Christians on the Left Member Jeremy Horton shares his thoughts on the new Labour Party leader.
Whatever you may think of Jeremy Corbyn (views range from political Messiah to dangerous crackpot and every shade in between), you can't help but be impressed at what he pulled off. It's the "upside-downness" of it all that particularly tickles me. A scruffily dressed OAP, a veteran left wing rebel and career protest politician. The only thing fashionable about him is his beard and that's only by accident. How did he gate-crash the Labour leadership election? He only threw his hat into the ring because his left-wing friends threw it in there for him- "go on Jeremy it's your turn". He scrapped onto the ballot paper with minutes to go, after a few MPs reluctantly lent him their nominations . He was then only supposed to be in it to make up the numbers, make it look more democratic. Just a bit of stage left scenery (opposite Liz Kendall's stage right) on a stage set up for the two real candidates; the younger, prettier candidates, the solid, safe, centrist/soft left candidates, Yvette Cooper and Andy Burnham.
Only it seems Jeremy hadn't read the script. Instead of sticking to his lines, he performed an entirely different play all of his own.
Whilst Andy Burnham started as clear favourite, the signs were there from the first televised hustings. It was Jeremy whom the audiences most warmed to and clapped to. And though not a single newspaper editor endorsed him, twitter and face book were soon buzzing with enthusiastic support for him. And then came the big endorsements from the unions and the local Labour parties. And a tsunami wave of 10,000s of new party members and supporters, many (like my daughter) only registering to vote for Jeremy (a few maliciously but most genuinely and enthusiastically).
Of course, the party's old "grandees" all lined up to denounce this dangerous left wing pied piper who would lead Labour into the jaws of hell. Vote ABC they said, "anyone but Corbyn ".
Yet this newly sprouting electorate weren't listening to those yesterday's men. And meeting halls were soon bursting at the seams for enthusiastic crowds to lap up his gospel of hope, peace and social justice. It was a heretical message that rejected the Conservative/New Labour consensus of austerity to deal with debt, the role of assistant world policeman, faith in free markets and lower taxes (especially for the rich). But this message was so popular that he had to address outside the masses who couldn't squeeze inside the halls.
And very soon the pollsters were all pointing towards something that weeks earlier was impossible; Jeremy's landslide victory. The two candidates who were supposed to be favourites, Andy & Yvette, were just hanging in there, hoping there'd be enough ABC voters to take it to a second ballot. Meanwhile each argued that they were the only one who could save the party from him. All in vain, as they were were swept away by his tsunami in the very first round of voting.
So what's been the secret of his appeal? He's not even a great orator, no silver-tongued rabble-rouser. Few jokes, no purple prose or soundbite spin. Just straight talking with the authority of someone who not only knows what he's talking about but actually believes in it too. And he "doesn't do personal." He has no time for petty sniping at his rivals and critics. It's principles and policies that interest and excite him. And he doesn't do sleaze either. The worst he can be accused of is associating with dodgy people, "sinners" who support terrorism (He says he'll talk to anyone to try to promote peace). He takes no backhanders and fiddles no expenses. In fact consistently he has had the lowest expenses claim of any MP. And perhaps this is part of his appeal. At last an honest, plain-speaking politician, who just tells it as he sees it, with no vain varnish or cynical soundbites and who genuinely stands for something that he believes in. Almost the ante-type to the modern political leader, which perhaps makes him the very type of politician the country is crying out for.
But it was not just about him or even mainly about him, it's his message, which he articulated in a whole raft of policy documents ; as if this campaign was something that he'd been planning for years, rather than the last minute accident that it was. And surprisingly I found very many of his ideas, when considered with the care he himself takes over them, actually make sense. His policies are supported by Nobel prizing winning economists and in many cases by the wider public too. Just not by the establishment; the media and other politicians. Yet to my mind most of his policies are actually not very extreme. Mostly, they would not have been out of place in an updated version of the SDP's manifesto on which I campaigned for my dad in 1983. They seem more left wing only because the centre of politics has since shifted so substantially to the right.
So now he's been crowned Labour's leader, where will it all end? Will he yet be brought down next year as the party splits and his fellow MPs bring out the knives? And what if miraculously at age 71 he is somehow still standing as Labour leader at the next election? Will he not find the somewhat different audience of the general public rather less receptive than the crowds who have flocked to him this summer? Will his seed fall on too much stony ground of hard-hearted voters who don't share his passion for social justice or will it be strangled by the thorns and weeds of our conservative media?
Or will a political miracle really happen? Can a scruffy septuagenarian socialist with a 30 year career in protest politics really pull it off? Through plain speaking without spin and soundbites, can he inspire enough voters with his vision of a fairer, kinder, more optimistic society to get him over the winning line? (After all the votes of less than a quarter of the electorate are normally enough to win). I don't know. I remain doubtful, but I would like to believe it though.
For it seems to me this country we have for too long now been enthralled by a consensus ideology born in the Conservative party but adopted by New Labour ; blind faith in the good of the free market and the evil of state interference, lower taxes on the income and property of the rich, in the belief that the market will run things better and the wealth will trickle down. It hasn't worked; nationally and globally the rich have got richer and the poor have got poorer, our planet is overheating from fossil fuels, while it was the lack of state regulation and tolerance of reckless greed (not government borrowing) that led to the economic crash. Don't get me wrong I'm not saying the opposite is true either; state good, market bad. (I'm old enough to remember the 1970s and my dad's disastrous British Leyland cars like the Austin Princess and the endless strikes). Blind faith in either the market or the state is a mistake. They are both false gods. I just believe it is time for a new way, a better blend of the two. Like Margaret Thatcher was the herald for the new free market ideology that has held sway for 36 years, could Jeremy Corbyn be the evangelist of a new ideology that might itself one day rule the kingdom as a new consensus? I don't know.


text:
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Build a Next level blockchain solution with NULS
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NULS is like a proof of credit blockchain platform that enables smart contracts. It focuses on becoming a customizable blockchain infrastructure using sidechains. It is also compatible with various blockchains due to its cross-chain consensus.
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In simple words, NULS is a microservices-driven blockchain project that provides enterprises with a platform to create and deploy their DApps (Decentralized Applications) to solve different issues. With the help of the PoC (Proof of Credit) consensus mechanism, it allows its users to lock a specific number of tokens to run a network node.
Therefore, NULS is a simple microservices-driven blockchain project that uses the PoC (Proof of Credit) consensus mechanism to mine via staking. The NULS (NULS) modular design features 'NULSTAR' is, a microservices-based framework reportedly enabling enterprise-grade blockchain solutions for private chains, smart contracts, public chains, dApps, and NRC- 20 tokenizations.
History of NULS
The first NULS (NULS 1.0 mainnet) was launched in July 2018. The main product of the NULS is a chain factory, which is a chain building tool that allows different businesses to utilize the plug and play a selection of the modules from the NULS Module Repository, including the cross-chain consensus for the asset value circulation within the NULS ecosystem.
NULS Blockchain
How does NULS work?
The NULS (NULS) is powered by the Ethereum, Binance Smart Chain, HECO, and OKEx Chain networks, and the design operates at two different levels, namely- microkernel and plug-and-play.
The first level, the microkernel, forms the network's foundation and renders the underlying project mechanism. On the other hand, the functional module comprises the plug and play system that has low coupling, and the users can also swap as per their convenience. Finally, the NULS ensures each sub-chain has a separate set of nodes to ensure the correct cross-chain. Therefore, the nodes that take part need to load modules that work across both chains.
NULS is on the rise this week
The NULS (NULS) price has risen by around 12.49% in the last 7 days. The price is increased by 1.21% in the previous 24 hours, and in the last hour, the price was shrunk by 0.60%. As a result, the currency price is 32.152538 INR per NULS (NULS). Furthermore, NULS (NULS) is 95.08% below the all-time high, 654.805431 INR. The current circulating supply is around 99,620,739.312 NULS (NULS).
NULS (NULS) is mainly a microservices-driven blockchain project that provides enterprises with a platform for creating and deploying decentralized apps, commonly known as DApps, which helps solve different issues.
The PoC (Proof of Credit) consensus mechanism allows users to lock several tokens to run a network node.
As per the sources, the NULS (NULS) was trading at us $1.20 with a trading volume of US $1,370,281,017 in the last 24 hours.
NULS (NULS), the microservices-driven blockchain project providing enterprises with a platform to create and deploy the decentralized applications or DApps to solve the issues, also provides the users with enterprise-level blockchain infrastructure. Furthermore, it focuses on pluggability and customization to include cross-chain consensus, smart contracts, etc. The main idea was to have a blockchain system that would help to reduce the burden on the main chain by creating different side chains to decouple the services and events on the blockchain.
Also, using the PoC (Proof of Credit) consensus mechanism, the NULS (NULS) allows its users to lock a specific number of tokens to run a network node, and the project uses the controller nodes, that the network calculates as a credit coefficient for each node and determines its consensus award.
The NULS (NULS) gained inventory mainly because of its massive volume gain of 12,678% after it was announced that NULS (NULS) is building Defi solutions that can be a gamechanger for crypto.
Investing in NULS
The NULS (NULS) is ranked 458 as it was trading at US $1,20 with a trading volume of around US $1,470,281,017 in the last 24 hours. At the time of writing, the NULS (NULS) also witnessed a significant rally and was up by 139%, with a live market cap of around $119,828,655 and a circulating supply of 99,620,739 NULS coins.
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redpajama_set_name: RedPajamaCommonCrawl


Thank you for your interest in the Gonzaga School of Business Administration Internship Program.
To learn more about the program click here for School of Business Internship Program Information.
To post an internship opportunity for potential interns click here to create an Internship Proposal.
To complete an internship click here to evaluate a current intern.
If you have any other questions or would like to see a list of interns currently available, please contact us at Business-Internships@jepson.gonzaga.edu.


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'NBA Jam' Designer Reveals Game Was Programmed to Screw the Bulls
By Nick Porr | Jun 29, 2020, 11:42 AM EDT
Former Chicago Bulls star Scottie Pippen | VINCENT LAFORET/Getty Images
The Chicago Bulls-Detroit Pistons rivalry ran deep in the early 1990s. The Pistons had dispatched Michael Jordan and the Bulls in three straight playoff series until 1991, when the Bulls finally defeated the Pistons en route to their first NBA title. When developing NBA Jam in the early 90s, lead designer Mark Turmell snuck in a easter egg for the rivalry.
In an interview with Ars Technica, Turmell, a Detroit Pistons fan, added in an edge for the "Bad Boys" in NBA Jam. As many fans long speculated, if the Bulls take a last second shot against the Detroit Pistons, they will always miss.
The creator of NBA Jam finally confirms the long standing conspiracy theory that the game was programmed so that if the @ChicagoBulls took a last second shot against the @DetroitPistons it would always miss.
Mystery solved! pic.twitter.com/ugBw7cbx8k
— ᴀʀᴅᴀ Öᴄᴀʟ (@Arda) June 26, 2020
Turmell added this little trick to give his team the edge over their bitter rivals. The edge didn't transfer to real life though, as the Bulls would go on to win six NBA titles in the 1990s.
The in-game edit is a nice little jab at Bulls fans. Sadly, it was never Jordan missing the shot because he wasn't featured in the game (he was omitted from many video games after opting out of the National Basketball Players Association's shared licensing agreement). Instead, the closest Pistons fans could get to revenge over the GOAT was by beating his teammates Scottie Pippen and B.J. Armstrong.
Jordan was only available to play as in a special copy of the classic video game made for him by the developers.
In a recent interview with @ScoopB, the voice of #NBA Jam, @Tim_Kitzrow revealed a cool story about a few VERY RARE copies of the game https://t.co/oyGB5QbG7A
— Bulls Talk (@NBCSBulls) August 21, 2019
If you can't get them back in real life, the next best thing is to do so in one of the most popular arcade games ever, right?


text:
package io.getlime.push.service.fcm;

import io.getlime.push.service.fcm.model.FcmSendRequest;
import io.getlime.push.service.fcm.model.FcmSendResponse;
import org.apache.http.HttpHost;
import org.apache.http.auth.AuthScope;
import org.apache.http.auth.UsernamePasswordCredentials;
import org.apache.http.client.CredentialsProvider;
import org.apache.http.impl.client.BasicCredentialsProvider;
import org.apache.http.impl.client.ProxyAuthenticationStrategy;
import org.apache.http.impl.nio.client.CloseableHttpAsyncClient;
import org.apache.http.impl.nio.client.HttpAsyncClientBuilder;
import org.springframework.http.*;
import org.springframework.http.client.HttpComponentsAsyncClientHttpRequestFactory;
import org.springframework.util.concurrent.ListenableFuture;
import org.springframework.web.client.AsyncRestTemplate;

/**
 * FCM server client
 *
 * @author Petr Dvorak, petr@lime-company.eu
 */
public class FcmClient {

    private static final String fcm_url = "https://fcm.googleapis.com/fcm/send";

    private final HttpHeaders headers;
    private final AsyncRestTemplate restTemplate;

    /**
     * Create a new FCM service client.
     * @param serverKey Server key tp be used.
     */
    public FcmClient(String serverKey) {
        headers = new HttpHeaders();
        headers.setContentType(MediaType.APPLICATION_JSON);
        headers.set("Authorization", "key=" + serverKey);
        restTemplate = new AsyncRestTemplate();
    }

    /**
     * Set information about proxy.
     * @param host Proxy host URL.
     * @param port Proxy port.
     * @param username Proxy username, use 'null' for proxy without authentication.
     * @param password Proxy user password, ignored in case username is 'null'
     */
    public void setProxy(String host, int port, String username, String password) {

        HttpAsyncClientBuilder clientBuilder = HttpAsyncClientBuilder.create();
        clientBuilder.useSystemProperties();
        clientBuilder.setProxy(new HttpHost(host, port));

        if (username != null) {
            CredentialsProvider credentialsProvider = new BasicCredentialsProvider();
            UsernamePasswordCredentials user = new UsernamePasswordCredentials(username, password);
            credentialsProvider.setCredentials(new AuthScope(host, port), user);
            clientBuilder.setDefaultCredentialsProvider(credentialsProvider);
            clientBuilder.setProxyAuthenticationStrategy(new ProxyAuthenticationStrategy());
        }

        CloseableHttpAsyncClient client = clientBuilder.build();

        HttpComponentsAsyncClientHttpRequestFactory factory = new HttpComponentsAsyncClientHttpRequestFactory();
        factory.setAsyncClient(client);

        restTemplate.setAsyncRequestFactory(factory);
    }

    /**
     * Send given FCM request to the server.
     * @param request FCM data request.
     * @return Listenable future for result callbacks.
     */
    public ListenableFuture<ResponseEntity<FcmSendResponse>> exchange(FcmSendRequest request) {
        HttpEntity<FcmSendRequest> entity = new HttpEntity<>(request, headers);
        return restTemplate.exchange(fcm_url, HttpMethod.POST, entity, FcmSendResponse.class);
    }
}

redpajama_set_name: RedPajamaGithub


text:
La Vyša () è un fiume della Russia europea centrale, affluente di destra della Cna (bacino idrografico della Oka). Scorre nell'Oblast' di Penza, nella Mordovia e nell'Oblast' di Rjazan.

Nasce dalla confluenza dei fiumi Noksa e Ušinka nella regione di Penza e attraversa il centro regionale di Zemetčino; scorre mantenendo una direzione mediamente nord-occidentale. Sfocia nel fiume Cna a 67 km dalla foce. Il fiume ha una lunghezza di 179 km, l'area del suo bacino è di 4 570 km².

Note

Collegamenti esterni
 Mappa:

Fiumi della Mordovia
Fiumi dell'Oblast' di Penza
Fiumi dell'Oblast' di Rjazan'

redpajama_set_name: RedPajamaWikipedia


text:
Phone (North) : +44 7835 620 592
Phone (South): +353 87 261 8603
OUT-OF-HOURS CALLS STRICTLY FOR EMERGENCIES ONLY – (CLICK TO SEND AN E-MAIL)
Inspection & Testing
Emergency Call-Outs
RECI, Safe Electric, NICEIC & ECA Electrician in Derry & Donegal
Walsh Electrical Services: Electrical Excellence in Ireland's North-West
At Walsh Electrical Services we ensure that all electrical installation work that we carry out is completed to the highest standard by fully qualified Electricians. We ensure full compliance with the National Wiring Rules or IET Wiring Regulations, along with relevant Building Regulations and other associated Standards. As a Derry Electrician and a Donegal Electrician (including an Inishowen Electrician) – and also covering other areas, we deliver quality electrical installations wherever you are!
Any electrical installation work in the north (e.g. Derry City) is carried out in full compliance with BS 7671:2018 (2022) Requirements for Electrical Installations – the 18th Edition of the IET Wiring Regulations (also known as the IEE Wiring Regulations) incorporating Amendment No. 2.
Conversely in the south (e.g. Buncrana and Inishowen) all work is carried out in accordance with I.S. 10101:2020 – the 5th Edition of the National Rules for Electrical Installations (Incorporating Corrigendum 1:2020).
Following the winding up of the Electro-Technical Council of Ireland (ETCI), the TC2 committee was brought under the remit of the National Standards Authority of Ireland (NSAI). The 5th Edition of the southern Wiring Rules was issued by the NSAI as I.S. 10101:2020. This is now an Irish Standard and a legal document.
The 5th Edition was published on the 6th March 2020. A 28-month transition period began on the 1st April 2020, enabling installations to be designed to the new standard from this date. (Initially there was to be a 24-month transition period, however the dates have been extended by four months due to the COVID-19 pandemic.) Since 1st February 2021 all new installations must be designed and certified to the 5th Edition. Any installation which was designed to the 4th Edition (ET101:2008) by 31st January 2021 was required to be certified to at least a pre-connection stage by 31st July 2022. From 1st August 2022 all electrical installations have had to be certified to the 5th Edition.
As our emphasis is on high quality and fully compliant solutions with the Wiring Rules or Wiring Regulations (as appropriate) we aim to offer our services at a fair and reasonable price. Unlike unreputable contractors, however, we do not aim to provide our services cheaply. We contend that quality electrical work is not cheap, and that cheap electrical work is invariably of poor quality and very often unsafe and non-compliant with the Technical Rules/Regulations. Should you require a job to be completed at short notice then we will do our best to accommodate this (should our schedule allow), however your job is liable to be charged at a higher rate for this being prioritised over existing scheduled works.
Should cost be your primary concern then we would respectfully suggest that we would not be the best choice of contractor for you, as this would prevent us from completing the works to the very high standards which we insist upon.
Based in Derry City – the capital of the North-West of Ireland – Walsh Electrical Services serves not only Counties Derry and Donegal, but also the rest of the country.
Approved & Registered Electrical Contractor in Derry & Donegal
RECI (Safe Electric) Registered Electrical Contractor – Register of Electrical Contractors of Ireland
Walsh Electrical Services are a RECI (Register of Electrical Contractors of Ireland) and Safe Electric Registered Electrical Contractor (REC). We have been a member of RECI since 1st October 2014.
Since October 2013 only a REC has legally been permitted to carry out any Restricted Electrical Works (otherwise known as Designated Electrical Works) in the south of Ireland. This includes all electrical work in any home within the State other than defined Minor Works. Restricted Electrical Works are therefore Controlled Electrical Works in a domestic setting.
There is no legal exemption for the Owner or Occupier. By law only an REC can carry out the work. Contravention of this law is punishable by a maximum fine of €15,000 and/or imprisonment for up to three years. Several people have already been jailed and/or fined for these offences.
Falsely claiming to be a REC (or acting in a manner likely to suggest that an individual or organisation is a REC without being so registered) is also a criminal offence, and carries the same penalties as those highlighted above.
Additionally, as a member of RECI/Safe Electric we can self-certify any Controlled Electrical Works (also known as Specified Works) – including in non-domestic premises (e.g. industrial, commercial or agricultural installations). Controlled Electrical Works require certification by law.
Electricians in Donegal
We provide a complete range of electrical services to businesses and homes in Inishowen, Letterkenny, and other parts of County Donegal. All works are subject to Irish Value-Added Tax (VAT) at the prevailing rate. (At time of writing, this is generally 13.5% VAT for Services (subject to the two-thirds rule), however the Standard VAT rate of 23% can also apply in some other instances, as detailed by Revenue: "Excludes wiring work beyond powerpoints, fuseboards and lampholders, such as wiring-up electric cookers, (which is liable at the Standard rate).". See https://www.revenue.ie/en/vat/vat-rates/search-vat-rates/E/electrician-services-work-on-fixtures-private-dwellings-nonresidential-immovable-goods-.aspx for further information.)
Contact us if you need RECI Electricians in Donegal.
NICEIC Approved Contractor – National Inspection Council for Electrical Installation Contracting
We are also an NICEIC (National Inspection Council for Electrical Installation Contracting) Approved Electrical Installation Contractor. We have been enrolled on the NICEIC Roll of Approved Contractors since 8th March 2016.
We provide certification and reporting on NICEIC forms as required by many clients. Additionally, our work is covered by the NICEIC Platinum Promise - a guarantee for six years from the date of completion of the work up to a value of Stg £25,000.
Electricians in Derry
We provide a complete range of electrical services to businesses and homes in Derry City and other parts of County Derry and surrounding areas.
Contact us if you need NICEIC/ECA Electricians in Derry.
ECA Registered Member – Electrical Contractors' Association
Walsh Electrical Services are a member of the Electrical Contractors' Association (ECA). We were elected a Registered Member of the Electrical Contractors' Association on 2nd July 2020.
As an ECA Member, our business is independently technically assessed, on a regular basis. This ensures that we manage, supervise and carry out our work to the required technical standards with the necessary skill, knowledge and experience. We are, therefore, pleased to share our Technical Compliance Certificate with our customers to demonstrate the areas of electrotechnical work where our business has been successfully technically assessed.
ECA also offers a guarantee and an insurance-backed warranty and bond which its Members can provide to their clients at no charge*. These provide assurances that the work our business carries out, in line with our Technical Compliance Certificate, will meet the relevant industry technical standards and in the case of the Bond it provides indemnity for the client, in the unlikely event that the work is not duly completed.
Finally, in addition to our own in-house capability, our business has ready access to professional technical support from the ECA across a broad range of electrical and other electrotechnical matters. ECA also provides us with access to professional health and safety, environmental, and employment and skills support via dedicated helplines and our 'Members Only' area of the ECA website.
*Please see the terms and conditions, available on request.
By engaging a Registered Member of the Electrical Contractors' Association you will also benefit from the ECA Code of Fair Trading which is in addition to, and shall not detract from, your legal and statutory rights.
Electrical Services in Donegal & Derry
At Walsh Electrical Services we provide many and varied electrical services.
This includes electrical installations to BS7671 and electrical installations to I.S. 10101 including (but not limited to) Electric Vehicle Supply Equipment (EV charge point) installations. Whether small or large works are required we can cater for all of your needs. Please contact Walsh Electrical Services to arrange this!
Periodic inspection and testing to either BS7671 or I.S. 10101 (as appropriate) is another service which we offer. This is used to ascertain whether any electrical installation for which you are responsible is in a safe and satisfactory condition and is suitable to remain in service. We can advise on any remedial work necessary to bring an Unsatisfactory installation into a Satisfactory state along with any other recommended improvements. As no electrical installation work has been completed the document which you receive following this is a report rather than a certificate. (You will receive an Electrical Installation Condition Report or Periodic Inspection Report.)
We also provide a Portable Appliance Testing (PAT) service to ensure that any electrical equipment is safe to connect to the electricity supply. (N.B. The PAT testing process is more correctly known as In-service Inspection and Testing of Electrical Equipment and therefore is not confined to portable appliances, nor to appliances connected via a plug and socket arrangement.)
Additionally, we also carry out Subcontract work, and are a Construction Industry Scheme (CIS) and Relevant Contracts Tax (RCT) registered Subcontractor.
Our experience is wide-ranging, including in industrial; commercial; domestic; agricultural, and non-domestic Solar Photovoltaic (PV) installations; EV Charging Equipment installations; maintenance; inspection and testing both of the fixed installation and appliances, and in both private sector and public sector contracts. We also have extensive experience of Emergency Lighting installations to both BS 5266-1 and I.S. 3217 and Fire Alarm installations to BS 5839-1/BS 5839-6 and I.S. 3218 – the relevant British Standards and Irish Standards respectively for such installations.
We are able to accept payments in Pounds Sterling (Stg £) or Euro (€) as appropriate to each jurisdiction, and are fully tax compliant.
Contact an Electrician in Donegal & Derry
If you need an NICEIC Electrician in Derry or elsewhere in the north, a RECI Electrician in Donegal or elsewhere in the south, an ECA Registered Member, or require any further information, or an estimate or quotation for any electrical work, then please do not hesitate to contact Richard on either +44-7835 620 592 (North) or +353-87 261 8603 (South); landline (048) 7126 0814 by facsimile (fax) on (048) 7126 0818, or e-mail This email address is being protected from spambots. You need JavaScript enabled to view it.
Alternatively you can write to us at our Head Office in the Cityside of Derry City (just off the Buncrana Road) – close to the border with Bridgend in the Inishowen Peninsula of County Donegal. We are situated just 11 miles from Buncrana and less than 20 miles from Letterkenny.
Walsh Electrical Services
12 Woodbrook,
DERRY CITY,
Co. Derry,
BT48 8FF,
RECI Registration Number: A4295 | NICEIC Enrolment Number: 606670000 | ECA Membership Number: 1683347
"If you're in the dark, you need a Spark!"


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As outlined in a Dec. 21 special online supplement in the Journal of Bone and Joint Surgery, ICOR is in the process of developing a collaborative process for improving the safety of orthopedic devices using outcomes registries from the U.S. and other countries. The combined ICOR registries may include data on millions of orthopedic surgical procedures and all implantable devices on the market.
More than 700,000 joint replacement devices are implanted in patients in the U.S. every year, and this volume is projected to increase twofold for hip-joint replacements and sevenfold for knee-joint replacements, to a total of more than 3 million annually, in the 20 years.
While there have been dramatic advancements in orthopedics, including new devices and improved surgical techniques, the value of many of these devices has not been established using large studies in real-world settings. The FDA chair of the meeting Dr. Danica Marinac-Dabic and ICOR meeting co-leads Dr. Art Sedrakyan (NewYork-Presbyterian/Weill Cornell and Hospital for Special Surgery) and Elizabeth Paxton, M.A., (Kaiser Permanente) believe that the consortium will help ameliorate this problem.
Unlike drugs, devices have a different path of approval that may not require conduct of clinical trials in the United States. Furthermore, adverse outcomes reporting for devices is voluntary, and the resulting data are often incomplete or inaccurate. While there is currently an effort by the American Academy of Orthopedic Surgeons to develop a large national registry, the midterm follow up will likely take several years or more, says Dr. Sedrakyan, who coordinated the supplement for ICOR and is directing the Patient-Centered Comparative Effectiveness Program. He is associate professor of public health at Weill Cornell Medical College.
For the time being, the most reliable data on devices come from large registries in the U.S. such the Kaiser Permanente Implant Registries and international registries such as those in Australia, the U.K. and Scandinavian countries that track 100 percent of device implants in those countries. While these data are complete, each registry takes a unique approach to monitoring safety.
As a result, ICOR is bringing together orthopedic surgeons, scientists and other stakeholders to establish a unified method for analyzing and reporting multinational registry data. "The result will allow us to find important differences among implants — and thus provide important evidence to inform decision-making by physicians, hospitals and patients," say ICOR researchers.
"This collaboration provides a unique opportunity to improve patient safety worldwide by identifying the best implants for our patients," says Ms. Paxton, supplement co-author and director of Kaiser Permanente's Implant Registries, which has more than 130,000 implants registered in it.
The Journal of Bone and Joint Surgery supplement summarizes the inaugural ICOR meeting held May 9 and 10 at the headquarters of the FDA in Silver Spring, Md. A total of 14 papers (including a summary paper) report on a variety of the meeting's topics such as implant safety and methodology. Conference invitees included 73 stakeholders from 29 registries representing 14 nations. In addition, more than 25 non-registry stakeholders represented the medical device industry, the Agency for Healthcare Research and Quality, the National Institutes of Health, Centers for Medicare & Medicaid Services, academia, device regulatory agencies, device cataloging experts, insurers and other payers. The Hospital for Special Surgery was an important partner in organizing the meeting.
In addition to Dr. Sedrakyan and Elizabeth Paxton, co-authors include Robert Namba, Tadashi Funahashi and Thomas Barber of Kaiser Permanente, San Diego; Charlotte Phillips, Thomas Sculco, Douglas Padgett and Timothy Wright of the Hospital for Special Surgery; and Danica Marinac-Dabic of the Center for Devices and Radiological Health, U.S. Food and Drug Administration, Silver Spring, Md.
Kaiser Permanente is committed to helping shape the future of health care. We are recognized as one of America's leading health care providers and not-for-profit health plans. Founded in 1945, our mission is to provide high-quality, affordable health care services and to improve the health of our members and the communities we serve. We currently serve 8.9 million members in nine states and the District of Columbia. Care for members and patients is focused on their total health and guided by their personal physicians, specialists and team of caregivers. Our expert and caring medical teams are empowered and supported by industry-leading technology advances and tools for health promotion, disease prevention, state-of-the-art care delivery and world-class chronic disease management. Kaiser Permanente is dedicated to care innovations, clinical research, health education and the support of community health. For more information, visit www.kp.org/newscenter.


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Rakata is een reggaetonnummer van het Puerto Ricaans vocaal duo Wisin & Yandel. Deze single was de eerste van Wisin & Yandel. De single is uitgegeven op 27 januari 2005 door  Universal Latino and Mas Flow Inc. Het lied werd voor het eerst uitgegeven op de cd Mas Flow 2 en later op hun album Pa'l Mundo. Sinds de uitgave is Rakata een van de meest verkochte singles van 2005 en 2006.

Muziekvideo
De muziekvideo is gemaakt door Marlon Peña en uitgegeven door Universal Music Group and Mas Flow Inc. eind 2005. De video laat het duo zien samen met een stel dansende vrouwen, midden in een publiek. Luny Tunes heeft een cameo in de video.

Officiële versies
Album Version — 2:55
Remix — 3:33
Hip Hop Remix — 3:24
Tigerstyle Remix — 4:05
Instrumental — 2:55
Hip Hop Remix A capella — 3:21

Single uit 2005
Reggaeton
Reggaenummer


Awarded annually on the recommendation of the Chair of the Department of Geography and Environmental Studies, when merited, to a 3rd or 4th year student in a geography or environmental studies program who is studying in the field of urban studies – particularly as it relates to the quality of urban life. Recipients will demonstrate financial need, must be Canadian Citizens or permanent residents of Canada (landed immigrant or a protected person), and must meet OSAP's Ontario Residency requirements. Endowed in 1997 by friends, colleagues and family of the late Douglas Fullerton, former Chairman of the National Capital Commission, in recognition of his visionary contributions to city life.


Do you need help managing your pet's arthritis, pain, obesity, injury, or postoperative lameness? These are all common conditions for pets both young and old. Fitness and conditioning therapy can help them regain mobility and flexibility, lose weight, and work through their physical limitations.
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Do you need help keeping your dog active during the winter months or year-round? We know how difficult it can be to get your dog out and about as much as they (or you) would like. Let us do the work for you and help your pet stay fit and healthy.
How about a treating your dog to a swimming session for exercise? This is one of our favorite ways to help condition dogs who need a little extra help. The water holds them up while we get them moving again.


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Q: Comparing the performance of a fuzzy model and a probabilistic classifier For a binary classification task, I have (1) a fuzzy model (Mamdani) that outputs a number between 0 and 20 (after defuzzification) and (2) a logistic regression that outputs a number between 0 and 1. Even though both systems are based on very different theoretical basis (possibility theory vs probability theory), I was wondering if it is possible to compare their performance with something like ROC AUC. The final user will use the outputs of both models to assess the risk that a certain event presents. As such, both systems can have a threshold of acceptable risk and this means, AFAIK, that they can be compared in terms of ROC AUC.
EDIT:
The question is: how can I compare the performance of a fuzzy model and a probabilistic classifier, assuming that both have a continuous output? My first bet was to use ROC AUC because I'm interested into the ranking ability of each model. Also, I'm asking this because this kind of comparison is very unusual, AFAIK.

A: Well if I'm understanding the problem correctly you can make a binary classification model which takes as input the outputs of the fuzzy model, and then compare it to your original logistic regression model.
These are my assumptions: Lets assume you have two systems regarding transaction fraud. Historically you already know if that transaction was indeed a fraud, i.e. $y\in\{0,1\}$. Vector $Y$ represents if each $y_t$ trasaction was a fraud or not, $Y=[y_0,y_1,..,y_t]$. If $X$ is the matrix containing the samples and its features then the logistic regression model will be something like,
\begin{equation}
\hat{Y} = \hat{f}_1(X,\hat{\theta}_1).
\end{equation}
where $\hat{f}_1$ is a sigmoid with a linear combination of features ($\hat{\theta}_1$ are the coefficients of the linear regression).
If you make a matrix with the outputs of the fuzzy model, let's call it $X_{fuzzyfeatures}$ you can train a new model,
\begin{equation}
\hat{Y} = \hat{f}_2(X_{fuzzyfeatures},\hat{\theta}_2).
\end{equation}
Now you can compare $f_1$ and $f_2$ models using ROC. $f_2$ can and should be nonlinear.

redpajama_set_name: RedPajamaStackExchange


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Explore RAAMP's Resources on the CAA Website
posted by CAA — July 30, 2020
RAAMP (Resources for Academic Art Museum Professionals) has a new home! Moving forward, you can find all the resources you know and love here on our website at: collegeart.org/raamp
A project of CAA with support from the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation, RAAMP aims to strengthen the educational mission of academic museums and their parent organizations by providing a publicly accessible repository of resources, online forums, and relevant news and information. RAAMP's coffee gatherings and video practica cover a wide variety of topics including advocacy, engagement, curricula building, cross-disciplinary collaboration, technology, development, and censorship.
EXPLORE RAAMP
To receive updates and invitations to upcoming RAAMP programming, sign up for the RAAMP mailing list.
For any questions regarding the RAAMP program, please contact Cali Buckley, grants and special programs manager, at: cbuckley@collegeart.org
Filed under: Art History, Online Resources, Organizations — Tags: featured, Museums and Galleries —
RAAMP Coffee Gathering: Participatory Conversation on Reimagining Engagement in Academic Art Museums
Coffee Gathering: Reimagining Engagement in Academic Art Museums
On Thursday, July 23, 2020 at 2:00 PM (EDT) CAA's Cali Buckley will speak with Berit Ness, Assistant Curator of Academic Initiatives, Smart Museum of Art at the University of Chicago, and Celka Straughn, Andrew W. Mellon Director of Academic Programs at the Spencer Museum of Art at the University of Kansas. To RSVP to this Coffee Gathering, please fill out this form.
Berit Ness is the Assistant Curator for Academic Initiatives at the University of Chicago's Smart Museum of Art, where she oversees the museum's active study room, manages curricular exhibitions, and serves as a specialist for the museum's permanent collection. She regularly engages with UChicago faculty and students to foster interdisciplinary approaches for using the museum's collections and exhibitions as a resource for teaching and learning. Berit has co-organized curricular-driven exhibitions such as Down Time: On the Art of Retreat and The History of Perception.
Since joining the Spencer Museum of Art at the University of Kansas in 2009 Celka Straughn has worked to integrate the museum into the life of the university, and university teaching, learning, research and other activities into the life of the museum. This includes collaborative exhibition projects with faculty and students, such as American Dream, a student-generated exhibition with Dr. Ellen Raimond in conjunction with the 2016 KU Common Book (2017). Her teaching and scholarly work on museums explores collecting practices, museums and markets, colonial and global museum discourses, cross-disciplinary museum learning and engagement, and museum ethics. She regularly teaches courses for KU's Honors Program, and is affiliate faculty in Museum Studies and German Studies. From 2012-2019 she served on the CAA Museum Committee and contributed to the formation of RAAMP.
The COVID-19 pandemic and greater awakening of museums to the pandemic of structural racism have further pushed museums to rethink how they engage with their communities. For museums embedded within colleges and universities, this has brought a reexamination of the fundamental ways they act as sites for teaching and learning on campus. As educational institutions are pivoting to new curricular models for socially-distanced and remote learning, campus museums also have to envision new ways to support teaching with art. How can academic museums learn from these experiences to strengthen their missions for inclusion and accessibility, meet emerging academic and community needs, and catalyze structural change?
This participatory conversation is designed to bring colleagues together in discussion. The bulk of the session will take place in smaller break-out rooms for participants to individually share and learn from each other. Below are some prompts for generating conversations.
What is the landscape of teaching at your institution this the fall?
How is your museum reimagining engagement with your academic and public audiences?
Are there any pedagogical methods, programs, or projects that felt successful last spring?
What are some strategies you are planning/developing?
What are your persistent challenges and what further resources are needed?
How might this moment inform your future practice?
If you have examples of class sessions, assignments, or other resources that you are willing to share with colleagues, RAAMP can host them. We will also have a shared document for models and ideas as well as questions during the breakout sessions.
RAAMP Coffee Gatherings are monthly virtual chats aimed at giving participants an opportunity to informally discuss a topic that relates to their work as academic art museum professionals. Learn more here.
Submit to RAAMP
RAAMP (Resources for Academic Art Museum Professionals) aims to strengthen the educational mission of academic art museums by providing a publicly accessible repository of resources, online forums, and relevant news and information. Visit RAAMP to discover the newest resources and contribute.
RAAMP is a project of CAA with support from the Andrew W. Mellon Foundation and the Samuel H. Kress Foundation.
Filed under: Art History, Online Resources, Organizations — Tags: Museums and Galleries —
RAAMP Coffee Gathering: Gender Equity in the Museum (and Arts) Workplace
posted by CAA — June 30, 2020
Coffee Gathering: Gender Equity in the Museum (and Arts) Workplace
On Thursday, July 2 at 2:00 PM (EST) we will speak with Anne Ackerson and Joan Baldwin on gender equity in museums and workplaces.
To RSVP to this Coffee Gathering, please fill out this form.
A former museum director, Joan H. Baldwin is the Curator of Special Collections at The Hotchkiss School. She is the principal writer for the Leadership Matters blog which had 55,000 views in 2018. Her work has also appeared in The Museum Blog Book, "History News," and "Museum" Magazine, Museopunks, and "The Guardian." She is a co-founder of the Gender Equity in Museums Movement, and teaches in the Johns Hopkins University museum studies program. With Anne Ackerson, she is the co-author of Leadership Matters (2013) and Women in the Museum: Lessons from the Field (2017). She and Ackerson published a revision of Leadership Matters: Leading Museums in an Age of Discord in August 2019.
Anne W. Ackerson is a former history museum director, director of the Museum Association of New York, and director of the national Council of State Archivists. She is currently an independent consultant to cultural and educational nonprofits, specializing in leadership, governance, and management issues. With Joan H. Baldwin, she is the co-author of Leadership Matters, a book examining history museum leadership for the 21st century, and Women in the Museum: Lessons from the Workplace. She is a co-founder of the Gender Equity in Museums Movement (GEMM), which is focusing its recent efforts on education, advocacy, and policy development around pay equity, salary transparency, and sexual harassment in the museum workplace. In 2018, she and Baldwin spearheaded research, revealing that 62% of the museum workforce are affected by some form of gender discrimination. In addition to research and writing about gender inequity, she and Baldwin have presented their findings to the Texas and Pennsylvania Associations of Museums as conference keynoters and via their blog, Leadership Matters.
RAAMP Coffee Gathering: Differentiating Visual Arts Admin and Museum Studies Programs
posted by CAA — January 16, 2020
Coffee Gathering: Differentiating Visual Arts Administration and Museum Studies Programs
On Thursday, February 6 at 2pm (EST) we will be online with Bruce J. Altshuler, Director and Professor of Museum Studies at New York University and Sandra Lang, Director and Professor of Visual Arts Administration at New York University to discuss their respective programs. Joining them will be Visual Arts Administration student Laura Busby and Museum Studies student Olivia Knauss.
For participant bios, see the full post on RAAMP.
To join this Coffee Gathering, please email Cali Buckley at cbuckley@collegeart.org.
Filed under: Higher Education, Humanities — Tags: Museums and Galleries —
RAAMP Coffee Gathering: My Gallery Is Bigger Than Your Gallery
posted by CAA — November 13, 2019
Coffee Gathering: My Gallery Is Bigger Than Your Gallery
On Thursday, November 21, 2019 at 2 PM (EST) RAAMP will be online with Michael Dickins, the curator and director of The New Gallery at Austin Peay State University. He will talk about the campus plan he created which enables him to share the gallery's collection in the university's community spaces.
"My formal gallery is 1500 sq. Ft," writes Dickins. "My actual gallery is 186 acres of surrounding campus. I list my Gallery as my primary residence, but the rest of my campus is my second home, or better yet, a cultured land that includes some of my favorite vacationing spots."
"I often use academic buildings, student common areas and the campus landscape to install works of art to not just boost the presence of the Department of Art+Design around campus, but as extensions of the gallery to educate students and the campus community about art and to generate conversations. These installations of artworks have bred collaboration between departments, administration and, more importantly, the facilities and grounds crews. They have also been excellent teaching opportunities for my students to learn about curating, installation, collaboration and managing red tape."
To RSVP to this online coffee gathering, please email Olivia Knauss at oknauss@collegeart.org
RAAMP is a project of CAA with support from The Andrew W. Mellon Foundation.
RAAMP Coffee Gathering: Designing a Collection Plan
RAAMP (Resources for Academic Art Museum Professionals) Coffee Gatherings are monthly virtual chats aimed at giving participants an opportunity to informally discuss a topic that relates to their work as academic art museum professionals.
Coffee Gathering: Designing a Collection Plan
On Tuesday, October 22 at 3 PM (EST), RAAMP's online Coffee Gathering will focus on the process of creating collection plans in academic art museums. Through a series of questions, we will explore who should be involved in creating a collection plan, what information it should provide, and who it should serve. In discussing these topics, we hope to have related conversations about the challenges and opportunities creating a collection plan can provide staff and institutions.
This topic has emerged from the curious lack of publicly available collection plan examples. We hope to provide colleagues in academic art museums the opportunity to connect and share their experiences with writing collection plans.
Questions we will discuss include:
What sections should be included?
How does the collection plan integrate others, such as the university's strategic plan, interpretive plan, and/or collections management policy?
Who should be involved in creating the document?
How might an academic art museum include their various communities in the process?
With colleagues in your museums, how do you successfully have conversations on how to limit or focus a collection, especially at an encyclopedic museum?
How might this document be helpful for donors?
Do you share your collection plan publicly?
How often do you revisit and revise your collection plan?
The Albertine Monroe-Brow study-storage gallery at the University of Michigan Museum of Art.
RAAMP Coffee Gathering: Curatorial Work as Academic Labor
posted by CAA — September 17, 2019
Coffee Gathering: Curatorial Work as Academic Labor
On Tuesday, September 24 at 3:00 PM (EST) RAAMP will be speaking with Meredith Lynn and Claire L. Kovacs.
To RSVP to this coffee gathering, please email Cali Buckley at cbuckley@collegeart.org
Meredith Lynn is an artist, curator, and educator based in Tallahassee, Florida. In her art practice she frequently explores the historical, political, and social issues surrounding land management and ownership. Her curatorial specialty is contemporary art, with a particular focus in interactive and new media art. Her work has been supported by the National Endowment for the Arts, the Indiana Arts Commission, the Minnesota State Arts Board, Northern Lights, and the Florida Department of Cultural Affairs and most recently shown at the Morris Graves Museum of Art in Arcata, California and the Wiregrass Museum in Dothan, Alabama. She is curator of the Museum of Fine Arts at Florida State University where she also teaches in the Department of Art.
Claire L. Kovacs is the Curator of Collections and Exhibitions at Binghamton University. She obtained her PhD from the University of Iowa and her master's and bachelor's degrees from Case Western Reserve University – all in art history. She has curated exhibitions at the Figge Art Museum, Coe College, Krasl Art Center, DePaul University, and at Augustana College, where she was (until recently) the Director of the Augustana Teaching Museum of Art. Her strategies for curatorial work and programming emphasize the ways that academic museums explore contemporary issues, foster interdisciplinary inquiry, create space for a multiplicity of voices and perspectives, and function as a site of dynamic community engagement. She underscores intersectional equity, diversity, accessibility and inclusion in her curatorial work. Her research practice grapples with ways that art historical research can support 'The Common Good' (to borrow a phrase from the NEH), using curatorial practice and writing as a mechanism by which to amplify under-told stories.
Hunter O'Hanian in Conversation with Eric Segal, Director of Education and Curator of Academic Programs at the Harn Museum
CAA's executive director, Hunter O'Hanian, recently visited the Harn Museum of Art in Gainesville, Florida to speak with Eric Segal, the museum's director of education and curator of academic programs, about the role of academic art museums and Resources for Academic Art Museum Professionals (RAAMP).
A project of CAA supported by the Andrew W. Mellon Foundation, RAAMP aims to strengthen the educational mission of academic museums and their parent organizations by providing a publicly accessible repository of resources, online forums, and relevant news and information.
Watch and read the interview below.
Hunter O'Hanian: Hello everybody. My name's Hunter O'Hanian and I'm the director of the College Art Association. I'm very pleased today to be with Eric Segal, who is the director of education and curator of academic programs here at the Harn Museum in Gainesville, Florida. Hello, Eric. How are you?
Eric Segal: Hunter, I'm doing well. It's great to have you here in Gainesville.
HO: Well, it's absolutely beautiful. It's been great to be spending time here and to go through the museum. Before we start, tell us a little bit about your background. I know you've been a CAA member since you were in graduate school, but tell us a little bit about your professional background.
ES: Sure. CAA since 1993.
HO: Yay.
ES: I actually started my college career as a computer engineering major. So, it was a big change when my sister made me take an art history class and that led me into art history, and I studied American art subsequently at UCLA, Masters.
HO: And, I think you won a Terra award, too.
ES: I was really fortunate to have a Terra award in 1999.
HO: Great.
ES: And that was very exciting for me and helped me in my studies. Following the completion of my doctoral dissertation, I took an assistant professor position here at University of Florida. So, I was in the art history department teaching undergraduate and graduate courses in American art, African American art, illustration and even occasionally about museum theory. Later, in 2010, a position opened up in the museum where I was able to take on museum practice a bit more. That position was the academic programs position, which had just been created as the museum realized it was important to draw closer to the university. At that time, before the position opened up, there were perhaps a few dozen courses using the museum, because there was no one doing the outreach to work with faculty across campus.
Since that time, about 10 years, we've maybe increased that tenfold. The number of courses, the number of faculty, the number of disciplines and students using the museum—we've been really delighted to expand that quite a bit.
HO: That's great. So, [the] University of Florida here in Gainesville, about 50,000 students here on campus.
ES: Yes.
HO: You have an art history department here. And do you have a studio arts department as well?
ES: It's a combined school of art and art history and they're both very robust. There's a faculty of about seven in art history and the tens, twenties in art and they're all great colleagues. In fact, in 2019 we will have the studio art faculty show here at the museum, which comes [around] every five years.
We want to reach audiences that have not seen themselves in museums.
HO: Wonderful. So, the Harn Museum has been around since 1990. Roughly, how big is it? How many square feet is the facility?
ES: The museum is about 26,000 square feet.
HO: That's big for an academic art museum.
ES: It is. We have all of our storage onsite. We have great galleries devoted to five collecting areas. We collect in African [art], in Asian [art], in photography, in modern and contemporary art. And we have a curator in each area. So, we're very lucky. Many academic museums don't have such a robust curatorial staff. And we also have classrooms where we can do teaching, where we can bring objects out from storage in order to connect with academic classes on campus if we have a theme we want to try to address, say, "urban imagery." It may be better just with works that are in storage, rather than those that happen to be on view at a given time.
HO: And 11,000 objects in the collection?
ES: That's right.
HO: Wow. And so how do you go about procuring objects for the collection?
ES: Right. So our curators are very active along with our development officer and our director in building relationships. So, we do have an endowment for acquisitions, but many of our acquisitions do come through gifts from donors, and that would be in all areas.
HO: I noticed too in going through the museum with you that you also have a fair number of Florida artists in your collection. Can you speak about some of them?
ES: We have Florida artists from the 19th century through the present. Some of them are former faculty at UF with international and national reputations, and some include folk artists who work locally and are widely collected and whose work reveals unexpected and inspiring perspectives on our own community. So, we have both highly-trained professional artists and amateur or untrained artists.
HO: It seems to me also that you've done a lot of work in your role as far as inviting members of the local Gainesville community, people who are not part of the academic campus on or into the museum through different programs. Can you talk generally about how you've been programming in trying to bring the local Gainesville community into the museum?
ES: Sure. So, as curator of academic programs, I obviously personally focus a lot on the academic community, but I'm also director of education as you mentioned, and I have a staff with whom I work to engage the community. I also consider that my responsibility as well. We have public programs that I think of as creating layers of access. There's programs that are traditional museum programs of lectures and educational docent tours, which have immediate appeal to people who are familiar with museums and have a museum-going experience and know they might want to learn something about an exhibition, but we also have our whole range of activities that invite the community in perhaps for a first time. We're creating museum goers out of our local citizenry.
So, those might be experiences that sound more fun and social, but include informal learning opportunities. We have a museum nights event once a month which is open in the evenings. So, lots of programs such as that, but we also think it's really important to reach audiences that aren't even looking at the museum as a possible venue for leisure or art experiences and we find it's really effective to work with the local public schools. All children go to schools and we're able to work with them to provide transportation and rich tour experiences and programs that engage children and parents as well. Creating the opportunity to connect with families that might not be thinking of the museum, but may learn from the children that it's a really welcoming, relevant, and meaningful space.
HO: Overall for the whole museum, how big is the staff here?
ES: The staff, including security and frontline staff, is about fifty.
HO: Wow. Great.
ES: So, it's pretty robust.
HO: And for academic programs and education, how big is that?
ES: In education, we have six full-time staff and a number of part-time staff who support programs and activities. So, we're also very lucky. There are smaller museums that are working on a narrower range of staff resources.
HO: What challenges do you see for the education programs here at the Harn Museum going forward?
ES: Well, you did ask about our connecting with community audiences and our challenge is to continue to grow that and be relevant and to let audiences know that we are welcoming. We want to reach audiences that have not seen themselves in museums. So, diversity in our audiences is something we've done a lot to improve with by partnering with local groups, with activists, with people in different communities. We've done a lot to improve our diversity of audiences, but we're still expanding there. In staff, that's another area where we really need to work hard and we have focused part of our strategic plan extension into 2019 to focus on developing new ways to build diverse staff members across the museum, including in senior staff, which as we know in museums in the United States is a real problem.
HO: If you were speaking to someone else in your position, maybe in a more rural location or a smaller facility, and they wanted to engage the community more, what advice would you give them?
ES: That's a great question. I think that it's really important to let audiences know that they're welcome and to my mind, the best way to get that message out there is by being out in the community, attending community fora on relevant topics, being part of discussions of education and educational resources, being part of discussions on how universities are trying to engage—the local university or college may be trying to engage the community, both on campus and in the community. Being a face in the community makes you somewhat approachable and starts to build the relationship that's hard to build with an advertisement in the paper that says, "Everyone's welcome. Admission is free". Hopefully.
So, that would be one of the first steps that I think I would try in that position is to really be part of the community and to make contact with community leaders who already have authentic connections to different members of different areas of the community.
HO: We're going to be recording some video practicum about different areas in the museum and we'll get into some more of those details later, but it also seems as if you've developed good relationships with different departments within the college itself. Can you speak a little bit about doing that and how you go about being successful there?
ES: Some of our failures in doing that have been—not that I wouldn't continue to do it—you know, I go and give a talk to the faculty senate and I send a letter to all faculty and I get a lot of emails back, if I'm lucky, that say, you know, I saw your email but I didn't read it last year because you sent it to everyone. So, the hard work is making individual contacts either by email but also being out there again on campus. I try to serve on committees, be it in the international center or on undergraduate curriculum, wherever it might be useful, seeing that the museum could be a resource that can be built into emerging programs and projects. So, being at the table is important. And then building the individual connections to faculty. One faculty member in a language and literature department can be your ambassador to other faculty members.
We're creating museum goers out of our local citizenry.
HO: And, of course you're familiar with RAAMP resources for academic art museum professionals, and the Harn has been one of the original stakeholders, and this has been a great project that CAA has worked on with the Mellon Foundation.
HO: We've been very happy with the success. As a resource out there, how have you been able to use RAAMP and also were there any changes you'd like to see to it or more things you'd like to see us add to it?
ES: Yes. RAAMP is a great resource. It's been wonderful to see it grow and the website has, for anyone who hasn't visited it recently, really been improved in the last year, making it searchable in a way that it wasn't before. So, it's a resource where you can actually find the materials that are there pretty easily now and that makes it especially useful. So, for me, it's been great as a source of inspiration when I come up against a problem such as "How do I…?" I haven't found this one yet, but one of my problems is how do I connect with low temperature physics? I've never solved that problem, but when someone posts that to RAMP, that's where I'm going find it.
HO: Great. So, for any of you out there who have an answer to that quick question as to how to deal with low temperature physics, please post it on RAAMP now.
ES: That's right. But, it's really a great source of inspiration [for] problem solving and models that exist out there. It's also I think increasingly going to continue to serve the role of [a] point for conversations, which is something that I'm really looking forward to, because sometimes someone hasn't posted on low temperature physics, but they may have already done it. And so it's a chance to get feedback and ideas. I'm also really looking forward to in the future ideas about building diversity, as we discussed earlier. How it's being pursued at other museums, both in terms of audiences but also in terms of staff. I think as a community academic program officers in museums need to come together to build the pipeline of museum professionals. That includes recruiting students when they're young. I've been working with high school students in the past week to just tell them that museums are a career and that's important.
It includes supporting internships. I think that discussion can happen in RAAMP about how we can sort of strategically create a pool that we're all going draw on to diversify our staff. I'm also looking forward to learning from RAAMP more about ideas for academic programs working with development offices.
HO: Interesting. The fundraising piece.
ES: Yes. The fundraising piece. We're all challenged in our budgets. In the past year, we've developed a program on early learning that we built with the college of education, and we built a really robust project, and someone said: "You need to do a video for this." And that video has been helpful for us in developing private funds to continue to pursue this program that provides education for headstart students.
HO: Which is great, because it gives potential funders the opportunity to see what the programs are really about and be able to see that.
ES: It is. And that's the kind of thing I'd love to share on RAAMP and also learn from others their strategies for taking our programs and having them be tools for building our funding.
HO: Yes. I've been recently reviewing the session proposals for the upcoming CAA conference in New York in February of 2019 and there are a lot of sessions that are coming up for professionals in academic art museums, because I do think it's a growing field that a lot of PhD students or PhD holders and Masters will be going into it in the future. So, there will be a lot at this year's conference in February.
ES: That's really great to hear. And I hope that non-museum professionals, hope that artists and art historians will attend those as well, because their voices are really useful to be part of those conversations that art museum professionals are having. I was thinking about the sort of professionalization that another area of RAAMP is going help us connect on is going to be evaluation. Museums are always challenged in terms of evaluation. We know it's important to prove that what we do is effective. Evaluation is time-consuming or expensive or both, and sharing expertise and ideas in that area I think is going to be something that's going to really help us to build our case in the future.
HO: Yes, I mean, ultimately all museums are educational institutions, and we have to be able to quantify how that happened.
ES: I think that is the case.
HO: Eric, thank you so much for your time here. It's been great to tour the museum and I really have appreciated it. And so good luck with all your work going forward.
ES: Thank you, Hunter, for sharing your interest of the museum with our RAAMP audiences.
Filed under: CAA Conversations, Education, Higher Education, Online Resources, Video — Tags: Museums and Galleries —
Call for Contributions to RAAMP (Resources For Academic Art Museum Professionals)
A museum visit during the CAA 2018 Annual Conference. Photo: Rafael Cardenas
RAAMP (Resources for Academic Art Museum Professionals) aims to strengthen the educational mission of academic art museums by providing a publicly accessible repository of resources, online forums, and relevant news and information.
With new resources added daily, we welcome contributions to our online archive. Resources can include but are not limited to: museum strategic plans; campaigns for outreach to campus communities; news and announcements about new programs, exhibitions, or staff appointments; and strategies for diversity and inclusion in the academic art museum. You may also provide tips on funding opportunities, exhibition design guidelines, advocacy, and more.
Visit RAAMP to discover our newest resources, and click here to contribute.
RAAMP Chalks It Up
posted by CAA — April 12, 2018
CAA's RAAMP project is an online repository for resources pertaining to museum professionals at university art collections. One of RAAMP's newest resources is Descriptive Terminology for Works of Art on Paper, developed in 2014 by the conservation team at the Philadelphia Museum of Art. This document provides "guidelines," as its subtitle suggests, "for the accurate and consistent description of the materials and techniques of drawings, prints, and collages." The Terminology was supported by the federally funded agency the Institute of Museum and Library Services (IMLS), which recently partnered with the National Endowment for the Humanities (NEH) to create a Digital Humanities Advancement grant-making program. The Association of Print Scholars, one of CAA's Affiliated Societies, has promoted this resource as an especially refined and technical manual to characterize the processes of manufacturing an array of works. Its riches include the diversity of drawing media and their distinctions, as in "distinguishing black chalk from graphite and charcoal." Other areas include the categories of print varieties and their processes, such as relief, intaglio, and planographic prints.
Visit the resource on RAAMP, add your insights on Humanities Commons, and submit your own resources here.
Filed under: Uncategorized — Tags: Museums and Galleries —


Discussion in 'macOS' started by Rhythm, Sep 20, 2008.
So I've just moved to Mac from being on Windows all my life, and one of my favourite games I always played was 'Heroes of Might and Magic 3'. This game is available (obviously) on PC, but also available for Macintosh.
So I was wondering, if I was to get my hands on a Macintosh version of the game, is there some way I can play that on Mac OS X (as I believe Macintosh games won't normally work on Mac OS X, right?)? Through some kind of program perhaps or something? Or if I'll have to use boot camp/parallels etc. to get Windows up and running and playing it through there?
Take a look at CrossOver Games.
Actually Mac is only an abbreviation of Macintosh so you should be fine with that version.
I'm confused here. Why wouldn't a Macintosh game work fine? Mac = Mac OS X.
Heroes is a Mac Classic game (from the OS 7.5–9 days). It won't run natively on OSX, and today's Macintosh computers can't run OS 9. I've heard that there are some emulators that will let you run older games on OSX, but I have never tried them.
It might be easier to install Parallels and run in Windows than try to get one of these unsupported emulators running, but I don't know. Give the archives a search here, then try Google.
The game is from 1999, for the classic Mac OS.
This ran fine on OS X under PPC until Intel and Leopard which dropped the Classic environment (not sure if Intel- Tiger still had it).
The easiest way to do it would to simply install Windows onto your Mac as well as OS X (via Bootcamp, VMWare, Parallels). Or keep an old Windows box lying around for that purpose (any old heap will run that game since its old).
Whilst a Mac today is still a Macintosh, when you see that name it normally refers to the old style Macs of the 90's which ran a completely different operating system to now.
I converted (TOTALLY) from lots of pc's around the house to now owning 5 Mac's from the mini all the way up to the Powermac 2.8 and would have loved to have a go at the older "classic Mac OS" games but can't as I am all "intel".
I am not complaining tho, love them all!!!
Not to down anyone here but this is getting ridiculous, you can't just tell someone (especially a newbie) to SIMPLY install Windows via Parallels, VMware or Bootcamp. Don't forget you have to pay for Parallels and VMware, they're close to $100.00, then you have to pay for a Windows license which is not cheap for everyone.
If you are going to recommend this option (which does seem to be the most viable option if the OP REALLY needs to play this game) then you should disclose all the costs involved rather than just tell him to simply install Windows and Parallels like it's all freeware.
Heroes is a Mac Classic game (from the OS 7.5–9 days). It won't run natively on OSX, and today's Macintosh computers can't run OS 9. I've heard that there are some emulators that will let you run older games on OSX, but I have never tried them.
I think there's one called Sheepshaver? Sheepsaver? I've not tried it either.
Basically, when Mac OS X came out, Apple had a feature called "Classic" that would essentially run Mac OS 9-compatible apps in a compatibility environment within OS X. It wasn't perfect, especially for games, but it worked for the most part. When Apple switched to using Intel CPUs, this broke Classic support (since it only runs on PPC) and since Leopard came out they've dropped Classic altogether. PPC Macs running Tiger can still use Classic.
Bottom line is, if you want to run anything that requires OS 9 or earlier, and you have an Intel Mac, the only solution is to emulate it. It may very well be easier (if not cheaper) to use Bootcamp/Parallels/Fusion to run the Windows version.


Last night I finished a handful of units for my US faction. These are all from Ground Zero Games. First up is a pair of light tanks.
Next is a 6-wheeled buggy with a rear gunner.
And finally is a group of infantry. I decided to start doing putting the heavy weapon teams on one base instead of one base per figure.
Next up is the last of the US vehicles and a few heavy weapon teams. Also tomorrow night I'm having a couple friends over for a few games of Mansions of Madness. I'm really looking forward to this game.


text:
The Hon Peter Dutton MP
Minister for Home Affairs
Doorstop Interview, Canberra
Subjects: National security; Turkey's military action in Syria; returning foreign fighters; NDIS; Labor's Medivac Law.
EO&E...........................................................................................................................................
PETER DUTTON:
I've never seen anything like this before and when you speak to the Labor members, neither have they. This is unprecedented and I think it needs to be dealt with by Anthony Albanese.
It's clear that Kristina Keneally is running the show at the moment, not Anthony Albanese, and he needs to step up and he needs to say to Kristina Keneally that she can't go out and make these brash decisions on national security matters. When you have a bipartisan committee; they come up with recommendations, there's an agreement in place and then for her to renege on that, I think is just without precedent.
I think it's left the Labor members of the Committee and on the frontbench of the Labor Party otherwise completely bamboozled. It's not the first time we've seen all sorts of policy decisions made by Kristina Keneally which are at odds with the Labor Party and I think Mr Albanese needs to explain himself.
What do you think of news overnight that Turkey has agreed to a short ceasefire in north-east Syria?
Well I hope that like every observer of this that there can be peace and people can return back to their villages. We know that in the original Syrian conflict there are about five million people who were displaced, so this has always been a very difficult part of the world – we know that – and I hope that conflict can come to an end as soon as possible.
While this short ceasefire is in place, will Australian officials work to get any of the Australian women or children out of the refugee camps?
No, the advice is consistent to us, and that is that there's not an opportunity given the danger there at the moment. We've been able to bring back some orphans, as you know, but we're not in a position where we're able to go into those camps; and to be very clear about the fact that it's a tragedy that the parents, mothers and fathers, have made a decision to take children into a theatre of war, but we've been very clear we're not going to put Australian Defence, Foreign Affairs, or Home Affairs personnel or other agency staff at risk.
It's a very difficult situation, but if you enter into a war zone, then particularly if you're going to fight for ISIL or be part of Daesh, then you know that there is a very serious consequence.
I made all of these points at the time when people were romanticised or looking at going across to the call of ISIL, and there are serious consequences. Australians have already died in that theatre of war, over 100, and they've done that because they've been fighting in the name of an evil organisation. Tthere are consequences and we've been very clear about those.
The children didn't decide to go and fight over there obviously in Syria, so can you bring them home by themselves?
We can look at individual cases as we've said in the past, but we're not going to put Australian personnel – not Defence personnel, not personnel from my Department, not DFAT personnel – in harm's way. We'll look at the situation, but at the moment we can't pretend that we have an ability to know what is going on in the area where we just don't have any personnel or ability to have sight of what is a very dangerous situation, but one where people have made a decision to place themselves.
Donald Trump says the Turkish President needed some tough love in order to reach that deal. What do you make of the US President's approach?
Well I think the President, as I said the other day, like any of his predecessors and I suspect his successors as well, will always be damned if they've got troops in a theatre of war and damned if they don't. That's the nature of the debate around US engagement.
But I believe very strongly that the United States, like Five Eyes partners, wants to see peace in the region, we want to see that restored as quickly as possible and I think President Trump's made that clear.
What's your source for the claim that war veterans want the Medivac Laws scrapped?
I saw this silly comment from a Fairfax journalist yesterday.
I've been a Member of this Parliament for 18 years in a marginal seat. I can tell you, I've got hundreds of war veterans in my electorate and the vast majority, I can assure you, knowing them personally and knowing the way in which they think about these matters, would strongly support the Government's position to abolish Medivac Laws.
But have they contacted you and articulated that?
I've answered your question.
Given the current security climate, why are you pushing back on calls for more ASIO funding?
Well again, this is just such a false line. The funding for ASIO this year will be the highest in its 70 year history. The number of staff at ASIO will tip over 2,000, the highest number in its history. The funding goes up each year. That's the reality of it. So don't listen to Labor's line or some misinterpretation of comments that were made.
There will be more funding for ASIO this year than any year in its 70 year history and we know that when Labor was in government, they ripped out $125 million from ASIO at the time when they lost control of their borders. They also ripped out money from the AFP to pay for the failure of borders, they took out money from the Australian Crime Commission to pay for the failure of policy around border protection; and they took out $735 million and 700 staff from Customs to pay for their failed border protection policies as well.
So there is a very significant contrast between Labor's approach to national security matters and to the approach of the Government.
Has Jacqui Lambie given you any indication she will support…
I'm not going to go into conversations with Jacqui Lambie.
What case have you made to her?
I'm not going into private conversations with her.
NDIS executives are getting paid $23 million while many people with disabilities are still living without support. Is that acceptable?
Well there's a program there; there's a multi-billion-dollar program growing significantly year-on-year to help the most vulnerable in our country. We want the best possible management of what is a very significant amount of taxpayers' money. We want that money, as much of it as possible, to go to the service delivery for people who are suffering either terminal illnesses, lifelong diseases or disability and I think we want the best people there to manage that money appropriately and make sure we get the best possible outcome for those that are most vulnerable in our society.
Just a question regarding the Aussies in Al-Hawl…
I've just dealt with that mate.
Do you think that today's Senate inquiry will clear up any questions that Jacqui Lambie still has about the Medivac Laws?
Look, I hope so. I said yesterday there are people who are coming to our country who are of poor character who shouldn't come here, but have only come here because of the Medivac Laws that Labor passed. That's the reality.
I've made a decision in relation to one individual that I suspect will be tested in the courts. I hope that my decision is upheld, but we don't know and any government, Liberal or Labor, could be compelled to bring people to our country of bad character is completely unacceptable. We were already bringing people to our country who required medical attention and the fact is that this was never about the provision of medical services. It was always about just bringing people here from Manus and Nauru, which has been Kristina Keneally's desire from day one.
I really think people need to understand that this is an issue of Labor's making. It's a problem of Labor's making. They continue to water down their border protection policies and Kristina Keneally, at the moment, is completely out of control – and Labor Members of Parliament are saying this. There's obviously significant division within the Labor Party at the moment. Mr Albanese hasn't shown leadership. Perhaps in private, he's had some stoushes with Kristina Keneally and she's obviously won the day, but he is the Leader of the Labor Party and he needs to exercise that leadership because at the moment you've got unilateral decisions being made by Kristina Keneally, a failed premier from New South Wales, that aren't in our national interest. We're talking about national security matters here and for Kristina Keneally to be out there, running rogue, running roughshod, over Labor Party policy is completely unacceptable.
[ends]
URL:https://minister.homeaffairs.gov.au/peterdutton/Pages/DS,-Canberra.aspx
Last update: Friday, 18 October 2019


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text:
Walls' "Castle" Earns Novel Reviews
BY ERIN HOESLY
"The Glass Castle" is Jeannette Walls' moving memoir about her difficult and unconventional childhood. The novel opens with Walls living on Park Ave. in New York City, working as a prominent journalist. Within the first few pages Walls introduces us to her homeless mother, a woman who is content to dig through garbage and live on the street.
As the novel progresses Walls takes us back to her nomadic childhood. From her earliest memory of lighting her dress on fire and having her father bust her out of the hospital, we realize that the Walls family story does not follow the traditional American dream. The setting changes rapidly the first few chapters as Jeannette Walls' parents move their children around to avoid bill collectors and real responsibility.
Moving from one town to another, living from paycheck to paycheck, Walls and her family struggle through hunger and poverty, while her parents keep an upbeat focus on the fun they're having on life adventures. We see the parents through the Walls' children's young eyes, as people who create a fantasy world out of struggles, and who promise greatness and success.
Without a traditional education, Jeannette Walls and her brother and sisters learn about life through their own difficult experiences and their parents' new-wave teachings. Her mother's creativity and love of art bring color and vibrancy to the children's life, and her father's wisdom puts him on a pedestal in his daughter's eyes.
But as Walls' age progresses, her parents' inadequacies become more apparent. Feelings of practicality replaced adventure, and admiration makes way for resentment. Walls learns that her parents are not the fascinating figures she looked up to as a child, but rather people with problems who can not get past their own selfishness. Walls and her siblings learn to fend for themselves, from making their own money to fighting their own battles. As the Walls children grow up they realize that separation from their parents is necessary for their own survival.
The story then focuses on heart wrenching betrayal and an inspiring struggle for independence, and not merely childhood adventures.
"The Glass Castle" is an admirable story of survival, family and strength. Walls' memories are gripping and detailed, and her family is complex and vivid. Though life throws countless challenges at her, Walls never writes herself as the victim. Her memoir is not one of self-pity and woe, but a story that shows the strength that you have inside yourself and a love that is so strong in a family that it can never disappear.
Walls' short chapter structure and effective passage of time makes "The Glass Castle" a novel that demands you keep turning its pages. It is a novel that you are sad to leave when you've read the final chapter, but whose characters and events haunt you long after you've closed the book.
To experience a powerful and moving literary experience, look at life through Jeannette Walls' eyes by reading "The Glass Castle."
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text:
Q: GDB Debugging Multithreading, Execution is Unpredictable for Single Thread I'm new to GDB and not sure if any of you have experienced: When I used GDB to debug a program that has 2 threads, I found the execution of stepping line by line is not linear or it's unpredictable even for one single thread and the variable value printed out is also confusing. Say I have a program(in C++) looks like this:
(I'm debugging on ubuntu commandline, using the -tui mode of gdb).
.....
    70 for (int i = 0; i < MAX; i++) {
    71     int foo = 1;
b+  72     Bar *bar = f1();
    73     int v1 = bar->doCalc();
    74     int v2 = bar->get(foo);
    75  }
.....

In the beginning, the program stopped at the line 72, then I stepped line by line until it reaches line 74. At this moment, I printed out the value v1, but it seems this variable still doesn't have meaningful value yet. Then if I type "next", the program execution jumps back to line 72 again!! This is the first thing caused my confusion. Then I continue step to next line, until it reaches line 74. At this moment, I printed out v1 and this time it has some meaningful value. I double checked the iterator i, its value are the same, that means it's in the same i-th execution of one loop. I'm confused, how can this happen? Could somebody help me out? Thank you!

A: The symptoms you described match what is expected when debugging optimized code. Make sure you compile without -O2 or similar flags, or add -O0 to the end of your compile commands.
Multi-threading is unlikely to have anything to do with your problem (although it does present its own challenges when single-stepping). IF multithreading is affecting your debugging, you should see messages in GDB, such as [Switching to Thread 0x7ffff61ec700 (LWP 21427)], when execution switches from one thread to another.


Specialty grocer Barons Market recently opened its newest store at 1347 Tavern Road in Alpine. It is the fifth location for the San Diego-based retailer.
Company officials said the new store employs 35, all hired from Alpine. The 15,000-square-foot space, designed by Studio H2G, incorporates elements that reflect the surrounding community.
Headquartered in Point Loma, Barons Market was started in 1991 and sells value-priced organic, natural and other specialty foods.


Mikrochim Acta. 2019 Mar 16;186(4):247. doi: 10.1007/s00604-019-3311-2.
Rapid and selective fluorometric determination of tannic acid using MoO3-x quantum dots.
Liu X1, Zhang W1, Yang C1, Yao Y1, Huang L1, Li S1, Wang J1, Ji Y2.
College of Food Science and Engineering, Northwest A&F University, Yangling, 712100, Shaanxi, People's Republic of China.
College of Food Science and Engineering, Northwest A&F University, Yangling, 712100, Shaanxi, People's Republic of China. Jiyanwei@nwsuaf.edu.cn.
The authors describe a fluorometric method for the quantification of tannic acid (TA). MoO3-x quantum dots (QDs) can selectively capture TA via the formation of an organic molybdate complex. This causes an electron transfer effect and an inner filter effect to result in synergistic quenching of the fluorescence of the QDs. TA can be detected via this effect with a linear response in the of 0.1-10 μM concentration range and a lower detection limit of 30 nM within 1 min. The use of such QDs as a quenchable fluorescent probe warrants good selectivity even in the presence of relatively high concentration of potentially interferents and makes the method suitable for real sample analysis. Graphical abstract Tannic acid can be rapidly and selectively detected in food using a MoO3-x quantum dots based fluorometric assay.


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text:
Q: Destructuring 'req.body.data' into 'req.body' I am sending some data from the front end to the back end. I am trying to send data as an object to the back. When it arrives, it is obviously req.body.data, but should land in the backend as req.body. How do I destructure the request, either from the front or the back so that the back only receives req.body
front end
const { user } = await axios.post('http://localhost:3000/auth/signup', {data});

Backend (what I want)
if(req.body.type === 'vendor') {

Right now the backend received (What i dont want)
if(req.body.data.type....)

A: Your passing data as an object prop. Just pass it directly:
const { user } = await axios.post('http://localhost:3000/auth/signup', data)

A: You are sending object with data property when sending request to the backend. What you should do is destruct that data object and send its property directly:
const { user } = await axios.post('http://localhost:3000/auth/signup', { ...data });


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