Back in September I wrote about what I might characterize as my teaching, as well as my personal, goal for F/W 2018-19: to try to decolonize my syllabi as much as possible.
I talked in detail in that post about my brand-new course, "Toronto: Culture and Performance." That class took a group of 40 students – plus one keen international graduate student auditor, one TA-extraordinaire, and me – to the city down the highways five times over the course of 13 weeks to see five amazing shows. We also read a diverse bunch of authors writing about Toronto's theatre ecology, held a fantastic workshop with one of the Toronto Star's theatre critics, and created some pretty amazing final projects, including several remarkable creative ones.
I just loved that class and cannot wait to teach it again.
One of the reasons I loved it was because I felt, every week, like I was living up to my goal of working against the colonial drift. With the luxury of a totally new prep, a course I had designed entirely from scratch, I could map a landscape that looked as decolonized as I could hope for.
The course began by foregrounding Indigeneity as central to any labour on theatre and performance in a settler-colonial state; it continued by centralizing non-White and non-dominant voices in the majority of the work we read and saw. When we did encounter dominant or "mainstream" voices, we therefore had the tools to ask critical questions about how our expectations about cultural value and theatrical "quality" in Anglophone North America are shaped by the normalization of White, straight, and cis experience.
But, of course, not all courses do we get to bake from scratch, right? Some we inherit. Sometimes that inheritance is nimble and exciting. Sometimes it's a dire mess, but the idea of renovating it, especially under time pressure, is overwhelming.
Sometimes – and I think this is the worst scenario, personally – the course is FINE but also not the best it could be. You're aware of this but you're also exhausted. You *could* do something with it, but you could also leave it – the students will still learn. You're still a good teacher; you'll still get them to the questions they need to be asking.
This is especially hard and upsetting when the course is one that you, some time ago, designed from scratch.
I'd been planning, since September, to totally revamp my History of Performance Theory class, a winter term module I began teaching four years ago. This course has needed work for a while, and I've known it; it's littered with Aristotle and The Usual Post-Aristotelian Subjects, it's way too White, and it's boring. I've struggled with the readings, struggled with finding effective ways to demonstrate the readings in practice, and struggled with setting performance-based assessments that effectively allow the students to enact, and thereby own, the theory.
Trump and/as Aristotle. Sigh. What role the Dead White Dude in an anti-colonial performance theory syllabus?
Basically, the course is a dumpster fire, from my perspective. But, again: the students have consistently enjoyed it, and probably would do again. Nevertheless, I determined This. Was. The. Year. I would retool it completely! I would start in September!
But then, stuff intervened: personal stuff that had to be prioritized, in the moment, above redoing a winter teaching prep. When late December hit and I'd managed both to ride out that stuff and rest a bit, I realized I only had about a week to totally decolonize that nasty, white-washed pile of teaching poo sitting on the corner of my desk.
What to do? I knew I couldn't really do anything like a proper job of reorganizing the course in a week. Remarkably, though, it was when I faced down the reality of my shortened time frame that I finally realized how much of a process the decolonizing of this course – really, of ANY existing, kinda-fine-but-not-quite course – needed to be. This was a process I could begin in December 2018 with integrity, but not finish – perhaps not finish for some time. And maybe that's ok.
So I got to work on the beginning.
First, I asked myself what I wanted a decolonized version of this class to look like. Beyond inviting students to read texts from multiple perspectives across the centuries, what did I want the class to do?
I came up with a list.
The class needs not to hierarchize readings, in which the old White guys appear to be "first" or "top" or "most key".
The class should not be entirely chronological. While some then-to-now is important for understanding globally rich concepts (like "mimesis" and its politics), working by theme rather than temporally means shifting students' idea of where history "is" and whether or not we, too, are part of history right now.
The class needs to be as much about learning to read theory, and to use it in ways that are fun and relevant, as about "taking in" the "great ideas" of historical thought. In other words: the class needs to take as given that theory is hard but worthwhile, and therefore it's our shared responsibility to make sense of it as a team.
This list turned out to be a really helpful starting point. It allowed me to make a plan with both my and the students' needs in mind. (Remarkably, I wonder: do I really always foreground student needs when I plan a class? DO I?) In turn this plan led to me to do three things toward decolonizing the syllabus that I'm feeling good about. It's still early days, but so far so good.
First, I turned to the question of readings. Back in October, when life things were really starting to hit the fan for me, I re-ordered the textbook I have previously used for this class: Daniel Gerould's Theatre/Theory/Theatre. It's imperfect but also just fine, and I figured that, if needed, I could make it work better for me than it had done in the past.
I was right: looking carefully at the table of contents, I realized that, while Gerould prioritizes the Anglo-European tradition, he does include a handful of non-Western sources in the book – enough to make a critical mass if used carefully.
Professor Gerould's theatre theory textbook. The introductions remain a highlight for me!
Then, for the weeks in between, I returned to a practice I've used in the past (and which Anna Griffith also talks about in her December post on her performance history class). I'd let the students select half of the readings from a list I'd curate (thus offering them security in choice). I picked four weeks for "Students' Choice" and gathered 12 potential readings for these. These potentials included a deliberately diverse range of authors: all of the non-Western readings in Gerould, plus an Indigenous, female, Toronto-based playwright, an Egyptian-Canadian, male artist from Vancouver, and a prominent feminist performance scholar. These weeks were broadly "themed" (IE: acting theory; theatre and social justice), but beyond that the options ranged from ancient to of-the-moment and everywhere in between.
So we've now got a really rich range of readings – Aristotle; Bharata; Jani Lauzon; Philip Sidney; Li Yu; Jill Dolan; Augusto Boal; Bertolt Brecht; Marcus Youssef; Catanese; and Harvie – in that order. And the readings are majority students' choice, so the class can feel a sense of ownership over them. My hope is that the challenges the readings will pose will seem, if not more doable, then definitely more worth working on, because of that.
Who or what is allowed to be represented, and why?
Is this representation "good" for us, and why or why not? What exactly should representation "do"?
Should audiences think, or feel? Enjoy, or learn? Is there a third option?
I've told the students that these questions return again and again in performance theory, and that we will encounter a number of responses to them. At the same time, we should be thinking about our own responses to them: who is represented around us now, and how, and to what end? Is this representation "good" for those who are represented? For us? Who decides? Why does it matter?
Having these research questions in place as a baseline means we always have somewhere to go, if things get complicated. Don't understand why Aristotle keeps changing his mind about whether or not "spectacle" is ok? Ask yourself: who does he think should be allowed to be represented? What does he think the audience is supposed to get out of it? Why might he feel this way? These benchmark questions offer a reading lifeline, while also raising issues that are essential to get on the table if we are going to try to make sense of theory cross-culturally.
Finally, I devised a broad assessment framework: explain, apply, and extend. Actually, I've used this framework before, but never as holistically as this year. Rather than just set a task (or a series of tasks) where students need to explain, apply, and extend a piece of theory, I've this year turned the framework into a model for our classroom working practice across the term.
At the centre of this model are three 500-word tasks where students will "explain" a theory (very basic, but important – that's the point), "apply" a different theory (find an example of the theory in practice, from anywhere they like, and talk about it), and "extend" a third theory (push or question its parameters).
To bolster students' confidence and demonstrate these tasks thoroughly, each week I am organizing my class prep into three roughly 1-hour chunks, one devoted to each of the tasks for the theory up that week.
I've done other things, too, to help shape a classroom environment that offers students as much ownership over their experience as possible, while also prioritizing typically unheard voices both in the room and in our readings: students will write participation reflections and come talk to me about their participation practice in my office at mid-term; there's no final exam, but rather a group performance project that will allow students to choose a play (from three options) they want to work on, and select into a performance group based on that choice; we're already in the habit of moving our classroom furniture each week into configurations that allow for student-centred learning.
I hope to write about these other things in later posts, and I'll share updates about the class – how it's feeling for me; how it's going for the students – during the term too. I don't pretend this is anywhere near what I'd like it to ultimately be, but I think it's a good start. I'm also hoping the students will help me to see what needs changing as we go, so that I can keep this particular syllabus-decolonization project in motion.
Friends: I'm honoured to share this guest post by Anna Griffith. Below, Anna reports on her on-the-ground experiences decolonizing her theatre history and performance studies classes at the University of the Fraser Valley.
I've learned so very much from this post – I hope you do too.
This piece of feedback was delivered in a final presentation about what students had learned during the capstone performance theory course I taught two years ago. I am grateful that the student was brave enough or frustrated enough to say it, as it helped me crystalize two important things. First, that my framing around my classes and my attempts to decolonize need to be clearer and better communicated to the students. Second, if I am to experiment with class structures, class content, and ways of learning that challenge dominant forms of teaching and learning, then I should get used to hearing this.
I teach as a sessional instructor at the University of the Fraser Valley in the Theatre Department, a place that is forward thinking in its focus on teaching innovation, Indigenization, and commitment to decolonization. Within this environment, I have been experimenting with how I can decolonize not just the content of my classes, but the structure of them as well. Although some people frame this kind of practice as student-centered learning, experiential learning, or active learning (which it is), I prefer to focus on how instructors can use these forms of learning to challenge the continued colonization that occurs through education, and thereby promote decolonization.
As a white instructor from settler ancestry teaching on unceded Sto:lo territory, I have been trying to overtly mark the ways in which alternative pedagogies can move settlers closer to understanding Indigenous forms of teaching, learning, and knowing. I am interested in how embodied pedagogy can promote learning that emphasizes the importance of holistic knowledge as it is drawn from embodied experiences and focuses on bodies as relational, within social structures, and foundational to the ways we make meaning. In my classes, I try to move us towards a place where Indigenous pedagogies, methods, and knowledge can be engaged with (not exploited or used to add a flavour of diversity).
My pedagogical approaches, through embodied pedagogy and applied critical theory, see me trying to create a third space between colonial educational systems that privilege certain forms of cognition and discourse-based learning, and Indigenous pedagogies and learning systems that might radically transform our societies if we embraced the aspects offered to us. I see this pedagogical change as part of the settler work required in order to create social and political change more broadly.
In their excellent article titled "Applying Indigenizing Principles of Decolonizing Methodologies in University Classrooms," Dustin William Louie, Yvonne Poitras Pratt, Aubrey Jean Hanson, and Jacqueline Ottman write: "We contend that institutions of higher learning need to move away from the myopic lens used to view education and implement Indigenizing pedagogies in order to counteract the systemic monopolization of knowledge and communication" (17).
The authors share with us how they apply Linda Tuhiwai Smith's 25 Indigenous projects as inspiration and guidance to reimagine their pedagogy and teaching practice (18), and suggest them as a good starting place for non-Indigenous scholars and teachers frustrated by their "lack of knowledge, training, or confidence to incorporate Indigenous knowledge or methods of education into their classrooms" (22). Although my work started before reading this article, I strongly agree with the authors and have seen fantastic growth in my students when applying a decolonial approach to the Theatre History course I teach at UFV.
What follows is a glimpse into how I offer this course and my attempts to decolonize both its structure and content. I then give you a sneak peek into a performance studies course I am offering next term that extends this wrestling match.
Our first three-hour class together is about framing and negotiation. In my introduction, I disclose that I am incredibly excited by and focused on embodied, active learning, and arts-based methods of inquiry and that for the rest of the semester we will incorporate an element of this into each class. I also reveal that I am working to decolonize my classes in order to challenge power structures and systems of education that often don't include the learner's voice.
And so begins the negotiation. I hand out a syllabus I created that has already attempted to integrate aspects of the western canon with theatrical forms from non-western perspectives. I then ask students to look for holes in my representation, to consider what they are interested in learning about, and to explore what they think they should know by the time they leave our class. We do this through small group activities culminating in a large group discussion, and I find that even if we don't change the syllabus much, it offers students more buy-in and a structured way for their perspectives to be integrated.
Again working in small groups and then as a larger group, we generate the overarching questions that will guide us through the term. We negotiate the weight of assignments and co-create the first rubrics (an activity we repeat for each assignment). We brainstorm what they expect in a teacher, and what they expect from themselves and their peers as students, and together we come up with an agreement on how we will conduct the class.
All of this takes time, and I generally budget 30 minutes for each part of the negotiation (content, overarching questions, and class expectations), except the rubric creation which takes longer (I plan on one hour for this). We have three hours together each class, and the first day really sets up the kind of engagement and participation I expect, which is a lot.
The culminating work of the class is a final creative project, which asks students to synthesize information from class and express it through an artistic medium accompanied by a written text, and presented to the class.
We start this process by creating the rubric together. In small groups, students design individual rubrics, based on the criteria they think should be assessed and what excellence in each area looks like. We then start the long process of blending them. Our discussions include defining what each criterion means, what might be excellent as opposed to very good or average work, and debating whether or not the wording reflects academic requirements while still allowing personal creative freedom.
The final creative projects students presented were insightful, contained deep synthesis and understanding of theatrical form and political/social context, were highly entertaining, and demonstrated to me how hard students will work when they are motivated, engaged, and inspired.
Our projects this year included: masks, songs, a storyboard, a set of film notes, a Commedia cake, a comic strip, a musical score, and a mini-series trailer, to name just a few examples.
Clockwise from top: "The Tempest" comic strip created by Talia Tvergyak; contemporary Pantalone mask riffing on the current global political climate created by Coco Bedard; Anatole Smith and Keegan Zaporozan performing, with masks, costumes, and lighting design created by Linnea Balt; Commedia dell'Arte Cake created by Aimee Payeur and Ali Slack.
While one Theatre History class isn't a fix for the ongoing acts of colonization that happen daily within western university practices, it does offer the students a louder voice in their learning, positions me as a facilitator rather than an expert, and changes power dynamics for a brief moment. It is tough and messy stuff, and I will continue to build on this experiment in the performance studies course I am teaching next term, which I've called Performing Bodies/Performing Identities.
I am still fleshing out my draft syllabus, but here is where I'm at so far.
I have three main categories that frame the course: citational performances (things like drag, cosplay, or religious fashion), disciplinary tactics (bodybuilding and CrossFit for example), and modifications (think of tattoos, piercings, or cyberware). Since there are so many amazing people writing about fantastic things related to how we perform our bodies, I have compiled a smorgasbord of articles and artists we could engage with.
The Day One Negotiation Class will have students select what they are interested in learning about, or find what they are interested in studying within the course theme and pitch it to me. My hope is that the content will reflect the students in the room and their interests.
In this first class they will also set up their blogs (the main place that will house their assignments) and we will discuss labour.
Inspired by Asao Inoue's work in Antiracist Writing Assessment Ecologies: Teaching and Assessing Writing for a Socially Just Future, I am trying to find ways to measure the labour of the class. A big part of Inoue's argument is that our assessment of writing often privileges students who write like we do (favouring the clear, academically rigorous writing of our discipline, and the students who already know those codes), and punishes students who fail to do this. He argues that there are implicit racial (and class) biases in what is judged as acceptable academic writing that are further complicated by issues of access.
Asao's suggestion is that if grades are based on the labour and effort put into achieving high levels of academic writing, then the playing field becomes more even and doesn't automatically privilege certain students with existing expertise. I am trying to integrate Inoue's work in two main ways (aside from majorly checking my assumptions in how I assess).
First, I have created a weekly blogging assignment where students will engage with the text or artist's work. I am drafting a rubric (to be negotiated) focused on depth of understanding, critical engagement, and critical analysis, but then will offer students a choice about what they do with their blogs each week (answering questions, narrative inquiry, creative response, or synthesizing and responding to other people's ideas). These weekly marks are based on the labour of having done the response in a critical way and on time, but the expression of that knowledge can be chosen by the student.
The second way I am engaging with Asao's ideas is through a process-based research paper. Students will submit the first draft, get feedback (possibly peer-reviewed), revise, submit a second draft for feedback, revise, and then submit for a final time. I am trying to emphasize that writing, learning, and creating take time, effort, practice, and revision.
Their creative final project will be a praxis-based performance art or public art piece that engages with the class materials and discussion in some way and allows theoretical knowledge to be translated into arts-based practice with an emphasis on personal voice. My ways of practicing decolonization through revisions in structure and changes to content are now being pushed farther to consider how and what I assess. I oscillate between feeling exhilarated and terrified by this.
I am a sessional instructor acutely aware of the precariousness of what that is. Working as I do requires a lot of labour up front (finding articles, researching artists, planning activities and exercises), and it feels very risky at times since my fate seems determined by course evaluations written by students. It is a tenuous place to be.
However, the benefit is that I get to approach each semester as if it is the last time I will teach this course.
I always ask myself: if this is the last time I'm here, what is the most innovative, exciting way for my students and I to engage with the material?
And now I ask myself a second question: if I measure every part of this class against my claim of decolonization, am I really doing it?
Anna Griffith is a sessional instructor in the Theater Department at the University of the Fraser Valley in BC. She earned her Ph.D. from York University in Theatre and Performance Studies, and her current work focuses on embodied pedagogy, decolonization, and Indigenization. She lives in Vancouver, BC, with her husband and their two small children.
Theatre IS democracy. Pass it on.
Tomorrow is mid-term election day in the U.S.; my best wishes to all of my American readers, colleagues, and friends.
It's an understatement to say that this is an important election. It is an election that may well determine whether the U.S. returns to some semblance of its pre-2016 self, for all its flaws and troubles, or pushes closer to the brink of genuine fascism.
This frightens me, as I know it frightens many of you. Depending on where you teach, it may also frighten your students. Or, it may be they are tuned out, don't care too much.
Maybe they are old enough to vote and are planning to vote. Maybe they are old enough to vote but are also disenfranchised for one reason or another. Maybe they are old enough to vote but won't be voting, sick like so many of us of the disgusting and horrifically xenophobic rhetoric that passes for political discourse in so many corners of the world these days. Maybe they aren't old enough to vote yet, but care deeply anyway.
I've been thinking a lot about this lately, too.
I've been working slowly over the past year on a new research project about the place of theatre and performance education and training in the contemporary university. (This is a collaborative project – a big hello to Kat, Diana, Sylvan, Rebecca, Barry, and many more of you out there.) At the core of this project is one essential belief: that learning about, and learning to make, theatre and performance is akin to learning about, and learning to make, a healthy, supportive, socially progressive democracy. For this reason, theatre and performance studies are not just "niche", nor are they "just" creative arts. They are about learning the art of genuine citizenship – and should be recognized, funded, respected, and promoted that way by university leaders.
The Theatre of Epidaurus at sunset. The Greeks knew it.
Today feels like a good day to reflect on the firm, urgent bond between theatre-making and democracy-building. What is theatre, after all, except a creative endeavour in which a group of human beings research, practice, struggle over, and negotiate the challenge of inhabiting the attitudes, beliefs, prejudices, wisdoms – as well as the geographical and socioeconomic and cultural and historical contexts – of a group of other human beings? At its most basic, acting is the art of the proverbial walk-a-mile-in-another's-shoes gesture, the central act of empathy that binds us to our fellow citizens (and to those among us who are not so privileged as to be our fellow citizens yet – the hardest stretch of all).
Actors say repeatedly and vehemently that it is not possible to play a character in whose experience you do not, on some level, have faith; you may be far, far from that character's context or politics or even sense of human decency, but without some basic understanding of who that character is, where their actions come from, and how you as a human being are linked to them as a human being, no creativity can come.
The portrayal of another without even a smidge of shared understanding would result in stereotype, and nothing more.
But theatre is about more than the empathetic bonds actors build with characters and with one another, of course. It is also about the fundamental challenge of collaborative world-building. You start with a script, or maybe just an idea. You play. You devise scenarios from held objects. You think about design, about scene structure, about set architecture. You select patterns to draw out – then you argue about whether or not these are the right ones. The contours of your world emerge from your shared graft, energy, arguments – creativity.
I have shamelessly snatched this evocative image of 12 Minute Madness from alt.theatre's website; please click through to read my colleague Kelsey Blair's terrific review of this production. Thanks and apologies to alt!
It's hard to be sure – lots of feelings circulate in the rehearsal hall and sometimes they are ugly. But you have a shared project to make – a world to build together. The world must go on! So you return the next day, patch it up a bit, move on together, and the suture strengthens. You keep building.
This is for me the heart of theatre's link to democracy. To make a world is hard. To cross the barriers of difference with humility is hard. To fight over something fundamental without destroying a relationship is hard. To fight over something fundamental, almost destroy a relationship, and then come back in the morning to try again, together, is hard.
So far so true, you might be thinking. But what about studying theatre, in academic (not practical or conservatory) programs like the one on which I teach? Like all critical liberal arts, academic theatre studies requires teachers and students together to enter into a shared world built by others, for others, and then undertake the challenge of really, carefully thinking through what is at stake in that world: what social claims are on the table, for whose benefit they have been tabled, and at what potential costs.
This is the work I've been doing every week with the students in my new experiential learning class, "Toronto: Culture and Performance". We read (via a team of student leaders on each production, who build a wiki-page of intel for us in advance) about the place, the artists, the history and the ideas behind a production; then we see that production together, ask questions afterward of the artists and other makers, and finally return to the classroom for a debrief, held alongside a discussion of relevant readings. We investigate a world – with empathy for the makers and yet also with questions about their choices, as well as about the social, economic, and demographic constraints that have shaped their work. We ask each other what the work is meant to do for a community (Toronto and its many constituencies), and what the work seems to want to say to us.
We respect the work but push hard back on it. Which is to say: we do the work of citizens in a democracy.
But that's all the more reason for us to remember, today, what theatre – as a practice, a study, an art form, and a form of worlding – at its best teaches us, and what we as teachers consequently need to share with our students. Theatre shows us how to act like proper citizens, regardless of the day: how to care for one another, how to care for our world as if we are all invested in it, and how to contour that world as if it is for all of us to experience, appreciate, negotiate, and enjoy.
This is the message I want to send my students, tomorrow and everyday, about what learning in our shared classroom means. About what I as a teacher believe in.
I hope you'll pass it on!
Welcome to autumn! I've been away for a lot of the summer, but I hope to post at least twice a month until April. As ever, if you wish to pitch a guest post, just use the "about" page to get in touch!
It started a while back, maybe two years ago. I stopped loving what I was teaching in my undergraduate-level Performance Theory seminar.
I taught from a textbook that is relatively diverse, all things considered – which is to say, it includes a handful of not-Western texts, mostly from before the 20th century. There are one (maybe two?) text(s) by women. It is a good book, though it was not designed as a comprehensive history; rather, it was designed as a "representative" one – representative, really, of the theatrical theory "we" have always learned, and are meant to pass along.
I have always taught in what I would characterize as a fashion skewed against accepted norms: I've flipped the classroom since way back, preferred the knowledge we make in class together to any knowledge I could impart in long lectures, and whenever my students and I have read "colonial" (read "canonical", for the most part) texts, I have tried to uncover the places where those texts do things we might not expect, and provoke questions we may not have thought to ask. In particular, I flag up moments when persons unseen enter the text by stealth – women, queer persons, workers, persons of colour – and encourage students to talk about what their spectral presence might signify.
Of course, I also supplement the textbooks I use with things I'm reading in my research, and with articles and books that have been important to me throughout my career. Though my Performance Theory seminar is technically a "history of" class, I have always included at least four weeks on contemporary authors, drawing out questions of gender and sexuality, race and social status, labour and emotion as these things are considered and theorized by my peers in the discipline.
But roughly two years ago, this strategy stopped working for me. I felt far too keenly the whiteness, the maleness, the traditional-ness, of the early part of the course – and I felt uncomfortable about its influence on the term as a whole.
That's when I realized that what I needed was to decolonize my syllabus.
There's a lot of talk right now about what it means to participate in living, breathing, ongoing forms of colonial injustice – to inhabit it, push back against it, question it, fight it, and survive it. Serena Williams' recent travails at the French and US Open tournaments make a superb, painfully visible case in point. The treatment she has received in the press and on social media (for her completely legitimate clothing choices and for her entirely reasonable expressions of anger) smacks bitterly of race-based profiling that can be traced quite easily and directly back to the legacies of European colonialism beginning in the fifteenth century.
Even today, in 2018, Black women are treated with significantly more patronizing hostility than are white women, or men of any colour, full stop: that's living, breathing colonialism, right here and now.
Serena Williams is a strong Black woman and a star. She is consistently white-washed in gross and unfair reactions to her body, performance, and actions in the media. That's our colonial present for you.
For us on Turtle Island (also known to some as North America), questions of decolonization are particularly urgent because the practices of settler colonialism impact the daily well being, the living memories, and the future potential of hundreds of thousands of our indigenous fellow citizens. Each of us on this land who does not trace our roots to an indigenous community on Turtle Island is a settler, though few of us realize what that means, or understand the uneven distribution of privilege it affords (in settlers' favour).
For me as a resident settler Canadian, settler colonialism is an everyday reality to which it is all too easy to turn a blind eye. Therefore, it is a shared reality that also requires calling attention to, excavating, and thinking through in my classrooms. I need to do this excavating and thinking-through with and alongside my students, and decolonizing the structure of my classes is a necessary first step in that labour.
But: how to do that, effectively?
Around the same time that I became aware of my need and desire to make these syllabus (and attendant course) changes, I got an email from my dear friend and colleague Natalie Alvarez. She was convening an online working group with syllabus decolonization in mind, geared toward helping one another develop new ways to approach teaching theatre history in Canada. Would I like to join? I eagerly accepted the invitation, knowing my performance theory seminar would benefit immensely from this collaborative labour.
Most of us in the group are settler scholars; a couple of our brilliant and generous indigenous colleagues joined too, however, and one of them, Dylan Robinson, set the tone for our group with a pointed post about the central challenge we faced. Why start where we've always started? He asked. Why not upend entirely the field of inquiry, start with the "other" stuff and make it central instead of peripheral?
The most basic problem, he highlighted for us, is not that there are white dudes all over our courses (though that IS a problem, and jettisoning them is no bad thing). The most basic problem is that we let these white dudes set the tone, frame the question, and thus – as I had already felt uncomfortably in my seminar – shape the term's work. Every time.
Dylan's prompt left me feeling revitalized, and able to do the work ahead. Because my Performance Theory seminar is a second-term course, I decided to leave the questions of exactly which texts to assign in that course to percolate for a couple of months. Then, I set about planning the new course I'm teaching this fall.
"Toronto: Culture and Performance" is an experiential learning course in which I take 40 students the 200km to Toronto five times in the term to see theatre of all kinds and talk with artists and arts administrators. It's a TONNE of work, but also a labour of love for me, as it's an adaptation of the terrific and popular "London: Culture and Performance" module taught at Queen Mary, UL (where I used to work). As a bona-fide new prep, this course was the ideal place for me to trial a decolonizing classroom paradigm; moreover, because its syllabus is driven by what Toronto is showcasing on its stages this autumn, I already knew I was going to be programming a bunch of awesome intercultural work by amazing queer artists and artists of colour.
Wearing the hat Dylan's post handed me, I decided immediately that we'd open the class with a trip to Native Earth Performing Arts, Canada's oldest professional indigenous theatre company, to see actor-writer Jani Lauzon's new work I Call Myself Princess. To prepare, we will read brand-new work on the intercultural city by my settler colleague Ric Knowles, and we will look at indigenous performance through a specifically indigenous lens with a reading by Anishanaabe/Ashkenazi scholar and artist Jill Carter. From there, we will see a revival of the brilliant Gertrude and Alice at Buddies in Bad Times, Toronto's iconic queer house, and read about its history from lesbian artist-scholar Moynan King's perspective; only then will we move on to more "mainstream" venues (and then, principally in order to talk about urban theatres and economics). Later, we will return to questions of intercultural practice at Factory Theatre, which has been for several years at the forefront of remaking Toronto theatre's image as "The Great White North". The end-of-term treat is Come From Away, the smash-hit musical about 9/11 in Newfoundland.
What's a "global city"? Is Toronto one? How does the theatre that appears on Toronto's stages contribute to, or maybe even contest, Toronto's "global city" aspirations?
What's an "intercultural city"? Is Toronto one? How do the performing arts help to shape the intercultural structures that now identify Toronto to Torontonians, and to the world? For whom are those structures liberating – and whom do those structures still leave behind?
What does economics have to do with theatre? Is theatre a viable business? How and when and why? What does theatre economics have to do with other kinds of urban economics – like, say, real estate?
What about memory? How does the theatre shape our memories (personal, communal, historical) of the city and its inhabitants? What about space? How does theatre literally help to "make" (that is, to shape and contour) a city like Toronto? What about labour? Who works in the creative economy in Toronto, what do they do, and how is their work valued (or not)?
Land is a big part of what we are going to be talking about when we talk about Toronto, culture, and performance: who works on it, how their work is valued, who is recognized as fully human in the city, who is ignored, left out, stepped over. Acknowledging the politics of our inhabiting the land is an important part of starting our work on all of these scores.
Below are four land acknowledgements: from Western University; from Native Earth Performing Arts in Toronto; from Kim; and from Courtney. On our first day together you'll be encouraged to make your own land acknowledgement. It can take any form you wish, as long as it is both respectful and accurate.
My goal, in both making my own land acknowledgement and in foregrounding several different land acknowledgements on the syllabus, was to introduce the "politics of place" as central to our course labour, and also to introduce those politics as personal, as a responsibility for every one of us in the classroom. I wanted to make "place" personal, and to invite students to think about their relationships to land, and to the feelings "place" evokes for them, as a matter of the standard labour of a normal university course. I wanted to help them think – early and often! – about the unseen and maybe even unfelt elements of place that enable their connections to it. For that reason, we spent the first ten minutes of our first class warming up, creating sculptures with our bodies that represented the way we feel when we are in "our" cities (where our cities might be any city, big or small, that we call "ours"). We then spent the next half hour introducing ourselves by talking about our relationships to the places evoked by the body sculptures we'd made.
My goal in my classes is always to create a sense of community: of shared investment and shared learning, founded on respect and care for one another. This year, as I focus specifically on making my classrooms an inviting place to challenge the settler-colonial commonplaces many of us take for granted (and which enable so much of our settler privilege), I hope to help students develop respect and care not just for one another, but for the unseen faces around us on the (in southwestern Ontario, treaty) land we occupy.
I'll write more posts about my decolonization project as the term advances, letting you know how it's going, good and bad. I'll also share some of the strategies I'm trying out in my Performance Studies seminar, where we have begun by intentionally marginalizing the traditionally most dominant male voices in the field, in order to open with perspectives on the discipline – and on the politics of discipline-making itself – by four female scholars, including two Canadians. Those women are all white, though – something I realized after the syllabus was set, and something that reminds me I've still got far to go.
*There's a lot of writing about decolonizing the classroom on the web, with lots of different perspectives on offer. I quite enjoyed reading this, an account of a panel discussion on the topic earlier this year at Ryerson University in Toronto. The panel foregrounds the importance of indigenous/non-indigenous collaboration in the classroom and in pedagogical planning, something I very much endorse and would love to participate in.


Now what in the world does toothpaste have to do with Jesus' instructions in Matthew 10, you ask? Everything, my friends. Everything.
For the fact of the matter is that there are some things in this world of ours which, once they are done, there's no going back. Which is so ironically true about the passage in this PODCAST.
Then why even discuss this?
Because on the other hand Matthew 10:8 IS in the Bible. Because Jesus did indeed say this. Because Matthew did indeed include this in his Gospel masterpiece. Because these ARE the words of Jesus. So God obviously WANTS us to discuss this.
So despite the fact that I have no illusions about changing anything, the precious truth contained in this passage is well-worth our consideration and understanding. And the fact is, WE don't have to play this game the way it's always been played.
We can play by a whole different set of rules. Rules of Jesus' own making.
As He sent out His disciples, Jesus clearly and unambiguously told His men six words that are paradigm-shattering in their impact. So let's talk about these six words: What they meant to His followers then. More to the point, what they mean for us, His followers, today.
Or at least what it ought to mean to us today.
And as we do so, please permit me to speak in this podcast with a distinct tone of wistfulness in my voice and body language as we contemplate together what might have been… What might have been, if only our evangelical world had simply taken these words of Jesus seriously and applied in our churches consistently.
And please share a link to this podcast with your family and friends.


text:
D'Angelo Russell on 76ers: 'Why wouldn't I want to be there?'
By Mike Mazzeo
NEW YORK -- D'Angelo Russell said he would welcome the opportunity to play for the Philadelphia 76ers if they drafted him with the No. 3 overall selection in Thursday's NBA draft.
"It's a great place. Why wouldn't I want to be there?" Russell said Wednesday.
Russell, 19, had canceled a recent workout with the 76ers, fueling speculation that he did not want to be there.
But Russell said he missed the workout because he was sick, and he ultimately worked out for the team a week ago.
Russell, a 6-foot-5 guard, averaged 19.3 points, 5.7 rebounds and 5.0 assists per game for Ohio State as a freshman last season.
ESPN draft insider Chad Ford has Russell being selected No. 4 overall by the New York Knicks in his Mock Draft version 7.0.
The 76ers are currently in rebuilding mode and were dealt a blow recently when center Joel Embiid suffered a setback in his recovery from the broken foot injury that caused him to miss all of last season.
Russell confident heading into NBA draft
D'Angelo Russell sits down with Andy Katz to discuss why he is the best player in the draft, why he thinks he won't go No. 1 and where he would like to play.
sportsespnnbanba draftphiladelphia 76ersdangelo russell

redpajama_set_name: RedPajamaCommonCrawl


Our banners and posters are printed a resolution of 600 dpi. the images, text and clipart are much sharper than the ones you see on your screen. you'll be amazed with the overall quality of our banners and their vivid colors.


text:
Q: Error in Rs.MoveNext & Duplication of Record I have a Form which will allow me to copy over records from one table to another using a button. I have successfully created a query which will help me to copy over the records.
I decided to modify the ID into my own unique ID. However, my record keeps duplicating and I keep getting Run Time Error 3071 on my rs.MoveNext.
Where am I going wrong?
Private Sub Save_Click()

Dim rs As Recordset
Dim sql As String
Dim lastdate As String
Dim lastyear As Double
Dim lastid As String
Dim currentid As String
Dim a As Integer

sql = "select top 1 * from 2_WIP order by Date_Recorded DESC"
Set rs = CurrentDb.OpenRecordset(sql)

If rs.EOF Then
    lastdate = "01/1/1990"
    lastyear = 1990
    lastid = 0
Else
    lastdate = DateValue(rs!Date_Recorded)
    lastyear = Year(rs!Date_Recorded)
    lastid = Val(Mid(rs!RecordID, 6))
End If

sql = "select * from 1_Daily_Entry where datevalue(Date_Recorded)>= '" & lastdate & "' and year(Date_Recorded) >= '" & lastyear & "';"
Set rs = CurrentDb.OpenRecordset(sql)

Do While Not rs.EOF
    If DateValue(rs!Date_Recorded) = lastdate Then
            a = Year(rs!Date_Recorded)
                If (a = lastyear) Then
                    lastid = lastid + 1
                Else
                    lastid = 1
                    lastyear = a
                End If
                    currentid = a & "_" & lastid
                    If rs!S1_Good_Count = 0 Then
                        DoCmd.Close
                    ElseIf rs!S2_Good_Count = 0 Then
                        DoCmd.Close
                    ElseIf rs!S3_Good_Count = 0 Then
                        DoCmd.Close
                    Else
                        sql = "insert into 2_WIP (RecordID, Date_Recorded, Product, S1_Good_Count, S2_Good_Count, S3_Good_Count) values ('" & currentid & "', '" & rs!Date_Recorded & "', '" & rs!Product & "', '" & rs!S1_Good_Count & "', '" & rs!S2_Good_Count & "', '" & rs!S3_Good_Count & "')"
                        CurrentDb.Execute (sql)
                        DoCmd.Close
                    End If

    Else
        a = Year(rs!Date_Recorded)
        If (a = lastyear) Then
            lastid = lastid + 1
        Else
            lastid = 1
            lastyear = a
        End If
            currentid = a & "_" & lastid
            If rs!S1_Good_Count = 0 Then
                DoCmd.Close
            ElseIf rs!S2_Good_Count = 0 Then
                DoCmd.Close

             ElseIf rs!S3_Good_Count = 0 Then
                DoCmd.Close
             Else
                sql = "insert into 2_WIP (RecordID, Date_Recorded, Product, S1_Good_Count, S2_Good_Count, S3_Good_Count) values ('" & currentid & "', '" & rs!Date_Recorded & "', '" & rs!Product & "', '" & rs!S1_Good_Count & "', '" & rs!S2_Good_Count & "', '" & rs!S3_Good_Count & "')"
                CurrentDb.Execute (sql)
                DoCmd.Close
            End If
        End If

rs.MoveNext *error keeps highlighting at this line*
Loop

End Sub

A: Found a solution for those who have a similar issue as me.
Link for Answer to Question

redpajama_set_name: RedPajamaStackExchange


text:
July 2018 – July 2019 Jul 2018 – Jul 2019
July 13	(Friday)
Friday Night Blues
Jul 13 @ 7:30 pm Indian River Festival
Come enjoy a night of great blues music and originals with PEI's Amanda Jackson trio, who were CBC Searchlight Top Ten finalists and Music New Brunswick's Blues Recording of the year winner, Mike Biggar and[...]
July 15	(Sunday)
The Bonfire
These imaginative, dynamic performers explore the fire from which Maritime music ignited, with glowing traditional and just realized tunes for flutes, fiddle, pipes, keyboards, voice and inspired choreographed dance. Chris Norman, David Greenberg and Matthew[...]
Musica Danza – Trio Tangere
Trio Tangere is an upbeat, instrumental trio with smooth sounds and style. Its world music repertoire is channeled through the violin and guitars. They will be performing Canadian, Brazilian and French classics. triotangere.com
Amor y Pasiòn
Isabel Bayrakdarian, an Indian River Festival favourite and internationally acclaimed soprano, is joined by virtuoso violinist, Marc Djokic, a recent Prix Goyer winner, and our Artistic Director, pianist Robert Kortgaard, for sparkling gypsy tunes, zarzuela[...]
United Breaks Guitars – Dave Carroll
An award winning songwriter, professional speaker and incredible story-teller, Carroll became a worldwide YouTube sensation with his hit "United Breaks Guitars". With the video approaching its 10th anniversary and close to 18 million views, Dave[...]
La Fiammata
"The burst of flame" aptly describes the musical intensity and pianistic pyrotechnics of this gifted duo. Grand Prize winners of the 2017 Canadian Music Competition, and national Youth Ambassadors, Charissa Vandikas and Linda Ruan love[...]
August 3	(Friday)
The Sweet Lowdown
Aug 3 @ 7:30 pm Indian River Festival
The Sweet Lowdown (Miriam Sonstenes, fiddle; Amanda Blied, guitar; Tad Ruszel, mandolin) offer original acoustic roots music. You'll hear influences as far-ranging as Celtic jigs, Appalachian fiddling and contemporary pop. Drawing from these influences, yet[...]
August 5	(Sunday)
Justin Nozuka / Alicia Toner
Join Music PEI's 2018 Songwriter of the year, Alicia Toner, with a blend of roots, country, rock and Americana and Justin Nozuka, award winning Canadian folk, soul, rock singer/songwriter with millions of YouTube views, for[...]
August 10	(Friday)
Payadora Tango Ensemble
Aug 10 @ 7:30 pm Indian River Festival
The world loves a tango, and when the technical virtuosity, playful spontaneity and rhythmic vitality of this exciting ensemble hits the stage, the deep rooted influence of Buenos Aires tango tradition inspires the folk, traditional[...]
August 12	(Sunday)
Venuti String Quartet
As a tribute to Leonard Bernstein, the sensational Venuti String Quartet delves into jazz influenced music that inspires them: Balkan Gypsy music, Ravel's String Quartet, jazz improvisation. Critics praise the compositions and arrangements by the[...]
The Ennis Sisters
The Ennis Sisters have weathered a lifetime of phases and a series of musical explorations together. Come join them as they return to their roots, singing contemporary folk songs with a traditional Irish Newfoundland twist.[...]
Russian Soul – Cheng(2) Duo
Both named as CBC Music's "30 hot Canadian classical musicians under 30", cellist Bryan and pianist Silvie Cheng perform worldwide with profound artistic spirit, stunning virtuosity and a fresh approach to glorious Russian masterpieces.
Hillsburn
Their debut album, "In The Battle Years", garnered Hillburn an East Coast Music Award last year. With soaring harmonies and densely-layered arrangements, this folk-rooted band's sound is unique. Having just released their 2nd album, "The[...]
Cappuccino Cantata
Peter Tiefenbach's contemporary reimagining of Bach's comic Coffee Cantata, set in a coffee bar, pairs with musical party pieces performed by three Glenn Gould School vocal stars. A twist on Bach and a nod to[...]
Lennie Gallant
Lennie Gallant is a native of Rustico, Prince Edward Island. This renowned Canadian singer-songwriter has recorded eleven albums (nine in English and two in French), which have won him a host of awards and nominations[...]
September 9	(Sunday)
Harvest SoupFest
Sep 9 @ 1:00 pm Historic St. Mary's / Pavilion
Join us for an early fall afternoon filled with music and an array of comforting, homemade soups. This will be the seventh year for this fundraising event which has been a delicious success each year.[...]
September 16	(Sunday)
Mosaïque – Ensemble Made in Canada
Sep 16 @ 3:00 pm Indian River Festival
The dynamic Ensemble Made in Canada is touring this musical tribute to all provinces and territories with 14 multi-genre Canadian composers (classical, jazz, singer-songwriter, electronic, First Nations) encapsulating the glories of every region. Paired with[...]
October 19	(Friday)
SONGS. SORROW. CELEBRATION!
Oct 19 @ 7:00 pm – 9:00 pm Historic St. Marys Church
Charlottetown Film Festival in partnership with Indian River Festival presents three remarkable documentaries by three talented Island women. A special screening of O KANATA; ATHENA'S LOST TWIN and THE SONG AND THE SORROW The core of each film[...]
February 11	(Monday)
4th Annual Midwinter Magic – Toronto Fundraiser for Indian River Festival
Feb 11 @ 7:00 pm Heliconian Hall
A fundraising concert to support PEI's Indian River Festival featuring musical guests: Marjorie Maltais and Jacques Arsenault join their beautiful voices together as French Squeeze, presenting original arrangements by Jacques on accordion. and with special guest pianists,[...]
June 8	(Saturday)
Lobster TailsnTunes
Jun 8 all-day Indian River Festival
We are excited to present to you Lobster Tails n Tunes on Saturday, June 8th! – ALL DAY EVENT Featuring PEI Lobster with culinary demonstrations and amazing samples, learn tricks of the trade and have a good ol'[...]
Lobster Tails & Tunes
Jun 8 @ 10:30 am – 9:30 pm Historic St. Mary's, Indian River
Presented in partnership with Lobster PEI We are excited to present to you Lobster Tails n Tunes on Saturday, June 8th! Featuring PEI Lobster with culinary demonstrations and amazing samples, learn tricks of the trade[...]
June 9	(Sunday)
PEI Mutual Festival of Small Halls Opening
Jun 9 @ 7:30 pm – 10:00 pm Historic St. Mary's
Shakin' The Shingles: The Opening – PEI MUTUAL SMALL HALLS EVENT Musical performances by: Fortunate Ones • Rowen Gallant • Zakk Cormier • Emmanuelle LeBlanc • Tim Chaisson • & more
June 14	(Friday)
Island A Cappella & Men of the Harvest
Jun 14 @ 7:30 pm – 10:00 pm Indian River Festival
This event is a fundraiser for Indian River Festival and Historic St. Mary's featuring Men of the Harvest and Island A Cappella Men of the Harvest is a gospel singing group that enjoys sharing the[...]
June 16	(Sunday)
Youth Legacy Celebration
Jun 16 @ 2:00 pm – 4:00 pm Historic St. Mary's
Our brightest young Maritime musical talents unite, showcasing the 2019 PEI Provincial Festival top prize winners and Debut Atlantic's 2019 Award for Musical Excellence recipient, 17 year old soprano Anna Mercer, from Coley's Point, NL.[...]
Mikinduri Father's Day Fundraiser
Jun 16 @ 6:00 pm – 10:00 pm Historic St. Mary's
Featuring The Ross Family Band and Storyteller David Weale Come enjoy great food and local island favourite artists, including the Ross Family Band and storyteller David Weale and help support The Minkinduri Children of Hope.[...]
At the end of 2013, Rose Cousins reached a limit she didn't know existed. Fearing burnout after years of constant touring, she made a deliberate decision, barring a select few shows, to stop touring and[...]
Bach Sonatas with Mark Fewer & Hank Knox
Jun 30 @ 3:00 pm – 5:00 pm Indian River Festival
The Sonatas for Violin and Harpsichord of J.S. Bach have been called "miracles of music". Juno Award- winning violinist Mark Fewer has performed around the world to critical acclaim in virtually every role asked for[...]
July 5	(Friday)
Jul 5 @ 7:30 pm – 10:00 pm Indian River Festival
Presented in partnership with Island Stone Pub – Kensington Station; Music Newfoundland and Labrador. Within the nine songs on their new album Time Enough, The Once offer some of the most vulnerable and honest material[...]
July 7	(Sunday)
Saskatoon Children's Choir & Indian River Festival Chorus
Jul 7 @ 3:00 pm – 5:00 pm Indian River Festival
Under the artistic direction of Phoebe Voigts, the Saskatoon Children's Choir has developed an international reputation for artistic excellence, creative performances and for their commitment to humanitarian initiatives. They hold the conviction that music crosses[...]
Saskatoon Children's Choir & Tracy Cantin
Jul 12 @ 7:30 pm – 10:00 pm Indian River Festival
In the fall of 2014 – I believe – there was a young girl (mid teens) who came to play the piano. I wasn't feeling real excited about having to sit through two hours of piano music but we wanted to go because our daughter plays piano and we thought we should just be there for this young pianist. Wow! I was blown away by her performance and it was one of the most enjoyable performances I had been to at the festival. I listened to her and enjoyed how she lit of the stage with every piece. We …
Rosaleen Mahoney, Patron
What a memorable weekend! The Isabel Bayrakdarian and Serouj Kradjian recital was outstanding. The Church is an architectural and acoustical jewel. I will be back.
O. Gagnon, Montreal, QC
I absolutely love sitting the the church pews listening to great music! The experience can't be replicated elsewhere on PEI and that is why any music lover should go to the Indian River Festival.
Marilyn Earle, Patron
I enjoyed the whole experience – the bagpiper to begin outside and during intermission, the commentary, the Church, enormously talented musicians – excellent!
J. Valihora, Ottawa, ON


Beverley's Keldmarsh Primary School has received a £3,700 boost from local supermarket Tesco as part of their Bags of Help community grant scheme. The money will be used to refurbish the school's outdoor quiet area.
Bags of Help uses money raised from the sale of plastic carrier bags and helps fund thousands of local projects across the UK. Three community projects in each local area are voted on by customers in stores, with the projects changing every other month. At the end of the voting period, all three projects will receive funding in each local area. The amount of funding available for individual local projects ranges from £1,000 to £4,000.


Meta: A look at Christmas traditions from Finland.
For those wondering where on earth Finland is, it's a European country that has the fewest amounts of residents in its borders of all members of the European Union and it also has the second longest tunnel. The Finnish consume the largest amounts of coffee in the world, even more than Americans and they happen to be the last European country to undergo the transition to Christianity, however they have many Christmas traditions that we felt obliged to share with you. Who knows you may just end up wanting to spend your Christmas in Finland, after all?
The Finnish people truly believe that Father Christmas or Santa to you and me lives within the most northern region of their country, an area known as Lapland or Korvatunturi. Thousands of people from every corner of the globe send letters to Finland in the hopes that it reaches Father Christmas himself, the Finnish even have a special theme park near where Santa Clause is supposed to live called Christmas Land that is truly a sight to behold.
However in Finland they don't merely call Santa, Father Christmas, no they have a preferred nickname which when translated becomes Christmas Goat. Wondering what it is, well Joulupukki is an alternative name for Santa Clause, the theme of the Christmas Goat stems from an ancient tale of a Yule Goat who would roam the towns, searching for someone to give him presents but never giving presents to others in return. However, over the centuries, the story changed to have the Yule Goat begin to hand out gifts as well and therefore the title of Christmas Goat or rather Santa replaced the traditional fable.
In much the same way as the traditional Christmas, Santa rides in a sleigh pulled by reindeers and leaves presents for the good children under the Christmas tree and bad children may receive coal instead. In Finland, everyone is involved in the Christmas celebrations including the animals, many farmers will leave special wheat or hay out for their animals to feast on, while dogs and cats may be given special treats or chew toys as gifts on Christmas Day.
However, if you thought it was all fun and games in Christmas time, unfortunately there is a cultural tradition of intense decluttering, organization and general cleaning in the run up to Christmas so as to signify the specialness of the religious event. To the Finnish Christmas Eve is the grandest day of the festive season, people go out and buy their trees, decorate them with a whole bunch of baubles and lights, and a special broadcast is done on both TV and radio stations by the mayor.
The deep darkness that crawls over Finland during winter, lends itself to a more somber mood, therefore on Christmas many families go out to visit their loved ones in the cemeteries, clean the tombs, leave candles and flowers. It can get so busy that traffic officers are required to direct the flow of people coming to the cemeteries.
For all of your holiday information and more, visit SirHoliday now.


text:
× You have 2 more free articles available this month. Subscribe today.
Georgia: Doctors and Nurses Warn Prison Medical Care is in Jeopardy
Loaded on Feb. 4, 2020 by David M. Reutter published in Prison Legal News February, 2020, page 32
Filed under: Medical. Location: Georgia.
by David M. Reutter
As previously reported in PLN, a 2017 investigation found the 1,326-bed Augusta State Medical Prison (ASMP), operated by Georgia Correctional Health Care (GCHC) under a $190 million annual contract for the Georgia Department of Corrections (GDC), had "a myriad of unsafe and unsanitary conditions." State officials vowed a cleanup of the 36-year-old prison and put new leadership in place, including a new warden and hospital administrator. [See: PLN, April 2019, p.15]. Two years later, however, staffing problems had only worsened.
Former ASMP nurse Jackie Mitchell quit in July 2019 after she was forced to work shifts caring for dozens of patients who should have had two or three nurses tending to them, she said. Some diabetic patients had dangerously high glucose levels after nurses were instructed to reduce the frequency of their medications, she added.
"It's sad because the patients aren't getting the care they need," Mitchell said.
The same week that she quit, so did two other ASMP nurses. GCHC's report for the week of July 3, 2019 noted that the prison was "now looking at no supervisor" – creating a "critical situation" that was "setting up staff and patients for further increasingly dangerous encounters."
"I foresee significant liability risks to GCHC if there is not some sort of dramatic action taken," Dr. Mark Taylor wrote in an email to the risk management department at Augusta University, which operates GCHC. "[T]he main issue is the current administration's inability to retain staff, and the mass departure of long-term staff," he added.
The prison has 95 acute-care hospital beds, another 40 beds for nursing care plus 20 long-term care beds, and 15 beds for pre- and post-operation patients. The staffing shortage is "resulting in increased risk of mistakes and delayed care," Dr. Taylor said, pointing to wound care that regularly sent prisoners "back to their dorms without getting their dressings changed because the nurse is busy caring for acute illness/injury patients."
Just one week after Taylor sent his email, GCHC health services administrator Connie Melchert put him on administrative leave, accusing him of improperly handling an incident report about an alleged sexual assault – something Taylor said he was never given instruction on how to do.
Health Henley, director of news and information at Augusta University, said Dr. Taylor's disciplinary action was under review, adding that staffing issues at ASMP were being addressed through a combination of pay hikes, recruiting drives and the use of contracted nursing services. His boss, Augusta University Vice President for Communications and Marketing Jack Evans, said much the same thing after the 2017 investigation. In any event, Taylor noted that salaries are not the problem.
"[T]he truth is, people are willing to come here for the subpar salaries, but are turning around and leaving due to feeling disrespected, unappreciated, and under constant threat of being reprimanded by the administration for any of an ever growing list of possible infractions," he wrote in his email. "[Medical Director Dr. Mary Sheryl] Alston and Ms. Melchert together have created a very punitive environment where the employees seem to feel more like an inmate than the actual inmates."
Ellen Taylor, who is no relation to Dr. Taylor, agreed. The 50-year-old former Army nurse noted critical delays in getting dressings changed for wounded patients due to the staffing shortage, and said a dialysis patient died in July 2019 from lack of treatment. In her resignation letter that same month, Taylor criticized ASMP officials for failing to follow "nursing or even GDC mandatory standards and requirements," and for "blaming staff conveniently instead of taking responsibility for adverse decisions."
"People's lives are at stake. They can't go somewhere else for health care," she said. "The various actions are affecting the quality of patient care offered at this facility, along with smearing the [GCHC] brand. I wanted them to know it was starting to be a danger to my license, that patients were suffering, and that I had no intention of coming back because of it."
Dr. Timothy Young was the source of anonymous statements during the 2017 investigation of ASMP, which were published in the Atlanta Journal-Constitution and revealed mold, grime, insects and piles of trash that created a breeding ground for infection at the facility, along with security lapses that had nurses fearing for their safety.
Young's superiors suspected him of making the statements, and made his already "deplorable" working conditions even worse, he said, forcing him to resign. In November 2018, he filed a whistleblower lawsuit alleging those in charge "knew or should have known" that their conduct violated "established free speech by fellow professionals, as well as the Georgia Whistleblower Act."
The problems at the medical prison are not new, but they are costly. After 19-year-old Jimmy Lucero starved to death at ASMP in 2015, his mother filed a $550,000 wrongful death suit, which GCHC settled for a confidential sum in 2019. And the previous year, the state paid over $3 million to settle five lawsuits involving two former GCHC doctors. [See: PLN, April 2019, p.44].
"This is unsafe and not practical even for a prison setting," observed former nurse Mitchell. "The prison used to be a great place to work and now it's more like a slave plantation with one master."
Sources: Atlanta Journal-Constitution, Augusta Chronicle
As a digital subscriber to Prison Legal News, you can access full text and downloads for this and other premium content.
More from this issue:
Oklahoma County Settles Jail Death Lawsuit for $3.2 Million, by Dale Chappell
Taft Correctional Institution Scheduled to Close in 2020 ... Maybe, by Kevin Bliss
Federal Class-Action Lawsuit Seeks Hepatitis C Treatment for Texas Prisoners, by Matthew Clarke
Terminal Texas Prisoner's Morphine Withdrawn After He Filed Sexual Harassment Complaint, by Matthew Clarke
New York City Department of Correction Attempts to Humanize Prisoners, by Kevin Bliss
State of New York 50 Percent Liable for Prisoner's Injury Sustained from Table Saw, by Douglas Ankney
Orange County Pays $299K to Settle Claim that Deputy Forbade Nurse to Treat Prisoner, by Douglas Ankney
Exonerated Kentucky Man's High Bail Prevented His Release for Six Years, by David M. Reutter
$102,500 Settlement in Lawsuit Over Alaska DOC's Discrimination Against Muslims, by Matthew Clarke
Washington State Prisoner's Suicide Leads to $350,000 Settlement, by Edward Lyon
Attorney Fees and Costs Awarded in HRDC Suit Against Juvenile Solitary Confinement, by David M. Reutter
Oregon Prison Guard, Guilty of Pocketing $10,811 in Falsified Overtime, Sues for Racism, by Mark Wilson
California County Settles Failure to Protect Lawsuit for $90,000, by Dale Chappell
$45,000 Settlement for Pennsylvania Prisoner Subjected to Excessive Force, by David M. Reutter
Maryland to Pay $1.4 Million Settlement and Provide Assistance to Blind Prisoners, by Douglas Ankney
New Mexico Prison Guards Win $700,000 Age Discrimination Settlement, by Edward Lyon
Jury Awards Former Virginia Prisoner Over $1 Million After Finding of Medical Malpractice against Prison Doctor, by Douglas Ankney
20 Years Sees No Improvement in California Prison's Mental Health Care; Suicide Results in $1.5 Million Settlement, by Kevin Bliss
Illinois Jail Detainee Dies, Lawsuit Settles for $2.2 Million, by Edward Lyon
Indiana Prisoner Granted Leave to Proceed in First Amendment Retaliation Suit, by Edward Lyon
Prison Mailbox Rule Applies to Civil Detainees, by David M. Reutter
Utah Supreme Court Reinstates Lawsuit Over Man Held 17 Days Without Hearing or Formal Charges, by Matthew Clarke
Update: Montgomery County, Ohio Pays $10 Million to Settle Jail Lawsuits, by Edward Lyon
Video Documentary Reports on Florida Prisons – From the Inside, by David M. Reutter
Washington State Pays Prisoners Slave Wages While Suing Others for Doing the Same, by Edward Lyon
Third Circuit: Failure to Make PLRA Findings Moots Appeal, by David M. Reutter
To Decrease Prison Population, Texas Must Increase Parole Rate
Ministry Worker Banned from Mississippi Prisons After Asking About Plumbing Problems, by Scott Grammer
Growing Concerns Over Medical Debt Leading to Jail Time, by Kevin Bliss
Texas Attorney General Secretly Sabotages Compensation Payments to Man Exonerated of Killing Police Officer, by Matthew Clarke
Ohio Prisoner Killed by Cellmate Who Mistakenly Thought He Was a Child Molester, by Scott Grammer
BOP to Implement Paperless Mail System in Attempt to Stop Drugs, by Dale Chappell
California Department of Corrections Tries End-Run Around Federal Court, by Kevin Bliss
Prisoner Wins Preliminary Injunction Against PADOC Policy Banning Islamic Fezzes, by The Human Rights Coalition
Missouri Requires County Jails to House State Prisoners, Then Doesn't Pay for Them, by David M. Reutter
Alaska: Juvenile Justice Official Sentenced for Possession of Child Pornography, by Kevin Bliss
$750,000 Settlement in Suit Over Prisoner Beaten and Raped for Three Days, by Matthew Clarke
Prisoner Suicide Rates Highest in California, by Edward Lyon
New York City Prisoner Shackled While Giving Birth; $610,000 Settlement, by Edward Lyon
Georgia: Doctors and Nurses Warn Prison Medical Care is in Jeopardy, by David M. Reutter
Arizona Prisoners Required to Pay Medical Expenses for Overdoses, by Douglas Ankney
Prisoners Suffer and Die as Kentucky Overcrowds County Jails, by David M. Reutter
Graphic Violence, Deaths in Alabama Prison Shown in Leaked Photos, by David M. Reutter
CoreCivic Booted from LGBT Chamber of Commerce in Hometown, by David M. Reutter
Members of Congress Investigate Private Equity Firms that Own Companies Providing Prison Services, by Matthew Clarke
California Begins Weaning Itself from Private Prisons – More or Less, by Edward Lyon
Getting Out of Jail After Dark Can Be Dangerous – and Sometimes Deadly, by Madison Pauly
A Place for Released Prisoners to Go Home, by Edward Lyon
Weaker Job Screening Could Make North Carolina Prisons More Dangerous, by David M. Reutter
South Carolina: Former Prison Employees Charged, Plead Guilty in Contraband Investigation, by David M. Reutter
New Jersey County Not Entitled to Defense or Indemnification by the State in Suit Alleging Exposure of Jail Detainees, by Douglas Ankney
L.A.'s Court-Ordered Community Supervision Enslaves and Impoverishes, by Matthew Clarke
Prosecutors Get Real Look at Life After Prison, by Dale Chappell
Former Nevada Prison Guard Who Fatally Shot Handcuffed Prisoner Enters Alford Plea, by Matthew Clarke
Deaths and Abuse During Private Prisoner Transport Trips, by Matthew Clarke
From the Editor, by Paul Wright
Corizon Settles EEOC Disability Discrimination Lawsuit for $950,000, by Scott Grammer
New York County to Pay $440,000 Settlement in Wrongful Jail Death Suit, by Kevin Bliss
The Private Option, by Marsha McLeod
More from David M. Reutter:
Seventh Circuit: Incompetent Advice to Reject Plea Offer Requires Evidentiary Hearing, Nov. 15, 2020
Eleventh Circuit Says COVID-19-Wracked Miami Jail Can't Be Forced to Give Prisoners Soap, Masks, June 1, 2020
More States Restore Felony Voting Rights, April 1, 2020
Ohio Supreme Court: Ineffective Assistance of Counsel Analysis Applies to Failure to Seek Waiver of Court Costs, March 18, 2020
Michigan Supreme Court: Defendant Entitled to Self-defense Jury Instruction, March 18, 2020
Expert's Burn-Pattern Conclusions Flawed, March 18, 2020
Law Review Article Zeros in on Roadblocks to Plea Bargain Fairness and Effectiveness, March 18, 2020
Seventh Circuit Vacates Guilty Pleas Based on Misinformation of Mandatory Minimum, March 18, 2020
Iowa Supreme Court: Officer's Delay of Traffic Stop to Investigate Other Matters Unconstitutional, March 17, 2020
PLN Awarded Injunction in Arizona Prison Censorship Suit, March 4, 2020
More from these topics:
$21,000 Settlement in Suit Alleging Violations of Family Medical Leave Act and Pregnancy Discrimination Act, Oct. 27, 2020. Corizon, Medical, Family.
Seventh Circuit: Wisconsin Jail Officials' Response to Detainee's Suicide Risk Objectively Reasonable, Oct. 5, 2020. Medical, Medication, Mental Health, Suicides.
$50,000 Settlement with Corizon in Failure to Treat Suit in Florida, Oct. 3, 2020. Corizon, Medical, Medication, Pain, Failure to Treat, Guard Brutality/Beatings, Americans with Disabilities Act, Rehabilitation Act.
Sixth Circuit Upholds Summary Judgment Against 14-Year-Old Mentally Ill Pretrial Detainee, Raped by Guard in Solitary, May 21, 2020. Sexual Assault, Medical, Control Units/SHU/Solitary Confinement, Mental Health, Juvenile Offenses/Offenders.
Report Decries Ongoing Inadequate Medical Care for Pregnant Arizona Prisoners, March 4, 2020. Medical.
Alabama Jail Guards Face Liability for Inaction to Methadone Withdrawal Symptoms, March 4, 2020. Medical Misconduct, Medical, Drug/Alcohol Withdrawal.
$12.6 Million Jury Award for Man Denied Medical Care Before Jailed, March 4, 2020. Medical, Brain Injury.
Federal Prisoner to Receive Opioid Addiction Medication While Incarcerated, March 4, 2020. Medical, Drug Treatment/Rehab.
Long-running Maricopa County, Arizona Jail Lawsuit Ends, March 4, 2020. Medical, Overcrowding, Telephones, Mental Health.
Neither Fines Nor Lawsuits Deter Corizon From Delivering Substandard Health Care, March 3, 2020. Corizon, Medical.


text:
Chaerophyllum ghilanicum är en flockblommig växtart som beskrevs av Otto Stapf och Richard von Wettstein. Chaerophyllum ghilanicum ingår i släktet rotkörvlar, och familjen flockblommiga växter. Inga underarter finns listade i Catalogue of Life.

Källor

Externa länkar

Rotkörvlar
ghilanicum

redpajama_set_name: RedPajamaWikipedia


I want to see new banning orders for extremist groups that fall short of the existing laws relating to terrorism. I want to see new civil powers to target extremists who stay just within the law but still spread poisonous hatred. So both policies – Banning Orders and Extremism Disruption Orders – will be in the next Conservative manifesto.
So, on this page of the document the government have both described a critic of Islam as an extremist but also (probably unwittingly) criticized the Islamic religion themselves. It almost seems to me the UK government is coming dangerously close to implicitly accusing itself of "extremism" here.
Disrupting extremists – We will create new targeted powers, flexible enough to cover the full range of extremist behaviour, including where extremists sow division in our communities and seek to undermine the rule of law.
As I mentioned in the first post on the "Prevent" strategy, the government have themselves already been accused of sowing division by prominent Muslims, a type of "extremist" behaviour defined here. Is the government itself an extremist organization according to their own vague definition?
In short, it seems that just about anything the government doesn't agree with then might be targeted. Perhaps global warming skeptics might be next? Opponents of mass immigration? Where might it end? There was a suggestion that environmental activists might be subjected to the orders in one speech I read about.
If the police (or the home secretary? I've read different reports) feel that an individual is an extremist they will apply to the High Court for an Extremist Banning or Disruption Order against them. Apparently the criteria would be as vague as someone saying something in public that was likely to cause "alarm and distress". Note here that many Muslims claimed to be alarmed and distressed by the Charlie Hebdo cartoons. Whilst they are subjected to the order, all public speaking or publishing that they do will have to be vetted by the police and approved before they can go public with it. (How long the orders would remain in force or what conditions would lead to them being lifted has not been revealed yet). If they bypass this process and go public without checking with the police beforehand, they will be in breach of the order and will have committed a criminal offence for which there will be a prison sentence. If this sounds like something out of the Soviet Union or George Orwell then that's because it is like that. This is the thought police telling people what they can think and what they can't.
One really big issue I have with these orders is that they would be directed at individuals rather than particular opinions. The incitement to violence law by contrast was aimed at a specific thing a person had said. Once subjected to one of the orders, journalists and commentators on current affairs could be effectively put out of business because absolutely every time they wanted to make a public statement they would have to submit it first to the police and then wait for approval. Even if the police allowed most things they wanted to say, the simple process of waiting for approval could hamper the person to the point where they were commenting on yesterday's news always a day or more behind the rest – especially at weekends probably when the police were not on duty.
The stigma associated could also encourage people reading the person's opinion to dismiss their views more readily, as the government would have tarred them with the brush and they could be dismissed as just that "extremist", no need to listen to him/her. Of course this could also work in the opposite direction and encourage other people to read their views more intently, if they were generally suspicious of the government. Either reaction is bad though, because in the first reaction the government is successfully interfering with free speech, and in the second distrust of the government is increased which is also bad for democracy. Different people would react in different ways and so these are not contradictory objections.
Perhaps most worryingly of all, the government could even use the orders to silence their political opponents.
Crucially, will the public be kept informed about who the orders have been used against, and how? If so, then that revelation could undermine the very point of the orders, because the very opinion that the authorities are trying to suppress will be so publicized and will be much discussed in the media. If not, then it would seem to me that the thought police state has become a reality, because opinions will be being suppressed, and we won't know whose opinions or why.
You asked on 'The Speccie' for a link concerning the teacher in Belgium.
Sorry, but I still haven't mastered 'linking' !
If you go to rtlnieuws.nl do a search (zoeken) for Ivar Mol.
Google translate should provide the gist.
Thanks, you just copy paste the link as text from your browser address bar.
Jamie Glazov discusses with Christine Williams, very similar efforts in Canada.
He notes very soon, if nothing changes, we will be unable to even point out the nature of jihad in the West, without drawing accusations of Islamophobia or extremism.
We wont be able to quote Islamic scripture that inspires jihadists and political Islamists- as Lord Pearson did when he mentioned the 22 Koranic verses, the murderer of the Fusilier Lee Rigby cited, several Muslim MPs went on record to say how he was 'diabolical' and his questions were 'intolerable'.
Denis MacEoin describes various trials around Europe, seem nothing more than "blasphemy as perceived by Muslim groups or individuals".
Meanwhile May and the progressive Tories seem to be letting them in the same totalitarian agenda by the side-door, under the auspices of banning 'extremism'.
When one sees similar efforts are on show across Europe, in Canada and the US; one realises the global nature of the criminalise 'Islamophobia' movement- of which the Organisation of Islamic Cooperation (OIC) has been behind for over a decade.
Part of the so-called 'Istanbul Process' to counter 'defamation of religion', which poses as defending all religions but in reality, it's always about one religion- namely Islam.
Most Westerners would assume it is the UN's concept of Human Rights that it refers to but the OIC adhere to their own 'Human Rights' as detailed in the Cairo Declaration which is subject to the Sharia.
Comes almost straight out of the 'closed ideas about Islam' in the Runnymede report and would also, ironically, make Ibn Khaldun- an 'Islamophobe'.
All in all whether 'Extremist Banning and Disruption Orders', Islamophobia laws or disingenuous UN resolutions- they all move towards establishing global Sharia blasphemy laws.
Wherein pointing out the main tenets and agendas of Islam would be outlawed.
This is a fight we are losing at the moment, after the Hebdo massacre, the fourth estate instead of standing up to Islamofascist threats to freedom of speech, internalised it all and capitulated.
The progressive Tory party would no doubt say, these banning and disruption orders are to counter Islamist extremism, yet we have seen disproportionate resources thrown at non-violent critics or protesters, while they are described as the other side of the Islamist coin, while Islamofascist hate-preachers and violent jihadis come and go but critics of Islam are banned.
It seems not only are they throwing the extremist baby out with the bathwater but the lessons of the Enlightenment along with it.


Are you looking for the map of Basse-Goulaine? Find any address on the map of Basse-Goulaine or calculate your itinerary to and from Basse-Goulaine, find all the tourist attractions and Michelin Guide restaurants in Basse-Goulaine. The ViaMichelin map of Basse-Goulaine: get the famous Michelin maps, the result of more than a century of mapping experience.


About Us | Through IP Pty. Ltd.
Through IP Pty. Ltd., a South Australian based company, was established in 2006 in order to design, develop and bring to market a range of quality niche-market communications products. The company operates from a sound financial base and is committed to steady continuous growth through a focus on its key competencies in product innovation and marketing.
Through IP operates from premises located in the Eastern suburbs of Adelaide, South Australia. The personnel which make up the management team are responsible for all design and management aspects of the company. All staff at Through IP are hand picked for their practical experience, achievement and relevant qualifications.
The experience of the Director is impressive and spans several decades. The Director of Through IP has gained valuable design and work experience with companies such as Sperry Marine Systems (USA), Hollandse Signaal Apparaten B.V. (Netherlands), NCR Systems Engineering B.V. (Netherlands), Computer Management Group – Information Technology (CMG-IT) (Netherlands) and Codan Limited (Australia). The Director also holds qualifications and associations in his fields of expertise.
Through IP manufacturing requirements are satisfied by approved Australian based production contractors. These contractors are selected on the basis of their stringent quality control procedures and price competitiveness. Combined with our own Quality Management System for product finishing and testing this in turn provides our customers with superior product reliability and value for money.


Tickets are required to join the signing line at this event.
From the bestselling author of The Emperor's Children, a masterly new novel: the riveting confession of a woman awakened, transformed and betrayed by a desire for a world beyond her own.The Woman Upstairs is the story of Nora Eldridge, an elementary school teacher in Cambridge, Massachusetts, long ago compromised her dream to be a successful artist, mother and lover. She has instead become the "woman upstairs," a reliable friend and neighbor always on the fringe of others' achievements. Then into her life arrives the glamorous and cosmopolitan Shahids--her new student Reza Shahid, a child who enchants as if from a fairy tale, and his parents: Skandar, a dashing Lebanese professor who has come to Boston for a fellowship at Harvard, and Sirena, an effortlessly alluring Italian artist.
When Reza is attacked by schoolyard bullies, Nora is drawn deep into the complex world of the Shahid family; she finds herself falling in love with them, separately and together. Nora's happiness explodes her boundaries, and she discovers in herself an unprecedented ferocity--one that puts her beliefs and her sense of self at stake.
Told with urgency, intimacy and piercing emotion, this brilliant novel of passion and artistic fulfillment explores the intensity, thrill--and the devastating cost--of embracing an authentic life.
CLAIRE MESSUD was born in the United States in 1966. She was educated at Yale and Cambridge. Messud's The Emperor's Children, was a New York Times, Los Angeles Times, and Washington Post Best Book of the Year. Her first novel, When the World Was Steady, and her book of novellas, The Hunters, were both finalists for the PEN/Faulkner Award; and her second novel, The Last Life, was a Publishers Weekly Best Book of the Year and Editor's Choice at The Village Voice. All four books were named New York Times Notable Books of the Year. Messud has been awarded Guggenheim and Radcliffe Fellowships and the Strauss Living Award from the American Academy of Arts and Letters. She lives in Cambridge, Massachusetts, with her husband and children.


text:
Quinto Bebio Macro (en latín Quintus Baebius Macer) fue un senador romano de la segunda mitad del  y la primera mitad del . Fue cónsul sufecto para el nundinium de abril a junio de 103 como colega de Publio Metilio Nepote y Prefecto urbano de Roma. También fue mecenas del poeta Marcial y conocido de Plinio el Joven. Recibió una carta de Plinio donde se enumeran los escritos de Plinio el Viejo, aparentemente en respuesta a la pregunta de Macer.

Carrera
La carrera de Bebio Macro no se conoce por completo. Ronald Syme sostiene que fue pretor entre los años 90 y 94. Gracias a la poesía de Marcial conocemos dos de los cargos que sí ocupó: fue curador de la Vía Appia alrededor del año 95, y gobernador de la Hispania Baetica, que Werner Eck data entre los años 100/101.

Después de regresar de la Bética, Macro estuvo activo en el Senado como orador. Plinio menciona dos ocasiones en las que participó en el proceso: durante la primera, que fue previa a su consulado, Macro propuso un castigo en el enjuiciamiento de Julio Baso por mala gestión de la provincia de Bitinia y Ponto. El segundo caso fue el dinero que Marco Egnacio Marcelino le debía a un escriba imperial al completar su servicio como cuestor en una provincia desconocida; como quiera que el escriba había muerto antes de que se pudiera pagar el dinero, Macro propuso que se pagara a los herederos del escriba, mientras que otro senador propuso que se pagara al tesoro imperial.

Macro accedió al cargo de praefectus urbi en un momento desconocido después de su consulado, pero definitivamente antes de la muerte del emperador Trajano. Poco después de que Adriano ascendiera al trono, según la Historia Augusta, su antiguo tutor Publio Acilio Atiano le escribió a Adriano recomendándole que debería matar a Macro porque este último, junto con otros dos senadores exiliados, se oponían a su gobierno. Sin embargo, Adriano no siguió este consejo. Su vida después de dejar el cargo de prefecto de la ciudad es desconocida.

Notas y referencias

Bibliografía
 Ronald Syme, Tácito (Oxford: Clarendon Press, 1958).
 Werner Eck, " Jahres- und Provinzialfasten der senatorischen Statthalter von 69/70 bis 138/139", Chiron, 12 (1982).

Enlaces externos

Nobles de la Antigua Roma
Cónsules sufectos del Imperio romano
Senadores de la Antigua Roma del siglo I
Senadores de la Antigua Roma del siglo II
Macer, Quinto Bebio
Gobernadores romanos de la Bética
Pretores
Prefectos de la Ciudad
Gobernadores romanos de Dacia


For whatever reason I didn't fall for Lisbon in the same way - maybe because it was the one place we only stopped at for 1 day and we stopped everywhere else for 2, so I probably just didn't get a proper feel of it - the downside of cruising is definitely not feeling like you've had long enough in places! It was also the day we had the least nice weather (you can see how grey these photos are!) so that probably had something to do with it.
We had a tour guide at each different place and our tour guide for Lisbon said that the shopping is really good but the problem for tourists is that the good shops are all in out of town shopping centres and if you don't know where you're going or how to get there then it's not really that useful!
Once back on board though the food cheered us all up from the dull weather conditions. I never really used to be a steak eater but I've really gotten into steak recently (I blame 29 Glasgow and their faultless fillet mignon for this!), and I topped my meal off with a cocktail and the evening's entertainment in the form of the comedian Don McLean - very popular with the older people on the ship who knew who he was but bloody hilarious even to those us who didn't.
Ricky Hanson says, Lisbon Portugal is so amazingly beautiful, the food and wine is delicious, and the people are some of the friendliest on the planet. Thanks for sharing your photos with us.


text:
/dev/dump
Stack backtraces from the mind of Garrett. Symbolic debugger not included.
Responding to Trolls
We have an... ahem... toxic personality in our midst in illumos. I'm going to respond here to his most recent post, to avoid wasting the time on the illumos developers mailing list. If you don't care about non-sense like this (although it may have entertainment value), please just ignore this post and move on.
The only reason I'm replying even here, is to set the record straight, and establish firmly the history -- at least my side of it -- for posterity.
In the early days of illumos, I invited those I could think of from the Solaris and OpenSolaris communities to participate. I even reached out to some parties, like Jörg Schilling, who had a bad reputation as difficult people to work with.
I had hoped to repair those broken relationships since there was no longer a corporate controlling entity for illumos. (Nexenta sponsored my efforts, and paid some of the early operating costs for illumos, but it has always been the case that illumos operates by and for the community -- and not at the behest of any corporate master. As I've since left Nexenta to start my own company, and illumos has carried on, I think there is fairly ample evidence in support of this fact.)
I reached out, and tried to help Jörg with some integrations; but those integrations did not go well. Jörg did not like our policy requiring a build or test of changes on the primary distribution (OpenIndiana at the time) used for the vast majority of developers and users, and so several of his changes did not get integrated. (It turns out this was a good thing, because at least one of those changes, a "fix" for a keyboard problem, was mis-designed and would have broken international keyboards for the majority of illumos' user community.)
We also required code review, as we do now.
Jörg has long had a desire to have "star" integrated as the main replacement for all archivers. That didn't take place, because he couldn't find reviewers. And after several negative interactions with him, I withdrew my offer to sponsor his work personally, as I found the process of trying to do so unbelievably painful. (There was an extremely long telephone call with Joerg that sticks in my memory.) I suggested he find someone else willing to code review and sponsor his work for integration into illumos. To date, that has not happened.
Somewhere during that time, Jörg indicated that he would not offer any other code up for integration until star was integrated. Basically, he took his toys and went home. Except he just took his toys, but forgot to go home, as he's still trying to create noise on our developer mailing lists.
There was another negative experience we had, mirroring today's thread, where Joerg's response to a tool I wrote (an open replacement for "od") was non-constructive criticism. (In fact, his response was "it's broken, why don't you use this thing I haven't finished writing yet". (He modified his "hexdump" utility to behave like od, apparently in response to my effort instead of simply offering helpful review feedback.)
This is typical of Jörg -- the only "right" answer as far as he is concerned is to accept his code, even if it isn't written yet or is buggy!
Jörg is what is known as a poisonous personality. At least in every context that I've seen him operate. Which is why usually I try to just ignore him, and hope he'll go away; yet like certain garden pests he just keeps coming back. He's even been kicked out of another prominent open source community.
He's also said made some incorrect and defamatory statements about both Nexenta and illumos at a prominent academic conference in Germany. (I can't find the link right now, I'll update if I find it.)
So, where in his post today he asks Gordon if he's willing to change the rules for integration, I have this in reply:
Are you willing to change this?
Gordon isn't empowered to. Neither, for that matter, am I. The rules that have been established for collaboration here are by common consent of the major contributors, and no single individual can change them. Notably, those were the rules in force in Summer 2010, and you were the one that wanted special treatment. Those rules have served this community well for the past several years, and there has been no movement to change them.
I am interested in setting up a phalanx of OpenSolaris activities because this
is the only way we have a chance to continue with OpenSolaris development but
this is hard as long as Illumos is not willing to play nicely.
OpenSolaris is dead. The entire illumos community has moved on. You have not, but then I have long since stopped considering you a part of the illumos community.
Especially given your repeated attacks against both illumos and numerous of its contributors -- even fairly early on you made a number of defamatory and incorrect statements about the nature of both illumos and its contributors in technical presentation before the German academic community. This was not the behavior of someone who is a constructive contributor.
To be completely honest, I think I'm not alone in wishing that you'd come to the same conclusion: that is that you are not part of this community.
I recently tried to build a bridge by propising that Illumos should implement
the proposals from Summer 2010 to regain credibility. Unfortuntely there was no
reaction.
That should speak volumes all by itself.
As someone else in another open source community said, Jorg Schilling is damage; the community should route around him.
Sigh. Jörg yet again.
afe GLDv3
illumos arcmsr
illumos gsoc
joyent illumos zfs
mxfe GLDv3
oracle opensolaris
zfs nexenta fma
NNG
nanomsg
OpenIndiana
illumos
Golang sync.Cond vs. Channel...
On Go, Portability, and System Interfaces
I've been noticing more and more lately that we have a plethora of libraries and programs written for Go, which don't work on one pl...
No, Nanomsg is NOT dead
There seems to have been some pretty misleading data out on the Internet, indicating that " nanomsg is dead". The main culprit h...
Ivy Bridge Motherboards -- Don't *Really* Exist!
So, if you're like me, and you've been shopping for a new system lately because you're last one is dying or dead, you might see...


Hello I am , June 15th, 2018, This is my post about Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, on this page you can see so beautiful design about Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, the first picture in this post is the best picture we use about Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, detail on photo's above, you can see in the second paragraph.
The first picture is a picture Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, the image has been in named with : Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, This image was posted on category : Uncategorized, have resolution : 360x360 pixel. This posting entitled Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17, and many people looking for about Outdoor Furniture No Cushions Incredible Cushion Patio Amazing Of Decorating Ideas 17 from search engine.