Music theorist Brian Eno, who first came into prominence as a member of Roxy Music, has been a powerful bellwether of popular music for the past decade. One of contemporary music's most inventive and controversial producers, Eno has done collaborative projects with some of rock's most exotic figures and is largely credited with introducing synthesizers and African rhythms into the new wave vocabulary, yet his own compositions have grown increasingly unpop as the years have passed. For the past six of them, Eno has been investigating what he refers to as ambient music. Atmospheric aural washes that exert a subtle presence akin to a slight shift in the weather, this music has not been very popular, perhaps because people misunderstand its intent and measure it with the same yardstick they'd apply to a Rolling Stones record. Eno contends that music can be used in a variety of ways and these records are not designed to occupy the center of one's attention, as do most rock records. They're to be approached more with the frame of mind one might bring to a panoramic view or a leisurely trip by car. Eno's latest exercise in ambience is called On Land and he feels it's the best work he's ever done. On March 19, 1982 we talked about this record, time, space and gospel music.
MUSICIAN: What's the most widely held misconception about your work?
ENO: That it's cold and unemotional. Many people think that, probably because it doesn't have the sort of obvious passion of The Clash or The Rolling Stones.
MUSICIAN: Do you think that's passionate music?
ENO: No, I don't. It's obviously dramatic but there's a difference between drama and passion and this stuff of mine, particularly my new record, isn't very dramatic - if anything, it's melodramatic. But for me it's far from cold and unemotional.
MUSICIAN: Are there taboos in music?
ENO: There are social taboos, for instance, going soft is taboo. People often say of composers who, like myself, started off doing things that seemed wild and manic, then do some things that aren't wild and manic, that their music has become escapist and has nothing to do with the world we live in. My reply to that is we live in many different worlds and can to some extent choose which world we live in. And acknowledging only the harsh urban reality, the grit, grime and struggle, then you create that world too. You don't just reflect it, you make more of it. If I insist on living in a world that's more mysterious and diffuse than that, then I create that too - not only for me but for other people who also agree that that world exists. Most taboos are ideological positions that people fail to realize are merely temporary positions. The one I just referred to - the harsh urban reality - assumes that it can't be music unless it has those abrasive qualities, but that's just not true. This is something of this time and place and plenty of other music has existed without any of that aspect at all.
MUSICIAN: Why are the ideas of newness and innovation so valued in art?
ENO: They're overvalued really. Or, I should say that they're valued to the point where they become a target for people to aim at and that's a self-defeating proposal. It's like calling someone up and saying, Look, next Friday we're going to get together and have a really interesting conversation. Really brilliant now, we're going to think some really new things! Then you call a few days later and say, Don't forget Friday, this conversation is going to be really interesting. You build this up and by the time Friday comes of course you're tongue tied because you daren't say anything that's clumsy or familiar. You daren't do any of the things that are likely to open you up into a new area. New ideas are nearly always slight shifts of things that are already very familiar to you.
MUSICIAN: Then the reverence for originality is the very thing that prohibits its surfacing too frequently?
ENO: Definitely. One of the things that's interesting about nearly all ethnic music is that it doesn't have that idea. In reggae you hear the same riffs year after year in a shifting context. The idea there is to use a thing for as long as it still means something. The idea in the fine art culture is to drop something as soon as you can no longer claim it as only yours. As soon as other people are onto it you have to drop it and go elsewhere - and that's such a stupidly childish attitude.
MUSICIAN: How do you intend for your new record to be used?
ENO: The way I use it, which isn't necessarily the way anyone else has to use it, is I sit in the little soundproof room I have at home - a luxury to begin with - with the lights dim, and I listen and imagine I'm in the places that the music represents to me.
MUSICIAN: I read an essay you wrote about the making of On Land wherein you inferred that the record is concerned with the realm of memory. The past seems to be a source of great unhappiness for most people - sort of a one-way ticket to melancholy - yet you seem to be presenting memory as a source of pleasure.
ENO: First off, the record is very much connected with thinking about my childhood again. I agree with you that the past is a source of melancholy but I like melancholy and have never found it to be the same thing as moroseness or sadness. I've always enjoyed being melancholy, perhaps because that mood is very much a feature of the environment where I grew up. It's a very bleak place and most visitors find it quite miserable. I don't think it's miserable but it's definitely a sort of lost place in a lost time - nothing has changed in this part of England for many hundreds of years.
MUSICIAN: Do you think most people took back fondly at their past?
ENO: I think they do but they also look back regretfully, as though they can't tap into it anymore. One of the things I wanted to do with this record was to find out if, in fact, you can tap into the past and make use of those feelings again. Instead of looking back and saying, Those were the days, it's all gone now, I view it as, Those were the days and they're still present in my mind if I choose to call them to my attention.
MUSICIAN: The music on On Land strikes me as a bit spooky. Was that intentional?
ENO: Yes, a little bit, a nice kind of spooky. It sort of gives you the willies, you know, that slightly thrilling sense that you're almost in some other time, not quite in touch with the present. I've been thinking a lot about that sensation of not being in touch with the present and that's a sort of misleading description of the feeling because what's really happening is your sense of the present is actually expanded beyond what it normally is. For instance, when I'm in New York and I use the word now, what I mean is sometime between yesterday and tomorrow. When I'm in the place where I grew up and I use the word now I'm referring to a much more extended time period that goes back a long way and into the future a long way. I think peasant-type people commonly feel that, because they're in touch with their relatives and ancestors so there's some kind of reality to that continuum they belong to. I think their sense of now is nowhere near as crisply defined as the urban sense of now.
MUSICIAN: In your essay you used the phrase listening to the world in a musical way, and I assume that in one respect this record is intended as a tool to teach people to enjoy non-musical sounds. But most ambient noise - in the city at least - is filled with anxiety and tension - the very things we turn to the artificial language of music to escape.
ENO: I agree. If you listen to city noises close up they are very hard to take and are filled with angst and trauma. But if you listen to anything in the city at the right distance, you cease to hear the individual event and it becomes a kind of hum that I find exciting and not threatening in the same way. When you're out in the country you hear sounds that seem quite lovely and pastoral but those too are probably the sounds of emergency. That little bird singing is probably sounding some kind of an alarm and the screeching monkey has probably lost his mother. So it's really a question of your mental proximity to the source of the sound. If you're slightly removed from it, you hear it not as an individual and terrible emergency, but as part of the fabric of things, which is composed of joy, pain and everything else. So it's a feeling of moving back from it a little bit. The same applies to the videos I've been doing. I recently realized that what made them nice was the fact that they show everything at a distance. It's as though they push the city away in order to restore it to the kind of mythical place it once seemed - a mysterious hive of activity with all sorts of curious human interaction going on.
MUSICIAN: Do you still find New York a creatively stimulating place?
ENO: Lately I've found it more so. I went through a period where I was very unhappy in New York but I got through that and now I'm quite enjoying living here. I think that's partly because I have my little soundproof room, which is a most crucial counter-balance to the rest of the city for me.
MUSICIAN: How much time do you spend in this room?
ENO: A terrific amount of time. If I'm not in a recording studio or in some other country, I spend between six and twelve hours a day in there. It's a small room - about eleven by twelve feet - but it's somehow got a very nice quality about it. I don't know why but I still get excited when I walk through that door. I feel that I'm entering a sort of sacred space somehow.
MUSICIAN: What prompted you to build it?
ENO: When I lived in London I had a tiny room which was half the size of this one. I had my tape recorders and whatnot in there and I used to spend a very long time in that room as well. I always looked back on that time and remembered how much I enjoyed working in that room. I didn't enjoy it all the time - working is sometimes very boring - but my overall memory of that period was sitting in this little room and doing things that interested me. So when I bought my loft in New York, it was large enough to build a large studio and my first feeling was, Oh, good, now I can have a big room to work in. Then I thought about it and realized that I actually like small spaces. I can keep a small space tidy and well organized, whereas in a bigger space I end up with heaps of unfinished things sitting in corners and the room loses its quality of being purposeful. So I thought, There's three things I need in this city; silence and darkness, and this room I can make totally dark and nearly silent. The other thing I wanted was to be able to make noise that nobody else could hear. That's quite important as I hate thinking that people are listening to me make a fool of myself.
MUSICIAN: Will working in this room make your next record very different?
ENO: Definitely, although I don't know how different because On Land came out of this room in a way. Although I started the work some time ago, the assessment and finishing of the thing really came from being in that room and listening to it over and over again. The thing about this room is that it's a controllable environment where I can change the sound, light, smell and temperature. So I started experimenting, listening to things to see what effect it had to change the conditions in the room. What's the difference between listening to something in total darkness and bright light? The difference between a warm room and a cold room? One of the things I realized is that there's really a need to clarify what various pieces of music are for. Records all look the same, are sold in the same places, packaged in the same way and played on the same equipment, so the inclination is to think that it's all the same thing, which is a mistake. It's like thinking that everything that has printed words on it is a novel. In the printed word format we have ready-made distinctions, newspapers, books and whatnot. We have ways of knowing what the intended focus, mood and endurability of the work are. Records are presented as though it's all the same stuff, and I realized in fiddling with the conditions in my room that it makes an enormous difference in how you treat music as far as what you'll understand from it.
MUSICIAN: But a record buyer is fiddling with parameters in the editing process he or she uses prior to making a purchase. I'm sure that someone buying one of your records assumes to a degree what they're going to get - and whether it's there or not that's probably what they hear.
ENO: Yes, there's definitely an interplay between one's expectations and what the work actually provides - and any piece of work that's good will allow expectations to operate to an extent.
MUSICIAN: Which is stronger, the tools available to a musician or the preconceived ideas and experiences that the listener brings to a work? Whose will is apt to reign?
ENO: In between those two conditions is the work itself. You have a set of intentions and tools that produces this thing, then you have this thing that triggers a set of expectations. It's possible to imagine a piece of work that is completely transparent in either of those directions, where all the listener hears is the tools and ideas and it's very apparent to him that that's all that exists. A lot of the most doctrinaire avant-garde music is like that. All you hear is somebody's musical system being worked out on tools that are deliberately non-evocative, so the work has a diagrammatic quality. That's one end of the spectrum. The other end of the spectrum, the one that interests me, is the possibility of the listener being presented with music that he has no idea what it relates to. My early musical experiences were a lot like that. When I first heard doo-wop I was really young and I had no idea where America was, let alone where doo-wop came from. I can remember the fascination I had with this music that just appeared without any ancestry that I knew of. It was like discovering some animal you couldn't dream of, with two heads, one leg and a big eye.
MUSICIAN: Do you think that the more we're able to intellectualize a thing, the less power it has over us?
ENO: If a work is presented in such a way to make intellectualizing happen more than anything else, then I think it has somehow failed. More and more I find myself wanting to have experiences with music that are sort of religious. That doo-wop experience was sort of religious for me.
MUSICIAN: What was the last religious musical experience you had?
ENO: I'm embarrassed to admit it, but with my new record. It sounds a bit arrogant to say it, but I listen to this record almost with bated breath. I find it really moving and actually think it's the best work I've ever done.
MUSICIAN: How do you feel about your early records?
ENO: I don't discount them, but they all seem to be pointing towards whatever I'm most excited about at the moment. I can say, yeah, that's good and fine, I like it and it had to be that way at the time but the real thing is this one now. Actually the real thing is the one I'm going to do next.
MUSICIAN: Are you working on another record now?
ENO: Yes, before I finished On Land I started thinking about a new one. Something that made a big difference with On Land was the notes I took long before the record was finished. They weren't originally intended to be notes for the record and I wrote about 25,000 words on general thoughts about music. In doing that I started getting a much clearer idea of what I was doing than I've ever had while I was actually in the midst of making a record. Usually I just sort of stumble on things. I'll find myself intrigued by something so I'll carry on with it until there's a result and I release it. This project started that way but at a certain point it came into consciousness in a way things don't normally do until they're finished. So I began to think not only of this record but of what could happen after it.
MUSICIAN: Are there specific issues that are best addressed in music?
ENO: I think there is something that particularly belongs to music and that's the way it allows you to monitor the changes in your perceptions over a period of time. This is, by the way, only true of recorded music. But in listening to a record repeatedly, you're hearing something that you know is identical every time it's played. It doesn't change, so if something seems different a change has clearly happened in you. So as you listen to a piece of music over a period of years and it assumes different levels of mood, connotation and meaning, what you're really hearing is your own shift going on.
MUSICIAN: I've always felt you have an appealing voice and it's something I've missed on your recent records. Why have you eliminated your voice from your records?
ENO: I like singing very much. I always have done and still sing a lot in my soundproof room. But singing on a record is a problem because with this record, and some of the others I've done, I didn't want to have a personality in them. I didn't want singing in the foreground.
MUSICIAN: Will a voice always upstage whatever else might be going on musically?
ENO: I think it's very hard to arrange it otherwise. It's only a really great singer who's able to use the voice to point up what the instruments are doing. Van Morrison is an example of someone who's able to work that way.
MUSICIAN: Do you think of yourself as a classical composer?
ENO: That term has so many unfortunate connotations that I'm a bit reluctant to use it but I suppose I am starting to think in those terms. I certainly lean more in that direction than in the rock direction. For a start, I don't think of my work in the short term, which I think is one of the differences. I don't think of On Land as an early 1982 record, or even an early '80s record. I hope it has a quality that it won't be earmarked as being specifically of this time.
MUSICIAN: It seems that your compositions are very dependent on your own idiosyncratic skills. Do you have hopes of your works being performed by other players in the future?
ENO: Somehow I don't think that can be. I think of them as having the kind of position a painting has. The records are objects in themselves and in a way have nothing to do with performance. A painting is what it is. Someone else might do an interpretation of it later on, but that doesn't necessarily relate to the intentions the first painter had when he did his. He thinks of his as being the definitive statement.
MUSICIAN: What step in the music-making process most often proves to be the undoing of a musician?
ENO: That's an interesting question. I would say the first step - having a solid idea and commitment to begin with. So much of the music I hear has all the right ingredients but none of the soul. The solid idea, the beginning, is soul of some kind. It's believing that working in this medium will benefit you spiritually and will somehow free a part of your spirit that is otherwise locked up because it can't find a convenient place to exit in the normal, day-to-day world. I guess it's what people call conviction. If you have that, you can work with any set of ingredients no matter how rubbishy they are. I've been listening to a lot of gospel music recently and some of the recordings I have are atrocious. The acoustics are dreadful, the pressings are filthy - everything is wrong. They've got none of the ingredients normally considered to be part of a successful work, but they have so much of that other ingredient that you don't even notice the lack of those other things. What I hear with so many of the new English synthesizer bands is all the ingredients for contemporary pop respectability. You can check them off: use of the studio in a creative way, electronics, modern rhythms, clean productions, slightly meaningful lyrics, correct haircuts, the right ideological stance - the whole bag of bananas. They have all that stuff but they miss because they don't convey any sense that doing music is really critical to their lives.
MUSICIAN: What governs whether or not a person has that magic ingredient?
ENO: I know it's not a matter of ambition. That's not to say you couldn't have that quality and be ambitious as well - that's obviously quite possible. I think it's particularly a matter of stubbornness.
MUSICIAN: That soul quality seems to be connected with having the strength to reveal vulnerability.
ENO: That's right - daring to expose something. Nearly all the music I like now is totally exposed. It's so open to criticism, it's as though it's let its pants down. Everything's wrong with it and yet somehow the music just rides above all that.
MUSICIAN: Does innocence equal soul?
ENO: That's part of it. In a sense, innocence is deciding not to concern yourself with certain considerations. For instance, one of the interesting things about being an artist now is that there are two very obvious ways to get critical acclaim. One is to be safe and within a format, but to work rather well within that format. The other is to be radical. Those are both easily defensible positions. With one you can say, I'm doing my job, I'm doing it well, people like it, it's cool. People will criticize it within those terms and say, Yeah, it's a great dance record - which is fine. There's nothing wrong with a great dance record. With the other safe position, the radical, avant-garde stance, you say, I'm staying true to my ideas and principles and they're terribly important to me blah blah blah. People will rally round and say, God, it's so great, I can't understand it. The difficult position is to be somewhere between those two poles and most of the music that interests me falls in that middle ground. It isn't radical just for the sake of it and it's innovative, radical and familiar almost by accident. It happens to connect with things within one. This is the area where the critics will hit you because they think you've not made a commitment to either pole.
MUSICIAN: What would be an example of that? Not gospel music - that doesn't even enter the realm of criticism.
ENO: That's why - because it's in exactly that area. Gospel music is very innovative but it doesn't intend to be. You don't imagine gospel groups sitting around talking about Steve Reich.
MUSICIAN: In the essay you wrote you listed the rules you set for yourself in the making of On Land. Does it free you creatively to impose arbitrary boundaries?
ENO: It did in this case. I think I'd gotten a bit blase about the use of the studio, in fact, I think everyone's pretty blasé about the use of the studio at the moment. This is one of the major problems with contemporary rock records. Studio technology allows people to work with a kind of semi-commitment because they know they can erase their mistakes and try again. That's all very well but what makes live recordings and old records, where they didn't have that option, so exciting is the feeling that that person was actually on the line when they did it. That's a kind of spiritual quality you can't quantify but I'm convinced you hear it in music and see it in films when it's there. In listening to the music that I love I've come to realize that the common thread that runs through it is the fact that at the moment these people made these noises, that was their reality. They weren't thinking I can do it again later or fiddle with it in the mix. This was it, this was the moment for them, and that sense that the thing was real when it was being made is what communicates in a piece of work.
MUSICIAN: Then one of the primary pitfalls of success is knowing you'll always get another shot?
ENO: Yes, I think that's a very dangerous area to be in. And if you're in that position, you must construct ways, sometimes quite contrived ways, to foil that thing in yourself.
MUSICIAN: Do you still use Oblique Strategies?
ENO: Yes, but now I use them in a much more discreet way. I remember most of them now so I don't often go pulling them out of the pack. They're sort of in my mind now and they frequently come to mind when I'm working.
ENO: Of the work, quite a lot. The discarding is often temporary in the sense that I'll throw something away but then it gets actually physcially built into something later on. I use the same pieces of tape and take little bits out of them, or play with the speed of them. At first making of something I'd say I discard about eighty percent and sometimes it goes up to a hundred percent. But I don't discard many ideas because I don't idly pursue ideas. If something excites me once, it continues to excite me, and nearly every idea I've ever had has been built into something somewhere. Some of the ideas in On Land are absolutely years old and were among my first musical ideas. And they just waited in line until they were used.
MUSICIAN: Now that you've employed them in a way you find satisfying, are you finished with those ideas?
ENO: No, I really feel that I've just started. That's why when I was doing this record I was already thinking about the next one. The reason I'm so excited about this and so anxious to tell the world about it is because I feel like I've stumbled into this really rich territory that's full of possibilities. I must say, I'm more excited about this than I ever have been about anything.
MUSICIAN: How do you expect On Land to do commercially?
ENO: Very poorly compared with my other records - which haven't done too well either. My reputation is far bigger than my sales. I was talking to Lou Reed the other day and he said that the first Velvet Underground record sold 30,000 copies in the first five years. The sales have picked up in the past few years, but I mean, that record was such an important record for so many people. I think everyone who bought one of those 30,000 copies started a band! So I console myself thinking that some things generate their rewards in a second-hand way.
MUSICIAN: The music on On Land is very evocative. How do you see this music in relation to film? Are you interested in scoring films or do you see this as an entirely separate pursuit?
ENO: No, I don't see it as a separate pursuit. I'm really interested in scoring a good film and I've been sent many scripts but they haven't been that interesting. Unfortunately people send me scripts relating to what I was doing six years ago. So they're all films about punk rock and I'm supposed to write witty new wave tunes.
MUSICIAN: What steps do you take to edit the input you get from the world?
ENO: I don't see or hear that much, so I guess I do edit a lot. That sounds like an ostrich activity but concomitant with that is the fact that I really value what I do see and hear. My main input at the moment is not from music but from paintings and films and I spend a lot of time looking at both of those. The way I look at paintings is perhaps a screening process. I go into a gallery and walk through it very quickly. I don't try to look at everything but if something catches me I stay with it and just look at that. I take a little folding chair with me to the galleries. My idea right now is rather than trying to absorb everything, which is an impossible, tiring and rewardless task, to concentrate on fewer and fewer things. For the past few months I've been playing the same three records: gospel music and a record of an Arabic man singing the Koran.
MUSICIAN: What would you like to change about your life at this point?
ENO: I wish I had a place to live in a quiet, isolated place. It's just stupidity that I've not organized that yet. I think my little room is sort of a substitute for that. I'd also like to change the fact that I'm quite easily distracted. I like walking and I walk a lot in New York because when I'm walking I can sort of take over and think in a nice slow way. But I also have to look at everything that passes. I wish I weren't so fascinated by every little phenomenon that comes my way.
* Oblique Strategies is a deck of cards described by inventors Eno and the late Peter Schmit as over a hundred worthwhile dilemmas. Some sample strategies, to be drawn at random to consider a problem: Discard an Axiom, Cluster Analysis, Mechanicalize Something Idiosyncratic, Do Something Boring, Overtly Resist Change, You Can Only Devise One Dot at a Time and Water.


The American Marketing Association (AMA) will host Tim Angbrandt, Founder of the ANG Marketing Group on March 6th, 2018 at 11:30 AM in BU 202.
All students are welcome to hear from Tim. He has extensive experience in technology, data analysis, product development SEO, branding and communications. If you are interested in digital, strategy, consulting or entrepreneurship, this event is for you!


text:
#ifndef __CPU_PRED_RAS_HH__
#define __CPU_PRED_RAS_HH__

#include <vector>

#include "arch/types.hh"
#include "base/types.hh"
#include "config/the_isa.hh"

/** Return address stack class, implements a simple RAS. */
class ReturnAddrStack
{
  public:
    /** Creates a return address stack, but init() must be called prior to
     *  use.
     */
    ReturnAddrStack() {}

    /** Initializes RAS with a specified number of entries.
     *  @param numEntries Number of entries in the RAS.
     */
    void init(unsigned numEntries);

    void reset();

    /** Returns the top address on the RAS. */
    TheISA::PCState top()
    { return addrStack[tos]; }

    /** Returns the index of the top of the RAS. */
    unsigned topIdx()
    { return tos; }

    /** Pushes an address onto the RAS. */
    void push(const TheISA::PCState &return_addr);

    /** Pops the top address from the RAS. */
    void pop();

    /** Changes index to the top of the RAS, and replaces the top address with
     *  a new target.
     *  @param top_entry_idx The index of the RAS that will now be the top.
     *  @param restored The new target address of the new top of the RAS.
     */
    void restore(unsigned top_entry_idx, const TheISA::PCState &restored);

     bool empty() { return usedEntries == 0; }

     bool full() { return usedEntries == numEntries; }
  private:
    /** Increments the top of stack index. */
    inline void incrTos()
    { if (++tos == numEntries) tos = 0; }

    /** Decrements the top of stack index. */
    inline void decrTos()
    { tos = (tos == 0 ? numEntries - 1 : tos - 1); }

    /** The RAS itself. */
    std::vector<TheISA::PCState> addrStack;

    /** The number of entries in the RAS. */
    unsigned numEntries;

    /** The number of used entries in the RAS. */
    unsigned usedEntries;

    /** The top of stack index. */
    unsigned tos;
};

#endif // __CPU_PRED_RAS_HH__

redpajama_set_name: RedPajamaGithub


After all of our rain in the past few weeks the weather gurus are now saying that this week will have temperatures in the 90s with little or no moisture. By Friday we will be begging for rain again.
Living at 9000 feet and surrounded by 13,000 foot peaks (three that are over 14,000) it is always the fourth of July. In the late afternoon I can look at my three mountain ranges (The Gore, The Ten Mile, The Divide) and watch lightening strike. Waiting for what seems to be several minutes the low, long rumble of thunder finally hits the valley floor. It is as if the is an echo when in fact I am hearing the original sound slowed down by many feet and many miles. Nice to live in such a tall place especially in the summer.


From Burgundy to Languedoc, these eight villages aren't just picturesque, they're a bibliophile's haven. Explore the book towns of France and plan your next dream vacation.
6 Books To Celebrate France for Bastille Day!
In celebration of Bastille Day, six books by French authors or set in France!
Excellent science fiction and fantasy from French authors!
New releases in translation coming out this month.
Fiction and poetry in translation coming out this month!
Books coming out in translation this month!


text:
A20 är en motorväg i Tyskland som går från Bad Segeberg via Lübeck - Wismar - Rostock - Greifswald till Prenzlau nära gränsen till Polen. Motorvägen är en väst-östlig förbindelse inom norra delen av östra Tyskland. Den är 343 km lång.

Motorvägen är en del av E22 mellan Lübeck och Rostock. E22 fortsätter på landsväg mellan Rostock och Stralsund då motorvägen går minst 20 km söder om Stralsund. A20 är en del av E251 men bara längs några km söder om Greifswald.

Motorvägen går egentligen öst-västligt mellan Bad Segeberg och Greifswald och snarare nord-sydligt mellan Greifswald och Prenzlau. Man har dragit den nära städerna för att den ska ge nytta för arbetspendling och liknande kortare resor, även om det skapat omvägar för långdistansbilister.
Skyltningen är egentligen inte A20 utan bara 20 med blå bakgrund. Man brukar skriva A20 i text för att skilja mot riksväg (Bundesstrasse) 20 som skyltas med gul bakgrund, och brukar skrivas B20.

Man har planerat fem bensin/restauranganläggningar. Men bara en finns i drift 2008, eftersom inget företag velat bygga och driva de övriga. De är parkeringsplatser tills vidare. Det är inte så många långresenärer på vägen, särskilt inte öster om Rostock.

Historia och framtid
Den byggdes på sträckan Bad Segeberg – Prenzlau mellan 1992 och 2005. Det kostade 1,9 miljarder euro och var det längsta nybygget av en motorväg i Tyskland efter 1945.

Man planerar bygga ut den västerut från Bad Segeberg till en ny tunnel under Elbe väster om Hamburg. Därifrån ska den gå via Bremerhaven under Weser (där en fyrfilig tunnel redan finns) till A28 vid Westerstede i Niedersachsen.
2010 beslutades det att den planerade A22 (mellan Westerstede och Drochtersen, båda i västra Niedersachsen) skulle slås samman med A20. Numret A22 planeras alltså inte att användas.

Trafikplatser

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Motorväg
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Govt cyber incident intervention powers likely to be rushed in
By Ry Crozier on Sep 30, 2021 7:05AM
Impacting 'critical infrastructure' industries.
'Last resort' powers that would allow the government to intervene to contain a cyber attack on critical infrastructure should be "swiftly legislated", a parliamentary committee says.
The Parliamentary Joint Committee on Intelligence and Security (PJCIS) yesterday called [pdf] on the government to split a bill rushed before parliament last year in two, arguing that in its current form it may never pass.
Controversially, the part of the legislation that would be carved out and rushed through parliament is part 3A [pdf], which "sets up a regime for the Commonwealth to respond to serious cyber incidents" impacting the operators of critical infrastructure.
Critical infrastructure in this sense casts a wide net: encompassing sectors including communications, data storage or processing, financial services, health care and medical, higher education and research, utility services, transport, food and grocery, defence industry and space.
Under Ministerial direction, an operator would be compelled to provide information, take certain actions, or potentially have ASD insert itself into the incident response and provide direct "assistance" to counter the threat.
Industry has consistently pushed back against these proposed powers, wary of having a third-party without knowledge of its systems or architecture suddenly add itself to an incident response.
The PJCIS said that evidence from Home Affairs secretary Michael Pezullo had swayed it to believe government incident response takeover powers were needed sooner rather than later.
"… Once the bill achieves royal assent as an act of parliament it allows us to activate certain emergency procedures under the government assistance measures, and it is those measures that, frankly, I would prefer to have on the statute books tonight," Pezzullo is quoted as saying.
In calling for the new powers to be split out into a separate bill and rushed through in the "small and rapidly diminishing window of opportunity to legislate", the PJCIS is relying on the powers being used in limited to no circumstances.
"The committee expects that given the statements from witnesses regarding a willingness for cooperation with the department and ASD ... these measures will need to be used rarely, if at all," it wrote.
"And if they are used, it will only be on those entities that are unwilling or unable to respond appropriately."
The PJCIS "acknowledged" there would still be "reservations with the enablement of the assistance measures, especially within the technology sector."
"However, the committee recognises that the potential threat faced to critical infrastructure assets is too great to stall introduction of these essential measures for any longer," it said.
"In making these recommendations the Committee is relying on the intention stated in the … bill, and as outlined in evidence from the department, that these measures will only be used as a last resort."
Also in the carved out and rapidly passed legislation would be new rules around mandatory reporting of cyber incidents.
Operators would need to tell the government of an incident having "a significant impact on the availability of the asset" within 12 hours, or 72 hours for lesser incidents.
Consideration of the remainder of the existing bill would be pushed back.
This would cover the "declaration of systems of national significance, enhanced cyber-security obligations and positive security obligations which are to be defined in delegated legislation," the PJCIS said.
Many of these are undergoing parallel industry consultation through Home Affairs; the PJCIS said it wanted time to consider the full extent of the costs and obligations these proposals entailed, noting the "fragile" economic environment in Australia.
critical infrastructure cyber security government incident response intervention security
Tech giants say gov cyber incident intervention powers 'unworkable'
Gov puts forward second critical infrastructure security bill
Optus creates senior leadership role spanning national and cyber security ops
Gov holds off extending encryption powers to anti-corruption bodies

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Happy Friday the Thirteenth. I decide to pound out a chapter on Rich Theory about myth.
To be honest, I am not sure how to handle the question of myth. I need a section on myth because there is no way to talk about the history of math without bringing up the important role that ancient myths play in our understanding of math.
I like the idea of putting the discussion of myth right after a section on perspective. Perspective demonstrates that each of us has a limited and compressed image of reality.
My view on myth is that myth is simply part of the way that we compress and store information. IMHO, none of us have a complete view of the world. To a large extent, our minds are filled with myths about the world, and that we will never change this.
I don't like mentioning myth in the second chapter of the work as neither mythmaking nor mythbusting is a primary concern of mine.
I think it is a mistake for one to become consumed with either the idea that we must dedicate our lives to separating truth from myth (discarding all the myth), or with the idea that everything is myth; so life is a matter of creating myths that bring our partisan group to power.
In my opinion, the preoccupation with myth sits right there with the preoccupation with propaganda.
Anyway, Friday the 13th will come to an end soon. I hope all of you survived.


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OBP: On Base Podcast (Apple Podcasts)
Sports and Gaming News and Analysis
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Save State: Game On
641. Movie Month 2020
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George Grotheer
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MELBOURNE: Change is Desperately Needed in Formula One – And There's Nothing Anyone Can Do Right Now
There's nothing wrong with considering the modern era of Formula One boring.
In fact, calling it boring is the only thing that will keep Liberty Media on their toes. It's the only thing that will prevent the sport from continuing down the current road from which it's currently stumbling down awkwardly.
2019 was supposed to be a definitive year for the most spectacular league in motorsport, thanks largely to the Netflix series released after last season. "Drive to Survive" brought unprecedented fan access to the behind-the-scenes aspects of several teams and drivers. Like many television stories, there were scenes that brought emotion – whether we're talking about happiness, sadness, amusement, pure joy, or even anger. It was a dream scenario for any executive, especially since this season was supposed to be more competitive than last year.
Instead, the dream has turned into a nightmare. For Italian team Scuderia Ferrari, everything that could have gone awry. Sebastian Vettel spun out in Bahrain when battling with Lewis Hamilton of Mercedes. Ferrari rookie and F1 sophomore Charles Leclerc has been held back by both team orders and mistakes. In fact, each of the teams powered by Ferrari engines have been disappointing. Haas finished 17th (Kevin Magnussen and 20th (A DNF from Romain Grosjean) in France last weekend. Alfa Romeo looked promising in the preseason testing periods thanks to an advanced front wing. Before France, the team hadn't scored since April's race in Azerbaijan.
All of this drama and disappointment has made it easy for Mercedes and their drivers once again. The team that's won five World Driver's Championships in a row looks to be cruising to yet another.
So, why defend this style of racing?
Drivers from several other styles of racing, including several drivers from the NTT IndyCar Series and the competing ABB Formula E grids have made their disappointment in the modern state of Formula 1 very clear.
The Formula One Twitter account posted a highlight from the 2007 Japanese Grand Prix last October. This past Tuesday, current Formula E and DTM driver Robin Frijns used the clip to criticize the top league. "How many '5 seconds penalty (for) gaining an advantage' or 'tracklimits penalty' is this then?" Frijns posted. "This is racing!!"
That, of course, implies that the recent penalties (including the ones that denied Sebastian Vettel the win in Canada), make it so modern Formula 1 isn't racing. Not in a real sense.
Earlier in the year, IndyCar drivers Graham Rahal and Alexander Rossi went back-and-forth on Twitter during the Spanish Grand Prix.
"Nothing gets me more fired up to watch the F1 race then turning on the TV and the first thing the commentator says is 'Nobody has a chance to win except Mercedes.' Sweet!!!!"
That's about as clear a statement as you'll find on Twitter, courtesy of Rahal. Rossi's response criticized a different part of the race. "Hey man," Rossi noted. "The top 5 were only separated by 45 seconds before the safety car… so it was close."
There's nothing anyone can do to hide the lack of competition. David Croft, the lead commentator for Formula One on Sky Sports (and heard on TSN in Canada), may have the hardest job in television right now – keeping eyes on the TV from fans who want to see close racing.
Croft is rarely outspoken about the state of Formula One; at most he'll mention how others may perceive the race. It's a contrast to his radio counterpart Jack Nicholls. Nicholls, through Twitter and his post-race podcast on BBC Radio 5 Live, is also the world feed commentator for Formula E. After completing his lap-by-lap commentary for both races, he took to Twitter as well. "Over the last two days I've commentated on two races."
"For the first time ever in FE, the top 3 on the podium were the top 3 on the grid. I'm not saying one is better than the other, I've loved F1 since I was 6, but it is undoubtedly a stark contrast compared to today's race."
Formula E went through the schedule this season with eight winners in the first eight races of the season, from seven teams. Only now, with two races to go, is there a true championship favourite in former Toro Rosso F1 driver Jean-Éric Vergne. Vergne, as well, has been outspoken about his experience in the years that have followed his experiences with Red Bull's junior team. The French driver told Reuters that being dropped by Toro Rosso "opened (his) eyes on many things."
"I think leaving Formula One was actually the best thing that happened to me."
Although any comments Lewis Hamilton would make regarding the lack of competition and excessive penalty calls will undoubtedly be met with eye-rolls by many fans, the greatest beneficiary of modern F1 has also been critical. "How it's set up, just from watching when I was there, it's not good. Really not good," he told the UK publication Telegraph. "They won't like me saying that. I see the mess we're in, I see it every year." Hamilton's acceptance that the fan appeal of the sport is at a low point won't change anything, though. As long as Mercedes keeps their strategic dominance and overall car as strong as it has been, Hamilton will keep winning, and teammate Valtteri Bottas will keep his strong 2019 going as well.
There's nothing that's going to change. Formula One's struggle to attract new fans will continue. In 16 days, their electric competitor will be racing through the streets of New York City. For the first time ever, Formula One's management will need to pay attention to how the event turns out.
Patrick Melbourne June 27, 2019 July 5, 2019
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Hundreds of Algerians protest against proposed energy law
Demonstrators carry national flags and shout slogans during a protest against a proposed new hydrocarbons law in Algiers, Algeria October 13, 2019. REUTERS/Ramzi Boudina - Copyright RAMZI BOUDINA(Reuters)
ALGIERS (Reuters) – Hundreds of Algerians protested in front of parliament on Sunday against a proposed energy law that they say the caretaker government has no right to pass.
The new law is aimed at attracting foreign investors to help Algeria strengthen its energy output, but would maintain a 49% limit on foreign ownership if passed into law by parliament.
Protesters said the law was intended by the caretaker government to secure the support of Western countries in a standoff over mass protests that have rocked Algeria for months. The government did not immediately comment.
Energy industry sources in Algeria say the proposed law should be more generous to investors, with greater tax incentives and lower customs duty.
Algeria's economy and state revenues are highly dependent on the energy sector, and foreign currency reserves have more than halved since oil prices began to drop in 2014.
The weekly mass protests since February have toppled veteran leader Abdelaziz Bouteflika and forced the authorities to detain many senior officials on corruption charges.
The army, which has emerged as the strongest power in Algeria since Bouteflika stepped down in April, hopes a presidential election panned for Dec. 12 will help quell the protests.
But demonstrators have said the vote cannot be free or fair if the military and senior officials tied to Bouteflika retain political power.
(Reporting by Lamine Chikhi, editing by Angus McDowall)
Review of the Year: What challenges lie ahead in 2021?
Review of the Year: winds of protest in the East


With the discovery of diamonds in the Marange region, Zimbabwe became one of the world's leading diamond producers. But instead of using diamond wealth to drive the country's development, there is a very real risk that diamonds sourced from Marange are funding human rights violations.
At Brilliant Earth, we believe it is important to end all violence related to diamond mining, regardless of the circumstances. The diamond industry's attempt to fight blood diamonds led to the establishment of the Kimberley Process, an international diamond certification scheme, in 2003.
In March, Gahcho Kué, the world's largest new diamond mine in the last 13 years, officially begins commercial production. 2017. In February, Forevermark becomes available in more than 2,000 retail doors globally. ... We begin the development of diamond inscribing technology that ends up giving birth to Forevermark. 1995.
Oct 16, 2018· Edit Article How to Find Diamonds in Minecraft. In this Article: Article Summary Creating an Iron or Diamond Pickaxe Mining for Diamonds Community Q&A Want to find diamonds, but don't know where to search? Maybe you need a diamond pickaxe to help get obsidian and to go to the Nether or create an enchantment table.
Diamond giant is investing in an open platform that will allow tracing a rock throughout the entire value chain — from mine to buyer.
Oct 13, 2013· The ten largest diamond mines in the world by measurable reserves contain more than one billion carats of recoverable diamonds. Russia is home to half of the world's biggest diamond mines, while Botswana houses two; including the world's largest diamond producing mine Orapa.
Oct 04, 2017· However, the minister said the alluvial gemstones which the country has been exploiting since the discovery of diamonds in 2006 are now nearing extinction and the company will this month begin conglomerate mining which according to the Ministry of Mines and Mining Development will improve the country's mineral earnings.
History of Diamonds. ... The elite no longer considered the diamond a rarity, and began to replace this "common" stone with colored gemstones. Emeralds, rubies, and sapphires became more popular choices for engagement ring stones among the upper class. ... The first recorded accounts of diamond mining are located in India. 100 .
Jun 16, 2015· For thousands of years, diamonds lay undiscovered deep within the tundra of the Canadian Arctic. It wasn't until the early 1990s that diamond mining began in the Ekati mine located in the Northwest Territories, spawning the opening of several rich diamond mines.
Owned by GAR Minerals, the mine is located near the diamond-bearing Abaeté River and the town of Três Marias. GAR Minerals has six properties along the Abaeté River and six others near the town of Coromandel on the Santo Ignacio River, also in Minas Gerais.
May 30, 2018· Mining Giant DeBeers to Begin Selling Man-Made Diamonds International diamond retailer and miner DeBeers has announced it will begin selling man-made diamonds, according to several sources. The lab created diamonds will be sold under the company's Lightbox brand and will cost significantly less than natural ones.
Dec 06, 2002· Only about 20% of the world's diamonds are taken from pipe mines, and the remaining 80% of diamonds are alluvial. In 1866, the first diamonds in Africa were found. Before the discovery of diamonds in South Africa diamonds were very scarce and they were highly valued.


"Dictionary learning-based subspace structure identification in spectra" by Liping Jing, Michael K. Ng et al.
In this paper, we study dictionary learning (DL) approach to identify the representation of low-dimensional subspaces from high-dimensional and nonnegative data. Such representation can be used to provide an affinity matrix among different subspaces for data clustering. The main contribution of this paper is to consider both nonnegativity and sparsity constraints together in DL such that data can be represented effectively by nonnegative and sparse coding coefficients and nonnegative dictionary bases. In the algorithm, we employ the proximal point technique for the resulting DL and sparsity optimization problem. We make use of coding coefficients to perform spectral clustering (SC) for data partitioning. Extensive experiments on real-world high-dimensional and nonnegative data sets, including text, microarray, and image data demonstrate that the proposed method can discover their subspace structures. Experimental results also show that our algorithm is computationally efficient and effective for obtaining high SC performance and interpreting the clustering results compared with the other testing methods. © 2012 IEEE.


This is my preface to Clark Quinn's book on debunking the myths in the learning field, Millennials, Goldfish & Other Training Misconceptions: Debunking Learning Myths and Superstitions. (available from Amazon here).
Clark Stanley worked as cowboy and later as a very successful entrepreneur, selling medicine in the United States that he made based on secrets he learned from an Arizona Hopi Indian medicine man. His elixir was made from rattlesnake oil, and was marketed in the 1890's through public events in which Stanley killed live rattlesnakes and squeezed out their oil in front of admiring crowds. After his medicine gained a wide popularity, Stanley was able to set up production facilities in Massachusetts and Rhode Island with the help of a pharmacist. Stanley made himself a rich man.
You may not know his name, but you've certainly heard of his time and place. It was the era of patent medicines—false and sometimes dangerous elixirs sold to men and women of all stripes. Dr. Kilmer's Swamp Root. Oxien. Kickapoo Indian Sagwa. Dr. Morse's Indian Root Pills. Enzyte. Bonnore's Electro Magnetic Bathing Fluid. Radithor. Liquozone. And of course, Clark Stanley's Snake Oil Liniment.
These medicines were bought by the millions. Fortunes were made. Millions of people were bamboozled, made sick, killed or murdered depending on how you see it. It turns out that, upon being tested, Stanley's elixir was found to be made mostly from mineral oil, a worthless potion sold by a charlatan. His story of the medicine man and the rattlesnake juice was a more potent concoction than his famous elixir, which when tested was found to have no snake oil anyway.
What causes men and women to miss the truth, to fail to see, to continue happily in harming themselves and those around them? This, unfortunately, is not a question just for the era of patent medicines. It is eternal. It goes back to the dawn of humanity and continues today as well. I have no answer except to assume that our credulity is part of our humanity—and should guide us to be on guard at all times.
What stopped the patent-medicine pandemic of poison, persuasion, and placebo? Did we the people rise up on our own and throw out the scoundrels, the money-grubbers, the snake-oil salesmen? Did we see that we were deceived, or too hopeful, or too blind? Did we as a community heed our senses and find a way to overcome the dangers hidden from us?
The article—or series of articles that today we would call investigative journalism—opened the floodgates and led directly to the Pure Food and Drug Act in 1906, followed later by additional regulations and requirements that continue to this day, with some success, protecting our health and safety.
The ugly truth is that we need help in seeing what we don't see. This is true too in the learning industry and has been true since at least the early 1900's when thought leaders in our industry floated bogus claims that people remember 10% of what they read, 20% of what they hear, 30% of what they see, et cetera. Indeed, it was partly the bogus claims floating around the learning industry in the late 1990's that made me optimistic that starting a research-based consulting practice would find an audience, that perhaps the learning field could be protected from snake oil charlatans.
Bogus claims are not merely inert flotsam to be navigated around. At a minimum, they take attention away from learning practices that are more fundamental and effective, pushing us to waste time and resources. More insidious is that they proactively cause harm, hurting learners and weakening our learning outcomes.
I wish I could report that starting Work-Learning Research twenty years ago has had the influence that Samuel Hopkins Adams had in his journalism. Alas, I am a faint voice in the howling wind of our industry. Fortunately, there are many muckraking research-to-practice practitioners today, including folks like Paul Kirschner, Patti Shank, Guy Wallace, Pedro De Bruyckere, Julie Dirksen, Donald Clark, Ruth Clark, Mirjam Neelen, Jane Bozarth, and more. There are also legions of academic researchers who do the science necessary to enable research-to-practice wisdom to be compiled and conveyed to trainers, instructional designers, elearning developers and learning executives.
I am especially optimistic now that Clark Quinn has compiled, for the first time, the myths, misconceptions, and confusions that imbue the workplace learning field with faulty decision making and ineffective learning practices. As Clark rightly advises, don't read the book in one sitting. You will find it too much—too many misconceptions and malingering falsehoods, and too much heartache to think that our field could tolerate so much snake oil.
Here's what we don't realize. Today's workplace-learning snake oil is costing us billions of dollars in wasted effort, misspent resources, ill-advised decisions, and distraction from the science-of-learning fundamentals that have proven to be effective! Every time a trainer reads an article on learning styles and adjusts his or her training to make it suitable for visual, auditory, kinesthetic, and olfactory learners; time is wasted, money is spent, and learning is hurt. Every time an instructional designer goes to a conference and hears that neuroscience should guide learning design, he or she takes this faulty meme back to colleagues and infects them with false hope and ineffective learning strategies. Every time a Chief Learning Officer hears that learning events should be shrunk to 4-minute microlearning videos, that storytelling is everything, that all learning is social, that virtual reality is the future of learning—every time our learning executives jump on a bandwagon and send us to training or conferences or hire experts in these multitudinous fascinations—we are diverted from the veritable essence of learning. We waste our own developmental budgets with snake-oil rostrums. We waste time organizing ourselves around wrong-headed initiatives. We ignore what really works, all the while costing our organizations billions of dollars in waste and ineffective learning practices.
Let us start anew today. We can begin with Clark's book. It is a veritable treasure chest of wisdom. But let's keep going. Let's stay skeptical. Let's look to the scientific research for knowledge. Let's become more demanding and knowledgeable ourselves, knowing that we all have more to learn. Let's look to the research translators who know the work that we do as instructional designers, trainers, and developers. Let's do our own testing. Let's improve our evaluation systems so that we get better feedback day by day. Let's pilot, rework, improve, and continue to learn!
As the history of patent medicine shows, we must be forever vigilant against our own blindness and against those who will sell us the miraculous hope of snake-oil cure-alls.
The Debunker Club, with over 600 members devoted to squashing the myths in the learning field, is offering a FREE webinar with noted author and learning guru Dr. Clark Quinn on myths and misconceptions in the learning field, based on his new book, just released last month, Millennials, Goldfish & Other Training Misconceptions: Debunking Learning Myths and Superstitions. (available from Amazon here).
In San Diego on Tuesday Morning May 8th at 7AM!
ATD is holding its annual conference starting this weekend in San Diego. On Tuesday morning (May 8), I'm going to convene us debunkers for a brief social gathering over coffee at Copa Vida, just a few short blocks from the San Diego Convention Center.
Come join me for coffee and caffeinated conversation…just for the fun of it.
We had a great gathering at the ISPI conference in Seattle a few weeks ago. Great conversation, friendly, low key, just a little debunking. Let's do it again!
Ninth is the nearest cross street.
Also, at ATD 2018 you can see Clark's session on Tuesday at 1PM.


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Q: Git - replace local branch with remote branch I know this question has been asked but I can't seem to completely replace my local branch with my remote branch.  I had installed a 3rd party plugin in my local branch and am having trouble removing the installation; thus, I want to "start over" with the remote version of the branch.  The branch is called "dev" locally and "origin/dev" remotely.  I've tried three ways of replacing my local branch with the remote version:
1. git reset HEAD --hard

2. git reset --hard origin/dev

3. git checkout dev
   git fetch
   git reset --hard origin/dev

But reviewing the local code after the executing the above git commands, I can still see leftover files and folders from the plugin.
Using git status, I get "Your branch is up-to-date with 'origin/dev'.  Nothing to commit, working directory clean".
Using git status --ignored, I get too many files to list... basically everything in my .gitignore file I believe.
I only want the code that exists in the remote dev branch and nothing else.
Can somebody help?
Update:
Turns out that the error that I was getting was due to a bunch of files in the directory, root/var/cache/*.  My .gitignore file contains the following entries:
/var/*
!/var/package
var/session/*

Trying the possible ways to restore the local dev branch from remote (listed in the question above as well as the proposed solutions below), the root/var/cache directory remained present; I had to manually delete it before my application started functioning again.  Looking at the github, the remote dev branch did not contain 'root/var/cache.  Can anybody tell me whyroot/var/cache` was not responding to the git commands for replacing the local branch with the remote version?

A: From another branch (say master), reset your dev branch:
git branch -f dev origin/dev

Then, checkout dev and clean up your extra files:
git checkout dev
git clean -d -f

A: Try git clean -fx. That will remove all untracked files, even if they're mentioned in .gitignore.

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Access to the article is free, however registration and sign-in are required. Certain anaerobic microorganisms can gain energy and biomass using carbon monoxide or dioxide and dihydrogen as sole sources of carbon and energy. In his Perspective, Peters explains how new results by Doukov et al. illuminate the carbon dioxide fixation pathway. Doukov et al. report that the enzyme responsible for the process contains a highly unusual metal cluster, with three different transition metals including copper, in one of its active sites.


For a general overview see Flux: Automated Astronomical Feature Recognition and Manipulation.
The Fractal Flux module uses an algorithm which pin-points features in the image by looking for natural recurring fractal patterns that make up a DSO, such as gas flows and filaments. Once the algorithm has determined where these features are, it then is able to modify or augment them.
The processing tutorial video StarTools: M42 H-alpha High Dynamic Range composite discusses the use of the Flux module between 10m19s and 10m44s.
Use after extracting the most detail (i.e. Decon, Sharp Contrast, HDR) and before using the Color module.
The noise reduction capabilities of the Flux module can be used in place of the Denoise module where Tracking is not used (for example where an image is not linear to begin with and StarTools is being used just to touch up an image).
It could be a decent alternative to the Denoise module after working in the Layer module with Tracking off. In particular, for fine noise due to the way the self-similarity works.
Select the Wavelet Library size - after a while you will be presented with Screen 2.
Select the desired preset - normally choose Sharpen or Noise - avoid using Detail except in special circumstances.
Keep the result when done.
Any change may be subtle - Use Before/After button to see the change.
If Sharpen preset is chosen the image will look sharper in the areas where there is detail.
If Noise preset is chosen the noise in the image will be reduced.
This specifies the amount of 'knowledge' the fractal flux module starts off with. The smaller the amount of knowledge the more flux you might get.
The smaller the amount of knowledge the more flux you might get.
A larger wavelet library will make the module better at relating detail to other detail at larger scales (essentially making it more precise), but will also make the effect a lot less "dramatic", especially when noise is involved.
This button optimises the settings for sharpening of the image.
This button optimises the settings for adding natural-looking detail to the image.
It can distort stars so using a star mask to mask out stars is advisable.
This button optimises the settings for removing noise from the image.
For general instructions on using masks see Mask.
Recommended to use an inverted star mask with this module - Auto, Stars, Do, Invert, Keep.
Add Detail - Used to add detail to the image.
Modulate Unsharp Mask - the presence of flux turns on and off an Unsharp Mask sharpening algorithm. Effectively performs a localized sharpening of only 'interesting' features, while leaving others (including noise) alone.
Modulate MOMH - Mean of Median Half - 25% upper and lower outlier rejection, taking mean of remaining values - Used to reduce noise.
Modulate Undo Buffer- Use when you want to combine an image with another image using the flux to modulate.
Use the default setting unless you understand and need the effects the other settings give.
Sets the minimum allowable size of any flux concentrations.
Increasing this value allows only the bigger clumps of flux through.
Decreasing this value allows more and more smaller, detailed flux to pass through.
Default is 1.0 pixels, 2.5 pixels [Sharpen], Range is 1.0 to 40.0 pixels.
Sets the power that should be applied to a pixel in the luminance mask if one is set in Brightness Mask Mode.
Default is 1.00, 3.00 [Noise], Maximum is 5.00.
Sets the strength of the Unsharp Mask sharpening.
Default is 200%. 100% [Noise], Maximum is 1000%.
Specifies the maximum size of any details to be sharpened by the Unsharp Mask algorithm (if used) or the filter width for the other algorithms.
Default is 1.5 pixels, 12.5 pixels [Noise], Range is 1.0 to 40.0 pixels.
The larger the radius the larger the details that are sharpened.
Specifies the kernel radius of an optional Gaussian blur, to be applied to the flux before it is passed to the Unsharp Mask routine for modulation.
Default is 1.0 pixels, Range is 1.0 to 40.0 pixels.
Increasing this value effectively 'smears out' the flux over a larger area so the detail around the flux is also sharpened.
As the flux is spread out its intensity becomes lower. You may compensate for this by increasing the Positive Flux and Negative Flux amplifiers, or by increasing the Filter Amount (sharpening strength) parameter.
The way Fractal Flux works is by analysing the image larger scale structures and gas flows and then tries to apply what it has learned about the larger structures to the smaller structures.
In wide fields, the gaseous structures start behaving/looking materially different than at smaller scales (kind of like how cloud patterns seem to look different from the surface of the earth than they look from high up in outer space where you can see swirls and distinct low/high pressure areas, cloud fronts, etc.), so using very large structures (thousands of light years across) to base smaller structures on when the difference is big, starts becoming harder. Therefore the results will start looking less plausible.


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Howardena Pindell Discusses Covid, BLM, and Her Upcoming Show "Rope/Fire/Water at The Shed
Howardena Pindell, 1980, Video (color, sound),12:15 min,
video still courtesy of Museum of Modern Art.
By CHASE SZAKMARY September, 2020
Howardena Pindell is soft spoken, and for the unacquainted, her subtle tone deceives; she is a radical woman. For 32 years, Pindell has called her apartment in upper Manhattan, both studio and home. It is situated along the river by the Cloisters, and outside her window, traffic flows between New Jersey and Manhattan over the George Washington Bridge. Below, is a little red lighthouse; like a flashing metronome, it keeps time with the beating city.
For 50 years Pindell has been a New Yorker. She has seen the city change, and with it she has changed. She used to live downtown: in Chelsea lofts, in the West Village, Westbath, Soho. Her favorite was a loft on 28th and 7th right across from FIT. "It was like 2300 sq. feet, 13-foot ceilings. It was ideal," says Pindell with an air of reverence and appreciation for a New York only so many of us will ever know. "That studio was really good. Now I'm in a five and a half room apartment and my ceilings are 10 feet which is sufficient."
Today, Howardena, as she is affectionally referred to by her students and colleagues, is in her home office, which doubles as an archive. She is arranging papers on her desk, papers destined for the Smithsonian Archives of American Art. An air conditioner hums in the background on a hot day; while she organizes the papers, she laments the death of a fifteen-year-old tube television. "I'm heartbroken," she says. "I love that TV."
I can't help but think that the TV she mourns, like most things in her studio/apartment, had a utilitarian purpose, both functional and artistic. In her series of "Video Drawings," Pindell's curiosity for artificial light led to drawings on acetate, subsequently placed over TV monitors and then photographed. I wondered to myself just how many artworks this old television produced.
Video Drawings, Boxing: 1976, Chromogenic Print, 8 x 10 inches.
Courtesy of the artist and Garth Greenan Gallery, New York.
Pindell is universally regarded as an iconoclast of contemporary American Art, and with that, there are many requests for interviews. In the summer of 1980, she suffered a hip injury and concussion from a major car accident in Stony Brook, NY. "The hip straightened out," she says, "but with a brain injury it gives you all kinds of problems: personality issues, memory issues." She explains that her memory isn't what it used to be, so she spends much of her time trying to recollect information for interviews, but at no point during our conversation is there a lapse in memory. Her level of detailed recall is remarkable.
CS: I read that at eight years old you realized you wanted to be an artist?
HP: Yes, through Mrs. Oser, my third-grade teacher. She called my parents in for a meeting and said, "This child is very talented. You need to take her to museums, meet artists, go to galleries."
They followed her instructions. From that point on, I was sent to Saturday classes for children, in Philadelphia. They sent me to Fleisher Art Memorial; it was free. I was the youngest child in the class, which meant that I dealt with drawing very, very young. And then there were other programs that I went to while I was in public school. There was one which was called The School Art League, and then Tyler University School of Art had Saturday programs for children.
CS: Growing up in Philadelphia. were there any Philadelphian artists that influenced you?
HP: No, it was really the Philadelphia Museum of Art that influenced me because that's where I was introduced to Duchamp. It was weird that an eight-year-old or whatever would be attracted to his work, but I was. They had a very good Duchamp collection.
CS: One of your first jobs out of university was with the Museum of Modern Art. What was that experience like?
HP: Well, I would say it made me aware of the underbelly of the art world. I know that sounds weird. After I graduated. I couldn't find a job anywhere. They were only hiring white men —basically, no women, no people of color, male or female. But because I could get a recommendation from Professor Jules Prown, he was a Copley specialist at Yale, they ultimately hired me. One day, I went to the museum to use the bathroom and I walked by the business entrance, and thought, "Why don't I go in and check with personnel?" Which I did.
The head of personnel was Asian, and she sent me upstairs to the Department of National and International Circulating Exhibitions. The person who interviewed me first was a man named Victor Smyth. He was an African Panamanian, and he said that a young woman had just quit a job and I might be interested. So, he sent me up to meet the woman, Inez Garson who oversaw that particular area. She said, "If you can wait for a month, I'll let you know because they had to make it a public announcement," and in a month, she called me and said, "You have the job." It was there that I met Lucy Lippard. Her show was the first show I worked on. She introduced me to the women's movement. It was like an avalanche of all these things that came as a result of my working there.
CS: It sounds like you were able to find some diversity there?
HP: Well, when I arrived, yes. There was a Native American curator of Architecture and Design. The head of personnel was Asian, and Latino people mainly behind the scenes, like in the kitchen. The head of framing was black. One installer, I remember, Robby, was black. And then later Kynaston McShine joined the museum staff in Painting and Sculpture. He was from the Caribbean. The director of the museum, Rene d'Harnoncourt, he was very liberal and had very good educational programs. They even had hands-on programs for students and children in terms of painting and drawing. He got hit by a car and he died. And they replaced him with a man named Bates Lowry and he wanted to corporatize the museum, so he put a Barbie doll in personnel to run it.
It reminds me a little bit of Trump, you know, put a fake sort of a Barbie doll there. And, they closed the department I was in. The Panamanian person left and became a curator at the Schomburg collection in Harlem. We were sort of either absorbed in the museum or left, and I was absorbed into the department of Drawing Prints and Illustrated Books. I stayed there until I resigned in 1979. I was an associate curator so I kind of climbed in the ranks, and I was also acting director when the department head was gone.
CS: In the 1970's, you began developing your "Punch Pieces." You've been working with the circle sphere ever since; in what ways does this motif resonate with you?
HP: Well, there's a painting called Scapegoat; in this painting there is a little girl, which is me holding a ball, a sphere. And I find its kind of a prophecy for the future. During segregation, any kind of glassware, silverware plates, whatever — would be marked with a red circle. Maybe some other places used a different color, a different way of doing it, but in the United States, that meant that only people of color would use that particular utensil. My father and I and my mother, went to visit my grandmother in southern Ohio. My mother stayed with my grandmother and her sisters, while my father and I drove into northern Kentucky and went to a rootbeer stand. We got the same size glass, the same chilled glass but at the bottom was this big round red circle. I remember asking my father, "What is this?" and he explained to me that because of segregation, they separate their dishes, cups and stuff. And I was just kind of puzzled and probably afraid.
Howardena Pindell, Autobiography: Scapegoat, 1990, Mixed media on canvas, 72 x 141 inches. Courtesy of the artist and Garth Greenan Gallery, New York.
CS: So, during Jim Crow, in Kentucky, blacks were made to use crockery labeled by a colored circle.
HP: That was the South. Because in Philadelphia, they would let you know, in no uncertain terms, you do not belong here. They just look at you with stares of absolute hate. I picketed a Woolworths in New York on behalf of people who were picketing and sitting in at Woolworths in the South. But it was not de jure segregation, which is by law, but de facto. It was a matter of fact, it was segregated. You knew when you went into a store right away; you knew they didn't want you there.
CS: One of your seminal pieces, the video, Free, White, and 21, debuted in 1980 as part of the exhibition "Dialectics of Isolation." What was the reaction then and how is it perceived now?
HP: In '79, Free, White and 21, was entered into a competition, and it was rejected because they said the tape was too divisive. I guess they felt threatened by it. I was telling my experiences; I was just telling my experiences. Shortly after I was invited to exhibit at an alternative space in Tribeca called Franklin Furnace. They asked me to show it one evening. It generated a lot of interest. They were even charging people to get in. I said, "Don't charge them, you know. Don't give me my honorarium. Let them in for free." And it's amazing. Now it has such legs, I can't believe it. It's everywhere.
Howardena Pindell, Slavery Memorial: Lash, 1998 – 99, Mixed media on canvas, 55 ½ x 136 inches. Courtesy of the artist and Garth Greenan Gallery, New York.
CS: You have a new show that was slated to open at The Shed this autumn called "Rope/Fire/Water"?
HP: Yes, it was moved from October 2020 to 2021 but now it's been moved back to the original date, October 16th, 2020. Unfortunately, my doctor said I can't be there at the opening, but I can be there remotely. I'm so careful. I've been outside maybe four or five times over the past five months, just for bloodwork or to the bank.
CS: I'm sorry to hear that. How are you feeling about it?
HP: At 77, I'm worried enough about the virus and I'm disappointed not to be there. I'm also very worried about Zoom because of this lack of privacy. There must be some way they can have me there and people can talk to me if they want.
CS: You shared with me earlier that this is some of the most graphic imagery you've worked with. Can you speak to that?
HP: Yes, it is. It all came about from an experience I had as a child in the early 1950s. I went to visit a friend. Her name was Denise Thompson, and her mother was cooking meat for dinner. And they had subscribed to Life magazine. Life magazine would feature different photographs. In it was an image of a black man, who had been lynched, and he was on his back on some sort of wood, almost like a tree, and he was burning from the inside out, and when I saw that and I smelled the meat, I couldn't eat meat for a year. It was just so horrible. The video has that image included, but it starts off with a list of names of the people who were lynched, whose images are in the video, and the images are horrific. After that I show a boat but in shadow. Apparently, the slave ship captains would hang either someone who they had kidnaped or a member of their own crew to scare the crew away from mutiny, and to scare the enslaved from also trying to escape. They would hang an enslaved person, head side down to the water, and the sharks would eat them from the head up. Pretty gross. Now, I'm speaking through this whole video. You know I narrate it.
And then after that there is a man, and we give his name, and he has his back to us, and there are all these welts from being beaten with the whip. And you know, he actually joined the union army to fight against the Confederacy. Later, images are from the Children's March in '63, I believe it was Birmingham, Alabama. The police went after the children with fire hoses, and you see the fire department in fire department regalia. It's not just, you know, someone with a hose, but this heavy high-powered water cannon set on the children. In some cases, the force of the water was so strong that it would remove the children's skin. There's one picture that's very strong where there's a little boy who might be five or six years old who walks up to a white policeman, and the white policeman has his hand raised to hit him with a baton, but a woman interrupts, a white woman, and helps to walk the student away from the policeman. So, it's grim. And then at the very end, we include a Harvard poll that lists the people who have died from the police. In 2015 it was something like 105, and in 2019, under Trump, it's 1098 black people killed by the police. We then credit Black Lives Matter and we include the acknowledgement text, and honor Congressman John Lewis who just passed away.
CS: In 1980, your practice grew from processed-based abstraction to include more social and political work.
HP: That's after the car accident I had in early Fall 1979—when I first started teaching at Stony Brook. I was on a panel concerning diversity issues, filmed and rerun on Long Island television. I do not remember what channel it was. Afterwards, someone came to my office at Stony Brook and threw black paint at my office door and on the floor in front of my office. They also poured acid under the door of a Jewish faculty member and damaged an Italian students' identification information taped to their locker. Although it's complicated because when I was at the Modern, I became an activist about how un-diverse the museum world was and how undiverse their exhibition programs were. While I was at the museum, there were various things that would happen that made me really alarmed. Like it was a very glamorous job. I remember I was sent to the Virgin Islands for the NEA to judge a competition for sculpture, and I brought along some images from the black sculptor Mel Edwards, and I brought a white artist. I can't even remember that artist's name, but that artist got the commission.
When I brought up the black artist, the guy who was head of the committee, said, "Oh, no, we'll have none of that." In other words, we do not want to consider works from African-American artists. And that was out there, that was outrageous. Then when I was showing at AIR, I don't know whether it was '72 or '73. There was a collector that had heard about my show. That's when I had started using numbers and little punched circles, and people were kind of talking about the show. The collector was calling me and wanted to come see the work and wanted to bring some friends. This was when I had the loft on 7TH Avenue and 28th Street, it was about a three flight walk up. So, you could see me coming down the stairs, and I could see his face fall when he saw I was not white and he was very, very stern. We got up to my studio. The studio was impeccable. Lots of empty space, stuff on the walls. He walked around the walls and asked for a glass of water and said, "We've made a terrible mistake," and left. You know, so I would run into these racist things. When any African American artist showed stereotyped images of black people, the art world would embrace them. And then there was that whole Kara Walker controversy where she did these very, very ugly images of black people during slavery or whatever, and they were like a combination of pornography, minstrelsy. They were horrible.
CS: You're referring to the "Sugar Baby" show or the silhouettes?
HP: It's "Sugar Baby" and the silhouettes. You know, it's just, I was just pissed. To get in she mocked the Civil Rights movement. So, I helped to edit a book of twenty-seven writers and myself discussing this issue. And then I had a separate pamphlet because my original essay was about 140 pages, and my publisher would only publish half of it. But there was like a real division in the art world. And the people that supported her, like Peter Norton. He was behind her. You don't hear anything from them. It's interesting to see that she's like under the radar now, under Trump.
CS: I'm interested to hear what you think about Robert Colescott's paintings.
HP: Yeah, I had problems with his work, but he stereotypes men and women, white and black. He's a very good painter. I had trouble with it during that period because I was just so sick of all the stereotypes getting in, but he is a very good painter. And what's interesting is that person who would not look at my work who walked out, I ran into him at a Colescott opening and he said,
"Oh, isn't this a wonderful show?" and I went, "Mm, interesting."
CS: What has your experience with art dealers been like?
HP: I would say it's been so-so. My dealer now Garth Greenan is incredible, and a lot of good things are happening now because of him. But some dealers are terrible. I'm in the process right now of suing one of my dealers from years and years ago. I had one dealer, and this happened to a number of black artists, if a white dealer wanted to represent you, they wouldn't list you on the roster and they would hide your work in the closet and only if someone came in and said, "Do you have any black artists?" they'd pull you out.
CS: Thank you for your openness today, Howardena. My final question to you is, in a world is fraught with turmoil and challenges ahead, what do you think is our best way forward?
HP: Vote. WM
Chase Szakmary
Chase Szakmary is an interdisciplinary artist and writer. He holds a Master of Arts degree with first-class distinction honors from Chelsea College of the Arts, University of the Arts, London, and a BA from Boston University. His artwork has been exhibited in London, New York, and Amsterdam and is in private collections in New York, London, and Bermuda. He has taught undergraduate courses at Stony Brook University and conducts his practice out of Long Island, New York.


Stargazer's World: Many Happy Returns!
I asked Michael Wolf if he'd mind if I could have the privilege of officially congratulating him on the occasion of the 2nd anniversary of Stargazer's World. It's a difficult achievement for any tabletop gaming blog or site, but it's even more difficult for it to stay fresh, entertaining, and useful along the way. Stargazer's World has not only done all that, but has become exponentially better over time.
Michael has a rare blend of enthusiasm, creativity, professionalism, and the drive to continuously improve his site. That's why today, Stargazer's World has become a must-read gaming blog, and is recognized by his peers and readers as such.
What else can you say about the crew at Stargazer's World? Michael has assembled a talented crew of contributing bloggers, which keeps the site diverse and entertaining. It's one of the reasons why the site does such a good job at covering a variety of games both small and large press, a generalist preference in gaming that is sadly lacking in many sites, in my opinion.
The funny thing for me is how Michael communicates in English (a second language for him!) better than many of us do in what is our native tongue. I sometimes joke with him his English is better than that of most of the inhabitants of my state! In any case, projects like Gears and Warrior, Rogue, and Mage showcase his talent, and hint that even bigger and better things are just around the corner.
So here's to Michael and the rest of the gang at Stargazer's World. May your days of blogging be ever more fruitful, and keep up the great work! Congrats again from a fan who can't wait to see what's next.
Happy Birthday Stargazersworld! Happy Holidays from Stargazer's World! Help me find a new name for "Warrior, Rogue & Mage" Happy Holidays and a Happy New Year! Happy birthday, Stargazer's World!
Zachary Houghton runs RPG Blog 2 (www.rpgblog2.com), and is also co-host of the RPG Circus Podcast (www.rpgcircus.com). He lives in Indiana with his understanding wife and three children.
Two years and going strong! Vielen Dank Stargazer! and many thanks to you Dah Contributor Team! I love to agree with you and I enjoy to disagree but most importantly I love to visit. All the best.
Auch von mir alles Gute – mach genau so weiter.


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Pakistan Peoples Party Membership Online Application : ppp.org.pk
Party Name : Pakistan Peoples Party
Service Name : Apply For Membership Online
Country : Pakistan
Website : https://www.ppp.org.pk/
1 Pakistan Peoples Party Membership
2 How To Join in Pakistan Peoples Party?
Pakistan Peoples Party Membership
Pakistan Peoples Party Membership Online Application.
How To Join in Pakistan Peoples Party?
Just follow the simple steps mentioned below to apply for Pakistan Peoples Party Membership online.
Step-1 : Go to the link https://www.ppp.org.pk/
Step-2 : Click on "JOIN PPP" link
Step-3 : Fill the form and Submit.
About Pakistan Peoples Party:
Shaheed Zulfikar Ali Bhutto strengthened democracy in the country, uniting it under the Constitution. As the beloved leader of Pakistan's first democratic Party, he successfully structured and delivered to us the unanimous Constitution of 1973.
Pakistan Peoples Party was born at a time of immense darkness, but it emerged as a light that drowned out the injustices and oppression from society. To this day, PPP continues to strengthen democracy in Pakistan despite threats of the system. Our dedication to a progressive Pakistan is powerfully complemented by the farsighted leadership of Chairman Bilawal Bhutto Zardari, who has successfully risen to the challenge of leadership which was thrust upon him, like his mother Shaheed Mohtarma Benazir Bhutto, and his grandfather Shaheed Zulfikar Ali Bhutto before him.
Pakistan Peoples Party has a long and illustrious history of fighting the forces of extremism and destruction threatening the sanctity of Pakistan. We have sacrificed the lives of our workers and our leaders for the cause, and in doing so, our leaders have paved the way for a stronger Pakistan with their own lives.
Under the leadership of Chairman Bilawal Bhutto Zardari, PPP has renewed its vow to eliminate extremism from Pakistan in all forms. We are striving to create a truly democratic state where all Pakistanis have equal opportunities to excel at life, as enshrined in the Constitution of 1973.
As a vibrant political force, PPP represents people from across Pakistan and from all walks of life. We are the only political Party in Pakistan that is standing firm against fanatical ideologies, strengthening the forces of modernism and egalitarianism.
More than 50 years ago the Party rose quickly and became hope for the hopeless and gave a voice to the voiceless. The ideological basis of PPP resonated with every Pakistani, inspiring them to subscribe to the Party manifesto. From 1967 to 2018, PPP has held on firmly to our values, and the principles laid down by Quaid-e-Awam Zulfikar Ali Bhutto when he founded the Party. All these years, Pakistan Peoples Party has spared no opportunity to push Pakistan to a brighter future.
In these five decades, Pakistan Peoples Party has spearheaded the movement for social and civil reforms across the country. We set a precedent for constitutional law and created a strong base across Pakistan. And that is why the people of Pakistan have elected PPP into the federal government five times, in 1970, 1977, 1988, 1993 and 2008, since the inception of the Party.
Our slogan of "Roti, Kapra Aur Makaan" is representative of our unwavering commitment to the provision of basic needs to all, which would enable everyone to get their fundamental rights thus making them the real epicenter of power. Men and women of all religions, castes, creeds, and walks of life make up the strength of the Party. Our 'jiyalas,' i.e., the workers have supported Party leadership through every struggle and made PPP the democratic force that it is today.
PPP has remained loyal to its core beliefs all these years, and our struggle for a democratic Pakistan and empowerment of the people form the backbone of our political stance. PPP rules the hearts of the people, and people reciprocate this love with wholehearted support for our common cause.
Feel Free To Contact
Help Line : 0800-44777
Email : contact@ppp-tu.com
Ch.Khalid Mehmood Bhatti
Life is a great blessing of Allah Almighty. It is very difficult to understand it. It is also very difficult to understand the performance of the former Prime Minister of Pakistan Mr. Shaheed Zulfikar Ali Bhutto. What he has done for this country will never be forgotten. Salutations to the majesty of Ms. Benazir Bhutto, the brave daughter of Mr. Shaheed Zulfikar Ali Bhutto, who gave life to the mothers, sisters and daughters of this country and stood with the people and will never let their sacrifice go in vain and always Pakistan. Will stand with the People's Party and keep the flag of Pakistan People's Party high and will stand with its leaders and will stand with its leader Mr. Chairman Pakistan People's Party Mr. Bilawal Bhutto Zardari Sahib and Chairman Mr. Asif Ali Zardari Sahib. Will stay
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Seasoned Accountant with a track record of dependability and a reputation for integrity. Detail-oriented with12 years effectively maintaining accurate accounting information for large-scale financial organizations.
Same responsibilities as Account/Analyst from below.
Plus supervise Financial Systems Administrator.
Assist CFO with budget preparation.
Compile financial reports: balance sheets, profit and loss statement and general ledger detail.
Process accruals, recurring and adjusting journal entries for month end and year end closing.
Maintain and track allowable State Grant Fund Expenditures.
Post bi-weekly payroll and re class any payroll discrepancies if necessary.
Review and approve budgets for contract approval.
Reconcile balance sheet accounts and individual family expenses and revenues.
Assist outside audit firms with annual audits.
Update and maintain a balanced budget when changes occur.
Process, track and update Medicaid changes in the budget tracking system, general ledger, billing and Medicaid system.
Maintain the agency's accounting software including the report writer.
Investigate opportunities to improve agency effectiveness and proposed new policies and procedures to support those efforts.
Applied for new charter school Grant if qualified for and created grant applications.
Maintained and tracked allowable Federal Grant and State Fund expenditures trough proper General Leger account allocations.
Ensured correct charter school back-up paperwork was in compliance with Federal and State regulations.
Assisted school directors with budget preparation and maintaining a zero balance budget.
Created Journal entries and analyzed financials.
Compiled Grant reports in a timely and accurate manner.
Reviewed Purchase Orders for approval.
Investigated opportunities to improve and propose new policies and procedures to meet Federal and State regulations.
Compiled Financial reports: Balance Sheet, Profit and Loss Statement, Statement of Cash Flow, Cash Flow forecasting and General Ledger detail.
Processed Accruals, Recurring and Adjusting Journal entries for Month End and Year End closing.
Analyzed reporting results and underlying ledger accounts, vendor contracts and budgets.
Assisted CFO and Department heads with Budget preparation.
Updated and maintained a balanced budget when changes occurred.
Processed, tracked and updated Medicaid changes in the General Ledger, billing and Medicaid systems.
Maintained the Agency's accounting software including the report writer.
Investigated opportunities to improve Agency effectiveness and proposed new policies and procedures to support those efforts.
Wrote letters to the Bureau of Developmental Services requesting Medicaid funding.
Data entry: Entered all open invoices for various hotels.
Released open Accounts Payable batches and selected invoices for payment.
Processed weekly check runs and mailed payments.
Matched invoices to Purchase Orders.
Reconciled vendor statements before month-end.Exported Accounts Payable to the General Ledger.
(Sister company of OPL below Compiled Financial reports: Balance Sheets, Profit and Loss Statements, Statement of Cash Flow and detail General Ledger.
Completed and filed monthly Sales and Use Tax returns along with quarterly Occupancy tax returns.
Processed and tracked Intercompany transfers.
Managed all cash accounts: Transferred funds to Operating, Manager and Payroll accounts.
Reconciled Bank accounts and Balance Sheet accounts.
Created and processed Accruals, Journal entries for Month End closing.
Reviewed Accounts Payable batches and processed weekly check runs.
Generated Management fee invoices.Accounts Payable.
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