I want to help people. What career in the medical field should I choose?
Wanting to help others is a great thing. You don't need to be in the medical field to be of assistance, however the medical field has a variety of careers. I'm in the medical field and I'm a nurse. What you interested in clinical or clerical, health management and administration?


The Genealogy of the Seiple Family in America - William H. Seiple Sr.
Birth*: William H. Seiple Sr. was born on 15 October 1927 at Easton, Northampton County, Pennsylvania.
Marriage*: William H. Seiple Sr. married Gloria Schulz in 1953.
Death*: William H. Seiple Sr. died on 14 October 2012 at Pennsylvania at age 84.


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News Bulletin Schedule
Both LBC 97.3FM and LBC News 1152AM broadcast news bulletins on the hour and at half past the hour 24 hours a day. These bulletins are live and contain a full mix of London, National and International stories.
During peak hours (Mon - Fri 0600 - 0900 & 1600 - 1900, Sat & Sun 0700 - 0900) we also broadcast news headlines at 1/4 past and 1/4 to each hour.
LBC 97.3FM also broadcasts a 30-minute news programme called 'The Morning News' which provides a complete round-up of the day's news, travel, sport and showbiz stories.

redpajama_set_name: RedPajamaCommonCrawl


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Keystone Film Company
Tillie's Punctured Romance (1914)
Directed by Charles Bennett / Mack Sennett
Genres - Comedy | Sub-Genres - Romantic Comedy, Slapstick | Release Date - Dec 21, 1914 (USA - Unknown) | Run Time - 73 min. | Countries - United States | MPAA Rating - NR
Synopsis by Phil Posner
This Keystone comedy, Charlie Chaplin's 33rd, is the first feature-length comedy ever made and contributed to making Chaplin and his co-star Marie Dressler major stars. Chaplin plays a con artist (not the Tramp) who talks Tillie, an innocent country lass, into taking her father's savings and running off to the city with him. Once there, he re-establishes his affair with the beautiful Mabel Normand, abandoning Tillie, who must begin working at a restaurant, while Charlie and Mabel spend her father's money for new clothes. Meanwhile, Tillie's millionaire uncle is reported to have died in a mountain-climbing accident. When the opportunistic Charlie learns that Tillie has just inherited three million dollars, he immediately rushes over to propose. She joyfully accepts, but is suspicious when she learns of her inheritance. Later, at a wedding gala at Tillie's new mansion where Normand has begun working as a maid, Charlie sneaks off for a little tete-a-tete with the latter. Trouble erupts when Dressler catches them smooching. Suddenly all the slapstick craziness for which director Mack Sennett is famous erupts as Tillie grabs a pistol and begins chasing Charlie and Mabel, firing randomly. Just as the wayward Charlie is to be strangled to death, the "late" uncle suddenly appears and ejects all the celebrants. Charlie and Mabel, chased by Tillie, race out of the ruined mansion to a pier where they are followed by the ubiquitous Keystone Kops whom the uncle has summoned. Tillie ends up in the drink, and when rescued after numerous attempts, she rejects Charlie while consoling Mabel, saying, "He ain't no good to neither of us," as the Kops drag Charlie away.
Cons and Scams | Inheritance at Stake | Love Triangles | Romantic Betrayal
city-slicker, con/scam, double-cross, farmer's-daughter, inheritance, millionaire, revenge
High Historical Importance


Gorgeous Gorges Colors is an annual event at the Park to celebrate the wonders of the leaves changing colors in the fall. It is a family-friendly, fun event with music, food, face painting, s'mores, exhibitors and more! Mark your calendar now!
This FOG sponsored event is an annual hit! Stay tuned for more details!


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Home Entertainment The Meaning Behind BTS' Stage Names
The Meaning Behind BTS' Stage Names
Get To Know More About The Real Meaning Behind BTS's Stage Names!
It seems like every little thing that related with BTS is interesting, especially for ARMYs all over the world who are always looking for new information about the group! One of those interesting details is the meaning behind the BTS members' stage names, since mostly they aren't using their real names for their work. Now, Channel Korea will give you the details about the BTS's stage names and their meanings, so stay tuned!
BTS Members' Real Names
Let's start with each of the members real names! According to Koreaboo, BTS had an interview with Haru Hana Magazine. At the time, they talked about the meaning behind their real names, as well. Here you go!
BTS's RM (Kim Nam-joon)
The BTS leader, RM, was born with the name Kim Nam-joon. In hangul, his name is written as 김남준. For the whole meaning, Kim Nam-joon loosely translates as "The genius from South."
BTS's Jin (Kim Seok-jin)
Next is Jin, who was born with the name Kim Seok-jin. In hangul, it is written as 김석진. The name Kim Seok-jin also given to him by his grandfather. The whole meaning of his name is "A great treasure."
BTS's Suga (Min Yoo-ngi)
Suga was born with the birth name Min Yoo-ngi. In hangul, it gets written as 민윤기. It was revealed that Suga wasn't really sure the real origins of his name, but he also wished that the name was brought him to live well with his life.
BTS's J-Hope (Jung Ho-seok)
J-Hope's birth name is Jung Ho-seok, which is written as 정호석 in hangul. His parents chose the name for him, and it means "A name that will spread throughout the entire country." His parents chose his name after visiting a temple.
BTS's Jimin (Park Ji-min)
Jimin was born with the birth name Park Ji-min. The name means "my wisdom will reach higher than the sky." It has also been revealed that the name came from his grandfather. In hangul, it gets written as 박지민.
BTS's V (Kim Tae-hyung)
V was born with the real name Kim Tae-hyung, which is written as 김태형 in hangul. The meaning of his name is "all wishes will come true" and also "everything will work out in the end." V's grandfather chose his name, and it has the same meaning as his father's name.
BTS's Jungkook (Jeon Jung-kook)
The BTS maknae was born with the name Jeon Jung-kook, which is written as 전정국 in hangul. The name was given to him by his grandfather. Even though he isn't really sure about the meaning behind his name, he thought it might mean "the pillars of the nation."
BTS also talked about their names while being interviewed during The Graham Norton Show! After introducing themselves, they also went to the topic of the meaning behind their group name, as well! Unfortunately, Jimin wasn't there, but the excitement from the fans was still high! Meanwhile, RM was joking that one of the interviewers couldn't be Jimin even for that day!
After the adorable introduction, the fans and the interviewers were impressed with their English skills, since all of them introduced themselves in the English language. At first, Jin said that BTS stood for 'Be on The Scene' in English.
Then J-Hope added that it meant 'Boy Scout' in Korean. RM shared that there were a lot of people who considered their group name as 'Behind The Scene,' but that wasn't true, at all.
Watch the full interview here:
BTS Members' Stage Names In English
Besides the BTS members real names and stage names, there's also the English version of their names, as well. The English name represented for English-speaking ARMYs, so they could imagine what they would be with an English name!
According to Koreaboo, BTS had an interview with Buzzfeed Celeb while they were in Los Angeles. They were asked about their thoughts on renaming themselves with English names. All the members shared their thoughts in an adorable way, which made the fans get really excited! Here are the details about that:
BTS's J-Hope
J-Hope decided "J-Dope" would be his English name, and his response made the audience burst into laughter! Well, J-Hope is indeed 'dope' to us, right?
BTS's Jin
Meanwhile, Jin was went for "Genie" at the thought of English name. He followed that thought by singing the Girls' Generation song Genie, as well! Would you like to call him Jin or Genie instead, ARMYs?
BTS's Suga
Suga never really thought about changing his name into an English name, so he would rather to rename himself as "Yoon Ki-kim". It sounds cute anyway, right?
BTS's RM
RM chose a cute English version of his name for himself. He said he would rather be called "Monie"! It also referred to his hope to be cuter, as well! We do need the cuter version of RM, too!
BTS's Jimin
Jimin chose the English name "Christian Chim Chim." Such a cute name, right? He also explained that the English name was pretty long, and that's why he chose it.
BTS's V
V thought to rename himself Jack, after he revealed that BTS's PD preferred with one-word names. Then he impersonated the Titanic scene in which one of the characters' names is also called Jack!
BTS's Jungkook
Due to his fondness for Justin Bieber, Jungkook would rename himself as "Justin Seagull." For the 'Seagull' part, it was because seagulls are the official bird in Busan, which is his hometown. Let's call Jungkook as Justin from now on!
That was all of the information regarding to BTS and their stage names! It doesn't matter what their real names, their stage names, or even their English names are. No matter what would we call them, they would be the same BTS to us. The most important thing is that the fans lov them unconditionally, and keep supporting them as always!
Comment down below which one is your favorite names among all of those BTS members!
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State legislators are questioning a deal in which a local news team took a state-paid trip to Japan with Gov. Linda Lingle, who is there for a tourism promotional tour. Here, Lingle observes Sony's pet robot dog, the Aibo, during a visit to Sony Media World in Tokyo.
HVCB controls urged
The state needs more powers to deal
with problems with the bureau,
the state auditor says
By Tim Ruel
truel@starbulletin.com
The state needs stronger negotiating power to iron out long-standing problems with the Hawaii Visitors & Convention Bureau, a private agency funded by the state to market tourism, state Auditor Marion Higa said yesterday.
Higa said many of the problems a recent state audit revealed at the visitors bureau are the same issues revealed by previous state audits in 1993 and 1987.
"I think the state is at a disadvantage here ... where state staff are not prepared to take on private entities that they're up against," she said.
The state may have to invest more resources into the state Hawaii Tourism Authority, which was set up in 1998 to manage the bureau, she said.
Higa's sentiment contrasts with that of some in the tourism industry who have been coming to the bureau's aid in recent months, notably during Gov. Linda Lingle's Tourism Summit. Tom Ocasek, former chairman of the bureau, recently wrote that the bureau is "becoming an organization that is suppressed and intimidated, stifled by layers of approvals, checks and cross-checks."
Higa spoke yesterday at a joint House-Senate committee briefing on her critical audit of the Hawaii visitors bureau, released last week. The audit pointed to several potential abuses of state funds by the bureau, and bureau officials have publicly admitted making some mistakes.
The state tourism authority has recently entered more stringent language into the bureau's tourism marketing contract, which is worth $33.2 million and runs from January through the end of this year. Yet the bureau and the state did not actually agree to the contract and sign it until June, five months after the contract began.
Higa said the bureau appears to be a capable agency, but questions linger over whether the state has gotten its money's worth from the bureau's tourism marketing activities. Between 2000 and 2002, the bureau's state contracts were worth $151.7 million, more than two-thirds of its funding. The bureau's private funding during the same time was $71.5 million.
Higa said that because the bureau is a private, nonprofit organization, only a state audit could uncover problems. But even the audit did not delve exhaustively into whether the bureau used state or private funds for certain expenses. Higa said she has struggled with the issue. Only recently has the state attorney general's office issued an opinion that says private entities fall under the scope of the auditor's authority, she said.
Yesterday's legislative briefing also dealt with the arrangement in which a TV news crew from KITV-4 took a state-paid promotional trip with Lingle to Japan this week. The station, hit with criticism, has said it will reimburse the Hawaii visitors bureau for the $4,100 cost of the trip.
Lingle plans to brief the media on her trip Monday afternoon at 2:30.
The House and Senate tourism committees plan to hold a further joint briefing the same day at 1 p.m.
House Speaker Calvin Say and Senate President Robert Bunda have called for a preliminary investigation into the KITV controversy. Say and Bunda were not invited to Lingle's Japan trip until June 30, five days before the trip started.
Tony Vericella, president and chief executive of the Hawaii visitors bureau, said the purpose of having the news station there was to inform the public about efforts to revive tourism.
Sen. Donna Mercado Kim pointed out that KITV took the trip to cover Lingle, not other state tourism leaders.
Rex Johnson, president and chief executive of the tourism authority, said he did not learn that the visitors bureau was paying for KITV's trip until after the trip started.
Vericella also said that after Sept. 11, 2001, television news station KGMB-9 took a trip to New York paid for by the Maui Visitors Bureau.
Bob Loy, KGMB's news director at the time, said he had no knowledge of the arrangement, station executive Rick Blangiardi said yesterday.
During yesterday's briefing, Kim (D, Halawa-Kalihi) asked pointed questions about the audit and KITV's trip but did not get many hard answers.
The Democratic-controlled Legislature has the option of forming an investigatory committee, which would give lawmakers subpoena powers to get answers about the audit and about the trip.
Hawaii Visitors & Convention Bureau
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Sune, Lottie och 00-ful, den röda roboten, mot Mr Nån, världens största skurk var en svensk radioteaterserie för barn. Radioserien sändes 1965-66 och gavs ut på vinyl-LP av Philips-Sonora. Sune Mangs, Lottie Ejebrant och  Olof Thunberg medverkade.

Radioteaterstycken

redpajama_set_name: RedPajamaWikipedia


In 2016, it was estimated that telecom companies in Uganda on annual basis were losing about US $60 million due to illegal redirection of international calls traffic. The amount in part led to revenue from voice services to remain flat or grow sluggishly in 2015, 2016 and 2017 – according to telecom revenue analysis in those three years. The illegal redirection is known in technical terms as SIM boxing.
In this scenario, the interconnect operator C undercuts the market interconnect rates and offers cheap rates by spoofing quality. The GSM operator in Uganda (Network X) is cheated of charging the call at premium international rates but rather gets local rates or even earns nothing (if already purchased voice bundles are utilized). The government is also cheated of the US $9 charged on international calls per minute.
As stated, the telecoms were estimated to be losing about US $60 million annually as a result of the gray routing. A loss to the telecom means that they will also be unable to remit the excise duty charge on calls to the government. With the excise duty charge at about 36 percent, that means government revenue loss of about US $21.5 million annually. These are amounts that can help the government continue to provide services for Ugandans.
As the telecom operators and the government are counting their losses, the unscrupulous individuals that have only spent a meagre amount to acquire a SIM box machine are reaping at the expense of legitimate business and causing financial loss to government in the form of lost tax revenue. These SIM boxers can break even in less than 1 month and continue to rake in profits for years. There is no deliberate under declaration of telecom revenue because of the investment made in order to be compliant with the tax authorities.
(Derrick Sebbaale is an independent ICT consultant).


Read about ARTA activities, research and member companies.
News on ARTA and its members. Resources and information to help you sell reusable textiles.
Information on LCA study comparing reusable and disposable isolation gowns.
Information on LCA comparing reusable and disposable surgical gowns.


Toronto Hydro-Electric System Limited ("Toronto Hydro") is honoured to receive the 2013 Green Ribbon Award from the University of Toronto's Sustainability Office. For more than five years, the Green Ribbon Awards have recognized the outstanding contributions and achievements of students, staff, faculty and external partners who have minimized environmental impacts, conserved natural resources and promoted biodiversity at the University of Toronto's St. George campus. This year's award recognized Toronto Hydro in the External category for its efforts in assisting the University of Toronto with achieving ambitious energy conservation reduction goals through support from our staff and saveONenergyOM conservation programs. This award marks and celebrates a long standing relationship between the two organizations that is leading electricity savings and shifting conservation behaviour in Toronto.
received more than $1 million of reimbursement through various conservation programs.
The University has additional projects planned for 2013 and 2014 and expects to realize even more savings in electricity.
For more information about how Toronto Hydro can help businesses through the saveONenergyOM programs visit torontohydro.com/business.
The University of Toronto's Green Ribbon Award is given to those who may have increased awareness of the need for environmentally sustainable behavior, and encouraged and assisted members of the university to adopt more environmentally sustainable behavior. More information can be found here.
"The University of Toronto has demonstrated a strong commitment to conservation and environmental sustainability. We're pleased to have helped them with their ambitious energy reduction goals and cost savings. Through their efforts, they are making significant contributions to reducing the city's electricity demand. I'd like to commend them on their leadership and congratulate them in saving 10 per cent of their electricity demand on the St George Campus.
Toronto Hydro-Electric System owns and operates an electricity distribution system, which delivers electricity to approximately 719,000 customers located in the City of Toronto. It is the largest municipal electricity distribution company in Canada and distributes approximately 19% of the electricity consumed in the Province of Ontario.
Our World. Our City. Our Responsibility. See what we are doing to be safe, reliable and sustainable at torontohydro.com/responsibility.


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Mimi Ferraro, Ed.D.
Dr. Ferraro, a Philadelphia native, is a graduate of Gratz Hebrew High School. After earning a Bachelor of Music in music therapy from Temple University, Dr. Ferraro returned to Gratz College to earn both a Master of Arts and a doctorate in Jewish Education. In fact, Dr. Ferraro was the first person to earn an EdD in Jewish Education at Gratz College. Her doctoral work explored special needs Jewish education in Philadelphia.
Dr. Ferraro has served as Director of Education at Old York Road Temple – Beth Am for twenty years. During that time, Mimi was involved in NESS- Nurturing Excellence in Synagogue Schools, a change initiative for synagogue educational programs and whole synagogue communities. While in that position, she has also worked at Ramah Day Camp as the Tikvah Inclusion specialist and head of services and served on a variety of committees at Auerbach Central Agency for Jewish Education and Jewish Learning Venture. Mimi has led many workshops for synagogues participating in NESS and for teachers throughout the country. She was an adjunct Professor currently teaching in the MEd program at Gratz College.
In 2017, Dr. Ferraro was ordained from the Reconstructionist Rabbinical College. She serves as Rabbi at Tiferes B'nai Israel in Warrington where she has been for 5 years and as a hospice chaplain for Abramson Senior Care.
When not working her many jobs, Mimi enjoys her family with her husband, Stephe, and their children, Jocelyn and Zack and grandson Owen, Ally and Zack, Ben and Erica.
Paul Finkelman, Ph.D.
President of Gratz College
Paul Finkelman received his B.A. in American Studies from Syracuse University in 1971 and his Ph.D. in history from the University of Chicago in 1976. He was later a Fellow in Law and Humanities at Harvard Law School. He has held a number of endowed chairs as a tenured professor or as a visitor, including the Ariel F. Sallows Chair in Human Rights Law at the University of Saskatchewan, the John Hope Franklin Chair in American Legal History at Duke Law School, and the President William McKinley Distinguished Professor at Albany Law School. In 2017 he held the Fulbright Chair in Human Rights and Social Justice at the University of Ottawa School of Law, in Ottawa, Canada and was also the John E. Murray Visiting Professor at the University of Pittsburgh School of Law. He is the author of more than 200 scholarly articles and the author or editor of more than fifty books. His most recent book, Supreme Injustice: Slavery in the Nation's Highest Court, was published by Harvard University Press in 2018.
He has published in a wide variety of areas including American Jewish history, American legal history, constitutional law, and legal issues surrounding baseball. His work has been cited in five decisions by the United States Supreme Court. Most recently Justice Ginzburg quoted him in her unanimous decision in Tims v. Indiana. He has been quoted in numerous other courts, and in many appellate briefs. He has lectured on slavery, human trafficking, and human rights issue at the United Nations, throughout the United States, and in more than a dozen other countries, including China, Germany, Israel, and Japan. In 2014, he was ranked as the fifth most cited legal historian in American legal scholarship in Brian Leiter's "Top Ten Law Faculty Scholarly Impact, 2009-2013." He was an expert witness in the famous Alabama Ten Commandments Monument Case (Glassroth v. Moore) and in the law suit over the ownership of Barry Bonds' 73rd home run ball (Popov v. Hayashi).
Josey G. Fisher, M.S.W., M.A.J.S.
Director of the Holocaust Oral History Archive
Josey G. Fisher, Director of the Holocaust Oral History Archive and Instructor in Holocaust & Genocide Studies at Gratz College, has graduate degrees in both clinical social work and Jewish studies and has focused her interdisciplinary background on Holocaust research and education for over 30 years. She received her BA and MSW from the University of Pittsburgh and her Masters in Jewish Studies with a major in Modern European Jewish History from Gratz College.
Her course offerings include "Teaching the Holocaust" and "Children of the Nazi Era". In addition, she is an adjunct faculty member in the history department of Moore College of Art and Design.
She serves as an independent Holocaust education consultant to multiple local, national and international programs. Through the Jewish Community Relations Council, she edits a bi-annual newsletter for Holocaust educators. She serves as Holocaust education consultant to the Bearing Witness Program for Catholic educators, co-sponsored by ADL, the Archdiocese and the USHMM. On three occasions, she coordinated and accompanied three groups of Philadelphia teens to Poland and Israel through the International March of the Living. She has also served as a consultant for Holocaust documentaries and educational films, curricula, and pedagogical guidelines.
She has received the Korczak Teaching Award from the American Friends of the Ghetto Fighters' Museum for her work on the International Book-Sharing Project of Ghetto Fighters' Museum and Yad LaYeled Children's Museum and Memorial in Israel.
She is a founding convener of the Consortium of Holocaust Educators of Greater Philadelphia; member of the Advisory Committee to the PA Department of Education regarding Act 70 legislation ("strongly encourag(ing) instruction in Holocaust, Genocide and Human Rights Violations"); and serves as Board Member of the Institute for Jewish-Catholic Relations of Saint Joseph's University.
Her publications include The Persistence of Youth: Oral Testimonies of the Holocaust, containing fifteen accounts of young people, drawn from the Gratz College Archive; contributions to the four-volume encyclopedia The Holocaust: A Grolier Student Library; and the Foreward to The Call of Memory: Learning About the Holocaust through Narrative – A Teacher's Guide.
Reena Sigman Friedman, Ph.D.
Adjunct Professor of History
Dr. Reena Sigman Friedman is Adjunct Professor of Jewish History at Gratz College. She is also Associate Professor of Modern Jewish History at the Reconstructionist Rabbinical College.
Dr. Friedman received her PhD in Jewish History from Columbia University. She is the author of These Are Our Children: Jewish Orphanages in the United States, 1880-1925 (Brandeis University Press, 1994), several encyclopedia entries and book chapters, and numerous scholarly articles. Her articles have appeared in American Jewish Archives, Jewish Social Studies, The Reconstructionist, and other academic journals. She served as a Consultant to the Feinstein Center for American Jewish History at Temple University for a textbook series on American Jewish History for middle and high school students and an oral history project dealing with the Soviet Jewry movement in Philadelphia.
Dr. Friedman lectures widely to synagogue and organizational groups on topics related to Jewish history, Jewish women and the contemporary Jewish community, and has taught in many adult education programs (including the Scholars' Program at Gratz). Recently, she taught a course on "American Jews and Social Justice" at the National Museum of American Jewish History, and is a member of the Museum's Education Committee.


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text:
Beyond Narrative: Sound design as dramaturgy in contemporary performance
Autobiographical performance is often characterised by a linguistic approach to storytelling. This paper presents discoveries from a practice-led research inquiry into the mediated translation of narrative elements within the making of autobiographical performance Train Tracks and Rooftops. Specifically, it presents the way sonic texts emerged within the process of translating away from narrative form. The paper sets out the technical aspects of the process and critiques the shift in meaning that comes from an understanding of sound dramaturgy and sound as performance architecture. The experience of the maker/performers' relationship to their live and mediated voice is discussed.
Dennis, R. and Miranda, M., 2015. Beyond Narrative: Sound design as dramaturgy in contemporary performance. Body, Space & Technology, 14. DOI: http://doi.org/10.16995/bst.29
Train Tracks and Rooftops is the work of bilingual contemporary performance company Lembrança. Lembrança explores interdisciplinary ways of making live performance inspired by memory and autobiographical fragments. Their work is preoccupied with form as content and seeks to engage audiences beyond linguistic meaning.
Conventionally, the aesthetic of autobiographical performance draws on a linguistic approach to storytelling forms. This paper reports on a research inquiry into the adaptation of the narrative text. Practice-led, the project set out to effect a mediated translation of narrative elements within the making of autobiographical performance Train Tracks and Rooftops. Specifically, it presents the way sonic texts were composed and how these new texts emerged within the process of translating away from narrative form. Meaning in mediated performance is most often critiqued in relation to audience perception and experience. This piece considers the perception and experience of the makers within the process.
Documenting stages of what might be called an adaptation from the linguistic storytelling text to the abstracted sonic text, this work explores experiences of meaning within the creative process for the performer/maker. It considers how meanings alter and how the performer relationship to initial meaning is disrupted, and as such, how this makes demands on the artists. Whilst sonic and visual texts were explored within the research, this essay focuses on key moments that were translated into electronic sonic compositions. It considers the dramaturgical function of shifting content from one form (narrative) to another (sound) and documents the making process across three iterations of the autobiographical performance piece. The paper thus sets out the technical aspects of the process through two specific examples, one related to the 'rooftop' motif of the title, while the other relates to the 'train tracks' motif. We therefore aim to critique the shift in meaning making that comes from an understanding of sound dramaturgy and sound as performance architecture. Drawing on concepts from cognitive science, the experience of the maker/performers' relationship to their live and mediated voice will be discussed.
Brief Background
Undertaken as a practice-as-research project over four years, Train Tracks and Rooftops aimed to interrogate the process of translating the conventional, more linguistic practices of autobiographical performance to elements that demand other cognitive strategies. The first iteration adopted a conventional autobiographical storytelling style. The resultant 30-minute performance was presented in Wales, UK (June) and New York, USA (October) in 2008. This iteration of Train Tracks and Rooftops was performed with a live musician. The recorded documentation of these performances then formed a template for the adaptation process. The second iteration was developed in a residency in Australia in January 2009. [1] The principle focus of the residency was to translate spoken dialogue - the storytelling element - through choreographed movement sequences, colour and other visual text and sound. This iteration was performed in Queensland, Australia using the sonic composition as a fixed track. The second iteration also featured a live choral component (five voices). The final development toward the third iteration was undertaken in Cardiff, UK in January 2010. Within this developmental stage, additional material was composed and the structure of the performance was further embedded as digitised sonic text. This extended the fixed sound track, including the recording of a live violin solo (Happy Birthday). The third iteration was then performed in two venues in February 2010. For further discussion on the project background see Dennis (2012).
Adaptation and Memory Narratives
Autobiographical performance is most often characterised by a storytelling dimension and a sense of reality where the performers narrate past events directly to the audience (Govan et al., 2007). Given that Train Tracks and Rooftops is derived from childhood recollections, spoken anecdotes were frequently performed in studio practice. One or other of the performers would engage in a storytelling style performance, shifting our voices from one character to another, recounting the memory, rendering the performer's live voice as central within the approach to live performance. This inquiry has been guided by our interest in disrupting this dominant place of narrative meaning making in creating performance with autobiographical content. A distinctive focus of our investigation has been the way in which voice and linguistic meaning are tied. When we set the intention to eliminate the live spoken element, we traveled down a pathway in which non-linguistic texts - what might be called post-dramatic texts - were investigated. Indeed, the post-dramatic theatre project (after Lehmann) celebrated the successful destabilization of linguistic text-centric hierarchical understandings about meaning making in theatre. In post-dramatic terms, linguistic texts have ceased to be 'the central and superior factor [and] all other elements like space, light, sound, music, movement, and gesture tend to have equal weight in performance process' (Lehmann and Primavesi, 2009 in Ovdija, 2014: 5).
Within the post-dramatic vocabulary, sound dramaturgy has emerged as a highly accessible language, thanks in large part to the proliferation of small studio hardware and software such as that used in this study. Set on the coast in Noosa Heads, Australia, the studio we attended is owned by musician/producers Mettafor (Angelika Heinrich & Kaeleen Hunter) - our collaborators in the creation of the sonic texts. Our approach in the studio was based on filmed footage of the first iteration. From this we set about tracking the entire show, breaking it down and working it up section by section on Apple's Logic Pro software.[2] This involved the musician, Kaeleen constructing beats, sonic riffs, and melody on the spot, as we noted of our embodied responses, moved through the scores physically or mentally, talked about what was gained or lost, extended, reduced or transformed. For the purposes of the discussion here we consider two distinct excerpts from the work: Adjusting the Antennae andThe Opening Score. These two excerpts are selected due to the very different dramaturgical purposes of each. Notably, the intention ofThe Opening Score is to expand space, to open the world of the performance around the audience and to encapsulate them, whereas the Adjusting the Antennae piece is about a relationship and the transaction of emotion. It is layered with the essential meaning of the work for the performer; its intent is to contract the space and render the audience 'as if' they are one-on-one with the performer.
Adjusting the Antennae refers to a sequence derived from a childhood memory of helping the father improve the television reception from the rooftop. Within the piece, the motif of the rooftop came to represent the urban context. Two competing dynamics ensued: the child on the rooftop helping the father and the child climbing unsupervised onto the roof to escape domestic conflict, where the precariousness of climbing began to represent safety. The idea of scaling a wall, and the climb informed movement sequences, which were represented through choreographed action and gesture and supported by changes in levels within the physical space - floor level, platform level, ladder level; the ladder level being the highest point on the stage. Original narrative content included early memories of the child climbing onto the roof at the urging of her father to rotate the TV antennae back and forward as he watched the TV reception from the ground: an oscillating gaze, peering into the house at the TV and up to the roof at his young daughter. Giving vocal and gestural commands such as 'turn it a little to the left… ok, ok, ok… no, a bit to the right … left … right …' and so on, accompanying the dance between father and daughter.
When workshopping this for the first iteration, the performer took on the role of the father, through her voice whilst performing the role of herself through her physicality. During this she turned an open but skirtless umbrella while at the same time recounting the story to the audience (see image 1). Listen to the sample entitled: Audio #1, which has been taken from the first iteration.
Image 1: Performer with umbrella frame representing antennae. Photo by Rea Dennis.
Audio #1: Mais pra Direita - spoken
The adaptation of the Adjusting the Antennae sequence for the second iteration involved the development of sonic composition and the digitisation of the live voice. We established a sonic context blending violin, cello and a beat, which is audible in the sound sample Audio # 2. We then began recording the performer's spoken lines. The voice was digitised in an identical way to how she had been performing the lines live within the storytelling style; the performer performed the lines into the microphone. Some of the narrative detail from the 're-telling' style evident in this sample was also adapted through choreographic movement.
Audio #2: Mais pra Direita - combined
The recorded voice was then embedded into an electronic sound track that had been built up from the sound samples of strings and beats. The resultant sonic text, a mash up of mediated voice and electronic strings, was included in Iteration 2, supporting the movement score and the umbrella frame. This work effected an adaptation of sorts, from the storytelling performer recounting her childhood story, toward a performance of self within the architecture of the sound composition, ideas that we will discuss further in the next section. The presence of the performer's live voice remained in a kind of call and response way. The digital track 'spoke' as the father and the performer responded as the child self, accomplishing a step away from narrative telling.
Despite the texture embedded within the sonic text, the felt presence of the father by the performer that had been intrinsic to the meaning of the sequence was missing. In the process of eliminating the performer's live voice, the father's voice was also erased. The process of refining the adaptation of the live storytelling voice for the third iteration is discussed later in the paper.
Sound, Aural Architecture and Dramaturgy
In the context of this study, the meaning potential in the sound choices draw in part on some of the meaning potentials within sound that are identified by Theo van Leeuwen (1994), including sound perspective and social distance, time, rhythm, voice quality and timbre. In the first iteration, The Opening Score composition takes the form of an orchestral percussive performance. Time and rhythm govern the live work which is created through hand clapping, the slapping together of Havaianas[3] foot stamping and the repeated lifting and releasing of an extension ladder, which is positioned prone downstage (see Image 2). The layered effect of the different textures creates a pulsating pattern giving the sensation of a train. This score relied on the physical acuity of performers; on performer effort, timing and kinesthetic communication. The desired effect was to create a kinetic score in the spirit of the noise experiments of the Futurists, for example, in Marinetti's object/noise making composition in which he employed 'a chorus of typewriters, kettledrums, rattles and pot covers to suggest the awakening of the capital' (Ovadija, 2014: 149). In the use of objects and particularly in the sonic orchestration, our intentions were aligned to Marinetti's vision in his poetry whereby the 'materiality of the signs' was both more concrete and more abstract and where the innate beauty of the patterns ('geometric splendor') and effort in the labour ('mechanical sensibility') of composing is foregrounded (Ovadija, 2013: 147).
Image 2: Image of ladder and Havaianas used in opening orchestral percussion. Photo by Magda Miranda.
Working in the studio with The Opening Score followed a similar pattern to that outlined above for Adjusting the Antennae, beginning with the deconstruction of the performances of the first iteration that were captured on tape. Essentially the adaptation of the live sonic percussive performance affected a shift in the labour of the performer from making the sounds, to being present within the sound environment during performance. The structure inherent in the computer software pre-empted the core requirement for the adaptation of the live percussive orchestration: a sound architecture. The electronic form altered the experience completely - the activity of the performer was then stripped back, so that the performer was made more visible within the environment, rather than charged with creating the environment. Audio Samples #3 (Iteration 1) and #4 (Iteration 2) show the shift in the sound texts of The Opening Score.
Designing this within Logic was vastly different to the work of re-creating the human vocal text for Adjusting the Antennae. UnlikeAntennae, the original meaning associated with the (percussive) objects was relevant but not embedded in the artistic intention in the same way as the voice of the father. For example, the Havaianas are symbolic of Brazilian and Australian summers. Thus, there was little intrinsic meaning and little representational relationship between the Havaianas and the outside world. This meant that there was a perceived ease in the shift beyond representation. In the post dramatic sense, 'simultaneous and multi-perspectival modes of perception' easily replaced the 'linear and successive ones.' We could focus on the performance practices 'present' rather than what they might represent (Lehmann in Barnett, 2008: 15). At this point in the paper, we wish to turn our attention to the way meaning was negotiated as we adapted Adjusting the Antenae.
Adapting the live vocal narrative telling voice into digitised amplified sonic composition altered meaning for the performer. While Neuwark (2010) claims that all voices are mediated, both culturally and politically, when the live voice is recorded and then amplified, an altered experience of self occurs. This may be linked to the complexities of memory; where the performer's memory of expressing the story vocally interacts with her experience of listening to the recorded voice. The sensation of a kind of distortion in how meaning is being made is a characteristic of memory. Cognitive scientist Stephen Rose (2003) offers a useful explanation of how memory, meaning and the human brain might be understood:
Brains do not work with information in the computer sense, but with meaning. And meaning is a historically and developmentally shaped process, expressed by individuals in interaction with their natural and social environment. Indeed, one of the problems in studying memory is precisely that it is a dialectical phenomenon. Because each time we remember, we in some senses do work on and transform our memories; they are not simply being called up from store and, once consulted, replaced unmodified. Our memories are recreated each time we remember (Rose, 2003: 104)
The reality of the dialectic of memory presents intriguing challenges for the autobiographical performer. In the adaptation of Adjusting the Antennae, the experience of working with her own externalised voice and of hearing her mediated voice distanced the performer from her sense of familiarity with her processes of making meaning. The mediated voice suggested ambiguity in memory and introduced challenges within the dramaturgical process. What might this sequence now mean? Stripped of the narrative, do the action, gesture, sound and objects still have meaning? Does the performer's body have meaning when perceived within these abstracted texts? This intrinsic and ongoing dramaturgical work is standard for performers during processes of devising:
Dramaturgy … is concerned with the composing and orchestration of events for and in particular contexts, tracking the implications of and connective relations between materials, and shaping them to find effective forms. In devising … dramaturgy is uncovered, worked and articulated though the processes of making and rehearsing, rather than being predetermined (Williams, 2010: 197-198).
Coupled with the shift in demands on the performer, who now did not have to speak the lines, or tell the story, the experience of meaning within the process altered. The unfamiliar sensory experience of listening to her mediated voice, of hearing this other voice, acted to obscure the principle intention of the sequence.
An excerpt from the conversation in the studio:[4]
Rea: What's your feeling as you are walking along that wall: is it domestic or urban? Are you in the home environment? Or the city?
Magda: I can hear home. The wall is near the kitchen.
Rea: What will help you the most?
Here Kaeleen is working on creating an architecture, she is improvising with a stringed instrument, a cello; she adds a violin
Kaeleen: I'm trying to create tension (and build in a cue)
Kaeleen plays a sound sample, a lone violin, a long sustained note.
Magda: That's beautiful
Rea: What are you imagining is happening there? (as you listen)
Magda is tearing up.
Rea: is that it?
Magda: nods
Somehow the texture of the sustained violin meets the memory narrative. In his essay, Wayfaring in everyday life: The unraveling of intimacy, John Lutterbie (2013) draws on the work of Jerome A Feldman to discuss the way memory is tied to our intention to speak. He makes the point that our intention to speak 'gives rise to memories of experience, previous linguistic expressions, and associations that serve as frames or boundary conditions for emerging expression' (2008, in Lutterbie, 2013: 107). The experience of our own memory constitutes the 'interaction between the impulse, the past (cultural and individual memories) and the current situation' giving rise to a range of options from which we choose: 'the one that provides the "best fit", or that which comes closest to satisfying the intent' (2008, in Lutterbie, 2013:108).. Thus, as we eliminated the linguistic content, the speaker appeared to experience a disconnection from the autobiographical memory, and from this a loss of her intention. Then as we found the sonic text, felt aspects of that self-connection were re-established.[5] As the adaptation progressed the aesthetic emerged from the interaction of the performer voice, their autobiographical storytelling and digitised sonic file.
Voice: Embodied and Aesthetic
The technologies of devising are, by design, messing with the aesthetics of voice. Devising is a way of writing new performance in action. It occurs in the studio and is most often dialogic, although there is a sense that the thinking is accomplished through action and thus by extension, through the body . Embodied cognition refers to the way our 'motor system shapes not only our actions but also our perceptions and therefore our cognition' (Sofia, 2013: 174). Norie Neumark (2010) maps the relation of voice to embodiment as a question of aesthetics. Citing Terry Eagleton in Susan Buck-Morss' work, Neumark reports that 'Aesthetics is born as a discourse of the body.' That is, aesthetics
is a form of cognition, achieved through taste, touch, hearing, seeing, smell - the whole corporeal sensorium. The terminae of all of these - nose, eyes, ears, mouth, some of the most sensitive areas of the skin - are located at the surface of the body the mediating boundary between inner and outer (Buck-Morss in Neumark, 2010: xvi).
Neumark thus proposes 'we might then hear the voice as aesthetically bearing the marks of the body' (Neumark, 2010: xvi). Thus shifting the voice outside the body could be seen to disembody the voice, or even to dehumanize the voice, which serves to contradict the concept of autobiographical performance. Working on the choreography for the body provided the performer with a link to her remembered self. Gestures and actions were set. There initially felt 'as if' they were signifying the narrative, yet through repetitive embodied performing of the score, the kinesthetic knowledge began to contribute to the aesthetic architecture for the performer.
Image 3: Iteration 3, performer with choreographic embodiment of antennae. Elimination of the umbrella frame used in Iterations 1 and 2. Photo by Steve Evans.
The integration of the digitised voice within the work was reinforced by the performers' belief in the spatial and temporal structure that the movement vocabulary articulated. For iteration three, we continued the work with the mediated voice focusing on elevating the performer's engagement with the sonic composition as meaningful. This required experimentation with voice distortion.
Adriana Cavarero (in Neumark, 2010) foregrounds our intersubjectivity when considering the experience of listening to voice. 'What it communicates is precisely the true vital and perceptible uniqueness of the one who emits it' (2005, in Neumark, 2010: xix. She claims listening to the voice as sound requires a sensibility to alterity and space.
The amplified and distorted modalities point to complex and varied relations of voice to body and of bodily voice to signification and intersubjectivity: they make sensible the way in which the sonorous and signifying aspects of voice supplement and disturb each other, and they make evident the aesthetic and affection potentials of voice (Adriana Cavarero in Neumark, 2010: xix).
Treating the voice track so that the performer's recorded voice is distorted became the final step in the process. The studio documentation on the day reveals the following process:[6]
K: What I am trying to do is find the texture
A cello sound surges through the sound of traffic
R: [we need] sounds to signify Magda's World [before the antennae part].
Kaeleen continues working on the computer keyboard building the sonic architecture of what we began to call Magda's World, based on the sustained violin. As it begins to take shape, Magda is quiet, shedding some more tears. It seemed that we had found the sound combinations that, when they meet in her body - vibration, tone, balance, volume, they meet the way the story felt in her body memory.
Kaeleen: Not to layer it, but to have a shift …
Rea: Could we just work with adjusting the volume?
Kaeleen: [I think we] need the ambient noises to be much lower volume.
Working on the father's voice:
Rea: Almost need a 'Magda'! in there
Kaeleen: Yeah! (To magda) Why don't we just record you!
Magda: It will be in Portuguese…
Kaeleen: Yes, we need some Portuguese in here
Magda: I don't like my Mum angry there
Rea: Ah… you don't want your mum in this
Magda: No …
Rea: Can we just have the calling? 'Magda'?
Kaeleen: We can change it to a man's voice.
Rea: Yes, so we can just have him calling you - take the rest out.
Rea: Clean enough, the sound?
Magda: No it's not this … it's him (teary)
Magda: But he's [sounding] angry, and I am happy to be helping him.
Kaeleen: Can it be something else?
Rea: Say something that matters - and think of an audience listening as well, not just you in the world [of the memory].
Sample of the studio session is included in Audio # 5. The live performance sound track in which live voice and object (umbrella frame) are fully eliminated is available in Audio #6.
Audio # 5: Studio Session Sample
Made virtually intelligible through the distortion, the effect of the techologised voice within the composition established an architecture that supported the performer to relinquish her hold on the narrative as fixed and singular. In iteration three we eliminated representational devices such as the umbrella frame, and extended the movement text to encompass the idea that the body itself is the antennae (see image 3). [7] In Audio Sample #6 all sound within the sequence is abstracted and mediated. The performer does not utter, nor is there tangible traces of those original linguistic texts. As performers, the sensation was one of existing in a new world.
It emerged that in the third iteration of Train Tracks and Rooftops, sound was a dominant text. That is not to say that the kinesthetic and visual texts were diminished, but as linguistic meaning was adapted through sound, the kinesthetic and visual elements acted to amplify the scale of the piece as a sound environment. Mladen Ovadija states the performer must 'deal with sound itself … as an element of new theatricality in which sound interacts independently' with other texts (2013: 9). Tim Ingold (2011) critiques the turn to sound as materiality, suggesting that rather than a mental or material form, sound is environmental, 'that is, of our immersion in, and commingling with, the world in which we find ourselves' (Ingold, 2011: 137). Through the principle aim of shifting the dominant meaning making experience of maker away from linguistic modes, toward embodied cognitive modes we undertook a systematic adaptation of story moments into sonic texts. The aesthetic language changed over the course of the experiment. As the text was further abstracted, moving away from spoken word story form into a more epic style of sensorial storytelling in which sound combines with colour, space, time and shape, the experience of the performer was altered. In this way, performer and audience alike engage in the kind of organic or dynamic dramaturgy that Eugenio Barba states acts on 'the rhythms and dynamisms affecting [us] on a nervous, sensorial and sensual level', the realm of non-linguistic texts (1985 cited in Ovadija, 2013: 4).
We wish to acknowledge the collaborators across the three iterations: Musicians: Kaeleen Hunter and Angelika Heinrich (Mettafor), Mary Traynor, Rob Smith; Performers: Hannelore Valentine, Anna Heriot, Suzanne Nicholson, Annette Schoenberg, Kerry Dee and Nadia Rabiller (Sunshine Coast) and Hannah Jones, Rachel Clements, Claire Bailey, Chris Hoskin, and Ellen James (Cardiff); Technicians: Geraint D'arcy and Iolo Jones. We acknowledge funding and other support from: Wales Arts International, Arts Council of Wales Night Out, Sunshine Coast Regional Development Fund, Artworks, Theatre and Media Research Unit.
[1] This phase was awarded a development grant for the express purposes of translating the traditional storytelling mode to a non-narrative mode that drew on sonic, kinaesthetic and visual languages (Dennis, 2012).
[2] Logic Pro is a comprehensive suite of professional music and audio tools for music, cinema and stage from Apple Corporation. It also contains Mainstage for concert mixing and Soundtrack for post-production and music design. It houses about 40 sound instruments. It can be run on a Macbook Pro.
[3] Havaianas or Flip Flops or thongs, as they are known in Australia featured as a common element in the childhoods of both artists.
[4] In this interaction, Rea questions Magda about the source memory and Kaeleen begins to engage with the memory narrative.
[5] We do not want to interpret the emotion in this moment other than to say, the violin sound resonated with what Magda knew of her own story. Why a violin? We do not know. However, Magda recalls vividly the many times her mother recounted the story of her father (Magda's grandfather). Magda notes: 'It was one of the family stories - my mother told of my grandfather, Antonio, playing his violin for her when she was small. In some respects my Mum felt that I 'was' connected to him. I was born on the day he died … 21 years after. He died in 1947. I was born in 1968 on 17 July'.
[6] Influenced by her response to Magda's narrative and to the present Magda in the studio, this exchange is suggestive of the studio dynamic: Kaeleen is active on the computer, listening into her headset and improvising with filters and tone selections. Magda is at the microphone providing vocal content and also improvising and listening into her headset, noting her own feelings and sensations as she listens to the content as it is treated/mediated. Rea observes both, noting Magda's responses and body language to the mediated material, prompting Kaeleen and considering the newly created material in the context of the intention of the sequence within the larger artwork. Kaeleen searches for what she calls 'texture' - a sound or vibration that will meet with what has become her own inner knowing of what the sequence needs. All three are simultaneously engaged in creating.
[7] In addition to the changes tracked here in which linguistically centric texts were adapted through a sound palette, the research journey across the iterations of Train Tracks and Rooftops also engaged with adaptation of video (ocean) in iteration 1, over to kinesthetic and light texts by iteration 3; and a capella lyrical song texts in 1 to digital recording of a violin rendition (Happy Birthday). A full discussion of these outcomes is outside the scope of this paper.
Barnett, D. (2008) When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts. New Theatre Quarterly, 24: 14-23.
Dennis, Rea (2012) Landscapes of making: Autobiography, memory & devised performance, in Bree Hadley & Caroline Heim (eds), ADSA 2012: Compass Points: Locations, Landscapes and Coordinates of Identities: Proceedings of the Australasian Association for Theatre, Drama and Performance Studies 2012. Brisbane: Queensland University of Technology.
Dennis, Rea (2008-2010) Practice Journal (unpublished).
Govan, E., Nicholson, H. and Normington, K. (2007) Making a Performance London: Palgrave.
Ingold, Tim (2011) Being Alive: Essays on Movement, Knowledge and Description. Routledge: London.
Lutterbie, J. (2013) Wayfaring in everyday life: The unraveling of intimacy. In N. Shaughnessy (ed) pp. 103-115, Affective Performance and Cognitive Science: Body Brain Being. Bloomsbury: London.
Miranda, Magda (2008-2010) Practice Journal (unpublished).
Ovadija, M. (2013) Dramaturgy of Sound in the Avant-Garde and Post Dramatic Theatre. Montreal & Kingston, London, Ithaca: McGill-Queens University Press.
Neumark, N. (2010) Introduction: The Paradox of Voice. In N. Neumark, R. Gibson, and T. van Leeuwen (eds), pp. xv - xxxiii, Voice: Vocal Aesthetics in Digital Arts and Media. Cambridge, MA: MIT Press.
Rose, S. (2003) The Making Of Memory: From Molecules to Mind (rev. 1st ed.), Vintage: London.
Sofia, G. (2013) The effect of theatre training on cognitive function. In N. Shaughnessy (ed.), pp. 171-180, Affective Performance and Cognitive Science: Body Brain Being. Bloomsbury: London.
Van Leeuwen, T. (1999) Speech, Music, Sound. Macmillan: London.
Williams, D. (2010) 'Geographies of Requiredness: Notes on the Dramaturg in Collaborative Devising', in Contemporary Theatre Review 20(2): pp. 197-202.
Rea Dennis is an Australian artist and scholar with a particular interest in relational dramaturgy, performed memory and the body in performance. She lectures in Drama and Performance at Deakin University. Previous publications include essays on refugee performance, autobiography and performance writing and playback theatre.
Magda Miranda is a Brazilian performer and visual artist with background in dance, drama and improvisation. An actress with over 20 years of experience, she has a B.A. in cinema. Her current practice is exploring her bi-cultural identities through performance; she is working on a series multimedia self-portraits.
Rea Dennis
Magda Miranda
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PDF: 78c4b7338dcf04ba2ee503b56505914d


text:
A simple money implementation. Helps in creation, conversion, comparison and arithmetic operations with money.

## Installation

Add this line to your application's Gemfile:

```ruby
gem 'newmoney'
```

And then execute:

    $ bundle

Or install it yourself as:

    $ gem install newmoney

## Usage

### Configure the currency rates with respect to a base currency (here EUR):

```ruby
Money.conversion_rates('EUR', {
 'USD'     => 1.11,
 'Bitcoin' => 0.0047
})
```
### Instantiate money objects:

```ruby
fifty_eur = Money.new(50, 'EUR')
```
### Get amount and currency:

```ruby
fifty_eur.amount   # => 50
fifty_eur.currency # => "EUR"
fifty_eur.inspect  # => "50.00 EUR"
```
### Convert to a different currency:

```ruby
fifty_eur.convert_to('USD') # => 55.72 USD
```
### Perform operations in different currencies:

```ruby
twenty_dollars = Money.new(20, 'USD')
```
### Arithmetics:

```ruby
fifty_eur + twenty_dollars # => 67.95 EUR
fifty_eur - twenty_dollars # => 32.05 EUR
fifty_eur / 2              # => 25 EUR
twenty_dollars * 3         # => 60 USD

```
### Comparisons (also in different currencies):

```ruby
twenty_dollars == Money.new(20, 'USD') # => true
twenty_dollars == Money.new(30, 'USD') # => false
```

```ruby
fifty_eur_in_usd = fifty_eur.convert_to('USD')
fifty_eur_in_usd == fifty_eur          # => true
```

```ruby
twenty_dollars > Money.new(5, 'USD')   # => true
twenty_dollars < fifty_eur             # => true
```

## Development

After checking out the repo, run `bin/setup` to install dependencies. Then, run `rake spec` to run the tests. You can also run `bin/console` for an interactive prompt that will allow you to experiment.

To install this gem onto your local machine, run `bundle exec rake install`. To release a new version, update the version number in `version.rb`, and then run `bundle exec rake release`, which will create a git tag for the version, push git commits and tags, and push the `.gem` file to [rubygems.org](https://rubygems.org).

## Contributing

Bug reports and pull requests are welcome on GitHub at https://github.com/[USERNAME]/newmoney. This project is intended to be a safe, welcoming space for collaboration, and contributors are expected to adhere to the [Contributor Covenant](contributor-covenant.org) code of conduct.

## License

The gem is available as open source under the terms of the [MIT License](http://opensource.org/licenses/MIT).

redpajama_set_name: RedPajamaGithub


text:
Indian government is reportedly considering regulating crypto as a commodity
October 28, 2021 by Ray Schuetz 0 Comments
The Indian government may be looking into establishing a legal framework for crypto-based digital currencies as "assets" as early as February.
According to a Tuesday report from Indian news outlet Business Today, officials with the country's Finance Ministry said the potential legal framework would treat cryptocurrencies closer to commodities than currencies. If this legislation comes to fruition, it would represent a different approach than an outright ban on digital assets in the country, which some Indian lawmakers have reportedly been considering.
The officials added any law on cryptocurrencies in the country would likely come around the time the government submits the Union Budget of India on Feb. 1, in time to take effect before the next fiscal year. They added they were engaging with the Reserve Bank of India, or RBI, to work out the details of any crypto legal framework.
Labeling crypto as an "asset" under Indian law would likely have tax implications for retail investors and exchanges in the country. The Tax Department of India was reportedly looking at taxing crypto earnings through trades and exchanges, but no decision has seemingly been reached from anyone in government at the time of publication.
Related: Proposed crypto ban legislation reportedly under review by India's government
With a population of roughly 1.4 billion, India choosing to establish a concrete legal framework for cryptocurrencies would likely make significant ripples throughout the space. The government has largely not taken a firm position on regulating digital currency since overturning a blanket ban from the RBI in March. Since that time, multiple reports have circulated that cite sources within the government suggesting the country's parliament is backing down from creating a new law banning crypto trading in India, and also looking at alternative solutions to regulate digital assets.
Crypto.com pauses withdrawals due to 'suspicious activity'


On January 11 2005, SPDC forces violated the fragile ceasefire and attacked a civilian Karen New Year celebration with mortar fire and rocket-propelled grenades. Hundreds of villagers were caught between SPDC troops dug in at their village, and Thai soldiers who forced them back across the border after they fled.
Karen New Year, the largest celebration on the Karen calendar, was disrupted this year when SPDC Army soldiers once again violated the fragile ceasefire existing between the SPDC Army and the KNU. Karen New Year was observed on January 10 this year and was commemorated throughout all of the Karen areas. For only the second time in the village's existence, large-scale celebrations were held in Kah Law Ghaw village of Kawkareik township, Dooplaya District with villagers coming from many nearby villages to join in the celebrations.
On January 10, a column of soldiers from IB #230, LIB #356, and LIB #545 (all of which are subordinate to Sa Ka Ka [Military Operations Command] #12) had advanced to within 1000 metres of Kah Law Ghaw village. The soldiers then sent a message to the village head, announcing their intention of coming to the village to join in the celebrations, and that the KNLA soldiers who were in the village should leave immediately. The village head acted as a liaison between the two sides, being sent back and forth between the SPDC and KNLA a total of five times. Each time the SPDC repeated their demands for the KNLA to leave, and the KNLA told the SPDC not to come and disrupt the celebrations with neither side appearing prepared to back down. The villagers attempted to appease the SPDC soldiers by sending a 'gift' of food to them. This unfortunately failed to diffuse the situation with the SPDC persisting with their demands. After this, the KNLA commander instructed the village head not to return to see the SPDC soldiers, believing that he would be killed if he did.
Fearing an imminent attack, all 350 villagers fled in the direction of the Thai border, only half an hour away. This happened in the middle of the finals of the football and volleyball tournaments being held in the afternoon of January 10. The villagers spent the night hiding in caves on the Thai border. Most of them were without food, water, or blankets.
The shooting began at approximately 10:50 am on January 11 with the SPDC Army soldiers shelling the village with mortars and rocket propelled grenades (RPGs). Once the shelling stopped approximately 60-70 SPDC troops advanced into the village where they were met with resistance from the KNLA soldiers. The ensuing battle continued for the next four hours, in which time, the SPDC suffered seven casualties while none were reported to have been sustained by the KNLA.
A handful of villagers had returned to the village earlier in the morning to gather what they could when the shelling began, all of who were lucky to escape without injury. Hearing the shooting, those at the border attempted to cross into Thailand, but were prevented from doing so by Thai border patrol soldiers. According to those there, the Thai soldiers refused them entry into Thailand for two hours as they awaited instructions from their superiors. The district head from Umphang, 20 kilometres to the south, arrived on the scene to coordinate the efforts of the soldiers. He instructed the soldiers to take the refugees by truck to a monastery in nearby Wah Klu Koh village on the Thai side of the border, where they were provided with food, water, shelter, and medical care. A couple of days later, three monks and a teacher returned to Kah Law Ghaw to assess the situation in the village. What they saw was that the SPDC soldiers had dug defensive positions by the monastery overlooking the village, and that the village was now host to roughly 300 SPDC Army soldiers and about 170-180 convict porters. They met with the SPDC Army officer-in-charge, who informed them that the villagers should return to their village; that they would not hurt anyone; and that no one would be arrested. An unnamed high ranking Thai Army officer was reported to have arrived by helicopter to Wah Klu Koh village soon after and spoke with the monks. Following this conversation he asked the refugees if they wanted to return to their village, to which the villagers replied, "It is our village, so we want to go back, but we will only go back if there are no Burmese [soldiers] there. If the Burmese [soldiers] are still there, we do not want to go back". Either not listening or not understanding the wishes of the villagers, Thai Army soldiers then loaded all of the refugees into two of the trucks from the zinc mine adjacent to Kah Law Ghaw village and sent all of them back to the border against their stated wishes on January 14. Aware that the soldiers were still staying in their village, the villagers did not dare return. They instead stayed in the same caves where they had taken shelter earlier. According to some sources who have been to the area, the villagers from a number of other nearby villages also fled to hide in the caves, bringing the total number of displaced villagers hiding there to around 600. On January 18, the SPDC soldiers issued an order summoning the villagers home, stating that they would be considered to be enemies if they did not comply. The villagers finally returned to their village on January 23 after the soldiers had already been gone for a couple of days, giving the KNLA time to check for any landmines which may have been planted there by the SPDC in their retreat. Some reports state that the KNLA had removed numerous landmines from both around and within the village. These reports however, are as yet unconfirmed.
Karen New Year, the largest celebration on the Karen calendar, was disrupted this year in Dooplaya District when SPDC Army soldiers once again violated the fragile ceasefire existing between the SPDC Army and the KNU. The Villagers were forced to flee in fear of the soldiers, heading in the direction of the Thai border.


text:
Update in Management of Acute Severe UC
Dr. Matro reviews diagnosis, monitoring, and updates in management of acute severe ulcerative colitis.
We're fortunate to have dr Rebecca made room at Scripps clinic. She follows primarily patients with inflammatory bowel diseases, both Crohn's and ulcerative colitis and she's going to give us an update on the management of acute severe ulcerative colitis. Thank you so much picky. Great thank you said I'm good afternoon everyone. I'm really pleased to talk to you about updates in the management of acute severe all sort of colitis. My objectives during this brief time or to review the diagnosis and monitoring strategies of acute severe all sort of colitis. And to discuss hospital management first we need to define it Acute severe you see is to find a six or is the presence of six or more bowel movements in 24 hours plus at least one systemic sign of toxicity. The care of the hospitalized patient with acute severity can be divided into three main goals, diagnosis preparation and management and while these are somewhat sequential there are many overlapping parts diagnosis includes making the diagnosis of acute severe you see and ruling out infection preparation prepares the patient for both steroids and possible rescue therapy and possible surgery and management can include both medical and surgical therapies on admission labs and stool studies should be obtained as well as any appropriate imaging to evaluate for Kalanick dilation, toxic mega colon abscess or perforation. It's essential to rule out c diff infection in any patient admitted with acute severe. You see several studies have shown increasing rates of C. D. I. Among IBD patients on the left. Uh this retrospective observational study showed an increasing proportion of IBD the patients with C. B. Compared to the total number of HIV infected patients With 4% in 2003 compared to 16% in 2005. The graph in the middle shows increasing rates of C. D. I. Among hospitalized IBD patients. The top two lines. And compared with non I. B. D. G. I. Patients and a representative sample of all hospital discharge. The bottom two lines Rates of C. D. I. Are highest among you see patients increasing to more than 50 cases per 1000 admissions. Uh We also know that there's a lot of adverse outcomes associated with C. D. I. A. Um Patients with uh I. B. D. And C. Diff are more likely to uh have flares of their disease, are more likely to fail. Medical therapy. Um Are more likely to need escalation of their IBD therapy and are more likely to have recurrence of C. Diff. They're more likely to have a longer hospital stays, increased health care costs, higher surgery rates and they have a four times higher mortality rate compared to patients with IBD alone. Yeah, endoscopy with a flexible sigmoidoscopy at the time of admission is important to assess disease activity and rule out CMB infection. The full colonoscopy is really not necessary and may be associated with higher rates of chronic dilation and perforation. There are several scoring systems that can be used. Um And they also predict the need for collect a me findings of deep ulceration is correlate with failure of steroid therapy and need for rescue therapy or collected me in order to prepare for treatment. Several tests are needed including tv testing. Hepatitis B and hepatitis B. Serology, ease colorectal surgery should be consulted as early in the hospital course as possible even if the patient does not end up needing surgery at that time. On admission any five S. E. S. And and said should be stopped, electrolytes should be repeated and I. V. Fluids given narcotics and anti coal energy mix should be limited. And prophylactic antibiotics are generally not recommended unless there are focal signs of infection. Concern for toxic mega colon or very high clinical suspicion for C. Diff infection. DVt prophylaxis should be started along with I. D. Steroids. Yeah pharmacologic dVt prophylaxis is essential for hospitalized IBD patients. This cohort study looked at the risk of the T. E. And IBD patients and match controls. Overall IBD patients had a significantly higher risk of developing V. T. E. And the risk was greatest during a flare. With the hazard ratio. Overall hazard racial 8.4. This increased risk was seen both in hospitalized patients and in outpatients and interestingly patients with chronic disease activity also had a very high risk of developing bte with a hazard ratio of 9.9 cortical steroids have been the mainstay of treatment for severe you see for decades. Um While there are no randomized controlled trials comparing steroid regimens there are several key points. The dough should be methylprednisolone, 60 mg A day or the equivalent. And there's really no incremental benefit to total doses more than 60 mg a day and no benefit to continuous I. V. Dose ng versus daily dose ng versus divided dozing Response is typically seen within 3-5 days and an additional response after seven days is unlikely. It's important to remember that 30% of patients will not respond to I. v. steroids after starting steroids. The patients should be monitored daily to assess response and this should include physical exam, symptom assessment and daily monitoring of labs particularly crp. Several factors have been shown to predict steroid failure and and these uh these uh indexes are listed up here. There's an 85% chance of failure at day three. If the patient is still having eight or more bowel movements a day or their crp is greater than 45 And there's a 60% failure rate at day seven. If they're still having more than three bowel movements a day or still have blood visible in their stool. The ho index on the right includes the number of bowel movements, albumin and presence of colonic dilation to predict steroid failure at day three. With an 85% failure rate with a score of four or higher and a 43% failure rate with a score of two or three day three of I. V. Steroids is essentially decision day. When you assess whether the patient is responding or not responding. Patients who are responding should continue I. V. Steroids for five days and then transition to oral predniSONE. Generally we like to observe them in the hospital for about 24 hours to make sure that they remain stable. And then a steroid sparing strategy can be started in the hospital or within 1-2 weeks of discharge for patients who are not responding. This is where we decide the next steps. Traditionally inflicts a mob or cyclosporin with transition to thio puritans have been the mainstays of medical treatment. However more options have recently shown good results. So options for steroid responders include are numerous. They include those listed on the on the slide and um can be considered based on um on prior history for steroid non responders. Inflicts a mob is effective for acute severe you see in this older important randomized controlled trial hospitalized you see patients who received inflicts a mob five mg per kilogram were more likely to avoid collecting me compared with patients who received placebo 71% versus 33%. And patients who do respond to respond and achieve remission with inflicts a mob should continue it for maintenance. More recently. Questions about whether standard induction dozing is sufficient and acute acute severe you see have been asked We know that accelerated clearance of inflicts a map is associated with treatment failure that fecal inflicts a mob levels are correlated with the lack of response and patients with severe inflammation lose more inflicts them out through the stool. And also that day 14 levels are significantly lower and severe you see. So it seems plausible that intensive dozing regimens may be more effective than standard induction. In the retrospective study on the left the hospital execute severe, you see patients who receive standard induction dozing or compared to those who received accelerated dozing or three doses within 24 days. Um accelerated dozing reduced the need for early collector me where patients had lower collectively rates at one month But collecting your rates were similar between the two groups 3 months on the right. This retrospective multi center study meta analysis compared accelerated dose sing higher dose or shorter interval dozing in the blue versus standard dozing in the orange and no difference in rates of collecting at any time point we're seeing. Um So currently the A. G. A. Guidelines make no recommendation on routine use of intensive versus standard and some out dozing cyclist born is an alternative rescue therapy and has been shown to be effective in treatment of acute severe you see um In the study on the left this is an older study patients who did not respond to I. V. Steroids who were randomized to cyclists, foreign four mg per kilogram Or to placebo. nine out of the 11 patients had a response at seven days and no placebo patients had a response. Um Later studies did show similar results with a two mg per kilogram dose so that doses generally favored. Um and then when comparing cyclosporin to inflict some ab several studies, including this one on the right have shown no difference in efficacy or treatment failure rates. This one showed 60% versus 54% treatment failure. Um and there's been no difference in adverse events. So the choice between cyclists born in and took some out for rescue therapy is largely based on provider experience with each drug because inflicts a mob is used more frequently in the outpatient setting. We generally have more familiarity with it. Inflicts a map tends to be preferred in patients with lower albumin levels. And cyclosporin is a lipid bound therapy and so there is a higher likelihood of seizures or other neurologic um Side effects in patients who have low cholesterol or magnesium levels. So the cyclosporin should be avoided or lower doses used and um and the patient's labs monitored carefully if that's chosen. And finally, because data show higher rates of collecting and patients receiving cyclosporin who have failed immuno modulators influx and has historically been chosen um in these this patient population. Um But what about patients, but there might be newer? Some there's some newer data that suggests that other options might be available. And then what about the patient has already been exposed and failed inflicts a mob or another. Anti TNF biologic. Several recent studies have shown that vandalism and may serve as maintenance therapy for these patients when combined with cyclosporin for a more rapid induction of remission. This top table just shows all the studies looking at vandalism and for maintenance of the mission after cyclosporin induction. And the figures on the bottom are from the Rolex study where 71 patients were followed for a median of 25 months and collecting me free survival was 93% at three months and 67% at one year. Fifty% 14 and 43% at week 52 are still in clinical remission and 76% of patients remained in remission on metal is mad at two years. Um There's one case report of two patients successfully treated with you stick in a mob after cyclosporin induction. That's recently been published and then in another case a patient successfully achieved clinical remission with cyclosporin induction and then was transitioned to Tofas IT and 10 mg B. I. D. For maintenance. There has been emerging interest in using Tofas didn't have a small molecule Jak inhibitor and a non protein based therapy to induce response or emission and hospitalized patients with acute severe you see. Um And this is obviously off label but this is a retrospective case control study evaluating the efficacy of tova Sydney for induction of remission in biologic experience patients admitted to the hospital and requiring I. V. Steroids. In this trial 40 patients received took a sitting of 16 patients got 10 mg twice a day and 24 patients got 10 mg three times a day. And the collectively rate was 15% in the tofu group compared to 20% in the control group. And then when you look at the two doses uh separately, the T. I. Dose was the one that was protective while the B. I. D. Dose was not. They also found that albumin number of failed targeted therapies, Kalanick dilation and Mayo score. Uh we're all uh significant cove area predictors of collecting me at 90 days. Um A K. Series of four hospitalized patients with acute severe you see who failed at least two biologics were started on two of the seven of 10 mg twice a day and there was a zero uh collectively rate at both 30 and 90 days. And then finally it's critical that we keep in mind that surgery is really a treatment for acute severe you see and should not should not be considered a failure of treatment or necessarily a last resort. There are absolute indications for collecting me listed here toxic mega colon perforation, uncontrolled bleeding. Multi organ dysfunction. Um but it should be uh considered in patients who have failed to respond to I. v. steroids after 3-5 days. The surgical procedure of choice we talked about is a restorative practice collecting me with a little pouch anal anastomosis. Um That's generally done in a two or a three stage approach. Three stages we talked about earlier is more favored and this minimizes complications and allows for improvement and nutritional status and reduces the potential for infectious complications. So in conclusion patients admitted with acute severe you see should be ruled out for C. Diff and started on DVT profile. Access I. V. Steroids should be started uh patients monitored daily for 3 to 5 days and flicked some avid cyclist for one of the mainstays of rescue therapy and uh inflicts map should be continued of successful for induction as maintenance after cyclosporin, induction maintenance options include five hearings and vandalism. Ab more data at this point is needed for tova signal for induction and acute severe. You see particularly the dose, the appropriate dose and the safety and efficacy. And again surgery should be considered in patients who fail I. V. Steroids and colorectal surgery consulted early. Thank you very much.
Rebecca Matro, MD
Scripps Clinic
Rebecca Matro, MD, is a gastroenterologist who specializes in inflammatory bowel disease, including Crohn's disease and ulcerative colitis.


text:
Nascar Camping World Truck Series 2009 var den 15:e säsongen av motortävlingen Nascar Camping World Truck Series, en racingtävling för små lastbilar av pickup-modell. 2009 års tävlingar kördes över 25 omgångar.

Delsegrare

2009
Motorsportevenemang 2009


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text:
Free course to help recover from loss
Published: 12:34 PM May 7, 2009 Updated: 8:13 AM October 14, 2020
A MAN who lost his former girlfriend in the 7/7 bombings is staging an event on May 11 to help people rebuild their lives after suffering trauma.
A MAN who lost his former girlfriend in the July 2005 bombings is staging a free event on Monday May 11 to help people rebuild their lives after suffering trauma.
Raj Babbra has set up Living through Loss to help others and the organisation is marking its launch with a free event which starts at 7pm at 203 Eversholt Street, near Euston.
It aims to help people take the first steps in learning to live with their loss.
Raj lost his ex-partner Benedetta Ciaccia in the Aldgate bombing in July 2005 and has since made a film about the impact of her loss called Life without Benedetta.
The terrorist attacks on London claimed the lives of 52 people and injured hundreds more.
He went on a course which helped him find life bearable again after her death and has arranged Monday's event with speaker Harleen McLean of Landmark Education to help others regain their smile.
Further information and booking details are available on http://www.lifewithloss.org/events/11thMay2009.html and there are places for 200 people to attend.