Location Value Covenants – joining land tax reform to monetary reform and solving lots of problems at once.
You will have been wondering what we are up to.
Well remember I said we were working with Adrian Wrigley and Robin Smith from a Cambridge think tank? This has continued until I understand what their proposal is and what are the possible objections to what I think is exciting new policy. I have been talking to many members of the party about my enthusiasm for this, because it overcomes all sorts of objections to introducing land tax.
People with a mortgage go to government and bargain. They say we will covenant our property to pay a substantial sum to you if you give us a Treasury Note to the value of the current mortgage (or a lesser amount). The amount settled between them is the sum of what they were paying annually in mortgage plus what they were paying in rates, minus 10-15%. When the deal is done, the government is the recipient of a high sum linked by a covenant to that property. Their revenue increases. The property owners take this Treasury Note (or an electronic version of it) to the bank to pay off their mortgage. 60% of our total mortgage bill is in fixed interest so has no penalty.
Their property now carries a financial burden, so as a result its value drops, but the home owners equity doesn't. Note above it is Treasury Notes not Reserve Bank notes. Why? Because the Reserve Bank, like other central banks, is too linked to Wall Street and the commercial banks of the world. Treasury is the Government department which accepts taxes. A Treasury Note is something valid for the payment of taxes.
So government is soon gathering enough revenue to pay a citizens dividend and then will be able to drop GST, income tax and company tax. Whereas before the banks had hold of our citizens through mortgages, they are left out in the cold. The Dominion Post put the value of current mortgages recently at $173 billion. This will gradually reduce.
"What would we do with that?" "Well you could buy a house in this district and pay for it with that because they are valid for the payment of rates."
This would work as long as the vendor wanted to buy in the area. If they bought using rates vouchers as part payment and this went down the chain till they struck a vendor who just wanted to spend the money in the council area. The Council would help by persuading some of the bigger local businesses to accept part payment in Rates Vouchers. All local tradespeople could accept part payment, and of course they could save their precious national dollars for paying GST and income tax. Perhaps there could be an incentive for circulation built in to the local currency so it would circulate fast, doing good all the way.
The payments are linked not to inflation but to an land value index worked out for the general area. For instance in Chch after earthquakes if the land value in a big area dropped by 50% the payments would drop 50%. Generally land values are less variable than interest rates.
Sooner or later the Government would see that several local authority areas are thriving economically. Unemployment is starting to drop and business confidence is rising. Then local authorities could tell them they could do it themselves you know. Use Treasury Notes to relieve current mortgage holders.
In this way if it came in at local authority level first, the regions would thrive and their economies would move towards using local materials, and local labour and its home prices would drop dramatically. The trend is towards sustainability (a word I rarely use these days but I can't help myself here, because it isn't just fashionable rhetoric, it is true!). When government started to reduce income tax, GST and company tax, the people's purchasing power greatly increases. Take a person aged 40. If you capitalised the value of their future labour it would be much bigger than the capital in their home. Prices would drop without income tax or GST or interest on money (there is less bank created money in the system after it has been operating for a while).
I am inviting New Economics Party enthusiasts to view these papers. Just let me know by email or see me on Facebook or twitter or google +. There is so much to discuss. Everyone has different ideas to raise, but we are making headway.


text:
Press & Downloads
Text and pictures are for your information and only free to be used in the context of coverage of activities of the company Sasha Waltz & Guests.
Please name our photographers when publishing any photos and indicate (c) Sasha Waltz & Guests when using our texts. Thank you also for dropping us a line at presse@sashawaltz.de and sending us a copy to our office.
About SW&G Sasha Waltz & Jochen Sandig Education & Community Current Repertoire
Size: 17,3 MB
Content: 10 Photos
Status: 11-2022
The company Sasha Waltz & Guests was founded by Sasha Waltz and Jochen Sandig in Berlin in 1993. To date, more than 300 artists and ensembles from the fields of architecture, visual arts, choreography, film, design, literature, fashion and music from 30 countries have collaborated as »Guests« on over 80 productions, »Dialoge« projects and films. Sasha Waltz & Guests works in an international and national constantly evolving network of production and guest performance partners, showing its current repertoire of 12 active pieces in about 70 performances each year. In Berlin, the company cooperates with a wide range of municipal theatres, opera houses and museums and has contributed to the establishing of new cultural institutions such as Sophiensaele (1996), St. Elisabeth Kirche (2004) and Radialsystem (2006). 2013, the company has been named »European Cultural Ambassador« by the European Union. In 2014, Sasha Waltz & Guests was awarded the »george tabori ehrenpreis« by the Fonds Darstellende Künste. Apart from Berlin stagings, national and international guest performances and the continual work on the repertoire, Sasha Waltz & Guests has been increasingly committed to educational and social projects. In 2007, the Children's Dance Company (»Kindertanzcompany«) was founded and since 2016 the interdisciplinary and open exchange platform »ZUHÖREN« serves as a »third space for art and politics«. Alongside these initiatives, the company continues to propose diverse offers in the field of knowledge transfer.
Sasha Waltz & Guests is funded by the Senate Department for Culture and Europe.
Sasha Waltz (CV)
Sasha Waltz is a choreographer, dancer and director. After her first studies at the School of New Dance Development in Amsterdam she joined the postmodern oriented New York City dance scene that worked in interdisciplinary exchange with the other arts. In 1986 and 1987 she danced in the New York based companies of Pooh Kaye, Yoshiko Chumo & School of Hard Knocks and Lisa Kraus & Dancers. Following her return to Europe in 1988 she began an intensive phase of collaborations with choreographers, artists and musicians. In 1992 she came to Berlin with a grant by the Künstlerhaus Bethanien, where she developed the improvisational format »Dialoge« driven by the spirit of her interdisciplinary and international work. She chose the young German capital as the center of her activities where she practiced new choreographic approaches in self-developed infrastructures. Together with Jochen Sandig she founded the dance company Sasha Waltz & Guests in 1993 and in 1996 the Sophiensaele as a venue for dance and more, nowadays a center of the independent dance and theatre scene not only in Germany. From 2000-2004 she was one of the directors of the Schaubühne at Lehniner Platz. In the season 2019/20 Sasha Waltz was director of the Berlin State Ballet together with Johannes Öhman.
During her first decade in Berlin she created internationally renowned and influencial dance pieces such as the trilogies »Travelogue« and »Körper« as well as the immersive dance installation »insideout«. In the following years she applied the language and strategies of contemporary dance to vitalize and explore historical and new operas and ballets. With »Dido & Aeneas« (2005), »Medea« (2007) and »Matsukaze« (2011) she realized three pieces about women and at the same time established the genre of the choreographic opera. In 2007 she directed »Romeo et Juliette«, interpreting the dramatic symphony of Hector Berlioz, for the Opéra national de Paris. From this followed »Sacre« in 2013 set to the Music of Strawinsky commissioned by the Mariinsky Theatre in St. Petersburg, and in 2014 »Tannhäuser« at the Staatsoper Berlin conducted by Daniel Barenboim. Simultaneously Sasha Waltz has been pursuing the sharing and teaching of dance knowledge and promoting dance as a medium of social and sociopolitical communication. As part of this endeavor, she founded the Berlin based »Kindertanzcompany« (Children's Dance Company) in 2007 and, following an invitation from the Berlin Philharmonic Orchestra, developed a choreography with over 100 pupils to dance Schtschedrin's Carmen-Suite. In 2016 she founded the event format »ZUHÖREN« with which she opened a »third space« for art and politics. She expanded the »Dialoge«-concept to incorporate danced responses to architecture wherein the audience is invited to act as an equal part of the choreographic happening. Examples of this are »Dialoge 99/II« in the new construction of the Jewish Museum in Berlin by Daniel Libeskind, »Dialoge 09« performed in the still vacant interior of the Neues Museum in Berlin after the renovation by David Chipperfield (2009) and the choreographic installation »Figure humaine« for the inauguration of the Hamburg Elbphilharmonie (2017). In her present choreographic work, Waltz is focusing on the intensification of collaborative processes, such as the synchronic development of choreography and music. In collaboration with Soundwalk Collective and the costume designer Iris van Herpen (among others) she created the choreography »Kreatur« (2017) followed by the work »Exodos« (August 2018), both premiered at Radialsystem in Berlin. In early 2019 the project »rauschen« received its world premiere at the Volksbühne Berlin. On March 13th, 2022 »SYM-PHONIE MMXX«, a piece for dance, light and orchestra by Sasha Waltz and Georg Friedrich Haas, received its world premiere at Staatsoper Unter den Linden.
In 2020 Sasha Waltz reacted to the challenges of the Corona pandemic with different projects on- and offline. From March to June 2020 she published an online »dance diary«, developed the open air project »Dialoge 2020 – Relevante Systeme« in August premiering a choreography to Maurice Ravel's »Boléro« as well as solos to Georg Friedrich Haas' »I can't breathe« and in December streamed a series of improvisations with the title »Dialoge 2020 – Relevante Systeme II« live from the Radialsystem in Berlin. In 2021 Sasha Waltz' latest choreographic work »In C« to the composition by the same name of Terry Riley received its online premiere on a livestream from the Radialsystem Berlin before it was performed in front of an audience for the first time during the Ludwigsburger Schlossfestspiel. In June 2021 a choreography by Sasha Waltz to Beethoven's Symphony no. 7 received its world premiere in the frame of ARTE's Beethoven day, broadcast live from the ancient Apollo temple in Delphi together with musicAeterna under the batom of Teodor Currentzis.
For her special services in 2011 the choreographer was granted the German Federal Cross of Merit. Since 2013 she is a member of the Academy of Arts Berlin. In 2021 Sasha Waltz was awarded the French cultural order »Commandeur de l'ordre des Arts et des Lettres«.
Content: 2 Photos; 1 PDF
Status: 3-2022
Press Photos and Press Info
Content: 11 Photos, 2 PDFs
SYM-PHONIE MMXX
for dance, light and orchestra
Choreography by Sasha Waltz
Music by Georg Friedrich Haas
Costumes by Bernd Skodzig
13 March 2022 (world premiere)
A production of the Staatsballett Berlin in coproduction with Sasha Waltz & Guests.
Content: 10 Photos ©Bernd Uhlig
remains by Andrew Schneider
Content: 6 Photos
100 Tage Berliner Modell Tanz
Dialoge 2020 - Relevante Systeme - Fotos Teil 2
Press Photos Part 2
The interdisciplinary projects »Dialogues« are important and powerful creative fields for Sasha Waltz ́ work. The short but very intensive encounters between musicians, artists, dancers and choreographers take place in very specific places as the Sophiensæle Berlin, the Jewish Museum Berlin, the Mendelsohnbau at the Lehniner Platz Berlin, a medieval monastery in Montpellier, the Opera in Bordeaux, the St. Elisabeth church in Berlin or the "skeleton" of the Palast der Republik in Berlin. The architecture is an important protagonist itself. The dialogue is happening on different mulitfaceted levels with the main focus on the free spirit of improvisation and the pure delight of experimentation.
»For me, the most important thing regarding the »Dialogue«-projects, is the experience of so many different forms and worlds in dance and music. I am interested in the biggest possible freedom of art and not in any limitation in form and content. Contradictory actions should persist side by side. Artists, who don ́t inevitably meet each other, should encounter. The more their artistic visions are far away from mine, the more possible it is to create a real dialogue between the artists and to widen the spectators view. Neither dance nor music are arranged before, it is about the condition of being on the way, of being in permanent transition.«
Kindertanzcompany Berlin
The Children's Dance Company dates back to an initiative of Sasha Waltz, Hanna Hegenscheidt and Livia Patrizi. In 2007 they converted a movement group from the initiative »Dancing Time - Time for dancing in schools«, which had existed since 2005/06, into the Company, in which the children could train their movements and develop their talent once a week.
In the meanwhile the Company Sasha Waltz & Guests now has four offspring dancing groups (5-7 years old, 7-10 years old, 10-12 years old, 12-15 years old). A playful engagement with dance occupies centre stage. Led by dancers from the entourage of the Company, the children and teenagers explore both themselves and others through movement, In the past years they have been working on several little pieces within the groups and sometimes present their work in showings at the Radialsystem V.
In 2009, the children worked on the piece »Der kleine Mann« (»The Small Man«), which was about their own life dreams, and in 2010 they worked on a theme they had chosen themselves, »Monster«. During the developing of the pieces live musicians are often also present, as they are in the actual production »The Wild Things«: The dance is accompanied by a four-person chamber orchestra, playing the contemporary compositions of the Japanese composer Hideki Kozadura.
Children's dancing 1, Group 5 to 7 years old
(led by Davide Camplani, Mata Sakka, Andreas Kern)
The children's dancing group for younger children imparts first dancing experiences and pleasure at the movements of one's own body. In small groups, the children develop a basic and playful repertoire of movements. The Ensemble dancers from Sasha Waltz & Guests, Davide Camplani und Mata Sakka, together with the concert pianist Andreas Kern, organise a monthly three hour long intensive-workshop.
Children's dancing 2, Group 7 to 10 years old
(led by Davide Camplani, Alessandra Defazio, Annapaola Leso)
The group meets once a week for an intensive workshop of movement and game. Through improvisations and group games the children develop an individual repertoire of movement and expression.
Dates: 1 x week, 1,5 hours
Children's dancing 3 / Teens, Group 10 to 12 years old
(led by: Gabriel Galindez Cruz)
Children's dancing 4 / Teens, Group 12 bis 15 years old
Admission: depending on available places, available places are announced on www.sashawaltz.de
Fee: 120 EUR per term (no classes during school and public holidays)
Location: RADIALSYSTEM V, Studio A
Émilie Guérin
Project Management Children's Dance Company / Administration
Sasha Waltz & Guests GmbH
Sophienstr. 3
Tel: +49 (0) 30 24 62 80 27
eguerin@sashawaltz.de
www.sashawaltz.de
Gabriel Galindez Cruz was born in 1977 in Cali, Colombia. He studied Dance at the Centre National de Danse Contemporaine d'Angers, France, and at the Hochschule für Musik und Darstellende Kunst Frankfurt, Germany. Gabriel has danced among others in pieces of Dominique Dupuy, Alvaro Restrepo, Carmen Werner, Dieter Heitkamp, Toula Limnaios, and Wilhelm Groener. He was awared in Jeunes Talents Cirque Europa 2008 with the contemporary circus company AIUAIO. Together with the Akademie für Alte Musik Berlin, Gabriel is performing the piece »4 Elemente – 4 Jahreszeiten" von Juan Kruz Diaz de Garaio Esnaola. Gabriel has signed several short pieces. His last creations »Marca«,»Solo« and »Duo« were presented in March 2008 at the Dock 11 Berlin and in november 2008 an the Insoliti Festival in Turin, Italy. Since 2005 he dances in differents projects and pieces by Sasha Waltz & Guests. He can be seen among others in »Gezeiten«, »Medea«, »Jagden und Formen (Zustand 2008)«, »Continu« and »Métamorphoses« by Sasha Waltz. Since November 2007 he manage the »Kindertanzcompany« of Sasha Waltz & Guests at the Radialsystem V Berlin. He also participated in the 2012 dance project »MusicTANZ - Carmen« within the education project of the Berliner Philharmoniker, where he took part in the choreographical and pedagogical realization of the project with over 100 pupils. In 2014 he took part in the new production of »Tannhäuser« by Sasha Waltz and Daniel Barenboim at the Staatsoper Berlin. In December 2014 together with Anne Giseke he realized the dance project »Die Brüder Grimm bitten zum Tanz!«, a collaboration with Chance Tanz at the Mach mit!-Museum for children in Berlin. From 2009 - 2010 Gabriel was part of the dance company of the Theater St. Gallen in Switzerland under the direction of Marco Santi. As a dance teacher he has worked in Colombia (Berkana Danza and Danza Común), Mexico (Bruja danza), Italy (Espacio Lyria), Frankfurt (Tanzszene) and Berlin (Dock 11, Tanzfabrik and Marameo).
Content: 3 Fotos; 1 PDF
Jochen Sandig (CV)
Jochen Sandig was born in Esslingen, Germany. In 1990 he moved to Berlin to study psychology and philosophy. Following the founding of the Tacheles Art Centre in 1990, in 1993, together with Sasha Waltz, he founded Sasha Waltz & Guests. In 1996 he co-founded Sophiensaele, an independent venue for dance and theatre productions in Berlin-Mitte, which he directed until 1999. From 2000 to 2004 Jochen Sandig was a member of the artistic direction at the Schaubühne am Lehniner Platz. Since 2004 he has been the director of the independent Sasha Waltz & Guests GmbH. In 2006, together with Folkert Uhde, Jochen Sandig founded radialsystem in Berlin. In 2010 he was awarded the French cultural order »Chevalier dans l'Ordre des Arts et des Lettres«. In February 2012 he celebrated his first direction work with »human requiem«, a staging of Johannes Brahms' »Ein Deutsches Requiem« in cooperation with the Rundfunkchor in Berlin and Simon Halsey. Since its premiere the production travelled to Hamburg, Amsterdam, Paris, Granada, Rotterdam, Athens, Hong-Kong, Adelaide and New York. The production was awarded with the »Classical Next Innovation Award 2016«. As a social and political activist he became one of the three co-founders of the World Human Forum in Delphi, Greece. In 2019/20, Jochen Sandig became artistic and executive director of the Ludwigsburger Schlossfestspiele / Internationale Festspiele Baden-Württemberg.
Content: 1 Photo; 1 PDF
rauschen
Press Photos and Press Kit
Content: 8 Photos; 2 PDFs
Sacre - Faune - Scène
Matsukaze
Size: 6,7 MB
Continu
Allee der Kosmonauten
Travelogue I
Zweiland
Content: 3 Fotos
Choreographische Oper
The Development of the Choreographic Opera
Sasha Waltz focuses on combining different genres and on promoting dialogue between the various disciplines and arts in her works. This approach led to the creation of projects such as »Dialoge '99« in the Jewish Museum Berlin, »Dialoge 17-25/4« at the Mendelsohn-Bau at Lehniner Platz, Berlin, and the choreographic installation »insideout«.
Sasha Waltz first turned to classical music with »Impromptus«, a Schubert adaptation, which premiered in 2004. This marked the beginning of a new phase of her oeuvre; the logical next step was to stage an opera. Her 2005 project »Dido & Aeneas« (music: Henry Purcell) focused on the choreographic production and on expanding the possibilities of musical theater with the help of theatrical approaches to dance – a new kind of fusion of dance, song and music in opera. The soloists and choir members formed part of an overall choreography which dissociated them from their original functions. Sasha Waltz continued her work on choreographic operas in 2007 with a second opera, »Medea«, with Pascal Dusapin's music and Heiner Müller's libretto, and Hector Berlioz's dramatic symphony »Roméo et Juliette« for the Paris Opera.
»Jagden und Formen (Zustand 2008)« by Wolfgang Rihm in collaboration with the Ensemble Modern, which premiered in Frankfurt in 2008, marked a further stage in Sasha Waltz's development of contemporary concert forms, together with the choreographic operas »Passion« in 2010 (music: Pascal Dusapin) and »Matsukaze« (2011) with music by the Japanese composer Toshio Hosokawa. Sasha Waltz created the choreographic concert »gefaltet« for eight dancers and four musicians in 2012 in collaboration with the French composer Mark Andre. The instrumental soloists were involved in the creation of the piece, which gave yet another new dimension to the interaction of dance and music in »gefaltet«.
Sasha Waltz presented her most recent choreographic opera, »Orfeo«, with music by Claudio Monteverdi in 2014. »Orfeo« combines various strands of her work to date; following her work on the myth of Orpheus in »Passion«, the chamber opera by Pascal Dusapin, Sasha Waltz returns to its Baroque origins and incorporates the choir and the soloists into the movements, as well as the dancers into the musical events. Sasha Waltz's cross-genre work thus succeeds in fusing music and dance in a radically new manner.
About SW&G
Sasha Waltz & Jochen Sandig
Current Repertoire

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Allestimento della vetrina Back To The Future™.


text:
Q: How to tweak jQuery text-box auto-expand plugin I found a jQuery plugin at StackOverflow Page to auto-expand/contract a textbox as the user pastes/removes data from a text input. It works fine until I try to paste a substantial chunk of text into it. Then it doesn't expand at all. However it works fine if I go on typing characters, or even if I paste a small amount of text. Can anybody tell me how to tweak it to expand simultaneously even when a large chunk of data is pasted?

A: Your problem is due to the way the plugin handles the maximum width.
If a single operation (e.g. a paste) results in the element's width exceeding the maximum, the plugin does not extend the width to the maximum value, it leaves it as it is.
To work around this, I modified the code to take the maximum width into account when computing the new width:
// Calculate new width + whether to change
var testerWidth = testSubject.width(),
    newWidth = Math.min((testerWidth + o.comfortZone) >= minWidth
        ? testerWidth + o.comfortZone : minWidth, o.maxWidth - 1);

You will find an updated jsbin here.

redpajama_set_name: RedPajamaStackExchange


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Foundations of Computational Mathematics (FoCM) is an international nonprofit organization that supports and promotes research at the interface of mathematics and computation.  It fosters interaction among mathematics, computer science, and other areas of computational science through conferences, events and publications.

Aim
FoCM aims to explore the relationship between mathematics and computation, focusing both on the search for mathematical solutions to computational problems and computational solutions to mathematical problems. Topics of central interest in the Society include but are not restricted to:
Approximation Theory
Computational Algebraic Geometry
Computational Dynamics
Computational Harmonic Analysis, Image, and Signal Processing
Computational Number Theory
Computational Topology and Geometry
Continuous Optimization
 Foundations of Numerical PDE's
Geometric Integration and Computational Mechanics
Graph Theory and Combinatorics
Information-based Complexity
Learning Theory
Multiresolution and Adaptivity in Numerical PDE's
Numerical Linear Algebra
Random Matrices
Real-Number Complexity
Special Functions and Orthogonal Polynomials
Stochastic Computing
Symbolic Analysis

History
The Society for the Foundations of Computational Mathematics was launched in the Northern summer of 1995, following a month-long AMS–SIAM Summer Seminar in Park City, Utah, which was organized principally by Stephen Smale. That meeting hosted a number of sub-conferences on the frontier of Mathematics and Computation, focusing on many topics from numerical analysis and on the importance of a foundational theory of real number computation. The main thrust was on creating a shared intellectual space for activity bringing together computation and mathematics. During the final week at Michael Shub's behest an informal lunch was arranged where Felipe Cucker, Arieh Iserles, Narendra Karmarkar, James Renegar, Michael Shub and Stephen Smale decided to go ahead and create a permanent entity that would organize periodic conferences covering subjects in the interplay between these two areas. After a discussion, the name Foundations of Computational Mathematics was settled, and Michael Shub was chosen to lead the initiative with a little team formed by himself, Arieh Iserles and James Renegar.

The first FoCM conference took place in Rio de Janeiro and was hosted by IMPA with the support of its then-director Jacob Palis. Several conferences were organized later (see below), bringing together some of the world leading mathematicians and computer scientists, although the society was not formally established as a legal entity until 1999 simultaneously with the creation of the journal Foundations of Computational Mathematics. Ever since, its main activities are its triennial meetings, special semesters and the support of the FoCM journal, as well as general advocacy of the mathematical areas underlying computation.

Meetings

The main FoCM conference is held every three years. Previous meetings include:

 Park City AMS—SIAM 1995 Summer Seminar (Utah, USA), considered as the founding event of the society. Announcement. Panel discussion.
 FoCM'97 (Rio de Janeiro, Brazil). International organizing committee. Local organizing committee.
 FoCM'99 (Oxford, United Kingdom). Organizing committee Plenary speakers. List of Workshops.
 FoCM 2002 (Minneapolis, USA).
 FoCM 2005 (Santander, Spain).
 FoCM 2008 (Hong Kong, China).
 FoCM 2011 (Budapest, Hungary).
 FoCM 2014 (Montevideo, Uruguay).

These conferences aim to cover the entire spectrum of mathematical computation. In addition to that, specialized events focusing on particular research topics are organized by the society, including:

 Foundations of Computational Mathematics Half Year Program, Berkeley, 1998, Mathematical Sciences Research Institute. Organizing committee.
 Special Semester on Foundations of Computational Mathematics, Hong Kong, 1999, City University of Hong Kong.
 Thematic Program on the Foundations of Computational Mathematics, Toronto, 2009, Fields Institute.
 From Dynamics to Complexity A conference celebrating the work of Mike Shub, Toronto, 2012 Fields Institute.

Publications

Since January 2001, FoCM supports the journal Foundations of Computational Mathematics. Editors in Chief of the journal:

 Michael Shub (2001–2002).
 Peter Olver (2002–2008).
 Arieh Iserles (2002–2011).
 Michael Todd (2008–2011).
 Felipe Cucker (2011–2017).
 Albert Cohen (2014–present).
 Hans Munthe-Kaas (2017–present).
 Teresa Krick (2020–present).

Chairs
The Chair of FoCM is elected every 3 years. This position has been held by various mathematicians worldwide.

 Michael Shub (1995–1997).
 Arieh Iserles (1997–2000).
 Ronald DeVore (2000–2002).
 Endre Süli (2002–2005).
 Michael Todd (2005–2008).
 Felipe Cucker (2008–2011).
 Teresa Krick (2011–2014).
 Wolfgang Dahmen (2014-2017).
 Agnes Szanto (2017--).

Stephen Smale Prize
FoCM awards the , whose objective is to recognize the work of a young mathematician in the areas at the heart of the society's interests and to help to promote his or her integration among the leaders of the scientific community. Smale Prize recipients:

 Snorre H. Christiansen (2011). Laudatio.
 Carlos Beltrán and Mark Bravermann (2014). Laudatio.
 Lek-Heng Lim (2017).

References

External links
the FoCM website
Journal FoCM website

Mathematical societies

redpajama_set_name: RedPajamaWikipedia


text:
30 September 1988 – To all National Spiritual Assemblies
Written on behalf of the Universal House of Justice, enclosing a compilation titled "A Chaste and Holy Life"
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Department of the Secretariat
To all National Spiritual Assemblies
Dear Bahá'í Friends,
We enclose a copy of a new compilation entitled A Chaste and Holy Life, which was prepared by the Research Department at the request of the Universal House of Justice.
Given the rapidly declining moral standards in the world, the House of Justice has instructed us to emphasize that it considers it both necessary and timely for the Bahá'í friends to increase their understanding of and adherence to the standard of a chaste and holy life that is upheld in our Teachings. To this end, the House of Justice urges the National Spiritual Assemblies to make the compilation available to the friends on the widest possible scale, having it translated, as necessary, in whole or in part, into the major languages of the country. It is also important that the friends be encouraged to study the implications set forth in these extracts, and to endeavor strenuously to exemplify these noble standards in their personal lives.
As the range of activities and projects in which the Bahá'í community engages necessarily continues to expand and diversify, the House of Justice believes it is vital that the moral and ethical teachings of our Faith be neither overlooked nor mistakenly regarded as being of less importance than our social, administrative and metaphysical teachings. Indeed, Shoghi Effendi, in a letter written on his behalf, stressed the need for such balance and for according appropriate weight to the moral principles of the Faith.
Too much emphasis is often laid on the social and economic aspects of the Teachings; but the moral aspect cannot be overemphasized.
In the current climate of social and moral decline, at a time when, in the world at large, moral decay, hypocrisy and compromise are endemic, and words, unsupported by actions, have lost their value, the believers are challenged to become "Bahá'ís in character as well as in belief," to strive determinedly to exemplify the Bahá'í standard, to become distinguished for their moral excellence, and, by the quality of their individual lives and the nature of their Bahá'í community life, to demonstrate the vitalizing power of the Cause not only to bring peace, security and true spiritual happiness to the individual heart, but to transform society as well. Shoghi Effendi repeatedly emphasized the importance of the force of example. A letter written on his behalf states:
His constant hope is that the believers will conduct themselves, individually and in their Bahá'í Community life, in such a manner as to attract the attention of others to the Cause. The world is not only starving for lofty principles and ideals, it is, above all, starving for a shining example which the Bahá'ís can and must provide.
With loving Bahá'í greetings,


Tracy has more than seven years of diverse experience working with small businesses and startups. She specializes in content curation, creative social media management, research, and strategic planning.
Tracy graduated from Boston University with BA in Art History. Outside of work, she enjoys spending time on her yoga mat, getting outdoors to camp and hike, experimenting with new recipes, and exploring museums.


Long before Edmonton was a sprawling City, it was a bustling mining town � and according to historians � the area is still riddled with long- forgotten mining tunnels. Underneath downtown Edmonton, and east through Beverly, lies a network of collapsed coal mine tunnels (and some not collapsed); remnants of a booming industry that existed from the 1880s to the 1940s. See this CBC News Story video for the history.
Eventually I asked my dad (who was with the City at the time on Council) what that little door led to, I had always assumed it was something to do with the sewer and he told me that it was an old mine hatch. Now that, blew my mind. There are mines, underground, right near where I hike and bike? After that I was reading an online article about the sewer stench in Edmonton. The article itself wasn't too interesting, but the comment section was. A comment posted by a guy named Steve mentioned that there was a mine under McNally High School, which I happen to go to for grade 10. How cool is that? A mine, right underneath where I had spent 7+ hours of my life each school day.
The lined red area with the number 0049 is the mine that the door would have been attached to. The mine there was called 'Standard' and was operated by the Edmonton Standard Co., and it was in operation from 1906 - 1923, during that time over 335,000 tonnes of coal was mined.
The blue area is the mine that my high school is located on top of. It was operated by the Dawson Coal Co., and the mine was named 'Dawson'. The mine supplied over 600,000 tonnes of coal, and ran from 1907 - 1944. Even cooler info about this is that Dawson bridge is named after the man who started the mine, H.S. Dawson, and Dawson park is named after H.S. Dawson's son, John Forsyth Dawson. Neat, huh?
So with all of my maps I'm planning a further exploratory trip underground (this will be my second trip into the old mine shafts that have developed into caves, so far I've drawn crude maps using an iPhone mapping tool).
From this meeting place you follow us for a 10 minute walk to the mine shaft entrance where as the Edmonton Outdoor Club, I applied and received access through my dad's old City connections. As your knowledgeable guide (I have cave spelunked 2 or 3 times) I will take you on a natural history tour of Edmonton's Kinnaird Mine Shaft, an exciting underground world - etched and sculptured over numbers of years - through twisting passages and chambers of stalactites & stalagmites, animal bones and fossils then finally down to the tranquil pool I discovered in the lower grotto. Dinosaur bones have previously been discovered near this area by LRT tunnel crews, maybe we can find some!!
Here you change into caving equipment - helmets, lights, coveralls, knee-pads & gloves (whatever you have with you if you want). You will receive a safety briefing prior to starting the tour (I will have a Spot communicator with me for emergency calls since we are out of cell phone range). Some reports of fraggles copulating, so beware I hear they breed like tribbles! We may even find the connection shafts under the river to McNally and Forest Heights Ewok Village Trails area despite the current Spring run-off. We will assess the water table before hand in regards to flash flooding potential.
Edmonton's Mines are a constant 5�C (41�F) all year. Why is that? Because caves reflect the mean annual temperature so no matter what the outside weather it's always pleasant inside the cave. Similar to most alpine caves, it is cool in summer, mild in winter. I'm hoping to name my favourite section of the the mine maze as Fraggle Rock. We hope that some of you can be the first to name other shafts that we stumble upon in our underground journey this coming Monday.
Bring 1 or 2 small, wrapped energy snacks such as a granola bar, chocolate bar etc. for taking into the cave and bottled water for when you come out (this event could take longer than 2 hours if we get lost?). We recommend either a compact digital or disposable camera with flash for taking photos. Anything you wear or take into the cave will get covered in fine mud, so avoid new fancy clothing or camera equipment. There are no facilities at the site so use the toilets in Dawson Park before you go.
Do not expect to carry anything into the mine shafts. You will need to have both hands free at all times. I will bring rappelling gear.
Participants should ensure that their fitness is capable of withstanding strenuous activity such as climbing and crawling through dark, dirty, wet, cool and confined spaces. The tour will take approximately 2 hours from start to finish (assuming we don't get lost).
NOTE: Participants will be underground for a period of time, so if you suspect that you may be claustrophobic then it may not be a good event for you.
- Appropriate dress for caving is warm but not bulky clothes.


On my SR18, there is a fraction of a second delay on the start of the beat when using a footswitch. There is no delay when using the start/stop button manually. Any ideas?
What are you using as a footswitch? Have you tried using another one to rule out if the footswitch is faulty or not? You may want to also try spraying some compressed air into the port to ensure it's not being obstructed in any way.
Try that out, and let me know how it goes.
Hi Jake,

Thanks for posting.

What are you using as a footswitch? Have you tried using another one to rule out if the footswitch is faulty or not? You may want to also try spraying some compressed air into the port to ensure it's not being obstructed in any way.

Try that out, and let me know how it goes.
Hi Bill and thanks for the reply. The two footswitches are new. I'm new to the Alesis sr18 and still getting my head around it. I checked the footswitches and both have a slide switch on it. One of them was in mid position. When I set switch properly, It functions properly.
Thanks for your help on this matter. No doubt I'll be back on asking for help again!!


text:
Q: Unable to disable textblock text in the itemtemplate <ListBox.ItemTemplate>
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I am unable to disable the text(Grey out) but as for the button is working fine.
Do anyone know how to solve this issue?
Hi Chris, i have referred to the link. i tried using
<ListBox>
  <ListBox.ItemContainerStyle>
    <Style TargetType="{x:Type ListBoxItem}">
      <Style.Triggers>
        <DataTrigger Binding="{Binding name}" Value="False">
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</ListBox>

but it is still not working. have any idea on this?

A: TextBlock doesn't support IsEnabled. The easiest fix would be to change your TextBlock to a Label


text:
*This repository is a mirror of the [component](http://component.io) module [timoxley/diff](http://github.com/timoxley/diff). It has been modified to work with NPM+Browserify. You can install it using the command `npm install npmcomponent/timoxley-diff`. Please do not open issues or send pull requests against this repo. If you have issues with this repo, report it to [npmcomponent](https://github.com/airportyh/npmcomponent).*
# diff

[![Build Status](https://secure.travis-ci.org/timoxley/jsdiff.png)](http://travis-ci.org/timoxley/jsdiff)

A text differencing component.

Based on the algorithm proposed in
["An O(ND) Difference Algorithm and its Variations" (Myers, 1986)](http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.4.6927).

## Installation

    component install timoxley/diff

## API

* diff.diffChars(oldStr, newStr)
    Diffs two blocks of text, comparing character by character.

    Returns a list of change objects (See below).

* diff.diffWords(oldStr, newStr)
    Diffs two blocks of text, comparing word by word.

    Returns a list of change objects (See below).

* diff.diffLines(oldStr, newStr)
    Diffs two blocks of text, comparing line by line.

    Returns a list of change objects (See below).

* diff.diffCss(oldStr, newStr)
    Diffs two blocks of text, comparing CSS tokens.

    Returns a list of change objects (See below).

* diff.createPatch(fileName, oldStr, newStr, oldHeader, newHeader)
    Creates a unified diff patch.

    Parameters:
    * fileName : String to be output in the filename sections of the patch
    * oldStr : Original string value
    * newStr : New string value
    * oldHeader : Additional information to include in the old file header
    * newHeader : Additional information to include in thew new file header

* JsDiff.applyPatch(oldStr, diffStr)
    Applies a unified diff patch.

    Return a string containing new version of provided data.

* convertChangesToXML(changes)
    Converts a list of changes to a serialized XML format

### Change Objects
Many of the methods above return change objects. These objects are consist of the following fields:

* value: Text content
* added: True if the value was inserted into the new string
* removed: True of the value was removed from the old string

Note that some cases may omit a particular flag field. Comparison on the flag fields should always be done in a truthy or falsy manner.

## Credits

Original JSDiff: [Kevin Decker](https://github.com/kpdecker/jsdiff)
applyPatch Implementation: [vprimachenko](https://github.com/vprimachenko/jsdiff)
## License

Software License Agreement (BSD License)

Copyright (c) 2009-2011, Kevin Decker kpdecker@gmail.com

All rights reserved.

Redistribution and use of this software in source and binary forms, with or without modification,
are permitted provided that the following conditions are met:

* Redistributions of source code must retain the above
  copyright notice, this list of conditions and the
  following disclaimer.

* Redistributions in binary form must reproduce the above
  copyright notice, this list of conditions and the
  following disclaimer in the documentation and/or other
  materials provided with the distribution.

* Neither the name of Kevin Decker nor the names of its
  contributors may be used to endorse or promote products
  derived from this software without specific prior
  written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY EXPRESS OR
IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND
FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR
CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL
DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER
IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT
OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

redpajama_set_name: RedPajamaGithub


It is the cardboard prototype of the Wireless Cat Water Drink Fountain! Have you ever been sick of your cat just annoying the crap out of you because it wants a sip of flowing water from the tap? This is the solution! Now your cat decided when it drinks! The switch can be easily toggled by your cat, whom is hopefully smart enough to learn how to use it!
Cats Love It! The CLI !


"Thought for the Day" #708 – by Stephen R. Elville, J.D., LL.M.
In this week's blog we have discussed some of the basics about the Medicaid five (5) year look-back period, including that in the context of asset preservation this concept should be considered in terms of a five (5) year "look-forward" period. The look-back period concept should not be feared, but rather thoroughly understood and controlled. In other words, the only thing to fear is a lack of knowledge and an unplanned or inadvertent triggering of the look-back period, a situation that could possibly cause an inability to pay for the costs of long-term skilled nursing care at a time of crisis. Triggering the start of the Medicaid five year period is fine, so long as the individual or couple (or their fiduciary) involved understands what they are doing as part of an organized plan.


text:
Q: adb: failed to install D:\Flutter_Projects\gulfadmin2\build\app\outputs\flutter-apk\app.apk: cmd: Can't find service: package Flutter app doesn't run on an emulator
I went to android studio. Click on tools - Device manager - Pixel 2 API 30 - Wipe data
This solved my problem.
Now i can run the  emulator again.


NEW YORK; June 7, 2002 – As the battle for the living room heats up, more than half of tech-savvy consumers in the U.S. say they are currently indifferent to the enhanced experience that a networked home may offer, according to an Accenture study.
Rather than connecting all the groups of devices throughout their homes, consumers are much more interested in the immediately realizable benefits of stand-alone devices, as well as greater interoperability between devices that perform related functions, especially in the home entertainment and home office areas. These are among the key findings of a survey of approximately 4,500 consumers conducted by Accenture to gauge consumers' values, attitudes and adoption of home electronics.
More than half (57 percent) expect the introduction of many new electronic products they will want in the next two years, and 88 percent say it is important for new devices to connect easily with their existing home electronics.
"Although consumer optimism around new product introductions suggests that the environment may be ripe for the move toward a networked home, it's not going to happen overnight," said Charles Roussel, partner in Accenture's Electronics & High Tech group. "Consumers are shying away from cost and technical complexity."
Contributing to consumers' indifference is that most (60 percent) make home electronics purchasing decisions based on the best current value for their money. In other words, they are willing to pay for benefits they can enjoy immediately. They are not willing to pay for the value that a device may offer in the future.
"The real market opportunity over the next couple of years is to help consumers connect easily within groups of devices, before connecting across groups and throughout the home," said David B. Rich, global managing partner of Accenture's Electronics & High Tech group. "The future is bright for consumer adoption of the networked home, but more work needs to be done around defining the total customer ownership experience."
Most consumers (61 percent) have many sophisticated electronics in their homes. They are generally satisfied with what they currently have, and see no compelling reason today to embrace the idea of the networked home.
The study also suggests that companies must focus on increasing consumer value and enhancing interoperability among devices. Specifically, companies should focus on creating new applications within device clusters that address consumers' core values of lifestyle fit, ease of use,performance and functionality, and low cost.
Accenture conducted an online consumer survey to explore preferences, values, attitudes and brand perceptions and identify obstacles to consumer adoption of home electronic devices and services today and in the future. Accenture distributed the e-mail survey to 40,000 online households in Spring 2002 and received almost 4,500 responses.


Lancaster British Brass Band follows the path first laid down in the smoky mill and mining towns of mid-nineteenth century Britain. Gradually evolving into a fixed instrumentation of 28 players (and 1 conductor), the brass band flourished under the sponsorship of mill and mine owners bent on "morale and spiritual uplift," thus laying the groundwork for a later time when the Salvation Army began capitalizing on the success of the bands by establishing brass bands as part of their outreach through music.
For concert programs brass bands borrow from virtually every musical genre. A typical program consists of transcriptions of the classics, marches, hymns, popular music arrangements, solos and, last but not least, original compositions written for the medium. Programs are selected for a balanced presentation that attempts to please a wide range of tastes and interests.
The unique sound quality of Lancaster Brass Band is due to its being composed entirely of brass winds and percussion instruments. The sound of Lancaster British Brass Band has been compared to "one big, magnificent pipe organ."
Lancaster British Brass Band consists of 28 players including 3 percussionists. It draws its personnel from the four state regions of Pennsylvania, Maryland, Delaware and New Jersey. Originally conceived as a top-level, professional quality ensemble, it includes among its membership professional solo and ensemble players and music teacher/performers. The band members bring years of playing and teaching experience to the organization from such diverse institutions as The United States Marine Band, and the Lancaster, Harrisburg, Reading and York Symphony Orchestras. Many players are currently engaged as teachers in various public and private school venues and in such institutions of higher learning as West Chester, Millersville and Kutztown Universities, Lebanon Valley College, and The University of Delaware.
Dr. Stephen Arthur Allen came to prominence in the UK as one of the finest euphonium players of his generation. He was awarded the ALCM at age 16 and achieved national distinction in competition, winning the Open section of the British National Solo Championships. He was awarded a Royal Academy Scholarship by legendary brass band composer Eric Ball, OBE and Geoffrey Brand, conductor of Black Dyke Band.
An associate professor of music at Rider University, Dr. Allen is also a visiting professor of Euphonium at Rutgers University in New Jersey. In 2004 Dr. Allen founded the Princeton Brass Band, ensemble-in-residence at Rider University since 2010, of which he is Musical Director.
Dr. Allen is a recorded and published composer. His Gaudy Flourishes was commissioned by and premiered at Oxford University and his Heroes: A Symphonic Fanfare was written with a Rider Fellowship in Composition. Receiving his doctorate in 2003 from Oxford University, Dr. Allen is a world authority in the operas and music of Benjamin Britten on which he is widely published.
Since 2008 Dr. Allen has served on the North American Brass Band Association (NABBA).
We have two live concert recordings for sale. Click here to fill out your contact information and we'll be in touch to place your order.


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CARRE D'AS is a Loading... luxury yacht, built by Azimut and delivered in 2001. Her top speed is 30.0kn and her power comes from two 1400.0hp Caterpillar 3412E-DITA diesel engines. She can accommodate up to 8 people with 2 crew members waiting on their every need.


text:
Two rhythms and a sharpened pencil: how art can help us heal and make sense of the world
Art can help us connect with our inner selves and mend the fragmented world.
Image: Ashley Edwards/Unsplash
Hrund Gunnsteinsdóttir
Two decades of impact: How social entrepreneurs have improved 622 million lives
Icelandic film director Hrund Gunnsteinsdottir reflects on how art can connect with our inner selves to help us make sense of the world'.
In today's uncertain times, the healing power of art is more important than ever before.
This article is published as part of the Centred-Self series, drawing on the voices and perspectives of the World Economic Forum's Cultural Leaders and Schwab Foundation community to catalyse a culture of wellbeing for social change.
Back in the early 1970s, artist John Baldessari did The Pencil Story. As he explained, his pencil was producing blurry and indistinct lines, but he revived it by sharpening it. He paid closer attention to what he had been paying attention to for a long time – and this time, he acted on it. This time, he felt compelled to sharpen it.
Image: John Baldessari (1972–3)
In the uncertain times we live in, we must sharpen our pencils in the spirit of John Baldessari. As we seek to mend and re-invent our broken systems, we can also take inspiration from Lucille Clerk's work, Yesterday - Today - Tomorrow, which Clerk tweeted in 2015 with the caption, "break one, thousand will rise".
Image: Lucille Clerk (2015)
Art to heal and make sense of the world
Throughout history, people have used art to heal and make sense of the world. For Leo Tolstoy, the purpose of art was to create a bridge of empathy between us and others, and for Anaïs Nin, "a way to exorcise our emotional excess". In 2017, an all-party parliamentary group (APPG) in the UK published a report which concluded that "the arts generate wellbeing, it can aid recovery and support longer and better lived lives". Lord Howarth of Newport, co-chair of the APPG, said, "The time has come to recognise the powerful contribution the arts can make to our health and wellbeing."
This is how wellbeing drives social change and why cultural leaders need to talk about it
Two rhythms...
The human spirit has its own circulation system to renew, recreate and evolve. Imagine we function in the interplay of two different rhythms.
One rhythm is characterized by a state of flow, mindfulness and reflection. It is the one that takes deep breaths. It relies on presence and our ability to pay attention to what we pay attention to. It likes letting go of control and trusts the process, if the feeling is right. It encourages us to be open to the world and to allow it to affect us. In this rhythm, you are an artist at heart.
The other rhythm belongs to the world of rational and analytical thinking. It helps us bring ideas to reality, organize, analyse and execute. In short, it helps us get stuff done.
The more these rhythms are balanced, the sharper our pencil.
...balanced with intuition
Art springs from intuition. Intuition belongs to both rhythms. It is borderless and deeply human. It has many faces and serves us in different ways depending on the context. In our personal lives, art indicates and guides us towards personal growth and balance – if we care to listen. And similarly, for the more experienced, it often serves as a reliable, and important, guide when making difficult decisions.
InnSæi – the Sea Within
The 2016 documentary film InnSæi – the Sea Within (or the Power of Intuition) – which I wrote and co-directed – explores how our disconnection to the world within affects our lives and, ultimately, the world we live in.
"InnSæi" is the Icelandic word for "intuition". It means "the sea within", "to see within" and "to see from the inside out". It embraces the borderless nature and knowledge of our inner world, which cannot be put into silos. It reminds us to see within, in order to know ourselves, so that we are able to express ourselves authentically and put ourselves into other people's shoes. To see from the inside out is to have a strong inner compass, which enables us to set boundaries and navigate the ocean of life.
Judging from the reactions we are still receiving from people all over the world, the film was timely and touched a nerve.
Art and The Great Reset
Art has the ability to regenerate and heal our spirit and souls. Being an artist at heart means we are able to live by its principles in whatever roles or jobs we find ourselves in. Art speaks to us through our different senses. It has the ability to create in our hearts and minds a cosmos out of chaos – and a sense of awe as we create art, are touched by it and moved by it.
Perhaps the message about the importance of connecting with one's inner self, showing empathy and honoring the world of the arts is a bit like Baldessari's pencil. We are born with these superpowers, and we've always known it. Now, we only need to sharpen our pencil to refresh the narrative and integrate it, as if it was one of two rhythms we dance to, in our fast-developing and fragmented world.
Hrund Gunnsteinsdottir is a World Economic Forum Young Global Leader.
What is the World Economic Forum doing to champion social innovation?
Social innovators are addressing the world's most serious and entrenched challenges, ranging from illiteracy to clean water and sanitation, girls' education, prison reform, financial inclusion and disaster relief.
The Schwab Foundation for Social Entrepreneurship is supporting more than 400 leading social innovators operating in over 190 countries.
Since its foundation in 1998, a total of 722 million lives have been directly improved by the work of this community of leading social innovators.
Our global network of experts, partner institutions and World Economic Forum constituents are invited to nominate outstanding social innovators.
Visit the Schwab Foundation website for more information about the award process and the selection criteria.
Read more about the Foundation's impact.
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This is how 15 leaders are changing the world through trust
Pavitra Raja and Goy Phumtim 18 Jan 2022


What do we got here ? Answer is simple, most people will buy (and appreciate) this album for Steve's guitar virtuosity. At least I suppose, I can be wrong, but I feel that this is his main "export". I must agree that if I would be here to judge his guitar playing skill, he would get 5/5 instantly. I mean look at him, look at this album at all, it's instrumental, drums play their role - they're here just to make atmosphere, voice is almost not used.
But guitar is part for itself. And no, I will not tell more to guitar topic, it should be clear now, or it will be not. I mean, after listening of course. He plays with it, or when on stage does strange, but interesting looking things, he enjoys this fame and music business at all. He seems maybe little bit "cocky" or tiny little bit "arrogant" to me, but it's his choice. He has skills to behave like that, he has fans, so it doesn't matter.
Oh yeah, the music. It's not bad, from rock point of view. It's well composed album, it has many twists in guitar style (because he can handle them), but there's something which is concerning me. Prog point of view. There is situation worse. 3-4 stars. It's good, it's undoubtable, but how is it progressive ? In fact quite a lot, every guitar virtuos pushes limits little bit further, because of mere playing style. It's something new, what not so many people can do, so it's progressive just from definiton. And I have a good feeling about this album, so I'm gonna give it four. Not five, that would be bad.


Missouri River Heritage Assoc. Bythe Chevy line, derived from the American Chevy Nova, was presented.
The current S10 and Blazer exemplify this strategy. Nihon rekishi Language: Enjoy cocktails on the porch overlooking a pastoral scene and a wonderfully prepared meal.
Isobe Koyodo, Showa 2  1 v. Dedham former parish workhouse, The Pachaug State Forest offers trails for hikers, snowmobilers, and horseback riders.
Inin order to reduce costs in the Argentine market, General Motors decided to manufacture in Argentina and started producing a sedan, a roadster, a truck chassis and the Chevrolet Double Phaeton, now called "Especial Argentino", a model exclusively designed for the Argentinean market.
The Organization and minutes of the Gloucester County Court, some loose papers pertaining to our earliest court, also Gloucester County ear mark book, Chinese Our county and its people--a descriptive and biographical record of Bristol County, Massachusetts, prepared and published under the auspices of the Fall River News and the Taunton Gazette, with the assistance of Alanson Borden.
Martinez y Rodriguez p. The Spanish prize was brought into Bideford with riches valued at around 15, pounds. The hub at the centre of the T contained the Master's quarters. Calendar of Ormond deeds,Edited by Edmund Curtis. Public records, North Carolina ; reel no. Huntington Beach Central Library, This classic Connecticut town green is a beauty.
Marriage bonds Title of reel Here they were besieged.
Ostertag,   p. Lexden and Winstree mortuary from the north-west, From River Road, views of Mystic Seaport on the opposite bank of the river convey a shipbuilding community in the early s. Three of those farms have been used by the same families continuously for almost years.
In a horse-drawn omnibus taking people to a fair in Torrington fell off Bideford Quay into the River Torridge, and eight people were drowned. Ina cottage at the east side of the Colchester Road was converted to become Wivenhoe's parish workhouse.
Lots of season special events celebrating coastal New England history and culture. The new workhouse was built in at the south side of the London Road in Stanway. Con palabras preliminares por Enrique de Gandai.


Cassette tape professionally dubbed on high-performance Chrome Plus tape featuring uniform output between 50 Hz and 20kHz. White cassette shells with double-sided machine printed black imprint. Three panel full-color J card professionally printed, scored, and cut. Purchase includes digital download from the Sooper Store.
"Grill Billyenz is a rapper with an ear towards the future, creating a unique sound that's hard to categorize but oh-so easy to listen to."


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Negro in Virginia (1940)
Compiled by Workers of the Writers Program of the Work Projects Administration in the State of Virginia. Sponsored by the Hampton Institute.Continue Reading »
Garrison, William Lloyd
William Lloyd Garrison (December 10, 1805 – May 24, 1879) – Abolitionist and Editor of The Liberator By Catherine A. Paul "I will be as harsh as truth, and as uncompromising as justice. On this subject I do not wish to think, or speak, or write, with moderation.… I am in earnest—I will not equivocate—I will not… Continue Reading »
Healy, Bishop James Augustine (1830-1900)
James Augustine Healy: The First African American To Be Ordained a Roman Catholic PriestContinue Reading »
Brown, William Wells (1814-1884)
William Wells Brown – Anti-Slavery Lecturer, Groundbreaking Novelist, Playwright and Historian Introduction: William Wells Brown was an African American anti-slavery lecturer, groundbreaking novelist, playwright and historian. He is widely considered to have been the first African American to publish works in several major literary genres. Known for his continuous political activism especially in his involvement with the anti-slavery… Continue Reading »
Gage, Matilda (nee, Joslyn) (1826- 1898)
One of the most radical, far-sighted and articulate early feminists, Matilda Joslyn Gage was deliberately written out of history after her death in 1898 by an increasingly conservative suffrage movement. Equal in importance to Susan B. Anthony and Elizabeth Cady Stanton, Gage is all but unknown today. (Source: Matilda Joslyn Gage Foundation)Continue Reading »
William Lloyd Garrison, "On the Death of John Brown" (1859)
On December 2, 1859, John Brown was executed by Virginia authorities in Charles Town for his ill-fated raid on the federal armory at Harper's Ferry. Soon after word of his death reached Boston, William Lloyd Garrison, the leading abolitionist in the United States at the time, gave this stirring tribute to Brown.Continue Reading »
Kelley, Abby
Abigail (Abby) Kelley was an influential Quaker anti-slavery reformer and a women rights activist who provided inspiration and courage to the women who organized the 1848 Seneca Falls Woman's Rights Convention. Her activism in Seneca Falls led to the formation of the Wesleyan Methodist Congregation with their public anti-slavery stance and free speech commitment.Continue Reading »
John Brown was a controversial figure who played a major role in leading the United States to civil war. He was a devout Christian and lifelong abolitionist who tried to eradicate slavery from the United States through increasingly radical means. Unlike most abolitionists, Brown was not a pacifist and he came to believe that violence was necessary to dislodge slavery. He engaged in violent battles with pro-slavery citizens in Kansas and Missouri, and led a raid on the federal munitions depot at Harper's Ferry.Continue Reading »
No Compromise with the Evil of Slavery: A Speech by Wm. Garrison
In 1854, William Lloyd Garrison gave a speech in which he opened with: "I am a believer in that portion of the Declaration of American Independence in which it is set forth, as among self-evident truths, "that all men are created equal; that they are endowed by their Creator with certain inalienable rights; that among these are life, liberty, and the pursuit of happiness." Hence, I am an abolitionist. Hence, I cannot but regard oppression in every form-and most of all, that which turns a man into a thing–with indignation and abhorrence. Not to cherish these feelings would be recreancy to principle. They who desire me to be dumb on the subject of slavery, unless I will open my mouth in its defense, ask me to give the lie to my professions, to degrade my manhood, and to stain my soul. I will not be a liar, a poltroon, or a hypocrite, to accommodate any party, to gratify any sect, to escape any odium or peril, to save any interest, to preserve any institution, or to promote any object. Convince me that one man may rightfully make another man his slave, and I will no longer subscribe to the Declaration of Independence."Continue Reading »
Southern Scenes in 1846
This lengthy entry is from The Library of Congress's American Memory. It is a copy of a pamphlet prepared, published and sold as "Facts for the People of the Free States." It is a significant document insofar as it reports on the reality of slave treatment and the influence of Southern States on the politics and policies of the federal government in the year 1846.Continue Reading »
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Trump exposed as prosecutors make first move in high-stakes chess game
Donald Trump at the US-Mexico border on Wednesday, when Weisselberg reportedly surrendered to authorities. The charges represent the start of a process that could crack the secretive Trump empire wide open. Photograph: Reuters
The charges against Allen Weisselberg might seem small fry, but the threat to those higher up the food chain is mounting
Dominic Rushe in New York
@dominicru
Fri 2 Jul 2021 02.30 EDT Last modified on Fri 2 Jul 2021 11.45 EDT
Michael Cohen sounded giddy on the latest episode of his podcast, Mea Culpa. Allen Weisselberg, a key lieutenant to Donald Trump, Cohen's former boss, was about to be charged alongside Trump's company with tax fraud.
"This case is being prosecuted like a mob case. And that means they are starting at the bottom of the tree, and working their way up, by getting the smaller fish to flip with pressure on people like Weisselberg to rat on their former boss of bosses!" Cohen said, gleefully mixing his metaphors.
Trump Organization tax-crime charges: what it all means
Cohen knows this score. Trump has been under investigation by New York's top prosecutors for three years – in large part thanks to Cohen, once his trusted lawyer. Cohen – who once said he would "take a bullet" for Trump – turned on the former president as he was sentenced to 36 months in prison for crimes including facilitating illegal payments to silence two women who allegedly had sex with Trump.
On the surface, the Weisselberg charges did seem like "smaller fish". In an interview with Politico, Trump's lawyer Ronald Fischetti said: "It's like the Shakespeare play Much Ado About Nothing. This is so small that I can't believe I'm going to have to try a case like this."
But surfaces can be deceptive.
After three years of subpoenas, supreme court hearings and existential legal rows about the legality of charging a president of the United States with wrongdoing, New York's fearsome prosecutorial team have charged a little-known 73-year-old accountant with defrauding taxpayers of $1.7m over 15 years. That is big money for most people, but not an amount that would worry Trump, who Forbes calculates is worth $2.4bn.
Downplaying the significance of this week's indictment would, however, be a mistake. Alongside Weisselberg, Manhattan district attorney Cyrus Vance, and the New York state attorney general Letitia James also charged the Trump Organization with tax fraud, the start of a process that could crack the secretive Trump empire wide open.
The salvo in the long-brewing legal battle will, at the very least, wrap up Trump for years in legal woes, and at worst could destroy his family business and put not just Weisselberg but the Trump family members who run his business and Trump himself in the dock.
The indictment would "raise the unprecedented prospect of a former president having to defend the company he founded and has run for decades against accusations of criminal behavior," Cohen cooed.
No longer insulated by claims of presidential protections, Trump faces a flotilla of legal actions. Alongside the charges brought this week against Weisselberg and the Trump Organization, Vance and James are investigating questionable payments to former Trump sex partners and whether the value of real estate in his company's portfolio was manipulated to defraud insurance companies and banks and to generate unlawful tax breaks.
In some ways, the charges against Weisselberg give us a glimpse of the bumpy road ahead for the former president.
"This has been framed as a 'fringe benefits' issue,'" said the University of Chicago Law School professor Daniel Hemel, an expert on taxation and federal courts. "Another way of looking at it is that the Trump Organization was paying its CFO [chief financial officer] under the table."
Such a move – if proven – would be an extraordinary thing for a company the size of Trump's to have done, and will probably lay the groundwork for what's ahead.
One parallel case Hemel pointed to was the prosecution of Leona Helmsley, the late Manhattan hotel empress and long-time sparring partner of Donald Trump.
Helmsley v Trump was a Manhattan feud for the ages. Trump was an admirer of Harry Helmsley, the billionaire property tycoon who once owned the Empire State Building. Leona Helmsley not so much. He once called her a "disgrace to humanity". Helmsley simply said: "I hate Donald Trump."
Leona Helsmley, who was sentenced to four years in jail for tax evasion. Photograph: Rex Features
In 1988 the Helmsleys were charged with evading more than $4m in income taxes. In another historical twist, the charges were brought by Rudy Giuliani, then federal prosecutor and more recently one of Trump's staunchest allies.
The following year, Helmsley – her husband was too sick to stand trial – was sentenced to four years in prison after being found guilty on 33 counts of tax evasion including fraudulently charging a $1m marble dance floor for their private mansion to their hotel and real-estate empire.
"These are things that are unequivocally not business expenses," said Hemel. Even Trump agreed, saying shortly after Leona Helmsley's death that it was "foolish" for her husband to have committed tax evasion "because he was such a rich man".
Given that sentiment, why would the Trump Organization – allegedly – cook the books for such relatively small sums?
The coming cases may provide an answer. Both Weisselberg and the company deny any wrongdoing, and have said they will fight the case in court, but the cases will blow open Trump's finances, something he has fought hard to prevent, even going as far as to go against recent presidential precedent and refusing to release his tax returns.
But while there are many similarities between the polarizing property plutocrats Trump and Helmsley, Trump's case is in many ways unusual.
First, said Hemel, it's highly unusual a business as large as Trump's would engage in these kinds of alleged tax frauds. With its army of lawyers and accountants, it should have been easy enough for his advisers to find perfectly legal ways to avoid paying taxes – just as ProPublica's revelations have shown his billionaire peers have done.
Second, when a tax-avoidance scheme is exposed as potentially open to prosecution, it is highly unusual for businesses to fight those charges. The normal course of action is to apologize and pay up.
Add on that in this case the man at the top is a former president of the United States and: "Everything about this case is unusual and everything about it is political," said Hemel. "That doesn't mean the district attorney is wrong to go after it."
Trump Organization and senior executive charged with tax crimes
In the high-stakes chess game Vance and James are now playing against Trump, this is an opening move that immediately threatens one of their opponent's key pieces.
Weisselberg has worked for the Trump family for close to 50 years. Outside the family, and arguably inside, no one knows how the Trump business really operates better than him. His two sons have worked with Trump. Jennifer Weisselberg, one of his son's ex-wives, is a key witness for the prosecution and has handed over what her lawyer, Duncan Levin, describes as 10 banker's boxes of evidence to the authorities.
The pressure is on for Weisselberg to flip but his indictment also puts pressure on Trump insiders lower down the tree.
Robert Mintz, a former federal organized crime prosecutor and now partner at law firm McCarter & English, said: "Complex white-collar fraud cases are very difficult to prove, and generally require more than financial records to demonstrate clear evidence of criminality. Prosecutors typically build these cases with the benefit of a cooperating witness who can walk them through the documents and add an insider's perspective to the conspiracy."
As Cohen pointed out this week Trump can no longer hold out the promise of a presidential pardon to his allies. Facing potential ruin and jail time, will Weisselberg stay true? And as the charges keep coming, where will others decide their loyalty lies?
"Loyalty is hard to maintain when it can put you in jail," said Hemel.
US crime


Chelsea striker Alvaro Morata is statistically the best striker in Europe this season in terms of headed goals, scoring his fifth of the season against Newcastle United.
The Spain international has shone since moving to Stamford Bridge from Real Madrid in the summer transfer window, and is a particular threat in the air on this evidence.
According to stats from WhoScored, Morata's fifth headed goal of the campaign is now more than any other player in Europe's big five leagues of England, Spain, Germany, Italy and France.


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Advancement Rights Percolate Beneath Delaware Trade Secrets Lawsuits
Assume you represent a company and suspect a departed executive is competing unfairly by using the company's trade secret information. Further assume you have a case with, at least at first blush, a strong set of facts and a motivated client which wants to move quickly. But like most trade secrets cases, the suit is going to cost a lot of money and take a great deal of discovery to resolve.
How do you feel about advising your client that it may need to pay the ex-employee's legal fees as the case proceeds?
This is the reality of trade secrets lawsuits, particularly against former officers and directors of Delaware corporations. Delaware has a broad public policy that encourages individuals to serve in officer and director roles. To entice that service, Delaware corporate law allows, and virtually all company bylaws adopt, broad advancement rights.
So what is "advancement"?
The concept simply refers to a corporation's obligation to front (or, advance) legal expenses that an officer or director incurs by reason of her service to the company. Unlike indemnification, advancement means that an officer or director may have a right to receive regular payments to defray legal expense as the proceeding develops over time.
Importantly, this advancement right even can apply when the officer or director sits in an adversarial position to the company, as the officer or director would in a trade secrets misappropriation case. I have highlighted above the phrase "by reason of" because it is central to many disputes over whether an individual is properly entitled to advancement of legal fees.
Delaware courts have provided a helpful definition for this key phrase: it simply means there must be a "causal connection" between the underlying proceedings and one's official corporate capacity. See Homestore, Inc. v. Tafeen, 888 A.2d 204, 214 (Del. 2005).
There are a growing number of cases that apply the official capacity test to trade secrets cases. The courts finding advancement rights in these cases reason that where a claim is based on misuse of confidential information learned in an individual's official corporate capacity, that claim is one that qualifies as being brought "by reason of" her service to the company. There are several cases that address this, and most look at the nature of the allegations found in the underlying complaint. An example for practitioners comes from Pontone v. Milso Indus. Corp., 2014 Del. Ch. LEXIS 152 (Aug. 22, 2014), a fairly common dispute between a company and a former officer, who competed after his non-compete agreement ended. The core allegation dealt with the officer's purported misuse of trade secrets to lure away customers and employees of the former employer.
The overarching rationale that allows for advancement is that a corporate officer would not have had access to confidential information but for her service to the company. This, courts reason, provides the essential link between the challenged conduct and the official capacity needed to meet the "by reason of" language that virtually all Delaware corporations have in their bylaws.
The advancement rights that are likely available may be limited to officers and directors, as opposed to employees. But it is essential to parse carefully the language of the state's enabling statute and the corporate charter and bylaws to see who qualifies for advancement and what the precise conditions are for receiving advancement. Though many states will follow Delaware case law, there is variation among the statutory provisions and a high likelihood that a non-Delaware entity will not provide for broad advancement rights.
So for those attorneys who are filing trade secrets cases, it is essential to evaluate the potential for advancing your adversary's costs along the way. In effect, this could double your client's litigation expense.
Posted by Kenneth J. Vanko at 8:00 AM No comments:
Labels: Advancement, Delaware
A Fool's Errand: Seizing Instrumentalities of Trade Secrets Theft
There is much debate about the companion pieces of legislation introduced in Congress that relate to trade secrets law.
Those two proposed laws are known as the Defend Trade Secrets Act of 2014 (the Senate version) and the Trade Secrets Protection Act of 2014 (the House version). The debate often centers around whether it is sensible for Congress to federalize a branch of law traditionally reserved to the States, under which a well-established body of case law already exists. There also is the perception that federal courts provide muscle that state courts cannot, and that in certain states overly taxed judges do not have the resources to handle complicated discovery disputes and the sheer pace of trade secrets litigation.
One area of friction that is starting to gain some attention concerns the federal proposal to allow for ex parte seizure orders in trade secrets cases - something that commands almost no attention at the state level. Seizure orders are common in copyright and trademark cases because the infringing good (a pirated movie, for instance) is itself a reflection of the wrong. In trade secrets cases, however, the device used to store a stolen secret - a hard-drive or a server - may have (indeed, likely has) a mostly legitimate, non-infringing purpose. The DTSA attempts to incorporate the provisions of the Trademark Act in regards to seizure order, but this fails to recognize the vast difference in the type of intellectual property which trademark law is intended to protect compared with trade secrets law.
The TSPA is, to be certain, more mindful of the problems associated with the ex parte seizure order. But in trying to be more balanced (ostensibly), the TSPA deploys a weird seven-part test that an applicant must show on an ex parte basis. As if district court judges need more seven-part tests to apply.
Part one of the test specifically requires an applicant to show that a temporary restraining order would be ineffective because the responding party would evade it. Yet, the law clearly allows federal courts to issue orders directed at parties to preserve relevant evidence. And the destruction of evidence not only leads to sanctions, but it's also a criminal act. The built-in deterrent from the common law is so strong that part one of the test is almost self-defeating. Then, there's part six of the test, which separately requires an applicant to show that the responding part would "destroy, move, or hide the property" subject to the seizure order. I have thought about this too much and still cannot see how this is any different than the part one, but I suppose someone will come up with a reason. The only "benefit" I can see is that it gives an associate three more pages of briefing to come up with in the ex parte motion.
The seventh part of the test is downright bizarre, as it states that the applicant cannot have publicized the requested seizure. This raises the obvious question of what constitutes a publication. If a company needs to reassure investors, lenders, or clients that it is taking steps to remedy trade secrets theft that includes the application for a seizure order, it seems unusual to penalize the company for such a practice and remove an otherwise viable remedy the statute provides. There's no policy rationale to discourage publication.
In opposing the new federal legislation, a group of 31 law school professors stated that they were "concerned the TSPA requires a level of secrecy about court rulings that is unprecedented." I don't believe that's the case at all, since nothing in the TSPA requires the impoundment of court orders relating to ex parte seizure applications. My concern is that existing law covers any concerns Congress may have. And the new law may stand in the way of applying that time-tested law relating to preservation of relevant evidence, expedited discovery, and the use of court-appointed neutrals to image and copy digital storage media.
I have been relatively ambivalent when it comes to federalizing trade secret law. But any law that allows for the use of ex parte seizure orders is pushing me towards favoring the current state law regime. This is simply a poor fit for a branch of intellectual property law that is qualitatively different than trademark and copyright.
Labels: Legislation, Trade Secrets
A Non-Compete Damages Overview
Companies that enforce restrictive covenants against ex-employees often face an uphill battle in proving damages resulting from a breach. It is for this reason that in the vast majority of cases a plaintiff focuses primarily on securing an injunction right away. It also is fairly clear that unless a new employer has aided the breach in some respect (for which it could be liable to an equal extent as the breaching employee) that an individual likely does not have the ability to pay a monetary judgment.
Still, it is important for plaintiff's counsel to understand the damages landscape and how to value a case. In this regard, the following damages theories might be available in a non-compete dispute:
Lost profits - The conventional method of proving contract damages is through a showing of lost profits. By definition, lost profits are speculative to a degree because they seek to project a model of economic activity in a counter-factual world. Put another way, but for the breach of the restrictive covenant, what profits would the employer have earned? Lost profits claims are delimited by the "reasonable certainty" rule, which means that a plaintiff must establish loss to a reasonable degree of certainty. Many courts confuse this rule's application. Generally speaking, it applies to the fact of damage. And once a plaintiff shows some damage, it is entitled to greater latitude in quantifying the harm - particularly where the employee's conduct has impeded quantification. In non-compete cases, a party may attempt to prove lost profits by projecting a picture of future sales from diverted or impaired customers.
Restitution - Although lost profits is likely the preferred route to establish damages, the concept of restitution also may apply in non-compete suits. Many courts hold that if a plaintiff's lost profits (or reliance) damages are unavailable due to the uncertainty in measuring the loss, a plaintiff can recover in restitution. The term simply refers to the plaintiff's interest in having restored to it any benefit the defendant achieves. Non-compete cases present an obvious case for restitution damages when a new employer has benefited from an employee's breach. The damages simply may be the new employer's own profits that are tied to the employee's breach, not those the ex-employer would have earned absent the breach.
Liquidated Damages - I have written extensively, both in this blog and in published journals, regarding the benefits of using liquidated damages clauses in non-compete agreements. The idea is that an employer can predetermine its damages by setting forth a formula in a contract. That formula then would apply if (a) it's a reasonable measure of damages, (b) the potential loss is difficult to quantify, and (c) it is not intended as a penalty to coerce contractual performance. Many cases find that non-compete contracts are well-suited to liquidated damages clauses. The reason is that the interest a non-compete protects is largely intangible. Therefore, proving specific, monetary loss always will be difficult. Drafting is essential, with the employer bearing a significant burden to show that its damages formula is reasonable. Employers would be well-advised to create a working damages model based on objective criteria that will stand up in court to the inevitable defense challenge.
Goodwill Impairment - The concept of "goodwill" is intrinsically tied to non-compete cases because many times the contract protects this intangible business interest. Goodwill is nothing more than a company's expectation that its customers will remain with the firm. Since a non-compete violation can result in a permanent loss of customers beyond the covenant's duration, a damages analysis relying on goodwill impairment is another possible means of recovery. In some respect, it overlaps with a projection of future profits so the two analyses shouldn't result in a duplicate damages claim. Although expert testimony is not needed to prove lost profits, it likely would be required if a plaintiff sought to prove goodwill impairment. The reason is that any goodwill impairment analysis should incorporate some sort of regression analysis to explore the relationships among variables that may affect a business's going-concern value.
Assessing damage in a non-compete case frequently is an afterthought. Counsel for both plaintiff and defendant should examine exposure as quickly as possible, even if the facts concerning liability will be the initial focus in the case.
Labels: Goodwill, Liquidated Damages, Lost Profits, Non-Compete Agreement, Unjust Enrichment
Advancement Rights Percolate Beneath Delaware Trad...
A Fool's Errand: Seizing Instrumentalities of Trad...