New guest post by Edwin McRae, author of Warlock: Reign of Blood.
Even though I've designed narratives for several video game RPGs like Path of Exile and Ashen, I'll be the first to admit that I tend to get lost in a deep, dark Forest of Numeracy. I'm more of a word guy than a numbers guy, which probably shows in my LitRPG work. It's not a LitRPG story if it doesn't feature stats, but those stats need to be designed and managed very carefully.
I'm Edwin McRae, LitRPG author and game writer, and here's the thought process that went into designing the mechanics for Warlock: Reign of Blood.
When I read LitRPG, I'm there for the story. Yes, the mechanics are a very important part of the story in any LitRPG. The character build is usually the driving force behind the plot. The MC fights monsters and solves puzzles in order to level up skills and abilities. Those upgraded character traits then allow them to go on to tackle even nastier monsters and trickier puzzles. Such is the age old marriage of Grind and Reward.
I have only three core stats in my Warlock. Body. Mind. Spirit.
Body covers anything physical, from strength and reflexes through to endurance and constitutional stuff like poison resistance and survival in hostile environments. Of course, that means you don't get the natural divisions of strength-based tanks and dexterity-based rogues, but then I've always found those subsets to be a bit arbitrary anyway.
For my reasoning behind a one-size-fits-all Body stat, I turn to real life example in sports. A New Zealand sportsman by the name of Jeff Wilson. Jeff is most famous for being an All Black during the 1990s. Professional rugby demands strength and speed above all other attributes. Jeff had those in abundance and became one of the most famous wingers in NZ rugby history. But Jeff took a break from rugby at one point to play cricket, a sport that demands agility and hand-eye-coordination. He turned out to be so good at cricket that he earned a spot on the New Zealand national cricket team, the Black Caps. Yet this renaissance man of sport didn't stop there. I saw him play basketball too. In his teens he was the captain of his high school basketball team. They came to play against my local school's basketball team and I watched in awe as Jeff single-handedly dominated the court with his strength, speed, agility and almost inhumanly accurate hand-eye-coordination.
Look carefully at any professional athlete and you'll find a plethora of physical abilities that go far beyond the simple demarcations of Strength, Dexterity and Constitution. So I could've broken the physicality down into a bewildering array of sub-abilities, bewildering for both myself and the reader. Instead, I chose to wrap it all up into one parcel of physical prowess. Body.
It's always felt strange when the Health (HP) stat levels up independently from the physical stats like Strength. Stronger muscles do more for the body than just allow you to pound something harder with a warhammer. Well-exercised muscles enable better blood flow. Better blood flow leads to better oxygenation and toxin filtering. In RL, the body is one big, interconnected system, so why not treat it that way in RPGs too?
This is something I really appreciate about Assassin's Creed: Odyssey, an RPG that truly adheres to the Simplicity = Accessibility principle. I've been playing as Kassandra. When Kassandra levels up, her entire physical potency levels up too. She hits harder, takes more damage and heals faster too. My only disappointment there is that Kassandra's free-running skills don't also improve. It'd be brilliant if I could also run faster and jump further with each level up, but the free-running capabilities seem pretty much set-in-stone from Level 1 through to Level 13 (my current level) and beyond. Ah well, it's a hard road finding the perfect RPG.
What I've done in Warlock is make Health Points dependant on both Body and Level.
I use a google spreadsheet to track all of these stats so it's easy for me to see how physically capable my Warlock is at any given chapter and to design his next battle accordingly.
Of course, once you have stats that interconnect and affect each other, you're into formula management territory where numerous calculations need to be made before you write even a single line of your LitRPG battle scene. While some might relish this challenge, it's not an appealing prospect to me.
To be honest though, I'm not a fan of perusing pages of stats in a video game RPG either. That was part of the reason why I gave up playing Grim Dawn, apart from the fairly weak and pedestrian narrative. There were just too many stats to consider when I leveled up or picked up a seemingly powerful item. Accuracy, resistances, wielding requirements and special abilities… No, not for me. Not in a digital RPG and definitely not in a LitRPG. You see, LitRPGs don't have the benefit of a game engine for all that number crunching. They have to rely on the good ole grey matter of writer and reader.
I'm sure some will disagree on this point, but I'm into LitRPG for the story experience, not to earn a diploma in statistics.
At the end of the day, I love writing stories set inside games so LitRPG is a deeply satisfying genre for me. But writing is hard enough at the best of times without making it even harder. For me, simple mechanics allow me to harness the magic of the RPG character build while still focusing on the most important part. The story. After all, we're not playing a video game RPG and we're not GMing a tabletop roleplaying session. We're relaxing with a wine or a coffee, tucked up on the couch, reading a book. That's the experience I love and that's the experience I aim to deliver in my own LitRPG writing.


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Webinar Panel Video: A Way Forward, Part II - Defending human rights in China
The world is waking up to the nature of a crony capitalist enterprise operating as a government in charge of 1.3 billion Chinese people. But it has been an uphill challenge for defenders of human rights. The Chinese Communist Party has been successful in co-opting many of the political and business elite in the free world. The West has been preoccupied by economic opportunity in China, with massive human rights abuses often swept to the side.
Building on the global impact and success of our event on how the free world could respond to the crisis in Hong Kong, the Macdonald-Laurier Institute, European Values, Hong Kong Watch, Optimum Publishing and the Inter-Parliamentary Alliance on China convened an online conference to tackle the broader range of human rights abuses perpetrated by the regime in Beijing. The full program and speaker bios can be found here.
Some of the world's top thinkers on human rights and international affairs joined us to discuss:
The nature of human rights abuses from the Xinjiang detention camps, the throttling of democracy in Hong Kong, and China's long history of abuses and intimidation from Tibet to Mongolia.
How governments in the free world, and the United Nations and its various agencies, have been complacent and, in some cases, complicit in allowing these practices to go unchecked.
Proposals for a co-ordinated global response.
Dragon at the Door, Foreign Affairs, Indo-Pacific, Latest News, Multimedia, Past Events, Recent News
CCP, Charles Burton, China, Chinese Communist Party, Hong Kong, webinar, Xinjiang
Webinar Panel Video: Hong Kong – A Way Forward: How the free world will respond to Beijing's Crackdown  From border spats against India, to air incursions over the Taiwan Strait, to increasing...
When will the United Nations wake up to China's human rights nightmare? Dean Baxendale for Inside Policy When a government continually subverts the very human rights treaty they signed onto, there must...
Canada Should Use the Magnitsky Act to Target China's Human Rights Violators: Irfan Yar in the Epoch Times By applying targeted sanctions against Chinese officials, Canada would send a powerful message to Beijing...
Webinar Panel Video: Know Thy Enemy – Understanding the threat posed by Russia and China in the post-COVID era Despite decades of trying to bring China and Russia into the world as legitimate partners,...
Four in five Canadians think Ottawa must speak up about China's human rights abuses: Leading pollster calls results "stunning" OTTAWA, ON (June 19, 2020): In the wake of charges being formally levelled against Michael...

redpajama_set_name: RedPajamaCommonCrawl


An invitation to fall in love – number two.
Made of finest mohair in a delicate shade of lilac, the smaller Love Teddy bear fits perfectly with his larger counterpart, right down to his crystal "Button in Ear".
Placed close to your jewellery box, the pink Swarovski crystals on his heart-shaped pendant are a joy to behold every day.
The chain is a striking bracelet to which further pendants can be added at will.
Helping to make your bear truly one of a kind!


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Oversharing: Canadian E-Lit and the Lyric Subject
Posted on 26 May 2017 by genericpronoun	Leave a comment
This paper has been written in contribution to the ACQL Roundtable: "TrashCan: An Anti-Canon Manifesto," presented as a part of the ACCUTE Congress, Sunday, 28 May, 2017.
My contribution to this anti-canon manifesto is a two-fold response to the general sidelining of new media poetics and digital literatures in CanLit. Canadian E-lit should, I wager, be a part of the TrashCan, first and foremost, because there is already a vast wealth of Canadian electronic literature; in fact, poet laureate of the canon we are working to dismantle, bpNichol, is frequently credited with producing some of the first e-lit ever—more on that later. Now, I argue in this paper that Canadian e-lit gets dismissed or sidelined for two primary reasons: first because there is a pervasive cult of print that dismisses new media works as illegitimate because networked media lacks, in some ways, the accredited gatekeepers that dominate print-publishing (though the recent Write editorial showed us exactly how exclusionary that practice can be); second, because much of the electronic literary work coming out of Canada right now is highly affective and emotional, these works are frequently disregarded by avant-garde circles as "popular," "unliterary," or "kitsch." What's more, these affective personal narratives are often written by women, trans* and queer writers, and writers of colour and are typically ABOUT those very identity politics that the predominantly whitecisheteromale avant-garde so fears.
Thing is, you'd kind of expect that experimental literary circles would be interested in the way new media writing probes issues of formalism, medium, authorial power, reader engagement, and other literary complexities touted as central by writers, readers, and scholars of experimentalism. But, the truth is that, by and large, the Canadian literary community continues to prioritize print-based work. This presentation points to some important contributions of Canadian writers who overshare, confess, and offer the most intimate aspects of their subjectivity through digital media. Because, there's already a good, long history of affective and personal writing in digital media to point to why e-lit, with all its confessional bells and whistles, deserves study and recognition. Canada's contributions to the e-literary canon start, as I've suggested, with Nichol, whose First Screening: Computer Poems sees intimate, personal details hidden in the codework and secondary functions, making a pretty early case for the centrality of oversharing in the Canadian digital literary. In the emulator of First Screening, housed on Jim Andrews's website Vispo.com, entering the "LIST" command for line 110 provides the reader with the following prompt:
Screenshot from bpNichol's First Screening: Computer Poems, emulator version.
Entering the "RUN" or "GOSUB" command at 1748 starts a "hidden" kinetic poem called "Off-Screen Romance," dedicated to Nichol's wife, Ellie. You can't make a case for Nichol's work being critically ignored, but it is true that First Screening is considered to be, compared to the martyrology or Nichol's concrete print work, more of an initiatory foray or a kitschy play than a legitimate literary endeavour.
Screenshot from Quing's Quest VII
I want to use these next few minutes to highlight just a few of the Canadian digital literary projects that get sidelined as kitschy or unliterary. First, Dietrich Squinkifer's Quing's Quest VII: The Death of Videogames was inspired by tensions over the identity of gamers and responds to Gamergate and the still persistent accusations that feminists and advocates for diversity in games had set out to "ruin" the industry. Quing's Quest is built in Twine and takes inspiration from old-school adventure games, including Sierra's King's Quest series and other text-based online games like Zork. The game takes place on a spacecraft named the "Social Justice Warrior," and features a character exiled from Videogames after the invasion of the "misogynerds." So, subtlety isn't its strong suit, but it is only as explicit as the accusations to which it is responding. It's a clearly queer response to exile, dismissive readings, and the feelings of displacement queer writers saw in print, and still see in the digital in literature and games.
Screenshot from Christine Love's Digital: A Love Story
Second, Christine Love's Digital: A Love Story is a digital visual novel set "five-minutes into the future of 1988" and invites the player back into the early days of the Internet. The graphical interface of white text on a blue background accompanies the metaphor of the local BBS (bulletin board system) as a happening space for conspiracy and flirting. All the core interaction takes place through dialling into this system, which has multiple characters and threads that can be explored through sending out replies to advance the story. The work is strongly grounded in early hacker culture and William Gibson-esque models of AI and it articulates clear feminist concerns about the role of women in relationship and hacktivist culture, which the work argues are not actually that different.
Screenshot from High Muck a Muck: Playing Chinese.
Third, High Muck a Muck: Playing Chinese troubles the cliché of historical tales of Chinese immigration to North America's "Gold Mountain" by juxtaposing this classic narrative of struggle against one of mobility driven by contemporary global capitalism. The project expresses some of the internal community struggles that erupt between different generations and classes of immigrants and it challenges the racist paradigm of an all-white Canada into which Asian immigrants enter but are never fully allowed to arrive. High Muck a Muck is written by a collective that includes Fred Wah, so if you were going to argue that Squinky and Love's dismissal is due to the relative obscurity of the authors, you can't do that here. I've shown this work to Wah scholars, who universally respond with "uhhh ya that's nice, I guess."
Screenshot from Caitlin Fisher's Everyone at this Party is Dead.
I want to end by talking about Caitlin Fisher's Everyone at this Party is Dead, one of the first lyric literary works for Oculus Rift. It is a complete but expanding work containing about 30 small narrative worlds, explored in a sandbox. You enter the piece standing at the edge of an island and in the middle of a soundscape of a party taking place, with guests being named: these were the guests of a birthday party and they are now all dead. You are urged to explore the virtual world like a dreamscape. Fisher is a well-known figure in e-lit; she runs the Augmented Reality Lab at York University, where I did my graduate studies and where I currently work as contingent faculty—and she has basically no dealing with the "English" Department. Fisher's detachment from York's literature department signals the two primary theses of this paper: first, that this kind of work is not considered "literature"; and second, that Fisher's estrangement from masculinist literary studies is based, in part, on the feminist and feminized use of digital technology in her work. This paper encourages the CanLit community to recognize these contributions to Canadian literature, at the very least in the way that other predominantly American organizations (like the ELO) have already done.
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Koppardvärgrall (Laterallus ruber) är en centralamerikansk fågel i familjen rallar inom ordningen tran- och rallfåglar. Den hittas i sötvattensvåtmarker från södra Mexiko söderut till nordvästra Costa Rica. Arten är fåtalig men anses inte vara hotad.

Kännetecken

Utseende
Koppardvärgrallen är som namnet antyder liten, endast 14–16,5 centimeter. Den är huvudsakligen bjärt kastanjefärgad med blekare hake och buk, svartaktig krona och mörkgrå örontäckare. Näbben är svart, irisen röd och fötter och ben är olivgröna.

Läte
Lätet är en explosiv fallande drill likt vitstrupig dvärgrall (Laterallus gularis), föregången av några dämpade pipande toner. Den spelar året runt, under häckningstid ofta och till och med mitt på dagen.

Ekologi
Den förekommer i sötvattensvåtmarker som fuktiga fält, diken, träsk och vassbälten upp till 1 500 meters höjd. Arten häckar från juli till september i Honduras, i juli i Nicaragua. Den bygger ett kompakt vävt bo av gräs, löv och vass med en sidoingång. Däri lägger den tre till sex ägg. Det finns information om artens föda.

Utbredning och systematik
Fågelns utbredningsområde sträcker sig över Centralamerikas lågland från södra Mexiko till nordvästra Costa Rica (norra Guanacaste). Tidigare har upp till tre underarter erkänts, men skillnader har visat sig bero på könsdimorfism. Den har även påträffats i Panama och är möjligen utdöd i Costa Rica.

Status
Arten har ett stort utbredningsområde, men en relativt liten världspopulation på färre än 50 000 individer vars utveckling dessutom är okänd. Internationella naturvårdsunionen IUCN anser dock att den trots detta inte är hotad och placerar den därför i hotkategorin livskraftig (LC).

Referenser

Noter

Övriga källor
Taylor, Barry & Ber van Perlo (1998) Rails: A Guide to the Rails, Crakes, Gallinules and Coots of the World, Pica Press, Sussex.

Externa länkar

 Bilder och filmer på Internet Bird Collection
 Läten på xeno-canto.org

Rallar
Fåglar i neotropiska regionen

redpajama_set_name: RedPajamaWikipedia


James Beard Best Chef semifinalist and La Cocina grad Reem Assil, who launched the Fruitvale bakery Reem's last year, is opening her second Oakland restaurant.
Located in Jack London Square and operated in partnership with Daniel Patterson's Alta Group, Dyafa (44 Webster St.) will offer Arab fare inspired by Assil's Palestinian-Syrian heritage and her travels in that region that infects fine dining with a lively community atmosphere. The restaurant, located in the former Haven space, will open for lunch service tomorrow, with dinner to follow later this month.
At lunch, Dyafa — whose name derives from the Arab word for hospitality — will offer shareable snacks, dips, grain bowls, and salads. Lunch will also include flatbread wraps featuring the signature bread from Reem's, baked on the traditional convex griddle known as a saj.
Dinner features heart-baked specialty breads alongside wajbat khafeefa (small bites) including kabees (pickles) and an Arab-style charcuterie plate with fresh-baked pita; as well as cold and warm mezze plates such as muttubal (charred eggplant with garlic, lemon, and tahini) and zidbiyat gambari (shrimp-tomato claypot stew) and larger-format dishes such as shakriah (braised lamb shank) and musakhan (sumac-spiced chicken confit).
Weekend brunch at Dyafa will feature fare such as ful medames (fava bean and chickpea stew with poached egg) and um ali (sweet phyllo milk porridge) as well as shakshuka (tomato-poached eggs with peppers).
Middle Eastern flavors and Reem's collection of classic Arabic cookbooks inspired bar manager Aaron Paul's cocktail program. A concise wine and beer list will feature selections from California and Lebanon.
Warm hues bringing to mind those of the Arab world animate the 105-seat restaurant, whose design elements include a walnut bar, indigo paneled partitions, lush greenery, and vibrant geometric floor tiles. An exposed woodframe ceiling reveals an intricate grapevine canopy and suspended bamboo light fixtures from noted New Zealand designer David Tunbridge.
Dyafa, 44 Webster St., Oakland, 510-250-9491, Lunch: Tuesday-Friday, 11 a.m.-2 p.m.


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TV stars and public transit
Richard MasonerNovember 17, 2010Leave a Comment
On today's video of their Alternate Travel Project, "Castle" stars Stana Katic and Seamus Dever ride public transportation in Los Angeles. Stana rides the subway while Seamus cruises on the bus.
The two TV stars have teamed up to promote alternative transportation by pledging to go without a car for seven days in Los Angeles. They've walked, biked, and used public transportation to get around. In today's video, Seamus and Stana talk about riding Los Angeles County Metro bus and rail.
Seamus says bus transportation is "perceived as inefficient and crowded," but if more people rode the bus "some of the stigma would be taken off, I think." He tells us how easy transit route planning now is with current technology like Google Transit.
Stana talks about inspiration "when you're not stuck in the bubble of your car, when you can go about traveling slowly and really absorbing this wonderful inspiration that's all around you."
Sierra Club executive director Michael Brune points out that people who ride public transportation save the equivalent of a Persian Gulf supertanker every 11 days.
More at the Alternative Travel Project.
Tagged celebrity | transit


We are proud to present our own line of coffee. Coffee is only availble in our Oxford location. In addition to our regular coffee menu we now offer a line of frappe's called Twsited Freeze! Try one today the flavors are caramel, mocha, vanilla, chai, green tea and cookies and cream. If you name it, we can freeze it!
Ask for your coffee, hot chocolate, mocha or chai either warm, iced or frozen!


2-piece Chinese Hook Sword Set Black | BUDK.com - Knives & Swords At The Lowest Prices!
Dominate your dojo with these Chinese twin hook swords! Martial arts enthusiasts will enjoy using these traditional weapons! Each sword measures 33 1/4" overall and offers one-piece stainless steel construction and authentic pattern design with a black finish.
Overall very good. All the points are sharp, the blades not so much. A bit of a bend in one of the swords' hooks - not a problem though. Be careful with these as there are so many potentially dangerous points and edges.
this is the first item I got from this site and I have to say I am well satisfied. the shipping was easy to deal with could look up on any day where it was at arrived when it said it would and the quality of the product is awesome. The blades came with an nice edge will have to sharpen it just a little bit and the weight feels good in my hands. The only nitpick is that the handles with the Paracord probably will eventually come off I don't see that happening for a long time though.
Was really excited for these, just a little disappointed that they weren't sharp, and the paracord handle wasn't my style but really enjoy the uniqueness of it. I would buy again as a gift.
Just got mine yesterday, very fast delivery time, not very sharp but still good swords. Plan on having lots of fun with them.
i found this item to be quite nice and built quite well. it is not as sharp as I thought it would be but it is still of great quality. I would buy it again.
These are really amazing swords. They were good size, looked really cool too. These are really good in sword fights, but they dented really easy, but other then that they are great!!!
I got my swords today and i was pretty happy. They very cool and they could deffinately kill a zombie. The only problems were that when i got them neither of them came sharp. Except for the blade next to the handle it is pretty dull but i fixed that easily with my whetstone. I don't know if they are meant to be sharp. another thing is that i like to cut boxes but the black on the metal rubs off. So if you get them to look at then they are great but for cutting stuff it takes the paint off.
These swords are amazing, their unique, and unlike most swords they can be used for more than just cutting and stabbing.All i can say is ninjas beware.


This resolution was approved at the July 15, 2015 meeting of the Board of Trustees in Mexico City. It is based on the Board Governance Committee's discussions with the community during the consultation in June.
Alice will be allowed to join for three two-year terms (totaling six years), and this will not allow renewal of the terms of Jan-Bart and Stu, who in any case previously indicated that their final terms would end in December 2015.
(C) Community-selected Trustees. Three Trustees will be selected from candidates approved through community voting. This process will be held every three years according to a rotational schedule to fill open Community-selected Trustee seats. The Board of Trustees shall determine the dates, rules and regulation of the voting procedures. The Board shall determine who is qualified to vote for community-selected Trustees. The Board will approve candidates who receive the most votes, subject to Article IV, Section 3(A), and other provisions of these Bylaws. In the event that a candidate is selected who does not meet the requirements of Article IV, Section 3(A) or other requirements of these Bylaws, or of applicable state or federal law, the Board will (i) not approve the selected candidate, (ii) declare a vacancy on the Board, and (iii) appoint the candidate receiving the next most votes to fill the resulting vacancy, subject to this Section 3 and to Article IV, Section 6 below. Community-selected Trustees must resign from any board, governance, or paid positions at the Foundation, Chapters, Thematic Organizations, and User Groups for the duration of their terms as Trustees, but may continue to serve Chapters, Thematic Organizations, and User Groups in informal or advisory capacities. Trustees selected in accordance with this Article 3(C) shall serve three-year terms and cannot serve for more than two consecutive three-year terms. After serving any six consecutive years, a Trustee is not eligible for selection under this provision for a period of 18 months.
(D) Trustees selected by Chapters and Thematic Organizations. Two Trustees will be selected from candidates approved through a process determined by Chapters and Thematic Organizations collectively. This process will be held every three years according to a rotational schedule to fill open Trustee seats selected by Chapters and Thematic organizations. The process will be conducted according to a procedure approved by a majority of Chapters and Thematic Organizations collectively and approved by the Board. Amendments to the procedure established to select trustees by Chapters and Thematic Organizations also must be approved by a majority of the Chapters and Thematic Organizations collectively and approved by the Board. Trustees selected by Chapters and Thematic Organizations must resign from any board, governance, or paid positions at the Foundation, Chapters, Thematic Organizations, and User Groups for the duration of their terms as Trustees, but may continue to serve Chapters, Thematic Organizations, and User Groups in informal or advisory capacities. Trustees selected by Chapters and Thematic Organizations must meet the requirements of applicable state or federal law for Trusteeship. In the event that a candidate is selected who does not meet the requirements of Article IV, Section 3(A) or other requirements of these Bylaws, or of applicable state or federal law, the Board will (i) not approve the selected candidate, (ii) declare a vacancy on the Board, and (iii) request that the Chapters and Thematic Organizations collectively select a new candidate whom the Board may appoint to fill the resulting vacancy, subject to this Section 3 and to Article IV, Section 6 below, and with applicable state and federal law. Trustees selected in accordance with this Section 3(D) shall serve three-year terms and cannot serve for more than two consecutive three-year terms. After serving any six consecutive years, a Trustee is not eligible for selection under this provision for a period of 18 months.
(E) Board-appointed Trustees. As many as four Trustees may be appointed by the Board to non-community-selected, non-chapter-selected positions, and the term of each such appointment shall not exceed three years. The appointment of Board-appointed Trustees shall be conducted consistent with the provisions of Article IV, Section 3(A) and with applicable state and federal law. Board-appointed Trustees must resign from any board, governance, or paid positions at the Foundation, Chapters, Thematic Organizations, and User Groups for the duration of their terms as Trustees, but may continue to serve Chapters, Thematic Organizations, and User Groups in informal or advisory capacities. The Board may reappoint a Trustee appointed under this Section 3(E) for successive three-year terms and cannot serve for more than two consecutive three-year terms. After serving any six consecutive years, a Trustee is not eligible for appointment under this provision for a period of 18 months.


Rolls Royce Silver Seraph / Bentley Arnage programme.
Codenamed the SXB Project during 1990-91. This was the early design phase of the Rolls Royce Silver Seraph & Bentley Arnage models. From the first sketches in October 1990, the theme of a 'classic' catwalk style which tapered to the rear, (rather than the en vogue wedge) was seen in the sketches and the first tape drawings.
This then was developed as a 1/5th scale model in the January of 1991, from which Steve Harper's design was chosen, and reproduced as a full size clay model.Working closely with Graham Hull and the Design Team of Rolls Royce, after several design reviews, in April and May, the model was then painted for its final management approval in the June of 1991.
Interestingly the design work was run concurrent with that of the MGF, and a project for Mercedes Benz in the design studios at MGA Developments. So often hastily partitioned screens were erected to keep the variety of clients apart.
Nevertheless, the design of the final clay model, clearly established the design elements of the final shape of the car.


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Central Banks' Gold Buying and Repatriation Spree
Central banks' purchases and repatriations of gold have caught our attention once again. In October, Serbia's central bank bought 9 tons of gold, following in the footsteps of many other central banks that have been adding to their gold reserves recently, including Russia, Hungary, and Poland.
Nine tons may seem to be a modest purchase, but the transaction was worth $438 million at $1,503 an ounce. And it has raised Serbia's gold reserves to 30.4 tons, constituting about 10 percent of the country's total reserves. Importantly, the National Bank of Serbia could carry on with its purchases, as it got clear message from the Serbian President, Aleksandar Vucic to continue boosting gold reserves in order to be better prepared for the economic crisis: "I think we'll continue doing that because of what we see in which direction the crisis in the world is moving," Vucic told the press.
This purchase should be seen from broader perspective. Central banks added 156 tons of gold to their reserves in Q3, according to the World Gold Council. Although it was significantly lower than the record levels of Q3 2018, central bank buying remained healthy. Actually, central banks are on track to be net gold buyers for 10 consecutive years, as the chart below shows. And the trend is likely to continue in the coming years due to heightened global tensions, slowdown in economic growth, negative bond yields, and trade wars.
Chart 1: Gold reserves (in tons) in Poland (green line, left axis) and in the world (red line, right axis) from Q1 2000 to Q2 2019
Moreover, in September, Germany's central bank gold holdings have risen for the first time this century. Given that Bundesbank is still quite influential, its reversal may encourage other central banks to buy gold more decisively. September's outright purchase of the precious metal comes two years after Bundesbank repatriated 583 tons of gold worth about $31 billion.
When we discuss repatriation of gold, we have to mention Poland, which has rapidly boosted its bullion reserves over the past two years by 125 tons to 228.6 tons, as one can see in the chart above. And yesterday, the country has brought back around 100 tons of gold from the Bank of England's vaults in London. It means that around half of Poland's holdings in the UK were transferred back to the National Bank of Poland's vault in Warsaw. Adam Glapinski, the central banks' governor, commented the move as follows:
Get comfortable being uncomfortable. Join us for the next RTD Live Talk and call in to let your voice be heard.
We have completed the procedure of bringing our gold to the country. In this connection, I can say that we brought Poles' gold home (…) We have as much gold in reserves as other industrialized and civilized countries (…) Our reserves are at an appropriate level, they are sufficiently high and safe, which does not mean that they cannot grow further. I think that in a few years the NBP may increase its reserves again. (…) The value of the imported metal is 18 billion zlotys, said the NBP president. If we sold gold recently bought now at current prices, we would have multi-billion profit (…) The gold symbolizes the strength of the country.
Don't you feel confused? Central banks abandoned the gold standard, and declared gold to be barbarous relic not suitable for modern times. We are told that fiat money is superior to precious metals. We are told that we should believe in the wisdom of the central bankers and their scientific management of the monetary policy. If so, why the heck the central banks buy the barbaric gold? To find out the answer, I encourage you to read the full version of today's Fundamental Gold Report, which in-depth analyzes the reasons behind the central banks' purchases of gold and its impact on the precious metals market. In order to receive the following (posted bi-weekly) analyses and stay informed on all things fundamentally golden, please subscribe now on our website.
Arkadiusz Sieron
Sunshine Profits' Market Overview Editor
Watch the full interview on the RTD YouTube channel here…
Get your limited edition RTD silver coin only available at SDbullion.com


The self-styled daredevil who destroyed a $300,000 sculpture on Wellington's waterfront has pleaded guilty to intentional damage.
Hunter Laurie Browne Macdonald, 28, had his second appearance in the Wellington District Court today, where he pleaded guilty to the charge, laid after he was filmed climbing and snapping the Len Lye Water Whirler last month.
Police prosecutor Gary Hilsdon said Macdonald was on the waterfront near Frank Kitts Park on October 8 when he began doing "gymnastic-type movements" on the sculpture.
He climbed the pole until it bent over, suspending him above the water, and then snapped, sending him plunging into the harbour.
In an explanation to police, Macdonald said he was trying to climb out to the end of the pole and intended to climb back again, "believing this would look impressive to the crowd", Hilsdon said.
Another "motivation" was that he had never seen anyone else climb it, and thought he would be the first.
He told police he didn't see any signs warning not to climb the sculpture, and he believed it would support his weight.
Macdonald earlier publicly admitted to being the person in the video shared across social media, which showed the sculpture bending as he climbed it, until it snapped at the base and hit him on the head as he fell into the water.
He was taken to hospital with a gash on his head after the incident.
Macdonald will be sentenced on March 6.
Outside court, when asked if he wanted to say anything, Macdonald said "sorry, yeah, nah, nothing", before walking away.
At the time of the incident, Wellington Mayor Justin Lester labelled the behaviour "an act of utter stupidity".
"I encourage people to think twice about doing something this silly.
"I've seen some pretty silly acts in my time ... this was certainly a very negligent act of a public display of bravado which really backfired quite seriously, but he shouldn't have been there in the first place."


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In our modern, western society, sight is by far the most dominant of the senses. Other senses, such as hearing and taste play a much smaller role, including in the language we use to understand and approach the world around us. PhD student Piet Devos (himself without sight) examined the relationship between language and sensory perception. His research involved analysing the work of two avant-garde poets, who attempted to subjectify sensory perception around 1920. Devos will be awarded a PhD by the University of Groningen on 28 November.
The Chilean Vicente Huidobro and the French Benjamin Péret were two men with a mission. Between 1920 and 1930, these two self-assured poets, who belonged to the European avant-garde, challenged the prevailing view that the senses provided the observer with an objective perception of reality. Their experiments with new language forms were designed to show that by definition, our senses give us a subjective view of reality. They drew inspiration from film, cubism and the sexual liberation generated by Freudian psychoanalysis. It was their intention to use language to distort the way we perceive and experience space, architecture and our own bodies.
Piet Devos (Belgium, 1983) trained as a translator of Spanish/French and studied Literature. He will be awarded a PhD on 28 November 2013 by the Faculty of Arts of the University of Groningen with a thesis entitled: Talend Lichaam. De visuele en haptische waarneming in de avant-gardepoëzie van Huidobro en Péret . His supervisors are Prof. Hub. Hermans and Prof. G.J. Dorleijn. Last year, Devos worked on the book Architectuur door andere ogen (published by De Kunst), and appeared as a guest on television programmes including De Wereld Draait Door.
Last modified: 11 January 2018 11.33 a.m.


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Harley-Davidson Dyna Super Glide
The brainchild of Willie G. Davidson, senior vice president and chief styling officer at Harley-Davidson until his retirement on April 30, 2012, the first Super Glide made its debut in 1971. In an effort to appeal to customizers, and offer some competition to aftermarket suppliers, Willie G. took the frame, powertrain and rear suspension of the FLH Electra Glide and added the telescopic front forks, front wheel, and headlight of the Sportster. The new bike, the first Harley-Davidson factory custom, was dubbed the FX 1200 Super Glide.
Background of the Harley-Davidson Dyna Super Glide
The Harley Dyna Super Glide in Culture
Pee Wee's Big Adventure (1985)
Mr. Nanny (1993)
CHiPs (NBC)
Sabrina, The Teenage Witch (ABC)
2011 Dyna Super Glide Custom
Dyna Super Glide
Bike Class
1584 cc air-cooled fuel injected
Twin Cam 96
648 lb (dry)
Super Glide Custom
Super Glide Sport
Super Glide T-Sport
The 1971 Super Glide didn't have the electric starter of the Electra Glide, so it had a smaller battery and battery box. Powered by the 1200 cc Shovelhead engine, the Super Glide sported a fiberglass boat tail rear fender. The new model was not an immediate success, selling only 4,700 units that first year. The next year Harley replaced the fiberglass rear fender with a steel one and the Super Glide became more popular.
H arley-Davidson added an electric starter version of the Super Glide, the FXE, in 1974. In 1977 a limited-edition Confederate Super Glide was produced. It had a metallic gray paint job, rebel flag on the fuel tank and a general's sleeve braid decal on the front fender. Only 228 of the Confederate Super Glide were manufactured, along with Confederate editions of the Electra Glide, and three Sportster models, only 561 total units were made, making it one of the rarest Harleys.
The Super Glide II rolled into the Harley-Davidson 1982 line up as the first of the FXR models, with a stiffer, lighter frame, rubber mounted engine and five-speed transmission. The FX models would continue through the 1985 model year, except the Wide Glide, which hung on for one more year.
With the discontinuation of the FXE Super Glide, the FXR Super Glide II became simply the Super Glide. The kick start Super Glide had been dropped from the lineup for the 1979 model year. Though the FXR model frame provided superior handling to the FX models, sales began to dip in the late 1980s and Harley designers went to work on a new frame.
The new frame was unveiled for the 1991 model year, introducing a brand new model family, the Dyna. That first Dyna was the limited-edition Sturgis. The Dyna family bikes were powered by the 1,340 cc Evolution engine, which had been in service since 1984. The difference in the Dynas was how the engine was attached to the frame. The Dynas had two rubber mounts, unlike the three Harley had used on the FXR models. Because the Dyna frame was more rigid the bikes experienced less vibration at speed.
Through the early 1990s Harley-Davidson began retiring or transitioning the FXR models to the new Dyna platform. The final year for the FXR bikes was 1994. In 1995 the new FXD Dyna Super Glide replaced the FXR Super Glide, one of the last two FXR models to be produced.
The 1995 Dyna Super Glide had a 28 degree rake, compared to the 32 degrees of the rest of the Dyna line up. It generated 48 horsepower at 4,900 rpm with a maximum torque of 63.7 foot pounds at 2,400 rpm. It weighed in at 599.7 pounds dry and had a seat height of 27 inches.
Harley-Davidson rolled out a new engine on the 1999 Dynas, the Twin Cam 88. This was an air-cooled, 1,450 cc V-Twin powerplant. The 1999 Super Glide put out 68 horsepower at 5,400 rpm with a top speed of 102.5 mph. 1999 also saw a new version of the Super Glide, the FXDX Dyna Super Glide Sport. The Sport had triple disc brakes, flat handlebars and improved suspension. The Sport was discontinued after the 2005 model year.
A touring edition of the Super Glide, the FXDX-T Dyna Super Glide T-Sport, was introduced in 2001. The T-Sport came with a small frame mounted fairing and adjustable windshield, detachable nylon saddlebags and a saddle that Harley touted as a two-up touring seat. The T-Sport was pulled from the roster after the 2003 model year.
Fuel injection was offered as an option on the 2004 Super Glide and Super Glide Sport. Fuel-injected models had an "I" added to their model designations, so a fuel-injected Super Glide was an FXDI and FXDXI represented a Super Glide Sport with fuel injection.
A custom version of the Super Glide debuted in 2005, the FXDC/I Dyna Super Glide Custom. The Custom had lots of chrome. There was chrome detailing on the silver powder coated engine, chrome fuel cap ring, chrome speedo housing, chrome headlight, chrome flat handlebars and chrome staggered shorty dual exhaust.
To mark the 35th anniversary of their first factory custom, the 1971 FX 1200 Super Glide, Harley-Davidson introduced the limited-edition FXDI35 Dyna 35th Anniversary Super Glide. The anniversary edition featured a Glacier White Pearl paint job, Fat Bob dual fuel tanks with dual caps and wide mini pull back handlebars. The graphics were reminiscent of the original Super Glide, down to the Number One logo on the fuel tank. Only 3,500 units were produced. Also in 2006, all of the Dynas got the new Cruise Drive six-speed transmission.
The 2007 Dyna Super Glide and Super Glide Custom got fuel injection as a standard feature with Harley's introduction of the new Twin Cam 96. The new engine was a 1,584 cc air-cooled V-Twin.
The FXD Dyna Super Glide was discontinued after the 2010 model year, leaving the FXDC Custom as the only version of the Dyna Super Glide in the 2011 Harley line up.
The Dyna Super Glide and its various editions have been used in a number of movies and TV shows.
The first sequel to George Romero's zombie classic "Night of the Living Dead" was shot in the Monroeville Mall near Pittsburgh, Pennsylvania. A group of people take refuge in the mall as zombies and a biker gang lay siege. Some of the extras who played bikers were actual members of the local Pagans MC. Though it precedes the debut of the Dyna Super Glide, an FXR Super Glide is ridden through the mall by one of the gang members.
Based on the true life story of Roy "Rocky" Dennis, played in the film by actor Eric Stoltz, Mask presents a touching look at a boy with a terminal, disfiguring disease and his mother's efforts to give him as normal a life as possible. The mother, Florence "Rusty" Dennis, portrayed by Cher, is friends with a group of bikers, the Turks, who accept Rocky as one of their own. Dozer, a large, mute member of the Turks, played by actor Dennis Burkley, rides a Dyna Super Glide.
Pee Wee's Big Adventure (1985)
When Pee Wee Herman, played by actor Paul Reubens, notices that his bicycle has been stolen, he embarks on a cross country trek to recover it. Along the way he stops in the Apache Bar, a private biker club, to use the phone. On his way out of the bar Pee Wee bumps into a red Dyna Super Glide, knocking it over and causing a chain reaction as an entire row of motorcycles falls to the ground.
Hulk Hogan plays Dyna Super Glide riding, former wrestler turned body guard, Sean Armstrong. He accepts a job guarding a bratty brother and sister and winds up acting as the nanny when the kids scare away yet another caregiver.
Bruce Willis, as boxer Butch Coolidge, steals the chopper of the recently deceased Zed. The bike is a modified Dyna Super Glide with extended front forks.
The 1978 episode "Flashback" features a biker gang that is stealing CHiPs motorcycles. Several of the bikers are riding FXR Super Glides.
In the series finale (originally aired on 4/24/03) Sabrina, played by actress Melissa Joan Hart, runs out on her own wedding and joins her true soul mate, Harvey, played by actor Nate Richert, and the two ride off together on Harvey's Dyna Super Glide.
10 Noteworthy Harley-Davidson Motorcycles
Who Makes Better Motorcycles, Harley-Davidson or Triumph?
How Much Does The Cheapest Harley Davidson Cost?
What Should I Look for While Buying A Used Harley Davidson?
What's the Best Harley Davidson Starter Bike for Beginners?
Harley-Davidson Sportster 1200
in Motorcyle Review by Joshua D. Mattie
The Best 500cc Motorcycles for Riders of All Levels
The Best Commuter Motorcycle: An Awesome Ride to Work
Best Motorcycles for Women | Comfortable and Easy-to-Ride Bikes for Female Riders
How to Sell a Motorcycle | Tips to Get a Good Price
How Dangerous Are Motorcycles? Are They Worth the Risk?
How Much Does a Motorcycle Weigh? | Different Motorbikes and Their Weight Range
What Is A Bobber Motorcycle and What Makes it One?


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Laura E. Hirshfield PhD | Directory
Home/Laura E. Hirshfield PhD | Directory
Laura E. Hirshfield PhD | Directorytlowery12019-08-01T13:10:51-05:00
Laura E. Hirshfield, PhD
Associate Professor in DME, Co-director of the PhD program in Curriculum Studies/HPE and the Associate Director of Graduate Studies for DME Department of Medical Education
Work Email: [email protected]INTERNET Website: Laura's Personal Website
Laura E. Hirshfield is an Associate Professor in the Department of Medical Education and a faculty affiliate in the Department of Sociology at the University of Illinois at Chicago. She received her Ph.D. in Sociology from the University of Michigan and her B.A. from Swarthmore College, where she studied Sociology/Anthropology and Education. In her work at UIC, Laura works closely with a variety of trainees, including undergraduates, medical students, residents, faculty, and graduate students (both in Health Professions Education and in Sociology). A sociologist and ethnographer by training, Laura is broadly interested in social interaction, identity, education, science, work/organizations, and medicine. Her research centers on gender and other forms of inequality in academic and clinical settings, particularly in the natural sciences and medicine. As a result, her workplace is basically her fieldsite! Her main research includes studies focusing on the "hidden labor" undertaken by and expected of members of marginalized groups in the workplace, cultural competence (broadly defined) in medical contexts (particularly related to trans patients), and socialization (especially regarding communication and emotions) in medical school.
Laura is the co-director of the PhD program in Curriculum Studies/HPE and the Associate Director of Graduate Studies for DME. Laura is course director for MHPE 504 (Leadership in Health Profession Education), and two electives (Leadership & Professional Identity and Interviewing & Ethnographic Methods). In the UGME & GME curriculum, she teaches primarily about inequality, identity, and bias, as well as patient-centered communication and empathy. Laura is a member of the AERA Division I executive committee (Mentoring Committee Chair) and is a founding member of the Sociologists for Health Professions Education (soc-hpe.com), a group that aims to bridge disciplinary divides between health professions educators and sociologists.
Custom Metadata Fields
Research and Teaching Interests: Socialization, qualitative methods, professional identity, inequality, leadership, and sociology
Categories: Department of Medical Education, DME Faculty, Health Humanities, Master of Health Professions Education
Updated 1 year ago.


In May and June 2014 I had the good fortune to hike several of my favorite Catskill trails. Slide Mtn is a 4 hr round trip hike from the parking lot up Oliveria. While much easier than the 12hr version from the Woodland side, the 4 hr version will truely get your heart pumping. I had not been there since Bijan and I did it the hard way over 20 years ago.
Giant Ledge provides the best unobstructed views of any hike in the area, and while it will also get you to break a sweat it's just 2 hrs round trip.


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Goldsmiths, Aston, Kingston, LSBU …. Confronting History's cuts and closures in 2021
by Administrator | Nov 2, 2021 | General, RHS Work | 0 comments
In this extended post, Professor Emma Griffin—President of the Royal Historical Society—considers recent cuts at UK History departments, the defence of History and historians at Goldsmiths, and how we best prepare for 2022.
It's nearly 12 months since I took up the presidency of the Royal Historical Society. When I started in November 2020, I anticipated a first year of getting to know the Society, its Fellows and Members, of new publications, events and workshops and helping support historians during the great disruptions caused by the pandemic.
It's certainly the case that these activities, and more, have shaped my first year. But what I was not expecting—at least not to the extent witnessed in 2021—has been the number and scale of proposed cuts to History programmes and historians' careers and livelihoods in UK universities. It's no exaggeration to say that engaging with historians worried about their futures, and with university managers to defend and support colleagues, has been a prevailing and unwelcome feature of 2021.
Currently there is much attention on Goldsmiths, University of London, where proposed cuts to History (not to mention those in English) threaten 7 full-time posts in a department of 14 historians. Along with other organisations, the RHS is in regular contact with historians at Goldsmiths—not least to gather evidence in defence of their posts and programmes before the end of the consultation period on 11 November. The Society has also been in correspondence with members of the University's senior management team and governing body to urge them to withdraw the proposals, and to work with the History department to seek an alternative solution.
These engagements at Goldsmiths follow ones earlier this year at Aston University, where the History programme was saved from closure (though regrettably this was not the outcome for other departments), and at Kingston University where the History department was closed and talented, full-time members of academic staff made redundant. Meanwhile, at London South Bank University (LSBU) the History Degree ended this April and the History Faculty at Sunderland closed in 2020. The past months have also seen threats to History provision and staffing at Chester, Hull and Leicester, and I'm presently in contact with colleagues at other UK History departments fearful that similar cuts will soon be announced by their universities.
Confronting the case for cuts
In each of these cases, there are specific circumstances prompting managers to seek reductions and closures. But during the course of 2021 we've also seen common themes emerge. For example, announcements typically cite concern over future student numbers, and a decline in A-Level students taking History and consequently going on to study the subject at university. In addition, we hear how students are increasingly focused on degrees that lead to well-paid professional opportunities, of which History is not seen to be one—sentiments bolstered by recent ministerial interventions that speak of 'low value degrees' in the humanities.
We're now witnessing the considerable distortions and imbalances wrought by this deregulation of university admissions.
Less widely discussed, however, is the abolition of the cap on student numbers. An alternative explanation for the pressure on History degrees, especially in smaller institutions, is that we're now witnessing the considerable distortions and imbalances wrought by this deregulation of university admissions. The extensive negative impact of this initiative—further accelerated by the government's ruling on A-Level grades in 2020—is of course most evident in departments where student intake is falling. At the same time, however, the Society is contacted by historians at 'beneficiary' institutions, struggling to cope with significant and unexpected increases in numbers. These cycles of growth and decline, and the associated insecurity, are a profound shift in the profession and one in which, I hope, we find common cause.
Defending History in a year of cuts
How do we best respond to current and future announcements of cuts and closures? This is no small question and not one the Society can tackle alone. In writing this post I and colleagues at the RHS seek to begin a dialogue and to gather recommendations for the effective defence of History and support of academic historians.
While we seek the historical community's advice, experience and expertise on future strategies, there are a number of approaches the Society, and other institutions, have undertaken this year in support of those facing redundancy.
We can firstly correct inaccurate and mistaken use of data, and demonstrate the value of those historians in 'at risk' departments. We should appreciate that the Vice-Chancellors and academic managers seeking efficiencies are seldom historians or even humanities scholars. It's therefore vital to make clear when data used to explain cuts are incorrect; just as we need to demonstrate clearly the contribution and reputation that History departments and academics make, nationally and within their local community via public engagement and knowledge exchange.
The proposed cuts at Goldsmiths, for example, are based on a presumption that the 'pipeline' for future History students is drying up. In fact, the absolute number of young people taking History at school has followed an upward trend for the past decade and continues to rise. Uptake at GCSE in 2021 was at its highest level in two decades, at 294,807 (contrast with 260,521 five years ago), an increase of 13 percent. This strong recent growth in GCSE History will correct the recent modest drop in A-level entries, which is itself a consequence of a decline in numbers of A-level candidates, rather than a shift away from the subject.
History degrees teach many of the skills that employers seek, including independent and critical thinking, problem solving, and advanced writing. This is amply reflected in the graduate employment market.
We can also correct misunderstandings about the employability dividend of History degrees. As the Society set out in a statement earlier this year, History degrees teach many of the skills that employers seek, including independent and critical thinking, problem solving, and advanced writing. This is amply reflected in the graduate employment market.
The British Academy's 'Qualified for the Future' (2020) shows that employment levels are identical for STEM and AHSS degrees. Studies undertaken by the Institute for Fiscal Studies conclude that once adjustments have been made for socio-economic background characteristics, the difference between returns to specific subjects is not large, and is outweighed by differences between returns to specific institutions. The 2020 Lifetime Earnings Study reveals relatively little difference in lifetime earnings across subjects for either men or women, with History in the middle for both, and (once again) that an individual's social background matters more than subject.
The case for History at Goldsmiths
Moving from this big picture to individual cases, we can also use our experience as History teachers and researchers to advise on proposed restructuring of a specific department. At Goldsmiths, confirmation that its acclaimed expertise in Black British and Queer History will be protected is welcome, and something to which the university will be held. However, for these pioneering courses to remain viable and meaningful, two key thresholds must be met.
First, these are specifically History programmes, distinctive precisely for being the UK's only taught access to a high-level historical understanding of the Black British and Queer pasts. To sustain and develop these degrees requires historical expertise, both in terms of subject knowledge and research methodologies, of a kind the department currently provides. To diminish the department's wider History provision will result in the gradual decline of prestigious programmes that have great potential, of which Goldsmiths should be proud, and which our communities are greatly in need at this time.
Second, these distinctive courses need to exist within a broader team of academic historians, of the kind Goldsmiths currently boasts. Research specialisms and their associated MA programmes can only be sustained in the context of a department with broad chronological, geographical and methodological reach. In recent weeks, Goldsmiths' management has similarly spoken of its commitment to retaining History as a standalone subject at the college. This again is welcome—not least given the centrality of History to Goldsmiths' identity for many years. However, for this commitment to be realised, a strong and wide-ranging department is essential.
Our immediate concern is Goldsmiths—a department that's highly respected nationally and internationally, both for the quality of its teaching and learning and the research conducted by its staff.
It's crucial we demonstrate and communicate this on behalf of all historians and departments facing cuts. Our immediate concern is Goldsmiths—a department that's highly respected nationally and internationally, both for the quality of its teaching and learning and the research conducted by its staff.
From conversations with Goldsmiths' historians, it's evident how committed they are to enhancing the department's reputation and appeal, and to addressing short-term problems that are well-understood. This enthusiasm is motivated by the disadvantages experienced by many of Goldsmiths' History students, often first-time university entrants, for whom the college provides the sole means to enter the University of London, and with it opportunities for new life chances. This, the Society believes, is further reason to celebrate History at Goldsmiths, and to support a balanced department in plans to extend its distinctive offer to greater numbers of future students.
We fear that, if the proposed cuts go ahead, it will mean the effective end of History as a discipline at Goldsmiths—if not immediately then within a few years. This would be a tragedy for an important department within a leading university, and one that has much to offer. To be sure, retrenchment of the kind proposed could be achieved quickly, and see an immediate problem confronted in the short term. Rebuilding these lost skills, resource base and institutional reputation will be another matter altogether.
Supporting History and historians in 2022
What else can we do, given this year's events at Aston, London South Bank, Kingston and Goldsmiths, and those that may follow in 2022?
As historians our strength is in speaking for the value of historical understanding and practice, and for the talents of targeted departments and individual colleagues—communicating clearly and meaningfully to audiences who do not share our expertise in these fields. We can also learn from the experience of others, including historians at Aston who organised an effective defence of their programme, and on which Dr Ilaria Scaglia wrote recently for this blog. We can likewise take advantage of others' initiatives, including the open letter to Goldsmiths' senior management on behalf of its History and English departments, which now has more than 3500 signatories.
We're looking to gather better information on the extent of UK department and programme closures, and job losses, in History since 2016.
At the RHS we're also looking to gather better information on the extent of UK department and programme closures, and job losses, in History since 2016. This will help us create a repository of quantitative and qualitative data on cuts within the profession that we can share on request. We now welcome information of this kind, along with recommendations for other categories of data, which may be submitted to the Society.
In turn, we can reiterate how the RHS is contactable at any time by historians concerned for the future of their posts or programmes. This is a message we regularly communicate in our correspondence with Heads of History departments in UK universities. If you are a department head and not receiving these regular email communications, please let us know and we will include you in this exchange.
Finally, we must acknowledge that the environment in which actions at Sunderland, LSBU, Aston, Kingston and Goldsmiths take place is far more challenging and extensive than the remit of a single discipline, let alone an individual organisation. The removal of the student cap is the most obvious and significant shift in this environment, with very real and as yet unknown final consequences. How we engage with this, and what we can achieve, principally for the good of History and historians, is a considerable challenge. Here we must work more closely with other national organisations and networks across the humanities. The Society is now pursuing how best to do this. Again, we welcome suggestions from the historical community.
Professor Emma Griffin is Professor of Modern British History at the University of East Anglia and President of the Royal Historical Society.
The experience of UK History departments, 2016-21
The Society seeks to learn more about the experience of departments since 2016, with specific reference to financial cuts, programme and departmental closures, and staff redundancies.
Your contribution to our short survey will help us develop a better picture over the past five years.


(1996) 24 tracks: The Lea-Rig * My Collier Laddie * O, This Is No My Ain Lassie * My Nanie, O * Fragment * The Posie * The Mill, Mill O * O, Were I On Parnassus Hill * The German Lairdie * The Battle of Sherra-Moor * Lament of Mary Queen of Scots * You're Welcome, Willie Stewart * Killiecrankie * Galloway Tam * Strathallan's Lament * The Fornicator * Here's To My Health * Last My A Braw Wooer * Gloomy December * Jamie, Come Try Me * The White Cockade * The Cardin' O't * Sandy and Jockie * Hey, Ca' Thro'.
Burns' songs performed by Scotland's outstanding traditional singer. Researched and arranged by Serge Hovey.


This booklet attracts on a big variety of interdisciplinary literature discussing advanced adaptive platforms - together with scholarship from economics, political technological know-how, evolutionary biology, cognitive technology, and faith - to use common complexity tenets to the associations, conceptual framework, and theoretical justifications of the copyright process, either within the usa and across the world. the writer argues that copyrighted works are the goods of complicated inventive structures and, as a result, designers of copyright regimes for the worldwide 'information environment' may still glance to complexity idea for counsel. Urging felony students to adopt empirical stories of real-world copyright structures, Tussey finds how the choice of practicable configurations for the copyright regime is greater than that encompassed through the conventional, totally theoretical, debate among deepest estate rights and the commons. ultimately, this specific research articulates how copyright legislations needs to tolerate convinced chaotic components that could be necessary to the sustainability of complicated systems.
Entry to medication is a subject of common curiosity. despite the fact that, a few matters that effect such entry are shortly inadequately understood. particularly, foreign legislation require such a lot countries to supply patents on medicinal drugs, leading to top class costs that restrict entry. In entry to medication within the international financial system, Professor Cynthia Ho explains such legislation and their impression for a various crew of readers, from students and coverage makers to scholars in numerous disciplines.
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Les drones représentent une opportunité économique importante pour l'Union européenne et promettent une croissance à plusieurs chiffres pour les vingt prochaines années. Mais le drone reste un sujet d'inquiétude : atteintes à los angeles vie privée, cohabitation difficile avec les aéronefs classiques, survol de zones sensibles, nuisances sonores… Le drone militaire a, il est vrai, donné une bien mauvaise presse à cet outil dont les potentialités bénéfiques dépassent pourtant de loin le caractère menaçant.


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Inca ushnus: Landscape, Site and Symbol in the Andes
This project examines how the Inca Empire (c. AD 1400 – 1532) met the challenge of appropriating and modifying the Andean landscape to enhance its productive capacity and political power to create the largest native state in the Americas. To address the relationship between landscape, site and symbol in the Andes we propose a trans-disciplinary study of a specific kind of Inca architectural construction known as the ushnu.
The Ushnu
Ushnu is a Quechua term that encompasses the idea of a restricted, sanctified space reserved for use by the Inca king and Incas-by-privilege. This concept found material expression in a hierarchy of forms ranging from conspicuous, stone-faced stepped pyramids and platforms located in the central plazas of regional administrative centres to smaller constructions placed at prominent visible points in the landscape. When the Inca (or a provincial lord as his representative) stood on this platform with his retinue, he affirmed the supremacy of the Inca state and its divine authority to rule. The platforms were used as public stages to conduct ceremonies announcing the timing of planting and harvest within the agricultural calendar using prestigious objects such as qeros (drinking vessels made in metal, pottery and wood for toasting and libations). They were also used for redistributive rituals enacted as shows of public generosity to bind the people to their rulers and occasionally to make offerings of sets of miniature pottery vessels and metal figurines. Ushnus were therefore invested with profound symbolic significance and served as pragmatic instruments of administrative control to regulate daily life and assert Inca supremacy over subject populations and resources. As focal elements in Inca political and sacred geography their distribution in the landscape offer a key to understanding how extraordinarily effective the Incas were in asserting control and incorporating new territories into their rapidly expanding empire.
Our goal is to understand the practical and symbolic principles underlying their construction, the rationale for their placement and function within the landscape, the activities that took place on them together with their associated artefact assemblages. The study will focus on the hinterland surrounding Vilcashuáman that once lay at the geographical centre of the Inca Empire in the Peruvian Central Highlands. Here, one of the most impressive and best-preserved ushnus on the system of Inca Royal Roads (capac nan) marked the nexus between the main East-West road connecting the capital Cusco with the Pacific coast, and the great South-North highway linking the expanding northern frontier with the Inca heartland.
Research Plan
We will undertake survey, mapping, soil analysis and excavation of selected ushnus along two stretches of the highway and in the adjacent hinterland. We will assess site locations in relation to site catchment resources such agricultural potential, springs, irrigation, and also to other cultural features including the main arterial highway and tambos (way stations) and storage facilities as well as ancillary roads and paths. Ethnographic work with local communities and ethno-historical research will provide key insights into the ways in which ushnus were and are used and understood. We will be paying particular attention to ushnu view-sheds and inter-site visibility in order to reveal aspects of Inca cognition and relationship to the landscape that lie outside conventional western rules. The fieldwork and laboratory analysis will proceed in parallel to a study of the British Museum's Andean collections and together will contribute to innovative ways of contextualising and understanding the Inca collections, culminating in the new gallery devoted to Andean civilisation and opening in 2009. The outcomes will represent a substantial and original contribution to current theorising and practice in landscape studies within the framework of a non-western cosmology.
The research project is a 3-year programme (Jan. 2007 – Feb. 2010) to be undertaken in partnership between:
Departments of Archaeology and Geography, University of Reading (Dr N.P. Branch)
Department of Geography, Royal Holloway University of London (F. Meddens and K. Willis, and Prof R. Kemp)
The British Museum (Dr C. McEwan)
National University of San Cristóbal of Huamanga (Dr C. Vivanco)
The project is funded by the Arts and Humanities Research Council's Landscape and Environment Programme.
Inca ushnus: Aims and Objectives
Inca ushnus: Geoarchaeology
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Why is my doctor sending me here?
Your provider is concerned with your whole body health by recommending an evaluation by Dr. Daniel Klauer! He/She has received additional education to recognize signs and symptoms of TMD, Craniofacial Pain, Headaches and Sleep Disordered Breathing. More than likely your provider has mutual patients with Dr. Klauer or has heard of the life changing treatment he provides. A recommendation for evaluation to our office is the first step in your healing journey and we are pleased to welcome you to the practice.
To learn more about TMD, Craniofacial Pain or Headaches, please visit TMD/Head and Facial Pain for information on common symptoms, diagnosing and treatment plus take the Pain Quiz.
Those recommended for Sleep Disorders, can visit Sleep Disorders for symptoms, diagnosing and treatment and take our Sleep Quiz.
You may have received New Patient Paperwork from your provider, please be sure to return to the practice 24 hours in advance of your consultation. If you did not, you can find that and other valuable information on the Patient Portal.
New Patient Consultation: In this appointment Dr. Klauer will review your medical history and determine if you are a candidate for a Comprehensive Examination and probable treatment in our office.
Comprehensive Examination: In this appointment Dr. Klauer and his clinical team gather additional diagnostic information including, but not limited to, a CBCT Scan, Joint Vibration Analysis, Diagnostic Photos and Motor Nerve Reflex Testing. Armed with this information, Dr. Klauer answers three key questions that all patients have; What is wrong, what we can do to help and how long it will take? With certain treatment plans, we can begin treatment the same day. If an oral appliance is selected as part of your treatment plan, Dr. Klauer will choose from one of the 110+ FDA Approved appliances that is best suited for your individual needs.
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Although you might not want to admit it but seeing your son getting married can be a bit overwhelming for you along with causing you to have emotional feelings that you did not realize you had for your son. Yes, you knew that you loved him but neither of you were the emotional type. Giving a father of the groom speech will give you a chance to tell your son your true feelings although he knows by all that you have done for him and how you treated him that you do love him. Now is the time to let the whole world know. The groom's father speech can be given any way you want whether it is with humor, sentiment, or a combination of both. The drawback is that you are not a speaker and have trouble speaking your feelings. You want to say something to your son that he will remember with love and fond memories when he looks back on his wedding day.
The important thing to remember when drafting your father of the groom speech is that you should focus on your son. Yes, it is supposed to be written straight from the heart but there are also some things that you should remember to include in your speech.
Keep your speech short—this is very important because there are at least three other important speeches that will also be given. You want to make sure that the entire reception is not taken up with speeches. Your speech should about five minutes but no longer than ten minutes as by that time people will start getting bored and lose interest. So you have five minutes to say something meaningful.
Make sure that you speak, not read the speech—if you are afraid that you might forget something important to say it is okay to have some notes jotted down. It is not necessary to memorize it word for word. Speak from the heart.
Introduce yourself—this is important as there are guests and relatives on the bride's side that would not know you. Just say your name and that you are the father of the groom.
Welcome everyone—yes, the bride's father has also done this but it is also important that the father of the groom do it also. It is important that you introduce your wife, and welcome the bride and her parents to the family. You should also welcome everyone and thank them for being there to witness the union of your son and his bride.
Speak about your son and new daughter-in-law—first talk about your son, like a memory of when he was a little boy, some anecdotes about how he may have felt about marriage and girls when he was younger. Then move to your new daughter-in-law and how much of a difference she has made in your son's life, how he is happier now than he has been before she came into his life, You could even propose a small toast to your new daughter-in-law to make her welcome to the family.
Add a little dash of humor—you want to make sure the speech does not become too emotional so you could add a little humor toward the end of your father of the groom speech. You can make the humor come in the form of some type of advice from you to your son. You can also add a few funny wedding quotes to the end of the speech. Do not say anything that will embarrass your son, your new daughter-in-law, your family, her family, and any other guests.
Wrap up the speech—end it by thanking everyone for being there again and then raise your glass, wishing your son and your daughter-in-law the best in life and that it is filled with love.
When you finish your father of the groom speech, look toward the best man because it is his turn now to speak. He will be the last to speak before the fun can begin. Looking at all you have to include in your father of the groom speech you may wonder how you can say all that in five minutes and no more than ten minutes. It sounds like that is an impossible job but it can be done. Do not wait until the last minute to write the speech. Start at least a couple of months before the wedding so you can add, subtract, and change information around until you have it down to the way you want. Practice saying it in the mirror and then try it out on your wife. Once you think it is finished time it or have someone to time it to make sure that it is not too short or too long. Do not say it to your son because you want to wait until the big day. This way he will not have any idea of what you are going to say and what you have to say will have more meaning to him when he looks back on his wedding day.
Although you may be nervous when it is time to get up and deliver your father of the groom speech but once it is over you will wonder why you were nervous in the first place. If you have another son that will one day get married you will know exactly how to write it, what to include in it, and how to deliver it but it will not be any less heartfelt. If you need help writing your father of the groom speech there are many different sources online that you can use for ideas. Although it may sound overwhelming at first once you write your father of the groom speech you will wonder what all the stress was for. Just remember, be natural, speak from the heart, and everything will fall into place.


text:
Triplophysa eugeniae är en fiskart som beskrevs av Prokofiev 2002. Triplophysa eugeniae ingår i släktet Triplophysa och familjen grönlingsfiskar. Inga underarter finns listade i Catalogue of Life.

Källor

Grönlingsfiskar
eugeniae


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MURPHY, AUSTRALIAN BILLY CABINET CARD
Thomas William Murphy (aka Australian Billy Murphy and Torpedo Billy Murphy) (3 November 1863 – 26 July 1939) was a boxer from New Zealand. An early World Featherweight Champion, he was the first world champion in any class to come from New Zealand. In his early career, he took the New Zealand Lightweight Championship. He was a prolific boxer who fought more than two hundred fights, with a few going as long as thirty and forty rounds. He was known more for a powerful punch than an exceptional defense. Murphey won the World Featherweight title on 13 January 1890 defeating Ike Weir in a fourteenth round knockout at the California Athletic Club in San Francisco, California. In the final round, possibly to show his dominance and contempt for his opponent, Weir did a backflip. Murphey immediately unloaded a serious right as Weir landed, known as the "torpedo punch", which resulted in a knockdown that ended the bout after a count of ten. The purse for the fight was $2,250. According to one source, Weir, who led through much of the bout, was down repeatedly in the thirteenth round when Murphy rallied. In a rematch, on 2 November 1893, Murphy lost to Weir in a sixth round knockout, which was one of the high points of Weir's late career. In the fourth round, Weir knocked Murphy entirely out of the ring. Weir successfully used his clever ducking and bobbing as a defense in the fight, avoiding Murphy's powerful right which had plagued him in their earlier title bout. Offered here is an original cabinet card of Australian Billy Murphy as he looked at the height of his career.
This is an original John Wood Studio of New York cabinet card depicting Murphy in full, fight pose. Slight fading to image. Not creased or torn. Clean front and back. Minor corner wear. 4 1/4" x 6 1/2." Rare.


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Ahasuerus used to have a store of his own. He had a family… he had a life. Then Jesus took everything from him. Now he's on the run, never knowing when he'll be caught, or where his enemies will turn up. He'd stop at nothing to get back what was his, except, well, that was a long time ago, and Jesus is dead now, and he's immortal and maybe his family were kind of jerks, anyway.
He used to run into Longinus from time to time.
August 5, 2022 August 6, 2022 Orlando
Orlando wakes from a dead sleep at three in the morning, yanked into consciousness by the sudden vivid memory of the time they reached across the table to pour a glass of wine for the Comte de Saint Germain and farted so loudly that the entire dinner party fell silent for a second. They can hardly breathe for the mortification; it has been three and a half lifetimes since the incident, and two centuries since the last time anyone mentioned it, but the feeling is as fresh as ever it was.
It's a long dark night until morning.
They take their coffee black and their eggs runny and try to shake off the mood, but each memory is replaced with another, equally discomfiting. An unwelcome declaration of love during the French revolution, too-loud laughter in the Berlin opera house during the mass protests of the 1840s, holding McKinley's hand just a little too tightly and a little too long in that last reception line. None of it matters anymore, but all the old wounds have reopened, like a bout of emotional scurvy.
They live too quietly these days.
It's always hard, in that uncomfortable period when they're too young to live their old life, and too old to reemerge as their own child. Their last spouse—a wife, this time—is five years dead and gone, and their friends have nothing to talk about except their own aging, the senescing of body and mind uncompelling to someone untouched by the passage of time. Orlando is firm, fit, and supple, an eternal 32, with only multiple lifetimes of embarassments and inelegancies for company.
July 27, 2022 August 6, 2022 Orlando
When he's eaten everything else he can and the snow is coming down thick and fast, Orlando eats the chyme.
"Now, I did research on this," he says earnestly over his shoulder to the empty room he's built into a rock face. "These musk ox, they live on grass. We can eat grass too—grass is edible—but we don't have the right teeth to get all the nutrition out of it. But the ox, man, he does. He chewed up all that grass out there, and swallowed it down, and spit it up so he could chew it again."
It's dark but it's early. Too hungry to eat, to cold to move, too dark to play dice, and he doesn't carve. "It's my birthday today," he says flatly, "and my mother died. Here I am, in a hole, eating grass, nobody to talk to but you. Shoulda gone to the funeral but didn't. Shoulda gone to her before she died but didn't. I don't know. Shoulda done a lot of things but didn't."
His knife cuts into the bag of the stomach he's been saving for over a month. Deep breath. "Smells sour. That's good, that means it's fermented, and that means it's edible. They got special bacteria in their stomachs to help break everything down like that." He pulls out a handful of semi-digested grass and shows it to the empty room. "This is dinner tonight. Arctic kimchi. Polar pickles."
He heats it in a tin can he found on the beach. "We didn't get along, her and me, once I got a little older. Didn't get along with either of them, really, but her in particular I just— I know she probably did her best, and I respect that, but—" He chews the chyme meditatively for a few minutes, wondering at the taste. "Sour milk," he mutters.
June 2, 2022 May 23, 2022 Ahasuerus 1 Comment
He's west of Constantinople and there's a scholar battle brewing outside Salonica. Some visiting doctor from the capital got sniffy about the quality of the intellectuals in the city and one of the young students isn't having it.
"Come out to the field," the hothead shouts to a delighted crowd, "and let us compete in our knowledge of the Bible, the Mishnah and the Talmud, Sifra and Sifre and all of rabbinic literature!"
He's been haunting the town for months, wandering the streets between the marbles and lemon sellers, from the synagogues to the mosques, and he can feel the old gravity dragging him elsewhere. "Let us strive in secular sciences—practical and theoretical fields of science; science of nature, and of the Divine!" He'd stay if he could—he hasn't felt so at home for centuries. It's a cramped, unsettled town, a hick town by Ottoman standards, choked with plague in the summer, the sort of place that gets assigned to disgraced courtiers because they keep getting run out of town, but it's lively. "Let us wrangle in logic—the Organon, in geometry, astronomy, physics!"
"In your profession as well, that of medicine, IF IN YOUR EYES IT IS A SCIENCE—" thrilled oooohs from the crowd at that dig— "we consider it an occupation of no special distinction!" He tries the old trick of circulating through the mob, never still, but his doom can be put off no longer, dammit. "Try me, for you have opened your mouth and belittled my dwelling-place, and you shall see that we know whatever can be known in the proper manner."
He wonders how it all worked out for decades.
October 23, 2020 Ahasuerus
He has lost track of the apocalypses he has lived through; somehow they come once a generation or two, a wash of fire, of war, of pandemic, of collapse. They blur together, the deaths, the dead, and the dying, a bright flash, a sharp tang, the smell of smoke that lingers in his clothes for decades. He cannot escape the stench of burning flesh, somehow.
But after the end of the world, the birth of the new: fields of poppies, new cities, old rags shed for flash clothes, food for all, race sex and class overthrown for a time, a pulse of realization of what could be, should be. That, too, blurs together. The New Jerusalem has come a dozen times and more, and been overthrown; he has picked lapis lazuli from the gates time and again and left them strewn in stream a continent away, just to mess with the archaeologists. Figure that out, schmucks.
After the twelfth century he stops looking over his shoulder; the millennium is never coming, the clock is never stopping, the road will never end. World begets world, forever and anew.
July 11, 2017 July 11, 2017 Ahasuerus
Thing is, he's seen so many ends of days by this point. Empires rise and fall, cities shake to dust, war sweeps a country empty of life, and still he goes on, one day after the next like so many weary footsteps. What else should he do? They burn the atmosphere and he spends a millennium or more choking on ash, squeezing between glaciers a mile high, the last human outside the domes. They dig plague into the soil and he erupts in boils, weeps blood, loses his teeth, keeps walking, who cares.
The oceans rise and he haunts the sunken cities. None of them are familiar, not really, but then all cities look alike after awhile, just a house someone took the roof off of. He's in, oh, someplace to the north, near where the glaciers split around the mountains, climbing hills in murky water the temperature of spit. There used to be a market here where people shouted at you, a space carved out of the terseness of the rest of the city. "Fresh fish!" Ahasuerus bellows, why not, but all he does is spook an octopus deeper back into the stalls.
Oh, well. Life goes on.
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As a global healthcare company with a 125-year history of working to make a difference, internal and external communications need to be top notch. With the bar set high, the studio's media team was struggling to succeed. This team was responsible for a wide array of work including internal and external videos, webcasts, and photography, as well as, corporate communications, advertising, and the promotion of internal initiatives. Video and Photography production numbers were low, operational processes were inefficient, and the team was losing work as clients took their projects to outside agencies. The organization was lacking confidence in the media team's ability to provide high quality work. The studio needed to refocus, streamline workflows and increase creativity, all while saving costs. A new perspective and team of experts was needed and in 2013, they found it with TeamPeople.
With years of experience in the media industry and systems of best practices, TeamPeople was confident in their ability to find operational efficiencies and be the fresh perspective the studio needed. Critical to the future success of the team, was to heighten the studio's creative output and streamline workflows to achieve operational efficiency in a creative environment. Equally important was the on-going management of a team that included evaluating the employees and positions to be sure that skillsets were being optimized. At TeamPeople's recommendation, the studio restructured under a model that consisted of a core team of full-time employees supported by a rotating and robust freelance team.
TeamPeople brought a fresh new perspective based on years of media expertise, industry best practices and a proven Managed Services Model. This perfect combination for success has resulted in the dramatic turn-around of the creative studio. The core team provides the consistency and knowledge base that drives operational efficiency, while the expert freelancers provide fresh content and the ability for the studio to utilize the personal strengths of a larger team. Additionally, the loyal freelance roster provides surge support that can ramp up at a moment's notice.
Since TeamPeople accepted the challenge of managing the media studio, the team has consistently added new clients over the past three years as clients recognized a remarkable difference in the quality of work delivered.
With workflows streamlined, yearly productions in the studio rose from 1289 to 1399 jobs even as the complexity of the projects increased. New and more efficient operational processes were implemented and with the purchase of essential equipment, over 3,000 labor hours were saved in one year, equating to approximately $285,000 in savings. Also noteworthy, is that with TeamPeople's support, the webcast branch of the department partnered with a client as a solution for the high cost of hosting an annual event, saving the client over one million dollars for this single event. That's impressive by any standard!


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Q: Tool to put selected code in a separate function Is there any tool/functionality in IntelliJ/Android Studio/... to put some selected code in a separate function (Like a function builder)?
I know it's a very lazy person question, but this tool could be useful sometimes.

A: Select the code >> Right Click >> Refactor >> Extract >> Method :

A: I believe what you are looking for is Extract method refactoring. You can access it via Refactor/Extract/Method menu or using a keyboard shortcut:

*

*CTRL+ALT+M (Linux, Windows)

*⌥+⌘+M (OS X)

redpajama_set_name: RedPajamaStackExchange


text:
Tech History Today – Nov. 18
Today in Tech History / November 18th, 2012
In 1883 – US and Canadian railways adopted five standardized time zones to replace the multitude of local times scattered across North America. It was called "The Day of Two Noons" as each railroad station clock was reset as standard-time noon was reached within each time zone.
In 1928 – Steamboat Willie premiered at Universal's Colony Theater in New York City. It was the first fully synchronized sound cartoon, directed by Walt Disney and Ub Iwerks. It was the first official appearance of Mickey Mouse. Happy birthday Mickey, now give us back a reasonable public domain date.
In 1977 – Young startup Microsoft, fresh off developing its own version of FORTRAN, won the right in arbitration to license its version of BASIC, previously licensed exclusively through MITS, makers of the Altair.
Like Tech History? Purchase Tom Merritt's Chronology of Tech History at Merritt's Books site.
Autopilot S2E02 – Airwolf


The Port of Vancouver USA Board of Commissioners today voted 2-1 to approve terms of employment for Julianna Marler, officially installing her as CEO/Executive Director.
Marler is the first female CEO in the port's 105-year history and one of just a handful of female port CEOs in the U.S. Her employment agreement includes a $202,801 annual salary, $500 monthly car allowance and deferred compensation totaling 15 percent of her salary for a term of four years.
Completing the port's $275 million West Vancouver Freight Access project in early 2018.
Completing the 125,000-square-foot Centennial Industrial Building this summer and leasing space to new or growing employers.
Continuing to move Terminal 1 forward to realize the port's vision for its historic waterfront property.
Creating a new strategic plan that incorporates the vision of the port's commissioners, community and staff.
Building strong relationships with community and business partners.
Connecting with the community to continue sharing the port's purpose, projects and accomplishments.
Ensuring the port continues to be a good steward of public dollars through financial sustainability and responsible growth.
Marler's credentials include a diverse background in logistics, sales, procurement and contracts, and leadership in finance and administration. In her role as the port's Chief Financial and Administrative Officer, Marler was instrumental in ensuring the port remained cohesive during significant organizational growth and business expansion. Marler managed and progressed the port's business practices, built cross-functional teams and oversaw strategic programming to help the port move forward with its mission and vision in an organized, transparent and efficient manner.
Marler was appointed interim CEO by the port's commission after the departure of Todd Coleman in May 2016. She led the port in dual roles as CEO and CFAO before being selected through a rigorous recruiting process that included an international search and interviews with port staff, community stakeholders and commissioners.


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The British Medical Association has expressed their concern regarding medicine and medical supplies to the country's patients regarding the stockpiles of medicines and how available they're going to be in case the scenario of a no-deal Brexit happens. The BMA has stated that the NHS has been very secretive about the matter demanding them answers; the NHS responded that the process is being as clear and transparent as it can be. It is necessary to know which medicines can be stockpiled and alternative routes of transportations to be put on the table. The information kept by the NHS could reach the general public responsible for shortages. There has been an increase in concern about the patients.