Currently, he was only expected to play a bench role on the national team. Rojas said it’s still possible he could change course and play for Venezuela, but only if an everyday opportunity in their lineup arose before the start of the tournament. Manager Dave Roberts said this week that Rojas will “take on the brunt” at shortstop, with Chris Taylor likely backing up on days he isn’t in the outfield.īehind them, the Dodgers infield depth is thin on proven big-leaguers. Not only is the nine-year veteran the Dodgers’ best infielder defender, he’s the only natural shortstop currently likely to make their big-league roster. Rojas, who was acquired by the Dodgers in a January trade with the Miami Marlins, was originally only slated for a utility role off the bench in 2023, making his absence for the WBC easy to justify.īut after Lux tore his ACL running the bases in a game this week, Rojas suddenly became a much more critical part of the team. “The reason why is a new opportunity opened up for me, an opportunity to play every day at shortstop.” “It’s definitely heart-breaking that I can’t go and participate with Venezuela,” he said. Instead, Rojas is planning withdrawing from the event, in what he said was a mutual decision between him and the team. Rojas, 34, had been on Team Venezuela’s roster for the event, which would have required him to leave Dodgers spring training for at least a week later this month. PHOENIX - After being thrust into the Dodgers starting shortstop role in the wake of Gavin Lux’s torn ACL, Miguel Rojas will no longer play in the World Baseball Classic, the infielder announced on Thursday morning at Dodgers camp.
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Several of my colleagues have regularly worked at home over the years and are well set up. For some, work has gotten more intense, while others’ workloads have lightened. Others have parents or other older relatives who they are concerned about. Some are working at home with young children and are now tasked with homeschooling. Colleagues aren’t being affected by the crisis in the same ways. I see this play out daily in virtual meetings when someone asks people how they’re doing and one person says “Great!” and another mutters “Meh.” These are all valid responses, and we don’t have to have the same ways of coping.Ĭaza says the difference isn’t just in coping approaches, but in circumstances as well. There’s also a difference in how optimistic or pessimistic people feel. And some colleagues may throw themselves into work, finding comfort in being busy, while others struggle to keep up and stay focused. Some may be rigid about social distancing (that’s me) while someone else may take a more flexible approach. Others like to limit the amount of news they take in. Some individuals like to take in as much information as possible, spending hours on Twitter or reading article after article. In it, relationship expert Esther Perel pointed out that people often have different coping mechanisms. Accept that we’re all coping differently.Īnother coworker of mine shared an article about the strain on marriages during the crisis that shed some light on why things might feel tense in some of our working relationships. That sense that we’re in this together that can be uniting, even when - or because - we are under extreme duress. Coworkers - some of whom I don’t interact with very often - have reached out to see how I’m doing, and I, in turn, have done the same for others. I’ve seen this happen in the past few weeks. And because this crisis is global, almost everyone is affected in some way. Anytime things get shaken up, there’s a potential for a positive shift,” she explains. Remember this is an opportunity for connection.Ĭaza and her coauthors found in their research that “there were lots of triggers and pathways to fractures in relationships,” but there was also “the potential for stronger relationships in these stressful times. But how do you find and show empathy for coworkers when your cognitive resources are depleted? “It’s important to try to find ways to remain open to compassion, even when we’re overtaxed.” Worline and Jane Dutton, who co-wrote Awakening Compassion at Work, have done research that shows that compassion correlates with your own level of job satisfaction and the degree to which you find your work meaningful. This is not a time to move away from kindness and caring, even if our brains nudge us in that direction. “We unwittingly break our relationships with coworkers, causing more suffering.” This isn’t good for your interactions with your colleagues. We think we’re right and others are wrong,” she explains. “When we’re under severe stress, we go back to coping patterns that are familiar and very hardened in us, and we have a hard time seeing that there’s any other way to do what we’re doing. Unfortunately, in stressful situations our compassion goes out the window, according to Monica Worline, a research scientist at Stanford Center for Compassion and Altruism Research and Education. They found that “anytime there’s external tension it can manifest between coworkers.” She and her coauthors reviewed 300 studies focusing on workplace relationships, relationship transgressions, and relationship repair. And the future of our jobs, our companies, and the economy is uncertain.Īll of this lays the groundwork for tension, says Brianna Caza, an associate professor of management in the Bryan School of Business and Economics at the University of North Carolina at Greensboro. We’re dealing with unprecedented levels of stress and anxiety. It makes sense: Many of us are working in new and suboptimal conditions. I’ve heard from lots of friends that they’ve had similar moments of tension with their colleagues over the past few weeks. I didn’t want to be annoyed with my coworker. How could she let another person into her house at this time? Why isn’t she doing her part to flatten the curve? My feelings soon morphed into guilt and then into sadness and grief. My immediate thought was, “ That’s not social distancing.” For a split second I was mad at her. Late last week, a coworker told me on Slack that she was going to be offline for a bit while she greeted her babysitter, who was showing up any minute. I don’t know about you, but I’m finding it very easy to be judgmental these days. To get all of HBR’s content delivered to your inbox, sign up for the Daily Alert newsletter. In these difficult times, we’ve made a number of our coronavirus articles free for all readers. Timecode by Panoptik is the most attractive Timecode calculator on the market (if we. PAL or NTSC video syncs (576i, 480i) as well as HD tri-level syncs (720p, 1080i, 1080p) are automatically detected and displayed along with their frame rate. Download Timecode and enjoy it on your iPhone, iPad and iPod touch. 29.97 non drop timecode for example is indicated by 30 FPS LED and calibration 0.9990. SMPTE user bits, 8 nibbles shown hexadecimal. Shows timecode in hours, minutes, seconds and frames. Composite PAL, NTSC, NTSC-J, PAL-M, PAL-N, N4.4, SECAM. Timecode standards are automatically detected and displayed by the four FPS LEDs (24, 25, 30 Frames Per Second, DF is SMPTE Drop Frame standard). 16-channel embedded audio processing, closed-caption/timecode. The timecode generator can be set up and started manually or remote controlled by MMC midi machine control comands. Read MTC from USB, display and convert into LTC (SMPTE) and regenerate MTC/USB midi timecode. Read MTC from MIDI input, display and convert into LTC (SMPTE) and regenerate MTC/USB midi timecode. In the various world colour TV standards (NTSC, PAL or SECAM) the schemes of. Read LTC (SMPTE) timecode, display and convert into MTC/USB midi time code and regenerate LTC (SMPTE) timecode. Technical description of SMPTE time code - a signal which encodes time. Rosendahl sync algorithms suppress timecode jitter and drop outs. The new mif4 provides professional interfacing to standard LTC (SMPTE) timecode. Convert and Capture Teranex processors include a super fast 10 Gbps. Size: 5.625” W x 1.7” H x 5.Digital audio workstations as well as lighting and show control software make use of MTC midi timecode for synchronisation. This means timecode matches during conversion to the 0 frames, and subtitles are retained.When, on the other hand, youd like to use kibibytes (KiB) or mebibytes (MiB), you should apply the 1024-multipliers.The primary feature gives the user the ability to convert between 23. Type: Selectable between AES, LTC, VITC, Word clock or 6 Hz Pulse PAL video runs at a faster speed than NTSC and consequently causes issues when trying to find the same spot in a feature film between those standards.Reference Level: -10 to + 4 dBu, adjustable.Frequency Response: -0.1 dB 10 KHz to 5.0 MHz.Signal Type: 1V P-P PAL, NTSC, or 10 MHz.Video Timecode Calculator is for video editors, animators, authorers or other multimedia content developers. BrightEye 56 Specifications Reference Input Video Timecode Calculator is a program that computes timecode (time code) in many different concurrent formats including NTSC (drop & non-drop frame), PAL, Film, High Definition and Varicam (user specified variable frame rate) formats. BrightEye Mac or PC software provide a complete user interface for all adjustments and controls. Many controls can be adjusted through the intuitive front panel. The internal Time Code Generator feeds DVITC on the SDI outputs and VITC on the composite outputs, Time Code can also be selected in LTC form on the programmable Aux outputs. An ID slate with user programmable text can overlay the test pattern. The Cyclops feature adds a motion element to the selected video test signal. Analog audio and AES outputs provide tone or silence.Ĭolor Black, Bars, Crosshatch, Multi-burst, and SDI Checkfield (Pathogenic) are just some of the signals simultaneously available on the SDI and analog composite outputs. There are three user Programmable Outputs that are selectable between AES, LTC, Wordclock or 6 Hz Pulse. Composite, Tri-level Sync and AES digital audio outputs are also provided. HD or SD SDI test signals (test patterns) or black with embedded audio is output on the SDI BNCs. BrightEye 56 is well suited for remote trucks, post, helicopters and fly packs. The Evertz 5010 GPSII Time Code Master combines the features of our standard 5010 time code generator with the ability to produce GPS referenced SMPTE/EBU. for example, 1000ms / 29.97 1frame around 33ms (more precisely : 0.03336s)based on this rule, if calculate 09:30:58 11 frames to seconds then,i could have get 34256.363s ,but other caculation tool gave me 34256. It can lock to house reference or it can lock to its own internal precision standard. i have tried many times for this calculation. BrightEye 56 is a genlockable sync generator and test signal generator that can be used as either a slave or master reference generator. I didn’t have the technique, but just made it sound the way I thought it should be. "For instance, ‘Razor Blade Alley’-that was my attempt at jazz drumming ‘Land of Hope and Glory’-my attempt at military drumming in the introduction. Woody describes his drumming on a lot of this album as being an approximation to a style that, while rarely successful as a believable pastiche, became the springboard for something else and it was usually more interesting. “Lots of bands at the time did ‘pub- rock’ versions of the same songs or style of music, but ours was a bit more wonky,” comments Suggs. Both Suggs and Woody see the early Madness as copyists of certain styles of music, but with their own take on it-and it’s not a knowing affectation, but just trying to emulate, say, doo-wop or rhythm and blues, and coming up with something else through not having the expertise to nail it. Initially I thought that “Believe Me” was a good example of the band’s Tamla Motown roots, but Bedders points out that it owes quite a lot to 1950s bands such as The Coasters, what with the occasional vocal harmony and the “No-no-no-no” answering phrases in the last couple of verses. Too melancholic, perhaps, not the perfect foil for “Tarzan’s Nuts”. Thommo gave me a brief rendition of one line of the former while Suggs described “Rich Girls” as being about “all those wealthy people we saw walking ‘round Hampstead who had fridges the size of which you couldn’t imagine!” Given the naïve charm, shall we say, of “Believe Me,” perhaps these two songs didn’t really cut it, though Hasler’s “Mistakes,” which was the B-side of “One Step Beyond” is a very fine song and probably just missed being on the LP by a whisker. Neither made it as far as the recording studio. By the time Woody joined the band they were making a fist of it-“This (‘Believe Me’) and ‘Sunshine Voice’ were the first songs I ever did with the band.” “Sunshine Voice” and “Rich Girls” are two Hasler originals that various members of the band refer to when discussing their early songs. We started off doing rock & roll covers,” Lee adds. “Quite right, let’s stop doing all these covers. “I’d give lyrics to Mike for him to write the music, he’d change a couple of words, then claim he’d written the whole song !” Lee acknowledges that John was the first member of the organisation to write an original. “Poems, songs, the first two pages of a novel” he says, laughing. Hasler used to write screeds of stuff, just put words on paper. “Believe Me” was one of the earliest Madness originals, written by John Hasler and Mike Barson. So, with the first three singles out of the way on side one, and therefore about half of the total tunes that could be described as ‘ska,’ the band’s roots started to show-and these particular roots were more American than Jamaican. The first song they tried out when he ‘auditioned’ was the Bill Haley and the Comets hit “See You Later, Alligator.” Mark name- checks the film as being important, too, and among the wealth of rock and roll and doo-wop classics that permeate the film is Fats Domino ’s “Ain’t That a Shame,” Domino being one of the pianists that Mike was busy studying at home, his hit “Blueberry Hill” in particular. The film holds two key memories for Suggs in particular, firstly that it was the first film he’d seen where the music was as much a star as the cast and plot, “the first film I’d seen where the music was at an appropriate volume, not just background music,” and secondly that he was asked by John Hasler, shortly after seeing it, to become the singer in The Invaders. That’ll Be the Day, starring David Essex, was the British take on Americana in the early 1960s, but the film that caught the imagination of the soon-to-be members of Madness was American Graffiti. "It’s more R+B than ska-it’s a bit lazy to call this a ska album because not that many tracks are ska tunes." -Chris Foreman A couple of years before punk rock slapped everyone in the face there was a burgeoning rock and roll revival and cinema played a large part in it. Dramatic Space Drifting: Shane and the Invictus during the credit sequence.Broke Your Arm Punching Out Cthulhu: Even if Shane succeeds in stopping the Dreamers, he still suffers a slow and audibly excruciating death by suffocation in space as the credits roll.Also since you have to fire the missile just before the moons align it might be that you're actually stopping their release by destroying one of the moons at the last second. A memo in Icarus base explains that the missile was loaded with Gaia metal, which is capable of thwarting Dreamers. This does somewhat make more sense if you consider the game in the context of being part of The Secret World universe, as the threat of extradimensional super-beings would be less of an unknown factor to the power elite and thus something that can at least somewhat be planned around. Did You Just Punch Out Cthulhu?: Apparently a direct hit from a tactical nuke is sufficient to stop the Dreamers, a pair of extradimensional beings powerful enough to destroy the universe.If you went in uninformed, the first hour of the game spent running around a space station fixing solar panels and irrigation systems can make the later plot quite a shock (though the short nightmare sequence that serves as the prologue should have been a pretty big clue).
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This article covers frequently asked questions about the availability of Office from the Mac App Store, and the differences between downloading Office apps directly from Microsoft. Pro 2 Uniformly mandated dress codes promote safety.įrom school chemistry labs to manufacturing jobs, some dress code requirements are obviously about safety. Our dress code of dressing up adds a feeling of professionalism to our team and sport.” Read More It acts as a uniform much like our jerseys. He stated, “The dress codes add a further feeling of connection, teamwork and bond by wearing the same thing. Brendan Donahue, a hockey player, said participating in dress code days better prepared him for games. Louis Park High School in Minnesota agreed that their teams’ dress code days (which include dressing up on game days) positively contributed to team unity. Study participants who wore a white lab coat or who were told a white coat was a doctor’s coat made 50% fewer mistakes on high-concentration tasks than people who did not wear a lab coat or who were told the white coat was an artists’ smock. The dressed-up group closed more profitable deals. Īnother study compared negotiations completed by a group who dressed up and another group who dressed casually. One study found that participants who wore formal business attire (such as suits) scored higher on cognitive tests, with specific increases in abstract thinking. Research shows that the quality of work improves when performed by individuals who dress up. Pro 1 Dress codes enforce decorum and a serious, professional atmosphere conducive to success. Should Dress Codes Be Implemented and Enforced? Still other dress codes are intended to spur an atmosphere of inclusiveness and professionalism or specifically to maintain safety in the workplace. Other dress codes have been enacted overtly to police morality, as with the bans on bobbed hair and flapper dresses of the 1920s. Informal dress codes-such as high-fashion clothes with logos and the unofficial “ Midtown Uniform” worn by men working in finance–underscore how often dress codes have been used to mark and maintain visual distinctions between classes and occupations. The man in question, a servant named Richard Walweyn, was arrested for wearing “a very monsterous and outraygeous great payre of hose” (or trunk hose) and was imprisoned until he could show he owned other hose “of a decent & lawfull facyon.” Other dress codes of the time reserved expensive garments made of silk, fur, and velvet for nobility only, reinforcing how dress codes have been implemented for purposes of social distinction. In the West, people were arrested and imprisoned as early as 1565 in England for violating dress codes. Such codes have been prevalent in Islamic countries since the founding of the religion in the seventh century, and they continue to cause controversy today-are they appropriate regulations for maintaining piety, community, and public decency, or are they demeaning and oppressive, especially for Islamic women? These dress codes are common “cultural signifiers,” reflecting social beliefs and cultural values, most often of the social class dominating the culture. While it’s difficult to pinpoint the first dress code–humans started wearing clothes around 170,000 years ago–nearly every culture and country throughout history, formally or informally, have had strictures on what to wear and not to wear. From the “no shirt, no shoes, no service” signs (which exploded in popularity in the 1960s and 70s in reaction to the rise of hippies) to COVID-19 pandemic mask mandates, employer restrictions on tattoos and hairstyles, and clothing regulations on airlines, dress codes are more prevalent than we might think. While the most frequent debate about dress codes may be centered around K-12 schools, dress codes impact just about everyone’s daily life. But Safa is one of those special colleagues who has figured out how to preserve her scholarly and educational passions and infuse them into her administrative work. For her fellow faculty especially, this transition will be hard. I, like many faculty, staff and students, will miss Safa as a colleague, friend, mentor and advocate. In the meantime, allow me to close on a personal note. I will work as quickly as possible with the Faculty Steering Committee to identify candidates and appoint a successor, whom we will announce as soon as the choice is confirmed. In the wake of this news, we will need to recruit a new dean of the faculty. These talents, rooted in her keen intellect, experience and compassion, will enable Safa to serve the Bowdoin College community as well and faithfully as she has our own. I have been awed by her ability to absorb multiple points of view and take every interaction to heart, and then to incorporate those diverse perspectives into a coherent, strategic and often innovative vision. Over the years that I have known Safa, she has kept her sights fixed on advancing our academic excellence and shared values. Perper, celebrated Safa’s “appreciation for the humanities as well as science and technology, and her commitment to the imperatives of diversity, equity, and inclusion coupled with an authentic and engaging approach to leadership and team building.” I heartily agree. In Bowdoin’s announcement, their board chair, Scott B. Such gratitude and sharing of credit are characteristic of her leadership, and thanks are indeed due to her partners and colleagues there. She would undoubtedly credit many successes in these efforts to her skilled and experienced team in the Dean of Faculty’s office. She also stepped into the historic responsibility of facilitating our move to remote and hybrid learning in response to the pandemic, and co-facilitated the transition to staff hybrid work. Safa also chaired the Cognitive Science program from 2018 until her appointment as dean of faculty in 2020, was elected to the Committee on Appointments and Promotions, twice chaired the Committee on Priorities and Resources and the Faculty Steering Committee and sat on the Presidential Search Committee that helped bring me to Williams.Īs dean of the faculty, Safa sustained her focus on excellence in research, teaching and scholarship by supporting creation of the Rice Center for Teaching launching our Grants Office and overseeing numerous searches for new faculty. The findings from her projects have appeared in such journals as Psychological Science, Psychonomic Bulletin and Review and The Journal of Experimental Psychology: Learning, Memory and Cognition. Many Williams students have also honed their research skills in her Concepts and Categories lab. The blend of analytical and humanist perspectives Safa brings to her scholarship is evident in the courses she has taught, ranging from Experimentation and Statistics to Concepts: Mind, Brain, and Culture and Great Debates in Cognition. Her studies earned funding from the National Institute of Mental Health early in her career. An internationally renowned psychologist and cognitive scientist, Safa’s research focuses on how people divide the world into categories, visually and otherwise. Over the course of more than two decades at Williams, Safa has earned wide admiration as an educator, leader and advocate for both faculty and staff. As sad as I will be to say goodbye, I am delighted that she was chosen for such a prestigious presidency on the basis of her brilliant career at Williams. McCoy Professor of Psychology Safa Zaki, has just been announced as the next president of Bowdoin College, beginning July 1. It is my great honor to inform you that our colleague, Dean of Faculty and John B. |
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