text:
The "4-10" Schedule is "10-4"
By P. Kenneth Burns • Jan 10, 2015
Police Commissioner Anthony Batts explaining how the new schedule for patrol officers work.
Credit P. Kenneth Burns / WYPR
Baltimore City officials say they're starting a new crime fighting strategy Sunday that will reduce overtime and make patrol officers happy: a new schedule.
Commissioner Anthony Batts along with Mayor Stephanie Rawlings-Blake announced Friday that patrol officers will begin working 10-hour shifts four days a week, with three days off. Typically, officers have worked five day, eight hour shifts. Batts called that schedule "stagnant."
"We had three shifts; same amount of officers; no science behind it," he said.
Batts says the new schedule will allow commanders to send officers to where they are needed the most based on service calls and overlap some schedules when necessary, making more officers available.
"As you can imagine, we're a little busier on Friday nights in July than we are on Tuesday nights in January," he said.
Under the old system, the city was required to pay overtime to put more officers on duty when they were needed. While testing the new schedule in November and December, police saw a 21 percent drop in overtime costs.
The commissioner also said that the new schedule allows sergeants, lieutenants and captains to get to know the neighborhoods and their residents better.
Gene Ryan, president of Baltimore City Fraternal Order of Police Lodge No. 3, said the new schedule will help improve the city and boost morale, allowing officers to spend more time with their families.
"Everybody knows a happy cop is a productive cop," Ryan said, "and statistics have shown that law enforcement officers [that] have increased time with their families, [have] higher morale."
Police Reform Not Quite There Yet
By P. Kenneth Burns • Dec 8, 2014
Baltimore Police Commissioner Anthony Batts announced Monday his department has implemented more than half of the recommendations of a consultant's report since it was completed a year ago. But he didn't take a victory lap.


text:
Insight: [UNIT] a new collective bringing immersive AV experiences
[UNIT] is a new collective of artists working to create immersive audio/visual music and video performances and installations. At the moment comprised by Bill Vine, Anthony Bailey and Henry Driver these artists and musicians are creating a large scale sound and image performance and installation work that draws together acoustic and electronic musical instruments, live video generation and processing and live audio processing. A project starting a few years back (sellout debut performances were held at St.Mary's Works, Norwich, in September 2016 and Colchester arts centre in 2017), seems UNIT are harvesting a deserved attention. In January 2019 [UNIT] undertook a week-long residency at Norwich Arts Centre, culminating in an exhibition/installation and six live performances.
We had a chat with Bill Vine so he could explain us a bit more what are the aims behind the project and where they want to take the project into, as they already have been commissioned by Norwich Arts Centre to create a new version in October to celebrate the 50th anniversary year of the moon landing.
What is the intellectual process behind the project?
We've approached [UNIT] from the perspective of wanting to create work that brings the audience much more into not just the performance process, but also the compositional process, so that their presence affects the material we are playing and how we are playing it. In a sense we hope to make something with elements of democratic procedure; when we perform I feel like we have a responsibility to the audience almost to ask them, without doing so directly through words, is this the direction you want us to take? Should we move to the next section? That sort of thing. So we have to be very mindful not just of each other, but of the audience as well. We create a space that encompasses audiences and places us as performers at the centre so that they can move around the space if they want to, but do not feel pressured into this activity. The 3D audio and video elements are created in such a way as to create dialogue and conversation between the two, rather than have the one reacting to the other or vice versa. I come very much from a background of creating intermedia work that inherently contains elements of chance and of risk, not knowing exactly how a performance will unfold, and through the processes described [UNIT] adheres to this approach as well.
What reaction do you expect from the audience who interact with the pieces and what makes the set up particularly special?
We hope that audiences will feel involved with the performance and come away not just feeling like they've been to a great gig, but also that they've helped to make that gig great in a very direct way. We think that the setup is special because it necessarily responds to the space that we've installed it in and it's tuned and adapted to that space. So the characteristics of whatever building we're in, become a part of the sound and feeling of the thing. I've always been attracted to immersive art and performance and the way in which it makes you feel very much at the centre of what is going on, and much more able to feel the art, so hopefully audiences of [UNIT] will have an experience like this that they can come away from having been transported to somewhere very much away from the outside world.
After the Phase I experience, what are the challenges for Phase II?
The challenges for Phase II of the project are to find a broader variety of spaces to set up and perform in, and to add different artists into the mix and to see where that takes us. We're really lucky to have been able to work with the visual artist Dan Tombs on Phase I, and this time around we're also bringing in another amazing visual artist, Henry Driver, to see what results will emerge from changing this element. We're also planning on augmenting some performances with additional musicians and it would be really interesting to try to get Henry and Dan to work simultaneously on the visual element at some point. It's a huge undertaking to set up a performance due to the scale of it (each of the seven projection screens is 3.5m X 2.5m) so finding spaces that are big enough is a challenge before we even think about anything else! Having said that, we've found we can work around the architecture of a building to achieve some really beautiful results, such as incorporating the pillars of medieval churches into the performance space and squeezing the layout of the screens into different shapes and configurations to work with where we are. We always wanted it to be reconfigurable and we're finding out through necessity that it is!
Text by CLOT Magazine (Twitter @clotmagazine)
Website: www.unitunit.org/
Tags: Artech, Collective, Immersive, Performance
Computing Art, Digital Culture, News | 13 Jan, 2021
Insight: Lumen Prize 2020, welcome to the metaverse
Digital Culture, News | 12 Jan, 2021
Conference: Multimedia Encounters, experimental Approaches to Ethnographic Research by UCL MAL
Design, Digital Culture, News | 17 Dec, 2020
Insight: Inside flora&faunavisions' Magenta Moon Campus
Contributors, Op & Ed, Sound | 28 Nov, 2020
'Theophany' by Disinformation – the world's shortest sound installation – time, space, audio convolution and museology discussed by Joe Banks
News, Robotics & Kinetics | 24 Nov, 2020
Exhibition: 'Reality Errors' at Nam June Paik Art Center
Architectures, Design, Interviews | 23 Nov, 2020
ROBOCOOP, a provocative and reflexive approach to design
Design, Interviews | 20 Nov, 2020
MONIRA AL QADIRI, iridising the tragedy of Petroculture
Computing Art, Digital Culture, News | 15 Nov, 2020
Insight: 'EXERCISE IN HOPELESS NOSTALGIA' and the virtual space KÖNIG DIGITAL

redpajama_set_name: RedPajamaCommonCrawl


text:
WIKIMEDIA COMMONS - Diliff
Agreement Signed Between Holy See and Burkina Faso
'The two Parties, although safeguarding the independence and autonomy that are their own, are committed to collaborate for the moral, spiritual and material wellbeing of the human person and for the promotion of the common good'
July 12, 2019 17:14Deborah Castellano LubovVatican Dicasteries/Diplomacy
An agreement has been signed between the Holy See and Burkina Faso.
The ceremony of the signing of the agreement on the juridical statute of the Catholic Church in the State of Burkina Faso was held in the Hall of Treaties of the Apostolic Vatican Palace today, July 12, 2019.
Archbishop Paul Richard Gallagher, Vatican Secretary for Relations with States, signed for the Holy See, and for Burkina Faso H.E. Mr Alpha Barry, Minister of Foreign Affairs and of Cooperation.
Present at the solemn ceremony, for the Holy See were Cardinal Philippe Ouedraogo Metropolitan Archbishop of Ouagadougou; Monsignor Laurent Dabire, Bishop of Dori and President of the Conference of Bishops of Burkina Faso and of Niger; Monsignor Robert Murphy, Counsellor of the Nunciature at the Secretariat of State; Monsignor Joseph Puthenpurayil, Secretary of the Nunciature at the Secretariat of State; Monsignor Kisito Ouedraogo, Official at the Secretariat of State; Dr Barthelemy Kere, Lawyer and lay exponent of the Catholic Church in Burkina Faso.
Present for the side of Burkina Faso was Mr Robert Compaore, Ambassador of Burkina Faso to the Holy See; Mr Der Boniface Kogda, Technical Adviser of the Minister; Mr Edouarsd Ouedraogo, Counsellor of the Burkinabe Embassy to the Holy See; Mrs Lassina Bitie and Mr N. Moussa Sawadogo, Attaches at the Ministry of Foreign Affairs.
According to a statement from the Holy See Press Office, the Agreement, written in French and made up of a preamble, 19 articles and one additional protocol, "guarantees to the Church the possibility of carrying out her mission in Burkina Faso."
"Recognized, in particular," it mentioned, is the public juridical personality of the Church and of her Institutions. The two Parties, although safeguarding the independence and autonomy that are their own, are committed to collaborate for the moral, spiritual and material wellbeing of the human person and for the promotion of the common good."
The Agreement will come into force with the exchange of the Instruments of Ratification.
[Original text: Italian] [ZENIT's translation by Virginia M. Forrester]
July 12, 2019 17:14Vatican Dicasteries/Diplomacy
About Deborah Castellano Lubov
Deborah Castellano Lubov is a Senior Vatican & Rome Correspondent for ZENIT; author of 'The Other Francis' ('L'Altro Francesco') featuring interviews with those closest to the Pope and preface by Vatican Secretary of State Cardinal Parolin (currently published in 5 languages); Deborah is also NBC & MSNBC Vatican Analyst. She often covers the Pope's travels abroad, at times from the papal flight, and has done television and radio commentary, including for Vatican Radio and BBC. She is a contributor to National Catholic Register, UK Catholic Herald, Our Sunday Visitor, Inside the Vatican, and other Catholic news outlets. She has also collaborated with the Vatican in various projects, including an internship at the Pontifical Council for Social Communications, and is a collaborator with NBC Universal, NBC News, Euronews, and EWTN. For 'The Other Francis': http://www.gracewing.co.uk/page219.html or https://www.amazon.com/Other-Francis-Everything-They-about/dp/0852449348/
Archbishop of Damascus Elected
Attack on Syrian-Orthodox Church in Qamishli, Syria


I was searching for a Property and found this listing (MLS® #H4042282). Please send me more information regarding 38 Legacy Lane, Ancaster, Ontario, L9G0G2. Thank you!
I'd like to request a showing of 38 Legacy Lane, Ancaster, Ontario, L9G0G2 (MLS® #H4042282). Thank you!


Congratulations on being re-elected for two consecutive terms in this Upper House election!
Hoping he will keep moving forward with educational reform with his strong belief and actions from now on.
Let me again introduce "his advice to all of the students in LL Shihoya Arai School" which was uploaded a couple of days ago.
Mr. Kazama has been embodying his dream, which is almost as same as my policy, "Yoshy wants you to find your dream through learning practical English!" Yoshy is really proud of his political activities, which is indeed shining example for Yoshy's students of LL Shihoya Arai School.
Yoshy hopes you will give your guts to my LL students whenever you come home.
The following some extracts from all of his advice.
Hi, everyone of LL Shihoya Arai School!
I was also learning practical English very hard like you in LL Shihoya Arai School when I was elementary school students. Since I was so mischievous that I was often scolded by Yoshy; I remember.
This time, I'll give you some hints for making your commands of English conversation improve. I hope this helps.
Your dream will sure come true. I am always encouraging your learning English.


What a gorgeous fragrance. The initial burst of citrus is so sharp and zingy that it genuinely boosts my mood. And by the number of compliments I've had whilst wearing this perfume it seems to be having the same effect on others. You're best perfume to date, thank you.
What a beautiful fragrance! Lovely bottle and I have never had so many compliments before now. A wonderful citrus to add to my Jo Loves collection.


text:
The Veterans Association of Ghana is an association of former servicemen and women of the Gold Coast Regiment and the Ghana Armed Forces.

It started originally as the Gold Coast Legion was formed in 1944 as a branch of what was then known as the British Empire Services League. It is now the Royal Commonwealth Ex-Services League. The first patron of the association was the Governor Sir Alan Burns. It became the Ghana Legion on the Gold Coast attaining its independence from the United Kingdom.

The legal basis of the association is currently bound by a 1974 decree of the National Redemption Council, the NRCD 285. There are currently proposals for its overhaul but these are still in the discussion stages.
Nonetheless, VAG formerly known as Veterans Association of Ghana is now Veterans Administration of Ghana

External source
VAG on Ghana Military website

Veterans' organizations
Organizations established in 1944
Non-profit organisations based in Ghana
1944 establishments in Africa

redpajama_set_name: RedPajamaWikipedia


text:
Q: Como agregar campos a formulario Registrarse en web odoo 12? La vista que quiero modificar esta en:
odoo/addons/auth_signup/views/auth_signup_login_templates.xml

Necesito modificar el template donde aparecen los div de correo, nombre, contraseña. Seria el siguiente que esta ubicado en la dirección antes mencionada:
<template id="auth_signup.fields" name="Auth Signup/ResetPassword form fields">

                Your Name
                <input type="text" name="name" t-att-value="name" id="name" class="form-control form-control-sm" placeholder="e.g. John Doe"
                    required="required" t-att-readonly="'readonly' if only_passwords else None"
                    t-att-autofocus="'autofocus' if login and not only_passwords else None" />

</template>

Quiero agregar otro Div, para meter otra información con un archivo xml en mi propio modulo , lo estoy haciendo asi:
<?xml version="1.0" encoding="utf-8"?>
<odoo>
    <template id="sign" inherit_id="auth_signup.fields" name="sign Inherit">
        <xpath expr="//div[class='form-group field-name']" position="after">

este es un nuevo campo

        </xpath>
    </template>
</odoo>

La terminal me esta arrojando el error de que no lo encuentra en el padre:
El elemento '<xpath expr="//div[class='form-group field-name']">' no puede ser localizado en la vista padre

Si me ayudan que error estoy cometiendo , Gracias de antemano.

A: cambie esta linea de busqueda en el xpath y funciono correctamente
<xpath expr="//div[4]" position="after">

redpajama_set_name: RedPajamaStackExchange


text:
Grindhouse Theology
[Chris] I See Through a Mirror Dimly, A Screen Darkly: Or, A Brief Reflection on Technology
"There was a child went forth every day, And the first object he look'd upon, that object he became." – Walt Whitman
"We come to see ourselves differently as we catch sight of our images in the mirror of the machine." These opening words to Sherry Turkle's 1995 book Life on the Screen highlight a feature of our technological age which is all too common, yet one we seemingly do not have concentrated attention to: the formative power of technology. Between digital spaces like social media and our many digital devices, such as smartphones and iPads, our disposition to these technological artifacts is one of consumption and not critical reflection. As such, one hardly considers the ways these artifacts and spaces of the digital world have formative power over us, even if we are not conscious of it.
Over the last few months, I have attempted to reflect on the relationship things like social media and our smartphones to being human and how it may be affecting our lives. While this is no Luddite manifesto to rid all technology from our lives, it is an invitation to consider how we might have a healthier relationship to it in our lives.
Horror cinema is not foreign to explore this concept either. The film which immediately comes to mind when reflecting on how technology affects us in David Cronenberg's 1983 classic Videodrome. In the film, James Woods plays Max Renn, a seedy cable TV programmer who is looking for some new programming for his current station's lineup. Max ends up being introduced to a television show called Videodrome, which features images of torture and murder. Being the sort of individual that he is, Max sees this as the opportunity he is looking for and begins unlicensed streaming of this show through his network. However, Max begins having hallucinations. As he becomes further obsessed – and sexually aroused – by the violent imagery of Videodrome, he also seeks to understand its origins, which he discovers is run by a political movement seeking to have television replace every aspect of humanity's daily life. In one of the more memorable practical effects of the film, Max has yet another extreme hallucination (caused by watching Videodrome) in which his stomach turns into a mouth-shaped, VHS player-like hole. In his journey to defeat Videodrome, Max must end himself, uttering the film's final words, "Long live the new flesh."
This social satire from over 30 years ago is still a timely exploration on the ways technology affects not just society, but the human person. Videodrome, as well as Cronenberg's 1999 film eXistenZ, portrays a world in which humanity and technology have an increasingly interconnected relationship. These films, along with countless other sci-fi and horror classics, have given pause to such patterns of behavior and warned that we must not assume technology is neutral or that it is not in some unconscious way formative. Again, this is not an attempt to be a prophet of doom or a Luddite, but being mindless towards our relationship to technology is unwise. We are formed by the digital apps we spend hours with each day, changing how our brains respond to the next bit of stimuli. For example, the first president of Facebook, Sean Parker, once expressed concerns over how social media was affecting society. He said,
"We need to sort of give you a little dopamine hit every once in a while, because someone liked or commented on a photo or a post or whatever…It's a social-validation feedback loop…exactly the kind of thing that a hacker like myself would come up with, because you're exploiting a vulnerability in human psychology…The inventors, creators – it's me, it's Mark [Zuckerberg], it's Kevin Systrom on Instagram, it's all these people – understood this consciously. And we did it anyway…it literally changes your relationship to society, with each other…It probably interferes with productivity in weird ways. God only knows what it's doing to our children's brains."
Sherry Turkle, the MIT professor whose aforementioned book Life on the Screen recognized some of the pitfalls here even back in the '90s. In it, she writes,
"The computer [and here we could also add social media and smartphones] offers us both new models of mind and a new medium on which to project our ideas and fantasies…We are learning to live in virtual worlds…Computers don't just do things for us, they do things to us, including to our ways of thinking about ourselves and other people…People explicitly turn to computers for experiences that they hope will change their ways of thinking or will affect their social and emotional lives."
If "nearly 80 percent of Americans check their phones within a half-hour of waking up" and "spend more than 4 hours a day on their phones" as well as "check their phones about 47 times per day" (unless you're 18-24, in which the number goes up to an average of 82 times a day), it would seem that perhaps films like Videodrome can remind us to take inventory of our time spent online, on our phones, away from face-to-face interactions with real people. With so much brokenness in the world, maybe one of the small steps in the right direction is to put the phone away (heck, maybe even take a Digital Sabbath) and get to know a new friend over a nice cup of coffee. If "keeping up with the Joneses" is making us more anxious, angry, and depressed, maybe we close Facebook and Instagram from our browser tabs and finish that long TBR stack by our bed.
Maybe you'll finish reading that new novel you bought after all.
Published by Chris Crane
Chris is a freelance writer, bookworm, and film nerd. He spends most of his time as a grad student, studying theology, church history, and the arts. In his free time, he enjoys spending time at his favorite local coffee shops, drinking whiskey, and reading a good book. He rotates between five or six different streaming services and regularly watches films (especially horror films). His current research interests include theology and film, theological method and hermeneutics, emotional health, and Christian spirituality. He is also an avid listener of hip-hop. His current library consists of around 1,000 books and 200 films. You can follow him on Twitter (@chriscrane1987) and Letterboxd (cmcrane87).	View all posts by Chris Crane
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With summer almost here in Australia, it's that time of year that everyone starts thinking more about their health [well, let's be honest, thinking more about looking like a babe in their swimmers and short skirts].
To get some expert advice on how to reach those summer goals and start off the New Year a little healthier, NutriBullet recently reached out to their favourite health and fitness influencers to get some insider tips and tricks. And lucky us, they've shared all their insights.
Main image: Melinda Wood | Visit www.originalnutribullet.com.au for more information on the NutriBullet.
Check out below for how these four Australian influencers are staying healthy this summer [and we do have to say, we're a little disappointed that there's no mention of Aperol Spritz. Surely that's a healthy beverage?