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Becoming part of the solution with Roger L. Martin
In February 2015, Roger L. Martin joined us to talk about innovation, incentive, and inspiration. This is the stuff that drives teams to face the most complex, stubborn challenges with surprising and creative solutions.
That episode quickly cemented itself as one of our most listened-to episodes in the nine years that we have been producing this show. Roger effortlessly demonstrates the kind of approach to change that has become foundational to our work at Teibel Ed. We're not solving problems, we're navigating uncertainty.
In his time as Dean of the Rotman School at the University of Toronto, he managed to enroll his best educators to help him solve a seemingly intractable recruiting challenge. The story he tells of this experience is at once bold and charming, and it carries our central message this week: what does it mean to be part of the solution, not part of the problem?
Professor Martin's work in Harvard Business Review, "The Rise — and Likely Fall — of the Talent Economy," lays out the case for the disconnect of high salaries to performance in knowledge work. But can the same case be made for the impact of significant financial goals on cultivating our best creative solutions from our most engaged and willing teams?
From Howard Teibel's work with institutions in administrative and academic reviews and Professor Martin's work as an academic and business leader comes a conversation that addresses the competencies of our teams, inspiring our best players to do their best work in the face of the significant challenges before them.
Roger L. Martin — rogerlmartin.com
@RogerLMartin — Twitter
"The Rise (and Likely Fall) of the Talent Economy" — hbr.org
"What Threatens the Talent Economy" — Innovation Hub
About Roger L. Martin
Professor Roger Martin is a writer, strategy advisor and currently #1 ranked management thinker in the world. He is the former Dean and Institute Director of the Martin Prosperity Institute at the Rotman School of Management at the University of Toronto in Canada.
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Building Momentum, Trust and Commitment around Strategic Planning →


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A thrilling time is in your immediate future
Bowdoin College has the good fortune to exhibit ancient Chinese objects in a show opening Friday.
By Bob KeyesStaff Writer
A new exhibition about bronze-age China feels like a trip to the zoo.
"When people see this exhibition and once their eyes start to adjust to this strange and unusual material, they will see dragons, tigers, turtles, birds and teeny little critters pop up everywhere," said curator Joachim Homann. "Because of the spiritual function of these objects, they were animated with these objects and symbols.
An elephant-shaped vessel used for serving wine is on loan from the Hunan Provincial Museum of Art. Courtesy Bowdoin College
One of the pieces in the "Along the Yangzi River" show at Bowdoin is this rectangular ding (used for cooking meat) with a human face design.
A bell from the exhibit.
"This show is going to make an argument for itself. The objects are really amazing. They were designed to overwhelm and stun people, and they do."
"Along the Yangzi River: Regional Culture of the Bronze Age from Hunan" opens Friday at the Bowdoin College Museum of Art in Brunswick.
The museum is showing 60 bronze vessels and monumental bells cast in southern China between 1,300 B.C.E. and 221 B.C.E. The exhibition highlights the artistry, rituals and beliefs of bronze-age China, Homann said.
The collection features several dings, which were used for cooking meat, as well as vessels for serving wine, dishes for food and other pieces created for ceremony and ritual.
"We have in this exhibition the only ding decorated with four human face masks," Homann said. "All the other dings that we know of have abstract patterns or monster faces. This is unique, with a mesmerizing quality to it."
Most of these pieces were created for feasts that included ritual components. In southern China, those rituals involved bells. "Along the Yangzi River" shows many examples of those bells.
The China Institute of New York organized the exhibition with loans from the Hunan Provincial Museum, the primary resource for archaeological finds from the middle banks of the Yangzi River in southern China.
Homann said this exhibition is the first to focus on regional characteristics of Hunan bronzes. Animal-shaped bronzes and bells were a specialty of the area.
The scope of the exhibition also makes it special.
"There is a depth of material rarely seen in this country. It's very rare that you have a show of this quality that also has so many objects," Homann said. "You can really develop an eye for it quickly."
Staff Writer Bob Keyes be reached at 791-6457 or:
Twitter: pphbkeyes

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Android Format calendar to output time I am using the below code to set an alarm. I would like to output what the time for this would be. I don't know if I going about this the wrong way. If I output the variable cal it has a long string of information. How do I extract only the hour and minutes?
    Calendar cal = Calendar.getInstance();
    // add 5 minutes to the calendar object
    cal.add(Calendar.MINUTE, 464);

A: Use the get() method on your Calendar object, and use Calendar static constants for the needed field (hour, minute, etc...).
For example:
cal.get(Calendar.Minute);

A: You can use the static constants as m0skit0 says, or use SimpleDateFormat.  Here's some code to show both methods:
Calendar cal = Calendar.getInstance();
cal.add(Calendar.MINUTE, 464);
SimpleDateFormat sdf = new SimpleDateFormat("HH:mm");
System.out.println(sdf.format(cal.getTime()));
System.out.println(cal.get(Calendar.HOUR)+":"+cal.get(Calendar.MINUTE));

outputs:
05:31
5:31

redpajama_set_name: RedPajamaStackExchange


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Waste treatment plant turns into garbage dump
(Tinmoitruong.vn) - The large waste treatment plant in the southern province of An Giang, designed to treat garbage and make organic fertilizer, is now being used as a garbage dump.
>> Garbage scavengers at risk of infections, say experts >> Vietnam's seaports may turn into world's dumping ground >> Nam Son waste dump torments local residents >> High concentration of dioxin found at waste treatment plants >> New waste incinerator model poised to take off in Ha Tinh
The large plant, covering an area of 336 square meters, built with huge capital of VND3.8 billion, has been left idle after 10 months of operation.
The plant treated domestic garbage with microbiology composting technology, with the capacity of 5 cubic meters per day. Under the production process, domestic garbage was classified and composted for 30 days before it was processed into organic fertilizer to be used in agriculture production.
However, the plant operated only for a short time before it had to stop operation in June when it was put under the control of the Phu Tan district Public Works' Management Board.
The problem was that the composting method used by the plant could treat organic garbage, while it could not help compost inorganic garbage.
Meanwhile, the major supplier of garbage, which collected garbage from 1,600 households in Phu Binh and Binh Thanh Dong communes, had both organic and inorganic rubbish.
Because of the worker shortage, it was impossible to classify rubbish in an effective way, which has led to ineffective composting.
The plant's area has become a place for people to leave litter because there is nowhere for them to do this.
The workers of the plant, therefore, not only have to collect garbage every day, but also have to burn the rubbish.
However, due to the limited workforce, the workers cannot settle the huge amount of garbage brought there every day.
As a result, the mountain of rubbish there is getting larger and larger. The waste treatment plant has become a "waste containing plant".
Vo Van Tha Em, a worker of the Phu Tan district Public Work Management Board, said the plant is now being run by three workers, including Em and two others. "We guard the plant and collect garbage in shifts," he said.
The worker said the only solution to the plant is to set up a dumping ground for inorganic waste. "We cannot withstand the terrible smell from the garbage," Em said. "We have got too tired of the job because of the low pay and high risks."
"Billions of dong were spent just to build a garbage containing dump," he said.
The latest report from the An Giang province Department of Natural Resources and the Environment showed that about 1,305 tons of solid garbage was being discharged every day in the province, including 478 tons of garbage in urban areas and 827 tons in rural areas.
However, only 780 tons of garbage can be collected each day, just equal to 60 percent of the solid waste, while only 325 tons of solid waste can be treated and 195 tons cannot be collected for treatment.
Nong Nghiep
Tags: Waste treatment plant, turns into, garbage, dump
Send comments you read about: Waste treatment plant turns into garbage dump
(Environmental News welcomes your opinions read the article. The discussion will be reviewed before posting. Environmental News reserves the right to reject words offend individuals or organizations; words left habits and customs, law violations. Readers discuss accented Vietnamese. Comments do not necessarily reflect the views of the Environmental News. Thank you for your contributions and cooperation of)
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Ash treatment required before thermal-power plant construction
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Da Nang to pioneer testing of motorbikes' exhaust fumes
German Government continues to support MRC for sustainable development of the Lower Mekong Basin
(Tinmoitruong.vn) - Vientiane, Lao PDR, 29 September 2016 – The Government of Germany- has granted EUR 2.5 million to the Mekong River Commission to implement its strategic work, including climate change and adaptation, flood and drought management and sustainable hydropower.
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Description: The user's body glows in a cyan outline.
Effect: Any physical damage the user would receive next is reduced to 60% of it's original impact. When this happens, if the user was physically hit, he gains a 5% electrical charge.
Drop the damage reduction to 40% for this cost.
Is the physical extent of the damage lessened?
The damage is lessened to 60% of it's original power, so yes. If an attack would cause 10 bruises, it would now cause 6, etc. Pain is also similar.
Alright, drop it to 40% then.


Our juices are made using NFC technology (without concentrates).
Our carefully selected, healthy and high quality fruits go through a complex pressing process. 75% of the most nutritious and wholesome juice is pressed of every apple. This allows us to keep the original taste and scent of the fruits. The characteristic haze and sediment is simply a residue from the fruits.
This way of manufacturing juice, guarantees high quality, natural produce, full of vitamins and nutrients.
We offer high variety of apple and mixed juices such as: apple – pear, apple – raspberry, apple- strawberry, apple – blackcurrant, apple – carrot and apple- beetroot.
Fruits prepared through this method, are ready to be used in baking and dessert production. In the process of roasting, we lower the pressure, which enables us to shorten the time of thermal processing of fruits. Through this, we achieve highest quality taste of our apples.
Roasted apples are available in jars (0,9 litres), or in a bespoke packaging as required by the client.
The purées are ready to be used in making cakes and other desserts.
The production process and selection of fruits are aimed at achieving highest quality purée, whilst maintaining the natural taste of the fruit. We offer the following kinds of purées: apple, blackcurrant, raspberry and strawberry.
Our apples maintain highest quality, thanks to the IQF freezing technology.
Through speedy freezing process, we manage to separate our fruits, whilst maintaining the natural nutrition values and composition throughout the curation/ storage period.
We are able to slice fruits into various shapes, as required by the client.
Traditional method – thanks to the slow drying and vaporization process, we make classic apple crisps and apple cubes.
Puffing method – in this method, we apply fast drying process, lasting from 1 to 3 minutes. Because of the lowered pressure and action of microwaves, we obtain fuller, more nutritious fruits than when using the traditional method.
We pack dried apples as required by the client.
We offer our services in the bottling of juices in glass bottles and Bag in Box packaging type.


text:
Diane Thodos
Copyright Diane Thodos 2010
Abstract Expressionism: Exercise in Automatism
with Stanley William Hayter - 1984
In the fall of 1984 in Paris, France I studied in Stanley William Hayter's printmaking shop Studio 17. As a student he had me create an experimental etching exercise plate which forever changed my perception of abstraction. This exercise involved the use of spontaneous intuitive energy - psychic automatism - in abstract line and composition. I recognize the importance of the Surrealist ideas of automatism and experimentation that were imbedded in this exercise which is not surprising given Hayter's associations with the Surrealists in Paris when he began Studio 17 in 1933. Artists Like Calder, Lipchitz, Picasso, Stuart Davis, Andre Masson, and David Smith worked with him. The Germans invaded France during WWII which forced him to escape to New York. Much has been written about Hayter's impact on many of the Abstract Expressionists artists when he re-establish this print shop in 1940. Expatriated Surrealist artists regrouped in the shop to work in a relaxed, informal and experimental atmosphere. The Abstract Expressionists who admired the Surrealists followed them there. These included Motherwell, De Kooning, Rothko, Baziotes, Gottlieb, and especially Jackson Pollock. I was surprised to find a very similar exercise plate in automatism was created by Pollock in 1944 - 45 and had absorbed many of Hayter's ideas. This was to have a significant impact on Pollock's transformation and the creation of his drip paintings using spontaeous automatist gesture.
The exercise began with a small plate blocked with transparent varnish. Hayter then directed me to trail lines across the plate with a needle in a particular way. These lines were to be made in a continuous single fluid movement that moved from one edge and off the other. It was important not to think or intellectualize the act: it was intuitive and "automatic" where movement was not activated by the hand or wrist but through the whole arm. The sensibility was something akin to the feeling of sumi-e brush painting, but with the difference that the whole surface rectangle of the plate was held in a kind of energy-tension. Essentially the engagement of the edges freed the "field" from becoming a figure/ground relationship. Line flowed directly on and off the edge of the plate. The dynamic compressions and divisions this made in the space of that rectangle, especially along the edges, was a whole new realization of abstract energy for me. Hayter also emphasized that you could turn the plate upside down or to one side, reorienting the internal energies of the composition - which made it unexpectedly fresh and interesting. This is a practice I still use as a way to find new visual possibilities in abstraction.
After each line was made, some in varying thicknesses, the plate was etched, the line was covered with varnish, another line was made, and so on. The transparent varnish allowed previous lines to be seen, so each new line was a response to previous ones. Hayter then had me clear off the varnish and consider the kind of spaces the lines had carved out within the body of the plate. He had me create small shapes from different soft ground impressions of cloth textures, which interacted with the line spaces without exactly following them. In an unpredictable way each layer of shapes determined the position of the next in a loose but interactive way, creating areas that played a game of compositional weight and balance while also remaining free from the contours of the lines. In the last stage black triangles were inserted where lines intersected, punching holes in the weblike mixture of lines and texture. This created a dynamic and complex over and underlapping of deep and shallow spaces. This use of the shapes of black spaces interwoven with abstract forms was to become a dynamic construction element in my expressionist work to follow. I recognized the qualities of this exercise plate resembled much I had seen in Hayter's own prints and his approach to working.
Jackson Pollack experimental
plate made at Studio 17, 1944-45


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Arrests for Numbers Gambling
April 17, 2009 Stephen Robertson Leave a comment
The map of Numbers arrests is currently one of the Featured Maps on the Digital Harlem site; simply click on the image in the right hand column of the site to see the map. The pop-up box that opens contains an abbreviated version of the information contained in this post.
In the 1920s, Numbers gambling was a black-owned and black-run business—one of very few in Harlem—that turned over tens of millions of dollars every year, as roughly one in two of the district's residents bet with some regularity. It was also illegal, and undercover police officers, including some black officers, regularly arrested those operating or playing the game.
How did Numbers work? See the "Learn More about Numbers" pages
Most of the 553 arrests on this map are from 1925, the one year in our sample when Numbers was prosecuted as a felony, and as a result, appears in the DA's files.
Overview of Numbers Arrests
A wide view reveals a significant number of arrests downtown, in the San Juan Hill neighborhood, the centre of New York's black community before blacks took up residence in Harlem. This map is a stark reminder that even after Harlem opened up for African Americans, large numbers of blacks remained living in San Juan Hill and would continue to do so until they were displaced by the post-war building of the Lincoln Center, a fact that is seldom considered in accounts of twentieth-century black life in New York.
If you zoom the map in on Harlem, it is clear numbers was played everywhere in the district.
Numbers arrests in central Harlem
The racket was not concentrated in any particular area, indeed evidence of numbers was present and obvious on virtually every street and avenue in Harlem. Many numbers runners operated in stores, particularly cigar and stationary stores, and hence there are concentrations of arrests along Lenox and 7th Avenues, and West 135th Street between Fifth and Lenox Avenues, Harlem's retail strips. Other arrests, more typically of blacks, took place on the streets: many runners stationed themselves on the city's streets and avenues, particularly in the morning, as Harlemites travelled to work, accepting business from passing pedestrian traffic.
Turning on the lines linking arrest locations to the residences of those arrested highlights that almost all those in the racket lived in Harlem. (Residences are indicated by the building icon)
Arrests linked to residence of the offender
With all 533 arrests on a single map, it is impossible to make out that relationship in central Harlem: to make it clear, this map includes only arrests from January 1925:
Arrests from January 1925 linked to offender's residence
Those arrested were runners and collectors and a few unlucky players. Numbers "runners" collected bets from individual gamblers. They passed the day's bets and takings on to their "banker." Runners worked on commission, skimming off twenty percent from their total receipts before they passed them on. As well, if one of a runner's client's bets hit, the individual gambler was obligated to pay the runner ten percent of her or his winnings. Only very rarely did the police net a banker, some of whom were so successful they became the Kings and Queens of Harlem. Those arrested were an ethnic mélange, a collection of mostly recent migrants from Europe, the Caribbean or the American South trying to get ahead in the big city.
In 1925, when these arrests took place, the courts prosecuted those involved in numbers for the offense of playing policy, an old law that targeted betting on the results of a lottery. That that law did not fit was obvious to many magistrates, who had been dismissing the numbers cases that came before them. Those who were indicted appeared to juries guilty of nothing worthy of punishment, leading to acquittals, and to prosecutors recommending pleas bargains in which defendants who pled guilty paid only a $25 fine.
The Clearing House numbers game existed for almost exactly a decade. It began in 1920 or 1921 and ended when the Clearing House stopped publishing the statistical information on which the game depended. Bankers came up with alternative ways of generating a daily number, using figures from the NY Stock Exchange and the parimutuel totals paid out on horse races at race meetings at various tracks throughout the country, and the racket continued to expand. By the early 1930s, white gangsters, searching for alternative sources of income as Prohibition came to an end, moved to take over numbers from black bankers. They never entirely succeeded, and day-to-day operations in Harlem largely remained in black hands, but a good proportion of the revenue did end up in the coffers of the white mob. After July 1, 1926, policy was reduced from a felony to a misdemeanor. Just what sentence a conviction carried depended upon how many slips an individual had in their possession: a handful brought only a suspended sentence, whereas 30 or 40 resulted in 90 days hard labor. But that happened only when the arresting officer was not paid to turn a blind eye, and there is abundant evidence that many officers did just that.
Our book, Playing the Numbers: Gambling in Harlem Between the Wars, was published by Harvard University Press in 2010.
Posted in: Events, Maps Filed under: 1920s, black business, gambling, Harlem, numbers
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Any chance this project might actually make it onto the Raspberry Pi? You can add an AUX input via USB for under $5 https://www.adafruit.com/product/1475 and then output the visualization over HDMI… I actually want to use it in my car so a lower resolution for better frame rate would be fine by me. I'd just like to see something other than "AUX Device Ready" in my dash all the time.
I'd love to but I just haven't had time to do the work and I don't really know enough about GLES/VBOs. Feel free! It's open source!


We are now seeing the emergence of ultrasound credentialing requirements. New Mexico and Oregon require mandatory licensure of individuals performing ultrasound. In other states, reimbursement is linked to credentialing. Laboratory accreditation can be achieved with certified staff.
We now have a targeted examination available for phlebology ultrasound. Both physicians and registered vascular sonographers can achieve a subspecialty credential with the Registered Phlebology Sonographer exam. This activity is intended for technologists, physicians, and others interested in preparation for the Cardiovascular Credentialing International (CCI) RPhS exam.
The Review Course faculty is compiled of experts in the field of ultrasound and phlebology. The course sessions will follow the phlebology ultrasound examination content outlined by CCI. These will include anatomy, physiology, patient evaluation and criteria for non-invasive diagnostic studies as well as a comprehensive overview of venous surgical interventions and lymphedema therapies.


text:
Sabatti: Saba side-by-side shotgun, for hunting in the woods
We went hunting woodcock with the Saba side-by-side, a Sabatti entry level shotgun at the right price. The gun is available in 12, 20 or 28-gauge with a wide range of barrel lengths and chokes.
The Team of all4hunters.com/ Alberto Bosa 12/20/2017
We tested the Saba side-by-side, a Sabatti entry level shotgun, while hunting woodcock.
A simple side-by-side shotgun, good value for money. A gem for the hunter who wants to live his passion for hunting woodcock in the woods with his dog by his side
Saba side-by-side shotgun for hunting in the woods
Hunters have always asked themselves what are the pros, and especially the cons, of the guns they're shooting or would like to be shooting.
These opinions have given us something to talk about during many fine evenings down at the inn, filled who knows how many pages of old magazines and today, account for an infinite number of digital characters. But there's still a great deal of confusion on the subject, and there always will be, because finding a faultless gun that adapts to various hunting disciplines, environmental situations and types of game is difficult to say the least.
Available as a 12, 20 and 28-gauge with barrel lengths of 62, 66 to 71 cm, the Saba side-by-side is a versatile gun able to meet a wide range of hunters' requirements.
A side-by-side is almost perfect.
The only con you'll find when buying one is the price, which is often prohibitive for many hunters who want to start out in this noble art in the right way.
So Sabatti, a family that's been making guns for over 400 years, has produced the SABA: a fine shotgun that sells for around €1,600.
A detailed look at the Sabatti Saba side-by-side hunting shotgun
Simple but pleasing to the eye, the Saba side-by-side is designed for hunters who want a classic gun that's easy to use with pointers. The mechanism is an Anson and Deeley-type, and you can choose either a single or double trigger system.
Taking a closer look at it, the barrels of the Sabatti SABA side-by-side hunting shotgun are forged, bored and ground out of Chromium-Molybdenum solid steel bar; the insides of the barrels are then lapped and chromed.
This type of mechanism was patented by Anson & Deeley over a century ago and represents a milestone in the history of double-barrelled hammerless shotguns.
The action is machined by machine tools from a solid block of forged high-resistance steel, case hardening and tempered after being engraved. The stock is made of select walnut with a pistol or English grip available on request.
The user can also choose the type of ejector to use, manual or automatic, and a single or double trigger system.
The gun is available in 12, 20 or 28-gauge with a wide range of barrel lengths and chokes. The 12-gauge weighs 3 kg, and the smaller bores 2.6 kg.
Hunting with the Saba side-by-side
The Sabatti Saba side-by-side is best put to use for point shooting, and its performance was more than satisfactory when hunting woodcock.
We tested the gun hunting woodcock at the foot of the Dolomite mountains from the middle to the end of October, and we were pleasantly surprised by the side-by-side with its balanced, well-built design. Above all it proved to be both reliable and effective.
The length and the drop of the stock, in particular, are perfect for a fluid, fast swing even in the most difficult situations, quickly putting the game in your sights.
The trigger and safety systems are strong and flawless, while the shot patterns were homogeneous with a well-distributed spread from every shot.
The tests with paper targets were done using No. 12, 32 gram lead cartridges and Rottweil No. 7, 36 gram cartridges, while some specific spreader cartridges like the B&P Mygra were used when hunting woodcock. The recoil gives you a sharp kick, typical of short, lightweight guns, and does require a little practice to keep the gun on target for a second shot, if necessary. By way of compensation, fast point shooting is when this gun really comes into its own.
We tested: SABATTI side-by-side, mod. SABA
Barrel length 62 cm/ 66 cm / 71 cm
CL/****
Around €1,600
For more information on the Saba side-by-side, visit Sabatti website.
Sabatti28 (gauge)HuntingShotguns


Joe Logan Diffie is a country music singer born on December 28, 1958 in Tulsa, Oklahoma. From 1990 to 2004, Diffie had 35 songs on the Billboard Hot Country Songs chart, including five singles that reached that top spot. Diffie has also co-written songs with Tim McGraw and Holly Dunn, and recorded with Marty Stuart and Mary Chapin Carpenter. Two of Diffie's albums, Honky Tonk Attitude (1993) and Third Rock from the Sun (1994) went platinum. Two others, Regular Joe (1992) and Life's So Funny (1996) reached gold. His latest collection, Homecoming: The Bluegrass Album, came out in 2010. Diffie continues to collaborate with country music artists.
This teenage boy climbs the water tower and spray paints his gf's name on it. Years later, they marry and no matter how many coats of paint they use, it's still showing through it. Just like their relationship!


So, they have the best food, drinks and desserts--can it get any better? Yes!
Court Street Coffee Shop, a quiet little coffee shop hidden by busy Court Street, has gained quite the popularity by families, local TLU college students and city workers on a quick lunch break. Lyndon Langford owns the coffee shop with his wife, Mary Jo Langford. The owners pride themselves in creating a cute joint "where old friends gather and new friends meet," and it's done just that in its time. Conveniently located in downtown Seguin, Texas, this coffee shop is relaxing and vibrant at the same time with a fantastic and friendly staff.
This quirky little shop strays away from your typical, uniform furniture. Spread out around the coffee shop is a mixture of dark wooden tables, old church pews turned into seating and comfy flowery couches that feel like you're snuggled up at grandma's house. After picking your spot (probably for the next few hours, because seriously, this is Hotel California and you lose track of time) I recommend checking out the enormous menu board. This coffee shop has so many options it's almost overwhelming. If you're looking for a nice meal with the homemade feel, you've come to the right place. It's got the three basic S's: soup, salad, and sandwiches. But wait, there's more (cue the Billy May's voice), there are tamales, paninis, and hors d'oeuvres served on a hand-crafted cutting board. Fancy, huh?
As for desserts, you can pick your favorite from their wide selection with an abundance of ice cream flavors--16 to be exact--or a simple pastry made at Uwe's bakery in New Braunfels, Texas. But let's face it: the food is a plus but the real reason people visit coffee shops is for the coffee. They offer freshly-brewed coffee, espresso, and the best white chocolate mocha frappes in all of Guadalupe County.
So, they have the best food, drinks and desserts--can it get any better? Yes! The most intriguing part of the coffee shop is the Langford's successful pursuit to enhance both visual and performing arts. The coffee shop is covered in so much local artwork that it's almost impossible to tell what color the actual wall is. In an effort to support local artists, Langford displays artwork for sale, or just displays local pieces for a period of time. However, he doesn't just favor the visual arts. In fact, the coffee shop is a popular spot to listen to live music on a Friday or Saturday night. If you can't catch the live music on the weekend, you might be lucky to catch some locals singing in the coffee shop during the week.
Langford has successfully created a friendly environment that's popular with the locals but is still gaining success and popularity every day. If you haven't already visited Court Street Coffee Shop, I encourage you to stop by and see what it's all about and take a moment to escape the busyness of life.


text:
package hu.sztaki.ilab.longneck.process.constraint;

import hu.sztaki.ilab.longneck.process.Atomic;

/**
 * Atomic constraint.
 *
 * The atomic constraint defines a constraint that is directly applied to one
 * or more fields of a record.
 *
 * @author Molnar Peter <molnarp@sztaki.mta.hu>
 */
public interface AtomicConstraint extends Atomic, Constraint {
}

redpajama_set_name: RedPajamaGithub


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The task of the sub-editor is a thankless one. Obliged to cut contributor's copy to fill the available space and working to unforgiving deadlines, there is always the accusation (usually from the contributors themselves) that they have performed a "hatchet-job", mercilessly expunging the most vital parts of the contributor's text and transforming a finely-honed and carefully crafted exercise in literary beauty into an incoherent block of gobbledygook. Sub-editors on British papers used to be notorious for simply cutting out the last lines of a submission when space constraints were imposed, and breaking up sentences and paragraphs into amazing convolutions in an attempt to increase the space taken up on the page.
Add to this the sub-editor's responsibility for checking facts, watching for sensitive issues which might lead to legal hot water (a very present problem in Singapore) and generally modifying the contributor's material to conform to a house style and to meet more closely the perceived demands, linguistic and technical, of the readership.
I have suffered as much as anybody at the hands of sub-editors, but I still marvel that they can perform their job with so much pressure all around them, so I don't often complain. Neither do I, as a matter of course, post up on my blog the "raw" material which went off to the paper; I still accept that the sub-editor knows their job and even if I don't like what they have done, I stand by it and let what personal upset I feel pass me by.
As it happens, though, I had a flurry of comments about some reviews of mine which appeared in the Straits Times over the weekend, pointing out errors of fact, substance and phraseology, As, moreover, the reviews reflected some of the huge diversity of live classical music events which take place in Singapore on a weekly basis, I felt reprinting the three reviews here would not only draw attention to Singapore's increasingly active musical life to those whose daily life is never touched by the Straits Times, but might help those who felt that the reviews were in some way flawed, to identify the genuine flaws I made (And there are plenty of those) from those the sub-editors unwittingly added.
Once upon a time in the world of classical music, you couldn't go anywhere without stumbling across Grieg's Piano Concerto. Orchestras, big, little, good and bad played it at every opportunity, it dribbled endlessly out of hidden speakers in hotel lobbies, and amateur pianists would spontaneously burst into its opening cascade or its syrupy main theme in the hope that nobody would realise that was the limit of their public repertory. Somewhere along the line, Grieg's Piano Concerto seems to have fallen out of favour, so hearing it on Friday evening was like reviving a long-lost friendship.
Javier Perianes is not a muscular pianist, but neither is he a sentimental one, and his performance of the Grieg was refreshingly direct. There were flashes of vivid colour – evidence of his Spanish heritage – and moments of gentle caress, and with the first movement cadenza he produced a tone so haunting and other-worldly one wondered why the SSO had not programmed this Concerto a couple of months later to tie-in with Hallowe'en.
What made the performance particularly bracing was conductor Michal Nesterowicz's brisk, no-nonsense approach, never allowing the music to wallow in its own expressive lagoons but always steering it onwards with a clear sense of direction. The Grieg Concerto is, at heart, little more than a collection of nice tunes strung together not always particularly well, but here was a performance which gave it a strong aura of cohesion.
No report of this performance could be allowed to pass without mention of Jamie Hersch's exquisite horn playing. Such was the audience's adulation of Perianes that the orchestra and conductor got rather side-lined; but Hersch at least would have fully deserved a personal ovation all of his own.
Orchestra and conductor had the stage to themselves for Tchaikovsky's Romeo and Juliet Fantasy Overture and Sibelius's Third Symphony where, again, Nesterowicz pushed things along briskly with a powerful sense of purpose. This resulted in a stirring – if slightly ragged - performance of the Tchaikovsky, but rather had the effect of transforming Sibelius's Finnish peasant dances into something more suited to a Polish dockside tavern.
Nesterowicz is an exceptionally tall conductor who, standing flat on the stage surrounded by the strings with neither rostrum nor music stand, towers monumentally over the orchestra. From this elevated vantage point he seemed to draw up from the SSO string players a sound of ravishing beauty. This made its presence most potently felt in their encore – Sibelius's Valse Triste – which the SSO musicians offered as their own personal tribute to the late Mr S R Nathan. It was a deeply moving climax to a day of highly-charged emotion.
The masterstroke in Lo King-man's production is its directness. Neither minimalist nor gimmicky, it captures the very essence of Puccini's final opera. Under Joshua Kangming Tan, the SLO Orchestra performed near-miracles in the pit while, with Tan Ju Meng's uncluttered set design, magical lighting from Adrian Tan and some wonderful costumes from Mandy Tam, the notion of some mythical Chinese past was strongly conveyed.
When the Emperor appeared on stage, effectively played as an old, withered and deeply human individual by Leslie Tay, a vast tribal head descended as a backdrop, underlining the essentially pagan atmosphere of the opera. This also solved the problem of making credible Princess Turandot's seemingly inhuman cruelty. In the title role, a steely-voiced Jee-hye Han certainly exuded icy disdain for humanity, but her diction was so obscure that, were it not for the well-synchronized sur-titles, we would have had no idea what she was singing about.
Perfect diction, perfect pitching, perfect vocal control and a voice to die for were provided in good measure by Li Yang who as Liu, the loyal-to-death slave girl spurned in love, stole the entire audience's heart, not least with a ravishing account of her first act aria "Signore, ascolta". Her death scene in the final act was, in every respect, the true climax of the production. William Lim, cut a profoundly tragic figure as the blind, dethroned King Timur, desperately hoping she was just asleep.
So captivating was Li's portrayal of Liu that one wondered why the young Prince Calaf was so eager to abandon her in preference for the ghastly Turandot. Calaf is a devilishly difficult role to make real, but Lee Jae Wook was very impressive even if he was never going to shake off the ghosts of all those tenors who have made the great act three aria, "Nessun Dorma", their own. Luckily, Joshua Tan's musical instincts drove the aria on so fervently that it still touched the right emotional buttons.
Vocally uneven but hugely entertaining with their on-stage chemistry, Martin Ng, Raymond Lee and Peter Ong as the androgynous government ministers Ping, Pang and Pong, cut just the right comic note to balance with the supercharged emotions elsewhere, while the Singapore Lyric Opera Chorus were in superlative collective voice. Occasionally wooden in their on-stage movements, they were never anything less than compelling in their singing both on and off stage.
And if the white-clad children's chorus was a little fidgety at times, they should have got the nerves out of their system by tonight's performance – and if not, it only adds to the charm of their on-stage presence. Turandot ends tomorrow and, if you haven't seen it already, get a ticket; it's a fabulous show.
Organized chaos seems the best way of describing Alfred Schnittke's Concerto Grosso No.1. With all 24 players on the VCH stage appearing to be doing their own thing and Shane Thio eagerly jumping from prepared piano to harpsichord and back again, occasional glimpses of identifiable musical ideas did burst through, like flames licking out of a nearly-extinguished fire, but were immediately smothered by the mass of orchestral sound. No wonder a goodly portion of the audience was profoundly perplexed.
Conductor Joshua Tan kept it tightly under control, but at the expense of the music's essential humour. Schnittke's score is renowned for its sense of the comic, but for these well-drilled musicians, this was all deadly serious stuff. Even Thio's silly little harpsichord tango failed to raise a smile.
Technically this was extremely impressive playing all round, but rising above it all the two violin protagonists, Loh Jun Hong and Gabriel Ng, were in a class of their own. Working in perfect partnership, they created a tangible feeling of unity and comradeship floating free and easy above the chaos around them. Such close working relationships were not always evident elsewhere in the programme.
Margaret Chen and her accomplice had some fundamental disagreements over Bach's great Passacaglia and Fugue. While Chen played the notes, the accomplice pushed out and pulled in the stops, manipulated the foot pedals and generally flitted around the organ like some over-attentive housemaid. More than once they bumped into each other - Chen would be merrily playing something sweet and charming when, all of a sudden, all hell broke out in the pipe department as a cluster of stops was drawn out unexpectedly. This clearly disconcerted Chen who stumbled and spluttered until equilibrium was restored.
However, while it was by no means note perfect, this was a performance driven by an intense communicative urge and a searing sense of purpose. If to achieve such musical rewards Chen needed to sacrifice some of her technical polish, it was a sacrifice well worth making.
Handel's B flat Organ Concerto also suffered from a breakdown in partnership, this time the almost inevitable consequence of the logistical nightmare of coordinating an orchestra on stage with the VCH organ stuck against the wall with its back to the orchestra.
Chen did much to bring colour and variety to the solo part while Joshua Tan made earnest attempts to keep it all together. The end result was, though, decidedly furry around the edges, and there were moments when organ and orchestra were so out of synch that it came close to disorganised chaos.


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Q: Slow autocomplete in Xcode 8 I recently got a 2016 nTB MBP. I started Obj-C in Xcode 8 a few days ago.
What I noticed, that autocomplete is really useful but it's incredibly slow. Even inside an extremely simple class (fractions, just for practice), the delay is very annoying when typing.
Is this normal or it should be smooth?
I removed it with AppCleaner and reinstalled it but it's just the same.

A: The new Xcode 9 Beta is immeasurably faster for me and solved the annoying editing delays from having autocomplete and live issues turned on.
Not sure if you can deploy to the App Store with beta Xcode, but I'm going to develop in beta and open the normal Xcode to deploy.

A: Tame the beast with:
Xcode | Preferences | General > Uncheck "Show live issues"
BTW None of the answers in the "Possible duplicate" above fixed this for me.


The big guy's car is out of commission, so I've offered to let him borrow my car since I can pretty much just walk or ride my bike anywhere I'd like to go. It's been hard on the big guy, though.
You see, he has a sweet little sports car, a lovely thing that reeks of power and cool. Me? Well, I have a sweet little Prius, a sweet thing that reeks of practicality.
Big guy: "No, mom. I don't want to be seen driving to school in a Prius."
But he's been using it frequently anyway because he does need to get from here to there. Thing is, I've noticed that he's made one small adaptation to my car. And I'm not counting the fact that he scoots the seat all the way back so his tall, lanky self can fit. No, it's that he removes the sweet little origami crane that I have hanging from my rear view mirror and puts it in the cup holder.
Me: "Hey, you keep taking my crane off when you use my car."
Big guy: "Yeah, mom, it's bad enough that I have to drive around in a Prius with an 'Oops, I went punk' sticker on it. I am not driving around with that crane, too."
It's OK, I can rehang an origami crane with the best of them. And, hey, it's good for the big guy to go just a tad punk.


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Features, News, OpinionAndrew Buckle January 17, 2014 86th Academy Awards, Academy Awards, Awards coverage: Nominations Announced for the 86th Academy Awards, NominationsComment
Awards coverage: Nominations Announced for the 86th Academy Awards
The Academy of Motion Picture Arts and Sciences announced nominations for the 86th Academy Awards overnight. I was up at 12.30am eagerly awaiting the news.
Leading the nominees were those for Best Picture: Gravity (10), American Hustle (10), 12 Years A Slave (9), Nebraska (6), Captain Phillips (6), Dallas Buyers Club (6), Her (5), The Wolf of Wall Street (5) and Philomena (4).
The full list of nominees, with accompanying commentary, follow. I actually did pretty well with my predictions.
BEST PICTURE American Hustle Captain Phillips Dallas Buyers Club Gravity Her Nebraska Philomena 12 Years a Slave The Wolf of Wall Street
Again we end up with 9 nominees. From the 12 or so films in hot contention, none of these surprise. I did expect to see Saving Mr Banks here though. I am a little baffled by the nod for Philomena when films like Blue Jasmine, Before Midnight and Inside Llewyn Davis also received nominations and were in contention. Nevertheless, this is a strong line-up. I have awarded three of these films 5 Stars (Gravity, Nebraska and The Wolf of Wall Street), 2 four and a half (Her, Captain Phillips), and Dallas Buyers Club is the only one I am yet to see.
BEST DIRECTOR Alfonso Cuarón, Gravity Steve McQueen, 12 Years a Slave Alexander Payne, Nebraska David O. Russell, American Hustle Martin Scorsese, The Wolf of Wall Street
I am thrilled for Alexander Payne, whom I didn't predict in the end, but equally disappointed for the exclusion of Paul Greengrass, whom I thought was deserved a nomination. But it is hard to deny Scorsese for his phenomenal work with Wolf, and the other three were to be expected. Three masterpieces have been helmed by men in this category.
BEST ACTOR Christian Bale, American Hustle Bruce Dern, Nebraska Leonardo DiCaprio, The Wolf of Wall Street Chiwetel Ejiofor, 12 Years a Slave Matthew McConaughey, Dallas Buyers Club
Bale was a surprise, for sure. While Leo has been gathering a lot of momentum of late, I still thought Hanks (superb) would sneak in for Captain Phillips. The love for America Hustle is overwhelming, incredibly capturing four acting nominations (in four different categories) for David O. Russell again. Silver Linings Playbook did this last year). It is impossible to predict who will win this, though. I secretly hope it is Leo.
BEST ACTRESS Amy Adams, American Hustle Cate Blanchett, Blue Jasmine Sandra Bullock, Gravity Judi Dench, Philomena Meryl Streep, August: Osage County
Amy Adams became a lock after her Globe win, but who would miss out? Many predicted Streep for August: Osage County. Turns out it was Emma Thompson as Saving Mr. Banks was overlooked for almost everything. Thrilled for Sandra Bullock, but this is Cate Blanchett's award.
BEST SUPPORTING ACTOR Barkhad Abdi, Captain Phillips Bradley Cooper, American Hustle Michael Fassbender, 12 Years a Slave Jonah Hill, The Wolf of Wall Street Jared Leto, Dallas Buyers Club
I am proud to announce that I predicted these nominees exactly right. Yet to see Leto's work in Dallas Buyers Club, but all other nominees are undeniably deserving.
BEST SUPPORTING ACTRESS Sally Hawkins, Blue Jasmine Jennifer Lawrence, American Hustle Lupita Nyong'o, 12 Years a Slave Julia Roberts, August: Osage County June Squibb, Nebraska
I am so glad to see Sally Hawkins here, even if it was at the expense of Oprah, terrific in The Butler. Lots of love for Nebraska with June Squibb receiving a deserved nomination, with Roberts' peculiarly singled out from the Osage County supporting ensemble. How bout this – Jennifer Lawrence and Bradley Cooper are the first pair of actors to receive back-to-back Oscar noms for the same two films.
BEST ORIGINAL SCREENPLAY David O. Russell and Eric Warren Singer, American Hustle Woody Allen, Blue Jasmine Craig Borten and Melisa Wallack, Dallas Buyers Club Spike Jonze, Her Bob Nelson, Nebraska
No surprises here. Secretly hoping for a nomination for the Coen Bros for Inside Llewyn Davis but the Academy clearly weren't on board with the film.
BEST ADAPTED SCREENPLAY Richard Linklater, Julie Delpy and Ethan Hawke, Before Midnight Billy Ray, Captain Philips Steve Coogan and Jeff Pope, Philomena John Ridley, 12 Years a Slave Terence Winter, The Wolf of Wall Street
I also predicted this exactly right, too. This was one of the primary pushes towards Philomena's surprising Best Picture nomination. They must have loved the script. Before Midnight and The Wolf of Wall Street feature here so I am happy enough. Billy Ray's screenplay is very good, but Captain Phillips is more the film it is because of Greengrass and Hanks, making their exclusions sting even more. 12 Years A Slave might eventually win this award, but I am strongly in Winters' corner for The Wolf of Wall Street.
BEST ANIMATED FEATURE The Croods Despicable Me 2 Ernest & Celestine Frozen The Wind Rises
Anyone else excited that Despicable Me 2 was nominated here? It's such a fun film.
BEST FOREIGN LANGUAGE FILM The Broken Circle Breakdown (Belgium) The Great Beauty (Italy) The Hunt (Denmark) The Missing Picture (Cambodia) Omar (Palestine)
I predicted this too. Somehow. I have the chance to see all of these before the ceremony. I hope I can. I am convinced this will go to The Great Beauty. Anything but The Broken Circle Breakdown will do.
BEST DOCUMENTARY – FEATURE The Act of Killing Cutie and the Boxer Dirty Wars The Square 20 Feet From Stardom
One of the shocks of the night was Dirty Wars over Stories We Tell, tipped to win by many. I'm actually pleased about this. Dirty Wars is one of the year's best documentaries. So is The Act of Killing and 20 Feet From Stardom. Fine selections.
BEST ORIGINAL SONG "Alone Not Alone," Alone Yet Not Alone "Happy," Despicable Me 2 "Let It Go," Frozen "The Moon Song," Her "Ordinary Love," Mandela: Long Walk to Freedom
Lana Del Rey was a notable exclusion here for The Great Gatsby, but another nomination for Despicable Me 2. Brilliant. 'Let it Go' would have to be the favourite, but 'Ordinary Love' won the Globe. 'Moon Song' is just so beautiful.
BEST CINEMATOGRAPHY Philippe Le Sourd, The Grandmaster Emmanuel Lubezki, Gravity Bruno Delbonnel, Inside Llewyn Davis Phedon Papamichael, Nebraska Roger A. Deakins, Prisoners
Great selections, here. The notable exclusion is Sean Bobbitt for 12 Years A Slave. Deakins is back for another nomination. Stunning work in Prisoners. Love that Papamichael was nominated too.
BEST FILM EDITING Jay Cassidy, Crispin Struthers and Alan Baumgarten, American Hustle Christopher Rouse, Captain Phillips John Mac McMurphy and Martin Pensa, Dallas Buyers Club Alfonso Cuarón and Mark Sanger, Gravity Joe Walker, 12 Years a Slave
A common pre-cursor for Best Picture. Though one recent exception was two years ago when The Girl With the Dragon Tattoo won this award, and The Artist went on to win Best Pic. Gravity, 12 Years A Slave and American Hustle were always going to be here, and Captain Phillips certainly deserves to be. The real surprise here is Dallas Buyers Club.
BEST COSTUME DESIGN Michael Wilkinson, American Hustle William Chang Suk Ping, The Grandmaster Catherine Martin, The Great Gatsby Michael O'Connor, The Invisible Woman Patricia Norris, 12 Years a Slave
No arguments here. I don't know what The Invisible Woman is though.
BEST MAKEUP AND HAIRSTYLING Adruitha Lee and Robin Mathew, Dallas Buyers Club Stephen Prouty, Jackass Presents: Bad Grandpa Joel Harlow and Gloria Pasqua-Casny, The Lone Ranger
Bad Grandpa. Wow.
BEST ORIGINAL SCORE John Williams, The Book Thief Steven Price, Gravity William Butler and Owen Pallett, Her Alexandre Desplat, Philomena Thomas Newman, Saving Mr. Banks
No Mark Orton for Nebraska? That is one of the more unforgivable exclusions. Forgettable is how I would describe Desplat and Newman's work. I loved Butler and Pallet's work on Her, which is so essential to the success of the film, but this HAS to go to Price for Gravity.
BEST PRODUCTION DESIGN Judy Becker (Production Design) and Heather Loeffler (Set Decoration), American Hustle Andy Nicholson (Production Design); Rosie Goodwin and Joanne Woollard (Set Decoration), Gravity Catherine Martin (Production Design) and Beverley Dunn (Set Decoration), The Great Gatsby K.K. Barrett (Production Design) and Gene Serdena (Set Decoration), Her Adam Stockhausen (Production Design) and Alice Baker (Set Decoration), 12 Years a Slave
BEST SHORT FILM – ANIMATED Feral Get a Horse! Mr. Hublot Possessions Room on the Broom
BEST SHORT FILM – LIVE ACTION Aquel No Era Yo (That Wasn't Me), Esteban Crespo Avant Que De Tout Perdre (Just Before Losing Everything), Xavier Legrand and Alexandre Gavras Helium, Anders Walter and Kim Magnusson Pitääkö Mun Kaikki Hoitaa? (Do I Have to Take Care of Everything?), Selma Vilhunen and Kirsikka Saari The Voorman Problem, Mark Gill and Baldwin Li
BEST DOCUMENTARY – SHORT SUBJECT CaveDigger Facing Fear Karama Has No Walls The Lady in Number 6: Music Saved My Life Prison Terminal: The Last Days of Private Jack Hall
BEST SOUND EDITING Steve Boeddeker and Richard Hymns, All Is Lost Oliver Tarney, Captain Phillips Glenn Freemantle, Gravity Brent Burge, The Hobbit: The Desolation of Smaug Wylie Stateman, Lone Survivor
BEST SOUND MIXING Chris Burdon, Mark Taylor, Mike Prestwood Smith and Chris Munro, Captain Phillips "Gravity" Skip Lievsay, Niv Adiri, Christopher Benstead and Chris Munro, Gravity Christopher Boyes, Michael Hedges, Michael Semanick and Tony Johnson, The Hobbit: The Desolation of Smaug Skip Lievsay, Greg Orloff and Peter F. Kurland, Inside Llewyn Davis Andy Koyama, Beau Borders and David Brownlow, Lone Survivor
BEST VISUAL EFFECTS Tim Webber, Chris Lawrence, Dave Shirk and Neil Corbould, Gravity Joe Letteri, Eric Saindon, David Clayton and Eric Reynolds, The Hobbit: The Desolation of Smaug Christopher Townsend, Guy Williams, Erik Nash and Dan Sudick, Iron Man 3 Tim Alexander, Gary Brozenich, Edson Williams and John Frazier, The Lone Ranger Roger Guyett, Patrick Tubach, Ben Grossmann and Burt Dalton, Star Trek Into Darkness
Andrew Buckle - follow Andy on Twitter here: @buckle22
Andrew Buckle
Andy Buckle is a passionate Sydney-based film enthusiast and reviewer who has built a respected online voice at his personal blog, The Film Emporium. Andy will contribute reviews, features and be our resident film festival, and awards expert.
Producers Guild of America (PGA) Winners
Features, Interview, News, OpinionAndrew Buckle January 21, 2014 PGA, Producers Guild of America (PGA) Winners, Producer's Guild of America, Winners
Awards Coverage: 71st Golden Globe Winners
Features, News, OpinionAndrew Buckle January 14, 2014 71st Golden Globe Winners, Awards Coverage, Awards Coverage: 71st Golden Globe Winners, Golden Globes


Glenn County is named for Hugh J Glenn, who was a California businessman and politician.
Description: The building faces north and is a two story cream colored stucco structure. The building is a cross shape with north, south, east and west wings. The north front has a portico supported by four columns and with a balcony on the second story. Four vertical pilasters rise on the second story to a pediment at the roof life. A balustrade runs along the flat roof line. Attached to the courthouse on the east side is the Courthouse Annex constructed in 1968. The building has concrete arches along the north, east and west sides and a glass paneled entrance on the west side. The roof line is flat. The architect was Alvin Fingado and George T Kern and the contractor was W F Mills Construction Company, Inc. On the west side of the courthouse is the District Attorney Office housed in the old Clerk's Office.
Note: When constructed in 1893, the courthouse had a high cupola on the center of the roof. The cupola was removed in 1951 after damage by an earthquake.
Note: John Curtis also designed the courthouse in Placer County.


Pete Prisco and Pat Kirwan preview the NFL Week 4 matchup between the Tampa Bay Buccaneers and Pittsburgh Steelers.
Guess The Score Vs. The Bucs And Win A FREE Steelers DVD!
Coaches Mike Tomlin and Lovie Smith will try to out coach each other to victory this Sunday. Both Head coaches have reached the superbowl and have developed pro bowl players. This sunday will became interesting….


text:
Home News ZAO WOU-KI @ Gagosian Gallery September ...
ZAO WOU-KI
September 9–October 26, 2019
976 Madison Avenue, New York
I paint my own life, but I also try to paint an invisible place, that of dreams, somewhere where one feels in perfect harmony, even in the midst of agitated shapes or opposing forces.
Gagosian is pleased to present a series of paintings by the Chinese-born French artist Zao Wou-Ki (1920–2013). The exhibition pays homage to the close, enduring friendship between Zao Wou-Ki and the Chinese-American architect I. M. Pei (1917–2019).
Throughout his career, Zao Wou-Ki merged Eastern and Western aesthetic traditions in his paintings, retaining technical elements of Chinese painting styles while embracing European Modernism. As a student in China, he studied ink drawings and classical Eastern painting. In Paris, where he moved in 1948, he continued exploring Impressionism and Expressionism. Inspired by Paul Klee and his appreciation of Eastern art, Zao Wou-Ki began to seriously contemplate nature in his own work, and to incorporate traditional Chinese calligraphy into his evolving artistic language.
The earliest works in this exhibition, made in 1979 and 1980, were commissioned by Pei and served as prototypes for a series of ink works that followed. The remaining seven paintings on view—in India ink on paper mounted on canvas, and from 2006—employ the same medium, with their free-flowing brushstrokes applied in a subtle yet concentrated method.
Zao Wou-Ki's gestures in these ink works are rapid, appearing spontaneous yet attesting to his masterful control of mark making. The entire series is untitled, removing the interplay between brushstrokes and specific ideas. Zao Wou-Ki created these works by laying the absorbent white paper flat on the floor and painting from above, allowing the thin black ink to drop, with controlled use of gravity, onto its support, and in doing so, forming a link between Abstract Expressionism and traditions of Chinese ink painting and calligraphy. In one work, gestures progress vertically across the canvas, underscoring the tenacity of each stroke, while in another the ink is concentrated toward the right side before bursting across the canvas in a flurry of vertical lines. Zao Wou-Ki's compositions present a delicate balance, harboring moments of risk within an exploration of abstraction, exploding onto the paper at different velocities as if tracing the artist's innermost impulses and desires.
Zao Wou-Ki was born in Beijing, China, in 1920 and died in Nyon, Switzerland, in 2013. Collections include the Solomon R. Guggenheim Museum, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; Carnegie Museum of Art, Pittsburgh; Hirshhorn Museum and Sculpture Garden, Washington, DC; Tate Modern, London; and Centre Pompidou, Paris. Recent exhibitions include Fondation Pierre Gianadda, Martigny, Switzerland (2015–16); No Limits (organized by Colby College Museum of Art), Asia Society Museum, New York (2016–17; traveled to Colby College Museum of Art, Waterville, ME, in 2017); Musée Marmottan Monet, Paris (2016); Musée Cernuschi, Paris (2016); and L'espace est silence, Musée d'Art moderne de la Ville de Paris (2018–19). Zao Wou-Ki was awarded the Praemium Imperiale Prize for Painting in 1994. In 1993, he was named a Commandeur de la Légion d'Honneur, and he was made Grand Officier de l'Ordre de la Légion d'Honneur in 2006 by the French President Jacques Chirac. He was elected Member of l'Académie des Beaux-Arts in 2002.


Arsenal will not recall Nigeria U20 skipper Kelechi Nwakali from his loan spell at Dutch club MVV Maastricht before the close of the January transfer window, according to CEO ASJ Academy, Emeka Amajiriaku.
Nwakali, 18, has impressed in his first season as a professional, making 11 appearances in the Jupiler League and has started seven of the last eight games contested by the promotion-chasing team.
"Kelechi Nwakali was given the option to return to Arsenal in January, but he wants to remain at MVV because he wants to help them gain promotion to the Eredivisie, " Amajiriaku told allnigeriasoccer.com.
The central midfielder joined MVV on a season-long loan last summer after failing to secure a UK work permit.


Tel: 020 7188 7188, ext. 56494.
The GOLD team aims to improve your overall medical health before, during, or after your cancer treatment. We look after patients aged 65 years and above.
Our Team includes Consultants (Dr Danielle Harari and Dr Tania Kalsi), a GOLD Senior Clinical Fellow (Dr Elisaveta Krasteva), GOLD Advanced Nurse Practitioners (Ana Babic-Illman, Sarah Compton, Sabine Martin) and a Team administrator (Fiona Giardina).
We work closely with your cancer doctors/team and help link up your care with your GP. We also regularly work with physiotherapists, occupational therapists and with community services.
Why have I been referred to the GOLD team?
You have been referred to the GOLD team by your cancer doctor, cancer nurse specialist or team, or GP. Staff caring for you have identified medical or coping issues where we might be able to help you further. We can help you prepare for, or cope with your cancer treatment and symptoms.
How can the GOLD team help me?
we will provide you with all the results of these assessments and treatment plans so you can discuss them with your GP, cancer team, and family.


UK house prices were up by 10.4% compared with October last year, but this was down from 12.1% in the year to September 2014.
In London, annual inflation was 17.2% – modest compared with the 19.6% reported by the Office for National Statistics in August.
According to the ONS, average "mix-adjusted" house prices in October stood at £283,000 in England, £172,000 in Wales, £137,000 in Northern Ireland and £194,000 in Scotland.
London's average house price was £504,000, while the lowest average house price at £152,000 was in the north-east.
London, the south-east and east all had prices higher than the UK average price of £271,000.
Excluding London and the south-east, the average UK "mix-adjusted" house price was £206,000.
Again, excluding these two regions, UK house prices rose by 6.7% in the year to October.


text:
/*
 * To change this license header, choose License Headers in Project Properties.
 * To change this template file, choose Tools | Templates
 * and open the template in the editor.
 */
package info.akritikos.evoting.model;

import java.io.Serializable;
import javax.persistence.Basic;
import javax.persistence.Column;
import javax.persistence.Entity;
import javax.persistence.GeneratedValue;
import javax.persistence.GenerationType;
import javax.persistence.Id;
import javax.persistence.JoinColumn;
import javax.persistence.ManyToOne;
import javax.persistence.NamedQueries;
import javax.persistence.NamedQuery;
import javax.persistence.Table;
import javax.xml.bind.annotation.XmlRootElement;

/**
 *
 * @author akritikos
 */
@Entity
@Table(name = "TBL_VOTE")
@XmlRootElement
@NamedQueries({
    @NamedQuery(name = "Vote.findAll", query = "SELECT v FROM Vote v")
    , @NamedQuery(name = "Vote.findByPkVoteId", query = "SELECT v FROM Vote v WHERE v.pkVoteId = :pkVoteId")
    , @NamedQuery(name = "Vote.findByFldIsInvalid", query = "SELECT v FROM Vote v WHERE v.fldIsInvalid = :fldIsInvalid")
    , @NamedQuery(name = "Vote.findByFldIsBlank", query = "SELECT v FROM Vote v WHERE v.fldIsBlank = :fldIsBlank")})
public class Vote implements Serializable {

    private static final long serialVersionUID = 1L;
    @Id
    @GeneratedValue(strategy = GenerationType.IDENTITY)
    @Basic(optional = false)
    @Column(name = "PK_VOTE_ID")
    private Long pkVoteId;
    @Basic(optional = false)
    @Column(name = "FLD_IS_INVALID")
    private Boolean fldIsInvalid;
    @Basic(optional = false)
    @Column(name = "FLD_IS_BLANK")
    private Boolean fldIsBlank;
    @JoinColumn(name = "FK_CANDIDATE_ID", referencedColumnName = "PK_CANDIDATE_ID")
    @ManyToOne
    private Candidate fkCandidateId;
    @JoinColumn(name = "FK_ELECTORAL_PERIPHERY_ID", referencedColumnName = "PK_ELECTORAL_PERIPHERY_ID")
    @ManyToOne(optional = false)
    private ElectoralPeriphery fkElectoralPeripheryId;
    @JoinColumn(name = "FK_POLITICAL_PARTY_ID", referencedColumnName = "PK_PARTY_ID")
    @ManyToOne
    private PoliticalParty fkPoliticalPartyId;

    public Vote() {
    }

    public Vote(Long pkVoteId) {
        this.pkVoteId = pkVoteId;
    }

    public Vote(Long pkVoteId, Boolean fldIsInvalid, Boolean fldIsBlank) {
        this.pkVoteId = pkVoteId;
        this.fldIsInvalid = fldIsInvalid;
        this.fldIsBlank = fldIsBlank;
    }

    public Long getPkVoteId() {
        return pkVoteId;
    }

    public void setPkVoteId(Long pkVoteId) {
        this.pkVoteId = pkVoteId;
    }

    public Boolean getFldIsInvalid() {
        return fldIsInvalid;
    }

    public void setFldIsInvalid(Boolean fldIsInvalid) {
        this.fldIsInvalid = fldIsInvalid;
    }

    public Boolean getFldIsBlank() {
        return fldIsBlank;
    }

    public void setFldIsBlank(Boolean fldIsBlank) {
        this.fldIsBlank = fldIsBlank;
    }

    public Candidate getFkCandidateId() {
        return fkCandidateId;
    }

    public void setFkCandidateId(Candidate fkCandidateId) {
        this.fkCandidateId = fkCandidateId;
    }

    public ElectoralPeriphery getFkElectoralPeripheryId() {
        return fkElectoralPeripheryId;
    }

    public void setFkElectoralPeripheryId(ElectoralPeriphery fkElectoralPeripheryId) {
        this.fkElectoralPeripheryId = fkElectoralPeripheryId;
    }

    public PoliticalParty getFkPoliticalPartyId() {
        return fkPoliticalPartyId;
    }

    public void setFkPoliticalPartyId(PoliticalParty fkPoliticalPartyId) {
        this.fkPoliticalPartyId = fkPoliticalPartyId;
    }

    @Override
    public int hashCode() {
        int hash = 0;
        hash += (pkVoteId != null ? pkVoteId.hashCode() : 0);
        return hash;
    }

    @Override
    public boolean equals(Object object) {
        // TODO: Warning - this method won't work in the case the id fields are not set
        if (!(object instanceof Vote)) {
            return false;
        }
        Vote other = (Vote) object;
        if ((this.pkVoteId == null && other.pkVoteId != null) || (this.pkVoteId != null && !this.pkVoteId.equals(other.pkVoteId))) {
            return false;
        }
        return true;
    }

    @Override
    public String toString() {
        return "info.akritikos.evoting.model.Vote[ pkVoteId=" + pkVoteId + " ]";
    }

    public Vote(boolean fldIsInvalid, boolean fldIsBlank, ElectoralPeriphery fkElectoralPeripheryId){
        this.fldIsInvalid = fldIsInvalid;
        this.fldIsBlank = fldIsBlank;
        this.fkElectoralPeripheryId = fkElectoralPeripheryId;
    }

    public Vote(PoliticalParty fkPoliticalPartyId, Candidate fkCandidateId, ElectoralPeriphery fkElectoralPeripheryId){
        fldIsBlank = false;
        fldIsInvalid = false;
        this.fkPoliticalPartyId = fkPoliticalPartyId;
        this.fkCandidateId = fkCandidateId;
        this.fkElectoralPeripheryId = fkElectoralPeripheryId;
    }

}


Today, anji qingyun jute textile mill has been one of the top producers on natural burlap such as: burlap fabric, burlap bags,burlap runners,burlap ribbons,burlap banners,burlap mesh,burlap rope….
—For packing : like women shopping as tote bag,gift bags , rice/potato bags.
—For agriculture: wrapping flower,wrapping tree root.


Postage permits or indicias are marking on your mail piece that tells the postal service what class of mail you are sending your piece at and which account to take the postage from. They are an alternative to a live postage stamp or a meter. If you are using American Direct Mail to process your mail, you can use our permit on your mailpiece. If you would like to get one yourself, there is a price per class of mail, per year. Contact your local bulk mail center for details.
Wording – See the wording of our various permits below.


text:
Chicago: Food City
Daniel Block April 21, 2015 Chicago: Food City2017-10-20T14:49:08-04:00 Focus on Chicago, Recent News
In 2011, Michelin released its first "red" guide to Chicago restaurants and hotels. Chicago became the third city in the United States, after New York and San Francisco, to have a red guide. To some, this may seem like a minor matter, but the red guide is a marker of culinary excellence for gourmets, and its release was a sign of how important of a destination Chicago has become for culinary tourists.
High-end restaurants have bloomed in Chicago in the past 20 years. Current tourists come to experience places like the molecular gastronomy temple Alinea, currently listed by one source as the ninth best restaurant in the world. Chef Grant Achatz takes apart foods into basic components, and reconstructs them into beautiful (and very expensive) concoctions. Grant Achatz's other restaurant, Next, features a new cuisine every few months. Like Alinea, one buys pre-paid "tickets" rather than making reservations. At Next you can buy season tickets for the various incarnations of the restaurant, in the same way you purchase a theater subscription (hint for AAG gourmands, if you sign up to their Facebook page, a couple of tables usually are available each day). Other places such as Avez, the Gage, Girl and the Goat, and Publican feature Midwestern ingredients especially house-cured meats.
While these high-end restaurants may bring tourists to the city, Chicago is as least as famous for its hearty everyday foods. These include the Chicago hot dog, topped with mustard, tomatoes, grilled or raw onions, a pickle spear, "sport" peppers, and celery salt, and the even heartier Italian beef, a roasted beef sandwich somewhat like a French dip, served on Italian bread, and topped with hot or sweet pepper. It is particularly delicious dipped back into the gravy. Both of these sandwiches grew out of the Depression years, providing a cheap meal to hungry Chicagoans. The World War II era saw the invention of the deep-dish pizza, a similarly hearty meal in one dish (and one slice). Later, Chicago was the site of the invention of the gyro sandwich (at least the ground lamb and beef on a rotating skewer variety), and more recently, the Puerto Rican jibarito, a steak sandwich served between two mashed and fried plantain slices (vegetarian and other varieties are now also available).
Chicago is not a food city just because of the food that is served here. From its beginning, Chicago has been a place that processed, stored, and sold the ingredients of the Midwest. Chicago was the US capital of industrial candy manufacturing, home or former home to Brach's, Mars, Toostie Roll, Curtiss Candies (makers of Baby Ruth and Butterfinger bars), Wrigley's gum, and many others. While many of these plants and companies are now gone, the Mars plant still makes candy on the far west side, and Tootsie Roll is still on the southwest side. Nestlé bought Curtiss Candies but manufactures candy bars in the same plant as before, just south of O'Hare airport. Still today, if you take a walk west along the north bank of the Chicago River, past the Merchandise Mart, and then cross the north branch of the river at Kinzie, you may start smelling chocolate. This comes from Blommer's, the largest processor of chocolate in North America, and supplier to many other manufacturers, which is located just beyond the river.
Probably the most famous Chicago sites related to industrial food are the Chicago Board of Trade and the Chicago Union Stockyards. The Board of Trade began as an association of grain buyers and sellers who traded along the south bank of the Chicago River, but soon developed into the largest grain exchange in the world. It is now part of CME Group, having merged with the once much smaller Chicago Mercantile Exchange, which itself began as the Chicago Butter and Egg Board. The Board of Trade Building, located prominently at the south end of the LaSalle Street urban canyon, is worth a tour. Topped by a faceless statue of Ceres, the Roman god of grain, the Arc Deco building's interior is filled with sculptural allegories to grain. The Chicago Union Stockyards closed in 1971, but the stockyards area, on the near southwest side, still hosts one meatpacker, and The Plant, a vertical farm and food business incubator, which at the moment includes a kombucha manufacturer, two aquaponics companies, a bakery, and a sustainable indoor prawn farm.
The Plant is one example of how urban agriculture has been growing in the Chicago area. Others include two for-profit large-scale aqauponics facilities, non-profit urban farms including the Chicago branch of Milwaukee based Growing Power, and Growing Home, a work-training program in the Englewood neighborhood, and many others. Community gardens now dot many Chicago neighborhoods. While this may all seem new, in many ways it brings the city back to its roots. Much of Chicago was once a swamp, but after being drained, much of it was also very good agricultural land. Sandy Lake View was once a leading producer of celery. What is now the South Side was a produce producing area, and part of the North Side was covered with greenhouses, producing flowers and other plants for the city. The area near O'Hare (once called Old Orchard) was a farming zone, also largely producing for the city, but also producing peas and other vegetables for canning by Chicago-based Libby's.
At its very beginning, the town of Chicago was consisted of collection of taverns and houses that were built between 1829 and 1833 around "Wolf Point," at the confluence of the North and South branches of the Chicago River. The most famous of these was the Sauganash Hotel, where proprietor Mark Beaubien would play the fiddle while townsfolk and hotel patrons danced. Hearty food was served. Today, the flow of the river has been reversed, and the river is wider, but Chicago still is a place that welcomes its visitors with hearty food and good cheer, as well as more gourmet possibilities. Enjoy your time in our city and eat well.
—Daniel Block
Chicago State University
DOI: 10.14433/2015.0012
AAG 2015, Chicago
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Who doesn't love a little bit of room service?
Chances are, if you've stayed at a fancy hotel, you've called down for a pizza at night or a made-to-order breakfast for the morning. Not everyone has the time to head downstairs for the $18 buffett when all you're looking for is two eggs and some toast. Why not have it freshly made and at your room so you can eat on your schedule instead of theirs?
Where are the cheapest cigarettes?
This WEB WATCH entry was posted in 10 Things, Travel and tagged 10 Things, food, Hotels, shopping, Travel on April 4, 2014 by web gangsta.
There's a new money making app in the Apple App Store, and it may surprise you as to who that is who has decided to jump into the iOS bandwagon and finally make some cash: MICROSOFT.
This WEB WATCH entry was posted in 10 Things, Games, Internet, Video Games and tagged 10 Things, Android, apple, Candy Crush, ipad, iPhone, microsoft, shopping on April 1, 2014 by web gangsta.
Would you buy Thomasville Furniture from the Back of a Truck?
Talking with some friends over lunch, they told us about a strange thing that happened to them at home the other night.
They were at home making dinner, when there was an unexpected knock on the door. Outside, was a tractor trailer with the doors open wide. The side of the truck indicated that it was from Thomasville, North Carolina – home of some of the best furniture outlets around.
Hey Buddy – Want to Buy a Used MP3?
This WEB WATCH entry was posted in Websites and tagged business, furniture, shopping, website on March 19, 2014 by web gangsta.
Whenever it comes time to buy the Latest, Greatest gadget, you'll always find yourself wondering if the item you've decided upon buying is, in fact, the absolute latest/greatest version of whatever it is you're purchasing.
Rest assured – no matter when you decide to buy something, a newer version of said item is going to be right around the corner. So maybe you should be asking yourself, "what's the best item TODAY" instead of saying "what's the best item EVER"?
This WEB WATCH entry was posted in Gadgets, shopping, Websites and tagged gadget, shopping, website on December 27, 2013 by web gangsta.
Do you make a holiday shopping budget every year?
You know, how you carefully decide that you're not going to spend any more than, say, $200 total over the course of the holidays… and then end up spending $1300 instead because you just end up going crazy at the mall? Everything's on sale! Gotta get it now, now, now!
This WEB WATCH entry was posted in How To, shopping and tagged Christmas, groceries, holidays, How To, Save Money, shopping, survey on December 6, 2013 by web gangsta.
You know those playgrounds with all the plastic balls in the ballpit?
Web Watch told you about how those ballpit balls were covered with feces and germs, remember?
Well, IKEA has ballpits for their younger guests. Guess what they do?
This WEB WATCH entry was posted in Funny, How To and tagged career, How To, shopping, Video on November 28, 2013 by web gangsta.
The boss comes up to us and asks for a quick presentation or website mockup. Sure, we can do that, but you're going to need some fresh photographs and imagery for the material. It's going to cost you.
So where do you go when you need an image, fast?
Are you still using Internet Explorer 6? Please stop, right now.
This WEB WATCH entry was posted in Websites and tagged photography, shopping, website on November 12, 2013 by web gangsta.


text:
Use Kafu Games to obtain licenses and royalties for your games. Our continuing partnership with the Ministry of Sports and SAFEIS has led to some of the biggest esports tournaments globally. All our tournaments are officially licensed and approved. Get our professional guidance throughout the process and know all about the governance of esports in Saudi.
Contact us to secure licenses for your upcoming games
Content Localization
We'll help you get a deep understanding of the Saudi esports market, keep up with the latest trends in gaming, and develop games localized for your audience. With 5+ years of industry experience, supported by advanced usability tests and esports tech in the Kingdom, know the ins and outs of Saudi's gaming community with Kafu Games
For setting up your business, marketing campaigns or products
Server Localization
Whether you're a game publisher looking to enter the Middle East market, or expanding your reach with an existing game, Kafu Games will provide all the technical and logistic support to your brand. With our knowledge of Arab gamers, their gaming habits and language, we're the best when it comes to localizing your games in MENA.
Contact us to localize your games
Incorporating Locally:
Set up your business and publish your games locally in the Saudi market while we handle all the paperwork for you. With our industry experience of 5+ years and successful government partnerships, Kafu Games can incorporate your brand locally with all the necessary legal documents and official licenses acquired just in time.
To build your brand's local presence
Whether you're publishing a new game in the market or need to develop updates for existing ones, Kafu Games will conduct usability tests to determine what works best for you. We offer complete tech support with state-of-the-art tools required to develop games. We also develop our own games, in case you're interested in that.
We'll help you develop the most exciting games in MENA,


text:
Freestyle Quotes About Dance, Football, Wrestling
Freestyle Quotes:
I freestyle everything.
I've never been the straight rapper that is going to stand in a cipher and battle all day. I started off battle rapping, but to me, making songs became more important than freestyles… I've met many rappers who can freestyle but can't make a record.
When I drop a freestyle, I'm like, 'This freestyle gotta go hard' or when I do something it's, 'How can we top this?'
Everybody was always telling me to rap and freestyle. I used to go to the park and spit on the mic. If I go to the park, they always gonna give me the mic.
I must say, I've been in the studio with Jay Z, dog… I thought the freestyle thing was a myth. But, bro!
If you feel that you can just come in the studio and freestyle on my song, then I'm ready to rap battle you. That's just how I feel about it because I know I'm way harder than another rapper freestyling on my song.
I really didn't want to rap; I was just a regular kid. My friend – his name is William Aston – we went to the same high school together, and he was rapping. He put out a freestyle over Chris Brown's 'Look at Me Now,' and it was fire, and the whole school went crazy.
I don't really have a writing process. I don't write at all but, honestly, I feel like it's a modern-day writing because everything is technology and if I go in there and freestyle and I keep it, I feel like I wrote that. If I go in there and fix it, it's almost like something I wrote.
My school had a radio show, and when I first decided to become a rapper, I was on there, and I would, like, freestyle.
I don't got nobody writing my lyrics and that's why I freestyle.
I'm in the game of spinning plates. I'm spinning a boxing plate. I'm spinning a Tae Kwon Do plate. I'm spinning a Jujitsu plate. I'm spinning a freestyle wrestling plate. I'm spinning a karate plate. If I was to put all them down and have one boxing plate spinning, it would be like a load off my shoulders.
We do Greco-Roman, freestyle. The Old Country way. No gimmick wrestling in my house.
The Iron Sheik
Brock Lesnar from the Minnesota. He is one of the best wrestling background, like Iron Sheik and like the Kurt Angle, Dan Gable. He the real freestyle wrestling.
After the 2013 World Championships, I had three goals for the Olympics: to swim 3:56 or better in the 400-meter freestyle, break 8:05 in the 800, and win gold in the 200. I achieved all of those, and soon, it will be time to set some new goals.
I'm taking a lot of freestyle music and flipping it.
I rap on 'Front Porch Junkies' and 'Whatcha Got in that Cup.' I try to channel my inner Lil Wayne and Drake. It's fun to be able to freestyle over a country melody and say country words over a rap song.
I grew up around salsa, merengue, bachata, bass music, freestyle, hip-hop, techno, house, rave.
You know, that's kind of the thing, I can't freestyle and I used to always wonder why I couldn't, and when I would try once out of every six months, but I was always a great writer!
Bubba Sparxxx
If you just freestyle, everybody is gonna go, 'Freestyle.'
Cam'ron
I do ballet and pointe work. I also do tap, commercial jazz and technical jazz, freestyle street dancing.
A lot of our earlier material was freestyle tunes.
Black Thought
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text:
New Research Suggests Enhanced Interrogation Not Effective
R.M. Schneiderman looks at the new research being conducted into the science of interrogation.
R.M. Schneiderman
Updated Jul. 13, 2017 6:30PM ET / Published May. 25, 2012 4:45AM ET
Haraz Ghanbari / AP Photo
Several weeks ago, I found myself seated in a small, white-walled room in midtown Manhattan, facing a two-way mirror. Sitting across from me was a man dressed all in black, clean-shaven with shoulder-length hair.
"You were suspected of a theft that took place today," the man said. "Where were you 30 minutes ago?"
Thirty minutes ago, a woman had asked me to walk down a dimly lit hallway and into a small office, where I would find a briefcase sitting on a counter. Inside the briefcase was a wallet, which she told me to take. My interrogator wouldn't know what I'd chosen, the woman said, but no matter what he asked me, I had to lie.
So when the man in black asked me if I had entered the room or seen anything in it, I looked him in the eye, feigned confusion, and told him I had no idea what he was talking about.
I expected his glare to soften but it didn't. I grew anxious. The wallet was still in my pocket. I wanted to get rid of it, but I knew a video camera was recording my every expression. Soon my interrogator explained that another video camera had captured me in the hallway, that a witness had seen me enter the room, and that fingerprints found on the briefcase matched my own.
I was cornered. I offered a partially true variation of my story. After I finished, a sense of dread passed over me. By withholding the information and asking strategic questions about things he already knew, the interrogator had forced me to change my story, which suggested I was lying.
Fortunately, my interrogator was not a law-enforcement officer; he was a graduate student at the John Jay College of Criminal Justice who was testing his ability to distinguish between liars and truth-tellers.
The situation I'd been placed in mimicked a recent experiment conducted at John Jay through the FBI's High Value Detainee Interrogation Group (HIG), a team of leading research scientists and interrogators formed by President Obama in 2009 to question high-level suspects and research better methods for getting them to reveal what they know.
For years, this sort of research into interrogation techniques has been virtually nonexistent. Analysts say that the stigma of the CIA's experiments with mind-altering drugs during the Cold War has long tainted the field. Until recently, the dominant paradigms for both lie detection and interrogation were based mostly on anecdotal police evidence. What little scientific research existed was "purely useful in law-enforcement settings, and mostly about false confessions," said Steve Kleinman, a career military-intelligence officer who served as an interrogator for the Defense Department.
Then came September 11, which ushered in new standards for what kinds of interrogation the government considered effective, and acceptable. The Bush administration greenlighted "enhanced" techniques, such as waterboarding, that many consider torture.
Last month, Jose Rodriguez, the former head of the CIA's Clandestine Service, reinvigorated the debate over the agency's enhanced-interrogation program with the release of his book Hard Measures¸ which defended the efficacy of waterboarding and other controversial techniques.
But over the past few years, interrogators from various intelligence agencies have come forward and denounced the CIA's practices in detail.
"There is no debate to have," said Glenn Carle, a former CIA officer and author of The Interrogator, a memoir recounting his experience questioning a terror suspect at a secret CIA prison.
"Torture does not work, it is illegal, and the professional intelligence, military, and law-enforcement officers who know what they are talking about, and who have firsthand experience, have been explicit that enhanced interrogation techniques undermine operational success."
The best way to get the information you want, these interrogators say, involves gently understanding a subject's culture and motivation and then gaining his or her trust—without revealing what you're after.
"24 works in Hollywood," said Ali Soufan, a former FBI agent who now runs a private intelligence firm that teaches countries and companies interrogation techniques. "Reality is not as sexy. You can catch more flies with honey than with vinegar."
But simply saying what works or doesn't work is one thing; scientific proof is another. The debate over enhanced-interrogation techniques has remained opaque and political, in part because of the lack of research demonstrating clearly that those techniques are better or worse than the alternatives. And many of the documents detailing the enhanced-interrogation program remain classified or partially redacted, and Rodriguez destroyed all video evidence of the interrogations.
Now, fueled both by the influx of government dollars from programs like HIG, a growing number of behavioral scientists has begun researching interrogation and lie-detection methods in an effort to scientifically determine what works, what doesn't, and why.
The work is in its infancy, but a general consensus has emerged that supports the experience of interrogators like Soufan: torture doesn't provide reliable intelligence, the U.S. government's list of approved interrogation techniques is outdated, and detecting liars based solely on body language is barely more reliable than flipping a coin.
According to Reuters, a Senate Intelligence Committee report, which will be released this summer, is also expected to find little evidence that the CIA's enhanced-interrogation program led to any major breakthroughs in the war on terror.
And in a report released in 2009, the CIA's own inspector general found no evidence that the agency's practices stopped any imminent attacks. Nor could it ascertain whether the enhanced-interrogation techniques obtained information that the agency couldn't have obtained through less coercive means. What it could determine, however, was that the CIA relied on assessments that were sometimes unsupported by credible intelligence, which may have led to using some of the hard techniques without justification.
"If you do bad things, they'll give you a lot of information," said Barry McManus, the CIA's former head polygrapher. "But the tough part is, how much of that is real and how much isn't?"
A classic example is the case of Ibn al-Shaykh al-Libi, a terrorist who led one of al Qaeda's biggest training camps, and who was captured by U.S. forces in the lead-up to the second Iraq War. Al-Libi was eventually sent to Egypt, where, after a harsh interrogation, he said that Saddam Hussein was providing chemical- and biological-weapons training to Al Qaeda. He later admitted this was false, and explained that he was simply telling his interrogators what they wanted to hear. But not before the Bush administration had used his initial "confession" as a justification for war.
For ethical reasons, "hard" interrogation techniques, such as slapping and waterboarding, are difficult to test in a lab. But recent research indicates that stress-inducing measures can actually impair memory.
"When people are stressed and sleep deprived, they tend to remember less well," said Pär Anders Granhag, a psychologist at the University of Gothenburg in Sweden, and a leading researcher on lie detection and interrogation.
In one study, Charles Morgan, a professor of psychiatry at Yale, analyzed the recollections of active-duty military personnel who were denied food and sleep for 48 hours, during advanced military survival training. Morgan and his colleagues then subjected participants to both high- and low-stress interrogation measures. A day later, subjects were much more likely to remember what their interrogator looked like following the low-stress interrogation than after the high-stress one.
Even when someone is telling the truth, interrogators are often not sensitive to issues of memory, according to Ron Fisher, a cognitive psychologist at Florida International University.
"Interrogators frequently think that as long as someone's truthful, that they'll describe everything they need to know," Fisher said. "Witnesses don't provide as much information as interviewers want."
And, of course, witnesses lie. For years, law-enforcement officials have relied on facial and body language to determine when someone is being deceitful. In Hard Measures, Rodriguez recalled a detainee who, after undergoing enhanced interrogation, would lick his lips before he told a lie.
But recent research indicates that while facial movements and body language can demonstrate anxiety, they often can't be used to distinguish reliably between liars and truth tellers. The HIG study was intended to see if strategically withheld information, along with other sophisticated techniques, could yield better results.
As my own experience at John Jay showed, these methods can work.
"Innocent people tend to be very forthcoming with all kinds of information," said Maria Hartwig, a John Jay psychologist who conducted the experiment for HIG. Hartwig said she could tell I was lying because I was forced to change my answer.
"The people who went into the room and touched the briefcase but didn't take the wallet tended to volunteer that kind of information."
But when Hartwig watched the video without sound, she said, she would not have been able to determine whether I was lying based only on my body language or facial cues.
While my interrogator strategically withheld evidence to determine my level of truthfulness, the opposite technique is also effective, according to recent studies. This technique was long advocated by Hans Scharff, a legendary German Air Force interrogator during World War II.
"He would paint this illusion that he already knew everything," said Granhag, the Swedish psychologist.
Over the past two years, Granhag has found that lab interrogators elicited more information using a variety of Scharff's methods, when compared to those who simply asked open-ended or specific questions. The interrogators also gave the impression that they had acquired far less intelligence than they in fact had.
Nevertheless, in a recent HIG survey, many military and law-enforcement interrogators didn't rate Scharff's methods as very effective. His strategies only get brief mention in the Army Field Manual, the government's baseline for legal and effective interrogation techniques, which many scientists and interrogators say needs to be revised.
But the fact that Scharff's techniques work is not news to Ali Soufan. In March of 2002, he and a colleague used a Scharff-like technique to outwit Abu Zubaydah, a high-level terrorist with Al Qaeda connections, who himself taught interrogation resistance.
Soufan and his colleague Steve Gaudin battled with a CIA contractor for weeks over the most effective way to question Zubaydah. In Hard Measures, Rodriguez, who declined to comment for this article, argued that the CIA's approach—which included waterboarding Zubaydah 83 times—was necessary. But Soufan and Gaudin strongly disagreed.
"Terrorists are trained to resist torture," Soufan wrote in his 2011 book, The Black Banners. "Being attacked by dogs, being sodomized, and having family members raped in front of them are some of the things they are physically and mentally prepared to endure."
Soufan recounted how he read Zubaydah's diary and spoke to him in Arabic. Eventually he and Gaudin got him to admit that Khalid Sheikh Mohammed was the mastermind behind the 9/11 attacks.
"Interrogation is not only an art and not only a science," Soufan said. "It's both."