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Posted on July 17, 2014 March 18, 2019
Comment on Proposed Pilot to Support NIGMS Investigators' Overall Research Programs
by Dr. Jon Lorsch
We're planning an experiment in how we fund research, and we want your input. As outlined in the Request for Information (RFI) included below, we propose to create a pilot program called Maximizing Investigators' Research Award (MIRA) that would support all of the projects in an investigator's lab that are relevant to the NIGMS mission.
We expect that the MIRA program will offer a number of benefits. For instance, investigators would not have to break their work into smaller, strictly prescribed increments. In addition, the program could improve funding stability and enhance grantees' flexibility to follow new research directions as opportunities and ideas arise.
It's important to note that MIRAs are not intended to be a method for supporting only a perceived elite group of investigators or promoting only high-risk, high-potential-reward research.
Our intent is to pilot a program that might transform how we support fundamental biomedical research, creating a more productive, efficient and sustainable enterprise. I encourage you to read the proposal and share your comments using the RFI input form (no longer available) by the August 15 deadline. We welcome responses from both individuals and organizations.
Request for Information (RFI): Soliciting Comments on a Potential New Program for Research Funding by the National Institute of General Medical Sciences
Notice Number: NOT-GM-14-122
Response Date: August 15, 2014
Related Announcements
National Institute of General Medical Sciences (NIGMS)
This is a time-sensitive Request for Information (RFI) directed at obtaining input to assist the National Institute of General Medical Sciences (NIGMS) in its planning for a potential new program tentatively named Maximizing Investigators' Research Award (MIRA). This award would be a grant in support of all of the research supported by NIGMS in an investigator's laboratory.
Supporting basic research by funding individual projects has a number of consequences for the efficiency and effectiveness of the basic biomedical research enterprise in the U.S. (Alberts, 1985; Ioannidis, 2011; Vale, 2012; Bourne, 2013; Alberts et al., 2014). To address these issues and increase the efficiency and efficacy of its funding mechanisms, NIGMS is considering a pilot program to fund investigators' overall research programs, which represents a compilation of the investigator's research projects. It is hoped that this new funding mechanism will achieve the following:
Increase the stability of funding for NIGMS-supported investigators, which could enhance their ability to take on ambitious scientific projects and approach problems creatively.
Increase flexibility for investigators to follow important new research directions as opportunities arise, rather than being bound to specific aims proposed in advance of the studies.
Improve the distribution of funding among the nation's highly talented and promising investigators to increase overall scientific productivity and the chances for important breakthroughs.
In the long term, reduce the time spent by researchers writing and reviewing grant applications, allowing them to spend more time conducting research.
Overview of the proposed NIGMS MIRA program
An NIGMS MIRA would provide support for a lab's research program, which represents a compilation of the investigator's NIGMS research projects (research areas supported by NIGMS are outlined at our website). Researchers would have the freedom to explore new avenues of inquiry that arise during the course of their work as long as those avenues are relevant to the mission of the Institute and do not require additional review for regulatory compliance (e.g., new human subjects research).
An NIGMS MIRA would be renewable.
Funding would range from $150,000-$750,000 (direct costs/year), depending on recommendations of the study section and the National Advisory General Medical Sciences Council as well as staff evaluation of the needs and expected productivity and impact of the program. Support for the investigator from sources other than NIGMS would be taken into consideration when deciding on funding levels for an NIGMS MIRA.
Up to $150,000 in administrative supplement support for the purchase of new equipment could be requested by an NIGMS MIRA grantee per grant cycle. Decisions on these requests would be made by NIGMS staff and the National Advisory General Medical Sciences Council based on an assessment of need and the potential impact of the new equipment on the research. The number of supplements given would depend on the available funds.
The median direct costs for NIGMS MIRAs would be higher than the current median R01 direct costs at NIGMS.
The length of an NIGMS MIRA would be 5 years, which is longer than the current average for an NIGMS R01 of close to 4 years.
A researcher funded by an NIGMS MIRA would not be given any other sources of NIGMS funding with the following exceptions:
Grants supporting research resources
Grants supporting training, workforce development or diversity building
Funding for clinical trials
SBIR/STTR grants
Conference grant
The Program Director/Principal Investigator (PD/PI) would be expected to commit at least 50 percent research effort to the NIGMS MIRA.
Revision applications to allow new collaborative work might be included as part of this program.
Review of the application would emphasize a holistic evaluation of the investigator's track record and the overall potential importance of the proposed research program, without focusing on specific project details. Specific aims would not be required. The process would include peer review using existing criteria and processes but would be tailored to address the particular features of the MIRA (see the section below on the Possible Peer Review Process).
To avoid the abrupt termination of research groups from an adverse round of peer review, NIGMS MIRAs could be ramped down from one funding level to a lower one that is more consistent with the recent and perceived future productivity of the group and the importance of the work, as assessed by the study section. Conversely, a renewing program could have its budget increased if the perceived productivity, impact and needs merited it. As per standard grants policy, NIGMS program staff would make decisions on funding levels, guided by the recommendations from study sections and the National General Medical Sciences Council.
Possible Peer Review Process
In addition to the standard review criteria, among the considerations reviewers would be asked to address in reviewing MIRA applications are whether:
The proposed research effort is substantive, broad and ambitious.
A PD/PI's record shows evidence of productivity, creativity, adaptability, service and excellence in mentoring.
For Early stage Investigators (ESIs), there is evidence of productivity, independent research and contributions to the design and direction of past research efforts.
The proposed research includes evidence of creativity and the incorporation of novel approaches as appropriate.
There are sound bases and generally well-thought-through and reasoned approaches for the proposed research effort.
There is evidence that the PD/PI has considered alternative approaches, outcomes, models and directions that might inform the scientific questions being posed.
The work will be conducted carefully and cost-effectively, with good stewardship of the data generated.
For ESIs, there is evidence of institutional support and mentoring.
Possible Implementation Plan
Because this is a pilot program, implementation must be carefully phased in and outcomes and unintended consequences assessed along the way. One possible implementation plan, consisting initially of two paths, is outlined below.
In lieu of a competitive renewal (Type 2), PDs/PIs who currently have two or more NIGMS R01s could apply for an NIGMS MIRA. Application for a MIRA would be evidence of a willingness to relinquish all other NIGMS research grants upon award. Award of the MIRA would be contingent on relinquishing other current NIGMS research grants in favor of the MIRA. Applicants proposing to consolidate their NIGMS awards would have to submit a MIRA application that would undergo peer review. The budget would be higher than that for any of the individual awards the PD/PI has, but usually less than the total of all of his or her NIGMS support. The length of the NIGMS MIRA would be 5 years.
The program could be open to applications from ESIs. This would bring a cadre of ESIs into the system who could be directly compared to other NIH-supported ESIs funded through traditional mechanisms. MIRA would be considered a substantial, independent NIH research award that disqualifies an individual from classification as an ESI.
The MIRA Funding Opportunity Announcement, when ultimately published, will include metrics that will be used to evaluate the success of the program. Once the program is established and indications of success have been measured, additional groups of investigators would be invited to apply for NIGMS MIRAs. If the program becomes successful, it would ultimately be open to applications from all investigators working on topics relevant to the mission of NIGMS and could become the primary research funding mechanism used by the Institute.
Information Requested
NIGMS is planning to issue a Funding Opportunity Announcement (FOA) to test this new program on a pilot scale. To aid in planning, the Institute is seeking feedback from the scientific community. NIGMS invites comments on the topics below; however, comments are not limited to these topics.
The merits of this funding program for established and early stage investigators.
The likelihood that established and early stage investigators would apply for NIGMS MIRAs.
Concerns about the NIGMS MIRA proposal.
Suggestions for changes to improve the NIGMS MIRA proposal or associated processes.
Submitting a Response
All responses must be submitted to https://www.research.net/s/NewGrantProgram_gov (no longer available) by August 15, 2014. Responses are limited to 500 words per topic.
This RFI is for planning purposes only and should not be construed as a solicitation for applications or an obligation on the part of the government. The government will not pay for the preparation of any information submitted or for the government's use of that information.
The NIH will use the information submitted in response to this RFI at its discretion and will not provide comments to any responder's submission. However, responses to the RFI may be reflected in future funding opportunity announcements. The information provided will be analyzed and may appear in reports. Respondents are advised that the Government is under no obligation to acknowledge receipt of the information or provide feedback to respondents with respect to any information submitted. No proprietary, classified, confidential, or sensitive information should be included in your response. The Government reserves the right to use any non-proprietary technical information in any resultant solicitation(s).
Please direct all inquiries to:
Peter C. Preusch, Ph.D.
Helen R. Sunshine, Ph.D.
National Institutes of General Medical Sciences (NIGMS)
Category Icon CategoriesDirector's Messages, News, Requests for InformationTags Icon TagsMIRA
29 Replies to "Comment on Proposed Pilot to Support NIGMS Investigators' Overall Research Programs"
A good idea, but why not extend it to those who have had long-term NIGMS R01 funding, but do not have it right now?
John F Nagle says:
I fully support the NIGMS MIRA pilot program. I also hope it is successful and that it will become, if not the norm, at least a significant fraction of NIGMS funding. The current system is artificially constrictive, as is recognized by many of the most productive researchers. The current system also forces PIs to apply for more than one grant to cover disparate research that is appropriate for a creative researcher to wish to pursue.
Regarding the specific questions asked of responders: MIRA would be ideal for established investigators. It would be more difficult for early stage investigators to break into, but more young investigator grants could compensate.
Greg Gibson says:
Sounds like a fabulous idea. Any program that places the emphasis on individual productivity of the disaster that traditional peer-review has become is most welcome.
I imagine that you will have all sorts of issues such as whether to include grants held from other Institutes, the impact on collaborative projects across Institutions that an investigator already holds, and whether a P01 sub-grant of the same size as an R01 counts toward the eligibility. Two of these would affect me, but in principle it is definitely something I would apply to in the future.
Good luck with it
Steve Kron says:
This is a surprising response to the ongoing crisis. NIGMS has so few dollars to spread among so many wonderful scientists pursuing so many interesting topics. Colleagues whose empty labs and promising ideas have lost all funding are the major issue. Relieving the burden of those writing grants to maintain a lab of a dozen pales by comparison.
Antonio Giraldez says:
Congratulations on your vision. These are the best news I have heard from NIH. I've been funded from nigms for about 7 years and this institute has been absolutely fantastic to me and helped me tremendously in my career, however I find individual grants are too narrowly defined. Supporting a broad research program will help tremendously to balance funding and plan ahead better.
Thank you for such innovative idea.
L. Mario Amzel says:
The idea is outstanding. This type of grant should have been instituted many years ago.
There is a problem with the first path. Investigators may have had their second grant directed to another institute. Will that actually prevent them to apply to this initiative? Investigators coming off an HHMI award may have one or no NIGMS grants; will they be not eligible? It would be more reasonable to have the first path open to everybody and have a path for special consideration for ESIs.
AGP says:
TBT says:
Great idea. Would give PIs much more flexibility than chasing down the data to support that specific aim or holding back publishing data just to look good on a grant.
I have a concern about the % effort since some institutions require the salary recovery to match the effort. Might want to consider a capping the direct cost that can be applied to the PI salary (e.g 20% of the award). If that hits 50% recovery without exceeding the 20% then that's fine – but what you are looking to do is avoid cases where the majority of the award is spent for recovery of the PIs salary…
Donna Pezeshki says:
Leslie Pick says:
This sounds like a good idea to me. My only potential concern is with the proposed possible implementation plan: starting out by considering only PIs who have 2 or more existing R01s runs counter to the statement that "It's important to note that MIRAs are not intended to be a method for supporting only a perceived elite group of investigators."
Jon Lorsch says:
Many thanks for the input so far. Please keep it coming—and please remember to share it using the RFI form (no longer available).
Regarding Steve Kron's concerns, the goals of the NIGMS MIRA program include increasing funding stability for investigators and improving the Institute's ability to optimally distribute funding among the many highly talented researchers studying problems relevant to the NIGMS mission. We hope that these improvements in stability and efficiency, combined with our ongoing efforts to rebalance our portfolio to renew our commitment to investigator-initiated research, will help ameliorate the problems Steve describes.
The question of who should be eligible for MIRA during the first part of the pilot phase is an important one. Ultimately, if the program is successful it will be open to anyone working in a scientific area supported by NIGMS. During the initial roll-in phase, however, there is a danger that we could exacerbate the problems Steve brings up if not enough of the most highly funded NIGMS investigators enter the program. We will continue to think carefully about how to make the MIRA pilot available to as many investigators as possible, as soon as possible, without causing unintended, negative consequences, and we welcome your suggestions for approaches we could take.
Although I think MIRA is a wonderful idea, I also urge you to rethink the proposed implementation plan. The labs in most need of stable support are those supported by a single R01, as funding gaps are most devastating for those that lack other significant resources. It is also my impression that NIGMS-funded female scientists are more likely to run their labs on a single R01. (These data should be readily available). If this is indeed the case, limiting the implementation to the most highly funded investigators could also have the unintended effect of increasing gender disparities.
Jeremy Berg says:
I think it is important to work through the numbers about this pilot program. By my quick search, there are approximately 500 PIs with more than one active NIGMS R01 grant. How many of these are potentially eligible to consider applying for a MIRA grant and how many would you expect/hope to participate in the program? Also, as Anonymous notes above, by my estimation, about 80% of these PIs are male so potential gender disparities need to be considered carefully.
This is a very interesting statistic. What is the total number of PIs with NIGMS R01 grants? Are the PIs with multiple R01s the top 10%? 1%?
Chris Waters says:
I am SO excited to see this type of funding approach being considered by NIGMS. I wrote a blog earlier this year describing basically the same approach.
http://watersheding.wordpress.com/new-nih-funding-model-fund-people-not-projects/
I really believe the system would be improved if we strove to fund people not projects. I think a key consideration when reviewing the applicants is to normalize productivity to funds received. Obviously, a researcher receiving more funds, including grants AND graduate and postdoctoral fellowship support, will have greater overall productivity. We must make sure we are not comparing apples to oranges or a system like this would just become a positive feedback loop where "the rich get richer".
New blog on MIRA, "MIRA MIRA on the wall, who's the fairest funding system of all" if you are interested:
http://watersheding.wordpress.com/72314-mira-mira-on-the-wall-whos-the-fairest-grant-funding-system-of-all/
Northeast Researcher says:
This is an OUTSTANDING idea. The concept of funding the researcher rather than a specific project is what we should be doing. Furthermore, the ability to ramp up and down funding depending on success makes perfect sense. I have never understood the "all or nothing" approach to funding that currently exists, where funding just stops at a certain score, as opposed to modulating the amounts of the awards based on the scores or success. There will be kinks to work out, and the numbers should be carefully analyzed to make sure that this will not result in the rich getting richer or a loss in total number of funded investigators. But overall I really like this!
Tom Pollard says:
Overall this is an excellent, forward-looking proposal to simplify the support of productive research groups. This mechanism would have been ideal for me, since I have used two NIGMS grants to support my research for more than 40 years. Over this period of time each grant has been reviewed about 10 times. If the MIRA mechanism with five years of funding had been available from the beginning, only about 8 applications would have been reviewed and processed, saving everyone time and effort.
I see two problems that will have to be managed:
1. MIRA would have precluded my participation in a NIGMS program project grant with a variety of collaborators over the past ten years. You may want to think about how a MIRA participant might contribute to that sort of larger scale effort.
2. The requirement to devote 50% effort to the MIRA program will be problematic for those at institutions that provide faculty with 9 months of salary. Managing the extra 25% effort on the MIRA will require one of two equally negative strategies: (i) The MIRA investigator could ask for 50% salary on the grant and negotiate with their employer to recover the 25% of their hard money salary to support their research. (ii) The MIRA investigator could request only 25% of their salary on the grant but commit 50% effort. In this case the employer would have to pay the overhead on the 25% of "contributed effort." Employers are very reluctant to do this. Obviously employers should be rewarded not penalized for paying faculty salary to work on federally funded research, but this would require a change in the federal accounting practices.
Lila Gierasch says:
It's 51% of the research effort a PI must commit… not 51% of their total effort. Not unlike the Pioneer requirements. Look at total research effort and over half must go to the MIRA. I believe this is not a problem for 9 month salaried folks.
DrugMonkey says:
Five years is insufficient to affect the PI perception (and let us face it, reality) of instability. If you really want to affect that aspect the key is to extend the interval of high-confidence funding.
I favor an increase in the use of R37/MERIT, myself. Could also be done with clearly enhanced paylines for competing continuations but that runs the risk of study section pushback (see ESI paylines) that ruins the outcome.
Andy Fire says:
The program sounds potentially very valuable both for established investigators who prefer not to artificially segment their research programs and for new investigators who have a set of great ideas and a strong track record of making new and innovative science happen. The discussion of the program online is also tremendously valuable and well thought out. Details of how to administer the program, how to ensure that institutions accept a single-award model for investigator productivity (rather than pressuring investigators to obtain additional grants 'at any cost' in time and effort), and of how to avoid a obvious-superstar-already-annointed-by-many-other-accolades focus of the program will all be challenging but worthwhile.
I have just one additional suggestion, not related to this program but related to the process. I wonder if ALL new RFAs can be subject at a draft stage to an initial comment period as this program has. Such a process would be tremendously useful in making sure that any science-specific RFAs that are truly needed are indeed optimized for best impact on the scientific future, and (undoubtedly) to obtain feedback from a larger community before a commitment is made to weed out any RFAs that are too narrow or are mis-focused in terms of a true return on investment.
Andy Fire (Stanford University School of Medicine, Departments of Pathology and Genetics)
Steve Hanes says:
The main problem (see Kron comment) is that as proposed, it is not likely to do much to help the smaller labs that are being shut out of the research funding loop. And although it will reduce the burden of grant writing for multi-grant PIs, it will effectively lock up funds of up to 3 standard R01s ($750K/yr), making it even harder for smaller labs to compete. The program should be altered to target two types of laboratories. Example, have L-MIRA (Large MIRA) and S-MIRA (Small-MIRA) applications, broken down into two dollar ranges, funded by two separate pools of money. The amount available in each pool needs to be scrutinized carefully.
S-MIRA $150-300K per year.
L-MIRA $300-750K per year.
And, importantly begin the PILOT program with S-MIRA grant applications. This will both test the program and address the burning-research-house problem by saving small labs before they perish. Hold off on L-MIRA applications for a couple of years while the research enterprise is stabilized.
Kevin Struhl says:
FANTASTIC! I've been pushing a PI-based (as opposed to project-based) basis for evaulation for more than a decade, and never thought it had any chance of happening. Past performance is by far the best predictor of future accomplishments, not poor guesses by grant reviewers who are often biased and/or marginally knowledgeable. A PI-based mechanism has numerous advantages; much less time spent writing and reviewing grants; easy dealing with overlap issues and gaming the system; allows innovation by putting the risk on the investigator who has the greatest stake in the outcome and the best judgment; avoiding the quantized nature of individual project grants; must more stable funding for individual labs.
1. PI record should be biased towards more recent accomplishments but also include (on a sliding scale over time) past ones. This helps balance the new vs. senior investigator issue. First-time investigators have significant track records over a 5-10 year period which helps evaluation, long-time very successful investigators get deserved benefits, and long-time investigators whose output has diminished get some credit for their earlier work but also lose points on recent productivity.
2. I like the idea that a PI is given a score analogous to a chess rating, the score being based on comment 1 above. Over time, the score can go up or down, depending on what happened during the previous granting period. And, I think the simplest mechanism is that their is a simple scale that links the score to dollars. This way, if the PI improves of declines during a grant period, their future funding goes up or down, but not all-or-none (unless there isn't any productivity)
3. There is an overlap issue that needs to be dealt with, namely funding from other sources. For example, if a person has both GM support and CA support, the PI evaluation should either be done only on the GM part, or it can be done on all support, but the dollars given by GM reflect the percent effort for the GM part. Similar issues will occur with private foundation money or project-based grants from other NIH institutes or programs.
I can't say how much I think a PI-based evaluation should be implemented. It would be the best thing the NIH has done in 50 years for funding research.
Kevin Struhl
Thanks for pursuing this and requesting feedback! I think the MIRA program could help solve several major problems – incontinuity of funding, the burden of writing and reviewing increasing numbers of grants, and the constraints of aims-based awards on research. I saw Dr. Lorsch give a great talk on the MIRA program. He noted that the research return-on-investment declines after a PI receives more than ~ 300k a year, and starts to dip negative after about ~$750k / yr. It would be wonderful if MIRA could address this, leading to more funded labs with a bit less money each. The current situation has 5% of the PIs receiving 25% of NIH funding, and the top 20% get 50% of funds (Dr. Lorsch's numbers).
To be successful, MIRAs should be structured such that scientific "elite" don't get most of these grants. I second Steve Hanes's idea of two separate MIRA programs (Large and Small) with separate competition pools. I would also suggest that the size of MIRA awards should be scaled in consideration of a PI's current funding from all public and private sources (e.g. 1M / year HHMI awardees probably shouldn't also get $750k / yr MIRA awards). Again, this is due to the lower ROI.
For ESI's, their reputation is tied up closely to those of their mentors (for better or worse). I suggest ESI MIRAs should focus on the ideas presented and the likelihood of strongly impacting one or more fields.
Steven Boxer says:
My initial reaction to this was positive (I have 2 R01's in very different areas). However, if someone went down this path, they would be putting all their eggs in one basket. Loss of 1 grant is a disaster, but loss of 2 would be a catastrophe. It is much like any issue of diversification – it would be better to have the totals/grant increase and the funding %tile more reasonable despite what appears to be less grant writing/reviewing. Of course the winners would think it's a great idea!
I think this is the best idea to come out of the NIH in all of the time I have been in Academia. My worry would be that it would be rolled out on a limited basis only with too little money devoted to it and it would fail to impress then. The success rates and the impact would be too low. My hope is that you go all the way and really give us approach a full try. I am certainly applying for it. Can't wait!
M. Pagano says:
The NCI has recently announced the Outstanding Investigator Award (R35) to support investigators with outstanding records of productivity in cancer research with up to $600,000 in direct costs per year for 7 years to provide funding stability. The Canadian Institutes of Health Research program has already implemented a similar design, with established investigators being awarded 7-year grants and new/early career investigators being awarded 5-year grants. Why is MIRA for only five years? And, perhaps more importantly, why are regular GM grants still for only four years? Regular grants should be funded for 5 years and MIRA grants for 7. This will help everyone to save time and money.
The average period for completing and publishing scientific studies in the biomedical field has increased tremendously. (In parallel, the average period for finishing a Ph.D. or a postdoctoral fellowship has also increased from approximately two years in the 1980s to more than five years currently.) This increase is mostly due to the fact that it is difficult/impossible to publish smaller, sequential scientific observations that will only form a complete study over time. Currently, each paper needs to be a complete study (or "story," as editors like to call them). Because of this situation, the GM practice of awarding only four years is antiquated and creates a burden for scientists (who need to apply for renewal every three years), reviewers, and NIH administrators. Dr. Lawrence Tabak, in a recent piece published in "Peer Review Notes May 2014," says that the NIH should "Reduce perverse incentives by… …providing longer-term support for investigators." Similarly, in a Nature commentary, coauthored by Dr. Tabak and Dr. Francis Collins (January 2014), it is stated that "The NIH is also considering providing greater stability for investigators at certain, discrete career stages, utilizing grant mechanisms that allow more flexibility and a longer period than the current average of approximately four years of support per project." Therefore, the new MIRA program planned by GM could function as a part of this strategy. However, it would be even more beneficial to a larger scientific community to increase the number of years funded by each regular GM R01 from four to five. Funding grants for only four years is anachronistic, and it overwhelms a system that is already above and beyond its capacity.
I personally would favor the use of systems similar to the R37/MERIT (which, when was implemented, used to reward grantees who obtained high scores twice in a row), or any other system that provide stability to awardees who have done well during the previous cycle. For example, competing renewals could be reviewed separately from new applications and judged in large part on the impact of the work produced during the previous funding cycle.
Emily Carlson says:
The NIGMS Research Project Grant Duration Policy offers background information on the length of R01 awards.
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Dr. Jon Lorsch
As NIGMS director, Jon oversees the Institute's research, training, and other programs. He's committed to engaging the scientific community on a wide range of topics, including funding policies and trends, research evaluation, and workforce development and diversity.


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Have you ever thought to yourself "I'm not that creative"?
Do you compare yourself to others who you think are "more creative than you"?
If these thoughts have ever passed through you… are you willing to consider it's simply NOT TRUE? Are you open to leaving the past behind and allowing creativity to flow through you, right here and now?
It's the inner critic's job to keep you away from the creative intelligence you were born with. It's that voice of doubt that keeps you (me and we) away from accessing your innate creative genius.
So, if you're willing to consider for a moment that YOU ACTUALLY ARE CREATIVE, then it's just a matter of accessing it within.
Abandon fear to access creativity. One of the things that holds you back from being more creative is the fear of making a mistake. You'll be more creative when you give yourself permission to make mistakes and explore new ideas without the limitation of having to be perfect, right or seen by others. Get curious and vulnerable about the unique challenges you are facing. Some of the best ideas are born out of paying attention to gaps, mistakes and frustrations.
Quiet the voice of fear by creating a sacred container for you to feel more safe to be creative. Ask yourself what would make you feel safe to take creative leaps? One of the things I personally do when I'm in a group setting is to set the tone with others by saying that there are no bad ideas and that we will capture all of the ideas that are shared as part of the brainstorming process. This helps set the tone for respecting "new thoughts" and ideas as they flow through without turning to judgement.
You will abandon fear when you stay open, get vulnerable and suspend judgement.
Creativity exists in the first thought. It's the inner critic that comes through in the second and third thought that starts to misdirect you from responding to your innate creative force. When creative ideas come through they may not initially make sense. It might even sound crazy. That's why the inner critic immediately follows up those thoughts with the practical voice of reason.
If you want to be more creative it's incredibly valuable to start listening to the first thought because it's your intuition guiding you. When you start following your first thought more and more, it's like exercise for your intuition. Even if it's as simple as turning left instead of turning right on your regular running route or drive home. Your intuition needs practice and exercise!
Creativity exists in the first thought.
Creativity lives outside your comfort zone. Human beings love patterns and routines, but these patterns can also breed complacency if you're not careful. Patterns can numb your creativity and stop you from responding to your intuition. When you're intuition guides you away from following your regular running route or drive home it's almost automatic not to respond to it because it doesn't make sense.
The next time you are guided to turn left instead of right follow it, you never know where your intuition could be guiding you. You can practice this too by doing simple things like working in a different environment, writing with a purple pen, being creative at a different time of day or night or getting out into nature.
Whatever you do, be sure to make it fun and enjoyable. Don't punish yourself when you're trying to be more creative, follow your intuition for more joy. Be mindful that you're not forcing yourself to get up at 4am when you're not a morning person.
Creativity lives outside your comfort zone.
Don't stop at the first good idea. Instead of merely focusing on the result that you're looking for instead allow yourself the time and space to be creative. For example, if it's your goal to come up with a headline give yourself 20 minutes without any distractions and focus on coming up with as many ideas as you can. Even when you come up with a great idea, keep going, dig deeper, go further.
The subconscious has all kinds of incredible gifts and ideas in it when we give it some breathing room.
I'd love to hear from you… what do you do to be more creative?
Good read! For me, an important aspect of getting creative is being inspired. Before painting, for example, I often Google photography, and pieces that are similar to what I'd like to create. As a highly visual person, I find the exposure to other creative pieces helps me generate ideas.


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marketing mishaps
Minor riot tears down political party SD's posters in Stockholm Subway
by: Dabitch, Aug 5 2015 - 12:06pm
By Dabitch on August 5, 2015 - 12:06
The ad campaign in a single subway station in Stockholm that we wrote about here yesterday, continues to stir controversy. Yesterday evening at 6pm a demonstration was held on Norrmalmstorg in Stockholm, we did go there to see it, there were thousands of people and a heavy police presence. Anti-racist speeches were held by various speakers, and chants of "no racists in our streets" were heard long after the demonstration was supposed to disseminate. Ironically, Romani beggars in the crowd were mainly ignored.
Part of the group of people demonstrating then entered the Östermalmstorg Subway station and tore down all the posters. The police could not stop the crowds, they arrested two people for vandalism of these posters Monday night and took "several people" into custody Tuesday night. This is what the scene looked like.
The debate regarding these posters continues in all of the Swedish media today. Mårten Schultz, Professor of Civil Law, makes it clear that the campaign is "not criminal", in an unusually frank statement for a lawyer, considering the campaign is now reported to the Chancellor of Justice, and thus under investigation. He elaborates, when he explains that this is not hate speech.
It is important to keep this in mind that this is about freedom of expression. In the freedom of speech area, a legislator treads carefully. There are obvious limitations: You must not threaten or defame individuals. You may not manipulate the markets or to lie in court. Sometimes there are more controversial restrictions. One should not, for example, speak to incite to racial hatred (Hate speech). Apart from these legal enactments, the main principle is simple. You are allowed to speak also in a way that annoys or bothers other people, as long as the statement is not harmful or there is a clear risk that will be harmful.
On Monday, several reporters and photographers documented the banners and found there was a spelling error on the word "Government", something that was reported as far and wide away as The Scotsman. Sweden Democrats Chief of PR, Joakim Wallerstein, admits that the spelling error existed on Monday. "It was not a plan to get more media attention" he says, but notes that the campaign has gotten a record level of earned media, some due to the spelling error. Joakim Wallerstein is very pleased with the media penetration of the campaign and explains that the banner with the spelling error was changed during the night between Monday and Tuesday.
Rumours, some true some not, spread like wildfire on social media last night. There were suggestions, for example, that SL (Stockholm Public Transport) would end their contract with Clear Channel over the media space, something which Clear Channels Press Secretary Sofie Brange denies.
We categorically deny That SL would end their dealings with us. We have a very good cooperation with SL. It is worth noting that SL and ourselves have made the same assessment in question, in other words, it is not we who alone make decisions about the advertising that goes up in the subway.
Meanwhile this morning on the Swedish morning news, SL's communications director Suss Forsman Tullberg discussed the campaign with the show hosts and PR-consultant Paul Ronge. Suss Forsman Tullberg considered the demonstration against the posters an "expression of the same rights to speech as the billboards we've chosen to allow on the Subway". She added that it was "sad" that around 200 people stormed the subway station and tore down posters, but according to reports she's received the crowd calmed down and dispersed in a calm manner.
To a direct question about "allowing" this type of speech in the public transportation system, Forsman Tullberg explained: "We have a decision made in 1988 that SL should allow political posters in the transportation system and we are government owned, and as a government run entity we have a responsibility to follow our fundamental law, which also includes the right to equal treatment. We can not choose to have one political party run ads, but not another one."
Paul Ronge admitted he's impressed by how Forsman Tullberg handled the media storm, and how her statements make SL like "the defenders of democracy", but he disagrees that this is a question of democracy. "It is you who decide who can run ads, if the ads are offensive, if many people like for example immigrants, and many people who against racism, will react against this. It's not as if SL's constitutional description says you should throw judgement out, you can make a good judgement call. I don't think that you did, in this case."
Ronge adds that he objects to the copy of the ads, where "We apologise" can be "interpreted as if SD are speaking for the entire Swedish population, they're speaking for me" instead of for themselves as the sender and signee of the copy. It is this authors opinion that Mr Ronge has misread the copy, as the sender is clearly Sweden Democrats, not "the Swedish People".
Forsman Tullberg shot back: "We are not a private company, that can pick and choose, and precisely because were are a government operated entity we need to look at this as a question of democracy. We have a responsibility to uphold the democratic system that we are a part of."
The ad campaign has been reported to the Advertising Ombudsman (RO) 37 times at last count, the Social Democrats in Stockholm County Council are demanding new guidelines for which messages SL will allow, and it's still unclear whether the vandalized ad campaign will be put back up. SD expects it to be, as they have paid for two weeks ad placement, not two days. Meanwhile, SD politician Ted Ekeroth has reported Hanna Gunnarsson, a politician from the communist party, for incitement, after she spread messages on social media encouraging people to tear down and vandalize these posters.
I'll have Morten Shultz tie this up, as hundreds of complaints about this campaign are still rolling into the Chancellor of Justice's office: "Instead complaints (to the Chancellor of Justice) are made, to make a political point. Which brings me to my point. And it is that it's a bad habit to use the law to make political points of legally irrelevant events."
As of the time of press, there are no new posters in Östermalms subway station to replace the ones town down during the riot last night. There are many social media videos out there taken both by professional press and participants, with plenty of these videos found on Twitter under the hashtag #SLspriderrasim.
* Sweden Democrats apologise to tourists for beggars
article #3: an interview with the man behind the campaign.
Bjorn Palenius
- August 7, 2015 - 07:57
How nuts can the left get in Sweden?! I am Swedish but it pisses me of to see, that when the left pretends to speak for justices and fairness they simply do not give a shit for ANYONE who dare not agree with them! Ther'e n NO better than the Nazis!!
kidsleepy
It's typical behavior of social justice warriors. If they don't like what you have to say, you have no right to say it. It's fascism, all right.
Ophidian
Since when did it become it become "racist" to want to protect the ethnic identity of your country and secure it's borders? There are Swedes who want their ancestral homeland to remain Swedish, and these brainwashed "anti-racists" are killing any chance for Sweden to remain what it has been for centuries. They are more than happy to hand over a civilization that their ancestors have built centuries ago to foreigners who have no desire to assimilate. These people are not impressing anybody with their "anti-racism". If anything, the rest of the world sees Sweden as a spineless, PC laughing stock lacking in any cultural pride.
Nobody tells China or Saudi Arabia that they need to get the "racists" off their streets and be more accepting of multiculturalism. They're allowed to be ethnically and culturally homogeneous. BTW, I'm new here. But I figured I'd add to my two cents to this conversation. You people can call me a "racist" or a "Nazi" for espousing the desire for all people to protect their soil and heritage.
This is all that remains of the poster campaign. They couldn't tear this down. SL has decided to not put the campaign back up as "people might get hurt if they attempt to tear it down again".
Robert Downey Senior
I'm not from Sweden, so can someone explain to me how this is racist? The copy only speaks of criminal gangs forcing people to beg, and "Our government won't do what's needed.", pitting this party against the sitting government like all political ads usually do. The photo doesn't even show the person sleeping on the streets skin color. What am I missing here?
The people begging are usually from eastern Europe, typically Romania. It's assumed that only Roma from Romania are in this situation. Thus a billboard saying "Sweden should do better than this", showing a typical street beggars night camp is interpreted as a slight against the Roma people.
Here's a couple of Romanian news reports about the phenomena (in Romanian only). Episode one: Lost paradise: offers reward, and episode two. "Romanian beggars, caused a shock to Sweden, who have never seen the homeless of the 50s and the poverty of the 1900s."
And here we have the problem in Sweden. 'Dabitch', you are one of the problems.
The ad campaign did not specify any group of people or anything, you make your own decision that they are pointing at Romanian people.
Who are the racist here? You use the words 'usually' and 'assumed' those making your own conclusions about who are on the street. You don't know where the person in the picture comes from but you are assuming you know. You are placing your word and thoughts in other peoples minds.
The campaign was not racist according to Swedish laws, it is not riot against specific peoples ('hets mot folkgrupp') since beggers are not a minoritygroup and Romania is not mentioned anywhere... Sorry....
What i am having problems with is the whole show around this, the ad costed SD 300.000 SEK but they get publicity for miljions thanks the leftwing and antiracists, don't you get that?
Also the self-declared God, who, from stage, brainwashed the audience to go and tear the ads down. In front of all TV-networks and cameras, it did the antiracists no good, specially since a lot of the speakers couldn't stick to the subject but had to talk about political (read left-ideology) issues. No one gave a damn about the Romainian beggers that walked around in the crowd, this was just a show to get a political message through from the left.
The God and the people tearing the ad down should be jailed, they are doing a criminal act. But now you reply, it was for a good cause... we can't have that sitting there, we don't like it...
Who are you to judge what is ok or not? Is it ok to break the law just because you don't like the message? Is it ok to go into a store and destroy all 'unwanted' magazines just because you don't like the porn-industry? Is it ok to pour sugar into every car on your street just because you don't like pollution?
No, it is not!
If this would have given the correct effect... a small group of people should during night have gone to the subway and in silence torn down the ads, taking pictures of the empty roof. No media, no speakers, no nothing... then posted the action on the net, showing empty adplaces.
> You are placing your word and thoughts in other peoples minds.
You're misreading my comment. I'm explaining what other people are presumably thinking, as reported in the media and on social media. Please don't confuse Roma with Romanians. Dial it down a notch. I've written three articles on this event*, I suggest you read them all a little more carefully.
p.s the entire campaign cost less than 100,000 SEK (media & print included) last I checked - and I actually checked by picking up the phone and calling to confirm this like a journalist should.
* article one with full text & images of ads, this one above and, article three, an interview with the man behind the campaign.
- September 30, 2015 - 17:03
We have reached peak outrage culture.
Bomb threats to ad agency after SAS ad. Russian botnet was not involved in massive downvote.
by: Dabitch, Feb 13 2020 - 11:43pm
Reactions to Campaign's Nigel Farage article.
by: kidsleepy, Jul 17 2019 - 10:47pm
Prada Pradamalia Otto & Toto characters pulled after accusations of "blackface", Prada apologises
by: Dabitch, Dec 14 2018 - 8:27pm
Åhléns create ad claiming all Swedish Christmas traditions stem from other countries. Get schooled & calls for boycott.
by: Dabitch, Dec 13 2018 - 10:59pm
@Sweden on Twitter shuts down after seven years of being curated by random Swedes
by: Dabitch, Sep 3 2018 - 8:22pm
Lola, the model in the "Racist Dove ad" defends original concept
More marketing mishaps
MeUndies releases "Harry Potter" underwear set, J K Rowling anti-fandom get their panties in a twist.
Amazon launches in Sweden - with a machine translated site full of dirty words
Paypal blocks the word "Tardigrade" and "Cuba", forcing shops to rename their products

redpajama_set_name: RedPajamaCommonCrawl


text:
Ornette Coleman's Inspired Soundtrack for "Who's Crazy?"
Thanks to Ornette Coleman (pictured here, in 1966) and his eponymous trio, some of the best music ever made for a movie is on display in Thomas White's "Who's Crazy?"
COURTESY YOUTUBE
The excessive interest in film scores is as bad for music as it is for movies. Most movie music is dull to listen to on its own, no matter how well it enhances the film in which it's deployed. With relatively few exceptions, the best effects that scores can have are subliminal, fused with and inseparable from the over-all experience of the movie. That's because, for the most part, music is used in movies as sonic wallpaper, covering silences and images with an indifferent and casually factitious unity. That's also why, for the most part, what makes movie music distinctive isn't so much the composition itself as the way that it's used. Creative soundtracks take musical pieces that might otherwise be only adequate, or at least not significantly better than other scores, and elevate them to the realm of the filmmaker's own artistry. On the other hand, the use of great music in movies poses an exceptional challenge for filmmakers, who must make a movie that's worthy of its soundtrack, and use the scores in a way that rivals the music itself in creative originality.
Some of the best music ever made for use in a movie is on display in a long-belated new release, "Who's Crazy?," directed by Thomas White, who shot the film in 1965 and completed it in 1966. He was unable to get it released at the time, and hasn't made another feature to date. (He's now eighty-five.) "Who's Crazy?" is currently in its first theatrical run, at Film Society of Lincoln Center. Most of the film's music is by the Ornette Coleman Trio—the regular working group of the modern-jazz luminary, featuring the bassist David Izenzon and the percussionist Charles Moffett. Coleman, who died in 2015, primarily played alto sax; at the time of the soundtrack recording, in a Paris studio, he was adding violin and trumpet to his repertory, and he plays them frequently in the film.
The movie itself transforms the barest outlines of a narrative—patients from a mental institution escape from a bus and form a society apart in an abandoned farmhouse—into a low-budget frenzy of theatrical invention. Its actors are members of the Living Theatre; White films them with an agile camera and a charcoal-toned palette in a blasted winter landscape. He revels in their flamboyant playfulness and its earnest purpose, in their fusion of slapstick antics with hieratic exaltation. White observes the transformation of the secret society of outsiders into a cult of love, complete with its metaphysical mysteries and rowdy rites. It's a nearly lost masterwork of ecstatic cinema, and the music—and White's use of it—plays a major role in whipping up ecstasies.
The Coleman Trio's performances for "Who's Crazy?" are well worth obsessing over on their own (and have, in fact, been issued as a double-LP and a two-CD set). They are distinguished from Coleman's concert work by their terseness. In concert, Coleman constructed mighty solos that ran more than ten minutes and even as many as twenty; in the studio recording for "Who's Crazy?," where the scenes are brief, the trio shifted gears to match the events onscreen, leading to short, sharply focussed solos, matched by fervent, inspired outpourings from Izenzon and Moffett that distill a single mood or tone. If these abbreviated performances offer only a partial view of the trio's full powers, the recording, which runs more than eighty minutes, is still worthy to stand alongside the group's heralded mid-sixties albums, "At the 'Golden Circle' Stockholm," Volumes 1 and 2; and "Town Hall, 1962."
There's a documentary, by the British filmmaker Dick Fontaine, of the Paris recording sessions in which the trio made the score. The trio improvised, but on the basis of nine new compositions by Coleman that they had rehearsed. Thomas White participated in the session in a significant way: the musicians worked in a studio in which they viewed a (silent) projection of the film, scene by scene, and, with their eyes largely glued to that screen, performed the music in response to it. (That's also how Miles Davis and his quintet recorded, in 1957, the music for Louis Malle's "Elevator to the Gallows.") Without at all intruding on the musicians' art, White guides them to the needs of the film, requesting an additional take, for instance, when the beginning of a track doesn't match up with the beginning of a sequence.
When Moffett complains that White should have stopped the performance as soon as he saw that it was off, the director says that he has never called "Cut!" on one of their performances—and Coleman defuses the tension with a joke: "We never had any knives!" (The musicians gently mock the film between takes.) Fontaine's documentary doesn't probe the musicians' work or world exceptionally deeply, but it offers exciting glimpses of the trio in a state of engaged devotion (Moffett's joy in performing has a special radiance) and creative offhandedness, as in rare sequences of Coleman playing piano (torrentially, precisely), which he never did on record. It also features them in discussion of the rigors of their profession—and of their lives over all.
Coleman tells Fontaine, "All the failure I've had has been related to my sex life, to my race, and to the kind of music I'm playing, and I can't change neither one." He discusses growing up in the South and seeing black people who have "a master's degree in something and get a job as a janitor," and talks about selling lots of records and seeing little money from it, as a result of which he "retreated in America" (he neither recorded nor performed publicly in 1963 and 1964). Moffett describes their condition as black artists in the United States as "living on a ghost of a chance"; Izenzon, who is white, marvels at the strength of character required by his bandmates' endurance as black men in the South, and as black musicians of unyielding conviction. Coleman adds a fillip of personal philosophy that puts his immediate problems into a wider artistic context of creative ferment: "I'm in love with eternity . . . I don't care about how many changes that go on, as long as it keeps going on."
White's idea to employ the Coleman Trio for the "Who's Crazy?" score was an inspiration in itself; how he used the music in the film is an even greater inspiration. First—as the credits at the head of the film announce—he recorded other musicians to use on the soundtrack, too: Marianne Faithfull, singing the Coleman composition "Sadness" (which the trio had recorded during the 1962 concert at Town Hall), plus a rock/jazz organ trio called Les Gottamou, as well as other singers and a guitarist. Which is to say that the credits alone promise a rich and varied musical jambalaya, and that's exactly what White provides—with a simple but bold technical imagination. He abruptly intercuts the different musical sources throughout the film, following a scene with drone-like chanting and two women's incantation of a naïvely metaphysical meditation with one of Coleman's catchiest blues jaunts. He blends Coleman's music with the recordings of actors' sounds on location—scraping and stomping and shouting—and he blends a woman's chant with Coleman's violin, and a woman's tootling on a soprano recorder with Coleman's sax.
Some of the most distinctive music editing comes in a scene of ritual seduction, when the organists of Les Gottamou come in with a slow and funky blues, which White intercuts with rapid playing by the Coleman Trio, overlaid with chanting by the actors. In a scene of a mystic marriage, Coleman drops out altogether and the organ group builds to a frenzied discothèque crescendo along with the clattering and the shouting of the celebrants. In a climactic chase scene, White intercuts different Coleman performances, on trumpet and saxophone, with a hectic brevity that treats the jazz genius's improvisations like actual movie music without betraying their originality. With its harsh disjunctions and clashing textures, the soundtrack plays like a hard-edged collage.
If the very description of White's jagged juxtapositions is agitating, their effect in the film is all the more energizing. Coleman's music isn't, in the literal sense, dance music; it's concert music, and people sit and listen to it. (Even when, in the nineteen-seventies, Coleman formed an electric band that borrowed rock rhythms, he called its first album "Dancing in Your Head.") The actors in "Who's Crazy?" don't dance to the soundtrack, either—but virtually everything that they do is a dance to unheard music. The wild immediacy of the Living Theatre's performances provides the movie with its ecstatic core, and the rhythmic clashes and tonal contrasts that White conjures, in part, through the inspired use of the Ornette Coleman Trio tear through the screen and make for a kind of total cinematic music, drawing viewers into the raucous, hallucinatory, sanctified revelry.
A Lost Masterwork Is Found: Thomas White's "Who's Crazy?"
This long-lost film is a cinematic thrill that deserves an honored place in the history books.
Ornette Coleman and a Joyful Funeral
The funeral was full of a sense of artistic limitlessness and spacey experiment.
By David Remnick


text:
Q: Pass information from one layer to another Abstract view: I want to pass information from one layer to another (note: when there's a better title for this thread let me know).
I have a ViewModel which communications with my Views and my Service layer.
And I have a Service layer communication with my persistence layer.
Let's assume I have the following classes:
public class EmployeeViewModel()
{
    // The following properties are binded to my View (bidirectional communication)
    public Firstname ...
    public Lastname ...
    public Email ...

    public void PerformingSearch()
    {
        ...
        EmployeeService.Search(...);
        ...
    }
}

public class EmployeeService()
{
    public List<Employee> Search(...)
    {
        // Searching in db
    }
}

What is best practice to hand over the data from my ViewModel to my Service layer (e. g. for performing a search)?
I see a few options (ViewModel perspective):

*

*EmployeeService.Search(Firstname, Lastname, Email);

*EmployeeService.Search(employeeSearchModel); // In this case I would need another model. How should the model be instantiated?

*EmployeeService.Search(this); // Convertion has to be done somewhere

Is there any design pattern for this problem? How is it called? What option is best? Did I miss anything?

A: Describing your problem space
Your particular example tells me that your current architecture contains a service layer that sort of acts as a proxy to your data access layer. Without more in-depth knowledge of your architecture I would suggest a possible solution to keep it simple as much as your environment allows.
Now let's try to pick a strategy to get a possible solution model.
Your user story sounds like: "a user submits information to obtain a list of employees".
Your current use-case simplified:

*

*UI: submits some information that you need to serve;

*VM: receives the search terms and passes it next to the service layer;

*SL: sends the received data to Data Access Layer (and maybe updates the response values to VM properties);

*DAL: looks up information in persistence store and returns the obtained values.

A refactored use-case example:

*

*VM: invokes a query with the needed values encapsulated and set the properties to display in the UI.

Looks easier right?
Enter: Command Query Separation
In short CQS:

States that every method should either be a command that performs
  an action, or a query that returns data to the caller, but not both.

In your particular case we need to focus on queries, where:

Queries: Return a result and do not change the observable state of the system (are free of side effects).

But how does this help you? Let's see.
A very good and detailed explanation of CQS query-side can be read fully at the "Meanwhile... on the query side of my architecture" blog post from Steven.
Query concept applied to your problem
Defining an interface for the query object
public interface IQuery<TResult> {}

The query handler definition:
public interface IQueryHandler<TQuery, TResult> where TQuery : IQuery<TResult>
{
    TResult Handle(TQuery query);
}

Now here is an implementation of your "search" query object. This is effectively the answer for your "how to pass information" question :
public class FindEmployeeBySearchTextQuery : IQuery<Employee>
{
    public string FirstName { get; set; }

    public string LastName { get; set; }

    public string Email { get; set; }
}

And last a query handler that you will pass in your query object:
public class FindEmployeeBySearchTextQueryHandler
    : IQueryHandler<FindEmployeeBySearchTextQuery, List<Employee>>
{
    private readonly IDbContext db;

    public FindEmployeeBySearchTextQueryHandler(IDbContext db)
    {
        this.db = db;
    }

    public List<Employee> Handle(FindEmployeeBySearchTextQuery query)
    {
        return (
            from employee in this.db.employees
            where employee.FirstName.Contains(query.FirstName) ||
                  employee.LastName.Contains(query.LastName) ||
                  employee.Email == query.Email
            select employee )
            .ToList();
    }
}

Note: this Handle() example implementation uses Entity Frameworks' IDbContext, you have got to rework/modify this according to your needs (ADO.NET, NHibernate, etc.).
And finally in your view model:
public class EmployeeViewModel()
{
    private readonly IQueryHandler _queryHandler;
    public EmployeeViewModel(IQueryHandler queryHandler)
    {
        _queryHandler = queryHandler;
    }

    public void PerformingSearch()
    {
        var query = new FindEmployeeBySearchTextQuery
        {
            FirstName = "John",
            LastName = "Doe",
            Email = "stack@has.been.over.flowed.com"
        };

        List<Employee> employees = _queryHandler.Handle(query);

        // .. Do further processing of the obtained data
    }
}

This example assumes that you are using Dependency Injection.
You get IQueryHandler implementation injected into your view models constructor and later work with the received implementation.
Using this approach your code becomes cleaner, more use-case driven and will have better isolation of responsibilities which you can easily test and decorate with further cross-cutting concerns.

redpajama_set_name: RedPajamaStackExchange


text:
46 open access dissertations and theses found for:
cmt(Root, Tara) » Refine Search
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text:
NEW AUKI POLICE STATION OPENED
Government, Malaita Province, People, Police, RAMSI, Solomon Islands, Top Headlines
(Left to Right) Commissioner of Police, Frank Prendergast; Minister of Police, Hon. Peter Shanel Agovaka; Malaita Deputy Premier, Hon. Alick Maeaba; RAMSI Special Coordinator, Justine Braithwaite; Commander RAMSI PPF, Greg Harrigan; and Malaita PPC, Alfred Uiga in front of the new Auki Police station. Photo credit: RAMSI Public Affairs.
The people of Malaita Province will now have access to a modern, spacious and well-equipped police station with the opening of the Malaita Provincial Police Headquarters, worth AUD$1.8 million, in the provincial capital Auki today.
RAMSI Special Coordinator Justine Braithwaite handed over the new Headquarters to the Minister of Police, National Security and Correctional Services Peter Shanel Agovaka.
Speaking in Auki, the RAMSI Special Coordinator said the opening of the facility is proof of RAMSI's commitment to see that the RSIPF is well-supported and well-resourced.
"From today the Auki-based RSIPF will have this state-of-the-art facility with which to serve the surrounding communities now and into the future. This facility is arranged in a way that allows for a better flow of information, more cohesiveness within different departments and a more efficient working environment. The station has new police cells that meet human rights standards and are also fitted with IT cables to Internet services. The facility also allows for a dedicated private room for interviewing victims so that when they come to the police to make a report, they can feel safe and secure."
The RAMSI Special Coordinator also said in handing over this facility, RAMSI expects great service, commitment and professionalism from the Royal Solomon Islands Police Force.
"It's a privilege and honour for me on behalf of RAMSI to hand over this new police station to the Government and people of Solomon Islands through the Ministry of Police, National Security and Correctional Services. In handing over this new police station, RAMSI wants to see the RSIPF to do a good work for the people of Malaita Province. This new station is a gift from us to the people of Malaita and those who are working for the province."
The new Auki Police station was built by Manepuri Construction and was blessed by the Anglican Bishop of Malaita, the Right Reverend Sam Sahu.
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Caesar and the Pirates [Full Version] by Nicholas Richards and Timothy Hallett
Roles Minimum Male roles = 9. Minimum Female roles = 1. Minimum total with doubling = 18. Minimum total without doubling = 29. Chorus. Flexible - the pirates roles could easily be shared by a smaller number and other doubling is possible. On the other hand, there is scope for pirate and soldier chourses. Only one specfied female role - Venus! - but others could be cast female.
Music The Producer's Copy of the script comes with piano and vocal scores for six songs.
Style Musical comedy play for kids - though the songs are optional.
A shorter version of the same play is available.
First published in 2011, revised in 2012.
Synopsis An older Caesar is recounting his campaigns in Gaul to a bored scribe, who suggests that it might benefit Caesar's public image to tell a tale of his younger days... Something dashing, perhaps, involving pirates? As it happens, Caesar does know such a story...
Great fun (and secretly educational) with a genuine event in Caesar's life.
** Vocal recording for five tracks and six rehearsal tracks (accompaniment with an instrument playing the vocal line) for the songs from Caesar and the Pirates [Full Version].
Caesar and the Pirates [Short Version] by Nicholas Richards and Timothy Hallett
Roles Minimum Male roles = 8. Minimum Female roles = 1. Minimum total with doubling = 17. Minimum total without doubling = 29. Chorus. Flexible - the pirates roles could easily be shared by a smaller number and other doubling is possible. On the other hand, there is scope for pirate and soldier chourses. Only one specfied female roles but some could be cast female.
Style Comedy play for kids - with optional songs.
(A longer version of the same play is available.)
** Vocal recording for five tracks and six rehearsal tracks (accompaniment with an instrument playing the vocal line) for the songs from Caesar and the Pirates [Short Version].
Don Q And His Squire Sancho by Dick Caram
Roles Minimum Male roles = 0. Minimum Female roles = 0. Minimum total with doubling = 14. Minimum total without doubling = 28. Chorus. Whilst most of the characters are written male (with three written female), the author believes that indicating the gender of the character by costume is sufficient!
Music Piano/vocal scores for two songs (based on Spanish folk tunes) are included with the Producer's Copy of the script.
Style Comedy for kids in two short acts. No specific staging requirements, with some aspects of set and sound effects being provided by the on-stage chorus.
Synopsis Miguel de Cervantes's famed tale of the eccentric knight and his inept but trusting squire.
Alonso Quixano is obsessed with tales of chivalry. So much so that he believes himself to be a knight - Don Quixote - and he sets out to seek adventure, with a peasant farmer, Sancho Panza, as his squire.
Harmony by Neil Armstrong
Roles Minimum Male roles = 7. Minimum Female roles = 8. Minimum total with doubling = 21. Minimum total without doubling = 21. No chorus. Four of the roles are non-speaking.
Music Piano/vocal score for the song 'Harmony' is included with the Producer's copy of the script.
Style One act play (with a song) for a youth theatre group. (Originally commissioned for the youth of the South Shields Customs House Theatre.)
Synopsis Established as a haven or harmonious living, the village of Harmony is waiting for the prophesied visitors that will declare the village the happiest in the world and bring about world peace. But Lizzy and Bez have dropped in on the vital day, and they will change everything.
** A 'backing track CD' with arrangements of songs from the show
Jesters, Jousters & Donuts by Patti Veconi
Music Eight pieces of Renaissance-themed music, scored for junior school musicians, are provided with the Producer's copy of this script.
Style A one act Renaissance-themed school play with music.
Synopsis A troupe of re-enactors assemble in a small town to stage their annual Renaissance Fair - just as contractors with the Dept. of Buildings arrive to announce plans for the sale of the land they are on. The narrator arranges a stay of execution and the show, featuring an archery contest, juggling jesters, a jousting match and not one, but three rival queens, can go on. When the contractors return, (with donuts to share), the actors make their sad goodbyes and exit. The clever Narrator, however, makes a discovery that saves the Renaissance Fair and brings the charming village of Notting-Sher-Wessex-Wood back.
The Labours Of Heracles by Nicholas Richards
Roles Minimum Male roles = 4. Minimum Female roles = 2. Minimum total with doubling = 6. Minimum total without doubling = 27. No chorus. The minimum cast assumes reallocation of the Amazons' lines.
Music The Producer's Copy of the script comes with scores for four original songs.
Style Comedy play with four original songs. Multiple locations, but intended for minimal staging. Intended for school productions from Year 6 (US Grade 5) upwards.
Synopsis Heracles' twelve mighty labours are recreated (and rehydrated) just off the stage in this light comedy based on the Greek legend.(No lions need be harmed in this production.)
** Soundtrack CD - vocal performances of songs from the show
Looking for the Rainbow by Philip Bird (music Isabelle Michalakis)
Roles Minimum Male roles = 13. Minimum Female roles = 14. Minimum total with doubling = 27. Minimum total without doubling = 27. No chorus. More children can be added at the producer's discretion.
Run Time Around 46 minutes. [Estimated!] Dance music, which is not provided, is at the Producer's discretion.
Music Full scores for the 3 songs are included with the Producer's copy of the script. Dance music, not provided, is at the Producer's discretion.
Style A play with music and dance for children, set on an open stage.
Synopsis A fantastical adventure in which two groups of children living on opposite sides of the mountain manage, despite their differing cultures, to join together to find their rainbow.


Students and Parents Against Risks to our Kids (S.P.A.R.K.) with its mission of sparking ideas, sharing information, identifying needs, educating the community, mobilizing resources, promoting collaboration and advocating for sound public policy in a new commitment to empower our citizens in the battle against underage drinking, drugs and internet perils.
Presently our members include parents, teens, school board members, school counselors and public safety officers, members of our worship community, family therapists, attorneys, drug and alcohol counselors and representatives from Southlake Police services. Meetings are open to all who are interested to attend. SPARK welcomes you whether you can only attend an occasional meeting, or want to get heavily involved in making a change for our youth.
For questions or more information about this board, contact Laura Hill at (817) 797-0782.


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Home > News > What does the future hold for Inheritance Tax?
Megan Manganaro ,
What does the future hold for Inheritance Tax?
No tax is popular; however, public opposition to Inheritance Tax (IHT) is particularly widespread despite the fact that only a minority of estates have to pay it. In fact, IHT accounts for less than 1% of UK taxes while affecting less than 5% of estates.
To address criticisms that IHT is unnecessarily complex and unfair, various bodies have been established in recent years to make recommendations and offer practical solutions for reform.
Ultimately, the Government is responsible for considering and implementing any changes suggested by these groups. Of course, the Government could review the recommendations and decide to retain the current regime. But, should it opt for reform, what could be in store for the future of IHT?
Option 1: Implement the OTS Recommendations (July 2019)
What does 'OTS' stand for and what do they do?
The Office of Tax Simplification (OTS) is an independent adviser to the government which offers recommendations to make the design of UK Tax easier to navigate.
In July 2019, the OTS published its second Inheritance Tax review.
Although it is not yet known whether any of the recommendations within the review will lead to legislative changes, it is worth bearing the proposals of the OTS in mind particularly when considering if and when to make a lifetime gift.
The OTS Proposals
The 7-year period
Arguably the most eye-catching recommendation from the report is the proposal to shorten the existing 7 year rule for gifts with a 5 year rule. Currently, when someone makes a lifetime gift, the transfer is not immediately chargeable to inheritance tax. If the transferor survives 7 years from making the gift, they avoid any tax liability.
Justification? The OTS has justified this proposal as data shows the tax paid on gifts 6-7 years prior to death is low. It also suggests it is a way to reduce the significant workload borne by executors.
Effect? As a result of this recommendation, individuals would only need to survive 5 years following a gift in order for it to become exempt for inheritance tax purposes.
However, with this welcome proposal come more controversial recommendations.
Taper relief
The OTS has suggested that taper relief should be abolished.
Taper relief applies in instances where potentially exempt transfers become chargeable, and tax is payable as a result of that transfer i.e. where a transferor dies within 7 years of making a gift. Essentially, for gifts made within 3 to 7 years of death the tax payable is 'tapered', or reduced, on a sliding scale.
The current rates are stated below.
Years between gift and death Tax payable
Up to 3 years 40%
More than 3 years 32%
More than 6 years 8%
7 or more years 0%
Justification? Taper relief is complex and very little inheritance tax is raised for gifts between five and seven years old.
Effect? The effect of the removal of taper relief would be that gifts would see no tax reduction unless the transferor survived the full 7 (or, under the proposals, 5) year period when the gifts would qualify as inheritance tax-exempt.
A single personal allowance exemption
The OTS has proposed that the various exemptions for lifetime gifts (covering small gifts, gifts for weddings and the annual exemption) be pooled into one large annual exemption of capital gifting, set at a sensible level. In making this suggestion, the OTS also proposed the removal of the exemption where an individual gifts regular amounts from their surplus income.
Justification? Replacing the multiplicity of exemptions with a single personal allowance makes a lot of sense with regard to the aim of the OTS: to simplify the design of inheritance tax. Moreover, the OTS suggests that the personal allowance would incorporate an increased threshold for small gifts.
The exemption of normal expenditure out of income is not widely used and would be 'replaced' with a higher personal gift allowance.
Effect? High-earning individuals would no longer benefit from an exemption where making regular gifts from their surplus income. Instead, whether the gift is exempt for inheritance tax purposes would depend on whether they survive the 7 (or, under the proposals, 5) year rule.
Among its recommendations, the OTS has proposed that the government explore the rules surrounding who is liable to pay inheritance tax on lifetime gifts. Their proposed reform would be for the tax is payable by the estate. Under this reform, the burden would pass from the recipient of the gift to the person who makes the gift.
In addition, the OTS suggests reform of the current operation of the nil rate band should be considered. Under the proposed reform, the nil rate band would no longer apply to lifetime gifts in chronological order but rather be allocated across the total value of lifetime gifts.
Option 2: Adopt the APPG's proposal to replace IHT (January 2020)
What does 'APPG' stand for and what do they do?
Similarly to the OTS, in their recent report the All-Party Parliamentary Group (APPG) for Inheritance and Intergenerational Fairness examines concerns surrounding IHT. In particular, it reviews various objections to IHT for validity and suggests possible methods for reform.
Whereas the OTS focussed on piecemeal reform of IHT design, the APPG has suggested a radical overhaul of the current IHT regime.
The APPG Proposals
Recommendation 1: The CGT tax-free death uplift and current IHT regime
The APPG's main recommendation is to replace the current IHT regime with a low flat-rate tax payable on both lifetime gifts and transfers on death, and to reduce IHT reliefs.
The reform would affect the way IHT operates in a number of ways:
Low flat-rate tax
A suggested flat-tax rate of 10% would replace the current regime. At present, estates are taxed at 40% with reliefs and exemptions applying to anything in excess of £325,000.
In addition, the APPG suggest that all reliefs except the spouse and charity exemptions should be abolished.
Justification? The tax will be set at a low enough rate that it can apply on a broad basis and it dispenses with the need for multiple complex reliefs.
Effect? Reliefs would effectively be scrapped, including Business Property Relief and Agricultural Property Relief which can be valuable tools in estate planning.
'Potentially-exempt' transfers would be abolished, except those between spouses and civil partners, meaning all lifetime transfers would be immediately chargeable to tax.
Annual lifetime allowance
The current annual allowance of £3,000 would be replaced by an 'annual lifetime allowance' of £30,000.
In addition, the nil-rate band would no longer be available for lifetime transfers. Instead, it will available only on death as a 'Death Allowance' of £325,000.
Justification? This is based upon evidence that the average smaller household makes lifetime gifts of under £5,000 per annum and thus would fall well into the bracket.
Effect? This proposal effectively abolishes the ability to make a potentially exempt transfer of unlimited value. Instead, any gifts which exceed the £30,000 annual allowance would be immediately liable to tax of 10%.
It would however also mean that lifetime gifts would not affect the tax payable on death. This would avoid the current need for executors to identify all gifts made over £3,000 within 7 years of the death and thus make their role easier to perform.
CGT tax-free death uplift
In addition, the principle that no CGT is payable upon death (known as the 'tax-fee CGT uplift on death') would be abolished.
Effect? The recipient of any gift or inheritance would inherit the donor's base cost, not the value at date of death. Therefore, if they were to sell the asset, they would pay tax on their gain and the deceased's gain.
Recommendation 2: Greater power given to HMRC and HM Treasury
The APPG have also suggested the introduction of compulsory reporting of lifetime gifts in excess of £3,000.
Justification? At present, HMRC has limited information of untaxed lifetime gifts as most do not need to be declared, for instance because the donor has survived 7 years.
Effect? This means that that any gift over the current £3,000 threshold (or a new threshold set by the Government) would need to be reported to HMRC, even if the gift is not immediately taxed.
Overall, the OTS and APPG have produced comprehensive reviews particularly in light of the wide range of opinion on the current tax regime.
On the face of it, the recommendations proposed by the report would simplify the design of inheritance tax albeit with consequences which could prove to disadvantage taxpayers if the proposals were agreed and be impractical in practice.
It should be remembered that there is no guarantee that the government will necessarily adopt any of the recommendations made by the OTS or APPG. However, following Britain's formal exit from the EU and the 10-month transition period ahead, the question arises of when the recommendations will reach parliamentary debate… if at all?
For more information about how the Boyes Turner Wealth Protection team can help you contact the team by email at [email protected].


You can add contacts to a relevant customer in two different ways; either by clicking in the 'Add Related 'ribbon or Relations Panel, or by adding a definable Contacts field to the Customers module grid.
Both methods enable adding multiple customer contacts and defining a contact as the 'main' company contact.
Navigate to the Customers module.
Click located right of the closed Navigation Panel.
The settings menu drops down.
From the menu, under COLUMNS , select Manage.
The Choose Fields multi-find window opens. The Contacts field appears in the right-hand panel.
Check in the Your Selections column and use the controls to s ort the vertical list order.
The field is added to the grid.
Click to activate the Contacts field (or alternatively, select 'Add Related' in the relation panel or ribbon and select 'Contacts').
The Add New Contact Person pop-up opens.
To upload a custom icon, click the contact icon on the left.
Click in order to define the contact to be the main customer contact.
The customer contact is added.


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El Tour de l'Aude va ser un cursa ciclista professional per etapes que es disputava anualment al departament de l'Aude, al sud de França.

Es disputà, durant el mes d'abril, entre el 1957 i el 1986, tot i que entre el 1964 i el 1972 no ho feu. Els ciclistes que més vegades van guanyar la cursa foren l'italià Francesco Moser i l'australià Phil Anderson, amb dues victòries cadascun.

El 1987 es fusionà amb el Gran Premi del Midi Libre, competició, que va desaparèixer el 2003.

Palmarès

Enllaços externs
 Palmarès a memoire-du-cyclisme.eu

Competicions ciclistes franceses
Aude

redpajama_set_name: RedPajamaWikipedia


What Do You Know About Sign Language and the Deaf Community?
Until recently, it seems like The Miracle Worker (the story of Helen Keller), was about the first and last I came across the issue of deafness; though impressionable, this fleeting fourth grade reading requirement blurred in my memory shortly thereafter. And the reality is, I think most everyone can relate.
So when I began working in this area, I realized – as with most subjects – there is significantly more than meets the eye; in no time, I found myself both intrigued and enlightened by the whole topic. Did you know that the term "hearing impaired" can actually be offensive? "Hard-of-hearing" or "deaf" is preferred. Moreover, American Sign Language (ASL) has a code of ethics, and one that is very highly regarded by interpreters. Let's rewind though.
Before going into more detail, it is essential to state that ASL is just one of many, many languages used by the deaf community. We tend to overlook the fact that there is no universal language for this community; actually, the language practically varies by country. For example, those who use British Sign Language (BSL) cannot understand ASL! And so, since I have worked primarily with ASL – the most common form used in North America – my proceeding thoughts, though possibly true for all forms, are my experience with ASL and no other language.
Moving forward, did you know there are facial expressions and postures in ASL, not just hands? As a result of the movements, it can become physically exhausting, not to mention mentally; for this reason, when using interpreters, breaks become essential about every 30 minutes or so. In fact, some settings may require a 'team'. For example, we have used two interpreters for training sessions and long meetings. The backup interpreter is there to communicate anything missed by the main interpreter, and they switch roles also about every 30 minutes.
Likewise, content can have a lot of technical language and acronyms, which can make it even more draining; it is a good idea to use notes, outlines as well as any visual aids including charts for medical settings in almost any interpreting session.
Furthermore, for visual considerations, the deaf person is the one who will be watching both you and the interpreter; for this reason the interpreter should be opposite the deaf person so they can watch. In other formats such as groups, a semi-circle is a good option, and when it comes to an auditorium or large room, the interpreter usually stands at the front and therefore the deaf person should be close enough to see. This brings forth another dynamic- video and telephone conferences: a topic for a whole other entry!
As evidenced above, an ASL interpreting session essentially requires a devised plan. Another efficient way to manage a session is for everyone to have a 'turn' speaking so the deaf person can understand. However, speak at your natural pace; if the interpreter needs you to slow down, they will ask and often will wait for you to finish a thought. What also may seem basic can be somewhat of a test when you find yourself saying "tell him" or "tell her" and looking at the interpreter; but it is important to talk as you normally would while looking straight at the person.
As the interpreter is just there to facilitate communication, they should not be contributing anything to the conversation. Even questions about the subject itself should be asked to the deaf person, not the interpreter; a good time to ask the interpreter is during the break or before or after the meeting. However, the best time to start is start now! Look it up online and read up on the subject. Or, you can always ask a fourth grader.


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Pakistani jets bomb militants
Published: 11:57 pm Oct 13, 2009
DERA ISMAIL KHAN: Pakistani jets bombed militant targets in the main insurgent stronghold along the Afghan border Tuesday ahead of an expected ground offensive there, while the army killed 26 insurgents elsewhere in the northwest, authorities said.
The army says 80 percent of the militant attacks plaguing nuclear-armed Pakistan are planned from South Waziristan, while the United States says insurgent leaders blamed for spiraling violence inAfghanistan are also based in the lawless, remote area.
The army and the government have agreed to launch what is expected to a bloody and difficult ground operation in the mountainous region. An army spokesman Monday declined to say when the operation would begin, but there has been speculation it could be imminent.
For the past three months, jets have been bombing target in the region, and the military has been attempting to cut off militant supply and communication lines. Authorities are also trying to secure the support of militant factions that in the past have agreed not to attack Pakistani troops.
Bombing runs Tuesday destroyed around 15 houses in the Makeen, Ladha and Barwand regions of South Waziristan, a local intelligence official said on condition of anonymity because he was not authorized to brief to the media.
In a reminder of the reach of the militants, authorities said helicopter gunship attacks killed 26 insurgents in Bajur, a tribally administered region that is 185 miles (300 kilometers) north of Waziristan. The army undertook a major offensive there six months ago and declared it free of insurgents, but some still remain.
Abdul Malik, a local government official, said the attacks took place in Damadola and Sawai, known as militant-held areas. He said he got the information about militant casualties from intelligence and military sources.
The militant threat to Pakistan has been highlighted by four major terrorist attacks over the last nine days, including a suicide attack on a U.N. office in the capital that killed five staffers and a 22-hour siege on the army's headquarters over the weekend.
#Pakistani jets bomb militants
Indian Army calls Sikkim face-off reports exaggerated, China urges India to exercise restraint


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Helena Mafalda Correia Marques Drummond, mais conhecida por Mafalda Drummond (17 de Julho de 1957) é uma actriz portuguesa.

Vida Profissional
Estreou-se em 1974, integrando o elenco da peça "Godspell", ao lado de nomes como Rita Ribeiro, Vera Mónica e Carlos Quintas.

Em 1975 faz parte do elenco da revista "Uma no Cravo Outra na Ditadura", no Teatro Maria Vitória, ao lado de Ivone Silva, Nicolau Breyner, Herman José, José de Castro, entre outros.

Participa no Festival da Canção de 1977, ao lado de Joel Branco, com a canção "Rita Rita Limão".

Regressa à revista em 1978 com "Aldeia da Roupa Suja", ao lado de Ivone Silva, Nicolau Breyner... no Teatro Variedades.

Integra o elenco da opereta "Invasão" no Teatro da Trindade, em 1980, segue-se "A Gravata" em 1981.

Faz parte do elenco de várias novelas, séries e peças de teatro para televisão, tendo trabalhado bastante com Nicolau Breyner.

Nos anos 90 ruma à Guiné, interrompendo a carreira, volta poucos anos depois e integra o elenco de Médico de Família, Ajuste de Contas, Con(s)certos na Cave.

Faz televisão e teatro, porém fica desempregada.

Regressa em 2010 com "Piaf", de Filipe La Féria.

Regressa novamente em 2017 na nova versão do musical "Amália", de Filipe La Féria.

Televisão

Teatro

 Godspell - 1974 no Teatro Villaret.
 Uma no Cravo Outra na Ditadura - 1975 no Teatro Maria Vitória.
 Que Grande Bronca! - 1979 no Teatro Laura Alves
 Invasão - 1980 no Teatro da Trindade.
 A Gravata - 1981 no Teatro Monumental.
 Marlene - 2005
 Amália - 2005 no Teatro Politeama, (emitida na RTP) .
 Piaf - 2010 no Teatro Politeama, (emitida na RTP).
 Amália - 2017 no Teatro Politeama

Ligações externas

Atores do distrito de Lisboa
Naturais de Lisboa


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