I am now back home after spending a hugely enjoyable and stimulating three days at the ILI 2013 conference. This was the fifteenth in the annual Internet Librarian International conference series, As I have attended fourteen of the conferences (I had been invited to speak at a conference in the National Library of Singapore for the ILI conference I missed) it's clear that I am a great fan of the event. This is for a number of reasons; in particular the international flavour of the event provides an opportunity to hear about developments in the library and online information world from a wide sector. It is also a very friendly event, which provides a valuable opportunity to develop and cultivate one's professional network – as ever, the numbers of people I follow on Twitter has grown over the past few days; who needs business cards when swapping Twitter IDs can provide an 'interactive business card' – a suggestion I made back in 2008 which now seems to have become a mainstream approach.
We highlighted Second Life as a technology which failed to live up to its expectations and demonstrated the need for more systematic approaches for detecting new technologies which could be embedded, However we also described the need for libraries to be willing to take risks and provided a risks and opportunities framework which could be used to assess risks and minimise or, perhaps, accept such risks. Part of this framework was to assess the risks of doing nothing, and the missed opportunities this could entail.
A total of 21 participants booked for the workshop. They were from no fewer than eleven countries (UK, Netherlands, Austria, Denmark, Switzerland, Sweden, Canada, South Africa, Australia, India, Trinidad and Tobago and Qatar) and six continents (Europe, North America, South America, Africa, Australasia and Asia). This provided some challenges but also opportunities in learning from the differing experiences and challenges which the participants faced.
In the workshop we made use of processes which I described in a paper on What Next for Libraries? Making Sense of the Future which I presented at the EMTACL (Emerging Technologies in Academic Libraries ) conference held in Trondheim a year ago and a paper by myself and Paul Hollins (CETIS) on Reflecting on Yesterday, Understanding Today, Planning for Tomorrow which I presented at the Umbrella 2013 conference earlier this year. The Delphic processes described in the papers had been previously used by UKOLN and CETIS in our work for the JISC Observatory which, prior to the cessation of its funding was an "initiative to systematise the way in which the JISC anticipates and responds to projected future trends and scenarios in the context of the use of technology in Higher & Further Education in the UK".
Following use of the Delphic process to identify and prioritise new developments we also used the risks and opportunities framework which has been described in papers on "Library 2.0: Balancing the Risks and Benefits to Maximise the Dividends" and "Empowering Users and Institutions: A Risks and Opportunities Framework for Exploiting the Social Web".
Tony Hirst also provided some techniques which could be used to identify developments which may be taking place. "What have you noticed around you which may indicate changes which may be significant?" he asked, which made we reflect on how WiFi in conferences is now starting to "just work". In addition I subsequently told Tony how I had purchased a discounted copy of The Guardian using an electronic voucher. Another technique which Tony suggested was to provide a question for which the answer might be "At the library". For example during his talk in the Data Librarian session at the ILI conference itself Tony suggested that there could be opportunities for librarians to provide training and support for their users in developing skills in SQL and use of regular expressions. Could "At the library" be an answer to the question a researcher is asked by a colleague: "Where did you learn how to take the data from diverse sources and manipulate them prior to data visualisation?" for someone working in an institution in which library staff are developing new skills and moving into new areas?
The final part of the framework used in the workshop during which participants made a business case for exploring new technologies was an approach I have learnt recently from my participation in the Hyperlinked Library MOOC organized by Michael Stephens and Kyle Jones.
Have identified key technological developments using the Delphic process the participants, working in three groups, where asked to provide a business case for their area which included the methodology from the Hyperlinked Library MOOC.
Approaching potential new technologies and looking at evidence, case studies & asking about its application in a library context.
The "have you asked the Library?" is quite an eye-opener. It forces one to rethink what they think they are doing.
Discussions and networking. Tony's "Did you try the Library?" Horizon project Top 10.
The Scenario Planning process. Template for proposing tech/service. Loved the two morning presentations.
Share disaster experiences within library community, Take risks with new technologies.
Discussions with other people. Useful 'recipes'.
The 3 short term and medium term technologies to look for. The Delphic process.
The discussions and group sessions. Overview of reports.
The international diversity of the participants.
The personal experience stories from librarians. Planning of new proposals for library.
I would have preferred more practical examples relevant to the library even if they end up being Second Life.
It would be nice if new technologies had been presented. The only ones mentioned were Google, Wikipedia and Amazon. I already knew about them and did not need to hear about them again.
Loved the bit.ly interactive Doc notes idea – very helpful for attendees and makes it easier for me to share this info with my colleagues back home.
Well-organized. Group work was a but difficult because the group was too international, that means the problems in the different countries are too different.
I think it would have been useful if the presenters, at least one, was a librarian. The two presenters did not seem to know about the legal issues concerning library technologies. Several things they said were illegal.
This was the fist time Tony and I had ran this workshop. We were pleased with the workshop and the active participation from the participants. We had said that the structure of the workshop may change in light of the feedback form the participants. This meant that three presentations, on digital badges, amplified events for professional development and hyperlinked libraries, were not given. Instead we responded to requests from a couple of the participants to address the broader issues of the future of libraries. However these slides, together with all of the resources used in this workshop, have been made available and use of a Creative Commons CC-BY licence means that they can be reused by the participants (and others) in their own institution.
One of the discussion groups commented that the six participants were from six different countries. I suspect that wouldn't have been the case for workshop sessions at the Internet Librarian conference which is held in the US and attracts primarily a North American audience. Despite the concerns Tony and I had when we first heard of the global diversity of the participants at the session we are pleased with the feedback we received. In retrospect, however, the title of the workshop did not correctly reflect the abstract. Rather than "Future Technologies and Their Applications" we should have called the workshop "Predicting Future Technologies".
The slides used in the workshop are available below. Note that the slides hosted on Slideshare are the latest version. The Authorstream versions are provided as a backup copy.
NOTE: Jeroen de Boer has just published a report on the workshop (and a number of other events). Google Translate has been used to provide an English translation. This describes how "we opted for the development of mobile. Because my group were mainly employed by university and research libraries was their focus very focused on issues relating to the accessibility of private collections and therefore problems of copyright etc. I said that it is right to look at how external sources very interesting for us including academic, can link to library collections".
Convince management that by implementing mobile they will exploit Linked Open Data collections which will optimize the library collection in order to attract new and current users because they will keep our library relevant anywhere anytime.
I was pleased to see this approach, developed by Michael Stephens and Kyle Jones, being used by others.
This entry was posted on 17 Oct 2013 at 12:40 pm	and is filed under Events. Tagged: ILI2013. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


Guest minister Doctor James Wright delivers a powerful word for our church. In his message, he highlights that the enemy attempts to rob us of our convictions, courage, and character. However, the King sends the message, "Hold on! Help is on the way!." As believers, we must refuse to listen to the enemy and choose to embrace the words of our King.


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Writer-Director-Composer Noah Stratton-Twine On Coming Of Age For Millennials, Composing, And His Fondness For Low Apertures
by Nimisha Menon
Young, Young Men — a film about teenage male friendship — is a breath of fresh air. It is intimate, warm, and entirely devoid of malice. Here we have a conversation with its filmmaker Noah Stratton-Twine touching everything from British coming-of-age stories, his influences, to the respect and attention he paid to his two characters.
Young, Young Men is set in a beautiful countryside location (South-English prairie). What did you hope to weave into the film by setting it where you did?
Without sounding overtly cliché, the setting was always the main character of the movie. My ignition in making the film was to establish an environment recognisable to the youth of Britain, but new to the big (or small) screen. I noticed a lot of British coming-of-age films plunked their characters into gritty concrete jungles that accentuated their angst and adolescent grievances. Not to negate those cultures, but that just wasn't how I, or the crew, grew up. That was the seed.
That's interesting, Noah. So, what really were your thoughts when you went to recce the location?
Originally we were going to shoot somewhere that looked more cinematic. Tall pine trees and extraordinary vistas. It was a month until shooting when I flipped that plan on its head and decided to instead shoot in my hometown. So now the scenes based on true events were actually shot where they happened. Rather cathartic, but to the cast and crew, it was essential in connecting to the context of the film.
Moving from its location to cast; Young, Young Men has a distinct cast: Millennials. What prompted you to choose kids from the millennial generation as your characters?
Because they're like me! The thing I found interesting about my generation is that we grew alongside the great technological boom after the first iPhone released in 2007. Social media was developing slowly, but it wasn't really a focus like it is now. Phones were present, but going outside and engaging with friends in fields and forests always took precedence.
I wanted to create a modern film that could get away with not using social media as a thematic plot point. It's difficult to make modern coming-of-age films right now that don't feature phones and social connections as a narrative device because of how integrated they are in the lives of young people. I didn't want Luke and Charlie to take a selfie, nor be cyberbullied. The film wasn't about that. There's one scene where Charlie watches a video of a bunch of students at a pre-party event, but we only hear the audio of it. If we saw what they saw, it would just open up another dimension.
Also, British millennials are lacklustre in films. I wanted to make something that the same generation would recognise, whilst being a slice-of-life insight to older generations that kids like these existed.
You certainly succeeded at that. Take us through its scripting stages. How did you develop Luke and Charlie on paper?
It was an odd one. On one hand, I was merely acting as a linguistic conduit for the language I remember from my time in their shoes. For example, getting the game "odds on" in there was so important because that's all we did. That was how decisions were made, and to be frank, are still made. On the other hand, this is a movie. It needs to move somewhere, and a few blast-from-the-past idioms and axioms couldn't give the film a narrative direction.
I didn't overcomplicate the conception of Luke and Charlie. I think they're quite like other cinematic buddies; different but the same, independent in will, but magnetic in connection. Luke is a little restrained, Charlie is more-so chaotic. These are really simple attributes, but having them so straightforward meant their characters could be moulded in the moment, instead of being already moulded in an already-conceived backstory. From there, it was all about how they would interpret situations both independently and with each other. For example, Luke getting better grades than Charlie. It's an unspoken thing, but it's there lingering in every scene.
The characters certainly share believable chemistry. How did you direct the actors to be quite so platonically intimate? How much of it was already on the paper?
Well, it helped that John and Ned already knew each other, which was strange at the time, because I cast them through different methods and at different times. Naturally, boys of that age pinch, punch and slap each other for fun. It's a form of communication like any other. They bounce off each other verbally and mentally.
When we were rehearsing, I spoke to them about how they would touch each other without even clocking onto it. I think that lack of reaction from both characters cloaked the intimacy, gradually becoming something the audience would just get used to. For example — in the opening scene, neither character speaks to each other, but their playful contact tells us all we need to know. However, when they hug after their argument, there is an air of awkwardness because of how present they are physically in that moment. It's the difference between a good handshake and a failed one — if it goes well, you don't even think about it, but if you go in for a shake and they go for a fist-bump, it's all you can think about.
Aside from the montage sequence, pretty much every touch, slap or punch was scripted. It's a credit to John and Ned for making them feel so authentic.
It's interesting that you say that the characters and their dynamics were already established on the paper. So, how many revisions did the film or the screenplay go through to be the final product?
The first (very poor) draft of the screenplay was written five years ago, which went on to receive procedural updates and reworks as I matured both in life and in the craft. Despite this, the general gist of the story never changed — it was always just two boys walking and talking amidst the South-English prairie.
Originally, the film ended with Luke and Charlie attending a party in its prime. After Charlie throws up, the pair are drawn further into the forest by distant subwoofers, eventually arriving at a field with two dozen partying students. They delivered the "What you drinking?" exchange and walked into the ethereal light. Super cinematic. I rewrote that ending in favour of giving the boys one last moment alone together. The previous ending made it feel like they won, that the party was all that really mattered. No. It was always about the journey, so having them arrive at this partly-mythologised party and being the only ones there just felt like the ending they deserved. I did favour a few fellow teenagers to eventually show up, but that was only to establish that all across this countryside, people are having their own unique exodus that was just as important and just as special — just like Luke and Charlie.
Since you mentioned its super cinematic ending; the ending being what it is, did you envision what the future looks like for the two characters and their friendship?
Their futures never mattered to me. I wanted to focus on the moment — this one afternoon. Anything could've happened to them after that, just like anything could've happened to all those school friends that we lose contact with.
I like to think Charlie and Luke had a great night at the party, and hopefully, they stayed friends long into the future. Though based on my experience, they likely didn't, and that's fine. They had one great summer together and they'll remember it forever.
Of the film's look, how much of it was directly your decision, and how much did you rely on cinematographer Toby Hart?
The film came out exactly how I envisioned, if not better. Toby and I didn't talk much about the specifics of what we wanted as we simply didn't need to. Toby grew up like I did, and that was enough direction to get what we wanted. I wrote a shot list but, per usual, didn't really use it. A lot of the times we just plonked the camera down and went with it. Despite a few reflectors here and there, we were shooting entirely in natural light, so there was an abundance of freedom.
I had two technical requirements. The first was using lenses capable of going to extremely low apertures. This was to create this dazzling green mirage in our close-ups that accentuated the boys amidst the foliage. Also, I just prefer to shoot on low apertures whenever possible. I just like the way it looks.
The second was using zoom lenses in order to capture the boys traipsing across the countryside in a voyeuristic, almost documentarian style. I would direct John and Ned to walk and not stop walking whilst playing off each other, and we just shot them moving further and further away from us, usually for quite a long time.
We shot LOG, a video format that produces a very flat and unsaturated image. Shooting this way gives a lot of freedom in the colour suite, so a lot of the "look" came from the grade. I made the decision to push the saturation just beyond the normal value to give the visuals a nostalgic dream-like quality. The term "golden summers" was thrown around, and I used it as a basis to create a look that felt like experiencing a memory.
It was voyeuristic, indeed. Coming to its background score. You were involved in composing the score, how did you go about creating something that would not only fit the mood, but also deliver the story in its own electric way?
I essentially composed a handful of various themes until I heard something that reminded me of childhood. I eventually played something accidentally nostalgic and just stuck with it. The initial motif dates back 12 months before we shot anything. Though, this was just a rough melody. The percussive claps were envisioned from the beginning as a human element to intertwine with the piano. They also created an unmissable energy, similar to that of the boys.
The more orchestral components were decided in the editing suite. We were close to going electronic, but seeing as the film's set just before the big tech boom, it felt more authentic to use bombastic brass and woodwinds to give the film an adventurous quality.
I fought hard to get a pedal steel guitar as the primary instrument of the film. It has a bleeding melancholic sound I thought perfect for the picture. Sadly, we didn't have the budget for it. That irks me to this day.
12 months is a long time investment. What did collaborating with Conor Lane (composer) feel like? Especially when you have single-handedly written, directed and edited the film?
Half of the post-production on my movies are spent with Conor, so it all feels very natural. He not only operates boom but also works with me on sound design, so composition fits nicely in that arrangement. After we finish sound design, I hand over a bunch of sporadic melodies and motifs. He re-transcribes them into his workstation. We lock the door, put the speakers up and brainstorm for days or weeks at a time, experimenting with everything that comes to mind. Making music is a lot simpler these days, so I can simply say "let's try a woodwind tremolo there," and within 10 seconds, it's there.
Often, the score became a slave to the edit, or vice versa. Ideas we put into the music justified a response in the cut, thus new shots were added or original shots were extended or shortened. The montage sequence didn't really exist until we had a score that fit it, and even then, the score influenced exactly what came up on the screen and at what time. Essentially an always adapting imperfect marriage between visual and sound.
A flaw of our collaborations is we both believe our work is never finished, leading to us returning to the score over and over again months apart. We try new things despite being already satisfied, usually because we get bored and want to hear something else. The score went through around four major revisions before we had to throw our hands up and say no more.
It's hard for you to let go, isn't it? In that case, was there a particular element that did not change at all throughout?
A lot of the movie was forged in the edit. For example, the montage sequence was never scripted nor planned. I wanted the opening to have a strong musical moment, and it just made sense with all the B-roll footage we shot. A handful of lines were cut too, usually from the beginning or end of a scene. I find it easier cutting a long scene short than attempting to make a short scene longer.
The film was also originally titled Viaduct Country with Young, Young Men in subheadings. I grew to love the latter name a lot, thus made it the main and only title.
What conflicts or difficulties, if any, do you face in switching from the role of a director to that of an editor?
Honestly, none. I see the edit as clear as day when I'm writing and directing the film. Every cut, every fade to black, every superimposed title card. Obviously new ideas appear in the edit, but when I direct, I'm really just filling in the blanks of an imaginary editing timeline in my head. It's one of those things that's hard to describe, but it works for me.
Going back to Young Young Men's characters; the gender and sexual dynamics in it are refreshingly respectful. What motivated these decisions and at which stage of writing or production did they begin and then fully develop for you?
I think it's easy to paint adolescents as these crass-speaking delinquents, because truthfully, a lot of them are like that. However, the fact they were young men warranted at least some conversation about chasing the girls, but I think those conversations were just talking points to distract from their insecurities concerning the world around them. At no point in any version of the script did they come into contact with the opposite sex, and I think the one time they do being from far in the distance speaks volumes about what I'm trying to get across. Luke and Charlie have no conquest, just vague aspirations. They drink because it's fun. They talk about girls because other people do. There's no agenda. It's all just cluelessness, and I think that's what makes it endearing.
We have to ask you this: Were there any literary works or films that influenced any aspects of Young, Young Men, whether that is its mood or premise or characters?
I love movies. I watch a couple every day, so there's probably an extensive amount of subliminal influences from every film I've ever loved in there. Yet I made an effort not to watch many coming-of-age films before shooting. I didn't want to rely on past successes and formulae, especially as I was depicting such a personal setting to me.
There's a montage sequence in David Lowery's Ain't These Bodies Saints which became a huge inspiration for the montage, specifically with the percussive claps. Although it may be hard to see, I took inspiration from the ending of Jeff Nichols' Mud for my ending. Although that film ends on a boat in a bayou and Young, Young Men ends in a field, the mood in Mud's coda encapsulated the exact feeling I desired. It was deliciously melancholic and had a tangible taste of anticipation of what's to come after we cut to black. I think we even used the soundtrack as a temporary score early on in post-production.
This has been a great interview! Unfortunately, like all things good, this has to end too. On a closing note, what's keeping Noah busy these days?
I was set to begin shooting my next film last March, so you can imagine what happened with that! We shut down production on the first day of principal photography, which sucked. That's been rescheduled for next year, however, I'm working on a new short right now, looking to shoot sometime in October. Similar to Young, Young Men, it's a slice-of-life movie with two eccentric characters in a defining moment, but set entirely in a Parisian restaurant. It's called Blue Ruby. I'm really excited for it.
I'm also in the very early development of a feature film I intend to shoot sometime in the next 3 to 4 years. It's a homage to the Zemeckis-era of filmmaking, set in the South-English suburbs. It's about one man's devotion to his grandma. Features are tricky things, but it's never been more accessible to make one, so I'm going to give it my best shot.
A short film Blue Ruby, and an untitled feature film and lots of indulgence in cinema viewing amongst others, Noah Stratton-Twine has his hands full. His evocative Young Young Men is sure to be taken note of. We look forward to him regaling us with many more similar or dissimilar projects, but regardless, with a very Noah-like tone to them.
To know more about Noah and his work, click here.
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redpajama_set_name: RedPajamaCommonCrawl


This article presents chaos, a theory drawn from the physical sciences, as an explanatory model for international economic law which for the purposes of this study will be taken to consist of the law of the WTO, international investment law, and the policies of the IMF and World Bank. The rules promulgated by these institutions as the central pillars of global economic governance are both indeterminate and susceptible to external influences, leading to unpredictable outcomes in the longer term, even if they appear deterministic on the small scale as applied to individual states or firms in particular instances. This article will attempt to illustrate that the observed chaotic nature of international economic law should be viewed as a benevolent feature of the system, as its inescapable unpredictability engenders flexibility and adaptability. These are traits which are valuable for both governments and firms seeking to prosper within the dynamic global economy. The utility of international economic law should therefore not be judged by its capacity to achieve predictable outcomes in the form of macroeconomic benchmarks. The article concludes by suggesting that the shared, advantageous characteristic of chaos may be seen as means of conceptually unifying the four disciplines of international economic law.


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Google updates Images to make it easier to compare products
An update to Google Images may help shopping decisions.
Amrita Khalid|@askhalid|August 6, 2019 12:00 PM
Google has unveiled an update to the Images interface that will allow users to compare and contrast related pictures. Entering a term like "green dress" or "black lamp" into Google Images can yield hundreds of results -- and it can be tough to narrow down the selection. Now, after users select an image, it will appear in a side panel on the page next to the search results. The image will continue to stay there as the user scrolls, allowing them to compare it with different versions of the same item.
The update includes a few other tweaks to Google Images that should help shoppers reach more informed decisions. If a user selects an image that is tagged as a product, they'll now see details such as brand, price, availability and reviews. They'll also learn more information about the image's source website.
Google has made a host of changes this year to better target shoppers -- it recently unveiled a completely re-designed Google Shopping platform. Earlier this year, it began testing shoppable ads in image search results and YouTube videos. The search giant is also allowing users to purchase products directly on many of its properties, including Search and Assistant.
Online shoppers are often faced with decision fatigue, so it makes sense that Google is finding ways to help. Allowing users to compare images, read reviews and learn more details about merchants will help narrow down their choices. It's easy enough to see how similar products stack up against each other at a brick-and-mortar store -- the new Images interface will help replicate this experience online.
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QBE North America has a limited distribution model that promotes meaningful relationships and industry expertise.
No two farmers are alike. Whether it's how they work their fields or pay for the land or grow their crops, farming is a uniquely specialized business venture. "Each farmer has a little bit different structure as far as their debt loads," explains James Korin, president of NAU Country, which offers crop insurance through QBE. "Whether they own it outright, whether they are buying new land or need equipment, everybody needs a little bit different coverage to get their operating loans from the bank. "It's a complicated program, but that's what makes it successful because there is a choice for everybody. There's not one policy that every farmer must fit into. There's more than 100 different crops and literally hundreds of different options on coverage they can take."
The ability to effectively serve such a diverse group requires deep expertise in the industry itself, and as the third largest crop insurer in the country, QBE takes this quite seriously. "In our crop business the team lives and breathes the American farmer, and, in most cases, our people are farmers themselves or grew up on a farm," says Russell Johnston, CEO of QBE North America.
Korin echoes the sentiment. "We've got close to 800 employees working in our crop unit. They're either part-time farmers, farmers themselves or people who grew up on a farm and are looking to stay in agriculture," he says. "The crop program is unique. It requires knowledge of crops when you're going out to talk to the farmers. That even includes our programmers, where we design and develop all our computer systems. We get a lot of those folks out of either ag colleges or right off the farm, and they come in and do the programming. They understand the crops and the cycle. That's important because, if you're trying to build a system that works for the American farmer, you have to know what you're building."
BROKER SPECIALIZATION
QBE's approach to farming is indicative of its overall strategy of limiting partnerships to agents and brokers it knows are compatible with its focus. This strategy allows QBE to get to know its brokers on a deeper level and gives its partners access to products and services that are distinctive and exclusive. QBE North America, part of QBE Insurance Group, is an integrated specialist insurer offering specialty, property and casualty, crop and reinsurance products.
"We set out to create a company that would offer integrated specialized solutions for a limited and preferred network of brokers. That approach allows us to build the strongest partnerships with our brokers and customers, so we can better understand their needs," says Johnston. "At the end of the day, if we are doing our jobs, our brokers and customers won't feel like they are dealing with an insurance
QBE North America is sharpening its focus on industry solutions, and the brokers it chooses to work with emphasize specialization as well. "We see our partners making tangible investments to shift from generalization to specialization," says Mark Cantin, president of QBE North America's field operations. "They are looking for carriers that can match the specialization on their side, and at the same time, they're looking to do more with carriers that are willing to customize products to help them grow organically.
"What that goal leads to is brokers' needing to rationalize their book of business and conduct more business with fewer carriers. They want carrier partners who are going to provide them with bespoke solutions rather than simply quoting product."
QBE North America believes that shifting from generalization to specialization can help brokers better serve their clients—farmers being a case in point.
DATA FARM
Moving forward, QBE is innovating and investing in technology that will drill down even further into the specifics of farmers' needs. "There clearly has been an explosion of data," Korin says. "We're using that data just as farmers are using it in their planting and harvesting equipment. Five to 10 years ago, the geospatial industry was just taking off. Our innovation in mapping goes back to the time Google maps was just taking off. Up until that time, farmers needed to use the old legal description—township, range and section—in order to complete their yearly acreage report. The process was very complicated, especially if fields were split in between multiple crops."
Now, new mapping technology allows NAU Country to put each farmer's information into a visual map, so farmers can identify precisely which fields to insure based on actual planting data. "If you are a farmer with multiple fields, you can easily make mistakes regarding township, range descriptions, what you are reporting," Korin says. "There is a lot of 600-acre farms that are split—half corn and half soybeans, for example. To legally describe a split farm was not only tough; it was inaccurate. Using these geospatial tools, we can now know exactly what has been planted down to the tenth of an acre."
NAU Country is using Field Insights™ to help with risk management. "We're taking all this weather data, soil temperatures, soil moistures, soil conditions, and we're putting it into a model to help our farmers determine when they should be planting, when they should be harvesting or spraying chemicals," Korin says. Adjusters also use drones to survey damaged fields much more efficiently, helping to service claims more quickly.
"We are making great progress on our journey to provide distinctive value to the market through applied expertise, an experience of excellence and our global strength," Johnston says. "I want us to be known for these values. And the idea behind that is simple. It's not just having expertise or offering an experience of excellence. It is leveraging those core values in a way that our brokers and customers will feel it. That is how we will be successful."
Source URL: https://leadersedgemagazine.com/articles/2018/10intimate-relationships


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Gig Review and Pictures: Lucky Soul @ The Monarch (01.12.2009)
December 2, 2009 February 28, 2010 • Rob
Remember remember the 1st of December. Two gigs, one night.
First up was Lucky Soul playing an intimate show at Camden's Monarch. It was an opportunity for Ali and co. to showcase tracks from their long overdue sophomore album, Coming of Age and from last nights show the new record looks like its going to pick up where The Great Unwanted left off. The sound is more 'grown-up,' more adult. Like when you move from Dairy Milk to Green and Black. It's still chocolate, just with a richer, more satisfying flavour.
That's what the new music sounds like, the same thing with heavier guitars and deeper lyrics.
The title track, Coming of Age, probably got the best response of the night. I would have agreed it was the best track… until I heard Flames (again), which just wrecked the building for me! I love that record – candy coated Mowtown-esque charm with a really catchy hook.
The two slower songs (names I forget, sorry) also stood out as they gave Ali's melancholy vocals the opportunity to cut through (she was a little drowned over some of the heavier tracks).
The album is due for release in March and I would recommend trying to see them play out before it drops. They already have a semi-cult following and if Coming of Age gets half the attention The Great Unwanted did obtaining tickets post release may become a bit of a 'challenge.'
Posted in Gig Photos, Gig ReviewsTagged Concert, Concerts, Gig, London, Lucky Soul, Photos, Pop, The MonarchBookmark the permalink.
Gig Review and Pictures: Mos Def @ The Forum (29.12.2009)
Gig Review and Pictures: Laura Izibor @ The Jazz Cafe (01.12.2009)


Many agreements can be made informally, either in writing with a just simple signature and no other legal formalities or even just orally. But some agreements have to take a special form – known as a 'deed' – and that means certain specific requirements have to be followed.
When is a deed required?
Although any agreement could be made by a deed, there are relatively few agreements which actually have to be done by deed. Probably the most common ones in practice are mortgages or charges over land, transfers of land, leases, appointments of trustees and powers of attorney.
Deeds can also be used in transactions where there is no consideration being given by one party – such as a guarantee where there is generally no consideration given to the guarantor in return for it guaranteeing the obligations of a third party. Using a deed can 'cure' that lack of consideration which might otherwise make the transaction (the guarantee) unenforceable.
The document must be in writing.
The document must make clear that it is intended to be a deed – known as the face value requirement. Standard wording in the document will usually achieve this. For example, the document might start with words such as 'This deed is made on…' and end with words such as 'This agreement is executed as a deed'.
for a company, the agreement must be signed either by a single director in front of an attesting witness or by two 'authorised signatories' (each director or secretary is an 'authorised signatory' here).
The document must be delivered. Only when a deed is 'delivered' will it actually take effect and bind the parties. A deed is delivered when a party indicates an intention to be bound by it. There are various statutory presumptions to help confirm when a deed is delivered but this is also typically addressed in the drafting of the document – so the agreement might state 'This deed is delivered on the date written at the start of this deed'.
A recent case illustrated how failing to meet these strict legal requirements can have significant consequences for the parties involved.
The case involved a company sale by three shareholders. Two of them were unable to attend the completion meeting so their US lawyer arranged for them to sign powers of attorney in favour of the third shareholder. The documents were described as powers of attorney and the shareholders' signatures on them were appropriately witnessed. But, crucially, the word 'deed' was not used anywhere in the documents.
At the completion meeting, the attending shareholder signed a guarantee on behalf of the absent shareholders, relying on the authority given to him by the powers of attorney. When the beneficiary of the guarantee subsequently made a claim under it, the absent shareholders argued that they were not liable as the powers of attorney used to execute the guarantee were not valid.
The High Court agreed with the absent shareholders, stating that the powers of attorney failed to meet the 'face value requirement' for a valid deed. There was no evidence that the shareholders, or their US lawyer, knew that English law required a power of attorney to be in the form of a deed. Simply describing the document as a 'power of attorney' was not enough to infer an intention that it should take that form. Although there were indications that the document was intended to be a formal one and to have formal legal effect, that was not enough to show that the parties intended the document to have the extra status of being a deed.
In some circumstances, a defective power of attorney can take effect in writing but not as a deed to appoint the (purported) attorney as the simple agent of the principal. This happened in this case where the judge said the third shareholder could act as agent of the absent shareholders.
But this still wasn't enough to save the guarantee as the judge also found that, in signing the guarantee on behalf of the absent shareholders, the agent had exceeded the authority given to him by the (purported) power of attorney.
So, due to the defects in the power of attorney, the buyer was unable to enforce the guarantee against the two absent shareholders.
Anyone asked to rely on another party signing a document via a power of attorney should check that the power has been properly granted by a valid deed, which meets the requirements explained above, and that the relevant act is within the attorney's authority. Otherwise, a document signed or executed in reliance on the power of attorney will be unenforceable.


text:
Edmund Gerard "Ted" Carroll (19 February 1939 – 22 December 1995) was an Irish hurler who played as a centre-back for the Kilkenny senior team.

Born in Lisdowney, County Kilkenny, Carroll first played competitive hurling during his schooling at St. Kieran's College. He arrived on the inter-county scene at the age of eighteen when he first linked up with the Kilkenny minor team. He made his senior debut during the 1971 championship. Carroll subsequently became a regular member of the starting fifteen and won three All-Ireland medals, five Leinster medals and one National Hurling League medal. He was an All-Ireland runner-up on three occasions.

As a member of the Leinster inter-provincial team on a number of occasions Carroll won one Railway Cup medal. At club level he won one championship medal with University College Dublin while he also enjoyed a lengthy career with Lisdowney.

His brother-in-law, Jimmy O'Brien, was a two-time All-Ireland medallist with Wexford.

Throughout his career Carroll made 22 championship appearances. He retired from inter-county hurling following the conclusion of the 1971 championship.

In retirement from playing Carroll became involved in the administrative affairs of the Gaelic Athletic Association. He served as secretary of the Kilkenny County Board between 1984 and 1995.

In 1969, Carrol was selected as the Texaco Hurler of the Year. He has sometimes been voted onto teams made up of the sport's greats, including at centre-back on the Fitzgibbon Cup Hurling Team of the Century in 2012.

Playing career

College

During his schooling at St. Kieran's College in Kilkenny, Carroll established himself as a key member of the senior hurling team. In 1957 he was captain of the team and won a Leinster medal following a 6-3 to 3-0 defeat of Patrician College. St. Flannan's College provided the opposition in the subsequent All-Ireland decider and held the lead until the dying minutes. A late goal at the death secured a remarkable 4-2 to 2-7 victory for St. Kieran's and an All-Ireland medal for Carroll.

University

During his studies at University College Dublin, Carroll quickly came to the attention of the selectors of the college hurling team. In 1958 he failed to make the starting fifteen but was included on the extended panel as the Dublin outfit faced University College Galway in the final of the Fitzgibbon Cup. A huge 7-9 to 2-1 victory gave Carroll, who came on as a substitute, a first Fitzgibbon Cup medal.

UCD surrendered their title to old rivals University College Cork in 1959, however, the sides renewed their rivalry the following year. By now Carroll was a regular at centre-back and won a second Fitzgibbon Cup medal following the 4-10 to 4-3 victory.

Carroll lined out in a fourth successive Fitzgibbon Cup decider in 1961, as University College Galway provided the opposition once again. The game was a close affair, however, a narrow 3-6 to 3-4 victory gave Carroll a third Fitzgibbon Cup medal.

Club

Carroll first enjoyed success at club level as a Gaelic footballer with Galmoy, an amalgamation of teams from Johnstown, Galmoy and Lisdowney. In 1955 he was a member of the minor team that faced St. Canice's in the minor decider. A 2-7 to 1-2 victory gave Carroll his first championship medal.

By this stage Carroll was also a regular on the Lisdowney junior team. In 1960 the team qualified for just their second ever junior championship decider, having lost at their first attempt eighteen years earlier. A hard-fought 3-8 to 2-5 defeat of Knocktopher secured a championship medal for Carroll.

His studies in Dublin also allowed Carroll to line out for University College Dublin in their county championship. A defeat of St. Vincent's in the 1961 secured a Kilkenny Senior Hurling Championship medal for Carroll.

After just two years in the top flight of Kilkenny hurling, Lisdowney qualified for the senior decider in 1962. A 5-7 to 2-8 defeat by Bennettsbridge resulted in disappointment for Carroll.

By 1978 Carroll was approaching forty years of age, however, he still continued to line out with Lisdowney who were now playing in the intermediate grade. The club reached the final that year, however, a 2-21 to 4-7 score line resulted in defeat of Carroll's side.

Minor

Carroll was seventeen year-old when he was called up to the Kilkenny minor team in 1956. He won a Leinster medal that year following a 4–7 to 3–7 defeat of Wexford in the provincial decider. On 23 September 1956 Kilkenny faced Tipperary in the All-Ireland final. A 4–16 to 1–5 trouncing, with teen sensation Jimmy Doyle contributing 2-3, resulted in defeat for Carroll and his side.

The following year Carroll added a second Leinster medal to his collection, as Offaly were defeated by 5–10 to 4–2. For the second year in-a-row, Tipperary provided the opposition in the All-Ireland final on 1 September 1957. In a close game Tipperary eventually triumphed by 4–7 to 3–7.

Senior

Early success

Carroll made his senior championship debut on 18 June 1961 in a 6-8 to 5-7 Leinster semi-final defeat by Wexford.

After two years without success, Carroll won his first Leinster medal in 1963 following a 2–10 to 0–9 defeat of Dublin. This victory allowed Kilkenny to advance directly into an All-Ireland showdown with Waterford on 1 September 1963. "The Cats" entered the game as underdogs, however, Eddie Keher proved to be the difference with a magnificent display in which he scored fourteen points. Despite a hat-trick of goals from Waterford's Séamus Power, Kilkenny secured a 4–17 to 6–8 victory. It was Carroll's first All-Ireland medal.

All-Ireland defeats

Carroll added a second Leinster medal to his collection in 1964 as Dublin were defeated on a 4–11 to 1–8 score line. The All-Ireland final on 6 September 1964 saw Kilkenny enter the game as firm favourites against fierce rivals Tipperary. John "Mackey" McKenna scored Tipperary's first goal after ten minutes as the Munster champions took a 1–8 to 0–6 interval lead. The second half saw Tipperary score goals for fun, with Donie Nealon getting a hat-trick and Seán McLoughlin another. Kilkenny were humiliated at the full-time whistle as Tipperary triumphed by 5–13 to 2–8.

After surrendering their provincial crown in 1965, Kilkenny bounced back the following year by reaching the final of the National Hurling League. An aggregate 10–15 to 2–15 defeat of New York gave Carroll a league medal. He later won a third Leinster medal following a 1–15 to 2–6 defeat of Wexford. The subsequent All-Ireland final on 4 September 1966 pitted Kilkenny against Cork for the first time in nineteen years. Kilkenny were the favourites, however, a hat-trick of goals by Colm Sheehan gave Cork a merited 3–9 to 1–10 victory.

Kilkenny resurgence

Carroll was moved to left corner-back in 1967 and collected a fourth Leinster medal as Kilkenny retained their provincial crown following a 4–10 to 1–12 defeat of Wexford after a scare in the opening half. On 3 September 1967 Kilkenny faced Tipperary in the All-Ireland decider. Tipperary looked like continuing their hoodoo over their near rivals as they took a 2–6 to 1–3 lead at half-time. Goalkeeper Ollie Walsh was the hero for Kilkenny as he made a series of spectacular saves, however, the team lost Eddie Keher and Tom Walsh to injury in the second half. In spite of this, Kilkenny laid to rest a bogey that Tipperary had over the team since 1922, and a 3–8 to 2–7 victory gave Carroll a second All-Ireland medal. He finished off the year by claiming an Oireachtas medal following a 4-4 to 1-8 defeat of Clare.

Wexford put an end to Kilkenny's hopes of retaining the title in 1968, however, the Noresiders bounced back the following year with Carroll collecting a fifth Leinster medal following a 3–9 to 0–16 defeat of Offaly. On 7 September 1969 Kilkenny took on Cork in the All-Ireland decider. The Leesiders got into their stride following an early goal by Charlie McCarthy and led by six points coming up to half time when Kilkenny raised a green flag themselves. Kilkenny upped their performance after the interval and ran out winners on a 2–15 to 2–9 scoreline. The victory gave Carroll a third All-Ireland medal as well as the man of the match title, while he was later named as the Texaco Hurler of the Year. Cork and Kilkenny renewed their rivalry before the end of the year, however, a 4-14 to 3-10 victory gave Carroll a second Oireachtas medal.

Decline

After surrendering their provincial and All-Ireland crowns to Wexford the following year, Carroll was dropped from the starting fifteen in 1971. He was a non-playing substitute as Kilkenny defeated Wexford by 6-16 to 3-16 to take the Leinster title once again. On 5 September 1971 Kilkenny faced Tipperary in the All-Ireland final, however, Carroll still remained on the bench. He was introduced as a substitute for "Fan" Larkin, however, Tipperary emerged the victors on a score line of 5–17 to 5–14. This defeat brought the curtain down on Carroll's inter-county career.

Inter-provincial

In 1965 Carroll was at centre-back on the Leinster inter-provincial team. He won a Railway Cup medal that year following Leinster's 2-11 to 0-9 defeat of Munster.

Post-playing career

In retirement from playing Carroll became involved in the administrative affairs of the Gaelic Athletic Association. In 1982 he was elected chairman of the Northern Board before taking over as secretary of the Kilkenny County Board in 1984. Carroll held this position for over a decade.

Personal life

Born in Lisdowney, County Kilkenny, Carroll and his twin brother, Mick, were raised on the family farm. Educated locally at Lisdowney National School, he was enrolled in St. Kieran's College in 1952. After finishing his studies here in 1958, Carroll was accepted to University College Dublin, however, an administrative error meant that he received no notification of the fact that he had been accepted to the veterinary course. Instead he started studying agricultural science and, following his graduation, Carroll began working with Teagasc.

Carroll married Angela Lenehan, a native of Kilkenny city, in 1966 and settled down in the Dicksboro area of Kilkenny. The couple had five children: Pat (born 1967), Donal (born 1969), Helen (born 1971), Ted (born 1973) and David (born 1977).

On 22 December 1995 Carroll died suddenly.

Honours

Player

St. Kieran's College
All-Ireland Colleges Senior Hurling Championship 1(1): 1957 (c)
Leinster Colleges Senior Hurling Championship (1): 1957 (c)
Leinster Colleges Junior Hurling Championship (1): 1956

Galmoy
Kilkenny Minor Football Championship (1): 1955

Lisdowney
Kilkenny Junior Hurling Championship (1): 1960

University College Dublin
Fitzgibbon Cup (3): 1958, 1960, 1961
Dublin Senior Hurling Championship (1): 1961

Kilkenny
All-Ireland Senior Hurling Championship (3): 1963, 1967, 1969
Leinster Senior Hurling Championship (6): 1963, 1964, 1966, 1967, 1969, 1971 (sub)
National Hurling League (1): 1965-66
Oireachtas Tournament (3): 1966 (sub), 1967, 1969
Leinster Minor Hurling Championship (2): 1956, 1957

Leinster
Railway Cup (1): 1965

Individual

Honours
Fitzgibbon Cup Team of the Century: Centre-back
Texaco Hurler of the Year (1): 1969
All-Ireland Senior Hurling Final Man of the Match (1): 1969

References

1939 births
1995 deaths
Lisdowney hurlers
UCD hurlers
Kilkenny inter-county hurlers
Leinster inter-provincial hurlers
All-Ireland Senior Hurling Championship winners

redpajama_set_name: RedPajamaWikipedia


text:
Essisus is a genus of longhorn beetles of the subfamily Lamiinae, containing the following species:

 Essisus dispar Pascoe, 1866
 Essisus vivesi Breuning, 1978

References

Desmiphorini


text:
Q: Bookmarklets doesnt work when run from bookmark, but works from console I am trying to create a bookmarklet that will insert some text in a textarea on a webpage (webpage is for internal use so no point in linking).
Here is example of javascript code i tried:
(function(){document.getElementById("textareaID").value="Some text";})();

I'd like to point out that i tried different element selectors (byClass, query...) and different attributes (even tabindex) to the same result. Also tried in both Chrome and IE11.
So, for some weird reason my javascript runs when i run it from console (or as a snippet) but i get an error "Cannot set property 'value' of null" when i try to run it from bookmark menu.
I tried creating a bookmarklet by myself
javascript:(function(){document.getElementById("textareaID").value="Some text";})();

and tried using online bookmarklet creators to encode special characters
javascript:(function(){document.getElementById(%22textareaID%22).value=%22Some%20text%22;})();

but no luck.
Bookmarklets definitely work on a page (tried with alert "Hello") but i seem to have a problem "capturing" elements.
Also i noticed that ID's of some elements change sometimes (not sure why though), but i always inspect to make sure that ID i try to use exists or i use some fixed value like tabindex. Besides, as i said it works when run from console, so i couldn't have screwed it up somehow... or could have i?

A: So the problem was execution context.
Because IDs of elements were changing i had to inspect them before running js from console and inspecting changes the execution context from top to wherever the element is. That's why it was working from console and not from bookmark...
So, to write into a textbox inside specific frame:
let Iframe =  document.getElementById('yourIframe').contentWindow.document
let value = Iframe.getElementById("textboxID").value = "Some Text"

After that only thing left is to wrap everything inside a javascript:(function(){..your code here..})(); to create a bookmarklet.

redpajama_set_name: RedPajamaStackExchange


text:
The Big Bank Theory
Fancy security measures cause American money to commit suicide on the printing press.
America's Tweetheart
Like a teenage boy with a crush on the stuck-up girl who hates him, the media is fascinated by everything Sarah Palin tweets.
Gaypocalypse Now
John McCain questions the accuracy of a 10-month survey about the repeal of "don't ask, don't tell."
Stacy Schiff describes Cleopatra's appearance and her suicide after the death of Mark Antony.
Moment of Zen - Jesus With Ants on Him
Glenn Beck questions artwork depicting Jesus with ants on him, on display at the Smithsonian.
Capitol Punishment
Charlie Rangel faces the music when he is officially censured for abuse of office and failure to pay taxes.
Exclusive - Hugh Shelton Extended Interview
In this complete, unedited interview, Hugh Shelton discusses Julian Assange's threat to national security and expresses his concerns over the repeal of "don't ask, don't tell."
Hugh Shelton
Hugh Shelton recalls his response to a suggestion that Saddam Hussein be allowed to shoot down an American plane in order to justify an invasion.
The Gretch Who Saved the War on Christmas
The holiday season wouldn't feel the same without people going out of their way to be offended by nothing.
Moment of Zen - Elizabeth Edwards
Elizabeth Edwards is remembered.
Seth Green thinks it's counterproductive for parents to introduce their kids to "Star Wars" through "Robot Chicken."
Americans outsmart themselves with fancy security measures, to the point where their money is committing suicide on the press.
CT Phone Home
John Oliver does everything he can to protect the sole example of bipartisan cooperation living in the wild.
Moment of Zen - Hookers for Jesus
After spending 16 years as an escort, Annie Lobert starts a faith-based group called Hookers for Jesus.
Michelle Williams praises Harvey Weinstein's full frontal assault on the ratings board and wins an award she's never heard of.
Julian Assange: To Catch a Somewhat Pasty Predator
Hero or villain, the only thing that can be said for sure about Julian Assange is that he lacks a certain amount of melanin.
The South's Secession Commemoration
Saying slavery was the cause of the South's secession during the Civil War isn't politically correct -- it's correct correct.
Moment of Zen - Megyn Kelly Battles Anthony Weiner Over Tax Cuts
Megyn Kelly and Congressman Anthony Weiner argue about Obama's compromise with Republicans over tax cuts.
National Displeasure
Barack Obama used to find the American people's inconsistent irrationality charming, but he's losing his patience.
Republicans Block 9/11 Health Care Bill
Republican senators refuse to vote on the 9/11 health care bill until wealthy Americans receive an engraved notification that their taxes won't go up.
Edmund Morris
Edmund Morris believes a politician as multifaceted and complex as Theodore Roosevelt couldn't run for presidency now.
London Riot Souvenirs
John Oliver and Olivia Munn see the London student protests as an opportunity for the commemorative tat industry.


A former SAP International Inc. regional director has pleaded guilty to violating the Foreign Corrupt Practices Act (FCPA) by paying bribes to Panamanian officials in order to obtain government technology contracts for SAP.
Vicente Eduardo Garcia, 65, of Miami, pleaded guilty to conspiracy to violate the FCPA's anti-bribery provisions in a U.S. District Court in northern California. In addition, Garcia settled an SEC enforcement action charging him with orchestrating a bribery scheme.
The Justice Department said that in 2009, SAP sought to provide a technology upgrade product to a state agency in Panama worth millions of dollars. To secure the contract, the DOJ said, Garcia conspired with others to pay $145,000 in bribes to two Panamanian government officials and an agent of a third official.
The DOJ said that Garcia and his conspirators falsified invoices and contracts to disguise the bribes, and admitted his belief that paying the bribes was necessary to secure the contracts. SAP's Panama channel partner won the government contract worth $14.5 million, which included $2.1 million for SAP software licenses. The Panamanian government then awarded SAP's channel partner additional contracts that included fees for SAP products worth another $1.2 million.
In addition, Garcia admitted to selling SAP software to a Panamanian partner at up to an 82% discount in order to create a slush fund to pay the bribes. He also received kickbacks from the slush fund, according to the SEC, which settled with Garcia via an administrative action.
The SEC also said that Garcia circumvented SAP's internal controls by submitting falsified approval forms to SAP regarding the 82% discount.
The SEC's order found Garcia violated the anti-bribery and internal controls provisions of the Securities Exchange Act of 1934. Garcia has agreed to pay $85,965 in disgorgement for the kickbacks he received as well as prejudgment interest of $6,430.


text:
Exec Suite
January 07, 2019 7:01am PT by Eriq Gardner
Supreme Court Denies Review of Olivia de Havilland's 'Feud' Lawsuit
Photofest (Davis, Crawford); Getty Images (De Havilland)
Olivia de Havilland (Insets: Bette Davis, Joan Crawford)
The 102-year-old actress has lost her case over a series that she claimed depicted her falsely and unfairly.
Olivia de Havilland, the 102-year-old actress known for roles in Gone With the Wind and The Adventures of Robin Hood, won't get another crack at legal glory. On Monday, the U.S. Supreme Court rejected her petition to review the dismissal of her lawsuit brought against the makers of FX's Feud: Bette and Joan.
De Havilland sued over the Ryan Murphy series about the lives of Bette Davis and Joan Crawford. Her objection was how Catherine Zeta-Jones' portrayal of her made her seem like a vulgar hypocrite and gossip. De Havilland claimed the series put false words in her mouth. Specifically, her legal action asserted violation of her right of publicity and false light.
Initially, a Los Angeles judge allowed the actress to move forward toward trial, but a California appeals court reversed the decision on First Amendment grounds. Deciding that she couldn't demonstrate a probability of prevailing on the merits of her claims, de Havilland's complaint was stricken under California's anti-SLAPP statute, a law designed to curtail frivolous legal actions impinging First Amendment activity.
The case then was brought to higher authorities, but neither the California Supreme Court nor the U.S. Supreme Court thought intervention was warranted.
De Havilland, who is also known in legal circles for helping bring down the old studio system by challenging her lock-up contracts with Warner Bros. in the 1940s, focused her petition to the Supreme Court on the "actual malice" standard for public figures asserting defamatory statements in biopics.
"Publishing a fictitious work about a real person cannot mean the author, by virtue of writing fiction, has acted with actual malice," wrote the California appellate panel. "Recognizing this, in cases where the claimed highly offensive or defamatory aspect of the portrayal is implied, courts have required plaintiffs to show that the defendant 'intended to convey the defamatory impression.' De Havilland must demonstrate that FX either deliberately cast her statements in an equivocal fashion in the hope of insinuating a defamatory import to the reader, or that it knew or acted in reckless disregard of whether its words would be interpreted by the average reader as defamatory statements of fact."
The California appeals court concluded that the actress couldn't make this demonstration even upon the trial judge's alternative conclusion that since she was alive, the makers of Feud could have asked her about inaccuracies.
De Havilland's attorneys argued that the decision amounted to absolute immunity for docudramas by protecting knowing or recklessly false statements to the same degree as truthful or negligently false ones.
FX quibbled with that analysis and told the high court not to take up the case.
Without explanation, the Supreme Court decided to pass on a review. As a result, it appears as though de Havilland is out of options and has firmly lost her lawsuit.
Eriq Gardner
eriq.gardner@thr.com eriqgardner


text:
Anna Takahashi, Eastside College Preparatory School
Posted on Mon, 05/12/2014 - 12:41
Located just north of the affluent town that is home to Stanford University, East Palo Alto has had a history of crime and violence and Silicon Valley's boom economy has largely bypassed the community and the families of the Latino, African American and Pacific Islander students who reside there. Today, the dropout rate for students from East Palo Alto is 65%.
In 1991, a Stanford student started an after-school basketball program for East Palo Alto kids in grades 4 through 8, linking participation with attendance at a daily study hall. But he soon realized it wasn't enough for these students, who, after eighth grade, would be bused 20 miles away to the nearest high school. So in 1996 that Stanford student, Chris Bischof, founded Eastside College Preparatory School, private school with an intensive, college-prep curriculum.
With an initial class of eight students, at one point, Bischof, who is today Eastside's principal, was using park benches in a muddy lot as a classroom. Today, more than 300 students enrolled in grades 6 through 12 attend school on a full built-out campus that includes boarding facilities for more than 100 students.
Read more about Anna Takahashi, Eastside College Preparatory School
Trevor Rusert, Sewickley Academy
Posted on Tue, 04/01/2014 - 14:30
We want to tell you a story. A story that we think gets to the heart of who most high school college counselors are -- at least the ones every parent wishes for their son or daughter. This is a story about Trevor Rusert and a student named Amanda.
Amanda lives with her father, a single parent. Her family is working class and Amanda had a significant scholarship to attend Sewickley Academy in Pennsylvania where Rusert is Director of College Guidance. But her scholarship didn't cover everything, so Amanda worked 30 hours a week at McDonald's as shift manager -- 6 p.m. to midnight, Wednesday, Thursday, Friday, and then full shifts on the weekend -- to make up the difference. In the summertime, she worked with Sewickley's maintenance crew during the day and was back at McDonald's at night -- 70-plus hours a week.
Read more about Trevor Rusert, Sewickley Academy
Carolynn Laurenza, Uncommon Charter School
Carolynn Laurenza grew up in a farm town in the middle of western Massachusetts' Pioneer Valley, also known as the "Five Colleges" corridor because it's home to Amherst, Mount Holyoke, Hampshire and Smith Colleges, and the University of Massachusetts at Amherst. This might have presaged her choice of profession in life.
Today, Laurenza is the College Placement Coordinator for Uncommon Charter High School in Brooklyn, New York. A graduate of Swarthmore College, she earned a Masters in Education from University of Massachusetts, Amherst. Laurenza spent three years as a guidance counselor at a regional public high school in the "Five Colleges" area before joining Uncommon Charter in the summer of 2011.
"It's a different reality," says Laurenza, who was named a "Counselor that Changes Lives" earlier this year. "As a public high school guidance counselor, you're juggling many types of social/emotional issues, the administrative needs of the school, trying to help kids in all grades and doing college counseling. At Uncommon, I get to focus on college counseling."
Read more about Carolynn Laurenza, Uncommon Charter School
Courtney Skerritt, The Hockaday School
Courtney Skerritt is committed to single sex education. She attended a women's college, an all-girls summer camp for ten years, and today is Associate Director of College Counseling at The Hockaday School in Dallas, Texas, the largest independent girls' school in the country.
"There is something special about girls' schools that is hard to put into words, but when you walk across the campus you can see it and feel it. I see an inspiration in them. They've been given the okay to believe in whatever they want to believe in and from that comes an amazing confidence. It's not for every girl, not for every student," says Skerritt. "But what I hear from my students is how much they really appreciate the ability to focus on their academics. Our girls have an active social life and they're dedicated to their friendships but when they're here, they're here. "
Read more about Courtney Skerritt, The Hockaday School
Misty Whelan, Conestoga High School
Posted on Thu, 01/09/2014 - 10:29
Misty Whelan has lived the college admission process from both sides of the desk, so to speak. True, she worked early in her career at Bryn Mawr College. But that's not what we're talking about. Now a counselor at Conestoga High School in Berwyn, Pennsyvania, Whelan has also navigated the college application process as a parent. Her 16-year-old daughter, Sarah, is taking her first steps in the process and her 19-year-old son is now attending Rensselaer Polytechnic Institute. The view from the parental side of the process has been invaluable for Whelan.
"It has really, really helped me immensely as a professional in terms of sympathizing and empathizing with families as they go through this process," says Whelan. "And the other thing it validated for me was letting my son do the work and not to do it for him. He did the bulk of the work. I learned a lot about how to center him and not have him panic or get too stressed out. Luckily, he knew what he wanted and did not have too many schools on his list. I also learned a lot about financial aid and the scholarship process. That was the biggest eye opener for me -- how colleges fund students."
Read more about Misty Whelan, Conestoga High School
Will Cardamone, Manlius Pebble Hill School
William Cardamone grew up in New York State, the youngest of ten children. His father was a judge on the U.S. Court of Appeals and his parents pinned their hopes for a lawyer from the family on their youngest son, the only one of the ten who seemed interested in the law. Cardamone obliged -- in his own time -- graduating from Hamilton College and spending three years in the West as a wilderness guide before attending Vermont Law School.
But then he took another detour, teaching social studies for four years to 11th and 12th graders at Woodstock High School in Vermont's capital. He returned to the law for a few years, practicing employment and education law at a firm in Utica, New York. Until he visited a former advisor at his alma mater of Hamilton and spent the next eight years in their admission office, rising to Associate Dean of Admission.
While his wife, also a "recovering attorney," says Cardamone, rose in the ranks of her family's business which she would eventually lead, he found his true calling, As he worked with independent high schools in the region, recruiting for Hamilton, he said, "That's the job I want." In 2006, he joined Manlius Pebble Hill School in DeWitt, New York, as Dean of Students, eventually becoming Director of College Counseling in 2010.
Read more about Will Cardamone, Manlius Pebble Hill School
Dear College Counselor... The Year's Best Advice from our Counselors of the Month
Posted on Wed, 11/06/2013 - 13:57
October is the cruelest month for high school college counselors, besieged on all sides with seniors intent on applications and juniors beginning their college search and testing -- as well as issues with the Common App this year. So we give counselors a pass at this time of year. Instead of our Counselor of the Month feature, we bring you a round-up of best advice from the counselors who have graced our website with their guidance and wisdom in the past year. Read on to learn their best advice for students and parents, recommendations for financial aid, guidance on the college search and mistakes to avoid. One of our personal favorite sound bites? Niles West High School's Dan Gin who advises students, "Have fun… Everything will work out in the end." Next year at this time, you'll all see how true this is. In the meantime, take advantage of this advice from the experts on the college counseling side of the desk.
The College Search
Laura Stewart, Ensworth School, Nashville, Tennessee
How do you encourage your students to broaden their college search and look beyond the four or five schools that they know best?
Read more about Dear College Counselor... The Year's Best Advice from our Counselors of the Month
Sheila Roberts, Bob Jones High School
In 1979, when Sheila Roberts and her family moved to Decatur, Alabama, she looked across the Tennessee River to the town of Madison and it was just cotton fields. She was a stay-at-home mother, raising two children. No longer. Today, Madison is a diverse and thriving community -- one of the fastest growing cities in the Southeast -- drawing families from NASA's Marshall Space Flight Center, the U.S. Army Post Redstone Arsenal and the University of Alabama at Huntsville. And Roberts counsels their students as the College and Career Advisor at Madison's Bob Jones High School.
Named for former Congressman Robert E. Jones, Jr., who represented the area from 1947 until 1977, Bob Jones is a public high school serving approximately 2,100 students. Roberts joined the staff in 2003, building the counseling program from scratch -- growing it from one file cabinet in a small study room in the Media Center to twelve file cabinets in what is now the College/Career Center. She says she is constantly struck by the benevolence, diversity and growth of the community. Bob Jones opened in 1974, moved to a larger facility in 1996, and -- underestimating the growth in the area -- had to relocate the 9th grade class a few years later until a second high school was opened last year.
Read more about Sheila Roberts, Bob Jones High School
Daniel Gin, Niles West High School
Dan Gin had been a generalist high school counselor for four years when he boarded the Illinois Association for College Admission Counseling (IACAC) Bus O' Fun Tour. Road tripping for a week through ten college campuses in Illinois, Indiana and Michigan, Gin realized he had found his calling. "I could be the one who helps students find the right college," he said. And for the past eight years, Gin has, as the College and Career Counselor at Niles West High School in Skokie, Illinois.
Set in a suburb eight miles north of Chicago, Niles West is a culturally diverse public high school serving more than 2,600 students. Among those students, there are 96 different spoken languages, with the most common being Urdu, Spanish and Assyrian. Thirty per cent of the students are English language learners. Another 30% are on free and reduced lunch. And since Skokie is in the first ring of suburbs on the borders of Chicago, one in four students are transfers. So as the only college counselor on staff -- though he's assisted by 11 generalist counselors -- Gin faces some special challenges.
Read more about Daniel Gin, Niles West High School
Valerie Velhagen of Albuquerque's Eldorado High School is Counselor of the Month
Valerie Velhagen thought she would be a professor or a lawyer like her father. But some time off before graduate school -- working in her father's law office and studying for the LSAT -- lead her to take a different path. Albuquerque, New Mexico, is a long way from Brooklyn, New York, where Velhagen was born and raised. But after graduating from Massachusetts' Brandeis University with a BA in English and Pennsylvania's Duquesne University with a Masters in a program centered on existential/phenomenological psychology, Velhagen, now the College and Career Readiness Counselor at Albuquerque's Eldorado High School, made her way from New York's largest borough to the city on the banks of the Rio Grande.
Read more about Valerie Velhagen of Albuquerque's Eldorado High School is Counselor of the Month


The Reebok Outlet has another great sale going on this weekend. Shop the Reebok Outlet Friday, 5/2 – Sunday, 5/4 and get $5 off when you spend $25, and $10 off on $50. This sale comes at a great time since Reebok just stocked several new items in the Outlet, like NHL team gear, workout wear, training shoes and more. And with Mother's Day just 10 days away and Father's Day around the corner, there is no time to wait.
Be sure to use the promo code: iSAVE at checkout to collect your discount.
Stella & Dot SALE: "You Are My Sunshine" Necklace For Just $14 With $50 Purchase!


The HangRight Clips are sold in packs of 10; wood screws and instructions are included.
Picture Hanging Systems are a terrific way to hang art and memories but some pieces tend to lean further forward than one would hope. The HangRight Clips significantly reduce the forward lean of most pieces by reducing the distance between the artwork and the dropper whilst maintaining the dynamic nature of the picture hanging system itself.
HangRight Clips are the best way to ensure framed art and canvasses sit as flat as possible against the wall. The HangRight Clips are simple to install but do require a small screw to be fitted to the piece. At this stage the clips have been designed for wooden frames and canvasses only.


a couple of years ago due to a communication failure between me an my provider I did not learn he was about to shut down the server that used to host our mailing list. I couldn't save a thing and all data went lost. Such things are sad, but they do happen.
Now, after 10 years or so, it's time for another change - a regular one this time. My Provider does not support the former technology anymore and I had to make a decision. Instead of loading up the addresses to Google or other providers which may make business with them, I decided to downgrade it somewhat. We do not support automatic subscription anymore, now, it requires the personal touch. So for any changes, please contact Ina via the email you may know or via the contact form and everything will be done. Thank you and keep having fun!


Dr. Daly and staff are fantastic. Tremendous job.
Dr. Daly has guided me thru trying and frightening times. I am grateful for her and will continue to see her as long as possible.
Dr Daly is exceptional! I like that you never feel rushed...she is professional & funny!
The best of care! ....and I am a tough critique!
Dr. Daly is fantastic! I just wish she was still an internist, because if she was, I'd switch primary care physicians in an instant.
Dr. Daly was very kind, respectful, caring and professional.
Dr,Daly was wonderful! She was professional,easy to understand, explained things well,listened well and had a nice personality.I felt I received great care from her.
I would like somebody to call me back about these matters that I have been pressing your phone prompts to. I much prefer to talk to a human person about Valley Health, and the situation with that office. Thank you.
Dr. Daly one of the best doctor's I've ever had.
I thought they were very good, everybody is so nice there and I definitely recommend it. I know somebody going to to my doctor there, y'all keep up the wonderful work - I definitely will be coming back as long as I can, thank you.
Six month recheck. Always a good medical experience wit Dr Daly.
My experiences are always the best that I could ask for and then some.
Dr. Daly is the best doctor in the whole world. I have never had a doctor care so much for her patients. Valley Health is lucky to have her!
Dr Daly is a wonderful Doctor, she listens to all of your needs and addresses them accordingly!
Dr. Daly is one of the best physicians I have ever had the privilege to know. She is very knowledgeable and more importantly she is compassionate and a good listener. The staff is very friendly and efficient.


For this kit, Innokin has shrunk their popular Zenith Sub-Ohm Tank, which was originally designed by Phil Busardo and Dimitris Agarafiotis. This 22mm diameter tank is attached by Stainless Steel 510 threading around a Gold-plated spring-loaded contact pin. For this new design, the Zenith D22 Tank has an e-liquid capacity only slightly smaller than the original with a reservoir capable of holding up to 2mL of e-juice. Innokin has kept the same filling method, which involves simply unscrewing the top cap to pour in your favorite vape juices. Above the top cap is a 4mm wide-bore Delrin drip tip that assists with delivering a tight, restricted Mouth to Lung draw. Near the base of the tank is a bottom adjustable airflow ring that allows you to cover five small holes one at time and stops at fully closed for easy maintenance. Inside the tank is a unique chimney design that helps prevent flooding or gurgling while the device is in use. For this kit, Innokin has included two types of coils, one of them being the Innokin Plexus Z Coil for delivering a precise Mouth to Lung draw. The 0.5 ohm Plexus Z Coil is rated at 14-19W to provide a warmer vape at slightly higher wattages. The Kanthal coil wiring in this coil head is flattened into a mesh material to last longer, provide faster wicking, and eliminate hot spots. The other coil included with this kit is a 1.6 ohm Kanthal coil rated at slightly lower wattages of 10-14W for use with nicotine salt infused e-liquids. To switch out or replace these coils, simply remove the bottom adjustable airflow piece and use the threads provided on the coil heads. If you like low wattage vaping and you're looking for a compact device to try out, then this may be the kit for you. The Innokin Cool Fire Mini Starter Kit with Zenith Tank is just the thing for beginners to make the switch and veterans to appreciate the revolution of low wattage vaping.


text:
Q: Subplot for Go.Figure objects with multiple plots within them How would I create a subplot using a bunch of go.Figure objects that have multiple lines and data points themselves? To explain:
# Data Visualization
from plotly.subplots import make_subplots
import plotly.graph_objects as go

epoch_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
loss_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
val_loss_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
error_rate = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
val_error_rate = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]

loss_plots = [go.Scatter(x=epoch_list,
                         y=loss_list,
                         mode='lines',
                         name='Loss',
                         line=dict(width=4)),
              go.Scatter(x=epoch_list,
                         y=val_loss_list,
                         mode='lines',
                         name='Validation Loss',
                         line=dict(width=4))]

loss_figure = go.Figure(data=loss_plots)

error_plots = [go.Scatter(x=epoch_list,
                          y=loss_list,
                          mode='lines',
                          name='Error Rate',
                          line=dict(width=4)),
               go.Scatter(x=epoch_list,
                          y=val_loss_list,
                          mode='lines',
                          name='Validation Error Rate',
                          line=dict(width=4))]

error_figure = go.Figure(data=error_plots)

metric_figure = make_subplots(
    rows=3, cols=2,
    specs=[[{}, {}],
           [{}, {}],
           [{'colspan': 2}, {}]])

metric_figure.append_trace(loss_figure, row=1, col=1)
metric_figure.append_trace(error_figure, row=1, col=2)
metric_figure.show()

The error I get when trying to create the subplot is "invalid element(s) received for the 'data' property of Invalid elements include: [Figure". I think I know why the error occurs, but is there a way around it? I still want to change the layout of each graph and have multiple lines on a single graph.

A: It's a simple case of loop over traces in each of the figures and add them to required sub-plot.
# Data Visualization
from plotly.subplots import make_subplots
import plotly.graph_objects as go

epoch_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
loss_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
val_loss_list = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
error_rate = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]
val_error_rate = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10]

loss_plots = [go.Scatter(x=epoch_list,
                         y=loss_list,
                         mode='lines',
                         name='Loss',
                         line=dict(width=4)),
              go.Scatter(x=epoch_list,
                         y=val_loss_list,
                         mode='lines',
                         name='Validation Loss',
                         line=dict(width=4))]

loss_figure = go.Figure(data=loss_plots)

error_plots = [go.Scatter(x=epoch_list,
                          y=loss_list,
                          mode='lines',
                          name='Error Rate',
                          line=dict(width=4)),
               go.Scatter(x=epoch_list,
                          y=val_loss_list,
                          mode='lines',
                          name='Validation Error Rate',
                          line=dict(width=4))]

error_figure = go.Figure(data=error_plots)

metric_figure = make_subplots(
    rows=3, cols=2,
    specs=[[{}, {}],
           [{}, {}],
           [{'colspan': 2}, {}]])

for t in loss_figure.data:
    metric_figure.append_trace(t, row=1, col=1)
for t in error_figure.data:
    metric_figure.append_trace(t, row=1, col=2)
metric_figure.show()


"Ethel, I think we're fighting a losing game!"
'Unwinnable' is a gameplay state in which, while the game has not yet ended (or crashed), it is completely impossible for the player to finish the game. Players who have reached this point have only two options: reload a previous save—in the fortunate situations where this is possible, or start the game anew—for the much more unfortunate situations where it is not. This is also known as a "walking dead" state. In Speedrunning circles, this is known as a softlock.
Unwinnable by Design, where malicious programmers deliberately create traps for people to stumble into. This type has been known to prompt a Big "NO!" from frustrated gamers.
Unwinnable by Insanity, where the player looks at a few perfectly harmless game elements and says "Hey, if I did this mindnumbingly stupid thing, I'd break the game! Cool!" It's more of a novelty than anything.
Unwinnable Joke Game, where the game is intentionally impossible from the beginning, generally played as a joke on the player.
Unwinnable by Mistake, where bad design oversights or bug-filled programming stop the player from progressing, prevent the player from accessing needed equipment, or otherwise make the game impossible to beat.
Examples go on the subtropes above.
Compare Luck-Based Mission, Fission Mailed and Controllable Helplessness, as well as Endless Game.


I view my street photography as reporting a sort of "slow news." Over time it contributes to a visual record of just what it was like to have been there, at some particular place and time. Today we look back on the candid photography of past decades as a valuable reminder of how things have changed in the human environments that we inhabit.
The Bakken is a world away from London, where McQuillan was born in 1948. At the age of 14, he developed his own darkroom and, with his sturdy German-made Zeiss camera in hand, he wandered the streets after school looking for something telling.
The people of London emerged as one of his favorite subjects. The counterculture was in full swing; Londoners going about their day, unaware McQuillan was photographing them. He became quick, shooting a subject in seconds before the moment was gone. The rangefinder camera was suited to the cause and the results of his work display like pages of Life magazine.
McQuillan moved to Montana at the age of 22 to escape the life he had created for himself overseas. It was 1971 when he arrived after graduating in economics in London and working for British Petroleum.
"I wanted out of London, out of working for a big corporation, and out of economics," he said. "I came here to travel around for the summer. I was actually going to Alaska, but I never made it that far." Instead, McQuillan caught wind of the School of Forestry at the University of Montana. He set out to earn his master's degree in forestry, and he received a teaching internship along the way. He might have considered his parents' homeland in rural Scotland over Montana were it not for that country's economic woes. But this is about McQuillan the photographer, not the UM professor.
Living in the rural West, McQuillan still finds time to travel abroad – he still owns a flat in London [sold since this article]. Gritty industrial scenes are a favorite subject, as are the people on the streets of San Francisco, Prague, Cypress and Paris.
McQuillan is not opposed to shooting a Western rodeo or a scenic setting in Montana, Arizona or New Mexico. But he admits his landscapes remain a work in progress – something he's working to improve upon at the Rocky Mountain School of Photography in Missoula.


What's the future of student technology? Without a doubt – mini notebooks. Computers like the Dell Inspiron Mini 9, Asus EeePC, and HP Mini 1000 will be populating classrooms of the near future. With prices in the $300-500 range these computers are a cost effective method for implementing a 1:1 program in any school. Even without schools providing them, mini notebooks may become as ubiquitous as cell phones and iPods. Right now its relatively easy to tell students to put away devices that don't appear to have any school-sanctioned educational purpose, but how will you handle personal laptops? Are you really going to tell a class full of students wanting to use their personal computers as engaged learning devices to turn them off and put 'em away? If you are please leave education now. I will help you pack! For financially-strapped schools looking for ways to bring more technology into the classroom how hard would it be to convince parents who are already filling Christmas lists with iPhones and Sony PSPs to purchase a $400 laptop to be used at home and school? All its going to take are leaders pushing the envelope and putting plans in place to support this technology.
With that in mind I ordered by Dell Inspiron Mini 9 last week. Its supposed to be here by the end of the month. I researched the HP Mini 1000 and Asus EeePC, but chose a Dell mainly because I wanted to test out Ubuntu in my goal to be triplatform. My Mini will have 1GB of RAM, a 16GB solid state drive, and the 1.3 megapixel camera. Between a sale at Dell and my CUE member discount, the grand total was $409 before shipping and sales tax. Right now I am at a school loaded with 600 Macbooks, but at $2000 a pop its a pricey endeavor, especially as they start getting refreshed. I'm curious if mini notebooks might be a long-term alternative. The only way to find out for sure is to get one and play. I can't wait until it arrives!


Munchkin Monday: 10am-1pm. $9 per child 5 years old and under.
Homeschool Monday: 1pm-2pm. $9 per person.
Special Needs Tuesdays: 3pm-6pm. $7 per person for 3 hours. 1 caregiver free per person.
Wild Wednesday: $15 first hour, $6 for each additional hour.
Friday Night Special: 7pm-10pm $26 per person, includes 3 hours of Jump Time and a $10 video game card.
Every day: Military (retired and active, ID required) and their immediate families $10 per hour.
*On holidays and during school breaks, all Jump Time will reflect standard pricing ($15 per hour, per person). Please check our online calendar.
*Weekly specials are available for walk-ins only. May not be available during holiday or school breaks.
Family Night Tuesday: From 6pm to 8pm, spend extra family time together on the first Tuesday every month. Enjoy 1 hour of Jump Time for 4 Jumpers and 1 pizza for only $50!
Oregon Food Bank Drive: Join us the third Thursday of each month… bring in one can of food and exchange it for a Free $5 game card or a Free second hour of Jump Time.
*Monthly specials are available for walk-ins only. May not be available during holiday or school breaks.