2006 r.

Bibliografia

Przypisy

Krakowski Szlak Techniki
Teatry w Krakowie
Zabytkowe budynki w Krakowie
Budynki projektu Jana Zawiejskiego
Architektura secesyjna w województwie małopolskim
Architektura neorenesansowa w województwie małopolskim
Obiekty inżynierii lądowej i wodnej w Krakowie


text:
Palantir Says Faulty AI and Privacy Regulation Are a Risk to the Company
Palantir has never made a profit, and according to its S-1 filing, may never make a profit. But it has no plans to stop now.
by Edward Ongweso Jr
August 27, 2020, 1:00pm
NurPhoto / Contributor
Palantir, a Denver-based surveillance firm that contracts with commercial firms and government agencies such as U.S. Immigration and Customs Enforcement, published its public filing documents on Tuesday ahead of plans to go public by the end of September.
The filing, particularly the section that covers potential risks that the company sees for itself, provides a window into Palantir's weak points. Among the company's worries are negative press, privacy laws, and blowback over algorithmic bias.
Since its founding in 2003, Palantir has never earned a profit. In 2019, the filing reveals, Palantir's net loss was $579.6 million—similar to its 2018 loss of $580 million. Perhaps unsurprisingly, the filing warns that Palantir "may not become profitable in the future." Palantir has opted for a direct listing, meaning that unlike a traditional IPO there will be no new shares offered and no capital raised—it will, however, give investors and employees a chance to cash out and avoid hefty fees from having IPO shares underwritten by an investment bank.
No new capital means it's not clear how Palantir plans to continue some of its more expensive operations, and the company's filing reveals that it is in a financially precarious position with expenses expected to increase.
Its finances, however, are frankly the least interesting and important part of these documents—more and more "startups" are going public despite no clear evidence they can ever earn a profit. While it may be amusing to look at its unprofitability, markets don't actually care how unprofitable a company is, so long as the company can pitch investors a value proposition, no matter how unrealistic. A more important section to draw insight from is the one covering risk factors.
One risk factor Palantir lays out is such as reputational harm from news coverage, which the company says "presents, or relies on, inaccurate, misleading, incomplete, or otherwise damaging information." This is notable, because Palantir has long faced criticism over its controversial customers, namely government agencies like ICE and the Department of Defense. Another risk factor warns that such customers raise concerns about its "support for individual privacy and civil liberties" and might result in "adverse business and reputational consequences."
For years, the surveillance firm denied reports that it was working intimately with ICE despite numerous leaks showing otherwise and split hairs over which ICE department it worked for, saying that it did not work for the deportation arm of the agency. Last year, Palantir CEO Alex Karp admitted in an interview with CNBC that his company "[finds] people in our country who are undocumented."
Palantir also lists as a significant risk factor the fact that its business may be limited by laws and regulations impacting "privacy, data protection and security, technology protection, and other matters" such as the California Consumer Privacy Act, a law that went into effect this year and allows consumers to opt out of having their personal data sold. Changes to these laws could result in negative outcomes such as "claims, changes to our business practices, monetary penalties, increased cost of operations, or otherwise harm our business."
Another risk factor highlighted by Palantir is its "use of artificial intelligence" which could result in "reputational harm or liability" as its algorithms and datasets might "contain biased information" of the sort that runs through seemingly every algorithm and dataset. The risk is even greater for a company like Palantir as such bias may have "real impact on human rights, privacy, employment, or other social issues" given its close relationship with government agencies concerned with "national security," the filing states
Another interesting part of the S-1 document is a five-part letter written by Karp. Part IV of that letter argues that Palantir shares "fewer and fewer of the technology sector's values and commitments." While Palantir has "repeatedly turned down opportunities to sell, collect, or mine data," other companies have made billions selling personal data. And yet, the company is constantly attacked for simply wanting help to "target terrorists and keep soldiers safe."
Karp's letter is misleading. While he decries collecting and mining data, Palantir created a tool for the NSA called XKEYSCORE Helper that allowed the agency to parse the huge amount of information it was siphoning up. The tool provided a means for the NSA to funnel people's information directly to Palantir, The Intercept reported. Or take Palantir's claim about advertising tech being problematic; Palantir has worked extensively with advertisers and adtech companies and boasts of how it "armed advertising teams" at an unnamed US broadcast network "with best-in-class data and metrics on demand."
Karp's letter may be ridiculous, and Palantir's financials bleak, but it shouldn't be discounted. As Data & Society researcher Moira Weigel put it in a thread on the letter, Palantir and its founders see the world as a land of borders. The goal, Weigel wrote, is to someday profit from creating technologies that can make more borders and reinforce them.
Palantir declined to comment.
Tagged:SURVEILLANCEIPOimmigration and customs enforcementdirect listing


I've let students in extenuating circumstances (e.g., personal problems or project gone bad for reasons they couldn't have foreseen) propose an alternate timeline they think is reasonable, and have graded their work without any penalty. Maybe I'm a softie. But I don't get many late assignments.
If a student contacts me before the deadline with a reasonable request for extra time, I allow it without penalty. If a student does not do so, my penalty is 10% per day, starting when I collect the assignment in class (meaning that if a student arrives after I collect the assignment, that student receives a 10% penalty). Although my syllabus does not make this clear, I typically cap the 10% penalties at 50%, allowing students to turn in assignments very late in the semester for half credit.
As I indicated in the original post, my practices are mixed. For certain kinds of classes, I'm pretty lax about an extra day or two for big papers, especially if I'm in interaction with the student and I know I won't have time to finish the grading within that much time, anyway. I often ask the student to send me the work that exists as of the time of the request, as a sign of good faith and to permit an evaluation of claims about how much the student has been working. For grad students, I often have individually-negotiated deadlines that work around their teaching/grading schedules. If I've been lax about deadlines during the term, then I have to make a special effort to reinforce the "absolute latest deadline" for which there can be no exception so that the final paper so that grades can be submitted. Typically I set the official deadline several days before this absolutely final deadline.
For smaller routine ungraded assignments due every 2-3 weeks, I take a 10% penalty for each week the item is late, while setting some minimum below which credit cannot fall. I have also instituted a rule that no more than one or two assignments a week can be submitted, as late work submitted in a flurry at the end of the term never has any meaningful content.
At the risk of embarrassing myself, let me ask a naive question: Why is it important that papers be submitted on some date designated by the instructor? For whose benefit are these deadlines and their enforcement?
Is it wrong to say the instructor's benefit? It isn't like we exist to cater to the student's schedules.
My policy was essentially taking an A off the table for late work (I already nix the A- as the A+ doesn't get them anything – A's are all or nothing). Daily reading notes are half credit if late. I tell them that students that regularly turn in their assignments on time get better grades, and that's true.
I once (and only once) allowed a whatever-you-want late policy, and had more than one student turn in class papers as well as notes on the final day of class. Never again – stupid idea. I want to strongly discourage someone from turning in three course papers and a fistful of readings notes during the exam period – the real world isn't that forgiving, so why should we be?
One issue I had was that if I allowed students to submit work after I'd already graded everyone else's assignments and returned them, it brought up issues with remembering exactly how stringently I graded. Though some things are objective and easy to measure, on many essay-type assignments, there are a lot of judgment calls for the prof, and to be fair, the same basic standard obviously has to be applied to everyone. If I receive an assignment weeks later, it's harder for me to be sure I'm applying the same standard that I was when I graded everyone else's, even if I have a rubric that sets out general categories of points.
My dept. has a general guideline that we should try to have assignments graded within 7 days of receiving them. I carefully plan out which days things will be due so I can make sure I can make that deadline and that students will always get prompt, extensive feedback–so I make sure that I don't have major assignments from two different classes come in on the same day, for instance. When I had a very lax late assignment policy, I found it very difficult at some times to manage the unpredictability of when I might suddenly get a flurry of late papers, especially, as usually happened, at the end of the semester when I already had a large number of long end-of-semester projects to grade.
I take 5 percentage points per day late, which means that it's not worth turning in after a week or so. I'm flexible with personal needs on an ad hoc basis.
To answer Jay's question, I see two reasons. The first is for me–it is hard to manage your time well and accommodate late papers. The second is for the students–it is hard for them to catch up at the end of the semester when they have let deadlines slide.
I espouse a "zero score for lateness" policy on the syllabus but will consider exceptional circumstances (hospitalization, death in the family) on a case by case basis.
The main reason for a strict policy is to protect my students, where by "students" I mean the TAs who do most of the grading.
Rugstudy (and others): I certainly consider instructor convenience to be a valid criterion. (I am currently ignoring two papers that were put in a bin outside my door, in direct violation of the "journal submissions go in the folders in class only" policy which exists to minimize my hassle in keeping track of papers.) BUT if I know that it will take me 5 days to grade the papers, or I won't start until the weekend, then I'm not inconvenienced by a late paper, as long as I don't have to go to any effort to get it or keep track of it. Thus I personally tend to have different kinds of policies for different kinds of assignments, where I do consider my convenience to be a legitimate consideration, along with other factors such as fairness to other students.
Re "real world," it really depends on which part of the real world. Journalists have to meet hard deadlines, as do people in many occupations. But in many others, like academic publishing, home construction & repairs, and the ordering of custom home furnishings, lateness is the exception rather than the rule.
I think the "fairness to other students" criterion is the one I have the most trouble weighing.
I can see the advantages of taking into account things like whether I've started grading the rest of the homework yet, but it does seem potentially unfair to have no set policy. How do we then guard against, say, being more likely to get talked into taking a late paper from a student we think of as a "good student" than one who hasn't otherwise done that well or something of that sort? I think of a firm late policy (whatever it is) as a way to help guard against unintentional favoritism toward students we might feel particular sympathy for, among other things.
I generally agree with John above – if students ask ahead of time I am very generous with timing. If not, I tend to be pretty tough. "For whose benefit?" Both! it helps students, too, to learn to work within constraints and expectations.
I support enforcing deadlines out of fairness to students who get their work in on time. I like a one-time late pass to allow for illness, flat tires or whatever and after that mild but cumulating penalties for missing deadlines.
I have 2 reasons for holding students to my deadlines: 1) fairness. not all students feel equally entitled to ask for an extension and I don't want to reward those with a more inflated sense of entitlement and 2) pedagogical impact. the assignments are placed where they are on the syllabus because they (hopefully) require students to engage with the material we are covering at that time. they are less impactful at a later point and therefore are not worth as much.
Thank you on the entitlement issue–I was thinking while reading earlier posts that many students wouldn't understand that rules aren't set in stone. I didn't as a student and sometimes took grade penalties when I had a good excuse.
In truth, deadlines are merciful for all involved.
Re grads: when younger I gave incompletes liberally to grad students, but now I don't because (as I say to them) taking an incomplete is like borrowing from a loan shark. Once the deadline has been missed, the expectations for the paper keep going up. Instead, I say that everyone will be in the same boat, doing the paper that can be done within the confines of a semester. Then I set a paper deadline that is about a week before the last day grades can be submitted, so I can flexibly offer extensions at the end if needed, and still get the grades in. And, regarding equity, I explain this policy and procedure on the first day of class.
As regards entitlement, I don't think the solution is to punish people who get very ill or whose parents die or who have been raped during the semester. Yes, I agree that people with very serious problems that deserve accommodation are precisely the people who don't ask (and the privileged often assume without asking that they can make up their own rules), but blanket statements about "no late papers no matter what" just help to send the message to working class students that our systems are inhumane. I cannot for the life of me see how accommodating a genuinely uncontrollable event for one student could possibly be construed as being unfair to another.
I think the solution is to include on the syllabus an explicit statement of policy that says you will accommodate circumstances that are clearly beyond the control of the student but there will be penalties for absence/lateness that is under your control, even if it involves tough choices like a work schedule or studying for another class. I try explicitly to explain the difference between a problem that truly deserves accommodation from one that does not.
I think part of an instructor's job is to spot people who are messing up and find out whether they are just blowing things off or have a real problem. This is not incompatible with sending them off to a dean to have the circumstances vetted before permitting a substantial accommodation, nor is it incompatible with telling the student that accommodation does not mean that you get out of the work. Nor is it incompatible with telling the student who missed a draft deadline because he was too busy being a political activist that he cannot possibly get an A no matter how good the final paper turned out to be.
Edit: After posting the previous paragraph, I want to amend to say that although it is a legitimate part of our job to follow up with students, I also feel that it is impossible to do this proactively with a big class.
This position seems eminently reasonable to me!
But isn't that the difference between the whole "excused" and "non-excused" situation? I know a number of people with strict late policies, but that never included things like a family death, medical crisis, etc. I've at times imposed a no-tolerance policy for lateness–I've played around with different policies over the last few years to see which works best. Never was that policy applied to emergency situations.
Are there really large numbers of profs out there who are imposing late policies regardless of the circumstance, and telling a student whose parent died or who was raped that they can't make up work? I just took it for granted that everyone distinguishes between "personal emergency" and "I'm sorry you had a really bad hangover and so couldn't concentrate, but the paper was still due" categories. I've been reading a lot of syllabi (on a search committee), and this distinction seems pretty standard.
replying to okiefarmgirl: Yes, of course, professors who know about such circumstances do accommodate. But I am saying that syllabus statements that do not explicitly acknowledge the types of things that should be accommodated contribute to the pattern that working class students with real problems never ask for help. I have personally had to call other professors to intervene for students who had real problems but could not get the professor to listen. One just kept saying "no make up exams" and would not listen to the student who was trying to explain about not having a choice about when her surgery for cervical cancer was scheduled. Once the professor actually listened (to me!), of course she accommodated. But she wouldn't let the student explain.
So what I'm saying is that if you care about the students who do NOT feel entitled, you have to overtly make it clear that you WILL listen to people's explanations about what is going on. There is no question that this stance also makes you vulnerable to listening to those who feel entitlement and those who are willing to lie to you. You have to interact with people and make judgments. But announcing that you won't listen (or failing to say that you will) does have the effect of perpetuating what you decry: the disadvantaged students are the ones that don't ask for help.
Ok, I guess I give people too much credit–I just assumed that it's standard, as at my school, to make it clear that there are a range of situations that would be exceptions to the late policy, and to discuss that on the first day. I work on a campus where the study body is 45% first-generation and overwhelmingly working class or lower. We just sort of take this type of stuff as an inherent part of doing our jobs–that you inquire about why something was late, and then you make a decision about whether it falls into the exception or no exception category. Most of us email students to check on them if they don't come to class for a couple of class periods or fail to turn in anything that is a significant part of their grade, so we aren't just relying on their own confidence to speak up and tell us what's going on.


text:
Q: Meteor Unable to Render Dynamic Templates I am using Meteor with the iron:router package. I am trying to just render a basic template into a layout template, but keep receiving the error:
Exception from Tracker recompute function: Error: Couldn't find a template named "/" or "". Are you sure you defined it?

For my '/' route, I have the following:
// router.js

Router.configure({
  layout: 'layout'
});

Router.route('/', function () {
  this.render('welcome');
});

My templates looks like:

  <title>App</title>

<template name='layout'>

    {{> yield}}

</template>

<template name='welcome'>

Welcome

</template>

For my package, I initially tried just installing the iron:router plugin. It seemed to add iron:core, iron:dynamic-templates, and iron:layout. I have since added each library separately:
> meteor list
iron:core              0.3.4  Iron namespace and utilities.
iron:dynamic-template  0.4.1  Dynamically create and update templates and the...
iron:layout            0.4.1  Dynamic layouts which enable rendering dynamic ...
iron:router            0.9.4  Routing specifically designed for Meteor
meteor-platform        1.1.1  Include a standard set of Meteor packages in yo...

A: Try modifying your router.js to :
Router.configure({
  layoutTemplate: 'layout' // layoutTemplate, not layout
});

Router.route('/',{
  // give the the route a name to help it find your welcome template
  // let the default action function render the layout + template for you
  name:"welcome"
});

You can get rid of the empty body too, and FYI you don't need to manually add iron:router dependencies : that's what a package system is for in the first place :)

redpajama_set_name: RedPajamaStackExchange


Dyslipidemia is a disorder that develops due to an abnormally high level of lipids in the blood. Because this condition can increase the risk of more serious health complications, it's important for your elderly loved one to focus on living as healthy a lifestyle as possible. There are many risk factors for dyslipidemia, and Tucson live-in care professionals discuss 4 of the most common.
High levels of low-density lipoproteins (LDLs) are a major contributing factor to the risk of developing dyslipidemia. For example, high LDL cholesterol can lead to atherosclerosis, which causes the body to make fatty deposits in the skin, arteries, tendons, and brain. To help keep LDL levels low, your loved one can lose weight through regular exercise. If a doctor determines your loved one's cholesterol levels are too high, the doctor may prescribe medications called statins to help lower them.
Diabetes can lead to dyslipidemia because both conditions are directly related to lipid and insulin use in the body. Seniors living with diabetes may develop a characteristic pattern called diabetic dyslipidemia, which can lead to coronary artery disease. The Journal of Clinical Endocrinology and Metabolism states diabetic dyslipidemia is more common in people with type 2 diabetes. If your loved one has diabetes, losing weight and controlling his or her insulin levels can decrease the risk of dyslipidemia.
Obesity has several side effects that increase the risk of dyslipidemia. High LDL cholesterol levels, low HDL cholesterol levels, elevated blood glucose, and high blood pressure are just a few of these risk factors. In 2013, The U.S. National Library of Medicine published a study revealing a close relationship between insulin resistance and dyslipidemia in obese individuals, claiming obesity plays a significant role in the development of atherosclerosis and heart disease. Regular physical activity and a healthy diet can help combat the side effects of obesity.
Metabolic syndrome can cause cardiovascular disease and contribute to the development of dyslipidemia, and a weakened heart combined with hypertension, kidney disease, and fatty deposits in the arteries increases this risk. Treatment of the underlying chronic heart condition may be difficult when these other risk factors are also present.
If your loved one needs help adopting healthier lifestyle choices, reach out to Home Care Assistance. Our caregivers can assist with exercise, cook nutritious meals, and help your loved one stay focused on many other aspects of his or her health. For more information on the in-home care Tucson families trust, call one of our knowledgeable Care Managers at (520) 276-6555 to request a free consultation.


One of the most amazing fruit juices to come to market lately is Acai berry juice. By the way, have you heard about this fruit?
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A reputable Acai product is not too difficult to find and the best ones will not contain a lot of fillers or any at all. Water, other fruit juices, sugar are fillers you would not expect to be paying for on the best products. The best Acai berry products will list their ingredients right on the product label. The best products will usually be labeled 100% organic and done with a kosher process. If there is no product label or you are unsure of the ingredients on the label contact the company or check their website for more information.


Husfjellet as seen from Sommardalhaugen (327).
A brief route description: there is a marked trail that starts from Berg kirke at Skaland and leads all the way to the summit.
The distance to the summit is 4.2 km.
On the trail right before the hilltop Sommardalhaugen.
The view towards Husfjellet from Sommardalhaugen.
Approaching the South East ridge of Husfjellet.
The East face of Husfjellet as seen from the SE ridge.
The classic view from the summit plateau towards the peaks Litjebrusen and Storbrusen. Steinfjorden to the left.
The summit with Okshornan to the left.
The amazing view from the summit plateau towards Bergsøyan and Andøya far in the distance.


text:
Cesare di Lorenzo Cesariano (December 10, 1475 – March 30, 1543) was an Italian painter, architect and architectural theorist. He authored the first Italian-language version of Vitruvius' De architectura.

Biography
Cesariano was born in Milan. Information about his life is scarce. In 1496 he lived for a period at Reggio Emilia; in the early 1500s he worked at Parma, where he painted the sacristy of San Giovanni Evangelista. In 1507 he was in Rome, where he met Perugino, Pinturicchio and Luca Signorelli.

However, most of his activity was in Milan, where he returned in 1512-1513 as military engineer at Maximilian Sforza's court. He worked at Santa Maria presso San Celso and to part of the renovation of the Sforza Castle; he collaborated in the painting decoration of Milan Cathedral (Duomo), in the Sala dei Deputati, which was demolished in the 19th century. Giorgio Vasari wrote in Bramante's vita:

In 1528 Cesariano was appointed as ducal engineer by the Spanish governor of Milan. In 1535 he became director of construction in the Duomo.

Works
Cesariano is chiefly remembered as the first translator of Vitruvius' treatise De architectura into a modern language (Italian), with his added commentary. It was published, with copious woodcut illustrations, at Como, 1521.  It contained 360 pages and was printed in 1300 copies. It was soon plagiarized in editions published at Venice, but all were superseded by Daniele Barbaro's edition, with illustrations by Andrea Palladio, 1556.

Vitruvius' technical language is fraught with difficulties. Leon Battista Alberti was of the mind that the Latins thought Vitruvius was writing Greek and the Greeks, Latin. The impenetrable Latin and the lack of illustrations gave   freedom to the Renaissance designers, who were able to interpret antique architecture in their own image, all' antica. Cesariano's Vitruvius gives us a clear picture of the Renaissance perception of the architecture of Classical Antiquity. Indeed, the spirit of Milan's Late Gothic Duomo can be recognized in some of Cesariano's woodcuts . Among his illustrations is an attempt at rendering Vitruvius' precepts on the ideally proportioned man, successfully rendered by Leonardo, but attempted by many 15th century theorists

Cesariano's illustrations, though not as influential as Sebastiano Serlio's, had some influence in the picturesque and classicizing vocabulary of the Northern Antwerp Mannerism.

References

Vitruvius (Cesare Cesariano, Como 1521)
Cesariano's De architectura on line
Cesariano's illustrations of the kinds of temples, from Vitruvius, Book III.2
Yves Pauwels, Université de Lille, 2005. "Cesariano, Sagredo and the Language of Architectural Ornament in the Low Countries from 1530 Onwards": Antwerp Conference (abstract)

1475 births
1543 deaths
Artists from Milan
15th-century Italian architects
16th-century Italian architects
Architects from Milan
Italian Renaissance architects
15th-century Italian painters
Italian male painters
16th-century Italian painters
Italian architecture writers
Italian male non-fiction writers


Onions, celery, carrots and whole cloves are simmered with bony chicken pieces in this recipe which yields a little more than a quart of rich stock to use in soups or sauces.
Quarter onion. Chop scrubbed celery and carrot into 1 inch chunks. Place chicken pieces, onion, celery, carrot, salt, and cloves in large soup pot or Dutch oven. Add 6 cups water. Bring to a boil. Reduce heat, cover, and simmer for 1 hour.
Remove chicken and vegetables. Strain stock. Skim fat off the surface.
To clarify stock for clear soup, removing solid flecks that are too small to be strained out with cheesecloth, follow this method. Separate the egg white from the egg yolk, and reserve the shell. In a small bowl, combine 1/4 cup cold water, egg white, and crushed eggshell. Add to strained stock, and bring to a boil. Remove from heat, and let stand 5 minutes. Strain again through a sieve lined with cheesecloth.


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text:
Johann Gottfried Bergmann (* 10. Mai 1795 in Reichenbach bei Königsbrück; † 4. Juli 1831 in Dresden) war ein königlich sächsischer Hofschauspieler und Opernsänger (Tenor).

Leben
Geboren als Kind armer Eltern und aufgrund eines Unfalls in seiner Kindheit nicht in der Lage, ein Handwerk auszuüben, musste Johann Gottfried Bergmann schon früh selbst zu seinem Lebensunterhalt beitragen. Er besuchte jedoch die Schule und wurde von seinem Vater, der das Violinspiel beherrschte, auf dem Gebiet der Musik gefördert. Nachdem er auf einem Jahrmarkt zum ersten Mal einen mehrstimmigen Chor gehört hatte, bereitete er sich privat so gut wie möglich vor, um in den Dresdner Singchor aufgenommen zu werden. Sein Vater glaubte ihm allerdings nur eine Ausbildung an einem Lehrerseminar finanzieren zu können, doch konnte Bergmann mit Fürsprache des örtlichen Pfarrers, bei dem er Lateinunterricht gehabt hatte, eine Aufnahmeprüfung an der Kreuzschule ablegen und wurde dort aufgenommen. In den sechs Schuljahren, die er dort verbrachte, litt er unter materieller Not und machte mehrere schwere Krankheiten durch. Aus Armut beschloss er schließlich, doch Schulmeister zu werden, und erlernte zu diesem Zweck das Orgelspiel. Am 15. Oktober 1814 wurde er zum Kantor in Senftenberg ernannt. Im September 1816 erhielt er dank seiner schönen Tenorstimme ein Engagement am königlich sächsischen Hoftheater in Dresden; der Sänger Miksch und der Schauspieler Joseph Anton Christ bildeten ihn in ihren Fächern weiter aus. Hofschauspieler Christ wurde am 23. Oktober 1821 außerdem Bergmanns Schwiegervater; Demoiselle Henriette Christ gehörte ebenfalls dem Hoftheater an.

Zu Johann Gottfried Bergmanns bevorzugten Rollen gehörten der Pylades in  Iphigenie auf Tauris, der Florestan im Fidelio und der Octavio im Don Juan. In einem Lebensabriss im Neuen Nekrolog der Deutschen wurde seine schmelzende Tenorstimme, die allerdings mehr zum Vortrag von Liedern als zum Singen von Bravourarien geeignet gewesen sei, gelobt. Sein Äußeres sei zwar "nicht vorteilhaft für die Bühne" gewesen, doch habe "seine hohe schlanke Gestalt, sein Anstand und sonstige gute Haltung" dafür gesorgt, dass es zumindest "nicht störend" gewesen sei.

Literatur

 Marie Börner-Sandrini: Erinnerungen einer alten Dresdnerin. Dresden: Warnatz & Lehmann 1876, S. 55–56 (Digitalisat).

 Heinrich Ferdinand Mannstein: Denkwürdigkeiten der churfürstlichen und königlichen Hofmusik zu Dresden im 18. und 19. Jahrhundert : Nach geheimen Papieren und Mittheilungen. Enthaltend: Lebensbilder von Joh. Mieksch und seinen Schülern: Alphonso Zesi, Bergmann, Schröder-Devrient, Agnes Schebest, Naumann, Carl Maria v. Weber, Morlacchi, Benelli etc. Heinrich Mattes, Leipzig 1863 (MDZ Reader).

Weblinks

Einzelnachweise

Theaterschauspieler
Opernsänger
Tenor
Hofschauspieler
Deutscher
Geboren 1795
Gestorben 1831
Mann


text:
NYC lawyer turns to zombies, werewolves and…
Opening Statements
NYC lawyer turns to zombies, werewolves and cocker spaniels for his books about case law
Illustration by Roger Radtke
Josh Warren is a New York City lawyer with an offbeat hobby: He publishes books that compile references in federal court decisions to things like zombies, cocker spaniels and werewolves. His first book, Zombie Law, was underwritten in 2012 by a $6,500 Kickstarter campaign, but it didn't find a huge audience. Undeterred, he's since published works including Werewolf in the Federal Courts, Cocker Spaniel in the Federal Courts and, most recently, Valentine's Day in the Federal Courts.
While the books don't sell that well, according to Warren, he may have a deeper, possibly darker, motive in publishing his volumes.
"The original inspiration was to get people to read case law," he says in all seriousness. "It's kind of pop culture-related, if you think about it," Warren adds.
This article originally appeared in the July 2015 issue of the ABA Journal with this headline: "Zombies, Werewolves, Cocker Spaniels and Valentine's Day—Oh My! NYC lawyer authors an unusual collection of books."
Careers | Opening Statements | Legal Writing
How to frame a legal issue: Part II
From Amanda Knox to Kyle Rittenhouse, lawyer discusses justice and due process in the digital age
Lawyer digs into big data for new legal thriller 'Code 6'


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text:
SOFIA MALDONADO
Born in Puerto Rico, 1984.
Lives and works between Puerto Rico & New York
Sofia Maldonado is an artist and muralist who uses color abstractions as a signifier of decay rather than a beautifying agent. Her studio work is nurtured by her colorful and bold public art projects. Maldonado's site-specific paintings focus on neglected buildings and abandoned spaces. To create her massive compositions, she uses a sprayer machine which allows her to imprint gigantic marks on the surfaces. In 2015, she created Kalaña, a site-specific project in an old tobacco factory where walls, ceiling and floor were painted and, in this way, converting the abandoned space into an ephemeral creative hub for community workshops and musical performances. Photo documentation of this project was exhibited at the Whitney Museum Biennial, as part of the "Debfair" by Occupy Museums (2017).
Artist Sofia Maldonado was born in San Juan, Puerto Rico, to a cuban mother. She obtained a BFA from Escuela de Artes Plásticas de Puerto Rico (2006), and an MFA from Pratt Institute, New York (2008). Maldonado have created various projects in New York with The Bronx Museum, The Times Square Alliance, Groundswell Community Project, No Longer Empty; and The Ringling Museum, in Florida; Real Art Ways, in Connecticut; The 10th Havana Biennial, in Cuba; and many more international mural collaborations.
In 2012, she exhibited her first solo museum show, "Fever: Tropical Nostalgia and Urban Anxieties", cu-rated by Carlo McCormick, at the Museum of Contemporary Art of Puerto Rico (MAC). That same year, she was awarded the Manhattan Community Arts Fund Grant an in 2015, she won first prize at "La Bienal de Muralismo" hosted by Foundation for Puerto Rico.
Her work had been exhibited at the Museum of Art and Design and El Museo del Barrio, New York, Ken-tucky Museum of Art and Craft, KY, The Ringling Museum, Florida, Atlantic Center of Modern Art, Ca-nary Islands, 1st Asuncion Biennial, Paraguay. She has participated in a diverse of residency programs such as Vermont Studio Center Residency (2009), Caribbean Link II, Aruba, (2013), Beta-Local, Puerto Rico (2015) and Fits Art Foundation (2015).
In 2016, Maldonado's commitment with Puerto Rico's cultural development has lead her to establish HIELO (an artist residency) and Open Studio Project (an artist' run space).
Born in July, 1984
Currently lives and works between Puerto Rico & New York
sofias.studio@gmail.com | sofiamaldonado.com
2008 M.F.A. Pratt Institute, Brooklyn, New York (NY)
2006 B.F.A Escuela de Artes Plasticas, San Juan, Puerto Rico (PR)
2002 Sculpture and Installation Seminar, School of Visual Arts, NY
2017 Fem Trap, Point Green Studios, Brooklyn, New York
2016 Garten, Open Studio Project, San Juan, Puerto Rico
2015 Dorado a Color y el Proyecto Kalaña, Fits Art Foundation, Dorado, Puerto Rico
2014 Into Gray, Magnan Metz Gallery, New York, New York
2013 B.O.Y, Nepenthes New York, New York
2012 Fever: Tropical Nostagias & Urban Anxieties, Museo Arte Contemporáneo, San Juan, PR
2011 (R)AMPED, University of Wisconsin-Madison, Wisconsin
2010 Letargo: Tinta y Sangre, Museo Arte Contemporáneo, San Juan, Puerto Rico
Concrete Jungle Divas, Magnan Metz Gallery, New York, New York Bling Bling, Witzenhausen Gallery, Amsterdam, The Netherlands
2009 Skate My Patria, Taller Puertorriqueño, Philadelphia, Pennsylvania
2008 Project Room, Pinta Art Fair, New York, New York
2007 The Tropical Storm, Magnan Metz Gallery, New York, New York
Selected Group Exhibitions
2017 Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, MOLAA, California
Debtfair, Occupy Museums, Whitney Biennial 2017, Whitney Museum of American Art, New York
Encuentros / Desencuentros, Casa Cortes, San Juan, Puerto Rico
2016 Frescos, Universidad Sagrado Corazón, San Juan, PR
2015 Groundswell Mural Arts Gala Benefit, at Colossal Media Studios, Brooklyn, NY
Museo de Arte de Puerto Rico Gala Anniversary, San Juan, PR
No Longer Empty Gala Anniversary, Brooklyn, NY
2014 NYC to Tehran, Seyhoun Art Gallery, Iran
Outside-Inside, Tabla Raza Gallery, Brooklyn, NY
Nu-Yo-Rican, El Centro, Hunter College, NY
Destination Unknow, Magnan Metz Gallery, New York, NY
Art Album, Castle Fitzjohns Gallery, New York, NY
2013 Against the Grain: Wood in Contemporary Art, Craft and Design, Museum of Art, Fort Lauderdale, FL
Nu-Yo-Ri-Can, Hunter College, Manhattan, NY
Caribbean Link II, Ateliers 89', Oranjestad, Aruba
Against the Grain: Wood in Contemporary Art, Craft and Design, Museum of Art and Design, NY
On Painting, Modern Art Atlantic Centre (CAAM), Gran Canaria, Spain
2012 Against the Grain: Wood in Contemporary Art, Craft & Design, Mint Museum, NC
This Side of Paradise, No Longer Empty, Bronx, NY
Into the Mix, The Kentucky Museum of Art and Craft, KY
2011 SFiles Biennial of El Museo del Barrio, New York, NY
Beyond Bling, The John and Mable Ringling Museum of Art, Sarasota, FL
Diasporas, University of Puerto Rico, Reciento de Rio Piedras, PR
2010 The Art of Basket Ball, NBA Cares, Miami, FL
Eames Inspirations, Barneys, New York, NY
2009 The Good, the Bad & the Ugly, Queens Museum of Art, NY
Synesthesia, Painted Bride Art Center, Philadelphia, PA
Hybridity, SomArts Cultural Center, San Francisco, CA
2008 V Certamen de Pintura Diputación de Castellón, Spain
En Sus Marcas, Institiuto de Cultura Puertorriqueña, San Juan, PR
Real Arts Public, Real Art Ways, Hartford, CT
Graphopoli, Urban Art Biennial, Museo de Arte de Puerto Rico, San Juan, PR
Skate My Patria, 10th Havana Biennial, Havana, Cuba
2015 Cromática: Caguas a Color, Independent Project, Caguas, PR
2014 1st Mural Biennale of Puerto Rico, Musum of Contemporary Art & Foundation form Puerto Rico
2013 Groundswell Community Mural and NeON, Jamaica, Queens, NY
Groundswell Community Mural, Queens,NY
Bronx Museum Biennale, with Cre8tiveYouth Mural, Bronx, NY
Cre8tiveYouth Mural Vol. II, New York, NY
Museo de Arte Contemporaneo de PR, Hotel Caribe Hilton, Puerto Rico,
2012 Los Muros Hablan, Museo de Arte Contemporaneo, San Juan, PR
Artist in Residence, Northern State University, Aberdeen, SD
Into the Mix, The Kentucky Museum of Art and Craft, Kentuky
2011 Art Miami Fair, Florida,
2010 Payne Skate Park, The John and Mable Ringling Museum of Art, Sarasota, FL
42nd Street Project, Times Square Alliance, Public Art Project, NY
2009 Skate My Patria, 10th Havana Biennial, Havana, Cuba
2008 Real Arts Public, Real Art Ways, Hartford, CT
Residencies / Grants
2017 Point Green Studios, Brooklyn, New York
2015 La Práctica Residency, Beta Local, San Juan, Puerto Rico
2015 Fist Art Foundation Residency, Dorado, Puerto Rico
2013 Caribbean Link II, Ateliers 89', Oranjestad, Aruba
2012 Manhattan Community Arts Fund Grant, LMCC, New York
2010 Cuban Artist Fund, Chashama, Studio Program, New York
2009 Vermont Studios Center Residency Fellowship, Vermont
Selected Books
Dawud Knuckles, (2014).The Art Album
Yoav Litvin, (2014). Outdoor Gallery
Lowery Sims, (2012). Against the Grain: Wood in Contemporary Art, Craft, and Design
Matthew McLendon, (2011). Beyond Bling: Voices of Hip Hop in Art
Celina Nogueras Cuevas, (2011). Frescos: 50 Puerto Rican Artists under 35
Carlo McCormick, (2010). Fever: Nostalgias Tropicales Y Ansiedades Urbanas En Sofia Maldonado
studio@sofiamaldonado.com
SOFIA MALDONADO STUDIO
700 Miramar Ave
San Juan, PR 00909
FEM TRAP
Kalaña
Cromática Caguas
Bienal Asunción
Arco Iris ICP
Mansión miramar
Collab NIZ
Wynwood Mural
TRES PALMAS
SOFIAMALDONADO .COM
2008 M.F.A. Pratt Institute, Brooklyn, New York
2015 Dorado a Color y el Proyecto Kalaña, Arte Fist Foundation, Dorado, PR
2014 Into Gray, Magnan Metz Gallery, New York
2012 Fever: Tropical Nostagias & Urban Anxieties in Sofia Maldonado, Museo de Arte Contemporaneo, PR
2011 (R)AMPED, University of Wisconsin-Madison, WI
2010 Letargo: Tinta y Sangre, Museo de Arte Contemporaneo de Puerto Rico, San Juan, PR
Concrete Jungle Divas, Magnan Metz Gallery, New York, NY
Bling Bling, Witzenhausen Gallery, Amsterdam, The Netherlands
2009 Skate My Patria, Taller Puertorriqueño, Philadelphia, PA
2008 Project Room, Pinta Art Fair, New York, NY
2007 The Tropical Storm, Magnan Metz Gallery, New York, NY
2013 Against the Grain: Wood in Contemporary Art, Craft and Design, Museum of Art, Fort Lauderdale
2011 SFiles Biennial of El Museo del Barrio, New York
2013 Groundswell Community Mural and NeON, Jamaica, Queens ,NY
Sofia Maldonado is a painter and muralist who uses color abstractions as a signifier of decay rather than a beautifying agent. Her studio work is nurtured by her colorful and bold public art projects. Maldonado's site-specific paintings focus on neglected buildings and abandoned spaces. To create her massive compositions, she uses a sprayer machine which allows her to imprint gigantic marks on the surfaces. In 2015, she created Kalaña, a site-specific project in an old tobacco factory where walls, ceiling and floor were painted and, in this way, converting the abandoned space into an ephemeral creative hub for community workshops and musical performances. Photo documentation of this project was exhibited at the Whitney Museum Biennial, as part of the "Debfair" by Occupy Museums (2017).
Maldonado was born in San Juan, Puerto Rico, to a cuban mother. She obtained a BFA from Escuela de Artes Plásticas de Puerto Rico (2006), and an MFA from Pratt Institute, New York (2008). Maldonado have created various projects in New York with The Bronx Museum, The Times Square Alliance, Groundswell Community Project, No Longer Empty; and The Ringling Museum, in Florida; Real Art Ways, in Connecticut; The 10th Havana Biennial, in Cuba; and many more international collaborations.
2015 La Práctica Residency, Beta Local, San Juan, PR
2015 Fist Art Foundation Residency, Dorado, PR
2012 Manhattan Community Arts Fund Grant, LMCC, NY
2010 Cuban Artist Fund, Chashama, Studio Program, NY
2009 Vermont Studios Center Residency Fellowship, VT
Skate My Patria, 10th Havana Biennial, Havana, Cuba Graphopoli, Urban Art Biennial, Museo de Arte de Puerto Rico, San Juan, PR


Ctgb makes assessments based on a set of criteria: the assessment framework. This framework is established in European legislation (regulations and directives). This legislation applies to all EU Member States, but country-specific regulations and requirements can also apply.
The European Union considers the correct use of biocidal products to be very important. To manage this properly, the EU has adopted binding legislation that applies to all Member States: the "European Regulation for the placing on the market and use of biocidal product", otherwise known as the Biocidal Products Regulation (EU) 528/2012. The aim of this legislation is to promote European harmonisation. Individual differences in assessments between Member States will be reduced, so an application in one country can also be recognised in another country, by means of mutual recognition.
To support the implementation of legislation guidance documents are developed under the auspices of the European Chemicals Agency (ECHA). The guidance documents describ the best way to deal with these obligations within specific frameworks. These guidance documents can be legal, procedural or scientific in nature. During the development of such documents, Ctgb sometimes takes the role of developer or commentator.
Registration Manual: this manual informs you about the application processes (including application and assessment process).
The manuals of Ctgb refer to the underlying guidance documents.


text:
Guthrie Genealogy
GENETIC GENEALOGY of GUTHRIE FAMILY GROUP 2A
Participant RDG
Branch B
Participant 640279
Participant DLD
Participant LLG
Participant PPG
Participant REG
Participant RGG
Branch C
Participant CRG
Participant DWG
Participant GSG
Participant WLG
Participant BHG
Participant HLG
Participant NG
Branch E
Participant EJG
Branch G
Participant GRG
Participant RG
Branch H
Participant WSG
Participant WG
Branch J
Participant TBG
Branch K
Branch L
Participant GLF
Branch M
Participant B276145
William Thomas Guthrie & Sally Meritt Eades & Ellen Amelia Anthony
GFG2A - BRANCH B - CLUSTER 1
William Thomas Guthrie
Son of Samuel Guthrie & Elizabeth Hope
Location: Mercer County, Kentucky, USA
Married 1st: SME 5 Jan 1852
Married 2nd: EAA Before July 1860
Occupation: Farmer
Died: 1881
Location: Purdin, Linn County, Missouri, USA
Buried: Unknown, presumably in Missouri
Sally Meritt Eades
Daughter of (Unknown) Eades
Born: c1836
Sons: None
Daughters: Elizabeth Jennie, Berthena
Died: 8 Dec 1858
Location: Linn County, Missouri
Buried: Old Linneus Cemetery, Linn, Missouri
Ellen Amelia Anthony
Daughter of William T Anthony & Rachel Whatley
Born: 31 March 1843
Sons: James William, David L, Samuel H, Richard Daniel, Harry B
Daughters: Veneida Ann Hope, Ella, Mary J, Sarah E, Minnie C, Clara E
Died: 24 February 1879
Location: Livingston County, Missouri, USA
Buried: Van Horne Cemetery
THE HIGHLIGHTS:
1824: BIRTH of WILLIAM THOMAS GUTHRIE
Although many online trees list the birthplace of William Thomas Guthrie and his siblings as Perryville, Boyle County, Kentucky that might be a reference to the modern names given to old locations. Boyle County was formed from Lincoln and Mercer Counties on 15 Feb 1842. It was not until after the War of 1812 that Bullock and Hall organized plans for a village near Harbeson's Station, a fort along the Chaplain River, but that fort had been established as early as 1781. During the late 1830s, a row of buildings along the river formed the basis of Perryville, now called "Merchants' Row". {SOURCE}
William's parents were married in Mercer County, KY in 1819 and the Saml Guthrie Household was enumerated there in 1830. So it is probable that William was born in Mercer County. Since Perryville was established at Harbeson's Station it it possible that the Guthries were living in the area at the time, especially since William's maternal grandmother was a Harbison.
1830: CENSUS of MERCER COUNTY, KENTUCKY
William would've been enumerated with his parents. This is the only Samuel Guthrie household listed in the area. The numbers are off a bit from what we know. William would be one of the 2M in the <5 category, but there are also 1M and 1F in that same category we don't have listed on the family group sheet. This might account for the 8-year gap between William's and Rachel's birth reflecting 2 children who did not survive to adulthood.
SAML GUTHRIE HOUSEHOLD: 1M 30-39 (1791-1800), 1F 20-29 (1801-1810),1M 10-14 (1816-1820),1M 5-9 (1821-1825), 2M&1F<5 (1826-1830), 2M &1F slave <10.
ELIZ GUTHRIE HOUSEHOLD: 1F 30-39, 1M 10-14, 1M & 1F 5-9, 1M & 1F <5.
By 1840 William's father had gone his separate ways. No documentation has been found to date about the situation as to whether an actual divorce was involved. He was the oldest boy left on the farm in 1840.
1842: BOYLE COUNTY FORMATION
On 15 Feb 1842, Boyle County was formed from Mercer and Lincoln Counties. The family farm fell into the Boyle County area.
1850: CENSUS of DISTRICT 1, BOYLE COUNTY, KENTUCKY
GUTHRIE HOUSEHOLD: Elisabeth 50, 2000 KY; William T 23 farmer KY; Rachel A 18 KY; Harvy L 17 KY; Margaret J 15 KY; James B 13 KY.
Although William is an adult by the time of the 1850 census, his mother is still listed as the head of household. Perhaps because he was not the eldest son of the family.
1852: MARRIAGE to SALLY MERITT EADES
William & Sally were married on 5 Jan 1852 in Garrard County, Kentucky. This marriage produced two daughters. Little is known by the family about Sally herself including her cause of death and burial location.
1853: EMIGRATION from KY to MO
The young couple moved a farm about 17 miles north of Chilicothe, Livingston, Missouri. A comment posted on Ancestry: Don Guthrie to his grandsons on 11/4/71, "William Thomas Guthrie made the big jump west to Missouri probably between 1840 & 1845 (note this is too early as he is enumerated in the 1850 KY census as a single man). He went down the Ohio river up the Mississippi & Missouri rivers to Brunswick, Missouri. From there he rode horse to Livingston county where he taught the settlers to grow tobacco. I know nothing about his first wife by whom he had several children, only one of whom survived to adult years."
1854: BIRTH of DAUGHTER, ELIZABETH JENNIE GUTHRIE
Born in October of 1854, census records list Jennie's birth location as Missouri. She was married twice. First to John F Sidener by 1876. John Sidener's death date is unknown. Jennie remarried on 31 Aug 1892 to John Fletcher Mills in Linneus, Linn, Missouri. He was born 18 Nov 1844 in Casey County, KY, the son of Thomas and Prudence (Gregory) Mills. There were children from both marriages. John Fletcher Mills died of heart trouble on 30 Jul 1921 {SOURCE}. Jennie died in Purdin, Linn, Missouri in 1922. Both are buried at Purdin Cemetery.
1858: BIRTH of DAUGHTER, BERTHENA GUTHRIE
Berthena was born in 1858 in Missouri, probably Livingston County. Her name is spelled a number of ways in the records. The 1860 census of Cream Ridge, Livingston, Missouri lists her as 'Parthena' and she is living with her father W T Guthrie, 31, and stepmother Ellen, 17. Her sister Elizabeth Jennie is not enumerated with the family. In 1870, the family is living in Medicine, Livingston, MO. 'Bethenna' is listed with her family, including sister Elizabeth, and step-siblings. Berthena married William Tripplet on 20 Oct 1872 in Livingston, Missouri, at the young age of 14.. Their family was living in Medicine, Livingston, Missouri during the 1880 census listing them with a daughter, Bertha, and a son Willie. Berthena Guthrie Triplett died prior to 1900. The 1900 census lists William Triplett as a widower, age 50, living with his 14 year old daughter Nancy Triplett. There is a William Triplett of the appropriate age listed in 1910 Linn County, Missouri with a wife named Fanny and daughter Nancy Triplett. The pair are living along in Chilicothe, Livinston, Missouri in 1920.
1858-1859: DEATH of WIFE, SALLEY MERRITT EADES GUTHRIE
Sally's exact date and place of death remain unknown, but it was likely in Livingston County, Missouri.
1860: MARRIAGE of WILLIAM T GUTHRIE to ELLEN AMELIA ANTHONY
William Guthrie married fairly quickly after his first wife's death. In July of 1860, Ellen was about 17 at the time of her marriage to 36 year old William. She was born in New York to William and Rachel Anthony. William & Ellen had 11 children: Veneida Ann Hope, James William, Ella, David L, Samuel H, Mary J, Sarah E, Minnie G, Clara E, Richard Daniel, and Harry B.
1860: CENSUS of CREAM RIDGE, LIVINGSTON, MISSOURI
GUTHRIE HOUSEHOLD: W.T. Guthrie 31 KY 500 200; Ellen 17 NY; Parthena 2 MO
Notice that William's eldest daughter, Elizabeth Jennie Guthrie, is not living with the family. Berthena is listed as "Parthena".
1861: BIRTH of DAUGHTER, VENEIDA ANN HOPE GUTHRIE
William & Ellen's eldest daughter was born on 10 January 1861 in Missouri. The 1870 census lists her as "Bermuda A Guthrie". She married Newton A Robinson about 1800. Both she and her husband are living with her parents in the 1880 Medicine, Livingston, Missouri census that year. By 1900 Veneida and Newton were living in Kansas and by 1910 in Colorado. They later moved to Scottsdale, Maricopa, Arizona. No children. Veneida died on 15 Jan 1923 in Scottsdale, AZ.
1863: US CIVIL WAR DRAFT REGISTRATION RECORDS
William T Guthrie is listed in the Utica, Livingston, Missouri registration records, Age on 1 July 1863: 36 years old, farmer, married, birthplace: KY, non resident (of Utica).
1863: BIRTH of SON, JAMES WILLIAM GUTHRIE
James was born in Marceline, Linn, Missouri on 2 Sep 1863. He married Carolyn 'Callie' A. Henry about 1899. They were parents of 1 son: Roy Robinson Guthrie born in 1903. They lived in Arkansas, Kansas and Oklahoma. James William Guthrie died in Muskogee County, Oklahoma on 22 June 1919. He is buried in Greenhill Cemetery in Muskogee. Plot: Block 104, Lot 2, Space 1. His tombstone reads JW Guthrie. Callie died on 3 June 1922 and is also buried in Greenhill Cemetery. Her tombstone is next to her husband in Block 104, Lot 2, Space 2, and reads Mrs JW Guthrie. {Guthries at Greenhill Cemetery}
1865: BIRTH of DAUGHTER, ELLA GUTHRIE - ?
According to the 'Godwin Family Tree' online at Ancestry, Ella was born in Missouri in 1865 and died in 1880 at age 15. However, she is not listed with the family in 1870 or 1880. If Ella was indeed a child of William & Ellen, born in 1865, then she probably died before 1870.
1866: BIRTH & DEATH of SONS, DAVID L GUTHRIE & SAMUEL H GUTHRIE
David L Guthrie was born in January 1866 and died on 22 Feb 1866. COD and burial location unknown. Ellen quickly became pregnant again, giving birth to son Samuel H Guthrie in November 1866. He died 4 December 1866.
1868: BIRTH & DEATH of DAUGHTER, MARY J GUTHRIE
Mary was born either in 1867 or 1868. She died 2 June 1868.
1869: BIRTH & DEATH of DAUGHTER, SARAH E GUTHRIE
Sarah was born on 19 May 1869. She died on 10 Nov 1869.
1870: Birth of DAUGHTER, MINNIE C. GUTHRIE
Minnie was born on 4 August 1870. She died on 18 Mar 1871 at age 7 months and 14 days making her the 5th or 6th child in within the space of 5 years to die young. Minnie is buried at Van Horne Cemetery, located NE of Chula, Missouri.
1870: CENSUS of MEDICINE, LIVINGSTON, MISSOURI, USA
GUTHRIE HOUSEHOLD: William 42 farmer 2400 1070 KY; Ellen E 27 NY keeping house; Bermuda A 9 MO; James W 6 MO; Minnie G. 1/12 (born Aug) MO; Elizabeth 15 MO; Bethenna 12 MO; William Anthony 57 works on farm England; Rachel Anthony England.
1871: DEATH of DAUGHTER, MINNIE C GUTHRIE
Minnie died at 7 months and 14 days of life. She is buried in Van Horne Cemetery, Livingston County, Missouri.
1872: BIRTH of DAUGHTER, CLARA E GUTHRIE
Clara was born on 3 Sep 1872 in Livingston County, Missouri.
1874: DEATH of DAUGHTER, CLARA E GUTHRIE
Clara lived to the age of 2yrs 1 month and 23 days. COD unknown. She is buried at Van Horne Cemetery.
1875: BIRTH of SON, RICHARD DANIEL GUTHRIE
Only the eldest two of Ellen's children were still living when her (9th or) 10th child, Richard Daniel Guthrie, was born on 4 Nov 1875. He survived his childhood years only to lose both parents at a young age. His mother died in 1879 and his father in 1881. At the age of 23 he went to work for the Santa Fe RR Company as a railroad engineer. He married Lois Agnes MacKenzie in Browning, Linn, Missouri on Valentine's Day 1901. Richard & Lois are the grandparents of DNA Project Participant, Richard Gray Guthrie.
1878: BIRTH of SON, HARRY B GUTHRIE
Harry was born on 22 Feb 1878 in Medicine, Livingston County, Missouri.
1879: DEATH of SON, HARRY B GUTHRIE
Harried died of unknown causes on 18 March 1879 at age 1 year and 24 days. He is buried in Van Horne Cemetery.
1879: DEATH of WIFE ELLEN AMELIA ANTHONY GUTHRIE
Ellen died on 24 February 1879 in Livingston County, Missouri. She was 35 years, 10 months, and 24 days old. Buried in Van Horne Cemetery.
GUTHRIE HOUSEHOLD: William T 52 farmer; James W 17 son farm hand; Richard D 4 son; Newton Robinson 23 son-iin-law farmer; Vernerda H Robinson 19 daughter keeping house; James Barber 65 boarder gardner & teacher; Jas A Walker 46 boarder horseman.
1881: DEATH of WILLIAM THOMAS GUTHRIE
Pat Dunford Guthrie, wife of our DNA Project Participant, Richard Gray Guthrie, says: "(William Thomas Guthrie) lived in Livingston, but close to the (county) line, and drowned crossing a stream in Linn."
William's burial location is unconfirmed, but his wife Ellen and children Minnie, Clara and Harry were buried at Van Horne cemetery, so that might be the correct location.


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Sony Xperia 5 IV Price In Philippines
September 9, 2022 by ittynG in Categories Smartphones
SONY XPERIA 5 IV PRICE – Discover the specifications of the Sony Xperia 5 IV. See this smartphone's full specifications, features, colors, and prices in the Philippines here.
Sony Xperia 5 IV Full Specifications, Features, Price In Philippines
Here's The Complete List of Specifications, Features, & Price of the Sony Xperia 5 IV
The Sony Xperia 5 IV was officially announced on September 1, 2022, and released on September 22, 2022. The 5G-ready smartphone is powered by a 5000 mAh Li-Po battery (non-removable) + Fast charging + Wireless charging + Reverse wireless charging + SB Power Delivery 3.0. It is available in three colors: Green, Black, and Ecru White.
Body & Display:
Xperia 5 IV has Corning Gorilla Glass Victus protection. It is built with a glass front (Gorilla Glass Victus), a glass back (Gorilla Glass Victus), and an aluminum frame. It measures 156 x 67 x 8.2 mm and weighs 172 grams. It comes in a 6.1 inches screen size and the display is OLED capacitive touchscreen that provides 1080 x 2520 pixels resolution.
The smartphone is powered by the Qualcomm SM8450 Snapdragon 8 Gen 1 (4 nm) Octa-core processor while the graphics processing unit (GPU) is Adreno 730. It runs on the Android 12 operating system. It is packed with 8GB of RAM while the internal storage has 128GB and 256GB options.
Main Camera:
The rear camera of the Sony Xperia 5 IV consists of a 12-megapixel (wide) + 12-megapixel (telephoto) + 12-megapixel (ultrawide). It features Zeiss optics, Zeiss T* lens coating, LED flash, panorama, HDR, and eye tracking.
Selfie Camera:
On the front, the mobile features a 12-megapixel (wide) camera for clicking beautiful selfies and making video calls. It features HDR.
The phone's sensors include fingerprint (side-mounted), accelerometer, gyro, proximity, barometer, compass, and color spectrum. It also features USB Type-C 3.1, USB OTG, WiFi 802.11 a/b/g/n/ac/6e, hotspot, Bluetooth 5.2, GPS with dual-band A-GPS, GLONASS, BDS, GALILEO, QZSS, and NFC.
What do you think of the Sony Xperia 5 IV? Is it good or bad? Let me know in the comments. For more related article, visit the Smartphone section.
1, 3, 5, 7, 8, 20, 28, 38, 40, 41, 77, 78 SA/NSA/Sub6 - USA, Europe
1, 3, 5, 7, 8, 28, 38, 40, 41, 77, 78, 79 SA/NSA/Sub6 - Asia
Zeiss optics, Zeiss T* lens coating, LED flash, panorama, HDR, eye tracking
[email protected]/25/30/60/120fps HDR, [email protected]/60/120/240fps; 5-axis gyro-EIS, OIS
[email protected], [email protected]/60fps, 5-axis gyro-EIS
Wi-Fi , Hotspot/Tethering , GPS , Bluetooth , OIS , Flash , Waterproof , Fingerprint Scanner , NFC , 3.5mm Headphone Jack , Triple Cameras
156 x 67 x 8.2 mm (6.14 x 2.64 x 0.32 in)
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Young Boxer Suddenly Collapsed & Died During Training at Gym in Makati City


The John Lennon Memorial Scholarships were set up by a trust fund endowed in the University for the provision of scholarships in the memory of John Lennon. The award is intended to support students from Merseyside who might be in financial need and enhance, among other things, awareness of global problems and environmental issues. The competition for this scholarship will open on 1st December 2018.
A number of awards will be available. These are awards for both taught and research postgraduate students.
If you are a current or prospective Home/EU postgraduate (taught and research), either born in or with very strong family connections to Merseyside and who has an academic offer from the University of Liverpool, you are eligible to apply. The award is available to all subject areas studied on the main University campus.
If you are a current PGR student, the award is available from October 1st until the end of the third year of your registration (or part time equivalent).
Please note that the Scholarships Sub-Committee may insert additional eligibility criteria to the list above. For example, the Scholarship Sub-Committee may target some awards at particular disciplines or levels, if deemed appropriate.
In order to apply for this award you will be required to complete an application form (Microsoft Word). Please ensure you complete all the sections, especially the reference section.
You will need to complete and submit the form by email to the Secretary to the Scholarships Sub-Committee by email to seschol@liverpool.ac.uk. Applications may also be returned by post to the address indicated on the application form, but candidates are asked to consider the environmental impact of doing so.
For all enquiries please contact the Secretary to the Scholarships Sub-Committee.
As an international student, am I entitled to apply for the John Lennon Memorial Scholarship?
This scholarship is only available to applicants from Merseyside.
I have already secured other funding. Am I eligible to apply?
Priority is given to students who are considered to be in the most financial need. You are required to declare any other source of funding on your application form.
I am already studying at the University. Am I eligible to apply?
Yes, the awards are available to current postgraduate research students, however, they will only be available up to the end of the third year of full time study (pro rata'd for part time). Current undergraduate students who plan to continue to master's and who meet the criteria are encouraged to apply. However, you must meet the citeria of either being born in or having very strong family connections to Merseyside.
The closing date for the competition is 5 April 2019.


Suzlon Group, India's leading wind turbine manufacturer on Friday reported results for the first quarter of financial year 2015-16.
Shares rose more than 10 per cent after the company reported net profit of Rs 1,047 crore for the June qaurter, against a net loss of Rs 751 crore in the last year same quarter.
Also, the company's consolidated net debt was lower at Rs. 7,010 crs from Rs 14,821crs as of 31st March 2015. Interest cost was also down by 36 per cent QoQ.
The company said that it will focus on the Indian market as well as North America, China and Brazil. There will also be focus on leveraging technology to reduce cost of energy.
The company stood at Rs 3,070 crs of liquidity to capture strong growth opportunity, added further.
Commenting on the results, Mr. Tulsi Tanti, Chairman, Suzlon Group said that "Our Q1 performance reflects our turnaround journey. Our strategic vision incorporates the government's renewable energy target of 175 GW by 2022 and the conducive policy landscape.
Shares of the company was seen trading at Rs 24.10 on BSE at 10.54 AM IST. It touched an intra-day high of Rs 24.55 during the trade.


The Bystrom Church Guide provides descriptions of local Christian churches, cathedrals and other places of Christian worship in Bystrom California. Maps are included. If you are a resident, visitor or are preparing to relocate within the city limits, you will find this information useful. With it you can connect with other congregations in your area, find a like-minded church to worship while visiting, or have the information you need to begin searching for a new home church.


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Showing Results for Vitafusion
CL Answer
Are gummy vitamins better or worse than pills?
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Metal Reported in Church & Dwight Gummy Melatonin, Multis & Fiber Supplements
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Find the Best Vitamin D Supplement with the Right Dose
CoQ10 and Ubiquinol Supplements Review
Find the Best CoQ10 and Ubiquinol Supplements and Learn What They Do
Best B Complexes, B12, and Other B Vitamin Supplements Revealed by ConsumerLab Tests: Beware of High Doses
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ConsumerLab Tests Vitamin D Supplements and Cautions About Dose
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Best CoQ10 and Ubiquinol Supplements Identified in Testing by ConsumerLab
White Plains, New York, September 11, 2021 — CoQ10 and ubiquinol, the active form of CoQ10, are often taken to offset a decline in natural levels that occurs with the use of statin (cholesterol-lowering) medication, and are also promoted for increasing energy and anti-aging effects.
Top-rated Vitamin and Supplement Brands and Merchants for 2021 Based on Consumer Satisfaction -- Results of the ConsumerLab.com Survey of Vitamin & Supplement Users
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Best and Worst Multivitamins Revealed by ConsumerLab -- Problems Found With 44% of Multis Tested
White Plains, New York, April 28, 2020 — Multivitamin/multimineral supplements are among the top five most popular supplements, but with so many different formulas on the market, it can be difficult to choose the right one.
White Plains, New York, February 25, 2020 — Each year, ConsumerLab.com surveys its free e-newsletter subscribers about the vitamins and supplements that they use. The results below are based on 9,782 responses collected in late November and early December 2019.
ConsumerLab Tests Reveal Best B Vitamin Supplements -- 19% of B Vitamin Supplements Fail CL's Tests of Quality
White Plains, New York, June 25, 2019 — B vitamins and complexes are among the most popular supplements sold in the U.S. because B vitamins are essential for a wide range of functions in the body.
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White Plains, New York, January 12, 2016 — You can't always judge a supplement by its label -- or by its price, according to a new report from ConsumerLab.com, which recently tested dozens of multivitamin/multimineral supplements.
Each year, ConsumerLab.com surveys its free e-newsletter subscribers about the vitamins and supplements that they use. The results below are based on 10,329 responses collected in November, 2014. Respondents gave ratings for 1,709 brands and 891 merchants.
You May Be Getting More Vitamin C Than You Think from Some Supplements, Cautions ConsumerLab.com -- 27% of Vitamin C Supplements Don't Meet Label Claims in Recent Tests --
White Plains, New York, January 29, 2014 — It's cold and flu season, which means many people are reaching for vitamin C, as it may modestly reduce cold symptoms (although it won't prevent a cold).
ConsumerLab.com Reveals How Much Caffeine is in Energy Drinks -- Also Finds Some Drinks and Dietary Supplements Don't Contain Claimed Amounts of B Vitamins
White Plains, New York — September 27, 2012 — Energy shots and drinks are promoted to keep you alert and energized, attributing their effects to special formulas often "packed with B vitamins and nutrients to make it last," as a commercial for 5-hour Energy proclaims.
Problems discovered with eight vitamin D supplements in study by ConsumerLab.com -- Incorrect amounts of vitamins, lead contamination, and labeling infractions identified.
White Plains, New York — April 26, 2010 — Among 28 vitamin D supplements recently selected for independent testing, problems were found with 8 products, 29% of those reviewed, according to ConsumerLab.com.
ConsumerLab.com reviews CoQ10 and ubiquinol supplements -- Tests show quality to be high, but large differences found in dosage, formulation, and cost
WHITE PLAINS, NEW YORK — MARCH 8, 2011 — A new report by ConsumerLab.com highlights the difficulty consumers may have in selecting a supplement containing the anti-oxidant CoQ10 or its activated form, ubiquinol. CoQ10 is among the most popular dietary supplements in the U.S.
ConsumerLab.com reports largest test of CoQ10 and ubiquinol supplements -- Most supplements provide claimed ingredient, but large variation in dosage and forms may confuse consumers. ConsumerLab.com provides guidance.
WHITE PLAINS, NEW YORK — JANUARY 13, 2009 — A report by ConsumerLab.com on supplements containing the anti-oxidant CoQ10 shows the difficulty for consumers in determining an appropriate dosage.
Children and Adult Gummy Vitamins Recalled in Canada Due to Excessive Vitamin D
On August 6, 2015, Health Canada (the Canadian equivalent of the U.S. FDA) announced Church & Dwight Canada Corp. is recalling the following supplements because they contain more vitamin D than claimed on the label (identified in Canada by their assigned natural product number (NPN):