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Bishop of St Albans speaks in a debate on the UK Infrastructure Bank Bill
On 14th June 2022, the House of Lords debated the UK Infrastructure Bank Bill in committee. The Bishop of St Albans spoke in the debate:
The Lord Bishop of St Albans: My Lords, I declare my interest as a vice-president of the Local Government Association and president of the Rural Coalition. I shall speak to Amendment 9, which stands in my name, but I also want to give my broad support to Amendments 6 and 7, which also deal with regional inequalities, and to echo the importance of getting biodiversity and nature into the Bill.
It is telling that London, as the most productive region of the UK, receives a larger per capita amount of public spending compared to other regions of the UK. Productivity relies as much on public investment as it does on private investment but, at the same time, it makes sense economically, from a private perspective, to invest in those areas that receive significant public backing, particularly in areas such as transport. The reality is that government transport spending by region remains heavily skewed towards London, at nearly double the UK average. Hence, it certainly holds that public expenditure is a significant contributory factor to productivity, even if other factors, such as economies of scale and private investment, also play their part.
Increasing the UK's productivity and reducing the productivity gap is the first aim listed in the Government's 12 missions to level up the UK, but this is not adequately reflected in the UK Infrastructure Bank's objectives. The second objective, which a number of noble Lords have referred to, is supporting regional and local economic growth. That is an extraordinarily broad objective that allows incredible levels of discretion over where the bank will focus its investment. Supporting infrastructure improvements in some of the wealthiest parts of London to drive local economic growth would fall under the remit of the bank's activities but that is surely not what the bank is meant to be doing. We need to concentrate investment in specific infrastructure initiatives to boost regional productivity and close the infrastructure gap.
I fear that the integrated rail plan is a good example. It has its priorities absolutely inverted. Better connecting London to Birmingham and Manchester is being given precedence over connecting some of the northern cities to one another. The scrapping of HS3 and the eastern leg of HS2 remains a mistake and, to quote the Mayor of Greater Manchester, is rightly seen as a betrayal of the north. People in deprived or less productive parts of the country are tired of their second-rate infrastructure and the lack of investment in it. The amendment places a clear responsibility on the bank to close the productivity gap between regions of the UK, better to align it with the Government's levelling-up objectives.
The need to close regional infrastructure gaps does not pertain just to metropolitan areas. It is a crippling issue for rural communities. One thing I shall come back to when we get to the amendment—later today, I hope—is how we want to rural-proof what is going though in legislation. The rural economy is 18% less productive than the national average, and while economies of scale contribute to this, the gap is primarily driven by a failure to engage with rural economies on their own terms.
Poor rural transport infrastructure and digital connectivity are arguably the two biggest factors raised by those trying to sort out the huge gap between urban and rural in this country. The fear is that the UK Infrastructure Bank, as a private company wholly owned by the Treasury, will not be subject to the usual rural-proofing requirements to which all government departments are subject. Rural areas must be adequately considered as viable locations for investment by the UK Infrastructure Bank. By focusing on closing regional productivity gaps, this amendment would ensure that rural areas and underperforming urban areas would receive their fair share of the bank's finances—money desperately needed to level up.
As this is simply a probing amendment, I am at this stage just listening to the other interesting amendments and I do not particularly want to push this later, but I would be grateful if the Minister could address these concerns. What mechanisms will be hard-coded into the bank's commitments to prioritise investment in those areas that suffer from poor productivity and need improved infrastructure to meet that first mission statement of Her Majesty's Government on levelling up?
Author parliamentaryunitPosted on Tuesday, June 14, 2022 Friday, December 23, 2022 Categories BillTags investments, levelling up, rural affairs, St Albans, UK Infrastructure Bank Bill 2022
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Here's to week 3 of the Joy the Baker Cookbook Spotlight and Cook-Off challenge! I don't want it to end. At least I've got this great cookbook to keep cooking from once the challenge is over. I wish I had time to make more this week for blogger's choice week.
I had a hard time choosing. I was really tempted to make a birthday cake for PJ since his is coming up this week. But this banana bread won me over, because I had some bananas and bourbon in the pantry to use up.
When I went to use the lemon juice, I realized that it was expired so I didn't add in the teaspoon of lemon juice, but I'll leave that in the original recipe. I also didn't have the whole one cup of walnuts, so I used a mix of pecans and walnuts.
Oh, and since I don't have a mixer I couldn't do that whole thing. Just had to use my hands and good old hard work. Isn't that what people did before mixers existed? I need one though. I'll still leave the original recipe the way it was regarding using the mixer in case you guys have one. I'm sure it's a lot easier!
Preheat oven to 350 degrees F. Grease an 8x4 or 9x5-inch loaf pan. Set aside.
In the bowl of an electric stand mixer fitted with a paddle attachment, beat butter and sugar until light and fluffy, 3 to 5 minutes.
Add eggs one at a time, beating for 1 minute between each addition. Stop the mixer, scrape down the sides of the bowl and add bananas, lemon juice, and bourbon. Beat until well incorporated.
Turn the mixer to low and add the flour mixture all at once. Beat until almost incorporated. Stop the mixer and remove the bowl from the mixer. Add the walnuts and chocolate chips and incorporate the rest of the ingredients with a spatula.
Spoon mixture into loaf pan. Bake for 45 minutes to 1 hour, or until a skewer inserted in the center of the loaf comes out clean.
Remove from the oven and allow loaf to cool in the pan for 20 minutes before inverting onto a wire rack to cool completely.
*Banana bread will keep for up to 5 days, well wrapped, at room temperature.
This was some mighty delicious banana bread. I loved the addition of bourbon. Next time I may skip the chocolate chips and walnuts, to really get that banana and bourbon taste. This was very chocolate-y, and I think I may have even used less than the 6 oz of chocolate called for. I can't wait to make this again with those modifications!
Be sure to check out my other posts from Joy's cookbook - Chocolate Fudge Brownies with Chocolate Buttercream Frosting, and Whole Wheat Honey and Goat Cheese Drop Biscuits.
My mom was visiting this past weekend, and this is one of the things she really wanted to make from the book. And I do, too...especially seeing those photos. Delicious choice!
I'd love it if you'd stop by and link up this recipe for A Themed Baker's Sunday where the theme this week is bread!
I made this for next week and liked the banana-chocolate-bourbon flavors together. It was a lot of chocolate! Great pictures you have to show that!
firstly, this sounds really great. Secondly, I too was all, what do I do, when I didn't have my mixer out. I even asked hubby, do I use a wooden spoon? Our mixers have spoiled us.
This banana bread is on my short list of things to make from Joy's bread. I love everything about this bread. Yours looks amazing!
Just so happened to have some bourbon in the pantry to use up, sure....;) Great cake/bread and one I'd love to try!!
This is uncanny. I'm on a mission to create the BEST banana bread b/c I really want to beat my baking nemesis in the banana bread division at the state fair this year. She wins ever year and has won best in show for her banana bread. She must spike it with crack or something. I have been experimenting with recipes and last night, I had a bottle of bourbon in my hand, and almost this exact recipe in my head. I thought I was pretty creative but turns out, Joy thought of it first. Or maybe, great minds think alike? Anyway, I ended up spiking it with rum instead (it was yummy but I need BEST) but this one is next. It looks great!
Oh, my. This is calling my name! YUM!
Thanks for linking this to See Ya In the Gumbo.
Thank you sooo much for linking this to Must Try Monday. What a coincidence, too, because I just got the Joy the Baker cookbook for my birthday from my sister :).
If I were to name this bread, I would call it happiness bread for all the joy, you get from eating it.
This is being featured, this week, on My Meatless Mondays.
What an awesome banana bread!!! I never would have thought to use bourbon!!! Thank you so much for sharing on Trick or Treat Tuesday!!!
What a great combination of flavors! Love the addition of bourbon and walnuts are always a must with bananas! Thanks for sharing this recipe!
I found this recipe about 6 months ago, & have made it several times ! Matter of fact,i have one in the oven right now...& it smells so good ! We love it !


Here, the top 18 videos of chefs taking the Ice Bucket Challenge.
It's the summer of the Ice Bucket Challenge and star chefs are getting in on the philanthropic social media phenomenon, dousing themselves in icy water to spread awareness and raise money to fight ALS. In fact chefs are taking it to the next level: Both Jamie Oliver and Stephanie Izard performed an homage to Flash Dance, Rick Bayless took the margarita challenge and Alon Shaya got his dogs in on the fun. Here, the top 18 videos of chefs taking the Ice Bucket Challenge.


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Dubai FAQs
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Find yourself accumulating a fair bit of stuff? Here are some ways you can donate the things you no longer need in the UAE
| Last updated on 8 September 2020
Donate food and second-hand goods with our complete list of UAE charities and non-profit organisations
If you have been an expat in the UAE for more than a few seasons, you may have already noticed the build-up of clothes, furniture, toys, food, books, and other items that have been grown out of or are simply not needed anymore. From time to time, it's necessary to clear things out... and figuring out how is often easier said than done.
While you can easily chuck your used goods in with the garbage, there are a number of more environmentally friendly options out there as well as services that can pass along your unwanted items to those who will find them useful.
To start, we've compiled a handy list of UAE charities and non-profit organisations to help you find a new home or owner for your second-hand donations.
Dubai Cares
Dubai Cares accepts donations for second-hand clothing for both children and adults. During their annual Ramadan Campaign or in times of crisis faced by other countries, you'll find their telltale donation boxes in shopping malls. They are also open for volunteer work and other forms of support.
For more information, call 04 450 4550 or visit www.dubaicares.ae
Beit Al Khair Society
Another place to donate used items in the UAE is at Beit Al Khair Society, where you can pass along furniture, toys, clothes, etc. that you don't want anymore. They have various locations, but the biggest branch is near NMC Hospital, Al Nahda in Dubai.
For more information, call 04 267 5555 or visit http://beitalkhair.org/en/
Emirates Red Crescent
The Emirates Red Crescent is a great volunteer-run humanitarian organisation. They will gladly accept secondhand clothes, bedding, and other goods, of which they will provide to other countries that are facing a crisis such as war, natural disasters, etc. They do not pick-up items, but you can find their donation boxes and representatives in various locations across Dubai and Abu Dhabi.
For more information, call 800733 or visit www.rcuae.com
Rags to Riches
Originally founded by Barbara Evans, Rags to Riches is now managed by Ceri Rocca in Dubai and Fahmida Seitz in Abu Dhabi, along with a team of dedicated volunteers. They accept donations in the UAE for blankets, bed linen, curtains, and towels and make new clothing as well as reusable sanitary products from those. Rags to Riches has several drop-off locations across the UAE and are pretty active on social media.
For more information, contact [email protected] or visit their Facebook page: https://www.facebook.com/Rags2RichesUAE/
Maria Christina Foundation
Located along Sheikh Zayed Road in Sky Tower, the Maria Christina Foundation happily accepts a variety of donations such as old clothes, blankets, shoes, and even furniture. To donate unwanted furniture in Dubai, this must be arranged and will usually be no problem as they have teams in Mirdiff, Umm Suquem, and Bur Dubai. Proceeds from their sales go as relief aids for the poor and needy in developing or poverty-stricken countries.
For more information, visit www.mariacristinafoundation.org
The Old Library is a popular second-hand bookstore in Dubai, located in the Gold and Diamond Park. You can donate books in Dubai here, such as used textbooks, novels, etc. so long as they are in good condition.
For more information, call 04 321 3939 or visit https://www.theoldlibrary.ae/
Dar Al Ber Society
If you're looking for a place to donate unused, pre-owned medicines in the UAE, look to Dar Al Ber Society. As long as the medicines have not been used, are sealed, and have not yet expired, they will gladly accept such charitable donations. Dar Al Ber Society also accepts used clothes, household items including furniture, and other forms of support. All of these are collected to provide for orphans in the UAE, the needy, and low-income households in other parts of the world.
For more information, visit https://daralber.ae/cms/en/
Dubai Health Authority
Another organisation you can donate pre-owned, unopened, and even expired medicines are at Dubai Health Authority pharmacies, clinics, hospitals, and other healthcare centres in the emirate - except the Rashid and Latifa hospitals. The expired medicines will be properly disposed by staff, and unopened and unexpired medicines will be verified before being donated to the needy.
For more information, visit www.dha.gov.ae
Al Ihsan Charity
Al Ihsan Charity accepts charitable collections such as second-hand clothing, shoes, furniture, kitchenware, food, school supplies, unused medicine, etc. for families who have lost their only breadwinner through death, deportation, a jail sentence, they've been abandoned, divorced, etc. to help them get back on their feet.
For more information, visit www.alihsan.ae
Take My Junk
The name says it all. Take My Junk collects second-hand "junk" that you no longer want and distributes them to people in need. This organisation will accept nearly anything for donation, and also offer a free pick-up service for your used goods such as furniture, appliances, kitchenware, and other household items. Simply send them an SMS at 056 808 5865 to arrange a pick-up.
For more information, visit https://www.takemyjunkuae.com/
K9 Friends
For donating unwanted pet food and other pet supplies, head to K9 Friends, the UAE's longest-running pet rescue and rehoming shelter. Doing so would help the volunteer team care for the rescued animals until the pets find a new loving home, as the shelter would often receive more rescued dogs and cats than it can hold.
For more information, call 04 8878739 or visit http://www.k9friends.com/
Dubai Center for Special Needs
Any unwanted household goods, clothes, toys, and footwear can be donated to Dubai Center for Special Needs, located in Al Karama. All items collected from donations will be sold, and proceeds raised will go into relief aid for special needs families in the UAE.
For more information, visit http://dcsneeds.com/
Al Noor Special Needs Training Centre
The Al Noor Special Needs Training Centre is supported by His Highness Sheikh Mohammed bin Rashid Al Maktoum, the Ruler of Dubai. The organisation works to promote the development and well-being of children and adults who face physical and cognitive challenges. On top of offering training, programs, and activities, the centre has a wide selection of therapy available for people with special needs. The Al Noor Special Needs Training Centre relies on charity and sponsorship, so UAE residents are encouraged to donate second-hand goods here. The Al Barsha branch in Dubai accepts donations for second-hand clothes.
For more information, visit https://alnoorspneeds.ae/
where to donate in UAE
donating to others
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Super excited to bring you a giveaway from one of my favourite night time cloth diaper WAHMs - Ambre at Seams Sew Fluffy! Her super cute and incredibly well made hybrid fitted cloth diapers have become a staple as an overnight diaper for my heavy wetter!
Meet Ambre, the work at home mom behind Seams Sew Fluffy. She has been making handmade cloth diapers and more for a little over a year now. She loves eco friendly products and strives to provide cute, handmade items to her valued customers.
She is also a mother to two beautiful children who keep her very busy outside of work. She started cloth diapering with her youngest, and fell in love right away. Which also led to a diaper hoarding addiction which she soon turned into a fabric addiction. She loves making cloth diapers and working with her customers to create something they absolutely love!
My Most Recent Purchase from Seams Sew Fluffy!
Ambre/Seams Sew Fluffy's specialty is making hybrid fitted diapers. Her diapers have a super cute print outter and include a very absorbent soaker 8 layer fold over soaker made of heavy organic bamboo fleece. Most of her diapers range between $26-$30 (including shipping to the USA), and she frequently runs awesome specials/sales!
Be sure to check out the ready to ship items in her brand new hyena cart shop and stop be her awesome facebook page to check out all the assortments of fabric available for her fabulous creations!
This giveaway is open to residents of the Canada & USA Only. Prize includes shipping to the USA (Canadian winner must pay $5 to have shipped to Canada). Winner will be chosen using Rafflecopter, and notified by email and/or facebook. Winner has 48 hours to respond before the prize is forfeited and a new winner is chosen. Prize is shipped from chosen Supplier. This giveaway is not sponsored, endorsed or administered by, nor associated with Facebook. By entering, you release Facebook from any responsibility and understand that the information entered on this form will not be disclosed to Facebook.
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So many cute things! I love the sushi print, and the rockets are adorable! Oh, and Happy Rain! I don't know how I would choose!
love the snoopy fabric on facebook, adorable.
I would want a super hero custom like batman or captian america.
I would love to have a custom made with the cute bicycle print!
I'm not sure what a cow dog is but I'm liking the colors.
Well, I might choose the cute one with the unicorns and carriages. So adorable. I saw a few others I like too!
I'd love a Happy Rain diaper! So cute!
The sushi print! It's adorable!
I like Christmas prints, candy skulls & care bears, and the galaxy looking fabrics are neat too! Definitely a lot to choose from & something for anybody!
Which one which one... love the far out and the woodlands!
I would love either something with cupcakes or pink with black stars. Or something firefighter but girly for my baby girl since her daddy is a fireman.
Oh which one?? My husband loves Hello Kitty, so the fabric on FB post June 20 is adorable! The whales on FB post June 18 are super cute too! As is Happy Rain...choices, choices!
For my custom, I would love the white with the black and pink leopard print fabric from the November 30, 2013 fabric selection photo post.
I really love the woodlands, this is such a cute pattern!
I'm so torn! I love the tie dye one, but I'd love to get a superhero customized diaper for my daughter!
i would so love to getthe Fire Jack Hybrid Fitted for my little man!!
I'd want a TMNT diaper.
So many options! I'm dying for an HP diaper but I love the Tula prints they work with. The space ones are precious!
Definitely the Very Hungry Caterpillar!
A ton of cuteness but I think I'd choose the hungry caterpillar theme.
I LOVE that Fire Jack Hybrid! Huge Fan of The nightmare before Christmas!
I am new to cloth diapering and would love to try different types of diapers.
I love this animal print, it is so bright and cheery!
I'd love the Jack print or black/white Hello Kitty print with a bright pink interior!
The sushi print! SOO adorable!
I really like the jack print!


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Close Reading the Media / Visual Literacy
Civil Rights: How Pictures Changed America
by Frank Baker · Published 06/27/2017
"Pictures can and do make a difference. Strong images of historical events do have an impact on society." – American Civil Rights Era photographer Charles Moore
Chances are you or your students have never heard of Charles Moore. Moore was a photographer whose assignments made him a witness to many historical moments during the Civil Rights Movement.
You've no doubt seen the photojournalism of this small-town Alabama native, who began his career working for the Montgomery newspapers. During the 1960s, his powerful images were published in many US newspapers as well as in LIFE magazine, the news and popular culture weekly, which devoted dozens of pages to his work.
Charles Moore, with gas mask, after a long night of violence during the University of Mississippi riots in 1962.
If your students think a photo can't change history, have them think again. If they thumb through histories of that time period, they'll come across iconic still photographs that shocked the nation and influenced the decisions of important leaders. Moore believed that his photos would cause people to take political action. He was correct. And he wasn't alone.
News photographers, as well as TV news crews, were regularly witnesses to the protests and police violence associated with the activities of the movement's leader, Reverend Martin Luther King Jr, capturing his famous oratory and documenting frequent confrontations with white authorities in the segregated South.
It was those images, appearing on the front pages of many newspapers and on the nightly news broadcasts, which helped bring about the Civil Rights Act of 1964, according to US Senator Jacob Javitz (source), and set the stage for passage of the 1965 Voting Rights Act.
One of Charles Moore's early encounters with Martin Luther King came in 1958 when MLK (unrecognized by the police) was arrested for "loitering" at the Montgomery courthouse. Moore took the only photos of the event. (Source)
King was well aware of the power of the image to communicate – perhaps more effectively than any written or spoken word. Events were scheduled by civil rights leaders to take advantage of TV news cameras and broadcast deadlines.
Andrew Young, a key advisor to King, understood the importance of television and photojournalism: "In the Civil Rights Movement, it was our ability to package a message to illustrate our cause in a 60 second segment on the evening news that was key to our success. We could not have been effective without television." (Source)
John Lewis and the Selma march
Another civil rights activist, now-U.S. Rep. John Lewis (D-GA), was a young man when he was injured in March of 1965 by Southern law enforcement officers. Lewis led the Bloody Sunday march in Selma, where Alabama state troopers attacked peaceful protesters with billy clubs, bullwhips and tear gas. The photo below shows Lewis on the ground trying to ward off a blow. It was taken by another Alabama-based photographer, Spider Martin, whose time as a Birmingham News staffer parallels Moore's experience. (See this New York Times story to access more of Martin's images.)
The horrific actions in Selma were broadcast on nightly news reports into living rooms across America. (Source) Selma's mayor was stunned, admitting "I didn't understand how big it was until I saw it on television… That looked like a war; that went all over the country." (Source)
John Lewis recently recounted many of these incidents in a trilogy of best-selling graphic novels entitled March. The books have been honored with a National Book Award as well as by the American Library Association. Teachers of American history and librarians should give serious consideration to acquiring these books, filled with powerful imagery, for their teaching collections. Many of the illustrations echo the work of news photographers.
For more iconic Civil Rights images associated with Lewis, see the recent PBS documentary John Lewis – Get in the Way.
Moore at the heart of the action
In the summer of 1963, Charles Moore was already a veteran of the civil rights movement. Moore was present in Birmingham, Alabama when dogs were used by local police to quell peaceful anti-segregation demonstrators. This powerful image, of a dog tearing the pants off one man, made its way into LIFE magazine, which at the time it was read by half of all Americans.
TIME magazine has recognized this photograph as one of the 100 Most Influential Images of All Time. Historian Arthur Schlesinger Jr., referencing the then-Commissioner of Public Safety for the city of Birmingham, said of the image: "The photographs of Bull Connor's police dogs lunging at the marchers in Birmingham did as much as anything to transform the national mood."
Moore, who died in 2010 at age 79, believed his camera was his tool, something more powerful than any gun or knife, because his photographs captured the tension and emotion of everything in the photo's frame. "I Fight With My Camera" is a short and compelling documentary about the civil rights movement, featuring Moore's images and his own voice, talking about many of his pictures and expressing his feelings during that time period. (Teachers might find portions of this 2005 video effective with more mature students. Preview it first.)
Another of Moore's famous images showed marchers being blasted at close range by powerful fire hoses as they huddled in a doorway, futilely seeking shelter from police in Birmingham. (Source)
In their Pulitzer Prize-winning book The Race Beat, noted journalists Gene Roberts and Hank Klibanoff describe how Moore used a short range lens, forcing himself to get very close to the action as he documented the aftermath of the fire hose moments. Moore got so close to a stoic-faced man whose hat and shirt were soaking wet that he said he could see drops of water, like tears, coming from the man's eyelids.
This sequence of pages from LIFE (5/17/63) contrasts homey era advertising and the harsh realities of civil strife in America.
At Google Books, you can view the complete May 17, 1963 issue of LIFE and see how Moore's firehose images and other photos from Birmingham were presented to America in the most popular magazine of the time. The photo spread begins on page 26 and carries the headline: "The Spectacle of Racial Turbulence in Birmingham: They Fight a Fire That Won't Go Out." And "Provocation and Reprisal Widen the Bitter Gulf." As many commentators have noted since, the impact of page after page of these images is difficult to overestimate.
These and other Moore photographs appear in his 1991 book Powerful Days, a title I believe should be on the shelf of every school library. Many of these images, and similar ones, show up in American History textbooks and in documentaries teachers might use in February during Black History Month (see my recommended resources at the end of this post).
Using these images with students
We might ask students: How can a single photo influence the viewer? Looking at examples from the work of Charles Moore and other civil rights era photographers, what elements in the images make them stand out from ordinary photographs that might appear in newspapers and magazines? What impact might such images have had on Washington lawmakers and other influential Americans who were witnessing the events in the southern United States from afar? Do the images tell a story without using words? Images like these often provoke emotion – are they "fair reporting"?
Having your students study and analyze such images can be part of important visual literacy lessons. Understanding the context of the images and the events surrounding them is also important in today's political climate, when lessons of the past are not always recalled with clarity.
► My web page: "Images of the Civil Rights Movement."
► My MiddleWeb article on Black photographer Gordon Parks including several segregation-era photographs.
► The Civil Rights Movement from Behind The Lens (Interview with Charles Moore at Southern Scribe)
► Documentary Photography: Civil Rights Through Image and Text (Lesson plan – Getty Museum)
► What The Still Photo Still Does Best (Focus on Charles Moore – New York Times)
► The Role of TV in the 1960s Civil Rights Movement (online essay)
► The Role of News Media in the Civil Rights Movement: Selma March (PBS)
► Photographing the Civil Rights Movement (Julian Bond & Civil Rights photographer Danny Lyon – National Geographic)
► Eyes on the Prize: Then & Now (Award-winning PBS documentary series plus a 2016 update – World Channel)
► A Selection of Civil Rights Photography from U.S. News (Library of Congress)
► Captioning the Civil Rights Movement (ReadWriteThink lesson plan)
► For a look at other iconic images that "have changed the world" see this CNN report.
Frank Baker includes visual literacy analysis activities in all his media literacy workshops. Visual literacy is also a big part of his 2016 book, Media Literacy in the K-12 Classroom (ISTE). Visit Frank's gateway website, Close Reading The Media to learn more.
Frank's new book Close Reading the Media: Literacy Lessons and Activities for Every Month of the School Year can help teach middle school students to become savvy consumers of the TV, print, and online media bombarding them every day. The book is copublished by Routledge and MiddleWeb. Use discount code MWEB1 for 20% off the cover price.
Tags: Charles MoorecivicsCivil Rights movementclose reading the mediaFrank BakerFrank W. Bakerhistorymedia literacyphotojournalismpowerful imageryvisual literacy
Frank Baker
Frank W. Baker helps educators identify ways to engage students with media literacy and critical thinking. His newest book, Close Reading the Media, is published by Routledge/MIddleWeb. He shares many resources at The Media Literacy Clearinghouse website and tweets @fbaker. Prior to beginning this blog, Frank contributed more than than three dozen media literacy articles to MiddleWeb.


I am an educational technologist at a private higher education institute in South Africa. I am currently studying (hopefully) toward a masters in the field.
In developing ONL we are drawing on the ideas and pedagogical frameworks of Problem-Based Learning (PBL) and Networked learning. The key learning principles behind PBL that we try to put into play is to view learning as a constructive, collaborative, self-directed and contextual process (Dolmans et.al., 2005). As a part of the design, a model named FISh (see under ONL environment and activity) is used for individual and group inquiry (Nerantzi & Uhlin, 2012). We believe that using the emerging ideas on Networked learning can be a way forward to design for PBL online.
This is the third iteration that Varsity College and the IIE are participating in the ONL course, of which I am now a student of. So it is exciting to see where this will lead me.
In future I hope to add to this blog some reflections of other courses, and hopefully give insight to others who may be interested in either the concepts and/or ideas that these courses offer.
I hope my reflections will have some value!


SKASOL TOWER TREATMENT 447 by SKASOL INCORPORATED Material Safety Data Sheet #BHCPX.
ADVERSE HEALTH EFFECTS. CHRONIC:SAME AS ACUTE.
HEARTBURN-LIKE SYMPTOMS AND MAY L EAD TO NAUSEA.
CONTAMINATED CLOTHING. WASH W/ SOAP AND WATER TO NEUTRILZE ACIDITY.
OF WATER OR SODIUM BICARBONATE SOLUTION. DON'T CAUSE VOMITING.
CONNECTED TO A WASTE TREATMENT PLANT.
EMERGENCY SHOWER FACILITIES NEAR USE AND HANDLING AREAS.
APPROVED BY NIOSH/MSHA W/ A DUST/MIST FILTER.
EXPOSURE TO MIST BELOW OSHA PEL.
Protective Gloves:NITRILE, NEOPRENE, OR NATURAL RUBBER.
Eye Protection:CHEMICAL SAFETY GOGGLES/FACE SHIELD.
Appearance and Odor:CLEAR RED LIQUID; ORGANIC ODOR.
Stability Condition to Avoid:DO NOT MIX WITH STRONG BASES.
IN ACCORDANCE WITH	FEDERAL,STATE AND LOCAL REGULATIONS.


Nearly 200 features (including 20 world premieres) were selected out of 5,428 submissions to screen at this year's Los Angeles Film Festival, running June 13-23 at L.A. Live's Regal Cinemas downtown.
A day before LAFF kicks off, the fest will present a special screening of Man of Steel – the Superman reboot, directed by Zach Snyder.
Then the festival kicks off with the latest comedy from Pedro Almodovar I'm So Excited, starring Javier Camara, Cecilla Roth, Lola Duenas and Raul Arevalo, with cameos from Antonio Banderas and Penelope Cruz.
The comedy The Way Way Back, starring Steve Carell, Toni Colette and Sam Rockwell, will close the festival.
Gala Screenings include the top Sundance award-winning Fruitville Station and Only God Forgives, starring Ryan Gosling as an American expatriot living in Bangkok.
Academy Award®-nominated and Film Independent Spirit Award-winning filmmaker David O. Russell (Silver Linings Playbook, The Fighter) will serve as the Guest Director at this year's LA Film Fest, where he'll host a special screening of Three Kings that will also include a discussion about his body of work. He'll also receive the Spirit of Independence award recognizing an individual for his or her commitment to artistic independence in film, and he'll attend the 12th annual Filmmaker Retreat at Skywalker Ranch in Marin County, California.
Returning to the 2013 Festival is the Master Class series, which features artists discussing their area of expertise with Film Independent at LACMA curator Elvis Mitchell. Actress Maya Rudolph (Bridesmaids, Away We Go, "Saturday Night Live") will be choosing her favorite comedy scenes of all time and discussing how/why they work. Composer Gustavo Santaolalla (On The Road, Brokeback Mountain) will show selected scored scenes from films and discuss what makes them work and why they're so effective.
Director Spike Jonze (Being John Malkovich, Adaptation) will present footage from his upcoming film, Her, and take part in a discussion forum titled "A Brand of His Own: Spike Jonz" on June 22.
Also confirmed for this year's Festival is an "In Conversation" session with playwright and filmmaker David Mamet (Glengarry Glen Ross, House of Games) and actor/stage magician/author Ricky Jay (Boogie Nights, The Prestige) together talking about their past collaborations. Additionally, the 2013 Festival will feature "An Evening With Costa-Gavras." The Oscar®-winning filmmaker, known for such films as Missing and Z, will be on-hand to talk about his work and screen his latest film Capital.


text:
How much weight does the tripos III carry for further PhD admissions?
I am planning on doing a tripos III this year in order to explore my interests and improve on a few bad grades in my undergraduate coursework. I would like to aim for a top 5 Math PhD program.
I have heard that the tripos exams are after most of the admission period in the US. Given this, how much of a factor does simply attending the tripos play in getting an offer for a PhD?
graduate-admissions
EpicurusEpicurus
possible duplicate of Waiting until MS thesis is Published before applying to PhD? or Can I do a PhD without MSc? or What are the advantages and disadvantages to completing a Masters program before applying to a Ph. D program? – EnergyNumbers Feb 22 '15 at 13:33
You mean part III of the mathematical tripos at Cambridge UK? – P.Windridge Feb 22 '15 at 14:03
I don't think this is a duplicate of these previous questions. Math Ph.D. admissions practices are somewhat different from those in many scientific fields, and the Tripos is really a special case (far more prestigious and demanding than any other such program in mathematics). I think a student could study all three previous questions and still legitimately have no idea what the answer to this one is. – Anonymous Mathematician Feb 22 '15 at 14:36
It might be worth editing the question to explain what "tripos III" is, as it's unique to Cambridge and may not mean much to people not familiar with that institution. Answerers seem to have got on fine, but people reading the question in future may be confused. – Flyto Feb 24 '15 at 7:13
If you are aiming for attending a top five mathematics department in the U.S. immediately afterwards, Part III of the Tripos plays almost no role. It's not uncommon for students to do Part III, but often after already being admitted to the U.S. department and deferring for a year. Occasionally someone who was turned down the previous year applies again while doing Part III and is admitted, either because their application looks stronger or because they have better luck. However, attending Part III plays little role in this. The bar for Part III admission is lower than for top five U.S. Ph.D. programs in mathematics, so merely being admitted is not in itself a factor. The Cambridge academic year doesn't even start until October, so there's generally no useful way to get letters of recommendation from Cambridge faculty based on Part III: they simply don't have enough to say at the point at which letters are needed. The net effect is that you are applying with letter writers based on the previous year, and the only function of Part III is demonstrating that you are doing something productive with your time (it certainly looks better than taking a year off, for example).
Anonymous MathematicianAnonymous Mathematician
That is a bit disappointing. Are people with a distinction in the tripos guaranteed PhD admission at Cambridge? If this is not the case, then there seems very little point to my taking it and it seems like a bad idea in general anyway. – Epicurus Feb 23 '15 at 9:02
I don't know the Cambridge admission policies regarding the Tripos. In general I think it's a very worthwhile program and a wonderful learning experience, just not ideally suited to building credentials for US graduate admissions (because of the timing issue). By the way, your application might still look stronger even if you can't get letters from Cambridge faculty, because it will include your senior year accomplishments as an undergraduate (and any bad grades from earlier will be further in the past). – Anonymous Mathematician Feb 23 '15 at 17:07
Most current (pure maths) Part III students applying for continuation get an offer conditional on being top third of the people getting a distinction. With this kind of offer, it is hard to get any funding. It is also difficult to plan with this condition, as a top third distinction cannot be predicted reliably. – Zahlendreher Aug 27 '15 at 18:25
Not the answer you're looking for? Browse other questions tagged graduate-admissions or ask your own question.
What are the advantages and disadvantages to completing a Masters program before applying to a Ph. D program?
Waiting until MS thesis is Published before applying to PhD?
Can I do a PhD without MSc?
Part III at Cambridge (pure math) through scholarship, and US PhD applications
How does someone with C's and F's in graduate-level courses and A's and B's in undergraduate courses get admitted to a PhD program?
Benefits of doing Part III at Cambridge (Pure Math) for US PhD applications
What GRE verbal score is needed for a non-native English speaker to get into math or applied math PhD programs in the USA?
How to stand out in mathematics PhD admissions as a student from an online school, with no research or opportunities to get strong recommendations?
How much damage could a 'C' in Abstract Algebra Course cause? and How to minimize the effect?
How does the family background mentioned in the statement of purpose affect a PhD application for admission in U.S.?
Is it feasible to quit a PhD program, do an MS (or two) for better qualification, then begin again?
Likelihood of being admitted to a top 10 CS PhD program?
How much does the reputation of the institute you did your masters from matter for PhD admissions (Computer Science)?


text:
Windows 2000: Time to Think Strategy
Windows 2000 finally appears to be nearing completion. By the time you read this, Beta 3 should be widely available, and it could quickly become Microsoft Corp.'s largest beta deployment ever. While most IT managers are loathe to deploy beta code, particularly Microsoft beta code, the time has come to start thinking about how Windows 2000 will fit into your near-term and medium-term corporate IT plans.
Most corporate users will likely pick up a copy to start familiarizing themselves with the new capabilities that Windows 2000 offers. But I expect virtually all corporate deployments will be limited to test environments and a handful of workstations that IT professionals use day to day. Broad corporate deployment – at places other than Microsoft -- will be close to zilch until the final release code arrives. Assuming the final code is shipped as expected in October, and Service Pack 1 appears between then and the end of the year, significant deployment probably will not start in earnest until early next year.
Windows 2000 represents an important juncture that will force IT managers to rethink other hardware and software decisions. Adopting Windows 2000 will not be as simple as deploying the new version on a uniprocessor or a four-way system. There will soon be powerful eight-way machines available: Systems that may offer some real performance advantage over four-bangers. You also need to consider other important points: is this the time to start a migration to 64-bit Windows 2000 computing, how will you handle server consolidation in the future and what migration plans are in store, if any, for your desktop systems?
Uniprocessor vs. SMP Servers. Performance is one of the remaining aspects of Windows 2000 that Microsoft says will be tweaked after the release of Beta 3. You can therefore assume the performance of the final code will be as good or better than Beta 3. That is good news, but the real benefit will come from Intel Corp., which is building processors that are 10 times faster in clock rate alone. Compared with when NT 4.0 was released in 1996. Intel has already demonstrated a 1 GHz system, which could be available by this time next year.
Will you need more power on a per-server basis? If so, you may want to look at a two-way system, which will keep your licensing cost at the lower Windows 2000 Server tier. Windows 2000 Server is expected to be appreciably cheaper than the four-way Advanced Server tier. If you anticipate greater growth potential, you may want to buy into an SMP or SMP-ready system that will grow to eight processors. Indications are that the eight-way Xeon machines will far outperform the four-way systems, a claim eight-way Pentium Pro systems were never able to make.
Another choice may include one of the nonindustry-standard architectures, such as the Cellular Multiprocessing (CMP) system under design at Unisys Corp. The CMP machine is expected to offer high levels of SMP scaling: 32-way and beyond. Regardless if such hardware scales or not, it will be pretty tough to justify such a system until Windows 2000 proves its stability and scalability.
64-Bit Computing. Will you need 64-bit computing? Probably not. Few users really do. But if you are building large database applications and need extended memory capabilities, you have the option of buying a Compaq AlphaServer, which will offer 64-bit Windows 2000 support at least a year before any Merced processors are shipped in volume to computer manufacturers. Compaq, however, has yet to convince me that Alpha really is a core technology for the company.
There are options. You don't have to immediately jump for the Alpha. You can use the Intel Extended Server Memory Architecture features in the Xeon processor that enable 36-bit addressing with Windows 2000. The other alternative is to wait for systems built on Merced, which is more than a year away.
Looking for ZAW/TCO. Windows 2000 will help with cost of ownership issues. Active Directory will ease server management -- once it's fully deployed -- and should lower network management costs. The Windows 2000 desktop lock-down capabilities, long touted by Microsoft, are way overdue. You can only get the full benefits from both technologies, however, if or when you upgrade servers and desktop workstations to Windows 2000 -- a costly proposition if you have systems that are more than a year old.


Morimoto, A.; Maeda, Y.; Minamikawa, T.; Yonezawa, Y.; Shimizu, T.
Abstract. Yttrium iron garnet (YIG) films were grown by pulsed laser ablation (PLA) on (111) Gadolinium Gallium Garnet (GGG) substrates. The second harmonic of YAG laser (532 nm) with a high laser fluence was employed to produce YIG droplets efficiently. It was found that YIG films prepared at RT substrates have a large number of solidified droplets of various sizes. Highly oriented YIG crystals were grown on the (111) GGG substrate heated at 860 Celsius by PLA using a large number of molten droplets, suggesting an LPE-like growth. This YIG film shows a small ferrimagnetic resonance linewidth of 7.5 Oe. This value is quite small for films prepared by vapor-phase epitaxy techniques.
Presents an abstract of a study in which thin films of iron oxide, nickel oxide, cobalt oxide, strontium hexagonal ferrite, and yttrium iron garnet have been grown by laser ablation.
Presents a study that observed the complex permeabilities during and after illumination of an yttrium iron garnet single crystal. Activation energies of the triple peaks; Dependence of the height of each peak on the illuminating time of exciting light; Magnitude of distortion of iron.


text:
Shop Bo Jangles, on a throw pillow for your home
This graphic honors the Artist whose career spans key moments in American entertainment history, from Vaudeville to Broadway to Hollywood. Robinson's influence remains today as many artists past and present site his work as inspirational. He was an advocate for equal rights and a champion of integration using his platform to bring people together.
Bo Jangles is also available on


text:
Black and Blue: Considering Thematic Parameters
The mutual attraction between blues as a poetic form and blues as a musical form, their fertile historical interaction, seems to me reliant on an unspoken agreement.
This is that "blues" presides over a distinct range of emotional expression – one concerned not only with oppression but with its endurance, employing irony and intra-cultural understanding, typically racially contextualized; one which, with its roots in spirituals, will readily consider notions of mortality. Rhyme, rhythm and repetition can decisively evoke a blues form in poetry or in song, but these ingredients have little meaning outside of the tacitly agreed-on thematic range. The underlying attraction, then, between these forms seems less strictly technical than emotional, psychological, and spiritual. Such concerns generate the identifiable genre pattern between two media.
"Bruise" may not be the root of the term, but the auditory connotation is fitting. The term "blues," with its echo of "bruise" and the attendant coloring, limns the expressive parameters. Blues is more a diagnostic than a cathartic mode of expression, both a self-examination spurred by injury and a coming to terms with that injury. The typical blues narrative is only "cathartic" in the sense of allowing its protagonist some relief of articulation. In a narrative sense, it denies a resolution to the predicament.
One of the most widely recognized negotiations between the two art forms is the famous (notorious may be a better word) "Strange Fruit," popularized by Billie Holiday, composed upon a 1936 poem by Abel Meeropol, a Jewish high-school teacher from the Bronx. "Strange Fruit" typifies what we think of as the blues' macabre gaiety: what Emily Dickinson described as "singing off of charnel house steps." It is a way to taste one's own despair--to savor it:
Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black body swinging in the Southern breeze,
Strange fruit hanging from the poplar trees.
The lyrics of Meeropol's original poem transmute utmost suffering and injustice into something succulent, if only in a world of bitterest irony: just as a musical form of the blues transforms the suffering into thumping grooves and barbecue-tasty guitar licks.
Such lyrics typify the blues' sense of a shared communal oppression that the poet or singer—the bard—will express on behalf of himself and his listeners. The odd impersonality of blues lyrics, and to poems operating in a blues register, derives from their elemental language and subject matter, their sense of a collective identity. Like works in the British ballad tradition, the lyrics are stones worn smooth by much handling, passed around over time; they can fit many a palm, but seem most precisely at home in the hands of those who share in the bard's own cultural tradition of wound and endurance.
Such lyrics also demonstrate doubleness, a technique of oblique articulation, characteristic of work songs under slavery, from which the blues arose. Songs within earshot of overseers had to convey many meanings "under the radar" rather than by explicit protest. Dickinson again: "Tell all the truth but tell it slant—/Success in Circuit lies."
Dickinson's work is not entirely incidental to this discussion, as her meter derived from church hymnals. One could do worse than examine how religious musical traditions have fed poetic forms dealing with extremes of spiritual experience and the desire for transcending earthly torment. In its disembodied utterance, the spiritual "Swing Low, Sweet Chariot," for example, sits comfortably alongside Dickinson's obsessive metaphors of suffering and transcendence. Like the work of later poets who would work within an explicitly declared blues mode, Dickinson's work often ironizes her own suffering without the hope for deus ex machina or any further development of the speaker's own agency.
Likewise, blues as a musical or poetic form rarely offers explicit catharsis for the speaker's predicament. Because of the strictures under which this form of expression developed, a trademark quality of resignation set in. The song itself, with its sly double-entendres and passive aggression, repetitive rhythms with roots in heave-ho physical labor, was the only avenue for public articulation of the unbearable. After the repetition and refrain enact the relentlessness of the speaker's situation, articulation often terminates in an attitude of resilience, survival taking the form of an emotional stance either stoic or irreverent.
In "Billie's Blues," written by Billie Holiday and recorded July 10, 1936, the same year as "Strange Fruit" was published in an educational industry journal, the speaker voices romantic distress.
Lord, I love my man, tell the world I do,
I love my man, tell the world I do;
But when he mistreats me, makes me feel so blue.
My man wouldn't give me no breakfast, wouldn't give me no dinner,
Squawked about my supper and put me outdoors ...
Rather than solve the immediate predicament, the speaker finds solace in a defiant irreverence: "Some men like me 'cause I'm happy, some 'cause I'm snappy,/...Now, if you put that all together, makes me everything a good man needs." She withholds any assurance that the crisis eliciting the earlier distress will be resolved.
Therefore poets that declare a blues mode, as does Gwendolyn Brooks in her 1945 "Queen of the Blues," follow a similar template. Brooks's character Mame, a blues singer at a nightclub, airs a list of grievances that includes abusive men, oppressive white folk and her now departed mother; but the narrator's refrain concerns Mame's facility for rhythm and dance, bestowing attitudinal status as a queen, with the repeated question "For what did she have/To lose?"
The poem shows Brooks's grasp of the blues' underlying concern with mortality: after the omniscient narrator questions whether it was two years ago or three that Mame put her mother in the ground, Mame is given voice to demand: "Show me a man/What will love me/Till I die." The intrinsic concerns of love, health and survival impel the poem in a characteristically upbeat articulation of despair and endurance: more interestingly, the omniscient speaker's voice seems to merge with Mame's in an ambiguously attributable final utterance: "Men are low down/Dirty and mean./Why don't they tip/Their hats to a queen?" This ambiguity signifies the utterance as intended for one and all within the bard's purview of cultural experience.
This sense of intra-cultural code makes it seem fitting that it is often black writers most strictly following these thematic and structural patterns of the blues form. Examples abound, one being Langston Hughes's "The Weary Blues," which employs rollicking rhymed couplets and refrains and describes a Negro who plays "a drowsy syncopated tune" and sings "Ain't got nobody in all this world/Ain't got nobody but ma self./I's gwine to quit ma frownin'/And put ma troubles on the shelf." Once again, the bard's acceptance allows for an alchemization of his hardship into song. But as per usual in the blues, mortality circumscribes the act. Following this declaration, "He slept like a rock or a man that's dead."
The compositional patterns emerge in the work of Caribbean poet Derek Walcott in "Blues," drawing on the American tradition (1969). Although the rhyme scheme in "Blues" is subtle and irregular, Walcott takes up the theme of racial trial and injury ("They beat this yellow nigger/ black and blue") and the speaker's characteristic stance of nihilistic stoicism ("It's nothing really ... Still it taught me something/ about love./ If it's so tough, forget it"). Walcott's invocation of blues form acknowledges the rhythm and rhyme scheme as secondary to thematic and psychological dimensions of genre.
Ultimately such existential irreverence results in a peculiarly self-reflexive quality: suggesting that the song itself is the vehicle of endurance, harkening back to the time of call-and-response field work and bitterly ironic gaiety under duress.
Contemporary discourse on poetics often grapples with the sense that irony has been divorced from its roots in emotional urgency, and become an airier gesture uncomfortably close to self-satisfied cleverness. The irony employed by the blues, the macabre gaiety, the weaving of trial into song, is born of pain and the basic human need to endure. It provides a fruitful model for a species of irony that is resonant on a spiritual level — if only because it never has to question whether an enduring spirit exists.


text:
Q: How to deploy angular-seed project on Heroku I have tried following steps suggested in the blog below:
https://medium.com/@matheusrma/deploying-angular-seed-to-heroku-12a5bb907467
But still I get this application error: http://cryptic-depths-3702.herokuapp.com/index.html
heroko logs shows Permission denied error:
2014-10-09T18:30:46.723952+00:00 heroku[web.1]: Starting process with command s
cripts/web-server.js
2014-10-09T18:30:47.606840+00:00 app[web.1]: bash: scripts/web-server.js: Permission denied
How to fix it?

A: The angular-seed app has been updated since the post was written on March 10. The old repo has a directory called scripts that contains the web server script, but that does not exist in the most recent version.
It looks like the current version doesn't have anything to run on a webserver anymore, so you'll need to add something that runs content (through Grunt, Express, Gulp).
Update
You can use something like Yeoman to generate an Angular app that comes with a working Gruntfile to serve your content. You can copy or move the contents from the angular-seed app directory and use them to replace the generated app directory in the project repo generated by Yeoman.

A: A couple things you need to do.
First: Change your Procfile to:
web: npm start

Second: Change your package.json to have this:
"scripts": {
    "start": "node scripts/web-server.js"
}

Third: Remove the first line in web-server.js
#!/usr/bin/env node

Finally: You may have to scale your web dynos with:
heroku ps:scale web=1

redpajama_set_name: RedPajamaStackExchange


text:
import javafx.scene.layout.Pane;
import javafx.scene.shape.Polyline;
import javafx.scene.shape.Line;
import javafx.geometry.Point2D;

public class LatticePane extends Pane {
  private int squares;
  private double scaleFactor;

  LatticePane(int squares, double scaleFactor) {
    this.squares = squares;
    this.scaleFactor = scaleFactor;

    drawGrid();
  }

  public void drawWalk(SelfAvoidingWalk walk) {
    Polyline poly = new Polyline();
    poly.setStrokeWidth(4);
    for (Point2D p: walk.getPath()) {
      double x = p.getX() * scaleFactor;
      double y = p.getY() * scaleFactor;
      poly.getPoints().addAll(x, y);
    }
    getChildren().add(poly);
  }

  public void drawGrid() {
    double width = getSize();
    double height = width;

    // Draw vertical and horizontal grid lines
    for (int i = 0; i <= squares; i++) {
      Line vert = new Line();
      vert.setStartX(i * scaleFactor);
      vert.setStartY(0);
      vert.setEndX(i * scaleFactor);
      vert.setEndY(height);

      Line hori = new Line();
      hori.setStartX(0);
      hori.setStartY(i * scaleFactor);
      hori.setEndX(width);
      hori.setEndY(i * scaleFactor);

      getChildren().addAll(vert, hori);
    }
  }

  public void resetGrid() {
    getChildren().clear();
    drawGrid();
  }

  public double getSize() {
    return squares * scaleFactor;
  }
}

redpajama_set_name: RedPajamaGithub


text:
package org.tensorflow.lite.support.metadata;

import static org.tensorflow.lite.support.metadata.Preconditions.checkArgument;
import static org.tensorflow.lite.support.metadata.Preconditions.checkNotNull;

import java.nio.ByteBuffer;
import java.util.ArrayList;
import java.util.Collections;
import java.util.List;
import org.checkerframework.checker.nullness.qual.Nullable;
import org.tensorflow.lite.schema.Buffer;
import org.tensorflow.lite.schema.Metadata;
import org.tensorflow.lite.schema.Model;
import org.tensorflow.lite.schema.QuantizationParameters;
import org.tensorflow.lite.schema.SubGraph;
import org.tensorflow.lite.schema.Tensor;
import org.tensorflow.lite.schema.TensorType;
import org.tensorflow.lite.support.metadata.MetadataExtractor.QuantizationParams;

/** Extracts model information out of TFLite model FLatBuffer. */
final class ModelInfo {
  /** The model that is loaded from TFLite model FlatBuffer. */
  private final Model model;

  /** A list of input tensors. */
  private final List</* @Nullable */ Tensor> inputTensors;

  /** A list of output tensors. */
  private final List</* @Nullable */ Tensor> outputTensors;

  /** Identifier of the TFLite model metadata in the Metadata array. */
  static final String METADATA_FIELD_NAME = "TFLITE_METADATA";

  /**
   * Creates a {@link ModelInfo} with the model FlatBuffer, {@code buffer}.
   *
   *
Though TFLite model FlatBuffer supports multiple subgraphs, TFLite Interpreter only supports
   * single subgraph so far. See the instruction
   * of how to specify subgraph during convertion for more information. Therefore, all methods
   * in {@link ModelInfo} retrieves metadata of the first subgrpah as default.
   *
   * @param buffer the TFLite model FlatBuffer
   * @throws NullPointerException if {@code buffer} is null
   * @throws IllegalArgumentException if the model does not contain any subgraph, or the model does
   *     not contain the expected identifier
   */
  ModelInfo(ByteBuffer buffer) {
    assertTFLiteModel(buffer);

    model = Model.getRootAsModel(buffer);
    checkArgument(model.subgraphsLength() > 0, "The model does not contain any subgraph.");

    inputTensors = getInputTensors(model);
    outputTensors = getOutputTensors(model);
  }

  /**
   * Gets the input tensor with {@code inputIndex}.
   *
   * @param inputIndex The index of the desired input tensor.
   * @throws IllegalArgumentException if the inputIndex specified is invalid.
   */
  @Nullable
  Tensor getInputTensor(int inputIndex) {
    checkArgument(
        inputIndex >= 0 && inputIndex < inputTensors.size(),
        "The inputIndex specified is invalid.");
    return inputTensors.get(inputIndex);
  }

  int getInputTensorCount() {
    return inputTensors.size();
  }

  /**
   * Gets shape of the input tensor with {@code inputIndex}.
   *
   * @param inputIndex The index of the desired intput tensor.
   */
  int[] getInputTensorShape(int inputIndex) {
    Tensor tensor = getInputTensor(inputIndex);
    return getShape(tensor);
  }

  /**
   * Gets the {@link TensorType} in byte of the input tensor with {@code inputIndex}.
   *
   * @param inputIndex The index of the desired intput tensor.
   */
  byte getInputTensorType(int inputIndex) {
    return getInputTensor(inputIndex).type();
  }

  /** Gets the metadata FlatBuffer from the model FlatBuffer. */
  @Nullable
  ByteBuffer getMetadataBuffer() {
    // Some models may not have metadata, and this is allowed.
    if (model.metadataLength() == 0) {
      return null;
    }

    for (int i = 0; i < model.metadataLength(); i++) {
      Metadata meta = model.metadata(i);
      if (METADATA_FIELD_NAME.equals(meta.name())) {
        long bufferIndex = meta.buffer();
        Buffer metadataBuf = model.buffers((int) bufferIndex);
        return metadataBuf.dataAsByteBuffer();
      }
    }
    return null;
  }

  /**
   * Gets the output tensor with {@code outputIndex}.
   *
   * @param outputIndex The index of the desired outtput tensor.
   * @throws IllegalArgumentException if the outputIndex specified is invalid.
   */
  @Nullable
  Tensor getOutputTensor(int outputIndex) {
    checkArgument(
        outputIndex >= 0 && outputIndex < outputTensors.size(),
        "The outputIndex specified is invalid.");
    return outputTensors.get(outputIndex);
  }

  int getOutputTensorCount() {
    return outputTensors.size();
  }

  /**
   * Gets shape of the output tensor with {@code outputIndex}.
   *
   * @param outputIndex The index of the desired outtput tensor.
   */
  int[] getOutputTensorShape(int outputIndex) {
    Tensor tensor = getOutputTensor(outputIndex);
    return getShape(tensor);
  }

  /**
   * Gets the {@link TensorType} in byte of the output tensor {@code outputIndex}.
   *
   * @param outputIndex The index of the desired outtput tensor.
   */
  byte getOutputTensorType(int outputIndex) {
    return getOutputTensor(outputIndex).type();
  }

  /**
   * Gets the quantization parameters of a tensor.
   *
   *
Only quantized tensors have valid {@code QuantizationParameters}. For tensor that are not
   * quantized, the values of scale and zero_point are both 0.
   *
   * @param tensor The tensor whoes quantization parameters is desired.
   * @throws NullPointerException if the tensor is null.
   * @throws IllegalArgumentException if {@code scale} and {@code zeroPoint} of the tensor's {@link
   *     QuantizationParameters} are not single values.
   */
  QuantizationParams getQuantizationParams(Tensor tensor) {
    checkNotNull(tensor, "Tensor cannot be null.");

    float scale;
    int zeroPoint;
    QuantizationParameters quantization = tensor.quantization();

    // Tensors that are not quantized do not have quantization parameters, which can be null when
    // being extracted from the flatbuffer.
    if (quantization == null) {
      scale = 0.0f;
      zeroPoint = 0;
      return new QuantizationParams(scale, zeroPoint);
    }

    // Tensors that are not quantized do not have quantization parameters.
    // quantization.scaleLength() and quantization.zeroPointLength() may both return 0.
    checkArgument(
        quantization.scaleLength() <= 1,
        "Input and output tensors do not support per-channel quantization.");
    checkArgument(
        quantization.zeroPointLength() <= 1,
        "Input and output tensors do not support per-channel quantization.");

    // For tensors that are not quantized, quantization.scale(0) and quantization.zeroPoint(0) will
    // both be the default value in flatbuffer, 0. This behavior is consistent with the TFlite C++
    // runtime.
    scale = quantization.scale(0);
    // zeroPoint is a long value in the schema, but an integer in the C++ runtime. Here we keep it
    // consistent with the C++ runtime.
    zeroPoint = (int) quantization.zeroPoint(0);

    return new QuantizationParams(scale, zeroPoint);
  }

  /**
   * Verifies if the buffer is a valid TFLite model.
   *
   * @param buffer the TFLite model flatbuffer
   * @throws NullPointerException if {@code buffer} is null.
   * @throws IllegalArgumentException if {@code buffer} does not contain the expected identifier
   */
  private static void assertTFLiteModel(ByteBuffer buffer) {
    checkNotNull(buffer, "Model flatbuffer cannot be null.");
    checkArgument(
        Model.ModelBufferHasIdentifier(buffer),
        "The identifier of the model is invalid. The buffer may not be a valid TFLite model"
            + " flatbuffer.");
  }

  /**
   * Gets the shape of a tensor.
   *
   * @param tensor The tensor whoes shape is desired.
   * @throws NullPointerException if the tensor is null.
   */
  private static int[] getShape(Tensor tensor) {
    checkNotNull(tensor, "Tensor cannot be null.");
    int shapeDim = tensor.shapeLength();
    int[] tensorShape = new int[shapeDim];
    for (int i = 0; i < shapeDim; i++) {
      tensorShape[i] = tensor.shape(i);
    }
    return tensorShape;
  }

  /** Gets input tensors from a model. */
  private static List<Tensor> getInputTensors(Model model) {
    // TFLite only support one subgraph currently.
    SubGraph subgraph = model.subgraphs(0);
    int tensorNum = subgraph.inputsLength();
    ArrayList<Tensor> inputTensors = new ArrayList<>(tensorNum);
    for (int i = 0; i < tensorNum; i++) {
      inputTensors.add(subgraph.tensors(subgraph.inputs(i)));
    }
    return Collections.unmodifiableList(inputTensors);
  }

  /** Gets output tensors from a model. */
  private static List<Tensor> getOutputTensors(Model model) {
    // TFLite only support one subgraph currently.
    SubGraph subgraph = model.subgraphs(0);
    int tensorNum = subgraph.outputsLength();
    ArrayList<Tensor> outputTensors = new ArrayList<>(tensorNum);
    for (int i = 0; i < tensorNum; i++) {
      outputTensors.add(subgraph.tensors(subgraph.outputs(i)));
    }
    return Collections.unmodifiableList(outputTensors);
  }
}


Kremlin-tied lawyer Natalia Veselnitskaya has now testified in a two-and-a-half hour long interview in Moscow, adding new details into her now infamous July 2016 meeting with Donald Trump Jr. at the Trump Tower in New York City. Veselnitskaya now claims that the president's eldest son offered to overturn the Magnitsky Act — a U.S. law named for Sergei Magnitsky, a tax accountant who died in a Moscow prison after uncovering a massive Russian tax fraud — in exchange for evidence of illegal proceeds going to Hillary Clinton's campaign. The law punishes Russian officials by prohibiting entrance into the United States as well as access to the U.S. banking system.
Veselnitskaya says that she's willing to testify before Special Counsel Robert Mueller as to the details of her meeting with Trump Jr., which adds a whole extra layer to his "I love it" emails.
Veselnitskaya also said Trump Jr. requested financial documents showing that money that allegedly evaded U.S. taxes had gone to Clinton's campaign. She didn't have any and described the 20-minute meeting as a failure.
The new allegations are notable in that this is the first time Veselnitskaya has provided on-the-record details about her meeting at the Trump Tower. A lawyer for Trump Jr. is saying his client has no comment in regards to her interview.


text:
HMS Carnation
Four ships of the Royal Navy have borne the name HMS Carnation.
HMS Carnation was a Cruizer-class brig-sloop launched in 1807, but captured by the French in 1808, and burnt by the British in 1809.
HMS Carnation was another Cruizer-class brig-sloop, launched in 1813, and sunk as a target in 1867.
HMS Carnation was a Azalea-class sloop, launched in 1915, and sold for breaking up in 1922.
HMS Carnation was a Flower-class corvette, launched in 1940, which served in the Royal Netherlands Navy as Friso from 1943–45, and later as a merchant ship.
HMS Carnation Wikipedia
HMS Carnation (1807)
The Sisterhood of Night
The Bride (1973 film)


April 10, 2019 (Washington, DC) – Compelling images of threatened species – from eagles to bees – will appear nationwide on donated out of home (OOH) ad space to support Earth Day.
The OOH campaign begins April 10, as part of the build-up to Earth Day on April 22. The #ProtectOurSpecies call to action will be displayed on digital billboards and bus shelters, featuring the earthday.org website.
Digital OOH displays across the US will feature vivid photos of important species, including the bee, coral, giraffe, eagle, polar bear, buffalo, sea turtle, and elephant. The advertising space is donated via a new partnership between the Earth Day Network and the Out of Home Advertising Association of America (OAAA).
Earth Day Network is encouraging audiences to share where they are spotting these public service ads– Snap and share photos on social media with the hashtag #ProtectOurSpecies.
OAAA members often volunteer creative services for national OOH public service campaigns. OUTFRONT Studios assisted in the design of the Protect Our Species OOH campaign.
Click here for Earth Day Network creative that will be shown on OOH formats.
Earth Day Network's mission is to diversify, educate, and activate the environmental movement worldwide. Growing out of the first Earth Day (1970), Earth Day Network is the world's largest recruiter to the environmental movement, working with more than 50,000 partners in nearly 192 countries to build environmental democracy. More than 1 billion people now participate in Earth Day activities each year, making it the largest civic observance in the world.
The Out of Home Advertising Association of America (OAAA) is the national trade association for the $8 billion US out of home advertising (OOH) industry, which includes digital out of home (DOOH), and is comprised of billboards, street furniture, transit advertising, and place-based media.
Comprised of 800+ member media companies, advertisers, agencies, ad-tech providers, and suppliers that represent over 90 percent of the industry. OAAA is a unified voice, an authoritative thought leader, and a passionate advocate that protects, unites, and advances OOH advertising in the United States.
OAAA-member media companies donate over $500 million in public service advertising annually. Every year, the industry celebrates and rewards OOH creativity via its renowned OBIE Awards (obieawards.org). For more information, please visit oaaa.org.


text:
Hyboscarta teres är en insektsart som beskrevs av Jacobi 1908. Hyboscarta teres ingår i släktet Hyboscarta och familjen spottstritar. Inga underarter finns listade i Catalogue of Life.

Källor

Spottstritar
teres

redpajama_set_name: RedPajamaWikipedia


text:
Stephanie R. Wilson, MD, to be presented with the Joseph H. Holmes Clinical Pioneer Award
...Stephanie R. Wilson MD will be honored with the Joseph H. Holmes Cli...Dr Wilson is an exceptional educator who has received dozens of presti...A prolific author Dr Wilson is coeditor of the 2-volume reference boo...Dr Wilson has served as an active memb...
Stephanie R. Wilson, MD, will be honored with the Joseph H. Holmes Clinical Pioneer Award during the 2012 AIUM Annual Convention at the JW Marriott Desert Ridge Resort and Spa in Phoenix, Arizona, on March 30, 2012. The Joseph H. Holmes Pioneer Award honors individuals who have significantly contributed to the growth and development of diagnostic ultrasound.
Dr Wilson is an exceptional educator who has received dozens of prestigious teaching awards, including the Colin R. Woolf Award for Excellence in Continuing Education Teaching (1992) and the Wightman-Berris Academy Award for Individual Teaching Excellence (2005). From 1991, she received the annual "best teacher" award as voted by resident/fellow/student faculty in the University of Toronto's medical imaging department and has been invited to lecture nearly 400 times in the United States and Canada. To date, Dr Wilson has completed 47 visiting professorships on 4 different continents.
A prolific author, Dr Wilson is coeditor of the 2-volume reference book Diagnostic Ultrasound, which is now in its third printing and has served as a worldwide reference book for ultrasound professionals for 2 decades. In addition to her research and educational activities, Dr Wilson's passion for ultrasound has kept her committed to various imaging associations, and in 1993 she was named the first female president of the Canadian Association of Radiologists (CAR) and was later awarded the CAR Gold Medal in 2001 for her contributions to Canadian radiology. She has been a member of the Contrast Ultrasound Task Force and Editorial Board of the Journal of Ultrasound in Medicine for the AIUM. She is the chair of the Ultrasound Refresher Course for the Radiological Society of North America, chair of the Advisory Board for Ultrasound Training for the Toronto Institute of Medical Technology, and president-elect of the International Contrast Ultrasound Society.
Dr Wilson has served as an active member of numerous committees for many medical professional societies, demonstrating her zeal for diagnostic ultrasound through research, education, and volunteering efforts. Her illustrious career and endless endeavors pay tribute to the reason the Joseph H. Holmes Clinical Pioneer Award was created.
Contact: Danielle Tyler
dtyler@aium.org
American Institute of Ultrasound in Medicine
1. Connor Sport Court Lays the Ground for NBA All-Star Jam Session Presented by Adidas
2. Digital Signatures Presented at Electronic Document Management Conference
3. Compex , Leaders in Electronic Muscle Stimulators, Sponsors the Jelly Belly Cycling Team Presented by Kenda
4. Game Ready(R) Presented with Frost & Sullivan 2010 Product Differentiation Excellence Award
5. New Data from Caldolor(R) Study in Burn Patients to be Presented at 42nd Annual Meeting of The American Burn Association
6. Nine Healthcare Companies Named Finalists for Innovations in HealthcareSM ABBY Awards, to be Presented April 28th
7. Zimmer Receives Recognition for Health Economics Data Presented at 77th Annual American Academy of Orthopaedic Surgeons Meeting
8. BioSphere Medical's HepaSphere Microspheres Safely Deliver Doxorubicin in Liver Cancer Chemoembolization Therapy -- Study Presented at SIR
9. The Arnold Palmer Invitational Presented by MasterCard Expands Relationship with MasterCard to Offer Exclusive Prepaid Business Gift Cards
10. Seat Belt Champion Award Presented to Florida Legislators
11. OTC Perspectives Announces 2010 Ad Awards Finalists Presented by HealthCentral


This hike, which is almost 12 kilometre in length and of intermediate difficulty, takes around 4.5 hours to complete and sees hikers climb roughly 600 vertical metres up to an altitude of 1,526 metres above sea level. It is popular among nature lovers and flower enthusiasts but also offers great views of the Kitzbühel Alps. There are a number of huts en route serving good local food.
The Gratlspitz mountain is famous throughout Tirol and beyond for its exceptional flora. Hikers can look forward to seeing several different species of lily and orchid native to the Alps, including Turk's cap lily and and lady's slipper.
Until the middle of the 19th century the Gratlspitz mountain was used to mine copper and silver. Today, all that remains of this major mining centre is the entrance to the underground tunnel system at the Kaiserbrünnl, where there are still a number of colourful stones to be found.
The majestic views and rich flora make the Gratlspitz an ideal place to experience the diversity of alpine terrain. Walkers and hikers will enjoy views of the Hauserjoch mountain as well as into the Alpbachtal Valley and the Inn Valley.
The trail takes hikers from the centre of Alpbach first in a northeasterly direction. At the Bögllift, follow the trail to the small settlement of Thierberg. Here, follow the "Lärchenweg" trail leading towards the Hösljoch ridge (1,385m). From there the hike continues via the Höslkapelle to the Holzalm hut (1,425m), the Hauseralm hut (1,385m), the Hauserjoch ridge (1,505) and the Bischoferalm hut (1,334m). The Berggasthof Holzalm and the Jausenstation Bischoferalm both serve food. To return back to Alpbach, hikers can descend either via Bischofen/Roßalm or the Hausberg.


text:
Knicks notes: Coach sees ways Kristaps Porzingis can better his game
At only 20 years old, Kristaps Porzingis has shown flashes of brilliance and inserted himself into the conversation for rookie of the year. But Porzingis says he has plenty of room for improvement – especially in the post.
"If you look one year back, I had barely any post game at all," Porzingis said. "So that's something I still need to work on a lot and I have a great guy to learn from on our team: It's 'Melo."
Porzingis said he's picked Carmelo Anthony's brain repeatedly during the season.
"He's always there for me to be able to learn from him," Porzingis said. "So that's something I'm going to be working on and I'm happy to have him as somebody to learn from. … Whenever I ask him something, he obviously helps me and, you know, just sometimes I pull up a beauty on Instagram."
Even after Friday night's game, Porzingis asked Anthony how he got free for a ferocious first-quarter dunk in which he beat Orlando's Aaron Gordon to the rim.
"I showed him the one that he dunked and he told me what, how, why he went in that moment," Porzingis said of Anthony. "And why he was able to get that dunk. So those little things you can learn a lot from him, seeing how much experience he has."
On Grant
Rookie Jerian Grant has had a difficult time getting in the rotation in recent games. He got minutes in Friday's game against the Magic, contributing five points and three assists in 16:12, but it was only his third game in the Knicks' past six.
But Rambis said that's more about "matchups" and "feel" for the flow of the game than anything else. "We're all excited about Jerian," Rambis said. "We think he does a terrific job in practice for us. … None of us in the organization are discouraged by anything that Jerian's done."
Rambis said the Knicks have considered getting Grant some playing time in the D-League, but it hasn't worked out because of scheduling.
— Andy Vasquez


text:
Q: Function String Caml light I need a function that take a string and a char , it slides the string and if it found the char return TRUE else FALSE.
This is my start point:
let rec check s a = match s with
    "" -> false
    | x::xs -> if x = a then true else check xs a ;;

I can't use the library function of caml light (like index_char)
Thanks for help!

A: I will leave the explanation of how it works to you, this is my solution:
strobel@suse131:~> rlwrap camllight
>       Caml Light version 0.75
let findchar c s =
 let len = string_length s in
 let rec f1 i s =
   if i = len then false
   else if s.[i]=c then true else f1 (succ i) s in
     f1 0 s
;;
findchar : char -> string -> bool = <fun>
#let s = "this is the searched string";;
s : string = "this is the searched string"
#findchar `a` s;;
- : bool = true
#findchar `y` s;;
- : bool = false

Additional exercises:

*

*could we leave out parameter s in the f1 definition?

*how do we call the usage / occurence of len in the body of f1?