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Active Investment Managers Are Moving All In On Stocks?
For one of the few times in its history, a survey of active investment managers is showing an average of 100% exposure to stocks; is sentiment getting too frothy?
One of characteristics of the post-February rally that has contributed to its sustainability thus far has been the favorable investment sentiment – specifically, the healthy level of skepticism or disbelief. The relatively slow adoption of the rally has worked to insure a steady stream of new buyers into the market as the move progressed. As the major averages approached their previous highs, we surmised that it might take breakouts to new highs for sentiment to finally reach enthusiastic levels. As such breakouts did indeed transpire throughout the month of July, that rising sentiment scenario has begun to unfold. One example can be seen in the investment survey of the National Association of Active Investment Managers, or NAAIM.
NAAIM is made up of Registered Investment Advisors and other money managers who employ more tactical investment strategies than those represented by buy-&-hold and passive asset allocation approaches. For the most part, the goal of such strategies is to reduce investment risk by applying processes to mitigate losses. Full disclosure: our firm, J. Lyons Fund Management, Inc. has been a member of NAAIM and a participating member of the NAAIM Exposure Index for many years. In fact, JLFMI's president, John S. Lyons, was among the group's charter members some 25 years ago. As such, we are quite partial to the group and its philosophy (see the note at the end).
That said, regardless of the investment acumen of any group (we think it is very high among NAAIM members), once the collective investment opinion or posture becomes too one-sided, it can be an indication that some market action may be necessary to correct such consensus. As we mentioned, that may indeed be the case with the NAAIM Exposure Index, as last week's survey indicated an average of over 100% exposure to U.S. equities by its respondents. That is just the 6th reading over 100% in the survey's 10-year history.
Now we said this may be an example of over-enthusiastic sentiment because it is far from a clear-cut signal. So before you go and sell all of your equities, let's consider a few "not so fast's" pertaining to this "over-exuberance".
First of all, the 5 prior readings over 100% average equity exposure represent the highest 0.9% of readings in history. So the current reading is certainly noteworthy in its select company. However, a sample size of just 5 makes it difficult to come to any significant conclusions.
Secondly, the performance of the S&P 500 following the prior readings over 100% hardly provide damning evidence of over-exuberance. Here are the dates and subsequent performance of the index (a few of the dates were reasonably close together, but not adjacent so we considered them as separate events).
As you can see, while the first few weeks were a toss-up (a duration that short typically is), the S&P 500 was higher all 5 times after 3 weeks, 1 month, 3 months and 6 months. And while any correlation would be a bit of a reach anyway, not to mention causation, at a minimum, I think we can say that an Equity Exposure reading this high is not a death knell for a rally by any means.
If we relax the parameters a little bit to, say the top 7% of all readings, which would include all readings over 88% Equity Exposure, the S&P 500′s performance is still significantly positive. For example, after 1 month, the index was positive 74% of the time, after 3 months, 87% and after 6 months, 89%. So, again, excessive readings in the NAAIM Exposure Index are not nearly an automatic warning sign.
Certainly, there have been high readings that occurred near major tops, specifically in early 2007. Even then, however, stocks rallied further for the majority of the year before topping. On the flip side, we have the interesting reading in January of 2013 when the S&P 500 was just breaking out to multi-year highs. Of course, the index would continue to rise inexorably throughout the year, into all-time high ground.
One could arguably say that present circumstances favor both the 2007 and early 2013 events. On the one hand, we have the market some 7 years into a cyclical bull market and showing many signs of excessive conditions (ala 2007). On the other hand, we have the S&P 500 breaking out of a more than 12-month consolidation and into all-time high ground (ala January 2013). Does the present day favor either instance more closely? If we had to guess we would go with 2007. That said, again, the S&P 500 still put in several solid months of gains before its ultimate demise. Considering the recent breakout, that isn't far fetched here.
So what is our takeaway? In our view, we would (subjectively) place it as a slight negative factor for stocks. While historical precedents do not necessarily bear it out statistically, we would rather see skeptical sentiment from most any group, rather than excessive readings. Even if the sentiment is improving (which is a positive for the stock market), we'd rather see more room above for it to go. However, it would not be unprecedented for this group of managers to continue to be correct in their heavy exposure, at least for a little while longer.


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Our convenient location within downtown Vernonia allows us to serve the physical therapy needs of numerous locations surrounding Vernonia. If you live in the Scappoose OR, Timber OR, Banks OR, or Clatskanie OR, contact us to schedule an appointment today.
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Over the holidays, when you're running around from place to place and party to party, it can be tough to keep up with everything on your to do list. Especially when you are so busy, it can also be hard to make a dish to bring to every party or get together you attend, but you definitely don't want to show up empty handed or bring something store bought. I always like to make something so it shows I put in effort to contribute something to the meal.
When you have a lot going on, though, you may not have the time to commit to baking a perfect cake or making a batch of cookies. If you want to bring an easy yet delicious no bake dessert, there are many recipes that make great holiday dishes. Everyone will love these and won't even realize what a cinch it was for you to put it together!
Avalanche Cookies – these are delicious, full of flavor, and are easy to make! These come together in no time at all and only require a few ingredients. The best part is, no one will ever realize that they were easy as pie to make.
Cake batter truffles – everyone loves cake batter flavored desserts – I mean, it'd be unnatural not to like something with such a delicious taste. I also love how these use such simple ingredients, too, and can be made festive in their presentation with the Christmas M&Ms!
Brownie Batter Cheese Ball – this is a creative recipe that looks super fancy, but you definitely don't need to spend much time pulling it together. I also love how you can pick different things to use as "dippers". Pairing the "ball" with a variety of dippers will make for a great presentation and a sure-fire hit!
Red Velvet Cheesecake – I am a huge red velvet fan, and this cheesecake is no exception! What could be more decadent and not to mention perfect for the holiday? This recipe couldn't be simpler and it is bound to be an instant favorite of the dessert table at any gathering.
Cheesecake Fruit Dip – to appease those who are looking to stay healthier around the holidays but still want to indulge their sweet tooth, this dip is the perfect solution! Paired with fresh fruit or graham crackers, everyone will want to lick the bowl of this dip clean! Yum!
Even if you're running around like crazy around the holidays (and really, who isn't?!), that doesn't mean you can't bring something homemade to all of your parties attended. These recipes are easy and fun to make, and they taste even better – making them a win win!


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'Lost' Showrunner Carlton Cuse Joining A&E's 'Bates Motel' (Exclusive)
March 09, 2012 6:11pm by Borys Kit
Frederick M. Brown/Getty Images
The series is being developed as a prequel to Alfred Hitchcock's classic horror movie "Psycho."
Carlton Cuse, who along with Damon Lindelof executive produced and acted as showrunners of ABC's Lost, is boarding A&E's The Bates Motel.
A&E is developing the series, being produced by Mark Wolper and Roy Lee, as a prequel to Alfred Hitchcock's Psycho. The 1960 horror classic featured an off-his-rocker motel manager named Norman Bates who murdered occasional boarders while under the watch of his even-more-psychotic mother.
Bates Motel aims to tell the story of a young Bates and how his life with his deranged mother and her lover unhinged his mind, eventually turning him into a serial killer. It has been described as a cross between Twin Peaks and Smallville.
If the show is picked up to series, Cuse will executive produce and oversee the writing and production what is being envisioned intially as a six-episode "event" that would lead to additional seasons. It also marks the first "genre" TV project for Cuse since his acclaimed run on Lost.
Kerry Ehrin, who worked on Friday NIght Lights and Parenthood, also is joining Bates Motel as a writer/EP and will work with Cuse.
A&E is hoping the series can do for it what zombie drama The Walking Dead did for AMC, generating top ratings while initiating online water-cooler conversations.
Post-Lost, Cuse, with his Carlton Cuse Productions banner, is working in both TV and features. He recently turned in a draft of an untitled action-adventure for Hugh Jackman and Shawn Levy's 21 Laps for Fox.
Cuse is repped by WME and Del Shaw Moonves Tanaka Finkelstein & Lezcano.
'Bachelorette' Star Opens Up About Sex-Shaming Amid Dramatic Exit

redpajama_set_name: RedPajamaCommonCrawl


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Sun and clouds mixed. High 88F. Winds SW at 5 to 10 mph..
Partly cloudy skies. Low 72F. Winds SW at 5 to 10 mph.
Teacher placed on leave after testing 'irregularity'
By Jessica Valeriani jvaleriani@andovertownsman.com
Jessica Valeriani
ANDOVER — A teacher at West Elementary School has been placed on administrative leave following allegations of testing irregularities during administration of the MCAS tests, according to Nicole Kieser, a spokesperson for the Andover School District.
Kieser said the irregularities occurred on April 25 to 26, and May 13.
The school would not identify the teacher.
A letter sent to West Elementary School parents Wednesday from Principal Liz Roos reads:
"Last week we received reports that there may have been testing irregularities during administration of the MCAS tests on April 25-26 and May 13, 2019. By law, we must investigate this report and must also report it to the Department of Elementary and Secondary Education, the state education agency for investigation. As a result and as is customary in this type of circumstance, pending the outcome of these investigations and any findings, the teacher who proctored these tests has been placed on administrative leave.
"We want to assure parents that all West Elementary students continue to follow lesson plans and continue their coursework. As we continue to work with DESE on this issue, we will communicate with the West El community."
Jacqueline Reis, media relations coordinator for the Department of Elementary and Secondary Education, said the department has been in contact with Andover.
"At this point we are aware of an allegation of an irregularity in Andover," Reis said Wednesday afternoon. She did not define what was meant by "irregularity" due to fear of mischaracterizing it.
She said DESE is still learning about the details of the allegation, and did not provide anything further.
Kerry Costello, president of the teachers' union, said the union has not been very involved in the situation.
"Anytime there is an investigation at some time we are not directly involved," she said.
Jacqueline Reis
Department Of Elementary And Secondary Education
Nicole Kieser
Follow Jessica Valeriani


There is the information about the production cost of Bitcoin and Ethereum, and it actually represents the price you have to pay for electricity (electric price) as a miner to make 1 bitcoin and 1 ethereum.
At the time of writing to produce 1 bitcoin you need $ 4450 ($ 0.10 / kwh) or 44500 kwh of electricity. Amortization and earnings are included in miners price and economic price.


If you ever wanted to own Shamu, now it seems is your chance. After much debate as to sell the company outright or to simply offer an Initial Public Offering of stock, today SeaWorld Entertainment offered its IPO on the New York Stock Exchange. According to CNN Money, SeaWorld Entertainment offered 26 million shares of stock at the starting price of $27 a share. At this price SeaWorld would be valued at about $2.5 billion. The sale was backed by private equity firm Blackstone Group who purchased the chain of eleven parks that include SeaWorld, Busch Gardens and assorted water parks throughout the country in 2009. With the sale, the company hopes to pay down its debt.
Since the purchase, Blackstone has led the company to increased revenue and profit including $77.5 billion in profit and $1.4 billion in revenue last year.


First of all, life is a work in progress in and of itself, so there is nothing special about that on a Wednesday. It just sounded better than a title of "I've been so busy that I haven't had a chance to blog yet"... am I right? I DO have a ton of projects and ideas that are in the works right now and none of them are finished enough to blog about them yet. So what happens when everything is in that stage? It can be a bit paralyzing. Which one do you tackle first? And you ask yourself (again) why you insist on starting so many things all at once?!
I like to keep a few SMASH Books around for random keepsakes and ephemera that don't make it into my digital layouts. One of these books is a collection of our trips for the last few years. I use it for saving ticket stubs, room keys, and other fun little items. It's up to date through September of 2014, but we have taken 2 small trips (downtown SLC, and Jackson Hole, WY) and one really big trip since then (Hawaii) so I have a pile of stuff to add to it. It will probably only take me about 30 minutes or so to get it all done because Smash-booking is quick and easy for me.
The other SMASH Book in the photo is for my son. He likes to keep all of his movie, play, and concert tickets in it. I help him write out a few details about some of the events. It also needs some updating that will take about 10 minutes at the most. Totally worth it because it's such a treasure for him!
That wire basket (purchased at Target years ago) is filled with supplies for a quick grab whenever I feel like working on these projects. It's filled with adhesive, washi tape (more than I will ever need), some stickers and notepads, pockets, and pens.
I ordered a few more 4x4 press prints from Persnickety Prints to add to my favorite photo board in my office. I wanted to replace a few of the pictures on the board and add in some new (and old) memories. This will probably take me about 5 or 10 minutes now that I finally got the photos ordered. It took me about 3 months to do that.
I also send my art journal pages to Persnickety Prints for printing. I put them on an 8x10 canvas and send them in as 8x10 prints. I include the words "white space is intentional" because Persnickety is so great about their quality that they will call me to let me know they don't fill the printing space. Why don't I just print them in 6x8 you ask since that is what size they are supposed to be for the SNAP albums? Good question! I wish the SNAP album people and many other 6x8 manufacturers would actually make their 6x8 page protectors a true 6 inches by 8 inches. I found out the hard way that the actual size of paper that fits best in those page protectors is about 6.25 x 8.25. That extra quarter of an inch looks huge when it's empty space in a protector around your print! Thank goodness I can print them true to size and just trim off the extra white space.
This project will take less than 5 minutes for me to complete. The hardest part will be getting out my paper cutter. lol!
While I'm generally opposed to paper based planners (except this one), I am getting ready to set up a small notebook to record my eating plan in. I've tried several apps and they just don't work as well as having a physical checklist. I have a self-designed plan that I'm following and so far it is actually working, which is huge for me. I want to have an ongoing record and I found this very simple planner at Michael's for about $3. It's plain, but colorful inside. I bought myself some fun little stamps and pins to keep it festive.
I'd like to take about 30 minutes and work ahead in this planner by adding some everyday lists and checklists. I also want to decorate it up a bit so I don't get bored with it. My daughter is working on one for her own goals so it will be fun for us to do this together. We just need to find time when we are both available to work on it at the same time.
My husband is somewhat of a minimalist and is not what you would call a memory keeper, but he saved all of his hotel room keys last year. He thought it would be interesting to see how many there were by the end of the year (23) and I believe he is continuing on for 2015 as well. We were with him for 11 of these stays. The rest were on his own and mostly for business with a few for races he participated in.
I'd like to slip these all into some sort of album for him. I think they would work well in baseball trading card pocket pages or Project Life pocket pages. I want the album to be no bigger than a standard binder size so he can keep it on his bookshelf. My biggest hold up on this project right now is taking the time to look for suitable supplies. That can take a some time.
Those are just 5 of the small projects I have going on right now. They are all things I want to finish and be able to blog about. I won't even go into all the personal projects like piles of laundry and unfinished LEGO sets. Ha Ha!
The funny thing is that I could have finished most of them in the time it took me to write this blog post. Still, it was a useful practice for me to take inventory and figure out what needs to be done for each item. And it's a pretty creative way to procrastinate as well!


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module.exports.index = function(req, res, next) {
    res.render("index", { title: "Welcome to ChatterSock" });
};

redpajama_set_name: RedPajamaGithub


Showbiz Shelly joined Scott Kitun in the studio for the first half of this week's Startup Showcase. She updated Scott on what's going on in the bustling world of "Celebritech" and they talk about Disney's direct-to-Facebook re-vamped Mickey Mouse Club. Then, Shelly talked about her new podcast and some fun events she's been attending.


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tim carter
the pigs
timothycarterh
Poetry, Epiphany, & Control
An essay in which I talk about puzzles, poetry, and teaching.
I used to work at an "immersive, interactive play-space" where people would pay money to solve elaborate mysteries in what appeared to be a huge museum. This was similar to an escape room except no one was trying to escape. Instead, people paid for a "story" and they could wander freely through the museum, solving one puzzle after another until they reached the end of their story. I played a cranky, hunch-backed janitor who followed people around and help them if they got stuck. But mostly, I'd heckle them. Each story ended with a bang, usually involving me or another actor. My favorite was the story in which people accused me of stealing radioactive material from the science exhibit. When they'd finally figure out it was me, they'd chase me around the museum with a giant metal detector.
The same time I worked this job, I led poetry workshops to teenagers on the weekends. I'd left my job as a public school teacher to get an MFA degree, and yet, here I was, hiding from people in a fake rainforest exhibit inside the sixth busiest shopping mall in the United States.
I'm thinking about this because it seems that writing poetry, teaching, and solving puzzles are related to each other. Thinking of yourself as teacher can make you a better game designer. Understanding how puzzles worked and (more importantly) how to guide someone through a series of puzzles can make us better poets and better teachers. But clarifying this relationship is helpful for another reason. It's a helpful way to talk about the relationship between poetry and authoritarianism. Let me explain.
PUZZLES & PLEASURE
A professor once took great pleasure in explaining to me that a poem is not a puzzle. A puzzle can be solved, and if a puzzle can be solved (so it goes) then a poem can be solved. When we solve a puzzle, we figure it out, and it is less fun, less meaningful, than it was before. I agree, for the most part. Thinking of a poem as something that can be solved doesn't feel like a productive way to go about reading and writing. But I also think this is a simple way to think about puzzles. (1)
We like puzzles because they're fun, and they're fun because they're both difficult and revelatory. Puzzles that are too easy are boring, and puzzles that are too difficult are frustrating. We want to be challenged, but we don't like feeling stuck. We also don't like being shown the answer; we like to discover the answer ourselves. This is important because it suggests that an essential part of what makes puzzles fun is failure.
Compare this with what Philip Larkin says at the end of his essay "The Pleasure Principle." He says, "I do not like having to try to make myself like things, I like things that make me like them at once and no trying at all." I imagine that Larkin would hate escape rooms, and I imagine that as a student, Larkin would just want you to tell him which answers were on the test. I don't like this essay very much, but it's worth reading because of how he frames his disdain for difficult poetry. Poetry, for Larkin, is a "skilled recreation of emotion in other people." Someone should be able to read a poem and (without much effort) feel exactly what the author felt when they were moved to write the poem. I agree that a poem that doesn't communicate isn't much of a poem. I disagree in how best to communicate what we try to communicate in poetry. Failure to understand can also be enjoyable, especially when it leads to understanding.
Compare this also with what Jonathan Blow says about designing puzzles: "A puzzle is never just a puzzle. It's the communication of an idea from the designer to the player and solving the puzzle is the player's way of saying I understand." A designer could explain exactly what they thought was cool about a puzzle, but this would be a lecture. Puzzles (and poems) are different ways of communicating understanding.
Dressed as a cranky janitor, I'd follow people while they tried to solve their puzzles. When they'd get stuck, the last thing I'd want to do was give them the answer. If they were supposed to count the number of flowers in a certain painting, for example, I wouldn't say, go count the number of flowers in this painting. Instead, I'd stand next to it and aggressively sweep the floor. I'd mutter to myself or whistle a little song to get their attention. I'd ask them to tell me about their puzzle, and stand so that the answer (the painting) was over my shoulder. I'd play dumb. Oh, you're looking for a painting. Huh. Good luck with that. I never wanted to help them directly. I wanted to put them next to answer and let them figure it out.
This balance between difficulty, failure, and discovery is what I want to talk about in relation to poetry and teaching. My approach to teaching and writing poems is essentially the same as my approach to guiding someone through a series of puzzles. The goal isn't to frustrate or confuse anyone, it's rather to admit that I can't make someone have fun, I can't make them learn, and I can't make them feel whatever it is I want them to feel in a poem. I can only put them in proximity of meaning and let them discover it themselves.
PUZZLES, HAIKU, & EPIPHANIES
Haiku is the best example I can think of for this idea of poetry as discovery. Another example is poetry's epiphanic mode, which Robert Langbaum has written about in World From Below. Both are distinct from poetry's discursive mode, that is, poetry which tries to say something or make a point. Clearly, there isn't an answer in poetry the same way there's an answer to a puzzle. But one reason we read poetry is because it changes us. How does it change us? The poem as discovery still "makes a point," as we come to understand something we did not know before, but whatever truth in the poem is found in how it changes us. Part of the meaning of the poem, then, is the experience of the poem.
Haiku as it grows out of Zen Buddhism is related to the concept of satori — the idea that any profound understanding of ourselves or our world can only be grasped intuitively, suddenly, and internally. Satori can't be described, it can only be experienced. Trying to describe satori is like showing someone the answer to a puzzle. Too much clarity or conceptualization by the poet actually makes the realization of satori impossible for the reader. A haiku is at its best when the poet provides space for a reader to experience their own satori, and doesn't push too hard for a particular interpretation.
This is what D. T. Suzuki says about haiku and satori in his book Zen and Japanese Culture: "Whatever art or knowledge a man gets by an external means is not his own, does not intrinsically belong to him; it is only those things evolved out of his inner being that he can claim as truly his own." This openness or this not pushing too hard for any single interpretation can often be experienced as a difficulty, at least initially. After all, where do you go when you can go in any direction? Curiously, the koan also developed in the Zen tradition to help students by introducing resistance or confusion into the process of enlightenment. Suzuki goes on to say that, "Generally speaking, satori breaks out when a man is at the end of his resources."
Epiphany as it grows out of Christianity is a "sudden manifestation of spirit," a sudden leap in perception transforming how we see our world. The epiphany seems to be an essential part of poetry. For many of us, it's why we read poetry. Often the poems which contain for us some sort of revelation are the poems that we remember the best.
When I think of the poetic epiphany, I think of James Wright's poem "A Blessing." The great Jim Ellefson would read this poem every year to kick off a weekend writing retreat for high school students. He'd ask us all to close our eyes and then he'd recite the poem by memory. I remember the feeling, sitting there in the auditorium, listening to him. The poem has glowed gently for me ever since:
Just off the highway to Rochester, Minnesota,
Twilight bounds softly forth on the grass.
And the eyes of those two Indian ponies
Darken with kindness.
They have come gladly out of the willows
To welcome my friend and me.
We step over the barbed wire into the pasture
Where they have been grazing all day, alone.
They ripple tensely, they can hardly contain their happiness
That we have come.
They bow shyly as wet swans. They love each other.
There is no loneliness like theirs.
At home once more,
They begin munching the young tufts of spring in the darkness.
I would like to hold the slenderer one in my arms,
For she has walked over to me
And nuzzled my left hand.
She is black and white,
Her mane falls wild on her forehead,
And the light breeze moves me to caress her long ear
That is delicate as the skin over a girl's wrist.
Suddenly I realize
That if I stepped out of my body I would break
Into blossom.
I love this poem, but I'm skeptical of epiphanies. Before I talk about why, I want to talk more about the shape or structure of the epiphany as it often shows up in poetry.
Consider two other examples: the classic "Archaic Torso of Apollo" by Rilke and another favorite Wright poem, "Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota." Both are nearly perfect examples of the epiphanic mode. Both have the same shape. They describe a transformation on the part of the poet by moving from observation to realization. There is also a movement between what is outside the poet (in terms of what what they sense) to what is inside (in terms of what they feel). This is the shape of an epiphany. Lying in a hammock on William Duffy's farm leads to the poet to the realization that "I have wasted my life." I think of this shape as "A:B," where A leads to B and both parts are more or less equal in value. Part of what this shape does is get the reader to consider how the two parts of the poem are related, thereby encouraging the reader toward a discovery.
I don't want to explain the poem "A Blessing" (it doesn't need much explaining) but I want to note that it also has the same A:B shape. The realization, "if I stepped out of my body I would break / into blossom," emerges from the poet experiences leading up to that final line. I'm prompted to go back into the poem with the warmth of the ending in mind, trying to find what about the field or the ponies prompted this sudden realization. I call this a "flooding back" into the poem, and I find this kind of activity in poetry really enjoyable. When it works, it works.
Thinking about a poem's shape in this way is helpful because if we can identify a shape that is too familiar or expected, then we can begin to imagine new ones. Knowing what we know about puzzles and haiku, can we play around with the shape of our poems to create more opportunities for discovery and surprise? For example, how would an epiphanic poem work if it didn't have an A:B shape? What if a poem had the observation but withheld the realization?
We could say that a poem that has an observation but withholds its realization is a haiku. We're given the experience, but we're not told how to feel about it. We're put near the answer to the puzzle, and we're left to make sense of it on our own. This is one way I think of the distinction between the open and closed forms in poetry. Poets writing haiku try (paradoxically) to hide their presence in the poem. I think poets writing texts that are open, where a reading of the text doesn't reinforce a single interpretation, try to do a similar thing. Again, this is about relinquishing control over what another person feels, but without abandoning completely the idea that part of what poetry does is communicate feeling. This is to accept that the most important part of this communication can't be described, it can only be experienced. This is to say, simply, that haiku does the epiphany better because it doesn't follow this A:B structure.
Maybe in some writers there's a fear that readers won't have the same experience as you, or that it won't come through in the language. Maybe some believe that's the poet's job is to recreate in the reader the exact feeling as the poet felt prior to writing, full stop. This is a real fear, and it exists in teaching and puzzling just as it does in poetry. I want students to understand and grow. But I can't control what they feel or how it changes them. Each poem can only be invitation to discover.
SOME PROBLEMS WITH EPIPHANY
I wish people had more epiphanies (the more the better, I say), and I wish people were more curious, more sensitive, and better prepared emotionally for wonder. My problem isn't really with epiphanies at all. It's with the "lyrical epiphanic mode," especially as it takes this A:B shape that I've described. This shape feels closed to me, despite its (perhaps implicit) intention of being open. Lyn Hejinian describes the lyrical epiphanic mode as coercive. (2) I don't like being told what to do or how to feel, which is what's happening when a work is too closed, when the parts of the work are directing me to a singular interpretation.
Inviting a reader to discover is also inviting them to potentially misunderstand. Fragmentation, ambiguity, and incompleteness can be considered obstacles to meaning, but they're also invitations for us to discover meaning. They're parts of the poem that invite epiphany. The desire to give a sense of closure to a poem by ending it with a moment that feels epiphanic risks imposing upon the reader's own sense of discovery. This is a subtle desire for control over the interpretation of the poem. The risk is that your realization (or the realization you think the poem needs) isn't epiphanic because it is not actually a realization, it's only a description of a realization. You can't give the reader what you want by describing it to them.
And I wonder to what extent this desire for control in poetry relates to a similar desire in our personal and political lives. Poetry as it values things like uncertainty, ambiguity, discovery, and change, appears to be allergic to things like certainty and control. Who knows best what another person needs to learn? Who is given the authority to discover and interpret and who gets the interpretation described to them? How many of us are poets (and how many of us are not poets) because a teacher told us what a poem meant instead of inviting us discover it for ourselves? How many of us want our kids to sit in a chair and listen to the teacher? And what should we do with them when they don't obey us?
(1) Mark Brown's video "What Makes a Good Puzzle?" is a great place to start if you want to know more about puzzle design.
(2) Hejinian says in her introduction to "The Rejection of Closure, "The coercive epiphanic mode in some contemporary lyric poetry can serve as a negative model, with its smug pretension to universality and its tendency to cast the poet as guardian to Truth." This essay is as good a place to start as any for a discussion of the "open" and "closed" distinction in poetry.
War & Poetry: A Conversation with R. M. Haines.
We talk about poetry, capitalism, the "War on Terror," and fragmentation.
© 2019 by Tim Carter


Too many people have trouble organising their sports gear which ultimately ends ups sitting as clutter in their garage.
Well it is time to say goodbye to the mess and get organised with the Ball Claw – a quick and easy way to organize sport balls in any garage, basement, or bedroom and then some. This gadget has been designed by Kurt Kay & John Kurcheski of K Concepts. It is a mounting device that lets you store your sports balls in a neat and orderly manner. The contraption is made from sturdy injection-moulded ABS plastic and has been crafted for both outdoor and indoor use.
Simply mount the Ball Claw to a wall and you now have an efficient space to mount your ball. Installation is a piece of cake and it is accompanied by screws and bolts. The Ball Claw is available in three different sizes (small, medium, large) will sell for approximately$12 and can be purchased online here.


text:
Home » Diversity in Design: The Diversity Pipeline
Diversity in Design: The Diversity Pipeline
CHAD sophomore, junior, and senior students (from left to right): Lauren Pinkney, William Bond, Edward Portley III, Yunas Hassani, Annie Wong, Malcolm Gary, Matthew Liggeons-Jones, Janelle Johnson.
Photo © Ryan Donnell
Across the country, design-centered high schools are helping increase the number of African-Americans and Latinos in the field.
James Murdock
KEYWORDS architecture education / diversity in architecture / NOMA / Philadelphia
Shortly after the 9:30 a.m. bell sounds, the 24 students in Michael Reingold's Drawing Foundations class begin sketching a classmate who has gamely agreed to model for them, an off-white sheet draped over her blue top and khaki pants. The week's lesson is on gesture, so Reingold encourages pupils to make as few pencil lines as possible before using charcoal to block out shape and shadow. It's a commonplace assignment in an introductory college art studio — except that these students are 14 and 15 years old, freshmen at the Charter High School of Architecture and Design (CHAD) in Philadelphia.
It was in Reingold's class that Ryan Brown had an epiphany about conveying motion with lines. "The opening of a line has to be toward the direction of the motion," Brown remembers. "I got mad at myself when I realized it was that easy." On this morning in late February, Brown, now a senior, is taking several visitors around CHAD. He points with pride at a wall of college acceptance letters. "This is my Penn State letter. There's Hampton University. And there's California College of the Arts," he says, pausing to exchange high-fives with classmate Chanelle Gilbert, who also has a letter from CCA.
This moment almost didn't happen. Brown nearly dropped out at the end of his junior year, when his mother was laid off and he contemplated getting a full-time job. Some advice from Marshall Purnell, FAIA, who met Brown that summer during Purnell's term as president of the American Institute of Architects, helped keep him in school. "You have to work hard, be persistent, and fight for what you want," says Brown, who, like Purnell, is African-American. "It takes a lot of work to get where these people are. I'm ready to be there."
Brown represents the face of architecture in about a decade — a future that could be more diverse thanks to CHAD and a half-dozen other design focused high schools nationwide, which serve mainly African-American and Latino populations. Many observers praise them for fueling a "pipeline" of underrepresented groups that will eventually improve the profession's chronic lack of diversity. Studies also suggest that these schools, along with design-oriented mentorship programs, boost students' proficiency in math and science and reduce dropout rates. Yet despite such successes, it's too early to judge their long-term effectiveness at broadening architecture's reach.
Indeed, at less than 1.7 percent, the proportion of licensed African-American architects has barely budged since National Urban League president Whitney Young famously called attention to the problem at the AIA's National Convention in 1968. Despite some gains, Latinos, Asians, and Native Americans are also scarce. Architecture was hardly remarkable four decades ago, but other professions have since tackled the problem with better success.
Many observers think that architecture's problem is one of visibility. CHAD, which marks its 10th anniversary this fall, has built a reputation for opening young people's eyes to new career possibilities. "I always liked to draw," Ryan Brown says, "but before I came to CHAD, I had no idea about architecture." Chanelle Gilbert has a similar story. "When I was little, I used to change my room around a lot and thought I wanted to be an interior decorator," she recalls. "Here, I was told I could design the entire house."
Eighty-five percent of CHAD's student body are African-American. The school offers open enrollment based on a lottery system, and as a result, the demographics of its students resemble the entire city. More than 90 percent qualify for free lunches. Students at the three-year-old Priestley School of Architecture and Construction, in New Orleans, fit a similar socioeconomic profile — as do those at the Phelps Architecture Construction Engineering High School in Washington, D.C., although this new charter school requires admissions testing.
These schools represent the diversity pipeline's intake valve. CHAD's founders explicitly sought to "develop more African-American architects," says head of school Peter Kountz. They also aspired to a broader goal of using education to lift kids out of economic and academic poverty. "We're not interested in becoming a middle-class high school, and that's important for anyone who seeks to understand us," Kountz explains. "Our kids are very parochial, just as a lot of suburban kids are. We help them to see a larger, more meaningful and complicated world."
In that vein, many of these schools draw a distinction between design and the core academic curriculum. "Students can't go from here to a school like NYU, Carnegie Mellon, or Pratt unless they're academically sound," says Stacey Mancuso, principal of the Design and Architecture Senior High School (DASH), in Miami, Florida. Celebrating its 19th anniversary this year, DASH — where 53 percent of the student body is Hispanic and 12 percent black — ranks as one of the oldest design-oriented high schools nationwide. It also boasts some of the highest test scores. In 2007, 96 percent of DASH students scored proficient or above on math exams, compared to just 57 percent for the Miami-Dade District and 65 percent statewide. Moreover, 100 percent of DASH's class of 2008 graduated, and 99 percent went on to study in college.
CHAD's administrators point to some equally impressive numbers: Ninety-five percent of students who start CHAD in freshman year will graduate four years later, compared to approximately 50 percent in Philadelphia's wider public school system. Overall, the city dropout rate averages 10 percent a year, yet at CHAD it is only 1 percent. And more than two thirds of the school's 2007 and 2008 graduates are enrolled in four-year colleges. "The question students used to ask each other was, 'Are you going to college?' Now, it's, 'Where?' " says Miguel Vazquez, CHAD's director of college placement.
When it comes to CHAD students' scores on standardized tests, though, the success story grows murkier. The school has yet to achieve Adequate Yearly Progress, a key assessment created by the No Child Left Behind Act. "That means we're not fully doing our job," Kountz admits. But he adds that proficiency tests are a flawed gauge of true progress. "We get kids coming into ninth grade who read at a fourth- or fifth-grade level. We can raise students to an 11th-grade level by the time they leave, but in the eyes of the test, we're still failing." Faculty go to great lengths to effect further improvement. At Priestley, which has a similar standing to CHAD, for example, teachers put in extra hours of tutoring and often serve as surrogate family members. "If I had been anywhere else, nobody would have fought to keep me in school," says CHAD student Brown, recalling how Courtnay Tyus, the school's development director, helped him.
Administrators at both schools are searching for ways to boost students' test scores by integrating design into core curricular subjects. One tool they're using is The Architecture Handbook, by Jennifer Masengarb and Krisann Rehbein, published by the Chicago Architecture Foundation. Taught in more than 130 schools nationwide, this comprehensive design textbook incorporates math and science concepts into everything from CAD to sustainability. "The way a kid processes and applies knowledge is much more real if they look at something that exists in the world," observes Rehbein.
Mentorship programs pursue a similar curriculum-based approach. The Salvadori Center, in New York City, pairs architects and engineers with school teachers to work on project-based learning modules. A bridge-building unit reinforces math and geometry concepts, for instance, while a lesson on monument design supplements social studies. As Salvadori's executive director Leonisa Ardizzone explains, "We help teachers see that you don't have to be an architect or an engineer to use the built environment around you." Each year, Salvadori reaches an average of 2,400 students, 51 percent of whom are Latino and 30 percent African-American, and its testing track record is good. Before a Salvadori "math lab" was offered at schools in Port Chester, New York, for instance, only 60 percent of students passed state math tests; afterward, 93 percent passed.
In San Francisco, the Build SF Institute saw similar results among students who participated in its mentorship program, a majority of them Asian and Hispanic. It is one reason why the local education district actively encouraged administrators to expand the program from an after-school activity into a full-fledged school, which opened last fall. "We run it like a design studio," says Alan Sandler, executive director of the Architectural Foundation of San Francisco, which runs Build SF. "There aren't any class periods, but instead the students are given design problems they work on throughout the day. Each problem has aspects of math, science, and social studies integrated into them. That's how we cover our standards, but it doesn't look anything like a regular school."
Mentorship programs provide the best piece of evidence that reaching minorities in high school can inspire them to pursue architecture. Of the 47,000 high school students who participated in the ACE Mentorship Program of America since it began in 1994, says president Pamela Mullender, 82 percent are black or Hispanic. One third of past students now have jobs in a design-related field, and 53 percent of last year's senior cohort are now majoring in architecture.
The success of charter high schools at producing architecture majors is less certain. At CHAD, the number of students applying to design-centered colleges has been steadily increasing — from 50 percent in initial cohorts to 63 percent among this year's seniors. Yet among the 138 students in the class of 2009, just 15 percent say they intend to major in architecture. Kountz faults the school for failing to emphasize architecture strongly enough in its curriculum. Many observers believe the blame lies elsewhere.
"We keep talking about making kids aware of architecture as a profession," says Marshall Purnell. "But here's the interesting thing: If you look at how many African-American architects of my generation have children who also chose the profession, you'd be surprised at how low the percentage is. It's because they almost know too much about the profession."
Statistics suggest that even the diversity pipeline cannot resolve the profession's overarching shortcomings. Dennis Mann, a professor of architecture at the University of Cincinnati, codirects the Directory of African American Architects. "We're adding about 50 people to our list each year, totaling just under 1,700," he says. "But when you account for people who pass away, the overall number of licensees is not increasing." There are some nuances. The number of licensed female black architects, for instance, is growing at a rate "far exceeding" other increases: from just 48 in 1990, when the directory began, to nearly 230 today.
One leak in the pipeline is the college experience. It's telling that nearly three quarters of licensed black architects come from historically black colleges and universities, such as Howard University. Historically white institutions are making efforts to recruit more minorities, but many observers feel they haven't gone far enough to ensure that a supportive environment exists once these students arrive on campus — particularly when it comes to kids from schools such as CHAD. "Our kids are street smart, but they don't know how to behave academically," Kountz says. "It's very difficult for our kids in college."
Steven Lewis, AIA, president of the National Organization of Minority Architects (NOMA), is so concerned about what happens to black students in college that he's made it one of three priorities during his NOMA presidency. "Kids get hit hard by the very cold and competitive studio culture. That's true for all kids. But when you layer the race issue on top of that, it complicates matters," he explains. This spring, Lewis plans to unveil a tool kit to help colleges "feather the nest" a little better. One recommendation is that faculties hire more people of color.
The fundamental truth is that race still matters. "It's something that faculties at architecture schools around the country are really struggling with," admits Mark Robbins, dean of the Syracuse University School of Architecture. "One doesn't have to be Latino or African-American to be sensitive to issues of diversity and race. But if we're going to be meaningful as institutions, students of all stripes who come here should be able to find themselves within the faculty."
There is also a lack of role models in senior management positions out in the field. High-profile African-Americans, such as Diane Hoskins, FAIA, an executive director of Gensler, and Ralph Jackson, FAIA, a principal of Shepley Bullfinch, are the exception at white-owned firms. Many observers believe lingering racism is keeping minorities down. "The important factor in successfully building a client base and getting ahead is not so much what firm principals say about a person of color when they're in the room, but what's said when they're not in the room," observes Ted Landsmark, president of Boston Architectural College. "Firms have to provide access to clients. That will enable more people of color to demonstrate the talents they have."
Landsmark has faulted the AIA for failing to take a leadership role sooner. "Institutionally, there needs to be a person with the authority to affect policy, budget, and outcomes," he has contended. "In the absence of that, we will continue to initiate programs that enable us to feel good at the front end but that don't produce tangible results."
For his part, Purnell praises the AIA for strides made within the past few years. But he doesn't mince words when it comes to describing institutionalized racism — and he lays most of the blame on corporate and government clients. "The GSA has never selected a black architect to design a new, freestanding structure of any size anywhere in this country since the agency was created in 1949. If I can make that statement today, in 2009, it should bring crystal clarity to this problem we have in the profession," he says. (For its part, GSA is reaching out to minority firms.) "We can put as many kids in the pipeline as we want, but unless we solve what happens at the end of the pipeline, it's going to be a funnel."
The recession could further complicate matters. Some observers speculate that layoffs and hiring freezes will give young architects time to finish their IDP requirements — making them more attractive candidates when the hiring market eventually recovers. Layoffs also might prompt black and Latino architects to enter teaching, thereby becoming role models for younger generations. But others fear that the recession might deter children of color from studying architecture in the first place. Vasquez, CHAD's college counselor, is already seeing a slight increase in the number of students who are heading to college this fall to study nursing.
One thing is certain, most analysts agree: The economic crisis heightens the urgency that all architects should feel about making headway on diversity. "Our client base has become more diverse, and that requires a more diverse range of designers to serve populations with different language and cultural expectations," Landsmark says, pointing to states such as California, Florida, and Texas, where Latinos are almost a majority. If architects fail to satisfy clients' needs, business will instead go to engineers and other disciplines that have already diversified. "We risk irrelevance as a profession," Purnell concurs. "This problem is killing job opportunities for all architects."
But Purnell avoids such dire talk when he meets with teens such as Ryan Brown. Indeed, he still believes that fueling the diversity pipeline with fresh faces is architecture's best hope — and he's acutely aware of his own importance as a role model. "It wasn't until college that I met my first black architect," Purnell says. "I said, 'If he can do this, I can do this.' I hope that's what Ryan thought when he met me — someone who's black, owns a firm, and was president of the AIA. I can only imagine Ryan felt like there were no limits. That's what you've got to feel at his age."
Recent Articles by James Murdock
Walking Tour of Beacon Hill and Downtown
Diversity in Design: Marrying Content to Container
Does the Long Road to Licensure Impede Diversity in the Profession?
Breakthroughs and Obstacles: Prescriptions for Change


Sony Pictures has hired Richard Wenk to write the script for Kraven the Hunter, according to Collider. Kraven was one of several characters mentioned back in 2017 as possible Sony Spider-Verse movies, along with Mysterio.
Additionally, Sony Pictures' Executive Vice President Palak Patel is reportedly emerging as the key figure in figuring out Sony's Spider-Man-less Spider-Verse family of films. Patel isn't in charge of the films like Kevin Feige at Marvel Studios or Walter Hamada at DC Films, but Collider explains that Patel is one of Columbia Pictures president Sanford Panitch's direct subordinates and "is often pulled into development meetings for films based on Marvel characters."
No release date for Kraven the Hunter has been announced.


text:
using System;
using System.IO;
using System.Linq;
using System.Management.Automation;
using System.Text;
using Microsoft.Crm.Sdk.Messages;
using Microsoft.Xrm.Sdk;
using Xrm.Framework.CI.Common.Entities;
using Xrm.Framework.CI.PowerShell.Cmdlets.Common;

namespace Xrm.Framework.CI.PowerShell.Cmdlets
{
    ///
    /// <para type="synopsis">Copies a CRM Solution Components.</para>
    /// <para type="description">The Move-XrmSolutionComponents of a CRM solution to another by unique name.
    /// </para>
    ///
    /// <example>
    ///   C:\PS>Move-XrmSolutionComponents -ConnectionString "" -FromSolutionName "UniqueSolutionName -ToSolutionName "UniqueSolutionName"
    ///   <para>Exports the "" managed solution to "" location</para>
    /// </example>
    [Cmdlet(VerbsCommon.Copy, "XrmSolutionComponents")]
    public class CopyXrmSolutionComponentsCommand : XrmCommandBase
    {
        #region Parameters

        ///
        /// <para type="description">The unique name of the solution components to be moved from.</para>
        ///
        [Parameter(Mandatory = true)]
        public string FromSolutionName { get; set; }

        ///
        /// <para type="description">The unique name of the solution components to be moved to.</para>
        ///
        [Parameter(Mandatory = true)]
        public string ToSolutionName { get; set; }

        #endregion

        #region Process Record

        protected override void ProcessRecord()
        {
            base.ProcessRecord();

            base.WriteVerbose(string.Format("Moving Solution Components from {0} to {1}", FromSolutionName, ToSolutionName));

            using (var context = new CIContext(OrganizationService))
            {
                var fromSolutionId = GetSolutionId(context, FromSolutionName);
                var toSolutionId = GetSolutionId(context, ToSolutionName);

                var fromSolutionComponents = (from s in context.SolutionComponentSet
                            where s.SolutionId == new EntityReference(Solution.EntityLogicalName, fromSolutionId)
                            orderby s.RootSolutionComponentId descending
                            select new { s.Id, s.ComponentType, s.ObjectId, s.RootSolutionComponentId, s.IsMetadata }).ToList();
                var toSolutionComponents = (from s in context.SolutionComponentSet
                            where s.SolutionId == new EntityReference(Solution.EntityLogicalName, toSolutionId)
                            select new { s.Id, s.ComponentType, s.ObjectId, s.RootSolutionComponentId }).ToList();

                foreach (var solutionComponent in fromSolutionComponents)
                {
                    if (toSolutionComponents.Exists(depen => depen.ObjectId == solutionComponent.ObjectId && depen.ComponentType.Value == solutionComponent.ComponentType.Value))
                    {
                        continue;
                    }

                    var addReq = new AddSolutionComponentRequest()
                    {
                        ComponentId = (Guid)solutionComponent.ObjectId,
                        ComponentType = (int)solutionComponent.ComponentType.Value,
                        AddRequiredComponents = false,
                        SolutionUniqueName = ToSolutionName
                    };

                    if ((solutionComponent.IsMetadata ?? false) && fromSolutionComponents.Exists(depen => depen.RootSolutionComponentId == solutionComponent.Id))
                    {
                        addReq.DoNotIncludeSubcomponents = true;
                        base.WriteVerbose("DoNotIncludeSubcomponents set to true");
                    }

                    OrganizationService.Execute(addReq);
                    base.WriteVerbose(string.Format("Moved component from solution with Id : {0} and Type : {1}", solutionComponent.ObjectId, solutionComponent.ComponentType.Value));
                }
            }
        }

        private Guid GetSolutionId(CIContext context, string solutionName)
        {
            var query1 = from solution in context.SolutionSet
                         where solution.UniqueName == solutionName
                         select solution.Id;

            if (query1 == null)
            {
                throw new Exception(string.Format("Solution {0} could not be found", solutionName));
            }

            var solutionId = query1.FirstOrDefault();

            return solutionId;
        }

        #endregion
    }
}


text:
Le Taylorcraft LBT était un planeur militaire américain, conçu et produit par  au cours de la Seconde Guerre mondiale en réponse à un besoin de l pour une bombe planante. Constituant l'un des trois prototypes de « Glomb » commandés par la Marine américaine, le LBT souffrait de complications techniques et de problèmes de performance. Il fut alors abandonné très tôt dans sa période de production, aucun des quelques exemplaires produits n'étant employé en service opérationnel.

Conception et développement
Au cours du mois de , l démarra l'étude d'une proposition de « bombe-planeur » (en ), qui devait être un aéronef non propulsé et peu coûteux, télécommandé depuis un autre avion  et étant capable de délivrer des bombes sur une cible ennemie sans mettre l'équipage en danger face aux défenses antiaériennes de la cible. La bombe planante, ou « Glomb », devait être remorquée par un avion embarqué classique jusqu'à la zone de sa cible. Le guidage suivant le largage du planeur devait être effectué par le biais d'une caméra de télévision installée dans le nez du planeur, qui transmettait son signal à un avion piloté, à bord duquel un opérateur utilisait un signal radio pour contrôler la descente du Glomb vers sa cible. À la suite de l'évaluation initiale de la , il fut jugé que le concept du Glomb était intéressant et qu'il méritait que son développement soit continué, et le projet reçut un statut officiel par le , en .

Les tests initiaux du concept du Glomb furent réalisés à l'aide de planeurs existants convertis pour être contrôlés à distance, sans pilote à bord. Ces tests semblèrent indiquer que le concept était prometteur, et une requête pour la création de concepts par l'Industrie fut publiée. Trois compagnies reçurent des contrats pour développer un Glomb opérationnel, celles-ci étant Pratt-Read,  et Taylorcraft. Le concept de Taylorcraft, désigné  par la Marine, était dérivé du planeur d'entraînement  de la compagnie. Deux , convertis à la télécommande, avaient été testés lors des tests initiaux du Glomb. Le  était équipé d'une aile haute à renforts et d'un train d'atterrissage tricycle. Il était conçu pour embarquer une bombe de  comme charge militaire. En plus de son système de guidage télévision-radio, le  conservait un cockpit, permettant à un pilote de monter à bord pour effectuer des vols d'entraînement et d'évaluation.

Carrière opérationnelle
L'évaluation du  par l' débuta en . Le contrat de la  faisait appel à la production de  de chacun des trois modèles de Glomb proposés. Toutefois, en , les essais commencèrent à indiquer que la faible performance attendue pour cette bombe planante était un handicap, et les Piper  et Pratt-Read  lui furent jugés supérieurs. Le contrat du LBT fut alors annulé et seuls  furent produits, aucun de ces engins n'étant employé en service opérationnel.

Spécifications techniques

Notes et références

Voir aussi

Articles connexes
 Glomb
 Piper LBP
 Pratt-Read LBE
 ASM-N-2 Bat

 Fletcher FBT-2
 Bombe planante
 Planeur militaire

Bibliographie

 .
 .
 .
 .
 .
 .

Magazines
 .

Bombe aérienne des Forces armées des États-Unis
Drone américain
Projet abandonné des Forces armées des États-Unis
Arme américaine de la Seconde Guerre mondiale
Planeur militaire
Avion des années 1940
Avion militaire de la Seconde Guerre mondiale
Avion militaire des Forces armées des États-Unis
Premier vol en 1944

redpajama_set_name: RedPajamaWikipedia


TV My Wife Watches: Thanks Comcast!
I am currently waiting for Comcast to put last night's episode of Mad Men On Demand and will soon have blog posts on Mad Men and tonight's Dancing With the Stizzies (probably Wednesday).
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text:
March 27, 2014 | Ed Johnson-Williams
Thanks to ORG supporters copyright takes a great leap forward into the 21st century
Good news! After pressure from ORG supporters over the last week, the Government has just published its proposed changes to copyright law.
This is a big victory for ORG. We've long argued that UK copyright law wasn't fit for the digital age and this is a big step in the right direction.
The new laws will finally give us the right to parody and legalise personal copying of our digital media. We're also seeing important changes allowing non-commercial research to carry out text and data mining.
The laws should come into force on 1st June but we're not done yet. MPs and Peers first have to approve them. We'll let you know when the debates and votes are as soon as we find out.
It's taken a lot of work to get to this point.
Back in February 2011 we made an important submission to Professor Ian Hargreaves' Review of Intellectual Property. Professor Hargreaves then published recommendations on copyright that the Government accepted and were the basis of the changes that they published today.
Despite promising to bring the changes in, the Government were very slow to make the reforms. In November last year ORG wrote to them urging them to get a move on. Lord Younger replied in December promising them "in the New Year" to come into force this April.
But again, the reforms were slow in coming. So over the last week ORG supporters sent over 350 unique emails to Vince Cable and Lord Younger demanding that they publish the changes to copyright.
It's been a long fight and we're nearly there. We now need to make sure MPs and Peers back the laws so we can finally get on with making parodies and transferring our CDs onto MP3 players without breaking the law!
We'll do a fuller write-up of the changes in the next few days but here's a quick summary of the two new copyright exceptions that we campaigned for over the last week.
The parody exception is fairly simple. The draft law itself is only two pages long! It says that using a work "for the purposes of caricature, parody or pastiche does not infringe copyright in the work." It also makes clear that contracts can't be written to make using a work for parodic purposes an infringement of copyright.
Personal copies for private use
The personal copies exception is a bit more complicated. It will finally allow you to make back up copies of music, films or ebooks you have purchased or been gifted. That doesn't include computer programmes though. You can also convert your files to another file format or to play on a different device. And you can make personal copies of your files in the cloud.
There are limitations on the copying. For example, you cannot pass these copies or the original files on to another person. And you can't make any commercial gains from making the copies either.
The new legislation brings in restrictions on rightsholders or vendors imposing technical or contractual measures to stop you from making private copies. This is one area where we'll be looking for greater clarity on how to interpret the new law.


Brandon MacIsaac had 3 touchdowns, 35 receptions, averaged 70 receiving yards per game, with a total of 567 yards on the 2017 season. Brandon's production put him in the top ten receivers in the Canadian Junior Football League (CJFL), second in the Prairie Football Conference (PFC), was added to the PFC all-star team and nominated for the CJFL rookie of the year. Brandon also won the Calgary Colts receiver of the year and rookie of the year awards.
As a young football fan growing up, one of Brandon's heroes was Nick Lewis; a player who on second down, you could always count on to catch the ball for just enough to keep the sticks moving and he wasn't afraid of getting in there and getting his nose dirty. Brandon says he sees a bit of Nick Lewis in himself.
Brandon learned phenomenal work ethic and discipline through his time playing Calgary football at St. Francis High School with the division one Browns and the Broncos (Calgary and Area Midget Football Association). He praised his coaches there for instilling his hard work ethic through a team rooted in tradition. A team where, tradition says, win or lose, you line up in silence after the game, board the bus, get back to school and run hills. Brandon says it taught him about the importance of commitment, hard work and giving it your all.
Brandon says joining the Calgary Colts Football Club this year helped him to build that commitment to hard work and grow his love and passion for the game. He's met people who, regardless of whether they continue to play together, will remain friends for life. When asked about his favourite play of the season that he was involved in, he talked about that first touch down of the year in the first game against the Edmonton Huskies. Although it was a short one, just under a one yard throw, he said it was great to get that out of the way. It allowed him to feel confident and just have fun with the rest of the game. Brandon also talked about the game against the Regina Thunder where he had a big play that he felt was really a turning point for the game; lots of guys coming at him, breaking tackles, and he caught the ball and ran it in for a touchdown.
In the off season, his focus will be not only on routes and technical aspects like breaking tackles, but also about leadership. He knows his team is going to be looking to him to take on a stronger role next season and is looking forward to the new challenges that being a second year leader on the team will bring. He knows that getting stronger and faster are not the only priorities for his development.
In talking with Brandon, one can see he's a very empathetic guy, able to put himself in other's shoes, so to speak. He spends time every year volunteering to canvas and fundraise for the Canadian Diabetes Association. It's a special cause to him because when he was a youngster playing hockey, he had a team mate with diabetes and could see that it made his lifestyle more challenging. "You see what he's gotta go through every day. Especially as a kid, you're out on a tournament and everybody around you is eating candy, and he can't. And you kinda see these things and you feel bad…and you want to raise awareness for it." Brandon is focused on making life for others better, easier and fair.


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Scott Cawthon Phone Number, Email ID, Address, Fanmail, Tiktok and More
Are you a follower of Scott Cawthon? Are you searching on google for How to contact him? What is the WhatsApp number, contact number, or email id of Scott Cawthon? What is the hometown and residence address of Scott Cawthon? Who is the Contact Agent, Manager Scott Cawthon? What is the Facebook, Twitter, or Instagram id of Scott Cawthon? find out all these things in our article below.
Scott Cawthon Wiki/Bio
Scott Cawthon was born in 1978 in Houston, Texas, United States. His birth sign is Leo. He is of American Nationality. He is married and his spouse's name is Sallie Taylor.
Cawthon started his career in game design and animation in the 1990s. Cawthon discovered his first game, Doofas, during a live stream; he created the game when he was a child. As the "demo" of Ultimate Custom Night, this game later became a troll game. His first authorized games were released in the early 2000s, with RPG Max, released in 2002, being one of the earliest known. He later joined Hope Animation, where he invented Christian-themed animations for children.
Cawthon posted the first installment of an eight-part series titled The Pilgrim's Progress to his YouTube channel on March 19, 2007, two years after it was released as a full-length film on DVD.
Cawthon submitted Five Nights at Freddy's to Steam's Greenlight system on June 13, 2014. The following day, June 14, a trailer was released, followed by a demo on July 24, 2014. On July 24, 2014, he also submitted it to IndieDB, where it quickly gained prominence.
Cawthon released the first sequel, Five Nights at Freddy's 2, for $7.99 on Steam on November 10, 2014.
Warner Bros. Pictures declared in April 2015 that it had purchased the film rights to the series. The film was set to be produced by Roy Lee, David Katzenberg, and Seth Grahame-Smith.
Cawthon released the fourth game in the Five Nights at Freddy's horror series, Five Nights at Freddy's 4, on July 23, 2015. On October 31, 2015, a free "Halloween" update was made available.
Cawthon revealed the development of FNaF World, a new role-playing video game (RPG), on September 15, 2015. It is not a horror game, but rather a stylized RPG. On January 21, 2016, it was released. Cawthon removed it from Steam four days later, dissatisfied with the outcomes, and released an enhanced version for free on Game Jolt on February 8.
Scott Cawthon released teasers for his first novel, Five Nights at Freddy's: The Untold Story, later named Five Nights at Freddy's: The Silver Eyes, in December 2015. On December 17, 2015, the book was released as an e-book for The Amazon; a paperback edition is also available. Cawthon claims that the book was released earlier than planned due to an error on Amazon's part.
Cawthon released a teaser trailer for Five Nights at Freddy's: Sister Location on May 21, 2016, which featured two new animatronics as well as circus-themed variations of Foxy and Freddy from the series. The game was released on October 7, 2016, to generally positive reviews. On December 2, Cawthon released a free custom night update, which included "Golden Freddy Mode" shortly after.
Scott Cawthon Phone Number
Cawthon announced on June 24, 2016, that he had signed a three-book deal with Scholastic Corporation, and that the first book (The Silver Eyes) would be reprinted in paperback in October of that year, with the second and third following in 2017 and 2018.
Cawthon clarified in January 2017 that the film "was met with several delays and roadblocks" and was "back at square one" due to "issues within the movie industry as a whole," but he promised, "to be engaged with the movie from day one this time, and that's something extremely important to me."
Cawthon's second novel, Five Nights at Freddy's: The Twisted Ones, was released on June 27, 2017.
Scott declared in early 2019 that he had teamed up with a small video game studio Steel Wool Studios, who will be responsible for future Five Nights at Freddy's games, while Scott will be in charge of the storyline, animatronic designs, and gameplay.
Cawthon released the teased virtual game, Five Nights at Freddy's: Help Wanted, for both PC and PlayStation VR on May 28, 2019. Curse of Dreadbear, a DLC update, was released on October 23, 2019.
On March 24, 2020, a new teaser starring a brand new alligator-like character, later discovered to be Montgomery Gator, was released.
The characters' names were disclosed from Funko's list of upcoming products on April 21, 2020, and the title was demonstrated as Five Nights at Freddy's: PizzaPlex.
On September 16, 2020, it was reported during a PlayStation 5 Showcase that Five Nights at Freddy's: Security Breach would be coming to PlayStation 5 with real-time ray-tracing. It will first be available on the PlayStation 5, PlayStation 4, and PC, before expanding to other platforms three months later.
Cawthon made a Reddit post on November 20, 2020, explaining the many scrapped screenplays for the movie, followed by a declaration that the film does have a finished screenplay and will start filming in spring 2021.
Scott announced in December 2020 that Five Nights at Freddy's: Security Breach would be delayed until 2021, citing that the game was too large to finish by the end of the year.
The second teaser trailer for Five Nights at Freddy's: Security Breach was demonstrated on the official GeForce live stream in January 2021, displaying the game with the newest Nvidia GeForce graphics card.
A month later, in March 2021, the official gameplay trailer for Five Nights at Freddy's: Security Breach was disclosed at the Playstation State of Play event, confirming that it will be a free-roam game, unlike previous FNaF games. It was the most-watched game during the live stream, with millions of views in the first 24 hours. Cawthon also declared multiple images for Security Breach on YouTuber Dawko's live stream on March 13th.
A trailer was released the following day, June 14, followed by a demo on July 24, 2014. He also published it to IndieDB on July 24, 2014, where it instantly garnered popularity.
Cawthon launched the first sequel, Five Nights at Freddy's 2, on November 10, 2014, for $7.99 on Steam.
Warner Bros. Pictures announced in April 2015 that it has acquired the series' film rights. Roy Lee, David Katzenberg, and Seth Grahame-Smith were supposed to produce the picture.
Cawthon released Five Nights at Freddy's 4, the fourth instalment in the horror franchise, on July 23, 2015. A free "Halloween" upgrade was made available on October 31, 2015.
On September 15, 2015, Cawthon announced the development of FNaF World, a new role-playing video game (RPG). It is not a horror game, but a stylized role-playing game. It was released on January 21, 2016. Cawthon deleted it from Steam four days later, displeased with the results, and on February 8 released an upgraded version for free on Game Jolt.
On May 21, 2016, Cawthon published a teaser trailer for Five Nights at Freddy's: Sister Location, featuring two new animatronics and circus-themed variants of Foxy and Freddy from the series. On October 7, 2016, the game was launched to mostly positive reviews. Cawthon issued a free custom night update on December 2, closely followed by "Golden Freddy Mode."
Cawthon stated in January 2017 that the film "met various delays and barriers" and was "back to square one" owing to "problems within the film industry as a whole," but he pledged "to be engaged with the film from day one this time, which is something that is really important to me."
Five Nights at Freddy's: The Twisted Ones, Cawthon's second novel, was released on June 27, 2017. Scott announced in early 2019 that he had partnered with a tiny video game business called Steel Wool Studios. Steel Wool Studios will be responsible for future Five Nights at Freddy's games, while Scott will oversee the storyline, animatronic designs, and gameplay.
Cawthon published the hyped virtual reality game Five Nights at Freddy's: Help Wanted on May 28, 2019 for PC and PlayStation VR. Curse of Dreadbear was published as a DLC update on October 23, 2019.
On March 24, 2020, a new teaser depicting a brand-new alligator-like character was published, who was subsequently revealed to be Montgomery Gator.
On April 21, 2020, the characters' names were revealed via Funko's catalogue of future goods, and the title was revealed as Five Nights at Freddy's: PizzaPlex.
On September 16, 2020, at a PlayStation 5 Showcase, it was announced that Five Nights at Freddy's: Security Breach would be coming to PlayStation 5 featuring real-time ray tracing. It will launch on PlayStation 5, PlayStation 4, and PC first, before rolling out to additional platforms three months later.
Cawthon published a Reddit post on November 20, 2020, outlining the film's several abandoned screenplays and announcing that the film now has a completed screenplay and will begin filming in spring 2021.
Scott revealed in December 2020 that Five Nights at Freddy's: Security Breach will be delayed until 2021, citing the game's size as a reason.
The second teaser trailer for Five Nights at Freddy's: Security Breach was shown on the official GeForce live stream in January 2021, featuring the game running on the latest Nvidia GeForce graphics card.
A month later, in March 2021, at the Playstation State of Play event, the official gameplay trailer for Five Nights at Freddy's: Security Breach was revealed, confirming that it will be a free-roaming game, unlike previous FNaF titles. With millions of views in the first 24 hours, it was the most-watched game during the live feed. Cawthon also announced many photos for Security Breach on March 13th during YouTuber Dawko's live show.
Facts About Scott Cawthon:
Birthday/Birth Date: 1978
Birth Place: Houston, Texas, United States
Official TikTok:
Occupation: Video Game Designer
Popular Friends: NA
Business Facts:
Salary of Scott Cawthon: NA
Net worth: NA
Total TikTok Fans/Followers:
Facebook Fans: 2.36M subscribers
Twitter Followers: 239.3K Followers
Total Instagram Followers: NA
Total YouTube Followers: NA
Some Important Facts About Scott Cawthon:
1. Scott Cawthon was born on 1978 (age 43 years), Houston, Texas, United States
2. His age is 43 years.
3. His birth sign is Leo.
Scott Cawthon Fan Mail address:
Scott Cawthon
Scottgames, LLC
Salado, TX 76571-4934
Scott Cawthon Phone Number, Email Address, Contact Info, Texting Number, Fanmail and More Details
Email Address NA
Facebook NA
House address (residence address) Houston, Texas, United States
Office address NA
Office Number NA
Official Website NA
Phone Number NA
Snapchat Id NA
TicTok Id NA
Twitch NA
Twitter https://twitter.com/real_scawthon
Whatsapp No. NA
Scott Cawthon Phone Number:
Scott Cawthon Address: Houston, Texas, United States
Scott Cawthon Phone Number: NA
Scott Cawthon Whatsapp Number: NA
Scott Cawthon Email ID/ Email Address: NA
Scott Cawthon Social Profiles
Scott Cawthon Facebook Fan Page: NA
Scott Cawthon Twitter Handle: https://twitter.com/real_scawthon
Scott Cawthon Instagram Profile: NA
Scott Cawthon Snapchat Profile: NA
Scott Cawthon YouTube Channel: https://www.youtube.com/user/animdude
Also Checkout: Henry Cavill Phone Number, Email ID, Address, Fanmail, Tiktok and More
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In 2015, then Deputy President Cyril Ramaphosa announced that the South African Government plans to address the engineering skills shortage in South Africa. The goal is to have at least 24 000 competent artisans by 2020. While this is an ambitious goal, many people are wondering what alternative routes there are to achieving "competent artisans" in the built environment and in the flooring sector specifically.
Mechanical engineers, electrical engineers and civil engineers are still among the most in-demand skills in the country and these skills account for 16 of the top 20 scarce skills in South Africa. South Africa has one qualified engineer for every 3 166 people while America has one for 29 people, the UK has one for 311 people, Germany has one for 217 people and China has one for 130 people.
Are the skills needed necessarily academic?
According to research, about 25% of children who enter grade 1 at government schools in South Africa don't make it to matric, while 80% of learners with a government school education fail their first year at university. These statistics, combined with the lack of job opportunities in the market, call for a paradigm shift in how we approach employment, skills and training in South Africa.
While free education is an important challenge that needs to be addressed, South Africa also has a large population of millennials (approximately 60% of the population). This "youth bulge" can be a blessing if a country has many jobs that need to be filled and if it is able to deliver good education. In South Africa, however, there is a high unemployment rate and a stagnant economy, which makes the youth bulge a concerning liability.
"We need to get our young population skilled and ready for employment as soon as possible, and this is where my concern lies. Are those skills necessarily academic?" asks Dion.
Industries, companies and business models continue to change at a rapid pace because of digitisation and ongoing disruptions in the marketplace. To run new, agile businesses, different skillsets are needed.
• What are some of the most in demand skills in the flooring market today?
The provision of education and training in South Africa has not been aligned with the economy and that of society. In South Africa, the growing skill crisis in the flooring industry has been highlighted many times and has been identified as an impediment to growth and development, as well as service delivery. This is especially true in the construction industry where there is a dearth of qualified flooring installers, contract managers and sales representatives.
• Do you think that more millennials should look at alternatives outside of traditional academic institutions to pursue careers? What are the benefits of this?
Given the high levels of youth unemployment, where a large number have less than a secondary certificate, there is a strong argument to prioritise scarce skills training by SETAs. 78% of millennials between the ages of 25 and 34 years are unemployed. The Construction and Education Training Authority (CETA) has made funds available to provide employment opportunities to our youth and FITA is well positioned to utilise these funds in meeting the needs in the flooring industry. The prohibitive cost of, and limited access to, tertiary education has resulted in more and more millennials looking to taking up trade occupations.
• What kind of careers in the flooring market are needed today that weren't necessarily needed a few years / decades ago?
Installations are more complex and products more specialised than those done years ago. The "one installer does all" no longer applies. Flooring projects have become customised and require niche installations, with higher than usual performance and aesthetic characteristics. It is FITA's intention to produce installers who have specialised skills in a particular discipline. The organisation is in the process of writing an advanced curriculum which will enable installers to do just this and in turn build a career.
• What type of qualifications should people consider if they are already working in the built environment and want to upskill themselves?
The cavalier attitude that exists in the flooring industry concerning training must be addressed. With the assistance of flooring manufacturers, contractors and certified flooring installers, we aim to bring about major change. There are enormous opportunities available to a millennial wishing to enter the flooring industry, because FITA is working with the South African government. These include specialised flooring installers and harnessing the skills of retired flooring installers to become trainers, assessors and moderators. Many flooring companies have launched training initiatives, workshops and courses to help upskill installers. Besides offering customised programmes where a minimum number of students are enrolled, some of the manufacturers in South Africa are also going one step further by offering scholarships to previously disadvantaged students. These are all steps in the right direction.
• What career paths in the flooring market would you advise millennials to consider and why?
FITA would like to see unemployed youth enter our industry and be given the opportunity of a future career with the ability to be upskilled and mentored. The opportunity then exists to specialise, learn business skills and ultimately create employment opportunities by opening a new flooring business.
The Southern African Wood, Laminate & Flooring Association (SAWLFA) has seen in the last 5 years a steady increase of learners at its training sessions. Not only have members seen the benefit of sending in the learners at an early stage, they now know and understand the value of up-skilling their staff. If installers understand the products they are working with, they will avoid a floor failure. Training is a win, win for all.
Specialised tip: The prohibitive cost of and limited access to tertiary education has resulted in more and more Millennials looking to taking up trade occupations.
Thanks and acknowledgement are given to www.fitasa.co.za, www.sawlfa.co.za, www.medium.com, www.networkrecruitment.com and www.news24.com for some of the information contained in this article.


Who shall bring any charge against God's elect? It is God who justifies. 34 Who is to condemn? Christ Jesus is the one who died—more than that, who was raised—who is at the right hand of God, who indeed is interceding for us.
Something that I need to remind myself every so often is that I am being talked about. The good news is that I am being talked about in the opposite way of high school gossip circles. We are told that Jesus Himself is interceding for us, on our behalf, in the very presence of God. Jesus is talking about us, even now. Think about that.
God, we are told by Paul, is the one who justifies and declares us righteous. Who could ever condemn us? For it is Jesus who took our place and offered his life on our behalf. God himself took our place!* God himself declares us innocent, like in a court of law. But wait, it gets better! We are told that he also intercedes on our behalf.
Why would we ever want to ask any other person (and rely on them alone) for help when we know Jesus is on our side? The saints might indeed pray for an individual in the presence of God, but I would rather have Jesus on my side. Jesus intercedes for us in the throne room.
Dear reader (and writer, for that matter), do you not know that the Lord cares for you? Do you not know that Jesus not only died on your behalf and was raised, but he also then prayed for you? He appeals and pleads on our behalf, even now. How incredible is that?
This is why we can live without fear, for the Light of the World shines grace upon us. The Light of the World intercedes for his people, the community of the graciously redeemed.
*For a post on Jesus being fully God and fully man, see Jesus, God and Man. Jesus was fully God and fully man in one person.


Home India Telangana Why Hyderabad is the best place to live in?
Many of you must have come across the Mercer's study where Hyderabad has been ranked as the best Indian city consistently for the past three years.
Hyderabad,The city of pearls has scored well in terms of lower crime rate, better education facilities and relatively low pollution levels.
Now who doesn't know about the special Hyderabadi biryani? One of the things Hyderabad is famous for. The dish is prepared either with chicken or mutton. The city also offers other dishes which have a glimpse of different cultures of the city. The bakeries also serve some really good pastries.
We all would agree that it's the people who add to the value of the surrounding. The people in Hyderabad are comparatively friendlier. You will get to see people always ready to help you out. You can easily survive in the city even if you aren't a native.
Now we know that the cuisines of Hyderabad are a result of its rich culture. The heritage sites also don't fail to take us back to the old days. Be it the famous Charminar, the tombs or the Golconda fort each one carries its own charm.
Hyderabad can be called as one of the cheapest cities in India. Its cost of living is very low as compared to cities like Mumbai and Delhi.
Hyderabad is also famous for its bangles, which are available in plenty near the Charminar. Also check out Shilparaman for some amazing saris and textiles. You can also get some mind blowing art work here.
The city is well planned and clean. Infrastructure of the city is good enough. The roads are broader in comparison to other cities. The proper enforcement of law and order deserves a lot appreciation.
The city has a number of places to visit and things to do and hence it attracts a lot of tourists. The tourists enjoy the pleasant trip and the variety of food items which are a treat to the taste buds.
These are just a few reasons of why Hyderabad is the best city in India. What say? No issues if you aren't a permanent resident of the city. It will be ready to welcome you anytime you decide to visit it.
Do let me know your thoughts and comments below!