Judgment is like cholesterol: There's a 'good' kind and a 'bad' kind. My friend Angela calls the good kind of judgment "discernment.' The bad kind, she calls 'the enemy of love.' "It doesn't matter what situation I go into," she once told me while suffering through a spell of the bad kind, "I can always find something wrong with it. If it's not the weather, it's people's clothes, or the way they're talking. Whatever it is, I hate it." You can't win with your inner judge: it even judges itself for judging. Sometimes that judgmental state feels like a sword driven right into the delicate fabric of your consciousness. Any feelings of love or relaxation or peace you might have been nurturing are chopped to bits. Whether you're judging others or yourself, it's impossible to aim negative judgments in any direction without experiencing the sharp edges of judgment within yourself. Doubly so, in fact, since the faults we judge most harshly in other people usually turn out to be our own negativities projected outward.
Linda, a gifted and intelligent woman, has a rebellious streak that she's been trying for years to suppress. When she was in graduate school she was caught shoplifting and nearly lost her job as a teaching assistant. In later years, she liked to engage in sexual brinkmanship-intense flirtations with much younger men, many of them her students. Nowadays, she prides herself on her ability to spot the hidden lawlessness in others, and because she rejects it in herself, she rejects it in them. She once drove a colleague out of her teaching position by spreading rumors about the colleague's affair with the father of a student. She'll say, with a straight face, that her sense of purity is so powerful that it will always point out the impurity in the people around her. It doesn't seem to occur to her that the 'impurity' she sees in others mirrors behavior she rejects in herself.
But of course, I'm being judgmental here, and what's more, taking a certain satisfaction in it. That's the problem: unleashing the inner judge can give us a quick hit of superiority. We feel authoritative and smart when we can wield a skillful insight, pinpoint our parents' mistakes, the faults of the current administration, the pretenses of our friends, teachers, and bosses. Moreover, judgment fuels passions-the sense of injustice, sympathy for the underdog, the desire to right wrongs. It helps us get up off the couch and into action. For many of us, in fact, judgment and blame offer a kind of emotional caffeine, a way of waking ourselves out of passivity.
It's a good question, and one that every one of us who decides to work through our judgmental tendencies has to answer at some point. After all, the critical intellect is indispensable. The absence of critical feedback is what makes tyrants, dictators, and bad decisions. Without discernment, we mistake emotional heat for real love, and states of mindless trance for meditation. Discernment-or viveka, as its called in Sanskrit-is also the quality that will ultimately allow us to make the very subtle spiritual decisions about what we ultimately value, what will make us happy, and which of the many competing inner voices are important.
So here's the question: How can we discern when something is wrong without being judgmental, without disliking the perpetrators, without filling our own mind with negativity? On the inner level, how can we change our own difficult personality traits, our fears and tensions and resistances, without judging them or judging ourselves for having them? Is it even possible to eliminate the 'bad' kind of judgment, without losing the good kind? The No-Fault Perspective Let me mention one thing at the beginning: despite our tendency to confuse them, judgmental blaming and discernment have as little to do with each other as dogs and cats. In fact, they come from entirely different levels of our psyche.
According to traditional yogic psychology, discernment is a quality of the buddhi, a Sanskrit word that is sometimes translated as intellect but which really means the higher mind, the seeing instrument that our inner Self uses to observe the play of our inner world and make decisions about what is of value and what is not. Discernment is an awareness, often wordless, a clear insight that is prior to thoughts and emotions.
Judgment and blame, on the other hand, are products of the ahamkara, usually called the ego, that part of the psyche which identifies 'me' with the body, personality, and opinions.
Ego has its uses-after all, if we couldn't create a boundaried sense of 'I', we wouldn't be able to engage as individuals in this fascinating game we call life on earth. The problem with ego is that it tends to extend its portfolio, creating structures that block our connection with the inner Self, with the joy and freedom that is our core. When that happens, we find ourselves assuming what is sometimes called the false self.
Not to be confused with our natural personality (which, like the structure of a snowflake, is simply the unique expression of our personal configuration of energies), the false self is a coping mechanism. Usually devised in childhood, it is a complex of roles and disguises cobbled together in response to our culture and family situation. The false self claims to protect us, to help us fit in with our peers, and to keep us from feeling naked in a potentially hostile world, but actually functions like badly fitting armor, or like a costume that is always threatening to fall off. Because it is fundamentally inauthentic, when we're inside our false self we often feel clueless, as if we're getting away with something and at any moment will be unmasked.
Blame is one of the smokescreens that the false self throws up to keep itself from facing the pain of our human fallibility. Blaming, like anger, creates drama, movement, action—it is, as politicians know, one of the greatest of all diversionary tactics. If you look at what happens inside you when you feel unhappy, confused, or threatened by a situation, you may be able to catch the moment when blame arises. First, there is the discomfort, the sense that something is wrong. This feels unpleasant, and the ego doesn't like unpleasantness. So it squirms, looking for a way to resist or avoid the feeling. At this point, you start to explain to yourself why you feel uncomfortable, and to look for how you can fix it. Often you do this by looking for someone or something to blame for the situation that has created discomfort. You may blame yourself, thus creating guilt. You may blame someone else, feeling like a victim or perhaps like a potential hero coming to the rescue. You may blame fate, or God, which usually creates a feeling of nihilistic despair. In any case, you will have created a screen to separate yourself (at least momentarily) from the initial feeling of discomfort.
The irony here is that if we could let ourselves feel the discomfort without assigning blame, that very discomfort would connect us to our real source of wisdom and strength. The feeling that something is wrong is actually a signal. At the deepest level, it's a direct communication from our inner self, our authentic self. Feelings are expressions of the life-force-the inner power that the yogic tradition calls shakti. If we can catch them when they first arise,-before we start to assign blame or find fault or rush to judgment-they will often give us the information we need to understand any situation. Not only that, they will, when we acknowledge feelings of discomfort without trying to escape them, we automatically put ourselves back in touch with our authentic self, which is the source of real discernment.
Of course, when we've pushed away our feelings for a long time, they become hard to recognize and even harder to interpret. That's why it so often it takes a crisis, a meltdown, to get the false self to abandon its defenses long enough to hear the messages our feelings want to give us.
When I was in my early twenties I was married to a man who worked in the film business. Making films involves months of 18-hour days, often in strange places, and since I was a journalist, and my profession was theoretically portable, it seemed to make sense that I should travel with him. In practice, however, that meant that I often found myself sitting in hotel rooms, waiting for my husband to come home. I hated the powerless feeling this gave me, but at the same time, I was too emotionally dependent on my husband to stay away. In my conflicted state, I would pick fights, and the fights would escalate, and eventually we would find ourselves locked in a struggle to prove the other wrong.
One day, I had to leave for an interview right in the middle of a particularly intense argument. Mega waves of anger were running through me, and what was even worse was my confusion-the issues behind the conflict were so murky that I couldn't figure out which of us was wrong!
But I didn't have time to obsess about it. I had to do the interview. I watched myself slip out of the emotions that were consuming me, and slip into my professional self. As I considered the questions I was going to ask, I actually forgot about my anger.
When the interview was over, I noticed that I was still standing outside my anger. At that moment, I realized that I had a choice. I could re-enter the zone of anger, the zone of he-did-this/I-did-that, or I could stay in this zone of relative objectivity, and consider the situation from a different perspective.
I chose objectivity. I asked myself, "Why does it matter so much that you be right?" Almost immediately an answer arose: "Because I don't believe that I can change. So if I admit a mistake, it's like admitting that I'm permanently flawed." "Why is that so terrible?" I asked. There seemed to be no answer to that question-only a feeling of fear and despair. That feeling felt huge, primal. As I let myself feel it, I saw that in some way it was controlling my life, and that I did not want to live inside that feeling any more. Whatever it took, I knew I had to pull myself out of this swamp of pain.
That realization was a true turning point in my life. In hindsight, I'd say that it marked the beginning of my inner journey, starting a process of self-questioning that led me, two years later, into meditation. At the time, though, the most immediate result was a feeling of compassion both for myself and for my husband. There was no longer any question of blame. We were just two human beings on different life trajectories, struggling to stay together when it was obvious that we were moving in nearly opposite directions. My problem, I saw, was not him. It was the fact that I was out of touch with my real self.
Over the years, as meditation and inner practice have made me familiar with my own ground, the self that lies behind the masks, it's become much easier not to blame. That choice is always there presenting itself, of course. When the feeling that 'Something's wrong' surfaces, I can let the discomfort propel us into the old scripts ("Who's fault is this?" "What have I done wrong?" 'How can these people act that way?"). Or I can stop, recognize the discomfort as a signal to pay attention, and ask "What am I supposed to understand here?" or "What is this feeling telling me?" or simply, "What's behind this feeling?" If I take the first road, I inevitably find myself saying or doing something that comes out of the ego's fearful need to prove itself right. The result is often painful and always ineffectual. If I take the second road, I experience a clarity that lets me act intuitively, with a clarity that seems to come from beyond my personal self. When I act with discernment, it's often because I've resisted the tendency to blame.
So, here's a principle: If you want to switch channels from blaming to discernment, start by paying attention to the feelings that arose right before you started the blame spiral. Find out what they have to show you.
Think of it as a process of retracing your footsteps. When you find yourself blaming-either yourself or someone else-ask yourself, "What was the feeling that started all this?" Be patient, because it might take a few moments to become aware of what the feeling was, but when it does, let yourself stay with it, focus in it. Then turn inside and ask, as if you were asking the feeling itself, "What perception lies behind this feeling? What is this feeling telling me?" The perception might be something totally unexpected–an insight into yourself, a realization about a situation. It might be that there's something you need to handle, something you've buried which is now surfacing through feelings of anger or sadness. You might realize that its time to act in a situation that you've been letting slide., or that you need to stop struggling and let a problem resolve itself on its own.
This process of self-inquiry, if you stay with it, can give you practical solutions to questions about your life. It can also shift your inner state quite radically. Real discernment, I've always found, starts with the willingness to ask questions. If we keep asking those questions, we often get to the place where there are no answers at all, the place where we are just?present. Judgments dissolve in that place. Then we don't have to strive for discernment, discernment is as natural as breathing.
© Copyright 2005. Sally Kempton/Dharana Institute. All Rights Reserved.


After I finished Whole30 a few months ago, I started getting up at 6am to write in the mornings. Pumped on adrenaline and confidence after going thirty days without sugar (or dairy, or bread, or alcohol), I was convinced I could do anything I set my mind to—including waking up before the sun.
This quickly became my favorite habit, starting each day by candlelight in my quiet office. I wrote lots of things … lists, prayers, essays, e-mails to my kids. I consumed entire cups of hot coffee, a miracle in itself. After an hour or so, I'd greet the kids with a smile on my face, refreshed and ready to start the day. My tank was full. There is something to be said for consuming 200 milligrams of caffeine before seeing your children on any given morning.
Gone are the days of eating Cheerios on the couch and watching cartoons in our pjs. Our new routine forces us out the door at 7:45am, which means the minute our feet touch the floor we are hustling to finish breakfast, get dressed, brush our teeth, comb our hair, pack snacks, remember the homework, get our shoes on, etc.
Gone are the lazy afternoons of jumping on the trampoline for hours on end. Three nights a week belong to soccer, which means our afternoons are short, our dinners are rushed, nobody can ever find the soccer socks, and bedtime has become later and later.
I fell off the bandwagon, is what I'm trying to say.
It started slow, after a late night of soccer. I moved my alarm up to 6:15 thinking those fifteen extra minutes of sleep would buy me the rest I desperately craved. Then 6:15 became the new normal and when my husband left town for a week, I bumped my alarm up to 6:45 because the stomach bug was running through our house and do you know how exhausting it is to solo parent while also cleaning vomit out of the carpet? Very. It's very exhausting.
Once 6:45 became the new normal, it started to get cold, which made it even harder to get out of bed, which meant I started snoozing the alarm until 7. I needed to wait until the heater kicked on, obviously.
I'm failing at writing in the mornings, is what I'm trying to say.
I was feeling pretty bad about it until I remembered Daylight Savings is this Sunday. Imagine that! An extra hour falling out of the sky—a fresh start, a chance to reset and re-dedicate myself to the morning pages.
I know social media will be full of memes about children getting up early come Monday, but the good news is: we are in charge of our own attitudes. I might be tempted to roll my eyes when I hear tiny feet running down the hallway at 6:15. I could be annoyed with the interruption, throw my hands in the air and give up. Or, I could toss some Cheerios on the couch, turn on Paw Patrol, head back to my candlelit office and shut the door.
I think I'll choose the latter.
Want to join me? Monday morning, 6am. Let's do this thing.


text:
Cameo Picturehouse
38 Home Street, Edinburgh, EH3 9LZ
Cinema Introduction
Getting Help and Assistance
Approach (Home Street)
Outside Access (Main Entrance)
Outside Access (Cameo Bar Entrance)
Cinema Foyer
Eating and Drinking (Cameo Bar)
Screen(s) (Cameo 1)
Accessible Toilet(s)
Level Change (Standard Female Toilets)
Level Change (Standard Male Toilets)
You are on Cinema Introduction. Skip to the next section.
Cinema Information View
The cinema has 3 screens in total.
There are 2 screens with designated seating for disabled visitors.
The screen(s) with designated seating is/are located to the right as you enter the screens corridor from the foyer.
The screens with designated seating include; Cameo 1 and Cameo 2.
There is not an IMAX screen.
There is not a 4DX screen.
Advanced bookings are available.
Concessions are available.
Tickets are free for carers.
Visitors cannot use the Cinema Exhibitors Association Card at the cinema.
Some films are rotated between screens to allow access.
Some films can be audio described.
Headsets are used for the audio description.
Some subtitled screenings are available.
Autism friendly screenings are not available.
Dementia Friendly screenings are shown here. Please contact the cinema for more information.
Assistance dogs are welcomed in the cinema screen(s).
You are on Getting Help and Assistance. Skip to the next section.
There is a member of staff available for help and assistance.
Staff receive disability awareness/equality training.
There is not a member of staff trained in British Sign Language.
Staff do not receive deaf awareness training.
British Sign Language interpreters cannot be provided on request.
There is not an assistance dog toilet or toileting area at the venue/nearby.
Water bowls for assistance dogs are available.
There are not mobility aids available.
You are on Getting Here. Skip to the next section.
By Road View
The venue is located in central Edinburgh in the Fountainbridge area, around 600m south of Edinburgh Castle. There are close links to venue on the A702 from the A8, A71/A70 and A700/A701/A7 roads.
Blue Badge parking is generally available around the venue and public parking is located off Riego Street underneath Princes Exchange (Bank of Scotland/Lloyds).
By Bus View
There is a bus stop within 150 metres of the venue.
There is a bus stop directly outside the venue and another across the street which are served by bus route numbers 10, 11, 15, X15, 16, 23, 27, 36 and 45.
By Train View
The nearest Railway Station is Haymarket.
The nearest station is Haymarket and the main central Edinburgh Waverley station is also fairly close with good public transport links or taxi services available.
For more information on National Rail please click here (opens new tab).
By Tram View
The nearest tram stop is Haymarket.
The nearest tram stop is at Haymarket which is linked by bus or close if using taxis.
For more information on Edinburgh Trams please click here (opens new tab).
You are on Public Parking. Skip to the next section.
On Street Standard Parking View
Standard on street parking is available.
Public Car Park View
There is a car park for public use within approximately 200m (219yd).
The public car park is located on Riego Street.
The name of the car park is on Princes Exchange Car Park.
Drop-off Point(s) View
There is not a/are not clearly marked drop-off point(s).
Some Greenway areas and Loading Bays allow Blue Badge parking.
There may be limits on days and times of parking which are signposted.
There is lift or stair access up to Lauriston Place from the public car park.
You are on Approach (Home Street). Skip to the next section.
Approach View
The surface of the approach is stone/concrete tiles.
The approach surface is uneven in places.
There is step free access on the approach.
You are on Outside Access (Main Entrance). Skip to the next section.
Entrance View
This information is for the entrance located at the front of the building.
The entrance area/door is clearly signed.
There is ramped/sloped access at this entrance.
There is a canopy or recess which provides weather protection at this entrance.
The entrance door(s) does not/do not contrast visually with its immediate surroundings.
The bell/buzzer is in a suitable position to allow wheelchair users to gain access.
The door(s) is/are double width.
The door(s) is/are heavy.
The width of the door opening is 200cm.
Ramp/Slope View
The ramp/slope is located in front of the entrance.
The gradient of the ramp/slope is slight.
The ramp/slope is permanent.
There is a level landing at the top of the ramp/slope.
There is not a/are not handrail(s) at the ramp.
You are on Outside Access (Cameo Bar Entrance). Skip to the next section.
This information is for the entrance located at the side of the building, on Lochrin Place.
There is not a canopy or recess which provides weather protection at this entrance.
The main door(s) open(s) away from you (push).
The door(s) is/are permanently held open.
There is a second set of doors.
The door(s) open(s) towards you (pull).
There is a small lip on the threshold of the entrance, with a height of 2cm or below.
There is not a level landing at the top of the ramp/slope.
You are on Getting Around. Skip to the next section.
Access View
There is step free access throughout the majority of the building.
There is/are 4 clearly marked step(s), with a handrail on the right going up, for access to the bar.
The height of the step(s) is/are between the recommended 15cm and 18cm.
The going of the step(s) is/are between the recommended 30cm and 45cm.
The steps can be bypassed by using the separate entrances. Photographs 5 and 6 show the steps.
The type of flooring in corridors/walkways is carpet, vinyl and wood.
There is some flooring in corridors/walkways which includes patterns or colours which could be confusing or look like steps or holes to some people.
There is some flooring in corridors/walkways which is shiny and could cause issues with glare or look slippery to some people.
Handrails with a rounded or oval profile are provided in some corridors/walkways.
There is good colour contrast between the walls and floor in the majority of corridors/walkways.
The lighting levels are good.
Signage View
Wayfinding signage is provided.
The colour, design and typeface of signs is consistent throughout the building.
Audio View
This venue does play background music in public areas.
Music is played in the bar.
You are on Cinema Foyer. Skip to the next section.
Cinema Foyer View
The cinema foyer is located ahead as you enter.
There is step free access to the cinema foyer.
There is step free access throughout the foyer.
The type of flooring in the foyer is carpet and vinyl.
There is flooring in the foyer which includes patterns or colours which could be confusing or look like steps or holes to some people.
Wayfinding signage is available.
The foyer does not play background music.
There is bench seating only in the foyer.
Food and Drink Counter(s) View
There is a/are food/drink counter(s) within the foyer.
The counter(s) is/are located to the right as you enter the foyer.
The nearest counter is approximately 13m (14yd 8in) from the main entrance.
Clear signage for the counter(s) is not visible from the entrance.
There is step free access to the counter(s).
There is a clear unobstructed route to the counter(s).
There are not windows, TVs, glazed screens or mirrors behind the counter(s) which could adversely affect the ability of someone to lip read.
The counter(s) is/are not placed in front of a background which is patterned.
The lighting levels at the counter(s) are good.
The height of the counter(s) is/are medium height (77cm - 109cm).
There is sufficient space to write or sign documents on the counter(s).
There is not a/are not lowered section(s) of the counter(s).
Clipboards can be provided to anyone who is unable to use the counter(s).
There is not a hearing assistance system at the counter(s).
Plastic/takeaway cups are available.
Drinking straws are available.
There are menu boards/signs and wall menus available.
Menus are not available in Braille.
Menus are not available in large print.
Picture menus are not available.
Menus are clearly written.
Menus are presented in contrasting colours.
Staff can bring food/drink to screens if required.
Tickets can be purchased from the food/drink counter(s).
You are on Eating and Drinking (Cameo Bar). Skip to the next section.
The following information is for the restaurant/bar.
The restaurant/bar is located to the left of the building.
Full table service is not available.
Food and/or drinks are ordered from the service counter.
Food and/or drinks can be brought to the table.
The height of the service counter is high (110cm+).
There is not a lowered section of the counter.
There is not a hearing assistance system.
There is ample room for a wheelchair user to manoeuvre.
This area does play background music.
The type of flooring in this area is wood.
Some tables are permanently fixed.
No chairs are permanently fixed.
Some chairs have armrests on both sides.
The nearest table is approximately 3m from the entrance/opening.
The nearest table is approximately 2m from the till/counter.
The distance between the floor and the lowest table is 45cm.
The distance between the floor and the highest table is 71cm.
Plastic/takeaway cutlery is available.
Children are welcomed in the bar area.
There are hand held menus and wall menus available.
Menus are available in large print.
The type of food served here is hot and cold meals and snacks.
Access to the additional seating area is via 1 medium height step without handrails.
There are 4 steps with handrails on both sides to access the bar from the foyer.
The separate entrances can be used to bypass the internal steps.
Children are welcome in the bar area until 8pm.
You are on Screen(s) (Cameo 1). Skip to the next section.
Access to Screen(s) View
The screen(s) is/are clearly signed.
The name/number of the screen surveyed is 1.
This information is for the entrance located to the right as you enter the rear corridor.
The entrance door(s) does/do contrast visually with its immediate surroundings.
The entrance door(s) is/are permanently held open before and after screenings.
There is not a member of staff available for assistance at this entrance before and after screenings.
This entrance gives access to the rear of the screen.
There are not handrail(s) at the ramp.
The width of the ramp/slope is 105cm.
The lighting levels at the ramp/slope are low.
The ramp/slope is not clearly illuminated before and after screenings.
The ramp/slope is not clearly illuminated during screenings.
Screen Information View
The type of flooring is carpet.
There are seats with armrests on both sides.
Premium seating is not available within the screen.
The width of the rows of seating is 45cm.
The lighting levels before and after screenings are good.
The nearest accessible toilet is located in the rear corridor.
There is ramped/sloped and stepped access to the majority of seating.
The gradient of the ramp/slope is steep.
The ramp/slope does not bypass the step(s).
The lighting levels at the ramp/slope are good.
The ramp/slope is clearly illuminated before and after screenings.
There is/are 2 step(s).
The step(s) is/are clearly marked.
The height of the step(s) is/are between 15cm and 18cm.
The going of the step(s) is/are between 30cm and 45cm.
There is not a/are not handrail(s) at the step(s).
The lighting levels at the step(s) are adjustable.
The steps are clearly illuminated during screenings.
The steps are not clearly illuminated before and after screenings.
Designated Seating Area(s) View
The designated seating area(s) is/are located at the rear of the screen.
The designated seating area(s) is/are not clearly marked/signed.
There is ramped/sloped access to the designated seating area(s).
There is/are 4 designated space(s) for wheelchair users in this screen.
Wheelchairs may be left with the patron.
The view from this seating area is good.
Companions sit next to the patron and in front of the patron.
There is sufficient space for an assistance dog to rest next to you.
8 seats can be removed from the rear row to provide 4 wheelchair spaces.
This information is for the entrance located to the far right as you enter the rear corridor.
The width of the door opening is 86cm.
This entrance gives access to the front row.
The ramp/slope is clearly illuminated during screenings.
The lighting levels before and after screenings are low.
There is stepped access to the majority of seating.
There is/are 2-4 step(s).
The height of the step(s) is/are not between 15cm and 18cm.
The height of the step(s) is/are 12cm.
The steps are clearly illuminated before and after screenings.
The designated seating area(s) is/are located in the front row.
Companions sit next to the patron.
4 front row seats can be removed to provide 2 wheelchair spaces.
This information is for the entrance located to the left as you enter the rear corridor.
There is stepped access at this entrance.
This entrance gives access to the middle rows.
There is a/are handrail(s) at the step(s).
The handrail(s) is/are on the right going up.
Handrails are at the recommended height (90cm-100cm).
Handrails do cover the flight of stairs throughout its length.
Handrails are not easy to grip.
Handrails do extend horizontally beyond the first and last steps.
The lighting levels at the step(s) are low.
The steps are not clearly illuminated during screenings.
Cleaning lights can be put on to improve lighting before and after performances upon request.
There are double width seats towards the front and rear of this screen.
You are on Accessible Toilet(s). Skip to the next section.
There is an/are accessible toilet(s) for public use.
Location and Access View
The accessible toilet surveyed is not for the sole use of disabled people.
This accessible toilet is located to the right as you enter the rear corridor.
This accessible toilet is approximately 22m (24yd 2in) from the main entrance.
There is step free access to the accessible toilet.
Features and Dimensions View
This is a shared toilet.
A key is not required for the accessible toilet.
There is pictorial signage on or near the toilet door.
The door opens outwards.
The door is light.
The door is locked by a lever twist.
The width of the accessible toilet door is 84cm (2ft 9in).
The dimensions of the accessible toilet are 164cm x 207cm (5ft 5in x 6ft 9in).
The accessible toilet does have an unobstructed minimum turning space of 150cm x 150cm.
The toilet has not got a non slip floor.
The height of the light switch/pull cord is 115cm from floor level.
There is a lateral transfer space.
As you face the toilet pan the transfer space is on the left.
The lateral transfer space is 95cm (3ft 1in).
There is a flush, however it is not on the transfer side.
There is not a spatula type lever flush.
There is a dropdown rail on the transfer side.
There is an emergency alarm.
The emergency pull cord alarm is fully functional.
There is a flashing fire alarm beacon within the toilet.
Disposal facilities are available in the toilet.
There is a/are female sanitary, non-infectious waste and general domestic waste disposal units.
There is not a/are not coat hook(s).
Position of Fixtures View
There is a/are wall-mounted grab rail(s) available.
As you face the toilet the wall-mounted grab rail(s) is/are on both sides.
There is a vertical wall-mounted grab rail on the transfer side.
There is a horizontal wall-mounted grab rail on the opposite side of the seat to the transfer space.
There is a mirror.
The mirror is not placed at a lower level or at an angle for ease of use.
There is not a shelf next to the toilet.
The toilet has a cistern.
The height of the toilet seat above floor level is 48cm (1ft 7in).
There is a toilet roll holder.
The toilet roll holder can be reached from seated on the toilet.
The toilet roll holder is placed higher than 100cm (3ft 3in).
The height of the toilet roll holder is 105cm (3ft 5in).
There is a wash basin.
The wash basin can be reached from seated on the toilet.
The wash basin is not placed higher than 74cm (2ft 5in).
There are vertical wall-mounted grab rails on both sides of the wash basin.
The wash basin tap type is lever.
There is a mixer tap.
There is a soap dispenser.
The soap dispenser can be reached from seated on the toilet.
The height of the soap dispenser is 113cm.
There is not a towel dispenser.
There is a hand dryer.
The hand dryer cannot be reached from seated on the toilet.
The hand dryer is not placed higher than 100cm (3ft 3in).
Colour Contrast and Lighting View
The contrast between the external door and wall is good.
The contrast between the internal door and wall is good.
The contrast between the dropdown rail(s) and wall is fair.
The contrast between the wall-mounted grab rail(s) and wall is fair.
The toilet seat colour contrast is poor.
The contrast between the walls and floor is good.
Baby Changing Facilities View
Baby changing facilities are located within the accessible toilet.
The baby change table is not set against the wall, permanently fixed at 75cm from the floor.
The baby change table is not height adjustable.
The height of the baby change table once extended is 110cm (3ft 7in).
Standard toilet facilities are available.
Access to Standard Female Toilet(s) View
The female toilet facilities that were surveyed are located down the steps to the right as you enter.
The female toilet(s) is/are approximately 4m (4yd 1ft) from the main entrance.
There is stepped access to the female toilet(s).
An ambulant toilet with wall-mounted grab rails is not available.
The wash basin tap type is push.
Lighting levels are good.
Access to Standard Male Toilet(s) View
The male toilet facilities that were surveyed are located at the rear of the venue.
The male toilet(s) is/are approximately 27m (29yd 1ft) from the main entrance.
There is ramped/sloped access to the male toilet(s).
Lighting levels are at least 100 lux at floor level.
You are on Level Change (Standard Female Toilets). Skip to the next section.
Step(s) View
There is a/are step(s) located to the left as you enter.
The step(s) is/are used to access the standard female toilets.
There is/are 13 step(s).
The going of the step(s) is/are not between the recommended 30cm and 45cm.
The handrail(s) is/are on the left going up.
Handrails are easy to grip.
Handrails do not extend horizontally beyond the first and last steps.
The lighting levels at the step(s) are good.
You are on Level Change (Standard Male Toilets). Skip to the next section.
Ramp / Slope View
There is a ramp/slope located leading up to the male toilets.
The ramp/slope is used to access the standard male toilets.
The width of the ramp/slope is 90cm (2ft 11in).

redpajama_set_name: RedPajamaCommonCrawl


Home > advocacy > Bullying, asthma and food allergies: what can be done?
Bullying, asthma and food allergies: what can be done?
Victims of bullying feel powerless and vulnerable, which often produces devastating psychological consequences (severe depression or even suicide). Early identification of potential bullies and victims is critical for intervening effectively to stop the cycle of bullying and to prevent harmful or even fatal outcomes. Once a child or adolescent has been identified as being at risk for bullying or victimization, he or she should be referred to a mental health professional experienced in dealing with such problems.
The most important step parents, physicians, and other professionals can take to combat bullying is to promote prevention. Health care professionals are encouraged to volunteer to train families, students, and school personnel in the risks and consequences of bullying.
When bullying involves asthma or food allergies, effective collaboration among the allergist, the mental health professional, the family, and the student's school is necessary for effective prevention and intervention. Children with chronic illnesses like asthma and food allergies are more likely to be teased, harassed, or bullied.
Students with allergies must bear the additional burden of taking care of themselves medically with the knowledge that not doing so could be fatal.
Children with asthma often miss school, have limitations on physical activity, experience attacks during the school day, and express feelings of sadness. These factors can lead to problems with social adaptation and an increase in bullying by peers and even adults. Studies have shown that a reduction in parental smoking, improved asthma control, and diminished worry about their child's health are all associated with reduced likelihood of being bullied.
Food allergies affect an estimated 8% of school children (9.5% in Florida), almost double the number of few years ago. Teens with food allergies describe school-related problems as limited social activities, limited food choices, being a burden to others, and peer misunderstanding due to lack of education about food allergies. When a child with food allergy is singled out, it increases the likelihood that the child be bullied. About 25% of children with food allergies are bullied, teased, or harassed. For children over five, the figure is 35 %, and among students in grades six through 10, it is as high as 50 %.
feeling sad, depressed, or embarrassed.
It is critical that an allergist has confirmed the presence of a food allergy. A positive skin or blood test without a history of an allergic reaction does not constitute a true food allergy, and in most cases the food does not need to be avoided. Inappropriate labeling of a child as having multiple food allergies indirectly contributes to bullying.
With true food allergy, exposure to the allergen can lead to anaphylaxis, an allergic reaction that can result in death. Schools and parents must make every effort to prevent the child from ingesting food allergens and to be prepared to treat in case of reaction.
The emphasis should be on how to recognize an allergic food reaction, how to treat an emergency with an epinephrine auto-injector, and not on "banning" foods at school. Having a peanut-free school, classroom, or cafeteria is not an evidence-based intervention. An injection of epinephrine is the only treatment that will prevent progression of symptoms of anaphylaxis.
Please note: Dr. Dana V. Wallace of FCAAC is available for interviews on this subject matter upon request.


The amusing debate leading up to the Clemson spring game was on how many series quarterback Trevor Lawrence would play. The highest bid in the press box was five.
Conventional caution suggested that Clemson would attempt to keep its star signal-caller out of harm's way. Although quarterbacks wear purple jerseys in the Orange and White game, and are protected from tackles, the possibility of an awkward fall or an accidental blow frightened many Clemson followers.
But not coach Dabo Swinney.
He did not mind Lawrence playing the entire first half, which including nine series. He did not flinch when Lawrence reentered the game in the fourth quarter to pursue a 13-point comeback.
"I don't know how else to get a team ready to play football if you don't ever play football," Swinney said. "You best believe when we show up on Saturdays, it's real football. So, if you don't put those guys in those situations, you're doing your team a disservice.
"Things happen, but you can't coach scared. You can't play scared."
Swinney also revealed no reservations about subbing star running back Travis Etienne as a kick returner. Etienne handled that role intermittently during his freshman year. His appearance there Saturday was a result of the split-squad scrimmage, but Swinney said he is not averse to Etienne returning kicks this season.
"Y'all remember (C.J.) Spiller?" Swinney asked members of the media after the game. "I put him everywhere, kick return, punt return, receiver, running back. We played him everywhere. I'm not opposed to that at all."
Swinney asserted that Clemson would never be reckless with players, but he stressed the importance of full-speed, full-contact practices. Teams are permitted merely three days of live hitting during the 15-practice spring session.
"We're smart, and you have to pick your spots, but you've got to train your team," Swinney said. "You can't train without going live from time to time. I think it's a good setup the way spring practices are in shorts and shells and thud mixed in, but those three days where you can play some football, you better take advantage of it, because that's how you find out where you are and what you've got to do."


I AM currently at the Harmons City Creek gallery open house. I'm sitting in front of a wall of paintings with a bunch of my newly minted magazines waiting for art buyers to come by. A few people have stopped to look but I've been unable to come up with any salient comments. It seems I've been in this position dozens of times—at a gallery opening where all intelligent comments evaporate from my mind.
So what should I say to prospective buyers? The first thing that came to mind is to simply introduce myself saying "hello, I'm the artist. Do you have any questions?" It seems a little lame but in the absence of any alternatives I'll give it a try with the next potential buyer. I could expand on the subject and list reasons to collect art (read 5 Reasons to Collect Art here).
Please add your suggestions in the comment box. Many thanks as usual.
UPDATE: I tried the first approach above with two congenial art enthusiasts. It went well and the woman took a postcard. I was fairly relaxed in my presentation and I think that's probably the main thing. But I still felt a little awkward. I'm still trying to think of better approaches.
I put so much of my personality into my paintings I have little left over for selling. It makes openings an exercise in preserving my dignity. I really believe that if you communicate effectively selling art shouldn't be so hard. The problem is that it's hard to communicate effectively.
AFTERWORD: I used many of your ideas and had a better than usual show. Many thanks to all who helped out! I appreciate your generosity.
How about asking them if they're having a good time?
Talk about feelings of the painting and how they make you feel when you paint them...ask how they see and feel about the painting...maybe ask them to rate which one they like best 1st, 2nd and 3rd place...ask for 1 close, a soft one...like wear do think the 1 place paint would look good in their house.
Excellent ideas! I will give one or two of those ideas try on the next passersby.
non-artists do not understand the emotion you so aptly expressed and how spent one can be and how awkward it is to talk about our work; we are visual people not verbal; we work mostly alone, not in a social workplace; our process is different and usually very private. And these folks coming out of these art schools where apparently they are taught the talk of art mumbo jumbo, who really understands this nonsense; it is not meant I do not think to be understood or logical. So all that to say how about figuring out some graphic method, card, brochure, signage, etc and try to educate the public. " Hey Ive poured my heart out with this show there on the wall, love to talk with you about my process but please understand that's the hardest part for most of us artists." something simple and honest; people can relate to that and it makes a whole lot more sense than art babble.
How about asking them if they paint?
Sorry I wasn't here to help with a few comments. But it seems as if you did well! Congratulations! Each moment like this is an opportunity to observe what you can improve with your approach and messaging. I'm sure all that you experienced was priceless!
Brad, it isn't so much what you sat, it is how you say it. I've been a salesman most of my life, it was a natural transition for me because i was enthusiastic about what my company was doing. If one believes in themselves it sells them.. "He was such a nice man....wow what an interesting fellow....his work is not phoney crap...he's a real artist"....etc. To be interesting, be interested...don't talk about yourself, engage the visitor and ask about them, people love to be important. if they ask about something, answer them. " how did you pick that subject?" excellent question, er, sorry I didn't catch your name.. oh thank you, john, well John, i live nearby my subjects and i travel to the site and sketch and paint a study first and then through the course of my studies the piece develops. I have developed my own style by hard work and lots of time. I have an online site detailing my project, here's a piece of information about it, John. Hand him your book. Try not to show anything other than the the show pieces to avoid the easy out for a uncertain prospect. Treat everyone the same, as if it was their last days on earth, respectful, honest, brief, helpful and keep using their name. They may warm up and feel an investment in you is worthwhile and your piece will be coveted. don't talk price up front, that's part of your close, try to build on the collectability of art, yours, and the value. "Fortunately i get invited to artist events by reputation, i've been rewarded for my hard work." " my clients benefit because my work appreciates aside from their enjoyment." Did you ever wish you still had something you sold, like one of your cars that is now in demand to collectors? "it's the same with recognized artists, John." This particular example is targeting a speculative prospect, if a collector is speaking with you the dialog is geared to their desires, but the principle is the same.
I could go on and on but enough for now.


The Orchestra Workshop was established in January of 2016 by the Academic Scholar of the Department of Popular and Traditional Music of the Technological Educational Institute of Epirus, Nikos Ordoulidis.
The practices of processing and reconstruction of the musical pieces with which the Orchestra Workshop engages in aim to analyze and deconstruct their core and to establish an awareness of the orality that governs them, examining afresh their popular aesthetic. Furthermore, their malleability and 'force' are examined in order to achieve the relevant 'de-territorialization'; the repertoire material, that is, to change the context and the aesthetic and, ultimately, to be 'commented upon' utilizing a host of cross-sectional artistic languages. All the above during performance and having as an axis a collective composition, weaving between an experiential and a conscious approach. Parallel to its artistic activity and in the context of its research activity, the workshop addresses the repertoire on a sociological and historical level too, with a view to a, as much as possible, holistic examination.


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Piece of the Tower of Hercules recovered
After being forgotten for 30 years in a warehouse of the Port Authority, a piece belonging to the old Tower of Hercules it has recently been incorporated into the heritage of the lighthouse.
Luisa cid, Councilor for Tourism of A Coruña City Council, has commented that its dimensions are 1.18 meters long by 0.47 meters high and that last year it was requested by the Xunta de Galicia to become part of the Gallaecia Petrea exhibition of the City of Culture, in Santiago, where it has remained until the last month of April.
2,000 years ago the lighthouse already had a lighting system to which belonged the stone that is now exposed at the base of the lighthouse whose function was to be placed on a container with oil and behave like a large lighter.
I was born in Madrid on August 27, 1988 and since then I started a work of which there is no example. Fascinated by both numbers and letters and a lover of the unknown, that is why I am a future graduate in Economics and Journalism, interested in understanding life and the forces that have shaped it. Everything is easier, more useful and more exciting if, with a look at our past, we can improve our future and for that… History.
Video: A Coruña: The Tower of Hercules
Major events, sports highlights and Nobel Prizes of 1910 - History
Was Kerala part of Vijayanagara Empire under Deva Raya II
The Andrew Johnson Cabinet
South Central Kansas Regional Medical Center
Harry Gant is oldest NASCAR winner—again
LVG C.V from the front
Italian police recover more than 5,000 archaeological objects stolen by the mafia
No. 548 Squadron (RAF): Second World War
Tracing Great War Ancestors: Finding Uncle Bill, Tim Saunders and Richard Hone (DVD)
Kirbati History - History
Copyright © biblaridion-online.net | Piece of the Tower of Hercules recovered...


Living up to the experience of staying in Suites, we offer custom-designed suites designed with subtle shades of pastels adorning the curtains, furniture, and the walls. An exceptional mix of luxury, comfort, and relaxation is what you can expect here.
Hotel Raj Palace offers some of the best suites in Chennai with separate living room and best-in-class services. The suites at our Chennai hotel are equipped to make your stay an enriching and delightful one.
Every aspect of your stay at Hotel Raj Palace is infused with warm hospitality, happy faces and unparalleled services.


TechReady Professionals is a full-service web development firm, specializing in website design and graphic design. Our team also offers email hosting, social media marketing, search engine optimization and mobile application development.
We custom design and develop websites that get results for your business. Our team provides mobile-responsive website design, redesign and maintenance solutions.
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Our firm offers domain registration as well as website and email hosting. Let our team manage your website & email with our reliable and cost effective hosting solutions.


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Ashley McBryde Has a Childhood Habit That Helps Her Feel More Comfortable Onstage
Mike Coppola, Getty Images for CMT
Ashley McBryde wasn't necessarily expecting to have to give an acceptance speech at the 2019 CMT Music Awards back on June 5. She had arrived to the event a bit late and was still flustered when presenters Carly Pearce and Hunter Hayes called her to the stage to accept her trophy in the category of Breakthrough Video of the Year.
On her way up, McBryde borrowed Luke Combs' blue Solo cup -- but not because she was thirsty. "Yeah, [it's a] crutch, prop, whatever you wanna call it," McBryde explained of her habit a few days later, during CMA Fest 2019.
"I've always had something: I've always had a guitar in my hands since I was little bitty, and even sometimes when I'm just speaking, we'll be seated with a guitar in my lap because it's more comfortable to me," McBryde adds. "Otherwise I don't know where to put my hands, and I get very weird and bothered by it."
The circumstances leading up to the 2019 CMT Music Awards added up to a particularly stressful situation. "We got there a little bit late, and I was nervous, and I didn't know what was going on, and I didn't know where to walk," McBryde continues. "And then I did win, and I was like, 'I don't have a drink! I don't have time to go get a drink!'"
Fortunately, McBryde's pal and fellow artist, Combs, came to the rescue. "I just ran up to Luke, and he's such a nice guy, he gave it to me," she recalls. Onstage, the singer admitted that she felt a little awkward being onstage without holding something in her hands, and toasted the crowd -- and her new trophy -- with Combs' Solo cup.
Ashley McBryde + More of 2018's Breakout Artists Who Totally Deserve the Hype
NEXT: Ashley McBryde Reflects on Her 'Really, Really Crazy' 2018
Source: Ashley McBryde Has a Childhood Habit That Helps Her Feel More Comfortable Onstage
Filed Under: Ashley McBryde, CMT Music Awards, Editor's Picks
Buzz And Kristi Try Chili Covered Guava Fruit: VIDEO
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Home > Our churches > Guestwick
About St Peter, Guestwick
St Peter, Chapel Road, Guestwick, Norfolk, NR20 5QH (Sparham Deanery)
Grid Reference: TG 061269
Contact: Karen Harris - 07828 853539
Only the Tower remains of the small Saxon Church, although its belfry stage and parapet were added later. It appears that the Church was initially rebuilt around 1200 and was then substantially rebuilt again including the Font in the 15th century. An unusual flight of steps in the North aisle originally led to a loft above the Rood Screen. It has become primarily known for the very unusual location of its Tower which is now on the North side of the Chancel.
For many years, Guestwick was part of the Heydon Estate and consequently several members of the Bulwer and Bulwer-Long family are interred in the Church.
The large West window in the Nave was completely restored in 1854. The medieval stained glass in the South aisle was restored from fragments after storage in Norwich during World War II. Expertly crafted especially for the Millennium by a resident of the village is a delightful modern stained glass window in the North-West corner of the Nave. Together the monumental brasses here form one the best collections in the county.
Currently, St Peter is linked to the WiSpire network providing a reliable broadband connection to the village and surrounding countryside.
St Peter stands at the main road junction in Guestwick, a small village which is East of Guist and Wood Norton and North-East of Foulsham. The Church is normally unlocked during daylight hours.


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Chari Cuthbert Wiki [BYCHARI CEO], Bio, Age, Husband, Net Worth
Chari Cuthbert
Chari Cuthbert was born on June 25, 1984, and from Honolulu, Hawaii, USA. She is an Entrepreneur, Designer, and CEO of BYCHARI.
On August 7th, Michelle Obama caught everyone's eye when she spoke at the Democratic Convention and the former First Lady wore a gold necklace that spelled out "V-O-T-E" and the chain is from ByChari, a small, Los Angeles-based boutique, that sells similar bling for around $300-$400.
Chari Cuthbert in an interview with NyPost, said "I was honored when Michelle Obama's stylist asked for one and am thrilled she is wearing it!" and told that she created a VOTE necklace for the 2016 election and was planning on selling one again this time around.
Who is Chari Cuthbert?
She is the CEO and founder of BYCHARI since 2012, where BYCHARI is more than a jewelry line and it was established in the year 2012.
According to the website, Chari " focuses on making simple, high-quality pieces that might be passed down through generations."
Earlier, she worked as the Photo Assistant and Office Manager at Marc Vaughn Production. In 2005, she joined Music Television MTV and served as Talent Coordinator.
From 2006 to 2008, she worked for The Ultimate Fighter Spike Television as Associate Producer. Then, Chari Cuthbert was an Executive Assistant at Ultimate Fighting Championship and now she is the owner of BYCHARI since 2012.
She is a married woman and has a daughter. However, we have less information about her Husband and Daughter.
Know About Chari Cuthbert Wiki, Biography, Age, Height, Net Worth, Husband & Facts
Name Chari Cuthbert
Nick Name Chari
DOB June 25, 1984
Height 5 feet 5 Inches Tall
Father NA
Mother NA
Brother NA
Husband NA
Kids One Daughter
Net worth $2 Million USD as of 2020


Maintenance of the grounds and buildings and security of the school is regularly reviewed and action taken where necessary. Several changes have been made to the Newton Building since the start of the Autumn Term, which have helped to improve the learning environment for both pupils and staff. We have an on-going programme of repairs and maintenance to the fabric of the buildings, which include the repair and refurbishment of external windows & doors.
Health & Safety & Audits & Fire Assessments of the school buildings and grounds are carried out on a regular basis.
Visitors to the school are closely monitored and are required sign in and collect a badge at the School Office.
This year, we have set up 'Forest Schools' outside the Newton Building, which is now used as part of our curriculum, and we are working to develop the outside area of both buildings.
The MAT is in the process of updating the accessibility plans for Stokesay Primary School. Please click here for our latest accessibility audit.


Reserve your spot with Omowaye G.
In teaching this subject, I make use of my enthusiasm to engage with my students, using diverse methods, pictures, diagrams, videos or whichever method my tutees prefer to learn best with, to share my knowledge and skills with them and help them do the best they can!
I am an ambitious, energetic and focused individual. I show great enthusiasm towards learning and impacting lives has been my passion.
I am creative, flexible and dynamic. My level of tolerance is second to none. I am God fearing and I show great level abhorrence to anything immoral. I show great optimism to whatever I set my sight on. Nothing is impossible if only we try.
I have a Btech in Biology from Federal University of Technology, Akure.
I have 9 years of experience as a teacher. I have been in the teaching line as far back as my years in secondary school. I have been a tutor with Prepclass since 2016 with consistent good reports to show for it.
I have been a tutor at the above stated organisation since October 2016 and I have tutored different children across the primary school level.
At the above stated school, I served as the class teacher for Primary 1 & 5. I also served as a subject teacher for JSS1-3. I taught Agricultural Science, Mathematics, Basic Science & Business Studies).
I served as an administrative assistant to the proprietress of the above stated school. I have served as the class teacher for Primary 3-5. I currently stillwork part-time at the above stated school.


Celen 4-7 3-4 11, Evans 1-5 0-0 2, Sanabria 2-11 0-0 5, Jordan 2-5 2-2 7, Hurley 8-12 0-0 18, K.Williams 1-1 0-0 3, Rohlehr 1-3 2-4 4, J.Williams 0-1 0-0 0, Hawkins 1-9 0-0 3, Krtinic 7-9 0-0 19. Totals 27-63 7-10 72.
Barnes 6-8 8-9 22, Heckstall 3-11 5-5 12, Fisher 4-7 0-0 9, Mitchell 2-4 0-0 5, Marrow 4-11 4-8 12, Smoot 0-0 0-0 0, Stanley 2-4 0-1 4, Bracey 4-8 5-6 17, Oakley 0-0 0-0 0. Totals 25-53 22-29 81.
Halftime_Hampton 39-32. 3-Point Goals_St. Francis Brooklyn 11-29 (Krtinic 5-6, Hurley 2-5, K.Williams 1-1, Jordan 1-2, Sanabria 1-5, Hawkins 1-5, J.Williams 0-1, Celen 0-2, Evans 0-2), Hampton 9-16 (Bracey 4-5, Barnes 2-2, Heckstall 1-2, Mitchell 1-2, Fisher 1-3, Marrow 0-2). Fouled Out_Marrow, Celen, Hawkins. Rebounds_St. Francis Brooklyn 26 (Evans 6), Hampton 37 (Mitchell 11). Assists_St. Francis Brooklyn 18 (Sanabria 5), Hampton 17 (Fisher 6). Total Fouls_St. Francis Brooklyn 22, Hampton 15. A_3,124 (7,200).


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Congressman Eric Swalwell on Serving California's 15th Congressional District
OneDublin.org recently met with Congressman Eric Swalwell, a Dublin native and Dublin High School Class of 1999 graduate, as he prepared to lead a town hall discussion on the Affordable Care Act. Swalwell shared his whirlwind of experiences since joining Congress earlier this year.
OneDublin.org: How has growing up in Dublin and serving as an Alameda County prosecutor helped you represent California's 15th Congressional District?
Congressman Eric Swalwell
Congressman Eric Swalwell: "Growing up in Dublin, which was a middle-class, blue collar community when I was a child, has grounded me. Even though Dublin has changed a lot since I was a child, coming back home helps keep me connected to my roots.
"I'm fighting for the middle class in Congress. The middle class in America is shrinking, whereas in other countries like Brazil, Russia, India, and China the middle class is doubling. It's a good thing for those countries as the gap between the rich and the poor has narrowed, but it's not a great thing for the American worker. We've seen huge losses in California and the Bay Area.
"The economy's still fragile and in a recovery mode. So when I talk about the middle class, I think I can talk credibly because that was my upbringing. My mom still works as a secretary. I still live in Dublin – the community where I grew up. I know what kind of toll the economy has taken on our current workforce and I know that if we don't get more of our kids up to speed in science and math we are going to have a hard time competing for high skilled jobs.
"As a prosecutor I learned about a sense of fairness and justice, doing what's right and standing up for victims; standing up against bullies. You encounter a lot of different bullies in Congress, and I've taken that sense of justice from the District Attorney's office to Congress. I've spoken out a lot about equality when it comes to LGBT individuals and those who would seek to deny equal benefits or the right to marry. I relate my work in support of the LGBT community to my work as a hate crimes prosecutor in the D.A.'s office where my job was to represent the people and protect the victims of hate crimes."
OneDublin.org: For students who only see Congress as polarized theatre that plays out on cable television, what is Congress actually like? What is a typical day, if there is such a thing?
Swalwell at the Rowell Ranch Rodeo Parade
Swalwell: "Working in Congress you meet so many new people. I'm still shocked by how many people I meet, twenty to thirty people every single day. That demonstrates how many interests and issues there are out there. As I was walking in to meet with you I spoke with a group about diabetes. And just before I entered this room I was stopped and handed a letter by a woman who prayed with her congregation last night that I would vote against Syria. She gave me a letter that she and everyone in her congregation had signed.
"I can't just focus on one niche issue. I have to learn about as many issues as possible to be effective for the largest number of people. One moment I'm talking about diabetes, then Syria and in a few minutes I'll be speaking about the Affordable Care Act, and somewhere today, someone will come up with an issue that wasn't planned or on an agenda.
"The first few months was crushing, the amount of information coming at me. It took a long time before I felt comfortable and not vulnerable. A lot of times I'd go into a room and feel I knew the least of anyone in the room, because of how much information was coming at me. You can't fully appreciate how much there is to know until you start this job. That said, I have a staff that's done a great job helping me learn about the issues, and I try not to be afraid to ask questions.
"A day in the life for me starts with a plan, and then becomes everything you get hit with that wasn't planned. You realize how many different groups there are in the community, each with differing issues and opinions, all fighting for what they believe is important."
OneDublin.org: How has travelling to places like Israel, the West Bank and Afghanistan helped shaped your opinion?
Swalwell in Afghanistan
Swalwell: "We're asked in Congress to make decisions about what should happen far from our homeland and I thought the best way to be informed would be to go there, to meet the people and the leaders, and to meet the troops serving from the 15th District. Being in Congress gave me an opportunity I would not have otherwise had. To do my job effectively, to vote on issues thoughtfully, means getting as close to the ground as possible."
OneDublin.org: You spoke about the concept of a Mobile Congress during the campaign, yet you've logged a lot of miles since taking office. Have you had any success getting Congress to embrace 21st century technology?
Swalwell Speaking with Constituents
Swalwell: "I've learned to take advantage of the fact that we are three hours ahead in Washington. I wake up on east coast time and go to bed on west coast time, so I'll Skype at 10pm east coast time to reach the 15th District at 7pm.
[Congressman Swalwell shows me the United Airlines frequent flier app on his iPhone] "Looking at my miles travelled since January it's 175,520 miles over 70 trips, and that doesn't include my recent trips to the Middle East. I'll hit 200,000 miles by the end of September. It's grueling, and west coast Members of Congress sacrifice a little bit more, but I knew what I was getting into when I ran for Congress. The only way to effectively represent this district is to be home every weekend. I need to listen to 15th District constituents at home, in person, so I can represent the community effectively in Washington.
"Technology has lessened somewhat the impact of the time zone difference, because I've been able to use mobile technology. I think you can still embrace the institution of Congress but upgrade yourself with the times. For the longest time there wasn't a woman's bathroom off the House Floor; that doesn't mean it was right, it reflected the times. Thankfully the government has since had the sense to add a woman's bathroom and that didn't change the institution, it reflected that women were in Congress.
"Similarly, just because we haven't used mobile technology in Congress, doesn't mean we can't. We have to look at how businesses, parents, military spouses, and others use mobile technology to shorten time zones and make the distance across oceans a little less. I think Congress can do that too."
OneDublin.org: How do you approach difficult votes like the upcoming controversial vote regarding Syria? What life experiences do you draw from?
Swalwell in Afghanistan with General Joe Dunford
Swalwell: "I think it's dangerous for a freshman in Congress to over commit how he or she is going to vote. I think the best thing I can do is to get informed, whether it's reviewing the intelligence that is given to me or fully understanding the proposals that are put forward and the military options we're asked to consider.
"I also think you need to have a perspective from history. I've just read in the past month a number of books on the Middle East because I've been travelling to the region. If I've learned anything in these books, it's that the current situation in Syria, as serious as it is, is just a single point in time in a complex narrative that extends well beyond Syria. I believe in learning from the successes and failures of the past, and appreciate the importance of understanding the historical context.
"So first be careful about committing too early, second inform yourself and third try to gain a historical perspective; I also search for a sense of fairness and recognize that at home people are overwhelmingly war-weary. No one has come up to me saying that their church prayed last night that we go and strike Syria, nobody is calling my office saying strike Syria. We have, remarkably, heard from next to zero constituents wanting us to strike Syria, it's been the opposite.
"My challenge is to listen to my constituents, inform myself with the facts and then act. What the constituents say is important and when they are overwhelmingly opposed to an issue I have to ask myself – is that for good reason? Regarding Syria, I don't know much more than my constituents, they are pretty informed. I will have access to some classified intelligence that they won't, but I think my constituents feelings on this issue are probably for good reason.
"The President calling a timeout, as he's done on Syria by asking Congress to consider the issue, is momentous because most of our involvement in the Middle East in recent history saw the President acting with their authority as commander-in-chief, rarely consulting with Congress. A lot of power has been vested in Congress in this vote."
OneDublin.org: What advice do you have for students who are passionate about and want to pursue a career in politics?
Swalwell on Election Night 2012
Swalwell: "Try as many groups as possible, explore as much as you can. At Dublin High School I performed in a Drama Club production, I participated in Mock Trial, I played soccer, football and tennis, I tried to rule in, and rule out, what I wanted to do. The audience ruled me out of drama [laughs].
"In the military they talk about taking what you want to do and running a red team against it to see if it is the best course of action. I knew I wanted to play soccer, but I ran a red team against soccer, meaning I tried a bunch of other things to see if there was something else I was better at. It's always good to try something that's completely opposite from what you want to do, and maybe that will open your mind even more. When you are young, take advantage of all the different opportunities you can."
Eric Swalwell's Congressional Journey Begins in Office 501
Congressman Eric Swalwell Joins the 113th Congress, Thanks Supporters
A Living History Tour of The Capitol with Congressman Eric Swalwell
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Sandia National Labs' Jovana Helms Combines a Passion for Engineering with Securing our Country | OneDublin.org
Life at Georgetown University – A Dublin High School Gael Meets Jack the Bulldog | OneDublin.org
Congressman Eric Swalwell Addresses Student Loan Debt at Future Forum | OneDublin.org
Dublin High School's Tim Sbranti Joins Congressman Swalwell's Team, Leaving Legacy as Educator and Mayor | OneDublin.org
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September 11, 2015 September 15, 2015 Luis Pérez, Ph. D. accessibility, disability
On the usability of touch screens to screen readers
Recently, Katie Sherwin of the Nielsen Norman Group published an article on the NNG website summarizing her experience with the VoiceOver screen reader for iOS devices, and her suggestions for designing better interactions for blind users. The article has some good design suggestions overall: creating cleaner copy with streamlined code is always a good thing. So is including alternative text for images, making sure all interactions work with the keyboard, and the hierarchy of the content is clearly indicated by headings that separate it into logical sections. On these suggestions, I am in full agreement with the author.
Where I disagree with her is on the representation of what the experience of using a mobile device is really like for actual blind users. The author herself acknowledges that she only started experimenting with the screen reader after attending a conference and seeing how blind users interacted with their devices there. It is not clear how much time she has had to move beyond the most basic interactions with VoiceOver. Thus she states that "screen readers also present information in strict sequential order: users must patiently listen to the description of the page until they come across something that is interesting to them; ; they cannot directly select the most promising element without first attending to the elements that precede it. "
This may be accurate if we are talking about someone who has just started using VoiceOver on an iPhone or iPad. It ignores the existence of the Rotor gesture familiar to many power users of VoiceOver. With this gesture, users actually can scan the structure of a web page for the content they want to focus on. They can see how the page is organized with headings and other structural elements such as lists, form elements and more. Many users of VoiceOver also use the Item Chooser (a triple-tap with two fingers) to get an alphabetical list of the items on the screen. Both of these features, the Rotor and the Item Chooser, allow users to scan for content, rather than remaining limited to the sequential kind of interaction described in the NNG article.
As for the point about the cognitive load of the gestures used on a touch screen device like the iPhone, it should be pointed out that the number of gestures is actually quite small compared with the extensive list of keyboard shortcuts needed on other platforms. I do agree with the author that typing remains a challenge when using the onscreen keyboard, but there are other options available to make text entry easier: the user can choose to use any of the many Bluetooth keyboards available on the market for a more tactile experience; dictation is built in and has a pretty good level of accuracy for those who prefer using their voice; and new input modes introduced in iOS 8 and 9 allow for handwriting recognition as well as Braille input.
To help new users with the learning curve (and the cognitive load), Apple provides a built-in help feature that is only available in the VoiceOver settings when the feature is active. Once a user goes into the help, he or she can perform gestures to hear a description of what they do. Another benefit for users is the fact that many of the gestures are the same across the Apple ecosystem. Thus, a VoiceOver user can transfer much of what they have learned on an iOS device to the Mac, which has a trackpad roughly the size of an iPhone, the new Apple TV with its touchpad remote, and even the Apple Watch (with a few modifications to account for the limited screen real estate). Finally, I have found that learning the gestures is as much a matter of muscle memory as it is about remembering the gestures and what they do. The more time you spend performing the gestures, the easier they become. As with any learned skill, practice makes a difference.
Again, there is a lot of good advice in this article as it relates to the need for more inclusive designs that minimize unnecessary cognitive load for users. However, a key point that is missing from that advice is the need to get feedback on designs from actual people who are blind. The way a blind user of VoiceOver interacts with his or her iOS device will often be a lot different from the way a developer just becoming familiar with the feature will do so (same goes for a usability expert).
Tagged touch screens, usability, vision, VoiceOver
Published by Luis Pérez, Ph. D.
Luis Pérez is an inclusive learning consultant based in St. Petersburg, Florida. He has more than a decade of experience working with educators to help them integrate technology in ways that empower all learners. Luis holds a doctorate in special education and a master's degree in instructional technology from the University of South Florida, and he is the author of Mobile Learning for All: Supporting Accessibility with the iPad, from Corwin Press. Luis has been honored as an Apple Distinguished Educator (ADE) in 2009, and as Google in Education Certified Innovator in 2014. He is also a TouchCast and Book Creator Ambassador. Luis currently serves as the Professional Learning Chair of the Inclusive Learning Network of the International Society for Technology in Education (ISTE), which recognized him as its 2016 Outstanding Inclusive Educator. His work has appeared in publications such Teaching Exceptional Children, Closing the Gap Solutions, THE Journal, and The Loop Magazine. In addition to his work in educational technology, Luis is an avid photographer whose work has been featured in Better Photography magazine, Business Insider, the New York Times Bits Blog and the Sydney Morning Herald. Luis has presented at national and international conferences such as South by Southwest EDU, ISTE, CSUN, ATIA and Closing the Gap.	View all posts by Luis Pérez, Ph. D.
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Ping Shan San Tsuen () is a village in Ping Shan, Yuen Long District, Hong Kong.

Administration
Ping Shan San Tsuen is a recognized village under the New Territories Small House Policy.

History
Ping Shan San Tsuen is one of the three wais (walled villages) and six tsuens (villages) established by the Tang Clan of Ping Shan, namely: Sheung Cheung Wai, Kiu Tau Wai, Fui Sha Wai, Hang Tau Tsuen, Hang Mei Tsuen, Tong Fong Tsuen, Ping Shan San Tsuen, Hung Uk Tsuen and San Hei Tsuen.

At the time of the 1911 census, the population of San Tsuen was 50. The number of males was 22.

See also
 Ping Shan Heritage Trail

References

External links

 Delineation of area of existing village Ping Shan San Tsuen (Ping Shan) for election of resident representative (2019 to 2022)

Villages in Yuen Long District, Hong Kong
Ping Shan

redpajama_set_name: RedPajamaWikipedia


Adam Petherbridge and Rosie Sowa in Miss. Photo by Kaitlyn Samuel.
BOTTOM LINE: A suspenseful drama about trauma, loss, and revenge.
How difficult it is to hate a child. How impossible it is to express love. How murky words like "mother" and "man" can be. These are the thoughts that rang in my head as I left this production of Michael Ross Albert's Miss.
Laura (Rosie Sowa)—or "Miss," as she's referred to throughout the play—is a young divorcee and English teacher at an boys' boarding school. She is now engaged to the older Gil (Daniel J. O'Brien, who bares an uncanny resemblance to Ethan Hawke both in physique and demeanor). Miss opens in an atmosphere of suspense: something has happened that has changed this couple's relationship, but we are left in the dark as to the specifics. An accident, a boy, a fight, a loss—all pieces of the full story that float about the theater as we wait for the characters to line them up.
Director Kaitlyn Samuel chooses to have the trio mostly stand and talk, giving Albert's text the spotlight it deserves. That being said, perhaps more activity would add to the tension between the characters and to the naturalism this production is going for. The cast is a powerful trio who work very well as an ensemble. Sowa is thoughtful and measured in her acting; she seesaws adroitly between Laura's protective, mothering instincts and her painful vulnerability. O'Brien hones in on our need to see something fall apart and creates in his interpretation of Gil a beautiful disaster-of-a-person—one we can't quite look away from. Adam Petherbridge's portrayal of Tyler, the teenage boy at the center of the drama, is endearing and impressive. One of the standout moments— both thanks to the text and Petherbridge's performance—takes place when Tyler reads an essay he's been hiding from Laura since the beginning. Perhaps a future production would consider an actual teenage boy for the part, which could add yet another dimension to the tension.
Underscoring the dialogue is an unsettling feeling that something is off, and constant references to violence and pain left me squirming, but in a good way. I was reminded of Yasmina Reza's God of Carnage, though Miss exchanges Reza's biting comedy for suspense and drama. A shocking ending that takes place after an already unnerving twist had me wishing Albert didn't feed the need to give me the explosion I was expecting.
Miss is the story of three people who have fallen in their own personal ditches and have no energy or faith left to climb out. Instead, they grab their shovels and dig themselves in, deeper and deeper; I enjoyed watching them dig.
Miss is by Michael Ross Albert. Directed by Kaitlyn Samuel. Produced by Outside Inside. Technical Design by Brandon Stock. Wardrobe Consultant is Alexandra Hoffman. Fight Director is Johnny X. Wang. Stage Management by Christina Ashby. Associate Producer is Anel Carmon. Graphic Design by Whitney Allen.
The cast is Rosie Sowa, Daniel J. O'Brien, and Adam Petherbridge.


Something that I enjoy doing, is testing new patterns. There are so many pattern designers out there, and so many different items of clothing, it's very difficult to know if a pattern is going to be a good one or not without testing it.
After a while, you get to know particular designers, and can trust their work - I have a great "relationship" with Tadah! Patterns, I have made several different patterns of theirs multiple times in different sizes, and I know that they usually turn out as they should! My other go-to designers are Boo! Designs - mostly their older patterns, as most of their new patterns are made for knit fabric, and I've been focusing on cotton and linen - and Pattern Emporium. I like Pattern Emporium for pants, though I'd certainly try a blouse or dress if they made one which caught my attention.
Other designers make beautifully styled dresses, but I know that their patterns are not likely to work from a business perspective. Miss 7 is not especially tall, and fairly slim, so I know these patterns work well for her, but I also know that she is not the same build as most of the other children in her class. These patterns are designed to be "vintage" length, which is a little short for my tastes in general, but because Miss 7 is not tall, I don't need to adjust them for her. To make them standardised across the other dresses I offer would be a lot of careful testing!
I wanted to make this dress because of the square neckline and crossed button up back. I used some fabric I'd had for a while, and some wooden buttons I bought which were too orange for my original project. I also decided not to add the ruffles on the sleeves, or the bows on the sides, as I felt the double skirt with the ruffle on the bottom layer would be enough! I measured Miss 7, and she fell into the measurements for a size 7, so that is what I made. I had a few issues - my fabric was too heavy for a double layer gathered skirt, so I free-handed some box pleating. I also didn't like the exposed waist seam inside - Miss 7 can be quite sensitive, and exposed seams usually bother her. Unfortunately, the construction of the side panels meant that I couldn't simply enclose the seam with the lining, which is what I usually do with this designer. I could possibly work out a method to enclose it, but it would take a little more effort!
Once finished, the dress was a snug fit. It is supposed to be snug - you need it to be, otherwise the low sides would cause gaping at the front bodice - but it "feels" too tight when you do it up, even though that is the right fit. Miss 7 loves it - I realise there is going to come a point where she is too old for ruffles, but it's not happening yet! The dress has a sweet, vintage feel, and is a longer style than I've come to expect from this designer, so is a little long for Miss 7! All in all, it's a very pretty dress - but probably not one to be added to the catalogue!


We would like to extend our grandest appreciation and thanks to Hon. Leulua'iali'iotumua Bill English for the leadership and service he has dedicated to the Pacific Community over his time not only as Prime Minister of New Zealand but through his career in politics and time in parliament.
Leulua'iali'iotumua Bill English has always been a strong supporter of Whanau Ora and the work that Pasifika Futures implements to support the Pacific community.
Dr Kiki Maoate, Chairman of Pasifika Futures has expressed his gratitude for the ministry and devotion Mr English has provided through his duties so Pasifika Futures organizational purpose and goals may be achieved and realized.
"Your role in all this is absolutely critical. One of the things that is becoming clear out of this – which I know is at the heart of what drives Pasifika Futures – is the strength of Pacific families," said Mr English.
CEO of Pasifika Futures, Mrs Debbie Sorensen thanks Mr English for his continuous support as a strong advocate for the work Pasifika futures carries out and acknowledges the commitment demonstrated to strengthening our Pacific families and community.


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Some comments about Marx's epistemology — Prabhat Patnaik
Marx's eleventh thesis on Feurbach: "the philosophers have hitherto only interpreted the world in various ways, the point is to change it", has been often taken to mean that interpreting the world and changing the world are two separate and disconnected activities….
In my view, in drawing this distinction, Marx was not referring to two separate activities, but to two separate ways of interpreting the world: one is interpreting the world from the perspective of changing it, which means interpreting the world from a point of view that entails the construction of the image of an alternative world different from it; and the other is interpreting the world from a point of view that does not do so, that continues to remain trapped within the vision of the world as it exists....
An example will make clear what I have in mind. One can argue in the context of a slave society that it is in the interest of the slave to be obedient to his master, for otherwise the master will lose his temper and whip him; and one would not necessarily be wrong in arguing in this manner. On the other hand, one can say that a slave society is itself dehumanizing and must be replaced by a society of free men, and that it is in the interest of the slave to work for achieving such a society, even though he would inevitably incur the wrath of the master; and one would not certainly be wrong in saying so either.
The difference between the two positions really lies in the fact that the second position is from a perspective that transcends the slave society, i.e. from a perspective that is epistemically exterior to the slave society, while the first position is from a perspective that is epistemically interior to the slave society. In arguing for changing the world rather than merely interpreting it, Marx was really arguing for interpreting the world from a perspective that is epistemically exterior to it.
The importance of the difference between these two positions is particularly great today in the context of neo-liberal capitalism. The argument which says that there should be "labour market flexibility", that wages should be kept down, that trade union activities should be restricted, and that social wages should be cut, all in order to attract investment, so that the growth rate of output and employment in the economy could be increased, is exactly analogous to the argument that said that the slaves should remain meek before the masters for their own good. It represents an epistemically interior perspective, which is being assiduously promoted at present by much of "liberal opinion". An epistemically exterior position in contrast will recognize the necessity for transcending neo-liberal capitalism for human freedom.
When we see Marx's remark in this way, his criticism of Classical Political Economy also falls into place. Marx says apropos Classical Political Economy in The Poverty of Philosophy, that, according to it, "hitherto there has been history but not from now on"; this corresponds to the perception of Classical Political Economy that the bourgeois order is in conformity with the laws of nature. This is why the categories of bourgeois economy according to it are christened as "natural", such as the "natural price", the "natural rate of profit", the "natural rate of wages", and so on.
In saying this about Classical Political Economy, Marx was in effect asserting that Classical Political Economy which had taken a position of epistemic exteriority vis-a-vis all preceding social formations did not do so vis-à-vis capitalism. By contrast, the hall-mark of Marx's own analysis of capitalism was that he adopted a position of epistemic exteriority vis-à-vis this system. This was how he could accord centrality to the phenomenon of exploitation and class struggle within capitalism, and thereby see the necessary incompatibility between capitalism and human freedom.
Because of this epistemic position, all the categories that Marx used for analyzing capitalism, were, as Georg Lukacs had pointed out long ago, class categories, i.e. categories informed by a class perspective, in contrast to those of Classical Political Economy....
Marxists criticize MMT economists along these lines, that is, for describing the world as it is, implying acceptance of the current world order based on bourgeois liberalism manifesting economically as capitalism.
Marxists hold that thinkers as change agents should show the weaknesses and failures of the present system that have led to the precarious state of the world in which humanity now lives.
The appropriate task is envisioning a new order based on a classless society, class structure being the chief cause of the present dysfunctional order. Marxist analysis show that this dysfunctionality results from the current mode of production being based on private ownership of the means of production, This arrangement gives the ownership and top managerial classes that overlap control of the commanding heights and the ability to extract rents exorbitantly.
In the Marxist view, this is a system based on expropriation based on rent extraction justified economically by claims of "naturalness" and spontaneous natural order, with all problems accounted for by government intrusion in otherwise free markets. They point out that Marx and subsequently those working in this school of thought showed that this is not natural at all, but the result of historical processes that can be changed in the course of time. They view now as the time. MMT and other reforms simply delay that historical wave but cannot stop it.
As institutionalists, MMT economist are in agreement that the world that conventional (neoclassical) economics is not describing a natural world that exists but rather a possible world that does not exist, since the assumptions on which the modeling is based are unrealistic compared with data.
So the economic analyses may not be too divergent, but the strategy and tactics are with respect to policy. Even Marxists do not agree completely with how Marx's works should be interpreted. That is somewhat arcane and of historical interest. The issue now is what in Marx remains relevant to analysis and action based on it. In my view as philosopher, a lot.
Generally, Marx is not considered one of the greats in the history of the Western intellectual tradition. When I was a graduate student in philosophy in a department that specialized in history, Marx was not prominent although one cannot study social and political philosophy without accommodating him.
Conversely, Marx exerted as much influence on the course of the world events as any of the great thinkers, and perhaps more, since there are many more people and his influence is global. IN a sense this surprising, since Marx wrote like an academician rather than a popular author, even though he could do so, since he sidelined as a newspaper columnist. And his influence was not damaged by his not completing his project. Das Kapital was completed by Friedrich Engels from notes and conversations. The published work is only half the work that Marx had projected, so a lot of Marx's project will never be known.
Even more ironically, Marx is scarcely mentioned in the study of economics in the US other than in specialized areas. Marx is still studied assiduously outside the US, and in the non-West in particular. Prabhat Patnaik is an Indian economist, for example, and he worked at the core rather than in the periphery.
We are far from hearing the end of Marx, even though those that the control the narrative under bourgeois liberalism have tried to bury him. I believe that Marx deserves a lot more attention and recognition in the history of world thought as one of the pioneers of a more expanded concept of social, political and economic freedom than had appeared in the past. And this has been progressively realized globally through class struggle, bolstering his assertion that the proper philosophical method involves changing the world.
This project is far from complete, however, since the mode of production has not changed substantially. Yet, the assumption that bourgeois liberalism constitutes the end of history seems premature. Humanity has a way to go before Marx's expanded concept of social, political and economic freedom is concretized in world of universal values and rights derived therefrom.
This requires a considerable expansion of the level of humanity's collective consciousness, which means on the abstract level the expansion of the appreciation of universality, while on the concrete level it manifests as universal unconditional love as in "love thy fellow as oneself." Marx never got to mentioning this, but who knows where he was headed when his passing cut his work short. Yet, it seems clear from early writings that he was basing his work on an "enlightened" humanism that in a sense sacralized the dignity of the human person.
We see this sacralization the American Declaration of Independence, but the founding documents established a country based on bourgeois liberalism, where universal suffrage had to be fought for later, and slavery was included in the constitution. Marx's writing on America show his admiration of the ideal and disappointment in the real. He believed we could do better.
Some comments about Marx's epistemology
Prabhat Patnaik | Professor of Economics (retired), Centre for Economic Studies and Planning (CESP) at the Jawaharlal Nehru University (JNU), New Delhi.
Originally published: IDEAS (August 30, 2019)
Posted by Tom Hickey at 2:24 PM
Labels: Karl Marx
AXEC / E.K-H said...
Links on Karl Marx
Comment on Prabhat Patnaik/Tom Hickey on 'Some comments about Marx's epistemology'
The age-old problem with economists is that they are strong on opinion but weak on knowledge and that they suffer from mental incontinence, that is, the unstoppable urge to blather about any issue between heaven and earth, that is, from crime, addiction, psychology, sociology, philosophy, religion, literature, ethics to their heroic fight for the welfare/freedom/survival of humanity. Fact is, though, that economists have to this day NO idea how the economy works. Walrasianism, Keynesianism, Austrianism, MMT are mutually contradictory, axiomatically false, materially/formally inconsistent and all got the foundational economic concept of profit wrong. Marx and Marxians are NO exception. For details see
The economist as storyteller
https://axecorg.blogspot.com/2016/04/the-economist-as-storyteller.html
Karl Marx, fake scientist
https://axecorg.blogspot.com/2017/08/karl-marx-fake-scientist.html
Profit for Marxists
Marx, the moron
https://axecorg.blogspot.com/2017/06/marx-moron.html
Dear idiots, Marx got profit and exploitation wrong
https://axecorg.blogspot.com/2019/02/dear-idiots-marx-got-profit-and.html
Here is the long-overdue scientific death certificate for Marx and Marxists
https://axecorg.blogspot.com/2019/01/here-is-long-overdue-scientific-death.html
Marx's bicentennial ― nothing to discuss, nothing to celebrate
https://axecorg.blogspot.com/2018/05/marxs-bicentennial-nothing-to-discuss.html
200 years in the dark ― how Marx got it wrong
https://axecorg.blogspot.com/2018/05/200-years-in-dark-how-marx-got-it-wrong.html
Capitalism, poverty, exploitation, and cross-over exploitation
https://axecorg.blogspot.com/2018/04/capitalism-poverty-exploitation-and.html
If we only had classes
https://axecorg.blogspot.com/2018/10/if-we-only-had-classes.html
Socialism and scientific incompetence
https://axecorg.blogspot.com/2019/02/socialism-and-scientific-incompetence.html
MMT and Marxism: A debate between proto-scientific zombies
https://axecorg.blogspot.com/2018/11/mmt-and-marxism-debate-between-proto.html
Marx and the curious coexistence of provably false economic theories
https://axecorg.blogspot.com/2017/08/marx-and-curious-coexistence-of.html
Marxism is one of four instances of Derponomics
https://axecorg.blogspot.com/2019/02/marxism-is-one-of-four-instances-of.html
Who is really a scientist?
https://axecorg.blogspot.com/2019/02/who-is-really-scientist.html
The Law of Economists' Increasing Stupidity
https://axecorg.blogspot.com/2017/04/the-law-of-economists-increasing.html
Good news for the one-percenters
https://axecorg.blogspot.com/2018/09/good-news-for-one-percenters.html
The end of political economics (I)
https://axecorg.blogspot.com/2017/06/the-end-of-political-economics.html
Ricardo and the invention of class war
https://axecorg.blogspot.com/2018/02/ricardo-and-invention-of-class-war.html
Mathematical Proof of the Breakdown of Capitalism
No future for Socialism and Capitalism
https://axecorg.blogspot.com/2019/04/no-future-for-socialism-and-capitalism.html