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Meet the Jewish judge who helped protect abortion in Kansas
There aren't many Jews in Kansas, but from his seat on the state's Supreme Court, one Jewish justice helped enshrine abortion rights in the state. Kansas voters affirmed those rights Tuesday, defeating a ballot measure that would have made it possible for state lawmakers to severely restrict or even ban abortion.
Judge Eric Rosen has long been part of the small Jewish community in the capital of Topeka.
Richard Levy, who grew up across the street from Rosen, said there was only one other Jewish student in his grade. He recalled being forced to choose between staying alone in an empty classroom or joining his classmates rehearsing Christmas carols in the gymnasium.
"It was that kind of experience," said Levy, who is now a constitutional law professor at the University of Kansas.
Rosen, who did not respond to an interview request, does not appear to have spoken publicly about his Judaism but lists membership at Topeka's Reform Temple Beth Shalom in his official court biography.
Much of the Sunflower State's small Jewish community – estimated at 15,000 to 30,000 out of 3 million Kansans – was vocally opposed to the proposed "Value Them Both" amendment to the state constitution. It aimed to overturn the state Supreme Court's 6-1 ruling from three years ago that found the Kansas state constitution protected abortion rights. It was the first opportunity for voters anywhere in the country to directly weigh in on abortion after the U.S. Supreme Court overturned Roe v. Wade in June.
Though Gov. Laura Kelly is a Democrat, Republicans have controlled both houses of the state legislature for nearly 30 years and former President Donald Trump won the state by 15 points. Abortion opponents hoped that Kansans, many of whom are evangelical Christians, would eagerly vote to remove abortion rights from the constitution.
Prominent Jewish voices who sought to prove otherwise included Rabbi Mark Levin, the founder of Congregation Beth Torah in suburban Kansas City, who went on television last week to oppose the amendment, joining three other pulpit rabbis from the region who had also spoken against it.
Sharon Brett, legal director at the ACLU of Kansas, invoked her Jewish faith in an op-ed about abortion rights for the Kansas Reflector in July and said she was heartened to see the amendment resoundingly defeated last night.
"As a Jewish woman living in a state that — at times — appears to be controlled by a very conservative Christian approach," Brett said in an interview, "it was a beautiful day for Kansans."
The ruling
By rejecting the amendment, Kansas voters left in place the 2019 decision by Rosen and five of his fellow justices in Hodes & Nauser v. Schmidt. That landmark ruling validated a new legal theory advanced by the Center for Reproductive Rights on behalf of two Kansas physicians that held the state's constitution protected the right to abortion.
While Rosen did not author the decision, he was an active participant in oral arguments before the court in 2017. Rosen did not telegraph his eventual position, but asked the attorney representing the two doctors a question that would take on new significance after Roe v. Wade was overturned.
"Do you suggest that the founders of our state constitution intended to follow whatever guidelines the United States Supreme Court established and apply it to Kansas?" Rosen asked. "Is that what the founders intended?"
By identifying a right to abortion in the state constitution, Rosen and his colleagues effectively aligned themselves with the longstanding position of the U.S. Supreme Court. But because of the decision, even after the Supreme Court's June ruling in Dobbs v. Jackson Women's Health Organization that the federal constitution does not protect the right to an abortion, the Kansas constitution continued to protect abortion access for Kansans.
Levy, the law professor, said that the Kansas court has a reputation for being nonpartisan and that legal observers were unsure where the justices would land on the case. The state relies on a civilian panel to select court nominees on merit and the governor then selects from one of the three approved candidates.
A second Jewish justice
Rosen, 69, was joined by another Jewish judge on the Supreme Court two years ago when Melissa Taylor Standridge was elevated from the Kansas Court of Appeals where she had also ruled in favor of a constitutional protection for abortion rights before the Hodes case reached the Supreme Court.
Standridge, who became the first Jewish woman to be named to the court, previously served as vice chair of the local Jewish Community Relations Bureau and told the Kansas City Jewish Chronicle that "the Jewish religion is an ethical religion and pursuing justice is a core principle that runs through Jewish history and Jewish tradition."
Marcia Rittmaster belongs to Beth Torah in Overland Park and volunteered with the campaign opposed to the constitutional amendment. She's related to Standridge and said she appreciated having multiple Jewish members of the Supreme Court.
"Jews feel underrepresented in Kansas," Rittmaster said. "We're a small part of the population so we just kind of accepted it – but it's really thrilling to know we have it."
Rosen was appointed by Gov. Kathleen Sebelius, a Democrat, in 2005 after serving as a trial judge since 1993.
"I have always been very deliberate, clear and concise in my decisions and never tried to have my own opinions expressed in my decisions," Rosen said when asked to explain his judicial approach at the time.
He was welcomed by both the legal community and political leaders, including Republicans. "I'm very impressed not only with his intelligence, but his sense of fairness," John Vratil, the state senate judiciary committee chairman, told the Lawrence Journal-World after Rosen's appointment.
Rosen never strayed far from Topeka, beginning his career as a social worker in the city before attending the law school at Washburn University and working as a public defender and prosecutor before becoming a district court judge hearing criminal cases. "I am always amazed at the resiliency of the human spirit that I see in my courtroom," he told a Washburn publication after being named to the Supreme Court.
Levy said that Rosen did not fit into a neat philosophical box but described him as "relatively pragmatic."
"He's trying to come up with answers that will provide good outcomes for the legacy system and for society in general," said Levy, who has remained friendly with the judge. "He is attentive to the real world consequences of his decisions."


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06 May 2018
NCTC conducts a session for the participants of Aviation Security Basic Course, on terrorism, focusing on theory and practical aspects. The session was conducted by Major Ibrahim Naeem, the head of Intelligence and Analysis Department.
During the session, participants were briefed and familiarized on the definition, causes & driving factors, changing dynamics of organizational structures and evolving modus operandi (Technique, tactics and procedures). Furthermore, during the session participants discussed on the nature and characteristics of threats on aviation sector.
The session was conducted at Aviation Security Command's training center.

subset: commoncrawl


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Customer Webinar: How Las Vegas Valley Water District's Self-Service Kiosks Support Evolving Customer Needs
Customers' wants and needs are constantly changing, and in order to keep up, you must adapt with them. For governments and utilities, providing a high quality payment experience is essential to keeping up with customer expectations. Self-service kiosks are a modern way to serve in-person customers by delivering an excellent user experience, any time of day.
Do kiosks make sense for your organization? Will your customers adopt the change?
Hear from Anisha Edwards, Customer Care Supervisor at Las Vegas Valley Water District (LVVWD) while she shares:
- Why LVVWD selected self-service payment kiosks
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- How LVVWD realized significant cost savings by implementing self-service kiosks


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Increase or decrease font size for easier reading : A+ A-
Year: 2004
Thai title: ธิดาช้าง
English title: Jumbo Queen
Rating: 1/5
Main actor:
Main actress: Penpak Sirikul,Metta Roongrat
Noon is a fat woman but she is a good girl and has a kind heart. Noon has been abandoned by her father many years ago. Her father has bad attitude to obese people and pushes his second daughter to participate to a beauty contest. Noon decides to go to Bangkok to join and win Jumbo Queen contest in order to broadcast that she is her hidden daughter. Noon's father wants to stop her from being in the contest and tries to stop his daughter. Noon has to prove herself to her father that the merit is in the heart not in the size of the body.
ThaiWorldView film database contains 1522 movies.


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Published inThe Shortform·9 hours agoMember-onlyTake an Educated Risk, Not a Desperate OneTo avoid failure, some people take desperate risks. Throwing caution to the wind, hoping a Hail Mary will save them. Educated risks are essential. By taking an educated risk, you're not shooting in the dark. You're not just hoping for the best, crossing your fingers. You'll be making informed decisions…Decision Making1 min readDecision Making1 min read
Published inThe Shortform·1 day agoMember-onlyThe Crab Bucket SyndromeWhat is it? Just a sad reflection of human nature. Try to get ahead or do something to improve life, when your 'friends' somehow feel 'threatened' and pull you back. Need an example? Let's say you decide to start a business, working to become financially independent. Your 'close friends' begin…Better Living1 min readBetter Living1 min read
Published inThe Shortform·2 days agoMember-onlyEmbracing the Winds of ChangeKeep the ordinary from encroaching into your life. We all face changes. They're a fact of life. I choose to embrace them, even when they come as a surprise. Sometimes I respond with unmerciful determination. Why? Because I have a lot of enthusiasm to grow. My energy is not to…Better Living1 min readBetter Living1 min read
Published inThe Shortform·4 days agoMember-onlyThe City's Perpetual SymphonyFinding the rhythm of life inside the urban jungle. — A never-ending symphony. That melody will put you to sleep and wake you up. The city…A living, breathing organism pulsing with energy. Feel the hum of life in the air. It's in the car horns, brakes screeching… And people chatting as they go through their day. High heels clack on…Discovery1 min readDiscovery1 min read
Published inThe Shortform·5 days agoMember-onlyNo Backbone In SightWhen we met, my first thought was a lack of hygiene. A limp, clammy handshake… No sign of confidence. A handshake with eye contact establishes trust and rapport, but he avoids meeting my gaze. He's either uncomfortable or nervous. Surely, he's not sincere. My attempt to interact with him only…Life Lessons1 min readLife Lessons1 min read
Published inThe Shortform·6 days agoMember-onlyFail Forward With Gusto"Success is walking from failure to failure with no loss of enthusiasm." - Winston Churchill There were lots of times when I tried my best and still came up short. I just can't help feeling discouraged sometimes. They say failure is part of the journey. "Pick yourself up, man." "Think…Empowerment1 min readEmpowerment1 min read
Published inThe Shortform·Feb 21, 2024Member-onlyFrom News Junkie to Making a DifferenceI used to watch the world news every day until I realized how upset I felt afterward. Because the media's main characters are the Government and politicians…The riffraff that'll never save us from our problems. The news is depressing and makes me sometimes feel powerless. Well, there's more to the…Better Life Tips1 min readBetter Life Tips1 min read
Published inThe Shortform·Feb 20, 2024Member-onlyHold On to Your DignityNever feel like a victim. — It's a powerful, liberating choice to never feel like a victim. So keep your dignity and self-respect close to your heart. Always remain positive and believe in yourself. I can face any challenge confidently because I know my strengths. And, my worth. Because I empower myself. Exercise. Meditation. Journaling… My…Empowerment1 min readEmpowerment1 min read
Published inThe Shortform·Feb 19, 2024Member-onlySalary's Lullaby — ♫ Forgetting Your Dreams ♫A salary is like a drug your employer gives you to forget your dreams. — There's a feeling you get every payday. It varies with each individual. But, it's there. Your employer paid you a comforting substance, similar to a drug. It feeds your complacency. No offense. A regular paycheck is so satisfying…Gratifying enough that you lose sight of your primary goals. You've become dependent…Better Life Tips1 min readBetter Life Tips1 min read
Published inThe Shortform·Feb 18, 2024Member-onlyMy Goals, My RulesNo thanks, I define my own limits. — Don't tell me I cannot do something. You can try it, but it doesn't bother me anymore. No more planting seeds of doubt in my mind. I know my abilities. And your objections? They're rooted in your own limitations, not mine. Even if something is out of your range, it…Better Life Tips1 min readBetter Life Tips1 min read


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Last Updated September 5, 2023.
The Emptiness of Fame
One of the story's two main characters, Adrian Smith, is a somewhat famous playwright. We are told at the beginning of the story that he is
not a very great celebrity, but important enough to be bathed in flashlight by a photographer who had been given his name, but wasn't sure what his subject did.
A short while later, a minor character by the name of Stacomb approaches Adrian and says, "We all know your—your plays or whatever it is, and all that—and we wondered if you wouldn't like to come over to our table." Both of these instances demonstrate that many people only pay attention to Adrian because of his fame. Had he not been famous, neither the photographer nor Stacomb would have paid him any attention.
Furthermore, although the exact nature of their relationship is left ambiguous, we are given the sense that Betsy D'Amido also only cares about Adrian because of his fame and wealth (and perhaps his looks). Certainly she does not care for Adrian as Eva does, a fact that is made apparent at the end of the story, when Betsy goes to look for her fiancee and Fitzgerald tells us, "She passed gracefully along the corridor and out of their life."
Finally, it should be noted that Fitzgerald may have given his protagonist the ubiquitous last name "Smith" to emphasize that he is not special. Smith is an incredibly common name, and Fitzgerald uses it to signal the unremarkable nature of his protagonist. The only thing that elevates Adrian, Fitzgerald suggests, is fame. Unfortunately, however, fame is a vapid experience. Only Adrian's children and his wife, Eva, look beyond his superficial status and care for him in a manner that is truly affectionate.
The Conflation of Wealth and Happiness
The Smiths are a wealthy couple and often seem to conflate wealth and happiness, at least at the beginning of the story. This is made apparent when Eva says,
"You know, I made up my mind when you gave me my birthday present last week"—her fingers caressed the fine seed pearls at her throat—"that I'd try never to say a mean thing to you again."
Here, Fitzgerald implies that many "mean" words have passed between Adrian and Eva in the past, but Eva suggests that Adrian's gift of the pearl necklace has helped to fix that problem.
In other words, Eva seems to believe—or at least to want to believe—that expensive gifts and other signs of wealth will literally bring her happiness. This belief, however, quickly falls apart. Within twenty-four hours, the couple is feuding because Eva believes Adrian is having an affair (he is, although readers are never told exactly how far he takes his relationship with Betsy D'Amido). Furious at her husband's transgressions, Eva drunkenly throws her pearls into the sea:
Deliberately she unclasped her pearl necklace, lifted it to her lips—for she knew that with it went the freshest, fairest part of her life—and flung it out into the gale.
In this moment, Eva seems to realize the folly of her error, at least in part. She still cherishes the pearls—she describes them as representing the "freshest, fairest part of her life"—but she also seems to realize that they will not bring her happiness. In order to be truly happy, Fitzgerald suggests, she must mend her relationship with Adrian.
The Upper Class's Insensitivity to the Lower Classes
Like the conflation of wealth with happiness, the upper class's insensitivity to the lower classes is a common theme in many of Fitzgerald's works, and it is especially ugly in "The...
(This entire section contains 827 words.)
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Rough Crossing." The most important and disturbing instance of this idea manifests itself in the relationship between Eva and Steward Carton. One night, while angry at Adrian, Eva returns to her room to find Carton, who is unnamed at this point, sick in her bed. Rather than take pity on the poor man, Eva feels only anger and revulsion:
A steady pitch, toss, roll had begun in earnest and she felt no sympathy for the steward, but only wanted to get him out as quick as possible. It was outrageous for a member of the crew to be seasick.
Completely unsympathetic, Eva is repulsed by the man's sickness and barely seems to recognize his humanity. She goes so far as to say, "I was all right and it made me sick to look at him. I wish he'd die."
Later, the man does die—of appendicitis—and it is implied that his death is partially Eva's fault. While the doctor attempts to care for the sick man, Eva makes a drunken scene, and resources that could have been used to save the man's life are instead deployed to pacify her unruly behavior. The morning after the man's death, we finally learn his name: James Carton. Significantly, this information has been withheld until Eva is able to recognize the man's humanity.


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Sports Minister Applauds TIG On Discovering Young Gymnasts
1,722 total views, 6 views today
By Our Correspondent
The minister of Youth and Sports Development, Sunday Dare has commended the Tony International Gymnastic, TIG, for its sustained efforts in discovering and nurturing young gymnasts for the country.
Mr. Dare made the commendation when he received the Gymnasts of the TIG Gymnastic Club with their coach and parents Tuesday in Abuja, said the advantages of starting early for the young gymnasts who are between the ages of 3-12, are numerous.
In his welcome address, the Minister said he was fascinated by the skills and discipline they displayed the first time he watched them.
"When you see kids at this tender age do this, they flourish because they are disciplined from age 3, 4, 5 and when you see these kids, beyond sports, you know that there is hope for this country.
"Sports brings discipline and confidence and it going to grow with them as they grow," he added.
The Minister thanked the parents for devoting their time and resources into the development of the young gymnasts as he said, "beyond what it would do for them at a personal in terms of their development both mental and physical, these ones are the future of this country because they will represent Nigeria not just at this level but up to the Olympic level. You are catching them young".
The Minister also commended the coach Tony Asuquo and said what was being done with the kids was in tandem with one of the major focus of the Ministry in the area of Grassroot Sports Development. "For every sport be it football, table tennis, etc., unless you start at this level, working with these talents, developing them and taking them to trials and competitions, you can not have what you need."
He also harped on the need for sports and education to go hand in hand and promised to ensure that some of the Gymnasts benefit from the Ministry's scholarship program.
The coach of the Gymnasts Tony Asuquo who spoke earlier, thanked the Minister for his audience while letting the Minister and his team in on the various medals the Gymnasts had won in the past. They also put up a little display to the admiration of the Minister and those present.


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Estimated read time: 1-2 minutes
This archived news story is available only for your personal, non-commercial use. Information in the story may be outdated or superseded by additional information. Reading or replaying the story in its archived form does not constitute a republication of the story.
The stalwart, people-like heroes of the summer's surprise hit documentary, March of the Penguins, have just waddled into bookstores.
Getting a jump on the DVD release of the movie later this month, National Geographic has published two books -- one for children and another for adults. Both are titled after the movie and chronicle the remarkable survival, courtship and birth of emperor penguins in Antarctica.
"If you enjoyed the film, you will enjoy the book," says Lisa Thomas, editor of the adult book. "The story of the penguins has elements that everyone can relate to. I really forgot that I was looking at penguins and not people."
Adults and children alike lined up to see the movie.
Both books, illustrated with photos from the film, follow the narrative. The $30, 160-page adult version chronicles the 13 months the French team spent with the penguins, filming in a landscape where temperatures dip to 70 degrees below zero and winds reach 150 mph.
The $5.95, 32-page book aimed at kids ages 5 to 9 avoids the sad and scarier parts of the movie.
"We wanted to make sure that our book was a book you could sit and read at bedtime," says editor Nancy Feresten. The feeling is "100% warm and fuzzy."
To see more of USAToday.com, or to subscribe, go to http://www.usatoday.com
© Copyright 2004 USA TODAY, a division of Gannett Co. Inc.


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Mecca, SPA:
Deputy Minister of Hajj and Umrah, Dr. Abdulfattah bin Sulaiman Mashat, has identified four main areas for volunteering to serve pilgrims and Umrah performers, including reception and farewell, translation and guidance, field activities, and the health field, during his participation in the "The Impact of Social Responsibility" session within the activities of " "Misk Tour" in Madinah, sponsored by Prince Faisal bin Salman bin Abdulaziz, Governor of the Madinah Region.
During his participation in the second day of the "Misk Tour" activities, which are taking place at the King Salman International Conference Center in Madinah, the Deputy Minister said that reaching one million volunteers by 2030, per the goals of Saudi Vision 2030, is doable and can be achieved before 2030, through the governance of charitable work, creating various volunteer programs and activities, providing discretionary incentives to encourage volunteering, and highlighting the role of volunteers.
Dr. Mashat pointed out the difference between volunteering and social responsibility regarding sustainability, governance, and commitment, calling on young people wishing to engage in volunteering to choose sectors that align with their specializations and tendencies to reduce waste of energy and capabilities.
He touched on the "Be Helpful" voluntary program, one of the voluntary initiatives of the Ministry of Hajj and Umrah, and its role in providing services to pilgrims, as well as the ministry's role in supporting stranded pilgrims during the Corona pandemic and the closure of airports, shops, and public places to evacuate more than 400,000 pilgrims, in qualitative partnership with the non-profit organization to provide services (housing, awareness, logistical and support services) without registering cases of corona infection, in addition to the social responsibility programs that the Ministry is carrying out to facilitate the journey of pilgrims with special needs.
He also highlighted the patterns of the quality of social responsibility work by enhancing the use of experience, knowledge, and professional capacity in providing social responsibility work to influence the individual and society, through professional participation, consultancy, and community leadership, explaining the role of government institutions in transferring the culture of social responsibility, and rooting the principle of responsibility community, and establishing governance within the government institution to measure impact.
Last Modified Date: 07/12/2022 - 10:14 AM Saudi Arabia Time


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I have an Roku Outdoor Wireless camera with a base station. Both have micro SD slots. Which one should I use? What are the benefits of using the camera versus the base stations micro SD storage?
I too am trying to get an answer on this topic.
I would say try it both ways and report back. My experience with the wireless outdoor camera has been pretty dismal. I don't think I ever got it to record anything other than a recording initiated by me with the card in either place. Now, the camera doesn't detect motion unless I wave my hand right in front of the lens, so it's definitely not recording anything. I did note that I couldn't set up a timelapse recording unless the card was in the camera which is pretty annoying since I'm not going out to the camera to retrieve the card when I want to view it and there's no way to view it without removing the card. I don't know if my camera is defective or not, but I haven 't had the time to explore all of its shortcomings and there seem to be many.


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'Kidnapper ko bhi toh samjho': Hira Mani slammed online over insensitive remarks about Dua Zahra
Social media users have slammed renowned actress Hira Mani over her insensitive remarks about Dua Zahra.
The actress took to her social media account to share a "prayer" for Dua Zahra and Zaheer Ahmed. "Mai chahti hun k Dua Zehra aur Zaheer kabhi alag na hun," the Do Bol actress wrote on her Instagram story.
She added: "Allah tala mere ye dua zaroor sunienge."
Hira Mani has a peculiar wish for Dua Zehra and Zaheer Ahmed #DuaZehra #ZaheerAhmed pic.twitter.com/QbR0HOcb7o
— Galaxy Lollywood (@galaxylollywood) July 25, 2022
Hira Mani's remarks were severely criticised on social media. Reacting to her statement, a Twitter user wrote that it has been proved that Dua was kidnapped by Zaheer and was to be sold to a child prostitution ring by him and his gang.
It's proven that the 13 yr old Dua was kidnapped by Zaheer through an illegal child marriage, and was to be sold to a child prostitution ring by him and his gang.
But this dumbass "celebrity" says that she hopes that Dua ends up with Zaheer (THE KIDNAPPER & RAPIST). Laanat hai! pic.twitter.com/OFAIdtgnjM
— Syed Zain Raza (@SydZainRaza) July 25, 2022
Taking a dig at the actress, another social media user wrote: "Kidnapper ko bhi toh samjho."
kidnapper ko bhi toh samjho pic.twitter.com/L5zDu4u4Eg
— Comrade (@Comrade_SSR) July 25, 2022
"Hira Mani's perspective on social issues is just as useful as the traffic signals in GTA," wrote another.
Hira Mani's perspective on social issues is just as useful as the traffic signals in GTA 🤝🏼 https://t.co/Njr1tb7Bbv
— Sannaan (@stfusannaan) July 25, 2022
Here's what others have to say:
Hira Mani's opinions are useful to figure out which side should you be on. You simply have to pick the opposite of the one she supports. https://t.co/t6bX14FJvL
— Alii (@Bhuut_) July 25, 2022
if cancel culture exists why is hira mani still relevant. she should've been dragged and cacelled the very second for her interview about stealing her friends boyfriend and marrying him. https://t.co/Hhk0C801JO
— R🕊 (@raamlahh) July 25, 2022
What else can we expect from a woman who stole her friends fiancé!#hiramani pic.twitter.com/zRJldMbTDY
— We (@Wewillchange47) July 25, 2022
Nothing can be worse than Hira Mani's singing but her opinions are worst. #DuaZehra pic.twitter.com/TjUa1anwGV
— Afshan Tayyab (@QueenAfshan_) July 25, 2022
At this point I firmly believe that Hira Mani needs proper help. It's time someone educate her because every time she utters something, it's always nonsense. She needs to be told that not everything is a joke & Dua is just a kid who was apparently kidnapped.
Eternal disgrace! pic.twitter.com/JGfrD34qNW
— فاطمہ عرفان (@fatimairrfan) July 26, 2022
Somebody please take away Hira Mani's social media please. Majority of the Pakistani celebrities are good for nothing but crying in front of camera over divorce or marriage only.
Thats that! pic.twitter.com/Nn6yEPajHs— Ariha Fatimah (@arihafatimah) July 25, 2022
Hira Mani's opinion on Dua Zehra case clearly demonstrates that people in our entertainment community are utterly illiterate and ridiculous. This shows how they don't have even basic knowledge. They got the job due to their looks, not for acting skills. Surprising!!#HiraMani
— Muhammad Hamza Malik (@malikhamza65) July 26, 2022
Hira Mani, I urge you to please stop misusing your fame and read before giving your opinions. This is highly irresponsible coming from you – an underage marriage, proof that Zehra was abducted, there's enough evidence for you to not romanticize this. pic.twitter.com/1fJTfXRTXK
— Manal Faheem Khan (@ManalFaheemKhan) July 25, 2022
Hira Mani badly needs therapy
— Sarah B. Haider (@bohotsaara) July 25, 2022
I thought that the worst thing about Hira Mani was her acting and singing skills, but she proved me wrong. pic.twitter.com/DscjSCNuGS
— ص🦋 (@RaKazmy14) July 26, 2022
Just when you think Hira Mani can't be more stupid, she outdoes herself! What a joke of a celebrity! pic.twitter.com/2zeBRLVnAj
— Khadija Abbas (@TheKhadijaAbbas) July 25, 2022
Dua Zahra's case:
Following a long legal battle, the parents of the teenager finally seems to be getting justice. Dua has been taken to Karachi following a court order.
She will be presented in front of the judicial magistrate in the city's District West. The court has issued strict orders against allowing anyone to meet her before she is presented in the court.
What are your views on this? Share in the comments bar below.


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Armoniko – Athens
Elegant rooms with real attention for detail. Warm hospitality and extremely comfortable beds are the distinctive elements that will make your holiday at Armoniko city B&B. There is also a lovely balcony where you can spend relaxing moments. Perhaps reading a book with a cheeky glass of vino? An excellent launchpad for visiting the Acropolis, the Agora or the Archaeological Museum in Athens. During your visit, you must try the delicious moussaka in one of the traditional restaurants in the neighbourhood.
Jukebox Rooms B&B – Rome
Rome remains consistently top in the rankings of the best cities to visit. It has so much history to tell that even after having seen it once, you will want to return again and again and again! Our recommendation is this delightful city B&B. Perfectly located to visit the main points of interest of the city. The manager of the Jukebox Rooms B&B is very friendly and helpful. He is sure to give you many insider tips to make your trip even more special!
Casa das Merceeiras – Lisbon
Located near the Cathedral of Santa Maria Maggiore in Lisbon, one of the most beautiful European cities to visit. Casa das Merceeiras offers tastefully renovated rooms while retaining the charm of an ancient palace. Don't worry, even though it's right in the heart of Lisbon, this cosy city B&B is far from the hustle and bustle. Its friendly owner dispenses excellent advice on local restaurants or events you shouldn't miss in one of the most charming European cities to visit.
Keizershouse – Amsterdam
This fantastic city B&B is right in the centre of the wonderfully eclectic city of Amsterdam. Wake up in a comfortable bed and look out on a view of the Unesco World Heritage Amsterdam canals. If you want the full Dutch experience, rent a bicycle and explore the tulip fields in the nearby Bollenstreek region. Take a day trip to the Keukenhof, one of the most beautiful spring gardens in the world! The Keizershouse is the ideal starting point for discovering this European capital and its surroundings.
The Artist Residence – Dublin
Experience living in a real '20s cottage with a breathtaking view. Open a window to the sky of Ireland and breathe the fresh sea air. This charming city B&B overlooks the Irish sea and is located a short distance from the centre of Dublin. Every room has affectionate attention to detail with original furnishings and works of art. Book at The Artist Residence if you are looking for an oasis of relaxation and an excellent breakfast prepared with local products.
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Collaborative composition with creative systems
Generative music offers the opportunity for the continual reinterpretation of a musical composition through the design and interaction of complex processes that can be rerun to produce new artworks each time. While generative art has a long history (Galanter 2003), the application of artificial intelligence, evolutionary algorithms and cognitive science has created a contemporary approach to generative art, known as "metacreation" (Whitelaw 2004). Musical metacreation (MuMe) looks at all aspects of the creative process and their potential for systematic exploration through software (Pasquier et al. 2016).
One useful model borrowed from artificial intelligence is that of agents, specifically multi-agent systems. Agents have been defined as autonomous, social, reactive and proactive (Wooldridge and Jennings 1995), similar attributes required of performers in improvisation ensembles. Musebots (Bown, Carey and Eigenfeldt 2015) offer a structure for the design of musical agents, allowing for a communal compositional approach (Eigenfeldt, Bown and Carey 2015) as well as a unified model.
Musebot ensembles, consisting of a variety of agents reflecting the varying musical æsthetics of their creators, have been successfully presented in North America, Europe and Australia. In these ongoing installations, each ensemble has been limited to five-minute performances, after which the ensemble exits and the next ensemble begins. While this limitation can be seen as an opportunity to feature as wide a variety of musebots as possible — as of this writing, there are over seventy-five unique musebots — it raises some questions.
If the musebot ensemble is a proof-of-concept, then it is certainly successful: musebots interact and can self-organize, producing novel output that can be surprising and arguably valued — thus attaining a mark of computational creativity (Boden 2009). However, after listening to any one ensemble for longer than a few minutes, one recognizes musical limitations: the interactions between musebots remain at the musical surface (i.e. harmony, rhythm, density). Moving beyond this duration, the successful outcome is no longer dependent upon interaction, but expands to include structure. It is for this reason that many MuMe practitioners have remained as part of the creative process, whether as musicians interacting with an interactive system or as operators, triggering global changes when the surface has become too predictable or static (Eigenfeldt et al. 2016).
I have used musebots in a variety of artworks in the past three years (Eigenfeldt 2016a; Eigenfeldt et al. 2017) and have become their main evangelist. Although one of the main desires of the musebot project was to provide a collaborative framework that allowed sharing of ideas and code, I have found the need to move forward independently. In doing so, I hope to not only create interesting and valuable artworks, but also, through their documentation, to entice others to join me in the development and extension of the musebot paradigm.
Musical Agents and Musebots
The potential of agent-based musical creation was explored early in the history of computer music (Wulfhorst, Nakayama and Vicari 2003; Murray-Rust, Small and Edwards 2006), specifically in their potential for emulating human-performer interaction. The author's own initial investigation into multi-agent systems is described elsewhere (Eigenfeldt 2007). Within MuMe, the established practice of creating autonomous software agents for free improvised performance (Lewis 1999) has involved idiosyncratic, non-idiomatic systems, created by artist-programmers (Yee-King 2007; Rowe 1992). While musical results from these systems can be appreciated by other composers, sharing research has been difficult, due to the lack of common approaches (Bown et al. 2013).
Musebots are pieces of software that autonomously create music collaboratively with other musebots. Musebots were designed to alleviate some of these issues, as well as provide a straightforward infrastructure for development (Bown, Carey and Eigenfeldt 2015). A defining goal of the musebot project is to establish a creative platform for experimenting with musical autonomy, open to people who are developing cutting-edge musical intelligence or simply exploring the creative potential of generative processes in music. The musebot protocol is, at its heart, a method of communicating states and intentions, sending networked messages established through a collaborative document via OSC (Wright 1997). A Conductor serves as a running time generator, as well as a hub through which all messages pass. The Conductor also launches individual musebots via curated ensembles.
Musebot ensembles have been presented as continuous installations at a variety of festivals and conferences, the results of which have been described elsewhere (Bown, Carey and Eigenfeldt 2015). These ensembles have been modelled after improvisational explorations, albeit with the potential for generative harmonic progressions. Ensembles have been curated that combine different types of musebots based upon their musical function (i.e. a beat musebot, a bass musebot, a pad musebot, a melody musebot and a harmony-generating musebot). But an ensemble can be constructed using any combination of different types of sound-generating musebots (Table 1).
Type |
Number |
Bass Generators |
5 |
Beat Generators |
13 |
Harmony Generators |
5 |
Keys/Pads Generators |
6 |
Melody Generators |
19 |
Noise/Texture Generators |
16 |
The information shared between musebots has tended to be limited to surface details such as a current pool of pitches, density of onsets and volume. Although having virtual performers audibly agree upon such parameters suggests musically successful machine listening, these levels of interaction become mundane surprisingly quickly; the more subtle interactions that occur in human improvisation ensembles, and their development over time, have not yet been successfully modelled within musebot ensembles.
Several musebot developers participated in ProcJam 2015, where they devoted a week to exploring the potential for musebots to broadcast their intentions for the immediate future. While the results heightened the perception of machine listening, the musebots were not, in this particular context, able to move beyond the generation of musical surface.
From Self-Organization to Composition
My own hesitation to more deeply embrace improvisational approaches has to do with my training as a composer — compositional thought suggests a top-down approach, a pre-performance organization in which musical structure elicits large-scale change. Traditional narrative and dramatic musical forms, based upon tension and release, result in hierarchical structures that are seemingly impossible to negotiate or self-organize. For example, getting agents to agree upon a central section (i.e. a chorus) and deciding how to progress towards that section through an adequate build of tension without a top-down approach is beyond my comprehension. While I have explored the use of pre-generated structural templates (Eigenfeldt and Pasquier 2013), I found this unnecessarily restrictive outside of the exact model considered (in this case, electronic dance music).
A brief look at four recent projects that not only made use of musebots, but also used them as collaborative partners, provides some insight into the potential of musebot ensembles.
Ambient Landscape (2018)
The Ambient Landscapes series is a collaboration between video artist James Bizzocchi and I, and uses musebots to accompany a generative video installation. The overall æsthetic of the work is ambient, in which minute-long static video images of naturescapes slowly dissolve into one another. The work is structured as an audiovisual environment that models and depicts our natural environment across the span of a year. Each new season triggers a new musebot ensemble, allowing for a wide variety of music generation.
The video sequencing engine selects several related videos based upon hand-coded metatags that describe the shots — for example, "spring, river, rocks" — and this information is sent to the musebots. A soundscape musebot selects from a database of over 100 soundscape recordings that potentially match the metatags. Furthermore, the musebots were developed to react to valence and arousal, and these parameters are used within the entire system to supplement the metatags sent by the video sequencer, resulting in a better affective relationship between video and music (Eigenfeldt et al. 2015).
Imaginary Miles (2018)
This project reimagines the Miles Davis groups of the late 1960s. Davis' classic album Filles de Kilimanjaro was recorded in 1968 and is a landmark transition album between Miles' second quintet and his electric period. It featured members of his second ensemble playing electric instruments (Herbie Hancock on Fender Rhodes, Ron Carter on electric bass), as well as new members (Chick Corea, piano). The following year he released In a Silent Way, one of his most influential albums. The latter is considered his first electric album and included a young English guitarist, John McLaughlin.
Imaginary Miles models individual musebots after these musicians: Miles (nonelectric, muted trumpet); Wayne Shorter (tenor sax), John McLaughlin (electric guitar, but more in the style of his Mahavishnu Orchestra work than with Miles), Chick Corea (mini-Moog, but modelled after his works a few years later with Return to Forever), Herbie Hancock (electric piano), Ron Carter (electric bass) and Tony Williams (drums).
A musebot generates an overall structure (intro, head, solos, head, outro) in the same way the musicians might agree upon such a structure before they begin. A 16-bar chord progression is generated by another musebot, based upon selected Miles Davis and Wayne Shorter compositions from that period. A head (melody) is generated from these works as well.
As always, musebots "listen" to each other, communicating what they are doing through messages and thus not requiring other musebots to analyze audio. They have individual desires and intentions — for example, how active they want to be and become — but balance these in relation to other musebots. The soloists take turns soloing, patiently and politely waiting for an opening; each musebot has a personality attribute of patience/impatience (how long to wait before wanting to solo), politeness/rudeness (how willing it is to interrupt another soloing musebot) and ego (how long it wants to continue soloing).
The HerbieBOT on piano listens to the soloist and responds by either filling in holes through chordal comping or echoing individual notes it just heard.
Moments: Polychromatic (2017)
I have proposed an alternative to traditional narrative structures for musical generation (Eigenfeldt 2016b), specifically what Stockhausen called Moment-Form (1963). Kramer suggests that such non-teleological forms had already been used by composers such as Stravinsky and Debussy (Kramer 1978), while I have described the use of moment form in ambient electronic music (Eigenfeldt 2016b). Moment form offers several attractive possibilities for generative music, including the notion that individual moments can function as parametric containers. Just as Stockhausen obsessively categorized and organized his material (Smalley 1974), the parameterization of musical features by applying constraints upon the generative methods can delineate the moments themselves.
Moments is the author's first generative work that explores moment form in generative music through the use of musebots. As of 2018, Moments exists in several versions: the original for two Disklavier pianos, in which musebots send MIDI data to the mechanical pianos; Moments: Polychromatic, in which it generates all audio through Ableton Live potentially using any of Ableton's 1200+ software synthesizers; Moments: Monochromatic, for live performer and 12 unified musebot performers (described below).
Musebots have demonstrated the potential to self-organize. However, Moments operates compositionally, in that it generates an entire musical form prior to each performance. This allows for an important benefit: a precognition by all agents of the upcoming structure. Knowing that a section is, for example, two minutes in duration, allows musebots to plan their activity within that time.
Moments: Polychromatic uses up to twelve musebots, each serving a musical function:
- ParamBot. Generates the overall structure, including the number of moments (sections) and the parameter levels within each. These parameters include speed, activityLevel, voiceDensity, complexity, consistency, volume and timbre.
- PCsetBot. Given the complexity for a section, generates a pitch-class set for the entire section;
- OrchestratorBot. Selects the ensemble, or active musebots, for the composition.
- GenoaBot. Granular synthesis agents (three are used) that select their own timbre based upon the timbral region negotiated with the other musebots.
- KitsilanoBot. Resonant soundscape synthesis (two are used), whose filter bands are determined by the current pitch-class set.
- LondynBot. Drones and long notes, trained upon Ableton Live's 1200+ available patches (two are used).
- SienaBot. Short sounds, also sharing the Live database and selecting its own timbres.
- Lastly, a visual musebot was developed by Simon Lysander Overstall, in order to interpret the messages being sent by the musebots, including compositional parameters, as well as performance parameters.
Moments: Monochromatic (2017)
This version of Moments, unlike its cousins, is intended for live performance with a live musician, rather than as an installation. Monochromatic explores how virtual musical agents can interact with a live musician, as well as with each other, to explore a unique structure generated for the musical performance. Because the structure is generated at the beginning of the performance, musebot actions can be considered more compositional rather than improvisational, as structural goals are known beforehand.
Important aspects (sectional points, harmonies, states) are communicated visually to the performer via standard musical notation. Additionally, the performer's live audio is analyzed by a ListenerBot and translated for the virtual musebots, who can, in turn, attempt to avoid the performer's spectral regions or become attracted to them.
Because musebots lack direct interactivity, I am required to listen to the complete compositions that they produce; rather than immediately altering surface features as I hear them, I listen to their overall evolution and interaction, and react to resulting musical structure, perhaps similar to how a director might take notes of a complete run of a show, rather than stopping to fix problems in individual scenes. Like human improvisers, musebots are independent and autonomous; I can suggest ideas to them and possibly provoke musical changes, but, unlike chamber musicians reading fixed scores, I cannot force them to perform specific actions. Like many metacreative systems, the output of musebots cannot be predicted; however, my relationship with them is not one in which I simply "let them run" on their own. Instead, I find that their musical decisions continually stimulate me to develop new ensembles and even new musebots in a way that a theatrical director might decide to switch actors or a musical director might decide to alter the makeup of her ensemble; in these latter examples, the decisions can only occur when one trusts the other performer/creators to produce something new and unexpected, in the same way that I trust my musebots to produce successful compositions, even if I add new musebots into the ensemble.
Boden, Margaret. "Computer Models of Creativity." AI Magazine 30/3 (Fall 2009).
Bown, Oliver, Arne Eigenfeldt, Aengus Martin, Benjamin Carey and Philippe Pasquier. "The Musical Metacreation Weekend: Challenges arising from the live presentation of musically metacreative systems." MUME 2013. Proceedings of the 2nd International Workshop on Musical Metacreation (Boston MA, USA: Northeastern University, 14–15 October 2013). http://musicalmetacreation.org/index.php/mume-2013
Bown, Oliver, Benjamin Carey and Arne Eigenfeldt. "Manifesto for a Musebot Ensemble: A Platform for live interactive performance between multiple autonomous musical agents." ISEA 2015. Proceedings of the 21st International Symposium of Electronic Arts (Vancouver, Canada: Simon Fraser University, 14–19 August 2015). http://isea2015.org
Chadabe, Joel. "Interactive Composing: An Overview." Computer Music Journal 8/1 (Spring 1984), pp. 22–27.
Eigenfeldt, Arne. "The Creation of Evolutionary Rhythms Within a Multi-Agent Networked Drum Ensemble." ICMC 2007: "Immersed Music". Proceedings of the 33rd International Computer Music Conference (Copenhagen, Denmark, 27–31 August 2007).
_____. "Musebots at One Year: A Review." MUME 2016. Proceedings of the 4th International Workshop on Musical Metacreation (Paris, France: Université Pierre et Marie Curie, 27 June 2016). http://musicalmetacreation.org/index.php/mume-2016
_____. "Exploring Moment-Form in Generative Music." SMC 2016: "STREAM: Sound—Technology—Room—Emotion—Aesthetics—Music." Proceedings of the 13th Sound and Music Computing Conference (Hamburg, Germany: Hochschule für Musik und Theater Hamburg, 31 August – 03 September 2016). http://smc2016.hfmt-hamburg.de
Eigenfeldt, Arne and Philippe Pasquier. "Evolving Structures for Electronic Dance Music." GECCO 2013. Proceedings of the 15th Genetic and Evolutionary Computation Conference (Amsterdam, Netherlands: 6–10 July 2013). http://www.sigevo.org/gecco-2013
Eigenfeldt, Arne, Jim Bizzocchi, Miles Thorogood and Justine Bizzocchi. "Applying Valence and Arousal Values to a Unified Video, Music and Sound Generative Multimedia Work." GA 2015. Proceedings of the 18th Generative Art Conference (Venice, Italy: Fondazione Bevilacqua La Masa, 9–11 December 2015). http://www.generativeart.com
Eigenfeldt, Arne, Oliver Bown, Andrew R. Brown and Toby Gifford. "Flexible Generation of Musical Form: Beyond mere generation." ICCC 2016. Proceedings of the 7th International Conference on Computational Creativity (Paris, France: Université Pierre et Marie Curie, 27 June – 1 July 2016). http://www.computationalcreativity.net/iccc2016
_____. "Distributed Musical Decision-Making in an Ensemble of Musebots: Dramatic changes and endings." ICCC 2017. Proceedings of the 8th International Conference on Computational Creativity (Atlanta GA, USA: Georgia Institute of Technology, 19–23 June 2017). http://computationalcreativity.net/iccc2017
Eigenfeldt, Arne, Oliver Bown and Benjamin Carey. "Collaborative Composition with Creative Systems: Reflections on the first musebot ensemble." ICCC 2015. Proceedings of the 6th International Conference on Computational Creativity (Park City UT, USA: Treasure Mountain Inn, 29 June – 2 July 2015). http://computationalcreativity.net/iccc2015
Galanter, Philip. "What is Generative Art? Complexity theory as a context for art theory." GA 2003. Proceedings of the 6th Generative Art Conference (Milan, Italy: Politecnico di Milano, 2003). http://www.generativeart.com
Kramer, Jonathan D. "Moment Form in Twentieth-Century Music." The Musical Quarterly 64/2 (April 1978), pp. 177–194.
Lewis, George. "Interacting with Latter-Day Musical Automata." Contemporary Music Review 18/3 (1999) "Aesthetics of Live Electronic Music," pp. 99–112.
Murray-Rust, David, Alan Smaill and Michael Edwards. "MAMA: An architecture for interactive musical agents." Frontiers in Artificial Intelligence and Applications, Vol. 141, pp. 36–40. IOS Press, 2006.
Pasquier, Philippe, Arne Eigenfeldt, Oliver Bown and Shlomo Dubnov. "An Introduction to Musical Metacreation." Computers in Entertainment (CIE) 14/2 (Summer 2016) "Special Issue on Musical Metacreation, Part I."
Rowe, Robert. "Machine Composing and Listening with Cypher." Computer Music Journal 16/1 (Spring 1992) "Advances in AI for Music (1)," pp. 43–63.
Smalley, Roger. "'Momente': Material for the Listener and Composer — 1." The Musical Times 115:1571 (January 1974), pp. 23–28.
Stockhausen, Karlheinz. "Momentform: Neue Beziehungen zwischen Aufführungsdauer, Werkdauer und Moment." Texte zur Musik 1 (1963), pp. 189–210.
Whitelaw, Mitchell. Metacreation: Art and artificial life. Cambridge MA: The MIT Press, 2004.
Wooldridge, Michael and Nicholas Jennings. "Intelligent Agents: Theory and practice." Knowledge Engineering Review 10/2 (June 1995), pp. 115–152.
Wright, Matthew. "Open Sound Control: A New protocol for communicating with sound synthesizers." ICMC 1997. Proceedings of the 23rd International Computer Music Conference (Aristotle University, Thessaloniki, Greece, 25–30 September 1997).
Wulfhorst, Rodolfo, Lauro Nakayama and Rosa Maria Vicari. "A Multiagent Approach for Musical Interactive Systems." AAMAS 2003. Proceedings of the 2nd International Conference on Autonomous Agents and Multiagent Systems (Melbourne, Australia, 14–18 July 2003).
Yee-King, Matthew. "An automated music improviser using a genetic algorithm driven synthesis engine." In Applications of Evolutionary Computing. Proceedings of the EvoWorkshops 2007 (Valencia, Spain, 11–13 April 2007). Heidelberg: Springer-Verlag, 2007.


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Compiler considerations¶
Creating livepatch modules may seem as straightforward as updating a few functions in source code and registering them with the livepatch API. This idealized method may produce functional livepatch modules in some cases.
A safe and accurate livepatch must take into account compiler optimizations and their effect on the binary code that is executed and ultimately livepatched.
Interprocedural optimization (IPA)¶
Function inlining is probably the most common compiler optimization that affects livepatching. In a simple example, inlining transforms the original code:
foo() { ... [ foo implementation ] ... }
bar() { ... foo() ... }
bar() { ... [ foo implementation ] ... }
Inlining is comparable to macro expansion, however the compiler may inline cases which it determines worthwhile (while preserving original call/return semantics in others) or even partially inline pieces of functions (see cold functions in "GCC function suffixes" section below).
To safely livepatch foo()
from the previous example, all of its callers
need to be taken into consideration. For those callers that the compiler had
inlined foo()
, a livepatch should include a new version of the calling
function such that it:
- Calls a new, patched version of the inlined function, or
- Provides an updated version of the caller that contains its own inlined and updated version of the inlined function
Other interesting IPA examples include:
IPA-SRA: removal of unused parameters, replace parameters passed by referenced by parameters passed by value. This optimization basically violates ABI.
GCC changes the name of function. See GCC function suffixes section below.
IPA-CP: find values passed to functions are constants and then optimizes accordingly Several clones of a function are possible if a set is limited.
GCC changes the name of function. See GCC function suffixes section below.
IPA-PURE-CONST: discover which functions are pure or constant. GCC can eliminate calls to such functions, memory accesses can be removed etc.
IPA-ICF: perform identical code folding for functions and read-only variables. Replaces a function with an equivalent one.
IPA-RA: optimize saving and restoring registers if the compiler considers it safe.
Dead code elimination: omit unused code paths from the resulting binary.
GCC function suffixes¶
GCC may rename original, copied, and cloned functions depending upon the optimizations applied. Here is a partial list of name suffixes that the compiler may apply to kernel functions:
Cold subfunctions :
: parts of functions (subfunctions) determined by attribute or optimization to be unlikely executed.For example, the unlikely bits of
may be moved out to subfunctionirq_do_set_affinity.cold.49()
. Starting with GCC 9, the numbered suffix has been removed. So in the previous example, the cold subfunction is simplyirq_do_set_affinity.cold()
.Partial inlining :
: parts of functions when split from their original function body, improves overall inlining decisions.The
function provides an interesting example of a partial clone. GCC builds the source function:void cdev_put(struct cdev *p) { if (p) { struct module *owner = p->owner; kobject_put(&p->kobj); module_put(owner); } }
into two functions, the conditional test in
and thekobject_put()
calls incdev_put.part.0()
:<cdev_put>: e8 bb 60 73 00 callq ffffffff81a01a10 <__fentry__> 48 85 ff test %rdi,%rdi 74 05 je ffffffff812cb95f <cdev_put+0xf> e9 a1 fc ff ff jmpq ffffffff812cb600 <cdev_put.part.0> c3 retq <cdev_put.part.0>: e8 0b 64 73 00 callq ffffffff81a01a10 <__fentry__> 53 push %rbx 48 8b 5f 60 mov 0x60(%rdi),%rbx e8 a1 54 5a 00 callq ffffffff81870ab0 <kobject_put> 48 89 df mov %rbx,%rdi 5b pop %rbx e9 b8 5c e8 ff jmpq ffffffff811512d0 <module_put> 0f 1f 84 00 00 00 00 nopl 0x0(%rax,%rax,1) 00
callers may take advantage of this function splitting to inline one part or another. Others may also directly call the partial clone.Constant propagation :
: function copies to enable constant propagation when conflicting arguments exist.For example, consider
and its copies forcpumask_weight(cpu_possible_mask)
. Note how the.constprop
copies implicitly assign the function parameter:<cpumask_weight>: 8b 35 1e 7d 3e 01 mov 0x13e7d1e(%rip),%esi e9 55 6e 3f 00 jmpq ffffffff8141d2b0 <__bitmap_weight> <cpumask_weight.constprop.28>: 8b 35 79 cf 1c 01 mov 0x11ccf79(%rip),%esi 48 c7 c7 80 db 40 82 mov $0xffffffff8240db80,%rdi R_X86_64_32S __cpu_possible_mask e9 a9 c0 1d 00 jmpq ffffffff8141d2b0 <__bitmap_weight> <cpumask_weight.constprop.108>: 8b 35 de 69 32 01 mov 0x13269de(%rip),%esi 48 c7 c7 80 d7 40 82 mov $0xffffffff8240d780,%rdi R_X86_64_32S __cpu_online_mask e9 0e 5b 33 00 jmpq ffffffff8141d2b0 <__bitmap_weight>
Coping with optimizations¶
A livepatch author must take care to consider the consequences of interprocedural optimizations that create function clones, ABI changes, splitting, etc. A small change to one function may cascade through the function call-chain, updating dozens more. A safe livepatch needs to be fully compatible with all callers.
Given an input .patch file, kpatch-build performs a binary comparison of unpatched and patched kernel trees. This automates the detection of changes in compiler-generated code, optimizations included. It is still important, however, for a kpatch developer to learn about compiler transformations in order to understand and control the set of modified functions.
With the -fdump-ipa-clones flag, GCC will dump IPA clones that were created
by all inter-procedural optimizations in <source>.000i.ipa-clones
kgraft-analysis-tool pretty-prints those IPA cloning decisions. The full
list of affected functions provides additional updates that the source-based
livepatch author may need to consider. For example, for the function
$ ./kgraft-ipa-analysis.py --symbol=scatterwalk_unmap aesni-intel_glue.i.000i.ipa-clones
Function: scatterwalk_unmap/2930 (include/crypto/scatterwalk.h:81:60)
isra: scatterwalk_unmap.isra.2/3142 (include/crypto/scatterwalk.h:81:60)
inlining to: helper_rfc4106_decrypt/3007 (arch/x86/crypto/aesni-intel_glue.c:1016:12)
inlining to: helper_rfc4106_decrypt/3007 (arch/x86/crypto/aesni-intel_glue.c:1016:12)
inlining to: helper_rfc4106_encrypt/3006 (arch/x86/crypto/aesni-intel_glue.c:939:12)
Affected functions: 3
scatterwalk_unmap.isra.2/3142 (include/crypto/scatterwalk.h:81:60)
helper_rfc4106_decrypt/3007 (arch/x86/crypto/aesni-intel_glue.c:1016:12)
helper_rfc4106_encrypt/3006 (arch/x86/crypto/aesni-intel_glue.c:939:12)
kgraft-ipa-analysis notes that it was inlined into function
and was renamed with a .isra.<N>
optimization suffix. A safe livepatch that updates scatterwalk_unmap()
will of course need to consider updating these functions as well.
- [1] GCC optimizations and their impact on livepatch
- Miroslav Benes, 2016 Linux Plumbers Conferences http://www.linuxplumbersconf.net/2016/ocw//system/presentations/3573/original/pres_gcc.pdf
- [2] kpatch-build
- https://github.com/dynup/kpatch
- [3] kgraft-analysis-tool
- https://github.com/marxin/kgraft-analysis-tool


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The happiness and joy in watching our Charlie dog responding to new obedience house training seems to make us want to do much more for our lovable and charming friend.
We've learned a lot about health problems and symptoms,Good dog care is vital Articles the how to's of medication, dog nutrition and keeping him healthy. Along with that we've also gotten a tooth brush for dental care. I mean it's no less than bringing up a little child. After all isn't that what puppies are? Little kids as well?
You'll want to investigate training collars and crates to help you in the training issues and you'll find plenty of help on line. Tips and tricks to help us are easily available and as close as the click of the mouse.
Don't forget to check out medical insurance as well. Health Cheri Honnas care cost for pets is soaring almost daily. How many times we've heard of pets having being taken to the vets and terminated because the cost of medical care and attention was beyond the masters budget.
And last but not least prepare you and your doggie for some fun trips. You can really enjoy those jaunts if you have proper travel supplies. So all in all good dog care can encompass many things. Love and kindness is the way with our best pet friends.


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Beauchêne preparation of a long-horned beetle
- Maker: Felix Plateau
- Date: 1880
- Location: Ghent, Belgium
- Collection: Zoology
Who was Felix Plateau?
Felix Plateau (1841-1911) was a zoologist by career. He observed and studied animal anatomy and morphology. In 1870, he became a professor of comparative anatomy and zoology at Ghent University. He greatly expanded the university's zoological collection to include preparations, stuffed and mounted animals and skeletons, which he used in his lessons. Felix Plateau was the son of the famous Belgian physicist and mathematician Joseph Plateau (1801-1883).
What is a Beauchêne preparation?
In a Beauchêne preparation, an exoskeleton or skull is completely taken apart. Then each part is mounted back in the correct position but slightly separated from the rest. This retains the impression of the whole object, but you can also see all the separate parts.
Where does the name Beauchêne come from?
The technique is named after its inventor, the French surgeon and anatomist Edmé François Chauvot de Beauchêne (1780-1830).
How do you make a Beauchêne preparation of a skull?
The first skulls prepared according to the Beauchêne technique had to be cleaned, boiled and soaked to make it easier to separate the different parts. Later in the 18th century, model makers used the 'exploded technique', in which they filled the skull with dried beans or peas that absorbed liquid, then swelled up, ultimately forcing the bones of the skull apart. Once the different parts were dry, they could be put back together.
What is a longhorn beetle?
The family of longhorn beetles (Cerambycidae) is a member of the animal kingdom (Animalia), the phylum of arthropods (Anthropoda), the class of insects (Insecta) and the order of beetles (Coleoptera). There are more than 33,000 species of longhorn beetles, with a wide variety of colours and patterns. Their basic shape is usually the same: a long body, slender legs and long antennae.


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1980 - Rondo
In 1980, our subsidiary Rondo Plast was established. The reason for this was to separate Polykemi from plastic recycling. It was mistakenly believed at that time that all manufactured plastic materials came from recycling, which of course was completely incorrect. With a separate company, we could handle both our and other customers' plastic waste for processing.
The sales success of Ögelastolen for IKEA 1982 was followed by several bestselling models. This gave our material POLYfill a great start and orders came in from all directions once the market has noticed us and POLYfill. Among other things, it was the car industry that saw the benefits.


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Centre Pompidou
This is probably my favorite museum in Paris. I had visited the museum several times, so I was familiar with the collections before our visit. On this visit, we had a guide for the exhibit entitled, "Les mouvements des images". I think some of our group enjoyed the exhibit more than others... I wish we could have had more time in the museum to explore all the rooms and watch all the many movies on display. I thought the few films I did have time to see were brilliant!
— Alice
Related journal entry:
le 14 janvier


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All types of students are there in school, and each comes from different family background. Some are rich while some are not. We always expect too much from our children and sometimes build pressure to perform well in their studies and secure a good position. However, we need to keep a proper balance and manage everything in an organized way between their academics and entertainment side, just like how best school management software manages all the data and day-to-day activities in the classroom.
However, in most cases, we forget that students also have a life and go through many things that go unnoticed. It's high time, and we need to understand that there are many other things in the student's life rather than going to school, studying, reading books, and scoring good marks.
If a student is not paying attention to what you are teaching, if they keep quiet in the classroom, if their behavior is not normal, etc., this may be a sign that they need counseling.
There is a need to understand their condition, and a little bit of care, support, and concern can make a lot of difference.
The sudden behavior change could be because of family issues, financial issues, bullying, a fight with their friends, study pressure, etc. That is where counseling works.
A school's sole responsibility is to organize a counseling session under the guidance of a specialist for their student. Nowadays, some schools have included counseling as a part of their curriculum and organize counseling sessions weekly.
So! Let's have a look at them-
Why Counseling In School Important?
Counseling in school is important for students and benefits their mental health. Not only in traditional classrooms, but students can now also attend online counseling in the comfort of their homes. Online teaching platforms are making work easier for all as they use different kinds of advanced software like student attendance management systems, school learning management systems (LMS Portals), ERP, and more. Here we are mentioning a few benefits of counseling in school in the next section:
Better academic outcomes- When counseling starts, the counselor tries to calm down and talk with the students. In this way, they try to find out about the problem from which the students are going through. After 4-5 sessions and proper counseling, the results will be visible. One of the benefits which students get from counseling is improved academic scores.
Better decision-making skills- As the study suggests that if a student is in depression or going through some tension, then, in that case, they are not able to make an instant decision. They appear to be confused and cannot decide between right and wrong. With proper counseling and the support of a counselor, students regain or build up confidence in themselves and can make a judgment all by themselves.
Minimal school dropouts- If a school or classroom environment is not good and favorable or the student is going through continuous bullying, the situation worsens for a student. The result could be a failure and a school dropout. With proper counseling, a counselor knows about the real problem and can tell the school management about the issue. It will help the school authorities to take necessary steps regarding the same and make their school a good place for the student. Doing this will help such students regain their confidence and decrease school dropout rates.
Improved social and emotional skills- counseling not only helps in increasing academic performance and boosting confidence but also helps in overall development. Students become more confident than ever before, and one can easily observe the tremendous change in their attitude.
Summing Up
Counseling can do a miracle for students going through mental tension. But! It's not only a counselor's duty but also a parent's responsibility to help and support their children to maintain their mental health in a good state. They can take help from the online yoga classes to calm their soul and mind and read some motivational quotes for students. All these help them overcome the issues they are going through. School managements need to introduce regular counseling for students studying there. It helps the teachers analyze students' requirements and strengthen the education system ultimately.


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If you want nothing but the best quality service, then you have to come to call girls in Preet Vihar Delhi. These escorts always believe in providing the best quality service to their clients. Clients' comfort and satisfaction is the first and foremost priority to these escorts and that is why they always do their best to satisfy their clients to the fullest. If you decide to avail the service of these escorts, then you will also get the unprecedented escort service that you would never get in anywhere else. The female escorts Preet Vihar Delhi are always there to do anything and everything.
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Sometimes we feel trapped inside of our bodies, mind, or lives in general. It is as if we don't have control over our fates, and despite what we try, the outcomes get out of our hands.
The same dreadful pattern continues, and we start believing there's some external force moving the strings of our destiny.
One question boggles our minds. – How do we break out of that cycle?
As we hit the wall and get the same results every time, no matter what approach we take, we wonder if there is a greater understanding of it all? And if there is, how do we get the ultimate answers and reasons for our pain and struggle?
These painful patterns can be as menial as failing the same task at work over and over again. Or continuously encountering the same type of superiors that always ask us to do something better but never recognize what we do well.
It may also manifest in relationships. Perhaps we can't seem to pass a particular stage in connection, no matter how many times and with how many people we try. We do our best to adapt and seek different people, but we end up with the same personality type every time.
The pattern might be broader. Maybe we feel ready for a change, the next milestone, or life-changing thresholds, but we are too stuck to reach that point.
It feels like time passes, but nothing really changes, and we are always there, in the same position, in the same place.
These impressions and feelings are not pointless. It points to one part we all have deep inside, and that part is responsible for feeling vulnerable, lost, and afraid.
Chiron rules over these struggles, pointing to the things we try to bury and suppress.
Chiron warns us with his painful signal that we have to start our pursuit of hidden wounds and dig for negative past beliefs, experiences, and recurrences.
No one should battle with the same issues endlessly because it slows down progression and evolution. Chiron helps us to convert our wounds into lessons, strengths, and powers.
Chiron: History and origins
Scottish astrologer, Maurice Wemyss, predicted in 1935 that the world would discover a celestial body with an affinity for Sagittarius and with characteristics that resemble Chiron.
Officially, humans met Chiron in 1977 when the astronomer Charles Kowal noticed a new planet in the sky.
Chiron's original name was Object Kowal because his discoverer labeled it as a minor celestial planet.
However, they renamed it Chiron, honoring the legendary Centaur. But Chiron is also known as the Rainbow Bridge because of its position between Saturn and Uranus.
Since it orbits between these two planets, Chiron has a slow transiting pace. It spends nine years in one zodiac sign, and it takes him roughly 49 to go through all twelve.
Besides, Chiron experiences multiple retrogrades, and we usually feel its impact in our fifties. That is when our wounds open up again, demanding cleansing and resolutions.
Chiron's symbol resembles a key, which reminds us of his role: to unlock the pain and help us reach a better destination, the one where we will find peace.
But what we know about Chiron doesn't only come from astronomy. It also has mythological roots. It is essential to understand the legend to comprehend the meaning of Chiron in a natal chart.
Chiron: Mythology and the story of a Wounded Healer
Greek mythology was the inspiration for Chiron's name. Chiron was a centaur and healer, and due to his wisdom, he was also a teacher of many mythical heroes. He is known as the Wounded Healer.
Parents abandoned Chiron at birth, but God of Light, Apollo, became his caregiver, guide, and teacher. Thanks to Apollo, he became a scholar, healer, and tutor, sharing his wisdom with many prominent Greek figures.
According to the legend, Chiron is the offspring of the nymph Philyra and Kronos (Saturn). Before Chiron's birth, an oracle told Kronos that one of his sons would steal his throne. Hence, Kronos would devour his male descendants.
But Kronos's wife was aware of that prediction. It is she did her best to hide her son Zeus. Kronos didn't manage to find Zeus, and, meanwhile, he became obsessed with the nymph Philyra. Philyra didn't want him, and she turned herself into a mare to avoid his desire.
Kronos was persistent, and he managed to find her, but his determination didn't stop there. He transformed himself into a horse to mate with Philyra. The result of that encounter was Chiron, a demi-god half man, half horse being.
Philyra couldn't deal with what Kronos did to her and that she gave birth to what she perceived as a monster.
After that, she pleaded with the Gods to turn her into anything else but her human form. Her wish came true, and they transformed her into a Lime tree. That left Chiron without anyone to fend for him until a shepherd known as Apollo found him.
Chiron's fate seemed to go in a better direction after being taken under Apollo's care. He became an intellectual, healer, and scholar. Hercules was one of his students, and he went to visit his teacher in the cave where Chiron was residing with other Centaurs.
Due to a misunderstanding, the Centaurs and Hercules started a fight. One of his poisoned arrows hit Chiron even though he didn't participate in the battle, nor he had anything to do with it.
Due to being in the wrong place at the wrong time, his injury will turn into an eternal wound.
Chiron tried to heal himself. But as an immortal, he realized that he would spend a lifetime in agony. But Hercules felt overwhelming guilt, so he begged Zeus for mercy and to allow Chiron to die.
Zeus decided to compromise and offer Chiron to trade his fate with Prometheus, which meant to be tied to the rock while a Griffin eats his liver. Chiron accepted, giving up immortality, pain, and dignity.
How Chiron's wounds illustrate ours and help us reach healing?
The mother and father abandoned Chiron, and that feeling is central to his story.
The abandonment left him with psychological wounds, which reminds us of our fear of being abandoned and rejected. It is what determines our connections with people and the world.
Thus, Chiron had no say in what happened to him. That reminds us that tragedies are an imminent element of our lives. It is out of our hands, and we have little to no control over how adversities affect us.
Author of Chiron and the healing journey, Melanie Reinhart, explains how we act through a triad of figures. Our roles are fluid, and that's why Reinhart introduces a concept known as Three Faces of Chiron. We play the victim (or the one who's wounded), the perpetrator (the one who wound other people), and the one who heals or Healers.
We use these identities as we go through a process of recovery, switching roles to triumph over the pain.
All it takes is that certain events, situations, or tragedies related to Chiron's position in a natal chart activate, starting healing.
The journey doesn't necessarily start in the role of the wounded. We might be the perpetrator first, only to end up as victims in the future. We switch characters. We can be the one who's wounded, but also the one who hurts others. The goal is to break from the cycle of being either a victim or a perpetrator.
Becoming the healer
The principal idea is to learn how to stop hurting others and ourselves. It is why we encounter the same type of toxic people and unfortunate circumstances over and over again.
Chiron teaches us a lesson by confronting us with our primal and hidden wounds until we reach healing and mend the pain.
Chiron is a reminder that sometimes to give up on fears, we have to give up our urge to control everything.
That means that we have to accept that the healing journey doesn't take us from one point to another linearly. It is inconsistent, and we continuously have to be honest with ourselves and confront our pain.
We should also embrace self-reflection and consider how we decipher external occurrences: events, relationships, and people.
It helps us assess things objectively and approach everything from the standpoint of empathy. Following the compassionate path, we can stop being a victim or perpetrator and transform into healers.
Hence, concerning natal charts, Chiron represents our most profound wounds, karmic energy, and remnants from our past life. Our task is to face these issues and reach our evolution, peace, and recovery.
Chiron in Aries (House I): Meaning and general traits
People with Chiron in Aries usually go through emotional, physical, or mental injury or harm. But others will rarely notice that Aries Chiron individuals are dealing with some onerous trauma and pain.
These persons are resilient, tenacious, and fighters. They tend to shake off whatever bothers them, no matter how big or small.
People with Chiron in Aries believe that they can handle and manage everything, even if it hurts like hell. They are likely to, at least on the surface, move on quickly from whatever caused them suffering and torment.
Yet, as they are likely to develop deep connections with people, their loved ones and friends usually notice something is wrong. These persons are likely to tell them it's nothing, so in the end, their dear ones feel their pain more than Aries Chiron people themselves.
Nevertheless, these individuals expect the same from others concerning struggles and pain.
People with Chiron in Aries are likely to tell others to stand up and take it when hurt because everyone goes through some pain, adversity, or trauma. They believe that, otherwise, people will lose themselves in misery instead of moving on.
They believe that they recover fast, and they try not to look back. Aries Chiron people take this approach even when in hard pain and trouble. Some might perceive them as cold. Once people find out how many turbulences Aries Chiron individuals had, they are usually shocked.
These people are usually born during years of conflict or socioeconomic changes and transitions (e.g., generations born between 1918-1927 and 1968-1977). Things change often and quickly during their childhood. That teaches Aries Chiron individuals to don't get attached and to move on fast.
Individuals with Chiron in Aries usually experience struggles in childhood that hurt them a lot, but all they could do is suck it up and focus on the future.
But they learned how to not dwell on the past and regrets. As a result, they either don't talk too much about their problems, or they use them as an example to helps others overcome struggles.
Woman with Chiron in Aries
These women are strong fighters, but as Chiron will be in Aries until 2027, they will experience intense changes that will force them to break down their walls and defenses.
The years in front of them are when females with Chiron in Aries will question their identities, defense mechanism, and ego. The purpose is to ensure whether the foundations are stable and if they are sabotaging themselves.
For a long time, they have been burying their past troubles, trying to get it through.
However, in the years ahead, turbulent events and circumstances will shatter the barricades Aries Chiron women built around their fears.
Females with Chiron in Aries will have to face their deepest wounds and assess how ignoring them has affected their lives, relationships, and careers.
But most of all, they will reveal what makes them who they are and whether they let their loved ones genuinely know them.
If we don't confront our fears, traumas, destructive defense mechanisms, we can't express our identities and let others love us.
Yet, close connections mean ultimate surrender, honesty, and vulnerability. That theme is the principal lesson Aries Chiron women have to learn.
Man with Chiron in Aries
Males with Chiron in Aries are stubborn, bold, and intense, but they often use these characteristics to escape from insecurities and pain. They are likely trying to compensate for not feeling good enough or always being in a shadow.
They are likely to feel lonely or inept at the end of the day, wondering why their actions don't bring the results they need so desperately.
Perhaps they seek recognition at work by always trying to be the most competitive and devoted employee, but they end up in the same position or salary all the time.
When they don't see the gain they expect, men with Chiron in Aries can become self-destructive or make rash decisions.
On the other side, they are too self-reliant and hate asking for help. It is why they are likely to be stuck in a vicious circle of feeling lonely or invisible and not articulating their needs effectively.
The most frequent reason why Aries Chiron men hate asking for support is that they would have to admit what they desire, and they feel like a failure.
Another problem is that Aries Chiron men are not sure what they want to be or to achieve. Yet, they see every mistake as a defeat that's preventing them from reaching their full potential.
As Chiron will be in Aries for the next six years, Aries Chiron men will have to face their wounds and discovering why they hide their dreams and desires from themselves and others.
People with Chiron in Aries are fighters, but they rarely ask themselves what it is really that they are fighting for and what makes them happy. They are often not sure what's their purpose and what's the point of their existence. It is why they seek validation and approvals.
However, they think that to get an endorsement, they have to do something extraordinary or hide their vulnerabilities. They are likely to take on challenges and tasks that are almost impossible to complete successfully.
Aries Chiron people do it to impress others and confirm to themselves that they are worthy. If they fail to finish those endeavors, they feel worthless.
Individuals with Chiron in Aries have to confront their insecurities, fears, and traumas to discover their identities and what makes them valuable and different.
Otherwise, they will never reach the stage of healing and relinquish their pain.