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CNA Military Advisory Report:
Climate Change and U.S Global Supremacy
by Orpheus Reed | July 14, 2014 | Revolution Newspaper | revcom.us
In May a new report, "National Security and the Accelerating Risks of Climate Change," appeared. The report was written by a group of former high-ranking U.S. military officials called the CNA Corporation Military Advisory Board. The forward to the report is written by two former high-level U.S. government officials: Michael Chertoff, secretary of Homeland Security under George W. Bush and Barack Obama, and Leon Panetta, Secretary of Defense during Obama's first term. According to Chertoff and Panetta, the 2007 CNA report, "National Security and the Threat of Climate Change," on the same topic represented "the first time that such an elite body of military leaders expressed their concern over the security implications of climate change."
The New York Times reported that Secretary of State John Kerry commented that the new CNA report would affect military and foreign policy. Kerry will reportedly deliver a major speech this summer on the subject of climate change and U.S. national security. (New York Times, May 13, 2014)
Thwaites Glacier in West Antarctic. Studies show that part of the huge West Antarctic ice sheet is starting a slow collapse in an unstoppable way. Photo: AP
So what is the deal with this report? Why is it that forces tied to the U.S. military—the vicious worldwide enforcers of this predatory system of imperialism—are now concerned about climate change?
The reality confronting humanity is that an environmental emergency stalks the planet. On many converging fronts, habitat and species are being endangered and destroyed in a building wave. Ecosystems are being compromised, poisoned, and in some cases transformed. Climate change is interacting with other environmental impacts and further driving a threat to the very eco-balances of the earth, even endangering the future of humanity.
Over the past decades scientists have sounded the alarm about climate change. They have studied the problem and documented the evidence for it over and over. This year, this overwhelming scientific consensus was documented even more convincingly and clearly by several reports, including the latest from the Intergovernmental Panel on Climate Change (IPCC). These reports have shown climate change is already transforming the planet, hitting hard at natural systems and humanity—and that if the current path continues, the future holds upheaval, conflict, and catastrophic changes from the changing climate. Faced with this, key forces in the U.S. ruling class are becoming alarmed. There is a growing sense among some of these powerful forces that the U.S. must more fully confront this and respond if it is to maintain its position of global supremacy.
But are they doing so from the viewpoint of moving heaven and earth to stop fossil fuel energy production and other ways of economic functioning of the capitalist system that are driving climate change? Are they concerned with the protection of world ecosystems and the world's people, especially the poor and oppressed whose lives lie in the path of intensifying hurricanes, drought, flooding, and sea level rise? Absolutely and completely not!
The Threat to U.S. Power and the Real Interests of Humanity
Instead, these ruling class forces are arguing that the U.S.—and in particular, its military—must fully confront and move quickly to position itself to best preserve its global dominance in the face of major transformations of the earth's climate and all the dangers and upheaval this will cause. The CNA report's executive summary states, "The projected impacts of climate change—heat waves, intense rainfall, floods and droughts, rising sea levels, more acidic oceans and melting glaciers and sea ice—not only affect local communities but also, in the aggregate, challenge key elements of our National Power [including] political, military, economic, social, infrastructure, and information systems."
The executive summary of this report says climate change "poses severe risks" to U.S. "national security" and that these risks are "as serious as any challenges we have faced." It criticizes others in the ruling class who refuse to accept the reality of climate change, saying, "political posturing and budgetary woes" should not inhibit discussion over what is in reality a threat to U.S. power.
The report calls impacts of climate change "threat multipliers that will aggravate stressors abroad such as poverty, environmental degradation, political instability, and social tensions—conditions that enable terrorist activity and other forms of violence." Further, this report considers the effects of climate change itself to be "catalysts for instability and conflict." It argues the U.S. must take into account how this affects the entire world, not just certain regions.
These ex-generals and admirals are quite concerned that climate change could erode the ability of the U.S. military to field forces in the way it will need to to preserve U.S. global domination. They fear the threat of sea level rise to key U.S. military and particularly naval installations, such as the Norfolk, Virginia, naval base—the world's largest naval station.
The capitalist system is melting the ice in the Arctic through its burning of fossil fuels and other destructive practices. The Arctic is a vast, rich ecosystem whose oceans sustain major sections of sea life that are important to life on the planet. The preservation of ice at both the North and South Poles is key to maintaining world climate. The accelerating melting of this ice guarantees sea level rise over the next century that threatens coastlines where hundreds of millions live. Are the ex-military leaders behind the CNA report raising an urgent call that the world must act to stop this destruction immediately? Again, absolutely not. Instead, they argue that with the opening up of the Arctic from the melting of ice caused by global warming, nations and corporations will be increasingly anxious to exploit this. So they urge military and legal changes so that the U.S. will be better able to position itself to "resolve" disputes—in other words, strengthen the ability to project U.S. military power into this region.
Think about it. The world's people face massive drought, killing poverty from decline of crop production, threats to the cities and lands where they live from flooding and sea level rise, even worse and more wrenching resource wars, conflicts and massive displacement of whole peoples, and possibly a threat to human civilization itself from environmental destruction. But faced with all the horror the environmental emergency will bring, these top level military figures call for preparing the U.S. power structure to do everything possible to preserve the very system that is responsible for strangling the life out of earth's living systems and exploiting world humanity in the first place!
Of course, nowhere in their report is it mentioned that the U.S. is the largest contributor in world history to the build-up of greenhouse gases warming the planet. Or that the U.S. military itself is the largest institutional consumer of oil on the planet. All of this is a very sharp indictment of this capitalist-imperialist system and a further demonstration that the rulers of this system are completely unable to take care of the earth or its people. The U.S. "national security" that these generals and admirals consider so precious has nothing to do with—and, in fact, is completely opposed to—the interests and security of world humanity and nature.
The situation cries out for urgently transforming the energy foundation of the planet, and massively bringing forward green sustainable energy—and doing so on the basis of moving toward ending all exploitation and oppression in the interest of humanity. The capitalist-imperialist system cannot do this—and it cannot be allowed to continue on its path to the destruction of much of living earth and its people.
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Just wanted to let you know I was hired at FedEx into the MD11 this month. All in all it was 7 years and 3 months from when I started at ATP with zero time until making it to a major airline in FedEx. I'm so excited to finally have my dream job and it all started with ATP in Lawrenceville!


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Navigation Tips
Welcome to the much-delayed 24th issue of The Ear, and our first ever online issue. While we plan to release the journal in print when we're back to in-person operation, like so many other things right now, it seemed safest to keep the issue online.
All of the pieces were submitted before the pandemic, and we'd decided on most of the content before the staff was scattered to the winds by COVID-19, but we've found, of course, that they still feel relevant, because they're telling us true things about what it means to be human. Revisiting the art, poems, stories, and essays as I worked to convert the issue to a digital format reminded me why we do this labor of love every year, despite the fact that our staff is entirely volunteer.
These pieces give us a chance to feel ourselves again—remembering what it's like to share a beer with a neighbor and admire a freshly cut lawn or appreciating the transformational power of music in our communities, even admitting the messy imprints left on us by dating in the digital age—and also to recognize what we appreciate most in the midst of a pandemic—the recipes for love, bath time with children, those quiet moments when we appreciate the seasons, the light, a particular place, and the ability, of course, for people to return to each other, even in spite of tragedy.
Many folks deserve our gratitude for this issue: the contributors, of course, who waited patiently for its release, especially Van Lenigh for the beautiful cover art, "Inner Minds," which became a lynchpin of our online design; Natalie Camunas and Jennifer Johnson of Digital Mountaineers, Michael Opsteegh, Bonnie Widerman, and Neil Aitken for their patient advice in putting together the online edition; our student staff members, especially Sofia Buitrago-Yepes, Mary Camarillo, Lexi Cunningham, Payton Dodd, Kayla Hanson, Aine Molvik, Alyssa Nakatsukasa, Annika Sial, and Hedieh Sorouri, the MVPs who kept us going after we switched to fully remote; Dean Bui and my colleagues in the School of Humanities, especially Lisa Alvarez; and all the folks at Irvine Valley College who have supported and continue to support The Ear.
I hope you enjoy this collection of amazing work as much as we do.
—Virginia Shank
Faculty Editor
About the Cover Artist
Inspired by great masters as Vrubel and Monet, Van Lanigh creates figurative and landscape pieces. Her unique style is a reaction to abstractionism in an attempt to capture surrealistic yet casual reality. This is especially underlined by new forms and materials used in Van Lanigh's artworks aimed to achieve the viewer's resonance between visual effect and message of the painting. Discover more on Van's website and connect on Instagram.
© 2021 by The Ear. Proudly created with Wix.com

redpajama_set_name: RedPajamaCommonCrawl


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Shen Chunyao (; born May 1960) is a Chinese politician who is the chairperson of the  since April 2017.

He was a member of the Standing Committee of the 10th, 11th, 12th and 13th National People's Congress. He was an alternate member of the 19th Central Committee of the Chinese Communist Party.  He was a representative of the 20th National Congress of the Chinese Communist Party.

Biography
Shen was born in Ye County (now Laizhou), Shandong, in May 1960, and graduated from Jilin University and then the Department of Law, China University of Political Science and Law.

Shen worked in the State Council before being assigned to the National People's Congress. He was a member of the National People's Congress Financial and Economic Affairs Committee in March 2003 and subsequently a member of the National People's Congress Legal Committee in October 2004. He also served as deputy chairperson of the Legislative Affairs Committee of the Standing Committee of the National People's Congress from April 2007 to December 2008 and director of the Research Office of the General Office of the Standing Committee of the National People's Congress from December 2008 to April 2011. He was promoted to deputy secretary-general of the Standing Committee of the National People's Congress. in April 2011. On 27 April 2017, he was promoted again to become chairperson of the . He concurrently serves as director of the  and director of the  since March 2018.

References

1960 births
Living people
People from Laizhou
Jilin University alumni
China University of Political Science and Law alumni
People's Republic of China politicians from Shandong
Chinese Communist Party politicians from Shandong
Members of the Standing Committee of the 10th National People's Congress
Members of the Standing Committee of the 11th National People's Congress
Members of the Standing Committee of the 12th National People's Congress
Members of the Standing Committee of the 13th National People's Congress
Alternate members of the 19th Central Committee of the Chinese Communist Party

redpajama_set_name: RedPajamaWikipedia


text:
Q: Report Summary type with Chart having custom field in Y axis I need to create a Report of summary type with a custom field in Y axis. But every time I try do that getting only option as Record Count.
Can someone please let me know how to achieve that?
Below in Y axis I get only Record Count but I require to have Column values there.

redpajama_set_name: RedPajamaStackExchange


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use Doctrine\DBAL\Migrations\AbstractMigration;
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/**
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class Version20170508041234 extends AbstractMigration
{
    /**
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    public function up(Schema $schema)
    {
        $this->addSql("
        CREATE TABLE IF NOT EXISTS courses_subjects (
          id INT NOT NULL AUTO_INCREMENT,
          course_id INT NOT NULL,
          subject_id INT NOT NULL,
          PRIMARY KEY (id),
          INDEX fk_courses_subjects_course_id_idx (course_id ASC),
          INDEX fk_courses_subjects_sujbect_id_idx (subject_id ASC),
          UNIQUE INDEX key_courses_subjects_unique (course_id ASC, subject_id ASC),
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    {
        // this down() migration is auto-generated, please modify it to your needs

    }
}

redpajama_set_name: RedPajamaGithub


Like Greece did in 2004, Portugal ruined the party for the hosts by stunning France in the Euro 2016 Final. Fernando Santos' tactics along with a goal in the second extra time gave Portugal the 1-0 victory and their first ever European Championship.
As expected, France took control of the game early as Portugal sat back in their half. Although France had the better chances, both teams went into the break goalless. In the 20th minute, Cristiano Ronaldo was subbed off the pitch due to an injury caused by a collision with Payet. He went off in tears knowing he will miss the rest of the final.
The second half got off to a slow start with both teams playing conservatively. In the final 25 minutes of the game, France put their foot on the gas and pinned Portugal in their own half. Griezmann missed a tremendous chance with a close-range header in the 66th minute and eight minutes later, Rui Patricio denied Giroud from inside the penalty area. Sissoko tested Rui Patricio with a long effort in the 84th minute as the game was heading for extra time. France came inches away from netting a late winner, but the post denied Gignac and the game went to overtime.
Like the second half, the extra time period began at a slow pace. Lloris denied Eder's header from a corner and the game remained goalless into the second extra period. Portugal sent their first warning by hitting the crossbar in the 107th minute from Raphael's free-kick and two minutes later, the substitute Eder gave Portugal the opener. A perfectly placed shot from outside the box beat Lloris, giving Portugal the 1-0 lead. The goal stunned the hosts and they were unable to respond as frustration began to set in with time running out. The head official, Mark Clattenburg, blew the final whistle and Portugal celebrated their first European Title!
Portugal didn't provide entertaining football throughout the tournament but each step of the way they got the job done. Fernando Santos' pragmatic tactics led his team to European Glory with only ONE win in 90 minutes of play (against Wales in the semi-finals).
Similar to how Greece surprised the world by defeating the hosts Portugal in 2004, Portugal now stuns the hosts of Euro 2016. Tears of sadness accompanied Ronaldo in 2004 and today we see the Portuguese star with tears of joy. It is Portugal's first European Championship as France remain trophyless since winning Euro 2000.


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Tag Archives: Complicated Women
documentary, movie
Hollywood pre-Code women
September 24, 2018 reflectionsonjapanesecultureblog	Leave a comment
As San Francisco Chronicle film critic Mick LaSalle writes in Complicated Women (2000), the sexual power and freedom of women in many movies from the early-1930s was greater than in movies since then.
At the end of the silent era, Mary Pickford was the biggest star. "America's sweetheart" was an eternal virgin, and, indeed, generally played the part of a child. There were also sirens bringing doom to men, the archetypal "vamp" being Theda Bara. The vamps were sexual, but did not seem to find much joy in sex: they didn't enjoy sex as much as they enjoyed turning men into sex slaves and destroying them. Cast in the vamp mold in her first American movies, Greta Garbo turned from destroying those who loved her into being a martyr for love. For Garbo's lusts, everyone in the vicinity suffered, herself most of all.
LaSalle's model of the transformation from the good girl/vamp dichotomy involves Garbo remaking the vamp role and Norma Shearer transforming her screen persona from wholesomeness to sexual freedom. "A Free Soul" is the title of one of the vehicles of Shearer's onscreen emancipation. (LaSalle suggests she was acting out fantasies of sexual adventures partially with energy not absorbed by her sickly husband, MGM production chief Irving Thalberg. LaSalle does not claim to know what she thought about sexual freedom for women offscreen, but she was eager to seize roles pushing the envelope onscreen, fighting her husband to get the parts that must have made him uneasy rather than being handed them because she was his wife.)
In "The Divorcee" (for which Shearer won an Oscar), she played a woman who listens to the news of her husband's infidelity and his demand that she accept it by going out and having sex with his best friend. Her husband's modern attitude does not extend to the wife having equal freedom to take other sexual partners (what is good for the gander is not allowed the goose). Rather than being "modern," he maintains the venerable double standard about marital fidelity applying only to the wife. The viewpoint of the movie is that when fidelity is broken by one partner, the other partner has the same freedom, a viewpoint that remains audacious today. (LaSalle compares the restraint Julia Roberts must exercise in "Something to Talk About.")
LaSalle gets carried away in his enthusiasm for early-1930s Shearer films. Her gowns were as slinky, clinging, and revealing as he says, but her gesticulations were excessive, and her characters mostly did not find happiness or acceptance. "Private Lives" (from the durable Nöel Coward play) is something of an exception in that her character recouples with her divorced husband played by Robert Montgomery. The social acceptability of this is vitiated by the fact that both are married to new spouses, though perhaps in the Catholic view of divorce and marriage their divorce is illegitimate and they are returning to their vows after recognizing their divorce and second marriages as a mistake (and possibly adulterous to "what God has joined together").
Meanwhile, Garbo moved from playing the prostitute title role of her first talkie, "Anna Christie," to the bisexual/transvestite "Queen Christina" who trades her throne for love. Christina dresses as a man and has relationships with both men and women, but she cannot have/keep it all and (yet again) sacrifices all for love.
Garbo was the only female superstar who made a successful transition to superstardom in talking pictures. Norma Shearer and Joan Crawford were stars whose wattage increased, while less-known players like Constance Bennett, Carole Lombard, Jean Harlow, Loretta Young, and Myrna Loy emerged from the background, Marlene Dietrich was imported from Germany (where she had enslaved and broken Emil Janning in "The Blue Angel" that was filmed in both German and English). From the New York stage came Barbara Stanwyck, Ann Harding, Claudette Colbert, Joan Blondell, Miriam Hopkins, Bette Davis, and, a few years later, Katherine Hepburn and Mae West. "They became famous, most of them, for playing 'loose women.'… At the beginning of the era, the fallen woman was the movies' favorite character [while] even relatively innocuous films took on sexy titles to lure in audiences." Helen Hayes won an Oscar for playing a prostitute (Madelon Claudet) and other surprising women of the streets included Myrna Loy and Claudette Colbert. As for la Dietrich, "one almost has to search her early filmography for a movie in which she was not a prostitute, and yet every picture was on her side, and each one defined her as an honest woman" and, in the instance of "Blonde Venus," a devoted mother. As the notorious "Shanghai Lily" in "Shanghai Express," it is Doc's lack of faith in her that is the problem: "The movie is not about her becoming worthy of him, but about the journey of faith that allows him to become worthy of her. Shanghai Lily doesn't need to change. Her boyfriend needs a new attitude."
Many of the males in many of the pre-Code movies had difficulty adjusting their attitudes, while the women plied other professions than the allegedly oldest one. Kay Francis played physicians, Crawford and Stanwyck specialized in sleeping their way from entry-level jobs to penthouse-suite positions (e.g., in "Grand Hotel" and "Baby Face") and managed to have careers continuing beyond the imposition of censorship in which they shot or slapped men, connived and became successful in business (though in the late-1930s and through the 1950s they frequently surrendered power to males, not always choosing male partners wisely or trusting the trustworthy…)
LaSalle praises the work of a number of women whose careers did not survive the imposition in mid-1934 of preproduction censorship of sex (even marital sex, let alone extramarital sex) and female independence such as Miriam Hopkins, Ann Dvorak, Ruth Chatterton, Dorothy Mackaill, Mae Clark, and Ann Harding. He provides acute analysis of the truncated careers of Jean Harlow and Mae West, though I think he fails to do justice to the emotional power of Marlene Dietrich's performances for Joseph von Sternberg (particularly in "Shanghai Express"). Moreover, the movies he advances as particularly daring, such as "Baby Face" and "Female," end with the women surrendering their gains and their autonomy to me, every bit as much as the post-World War II propagandizing for getting women out of the labor force back "where they belonged," entirely focused on being wives and mothers.
As good as is his sympathetic analysis of the pre-Code women-centered films made between 1919 and mid-1934, LaSalle's account of the imposition of censorship may be even better. He exposes the subversion of his employers' interests by Joseph Breen, who worked with the US Roman Catholic hierarchy to threaten to forbid Catholics attending any movies (a ban that was laid down by the bishop of Philadelphia, Cardinal Dougherty) in order to gain advance control over what could be filmed. Breen suppressed a study that showed box office receipts increasing when the Catholic Legion of Decency (an organization of which he was the secret parent) condemned a movie. The Breen office prevented pre-Code films from being rereleased, and the pre-Code films with emancipated women were too sexually forthright for television when old films started to air to tv audiences after World War II. LaSalle's contention that censorship was primarily focused on preventing representations of independent women is well supported. Indeed, that "the Code liked dead women" is hard to argue. LaSalle concluded that
"although the Production Code administrators brooked no lewdness or nudity, their main goal was to censor ideas. The censors were absolutely fixated on the messages movies transmitted. For example, crime had to be punished—period. There was no leaving it unpunished subtly…. Women got the worst of it. Under the Code, it wasn't only crime that didn't pay. Sex outside of marriage didn't pay. Divorce didn't pay. Leaving your husband [no matter what the provocations on his part] didn't pay. Even having a job often didn't pay. The Production Code ensured a miserable fate—or at least a rueful, chastened one—for any woman who stepped out of.
"Accordingly, every female character in movies got her virginity back. If she lost it again, she was in big trouble. The price for nonconjugal relations was either death, permanent loneliness, or a profuse protracted, and degrading apology. At the same time, women became the humble protectors of marriage. If a husband strayed and wanted to return, a wife not only had to take him back, she had to smile as she did."
LaSalle is sometimes overinsistent and somewhat oversells the quality of the early talking pictures, but the well-illustrated text moves along swiftly until the somewhat diffuse final two chapters on more recent revivals of Garbo and Shearer traditions suppressed by the Christian equivalents of the imams and ayatollahs imposing their views of what people can watch and hear from 1934 through the late 1960s. (It is also clear that anti-Semitism was common currency in the Breen/Catholic hierarchy plotting to seize control over what Americans could watch: "Breen wanted to save America from the movies and the movies from the Jews," as LaSalle puts it.)
I wanted to read the book before seeing the one-hour 2003 documentary based on it . The documentary, narrated by Jane Fonda, shows LaSalle, Molly Haskell, and some survivors of the era, has some of the book's best lines and some of the scenes described in the book. The chronology is much clearer in the book, though I'd highly recommend the documentary, too.
censorshipComplicated WomenGreta GarboMick LaSalleNorma ShearerPre-Code Hollywood


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35-36 Brentgovel Street, Bury St Edmunds, IP33 1EA mile away.
As your local insurance broker, A-Plan Bury St Edmunds has been serving clients in your area since January 2017. We have specialist facilities for private car, home & contents and commercial vehicle insurance.
Our Bury St Edmunds branch is one of our newest branches only opening in January 2017. We are in a fabulous location on the corner of Brentgovel Street, only a stone throw away from the ARC & the town centre.
As with all A-Plan branches we pride ourselves on local and personal service and meeting our clients face to face, so please feel free to come in and see us. Alternatively just call us on our local landline number or use the 'Contact' form on this page.
Branch manager Dan has been with A-Plan for over 5 years and his team are all from insurance backgrounds so we certainly are equipped to help with any needs you have on Car, Van or Home insurance.
It is not just through the quotation process that we will look after you, we look after you through the claims process and also your renewal process as well. Priding ourselves on looking after you every year, you are a name to us and not just a policy number.
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Album Review of In A Town Called Addis by Dub Colossus.
What would Emperor Haile Selassie have made of this? The former Ethiopian leader may be regarded as a deity by Rastafarians but he was never too wild about reggae, let alone dub - the echoing, bass-heavy mixing technique that has its origins in Jamaican recording studios in the 70s. But he was a fan of brass ensembles and jazz, and the final years of his rule, in the 60s and early 70s, were a golden era for Ethiopian music. This intriguing album brings those Jamaican and African styles together, with help from the British producer and multi-instrumentalist Dubulah, aka Nick Page from Temple of Sound.
When Nick Page) (aka Dubulah, a charter member of the legendary worldbeat ensemble Transglobal Underground), spent a summer in Addis Ababa, he quite unsurprisingly ended up in the studio with a revolving cast of local singers and instrumentalists. The result of that month-long experiment was this utterly entrancing album, a bubbling stew of reggae, dub, Azmari singing, traditional instruments, and rich horn charts (courtesy of the Horns of Negus). At times the musical fusion recalls some of Bill Laswell's work, especially the dark and dreamy arrangements he has written for his Ethiopian wife Gigi, and at other times the music swirls and dances in entirely unique and unexpected ways.
What do Ethiopia and reggae have in common? In fact, the African nation of Ethiopia has had quite an influence on the development of reggae music. Reggae, native to Jamaica, is closely intertwined with the practice of Rastafarianism. Many of the most notable reggae artists, Bob Marley among them, have been Rastafarians. While the term "Rastafari" often brings to mind a dread-wearing, patois-speaking, spliff-smoking stereotype, there's more to it than that.


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Inside the Biggest Challenges of Healthy Office Design
By Laura Rote July 20, 2020
Plants like the bamboo palm can help improve indoor air quality by directly countering toxins that are found in many indoor spaces. Photo by Eric Laignel
"We created the healthiest workspace for the office employees but also for their pets," says Bethany Borel, project architect at COOKFOX. "The IWBI headquarters is a dog-friendly work space, and by specifying no VOC paints, carpet tile, and wood floor stain, the employees can rest assured that the little noses that are closest to those products can breathe easy." Photo by Eric Laignel
3 Challenges in Designing the First WELL Platinum-Certified Office in the US
Designing to a higher standard is more crucial now than ever, as indoor air quality and office environments continue to be hot topics amidst the pandemic. Last year the International WELL Building Institute (IWBI) moved into new offices in Manhattan's Flatiron neighborhood, choosing space on the corner of Fifth Avenue and 26th Street in a landmarked, historic building. It is the first, and only as of this writing, office in the US to reach WELL Platinum certification.
IWBI hired COOKFOX for the task. Together their teams maximized the generous air and light of their corner location, carefully chose recycled and low-impact materials, engineered high-filtration air systems, provided healthy food in the kitchen, encouraged active work styles, and emphasized biophilia.
"After years of working in shared and temporary office spaces, it was critical for us to walk the talk and showcase that WELL works for all," says Liz Miles, project manager for the IWBI office project and vice president of stakeholder relations at IWBI. "We had recently launched WELL v2, and our key goal was to drive equity into the architecture of the standard."
Miles says the team reduced barriers of entry and offered more flexibility, all while maintaining rigor so that different building types, buildings in various stages with a range of budgets, and buildings in all parts of the world could pursue WELL.
"Our project in particular was a turn-key space in a 1913 landmarked building," she says. "We had a limited budget and little control over architectural and engineering aspects of the building, but through interior design, operations, and policy, we achieved WELL at the platinum level."
WELL Platinum requires 80 points and is the highest level of WELL Certification.
3 Big Challenges and How COOKFOX Faced Them
1. Working with a century-old building.
Working with an old building offers up some pleasant surprises. "The gorgeous historical bones of the building reminded us that you never know what you're going to find when you start removing the layers of paint and plaster that have built up over the years," says Bethany Borel, project architect at COOKFOX. "Brass and copper double hung windows were still intact, and the riveted steel columns and brickwork were all so well kept under the layers of gypsum. By peeling away the layers and exposing the bones of the building, we read the authenticity of building materials and age." Photo by Eric Laignel
"Working within an existing historic building is always a unique challenge for ceiling heights and access to daylight," says Bethany Borel, the project architect and a senior associate at COOKFOX. "With nominally 9'6" to the underside of the beams, we had to be creative about air distribution and lighting. Underfloor air wasn't an option due to existing egress stair and elevator landings. Dropping a ceiling throughout the space wasn't an option due to how low that ceiling would have ended up (nominally 7'6" to 8'0" throughout)—which would also significantly block any natural daylight coming into the space. We carefully organized oval ductwork away from the main walking/seating areas. The benefit of the oval ductwork is, the eye reads the space around and above the duct, making the ceiling height seem much taller than the lowest point of the duct."
2. Landlord and client involvement.
Courtesy of COOKFOX
Borel says, "Working in a multi-tenant building in New York City poses a unique challenge that can be shifted into an opportunity to work closely with the building managers and landlords. Often landlords will deliver a space to their tenant as a whitebox of partial turnkey, but the tenant and their architect have limited control or weigh-in on what materials or fixtures the landlord will be using in the space for their portion of the renovation. We were lucky to have been brought in early enough to work together with the building management group and architect of record to ensure the materials were WELL compliant, and that the fixtures (like air handling units and lighting) had the flexibility to be upgraded to meet the tenant's certification goals."
3. Tight timeline.
The lactation room at the new IWBI offices in Manhattan. Photo by Eric Laignel
Borel says the team had only a couple of months to design, vet, and procure products, so their timeline was crunched. Two main strategies helped make sure they met the timeframe and goals.
They worked with vendors who have a dedication to sustainable products—most had already done the legwork of vetting their own materials within the products, so COOKFOX already had the data to support these selections (material transparency, market transformation).
The team reused furniture the client already had and purchased vintage pieces. "This gave the furniture a second life and diverted it from the landfill, while also ensuring that off-gassing had already occurred," Borel says.
COOKFOX refurbished the existing wood floor, reducing waste and adding natural texture. The carpet is from the Mohawk Lichen line—one of the most sustainable flooring products on the market and the first to achieve the International Living Future Institute's Living Product Challenge Petal certification. Its biomimetic patterning is inspired by lichen and indicates pathways through the space while dampening sound. Photo by Eric Laignel
Every workstation has natural light and views to the outdoors, and 50% of the space is dedicated to shared work and gathering areas to support the collaborative nature of IWBI's workflow. In addition to the sit-stand workstations, COOKFOX designed a variety of workspaces to support different working styles, with the main central desks also convertible from sitting to standing.
The new IWBI office in Manhattan has flexible workspaces with plentiful plant life and natural life. Photo by Eric Laignel
Plants are integrated throughout the IWBI office to help connect staff to nature. "Designed to evoke the positive biological responses of prospecting views from a comfortable, safe place, planter boxes line the windows, drawing the eye outward to the city views and park tree canopy below," Borel says. "A planter wall shelters the front living room area, and planters interspersed throughout the space act as green screens and add dynamic visual interest." The building is also just a few blocks from New York City's flower district. "Once we knew our strategy and planning for the foliage, a few local markets were engaged to fill out the vision."
Work After COVID-19
Miles says the Manhattan office has more than 40 workstations with about 30 New York–based employees and another half-dozen who commute in on a regular basis. "Pre-COVID, the New York–based employees worked in the office and many of the remote employees visited often and could use the additional workstations. Currently we are all working remotely through the beginning of September 2020, after which we will evaluate an office and remote working schedule that meets individual needs and comfort levels. We are also working closely with the landlord and pursuing our newly launched WELL Health-Safety Rating to implement specific operational policies, maintenance protocols, emergency plans and stakeholder education specific to a post-COVID environment."
As people began to return to work in the summer, IWBI has already verified several features of their space that can directly contribute to preventing the spread of viruses through its certification. This includes improved air quality through better ventilation and filtration, hand washing facilities to support hygiene and reduce pathogen transmission, cleaning product protocols, and food and water safety.
WELL Certification guidelines are used in 60 countries, and more than 4,100 buildings are now certified or pursuing certification. WELL v2 launched in May 2018.
Project: IWBI Headquarters
Completion: March 2019
Size: 9,068 square feet
Architect: COOKFOX
Furniture: Teknion
Floor: Mohawk
Certification: WELL Platinum
Learn more about COOKFOX and read more gb&d commercial architecture stories.
More stories on Commercial


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text:
Lerone Murphy (22 de julio de 1991, Manchester, Inglaterra) es un artista marcial mixto inglés que compite en la división de peso pluma de Ultimate Fighting Championship.

Antecedentes
Lerone, que nació y creció en Old Trafford, asistió a la escuela primaria St Edward's en Rusholme y al instituto católico St Anne's en Heaton Chapel, Stockport, había sido un prometedor futbolista que hizo pruebas para el Liverpool y había entrenado tanto con el Stockport County como con el FC United en su adolescencia, hasta que una grave lesión de rodilla a los 16 años truncó cualquier esperanza de jugar al máximo nivel. Había practicado un poco de boxeo con su tío, el legendario entrenador de boxeo de Manchester, el difunto Oliver Harrison, que había entrenado a figuras como Amir Khan y Rocky Fielding. Nunca había probado las MMA hasta que entró en el gimnasio All Powers, que entonces tenía su sede en Hulme, antes de trasladarse a su actual base, justo al lado de la A6 en Davenport, Stockport.

El sábado 25 de mayo de 2013, Lerone, que entonces tenía 21 años, acababa de salir de una peluquería en Lloyd Street South, en el barrio de Fallowfield, en Manchester, cuando un hombre armado abrió fuego. Los transeúntes escucharon gritos de "por favor, no" antes de que se produjeran tres disparos, en los que Lerone recibió dos impactos en la cara y el cuello. Lerone pasó una semana en cuidados intensivos y otra más en el hospital tras ser operado. Tuvo que recibir una prótesis dental y tiene un pequeño fragmento de bala incrustado permanentemente en la lengua.

Carrera en las artes marciales mixtas

Carrera temprana
En su debut en las MMA en el FCC 15, se enfrentó a Martin Fouda y lo derrotó por decisión unánime. Murphy derrotó a sus siguientes enemigos a través de TKO en Tyler Thomas en Tanko FC 3 y Jamie Lee en la FCC 18, respectivamente. Luego, en el FCC 19, derrotó a Nathan Thompson por TKO en el primer asalto. En FightStar Championship 14 Murphy derrotó a Terry Doyle por TKO en el primer asalto. Derrotó a James Mcerlean por decisión unánime en Evolution Of Combat fight night 2 y a Anton De Paepe por decisión unánime en Celtic Gladiator 22 para conseguir su tercera victoria por decisión como profesional. En su última aparición con Full Contender en FCC 23 Murphy derrotó a Manolo Schianna por TKO en el primer asalto. La victoria le valió a Murphy la quinta victoria por nocaut de su carrera profesional y el Campeonato de Peso Pluma de la FCC.

Ultimate Fighting Championship
Murphy debutó en la UFC contra Zubaira Tukhugov, que regresaba tras tres años de inactividad, el 7 de septiembre de 2019 en UFC 242. El combate, de ida y vuelta, terminó con un empate dividido, ya que un juez dio la victoria a cada uno de los luchadores por 29-28 y el tercero lo vio como un empate 28-28.

Murphy se enfrentó a Ricardo Ramos el 16 de julio de 2020 en UFC on ESPN: Kattar vs. Ige. Ganó el combate por nocaut técnico en el primer asalto, lo que le valió el premio a la Actuación de la Noche.

Tras su segundo combate en la promoción, Murphy volvió a firmar con la UFC.

Murphy se enfrentó a Douglas Silva de Andrade el 20 de enero de 2021 en UFC on ESPN: Chiesa vs. Magny. Ganó el combate por decisión unánime.

Murphy estaba programado para enfrentarse a Charles Jourdain el 4 de septiembre de 2021 en UFC Fight Night: Brunson vs. Till. Sin embargo, Murphy fue retirado del evento por problemas de visa, y fue sustituido por Julian Erosa.

Sustituyendo al lesionado Tristan Connelly, Murphy intervino como sustituto con poca antelación contra Makwan Amirkhani en UFC 267 el 30 de octubre de 2021. Ganó el combate por nocaut en el segundo asalto.

Campeonatos y logros

Artes marciales mixtas
 Full Contact Contender
 Campeonato de Peso Pluma de la FCC (una vez)
 Ultimate Fighting Championship
 Actuación de la Noche (una vez)

Récord en artes marciales mixtas

Véase también
 Anexo:Actuales peleadores de UFC

Referencias

Enlaces externos

Practicantes de artes marciales mixtas de Reino Unido
Nacidos en Mánchester
Peleadores de artes marciales mixtas invictos


text:
Health topics Health policy Health 2020: the European policy for health and well-being Publications
About Health 2020
Health 2020. A European policy framework and strategy for the 21st century
In 2012, the WHO Regional Committee for Europe approved Health 2020 in two forms. This publication gives both. The shorter policy framework provides European politicians and policy-makers with Health 2020's main values and principles, and key strategic advice to support action for health and well-being. The longer policy framework and strategy give more detail in terms of evidence and practice.
View A-Z of all publications
Tool for mapping governance for health and well-being: the organigraph method (2018)
This publication aims to help countries and relevant stakeholders to use the tool to identify which areas need strengthening in order to ensure that systems facilitate improved health and well-being for all. It provides background information about the organigraph method, as well as a practical guide to using it, including example organigraphs.
Concept note: Assessment tool for governance for health and well-being (2018)
This concept note presents the concept for a specialized assessment tool developed to assess the capacity of countries to design, coordinate and implement different governance approaches for improved health and wellbeing: whole of society, whole of government, multisectoral, intersectoral and intrasectoral.
Multisectoral and intersectoral action for improved health and well-being for all: mapping of the WHO European Region Governance for a sustainable future: improving health and well-being for all (2018)
Case stories, or narratives of good practice, detailing successful multisectoral and intersectoral initiatives were collected through consultations in 36 Member States of the WHO European Region. The case stories are collected and analysed in this report.
Targets and indicators for Health 2020. Version 4 (2018)
This document describes the steps taken to develop the Health 2020 targets and indicators through the work of two international expert groups and country consultation with Member States. Specifically, it gives an overview of the 20 core and 17 additional indicators adopted by the 53 Member States of the WHO European Region in September 2013 to measure progress with the six targets identified for Health 2020.
Social return on investment - Accounting for value in the context of implementing Health 2020 and the 2030 Agenda for Sustainable Development (2017)
Social return on investment (SROI) is a concept to account for social value when evaluating investments. It goes beyond traditional economic evaluation tools, by considering value produced for multiple stakeholders in all three dimensions of development: economic, social and environmental.
Developing a common set of indicators for the joint monitoring framework for SDGs, Health 2020 and the Global NCD Action Plan (2017)
Member States agreed to adopt a joint monitoring framework for reporting on indicators for the Sustainable Development Goals, Health 2020 and the Global Action Plan for the Prevention and Control of Noncommunicable Diseases. An expert group was formed to identify a common set of indicators. This report provides a summary of their first meeting in Vienna, Austria, on 20–21 November 2017.
Governing for health equity and sustainable development in Montenegro (2017)
This report describes the findings of an appraisal mission on the governance arrangements and approach to addressing the issues of health equity and the social determinants of health (SDH) in Montenegro.
Engagement and participation for health equity (2017)
A core principle of Health 2020 is reducing health inequities across the population, along with the importance of participation and responsiveness, with the full engagement of people.
Health diplomacy: European perspectives (2017)
This book is part of the WHO Regional Office for Europe's response to the WHO Regional Committee for Europe's 2010 request that it strengthen the capacity of diplomats and health officials in global health diplomacy.
Small country case stories on intersectoral action for health (2016)
This report is a compendium of case stories showing how eight small countries, with a population of less than one million, used intersectoral action to address a diverse set of health needs, thus sharing their knowledge on implementing Health 2020.
On the road to Health 2020 policy targets: Monitoring qualitative indicators. An update. (2017)
Member States of the WHO European Region are now in the second half of the implementation period of the Health 2020 policy framework.
Social justice and human rights as a framework for addressing social determinants of health (2016)
Final report of the Task group on Equity, Equality and Human Rights
Work and worklessness: Final report of the Task group on employment and working conditions, including occupation, unemployment and migrant workers (2016)
Review of social determinants of health and the health divide in the WHO European Region
A roadmap to implementing Health 2020 – the experience of San Marino (2015)
This publication describes San Marino's experience in developing its national health plan for 2015–2017, which integrates the core elements of Health 2020, the European policy for health and well-being.
Implementing a Health 2020 vision: governance for health in the 21st century. Making it happen (2013)
The WHO Regional Office for Europe commissioned this report to support the implementation of the Health 2020 policy framework. The Russian version of this publication is also available.
Health 2020: a European policy framework supporting action across government and society for health and well-being
Improving health and well-being lies behind the new health policy framework for Europe, Health 2020, adopted by the WHO Regional Committee for Europe in 2012. Health 2020 is a value- and evidence-based framework that allows a strategic approach to be taken towards this goal.


text:
% Tipus de texts
% Alfons Rovira
% Novembre 2016

\newpage

# Prefaci

Aquest contingut ha estat recopilat per facilitar l'estudi i l'assimilació del mateix.

\newpage

# Unitat 0. Tipologia Textual

## 0. Definicions

El **text** és la  **unitat màxiam de comunicació** que transment un **missatge** amb sentit **complet** ja siga de manera **oral** o per **escrit**.

Els **textos** poden ser **escrits** i **orals**.

Tipus de text:

- Dialogat
- Narratiu
- Descriptiu
- Expositiu
- Artumentatiu
- Instructiu
- Predictiu
- Poètic

\newpage

## 1. Textos dels mitjans de comunicació

Tipus:

- **Publicitaris**: Són breus, reforçats per imatges o música. Busquen crear impacte. Utilitzen oracions imperatives curtes.
- **Periodístics**: Són la notícia, la crònica, l'artícle i l'estrevista.
- **Informatius**: Són impersonals, busquen transmete informació de manera clara.

Parts:

- **Títol**: Frase breu en lloc destacat.
- **Subtítol** o **entradeta**: Idea important que no aparèix al títol.
- **Cos de al notícia**: Desenvolupament detallat de la informació.

Poden emprar:

- **Recursos gràfics**
- **Recursos sonors**

\newpage

## 2. Text Dialogat

Un **text dialogat** és un **intercanvi de missatges** orals o escrits **produïts per dues o tres persones**. Les persones que hi intervenen --emissor i receptor-- reben el nom d'**interlocutors**. Els interlocutors van alternant la seua funció, cosa que no sol passar en altres tipus de textos.

Els textos dialogats poden ser **planificats** o **espontanis**.

Tipus de textos dialogats: la conversa, el diàleg i l'entrevista.

### a. La conversa

Característiques:

- Comença amb una **salutació**.
- Es va construint de manera **espontània**.
- S'usen **oracions simples** i **vocabulari quotidià**.
- Hi poden aparèixer **oracions inacabades**, és important l'**entonació** i la **gestualització**.

### b. Les entrevistes

Les **entrevistes** són **intercanvis de preguntes i respostes**.

### c. El diàleg literari

El **teatre** és un gènere format per textos pensats perquè uns actors parlen en estil directe.

També ens podem trobar **diàlegs narratius** en les narracions

Tipus de teatre: drama, comèdia i tragèdia.

#### 1. Drama

Al **drama** la situació inicial és complexa, el protagonista s'ha enfrontar amb conflictes difícils, però al final no és tràgic.

#### 2. Comèdia

Les **comèdies** són peces en què hi ha des del principi un to optimista.

#### 3. Tragèdia

Les **tragèdies** són obres en les què el protagonista s'enfronta a problemes que no es poden solucionalr, i per tant el final és sempre trist i desesperat, i la mort es fa present.

\newpage

## 3. Text Narratiu

**Narrar** és **ecplicar històries**.

La narrativa, generalment, s'**escriu** en **prosa**.

Tipus de textos narratius: la novel·la, el còmic, l'auca,

### a. La novel·la

La **novel·la** és una **narració**.

- Novel·la d'amor.
- Novel·la d'aventures.
- Novel·la de ciència-ficció.
- Novel·la d'aventures.
- Novel·la de guerra.
- Novel·la històrica.
- Novel·la de detectius.

Elements principals de la novel·la:

- El **tema**: **Assumpte** central al voltant del qual gira el relat.
- La **història**: **Fragment temporal** que abraça el relat.
- La **trama**: Narració on es conta només **una part** dels fets.
- El **temps**: Narració que abraça un fragment **temporal**, pot ser linial o anar avant i arrere.
- L'**espai**: Lloc on esdevé la història.
- El **narrador**: **Veu** que conta la història.

### b. El còmic

Pot tractar qualsevol tema amb text i dibuixos. Consta de **bafarades** (el que diuen els persontatges) i **cartutxos** (requadres amb explicacions al marge).

### c. L'auca

Sol tractar sobre un  tema tradicional.

El text principal sol ser un **redolí**, rima fàcil de dos versos.

\newpage

### d. La rondalla i el conte

Característiques comuns:

- Són **breus**.
- La **trama** és **senzilla**.
- Hi ha **pocs personatges**.

Estructura:

1. Plantejament
2. Nus
3. Desenllaç

\newpage

| Característiques | Rondalla | Conte |
| ---------------- | -------- | ----- |
| Autor | Anònim | Conegut |
| Escrit en| Tercera persona | Primera o tercera persona |
| Situacions | Fictícies | Reals |
| Temps | Indeterminat | Fixat o present |
| Destinada | Entreteniment | D'infants i d'altres tipus |
| Intenció | Moralitzadora | No necessàriament moralitzadora |
| Començament i tancament | Fòrmules fixes | No té fòrmules fixes |

\newpage

## 4. Text Descriptiu

Un **text descriptiu** explica **com és** algú o alguna cosa.

Estructura:

1. **Tema**: Es presenta allò que es vol descriure.
2. **Expansió**: Se'n diuen les característiques.

Les descripcions poden ser:

- **Objectives**: Representen dades comprovables.
- **Subjectives**: Les dades són apreciacions que depenen del punt de vista de qui escriu.

Recursos lingüístics que solem trobar:

- Abundància d'**adjectius**.
- Ús d'oracions amb verbs **copulatius** i **atributs**.
- Ús de **comparacions**.

Tipus de text descriptiu: el retrat.

### a. El retrat

Un **retrat** és un text on es diuen **qualitats** i **característiques** d'una persona.

Les **característiques** poden ser:

- **Físiques**: Fan referència a l'apariència externa.
- **Psicològiques**: Personalitat de l'individu descrit.

### b. Descripcions d'espais i llocs

El **text** descriptiu explica com és algú o alguna cosa i sol tenir una estructura dividida en dues parts: el **tema** i l'**expansió**, que és el desenvolupament del tema.

La **descripció** potser **general** o **detallada**.

En quant a les **característiques lingüístiques**:

- Abundància d'**adjectius qualificatius**.
- Oracions **copulatives**.
- Oracions **impersonals**.
- **Enumeracions**.
- **Adverbis**.

\newpage

## 5. Text Predictiu

Els **textos predictius** ens **informen sobre una situació futura**.

Hi ha prediccions que descansen en **plantejaments científics** o en **supersticions o creences sense cap base científica**.

Característiques:

- **Brevetat**.
- Ús del temps verbals en **futur** i en **condicional**.
- Ús dels **adverbis** i **locucions adverbials de possibilitat** i **probabilitat** (segurament, potser, quasi seguir, tal vegada).
- Gràfics en les prediccions meteorològiques.

\newpage

## 6. Text Expositiu

Un **text expositiu** pretén **fer comprendre alguna cosa**. Intenta transmetre coneixement perquè el receptor s'informe d'una matèria determinada. Per tant, qui l'escriu ha d'intentar que siga senzill, clar, ordenat i objectiu.

Els podem classificar en **textos especialitzats** i **textos divulgatius**.

Característiques:

1. Les **informacions** han d'ésser **objectives** i **reals**.
2. Els **textos** estaran escrits en **tercera persona**.
3. Els **substantius** i els **verbs** s'usaran de forma **clara**, **ordenada** i **precisa**.
4. Els **adjectius** han de ser neutres.
5. Abundància de **connectors**.
6. **Organitzat**.
7. **Presentació** amb **introducció** i **objectius**.
8. **Desenvolupament**: informació detallada.
9. **Conclusió**: S'hi fa un resum.

Tipus: cartes personals, cartes formals, correu electrònic.

### a. Carta informal i carta formal

Caractarístiques de les cartes:

- Població i data.
- Salutació.
- Cos de la carta.
- Comiat.
- Signatura.
- Postdata.

### b. Correu electrònic

El **correu electrònic** és un sistema que permet **redactar**, **enviar** i **rebre missatges** utilitzant sistemes de **comunicació electrònica**.

Parts:

1. **Capçalera**

- **De**: Direcció de correu electrònic de l'emissor.
- **Per a**: Correu del receptor. Sovint trobem CC (amb còpia) i CCO (amb còpia oculta).
- **Assumpte**: Tema del missatge.
- **Data**: Hora, dia i data local.

2. **Cos**

### c. Missatgeria instantània

La **missatgeria instantània** és un sistema que permet intercanviar missatges entre dues o més persones **en temps real**, utilitzant Internet.

### d. El blog

Un **blog** és un lloc web on es recopilen cronològicament artícles d'un o diversos autors.

La **finalitat** última dels blogs és posar a l'abast de tots eines, recursos i activitats.

Parts:

- Capçalera.
- Barra de menú lateral.
- Espai principal on apareixen els artícles o entrades del blog.

Una **entrada** (post en inglés) és la informació publicada pels administradors. Sol tenir aquestes parts:

1. **Títol**
2. **Cos**: Text on es poden afegir imatges, vídeos i arxius sonors.
3. **Etiquetes** per classificar i localitzar ràpidament el contingut.

\newpage

## 7. Text publicitari

La **publicitat** intenta posar informació a l'abast demolta gent, i, alhora, influir en la conducta i els hàbits de consum dels destinataris.

Característiques:

- Brevetat.
- Depenent del suport solen anar amb una fotografia.

Formats:

- **Espot**: Remarca els avantatges amb 20-40 segons.
- **Falca radiofònica**: Missatge curt amb suport sonor.
- **Cartell**: El més important és la imatge. S'inclou informació important.
- **Tanca publicitària**: Cartell de grans dimensions.
- **Fullet a mà**: Fullet de mida reduïda amb informació essencial però més detallada.

\newpage

## 8. Text Instructiu

Un **text instructiu** té com a objectiu donar instruccions, és a dir, explicar de forma clara com s'ha de fer alguna cosa.

Característiques:

1. Ha d'estar escrit de manera organitzada.
2. Els passos són curts i senzills.
3. El text ha de ser objectiu i precís.

Parts:

1. Descripció
2. Funcionament
3. Advertiments

Característiques lingüístiques:

1. Presència de marques tipogràfiques: punts, guions, lletres, nombres, colors.
2. Modalitat oracional predominant: imperativa.
3. Temps verbals: imperatiu, perífrasis d'obligació (heu de).
4. Ús de tecnicismes i lèxic especialitzat.
5. Presència de connectors.

\newpage

## 9. Text Poètic

El **metre** és el nombre i la disposició de les síl·labes en cada vers.

El **ritme** és el compàs del poema, creat, sobretot pel metre i la distribució de síl·labes tòniques i àtones.

La **rima** és la repetició total o parcial de sons a partir de l'última vocal tònica del vers.

Es poden donar les següents tipus de rima:

a. **Consonant**: Coincideixen tots els son a partir de l'última vocal.
b. **Assonant**: Coincideixen només les vocals a partir de lúltima vocal tònica.

A l'hora de comptar els versos:

- Sinalefa
- Elisió

Els versos s'agrupen en estrofes:

- **Verapariats**: Versos que no rimen.
- **Tercet**: Tres versos.
- **Quartet**: Quatre versos.
- **Cobla (o octava)**: Estrofa de huit versos.
- **Romanç**: Composició d'un nombre indeterminat de versos.
- **Sonet**: Composició de catorze versos.

\newpage

## 10. Text Argumentatiu

Un **text argumentatius** serveix per a **exposar punts de vista i opinions** de manera raonada  lògica. La seua finalitat és convéncer algún que no té una opinió formada sobre el tema tractat, o en té una diferent de la nostra. Per poder-lo convéncer hem d'elaborar un bon text tant en fons com en forma.

Pel que fa al que diguem hem de donar raons certes i ben fonamentades. Les nostres argumentacions s'han de basar sobre judicis de fet, és a dir, afirmacions que es pugun demostrar i siguen difícils de rrebatre.

Quan a la manera com ho diem, els textos argumentatius tenen una estructura bastant fixa. És aquesta:

a. **Exposició**: Es planteja el tema general i el nostre punt de vista sobre l'assumpte.
b. **Demostració**: Es presentn els arguments que donen suport a l'opinió que defensen i que rebaten les idees contràries.
c. **Conclusió**: s'exposen de manera resumida i clara els elements més importants.

Les característiques lingüístiques dels textos argumentatius són:

a. Els verbs tenen relació **causa-efecte**.
b. Presència de **connectors**.
c. Presència de **marques d'ordre**.

Recursos per a construir textos argumentatius:

1. Fem servir **interrogacions retòriques**.
2. Utilitzar l'**ironia**.
3. **Repetir els arguments** importants.
4. Posar de manifest **valors comparits**.
5. Usar **citacions** d'autoritat.

---

Textos contrets

- El discurs oral
- La carta
- El correu electrònic
- L'agenda
- La notícia
- El còmic
- La rondalla
- El retrat
- El text literari
- El diàleg
- La dramatització
- L'horòscop
- El treball acadèmic
- La publicitat
- El blog
- La recepta
- La predicció
- La dramatització
- La recitació
- L'argumentació


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text:
An international dimension
Preparation for today's fast-changing, global environment
Staff and 23 students from the University of San Jorge (USJ), in Zaragoza Spain, visited Southampton Solent University in November, to take part in a week full of industry focused activities. During their time at Solent, USJ students had the opportunity to experience a series of workshops, talks from guest speakers and participate in live industry projects, which were organised by the International Development team, the School of Media Arts and Technology, the School of Business, Law and Communication and Solent Creatives.
USJ students worked together with Southampton Solent University students on a range of projects, which included filming for Business South who wanted to promote different aspects of living and working in Southampton. Oscar Rodriguez, Solent BA (Hons) Media Culture and Production student, mentored the USJ students during this project and said "It has been a great experience working with a group of students from University of San Jorge; we had the chance of filming at Mettricks, a local coffee house in Southampton, interviewed some of their staff and shot some contextual footage."
Oscar explained, "In the crew of six people the students assumed different roles, including camera operator, interviewer, gaffer, and sound. I was very impressed by their dedication and knowledge, especially since most of them were first-year students. All the footage came along nicely, and I think we achieved great results."
Students also participated in an e-campaign where they worked to meet the needs of a secret live client brief organised by Dr Catherine Sweet (Senior Lecturer in Public Relations and Communications).
Additionally, they tested their skills while shooting a live music performance with Solent third year students from BA (Hons) Television and Video Production. The performance was organised by the School of Media Arts and Technology and gave the opportunity for USJ film and television students to gain practical experience of producing performance recordings, setting-up lighting, staging and using Solent's production equipment.
International Enrichment Week
The visit from USJ students was just one of the initiatives taking place during Solent's first International Enrichment Week. During which students and staff from the School of Media Arts and Technology packed their bags for a six day trip to Holland. Students spent time in both Amsterdam and Utrecht, making the most of the time away by taking part in a range of events and performances.
For those not venturing overseas there was still plenty of activity on campus as all staff, students and the local community were given the opportunity to participate in a series of free activities that were designed to enrich their knowledge and understanding of internationalisation, from signing up to a taster language session, to food tasting, enjoying live music and dance performances or watching international films in our very own state of the art Dolby Atmos surround sound cinema.
The Study Abroad and Erasmus programme team, also ran a number of successful workshops raising awareness of the opportunities available to Solent students with the range of summer schools and study/work programmes that are on offer. Studying abroad will not only give students the experience of a lifetime, but it will also add an international dimension to their CV; essential to achieving success in today's fast-changing, global environment.


Squishing yourself into a cameraphone frame with your bestie is so early 2014. Why rely on your outstretched arm when you can include a sweeping vista and aerial approach to your selfie?
Camera drones are gaining popularity for educational and business uses such as beefing up real estate listings with high-flying photos. But if you trust your remote drone-steering skills enough not to take your own head off, they can also offer flexibility and artistic options for creative selfies. A group of NYU students recently set up a "dronie booth" at the ITP Spring Show, and Vimeo has launched a channel dedicated to dronies.
Now, direct-to-consumer efforts to sell the appeal of dronies are stepping up. The staff at photography site and online store Photojojo took a "workcation" this week to Costa Rica and made use of the Phantom 2 photography drone for a pretty impressive group shot on a (terrifying-looking) bridge over the rainforest.
The Phantom 2 retails for $1,299 (or $959 with a GoPro mount), so they probably won't be filling the skies at concerts or baseball stadiums in the immediate future. But heads up.


text:
Didon est une tragédie de Jean-Jacques Lefranc de Pompignan, représentée pour la première fois, le , à la Comédie-Française, sous le titre d'Énée et Didon.

Historique
C'est la première pièce de théâtre de sa création que l'auteur, âgé de vingt-cinq ans, ait donné. Cette tragédie qu'on dit inspirée de la Didon abandonnée (1724) de Métastase réussit complètement, avec 14 performances consécutives, puis 18 en tout lors de la première année, ce qui représentait de très bons chiffres pour l'époque. Reprise, dix ans plus tard, la pièce a connu le même succès. En 1746, Lefranc a publié une nouvelle version de sa pièce, à laquelle il a ajouté des scènes nouvelles et réécrit des passages entiers.

Au cinquième acte, Mademoiselle Clairon, qui est la première qui ait imaginé de paraitre sans panier sur la scène, représentant, pour la première fois, Didon, est apparue, au cinquième acte, les cheveux épars et dans le dérangement d'une personne sortant précipitamment de son lit, audace non renouvelée dans les représentations suivantes, sur les conseils de quelques « connaisseurs ».

La police a supprimé quatre vers au premier acte :

Encouragé par le succès prometteur de ce début, Lefranc a enchainé avec une autre tragédie intitulée Zoraïde, unanimement reçue avec enthousiasme par les comédiens, mais qui a rencontré l'opposition de Voltaire, jaloux de ce succès. Indigné de ce procédé, il a préféré retirer son manuscrit et renoncé, dès lors, à travailler pour le Théâtre-Français, pour la Comédie-Italienne. L'antagonisme entre Lefranc et Voltaire daterait de cet épisode.

Analyse
L'auteur s'est inspiré du  chant de l'Enéide, et plus encore de la Bérénice de Racine, pour imiter la simplicité d'action de Racine, mais en offrant une conception plus théâtrale. Le caractère de son principal héros, antipathique au mouvement du drame, a été modifié pour être supérieur à celui de l'Énéide. Dans cette pièce, tous les rôles y sont sacrifiés au rôle principal qui, à vrai dire, est le seul de la pièce. Lefranc a néanmoins su tempérer l'ardente piété du prince troyen. Ce n'est plus un amant sans foi, un prince faible, un dévot scrupuleux ; il reconnait l'abus des oracles, et il ose le témoigner. Il ne trompe dans ses discours ni Didon ni ses Troyens. S'il fuit, c'est en vainqueur, après avoir affermi le trône d'une reine qu'il est obligé de quitter. Selon , le succès de la pièce a été dû plus aux interprètes, en particulier à Quinault-Dufresne et à sa femme, l'un dans le rôle d'Énée, l'autre dans celui de Didon, qu'à son mérite littéraire.

Originalité
Voltaire, et La Harpe après lui, a soutenu à tort que Lefranc était redevable du plan de sa tragédie et de l'invention de ses personnages à la Didon abandonnée (1724) de Métastase. Le plan de cette pièce est neuf, original et n'appartient qu'à lui. Il a, en outre, inventé plusieurs personnages de sa pièce, absents des tragédies de ses devanciers qui se sont inspirés du poème latin sans y rien ou presque rien ajouter. Il n'a emprunté à Virgile que les deux rôles de Didon et Énée, et encore, il en a modifié le caractère, surtout celui d'Énée. Les personnages d'Achate et de Madherbal sont de son invention. Le personnage de larbe ne fait qu'une seule apparition dans Virgile, tandis que Lefranc le fait paraitre plusieurs fois sur la scène, lui ménage deux entrevues avec la reine. Le personnage d'Achate, qui n'est même pas mentionné par Virgile dans l'épisode du  livre, joue un rôle très important dans ce drame, en tant que conseiller et confident d'Énée. Il représente la nation troyenne qui, impatiente de suivre sa destinée, témoigne son mécontentement des retards d'Énée. Il fait entendre à son maitre la voix du devoir. Il représente aussi pour ainsi dire les dieux dont il rappelle à Énée la volonté formelle. Alors qu'Énée, au mépris des oracles, jure de ne pas abandonner la reine, c'est Achate qui a la glorieuse mission de ramener le prince troyen de son égarement et de le remettre sur le chemin de l'honneur. Il a également imaginé le personnage Madherbal dans le rôle accompli du ministre fidèle à sa souveraine et du général veillant au salut de l'État. Quant à Élise, la confidente de la reine, elle remplace ici Anne, sœur de Didon, qui figure dans le poème de Virgile.

Distribution

La scène est à Carthage, dans le palais de la reine.

Trame

Premier acte
larbe, roi de Numidie, qui avait autrefois connu Didon à Tyr, aspire à épouser cette princesse, devenue reine de Carthage. En vain, il lui a fait demander, par deux fois, la main de Didon, qui s'est éprise d'Énée. larbe décide de se déguiser en ambassadeur pour venir lui-même parler à Didon. Lorsque Madherbal, ministre et général des Carthaginois, lui apprend les projets de mariage de Didon avec Énée, larbe, irrité, propose, mais en vain, à Madherbal de soulever les Tyriens contre leur reine. Une fois introduit auprès de Didon, il est éconduit par elle et se retire en la menaçant.

acte
Énée, flottant entre son amour pour Didon et la volonté des dieux qui l'appellent en Italie, fait part à son fidèle Achate du trouble qui agite son âme. Celui-ci le presse de renoncer à son amour et lui annonce que les Troyens commencent à murmurer contre ses hésitations. Énée, ébranlé par le discours d'Achate, laisse entrevoir à la reine ce qu'ils doivent craindre tous deux des projets des Troyens. Les oracles vont être consultés sur le parti à prendre. Une dernière fois, larbe demande à parler à la reine ; il a beau quitter son déguisement et se faire connaitre à Didon. Celle-ci ne lui donne aucune espérance.

acte
Le roi des Numides, exaspéré du second refus de Didon, jure de se venger et de punir la reine. Madherbal, après avoir en vain cherché à le calmer, dévoile à la reine les projets néfastes de larbe, et lui conseille de veiller aux moyens de défense. La reine rejette avec indignation la proposition qui lui est suggérée de le retenir prisonnier dans Carthage. Cependant Énée, tout ému, rapporte à la reine la réponse défavorable des oracles. Didon s'emporte, l'accable de reproches et s'évanouit. À cette vue, Enée jure de ne pas abandonner la reine et de ne pas se soumettre à la volonté des dieux.

acte
Achate fait à Énée de vives remontrances : il lui représente l'avenir qui a été promis à son fils Ascagne et les destinées glorieuses, réservées par les dieux, à ses descendants. Touché par ce discours, Énée se ressaisit, désavoue sa faiblesse et se dispose à partir. Didon survient et lui annonce les dangers qui menacent ses jours et son trône : Iarbe, à la tête de ses troupes, envahit Carthage.

acte
Ému de pitié, le héros troyen se pose en défenseur de la reine, s'élance au combat à la tête des Troyens, tue larbe et met les Numides en fuite. Madherbal fait à Didon le récit de cette victoire, mais en même temps il lui apprend le départ et lui redit les adieux d'Énée, qui a saisi l'occasion de sa victoire pour s'éloigner à jamais de Carthage. De désespoir, la reine déçue dans ses projets se poignarde sous les yeux de ses femmes et expire en reconnaissant ce qu'elle doit à Énée et en lui adressant ses derniers soupirs.

Notes et références

Bibliographie
 .
 .
 .

Liens externes

Tragédie
Pièce de théâtre française
Pièce de théâtre du XVIIIe siècle


text:
Finance, Economics, Markets and Technology - Finance, Economics, Markets and Technology
What is a double dip recession?
By Edward Harrison	 On May 17, 2010
You hear the term "double dip recession" bandied about in the media a lot these days. But there is no strict definition for what a double dip recession is or what it actually means to an economy. Have no fear; At the weekend, Robert Shiller of Irrational Exuberance fame came up with a working definition of double dips, which I will highlight and expand upon here.
Shiller's definition of a double dip recession
Here's what Dr. Shiller said:
I use a definition of a double-dip recession that doesn't emphasize the short term. Instead, I see it as beginning with a recession in which unemployment rises to a high level and then falls at a disappointingly slow rate. Before employment returns to normal, there is a second recession. As long as economic recovery isn't complete, that's a double-dip recession, even if there are years between the declines.
Under that definition, there has been only one serious double-dip recession in the last century — and it was serious indeed. It started with the 1929-33 recession, which was followed by a recession in 1937-38. Between those declines, the unemployment rate never moved below 12.2 percent. Those two recessions, four years apart, are now typically lumped together as one event, the Great Depression.
Many negative factors persisted between those dips. High among them was a widespread sense then that something was amiss with the economy. There was a feeling of uncertainty that discouraged entrepreneurship, lending and spending, and most important, hiring.
We have to deal with a similar — though less extreme — problem today.
Most people look at the time between recessions as the only variable that distinguishes a normal recession from a double dip – and therefore concentrate on the 1980-82 period in the US as the most relevant example. However, Shiller's definition differs from most in that it is not predicated on timing. He says a double dip recession is a period in which employment, production, income, consumption and growth dip, resume growth, and then dip again without necessarily re-attaining previous levels before the first dip began.
Shiller is pointing to a double dip in which the recession-like period I have been calling a technical recovery as a sort of interregnum between twin downturns, that never blossoms into the full-blown recovery that you and I would understand as recovery.
My definition of a double dip recession
I think it is fair to say that Shiller's description of a double dip recession is rooted in a sense that the underlying causes of the first and second dip are the same – that the recession, technical recovery, renewed recession really feel almost like one big long recession.
This is what I have been saying for months now. In fact, I believe the recession dating committee has stalled in dating the end of recession for exactly this reason. Witness my comments in this regard from last January:
There has been a lot of conflicting evidenceregarding this fake, stimulus-induced recovery we are now witnessing. NBER committee member Robert Gordon of Northwestern University made statements this past Spring suggesting he sees an early recovery dating (see Jobless claims may signal the end is near from April 2009). But Martin Feldstein, another NBER dating committee member, is holding out…
But, without wading into the debate on multipliers (you can see my piece on multipliers here), I think we are likely to see long enough a period of stimulus-induced growth to force the dating committee into a late summer 2009 demarcation for the end of the recession. Read my piece on recovery in my recent post Readers of this blog expect the recession to last redux when I said the technical recovery's start would probably end up being dated Summer 2009. If I had to pick a month, I would go with August which is a month before I had been predicting the recession would end early last year.
–Is the recession dating committee preparing for a double dip?
But, more than that, I think Shiller's comments about the Great Depression point to structural issues. We are in the midst of significant secular developments regarding employment, credit and debt right now – much as we were in the 1929-1938 time period and in the 1970-1976 time frame. I have said that I consider the twin recessions during those episodes to be double dip recessions. They represent two long depressions, one deflationary and the other inflationary.
Near the end of the recession dating committee post, I wrote:
Question: are the 1970 and 1973-75 recessions or the 1929-33 and 1937-38 recessions double dips as well? I think so. That's why I spoke of a depression as a "decade is one of sub-par global growth with short business cycles punctuated by fits of recession" in a March 2008 post. In my view, the discussion about multipliers is less relevant. It is the D-process of deleveraging and debt deflation leading to depression which dominates the secular trend. Any credit guy like me will tell you the balance sheet always trumps the income statement.
So, I think that's where we are: in the technical recovery phase of a double dip recession that is a once in a generation period of balance sheet repair. If you want to use the Great Depression as a guide, we are closer to 1931 in terms of events and timing (see Thinking about Creditanstalt today). But the policy response has been much more aggressive this time around. Ultimately, I think that means a technical recovery has taken form, even if the underlying fundamentals are suspect.
My hope is for a multi-year recovery – which was my prior baseline before the chances of a double dip increased. A multi-year recovery really should be the baseline outcome in any technical recovery scenario. However, this does not rule out a double dip per Shiller's definition. In my view, this journey is far from over – as the continued low savings rate in the US and the policy errors on both sides of the Atlantic demonstrate. The shift, like those two previous periods, will take at least a decade to complete.
balance sheet recessionbusiness cyclecreditdebtdouble dipEconomicsNBERrecovery
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Edward Harrison 7566 posts 575 comments
Edward Harrison is the founder of Credit Writedowns and a former career diplomat, investment banker and technology executive with over twenty five years of business experience. He has also been a regular economic and financial commentator in print and on television for the past decade. He speaks six languages and reads another five, skills he uses to provide a more global perspective. Edward holds an MBA in Finance from Columbia University and a BA in Economics from Dartmouth College.
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Likely time to credit your readers with their call that the recession had not ended. A double dip is a single recession.
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© 2008-2018 - Credit Writedowns and Global Macro Advisors LLC. All Rights Reserved.
Reproduction is prohibited without prior expressed consent.


Massimo Bartolini (born 1962 in Cecina, Italy) is an internationally recognized Italian artist famed for his immersive manipulations of artistic space. Although best known for his large-scale installations he dabbles in a range of media from sculpture, to performance, drawing, and photography. For Bartolini, the individual viewer experience is paramount. It is not unusual for him to confront his viewers with a variety of sounds, lights, colors, and smells, as much intended to draw them in as to disorientate. Examples of this include the use of tilted floors and the introduction of distinct smells such as perfume; and even an instance where he experimented with the viewers' own physicality by attaching devices to their heels, which consequently altered the light within the exhibition space. Much of Bartolini's oeuvre revolves around sculptural performances or "living sculpture" whereby his creations are made up of people.
Massimo Bartolini's works were featured in the 2009 and 2013 Venice Biennale, Art 37 Basil and Manifesta 4, as well as documenta 13 in 2012. Other selected exhibitions include the MoMA PS1 Contemporary Art Centre, New York; the Palazzo Cusani, Milan; the Museo Marino Marini, Florence; Magazzino d' Arte Moderna, Rome; Frith Street Gallery, London; and Galleria Civica d'Arte Moderna e Contemporanea, Turin.


text:
Cleavage of C4b by C3b inactivator: production of a nicked form of C4b, C4b', as an intermediate cleavage product of C4b by C3b inactivator.
S Nagasawa, C Ichihara and R M Stroud
J Immunol August 1, 1980, 125 (2) 578-582;
S Nagasawa
C Ichihara
R M Stroud
We have investigated the mechanism of cleavage of C4b into C4c and C4d by the C3b inactivator (C3bINA) and revealed the formation of a nicked form of C4b as an intermediate cleavage product. The cleavage of C4b by the C3bINA was a two-step reaction. The first cleavage occurred on the alpha-chain (89,000 daltons) yielding two fragments, 73,000 daltons and 16,000 daltons. These fragments were bound to each other or to the beta or gamma chain through disulfide linkages. Therefore, an altered form of C4b, C4b', consisting of four disulfide-linked polypeptide chains with the same m.w. as C4b, was produced as an intermediate cleavage product. Subsequently, the second cleavage occurred on the alpha-chain fragment of 73,000 daltons to produce the two generally recognized fragments, C4c and C4d. In both cleavage reactions, a high m.w. cofactor protein, C4bC3bINACo, which is the same protein described as the C4 binding protein, was required, suggesting that both of the proteolytic processes are catalyzed by the C3bINA.
You are going to email the following Cleavage of C4b by C3b inactivator: production of a nicked form of C4b, C4b', as an intermediate cleavage product of C4b by C3b inactivator.
S Nagasawa, C Ichihara, R M Stroud
The Journal of Immunology August 1, 1980, 125 (2) 578-582;


Series of documentaries looking at life in modern-day Northern Ireland.
Following two women confronting breast cancer by getting tattoos on their surgery scars.
Following Kate Grant, who has Down's syndrome, as she pursues her dream to be a model.
Documentary following Brendan Holland, who suffers from a condition known as gigantism.


Medlock, Kenneth B. III. "Speculation, Fundamentals, and the Price of Crude Oil." (2013) http://bakerinstitute.org/research/speculation-fundamentals-and-price-crude-oil/.
The causes and consequences of rising oil price over the past decade has been the subject of much debate. The role of speculation in financial markets has come increasingly under the microscope with many economists arguing that in commodity markets, such as oil, inventory adjustment should prevent speculative pressures from unduly influencing price. However, if demand and supply are relatively inelastic (not very price responsive) in the short run, then inventory adjustment can be slow to occur. In turn, the theory presented herein suggests that speculative activity can exacerbate price movements that are hinged on underlying market fundamentals. In other words, when constraints are present, inventory adjustment can be sluggish, which will reinforce the speculative notion that markets are becoming tighter. This will continue until something happens to unhinge that expectation, such as inventory build or economic collapse. Otherwise, speculation cannot exert an influence on price. This paper investigates whether speculative pressures can exert an influence on the price of storable commodities, such as crude oil and natural gas.


text:
NiswongerCare Announced
July 15, 2015 by Admin	in News
NiswongerCare to bring peer advisers to area high schools
July 14th, 2015 10:29 pm by NATHAN BAKER
Near-peer advisors and program leaders pose Monday at an announcement for funding for the Niswonger Foundation's college and career advisor program. (Nathan Baker/Johnson City Press)
An expiring federal grant could have meant the end of a college and career readiness program serving 13 school districts in the county, but the Niswonger Foundation, local colleges and another education-driven nonprofit pooled their resources to keep the program alive.
"This is going to be different than the previous program, but it will be a phenomenal opportunity," Niswonger Foundation CEO Nancy Dishner said Tuesday in the auditorium of East Tennessee State University's Culp Center. "We're helping students to see their bigger dreams in life, their futures."
Five years ago, the Niswonger Foundation received a $21 million i3 grant from the U.S. Department of Education and other foundations. It used the funds to create a consortium of 15 school districts in Northeast Tennessee with 30 high schools and institute college and career readiness programs at each school to help guide students into their post-primary school lives.
With the grant's term expiring this September, Dishner said she new some creative thinking was needed to keep the program alive.
The foundation has substantial resources, but "we don't have the capacity to match a $21 million grant," she said.
Preserving three of the most beneficial programs, online courses for high school students, advanced placement class opportunities and staff advisers in every school, was of utmost importance to Dishner.
All of the consortium's school districts agreed to maintain the online courses, and Scott Niswonger, one of the philanthropists who donated to the matching requirements on the i3 grant, donated $1 million to help continue the AP courses, but to keep the advisers, Dishner proposed a new program to three local colleges with counseling degree programs.
Under the program, made possible in-part from a $1.3 million grant from Care Foundation of America, a health and education nonprofit, ETSU, Milligan and Carson Newman will nominate graduating counseling students to serve as advisers to local high school students for a two-year period.
The freshly minted counselors will gain experience in their fields and the community will reap the benefits as students go on to college or to start their careers.
"I went to college in the 70s, and things have changed since back then," Dishner said. "The new advisers are more familiar with the current college experience and can help the students understand what to expect."
At Tuesday's announcement, Dishner introduced 14 full and part-time advisers that will make up the inaugural class of counselors.
"It's an adventure," ETSU graduate Caroline Baird said. "There's so much evidence showing that the near-peer model of advising works well."
Modeled on a program called the Carolina College Advising Corps, the Niswonger program, called NiswongerCare, works on the theory that students will better relate to younger professionals with similar backgrounds.
After describing the new program to Tennessee Gov. Bill Haslam, who has instituted a number of education reform initiatives in his administration, Dishner said she believed there is interest to spread the model statewide.
"It's our goal to spread this program across the state," she said. "But it's going to take all of us to do this work."
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Interview With Code Camp Volunteer Veronica Watson July 19, 2017
A TRIBUTE From the Niswonger Foundation Team June 12, 2020


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