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Home › Immigrate to Manitoba › General MPNP Process and Policies › Important Terms
Terms below apply to one or more MPNP streams. For further details, please review the complete information available for the related program stream(s) on this website.
A-B | C | D-J | H-L | M-R | S-Z
Affidavit – A sworn statement in writing. It is a written promise that this is the principal applicant's statement.
Accompanying Dependants – A spouse and/or a dependent child (see below for definition of Dependent Children) of the principal applicant who intends to immigrate to Manitoba with the principal applicant.
Application – A package including all forms, supporting documents and information provided to the MPNP to request consideration by the MPNP.
Balance Sheet (Statement of Financial Position) – One of the most important pieces of financial information, prepared by a business/company. It is a snapshot that shows what a business owns (Assets) and owes (Liabilities) at that point in time. The difference between the Assets and the Liabilities is called the owner's equity.
(Statement of) Business Intent – A Business Intent is a plan summarizing the applicant's intended business venture. This should include enough information to outline the most important details of the applicant's business idea, how it will be run and broad expectations of outcomes.
Business Immigrant – A person who has the intention, relevant business experience, and ability to establish, purchase or make a substantial investment in a business in Manitoba that will contribute significantly to the provincial economy and job creation. The business immigrant must also intend to live in Manitoba and have the ability to provide active and ongoing participation in the management of the business.
Business Owner – As an entrepreneur, you must be engaged actively and on an ongoing basis in providing goods or services to customers. Also, as an entrepreneur, you should bear the risk of return for the capital investment in your business enterprise.
Canadian Visa Office – Immigration, Refugees and Citizenship Canada (IRCC) immigration office outside Canada, located at a Canadian Embassy, Canadian Consulate General, or Canadian High Commission that issues Temporary Resident Visas and Permanent Residence Visas.
Cash Deposit – IMPORTANT: A cash deposit is not required under the renewed Business Investor Stream.
A deposit made and payable to the Government of Manitoba. This deposit will be held until the agreed investment has been made. Terms governing release of the deposit are found in the Cash Deposit Agreement. The amount of the deposit differs between the MPNP for Business Investors (CAD 100,000) and Farm Strategic Recruitment Initiative (CAD 75,000); there is no deposit required under the Skilled Worker streams. No deposit is required until after the application has been assessed and approved, and no interest will be paid on the deposit.
Cash Deposit Agreement – IMPORTANT: A cash deposit is not required under the renewed Business Investor Stream.
The agreement entered into between the applicant and the Government of Manitoba governing the terms and conditions under which the deposit will be held and subsequently released.
Cash-Flow Statement (also known as Statement of Changes in Financial Position) – A Cash Flow Statement traces the flow of funds (or working capital) into and out of a business during an accounting period. It can be used to assess the timing, amount and predictability of future cash flows and it can be used as the basis for budgeting. There are three sections to a Cash Flow Statement: operating activities; investing activities; and financing activities. Cash flow is not the same as net income.
Certificate of Nomination – A Certificate issued by the MPNP directly to a IRCC Visa Office indicating that an approved Provincial Nominee is eligible to apply to that office for a Permanent Resident visa.
Common-law partner – A common-law partner is a person who has been living with the principal applicant in a conjugal relationship for at least one year. The term refers to both opposite and same-sex relationships.
Dependent Children – In order to be considered eligible to accompany an MPNP applicant to Manitoba, a dependent child must be:
under the age of 22 and not married or in a common-law relationship, or
22 years of age or older, dependent substantially on the financial support of the parent since before the age of 22 and unable to be financially self-supporting due to a physical or mental condition
All existing dependants must be declared to the MPNP BEFORE nomination.
New dependants, after nomination, must be declared to the MPNP and the Government of Canada Visa Office BEFORE Permanent Residence Visas are issued.
If you do not declare a new dependent to the MPNP and the Government of Canada BEFORE your Permanent Residence Visa is issued, you will need to apply separately to sponsor these dependents through a Government of Canada sponsorship program AFTER you settle in Manitoba.
The MPNP cannot assist you with a sponsorship application.
Please note also that IRCC may introduce regulatory changes to amend or change the definition of a "dependant". In that eventuality, the newly introduced definition of a "dependant" will prevail.
Deposit Agreement – IMPORTANT: A cash deposit is not required under the renewed Business Investor Stream.
After an application is approved for nomination, the applicant must sign a contract with the Government of Manitoba which details the terms and conditions under which the applicant's deposit will be held and subsequently released. The Deposit Agreement will specify the applicant's intended level of investment and type of business proposed.
Designated Representative – An individual, not necessarily a paid immigration representative, named by the applicant and authorized to receive information regarding an application. The MPNP will only release information to one named and authorized representative.
Equity Investment (Capital cash outlay) – This consists of investment in verifiable assets and working capital. It is the amount of money, in Canadian Dollars, which is to be invested in an existing business in Manitoba, or the start-up of a new business. In the case of an incorporated business, this investment can take the form of Share Capital (Common or Ordinary Shares, Preferred Shares or Subordinated Shareholder Loans to the company.
NOTE: This is an investment in permanent capital and, as such there can be no fixed redemption date). The investment can also take the form of capital outlay for a facility or land that will be used for the purposes of operating the proposed business. There can be no other claims on this money, except that of the entrepreneur.
ESDC – Employment and Social Development Canada.
Exploratory Visit – A visit that gives the MPNP applicant information relevant to their MPNP application. Exploratory visits differ under the MPNP streams.
Business Investor Stream: A visit that gives the prospective business applicant an opportunity to acquire first-hand knowledge about living and doing business in Manitoba. The visit may include market analysis/research, in-person meetings with industries and government departments or agencies, industry tours, and other important considerations in establishing or buying an existing business.
Farm Investor Stream: A visit that gives the prospective farm business applicant an opportunity to acquire first-hand knowledge about living and operating a farm business in Manitoba. The visit may include farm market analysis/research, in-person meetings with farm related industries and government departments or agencies, and other important considerations in establishing a farm business.
Skilled Worker Overseas Stream: A pre-arranged trip that potential MPNP Skilled Worker applicants may make to Manitoba to research communities and employment opportunities to help them make an informed decision on whether they have the intention and ability to find employment and settle with their family in Manitoba as permanent residents. After the MPNP interview included in a pre-approved exploratory visit, we may invite you to submit an MPNP Online application. Note that it is the Letter of Invitation, not the exploratory visit, that establishes a candidate's requisite Manitoba connection.The MPNP conducts exploratory visits at our discretion as resources allow in order to provide opportunity for qualified skilled workers, otherwise ineligible for our program, to establish the Connection to Manitoba that is required of all provincial nominee program applicants. Exploratory visits must be approved by, then arranged through, the MPNP only by invitation following our acceptance of your request.
Financial Statements – Documentation including balance sheets, income statements and cash flow statements that are audited or reviewed by independent accredited accountants. See individual definitions in this section for details on each of these items.
Immigration Consultants of Canada Regulatory Council (ICCRC) – A self-regulating association of paid immigration representatives who are citizens or permanent residents of Canada. IRCC and the MPNP will not release information to any paid immigration representative who is not a member in good standing with ICCRC or a lawyer who is not in good standing with a Law Society in Canada or the Chamber des notaries du Quebec.
Immigration Representative – An individual who has the applicant's permission to conduct business for him/her with IRCC. A paid representative must be either a lawyer registered with a Canadian Provincial Law Society or a consultant who is registered with the Immigration Consultants of Canada Regulatory Council (ICCRC) or the Chamber des notaries du Quebec.
Paid Representative – An individual who is a member in good standing of either the Immigration Consultants of Canada Regulatory Council (ICCRC), a Canadian Provincial Law Society or the Chamber des notaries du Quebec who acts on behalf of the applicant applying for immigration under the MPNP. Only members of these associations are authorized to charge fees for immigration advice and/or services under the MPNP. If using the services of a paid representative, the applicant must confirm that the representative is a member in good standing of at least one of these two professional associations. For more information, please read IRCC's tips for choosing an immigration representative.
Income Statement – An indicator of a company's financial performance, which measures sales or revenues and expenses over a specified time period, usually one year.
IRCC – Immigration, Refugees and Citizenship Canada.
IRCC Visa Office – A Immigration, Refugees and Citizenship Canada office at a Canadian Embassy, High Commission or Consulate that issues visas, including Permanent Resident Visas.
Manitoba Provincial Nominee – A person whose application to immigrate to Manitoba has been approved and to whom the MPNP has issued a Certificate of Nomination.
Manitoba Provincial Nominee Program (MPNP) – A nomination program that allows the Province of Manitoba to assess and nominate applicants for immigration who can demonstrate their ability to establish successfully and permanently in Manitoba.
Manitoba Provincial Nominee Program Applicant – A person who has been nominated in accordance with the criteria for one of Manitoba's MPNP streams/pathways. This person will be assisted in applying for a Permanent Resident Visa through a designated Canadian Visa Office under the category of Provincial Nominee.
Net Income – The amount of money a business has made over a specified period of time (usually one year). This is generally calculated as revenue less expenses and income (corporation) tax. It is calculated before dividends to shareholders or drawings to proprietors or partners.
Net Worth – The value of an applicant's total assets, less the value of his or her total liabilities. This includes all the assets owned by the applicant's spouse and dependent children but does not include value of personal items such as jewellery, furniture, appliances or vehicles etc.
Nominate – The term used by the Province of Manitoba to describe the selection of an applicant by the MPNP and to recommend an applicant for issuance of a Permanent Residence Visa by IRCC.
Notary Public – (also called a Notary). This is a public official who verifies that documents are real and/or official.
Permanent Resident – A person who is legally in Canada as a landed immigrant, but who is not yet eligible to apply for, or has not yet been granted Canadian citizenship.
Personal Net Worth – An indication of the financial background and strength of the principal applicant and spouse, which is calculated as the difference of assets (things owned) minus liabilities (things owed). It does not include value of personal items such as jewelry, furniture, appliances, etc.
Principal Applicant – The person (you or your spouse) who has a better chance of meeting the selection criteria for the MPNP.
Senior Manager – Senior Management Experience
An individual who has occupied a position in the highest levels of the management structure of a major business. In that position, the individual was responsible for the strategic policy development affecting a major component or a wide range of operations of that major business, and has done so for at least three of the recent past five years prior to applying to the MPNP.
The applicant claiming Senior Management experience must demonstrate that he/she has had a role with significant decision-making responsibilities involving a minimum of two of the following aspects of business:
Production/Operations/Project management
Human Resources/Personnel
In addition to the above, an applicant should also demonstrate that his/her level of income is commensurate with the prevailing income level of senior managers of the major businesses in his/her country. The applicant has to clearly demonstrate this level of income through the documents obtained from a third party source.
Spouse – A person to whom the principal applicant is legally married. The term refers to both opposite and same-sex relationships.
Supporting Documentation – The documents required for all immigration applications (e.g. documents that prove identity, work experience, language ability, finances, etc.).
Temporary Work Permit – A permit issued by an IRCC Visa Office or case processing centre allowing the holder to work temporarily in Canada according to the conditions indicated on the permit.


It's nostalgia in Nolita with midcentury pastels, petticoats & cat-eyes! Heart My Closet designs the most original vintage-inspired frocks, and I've had so much fun with diner-like pieces like today's button up dress. Pietro NoLita made an adorable retro backdrop, and one of my favorite bagel shops is right next door!


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Q: integral definition: Durrett's vs Rudin's I'm a little uncertain about the definition of integral of measurable functions.  First I read W. Rudin's book (PMA), where integration was defined in 3 steps: (1) integrals of simple functions, (2) integrals of non-negative functions, and then (3) integrals of measurable functions.  Specifically,

(2): $\int_E fd\mu\triangleq \sup \int_E sd\mu,$ where $f\ge 0,$ and $s$ are simple functions with $s\le f.$
(3): $\int_E fd\mu\triangleq \int_E f^+d\mu-\int_E f^-d\mu,$ where $f^+\triangleq \max(f,0),$ and $f^-\triangleq \max(-f, 0).$

Then I read R. Durrett's book (Probability: Theory and Examples).  The definition was almost the same, except for one difference: Durrett defined the integral of a bounded function, and then he defined the integral of non-negative functions (The rest are the same.), i.e.

Let $f$ be a bounded function on $E$, with $\mu(E)<\infty.$  Then, $\int_E fd\mu\triangleq \sup \int_E sd\mu$, where $s\le f$ are simple functions.
Let $f\ge 0$.  Then, $\int fd\mu\triangleq\sup \int hd\mu$, where $h$ is bounded, with $\mu(\{x:h(x)>0\})<\infty$, and $0\le h\le f.$

I have 2 questions:
1) Are these 2 definitions equivalent?
2) Rudin's definition appears simpler to me.  Why do we bother with Durrett's definition, defining integral of bounded functions and then the integral of non-negative functions?  Are there advantages in doing so?
Thanks a lot!

A: I would suggest using Rudin's definition. Durrett's definition is great for, say, the Lebesgue measure, but may fail if $E$ is not $\sigma$-finite.
For an example, consider $E=[0,1]\cup\{a\}$ where $a\notin[0,1]$. Let $\mu(A)$ be the Lebesgue measure of $A$ if $A\subset[0,1]$, and give the point $a$ infinite measure. Let $f(x)=0$ for $x\in[0,1]$ and $f(a)=1$. Under Rudin's definition, this is just a simple function, and $\int fd\mu=\infty$. I seem to recall that Durrett requires a simple function to be supported on a finite measure set, in which case $f$ is not simple. In this case, the only bounded, measurable function $h$ such that $0\le h\le f$ and $\mu\{x:h(x)>0\}<\infty$ is $h=0$, and so we have $\int fd\mu=0$.  If I am mistaken and Durrett does call this function simple, we have an even bigger problem: $\int fd\mu=\infty$ when considered a simple function, but $\int fd\mu=0$ when considered a non-negative function.
If you assume $E$ is $\sigma$-finite then the definitions are equivalent. To see this, suppose $f$ is a nonnegative, measurable function, and denote by $\int f$ and $\int^*f$ respectively the Rudin and Durrett definitions of the integral. If $h\ge0$ is a bounded measurable function such that $\mu\{x:h(x)>0\}<\infty$, and $s\ge0$ is a simple function such that $s\le h$, then $0\le s\le f$, so $\int s\le\int f$. Optimizing over $s$, we find $\int h\le\int f$. Optimizing over $h$, we find $\int^*f\le\int f$. Now let $s\ge0$ be any simple function such that $s\le f$. Write $s=\sum_{i=1}^Na_i\mathbf1_{A_i}$. Since by assumption $E$ is $\sigma$-finite, $E=\bigcup_{n=1}^\infty E_n$ where $\mu(E_n)<\infty$. Then $s_n:=\sum_{i=1}^Na_i\mathbf1_{A_i\cap E_n}$ is bounded, measurable and $\{x:s_n(x)>0\}\subset E_n$ which has finite measure, so $\int s_n\le\int^*f$. Letting $n\to\infty$ and using continuity of measure, we find $\int s\le\int^*f$. Optimizing over $s$, we find $\int f\le\int^*f$.
Durrett's definition is great for the Lebesgue measure, or for any finite measure space (Durrett is a probabilist, so the issue I highlight is not a problem for him). As Kenny Wong mentions, the bounded convergence theorem is very simple to prove and can be used as a stepping stone to build other convergence theorem. I believe this is the way Durrett proceeds, as does Royden who at least at first is primarily interested in comparing Lebesgue and Riemann integrals. Rudin likely does not even consider the bounded convergence theorem its own theorem, since it is really just a special case of the dominated convergence theorem.

A: Update:
Billingsley defines, in his Equation (15.3), the integral of a measurable function $f$ on $(\Omega,\mathcal F,\mu)$ as
$\int f\,\textrm{d}\mu = \sup\displaystyle\sum_i\left[\inf_{\omega\in A_i}f(\omega)\right]\mu(A_i)$
where the supremum is over all finite decompositions $\{A_i\}$ of $\Omega$ into measurable sets. This is in the same spirit as Rudin's.
Then in Problem 15.2 Billingsley shows that for a bounded function, its upper integral coincides with its lower integral (as is checked in Durrett's second step). And this: ``To define the integral as the common value is the Darboux-Young approach. The advantage of (15.3) as a definition is that (in the nonnegative case) it applies at once to unbounded $f$ and infinite $\mu$.'' I think this answers the original question. That is, what's given in Rudin is, as the first answer says, better as a definition; and to answer my own question, the step concerning bounded functions is, as far as definition is concerned, unnecessary.
This of course is not to say there is no value in checking the identity between the upper and lower integrals. Billingsley adds ``The definition (15.3) always makes formal sense (for finite $\mu(\Omega)$ and $\sup|f|$), but they are reasonable---accord with intuition---only if [the upper and lower integrals coincide].''
I'd prefer defining the integral in three steps and then checking the upper and lower integrals coincide for bounded functions. But who am I to make the call?
Original Post:
Thank you very much for your question and answer, but I still don't understand Durrett's point. And I wished to leave a comment, but I can't due to lack of enough reputation, so pardon me leaving one here; I'll delete it once it gets noticed. (I thought initiating a duplicate is the worse sin.)
To me, his proof of the bounded convergence theorem does not seem to require the second step (the step mentioned in the original question where the Lebesgue integral is defined for bounded functions on sets with finite measures). My guess is he wanted to make sure that for bounded functions, the Lebesgue integral equals the supremum of the minorizing simple functions and the infimum of the majorizing simple functions, which is not necessary. Is there another reason, other than it makes the proof of the bounded convergence theorem easier, why Durrett's second step is necessary?

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David Juhnke
Dave is a native Californian who was raised in Los Angeles and escaped to the Central Coast in the 1980s. He has always enjoyed the outdoors, and has hiked in many beautiful places around the world. For Dave, being in San Luis with its wide open spaces and plentiful hiking trails is like living in heaven, and he has always appreciated the work of the Land Conservancy to preserve and protect what makes the Central Coast so special. Dave recently joined the Land Conservancy Board to help further its mission of ensuring that our special places will be around for future generations.
Dave is an attorney who specializes in real estate transactions and litigation, land use planning and business advising and litigation. He currently manages the San Luis Obispo office of McCormick Barstow, and previously served as managing partner of local law firm Sinsheimer Juhnke McIvor & Stroh which merged with McCormick Barstow in January 2019.
Dave has been an involved member of the business community for many years, serving on and chairing the boards of the San Luis Obispo Chamber of Commerce and Economic Vitality Corporation. He also has been been heavily involved in the non-profit community, serving as a board member and chair of many local non-profits including RISE, YMCA, Literacy Council and Red Cross. Dave is an active member and past President of San Luis Obispo Rotary de Tolosa.
Dave is a graduate of Stanford University and UCLA Law School. He lives in San Luis Obispo with his wife Sharon, and is the proud father of twin boys who were raised on the Central Coast and currently live and work in Los Angeles and San Francisco.

redpajama_set_name: RedPajamaCommonCrawl


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Live Auction 12223 Modern British & Irish Art Evening Sale
Artist's Resale Right ("Droit de Suite"). Artist's… Read more PROPERTY FROM A NORTH AMERICAN COLLECTION
Sir Anthony Caro, O.M., R.A. (1924-2013)
Midnight Gap
steel, rusted, varnished, and painted, unique
71 x 142 x 110 in. (180.5 x 361 x 279 cm.)
Conceived in 1976-78.
Purchased directly from the artist by the present owner's mother in 1979, and by descent.
D. Blume, Anthony Caro: Catalogue Raisonné, Vol. III, Steel Sculptures 1960-1980, Cologne, 1981, pp. 160, 241, no. 1155, illustrated.
Exhibition catalogue, Anthony Caro, London, Arts Council of Great Britain, Serpentine Gallery, 1984, no. 223, illustrated.
G. Carandente, exhibition catalogue, Anthony Caro, Rome, Trajan Markets, 1992, pp. 62-63, no. 23, illustrated.
London, Arts Council of Great Britain, Serpentine Gallery, Anthony Caro, April - May 1984, no. 223: this exhibition travelled to Manchester, Whitworth Art Gallery, June - July; Leeds, City Art Gallery, August - September.
Rome, British Council, Trajan Markets, Caro a Roma, May – August 1992, no. 23.
These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer's Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Louise Simpson
lsimpson@christies.com +44 (0)20 7389 2681
At once maker of icons and iconoclast, Anthony Caro played a pivotal role in the development of twentieth century sculpture. Beginning his artist career in the mid 1950s, after having spent two years assisting Henry Moore in his creation of, amongst other things, the highly abstracted Reclining Figure, 1951, as well as a series of serenely draped figures, the result of a trip to Greece in 1951, Caro emerged as an enthusiastic, expressionistic modeller, whose clay figures, he explained as 'trying to describe what it's like to be inside a human body' (Caro quoted in T. Marlow, 'Man of Steel', Cambridge Alumni Magazine, 1997, http://www.anthonycaro.org/frames-related/Publications.htm accessed 28 April 2016). Everything changed however, when, travelling to New York in 1959 on an English Speaking Union grant, Caro met influential critic and avid advocate of abstraction Clement Greenberg, becoming friendly too with post-painterly abstractionists Kenneth Noland, Helen Frankenthaler and Jules Olitski. Greenberg also introduced Caro to the welded metal abstracts of American sculptor David Smith. The effect of this visit was to call into question 'dependence on the conventions of traditional culture, and open the way to a more direct and free sculpture' (Sheila Girling quoted in P. Fuller, 'London, Waddington Gallery and Knoedler Gallery: Anthony Caro', The Burlington Magazine, 1986, p. 916). On his return to England, Caro completed Twenty-four hours, consisting of three shaped planes of roughly cut painted steel, announcing his adoption of new (or rather found) materials and working methods. Throughout the 1960s he made use of pre-constituted industrial elements which he transformed and re-combined through cutting and welding to create assemblages often painted in bright household colours. In effect these were fully three-dimensional collages, new, urban, radical and entirely self-referential.
Caro's desire, in the artist's own words, to 'expand the language of sculpture' involved consistently 'pushing at the boundaries to see where it gives' (Caro, quoted in T. Marlow, ibid.). Inspired, indefatigable and experimental, Caro sought throughout his life to challenge constantly and to re-invent his working methods.
Throughout the 1960s and 1970s Caro's influence both as a sculptor and as an artist-teacher at St. Martin's School of Art, continued to augment. His second major retrospective took place at the Museum of Modern Art in 1975 followed by a US tour and in 1978, the same year in which Midnight Gap was completed, Caro carried out a commission for the East Wing of the National Gallery in Washington D.C. In addition, a British Council exhibition of the Table Sculptures 1966-67 toured the world between 1977 and 1979. American formalist critics hailed the dawn of a new sculptural turn to 'radical abstraction', his work seen as more radical even than David Smith's in its unequivocal anti-anthropomorphism. For Clement Greenberg, Caro's 'breakthrough' was related to the 'radical unlikeness to nature' of his work. Greenberg argued that a Caro sculpture did not rely on 'illusion', but rather depended upon the creation of a non-referential 'syntax', which Greenberg defined as 'the relations of its discrete parts'. In his 1986 book Anthony Caro, Terry Fenton distinguishes Caro from Smith on the grounds that Caro's sculpture 'did not symbolise or represent … the shapes that composed it were just shapes'. It was, 'a new sculpture that aspired to the 'condition of music' (T. Fenton, Anthony Caro, 1986, p. 10).
Caro seemed sometimes to endorse such interpretations. Indeed, as late as 1979, he stated that 'in some new way' (Caro quoted in P. Fuller, 'London, Waddington Gallery and Knoedler Gallery: Anthony Caro', The Burlington Magazine, 1986, p. 917), he foresaw his work becoming more rather than less abstract, and yet works like Midnight Gap had already presented such a complex textured surface of bumps and hollows that Caro's construction seemed to be seeking 'to convert itself into the modelling out of which it first sprang' (loc. cit.). By the early 1980s, Caro was producing work aimed at recuperating the more traditional elements of sculptural pursuit - such as modelling, casting, figuration, surface patinas, imagery and illusion - elements which he had previously jettisoned in achieving his initial breakthrough.
Midnight Gap, a strikingly multifaceted assemblage of uniquely transitional import sits somewhere between the Flats, a series of 37 large scale sculptures produced between 1974 and 1976 when Caro worked (intermittently) at the York Steel Company factory in Toronto, the Emma series, conceived between 1977 and 1978 - (Emma Dipper and Emma Dance are part of the Tate collection, London) in which, as Artist in Residence at Emma Lake summer workshop, University of Saskatchewan, Saskatoon, Caro began using tubular steel in a linear mode and even the Writing series, seeming an amalgamation of all three experimental modes. Midnight Gap is not only a visually complex work but also an incredibly visually rewarding one - the result of the composition and intriguing juxtaposition of diverse and disparate parts - the more one looks, the more one sees. It is fascinating too to witness the way in which light (and shadow) interacts within and beyond the surface and body of the sculpture.
Despite its resolute abstraction, Midnight Gap relates too in particular and profound ways to a statement Caro made in an interview published in Artforum in 1972, that 'all sculpture in some ways has to do with the body' (P. Tuchman, 'An Interview with Anthony Caro', Artforum, June 1972, p. 98). Years later, this statement was followed by the admission that, 'I never want people to handle my sculpture, to run their hands over surfaces. But I do want them to grasp it in a physical way, to relate to it with their bodies; that is one reason why the early works were so big. It is as if the eyes become a surrogate for the body…. Looking is physical, not conceptual…even if you do not lift it, you have to be aware of [an artwork's] real size, real weight' (Caro in an interview with Peter Murray, June 2000, http://www.anthonycaro.org/ysp2-with-peter-murray.htm accessed 28 April 2016). It is this sense in which Midnight Gap's physical impact relates both to the actual body of the sculpture, its haptic fascination, as well as to our own bodies, the experience even of looking is incredibly haptic, that Caro speaks. One feels keenly both the sensation of being kept forcibly at a distance as well as drawn in, seduced by its haptic potential. 'Distancing yourself, and imagining yourself in… has been an important feature of a lot of my work. A sculpture has an invisible barrier around it' (B. McAvera, 'Influence, Exchange and Stimulus: A Conversation with Sir Anthony Caro', Sculpture, Vol. 21, No. 2, March 2002, http://www.sculpture.org/documents/scmag02/mar02/caro/caro.shtml, accessed 28 April 2016), which it is for the eye only to attempt to penetrate.
Steel, so synonymous with Caro's oeuvre (and out of which Midnight Gap was conceived) remained, throughout his life, the artist's favourite medium, enabling him 'to do things that no other material allows'. As with Midnight Gap, Caro used colours in order to set off the individuality from the particular elements he incorporated into his sculpture in an additive or collage-like manner, as well as to homogenise their appearance. Caro, it might be argued, went further towards completely revoking the ordinary conditions of physicality than any other artist of his generation, altering forever our expectations of what and how sculpture could be and giving us a new vision of the possible.
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transcendental functions. This includes polynomial, rational, trigonometric, exponential and logarithmic functions.
demonstrate an understanding of the topics covered in the course through testing.
END OF COURSE ASSESSMENT EXAM: An assessment exam will be administered at the end of the semester.
The exam will be a minimum of 5% of the course grade.


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U.S. News Names Best Luxury Hotels in the United States for 2021
Industry News LODGING Staff - February 2, 2021
WASHINGTON, D.C. — U.S. News & World Report today announced its Best Hotels rankings after evaluating more than 30,000 luxury hotels and resorts across...
Comings & Goings LODGING Staff - December 10, 2020
AHLA announced its 2021 officers, board of directors, and executive committee, including Mark Hoplamazian, president and CEO of Hyatt Hotels Corporation, as chair of...
From Alternative Work to Relief Funds: Three Ways Hotel Businesses Are Supporting Employees During...
People LODGING Staff - May 6, 2020
Hotel occupancy has dropped significantly amid social distancing measures and travel restrictions to mitigate the spread of COVID-19. Slow business has prompted some properties...
Rancho Valencia Resort & Spa Re-Opens Following $30 Million Renovation
Renovations LODGING Staff - October 25, 2012
SAN DIEGO—On October 26, the Rancho Valencia Resort & Spa officially re-opens its doors following a $30 million transformation with 49 guest casitas. "Rancho...


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Glacier 3000
Shuang Li | March 9, 2021
You died.
I cried.
And kept on getting up. A little slower.
And a lot more deadly.
—Assata Shakur, STORY, 1987
In 2015 I received an email from you, a journalist asking if I would be interested in talking to you in relation to an article about my practice that you were thinking about writing for the New York Times. That's how I met you, Kim Wall, a freelance journalist writing "about hackers, hustlers, Vodou, vampires, Chinatowns, atomic bombs, feminism, etc" according to your Twitter bio. You went on to become a dear friend. At the time we had a pleasant talk, but the article was never published. I had no clue what happened to it, neither did I read a draft— in any case, the idea of reading, seeing or hearing myself in any mediated way always tenses me up.
We never spent too much time together IRL. Thinking about it, we have only seen each other twice. Or maybe even once? No, it was twice. The second time was when you went to Shanghai to write about the opening of the new Disneyland. But since the first phone call we have written to each other almost daily. I still text you; only now there is never any reply. Sometimes for those short seconds on bleak mornings, still half-asleep, I check our conversation on instant messengers, temporarily forgetting that you are no longer here.
At the beginning of the manga series Inuyasha, the warrior-princess Kikyo had a brief resurrection. A witch stole her ashes and cast a spell to bring her back from the dead. Kikyo's body rose from the clay, but her soul did not return. It was only after Inuyasha called out her name that her soul drifted away from Kagome, the reincarnation of Kikyo, and returned to Kikyo's body, and Kikyo came back to life.
Clickbait media keep resurrecting you without calling your name—from the very beginning, when they all made you a headline, you were always "the blonde journalist." A mutual friend sent me a link to BBC news: that was how I learned that you were missing from the submarine. I put a Google alert on your name so that I could know whenever some discovery popped up. It soon turned out to be unnecessary. People shared updates on social media incessantly. One piece of news after another. My roommate told me to stop reading; by then we all knew you had passed. She warned me not to read the details as they emerged, because she did. So I never did. This year Netflix made a documentary about the case; it premiered at Sundance. But the streaming plan was stalled. Naturally, they made the film all about the man who took your life. But I will never say his name. As I'm writing, I realized, that I don't even know his name.
"There has been so much writing on me, about me, but my story never exists," I wrote in the script for my video installation Intro to Civil War (2019). But you have told so many good stories. It is from you that I learned how to observe. Writing is not the hardest part. What's tricky is that one needs to be able to see, in the first place. Reading those stories you have covered—ranging from the relationship between Chinese shopping malls and factories in Uganda, to Cuban internet guerillas before the country opened up, to Chinese feminists in the States, to female fighters in Sri Lanka's rebel Tamil Tigers—some of these topics were familiar to me and some not, but no matter how well I thought I knew the issues at hand, reading your stories made me realize what I knew was just a tiny fraction of the bigger picture.
I'm constantly asked to explain my work and the cultural background to which it relates. I'd like to think that I'm not terrible at that. But there seems to be so much explaining to do, and still so much that is lost in translation, partially if not completely. When I struggle to tell my own stories well, how could you have done such a good job telling those of others'?
I'm currently quarantining in a hotel room next to the central train station in Geneva. An artist in my residency program had just tested positive for COVID-19. Europe is entering a second, stronger wave of infections. All my plans fell apart, again. For this project, I had planned to go to Glacier 3000, the highest peak in the Vaudois Alps, but now I can only sit on the balcony and look for found images online to Photoshop—even though I can see the snow-topped mountains through my window, right behind my computer screen. Three years after you passed, things haven't changed much. Femmes* are still murdered IRL while being resurrected on screen. My initial plan was to research and collect social-media updates from these femmes, whose lives were taken by their loved ones, friends, relatives, strangers, or the state, and project them onto the landscapes of Glacier 3000 as a form of digital graffiti—my own lost-in-translation way of reading and retelling their stories.
Right before I had to quarantine, I walked into a cemetery by accident, and stumbled into the kids' section. One can easily tell it's for kids, from the size of the tombstones, and the liveliness that comes with the dolls and teddy bears, all of it forming a bleak contrast with what these objects represent. I tried to read the French epitaphs using Google Translate. One of the translations said, "When you watch it Sky at night since I will live can I go in one of the stars. So this will be for you. JMom and Dad." These sentences don't make sense, yet somehow, they don't need to. I'd like to think that's how my work functions.
In 2020 we are all stuck in different places. In a more immediate way than is usually the case. Some people are stuck in their childhood home with their mothers; I'm stuck in these perpetual waves of unrest. I came to Berlin in February for my solo exhibition, initially planning to stay for a month. As the pandemic broke out around the world, I didn't seem to have better options than to stay. As hard as it is to see or admit, this is the year that I'm embraced again by the possibilities of life, possibilities that I haven't really considered for a long time. It reminds me of when I first moved to New York in my early 20s. Yes, when it felt like the whole world was in front of me.
As a shamefully typical millennial who's constantly lost in life, the answer to the one question that has left me perplexed for so long has emerged amidst all this turbulence—what am I actually looking for? As it turns out, the only thing I ever wanted is to be free, and I don't really care what price I have to pay. Of course, we all have different interpretations of what the former means. Back when a lifestyle of roaming the world freely was ideal and possible, I learned how to live a life free from you. You once told me that wherever you traveled to, you would always make sure you write for eight hours every day. But for me, I can only do half an hour, the brief moment in the morning before the coffee kicks in, when I can keep a dream journal of things that have happened before dawn. Now I'm no longer longing for a lifestyle in which I can travel or live wherever I want. For the first time, I believe that I'm actually free.
When we can't travel anymore, images still can, faster than ever, across time and space. Now that I can only look over Geneva from my window, I find it strangely familiar. I suddenly remembered all the family albums I had from my childhood in Wuyishan. The photographs on the covers all resemble some sort of European town—mountains in the background, old bridges over little creeks. But inside the album are always one's family photos, from the other end of the world, in a drastically different setting.
Earlier this year, a social-media campaign started on Instagram with black-and-white photos of femmes alongside the hashtag #challengeaccepted. While it is unclear whether it started in Turkey, the campaign itself highlights femicide in Turkey at a moment in which Turkey's president commented about potentially withdrawing from a Council of Europe convention on violence against women, dubbed, ironically, the Istanbul Convention. When I saw the hashtag and photos popping up in my feed, I didn't know what it was about until I scrolled through a post explaining the challenge to non-Turkish friends. "Turkish people wake up every day to see a black-and-white photo of a woman who has been murdered on their Instagram feeds, on their newspapers, on their TV screens," reads the post. "The black-and-white photo challenge started as a way for women to raise their voice. To stand in solidarity with the women we have lost. To show that one day, it could be their picture that is plastered across news outlets with a black-and-white filter on top."
There certainly have been voices expressing suspicions about the campaign, which reminds me of a common critique of female artists when they make works with their own bodies: "that's so second-wave feminism." As an East Asian woman, obviously, I don't own my body. My uterus belongs to the state, the family lineage, the hypernormalized abortion ads, the kids; my breasts belong to a rapist, forever pornified imageries, the violence that won't hesitate to cut them off in a heartbeat; and as it turns out, even as artists, we still don't own the rights to our body. We also don't own our screen bodies, which might be more resilient than the physical ones. But there's a silver lining—screen bodies mutate. Femme victims can turn into murderers on screen. From Elizabeth Báthory, the fabled Blood Countess of Hungary who, during the 14th Century that killed hundreds of young girls in order, later accounts state, to bathe herself in their blood so as to retain her own youth, to Đoàn Thị Hương and Siti Aisyah, the girls who assassinated Kim Jung Nam at the Kuala Lumpur Airport without knowing–one of them wore a top that said "LOL."
My ZOOM book club, with friends that I used to meet constantly but who can now only congregate on screen, read Andrea Long Chu's Females during quarantine.
"Not all females are serial killers, but all serial killers are female, including the necrophiles. The entire incarcerated population is female. All rape survivors are females. All rapists are females. Females masterminded the Atlantic slave trade. All the dead are female. All the dying, too. The hospitals of the world are full of them: females in beds or gingerly walking about, full of pain, recovering, slipping away. All the guns in the world are owned by females.
"I am female. And you, dear reader, you are female, even—especially—if you are not a woman. Welcome. Sorry."
Female, as a word, has long surpassed the biological and even structural identity—when we are only left with screen bodies, we are all penetrable. I made a video, titled T (2017-18), that tells the story of a misogynist cis man's involuntary transformation into a female for his online customer-service job (for to be female is to be gentle, soft, and as a result, likable). It is the one work I had the most pleasure in explaining,
"You have to start talking like a girl."
"But I'm a man!"
"From now on, you have no gender."
Screen bodies have no gender. Screen bodies don't belong to anybody. You can do anything to a screen body—it's not a crime. Screen bodies exist only to be penetrated—yeah, that makes everyone female, and that's why they are, and rightfully should be, fucking afraid of us.
Shuang Li is an artist and writer who has been sans address since 2020.


CYRUS TANG has been profiled in NAVA's The Artist Files.
In her video interview with NAVA, Tang chats about becoming an artist, developing her career and exploring her identity through her practice.
Robert Owen, Double Seed #2, 2016-2018, from the 'Text of Light' series, Synthetic polymer paint on linen, 122 x 122cm.
ARC ONE Gallery is delighted to present, Afterglow, the latest body of paintings by leading Australian artist, ROBERT OWEN. These visually-arresting works continue the artist's exploration of the perceptual and emotional effects of light, colour, and space.
Guided by curiosity and wonder, Robert Owen's knowledge of colour is profound. In colour he nds harmony and melody, using chromatic combinations to achieve sensations that pulsate from the walls like sound waves or musical nuances. Afterglow at ARC ONE Gallery stems from one of Owen's diary drawings executed while living on the Greek island of Hydra in the early 1960s. On the island, Owen witnessed an eclipse of the sun: an experience that has informed the artist's enduring interest in the transcendent capacity of space, light, and colour.
Owen's formative research and experiences of Constructivism and De Stijl are apparent in Afterglow where succinct geometric forms, vertical stripes, and squares of strong colour evoke the physical and metaphysical. Owen's diary drawing from 1964, vibrant with its rework composition, perfectly encapsulates a synthetic moment and the relationship between time and progress. Describing the image, Owen draws on the paradox articulated by French philosopher Gaston Bachelard in his book, Intuition of the Instant, which posits life as an enduring string of moments that are in nite. It is this ash of illumination, combined with his poetic experiences on Hydra, from which Owen's continued interest in the perceptual and emotional effects of space, light, and colour has materialised.
Robert Owen is an internationally recognised and award-winning artist with a sustained practice of more than ve decades. Working in painting, sculpture, installation, and photography, he has received widespread acclaim for his work, including major public commissions such as such as Webb Bridge, Docklands (in collaboration with Denton Corker Marshall), and the Craigieburn Bypass, Melbourne (in collaboration with Architects Taylor Cullity Lethlean and Tonkin Zulaikha Greer). He represented Australia at the 38th Venice Biennale in 1978, and in 2003 he received the Australia Council Visual Arts/ Crafts Emeritus Award for a lifelong service to the visual arts. He is represented in public and private collections throughout Australia and internationally.
Cyrus Tang, Golden Hour – 16.43.12.2001, 2018, archival pigment print, 120 x 70cm.
CYRUS TANG is included in the exhibition This Wild Song at Town Hall Gallery, Hawthorn Arts Centre.
The exhibition celebrates strong female leaders in the arts community and their creative vision.
The opening is 1 September, 2 - 4pm and continues until 21 October.
Eugenia Raskopoulos, Diglossia #4, 2009, pure pigment print on archival paper, 140 x 93.5 cm.
Congratulations to EUGENIA RASKOPOULOS! Announced as one of the artists selected for The National: New Australian Art 2019 at Carriageworks.
The exhibition presents the latest ideas and forms in contemporary Australian art, curated across three of Sydney's premier cultural institutions: the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia.
IMANTS TILLERS is included in the exhibition '20/20 Celebrating twenty years with twenty new portrait commissions' at the National Portrait Gallery, Canberra. '20/20' showcases the dynamic suite of new portraits commissioned to celebrate the National Portrait Gallery's 20th year.
Imants Tillers has painted a portrait of one of Australia's most prolific playwrights Louis Nowra.
The exhibition opens 20 October and continues until 10 February 2019.
Imants Tillers, 'Study of Louis Nowra', 2018, synthetic polymer paint and gouache on 64 canvas boards. Commissioned 2018.
GUAN WEI is included in Painting with Thread, an exhibition of recent tapestries and samples from the collection of the Australian Tapestry Workshop, Melbourne (ATW).
Painting with Thread will offer Sydney viewers a glimpse into the behind-the-scenes process of tapestry creation by ATW weavers from design, sampling, to weaving and completion. The selection of tapestries and samples on display emphasise the experimental and innovative approaches to contemporary tapestry design, as well as the diversity of recent projects and collaborations at ATW.
Reviewed in Art Guide, the exhibition continues until 26 September.
Cyrus Tang, A Simple Life (118 minutes), 2018, archival pigment print, 65 x 65cm.
Congratulations to JULIE RRAP, CYRUS TANG and ANNE ZAHALKA, who have been shortlisted for the prestigious 2018 Bowness Photography Prize.
The winner will be announced 11 October.
The exhibition is open from 29 September – 18 November 2018.
HONEY LONG & PRUE STENT are featured in The Herald Sun today, as part of an article titled, 'Rising stars'.
Stent is quoted: "We just evolved from hanging out and making things, playing, and it slowly evolved into an art practice." Long adds, "It's really nice making art in a way where it's just as much about the relationship as it is the end product."
Maria Fernanda Cardoso, Naked Flora #6: One Wife, five husbands, digital print, acrylic face, 45 x 30cm.
MARIA FERNANDA CARDOSO is included in the exhibition Human Non Human at the Powerhouse Museum.
Human Non Human asks the questions: What makes us human? How might humans adapt in the future? The immersive installations combine architecture, design, biotechnology, botany, chemistry, film and performance, offering space in which to consider the past, present and possible futures of human and non-human relationships.
The exhibition opens 7 August 2018 and continues until 27 January 2019.
ROBERT OWEN, JULIE RRAP & ANNE ZAHALKA are included in the exhibition National Art – Part One at the National Art School, Sydney.
The exhibition will include over fifty artists with works spanning seven decades.
Julie Rrap, Outerspace, 2010, Digital Video, 1.33min loop, edition of 5.
Lyndell Brown & Charles Green, Night propellor change, Gulf, 2007-09, digital colour photograph, inkjet print on rag paper, 37.4 x 51.7.
LEGACY. Your collection. Our story. curated by Anouska Phizacklea at the Monash Gallery of Art includes important works by LYNDELL BROWN & CHARLES GREEN (pictured) and ANNE ZAHALKA.
The exhibition celebrates the impact benefactors have had on the development of one of the nation's most unique and important collections, a collection dedicated to Australian photography and its artists. LEGACY teases out the fascinating and compelling stories behind the works and their donors, and along the way showcases significant works that chart the history of MGA, from a Joseph Albers tapestry donated by Harry Seidler, the architect of MGA's building, through to the most recent donated works.
The exhibition continues until 19 September.
A selection of works by PAT BRASSINGTON are currently on display at the Monash Gallery of Art as part of 'LEGACY +...collecting contemporary'. This offshoot of 'LEGACY. Your collection. Our Story,' showcases the work of artists who create incredibly potent narratives within their practice, with performative, experimental and chance encounters tying these works together.
The exhibition continues until 19 August.
Pat Brassington, Starlight from the series Gentle, 2001, pigment print, 65 x 43.5cm.
'Infinite Conversations: Asian-Australian artistic exchange', at the National Gallery of Australia, features iconic works by LYNDELL BROWN & CHARLES GREEN, ROSE FARRELL & GEORGE PARKIN (pictured), GUO JIAN, GUAN WEI, and JOHN YOUNG.
This exhibition considers the creative practice of artists from mainland China and Hong Kong, a number of whom settled in Australia following the 1989 Tiananmen Square protests. Using diverse modes of production, these artists confront and recount the challenges of making a new home with shifting degrees of grief, poetry and optimism. A second gallery examines the relationships between Asian and Australian artists, revealing a rich, sometimes disquieting dialogue as concepts of race and culture are provoked and explored.
The exhibition continues until 9 September.
EUGENIA RASKOPOULOS, JULIE RRAP and ANNE ZAHALKA have been included in the important exhibition Dark Rooms: Women Directing the Lens 1978–98 at Griffith University Art Museum.
Griffith University Art Museum says: "Against the backdrop of the feminist movement and activism in arts and politics, many women artists during this period made work that refused the male gaze. Acutely aware of the ways in which the lens could empower or reduce the subject, they put themselves, friends, and family in the picture, and in doing so, changed the cultural landscape of Australia. Photomedia became an important way for artists to confront racism and the objectification of peoples; disrupt and subvert sexually violent imagery; and forge a renewed interest in psychoanalytic theory."
The exhibition opens 14 July from 2pm at the Griffith University Art Museum, Brisbane.
The exhibition runs until 25 August.
Eugenia Raskopolous, Untitled No 3, 1998, Ilfachrome photograph, 77 x 99 cm.
Julie Rrap, Persona and Shadow: Madonna, 1984, cibachrome print, 194 x 105cm.
Anne Zahalka, The Artist (Self-Portrait), Berlin, 1987, cibachrome photograph, 80 x80cm.
Pat Brassington, Heart's Blood, 2017, pigment print, 90 x 65cm.
PAT BRASSINGTON currently has her second solo exhibition on at Ten Cubed.
Ten Cubed first began collecting Brassington's works in 2010, acquiring two prints – 'Going' and 'By the Way' – from her self-titled exhibition here at ARC ONE held in the same year. Early on, Brassington was selected as a core artist in Ten Cubed's collection and her first solo exhibition was held in 2014.
The exhibition will continue until 8 September, 2018.
In an extraordinarily short time HONEY LONG & PRUE STENT have achieved considerable recognition in Australia and overseas in L.A, Zurich and Mexico. Here's a list of recent international publications the collaborative duo have been included in: Sleek, Kunst Forum International, Plastik Magazine, The September Issues, ETC and Moon Man.
Honey Long & Prue Stent, Nasturtium I, 2014, archival pigment print, 72 x 108 cm.
Guan Wei, Treasure Hunt, 2017, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe & Cheryl Thornton, wool and cotton, 86.4 x 360cm, commissioned by the Australian Tapestry Workshop.
GUAN WEI's Treasure Hunt will be cut from the loom next Tuesday 10 July.
Commissioned for the Australian Tapestry Workshop, the woven work will then make it's way to Sydney to the Australian Design Centre for Painting with Thread, an exhibition of recent tapestries and samples from the collection of the Australian Tapestry Workshop.
The exhibition will be from 3 August - 26 September, 2018.
JANET LAURENCE's work is included in the upcoming exhibition at 45 Downstairs, All We Can't See: Illustrating the Nauru Files.
The exhibition depicts individual interpretations of the leaked Nauru files exposed by The Guardian in 2016, illuminating the stark human cost of Australia's policies of offshore detention.
The Nauru Files are Australian stories. They are the consequence of Australian government policies, and they are shaping our national identity.
The exhibition opens 31 July and continues until 11 August, 2018.
NIKE SAVVAS' spectacular installation work Atomic: Full of Love Full of Wonder is included in the exhibition Spacemakers and roomshakers at the AGNSW.
Nike will talk about her work on Thursday 26 July, at 12pm at the AGNSW. Meet at the information desk.


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How Capacitors Work
by Marshall Brain & Charles W. Bryant
History of the Capacitor
The invention of the capacitor varies somewhat depending on who you ask. There are records that indicate a German scientist named Ewald Georg von Kleist invented the capacitor in November 1745. Several months later Pieter van Musschenbroek, a Dutch professor at the University of Leyden came up with a very similar device in the form of the Leyden jar, which is typically credited as the first capacitor. Since Kleist didn't have detailed records and notes, nor the notoriety of his Dutch counterpart, he's often overlooked as a contributor to the capacitor's evolution. However, over the years, both have been given equal credit as it was established that their research was independent of each other and merely a scientific coincidence [source: Williams].
The Leyden jar was a very simple device. It consisted of a glass jar, half filled with water and lined inside and out with metal foil. The glass acted as the dielectric, although it was thought for a time that water was the key ingredient. There was usually a metal wire or chain driven through a cork in the top of the jar. The chain was then hooked to something that would deliver a charge, most likely a hand-cranked static generator. Once delivered, the jar would hold two equal but opposite charges in equilibrium until they were connected with a wire, producing a slight spark or shock [source: Williams].
Benjamin Franklin worked with the Leyden jar in his experiments with electricity and soon found that a flat piece of glass worked as well as the jar model, prompting him to develop the flat capacitor, or Franklin square. Years later, English chemist Michael Faraday would pioneer the first practical applications for the capacitor in trying to store unused electrons from his experiments. This led to the first usable capacitor, made from large oil barrels. Faraday's progress with capacitors is what eventually enabled us to deliver electric power over great distances. As a result of Faraday's achievements in the field of electricity, the unit of measurement for capacitors, or capacitance, became known as the farad [source: Ramasamy].
How Inductors Work
How Oscillators Work
How Batteries Work
What are amps, watts, volts and ohms?
Introduction to Capacitance
Charging And Discharging A Capacitor
Barry's Coilgun Design Site
PowerLabs Capacitive Discharge Experiments
The Known History of "Quarter Shrinking"
Ramasamy, Natarajan. "Power System Capacitors"
Willams, Henry Smith. "A history of Science, Volume II"
Inside an Electric Motor
What's the Difference Between LCD and LED?
How Nanogenerators Work


I met this lovely couple while volunteering for Now I Lay Me Down to Sleep, a wonderful organization that offers remembrance photography. You can read more about this amazing organization here. Many of our parents and volunteers that serve NILMDTS call these sweet little ones "angel babies". And a baby following an angel baby is called a "rainbow baby"- the rainbow that comes after the storm. Our work with NILMDTS is very private and their story isn't something I will share, but I do have permission to share that through NILMDTS is how we met.
A few weeks ago mom called me with the wonderful news that she was expecting again! We often don't hear from our families once we deliver the images, so it is so rewarding to be able to reconnect with them especially under much happier circumstances- I'm such a sucker for a happy ending. This is such a rewarding part of my job. Please meet big brother, baby A.
Grandma made these hats for him. Isn't he a doll?!?
Mom's remembrance tattoo is so perfect.
I love catching sweet newborn smiles.
It was so sweet to see you guys again. Baby A is perfect. Congratulations!


U.S. Army Research Institute for the Behavioral and Social Sciences. Research Report 1827. Warrior Ethos: Analysis of the Concept and Initial. Development of Applications. Gary Riccio, Randall Sullivan, Gerald Klein,. Margaret Salter, and Henry Kinnison. The Wexford Group International. 20041123 084. September 2004.
Ensure. Enemies Foreign and Domestic These results are sorted by most relevant first (ranked search) You may also sort these by essay on army warrior ethos color rating or essay length 10-8-2017 If Bradley Manning had stayed Bradley Manning.


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Anna W. Manville
anna.manville@arnoldporter.com vCard
Anna Manville's practice focuses on intellectual property matters with an emphasis on trademarks. Ms. Manville provides strategic and practical advice to assist clients in a variety of business sectors in obtaining and protecting intellectual property assets. Her experience encompasses all aspects of trademark law, including portfolio strategy, management and enforcement, clearance opinions, prosecution, licensing, transactions, due diligence, domain name disputes, opposition and cancellation proceedings before the Trademark Trial and Appeal Board (TTAB), customs registration, and social media issues. She has assisted clients with the protection and enforcement of color marks, trade dress, product configurations, packaging, geographical indications, and other non-traditional marks. Ms. Manville also advises clients on copyright, unfair competition, and advertising clearance issues.
Early in her career, Ms. Manville was an Examining Attorney with the US Patent & Trademark Office where she examined applications in the computer and electronics fields. Before joining the firm, Ms. Manville was a partner at an intellectual property boutique firm in the Midwest.
Ms. Manville assists pro bono clients, including the largest nonprofit literacy organization in the US as well as cancer research, children's hospice care, historic preservation, women's rights, and arts organizations with their trademark, copyright, domain name, social media, and licensing issues.
Ms. Manville is an active member of many professional associations and has held leadership positions with the International Trademark Association (INTA). She has spoken at professional conferences and client seminars on trademark topics.
International corporation with a family of companies in the investigations, cyber security, compliance, risk consulting, data recovery, and background screening fields in managing trademark portfolios worldwide and registering and enforcing copyrights.
Third-largest wine producer in foreign trademark portfolio management and enforcement.
Major private equity firm in intellectual property due diligence for new acquisitions.
Start-ups in developing cost-effective brand selection, protection, and policing strategies.
Global organization dedicated to child safety issues in logo re-branding and international licensing and trademark portfolio management.
Public hotel REIT in connection with IP issues and licensing agreements.
Leading electronics manufacturer in re-branding medical device business.
Luxury international fashion house as US trademark counsel.
European perfumer in obtaining US trademark protection for product packaging.
Online game developer in enforcement efforts against online infringement through social media and digital marketplace.
JD, Catholic University of America, Columbus School of Law, 1988
BA, Carleton College, 1982
Government & Military Service
Examining Attorney, US Patent & Trademark Office
Chair, International Trademark Association (INTA) Trademark Office Practices Committee (TOPC)
Member, Intellectual Property Owners Association (IPO)
Member, American Bar Association (ABA), Intellectual Property Law Section
Former Chair, INTA USPTO Subcommittee
Former Vice-Chair, INTA TOPC


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Stupid Criminals in Kansas
I know I shouldn't draw attention to the stupidity of people in my own state, but I just couldn't let this one fly by. I had to say something.
And I'm saying this guy is a dumbass.
Who gets "murder" tattooed on their neck? This dumbass. And I will step out on a limb and say that the guy who home inked the shit is a dumbass too.
Now, after being charged with murder–go figure–he, and his lawyer, think Barton County should transport him to a tattoo facility so he can have a cover-up tattoo done. They're worried the jury might find the word prejudicial. No shit.
How about what appears to be a teardrop near his left eye? I had always thought that signified you'd killed someone? I looked it up though, and according to Urban Dictionary, it signifies that you've been someone's "bitch" in prison.
Interesting. . . .maybe his home skillet tattoo artist could also see into the future and that's why he wound up with both of those tattoos in the first place??
I say put a fucking turtleneck on and go face that jury of your peers. You know what they say, if you can't do the time, you shouldn't do the crime.
Makes me want to move so my tax dollars don't have to feed and house and provide medical care for this dumbass for the rest of his life.
I'm a dumbass, and so is the guy who inked this on my neck.
GREAT BEND, Kan. (AP) — A Kansas man charged with first-degree murder is afraid the tattooed mirror-image letters spelling out the word "murder" across his neck might prejudice a jury, so he is asking for a professional tattoo artist to remove or cover it up.
Prosecutors say they aren't opposed to Jeffrey Chapman covering his tattoo, but Barton County's sheriff says he's against transporting Chapman to a licensed tattoo facility — the only places tattoo artists are allowed to practice under Kansas law.
The Great Bend Tribune reports Chapman's trial is scheduled to start Monday in the November 2011 killing of Damon Galliart, whose body was found by hunters in a roadside ditch southwest of Great Bend.
Chapman's attorney says in a motion the tattoo would be extremely prejudicial if seen by a jury.
Posted in Uncategorized and tagged bad tattoos, Chapman, dumbass, even worse tattoos, Great Bend murder trial, Jeffrey Chapman, murder, murder tattoo, prejudicial my ass, prison bitch, stupid criminals, stupid criminals and their stupid tattoos
16 thoughts on "Stupid Criminals in Kansas"
Jolene on April 23, 2014 at 10:02 am said:
dumbass…. I'm surprised he didn't come up with a story that what he tattoo'd on his neck was actually RED RUM in honor of his favorite movie the shining. ~thanks for the laugh
Fat Bottom Girl on April 23, 2014 at 10:32 am said:
Even more surprising is that he hasn't asked the state to pay for it! lol
Ohhh that's coming
Probably. That's why they just need to tell him to suck it up and buy a turtleneck! lol
WomanGoneMad on April 23, 2014 at 6:28 pm said:
I thought he was imitating the Redrum kid, too!
Fat Bottom Girl on April 23, 2014 at 9:40 pm said:
Well he's definitely not imitating a dumbass! Lol
juaneismann on April 23, 2014 at 11:07 am said:
Maybe a good citizen might provide him with a nailgun. You know, so he can try to use it to cover up that tattoo. After all, those needles look like really small 8 penny nails.
Besides, the resulting flow of crimson just might do the trick.
Ironic that his current tattoos look like jailhouse tats, but he doesn't want a jailhouse cover-up. lol
lisajohnsonsawyer on April 23, 2014 at 12:41 pm said:
I saw that today on our news! BUT…he WAS asking the state to pay for it. and he wanted it before his court date. Because the tattoo does not give him "just" and "proper" course of the law. you gotta be kidding me?
Oh holy shit! Some things just never cease to amaze me!
tom on April 23, 2014 at 2:01 pm said:
Would a Jury of his his peers be 12 NBA players?
I like tattoos. I even have a few of them myself. I just really can't stand neck tattoos. And for some reason it seems to me, the neck tattoos seem to show up on my local arrest record page a lot. Coincidence??
I only have one word…Birdman
jaklumen on April 24, 2014 at 1:54 am said:
I had always thought that signified you'd killed someone? I looked it up though, and according to Urban Dictionary, it signifies that you've been someone's "bitch" in prison.
I've done my own research and I'm getting varying information; so likely, it can mean multiple things.
I thought this link was interesting: http://www.ragingtattoodesigns.com/en/what-do-tattoo-tears-mean/
suggesting the tattoo originated in Australian prisons.
Fat Bottom Girl on April 24, 2014 at 9:37 am said:
Yes, I knew of it meaning that you had killed someone, as I did part of my college internship in a prison. I just went with that particular one, as it seemed to fit better with the piece.
jaklumen on April 24, 2014 at 12:49 pm said:
Yeah. The amusing and sad thing (at the same time) is that there is no shortage of dumbasses like this guy, spelling out their guilt either on their skin or on the T-shirts they wear. Nightmares for the attorneys assigned or hired to represent them, I'm sure.


text:
News in Focus: Plan S gets underway
Research Research Professional News
Sarah Richardson, Group Editor, Research Professional News
Two-and-a-half years after the idea of Plan S was unleashed on the research world, it's finally being put into practice. The open-access initiative, first publicly mooted by a group of European research funders back in July 2018, kicked off in January—but controversy around its implementation hasn't gone away.
In the words of Coalition S—the international consortium of research organisations promoting the initiative—Plan S "requires that, from 2021, scientific publications that result from research funded by public grants must be published in compliant open access journals or platforms".
Research Professional News has published a primer on the initiative for those who (perhaps wisely) have not followed all the twists and turns of its formation.
In reality, there is some leeway for funders which support Plan S on how they introduce its policies. Some are requiring that from the start of the year papers from grantees are immediately open access, while others will apply the rule only to researchers awarded grants from 2021 onwards.
Still others—such as the UK's public research funder, UK Research and Innovation—are still working up their revised open-access strategies. UKRI says any changes to its existing policies will come into effect in 2022.
I think everyone agrees that if the US were to align its policy with Plan S policy then it's basically game over.
One huge funding programme which will be operating in line with the initiative is Horizon Europe, the European Union's flagship 2021-27 R&D programme. This scheme, which provides around €95 billion ($115bn) in research funding, will require that work it supports be openly accessible immediately on publication, through a repository or on a publisher's website.
Horizon Europe-funded researchers will still be able to publish in hybrid journals, but fees for these will only be covered if the journal has agreed to transition to become fully open access under terms set out by Plan S.
This is a significant moment for Plan S supporters, but tensions between the initiative's architects and scholarly publishers continue to run high, with publishers still challenging the impact of the initiative on their income and ability to finance the editorial services they provide.
Amid continued wrangling over its terms, many are scouring for signs of a US response to the initiative.
Plan S already has the backing of the Howard Hughes Medical Institute—the largest private biomedical research institution in the US—as well as the Bill and Melinda Gates Foundation.
Rumours of a US equivalent to Plan S failed to materialise under former president Donald Trump, but many in publishing believe the Joe Biden administration will be friendly to open-access aims.
"I think everyone agrees that if the US were to align its policy with Plan S policy then it's basically game over" for any resistance to the initiative's aims, Plan S 'champion' Johan Rooryck told Research Professional News.
Follow coverage of Plan S and the latest developments in research policy around the world on www.researchprofessionalnews.com


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Wayside Custom Wheels is proud to offer Yokohama tires to Houston, TX, Northwest Houston, TX, Pasadena, TX, and surrounding areas at some of the lowest prices around. Wayside Custom Wheels helps customers find the right Yokohama tires for their car or truck at the right price that fits their budget. Give us a call today and we will work with you to find the right Yokohama tires for your car. Remember, Wayside Custom Wheels is a leading Yokohama tire dealer. Not sure which tire is right for your car? Then use our online tire catalog.


text:
«Clown» es el cuarto sencillo de la banda nu metal Korn.

Significado
Lo que inspiró a Jonathan Davis para escribir esta canción, fue un recital en sus inicios en San Diego donde una persona en la audiencia los estaba abucheando y les estaba diciendo que "vuelvan a Bakersfield!" Jonathan se arrodilló para escucharlo mejor y el sujeto trato de golpearlo. Davis esquivó el golpe y el mánager de la banda atacó al agresor. La persona estaba tatuada y parecía un "payaso" según Jonathan Davis, inspirando el título de lacanción y también la línea "Hit me clown, because I'm not from your town." Antes de la canción se escucha una conversación entre los integrantes vacilando durante la grabación del tema. Una cita tomada de Korn en el video de Who Then Now?, que sirve como una introducción para el video musical:

Vídeo musical

El vídeo se compone de los clips que muestran las experiencias dolorosas de Jonathan en la escuela secundaria. Se lo ve a él en un vestuario sentado, y es considerado como objeto de burla de otra personas. El resto de la banda se ve actuando en una sala de las muñecas y un payaso de juguete se ve bailando alrededor de las muñecas y haciendo equilibrio en su nariz. El video musical se emitió el 3 de junio de 1996 y fue dirigida por McG.

Lista de canciones
CD5" —  Radio Promo (ESK 6580)
 «Clown» – 4:36
 «Clown» (Radio Edit) – 3:38

CD5" —  Radio Promo (ESK 7735)
 «Clown» (Radio Edit) – 3:52
 «Clown» (video) - 4:36

Referencias

Enlaces externos
 Clown en Discogs
 Letra de "Clown" traducida al español en "kornmexico.com"

Sencillos de 1996
Sencillos de Korn
Sencillos de nu metal
Canciones en inglés
Canciones de rock

redpajama_set_name: RedPajamaWikipedia


Two videogames into one tape, how to properly name it?
The way they are currently named there is no way to discern the two videogames were actually released in the same tape. Any ideas?
Thanks in advance and greetings to everyone in TOSEC!
Re: Two videogames into one tape, how to properly name it?
Humm... not sure if i got it right. Each side of the tape has a different game in it? Were the same images probably released in separated tapes also, right?
If that's the case i don't see a way to name it differently atm, that's probably the right way.
Or is it some sort of compilation or something?
Not quite sure if "File x of y" is really needed, might change that since I done something similar in Atari 8bit but without that info.
@TKaos: Bingo! Just what I was looking for!
BTW, offtopic: any ideas about the next TOSEC update?
Not sure about that. I've been really busy for the last months and looking forward to a few weeks off to rest and some free time to dedicate to TOSEC too. Most of our members also seem to be suffering from the same effect, busy with real life and/or enjoying vacations/summer so things got a bit slower lately. If we have some work and time i don't see a problem in doing a release near.
I can vouch for that…. busy busy busy!
I'm happy to check/coordinate the next release again though. Was looking towards end July-ish.
Seems like I actually need to work again on my DATs.
I'm interesting on this topic.
Sometimes for Oric, there's some k7 packs with a few softwares on the tape or tape-in softwares from a book.
and this is allow to have a shorter tosec description than name 1 + name 2 ... [name of the game] between brackets.


text:
Q: Calculate number of working days in ADF pipeline I have tow columns named start_date and end_date, on the basis of this how can I calculate Number of Working Days(Mon-Fri) in my ADF pipeline.
E.g:
start_date - 25/01/2022
end_date - 04/02/2022
Working days = 9

A: You can use azure function to calculate weekdays.
Sample Code for Body –
{
"total_days":365,
"working_days":253,
"holidays_removed":9,
"start_date":"yyyy-mm-dd",
"end_date":" yyyy-mm-dd"
}

Refer this article by RYAN MACLEAN for more information


Vital records are records of life events. They include birth certificates, marriage licenses, and death certificates. In some jurisdictions, vital records may also include records of civil unions or domestic partnerships. In modern times these would be state-held records, though prior to civil registration these were often church-held records.
This page was last changed on 26 October 2017, at 01:32.


Cordova Device API provides access to the device hardware and software information like what is the OS the device is running, its OS version and Serial id etc..
This is a global object and is accessible any time after the deviceready event is triggered.
For using this API, you need to add the Cordova Device Plugin to the project.
After your app is launched, include the below code to use any Apache Cordova API's in the project.
The Device API can be used only after the deviceready event is fired. So once your app is launched check for PhoneGapAvailableEvent. This event is fired once the Cordova library is successfully loaded and is ready for use.
This property returns the operating system the device is running.
iOS devices return iOS while the Android devices return Android.
This property returns the device Operating system version number.
This property provides information of the platform specific cordova version running on the device. The cordova version and platform specific cordova versions may be different. The cordova version displayed when you use cordova –v is the Cordova tooling and CLI version installed on your development machine.The cordova version may be 6.1, but the android platform cordova version may be 5.1 and ios platform cordova version may be 4.1. This platform specific Cordova version is the version of the cordova.js file in each platform. To get the platform specific version information from Cordova CLI, use the below command.
This property provides the information about the device model or product. This value is set by the manufacturer and may vary across the versions of the same product and these may not be well known names.
Ex: iPhone 6 is iPhone7,2.
On Android, this returns the product name instead of the device model.
The list of android devices product names mapping to common names is available at the below location.
And a similar list for iOS devices is available at the below url.
This property returns the name of the manufacturer of the device.
Ex: For iPhone, it would be Apple and for Samsung Galaxy Note, it would be samsung etc.
This property returns the device UUID(Universally Unique Identifier). The process of generating this UUID is different for different OS and is determined by the manufacturer.
On Android, uuid is a 64 bit integer created on first boot which is returned as string.
On iOS,uuid is created when a app from a vendor is installed. It will be same for all the apps from the same vendor. But if all the apps from the same vendor are reinstalled, then uuid will be recreated and will be different from the earlier one.
This property returns the hardware serial number of the device, if available. Works only on physical devices since the emulators doesn't have serial number.
This property indicates whether the app is running on an emulator or an actual physical device.
The below example demonstrates the usage of the Device functions described above.
The result of the program when it is run on different devices is as below.
On the Android emulator, since the manufacturer and the serial are displayed as unknown since this is a virtual device. As you can observe the device is indicated as a virtual device. Since the name of the device property is depreciated, the name value is not displayed.
On a Genymotion Android emulator, the manufacturer is indicated as 'Genymotion' and there is no serial number as this is a virtual device and the serial number is derived from the hardware.
And similar to the other Android emulator, the device is indicated as a virtual device.
The model of the device selected in the Genymotion configuration is indicated as the model.
And the name of the device is depreciated and so no information is displayed against that.
When the same program is run on an actual Samsung device, you see slightly different results.
The virtual status is returned as false, indicating that the device is an actual physical device.
The serial number is available since this is a real physical device.
The manufacturer name is displayed as 'samsung', since this is a samsung device.
The model of this device is displayed and to understand its common name, a reference to https://support.google.com/googleplay/answer/1727131 indicates that the market name of the device is 'Galaxy Note3'.
Similar to emulator, the name is not displayed since it is depreciated.
The app is running on iPhone 6 device, so the isVirtual device flag is indicated as false.
And since name is not depreciated and serial is not supported on iOS, those values are set to blank and unknown respectively.
If we look up http://www.everyi.com/by-identifier/ipod-iphone-ipad-specs-by-model-identifier.html for iPhone7,2, we find out it is one of the iPhone 6 models.
The app is running on iPad device, so the isVirtual device flag is indicated as false.
If we look up http://www.everyi.com/by-identifier/ipod-iphone-ipad-specs-by-model-identifier.html for iPad3,4, we find out it is iPad 4th Gen wifi model.
Since this is running on an emulator, the virtual flag is indicated as false and the name and serial are not supported on iOS and since this is a emulator, the model is indicated differently.
The code displaying the usage of this API is available on github.
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Kaytee Mealworms are an excellent, high-protein food source for many wild birds. They are a high-energy treat that will attract bluebirds, wrens, robins, chickadees, woodpeckers, cardinals and more that are difficult to attract with traditional seed blends.
In addition, they are an important source of food for baby birds. Mealworms can be used alone in a feeder or mixed with your favorite wild bird seed.


Rochester, MN (KROC AM News) - A Rochester woman was arrested Wednesday after police narcotics officers found cocaine and evidence of dealing in her home.
Arrested on felony drug charges was 35-year-old Navy Preap, who lives at 2714 22nd St SE.
A spokesman says officers found 140 grams of cocaine in her home that has a possible street value of nearly $10,000. Police say the drugs were also in an area that was accessible to her young children. That means she could also face a child endangerment charge.
News update: Dodge Center man charged in cellphone-related deadly wreck.


Posted by on Wednesday, February 25th, 2015 at 2:35pm.
Foundation Realty is a team of full time real estate professionals offering services to buyers and sellers throughout Hilton Head Island and Bluffton, SC. Our team is dedicated to enhancing our education and professional development in order to better serve our clients. Each year, the Hilton Head Area Realtor Association awards Realtors in our area with the distinguished Realtor Service Award. Foundation Realty is proud to have several team members as recipients of this award in 2014.
The Realtor® Service Award honors a small percentage of Realtors who have completed high levels of continuing education, professional development, Association involvement and leadership, as well as dedicated service to our community by volunteering their time, talent and financial support. This distinction honors real estate professionals who demonstrate passion for their industry and community, while adhering to the strict Realtor® Code of Ethics.
Foundation Realty would like to congratulate team members, Liz Gillespie, Debbie Iredell, Charlene Neste, Carl Schroeder, Kati Schroeder and Charlie Schroeder on receiving the 2014 Hilton Head Area Association Realtor® Service Award. Our team is looking forward to a prosperous 2015 and is grateful to the Association for providing numerous avenues for continuing education, professional development and community service. Congratulations to the team and all honorees.


The Board of Trustees (BoT) have confirmed their wish list and you will have noticed around the school that they have begun implementing some of the priorities outlined in the Coatesville School Master Plan. By raising funds for these shorter term projects this will ultimately help them to achieve the longer term projects, including the Rec Centre.
Take a look at the Wish List below and please get in touch if you or your business can help us achieve the bigger picture!!!
planting for new tennis court wall - DONE!
Please contact Tracy Ellingham or Heather Seel if you can help! And/or click here for General Sponsorship Packages Guidelines.


text:
https://www.ourmidland.com/sports/article/NU-men-lose-close-one-to-Ashland-in-final-minute-6967662.php
NU men lose close one to Ashland in final minute
Published 6:00 am EST, Tuesday, December 18, 2012
ASHLAND, Ohio — Ashland hit a game-winning shot with under a minute to go Monday and beat visiting Northwood 69-67 in GLIAC men's basketball.
The Eagles improve to 3-4 overall and 2-3 in the conference, while the Timberwolves slip to 2-7, 1-4.
Northwood led for most of the first half, but AU hit a 3-pointer as time wound down to take its first lead of the game, 35-34, into the locker room.
The Eagles then opened up a 46-38 lead at the 16:28 mark of the second half before the Timberwolves rallied over the next 13 minutes, eventually regaining the lead, 61-58, with 5:01 remaining. AU later knocked down another 3-pointer to take the lead for good with 47 seconds left.
NU got off a late 3-point attempt, but it was off the mark as the buzzer sounded.
The Timberwolves finished with the advantage in field goals made (23-22), free throws attempted and made (19-29, 16-19), and rebounds (41-32). But the Eagles shot 9 of 24 from 3-point range to NU's 2 of 18 (11 percent).
Will Bowles led the Timberwolves with 19 points, 10 rebounds, and three blocks.
Northwood heads to Lake Erie for a 1 p.m. game on Wednesday.


text:
Q: Why can't OffsetDateTime parse '2016-08-24T18:38:05.507+0000' in Java 8 The expression
OffsetDateTime.parse("2016-08-24T18:38:05.507+0000")
results in the following error:

java.time.format.DateTimeParseException: Text '2016-08-24T18:38:05.507+0000' could not be parsed at index 23

On the other hand,
OffsetDateTime.parse("2016-08-24T18:38:05.507+00:00")
works as expected.
DateTimeFormatter's doc page mentions zone offsets without colons as examples.  What am I doing wrong?  I'd rather not mangle my date string to appease Java.

A: You are calling the following method.
public static OffsetDateTime parse(CharSequence text) {
    return parse(text, DateTimeFormatter.ISO_OFFSET_DATE_TIME);
}

It uses uses DateTimeFormatter.ISO_OFFSET_DATE_TIME as DateTimeFormatter which, as stated in the javadoc, does the following:

The ISO date-time formatter that formats or parses a date-time with an offset, such as '2011-12-03T10:15:30+01:00'.

If you want to parse a date with a different format as in 2016-08-24T18:38:05.507+0000 you should use OffsetDateTime#parse(CharSequence, DateTimeFormatter). The following code should solve your problem:
DateTimeFormatter formatter = DateTimeFormatter.ofPattern("yyyy-MM-dd'T'HH:mm:ss.SSSZ");
OffsetDateTime.parse("2016-08-24T18:38:05.507+0000", formatter);

A: Update
Thanks to Ole V.V. for suggesting this simpler pattern:
DateTimeFormatter dtf = new DateTimeFormatterBuilder()
                        .append(DateTimeFormatter.ISO_LOCAL_DATE_TIME)
                        .appendPattern("[XXX][XX][X]")
                        .toFormatter(Locale.ENGLISH);

The original answer is still useful if the units (e.g. month, day, hour etc.) can be in single-digit or double-digit. This alternative pattern will fail in case units are in single-digit.
Original answer
The solution is to use a DateTimeFormatter with optional patterns. The DateTimeFormatter allows us to specify optional patterns in the square bracket.
Demo:
import java.time.OffsetDateTime;
import java.time.format.DateTimeFormatter;
import java.util.Locale;
import java.util.stream.Stream;

public class Main {
    public static void main(String[] args) {
        DateTimeFormatter dtf = DateTimeFormatter.ofPattern(
                "u-M-d'T'H:m:s[.[SSSSSSSSS][SSSSSSSS][SSSSSSS][SSSSSS][SSSSS][SSSS][SSS][SS][S]][XXX][XX][X]",
                Locale.ENGLISH);

        // Test
        Stream.of(
                "2021-07-22T20:10:15+0000",
                "2021-07-22T20:10:15+00:00",
                "2021-07-22T20:10:15+00",
                "2021-07-22T20:10:15.123456789+0000",
                "2021-07-22T20:10:15.12345678+0000",
                "2021-07-22T20:10:15.123+0000",
                "2021-07-22T20:10:15.1+0000"
        ).forEach(s -> System.out.println(OffsetDateTime.parse(s, dtf)));
    }
}

Output:
2021-07-22T20:10:15Z
2021-07-22T20:10:15Z
2021-07-22T20:10:15Z
2021-07-22T20:10:15.123456789Z
2021-07-22T20:10:15.123456780Z
2021-07-22T20:10:15.123Z
2021-07-22T20:10:15.100Z

The Z in the output is the timezone designator for zero-timezone offset. It stands for Zulu and specifies the Etc/UTC timezone (which has the timezone offset of +00:00 hours).
Learn more about the modern Date-Time API from Trail: Date Time.

 Check the documentation page of DateTimeFormatter for the complete list of pattern letters.

A: Although DateTimeFormatter's pattern language does not provide a code for zone offsets that fail to accommodate your no-colon form, that does not imply that the pre-defined instances that handle zone offsets accept the no-colon form.  The one-arg version of OffsetDateTime.parse() specifies that it uses DateTimeFormatter.ISO_OFFSET_DATE_TIME as its formatter, and that formatter's docs specify that it supports three formats, as described in the docs of ZoneOffset.getId().  None of those formats (which are drawn from ISO-8601) is consistent with your no-colon form.
But not to worry: just use the two-arg from of OffsetDateTime.parse(), providing an appropriate formatter.  That's a bit less convenient, but quite doable.

A: Paypal incorrectly sends the offsets as +0000 which is actually contradicting their spec https://developer.paypal.com/docs/api/transaction-search/v1/ that says it has to be in an Internet date/time format where the offset is written as
 time-numoffset  = ("+" / "-") time-hour ":" time-minute

The : is required.
To work around this, a custom date time formatter should be created, but avoid using the simple pattern like yyyy-MM-dd'T'HH:mm:ssZ because it will fail if milliseconds suddenly appear in the output.
public static final DateTimeFormatter PAYPAL_DATE_TIME_FORMAT = new DateTimeFormatterBuilder()
    .parseCaseInsensitive()
    .append(DateTimeFormatter.ISO_LOCAL_DATE_TIME)
    .parseLenient()
    .appendPattern("Z")
    .parseStrict()
    .toFormatter();

This is one way of doing it, but it has a flaw in that when Paypal corrects their output it won't be able to parse the : offset correctly.
Also Paypal does not support nanos so you should also do .truncatedTo(SECONDS) before sending it to their APIs

A: The default format is expected to be DateTimeFormatter.ISO_OFFSET_DATE_TIME defined with the following value for the zone offset:
static final OffsetIdPrinterParser INSTANCE_ID_Z = new OffsetIdPrinterParser("+HH:MM:ss", "Z");


Trinitas senior, Brooks Hunter, sang the national anthem at the 2015 Veterans Day Ceremony Wednesday, November 11th at Pensacola Veterans Memorial Park. Hosted by VMPF President, CAPT Butch Hansen, USN (ret), the ceremony included a dedication, wreath placing, and plaque dedications. The senior class also attended the event which honored the service and sacrifice of our veterans.


text:
US Army continues M88A1 heavy-lift vehicles upgrade with new contract
10 October 2019	(Last Updated June 30th, 2020 13:07)
The US Army is continuing the upgrade of the M88A1 heavy-lift vehicles under a $148.3m contract.
A US Army M88A2 Hercules at a facility in Fort Polk, Louisiana in June 2006. Source: Sgt. Jon Cupp.
Under the contract, BAE Systems will upgrade 43 M88A1 vehicles to the M88A2 Heavy Equipment Recovery Combat Utility Lift System (HERCULES) configuration.
The modernisation of the vehicles will provide power, manoeuvrability and survivability.
The M88 family of vehicles help the army in evacuating damaged or stranded combat vehicles from the battlefield.
BAE Systems Recovery Programs director Dennis Hancock said: "The HERCULES is an invaluable vehicle for the Army's recovery missions.
"We are proud to support the army's recovery needs and we will continue to work alongside the army to provide upgraded solutions as their missions and requirements change."
The US Army has plans to procure a total of 933 M88A2 vehicles.
The M88A2 can tow and hoist the Armored Brigade Combat Team's (ABCT) 70t tracked vehicles.
It provides enhanced horsepower and armoured protection. The upgraded vehicle features armoured track skirts and applique armour panels.
The upgrade will deliver quick manoeuvrability to the vehicle to move the stranded vehicles to safety.
With this contract, the total number of M88A2 vehicles procured by the Army will increase to 914.
BAE Systems will perform work under this contract at its facilities in York in Pennsylvania, Aiken in South Carolina, Anniston in Alabama, and Sterling Heights in Michigan.
The company will begin deliveries in February 2021.
Last month, the army awarded a contract to the company to upgrade the M88A2 HERCULES vehicles to the M88A3 configuration.
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