Hansens has been repairing and servicing vehicles in the Wakatipu since 1981. Hansens Auto Services is a locally owned and operated business, situated across two workshops in Queenstown's Industrial Place, just five minutes from the centre of town.
Free fitting of rack systems for the months of March, April and May.


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Home > Civil Litigation
Appeal Court upholds Quebec Superior Court's civil jurisdiction under Constitution
Monday, September 16, 2019 @ 11:58 AM | By Christopher Guly
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Renvoi re: Juridiction de la Cour de Magistrat (Loi Concernant) (Québec) [1965] S.C.R. 772
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Quebec's 157 federally appointed Superior Court judges could find themselves with more cases on their rolls following a recent ruling by the province's Court of Appeal.
On Sept. 12, the appellate court released its decision in Reference to the Court of Appeal of Quebec pertaining to the constitutional validity of the provisions of article 35 of the Code of Civil Procedure which set at less than $85,000 the exclusive monetary jurisdiction of the Court of Québec and to the appellate jurisdiction assigned to the Court of Québec (Order in Council No. 880-2017), 2019 QCCA 1492.
"Article 35 C.C.P. violates section 96 of the Constitution Act, 1867 because it infringes on the core jurisdiction of the Quebec Superior Court to adjudicate certain substantial civil disputes," the seven-member panel of the court, which included freshly minted Supreme Court of Canada Justice Nicholas Kasirer, unanimously held.
"In order to respect section 96 of the Constitution Act, 1867, the maximum limit for the civil jurisdiction of the Court of Québec must fall between $55,000 and $70,000, but must not exceed the latter amount, subject, of course, to future updates," said the 141-page ruling, which gave the National Assembly one year to amend the Code of Civil Procedure and set the monetary limit.
Quebec administrative lawyer Madeleine Lemieux, a partner with Paradis Lemieux Francis in Bedford, Que., who was asked by the Appeal Court to serve as its spokesperson, explained that Quebec's attorney general presented the province's high court with the reference two years ago after Superior Court judges sought clarity on their jurisdiction guaranteed by the Constitution.
The government asked the appellate court whether article 35 of Quebec's Code of Civil Procedure giving the provincial Court of Québec "exclusive jurisdiction to hear and determine applications in which the value of the subject matter of the dispute or the amount claimed," is less than $85,000, is "valid with regard to section 96 of the Constitution Act, 1867, given the jurisdiction of Quebec over the administration of justice under paragraph 14 of section 92 of the Constitution Act, 1867."
To determine an appropriate threshold, the court relied on experts to calculate, in 2017 dollars, what the civil jurisdiction limit would be based on the $100 cap on civil cases Quebec's provincial court would have heard in 1867. The updated amount was determined to be less than $85,000, and no higher than $70,000 and no lower than $55,000.
Lemieux, former bâtonnier of the Barreau du Québec, said the civil jurisdiction issue entered the courts in the mid-1960s, when Quebec's National Assembly passed a statute that increased the limit for the provincial court from $200 to $500.
To ensure the hike was constitutional, Quebec presented a reference to the Appeal Court, which unanimously found the limit increase to be unconstitutional (Renvoi concernant la constitutionnalité de la Cour de magistrat, [1965] B.R. 1).
However, the matter ended up that year in the Supreme Court of Canada, which held that "the broadening of the jurisdiction" of what was then called the Magistrate's Court, "by increasing the numbers of dollars, viewed in light of the current value of the dollar, does not, in and of itself, have the effect, when added to the jurisdiction that is peculiar to it as an inferior court not contemplated in s. 96, of making if a s. 96 court," wrote then-Justice Gérald Fauteux in Renvoi re: Juridiction de la Cour de Magistrat (Loi Concernant) de Québec [1965] S.C.R. 772. "It follows that the statute under consideration is not unconstitutional."
The provincial court's civil jurisdiction was increased incrementally over time, and Superior Court judges were concerned that their court was "being eroded or diminished by removing cases that should be decided by them," said Lemieux.
In the recent reference, Quebec's Appeal Court rejected the provincial government's position that the $85,000 ceiling for the Court of Québec would have a minimal impact on the Superior Court's jurisdiction since few civil cases hit that monetary mark.
"Such logic will inevitably lead to the Superior Court gradually being stripped of a significant component of its mission in civil matters. With the number of cases decreasing as the monetary ceiling increases, the core jurisdiction of this section 96 court would be eroded," the Quebec Court of Appeal said.
"It is important to ensure that the jurisdiction of the Court of Québec does not encroach on the core jurisdiction of the Superior Court to adjudicate substantial civil disputes. That said, the most recent amendment, increasing the civil jurisdiction of the Court of Québec to $85,000, cannot be characterized as a catch-up measure. Rather, it is the extension of an ever-growing erosion of the constitutional jurisdiction of the Quebec Superior Court over civil matters."
The court added: "Access to justice is still one of the major challenges the Canadian judicial system faces. However, the pursuit of such an objective, as fundamental and significant as it may be — and that it certainly is — cannot serve to prevent the Quebec Superior Court from exercising the core jurisdiction conferred on it by the Canadian Constitution or justify the disregard of s. 96 of the Constitution Act, 1867."
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redpajama_set_name: RedPajamaCommonCrawl


text:
/* [in] Digital Signal 0: J1 pin 1 (RxD) Read Serial Data */
const int RxD = 0;

/* [out] Digital Signal 1: J1 pin 2 (TxD). Transmit Serial Data.  */
const int TxD = 1;

/* [out] Digital Signal 13: J3 pin 5 (SCK)  LED on Arduino board. Used for testing.    */
const int LED = 13;

#ifdef SIMULATOR
const int INPUT = 0;
const int OUTPUT = 1;
const int LOW = 0;
typedef  unsigned char byte;
void pinMode(int a1, int a2);
void digitalWrite(int a1, int a2);
#endif SIMULATOR

redpajama_set_name: RedPajamaGithub


text:
Q: How do i combine html, css and javascript coding to make my carousel work? I have the following code split into html, css and javascript, but i do not know how to combine them in notepad so i can embed it onto my website.  (The image sources and texts are just examples.)
HTML

Geneva International Motor Show

The Geneva International Motor Show will open to the public from 03 to       13 March, presenting more than 260 exhibitors and more than 175 world and European premieres. 02 March 2011.

        Source: gigapica.geenstijl.nl

        The new Swiss Sbarro TwoFort100 Concept car is shown during the press day at the 81st Geneva International Motor Show in Geneva, Switzerland, on 01 March 2011.

        The new Toyota FT-86 II Concept car on display during the press day at the 81st Geneva International Motor Show in Geneva, Switzerland, 02 March 2011.

        The new Renault Dezir Concept car is on display during the press day at the 81st Geneva International Motor Show in Geneva, Switzerland, 02 March 2011.

        The new Dodge Challenger SRT8 392 is on display during the press day at the 81st Geneva International Motor Show in Geneva, Switzerland, 02 March 2011.

        The new Nissan Esflow Concept car is on display during the press day at the 81st Geneva International Motor Show in Geneva, Switzerland, 02 March 2011.

        A study of Volkswagen named Bulli is on display at International Geneva Motor Show at the Palexpo fairground in Geneva, Switzerland, 03 March 2011

CSS
 html, body {
    height: 100%;
    padding: 0;
    margin: 0;
    }
    body {
    min-height: 650px;
}
    body * {
    font-family: Arial, Geneva, SunSans-Regular, sans-serif;
    font-size: 14px;
    color: #333;
    line-height: 22px;
}

    #wrapper {
    width: 825px;
    margin: 0 0 0 -412px;
    position: absolute;
    left: 50%;
    top: 30px;
}
    #text h3 {
    font-size: 26px;
}
    #text small, #text small * {
    font-size: 12px;
    color: #666;
}
    #images {
    width: 900px;
    overflow: hidden;
}
    #images div, #images img {
    display: block;
    float: left;
    width: 275px;
    height: 200px;
}
    #images span {
    background-color: black;
    color: #ccc;
    display: block;
    float: left;
    width: 215px;
    height: 160px;
    padding: 40px 30px 0 30px;
    }

Javascript
$(function() {
    $('#images > div').each(function() {
        var $cfs = $(this);
        $cfs.carouFredSel({
            direction: 'up',
            circular: false,
            infinite: false,
            auto: false,
            scroll: {
                queue: 'last'
            },
            items: {
                visible: 1,
                width: 275,
                height: 200
            }
        });
        $cfs.hover(
            function() {
                $cfs.trigger('next');
            },
            function() {
                $cfs.trigger('prev');
            }
        );
    });
    });

Any help on this would be much appreciated guys!!!

A: <!DOCTYPE html>

    <meta charset="utf-8">
    <title>...</title>
    <link rel="stylesheet" type="text/css" href="path/to/your.css" />

   ...your html

I added some things that normally go in the head of an html document, like the charset and lang attributes. Also, this doctype is for html5.

A: You can reference the code inline or you can link to the files.
To reference everything inline, above your HTML put your CSS between:

Then put your javascript between:

OR
Save your CSS to a document, say slider.css
Save your javascript to a file called slider.js
Then link to them with:
<link href="slider.css" type="text/css" rel="stylesheet" />

and

Note that the above two code snippets have to be placed inside your  tags

A: Add this to in the  section in html file:
<link rel="stylesheet" href="yourcssfilename.css"/>

<link rel="stylesheet" type="text/css" href="<Location and filename of CSS file including file extension>">

Replace the  stuff with the actual file locations on the server/machine.

redpajama_set_name: RedPajamaStackExchange


Warnings about the Bush Administration's plans to build more roads across national forests from the US Environmental Protection Agency (EPA) have been self-censored.
According to documents released this week by Public Employees for Environmental Responsibility (PEER), comments about a host of environmental problems ranging from impaired public drinking water to invasive plant issues were deleted from papers submitted to the US Forest Service by the EPA.
This summer, the Bush Administration announced its decision to repeal the Roadless Area Conservation Rule and replace it with a plan that allowed road building in general unless the host state objected and submitted its own plan for protecting in-state roadless areas (see related story).
Executive director of PEER, Jeff Ruch claimed that EPA employees said a political appointee within the EPA office for enforcement and compliance dismissed the staff's draft as a "rant" and ordered the objections stricken.
As a result, the final letter raised no opposition to the plan, merely suggesting that its concerns about water quality be addressed by an advisory board.
"Things have got pretty extreme when the Environmental Protection Agency is no longer permitted to voice environmental concerns," Mr Ruch pointed out.
He added that "never was heard a discouraging word" was no longer just a lyric from Home on the Ranch, but the new federal environmental mantra.
According to PEER, this is just the latest in a string of recent occurrences in which the EPA's pollution-related concerns have been self-censored out of inter-agency communications.
Similar objections by EPA specialists to Bush Administration plans to allow snowmobiles in Yellowstone National Park, to greatly expand coal bed methane production on federal range lands and to exempt Pentagon agencies from toxic waste regulations have all been removed from official correspondence, the organisation claims.
This comes in stark contrast to the UK Government, which is currently trying to lead both governmental departments and industry by its own example, putting environmental and sustainability issues at the top of its agenda (see related story).
"Message control is no substitute for stewardship," Mr Ruch concluded. "The Bush Administration has raised toadyism to an art form."
Dr James Hensen, a former top climate scientist at NASA also recently went to the New York Times and blew the whistle on attempts by the Bush Administration to suppress scientific information about carbon emissions and global warming (see related story), saying that political interference in the flow of scientific information had become "institutionalised" under President Bush.


text:
Carbon nanostructures: In the loop
Nanoscale hoops of carbon atoms are poised to reveal the advantages of curved structures
The larger the nanohoop, the more flexible and less nanotube-like it becomes.
© 2016 Hiroyuki Isobe
Stronger than steel, lighter than aluminum, more conductive than copper — carbon nanotubes boast some exceptional properties.
One key to these properties is the nanotube's unique shape: a hollow cylinder of tightly bonded carbon atoms, across which a sea of electrons freely flows. To gain a deeper understanding of how the curved shape contributes to the properties of carbon nanotubes, AIMR researchers have synthesized a series of belt-shaped carbon 'nanohoops', which mimic the nanotube structure, but are shorter and simpler1. In creating these carbon structures, the team discovered that the nanohoops have a rich chemistry of their own.
Hiroyuki Isobe and his colleagues from the AIMR at Tohoku University made the series of nanohoops by combining flat carbon structures called arylenes. The arylenes join together to form a loop in a process akin to threading flat beads together to form a necklace. Using an approach called random synthesis, the team produced nanohoops ranging in size from six to eleven arylene units.
The researchers showed that the true structural diversity was considerably greater than just six nanohoops of different sizes. Each arylene 'bead' can attach to the growing nanohoop in two possible orientations, forming different structures known as stereoisomers. Teaming up with a mathematician, the researchers calculated the total number of possible stereoisomers that a nanohoop of any given size could have. These calculations predict that the largest, 11-arylene nanohoop can form 126 different stereoisomers.
More significantly for carbon nanotube research, the team used variable-temperature nuclear magnetic resonance (NMR) to show that the larger the nanohoop, the more flexible its structure becomes (see image). To be a good model for a carbon nanotube's stiff cylindrical shape, rigid nanohoops are required. Of Isobe's nanohoops, only the smallest, six-arylene nanohoops showed sharp peaks in the room-temperature NMR spectrum, which indicate the necessary rigid cylindrical structure.
"Our study is the first to show this threshold between rigid, cylindrical molecules and fluctuating molecules," Isobe says. The team found that of the many structural variants of nanohoops that have been designed to mimic nanotubes, very few of them successfully mimic the persistent cylindrical shape of carbon nanotubes.
The work lays the foundations for further studying the unique structural chemistry of nanohoops. "This study shows that we are at a very fundamental, early stage of understanding the chemistry of these materials," Isobe adds. "We are now trying to reveal the secrets hidden in the persistent cylindrical shape, and hope that many new surprises will enrich the chemistry and its allied areas."
Sun, Z., Suenaga, T., Sarkar, P., Sato, S., Kotani, M. & Hiroyuki, I. Stereoisomerism, crystal structures, and dynamics of belt-shaped cyclonaphthylenes. Proceedings of the National Academy of Sciences USA 113, 8109–8114 (2016). | article
This research highlight has been approved by the author of the original article and all empirical data contained within has been provided by said author.
stereoisomerism
cyclonaphthylenes
nanohoops
arylenes
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Adamu Adamu Urged ASUU Against Former Pres. Goodluck Jonathan Adminstration, But Now Appealing To ASUU To Accept Buhari's Offer Because He's The Minister Of Education.
"This nation owes a debt of gratitude to ASUU and the strike should not be called off until the government accepts to do and does what is required . So, instead of hectoring ASUU to call off its strike, the nation should be praying for more of its kind in other sectors of the economy."
Politicians talk cheap when in opposition, changes in government.


text:
About ICCE
Our degrees
ICCE communication
ICCE on Twitter
Alexander, Victoria
Associate lecturers
Brkić, Aleksandar
Clements, Paul
Cooke, Claire
De La Court, Adrian
Dinardi, Cecilia
Featherstone, Mike
Figueira, Carla
Franklin, Michael
Hitchcock, Michael
Hull, Richard
Kempton, Oliver
Lahav, Sylvia
Lidstone, Gerald
Linden, Sara
Meng, Kelly
Muir, Pauline
Murphy, Oonagh
Musgrave, George
Newbigin, John
Prime, Sian
Searle, Nicola
Smith, Martin
Tamari, Tomoko
Staff in ICCE
Academic staffAssociate lecturers PhD students Professional staff
Karla Barnacle-Best
Associate Lecturer
k.barnacle-best (@gold.ac.uk)+44 (0)20 7296 4255
Karla has over 25 years' experience as a manager within the arts, working for the likes of Arts Council England.
Karla has over 25 years' experience as a producer and manager within the arts in the UK. She has also worked for Arts Council England managing the drama project funding portfolio. Most recently Karla has been exploring partnership and consortium development as well as setting up a Community Interest Company with her husband which focuses on teaching young people to make skateboards. She is currently working part-time as Joint Chief Executive at Discover Children's Story Centre.
Rod Fisher
r.fisher (@gold.ac.uk)+44 (0)20 7919 7553
Rod has experience as a researcher and consultant on comparative cultural policy, cultural relations and management.
Rod Fisher has extensive experience as a researcher, consultant and lecturer on comparative cultural policy, cultural relations, cultural management training and the policy of European institutions in the cultural sector. He has conducted research, consultancy, lectured and chaired/moderated conferences in 33 countries worldwide. He has particular expertise on the cultures and policies of Europe and Asia.
For many year he worked for the Arts Council of Great Britain (initially as Information Officer and later as International Affairs Manager), as well as local authorities, where he programmed and administered arts and leisure services, festivals and venues. Subsequently, he established and directed his own consultancy, International Intelligence on Culture (formerly International Arts Bureau), delivering projects and services for institutions in the UK and overseas. For example, in the mid 1990s he chaired the European Task Force on Culture & Development that produced the seminal report In from the Margins for the Council of Europe.
Today he chooses to work selectively, focusing on lecturing, and the occasional research project.
BA History (Sussex) 1965.
Visiting/Associate Lecturer at Goldsmiths on the MA in Arts Administration & Cultural Policy (since 2002) and a contributor to the MA in Cultural Policy, Relations and Diplomacy.
Visiting Lecturer at City University, London, running a module on Cultural Policy in Europe (subsequently International Cultural Co-operation and Policy) 1984-2007.
Visiting Lecturer at Jagellonian University Summer School, Krakow, 1991-1995.
Visiting Lecturer at Birkbeck, London, and in Lisbon, Bangkok, Barcelona etc at various times.
Director European Cultural Foundation UK 2002-2012.
Member, Orientation Board, Fondation Marcel Hicter, Brussels, 1991-2007.
Member, UK Advisory Committee, Japan Foundation, 2005-2007
Co-founder, Cultural Information Research Centres, Research in Europe (CIRCLE) network (Chairman 1985-1994).
Independent expert, Preparatory Action on Culture in European Union External Relations for Goethe-institut, Brussels, commissioned by the European Parliament,
Co Chair, Final Conference in Beijing of the EU Year of Intercultural Dialogue 2012.
Training in Transnational Cultural Cooperation Projects: Reflections and Challenges to Validation & Certification (with Karpodini-Dimitriadi, Dr E) for EU, published by Marcel Hictor Foundation, Brussels, 2007.
From Policy to Practise & Potential: A Cultural Dimension to the EU's External Relations, (ed), Boekmanstichting, Amsterdam , 2007
Developing New Instruments to Meet Cultural Policy Challenges, (ed) report on international cultural policy seminar, Bangkok, Asia-Europe Foundation & Chulalongkorn University, Thailand, 2005.
Hong Kong Arts & Cultural Indicators (with Mercer, C), research project for Hong Kong Arts Development Council, 2004-2005.
Chasity Johnson
Chasity.Johnson (@gold.ac.uk)
Chasity Johnson is an Emmy-award winning social media and content strategist with more than 10 years of industry experience. Prior to moving to the U.K. from the U.S., Chasity worked with the likes of the Chicago Tribune and NBC5 Chicago, where she won an Emmy award in New Media Interactivity as a part of the NBC5 Chicago Street Team.
She was also a uniformed member of the U.S. Army National Guard where studied at the Defence Information School to become a public affairs specialist. Upon receiving this qualification, she accepted a position with the Department of Defence as the Northern Region Public Affairs Specialist for the Illinois National Guard, where her responsibilities included designing a military publication with a circulation of 13,000 and the facilitation of military participation in major motion pictures.
When not lecturing at Goldsmiths, Chasity currently works as a senior strategist at M&C Saatchi London, where her core responsibilities include ideating and developing native social media content that resonates with target audiences whilst reflecting client objectives, development of digital and social media campaigns and strategies, influencer marketing strategies, research and insights into the ever-changing algorithms and best practices of social media networks, the establishment and facilitation of editorial processes as well as the procurement and development of digital and social media properties.
Chasity is also currently a student on the Post Graduate Certificate in Learning and Teaching in Higher Education at Goldsmiths.
Tricia Jenkins
tricia.jenkins (@gold.ac.uk)
Tricia is a teacher and facilitator with over 30 years' experience working in education and community settings.
Tricia Jenkins is an Associate Lecturer on MA Arts Administration and Cultural Policy. She is responsible primarily for managing work placements for students.
Academic qualifications:
1981: BA (Hons) Bulmershe College of Higher Education, Reading (English, Film and Drama)
1983: PGCE with Distinction, London University Institute of Education (English and Media Studies)
Final write-up of PhD, Studentship at Middlesex University (submitting Spring 2018): Digital Storytelling and older people.
Teaching:
Lecturer in Film and Media Studies for the British Film Institute Extra Mural Courses 1983 - 1987
Senior Lecturer Media Studies - Richmond upon Thames College 1987 - 1993
Programme Manager - Music, Media and Performing Arts (South Thames College)
Professional Activities:
Tricia is a qualified teacher and facilitator, having started her career as a lecturer in media studies and media production in further education and has over 30 years experience working in education and community settings, using the study and production of media as a tool for empowerment and inclusion.
She was Head of Training at the London Film and Video Development Agency between 1993 - 1998, and Head of Skills and Development (maternity cover) at Film London in 2005-7.
In 2008, she co-founded the research and digital storytelling company DigiTales, which is hosted by Goldsmiths, University of London. She has designed, fundraised for and delivered projects across Europe and further afield and she has used digital storytelling and participatory media on a range of issues and with many different marginalised groups, including homeless young people, older people, hard to reach young people and migrants.
She has worked as a freelance consultant in arts policy and management since 2004 and was Head of Learning and Development at Arts & Business, where she led on fundraising training in the arts, running master classes, workshops and an annual conference between 2011 and 2013.
She is an experienced researcher and evaluator and is Secretary of the International Visual Methods Conference.
Jonathan Meth
j.meth (@gold.ac.uk)+44 (0)20 7296 4255
Jonathan has worked to give dramatic writers the tools they need to build better careers and change working cultures.
Jonathan is curator of The Fence, which he set up in 2003. The Fence is an international network of playwrights and cultural operators. It currently has over 250 members across 50 countries and has met 26 times. Fence 26 was in Cairo in March 2018
He put together the Janus project (developed out of the Fence), which with EU Culture funding and British Council support translated 16 new plays from across Europe and presented them as staged readings at Festivals in Tampere, Finland; Graz, Austria and Leeds, UK.
He was Director of writernet, a UK based organisation which gave dramatic writers the tools they need to build better careers and change the culture in which they work. Over 15 years he created regional, national and international networks, delivered a wide range of targeted playwright development programmes, co-produced new plays, wrote and published a range of guides, reports and articles on many aspects of the broader theatre writing ecology.
BA Hons English & American Literature with Drama, UEA, 1983
Post-graduate diploma in Theatre Directing, Bristol Old Vic Theatre School, 1989
Jonathan has worked since 2002 as Associate Lecturer on the MA in Arts Administration & Cultural Policy, Institute of Creative and Cultural Entrepreneurship at Goldsmiths, University of London.
From July 2013 to January 2015 he also Convened the MA in Writing for Performance and Dramaturgy for the Theatre and Performance Department at Goldsmiths.
Area of supervision
Currently co-supervising a PhD on carnival and education.
Areas of interest focus on playwrighting and dramaturgy in international cultural contexts, theatres of learning disability.
Visiting Fellow at the Department of Film, Theatre & Television, University of Reading (2017-2020)
External Assessor for the MA in Scriptwriting, University of East Anglia (2002-2017)
External Examiner for the BA Drama and Scriptwriting - University of Northumbria (2014-2018)
Expert Advisor and ex-Trustee at Ambitious About Autism, the national charity for autism education
Chair of Vital Xposure; previously Vice Chair of ATC and the Playwrights Studio Scotland
Fellow of the Royal Society for the Arts
Artistic Associate at Az Theatre
From November 2018 - May 2021 Jonathan is Project Dramaturg on Ogmius, an EU Erasmus+ funded project. November 2014 - March 2017 Jonathan was Project Dramaturg on Crossing The Line - an EU Creative Europe funded collaboration project with the same partners: Mind The Gap in Bradford, UK. Moomsteatern in Malmo, Sweden and Compagnie de l'Oisesau Mouche in Roubaox, France: three of the world's leading companies making theatre with professional, learning disabled theatre makers.
You can read his recent piece on Disability Arts for The Guardian here.
October 2018 Direction and Script Editing on Festival-du-mort at the Bazar Café, La Charité-sur-Loire
September 2018 Closed reading of Chair, by Yves Baigneres, with actors and director Giles Croft at Goldsmiths.
August 2018 Dramaturgy with Pauline Heath on her Never Neverland project, for Little Cog & The Arc Stockton
August 2018 Completed 4-year stint as External Examiner BA Drama & Scriptwriting at Northumbria University.
June 2018 Directed four- day R&D laboratory on My Heart is in The East with Jessica Litwak, Fred Fortas & Rosie Parker at Bazar Café, La Charité-sur-Loire.
May 2018 with support from Erasmus +, worked with Event Production students at the Creative Industries Department of the Vilnius Gediminas University on the last 24 hours of preparation of their production.
March 2018 Fence 26 as part of D-CAF, the Downtown Contemporary Arts Festival in Cairo
February 2018 Curated playwrights, from Turkey, Serbia, Montenegro and Romania to Hong Kong for a 4-day translation workshop of new plays for young people, for AFTEC
January 2018 Submitted Large Co-operation Project bid to the Creative Europe programme of the EU for an expansion of the Crossing The Line project.
October 2017 Ireland has struck oil – but will it be Norway or Nigeria? – a live performance and audio podcast around a near future scenario with The Fence as part of King's College's Arts and Humanities Festival: World Service, with Gabriel Gbadamosi and Professor Max Saunders.
August 2017 Directed two-day R&D laboratory on My Heart is in The East with Jessica Litwak and Fred Fortas at Bazar Café, La Charité sur Loire.
May 2017 Fence 25 as part of the Festival du Mot, with The Hopper Project at Bazar Café, La Charité sur Loire.
March 2017 Fence 24 as part of the Cultural Festival in Rokiskis, Lithuania.
January 2017 Crossing The Line Festival in Roubaix (read interview with journalist Bella Todd for Disability Arts International).
March 2016 co-curated Plays for Young People symposium and workshop in Hong Kong, with Uk, Swedish and Hong Kong artists, for AFTEC
October 2015 Keynote Speaker at the first convening on Relaxed Performances in China in Hong Kong October 2015, for AFTEC
June 2015: Fence 21 as part of the Schillertage Festival at The Nationalteater in Mannheim and also in partnership with TiG7. Theme – Closed Societies.
May 2015 Directed Rehearsed reading of Jessica Litwak's My Heart is in the East, her new play set in 11th Century Cordoba. The play will also be produced at La Mama in New York in 2017.
January 2015: Fence 20 Eugene O'Neill Theatre Centre, Connecticut and Lark Play Development Center New York, The Play Company and NITE


A second Trade Building comes: the Trade Center, also as a Box-Upgrade!
With this one, you'll be allowed to buy or sell up to 2 different resource types in a single Trade action.
As for the Financial Analysis Department, Trade Center is natively protected against Earthquakes.
June, Chris Henderson, and 10 more people like this update.


text:
Home Education Billboard Magazine names two N.J. schools tops for music business
Billboard Magazine names two N.J. schools tops for music business
Emily Bader
Across the United States, schools are taking necessary steps to cope with COVID-19. As questions are raised over the next few months into the next four years, those with plans to pursue a career in the music industry may be interested to see which schools were named the best for music business by Billboard.
If you're hoping to hone those skills in New Jersey, look no further, as two from the Garden State were recently recognized by Billboard magazine as one of the "2020 Top Music Business Schools."
Monmouth University in West Long Branch and William Paterson University in Wayne were two out of 28 U.S.-based colleges profiled in Billboard's April 25 issue.
Monmouth made the list due to its Bachelor of Arts in music with a concentration in music industry. The program, which has a 50/50 gender split, provides students areas of study in publishing, recording, marketing, talent acquisition, artist management, concert production, media relations, technology and merchandising. Its student-run record label, Blue Hawk Records, allows for participants an opportunity to practice their lessons in a real world setting. Other highlights include the Bruce Springsteen Archives and the Center for American Music.
"It's our goal to stay aligned with the dynamic music industry, and to provide our students with rich and relevant experiences," Joe Rapolla, chair of the music and theatre department and director of the music industry program, said. "I'm thrilled that the Monmouth University music industry program was recognized for its unique offerings and outcomes. This designation makes it easier for those considering Monmouth to know they'll get training that is recognized by the industry itself. It also puts an added seal of approval on the credentials of current students and alumni."
William Paterson University was named as one of the best over its music department programs, which focus on course work in licensing, touring, intellectual property rights, public relations, media use, law and ethics, and personal management. The school also offers a music management seminar hosted by SiriusXM's Steve Leeds, vice president of talent and industry affairs, and internships at music companies in New York. It also has a student-produced radio show called Music Biz 101 & More.
Billboard said the programs that were "primarily campus-based, offering a broader, deeper education and bestowing a bachelor's or associate's degree" were included on the list.
Other schools on the list include Berklee College of Music, New York University, Drexel University, the University of Southern California, and the University of North Texas.
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text:
Q: how to fill NaN value in one column by looking at other column I want to fill NaN values in Gender column by looking at the name of the person (which is given in another column). So far, I have extracted boys name which have NaNs and made a list of those names:
boys_names = ['Robin Ounc', 'Chris Stew', 'Neil Bhor', ... and so on]

I want to fill those NaN values in df['Gender'] column with 'M' if their name is present in that boys_list. And with 'F' if their name is not present. I have tried If-Else statement but I failed. Help!

A: You can use:
#boys_names = ['Robin Ounc', 'Chris Stew', 'Neil Bhor', ... and so on]
df.loc[df['Gender'].isnull(), 'Gender'] = df.loc[df['Gender'].isnull(), 'name'].map(
    lambda x: 'M' if x in boys_names else 'F'
    )

Some notes:

*

*use .loc to pick the "name" which are NaN in 'Gender' (use pd.Series.isnull())

*pd.Series.map accept a function with each data in series as input and return each data with some changes that your function made. (here just check whether name in boys_name or not)

*use .loc to assign back to the"name" which are NaN in 'Gender'

A: I think this could be a good approach:
import pandas as pd
df = pd.DataFrame(
    {
        "Name": ["Jhon", "Robin Ounc", "Maria", "Alex"],
        "Gender": ["M", None, "F", None]
    }
)
boys_names = ['Robin Ounc', 'Chris Stew', 'Neil Bhor']
df["Gender"].fillna(df["Name"].isin(boys_names).map({True: "M", False: "F"}))

I've just used a map function as a if-else after isin in order to validate if Name is in the list.

A: You can do something like this using np.select()


On Monday, a critical vulnerability called Hearbleed was disclosed in OpenSSL, which is a popular software library that performs SSL encryption on the Internet.
This weakness allows stealing the information protected, under normal conditions, by the SSL/TLS encryption used to secure the Internet. SSL/TLS provides communication security and privacy over the Internet for applications such as web, email, instant messaging (IM) and some virtual private networks (VPNs).
Upon learning of the vulnerability, our host provider, Stratosec, engaged it's critical patch management response policy. All of our systems have been patched.


text:
Karl Svensson (* 21. März 1984 in Jönköping) ist ein schwedischer Fußballspieler. Der Abwehrspieler, der in Schottland und Frankreich unter Vertrag stand, nahm mit der schwedischen Nationalmannschaft an der Weltmeisterschaft 2006 teil.

Werdegang

Karrierebeginn in Schweden
Svensson begann seine fußballerische Laufbahn bei Egnahems BK. 2000 wechselte er in die Jugend des mehrjährigen Erstligisten Jönköpings Södra IF. Beim Klub aus Småland debütierte der Innenverteidiger alsbald in der Männermannschaft, die in der drittklassigen Division 2 Östra Götaland antrat. Mit ihr belegte er regelmäßig Plätze im Mittelfeld der Liga.

Svenssons Talent wurde auch höherklassig entdeckt. Vor der Erstliga-Spielzeit 2003 schloss sich der Abwehrspieler dem schwedischen Traditionsverein IFK Göteborg in der Allsvenskan an. Zunächst war er nur Ergänzungsspieler und kam vor allem als Einwechselspieler zum Einsatz, da Trainer Johansson hauptsächlich auf die Abwehrreihe um Mikael Antonsson, Dennis Jonsson, Hjálmar Jónsson und Magnus Erlingmark setzte. Ab seinem zweiten Jahr beim Klub konnte er sich über weite Strecken in der Startformation des Klubs festsetzen. In der Folge berücksichtigte ihn Torbjörn Nilsson, der Trainer der schwedischen U-21-Auswahl, in der Juniorennationalmannschaft. Auch nachdem Jörgen Lennartsson und Tommy Söderberg die Mannschaft 2005 übernahmen, gehörte er zu den regelmäßig Berufenen, rückte jedoch hinter seinen Göteborger Mannschaftskameraden Mattias Bjärsmyr und Oscar Wendt ins zweite Glied.

Mit der Klubmannschaft erreichte Svensson in der Spielzeit 2005 das beste Ergebnis seiner jungen Karriere. Mittlerweile zum Mannschaftskapitän befördert, führte er den Verein mit vier Punkten Rückstand auf den Stockholmer Klub Djurgårdens IF auf den zweiten Tabellenplatz. Durch gute Leistungen im Saisonverlauf hatte er sich auch ins Notizbuch von Nationaltrainer Lars Lagerbäck gespielt und kam zu Beginn des folgenden Jahres zu seinem Debüt im Nationaljersey. Bei einer Länderspieltour im arabischen Raum stand er am 18. Januar des Jahres beim 1:1-Unentschieden gegen die saudi-arabische Nationalmannschaft durch Tore von Anders Svensson und Mohammed Haidar in der Startformation. Ohne ein weiteres Länderspiel bestritten zu haben gehörte er im Sommer als Ersatzmann für die etablierten Abwehrspieler Olof Mellberg, Teddy Lučić und Petter Hansson dem Kader für die Weltmeisterschaft in Deutschland an, kam dort jedoch nicht zum Einsatz.

Wechsel ins Ausland
Kurz vor Beginn des Weltmeisterschaftsturniers gab der schottische Spitzenklub Glasgow Rangers die Verpflichtung Svenssons bekannt. Bei der vom neu verpflichteten französischen Trainer Paul Le Guen betreuten Mannschaft aus dem Ibrox Stadium unterschrieb er einen Kontrakt mit drei Jahren Laufzeit. Unter dem Franzosen gehörte er an der Seite von Julien Rodriguez zunächst zu den Stammkräften in der Abwehrkette. Auch nachdem Le Guen Anfang Januar durch Walter Smith ersetzt worden war, behielt er bis Ende des Monats seinen Stammplatz. Am Ende der Wintertransferperiode verpflichtete der Klub jedoch mit Ugo Ehiogu und David Weir zwei Defensivspieler, die in der Folge den Schweden aus der Mannschaft verdrängten.

Zu Beginn der Allsvenskan-Spielzeit 2007 im April des Jahres bemühte sich IFK Göteborg um eine Rückkehr Svenssons. Dieser lehnte jedoch ein Leihgeschäft mit dem schwedischen Klub ab, da er sich bei den Rangers durchsetzen wollte. Bis zum Saisonende konnte er sich allerdings nicht gegen die Konkurrenz in der Abwehrreihe erwehren und kam nach seinem letzten Spiel am 18. Februar beim 2:1-Erfolg über den FC Falkirk, bei dem er eine Halbzeit auflaufen durfte, zu keinem weiteren Einsatz für den Klub.

Im Sommer des Jahres verließ Svensson nach 21 Partien in der Scottish Premier League die Rangers in Richtung Ligue 1. Beim französischen Erstligaaufsteiger SM Caen, der 1 Million € Ablösesumme bezahlte, unterschrieb er Ende Juli einen Drei-Jahres-Kontrakt. Zu Beginn der Ligue-1-Spielzeit 2007/08 gehörte er zu den Stammspielern, ehe er sich am dritten Spieltag im August am Knie verletzte. Anschließend fiel er längere Zeit durch eine Rückenverletzung aus und fasste nach seiner Genesung nicht mehr richtig Tritt beim nordfranzösischen Klub, da er die gesetzten Abwehrspieler Nicolas Seube, Jérémy Sorbon und Cédric Hengbart nicht verdrängen konnte.

Rückkehr nach Schweden
Im Februar 2009 verließ Svensson den französischen Klub, bei dem er in der ersten Hälfte der Spielzeit 2008/09 zu einem Spieleinsatz gekommen war, in Richtung Schweden. Bei seinem alten Klub IFK Göteborg unterschrieb er einen Vier-Jahres-Kontrakt. In der Vorbereitung bremste den Abwehrspieler jedoch ein Fieber. Anschließend fiel er verletzungsbedingt bis zum Sommer aus. Sein erstes Pflichtspiel für den Göteborger Klub bestritt er am 26. Juli des Jahres, als er bei der 1:2-Niederlage gegen Trelleborgs FF in der 82. Spielminute für Mikael Dyrestam eingewechselt wurde. Aufgrund seiner Verletzungsanfälligkeit kam er jedoch nur unregelmäßig zum Einsatz. Nach einer guten Vorbereitung auf die Spielzeit 2010 zu Saisonbeginn in der Startformation verlor er nach schwachen Leistungen seinen Stammplatz, so dass er einerseits in der Allsvenskan auf der Ersatzbank Platz nehmen musste und andererseits für die Zweitvertretung des Klubs antrat. Während er daher mit anderen Vereinen in Verbindung gebracht wurde, intensivierte er sein Training beim Klub, da er sich trotz der Umstände beim Verein wohlfühlte und um sich dem Trainerduo Stefan Rehn und Jonas Olsson anzubieten. In der folgenden Spielzeit schaffte er daraufhin zeitweise die Rückkehr in die Mannschaft, bei seinen 18 Ligaeinsätzen stand er in 15 Partien in der Startelf. Dennoch wollte er ein Jahr vor Ablauf seines Vertrages den Verein wechseln.

Kurz vor Weihnachten 2011 gab Svensson seinen Wechsel zurück zu seiner ersten Station im Erwachsenenfußball bekannt, bei Jönköpings Södra IF unterschrieb er einen Vertrag mit drei Jahren Laufzeit. Für den Zweitligisten bestritt er 53 der möglichen 90 Saisonspiele während seiner Vertragslaufzeit. Zum Jahreswechsel 2014/15 konnten Verein und Spieler keine Übereinkunft über eine Vertragsverlängerung treffen, daher trennten sich die Wege.

Einzelnachweise

Weblinks
 Karl Svensson in der Datenbank von svenskfotboll.se

Fußballnationalspieler (Schweden)
Fußballspieler (IFK Göteborg)
Fußballspieler (Glasgow Rangers)
Fußballspieler (SM Caen)
Geboren 1984
Mann
Schwede
Teilnehmer an einer Fußball-Weltmeisterschaft (Schweden)
Fußballspieler (Jönköpings Södra IF)

redpajama_set_name: RedPajamaWikipedia


Couples Date Package | 2-hour couples fun | 6-8 pm Created just for couples, this one-of-a-kind activity is sure to impress. Couples get to discover one another in a relaxed, fun way. You'll spend two hours making either a mug or bowl each with one-to-one instruction. No skills required as you will be guided through the process. You'll also get to decorate, add handles and/or motifs to your creations. Includes clay, glazes, kiln firings, equipment, tool and studio use including one-to-one instruction. Price is per couple - two persons. Private Sessions - Only one couple per booking. Ages 16+ . Once items have been made they will need to dry out completely before being twice kiln fired. The potter will then glaze your items - this process can take 8-12 weeks.
The potter will be in touch again once your items are ready for collection. IMPORTANT INFORMATION - PLEASE READ NOTE: There are no guarantees in the pottery production process. Items can unexpectedly break, crack, warp and even explode during a bisque or glaze firing. Tribe Creations does not accept responsibly of item damage due to the production process. Please also note that glazes will sometimes not come out as expected - it's part and parcel of the creation process. Tribe Pottery will not be held responsible for colour loss or variances. CLAY HEALTH & SAFETY: do not book or attend pottery lessons/workshops if you are allergic to, or react in any way to clay or glazes. The clay used is non-toxic and all glazes are lead-free. An apron must be worn in the studio to avoid clothes getting soiled - this is provided.
Do cut long nails down to a short length and tie long hair up, away from face. All tools and equipment used at your own risk. COLD WEATHER (WINTER) : The studio gets quite cold in winter, so please do dress warm. I do have a heater, but the heat does escape due to the building type. The studio is rather difficult to find, so here's some directions (and a map) … If approaching from Broadmeadow Lane direction: directly after going over the bridge, take the very next sharp left (it's tucked away behind a wall so you can't see it) directly opposite Speciality Minerals. This is Entrance A. Drive through the gates to the end of the drive and park up anywhere - free parking. The studio is situated at the top left. If approaching from Lifford Lane direction: take the second right just before crossing the bridge - opposite Speciality Minerals.
This is Entrance A - again, it's tucked away. If you view the map you'll see the unnamed road leading into Entrance A. If you get lost, simply give me a call - 07976 972 628. The studio is rather difficult to find, so here's some directions (and a map) … If approaching from Broadmeadow Lane direction: directly after going over the bridge, take the very next sharp left (it's tucked away behind a wall so you can't see it) directly opposite Speciality Minerals. This is Entrance A. Drive through the gates to the end of the drive and park up anywhere - free parking. The studio is situated at the top left. If approaching from Lifford Lane direction: take the second right just before crossing the bridge - opposite Speciality Minerals.
This is Entrance A - again, it's tucked away. If you view the map you'll see the unnamed road leading into Entrance A. If you get lost, simply give me a call - 07976 972 628.


text:
Viral image
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250,000 trucks are participating in the "Freedom Convoy" in Canada.
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text:
Afghanistan, "So It Goes"
History has shown that when foreign soldiers try to police their territory Afghanistan's tribal, religious, and ethnic identities solidify in resistance. The American troop presence is an irritant that fuels nationalism, tribalism and insurgency.
Joseph Palermo
Fanciful prescriptions for "success." Voters who value peace demoralized. Siding with war hawks to triangulate against progressives. Another $30 billion the American people will have nothing to show for.
As Kurt Vonnegut used to say, "So it goes."
President Barack Obama has decided to prolong the debilitating American military commitment to Afghanistan. He is sending another thirty thousand American soldiers into "the graveyard of empires" to fight a counterinsurgency war.
Decades of relentless warfare in a decentralized, rural and fragmented society have plagued the Afghan population with a collective PTSD. History has shown that when foreign soldiers try to police their territory Afghanistan's tribal, religious, and ethnic identities solidify in resistance. The American troop presence is an irritant that fuels nationalism, tribalism and insurgency. Most Afghans might not have gotten the "memo" that went out in the late-18th Century announcing the Enlightenment, but they are keenly aware of the mischief and intrigue colonial occupiers bring.
Why should Afghans who live in widely dispersed village-states with their own mechanisms for choosing organic local leaders recognize the legitimacy of any hand-picked "leader" from the distant U.S.-backed government in Kabul?
On FOX News the other day John McCain said he's "confident" that with the "right strategy" the United States will "succeed" in Afghanistan in "about eighteen months." But when the inevitable failure comes you can be sure that McCain will denounce President Obama for not following the "right" strategy.
We're told the U.S. is going to "train Afghan security forces," which raises the question: Train them to do what exactly? Kill their countrymen in behalf of foreigners? And how can the U.S. stop insurgent elements from infiltrating this new and improved Afghan security service? How can the CIA bribe warlords and buy off opium smugglers while haranguing the Karzai government to crack down on "corruption?"
President Obama cannot win the narrative on "national security." Harry Truman "lost" China and it took a Republican to clean up Korea. Lyndon Johnson, fearful of suffering the same accusations Truman faced from Republicans, launched what still stands as the most savage and intense aerial bombing campaign in the history of warfare. And it still took a Republican, Richard Nixon, to extricate U.S. military forces from Vietnam (albeit slowly). The best-case scenario is Obama is really smart and he's planning to follow the Nixon strategy in Vietnam: trickle out the troops just in time for your re-election. But our recent history shows that a Democratic president cannot "cut and run" from any military engagement no matter how futile lest he (or she) suffer the full-throated wrath of the Republican assault. LBJ's "Great Society" died in Vietnam and so goes Obama's domestic agenda in the foreboding mountains of Afghanistan.
"Vietnamization" failed and so will "Afghanization." False premise number one is that the Afghan people want the United States to "succeed" in propping up a Western-oriented government in Kabul. False premise number two is that Afghans will be willing to kill their fellow Muslims and fellow Pashtuns in the name of imposing a neo-colonial relationship with the U.S.A.
Afghans have about a 90 percent illiteracy rate and are largely a rural people. The Americans appear as if from the planet Mars carrying gear on their bodies worth the amount of money most Afghans will earn in their lifetimes. False premise number three: Who, exactly, is the U.S. going to "recruit" to man this sizeable Afghan security force? Young illiterate men who've witnessed beheadings from the age of six? Children right now are freezing to death in refugee camps in Afghanistan and the Karzai government won't lift a finger to help them -- yet these people are going to fight and die for Karzai?
As with Vietnam, the problem in Afghanistan is political, not military. The United States can stay there forever if we want to -- But is it worth it?
The Obama people are brilliant tacticians but I don't think they truly understand how utterly demoralizing escalating a futile war is to core Obama voters. Some issues warrant reasonable compromise -- health care, the stimulus bill, etc. -- but others are more categorical. And war is among them. Whether the U.S. is in Afghanistan for eighteen months, eighteen years, or eighteen centuries, it doesn't really matter. Like Vietnam, the U.S. can stay in Afghanistan forever given its technological and material advantages. They could never really throw us out just as the Vietnamese couldn't (we only had about 25,000 military personnel in Vietnam in April 1975). Nixon declared victory and (slowly) withdrew (with about 20,000 Americans needlessly killed). Obama's 30,000 troop "surge" is an admission that over 60,000 U.S. soldiers and tens of thousands of NATO soldiers and others cannot even realistically protect enclaves. The 1968 Tet Offensive showed that in Vietnam the U.S. couldn't secure enclaves even with 500,000 soldiers.
The 2010 midterms will thin the ranks of the Democratic majority in Congress. The 2012 presidential election campaign (unfortunately) begins the day after the 2010 midterms. Obama will be forced to further water down his agenda given the political realities. We will then witness the "Clintonization" of the Obama presidency, i.e. triangulation and a hundred "Sista Souljah" moments. Obama has chosen LBJ's "Goldilocks" option. I know that behind all the hawkish rhetoric Karl Rove and Dick Cheney are celebrating right now.
Originally published by the Huffington Post. Reprinted with permission from the author
progressivesptsdjohn mccainGraveyardbarack obamafox newsQuotTroop PresenceBribe


Christina and Brad are two of the most fun and kind people I have the pleasure of also calling friends. We enjoy a lot of the same activities, are equally passionate about our own vices, and they love the same types of photos that I love. Though they are both from the Bay Area, they're die hard Seahawks Fans – minorities amongst their closest friends and family. Even their engagement session would not be complete without the 12th man. Fortunately, as a Cowboys fan, I have the rare privilege of being able to heckle them for their early season HOME loss to America's Team.
It's truly an honor to share and capture this day for my friends Brad and Christina. They are perfect together and their admiration for each other is widely shared with their friends and family. As a friend, I loved spending time in their intimate circle and seeing the positive impact they make on their friends and family. As a photographer, I loved capturing so much joy and laughter throughout the day. Check out some of my favorite images and see if you can feel the energy that effortlessly come through Brad and Christina.
Their day started off with a traditional Vietnamese tea ceremony which I did not photograph. But, I got to take a few photos of Christina still in her ao dai getting ready to put on her white dress.
Their first look on Half Moon Bay's Old Course #18 is an amazing place to do just about…anything.
We took a caravan of golf carts down to the beach for some photos while passing a gallery of onlookers.The wedding party take the cheers like truly classy celebrities.
This might be the largest group photo I've ever taken. I stood on a 5 foot ladder and nearly fell several times to get this shot!
The 18th hole tee box is the most compelling reason to play this course as it looks down to the Ritz Carlton.
After the ceremony, we drove down to the College of San Mateo's Bayview Dining Room for the remainder of the wedding and reception. The beauty of this location is it's elevated view that clearly looks across the bay to San Francisco.
Below, you can see San Francisco's skyline in the bottom right corner.
Our photobooth was also set up capturing some hilarious photos!
This last photo was taken on a deck at the Bayview Building. To get a better shot, I asked Christina and Brad to stand on a metal table…in the dark…after they've been drinking all night… maybe not my brightest idea, but the photo sure came out pretty well!
Again, these fun weddings are made even better by the couples who I get to photograph. I'm so lucky to be able to do this for a living! Special thanks to SF local Jules Bianchi for second shooting this wedding with me!


The Just Matcha Team have put together this simple video so that you can make the perfect cup of Matcha green tea at home.
All of the accessories and teas are available from our online store.
You can make Matcha green tea without all the accessories, however its very difficult to achieve that beautiful silky froth. Simply use half a flat teaspoon of Matcha in a tea cup. Add a little hot water and stir vigorously until smooth. Then pour in the rest of the hot water and mix. Add a little honey or natural sweetener to taste.


text:
Adventures in Wrimonia, Part Thirty-Three: Double Team
Posted on February 19, 2010 by Sushi
The next day disaster struck. Amy and Keith, who were so present the day before despite their murder of an innocent woman, were nowhere to be found. Alaina, of course, was on an extended vacation. Unfortunately, other visitors did make their way to Mia, and some very familiar ones at that.
The once-ugly man unzipped his costume and revealed his shiny locks and handsome outfit. He pranced around Mia, blowing dark bubbles in her direction and laughing with glee as they popped in her face.
"Stop it!" Mia yelled as another bubble, the biggest one yet, popped right in front of her face. "I'm trying to write here."
Writer's Block laughed. "Write?" he asked. "Oh, you won't get any writing done here. Look around you." Mia looked around. It was just her and Writer's Block under the word tree. Other Wrimos passed with their bars of blue and green and purple. Mia noticed that some Wrimos still had lower word counts than she had, and they were still writing. Writer's Block still wouldn't leave Mia, choosing to blow more and more black bubbles in her direction.
Mia tried writing but wrote two sentences. She looked at him.
"Where's your creativity now, Mia?" Writer's Block asked. He cackled loudly.
"No," Mia said, noticing that they were now alone. "You won't get to attack me. I defeated you many times this month."
"Oh, but I got the better of you some days," Writer's Block said, dancing around Mia and blowing more bubbles. "Remember when you didn't write fore three days in a row? Or when you wrote only five hundred words for two days?"
Mia stared at Writer's Block. Yes, it was true that she stopped writing for two days in a row. Everything Writer's Block said was true. But–
"I beat you in the end," Mia said.
Writer's Block laughed. "Beat me?" Writer's Block said, cackling. "Please. You only think you beat me because you sat down to write again. That's just you pretending to think you beat me. You pathetic little twit."
Mia stood up. Was Writer's Block laughing at her? "No," Mia said, this time more forcefully. "I beat you. I've already beaten you."
"Please," Writer's Block said. "You just let your characters kill off someone with some silly traveling shovel of death and you want to say that you've beaten me. Maybe I should start haunting NaNoWriMo novelists more often. I just choose you because you're special."
"You mean you choose only me?"
Writer's Block shook its head. "Oh no no no, you silly little girl," Writer's Block said. "Everyone who faces me sees what they want to see, just like with everything in life. In your case you see an unusually handsome man who just happens to be a bit evil. Kind of like real life devils."
"But like I said, I've already beaten you. I've already written thirty-six thousand words," Mia pointed out. She pondered showing Writer's Block those words, and then thought against it. What if Writer's Block destroyed those words? But then she decided that Writer's Block couldn't be that dangerous, and she held out her laptop. As predicted, Writer's Block laughed, but the laugh was a bit forced.
"This? This is your writing?" Writer's Block asked. "We'll have to see what she says about that."
Writer's Block continued to blow bubbles around Mia as someone else appeared. A someone with a tight bun in her hair and wearing a white blouse and a plaid skirt. It was the same outfit Mia remembered her wearing the last time they had met.
Inner Editor.
Mia cringed, especially when she saw the large red pen in her hand. "Not you too!" Mia exclaimed. "What did I do to deserve you?"
Inner Editor smiled. "Did you see the last scene you wrote?" Inner Editor asked. "Killing the guy's poor girlfriend? You've never even met her in the novel before. It makes no sense. Negative sense, even. You had no reason to do it except to get words in your novel. And the busty lesbian cabbage pirate ninjas. Let's not get started on those."
"You should get started on those," Writer's Block said. "I like you when you're feisty."
"Yes, but we're not here to get feisty," Inner Editor said. "Or at least I'm not." She turned to Mia. "You can't have those scenes in your novel, Mia. Think of what someone would think if they saw it on a bookshelf. Does anyone read about busty lesbian cabbage pirate ninjas?"
"Of course not," Mia replied. "That's why this is a first draft."
Inner Editor laughed. If only Mia knew what she knew. "A first draft, you say?" Inner Editor asked. "A first draft?" Inner Editor grabbed Writer's Block's shoulders to keep herself from falling over with laughter. "Oh, my darling, you have a long way to go in order to learn what it's really like to be a writer." Inner Editor stopped laughing long enough to let go of Writer's Block's shoulders and walked toward Mia. Mia stopped typing and looked up at Inner Editor. "You have to learn to craft your words so they shine, shine just like that halo resting on top of your word counter. You have to learn to make your words create worlds in the reader's minds. You have to–"
"Wait a minute," Mia said, interrupting Inner Editor. "Have you ever written a book?"
Inner Editor looked offended. Of course she hadn't written a book. Who would write a book when they had better things to do like correct other people's grammar? She was about to say this when Mia kept going. "Because if you haven't written a book, you don't know how hard it is. You write really shitty prose, want to quit halfway through, pad your words, write shitty scenes that you know will be taken out but you need to keep going anyway, and then finally hit The End in some blaze of glory, even if the blaze of glory is just to eat more chocolate and go to sleep."
Inner Editor interrupted Mia just before Mia was about to go on. "Now you're stark raving mad," Inner Editor said. "Haven't you ever read a book, young lady?"
"Of course I've read a book," Mia said. She was about to say that she went to college, but then she thought of how many complete books she read in college and thought against that. She had other things to do, like read for fun, during that time. "What else do you expect me to do with my spare time?"
"Not write, obviously," Inner Editor said, pointing at Mia's bag. "All rubbish, I tell you. You haven't mastered the art of writing, young lady. And for that you'll never become a great writer."
Mia had had enough. She gathered her belongings and ran away from them, but the atmosphere of Writer's Block and Inner Editor blocked her from getting away. Alaina, I need you, Mia thought. Word war forum, I need you. She tried to think of what to write next, but her mind blanked. Nothing came to mind as she thought of what to do.
Then her mind was taken back to a scene several days ago. She was sitting on a bench with a marathon runner, and the marathon runner gave her a pencil made of metal. Was it still there? Mia wondered. Well, if the traveling shovel of death was still there yesterday, surely the pencil still had to be there.
But it was harder and harder to think as Writer's Block and Inner Editor closed in on her.
I will not quit, Mia thought to herself as she dug through her bag. I will not quit. I will reach fifty thousand. I can do it. She fumbled through her bag. Notebook. Another notebook. Chocolate. Her hand bumped against something metal. Success. She grabbed it from the bag and tried to stab Writer's Block. Nothing. What was this thing supposed to do if it couldn't kill people? she thought. Then she remembered that neither Alaina nor she could kill either one of them. The surroundings grew darker, and Mia noticed that it looked solid. Then she did the only thing she could think of to do and pierced a hole through the edge of the bubble that Writer's Block was blowing.
Cliffhanger! What will happen to Mia? What will happen to Writer's Block and Inner Editor? Is this the last we'll see of them? Time will tell.
Feel free to link this on your blog, Twitter, whatever. Just don't pass this off as your own, and we're cool.
I highly encourage you to donate to the Office of Letters and Light, the nonprofit organization that runs NaNoWriMo, if you enjoy this tale of noveling madness. If you donate in the new year, your donor goodies will appear in the month before the event you donate to (NaNoWriMo or Script Frenzy).
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Outside groups spent more money on campaigns for seats on top state courts nationwide than ever before, an analysis by The Brennan Center for Justice shows. At least one seat was at stake in 27 states on Election Day, according The Marshall Project.
Special interest organizations — most of which don't have to disclose their donors under campaign finance laws — put a record $19.4 million into TV ads for judicial candidates, over half of all TV spending in these races. The Republican State Leadership Committee spent the most of any group, putting $4 million into eight different races as part of its stated effort to elect more conservative justices.
The spending largely failed to unseat the judges it targeted. In Kansas, Washington and Mississippi, for example, justices held onto their jobs despite costly efforts to remove them.


Marsala is a seaport city located in the Province of Trapani on the island of Sicily in Italy. The low coast on which it is situated is the westernmost point of the island. The most important activity is the wine production, in particular the world famous Marsala wine.
The centre of Marsala radiates from Piazza della Repubblica, where the Cathedral and Palazzo Senatorio, completed in the 18C and known as the Loggia, are located. The main thoroughfare leading from the piazza is the Corso Xl Maggio. On the edge of the town is Porta Garibaldi which hosts a bustling fish market each morning.
Port Location –The port of Marsala (Porta Garibaldi) is located on the edge of the town.
Travel Links – Local trains also run to Marsala from Trapani, Palermo, Mazara del Vallo and Castelvetrano (for the ruins of Selinunte).
Buses run from Palermo and Trapani to Marsala, Mazara del Vallo, Castelvetrano (for the ruins of Selinunte), Sciacca, Agrigento and Segesta.


text:
On the airwaves
Sun | West Sound A & E
— Apr 8th, 2005
KPLU begins podcasting
KPLU (88.5 FM and worldwide at kplu.org) has begun making local news and select features available for podcasting. KPLU is the first public radio station in the Seattle/Tacoma market to offer podcasting.
Podcasting is the latest development in the rapidly growing field of portability. It allows radio listeners to choose the exact time they want to listen to a program by selecting the programming they would like to hear, hooking up their iPods or other MP3 players to their computers, and "syncing" instant downloads of those programs. In order to do this, podcasting software is used to "add" a podcast. The program checks the site regularly and starts a download whenever it finds a new MP3 file.
PLU, a community service of Pacific Lutheran University, is listener-supported and provides National Public Radio news, and jazz and blues to western Washington and British Columbia. KPLU broadcasts to over a half-million listeners per week. Ranked as one of the most popular public radio stations in the nation, KPLU is also available in High-Definition Radio, and streams its exclusive, award-winning mix of jazz and blues 24 hours a day at www.kplu.org.
Saint Paul Sunday's Seattle performance airs April 10
In January, the Peabody Award-winning radio program "Saint Paul Sunday" came to Seattle for a rare live performance at Benaroya Hall. KING-FM (98.1) will air that performance, featuring the Seattle Chamber Players, as part of the program's nationwide broadcast April 10 at 8 a.m.
"Saint Paul Sunday," with host Bill McGlaughlin and the Seattle Chamber Players, was taped in front of a capacity crowd at the Nordstrom Recital Hall. The program includes five works by Baltic composers. Guest artist Byron Schenkman and Seattle Pro Musica joined the ensemble for the special event.
The Seattle concert has been edited to conform to the series' time requirements, omitting some of the performances and conversations. A more complete version of the same program will be aired exclusively on KING-FM April 15 at 8 p.m.
Seattle Symphony back on KING-FM
Seattle Symphony concerts from past years will be featured on KING-FM through June 20, according to a release from the station.
Gerard Schwarz, music director of the Seattle Symphony, will introduce each of the performances, all recorded at Benaroya Hall. The selections will air on Tuesday, Wednesday and Thursday evenings.
Featured soloists for the broadcasts include pianists Lang Lang, Radu Lupu and Andre Watts, cellist Ralph Kirshbaum and many others. Maestro Schwarz conducts many of the concerts, but a few guest conductors for the series include Andreas Delfs, David Robertson, Stanislaw Skrowaczewski, Bernard Labadie, Jun Markl, Jeffrey Kahane (and pianist), JoAnn Falletta and Philippe Entremont (and pianist).
— Sun Staff
Saint Paul Sundays hits airwaves
SEATTLE -- Classical KING FM 98.1 brings back to Seattle the popular Saint Paul Sunday beginning Sunday, June 6 at 8 a.m. The one-hour program consists of in-studio classical performance and intimate discussion with guest musicians. Host Bill McGlaughlin -- himself a composer and conductor ... [Read More...]
Seattle/Tacoma
Apr 2nd, 2004
The duo of John Bigham (of Miles Davis, Everlast and Fishbone) and Christopher Thomas (of Betty Carter and Joshua Redman) play a mash of old-school funk, minimal rhythms, roots-style hip-hop and throw in rock and folk influences. Catch them April 8 at The Rainbow ... [Read More...]
Meyer moves to afternoons in KPLU air shift
Jul 22nd, 2005
Dave Meyer Bremerton native Dave Meyer has worked mornings for more than 16 years at KPLU (88.5 FM). Since June 20, though, Meyer has gotten to sleep in. Meyer moved from his familiar morning shift hosting "Morning Edition" on the Tacoma-based National Public Radio (NPR) affiliate ... [Read More...]
Vocalist Jacqui Naylor will perform her gospel-influenced style of jazz March 16 and 17 at Dimitriou's Jazz Alley in Seattle. Reviewers have described her sound as "Billie Holiday's inflections and a touch of June Christy." Courtesy photo ROBIN HOBBS NOTE: For extended Seattle/ Tacoma calendar ... [Read More...]
Cheryl Bentyne will perform at Dimitriou's Jazz Alley May 4 and 5. See "music" listings for details. Courtesy photo Urge Overkill plays at Graceland in Seattle at 10 p.m. May 1. Courtesy photo Seattle Shakespeare Company's production of "A Midsummer Night's Dream" opened Thursday at the ... [Read More...]


text:
\section{Introduction}
Let $A$ be a bounded linear operator acting on a Hilbert space ${\mathcal H}$.
The {\em numerical range} (a.k.a. the {\em field of values}, or the {\em
Hausdorff set}) of $A$ is defined as
\[
W(A):= \{\langle{Ax,x}\rangle\colon x\in\mathcal H,\ \left\Vert x\right\Vert=1 \},
\]
where $\langle{.,.}\rangle$ stands for the scalar product on $\mathcal H$, and
$\Vert{.}\Vert$ is the respective norm. Clearly, $W(A)$ is a subset of
$\{z\in\mathbb{C} \colon \abs{z}\leq\left\Vert A\right\Vert\}$,
closed in the case
$\dim\mathcal H<\infty$ (but not necessarily in general) and invariant under
unitary similarities of $A$.
By the celebrated Toeplitz-Hausdorff theorem, $W(A)$
is always convex --- see e.g. \cite{GusRa} or \cite[Chapter 1]{HJ2} and the
references therein for a comprehensive treatment of the subject.

An operator $A$ is a {\em partial isometry} if it preserves norms of
the vectors from the orthogonal complement of its kernel:
\[
\left\Vert{Ax}\right\Vert=\left\Vert{x}\right\Vert \text{ whenever } x\in \ker (A)^\perp.
\]
It was conjectured by Gau, Wang, and Wu \cite{GWW} that

{\sl If $A$ is a partial isometry acting on a finite-dimensional space
$\mathcal H$ and $W(A)$ is a circular disk, then the latter is necessarily
centered at the origin.}

In what follows, we will refer to this statement as (GWW). According to
\cite[Theorem 2.2]{GWW}, (GWW) holds for $\dim\mathcal H:=n\leq 4$. To the best
of our knowledge, the question remains open for higher values of $n$. Very
recently, the case $n=5$ was treated in \cite{NaBe} under some additional
restrictions on $A$. In our paper we show that (GWW) for $n=5$ holds
unconditionally.
\begin{thm}\label{th:main}
Let $A$ be a partial isometry acting on a 5-dimensional space,
and assume that its numerical range $W(A)$  is a circular
disk. Then this disk is centered at the origin.
\end{thm}

\section{General remarks}
Denoting by $\mathcal R(A)$ the range of an operator $A$, observe that the
closure $\mathcal L$ of $\mathcal R(A)+\mathcal R(A^*)$ is a reducing subspace
of $A$. Let $A_0$ stand for the restriction of $A$ onto $\mathcal L$; the
restriction of $A$  onto $\mathcal L^\perp=\ker(A)\cap\, \ker(A^*)$ is the zero
operator.
Note that $\mathcal R(A)+\mathcal R(A^*)$ is
automatically closed if $A$ has finite rank  --- the only case we are
interested in. If $A$ is a partial isometry, then $A_0$ is a partial isometry
as well. If, in addition, $W(A)$ is a circular disk, then so is $W(A_0)$. Since
$\dim\mathcal L\leq 2\operatorname{rank} A$, \cite[Theorem 2.2]{GWW} immediately implies the
following

\begin{prop} \label{th:r1}
{\em (GWW)} holds for partial isometries of rank one and two, independent of
the dimension of $\mathcal H$.
\end{prop}

Note also that (GWW) is tautologically correct when $\dim\mathcal L=\operatorname{rank} A$ is
finite. Indeed, in this case $A_0$ is unitary, and so $W(A_0)$ and $W(A)$ are
polygons, never circular disks. When $n=5$, we therefore only need to consider
two remaining values of $\operatorname{rank} A$, namely 3 and 4. This is done in
Sections~\ref{s:3} and~\ref{s:4}, respectively.

Moving forward, we will not distinguish between an operator $A$ acting on a
finite-dimensional space and its matrix representation with respect to an
orthonormal basis. The invariance of $W(A)$ under unitary similarities is the
key to choosing the simplest matrix form possible.

The other ingredient of the reasoning involves the notion of the so called
\emph{\em numerical range generating} (or \emph{Kippenhahn}) \emph{polynomial}
$P_A(\theta,\lambda)$ of $A$. This, by definition, is the \emph{characteristic
polynomial} of $\re (e^{i\theta}A)$, where, as usual, $\re X$ stands for the
hermitian part of $X$. Denoting by $\lambda_j(\theta)$ the roots of this
polynomial, recall that
\[
\{e^{-i\theta}(\lambda_j(\theta)+i\mathbb{R})\colon\ j=1,\ldots,n;\ \theta\in (-\pi,\pi]\}
\]
is the family of tangent lines to a certain algebraic curve $C(A)$, the convex
hull of which is $W(A)$, as was for the first time observed in \cite{Ki} (see
also its more accessible translation \cite{Ki08}). Respectively, $C(A)$ is
called the {\em numerical range generating curve}, or the \emph{Kippenhahn
curve}, of $A$.

We state the pertinent (well known, and also easily verifiable) result for
convenience of reference.
\begin{lem} \label{th:cir}
The Kippenhahn curve $C(X)$ of a given square matrix $X$ contains the circle of
radius $r$ centered at the origin if and only if
$P_X(\theta,\lambda)$ is divisible by $\lambda^2-r^2$ for
all $\theta$.\end{lem}
In Section~\ref{s:3}, assuming that $n=5$ and $\operatorname{rank} A=3$,
we will show that there are no such $a\neq 0$ that make $P_{A-aI}$ divisible by
$\lambda^2-r^2$ for some $r>0$, thus proving (GWW) in that case.
 For $\operatorname{rank} A=4$ the situation is slightly different, since then such
$a$ and $r$ do exist. Instead, a general description of such matrices is given,
and then it is observed that their numerical ranges are not circular
nevertheless.
This is happening since, for such matrices, $C(A)$ does not
lie completely inside the circle $C=\{ z \colon \abs{z-a}=r\}$.

\section{Rank three partial isometries} \label{s:3}
\begin{prop}\label{th:n5k3}
Let $A$ be a rank $3$ partial isometry acting on a $5$-dimensional space. Then
$C(A)$ cannot contain a circle with a non-zero center.
\end{prop}

\begin{proof}
We can choose an orthonormal basis in such a way that the respective matrix of
$A$ (also denoted by $A$) has zeros in the first two columns, and the last
three columns forming an orthonormal set. Invoke the Schur lemma to put the
lower right 3-by-3 block of $A$ in an upper triangular form. Then use a unitary
similarity of the upper left 2-by-2 block to set the (2,3) entry of $A$ at
zero.

Suppose now that $C(A)\supset\{z\colon \abs{z-a}=r\}$ for some $a\in\mathbb{C} , r>0$.
According to \cite{Wu11}, $a$ is an eigenvalue of $A$ of algebraic multiplicity
exceeding its geometric multiplicity. If $a\neq 0$, multiplying $A$ by a
unimodular scalar (under which it remains a partial isometry),
we may assume without loss of generality that $0<a\le 1$.
Furthermore, yet another (this time, diagonal) unitary similarity can be used
to make the entries $a_{13},a_{14},a_{15}$ and $a_{24}$ of $A$ non-negative.
As a result,
\[
A=\begin{bmatrix} 0 & 0 & \sqrt{1-a^2} & ta & sa \\
0 & 0 & 0 & u & v \\ 0 & 0 & a & -t\sqrt{1-a^2} & -s\sqrt{1-a^2} \\
0 & 0 & 0 & a & w \\ 0 & 0 & 0 & 0 & z \end{bmatrix},
\]
where $s,t,u=\sqrt{1-a^2-t^2}\geq 0$, $s^2+\abs{v}^2+\abs{w}^2+\abs{z}^2=1$ and
\begin{equation}\label{st}
st+uv+aw=0.
\end{equation}
Let now
\[
X:=A-aI=\begin{bmatrix} -a & 0 & \sqrt{1-a^2} & ta & sa \\
0 & -a & 0 & u & v \\ 0 & 0 & 0 & -t\sqrt{1-a^2} & -s\sqrt{1-a^2} \\
0 & 0 & 0 & 0 & w \\ 0 & 0 & 0 & 0 & z-a \end{bmatrix},
\]
and write the Kippenhahn polynomial of $X$ as
\begin{equation}\label{Kp3}
P_X(\theta,\lambda)=-\lambda^5+\sum_{j=0}^4A_j(\theta)\lambda^j.
\end{equation}
The explicit formulas for $A_j$, obtained with the use of SageMath, are rather
cumbersome and thus relegated to the Appendix.

Since $C(X)=C(A)-a$ contains a circle centered at the origin, according to
Lemma~\ref{th:cir}, the radius $r$ of this disk is such that
$P_X(\theta,\pm r)=0$. Equivalently,
\begin{equation}\label{r3}
A_0+A_2r^2+A_4r^4=0\text{ and } A_1+A_3r^2-r^4=0.
\end{equation}
\iffalse According to SageMath, the coefficients $A_j$ in \eqref{Kp3} as
functions of $\theta$ after some simplifications are \fi
With the use of the formulas for $A_j$, the equations \eqref{r3} take the form
\begin{equation}\label{b3}
b_0+b_1\cos\theta+b_2\sin\theta+b_3\cos^3\theta+b_4\cos^2\theta\sin\theta+b_5\cos^2\theta=0
\end{equation}
and
\begin{equation}\label{c3}
c_0+c_1\cos\theta\sin\theta+c_2\cos^2\theta=0,
\end{equation}
where the coefficients $b_j,c_j$ depend on the matrix $A$ and on $r$, but not
on~$\theta$. We will provide the explicit expression only for those of them
used in the reasoning below.

Since the function system
\[
\{1,\,\cos\theta,\,\sin\theta,\,\cos^2\theta,\,\cos^2\theta\sin\theta,\,\cos^3\theta\}
\]
is linearly independent, equations \eqref{b3}, \eqref{c3} can only hold for all
values of~$\theta$ if the coefficients $b_j,c_j$ are equal to zero. But
\[
b_3=r^2a^2(\real z-a),\qquad b_4=-r^2a^2\imag z,
\]
so that $z=a$. Substituting this into the formulas for $A_j$ and
evaluating $c_2$, we get
\begin{align} \label{c32}
c_2 = -a^{2} r^{2} &+ \frac{a}{4}\,\imag(w)\,\big(u\imag(v) + a\imag(w)\big) \\
\nonumber&+ \frac{a}{4}\,\real(w)\,\big(s t + u \real(v) + a \real(w)\big).
\end{align}
Rewriting \eqref{st} as
\[
u\imag v + a\imag w = 0, \qquad st+u\real v + a\real w = 0,
\]
we see that all the summands in the right hand side of \eqref{c32}, except for
the very first one, cancel out. Hence $c_2=-a^2r^2=0$, a contradiction to $a,r>0$.
\end{proof}

\section{Rank four partial isometries} \label{s:4}

\noindent As it happens, a rank four 5-by-5 partial isometry $A$ can have a
circle with a non-zero center as part of its Kippenhahn curve. The location of
this center defines $A$ up to a unitary similarity. The radius of this circle
is therefore defined uniquely. More specifically, the following statement
holds.
\begin{prop} \label{n5k4}
Let $A$ be a rank four 5-by-5 partial isometry. Then $C(A)$ contains a circle
centered at $ae^{i\omega}$ for some $a>0$ if and only if $a<1$ and $A$ is
unitarily similar to
\begin{equation}\label{c45} e^{i\omega}
\begin{bmatrix}0 & \sqrt{1-a^2} & a\sqrt{1-a^2}  & a^2\sqrt{1-a^2}  & a^3\sqrt{1-a^2}  \\
0 & a & a^2-1 & a(a^2-1) & a^2(a^2-1) \\ 0 & 0 & a & a^2-1 & a(a^2-1) \\
0 & 0 & 0 & a & a^2-1\\ 0 & 0 & 0 & 0 & a
\end{bmatrix}.
\end{equation}
If this is the case, then the radius of the circle in question is $r=(1-a^2)/2$.
\end{prop}
\begin{proof}
{\sl Necessity.} Choose an upper triangular matrix representation of $A$, with
the zero first column and the remaining four forming an orthonormal set.
Without loss of generality we may (and, to simplify the notation, will) suppose
that the center of the circle contained in $C(A)$ is positive, i.e.
$e^{i\omega}=1$. At least two of the eigenvalues of $A$ are equal to $a$.
Applying a permutational similarity if needed, we may set $a_{22}=a_{33}=a$.
Also, as in the proof of Proposition~\ref{th:n5k3}, the first row of $A$ may be
arranged to become entry-wise non-negative. The orthonormality of the second
and the third columns of $A$ and their orthogonality to the  fourth and the
fifth then yield
\begin{equation}\label{Aint}
A= \begin{bmatrix}
0 & \sqrt{1-a^2} & a\sqrt{1-a^2}  & xa\sqrt{1-a^2}  & ya\sqrt{1-a^2}  \\
0 & a & a^2-1 & x(a^2-1) & y(a^2-1) \\ 0 & 0 & a & x(a^2-1)/a & y(a^2-1)/a \\
0 & 0 & 0 & u & v \\ 0 & 0 & 0 & 0 & w
\end{bmatrix}
\end{equation}
with $x,y\geq 0$ and some, yet to be determined, parameters $u,v,w\in\mathbb{C} $.

It is time now to invoke Lemma~\ref{th:cir}, according to which the Kippenhahn
polynomial $P_X$ of $X=A-aI$ is divisible by $\lambda^2-r^2$ for some $r>0$.
Writing $P_X$ as
\[
P_X(\theta,\lambda) = -\lambda^5 + \sum_{j=0}^4 B_j(\theta)\,\lambda^j,
\]
we conclude that
\begin{equation}\label{B4}
B_0+B_2r^2+B_4r^4 = 0\quad \text{and}\quad B_1+B_3r^2-r^4=0
\end{equation}
for all values of $\theta$. Using the explicit formulas for $B_j$
(obtained, as in Section~\ref{s:3}, with the use of SageMath, and listed in the
Appendix) observe that
\[
B_0+B_2r^2+B_4r^4=b_0+b_1e^{i\theta}+b_2e^{-i\theta}+b_3e^{3i\theta}+b_4e^{-3i\theta},
\]
\[
B_1+B_3r^2-r^4=c_0+c_1e^{2i\theta}+c_2e^{-2i\theta},
\]
with $b_j,c_j$ expressed in terms of $a,x,y,u,v,w$ and $r$. It follows from
\eqref{B4} that all $b_j,c_j$ are equal to zero. Now we have
\[
b_3=\frac{1}{8}(a^2r^2u+a^2r^2w-a^3r^2-ar^2uw)
\]
and
\begin{equation}\label{c14}
c_1=\frac{1}{8}(-a^{4} - 6a^{2}r^{2} - (a^{2} + 2r^{2} - 1)uw + a^{2} + (a^{3}
+ 4 \, a r^{2} - a)(u + w)).
\end{equation}
Since $b_3$ can be rewritten as $-\frac{1}{8}ar^2(u-a)(w-a)$,
either $u=a$ or $w=a$. Assuming the latter, \eqref{c14} simplifies to
$c_1=\frac{1}{4}ar^2(u-a)$, and so $u=a$ as well.
Similarly, if $u=a$, then $c_1=0$ implies $w=a$. So, in fact $u=w=a$.
Plugging these values of $u,w$ into \eqref{Aint} we obtain
\[
A= \begin{bmatrix}0 & \sqrt{1-a^2} & a\sqrt{1-a^2}  & xa\sqrt{1-a^2}  & ya\sqrt{1-a^2}  \\
0 & a & a^2-1 & x(a^2-1) & y(a^2-1) \\
0 & 0 & a & x(a^2-1)/a & y(a^2-1)/a \\
0 & 0 & 0 & a & v \\
0 & 0 & 0 & 0 & a
\end{bmatrix}.
\]
The unit length of column four implies now that $x=a$. Given that, the
orthogonality of the last two columns allows us to express $v$ in terms of $y$
as $v=y(a^2-1)/a^2$. But the fifth column also has to have length one, so
$y=a^2$ and $v$ simplifies to $a^2-1$. We have thus arrived at \eqref{c45} with
$\omega=0$.

To compute $r$, let us use the expression for $b_1 (=b_2)$ which for the matrix
under consideration takes the form
\[
\frac{1}{32}(a^9-4a^7+6a^5-16ar^4-4a^3+a)
\]
and, up to an inconsequential constant multiple, factors as
\[
(a^4-2a^2+4r^2+1)(a^2+2r-1)(a^2-2r-1)a.
\]
Since $a\leq 1$ and $r>0$, this product vanishes if and only if $r=(1-a^2)/2$.

{\sl Sufficiency.} Direct computations show that, for $A$ given by \eqref{c45}
with $\omega=0$, $0<a<1$ and $r=(1-a^2)/2$, the Kippenhahn polynomial of
$X=A-aI$ factors as
\begin{equation}\label{p45}
-(\lambda^2-r^2)(\lambda^3+\sqrt{1-2r}(\cos\theta)\lambda^2+(r^2-2r)\lambda+r^2\sqrt{1-2r}
\cos\theta).
\end{equation}
\end{proof}

Note that the eigenvalue $e^{i\omega}a$ of the matrix \eqref{c45}
has geometric multiplicity one while the zero eigenvalue is not reducing.
Consequently, this matrix is unitarily irreducible while its Kippenhahn polynomial factors.

An explicit description of $W(A)$ for matrices \eqref{c45} can be obtained
with the use of \eqref{p45}. For our purposes, however, it suffices to observe
that it differs from $D:=\{z\colon \abs{z-a}\leq (1-a^2)/2\}$, and thus is not a
circular disk. To this end, recall that the numerical range of any matrix
contains numerical ranges of its principal submatrices. In particular, $W(A)$
contains the numerical range of its upper left 2-by-2 block. By the Elliptical
Range Theorem (and, once again, setting for simplicity $\omega=0$), the latter
is the elliptical disk with the foci $0$ and $a$ and the minor axis of length $\sqrt{1-a^2}$.
The leftmost point of this ellipse is $(a-1)/2$, and its distance from $a$ is
$(1+a)/2>r$.

This observation, combined with Propositions~\ref{th:r1}--\ref{n5k4}, completes the proof of Theorem~\ref{th:main}. \qed

More can be said about the shape of $W(A)$ of matrices \eqref{c45}. In particular, denoting the second factor of \eqref{p45} by $p(\lambda)$, observe that \[ p(\pm r)=2r^2(\sqrt{1-2r}\cos\theta\pm (r-1)). \]
Consequently, $p(r)<0,\ p(-r)>0$, and so $p$ has roots both smaller than $-r$ and larger than $r$. In other words, $D$ lies in the interior of $W(A)$.

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