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Creatives in profile: interview with Anne Beate Hovind, the curator of the Library of the Future
April 24, 2018 April 24, 2018 / professorwu
In Norway, a thousand trees have been planted in a forest just outside Oslo. In 100 years' time, they will be used to make the paper for an anthology of books, which will form part of the so-called 'library of the future'.
Conceived by Scottish artist Katie Paterson, the project has captured the attention of great authors across the world, including Margaret Atwood, who was the first writer to pledge her story to the future collection.
Planting an entire forest that will one day help make the books of the library of the future takes time. Photo credit: Bjørvika Utvikling by Kristin von Hirsch.
Yet 100-year art projects, by their very nature, take time. When you work with timescales longer than the average human life, the focus of the work shifts: it is no longer about outcomes, or about critical reception from the artistic and literary communities. Rather, it's about the experience, and the journey, that takes everyone involved in the project along with it.
Of course, there are also certain logistical necessities that go hand in hand with creating a project of this nature. How do you convince authors to write books that will never be read in their lifetimes? How do you ensure the forest you have planted is used to make the books, and not cut down to make way for some new highway or housing development?
How do you ensure the forest you have planted is used to make the books of the library of the future, and not cut down to make way for some highway or housing development? Photo credit: Bjørvika Utvikling by Vibeke Hermanrud.
To try and iron out some of the answers to these questions, the Nothing in the Rulebook team caught up with the project manager and curator of the project, Anne Beate Hovind.
It's an honour to bring you this detailed interview…
So tell us about yourself and your involvement with the Future Library project
ANNE BEATE
I'm the commissioner and the producer for the project. It's a magical sort of idea that really challenges our concept of time, as well as of trust, and I think ultimately has a lot to say about our world, and the way we interact with it as human beings.
What I think is extraordinary about the project is the opportunity to work so closely with the artist, Katie Paterson. In a way, I sometimes have to pinch myself when I talk about how I became involved in the artwork because in a way it's crazy – because just imagine the pitch that begins 'I have this proposal: but it's going to take 100 years'. That's when you panic. Because you think '100 years?! Oh my god". Then the artist says, 'and, we'll also need a forest'. And you know, you immediately ask yourself – where will the forest grow? Because I work in the Oslo harbour development area – where and how do you grow a forest in a harbour? And then, on top of all that, the artist says, 'one more thing – we need authors, famous writers, who are willing to participate, because it's their work we're going to print, a hundred years from now'.
But even though it's a little crazy it really is extraordinary and I actually think in my role, it's an interesting one to see how you have the relationship between the artist and the commissioner or producer, because where the artist is creative in that kind of traditional artistic way, I'm creative in making it happen!
The project wouldn't happen without you!
Well I think it's an interesting relationship – I was actually talking about this with another friend of mine, a Norwegian artist called A.K. Dolven, and we were discussing what it means to put an artwork into the control of the producers and so on who make art 'happen'. Because you need both the creative idea and inspiration and also that inter-displinary competence and almost entrepreneurship to make those ideas into a reality.
You're the curator, in a sense
I wouldn't call myself a curator because I'm not an artist in the traditional sense – I'm an entrepreneur first, I create start-ups. And I actually spend a lot of my time working in the construction business, which is quite crazy, but I always get into this situation where I get into the exploratory work; the 'make things happen' kind of work; so even though I'm in a different field of work professionally, there are elements where I work in the same way – it's about attitude; methodology; it's a way of working exploratively. And it's quite similar to the way artists create art. And this is what I like to share and talk about when I give talks and stuff.
You were in Austin, Texas, recently for the Southwest by Southwest festival. Can you tell us a little more about the talks that you give?
I was invited there as a speaker for their official programme, and actually on the way out I was a little nervous because I'd never been there before and on my plane out the Crown Prince of Norway was on the same plane and there was a band on board and the fanfare was a little overwhelming. But once I got off the plane I realised quite quickly I was actually the only Norwegian speaker in the official programme, where I was set to appear on their 'live' show.
I didn't know what to expect but it was really interesting to be a part of. I shared a few of my thoughts about what leadership is about when it comes to making things happen.
Now, I think what it comes down to is approaching a new project with a kind of explorative attitude – you kind of have to have this tacit knowledge of where to start: what doors to keep open as long as possible, which ones you have to close. In my day job, there's a lot of risk assessment involved. There's a totally different risk-mind set involved compared to what I do in my daily life in the construction business; because in order to be innovative – in order to make innovations happen, you have to take risks, you have to be risk taking – and though you might be aware of some of the potential challenges or risks, you have to strike out and lead from the front.
How do you identify what sort of projects you're going to pursue with that vigour? How do you maintain the energy for it?
I think what it comes down to is more about your attitude. In any job I do I try to make the most I can out of it. So I can do things that other people might find quite boring or not really very 'arty' but I don't mind. I'm very curious. I learn everything about hospitals when I build hospitals. I worked in shipping classification for the shipping bureau and I learned a lot about that and I've worked at the main airport in Norway and I learned lots about that and the aviation sector and I do art – and other things – I think, because of that curiosity. If I'm curious about something or something grabs my attention, I want to find out more and I want to see where we – the project and I – can end up.
If you're not curious about something, how can you have the passion for it, how can you find that energy? You know, that's what it's about. You have to know how to run a business or a project; but you also absolutely have to know how to stay with it.
Surely that's a really important point in this day and age because, in, for instance, London alone, there are so many different free presses or websites and magazines that start up, and they might be around for a year or two years, and then they die off – or they print one anthology and disappear. Because it's really hard to sustain a project and keep it going, especially in the world we live in where it's hard to keep funding coming in. And so often there's a difficulty in building in a sustainable, long-term view to your project. That you can keep building on.
Oh absolutely and you know, I think we might have a similar approach to you at Nothing in the Rulebook, because I like to 'put bricks on bricks' – that's a saying I often use. This whole ethos really resonates with the Future Library project. What we say in Norway is 'all wood' – it's wood all the way through. It's an expression that basically means something is authentic; it's true; it's solid; and it has good correlation between what you say you are and what you do. And building this sort of thing takes time, it takes time and conscious effort. You have to pour yourself into it in a way and make sure your idea doesn't just stop.
"'All wood' – it's wood all the way through" – Anne Beat Hovind. Photo credit: Giorgia Polizzi
This whole attitude can be seen in the way we approached the project too, I think. Because we don't spend anything on communication. And Katie Paterson, who is the incredible artist behind the idea, the two of us work very intimately and very closely together. Even though the Future Library project is quite big and quite well-known in the world; it's mostly me and her.
So how does that work? How do you do it? Especially when it comes to first launching the project and getting people involved like Margaret Atwood.
How do you do it? How do we do it? We just ask! It's such a fascinating story – people ask, 'why don't you make e-vites when you invite people to the handover ceremonies – but I said, 'no – I'll do it personally'. Because I think; that's what fascinates people. We're not part of a big organisation. The project does not have a lot of money behind it. It's small and grounded and goes slow. It's personal. It's not like this big stuck up thing. It's exactly what it says it is.
I think when you are living in this fast living world, with all this start-up thinking it's like something gets blown up and then just as quickly it's like PUFF – gone. But the Future Library isn't like that at all; it's totally different. And I think this aspect of the project is what people really respond to and connect with, you know, because it has real meaning and authentic content and impact.
It's this idea of longevity being built within the project from the outset – the entire ethos of it. We live in an age where thoughts around cathedral thinking has disappeared – the idea that we used to build something that would last hundreds of years for future generations, and now, it's the opposite…
Precisely. And it's interesting you mention that idea of cathedral thinking because this notion is so important. I was thinking a lot about what Stephen Hawking says about this and I totally say the exact same thing about it.
And you know the day before I was due to give the talk in Austin, Texas, Stephen Hawking died – and I was quite touched by the timing of it because I always mentioned cathedral thinking whenever I talked about the Future Library project and Hawking has been the spokesperson for this idea that we need to invest in ideas for the future, which are made and built for the generations that come after us. And so the night before I gave this talk I totally changed the start of my presentation and I started out with a quote from Hawking about cathedral thinking. And people got really emotional here – and some actually cried. It was very moving.
But this I think is what makes people feel such a connection for the project. Because people are longing for slow, cathedral thinking projects that are grounded; that are not 'tech tech tech'.
So what influence does technology have on our modern lives and culture, do you think?
Well I think firstly I should say that I love tech. You know. I drive a tesla – I was the one of the first persons in Norway to buy a Tesla. In our household we have two electric cars – we don't have gas or petrol fuelled cars. We Live in a three-generation house run by solar energy and a thermal well – we have a lot of technology. But for me, technology should only be used to facilitate my life.
Technology is an enabler.
Yes, exactly. It's about being a human being and keeping hold of that. And I think people are longing for that – to be reminded of what it is to be human, forget about the other tech stuff.
Yet we live in a world where you only have to walk down the street to see almost everyone always on their phone. Living their lives plugged in constantly to the digital world. And it can seem difficult to separate the technology that can do brilliant incredible things that bring us closer together – speeding up communication and living our lives more effectively – while of course avoiding the danger that we get sucked into this world of technology where it's all we think about – and our social media lives take precedent over our social lives; which are actually the real, authentic parts of our lives that allow us to build real relationships with other people that last years; not seconds.
This is why projects like this are so important for our time. Just a couple of generations back, people were thinking this way all the time. You know, you build something or plant a forest, you don't do it for your sake – you do it for future generations.
We kind of have this fast food thinking and now we have to prepare something for the next generation. I think more people realise the world is a little lost and we need to get back on track.
We are designed in our society to be constantly stimulated – To constantly go out and get things for ourselves and gratify ourselfs and just go, go, go, all the time. We're constantly walking through our cities plugged into our headphones, but you can't get away from the music in waiting rooms or shops and supermarkets. We don't even have time to sit and be bored anymore, let alone think about building forests.
And this is the world where this Future Library artwork comes in, that's entirely based on the idea of planting trees – it's about walking in the forest; doing rituals!
Photo credit: Bjørvika Utvikling by Kristin von Hirsch
And how important is the relationship between nature and art? Especially in a world where we now have eBooks, rather than physical books. How important is it for us to keep creating these projects that entwine physical 'real' nature with art?
It's interesting you ask this question about the relationship we have with nature and how we connect to it, because it's actually a very personal topic to me.
I grew up on a farm. I carried the farm name – which is 1000 years old. It was once a Viking farm. And when my father died when he was young, I was supposed to inherit it. And in Norway, this is almost taken for granted as a rite of passage, that you would take on the farm and run it as a farm. And you are in fact obliged to run it as a farm if you take it.
And my father died when I was 22 and I really had a difficult decision to make; about whether I would take it on, and I said 'no'. So it's no longer part of the family.
And this is a decision I haven't regretted. I realised I wasn't a farmer, and that that was okay. It was maybe a brave decision, but the right one. And oddly enough what the whole experience has taught me – is that life, in a way, is about planting trees. And planting grains – because my other project is about planting farm crops in the middle of Oslo. And when I first heard about these projects and became involved with them, they both confronted me with how disconnected I had been from nature, even though I have such a long family history of living and working on a farm, which is so connected to the natural world.
And so when I think about this, I realise that both of these artworks are about sustainability. They're both about the importance of protecting our environment; about living in this world and our collective futures, and having to protect what we have for the long term. We really need to reconnect with nature and the world.
So it's amazing how both these artworks are so rich in the way they communicate a very fundamental message about being human, which is that no matter how much technology we have, we are still the same animals that evolved over millions of years and thousands of years of modern civilisation to live as part of nature – not apart from it. We need to save our world and our planet. So artworks that speak to this fundamental need are really important.
But of course, we live in an era of catastrophic climate breakdown – do you think these artworks have a call to action in encouraging people to take better care of our planet and our environment? Do we need to each start planting more trees?
So even though Margaret Atwood is kind of quite 'black' in her writing, she really isn't when it comes to her outlook. And when I spoke to her she said "this is a hopeful project" – she's the one who really knows what it means when it comes to environmental activism. She's there, on the front of it – and she's been there all the time; but we haven't necessarily been listening. And it's partly her environmentalist background that made her say yes to participating in this work – it took her maybe only two minutes to make up her mind, she said.
Of course, we were SO happy, when she said she was willing to get involved. I can still remember where I was when I got the message saying she would do it. I was so happy! Because it was at this moment that I realised 'this project is actually going to happen'.
Anne Beate Hovind and Future Library contributor, Margaret Atwood. Photo credit: Bjørvika Utvikling by Kristin von Hirsch
Did you have doubts that the project might not take off before you got Atwood's backing?
Not necessarily doubts, but I knew it was a challenge, because, as we said earlier, there aren't many projects or ideas these days that are built around cathedral thinking – we don't even build monuments or buildings that won't be finished for 100 years, let alone art. So how do you talk to a board about this? How do you convince them that 100 years is nothing?
But it's been a fantastic journey so far, and it is fantastic still. I'm so happy and grateful to be a part of this work, and it has changed me – it's been life changing.
Why do you think this project resonates so much with so many people, including yourself?
Some researchers should do some research on this, you know. When I saw the article had been upvoted so many times to the front page of Reddit, I thought, what is it that makes people upvote it so much? What is it all about?
There's a core essence, perhaps, that the project has which has the capacity to capture people's imagination's in a really quick way.
And it's so positive: the engagement people have with it is so built on hope and trust and empathy and compassion. I think it's really basic human things that we need and are in need of.
I don't have the answer of course; I can only try to imagine. But when I hear people say things about it, or when I have people ask me 'how can you be sure that someone will take on this project after you are dead' (so there's even an aspect of mortality here that is intrinsically involved), well, I say it's all about trust.
But when you say that – people have a really shocked reaction – they think 'that's so crazy'!
So how do you sustain the project for the future? In 70 or 80 years time, how will you make sure it's still running?
Trust! It's all about trust. You know we have set up a formal trust and intention agreements with the relevant municipal authorities in regards to the forest and the room at the Oslo Library, so we have kind of rigged up that admin aspect of it. But to run this project is also about energy – its about respect for the artwork and how it's set up; and it is about loyalty.
There will be things the board and the trustees will have to solve that me and the artist couldn't forsee. So there will be people who have to take on my job and fulfil it.
Oslo Public Library, where the books of the library of the future will be kept. Photo credit: Atelier Oslo and Lund Hagem.
The great thing about this artwork now is that I've seen there is a whole world protecting it. So if the forest is threatened by anything – the whole world will make sure to guard it and the books.
I have no choice other than believing in the project. And there's also trust the other way – because the coming generations have to trust us that we do these kinds of thing for them. They have to trust that we will do things that take care of the planet – that we create work of arts for them.
Art is about what brings people together and the connections that this kind of project can form. Do you have any hopes for yourself about how this might turn out? If you could see the ceremony that takes place 100 years from now, what would you like to see?
I'm sure it's going to be very emotional. I hope some of my great grand-children will be there and for them to maybe think 'it was crazy for my great grandmother to take on this idea 100 years ago', and I hope they think about that and what it means. Because it's about building bridges between now and the future – but to turn it around, it's also going to be about the present in the future and the past.
art, books, cathedral thinking, creatives in profile, creativity, future, inspiration, interview, Libraries, Library, literature, Margaret Atwood, technology, writing
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Intel announces it upcoming 9th Gen Core CPUs for gaming laptop which will enhance the gaming experience. All you need to know.
The 9th generation of 'Coffee Lake' Core CPUs for mainstream and the high-end laptop has been announced by Intel. According to the announcement, the company will launch the next-generation Coffee Lake in the second quarter of 2019. However, the company has not disclosed the specifications of the models which are slated to launch. Intel made the announcement at GDC (Game Developers Conference) 2019 in San Francisco.
"Intel is on a journey to improve the graphics experience for over a billion consumers worldwide by working closely with our partners and customers, and bringing the gaming community along with every step of the way," reads Intel Newsroom post.
It seems Intel is now targeting the gamers community who are looking for premium quality graphics with high framerates in the games and same framerates during streaming. Almost, all the game do live to stream, but the problem with the streaming is that the framerate drops when they do live to stream.
According to the reports, the upcoming CPU models is said to arrive with more power to support gaming and content creation with the standard form factors. Now the 9th Generation Core CPUs will come with Gigabit-class Wi-Fi 6 and Intel Optane Memory support. This will ensure low-latency communication and storage for better performance.
As per a leak reported by TechSpot, there will be two new models in each of the Core i9, Corei7, and Core i5. The alleged high-end Core i9-9980HK variant is said to arrive with eight cores with Hyper-threading technology, which makes it 16 threads virtually, along with a top boost speed of 5GHz. Meanwhile, the lower model Core i9-9980H will come with 4.8GHz.
The leaked Core i7 models are expected to be Core i7-9850H and Core i7-9750H. Both the models are said to feature six cores along with Hyper-Threading technology. The boost-speed of the models are said to be 4.6GHz and 4.5GHz respectively. The alleged Core i5-9400H and Core i5-9300H will feature four cores along with Hyper-Threading and runs on top of 4.3GHz and 4.1GHz respectively.
Intel also announced its 'Intel GameDev Boost' marketing program aimed at supporting the game development community, from indies to major studios, to help them access Intel's 1 billion PC gaming systems across more than 175 countries. Join the Intel Game Dev Program to learn more about the program, the Runs Great on Intel technology certification, tools and tutorials to help plan and design games, free libraries, performance analyzers, tools to help code more efficiently plus optimizations for improved performance on Intel architecture.


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Challenges Businesses Face And How To Overcome Them
Running a small business is one of the most rewarding endeavors a person can make, but it's also one of the most challenging. Every small business, regardless of the industry it operates in, is always faced with obstacles along the way.
Great entrepreneurs are those who are ready to face these obstacles head on and learn from them. It's best to be prepared and have a system in place that will guide a business during difficult times because difficult times are bound to come at some point.
Small businesses are always pressured by competitors to offer new services, new products and to provide a better customer experience. It's imperative to remain relevant on the market and to find ways not only to retain existing customers, but to gain new ones wherever it's possible.
This is a process that starts with understanding the competition and investigating its resources and its way of doing business. The most fruitful information in this regard comes from the customers themselves. A successful business is always on the lookout as to the concerns of the competitors' customer base.
An important part of outlasting the competition is a comprehensive marketing strategy. There are countless ways of approaching it, but for a small business, it's best to focus on the customer service aspect, because that's where most of the users come into contact with a company.
Customer service is the most sensitive part of the marketing efforts and it needs to be handled by personnel that's able to present the best features of a company. It's also important for a small business to embrace developing technologies in this area and use that in order to approach the customers on all channels available.
There's no way to avoid dealing with an increasing number of talented competitors because that's the nature of any business, but there are ways to deal with them head-on.
A lot of the time, businesses are created by entrepreneurs with strong and complex visions, which have an idea for a company or a product in general and overarching terms. This is a rare talent to have, but it has very little to do with running a business on a day to day basis and especially with figuring out how the financial aspect is handled. That's why a small business needs to hire professionals to handle these challenges as soon as they emerge.
A big part of running the finances of a small business is handling the tax accounting behind it. It's probably an area in which most money can be saved just by hiring a professional to handle it and to provide useful feedback based on past experiences. It's best to use the accounting services of somebody who is specialized in the industry that the business is operating in. An attorney familiar with hospitality accounting could help a hotel more than any general purpose accountant ever could.
Besides taxes, financial managers also need to create a business practice that allows the company to take out a loan or establish a credit line with ease. A small business needs to be able to grow and expand its services in order to accommodate the market and for this, it needs to be able to borrow money at lowest possible rates.
It's often said that a company is only as good as its employees and there's no truer cliché about running a business. The employees, however, are also a constant source of worry for the management as well. Small businesses often experience a rather large turnover because employees are leaving in order to expand their own careers and move up, which is an opportunity a small business can't always offer.
In order to avoid high turn-over rates and to help create a sense of loyalty among the employees, a small business needs to foster a working environment and a corporate culture that will mean more than high salaries and big bonuses. That means that every employee needs to feel appreciated and respected within the company.
First of all, employees should have a clear career path set out for them. That way, everyone knows that there's room to grow and learn on the job. It also creates a less stressful working environment because there's no place for animosity between the employees competing for a promotion.
Also, small perks, such as longer vacation time, remote work and even a better parking spot and better office snacks could mean a lot for an employee and their relationship with the company. This is something that should be fostered, especially if a company can't afford bonuses and raises.
Every company faces a lot of challenges along the way. The key is to deal with them in a comprehensive manner and with long-term goals in mind.
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redpajama_set_name: RedPajamaCommonCrawl


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Newton's Grace Episcopal Church to receive key grant for bell tower restoration
By Luca Becker and Jake Neenan Boston University journalists,Updated November 3, 2021, 3:28 p.m.
The historic Grace Episcopal Church bell tower on Oct. 28.Luca Becker
Grace Episcopal Church in Newton will receive a grant of up to $250,000 from the National Fund for Sacred Places, a major milestone in the church's effort to raise funds for its historic bell tower.
The nearly 150-year-old tower's masonry has been cracking for years and is at risk of collapsing.
"It was just a great vote of confidence in our project," said the Rev. Dr. Regina Walton, head rector of the church. "We're pretty overjoyed by it."
As a part of the grant, the fund will provide a multiyear partnership to consult with the church to optimize its use of space and improve community outreach.
The money will be in the form of a matching grant, meaning the church must raise the money itself before the grant funds are released, Walton said. The match will be dollar-for-dollar for the first $100,000 raised and one dollar for every two dollars raised for the remaining $150,000.
The church has to demonstrate that it can raise money consistently, "and it can come from a number of different sources," said Scott Aquilina, the project manager for the tower restoration. "Most of it has been pledges from our parish, but some of the money has come from the community."
In August, the city approved the church for another matching grant of $1.43 million in Community Preservation Act funds due to the tower's status as a historic landmark and its significant structural instability.
"I can put my hands in the holes," Aquilina said. "It's in worse condition than it was a year ago."
The Community Preservation Act allows Massachusetts cities and towns to levy a surcharge of up to 3 percent — the rate is 1 percent in Newton — on property taxes to fund community projects.
CPA funds, which are partially matched by the state, can be used for creating and maintaining open space such as parks and fields, restoration of historic landmarks, and affordable and community housing. The amounts for each category are preallocated each year, meaning the church's grant will not affect the money available for parks and affordable housing.
According to a decision by the Supreme Judicial Court of Massachusetts in 2018, CPA funds can be used for projects that do not "substantially aid the church in its essential function" as a place of religious worship.
Aquilina said the money from the National Fund for Sacred Places grant can be put toward matching the city's CPA grant or used for other repairs the city is barred from funding — like the 19th-century bells housed in the tower and internal restorations — as well as other congregation activities.
For the bell repair, the church is partnering with the Verdun Bell Company, a family-owned business based in Cincinnati.
"They're really the premier historic bell restoration outfit," Aquilina said.
The National Fund for Sacred Places, a program that partners with the National Trust for Historic Preservation, awards millions of dollars in grants to congregations around the country. Established in 2016, the fund is designed to award grants to 50 houses of worship over four years.
"There were about 300 congregations that sent a letter of interest," Walton said. "Ultimately, they chose 15. We're really, really honored to have been chosen for such a competitive grant."
In addition to Newton's Grace Episcopal Church, the fund this year awarded grants to the well-known Washington National Cathedral and St. John's Lafayette Square in the District of Columbia, among other churches.
Grace has applied for the grant before and has always stood out as an applicant, said Allison King, the grant manager for the National Fund for Sacred Places.
This year, Grace "reached that critical mass of both need and opportunity and the capacity to follow through with what they're planning," King said.
The church's restoration started on Sept. 1. Currently, Aniceto Historical Restoration, a Milford-based contractor the church hired for the project, is focused on preparing the bell tower for the coming stonework. Mortar can't be poured in below-freezing temperatures, Aquilina said, so the masonry will begin in the spring.
"We are very, very, very blessed," Aquilina said. "It's a miracle that we are in the position we are in."
Luca Becker and Jake Neenan can be reached at newtonreport@globe.com.


Hello, let's go to one more pattern that I leave for you and even better, free with great pride for you, always sharing the news of all modalities, from easy, beginners to the most complicated for all of you. The feeling is great.
Today I bring you a Granny's square that is a pattern that starts with a square and can increase doing your work from it in the center, it's fantastic, this pattern of crochet can be done by beginners, if you have persistence will improve your skills. For everything we do in life, we have to do our best to get things right, and the job is no different.
You have to put your heart into everything you do, do it with love, especially if it is for a gift. It is so good to do something with your hands and give as a gift, you make a pattern crochet and give as a gift to someone dear or in your store, you make your own products or your decoration.
This blanket takes a while to end, but it also depends on the size you want it to be, if it is a baby finishes faster, or if it is a bedspread it takes a little longer, but the result is satisfactory, it's worth not It is. But let's get down to business, below as usual I leave you color-inspired photos for you and just click on the name you will have step by step the standard Granny's Square.


MYRA E. RICHARDSON, administratrix, vs. GUY C. RICHARDS, administrator & others.
A person does not execute an instrument as and for his last will according to law unless he knows its contents, and the burden of showing such knowledge is upon the proponent of the will.
The presumption that a person signing an instrument in writing knows its contents applies to wills as well as to other Documents.
Where issues were submitted to a jury in regard to the validity of a will and the first issue was as follows: "Was the instrument offered for probate as the last will of J executed in accordance with the provisions and requirements of law?" a third issue as follows: "Did J execute the instrument offered for probate with the understanding and purpose at the time of execution that said instrument should be his last will and testament?" was held to have been superfluous, the first issue being comprehensive enough to include the third and there being no special circumstances which made a separate issue appropriate as to whether the alleged testator knew in substance the contents of the instrument.
In the same case the second issue was as follows: "Was the instrument offered for probate as the Last will of J procured to be executed by the fraud or undue influence of F practised and exerted upon said J?" The contestants of the alleged will asked the judge to give to the jury "on the second issue" the following instruction: "On the second issue the court instructs the jury that, while generally a party is presumed to know the contents of an instrument which he signs, if there is evidence which in the opinion of the jury tends to show fraud or imposition practised by F upon J with a view to deceiving J as to the contents of the will, or leading him to believe that its contents were other than what he, J, supposed, then the burden of proof is upon the proponent to satisfy the jury by a fair preponderance of the evidence that J did in fact know the contents of the will and the nature of the provisions therein contained." The judge refused to give this instruction. Held, that the refusal was right, because the instruction had no application to the second issue in regard to which it was requested and there could be no propriety in giving an instruction restricted to the second issue which could have no bearing on that issue and related solely to the other issues.
In the same case the bill of exceptions contained a statement to the effect that the instruction requested as quoted above was not given "in form or substance" and that "except as above stated the jury were fully and adequately instructed." Held, that this statement meant that the instruction requested was not given as to the second issue in form or substance and that upon the other issues accurate and sufficient instructions were given.
APPEALS of six different respondents from a decree of the Probate Court for the county of Essex made on January 11, 1915, allowing the will of Jonathan M. Richardson, late of the town of Essex, and appointing the petitioner the administratrix with the will annexed of his estate. The petitioner was the widow of Frank C. Richardson of Essex, who died testate on June 16, 1914. On January 11, 1915, the respondent Richards was appointed administrator with the will annexed of the estate of Frank C. Richardson, by whose will, dated November 28, 1902, all his property was left to his widow, the petitioner, who was nominated as the executrix. He and the petitioner had no children.
The alleged will of Jonathan M. Richardson was dated July 7, 1897, when Jonathan M. Richardson was about seventy-seven years old and a widower. It was in the handwriting of Frank C. Richardson, who was the only child of Jonathan M. Richardson, and was at that time and for many years before had been a member of the bar, and acted in the drawing of the will and in other matters both before and after as his father's attorney. The alleged will of Jonathan left all Jonathan's property to the petitioner, Myra E. Richardson, and nominated Frank C. Richardson as executor and exempted him from giving sureties on his official bond. On November 27, 1905, Frank C. Richardson filed in the Probate Court a petition, sworn to by him, alleging that his father died intestate, and praying to be appointed administrator of his father's estate. He filed at the same time a bond in the usual form in the sum of $15,000, signed by himself as principal and at his request by the respondents Cogswell and Knowlton as sureties. This petition was granted by the Probate Court, and Frank C. Richardson thereafter paid the debts of Jonathan and appropriated to his own use as sole heir and next of kin of Jonathan all of Jonathan's real and personal estate. Substantially all of the personal property of Jonathan had been spent by Frank before Frank's death. The respondents Cogswell and Knowlton signed the bond in the belief, induced by the representations of Frank, that Jonathan died intestate. The respondent Knowlton was also a creditor of Frank for money lent, as were the respondents Pierce, Story and the Beacon Trust Company.
pany to appeal from the decree of the Probate Court allowing the will of Jonathan M. Richardson or to have issues framed in the Supreme Court for trial by jury in the Superior Court; but no motion to dismiss any of the appeals was made in the Supreme Judicial Court or in the Superior Court, and it was agreed that the the answers to the issues framed on the appeal of Richards should bind the other respondents, and that a single bill of exceptions might be filed on behalf of all the respondents.
It was an undisputed fact that, if the document offered by the petitioner for probate as the last will of Jonathan M. Richardson was a valid will, the estate of Frank C. Richardson would be insolvent.
"1. Was the instrument offered for probate as the last will of Jonathan M. Richardson executed in accordance with the provisions and requirements of law?
"2. Was the instrument offered for probate as the last will of Jonathan M. Richardson procured to be executed by the fraud or undue influence of Frank C. Richardson practised and exerted upon said Jonathan M. Richardson?
"3. Did Jonathan M. Richardson execute the instrument offered for probate with the understanding and purpose at the time of execution that said instrument should be his last will and testament?"
The issues were tried in the Superior Court before Hall, J.
takes, and perhaps other mistakes as to the contents of the will; and the contestants contended that this mistake or mistakes on the part of Jonathan M. Richardson as to the contents of the will were brought about by the fraud or undue influence, or both, of Frank C. Richardson, who stood in such a relation of trust and confidence to Jonathan M. Richardson as to make it comparatively easy for him to deceive Jonathan in such a matter; and the contestants contended that this deception of Jonathan was perpetrated by Frank for certain motives, personal to Frank. . . . or, on the other hand, the contestants contended that, if Jonathan did know the contents of this will, then it was Frank C. Richardson who induced him to make a will containing these particular provisions, and that Frank effected his purpose either by false representations to Jonathan of existing facts, or by suppression of facts which he knew and which Jonathan had a right to know from Frank, or by both methods; and that Frank stood in such a peculiar relation of trust and confidence to Jonathan as to make Frank's conduct in this matter, whether it consisted in affirmative deception, or in lack of candor in the statements of fact and in the advice which he gave to Jonathan, fraud and undue influence within the meaning of the law; and finally, the contestants contended that, if Jonathan intended that this will should take effect only on condition that at the time of Jonathan's death Frank should see fit to offer it for probate, then, however that intention on the part of Jonathan was brought about, the will was not a valid will."
There was evidence which, if believed, tended to establish the truth of these contentions, and there also was evidence which, if believed, would warrant the jury in finding the issues in favor of the petitioner.
The respondents asked the judge to make the following ruling: "On the second issue, the burden of going forward to offer evidence of fraud or undue influence is on the respondents, but on that issue, as well as on the others, the burden of proof still remains upon the proponent, Mrs. Richardson, and after evidence has been offered by the respondents of fraud or undue influence, she must satisfy the jury by a fair preponderance of the evidence that the will was not procured to be executed by the fraud or undue influence of Frank C. Richardson, practised and exerted upon Jonathan M. Richardson."
"On the second issue the court instructs the jury that while generally a party is presumed to know the contents of an instrument which he signs, if there is evidence which in the opinion of the jury tends to show fraud or imposition practised by Frank C. Richardson upon Jonathan M. Richardson with a view to deceiving Jonathan as to the contents of the will, or leading him to believe that its contents were other than what he, Jonathan, supposed, then the burden of proof is upon the proponent, Mrs. Richardson, to satisfy the jury by a fair preponderance of the evidence that Jonathan M. Richardson did in fact know the contents of the will and the nature of the provisions therein contained."
The judge refused to give this instruction. The bill of exceptions stated that "except as above stated the jury were fully and adequately instructed by the court."
The Jury answered all the issues in favor of the petitioner, answering "Yes" on the first and third issues and answering "No" on the second issue. The respondents alleged exceptions.
W. G. Thompson, (G. E. Mears with him,) for the respondents.
J. P. Sweeney, for the petitioner.
RUGG, C. J. These exceptions arise out of the trial of three issues respecting the allowance of the will of Jonathan M. Richardson. These issues were as follows: "1. Was the instrument offered for probate as the last will of Jonathan M. Richardson executed in accordance with the provisions and requirements of law? 2. Was the instrument offered for probate as the last will of Jonathan M. Richardson procured to be executed by the fraud or undue influence of Frank C. Richardson practised and exerted upon said Jonathan M. Richardson? 3. Did Jonathan M. Richardson execute the instrument offered for probate with the understanding and purpose at the time of execution that said instrument should be his last will and testament?" The only exception argued is to the refusal to grant this request for instructions: "On the second issue the court instructs the jury that, while generally a party is presumed to know the contents of an instrument which he signs, if there is evidence which in the opinion of the jury tends to show fraud or imposition practised by Frank C.
Richardson upon Jonathan M. Richardson with a view to deceiving Jonathan as to the contents of the will, or leading him to believe that its contents were other than what he, Jonathan, supposed, then the burden of proof is upon the proponent, Mrs. Richardson, to satisfy the jury by a fair preponderance of the evidence that Jonathan M. Richardson did in fact know the contents of the will and the nature of the provisions therein contained."
There was no error in the refusal of this request. It was restricted by its very terms to the second issue, which related only to the exercise of fraud or undue influence over the testator by his son. It is not reasonably susceptible of the construction that it applied or was intended to refer to the other issues. The request is not applicable to the second issue. The kind of fraud which was submitted to the determination of the jury by the second issue "is inducing a testator by false and fraudulent representations to execute an instrument as his will" when he knows what the instrument contains. The occasion to inquire whether that kind of fraud or undue influence has been practised does not arise until after it has been found that the instrument was executed by the testator as and for his last will with an understanding of what the instrument contains. The kind of fraud which is described in the instant request related to deceit as to the contents of the instrument, or to an imposition upon the testator designed to make him think that something was written in the instrument contrary to what in fact was written in it, or to a trick in slipping some words into, or erasing some words from, the will unknown to the testator and allowing or influencing him to execute the instrument in ignorance of the truth. That kind of fraud is presented to the determination of the jury by the first and third issues in the case at bar. All this was settled by O'Connell v. Dow, 182 Mass. 541, 554.
A person does not execute an instrument as and for his last will according to law unless he knows its contents. The burden of showing such knowledge rests upon the proponent of the will. That burden is usually sustained by the presumption that a person signing a written instrument knows its contents. Androscoggin Bank v. Kimball, 10 Cush. 373. Secoulsky v. Oceanic Steam Navigation Co. 223 Mass. 465. That presumption applies to wills as well as to other documents. Lipphard v. Humphrey, 209 U. S. 264.
There appears to have been no reason in the case at bar for submitting both the first and third issues to the jury. The first was comprehensive enough to include the third. Where no fair doubt exists as to the simple execution and attestation of the will, and the only contest relates to the point whether the testator knew in substance the contents of the instrument, then an issue directed to this single question would not be inappropriate. But the framing in the case at bar of the apparently unnecessary third issue gave no additional rights to the contestants. There would he no propriety in giving an instruction restricted to the second issue which, if germane to the evidence presented and pertinent to the course of the trial, could have no bearing upon that issue and related solely to other issues.
The statement in the exceptions, to the effect that the ruling requested was not given "in form or substance" and "except as above stated the jury were fully and adequately instructed," as matter of construction means that the ruling requested was not given as to the "second issue" in form or substance, and that upon the other issues accurate and sufficient instructions were given.


text:
service 'telegraf' do
  supports :status => true, :restart => true, :reload => true
  action [:start, :enable]
end

redpajama_set_name: RedPajamaGithub


Ceramic Artist, curator, teacher and author, Catherine Merrill's work explores the human figure and has been shown in over 150 national and international exhibitions. Merrill received her BFA in Ceramics from the Kansas City Art Institute under Ken Ferguson. Other significant influences and sources of inspiration include Robert Arneson, Henri Matisse, Michael Ruiz, George Siegel and classical Greek sculpture.
Catherine has been published in several leading ceramic publications including Ceramics Art & Perception, The Studio Potter, the NCECA Journal, Neue Keramik/ New Ceramics, Contemporary American Pottery, The Figurative ArtBeat, Terra Cotta Magazine and CLAY TIMES.
Merrill has presented numerous workshops and lectures at colleges and art centers in the US, Canada, Argentina and Cuba. In 2009 Catherine was Guest Curator of "Beyond the Embargo" at the Fuller Craft Museum. Dedicated to promoting peace and international friendship through the international language of art, Catherine has been awarded the Jose Maria Heredia Medal of Honor for her contribution to Cuban culture, grants from the Puffin Foundation, the NorthWest Ceramics Foundation as well as the Laila Art Fund for workshops and residencies at the Honolulu Academy, the Hui Noeau & the Holualoa Foundation for Art & Culture. Merrill has been an invited artist at residencies at the Mendocino Art Center, the Kansas City Art Institute, the Taller Cultural, Santiago de Cuba, Instituto de Ceramica Municipal, Buenos Aires Argentina, Kwantlen University College, BC, Canada and the International Ceramic Studio in Keckskemet, Hungary. Merrill was a presenter at the 2003 NCECA Conference Borders in Flux.
Your donation supports the exhibitions and programs that are at the heart of the SFWA's mission and strengthen our artistic community.
© 2019 San Francisco Women Artists.


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Research Project | 2021
Phasing out fossil fuel infrastructure in Los Angeles: Challenges for a Just Transition
In this project, Dr. Kelly Kay and Andrea Furnaro focus on the phase-out of longstanding fossil fuel infrastructure as part of the Los Angeles Green New Deal plan.
Download Full Report, PDF
Download Key Findings, PDF
While other studies are focused on ramping up capacity or ensuring the suitability of the grid, there has been much less scholarly attention to the infrastructures that are left behind in green transitions, and the way that infrastructure phase out impacts communities. Focusing on the decision to reduce reliance on or decommission natural gas fired power plants in Wilmington, El Segundo, Long Beach, and Sun Valley, we set out to understand the social dimensions of the phase out of these facilities. The project draws on over 20 semi-structured interviews with key stakeholders, as well as a review and discourse analysis of over 300 articles from the Los Angeles Times dating back to 1980, materials from 23 meetings of the LADWP Renewable Energy Advisory Group, the LA100 study, and a variety of other secondary materials.
CalEnviroScreen and Air Pollution around the OTC Power Plants
Key Actors and Challenges for Just Transitions
As an update and extension to the city's Sustainable pLAn, Mayor Eric Garcetti announced the Los Angeles Green New Deal (LAGND) in 2019. The LAGND seeks to achieve, among other goals, a zero-carbon electricity grid by 2045 and carbon-free sources of energy by 2050. To meet these goals, the city will phase-out coal from its power mix by 2025 and natural gas by 2045. This commitment requires a transformation of the power system, which is owned and managed by the Los Angeles Department of Water and Power (LADWP). LADWP is the largest municipal utility in the United States, which serves 3.1 million residential customers of Los Angeles. Transforming the power system will have myriad social and ecological outcomes, including phasing out facilities both within Los Angeles and throughout the West, a process that will impact neighboring communities, ratepayers, and union and non-union workers, raising a range of questions about how to ensure a socially and environmentally just transition.
Co-principal investigators
Andrea Furnaro, PhD Candidate, Department of Geography, UCLA
Kelly Kay, Assistant Project, Department of Geography; Affiliate Faculty, Institute of the Environment and Sustainability
IoES Contributors
Andrea Furnaro


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Federal Depository Library Program
FDLP Information
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www.fdlp.gov
FDLP.gov is a Government Publishing Office (GPO) website designed for library staff, specifically Federal depository library staff and those interested in GPO cataloging. At this site, you'll find the latest news about the Federal Depository Library Program and U.S. Government publication cataloging and preservation. You'll also find links to FDLP collection tools, promotional materials, requirements and guidance, and much more.
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Page CXVI have created modern version of classic Christian Hymns, and are currently giving away lots of their album free. The aim behind Page CXVI is to make hymns accessible and known again. As they point out "Christian Hymns are some of the richest, most meaningful, and moving pieces of music written", so this is an exciting project!
It is also worth noting that the music is provided on an attribution non-commercial creative commons license for all of the public domain music (i.e. the four hymns above). Therefore if you ever want to use any of these songs in videos for your church or other types of media presentations feel the freedom to do so license free.
I'd like the sheet music for the hymn "How Great Thou Art" arranged for congregational singing. Thanks!
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Pennsylvania league to U.S. senators: Urge Dollar's appointment to NCUA Chairman of the Board
HARRISBURG, Pa. - In a show of support of having the word "acting" removed from Dennis Dollar's title with the NCUA Board, the Pennsylvania Credit Union League has sent letters to its two U.S. senators - Arlen Specter (R) and Rick Santorum (R) - urging Dollar's appointment to chairman of...
By Staff Writer | September 04, 2001 at 08:00 PM | The original version of this story was published on Credit Union Times Magazine
HARRISBURG, Pa. – In a show of support of having the word "acting" removed from Dennis Dollar's title with the NCUA Board, the Pennsylvania Credit Union League has sent letters to its two U.S. senators – Arlen Specter (R) and Rick Santorum (R) – urging Dollar's appointment to chairman of the board. In his letter to the two senators, Jim McCormack, president/CEO, Pennsylvania Credit Union league wrote that during Dollar's tenure in office since February 8, "he has executed the duties of his office in a progressive and conciliatory fashion." McCormack went on to focus on Dollar's consistent recognition of "the need to facilitate the ability of credit unions to meet the challenges of a rapidly evolving financial market place. Under his leadership, NCUA has expanded the menu of services available to members and literally brought credit unions into the 21st century. Our constituent institutions would take great comfort in knowing that such an enlightened attitude will persist throughout the full term of the board's next chairman."


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"The movie's...made with deceptive care and a quietly apt camera sense."
United FIlm Fest - San Francisco - 11/15/13 - *Best Narrative Feature!
United Film Fest - NYC - 6/11/13 - * Best Narrative Feature!


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Home › Profiles interviews from across the FE & Skills sector
Jo James
chief executive, Kent Invicta chamber of commerce
Jess Staufenberg
See discussion
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The only voice I need to hear right now is the voice of employers
Interview: Marion Plant
Melissa Tisdale, FE lecturer of the year
Jo James started as a typist at her chamber and has shot up the ranks to chief executive. She tells Jess Staufenberg why local skills improvement plans can't be all things to all people
Apparently Jo James has been out dancing all night. She beams and chuckles throughout our conversation, but is seemingly feeling the effects of the evening before on her feet – it was the business awards ceremony at the Kent Invicta chamber of commerce, where she has been chief executive since 2008. (The 'invicta' bit means 'undefeated' and is Kent's motto – something to do with scaring off William the Conqueror.)
The names of the winners have been sat sealed inside envelopes for 20 months, because James refused to do a virtual ceremony – which, let's be honest, is never as good as the real thing.
"We haven't had a lot to celebrate until last night, even pre-pandemic – it wasn't a great environment already for business," she confesses. This is a reference to Brexit, whose effects on local economies have been worsened by the double whammy of the pandemic.
When she won her OBE for services to the economy in 2019, Prince William had apparently asked James how Brexit was affecting Kent. She'd joked that the trip to Buckingham Palace had at least "given her a day off from Brexit talk", which, according to Kent Online, made him laugh.
But even someone with a cheeky sense of humour like James (she got her dog on the same day she received her letter from Buckingham Palace, so he's called, you've guessed it, Obe) does not try to make light of the situation facing employers now.
James and her collie, Obe
After Brexit came Covid, plus a prime minister whose flustered address this week to the Confederation of British Industry was criticised as a "failed speech" and "inappropriate" by some business groups.
"To thrive, business needs stability and clarity, and clarity is probably more important," continues James. "If you don't have clarity, how can you plan? We've had a tough four years of uncertainty. Businesses need to know what the ground rules are."
This perhaps explains why James is so frank about where her loyalties lie, and how she sees the role of the government's local skills improvement plans (LSIPs). Her chamber was one of eight to successfully bid to pilot an LSIP, and she provides fascinating insights on the process behind it. But to start us off, she is clear with me what the LSIP is for.
"I need to inform and keep all stakeholders on board, but the only voice I need to hear right now is the voice of employers. Yes, there are young people not in education, training or employment (NEET), and there's the 16-19 agenda, but I'm not being dragged into that. For this piece of work, it's about the voice of employers."
The other stakeholders are universities, FE providers, the Careers & Enterprise Company, local authorities, private providers, and more, says James. But she argues she must prioritise employers, because they desperately need to be heard.
"What skills we're getting in the county at the moment is driven by the student, and there's no relation between what a student wants, and what business wants, and the growth areas we're going to have," she explains. "And actually there's a mismatch between what's coming out of HE and FE, and business. That's not fault of colleges: that's a fault of the system."
The skills we're getting at the moment is driven by the student, not business
One of the systemic problems is the way FE is funded, continues James. "Colleges of course need to have sufficient people to make a course financially viable […] so one of the things the government can do is to enable colleges to put on not so popular courses that are really essential to the growth of the county."
But how many young people – particularly in Kent, with London so close – will then stay in their county? I ask. How will the chamber ensure students who have taken critically important college courses don't leave, and the government hasn't wasted money on a course with no tangible local benefit?
James nods. "Yes, it's the big London agency that has the pull." The pandemic has put rural economies even more on the back foot in this respect, she continues.
"On the one hand the pandemic has given us opportunities, but on the other hand there's also a threat." Previously, explains James, Kent's employers could compete with their counterparts in big cities by pointing out the drawbacks of the length and cost of commute. With more people working from home, that's no longer the case.
"So that's driving up salary costs here, because employers are having to compete to make the offer more compelling." It's a "much more candidate-driven market," James adds.
James receiving her OBE in 2019
Placed in this context, with business struggling on all sides, James's friendly but firm determination to listen to them foremost makes more sense.
"I'm not getting sidetracked. The local authority may have a real problem with NEET and want to come and talk to me about it, but that's for a later stage, that's not now. The whole thing is about ensuring we've got the employer voice at the heart of FE."
There do seem to be a few tensions here, which will need someone as friendly and light-touch as James to steer through. She's got a clear process for trying to bring all voices to the table – but business gets the final look-in.
To begin with, her team is gathering the 'data' on the problems facing employers. It's a three-pronged approach: first, through direct conversations and surveys with 25 member organisations such as the Federation of Small Businesses, the Institute of Directors, the National Farmers' Union, the House Builders Association and so on, asking them and their members for their views.
The second approach is through a market research company gathering responses from at least 2,000 businesses, asking about recruitment, in which sectors and which skills, and so on. The third is focus groups, with 20 to 30 people led by James and her team.
James expects three issues to become clearer: "the immediate skills needs; the technical qualifications and what needs to change there; and where there is a lack of people going into key sectors". She is already aware that the sectors most struggling in Kent are manufacturing, engineering and agriculture.
This information will then be gathered and put to an "employer board", which James expects to convene in the next two to three weeks with about 30 employers (she is clear she doesn't just want the "usual suspects" representing local business, but those who don't often speak up too).
"We'll then say to the board, this is what the data is telling us – does this problem resonate with you? And if the answer is yes, we move on to creating a solutions panel."
The solutions panel is where FE providers come in ̶ along with HE and private training providers, government department representatives, local authorities, as well as employers and businesses. The panel will propose recommendations to tackle the problems identified by businesses, says James.
"Then we'll take those solutions back to the employer board and say, do these sound the right solutions to you?"
It's clear who the LSIP is serving – business – but then, that's what the government has contracted James to do, and she makes a fair point about the mismatch between skills gaps and education. The only problem is convincing everybody else the LSIP is definitely their LSIP too.
"That's why it's so key that those stakeholders are brought into the process, so actually it's not a chamber of 'Jo James' LSIP ̶ it's a Kent and Medway LSIP," says James.
But with colleges facing possibly legally binding LSIPs, it will be important that providers aren't made to feel they've lost all autonomy over what is in the best interests of students.
James, however, praises how her local colleges for cultivating a close relationship with the chamber, and it is unlikely many college principals will not see the advantages of making LSIPs work.
My final question is practical. Even if everyone is signed up in principle, frustrations could arise if the plan is not smoothly managed. What is the strategy to ensure LSIPs are actually carried out? Who will keep the plan on track?
"To me the LSIP is just the start of the journey," explains James. "If it's just one piece of work, it's a wasted effort."
If the LSIP is just one piece of work, it's a wasted effort
James has a major advantage: she is immensely likeable. She is a former FE student herself, having not enjoyed school and taken a secretarial course at Ashford College. She never even intended to lead the chamber, having been interested in hairdressing.
Instead, as a stay-at-home mum, she one day applied to a newspaper advert for "typist, 12 hours a week", and it turned out to be at the chamber of commerce. Since then she has shot up through the ranks, and was asked to take over as CEO 12 years ago. "I have a wild imagination, and I never in my wildest imagination would have thought I'd be doing this!"
Her team has got until end of February to submit the LSIP. With so much effort put into them by exhausted employers, let's hope they might work.
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Caroline Hargrave 1 December 2021
Interested in how the skills needs of the public sector (health and social care, public services, education etc) are going to be reflected in LSIPs. How are Chambers capturing this in trailblazer areas?
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Q: Is there a way to boot from a disk to clone an internal hard drive to an external one, and vice-versa? I've got a dying internal Windows 8 hard drive in a desktop PC. I want to copy the data off of it, but it doesn't boot properly, so I was wondering if I could instead boot from a bootable disk containing a cloning software, then clone it to an external hard drive (connected via USB 3). Then, if and when that is successful, I'd like to buy a new internal HD, pop that in, and then copy the data back from the external drive to the internal one.
What software would allow me to create this bootable disk to perform this backup operation?

A: I ended up using Acronis True Image. I installed it on another Windows computer I had, then created a boot DVD from it. I then popped the boot DVD into the dying computer's DVD drive, booted from it, then plugged in an external HD to the PC and told True Image to clone the internal drive to the external one. I then swapped the internal drive with a new one, and cloned the external drive to the new internal drive. It's good as new now!

A: http://gparted.sourceforge.net/livecd.php

GParted Live is a small bootable GNU/Linux distribution for x86 based
  computers.

I've used this to move partitions on the same drive but I see no reason why it wouldn't let you do the same thing across multiple drives.
The dd command would be something along the lines of:
dd if=/dev/sda of=/dev/sdb
Be sure to find the correct devices before you run it, sda and sdb are probably not right because it depends on your system.  You can identify the disks with fdisk -l if they are different size disks.

redpajama_set_name: RedPajamaStackExchange


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As you all know I am technically on a no-buy. I am trying to not buy new products this year until I use up some of what I already have. Technically all four items I purchased are things I don't have an overwhelming amount of. If I was purchasing lotions or shower gels I would tell you to come over and slap me...however I am buying a few things to test out that catch my eye.
I have never been a huge dry shampoo girl but I actually have heard amazing things about Baptiste. I picked out this tropical scent and I may be becoming a convert! I used it last night and again this morning just to try it out and love it so far. I love the prices at Marshall's- great for trying new things!
I love a good makeup wipe and I figured the Alba Botanica Hawaiian wipes would be great to try. There are also only 10 inside so if I don't care for them they will be used up quickly! I tried one last night before bed and really liked it! Also a small package for only $1.99? I love Marshalls!
The last item I picked up from Marshalls is this beauty blender. I believe the brand was Precision Beauty and so far it has been great for applying my BB cream in the morning! I am planning on purchasing a new foundation in the near future so I am looking forward to being able to apply it with an airbrush finish that this beauty blender will provide.
Last up is a Sephora splurge. I was in the mall and couldn't help myself when I made this purchase! (insert guilty face here) This is the Laura Mercier Secret Concealer in 0.5. I had planned on purchasing the Laura Mercier silk cream foundation when I walked in that day but I couldn't find a shade in my color. I think I will be Rose ivory (the lightest shade) but they didn't have it in stock. Instead since I was ready to make a purchase I decided to grab the secret concealer which I only use on my under-eye area. So far it's awesome and seems like my perfect color! I can't wait to pick up the foundation and complete the look!


How do we know Anne Frank's dairy is authentic and not a forgery?
Anne Frank's diary is a forgery written by her father, Otto Frank, for monetary gain.
Handwriting comparisons and forensic research of Anne Frank's diary have shown conclusively that she was the author. After WWII, Otto Frank compiled and edited Anne's diary. Because of the diary format, which promotes a personal and intimate style of writing, Otto noticed that many entries included embarrassing details or family conflicts. He sought to remain true to Anne's writing while saving his family the pain of posthumous distress. These were all minor edits that did not take away from the themes and experiences Anne discussed in the diary. Later, the edited entries were restored to their original form, exactly as Anne wrote them. Researchers and scientists have proven that the diary was truly hers.
In 1975, David Irving, who the High Court in London in 2000 declared to be a Holocaust denier, racist and antisemite, wrote in the introduction to one of his books on Hitler, that Anne's diary was a "forgery." Otto Frank protested to Irving's publisher and the passage was omitted when the book was reprinted. Frank also asked the publishers for damages to be paid to the Anne Frank Foundation in Amsterdam.
In November 1980 the Netherlands State Institute for War Documentation received all of Anne's original diary papers , as directed in Otto Frank's will. The State Institute conducted a definitive forensic and literary analysis of the diary using then state-of-the-art technology. Their report, which was published as The Diary of Anne Frank: The Critical Edition, is 719 pages long. The State Institute conclusively determined that the diary currently published as the "definitive" version is not a "novel" or a "literary fraud" but it is an accurate presentation of the original material. They also show that the diary pages were actually in Anne Frank's handwriting and that the ink and paper were consistent with the time period.
Does the diary show a level of maturity beyond that of a teenaged girl?
This question—raised by Holocaust denier David Irving—is misguided from the start. One can certainly get the impression from Anne's diary that she was a thoughtful, precocious child who took her education and writing seriously. Nothing that she wrote is out of step with what a teenage girl could write about—teenage crushes, war, sexual maturity, friends, family conflicts, etc. Whether or not Anne wrote with a maturity beyond her peers and beyond her years is not very good reason to doubt that Anne actually wrote the work.
Anne certainly matured dramatically over the 25 months she spent in hiding, and this is evident in her writing style and subject matter. Anne spends considerable time in the diary discussing how she has in fact matured emotionally and psychologically. The war, and writing about it, transformed her. Before the reader's eyes, Anne slowly turns into a more mature young woman who thinks and writes beyond her age of 15.
Anne Frank's diary was not written by her father, Otto Frank, for monetary gain. The literary and handwriting comparisons and the forensic results on the diary's paper and ink done by the Netherland State Institute show conclusively that Anne Frank was undeniably the author of the diary. Otto Frank compiled and edited his daughter's writings, mainly to smooth out family tensions and to exclude potentially embarrassing material. He still tried to remain true to diary. Today, the Netherlands State Institute for War Documentation has published the full, unedited diary.
Similarly, the charge that Anne's writing was too mature for a teenaged girl does not hold up to scrutiny. A thoughtful reading of the diary shows that Anne changed during the 25 months she spent in hiding; her diary entries document that change. Indeed, this is one of the reasons why Anne's diary remains so powerful to so many readers.
Anne's Diary. By Heather Cowper www.heatheronhertravels.com [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons.
 Richard Harwood, "Did Six Million Really Die?" ("Best Seller A Hoax") at http://www.historiography-project.com/books.
 David Irving, Hitler and His Generals (Berlin: Ullstein Verlag, 1975), Introduction, p. III as cited in Netherlands State Institute for War Documentation, The Diary of Anne Frank: The Critical Edition (New York: Doubleday, 1988), p. 91, fn 53.
 David Irving, "Documents on Anne Frank and her Diary" at http://www.fpp.co.uk/Auschwitz/docs/controversies/AnneFrank/index.html.


Self Description: I am a young lady that you are looking at. So keep looking and remember your first impression. I am intelligent and educated, I like to be feminine and I appreciate good manners. I never go out without a lipstick and a smile. If you ask me what I will choose high heels or sneakers, I'll answer - depends on where you take me. I like to be different, I like adventures and believe that life is given to be enjoyed. Enjoyed with a glass of dry white wine, sweet strawberries with cream and with my beloved man!
Comments: My man is not a beginner, he has background behind him, and I am a woman who'll remind him of young love's joy. Yes I am interested in a mature man who is stronger than me. Not a sugar daddy, but a close friend who'll give love to me, a gentleman who is experienced and knows how to treat a lady. The one who is loving and caring. The goal is to laugh forever with someone you take serious. The goal is to enjoy each other for years.


An estimated 22% of the world's largest 100 firms are now effectively under state control. This is the highest percentage in decades. The upsurge of SOEs as global competitors has given rise to concerns related to a level playing field.
Some business competitors and observers claim that compensation granted by governments to SOEs in return for public policy obligations carried out at home as well as other advantages enjoyed by SOEs but not privately-owned firms can give SOEs a competitive edge in international markets. The challenge is that in a globalised economy, some state interventionist policies can have beggar-thy-neighbour effects. The risk of not addressing such concerns is that trade and investment partners may revert to protectionist responses, which in turn may discourage much-needed international investment.
In this context, the OECD hosted a half-day dialogue on the topic of SOEs as global competitors.
In the face of increased internationalisation of SOEs, what can be done by home and host countries to ensure investment remains open with assurances that all companies compete on a level playing field?
In view of the inclusion of provisions on SOEs in recent trade and investment agreements, what aspects of these agreements cover commitments to a level playing field? What is to be expected in-practice on the part of home and host countries to ensure implementation?
Where do the gaps remain and how can we support an open, non-discriminatory environment for doing business globally?


text:
World > South America > Argentina
In 1816, the United Provinces of the Rio Plata declared their independence from Spain. Eventually, Bolivia, Paraguay, and Uruguay went their own way, but the area that remained became Argentina. The country's population and culture were subsequently heavily shaped by immigrants from throughout Europe, but most particularly Italy and Spain, which provided the largest percentage of newcomers from 1860 to 1930. Up until about the mid-20th century, much of Argentina's history was dominated by periods of internal political conflict between Federalists and Unitarians and between civilian and military factions. After World War II, an era of Peronist authoritarian rule and interference in subsequent governments was followed by a military junta that took power in 1976. Democracy returned in 1983, and has persisted despite numerous challenges, the most formidable of which was a severe economic crisis in 2001-02 that led to violent public protests and the resignation of several interim presidents. The economy has recovered strongly since bottoming out in 2002. The government renegotiated its public debt in 2005 and paid off its remaining obligations to the IMF in early 2006.
Official name: Argentine Republic
Capital: name: Buenos Aires
geographic coordinates: 34 36 S, 58 40 W
time difference: UTC-3 (2 hours ahead of Washington, DC during Standard Time)
Government type: republic
Languages: Spanish (official), English, Italian, German, French
Official Currency: Argentine Peso (ARS)
Current Argentine Peso Exchange Rates
Historical Argentine Peso Exchange Rates
Chart Argentine Peso Exchange Rates
Currency code: ARS
Area: total: 2,766,890 sq km
land: 2,736,690 sq km
water: 30,200 sq km
Climate: mostly temperate; arid in southeast; subantarctic in southwest
Map of Argentina
Facts at a Glance: Geography - People - Government - Economy - Communications - Transportation - Military - Climate - Current Time - Ranking Positions - Argentine Peso Exchange Rates
Notes and Commentary: People - Economy - Government and Political Conditions - Historical Highlights - Foreign Relations - Relations with U.S.
Argentine Peso Exchange Rates


This is a hand shaped EPS blank with epoxy lamination and vacuum bagged bamboo deck. These boards are extremely light and extremely strong. This construction cost $480 as a clear sand finish. This cost less then the Chinese Fire Wire boards and it's made in Hawaii. The board in the picture has rasta marble foam stain bottom, pin line and gloss finish. This board in the picture costs $599 with all the color and gloss finish.


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