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Trump Threatens Iran with an Act That Could Be Considered a War Crime
Companies That Are Vulnerable To The Wage Hike
By Guilherme Assis | May 16 2017, 12:29pm in Money
This means the pool of top employees within the labor market is shrinking. Thus, for companies to attract good talent, increasing wages would be the next logical solution. Furthermore, the ongoing expansion of the economy makes this solution very viable for companies.
However, what works in the job market may not necessarily work on Wall Street. Case in point, the situation of most S&P 500 companies right now. While most companies within the index have resurrected their profit margins and growth from a year-long recession, stock prices seem to stall.
Margins for most non-energy companies are dancing around the record high from the last three years, and yet investors are already preaching the "end of days." Thus, smart investors are already starting to channel funding to companies with low labor costs. The reason behind this is because investors think that these kinds of companies will be able to survive the effects of the wage hike.
Goldman Sachs has a special group containing 50 companies with low labor costs. A few big names that are within the basket are Facebook, Citigroup, Exxon Mobil and Netflix. According to Goldman Sachs, the basket has experienced a 22% gain since the month of July last year. When you compare that number to the group containing high labor cost companies, the pool of low labor cost companies is already ahead by 100%.
Source: Trading Insider
Companies that are in the high labor cost pool include Quest Diagnostics, Morgan Stanley, General Mill, and Chipotle.
In most cases, stock prices move closely with the company's earnings. Higher wages means that the company will lose a portion of their earnings, and that's not good on paper and for the investors.
One way to offset the balance would be to find a way to boost the net income. However, the best-case scenario you can hope for is the two cancelling each other out. This is according to Goldman Sachs. When you look at it realistically, the forecast is going to be different. In fact, with the wage hike, Goldman Sachs is forecasting a shrinkage of 1% in earnings. For small-cap companies, the shrinkage in profits is expected to be around 2%.
Goldman Sachs also added that while the long-term growth will eventually go upwards, the rising wages may be a significant blow to the rising momentum of the S&P 500. Unless Trump's proposed corporate tax reform materializes, the effects of the wage hike will be like a gloomy cloud on the market for years to come.
Thus, it's worth questioning which sectors are most vulnerable to the effects of the wage hike. According to Goldman Sachs's analysis, it's the companies with the biggest negative earnings-per-share that are the most vulnerable. However, Goldman Sachs analysts stated that this is just the best guess reactional market prediction is difficult at best.
general mill
chiptole
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Home » County Council » Rules & Procedures (current version)
Rules & Procedures of the Green Party of Los Angeles County - October 22, 2009
last amended October 22, 2009
SECTION 1: COUNTY COUNCIL MEETINGS
Minutes Taking for GPLAC Meetings
SECTION 2: FILLING COUNTY COUNCIL VACANCIES
Seating of Newly Appointed County Councilmembers
SECTION 3: ALTERNATE REGIONAL REPRESENTATIVES TO GPCA STATE COORDINATING COMMITTEE
• Eligibility
• Length of Term
• Gender Balance
• Timing
SECTION 4: BEGINNING AND ENDING DATES OF GPCA STATE COORDINATING COMMITTEES REGIONAL REPRESENTATIVE TERMS
SECTION 5: DATA BASE
Database Coordinator
Database Committee
Access to Database/County Councilmembers
Access to Database/Green Locals
Access to Database/Candidates
SECTION 6 : FUNDRAISING
Donor and Volunteer Lists from the GPCA
Fundraising via email
SECTION 7: COMMUNICATIONS
A) Process for Posting/Notification of Election of GPLAC Officers
B) Official Communications by GPLAC Officers
C) County Green General Discussion/Announcement Email List
D) County Council Discussion Email List
E) County Council Pre-Vote Discussion Web Pages
F) County Council On-Line Voting Voting .
G) GPLAC eRules
H) Referrals to Active Green Locals
I) County Council candidates (candidate statements, qualification signatures)
SECTION 8: ON-LINE VOTING
SECTION 9: VOTING ON GPCA POLLING OF THE COUNTIES
SECTION 10: ENDORSED CANDIDATES
1) Formal minutes of GPLAC meetings shall include only a record of decisions taken on a particular proposal or motion, as well who voted for, against or stood aside, and a record of all outstanding concerns.
2) An official audiotape be made of every meeting, which would be used to settle questions about the minutes or anything else of the meeting's proceedings. Taping of the meeting shall be the responsibility of the Co-Coordinators and the Secretary.
County Councilmember Intent in Voting
For GPLAC officers like Co-Coordinator, Secretary and Treasurer, and for Regional Representative to the Coordinating Committee of the Green Party of California (or other such elections), the election shall be conducted so as disclose the intentions of the voter.
To accomplish this, County Councilmembers would rank their choices on a written ballot, using the Single Transferable Vote, and would indentify themselves on the ballot.
1) Any person appointed to the County Council at a face-to-face meeting, can participate at the next face-to-face meeting or as part of post-meeting on-line or conference call votes, as soon as their Nomination Petition signatures are validated.
2) Nomination Petition signatures shall be validated within seven business days of their delivery to either of the GPLAC co-coordinators. Nomination Petitions may be delivered before a County Council meeting or at a County Council meeting.
3) The Co-Coordinators and the Secretary shall have the responsibility to ensure that the Green registration status of the petition signers is validated. Validation must occur within seven business days of signatures being handed in to the Co-Coordinators. Validation will include comparing the signatures to those at the County Registrar's Office.
4) A person may also be appointed to the County Council by virtue of an on-line vote of the County Council, as long as their signatures have been validated before the vote occurs. They may then participate as a full voting member at the next face-to-face meeting, if they are appointed by the deadline for the release of the agenda for that meeting.
5) A person appointed in an on-line vote may also participate in on-line votes, but not before the next face-to-face meeting occurs, or after 30 days if no face-to-face meeting occurs in that time.
6) If there is a dispute over the Green registration status of petition signers, an appeal may be made to the County Council and agendized at its next meeting. The Co-coordinators shall make a written report of their findings available for inclusion with the agenda for that item.
The County Council may appoint Alternates for each of the GPLAC State Coordinating Committee Regional Representatives.
Any GPLAC member is eligible to be an Alternate GPLAC Regional Representative. A Coordinating Committee member may not also be a County Co-Coordinator, but an Alternate may be. In a case where an Co-Coordinator is an Alternate, should the Representative leave the seat (through resignation, recall or other cause), and should such an Alternate assume the seat in his/her place, then that Alternate shall be considered to have immediately resigned their Co-Coordinator position.
The GPLAC seeks to retain flexilibity in its selection of Alternates, in order to be able to appoint Alternates for periods of specified duration.
Current GPCA Bylaws state that the term of an Alternate shall be concurrent with the term of the Representative. If the GPCA Bylaws change to allow for the option of flexibility on behalf of counties, this clause shall establish that flexibility for the GPLAC.
If that occurs, an Alternate may be appointed for the same term as the Representative, or for a period of lesser duration.
The voting procedure for each seat shall be by Instant Run-Off Voting, using a simple majority threshold, as referenced in the GPCA Bylaws (Section 7).
To ensure that at least one Alternate is male and one female, Alternates shall be chosen first for the male and female Representatives. If at this point, there are at least two of each gender, out of the five selected (three Representatives, two Alternates), then the last Alternate may be from either gender. If not, then the final Alternate shall be chosen to ensure that there are at least two of each gender.
Alternates may not be chosen at the same meeting as Representatives for the same seat, but rather may be selected at any subsequent meeting, as long as there is the same notice for the selection of the Alternate, as there would be for the Representative for that seat.
Notwithstanding this, the County Council may make an appointment upon shorter notice ' if at least one meeting has passed after the initial meeting at which Representatives were chosen -- if it also first approves 'findings' explaining why such an abbreviated decision-making schedule was necessary. This may not be used for more than one seat at a time.
The length of the term for GPLAC Regional Representatives to the GPCA State Coordinating Commitee is set by the GPCA at two years.
The beginning and ending of the GPLAC term shall run from the fourth Sunday of March, in even numbered years, to the day preceding the fourth Sunday of March, in even numbered years.
If an election for the seat is held on the fourth Sunday, the Representative is considered seated upon election.
There shall be a Database Coordinator that is responsible for managing the Database according to the direction set by the County.
Among his/her tasks, the Database Coordinator would be responsible for maintaining the database, including cleaning and updating the email addresses, and entering information as needed that comes from web and phone referrals, the GPCA from its fundraising and volunteer records, and from any Green local or candidate that chooses to share it.
The Database Coordinator will provide quartely reports to the GPLAC.
The Database Coordinator will not provide access to, nor share the contents of the database with any individual or organization, unless specified to do so by the County Council, and the Database Coordinator will sign a document with the County Council to this effect.
There shall be a Database Committee that shall work with the Database Coordinator to help implement County Council direction regarding the Database. The Committee shall include the GPLAC co-coordinators, the Database Coordinator as well as additional members as appointed by the County Council.
The Database Committe shall create options for GPLAC members, so that they could receive by email, the type of information they are interested in.
This would include notice of County Council elections (and filing deadlines), notice of the election of GPLAC Officers and GPLAC reps to the GPCA CC, County Council meetings and agendas, and other items directed by the County Council.
County Councilmembers will have no special access to the Database, just because they are County Councilmembers.
The GPLAC Co-coordinators are directed to send an email to Green locals asking them under what circumstances would they be willing to work with the GPLAC in developing the GPLAC data base. The results of this outreach would be reported to the County Council and options provided at a future County Council meeting (the goal would be April, which would give locals time to discuss it first and then have the options reflect those discussions.)
Candidates endorsed by the GPLAC County Council may have emails sent on their behalf to registered Greens in the GPLAC database, at the discretion of the County Council. The County Council shall develop a plan for how often this opportunity will be provided.
SECTION 6: FUNDRAISING
It is the responsibility of the GPLAC co-coordinators to are directed to communicate to the GPCA that the GPLAC would like to obtain the donor and volunteers lists for Los Angeles County in the GPCA's possession.
The GPLAC will develop and authorize periodic fundraising appeals directly to its members via email and the PayPayl link on the county's website.
In order to post/notify when elections for GPLAC officers and for GPLAC representatives to the GPCA-CC will be held, and to inform about the process by which those elections will be conducted: the GPLAC will:
1) post such information on the GPLAC website, at the same time as this information is made available to the County Council
2) send such information via email to all Green locals on the County list and to any others that request it
3) include the opportunity to receive such information among the email options presented to registered Green Party members in LA County, including as part of a GPLAC data base policy
Official Communications on behalf of the GPLAC, either of the GPLAC Co-Coordinators or the GPLAC Secretary shall be copied to the two others. Official communications by the Treasurer shall be copied to the Co-Coordinators and Secretary.
All such communications shall use the following email addresses in copying communications to each other: gplac-cocos@cagreens.org, gplac-secretary@cagreens.org and gplac-treasurer@cagreens.org. These email addresses shall be attached to a web-archive, which will archive GPLAC official communications.
(gplac-forum@cagreens.org)
Purpose/Charter: For open discussion by any LA County Green Party member about issues, strategy, trends, organizing and other activities of the Green Party in Los Angeles County.
1) GPLAC County Council members (and GPLAC state Coordinating Committee regional representatives) are encouraged to subscribe to this list, either in full or digest form.
2) Event Announcements should be limited to those related to the activities of the Green Party and/or Green Party members.
Participants: Read/write participation by any Green Party member in LA County. Participation subject to the Green eRules attached below. Sign-Up: Sign up will be by submission form on County site. The List Administrator will check all submission against the list of registered Greens in LA County. By signing up one agrees to abide by the Green eRules. Submission requests will be processed within seven days. Green registration status of participants will be checked each time the GPLAC obtains a new voter registration list.
(gplac-cc@careens.org)
Purpose/Charter: For discussion purposes only among County Council members.
Participants: Read/write participation by County Council members; Read-only status for any other Green member in LA County, available either through a web archive or as email.
Individual Greens retain the right to directly email a County Councilmember. That Councilmember could then choose to forward that email to the group. However, County Council members should only repost within reason to make a point, rather than to insert the non-County Council member into the debate in an ongoing manner.
note: County Council decisions will not be made on this email list. County Council votes will be cast on a separate voting web page. See #3 below.
Sign-Up: The List Administrator will automatically place all County Council members on the email list as full participants. In participating, all County Councilmembers agree to abide by the Green eRules.
(www.cagreens.org/lacounty/pre-discuss)
Purpose/Charter: For two purposes: pre-vote discussion of agenda items for on-line votes and face-to-face meetings.
Participants: Read/write status for any Green in LA County
Sign-Up: Sign up will be by submission form on County site; the List Administrator will check all submission against the list of registered Greens in LA County. Posting will be password protected, with individual passwords linked to individual e-mail addresses. By signing up one agrees to abide by the Green eRules. Submission requests will be processed within seven days. Green registration status of participants will be checked each time the GPLAC obtains a new voter registration list.
F) County Council On-Line Voting Voting
(www.cagreens.org/lacounty/Ccvote)
Purpose/Charter: For conducting and recording on-line votes of the County Council.
Participants: County Council members. Results will be available to be read by all, with a link from the GPLAC home page and County Council page.
Design: This will be a variation of the GPUS Voting Page at http://gp.org/cgi-bin/vote/index. The code is open source and the GPLAC will incorporate this into a design using the GPLAC's own graphics.
Sign-Up: The List Administrator will automatically place all County Council members on the email list as full participants, and assign each a password.
(www.cagreens.org/lacounty/erules)
Participation in GPLAC on-line forums is open to all Green Party members in Los Angeles County. It is based upon the premise that people participant in order build the Green Party and advance the Ten Key Values.
Green eRules are meant to help promote a productive, transparent and respectful environment for this to occur. GPLAC on-line forum participants are encouraged to state their views, inform one another, and discuss issues in depth, in a manner that enables energy to be focused on productive work. Disagreement over issues and ideas should be honored as an expected part this process, and is not to be considered a disruption or impediment.
The full text for 'Expectations and Standards' and Restricting Dispuptive and/or Unethical Behavior' is contained at or www.cagreens.org/lacounty/erules
The GPLAC share forward to Active Green Locals, referrals for those areas of Los Angeles County that those locals are recognized for, that come in through the County web site's - "Interest/Volunteer page", as well as referrals that come in from the Green Party of the California and the Green Party of the United States.
1) Providing information to Green voters about County Council candidates
In order to provide information to Green voters about County Council candidates, a URL will be provided on the GPLAC web site, for every ballot qualified County Council candidate.
Such candidates will be free to post as much content as they'd like (including links to other sites) as long as their content (and that of the links) is
- issue and organization-based, and
- does not critically name or single out individuals in the Green Party.
In general, candidate statements should observe the same general decorum outlined as appropriate for Green Party email lists/forum on www.cagreens.org/lacounty/gplac_erules.html
A candidate may post a photo, but is not required to do so.
To qualify, a candidate shall send the html page to the GPLAC Co-Coordinators, and the GPLAC shall be responsible for uploading the page.
2) Signatures for County Council candidate nomination petitions
In order that Green Party members can be made aware that they can sign the nomination petitions for Green County Council candidates in their district, and to aid potential County Council candidates in connecting to Green Party members in their district, contact information for County Council candidates will be provided on the GPLAC web site so that Green Party members who may want to sign for someone in their districts, will have the information to do so. The Los Angeles County Registrar's web page has a link to this information and linking to it from the GPLAC site, along with an explanation of why, can fufilll this requirement.
Decisions follow the normal consensus process to the extent possible. The decisions made through this process may include those that are routine and/or straightforward in nature, that have had significant preparatory work already done at facetoface meetings, or that are time sensitive. Time sensitive items shall include a 'statments of findings' explaining the need to compacted decisionmaking
schedule. Other items should be saved for face-to-face meetings.
Any GPLAC County Councilmember can make a proposal.
Proposals shall include:
The person or group who initiated the proposal (proposals may originate from a non-County Councilmember but must be sponsored by a GPLAC County Councilmember), and also who will reply to clarifying questions.
Clear statement of the issue being addressed and the action/decision requested (PROPOSAL)
Relevant background information (can be web links) open in browser customize free license pdfcrowd.com
When responding to GPCA Polling of the Counties on candidate and ballot measure endorsements, and other such matters, the GPLAC shall cast its full allotment of votes in the following manner:
The County Council shall take a position on the question, and then shall cast its allotment of votes in the same proportions as taken by the County Council.
Any endorsed candidate shall be expected to campaign in a manner that
- accurately represents the decisions of the Green Party of Los Angeles County, the Green Party of California and the Green Party of the United States, including endorsement of other candidates;
- generally supports the principles and policies of the Green Party of California platform and any additional issue and policy positions taken by the Green Party of Los Angeles; and where there is a disagreement between the positions of the endorsed candidate and those of the Green Party of California and/or the Green Party of Los Angeles County, be willing to state how this is so and why;
- does not misrepresent the candidate's own record nor that of others and makes a good faith effort to be factually correct;
- does not use prejudicial, biased, or offensive language, images or graphics with respect to race, gender, ethnicity, physical ability, spirituality, sexuality, or age;
- is in compliance with all applicable laws regarding being a candidate for public ofice

redpajama_set_name: RedPajamaCommonCrawl


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NEWS & INTERVIEW: Dublin Comic Con Announce First Guest – The Walking Dead's Charlie Adlard Plus A Talk With Charlie
Posted by ICN Chief On January 20, 2013
Dublin Comic Con announced this afternoon the first confirmed guest in The Walking Dead artist Charlie Adlard. Dublin Comic Con takes place on August 10th and 11th 2013, Dublin's first Comic Con showcasing full size props and costumes from a wide range of movies, tv programs, games and comics.
Check out the facebook page for Dublin Comic Con for regular updates: http://www.facebook.com/pages/Dublin-Comic-Con/298328063554103?ref=hl
As an added bonus, I spoke with Charlie as part of my 5 Minutes Column… hosted on comicrelated.com a bit back so re-presented for your pleasure is a talk I had with him about his long tenure in comics.
CHARLIE ADLARD
by David O'Leary
Welcome back to this the ninth edition of 5 Minutes With… Today we are joined by a journeyman of comics. He is the artist on the critically acclaimed The Walking Dead and has worked on everything from Green Lantern to the X-Files. In a revealing interview Charlie Adlard talk about his surprise at the success of The Walking Dead, how the success of the X-Files book overshadowed the creators working on it, his love for European comics and more besides. So read on…
David O'Leary: Hey Charlie, many thanks for taking the time to speak with us.
Charlie Adlard: Not a problem at all!
DO'L: You are of course known for your work on The Walking Dead these days but you have a long and varied past to your work both in the UK and US. How did you fall into comics as a career?
CA: Well I've been working in the industry as a pro for around 18 years. Apparently people regard you as a "veteran" after 10… So I'm way past my prime! I got onto comics the same way as a lot of my contemporaries… just showing my portfolio to editors at various conventions. I've always been a comic's fan, ever since my Dad gave me a copy of Mighty World of Marvel back in 1972… That was it, I was hooked – no looking back.
I was lucky back in the early 90's – the industry had a lot more money to throw around then and consequentially a lot more US editors would be flown in to UK cons. So there were a lot more chances of getting work. Nowadays I feel sorry for people trying to break in -there's a lot less editorial presence at cons and, because of that, less chances of finding work. I always advise newcomers, if they can afford it, to go to a US con – then they can put their work in front of as many editors as possible. Ever since getting my first job (in the Judge Dredd Megazine) I haven't looked back… and I feel very lucky to be able to say that.
DO'L: Although The Walking Dead is keeping you busy, you have been keeping in touch with your British work with continued intermittent stories with Savage in 2000AD. Why keep coming back?
CA: Why keep coming back? Well – I really love working for 2000AD… And Savage was a perfect story for my skills. It was also the type of story I really enjoy working on. I think it's some of Pat Mills' best writing. Unfortunately, mainly due to my TWD commitments, I had to give up Savage – which was extremely regrettable. I also want to pursue other creative avenues in my career – primarily doing books for the French/Belgium industry. But if my and 2000AD's paths ever cross again – I see no reason why I wouldn't do more work for them. My time(s) at Rebellion was an extremely creative and enjoyable one… but sometimes you just have to move on.
DO'L: Your work on The X-Files in the mid nineties was at the height of the series popularity. When you took on the work were you a fan of the television show?
CA: When I took on the X-Files no one expected the thing to explode the way it did (rather similar to TWD). When I was offered the book I certainly hadn't heard of the series and it had only just started over in the States. I think Topps just viewed it as a quick and easy cash in on a genre TV show. I was drafted in because I could generate the right "atmosphere"… certainly not because I could draw likenesses! Anyway, we were all unprepared for how big it would all become and the X-Files turned (for a few years at least) into the type of property that would turn anything related to it onto a major success. Our comic included. Unfortunately it's success overshadowed who was actually doing the comic… it really could have been anyone – it didn't matter who was writing or drawing it – it was the X-Files that was the star and when it was all over I was still fairly unknown. It did not make me a "star" by any stretch of the imagination.
DO'L: Your 2006 book ';Rock Bottom' with Joe Casey was originally announced in 2002 under the name Monolith. Were you involved with the project that early or did you come on board later?
CA: It's true, the book was going to be called Monolith, but when Joe wrote it there was no artist attached – I came on board much later on. By that time DC had already published their own Monolith, so we certainly couldn't use that title. Hence Rock Bottom was born…When Joe asked if I was interested in drawing it, I asked to see the script and read it in one sitting… It was incredible! It was one of those rare occurrences where I felt blessed to be sent something THAT good – I just had to do it. Money didn't matter, I would do it for free… and basically I DID do it for nothing. But I don't care, the end result was the main thing and getting it out there was the most important thing. I urge anyone who's remotely interested in something not in the mainstream to read the book… It's s work of which I'm very proud.
DO'L: You arrived on The Walking Dead when the book was still under the radar of a lot of people. Now that the book has exploded in popularity, with a television series, multiple arcs under your belt, how satisfying is it to see the book evolve the way it has?
CA: Oh, incredibly satisfying! I feel very lucky. Lightning doesn't often strike twice, but it has with me… well financially anyway. The first time was the X-Files and now TWD. Obviously TWD today means so much more than mere monetary rewards… It's totally creatively fulfilling unlike the X-Files. But – like the X-Files – Robert and I were totally surprised by the success of the book. Totally! Sometimes I have to kick myself , I can't quite believe just how big TWD has become. I feel very privileged to be involved with this book… And it's hard to believe that when I first started on issue seven I thought I'd probably do "just" the 6 issues and move on to something else more "high profile" after. Thankfully Robert and Eric Stephenson at Image persuaded me not to leave… Best advice I think I was ever given!
DO'L: The book is more about character introspection and development interspersed with terrifying violence. What do you make of Kirkman's direction with the book compared to your average zombie story?
CA: Well, if the book was just an average zombie book… I might've left after those 6 issues… and not regretted it. The whole strength of TWD is in the characterisation… I'd go as far as to say that it isn't actually a zombie book at all – it's a character driven piece about how a group of disparate people survive and cope with an extreme situation which just happens – in this case – to be zombies.
DO'L: Are you continuing in the book for the foreseeable future?
CA: Oh yes! I'm with this project until the bitter end…
I'm lucky – I'm fast – so I don't have all my time taken up with TWD… I can do other projects in between issues. So things never get stale with the main book, I can step away occasionally and recharge my batteries. Also I quite fancy being in the select group of artists that have a BIG number of single title issues under their belt – the Kirby's, Sim's etc… And me!
DO'L: You've worked on everyone from Judge Dredd to Green Lantern. Any favourite memories of books from down the years?
CA: In mainstream terms I have soft spot for the 2 issues I did on Superman…Perfect Superman story (Joe Casey again!) and a joy to draw. I also have fond memories of the initial Mars Attacks mini series. Keith Giffen was another pleasure to work with.
DO'L: I don't think you have had work at Marvel since the Warlock mini with Greg Pak in 2004. If you were to go back someday what would you like a crack at?
CA: Funnily enough it was Warlock that I might've left TWD for! Thankfully the series – even though I really enjoyed working on it with Greg – was cancelled before I had to make the choice. I got offered a few other Marvel projects over the next few years, but TWD and other creator owned projects have kept me away from further superhero shenanigans… Though, if I were ever to return to that over done genre, I'd quite fancy tackling a certain Dr. Doom…
DO'L: How did the collaboration with Mathieu Misoffe on Le Soufle du Wendigo come about?
CA: I pretty much instigated that… in so much as I actively looked for work in the European comics industry. I've always been a BIG fan of the comics industry across the English Channel and a few years ago after I completed Savage book 2, I felt ready to show them what I could do. So I went to Angouleme, ended up talking to Soleil amongst others and they were the first to bite after my visit. They hooked me up with Mathieu and Wendigo was born. The exciting thing is that I'm now talking further French albums with Delcourt ( who publish TWD in France) and Soleil again… All original material.
DO'L: Is it still just a French version available of that book or has it being translated?
CA: Unfortunately it remains in French… for now. But hopefully one day I could get it published in English. It's a great story and one that's deserving of a wider audience.
DO'L: You seem to be an artist who can take on more than one project at a time. Any other projects on the horizon for you right now?
CA: As I said – there's further European projects in the pipeline. One with a rather popular US creator…! And there's always other irons in the fires… always. I'm not the sort of artist who rests on his laurels, so I'm always talking with editors and on the outlook for stuff that might get my creative juices flowing – so to speak… Unfortunately it's just nothing I can talk about at the moment.
DO'L: Thanks again for taking the time to talk with us Charlie, cheers.
CA: Not a problem… It was a pleasure!


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  end
end

redpajama_set_name: RedPajamaGithub


Easy-To-Read Hands And Marker, Can Wear On Daily Basis, Office, College, Party, Wedding, Formal, Casual.
A high quality three watches combo with swiss designer dial from house of Swisstyle. The watches comes with a warranty of 1 year and can be replaced or repaired for no costs in case of any manufacturing defects throughout the year.


Hacienda Sarapampa is a family business dedicated to the production of Cusco Giant White corn. For three generations in the Sacred Valley, the owners have keep the traditions associated with corn farming, back country cuisine and the sweet and simple living of the hacienda life.
THE TASTE OF THE SACRED VALLEY!
Opened to visitors in 2015, Hacienda Sarapampa offers a unique vivential experience in an working farm where you can learn fisrt hand about the Cusco Giant White corn and its production, the hacienda life and delight yourself with a Farm to Table lunch while you enjoy the beautiful surroundings. Be our guest and experience the real taste of the Sacred Valley of the Incas.
Hacienda Sarapampa wants to share the experience of Giant White Corn production and show you why it is so special. You will learn about the origin of such a special variety and show you how farming was done during pre-columbian and colonial times from cultivation to trade in the international markets.
Giant White Cusco corn has transformed the local economy within the last 70 years and each year is a new challenge for farmers who are dedicated to its production. Some of the challenges include climate change, intensive farming and finding communion between old agricultural traditions and new technologies.
The Giant White Corn is a legacy that is ours by right. We feel a deep responsibility to preserve and seek its continuous improvement for future generations of farmers. Hacienda Sarapampa is not a hotel or a restaurant. We are an operational farm where you can experience first-hand a unique cultural experience. We hope you visit us soon.


Mixed Martial Arts (MMA) is one of the most popularly-followed sports in the US. More specifically, the Ultimate Fighting Championship (UFC). Betting on the UFC and MMA is also extremely popular. So how can Americans get in on MMA Betting? Well, all you need is to read this guide and understand how to bet. All of our top listed sites offer MMA sports betting, so keep your bankroll ready. We've also ensured that they are licensed and regulated for US bettors.
To starting betting on the UFC/MMA, you'll need to understand the weight classes and matches. In the UFC particularly, there are certain major events to follow. For example, Fight Night 142, UFC 231, etc. these matches are held at different arenas across America. Which means that attending the fights can be costly. Luckily, there's always live coverage on local networks and streaming sites for these title fights.
Once you're familiar with these classes, we recommend checking the fighting styles of each competitor. Understanding their style helps gamblers to make an informed bet on this combat sport. However, always be aware of insider information and avoid it. This is illegal to share and profit on.
Most sportsbooks offer odds in three standard forms. At American bookies, you'll most likely see money line bets. Still, there are a few international bookmakers who offer European and British formats. So, we've listed them with some examples for our US bettors.
Moneyline – these are based on $100 wagers, and usually look like this: +125, -100, etc. So, if you bet on McGregor to win on -250, you'd need to calculate it with this formula: $100 (100/250) x100 = $40. For a +250 wager, use this (wager x odds)/100.
Fractional – most UK bookies work in fractions, for example 1/6. This would be your wager multiplied by the (left number by the right number). Or 200(1/6) = $33.33.


text:
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info@stegglesandco.com
The Week in Review – 1 June
"We can now take careful but deliberate steps to reopen our economy"
On Friday, the Chancellor took to the Downing Street podium and confirmed that the Job Retention Scheme will conclude at the end of October. Rishi Sunak set out further details of how employers will have to start sharing the cost from August.
In an uplifting message, Sunak said: "Over the coming weeks, we can now take careful but deliberate steps to reopen our economy. Across the country, office lights will be turned on and windows thrown open. Work clothes and school uniforms will be pulled out of the wardrobe. Shops and factories will start to hum with activity. As we enter this new phase, things will change."
He also announced that the self-employment income scheme will be extended, with applications opening in August for a second and final grant.
Further lockdown easing measures announced
The Thursday daily briefing was led by the Prime Minister, who announced a further easing of lockdown measures, with a step to allow groups of up to six people to meet outside from Monday 1 June (in England). In Wales, any number of people from two different households will be able to meet each other outside from Monday, but beauty spots will remain closed. It comes as First Minister Nicola Sturgeon confirmed people from two different households, up to a maximum of eight people, were now able to meet outside in Scotland from Friday. In Northern Ireland, groups of up to six people who do not live together can meet outdoors (from 19 May).
In England, outdoor markets and car showrooms will also be able to reopen from 1 June, provided they meet COVID-19 secure guidelines and all other non-essential retail can open from 15 June.
Test and trace up and running
The NHS Test and Trace service went live on Thursday, in England, with 25,000 contact tracing staff and the capacity to trace the 10,000 contacts per day. Announcing the new service, Matt Hancock commented: "As we move to the next stage of our fight against coronavirus, we will be able to replace national lockdowns with individual isolation and, if necessary, local action where there are outbreaks. This new system will help us keep this virus under control while carefully and safely lifting the lockdown nationally." Scotland have launched their new Test and Protect system. Northern Ireland already has its own version of the programme and Wales' scheme is due to start in early June.
Economic data skewed
Last week, the International Monetary Fund (IMF) said the virus is skewing economic data and making it hard to collect, which is in turn making it difficult to understand the full scale of the impact on the world economy. They stated: 'Without reliable data, policymakers cannot assess how badly the pandemic is hurting people and the economy, nor can they properly monitor the recovery', adding that 'innovative data collection methods' are needed to tackle the discrepancies in data and assess the extent of the crisis.
On Friday, there were concerns about the possibility of a rise in tensions between the US and China over recent actions in Hong Kong, but the White House press conference was less confrontational than feared. Many global indices closed the month in positive territory.
"British sporting recovery" – on the starting blocks
On Saturday, Culture and Sport Secretary Oliver Dowden informed us that competitive sport will be allowed behind closed doors in England from 1 June, paving the way for the first live action in nearly three months, saying: "Football, tennis, horse racing, Formula One, cricket, golf, rugby, snooker and others are all set to return to our screens shortly." He added: "We still have a way to go, but for a sporting-loving nation, today really is a significant milestone".
Onwards and upwards
We are here to guide you through these uncertain times. Financial advice is key, so please get in touch with any concerns or queries you may have.
The value of investments can go down as well as up and you may not get back the full amount you invested. The past is not a guide to future performance and past performance may not necessarily be repeated.
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text:
Marx & Philosophy Review of BooksReviews'The Metaphysics of Capitalism' reviewed by Todd S Mei
'The Metaphysics of Capitalism' reviewed by Todd S Mei
Andrea Micocci
The Metaphysics of Capitalism
Lexington Books, Lanham MD, 2008. 280pp., £18.95 pb
Reviewed by Todd S Mei
Todd Mei is Associate Lecturer in philosophy and religious studies at the University of Kent. His …
The Metaphysics of Capitalism (henceforth MC) takes up the enduring question of what makes capitalism so resilient and why its type of resiliency is unjust at the socio-political level. Micocci presents a materialist philosophy deriving from Epicurus as both a diagnostic tool for explaining the fatal flaws of capitalism and providing an alternative to existing practices, though the bulk of the latter is only sketched in MC and promised in a future volume. The target of Micocci's book is clearly set against the materialism developed from Marx, and it becomes evident from the start that Micocci has had a long history of vigorous debate with Marx scholars. The main point of difference for Micocci is the way in which dialectical structures constitute the metaphysics of capitalism and thus reveal Marxism's reliance on dialectic, despite its criticism of political economy, as ultimately another face of the capitalist mode of production. No doubt such claims will have philosophers sympathetic to Marx up in arms, notwithstanding Micocci's claim that his work is "within the Marxist tradition" (11).
The main thesis of MC can be distilled down to the argument that the history of political economy has failed to engage with material life and has instead erected a metaphysics that hypostatizes real, material life in terms of ideas. This is done economically through theories of value according to which we identify what we think we need and how we set out our lives to fulfil these needs. Capitalism is therefore a self-sustaining system which refuses our escape, and it above all distorts the exigency and meaning of change by replacing revolution with its technical and productive innovation.
MC has seven chapters with alluring and provocative titles. Chapter one, entitled "Outline of an Intellectual Monster", is exemplary in this sense as it describes the all-encompassing nature of capitalism which removes individual identity and thus inhibits our independent, philosophical ability to question and change the status quo. This has detrimentally affected how we conceive of capitalism, understand and relate to material and how we think revolution should occur.
In chapter two, Micocci presents what he refers to as the "anti-Hegelian argument" which alleges that Marxists "have failed to grasp the fundamental mistakes in their Hegelian dialectical interpretation of Marx's thought" (29). At the core of this is a distinction between "real opposition" and "dialectical contradiction" which Micocci borrows from Lucio Colletti (38). The former constitutes an authentic opposition that cannot be reconciled, or what in particular Micocci will develop subsequently as our relation to material. The latter involves a conceptual structure that imposes itself on reality, thus masking and distorting real oppositions. Dialectics is therefore inimical to creating change since it conceals the need for a genuine "rupture" (39). Micocci notes, nonetheless, that thinking and conceptualization is not itself the problem: he makes a distinction between metaphysics and the abstract, where the former masks and distorts while the latter grasps logical relations correctly. This chapter is notable in that Micocci first proposes the basis of his alternative materialist philosophy.
Chapter three outlines the ways in which classical and neo-classical economic theory falls prey to thinking within, and therefore repeats, the metaphysics of capitalism. Marxists, as one can anticipate, do not escape this folly. The edifice of methodology in the social sciences is dialectical and metaphysical at its core. Chapter four extends the analysis of dialectical structure according to repetition or iterativeness which reduces the meanings of innovation and change to minor alterations within the dialectical structure of capitalism. This, in turn, diminishes individual autonomy, not least because we are led to believe, via the small changes we make, that we and our social and natural environments are undergoing innovation. The institutions of capitalism then become the centres which command and direct "economic and political" discourses (131). These institutions constitute capitalism's politea, as MC elaborates in chapter 5. Its reach and distortion is, in this sense, historical and imaginative (158) and is a different type of fascism whose organisation cannot be escaped except by a complete rupture.
Hence, in chapter 6, MC turns to a sketch of what this rupture requires—i.e., a turn to individuality and materialism. Individuality arises from the break with metaphysics which, in turn, can only be secured through a turn to materialism. MC refers to Francis Bacon as an example of "materialistic practice" (195) despite his reluctance to break completely with religion and God as the ultimate context for truth. The main lesson to be learned from Bacon is his distrust of philosophical thinking which, when uncritically wed to metaphysics and dialectical structures of thought, results in "tautologies of a reckless use of the senses" (196). This chapter concludes with a sketch of what individuality entails by contrasting it with what it is not. There is a hint here that we cannot define individualism if we are thinking within the metaphysical matrix itself. Thus, against the conventional idea that capitalism is the bastion of individualism (à la homo economicus), MC argues that it denies, atomises and represses true individuality (218–219).
The concluding chapter offers a metaphor for the world which we have created through the metaphysics of capitalism—"cut flowers". Taking the theory of value as its focus, MC argues that the history of political economy misrepresents the human relation to material through the way it conceives value, or what is the "transformation problem" (228) that occurs when labour produces value with its use of material. For Micocci, the history of political economy has never been able to solve this problem because its pantheon of thinkers (again including Marx and Marxists) have failed to see that material wealth is not the same as the abstract wealth dealt with by their theories (230). MC concludes with the image that as individuals in the capitalist system, we are like cut flowers excised from our natural life in order to be put on display and eventually wither.
MC presents a bold approach to political economy and current conceptions of materialism, and there is no doubt that Micocci is writing from a deep engagement with both economic and philosophical sources. What is apparent throughout the work (and as stated in the preface) is Micocci's passion for his position and argument; and yet, this appears to be the book's weakness as well, insofar as his passion seems to have clouded his judgements concerning the depth of analysis and argumentation he needs to provide in order to convince readers.
For example, much of the analytic detail the reader is expecting to encounter is referred to Micocci's earlier work, and so what often appears is an appeal to those works without adequate recapitulation in the book. This gives the reader the impression that what is being offered in the book is not really new, and as well, it does not allow for cogent and in-depth argumentation. The lack of argumentation appears in two significant ways involving points concerning epistemology and the economic theory of value, both core features that need to be explicated well if MC's thesis is to stand up to scrutiny.
Concerning epistemology, Micocci takes a materialist view derived from Epicurus and Diogenes Laertius and which entails a form of realism. While there is no extended treatment of the type of realism he advocates, he uses the term "prolepsis" to encapsulate a kind of realism that relies on an idea "inherent to our nature" (54). What he at first describes appears to be a kind of indirect realism, though the relation between reality and the human mind is not fully explained. Thus, when Micocci remarks "Only a direct, sense-based observation of the concrete grants veridicity to what is studied" (55), further questions arise as to what kind of realism he really intends. Moreover, while prolepsis is used to underwrite a materialist anthropology, it is not explained how one can in fact relate "directly" to reality and nature. The author may contend that "arguing for this direct relation" may be more metaphysics, but at the same time, if we are trapped in this metaphysics, conceptual fallacies can only be exposed by showing an alternative which is true, or at the very least, cogent. As a result, Micocci's vigorous claim that "the social sciences can only be pursued by returning them to a wider and more rigorous logical frame that only philosophy can supply" (238) is unconvincing.
Similar problems occur with respect to the role value plays in Micocci's criticism of political economy. That theories of value from classical to neo-classical economics have been problematic is well known. Micocci exploits this issue in terms of the labour theory of value in the classical period and the myopic focus on transactions and "GDP/GNP" in neo-classical theory (228–236). However, his alternative turn to individuality and materialism offers only a theoretical criticism and nothing really constructive. Without an alternative theory, the suggestion is that no theory of value is at all possible. But Micocci's distinction between metaphysics and the abstract would suggest that there should be an abstract theory of value correlative to material production. Thus, while true to his aim of depicting the radical break that is required for genuine change, the "all or nothing" position he presents the reader is not supported by adequate philosophical analysis of criteria that would generate cogent reasons for making this change.
Generally speaking, there are many instances of passion taking precedence over analysis. Some involve unclear and contradictory meaning in what Micocci appears to want to say (cf. 26, 27 on "new" analysis; 109 on "repetitive"). Two examples dealing with the book's representation of others' points of view occur in relation to Aristotle and communitarians. Micocci's discussion of Aristotelian virtue characterizes habit as a type of metaphysical "conditioning" (165) and fails to take into account the relation of character virtues to the intellectual virtues, most prominent of which is phronesis and its relation to praxis. While a minor historical example in the context of MC's scope, this mistreatment tends to undercut the bold historical/geneaological sweep Micocci sets up in the attempt to deconstruct the historical development of capitalism. How accurate and reliable is his understanding of the history of philosophy?
A second topic central to Micocci's argument is the way in which communitarians are seen to be equally as mistaken as liberal theorists in attempting to resolve socio-political injustices. These communitarians are never really discussed in any detail and never identified (cf. 180). Without adequate treatment, MC not only risks setting up a "straw man" but also allows his writing to take the form of a rant.
MC unfortunately carries a bold thesis which is not supported by adequate philosophical analysis, and the frequent deferral of larger questions and theoretical developments to a future volume cause more harm to the cogency of the author's project than it does to entice the reader to look forward to the next instalment. One suspects that the many targets of MC's criticisms will therefore find a sufficient lack of engagement with their own philosophical and economic axioms and principles.
URL: https://marxandphilosophy.org.uk/reviews/7594_the-metaphysics-of-capitalism-review-by-todd-s-mei/


Abhar or 'Abhar Chay' as is colloquially known is one of the most ancient regions of Iran. Existing evidences reveal that this area thrived and flourished in the 2nd millennium BC., the Medes were responsible for unifying various tribes then existing. It was during the Ilkhanan era that this region also saw progress in the way of communications due to the fact that Soltaniyeh was selected as the capital during the said reign.
Communication-wise this importance can be said to exist even today. The name of this city is derived from the Pahlavi language, a word pronounced as 'Oher'- meaning a place for 'blocking waters'. The original location of this city is known as 'Tappeh Qaleh' and stands on the right bank of the Abhar River. The said area is one of the ancient places of human settlement in Zanjan province, from the very beginning of the 4th millennium BC.
The famous Abhar river flows across this region which enjoys a mountainous climate with cold snowy winters and moderate summers.


text:
Q: Как открыть папку автоматически в определнном месте экрана в Windows? OC: Windows 2008 R2 Enterprise
Моя читцация: Я работаю на сервере который мониторит производительность всех серверов сети. При включении компьютера я хочу чтобы у меня открывалось две программы и папка с логами, где я сразу вижу какие процессы были уже произведены. Я закинул ярлыки программ и ярлык папки с логами в папку
%AppData%\Roaming\Microsoft\Windows\Start Menu\Programs\Startup
Вопрос: Возможно ли открыть это окно в опредленном размере и в определенном месте (справа внизу окна)? Там он в маленьком окне не будет мне мешать выполнять другие задания.

redpajama_set_name: RedPajamaStackExchange


text:
/* global Enumerable */
/* global expect */
/// <reference path="../typings/mocha/mocha.d.ts"/>
'use strict';
describe('.any', function () {
    describe('return true', function () {
        it('should return true when no callback and the collection has items', function () {
            var enumerable = [1].asEnumerable();

            expect(enumerable.any()).to.equal(true);
        });

        it('should return true when at least one item matches the selector', function () {
            var enumerable = [1, 2, 3].asEnumerable();

            var any = enumerable.any(x => x >= 2);

            expect(any).to.equal(true);
        });

        it('should return true when only one item matches he selector', function () {
            var enumerable = [1, 2, 1, 1].asEnumerable();

            var any = enumerable.any(x => x != 1);

            expect(any).to.equal(true);
        });
    });

    describe('return false', function () {
        it('should return false when there are no items in the collection', function () {
            expect([].asEnumerable().any()).to.equal(false);
        });

        it('should return false when there are no items even if there\'s a function', function () {
            expect([].asEnumerable().any(x => true)).to.equal(false);
        });

        it('should return false when no items match the selector', function () {
            var items = [1, 2, 3].asEnumerable();

            var any = items.any(x => x > 4);

            expect(any).to.equal(false);
        });
    });
});


BPlay, the ultimate entertainment solution for BlackBerry users, and leading mobile games developer Hands-On Mobile, has announced the eagerly awaited launch of the World Poker Tour (WPT) Texas Hold'em game on BlackBerry devices.
Players can buy the game by visiting bplay.com from their mobile phones, selecting Top 10, followed by WPT Texas Hold'em for a one off cost of $8.95 for unlimited usage (plus relevant carrier messaging charges).
"WPT is the number one brand in poker and we're thrilled to deliver this leading title to our BlackBerry users who are embracing entertainment as an integral part of the mobile experience," said Nicholas Reichenbach, Senior Vice President of BPlay.
BPlay, WPT and Hands-On Mobile will be hosting a poker tournament on May 9th at the world's largest BlackBerry conference WES (Wireless Enterprise Symposium) in Orlando. This unique VIP tournament will give one lucky player a seat at the Season VI WPT Invitational in Los Angeles, California, an invite-only tournament were they can mingle with Hollywood celebrities and poker's top pros.


Sandeep Shirodkar has been in the world of music since the age of 7. His father, Shri Hemant Shirodkar, was a guitarist in the Kalyanji-Anandji troupe. Sandeep picked up music lessons from his father and when he turned 13, he too started playing keyboards for Kalyanji-Anandji.
Viju Shah, son of the late Kalyanji, spotted his talent and then groomed Sandeep under him for years as his guru. Sandeep played for films like Mohra, Gupt, etc. and then worked with Anu Malik for hit songs like 'Janam Samjho Karo', films like Refugee, Biwi No. 1 and many more songs.
Sandeep then has been arranging and programming songs using softwares like Digital Performer, Logic Pro and ProTools. He has done additional programming for Salim-Sulaiman on several background scores for films like Bhoot, Krissh, Chak De India, Heyy Babyy as a part of their team.
On the prospects of young talent entering the music scene, Sandeep feels that just having access to softwares is not enough. Its like having a body but with no soul. What helps musicians like him cut above the rest is this "soul", which can come only through dedication, discipline and determination.
His initial training under able musicians has made him what he is today.
Sandeep understands the importance of choice of instruments for a song he arranges based on the film's audio and video value.
The song "Dus Bahane Kar ke.." (music : Vishal-Shekar), gave Sandeep recognition within the industry. And now his songs from "Partner" (music : Sajid-Wajid) are the latest chart busters.


It is interesting and it's changing so you have that constant inspiration to keep doing something new; you want that in your career.
My name is Beverley Inkson, I'm a Professor of Nanomaterials, a nanomaterial is material which has got structure inside it which is on a very, very tiny scale. A scale so small that you can't see it with your eye or with a microscope. It's a scale which is very tiny but has a very powerful effect on how materials work and how they behave. If we can learn more about how materials are actually made at the nano-scale and how we can change how they're made – it means we can change how they behave and make better materials and therefore better objects.
This is the first time I've ever worked in engineering, there are many jobs that aren't labelled engineering – but actually are. I didn't do an engineering degree, I have never worked for an engineering company but I'm now working as a Professor of Engineering, it shows how you can come into engineering from many different routes because its so multi-disciplinary.
When I was at school I didn't know about engineering, nobody told me what it was so it wasn't an option for me to choose. There are many more opportunities for young people now to learn about what engineering is and go to University to study a wide range of engineering subjects. Engineering is so broad that you can choose a subject that really interests you – from building a big bridge to working with the the tiniest of objects.
At school I did science and maths and when I went to university I did a degree in natural sciences which covered a wide range of sciences, which is quite different. I really enjoyed doing materials science and physics so I ended up with a physics degree. I then did a PhD in Materials Science which was terrific – I learnt all about materials and how they work and how they can be engineered to be better, my PhD was sponsored by a Japanese company – so I got to work in Japan for a few months. I thought that was great, it really made engineering interesting that you could fly around the world to do your work.
It's so interesting and constantly changing; if you think about all the things that you have; you mobile phone, your computer, your car; they're constantly being improved and made from different materials. It's a very creative process designing new materials and improving the ones we've already got. Its interesting and it's changing so you have that constant inspiration to keep doing something new.
The key thing about engineering is taking materials and using them in better and smarter ways. It is very important to use less materials, less resource to be able to do the same job. This will be a big thing in the future and it's essential because we don't have much on the planet and we have to make proper use of it.
I'm a Professor of Nanomaterials, a nanomaterial is material is something with a structure inside on a very small scale; a millionth the size of a millimetre; but it has a very powerful effect on how materials work and how they behave. If we can learn more about how materials are actually made, we can learn to change how they're made. It is something that not many people have heard of but if you think about something like your mobile phone, the structure of it has been achieved by people doing engineering at the nano-scale; all of the wiring and things like that have been engineered by this very small nano-engineering to make more objects and more functionality into a much smaller space.
When I did my degree I was one of five women out of 120 within my group, so I have always been outnumbered. But I've been outnumbered so long I don't even notice. It is getting better, there are a large number of programs here at Sheffield to encourage women to come into engineering and there is no fundamental reason why women aren't here, it's always just been that there are more men applying. I've never had any problems other than I am outnumbered.
How do we encourage more women to study and work in engineering?
Engineering is not a school subject, so many women don't have a good knowledge of what you can achieve and what you can do in engineering. It's an excellent career and there's such a variety of different subjects that you can do. When people are actually doing engineering, they love it.
If you're at school and looking at your choices the main thing is to make sure you choose something that interests you, but also keep an eye ahead on what you're going to be aiming for. If you want to do engineering it's a good idea to make sure that you have a broad range of sciences and maths, when you get to university there is not such a clear distinction between the subjects; they all merge into one another and you'll be able to find the niche that really excites you.
Engineering is so broad that you can choose a subject that really interests you – from building a big bridge to working on the tiniest of objects.


Open a new or existing document in Microsoft Word.
Click the "Insert" tab > Locate the "Tables" group.
Select the "Table" icon > Choose the "Insert Table..." option.
Set the "Number of columns," "Number of rows," and "AutoFit behavior" to your desired specifications > Click [OK].
Open the Excel file and use your mouse to select the data you wish to import.
Right-click on the range of cells you have highlighted and select "Copy."
Switch back to Word and highlight the table cells where you want to import the Excel data.
Right-click on the Word table and click the option you want under "Paste Options."
If you select the table in Word, the "Table Tools" tab will appear at the top of the page. Use this tab to format the "Design" and "Layout" of the table to meet your preferences.


1954 Simplicity #4629 vintage sewing pattern, teen girl's party or dance dress, size 10. Bodice has a low rounded neckline, short puffed sleeves, gathered neck edge and elastic casing at lower sleeve edges. Skirt is gathered and cut in three tiers. Velvet ribbon and bows trim V. 1 skirt seams and neckline. V. 2 has rick-rack trim at neckline and skirt seams. Upper edge of sleeve is gathered with elastic. May be worn off shoulder.


Buying a Vehicle has Never Been Easier!! From Our Driveway to Yours We Deliver!! Everything YOU Asked For & More!!! 2018 Ford F-150 SHELBY BAJA RAPTOR 4WD4WD.Awards: * Motor Trend Automobiles of the yearStillwell Ford Lincoln. Everything we do is driven by YOU! Hillsdale, MI.


text:
Saigon-Hanoi
In the house where he spent his holidays when he was young, buried in the snow, amid his souvenirs, on television, he watches the documentary in which he participated: his return, twenty years after the war, to the place of action and his fraternisation with the former enemy. This is his yearly attempt at an exorcism, which he re-enacts every New Year's eve. Felicity is thirteen, maybe eleven. On a New Year's eve, to escape from boredom and from her temporary loneliness, she makes a telephone call, just by chance. Chance has it that Homer picks up the telephone. Little by little, the impudent girl, whose thoughts are of an incredible richness, chases away Homer's solitude.
Genre : Genre : Roman graphique
Age of readers : Teen-adult
State : Terminé
Cosey
Art and story


Last edited by pedramyz; 08-30-2018 at 09:46 AM.
Yes. Especially if this is a serious project. You can't be worried about the sound as director even if you know what you're doing. You have to direct. So you will be needing someone to do the sound. Whether that is a friend, student, or pro.
Get your dialog recording right in production. That's the focus of production sound, and if it's done right and done well, you can do anything else in post.
I'd say audio post is actually the more intricate part of making a movie sound like a movie. That's where the full soundscape - the audio version of the visual world you're making - comes to life. It starts with clean dialog, but then it's all about layers. Many, many layers.
Most of what you hear in a professional motion picture didn't happen on set. Foley, the art of performing sound effects while watching picture playback, is used to create the sounds of human movement as well as detailed sounds of other objects moving in the picture.
SFX, or sound effects, are either recorded "wild" (outside of a studio, not synced to any picutre playback) or pulled from prerecorded libraries. And sounds that you hear are often a) not the sound of the actual object you see and b) usually layers/composites of several different sounds.
Ambient sound beds lay the framework for any scene. For example, a scene in a city diner will have a constant bed that's made up of "walla" (generic voices murmuring in the background) and muffled city/traffic sounds bleeding in from outside. These are all added in post, NOT captured with the dialog. The occasional clank of silverware on plates and bowls may also be added in the background (again, in post and NOT recorded on set).
A scene of two people walking down a rural dirt road will have a constant sound bed under it comprised of a light breeze rustiling in the trees, birds chirping in the background, etc. Again, all added in post. And Foley will add the footsteps on the dirt road.
These foundational elements make the visual world believable, because we interpolate what we see in part based on what we hear.
And getting all of these elements - dialog, Foley, SFX, ambient beds, music - to work together comes from getting the mix right, and that's another specialized skillset and a reason to have an experienced sound designer/editor/mixer on your post-production team.
Abolutely. Having a dedicated and knowledgable recordist (also known as PSM - Production Sound Mixer) who has the right gear will always give you the best results in production sound. And finding a professional sound designer and audio post mixer will give you the best results for everything else in the sound world.
But if you just don't have the money to hire a professional... do you actually not have the money? Sure, your budget may not allow for a full day rate for a PSM, but if this is a short film and you're doing it out of the love of the art, you might be able to find a sound pro who has some free time and is looking for a fun project on the side. That person may work for a discounted rate, or for beer, or just for the fun of it.
The other option is to put together a team of beginners like yourself that includes someone who wants to focus on sound. A very basic kit (which I outlined for you in another thread) can go a long way. Just one microphone used well can get you clean dialog in most situations, but you have to have someone who is dedicated to swinging the boom, operating the recorder, AND actively monitoring through headphones.
Answered above. Dialog is the job for production sound. Everything else is replaced/recreated in post.
This is a very broad question, and probably a bit more than you want to chew on right now.
For production, there are three basic mics that can be useful: shotgun, hypercardioid condenser, and omnidirectional lavaliere (with a wireless system). There are other mics that show up on professional sets, but for the beginner, these are the basics.
The shotgun mic will take the lion's share of work on the end of a boom pole. Where the shotgun may not be the right choice is in a really reverberant/reflective environment, like a dining room with all hard surfaces, or a bathroom, or any other place where hard surfaces bounce the sound all over the place. That's where the hypercardioid takes its place at the end of a boom pole. Without getting into the math of it, the same physics that give a shotgun mic its focused pickup pattern most of the time is also its weak spot in reflective rooms, and the hypercardioid will sound more natural in those spaces.
The lavaliere is a good backup if budget allows, and a wireless mic system can enjoy proper placement in places where the boom pole just can't reach, such as really wide shots that leave too much headroom for the boomed mic to be of anyuse.
Back to the basic beginner's kit, though, a good shotgun with boom pole and shockmount and wind protection, and a good recorder and good headphones, can get you where you need to be. Just be sure you have someone who is focused on that and that alone during production.
But hiring/recruiting someone dedicated to sound means that person has to worry about all this and, as Indietalk said, you can focus on directing. Just buying a decent starter kit does not guarantee good dialog in production, because that is something that takes practice.
Last edited by AcousticAl; 08-30-2018 at 09:52 AM.
A very basic kit (which I outlined for you in another thread) can go a long way. Just one microphone used well can get you clean dialog in most situations, but you have to have someone who is dedicated to swinging the boom, operating the recorder, AND actively monitoring through headphones.
This is for those who haven't read the mentioned thread.
Last edited by pedramyz; 08-30-2018 at 10:09 AM.
And Foley will add the footsteps on the dirt road.
How do you sync the walking animation with the footsteps sounds? That seems like a really intricate job! Each actor/actress walks in a different pace. Sometimes you don't have a full control over your actors walking pace.
Again, this is Foley. It's done in post-production, not on-set. A dedicated Foley artist actually watches the playback of the edited picture and performs the footsteps along with what's seen on screen. So, whatever walking pace the individual actor had, that's what the Foley artist recreates.
And if you're using pre-recorded footsteps from an SFX library, it just takes time to slip each individual footstep sound into place... one by one. Again, this is done in post, long after the footage is shot.
Last edited by AcousticAl; 08-30-2018 at 10:45 AM.
Wow! So much work! Amazing.
I posted your last question first. Why? Because it's very difficult to discuss a something if you don't speak a common language. The "technical vocabulary" and associated techniques are one of the very first things you should learn. As with any other discipline - be it filmmaking, medicine, law, architecture, etc. - it can become quite complicated. As many on this forum know I was a working musician for 25+ years, switched over to music engineering/recording, and then sidestepped into audio post. Even with all of that experience behind me it was several months before I felt I had a solid grasp on the processes of audio post, and quite a bit longer before I felt I felt that I was truly competent.
This is not meant to discourage you. However, you do need to understand basic techniques and associated tech speak. At the very least you will understand what your sound team is doing and what they are conversing about, and you can intelligently exchange ideas with them.
You learn all of the techniques and technical jargon (yes, a very daunting task) and spend A LOT of time - much, much more than a professional or even a talented up-and-comer - getting your sound right. As a one-man-band audio post facility it takes me between 2 (two) and 10 (ten) hours per linear minute to do the audio post on a project. You'll have to spend 2 (two) or 3 (three) times that as you are a complete neophyte. The positive side is that no one hears your mistakes; at least until you release your project.
This goes along with technical knowledge, so here we go with some tech talk. The three most common types of microphones are Dynamic, Condenser and Ribbon. There are two types of condenser mics; Large Diaphragm Condenser (LDC) and Small Diaphragm Condenser (SDC). Small Diaphragm Condenser mics are most commonly used for production sound.
Now we get into Polar Patterns - Omni, Lobar, Cardioid (subcardioid, cardioid, supercardioid, hypercardioid) and Figure 8 (bi-directional).
Production sound uses SDC Lobar/shotgun & hypercardioid mics on boom poles, and omni & supercardioid lavs.
Feeling a bit overwhelmed? And we haven't even gotten to mixers, recorders and time code, much less audio post. That's the problem, you can't know everything, and that's why you need audio assistance from someone.
For a start on production sound basics you should read "The Location Sound Bible" by Ric Viers.
Of course you should hire a professional, or, at the very least, retain a talented up-and-comer. You are hiring knowledge, experience and equipment. If you don't want to expend the resources then you have to acquire the knowledge, experience and equipment yourself. The biggest problem is that, even if you spent months gaining knowledge and bought cheap prosumer gear, you will be directing and someone else will be running sound for you, so all of your efforts become moot.
Audio post is all about details and layers.
When beginning a project I put together my cue sheets for dialog, Foley and Sound Effects. The larger the project the more important this map/guideline becomes. On a feature project this can me take up to a week.
The first chore (at least for me) is to get the DX (dialog) tracks right. The DX edit is using dialog from the unused alternate takes, DX wilds and ADR (Automated Dialog Replacement) to fine tune the dialog between the characters. You can fix mumbled/unintelligible words, excessive noise, and the like. You can even change the "tone" of the dialog. As an example, in the project "Last Exit" the female character in the opening scene came across as a bit too strident and abrasive, so by using dialog from alt takes I was able to make her more worried and vulnerable.
You can start with "Dialogue Editing for Motion Pictures: A Guide to the Invisible Art" by John Purcell.
The next job (in my personal process) is to give each scene a sonic base, the ambient sound. I have assembled a library of ambient canvases to use - empty street, busy street, office, forest, meadow, restaurant, bedroom, etc., etc., etc. These are my sonic canvases for each scene on which I can "paint" all of the aural details.
Now comes Foley, performing all of the human-made sounds - footsteps, punches, cloth, props handling and the like; details, details, details! This process becomes especially important if you are using DX wilds or ADR.
Your reading assignment - "The Foley Grail: The Art of Performing Sound for Film, Games, and Animation" by Vanessa Theme Ament.
Sound effects is the next job on the list, which for me is completing the ambient atmosphere and then adding everything from doors to vehicles to phones to weapons to… You get the idea. I personally (budget permitting) go into the field to record my own sound effects; I get the rest from libraries.
Reading - "The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects" by Ric Viers.
After that I drop in & edit the score and source music.
And that's just the process. You'll also need the proper equipment (mics, preamps, DAW, Foley props, etc.) and, of course, the knowledge and techniques.
Once again, this is not meant to discourage you but is a forewarning of what you are letting yourself in for if you decide to handle all of this yourself.
So that's where you start.
As IndieTalk and AcousticAl have pointed out it is preferable to retain someone to handle the chores for you; filmmaking is a team sport, after all.
after reading this, I will definitely hire a professional, hands down! I promise I will .
But I'd like to learn many of this stuff. They are really interesting. and as you mentioned it smooths the correlation between the director and the recordist.
watch the trailer. All the scenes have no more than 2,3 layers of sound. Dialogue, and ambient( This includes Foley, sound effects, ambient, everything!). Or even one layer! They record the dialogue and other sounds all simultaneously together. You hear how their voice echoes at the beginning of the trailer? ( When they are in a divorce office). Even if they used the same process as you mentioned, still the sound for this movie is not even close to the standards of Hollywood or international standards. and we'r talking about one of the most reputable filmmakers in Iran with relatively high budgets for his movies (compared to other Iranian movie budgets). Now what is causing this poor sound? low budget or lack of professional recorders in Iran? ( I assume both). If this guy who had access to a lot more professionals and had a lot more budget than I do, can't get the sound right, Can I still overcome this challenge and make a good sound if I follow your instructions?
Last edited by pedramyz; 08-30-2018 at 03:46 PM.
watch the trailer. All the scenes have no more than 2,3 layers of sound. Dialogue, and ambient( This includes Foley, sound effects, ambient, everything!). Or even one layer! They record the dialogue and other sounds all simultaneously together.
A movie trailer is not an accurate representation of the film as far as audio is concerned. Trailers are driven specifically by dialog, heavy music, and added sound effects that are not part of the actual film. I guarantee there's more in there than you think you hear, and that the film itself has a sound design that is more complex.
But what the trailer shows isn't actually bad at all. Some scenes are in some pretty reverberant rooms, but the mic is still in close. Ask around and see who in your community is available who has the gear and the experience. Ask to see their previous work, but remember that the finished film is rarely accurate to the original production sound because SO much happens with audio post-production. If you have working, professional PSMs/recordists in your area, I think you'll find yourself in a good starting place.
Besides, part of your job as a director is to communicate your needs to the other departments on your crew. As Bob said, this is a team sport. You have to be able to give a clear explanation to your sound crew just as you do to your set designers, wardrobe, lighting... that's a big part of what being a director is.
But what the trailer shows isn't actually bad at all. Some scenes are in some pretty reverberant rooms, but the mic is still in close.
I didn't say it's bad, I said it's not close to Hollywood or international standards. Besides, I watched the movie in theater, not much of a difference between the trailer and the actual movie, with the exception of the music. The dialogues constantly echo in interiors, Most scenes are either raw with no foley or if they do have foley the sounds are really unnatural. ( You saw the scene where the guy headbuts the other?) You hear the sound for that action?! That's exactly the same sound happening in the movie.
I know this movie won academy awards, and everybody likes to praise this movie in every aspect possible, but if we are not biased here, the sound for this movie doesn't feel the same way as american movies do( Not neat enough somehow). why?
Last edited by pedramyz; 08-30-2018 at 04:49 PM.
Berlin International Film Festival .....that's not bad pedramyz. I think its not the same because of a lower budget. Why not look for a new recorder in Europe?
Last edited by Feutus Lapdance; 08-31-2018 at 01:43 AM.
Well there is the matter of budget as I said. Asking a Europian recorder to travel all the way to Iran( providing if Iranian government give them visa), and stay here for at least a week is gonna cost a lot of money. Besides I don't think any professional recorder is willing to spend all these resources to help an unknown filmmaker in Iran. That's a big ask from Europian recorders.
A plane ticket is around... 300,- from Amsterdam I dont know how much a visa is. you wanna record a short or a long movie?
A short movie around 15-20 minutes or so.


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tsccupoftea Catchup, Oscars Month February 24, 2019 2 Minutes
An unbelievable true story, some incredible filmmaking, and a sledgehammer of a political message combine to create one of the best films of the year.
The film follows the story of Ron Stallworth, the first black police officer on the Colorado Springs police force. He works undercover and one day responds to an ad placed by the local KKK in the newspaper. He phones in and continues talking to the head of the local KKK over the phone posing as a racist white man. Eventually he becomes a full fledged member in good standing. He sends in his partner, a white man, to play himself in person. Together they thwart cross burnings and foil violent demonstrations.
One of the most remarkable things about the movie is the way it blends and balances the inherent humor of the situation with the inherent horror of what it means. There was a black member who made a fool of the KKK. The irony of the situation is hilarious. There are scenes of high comedy as in the scene where Stallworth tries to teach his white partner how to speak more like him. Or the scene in which David Duke the grand wizard of the KKK explains to Stallworth why he Stallworth could never be black because of the inherent differences in white and black speech. It's priceless. However at the same time they are dealing with deep hate and horrifying expressions of that hate. The way the film moves fluidly through those two extremes is masterful to watch.
It balances comedy and drama, social commentary and police procedural, a thriller and a love story. The fact that it never goes too far off the rails in any one direction is a tribute to the director Spike Lee's ability to orchestrate a film. Too many movies these days try to blend satire and drama and they miss the mark. Vice, another film nominated for best picture, is a perfect example of a film that tries for this balance and totally misses the mark. Its satire is too broad. Its sincerity feels too cheap and unearned. This film makes that balancing act look easy.
The best sequence in the movie follows two scenes playing simultaneously. The KKK members sit down in a church basement to watch a screening of The Birth of a Nation. The film is about the formation of the KKK and the lynchings and murders that occurred after the Civil War. The film was released in 1916 and lead to a resurgence of the Klan. In this film the KKK members hoot and holler and celebrate the film and the horrors being depicted. This scene is cross cut with a gathering of a black student group as they listen to a man detail a real life lynching that occurred after the movie was released. Spike Lee uses the medium of film so beautifully here. He captures the contrast and delivers a message more powerfully than could ever have been delivered with words alone. This is a great sequence.
The film concludes with an incredibly hard hitting political message. It ties the entire story to recent events. It reminds the audience that although this story takes place in the past, it hasn't passed. It remains horribly relevant today. The racism, the hatred, and the expression of that hatred is alive today. The message is a little too political for some, but the film is definitely worth seeing regardless.
This is a really good film and absolutely my cup of tea. Grade A
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Roxie and I will have to go see it! Thanks Tim!


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RELEASE: 'Living Memorial' to Ken Saro-Wiwa seized by Nigerian Customs
Nov 5, 2015 • 8:43 am • by Suzanne Dhaliwal
Suzanne Dhaliwal – [email protected]
UK contact for images and interviews
Memorial sculpture to murdered activist seized at Lagos port by Nigerian Customs
Customs chief was on tribunal that condemned Ken Saro-Wiwa to execution; Shell stands accused of conspiring in the killing
Ogoni groups call for the release of the sculpture and Shell oil spill cleanup, issue direct action ultimatum
Nigerian customs have seized the 'The Bus', a memorial sculpture to Ken Saro-Wiwa and the Ogoni 8. London-based arts and environment group Platform sent the sculpture to Nigeria upon request by the people of Ogoniland in the Niger Delta. The sculpture by artist Sokari Douglas Camp, has been held in Lagos for 8 weeks with no formal explanation. Niger Delta-based NGOs have issued an ultimatum to the Nigerian government. They state that unless the Bus is released, mass actions across Ogoniland will see severe economic disruption in the region [1].
Ken Saro-Wiwa, Ogoni writer and environmental justice activist, was executed by the Nigerian military almost 20 years ago, on 10 November 1995. According to court documents, Shell had bribed key prosecution witnesses in the trumped-up murder case against Ken. Commissioned by Platform-London as a memorial to Ken in 2005, the sculpture was destined to be permanently installed in Bori-Ogoni for the 20th year anniversary of the execution.
On 17 August, just two days after the Bus left London, Nigerian President Muhammadu Buhari appointed a new Comptroller-General to the Nigeria Customs Service: Colonel Hamid Ali (retired)[2]. Ali was a member of the tribunal that condemned the Ogoni 9 to execution in 1995. The Bus arrived in Lagos aboard ship the Grande Lagos on September 8th.
AkpoBari Celestine Nkabari, National coordinator for Ogoni Solidarity Forum-Nigeria (OSF) commented
"We have a right to mark the anniversary of the killing of Ken Saro Wiwa [3]. We have a right to erect a remembrance for the many dead and for the suffering we have been forced to exist in. The Bus belongs to the Ogoni people and it is illegal for the Nigerian authorities to seize it for no reason. We have waited and asked them to do the right thing and release our property to us, all to no avail. Now we are forced to use the only option available to us. On the expiration of this ultimatum, we will mobilize Ogoni people and our friends to block the East West road and cripple every economic activity in that axis."
The Movement for the Survival of the Ogoni People (MOSOP) and NGO Social Action have not been allowed any visit to the sculpture. The groups' statement quotes a customs official as saying that the sculpture had 'political value' due to a quote from Saro-Wiwa inscribed on its side: 'I accuse the oil companies of practising Genocide against the Ogoni'.
A report by the UN's Environment Programme has called on Shell to clean up the devastation caused by oil drilling in the Niger Delta. Shell has thus far failed to start the clean up [4]. Despite years of exploitation of crude in the region local communities are still experiencing devastating impacts of pollution including loss of farms to oil-soaked soil and families drinking water with high levels of carcinogens leading to health problems, and militarised security at oil sites [5]. In 2009 Shell paid out $15.5m to settle a court case in which it was accused of collaborating in Saro-Wiwa's killing [6].
Suzanne Dhaliwal, campaigner for Platform and Director of UK Tar Sands Network, said
"Mobilisations for environmental justice forced Shell to back off in the Arctic and the Tar Sands. This is exactly what the international community is calling for in Nigeria. No longer can Shell stall on the essential work to clean up Ogoniland and the rest of the Niger Delta. We urge the Nigerian government to release the Bus today so that the people of Ogoniland can receive this gift of solidarity. The Ogoni 9 will not be silenced with the seizure of the bus. We will stand alongside the people of Ogoniland for the environmental justice that they lived and died for."
The Ogoni people requested that the sculpture be gifted to Nigeria after 9 years of inspiring solidarity across the UK, highlighting the role of Shell in the ongoing devastation in Ogoniland [7].
Sokari Douglas Camp CBE, the artist who created the sculpture nine years ago [8], said
"I made the bus in good faith as an educational tool and to raise awareness of the plight of the Ogoni people. It's a deep shame that the Bus has been seized. I urge for the release of the 'Living Memorial' to Ken and the other Ogoni 8 so that this gift from allies in the UK can create a space to reimagine the future of Nigeria. This is a call for freedom of expression to both honour the people who have fought for justice in Ogoniland and the people struggling for justice today."
Coverage Ken Saro-Wiwa memorial art bus denied entry to Nigeria
http://www.peoplescentre.org/index.php/84-home/112-seizure-of-ken-saro-wiwa-memorial-bus
http://www.thetrentonline.com/buhari-appoints-ken-saro-wiwas-killer-panel-member-col-ali-as-customs-boss/
http://www.redpepper.org.uk/ken-saro-wiwa-and-the-power-of-resistance/
https://platformlondon.org/p-publications/polluted-promises-how-shell-failed-to-clean-up-ogoniland/
http://www.theguardian.com/global-development/2015/nov/03/amnesty-report-accuses-shell-of-failing-to-clean-up-niger-delta-oil-spills
http://www.theguardian.com/world/2009/jun/08/nigeria-usa
Between its launch in 2006 and now, it has travelled to multiple sites around Britain as a site for events, education, and performances. These include New Art Exchange Nottingham, Liverpool Maritime Museums, Bristol's Arnolfini Gallery, Glastonbury Festival, Bernie Grant Arts Centre London, Stephen Lawrence Centre London, Goldsmiths and SOAS University of London, Shell Centre London, Southbank Centre London, Peckham Square, London. The commissioning of the Bus was funded by Arts Council England and trusts and foundations.
Interview with artist Sokari Douglas Camp CBE http://audio.theguardian.tv/sys-audio/Arts/Culture/2006/11/10/SaroWiwa.mp3
Photo credit: Sam Roberts, part of 'Doing Nothing is Not an Option' exhibition at Peckham Platform, November 2015
Associated Categories:
Places: Nigeria
Players: Shell
Issues: Arts, Corruption, Environmental Justice, Genocide, Human Rights, Indigenous Rights, Oil, Pollution, Racism, Repression, Resistance, Spills
Tags: Bus memorial, Nigerian Customs, seizure
Platform is a company limited by guarantee no. 2658515 and a registered charity no. 1044485
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