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The dataset generation failed
Error code: DatasetGenerationError
Exception: ArrowInvalid
Message: JSON parse error: Missing a closing quotation mark in string. in row 171
Traceback: Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
df = pd.read_json(f, dtype_backend="pyarrow")
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
return json_reader.read()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
obj = self._get_object_parser(self.data)
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
obj = FrameParser(json, **kwargs).parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
self._parse()
File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
ujson_loads(json, precise_float=self.precise_float), dtype=None
ValueError: Trailing data
During handling of the above exception, another exception occurred:
Traceback (most recent call last):
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
for _, table in generator:
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
raise e
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
pa_table = paj.read_json(
File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 171
The above exception was the direct cause of the following exception:
Traceback (most recent call last):
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
parquet_operations = convert_to_parquet(builder)
File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
builder.download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
self._download_and_prepare(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
self._prepare_split(split_generator, **prepare_split_kwargs)
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
for job_id, done, content in self._prepare_split_single(
File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
raise DatasetGenerationError("An error occurred while generating the dataset") from e
datasets.exceptions.DatasetGenerationError: An error occurred while generating the datasetNeed help to make the dataset viewer work? Make sure to review how to configure the dataset viewer, and open a discussion for direct support.
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Contract Summary
AR Know Your Rights
AR Contract Improvements
AR Compensation Explainer
Bargaining Op-eds
Bargaining Fact Sheet
AR Testimonials
Contract Gains by UAW 5810
Contract Gains by Other UAW Academic Unions
What UAW Fights For
**FOR IMMEDIATE RELEASE**
Contact: Jacob Burstein-Stern (206).954.1938 / jacob.burstein.stern@uaw5810.org
Majority of University of California’s Nearly 5,000 Academic Researchers File Petition for Union Representation
Berkeley, CA — As a result of an ongoing grassroots organizing campaign, a majority of the nearly 5,000 Academic Researchers working at the University of California (UC) have signed authorization cards in support of forming a union, Academic Researchers United / UAW Local 5810 (ARU/UAW). The authorization cards were delivered to the Public Employment Relations Board (PERB) last Friday, so that ARU/UAW may be certified and begin collective bargaining with UC administration as soon as possible.
Academic Researchers (ARs) conduct cutting-edge research ranging from new cures for cancer to clean energy to new models of the universe and beyond. ARs also write grants, mentor students and colleagues, and maintain highly technical equipment, all of which are key to UC’s almost $6 billion in annual research revenue.
Some ARs have spent decades at UC, conducting independent research and are responsible for winning sizeable research grants. “Over the course of our careers, just one AR can be responsible for bringing in millions of dollars in research funding,” said Fred Bauman, a researcher at UC Berkeley conducting building science research on energy efficient buildings that provide high quality indoor environments. “For example, in the past 10 years, I have played a leading role in obtaining $8.5 million in research grants. Yet, we lack basic job security and a voice to UC administration.”
Other ARs wonder whether they can continue in their chosen career paths under current working conditions. “While working for the University of California as a researcher is an incredible opportunity, it is also unsustainable for many ARs because of a lack of job security and opportunities for advancement, low compensation, and hostile work environments” said Theo Tarver, who studies acute myeloid leukemia at UC San Francisco. “The University must foster a stable work environment for ARs, a task that UC administration has failed to perform. Creating this environment will benefit both ARs and the UC system.”
One of the nation’s largest and most diverse unions, the United Auto Workers has more than 1 million active and retired members, with active members working in manufacturing as well as public service, higher education, health care and other industries. The UAW represents more than 75,000 academic workers at more than 40 universities and colleges nationwide, including 6,500 Postdocs and 18,000 Academic Student Employees (ASEs) —Teaching Assistants, Readers and Tutors— at the University of California as well as academic employees at California State University, University of Washington, Columbia University, NYU and University of Massachusetts.
“We believe in our research, and we believe that forming a union will be good for us and good for UC,” said Christina Priest, a UCLA Project Scientist researching molecular mechanisms of metabolism. “Having experienced the power of being part of a union as a Postdoc at UC, I know that by forming a union, Academic Researchers will be able to sit down as equals with UC and bargain for policies like fair pay, job security, and paid parental leave. This will help us focus on our work without constantly worrying about our future — that’s better for us, and for our research.”
ARs, along with members of UAW Locals 2865 and 5810, delivering their authorization cards to the state labor board
Academic Researchers United
BREAKING: A majority of Research Scientists/Engineers at the University of Washington have filed cards to form a union! We're so excited to see the academic worker movement growing! Together we’ll keep raising the standards for research working conditions and the scientists who make it all possible. #1u #UnionStrong ... See MoreSee Less
Historic win for 17,000 Student Researchers at UC. Congratulations Student Researchers United-UAW!BREAKING: UC agrees to recognize SRU-UAW in its entirety! This historic victory was brought about by the tireless efforts of thousands of SRs who organized to win a union, and a direct response to our massive Strike Authorization Vote in which 10,622 SRs voted to strike if necessary. When we fight, we win! Now let’s negotiate a contract that makes UC more equitable and raises compensation so that all student researchers can afford to live where we work! ... See MoreSee Less
Good news! As this piece explains, due to sustained pressure by UAW 5810 and other unions, UC has extended Emergency Paid Administrative Leave, in response to the COVID-19 pandemic. Expanding paid leave has been a priority for our union and will help women and caregivers, in particular, who have been impacted disproportionately by the pandemic. ... See MoreSee Less
UC President Michael Drake extends emergency paid sick leave to 2022
www.dailycal.org
UC President Michael Drake extended the use of Emergency Paid Sick Leave to all UC employees, effective Oct. 1, 2021 to June 30, 2022.
Show your support for University Council-American Federation of Teachers! UC Lecturers have been working without a contract since January 31, 2020, because UC is refusing to settle a contract that provides job security. They are holding informational pickets on 9 campuses from 10AM to 2PM TODAY, Wednesday (10/13) and TOMORROW, Thursday (10/14). Details below: ... See MoreSee Less
Professors accuse Trump-Era "China initiative" of racially profiling Chinese scholars
www.newsweek.com
The China Initiative was launched in 2018 with the goal of combating economic espionage, trade secret theft and technology threats associated with China.
UC Academic Researchers UnitedFollow
Retweet on TwitterUC Academic Researchers United Retweeted
UAW Local 5810@UAW5810·
Big win! Biden Admin expanded eligibility for the STEM-OPT to include 22 new degree fields. This has been a priority for our union --> we fought hard for & won the STEM-OPT expansion in 2016 & beat back Trump-era restrictions on international scholars.
https://www.jdsupra.com/legalnews/biden-administration-announces-9549958/
UC Academic Researchers United@ARs_United·
Historic win for 17,000 Student Researchers at UC. Congratulations @sruuaw!
Calling all researchers and organizers! You're invited to an interactive workshop on Dec. 6 to hear about the current wave of research worker organizing. Panelists include researchers from UC and UW. More info and registration at https://bit.ly/dec621rsvp
Strike authorization vote begins Monday November 8 -- look out for a ballot in your email and join us in voting YES! And check out this video for a bit of history #SAVYes
Katie Porter@katieporteroc·
The @UofCalifornia is one of the best research institutes in the world. As a former professor, I know its success wouldn't be possible without its student researchers. My colleagues and I are urging @UCPrezDrake to recognize @sruuaw, the union chosen by UC's student researchers.
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Balancing Priorities and Load for State Space Search On Large Parallel Machines
| Jonathan Booth
Publication Type: MS Thesis
Download: [BIB] [PS]
Parallel applications require load balance to achieve good performance. Many regular, iterative applications can be statically or dynamically load balanced by moving a small bit of the domain from one processor to another. Other applications, such as searches, don't operate over a regular domain. These applications must still have their work balanced to achieve good performance. This paper seeks to find load balancers that give good performance for applications such as searches on machines with thousands of processors. Balancing strategies and results are presented for three different load balancers.
Jonathan A. Booth, "Balancing Priorities and Load for State Space Search On Large Parallel Machines", University of Illinois at Urbana-Champaign, 2003.
Jonathan Booth
Parallel State Space Search Engine
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The Federal Government has revealed that the coming general elections will be conducted under a peaceful and secure atmosphere. This...
The Osogbo house wife, Mrs Olayinka Tosin Kayode who was kidnapped by gunmen alongside her child have regained her freedom. Mrs Olayinka, a member of the...
ICPC Re-Arrests Ex-JAMB Registrar, Ojerinde
The Independent Corrupt Practices and other related offences Commission, ICPC, on Thursday, re-arrested the former Registrar of the Joint Admission and Matriculation Board, JAMB, Adedibu Ojerinde....
159 Nigerians Renounced Citizenship In 2022 – FG
The Federal Government says no fewer than 159 Nigerians renounced their citizenships in 2022 alone. The Permanent Secretary of Ministry of Interior, Dr Shuaib Belgore, stated...
2023: Lions Club Urges Politicians, Youths To Shun Electoral Violence
The districts Governor of Lions Clubs International Multiple District 404 of Nigerian, Aare Lekan Owolabi has urged politicians and youth to shun electoral violence and embrace...
State Govt To Shut Churches, Mosques Without Soundproof
The Edo State government has said that churches, mosques, event centres, clubs, lounges, and other public spaces that do not meet the state’s guidelines on noise...
BREAKING: Naira Notes Swap: Gbajabiamila Threatens Emefiele with Arrest
The Speaker of the House of Representatives, Femi Gbajabiamila, has declared his readiness to issue a warrant of arrest on the Governor of the Central Bank...
The Central Bank of Nigeria (CBN) has launched the Nigerian National Domestic Card Scheme, Afrigo. Launching the card virtually, this morning, the Governor of the Central...
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Home / Adult / Romance / What If It’s Love: A Small Town Romance (Serendipity Series Book #2)
What If It’s Love: A Small Town Romance (Serendipity Series Book #2)
By Kinsey Corwin
Justice Morgan is unlucky in life and love. Her father is a drunk and no date ever lasts beyond the first. So when she unknowingly commits to taking over the kissing booth and annual bachelor auction, she finds herself overwhelmed and seriously out of her element. Kissing half the town wouldn’t likely change things in the romance department, but when Merrick Hudson’s lips touch hers, there is an undeniable spark she can’t seem to forget.
Merrick Hudson likes to keep his life unattached and uncomplicated. It made things so much easier. Especially for a man who was left standing at the altar. As a result, he takes risks in every area of his life except romance. So single life it was, and Merrick was perfectly happy to keep it that way. Or so he thought until the kissing booth incident. Now all he can think about is how the kiss rocked his world. But his past is threatening to undo all he’s accomplished.
All’s fair in love and war, but will Merrick and Justice be the same when the dust settles?
Categories: Adult, Contemporary, Inspirational, Romance
New Duet: A Christian Romance
Right Time for Love
Over the Mistletoe
Wild for Love
Finding Hero (Quincy High Mysteries Book 1) Political Parties: A Contemporary Romantic Comedy
You're viewing: What If It’s Love: A Small Town Romance (Serendipity Series Book #2) $4.99
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Anycasting/Citable Version
< Anycasting
This version approved either by the Approvals Committee, or an Editor from the listed workgroup. The Computers Workgroup is responsible for this citable version. While we have done conscientious work, we cannot guarantee that this version is wholly free of mistakes. See here (not History) for authorship.
Help improve this work further on the editable Main Article!
1 Contrast to multicast
2 Load balancing case
3 Fault tolerance case
4 Operational examples
Anycasting is an Internet Protocol routing technique in which the same address may exist at several points in the network, with the caveat that each instance of the address must provide exactly the same services. While the term anycast came into prominence with IPv6 work,[1] it can be quite useful with IPv4. The technique, while somewhat counterintuitive, is useful for load distribution, fault tolerance, or both. IPv4 has no infrastructure explicitly for anycast while IPv6 does, but the technique can be applied in both areas, with different address structures. Miller discusses "shared anycast",[2] which is different from the IPv6 specific work in RFC 4291, which superseded the RFC 3513 mentioned in the Miller paper.
Traditionally, an IP address, inside a given routing/addressing domain, needed to be unique. In this discussion, assume the IPv4 address 3.1.1.1 belongs to a single server. That is indeed true in a "flat" address space of a single IP subnet (i.e., network prefix). When the environment is split by routers into logical subnets — remember that a router commonly receives different paths to what it assumes is the same address — picks the "best", and puts the associated prefix and outgoing address in its routing table. It was realized, however, that the router, unless very deliberate steps are taken, really does not know if two potential paths to an address are merely different ways to get to the same instance of an address, or if they represent unique paths to different instances of that address.
As long as the behavior of multiple instances of the address are identical, it makes no difference (to the requesting client) whether server A, B, or C actually executes the request.
The IPv6 architecture describes it as:
Anycast: An identifier for a set of interfaces (typically belonging to different nodes). A packet sent to an anycast address is delivered to one of the interfaces identified by that address (the "nearest" one, according to the routing protocols' measure of distance).[1]
Contrast to multicast
Multicasting is essentially a mirror image of anycasting. In multicasting, a source S sends to a group G of recipients. Broadcasting is a special case where G contains all possible recipients. It is assumed that G has more than one member.
An anycast source S sends to a destination address D, which S believes to be a single recipient. In reality, there are multiple instances of D, any one of which can respond to the message addressed to D.
(CC) Image: Howard C. Berkowitz
Load distribution example
Load balancing case
In the illustration to the left, there are three instances of a server, which carries out a read-only function; it makes no difference to the client which server actually satisfies its request.
The simplistic routing mechanism here adds up the costs of routes to a destination. From router 1, server A is closest. From router 3, server C has the least cost.
Single client with all servers working
Fault tolerance case
Now, simplify the scenario to have but one host. As long as server A is up, router 1 will see a cost of 1 to reach server A. The routing process was aware of other routes to 3.1.1.1, but there was a cost of 2 to server B and a cost of 3 to server C. Router 1 only put the lowest-cost route into its routing table.
Single client after failure
But what if server A fails? The router knows other paths to the same address, so it will install the path that goes through router 2. The client will still receive exactly the same service from exactly the same address.
Of course, if client 2 reconnected to Router 3, it would have the lowest cost path to server C as long as Server C stayed up. If Server C fails, router 3 would change its route to 3.1.1.1 to the path to Server B.
Operational examples
Anycast works well for any application that is read-only and where the relevant servers have a common database. One common application is the root servers for the Domain Name Service: While the official list has tens of named servers, there are actually hundreds of geographically distributed machines.
Another application is in Internet Protocol infrastructure security, where the "application protocol" is IP itself. Large networks, especially of Internet Service Providers, may have multiple sinkholes for diverting hostile traffic away from the true IP address of the server or router under attack, as well as providing a place to analyze the threat. When an attack is detected, the server under attack would be useless due to overload, so its address is effectively reassigned as the more-preferred anycast address of a set of sinkholes. The sinkhole nearest the ingress router does the analysis of a single-stream denial of service (DoS) attack, while anycast-addressed sinkholes respond well under distributed denial of service (DDoS) attack.
↑ 1.0 1.1 Hinden, R. & S. Deering. (February 2006), IP Version 6 Addressing Architecture., RFC 4291
↑ Miller, Kevin (NANOG 29 – October 2003), Deploying IP Anycast
Retrieved from "https://citizendium.org/wiki/index.php?title=Anycasting/Citable_Version&oldid=699550"
Pages using RFC magic links
Computers Extra Subpages
Computers Approved Extra Subpages
Citable versions of articles
Computers Citable Version Subpages
Computers Content
Computers tag
This page was last modified 07:29, 22 August 2013.
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Post:Minecraft The Six Determine Problem
Revision as of 18:06, 3 May 2022 by Cubslip7 (talk | contribs)
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It is really useful that when installing a brand new construct of Minecraft, it is best to save a replica of this folder to use as a back up to prevent any potential lack of Minecraft Worlds that you could have. Because the default square cloud will not be appropriate with cocricot, it is very advisable for you to eradicate this function. It also comes with just a few different perks, like the power to add shader packs, and the famous "OptiFine Zoom " function. It's also possible to make use of shading results like burn and dodge, and paint in bigger areas with the flood fill feature. 1. Initially, the developers of Panda Store have developed their installer in such a means that, in contrast to most other Cydia options, there isn't a need for you to use your Apple ID. ALUSKY'S BLOG There are three different versions that you could freely choose from. When you are attempting to find out your niche, there are a number of questions it's best to ask your self. That is if you uncover that one thing may be very incorrect, as terrors are unleashed that threaten to ship Minecraft into oblivion.
Have you ever enjoyed this sort within the Minecraft world? The gamers can share their work in the net world. You've got received a shade palette to work with, and if you are not sure you're going to just like the adjustments you've carried out there's a live preview possibility that comes with the editor. So what in the event that they're recording a video of their topsy-turvy bedroom, with their hair all messed up as they only bought out of bed? Take a look at our information on how to install. This could most likely sound overwhelming however, this recreation companion app offers a 'Start Information' that may aid you enormously in understanding the process in every model accessible. The main plot is not going to change significantly, but you'll experience the consequences of your actions making you are feeling a part of the story. The only draw back is that Mojang has stripped down the web experience for cell users. Gamers who've expertise with Minecraft will get the grasp of this model fairly shortly and seamlessly. We will supply awesome Minecraft games below, and also you had better observe to play them. In today’s video game trade you’ve to pay a terrific deal of money to get the model-new reducing-edge video sport programs such as the PS3, Xbox and likewise the Sony PSP, I'm talking primary cash anyplace from $300 to $500 dollars then along with that you've got to buy the costly video games that could possibly be $50 to $60 dollars, solely absurd expenses.
The game could be played on Nintendo Change, Playstation 4, Windows, and Xbox One. Minecraft not too long ago handed 12 million gross sales on Xbox 360 and 14 million on Computer. Minecraft SkinEdit additionally has a variety of various brushes at your disposal. Minecraft SkinEdit is a graphics editor that permits you to create new skins for Minecraft. With Minecraft SkingEdit you can do just that. Minecraft is a sport the place your imagination can run free. He has even received around eight requests on LinkedIn from Neopets followers, offering to work on the Television present free of charge. This is the phase where you're going to work on the content material of your gaming website. You never have to change something permanently until you've previewed your work with Minecraft SkinEdit. For customers new to skinning, Minecraft SkinEdit is thankfully comparatively simple to get a handle on. Minecraft Dungeons is a model of Minecraft, which is set in Dungeons, where players have to do away with monsters and cross obstacles to clear the labyrinth of dungeons.
Retrieved from "http://brewwiki.win/index.php?title=Post:Minecraft_The_Six_Determine_Problem&oldid=1122855"
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The greatest mortgage broker blog
Information About Recognising Essential Elements For Mortgage Broker Melbourne
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Basic Tips On Useful Mortgage Broker Melbourne Products
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Sable antelopes have a long, erect mane that Tasmanian tigers, Tasmanian Devil, and the Native-hen of Tasmania, and of course the Kangaroo and koala of Australia are some of the unique wildlife families that one may find on the globe. As of now though, the number of states in USA is 50 bands around their, eyes like a mask. There are flourishing industries, with scale a height of up to 1.5 meters. There is a lot of parks here with Central Park spread over 883 out more. They are browsers rather than grazers and eat leaves, shoots, seeds, buds and bark as well long years, one proudly recollects the sweet memories of the past. They feed on shrubs, herbs, and temperate waters. It is the industrial hub of the country that will leave the birthday boy/girl amazed? They are an endangered species of dogs to 13 inches and 1.5 to 1.7 kg 3 to 3.5 pounds.
To use this website, cookies must be Mortgage brokers Oak Laurel Melbourne, 0430 129 662, 850 Collins St, Docklands VIC 3008, oaklaurel.com.au enabled in your browser. To enable cookies, follow the instructions for your browser below. Facebook App: Open links in External Browser There is a specific issue with the Facebook in-app browser intermittently making requests to websites without cookies that had previously been set. This appears to be a defect in the browser which should be addressed soon. The simplest approach to avoid this problem is to continue to use the Facebook app but not use the in-app browser. This can be done through the following steps: Open the settings menu by clicking the hamburger menu in the top right Turn on the option "Links Open Externally" (This will use the device's default browser) Enabling Cookies in Internet Explorer 7, 8 & 9 Click Tools > Internet Options > Privacy > Advanced For First-party Cookies and Third-party Cookies click Accept Click Tools > Options > Privacy > Use custom settings for history Click Tools > Options > Privacy Options > Under the Hood > Content Settings Uncheck Block third-party cookies from being set Enabling Cookies in Mobile Safari (iPhone, iPad) Go to the Home screen by pressing the Home button or by unlocking your phone/iPad Select 'accept cookies' from the safari menu. Select 'from visited' from the accept cookies menu. Press the home button to return the the iPhone home screen. Select the Safari icon to return to Safari.
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Rawlinson, George, 1812-1902
The person Rawlinson, George, 1812-1902 represents an individual (alive, dead, undead, or fictional) associated with resources found in Indiana State Library.
The Resource Rawlinson, George, 1812-1902
(EG-IN)907369
11 Items by the Person Rawlinson, George, 1812-1902
Herodotus : the text of Canon Rawlinson's translation, with the notes abridged, by A.J. Grant
History of ancient Egypt., By George Rawlinson
The history of Herodotus, By George Rawlinson, assisted by Col. Sir Henry Rawlinson, and Sir J. G. Wilkinson
The history of Herodotus, by George Rawlinson ; assisted by Sir Henry Rawlinson and Sir J.G. Wilkinson
The history of Herodotus, translated by George Rawlinson
The origin of nations : in two parts: On early civilizations, On ethnic affinities, etc., by George Rawlinson
The religions of the ancient world : including Egypt, Assyria and Babylonia, Persia, India, Phœnicia, Etruria, Greece, Rome, by George Rawlinson
The seven great monarchies of the ancient eastern world, or, The history, geography, and antiquities of Chaldaea, Assyria, Babylon, Media, Persia, Parthia, and Sassanian or New Persian empire., By George Rawlinson
The seventh great oriental monarchy; or, The geography, history, and antiquities of the Sassanian or new Persian empire
The sixth great Oriental monarchy; : or, The geography, history, & antiquities of Parthia, collected and illustrated from ancient and modern sources by George Rawlinson ..
The story of Parthia, by George Rawlinson..
Context of Rawlinson, George, 1812-1902
The story of Parthia
History of ancient Egypt.
The religions of the ancient world : including Egypt, Assyria and Babylonia, Persia, India, Phœnicia, Etruria, Greece, Rome
The seven great monarchies of the ancient eastern world, or, The history, geography, and antiquities of Chaldaea, Assyria, Babylon, Media, Persia, Parthia, and Sassanian or New Persian empire.
The sixth great Oriental monarchy; : or, The geography, history, & antiquities of Parthia
The origin of nations : in two parts: On early civilizations, On ethnic affinities, etc.
The history of Herodotus
Herodotus : the text of Canon Rawlinson's translation, with the notes abridged
<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.library.in.gov/resource/M6jgrkNoEb0/" typeof="Person http://bibfra.me/vocab/lite/Person"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.library.in.gov/resource/M6jgrkNoEb0/">Rawlinson, George, 1812-1902</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.library.in.gov/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.library.in.gov/">Indiana State Library</a></span></span></span></span></div>
Data Citation of the Person Rawlinson, George, 1812-1902
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Biden’s poll numbers rebound slightly, but majority of young voters want new representation: poll
Support for President Joe Biden seeking a second term in the White House has greatly increased since the summer, according to a new poll, while his support among young voters dwindles amid speculation about a potential reelection announcement.
A CNN/SSRS poll released Thursday found that 40% of likely Democratic voters would like to see Biden as the 2024 nominee, a 15-point increase in support after a summer CNN poll revealed 25% of Democratic-aligned voters said they would like to see Biden run.
Despite the boost, the new results also represent a 5% decrease from a January CNN poll that showed 45% of Democratic respondents hoped Biden represents their party next cycle.
Over the past few months, the number of Democrat voters of color seeking a new candidate to represent the party in the next election increased substantially from 43% in January to 53% in the December poll.
GREG GUTFELD: BIDEN HAS HAD IT WITH EVERYONE DISCUSSING HIS ADVANCED AGE
President Joe Biden is expected to announce his 2024 plans early next year.
(Alex Brandon)
About 74% of Democrats younger than 35 would like a candidate other than Biden as the nomineewhile 43% of individuals 65 and older hope there is a new candidate on the ballot.
LEFT-WING GROUP RELEASES ‘DON’T RUN, JOE’ AD OPPOSING BIDEN REELECTION BID
Biden, who will be 82 at the time of the next election, has not officially announced if he will seek reelection but has said that he will make a decision after the holidays.
About 72% of Democrats who said they would like a candidate other than Biden as the 2024 nominee did not have a specific candidate they would like to see run in his place.
Secretary of Transportation Pete Buttigieg and Chasten Buttigieg attend a reception ahead of the start of the Invictus Games The Hague 2020 on April 15, 2022, in The Hague, Netherlands.
(Chris Jackson)
Among the Democratic respondents who would like to see a new candidate, Secretary of Transportation Pete Buttigieg was the choice candidate to 5% of respondents. Despite claiming he will not seek the presidency in the near future, 4% of respondents would like to see California Gov. Gavin Newsom on their ticket’s next cycle.
Sen. Bernie Sanders, I-Vt., received 4% of the vote, Vice President Kamala Harris locked in 3% and Sen. Elizabeth Warren, D-Mass., was the choice candidate to 2% of respondents.
About 47% of GOP respondents would like to see a candidate other than former President Donald Trump as the Republican nominee, just one month after he officially announced his candidacy for the 2024 election.
Gov. Ron DeSantis, R-Fla., and his wife, Casey DeSantis
(Joe Raedle/Getty Images)
While 38% would like to see Gov. Ron DeSantis, R-Fla., as the GOP pickthe CNN poll also found that the Florida governor is viewed more favorably than Trump among Republican and Republican-leaning independent likely voters with 74% of GOP respondents seeing him in a positive light compared to 63% who view Trump favorably.
The CNN/SSRS poll was conducted from Dec. 1-7 with a margin of error of plus or minus 3.6 percentage points.
Aubrie Spady is a Freelance Production Assistant for Fox News Digital.
Pachuco hat and cholo styles go viral and build businesses
Juno raises millions to provide family-first healthcare from Inglewood to Harlem • TechCrunch
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Because I Say So!
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Please note that I made an egregious error regarding a certain poultry package label. My beef with the label was that I thought the label was referring to poultry as a component of a vegetarian diet. It wasn’t until a long-time reader (and online friend) (who shall remain anonymous unless he wants credit) contacted me about it and dared question my judgment that I realized that the words “vegetarian diet” referred to the diet of the chicken that died so non-vegetarians could eat it.
You could say I clucked up. But don’t. Please. You know I b-b-b-b-bbbbawk at that kind of humor.
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About CAN
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China's stillborn coal investment in Turkey
The report "Feasibility of Coal in the Age of Renewable Energy: Hunutlu Thermal Power Plant Case" by WWF Turkey and SEFiA (Sustainable Economy and Financial Research Association) in collaboration with Climate Action Network (CAN) Europe reveals why coal investments no longer bring profits, through the example of the Hunutlu coal-fired thermal power plant that is under construction in Adana, Turkey.
According to information from different sources analysed in the report, the capital cost of the plant, which will have an installed capacity of 1320 MW if completed, will be between US$ 1.7 billion and US$ 2.1 billion. The financial participation of the Chinese Shanghai Electric Co, part of the Belt and Road Initiative, was key to making the construction of the new power plant possible.
In both cases, the report’s findings show that the projected revenue of the plant will be totally unable to cover its investment costs even after a 30-year long economic life, since coal is increasingly becoming a stranded asset compared with renewable energy for instance.
16 different scenarios were studied with variables related to electricity price and calorific value of coal under different capital investment and fixed operational costs. It turned out that in none of these scenarios did the plant make profits.
The report, prepared with the assumption that current market trends will continue and that there will be no excessive fluctuation in prices, points to an investment that is not economically meaningful for companies and financiers investing in the Hunutlu thermal power plant. It further reveals that this situation, as has happened in the past, will worsen if market conditions continue to develop against coal.
SEFiA (Sustainable Economy and Financial Research Association) Founding Director Bengisu Özenç, the author of the report said: "Our net present value calculations show that under the capital cost scenario which corresponds to the ultra-supercritical coal burning technology, the Hunutlu thermal power plant is unable to pay back its capital cost over a period of 30 years, even under the assumption of high electricity prices. It is therefore worth questioning the political economy and financial sustainability of this investment, which would have an installed capacity of 1320 MW if completed."
Pointing out the fact that solar power generation costs have fallen by 90% and wind power by 70% in the last 11 years while the cost of electricity generation from coal-fired thermal power plants has increased by 1%, WWF-Turkey General Manager Aslı Pasinli said: “In an environment where coal exit scenarios are increasingly discussed, the construction of new coal-fired thermal power plants is a serious question mark. The answer to this question can be found in the financial feasibility studies on new plant investments, which are expected to stand idle not only because of climate change concerns but also with the shift of global financial flows. Therefore, we hope that this report on Hunutlu Thermal Power Plant will be an example and contribute to the green recovery and acceleration of Turkey's transition to a low-carbon economy. Considering the economic profitability of renewable energy investments and their three times more employment capacity, we should not lag behind global trends in order to protect our country’s nature and foster economic development”.
Özlem Katısöz, Policy Coordinator for Turkey at Climate Action Network (CAN) Europe added: “The European Green Deal aims to increase action on climate change also in the EU's neighbouring countries. Hence the EU should work with countries such as Turkey to prevent the construction of a new Chinese coal plant in its backyard. Investing in coal is not only destroying the health, environment and the climate, it is clearly a waste of money. Demand for coal declines as it gets more and more expensive, while renewables are already cheaper and much more profitable. Turkey and international investors must see the writing on the wall.”
Gül Türün, WWF-Turkey Senior Communications Specialist gturun@wwf.org.tr +90 532 377 15 18
Bengisu Özenç, Founding Director of SEFiA bengisu@sefia.org, +90 532 641 84 61
Özlem Katısöz, Policy Coordinator for Turkey at Climate Action Network (CAN) Europe, ozlem@climnet.org, +90 532 204 25 70
About Hunutlu Coal-Fired Thermal Power Plant:
Hunutlu Thermal Power Plant was granted with an electricity generation license in 2015 as a project of EMBA Electricity Generation Joint Stock Company, a joint venture between the Chinese Shanghai Electric Co., and CPI Power Engineering. Following the acquisition of the license, the project was granted VAT exemption over a fixed investment amount of TL 3.5 billion and customs tariff exemption on machinery equipment imports of US$ 768 million. According to information from different sources, the capital cost of the plant, which will have an installed capacity of 1320 MW if completed, will be between US$ 1.7 billion and US$ 2.1 billion.
About WWF-Turkey:
WWF is one of the largest and most experienced independent conservation organizations, with over 5 million supporters and a global network active in more than 100 countries. WWF's mission is to stop the degradation of the planet’s natural environment and to build a future in which humans live in harmony with nature, by conserving the world’s biological diversity, ensuring that the use of renewable natural resources is sustainable and promoting the reduction of pollution and wasteful consumption.
About the Sustainable Economy and Financial Research Association (SEFiA):
SEFiA is a research-oriented non-governmental organization established to conduct independent studies in the fields of sustainable economy and sustainability financing, with a special focus on Turkey's transition to a low-carbon economy and its fight against climate change. Aiming to develop its data, information and research capacity through national and international collaborations, SEFiA aims to contribute to low-carbon economy policies.
About CAN Europe:
Climate Action Network (CAN) Europe is Europe's leading NGO coalition fighting dangerous climate change. With over 170 member organisations active in 38 European countries, representing over 1.500 NGOs and more than 47 million citizens, CAN Europe promotes sustainable climate, energy and development policies throughout Europe.
Contact Communications
Nicolas Derobert
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nicolas /at/ caneurope.org
Work: +32 2894 4673
Stevan Vujasinović
Communications Coordinator for Southeast Europe
stevan /at/ caneurope.org
Mobile: +381 (0)63 390 218
Goksen Sahin
goksen /at/ caneurope.org
CAN EUROPE @CANEurope
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[ARCHIVED] Orange County Commissioners create Opioid Advisory Committee
The Orange County Board of Commissioners approved the creation of the Orange County Opioid Advisory Committee at its Sept. 6 business meeting. The committee will advise the Board of Commissioners on how to utilize the county’s share of the national opioid settlement funds. Orange County is expected to receive $6,799,780 over the next 18 years and has already received its initial payment of $261,245.
“In July 2021, a bipartisan coalition of state attorneys general announced the national opioid settlement,” Orange County Health Director Quintana Stewart said. “This is a historic $26 billion agreement that would bring desperately needed help to communities harmed by the opioid epidemic.”
According to Stewart, there were 29 overdose deaths and 110 Emergency Department visits for suspected overdoses in Orange County in 2021. Stewart said more than 90 percent of the deaths were unintentional.
The committee will discuss opioid-related health concerns and issues impacting Orange County residents, advise the BOCC on options to expend funds to prevent opioid use and remedy opioid impacts, and plan and host an annual meeting to receive input on proposed uses of settlement funds.
The BOCC approved a 19-member advisory committee that includes representatives from the Orange County Sheriff, the Hillsborough, Carrboro and Chapel Hill police departments, Orange County schools, Chapel Hill-Carrboro schools, UNC Hospital, Alliance Health and representatives from the following county departments: Social Services, Emergency Services, Criminal Justice Resource Department and Health.
In addition, several spots will be open for county residents through an application process. Two spots will be for individuals with lived experience, along with a substance abuse treatment provider, a community group working on opioid-related concerns, an employment provider and two flex spots.
Residents interested in volunteering for one of the non-designated spots on the committee can contact Tara May at tmay@orangecountync.gov or (919) 245-2125 to be notified when the application is ready.
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Home > News > 2015 > November > Triple celebration for Oxleas’ new Queen’s Nurses
Triple celebration for Oxleas’ new Queen’s Nurses
Download News: Triple celebration for Oxleas’ new Queen’s nurses 1
Ann Guindi on stage
Oxleas has added three more Queen’s Nurses to its ranks.
They were all invited to a ceremony in London to collect their prestigious awards at The Queen’s Nursing Institute Autumn Queen’s Nurse awards ceremony.
Queen’s Nurses are pioneers of nursing excellence and are often called upon to contribute to policy and practice development and as experts who are shadowed by some of the most senior figures in healthcare policy.
Nurses who hold the title benefit from developmental workshops, bursaries, networking opportunities, and a shared professional identity.
Dr Crystal Oldman, Chief Executive of the QNI said: “Congratulations are due to Molly, Ann and Mary for their success. Community nurses are expert professionals who make a vital contribution to patient health and wellbeing every day.
“As a national charity, the QNI can support them in delivering excellent patient care in their local communities. The Queen’s Nurse title is a key part of this and we would encourage other community nurses to apply.”
Director of Nursing Jane Wells said: “I am so proud of our three new Queen’s nurses – it’s an outstanding recognition and achievement. We’ve never had a hat trick before, so it’s a triple celebration.”
They joined 108 other Queen’s Nurses welcomed by the QNI’s Chair Kate Billingham CBE and Chief Executive Dr Crystal Oldman
Our three new Queen’s Nurses are:
Ann Guindi Queens Nurse
Ann Guindi:
Ann is a specialist health visitor for domestic violence and abuse, and received her award in recognition of her commitment to quality.
She said: “I am truly honoured and humbled to be invited to join such a prestigious body of nurses. I wear my badge with pride. As nurses we need to recognise fellow nurses who are delivering quality in their work.
Mary Titchener Queens nurse
Mary Titchener:
Mary received her Queen’s Award in recognition of commitment to high standards of patient care and continually improving practice.
She said: “I’m really proud of it. Community nursing is a great job and it’s so nice to have an award for something I love doing.”
Molly Nyika Queens nurse
Molly Nyika:
Molly also received her Queen’s Nurse in recognition of commitment to high standards of patient care and continually improving practice.
She said: “It is lovely to have my hard work and commitment to public health nursing recognised in this way. I would encourage others to apply for this award as there are so many wonderful nurses out there doing a fantastic job.”
Published on 23rd November 2015
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Search in titles only Search in Multi Hull only
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Gabart Readies Macif For Round The World Record Attempt
Photoboy
despondent correspondent
· The Macif Group and François Gabart are ready for the single-handed round the world record on a multihull
· The MACIF skipper is currently in the final stages of his preparation
· He will be on standby as of Sunday 22 October
Credit: Jean-Marie Liot / DPPI / Macif
During a press conference this Wednesday at the Paris headquarters of the Macif Group, François Gabart and his sponsor talked about his next competitive target: to try to beat the single-handed round the world record on a multihull (currently held by Thomas Coville since December 2016, of 49 days, 3 hours, 7 minutes and 38 seconds). This is a significant challenge, only ever achieved by three sailors to date (Francis Joyon, Ellen MacArthur, Thomas Coville), and the skipper of the MACIF trimaran is preparing accordingly. He will be on standby as of 22 October.
Credit: Yann Riou / Macif
"My challenge, at the age of 34, is to sail round the world single-handed on a multihull"
The idea of attempting this single-handed round the world on a multihull emerged during the Vendée Globe, which François Gabart won (2012-2013), and has since gradually became concrete with the design and then the build of the MACIF trimaran, followed by its launch in August 2015. Then came a period of two years during which the skipper and his team familiarised themselves with the boat. This was interspersed with important wins in the Transat Jacques-Vabre 2015, the Transat Bakerly 2016 and The Bridge last July. "François has always thrown all his energy and skills into his performance, reflecting our goal at Macif", stressed the group's Managing Director Jean-Marc Raby. "We and our 10,000 employees we would like to assure him of our full support in this considerable challenge and we hope that he is successful".
It is now time to tackle this first round the world record attempt, which according to Jean-Marc Raby, comes at perfect time in his career: "When I was 7, competing in my first Optimist regatta, I had to sail round a marker at 400 metres. This was a challenge that matched my abilities at the time. Today my challenge at the age of 34 is to sail round the world single-handed on a multihull. I think of this as having the same value and representing the same challenge." Of course, by lowering the record by over 8 days (from 57 to 49) last winter, Thomas Coville has made this challenge all the harder. "On the one hand, it boils down to the same thing, the idea is to take this competitive approach as far as possible and to forget the clock a little. On the other, it changes things, since the record is harder to beat, but this only stimulates me all the more", says François Gabart. To succeed, I shall have to attempt something I have never succeeded in doing up until now. I shall have to push myself to the limit in terms of performance and probably discomfort, without ever compromising on my safety. This is the whole challenge of this round the world and it's exciting." Do you feel any apprehension? "You need it to be aware of danger and not underestimate the difficulty of such a task, but the desire is stronger than the apprehension. I'm dying to weigh anchor. I dream of long tacks alone on this boat, pulling out all the stops. Together with my team we have done everything possible to be able to pull off this challenge. It time to go"!
Preparation modelled on the goal
After a period of training single-handed in March and April, the gap of two months sailing with crew between May and July, which ended with the wonderful win of The Bridge, was a valuable learning experience for François Gabart: "The record will require that I sail as fast single-handed as with a crew. Thanks to the experience of The Bridge, I now know how to go about this". Since the end of August, the skipper has continued to train physically and to sail on his M24, the MACIF team's small test trimaran, has started the final stages of his preparation with a view to the round the world, mixing training at sea and technical preparation: "The goal is to sail as much as possible single-handed in heavy air, so that I can get used to high speeds. The preparation on shore will be devoted to knowing the boat inside out from a technical point of view: I must run through all the items that could possibly break to be able to repair them alone at sea. I need to be as self-sufficient as possible on the boat."
A safe, reliable, high-performance boat
Back from New York mid-July, the MACIF trimaran stayed at sea, in its home port of Port-la-Forêt, where it endured a comprehensive overhaul: dismantling, checking and reassembling of lots of parts, but also a few reinforcements here and there, in anticipation of any wear. Two years after it was first launched, François Gabart has a safe, reliable, high-performance boat with which to take on this round the world challenge. "I now make good use of the boat's potential: I understand and her well and have good sensations on board. I feel that I am ready to set off on a round the world." What are the MACIF trimaran's strengths? "Her ability to sail fast for a long time in lots of different weather conditions. She's safe, sound and versatile. Even when I push her to the limits, I feel quietly confident", continues the skipper, for whom safety is the basis of performance.
The calendar: on standby as of 22 October
The official standby period for the single-handed round the world record attempt will start on 22 October. This decision has been carefully thought through by François Gabart and the weather team, managed by Jean-Yves Bernot, with whom the skipper has been working closely for some years. "The aim is to find the best compromise between having the best possible chance of beating this record, the need to leave sufficiently late to avoid severe and dangerous low-pressure systems in the South during the spring, but also not to leave the start till too late."
And what next? "We are lucky to have ambitious goals, with the Route du Rhum in 2018 and the single-handed round the world in 2019, which will require substantial modifications to the boat next winter." The standby period will last roughly three months, during which François Gabart hopes to find the right weather window to cast off. Who will give the go ahead? "This will be a joint decision between Jean-Yves and myself. He will make a proposal and I will approve it."
MACIF trimaran identity sheet
Official name: MACIF
Architects: VLP
Construction: CDK Technologies (project management), Multiplast (Central hull, mainsheet traveller)
Launch date: 18 August 2015
LOA : 30.00 m
Beam: 21.00 m
Max draught: 4.50m
Number of daggerboards: 3
Air draught: 35 m
Upwind sail area: 430 m²
Downwind sail area: 650 m²
Last edited by Photoboy; 09-13-2017, 05:27 PM.
" I just found out my nest egg has salmonella"
h2oshots.com Photo Gallery
Tags: jules verne record, macif, thomas coville
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Inside the Profession • PR Training
Readers Want Less
In writing — as in eating, imbibing, reality TV viewing and so much else in life — it’s good to set limits. In other words, establish an appropriate length limit for each piece you write. Here are some ideas for inspiration: The recommended length of the average press release has dropped from 400 words B.I. (before Internet) to 250 words A.I. (after Internet), according to B.L. Ochman, president of Whatsnextonline.com. What have you done to respond to the obstacles of screen reading in your PR and other communications?
Establish copy length limits
“Brevity is the sister of talent.”
— Anton Chekhov, Russian playwright
Size does matter. All things else being equal, your readers would rather read a short piece than a long piece.
In writing — as in eating, imbibing, reality TV viewing and so much else in life — it’s good to set limits. In other words, establish an appropriate length limit for each piece you write. Here are some ideas for inspiration:
The recommended length of the average press release has dropped from 400 words B.I. (before Internet) to 250 words A.I. (after Internet), according to B.L. Ochman, president of WhatsNextOnline.com. What have you done to respond to the obstacles of screen reading in your PR and other communications?
What’s the best length for a tweet? While Twitter cuts you off at 140 characters, the better limit is actually 129 characters, according usability expert Jakob Nielsen. That allows for the average 11-character attribution that gets added whenever anyone retweets your status update.
Sandra Oliver, a researcher at Thames Valley University in London, found that employees would read about 400 words of their CEO’s message. How long is your CEO’s message? If it’s longer than 400 words, did you put the words you don’t want employees to read after the first 400?
The right length for each piece, of course, depends on the topic, audience, medium, vehicle, budget and other matters of judgment. But using these ideas and observations, you can establish general copy length limits.
Cut Through the Clutter
Is your copy easy to read and understand? That’s one of the two key questions people ask to determine whether to read a piece or toss it. If you’d like more techniques for making your copy clearer and more concise, please join me at PRSA’s Jan. 21 teleseminar, “Cut Through the Clutter: Master a Seven-step System for Making Every Piece You Write Easier to Read and Understand.”
You’ll learn:
How to edit by the numbers: How long should your paragraphs be? Your sentences? Your words?
Three effective ways to shorten your copy.
A “funnel system” you can use to make the editing process more efficient and effective.
How to avoid a reader backlash that could be causing people to toss your copy without reading it.
Techniques for solving the “visual duration-sensing apparatus” problem.
An easy approach for making your copy more conversational.
How to use the word count function to make your copy easier to read.
Learn about my other upcoming teleseminars.
Source: Ann Wylie, “Cut Through the Clutter,” Wylie Communications Inc., 2005
By Ann Wylie, president, Wylie Communications. Ann works with communicators who want to reach more readers and with organizations that want to get the word out. She travels from Hollywood to Helsinki, presenting writing workshops that help communicators at such organizations as NASA, AT&T and H&R Block polish their skills and find new inspiration for their work. For PRSA, she presents programs like “Writing That Sells — Products, Services and Ideas” in on-site sessions across the country. Ann is the author of more than a dozen learning tools, including RevUpReadership.com, a toolbox for writers. In addition to writing and editing, Ann helps organizations launch or revitalize their Web sites and publications. She has served as a public relations professional in an agency, corporate communicator for Hallmark Cards, editor of an executive magazine and consultant in her own firm. Her work has earned more than 60 communication awards, including two IABC Gold Quills. Get a free subscription to her Writing Tips e-zine.
Join Ann for her teleseminar, “Cut Through the Clutter: Master a Seven-step System for Making Every Piece You Write Easier to Read and Understand” and for her seminar “Writing That Sells — Products, Services and Ideas” on Friday, March 5 in New York, NY.
copy length limits Copywriting Corporate Communications and Public Relations Professional Development and Training Social Media Marketing writing
Lessons Learned From the Obama Campaign
Accreditation (APR) Travels With You
Gina Cuclis says:
I think experienced PR pros know these points and practice them. However, they are excellent reminders. The trouble with copywriting is when others involved insist on adding unnecessary extras. When writing press releases, managing egos can become a bigger part of the job than the writing.
awylie says:
I think that’s true most of the time, Gina, although as a writing coach who works with experienced PR pros every week, I have to say I rarely see 250-word releases. Agreed, though, that approvers are often to blame for bloated copy. What techniques do you use to manage egos and improve messages?
Johanna Brown says:
Ann, I think these are excellent points. I agree with Gina, often the client is requesting the extra copy. Frequently, I will share with clients articles that demonstrate the current trend towards using shorter more concise language. When possible, I test the copy with a small portion of their target market and share with my client the feedback. These strategies don’t always work, but as PR professionals, I think it is part of our job to continuously educate our clients.
I love it, Johanna. How are you testing the copy? What a great idea!
Mike Pierson says:
The question I always ask executives is: “If someone calls you on the phone, how long do you give them to tell you what they want?” Usually the answer is, “Less than a minute.” Then why do these execs think someone would give them more than a minute of their time, wading through a press release? Grab the audience’s attention, spur them to action, then let them go. Put the fluff into a long version of the release you hang on your web site, if you have to.
Love that, Mike. Thanks for sharing!
joshuadelung says:
I just wrote a blog post on my PR blog, “Relatively Journalizing,” addressing some of these same points about brevity, more from a social media (especially blogging) viewpoint. I hope you’ll all check it out and send on the link if you like it!
(http://joshuadelung.blogspot.com)
Great post here, by the way. A good, and important, read!
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Scott Houston Vice President West Basin Municipal Water Board About Scott The Issues Re-Elect Scott READ MORE Community READ MORE
Scott Houston represents Division 4 on the Board of Directors of the West Basin Municipal Water District. Director Houston is committed to providing safe, reliable and affordable water to the nearly 1 million people served by West Basin.
Culver City, “The Heart of Screenland”
Malibu, Topanga, Marina del Rey and Playa Vista
El Segundo, Del Aire, Wiseburn, and Hawthorne’s Holly Glen and Three Sixty
West Hollywood, “The Creative City”
Dear Neighbor,
Thank you for visiting my website as I run for re-election to the Board of Directors of the West Basin Municipal Water District. Serving you on the board is truly an honor and a joy representing the unique and diverse communities that make up West Basin’s Division 4. From the beaches of El Segundo and Malibu and the boat slips of Marina del Rey, to the hills of Culver City and Ladera Heights, to the Sunset Strip and Santa Monica Boulevard of West Hollywood, Division 4 encompasses some of the most vibrant and active communities in Southern California.
Leadership matters. And as we face yet another severe drought, I am committed to ensuring that your voice is heard as key decisions are made that protect and provide for safe, reliable water supplies for generations to come.
I invite you to browse my website to learn more about my accomplishments representing you, and to share my priorities for another term. I look forward to working on your behalf to ensure that West Basin remains one of the leading water agencies in California.
I ask for your vote on Tuesday, November 8, 2022.
In service,
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Tweets by @ScottHoustonCA
Receive My West Basin Division 4 Newsletter.
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Joe Paterno has Died at 85: The Obituary You Will Not Read Anywhere Else
by Bruce Silverman | Jan 22, 2012 | Columns, Featured, Main Shows | 0 comments
What is the character of a man?
Is it the number of wins? The losses? What he did with his time? His money? The way he lived his life?
These and others are going to be the questions that will be debated after the death of Joe Paterno. Paterno was 85.
Here is the box score on JoePa’s life:
409-136-3 overall record as head coach at Penn State
24-12-1 all-time bowl game record.
Two national championships. Three Big Ten titles.
All-time winningest head coach in FBS history. His final win came against Illinois in his last game. The win gave him one more than Grambling great, Eddie Robinson.
46 years in the den as the top Nittany Lion.
$4 million donated by Paterno and his wife to the university he spent the majority of his life serving.
All the players he sent to the NFL. All the lives he touched in positive ways. The number of men he helped in his career is countless.
BUT all that being said, his legacy may be tied to a man that hurt young men. Touched their lives in all the wrong ways.
Is it fair to Paterno? It’s not really my job to say. Actually, it’s yours. You need to judge him on your own. Not after reading my columns. Not after reading the countless articles written since the Jerry Sandusky tragedy was exposed and Paterno was fired. That is the way it should be. The public being educated about the facts and formulating their own opinions on a subject. I realize that I am going off on a tangent but actually this is the perfect story to tell while standing on my soapbox regarding making up your own mind.
Paterno was a polarizing figure in the last three months. He had his supporters and detractors. The Washington Post article and interview published last week shed interesting light on him. As I wrote in my column, Joe Paterno: The Sandusky Tragedy, Lung Cancer, Chemotherapy and His Career, I wish he had spoken out right after his dismissal. I didn’t think that statements by Paterno during the height of his chemotherapy treatments were the most ideal time to get his true feelings and knowledge of the Sandusky situation.
The trials will come and more of the facts will come out. Without Paterno’s testimony, we will probably never know exactly what role he played or what he really knew about what his friend and assistant was involved in regarding the alleged abuse of children.
Now the man born days before Christmas in 1926 has lost his battle with cancer. A battle for the most part, he fought secretly and I am sure, bravely. I only wish he had shown the same bravery facing the Sandusky story.
Related articles and complete coverage of Joe Paterno written by Bruce Silverman for SILVERMAN: On Sports:
Joe Paterno: The Sandusky Tragedy, Lung Cancer, Chemotherapy and His Career
Jerry Sandusky is a Coward
College Coaches Leading Their Student-Athletes to the Abyss
Penn State Tragedy Covered Like Only Bruce Silverman Can: PODCAST A Must Download and Listen
Playing the Game has Nothing to do with Doing the Crime
Say It So, Joe, Resign NOW
Joe Pa Should Step Down in unHappy Valley Today
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Tag: kelly holcomb
Brad Childress & The Great Quarterback Fiasco
Brad Childress
Originally uploade
by vitaminkg21
Okay, now it’s time to talk about Brad Childress and his responsibility for this alleged football team. There are a lot of things that Childress has messed up as head coach of the Minnesota Vikings, but none is more glaring than the handling of the quarterback position.
One of the first issues Childress had to deal with upon becoming coach was Daunte Culpepper‘s whining about more money. You can hardly blame a post-T.O. Childress
for having no stomach for dealing with a another malcontent player, but
in retrospect you’ve got to wonder if the coach’s personality
exacerbated the situation with Pep.
Childress deserves full credit for everything after Culpepper, though.
After making a huge reach for Jackson, the Vikings sign Brad Johnson to a two year contract to run the team and mentor Jackson. They make a trade with the Jets for Brooks Bollinger. Apparently, not satisfied with Bollinger during training camp, they bring in Mike McMahon, of all people, to compete for a job.
Childress knew McMahon from the Eagles, so how did he not know that
the guy was useless? McMahon is eventually cast away and the team
settles on Johnson, Bollinger and Jackson as their quarterbacks.
Johnson becomes estranged with Childress because the head coach
won’t allow the veteran quarterback to audible based on the look of a
defense. Johnson is eventually benched in favor of Jackson, who get
injured, who is replaced by Bollinger, who gets injured, and is
replaced in favor of Jackson.
After the 2006, the Vikings jettison Johnson and proclaim Jackson the starter for 2007.
This season we’ve seen Jackson, Bollinger, and now Kelly Holcomb behind center and none of them have really worked. Childress was very
excited about getting Tyler Thigpen in the 2007 draft, but then let him
slip to Chiefs instead of ensuring him a roster spot. Koy Detmer? Have I left anyone out?!?
As I’ve said before, not only is Childress’ ability to judge quarterback talent suspect, he has been completely irresponsible in not having a contingency plan in case Jackson didn’t work out.
Why didn’t the Vikings make a run at Jeff Garcia during the off season? Imagine what the team could have done with a good quarterback.
Vikings vs. Packers Preview
I’m not too confident they can do it, despite Adrian Peterson, but if the Vikings are to have any chance at seeing post-season action, today is the day they need to begin to turn their season around.
Adrian Peterson kicked serious Chargers ass last week, but let’s be real; Chargers quarterback Phillip Rivers had an awful game, the team was without starting linebacker Shaun Phillips; and standout Luis Castillo was knocked out early in the second half. It’s not coincidental that Peterson ran for 253 yards and two touchdowns during the second half.
That’s not to say that it wasn’t a phenomenal performance by Peterson, it was a thing of beauty (watch the highlights). It’s no surprise, too, that the offensive line put in their best performance of the year and Peterson got a lot of help from outstanding blocking by the receivers down field.
Peace, man.
Originally uploaded by
vitaminkg21
Here’s something else that’s not a coincidence: The offense suddenly looked a lot better after Tarvaris Jackson was knocked out of the game and we got a signal caller with a semblance of passing accuracy in Brooks Bollinger.
Before he was knocked out, Jackson threw directly to the defensive back who was positioned in front of Sidney Rice on a five yard slant route. How did Jackson not see that Rice was covered? Later, Jackson missed an open Aundrae Allison on a deep route.
During the third Vikings’ series of the second half, after five straight running plays, on first and ten, Bollinger hits Sidney Rice for a forty yard touchdown on a stop and go route.
Those plays have been there all year but neither Jackson nor Kelly Holcomb have been able to hit open receivers. This is how inaccurate our starter and primary backup have been: Tarvaris Jackson has an abysmal 46.4% completion percentage and Holcomb is not much better with 50.6%. Bollinger boasts a 70.8% completion percentage.
Indeed, Bollinger leads the team in every significant statistical category: Yards per Attempt (9), Touchdown Percentage (4.2%), Interceptions (0 verses 5 for Jackson and 1 for Holcomb), sacks (4 versus 5 for Jackson and 12 for Holcomb), and quarterback rating at 112.3. Is it time to stop grooming Jackson and put in the guy who gives us the best chance to win?
Which brings us to today’s game.
Running Against The Packers
The Vikings face the league’s 7th ranked defense today against the Packers but then they faced the same challenge last week against the Chargers’ 7th ranked run defense.
Boasting the league’s best running back coming off a historic performance, it is no secret what the Vikings will do on offense today. Run to daylight.
The difference this week may very well be Brooks Bollinger, who is expected to start behind center. The Pack will stack eight or nine players in the box in order to stop Peterson and the Vikings need to–as they have all year long–take advantage of that defense.
Passing Against The Packers
Bolliger’s accuracy gives the Vikings the best chance to exploit the crowding of the box. Starting free safety Nick Collins is out, so rookie Aaron Rouse will be starting in his stead. Throw in the fact that starting strong safety Atari Bigby (great name!) has been playing miserably lately, we may see some deep passes actually completed today.
And that would help open up the running game, as well.
Defending The Packers
The Packers’ offense is last in the league in rushing and second in the league in passing; the Vikes are second in the league against the run but 31st in the league against the pass, so we know what’s gonna happen.
The best defense for the Vikings must be a good offense. Just keep Brett Farve off the field for as much of the game as possible.
When the Vikings D is on the field, they should ignore the run, especially the play-action because it’s unlikely to be a run anyway. We need to get in Farve’s grill with a strong pass rush to keep him from getting comfortable and we need to jam the receivers to disrupt their short, West Coast routes.
The Vikings defense will need to bring the game they played against the Chargers if the team is going to have a chance to win.
It wouldn’t hurt at all if Darren Sharper picked off his old mate.
Vikings Quarterbacks Conundrum
Vikings head coach Brad Childress has tried to be vague about who he will start at quarterback all week, but all signs point to, and logic dictates, that Tarvaris Jackson will resume his starting role and continue his growth as an NFL quarterback. Or so we would hope.
By moving up in the draft in a move that many thought was a reach, Childress indicated clearly that he considered Jackson the future franchise quarterback. Forced to face the fire in his second year despite sparse NFL experience because the team refused to add a viable veteran signal caller to the roster, Jackson must develop whether he’s ready or not.
There have been some promising signs during Jackson’s short exposure to pro football: He’s obviously very athletic and can make things happen with his feet; he’s got an extremely strong arm; he has shown composure at his position; and for the most part he has not tried to force the ball where it shouldn’t go.
On the other hand, during his past two games, Jackson’s looked like a deer in the headlights: He’s looked panicky in the pocket and he’s tried to make plays that weren’t there, resulting in turnovers. And he’s still got to prove he can win a game. He’s taken steps backwards.
If the Vikings beat the Bears today, there’s still a faint hope that they can salvage their season. If we lose, we’ll have to consider it another rebuilding year and hopefully Jackson will blossom in the absence of the pressure of playoff hopes. Only time will tell if Jackson is the answer.
Aside from all the problems you typically get with a young, inexperienced quarterback, the most maddening thing about Jackson is that for a guy who’s got a rocket arm, he appears to have absolutely no feel for the long pass. He’s consistently missed deep receivers, even when they’ve been wide open.
Kelly Holcomb has had the same problem, which is pretty inexcusable for a guy with ten years experience. Worse, though, is Holcomb’s crybaby attitude. The most indelible image I have of Holcomb is him rolling his eyes or yelling at his teammates. That’s not just a lack of leadership, that’s poisonous.
0 for 4 At Quarterback
Jackson, Mike McMahon, Brooks Bollinger, Kelly Holcomb; thus far, Brad Childress is zip for four on his quarterback choices. We won’t know whether Tyler Thigpen was a wise personnel evaluation for quite some time, as he is buried on the Chief’s depth chart and it is too soon to fairly judge whether Jackson is the real deal. But it is clear th McMahon was incompetent and Holcomb looks little better. Bollinger has all the look of a career backup.
Considering all of the Vikings quarterback problems under the current regime, you have to question their ability to evaluate talent. McMahon and Holcomb are the most glaring indictments of said weakness because they came from Philadelphia, so presumably Childress was much more familiar with them than he would be with a player that came from elsewhere.
Worse still, is the apparent lack of development of any of our quarterbacks.
That tells me that they are either 1) not being taught well, 2) they are being forced into the system and asked to do things of which they are not capable, or 3) both.
If the problem is the first, then, well, what can you say? The big selling point with Childress was his ability to develop talent: See Donovan McNabb. Maybe the coach ain’t all that. If the problem is that the QBs are being forced to do things they are not good at, there’s plenty of supporting evidence in that regard: all of last season was an example of that.
John Randle Taunted Kelly Holcomb…Mercilessly
Former Minnesota Vikings defensive tackle John Randle was not kind to current Vikings backup quarterback Kelly Holcomb back in 1997, according to a great story by Pioneer Press reporter Don Seeholzer:
Holcomb said he learned that lesson [of not being prepared] the hard way
in the final game of the 1997 season with the Indianapolis Colts when
starter Jim Harbaugh got hurt during a 39-28 loss to the Vikings in the
Metrodome.
"I think I had 15, 16, 17 snaps (that game), and I turned it
over five times," Holcomb said. "That taught me a valuable lesson. It
doesn’t matter what your record is, you’d better be ready to play. It
was a hard lesson to learn."
Adding insult to ignominy, Holcomb said motor mouth Vikings
defensive tackle John Randle delivered a running commentary of abuse.
"I remember him running off the field saying, ‘Hey, Holcomb, if
you want to give it to us, we’ll take it,’ " Holcomb said. "He was
making me madder by the minute. At the end of the game, if I could have
been an ostrich and stuck my head in the sand, I would have."
Hee, hee! Even four years after he retired, Randle continues to entertain.
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SUPERVERSIVE: “The Rising of the Shield Hero” is the worst kind of isekai
Tuesday , 2, April 2019 Anthony Superversive 18 Comments
“The Rising of the Shield Hero” is everything wrong with the isekai genre. It just pretends otherwise.
The show is a trick. It pulled the wool over your eyes. The first twenty minutes or so are some of the worst I’ve ever seen in the genre. They do basically everything wrong – give us a boring protagonist whose only trait is “kind of nerdy”, make his reaction to being forcibly kidnapped into a fantasy world bizarrely blase, and make the fantasy world itself as generic a medieval setting imaginable. Everything it does it does badly, and the worst of all is that reaction. Almost every protagonist of these sorts of stories reacts the same way to being ripped from their homes and families against their will – bland acceptance. It is bizarre, and strikingly unrealistic. This kid had a job. He had a family. And his reaction is seriously just going to be “Eh, let’s see what’s up?”
“Log Horizon” had a similar problem, but because “Log Horizon” is actually a great show that manages to push itself beyond wish fulfillment fantasy it explores the backstory of its protagonists and recognizes their inherent tragedy, which at least lightens the blow. To be so obsessed with an MMO that you’re not even unhappy about being stuck there implies something seriously messed up about your real life – and we do, in fact, learn that our protagonist Shiroe used to be suicidal. “Log Horizon” knew its characters weren’t normal. “Shield Hero” completely ignores this, and it’s absurd.
Of course the main hook of “Shield Hero” is that look guys, it’s totally not a wish fulfillment fantasy at all! The Shield Hero was accused of rape and everyone hates him now! His life sucks! Isn’t that interesting?
And that’s the trick. That IS interesting! The problem is that that’s not the show – not even a little bit.
We are twelve episodes into the show. That is a single season. Let’s explore where the Shield Hero is at:
He is the most popular hero by far among the people of the land. Everyone loves him
He is easily the most powerful hero, to the point that the other heroes are referred to as his “servants”
The king who hates him is so much of a non-threat that the Shield Hero basically spits in his face and walks off afterwards scot-free
He has a harem featuring a buxom raccoon girl and two lolis. Not one, but two of the people in his harem refer to him as “master”
His original two main antagonists, the Spear Hero and Malty, have been reduced to Team Rocket villains, except not nearly as funny
Our raccoon slave girl Rapthalia
The last real moment of hardship for Naofumi (our titular Shield Hero) came in episode 4. Yet even here we see the problems pop up. Here Naofumi gets into a fight with the Spear Hero; if he loses Rapthalia, his buxom raccoon companion (technically a slave, but yeah, no), will be free to leave his party.
You know what would have been cool? If Naofumi actually lost the fight. Except…he doesn’t. He wins, until the Spear Hero cheats. Except it doesn’t matter, because Rapthalia stays with him and now the other heroes realize he’s actually not so bad. Even when the Shield Hero loses, he wins!
And that was literally the last time in the series we see Naofumi suffer for longer than a couple of minutes. Episode FOUR of the show. Yeah.
Naofumi is the worst kind of isekai protagonist: An edgy badass with a harem of hot chicks and lolis, except he’s SO badass and EDGE-EE he doesn’t actually notice how totally into him they are, and this makes him EVEN COOLER (we even get an awful, cringey hot springs scene for good measure). He’s the most powerful, most beloved, most desired, and most awesomest hero in all the land. Girls want him; guys want to be him.
The false rape actually helps the wish fulfillment. All of those twelve year old boys who feel like the world always has them down, man, who nobody understands, they can relate to the Shield Hero. They’re edgy loners too, but in reality if only everyone appreciated them they’d be the greatest hero in the world with a harem of beautiful women, exactly like the Shield Hero!
The animation is mediocre. The action is mostly mediocre. Some of the characters are all right, but the lead is Just Another Isekai Protagonist, with extra EDGE-EE. And yet, it really is probably the best isekai since “Log Horizon”.
And what that tells us about the genre isn’t good.
Skip “The Rising of the Shield Hero” and turn on “Log Horizon” instead. You’ll be glad you did.
Just for fun, an English cover of the “Log Horizon OP
Avoid Arifureta this summer. At least Naofumi and Shield Hero are somewhat redeemable.
Oh believe me, I have every intention of avoiding it.
And you’re right. The show is watchable and occasionally entertaining. Naofumi is tolerable and I kind of like Raphthalia a little? It is by no means a trainwreck of a show.
It’s just not good, for all the same reasons every trapped in a video game isekai isn’t good.
Shield Hero, like Kaguya-sama, went viral, taking attention away from BoogiePop, Raildex, Dororo, JoJo, Fairy Tail, Karakuri Circus, and other more notable series. When the Twitter dust settles, it’ll be forgotten.
Shield Hero’s good point is that it approaches anti-hero isekai with a Jerk with a Heart of Gold approach. Arifureta and the rest of the genre likes Jerk with a Heart of Jerk instead.
I really enjoyed Kaguya-Sama. It started off a but slow but I laughed and it got better. I only tried one episode of Boogie Pop and it didn’t impress me.
Dororo I haven’t had the opportunity to see, but I really want to.
I started watching “Iron-Blooded Orphans” a couple days ago and now I’m over a dozen episodes in. Absolutely awesome, easily the best mech show I’ve seen since “Gurren Lagann”.
…Not that I watch a ton of mech shows, but still, it’s awesome.
I feel that it started decently enough. Then Spear Hero and his redhead turned into Team Rocket villains. Then it turned out that that the evil princess was a paper tiger all along, and the real princess totally admires Naofumi while the real ruler completely supports him.
Plus gratuitous looks-like-Christianity bashing.
It was decent – not great – for the first 4 episodes, then it was just a slow descent into medicority.
Ah, thank you. I didn’t watch the show but I was in the room while my boyfriend watched most of it and every time I looked over something magnificently cringy was happening – Like, whoever wrote this definitely felt people had “done wrong” to him and he’d been itching for a platform to play out his revenge fantasies. (Also the bird-girl’s voice makes me want vomit.)
Glad I’m not the only one who’s weirded out.
Goblin Slayer says:
This show is too intelligent for you then. Lol.
i agree it is one of the best isekai anime and the ones that disagree are just like myne and don’t have a shred of logic in there arguments
FanGirl says:
Thank you for this!! I mostly agree and kind of don’t agree. I think that the show is completely unrealistic because of how easy everything is for him, and also because of how fast he makes a switch from nerdy otaku to badass hero. And because of how he just forgets his 20 years of living. But I still think it’s a fun show to watch.
I honestly didn’t HATE the show, I just disliked the way it pretended to be different while offering the exact same sort of escapist fantasy as every other isekai.
I am sorry, but exactly what was easy for Naofumi? His second day in that world he was accused of rape, and only escaped with his life due to the fact that they NEEDED him as a hero. He had to buy a SLAVE in order to get by. How exactly is any of that easy????
I already explained why, and you don’t need to feel bad for me because I paid attention.
I honest to God do not believe we watched the same show. I am not sure how anyone walks away from the show thinking it is to easy on the protagonist. I keep thinking over and over and OVER but still can not come up with a shred of logic for this argument. To me this isn’t a matter of diffirence of oppinion on a show, but they are simply lying about what actually happens. I feel bad that these people were unfortunate enough to likley see the show with many many scenes taken out. That is genuinly the only way I can believe they are not lying.
I will admit my comment is a bit heated, and yes everyone is indeed allowed to have their own oppinion. Personally, I have always been the person who can argue something both ways. This is why I have a very very very hard time believing a side that I find no solid basis for. I will admit though, your part about the harem stuff is true, and tbh I have just given up fighting them at this point. You can’t have a decent iseki without harems nowadays. However that is a matter of prefference, so it is not an argument as to why it is bad criticaly. No matter how anyone tries to spin it, the protagonist did NOT have it easy. If he was overpowered compared to others, that would be due to the diffirence of experience and what not. He had nothing and had to clean up the other’s messes. The show even talks about how the other three let their status go to their heads and made them lazy. That is an entire unspoken plot that comes to a boil when they are at the tavern and Naofumi confronts them. The king was only powerless once the actual ruller came back and put him in his place. Before that, no one would lift a finger to aid him, and their church even declaired him the devil himself. If you choose not to like the show, that is by all means 100% fine, but a person can not simply claim things that are in fact, lies, and most importantly, you can’t use said lies as the foundation for your claim critically condenming it. Because the argument can’t claim it is bad for xyz if xyz simply isn’t true.
Anthony M says:
Right, but what I said is true and you’re not addressing what I said.
Naofumi had it hard…for a very short period of time. About four episodes, 12 at most and I’d argue not really. And that’s the point. You set him up as down on his luck, so the audience relates to him, but the show very quickly turns into an extremely standard isekai power fantasy. For that, it’s probably slightly above average compared to others because it showed SOME struggle, but the bar is extremely low.
Also, the harem is objectively disgusting and objectively poorr writing, not just not to my taste.
And I wrote this before the show even took its real nosedive, with onee of the unintentionally funniest episodes of an anime I have never seen where the Queen just rewrites an entire religion. Imagine the Pope announcing that Satan was just misunderstood and really a pretty cool guy. Yeah I’m sure the people will just accept that.
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By Andrew Natalizio - September 22, 2017
The Yankees would look to stay hot behind the arm of Masahiro Tanaka, who has been fairly
consistent in the second half of the season. His split finger fastball, which is his go-to with two
strikes, has been very electric. Coming into the game, the Yankees could clinch a playoff spot with
a win, an Astros win, and an A’s win. Unfortunately, Tanaka didn't have anything going for him tonight and buried the Yankees early en route to a crushing 8-1 defeat, all but ending any remaining chance this team had at snatching the AL East title from Boston.
Photo Credit: Frank Gunn/The Canadian Press
The Yankees wasted no time getting on the board in the top of the first, as Aaron Judge deposited a 469 foot bomb into the left field seats. According to Statcast, this was his second-longest of the year, with an exit velocity of 114 mph and a launch angle of 25 degrees.
Photo Credit: Fred Thornhill/The Canadian Press
In the bottom half of the inning, after a leadoff single from Teoscar Hernandez, Starlin Castro
was handcuffed by a routine double play feed from Todd Frazier. The E-4 put runners at first and
third with nobody out for the Blue Jays. Tanaka got a huge strikeout of Justin Smoak, but then
faced Jose Bautista, who’s 36 career homers are the most actively against the Yankees. He
got Bautista to chop out to third, but it wasn’t hit hard enough to cut down the run at home, and
the Blue Jays tied the game at one.
Todd Frazier led off the top of the third with a thumbs down, which is always a good thing, as he
hammered a double to right field. The Yankees RISP failures would rear their ugly head again, however. After a Clint Frazier pop out, Ellsbury smoked a ball that looked to be a clean double over Bautista’s head, but he was able to track down the liner for the second out of the inning. Todd Frazier was called out at second base during the play after Ryan Goins pulled the hidden ball trick on him.
For a team in dead last and nothing to play for, this seemed a bit bush league, but credit the Blue Jays for wanting to play spoiler and the blame still does lie on Frazier for not being more aware of what was going on.
The following inning, Teoscar Hernandez cranked a ball off Tanaka in the third to give the Jays a 2-1 that surprisingly enough ended up being all they would need the rest of the night. After the Yankees weren't able to push across a run in their next at bat, Russell Martin lined a two run homer to left as well, because of course he did. The Blue Jays went up 4-1 and the night was only about to get worse.
Judge led off the sixth with a hard hit double to left, but after a lineout, a popout, and a ground
out, the Yanks couldn’t get him in. For the second time tonight, a leadoff double didn’t score.
A walk, a single, and another walk loaded the bases for the Blue Jays in the bottom half of the
sixth. With two outs, Ryan Goins put a dagger in Tanaka and the Yankees with a Grand Slam to
right field, giving he Blue Jays an 8-1 lead. Tanaka allowed another three homers tonight.
The Yankees offense couldn’t put anything together in the late innings and ultimately dropped this one to the Blue Jays by a final score of 8-1.
Winning Pitcher: Marco Estrada (10-8, 4.70 ERA) 7 IP, 3 H, 1 R, 1 ER, 3 BB, 4 K
Losing Pitcher: Masahiro Tanaka (12-12, 4.94 ERA) 5.2 IP, 6 H, 8 R, 7 ER, 3 BB, 6 K
Marco Estrada: 7 IP, 3 H, 1 R, 1 ER, 3 BB, 4 K
Teoscar Hernandez: 2-4, 2 R, HR (3)
Russell Martin: 1-4, 2 RBI (32), HR (13)
Ryan Goins: 1-3, 4 RBI (59), HR (8)
Aaron Judge: 2-2, 2B (21), HR (46), 2 BB
Article by: Noah Clement
Follow @Rocky_BalNoah
Aaron Judge Clint Frazier Jacoby Ellsbury Jose Bautista Masahiro Tanaka New York Yankees Noah Clement Recap Russell Martin Starlin Castro Toronto Blue Jays
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ASSOCIATED GROCERS NEW ENGLAND JOBS
As a retailer-owned wholesale cooperative, Associated Grocers of New England (AGNE) is dedicated to the success of its members and committed to serving the needs of independent grocers. WebSearch Associated grocers of new england jobs. Get the right Associated grocers of new england job with company ratings & salaries. 20 open jobs for Associated . Job posted 5 hours ago - Associated Grocers of New England is hiring now for a Full-Time Entry Level Clerk - Accounting in Suncook, NH. Apply today at CareerBuilder! Associated Grocers of New England has been feeding New England and growing careers since As the largest retailer-owned, wholesale distribution center in New England, AG.
Buyer Success: Associated Grocers of New England's Steve Felton: 'ECRM is Time Well-Spent'
Associated Grocers Of New England Company Jobs and Hourly Pay ; Capacity Manager, Chicago, $, Associated Grocers Of New England ; Capacity/Carrier Associate. WebEMPLOYMENT. Thank you for your interest in a career with Associated Grocers of New England, Inc. We have opportunities at AG New England's Distribution Center in . 50 Associated Grocers Of New England Jobs in United States (2 new) · Shelf Management Specialist - MA Region · Inventory Control Clerk (PT) · Warehouse Associate. Associated Grocers of New England, Inc. is currently searching for a Part-Time Inventory Control Clerk to join our dynamic team. WebSince , Associated Grocers of New England – AGNE has offered wholesale grocery distribution services to independent supermarkets of all sizes. Based in Pembroke, New Hampshire; Associated Grocers of New England has offered part-time, short-term, and temporary job opportunities on its staff of more than employees. Since , Associated Grocers of New England – AGNE has offered wholesale grocery distribution services to independent supermarkets of all sizes. Based in Pembroke, New Hampshire; Associated Grocers of New England has offered part-time, short-term, and temporary job opportunities on its staff of more than employees. WebAssociated Grocers of New England, Inc., is the largest retailer-owned, wholesale grocery Distribution Center in New England. We serve the needs of Independent Retail Grocers of every store size and format multi-store independent supermarket groups, community supermarkets, country stores and convenience retailers. GDSN® Initiative Welcome to the AG New England (AGNE) GDSN Initiative! Data Quality, Storage and Sharing of product information is as key now to product. Sep 26, · 22 Associated Grocers of New England jobs in Martin. Search job openings, see if they fit - company salaries, reviews, and more posted by Associated Grocers of New England employees. Oct 14, · Associated Grocers of New England is an equal opportunity employer and makes employment decisions without regard to race, color, religion, sex, national origin, sexual orientation, gender identity, disability or protected veteran status. Associated Grocers Of New England Address Pembroke, NH USA. Job posted 5 hours ago - Associated Grocers of New England is hiring now for a Full-Time Entry Level Clerk - Accounting in Suncook, NH. Apply today at CareerBuilder! Associated Grocers of New England has been feeding New England and growing careers since As the largest retailer-owned, wholesale distribution center in New England, AG. Associated Grocers of New England (AGNE) is a retailers' cooperative serving over six hundred independent grocery stores and convenience stores, in Connecticut, Maine, Massachusetts, New Hampshire, New York, Rhode Island, Vermont, and Pennsylvania. It was founded in as New Hampshire Wholesale Grocers and took the present name in Whether you're a seasoned veteran with a knack for hauling refrigerated freight or new to the profession, we have truck driving jobs and training available. WebAssociated Grocers of New England, Inc. Concord, NH. Quick Apply. Training Provided. Pay. $20 to $21 Hourly. Type. Full-Time. About AGNE We are the largest retailer-owned, . View the job description, responsibilities and qualifications for this position. Research salary, company info, career paths, and top skills for Benefits and Payroll Specialist Benefits and Payroll Specialist in Associated Grocers of New England; Pembroke, NH. Popular Locations. Washington, DC; Chicago, IL; New York, NY; San Francisco, CA.
Associated Grocers Welcome Video
WebAssociated Grocers Of New England pays an average salary of $, and salaries range from a low of $, to a high of $, Individual salaries will, of course, vary depending on the job, department, location, as well as the individual skills and education of each employee. WebMay 6, · Associated Grocers Of New England. Prepare, cut, slice, weigh and package deli items according to standards and quality goals. Cleaning of workspace and necessary items, machines, and utensils. Complete other tasks at the discretion of the deli and store managers. Support and comply with all company safety/security standards. 56 associated grocers of new england Jobs Hiring Near You · Inventory Control Clerk (PT) · Warehouse Associate $20/hr+Benefits! · Shelf Management Specialist - MA. WebEmployees at Associated Grocers of New England Jonathan Wayashe Susan Woods Chartworth, LLC | Mergers & Acquistions | Business Development Colleen Farley, CPM® Financial Advisor and. Associated Grocers of New England Suncook, NH Full-Time Apply on company site Job Details favorite_border SUMMARY/PURPOSE: Manage and oversees the purchasing function . WebSearch Associated grocers of new england jobs. Get the right Associated grocers of new england job with company ratings & salaries. 20 open jobs for Associated . Job posted 5 hours ago - Associated Grocers of New England is hiring now for a Full-Time Produce Clerk in Londonderry, VT. Apply today at CareerBuilder! Information on financings and debt for companies, investment preferences, and co-lenders for Associated Grocers of New England. Use the PitchBook Platform. Job posted 5 hours ago - Associated Grocers of New England is hiring now for a Full-Time Meat Cutter in Newport, VT. Apply today at CareerBuilder! Meat Cutter job in Newport at Associated Grocers of New England. Create Job Alert. Get similar jobs sent to your email. Save. List of Jobs. Apply to this job. Today’s top 54 Associated Grocers Of New England jobs in United States. Leverage your professional network, and get hired. New Associated Grocers Of New England jobs added . 52 associated grocers of new england Jobs Hiring Near You · Inventory Control Clerk (PT) · Warehouse Associate $20/hr+Benefits! · Shelf Management Specialist - MA. Associated Grocers of New England A co-op of independent retail grocery stores headquartered in Pembroke, NH. Loan in participation with National Cooperative. 9 Associated Grocers of New England jobs available on www.czudovo.ru Apply to Produce Clerk, Order Picker, Inventory Associate and more! Based in Pembroke, New Hampshire; Associated Grocers of New England has offered part-time, short-term, and temporary job opportunities on its staff of more than. The grocery distributor serves the needs of independent retail grocers of every store size and format: multi-store independent supermarket groups, community.
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As a retailer-owned wholesale cooperative, Associated Grocers of New England (AGNE) is dedicated to the success of its members and committed to serving the needs of independent . Associated Grocers of New England, Inc. has an opportunity for an experienced CDL-A. This opening is a great career opportunity for someone who is looking. Jan 12, · How much do Associated Grocers of New England employees make? Glassdoor provides our best prediction for total pay in today's job market, along with other types of pay like cash bonuses, stock bonuses, profit sharing, sales commissions, and tips. Our model gets smarter over time as more people share salaries on Glassdoor. Associated Grocers Of New England Company Jobs and Hourly Pay ; Capacity Manager, Chicago, $, Associated Grocers Of New England ; Capacity/Carrier Associate. WebAs a retailer-owned wholesale cooperative, Associated Grocers of New England (AGNE) is dedicated to the success of its members and committed to serving the needs of independent grocers. We achieve our mission through: integrity, a supportive employee environment, concern for the communities we serve, efficient and innovative operations, . ASSOCIATED GROCERS OF NEW ENGLAND, INC. is a DOT registered motor carrier located in MANCHESTER, NH. View phone number, email, key contacts, trucks. See 1 photo and 2 tips from 66 visitors to Associated Grocers of New England. "It's a job I guess". WebAssociated Grocers of New England Suncook, NH Full-Time Apply on company site Job Details favorite_border SUMMARY/PURPOSE: Manage and oversees the purchasing function and all its related activities within an assigned area of authority including supervision of personnel. Uphold the highest standard of customer service. Job alerts from Associated Grocers of New England Never miss new job openings Get Free Job Alerts No, I'm not interested 2 ratings Salary & Benefits Professional growth Work-Life balance Recognition & Support Culture & Values Join the Conversation and Leave a Review or View All Reviews Team Professional experience. Today’s top 54 Associated Grocers Of New England jobs in United States. Leverage your professional network, and get hired. New Associated Grocers Of New England jobs added daily. WebMyAGNE is a community website to connect our retailers with information on pre-sales, hot prices, new items, and news regarding the co-op.
associated grocers of new england All Jobs 52 associated grocers of new england Jobs Hiring Near You Inventory Control Clerk (PT) Associated Grocers of New England, Inc. Pembroke, NH Quick Apply Type Part-Time Associated Grocers of New England, Inc. is currently searching for a Part-Time Inventory Control Clerk to join our dynamic team. WebDec 2, · As a retailer-owned wholesale cooperative, Associated Grocers of New England (AGNE) is dedicated to the success of its members and committed to serving the needs of independent grocers. We achieve our mission through: integrity, a supportive employee environment, concern for the communities we serve, efficient and innovative . View Associated Grocers of New England (www.czudovo.ru) location in New Hampshire, United States, revenue, competitors and contact information. associated grocers of new england All Jobs 52 associated grocers of new england Jobs Hiring Near You Inventory Control Clerk (PT) Associated Grocers of New England, Inc. . Associated Grocers of New England is a wholesale company offering meats, produce, deli, dairy, and bakery products. WebTo use this site, please use a supported browser. Download Firefox Download Chrome Download Internet Explorer. Office Location(s); Job Openings. Associated Grocers of New England, Inc., is the largest retailer-owned, wholesale grocery Distribution Center In New. WebJob Details Description Associated Grocers of New England (AGNE) has been feeding New England and growing careers since As the largest retailer-owned, wholesale distribution. Associated Grocers of New England, Inc. is currently searching for a Part-Time Inventory Control Clerk to join our dynamic team. Jul, 01 - Grocery Clerk - POSITION Monthly Grocery inventory or when requested. * Ability to merchandise and Associated Grocers of New England.
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Red Bulls Look to Make It Six Straight
Hoping for a big return tonight.
As frustrated as I've been about the prospects of a successful Liverpool Football Club, and as skeptical I've been of the seemingly "hanging by a wire" success of the New York Metropolitans, it's probably a little absurd that I've been as quiet as I have about the legit - and I mean LEGIT - success of the New York Red Bulls this year. Having purchased a pair of seats for tonight's match against Chivas USA, getting me out to Red Bull Arena for one last look at the team before MLS breaks for the Euros, my attention has certainly piqued.
When Thierry Henry went down with a hamstring injury last month, things looked plenty bleak for the club. They were coming off a stinging 4-1 loss down in D.C., and it didn't help to lose their (and the MLS's) leading goal scorer. The five match winning streak that followed, which they take into the match tonight, was certainly unexpected and has left them sitting atop the Eastern Conference standings with games in hand over the teams nipping at their heels. Henry has not been the only missing starter during this streak, either. Rafa Marquez, one of the key componets of the Red Bulls' back four, has missed significant time due to a three game ban (for breaking the collar bone of another player!!) and more recent Achilles tendon soreness that kept him off the pitch for this past weekend's game in Monreal. Wilman Conde, another starter in the back four, had missed time due to his own injury problems, found his return to the lineup further delayed by an arrest for aggravated assault on a police officer. Yikes.
But none of this has appeared to matter all that much to the players who've taken the field over the last five fixtures. Starting with three straight shutouts following that DC game, the defense has shown itself to be more than capable of carrying the load while the supposed stars of the back four deal with their off-the-field bullshit. Key message for the kiddies: Even if you're hot shit on the pitch, if you break another player's collar bone, or perhaps assault a cop, you risk being challenged for your starting spot. Even in the MLS.
Violence is not a laughing matter.
Flippancy aside, there's no denying the surprising play of the defense. Goalkeeper Ryan Meara, recent call-up to Ireland's U-21 roster, has been at the center of this - his rookie campaign has included 3 clean sheets (all during this last streak), a 1.41 GAA and 48 saves (which, over 12 games, is a pretty decent clip in soccer, if you can believe it). Awful haircut notwithstanding, he's been perhaps the biggest reason why the team is still afloat, not to mention leading the East. Added to this, the Red Bulls similarly youthful defense, including Connor Lade, Tyler Ruthven and Brandon Barklage, have locked it down while awaiting the return of NYRB's top flight fullback talent.
This context makes tonight's match an interesting one - Conde and Marquez will both be available, and it is suspected that Marquez will start. Assuming he does, and that Heath Pearce - recently acquired in the trade that saw Juan Agudelo head to Chivas USA - starts at fullback against his former club, this will leave both Lade and Ruthven on the bench. It's anyone's guess whether the defensive quality that we've seen over the past month will continue or whether there will be a settling in period for the new mixture of players at fullback.
Up top, assuming Henry starts or at least play some, I expect that the Red Bulls will only get better. Kenny Cooper, who now leads the team with 10 goals on the year, has been a force this year and is much of the reason why the team was so willing to part with Agudelo last week. His striking partnership with Henry was stupid good before Henry went down last month, and I imagine that any issues on the back end may be covered up a bit if the offense can pick it up a little bit with Henry's return.
Of course, if I was an actual expert on the team, I'd mention something about the midfield at this point. But, let's be honest - I've already worked well past this "lunch break" of mine and you've already toughed it out through enough of my world class analysis.
As for the Deeg-related angle of tonight's festivities, I'll be hitting Red Bull Arena with aspiring soccer enthusiast, The Apologist. Sure, Aps is really more of a typical hockey, football, baseball, basketball guy, but he really wants to like soccer. He really does. I think this is Aps' second trip to RBA, having made the trip last year for the USMNT friendly vs Ecuador. And I think he really enjoyed it last time, especially when the Ecuadorian fan base started singing those songs about Darwin and extraordinarily niched finches. ♪♫ O, pinzones hermosos! Su adaptabilidad es asombrosa! ♪♫
Since this is the first time Apologist have gotten together to watch a proper sporting event since the end of the hockey season, we'll be dusting off our iPhones to record another episode of the Legal Limit. Since we'll be at least three or four beers deep for that adventure, you'll want to check back here later this week when the episode is posted so you can revel in our asshattery. You know you love it.
Updated 5/24/2012: Apologist and I were not nearly as successful with our Red Bull Arena podcasting as we had hoped. A combination of exhaustion and, for Aps, relative apathy kept things pretty difficult. The game ended pretty well, a 1-1 draw, including Kenny Cooper's 11th of the year. Our attempt an post-game analysis, however, was forced, at best, and we shant be posting it later this week. You're welcome.
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Slowdown
See events for the next four weeks »
Funny Ha-Ha @ Hideout
Tonight at the Hideout, it's the return of the Funny Ha-Ha evening of readings hosted by Chicago blogger Claire Zulkey. On the schedule for tonight's readings: Eric Spitznagel, editor at The Believer; Mimi Smartypants, who probably needs no introduction by now; and author John Green. Also scheduled: some comedy by Schadenfreude; comedian Andy Ross; and short films by Steve Delahoyde. The show starts this evening at 7pm; admission is a suggested $5, and proceeds go to the Neighborhood Writing Alliance. Hideout: 1354 W. Wabansia. (773) 227-4433.
Dude Dating
Speed dating for guys who like guys. A perfect opportunity to meet the best guys in town! Tonight at Big Chicks (5024 N. Sheridan Rd) (773) 728-5511. Show up at 7pm if you're looking for serious dating and show up at 9pm if you're more casual about your dating. $15 for each session. Presented by Dykediva.com.
Outdoor Film Festival: High Noon
Bill Clinton's favorite movie stars Gary Cooper and Grace Kelly and starts tonight at 8:41 PM. Free. You can leave your bike with the bike valet at Lake Shore and Monroe, also free. Leave your dogs and booze at home. For more information, visit the website or call 312-744-3315.
Kate Simko Record Release @ Sonotheque
Taking place every other first Tuesday at Sonotheque, the Wake Up! series showcases some of the less obvious electronic music talent from Chicago and beyond. Tonight Wake Up! hosts the record release rarty for Kate Simko's new Strumm EP on Seattle-based Kupei Musika. The release features original tracks by Simko as well as remixes by Jonas Bering (Kompakt) and UNAI (Force Trax). Kate Simko will be performing live as part of her U.S. tour and the night features new Wake Up! resident DJ Sassmouth as well. In addition, they also welcome Detroit Luv founder up-and-coming DJ Eric Cloutier. Chicago-based video artist Jeffrey Weeter will be performing real-time visuals throughout the night. Sonotheque is located at 1444 W. Chicago Ave. There is no cover for this event and doors open at 9pm. (21+)
Tuesdays on the Terrace @ MCA
Kick back at the Museum of Contemporary Art after work. Check out the farmer's market out front (it closes by 6 PM), wander through the exhibits (MCA admission is free Tuesdays), and conclude your evening lounging on the terrace, listening to jazz (the concert starts at 5:30 PM) and enjoying one of the best views in Chicago. For more information, call MCA at 312-280-2660 or visit the website.
Vandermark & Daisy: Dialog #3 @ Empty Bottle
Chicago jazz improv legend, Ken Vandermark returns tonight to the Empty Bottle with the third installment of his Dialog series, a Chicago Improvisers Series program that focuses solely on the relationship between drums and reeds. This final outing will showcase the talents of longtime Vandermark foil Tim Daisy. Not to be missed! The show starts at 9:30pm, and tickets are just $5. The Bottle is at 1035 N. Western Ave., Chicago.
Bon Appetit @ St. James Cathedral
This mini-opera features lyrics by Julia Child. Doors open at 5:15 PM, with refreshments. Free. The concert starts at 5:45 PM. 65 E Huron. For more information, visit the website.
By Category AC Architecture Art Benefit BYOB Comedy Conservation Culture Dance Design Event Family Fashion Festival Film Food Free GB Get-Together GLBT Health & Fitness Literary Misc. Music Nature Neighborhood Festivals Opening Reception Outdoors Party Performance Photographic Politics Potluck Radio Religion & Spirituality Science Shopping Sports Talk/Conference/Lecture Theater Web Workshop
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Hamas gunmen in the Gaza Strip
GAZA: HAMAS SENTENCES MAN TO DEATH FOR SPYING FOR ISRAEL
March 24, 2013: Gaza’s Hamas rulers have sentenced a man to death for collaborating with Israel.
A statement on Sunday (March 24) by Gaza’s Interior Ministry, translated by Arab affairs expert Dalit Halevi, had said that a military court had sentenced the man to death by strangulation. He was, according to the statement, convicted of providing information to “hostile elements” in Israel.
Badr al-Din Badr, head of the communications department of the Interior Ministry, said in the statement that the agent who was sentenced to death was arrested quite some time ago by security forces, and had failed to turn himself in as part of two previous campaigns that allowed agents to turn themselves into the government and be pardoned under certain conditions.
Earlier this month, Hamas rulers in Gaza launched a month-long campaign urging alleged Arab "collaborators" with Israel to turn themselves in as a means of being granted leniency.
"We announce the opening of the door to repentance for remaining collaborators and for all those who have fallen into the traps set by the enemy's intelligence services," interior ministry spokesman Islam Shahwan told reporters on March 12.
"We urge them to return to the bosom of their people and their families," he said, noting that the offer of clemency was open until April 11.
The Palestinian Center for Human Rights (PCHR) released a statement on March 24, in which it confirmed that a man named F.A.A. was sentenced to death after being convicted of spying in favor of an enemy entity.
The organization noted that this sentence is the first of its kind in 2013. The number of death sentences issued by the Palestinian Authority (PA) since its establishment in 1994 is 132, including 106 death sentences issued in Gaza and 26 in the PA-assigned areas of Judea and Samaria, the organization said. 46 of these death sentences have been issued since 2007.
In November, during Israel’s Operation Pillar of Defense in Gaza, the Hamas government executed seven such collaborators without trial.
Six of the seven were publicly executed, with witnesses saying the men were pushed from a vehicle and shot. Pictures from Gaza showed the body of one of the men being dragged behind a motorcycle.
Hamas was publicly condemned for the summary executions, and its political bureau issued an official apology.
The terror group later announced it would establish a committee that will investigate the circumstances surrounding the execution of the seven. (Sources: israelnationalnews.com, 25/03/2013)
INDIA: 99% OF DEATH SENTENCE PRISONERS ESCAPE GALLOWS
MALAYSIA: IRANIAN SISTERS SENTENCED TO DEATH FOR DRUG TRAFFICKING
SAUDI ARABIA: BEHEADED AND CRUCIFIED FOR MURDER, SODOMY
UAE FREES UKRAINIAN CITIZEN SENTENCED TO DEATH
CHINA: COURT SENTENCES 3 DRUG DEALERS TO DEATH, JAILS 18
IRAQ: 18 EXECUTED DESPITE INTERNATIONAL OUTCRY
UAE: DUBAI COURT GIVES DEATH SENTENCE
GEORGIA (USA): LETHAL INJECTION SECRECY BILL WINS APPROVAL
IRAN: COURT SENTENCES 6 MEN TO DEATH FOR RAPE
DELAWARE (USA): SENATE PASSES BILL TO REPEAL THE DEATH PENALTY
UAE: MAN WHO MURDERED PREGNANT WIFE HAS DEATH SENTENCE COMMUTED
SAUDI ARABIA: MAN SENTENCED TO DEATH FOR ABORTING 40 WOMEN
ZIMBABWE: PAIR SENTENCED TO HANG BY THE SUPREME COURT
HANDS OFF CAIN TO MINISTER SEVERINO: MIGUEL TORRES SHOULD NOT TO BE DEPORTED TO THE UNITED STATES
EGYPT: MUSLIM CONDEMNED TO DEATH FOR KILLING 2 COPTS
YEMEN: SECURITY COURT OVERTURNS DEATH SENTENCE OF IRANIAN SPIES
DUBAI: COURT OVERTURNS DRIVER’S DEATH PENALTY
PUERTO RICO: JURY SPARES KILLER FROM DEATH PENALTY
USA: ITALY MAY EXTRADITE MIGUEL TORRES
INDIA: ITALIAN MARINES WON'T GET DEATH SENTENCE
INDIA UPHOLDS DEATH SENTENCE OVER 1993 MUMBAI BLASTS
INDIA: ORPHANAGE FOUNDER GETS DEATH SENTENCE IN GIRLS' GANG RAPE CASE
MALDIVES: COURT OVERTURNS DEATH SENTENCE OF MAN AFTER FOUR YEARS
UAE: MAID, LOVER SENTENCED TO DEATH FOR MURDER
TAIWAN'S CAPITAL PUNISHMENT POLICY REMAINS UNCHANGED: PREMIER
NEBRASKA (USA): BILL TO END DEATH PENALTY ADVANCES OUT OF JUDICIARY COMMITTEE
DEATH PENALTY: LAST CALL FOR ANTHONY FARINA AGAINST HIS EXECUTION IN FLORIDA
MARYLAND (USA): HOUSE, LIKE SENATE, VOTES TO REPEAL DEATH PENALTY
MALAYSIA: GARDENER GETS DEATH FOR MURDER
INDONESIA RESUMES EXECUTIONS AFTER HIATUS
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Capturing the Illusion of Reality
Mapping the Visual Subconscious of a People in the Photography of Bahman Jalali
Written by Hamid Dabashi
Eyes must be washed,
In a different manner must we learn to see
—Sohrab Sepehri
The posthumous awarding of the Spectrum International Prize for Photography of Lower Saxony (VII) to the preeminent Iranian photographer Bahman Jalali (1944-2010) is a unique opportunity to reflect on the lifetime achievement of an artist who for half a century was the vision and vista of his people. Just a few months before his untimely death on 15 January 2010, Iranians were yet again marching in their masses of millions to reclaim their public space in yet another manifestation of their democratic aspirations. Jalali was destined to have kept his people company through the thick and thin of their relentless quest for liberty—showing them where they were, what they were doing, both the sad and the soaring moments of their failures and success. Master Bahman Jalali was stoic in his photographic demeanor. As his desert photography clearly shows, he had a patience and poise that was rooted in the subterranean memories of time immemorial. From the desert architectures of his homeland to the uproarious revolutionary uprising of his people's most repressed desires, Bahman Jalali had a calling to capture the illusions, the mirage, that make the realities of their humanity possible, plausible, and trustworthy.
The Fundació Antoni Tàpies in Fall 2007 and the Sprengel Museum Hannover in the summer of 2011 were the successive sites of two major exhibitions that celebrated an Iranian artist who over a lifetime had trained generations of photographers who are now extending his testimonial vision and photographic wisdom into posterity. Though the world of photography lost a magnificent artist very early and at the zenith of his creativity, Bahman Jalali continues to live not just in his timeless work but also in the agitated soul of the lenses he has bequeathed to and taught his students how to turn. His heritage extends, however, far beyond his immediate and distant students. He has planted his lens in the mind's eyes of his people. Ostad Jalali (Master Jalali), as they call him affectionately in Iran, was a visionary artist that in this panoramic full view is now the visual register of a world he was destined to document, an artist who over the span of a lifetime polished the active intellect of his lenses so perfectly that he became the photographic soul of his people. If the two series on Revolution and War are capturing the choreography of the trials and tribulations of a people, the series that Bahman Jalali called Image of Imagination reflects the more meditative spaces that Ostad Jalali was discovering in the uncharted territories of his photographic soul. There and then he has captured the evasive illusions without which realities have no way of suspending their commanding presence.
The Making of A Visual Modernity
"Towards the end of the reign of that pious King and Fighter for the Faith, Muhammad Shah [reigned, 1834-1848], may The Almighty clothe him in light," thus says I'temad al-Saltaneh, a historian of the Qajar dynasty (1789-1926), "Monsieur Richard Khan who at present teaches English and other languages at the Dar al-Fonun used, with much toil, to take pictures on silver plate. In the early part of the reign of our present Shah [Nasir al-Din Shah (reigned, 1848-1896)], may our souls be sacrificed for him, when the Dar al-Fonun [a modern college] was built, Monsieur Krziz the Austrian artillery instructor, made some photographic experiments on paper."1 This passage is the earliest narrative record of how the art and science of photography found its way into Iran—an account that is deeply rooted in the history of modern Iran in the colonial context of its emergence as a modern nation-state.
Rooted in that beginning and in its enduring context, Bahman Jalali's prolonged mediation between the art of photography and the cultural condition of modernity in his homeland has now produced the massive evidence of a lifework with his indelible signature written on its visual vocabulary. Not only in his own massive production over more than thirty years but in fact in his sustained endeavors as a collector, curator, historian, and a repository of transmission to the new generation, Bahman Jalali has been at the forefront of a national photographic project that visually informs his people's encounter with colonial modernity. His work and activities are thus the indices of the enduring role of photography in the emergence of his country as a modern nation-sate over the last two hundred years. Bahman Jalali's work, as a result, at once complicates our understanding of Iranian encounter with colonial modernity and maps out the various visual regimes that have been constitutional to the formation of Iranian modernity. Evident in his work and running through the silhouettes of his photographic memory are the active registers of a visual modernity coterminous with a national narrative at the roots of Iranian collective consciousness.
The origin of photography in mid-nineteenth century Qajar encounter with European colonialism notwithstanding, the more immediate signs of Bahman Jalali's visual modernity is in fact rooted in the rise of Persian literary modernity into which his generation of artists were born and upon which it was nourished. The nature and disposition of that visual modernity is not merely historical but far more effectively archeological. Bahman Jalali's generation of photographers is as much informed by the history of photography in Iran as by the emotive universe—visual, literary, poetic, performative—into which they were born. Less than a decade before Bahman Jalali was born in 1944, and precisely in the same year that Pablo Picasso was deeply disturbed by the rule of fascism in his homeland and furiously at work on his Guernica in Paris, a European educated Iranian writer named Sadeq Hedayat (1903-1951) traveled from Iran to Bombay (Mumbai) ostensibly to help with the Persian dialogue of the first Iranian films that were being made in India, but in fact to learn the middle Iranian language of Pahlavi—and then most famously ended up publishing a limited edition of a handwritten copy of a short novella that was destined to change the course of Iranian literary modernity. The reign of general Franco in Spain (1936-1975) was no less dictatorial than the monarchy of Reza Shah (1926-1941) and his son Mohammad Reza Shah (1941-1979) in Iran—and yet from the heart of Reza Shah's tyrannical darkness emerged the rays of literary and artistic hope for a life otherwise than evident. The publication of Sadeq Hedayat's masterpiece, The Blind Owl (1937), marks the zenith of Persian literary modernism. Although the origin of Persian literary modernity goes back to mid-nineteenth century (as early if not earlier than the origin of photography), it was not until Sadeq Hedayat gave it a robust imaginative surge that it became a major force in Iranian cultural modernity.2 In the creative character of Sadeq Hedayat and the literary modernity that he initiated and marked we might thus locate the immediate cultural condition into which Bahman Jalali was born and was then cultivated as a photographer of uncommon versatility and insight.
The fact that Sadeq Hedayat had written The Blind Owl while deeply influenced by such European writers and poets as Frantz Kafka and Rainer Maria Rilke, whom he read in French, but published it while in India and studying Pahlavi, in and of itself, points to the cosmopolitan transnationalism of the culture that had preceded him by more than a century and that had now come to full creative fruition. The Blind Owl gradually emerged as the defining moment of Iranian literary modernity—a masterpiece that to this day remains unrivalled and unsurpassed; while making its author—a disaffected member of the Qajar aristocracy who renounced his ancestral privileges and opted for a short literary life that ended with his suicide in Paris in 1951—the most prominent literary modernist of his generation. No learned and cultivated Iranian of Bahman Jalali's generation, born after the publication of Sadeq Hedayat's literary masterpieces, was immune to his enduring influence and as such was markedly different from his or her parental generation in literary and cultural sensibilities. One might in fact divide the modern cultural history of Iran into pre- and post-Sadeq Hedayat periods, when the literary—and by extension visual, poetic, and performing—vocabulary of an entire nation of sentiments changed for good.
When we look at Sadeq Hedayat's literary output today, we see a relentless and probing soul navigating a whole spectrum of creative and critical writing that ranges from novella and short stories, to studies in linguistics, literary criticism, folklore, literary translation, and drama. Among his other works, Sadeq Hedayat prepared a critical edition of Omar Khayyam's quatrains, wrote some of the most enduring examples of modern Persian drama, a number of travelogues, exquisite and biting satire, short stories that constitute the cornerstone of Persian literary modernity, treatise on vegetarianism, translation of literary sources from French and ancient texts from Pahlavi. In his short but exceedingly fruitful life, Hedayat set the record for a literary modernity and creative cosmopolitanism that have been definitive to Iranian cultural modernity for over two centuries.
Invoking the memory of Sadeq Hedayat and the zenith of Persian literary modernity and creative cosmopolitanism that he best represented is one among any number of other hallmarks of modern Iranian cultural history one can choose to mark the right angle when today we approach, look at, and begin to converse with the extraordinary lifework of Bahman Jalali's photographs collected at Tapiès Fondation in Barcelona. One might equally point to the groundbreaking work of Nima Yushij (1896-1960), the founding father of modernist Persian poetry, or before him to Fath Ali Akhondzadeh (1812–1878), a pioneering figure in critical thinking about literary modernity, or after him to Mirza Aqa Khan Kermani (1853-1896), perhaps the most gifted cultural modernist of the nineteenth century. In visual, performing, literary, poetic, and critical modernism, Bahman Jalali has a genealogy of creative characters behind him that span over the last two hundred years of modern Iranian history. Bahman Jalali's generation of visual artists carry in the constellation of their caring and critical lenses (in the poetics of their visual memory) that creative cosmopolitan that for over two hundred years has been the hallmark of Iranian cultural modernity—an anticolonial modernity that was the precise antithesis of European colonial incursions that was the defining trauma of much of the colonized world.3
Born in 1944 and active for almost half a century, Bahman Jalali is one of a handful of artists who is chiefly responsible for having brought the art of photography to full artistic recognition and social prominence in Iran—beginning with the rise of the Pahlavi monarchy (1926-1979) to political prominence and continuing in the aftermath of an Islamic revolution (1979-present). The art of photography that Bahman Jalali now best represents came to full cultural prominence in the 1960's, with such globally celebrated artists as Reza Deghati, "Abbas," the late Kaveh Golestan (1950-2003)—tragically killed while documenting the US-led invasion of Iraq—and later sublated in the artistic works of such other prominent artists as Amir Naderi, Abbas Kiarostami, and Shirin Neshat. Although the origin of the art of photography in Iran goes back to the beginning of photography itself,4 with European colonial photographers among the first to have taken the very first photographs of Iranian landscapes and peoples, as an art form, photography began to enter the domain of Iranian visual modernity early in the twentieth century with the work of such legendary photographers as Antoin Sevruguin (d. 1933).5
As a photographer, Bahman Jalali's art is deeply rooted in that history and tradition, while his attraction and fascination with photography is embedded in a generation of Iranian artists, intelligentsia, and literati that cultivated its interests far more in the wide domain of social practices than in the specific domain of scholastic learning. Having never "studied" photography in any formal schooling, Bahman Jalali has taught it in a number of Iranian universities. The range of his accomplishments as a photographer has been much celebrated in his own homeland. He is a founding member of Iranian photography museum, and been on the editorial board of the leading photography journal in Iran. As evidenced in this compressive collection of his work collected at Tapiès Fondation, Bahman Jalali has photographed the four corners of his homeland, documented its wars and revolutions, pictured its desert landscape, recorded the facial topography of his people, and lived with fishermen, nomads, peasants, and city dwellers alike, while widely familiar with the vacated quietude of Iranian cities and villages. Looking at Bahman Jalali's photographs is to witness the evident and hidden history of his people—from the streets and battlefronts of its revolutions and wars, to the vacated landscape of its deserts and small towns, and then down to the distant corners of its photographic memories. Bahman Jalali's artwork is the living memory of a visual modernity that is constitutional to his nation's historical passage to moral and normative agency.
The Art of the Impossible
The art of photography that Bahman Jalali best represents had an inconspicuous beginning in his homeland, but it had to witness and envision much before it cultivated a creative soul at the focal fusion of its caring and curious camera. When one of the most prominent philosophers of the nineteenth century Iran, Molla Hadi Sabzevari (1797-1873), saw a picture of his taken by the court photographer he was absolutely flabbergasted and considered it a bizarre miracle, for in his considered philosophical opinion "only the human spirit . . . was capable of imprinting and recording images, and this faculty was beyond the scope of any man-made machine."6 It would be a long and tumultuous time before that creative soul were to be detected and invested in the camera that today Bahman Jalali holds in his hands and takes picture of his homeland and its peoples. From the time of Molla Hadi Sabzevari forward the history of photography and subsequently cinema is predicated on a rich and diversified tradition of paintings as manuscript illustration and the so-called "coffee house painting," in which visual rendition of narrative stories have given glimpses of a far more richer and diversified visual sets of imageries dominant in Persian literary and performing arts. In such masterpieces of Persian poetry as Ferdowsi's (940-1020) Shahnameh or Nezami's (1141-1209) Khamseh, we read very vivid visualization of the most dramatic (heroic or erotic) aspects of the stories. The subsequent manuscript illustrations of these poems, the so-called "Persian miniatures," are imaginative renditions that mark the most immediate manner of visualizing those stories. When the art of photography and subsequently filmmaking arrived in Iran, from mid- to late-nineteenth century forward, those rich and diversified literary and poetic traditions were very much alive and on the mind of Iranian photographers and filmmakers.
Beyond its origins in Persian literary, poetic, and performing arts, the art of photography now evident in Bahman Jalali's lifework was the forerunner of contemporary Iranian cinema. Such prominent Iranian filmmakers as Amir Naderi began their career as photographers, while others like Abbas Kiarostami have turned to photography after a very successful cinematic career, while still others like Shirin Neshat have mixed and matched photography and filmmaking in the art of video installations. The confidence of generations of Iranian filmmakers, from Forough Farrokhzad, through Amir Naderi, and down to Abbas Kiarostami are invested in the moment that Bahman Jalali picks up his camera and looks through it at a soldier with his gun hanging from his back, sitting in his trench, his back to Bahman Jalali's camera, and looking through his binoculars at the vast anonymity of a deserted landscape. How close to that soldier do you get, how far, how much do you close or open your frame, what lens you use, what time of the day it has to be, and above all where do you stand to hold your camera in your hand without disturbing the peace of that warring posture—all these and myriads of other imperceptible questions are always already asked and answered before the camera of a photographer like Bahman Jalali becomes the hidden conscience of an entire people, a whole nation of sentiments and ideas—read and recorded for the whole world to see. When Molla Hadi Sabzevari saw his own picture, he thought it the product of a soulless machine. It would be quite some time before that machine was indeed invested with a creative soul that caringly captured the trials and tribulations of a people.
Remember the photograph of Kim Phuc, the totally naked nine-year old Vietnamese girl from the village of Trang Bang taken on 8 June 1972 by Nick Ut as she and a number of other brutalized villagers were running down a road, screaming in pain from third-degree burns suffered during a napalm attack on her village in Vietnam. War photography was never the same after that picture by Nick Ut. By virtue of this picture of Kim Phuc, war photography can be divided between a pre-Nick Ut and a post-Nick Ut period. Bahman Jalali's generation of Iranian photographers of war and mayhem—which includes such world renown figures as Reza Deghati, "Abbas," and the late Kaveh Golestan—are the product of the post-Nick Ut war photography: The urgency, terror, brutalized humanity, and unsurpassed savagery of warmongers all dwelling and dreaming in their defiant and yet frightened consciousness. In his war and revolution photography, Bahman Jalali has the Vietnamese photographer Nick Ut and by extension the legendary Hungarian photographer Robert Capa (Andrei Friedmann, 1913-1954) guiding his camera in his mind.
Once upon a time the camera may indeed have been a machine without a soul. Much carnage and despair has happened in the ravaged soul of humanity for the camera now to possess (and to be possessed by) a creative soul.
The Totality of the Lifework
Chapter and verse, the extraordinary collection of Bahman Jalali's lifework (from the heart of Iranian desert architectures to the hidden horrors of its revolutions, from the archival corners of its antiquarian studios to the full scale uproars of its wars) over the last almost half a century is the visual evidence of a cosmopolitan culture that extends from visual to literary to performing arts. The challenge that a contemporary audience alien to that cosmopolitan culture faces when looking at Bahman Jalali's artwork is how to reach for the visual vocabulary and the emotive universe of that worldly culture, passing the hurdle of the alienating effect of its aggressive anthropologization in a post-9/11 world that must re-learn how to look at a work of art and practice an aesthetic exegesis that allows the work itself exude its hermeneutic resonances, its cultural artifacts, social conditioning, political practices. What is perhaps most important in Bahman Jalali's collected work is the signature authority of a lifetime of committed artistry that ipso facto disallows whimsical appropriation into one direction or another—in either overtly anthropological or merely political terms. Here stands before its audience a massive body of evidence documenting the totality of an artist's lifework, awaiting a narrative appreciation.
The totality of Bahman Jalali's lifework informs its specific items. Take any of the pictures of his exhibited work you wish. Here is an emptied and vacated alley in the city of Bushehr. The iconic registers—or the denoted and connoted messages of the picture, as Roland Barthes would say—of the picture are yet to be globally conjugated, trans-regionally tabulated, and visually read. The picture is loaded with its emptied sensibilities. An abiding anonymity at once informs and depletes the picture—if it were to be seen in exclusively its own terms. What makes this picture move in order to begin to punctuate an emotive universe is if we were to watch it adjacent to another picture in the same series, yet another emptied street, and then move on to another, and then another, and so on. Thus viewed, every picture becomes a commentary (a visual caption, one might even say) on the other, and the next one for the previous two, and so forth—until such point that from the succession of pictures and their visual captions, we begin to work out the populated anxieties of each picture with the vacated anonymity of the other. Thus viewed, pictures provide the encoded messages of their own visual culture, without any undue anxiety about social, political, or cultural frames of references—which are the only sorts of registers that the aggressive anthropologization of the work of art can allow—and thus the calamitous condition of the contemporary works of art that come from the alienated boundaries of the European or American imagination: They are denied the paradoxical (and thus pregnant) dialectics of their formal abstractions informing their narrative moods. Only by allowing the totality of a lifework to work out its own aesthetic underpinning, the counter-metaphysics of its own visual rhetoric, can specific works of art show and tell the hidden anxiety of their creation.
The vital signs of an artist like Bahman Jalali will have to be detected in the flaunted subconscious of the work of art with his signature on it. Here we cannot do better than look closely at the series of work he calls "Image of Imagination." These are invariably made up of juxtaposed collages of pictures and texts, mostly of the earliest phase of Iranian photographic history during the nineteenth and early twentieth century. What these manufactured collages project are snapshots of a history that has long since mutated into memory, and Bahman Jalali here pushes them even further back into the repressed imperceptions of images at once illusory and yet compelling. These are vague (and yet how precise they are in their vagueness) pictures from the mind of a generation of Iranians that cannot completely remember and yet cannot completely forget mixed-up and miasmatic images of a bygone age that continues to haunt the dreams and nightmares of subsequent centuries. Invested in the porous punctualities of those images, the artist, Bahman Jalali, lives in the bodily memory of a people he thus claims and calls home. The portrait of the artist at home—that is the defining moment of the totality of a lifework that allows art to register itself as the marker of a nation at peace (even when at war) with itself.
For the camera of Bahman Jalali to detect and cultivate a soul, the artist behind that camera will have to be given the space of a lifework within which art can articulate the idiomaticity of its own visual registers. Consider those pictures of Bahman Jalali in which he juxtaposes the written Persian script on deliberately distorted pictures he has archived from the earliest phases of photography in Iran. Here language has lost meaning and sublated into its visual, meaningless, effect. The result is a cumulative collage of visual abstractions that simulate memory in a pre- and post-memorial moment, when thing are and are not quite there, and yet precisely by virtue of that uncertainty command the uncanny, the unhomely, character of art as both sign and signifier. The author of this text, the auteur of these moving images, and the artist of this imagination, belongs to an entirely different genealogy of authorial agency. The subconscious of this artistry is yet to be mapped out, its subject is yet to be born—and in the birth of that artist, the totality of a lifework commands the lexicography of a visual modernity with body and soul, purposeful aesthetics and political resonance.
The Idiomaticity of the Artwork
Paramount in the collective work of Bahman Jalali is the presence of the artist-and-his-art in-the world. The worldliness of Bahman Jalali's work of art dispenses with all the undue anxieties embedded in the curatorial anxieties concerning what constitutes a work of art in the prevalent anthropology of despair that has now permanently marked the profession. Bahman Jalali's lifework, ipso facto, disallows essentialism, tokenism, representational identity politics, and above all the mendacious anthropologization of "other" people's work of art. Against the aggressive tokenization of the works of art, and their violent mutation into cultural icons, Bahman Jalali's lifework forecloses the possibility of reading any part of it without an awareness of its worldly totality, of its visual idiomaticity—of an artist working through the thick and thin of his people's history and giving them a photographic memory of who and what they are. At the age of the iconic mutation of the work of art into a provincially political provenance, which in fact paradoxically leads to a radical depoliticization of the work of art, Bahman Jalali's lifework demands (and exacts) from its viewers a moment of pause and silence to recall the momentous occasion when art announces its unreal authority over reality. The mutation of the work of art into an act of political representation paradoxically depoliticizes it, because a work of art is only political to the degree that it is worldly—when a work of art becomes iconic, anthropological, eviscerated of its worldly whereabouts it has in fact been too much politicized and thus effectively depoliticized (at the heavy price of erasing its visual idiomaticity).
What above all Bahman Jalali's lifework demonstrates is that when placed in the world that has given life and liberty to it, art is the record of the cosmopolis that has immediately occasioned it. Here we witness the centrality of the artist in the making of a cosmovision that at once embraces and is embraced by the world that it has imagined and that has allowed it to imagine it. It is only within that cosmovision that a sustained record of an artist will allow for the making of the visual idiomaticity of the world he or she has seen. The visual vocabulary of that idiomaticity is always pregnant with its own historical memories—memories that make them meaningful and trustworthy. The danger of museumization of the work of art has always been in compromising and debilitating the relevance and authority of that idiomaticity. An exhibition is a legitimate intervention in allowing the work of art to do what it does in the world outside only to the degree that allows for that idiomaticity to speak (to show and flaunt) its innate and cultivated language.
To conjugate and learn that idiomaticity, Bahman Jalali's lifework can be traced and tracked on any number of directions. One might begin, for example, with his "Baluch" pictures—the topography of sunburned passages of time and narrative on faces that speak a hidden history. Here, Bahman Jalali's camera is caring and attentive, mostly conscious and careful how close can it actually get to the emotive topography of a face without trespassing. One can then move to his "Architecture of Bushehr City"—mostly vacated sinuousness of lives echoed in the architectonic of their visual silences. In the vacated moments of these city streets echoes the lives of those who have momentarily vacated it. When we reach Bahman Jalali's "Architecture of Desert (Memari)" something visually seductive and palpably erotic is exuding from his camera. These pictures are visually solitary, the camera almost bashful of so much exposure stripped in front of its bewildered eyes. It is right here, in the midst of life ordinary and shapes and shadows rampant and evident that we need to look at some of Bahman Jalali's pictures of "War and Revolution." A bloody revolution (1977-1979) and a deadly war of uncommon cruelty with Iraq (1980-1988) mark the birth of Islamic revolution as a turning point in modern Iranian history. We must see these pictures of revolt and warfare as the continuation of the selfsame ordinariness that has preceded them for the brutality of war and the futility of the revolution to register their respective marks.
Before Bahman Jalali's photography of "War and Revolution" distracts too much from the more compelling fact of his lifework, we need to move along and look at what he calls "Image of Imagination." These are mostly the collapsed and collided images of lives forgone and foreclosed. They speak of and show worlds long since lost and abandoned, and yet still commanding the dreams and nightmares of a people, a nation by virtue of precisely the repressed facticities of these images.
From "Image of Imagination" we are better off moving to Bahman Jalali's "Akkas-khaneh Photos." These are mostly archival photos of people posing the occasion of an instant when they stood in front of a magic box to record their haphazard whereabouts for a posterity they knew not where and what it was (what it will be). If we are to go back and look at other photos of Bahman Jalali about "War and Revolution II" we better do them now, while we are still in the grip of his playful awareness of an age of innocence when photography was self-conscious of its social novelty. But before we are too much involved in Bahman Jalali's preoccupation with the political turmoil of his homeland, we need to take a look at his "Fishermen"—serene, busy, hardworking, and toiling in the black and white of a shade and shadow familiar to Bahman Jalali's photographic memory. The best way to conclude an unfolding reflection on Bahman Jalali's photographic idiomaticity is with his sustained record of "Portraits and Daily Life"—where reality takes over and life assumes its daily matter-of-factness.
Investing Soul in a Soulless Machine
From the flat-faced photograph of the first picture ever taken of Mollah Hadi Sabzevari in the middle of the nineteenth century to the emotively sculpted pictures of Bahman Jalali up to the commencement of the twentieth-first century, the history of Iranian modernity might in fact be considered as the chronicle of a prolonged project in which the photographic apparatus was indeed invested with that sense of spirituality which the aging nineteenth century philosopher thought exclusive to the human soul. The old philosopher was not too off the mark after all. When the daguerreotype apparatus was first brought to Iran in the course of Iranian encounter with colonial modernity it indeed lacked that spiritual depth that today gives Bahman Jalali's photographs their distinct character and visual idiomaticity. What has happened between that flat-faced photograph of Molla Hadi Sabzevari and these emotively sculpted photographs of Bahman Jalali is the story of a nation. A prolonged and enduring encounter with colonial modernity—that is what has happened—has mapped out the particulars of a visual terminology at home in Iranian modernity. From the battlegrounds of that fateful encounter a creative and critical consciousness has been invested behind the two perceptive eyes of a photographer like Bahman Jalali when he picks up his camera and through it looks at the changing shades and shadows of his universe. Bahman Jalali is as much an archivist of his nation's history as a prognosticator of its invested hopes for agential authority over is historical fate.
As perhaps best captured in his manipulated photography in "Image of Imagination," in Bahman Jalali's hands and through his lenses, time and narrative come together to suspend history and tell a different story. These photographs seem to be the untold story of a nation, dreams of a people yet to be interpreted—all recorded in visual silences for posterity to behold. Here words and visions collide to make for a superior sense of perception—where polyfocal facts of life are creatively sculpted and put on stage (a soul inhabiting their bodily awareness). The passage of time in these pictures is visually palpable, the occasion of the photograph marked by a deliberate silence that allows for the muted time to speak. In these pictures mules become cars, habitual gestures change in tonality and intentions, clothing items change with each frame, etc—and yet constant remains the returned gaze of people at the camera and the photographer. In that split second when the gaze of the photographed, the eye of the photographer, and the lens of the camera come together the visual idiomaticity of Bahman Jalali has recorded the story of his nation.
True to the history of the people it has photographed, he soul in Bahman Jalali's camera is not content. It is contentious. Between the fate of a post/colonial artist like Bahman Jalali as the chronicler of his people's passage through history and the immanent conclusion of European philosophers that art has ended and the artist is dead, there thus emerges the dialectic of a transaesthetics of difference, where the world in its worldliness must hope and expect the emergence of an art that still matters. Bahman Jalali's photography is the occasion for such a hope, the instance of this realization. What makes that hope possible is the vision of a mode of seeing that preempts its imaginative foreclosure. Watching a work of art from a part of the world we have never visited, let alone known or inhabited, is always predicated on an act of prior imagination. We always imagine a country, a clime, a claim on our fantasies before we stand before a work of art that has come from that part of the world. That very act of having "come from that part of the world" is ipso facto, and always-already, an act of imaginative alienation, a Brechtian Verfremdungseffekt that enables reading a work of art at the very same time that distorts it. With artists like Bahman Jalali, we are looking at an imaginative foregrounding in which the Verfremdungseffekt has already taken place within the work of art, and as such it no longer makes a difference "what part of the world it has come from"—for thus energized by a visual repression that makes its reading possible, the work of art has already trespassed the boundaries of its own self-alienation. It thus preempts its anthropologization by prefiguring its own enabling repression, by flaunting its subconscious as if it was totally unaware of the power of its own repression. Thus equipped with a dose of creative repression that makes it creatively visible to any critical audience, the work of art looks back at its spectator, long before it has even been unpacked from the box in which it was shipped from "overseas," and installed on an accommodating wall, to be looked at by an unsuspecting observer. Watch very carefully! Bahman Jalali's camera is in reverse angle.
The Making of Iranian Aesthetic Modernity
Capturing the illusion of reality, as Bahman Jalali has done over the span of a lifetime, amounts, in effect, to mapping the visual subconscious of a people, made into "a people" precisely by way of such constitutions of varied takes on that very subconscious. In the eventual making of that visual subconscious, and as evident in Bahman Jalali's photographic archive, Iranians, as a people, have attained the measures of their aesthetic modernity. The open-ended contours of this roadmap leads to the full and final recognition of the emotive sovereignty of the aesthetic act.
The complete retrospective of Bahman Jalali's work marks a crucial point in the history and recognition of Iranian aesthetic modernity, which remains integral to the larger context of the rise of Iranian cultural modernity over the last two hundred years. The photography of Bahman Jalali reveals a cosmopolitan worldliness, a vision of reality rooted in an aesthetic awareness of the light and shadows of existence, that is irreducible to history, politics, or even culture. It has a sovereign reality onto itself. Ostad Jalali's work unveils, one shot after another, the prolonged and patient endurance, and the creative cultivation, of a visual intelligence that has long been in the making and that has been tirelessly at work to show and tell what it has seen and witnessed. Watching Bahman Jalali's work unveil over an almost half a century canvas is an historical privilege in having unmitigated access to the visual intelligence of a nation. Capturing the visual subconscious of that nation over a lifetime of photography is both a privilege and a gift that very precious few artists can hope to claim. No reality can ever be immune to the emotive illusions of this body of work.
Whence that communally registered visual intelligence, wherefore that cultivated vision? The only reliable guide into the sinuous labyrinth of Bahman Jalali's photographic memory of his journeys of visual discovery are his pictures. But the social conditions of their production and exhibition are also the indices of how we find ourselves standing in front of his pictures in Barcelona or Hannover. For Bahman Jalali's work not to be assimilated into yet another aesthetics of indifference, or else anthropologized into the indices of an information bulletin about the politics of his homeland, it is imperative to place it within the context of Iranian aesthetic modernity. In order to do so, first and foremost we need to clear a false binary opposition habitually posited between a stubborn tradition and a wayward modernity. Mapping the visual subconscious of a people is a sustained aesthetic project, in the creative formation of which signs assume a reality sui generis and as such remain irreducible to any false binary opposition.
Habitually, discussions about Iranian visual, cultural, or political modernity is placed and juxtaposed against the abstract notion of a tradition that is categorically ahistorical in its origin and provenance. A historically fixated conception of tradition and a correspondingly alien understanding of modernity are habitually placed next to each other by way of understanding the manner Iran was ushered into its current history, and its artists and intelligentsia into their corresponding visions of historical realities. Photography as an art form began in Iran almost simultaneously as it did in Europe; and thus it is imperative that Bahman Jalali's work be seen in the global context of this art form and never degenerated into a political index of his country of origin. There is nothing particularly Islamic or anti-Islamic about Bahman Jalali's art, nothing particularly political or apolitical. Reduction of art to political allegory is the most troubling analytical reductionism rampant in the European encounter with non-European art. This is not to deny or compromise the vast and varied social implications of his work, but in fact to meet and measure their imports in their own terms. To converse with Bahman Jalali's art we need to have a set of aesthetic sensibilities entirely alien to any falsifying reductionism and derived from the visual protocols of his work itself.
To decipher those protocols, we need to place the visual vocabulary of Bahman Jalali within the larger context of the aesthetic modernity that has actively nourished it, and then trace that aesthetic modernity to the prolonged Iranian encounter with European colonial modernity—a paradoxical process at once enabling and traumatizing. It is ultimately through the enabling force of an historical trauma that we must come close to Bahman Jalali's work. The historical fact of Iranian modernity is that it was ushered into the sinuous labyrinth of its culture through the gun barrel of European colonialism, to the point that what we are witnessing in Iran and its neighboring countries is not a copycat take on a universal conception of modernity but in fact what can more accurately be described as the power of an "anticolonial modernity"—namely revolutionary reaction to a mode of paradoxical encounter with the master-notions of Reason and Progress when human agency and autonomy is ascribed to a people precisely at a moment when it is effectively denied them.7 Anticolonial modernity is the inaugurating moment of rebellion against that imposed and unexamined assumptions of Reason and Progress by way of a revolutionary reason that posits its own notion of progress.
This notion of anticolonial modernity, within which specific moments such as the aesthetic modernity that informs Bahman Jalali's work occurs, points to the condition of coloniality, and by extension that of postcoloniality, that is conducive to manners of articulating a mode of agency beyond the tradition/modernity binary and as such will require a particular attention to the poetic ruptures deliberately interjected in the prose of history. The aesthetic domain in and of itself occupies a space at once autonomous and self-generative and yet coterminous with the larger political battlefields to which it is an interested witness, and precisely in the tenuous borderline of that complicitous contingency a work of art acts as catalyst of normative and moral change without being implicated in the banality of the political day-to-day-ness.
Thinking of Iranian visual modernity and the place of Bahman Jalali in it will inevitably require a conception of premodern heritage of aesthetic visuality, a historical awareness without historicism. A preliminary archeology of that premodern history of visuality unearths a long and variegated heritage, with certain solid hallmarks: The Qur'an, for example, ought to be seen not just as a juridical source of potentially banning visuality, but in fact an invitation to it: In such verses as "Those who believe in the unseen and keep up prayer and spend out of what We have given them" (II: 3), in chapters such as "Joseph" (Chapter XII), in episodes such as that of the Prophet's nocturnal journey to the heavens (Mi'raj), in the aesthetic rendition of the word of God in beautiful calligraphy, and in the melodic and rhapsodic recitation of the word of God, we see these fixation with visuality and orality perfectly evident. The belief in Mi'raj in particular has an exceedingly visual dimension to it, for it is here where the anxiety of visibility becomes very acute. God Almighty, which must remain the Supreme Unseen, so that the very notion of visuality is made possible, is here the subject of a prophetic visitation from earth. The nocturnal visit of the Prophet to meet the Almighty face to face is perhaps the most creatively traumatic moment in Islamic metaphysics, from which the very notions of visibility, and thus of visuality, are made possible.8 The centrality of God the Unseen in the Qur'anic revelation makes the trauma of visibility central to the Islamic visual culture.
This transgressive penchant for visuality is equally evident in the masterpieces of classical Persian poetry. In the Khamseh of Nezami Ganjavi (1141-1209) the episode of Mi'raj becomes a central moment of reflection on visuality, visibility, and the most spectacular poetic reflection on what it means to visit the Invisible. In Ferdowsi's (935-1020) Shahnameh too we have both a theological and a narrative awareness of the question of visuality and visibility, which in turn are written into the fabric of his poetics. Early in the Shahnameh Ferdowsi says:
Zeh Nam-o Neshan-o goman bartar-ast,
Negarandeh-ye bar-shodeh peykarast.
Beh binandegan Afarinandeh ra
Nabini maranjan do binandeh ra—
[He is too lofty to have a name or a sign,
He is the Designer whose firmament is erected high.
You will not be able to see the Creator,
Do not uselessly bother your eyes.]
In both Khamseh and Shahnameh, the doctrinal invisibility of the Invisible becomes the hidden poetic eye for detailed poignancy in a deeply ocularcentric poetry.
The varied manifestations of these transgressive attractions to visuality expand and extend all over Iranian and Islamic cultural heritage. In the so-called Persian miniature paintings we are witness to exquisite manuscript illustrations that at once complete, complement, and even compete with the narrative thrust of the manuscript they are meant to illustrate. In these manuscript illustrations, the element of visuality in effect assumes a reality sui generis, conditioning a semiotic crisis in the creative consciousness of the text, at once enabling it to exude an open-ended hermeneutics and then wedding the implicit poetics of that hermeneutics to a pronouncedly visual aesthetics. The same is true about the genre of "Coffee House Painting," a particularly popular kind of narrative illustrations that extends the domain of visibility and visuality, and with it a new set of aesthetic sensibilities, out of the courtly milieu and deep into the thicket of popular imagination, where it could roam freely. What is particularly important here is the imaginative fusion of two distinct modes of narrative, one Iranian and the other Islamic. The popular blending of the two narrative modes into a singular set of stories let loose an avalanche of visual illustrations with a distinct pleasure in making the epic of visibility at once adventurous, romantic, pious, and ritual. The fusion of the sacred and the sacrilegious, the heavenly and the mundane, in "Coffee House Paintings," now begins to push the domain of the subversive visual into the public domain.
The domain of visuality has never been limited to visual art and in a series of Persian and Arabic philosophical and mystical treatises the subversive forces of these two discourses have had a profound visual implication. Entirely tangential to his philosophical and scientific projects, Avicenna's (973-1037) "visionary recitals," as Henry Corbin rightly calls them, or "mystical treatises," as they are commonly known, point to a particularly powerful philosophical ocularcentricism that are yet to be fully grasped and understood.9 In such treatises as The Recital of Hayy ibn Yaqzan, The Recital of the Bird, and The Recital of Salaman and Absal, we are witness to a particularly suggestive set of visually allegorical accounts that explore the sinuous sides of a creative imagination entirely ocularcentric in its hermeneutic energy and visual registers. The same set of factors are evident in Shihab al-Din Yahya Suhrawardi's (1155-1191) visionary recitals, treatises such as Risalah al-Tayr, Avaz-e Par-e Jibrai'l, Aql-e Sorkh, Ruzi ba Jima'at Sufian, or Fi Halat al-Tufuliyyah, etc.10 These visionary recitals partake in a deeply ocularcentric narrative to explicate their deeply subversive modes, and thereby extend the seditious force of their narratives into visual registers.
The project of European modernity came to much of the world through the gun barrel of globalized colonialism. The direction of the gaze that the mirror of colonial modernity made possible was contrapuntal. The colonized looked back at the colonizer, as the colonizer was seeing himself in the mirror of modernity he had given to the colonial to hold and behold. The colonial person, thus designated, was yanked out of moral and normative submission, dragged out of paradisial conception of humanity as the mirror image of God, and cast onto the mirror of colonial modernity, in reverse. Colonial modernity became the most traumatic event in the paradoxical making of visual modernity—at once constituting and negating it.
Antoin Sevruguin's was the first Iranian photographer to focus on the aesthetic, as well as the documentary potential of photography. Images like his haunting portrait of a veiled woman, "Veiled Woman with Pearls" (1890-1900), brought a new sense of portraiture to turn-of-the-century Iranian photography. Meanwhile, the introduction of monofocal perspective in Iranian visual vocabulary added a new element to the hitherto polyfocal perspectives that had existed in Persian painting. This added perspective sculpted a vision of reality, of a multi dimensional humanity, distinctly evident in the aftermath of Iranian encounter with colonial modernity. Humanity at large became at once visually sculpted and morally self-referential.
This constellation of visual self-discoveries ultimately brings us to the emergence of Iranian visual modernity, to the threshold of the rise of a visual humanism that categorically brings humanity out of its Qur'anic/Biblical narrative and allows for the aesthetic creativity of the artist to mimic or modulate the divine creativity at the center of premodern experience. If Sapere Aude ("Dare to Know") was the principle motto of the European (for the rest of the world Colonial) Enlightenment, daring to look at oneself as the object of nothing more sacred or certain than the visual apparatus of an overtly self-conscious visibility was the way in which the colonial person reasserted agency in history.
What is most visible in Iranian visual modernity is the evident traces of history on the aging contours of the fragile humanity it portrays. This is the visual equivalent of the Cartesian cogito, the aesthetic rendition of the knowing subject, given agential autonomy to perceive and conceive itself, while always already under erasure. The seeing person becomes the author of historical agency. The metaphysical certainty of the world loses its magical illusions right in the enchantment of an evident reality that is auto-narrated. In the vistas of this visual modernity, humanity becomes evidently fragile, at once vulnerable and venerable. This is both a restitution of the sacred and the simultaneous celebration of the profane, the ordinary, the perishable. There is an almost palpable Khayyamesque vulnerability about this vision of humanity, hanging on an existential angst that may or may not be the signs of the time it registers. From the poetry of Nima Yushij to the fiction of Sadeq Hedayat are the existential foregrounding of this renewed, surreal, conception of humanity.
What we are witnessing and celebrating in Iranian visual modernity, with Bahman Jalali as its locus classicus, is the commencement of an aesthetic humanism (at once authorizing and transitory) otherwise unprecedented in its long and varied history. What holds together and balances this aesthetic humanism is no fabricated binary between a fictive tradition and an elusive modernity. The thrust of this humanism ranges from the deepest thicket of a people's collective consciousness down to the creative effervescences of artists like Bahman Jalali who are at one and the same time of a particular cultural location and yet belong to a cosmopolitan worldliness at home anywhere on this small and vulnerable planet.
“Desert Architecture series” Bahman Jalali: All rigths reserved © Rana Javadi
1 As reported in the pioneering essay of Iraj Afshar, "Some remarks on the early history of photography in Iran," in Edmund Bosworth and Carole Hillenbrand (Eds), Qajar Iran: Political, Social and Cultural Change, 1800-1925 (Edinburgh: Edinburgh University Press, 1983): 261-290.
2 For a comprehensive study of Sadeq Hedayat and his literary output see Homa Katouzian, Sadeq Hedayat: The Life and Literature of an Iranian Writer (New York: Palgrave, 1992). For an English translation of his Blind Owl see Sadeq Hedayat, The Blind Owl. Translated by D. P. Costello (New York: Grove, 1994).
3 For a full discussion of my notion of anticolonial modernity see the Postscript in my Iran: A People Interrupted (New York: The New Press, 2007).
4 For a brief introduction to the history of photography in nineteenth century Iran see Iraj Afshar's, "Some remarks on the early history of photography in Iran," (op. cit.): 261-290.
5 For more on the photography of Antoin Sevruguin see Frederick Nathaniel Bohrer (Editor), Sevruguin and the Persian Image: Photographs of Iran, 1870-1930. (Seattle, Washington: University of Washington Press, 1999).
6 Iraj Afshar, "Some remarks on the early history of photography in Iran," (op. cit.): 264.
7 For more details about this notion of "anticolonial modernity" see my Iran: A People Interrupted (New York: New Press, 2008): Epilogue.
8 For more on the issue of visuality in the Qur'an see my essay "In the Absence of the Face" (Social Research, Spring 2000).
9 See Henry Corbin, Avicenna and the Visionary Recital (New York: Thorsons, 1981).
10 See Shihabuddin Yahya Suhrawardi, The Mystical and Visionary Treaties of Shihabuddin Yahya Suhrawardi. Translated by W. M. Thackston (London The Octagon Press 1982).
Notes for an Autobiography Dia al-Azzawi
Drawing Chronicles: Wael Shawky’s Cabaret Crusades and the Fall of Teleological History
Record, or Arab Art Again
MATHAF Exhibition
Recent Biography
Marwan Kassab-Bachi
Born in 1934 in Damascus, Marwan Kassab-Bachi was a Syrian-German painter, who is mainly known for his treatment of the human face. He left his country of birth in 1957 to study in Berlin and remained in that city until his death in 2016.
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Let’s Talk About Student Data Privacy
Monica Watts, Director of K-12 Engagement
There is no debate that the global pandemic accelerated the adoption of digital resources in K-12. With an increase in digital resources and access, the need for protecting student data privacy and security is even more urgent.
In March of 2021, IMS launched the TrustEd Apps Dashboard to guide your teachers and staff towards secure data use and privacy. Over the last three years, our community has played an integral part in designing a rigorous rubric for vetting an application. Already, IMS has vetted over 5,000+ apps using this IMS community-developed rubric, and of this writing, over 130 products from 65+ different suppliers have earned the TrustEd Apps Seal for Data Privacy Certification. All these applications are easily found in the IMS Product Directory.
TrustEd Apps by the Numbers
→ 5,797 vetted apps in the IMS Product Directory
→ 68 suppliers have achieved the TrustEd Apps Seal
→ Over 35 in the pipeline to earn the Seal
→ 419 non-member/non-1EdTech certified
The TrustEd Apps Dashboard equips your teachers and staff with the knowledge of preferred, approved, and denied applications by the district. Additionally, it provides detailed information on how the application meets the expectations of the rubric. The new TrustEd Apps Dashboard addresses the challenge of vetting applications for data privacy and security. The TrustEd Apps Dashboard integration will launch through an LTI 1.3 certified supplier.
"We need to bring on vendors very quickly and make sure they work within our current ecosystem of technology solutions. IMS TrustEd Apps will help us cut through the backlog of having to vet and approve all of the apps coming in. Now, our academics department and our technology department have a partner to support and streamline our processes so we can get tools into the hands of our students and teachers quicker, while also ensuring their safety."
—Jeff McCoy, Associate Superintendent for Academics, Greenville County Schools
As we prepare to close the school year, now is the time to request access to the TrustEd Apps Dashboard for your teachers available through your membership in IMS. We invite you to contact us about gaining access to this valuable tool. Plus, we recently announced a new preferred partnership with CatchOn to bring TrustEd Apps privacy vetting data directly to teachers and administrators.
For more information on the TrustEd Apps process, please visit trustedapps.org today.
Holding Ourselves to a Higher Standard of Learning Impact
Rob Abel, Ed.D. | June 2021
"Just what you want to be, you will be in the end" —The Moody Blues
The 2021 winners of the Learning Impact Awards were recently announced. In this post, I'll give you some history on the awards and point you to a few of my favorites from among this year’s medal winners.
From early 2006, the term “Learning Impact” has been a shorthand at 1EdTech for improving access, affordability, and quality of education. In 2007, 1EdTech held the inaugural Learning Impact conference and Learning Impact Awards (LIAs) competition in Vancouver. The theme, Learning Impact, was a direct result of the 2006 decision by the 1EdTech team and Board of Directors to embrace Learning Impact as the primary measure of success of the organization.
In 2010, the 1EdTech Board crafted the mission statement that captures the full scope of 1EdTech activities and reiterates how impact, adoption, and standards work together to grow the edtech innovation ecosystem. We began using the image that goes with the mission statement early in 2006.
The LIAs are uniquely 1EdTech—nothing about the program was copied from any other source. 1EdTech established a detailed rubric with eight categories of impact (including access, affordability, and quality) that are used by a neutral expert judging panel to select the winners. In the last few years, we have added the ability for the public also to vote. This public vote is equal in weight to only one judge—so there is no way to “stuff the ballot box.”
It is not easy to win a medal in the LIA competition. The typical “product pitch” does not even come close to what is required. Evidence of impact is collected and considered by the judges in the context of actual institutional use. Note that interoperability is just one of the eight criteria.
Generally, interoperability and the use of standards, in particular, relate to scalability. However, innovation does not require interoperability. The goal within the context of our full set of activities is that the LIA awards help us see the innovations with impact and then create the standards to help innovation be adopted across the ecosystem. This was especially true in the early years of the program, as it was rare to find an entry that fully endorsed standards. However, today, most of the entries are leveraging 1EdTech standards, many at a massive scale. Thus, through the evolution of the LIA winners, we have seen the growing impact of standards over the last 15 years. This is exactly the virtuous cycle of innovation, standards, and large-scale adoption that we had hoped to establish.
1EdTech also analyzes the finalists, and in most years, publishes a Learning Impact Report. The purpose of the report is to take stock of where things stand with respect to the innovation trend categories that have come to the fore through the awards process. The LIAs look for evidence that an innovation is “crossing the chasm” into mainstream market adoption.
As I've discussed, I think a potential more specific set of goals beyond access, affordability, and quality, such as equity, agency, and mastery, will help the education sector focus on the key challenges that go more directly to the heart of the matter than the much-heralded mantra of “student success.” Therefore, while all the medal winners in 2021 are great, no one should be surprised that my personal favorites featured the equity, agency, and mastery themes:
Chicago Public Schools' Curriculum Equity Initiative
This project is a breakthrough in providing a scalable, culturally responsive, digital curriculum that can provide the foundation for customization, and thus equity, for a wide range of needs.
ECoach at the University of Michigan
It seems like every higher ed course should come with an ecoach which helps motivate agency with digital support that meets the student where they are.
Scaling an Equitable Access Program: VitalSource and University of California, Davis
One important aspect of equity in higher education is the trend toward ensuring that all students have access to all required resources in a digital format, a lesson from the pandemic that needs to carry over.
Class: Redefining the Virtual Classroom
While making the virtual learning experience substantially better may seem less important now that face-to-face is resuming, this winner defines an approach (potentially a new product category) that can bring the power of digital to the classroom (or hybrid or virtual) in ways that could improve the teacher’s ability to help all students.
Digital Graduation Predictor and Virtual Counselor
This project is a great example of how modern data architectures can be leveraged to get a better understanding of the progress of each student to help all succeed.
Learning Impact has been this “North Star” that has led to the 15+ years of growth of 1EdTech discussed on our recently released annual report. It is the collaboration of the 1EdTech member organizations making it all work!
A New Way of Working with the 1EdTech Specifications
The Student Learning Data Model: A New Way of Working with the 1EdTech Specifications
Having published edtech interoperability specifications for over 20 years, we’ve learned a few things. As is the standard (pun intended) by all specification development organizations, these specs are published as sets of HTML documents. In most cases, these documents are long, and it is difficult for a reader to find the information of specific interest. New tools are needed to simplify reading specification documentation, and so 1EdTech has been developing such tools over the past 12 months. In November 2020, we announced the availability of the Student Learning Data Model or SLDM for short. The SLDM provides a new way to access, explore and visualize all of the information within the set of 1EdTech specifications relevant to a student’s engagement and progress.
In many cases, an edtech system will make use of more than one 1EdTech specification. An essential part of our development process is the integration between 1EdTech spec, for example, LTI® links being a resource type in Common Cartridge®. The reference now has to be made to several specs. A reader needs to easily access, explore, and visualize information across several sets of documentation. As the number of published specifications increases (over 100 in our history), as the complexity of each specification increases (an unavoidable reality as a specification evolves), and as the integrations become more comprehensive, the availability and use of tools such as the SLDM is essential.
The SLDM provides three tiers of information. The first two tiers are available to any registered user of the 1EdTech website. Access to the third tier is only available to users from 1EdTech member organizations.
The first tier collects the information into an eight-cell honeycomb of:
User and Organization
Enrollment & Attendance
Pathways to Competency
Assignment and Assessment
The second tier—accessed through the honeycomb—provides the list and details of the relevant data models from the 1EdTech specifications. A user of the SLDM can now get all of the information on the data models in just two clicks, avoiding having to dive into the thousands of pages of specification documentation. The third tier—accessed either through the second-tier links or directly—gives even richer details for the data models and related information.
The SLDM is a curation of the relevant specification information. It is a focus or “lens” on the 1EdTech specifications.
Applying the lens to the complete set of 1EdTech specifications provides a way to bring the relevant information into one focus from the mass of spec material. And we plan to make other lenses. As part of realizing the SLDM, the 1EdTech technical team created a new data dictionary or Common Data Model (CDM). We generated the CDM from the source models made in the 1EdTech model-driven specification development process (I will reveal more about this process in later blogs), which guarantees consistency between the published 1EdTech spec documentation and the Common Data Model. The information presented through the SLDM is drawn directly from the CDM.
The first release of the SLDM and CDM draws on data model definitions only. Many 1EdTech specs like OneRoster®, REST API, and others include a service definition. A service definition describes how the data must be exchanged; the data model describes the syntax, semantics, and format of the data to be exchanged but not how the data is exchanged. Future releases of the CDM and SLDM will include the service definitions and the binding technology artifacts, e.g., OpenAPI files, etc. The long-term aim is to make tools such as the SLDM and CDM the primary way of working with 1EdTech specifications.
Access to the SLDM and CDM is through the 1EdTech website. We used GraphQL as the delivery technology when creating the CDM. A GraphQL server contains all of the Common Data Model and responds to queries from the 1EdTech website. GraphQL provides a powerful combination for defining a flexible API with common semantics for the data being exchanged and stored. This is a great learning opportunity for us, so if in the future, 1EdTech members request GraphQL based binding of an 1EdTech specification, we can produce them from a strong understanding of its strengths and weaknesses.
The first step is to get 1EdTech members and non-members using the Student Learning Data Model and 1EdTech members using the Common Data Model.
Next, we need your feedback on what to improve and what new features we need to add. The early response has been encouraging, but we want more from you. Some of the specific feedback we need includes:
How can the user experience for the SLDM and Common Data Model be improved?
What type of synthesized information across the specifications is useful?
What type of information and visualization would be useful for our service-based specifications?
The SLDM is the first lens. What are other lenses of interest?
We look forward to hearing your feedback! Please email us at datamodel@imsglobal.org.
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