text:
Q: Use different Spring test context configuration for different test methods We have a Spring based JUnit test class which is utilizing an inner test context configuration class
@RunWith(SpringJUnit4ClassRunner.class)
@ContextConfiguration(classes = ServiceTest.Config.class)
public class ServiceTest {

    @Test
    public void someTest() {
    ...

    @Configuration
    @PropertySource(value = { "classpath:application.properties" })
    @ComponentScan({ "..." })
    public static class Config {
    ...

New functionalities have been recently introduced to the Service class, for which the concerned tests should be added to ServiceTest. However these would also require a different test context configuration class to be created (the internals of the existing Config class are fairly complex and change it to serve both old and new tests seems to be be extremely difficult if possible at all)
Is there a way to achieve that certain test methods in one test class would use one config class and other methods would use another? @ContextConfiguration seems to be applicable only on class level, so solution could be to create another test class for the new tests which would utilize its own context configuration class; but it would mean that the same Service class is being covered via two different test classes

A: I use these approaches when I'm have to solve this:

*

*Manually build the context in a setup method instead of using annotations.

*Move the common test code to a base class and extend it. That allows me to run the tests with different spring contexts.

*A mix of the two above. The base class then contains methods to build spring contexts from fragments (which the extensions can override). That also allows me to override test cases which don't make sense or do extra pre/post work in some tests.

Keep in mind that annotations only solve generic cases. You'll have to replicate some or all of their work when you leave the common ground.

A: With Aaron's suggestion of manually building the context I couldn't find any good examples so after spending some time getting it working I thought I'd post a simple version of the code I used in case it helps anyone else:
class MyTest {

    @Autowired
    private SomeService service;
    @Autowired
    private ConfigurableApplicationContext applicationContext;

    public void init(Class<?> testClass) throws Exception {
        TestContextManager testContextManager = new TestContextManager(testClass);
        testContextManager.prepareTestInstance(this);
    }

    @After
    public void tearDown() throws Exception {
        applicationContext.close();
    }

    @Test
    public void test1() throws Exception {
        init(ConfigATest.class);
        service.doSomething();
        // assert something
    }

    @Test
    public void test2() throws Exception {
        init(ConfigBTest.class);
        service.doSomething();
        // assert something
    }

    @ContextConfiguration(classes = {
        ConfigATest.ConfigA.class
    })
    static class ConfigATest {
        static class ConfigA {
            @Bean
            public SomeService someService() {
                return new SomeService(new A());
            }
        }
    }

    @ContextConfiguration(classes = {
        ConfigBTest.ConfigB.class
    })
    static class ConfigBTest {
        static class ConfigB {
            @Bean
            public SomeService someService() {
                return new SomeService(new B());
            }
        }

    }
}

redpajama_set_name: RedPajamaStackExchange


text:
In The News: Gonorrhea grows resistant to common drug treatment
According to the U.S Center for Disease Control over 700,000 cases of Gonorrhea are estimated to occur within the United States. Sexually transmitted diseases are a scary thing to think about and for many, taboo. There are some STDs that are incurable like HPV and genital herpes, but Gonorrhea is one of the STDs that are both successfully treatable and curable. Well, at least up until yesterday – kind of. Don't panic, let me explain. As of yesterday anyone coming in contact with the std was most likely prescribed an oral antibiotic cefixime (widely known by its brand name: Supra) as a first line of defense. The CDC is no longer recommending that as a form of treatment against Gonorrhea.
Yesterday the U.S Center for Disease Control revised its guidelines for Gonorrhea after lab tests show that the disease was growing a bacterial resistance to cefixime. As of right now the last effective treatment would be the injectible generic antibiotic ceftriaxone, used in combination with another antibiotic – azithromycin or doxycycline.
The interesting part about this whole thing is that the change in the treatment guideline was done in order to preserve the last effective treatment option of using ceftriaxone with another oral antibiotic that is not cefixime. If the disease continues to grow a stronger resistance to cefixime and it's used anyways then in some way it could learn how to become resistant to ceftriaxone as well.
Read what Dr.Gail Bolan, director of the CDC's STD Prevention division had to say about it:
"The change in antibiotic treatment guidelines we are making today is a critical pre-emptive strike to preserve the last effective treatment option," said Dr. Gail Bolan, director of the CDC's Sexually Transmitted Disease Prevention division.
"This will not solve the problem of drug-resistant gonorrhea once and for all, but it may buy us time to allow researchers and drug developers to develop new treatments," Bolan told reporters in a telephone briefing.
This technique is used in the treatment of some other infections like tuberculosis in an attempt to make it more difficult for the bacteria to learn how to overcome the drugs. As of right now there are no cases of completely "untreatable" Gonorrhea in the United States but that there is evidence that its resistance to these drugs is growing stronger and stronger.
The best method of preventing a Gonorrhea infection is to remain abstinent from sexual intercourse and to consistently and safely use condoms. If left untreated, gonorrhea can cause serious health problems, particularly for women, including chronic pelvic pain, life-threatening ectopic pregnancy, and even infertility. Infection also increases the risk of contracting and transmitting HIV.
http://www.huffingtonpost.com/2012/08/09/drug-resistant-gonorrhea-cefixime-ceftriaxone-treatment_n_1761091.html
http://www.cdc.gov/nchhstp/Newsroom/2012/GCTx-Guidelines-PressRelease.html

redpajama_set_name: RedPajamaCommonCrawl


VICENTE CANALES. LEADER IN WATER TECHNICAL SOLUTIONS. - Desalination plant in the Sadara petrochemical complex.
Desalination plant in the Sadara petrochemical complex.
Vican has participated in the manufacturing of 4 penstocks for a desalination plant in the petrochemical Sadara in Saudi Arabia.
The new plant that will supply desalinated water to this petrochemical complex in Jubail has a capacity of 178.000 m3 a day.
Solvents and glues will be produced for automotive and packaging industry and the water supplied will be used in this huge complex with two cooling towers and boilers water supply.
It has been used a special paint treatment suitable for materials in contact with sea water.
232 million euros correspond with the design and construction of the project and the remaining 69 million euros with the 10-year concession for operating it. This period may be renewable for 20 years.


text:
Roy Ernest Hay (born 12 August 1961) is an English singer, songwriter and musician. He is best known as the lead guitarist, keyboardist, and backing vocalist of the new wave band Culture Club. Hay, a trained pianist since the age of five, replaced founding member Johnny Suede in 1981. Some of Hay's musical influences were Stevie Wonder, The Isley Brothers and Led Zeppelin. Before his involvement with Culture Club, Hay was a hairdresser in his native Essex.

It was during Culture Club's beginnings that Hay met Alison Green.  The two married in 1982.

According to the "Culture Club" episode the VH-1 series Behind the Music, Hay assisted Boy George in giving up heroin. The singer suffered the painful withdrawal symptoms closely attended by Hay in his Essex home.

Following Culture Club, Hay formed another band, called This Way Up, with singer Robinson Reid. In 1987, they released three singles: "Tell Me Why", "If I Can't Have You" and "Louise". An album, Feeling Good About It, was released in some European countries and in Japan in 1987. Of those records, "Tell Me Why" charted, for one week at number 72 in the UK Singles Chart.

Hay moved to Los Angeles, U.S. in 1989 and from there wrote for and produced young artists and bands for Sony Music. He branched into commercial composing and sound design with his own company Haywired Music.

Hay found later success as a composer in Hollywood, California, working with fellow composer Hans Zimmer and composing the music for a series directed by Robert Altman, as well as the music for Cracker and for Stephen King's The Dead Zone. Hay reunited with the three original members of Culture Club in 1998 to record a new album. In a Rolling Stone interview, Hay described the years apart as a healing process.  "There was obviously a bit of a healing process that needed to happen between Jon [Moss] and George.  They hadn't really spoken to each other in quite a while".  The description of the tour was "Older and wiser...We've all been through some good and bad times since the band.  I think we've all grown up a bit".

Literature
 International Who`s Who of Popular Music, Europa Publications Limited, London, p. 224,

Citations

External links

1961 births
Living people
English new wave musicians
English rock guitarists
English rock keyboardists
English expatriates in the United States
Grammy Award winners
Culture Club members
People from Southend-on-Sea

redpajama_set_name: RedPajamaWikipedia


This cross-country skiing trail overlooking Villars will take you along the Gryonne river to the top of the Col de la Croix. From this high point, you continue along the Gryon sector via La Place or head down towards Les Frasses via Le Luissalet.
Overlooking Villars, in the heart of the Vaud Alps, Roches-Grises will be the starting point of your tour. Throughout the climb, you'll alternate between forests and winter landscapes on the road climbing up the Col de la Croix to Les Diablerets. The trail will take you through various wild areas, finally arriving at the high point of the Col de la Croix, at 1,776m. Near here are the spectacular Gypsum Pyramids, sedimentary geological structures that have been eroded over time by water and wind.
If you want to prolong the delights of skiing, try the Coufin trail and its various alternatives which will take you to Gryon, amongst other places.


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Topface, one of the world's largest dating websites, said it has paid a hacker an undisclosed sum to stop trying to sell about 20 million email addresses stolen from the Russian company. Topface Chief Executive Dmitry Filatov said the company located the hacker, who had published ads to sell the data but had not actually sold them. "We have paid him an award for finding a vulnerability and agreed on further cooperation in the field of data security," Filatov said in an email on Friday, declining to disclose the size of the reward. Topface says it has some 92 million users and 1.6 million daily visitors.
Cybersecurity experts typically advise companies not to pay hackers to return stolen data, calling that a ransom and saying cybercriminals often break promises. But Filatov noted that the ads have already been removed and Topface has agreed not to pursue charges against the unidentified individual. "As we made an agreement with him we do not see any reason for him to break it," said Filatov.
Atlanta-based fraud protection firm Easy Solutions disclosed the hack on Sunday, reporting on its blog that a hacker known as "Mastermind" was attempting to sell 20 million credentials from an unnamed dating site. Only email address had been stolen, Filatov said. "There was no access to other information - neither passwords, nor content of the accounts."


text:
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Sunday School Programs
Sunday School is offered every Sunday. We have four Sunday School classrooms – – Pre-K (3-5 years old), kindergarten through 2nd grade, and 3rd & 4th grades, and 5th & 6th grades.
The children process to the Sunday School rooms at the beginning of the 9:00 a.m. church service and rejoin their families during the Peace so they can participate in the Eucharist.
Sunday School for Pre-K through 4th grades includes a lesson, music, a short prayer, a craft to supplement the lesson, snack time. From September until Advent, the lessons are stories from the Old Testament. The children are involved in the Epiphany play each year. After the Epiphany play, the lessons revolve around the life of Jesus and the New Testament. During the summer months our lessons include our world and our community – – such as "Taking Care of God's Planet Earth" and "God Bless America".
Each age group within our Sunday school will at times participate in a community service project or a special presentation for the congregation.
We welcome you to St. Paul's Sunday School Program!
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text:
Fire Crews Extinguish Boat Fire Near San Rafael; No Injuries
By Stephen Ellison	• Published August 13, 2019 • Updated on August 13, 2019 at 11:33 pm
Fire crews in San Rafael responded to a boat fire on the water late Tuesday, according to the San Rafael Fire Department.
The boat was burning off McNears Beach, fire officials said.
Firefighters received a 911 call shortly after 7:15 p.m. reporting a boat in distress and on fire with five occupants aboard who were taken off the boat by another vessel, fire officials said.
The boaters were transported onshore, where they were met by San Rafael fire crews.
Sonoma County 6 mins ago
Fire boats from Tiburon and Confidence responded the scene, knocking down the fire on the motor yacht about 200 yards offshore, fire officials said.


text:
Mistrzostwa Finlandii w piłce nożnej (fiń. Jalkapallon Suomenmestaruuskilpailut) – rozgrywki piłkarskie, prowadzone cyklicznie – corocznie lub co sezonowo (na przełomie dwóch lat kalendarzowych) – mające na celu wyłonienie najlepszej męskiej drużyny w Finlandii.

Historia
Mistrzostwa Finlandii w piłce nożnej rozgrywane są od 1908 roku. Obecnie rozgrywki odbywają się w wielopoziomowych ligach: Veikkausliiga, Ykkönen, Kakkonen, Kolmonen oraz niższych klasach.

W 1880 w Oulu powstał pierwszy fiński klub piłkarski Oulun Luistinseura (OLS), potem następne. Po założeniu fińskiej federacji piłkarskiej – SPL w 1907 roku, rozpoczął się proces zorganizowania pierwszych oficjalnych Mistrzostw Finlandii w sezonie 1908. Do 1929 roku piłkarskim mistrzem Finlandii zostawał zwycięzca corocznego turnieju pucharowego. Rozgrywki trwały od wiosny do jesieni, podobnie jak w przypadku innych państw znajdujących się w strefie klimatu umiarkowanego chłodnego (Islandia, Norwegia, Rosja, Szwecja).

W sezonie 1930 po raz pierwszy wystartowały rozgrywki w Mestaruussarja (bez podziału na grup). Począwszy od roku 1930 wprowadzono rozgrywki ligowe pod nazwą Mestaruussarja. Porządek rozgrywek został zaburzony w okresie II wojny światowej, kiedy dwukrotnie w latach 1940 oraz 1942 ze względów bezpieczeństwa zrezygnowano z organizowania długoterminowego sezonu, a format ligowy zastępowano pucharowym, a w roku 1943 rozgrywki w ogóle się nie rozpoczęły. Pod koniec wojny, silną pozycję w fińskiej piłce nożnej uzyskała amatorska Federacja Sportowa Pracowników (Suomen Työväen Urheiluliitto – TUL). W latach 1945–1947 rozgrywano dwie osobne ligi, jedną dla klubów zrzeszonych w Fińskim Związku Piłki Nożnej (Suomen Palloliitto – SPL), drugą dla drużyn zrzeszonych w TUL. Każde z rozgrywek wyłaniały swojego osobnego zwycięzcę, jednak mistrzem Finlandii zostawała dopiero drużyna, która wygrywała organizowany na koniec sezonu turniej pucharowy dla najlepszych zespołów wewnętrznych lig SPL oraz TUL. Po sezonie 1947 najlepsze kluby zrzeszone w TUL dołączyły do organizowanej przez SPL Mestaruussarji, co zakończyło okres podziału rozgrywek ligowych na dwie osobno kontrolowane dywizje.

Począwszy od 1990 roku Mestarrussarję zastąpiono nowymi rozgrywkami ligowymi – zawodowej SM-liiga – będącymi już poza zasięgiem związku piłkarskiego. Dwa lata później uzyskały one funkcjonującą do dziś nazwę Veikkausliiga.

Mistrzowie i pozostali medaliści

Statystyka

Klasyfikacja według klubów
W dotychczasowej historii Mistrzostw Finlandii na podium oficjalnie stawało w sumie 47 drużyn. Liderem klasyfikacji jest HJK, który zdobył 32 tytuły mistrzowskie.

Stan na grudzień 2022.

Uczestnicy
Są 79 zespołów, które wzięli udział w 108 ligowych Mistrzostwach Finlandii, które były prowadzone od 1930 aż do sezonu 2018 łącznie. Żaden z zespołów nie był zawsze obecny w każdej edycji.

Pogrubione zespoły biorące udział w sezonie 2018.
 80 razy: HJK
 75 razy: TPS
 62 razy: FC Haka, KuPS
 55 razy: VPS
 32 razy: HIFK
 31 razy: RoPS
 27 razy: Reipas (Viipuri, Lahti)
 26 razy: HPS, KTP
 25 razy: Kiffen (KIF), MP
 24 razy: MyPa
 23 razy: Jaro, Kuusysi (UponP)
 22 razy: Ilves, Inter Turku
 21 razy: KPT (Koparit), VIFK
 19 razy: FC Jazz (PPT), KPV, FC Lahti
 15 razy: Ilves-Kissat
 14 razy: IFK Mariehamn
 11 razy: MiPK, Tampere United
 10 razy: FC Honka
 9 razy: ÅIFK
 8 razy: HT, OPS
 7 razy: Pyrkivä
 6 razy: FinnPa, JJK, KePS, KooTeePee
 5 razy: GBK, SJK, TPV, TuTo
 4 razy: AC Allianssi, Drott, FC Jokerit, Jäntevä, Ponnistus, TaPa (=Tampereen Palloilijat)
 3 razy: Elo, FC Hämeenlinna, OTP, Pallo-Pojat, PS Kemi Kings, Sepsi-78, TuWe
 2 razy: AC Oulu, Ässät, FC Oulu, KoRe, Kullervo, PK-35, RU-38, TaPa (=Tampellan Palloilijat), TP-47, TPK, UL, ViPS
 1 raz: Atlantis FC, EIF, HIK, Into, KaPa, Kiri, Kumu, RTU, Stjärnan, Sudet (Viipuri, Helsinki), TKT, TP-Seinäjoki, TuKV, Viikingit Helsinki, VPV

Zobacz też
 Tabela wszech czasów mistrzostw Finlandii w piłce nożnej
 Veikkausliiga
 Puchar Finlandii

Przypisy

Bibliografia
 Oficjalna strona Veikkausliigi

 Tabele ligowe w bazie League321
 Oficjalna strona SPL
 Archiwum wyników meczów i tabel w bazie RSSSF

Pierwszy poziom rozgrywek piłkarskich w Finlandii


Russia's own actions at the United Nations contradict the claim by Vladimir Putin's press secretary, Dmitry Peskov, that the Kremlin backs an "objective investigation" into the use of chemical weapons in Syria. The Russian ambassador to the United Nations in the U.N. Security Council has systematically blocked resolutions calling for joint international investigations of chemical weapons use in Syria.
According to the "Security Council Veto List," accessible on the website of the United Nations Dag Hammarskjold Library, Russia has vetoed 12 Syria-related resolutions during the seven years since the conflict there began.
Along with the "Veto List," the Dag Hammarskjold Library provides access to the texts of U.N. resolutions and transcripts of U.N. meetings.
During the seven years since the beginning of the Syrian conflict in 2011, Russia has used its veto power in 16 cases: two concerning Ukraine, one concerning Bosnia and Herzegovina, and one concerning Yemen.
The remaining 12 Russian vetoes blocked U.N. actions involving the situation in Syria.
April 10, 2018 – a resolution seeking a new mechanism for accountability on chemical weapon attacks in Syria.
November 17, 2017 – a resolution seeking renewal of the Joint Investigative Mechanism (JIM).
November 16, 2017 – a resolution seeking the Joint Investigative Mechanism (JIM) renewal.
October 24, 2017 – a resolution seeking Joint Investigative Mechanism (JIM) renewal.
April 12, 2017 –a resolution on the April 4 chemical weapons attack on Khan Sheikhoun.
February 28, 2017 – a resolution seeking chemical weapons accountability.
Under the Joint Investigative Mechanism, the U.N. and the Organization for Prohibition of Chemical Weapons (OPCW) from 2015 to 2017 worked together to determine the perpetrators of chemical weapons attacks in Syria. Russia blocked its renewal three times, claiming bias.
"Russia has trashed the credibility of the Council. They are not interested in unity or compromise. Whenever we propose anything meaningful on Russia, Russia vetoes it. It's a travesty. They have now officially vetoed resolutions that would hold these barbaric uses of chemical attacks by Assad six times. It did not need to turn out this way."
Records of every UN Security Council veto going back to 1949 can also be found on the www.securitycouncilreport.orgwebsite.


text:
Boris Ievseïevitch Bykhovski (en ,  - ) était un scientifique et parasitologiste soviétique, spécialiste de parasites de poissons, surtout les Monogènes.

Il a été Directeur de l'Institut de Zoologie de l'Académie des Sciences de l'URSS à Saint-Pétersbourg (alors Leningrad) de 1962 à 1974.

Bykhovski est l'auteur de plus de cent publications scientifiques, en particulier sur la systématique des Monogenea. Il est surtout connu pour sa monographie des Monogènes (1957), qui a été traduite en anglais en 1961.

Éducation
1930: Diplôme du Département de Biologie de la Faculté de Physique et Mathématique de l'Université d'État de Leningrad
1935: Diplôme de candidat en Sciences Biologiques.
1956: Diplôme de Docteur en Sciences Biologiques.

Carrière
1929-1935: Laboratoires des maladies des poissons de l'Institut des Pêches de Leningrad;
1935-1940: Institut de Zoologie de l'Académie des Sciences de l'URSS à Leningrad
1940-1944: Président-adjoint du Presidium de la branche du Tajikistan de l'Académie des Sciences de l'URSS
1942-1962: Directeur-adjoint de l'Institut de Zoologie de l'Académie des Sciences de l'URSS à Leningrad
1962-1974: Directeur de l'Institut de Zoologie de l'Académie des Sciences de l'URSS à Leningrad

Récompenses
1963: Académicien-Secrétaire du Département de Biologie Générale, Académie des Sciences de l'URSS
1964: Membre de l'Académie des Sciences de l'URSS
Médailles:
Ordre de Lénine
Ordre du Drapeau rouge du Travail

Taxons nommés en son honneur

Les taxons suivant ont été nommés en son honneur. La plupart sont des parasites de poissons. WoRMS

Famille:
 Bychowskicotylidae Lebedev, 1969

Genres:
Bychowskicotyle Lebedev, 1969
Bychowskya Nagibina, 1968
Bychowskyella Akhmerov, 1952, y compris Bychowskyella bychowskii Gusev, 1977 (genre  espèce dédiées à Bychowsky)
Bychowskymonogenea Caballero & Bravo-Hollis, 1972

Espèces:

Nombreuses espèces de Monogenea, y compris Absonifibula bychowskyi Lawler & Overstreet, 1976, Caniongiella bychowskyi Lebedev, 1976, Cribromazocraes bychowskyi Mamaev, 1981, Dicrumenia bychowskyi Mamaev, 1969, Dionchus bychowskyi Timofeeva, 1989, Euryhaliotrema bychowskyi (Obodnikova, 1976) Kritsky & Boeger, 2002, Gyrodactyloides bychowskii Albova, 1948, Gyrodactylus bychowskyi (Albova, 1948), Heterobothrium bychowskyi Ogawa, 1991, Mazocraeoides bychowskyi Caballero & Caballero, 1976, Mexicana bychowskyi Caballero & Bravo-Hollis, 1959, Mexicotrema bychowskyi Lamothe-Argumedo, 1969, Murraytrema bychowskyi Oliver, 1987, Murraytrematoides bychowskii (Nagibina, 1976) Oliver, 1987, Neohaliotrema bychowskii Zhukov, 1976, Neoheterocotyle bychowskyi (Timofeeva, 1981) Chisholm, 1994, Neotetraonchus bychowskyi Bravo-Hollis, 1968, Osphyobothrus bychowskyi Khoche & Chauhan, 1969, Pseudaxinoides bychowskyi Lebedev, 1977, Pseudodiplectanum bychowskii Nagibina, 1977, des Digenea comme Genolopa bychowskii Zhukov, 1977, Hysterogonia bychowskii Korotaeva, 1972 et Phyllodistomum borisbychowskyi Caballero y Caballero, 1969, des Isopodes parasites comme Cymothoa bychowskyi Avdeev, 1979 et des Copépodes parasites comme Lepeophtheirus bychowskyi Gusev, 1951, et la Microsporidie Glugea bychowsky Gasimagomedov & Issi, 1970. À tous ces parasites de poissons doit être ajouté le Diptère Ceratopogonidae Culicoides bychowskyi Dzhafarov, 1964.

Références

Liens externes

Naissance en août 1908
Décès en janvier 1974
Parasitologiste russe
Scientifique soviétique
Membre de l'Académie des sciences de l'URSS
Récipiendaire de l'ordre de Lénine
Récipiendaire de l'ordre du Drapeau rouge du Travail
Naissance à Léningrad
Décès à Léningrad
Décès à 65 ans
Personnalité inhumée au cimetière Bogoslovskoïe


(This post is excerpted from an article in the July 18 issue of Local/State Funding Report.) Despite significant federal investment and administration attention, more needs to be done to fully deploy rural broadband service, according to a new report released in June by the U.S. Department of Agriculture and the Federal Communications Commission.
The June report, compiled by the FCC and the USDA's Rural Utilities Service, found that while broadband deployment through ongoing loan and grant programs remains a top priority, broadband service is still not in reach for a significant number of rural residents.
For the rest of the story, subscribers to the Local/State Funding Report can refer to their July 18 issue.


Green L holds the account for 0438 568 400 and is located at 45 Thomas St, Baxter, VIC 3911. Another number -- (03) 5971 2608 -- is also associated with this address.
Green L is recorded as residing at 45 Thomas Street, Baxter. This is a house. It has 3 bedrooms, 3 bathrooms, and 1 car spaces. 45 Thomas Street, Baxter was last rented for $360.


CYCLISTS campaigning for less traffic on a proposed new bike route have presented a 2,000-signature petition to the Town Hall.
The petition was handed over by Tabitha Tanqueray, from campaign group Cycle Islington, which is calling for a trial to remove most of the traffic on the planned Quietway 10, which will connect Finsbury Park with Clerkenwell.
The petition prompted a debate at the full council meeting last Thursday when Town Hall transport chief Councillor Claudia Webbe said the council would decide what to do following a full consultation with residents and all road users.
Ms Tanqueray, a consultant anaesthetist, told the chamber: "It [the route] should be somewhere that people of all ages and ability feel they can jump on a bike to head to the shops, and go to school and work. It should not just be for those of us bold enough to cycle already.


text:
Q: Is it possible to put a white border to the text in a terminal window? I use the terminal a lot, and having the same terminal design gets boring. I set the background to those cool default desktop images, and every terminal window is a random image.
The text is hard to read on certain space themed images, so it would be nice to have my black text surrounded by a white border in order to be legible.
Here is an example and setup image:
Is there some way to add an extension to the terminal, like some kind of custom themes? I did not find anything in the settings.
I think I will need to add some kind of code, like a plugin or extension to add this functionality. Where would the terminal source code be?
EDIT:
Ok, I have discovered that you can export terminal "profiles", which have a .terminal extension. It is saved as plist. Xcode can view this, if you change the file type from .terminal to .plist.
Here is the almost decoded data, I have yet to figure out what the groups of numbers decode to:
{
    "BackgroundAlphaInactive" = 0.2501997514204545;
    BackgroundBlur = 0.619873046875;
    "BackgroundBlurInactive" = 0;
    BackgroundColor = <62706c69 73743030 d4010203 04050615 16582476 65727369 6f6e5824 6f626a65 63747359 24617263 68697665 72542474 6f701200 0186a0a3 07080f55 246e756c 6cd3090a 0b0c0d0e 554e5352 47425c4e 53436f6c 6f725370 61636556 24636c61 73734b31 20312031 20302e38 35001001 8002d210 1112135a 24636c61 73736e61 6d655824 636c6173 73657357 4e53436f 6c6f72a2 1214584e 534f626a 6563745f 100f4e53 4b657965 64417263 68697665 72d11718 54726f6f 74800108 111a232d 32373b41 484e5b62 6e707277 828b9396 9fb1b4b9 00000000 00000101 00000000 00000019 00000000 00000000 00000000 000000bb>;
    "BackgroundImageBookmark" = <62706c69 73743030 d4010203 04050614 15582476 65727369 6f6e5824 6f626a65 63747359 24617263 68697665 72542474 6f701200 0186a0a3 07080d55 246e756c 6cd2090a 0b0c574e 532e6461 74615624 636c6173 734f1102 b8626f6f 6bb80200 00000004 10300000 00000000 00000000 00000000 00000000 00000000 00000000 00000000 00000000 00e40100 00070000 00010100 004c6962 72617279 00100000 00010100 00446573 6b746f70 20506963 74757265 73080000 00010600 00040000 00140000 00080000 00040300 004c03c4 02000000 00080000 00040300 007b16ca 02000000 00080000 00010600 003c0000 004c0000 00080000 00000400 0041b7ce f2b60000 00180000 00010200 00020000 00000000 000f0000 00000000 00000000 00000000 000c0000 00010100 004d6163 696e746f 73682048 44080000 00040300 00008081 3d740000 00080000 00000400 0041b411 739c0000 00240000 00010100 00364633 41334446 392d3444 30392d33 4436422d 39433741 2d424531 46423937 41393238 31180000 00010200 00810000 00010008 00ef1700 00010008 00000000 00000000 00010000 00010100 002f0000 00000000 00010500 00aa0000 00010200 00336531 37333637 62663666 33623162 30376665 66346563 62616532 36303334 61643234 61323863 643b3030 30303030 30303b30 30303030 3030303b 30303030 30303030 30303030 30303230 3b636f6d 2e617070 6c652e61 70702d73 616e6462 6f782e72 6561642d 77726974 653b3030 30303030 30313b30 31303030 3030323b 30303030 30303030 30326361 31363762 3b2f6c69 62726172 792f6465 736b746f 70207069 63747572 65730000 009c0000 00feffff ff010000 00000000 000c0000 00041000 002c0000 00000000 00051000 005c0000 00000000 00101000 007c0000 00000000 00401000 006c0000 00000000 00022000 001c0100 00000000 00102000 009c0000 00000000 00112000 00d00000 00000000 00122000 00b00000 00000000 00132000 00c00000 00000000 00202000 00fc0000 00000000 00302000 00280100 00000000 0080f000 00300100 00000000 008002d2 0e0f1011 5a24636c 6173736e 616d6558 24636c61 73736573 5d4e534d 75746162 6c654461 7461a310 1213564e 53446174 61584e53 4f626a65 63745f10 0f4e534b 65796564 41726368 69766572 d1161754 726f6f74 80010008 0011001a 0023002d 00320037 003b0041 0046004e 00550311 03130318 0323032c 033a033e 0345034e 03600363 03680000 00000000 02010000 00000000 00180000 00000000 00000000 00000000 036a>;
    "BackgroundSettingsForInactiveWindows" = YES;
    BlinkText = YES;
    CursorBlink = YES;
    CursorColor = <62706c69 73743030 d4010203 04050615 16582476 65727369 6f6e5824 6f626a65 63747359 24617263 68697665 72542474 6f701200 0186a0a3 07080f55 246e756c 6cd3090a 0b0c0d0e 554e5352 47425c4e 53436f6c 6f725370 61636556 24636c61 73734f10 10302031 20302e39 37313932 31393238 00100180 02d21011 12135a24 636c6173 736e616d 65582463 6c617373 6573574e 53436f6c 6f72a212 14584e53 4f626a65 63745f10 0f4e534b 65796564 41726368 69766572 d1171854 726f6f74 80010811 1a232d32 373b4148 4e5b6275 77797e89 929a9da6 b8bbc000 00000000 00010100 00000000 00001900 00000000 00000000 00000000 0000c2>;
    CursorType = 1;
    Font = <62706c69 73743030 d4010203 04050618 19582476 65727369 6f6e5824 6f626a65 63747359 24617263 68697665 72542474 6f701200 0186a0a4 07081112 55246e75 6c6cd409 0a0b0c0d 0e0f1056 4e535369 7a65584e 5366466c 61677356 4e534e61 6d655624 636c6173 73234026 00000000 00001010 80028003 5d4d656e 6c6f2d52 6567756c 6172d213 1415165a 24636c61 73736e61 6d655824 636c6173 73657356 4e53466f 6e74a215 17584e53 4f626a65 63745f10 0f4e534b 65796564 41726368 69766572 d11a1b54 726f6f74 80010811 1a232d32 373c424b 525b6269 72747678 868b969f a6a9b2c4 c7cc0000 00000000 01010000 00000000 001c0000 00000000 00000000 00000000 00ce>;
    FontAntialias = YES;
    FontHeightSpacing = 1;
    FontWidthSpacing = 1.004;
    Linewrap = YES;
    "ProfileCurrentVersion" = 2.04;
    "ShowActiveProcessInTitle" = YES;
    "ShowCommandKeyInTitle" = YES;
    "ShowShellCommandInTitle" = YES;
    ShowTTYNameInTitle = NO;
    "ShowWindowSettingsNameInTitle" = NO;
    TextBoldColor = <62706c69 73743030 d4010203 04050615 16582476 65727369 6f6e5824 6f626a65 63747359 24617263 68697665 72542474 6f701200 0186a0a3 07080f55 246e756c 6cd3090a 0b0c0d0e 554e5352 47425c4e 53436f6c 6f725370 61636556 24636c61 73734f10 29302e30 32333039 30333839 30362030 2e333735 33363039 30333520 302e3034 36393839 35373439 33001001 8002d210 1112135a 24636c61 73736e61 6d655824 636c6173 73657357 4e53436f 6c6f72a2 1214584e 534f626a 6563745f 100f4e53 4b657965 64417263 68697665 72d11718 54726f6f 74800108 111a232d 32373b41 484e5b62 8e909297 a2abb3b6 bfd1d4d9 00000000 00000101 00000000 00000019 00000000 00000000 00000000 000000db>;
    UseBrightBold = YES;
    name = User;
    type = "Window Settings";
    useOptionAsMetaKey = YES;
    "warnOnShellCloseAction" = 2;
}

EDIT 2:
Progress! I came across https://georgegarside.com/blog/decode-data-plist/ and it told me what to do. I was able to convert the number data to Base64, then using an online decoder I was able to get a .bin file. Then, with text mate, it had a feature to decode it into an old property list-type text. I now have the following font data:
{
    "$archiver" = NSKeyedArchiver;
    "$objects" =     (
        "$null",
                {
            "$class" = "<CFKeyedArchiverUID 0x7fe0f3c147e0 [0x7fff72c45ed0]>{value = 3}";
            NSName = "<CFKeyedArchiverUID 0x7fe0f3c14990 [0x7fff72c45ed0]>{value = 2}";
            NSSize = 11;
            NSfFlags = 16;
        },
        "Menlo-Regular",
                {
            "$classes" =             (
                NSFont,
                NSObject
            );
            "$classname" = NSFont;
        }
    );
    "$top" =     {
        root = "<CFKeyedArchiverUID 0x7fe0f3c14e40 [0x7fff72c45ed0]>{value = 1}";
    };
    "$version" = 100000;
}

I wonder how I can edit this to give me a border...


In college, Catan set school records with 47 career sacks, including 21 in a season and six in a single game. He joined the Winnipeg Blue Bombers of the CFL in 1981 and spent three seasons with them, compiling 26.5 sacks and six fumble recoveries. His CFL high for sacks was 12.5 in '82, a season in which he was named a Western All-Star. Catan signed with the Gamblers as a free agent in 1984, although contractual issues caused him to miss the team's first game.
Gamblers went 13-5 to finish first in the USFL Central Division. Lost USFL First Round playoff to Arizona Wranglers (17-16).
Catan missed time due to injuries in 1985 but still accounted for 11 sacks and received second-team All-USFL recognition. Following the spring league's demise, he failed to catch on with the Tampa Bay Buccaneers of the NFL but did return briefly to the CFL with the Hamilton Tiger-Cats in '87. Overall, he accumulated 53.5 sacks in his pro career, 27 of with the Gamblers.


text:
Q: Multiple Same Object Instantiation What exactly happens in Java when you instantiate the same object multiple times?
For example:
Test test = new Test();

then later on I will call it again, Test test = new Test(); again or inside a loop. Will the previous instantiation be disposed?

A: 1: Some wording: We don't instantiate objects at all, we instantiate classes, and the product of a class instantiation is an object (also called an instance). Of course we can instantiate a class as many times as required to create a new and different object with each instantiation.
2: Whatever, you cannot have the code you suggest:
Test test = new Test();
Test test = new Test();

neither you can have this:
for (i=0; i<3; i++) {
    Test test = new Test();
    Test test = new Test();
}

None will compile, because the part Test test is the declaration of variable test (of type Test), and no language, including Java, allows to declare twice the same variable in the same scope.
However you may assign multiple times the same variable (as the name implies), with different objects, like this:
Test test = new Test();
test = new Test();

The first line declares test and assign it an object newly created. The second line assign to test another object, also newly created.
Also note that shortcuts are allowed in Java:
for (i=0; i<3; i++) {
    Test test = new Test();
}

This loop will not declare test 3 times. It is understood as assigning three new different objects in sequence to the variable test which will be declared only once. (compare with the previous loop).
3: What happens to the variable test, and to the two objects of type Test?
The variable test is first assigned the reference of an object, then of another object. A variable retains only the last reference assigned.
The first object of type Test is not assigned to test anymore. If no other variable has been assigned its reference, then this object cannot be accessed in any way by the program, and thus is useless. It is made eligible to garbage collection by the system. At some point in time the system (the JVM) will run its garbage collector which will clear it from memory.
The second object will live as long as at least one variable references it, then the garbage collector will also take care of it and bring it to the Unreferenced Objects Cemetery. That's the true life of Java objects :-(

A: *

*each call new Test() creates a new object instance of the Test class

*test = new Test(); assigns a reference of that object to variable test

*A repeated statement test = new Test() creates a second instance of Test and assigns the reference it to the variable test again, so the first reference is replaced.

If and when the first instantiation will be disposed, however, depends. The Java runtime environment traces references, so as long as there are any references to an object in use, the object won't be disposed. For example, if between step 2 and step 3 the reference to the first instantiation is stored somewhere else (like Test test2 = test;), and that variable is still in scope when step 3 occurs, then the first object is not disposed, since test2 is still holding a reference to it. However, when there is no such statement and step 3 omits the one-and-only reference to the first object, then a dispose of that object will happen.
Note that the dispose itself does not happen immediately, but sometimes later, the next time when the garbage collector is run. But that is independent from the semantics of the code discussed, thats only a question of memory and performance.

A: Short answer: all previously created objects will be disposed of if no one points to them. Only the most recent one will exist because test references it.


text:
Home news Hollywood Bowl To Test Street Closures During Show Nights
newsRap
Hollywood Bowl To Test Street Closures During Show Nights
written by PabloWeymouth July 18, 2018
HOLLYWOOD HEIGHTS (CBSLA) – If you're planning to attend Seal's concert at the Hollywood Bowl Wednesday night, you'll want to be aware of new neighborhood street closures. Beginning Wednesday, the city of Los Angeles will begin testing street closures around the Hollywood Bowl which are designed to ease traffic congestion in the area. The Los Angeles City Council approved a resolution last month to test the closures on four separate nights this summer, according to a letter posted to residents on the Nextdoor app from Councilman David Ryu. The closures will take place between 5 p.m. and 10 p.m. on Wednesday, Aug. 5, Aug. 9 and Sept. 10. During those periods, North Highland Avenue will be closed to vehicles from the intersection with Camrose and Milner drives, up to the Hollywood Bowl. The closure will also apply to residents, who will have to access their neighborhoods through Franklin Avenue. "The Hollywood Bowl graciously stepped up to assist in enforcement of these closures," Ryu wrote. Several other entry points into the neighborhood will be closed to concertgoers and will require resident placards to get through. Getting to the Hollywood Bowl has always posed a challenge due to its location in a residential neighborhood right off the 101 Freeway. "We walk to the concerts all the time, we hear the concerts all the time, it's a lovely place to live," resident Chuck Neddermeyer told CBS2. "But the traffic has just made it kind of a nightmare. " Residents tell CBS2 they feel trapped in their homes. "Since the advent of Ways, and those other sites where you can find the best traffic route, it's been horrendous," Ron Scardera said. "We have to plan our exits and entrance routes during the Hollywood Bowl season," Neddermeyer added. There are several alternatives to driving directly to Hollywood Bowl , which is not advised. There are park and ride options for Metro stops throughout the city which can be purchased beforehand. There is also a shuttle for only $6 roundtrip which runs from four nearby locations and can also be bought before your event.
Hollywood Bowl To Test Street Closures During Show Nights was last modified: July 18th, 2018 by PabloWeymouth
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Available to download ahead of Xbox One's imminent launch tomorrow, Microsoft has launched the Xbox One SmartGlass app. The app is the same as the predecessor for the Xbox 360.
SmartGlass enables you to type messages on your Xbox One rather than having to fiddle with the controller, and is also integrated into certain games as a tool.


text:
View source for Line to take - LTT12 - Official Receivers
← Line to take - LTT12 - Official Receivers
* FOI/EIR: FOI * Section/Regulation: [[LTT Exemption::FOI 3|s3]] * Issue: [[LTT Title::Official Receivers]] * Source: Legal Advice * Details: N/A * Related Lines to Take: [[LTT10]], [[LTT11]] * Documents: [[FS50083375]] (no DN), [[FS50077720]] (no DN) * Contact: EW * Date: [[LTT Date::29/08/2006]] * Policy Reference: [[LTT Ref::LTT12]] * {{Copyright-ICO}} [[Category:ICO Line To Take]] ==Line to take== When acting as statutory office holders, official receivers are not public authorities, and not subject to the Freedom of Information Act. ==Further Information== Official receivers are statutory office holders (people appointed to an office by virtue of an enactment) and an officer of the court to which they are attached. They are also civil servants employed by the Insolvency Service who act on directions, instructions and guidance from the Inspector General of the Insolvency Service or, less frequently, the Secretary of State (DTI). On appointment, official receivers simultaneously become civil servants and statutory office holders. When acting as statutory office holders, official receivers are not subject to the Act because they are not listed in schedule 1. As statutory office holders, official receivers are accountable to the court in respect of those actions, and courts are not themselves public authorities. Official receivers duties as statutory office holders are largely set out in the Insolvency Act 1986. These duties include those performed as a provisional liquidator, liquidator, receiver and manager, trustee, nominee in a FTVA (Fast Track Voluntary Arrangement) or a supervisor in a voluntary arrangement. The Insolvency Service is subject to the Act and, when acting as civil servants and not as statutory office holders, information created or obtained by official receivers will be subject to the Act. Information held by official receivers in their capacity as civil servants and therefore subject to the Act will include information relating to the management of staff. More importantly, the Act will also apply where the official receiver is acting on the specific instructions or carrying out delegated functions of the Secretary of State. This will include cases where an authority to proceed has been granted in a compulsory liquidation or in a BRO (Bankruptcy Restriction Order) case or where a prosecution report has been accepted in a bankruptcy. Information held by official receivers will be subject the Act if they are acting both as a statutory office holder and for the Secretary of State. This will include cases in which work is being carried out with a view to establishing unfit conduct in a voluntary liquidation. The Insolvency Service website provides an example of the difference between acting as a statutory office holder and as a civil servant: "An example of the distinction between when the official receiver acts as a statutory office holder and when he acts as a civil servant is when he sends to a company director or bankrupt a Preliminary Information Questionnaire and an appointment letter to attend for interview. The official receiver does this as part of his statutory investigatory duty under section 132 or section 289. However, when sending leaflets to aid the recipient (e.g. 'What happens when you attend the official receiver's office' and 'A guide to bankruptcy' or a 'Guide to directors') the official receiver is acting as a civil servant." (http://www.insolvency.gov.uk/freedomofinformation/technical/TechnicalManual/Ch1-12/Chapter1/part2/part_2.htm) The arguments above are those proposed by the Insolvency Service. The Information Commissioner accepts and agrees with this approach. The Insolvency Service's approach can be read in full at: http://www.insolvency.gov.uk/freedomofinformation/technical/casehelpmanual/F/FreedomDataProtection.htm In summary: * Information created or obtained by Official Receivers but in the possession of the Insolvency Service will be caught by the Act if it has been sent to the Service for its own use by official receivers or was created by them acting as officials of the Service rather than statutory office holders. * Information which is stored on Insolvency Service systems or held in manual files but was created or obtained by Official Receivers acting as statutory officer holders will simply be held by the Service ''on behalf'' of the Official receivers and will not be subject to the Act. In practical terms, COs should establish what the information being requested is and why it was created. This should not, in fact, be difficult. Information relating to an individual's bankruptcy and held by an official receiver for example (which is the information most frequently requested) is not subject to the Act.
Template:Copyright-ICO (view source)
Return to Line to take - LTT12 - Official Receivers.
Retrieved from "http://foiwiki.com/foiwiki/index.php/Line_to_take_-_LTT12_-_Official_Receivers"


Share Your Positivity - Bronson Healthcare » Most People Can't Believe My Recovery!
Most People Can't Believe My Recovery!
For two years, I was seeing a doctor, out of town, for my hip pain. I knew I needed to have hip joint replacement so I met with my primary care doctor who referred me to Dr. Mark Nikkel of Bronson Orthopedic & Spine Specialists in South Haven. Dr. Nikkel agreed that hip replacement surgery was the best treatment for me. Since my husband had anterior hip replacement surgery five years ago, and has had an amazing recovery, I wanted to have this same type of surgery which Dr. Nikkel was able to perform. It's now been three months after my surgery and most people can't believe my recovery! I'm back to doing crafts and tying my own shoes; there's nothing much I can't do. As to Dr. Nikkel, he knows what he's doing, he's right on the spot and his crew is right there. The whole group is really great!


text:
The Fish Closet
When I was a model for painting classes, I often heard one professor tell his students a story about a Chinese artist who received a commission for a painting of a fish. Some months had passed when the patron inquired as to the status of his fish painting. The artist replied he was still working on it. More months passed, the patron inquired again. Still working on it, the artist replied again. A year goes by, the patron asks after his fish yet again, and the artist once again tells him he's still working on it. Another year later, the patron finally just goes over to the artist's studio and says, please, I really want my fish, I've been waiting for two years now, can I get my fish painting? The artist pulls out a brush, ink, and a piece of paper, then deftly paints a fish on it and hands it to the guy. "Wait, why did it take so long if you could just make one in five seconds like that?" the patron wants to know. The artist walks over to a closet, opens the door, and out fly hundreds of pieces of paper with fish painted on them.
I'm not sure if I have all the details right from the professor's version, let alone whether it's really an old Chinese fable—the professor himself might have just made it up, for all I know. It really doesn't matter where it comes from, because the story as I have come to understand it (and retell repeatedly to my own classes) is wise and useful regardless of its fuzzy provenance. The point is that you have to make a whole lot of bad or mediocre art in order to get even close to making good art. You have to fill rooms and rooms with bad, or just not-quite-it, fish paintings. And you have to keep doing it. I've been painting and showing and selling paintings for over twenty years, yet I am still filling up the fish closet with crap. I've learned to embrace it.
When I made the series Floor Plan for the American Dream (AKA the Manet covers), I started one piece that never, ever worked out. The working drawing, pictured above, gives you an idea of how I tried to squish way too many people into an overly complicated composition. Yet I persisted in squishing and started the painting itself on two panels, one of them truly weirdly shaped. It only got worse from there.
You can tell by the wildly fluctuating color changes that I was grasping at straws. Eventually I figured that out myself and stopped painting, separated the panels, and whited out everything except the curtain and two ladies.
I put those panels away until I'd finished the rest of the show. I occasionally pull them out and do stuff to them. They might make their way out of the fish closet and be reborn as completely different works, but it's OK if they don't.
The last four years have been boom times for the fish closet. The slight distraction of buying a building happened to coincide with the distinct feeling that one period of my work was ending and it was time to find the next evolution. That particular alignment of stars meant that the experimentation, focus, and long, seemingly unproductive hours of making work destined for the fish closet was further complicated by a lot of unrelated interruptions. I messed around with a lot of processes and ideas that would probably never make it into finished form but had to happen anyway.
Sushi, anyone?
Experiments included ink sketches of patterns set in the traditional prototypes I found in a 1948 book for textile designers; tiny square magazine collages; paintings of patterns based on carbon atoms and organic molecules; and attempts to wed the painted patterns to existing fabric ones.
Meanwhile, I was also trying to learn to compose in a circle. I had kept my first tondo paintings simple—single objects centered on a patterned-fabric ground—but I always intended to get back to narratives and architectural space.
Let me tell you, it's not easy to squish the entirety of the American Dream and its discontents into a circle. I had managed to get people to behave themselves a little bit, by keeping to an intimate scale and leaving out the complicated architecture. These paintings felt like they had the right amount going on in them for their fourteen-inch diameter.
But I craved big ideas, big spaces, big hunks of steel. I confidently and foolishly built two 42-inch panels then spent two years figuring out what to put in them. I had been wanting to explore the cult of the automobile, its shiny finned candy-colored midcentury rockets luring us to planetary demise. For a setting, Albert Frey's gorgeous Aerial Tramway gas station of Palm Springs beckoned.
Doesn't that yummy car just want to drive up to that yummy gas station? Not so fast, buster. What do you think this is, a RECTANGLE?
Two great tastes don't always taste great together.
It didn't work but, determined to marry the car theme to the architecture, I pressed on. I stumbled upon a picture of this lovely car dealership in Las Vegas.
Don't even think about putting this in a circle. Not gonna happen. Additionally, in both scenarios I couldn't figure out where the people would go. The buildings steal the entire show.
Then I found this stunning interior. Finally, something that looks like a car dealership but there's a place to put the people! And it's even in one-point perspective, which is something that works just fine in a circular composition.
I tried adding the car, but it was still weird.
I have a wall in my studio that is its own fish closet, just for humans. Lots of them are drawings of people I ended up using somewhere, but in a different size, so these wrong-sized versions accumulated on this wall. I've had it in the back of my mind to put them all in a painting together some day. This seemed like the moment to try it, as nothing else was working.
And neither was this. (Although it was fun to try.)
Oh, and I also had this guy. I loved that he was shining his car until he could see himself, looking like an overenthusiastic housewife with her Lemon Pledge. I gave him a car upgrade, but I had trouble deciding where to place him along the hood, and then he wouldn't fit into any of the other spatial settings I'd drawn, let alone into a circle. He's still on the wall and may be destined for the fish closet, despite the fact I still have a little crush on him.
Sometime in 2017, in the midst of these forays into the abyss, I did stumble upon one image that worked in a large circle. This fancy lady in her automobile is straightforward, focused, in one-point perspective, with a clear center, and she knows what she wants. The circle demands simplicity, which is nearly impossible to get right, but sometimes you stumble upon it.
Smart as Tomorrow – Yours Today
However, doing something once is easy compared to following it up. I spent another year and a half struggling to come up with a second composition. In a book about Los Angeles architecture, I found some black and white photos of their famous freeways; one under construction, and another of an interchange known as "the stack." Rather than try to squeeze one or the other of them into my mold (like tuna into a ring of lime jello), I made a new image out of parts of both, and then I found the perfect family to drive on them, in an ad for the wonders of asphalt.
Clearly, after all that endless, angst-filled, fish-painting, the only solution was to break every known rule. Put a big gray concrete post dead center. Crop people across their faces. Make the perspective ask more questions than it answers. I painted it relatively quickly (if not as fast as that Chinese artist with the patron breathing down his neck). Quickly, that is, if you don't count the four years of filling the up closet with all those fish.
Sometimes I'm working on a painting, revising and tweaking and changing colors, and it is just not happening. All the draperies, wallpaper, extra characters, or funky appliances in the world won't make it work. The problem obviously lies much deeper, and the thing is starting to feel destined for the scrap bin. I wrote about flailing in this manner in a previous post, but that time I had waited until after the painting in question had already landed safely and had even found a home.
One of those problem paintings has been hanging around my studio for over a year now, a reject from my Manet covers series which I've since finished and shown and published a book about. In that series, I had restaged some of my favorite Manet paintings in mid-century suburban America, using characters I gleaned from various vintage magazines ads. The Waitress, 1879: For my cover of this work, I found the right fifties' lady holding and contemplating a serving tray, three people turned mostly away from the viewer, a musician, and a sort-of-dancing spunky gal sporting capri pants. I always work out the compositions first as charcoal drawings, then I figure out the shapes of the panels and what fabrics to cover them with.
Sure, the six-figure composition was a little unwieldy and sprawling, but that felt true to the wide-open American suburbia that these people had to inhabit. The housewife serving the beer was in a much larger space than her Parisian counterpart, but her domesticized world was so much smaller in every other way.
The deep expanse of the living room felt kind of claustrophobic with all those people squished in the foreground. Which is what I was going for. So far so good.
I sort of organized the people into "teams" and partially separated them with one of those very mid-century room-divider things.
The yellow squares are paint samples that I've made to help me pick colors. But finding colors that would play nice was proving to be a bit of a challenge…
Out with the yellow table! It was pretty and everything, but it had to go. Then the guy's suit went from blue to green and he acquired a hat. What's with his friend? I'd chosen her for her weird snail hat, and now I had no idea what to do with her. Unruly, the lot of them. Except maybe the guy at the piano. I kind of had a crush on him, but I couldn't decide how to decorate his little corner.
The deadline for the show came and went. I had plenty of paintings for it without this one, so it went unfinished into the painting rack, where it sat for about six months. When I finally pulled it back out, one look told me it was never going to work out as I'd planned it. So I unbolted and separated its two halves, and then got ruthless with the white paint. I spared only the areas of fabric that formed figures, and not even all of them made it.
Out went the problem lady and the guy with the hat. Away with that pesky husband sipping his beer at a funny angle. After some hesitation, I let the piano player go, too.
Then I put the two panels away again, hoping I would forget about those awkward, unwieldy characters and their strange preoccupations. Forget about the original Manet, too. These would be just some bits of ephemera I could riff off of when I needed a new bit of something for my brain to chew on.
Brain-chewing day finally arrived last week. I decided that this lady needed a floor to ground her in a world. I'd bought a chalk-line for the specific purpose of making perspective lines, and I was nerdily excited to break it out for the first time. A couple of tacks where the vanishing points go, and chalk away! Fun!
I knew immediately what color her new, clean, streamlined, tiled universe needed to be. Sometimes the technical, repetitive task of filling in dozens of receding squares is soothing and satisfying, clearing my mind and letting me enter the world of the painting.
She's now been put away for a bit and her orange tiles are drying.
The next day I pulled out her friend and gave her a chalkline grid, too.
I found an interesting receding chevon tile pattern in an advertisement that I'm replicating within the grid. Turquoise is her color. Beyond that, I don't know where this is going. I'll figure out their new stories and add the rest of their surroundings as I get to know them. Stay tuned.
Trouble in Florence City
Poor Paolo Uccello (1397-1495). He could have been a contender. According to Giorgio Vasari, Uccello would have been "the most delightful and inventive genius in the history of painting" had he not wasted all his time and talent away on the excessive pursuit of– was it fast women, drink, hard drugs, or gambling? – no, the worthless undertaking upon which Uccello wasted his life was…Perspective. Perspective ruined poor Paolo's career and on top of that, "did violence to his nature", making him "solitary, eccentric, melancholy, and impoverished." He had trouble, with a capital T and that rhymes with P which in quattrocento Florence that apparently stood for Perspective.
Now I read this ominous passage in "Lives of the Artists" within the past year. Did I pay any attention to the obviously-well-thought-out advice of Giorgio Vasari, the father of Art History, that had been passed down to me over the ages? Did I heed this wisdom that had survived 500 years of wars, floods, famines, the rise and fall of empires, to appear to me in my native tongue in my own century in cheap, readily-accessible paperback format ?
Of course not. There came a day I found myself working on a painting that had some serious problems. They were the kinds of problems I described in a previous post, Lose the Christian Theme Park. The various parts just weren't serving the whole. I was much too attached to these utterly extraneous and unrelated – if individually interesting – parts. The painting was a mess and it needed a total makeover.
After changing the colors and patterns of both floor and table, the type and size of the dessert, and the fireplace a dozen or so times EACH, I decided I needed to paint everything out in white except for the chair and the fabric bits, i.e., the lady and the curtains.
Once I rid myself of the ceiling and windows, the space of the painting became a blank slate. Almost: the bits of striped curtain, remnants of past choices, were exerting undue influence on my possible choices for the painting's future. Their angled tops and bottoms still hinted at the old perspective. So they, too, succumbed to the white paint.
It became clear to me that since the woman is viewed from above, what she required was a vast and memorable floor that seemed to stretch on forever, like the suburbs in which she lived. I wanted the space of the painting to be believable but slightly dizzying. It needed tiles, the tiles needed to recede precipitously, and they needed vanishing points to approach. Normally I work these problems out in the drawing stage, but this was a remodel. Drawing lines with a ruler pointing toward vanishing points drawn on the wall, my usual method, felt cumbersome and not exact enough. I had a roll of twine lying around so I began laying out the tiles with it, taping the twine to the edges of the painting and pinning it down at the vanishing points.
Sarah Vowell, in writing about Civil War re-enactors, observed that they all considered anyone less obsessed with authenticity than themselves a poser, and anyone more obsessed than themselves a wingnut. This observation can apply to any undertaking that is difficult, interesting, and/or obscure enough to allow for large quantities of time to be spent, some might say wasted, on it. Vasari placed Uccello firmly in the wingnut category. There was a time when I would have tried to wing the spacing of the tiles, but now I was headed in a dangerously Uccello-like direction. Winging it was for posers.
For you posers out there, the widths of the tiles as they recede in space diminish along lines that all converge on a vanishing point on the horizon line. Those lines are the strings. They meet at two pushpins on a line drawn on the wall slightly below the top edge of the painting, the horizon line, which also corresponds to the viewer's eye level, which is somewhat above the lady's eye level since we are looking down on her.
But the tiles are also going to appear shorter as well as narrower as they recede. Here's where it gets fun. The way to determine how much shorter the tiles should get is to find the midpoint of a sample square. You do that by drawing two lines joining its opposite corners, making an "X" across the tile. The lines meet at the midpoint. If you were looking at a real tile and you actually drew the lines with a sharpie, the midpoint would be a point actually equidistant from the edges.
However, we want the midpoint of the imaginary tile in the imaginary world of the painting. That imaginary midpoint will be slightly closer to the edge of the tile that is supposed to be farther away from us.
The midpoint of two matching tiles is the same as the midpoint of one giant tile the length of two of them together. If you draw a line from one corner through this midpoint-of-them-both, you get to the far end of the second tile.
Which means, in the imaginary world of the painting you can find the depth of the second tile by drawing a line from a near corner of the first tile through the midpoint of the far edge and it will lead you to the far corner of the second tile.
Then you can draw a line from the near corner of the second tile, through the midpoint of its far edge, and find the end of the third tile, and so on, until you have spent your life making imaginary tile floors that recede into infinity. Vasari might regard you as a wingnut but Uccello would probably dismiss you as a poser.
Here is the finished painting, a world in which even the lines of the hors d'oeurves meet at a vanishing point on the horizon.
Only Suburban has so Many Wife-Saving Features, 2014
As for Vasari and his forecast of gloom, I've not yet become solitary, (more) eccentric, melancholy, or even impoverished. Those things could still happen, but I did sell the painting.
Lose the Christian Theme Park!
In the Making Your Own Work class, while we're looking at people's work in progress, we continually come back to the question: How much stuff should there be in a painting? Usually the answer is something along the lines of "less than what you have." Anne likened it to Coco Chanel's directive to remove one accessory before one leaves the house.
And sometimes the thing you have to remove is your favorite: the one you thought was so utterly brilliant and clever. But it just doesn't serve the painting, and it needs to be the piece of jewelry you leave on the hall table before you dash out the door.
Many years ago, a friend of mine, Michael Barrish, went on a long bicycle trip intending to visit every town named Freedom, Justice, and Liberty in the contiguous United States. That, while interesting, really has nothing to do with my point. Along the way he visited many old friends, and brought news of them to the subsequently visited friends. (You see, kids, in the old days, people didn't broadcast their every activity on the internet, so we had to wait for messengers to bicycle between towns delivering news. It was slow but it made for better stories.) When Michael stopped here in Seattle, he told of some old college buddies who had moved to LA, trying to break into screenwriting. They had made a big pitch to a Hollywood producer for a goofy John Candy/John Goodman vehicle called "Fat Chance". The premise, which seemed kind of thin, was that they were fat jewel thieves; hijinx ensued. The hijinx culminated in a chase scene through a Christian Theme Park. The thieves at one point get swallowed up, or perhaps chased, by a giant mechanical whale loudly intoning "JO-NAH! JO-NAH!" as it pursues them through the park.
The producer, who in my mind is a guy out of a 1940s movie chomping on a cigar, had five words for the would-be screenwriters: "Lose the Christian Theme Park!" The image, which I made up, of this short guy with the Brooklyn accent pounding on his desk is permanently etched in my mind. However, I was a little mystified by his advice. It seemed to me that without that bit of weirdness, the purported movie would have nothing left to recommend it.
One day in the studio it occurred to me what he meant. It was late and I was on a deadline finishing paintings for a show. One painting in particular was giving me a lot of trouble. The parts weren't adding up. Deep down I knew what had to go: it was a checkerboard tile floor that I'd spent hours working on, thought was brilliant, and had grown way too attached to, but it just didn't serve the painting. I heard shouting inside my head. What could it be? Why, it was my inner cigar-chomping studio exec yelling for me to LOSE THE CHRISTIAN THEME PARK!
If the bones of the painting are no good, all the Christian-Theme-Park chase scenes in the world will never save it.
Hieronymous Bosch, Garden of Earthly delights, detail; Above, Bosch, The Last Judgement, detail. The original and best Christian Theme Park paintings!


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Даляньский университет иностранных языков (, ) — университет в городе Далянь, провинция Ляонин, КНР. Находится в ведении провинциального правительства. Основной кампус переехал в район Люйшунькоу в апреле 2007 года, но его подразделение — Школа китайских исследований (), где иностранцы изучают китайский язык остался в районе Сунь Ятсена.

Входит в число 8 крупнейших университетов иностранных языков в Китае и является единственным полностью оснащенным специализированным высшим учебным заведением своего профиля на Северо-востоке Китая. Университет предоставляет различные программы подготовки бакалавров и магистров.

История
При содействии премьера Чжоу Эньлая, начиная с 1964 года в университете был основан курс изучения японского языка, а в 1970-х годах были основаны школы изучения английского и русского языков. Остальные подразделения вуза возникли в период реформ и открытости КНР, начиная с 1978 года. В середине 1980-х, вуз прошел аккредитацию Министерства образования КНР и включил в свою программу поствузовскую подготовку.

Ссылки
 Официальный сайт Даляньского университета иностранных языков
 Школа Китайских исследований ()

Университеты Китая
Университеты провинции Ляонин
Университеты и колледжи в Даляне
Лингвистические учебные заведения


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Le qualificazioni del singolare femminile dello  Sony Ericsson Open 2008 sono state un torneo di tennis preliminare per accedere alla fase finale della manifestazione. I vincitori dell'ultimo turno sono entrati di diritto nel tabellone principale. In caso di ritiro di uno o più giocatori aventi diritto a questi sono subentrati i lucky loser, ossia i giocatori che hanno perso nell'ultimo turno ma che avevano una classifica più alta rispetto agli altri partecipanti che avevano comunque perso nel turno finale.

Le qualificazioni del torneo Sony Ericsson Open  2008 prevedevano 48 partecipanti di cui 12 sono entrati nel tabellone principale.

Teste di serie

 Timea Bacsinszky (primo turno)
 Marija Korytceva (ultimo turno)
 Maria-Emilia Salerni (primo turno)
 Anastasija Rodionova (Qualificata)
 Tamarine Tanasugarn (ultimo turno)
 Alisa Klejbanova (Qualificata)
 Yuan Meng (ultimo turno)
 Aiko Nakamura (Qualificata)
 Julie Ditty (primo turno)
 Petra Cetkovská (ultimo turno)
 Lilia Osterloh (ultimo turno)
 Ol'ga Savčuk (Qualificata)

 Tat'jana Puček (primo turno)
 Alla Kudrjavceva (ultimo turno)
 Anne Keothavong (primo turno)
 Ekaterina Byčkova (Qualificata)
 Anne Kremer (ultimo turno)
 Audra Cohen (primo turno)
 Aleksandra Wozniak (primo turno)
 Galina Voskoboeva (Qualificata)
 Emmanuelle Gagliardi (primo turno)
 Mashona Washington (primo turno)
 Tamaryn Hendler (primo turno)
 Rosana De Los Rios (Qualificata)

Qualificati

 Galina Voskoboeva
 Ekaterina Byčkova
 Petra Kvitová
 Anastasija Rodionova
 Rosana De Los Rios
 Alisa Klejbanova

 Tat'jana Puček
 Aiko Nakamura
 Vania King
 Aleksandra Wozniak
 Emmanuelle Gagliardi
 Ol'ga Savčuk

Tabellone

Sezione 1

Sezione 2

Sezione 3

Sezione 4

Sezione 5

Sezione 6

Sezione 7

Sezione 8

Sezione 9

Sezione 10

Sezione 11

Sezione 12

Collegamenti esterni

Sony Ericsson Open 2008
WTA Tour 2008


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As part of the GC Powerlist UK 2020, Legal Business and Pinsent Masons will be hosting a webinar on the topic of Operations – the role of the GC in maximising the efficiency of systems and legal service delivery on Thursday 24 September at 14.15. +1TweetShareSharePin+1TweetShareSharePin
'Misleading': ULaw told to remove ads claiming it is the UK's leading law school
Posted on 17 November 2016 10:42am 20 February 2018 10:14am | Georgiana Tudor
The University of Law (ULaw) has been told by the Advertising Standards Authority (ASA) it can no longer call itself UK's leading law school in advertisements, nor claim that its graduates can expect to earn £54,000 a year.
The decision followed two complaints from a university law lecturer and a retired university law professor.
One of the ULaw ads questioned by the ASA provided information about Graduate Diplomas in Law (GDLs) in the news section of Educompare.com and included claims that 'in the first 5 years of work a lawyer can expect to earn an average of £54,000 a year' and 'the starting salary as a lawyer is over double the national average of £26,000'.
The ASA concluded the ad was 'designed to resemble an online news story' and was misleading. The ASA concluded the ad must not appear again in its current form.
The second ad, which appeared in a national newspaper to encourage new applications, had ULaw titled as 'the UK's leading law school'. The ASA concluded ULaw should not claim such status 'unless they had adequate substantiation'.
A ULaw spokesperson said: 'While we are disappointed by the ruling, we have taken on board the comments from the ASA and are working closely with them currently to agree the best way forward'.
Former ULaw leader Nigel Savage also added: 'In my experience corporate institutions – like children – derive their values from their parents. In this case it's essentially the values of the board and parent holding company that should be addressed'.
Earlier this month the International Journal of the Legal Profession published research stating that more than one in five law students in the UK and US admit they would falsify time records for personal and business gain, according to their first cross-jurisdiction quantitative study of the ethics of law students.
In addition, ULaw's third chief executive in the last year Stelios Platis left his post last month, despite only being appointed in May this year.
georgiana.tudor@legalease.co.uk
Read more on Legal Education in the comment piece: 'Time to move on – Savage argues legal education is falling behind the realities of the profession'
We'll take that: BPP's university status welcome news amidst challenging times for education providers
We don't need no education: Kaplan Law School to close in 2016
Clifford Chance drops University of Law for arch-rival BPP
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The training debate – The fear of freedom


As the Director of Goodby Silverstein's Brand Strategy Department, Andy Grayson leads a department of 20 amazing strategists as well as the strategic vision of the agency. He oversees brand strategy while also working on GS&P's Frito-Lay accounts—Doritos, Tostitos, Fritos and Cheetos. He was named an associate partner in 2014.
Andy attended Northwestern University and earned a master's in communications from the VCU Brandcenter. He has also worked as a planner at Ogilvy & Mather and Publicis West and served as a planning professor at Academy of Art University in San Francisco.


This has been an interesting test. I do not know about you, but I fist starting hearing about kinesiology tape during the 2008 Olympics. Some of the athletes at the games were all tapes up, and it became a common topic of conversation during the coverage. I keep seeing the tape on athletes over the last couple years, but never actually tried the stuff. This winter, RockTape reached out to me to see if I would be interested in trying the tape. I was skeptical of the benefits, but very intrigued to try it since I had seen so many others use it.
RockTape was started by an amateur athlete. He has some minor injuries and his local Physical Therapist tapes him up to help him recover. During his recovery, he also noticed some increased performance during his workouts and started to look into this tape further. Finding tape at the time was a bit difficult, so he started his own company helping to get kinesiology tape into the hands of other amateur athletes. He is so sure that you will love the tape that there is a 100% money-back satisfaction guarantee if you do not get results. That is a pretty cool deal.
I fortunately have not been dealing with any injuries lately so I used the tape more for performance gains. I used it mainly for running and cycling. To get a second opinion and to treat an injury, Melissa tested the tape as well. She used it, mainly to treat some numbness caused by Carpal Tunnel in her wrists.
You might be wondering exactly what is RockTape. I kind of mentioned it above, but it is a Kinesiology tape that is used to help treat injuries as well as increase performance. I am sure this is not the first thing you have heard of to promise increased performance benefits. Essentially RockTape can help athletes improve form and decrease fatigue through better blood flow. These are the two most critical aspects of increasing performance in sport. You will be amazed to see how many ways this tape can be used. Whether it is for a wide range of injuries or for different movements in sports, the RockTape website has a huge list of different taping methods depending on what you need.
RockTape can be used to tape for movement rather than the muscles. This Fascial Movement Taping takes into account the fact that the body moves, especially in sports. Typical taping over the years has been done to a joint or muscle to restrict motion and prevent further injury. Kinesiology tape is the opposite; it opens up the muscle to allow for full movement. For injury protection, the tape is placed over an injured area to stabilize it, the tape also helps pull slightly away from the injured area to increase the flow of fluids and help the body's healing process. For sport use the same principle can apply. The tape can be used to both stabilize an area for better form and increases blood flow. This increased blood flow will transport oxygen and waste products faster and therefore, should reduce fatigue.
RockTape is made of 97% cotton and 3% nylon. The tape is said to have 180% stretch. One side of the tape is printed, and the backside uses a hypo-allergenic acrylic based adhesive that is strong enough to last for several days of use. RockTape says users should be able to get 3-4 days of use even with sweating and taking showers. They even make some versions that are designed for the rigors of continuous swimming. The printed side of course is very adjustable. RockTape comes in a large number of different prints to fit whatever your fancy. To use the tape RockTape has put a collection of videos on their website as well as an included guide to some common taping methods. The tape comes in different widths so you can get the size you are most likely to need. It is a cut to length system so it is very versatile. As far as sustainability goes, I was not able to find much information. Cotton is a renewable resource, but nylon is not so I rated accordingly.
Each of the videos shows how to tape for different purposes. Since the tape can be cut to fit it really can work with nearly every body part and size. I have played organized sports for some time now and in all my experience, I can definitely say that taping up was never a recipe for increased movement. I always did it to allow me to play through an injury. In that regard, I have been impressed by how much stretch the RockTape has while still adding support. It is not there to restrict movement rather allow the body to move while increasing the amount of fluid flow for faster recovery. Once putting the tape on, I had no issues with discomfort or restriction. The tape was able to stretch as needed so when I ran with it on my Achilles and calf I was able to run as normal. I also used it on my right shoulder for swimming while I was building distance. I was able to feel it more on my shoulder, but it did not restrict movement. The tape is cloth based so it is soft to the touch. The only thing that can be uncomfortable with the RockTape is pulling it off. The strong adhesive is just that, strong, so it can pull like a band aid when removing it.
Whenever I hear performance claims, I get skeptical. I must say that I really have been impressed with RockTape. I cannot really quantify how much it has helped but both Melissa and I were able to tell the difference when we used it. For me, I used it mainly on my calves and right shoulder. On my legs, I had been fighting a tight calf and with the tape, I had no tightness on or after my long runs. For my shoulder, I have had some rotator cuff soreness as I build my distance up. I still felt some soreness in my shoulder, but it was at a reduced level. Melissa has been dealing with numbness at night due to the start of some Carpal Tunnel in her wrists. Without the tape, she would wake up to her hands being numb throughout the night. With the tape, there was no numbness, and she could sleep much better. If I was impressed, she is even more so.
The tape is fortunately fairly durable. I have been able to keep it on for several days without issue. Melissa has been a little harder on the tape but still able to get a couple of days out of it. I have run, showered, and swam with my tape on, and as long as I am careful when drying off the tape will hold for days. If the tape does peel back a little it can be put back into place and rubbed to get the adhesive back. Using the tape has been fairly painless. RockTape gives a sheet with some of the different taping techniques as well as some videos on their website. They have some other taping techniques that are talked about but finding those was a bit more difficult. What is really cool about the tape is how it can be used on so many body parts. The tape comes in a long roll so it can be cut to the appropriate length depending on your need. Whether you need it on your arms, legs, back, or any other spot, I am sure there is a taping technique.
Overall, I think I am now a believer in Kinesiology Tape. Since I am training for an Ironman, I think I really am going to use this stuff through my training. On my long days, I definitely can use all the help I can get. I do wish it was a bit easier to get all the techniques that I see on the site and brochures. I also must say that the camouflage and biohazard styles I tested are a bit much for me but that is why they offer so many schemes. There is something for everyone. I think I am a solid black or blue guy. IF you have not given RockTape a try, I would definitely recommend it. RockTape retails for $20 a roll. Not only is it good for performance but recovery too. As always, your mileage may vary.


The NSF-funded Advocates & Allies for Equity initiative formally launched at The Ohio State University in November 2016 and focuses on transforming the climate of the institution by enhancing men's engagement in gender equity work.
The Advocates & Allies initiative offers awareness, training and engagement to improve our culture and to position us as a national leader in higher education.
The Women's Place will lead implementation and institutionalization of the initiative along with the College of Engineering, Professor Emerita Hazel Morrow-Jones, Professor Emerita Joan Herbers, Ohio State ADVANCE, and the Advocates & Allies Women's Advisory Council.
The National Science Foundation (NSF) ADVANCE FORWARD grant, originally awarded to North Dakota State University (NDSU), was expanded to include other institutional partners across the nation. Grant partners will study the Advocates & Allies initiative's effects on climate at these institutions: NDSU, The Ohio State University, Rochester Institute of Technology, University of North Texas, and the University of Wyoming.
Helping to schedule an Ally facilitation in your unit/department. Both men and women can participate by requesting a facilitation.
Becoming an Ally by participating in a facilitation and committing to actions that advance equity and inclusion.
To participate in the Ohio State Advocates & Allies for Equity initiative, please email us.
Advocates are senior faculty and administrative men who have a record of supporting women staff and faculty. Advocates lead facilitated conversations with other men to expose them to ways of better identifying and behaving as Allies in gender equity. These groups share evidence-based knowledge, skills and strategies to effect positive personal, departmental and institutional change.
The goal of the initiative is to help create a more equitable environment and advance the professional interests of women faculty and staff and other underrepresented groups. This program is designed to bring men further into the gender equity equation by building a cross-campus network of male Allies who share an understanding of the effects of implicit bias and systematic privilege and to introduce specific practical actions to help men better support women at the university.
Allies are men willing to identify themselves as Allies of women faculty and staff. They become Allies by attending and participating in a two-hour facilitated conversation with other men, which is lead by the Advocates, senior faculty and administrative men who already have a substantial record of supporting women staff and faculty.
After participating in a facilitation, Allies commit to understand the issues, adopt specific approaches and behaviors, and ultimately extend the benefits of privilege and influence to women and underrepresented minorities in their departments/units and beyond.
The facilitations include only men because a fear of making mistakes, being blamed or being judged by women can keep men from participating in university-sponsored events and discussions related to issues of gender and diversity. Offering Allies facilitations for men only provides a safe and supportive space that is vital to their success. Safety fuels participation in difficult conversations. It's an environment where men, often for the first time, can openly explore their questions, confusions, hopes, and concerns related to "diversity issues" in their organizations.
If you would like your department/unit to participate in helping to change the culture at Ohio State, submit an Ally facilitation request below. The Women's Place will email you within 7 days after you submit your request and guide you through the simple process of scheduling a facilitation for men in your department.


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About the Rio Samba Parade During Carnival
Rio Samba Parade: The biggest attraction on earth
The samba parade held to celebrate the Rio Carnival is undoubtedly the biggest attraction on earth, with visitors from around the world flocking to Rio for a week of dancing, singing, and partying. To vibe with the rhythm of the samba the only place to be is the Rio Carnival. In all likelihood, the quest to experience the Carnival once could turn out to be an annual habit for any tourist.
The Carnival is the best time to experience the best of Brazilian culture, for this is one occasion that truly sums up the carioca way of life. Since 1984, the parade is held at the Sambadrome where twelve of the top samba schools vie for the prestigious championship title every year.
Choreography at its best
Each samba school presents a theme which is portrayed by a team of musicians, samba dancers, and well decorated floats. Months of preparation are put in by the samba schools who mobilize the support of thousands of locals from their communities. At the forefront of the preparations is the Carnvalesco or Carnival Director who sets the theme and organizes practically everything required for the parade right from the costume designs, decorations, theme song, and much more.
The samba schools start planning their program next year as soon as this year's Carnival is over. Musicians, architects, fashion designers and choreographers work throughout the year to present 80 minutes of mind blowing samba mania. Each artist puts forth his or her best effort to ensure their samba school's show will be the most amazing of all.
Carnivals top samba schools
Unlike Rio's famous street parties, the samba parade is a highly orchestrated event with each individual having a particular role to play according to the school's theme. On Sunday and Monday the 12 top samba schools that include Beija-Flor, Mocidade, Salgueiro, Portela, Unidos da Tijuca, Mangueira, among others. The number of points a samba school earns during the Sambadrome competition determines their place in next year's competition. Those with fewer points compete in the lower groups and those with higher points strut their stuff in the elite group.
Alas or Wings – Ground Level Entertainment
For the samba parade each school is divided into sections called 'alas' or wings, with each wing consisting of 100 members or more wearing the same costume. In some samba schools, each wing will choreograph their own dance that they practice for months prior to the Carnival. While the dance does contribute to the overall score, the dancers must be upbeat, happy and sing their samba school song throughout the parade.
Each wing has a specific role to play according to the school's theme. In between these wings are the floats that separate each section. To get the attention of the judges, the floats are designed with special effects. Two of the more spectacular floats have been a fire breathing dragon and a metal eagle that soared along the parade route flapping his wings.
The elaborately decorated floats are pushed by men while others are motorized. You will find a group of mesmerizing samba dancers along with special guests atop these floats. Many celebrities lend their support to samba schools so don't be surprised to find some of your favorite stars taking part in the parade. Many of the star performers who ride the floats have to pay for their own costumes and they can cost a fortune. In some situations the samba school will absorb the cost. One of the highest honors a samba school member can receive is a place on the float.
The Flag Bearer and her Escort
The first couple to come dancing down the parade strip carrying the school's flag is the Porta Bandeira and Mestre Sala. While the lady moves along with the flag her escort dances gracefully around her. Most schools have several flag bearers, however, the first one is the most important in the eyes of the judges.
Baianas - Whirling Ladies
The Baianas are a group of older women that represents the soul of the samba schools, which are their African roots. These much respected women put up a spectacular presentation of the samba in their traditional Bahia costumes, earning plenty of applause from the spectators. Unfortunately, spectators cannot purchase costumes and join these ladies in their samba performance.
This wing is dedicated exclusively to those women you have toiled for many years preparing their samba school for Carnival after Carnival. It is a way for the younger generations to show their appreciation for all the love and support these wonderful ladies have given to their samba school.
Queen of the Drummers and the Bateria
At the very heart of the samba parade are the bateria or drummers that provide the much needed energy for the samba dancers. The echoes of the drum beats with the Sambadrome are enough to keep even the spectators dancing all night long. Becoming a drummer requires extreme discipline and training. Innovation has infused the drumbeat with rhythms such as Brazilian Funk. And while these different beats do please the audience, the rhythm of the samba is the most important element to echo from these drums.
They are lead by a beautiful female samba dancer, the Queen of the Drummers, who introduces the drummers to the crowd, motivating them all the way down the samba strip. Lucky is the lady who is selected to be Queen of the Drummers for her samba school. It is not unusual for a popular celebrity to be tasked in this role. However, even the celebrity is expected to take her part seriously and attend all rehearsals. She must captivate her audience during the Carnival and win their support.
The baterias of samba schools are so famous in Rio de Janeiro that during the year, when there are not in Carnival, they play in ceremonies, celebrations and parties around town.
Passistas – Carnival's leading samba dancers
Of course, no parade can be bereft of the Passistas or samba dancers that dance the entire length of the samba strip. This group of 15-20 dancers is chosen through a competition each year and has the honor of representing their samba school. Well known lead vocalists and a group of fellow vocalists do justice to the samba songs that are composed for especially for the parade.
They are usually on the sound truck behind the percussionists or find their way marching along with the school down the runway. One of the most important elements in the samba school parade is the rhythm and the lyrics of the theme song. The song must energize the dancers and the audience generating an intense desire to dance. The song must be related to the chosen theme and this theme should also be represented in the costumes, floats and wings.
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Sometimes the Earth died in fire. Sometimes it was blown to pieces; other times it was ice that rose up against it. Jack might not remember all the variations, but he was old enough and Time Agent enough to recognise when the time line had been changed – after-effects of the Doctor's meddling perhaps, or his own; although it was just as likely to be something minor. Those famous metaphorical butterflies, and their hurricane wings; some tiny event in the life of an ordinary human, oblivious to the bigger picture and their brushstrokes upon it. The only thing he knew for sure was that, eventually, the Earth would always die. It was inevitable.
He was even there in the midst of it all once or twice – largely through gross miscalculation – trapped on that suddenly so fragile crust alongside what remained of the population. Saw the fiery hail rain down, or the sky torn apart, or the sun looming just that final inch too close to the atmosphere. Burned up only to wake again, in the cold deadness of a weirdly Earthless space. Sometimes he watched it from afar. Maybe it was an act of kindness on his part – like the death-watch at the bedside of an old friend, ready to hold a cooling hand in the final moments. The Earth was not the planet he had been born on, nor even the planet he had lived on the longest – with a life as long as his, all planets were home, at least occasionally. But the Earth, somehow, was special. It was where he had learned to be himself. It had been his prison, and also his cradle. It was where he had met the Doctor.
He stood now on the deck of a Kalgorian mine-ship, alongside a crew ready to gather up what minerals might be recovered from the approaching end. This time it was volcanoes – massive, super-powerful volcanoes, conjured up by tectonic activity gone wild. Humanity had moved on long ago, taking their 71st century Noah's Ark alongside them, away to populate a dozen distant worlds. The continents had shifted into new, extreme patterns, the sea levels risen high, the clouds turned broiling and black by volcanic effluvia. It was like looking at a stranger. Jack watched it anyway, as the fires and lava engulfed the surface, and the clouds engulfed the sky. As the juddering death throes of all that geothermal madness tore cracks no amount of lava could fill. As the planet of his forebears cracked and roared and, in the end, drifted away on tendrils of smouldering dust, that painted a last, fleeting signature across an indifferent void.


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