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Thursday, September 13, 2007
Using Emotion to Change Emotion
Let's take a common example: a trader is working a bid a bit below the market and suddenly a ferocious sell program takes the market five ticks lower. The trader's order is filled and, in an instant, the market is several ticks against him. He reacts first with shock, then with anger at people who "manipulate the market". In a flash, he buys more contracts, even though this sizes his position much larger than his plan allows. It's a classic revenge trade: he's going to get even. The market moves a few ticks lower, and he is forced out at the worst possible price with a much larger loss than his initial trade planned for. In remorse, he makes a note in his journal that he needs to be more disciplined in his trades.
As long as the trader views "discipline" as his problem, he is sunk psychologically. He sets up a condition in which he is split: part of him is impelled to do something under particular conditions, another part attempts to exercise control by dictating what *should* be done. This is how anorexic and bulimic patients fight with food intake; how addicts fight with drug abuse; how many of us fight with sticking to diets and exercise regimens.
We cannot substitute thought for emotion: shoulds cannot overcome emotional impulses.
The key to moving past an emotional reaction is to experience it fully and then substitute a different emotional experience. Psychologists such as Leslie Greenberg and Robert Elliott have developed emotion-focused techniques to accomplish just that. The basic principles and techniques are straightforward, well-supported by research, and described in detail in a growing professional literature.
What is happening with the trader in the example above is that he first experiences hurt and disappointment. He might also experience a fleeting sense of failure and loss. These are too painful to feel, so he has learned to respond to hurt with anger. He transforms sad to mad and then acts on the angry feeling. What appears to be the problem--loss of discipline--is his way of coping with the *real* problem, which is vulnerability.
Suppose, however, I ask our trader to go more deeply into the experience of having his order taken against him. As he talks, I notice an unhappy look on his face and a slight slumping of his shoulders. I point that out and ask him to give voice to what he's feeling. He talks about how it seems as though nothing is working in his trading, how he and his wife just bought a new house, and how they're concerned about making the payments.
When I ask what that's like, feeling as though he can't support his family, he acknowledges, "I feel like such a loser". Then, however, he speaks with a different voice: "But I know I can trade. If I would just stop trying to catch exact tops and bottoms with these orders, I can ride moves once they happen."
"So when you're working orders in the book...", I begin.
"I'm being an idiot," our trader interrupts. "I know I shouldn't be working orders that close to the market. It's too thin."
"But you're trying to catch a top or bottom to feel good and help your family," I offer.
"Yeah," he acknowledges. "But I'm f*****g it up."
"So it all starts with you feeling concerned about your family. You have to get something going in the market to make some money, so you throw an order in the book to catch a turning point," I suggest. He nods.
"Could you pretend your wife is in the room right here, right now and talk to her about that concern and what you want to do about it in the market?"
We set up an exercise where our trader talks aloud his concern for his family finances. He has no problem telling his wife that he needs to be patient and trade well in order to regain his success. By the end of the exercise, there's no hint of the angry revenge trader. In its place is the direct experience of facing his worst fear--his feelings of inadequacy--and emerging with a different emotional experience: empathy for his wife (and for himself).
Greenberg notes:
"People can recognize that a feeling is not helpful to them once it has been accepted fully. The paradox is that, if the feeling is judged as not acceptable--as "not me"--it cannot be changed, because it hasn't been accepted. Only when a feeling has been accepted can it be evaluated and changed if necessary" (Emotion-Focused Therapy, p. 93).
Doing can be a way of avoiding feeling, and that keeps people stuck in problem patterns. Ironically, the solution is to deepen the feeling that is being avoided. At the other end is a very different--and usually quite constructive--emotional experience.
Brief Therapy Techniques for Traders
What Works in Trader Coaching
9 comments:
- robin said...
My trading has greatly improved since I found this river of knowledge. Thank you for that. Although for some reason, yesterday I entered an order and exited several contracts but left 2 on the table for a possible run. I normally exit a 3 tick stop but I will use a finger stop due to market usually bounces around on my stop and heads my way (bonds), I dont want to exit and watch market go my way. So this bit me yesterday as I watched market go 8 ticks against me before I finally exited. I remember telling myself the market will come back, but it never did.
What should I be thinking at this moment? "That anything could happen and I should exit at my stop" or "who knows where the market will go so lets get out"?
What was I thinking?
- Ziad said...
Hi Dr. Brett,
It's interesting that you should post a series on this topic as I had recently discovered the role of underlying emotions in my trading and was wondering how I could address the issue. I had recently been analyzing my trading and myself and I noticed a certain theme. I'm quite a disciplined trader, however one area where I can't seem to control my actions consistently is that of scratching or cutting positions before they hit the full stop when such an outcome seems inevitable.
After thinking about it for quite a while I noticed that there was an underlying fear that was controlling me. That fear was the fear of missing large moves that I had "called" and was positioned for. For me that seems to be the worst feeling. In fact it's worse than taking a loss, which is why I will willingly sit there and take a loss that looked very likely from early on, than to exit the position and potentially watch it do what I had originally thought it would without me on board. The same theme applies to entering prematurely in fear of missing that big move that seems so likely.
I've tried to think why this fear overshadows the other fears I have, and I can't say I have an answer yet. I'm assuming there is an even deeper underlying issue of what missing big moves that I had anticipated means to me on a subconscious level. I'm assuming that because I've tried to reason my way to behavior change, but that has proved quite tough. So i'm going to take a look at the emotion focused techniques for a possible solution. But I would also appreciate any thoughts about what my fears could be grounded in.
Thanks as always.
- Brett Steenbarger, Ph.D. said...
Hi Robin,
It's a great question, but hard to answer specifically because I don't know your trading style. The general answer is that your stop should reflect: a) a favorable risk:reward ratio for the trade; and b) a reasonable point of exit where you conclude that the basic rationale of the trade is disconfirmed. Once the stop is set based on those two factors, its execution should be automatic. It very much helps to eliminate discretion from stops, so that they become a kind of habit pattern.
- Brett Steenbarger, Ph.D. said...
Hi Ziad,
Many traders get their ego connected to making market calls or anticipating certain moves, and that makes it difficult to be flexible. The fear of missing a move is often connected to a lack of trust in one's own entry criteria. Ultimately, the answer lies in normalizing mistakes, both making bad trades and missing good ones. Perfectionism is the great enemy in that regard for many traders.
- radicimo said...
This is extremely useful information for all traders. Thank you for sharing, Dr. S.
I mostly swing trade days to months, and like to find multi-bagger diamonds in the rough.
I went through a phase of being vindictive towards longer term holdings that I sold too soon. I would turn around and short them, and may have been successful the first time or two. I told myself that it was a method of developing skill at trading both sides of an issue, and about not trying to have a bias up or down on a stock. To some degree that is true, but I was fighting the trend in some cases. This year I had a couple of dramatic blow-ups that would have been so much better managed had I just stayed long and held. It caused me to explore some of the emotions that led to my decision-making. I believe that I've put an end to that behavior.
Similarly, I've long had a problem with transferring annoyance at myself for selling too soon into annoyance with the stock ticker itself. Instead of getting back in, I either wait for a better entry and have it nag at me as I watch it go higher, or I completely give it up, remove the ticker from my screens, and move on looking for other fish to fry. What I'd like to do is be able to get back on the horse a bit quicker, to mix metaphors here. I'm going to think about how to apply this technique to good effect. I'm not annoyed if I exit and the price continues in the direction that caused such a decision. So I guess somehow I need to be annoyed at NOT being in. Is that how the exercise might work? A potential collateral problem would seem to be over-compensating and making a bad re-entry, right? Geeze, fine-tuning emotional response ... lol
- novicetrader said...
Would be interested in your thoughts on this article:
- AnaTrader said...
If it takes emotion to change emotion, then as Jim Cramer quoted his wife's 4th commandment: If there is a position that is dogging you, take some of it off, throw the maiden in the volcano and please the gods.
You will probably breathe easier and make a better decision according to him.
Some kind of EFT, emotion -focused therapy, pioneered by Prof Leslie Greenberg.
- Brett Steenbarger, Ph.D. said...
Hi Radicimo,
The key is figuring out which emotional reaction is being avoided by the flight into annoyance. Once you deal with that underlying emotion, there's no need to cover it with annoyance.
- Brett Steenbarger, Ph.D. said...
Hi NoviceTrader,
Thanks for passing along the article; see my post on it.


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I have been brought up in a multi-lingual environment and I consider it essential to raise my children the same way. I have done so by buying English, German, Dutch and French books. My idea is that if they are surrounded by enough reading material, the learning of multiple languages will come naturally. I have no proof for this assumption and it is my gut feeling. We now have some really nice german children books bought on the German amazon, although we both don't speak german. Now that they start watching tv, I was looking for children shows on Youtube. It appeared to be more difficult then with books. There is of course teletubbies or bumba on youtube. Since there are people from multiple cultural backgrouds here, I was thinking of posing the question here to suggest nice children episodes here.
I'm sorry but I don't think that just buying foreign books on Amazon is going to help a lot. It's just as difficult for a kid to simply pick up book in a foreign language and make sense of it as it is for an adult. As the parent, how are you going to support that learning when you yourself don't speak that language?
The same goes for other medias like YouTube or DVDs, though perhaps to a lesser degree. I believe that material like comics such as Donald Duck, or tv shows such as Sesame Street and Muppet Show, would be your best choice because these things are very visual and therefore work well without understanding the language.
But studies suggest (see references below) that children don't learn well on their own from a screen. What's lacking is the interaction and the actual presence of a real human -- and for language learning, it must be a native speaker. I imagine that when the effect of live human interaction is so profound compared to video, then books must really suck.
What does work for language learning is real-world interaction -- the summer is coming, so plan a camping vacation in your neighboring countries; that will provide lots of opportunity to play with other kids that speak a different language. Or find some kind of regular multinational community gathering in your neighborhood.
I believe Dora the Explorer speaks Spanish as well as English in most of the episodes, repeating each thing she says in both languages. I don't know about my 4-year-old, but it has certainly taught me a phrase or two!
The BBC's CBeebies for pre-school kids currently runs a series called 'The Lingo Show', which aims to give kids an introduction to different languages. It's fairly well supported online.
There is also Same Smile which "explores the UK celebrating diversity of children's lives".
Last but not least, is our current household favourite, Rastamouse!
My son loves Pocoyo, and you can find the episodes on youtube in multiple languages.
Also, I don't know if you have BabyTv where you live, but "manny a la obra" is about a boy that fixes stuff with talking tools and alternates between talking in English and Spanish in every episode.
If you are just looking for exposure Dora and Diego are good for incorporating Spanish in the shows, while Ni Hao Kai Lan does Chinese. Although I wouldn't expect these to be useful for more than gaining a few words in another language.

subset: commoncrawl


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The Central Area Motivation Project, or CAMP, was the first recipient in the country of federal funds from the 1964 War on Poverty legislation, and formed to administer programs in Seattle's Central District neighborhood. This album contains issues of CAMP's newspaper, "The Trumpet," from April 1967 to Spring 1970, along with selected documents from their early history, including reports on the "Soul Search" free courses offered at the University of Washington. Images and documents from CAMP and "The Trumpet" are a special section of the Seattle Civil Rights and Labor History Project. Digitization courtesy of the Microform and Newspaper Collections, University of Washington Library; documents courtesy of the Special Collections Library, University of Washington (CORE Seattle Chapter Records, 1961-1970, Manuscript Collection 1563). Permission was granted by the Central Area Motivation Project, still in existence today. Copyright (c) reserved.
Cover page from CAMP report, c. 1964
Description of CAMP's program and goals, c 1967
CAMP newsletter, c. 1965-1966
Soul Search Flyer, Winter 1968
Flyer for the Soul Search free course offered by CAMP at the Unviersity of Washington, Winter 1968
Report on Soul Search, Winter 1968
April 7, 1967
July 7, 1967
December 15, 1967
January 19, 1968
May 1968, Special Housing Edition
June 1968, Special Edition
November 1968
December 1968
December 1968, Special Edition
June 1969
September 1969
October 1969
November 1969
July-August 1969
January 1970
February 1970
June 1970
July 1970
September 9, 1970
September 24, 1970
November 19, 1970
Spring 1970


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I found that the subroutine call inside a loop did not return correct value after certain iterations. In order to simplify the problem, the inputs to the subroutine are chosen to be constant, so the output should be the same for every iteration on every computing node. It is a fortran program, after the initialization the program goes like this:
do i = 1, N
call my_sub(A, B, C, re)
print *, mypn, A, B, C, re
end do
where re is the output value of the my_sub, A, B, C are inputs to my_sub.
570 is the number of correct iterations. If the combined instances does not exceed 570, the output is fine. For example, if I requested 10 computing nodes and N were 40, so it gives 10*40=400 instances, the output would be fine. But if the combined instances exceeded 570, the first 570 is fine, but the rest will return NaN value. For example, if the number of computing nodes were 20 and N were 40, which gives 20*40=800 instances, then the first 570 are fine, but the rest are NaN value.
Does someone know what might cause the problem? I googled it, but can't find a clue where to start. Please also let me know what else you need to debug the problem.


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Can nature be re-created? That's the challenge in Jungle Under Glass, as Dr. Lee Simmons and his staff at the Henry Doorly Zoo in Omaha work to create the Lied Jungle, the world's largest indoor rain forest.
live streaming schedule & on demand videos
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|NRD Protecting Water Quantity
|Protecting Water Quantity explains the evolution in water policy and management practices since the...
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|Consider This: Financial Literacy, 1921
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|Judiciary: Nebraska Supreme Court Arguments Omaha Central High School
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I'm sorry, I searched this site, but couldn't find the answer to my question, in spite of it being so trivial.
I'm working on a CMS which get's keywords from end user, which means that they are totally dynamic for each page. I get each keyword separately. What delimiter characters should I use to include those keywords in
<meta name='keywords' element?
Second question is, can I use space in my keywords? For example, can I have this meta tag element:
<meta name='keywords' content='first keywords, second keyword with space, third keyword with space and another space' />


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January 23, 2013
Sunset from Table Mountain – Flickr pic of the day
This photograph was taken from the top of Table Mountain at sunset by our Cape Town. Live it. Love it. Flickr group Flickr group member flowcomm.
Cape Town is famous for its spectacular sunsets. Says flowcomm: "I took this photo one evening as I was having dinner and a drink at the restaurant at the top with a friend. I don't live in Cape Town, but visit fairly often and go up Table Mountain whenever I can. Just being at the top, and breathing in the mountain air and enjoying the beautiful views, is good for the soul.
"Going up the mountain is especially beautiful in summer, but once I went up in the mist and rain in winter. All the colours of the fynbos seemed enhanced, and the memory of being the only visitor at the top in the swirling clouds is also a special one."
Do you have images of Cape Town you'd like to share with us? We'd love you to join the Cape Town. Live it. Love it. Flickr group.


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I have been exploring the OS X accessibility option to control the mouse from your keyboard (as described here) and I am curious if there is a way to make it go faster.
KeyRemap4Mac is a nice program that has a large number of various configurations which allow you to modify the function of your keyboard, including the ability to speed up you mouse navigation via the keyboard!
Look in look in
We're looking for long answers that provide some explanation and context. Don't just give a one-line answer; explain why your answer is right, ideally with citations. Answers that don't include explanations may be removed.
Step 1: First I turn off Mouse Keys, then I open Terminal and execute this command:
After re-enabling, mouse starts moving almost immediately.
Step 2: Install the demo version of ControllerMate ( http://controllermate.com ), and create something similar:
Now pressing the Ctrl key will act as a turbo key, moving your mouse very fast instantly. (If anybody knows an alternative to the otherwise great ControllerMate, please leave a comment.)


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I am a beginner, should I still be shooting RAW?
Im going to go against the grain and say that you should shoot with whatever format you find easier to work with.
The downside to raw is that it's a two step process. If you're a beginner, you might not have settled in on a workflow and may find that RAW files might be too cumbersome to work with.
I prefer RAW, and I generally think it's the better choice, but as a beginner, there are far more important things that should take your attention instead of editors, and file formats.
A RAW file isn't going to save your images from being boring, from being out of focus, or for being just plain bad. If you spend your time trying to retouch so-so looking photos just because you can, you'll miss out on learning how to take good photos first!
Said another way, a properly exposed jpeg looks far better than a mediocre photo shot with RAW.
Learning proper exposure techniques, framing, subject, and artistry are so much more important.
I think it's a fun exercise to go back and rework old images using new techniques, but I don't think its something that should be encouraged. Better to go out and take new photographs, than toil away and rehashing old ones. In my most humblest of opinions of course.
There's a great question on here of a list of the advantages of RAW, so I won't rehash them here. That said, I'd definitely encourage you to shoot RAW even if you're a beginner. Here's why:
Two years from now, when you're not a beginner any more, you may be able to go back to the shots you took in RAW and make them much better than you would be able to today.
On the other hand, two years from now you will be taking better shots and you won't care to go back over your earlier rejects.
If you're in a situation where you're getting once-in-a-lifetime opportunities, take RAW+JPEG. Otherwise just settle for JPEG until you're at a point where you know what RAW will do for you.
When I started photography, I was in the same dilemma and I chose to shoot JPEG over RAW.
I had only one 8GB memory card and I could shoot 900 images in JPEG format while switching to RAW, I could shoot only around 250 shots. Its important for a beginner to shoot a lot of photos and get your hands free. The ratio of keepers will also be low for beginners and shooting RAW will just lower the number of keepers (as the total number of pictures you can take in RAW will be lower than you can take in JPEG). And also for beginners there will be a lot of photos which will be off-focused/wrong focused/missing subjects etc etc and you don't need to think twice before deleting those images so there isn't a point to keep large files.
If I were you, I'd concentrate more on learning and getting perfect images before I switch to RAW. Modern DSLRs produce good enough JPEGs these days and you still can do a lot of corrections on JPEG images, might not be as good as RAWs but not bad as well.
Now, my answer totally depends on which level of beginner you are. I'd suggest, shoot first 10,000 images in JPEG, learn from your mistakes and then switch to RAW.
There's so many advantages to RAW its hard to say no. The only concern is that it really easy to feel that you don't need to take the time to get it right in camera because RAW can be quite forgiving in post.
I'd still recommend it, really for all the same reasons in the linked question, but remember you'll always get a better product if you take the time to get it right in camera first. Put the time into every shot, a little extra time up front can save much frustration later.
No. Raw will clog up your computer with big files you (just said) don't know how to work with. Photos are not made to be looked at through a magnifying glass, so I wouldnt bother about a minimal loss in detail. Raw makes sense if:
That said, you should experiment with raw, but it's useless to do so as a habit unless you need to work heavily on every shot to get certain results. I often shoot at the lowest resolution of my 14Mp camera (i.e. 3.5 Mp), getting beautiful prints and flawless 100% screen visualization from files 1.2 Mb or less. My 4Gb SD card can hold more than 1600 shots this way. Of course this won't apply if you do poster prints of your photos, which is unlikely to happen very often.
As a plus, in camera raw conversion is optimized to get the best results saving you and your computer a lot of work. When you have some free time try shooting raws of something in bad light, or something that has difficult white balance, so you can practice getting what you need out of raw files, then use what you learn when you need it.
Any beginner that would even bother to ask the question will benefit from RAW input.
I'd say that especially for beginners, RAW format makes things more forgiving. Beginners are more likely to get the exposure wrong. With RAW format, you can often recover from that.
Using the word retouching makes it sound complicated and advanced. To start, just load your raw files into Google's Picasa (it's free) and do some exposure adjustment. If your image is under or over exposed, this adjustment will have more to work with.
If you're in the middle of bush country and you're really trying to stretch the capacity of your flash cards, I could understand not using RAW. Otherwise, bits are cheap.
Actually, I just did a price check on flash cards. If you can afford a camera that has a RAW mode (and you're lucky enough to be visiting bush country), then you can buy a pocket full of cards that can hold more pictures than you could take.
So, there's no reason not to shoot in RAW. It's just better.
I like to make analogies. Say, in your area, a radio station is being broadcast on both AM and FM (NPR for example). Would you ever listen to the AM version?
I think this is a case where you should clarify beginner a bit more. Are you a beginner at photography, photo-editing or both.
Assuming you are both, I would not recommend shooting in raw, I would not recommend shooting in both jpeg and raw at this stage because it does not server any great advantage at the moment and can make file management more difficult.
Most windows based operating systems don't support raw images and you require the utilities that are included with the camera to view and edit these files. Which when used with large amount of pictures can become a pain.
However I would recommend you to shoot with both if there are shots that require great detail.
But as a beginner focus on the techniques of photography first, then you can think about using raw images and image post-processing (which should be your last resort)
If you don't use RAW - you'll miss out on a world of work you can do on your images and subsequently won't learn as much about what you can do.
I have 2 analogies here:
Unless I am working on a shoot which requires a very fast image turn around and have a decent day light wise I use the format which gives me the digital negative (which is effectively what a RAW file is). As said there are reasons to shoot straight to jpg but I wouldn't make this the rule, rather the exception.
For you this enforces the learning curve (and the basics which get applied in camera on a jpg aren't rocket science anyway) rather than avoiding it. Subsequently, you will learn by doing.
As a beginner, you should be shooting with auto settings and shoot in JPEG. The camera does pretty well with auto settings.
As an intermediate user, you need to learn the manual settings and use RAW instead.
Others point out that many image editors support RAW images but they often look horrible and seem much worse than cooked JPEG and that's NOT what a beginner should be seeing.
RAW is for seasoned users who enjoy manipulating them in RAW editors. RAW is time consuming. It takes a LOT of memory and storage and CPU processing. JPG is super efficient and quick but it will never offer much lattitude in exposure or more color depth.
And folks, remember, we're talking about beginners, not experienced shooters.
As a beginner with my Canon 450D, I did an experiment shooting at dusk in RAW + JPEG. I found that while in areas where JPG files showed white (the remaining daylight) or black (shadow), the corresponding RAW file actually resolved detail. I also noticed colour differences between the two files. As a result, I basically never shoot JPG anymore.
Even when shooting in continuous shooting mode, the 450D copes pretty well. I've never filled up the buffer on it, though I don't shoot many frames at once.
The only problem with RAW, is that I can't just take my SD card out of my camera and pop into the TV for an instant slide show.
Did you ever try to change color balance on a JPEG? It can't be done. But if you shoot in full auto mode anyway - well, you are just a point and shooter anyhow. RAW lets you change the manual settings you made at the time of exposure - so, for example, you change all those auto white balance shots to daylight and get the right color balance.
You can't change exposure much because unless you intentionally underexpose, you will end up with blown highlights - a major sin.
Also RAW allows you to change sharpening after the fact - a really important consideration for big prints which show up when the sharpening is too high.
Raw format help you to correct yourself in most of the cases but it eats a lot of memory ..


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Comprehensive Area Assessment (CAA)
Confirmation has been received of the decision by the new government to abolish CAA. Current work by the Audit Commission on CAA will cease with immediate effect, meaning that there will be no new or updated:
• area assessment and organisational assessment scores or reports
• assessment reports on the Oneplace website
• red or green flag issues reported
• scores for the use of resources, managing performance or organisational assessments.
Other assessment activities will continue, including:
• our annual assessment of children's services by Ofsted during 2010
• our audit (in line with the statutory Code of Audit Practice), including an overall value for money conclusion and opinion on financial statements, by the Audit Commission
• risk based inspections already underway
Discussions on the future approach to audit and assessments have begun at national level. We will engage in any national consultation and communicate key issues locally.
For further information email:email@example.com
Comprehensive Area Assessment (CAA) is the framework for the independent assessment of local public services in England. CAA became the main inspection and reporting regime for public services in England from April 2009 and replaced the former Comprehensive Performance Assessment (CPA) model.
The CAA consists of two major elements:
Area Assessment:This assesses how well local services are working together to improve the quality of life for local people. It looks across councils, health bodies, police forces, fire and rescue services and others responsible for local public services. Under CAA, local public services are collectively accountable for delivering better outcomes in their area.
Organisational Assessment: Individual organisations are reviewed separately. A local council is assessed, as an organisation on:
- Performance
- Value for money
- Joint working with partners to achieve shared strategic outcomes
Our Area Assessment includes in its scope leadership and governance of, and joint-working between, the Council and our Be Birmingham partners. It also assesses how effectively partners are working together to deliver agreed priorities for the area. It focuses on the city's priorities and strategic outcomes, which aim to improve the quality of life for people in Birmingham. These are outlined in the:
Sustainable Community Strategy - Birmingham 2026
Our CAA Organisational Assessment, assesses the Council separately (as an organisation). Areas of focus will include:
- Managing finances - achieving Value for Money
- Governing the business
- Managing performance
- Managing resources
How is CAA scored and reported?
The Audit Commission published scores and reports concluding their first CAA assessment of Birmingham on 9 December 2009.
Area Assessment:The area assessment is not scored, as such, but themes or areas of activity may be given either green or red 'flags':
'Green flags' represent exceptional performance or outstanding improvement; they will also be awarded to highlight innovative practice. There is no right of appeal against not getting a 'green flag'.
'Red Flags' are reported where there are significant concerns or risks. This could be a range of issues, e.g. poor performance on a key outcome to insufficient improvement, inadequate approach to managing risks. There is an opportunity to challenge potential red flags at the draft report stage.
Organisational Assessment:The organisational assessment scores for managing performance and value for money in the use of resources will be combined into a single score. The Audit Commission will rate the Council 1-4:
- 1 = performs poorly
- 2 = performs adequately
- 3 = performs well
- 4 = performs excellently
If you wish to know more on the CAA or about how Birmingham City Council is performing, please see the links below or contact us:
Email: email@example.com
Telephone: 0121 303 1720
Write to us at: CAA Project Team, The Council House, Room 89, Victoria Square, Birmingham, B1 1BB
BeBirmingham-Local Strategic Partnership


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The Bowling Green City Commission unanimously approved the first reading of a new budget for the next fiscal year at their meeting last night. The new budget calls for a 43-percent increase of $22.7 million over last year's budget, bringing the total budget for the 2003/2004 fiscal year to $77.25 million.
Between $5-6 million of the new money will come from a .5-percent hike in the occupational tax approved by the commission earlier in the year. The rest of the new revenue will come from federal and state grants.
New spending will include:
"The budget itself is up quite a bit, probably the largest single jump in recent history for that budget, but it's things that we had been planning and had been discussing with the city commission for quite some time," said Davis Cooper, the city's chief financial officer. Cooper also said projections for the next three to five years place the city in good financial standing for the near future.
The City Commission will hold a special meeting on June 24 at 3 p.m. to pass a second reading of the budget, which will go into effect on July 1.


text:
During the month of March 2013, seven persons were killed in traffic crashes on Nebraska roadways, according to data collected by the Nebraska Department of Roads.
¨ These 7 fatalities occurred in 7 crashes
¨ Four of the six vehicle occupants killed were not using safety belts
¨ Two fatalities occurred on the interstate, three happened on non-interstate highways, and
two took place on local roads
¨ Five of the fatalities occurred in rural locations
¨ Four of the fatal crashes were single vehicle run-off-road accidents
¨ Four of the fatalities were age 16 to 24
¨ One of the fatalities was a pedestrian
¨ There were 15 fatalities in March of 2012. ¨ 37 of the 43 vehicle occupants killed during 2013 (86.1%) were not wearing safety belts.
Location, ST | website.com


text:
The parity conjecture for elliptic curves predicts that the rank of an elliptic curve defined over the rationals has the same parity as the p-Selmer rank for a prime number p. Could anyone familiar with the recent development sketch what has happened in the last few years, and what the state of the art is?
For convenience, restrict to elliptic curves over $\mathbf{Q}$ (there are more general results/conjectures over number fields). There are three possible parities one could consider:
(i) The parity of the rank of $E(\mathbf{Q})$.
(ii) The parity of the $p$-Selmer rank of $E$ for a prime $p$.
(iii) The parity of the order of vanishing of the $L$-function of $E$ (determined by the root number).
Conjecturally these parities are all the same, and this follows from the BSD conjecture. The parity conjecture usually refers to the claim that (i) and (iii) are the same. The claim that (i) and (ii) are the same (your question) follows from the conjecture that Sha(E) is finite (it is almost equivalent to this conjecture), and this is only known in the cases where one can (essentially) prove the entire BSD for $E$ (for example, by work of Kolyvagin). The conjecture that (ii) and (iii) are the same is also sometimes called the parity conjecture. There has been progress on this question in recent years by Nekovar, and most recently by the brothers Dokchister. The current state of the art is that (ii) and (iii) are now known to be the same for all elliptic curves over $\mathbf{Q}$. A survey article by Tim Dokchitser can be found here:
Let me add a few remarks to the very nice CW answer already given.


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6 Insect Predators That Go Out of Their Way to Be Evil
#3. Uloborid Spiders Crush Their Prey Like Garbage Compactors
Via Robert Whyte
Virtually all spiders known to man possess venom-injecting fangs that they use to paralyze their prey. It's the thing that makes them scary, along with the legs, and the eyes, and the everything. Uloborid spiders, on the other hand, are some of the few that have no venom, and they don't even have the ability to bite. If you think this sounds like a less frightening spider, you are seriously underestimating nature's deranged creativity.
Via Robert Whyte
Feel free to take out your d20 and roll a sanity check now.
Scientists had noticed for some time that these venomless spiders wrapped their prey in ridiculous amounts of silk -- up to 28,000 wrapping motions and 450 feet of the stuff to encase just a single insect. It almost seemed like they were trying a little too hard to compensate for their lameness and lack of poison. In reality, uloborids don't need poison or fangs: Their knitting abilities are deadly enough as it is.
You see, when biologist William Eberhard decided to perform tiny insect autopsies on uloborid victims, he found broken legs and caved-in faces. Though the spider weighed just 14 milligrams, its prey had been compacted into small balls by several hundred milligrams of pressure -- compare the size of this insect leg with the body of the same insect after an uloborid was done with it:
Via Scienceblogs.com
If the leg looks bruised, it's because the uloborid beat the corpse with it, just for fun.
It'd be like stuffing you into a suitcase. Silk did that. Hundreds of layers of silk, each adding a little more pressure to the suffocating bondage death cocoon. Eberhard mentions that some prey are "even killed outright" by the process, which can take over an hour. Some. Some are "even" killed. The rest presumably live long enough to regret ever saying "Haha, check out that fangless idiot -- I'm gonna go stand in its web for a while, and poop."
Via Squidoo.com
"Ha! Hey, guys, he's just looking at me like he's gonna MMRRRMPHH mrrmmffmfmm!"
After crushing its victim, the uloborid soaks the whole cocoon in powerful corrosive slobber, melting down the entire insect into a protein shake from hell. Sure, it might take a uloborid a little while longer to get to the part where it actually eats its prey, but it's all worth it for the satisfaction of being the most sadistic spider ever.
#2. Epomis Beetles Eat Frogs Alive
Via Wired.com
Everyone knows that frogs eat insects, not the other way around: They just sit there all day catching bugs with their adorable slingshot tongues, if cartoons are to be believed. Well, it turns out that those cartoons have been hiding a horrifying truth from you, probably because they want you to be able to sleep at night.
Via Gil Wizen
We're not so considerate.
Yep, there's a type of cunning insect that feeds on nothing but amphibians many, many times its size. Beetle grubs of the genus Epomis are the first known example of what scientists are calling "obligatory role reversal," meaning that they have evolved to eat absolutely nothing else but the animals that used to eat them -- and since those animals happen to be toads and frogs, that also makes the Epomis larvae the first discovered insects that live exclusively on the flesh of vertebrates. Like you.
Via Gil Wizen
Today the frogs, tomorrow your face.
Biologist Gil Wizen spent more than five years studying how these insects have adapted to fight back after thousands of years of froggy oppression. First the Epomis will lure a hungry frog by wiggling its antennae like crazy, because it knows that amphibians hunt based on movement. When the frog is close enough to lash out its tongue, the bug dodges it and rams its spiky head into the frog's underbelly, making it impossible for the frog to dislodge it even as the bug turns it into dinner.
Out of the hundreds of encounters between these beetles and various amphibians witnessed by Wizen and his colleagues, every single one ended in the insect's favor -- even in cases where the frog initially had the upper hand. In one case, a beetle grub was swallowed whole by its opponent and still managed to turn the situation around. Two hours later, it emerged from the frog's mouth, attacked it and killed it:
These things have evolved to exploit the physical and psychological flaws of its former predators: The beetles move just fast enough to dodge them and know exactly how to lure them. So think twice before you step on a beetle, or we could all eventually regret it.
#1. Perisceptis Carnivora Moths Wear Suits Made of Corpses
We all know Mother Nature can be kind of a dick, but did you know she's also a big fan of serial killer movies? That's the only way we can explain the Perisceptis carnivora, which is basically a bug version of the skin-suit guy from Silence of the Lambs.
P. carnivora are similar to bagworms, a type of caterpillar that builds itself a camouflaged coat from things like pine needles, flower petals and moss; the sort of adorable things you'd expect a caterpillar to find fashionable.
Via Norm Townsend
Don't be too impressed. This picture was taken way after Labor Day.
Cute, right? Well, P. carnivora do the same thing ... with body parts.
P. carnivora, you see, spend their larval stage wrapped up in a delicious taco of decomposing limbs and hollowed-out insect heads, woven together with their own silk. To other insects, it probably looks like some sort of Frankenstein monster.
Via Biogeodb
"Do these eviscerated cockroaches make me look fat?"
But where does P. carnivora find so many dead insect parts? Do they just find them lying around? Nope, they're a little bit more proactive (and terrifying) than that. P. carnivora are one of the few known caterpillars that are strictly carnivorous, and once they're done eating their prey alive, they add the leftovers to their literal bodysuits. Again, this is what these bastards do when they're babies.
And as if that wasn't creepy enough, it can hunt without even moving. Anchoring its little house to a surface, it wallows day and night in its festering bag of chewed body parts, waiting patiently to spring out at flies, beetles, wasps or even spiders.
Via Sciencedaily.com
You know, whatever's "in" this season.
More from Jonathan at bogleech.com.
For more nightmare fuel, check out The 5 Most Horrifying Bugs in the World and The 7 Most Horrifying Parasites on the Planet.


text: In European Folklore the black shuck is a demon dog that haunts roadsides and the coastline. While most saw it's malicious and evil,some stories say it protects travelers and the unfortunate. The black shuck is a large black dog, with one eye, often accompanied by mist or fog. Hi everybody! This is one of my first time digitally "painting" something. Critique is always mean. Also this tutorial is for people who have worked with Paint Tool Sai before and can shade and such.


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Some high-energy experiments (RHIC, LHC) use ion-ion collisions instead of proton-proton collisions. Although the total center-of-mass energy is indeed higher than p-p collisions, it might happen that the total energy per nucleon is actually lower. What are the advantages of using ion-ion collisions (e.g. gold-gold or lead-lead) instead of proton-proton collisions, considering the same accelerator?
As a clarification the energy per nucleon is always lower: for example, currently in the LHC the proton top energy is 3.5 TeV. Now the Pb energy is 3.5 TeV times Z so the energy per nucleon is 3.5*Z/A and A is greater than Z for every nucleus (except the proton where it is equal to one).
But the goal of ion-ion collision is not to increase the total energy or the energy per nucleon: it is to obtain a different type of collision.
It should be noted than in a proton-proton collision, the energy involved in the real collision process is variable: each quark and gluon carry a fraction of the energy of the proton, and hard collision involve a collision between a quark/gluon of one proton against a quark/gluon of the other.
In the case of ion-ion collision you have the same process: the energy is shared by the protons/neutrons and they can have different energies.
The goal of such collision is also to obtain a volume (bigger than in a p-p collision) with a very high energy density. In such a volume, a "state of matter" called quark-gluon-plasma is believed to be possibly created. The study of this QGP is one of the main goal of the ALICE experiment at the LHC.
A few references:


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9 Aug 2010 1:27 AM #1
Is any body used the chart of ScatterChart?
In the version of 2.1.1, there is some problem with ScatterChart, maybe it's a bug.
1.The ScatterChart hasn't the method of setDataProvider(), so, in the class of ChatModel, method updateYScale() always throw NullPointException, because the var of "max" and "min" always is null. So I modified this class add the method of setDataProvider().
2.There is no DataProvider can used by ScatterChart, so I created a class named ScatterDataProvider, like this:
public void populateData(ChartConfig config) {
ScatterChart chart = (ScatterChart) config;
for (ModelData m : store.getModels()) {
Number n = getValue(m);
Number l = getNumberLabel(m);
if (n != null && l!=null) {
chart.addPoint(n, l);
private Number getNumberLabel(ModelData model){
Number value = null;
if (labelProperty != null) {
Object o = model.<Object> get(labelProperty);
if (o != null) {
if (o instanceof String) {
value = Double.parseDouble((String) o);
} else if (o instanceof Number) {
value = (Number) o;
return value;
I used the ScatterDataProvider, but it always can't display the data
How can I do???
9 Aug 2010 8:33 PM #2
nobody used ScatterChart?
nobody used ScatterChart?
10 Aug 2010 5:15 AM #3
I haven't used that one exactly, but if you could weather an upgrade to 2.2.0 beta I think there's finally a fix for the Double vs. double min/max Y NPE. Otherwise, do a search on the forms for ideas for a workaround, there're posts in here somewhere.
23 Oct 2012 5:54 PM #4
I just started using scatter chart. I am on version 2.2.5.
your problem prob has to do with the fact you swapped n and l in chart.addPoint(n, l);
However, past that point, I am facing the problem that the dots don't display on the chart, unless you hover the mouse over it. Anyone fixed that? I have been looking at this all day, no solution yet.
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5 Hollywood Secrets That Explain Why So Many Movies Suck
Chances are if you're reading this, you are already mad at Hollywood. You've watched helplessly as it bastardized the franchises you loved as a child, or failed to promote -- or even release -- a project you had been excited about for years.
You can write it all off as greed and the terrible taste of the movie-going public, but there are other factors that make Hollywood the soulless blockbuster machine that it is. Some of which you'd never suspect ...
#5. Writers Don't Come Up With the Ideas
The Complaint:
"There are no original ideas! Look at the top-grossing 25 films of the 2000s -- 23 were remakes or adaptations! How lazy can these writers get?"
"I made almost enough money writing Transformers 2 to drink away the shame of having written Transformers 2."
The Problem:
Even if you know nothing about how movies get made, you know that there are very specialized tasks -- the sound guy is an expert in microphones and audio but probably couldn't be trusted to do stunts. And, you assume that when it comes to thinking up the ideas for what happens in the movie, somewhere it's all just some writer hunched over a keyboard -- a professional who is an expert in story, plot and character.
Not so.
In almost all cases, the initial ideas for movie plots don't come from screenwriters at all, but from producers (basically, the people in charge of the money side of the project). So most of the movies playing in your nearest theater didn't come from some writer thinking up a story he wanted to tell -- they came from some producer saying, "There hasn't been a ThunderCats movie yet, has there?"
"Avatar was full of cat people -- we can't miss!"
At that point, the producer and whoever else is involved (other producers, maybe a famous actor if they're lucky) will then hammer out a rough idea for the movie that will appeal to at least two of the four market demographics (young males, young females, older males, older females). So if it's an action movie aimed completely at young males, you throw a romance in there for the ladies. It's only then that they will give a screenwriter a call. In other words, in most Hollywood films, the writer is basically there to fill in the dialogue holes and think of clever catchphrases for Ryan Reynolds to say every time he socks a guy in the jaw.
For Example ...
The Halloween franchise wasn't cooked up by a plucky man named John Carpenter who had a dream about a man in a creepy mask. Instead, two producers approached him after they decided it would be cool to have a movie about a psycho stalking babysitters.
It's a tale as old as time.
So what about those screenplays that your friend working at the video store is constantly writing, in hopes they will some day get made and star a naked Natalie Portman? In reality, even the great ones are treated as spec scripts (basically, a literary audition). The script is proof to the people in charge that the writer is, for the most part, not illiterate. So if you submit a powerfully emotional piece that deftly explores the facets of love and loss, you might impress someone enough to get a job co-writing Transformers 4.
On the rare occasion that an original script does get picked up for production, it's likely to get swept up by one of the big franchises. I, Robot was initially an original script called Hardwired that no one would touch until a famous Asimov title was attached to it. Die Hard 2, 3 and 4, Ocean's Twelve and Starship Troopers were all original ideas that were snapped up and rebranded as franchises. So if you're working on a passion project, maybe it's time to let the dream die and just start focusing on a gritty reboot of She-Ra.
Creativity counts for a hell of a lot less than brand awareness.
#4. Everything Is Simplified for the International Market
The Complaint:
"Even the original movie ideas are just mindless explosions and CGI! Why does every other movie have to look like a video game and make me feel like a moron?"
The Problem:
If you're reading this, then those movies weren't made with you in mind. They were made for the international box office (Transformers 2 made $400 million overseas, for instance). Now, before you even have a chance to think it, we are not saying foreign audiences are stupid. The movies made in their home countries, for them, are no doubt just as deep and thoughtful as any Best Picture winner.
No doubt.
What we're saying is that to make a movie that appeals equally to American, Japanese, Korean, German and Mexican teenagers, you need to simplify that shit down to things they all understand equally. Anything dealing with, say, the subtle trials and hardships of everyday life in the American Midwest is going to be totally lost on someone from the other side of the planet.
But there is one thing that everyone in the world can understand and sympathize with, no matter what their culture or ethnicity: The need to run away if you are being chased by giant robots.
Forget math -- robot threat is the universal language.
Likewise, foreign audiences also aren't as picky about good writing (a lot of it will be lost in the translation to subtitles anyway) or clever comedy (which is highly culturally specific). So if you're a studio executive who is choosing between financing a poignant coming of age film about an orphan ranch hand in East Texas or a film about a giant radioactive thunderstorm that gives people superpowers, chances are you're not going to go with the poignancy.
For Example ...
Everybody chuckled at how over-the-top stupid 2012 was. And it did a "meh" $166 million in American box office. Overseas? It made $604 million.
"Yah! Ve liken das tidal waves unt der evil vice fuhrer."
By the way, it was that lust for foreign currency, not a sudden loss in patriotism, that was behind the G.I. Joe movie replacing its "all-American hero" with a multinational group of soldiers with a strangely American task force name.
#3. Movie Projects Get Killed for Bad Reasons
The Complaint:
"Man, whatever happened to that Halo movie Peter Jackson was going to make? Or (insert any of a hundred impossibly cool movies rumored on Ain't It Cool five years ago that were never mentioned again)?
Caption Dept. Note: Sorry, we can't think of anything that would make this picture more ridiculous.
The Problem:
"Development Hell" is what happens when a movie gets indefinitely stuck at some point during the moviemaking process and gets lost. Now, sometimes it's nobody's fault -- Halo would be expensive and at this point would look like a cheap Avatar knockoff. But the kicker is that sometimes the studios banish projects to oblivion intentionally.
"Pay our hefty ransom, or you'll never see your precious Halo movie again."
For Example ...
Hollywood studios generally buy 10 times as many scripts as they make into movies, which means they currently own exclusive rights to a shitload of films that will never see production. And in most cases, they won't let anyone else have them. E.T., The Matrix, Pulp Fiction and Star Wars are all films that you never would have seen because the studios that owned them were content to sit on each forever. They were saved only because someone convinced another studio to re-buy them, usually at a higher price.
Sometimes the reasons for stalling a project are even more duplicitous. According to screenwriter Howard Meibach, in the 90s Disney bought a script for a hockey-related movie that was getting attention in Hollywood simply because it had a different hockey movie in production and "[didn't] want another studio to get it." Thanks to Disney's unapologetic cock-blocking, we will never know what the actual film was about.
We have our guesses.
And finally, sometimes studios will sit on entirely completed movies. We've told you about the time a studio made an abysmal low-budget adaptation of The Fantastic Four it never intended to release, simply because it wanted to keep the rights. It turns out this sort of thing is more common than you'd expect: When legendary producer Harvey Weinstein was in charge of Miramax, he used to buy exclusive rights to foreign films and then push back their releases indefinitely as part of a scheme to get bonuses from Disney. He bought the rights to distribute Jet Li's movie Hero and then didn't, releasing it a full two years later only when Quentin Tarantino finally intervened.
After what we can only imagine was one hell of a sword fight.
OK, so you probably don't care about a crappy superhero B-movie or some foreign flick about old people falling in love or, like, rain (look, we don't see a lot of foreign movies). But how about Mike Judge's movie Idiocracy? Despite how much America loves Judge for Beavis and Butthead and Office Space, 20th Century Fox did everything it could to bury his movie. It tried to weasel out of a theatrical release for over a year and finally did the bare minimum to fulfill its contract by opening Idiocracy in seven cities, with no trailers or press kits.


text:
Nominate a Family to Win Babble's Holiday Gift Basketsandymaple
Do you know an exceptional family who could use a helping hand this holiday season? Maybe they've suffered some hardships, had financial setbacks or gone above and beyond to make a difference in the lives of others.
Whatever the reason, here's a chance for you to make in difference in their lives by nominating them to win Babble's 2010 Holiday Gift Basket.
Worth nearly $2,500, the gift basket includes almost every item in our 2010 Holiday Gift Guide! We are talking games, toys, books, movies and much more. It's a gift basket like no other and sure to make the holiday special for one deserving family.
So, what are you waiting for?
Here's how to enter:
1. Visit Babble's Family Style Holiday Gift Giveaway page and leave a comment of 50 words or less telling us why your nominated family deserves to win. Oh, and if that deserving family happens to be your own? Don't be shy! Go ahead and nominate yourself.
2 ."Like" Babble on Facebook. This is important because that's how we will reach the winning family. While you are there, check out the Gift Giveaway page to see exactly what's up for grabs.
The contest ends on December 1st, and the winner will be announced on Friday, December 3rd. Good luck!


text:
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text:
Local Development Scheme
The Local Development Scheme (LDS) is a three-year project plan for preparing new planning policy documents, as well as listing all our current statutory policy document in the appendices.
It covers the period 2014-2017. The document includes
- timescales for new strategic planning documents, such as the Draft Birmingham Development Plan and Draft Development Management Development Planning Document
- timescales for various new Supplementary Planning Documents - also see our Draft Planning Policies Page, and
- a record of all our existing statutory planning policy documents
Access our statutory planning policies and other planning guidance online here.
The most recent Local Development Scheme is below. Please note Appendices 4 & 5 are currently being updated.
To access policy documents revoked since the last version of the LDS, please refer to the revoked documents page.
Last Updated : 3rd June 2014


text:
What to Expect in a C-Section
In This Article:
Optional and elective C-sectionsPossible But Not Absolute Indicators for a C-Section
Then there are conditions that occur where the doctor has the option for a C-section, but may or may not decide to perform one. These are the cases where it helps to trust your doctors and have confidence in their decisions. Remember, these conditions can go either way meaning, the doctor may or may not decide to perform a C-section, but one could be warranted. Make sure your doctor discusses it with you or your partner first. (However, if the condition is life threatening, there may not be enough time.) These conditions include the following:
- Bleeding from the placenta
- Delivery is advisable immediately, but the mother is not in labor (reasons could include infection or severe preeclampsia)
- Water breaks but no indication of labor and 24 hours have passed
- Shoulder or breech presentation of the baby (the baby's buttocks or feet enter the canal first, instead of the head)
- More than one baby (many women having twins are able to deliver vaginally, but the risk for problems increases with the number of babies)
- Failure of labor to progress in a timely fashion
- Abnormal pelvic structure in the mother (for example, if the mother has had an injury to the pelvis or was born with a pelvic defect)
- If the mother has had a prior low-transverse C-section in a previous birth
Having a C-section just because it's more convenient (meaning you can schedule your child's birth) is a very controversial issue today, especially for first-time mothers. It's especially controversial if there are no known maternal or fetal issues indicating that the C-section is necessary. Traditionally, the thought process was that C-sections were riskier for both mother and baby compared to vaginal deliveries. Traditionalists say that C-sections put the mother at risk unnecessarily, and doctors and patients alike have to deal with the problems of repeat C-sections, which are not a trivial matter.
Proponents of voluntary C-sections argue that it is a woman's right to choose her type of delivery option and that even though the risk is increased, the overall risk is low. According to Dr. John, this is not a settled issue in the OB field, but it is being addressed in various forms, both from the patient safety standpoint and also from an ethical, moral standpoint.
Dr. John feels that it is helpful to address the reasons why the patient might want a C-section when discussing elective surgery. He's found that often the reason might be related to the patient's fears the fear of unknown pain that might be experienced in labor being the most common. In counseling the patient and addressing the pain issue, Dr. John's patients have usually reconsidered having an elective C-section and opted for a vaginal delivery instead. "I've never had to do an elective primary C-section after I talked to my patient and relieved her concerns," he said.
excerpted from:
Reproduced from Absolute Beginner's Guide to Pregnancy, by John Adams and Marta Justak, by permission of Pearson Education. Copyright © 2005 by Que Publishing. Please visit Amazon to order your own copy.


text:
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Equipment and Gear


text:
Today in Tweet Beat, Coco shows her ass, Tyra gets terrifying, and Spencer Pratt is working on a video about his crystals.
Here's the pic you missed this morning, of me rolling out of bed just one of those simple photos > http://bit.ly/dbBHhm
finally changed my twitter pic after lots of playing around on cam. went from model sad to FUNNY! what do you think of it?
lots of people sayin my pic looks like its from the movie THE GRUDGE. i dont usually watch those kinda movies -i get too scared!
The Grunge Book? Photo of 'ol SP? HORRIBLE. You'd think we were unattractive trolls...coming off digging for truffles in shit.
I would love too see what all these dam bloggers look like and what they wear? Hmmmm (makes funny face) I'm sure a HOT a$$ mess!!!! Lmao!;)
KingSpencer.com will premiere my first crystal enlightenment show hosted by your favorite hippie/famewhore Spencer Pratt. Setting up me set.
Choppin it up with @ChrisBrown in Jamaica http://twitpic.com/28xqyr
I have nothing agaisnt mentally challenegd people as my mother is slightly, but I would also not employ my mother at tsa.
I'm doing a pretend wedding in a real church while acting drunk. Forgive me Lord. And @katyperry.
14 years ago I told my guidance counselor that PARTYING would be my career. He scoffed and said, "Yeah right"! #WhosLaughingNow?
Melissa and I have 3 little words to keep each other in check. For me, it's "change the will" and for Melissa, it's "pull the plug".
this is the #twituation !! have a great day!!


text:
For over one hundred years, the education department at Montana Western has been preparing teachers who are successful in all settings. Our program is a nationally recognized rural education center noted for producing outstanding teachers.
The mission of Montana Western's education department is to prepare effective teachers who are educational leaders for the twenty-first century.
Graduates are prepared to teach in elementary schools from kindergarten to grade eight.
Graduates are prepared to teach from pre-school to grade three.
Graduates are prepared for a variety of health related careers.
Graduates will be prepared to teach in middle schools or high schools from grades 5-12 with one of the following majors:
Graduates will be prepared to teach grades K-12 with one of the following majors:
If you already have a bachelor's degree from an accredited university, with a major in one of the subjects listed above, in Secondary Education or K-12 Education, you may be eligible to enter a post-baccalaureate teacher education program. Contact the post-baccalaureatte program coordinator to start the process of applying.
Montana Western offers education minors that, when combined with an education major, prepare teachers in the following fields:
We offer options and concentrations, which do not lead to licensure in Montana, but prepare teachers to have a strong base of knowledge to assist them in working with students:
Graduates with this degree will be prepared to assume leadership roles as early childhood teachers and directors, working with children form birth to age eight. The degree is designed to be accessible to Dillon students via a combination of block courses and online courses, and also accessible to distance students through online courses and courses based at Montana University System campuses across the state.
Graduates with this degree will be prepared to meet the unique needs of children from birth through age eight in child care centers, Head Starts and pre-schools. It also marks the halfway point for pursuing the bachelor's degree in Early Childhood Education.
Graduates with this degree are prepared to be teacher's aides with the expertise to assist with instruction of students under the supervision of the classroom teacher. The degree also marks the halfway point for completing a bachelor's degree to become a licensed teacher.
Here are just two great examples of education courses at Montana Western. For a full course selection, please see the current catalog.
The first formal course in the Teacher Education Program provides an introduction to the field of education and the relationships between schools and society. Students begin to evaluate the reasons chosen to become a teacher and the effects that decision will have on their lives. Students examine social, cultural, political, legal, economic, and historical issues within schools and how these issues impact professional educators. During this course, students begin to assemble the professional portfolio, which is a requirement for entry into the Teacher Education Program (TEP). The portfolio will be maintained throughout participation in the Teacher Education Program and is an integral part of the evaluation process. Students will complete a field experience in a school setting.
This is a survey course to acquaint students with the cultural foundations of education. Special emphasis is given to the multicultural and global dimensions of education. In addition, students study educational outcomes for American Indian students. High dropout rates, over-representation in special education, substance abuse, teenage pregnancy, and poor prospects for employment are endemic in this population of students. This course requires a field experience practicum for four or five days during which candidates engage in observation and practice teaching in Native American reservation schools and evening activities. The course takes place in a diverse setting where exceptionality is present. Assessment is based on projects, reports, exams, and field work.
An education degree from Montana Western will prepare you for a career as a teacher, a librarian, or an early childhood educator.
|How many students completed a teacher education program?
|How many applied for a teaching license?
|83 (93%)
|78 (91%)
|How many were surveyed?
|82 (92%)
|83 (97%)
|Of those surveyed, how many employed in first year?
|68 (83%)
|49 (59%)
|How many are teaching in Montana?
|48 (58%)
|38 (46%)
|How many are teaching out of Montana?
|20 (24%)
|11 (13%)
Montana Western graduates are rated highly in all performance areas. The table describes the percentage of UMW teacher education graduates that are well prepared to enter the teaching field, as assessed by their Supervising Teachers, their University Faculty, and by the graduates themselves.
Ann Kish has been a librarian at Montana Western's Lucy Carson Library since 2006. In addition to her duties as a librarian, she is an instructor for the K-12 Library Media Endorsement Program. Kish has a Master of Library and Information Science from the University of North Texas and a Bachelor of Arts in English from the University of Texas in Austin. Each fall, Kish teaches LIB 464: Reference Resources, in addition to teaching a variety of the other courses offered through the program.
A versatile music educator, Brent Poe McCabe has taught in a variety of educational venues, from K-12 and community college to university instruction. Throughout his academic journey, McCabe has served as choir and band director, supervised student teachers, and has taught most courses within a collegiate music education program. McCabe has also served as presenter and clinician at state and regional MENC conferences and holds a MM degree from The Juilliard School and a DMA from the University of Arizona.
As an acclaimed classical guitarist, McCabe has performed throughout the United States and abroad and has been a prize winner in numerous national and international music competitions. McCabe has also recorded two CD's, "Classical Guitar" and "20th Century Latin Guitar Works." He has also performed on radio programs throughout the country, including National Public Radio.
Dana Cotton specializes in English language arts and literacy education. Cotton teaches under a constructivist paradigm and believes theory should support practice. Experiential teaching and learning is her primary method of instruction and teaches many courses in the Rural Fridays program. Most of her work focuses on the importance of critical literacy across grade levels.
Deb McCabe has a masters degree in Special Education. She has taught in diverse settings from Boston Public Schools to Hays/Lodge Pole School in Montana.
She is in charge of the UMW education post-baccalaureate program, assisting candidates who already have a bachelor's degree who are seeking licensure in Montana.
Delena Norris-Tull's specialty is science education. In addition to teaching science methods courses to Montana Western education students, she provides professional development to Montana science and elementary teachers as part of the Clark Fork Watershed Education Project, funded by the Montana Office of Public Instruction. In winter 2010/2011, she will conduct a workshop for southwest Montana elementary teachers on the science of snow. She also works with math and science teachers statewide as part of the Mathematical Modeling for Montana Green Technology Project, funded by the Office of the Commissioner of Higher Education. Norris-Tull is currently serving as chair of the Montana Western Department of Education. She also serves on the board of RESA4U, a regional service agency providing professional development to teachers in southwest Montana. Norris-Tull was also named the 2010 Montana Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and the Council for Advancement and Support of Education.
Denise Holland teaches the Technology for Educators courses. Dr. Holland has a love for technology and the potential it has to serve both students and teachers.
Holland's students work on projects they can use in their classrooms and encourages them to learn as much about technology as possible. Her professional history includes educating college students in business, computer applications, and technology education for the past 10 years; teaching public high school courses in business and marketing; and assisting elementary teachers in creating technology projects for their classes. Holland's research interest focuses around the topic of technology and education.
Doug Daenzer teaches mathematics teaching methods. The capstone section of his methods classes is a field experience in which students observe and work in the classrooms of elementary teachers or high school mathematics teachers. Block scheduling allows his students to immerse themselves in the classroom experience all day for four days straight.
Daenzer also teaches Business Research and Statistics. In this class, students conduct a culminating research project as a class and apply their knowledge of hypothesis development and testing, data gathering, and appropriate statistical analysis in the context of a business problem.
Estee Aiken teaches a variety of courses in both the Early Childhood and general education programs. Her expertise teaching children from preschool through high school has come from many years teaching in public schools. Aiken's areas of research include gifted and talented education and instructional strategies, about which she has been invited to present regionally and nationally. She also provides in-service trainings throughout Montana and serves on the state board for the Association of Gifted and Talented Education.
Eva Mastandrea is the chair of the fine arts department. She has taken her love of creating and teaching art around the world twice during two Semesters at Sea in 2000 and 2006. She previously developed her expertise on Asian art through her Fulbright fellowship in China and Japan. Experience One scheduling has helped her students understand and explore the creative process that is essential for artistic expression. Mastandrea has exhibited her own art in non-profit venues throughout the state of Montana.
Janelle Handlos is the university's head athletic trainer and teaches courses in athletic training and nutrition for sport and exercise. Additionally she has supervised students completing internships as athletic training aids for health and human performance, business, and biology degrees.
Students in her classes participate in applied nutrition studies, hands-on first aid and injury prevention techniques, and service learning opportunities. Additionally Handlos works with students as a member of the health and wellness, library, athletic, and scholarship committees.
Jennifer Gilliard is an instructor of Early Childhood Education. She offers her students the opportunity to conduct action research projects to learn about how young children develop and learn best. In 2004, Gilliard helped start the Building Tolerence Club at Montana Western.
John Xanthopoulos is actively involved in the Equestrian program as well as the Education program at Montana Western. He founded the Montana Western Equestrian Team in 2002 and is the current Head Coach.
In 1999 Xanthopoulos co-authored a book entitled "Global Education for Perspective Teachers" and is an authoritative voice on multicultural education.
Judy Ulrich was appointed by Gov. Brian Schweitzer to the Montana Arts Council. This agency of state government, similar to those in 49 other states and the National Endowment for the Arts, was established in 1967 "to develop the creative potential of all Montanans, advance education, spur economic vibrancy and revitalize communities through involvement in the arts." Ulrich is also the faculty advisor for the Polynesian Culture Club and is active in its development.
Along with teaching education courses at Montana Western, Kathy Shipman is a supervisor for student teachers and a member of the Dillon K-8 Parent Council. She is the program coordinator for the elementary and secondary education program partnerships between Montana Western and Montana Tech of the University of Montana-Missoula. She is also the Montana Western-Montana Tech Education Club advisor.
Larry Brazill teaches drama at Montana Western and is actively involved in the arts both on campus and in the community. He directed "It's a Wonderful Life" in the fall of 2008 and "Little Shop of Horrors" in the fall of 2009. Brazill was named the Montana Theater Educator of the year for the 2002-2003 academic year; the Myrna Loye Center's Arts Educator of the Year in 1997; and received an honorable mention for Teen Ink Magazine's Educator of the Year in 2001-2002. Currently, he is working on a dissertation study regarding the creative process of playwrights.
Laura Straus specializes in literacy education, with an emphasis on adolescent literacy, reading engagement, and motivation to read. Straus is active in several state and national level teacher education and literacy education professional groups. Her interest in authentic assessment and experiential learning has been the focus of much of her service and leadership work on the campus of Montana Western. She loves to read, and teaching students about children's and young adult literature is one of her favorite pursuits.
During her graduate work, Marlene Stonelake conducted research dealing with the use of portfolios for the assessment of writing. Her work was published and presented at various seminars and most notably this research led to the implementation of the Teacher Education Program (TEP) portfolio, which is a significant part of the teacher education program at Montana Western. With a firm belief in strong communication skills, Stonelake continually researches ways to teach and assess student writing and speaking.
Megan Chilson's research focuses on whole-brain learning, which is the integration of physical movement into traditional academic learning.
In her Elementary Physical Education Methods classes, Chilson pairs research findings with the teaching of a skill or discipline with some type of body movement leading to better academic performance and retention into practical teacher education. Her students develop a lesson plan for a traditional academic subject to be integrated with a physical activity in coordination with classroom teachers. Chilson's work emphasizes the importance of retaining physical education in schools.
My name is Mike Schulz and I am an instructor in the University of Montana System K-12 library media program, for the education department, and the library director at the Carson Library of the University of Montana. I started teaching in 1979 at the high school level at Stevensville, Mont. where I spent eight years in the English and history departments. I also taught in Coalinga, Calif. for two years K-12 where I was a District Librarian for a school system called Coalinga—Huron Unified in the central part of the state. I was in charge of five school libraries and an instructional materials center.
My Master's degree is in Library Science from California State University-San Jose (1989). I also have a Master's degree in Education with an emphasis in counseling (1984) and a Bachelor of Science degree in Secondary Education with majors in English, History/Social Science and a minor in library science (1979) both from Western Montana College, the precursor of the University of Montana Western.
I have been lucky to work in all types of libraries during my career including school, public, academic and special libraries in both Montana and California. I have also held library positions overseas at a university in London called Huron University UK and on a university ship called Semester at Sea. I love libraries and school library media centers in particular. I came to Montana Western as the library director in 1989.
In my spare time I love to travel. I also love to read, what English teacher/librarian doesn't, and movies are another passion of mine. I play around with art, drawing mostly, but I can't say I've found my medium in that area yet. My retirement dream is to travel more, explore art, learn how to play a musical instrument and I have the idea for a book in my mind while reading lots of other people's books.
Mikel Griffiths, a graduate of Idaho State University, is returning for his third year at the University of Montana Western. While at Idaho State University, Griffiths earned an Associates degree in Welding, a Bachelors in Sports Science and Physical Education with a Minor in Coaching, and a Masters in Physical Education. Griffiths previously taught at Idaho State University and Michigan State University. At UMW, Griffiths teaches HEE 303/304, HEE 340, HTR 240, KIN 205, & KIN 221. Originally from Hazelton, Idaho, Griffiths is an avid outdoorsman who loves to fish, hunt, and golf.
Russ Richardson is an athletic trainer and associate professor of Health and Human Performance at the University of Montana Western. Richardson just completed his service as the President/Director of the Northwest Athletic Trainers' Association – District 10. He is currently the chairperson for the association's Executive Committee for Education.
Richardson has been actively involved in almost every level of the profession. He has participated in both regulatory and concussion legislative efforts in Washington, California, Alaska, Idaho, and Montana. Richardson has also been teaching sports medicine in Japan since 1992.
His areas of academic expertise include: student success, integration of faith in learning, Eastern versus Western approaches to healthcare, and dealing with catastrophic injury or the death of a student athlete.
As an athletic trainer, Richardson's career has been primarily providing patient care for intercollegiate athletes. He has provided care for a number of national and international events including the US Figure Skating Championships, World Cup of Wrestling, US Olympic Wrestling Trials, Skate America, and the Hula Bowl All-Star Football Classic.
Teresa Pletch earned a Bachelor of Arts and an Master of Science in English and English Education from Purdue University. After teaching for a few years in Florida, she moved to Indiana. Overall, she taught high school English for thirty-five years and served as a department chair for twenty-nine of them. Hunger for a new adventure brought her to Montana. She loves the outdoors, traveling, theatre, floating the river, reading, riding horses, and learning about anything and everything. Primarily a member of the English Department, she teaches a foundations course and a course on reading and writing connections for the Education Department. Passion for the teaching profession and the joy of helping students find "where they fit" have kept her in the classroom for over forty years.
Vikki Howard is the coordinator of the Special Education Program at UMW. Howard has worked with a range of children from infancy to adulthood in a variety of settings. These experiences include service in the U. S. Peace Corps in Jamaica. Howard's research interests center around applied behavioral methods of improving instruction and learning for children with and without disabilities. She is the author of several publications, including peer-reviewed articles and book chapters; her co-authored text, "Very young children with special needs: A foundation for educators, families and service providers," is in its fourth edition. Howard's teaching is guided by the principles of commitment to the "power of one," a progressive attitude of support for human dignity and an appreciation of those qualities that bring people together to teach well.
Vikki Howard
Main Hall 351
(406) 683-7042
Main Hall 402
(406) 683-7636
Vikki Howard
Main Hall 351
(406) 683-7042
Kathy Shipman
Main Hall 354
(406) 683-7016
Jen Gilliard
Main Hall 116
(406) 683-7177
Deborah McCabe
Main Hall 400
(406) 683-7619
Mike Schulz
(406) 683-7492
Laura Straus
Main Hall 200
(406) 683-7040
Dana Cotton
Main Hall 401D
(406) 683-7047
Vikki Howard
Main Hall 351
(406) 683-7042
Janelle Handlos
(406) 683-7392
Montana Western is the only public college in the country to offer a block scheduling program. We call this innovative program Experience One (X1).
Montana Western's Education department is accredited by the National Council for Accreditation of Teacher Education (NCATE).
UMW grad Justinn Marshall was accepted into the University of Washington's regional medical education program.
Marcus Williams came to Montana Western to play football and major in business administration.
Recent Montana Western graduate Taeler Rodriguez has been accepted to the University of Denver's graduate program.
Kolby Brown is a literature major at the University of Montana Western.
Coming to Montana Western was part of fulfilling a childhood dream of becoming a doctor for Lindsey Densmore.


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Who are your favorite photographers of dance?What makes them special?
Posted 13 July 2009 - 01:56 PM
Then there are images if ballet with the corps creating one huge "flower" or form, like calligraphy or classical architectural elements frozen as a form not part of a movement.
Goethe called architecture frozen music. I'd call ballet liquid architecture.
Posted 14 July 2009 - 03:14 AM
Thanks, Martin, these are very beautiful photos indeed. Some of them a little bit like Arpege Chabert's work, who is not, strictly speaking, a ballet photographer, but has included some POB etoiles in a recent show here. I hadn't known about the Lithuanan Ballet, and am wondering if all three Baltic nations have flourishing companies.
I see you are our newest member. Welcome.
Sadly, I do not know the photographer you have mentioned. I have posted a link to Mikhail's site after reading the post by SanderO, saying "I am wondering if anyone has seen an exhibit of art quality photographs where the subject matter was ballet but the work was not done for documentation or marketing but simply as the subject for the photographs?"
This was precisely what Mikhail was up to. Aside from taking great, uhm, "documentary" shots of both classical ballet and modern dance (his duty as a theatre photographer), he also took numerous art photographs of dancers. He was greatly interested in capturing and interpreting movement and despite the comfort and ease of digital photography, nearly all of his artistic photos (as well as some of the 'documentary' ones) were taken on film and hand-printed afterwards.
Speaking of the ballet in the Baltic States - I would say the Lithuanian company has the greatest potential. The listing of principals can be found here http://www.opera.lt/....aspx?tabID=461
Egle Spokaite is perhaps best known to international audiences, however, her appearances are becoming a rare treat, either due to health issues or because of some other reasons. It's sad, because she was and still is an extraordinary dancer and artist. There are other strong dancers, but I believe their time is yet to come.
Recently, a book was published titled "A Concise History of Lithuanian Ballet". It is really well written and abounds with photographs, many of them taken by Mikhail Rashkovskiy. I believe it is possible to order the book, should anyone be interested. http://www.humanitas...thuanian-Ballet
Yes, I'm new on this board. hope to spend some time here:)
liquid architecture... I like it:)
Posted 02 January 2010 - 08:21 PM
I'm a dancer myself and have done a few shoots with him for his ongoing "Ballet Zaida" photo series.
His Zaida series consists mainly of outdoor ballet photos and photography studio shots, but he has done stage photography and ballet studio photography as well.
He use to dance himself so he knows what makes a good line and what makes a bad line, which to a dancer like myself is one of the most important aspects of ballet photography.
I think dance is about more than just the movement. It's about the feelings that are emitted during the movement. I think that Oliver is great because he is able to capture these feelings in his photography. I think his photos are more than just dancers hitting poses, I think they capture the essence of ballet that we all love so much.
His Ballet Zaida series can be found here
Posted 02 January 2010 - 09:31 PM
Mr. Endahl has certainly chosen attractive dancers and stunning locations in this series.
Posted 07 January 2010 - 08:28 AM
I also admire the work of Bill Cooper and Antony Crickmay and more recently Tim Cross and Phil Hitchman.
Posted 16 February 2010 - 10:01 AM
My favorite photo of all is of E. Maximova in mid jete in Walpurgis Night. It was on sale at the Met Opera gift shop years ago and regret I didn't buy it.
Posted 16 February 2010 - 06:58 PM
Posted 06 October 2012 - 08:49 PM
Here's his portfolio page:
[Edit] And a few others:
Posted 07 October 2012 - 08:58 PM
Posted 08 October 2012 - 11:59 AM
That photo has a real Degas feel -- not just a superficial similarity. I mean the use of perspective -- composition: the way details (amazing) details merge into the larger composition -- muted, subtle color palate.
Thanks for introducing me to Kreisser, Pheranc. I especially like that overhead shot. frankly opulent.
How does he get all those details and also give a first impression of something almost impressionistic in its subtlety? (As in the fantastic blue-green dress of the ballroom dancer, 2 photos on). Wow!
There are so many excellent photographers of dance, especially in these high-tech, digital days. This guy is one of the rare ones who strike me as a true artist. Thanks, pherank.
Posted 08 October 2012 - 12:20 PM
There are so many excellent photographers of dance, especially in these high-tech, digital days. This guy is one of the rare ones who strike me as a true artist. Thanks, pherank.
You are welcome - I too love his 'painterly', Degas quality, and the 'moodiness' of some of the shots. I can tell that he alters some of the photos in various ways, but it looks to be more of the old-fashioned by-hand manipulation than the Photoshop variety. One thing that becomes obvious in this photo (http://www.photodom.com/photo/2109538) is the tremendous amount of work put into the design and creation of the tutus - much of which is simply lost on audience members sitting in the middle of an auditorium. The art of costume-making is still alive.
Posted 09 October 2012 - 02:23 AM
I love the work of the late Martha Swope and her uncanny talent for catching the movement of dancers. .....
Martha Swope is very much alive and was recently interviewed by the NY Times in anticipation of the opening of the current exhibition of rehearsal photographs at the NY Public Library:
Posted 09 October 2012 - 11:19 AM
Posted 11 October 2012 - 12:42 PM
My favorites are Marc Haegeman, Gene Schiavone, Natasha Rezina and Martha Swope.
Good choices!
I would add Nikolay Krusser, and Irina Lepnyova who has some stunning photos...
Posted 11 October 2012 - 04:00 PM
Helgi Tomasson's son, Erik, who didn't dance as far as I know, has done some lovely work for San Francisco Ballet.
Edited to add: I found this interview with Tomasson, who said he didn't have dance training:
C: Ballet has its own choreographic language. Do you use this to direct the dancers for a specific action you wish to shoot?
ET: I have never directed a dancer to do a specific action. Everything I shoot is totally in the moment. I try to respect their work and stay out of the way as much as possible. I have never liked images of dancers when they are set up or even in a studio. To me, the emotion is lost when dancers are shot in a studio and posed and it just feels too contrived for me. Its kind of the same to me as if someone told David Beckham to pose shooting a goal in studio. He may be able to recreate how he would shoot a goal, but the energy of the game would be lost. It's the same with dancers. There is an energy there that I'm trying to capture that can only be caught when they are in their environment.
He also worked in video and film in commercials. Which brings me to video/film: former dancer Ulrik Wivel became a film director.
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I have read many websites which state that, "We can hack into computers while chatting on the internet."
What are the best precautions to be taken while chatting to prevent unauthorized access?
I thought one might be to use a firewall, but firewalls sometimes fail in this issue.
for reference as one of the trusted sites


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I have extracted URL links from a number of webpages and many of the webpages contain the same set of links (or subsets) as other webpages. I have ~1000 webpages and ~10 links per webpage.
What is an efficient way to find the minimum set of webpages that will still cover the complete set of links?


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How do those N2 widgets work in cans of beers like guineas, tetleys and Old Speckled Hen? Is the N2 in the widget and released when the can opens, or is the N2 in the beer and the widget helps mix and froth the whole thing?
closed as off topic by Nathan Koop Sep 27 '11 at 19:42
Questions on Homebrewing Stack Exchange are expected to relate to homebrewing within the scope defined by the community. Consider editing the question or leaving comments for improvement if you believe the question can be reworded to fit within the scope. Read more about reopening questions here.If this question can be reworded to fit the rules in the help center, please edit the question.
...so, if I understand correctly, the widget contains liquid nitrogen when bottled. After bottling the widget raises in temperature and pressurizes to match the pressure of the can. When the can is opened the can drops in pressure and the nitrogen spews out of the widget, stirring the beer into a nice creamy head.


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I have a Gibson SG Standard that I've had for about 8 years. The trapezoid inlay in the third fret is starting to protrude from the fretboard. I felt it when I fretted a note on the third fret one day. What are the steps to making the inlay level with the fretboard again? Should I even attempt this myself or should I take it to a repair shop and let a professional handle it? Or, even better, does Gibson have some type of guarantee where they'll fix it for free?
After 8 years you will not find any manufacturer guarantee, so getting a free repair for inlay damage is not going to happen.
If you are not 100% confident, take it to a luthier, but this is actually a straightforward repair.


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B & B Stripping Has Gone Out of Business
As of 7 July 2014, B & B Stripping has shut down operations and is no longer providing soda blasting services. We truly appreciate the opportunities we had to serve our previous customers and wish them all the very best.
If you require soda blasting services for your project, you may be able to find another Stripco-authorized contractor through Stripco's website…


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I'm running Ubuntu 12.04 with Gnome 3.4. I have two external hard drives. I encrypted both using Ubuntu's Disk Utility. When I use Nautilus to mount them, I'm asked for my decryption password. Regardless of whether I then click "Forget password immediately" or "Remember password until you logout", though, I find that Ubuntu does not lock the drives when I log out. Rather, when I log back in, they're still mounted.
(To be clear, restarting the computer does unmount them so that they require the password on the next log in.)
I'm concerned that these drives are remaining unprotected when I log out without restarting my computer. I would be grateful for help understanding whether this is a bug.
Thank you!


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A Green County community mourns the loss of a 10 year old boy, accidentally shot and killed Tuesday morning.
Kentucky State Police Detective Joel Woods says the incident happened around 6:30 a.m. Central Time on Tuesday, in the boys' rural home about 11 miles west of Greensburg. Their mother and step-father had already left for work.
The boys were waiting for the school bus with another child when the 12 year old took a shotgun out of the closet and accidentally shot his 10 year old brother, Aaron Judd, in the chest.
Detective Woods says he was told the 12 year old was given the old shotgun as a keepsake, but no one thought it actually worked.
He says it is unclear where the boy got the ammunition though... since his step-father had locked all other guns and bullets in a safe.
Woods says this is being treated as an accident and no charges have been filed.
Aaron's classmates at Pierce Elementary School in Green County have been offered grief counseling... which will continue for the rest of this week.
Visitation for Aaron Judd starts Wednesday at 4 p.m. Central Time at the Cowherd and Parrott Funeral Home in Greensburg... and will continue on Thursday all day long.
The funeral will take place Friday at 11.