Six million people descend on Munich, Germany the last week of September and the first week of October every year. It's the world famous Bavarian Volkfest known to all as, Oktoberfest. Though it's the beer that is truly being celebrated during the festival, Oktoberfest wouldn't be the same without all it's flavors! Take some wursts and sauerkraut and add a good brotchen or hard roll. Lift a glass and Prost! Bring in a brass band and lederhosen, laughter, friends, and fun, and of course... dessert! Most people think of Black Forest Cake, Bee Cake, or Apple Strudel but authentically German would also be, Fresh Apple Cake. With the right apples and a proper yeast-raised sweet dough, "Apfel Kuchen", fresh apple cake, contends for the dessert spotlight even among the aforementioned "stars". It's not a heavy dessert. A piece can be eaten out of one hand while you're other hand holds a beer. Oh the priorities at Oktoberfest. Have a sweetheart in your life??? Don't forget to give them your heart, a gingerbread heart that is, on a string to be worn around their neck (eating optional).
We have a full line of Oktoberfest items and though the official festivities come to a close this weekend, most of our German specialties can be ordered anytime throughout the year. So to fun and good cheer, and this wonderful time of year... Prost!


Enjoy this cool healthy Coconut milkshake after taking stroll in a warm weather or as a refreshment on a sunny day.
This is also an ideal business venture for summer. Sell some in your neighborhood for an extra income! The copycats will have a hard time to finding a recipe to match this healthy drink.
*Note: You may use canned coconut milk, coconut cream, or fresh squeezed extract of coconut milk. Whatever is available to your area.
*Adding 1 more banana will thicken your milkshake.
*Alternatively you may use chilled all purpose cream if Vanilla Ice cream is not available and adjust sugar level to you taste preference.
Prepare the chilled bananas. Peel it and slice into small pieces.
Pour cold coconut milk in a blender pitcher.
Toss the slice bananas, vanilla ice cream, ice cubes and sugar.
Pulse and blend gradually until all ingredients are well combined ans ice cubeds are crushed. Check the smoothness of the milkshake.
Adjust consistency base to your preference. You may add a tablespoon of milk to reduce thickness or add more banana to thicken it.
Pour it into a chilled serving glasses and serve. Enjoy!
Serving Ideas: This milkshake is a perfect tropical beverage for the summer.


Following hot on the heels of a quadcopter which also had an X in its name that was pretty remarkable, today we're reviewing another flying gadget with its own unique brand of awesomeness. If you've ever wished that you could just tell your RC helicopter to fly and do tricks, you're in luck. We warmed up our thumbs (and our vocal chords) to test the Flying Gadgets X-Voice Quadcopter.
In a nutshell, this is a microcopter-sized remote control helicopter, similar to others that we have recently reviewed. Included is a controller, a removable battery, and a USB charging wire to juice up said battery, and on a full charge you'll get between five and seven minutes of flight out of the thing. So pretty average and nothing too remarkable. Yet.
Because also included in that box from Flying Gadgets is a small ear-piece and microphone that clips over your ear and allows you to TALK TO YOUR CHOPPER! Yes, this helicopter can take, and understand, voice commands. You plug in the microphone to the controller, read the instructions which detail what the chopper will understand, and you're away with one clear mention of "Take off". Other commands include; go down, go up etc, rotate left, rotate right, flip backwards, flip forwards, and also initiate a 'show', which is a preset series of movements like spinning and spiralling.
We can't tell you how weird this is. We're seasoned pros now when it comes to small quadcopters, but being able to speak commands to it to make it fly made us feel like nervous newbies. When you first utter that take off command, a voice repeats it in your ear (or says that the command is not understood), and immediately the chopper whooshes into life. Fortunately the controller features all the standard controls allowing you override the spoken command whenever you need to - something we found very handy.
The Flying Gadgets X-Voice Quadcopter itself is plastic-fantastic. Even the supporting struts that hold the four motors are plastic, making the thing very light and flexible. Because of this we found it could easily be swayed by a light breeze, but also that it responded to touch-controls quickly and smoothly. In fact, when not messing around with the voice commands and headset, this is excellent little chopper; nimble, stable, and with a comfortable and logical controller.
And its only £50. That should be a big deal, because if this was being sold by a certain German supplier of microcopters (who, say, would 'revel' in earning your custom - tee hee) you might expect to pay a lot more than that. Yes, the quad itself is plastic and cheap, but the voice-control system is actually pretty sophisticated and performs strikingly well.
We'll be honest though, after a few goes with the voice system we put the microphone back in the box and haven't used it since. The true beauty of this is flying it normally, just like the microcopter it is, without gimmicks. Even without the fancy voice thing, it is still worth the £50 you'll pay, and the caged rotors make it ideal for safely perfecting your flying skills. This is a novelty that you'll actually want to keep for good long while.


text:
albumadmin2022-01-06T21:59:56+00:00
2011 – Album, Archive and Audience
The MacNeil Archive at Ryerson University
This era of relentlessly streaming media and constant interactivity can also be a time of isolation and a sense of disconnection from one's self – a sense which often stirs a renewed interest in origins, identity and cultural or familial relationships. It is certainly a time in which this interest can be pursued using new tools, and in which new approaches can lead to new forms, particularly hybrid forms based on the rich possibilities that lie hidden in image collections, personal histories and actual or virtual albums.
In that sense, this is a very interesting time for archives, for educators and also for artists – a time in which advanced techniques of image tagging, indexing and searching make collections vastly more approachable, and a time in which the quest for relationship and cultural authentication – and even a new kind of digitally mediated nostalgia – makes archives, albums and personal image sites logical places in which to search for lost memories, find new perspectives, or form new content.
It's in this context that I would like to present work from the archives and current practice of the four artists mentioned earlier. This is an opportunity to see how one artist's archive has reached a new audience by being accessioned into a university collection, how two other individuals' personal and family archives have been re-shaped as new works – one factual, one fictional – and how the fourth artist's interest in image collections and digital searching tools has led to the re-framing and re-presentation of work long considered canonic.
Born in New York and educated in the Boston area, Wendy MacNeil studied painting and drawing in high school, and history and art history in university. She initially did graduate work in education, but her visual arts background led her into photography, through cross-enrolment in the Creative Photography program at MIT, which had been founded by Minor White following his departure from Rochester in the early 1960s. Within a year MacNeil found herself completely immersed in photography and by the end of that decade was also teaching, first at Abbott Academy, later at Wellesley College and then at the Rhode Island School of Design, where she also taught film and video.
She moved quickly away from the kind of symbolist photography White practiced, preferring to work with portrait, personal narrative and depiction of her subject's environment. Her first book, documenting Boston's historic Haymarket district, was published by the MIT Press in 1970, and during the next two decades MacNeil established herself as a photographer exploring the related themes of place, identity, culture and familial relationships, often across generations. Her interest in vernacular imagery and personal history, her formal and technical innovations and extensions of the traditional portrait format and her work in platinum/palladium are aspects of her creative output that have received particular attention.
Seen here are image groupings from "The Snapshot", published by Aperture in 1974, from the group exhibition catalogue "The Portrait Extended" and from bodies of work that followed, often as portfolio projects: portraits of graduate students at the Rhode Island School of Design, the Eight Tenured Members of the Wellesley College Art Department, several series of hands – some with faces but most without – the 21 Fellows of the Center for Advanced Visual Studies at MIT, the album pages projects, originally titled "An Intimate Landscape" but later, more simply, "Biographies", and work from the "Father/Daughter" installation at the Photographic Resource Centre in Boston, which marked her last project in photography (1987-89) before she immersed herself fully in film.
Her archive remained in her closet for more than a decade. Following Ryerson's development of a graduate program in Photographic Preservation and Collections Management in 2003 and its acquisition of the Black Star Collection in 2005, MacNeil began discussions with the School about placing the archive in the Mira Godard Study Centre, to be used as a teaching and exhibition resource, and it began to be formally acquired in 2007. Alana West, a graduate student in the PPCM program who is now a Curatorial Fellow at Eastman House in Rochester following a year as a Curatorial Intern at the Getty Museum, prepared the initial finding aid and accession list, and spent a year cataloguing and re-housing the work; she also curated the first new exhibition of MacNeil's photographs since 1989, "Pictures for a Portrait", which was shown in Toronto in the fall of 2008. It was West who found a body of work by this title in MacNeil's archive – work which MacNeil herself had never exhibited or even discussed. In each of the following three years, MacNeil images were included in exhibitions produced as part of the annual Contact Festival events by students working under the direction of curator David Harris: "The Ephemeral Face", 2009, "In Her Presence: Photographs by Women Photographers", 2010, and "With Us at Every Age", 2011. Other graduate students have written essays on MacNeil's work: on the relation between her artistic practice and her teaching, on her visual structuring of family relationships, and most recently, on her strategies of representation of the body.
MacNeil felt she had lost her audience for this kind of work during the 1990s, but what is so striking about the new audience that now seems drawn to her imagery is the way in which certain kinds of media habits facilitate new discoveries. Students take it for granted that images exist in huge quantity, and are not in the least daunted by the task of searching through extensive collections – and in doing so, they have found new contexts, and new relevance, for images MacNeil herself discarded or rejected from exhibition projects. They automatically assume that images exist in relationship to other images, so have great interest in re-examining MacNeil's experiments with constructed narratives, and they can re-interpret these narratives with great fluency and unexpected insight. And finally, they are happy to put their iPhones away and re-connect with the actual objects in the archive, many of which have a startling physical presence, especially for those whose primary orientation has been to screen-based media. So in this particular instance, placing work in an archive has connected it with a completely new – and very engaged – audience, in sharp contrast to the statement her dealer made when he sent back her work, claiming that unless she would change direction, he couldn't sell her prints.
Of course the climate has changed in other ways as well, and some of the issues that were first explored in The Snapshot and The Portrait Extended are now being re-explored a generation later in books such as these (illustrate).
The notion of an archive as source material for personal exploration can lead in many directions, and in some ways the work of Pierre Tremblay provides an interesting counter-narrative to MacNeil's: here we see a video artist moving back to photography, and re-examining a personal archive as source material for new work.
Tremblay was born in Quebec, and following studies in graphic design and photography in both Quebec and Ontario moved first to the US and later to France, where he completed graduate studies in The Art and Technology of the Image at the University of Paris. He remained in France for the next ten years, working as a media developer and designer for Bayard Presse while developing a career as an artist and video maker. In the 1990s he began a project involving photography, animation, graphics programming and video, both single and multi-channel, which he titled "Portraits in a Sentence" – a project which has some intriguing parallels to the work in MacNeil's "Biographies".
Tremblay moved back to Canada in the mid-1990s and now teaches Visual Studies and Documentary Media in the School of Image Arts at Ryerson.
His creative preoccupation since arriving at Ryerson has primarily been with short, multi-screen and multi-channel video works, but in 2010-2011 he completed two new projects, quite differently composed; what is particularly striking about these is the way in which they draw entirely from archival material, re-purposed to startling effect.
In February 2011 he completed "Lumières de Nunavut", animated from still images downloaded, indexed and archived from an Environment Canada website which transmits weather data, along with webcam frame grabs of the tiny Arctic village of Kimmirut, every fifteen minutes. The film forms part of a collaborative project based on interactive systems, image archiving and data tagging programs and searchable databases, and will shortly be posted and viewable at www.nunavutlights.com.
In "300 Days of Indulgence: Negotiating With the Beyond", Tremblay has taken material from a personal archive – a collection of family photographs and funeral card images which came into his possession when he was fourteen – and entirely remade it, without ever violating or losing its original meaning.
Intrigued with his family's history, then largely unfamiliar, and sensing he might one day want to use the pictures, he had kept them, stored in the same box in which they were found. When his father passed away in 2007 and his mother's memory began to fail soon thereafter, his curiosity to explore their past – to "connect the dots," as he put it, by accurately aligning photographs with families – took on a new urgency. Through a series of progressive restructurings and interventions the pictures, originally memory objects in albums or funeral-card totems for negotiating a benign afterlife, became components of something entirely new. Family relationships are worked out through graphic alignment and thematic variation: the three trees you saw at the beginning of this talk represent the three main branches of Tremblay's family. In the video and the photographic images, words and prayers are sometimes repeated but more often partially obscured or excised, as are names, visages, inscriptions and notations. Absent faces and eradicated words draw the viewer in, forcing a confrontation with personal memory: "Blocking the text," says Tremblay, "makes you read what is left."
So the images themselves are a kind of negotiation: "This work re-connects me with photography," said Tremblay, "and also with my family. Most of them I never knew…. But by erasing some memories, you create your own new ones, in these imaginary spaces you try to fill up."
Tremblay's interest in archives and archival materials places him in a larger community of visual artists, educators and students now examining and using archives and collections in new ways. Finding themselves surrounded by social networks, discussion groups and posting sites, both undergraduate and graduate students have assembled, often without explicit intention, vast quantities of personal image files, and in an intriguing way this has made them more interested in, and more comfortable with, conventional image collections – with which they are willing to freely experiment.
Students bring a particular admixture of technical fluency and nostalgic yearning to these experiments, which they discuss with each other in forums on a global scale. Kimon Kaketsis, who has just completed his MA in the joint York/Ryerson program in Communication and Culture, is an interesting person to mention in this context: trained to straddle both analog and digital worlds, he is now fully immersed in both artistic production and scholarly practice. As a maker of images, he is concerned with extending the forms of the photographic portrait to better represent each subject's complex and layered identity and presentation of self; as an investigator of cultural phenomena, he is actively writing on these same issues, where themes of identity, relationship culture and memory constantly emerge and re-emerge. These images were produced in connection with a recent conference and exhibition project undertaken by students in the Communication & Culture program, and were exhibited in Toronto in March. What is interesting about them is that the "stories" they tell are fictionalized, and the relationships created entirely after the fact: while they use vernacular images, snapshots, album pictures and personal archives as source material, the groupings created are entirely imaginary, and the implied narratives completely a-historical. These people never knew each other, despite what the photographs seem to assert, and Kaketsis is trying to understand and contextualize just what it is about personal album images that leads viewers to read them as authentic, even in a digital world. Kaketsis is also investigating the move back to analog tools – even digital simulations of analog tools, such as the Hipstamatic and the Poladroid, as another aspect of this particular search for authentication of memory through the making and collecting of images.
As a final variation on this particular theme I would like to briefly mention the group of artists who take canonic works – the canon is, after all, a form of archive as well — and subject them to new investigations and new treatments via image processing. The quest for an ideal image database is one thing; the deliberate application of technology to subvert the existing image is quite another, but no less interesting. Dafydd Hughes, currently completing his MFA in Documentary Media at Ryerson, is a media artist, composer and programmer who is fascinated with the interface between image and information, and extremely curious about what happens when different systems of reading and processing images are unleashed on works such as Robert Frank's "The Americans". He began by instructing Processing software to render Frank's famous streetcar image as a series of lines, and more recently has set iPhoto's face recognition program loose on Frank's entire book. "Every Face in the Americans" is the result, which he has presented as a large-scale installation work, a series of details, an essay on technology and a thesis discussion. It has been extremely interesting to observe how this work draws people in, even those who may not have any particular interest in Frank, or even in photographic history.
If one considers all this – a renewed interest in vernacular imagery, the radical extension of portrait forms, the invention of new image systems and hybrids, and the renewed interest in albums, collections and archives driven by social networks and improved image storage and access technologies, we find not that we have come full circle, but that we are partway along a new arc, one in which image archives will continue to play a critical, and I would say even a central, role.
Presented at the Archives Association of Ontario Conference, June, 2011
I would like to express appreciation to the conference organizers, for the opportunity to participate in this year's events. I also want to acknowledge the contributions of Wendy MacNeil, Pierre Tremblay, Kimon Kaketsis and Dafydd Hughes, who gave permission to present their work and generously shared both time and ideas; and I thank the Faculty of Communication & Design at Ryerson for travel support, as well as Jennifer Park in the School of Image Arts for the design and technical work that went into the visual part of this presentation.

redpajama_set_name: RedPajamaCommonCrawl


Meteorologist Lisa Hidalgo not only knows the weather, she knows great books, and is an avid reader! Each month Lisa picks one book that she really likes -- or has been wanting to read, and invites you to try it. And, she has partnered with us at the Tattered Cover to make it easy for you. Look for the Denver7 Book Club display at any Tattered Cover location.
Join Tattered Cover Book Store and Denver7 Meteorologist Lisa Hidalgo for light refreshments and a lively discussion as Lisa's monthly book pick becomes an exciting new book club! Pick up your copy of the current selection and mention the Denver7 Book Club for 20% off this title in any Metro Area Tattered Cover location, excluding DIA locations. The Denver7 Book Club is reserved for guests 21+.


text:
Elsa/Getty Images Sport/Getty Images
What Do Drake's 'One Dance' Lyrics Mean? It's Not Just About Dancing
by Zoe Balaconis
Drake is hardly a mysterious man. He wears his heart on his sleeve, he's a terrible liar, and his puberty years are memorialized in countless Degrassi episodes for all to see. His lyrics, though, can be a bit more opaque. So, what do Drake's "One Dance" lyrics mean?
Okay, so when I said, "a bit more opaque," I actually meant very thinly veiled. "One Dance" is undoubtedly a dance song, but let's get deep here, people. Is he just talking about dancing? No. No, definitely not. He's talking about feelings. To be more specific, Drake is talking about love, with a heavy sprinkling of lust because Drake doesn't lie, and, as we learn early on in the song, he doesn't play either. This track has all the hallmarks of a Drake hit, but his style has changed. It's got a funk to it — a bounce, really. It's easy to sing along to. It's a catchy pop song that's not pretending to be anything else. If you're having trouble finding it on the world wide interwebs, it's not just you. He released it over Twitter to get fans pumped for his forthcoming album. But, in the meantime, you can buy it on iTunes. Frankly, it's worth it. Now, on to the lyrics!
Grips on your legs
Front way, back way
You know that I don't play
Streets not safe
But I never run away
Even when I'm away
OT, OT is never much love when we go OT
I pray to make it back in one piece
I pray, I pray
Already, things are pretty intense. "Front way, back way"? Surely he's not talking about dancing there. So, what we know is that the streets are dangerous, but even so, Drake is not running. He may be dancing, but he's not running. But what's after him? What's threatening to tear him to pieces? It's hard to say.
Onto the chorus!
That's why I need a one dance
Got the Hennessy in my hand
One more time 'fore I go
I have powers taking ahold on me
I need a one dance
This part is much more straightforward. Because of that impending doom of being ripped to pieces, Drake has to live it up and dance one last time. And he's not dancing with just anyone — it sounds like he's dancing with a certain someone.
Onto Kyla's verse!
I need to know where do you wanna go
Cause if you're down, I'll take it slow
Make you lose control
Where, where, where
Where, where, where, where
Cause if you're down, cause if you're down
Cause if you're down
Where, Drake?! Where, where, where. Drake never answers these questions, but maybe he doesn't need to. His message in this song is pretty clear: he's down. Clearly, the song is carefree and fun — it's not meant to evaluate or critique anything, and that's part of what makes it great.


text:
Q: Bucket retention policies and malicious actors I am thinking about how one would implement a good system for guaranteeing that some files are available for a certain set of time. In this particular case it is a backup catalog of some 150 MiB per file.
As part of my implementation I have a bucket with a retention policy set to 1 month. The system that writes this catalog file has a service account which it uses to upload the catalog to the bucket. All good, very simple.
However, when implementing this I started to wonder: "What happens if an attacker gains access to this service account and starts filling the bucket with loads and loads of data?". We would be forced to retain that, and supposedly pay for it. 1 PiB could probably be uploaded without too much fuzz, and with Nearline in Finland that would be $10,000 USD. I would definitely want to ensure that does not happen.
Then I started to think one step further. Imagine a disgruntled employee that creates a bucket, uploads a few PiB, and sets the retention to 10 years before his/her last day. How would that be handled?
The documentation that I have read unsurprisingly puts pressure on how things cannot be deleted under retention, but it seems like there has to exist a way to deal with accidental and malicious uploads. Especially since GCP does not have any form of cost control or at least bucket size limit setting.
What are your thoughts on dealing with this threat vector sensibly? Relying on the hope that GCP billing support will discount any mistakes or attacks?

A: You can use the Pub/Sub notifications for Cloud Storage to get notifications about different events done to your storage objects:

Pub/Sub notifications sends information about changes to objects in
your buckets to Pub/Sub, where the information is added to a Pub/Sub
topic of your choice in the form of messages. For example, you can
track objects that are created and deleted in your bucket. Each
notification contains information describing both the event that
triggered it and the object that changed.

As for the notifications about uploads, it looks like you could use the OBJECT_FINALIZE event.
Alternatively, have a look at the Object change notifications.
For the expenditure control there is also a way to set up notifications as described in the budget alerts documentation:

A budget enables you to track your actual Google Cloud spend against
your planned spend. After you've set a budget amount, you set budget
alert threshold rules that are used to trigger email notifications.
Budget alert emails help you stay informed about how your spend is
tracking against your budget. You can also use budgets to automate
cost control responses.

There are also some examples of cost control responses like sending alerts to Slack or disabling billing to stop usage.

redpajama_set_name: RedPajamaStackExchange


text:
Decodings Spring 2020 (May)
Society for Literature, Science, and the Arts Newsletter
Spring 2020, Vol. 29, No.3 (May edition)
*SLSA 2020, "Energy," University of Michigan–UPDATE
*Election Results
*Committee Members and Appointments
*Membership Renewal
*Policies: Respectful Behavior and Freedom of Speech
*Ombudspersons
*AnthropoScene Book Series
*SLSA Europe News
SLSA 2020, "Energy," University of Michigan–UPDATE
Due to the COVID-19 pandemic, the 2020 SLSA conference has been cancelled for October 2020. New dates are being explored for the Stamps School of Art & Design at the University of Michigan to host the conference in Fall 2021, with confirmation and details about this tentative rescheduling to be shared as soon as possible.
Note: conference organizer Irina Aristarkhova will contact all individuals who submitted proposals.
A small group of SLSA officers have been in discussions about virtual SLSA activities such as a 2020 awards ceremony for prizes (essays, book, Lifetime Achievement) that could take place at some date to be determined in fall 2020. See https://www.litsciarts.org/awards/ for information about submitting information for these prizes.
Note: No travel awards will be made in 2020.
SLSA would like you to know we are planning a brief (60-90 minute) online fall event featuring Kate Hayles to be held in conjunction with the fall awards ceremony.
Rajani Sudan, Southern Methodist University, will serve as second vice-president in fall 2020-fall 2022 and in subsequent two-year terms as first vice-president and president. Elizabeth Donaldson, New York Institute of Technology, will serve as Member-at-Large fall 2020-fall 2022. Thanks to Dan Vandersommers, Ball State University, and David Parisi, College of Charleston, for serving as candidates.
SLSA COMMITTEE MEMBERS AND APPOINTMENTS
Wayne Miller, Electronic Resources Coordinator, asks for new images for the SLSA website homepage (litsciarts.org). He noted that he is in the process of cleaning up the website and will archive many past conference programs. The difficulties with updating the Bibliography encouraged the executive committee to decide against continuing its production; however, a number of members will continue or will be enlisted to develop social media.
Adriana Knouf has joined Ed Chang in developing SLSA social media. SLSA members interested in contributing to social media on behalf of the society are encouraged to email Adriana and Ed who are coordinating efforts: a.knouf@northeastern.edu & change@ohio.edu
MEMBERSHIP RENEWAL: Please remember to renew your membership; 2020 rates are here:
https://www.litsciarts.org/join-renew-membership/
Benefits of membership include the newsletter Decodings, the LITSCI listserv, and the journal Configurations, which explores the relations of literature and the arts to the sciences and technology. Founded in 1993, the journal continues to set the stage for transdisciplinary research concerning the interplay between science, technology, and the arts. https://muse.jhu.edu/journal/36
Looking for the latest research in science and technology studies? Members can access to the Configurations online archive of articles, useful resources for teaching and scholarship at the above link.
Policies Adopted: Respectful Behavior and Freedom of Speech & Call for Ombudspersons
SLSA officers and the executive committee have developed two new policies and have shared them with members through the listserv. After incorporating revisions suggested by several members, the policies have been approved the executive committee and adopted by the society. The updated policies are posted here:
https://www.litsciarts.org/2019/05/29/draft-policies-for-respectful-behavior-and-freedom-of-speech-commitment/
In accordance with the policies, SLSA is recruiting individuals to serve as ombudspersons who would receive and mediate any issues raised by members/conference attendees. Any member interested in volunteering to serve as ombudsperson, should apply by emailing Carol Colatrella (carol.colatrella@lmc.gatech.edu); include a short statement of why you are interested in serving in this role and what experience you can bring the position.
Marcel O'Gorman (marcel@uwaterloo.ca) and Kari Nixon (knixon@whitworth.edu) have volunteered to serve as ombudspersons. Current officers will also review future applications to make additional appointments.
Role of SLSA Ombudsperson
Each Ombudsperson is an impartial entity who strives to see that SLSA members and SLSA conference attendees are treated fairly and equitably. Any member/attendee can seek the advice of an Ombudsperson. The Ombudsperson is impartial, neutral, and confidential. The rights and interests of all parties to disputes are considered, with the goal of achieving fair outcomes. The primary responsibilities of the Ombudsperson are:
To work with individuals to explore and assist them in determining options to help resolve conflicts and problematic issues or concerns.
To bring concerns about the organization to the attention of leadership for resolution.
ANTHROPOSCENE: SLSA BOOK SERIES FROM PENNSYLVANIA STATE UNIVERSITY PRESS AnthropoScene is a book series from Penn State University Press, published in collaboration with the Society for Literature, Science, and the Arts. While not all scientists have accepted the term "anthropocene" as part of the geological timescale, the idea that humans are changing the planet and its environments in radical and irreversible ways has provoked new kinds of cross-disciplinary thinking about relationships among the arts, human technologies, and nature. This is the broad, cross-disciplinary basis for books published in AnthropoScene.
Books in this series include specialized studies for scholars in a variety of disciplines as well as widely accessible works of interest to broad audiences. They examine, in a variety of ways, relationships and points of intersection among natural, biological, and applied sciences and literary, visual, and performing arts. The AnthropoScene series represents the depth and breadth of work being done by scholars in literature, science, and the arts, putting innovative juxtapositions within reach of specialists and non-specialists alike. http://www.psupress.org/books/series/book_SeriesAnthropoScene.html.
After five years, Lucinda and Bob have decided to step down. Penn State Press will continue to work with the authors who already have submitted manuscripts to the series; there are a number of manuscripts under consideration and others under contract. Send questions to: Kendra Boileau, Assistant Director and Editor‐in‐Chief, at kboileau@psu.edu. Or contact the SLSA liaison for the series, Pamela Gossin at psgossin@utdallas.edu or psgossin@gmail.com.
Series Advisory Board members are Stacy Alaimo, University of Texas at Arlington; Ron Broglio, Arizona State University; Carol Colatrella, Georgia Institute of Technology; Heidi Hutner, Stony Brook University; Stephanie LeMenager, University of Oregon; Christopher Morris, University of Texas at Arlington; Laura Otis, Emory University; Will Potter, Washington, D.C.; Ronald Schleifer, University of Oklahoma; Susan Squier, Penn State University; Rajani Sudan, Southern Methodist University; and Kari Weil, Wesleyan University.
Titles in AnthropoScene: The SLSA Book Series
*Kieran Murphy's book Electromagnetism and the Metonymic Imagination, is coming out in spring 2020. It will be available to order through the press website with the regular discount, despite warehouse operations being temporarily suspended: http://www.psupress.org/books/titles/978-0-271-08605-7.html
*Love in a Time of Slaughters: Human-Animal Stories Against Genocide and Extinction by Susan McHugh http://www.psupress.org/books/titles/978-0-271-08370-4.html
*Anthropocene Reading: Literary History in Geologic Times. Edited by Tobias Menely and Jesse Oak Taylor http://www.psupress.org/books/titles/978-0-271-07872-4.html
*Editing the Soul: Science and Fiction in the Genome Age by Everett Hamner
http://www.psupress.org/books/titles/978-0-271-07933-2.html
SLSA Member's Discount from Penn State University Press: Use code SLSA30 for 30% off any AnthropoScene title purchased directly from PSU Press, plus free domestic shipping and discounts on foreign shipping!
SLSA EUROPE ANNUAL CONFERENCEANTHROPOCENES: Reworking of the Wound, to be held 17-20 June 2020 in Katowice, Poland.
The conference is moving online; there will be tickets so that a wider audience can access it.
Organizer: Ania Malinowska
Contact: anthropocenes2020@gmail.com
https://www.slsa-eu.org/news/website-of-slsaeu-conference-2020-anthropocenes
Society for Literature, Science, and the Arts Executive Board (2020)
President: Marcel O'Gorman, University of Waterloo (marcel@uwaterloo.ca)
Executive Director: Carol Colatrella, Georgia Institute of Technology (carol.colatrella@lmc.gatech.edu)
First Vice-President: David Cecchetto, York University, Toronto (dcecchet@yorku.ca)
Second Vice-President: Maria Whiteman, Indiana University (mtw1@iu.edu
Members-at-Large: Raymond Malewitz (2018-2020); N. Adriana Knouf (2019-21); Adam Nocek (2019-21)
Graduate Student Liaisons: Brad Necyk, University of Alberta (bnecyk@ualberta.ca); Ben Platt (plattbe@oregonstate.edu);Tyler Gabbard: rgabbar@purdue.edu; McKenzie Stupiča: (mckenziestupica2023@u.northwestern.edu).
Configurations Editors: Melissa Littlefield, University of Illinois at Urbana-Champaign, and Rajani Sudan, Southern Methodist University Configurations Email address: configurations@smu.edu
Configurations Book Review Editor: Jeffrey Karnicky, Department of English, 2505 University Avenue,
Drake University, Des Moines, IA 50311. Email: jeff.karnicky@drake.edu
Publications Committee: Pamela Gossin; Raymond Malewitz; Bruce Clarke
Electronic Resources Coordinator: Wayne Miller, Duke University (wayne.miller@law.duke.edu)
Arts Liaisons: Dennis Summers (dennis@quantumdanceworks.com); Kiki Benzon (kiki.benzon@uleth.ca);
Maria Whiteman (mtw1@iu.edu)
Social Media Liaisons: Ed Chang (change@ohio.edu); Nicole Fletcher (grayjaymedia@gmail.com); Adriana
Knouf (a.knouf@northeastern.edu)
Ombudspersons: Marcel O'Gorman (marcel@uwaterloo.ca) and Kari Nixon (knixon@whitworth.edu)
Past Presidents: Ron Broglio, Arizona State University; Robert Markley, University of Illinois at Urbana-Champaign; Laura Otis, Emory University; Richard Nash, Indiana University; Alan Rauch, University of North Carolina-Charlotte; Bruce Clarke, Texas Tech University; Eve Keller, Fordham University; Jay Labinger, California Institute of Technology; T. Hugh Crawford, Georgia Tech; Susan Squier, Penn State; Sidney Perkowitz, Emory University; Stuart Peterfreund, Northeastern University; James J. Bono, SUNY-Buffalo; N. Katherine Hayles, Duke University; Mark Greenberg, Drexel University; Lance Schachterle, Worcester Polytechnic Institute; Stephen J. Weininger, Worcester Polytechnic Institute
The Executive Director can be reached at (404) 894-1241 or carol.colatrella@lmc.gatech.edu.
Postal address: Carol Colatrella, Executive Director, SLSA, School of Literature, Media, and Communication,
Georgia Institute of Technology, 686 Cherry Street, Atlanta, GA 30332-0165


The other day here in Puerto Viejo, I walked past a restaurant sign that said "Food and Pizza". I started to smile. What does that imply? What does that tell you about pizza? It tells me that pizza isn't food.
I soon realized that by including an item along with its category, you effectively negate it. In NLP terms, if you take a HIGHER CHUNK (like a category) and include a LOWER CHUNK (like an example), you actually exclude the example.
How about "Shoes and Cowboy Boots"?
This problem seems common to advertisers who are not native speakers of English. Not long ago I saw a sign in a small New Jersey grocery store that had a big sign that said, "Grocery and Nuts". The first thing that came to my mind (after I stopped laughing) was that maybe they sold nuts in large quantities….the meaning of your communication is the response you get.
This could be an interesting advertising language pattern to negate your competition.
After I read the whole article, I learn what the best thing to put in an outdoor advertising is and I also learn to be very careful in choosing some words on it.


Preventing a Car Accident in Atlanta Caused by Texting While Driving | Jason R. Schultz P.C.
Texting while driving has serious, if not fatal, consequences. Studies indicate that it impairs a driver's judgment as much as having a few alcoholic drinks. Almost all drivers are aware of the risks of texting while driving, but they take chances anyway and cause car accidents in Atlanta and elsewhere. Here are some ways you can do your part to prevent a car accident caused by texting while driving.
Be honest – If you are riding with someone who is texting while driving, be direct with them and let them know how it makes you feel. They will likely put down the phone.
Be subtle – If you have a hard time being direct, trying giving the driver hints. Let them know that they may want to focus more on the road, especially if they've had a couple close calls. If you can, avoid riding with them and encourage your friends to do the same.
Take away the driver's keys – This sounds a bit much, but you would do this to someone who has had too much to drink, so why not someone who texts while driving? They are just as likely to hurt someone.
Don't argue with the driver – This will most likely make the situation worse. If the driver teases you for being so nervous, ignore them. Try to get out of the car when it is safe to do so and avoid riding with the driver in the future.
If you are the victim of a car accident caused by texting while driving, you need legal help from a skilled personal injury lawyer. Rated one of the top trial lawyers in Georgia, Jason R. Schultz has the experience to handle your case. Contact the Law Office of Jason R. Schultz at 404-474-0804.


text:
The Toilet Ov Hell
Band Submissions
Not Metal
Riff of the Week
The Best Unsigned Band in the US
Maybe Music
Maybe More Music
Toilet Radio
Lolbuttz
Nerd Shit
Shirt Stains
Tech-Death Thursday
Video Breakdown
Don Songs – Sign of The Times: Prelude To An Orange Presidency
Listmania, Opinion
By Ron Deuce
It's impossible not to notice the dramatic shift in the way the United States has started to govern since on or around January 20th of this foul year of 2017. Some guy, let's call him Don, got a job as a civil servant and he's been anything but thus far. His orange glow is the opposite of an aura, it's more like the Earth sans an ozone layer and it's trying to melt everyone down with impunity. As luck would have it, some of the world's best and brightest in the metal and hardcore arena saw this coming. Gazing into their crystal ball, they rightly predicted the decay of our democratic institutions by way of Idiocracy. So here's some songs from the past that tackled some relevant issues of the present and give us all a glimpse into where we are today.
Immigration – "Pito Wilson" by Brujeria
Immigration has been a hot button issue in the US for many years because, as the Alternate Facts tell us, everyone that crosses into the borders of this country is an Islamic Mexican Terrorist from every other continent who is going to kill and rape everybody in sight. Just look out your window at all the carnage! Don says they are everywhere and they are making everything less great. We need more great and as we all know greatness comes from morally bankrupt plutocrats who have our best interests at heart. We've seen this movie before with then California governor Pete Wilson who introduced the infamous Proposition 187 in 1994 with the intent of undermining the rights of undocumented immigrants from Mexico. As time went on, logic and common sense prevailed. Prop 187 was basically told to eat shit by the voters of the state and as a result, the likes of Pete Wilson and his demonizing agendas are non-existent in California because the citizens of that state just don't elect people of his ilk into positions of power anymore. The seminal track "Pito Wilson" by drug cartel themed death metal group Brujeria envisions a scenario where Latin Americans unite and revolt against Governor Wilson, ultimately assassinating him in the process. While Brujeria's lyrics are spoken in Spanish, the intro of the track tells you everything you need to know about the song with Jello Biafra (of Dead Kennedy's fame) taking on the persona of former Governor Wilson and it sounds just like a Don Rally. As the rhetoric becomes more hateful and disparaging, guns start blazing, chaos ensues and the musical beatdown of former Governor Wilson begins. Even though the track may be spare parts from Fear Factory's Demanufactured album, it's a well written song that makes you want to stick it to the man in the name of solidarity with the human race. Don recently Twittered his ass off about Pete Wilson. If you didn't catch it, here's an actual tweet from Don that actually happened!
Oil – "Hell Comes Home" – Cursed
The wealthiest people in this country and around the world all love that dank crude that runs our automobiles. The United States has been going to war with other countries for decades now and much of the blood and treasure that has been expended in many of those wars has been for oil whether directly or indirectly. The current Sadministration has recently nominated as their Secretary of State, a man by the name of Rexxon Mobil. And if this tweet, is any evidence, there isn't a drop of blood in his veins.
Cursed's take on the for profit wars, "Hell Comes Home" was written and released during the George W. Bush presidency. Musically, the song is some vitriol-fueled crusty hardcore punk n' roll with a strong Motorhead influence. This song not only has the fiery riffs we all crave, but it has the lyrics to back it up. And it's with the words that make this song so powerful with a strong condemnation of the powerful for putting human lives in harm's way so a select few can control a commodity all in the name of greed. The song alludes to post traumatic stress disorder with it's closing chant of "When hell comes home, there's hell to pay". Why is this all relevant today? Because Rexxon along with the whole cast of characters in the totally White House probably want to get their hands on Iran's oil as well. Some guy who thought Pizza Gate was a thing just put Iran on notice (Update – As of February 13, 2017, Totino's Pizza Boy has been relieved of his duties as National Security Advisor). Notice of what was not expanded on, but you can bet your butt cheeks that Iran is gonna get it because Islam and oil and because powerful people want you to believe there's a boogey man out to get you that can't get you. Forget about WHEN "Hell Comes Home", it's already here. Rinse, wash, repeat.
Protest – "Uprising Nation" by Sick Of It All
Don's vision of taking us all back his vision of a 1950's Whites Are Us country have been met with fierce resistance throughout the nation since taking office. Just a day after his inauguration, The Women's March On Washington took place and the turnout was easily three times the amount of people who attended Don's inauguration. Don said the aerial photos were false and that people were in the bathroom at the time the inauguration photo was taken. Not only in Washington DC was this taking place, but there were marches of solidarity in many major cities across the country. Even before the election, a coalition of Native American Indian tribes in North Dakota protested the building of an oil pipeline on their native lands and were able to temporarily halt its construction. Don has recently issued a 140 character executive order that basically says, "Fuck those guys water" and resumes construction of the contested pipeline. Sounds totally well thought out and rational. How could anybody possibly oppose that line of thinking?
Sick Of It All's "Uprising Nation" was written and released during the George W. Bush presidency (there's that name again) in 2006. The band's original motive behind the song was written in response to the government's mishandling of Hurricane Katrina in 2005. In today's political climate, the lyrics to the song read like a rally cry for people to stand up for their rights at all costs because sacrificing them may have dire consequences. This song should really be played wherever protests may be happening across the country because it very plainly points the finger at the uber-wealthy and how they use their power and control to suppress the rights of the masses in order to subdue them. If this recent rejection by the courts of a haphazardly slapped together attempt at denigrating an entire group of people based entirely on their religion is any indication, when the truth is on our side, coupled with common sense, logic and reason, we will prevail. Greenpeace probably said it best when they hung this banner in the backdrop of Don's current residence to remind him and his people that if he thinks that he's going to be able to totally dismantle democracy as we know it without a fight, he's got another thing coming.
Image (VIA)
Did you dig this? Take a second to support Toilet ov Hell on Patreon!
If you enjoyed this, please share it. If you didn't, share it anyway.
TagsBrujeriaCursedDead KennedysFear FactoryJello BiafraRexxon MobilSick of It All
The Mind's Abyss: Pairing Dark Ambient with ...
Screaming For Mailmanbro!
Ron Deuce
Blast Beats or Bust!
Runnin' to the Jammiez
New Stuff, Open Swim
TMP: Baroness, Monolord, Rivers of Nihil, and More!
Sick Of It All – Self Important Shithead: A Video Breakdown
TMP: Psycroptic, The Faceless, Ensiferum, and More!
Interviews, Listmania, Metal
Friday Guest List: Hellish God's Top 5 Tracks For Rasslin'
Metal, New Stuff, Premiere
Premiere: Verthebral – 'Isolation Room'
Metal, Shirt Stains
Shirt Stains: Edgemasters Of The Universe
Subscribe to our newsletter and get updated when we post new content.
YOU Pick the Best Album of 2015
YOU Pick the Best Album of 2K16
YOU Pick the Best Albums of the Year
Victory Over the Sun — A Tessitura of Transfiguration
Premiere: Void Rot – 'Necrotic Deity'
TMP: Stabbing Westward, WVRM, Verotika, and More!
Riff Of The Week: As Pictured Edition
Categories Select Category Band Submissions Bracketology Contests Cooking Discography Interviews Listmania Lolbuttz Metal Nerd Shit New Stuff News Not Metal Open Swim Opinion Premiere Reviews Riff of the Week Shirt Stains Tech-Death Thursday The Best Unsigned Band in the US Toilet Radio Uncategorized Video Breakdown Video Games
Metal, Premiere
Premiere: Chicago's Mordatorium Are Eager For The "Biting Cold"
Exhuming a Classic: OLD's Old Lady Drivers
Not Metal, Open Swim, Opinion
Sunday Sesh: Of Line-Up Changes And Old Man Ramblings
Metal, New Stuff, Reviews
Review: Reptilian – Perennial Void Traverse
Toilet Radio 174: All Horna'd Up
Metal is Serious Business
Email us for all inquiries
toiletovhell@gmail.com
ToH Newsletter
Mystery Pick
This Toilet Tuesday (12/4/18)
Thy Art is Murder Win Powerball Office Pool
Shirt Stains: Make It Shirt So Good
Metal, Reviews
Moss Metal Returns!: Sun of the Sleepless — To the Elements
Metal, Nerd Shit, New Stuff
Reptilian Illuminati Remind Us That We Are Not Alone
© Copyright Toilet ov Hell. All rights reserved.


Readers, we are currently in crisis mode over at We Date Nerds. Not only is the Internet down at my work but it's down at home…right now I'm "borrowing" internet from a neighbor, (thanks not private NETGEAR) and on top of it all my Blackberry is basically non functioning at this point, so when all is said and done posting may be a little sparse for the next few days. I'm hoping that with the arrival of my new iPhone this week that I can get back to it if for some reason the Internet situation isn't resolved.
I will see what I can get up until I get kicked off of NETGEAR but please don't abandon us, if you need a fix, catch up on any articles you may have missed.


text:
'American Horror Story' alum Zachary Quinto splits from Jonathan Groff
Jonathan Groff, Zachary Quinto	 July 18, 2013
Mrs Carter: Zachary and Jonathan have parted ways. "American Horror Story" alum Zachary Quinto has always been fairly private when it comes to his personal life, so if you didn't hear the news about his break up with boyfriend Jonathan Groff until now (even though it is said to have happened last spring) then this […]
'American Horror Story: Coven' spoilers: Zachary Quinto not currently on board, but open
American Horror Story, FX, Zachary Quinto	 June 16, 2013
Even though "American Horror Story: Coven" is getting further along, there is still a mystery out there surrounding whether or not we will see Zachary Quinto. One thing we can promise now? If he does end up making an appearance, it's sadly not going to be anything more than just a one or two-episode arc […]
'American Horror Story: Asylum' season 2: Zachary Quinto talks 'Bloody Face' reveal
American Horror Story: Asylum, Zachary Quinto	 November 21, 2012
For weeks now fans of "American Horror Story: Asylum" season 2 have been glued to their television sets every Wednesday night waiting for the big reveal – who is the man behind Bloody face. (Warning: spoilers ahead, so if you haven't had a chance to watch last week's episode you will want to stop reading […]
'American Horror Story: Asylum': Zachary Quinto explains joy within series
American Horror Story, FX, Zachary Quinto	 October 27, 2012
We love to hear actors speak the truth when it comes to the advantages and disadvantages of series TV, mostly because it can be something that in some ways a blessing and a curse. While we certainly do not imagine that anyone would complain about pulling in million-dollar paychecks, the flip side here is that […]
'American Horror Story: Asylum': Zachary Quinto officially dating 'Glee' star
American Horror Story, FX, Zachary Quinto	 September 12, 2012
Mrs. Carter: It's finally official! We have some more news pertaining to the second season of "American Horror Story," but on this occasion, we are not even talking entirely about the latest teaser video. Instead, we are leading off today's story by talking about some new comments that series star Zachary Quinto has made confirming […]
'American Horror Story' season 2 spoilers: Who is Zachary Quinto playing?
American Horror Story, FX, Zachary Quinto	 August 15, 2012
For those of you looking for at least some answers to the mysteries in "American Horror Story," we at least have one — the identity of Zachary Quinto's character on the hit FX anthology series. According to TVLine, the former "Heroes" and "Star Trek" star is not going to be playing a patient within Jessica […]
'Glee,' 'American Horror Story' stars spark dating rumors in Central Park
American Horror Story, Fox, Glee, Jonathan Groff, Zachary Quinto	 June 24, 2012
Mrs. Carter:Is that love in the air? Ryan Murphy has already made the careers of a number of actors on television — is it also possible that he could be a matchmaker? While it's pretty unlikely that Murphy actually played any role at all in the new rumored romance between "American Horror Story" star Zachary Quinto […]
'The Vampire Diaries' star Ian Somerhalder meets President Obama
Ian Somerhalder, The CW, The Vampire Diaries, Zach Braff, Zachary Quinto	 June 8, 2012
It's not often that one of the most-popular vampires on TV gets to meet the President of the United States, but this very thing happened on Thursday morning as a part of an event Barack Obama was holding in California to utilize Hollywood's biggest stars as a way to encourage young people to vote. Ian […]
'American Horror Story' scoop: 3 cast members return for season 2
American Horror Story, FX, Jessica Lange, Ryan Murphy, Zachary Quinto	 March 3, 2012
After the big announcement of Jessica Lange and Zachary Quinto returning for season 2 of 'American Horror Story' fans began to wonder if any of their other favorites would be coming back – as it turns out there are three more actors you can bank on seeing next season. During PaleyFest, 'American Horror Story' co-creators, […]
The Serpent episode 5 spoilers: The 'waiting game' for Charles


Paul Klee Foundation, Paul Klee: Catalogue Raisonné, 6 (Bern, 2001), p. 303, no. 6045 (ill.).
Jay A. Clarke, Stephanie D'Alessandro, Carola Kupfer, Mark Pascale, Virginia Voedisch, "Portfolio," The Art Institute of Chicago Museum Studies 28, 1 (2002), pp. 97-98, no. 14.
Karl Nierendorf (1889-1947), Cologne, Berlin, and New York [Pau Klee Foundation]. Bequeathed by Elizabeth H. Paepcke to the Art Institute, 1994.


It looks like it's the Last Tango in Hoboken for Mayor Dave Roberts. Yesterday's City Council election results left Roberts without any real support on the municipal panel, a fatal diagnosis for the remainder of his lame duck term in office.
Monday, Roberts said it himself.
"If (Frank) Raia and (Ron) Rosenberg get blown away, I'd be disappointed," said the mayor of the races in the Third Ward and First Ward, respectively. It is safe to write that Roberts is very disappointed.
Dashing the mayor's hopes were the two incumbents - First Ward Councilwoman Theresa Castellano, a six-year tormentor of Roberts, and Third Ward Councilman Michael Russo. Russo is a member of the "Voice For All Hoboken" council members who joined together to battle the Roberts administration.
Russo and Castellano took the brunt of the campaign attacks by the administration. The literature's mantra was that the Russo family is corrupt and that they are part of a plan by Union City Mayor and Assemblyman Brian P. Stack to take over not only the Mile Square City but Hudson County.
At the Russo headquarters last night, there was a large contingent of well-wishers, including Stack and Weehawken Mayor Richard Turner. After chanting Russo's name, the crowd began shouting, "Stack didn't abandon us."
It was a clear message to Roberts and the leaders of the Hoboken Democratic Party for what they see as abandoning Russo, Campos and the other young members of the City Council.
Beth Mason defeated "Voice" member and retired Fire Chief Richard Tremitiedi in the Second Ward. Tremitiedi was already a long shot and Mason far out spent the former fire chief.
If Roberts wants some say on the council, he will have to go to Mason and possibly Peter Cunningham of the Fifth Ward, if they are amenable. First, Cunningham will have to fight off Peter "Perry" Belfiore in a run-off.
The problem is that there is really not a close relationship between Mason and Roberts and the new councilwoman may be more interested in Roberts' title than the man. Incumbent Chris Campos was ahead in the Fourth Ward by about 400 votes, at this writing, but he could not avoid a runoff against Dawn Zimmer, who could get Roberts' backing. She is also backed by Michael Lenz and Tony Soares.
An interesting figure in the Fourth Ward race was Freddie B. Frazier, described by some as a spoiler whose job, this time around, was to force a runoff and is accused of being financed by Raia. Unofficially, Frazier drew about 56 machine votes, but then there were about 52 absentee votes cast for him. By comparison, Campos had single-digit absentees. There is a possible election complaint here. It could make a difference on whether or not there will be a runoff.
Sixth Ward incumbent Angelo "Nino" Giacchi is in a runoff with - well, either Thomas Foley or William Noonan. Giacchi is hoping it will be Foley because Noonan drew support mostly from the same pool of voters who usually back Giacchi.
Roberts said he would sit down with the eventual winners of the council races to discuss his vision for the city's future. We are looking forward to that session - if it ever happens.
The big winners in all this are Stack and Freeholder Maurice Fitzgibbons.
Most of those who ran and are favorites in runoffs support Stack for the state Senate seat in the 33rd District and his Assembly running mates, Hoboken Councilman Ruben Ramos and former West New York Councilwoman Caridad Rodriguez.
Fitzgibbons faced a possible challenge to his seat from the Roberts administration. The big victory by Russo is a plus for Fitzgibbons, who is major factor in the Voices for All Hoboken group. It appears that the dean of the freeholders has a good shot at returning to the county post.
Turner had strong feelings about the outcome.
"It goes to show that all the negative campaign they are doing does not work," said Turner, mostly about the Hudson County Democratic Organization. "It didn't work in Hoboken, and it will not work in the primary. People are seeing through their weekly corruption scandal press conferences."
There were no surprises in North Bergen, where Mayor Nicholas Sacco got his machine to churn out about 8,200 votes for himself while the other commissioners - Frank Gargiulo, Hugo Cabrera, Theresa Ferraro and Allen Pascual - got 300 to 400 votes less, as planned.
West New York was an unusual uncontested race.
Mayor Sal Vega was the top vote-getter by about 3,100. Commissioners Gerald A. Lange Jr., Michelle Fernandez Lopez, Lawrence Riccardi and Alberto Rodriguez followed the North Bergen script of receiving 300 to 400 votes less than the mayor.
If one wanted to throw a little cold water on the race, it could be pointed out that when U.S. Rep. Albio Sires ran for mayor in 2003 in an uncontested election, he received about 1,000 more votes.
Sires ran a cheap election that year. Besides being a spendthrift, he knew that he was running for Congress the following year and would need the money. They will have to crack the whip in West New York for more HCDO votes in the June 5 primary.
At least we can look forward to Vega's Freedom Wagon RV ride into Union City as part of his Democratic Party primary campaign for the 33rd District Senate seat. Vega said he planned to drive the RV into enemy territory today.


William Penn University provides the opportunity for an educational experience with a focus on leadership, technology, and the Quaker principles of simplicity, peace-making, integrity, community, and equality.
These goals identify how the principles listed in the Mission Statement will be pursued and how the University will provide an educational opportunity for its students, through the University's Academic Programs and Co-Curricular Departments.
At William Penn University our mission isn't simply a set of goals we hope to achieve. It's who we are at our very core. It's the belief that every individual has value and deserves access to a quality education. That it's our differences that really do make us stronger. Our Quaker principles are the pillars of true leadership in today's world.
To realize a powerful vision for the future, it takes an equally powerful history from which to gain the necessary knowledge, perspective, and perseverance. At William Penn, we have that kind of history. Founded in 1873 by Quaker settlers who strongly valued education and then named for the Quaker, William Penn, the University was located in Oskaloosa and graduated its first class in 1875. Since our founding we've persevered through a 1916 fire that destroyed the original campus, transitioned from college to university status, led the way in educational programs for working adults, and greatly expanded our campus and facilities.
The first graduate of William Penn, in 1875, was a woman—something that was relatively unheard of at the time. This is a testament to our Quaker heritage and belief system. We believe in simplicity, peace-making, integrity, community, and equality. We believe education is for all, because there's value in everyone. We believe in celebrating our Christian faith and letting it frame our outlook on the 21st-century world while also welcoming those with other spiritual beliefs. And we believe that education brings many rewards in life as well as a responsibility to use our knowledge for the service of others.
Discover the major milestones in our history since being founded more than 140 years ago.
Learn from President John E.E. Ottosson about why the mission, vision, and heritage of William Penn University is such a powerful one for today's students.


text:
Glitch Mob w/ M Machine
Kill the Noise
Past Events>
The M Machine
DATSIK
Eoto
STS9
Conspirator
Wolfgang Gartner
Wolfgang Gartner & Tommy Trash
w/ CHARLIE DARKER & BASS KLEPH
Date: Wednsday Oct 16th
Venue: Lupos Heartbreak Hotel
Price: $30 Advance - $33 Day of Show - $37.50 Reserved
Show: 9PM
Buy Tickets Here - FB EVENT PAGE - CONTEST
FACEBOOK - TWITTER - WEBSITE - SOUNDCLOUD
"I have to make something that's never been made before; have to make the best thing that I've ever done in my life - otherwise it gets stagnant or worse," says producer/DJ Wolfgang Gartner. Whether or not his progressively more maximilist take on electro-house is your bag or not, you have to respect his exponentially steep rise through the electro-house ranks. And Lord knows, you've heard it -- or about it: flipping Beethoven's 5th for the 4 am crowd; eight #1 tracks on Beatport; remix/collabs with Britney Spears, Timbaland and Black Eyed Peas; festival-highlight performances at Coachella '10 and Electric Daisy Carnival's '10 and '11.And therein might lay the greatest mantra/myth of the Wolfgang Gartner story and the greatest contradiction of Weekend in America: that it's just dance music. "I would think I would hate what's mainstream, but the truth of it is, the dance world makes sense to me," says Wolf. "I understand how and why it creates the response that it does with people." That said, as Weekend in America shows in its byzantine soul, kaleidoscopic command of frequencies and impossibly imaginative arrangements, Weekend in America the artist is answering to an altogether higher power and potential, one the Wolfgang Gartner massive has the good fortune of being able to get onto the floor and out of their heads to every weekend. But for Wolfgang Gartner, the introverted empath spending thousands of hours in isolation making these tracks that will connect him to tens, even hundreds of thousands of people at a time, Weekend In America is party-rocking speaker-freq'-ing as self-realization. "I can imagine it and I know something amazing that's never been heard before is possible. Occasionally it's even something I can already hear in my head and that's why I have to make this music."
FACEBOOK - TWITTER - SOUNDCLOUD
Fist in the air and unmistakable locks at large, Tommy Trash is not your stereotypical Dance icon. With an armoury of his own carefully created anthems, he has thrown to one side the clean-shaven image of EDM idols. Outside of his party-hard stage presence, the Grammy Award nominated producer's approach to mind-blowing music remains as heartfelt as they come. Having released on labels ranging from Axtone to Fool's Gold, and from Refune to Mau5trap, including 2 successive #1 hits on Beatport, every new installment of his poignant floor filling productions lay testament to the pride the Aussie takes in his blazing musical legacy. Tommy's high-profile remix duties for the Swedish House Mafia, Deadmau5, Steve Aoki and Zedd amongst others indicate demand for his delinquent House cuts are sky high. It is no wonder the likes of Rolling Stone and MTV have marked him out as 'One To Watch'.
With global club culture spiraling to such unfathomable heights, Tommy has had little trouble fitting the bigger bills now associated with his craft. From the most prestigious nightspots around the globe to the ever-expanding global festivals that he so seamlessly conquers, there is no stage too grand or miniscule for him to tailor his adrenaline fuelled turntable dexterity to. In line with his successive industry triumphs, the road ahead looks set to comfortably accommodate the intense energy and unique characteristics that Tommy continues to bring to dance music. With a host of incredible tracks soon to drop as well as a residency at the brand new Hakkasan nightclub in Las Vegas and main-stage performances at some of the world's biggest festivals, 2013 is looking like Tommy's biggest year yet.
Opening Support by:
Bass Kleph
Charlie Darker
FACEBOOK - TWITTER - YOU TUBE - SOUNDCLOUD


Over the last 25 years, our engineers have produced hardware for consumer, industrial and medical industries.
Dosec has designed rugged environmental instrumentation for agricultural, forestry and scientific research purposes.
Dosec's Unicare system is a complete solution for installing a Nurse Call System in a modern hospital.
Dosec's EnviroNode is a complete, rugged IoT/M2M solution allowing you to interact with your devices remotely.
From initial concept, through design and prototyping, to a final product, Dosec Design can provide a complete solution. Dosec also provides consulting and contract services in a wide range of communications, electrical and electronic engineering fields.
With expertise in fields such as RF communication, cellular data networks, bluetooth, and ultra low power design, Dosec specialises in remote and rugged internet of things solutions.
Ric and Michelle speak with Sharon O'Keeffe – Fairfax National Agriculture Writer Farm Machinery and Technology – on all things EnviroNode, engineering and agricultural technology at last month's KPMG IoT Innovation Expo. Read the full article here: https://www.farmonline.com.au/story/5666728/remote-control-smart-farm/?cs=5380 Contact us to speak with our engineers about EnviroNode today.


text:
https://www.thehour.com/norwalk/article/Norwalker-found-guilty-of-sexually-assaulting-8094842.php
Norwalker found guilty of sexually assaulting relative
By STEVE KOBAK
Published 12:15 pm EST, Wednesday, March 5, 2014
NORWALK -- A six member jury found a city man guilty of repeatedly sexually assaulting a relative after a two-week trial Wednesday at Norwalk Superior Court.
Fernando Victorino, 51, faces 60 years of prison after being convicted of two counts of second-degree sexual assault and two counts of risk of injury to a minor. Second-degree sexual assault carries a mandatory minimum of nine months in prison.
As Judge William Holden raised Victorino's bond to $350,000, a female family member of Victorino began to scream loudly and stomp her feet, prompting her removal from the courtroom.
Victorino is scheduled to be sentenced June 9, pending the completion of a pre-sentencing investigation report.
The case was prosecuted by State's Attorney Nadia Prinz with the assistance of State's Attorney Maureen Ornousky.
At the behest of Victorino's family, Alex Martinez, who represented Victorino, declined to comment after the verdict was delivered.
Police were alerted to Victorino's misdeeds on Sept. 3, 2011, when the 17-year-old victim and her mother reported the incident at police headquarters. The victim told police that Victorino had forced her into a room early Friday evening, locked the door and tried to have sex with her, despite the fact that she repeatedly refused his advances, police said.
When the victim's mother came home, she noticed that the victim was upset, and the victim told her mother about the abuse, police said. Victorino began touching and kissing the victim sometime around 2006 when the victim was 12-years-old, according to police.


text:
Chrome, and especially Chrome OS, has apps, e.g. chat apps and camera apps.

There are a number (lets call it `M`) of different places or app Consumers,
usually UI (user interfaces) related, where users interact with their installed
apps: e.g. launcher, search bar, shelf, New Tab Page, the App Management
settings page, permissions or settings pages, picking and running default
handlers for URLs, MIME types or intents, etc.

There is also a different number (`N`) of app platforms or app Providers:
built-in apps, extension-backed apps, PWAs (progressive web apps), ARC++
(Android apps), Crostini (Linux apps), etc.

Historically, each of the `M` Consumers hard-coded each of the `N` Providers,
leading to `M×N` code paths that needed maintaining, or updating every time `M`
or `N` was incremented.

This document describes the App Service, an intermediary between app Consumers
and app Providers. This simplifies `M×N` code paths to `M+N` code paths, each
side with a uniform API, reducing code duplication and improving behavioral
consistency. This service (a Mojo service) could potentially be spun out into a
new process, for the usual
[Servicification](https://www.chromium.org/servicification) benefits (e.g.
self-contained services are easier to test and to sandbox), and would also
facilitate Chrome OS apps that aren't tied to the browser, e.g. Ash apps.

The App Service can be decomposed into a number of aspects. In all cases, it
provides to Consumers a uniform API over the various Provider implementations,
for these aspects:

  - App Registry: list the installed apps.
  - App Icon Factory: load an app's icon, at various resolutions.
  - App Runner: launch apps and track app instances.
  - App Installer: install, uninstall and update apps.
  - App Coordinator: keep system-wide settings, e.g. default handlers.

Some things are still the responsbility of individual Consumers or Providers.
For example, the order in which the apps' icons are presented in the launcher
is a launcher-specific detail, not a system-wide detail, and is managed by the
launcher, not the App Service. Similarly, Android-specific VM (Virtual Machine)
configuration is Android-specific, not generalizable system-wide, and is
managed by the Android provider (ARC++).

## Profiles

Talk of *the* App Service is an over-simplification. There will be *an* App
Service instance per Profile, as apps can be installed for *a* Profile.

Note that this doesn't require the App Service to know about Profiles. Instead,
Profile-specific code (e.g. a KeyedService) finds the Mojo service Connector
for a Profile, creates an App Service and binds the two (App Service and
Connector), but the App Service itself doesn't know about Profiles per se.

# App Registry

The App Registry's one-liner mission is:

  - I would like to be able to for-each over all the apps in Chrome.

An obvious initial design for the App Registry involves three actors (Consumers
⇔ Service ⇔ Providers) with the middle actor (the App Registry Mojo service)
being a relatively thick implementation with a traditional `GetFoo`, `SetBar`,
`AddObserver` style API. The drawback is that Consumers are often UI surfaces
and UI code likes synchronous APIs, but Mojo APIs are generally asynchronous,
especially as it may cross process boundaries.

Instead, we use four actors (Consumers ↔ Proxy ⇔ Service ⇔ Providers), with the
Consumers ↔ Proxy connection being synchronous and in-process, lighter than the
async / out-of-process ⇔ connections. The Proxy implementation is relatively
thick and the Service implementation is relatively thin, almost trivially so.
Being able to for-each over all the apps is:

    for (const auto& app : GetAppServiceProxy(profile).GetCache().GetAllApps()) {
      DoSomethingWith(app);
    }

The Proxy is expected to be in the same process as its Consumers, and the Proxy
would be a singleton (per Profile) within that process: Consumers would connect
to *the* in-process Proxy. If all of the app UI code is in the browser process,
the Proxy would also be in the browser process. If app UI code migrated to e.g.
a separate Ash process, then the Proxy would move with them. There might be
multiple Proxies, one per process (per Profile).

## Code Location

Some code is tied to a particular process, some code is not. For example, the
per-Profile `AppServiceProxy` obviously contains Profile-related code (i.e. a
`KeyedService`, so that browser code can find *the* `AppServiceProxy` for a
given Profile) that is tied to being in the browser process. The
`AppServiceProxy` also contains process-agnostic code (code that could
conceivably be used by an `AppServiceProxy` living in an Ash process), such as
code to cache and update the set of known apps (as in, the `App` Mojo type).
Specifically, the `AppServiceProxy` code is split into two locations, one under
`//chrome/browser` and one not:

  - `//chrome/browser/apps/app_service`
  - `//components/services/app_service`

On the Provider side, code specific to extension-backed applications or web
applications (as opposed to ARC++ or Crostini applications) lives under:

  - `//chrome/browser/extensions`
  - `//chrome/browser/web_applications`

## Matchmaking and Publish / Subscribe

The `AppService` itself does not have an `GetAllApps` method. It doesn't do
much, and it doesn't keep much state. Instead, the App Registry aspect of the
`AppService` is little more than a well known meeting place for `Publisher`s
(i.e. Providers) and `Subscriber`s (i.e. Proxies) to discover each other. An
analogy is that it's a matchmaker for `Publisher`s and `Subscriber`s, although
it matches all to all instead of one to one. `Publisher`s don't meet
`Subscriber`s directly, they meet the matchmaker, who introduces them to
`Subscriber`s.

Once a `Publisher` and `Subscriber` connect, the Pub-side sends the Sub-side a
stream of `App`s (calling the `Subscriber`'s `OnApps` method). On the initial
connection, the `Publisher` calls `OnApps` with "here's all the apps that I
(the `Publisher`) know about", with additional `OnApps` calls made as apps are
installed, uninstalled, updated, etc.

As mentioned, the App Registry aspect of the `AppService` doesn't do much. Its
part of the `AppService` Mojo interface is:

    interface AppService {
      // App Registry methods.
      RegisterPublisher(Publisher publisher, AppType app_type);
      RegisterSubscriber(Subscriber subscriber, ConnectOptions? opts);

      // Some additional methods; not App Registry related.
    };

    interface Publisher {
      // App Registry methods.
      Connect(Subscriber subscriber, ConnectOptions? opts);

      // Some additional methods; not App Registry related.
    };

    interface Subscriber {
      OnApps(array<App> deltas);
    };

    enum AppType {
      kUnknown,
      kArc,
      kCrostini,
      kWeb,
    };

    struct ConnectOptions {
      // TBD: some way to represent l10n info such as the UI language.
    };

Whenever a new `Publisher` is registered, it is connected with all of the
previously registered `Subscriber`s, and vice versa. Once a `Publisher` is
connected directly to a `Subscriber`, the `AppService` is no longer involved.
Even as new apps are installed, uninstalled, updated, etc., the app's
`Publisher` talks directly to each of its (previously connected) `Subscriber`s,
without involving the `AppService`.

TBD: whether we need un-registration and dis-connect mechanisms.

## The App Type

The one Mojo struct type, `App`, represents both a state, "an app that's ready
to run", and a delta or change in state, "here's what's new about an app".
Deltas include events like "an app was just installed" or "just uninstalled" or
"its icon was updated".

This is achieved by having every `App` field (other than `App.app_type` and
`App.app_id`) be optional. Either optional in the Mojo sense, with type `T?`
instead of a plain `T`, or if that isn't possible in Mojo (e.g. for integer or
enum fields), as a semantic convention above the Mojo layer: 0 is reserved to
mean "unknown". For example, the `App.show_in_launcher` field is a
`OptionalBool`, not a `bool`.

An `App.readiness` field represents whether an app is installed (i.e. ready to
launch), uninstalled or otherwise disabled. "An app was just installed" is
represented by a delta whose `readiness` is `kReady` and the old state's
`readiness` being some other value. This is at the Mojo level. At the C++
level, the `AppUpdate` wrapper type (see below) can provide helper
`WasJustInstalled` methods.

The `App`, `Readiness` and `OptionalBool` types are:

    struct App {
      AppType app_type;
      string app_id;

      // The fields above are mandatory. Everything else below is optional.

      Readiness readiness;
      string? name;
      IconKey? icon_key;
      OptionalBool show_in_launcher;
      // etc.
    };

    enum Readiness {
      kUnknown = 0,
      kReady,                // Installed and launchable.
      kDisabledByBlocklist,  // Disabled by SafeBrowsing.
      kDisabledByPolicy,     // Disabled by admin policy.
      kDisabledByUser,       // Disabled by explicit user action.
      kUninstalledByUser,
    };

    enum OptionalBool {
      kUnknown = 0,
      kFalse,
      kTrue,
    };

    // struct IconKey is discussed in the "App Icon Factory" section.

A new state can be mechanically computed from an old state and a delta (both of
which have the same type: `App`). Specifically, last known value wins. Any
known field in the delta overwrites the corresponding field in the old state,
any unknown field in the delta is ignored. For example, if an app's name
changed but its icon didn't, the delta's `App.name` field (a
`absl::optional<std::string>`) would be known (not `absl::nullopt`) and copied
over but its `App.icon` field would be unknown (`absl::nullopt`) and not copied
over.

The current state is thus the merger or sum of all previous deltas, including
the initial state being a delta against the ground state of "all unknown". The
`AppServiceProxy` tracks the state of its apps, and implements the
(in-process) Observer pattern so that UI surfaces can e.g. update themselves as
new apps are installed. There's only one method, `OnAppUpdate`, as opposed to
separate `OnAppInstalled`, `OnAppUninstalled`, `OnAppNameChanged`, etc.
methods. An `AppUpdate` is a pair of `App` values: old state and delta.

    class AppRegistryCache {
     public:
      class Observer : public base::CheckedObserver {
       public:
        ~Observer() override {}
        virtual void OnAppUpdate(const AppUpdate& update) = 0;
      };

      // Etc.
    };

# App Icon Factory

Icon data (even compressed as a PNG) is bulky, relative to the rest of the
`App` type. `Publisher`s will generally serve icon data lazily, on demand,
especially as the desired icon resolutions (e.g. 64dip or 256dip) aren't known
up-front. Instead of sending an icon at all possible resolutions, the
`Publisher` sends an `IconKey`: enough information to load the icon at given
resolutions.

An `IconKey` augments the `AppType app_type` and `string app_id`. For example,
some icons are statically built into the Chrome or Chrome OS binary, as
PNG-formatted resources, and can be loaded (synchronously, without sandboxing).
They can be loaded from the `IconKey.resource_id`. Other icons are dynamically
(and asynchronously) loaded from the extension database on disk. The base icon
can be loaded just from the `app_id` alone.

In either case, the `IconKey.icon_effects` bitmask holds whether to apply
further image processing effects such as desaturation to gray.

    interface AppService {
      // App Icon Factory methods.
      LoadIcon(
          AppType app_type,
          string app_id,
          IconKey icon_key,
          IconType icon_type,
          int32 size_hint_in_dip,
          bool allow_placeholder_icon) => (IconValue icon_value);

      // Some additional methods; not App Icon Factory related.
    };

    interface Publisher {
      // App Icon Factory methods.
      LoadIcon(
          string app_id,
          IconKey icon_key,
          IconType icon_type,
          int32 size_hint_in_dip,
          bool allow_placeholder_icon) => (IconValue icon_value);

      // Some additional methods; not App Icon Factory related.
    };

    struct IconKey {
      // A monotonically increasing number so that, after an icon update, a new
      // IconKey, one that is different in terms of field-by-field equality, can be
      // broadcast by a Publisher.
      //
      // The exact value of the number isn't important, only that newer IconKey's
      // (those that were created more recently) have a larger timeline than older
      // IconKey's.
      //
      // This is, in some sense, *a* version number, but the field is not called
      // "version", to avoid any possible confusion that it encodes *the* app's
      // version number, e.g. the "2.3.5" in "FooBar version 2.3.5 is installed".
      //
      // For example, if an app is disabled for some reason (so that its icon is
      // grayed out), this would result in a different timeline even though the
      // app's version is unchanged.
      uint64 timeline;
      // If non-zero, the compressed icon is compiled into the Chromium binary
      // as a statically available, int-keyed resource.
      int32 resource_id;
      // A bitmask of icon post-processing effects, such as desaturation to
      // gray and rounding the corners.
      uint32 icon_effects;
    };

    enum IconType {
      kUnknown,
      kUncompressed,
      kCompressed,
      kStandard,
    };

    struct IconValue {
      IconType icon_type;
      gfx.mojom.ImageSkia? uncompressed;
      array<uint8>? compressed;
      bool is_placeholder_icon;
    };

## Icon Changes

Apps can change their icons, e.g. after a new version is installed. From the
App Service's point of view, an icon change is like any other change: Providers
broadcast an `App` value representing what's changed (icon or otherwise) about
an app, the Proxy's `AppRegistryCache` enriches this `App` struct to be an
`AppUpdate`, and `AppRegistryCache` observers can, if that `AppUpdate` shows
that the icon has changed, issue a new `LoadIcon` Mojo call. A new Mojo call is
necessary, because a Mojo callback is a `base::OnceCallback`, so the same
callback can't be used for both the old and the new icon.

## Caching and Other Optimizations

Grouping the `IconKey` with the other `LoadIcon` arguments, the combination
identifies a static (unchanging, but possibly obsolete) image: if a new version
of an app results in a new icon, or if a change in app state results in a
grayed out icon, this is represented by a different, larger `IconKey.timeline`.
As a consequence, the combined `LoadIcon` arguments can be used to key a cache
or map of `IconValue`s, or to recognize and coalesce multiple concurrent
requests to the same combination.

Such optimizations can be implemented as a series of "wrapper" classes (as in
the classic "decorator" or "wrapper" design pattern) that all implement the
same C++ interface (an `IconLoader` interface). They add their specific feature
(e.g. caching) by wrapping another `IconLoader`, doing feature-specific work on
every call or reply before sending the call forward or the reply backward.

There may be multiple caches, as there may be multiple cache eviction policies
(also known as garbage collection policies), spanning the trade-off from
favoring minimizing memory use to favoring maximizing cache hit rates. The
Proxy may have a single cache, with a relatively aggressive eviction policy,
which applies to all of its Consumer clients. A Consumer might have an
additional Consumer-specific cache, with a more relaxed eviction policy, if it
has additional Consumer-specific UI signals to guide when icon-loading requests
and cache hits are more or less likely.

Note that cache values (the `IconValue` Mojo struct) are, primarily, a
gfx.mojom.ImageSkia, which are cheap to share. Copying an ImageSkia value does
not duplicate any underlying pixel buffers.

As a separate optimization, if the `AppServiceProxy` knows how to load an icon
for a given `IconKey`, it can skip the Mojo round trip and bulk data IPC and
load it directly instead. For example, it may know how to load icons from a
statically built resource ID.

## Placeholder Icons

It can take some time for `Publisher`s to provide an icon. For example, loading
the canonical icon for an ARC++ or Crostini app might require waiting for a VM
to start. Such icons are often cached on the file system, but on a cache miss,
there may be a number of seconds before the system can present an icon. In this
case, we might want to present a `Publisher`-specific placeholder, typically
loaded from a resource (an asset statically compiled into the binary).

There are two boolean fields that facilitate this: `allow_placeholder_icon` is
sent from a `Subscriber` to a `Publisher` and `is_placeholder_icon` is sent in
the response.

`LoadIcon`'s `allow_placeholder_icon` states whether the the caller will accept
a placeholder if the real icon can not be provided quickly. Native user
interfaces like the app launcher will probably set this to true. On the other
hand, serving Web-UI URLs such as `chrome://app-icon/app_id/icon_size` will set
this to false, as that URL should identify a particular icon, not one that
changes over time. Web-UI that wants to display placeholder icons and be
notified of when real icons are ready will require some mechanism other than a
`chrome:://app-icon/etc` URL.

`IconValue`'s `is_placeholder_icon` states whether the icon provided is a
placeholder. That field should only be true if the corresponding `LoadIcon`
call had `allow_placeholder_icon` true. When the `LoadIcon` caller receives a
placeholder icon, it is up to the caller to issue a new `LoadIcon` call, this
time with `allow_placeholder_icon` false. As before, a new Mojo call is
necessary, because a Mojo callback is a `base::OnceCallback`, so the same
callback can't be used for both the placeholder and the real icon.

## Provider-Specific Subtleties

Some concerns (like caching and coalescing multiple in-flight calls with the
same `IconKey`) are not specific to any particular Providers like ARC++ or
Crostini, and can be solved by the Proxy.

Other concerns are Provider-specific, and are generally solved in Provider
implementations, albeit often with non-Provider-specific support (such as for
placeholder icons, discussed above). Such concerns include:

  - Multiple icon sources: some icons for built-in VM-based apps (e.g. ARC++ or
    Crostini) should be served from a compiled-into-the-browser resource
    instead of from the VM.
  - Pending LoadIcon calls: some `LoadIcon` calls might need to wait on
    bringing up a VM.
  - Potential on-disk corruption: for whatever reason, an on-disk file that's
    meant to hold a cached icon may be missing or invalid. In that case, the
    Provider should still provide a (placeholder) icon, and trigger
    Provider-specific clean-up and re-load of the real app icon.

All of these concerns listed should be straightforward to handle, and don't
invalidate the overall App Service `Publisher.LoadIcon` Mojo design, including
its non-Provider-specific caching and other optimization layers.

There are also yet another category of concerns that are Provider-specific, but
also outside the purview of the App Service. For example, the file system
layout of ARC++'s on-disk icon cache is, from the App Service's point of view,
considered a private ARC++ implementation detail. As long as ARC++'s API
remains the same, and if ARC++ can notify the App Service if the App Service
needs to reload any or all icons, then any change in ARC++'s file system layout
isn't a direct concern to the App Service.

# App Runner

Each `Publisher` has (`Publisher`-specific) implementations of e.g. launching an
app and populating a context menu. The `AppService` presents a uniform API to
trigger these, forwarding each call on to the relevant `Publisher`:

    interface AppService {
      // App Runner methods.
      Launch(AppType app_type, string app_id, LaunchOptions? opts);
      // etc.

      // Some additional methods; not App Runner related.
    };

    interface Publisher {
      // App Runner methods.
      Launch(string app_id, LaunchOptions? opts);
      // etc.

      // Some additional methods; not App Runner related.
    };

    struct LaunchOptions {
      // TBD.
    };

TBD: details for context menus.

TBD: be able to for-each over all the app *instances*, including multiple
instances (e.g. multiple windows) of the one app.

# App Installer

This includes Provider-facing API (not Consumer-facing API like the majority of
the `AppService`) to help install and uninstall apps consistently. For example,
one part of app installation is adding an icon shortcut (e.g. on the Desktop
for Windows, on the Shelf for Chrome OS). This helper code should be written
once (in the `AppService`), not `N` times in `N` Providers.

TBD: details.

# App Coordinator

This keeps system-wide or for-apps-as-a-whole preferences and settings, e.g.
out of all of the installed apps, which app has the user preferred for photo
editing. Consumer- or Provider-specific settings, e.g. icon order in the Chrome
OS shelf, or Crostini VM configuration, is out of scope of the App Service.

TBD: details.

---

Updated on 2019-03-20.

redpajama_set_name: RedPajamaGithub


Obituary for Carlton "Bobby" Stanley Simmons , Sr.
Carlton "Bobby" Stanley Simmons Sr., 92 year old WWII Navy Veteran of Elizabethtown passed away on Wednesday, November 14, 2018. He was preceded in death by his parents: Augusta Floyd Simmons and Nettie Watts Simmons, his wife: Hilda Britt Simmons, three brothers: G.F. Simmons, Grady Simmons, and Billy Simmons, two sisters: Kate Davis and Elouise Johnson. Bobby leaves behind his wife Donna Simmons of the home; son: Stan Simmons and wife Jennie of Elizabethtown; two daughters: Carla Evans and husband Tony, Lynn Brisson and husband Nile, both of Elizabethtown; one step-daughter: Cyndia Smith Russell also of Elizabethtown, three sisters-in-law: Mildred Simmons, Gladine Britt and Molly Britt, grandchildren: Jeff Brisson and wife Tammy, Brittney Allen and husband Jordan, Alex Peterson and husband Daniel, Noah Simmons, Elijah Simmons, step-grandchildren: Heath Britt, Ashley Berdeau and husband Brandon, Krystale Russell, Ashley Bunnell and husband Trey, and Samantha Abernathy and husband David, 12 great grandchildren.
A firm handshake, a kind and encouraging word, an infectious smile, and laughter that was as bright as a song. He was a good man who did life well, even to the end. He was tender, loving, and could spot a good character from a mile away. Filled with understanding, he was always ready to extend another chance. He lived by the motto; "Do what you do, do it well"… and he did just that.These were the qualities of a man who spent his life serving. Bobby Simmons was a man who served his wife and family in wholehearted love. He served his country heroically, he served his community honestly, and served his God through it all and forevermore.
Bobby Simmons crossed over into Glory in the comfort of his easy-chair Wednesday night with those who loved him most in his midst. Bobby is remembered fondly by his family and community as a prominent businessman, Sunday school teacher, carpenter, and friend.
A Celebration of Life Service will be held on Saturday, November 17, 2018 at 11:00 am at Wesley's Chapel United Methodist Church in Elizabethtown with Rev. Eckie Lancaster and Rev. Darrell Copeland officiating. The family will receive friends following the service in the Multipurpose Building of the church. The burial will be private.
Add your thoughts, prayers or a condolence to Carlton's guestbook.