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Steelworkers Mourn Lynn Williams
Steelworkers across the continent today are mourning the passing of Lynn Williams. One of North America's most influential and respected labour leaders of the 20th century, Williams, 89, died Sunday in Toronto.
Williams served as International President of the United Steelworkers (USW) from 1983 to 1994. He was the first Canadian labour leader elected president of a major international trade union. He led the Steelworkers union through one of its most difficult and turbulent periods, amidst dramatic industrial restructuring and upheaval in the 1980s and 1990s. He developed new bargaining techniques and played a leading role in the structural readjustment of the North American steel industry.
Lynn Russell Williams joined the Steelworkers in the late 1940s while working at the John Inglis factory in Toronto. He rose through the union's ranks and served more than two decades in elected positions on the USW's International Executive board, including Ontario Director and International Secretary. He was the first union leader to hold executive leadership roles with the Canadian Labour Congress (CLC) and the American Federation of Labor and Congress of Industrial Organizations (AFL-CIO).
During his tenure as USW International president, Williams founded the Steelworkers' Organization of Active Retirees (SOAR) to harness the power and influence of union pensioners. SOAR has grown into a force of labour, political and social justice activism in Canada and the U.S.
Williams was appointed an Officer of the Order of Canada in 2005. In 2007 the City of Toronto named a street in his honour, in the redeveloped former industrial neighbourhood where he began his career.
A private funeral service for Williams' immediate family is planned. A date will be announced in the near future for a memorial service for friends, union members and the public.
Posted on May 5, 2014 May 5, 2014 Author TorySandCategories Labour News
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Coronavirus conversations featured in new OHSU Science Café series
Virtual science talks organized by OHSU's Oregon National Primate Research Center
February 03, 2021 Portland, OR
OHSU's Oregon National Primate Research Center is hosting a series of online Science Café talks that focus on the coronavirus pandemic that will run every Thursday evening in February 2021. (Getty Images)
Learn about the science of the coronavirus pandemic, through a series of Science Café talks hosted by Oregon Health & Science University's Oregon National Primate Research Center.
OHSU organizes two informal public discussions about science each year to share noteworthy research efforts involving OHSU's Oregon National Primate Research Center. OHSU's Science Cafés are being held virtually during the coronavirus pandemic.
6 to 7 p.m. Thursdays, Feb. 4 to 25:
Christina Lancioni, M.D.
Feb. 4: "Vaccines 101: A Vaccine Primer"
Christina Lancioni, M.D., will discuss how vaccines work, the various types of vaccines and what they can (and can't) do.
Lancioni is an associate professor of pediatric infectious diseases in the OHSU School of Medicine who also runs a research lab at OHSU Doernbecher Children's Hospital.
Feb. 11: "How Safe Are Vaccines?"
Mark Slifka, Ph.D. (OHSU/Kristyna Wentz-Graff)
Mark Slifka, Ph.D., will answer vaccine-related questions and address vaccine fears in this question-and-answer session with attendees.
Slifka is a professor of molecular microbiology and immunology in the OHSU School of Medicine and a senior scientist in the neuroscience division of OHSU's Oregon National Primate Research Center.
Feb. 18: "How did we get here?"
Daniel Streblow, Ph.D.
Daniel Streblow, Ph.D., will discuss how the novel coronavirus led to a global pandemic and what researchers still need to learn about the virus.
Streblow is a professor of molecular microbiology and immunology in the OHSU School of Medicine and a senior scientist at the OHSU Vaccine and Gene Therapy Institute.
Feb. 25: "Outlook for the Future"
Okoye Afam, Ph.D.
Afam Okoye, Ph.D., will discuss how long the pandemic might last, how herd immunity will play a role in returning to "normal" activities, which behaviors should continue after the pandemic and more.
Okoye is an associate professor at the OHSU Vaccine and Gene Therapy Institute and an associate scientist at OHSU's Oregon National Primate Research Center.
All Science Café talks will be live-streamed online.
Each hour-long talk features a presentation by an OHSU expert. Viewers are asked to register and submit questions in advance by sending an email to onprcoutreach@ohsu.edu.
Previous Story OHSU steps up to vaccinate Oregon Next Story Stroke care dwindles worldwide during pandemic, study finds
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Afam Okoye
Afam Okoye, Ph.D.
Christina Lancioni
Christina Lancioni, M.D. (OHSU)
Mark Slifka, Ph.D. (2019)
Mark Slifka, Ph.D., professor at the Oregon National Primate Research Center, 2019. (OHSU/Kristyna Wentz-Graff)
Daniel Streblow, Ph.D., professor of molecular microbiology and immunology in the OHSU Vaccine and Gene Therapy Institute, OHSU School of Medicine. (OHSU/Kristyna Wentz-Graff)
Mark Slifka, Ph.D.
OHSU steps up to vaccinate Oregon
SARS-CoV-2 reacts to antibodies of virus from 2003 SARS outbreak, new study reveals
OHSU stands up drive-through COVID-19 vaccine clinics

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United States New York
9 Great Manhattan Bars With Fireplaces
Warm Up This Winter at One of These Cozy NYC Bars
Elissa Garay
Elissa Garay is a freelance writer that specializes in travel writing. She is based in New York and has covered the both the city and state for TripSavvy since 2014.
Photo credit: Shoolbred's
On a cold winter night, nothing beats warming up while sitting by the fire, stiff drink in hand. Of course, finding a fireplace in Manhattan is easier said than done. Happily, you can put away that portable heater, and stop watching those yule logs on YouTube, thanks to this list of 10 cozy Manhattan bars that have a fireplace just waiting for you.
With booths in the front, and a lounge area in the back, Art Bar in the West Village attracts an eclectic clientele, which makes sense given its decor. The fireplace is located in the back of the bar, where you can stretch out on sofas or unwind at a small table. 52 8th Ave., btwn Jane & Horatio sts.; artbar.com
Molly's Shebeen
Established in 1964, Molly's Shebeen touts itself as the most traditional Irish bar in New York City. This Gramercy pub has sawdust on the floors and a working fireplace. Molly's also has brunch, lunch, and dinner menus with pub favorites, such as shepherd's pie, corned beef and cabbage, and lamb stew. 287 3rd Ave., btwn 22nd & 23rd sts.; mollysshebeen.com
If you're looking for high-end cocktails to go with your fireplace (or vice versa), look no further than Employees Only. This West Village cocktail lounge is home to several experienced mixologists and boasts a fine dine-in menu, as well. It gets crowded, so keep that in mind for claiming that coveted fireplace space. 510 Hudson St., btwn 10th & Christopher sts..; employeesonlynyc.com
Kingston Hall
A chic spot located in the East Village, Kingston Hall can take people by surprise. Walk under the unassuming awning up to the second floor, where you'll wind up in a nicely put together lounge, with elegant decor and a fireplace by the pool table. 149 2nd Ave., 2nd Fl., btwn 9th & 10th sts.; kingstonhall.com
The third location in the Bar and Books family, this Upper East Side cigar bar on Lexington enforces a casual yet stylish dress code befitting the civilized look and feel of the space. If you're okay with wafts of fragrant smoke, you can enjoy the fireplace with a scotch and a fine cigar in hand. 1020 Lexington Ave., btwn 72nd & 73rd sts.; barandbooks.cz/lexington
Brandy Library
This upscale TriBeCa lounge looks like a chic library, but its shelves are all stocked with spirits rather than books. This is a swank spot to enjoy high-end beverages while sinking into leather couches. The fireplace completes the ambiance, as does the piano, which is used for live music on most Mondays. 25 N. Moore St., btwn Hudson & Varick sts.; brandylibrary.com
Harlem Public
Harlem Public is a boon to the neighborhood, offering a robust beer selection and good food, as well. There's a fireplace in the corner to keep the space nice and cozy, but be forewarned that it can get packed inside on weekends (come early to stake your claim). 3612 Broadway, btwn 148th & 149th sts.; harlempublic.com
Bookmarks Lounge in the Library Hotel
If you travel up to the top floor of the Library Hotel in Midtown, you'll arrive at Bookmarks Lounge. In addition to having some nice views of Manhattan thanks to a glassed rooftop, there's also a fireplace where you can cozy up and enjoy a drink. 299 Madison Ave., btwn 41st & 42nd sts.; libraryhotel.com
Looking for more ways to warm up? Try one of these 8 Great Spots for Hot Chocolate in NYC.
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10mm 1D NO.1 304L stainless steel plate . US $1100-2600 / Ton . 1 Ton (Min. Order) (1) 3 YRS . Wuxi Xiangxin Steel Import And Export Limited Company. ... Stainless steel plate can be made according to the customers requirements. It can be customized as per the customers' request. Q. What about the quality9 According to the standard for production.


text:
Hortus Regius Panhormitanus aerae vulgaris anno MDCCLXXIX noviter extructus Septoque ex indigenis, exoticifque plurimas complectens plantas
by Bernardino da Ucria [Aurifici, Placido Michele]
Pages : (10), vi, 498
Collection : Library of Prof. Chris Humphries
Publisher : Edizioni Grifo
Facsimile reprint of the original 1789 edition, with Preface by G. Scalisi and Introduction by F.M. Raimondo. Bernardino da Ucria (1739-1796) was a Franciscan friar with an interest in botany and the Linnean system of classification. He was appointed demonstrator in botany at the University of Palermo in which capacity he was involved in the establishment of the Palermo Botanic Garden. This work comprises a catalogue of plants in the Botanic Garden, arranged according to the Linnaean system, with diagnoses of genera and species, and with notes on their wild origins in Sicily and their medicinal uses. Original text Latin. Preface and Introduction in Italian.
Orig. cloth. Fine.
Other titles from the collection : Library of Prof. Chris Humphries
Click to view all titles in this collection...
A Revision of the Macaronesian Genus Argyranthemum Webb ex Schultz BIP.
Humphries, C.J.
Panbiogeography. Vol. I, IIa, IIb
Croizat, L.
Biodiversity Assessment. A Guide to Good Practice. A Review and Field Manuals
Jermy, A.C. (Ed.)
Space, Time, Form: The Biological Synthesis
Life and Letters of Thomas Henry Huxley
Huxley, L.
Aspects of Tethyan Biogeography
Adams, C.G.; Ager, D.V. (Eds)


Lynwood is a growing and peaceful community, and we thank you for choosing Lynwood as your home.
The village website is an important communication tool to keep you informed of upcoming events and happenings in your community as well as a great resource for questions and concerns you may have about Lynwood. We encourage all residents to explore the site, a free monthly electronic newsletter that will keep you abreast of village happenings.
Again, we welcome you to Lynwood. If we can be of assistance, please call us at (708) 758-6101.


JAMAICA, N.Y. — U.S. Customs and Border Protection (CBP) Officers at John F. Kennedy International Airport seized 1,213 counterfeit $100 dollar bills.
On February 21, 2014, CBP Officers selected Marlon Williams Rodriguez Ezeta for a random baggage examination. Rodriguez Ezeta, 21, was returning from Lima, Peru and presented one checked suitcase for inspection.
During the examination of his checked bag, the officer removed a cardboard diary box. The inside cover was sliced open revealing what appeared to be counterfeit U. S. $100 bills.
In total, $121,300 in counterfeit U. S. currency was concealed in one diary box, two wallets, one fabric box, and two cloth shoe racks. Mr. Rodriguez Ezeta was placed under arrest, and the counterfeit $100 bills were seized. The counterfeit currency and all evidence have been turned over to the Secret Service for further investigation, and Mr. Ezeta will be prosecuted by the U. S. Attorney's Office Eastern District.
"CBP has a diverse mission, and this counterfeit currency seizure illustrates the vigilance of our CBP officers," said Robert E. Perez, Director of CBP's New York Field Operations.
"The men and women of Customs and Border Protection at JFK Airport continue to provide invaluable assistance to the U.S. Secret Service in the battle against counterfeit U.S. currency entering the United States. The JFK Resident Office of the U.S. Secret Service maintains a close professional relationship with CBP and all law enforcement agencies at JFK and LaGuardia Airports as we carry out our investigative and protective missions," said John McQuade, Resident Agent in Charge, USSS JFK Resident Office.


Computer Admin Lite is a powerful and easy-to-use database for asset management. Asset Management: Consolidate your computer hardware and software information: computer name, OS, peripherals, serial and asset id numbers. Computer Admin Lite gives you the ability to search by virtually any criteria and includes a variety of helpful reports. Compliance: Maintain a catalog of all software licenses and where each license is installed. Flexibility: Computer Admin can import data from any tab or comma delimited file as well as SYLK, DIF and WKS spreadsheets and FileMaker Pro databases. This gives you the ability to easily consolidate multiple files and eliminate duplication of work across departments. You can also export from Computer Admin Lite to the same formats for sharing information throughout your organization. Reporting: Print a report of all company hardware and software assets. Create a snapshot report of an individual computer including all installed software and registration codes.


The various games include trick taking games, card exchange games, persistence games, shedding or accumulating games, casino games and collectible games. The kind of card game is determined by the amount of players as well as their interest. It's also in line with the rules of game, the ability of players and also the time required for any game.
Trick taking games are games with differing play structure. Including bridge, euchre, hearts, pinochle, whist and piquet. These games use the idea of trick. Each player puts one card during each trick. The different sorts of trick taking games are positive trick taking games, exact conjecture trick taking games and final trick games. Players may take many methods in positive trick taking games. In other trick taking games, players may take methods on some kind of contract. Card exchange games include rummy games and card passing games. The aim would be to collect a mix of cards.
Persistence games consist of merely one player and competitive persistence game. In persistence games, the gamer moves them based on specific rules. Solitaire games are single player games. The various kind of solitaire games are ace of pile, freecell and concentration. Competitive games include spite and double solitaire. Gambling games can also be known as casino games. You will find beatable and unbeatable kinds of casino games. Beatable casino games include Blackjack, poker games and electronic poker games. Baccarat, Roulette, 3 card poker and keno are unbeatable casino games.
The goal of a shedding game would be to get rid of all cards as quickly as possible. Shedding games include crazy eights, speed and 1. The goal of a build up card game would be to accumulate all cards as you possibly can. Farmville includes seven spades, war and snap. Collectible games can also be known as customizable games. They're performed utilizing a specifically designed pack of cards. Prepaid credit cards follow some rules. The subset of those cards can be obtained. The subset comprises starter set, theme pack and starter deck. Modern collectible games are games. Miscellaneous games, multi genre and imaginary games are other kinds of games.


Described by its own practitioners as anything from the drain clearer to the handmaiden, or even the Cinderella of literary studies, textual criticism may not be glamorous, but its defenders insist on its necessity. After all, if no definitive, authoritative edition exists — or so goes the argument — how can literary scholars carry out the work of interpretation? In an ironic twist, the task of textual criticism has expanded over the last twenty years to include not only the production of scholarly editions but also the study of textual transmission for its own sake. The thousands of variants in the New Testament textual tradition are no longer simply a means to an end (the original text) but evidence of theological diversity, scribal practice, and the social world of early Christians.
So argues Bart Ehrman in the last essay of the volume, "The Text as Window: New Testament Manuscripts and The Social History of Early Christianity." The article was included in the first edition, published in 1995 (and also in a collection of Ehrman's essays in 2006), and it is among the twelve essays that have been wholly revised for publication in this second edition alongside seven completely new chapters and nine rewritten by new authors. What are the revisions and what can they tell us about the changes in the field since 1995? In an attempt to use Ehrman's method on his own work, I collated the concluding paragraph of "The Text as Window" from the two editions to see if I could use Ehrman as a window through which to view textual criticism over the last twenty years.
Leaving aside non-meaningful variants (e.g., the change from "MS" to "manuscript"), the meaningful changes are important, though subtle. In the 1995 edition, Ehrman wrote that textual critics had "only begun to prove as assiduous in pursuing the history of the text's subsequent transmission" as they had been in establishing the original text of the New Testament. In 2013, the text states, "Critics have been less assiduous in pursuing the history of the text's subsequent transmission." This is a small but surprising change. In 1995, the promise of a new kind of textual criticism was great. Ehrman's 1993 The Orthodox Corruption of Scripture interpreted certain textual variants as evidence of Christological debates in the second and third centuries. Several books in a similar vein followed, notably Wayne Kannaday's Apologetic Discourse and the Scribal Tradition and David Parker's The Living Text of the Gospels. Parker named this new appreciation for variants and their social-historical contexts "narrative textual criticism," and it was hailed by some as the New Philology. Yet Ehrman's emendation signals to the reader that although scholars had "only begun to prove as assiduous" as textual critics in 1995, twenty years later they have reverted to being disappointingly "less assiduous" in the investigation of variants for their own sake.
The second edition indeed shows that the bread-and-butter of New Testament textual criticism has remained basically the same. Out of twenty-eight chapters, the vast majority covers primary sources (sixteen chapters) and methods (seven), and the focus of all of these remains firmly in the realm of traditional textual criticism. Thoroughgoing and reasoned eclecticism, the categorization of texts and text groups, and the philological evaluation of readings are still the familiar mainstays of discussion.
Though the field may be basically the same, it is certainly not unchanged, and the other two changes in Ehrman's text reflect two major shifts. First, the words "the autographs" have been excised from the following statement in the older version: "Indeed, barring extraordinary new discoveries (e.g., the autographs!) or phenomenal alterations of method, it is virtually inconceivable that the physiognomy of our printed Greek New Testament is ever going to change significantly." The notion that biblical autographs could be unearthed was naïve even in 1995, and certainly Ehrman intended his aside tongue-in-cheek. Today, discovery of the autographs is deemed impossible, not because of the inevitable ravages of time, but because the very meaning of the term is debated. In fact, whether or not the Gospels "are the kinds of texts to have originals" (Parker's words) is under review. Epp's watershed article, "The Multivalence of the Term 'Original Text'" effectively brought the debate over the terms — and ultimately the goals — of New Testament textual criticism front and center. Michael W. Holmes presents the history of competing terms ("original text," Ausgangstext, "authorial text") and their ideological positions in this new edition, and Juan Hernández Jr.'s fully rewritten "Modern Critical Editions and Apparatuses" emphasizes the changing role of the standard text and apparatus of an edition. Rather than an authoritative (and mythical) "original text," today's standard or baseline texts are presented as provisional. Apparatuses, in turn, are no longer marginal (both literally and figuratively) but serve as an open invitation for readers to participate in the creation of texts for themselves.
The last change in Ehrman's concluding paragraph involves the addition of "the social world of the scribe" to a list of historical information variant readings might provide. There has been a definite increase of interest in the lives of scribes (beyond the analysis of variants in James R. Royse's "Scribal Tendencies") and of early Christians via textual criticism, as evinced by the addition of Kim Haines-Eitzen's "The Social History of Early Christian Scribes" and Peter M. Head's "Additional Greek Witnesses to the New Testament (Ostraca, Amulets, Inscriptions, and Other Sources)." The latter especially shows the growing use of textual criticism to explore the material, everyday lives of early Christians, which can be loosely traced back to Larry Hurtado's The Earliest Christian Artifacts: Manuscripts and Christian Origins. Similarly, in a new paragraph of his revised chapter, Parker calls for greater study of the artwork, miniatures, and decorative embellishments in the majuscule manuscripts of the New Testament not only in order to date them but also to better understand scribal practice.
While the variants in the concluding paragraph of Ehrman's "The Text as Window" certainly provide an entrée into discussing significant changes in the field and, appropriately, to the second edition, a particular portion of Ehrman's paragraph that remains unchanged gives me pause. The sentence containing the excised words "the autographs" otherwise remains mostly the same in the 2013 version: "Indeed, barring extraordinary new discoveries or phenomenal alterations of method, it is virtually inconceivable that the character of our printed Greek New Testament is ever going to change significantly." Judging by the lack of variation, one could assume that there have been no "extraordinary new discoveries or phenomenal alterations of method" since the first edition.
If Ehrman means that there have been no game-changing archaeological discoveries in the last twenty years, then I would have to agree with him. But to imply that there have been no important changes in method ignores the creation and implementation of the Coherence Based Genealogical Method (CBGM) at the Institut für Neutestamentliche Textforschung in Münster, a method that could justly be termed a "phenomenal alteration" to how things are done in textual criticism. Discussed in nine chapters of the new edition, including every chapter on method, the CBGM has been hailed as "equal to any past advance" in textual criticism from Lachmann onwards. The details of the method cannot be discussed here, but suffice it to say that it comprises a spectacular combination of elements that includes traditional philology, sophisticated software, and full transcriptions of all continuous Greek manuscripts, so that the relationship of a text to every other extant text can be analyzed at every point of variation. The CBGM is now the engine behind both the Editio Critica Maior and the Nestle-Aland 28th edition [see the MRB review of NA28]. Because it deals with comprehensive sets of textual data, older profile methods (e.g., the Claremont Profile Method) and even time-honored classifications of texts are no longer necessary. If the CBGM does not qualify as a "phenomenal alteration in method," then what does?
One could argue that collating Ehrman's article is a pretty far-removed way to survey the changes of textual criticism in the years between the first and second editions, that Ehrman never expected or intended his alterations to indicate shifts in the field. But these arguments are exactly those that weaken the text-as-window or variants-as-window methods. As Ernst Colwell stated in 1968, "Granted that a number of variant readings have been theologically motivated, would any serious student of the history of theology turn to these as a major source? Is it not true on the contrary that we can be sure of theological motivation for a variant reading only when the history of theology of that manuscript's time and place is already well known?" It is with information gathered from primary works of textual criticism that I am able to create a context explaining Ehrman's variants, not because they provided much evidence themselves. The text is not a window through which we see what happened. At the most, it is a window we see when standing within a lighted house in the night: we see reflected in it our own image, knowledge, and reconstructions. Any glimpse of the dark past outside is only dimly perceived through our shadow.


text:
Brains behind Diesel launch BLK DNM online
Marie Claire February 21, 2011 10:51 am
BLK DNM is the brain child of Johan Lindeberg, former CEO of Diesel and personal stylist to Justin Timberlake. Now he's launching a brand new retail concept with the world's first e-only clothing line, available exclusively for download.
BLK DNM is the brain child of Johan Lindeberg, former CEO of Diesel and personal stylist to Justin Timberlake. Now he's launching a brand new retail concept with the world's first e-only clothing line, available exclusively for download.
The New York-inspired BLK DNM (pronounced 'Black Denim') has denims, leathers and casual-but-cool separates. There's no S/S or A/W season and you have up to a year to return anything you don't want. There's also a denim fit guide and lots of fashion films on the super-cool website.
The range will sell almost exclusively in its online shop, with a handful of BLK DNM stores set to open in LA, NYC and London next season.
You'll encouraged to handle the product in person but buy from the online inventory – how we do enjoy a shopping trip with no bags to drag home!
http://us.blkdnm.com
CLICK HERE FOR MORE FASHION NEWS


FAKT will receive the prestigious scholarship of German Academy Rome "Villa Massimo".
We are very happy to announce that we are invited to Rome for one year starting September 2019 within the scholarship of the German Academy Rome Villa Massimo – the most important award for German artists abroad.
We are showing FAKT 067 "House for 1 to 4 families" in the exhibition "Artefakte des Entwerfens" at TU Berlin.
an ephemeral installation project at "Tempio di Miverva" in rome, italy.
Our design for a visionary neighborhood in Aachen, D received one first prize in the IBA Parkstad competition for projective housing.
FAKT 062 got awarded with one of two second prizes.
Sebastian Felix and Jonas will be leading a master studio and elective course for FAKT at the Dessau International Architecture Graduate School from this semester on.
published in Hochparterre Grundrissfibel Schulbauten! find our competition project FAKT 004 Primarschule Riethüsli printed in this new publication.
FAKT awarded "materialPREIS 2015" in the metal category for 034 montpellier installation.
2nd phase entry, Bauhaus Museum Dessau, FAKT 040.
our design for "Bauhaus Museum Dessau" was selected for the final round, being one of 30 projects in the second phase. FAKT + Vogt Landschaftsarchitekten.
FAKT 032 cloudscape, montpellier realized. the structural installation in the courtyard 6 rue trésoriers de la bourse, montpellier has been completed. the project works as a progressive experiment both spatially and structurally. its aluminum structure clear spans 6.4m x 4.5m with only two sheets of 2mm thickness each. festival des architectures vives montpellier 2015, 10-14 june.
FAKT 022, GM1 house, conversion / refurbishment ongoing.
FAKT is invited to realize an installation in montpellier that will be on display june 10th-14th.


Plant height is similar to Kompolti's height. General difference from other varieties is the sexual ratio. Females are dominant in the F1 generation, and partly dominant in the F2 generation. Presence of monoecious plants in F1 is common. Seed form and thousand seed weight of F1 generation is the same as in the case of Kompolti hemp as since for it is the maternal variety. The vegetation period of a variety cultivated for fibre is about 110 days from germination. UNIKO-B has high seed production capacity in F1 generation, because of the dominance of female plants and the F2 generation can be used only for fibre production.
Its stem yield is very good: 10-11 t/ha as well as its fibre content (28-31%). For fibre quality high fineness and favourable ratio of primary fibre is characteristic. The THC content is under 0,2 %.


text:
Two ex-cons, one an ex-cop-gone-wrong, one a…
Unlikely friends: Convicted murderers, one an ex-Oakland cop, team up to mentor inmates
Years after leaving San Quentin State Prison, men return with message of hope
Douglas Butler, 70, of Berkeley, and Glenn Bailey, 76, of Oakland, from left, pose for a photograph in Oakland, Calif., on Thursday, June 1, 2017. Butler and Bailey both served time in San Quentin for murder but now work together in a re-entry program for formerly incarcerated people leaving the prison. (Anda Chu/Bay Area News Group)
By Tammerlin Drummond | tdrummond@bayareanewsgroup.com | Bay Area News Group
PUBLISHED: June 9, 2017 at 6:15 a.m. | UPDATED: June 13, 2017 at 6:20 p.m.
OAKLAND — More than 41 years after Glenn Bailey went to prison for killing two of his drug accomplices, he finally walked out a free man.
Since April, the Oakland resident has been going into San Quentin State Prison on Sundays to share survival advice with inmates at the facility where he served 21 years. His unlikely partner on these excursions is Doug Butler, an ex-Oakland cop who arrested him back in 1972 and, in an unusual twist, ended up serving 20 years in prison himself for a drug-related murder. Bailey said he never blamed Butler for arresting him, and the two men have forged a friendship that grew from their mutual desire to help inmates serving long sentences.
"I had always said that I would never go back, but when I was released, I heard that it gave so many other people motivation and they were thinking, 'Hey, man, I can do it,'" said Bailey, 76, who was paroled from Solano State Prison in 2013.
When Bailey was released, Butler, who had been paroled in 2004, contacted him. Butler was working at Men of Valor, an Oakland nonprofit that provides transitional housing to former inmates and helps them find work.
"I just felt like it was the thing to do," Butler said. "There is a special camaraderie among men who do long prison terms."
http://www.eastbaytimes.com/wp-content/uploads/2017/06/glenn-bailey-return-to-san-quentin-l.mp3
At 6 feet 5 inches, Bailey is an imposing figure. He was a barber who cut the San Quentin wardens' hair. Still, there were rumors that the Black Guerrilla Family, a prison gang, had put out a contract on him. He said he sold marijuana to different prison factions, which put him on everyone's good side.
Butler, 70, who is bespectacled and professorial-looking, walked a fine line as a former cop. When prison officials segregated him for his personal safety, he asked to be allowed into the general population, a courageous move for a police officer, one of the most hated inmates. While working in the law library, Butler said he helped a member of the Mexican Mafia with his legal case, and they in turn put out the word to leave him be.
http://www.eastbaytimes.com/wp-content/uploads/2017/06/butler-on-prison-l.mp3
Glenn Bailey, left, and Doug Butler outside San Quentin State Prison on April 23, 2017. (Courtesy of Doug Butler)
Their paths first crossed in 1972.
Bailey was one of two suspects in the double murder of Stanley Bryant, 42, and Marie Collins, 24, who had been found shot to death in a Rockridge apartment May 13, 1972. According to prosecutors, Bailey had feuded with the victims over pure cocaine that he and Bryant had stolen in an armed robbery two months earlier. In a traffic stop, Butler and his OPD partner, Victor Grant, pulled over Bailey in his green Cadillac Eldorado and took him into custody. He was eventually sentenced to 55 years to life for murder at age 32.
Twelve years later, Butler's life was spiraling. He was no longer a cop. He said he'd started using meth and cocaine and was dealing drugs. One June morning in 1984, he shot Elbert Jones, a 52-year-old assistant apartment manager, to death over a drug dispute. Butler, then 37, was sentenced to 25 years to life in prison for second-degree murder.
Butler went to five prisons before landing in San Quentin in 1993, a few days after Bailey had been transferred to Solano. Once he arrived, he said he took full advantage of all the self-help programs the facility had to offer. He signed up for classes in anger management and Narcotics Anonymous. At age 57, he was paroled after serving 20 years.
Butler said an OPD officer he'd once worked with gave him $2,000. Acts Full Gospel Church Bishop Bob Jackson gave him the Men of Valor job. Over the years, he's become a local activist advocating for opportunities for formerly imprisoned people. He's now program manager at Cypress Mandela Training Center in Oakland, which runs a free 16-week boot camp to help participants — including some who were formerly incarcerated — get construction jobs.
Since 2013 he's been returning to San Quentin to mentor inmates, including some of those he left behind. In April, he got permission from prison officials to bring Bailey in with him.
The men meet with small groups of inmates in the newsroom of the San Quentin News, the prisoner-run newspaper. They encourage inmates to take responsibility for their lives and take advantage of the prison education opportunities. They dispense tips from their own experiences for preparing for parole board hearings and coach inmates on how to answer questions to increase the likelihood of a successful hearing outcome.
Butler tells the men to keep in touch with the district attorney who prosecuted their case and to provide updates on their prison accomplishments. That's because, he said, the DA will testify at the inmates' parole hearing. Butler also helps inmates who will soon be released connect with transitional housing.
http://www.eastbaytimes.com/wp-content/uploads/2017/06/doug-butler-on-parole-l.mp3
"It's huge when they come back modeling what success looks like," said Juan Haines, a senior editor for the San Quentin News who has served 21 years of a 55 years-to-life sentence. "They're helping people who have had that same experience navigate their way out in a safe and healthy way."
Bailey said he was fortunate. His sisters took him in. Then, he moved into shared housing with a friend in West Oakland, near where he grew up. His wife, who lives in Nevada, shares her Social Security income with him. But many of those paroled have nothing to fall back on. They get released with $200 and an indelible scarlet letter. By going back into San Quentin, Bailey said, he wants to provide hope to those still there and show them they too can make it.
"I'm now beginning to see the good in all the wrong I did, " Bailey said. "I'm just going back and sharing with people, because everyone can't do what I did. Everyone can't survive."
On Friday, Butler will be featured in the Welcome Home Project exhibit that includes the personal narratives of 20 formerly incarcerated men and women from Alameda County who have transformed their lives after serving long prison sentences. The event will be held from 5:30-7:30 p.m. at the John O'Lague Galleria in Hayward City Hall, 777 B St.
Tammerlin Drummond | Reporter
Tammerlin Drummond is a reporter covering East Bay culture and a former columnist and editorial writer for the Bay Area News Group. Drummond was a 2014 Nieman fellow. She won a Sigma Delta Chi Award for a series on Oakland's child prostitution epidemic and was a finalist for a California Newspaper Publisher's award for an editorial investigation of elder financial abuse. She is a former Miami Bureau chief for Time and a staff writer for the Los Angeles Times. She is a proud Oakland resident.
tdrummond@bayareanewsgroup.com
Follow Tammerlin Drummond	@tammerlin
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Goodnight Punpun by Inio Asano, Goodnight Punpun Books available in PDF, EPUB, Mobi Format. Download Goodnight Punpun books, A Japanese manga about Onodera Punpun, a normal child depicted in the form of a bird. The story follows him as he copes with his dysfunctional family and friends, his love interest, his oncoming adolescence and his hyperactive mind.
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The Run Around
The latest news from the children's museums field
ACM Updates
Views from the Field
December 7, 2020 Hand to Hand
Creating the 'Wow-Aha!' Exhibit: An Interview with Paul Orselli, POW!
Posted by childmuseums
This article is part of the "Exhibit Planning in 2020: Thinking Now about Where We Hope to Be in the Future" issue of Hand to Hand. Click here to read other articles in the issue.
Mary Maher, Editor/Interviewer
For nearly forty years, Paul Orselli has worked to create inventive and playful museums and exhibits. He is now the President and Chief Instigator at POW! (Paul Orselli Workshop, Inc.), an exhibit design and development corporation he founded.
Paul has consulted on museum projects in North America, Europe, Africa, and the Middle East. His clients include the New York Hall of Science, the Exploratorium, the National Science Foundation, and Science Projects in London. He has taught and lectured at numerous universities on museum topics and has presented at professional conferences around the world. He is also a grant recipient of the Fulbright Specialist program.
Paul has also been the editor and originator of the four best-selling Exhibit Cheapbooks, published by Association of Science and Technology Centers, and has served on the board of NAME (National Association for Museum Exhibition).
MAHER: What was your first museum experience, and what led you to a museum career?
ORSELLI: When I was a little kid, my father took me on a visit to the Cultural Center in downtown Detroit, which housed the Detroit Institute of Arts. The Detroit Historical Museum was nearby. At least that's the story I tell myself. I used to kid my father when he was alive, that if he had brought me to a courtroom or a hospital that day he would've gotten a lawyer or a doctor. But instead he got a museum person. I think in the end he was quite happy with that.
On a later visit with my family to the Ontario Science Center in Toronto, we spent the whole day there. Afterwards I wrote them a fan letter saying how much I enjoyed the museum—especially the chemistry demonstrations—and asked if they could send me some of the "recipes." They send me a letter back with a photocopy of their floor chemistry demonstrations that included stuff like sulfuric acid. I remember riding my purple banana seat Sears bicycle back from school with a big bottle of sulfuric acid that my seventh grade science teacher gave me. And I did the experiments (with some near catastrophes!) from their booklet of floor chemistry demonstrations. I wish I had saved that letter!
M: Growing up in Cleveland, my family never went to museums, and Catholic schools didn't take field trips. But my dad had a boat and we used to sail around Lake Erie. On one trip with him and my two friends when I was about eleven, we docked in a little marina in Vermilion, Ohio. He handed me $10 and told us to go find some dinner. So, we walked downtown, found a hot dog stand and then a museum, the Vermilion Nautical Museum. It was in an old Victorian house. The front door was wide open, no one there. We walked in, wandered around, and saw a display of jars of an invasive species, lamprey eels, with those big sucker mouths, all sizes. These looked like green beans in a jar, grey green beans by then. My friends dared me to steal one, so I grabbed one, and we ran out, I took it back to the boat. I carried it around for years. Later, I majored in art history major, spending a lot of time in the Cleveland Museum of Art. But I didn't lift anything.
O: I just learned something about you! Great Lakes lamprey eel stealer! Holy Mackerel! No, Holy Lamprey!
M: On to exhibits. Basic question: What is an exhibit anymore?
O: Like that old question of what is a museum anymore, an exhibit can be anything. I'm averse to coming up with a dogmatic definition because the boundaries keep shifting, which is good.
Olafur Eliasson, one of my favorite living artists, does a lot of phenomenological art, playing with light, art, and motion. Some of his pieces look like high-end, very aesthetically-pleasing science center exhibits. Someone described the experience of seeing his work as a "wow" followed by an "aha." There is my definition of the exhibit.
Eliasson had a show called Look Again at the Museum of Modern Art. Riding the escalator, making this stately museum ascendancy to the second floor, you noticed something weird. Everybody moving where you were headed looked like a black and white movie. It was like a reverse Wizard of Oz. That was the "wow": what's going on? Then the "aha" when you realized a set of yellow sodium lights, perfectly aligned to the floor landing, took out the color and made everything look monochromatic. A lot of the best exhibit experiences—and they don't have to be interactive—are wows and then ahas. Seeing the Diego Rivera frescoes at the Detroit Institute of Art is a very transcendent experience. I've probably been in that space dozens of times. But it's still very, very impressive.
M: You've taught exhibit design at the Fashion Institute of Technology, Bank Street, the University of the Arts, and in places around the world. How do you begin to teach people to initiate a design process that leads to a wow-aha exhibit?
O: That's easy. It's the same process I use for myself: fall in love with what you're working on. I have to get so excited that I am just bursting to share what I've learned with other people. For example, recently, I've been working on the D&H Canal Museum in Upstate New York. I didn't know a thing about canals, much less the Delaware & Hudson Canal, which opened in 1828 and stretched from the Hudson River to Upstate New York. The exhibit development process started with a very fundamental question: why would anyone go to the trouble of digging something like this? There were no steam shovels, bulldozers, or dynamite at the time. It was all done with picks and shovels by Irish and German immigrants. They essentially created a huge watery highway, a gigantic trench, with locks—for what? Coal!
A canal was the most efficient way to move coal from Pennsylvania mines to east coast shipping ports! Basically, what I think about and what I tell students, is if you can't be genuinely excited about an exhibit, why in the world do you think a visitor would?
When I see what I consider a "bad" exhibit, it's not the idea that was bad, but the implementation. You could do a cool exhibit about anything if you can find something in the idea that is legitimately exciting for you. I once met the president of the International Sand Collectors Society. He had samples of sand from every country in the world, from locations like the Great Pyramids to Gettysburg. He even had some trinitite, a fused glass radioactive sand from the White Sands nuclear testing grounds, which was technically, probably dangerous or illegal to obtain. But nevertheless, his knowledge and enthusiasm were so contagious, that interaction got me excited about sand.
M: What important changes have you seen in exhibits in the last five years, and why do you think they are happening?
O: One of the biggest changes is the increased interaction with our audience. Museums are no longer "Moses coming down from the mount" with tablets of wisdom for visitors, who are merely the vessels to receive it. That sort of curator über alles approach has shifted, and I think for the better. Because if we really want to make our experiences as accessible to as many people as possible, we have to meet them where they are and treat them with respect, engage them to think about a topic and make them part of the process.
M: Do you know if this shift has increased attendance at museums that now work this way?
O: Speaking with Randi Korn recently on this subject, it turns out that even though the United States population is growing, museum attendance relative to that population and also across demographic strata is not growing. How do you crack that? It's a challenge to balance audience interests and needs with what a museum can offer. If a museum decided to hold a pie-eating contest and give everyone free ice cream, a lot of people would come. But is that what a museum wants to do? Would visitors attracted to this kind of activity come back? Museums are rightly saying they want to be responsive to the communities and audiences they serve, but where is the line? How do you stay true to your institution at the same time you stay true to the people you want to engage with?
That word "true" leads into a related word, which is "trust." Because if somebody feels like they are a token or you're just engaging with them to check a box or get a grant, you've broken trust. That's not how you continue any relationship, let alone a relationship between an institution and its communities. It's a tricky. But you know it when you see it. How do museums measure success? The blunt force instrument of admissions numbers are relatively easy number to come by. But what do they really mean? If your admissions numbers went up 5 percent from last year, does that mean you're a 5 percent better museum?
M: Well, admissions numbers are a measure, but they aren't the sole measure. You can't totally throw them out.
O: Well, I'll accept that you can't throw them out completely, but we over rely on them. How can we measure not just quantity but also quality of visits?
Another way to measure a museum's value relates to the stories we told each other at the beginning of this call. Some museum visits are not just one-time experiences but inspire life-changing stories. Kids visit a natural history museum, see the dinosaurs and become paleontologists. Or go to the Air & Space Museum and became an astronaut or a pilot. There are plenty of these stories, but how do you harvest them? I'm not minimizing the difficulty of this endeavor, but I am saying that what you measure and how you measure it matters. As a visitor, you can tell when a museum clicks. You go there and it feels welcoming and interesting. You're not thinking about yourself as the one millionth visitor there that day. You're just thinking, "This is an awesome place."
M: How do you begin to teach people to initiate a design process that leads to a wow-aha exhibit?
O: That's easy. It's the same process I use for myself: fall in love with what you're working on. I have to get so excited that I am just bursting to share what I've learned with other people… When I see what I consider a "bad" exhibit, it's not the idea that was bad, but the implementation. You could do a cool exhibit about anything if you can find something in the idea that is legitimately exciting for you.
M: How does a museum get this way? How is this "awesome" experience created?
O: That goes back to the authentic feelings and efforts of the people who created the museum experiences. In one of my museum FAQ video interviews with museum educator Leslie Bedford, she talks about an experience she had in a Japanese museum connected with Zen Buddhism. Sitting quietly near a placid lake on the museum grounds, she heard a plop in the lake. She didn't know if this was a natural plop or a water drop that was programmed to fall. Nevertheless, it was a very impactful moment that made her think of a haiku related to that kind of experience.
There are plenty of experiences in museums and other places where people have really sweated the details because they want to frame the possibility for something awesome to happen.
M: Children are very good at sensing a flat exhibit. They're less inhibited by social expectations, "Oh, I'm in a museum, I'm supposed to like this." They vote with their feet, or their attention span.
O: "This is boring. Let's leave."
M: In your work with museums and other exhibit designers, are you seeing any COVID-inspired changes in either the process or the product in terms of exhibit design? Are people adjusting their plans? Or, are they just waiting it out until things return to "normal"?
O: The negative, knee-jerk response is the notion of a touchless museum. I understand the motivation: we need to be mindful of our visitors' reasonable concerns about their health and safety. But simply covering up all the touchscreens, warehousing all the interactive exhibits, and making sure you have more hand sanitizer stations and floor stickers for physical distancing may look safer, but it's not a better experience. Why should I come to your museum if basically you're taking away everything that makes it a great experience?
So what's a positive response? I wrote a blog post, sort of tongue-in-check, but I suggested instead of hands-on museums we should have "feets on museums."
Bad grammar, but my point was that there are other ways to allow for physical engagement and actually increase universal design and accessibility for visitors with all kinds of cognitive capacities. A high-tech example might be a projection experience where people could use their feet— or even wheelchairs or canes—to spark a process. Even if 500 people had stepped on that floor projection thing, the 501st visitor isn't going to wig out by touching a spot with their feet. A low-tech example could involve installing a mat switch instead of a push button in an interactive exhibit. This is an opportunity to be more creative.
M: Some of the initial responses to remove the touchables came from museums trying to safely reopen as soon as they could, both to serve their audiences and for financial reasons.
O: The notion of the touchless museum hasn't gone away. You can say, "Well, we can't go back to how things were before March 2020." But a lot of people haven't internalized that verbiage. They really want to go back to how things were exactly before March 2020.
Most museums don't have a large endowment to ride out COVID-19 with no changes. They should be thinking about what they can do to provide a better museum experience for more people. Forget COVID even happened.
M: Well, that's impossible.
O: Okay, but let's just say you acknowledge we are still in the midst of COVID, but your decisions going forward are still the same whether COVID happened or not. How can we provide the best, most interesting, entertaining, fun, engaging experience and still be mindful of people's legitimate concerns—access, financial, physical, societal? That's still going to be the move five weeks, five months or five years from now if you are a great museum.
M: Some children's museums have decided not to re-open until they can offer the experience they want to, so they're going to wait until the environment is safer.
O: I applaud those museums. New York Hall of Science, a large museum in a major metropolitan area, announced that, unlike a lot of other New York museums, they're not re-opening until after 2021. That was a really tough decision. But difficult situations show you who people and institutions really are. Who are the people, the institutions, the directors, the boards, the museum workers, who made these tough decisions? Those are the museums and the leaders in the field who I want to pay attention to. Some museums are looking for creative ways to respond to immediate needs, such as a UK museum selling grocery items through its gift shop, because the local community needs them and they aren't easily accessible otherwise. Other museums are using their parking lots for deployment of COVID testing. Some museums have stepped up in ways that don't neatly fit into a pre COVID understanding of what their mission is, but they still felt compelled to respond in the ways they could.
M: But many children's museums are reopening, fully or in some capacity, for good reasons. They provide important services to children and families in their communities.
O: The question of whether—or when—to reopen relates to the question of what happens after you reopen. Anybody making predictions further out than two weeks or so is just full of beans. Too many things are changing too quickly. The reopening decision requires you to acknowledge and internalize the notion that you have to be flexible with how you're implementing any of these decisions. You can't use January 2020 benchmarks.
M: When you're working on exhibit plans in the situation we're in now, it sounds like your approach really doesn't change. You're still interested in the long goal.
O: I'm interested in both long and short goals. I have made shifts in exhibit designs that don't detract from the overall experience but clearly signify we are mindful of people's short-term concerns. For example, the D&H Canal Museum project includes a visitors' center with a big screen display. Initially, before COVID, we planned to use a standard touchscreen. But now we're looking at how we could change that interface. Over the summer months, a comfort level with some sort of hybrid interface has developed.
Recently, I was talking with a developer of a traveling exhibit that included a tactile sea animal component made from a composite material. They changed the material to bronze because of its antimicrobial qualities, which met the standards of the organizations with whom they were engaged to create this exhibit. Sum total: they kept a tactile experience but made it accessible and safe. This is how I want to be thinking. I'm not losing things, but I'm scaffolding the design so that if reality or perceptions—and perceptions might as well be reality—change, exhibit aspects can easily shift in terms of their implementation. That's just good design: creating exhibits that have various levels of implementation built into them. Like an A/B switch: things can be in this mode or that mode, but the experience is still a rich one.
If you care enough about your design, your museum, and your communities—the people you're trying to engage with — you're going to figure out how to do this within current constraints, whatever they may be, as well as can be done. Not everything can be designed that way, but the answer to the problem of designing powerful exhibit elements with enough flexibility to remain viable during a pandemic—or beyond—is NOT the touchless museum.
M: What are the key factors you see in place every time an exhibit design project is going really well?
O: Number one: robust conversations. Not everybody agrees all the time, but we can have passionate conversations conducted in a respectful way. With this "creative friction," the project ends up in a better place than if everybody was wishy-washy in mealy-mouthed agreement just to get along. Too many projects are derailed by a starchitect or a top-down management situation, which can prevent the team from building the level of trust needed for everyone to feel comfortable enough to disagree with something that just doesn't feel right or espouse ideas that aren't fully formed. If everyone always agrees or looks to one person for The Right Answer, you don't end up with the best possible product. Sometimes there are uncomfortable parts of this process, and human beings like to avoid uncomfortable situations. Sometimes one person simply speaks up and says, "this is just not good enough. I think we can do better." And oftentimes, if you listen, the exhibit actually does turn out better because of that.
M: There's a lot of talk about the learning value of failure. Many people right now are faced with situations that are not going at all the way they had planned. Have you ever worked on an exhibit that wasn't going well? How do you respond or adjust?
O: I've been in a few of these situations. If you have too much of a predetermined endpoint in mind, you are bound to fail. Because inevitably things happen. Let's say visitors are not engaging in an exhibit in ways you planned. Is that a fail, or are you going to be open enough to look at the original concept and figure out why they are doing X instead of Y? Maybe there's something you can do with that information. A seasoned designer understands that initial concepts may have to change. It only becomes failure if you don't let go of it. Unexpected turns of events can be positive.
I've spoken with a few people in my Museum FAQ interviews about management practices, including Christian Greer from the Michigan Science Center and Anne Ackerson. A common thread was the recognition that there are two types of people in every organization, including museums. The first group always wants to be on solid ground and know everything that's happening. They need that institutional memory foundation and security, which is important for one part of the organizational structure. The second group, the yin to that yang, are the pioneers, always looking for the next thing, looking to move beyond a level of certainty. During COVID times, the latter group is now saying, "The world has pushed the pause button and we can really explore new possibilities now." Meanwhile, the first group is saying, "Yeah, the world has pushed a pause button, and that means we need to pause. We need to gather our wits, retrench, and build on a strong foundation." A really good organization needs to acknowledge and work with both groups. You can't constantly be changing, you need a certain level of stability. But you also need to look at evolving and rethinking what you're doing. Otherwise you just ossify. It's instructive to think about and not just during COVID.
M: How do museums keep moving forward, and who do they need right now in the balance to keep going?
O: The pandemic has made a number of simmering issues more apparent. On top of the COVID-19-based health crisis is the concurrent economic crisis and a social justice and racial equality crisis. I don't envy any director because these are very difficult times with lots of complicating factors.
And we haven't mentioned the elephant in the room: the significant loss of museum jobs has fallen disproportionately on people of color and younger and emerging museum professionals. What does that mean for the future of the field?
Despite all the current difficulties and challenges, I am excited and optimistic about the future of museums and museum exhibits. Acknowledging two types of museum people, the yin-yang combo, trusting each other as they conduct robust conversations as they build enthusiasm for an exhibit—falling in love with the subjects—and engaging with their communities—jumping off from that base point is tremendously exciting to me. We have to change, the way we've been doing things, not just in exhibits but in the entire museum field, for all kinds of reasons that we've discussed.
If there's one thing that museum people often complain about, it's that they don't have enough time to fully consider where to go next. This massive cosmic pause button is an opportunity that we can't escape. One thing we have now is time. How do you want to use it?
Hand to HandMary Mahermuseum exhibitsPaul Orselli
Two Museums and a Design Firm: Thinking about How We Design Exhibits Now
A Novel Approach to Exhibit Interactives amid the Pandemic
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Mn: 70 % min / 75 % min , Si : 0.5 % max /
1.5 % max, P : 0.4 % max , C: 6-8%
Manganese ranks at the twelfth position in the most abundant metal in the Earth's crust. The word manganese is derived from a Latin word Magnes, which means Magnet. It comes after the three most used metals worldwide, which are iron, aluminium and copper. The largest buyer of manganese is steel industry. This industry uses as much as 90% manganese as an alloying element. There is no substitute of this metal that can match its price.
A ferroalloy with high manganese content is ferro manganese. Manganese dioxide and Iron(III) oxide are mixed with coal and coke, and heated in blast furnace or submerged arc furnace to form this ferro alloy. This ferroalloy is used in steel industry as a deoxidizer.
High carbon ferro manganese, as the very name suggests, has high carbon contents. Manganese ore and coke are used in the production of high carbon ferro manganese in arc furnace. Its demand has increased with the rise in duplex refining practices, like AOD and CLU. In India, this ferro alloy is produced in bulk. SS producers use it as raw material. Also referred as standard ferromanganese, it is directly smelted from manganese ores. The content of carbon ranges from 7 to 7.5%, while manganese content is usually between 74 to 82%.


Steven's newest addition to his famous Eclipse collection of jewelry. This sterling silver and diamond ring is the perfect compliment to the Eclipse Diamond Earrings and Eclipse Diamond Necklace that she already loves. Gift giving made easy - one more reason to hate Steven Singer!


A combined geographical index for Annie Alexander and Louise Kellogg, Carl Purpus, and Tom Schweich is available at Combined Geographical Index -- O.
Query: G.N.I.S. Oak Creek, Coconino County, Arizona.
Query: G.N.I.S. Oak Creek Canyon, Coconino County, Arizona.
Well-known canyon running generally north to south between Flagstaff and Sedona.
See also: Fish Lake Valley. Pipers. Oasis, Mono County, California.
At the south end of Fish Lake Valley near the Nevada Line. T5S, R37E, S28 and 37� 29'N, 117� 56'W. 1898.
See also: Amargosa River. Oasis Valley, Nye County, Nevada.
Along highway 95 bounded by the Bullfrog Hills on the west and the Yucca Mountains on the east. The springs here are the headwaters of the Amargosa River. 1898.
Query: G.N.I.S. Olancha Peak, Inyo County, California.
On the Sierra Nevada crest and reaches an elevation of 12,123 ft. T19S, R36E, S18 and 36� 16'N, 118� 7'W. 1896.
Query: G.N.I.S. Old Mount Whitney, California.
See also: Darwin. Ophir Mountain, California.
See also: Gold Mountain. Oriental, Esmeralda County, Nevada.
Ghost town on the west side of Gold Mountain probably near the boundary of T7 & T8S and R 41E. 1898.
See also: Owens River Lake. Owens Lake, Inyo County, California.
See also: Owens Lake. Owens River Lake, Inyo County, California.
See also: Owens Valley. Owens River Valley, Inyo County, California.
See also: Inyo Mountains. White Mountains. Big Pine. Cottonwood Creek Canyon. Keeler. Lone Pine. Owens River Valley. Owens Valley, Inyo County, California.


In residency, Dr. Shivani Sachdev Gour started training as an obstetrics and gynecology. She took in the nuts and bolts of diagnosing, overseeing and treating the issue of the female conceptive track, deal with pregnant ladies and convey babies. She likewise studied different subjects' particular to the field, of contraception, administration of menopause and treatment of conditions, for example, polycystic ovarian disorder. Gynecology is a surgical claim to fame, she as well figured out how to perform techniques, for instance, hysterectomies and laparoscopy surgery. As a residency in obstetrics and gynecology, she took four years, as per the Reproductive Resource Center.


text:
Printed from https://ideas.repec.org/a/anr/reveco/v2y2010p643-669.html
Persuasion: Empirical Evidence
Stefano DellaVigna
Matthew Gentzkow
(Department of Economics, University of California, Berkeley, California 94720, and NBER
Graduate School of Business, University of Chicago, Chicago, Illinois 60637, and NBER)
Matthew Aaron Gentzkow
We provide a selective survey of empirical evidence on the effects as well as the drivers of persuasive communication. We consider persuasion directed at consumers, voters, donors, and investors. We organize our review around four questions. First, to what extent does persuasion affect the behavior of each of these groups? Second, what models best capture the response to persuasive communication? Third, what are persuaders' incentives, and what limits their ability to distort communications? Finally, what evidence exists on the way persuasion affects equilibrium outcomes in economics and politics?
Stefano DellaVigna & Matthew Gentzkow, 2010. "Persuasion: Empirical Evidence," Annual Review of Economics, Annual Reviews, vol. 2(1), pages 643-669, September.
Handle: RePEc:anr:reveco:v:2:y:2010:p:643-669
File URL: http://www.annualreviews.org/doi/abs/10.1146/annurev.economics.102308.124309
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communication; beliefs;
D83 - Microeconomics - - Information, Knowledge, and Uncertainty - - - Search; Learning; Information and Knowledge; Communication; Belief; Unawareness
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text:
Another Opportunity For Us To Rise To The Occasion
David Artell was impressed with Blackburn Rovers' strong performance and victory over Blackpool in mid-week.
The Alex boss and members of his background staff saw Tony Mowbray's side impressively win 4-2 at Bloomfield Road and although Tony Mowbray is expected to make a handful of changes, it will be a tough assignment at Ewood Park on Sunday.
David told Crewealex.net: "We went to watch Blackburn on Tuesday evening and they are a good side. They were strong and have very good players.
"Blackpool gifted them the first two goals really, so that gave them a platform to go on and win the game. Goals change games and they deserved the victory. They played with a high intensity and we will have to match that.
"We will have to avoid playing to the occasion and focus on what we are good at. We have match winners in our team as well, so it is up to us to take the opportunity.
"I think Tony has said that he will rest a few of his players but they will be a good team whoever they put out. It's still 11v11 and we will have to play well to get a result.
He added: "We seem to do better against teams who are the favourites against us. We have already beaten Rotherham in the first round, so we have to go to Blackburn with the same belief."


The HYDAC HMG 4000 is a valuable tool used in the service and diagnostics of both mobile and industrial machines. It is used for the collection, display, analysis, storage, and transfer of data from sensors. It may be connected to a PC where the HMGWIN software is used to graph the data to view and prepare reports etc. Being a modern electronic device, there may be benefits in updating the firmware occasionally, similar then to a computer, mobile phone or tablet device. This video describes the steps necessary.
First of all, we need to establish the currently installed firmware on the HMG 4000. To do so, we select Device Settings, then Device Information. Software Version shows us that this particular device has version 1.05 installed.
We need to download the latest firmware version in order to update the HMG 4000. The software is available on the HYDAC website www.hydac.com. From here, go to Download, then Software, then Electronics. Here, you will find the Firmware file to download.
In order to install the firmware, the HMG must be connected to a mains supply, in order to avoid the possibility of the battery running out during the update process. An LED light confirms the connection to the power supply. Then, we power on the device and connect the USB memory stick to it.
Once this is done, we are ready to move our file from the USB memory stick to the HMG 4000. From the home screen, we select File Manager, then USB, and we navigate to the update folder, where we can find our file, in this case, version 1.10. Note that you can click at the bottom of the icons list on the left to see what the icons represent. We select the file; select the Copy icon and we will select the target folder into which we will copy this file. It must be placed in the folder named Updates.
We need to update the HMG 4000 using the copied firmware file. To do so, from the Home screen, we select Device Settings, then Device Information. We note that the current firmware version is still v1.05. We select Software Version and we find the update file, v1.10, and select it.
A message appears: "Using the change list, please check which effects the installation has and if it's saved files were affected by it." We select Display change list. A note appears: "After updating the device, recordings can't open with older versions. The HMGWIN version as from 4.10 must be used. Older versions of HMGWIN will no longer be able to communicate with the device". A warning message appears: "It is not possible to stop the installation once it has been started. Please, do not switch off the HMG and do not unplug the power adapter from the power supply of the HMG. The HMG restarts after the update".
A white screen appears showing the progress of the firmware update. This firmware update will only take seconds to complete. The HMG 4000 restarts and displays its home screen.
We can confirm that the update has been successful, by checking the firmware version. To do so, we navigate to Device Settings, then Device Information, and here we can see that the firmware version has been upgraded to version 1.10. The update now completed, we can disconnect the USB memory stick and charge lead at our leisure.
Click here for more information on our HMG 4000.


The Cyberinfrastructure for Network Science (CNS) Center was founded in October 2005. The Center's mission is to advance datasets and tools for the study of biomedical, social and behavioral science, physics, and other networks. A specific focus is research on the structure and evolution of science and technology (S&T) and the communication of results via science maps (see Mapping Science exhibit at http://scimaps.org).
The Center co-organizes international workshops and conferences, promotes network science and visualization at NSF workshops and NIH meetings/roadmap initiatives, organizes and finances a weekly talk series on Networks and Complex Systems and annual Open Houses, hosts about 20 national and international visitors/faculty each year, and teaches regular workshops on the infrastructures and tools it develops and supports. The Center hosts and serves powerful computing resources and it designs and serves infrastructures such as the Scholarly Database, the Network Workbench, the Epidemics Cyberinfrastructure, and the Sci2 (Science of Science) Tool. The Center has its administrative home in the School of Library and Information Science at Indiana University, Bloomington.


Happy Father's Day! It's the first day of camp and I'm having so much fun. Classes are off to a great start. I love my counselors and all the classes I signed up for. There's so much going on! You would love being here. It's only been one day and I've accomplished so much. I wanted to make you a list of all the activities and achievements of the day. I'm sure you'll be proud!
I finished all my breakfast… and I didn't even put too much syrup on my pancakes! Tomorrow, I might even go to the fruit and yogurt bar.
I got all the words right during the songs in chapel… Sunnysiders Laura M. and Katie S. did a great job leading and playing guitar. We sang "Star of The Morning," my new favorite song.
At my first tribe meeting of the year, I learned all about the personal points I get for brushing my teeth, drinking water at every meal, being on time to classes, and all of that kind of stuff. If I keep up my personal points, my tribe has a chance of winning the Banner at the end of this session.
My archery counselors taught me the parts of the bow, and all the girls in my class had a chance to shoot.
I was tired after we practiced bars, trampoline, and floor routines in gymnastics. But it was worth it when we got to play a really fun game at the end of class!
After all that work, I couldn't wait to have hamburgers for lunch. I'm pretty sure that's your favorite meal, right Dad?
Rest hour was nice, but I couldn't wait to get Twix and a Sun Drop at Trading Post.
I have to say, my favorite part of the day was making a sign for you, Dad. If you look through the pictures, you might see me holding it.
I heard all about Merrill S. and how amazing she was in climbing. She learned all her knots, climbed the tower, AND climbed the grotto. It was amazing!
After all that, I couldn't wait to go to kayaking at the lake. The water felt great and I learned how to do a wet exit, a hip snap, and a T-rescue.
I got to see the divers learn a 3-step approach… I wish I had signed up for that class. They were having a blast.
Camp craft was my last class. Once I learned how to properly pack a backpack, I did a relay race and my team won!
I walked over to the cooking class and tried some of the delicious treats they made. The Sunnyside class made banana, pumpkin-chocolate chip, and lemon bread. I could have eaten a whole loaf!
I ate all my fried chicken, mashed potatoes, and green beans at dinner. It was so good… but Mom's cooking is still a little better.
All that was left was Inferno. It was our tribal evening activity where we tried to both put out other tribe's fires and also accomplish activities to help earn logs for our own tribe. I swam for my tribe and earned a log to help keep our fire alive! At the end of the night, all of the teams worked so hard, but the Choctaw came out the winners!
I went to bed right at taps. I was exhausted… And that was only day one!
This place is starting to feel like home… I can't wait to see what tomorrow holds!
Your favorite Merri Mac girl!


These cookware pots are ideal for the boiling of tomatoes or vegetables for preservation or canning. The pots are also designed for the boiling of glass canning jars directly boiled in the pot. Many restaurants/caterers use our pots in their commercial kitchens day in and day out, enjoying the quality and craftsmanship of these pots.
Note: Pot is ALL brushed stainless steel. There is no mirrored finish on the upper pot.