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Home › Issues › Issue 4: Scholarly Editions › Welscher Gast digital
Welscher Gast digital, Thomasin-Projekt (ed.), 2011-2016. http://digi.ub.uni-heidelberg.de/wgd/ (Last Accessed: 23.05.2016). Reviewed by Helmut W. Klug (ZIM-ACDH, Karl-Franzens-Universität Graz). helmut.klug (at) uni-graz.at ||
This review discusses the Digital Scholarly Edition Welscher Gast digital that is conducted as part of the German Research Foundation special research programme Materiale Textkulturen. The edition project aims at analysing the production and transmission of the medieval didactic poem Der Welsche Gast ('The Romance Stranger'; c. 1215/16). The centre of the edition is an easily accessible and easily readable base text. It is conceived as the starting point into different branches of research that tightly combine philological and art historical studies. The edition, which is in the middle stage of its genesis, builds on a sound theoretical model of its source materials and impresses with innovative and interesting display of data and research findings.
1The didactic poem Der Welsche Gast ('The Romance Stranger'; c. 1215/16) was written by the broadly educated Thomasîn von Zerclaere (c. 1186-1235), a canon of the cathedral chapter in the Patriarchate of Aquileia under Patriarch Wolfger von Erla. It is a highly appreciated courtly code of conduct aimed at a German-speaking aristocratic lay audience. The work summarises the main ethic, courtly, and Christian norms of that time, and it is based on a vast range of ancient as well as contemporary sources. The structure and scope of the content is Thomasîn's own achievement, as well as the illustrative examples that include contemporary political and literary references. The work was written with the clear aim to teach its recipients: most of the 25 surviving text witnesses (15 manuscripts, 10 fragments)1, dating back to the 13th to 15th century, contain coloured illustrations that closely follow the content of the ten thematically structured books. The topics range from courtly conduct and a doctrine on courtly love to the classical medieval virtues (staete 'steadiness', mâze 'moderation', etc.) to a discussion of law and courtly privileges. (Philipowski 2014, Cormeau 1995)
2The still running Thomasin Project (2011-2019) is part of the DFG financed special research programme 933 Materiale Textkulturen and focuses on the public accessibility of this illustrated Middle High German (MHG) didactic poem. It is also concerned with the materiality of the poem's comprehensive transmission with an explicit focus on the text and the illustrations and their interconnection. Thus, it addresses both the desiderata of the accessibility of all text illustrations as well as the transcription of all known text witnesses. The project applies an editorial approach that intends to show the interrelation of illustrations and text as it was originally conceived. The ambitious goal is an up-to-date, sophisticated Digital Scholarly Edition (DSE). Besides providing a digital presentation of the manuscript corpus, the project wishes to introduce an edition that closely interweaves texts and illustrations, based not only on philological but also on art historical research.
3This twofold purpose requires an intensive cooperation between philologists, art historians and digital humanists / computer scientists. The project is divided into two project terms with two special focuses: The first was concentrated on the development of a philologically sound text base, the second term has a stronger focus on art-historical research; each term was / is led by project directors with a relevant scholarly background. The general project staff includes a postdoctoral research fellow with philological background and a Ph.D. candidate in art history. Computer assistance is provided by members of the SFB Service Project on Information Management and Information Infrastructure. The website of the edition is hosted on the servers of the Heidelberg University Library and strongly relies on the software architecture of this institution, e.g. for image presentation, and other web content like the art historical descriptions in heidICON.
4The current output of the edition is available on the website Welscher Gast digital (WGd). Most of it can be openly accessed. However, due to the presentation of resources from different institutions, the terms of use for this edition are rather complicated. There are no general terms of use. The facsimiles are subject to each libraries' terms of use, the text of the edition is available open access. The data presently on hand includes:
the fully digitised and annotated version of the currently most reliable edition (Rückert 1852), XML download available
based on this edition, a rhyme dictionary and statistical rhyme analyses
digital images of (nearly) all manuscripts, fragments, and recent transcriptions
transcription and (partial) annotation of selected text witnesses (sigla: A, F, War, b) , XML download available
a text synopsis module (beta version)
bibliographical and art historical description of manuscripts and individual pages (external source)
art historical motive-index and agent analysis (based on von Kries 1984-1985)
Aims and Methods
5The aims and methods of this project are scattered over three different websites: the special researcharea website, the project website, and also the DSE website (aims, methods). Unfortunately, they are also inconsistent in scope and explanation. To some extent, this may relate to the different presentation aims and target audiences of the different websites, but it still implies inconsistency; at least the project website and the DSE should provide concurrent lists of aims and methods.
6The overall editorial aim of the project is to produce a modern edition of this literary work with a slightly normalised and corrected reading text that is based on the oldest text witness (Heidelberg, UB, cpg 389). Considering the expected user group of Medieval German philologists, a translation of the historical text is not intended. The normalised version will be used as a base text to make the different transmitted text versions accessible. The edition will be available both online and in print. The detailed bibliographical and art historical description of the codices and fragments strongly focuses on production and transmission marks and is the basis for the spatial analysis of the manuscripts (relation and distribution of text areas, initials, headings, organisation marks, illustrations) which will be linked to the text transcriptions.
7The encoding of the transcriptions is based on XML-TEI vocabulary and considers a manuscript- as well as a work-centred perspective. The basic annotation unit is the lemma but the edition will also highlight allographs, describe text revisions and abbreviations, and mark-up rhyme patterns down to word token level. The lemmatisation of the texts includes part-of-speech elements as well as morphological elements. Presently, the lemmata are interlinked with the Mittelhochdeutsches Wörterbuch. This data is the basis for a detailed semi-automatic philological text analysis: differences on the graphemic, dialect, morphological, syntactic, and semantic level can be shown with the help of generic similarity algorithms as well as project specific tools. The project proposes to use phylogenetic analysis to solve stemmatological questions. Biogenetic software will be used to assist classic stemmatology with statistical ratings of the relations between manuscripts and forks in stemmata.
8The other focus of the project is art historical research, which concentrates on image indexing by motive, analysis of the figures, gestures, objects, captions and of course on their relationship with the transmitted text. The spatial annotation of image sections for all the illustrations, all individual figures and all captions prepare for a dynamic visualisation of the physical as well as semantic relationship of text and illustrations based on the preliminary work of von Kries (1984-1985). The data (motive-index and agent analysis) can be used for actor-network-analyses of motives and agents in the text and illustrations (cf. below) as well as for computer vision based image analysis.
9The DSE wants to provide dynamic apparatuses that shall open new ways of visualising the text by, for example, showing variants along branches of hypothetical stemmata, project variants on geographical maps or visualising variants on a timeline referring to the place and time of the manuscript origin. Yet, the main goal of the project is to answer questions concerning text production in non-typographic cultures; its editorial approach focuses on the semantic annotation of a text as basis for non-linear reading. It also includes a joint commentary on text and illustrations. Philological questions address textual criticism, while art historical research aims at a comparative analysis of illustrations. The project also wants to provide an online tool for digital editing in the future. Unfortunately, this idea is not elaborated in more detail, for example by detailing how this idea relates to similar editing tools that are already available or by advertising the additional value of this new editing tool.
10The WGd provides base material for various research interests and in this respect, it satisfies the requirements of a DSE. Even in its uncompleted stage (only very little of the proposed data is available yet, cf. list above), the edition can be the basis for cultural historical research (aristocratic ethics, conduct, order, gestures, identity, ecclesiastical and worldly politics, natural sciences, gender studies, history of science), linguistic research (e.g. on Middle High German as foreign language, poetic vs. didactic language, word studies), or literary research (e.g. on rhyme, meter, source studies, didactics, audience reception).
11The underlying TEI model is provided in meticulous detail not in a machine-readable schema but in a PDF handbook (Šimek 2014a) on the website. Project specific Schematron schemas are used for internal validation of the XML files, some of which can also be downloaded. Nevertheless the exemplary, manuscript-centred XML file for cpg 389 contains some errors: the <ptr> element is used irregularly within the <line> element, and several @xml:id values are assigned two times because the code for the transliteration of fol. 32r is included twice. The reason for the latter is unclear, maybe it is because the showcase XML has been prepared by hand. Concerning this duplication of data, the text presentation provides no clue either: in the viewer the transliteration shows two identical text panes that only differ in regard to the colour of the icon for text-image-relationship in the last line (why?); the reference text is identical again. In the XML file for Rückert's edition the <ptr> element is used irregularly, too. The other XML files do not map this deep level of annotation.
12My overview can only provide a short summary of the model; the main focus lies on the structure of the work as it was set up in Rückert's edition. This structure is built with <div> elements where more specific information is included in the @type attribute (e.g. 'book', 'chapter') and line groups that resemble distiches. Book and chapter information is additionally available in <milestone> elements for easier transformation between work- and manuscript-centred presentation. Information on the latter (quires, leaves, pages) is recorded in <surfaceGrp> and <surface> as well as in <zone> (reference to illustrations) elements. The smallest text-structuring unit is the line <l>, which contains apparatus entries <app> with information on different readings <rdgGrp> and <rdg>. The model also references manuscript-related information like page breaks <pb>, column breaks <cb>, or various other formal data, like numbering, column headings, quire information; for this purpose the <fw> element is used and supplemented with different attributes. According to the TEI-Handbuch (Šimek 2014a, §3), data from this text model and from a separate file mapping the quire structure of a text witness are combined to generate the manuscript-centred presentation that not only includes the detailed codicological information but also maps the structure of the work to the individual manuscript. Organising information is conveyed through meaningful @xml:id attributes that cannot only be used to identify books and chapters but also lines as well as additional lines transmitted in certain text witnesses. Layout information (indents, free line space) is added with attributes (@rend) or <space> elements.
13Illustrations are referred to with <figure> elements, attributive metadata provides approximate positions (@place) as well as image coordinates (@facs), the handbook states: 'Dessen Attribut @place gibt die ungefähre Position auf der Seite an, @facs verweist auf einen Koordinatenbereich.' (Šimek 2014a, 5-6). If 'Koordinatenbereich' ('image area') really refers to image coordinates, this usage of the @facs attribute would probably not conform with the TEI guidelines (TEI 2016, Ch. 11.1, att.global.facs) although these are not too clear on how to use the attribute with parts of images. Relative positions in respect to the written text are either shown by the place of the element within the code (illustration placed between lines) or by using a <span> element (illustration parallel to several lines).
14The text is generally lemmatised on word level, complex word forms are tokenised: @xml:id attributes indicate line and word count, a reference attribute (@lemmaRef) refers to the corresponding lemma in the Mittelhochdeutsches Wörterbuch. Abbreviations, rhyme elements as well as original and editorial punctuation are tagged. Instances of text revision are described in minute detail as is graphemic information, because this data is central to the research questions of the project. Special characters are generally represented as Unicode symbols based on MUFI recommendations, while characters not covered by MUFI are described in a separate XML-file and annotated with a <g> element.
15While these guidelines help to understand the XML-data, a second guide (Šimek 2014b) describes the implementation of this data on the website of the DSE: initials and rubrics are displayed with special characters, meta-information is provided via tool-tips, underlining, special characters, and icons indicating text revisions or abbreviations.
Fig. 1: Special characters are not displayed properly on the WGd website.
16Overall, the model and its TEI implementation are testament to a sound analysis of the sources, which are adequately represented. The model clearly reflects the specific research questions of the project but in its abstraction, it still provides sufficient data for more general research purposes. For this reason the choice of glyph representation with Unicode characters which require special fonts for display seems inappropriate. This choice is not only an obstacle for online presentation (even the handbook states that an adequate font is best embedded for website presentation), or for the display within XML-editors, but also for digital preservation, which builds on maximum compatibility of the source data. The need for accurate character representation of the historical text within this project is obvious. However, producing a basic transliteration (as used in the Graz concept of a dynamic edition: Hofmeister-Winter 2003, Ch. 6: 95-140) with standard characters and arbitrary coding, along with an accompanying <charDecl> might have been the better choice in the long run.
17The website presents the current status of the project work – therefore some parts are not finished yet, some data is not published yet, and some programming solutions are still in beta stage (cf. list of available items in the introduction). Nevertheless, I highly applaud the decision to publish the project data step by step as it is generated during the production process (and I encourage any other project to do the same!). This approach makes an edition and its data not only easier (and earlier) accessible on many different levels but also prepares for a continuous process of perfecting the presentation. However, in order not to confuse the users, choosing this option requires very special care and the edition should constantly remind users of its unfinished state (e.g. special design elements). It is of paramount importance that the users are kept up-to-date, clarifying to which extent the available data represents the overall state of the project (e.g. through checklists, versioning or archiving of software [components] and texts).
18The DSE WGd is part of the Heidelberg University library website and to a large extent makes use of its infrastructure. The presentation of the DSE is unified by the website's core design element, a blue bar-section at the right margin of the screen, which holds the title (it is a bit too small to really brand the web presentation). When the respective data is available, there is also a link to an English layout, and a link to the options menu for the text presentation in this section. However, even more important for the consistent appearance of the presentation is the sticky menu in the head section of the website, which displays links to the main areas of the website: manuscripts, texts, and illustrations. Two more links provide background information: introductory texts on the starting page, background information (aims, methods, analytics, and organisational content) on the project page. The overall navigation of the website is clearly structured and easy to follow.
19The manuscript section lists medieval manuscripts with modern handwritten transcriptions, providing a representative thumbnail for each of them, core bibliographical data (shelf-mark, time and place of production, measurements, and illustrations) and philological information (siglum). During the unfinished state of the DSE, which will probably continue for several more years, this would exactly be the place to inform users about the finalisation state of the edition by additionally specifying which text witnesses have already been transcribed and to what extent this transcription is shown as part of the manuscript presentation.
20The manuscript can be accessed by clicking on the list item, which opens the starting page of the manuscript viewer, an enhanced version of the standard Heidelberg manuscript viewer. Its standard manuscript starting page displays the manuscript signature (top left), context selection (top middle: users can switch between the WGd view or a presentation in a Bibliotheca Palatina design, the content remains the same), representative thumbnail (top right), standard link set, persistent identifier, modes of interaction (left column: download options for images in two PDF versions that differ in image dimensions but not image resolution, etc.), interactive navigation (page, verse input selection, full text search field, manuscript TOC with page ranges and content information). Compared to the Bibliotheca Palatina design – where this information is put into the centre of the screen – this layout not only marginalises the (important) information but also fails to draw the users' attention to the main elements and therefore needs an irritating second look as to where the real content is.2 Once successfully opened, the viewer in its base version provides three tabs for facsimile presentation, a horizontally scrollable full screen view of the whole series of pages, and a thumbnail overview. Additionally, the WGd viewer has tabs for text transcription, which holds the main content of the DSE, and art historical descriptions of the page. If one of the elements is not available, the link is (more or less visibly) greyed out.
Fig. 2: Manuscript tab of the viewer software, where the maximum resolution of manuscript images shows annoying rendering artefacts and blurring (e.g. Cod. Pal. germ. 389, fol. 3v).
21Given the medium of presentation, the images have a satisfying resolution (i.e., text is easily readable and illustration details are discernible) although the highest zoom factor reveals rendering artefacts and blurring. Illustrations are annotated on several levels within the image presentation; the annotation provides links to further information collected within the project: it is connected to the motive pages and it also advertises seamlessly zoomable picture details in a IIIF viewer. Unfortunately, this link only produces a medium size JPEG file in a browser window without any viewer capabilities (e.g., illustration on fol. 3v of MS cpg 389). Navigating the image within the Heidelberg viewer is intuitive but the seamless integration of the viewer into the webpage sometime makes navigating the page cumbersome as users have to pay close attention to where they place their cursor in order not to zoom into the picture instead of scrolling the page. This is especially true for image details that are displayed as page overlays when they are not fully visible due to a small screen size.
22The Heidelberg viewer software probably is the biggest asset of the project, but at the same time, it might be its biggest limitation. The project uses the base design of the viewer, which in some cases simply does not work: for example, the full text search might be a nice feature for digitised books in modern print and languages, but for an MHG text, which is presented with non-standard letters, it is not efficient. An auto-completion feature or, even better, a word index would help to produce better results, even for a user who knows the text. If there is no text available for a full text search (e.g., Schlierbach, Stiftsbibliothek, Cod. 28), the search field should not be displayed. Some elements of the viewer do not produce visible or comprehensible results (resize, fitting and lightbox button). The shopping-cart-icon, which does not have any tooltip explanation, leads to the terms of use – which is an odd combination of icon and content. In short, the viewer and its interface should be adjusted to the medium presented.
23Especially problematic is the lack of a synoptic line-up of manuscript and transcription. To me this mode of presentation should be mandatory for any kind of online text edition that provides digital facsimiles of the source as well as transcriptions of its texts. The synoptic text presentation has means to display facsimile pages but provides no synopsis of transcription and manuscript page. In its current version, this feature is quite useless (but cf. discussion below). In regard to the task itself, a facsimile / transcription synoptic display should by all means be part of the main viewer software. This kind of synoptic view should even be available in a pre-release edition like the WGd. It not only provides users with practical means to verify the work of the editors, but it also puts a stronger focus on the editorial work. At the moment, the viewer setup, which of course displays the newly produced transcriptions of the manuscript sources with all their fine annotations as well as the retro-digitised and annotated Rückert's edition, still puts the facsimiles in the centre of the DSE and not the edited text. Maybe this impression only arises because at the moment there are just little portions of text available. Or it might be because the Heidelberg viewer for me has a long history as image viewer only. Anyway, this is a problem that needs to be solved in the long run! Matching the visible viewer buttons to the medium and content presented could be one step as obfuscating the redundant buttons with design-matching colours does not work at all.
Fig. 3: Transcription tab of the viewer software with source download menu.
24However, the core of the DSE is the viewer's transcription tab that displays the sophisticated modelling of the historical texts (e.g., cpg 389, fol. 1r), which can be modified through an even more sophisticated text presentation options panel. The text presentation is not only a simple transcription of the historical source but reflects all research that has been put into the project up until now: there is a detailed transcription, the highlighting of text decorations and text revisions, but there are also text and image references to the illustrations and their motives. Clicking on text and image annotations, both of which are clearly visible and user-friendly implemented, provides further detailed information in tooltip overlays. Illustration references also link to the motive page and clicking placeholders for the illustrations opens a layer with the embedded zoomable image details. The full text of the manuscript can be downloaded as a text file (option not available yet) as well as an XML-file; these are the only ways to access the edition data. At the moment, there are, for example, no technical interfaces.
25As indicated above, the real asset of this tab is how the user can tweak the text display options. A clearly visible button within the viewer presentation and a link (though less visible) in the branding section on the right side of the window open the options panel. Here, the user can change the text format (annotated, XML), display of numbering (verse, line, none), abbreviations (annotated, resolved, fully resolved), letter shapes (historical, modern), text revisions (diplomatic, resolved, revision stages), punctuation (all, none, original, editor)3, rhymes (show, hide), editorial changes (show, hide, highlight)4, normalisation (show, hide, highlight)5, columns (yes, no), illustrations (physical reference, text reference), and actors (show, hide). The presentation pane is intuitive and fun to use and it is of immense value for getting to know the edition as well as the literary work.
Fig. 4: Cut off display control set in a browser window that is limited in size.
26The most important aspect is that – regardless which combination of display options is selected – the text presentation remains clear, uncluttered, and easy to receive. This feature clearly reveals the powers a DSE can unleash. By testing it,6 I eventually encountered some minor problems: normally features that are not available are greyed out like the column view for manuscript A, but there are still options that do not produce any visible results and thus confuse the users (cf. cause / effect principle of UI design).7 Therefore, I suggest to visibly greying / crossing / leaving out options that will not work for a selected view or even a text range; the easier it is to identify useless interface elements, the better is the overall user experience. The real problem, though, is that the presentation pane is part of a section that is not scrollable – the result is a clipped feature set on screens with too little real estate.
Fig. 5: WGd website displayed on a mobile device (iPhone 6).
27There are, of course, workarounds for users to solve this themselves (e.g. resize the display font and with it all the content of the page), but essentially this is bad web design, especially in times of responsive layout trends suitable for various handheld devices.
28According to the project-aims, the text of the edition is closely interlinked with art historical data. Clicking the respective areas and icons in the transcription brings the user to the motive pages (e.g. Motiv 1) where the relevant illustrations from all manuscripts are presented in tabular form. The individual images are spatially annotated and actors as well as captions can be selected. Clicking the respective areas produces a movable page overlay with additional information: detailed explanations, statistics, a link to the actor page (e.g. Die Schlechtigkeit)8, or a transcription of the text. Additional links provided for each table asset lead back to the respective manuscript or opens an enlarged, detailed view of the illustration. The viewer in this overlay features image resizing buttons as well as input device response. Unfortunately, the image quality is rather poor, so that users cannot benefit from this feature. Both text and image layers are movable within the browser window and have a clearly visible close-button, which makes gathering information on motives and actors a comfortable experience.
Fig. 6: Dynamic graph display of actor relations.
29All actors of the text and their relation to each other are presented not only in a tabular overview (second part of the page) but also in a dynamic graph (first part of the page), which seems a more suitable and really helpful way to present linked data sets for closer inspection: coloured circles seem to indicate group relationships of actors (animals = different shades of green, abstracta and ideas = different shades of blue, etc.), the size of the circles indicates how often actors are named in the text and lines connect actors that share the same motive. Users are able to interact with the displayed information, e.g., they can select an actor circle by moving the cursor above it to highlight it as well as the actors related to it. Pulling an actor circle moves the graph element and should be used to modify the overall presentation of the graph. Scrolling and finger gestures on the trackpad should zoom into the graph; clicking an actor should link back to the actor page; or a least this is what the short instructions on the page suggest – working with the graph display in my test setup revealed that the screen is cluttered beyond use and neither highlighting the actors nor moving actor groups worked satisfactorily. The links to the actor pages, if one is able to select an actor, are active, though. All in all, if implemented in a more user-friendly way, this kind of presentation would be really useful and considerably help not only to provide a new display structure for an extensive literary work but also to digest the digitally gathered information into new research questions and probably new research findings – something a DSE and its data should allow in any case. To achieve this, I suggest a less crowded display, a legend that at least holds a colour chart explaining the actor grouping, and means of interaction with the graph that do work as advertised. This last improvement alone would provide a kind of user interaction (e.g. uncluttering and sorting through the display) that could be used for knowledge generation.
Fig. 7: Synoptic text presentation: display of variation in the text transmission in different witnesses around line 4144.
30A beta version of the synoptic text presentation gives a glimpse at what is to come at some point in the future: At the moment, only selected text examples are provided to test this mode of presentation. Its focus is on individual verses which align at the top margin of each text window. Highlighting concordant verses (or the differences between the selected text passages) would be helpful too, especially when the transmission order varies within text witnesses (e.g. transmission around verse 4144). Navigation units are verse and book – the former can be keyed into a text field, the latter selected from a pull down menu. The text witnesses to be displayed in the synopsis can be selected via buttons showing the sigla; they are grouped according to families of manuscript witnesses. Unfortunately, the text panes do not align parallel to these buttons (or vice versa), which can be a cause for confusion. Here again the use of different shades of grey does not help the user experience. The selection buttons can be replaced with the representative thumbnails of the manuscripts – but in the end, this provides far less information. The text of the individual witnesses is presented in resizable and movable panes, which can be used to adjust the selected text versions according to user needs. The displayed texts can also be modified via the text presentation pane, which brings all its positive and negative elements to this view. Each pane allows the user to switch between the text display and an image viewer tab that displays the respective digital image of the text witness. Therefore, the synopsis interface can also be used to compare manuscripts or illustrations. Depending on the screen real estate and the number of selected text panes, not all of them are visible, which calls for horizontal scrolling: some browsers mask scrollbars, therefore users should be pointed to this option, especially when screen sharing is used. Once adjusted to a user's preference, the synoptic view can be shared with fellow researchers by providing an appropriate link (menu icon, top right), or it can be used to save a certain working environment for later use. This link remains valid for three months: if not used during this time, it will be deleted.9
31Overall, this synoptic transcription is presented in a plain and simple way that puts working with the data in the centre of the user focus. Once the text presentation pane is working properly and the synopsis software is released, this will be a very valuable and productive tool that will be easy and exciting to use! Talking with Jakub Šimek at the conference of the AG Germanistische Edition in Graz this winter (Feb. 17th-20th 2016), he signalled that the synoptic presentation will be granted release status once all text witness transcriptions are online. However, redesigning some of the features discussed here, would be helpful, too.
32Following Patrick Sahle's definition of a DSE (Sahle 2013, 149), Welscher Gast digital qualifies even in its early, unfinished state. The building on the most recent and most relevant research findings as well as the interconnection of historical edition, modern transliteration, art historically recorded illustrations, and facsimiles provide an ensemble that can only be realised in digital form. Overall, the Welscher Gast digital, like the Jahrrechnungen der Stadt Basel or Jane Austen's Fictional Manuscripts, is another inspiring example why editing historical sources should always lead to a digital output. Image annotation and presentation and above all the means of interaction with the transcriptions are an impressive example of an edition that follows the digital paradigm. The Welscher Gast digital will be a good example for editing a historical text for different research interests and target audiences. The quality of the materials presented online is mostly excellent; the far-seeing processing and the detailed presentation of the data is thrilling. Due to its complexity, learning how to efficiently use the edition with all its different access points and features will need some time even for experienced users; simply browsing the contents, though, is easy and intuitive.
33On the other hand, the present, unfinished state of the DSE calls for some suggestions to improve its overall presentation and usability. Currently, three different websites list aims and methods for the Welscher Gast digital – this information should be summed up and elaborated considerably within the context of the DSE in order to provide a significant and helpful documentation. Actually, Jakub Šimek's paper (Šimek 2015) to his presentation at the 2014 AG Germanistische Edition conference perfectly provides this kind of information: it definitely should be processed for use within the DSE. The editors do of course state that the edition is work in progress, but it would help to provide the user with more information on the development of the project. For instance, a detailed list of aims, features (software) as well as research work (data) with checked off items that have already been finished would indicate the progress of the whole project, and would make it generally more transparent. All project data (transcriptions, analyses etc.) should be made available in different formats and different technical interfaces; all data and software should be versioned (and archived) as well as described in detail pertaining to their content and state of finalisation. To optimise the presentation of the valuable project work, the website should be analysed and remodelled according to visual common patterns (content presentation) and usability engineering (software design). The quality of the manuscript facsimiles should be considerably improved. The editors should provide suggestions for citing the DSE as well as persistent identifiers for individual data (transcription, image description, etc.). Preferably the citation should not only include the editors (or even better the intellectually responsible parties) but it should also specify the edition type as well as highlight the art historical focus.
34This list summarises general problems probably already known to the editors; solving (some of) them would greatly enhance this project. Nevertheless, once finished, this DSE will be an invaluable resource for MHG philology, art history, and cultural history of the Middle Ages. This project clearly has the means to set the stage for other projects, especially in regard to interdisciplinary cooperation and content presentation.
1. The project website counts only 24 witnesses. Both the Handschriftencensus as well as the Deutsches Literatur-Lexikon refer to 25 text witnesses.
2. There are various studies on screen reading and data visualisation schemes, that identify the top area and the middle left area as the most often looked at areas of the screen, keywords are Z-pattern, F-pattern, Google Golden Triangle. (The Nielsen Norman Group provides an overview of interesting blog articles on this topic).
3. Maybe I used the wrong samples, or the data is not available yet, but they did not show differences, for example, between 'all' and 'original'.
6. For testing the DSE I used a non-retina Macbook Pro, two different additional TFTs (separately), and three different browsers in their latest version (Chrome, Safari, Firefox). Each setup produced the same unfortunate result.
7. At the moment it is not clear if this is due to missing data or due to picking the wrong sample.
8. Which will show a similar content display but the content of which is still in preparation.
9. At the moment of testing this feature, the link could not be generated, although on earlier occasions a link was displayed.
Cormeau, Christoph. 1995. "Thomasin von Zerklære." In Die deutsche Literatur des Mittelalters. Verfasserlexikon, vol. 9: Siecht, Reinbold – Ulrich von Liechtenstein, founded by Wolfgang Stammler, contd. by Kurt Langosch, 2nd, in collaboration with numerous specialists completely new arranged ed. by Burghart Wachinger in cooperation with Gundolf Keil et al., redacted by Christine Stöllinger-Löser, col. 896-902. Berlin, New York: de Gruyter.
[Deutsches Literatur-Lexikon], see Philipowski 2014
Gamper, Rudolf et al., eds. [w/o date] Handschriftencensus. Eine Bestandsaufnahme der handschriftlichen Überlieferung deutschsprachiger Texte des Mittelalters. http://web.archive.org/web/20160525082228/http://www.handschriftencensus.de/werke/377.
[Handschriftencensus], see Gamper
heidICON – Die Heidelberger Bild- und Multimediadatenbank. [Ed. Universitätsbibliothek Heidelberg.] https://heidicon.ub.uni-heidelberg.de (Accessed 07.06.2016).
Hofmeister-Winter, Andrea. 2003. Das Konzept einer 'Dynamischen Edition' dargestellt an der Erstausgabe des 'Brixner Dommesnerbuches' von Veit Feichter (Mitte 16. Jh.). GAG, 706. Göppingen: Kümmerle.
Jahrrechnungen der Stadt Basel 1535 bis 1610 – digital. Ed. Susanna Burghartz. [2016] http://gams.uni-graz.at/context:srbas (Accessed 07.06.2016).
Jane Austen's Fictional Manuscripts. Ed. Kathryn Sutherland and Elena Pierazzo. 2016. http://www.janeausten.ac.uk/ (Accessed 07.06.2016).
Mittelhochdeutsches Wörterbuch. [Ed. Mainzer Akademie der Wissenschaften und der Literatur, Akademie der Wissenschaften zu Göttingen. 2007-2016.] http://www.mhdwb-online.de/ (Accessed 07.06.2016).
MUFI. Medieval Unicode Font Initiative. [Ed. Odd Einar Haugen]. Last update February 2nd 2016. http://folk.uib.no/hnooh/mufi/ (Accessed 07.06.2016).
Philipowski, Katharina. 2014. "Thomasin von Zerklære." In Deutsches Literatur-Lexikon, Das Mittelalter, vol. 6: Das wissensvermittelnde Schrifttum bis zum Ausgang des 14. Jahrhunderts, ed. by Wolfgamg Achnitz, with an introductory essay by Frank Fürbeth, 333-337. Berlin, Boston: de Gruyter.
Rücker, Heinrich, ed. 1852. Der wälsche Gast des Thomasin von Zirclaria. Bibliothek der gesammten deutschen National-Literatur von der ältesten bis auf die neuere Zeit. Abt. 1, 30. Quendlinburg, Leipzig: Basse. Digital copy: http://digi.ub.uni-heidelberg.de/diglit/rueckert1852/0008 (Accessed 07.06.2016).
Sahle, Patrick. 2013. Digitale Editionsformen. Zum Umgang mit der Überlieferung unter den Bedingungen des Medienwandels. Teil 2: Befunde, Theorie und Methodik. Schriften des Instituts für Dokumentologie und Editorik, 9. Norderstedt: Books on demand.
Šimek, Jakub. 2014a. Welscher Gast digital. TEI-Handbuch. Version 0.6, 15.1.2014. http://digi.ub.uni-heidelberg.de/wgd/pdf/TEI-Handbuch_0-6.pdf (Accessed 07.06.2016).
Šimek, Jakub. 2014b. Welscher Gast digital. TEI-Visualisierung. With the help of Leonhard Maylein. Version: 0.4, 15.1.2014. http://digi.ub.uni-heidelberg.de/wgd/pdf/TEI-Visualisierung_0-4.pdf (Accessed 07.06.2016).
Šimek, Jakub. 2015. "Archiv, Prisma und Touchscreen. Zur Methode und Dienlichkeit einer neuen Text-Bild-Edition des Welschen Gastes." In: Vom Nutzen der Editionen. Beiträge der Internationalen Fachtagung der Arbeitsgemeinschaft für germanistische Edition. Aachen 19th-22nd Feb. 2014. Ed. Thomas Bein. Beihefte zu editio, 39. Berlin, Boston, München: de Gruyter.
TEI Consortium. 2016. TEI P5: Guidelines for Electronic Text Encoding and Interchange. Version 3.0.0. Last updated March 30. http://www.tei-c.org/Vault/P5/ (Accessed 07.06.2016).
von Kries, Friedrich Wilhelm, ed. 1984-1985. Thomasin von Zerclaere: Der Welsche Gast. 4 vols. Göppinger Arbeiten zur Germanistik, 425,1-4. Göppingen: Kümmerle.
2. Aims and Methods
3. Data Modelling
6. Notes
Published: Jun 2016
Klug, Helmut W. "Review of 'Welscher Gast digital'." RIDE 4 (2016). doi: 10.18716/ride.a.4.5. Accessed: 21.01.2020.
13th century (1) art history (3) code of conduct (2) facsimile (15) genetic edition (6) interactive edition (5) medieval (4) middle high german (2) TEI (25) text synopsis (2) transcription (11)


text:
Government & Public Administration
Marketing, Sales, & Services
Science, Technology, & Engineering
Law, Public Safety, & Security
Recruiting Account
The University of the West Indies, Jamaica
Open Job Positions at The University of the West Indies, Jamaica
About The University of the West Indies, Jamaica
Mona, Jamaica is the founding campus of the unique, multi-part, multi-national University of the West Indies. The square mile site welcomed its first undergraduates – 33 medical students from across the West Indies or now, more often, the Caribbean – in October 1948. To medicine was added Natural Science in 1949, Arts in 1950 and, gradually, the full range of the modern university.
Today, The UWI is the region's premier educational institution, with faculties offering a wide range of undergraduate, masters and doctoral programmes in Humanities and Education, Science and Technology, Science and Agriculture, Engineering, Law, Medical Sciences and Social Sciences. But amid the concerns of the present, the past remains visible across the Mona campus, where a number of heritage signs and monuments call attention to the material remnants of the site's varied history. These include cut stone Roman style aqueducts, an 18th century building re-purposed as a Chapel and much more.
Work here?
https://www.mona.uwi.edu
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is Posted in your Area
What is it like to work at The University of the West Indies, Jamaica?
Jobs in Jamaica
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Jamaican Medium Stories
Jamaican Medium Jobs
Jamaican Medium Recipes
© 2020 JAMAICAN MEDIUM JOBS REGISTERED AS JAMAICAN MEDIUM GROUP LIMITED All RIGHTS RESERVED IS AMONG THE FIRM LUXURY MEDIA GROUP , LLC REGISTERED & TRADEMARKED.
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text:
Menu Square Mile
The Pershing 140 is a game-changing superyacht
The Pershing 140 is the brand's first foray into superyacht territory, and it's a pretty sweet debut. This is a vessel not just built for powering through waves, but very much intended to make them
by Vicky Smith
Published: Wednesday 6th November 2019
The new Pershing 140 is a pretty special vessel.
Firstly, it's the first Pershing to be manufactured in aluminium.
It's also the first to feature a raised cockpit directly connected to the sun deck; the first to have an owner-dedicated area on the main deck, and the first to maximise enjoyability of all the decks and outdoor areas.
Perhaps most pertinently, though, it's the brand's first foray into superyacht territory, and it's a pretty sweet debut.
The 42.98m-long ship has the kind of sleek and sporty lines the luxury Italian yacht brand is renowned for, thanks to design by Fulvio De Simoni, the man behind every Pershing since 1985.
It's capable of a top speed of 38 knots, features tailor-made interiors, and there are five guest cabins (sleeping ten).
There's also a waterside beach club, a garage big enough for a jet ski and tender, and plenty of space on-deck given over to sunbathing areas.
In short, it's a bit of a game changer for the brand, a new flagship that's not just built for powering through waves, but very much intended to make them, too.
For more information, see venturaeurope.com
Advice about cookies
@squaremile_com


What services do we offer to the primary sector?
1. Primary Introductory Phase – Introduction to our modern digital world.
2. Phase 1 – Primary Sector Programming with Scratch (2nd – 4th Class).
3. Phase 2 – Connect to the World – HTML/CSS (5th Class).
6. CyberSafety Protection Programmes for Schools, Kids & Parents.
7. Computing & Coding 'What's it all about' talks for Schools, Kids & Parents.
8. Independent Hardware & WIFI Audits to aid with systems Modernisation.
Affordable Modern App & Website Development for Schools.
We also provide an App and Website development service through www.computingatschools.ie This entity is to help schools ensure they are communicating with a holistic approach to all their stakeholders by ensuring they have access to modern tools such as affordable Apps that will allow the school do push notification with no hidden charges.
We also specialise in building modern mobile device friendly website which thereafter allows the schools to have full management of their content. If you have any question or queries the App or Website development services. Please do not hesitate to contact Trevor @ trevor@computingatschools.ie or on 087-6873933.
"Technology is just a tool. In terms of getting the kids working together and motivating them, the teacher is most important".
This workshop requires 4/5 hours to complete this element of Teacher CPD. We travel to you and give the attendees the tools, skills, and confidence to explore blended techniques learning in their classroom and start to understand and introduce Computer Science elements.
Introduction to our modern digital world.
How can technology aid me to teach?
How to keep you and your school safe from Malware.
Virus and Malware! What software should I use to protect myself? What is an update? Who sends it? What does it do?
How to keep your Laptops and PC clean and safe.
What is important to understand when purchasing new hardware?
How to get the most from Tablets and IPads.
What is Computing and Coding all about?
Implement computing and coding in their classroom.
For those that are already delivering computing and coding, this course will provide a full syllabus to allow teachers to expand their current skills portfolio.
My digital world: The importance of computers in modern society and my life.
Introduction to Primary Sector Computing and Coding through Scratch.
Introduction to Computing & Coding – Introduction clips.
Computing and Coding through CS Unplugged (Paper Exercises).
NB. Post-Primary Computing and Coding Teacher Training 2018/19 Programme, will be announced shortly. We fully understand the huge difference between the primary and post-primary elements but the primary training is also open to post-primary teachers that will need a stepping stone to aid them to move from geometrics i.e. Word, Excel, PowerPoint into the area of computing and coding.
NB. Phase 2 is suitable for beginners and advanced users, you do not have to complete Phase 1 to partake in Phase 2.
Understanding the Internet versus the Web.
In-House: We travel to you and delivery to as many staff as you wish.
Implement Python in their classroom.
For those that are already delivering Python, this course will provide a full syllabus to allow teachers to expand their current skills portfolio.
How to use Python IDLE & Interface & Environment.
Loops. While, Repeat (For) & Nested.
For all, you need to know check out our Teacher Computing and Coding Module video.
In-house Training Events and Workshops.
Primary Sector Computing and Coding Teacher Training Programmes.
We can delivery the 4 off-site workshops in-house and directly to your staff. We travel to you and pick a date and time which is suitable for this essential forward-looking teacher CPD. There are no limits to the number of teachers that can attend these workshops. This is a 4-hour session but can be tailored to meet the school's needs.
Alignment.ie can deliver a bespoke Computing and Coding course in the classroom. This allows teachers to get hands-on training and experience whilst the lessons are delivered to their students. This is a 3-4 hour session but can be tailored to meet the school's needs.
Introduce blended learning into class environment.
Proactive Continuous Professional Development for staff.
Full use and integration of all available hardware.
Approach your syllabus from a different modern viewpoint.
The aim of the course is to develop among students an understanding of Scratch programming language. Students will learn the basic elements of coding (Logic loops, if statement, etc), this aids today to today learning and introduces blended learning to the classroom environment. Using Scratch greatly enhances problem-solving, interpersonal and self-directional skills whilst aiding maths, logic and problem-solving. The course also aims to increase awareness and encourage interest in computing and coding the quickest growing global sector.
Scratch is a multimedia authoring tool that can be used by students, scholars, teachers, and parents for a range of educational and entertainment constructivist purposes from math and science projects, including simulations and visualizations of experiments, recording lectures with animated presentations, to social sciences animated stories, and interactive art and music. Simple games may be made with it, as well.
Scratch allows users to use event-driven programming with multiple active objects called "sprites". Sprites can be drawn — as either vector or bitmap graphics; from scratch in a simple editor that is part of the Scratch, or can be imported from external sources, including a webcam.
Cyber-Safety Protection Programmes for Schools, Kids & Parents.
For details of our 1 day "Online Protection Programmes" for further details on individual options email trevor@alignment.ie All our Cyber-Safety programmes are run in conjunction with Computing At Schools Cyber Division.
This event is delivered to the whole schools, were children, teachers and parents can all get a better understanding of 'Computing & Coding, what's it all about'. Duration 2 hours.
Computing in our educational sector.
What are your options to get your involved?
What is coding all about?
You have an IT budget but what do you send it on? Alignment.ie conduct independent separate or join Hardware and WIFI audits. This should be your first step when considering upgrading any elements of your IT infrastructure, we are an independent company which has no links to hardware sales and therefore will always supply advice as to what you really need!
Alignment.ie specialise in strategic management. We can aid and direct your school's BOM and Parent Council with respect to initiating a Technology Fundraising Drive for your school.
Stillorgan Park Computing & Coding Primary Teacher Training.
Scoil Mhuire Coolcotts are up and running with Computer Sciences.


text:
Watch the video for Chris Cornell's "Watching the Wheels" cover
Credit: Andrew Stuart
The video for Chris Cornell's cover of John Lennon's "Watching the Wheels" is streaming now on YouTube.
The clip features footage of bustling city streets and iconic skylines, in between archival photos of the late Soundgarden frontman with his family.
Cornell's version of "Watching the Wheels" is included on No One Sings Like You Anymore, a posthumous covers collection released earlier in December by his widow Vicky Cornell, and their children, Toni and Christopher. The compilation also includes covers of songs by Prince, Guns N' Roses and Electric Light Orchestra, among others.
No One Sings Like You Anymore was recorded by Cornell in 2016. It's his final fully completed studio album.


text:
Fair-Trade
To Women Who Broke Barriers
International Women's Day -
Everyday should be a celebration of Women, Men, Children - of Humanity. However in our evolving society there is still a need to dedicate a day to Women. Why? Many reasons but primarily because women all over the World still have to struggle and fight for their equality and equal status and rights in pretty much every single field.
Today we dedicate this post to Women who have broken barriers and stormed into traditionally Male dominated fields. Women who have challenged the status quo and have paved a path for million others to dream and make it happen.
1. Marie Curie -
She was first woman to received Noble Prize. Her works led the way to a new era for medical knowledge and the treatment of diseases. Marie was the only prominent female scientist in her time. Matching the popularity and respectability that of Albert Einstein. Despite her success, Marie continued to face great opposition from male scientists in and she never received significant financial benefits from her work. Her impact on society has been way more powerful than her discoveries.
2. Angela Merkel -
German Chancellor Angela Merkel has reigned as the most powerful woman for the past 10 years. She broke into the all male dominated political canvas in Europe and has been a remarkable force since then. She is the longest-serving elected EU head of state and fought national recession during the global economic crisis.
3. Kalpana Chawla -
First Indian woman to travel to space. She traveled 10.67 million km. She literally showed that Stars are reachable. Her story has been inspirational to young girls in rural India where gender inequality is at its worst.
4. Coco Chanel -
One would assumer the fashion industry to be a women's playground. Surprisingly this wasn't the case. She came from nowhere and built an empire of her own. Fashion was a male dominated industry where women were mere spectators and mannequins. Coco changed that. Today Chanel does over 3 billion dollars in sales every year.
The Following One is My Favorite
5. The Women In Your Life -
To your Grand Mother, Mother, Sister, Wife, Daughter, Friend- To every woman you know. Your accomplishments somewhere stem down to their hard-work and perseverance. Their struggles and victories, their stories and dreams their perseverance and immense compassion should inspire us and motivate us to build a society that is equal & just to each and everyone. Only then can we envision a brighter tomorrow for our World.
Also in Behind The Scenes
#BeYourOwnValentine
Love needs to first come for you. It has to be an internal manifestation first. Only when you truly love yourself you will grow from being a seeker of love to a giver. It will empower you.
Nature's Magic Show
While clouds blotted out the view in most other places in India, the century's most spectacular total eclipse of the Sun was witnessed in full glory in holy Benaras. It was a sight to behold. The city was suddenly clothed in a surreal glow of faint light that was eerie, exhilarating and nothing like most had ever seen before.
Celebrate 4th of July - In Style
A style guide to go #twinning with the #AmericanFlag on The 4th of July. Celebrate #IndependenceDay in style. We select cool products you can wear to celebrate America's Independence Day.
 ✉
Pick a currency: USD CAD GBP EUR
© 2020 Sustainable Fashion for Men. Organic Cotton T-Shirts and Sweatshirts..


text:
Q: Is there a way to do bulk actions in ISPCofig? I am using IPSConfig 3.0.5.4p9, on Debian Jessie.
Is it possible to do bulk actions in ISPConfig WebPanel?
By actions, I mean:

*

*Add New Sites Domains

*Modify multile Site Domains to the same parameter

*Add multiple catch-all emails

*Add multiple Email Domains

If it is not possible to do so from within ISPConfig itself, is it possible to do so programmatically?

redpajama_set_name: RedPajamaStackExchange


After a little self-googling, I've learned some bad news and some good news about my fiction (at least from the perspective of someone who wants people to read my work). The bad news: most of the stories I've written are no longer available for free on the internet (if they ever were available). The good news: some stories have a remarkably long shelf-life online, longer than Twinkies.
I've put the four stories you can get for free under the "My Fiction" link at the top of the page. I have another story forthcoming, and I'll be spending part of the Xmas break sending new stories (and maybe even some reprints) out for consideration at other magazines. I hope you'll see more stories here soon.


See pricing info, deals and product reviews for Strathmore Blank Greeting Cards With Envelopes White With Red Deckle Pack Of 50 (105-240-1) at Quill.com. Order online today and get fast, free shipping for your business.
Creative Greeting Cards are the greeting cards you create yourself! This multimedia card is ideal for designs created with colored pencils, pens, charcoal, light washes, rubber stamping collages and more. The colorful deckle edge adds a touch of elegance to your greeting. These cards can be used to design a greeting for any occasion from birthdays, holidays and invitations to general correspondence. Cards are 5 in. x 6.875 in. and made of 80 lb. cover paper. Matching envelopes are 5.25 in. x 7.25 in. and made of 80 lb. text paper. Acid Free.


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BY PATRICK WATSON : Congress has a new healthcare plan to replace Obamacare. It may go nowhere since many Republicans aren't happy with it… and the problems it tries to solve will remain.
Worse, anything that gets past the House and Senate may not matter if insurers refuse to play in 2018. The big ones haven't committed yet.
If the new plan doesn't fly and Obamacare collapses—as seems likely and which I've written about before—what's Plan C?
The time has come to give Americans the freedom to purchase health insurance across state lines—which will create a truly competitive national marketplace that will bring costs way down and provide far better care.
That sounds practical and conservativehe. Just reduce regulations, and the free market will provide.
Often, that's true. This time, it's not.
To find out what the problem is, look no further than a deal Citibank made with South Dakota 37 years ago.
When you read the fine print on one of your credit cards, you'll likely see the issuer is a bank in South Dakota. It might be Delaware or Nevada, but probably South Dakota.
Why are the big banks issuing credit cards through South Dakota subsidiaries?
Back in 1980, with both inflation and interest rates at double-digit levels, banks were getting squeezed on credit card loans. State usury laws capped the interest rates they could charge borrowers, but not the banks' own cost of funds.
Legendary Citibank Chairman Walter Wriston found a loophole.
A 1978 Supreme Court ruling said banks could set consumer loan interest rates based on the state in which the bank was located, instead of the borrower's state.
Wriston had been asking New York legislators to raise the usury limit so New York-based Citi could charge higher rates nationwide.
When they refused, he looked for friendlier politicians… and found them in South Dakota.
That's why your credit cards come from South Dakota. Citibank literally picked its own regulator and wrote its own law. Delaware and Nevada later made similar moves, but South Dakota was first.
The result wasn't all bad. Today, credit cards are widely available in every state. Your interest rate may be higher and your spending limit lower if you have poor credit, but you can probably get a card.
If you think enabling more Americans to take on more debt is a good idea, we have the perfect system to do it. But what we don't have is competition between states.
In theory, banks in any state can issue credit cards. But good luck getting one that isn't from South Dakota, Delaware, or Nevada. Those are the choices the banks give us.
A state-based national market for credit cards isn't exactly the same as one for health insurance, but it's similar in some ways.
Instead of usury limits, insurance companies face state laws mandating certain benefits that raise costs and reduce profits. It's one reason health insurance premiums are higher in some states.
So if we let insurers sell health coverage across state lines, people can bypass all that and buy in a state whose insurers best suit their needs. Sounds great, right?
The problem is that health insurers will likely do what the banks do with credit cards: congregate in whichever state lets them do what they want—which is to insure only healthy people.
The result, within a couple of years, will be separated risk pools. Young, healthy consumers will buy stripped-down, low-priced policies from states that allow them, while older, sicker people all cluster in the few states willing to cover them at a reasonable cost—if any will.
Sound familiar? Something like that is why Obamacare isn't working.
This is where the credit card analogy breaks down. No one has to have a credit card. You won't die without one. But everyone will get sick or have an accident sooner or later.
There's another problem: Providing health insurance isn't as simple as just mailing someone a card and billing them every month. The insurer has to deliver care locally, wherever the customer lives. Building hospital and doctor networks are expensive.
Five states—Georgia, Kentucky, Maine, Rhode Island, and Wyoming—already did what President Trump suggests. They've opened their borders to insurers from other states.
Has it worked? Have insurers from other states rushed into these wide-open markets?
No, they haven't. So erasing the state lines may not be as helpful as proponents think.
Politicians choose their words carefully when they talk about this. They'll often say everyone should have "access to health insurance." Sounds nice, but it misses a few things.
Access to health insurance is not the same as access to health care. People are learning that the hard way right now.
In many parts of the country, Obamacare plans come with deductibles of $5,000 or more. So you're covered only after you've spent $5,000 that you probably don't have.
Median household income in the US is only around $56,000. Median means half of all household incomes are below that amount, and few people have an extra $5,000 sitting around. They're insured, yes, but they can't afford to use their insurance even if tax credits cover the premiums.
So, Obamacare isn't the solution because it's not working either.
But interstate insurance is no cure. At best, it will leave us with the same problems Obamacare hasn't solved. It might even make them worse.
I wrote last year how our healthcare system suppresses job creation and undermines economic growth. We need a better solution.
We know what doesn't work. We need to find out what does.


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text:
Engaged Employer
This employer has claimed their Employer Profile and is engaged in the Glassdoor community.
How does your company compare?Get started with your Free Employer Profile to respond to reviews, see who is viewing your profile, and share your brand story with top talent.
SYKES Jobs
Found 34 of [companyTotal] job openings.
Banking Customer Service Representative
Augusta, GA30d+
Customer Service Representative (Seasonal)
Orem, UT25d
Customer Service Insurance Representative
Nashville, TN30d+
Seasonal Customer Service Representative
Mesa, AZ30d+
Sumter-Customer Service Agent
Sumter, SC30d+
Tampa, FL30d+
Oklahoma City, OK30d+
Edmond, OK30d+
Miami, FL30d+
Jacksonville, FL12d
Banking Customer Service Agent
Fort Smith, AR30d+
Insurance Customer Service Representative (unlicensed)
Fayetteville, NC25d
Phoenix, AZ30d+
Nikon/Sonos Customer Service/Tech Support
Langhorne, PA4d
Fishers, IN30d+
Remote - Bilingual Spanish Seasonal Customer Service Agent
Gilbert, AZ30d+
Spartanburg, SC30d+
Remote - Bilingual Spanish Customer Service Agent
Pompano Beach, FL30d+
Tulsa, OK30d+
Broken Arrow, OK30d+
Orlando, FL30d+
Tucson, AZ30d+
Customer Service Representative - First Notice of Loss (Unlicensed)
Banking Customer Service Representative Sykes Enterprises, Inc. Augusta, GA $29K-$29K
Customer Service Representative (Seasonal) Sykes Enterprises, Inc. Orem, UT $25K-$31K
Customer Service Insurance Representative Sykes Enterprises, Inc. Nashville, TN $33K-$33K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Mesa, AZ $27K-$39K
Sumter-Customer Service Agent Sykes Enterprises, Inc. Sumter, SC $35K-$35K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Tampa, FL $27K-$39K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Oklahoma City, OK $26K-$39K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Edmond, OK $26K-$39K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Miami, FL $27K-$41K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Jacksonville, FL $26K-$38K
Banking Customer Service Agent Sykes Enterprises, Inc. Fort Smith, AR $35K-$35K
Insurance Customer Service Representative (unlicensed) Sykes Enterprises, Inc. Augusta, GA $31K-$31K
Support Specialist Sykes Enterprises, Inc. Fayetteville, NC $25K-$31K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Phoenix, AZ $28K-$40K
Nikon/Sonos Customer Service/Tech Support Sykes Enterprises, Inc. Langhorne, PA $31K-$31K
Customer Service Insurance Representative Sykes Enterprises, Inc. Fishers, IN $35K-$35K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Miami, FL $33K-$33K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Gilbert, AZ $27K-$39K
Banking Customer Service Representative Sykes Enterprises, Inc. Spartanburg, SC $29K-$29K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Pompano Beach, FL $33K-$33K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Tulsa, OK $26K-$38K
Seasonal Customer Service Representative Sykes Enterprises, Inc. Broken Arrow, OK $26K-$39K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Orlando, FL $33K-$33K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Miami, FL $33K-$33K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Pompano Beach, FL $33K-$33K
Customer Service Insurance Representative Sykes Enterprises, Inc. Spartanburg, SC $31K-$31K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Tampa, FL $33K-$33K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Phoenix, AZ $33K-$33K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Tampa, FL $33K-$33K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Orlando, FL $33K-$33K
Remote - Bilingual Spanish Customer Service Agent Sykes Enterprises, Inc. Tucson, AZ $33K-$33K
Customer Service Representative - First Notice of Loss (Unlicensed) Sykes Enterprises, Inc. Fishers, IN $34K-$34K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Tucson, AZ $33K-$33K
Remote - Bilingual Spanish Seasonal Customer Service Agent Sykes Enterprises, Inc. Phoenix, AZ $33K-$33K


We would like to invite your service organization (Girls Scouts, Cub Scouts, etc.) or classroom (homeschoolers too!) to come visit us at The Brace Place for an educational field trip and office tour!
This is a fun way for children to not only learn about the different aspects of orthodontics and braces, but the importance of good dental hygiene as well. Please allow one hour for the visit.
Contact us today to schedule your group's visit with us! We look forward to seeing you soon.
The Brace Place is offering a special $200 discount to our veterans, military, and law enforcement families in the months of November and December. Call us to schedule a free consultation today! We appreciate your service!!!


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Q: Error when use BroadcastReceiver on Android I create code for pop-up incoming message with Android Studio. I'm used this code for BroadcastReceiver
public class IncomingSms extends BroadcastReceiver

and already setup in manifest
<receiver android:name=".IncomingSms">

but on my BroadcastReceiver get error message
Error:(12, 8) error: class IncomingSms is public, should be declared in a
file named IncomingSms.java
Error:Execution failed for task ':app:compileDebugJavaWithJavac'.
> Compilation failed; see the compiler error output for details.

someone know how to correct declare for this?

A: Your java file need to have THE SAME name as the main class in it. That is the problem


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HomeTelevision
Yes, It's True. Chetan Bhagat Will Judge Nach Baliye 7
Indo-Asian News Service | March 24, 2015 17:19 IST (Mumbai)
Chetan Bhagat says he hopes to inspire the audience
"Well, I am no dance expert! However, the show format has changed and apart from dance, there will be a lot of emphasis on couple chemistry, compatibility and team work," Mr Bhagat wrote on his Facebook page
Author Chetan Bhagat has now donned a new hat - that of a judge for the dance reality show Nach Baliye 7. Calling himself a novice as far as dancing is concerned, the celebrated writer says his presence in the show will revolve around the compatibility and chemistry quotient of the contestants.
Mr Bhagat wrote on Twitter
Yes, it is true. I will be one of the judges for Nach Baliye 7. Here are my thoughts on the same: https://t.co/kvPxxqQ6TM
- Chetan Bhagat (@chetan_bhagat) March 24, 2015
He also shared his information about the show on his Facebook page.
"Hi All, Happy to share that I shall be one of the judges for the new season of 'Nach Baliye' on Star Plus. Well, I am no dance expert! However, the show format has changed and apart from dance, there will be a lot of emphasis on couple chemistry, compatibility and team work. I will be focusing more on the latter parts," he wrote on the social networking site.
"Also, as a motivation speaker, I hope I will be able to inspire the participants as well. The main reason for me to do this was to reach deeper into India, as one of my goals is to touch as many Indians as possible in my lifetime.
"The more people I reach, the more people I can influence towards positive change. As one of the biggest shows on Indian television, Nach Baliye provided that opportunity."
As a writer, Mr Bhagat raised the bar by churning out bestsellers like Five Point Someone, The 3 Mistakes of My Life, and 2 States and most of his novels have been adapted into successful movies.
He said that being a part of the show would help him understand the nuances of filmmaking in a better way.
"Apart from that, I am also more involved in films now, where apart from storytelling, song and dance forms a big part. Being familiar with those forms will only help me get better as far as films are concerned.
"Yes, it is a risk. It could really work or I could end up making a fool of myself. And that is a little scary. However, in almost all my talks, I tell people to take risks. If I don't do the same myself, I won't be being true to my word," he shared.
The seventh season of Nach Baliye is expected to be aired on Star Plus in May.
chetan bhagat
After Apology, Chetan Bhagat's Second Take On #MeToo: I'm Not A Harasser
'Was Going Through A Phase': Chetan Bhagat In #MeToo Apology Note
It's Not That 'Simple' To Be 'Simple': Chetan Bhagat To IIMA Students
Chetan Bhagat Writes 581-Word Note Explaining Why He Won't Explain Things Anymore
Kangana Ranaut: Why Does 'Daddy' Have To Come In To Rescue Hrithik?
I'm Chetan Bhagat's Superhero, Says Arjun Kapoor
Varun Dhawan, Kriti Sanon in Ekta Kapoor's Next?
Mahesh Bhatt, Soni Razdan on Nach Baliye 7


text:
package p05_OnlineRadioDatabase;

public class InvalidSongLengthException extends InvalidSongException{

	public InvalidSongLengthException() {
		super.setMessage("Invalid song length.");
	}

}

redpajama_set_name: RedPajamaGithub


text:
Q: Adding Pictures in Google Maps I need to add my picture as a popup to google maps specific address may be in latitude,longitude OR specific to my address in Google Maps. is it possible or any
google maps api json like parameter configuration. pls let me know.

A: Google map markers, and google map infowindow might serve your purpose.
Have a look :
http://code.google.com/apis/maps/documentation/javascript/reference.html#Marker
http://code.google.com/apis/maps/documentation/javascript/reference.html#InfoWindow
You can provide the photos in the html parameter to the infowindow, see this example from documentation:
http://gmaps-samples-v3.googlecode.com/svn/trunk/infowindow_custom/infowindow-custom.html


text:
Billionaire blows up at Morrison over power prices
Barnaby supports new coal fired power
Power bills explained.
1st Nov 2018 5:48 PM
EVEN the richest walking among us aren't satisfied with Prime Minister Scott Morrison's "fair dinkum" sell on power prices.
Multi-billionaire tech entrepreneur Mike Cannon-Brookes has slammed Mr Morrison on Twitter over a recent online video that promises better power prices for Australians.
He demanded a "rallying cry" for Australians concerned about our energy future, saying he's "not sure (Mr Morrison) knows what fair dinkum means".
The Atlassian co-CEO and co-founder is worth an estimated $5.16 billion. The Young Rich Lister used his tweet against the Prime Minister to launch a logo competition for the new renewable energy initiative Fair Dinkum Power.
In 24 hours, the logo with the most votes will win, but it's not yet known where it will end up.
The billionaire's rant followed a video from the Prime Minister last week about lowering the nation's energy prices.
"We've got get electricity prices down," Mr Morrison said in a video released last week. "I met Avril and Colin this morning. Colin served in our defence forces and is a defence force pensioner. Avril's gone back to work to pay for the bills."
He then holds up a sheet of paper.
"This is their electricity bill. You can see it's paid, but they are paying too much," he says, without revealing how much they're paying.
Billionaire Mike Cannon-Brookes has fired up at Scott Morrison over Australia's energy future.
"I look through your comments and you say, 'Well, how you going to do it?' " Mr Morrison continues. "We're going to get the electricity companies in line. We're going to do it with new laws and new rules, which means they can't rip you off simply by you being a loyal customer.
"If you stay with them you shouldn't be penalised for that. We're going to stop the price gouging and have tough penalties for the big electricity companies if they try and do that.
"And thirdly, we're going to force them to put more fair dinkum, reliable energy, power, into the system."
"Renewables are great," he continues. "But we're also needing the reliable power when the sun isn't shining and the wind isn't blowing. That's what keeps the lights on. Lower electricity prices. Meeting our emissions reductions targets. And ensuring the lights stay on."
⚡ Is this thing on?🎙 Ran out of time (busy day). @fairdinkumpower brand/movement needs an image. My drawing sucks. $200 online logo? WFM. Here's 5 ideas. To vote ❤ the next tweets, or draw better & reply! I'll work on getting it displayed somewhere... big #fairdinkumpower 1/6 https://t.co/GOUm1R0lkk
Energy Minister Angus Taylor last night defended the government's policy.
"The government stands arm-in-arm with the hardworking Australian businesses and families who want to see lower power prices,'' Mr Taylor said.
Figure behind crazy fuel price hikes
Get ready, your power bills will soar this summer
Meatworks' electricity bills sky rocket 300 per cent
Texas bar morphs into Moe's Tavern
Voters 'don't care' about dumping Turnbull
sco mo
cost of living electricity sco mo


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The UK Drum Show are committed to providing hands on experience and supporting the next generation of stage, event and technical experts and of course drum fans with the unique opportunity of seeing how this national event is put together – we all had to start somewhere!
BIMM offer a range of courses, whether performing live, recording, or turning your passion for drums into a career!
If you're a drummer who loves performing live or recording in the studio, the BIMM BA (Hons) in Professional Musicianship – Drums will help turn your passion for music into a career.
Live performance is the key to becoming a great drummer, so you'll spend a lot of time on stage to help you develop and find your niche as a performer. You'll also further hone your skills by receiving tuition in drumming techniques, music theory and styles across a wide range of genres from pop and punk to folk and funk.
An Artist Development Diploma in Modern Music – Drums is available as a one-year practical and vocational course and is equivalent to two 'A' Levels, and is all about developing your performance skills and musical style, improving your technique, getting yourself noticed by connecting with the music industry, and steadily building your confidence towards that of a professional musician. Our diploma courses are a great gateway to either taking your first steps in a music industry career, or continuing on with study in the form of a music degree at BIMM.
If you see yourself as a future events professional, then the BIMM BA (Hons) in Event Management will not only teach you all you need for a successful career in the live music and creative industries, but will also ensure that you connect with the best people in the business to turn that career ambition into a reality. With festivals and tours becoming an increasingly important source of revenues for bands and artists, as well as such a vital tool for building a fan base, promoters in the live music industry have never been in such demand.
In addition BIMM offers a Diploma in Live Sound and Tour Management, a one year entry-level course equivalent to two A-levels, where you can develop essential live music skills to a semi-professional level, including front of house and monitor live sound mixing, backline technician support, tour management and live recording.
All students can visit the show and take advantage of our online student ticket price. Tickets available now.


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Ben Gibson
A lover of RPGs and immersive storytelling, Ben can normally be found playing a game in which he can hit something with a sword. In his more productive moments, he makes reviews and videos on the gaming industry on his Youtube channel TheReaper161Plays. When not too tired or hungover to go outside, Ben can sometimes be found skydiving or running around an airsoft site (also with a sword).
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Q: relative path to a folder that is out of the public folder in zf2 I have an upload folder out of the public folder and I am trying to show an image on an img html tag. To be acccurate create a relative path for the src attribute.
I don't seem to find the way to create a relative path to the image because the basepath() view helper is pointing to the public folder.
I haven't been working with zend framework 2 for too long so my search terms probably weren't very accurate. I did read the oficial documentation about the basepath viewhelper and more than a few question here on stack overflow but nothing.
Thanks in advence for your help

A: The browser can't view files outside of the document root (public). You'll either need to move them, symlink to them (from within public), or serve the images via. PHP.