text:
.class public interface abstract Landroid/location/ILocationManager;
.super Ljava/lang/Object;
.source "ILocationManager.java"

# interfaces
.implements Landroid/os/IInterface;

# annotations
.annotation system Ldalvik/annotation/MemberClasses;
    value = {
        Landroid/location/ILocationManager$Stub;
    }
.end annotation

# virtual methods
.method public abstract addGnssBatchingCallback(Landroid/location/IBatchedLocationCallback;Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract addGnssMeasurementsListener(Landroid/location/IGnssMeasurementsListener;Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract addGnssNavigationMessageListener(Landroid/location/IGnssNavigationMessageListener;Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract addTestProvider(Ljava/lang/String;Lcom/android/internal/location/ProviderProperties;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract clearTestProviderEnabled(Ljava/lang/String;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract clearTestProviderLocation(Ljava/lang/String;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract clearTestProviderStatus(Ljava/lang/String;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract flushGnssBatch(Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract geocoderIsPresent()Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getAllProviders()Ljava/util/List;
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "()",
            "Ljava/util/List",
            "<",
            "Ljava/lang/String;",
            ">;"
        }
    .end annotation

    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getBackgroundThrottlingWhitelist()[Ljava/lang/String;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getBestProvider(Landroid/location/Criteria;Z)Ljava/lang/String;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getFromLocation(DDILandroid/location/GeocoderParams;Ljava/util/List;)Ljava/lang/String;
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "(DDI",
            "Landroid/location/GeocoderParams;",
            "Ljava/util/List",
            "<",
            "Landroid/location/Address;",
            ">;)",
            "Ljava/lang/String;"
        }
    .end annotation

    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getFromLocationName(Ljava/lang/String;DDDDILandroid/location/GeocoderParams;Ljava/util/List;)Ljava/lang/String;
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "(",
            "Ljava/lang/String;",
            "DDDDI",
            "Landroid/location/GeocoderParams;",
            "Ljava/util/List",
            "<",
            "Landroid/location/Address;",
            ">;)",
            "Ljava/lang/String;"
        }
    .end annotation

    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getGnssBatchSize(Ljava/lang/String;)I
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getGnssYearOfHardware()I
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getLastLocation(Landroid/location/LocationRequest;Ljava/lang/String;)Landroid/location/Location;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getLocBlacklist()Ljava/util/Map;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getLocWhitelist()Ljava/util/Map;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getNetworkProviderPackage()Ljava/lang/String;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getProviderProperties(Ljava/lang/String;)Lcom/android/internal/location/ProviderProperties;
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract getProviders(Landroid/location/Criteria;Z)Ljava/util/List;
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "(",
            "Landroid/location/Criteria;",
            "Z)",
            "Ljava/util/List",
            "<",
            "Ljava/lang/String;",
            ">;"
        }
    .end annotation

    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract isProviderEnabled(Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract isProviderRunning(Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract locationCallbackFinished(Landroid/location/ILocationListener;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract notifyNSFLP(Landroid/os/Message;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract pauseProvider(Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract providerMeetsCriteria(Ljava/lang/String;Landroid/location/Criteria;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract registerGnssStatusCallback(Landroid/location/IGnssStatusListener;Ljava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeGeofence(Landroid/location/Geofence;Landroid/app/PendingIntent;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeGnssBatchingCallback()V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeGnssMeasurementsListener(Landroid/location/IGnssMeasurementsListener;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeGnssNavigationMessageListener(Landroid/location/IGnssNavigationMessageListener;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeTestProvider(Ljava/lang/String;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract removeUpdates(Landroid/location/ILocationListener;Landroid/app/PendingIntent;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract reportLocation(Landroid/location/Location;Z)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract reportLocationBatch(Ljava/util/List;)V
    .annotation system Ldalvik/annotation/Signature;
        value = {
            "(",
            "Ljava/util/List",
            "<",
            "Landroid/location/Location;",
            ">;)V"
        }
    .end annotation

    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract requestGeofence(Landroid/location/LocationRequest;Landroid/location/Geofence;Landroid/app/PendingIntent;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract requestLocationUpdates(Landroid/location/LocationRequest;Landroid/location/ILocationListener;Landroid/app/PendingIntent;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract resumeProvider(Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract sendExtraCommand(Ljava/lang/String;Ljava/lang/String;Landroid/os/Bundle;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract sendNiResponse(II)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract setDataFromNSFLP(ILandroid/os/Bundle;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract setTestProviderEnabled(Ljava/lang/String;ZLjava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract setTestProviderLocation(Ljava/lang/String;Landroid/location/Location;Ljava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract setTestProviderStatus(Ljava/lang/String;ILandroid/os/Bundle;JLjava/lang/String;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract startGnssBatch(JZLjava/lang/String;)Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract stopGnssBatch()Z
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method

.method public abstract unregisterGnssStatusCallback(Landroid/location/IGnssStatusListener;)V
    .annotation system Ldalvik/annotation/Throws;
        value = {
            Landroid/os/RemoteException;
        }
    .end annotation
.end method


text:
È fondamentale il suo contributo all'antropologia culturale e alla storia delle religioni.

Biografia
Nato a Glasgow nel 1854, ha frequentato il Trinity College di Cambridge dove, per compiacere il padre, conseguì la laurea in legge. Dopo aver letto il saggio "Cultura Primitiva" (1871) del padre dell'antropologia culturale Tylor, si avvicinò alla disciplina antropologica come studioso "da tavolino", offrendo molte informazioni sul sistema di pensiero magico delle società primitive. Muore a Cambridge nel 1941.

James Frazer scrisse Il ramo d'oro, opera monumentale in cui espose la sua teoria sulla magia, intesa come inizio di un complesso percorso che la vede evolversi prima nella religione e poi nella scienza. Definisce la magia come un fenomeno di simpatia tra le cose, capace di instaurare legami per omeopatia (cioè similitudine, come nel caso dei riti vudù) o contagio (due cose in contatto fra di loro continuano ad avere un influsso l'una sull'altra anche dopo essere state separate).

È importante anche la teoria che sviluppa a proposito del dio morente, un tema che Frazer individua all'interno di numerose religioni, a partire dagli studi di Wilhelm Mannhardt, che vede la divinità coinvolta in una vicenda in cui perderà la vita, per poi riacquistarla nuovamente in un momento successivo. Ne sono esempi le vicende mitiche di Osiride, Dioniso, Attis, Adone, Baal,  etc.

Il tema centrale da cui si sviluppa Il ramo d'oro è la vicenda del Rex Nemorensis, sacerdote di Diana nel tempio di Nemi, sopravvivenza di un antico culto all'interno del contesto storico dell'antica Roma. Secondo l'interpretazione di Frazer, egli agisce sulla natura e sulla fertilità per i suoi poteri simpatici (propri della magia simpatica di sopra) e ha un ruolo sociale fondamentale per la comunità che vi circola attorno. Per difenderne l'integrità fisica essa ha stabilito un sistema di tabù finalizzato a proteggerlo, mentre l'integrità spirituale viene garantita dal trasferimento simbolico in un'anima esterna (il ramo d'oro). Al sopraggiungere della decadenza fisica del re mago, non più adatto al suo ruolo sociale, la successione viene determinata dall'uccisione rituale del rex nemorensis da parte di uno sfidante, che lo deve uccidere in duello dopo aver spezzato il ramo del boschetto di Diana.

Secondo il giornalista britannico Henry Noel Brailsford, Frazer ha contribuito a formare il pensiero del Novecento, come Karl Marx e Sigmund Freud, oltre che di Charles Darwin, del quale Frazer si considerava discepolo e continuatore.

Ma proprio il metodo "darwiniano" applicato alla storia delle religioni gli attirò le critiche di Ludwig Wittgenstein, secondo il quale Frazer:

e poco più oltre:

Stadi di sviluppo
Frazer applicò lo schema evoluzionistico allo studio delle forme di conoscenza e organizzazione del mondo.
 Lo stadio della Magia:  i popoli antichi cercavano di dominare le forze della natura tramite la magia.
 Lo stadio della Religione: i popoli si affidavano agli dèi, sia questo stadio che il primo, per Frazer, erano inefficaci perché impedivano all'uomo di comprendere il mondo naturale.
 Lo stadio della Scienza: ovvero la scienza moderna dell'epoca industriale che aveva la capacità di spiegare concretamente e controllare la realtà.

Racconti sull'origine della morte
Frazer raccolse alcuni racconti provenienti da diverse parti dell'Impero Britannico e li divise in quattro categorie generali:

 Racconto dei Due Messaggeri
 Racconto della Luna Calante e della Luna Crescente
 Racconto del Serpente e del cambio della muta
 Racconto del Banano

Racconto dei Due Messaggeri
Questo tipo di racconto è diffuso in Africa. Si narra di due messaggi inviati dall'essere supremo al genere umano: un messaggio di vita eterna e uno di morte. Il messaggero che porta il messaggio di vita eterna ritarda nel suo cammino e quindi il messaggio di morte viene ricevuto per primo.

Pubblicazioni
Alcune opere adattate in lingua italiana:

 James Frazer, Sulle tracce di Pausania, Adelphi 1994;
 James Frazer, La crocifissione di Cristo, seguito da La crocifissione di Aman di Edgar Wind, a cura di Andrea Damascelli, Quodlibet, 2007.

Onorificenze

Note

Bibliografia

 Giacomo Scarpelli, Frazer, Hardy e la magia simpatica (con due lettere inedite), in Griseldaonline - Portale di letteratura, n° 10, 2010, 4 pp. ISSN 1721-4777. http://www.griseldaonline.it/percorsi/ecologia_sguardo/scarpelli.html
 Giacomo Scarpelli, Il razionalista pagano. Frazer e la filosofia del mito, Milano, Meltemi 2018 ISBN 9788883539053

Voci correlate
 Evoluzionismo (scienze etno-antropologiche)
 Robert Graves
Re sacro

Altri progetti

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


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text:
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redpajama_set_name: RedPajamaCommonCrawl


Thinking (At the end of every week of class you will be reflecting on your work and your learning: thinking through a complex concept, a theoretical idea or a practical problem; or, making connections to other class material, other classes or to other relevant literary and cultural contexts).
We will go over the difference between pages (as opposed to posts) and widgets (such as a tag cloud or a list of links that you can use to customize your page and make it easier for a reader to navigate). If you would like to add images to your site or to postings, you will learn how simple this really is. I will show you the Word Press tutorials as well. The eleventh tutorial, titled "Insider Tips," is helpful. The "kitchen sink" icon in the post/page editor, to take one example, reveals formatting options, enabling you to create headings and indent text, or to use the "paste from word" button that will carry over formatting from a word document.
Once you have created the blog, send an e-mail with the blog URL to me at mlong@keene.edu. I will post a link on the course blog so that everyone has access to your writing. If you are having any problems working with your blog, or would like to talk with me about your blog, please make an appointment with me.
Managing your Blog All of the writing you complete in this course will be posted to your blog. You are required to complete all of the writing tasks that I post on the course blog to receive a passing grade in the course. You must do all of the writing on time. I read every word you write to prepare for class and your writing will be the subject of our class sessions.
build a list of relevant links. The "Blogroll" on your site might list sites with materials useful for students of language and literature. The goal is to establish a set of links for readers seeking pathways into the world of English studies.
During the first week of class we will look over the WP dashboard and the various features of the WP platform. However the best way to learn how to use WP is to experiment. As you will see, changing the look and organizational structure of your blog is simple.
This entry was posted in Uncategorized and tagged blogs and blogging, digital writing on January 11, 2016 by admin.


Benjamin Franklin said that "time is money" and as market researchers know, time is the key variable that drives the cost of research.
In quantitative research, the length of a survey—that is, the amount of time it takes a respondent to complete a survey—determines most other "time" variables as well: the professional time it takes to design research and analyze data, the fieldwork time it takes to collect data, and the respondent time that requires compensation through incentives.
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But of course most survey questions are not simple, and few of us can cram eighty questions into a ten minute survey. Most surveys have a mix of simple single choice questions, complex multiple-select questions, grid questions, open-end responses, and numeric answers that require thought and mental calculation. So the key to estimating survey length is knowing the equivalency of question-types vis-à-vis a prototypical short and simple question that takes just 7½ seconds to answer.
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Assign one point for each short and simple survey question that can be read quickly and that has a yes/no response option or easy-to-grasp answer scale.
For questions that are asked in grid format, assign one point for each row of the grid.
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Assign two points for every response that requires mental calculation. This might include age (many people do a mental calculation based on their year born), or the number of days engaged in specific activities, or allotting percentages or numeric values.
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For lengthy instructions, or if any of the questions have a lot of words, assign one point for every three sentences the respondent must read.
Include all questions in the running tally, even if some respondents may not see the questions. An exception is if the skip logic specifies two mutually exclusive paths, in which case you should use only the longer path in the tally.
Once you have the tallied the total number of points, divide by the magic number 8 (this is the number of simple questions you can ask in a one-minute online survey). Voilà, you get the number of minutes it will take most survey respondents to complete your online survey.
What about phone surveys? Well, for that you could divide by 5⅓, which is the number of phone questions you can ask in one minute. But most calculators and spreadsheets don't do fractions very well and 5⅓ is an awkward number to keep in mind. So instead, stay with the point system outlined above. Divide by 8, then multiple by 1.5 (if you can ask 5⅓ questions in one minute, you can ask 8 questions in one and a half minutes). Presto, you get the number of minutes it will take most survey respondents to complete your survey by phone.
Once you get the hang of it, it will take no more than a few minutes to accurately predict survey length for a majority of respondents, which in turn will allow you to estimate the cost, utility, and data quality of a survey.
There is one drawback to this technique, however. It works so well that unless you teach it to your colleagues, they will likely come to you again and again for help in estimating their survey lengths, leaving you less time to focus on turning your data into a story.
While Excel has decent functionality for stats, the best market research requires the speed, efficiency, accuracy, and analytical innovation of advanced software.
Online panel surveys can be as rigorous as phone surveys, but it is important to know how panelists are recruited and then directed into your surveys.
If you are designing your own customer satisfaction survey, here is the most useful and insightful question you can ask.
The PRSA and the American Statistical Association have outlined best practices for PR professionals when using and reporting statistics.
MaxDiff is a powerful and popular method among market researchers. But it is not always the best choice for measuring the importance of attributes. Here's why.
The Journal of Marketing Research has published a special issue on consumer financial decision making on topics from managing debt to investing and trading.
A.C. Nielsen Jr. demonstrated the power of collecting and tracking data. The next frontier in market research will be the interpretation and communication of data.
Reporting statistics can be tricky because some stats (like averages) describe the whole, but do not describe the individual people who make up the whole.
This article outlines seven indicators of potentially bad data you can use to weed out lazy or fraudulent respondents from online surveys.
Versta Research conducted Fidelity Investments' 2011 Higher Education Generational Survey, which was featured this week by Time and by the Chronicle of Higher Education, among other media outlets.
Public Relations Tactics has published its October 2011 issue with a full page article from Versta Research entitled "Telling the whole story: When numbers aren't enough." The article describes the difficulties of using traditional numeric scales, common in survey research, for data that needs to tell a story.


Pie. Just about any kind. Pie. Pie. Pie.
Ice water with lemon and lime slices. Boring, I know. But I LOVE it.
I don't know if I have a favorite. I do love old, classic TV. I recently discovered the 1950s & '60s game show "What's My Line," and I'm loving it. Such a fun concept and such an interesting glimpse into and era.
Ireland. Hands down. I love Ireland in a way that is difficult to describe. When I'm there, I know my heart has come home.
I actually started on a dare. Before then my mind often filled with stories and characters, but I never seriously considered writing them out or being an author. Then, after complaining at length about how hard it was to find the kind of books I enjoyed most, my mom issued a challenge: "Write your own." So I did. And I fell in love with it. The rest, as they say, is history.
I love Jane Austen; her insights into human nature and her flare for societal satire… stunning. Elizabeth Gaskell was absolutely incredible. She tackled difficult topics and deeply important issues in a way that touched the heart and resonates even 150+ years later. Amazing. I also deeply love the work of Georgette Heyer. She is often considered the mother of the Regency Romance genre, making that time period in history a mainstay of historical romance. She was witty and her work vastly enjoyable.
I'm a mom, and thus an unpaid chaufer, cook, maid, and amateur therapist. I spent a lot of years working as an accompanist, and still enjoy playing the piano. I also volunteered as a costumer for community theater and regularly pull out my sewing machine to make costumes for fun. I volunteer at my kids' school, at my church, in the writing community. I'm a board member for the Timeless Romance Anthologies. Now and then… I sleep.
1. What inspired the idea for Ashes on the Moor?
While reading Parliamentary reports from the Victorian era in my free time (I have issues), I came across an act that required towns in Great Britain to provide education to all their children regardless of demographics. It was a revolutionary idea at the time. That got my mind spinning about all the ways this shift would have triggered other significant changes in towns and villages and cities throughout Britain. I dove in, reading up on what came next, how it impacted lives, and that formed the basis of this story.
2. What do you want readers to take away from reading Ashes on the Moor?
Perhaps a desire to be more compassionate, to appreciate differences instead of fearing them, to work hard and have hope.
My current WIP is a super, duper, big secret. I'm keeping this one tightly under wraps. I can tell you it has a main character, who goes through some stuff, and then big things happen, and then everything's different. I know, I know. I'm giving a lot away. This project has required TON of research and I still have more to do. It's a challenge, but I'm enjoying it.
All the books I enjoyed reading, growing up—everything from Bunnicula to The Mists of Avalon.
Growing up, I wanted to be a ballerina. Despite publishing my first article at a young age (10) and winning contests through school, I never thought of writing as a *thing*—it was just something I did to escape. Not until my first year in college while talking about how great books are like an awesome roller coaster and wondering aloud what it'd be like to build a roller coaster like that for someone else did I ever utter the words: "I think I want to write a book."
3. What top 5 books are currently sitting on your TBR pile?
5. What inspired the idea for The Progeny?
It was inspired by a fan! One of my readers asked me to consider writing a book about Elizabeth Bathory (AKA "The Blood Countess"), whom I'd heard of before. By the time I rediscovered the request in my idea folder, I had already done several historical novels and was ready for something contemporary, so chose to focus on the fictional descendants of Elizabeth Bathory living in the shadow of her legacy.
5. What do you want readers to take away from reading The Progeny?
I'm always wary about this question if only because what a reader takes away from a book depends so much on what drew them to the story. But I would like it if they left feeling that whatever challenge they face on a regular basis—whether it's anxiety, depression, bipolar disorder, ADHD, OCD (like me), autism, or whatever it may be—is part of their unique lens on a world that needs them. That they are beautiful, brilliant, and not alone.
Absolutely! It's a new thriller called The Line Between about a young woman who is kicked out of an apocalyptic cult… just in time for it to seem like that world truly may be ending. Coming to you January 2019. Please be sure to add it to your Goodreads bookshelf!
Anything with chocolate! LOL Peanut butter pie is amazing, as is cheesecake with chocolate sauce.
I drink green tea several times a week, which is always lovely, especially if I use a favorite mug or teacup. For a treat, I love going to a coffee shop and getting a chai latte. They are amazing!
My favorite place is one I've not yet visited. It's a lifelong dream of mine to go to England, and I seriously hope to make this happen within the next few years. Until then, part of my heart is already there. :-) I'd also love to fit in a trip to France, Austria, and Germany.
My go-to authors are: (in no particular order) Laura Frantz, Cathy Gohlke, Becky Wade, Kate Breslin, Roseanna White, Joanne Bischof, Jocelyn Green, plus many, many more. I also love classic novelists like Charlotte Brontë, Charles Dickens, and Edith Wharton. In a way, all of these authors have inspired my own writing. I love falling into a book so well-told and compellingly plotted that it makes me understand anew the beauty of story.
1. What inspired the idea for My Heart Belongs in Niagra Falls, NY?
2. What do you want readers to take away from reading My Heart Belongs in Niagara Falls, NY?
The theme that came to me again and again while writing the novel is that doing things in our own strength, in our own way, only leads to stress and heartache. And that, ultimately, as we put our trust in God, He will direct our paths.
3. What is your current WIP? What can you share with us about this project?
Very little. :-) I can only say that the project I'm currently working on has stolen my heart. It's made me smile and cry and delve into an area of history where light shines amid darkness. I'm absolutely in love with this story, and hope to have an announcement on it soon! When I do, I'll be posting about it on Facebook, so be sure to follow me there.
Ooo, that's easy. Ice cream for sure (chocolate chip cookie dough, to be exact)!
Usually water or unsweetened peach iced tea.
The 6-hour BBC version of Pride & Prejudice. I could watch it over and over (and have!).
Anywhere there's a beach—Maui is my recent fave.
I've always gravitated toward writing, ever since I was a child and learned to read. But it wasn't until I discovered Christian fiction in college that I found my niche.
When I was younger, I dreamed of being a lawyer, but then I realized I'm horrible at thinking on my feet (so the courtroom wasn't for me!). I'd always loved writing, so I studied journalism in college and worked a variety of writing and editing jobs. But I didn't seriously consider becoming a published author until I was doing my master's in English and took a creative writing course (not my first)—and remembered how much fun it was to write fiction.
I really love Rachel Hauck, Katie Ganshert, Beth Vogt, and Susan Meissner. And yes, they inspire my own writing in that I strive to be as poignant as they are. But I recognize that everyone writes differently and has different strengths.
1. What inspired the idea for The Heart Between Us?
The initial idea came from a radio story I heard about a woman who went skydiving because her heart donor had always wanted to.
2. What do you want readers to take away from reading The Heart Between Us?
Fear, bravery, and freedom play a big role in this book. Ultimately, I want readers to come away hopeful, knowing that freedom and courage can be theirs if only they reach out and embrace it. I also want to inspire people to live their own lives to the fullest.
I just turned in the first draft to my publisher on February 1! It's since been given a title (The Secrets of Paper and Ink), and it's about a broken woman who travels to Cornwall, England—the setting of her favorite author's novels—to find the courage to write her own story.
I discovered crème brule about five years ago and now every time I see it – it gets eaten. Especially when it's all gorgeous under glass. Those jerks at Zupas get me every time.
All fruity beverages are my friends.
Favorite, so far, is Cinque Terra, Italy! I accidentally stumbled upon a picture I had pinned on Pinterest! Hashtag magical.
I wanted to be an architect until I realized how much math was involved. After that I tried about sixteen different careers and "Writer" was never one of them. I was happy leaving writing to my siblings and dad. This book came as a total surprise to me.
I am a Georgette Heyer groupie. If there was ever a mosh pit in her honor I would go. I aspire to her level of writing/researching kung fu but also have a healthy grasp on my reality.
I am a full time mom so I wear the cleaning-up-human-waste, and chasing-tiny-humans hat. When I'm not doing that I am wearing the hat of emotional health and recovery. It gets on my brothers' nerves but I do enjoy having truth conversations with other recovery minded individuals. Topics like boundaries, codependency, shame, addiction, expectations, chaos, what love really is, etc. And when I'm not wearing THAT hat I am wearing the obsessed-with-movies hat!
1. What inspired the idea for In Spite of Lions?
I went from an intense management job at a hotel (50+ hrs a week) to barefoot and pregnant in the kitchen within just a couple weeks. The pregnancy was a surprise, right after we moved to a new city, and no hotel in my area would hire me. So I went from having ALL of my time planned out to the minute to having all the spare time in the world, in a new place, no friends, and absolutely no money. Even after my baby was born he was crazy easy and I was MASSIVELY bored and going insane.
That night I had a dream of a Victorian era girl who ran away from her culture because of something horrible. And it got me wondering where she would go? And who would she go with? And would she even survive!? Since I wear the hat of Georgette Heyer groupie and movie aficionado I knew that Christian missionaries at that time would mostly go to either China, India or Africa. Nothing in China or India caught my eye, but when I researched Africa I met David Livingstone right away and all of his journals were free online.
I just love him! I love his bravery, his studious note taking and his sense of humor. Then along came Chief Sechele and I was hooked. I WANTED to research until I was dead so I could be friends with these people. The story wrote itself from there!
2. What do you want readers to take away from reading In Spite of Lions?
Wow that is so out of my hands.. but if I had to choose I think I would want readers to get to know the Livingstones and Sechele better. Without me embellishing it at all it is an amazing history and they are worth sharing.
I would also want them to realize that women have an innate strength, worth and power in any era. Most women I know would do the same things as Anna because they love people so much and love adventure. She is you! I based her off of myself and all women. There's courage in all of us.
I know several people who will not speak to me until I write the sequel to In Spite of Lions. Better get on that! It's drafted out on paper (and in my head) but I've got to get it done. I am also storyboarding a children's book with my friend, Stephanie Hibbert. It's for children on emotional health and it is a story about how adults can help children conquer the "shame monster". More to come and we are excited!
1. How frequently do you hear from reader fans? Do you have any fun and/or weird stories?
Last summer, a friend of mine, and avid reader, "L," was going for some medical treatment. I commented on her post that I would be praying for her in the coming weeks and days. She replied that she'd like copies of all of my books to read during her recovery. A mutual friend private messaged me that she would purchase the books for our friend. "L" has now read all of my books thus far, some twice even!! Authors LOVE avid readers like "L." PS, "L" has recovered nicely.
2. If you could go to lunch with one of the characters from The Silent Song of Winter, who would you pick and why?
GREAT QUESTION!! I think I'd choose Olivia Divine. She was a seeming minor character who came to me at a random moment—I was in the kitchen—and turned out to have a significant role in Pearl's story!
3. Who was the hardest character to write in The Silent Song of Winter? The easiest?
Pearl was probably the easiest for me because of all my characters thus far, she is the most like me!
Truly, because I get into the head of each of my characters, it flows fairly easy for me. The saddest to write was Odette Marchand, because she is so unhappy in life, and therefore it is her goal to make everyone else miserable.
4. What inspired the idea for The Silent Song of Winter?
Funny thing… I had this idea (still do!) for a totally different story but when I sat down to write it, this series came out!! And it's way different to what I expected! LOL #Imapantzer #notaplotter Seasons turned into a story of friendship, and mystery and suspense. And always the struggle of self-worth and identity / purpose.
By the way, I will write that totally different story—methinks that's the story behind my next series, The Steppe House….
5. What do you want readers to take away from reading The Silent Song of Winter?
That we are loved. That we don't have to prove ourselves to those who love us. That perfectionism is a cruel taskmaster, and no mistake is unforgiveable. That we are loved in spite of our mistakes.
I knew I wanted to work in books and publishing. And I do both. My day job is in Educational publishing and I write on the side. I always was writing and reading.
I have so many favourite authors in so many genres. Charles Dickens, Lynn Austin, Deanna Raybourn, Rhys Bowen, Martha Grimes .... every good book inspires me to think long and hard about why I loved the experience so much and that informs how I approach my own work. I especially love character driven pieces.
I work for Canada's largest Educational Publishing company. I am aunt to two adorable little nieces.
1. What inspired the idea for Love in Three Quarter Time?
When I was 11 I read Vienna Prelude by Bodie Thoene for the first time (I have read it once a year since) While I fell in love with the hero and heroine and story, I truly fell in love with the city. Vienna became my dream city. Since then, I have spent quite a bit of time there on vacations and have been fascinated by its history, its coffee culture, and its music. Books can have such a profound influence on our imagination and I knew I always wanted to write about Vienna in some way. My birthday falls on Valentine's Day every year and as a single woman it can often be tough to deal with some of the (well-intentioned) jokes about getting older alone on the most romantic day of the year. So, I decided to reclaim it and explore a story that is all about the romance we can find beyond relationships: in new cities, in coffee, in music and experience and books --- that is the heart of Love in Three Quarter. And this year my birthday is a book release! how fun is that!
2. What do you want readers to take away from reading Love in Three Quarter Time?
That romance is more than what is experienced in the traditional sense and that it can be found in many shapes and forms. That there is a virtue in gentlemanly manners (the customs of the Viennese ) that I think our society could use a little more of. To encourage women to recognize that they should wait until they find someone who values and treasures them and treats them the way they should be treated.
I am currently writing the second Van Buren and DeLuca mystery for Harper Collins. It is tentatively called Murder in the Court of Miracles and is set in 1930s Boston with a noirish tint. This series is an historical mystery with massive dollops of romance on top. I am also working on the second novella in my Vienna trilogy ( following Love in Three Quarter Time) called "Rose in Three Quarter Time." While Love in Three Quarter Time takes us into the world of the Opera Ball and waltzing, Rose's story is in the beautiful concert halls and features a love story between a conductor and a first violinist.
1a. When you were a kid, what did you want to be when you grew up?
1b. Did becoming an author ever cross your mind?
2a. Who was the hardest character to write in Irresistibly Yours?
3. What inspired the idea for Irresistibly Yours?
4. What do you want readers to take away from reading Irresistibly Yours?
5a. What is your current WIP? I'm working on the second book in this series, Persuaded.
5b. What can you tell us about it?


Naomi Klein, The Battle for Paradise: Puerto Rico Takes on the Disaster Capitalists (Haymarket Books 2018), xi, 80pp.
Klein spent a week with PAReS visiting various parts of the country, researching topics of debt and privatisation, and energy and food sovereignty.The week was concluded with a full-day gathering of more than sixty organisations that had already been fighting against disaster capitalism. These groups subsequently created the network JunteGente and they have continued to meet, with the aim of uniting the various struggles for the future of their country.
Hurricane Maria had left the country with its entire infrastructure destroyed, a complete electric-power shut-down and roads blocked by mud washed down from surrounding mountains or fallen trees. The highly industrialised southern coast had not only suffered a complete power blackout (despite the proximity of two of the island's largest electricity plants) but also the effects of heavy flooding. Coupled with this were fears that the deluge had stirred up toxic materials from nearby fuel burning power plants and agricultural testing sites. The bleak situation was exacerbated by stifling heat.
A drive into the small mountain city of Adjuntas revealed an entirely different situation. In the midst of the darkness into which the whole country had been plunged, they arrived at a large pink colonial-style house, with light shining from every window: Casa Pueblo community and ecology centre. The centre had been equipped with solar panels twenty years before, a move that had been criticised at the time for being for being 'rather hippy-dippy', but which miraculously had not been damaged by the hurricane. Naturally the people from the surrounding area flocked to this beacon of light. In the following days and weeks, the centre, which had already been a hub for the community before the storm, provided food, water, tarpaulins and chainsaws, and importantly, electricity for charging up their electronic devices. Casa Pueblo's radio station became the sole source of information, as all power lines and mobile-phone towers had been knocked out. Importantly, the centre also became a makeshift hospital.
Casa Pueblo is a strange hybrid of ecotourism lodge and revolutionary cell, founded 38 years ago by a family of scientists and engineers in the small mountain city of Adhuntas. Arturo Massoll-Deya, president of Casa Pueblo's present board of directors, had for years pressured for Puerto Rico to get far more of its power from renewables, warning of the risks of the country's overwhelming dependence on imported fossil fuels and centralised power generation. The island has no domestic supply of oil, gas or coal, all of which are imported by ship. 'One big storm, he had cautioned, could knock out the whole grid - especially after decades of laying off skilled electrical workers and letting maintenance lapse' (p.5). Because the centre had survived the devastation of the hurricane and was the only sustained power for miles around, it became a crucial nerve centre for self-organised relief efforts; it was weeks before Federal Emergency Management or any other agent would arrive with sufficient aid.
'a term referring to a combination of traditional farming methods that promotes resilience and protects biodiversity, a rejection of pesticides and toxins, and a commitment to rebuilding social relationships between farmer and local communities' (p.34).
'By giving the fiscal board the power to reject decisions made by Puerto Rico's elected territorial representatives, they were now losing the weak rights they had won through struggles in the past, marking a return to un-masked colonial rule' (p.49).
'The jury is still out as to whether this latest attempt at the shock-after-shock doctrine approach will actually work. If it does, it will not be because Puerto Ricans suddenly overwhelmingly approve of these policies. It will be because the tremendous impact of the storm has disassembled life for millions of people, making the reconstitution of the pre-storm, anti-austerity coalition a herculean challenge' (p.54).
'Capital is fast. Unencumbered by democratic norms, the governor and the fiscal control board can whip up their plan to radically downsize and auction off the territory in a matter of weeks - even faster, in fact, because their plans were fully developed during the debt crisis. All they had to do was to dust them off and repackage them as hurricane relief, then release their fiats. Hedge fund managers and crypto-traders can similarly decide to relocate and build the "Puertopia" on a whim, with no one to consult but their accountants and lawyers' (p.74).
'unite their various causes into a common vision for a radically transformed Puerto Rico … grounded in an unabashed insistence that despite centuries of attacks on their sovereignty, the Puerto Rican people are the only ones who have the right to dream up their collective future' (p.76).
Two visions for the future of Puerto Rico – two diametrically opposed versions of utopia - are running fast and in parallel: but at some point, the two will collide. Let us hope for justice for the people of this beautiful paradise, that at last the brutal hand of colonialism in all its forms will be eradicated, that they can look forward to a future that is equitable, democratic and sustainable for all.


text:
Option to have in-game leaderboard show nearby scores
This is a feature request. Feature requests can be voted up by supporters.
Current Priority: +1
Pichu0102
Joined March 2010
Pichu0102 2010-03-26T08:38:42+00:00
Rather than just the top scores.
Since some of us will likely never go anywhere near the top of the leaderboard on anything ever, why not instead of showing your score+top scores, allow us to see our score+scores nearby we could pass, based on percentages (example: no score set, show top score, a score halfway between average and top, average, etc, etc).
For example: Say you're ranked 5000 on a popular map, and have no hope (based on accuracy average) of ever getting into the top five. Why not show for example, your score, score of 4500th, score of 4000th, score of 3500th, etc, more reasonable scores that the player, given enough practice, could reasonably pass.
Then again, this would take too much work to implement...
Yingwu
Yingwu 2010-03-26T10:20:48+00:00
Because of that last thing you said i'm gonna say no.
And also because i am a lot in the top 40's
But back to serious... No support
anonymous_old
Here since the beginning
anonymous_old 2010-03-26T11:04:10+00:00
Ehh, no. This would be too taxing, I think.
Put on your local scoreboard, maybe?
Azure_Kite
osu! Alumni
Joined February 2009
Azure_Kite 2010-03-26T11:52:38+00:00
Maybe if it was a gradual thing, say for example, a map has 3000 ranked players on it's leaderboard, The leaderboard could show the 3000th player, then the 2500, 2000, 1500, 1000, 500, 200, 100th player, at which point it goes to the top 40 leaderboard as usual.
Actually, scrap the top 200/100; if lots of people played it they'd probably all be very close anyways.
Personally I neither support nor dislike this idea.
Derekku
Derekku 2010-03-26T14:37:17+00:00
Play and practice; You'll reach the scoreboards eventually.
Neo Adonis
Neo Adonis 2010-03-26T21:42:38+00:00
Well. I think this could be thought on a moment, but I think peppy thought too: "Why do you need to know that? The goal of a top scoreboard is to reach a place on it and also recognize the best players of that song. So I think showing the scores below 40 doesn't make any sense with this."
I'm not "unsupporting" this, but expressing my opinion and a possible reason why this couldn't be implemented yet.
Derekku Chan wrote:
I'm sure you will


text:
VidMob building 'API for creativity' that uses first-party data to fine tune video ad elements
VidMob has raised $25 million in its latest round of funding. The company said it will use the money to further develop its Agile Creative Studio, an API platform that curates first-party creative data to offer insights for optimizing video ad campaigns.
Why we should care
VidMob's Agile Creative Studio employs, what the company defines as, first-party creative data to identify the creative assets within a video ad that yield the strongest performance. VidMob's technology uses machine learning to analyze video ads and then uses that data to modify video ads in real-time so that they deliver more of an impact.
"The ad actually actually improves over time through this iterative process of creating and learning," VidMob CEO Alex Collmer told TechCrunch. He said the company is trying to build what it thinks of as an API for creative, "Today, that friction point is frequently with our platform partners, with the Facebooks and Snaps, but we see it expanding to other areas where you see imagery as the central point of communication."
The company's video creation, analytics and optimization tools are designed for social video advertisers. VidMob is a certified creative partner with all of the major social networks, including Facebook, YouTube, Snapchat, Twitter, Pinterest and LinkedIn. With more money to put toward its Agile Creative Studio technology, it will be able to offer advertisers a more comprehensive platform for their video advertising efforts.
More on the news
VidMob's Agile Creative Studio platform is still in beta, but the company reports it has already analyzed more than 280,000 ad assets using the technology.
This Series B funding was led by BuildGroup, with additional investments from Acadia Woods, Herington LLC, Interlock Partners, Macanta Investments, LP's of Manifest and You & Mr. Jones.
VidMob has now raised a total of $45 million since 2015 when it raised $2 million in seed funding to build out at marketplace for video editing professionals.
Amy Gesenhues is a senior editor for Third Door Media, covering the latest news and updates for Marketing Land, Search Engine Land and MarTech Today. From 2009 to 2012, she was an award-winning syndicated columnist for a number of daily newspapers from New York to Texas. With more than ten years of marketing management experience, she has contributed to a variety of traditional and online publications, including MarketingProfs, SoftwareCEO, and Sales and Marketing Management Magazine. Read more of Amy's articles.
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6 Days Marangu Route Mount Kilimanjaro Climb Itinerary, Holidays in Kilimanjaro the Marangu Route is know as Coca Cola route, 6 Days is highly recommend to take as this Kilimanjaro Tour Package will give client time to acclimatize while ascending as they have an extra day at Horombo Hut.
In the morning after breakfast, drive to the Kilimanjaro National Park Gate, register and commence the trek. Walk through the rain forest to the Mandara Huts, a side trip to Maundi Crater is a good way to see the surroundings including Northern Tanzania and Kenya, look for towering Eucalyptus trees, bird life and Colobus monkeys.
Your second day on Kilimanjaro Tour Packages, leave the glades of the rain-forest and follow an ascending path on the open moorlands to the Horombo Huts. Views of Mawenzi and the summit of Kibo are amazing. Look for giant lobelias and ground sells. You may begin to feel the effects of the altitude.
Ascending, we now pass the last watering point, walking onto the saddle of Kilimanjaro between the peaks of Kibo and Mawenzi. Vegetation begins with upper heath-land but then disappears into moonscape. Dinner, rest, and prepare for summit climb.
Very early in the morning (midnight to 2 am), commence the climb to the summit on steep and heavy scree or snow up to Gilman's point located on the crater rim. Continuing, we now ascend to Uhuru Peak, which is the highest point in Africa. There are unbelievable views at every turn. Have your picture taken at the summit to show your friends and family. From here we descend, stopping for lunch and a rest at Kibo before continuing on to the Horombo Huts.
The beginning of this climb is done in the dark and requires headlamps or flashlights. It will be very cold until you start descending, so you will need all of your warm layers.
On your final day on the mountain, steady descent takes us down through moorland to the Mandara Hut. Continue descending through lush forest path to the National Park gate at Marangu, it can be wet and muddy. Gaiters and trekking poles will help. Shorts and t-shirts will probably be plenty to wear, upon your arrival at the gate our driver guide will be there waiting to pick and transfer you back to your hotel in Arusha which will be the end of your Kilimanjaro tour package.
All nights' accommodation in Huts.
Two nights' accommodations in Peace hotel Arusha.
All Park fees and Rescue fees.
All meals while on the Mountain and on Safari.
Guides, Porters, cook salaries and park fees.
Large portions of fresh, healthy, nutritious food.
Tanzania Visa: $50 per person on arrival.
Personal Expenses (e.g. laundry, telephone, beverages, etc.


text:
Q: can't disable debug level in logback.xml in java I have a lot of redundant information in console:
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I have tried a lot of logback configuration
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        <appender-ref ref="FILE-THREAD"/>
    </root>

    <logger name="org.apache" level="ERROR" />
    <logger name="httpclient" level="ERROR" />
</configuration>`

It doesn't help.
In start log all looks ok:
pic2
Dependensies:
logback-core RELEASE
logback-classic RELEASE
Could anybody help me?

A: Don't forget to delete libs in m2 repo, if you disable dependencies in pom!!!
 I had redundant log4j dependency in my project.

redpajama_set_name: RedPajamaStackExchange


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text:
Q: Coupled quantum harmonic oscillators (exact $\neq$ perturbative) Suppose we are given the Hamiltonian
$$\hat H = \hat H_0 + \hat H_p(\varepsilon) = \frac 1 {2m}(\hat p_1^2 + \hat p_2^2) +\frac 1 2 m \omega^2(\hat x_1^2 + \hat x_2^2) + \varepsilon m\omega^2\hat x_1\hat x_2 $$
and, after switching to CM coordinates,
$$
\begin{split}
\hat X= \frac {\hat x_1 + \hat x_2}{2}, &\qquad \hat \rho = \hat x_1 -\hat x_2, \\
\hat P = \hat p_1 + \hat p_2, &\qquad \hat \pi= \frac {\hat p_1-\hat p_2}{2},
\end{split}
$$
we are asked to solve the corresponding eigenvalue problem $\hat H \psi = E \psi$ first exactly and then perturbatively. I managed to find the following exact (normalized) solution:
$$
\begin{split}
\psi_{00}(X,\rho) &= \Gamma_{00} \exp\left\{-\frac{m\omega}{2\hbar}\left(X^2\sqrt{1+\varepsilon} + \rho^2\sqrt{1-\varepsilon} \right) \right\}, \\ \Gamma_{00} &= \sqrt{\frac{m\omega}{\pi\hbar}\sqrt[4]{(1+\varepsilon)(1-\varepsilon)}}, \\
\psi_{n\ell}(X,\rho) &= \frac{1}{\sqrt{2^{n+\ell}n!\ell!}}\operatorname{He}_n\left(X\sqrt{\frac{2m\omega}{\hbar}\sqrt{1+\varepsilon}} \right) \operatorname{He}_\ell\left(\rho \sqrt{\frac{m\omega}{2\hbar}\sqrt{1-\varepsilon}} \right) \psi_{00}(X,\rho), \\
E_{n\ell} &= \hbar \omega \left\{\left(n+\frac 1 2 \right) \sqrt{1+\varepsilon} + \left(\ell + \frac 12 \right)\sqrt{1-\varepsilon}\right\},
\end{split}
$$
where $\operatorname{He}_q(\xi)$ is the usual $q$-th Hermite polynomial. Treating the problem perturbatively, again in the new coordinates, the analysis leads to the first-order energy corrections
$$\delta^{(1)}E_{00} = 0, \qquad \delta^{(1)}E_{01} = -\frac 1 2 \varepsilon\hbar \omega, \qquad \delta^{(1)}E_{10} = \frac12 \varepsilon \hbar \omega, $$
which are perfectly compatible with the first-order expansion of the exact energies. However, the first-order correction to the unperturbed eigenstate $\psi_{00}^{(0)}$ (I haven't tackled the others) does not match what I get when expanding $\psi_{00}$ above to first order in $\varepsilon$. Why is this?

Calculations. The theory of stationary perturbations gives
$$\delta^{(1)}\psi_{00} = \sum_{n,\ell\neq 0} \frac{\langle \psi_{n\ell}^{(0)}| \hat H_p \psi_{00}^{(0)} \rangle}{E_{00}^{(0)}-E_{n\ell}^{(0)}} \psi_{n\ell}^{(0)}; $$
the matrix element in the numerator can be calculated through appropriate ladder operators $\hat A$ and $\hat \alpha$ (respectively for the unperturbed oscillator in $\hat X$ and $\hat \rho$) to be, knowing $\hat H_p = \varepsilon m \omega^2(\hat X^2 - \frac 1 4 \hat \rho^2)$ and remembering $(\hat a^\dagger + \hat a)^2 = (\hat a^\dagger)^2 + \hat a^2 + 2\hat a^\dagger \hat a + \hat 1$ when $[\hat a,\hat a^\dagger] = \hat 1$,
$$\begin{split}
\langle \psi_{n\ell}^{(0)}| \hat H_p \psi_{00}^{(0)} \rangle &= \varepsilon m \omega^2 \Bigg\{ \frac{\hbar}{4m\omega} \left( \langle \psi_{n\ell}^{(0)}| (\hat A^\dagger)^2 \psi_{00}^{(0)} \rangle + \underbrace{\langle \psi_{n\ell}^{(0)}| (\hat A)^2 \psi_{00}^{(0)} \rangle}_{=0} + 2\underbrace{\langle \psi_{n\ell}^{(0)}| \hat A^\dagger \hat A \psi_{00}^{(0)}\rangle}_{=0} + \underbrace{\langle \psi_{n\ell}^{(0)}| \psi_{00}^{(0)} \rangle}_{=0} \right) \\
&\qquad\qquad - \frac{\hbar}{4m\omega} \left( \langle \psi_{n\ell}^{(0)}| (\hat \alpha^\dagger)^2 \psi_{00}^{(0)} \rangle + \underbrace{\langle \psi_{n\ell}^{(0)}| (\hat \alpha)^2 \psi_{00}^{(0)} \rangle}_{=0} + 2\underbrace{\langle \psi_{n\ell}^{(0)}| \hat \alpha^\dagger \hat \alpha \psi_{00}^{(0)}\rangle}_{=0} + \underbrace{\langle \psi_{n\ell}^{(0)}| \psi_{00}^{(0)} \rangle}_{=0} \right) \Bigg\} \\
&= \frac{1}{4}\varepsilon \hbar \omega \left\{\sqrt 2 \langle \psi_{n\ell}^{(0)}| \psi_{20}^{(0)} \rangle - \sqrt 2 \langle \psi_{n\ell}^{(0)}| \psi_{02}^{(0)} \rangle \right\},
\end{split} $$
so that
$$\delta^{(1)}\psi_{00} = \frac{\varepsilon \hbar \omega}{2\sqrt 2} \left[ \frac{1}{-\hbar\omega(2+0)}\psi_{20}^{(0)} - \frac{1}{-\hbar\omega(0+2)} \psi_{02}^{(0)} \right] = -\frac 1 8 \varepsilon \sqrt 2 (\psi_{20}^{(0)} - \psi_{02}^{(0)}).$$
However,
$$
\begin{split}
\psi_{00}(X,\rho) &= \left( \sqrt{\frac{m\omega}{\pi\hbar}} + \mathscr O(\varepsilon^2) \right) \exp \left\{ - \frac{m\omega}{2\hbar} \left[X^2\left(1+\frac 1 2 \varepsilon\right) + \rho^2\left(1-\frac 1 2 \varepsilon\right) + \mathscr O(\varepsilon^2) \right] \right\} \\
&= \sqrt{\frac{m\omega}{\pi\hbar}} \exp \left\{ - \frac{m\omega}{2\hbar} \left(X^2 + \rho^2 \right) \right\} \exp \left\{ - \frac{m\omega}{4\hbar} \varepsilon (X^2-\rho^2) \right\} + \mathscr O(\varepsilon^2) \\
&= \psi_{00}^{(0)}(X,\rho) \left\{1 - \frac{m\omega}{4\hbar} \varepsilon (X^2-\rho^2) + \mathscr O(\varepsilon^2) \right\} + \mathscr O(\varepsilon^2);
\end{split}$$
hence the correction must be a linear combination of the unperturbed states $\alpha_{20}\psi_{20}^{(0)}+ \alpha_{02}\psi_{02}^{(0)}$ (which agrees with the perturbative result), in such a way that (substituting those states explicitly)
$$ - \frac{m\omega}{4\hbar} \varepsilon (X^2-\rho^2) = \alpha_{20} X^2 \frac{m\omega}{\hbar} \sqrt{8} - \frac{1}{\sqrt 2}\alpha_{20} +  \alpha_{02} \rho^2 \frac{m\omega}{\hbar} \frac{1}{\sqrt 2} - \frac{1}{\sqrt 2}\alpha_{02}. $$
But comparing coefficients leads to an (overdetermined) system of equations for the $\alpha$s, giving
$$\alpha_{20}= - \frac{1}{8\sqrt 2}\varepsilon, \qquad \alpha_{02} = \frac{1}{2\sqrt 2} \varepsilon, $$
which disagrees with the perturbative prediction (apart from being inconsistent with the requirement $\alpha_{20} = -\alpha_{02}$ coming from the constant terms above). Where have I gone wrong?

A: The problem is that you haven't used a consistent normalization of $X$ and $\rho$. To see this explicitly, set $\epsilon = 0$. Then by symmetry, the ground state should only depend on the combination $x_1^2 + x_2^2$. But your ground state depends only on $X^2 + \rho^2$. This would have been correct, had you defined
$$X = \frac{x_1 + x_2}{2}, \quad \rho = \frac{x_1 - x_2}{2}$$
but you instead defined one of them with a $1/2$ and one of them without it. This missing factor of $2$ squares into a factor of $4$, which is exactly the factor of $4$ you're missing at the end.
As a aside, it's generally a good idea to set $m = \omega = \hbar = 1$ at the beginning of calculations like these. The simpler form makes it much easier to spot issues, and you can always restore the factors with dimensional analysis.


text:
Q: How to set UITabBarItem's unselected tint, ***including system items*** (iOS7) (NOTE: I see there are several similar questions on SO, but none of them seem to get at my specific issue of wanting to change the unselected appearance of both custom and system UITabBarItems.)
I'm working in iOS7.  I have a UITabBar with some buttons.  Some of them are my buttons, some are system buttons.  Example:
UITabBarItem *searchButton = [[UITabBarItem alloc] initWithTabBarSystemItem: UITabBarSystemItemSearch    tag: navSearchItem];
UITabBarItem *bookMkButton = [[UITabBarItem alloc] initWithTabBarSystemItem: UITabBarSystemItemBookmarks tag: navBookmarksItem];
UITabBarItem *homeButton   = [[UITabBarItem alloc] initWithTitle: @"Home"     image: [self tabBarImageNamed: @"home-tab"]     tag: navHomeItem];
UITabBarItem *setingButton = [[UITabBarItem alloc] initWithTitle: @"Settings" image: [self tabBarImageNamed: @"settings-tab"] tag: navSettingsItem];

navTabBar.items = @[ searchButton, homeButton, bookMkButton, setingButton];

I can set the selected-button tint easily enough, with:
[[UITabBar appearance] setSelectedImageTintColor: MY_FAVORITE_COLOR];

I can set the unselected button text color to white:
[[UITabBarItem appearance] setTitleTextAttributes: [NSDictionary dictionaryWithObjectsAndKeys: [UIColor whiteColor], UITextAttributeTextColor, nil]
                                         forState: UIControlStateNormal];

What I want to do is set the UNSELECTED button's image tint color to white.  I could set the unselected image easily enough, but that only works for my buttons.  I want to do this for the system buttons, also.  That is, I want my search & bookmarks buttons to also be unselected-white.
I'm pretty sure Apple will complain if I try to recreate their icons to make custom buttons.  The docs are pretty specific that we shouldn't do anything remotely resembling Apple's icons.
Hints?
Thanks!
EDIT: The reason I want unselected=white is that, against my designed background, the default grey makes the icons/text hard on the eyes.

A: Are you up for some private API use?
Do this sometime after the tab bar has been populated:
for (UIView *v in self.tabBar.subviews)
  if ([NSStringFromClass(v.class) isEqual:@"UITabBarButton"])
    [v performSelector:@selector(_setUnselectedTintColor:)
              withObject:[UIColor whiteColor]];

Usual warnings about private API apply: Apple would rather you not do this; if it breaks you get to keep both pieces; etc.
The example code is not particularly stealthy with regard to App Store review. Apple will catch it, as presented. Add your favorite stealth techniques to suit.
Works on at least iOS 7.0.1 and 7.1.

A: In iOS 10 UITabBar exposes unselectedItemTintColor that you can use to specify the tint of unselected items. See the docs for more.
This means when you are configuring a tab bar you have the following tint options:

*

*tintColor applies to the selected tabs

*unselectedItemTintColor applies to all unselected tabs

A: The only way I was successful in setting a custom unselected UITabBarItem image to white was by using the following (white) image and loading it with a specific rendering mode
UIImage *tabImage = [[UIImage imageNamed:@"white_tab_item"]
                      imageWithRenderingMode:UIImageRenderingModeAlwaysOriginal];

self.tabItem.image = tabImage;

"tabItem" being a UITabBarItem Outlet of the class
Credits go to Aaron Brager's answer:
UITabBarController unselected icon image tint

A: this code to change select button title color
////define these code for ios7
  #define SYSTEM_VERSION_EQUAL_TO(v)                  ([[[UIDevice currentDevice] systemVersion]   compare:v options:NSNumericSearch] == NSOrderedSame)

 #define SYSTEM_VERSION_GREATER_THAN(v)              ([[[UIDevice currentDevice] systemVersion] compare:v options:NSNumericSearch] == NSOrderedDescending)

 #define SYSTEM_VERSION_GREATER_THAN_OR_EQUAL_TO(v)  ([[[UIDevice currentDevice] systemVersion] compare:v options:NSNumericSearch] != NSOrderedAscending)

 #define SYSTEM_VERSION_LESS_THAN(v)                 ([[[UIDevice currentDevice] systemVersion] compare:v options:NSNumericSearch] == NSOrderedAscending)

 #define SYSTEM_VERSION_LESS_THAN_OR_EQUAL_TO(v)     ([[[UIDevice currentDevice] systemVersion] compare:v options:NSNumericSearch] != NSOrderedDescending)

 if (SYSTEM_VERSION_GREATER_THAN_OR_EQUAL_TO(@"7.0")){

   NSLog(@"ios77777");

[[UITabBarItem appearance] setTitleTextAttributes:@{NSFontAttributeName : [UIFont            fontWithName:@"HelveticaNeue-Bold" size:10.0f],
                                                        NSForegroundColorAttributeName :   [UIColor redColor]

 }

      forState:UIControlStateNormal];

    }

A: If you're using Storyboard you can also set both Image for Bar Item and Selected Image for Selected Bar Item to get unaltered image in tabBar.

A: Should it be:
[[UITabBar appearance] setTintColor:[UIColor whiteColor]]

Taken from: iOS Custom UI Series: TabBar & NavBar: http://bit.ly/1ahr9Ao


A punk horror band which is influenced by horror bands such as Calabrese and The Creepshow but brings its own brand of street punk to the horror genre.
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In the expressive silhouette of Tallinn, Estonia's capital city and largest port, visitors approaching from the Baltic Sea see a distinct personality split into the new and the old. The split can be traced back to 1227, when the medieval town in northeastern Europe was conceded to an order of crusading knights.
The Brothers of the Sword divided the colony into the fortress (the upper old town with colorful cobble-stoned streets and an array of castles and churches) and the lower town, which is now developing a modern persona.
The city's numerous verticals depict a rich trading past and its journey into the 21st century. The most important and original monument of Estonian Gothic is the old town of Tallinn itself, which is listed as a World Heritage site.
The 10th-century medieval "old town" rises up on the chalk-based Toompea Hill. The 454 properties include medieval warehouses and the dwellings of merchants and artisans. All have been preserved along with the important public buildings from the Middle Ages such as the Town Hall.
In the old city of Tallinn, the facades of the medieval houses have been redesigned according to later styles of fashion. However, behind them the old building constructions, and the Gothic, Renaissance, and Baroque interior elements, have been preserved.
The massive, fortified churches in Estonia are characteristic of the Roman style, in spite of their sharply arched portals and arches. There is, however, no actual Romanesque architecture in Estonia. It exists more in the small detail of the churches erected when the Gothic influences prevailed, from the 13th century to the 16th.
The 10th-century old town of Tallinn, Estonia.
The rooftops of old Tallinn.


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text:
Jim Spellman/Getty Images Entertainment/Getty Images
11 Quotes About Coming Out From Non-Binary Celebrities That Are So Inspiring
By Corinne Sullivan
Gender is a social construct, but even so, coming out as gender non-conforming can sometimes be challenging — especially if you do so in the public eye. Non-binary celebrities often serve as an inspiration for GNC fans, and it can be easy to forget those celebs weren't always out and proud. Though many non-binary actors, musicians, and other public figures work tireless to create more visibility for their communities, that doesn't mean they've always felt confident in their own skin. Quotes about coming out from non-binary celebrities prove just how tricky, trying, and oh-so-triumphant it can be to own your gender identity.
Having an identity that's under-represented in mainstream media and popular culture can be a huge responsibility, but it's one many non-binary celebs take in stride. These proud public figures don't just attempt to educate cis people — they also strive to provide hope to other GNC folks simply by living their best lives. They don't have all the answers, and they know that. All they can do is be their most authentic selves, and IMO, they do it well. If you're a member of the GNC community, then you'll likely find these coming-out quotes from non-binary celebrities both inspirational and totally relatable.
Toni Anne Barson/WireImage/Getty Images
A year after confirming their pronouns are they/them in a Tumblr post, actor Amandla Stenberg spoke about their coming-out journey during an April 2017 interview with People. By coming out, Stenberg said they hope to "show people who follow what I'm doing that you don't really have to conform to those constructs in order to be valid or be worth something." They added, "It's been such a blessing to watch people who care about what I have to say feel more comfortable in their identities because they see I'm out here doing my thing."
Tommy Dorfman
Jon Kopaloff/WireImage/Getty Images
13 Reasons Why actor Tommy Dorfman spoke about their coming-out journey for the first time during a November 2017 interview with Refinery29. "I decided that if I was going to be in the public eye, I was going to be unequivocally myself. If anything, I was going to be a little bit more," they said, later adding, "There was a part of me that was like, 'Whatever. Someone's going to see these pictures and feel better about themselves and feel OK, like maybe they can try this and dress the way they identify. Or, even better: There's a little queer actor out there who can see me and think there's a place for them in this world.'"
Lachlan Watson
Daniele Venturelli/WireImage/Getty Images
Chilling Adventures of Sabrina actor Lachlan Watson previously came out as a lesbian, then a transgender man, and they currently identify as gender non-binary. For Watson, finding genderqueer activist Jacob Tobia's work made all the difference. "Seeing someone else being openly gender-free and being comfortable with that and being articulate about that and being proudly that was huge," they explained to MTV during a December 2018 interview, later adding, "I've found it a really beautiful thing to just not limit myself as much as I used to."
Tommaso Boddi/Getty Images Entertainment/Getty Images
During a June 2019 interview with Out, Queer Eye's Jonathan Van Ness publicly came out as non-binary and said he uses he/him pronouns. "I didn't think I was allowed to be non-conforming or genderqueer or non-binary — I was just always like 'a gay man' because that's just the label I thought I had to be," he said, adding, "I'm just being who I wanna be."
Ser Anzoategui
Amy Sussman/Getty Images Entertainment/Getty Images
Best known for their roles in Vida and East Los High, Latinx actor Ser Anzoategui admitted it took a while for them to feel like a member of the queer community. "I grew up thinking queerness wasn't meant for brown kids," they wrote in June 2019 op-ed for the Los Angeles Times. Eventually, Anzoategui came out as non-binary and found their place. As they told Latinx Now! in June 2020, "I really had my experience and knew this feels good, and it not just 'feels good' — it aligns. I am free. I am flowing through my day-to-day, and I feel this vibration, this energy that I haven't felt before. That's when I was like yes, I am definitely, definitely queer."
Karwai Tang/WireImage/Getty Images
Singer Sam Smith first came out as non-binary during a March 2019 interview with actor Jameela Jamil for Jamil's Instagram show, I Weigh Interviews. "When I saw the words 'non-binary' and 'genderqueer' and I read into it and I heard these people speaking, I thought, f*ck — that is me," Smith said. When asked by Jamil what those words meant to them, they explained, "[They] mean to me that you do not identify in a gender. You are just you. You are a mixture of all different things. You are your own special creation." In September 2019, Smith announced their pronouns are now they/them.
Asia Kate Dillon first discovered they were non-binary after getting cast as Taylor Mason on Billions — the first non-binary role on American series television. "When I got to the script for Billions and the character breakdown for Taylor Mason, the character that I play, said female and non-binary, a little light bulb went off in my head," Dillon explained to ABC News in January 2018. "...I did a little bit of research and discovered that female is an assigned sex and non-binary is in reference to gender identity and those are two different things. It finally helped me put language to a feeling that I'd had my entire life."
Brigette Lundy-Paine
Michael Loccisano/WireImage/Getty Images
Atypical actor Brigette Lundy-Paine first told fans they were non-binary in a November 2019 IG post. "I'm non-binary, always felt a lil bit boy, lil bit girl, lil bit neither," they wrote in the post's caption. "using they/them as of late n it feels right. scary af to come out n been rly putting this off. But I feel I owe it to myself and to all of us who struggle w gender."
During an interview with the Advocate a month later, Lundy-Paine explained about what motivated them to publicly come out. "Coming out online was something that I only did because I get messages from kids all the time who are non-binary and who are struggling with gender and who I believe deserve fully to be recognized as whole," they said. "In turn, they can help me feel whole. Trust me, the kids that reach out to me only confirm who I know I am. And the larger that community can become, I think, is just beautiful."
Jon Kopaloff/Getty Images Entertainment/Getty Images
Best known for playing Abby Hammond in Santa Clarita Diet, Australian actor Liv Hewson always knew they didn't fit the gender role they'd been assigned at birth. After years of experiencing gender dysphoria, discovering the term 'non-binary' online was a lightbulb moment for Hewson. "...it was like someone punched me in the face," they explained during a May 2018 interview with A Beautiful Perspective. "There was just this massive sensation of, 'Oh! Oh, OK. That's what's been happening.' It was a massive, massive relief."
Theo Germaine
Bruce Glikas/FilmMagic/Getty Images
Best known for their roles in The Politician and Work in Progress, trans non-binary actor Theo Germaine (who uses he/him and they/them pronouns interchangeably) spent most of their life feeling trapped by the gender binary. "It takes a lot of learning to not listen to somebody else in regards to what's beautiful," they explained to Vogue during a June 2020 interview. "Because I grew up around these rigid gender roles, when I was 18, 19, my coming-out process was about over-correcting myself in order to fit into this other part of society ... Then at some point, when I was around 22, I just stopped. I was like, 'I'm just going to do whatever I want and I hope that some other people follow suit.'"
Bex Taylor-Klaus
JEAN-BAPTISTE LACROIX/AFP/Getty Images
Actor Bex Taylor-Klaus (who's appeared in The Killing, Scream, 13 Reasons Why, Arrow, Dumplin', and House of Lies, among many other TV shows and movies) first came out to fans as trans non-binary in a July 2018 tweet. "I came out as trans non-binary in a room full of people today," they tweeted. "Guess it's time for me to do that on here, too … Hi. I'm Bex, and the rumors are true. I'm v enby [non-binary]."
Later, during a February 2020 interview with the Hollywood Reporter, Taylor-Klaus spoke about all the freedom the term 'non-binary' gives them. "I love the term non-binary for myself personally because it's such an umbrella term," they explained. "It is not binary by its base definition, meaning I am not of the binary — I am something else, which allows me room to learn and find a more pinpointed label if I so choose or otherwise stick with my umbrella. And it does also mean — for me, being non-binary — I get to explore and experiment and experience anything at my fingertips, is what it feels like to me. It feels open and free in a way that I never felt."
Whether you're non-binary, genderqueer, gender fluid, agender, demigender, bigender, or something else entirely, there's no wrong way to express your gender identity, y'all, and these celebs are living proof.
Abigail Heringer's Quotes About Her First Impression Rose Are So Meaningful
By Candice Jalili
Is Brighton Reinhardt's Song "Creep" About Colton Underwood & Cassie Randolph?
By Hannah Orenstein
Do Kim Kardashian & Kanye West's Kids Know About The Divorce Rumors?


Its Joint collaboration of FVTRS, Banglore and SHRUSHTI.
Functional Vocational Training and Research Society (FVTRS) is a Bangalore based National level development sector organization supports agencies on Skill based Vocational Training programmes throughout the country. FVTRS focuses on making the target community, school dropout and illiterate youth – employable by building skills to earn a living in a trade of their choice, preferably to become successful entrepreneurs to effect more employment for others.
Shrushti has been a partner of FVTRS since 2011. And since then we have trained more than 450 dropped out youth of Sirohi, Udaipur and Rajsamand on skill such as electrician, mobile repairing, plumbing, two wheeler repairing, masonary, tailoring etc.
In 2018 Shrushti with support of FVTRS has provided training to 100 (include 50 Male and 50 Female) dropped out youth of Kumbhalgarh block of Rajsamand district on trades like Mobile Repairing, Two Wheeler repairing, electrician, Sanitary napkin production, plumbing and Organic Farming.
We're immensely happy to announce that more than 75% of the trainees have generated an income of more than Rs. 5,000/- after the training and are self employed.
The women who are making sanitary pads and the men who opened up his own shop of mobile repairing after the skill programme have extended their deep heartfelt thanks to FVTRS and Shrushti for providing opportunities and bringing a change in their lives.


Be HAPPY! Be who you want to be. If others don't like it, let them be. As the saying goes, happiness is a choice. Life isn't about pleasing everybody.
Be HAPPY! Be who you want to be. If others don't like it, let them be. As the saying goes, happiness is a choice. Life isn't about pleasing everybody.


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text:
'Racist' Bluey episodes pulled from TV
by Leah Goulis, Kidspot
19th Aug 2020 6:15 PM | Updated: 20th Aug 2020 6:50 AM
As families around the world get more and more hooked on Bluey, they're also adding new and unlikely words to their vocabulary.
"Cheese and Crackers …"
"For real life …"
"100 dollar bucks …"
If these words sound at all familiar to you and your little ones, you've definitely watched your fair share of the popular ABC series.
All are very innocent when used in everyday conversations. But there is one word used on the show and copied by diehard fans that has been deemed "racist", resulting in the mysterious disappearance of two episodes using the word.
RELATED: Unlikely voice behind popular kids' show
Fans have been left shocked after the ABC pulled two episodes of beloved cartoon Bluey, due to "racist" connotations. Picture: Supplied/ABC TV
According to an update provided by the network on their website, some viewers have complained that an episode featured on ABC iView "included a term with racial connotations and a problematic history for Indigenous Australians".
The word used in the episode, as well as another, is "ooga booga" and as a result of the complaints, TV bosses have decided to rework two episodes.
Diehard Bluey fans hit reddit to highlight that episodes titled "Teasing" and "Flat Pack" were now gone from the listing.
"If the 'ooga booga' scene was censored and re-dubbed in 'Flat Pack', Bandit's nickname given by Bluey and Bingo in 'Teasing' was also 'ooga booga' … Perhaps that's the connection to 'Teasing' being pulled?" one fan questioned on the forum.
And they were correct.
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The ABC issued a public apology on their website for any distress caused by the use of the term "ooga booga". Picture: ABC
The ABC issued a public apology on their website.
"The ABC sincerely apologised to the complainant for any distress caused by the term used in the episode titled 'Teasing'. The ABC has a strong record for giving voice to Indigenous Australians and an ongoing commitment to helping reduce discrimination and prejudice and in this case, the language used was inadvertent," the apology read.
"The complainant was advised that neither the ABC nor the external producers were aware of the potentially derogatory meaning of the term, which was intended only as irreverent rhyming slang made up by children. The episode was removed from iView as soon as ABC KIDS became aware of the complaint and the ABC undertook to change the dialogue prior to future broadcast or publication."
When contacted by Kidspot, an ABC spokesperson confirmed two episodes have been reworked due to the concern over the use of the word, but won't be gone forever. 'Flat Pack' is now back and available to view, while 'Teasing' will return early next month.
"The ABC removed a potentially derogatory term from the Bluey episodes 'Teasing' and 'Flat Pack', which was intended only as irreverent rhyming slang often made up by children. The episodes were temporarily removed from iView and the dialogue changed as soon as the ABC and external producers became aware of the potentially offensive meaning of the term," they said.
"The ABC has a strong record for giving voice to Indigenous Australians and an ongoing commitment to helping reduce discrimination and prejudice and any offence caused was inadvertent."
WHAT DOES 'OOGA BOOGA' MEAN?
According to Urban Dictionary, the word "ooga booga" is a word used in the times of cavemen. It means "hello, goodbye, how are you, wassup … really anything you want it to." Macquarie Dictionary describes the word as "a stereotypical rendering of what the speaker regards to be the language of those deemed by them to be African savages."
But according to one fan, the meaning of the word goes way beyond that and causes hurt among Indigenous people.
"I know to many you just see this word as "caveman speak", or in the harmless way the writers clearly did too," the fan shared in a Bluey fan page on Facebook.
"But not everyone sees it that way. Including me. I'm in my 40s, and I well remember a time growing up in Western Sydney where the phrase 'Ooga Booga/s' was used conversationally to describe a dark skinned person/s. It was used in social circles, in movies or TV depicting black indigenous people as 'uncivilised fools,'" they added.
"I personally balked at hearing it used in Teasing, but never said anything because I thought it was maybe just me."
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Fans wrote they "baulked" at the use of term. Picture: ABC
FANS ARE SHOCKED AT THE ABC'S DECISION
Most fans were shocked to see the ABC pull the "innocent" episode.
"Can someone explain to me how 'ooga booga' is racist?" one fan questioned.
"Can't people just enjoy Bluey as a wholesome cartoon?" another added.
Meanwhile, there were plenty of fans of the animation who had no idea the words were potentially offensive and were grateful for the lesson.
"Learn something every day, banning this word in our house now! Well done to OP/ABC/Bluey team for standing up and doing something about casual racism and educating us," a fan shared.
Another added: "Oh dear god my children say it all the time thanks to show! I honestly believe, once you know, you do better!"
"Didn't even know it was an offensive term. I use it all the time with daughter when she blows her nose, telling her we need to get her 'ooga boogas'. Now that I know it is an offensive word, we will change the term we use," another shared.
This article was originally published on Kidspot and is reproduced here with permission
Originally published as 'Racist' Bluey episodes pulled from TV
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text:
Exotica peut faire référence à :
 Exotica, un genre musical né au début des années 1950 ;
 Exotica, un film canadien réalisé par Atom Egoyan et sorti en 1994 ;
 Exotica, un groupe de musique français des années 2010 ;
 Exotica, un genre de mollusques de la famille des Tellinidae.


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Quiz ends: February 28, 2015 at 00 00!
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