Noble title in the pre-Spanish Philippines
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6 episodes with Datu
9 episodes with Datu
6 episodes with Datu
2 episodes with Datu
9 episodes with Datu
4 episodes with Datu
2 episodes with Datu
2 episodes with Datu
2 episodes with Datu
Jo digitālāka kļūst mūsu dzīve, jo digitālāki ir arī atkritumi. Un arī riski, kas ar tiem saistīti. Raidījumā Pievienotā vērtībā saruna par to, kā, piemēram, nolietotais klēpjdators, kuru kā jau apzinīgi cilvēki nododam elektroierīču atkritumos, var „atgriezties” un mūs vai uzņēmumu vajāt kā ļauns zombijs. Nav noslēpums, ka ar vienkāršu izdzēšanu dati nekur nepazūd. Stāsta uzņēmuma „Hansab” Drošības un aizsardzības risinājumu grupas vadītājs Jānis Rutkovskis. Ja liekas, ka kas tad tur, kuru interesē mūsu vecās e-pastu sarakstes, pāris gadus veci dokumenti un īsziņas no vecā telefona, tā ir vieglprātīga attieksme – tam piekrīt Datu valsts inspekcijā. DVI vadītājas pienākumu izpildītāja Lāsma Dilba atgādina – ļaundari saliek kopā datus no dažādiem avotiem un izmanto saviem mērķiem.
Britu premjers piedāvās Trampam nosūtīt uz Ukrainu līdz 30 000 Eiropas karavīru. Datu nepilnības un nesavienoti reģistri apgrūtina augstas vērtības aktīvu izsekošanu Latvijā. Latvijas skolēnu izveidota palīdzības akcija "Skolas par uzvaru" izpletusies pa visām Baltijas valstīm. Saeima konceptuāli atbalsta liegumu Krievijas un Baltkrievijas pilsoņiem Latvijā iegādāties nekustamo īpašumu. Latvijas vīriešu basketbola izlase 20. februārī Rīgā Eiropas čempionāta kvalifikācijas spēlē uzņems Spāniju.
Rok končí přesně 31. 12. o půlnoci. Lidé se ovšem k tomuto datu museli nějak dopracovat. Jak, to vám řekneme v dnešním pořadu. Dozvíte se také, co má Silvestr společného s lesním mužem a jaký byl Silvestr - papež. Máme my Češi nějaké silvestrovské zvyky, a jsme jediný takový národ? Jaké legendy se vážou k oslavám konce starého a začátku nového roku?
Pirms 87 gadiem notika pirmais Piebalgas iedzīvotāju antropoloģiskās izpētes projekts profesora Jēkaba Prīmaņa vadībā. Šovasar atkal Vecpiebalgas un Jaunpiebalgas iedzīvotāji piedalījās Latvijas iedzīvotāju antropoloģiskās izpētes projektā. Uz noslēguma pasākumu Piebalgā devās arī Kultūras rondo. Piebalgai 2024. gads ir bijis varens – ar Piebalgas astoņsimtgades svinībām, Piebalgas žurmes meklējumiem un piebaldzēnu mērīšanu. Kas tik te nemērās – Jaunpiebalga ar Vecpiebalgu, zemes mērītas un cepuru augstums. Un paši arī mērīti. Vecpiebalgas kultūras namā 14. decembra vakars bija veltīts Latvijas iedzīvotāju antropoloģiskās izpētes projektam Piebalgā. Datu vākšana bija noslēgusies, zinātnieki stāstīja gan par vēsturiskajiem datiem, gan mūsdienu datiem. Kopā ar Rīgas Stradiņa universitātes pētniekiem profesora Jāņa Vētras vadībā klāt bija arī idejas autors Rauls Vēliņš. „Vecpiebalgas vīru kora dalībniek noķēruši vienu, kas izliekas par piebaldzēnu. Penderu juris un Doblēnu Spricis viltvārdi pieķēra tāpēc, ka tam bija par pirksta tiesu īsāka cepure. Ķeizardārzs, 15 minūtes pirms lielkoncerta.” Tā raksta un zīmē Vilis Daudziņš grāmatā „Pirmie latviešu dziedāšanas svētki bildēs”. Sabraukuši dejotāji, mērītāji, nomērītie un varbūt ir arī pa kādam neticīgajam, kurš tik tagad iedomā – vajadzēja tak' man arī piedalīties (bet viņi nav īpaši saskaitīti). Cik sarežģīti kādreiz un tagad ir veikt antropoloģisku lauka pētījumu, nodrošināt savstarpēju uzticēšanos un datu drošību, to arī jautājam. Kāpēc vienkāršais zīmulis reiz bijis tas drošākais "datu nesējs"? Cik augstai tad īsti jābūt piebaldzēna cepurei, arī to jautājam piebaldzēniem. Bet ir laiks sākt – no lielas nopietnības līdz lielai smiešanai. Rīgas Stradiņa universitātes pētniece Lāsma Asare, kuras izpētes augsne ir profesora Jēkaba Prīmaņa mērījumi Piebalgā 1936./37. gadā, ir gandrīz piebaldzēniete. Viņa stāsta par savu saistību ar piebalfu, zinātniskajām interesēm un iepazīstina ar vēsturiskajiem datiem. Un nav ko brīnīties, ka Vecpiebalgas kultūras namā kāds sāk taustīt savas ausu ļipiņas vai deguna līniju, kā arī nopēta kaimiņu, vai tik tas ir īsts piebaldzēns? Bet āri visam piebaldzēnus raksturo tieksme pēc izglītības un izglītošanās, kā tolaik, tā tagad. Antropoloģiskās izpētes datu, kas vākti vasarā, apstrāde turpināsies vēl vairākos projektos. Vēl dažas atbildes uz mūsdienu jautājumiem - par to kaulēšanos, sēņošanu, patikšanu būt tur, kur pulcējas daudz cilvēku, vēl var diskutēt, bet izglītība ir neapstrīdama. Profesors Jānis Vētra iepazīstina ar atbildēm, ko snieguši mūsdienu piebaldzēni. Jautājam arī trim piebaldzietēm, vai viņas piekrīt tiem datiem par kaulēšanos un pulcēšanos. Stāsta Dace Bišere-Valdemiere, Līva Grudule un Egita Zariņa. Pētījumā Jaunpiebalgā un Vecpiebalgā kopā iesaistījās 690 dalībnieki, vecumā no 1,5 līdz 99 gadiem. Visiem dalībniekiem veikta plaša izmeklējumu un aptaujas datu vākšanas programma, ietverot 3D ķermeņa skenēšanu, ķermeņa svara un asinsspiediena mērījumus, plaušu vitālās kapacitātes noteikšanu, digitālo fotogrāfiju uzņemšanu, kā arī aptaujas anketu aizpildīšanu, tostarp jautājumus par dalībnieku veselības stāvokli un saikni ar Piebalgas reģionu. Pēc izvēles pilngadīgiem dalībniekiem tika piedāvāta arī asins paraugu nodošana, lai piedalītos bioloģisko paraugu kolekcijā, kas ļaus veikt turpmākos ģenētiskos pētījumus, piemēram, analizējot garšas receptoru genotipus un uztura paradumus. Datu apkopošana varētu prasīt vairākus gadus, taču Anatomijas muzejā glabātie Prīmaņa veiktie dati 30. gados ļauj ieraudzīt toreizējo piebaldzēnu. Par to stāsta Lāsma Asare. Pēc veiksmīgās pieredzes Piebalgā Rīgas Stradiņa universitāte plāno projekta turpinājumu, paplašinot antropoloģiskās izpētes apjomu uz citiem Latvijas reģioniem, kas 20.gadsimta 30. gados jau tika iekļauti līdzīgās ekspedīcijās. Šī datu bāze, kas nesen digitalizēta, būs vērtīgs resurss RSU pētniekiem un ļaus analizēt iedzīvotāju antropoloģiskās īpatnības Zemgalē, Vidzemes jūrmalā un Kurzemē, tādējādi veicinot plašāku Latvijas iedzīvotāju antropoloģisko portretu veidošanu. -- Raidījumā arī iekļauts fragments no kolēģa Eduarda Liniņa raidījumā par Piebalgu kā kultūrvēsturisku teritoriju ar divām savu īpatnību apzinošajām daļām – Vecpiebalgu un Jaunpiebalgu.
Latvijas iedzīvotāju skaits sarūk visstraujāk Eiropas Savienībā. Kas aizgājis šķērsām un, ko labos jaunais valsts budžets? Šonedēļ raidījumā #1pert1 saruna ar datu pētnieku un LDDK Finanšu un nodokļu ekspertu Jāni Hermani.
The Fat Bidin Film Club (Ep 314) - Takluk: Lahad Datu Inspired by true events in 2013 when militants from Southern Philippines invaded Lahad Datu, Sabah. The Fat Bidin Film Club is also on YouTube: https://youtu.be/586DshIv2KE Copyright (C) 2024 Fat Bidin Sdn Bhd For more, visit http://fatbidin.com Interested in making your own films? Then why not get Zan Azlee's book 'Guide to indie filmmaking' today: https://fatbidin.com/guide-to-independent-filmmaking/ Buy Fat Bidin books, films and merchandise at http://fatbidin.com/store/
Michael, Datu, and Victor head deeper into the dark tunnels, not know what's happening back at Dunbar. Learn more about your ad choices. Visit megaphone.fm/adchoices
Michael, Datu, and Victor head deeper into the dark tunnels, not know what's happening back at Dunbar. Learn more about your ad choices. Visit megaphone.fm/adchoices
Datu provides the group with more clues and Michael chases the lead before time runs out. Learn more about your ad choices. Visit megaphone.fm/adchoices
Datu provides the group with more clues and Michael chases the lead before time runs out. Learn more about your ad choices. Visit megaphone.fm/adchoices
Michael presses Datu for more information. The details bring back a memory of events that have long since passed. Learn more about your ad choices. Visit megaphone.fm/adchoices
Michael presses Datu for more information. The details bring back a memory of events that have long since passed. Learn more about your ad choices. Visit megaphone.fm/adchoices
Anagolay is a Philippine goddess who is searching for her purpose. Lost and overlooked by the other deities, she discovers the Realm of Lost Things, where she befriends Datu, a cat, and meets Clelanie, a healer with lost memories. Writer: Katelynn Kenney Voice-Over Artists: Roanna Cruz and Rebecca Cunningham Producer: Tessa Flannery Executive Producer and Host: Rebecca Cunningham Links for the Grownups! Personalized Stories Join the Ghost Tour Club! Girl Tales Events Patreon Girl Tales Store Rebecca's Newsletter Facebook Instagram Buy the Girl Tales Team a Coffee Starglow Media
Arkeologian sakontzen saiatu gara Amarauna saioan eta horretarako Maite Iris eta Aitziber Gonzalez arkeologoak gonbidatu ditugu Gasteizko estudioetara. Euren lan-esparruaz aritu zaizkigu, lan tresnez, egitekoez edota zenbaitetan eman behar izaten dituzten azalpen eta argibideez. ...
In this week's episode of A Dead Man's Roll, the High Rollers face off against Dr. Tauften's greatest creation, Dizzy makes a deal, and Bo comes to an understanding with Datu. Content warnings for this episode include body horror and graphic depictions of violence. Support us by leaving a 5-star review and feedback, it helps a lot. Tell your friends about us! We appreciate it! PS - vote in the poll below if you're using the Spotify app! Follow us on Twitter and TikTok @DeadmansRollPod Join us on Tumblr for more behind the scenes and art Chat with us on discord!
Datu ofizialen arabera, Hego Euskal Herrian 5.000 baino gehiago dira etxegabeko pertsonak. Euskadi Irratiko Faktorian haien egoeran eta artapenean jarri dugu fokua. Durangoko “Etxepel” egoitza ezagutu dugu. ...
S13E10 Part 3 : Aku cover Tragedi Tonduo Lahad Datu - Ruben Sario
Episode 04: Survivor's GuiltAfter returning home, our heroes find themselves interrogated by the Council of Datu. Will they be used as convenient scapegoats or will they convince others of their prowess? It also seems that a prophecy awaits in the Rajah's palace, wreathed in gold and mist. CW: Sounds of people panicking, sounds of crying, alcohol, drug use, scenes depicting interrogation by a crowd. -Our midroll spotlight for this episode featured "The Mythology Class" by Arnold Arre and "Salamangka" by Ian Sta. Maria. -Find Us Online- Website: http://bladesofmayari.com/ - Instagram: https://www.instagram.com/bladesofmayari/- Threads: https://www.threads.net/@bladesofmayariCast & Crew- Game Master, Co-Producer: Ross - Co-Host (Dog): Kevin - Co-Host (Hiraya): The Noise Witch- Co-Host (A'thir of the Blue Maw): Ren - Co-Host (Batara Basa): Mickee - Co-producer: Joe Opening and Closing MusicAfter Monsoon Season by The Noise WitchSound Effects & Additional MusicArtlist.ioArtworkGM Ross
Rok končí přesně 31. 12. o půlnoci. Lidé se ovšem k tomuto datu museli nějak dopracovat. Jak, to vám řekneme v dnešním pořadu. Dozvíte se také, co má Silvestr společného s lesním mužem a jaký byl Silvestr - papež. Máme my Češi nějaké silvestrovské zvyky, a jsme jediný takový národ? Jaké legendy se vážou k oslavám konce starého a začátku nového roku?Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.
Muitze Zulaika (Orai ikerketa zentroa): euskarazko zuzentzaile gramatikala adimen artifizial bidez eta datu gutxitatik egindakoa....
Muitze Zulaika (Orai ikerketa zentroa): euskarazko zuzentzaile gramatikala adimen artifizial bidez eta datu gutxitatik egindakoa....
Connect with us!Guest Information:Gregory Allan Datu CendanaSocial Media: @gregorycendana Can't Stop! Won't Stop! Consulting#BeTheBossNowIf you have campaign questions or want to learn more, reach out to us using the contact information below.The Campaign Workshop: Instagram and Threads: @TheCampaignWorkshopEmail: marketing@thecampaignworkshop.comJoe FuldTwitter: @joefuldInstagram: @joefuldMartín Diego GarciaTwitter: @gmartindiegoInstagram: @gmartindiegoPresented by The Campaign Workshop
Raidījumā Pievienotā vērtība par datu aizsardzību, pensiju uzkrājumiem un, protams, ielūkojamies Baltijas biržā. Šī ziņa liks saausīties visiem tiem, kuri tur roku uz pulsa un seko līdzi saviem pensiju uzkrājumiem 2. Līmenī, kā arī tam, kurš no pārvaldītājiem rūpējas par šo naudu. Tirgū jau ilgstoši darbojas septiņi pensiju 2. līmeņa līdzekļu pārvaldītāji un nu tiem pievienojies arī astotais - „Vairo,” - kas paziņojis, ka ieguldījumus veiks pasaules uzņēmumu akciju fondos. Interesanti, ka uzņēmuma kodolu veido vietējie uzņēmēji, kas pārstāv dažādas nozares – sākot no kosmētikas ražošanas un beidzot ar izdevniecību. „Vairo” dibinātāju vidū ir vairāki bijušie „Swedbank” vadības pārstāvji. Linda Zalāne skaidro, kādas konkurences vēsmas tirgū nesīs jaunais pensiju 2. līmeņa pārvaldītājs un kāds ieguvums būs klientiem. Pievēršamies ne tikai naudas pelnīšanai, bet nezaudēšanai. Nu jau uzņēmumi, šķiet, rimušies paniski baidīties no datu regulas, bet kā privātpersonas esam pieraduši, ka mums pa labi un pa kreisi lūdz piekrist personas datu apstrādei un bieži vien vairs pat nesekojam līdz, kādēļ un kas notiks ar mūsu datiem. Par to aizdomājos klausoties Datu valsts inspekcijas lekciju par aktuālo datu aizsardzībā. Ja runājam pat tikai par mūsu piekrišanu datu apstrādei, arī tur viss nav vienkārši. Kādi nosacījumi ir piekrišanai, skaidro Raitis Augustāns no Datu valsts inspekcijas.
As we gear up for the spooky season, we're revisiting some of our favorite episodes. Here's one where we learn about the death & burial practices of our pre-colonial ancestors in Visayas and Mindanao, and how your social class could impact your fate after death. Enjoy! --- EPISODE 13: MUMMY MIA: HERE WE GO AGAIN (PART 2) | Death, Burial and the Afterlife in Pre-Colonial Philippines As we close-out the series on this fascinating topic (for now), we move further south and explore the death & burial practices of our pre-colonial ancestors in Visayas and Mindanao. In this episode we learn how burial practices differed by social class. Find out the perks and perils of being a slave in the pre-hispanic era, rituals one underwent to try and ‘save' the dead, and just what price a tribe was willing to pay to send off their Datu properly. We also learn about the early origins of the crying ladies, and the strange things they'd have to include in their eulogies for the deceased. [Trigger warnings for some descriptions of gore and slight sexual themes.] --- The Gods Must Be Crazy is a podcast on Philippine Mythology hosted by friends Anama Dimapilis and Ice Lacsamana, avid mythology nerds, and semi-professional gossips. Follow us over at @godsmustbecrazy.pod on Instagram and Facebook for more good stuff. We also welcome any suggestions on future topics or episodes. You can also find us on Youtube – Gods Must Be Crazy Podcast channel, where we post some of our episodes and interviews. For other inquiries, please email us at godsmustbecrazy.pod@gmail.com The intro and outro music is by Brian O'Reilly (@dendriform on Instagram). --- SOURCES: Scott, William H. Barangay: Sixteenth-century Philippine Culture and Society. Quezon City, Manila, Philippines: Ateneo de Manila University Press, 1994. Print. Suarez, Michelle, et. al. A Lolong Time Ago: A Pre-History of the Philipppines. Tahanan Books for Young Readers. 2016. Print. Indonesian Torajan Tribe - Death & Burial Practice (National Geographic): https://www.youtube.com/watch?v=hCKDsjLt_qU --- Send in a voice message: https://podcasters.spotify.com/pod/show/godsmustbecrazypod/message
Digitālo brokastu topā pieci stāsti no aizvadītās nedēļas tehnoloģiju ziņām. 1. Netīšām publiskoti "Microsoft" un "Xbox" noslēpumi'; 2. Francijā, Beļģijā un Vācijā satraucas par "iPhone 12" elektromagnētisko starojumu; 3. Latviešu elektrokartings uzstāda rekordlielu ātrumu; 4. "OpenAI" izziņo trešo "DALL-E" mākslīgā intelekta attēlu ģenerēšanas paltformas versiju; 5. "Bolt Drive" atgriežas lidostas "Rīga" stāvvietā P3. Plašāk par tehnoloģiju jaunumiem lasi arī LSM portālā.
Ir pavasaris, un tas ir līksmākais laiks dabā kaut vai tādēļ, ka klusuma vairs nav gandrīz nekur. Dzirdīgas ausis dabā saklausīs fantastisku koncertu, kurā cits citu pārdziedāt un sasaukt sacenšas visdažādākie putni. Daži no tiem ir estrādes zvaigznes, citi tikai svilpj un pīkst. Ķērkšana, griešana, kliegšana, klabināšana – šos un vēl citus apzīmējumus varētu attiecināt uz putnu veidotajām skaņām, un šīm skaņām ir arī dažādas nozīmes putnu dzīvē. Tieši tāpat kā cilvēks var izsaukties no prieka vai iekliegties dusmās, arī putnu emociju gamma var būt daudzveidīga. Kāpēc putni dzied un ko tie savā starpā runā, skaidro ornitologs Viesturs Ķerus. "Putnus nosacīti var dalīt divās lielās "kastītēs", kas ir dziedātāj putni un pārējie. Latvijas gadījumā ir vienkārši, ka putni, kas mācās dziesmas, visi ir zvirbuļveidīgi. Tie, kas nav zvirbuļveidīgie, tiem arī dziesmas, ne tikai saucieni, ir iedzimtas. Pasaulē kopumā ir arī nezvirbuļveidīgie, kas iemācās. Labs piemērs ir papagaiļi," atklāj Viesturs Ķerus. Mācīšanās process ir interesants un kaut kādā mērā līdzīgs tam, ka cilvēks apgūst valodu. "Kaut kāds iedzimts priekšstats, kādai putna dziesmai ir jābūt, viņam ir. Kaut kādu elementāru dziesmiņu dziedātājputni dziedās arī tad, ja viņiem nav bijusi iespēja klausīties. Iedzimtais priekšstats palīdz vēlāk mācīties un iemācīties pareizās skaņas. Līdzīgi kā cilvēka bērni dzird visādas skaņas apkārt, bet viņi nesāk runāt suņu valodā, durvju valodā vai putnu valodā, viņi iemācās cilvēku valodu. Arī cilvēkiem ir kaut kāds priekšstats, kuras ir tās skaņas, kuras vajadzētu mācīties. Un tad ir kāds, kas tās skaņas māca," turpina Viesturs Ķerus. "Konstatēts, ka putni var mācīties no ierakstiem, bet labāk iemācās, ja ir dzīvs skolotājs. Reizēm pat viņš nav jāredz. Kad viņam ir iedzimtais priekšstats, pirmais, ko dara, klausās, kā dzied citi. Kas ir tie citi, tas var atšķirties no sugas uz sugu. Tie var būt vecāki, tie var būt kaimiņi nākamajā sezonā, bet ir kaut kāds jutīgais periods, kad viņi klausās un iegaumē. Pēc tam nākamais solis ir, ka viņi mēģina dziedāt paši un ieklausīties, salīdzināt ar piemēru." "Ir tāds putniņš amadīns. Ir izpētīts, ka viņi dziesmas atkārtošanu mācās pat miegā. Pa sapņiem atkārto un mēģina saprast, vai ir pareizi," atklāj Viesturs Ķerus. "Šis atkal ir līdzīgi, kā ar maziem bērniem. Tie, kas ir bijuši klāt maziem bērniem, kad viņi mācās runāt, zina, ka bērnu izmantotais skaņu spektrs ir daudz lielāks, nekā tad, kad viņi iedzīti mūsu "pareizi ir teikt šitā kastītēs". Tad skaņu spektrs sašaurinās. Līdzīgi ir arī ar jauniem putniem, viņi visādas skaņas izmanto, izmēģina, kā izklausās. Nē, šitais neizklausās pareizi, un tā pamazām nonāk līdz pareizajai, smukai dziesmai. Ir putni, kas iemācās vairāk, ir putni, kas iemācās mazāk dažādu iemeslu dēļ, līdz ar to dziesma var pastāstīt arī putnu mātītei, atvainojos, cik kvalitatīvs ir šis tēviņš." Latvijas Ornitoloģijas biedrība aicina ieklausīties putnu dziesmās Vēlies noteikt, kādas putnu sugas šobrīd dzied tev tuvajā apkārtnē? Ieraksti savā telefonā vai kādā citā ierīcē piecu minūšu garu putnu balsu kori, un tā gan noskaidrosi savas apkaimes dziedātājus, gan pie reizes palīdzēsi speciālistiem krāt informāciju par putnu sugām. Kas jauns, pateicoties šādiem ierakstiem, jau ir atklāts, stāsta ornitologs Andris Dekants. Latvijas Ornitoloģijas biedrība aicina ikvienu līdz jūnijam veikt putnu balsu audioierakstus piecu minūšu garumā, sevišķi attālākās vietās Latvijā. Papildus putnu balsu ierakstiem šosezon ornitologi mudina aktīvi ziņot par īpaši aizsargājamu putnu sugu novērojumiem, ļaujot vairāk uzzināt par šo sugu izplatību un par to pārmaiņām. Šis ir labākais laiks, kad ierakstīt putnu dziesmas, jo drīz vien jau tie perēs olas, auklēs mazuļus un tad tādā apmērā, kā tagad, putnu balsis nedzirdēsim. “Iespēja ar putnu balsu ierakstu noskaidrot un iepazīt tuvāk savus spārnotos kaimiņus ir ieguvums tiem, kuri iesūta mums pašu veiktos audio ierakstus piecu minūšu garumā. Savukārt mums tas palīdz apzināt stāvokli ligzdojošo putnu populācijās, lai nepieciešamības gadījumā varam plānot tālākus soļus šo sugu stāvokļa uzlabošanā Latvijā,” skaidro Latvijas Ornitoloģijas biedrības pārstāvis, ornitologs Andris Dekants. Šāds pasākums jau norisinās ceturto gadu un kā stāsta Andris Dekants, tad pagājušā gads izcēlās ar lielu aktivitāti, bija iesūtīts 381 ieraksts un šogad jau maija sākumā aptuveni 100 interesenti atsūtījuši vairāk nekā 200 ierakstus. Ikviens var arī palūkoties LOB mājaslapā, kur redzama karte, kurā tumšākie kvadrātiņi iezīmē tās teritorijas, no kurām vismazāk vai nemaz nav saņemti putnu balsu ieraksti. Audioierakstus līdz pat šī gada jūnija beigām jāiesūta uz e-pastu atlants@lob.lv, vēstules tēmas laukā norādot “Audiopiecminūte”. Atbildi, kurā būs uzskaitītas visas ierakstā dzirdamās putnu sugas, ikviens iesūtītājs saņems individuāli e-pastā, noslēdzoties aktīvajai putnu sezonai, kad šie dati būs apkopoti. Turklāt aktīvākie dalībnieki saņems pateicības veltes. Datu apkopošanu finansiāli atbalsta Latvijas vides aizsardzības fonds.
Uzņēmumu vēlme vākt savu klientu datus ir liela, bet šādas darbības nes sev līdzi arī milzu atbildību, lai viss savāktais atrastos aiz septiņām atslēgām. Par personas datu aizsardzību saruna raidījumā Kā labāk dzīvot. Raidījuma viesi: Datu valsts inspekcijas direktore Jekaterina Macuka, Latvijas Tirdzniecības un rūpniecības kameras valdes locekle Katrīna Zariņa un Latvijas Informācijas un komunikācijas tehnoloģijas asociācijas prezidente Signe Bāliņa. "Datu regula neaizliedz vākt datus, ne tos glabāt, ne kaut ko ar viņiem darīt. Bet, ko pasaka Datu regula, ka jābūt tiesiskam pamatam un cilvēkam jābūt skaidram, ko ar datiem darīs," atzīst Jekaterina Macuka. "Reģistrējoties loterijai vai kādam pasākumam internetā, uzņēmējam skaidri ir jāpasaka cilvēkam, vai nu reģistrējies un iedod man datus šim pasākumam un pēc šī pasākuma es aizmirsīšu. Vai nu tu vari atķeksēt, ka turpmāk es tevi atcerēšos un sūtīšu tev paziņojumus par saviem pasākumiem, vai papildus tam, ka pats datus glabāšu un sūtīšu tev paziņojumus, es vēl arī atdošu saviem sadarbības partneriem, piecām kompānijām, un viņi arī to darīs. Cilvēkam ir jābūt iespējai piekrist, ka pats uzņēmums turpmāk sūtīs paziņojumus un arī papildus tam atsevišķi ir jābūt piekrišanai, ka viņš sūtīs citiem. Tam jābūt nodalītam, Varbūt es uzticos konkrētam uzņēmējam un sāku - jā, glabā manus datus un sūti paziņojums, bet tos citus 20 uzņēmumus, kuriem gribi nodot manus datus, es nepazīstu, es neuzticos un negribu, lai sūtītu manus datus viņiem. Vispareizākais būtu nodalīt un, protams, cilvēkus informēt." Katrīna Zariņa norāda, Datu valsts inspekcijas sabiedrības informēšanas kampaņa "Dati ir vērtība - sargā tos!" pamatā domāta maziem un vidējiem uzņēmumiem ar vēlmi mēģināt viņus izglītot, kā gudri rīkoties ar datiem. Kā gudri datus vākt no saviem klientiem vai potenciālajiem nākotnes klientiem. Kā uzglabāt un kā nepārkāpt stingrās prasības par datu aizsardzību, kas ir Eiropā ir spēkā. "Joprojām ir caurumi prasmēs," vērtē Katrīna Zariņa. Jekaterina Macuka piekrīt, ka ir ko uzlabot attiecībā uz datu aizsardzību. "Ir uzņēmumi, kuri daudz laika velta šai jomai, ir uzņēmumi, kuri uzskata, ka varbūt Datu valsts inspekcija nesodīs, labāk pelnīsim naudu, nevis pievērsīsim uzmanību datu aizsardzībai," norāda Jekaterina Macuka. "Ir laiks atgādināt uzņēmējiem, ka datu regula ir spēkā, sodi ir. Tie nav tikai sodi, tā ir arī attieksme pret klientu. Ja uzņēmējs atbildīgi un ar cieņu attiecas pret savu klientu, attiecīgi viņš ar cieņu attieksies pret viņa personas datiem." "Ja prasām identificējamu informāciju - vārds, uzvārds un e-pasts [telefons] jau ir identificējama informācija. Mēs ar viņu komunicējam, attiecīgi mēs viņu identificējam, mēs apstrādājam viņa datus. Ja prasām viņa dzīves vietas adresi, tie arī būs personas dati," skaidro Jekaterina Macuka. Tajā brīdī, kad uzņēmējs prasa datus, kur viņš var identificēt savu klientu un zina, ka tas ir viņa topošais klients, vai sāk ar viņu komunicēt, sūtos īsziņas vai e-pastus, te arī sāka datu aizsardzība. Ja tā ir ciparu kombinācija, ko redzam internetā un tas varētu būt kāda telefons, tajā brīdī vēl nekļūst par personas datiem. Kad uzņēmējs mājaslapā, aizpildot pieteikumu par pirkumu, prasa norādīt vārdu, uzvārdu un dzīvesvietas adresi un telefonu, tas paliek par personas datiem un ieslēdzas personas datu aizsardzībā." Noteiktos gadījumos, kad uzstāda sīkdatnes mājaslapā, kas analizē un profilē apmeklētāja uzvedību, pat nezinot cilvēka vārdu uzvārdu, uzņēmējs jau sāk apstrādāt datus. Datu valsts inspekcija vērš uzmanību arī uz to, ka svarīgi aizdomāties, kādas sīkdatnes liekat mājaslapā.
After the helicopter breaks down, the group has no choice but to wait while Datu makes repairs. Learn more about your ad choices. Visit megaphone.fm/adchoices
After the helicopter breaks down, the group has no choice but to wait while Datu makes repairs. Learn more about your ad choices. Visit megaphone.fm/adchoices
Laporan berita padat dan ringkas #AWANI745 bersama Essan Yahya Tumpuan malam ini:
ASV dienesti apgalvo, ka Covid-19 vīrusa izplatība aizsākusies ar kādas Ķīnas laboratorijas patogēnu noplūdi. Šim apgalvojumam aizvien ir kritiķi, kas atzīst, ka visticamāk iemeslu, kāpēc šis vīruss nonāca pasaulē, tā arī nekad neuzzināsim. Taču šī nav pirmā reize, kad izskan apgalvojumi par biodrošību laboratorijās. Kā ir aprīkotas mūsdienu laboratorijas, cik drošas tās ir un vai kaut kas no tām var nemanāmi "izsprukt"? Raidījuma viesi Latvijas biomedicīnas pētījumu un studiju centra vadošie pētnieki Dāvids Frīdmanis un Dace Pjanova. "Principā jau visam var būt divi avoti, vai nu viņš ir no laboratorijas, vai viņš ir no dabas, nekāda cita varianta nav. Lai apgalvotu vienu vai otru, vajag būt pamatīgiem pierādījumiem, tieši tāpēc arī daudz runā par to, ka varbūt mēs nekad neuzzināsim. Lai gan es personīga tam līdz galam neticu. Mūsu pasaule kļūst arvien plašāka, pētnieki ielien arvien dziļā, pat visdziļākajos džungļos, dabū no turienes paraugus," vērtē Dāvids Frīdmanis. "Ja viņš būs no dabas nācis, kaut kad mēs varbūt uzdursimies tam dzīvniekam. Ja viņš būs nācis no laboratorijas, tad visdrīzāk kaut kur ir arī pieraksti par to, kurā laboratorijā strādāja, kādas bija pazīmes un kādas manipulācijas ir veiktas. Mainoties režīmiem, noteikumiem, šī informācija var nokļūt atklātībā. Pēc kāda laika var gadīties, ka mēs uzzināsim, kur ir tā problēma. Šķiet, vislielākā problēma, ar ko mēs visi šeit saskaramies, ir tas, ka Ķīna tomēr nav tāda valsts, kurā brīva runāšana un problēmu atklāta apspriešana būtu vispārēji pieņemta. Tas vienmēr radīs bažas par to, vai tik viņš nav nācis no laboratorijas, kas, protams, var būt patiesība. Es to nekādā gadījumā neizslēdzu. Tas ir viens no variantiem" "Nevar izslēgt nevienu, ne otru variantu, bet man liekas, ka šobrīd tie pierādījumi, kas ir zinātniski publicēti, vairāk pamatoti man liekas, ka tomēr ir dabiskas izcelsmes. Šobrīd ir ziņojums, bet ja parakņāties nedaudz dziļāk internetā, tad īstenībā vairāk par apgalvojumiem mēs neko neredzam, jā, ir kaut kāds FIB ziņojums, bet kas tad viņā ir iekšā, to jau mēs nezinām. Un līdz ar to šobrīd publiski pieejami dati, ka viņš izcēlies dabiskā ceļā Ķīnā, Uhaņā. Es vairāk šobrīd sliecos, ka tas tomēr varētu būt dabiskas izcelsmes. Kaut kā mani šis skaidrojums uzrunā vairāk," norāda Dace Pjanova. Dāvids Frīdmanis min, ka pastāv ari variants, ka vīruss ir hibrīdas izcelsmes: viņš ievākts no dabas, kādu brītiņu ir laboratorijā audzēts, radies izpētes ceļā. "Audzēts, visdrīzāk, šūnās, kas nav no tā konkrētā saimnieka organisma, no kura viņš ir iegūts. Audzēts, piemēram, uz cilvēka šūnām, kuras ir piemērotas un šis vīruss spējis inficēt. Un tad viņš, protams, dzīvojot šajā mazajā ekosistēmā, ir mainījies pats no sevis. Nav tā, ka kāds speciāli viņu radījis, un neviens nav līdz galam sapratis, ka viņš varētu būt infekciozs un šo darbību rezultātā viņš varētu nokļūst vidē. Ja tu neievēro visas drošības regulas, tikai uz to aizdomu pamata, ka tas varētu būt bīstams, tad pastāv varbūtība, ka tas nejauši nokļuvis vidē," norāda Dāvids Frīdmanis. Bet cik vispār pamatoti varam teikt, ka dzīvojam drošā pasaulē? Vai tas, ka apzināti vai nejauši kaut kas izkļūst apkārtējā pasaulē no laboratorijām un nodara ļaunumu, ir maza iespējamība un notiek reti, vai tas ir godaprāta jautājums un dzīve uz pulvera mucas? "Man liekas, ka dzīvei uz pulvera mucas [pamatā], ja runājam par epidemioloģiju, ir fakts, ka mēs lidojam. Globalizācija un tas, ka mēs lidojam, un slimībai ir iespēja ceļot no vienas valsts uz otru tik viegli, ir tā pulvera muca. Tas, no kurienes tas vīruss nācis, ir tikai avota jautājums. Ir pilna pasaule ar dzīvnieku izcelsmes vīrusiem, kuri var inficēt cilvēku. Un katrs no viņiem, var būt nākamais kovids," atzīst Dāvids Frīdmanis. "Ar Covid mums paveicās, ka mirstība nebija tik liela. Bija savulaik mums vēsturē spāņu gripa, tur bija trakāk. Tieši fakts, ka mēs ceļojam pa visu pasauli, ir tas, kas to vīrusu izplatību veicina. Tā ir tā pulvera muca. Infekcijas avoti visu laiku radīsies. "No vīrusa viedokļa mēs esam barība, un kur ir barība, tur būs arī plēsējs. Un vīruss šajā gadījumā ir tas, kurš ir plēsējs, un radīsies jauni un jauni patogēni," norāda Dāvids Frīdmanis. Datu noplūde: kāpēc tas iespējams un kā ikdienā sevi pasargāt? No laboratorijām var noplūst vīrusi, bet var noplūst arī dati, un tas var notikt gan netīšām, gan apzināti. Ļaunprātīgu datu ieguvi un datu aizsardzību mūsdienās varētu salīdzināt ar nemitīgu ciklu - līdzko ļaundari iegūst datus, ir jādomā jauni paņēmieni, kā datus aizsargāt, un tas atkal liek ļaundariem būt radošiem. Gan Latvijā, gan citur pasaulē ir bijuši vairāki gadījumi, kad nopludināti konkrētu personu vai ar aizsardzību saistīti dati. Kāpēc tas kļūst iespējams un kā varam ikdienām pasargāt paši sevi? Iespēja vienā brīdī piekļūt medicīnas iestādes pacientu fotogrāfijām, aplūkot faktus par klientu braucieniem koplietojamās automašīnās, nosūtīt kādam informāciju par nodokļu nemaksātājiem vai pat izplatīt ziņas par izlūkdienestu darbību. Šādi un citi paņēmieni kļūst iespējami, ja netīšām vai ļaunprātīgi tiek nopludināti dati. Piemēram, viens no gadījumiem guva plašu starptautisku rezonansi - 2013. gadā bijušais ASV Centrālās izlūkošanas pārvaldes un Nacionālās drošības aģentūras darbinieks Edvards Snoudens nodeva laikrakstiem slepenu informāciju par ASV izlūkdienestu izmantotajām datu iegūšanas programmām. Bet šoreiz stāsts ne tikai Snoudenu, bet arī citiem datu nopludināšanas gadījumiem. Vai biežāk sastopamies ar ļaunprātīgām vai nejaušām datu noplūdēm, to attālināti ierakstītā sarunā skaidro Latvijas Informācijas tehnoloģiju drošības incidentu novēršanas institūcijas CERT.lv apdraudējumu analītiķis Kārlis Podiņš.
29: PRACTICAL MAGIC | The Babaylan Part 2 of 3 In this series, we learn about the deep and important history (and present) of the Babaylan: The pre-colonial figure of ancient Filipino tribes who served as the bridge to the spirit world, the herbalist, healer and sometimes even deputy Datu. Over a series of episodes, we dive into: who is qualified to be a babaylan? Why were they typically women, and sometimes even trans women? What role did she play in society? And where can we find her in our history? In this second installation, we dive deeper into the different functions of the babaylan and the complex and diverse roles she plays in the community. From medium to cosmologist, from a Karen to a Whoopi, the babaylan was, and still is, a force to be reckoned with. — The Gods Must Be Crazy is a podcast on Philippine Mythology hosted by friends Anama Dimapilis and Ice Lacsamana, avid mythology nerds and semi-professional gossips. Follow us over at @godsmustbecrazy.pod on Instagram and Facebook for more good stuff. We welcome any suggestions on future topics or episodes. You can also find us on Youtube – Gods Must Be Crazy Podcast channel, where we post some of our episodes and interviews. For other inquiries, please email us at godsmustbecrazy.pod@gmail.com The intro and outro music is by Brian O'Reilly (@dendriform on Instagram). --- References: https://en.wikipedia.org/wiki/Filipino_shamans#:~:text=Filipino%20shamans%2C%20commonly%20known%20as,and%20the%20spirits%20of%20nature. https://www.hopkinsmedicine.org/health/conditions-and-diseases/superior-canal-dehiscence-syndrome-scds#:~:text=The%20problem%20can%20cause%20hearing,footsteps%20in%20the%20affected%20ear. https://www.babaylanadlaw.com/p/batak-dungan.html @Nico Valdez on Tiktok (Baranggay) https://www.isiswomen.org/downloads/wia/wia-2006-2/02wia06_06GirlieA.pdf --- Send in a voice message: https://anchor.fm/godsmustbecrazypod/message
28: PRIESTESS, MEDIUM, HEALER, GUIDE | The Babaylan Part 1 In this episode, we learn about the deep and important history (and present) of the Babaylan: The pre-colonial figure of ancient Filipino tribes who served as the bridge to the spirit world, the herbalist, healer, and sometimes even deputy Datu. Over a series of episodes, we dive into who is qualified to be a Babaylan? Why were they typically women, and sometimes even trans women? What role did she play in society? And where can we find her in our history? In this first installation, we take an overview of the Babaylan and see what being buried alive, hearing voices, and possibly having an inner-ear condition may mean for your admission into the Babaylan School of Witchcraft and Wizardry. We also try to understand what this tells us about our ancestors' views on gender identity and equality: How it's not just about who is “above” or “below,” but who is the best person for the job. — The Gods Must Be Crazy is a podcast on Philippine Mythology hosted by friends Anama Dimapilis and Ice Lacsamana, avid mythology nerds and semi-professional gossips. Follow us over at @godsmustbecrazy.pod on Instagram and Facebook for more good stuff. We welcome any suggestions on future topics or episodes. You can also find us on Youtube – Gods Must Be Crazy Podcast channel, where we post some of our episodes and interviews. For other inquiries, please email us at godsmustbecrazy.pod@gmail.com The intro and outro music is by Brian O'Reilly (@dendriform on Instagram). --- References: https://en.wikipedia.org/wiki/Filipino_shamans#:~:text=Filipino%20shamans%2C%20commonly%20known%20as,and%20the%20spirits%20of%20nature. https://www.hopkinsmedicine.org/health/conditions-and-diseases/superior-canal-dehiscence-syndrome-scds#:~:text=The%20problem%20can%20cause%20hearing,footsteps%20in%20the%20affected%20ear. https://www.babaylanadlaw.com/p/batak-dungan.html @Nico Valdez on Tiktok (Baranggay) https://www.isiswomen.org/downloads/wia/wia-2006-2/02wia06_06GirlieA.pdf --- Send in a voice message: https://anchor.fm/godsmustbecrazypod/message
Attēliem ir tikpat liels spēks kā rakstītam vārdam. Reizēm viens attēls var pateikt vairāk nekā garš teksts. Diemžēl un par laimi mēs dzīvojam attēlu laikmetā. Mūsdienās, kad internetā vieglāk pasniegt saturu ar vizualizācijām nevis teksta blāķiem, aug arī iespējas manipulēt ar auditoriju. Kādos ceļos un neceļos mūs vēsturē un šodien aizved datu vizualizācijas, skaidro "Datu skolas" vadītāja Latvijā Nika Aleksejeva. "Parasti datos meklējam sevi, ne katra datu vizualizācija jebkuram būs interesanta. Pat tad, ja tajā būsiet ieguldījuši daudz laika un kreativitātes. Stāsts vienmēr ir par klausītāju. Datos vienmēr meklējam sevi. Neatkarīgi no tā, kāds ir izvēlētais vizualizācijas formāts, tieši stāsts būs tas, kas padarīs to interesantu," skaidro Nika Aleksejeva. Tāpat viņa atzīst, ka manipulācija jebkurā datu vizualizācijā ir klātesoša, sākot ar to, ka jebkura datu vizualizācija ir kādu mērījumu vai skaitļojumu rezultāts. "Jau kaut kāda informācija ir pazudusi tulkojumā, jo ne visu mēs varam nomērīt 1:1 kā ir realitātē un arī mūsu skaitļojumi nav tik precīzi, lai kaut kas tajos nepazustu. Tad nāk trešais līmenis - vizualizācija un viss konteksts, kas tai ir apkārt," norada Nika Aleksejeva. Pētniece arī min, ka slikts tonis skaitās, ja vizualizācijas izmanto "papagaiļkrāsas". "Ja izmantojam gatavās paletes, tur mēdz būt ieliktas septiņas krāsas, desmit. Ja ir stabiņveida diagramma un tā ir gara, sanāk, ka ik pēc 10 vērtībām sāk atkārtoties krāsas un ir grūti izšķirt," bilst Nika Aleksejeva. "Tāpat kognitīvajās zinātnēs daudz strādā ar tā saukto krāsu aklumu, cilvēki, īpaši datoru ekrānos krāsas redz citādi. Ir speciālas krāsu paletes (..) tiek strādāts tiek toņiem. Runājot par krāsām, labā prakse ir neizmantot pārāk daudz bez vajadzības un ja ir nepieciešams parādīt atšķirības vai uzsvērt kāda sektora svarīgumu, tad visu iekrāsot zilos toņos, bet vienu, par kuru runājat, kam jāpievērš uzmanība, oranžu vai sarkanu. Tas pievērš uzmanību, lai arī parādiet citus datus. Jautājums, vai liekat pareizos akcentus? Jebkurām vizuālajām rāmēšanām nāk līdzi arī atbildība: no vienas puses, esat stāstnieks, no otras puses, šajā stāstā, ja izliekaties, ka rādāt datus, kādi tie ir, var radīt maldīgu priekšstatu. Cilvēks paļaujās, ka esat objektīvs, lai gan patiesībā jau dodat lasītājam kaut kādu zināmu priekšstatu." Kādam mērķim kalpoja ilustrācijas viduslaiku manuskriptos? Sākot ar izceltiem iniciāļiem līdz miniatūriem attāliem - ilustrācijas viduslaiku manuskriptos kalpoja dažādiem mērķiem. Par ilustrāciju nozīmi stāsta Latvijas Universitātes Akadēmiskās bibliotēkas Rokrakstu un reto grāmatu nodaļas vadītāja un vadošā pētniece Aija Taimiņa. Vai tās bija alegorijas, līdzības vai reālistiski zīmējumi un vai palīdzēja izprast tekstu lasītnepratējiem? Vēl ilgi pirms senajiem domātājiem parādījās attēls. Te runājam par tūkstošgadīgiem zīmējumiem uz alu sienām. Bet šoreiz kopā ar grāmatu vēsturnieci skatām laika posmu pirms pirmajām iespiestajām grāmatām, tas līdz 16. gadsimta sākumam, un pētām, kā ilustrācija palīdz, skaidro un parāda grāmatā esošo tekstu. Attēli kā ideālas formulas ir kalpojuši gan inkunābulu izdošanas laikos, tas ir, grāmatās pirms Gūtenberga iespiedmašīnas izgudrošanas 1500. gadā, gan arī vēlāk, kad rakstīts vārds jau tika iespiests tipogrāfijā, bet ir jautājums, vai šādam attēlam var ticēt – vaicā Aija Taimiņa un tūlīt arī rāda atbildi ar 15. gs. beigās radītu identisku ilustrāciju Sīrijas pilsētas Damaskai un Itālijas pilsētas Mantujai.
Brian Datu is a vlogger in Jasaan, Misamis Oriental who spends his earnings in YT mostly on charities and his advocacies for the LGBT community. Help him in his fund raising and advocacy thru Youtuber
Vārda brīvība noteikti ir atbalstāma, tomēr, vai tad, ja darbinieks pārstāv kādu iestādi, viņš var sociālajos tīklos ievietot jebkādu informāciju? Vai sociālo tīklu lietošanu darba devējs drīkst ierobežot un vai tas attiecas uz arī personisku informāciju, jautājam ekspertiem raidījumā Kā labāk dzīvot. Raidījuma viesi: Datu valsts inspekcijas direktore Jekaterina Macuka, Uzņēmuma "Bite" pārstāve Una Ahuna-Ozola, jurists, konsultants darba tiesisko attiecību jautājumos Kaspars Rācenājs un „WorkingDay Latvia” pārstāvis Andris Jansons. Uzņēmuma "Bite" pārstāve Una Ahuna-Ozola iepazīstina ar pētījumu ko veica kopā ar uzņēmumu "CV-Online" pērn organizēja pētījumu par darbinieku tēlu sociālajos tīklos. 81% aptaujāto darba ņēmēju norādīja, ka piedomā, ko publicē, jo tic, ka tas var iespaidot esošās darba attiecībās vai potenciālās iespējas iegūt jaunu darbu. Savukārt 40% darba devēji norādīja, ka darbinieku atlases procesā pievērš uzmanību tam, kādu saturu sociālajos tīklos publicē potenciālais darba ņēmējs. 38% pievērš uzmanību kolēģu publicētajam sociālajos tīklos, bet tikai 21% ir aizrādījuši kolēģiem, ja šķiet, ka saturu nebūtu labāk publicēt. "Ja cilvēki publisko visu no brokastīm līdz naktsdzīvei, jāņem vērā, ka atklātā profilā to redz visi, kam ir piekļuve internetam. Cilvēkiem izvēlamies - mēs gribam būt publiski un atklāti, bet uzņemamies risku, ka arī topošais darba devējs redzēs, redzēs visi citi un tas var arī negatīvi ietekmēt," norāda Jekaterina Macuka, atgādinot arī par drošības riskiem, ko tas var radīt. Ja darbiniekam ir profils sociālajos tīklos, viņam ir tiesības nedalīties ar sava darba devēja (uzņēmuma) informāciju. Tāpat ir tiesības paust informāciju par darba devēja sniegtiem pakalpojumiem, bet tai ir jābūt patiesai. Andris Jansons norāda, ka ir uzņēmēji, kas seko līdzi darbinieku vai potenciālo darbinieku dzīvei sociālajos tīklos, citi tam pievērš mazāku uzmanību. "Atlases periodā, kurš meklē darbinieku, kad ierauga viņa CV, aprakstu, var veikt pāris klikšķus, kāds viņš izskatās "Facebook", "Twiter", "Linkedin" un, nemaz nerunājot ar šo cilvēku par viņa personību, prasmēm, par viņa darba pieredzi, viņš jau izveido savu redzējumu, pieņēmumu, kāds šis cilvēks ir," atzīst Andris Jansons. Viņš norāda, ka ir bijuši gadījumi, ka darba devēji atsakās no ieteiktās darbinieka kandidatūras, jo neapmierina cilvēka dzīve sociālajos tīklos. "Katram jāuzņemas atbildība par sevi, kādā veidā viņš izpauž sevi dažādas dzīves situācijās," atzīst Andris Jansons. Vai darba devējs var aizliegt lietot sociālos tīklus? "Ja tas nav saistīts ar darba vajadzībām, es teiktu viennozīmīgi, ka šāda iespēja ir, jo darba laiks ir paredzēts darba pienākumu izpildei, darba devējs dod darba uzdevumus, ko darba laikā darīt," skaidro Kaspars Rācenājs. "Ja tas ir saistīts ar darba specifiku, darbiniekam nav jāsatraucas, ja viņš var pierādīt, ka tas ir saistīts ar darba pienākumu izpildi." "Ja runājam, vai darba devējs var aizliegt lietot darbiniekam sociālos tīklus ārpus darba laika, viennozīmīgi - nē, jo atpūtas laikā darbinieks dara ko grib," norāda Kaspars Rācenājs. "Nākamais jautājums, vai darba devējs ir tiesīgs ierobežot, piemēram, darbinieka kādu izpausmi ārpus darba laika savos privātajos sociālajos kontos. Šis jautājums jāskata ļoti plaši un katra situācija jāvērtē individuāli. Vārda brīvība kā tāda un katras personas tiesības izpausties ir ārkārtīgi augstā vērtībā un ierobežojums būtu jāskata ļoti šauri. Ja man ir reliģisks viedoklis vai politiski uzskati, man ir tiesības to brīvi arī paust, pat ja manam darba devējam nepatiktu, kurā partijā esmu iestājies vai kādu politisko kustību atbalstu, vai no rīta es lūdzu Jēzu Kristu. Tā nav darba devēja darīšana. Man būtu tiesības savos sociālajos tīklos šādu informāciju paust. Ja es savos sociālajos tīklos aicinu uz vardarbību, uz naidu, agresīvu rīcību vienam pret otru, tas jau ir smagāks gadījums un šeit būtu jāvērtē gan no administratīvā, gan krimināltiesiskā viedokļa, ja tiek konstatēts, ka sarkanā līnija ir pārkāpta, tad darbiniekam var būt nepatikšanas darba vietā, ka viņš šādu informāciju ir paudis. Arī šeit ir jāskatās šauri - ne katrs darbinieka pārkāpums, kas ir ārpus darba tiesiskajām attiecībām, ir korelācijā ar darba pienākumu izpildi. Tādā gadījumā darbiniekus varētu atbrīvot arī par to, ka viņš pārkāpj ātrumu vai jebkuru administratīvo pārkāpumu. Ne tur nolika mašīnu, atbrīvo no darba. Te jāskatās, kā viņa darbības sociālajos tīklos ietekmē vai var radīt negatīvas sekas darba devējam."
Pētījumi fizikā ir atspēriena punkts daudzām nozarēm, kuru darbība būtu grūti iedomājam bez jauniem atklājumiem fundamentālajā fizikā. Latvijas Universitātes (LU) pētnieki piedalās starptautiskā pētījumā, kur, izmantojot magnētisma īpašības, varētu rast vērtīgu pielietojumu dažādās nozarēs, tostarp, medicīnā un rūpniecībā. Par pētījumu stāsta LU Fizikas, matemātikas un optometrijas fakultātes profesors Andrejs Cēbers, šīs fakultātes docents, vadošais pētnieks Guntars Kitenbergs un zinātniskais asistents Aigars Langins. RTU pētnieki strādā pie datu pārraides ātruma uzlabošanas Lai palielinātu datu pārraides kapacitāti, Latvijas pētnieku komanda radījusi inovatīvu platjoslas optiskā pastiprinātāja prototipu. Datu pārraide vienmēr saistām ar dažādiem zudumiem un signālu pārrāvumiem, lai signālu pastiprinātu, pētnieki jaunajā iekārtā izmanto īpašu šķiedru. Izgatavoto prototipu pētnieki jau kādu laiku testē un tas paredzēts, piemēram, optiskajam internetam un visam, kas saistīts ar datu pārraidi. Jaunus risinājumus efektīvākai datu pārraidei telekomunikāciju sistēmās Rīgas Tehniskās universitātes pētnieki Eiropas projektā sāka meklēt pirms trīs gadiem. Lai nodrošinātu stabilāku datu pārraidi, šajā laikā izstrādāts jauns platjoslas optiskā pastiprinātāja prototips, kurā izmantota arī īpašas formas šķiedra ar diviem apvalkiem, stāsta RTU Telekomunikāciju institūta asociētais profesors Andris Supe. Viņu papildina pētnieku komandas pārstāvis no Latvijas Universitātes - Cietvielu fizikas institūta vadošais pētnieks Jurģis Grūbe.
President Rodrigo Roa Duterte confers the Order of Sikatuna with the rank of Datu (Grand Cross) Gold Distinction on outgoing Ambassador Extraordinary and Plenipotentiary of Australia to the Philippines H.E. Steven Robinson AO. - Ginawaran ng Pangulong Rodrigo Duterte ng distinction o pagkilala si Australian Ambassador to the Philippines Steven Robinson ng Order of Sikatuna na may ranggong Datu.
This is part two of my interview with C. S. E. Cooney about her publishing journey for Saint Death’s Daughter, featuring questions from my patrons. You can listen, or read the transcript below, and in case you missed it, part 1 of this interview is here! If you have not already devoured Saint Death’s Daughter in one day, like I did, I encourage you to check it out! It’s available as a printed book, an ebook, and an audiobook, and Claire does her own narration for the audio version!JuliaWelcome to the OMG Julia Podcast, where we talk about creative lives and processes. This is part 2 of my interview with C. S. E. Cooney about her journey to publication with Saint Death’s Daughter. We’re picking up this conversation after Claire told us about how she loves to read her first drafts aloud. JuliaI love that about you! I love working with you, because I've done work at the same time and place as you, and even if I'm not super productive during those times, I always love hearing what you've come up with. Because I feel like I've gotten a lot out of just talking through plots with you, even if I haven't been writing. ClaireI Do. I Love that part. Yeah.JuliaBecause I think that writing is a lot of different things, and some of that is getting the words actually down on the page, but some of it is actually just being in a place where you can think through story structure, and what is actually happening. And one thing that I've learned about myself over years and years and years of basically feeling like I must be broken because I don't write x words every day… Which, there is so much advice out there that's like, “You're not a writer if you don't write every single day.” And I don't. I don't write every single day. ClaireYeah, it's so harmful. Oh my gosh.JuliaI have to have a long period of time usually before any project where I just kind of like think about it. And now that I've learned that this is how I work, it really has made a huge difference for me. Because I know that if someone has asked me to write a story for an anthology or something, I can tell myself very clearly, “You know we have to write a story for this anthology. So, let's start thinking about that.” And then I go about my business doing other things, but I'll be working through the problem in the back of my mind. And I will do research and I'll do other things, but the whole time, what I'm really doing is the hard brain work of invisibly creating something inside my head that I don't even necessarily really fully understand until I actually start writing. And I won't be ready to start writing until it's ready.ClaireI feel like I do that process, but I do it in drafts rather than in my brain first. But I draft a lot, like 4 to 8 drafts sometimes, so it's like I write before I even know what I want to write, before sometimes I have an idea. And that makes a whole draft before my draft starts, but sometimes it's just like this vague, you know, itch. Or a character, or even like a feeling between two characters. Like, what is that? How do you make that? Like, I wanted to write a theater story and I knew what the theater troupe did. And I kind of knew the world they did it in but I didn't have characters you know like the troupe was almost like an entity but somebody still has to tell the story. There has to actually be a plot. And these elements of this theater troupe that does this thing in a world that does this thing… those were like the tensions grinding against each other. So I had the 2 major tensions, but what are the pieces at play within those tensions? And I didn't know that until I started, you know, wrote the first line, which came out of nowhere.JuliaRight? yeah.ClaireAnd then I figured my way through from there. But it's funny how much you can do with 2 grinding tensions. JuliaI mean, yes, as the actress said to the bishop. You can count on me for that 12-year-old humor. ClaireLOL. Anytime, Julia Rios.JuliaNo, but I find that for me, I used to be the kind of person who writes a zero draft that's not a first draft. It's the draft where I try to tell myself what I'm even writing, and it's a giant mess and completely often unsalvageable. So I have many, many old stories languishing on hard drives that are just like a complete mess. It doesn't do anything for me, and many of them are such a mess that I've never come back to them. It's like, it's not worth it. Now that I know that I kind of have to do this percolating thing, my drafts come out a lot cleaner. Which isn't to say that I don't end up having to change them and edit them. I do! It's just that my rate of unsalvageable muck is lower.ClaireThat's cool. You can actually work on it because you're not shuddering away from it.JuliaAnd because there's something to work on. I literally, because I tried to do NaNoWriMo many years, and I had so many attempts at it that just came out as just a mess. Not a mess that you're like, “Oh, this could turn into a good story!” Just like, what is even happening here? No one knows.ClaireHave you over have you ever tried to do a NaNoWriMo where you've spent all year thinking and prepping for it the way you do for a short story for an anthology?JuliaI think, yes, I have, and that's probably the one that came the closest to actually being decent. This was many years ago, though, and I say close to being decent, by which I mean, like, had a full story arc. And I don't think I finished the word count during NaNoWriMo. I definitely didn't finish the novel during NaNoWriMo, but I had been thinking about it a lot before I started it, and I did do a big chunk of it during NaNoWriMo. I don't remember if I did 50,000 words or if those 50,000 words ended up staying. I think I still have that saved somewhere, possibly in a Google drive. But it's the kind of thing that also it was so long ago. I haven't attempted NaNoWriMo in many years because I finally figured out that like, hey, you know what? Trying to push myself in that particular way isn't actually productive for me. ClaireYeah, that's what Ellen Kushner once called the cult of word count, which, I have to say, I mean, all these years later: Saint Death's Daughter! But it is not really the story I wrote in NaNoWriMo, though there are many elements… Like, you could see the origins there. JuliaI don't think it's a cult of word count. I think that it's a really useful tool for some people. I think it depends a lot on what kind of writer you are. ClaireYeah, I always wanted to do it again.JuliaI know people for whom they have a great time and they come out of it with something that they enjoy. And I know several self publishers who, like, a lot of the people who really are successful in self publishing can just crank out stuff and they are very prolific. They have an idea of what they want to do and they just sit down and do it, and they do that over and over again. And if you're really fast, doing something with a bunch of other people and knowing that everybody's doing it at the same time can be a very powerful tool.ClaireI've always wanted to do it again, and I never have, and I wonder why. It was like that 1 year in Chicago, and, I mean, I was commuting an hour both ways to the bookstore that I worked at. I'd come home and I remember that I would read a chapter of Jane Eyre (which I've read an umpteenth billion times) right before writing, because I couldn't get started without having read something, but I couldn't read something that I would get into too much, because I didn't want to lose all my time to reading something that I found super fascinating, but it had to be really good. Because it had to feed the writing itself. So Jane Eyre was the book of choice, and I would set a timer. I'd read for a half hour, and then I would try to do 2,000 words, and it was really interesting, and it created a lot of cool things. And I feel like I was like, “This is cool. This works.” If I did that every month, oh boy. What a writer I would be! And it made it feel possible to to be that kind of writer, and yet I've never been able to duplicate it.JuliaWell, the other thing I wonder is, for you, if that isn't the kind of thing that you can sometimes do in a sprint, but can't do in a marathon setting. And often when you're writing as a career, you're doing a writing marathon. You're not doing a writing sprint.ClaireYeah. Yeah, maybe I'll do it this year, though who knows? It would be cool. You know, it'd be cool if I wrote the next two drafts of Miscellaneous Stones —sorry, of Saint Death's Daughter. I still do call it by its old title, or just by her name, really— if I did both drafts as NaNoWriMo to start with, to give myself, like, starting time motivation. You know, like, here's the seed… and maybe if I start out with 50,000 words and I don't give myself 12 years, it won't turn into almost. 200,000 words. Maybe I could just kind of keep it in… But, you know, usually a second draft doubles. So like 100,000 words is not bad for a novel, you know. We could maybe keep it at that that.JuliaSo you mentioned NaNoWriMo, and you said that this is what came out of it. Was this actually your NaNoWriMo novel?ClaireIt was, but it wasn't the beginning. The beginning is further back than that, though I often count the first draft of Saint Death's Daughter as the NaNoWriMo. I think it was 2006. But, before that, was a short story in Phyllis Eisenstein's science fiction class at Columbia College, where there was the idea of a girl raised in a family of assassins. But it was a sci-fi story, and the butler was not a housekeeper, and it was not undead. It was a robot, a robot butler named Graves. So, before that, though… Several years before that, either I was just in college or just before college, my friend Kiri took me out shooting in the Arizona desert. We were both raised in Arizona. She said, “You're going to be a writer. At some point you probably will have to write about guns, so you should definitely shoot a gun sometime during your life, and I want to be the one to take you to shoot a gun.” So we went out to the desert to shoot guns, and we had noise canceling headphones and everything, but either mine weren't working or my ears are very sensitive or bullets are just that loud, but it was so loud that after the first shot I was getting heart palpitations and my hands were sweaty because I didn't want to hear that sound again. I was like, “Oh gosh, if this had a silencer on it I'd be a badass assassin, but it doesn't and I'm afraid of the sound. Wouldn't it be interesting if there was a character who was supposed to be an assassin, but was allergic to violence?”That was the idea, and I remember when it happened, and it didn't show up in a short story for several years, and it didn't turn into a NaNoWrio novel. But the idea has always been appealing, especially throughout all the media and books I've read, and still am reading, where violence is such a problem solving tool on a micro and macro scale. There are so many TV shows where, if you don't agree with someone, you punch them in the face, which is not how my life works at all. And then like on an epic fantasy scale, if you don't agree with someone, you invade their country and you kill all of their orcs or whatever, you know? And I just thought like what if she doesn't have that option? What else can we do if you don't have that option? How many workarounds does somebody have to figure out in their life? In a world like ours that's full of violence, but you're incapable of it? Not that you don't want to sometimes, but that even wanting punishes you?I mean, I still think it's an interesting idea. Thank goodness, because it's still enough of an idea to create two more books out of, I think. And then trying to turn it and look at it from a different point of view. What does violence mean? What does history mean? What is, like, not only the violence of a physical violence, but the violence of your own history? The lies and the biases and the prejudices you've been told? The violence of your own education? How seeing the world and growing a little older and thinking about things differently, and learning another language changes your mind, you know? So, I mean, I still think that's interesting. JuliaYeah, I mean I think it's very interesting. I think that you really do dive into a lot of those questions, and it's very cool to see Miscellaneous Stones exploring them.Yeah, I think this leads into… This is a good place to dig into a question from Francesca Forrest.ClaireOh, I Love her!JuliaThat's because she's delightful! So, she says, “I know Claire's journey with this novel is very long. I'd love to hear what the most important differences are between the novel now and the novel she started so long ago, and which things have remained the same or very similar over all the years.”ClaireThe first novel, that was 50,000 words almost exactly, was very cheeky. It's very lighthearted, and the violence is cartoonish, and the consequences are surface. It's as funny as I could have made it at the time, which isn't very. But what has happened since then? Well, many things. Many drafts, many years, and also Carlos. And one of the wonderful things about Carlos—so he caught me at about draft four, so he's been with it for more than half the book, more than half of the drafts. It was about eight full drafts till it hit the agent and went on submission, and then a couple more drafts from the editor. So, Carlos did many, many things for me, but the three things that stand out are:The child, DatuThe father, Mac The Scratches, the Scratch family So, in the original, the child, Datu, is like one of those anime 6-year-old genius serial killers. Do you know what I mean? Like, cold stone killer, acrobatics, dance on the edge of a leaf. Really funny and witty, but also six years old. And he was like, “She's a child. She's six years old. She may have been trained. You know, like, you see children gymnasts who are capable of amazing things, or children Broadway performers, or child actors who've won the Academy Award, and they are amazing. They're still children, and that level of savant genius has a toll, generally.” He kept being dissatisfied. He's like, “We've seen cartoon death child already. Like, what else have you got?” So, I think Datu’s really different.Mac, the father, really different. Because he's one of the only nurturing, moral male characters in the in the novel. And I think Carlos was just like, You know, give me more than brooding male / potential love interest.” Earlier drafts, he definitely was Lanie's love interest, and I've moved far away from that. Because it is more interesting. Satisfying romantically is one thing, and what I kind of like to read and am inclined to write. But what is more intellectually and emotionally interesting now is different. And he's like, “I don't think if one's sister has enslaved a man, got her child upon him, abused him in many ways, that it's very likely that that man will end up falling in love with you, unless it's super traumatic and ugly, you know?” Like, he was just so repulsed by it in a way that was so different from every romance novel ever that takes a damaged man and puts it with your protagonist and by the end he's not as damaged because love has saved him, or whatever. Like all of those tropes that I grew up with. So he kept saying that. He kept being dissatisfied. And, you know, his best friend Maggie once told me, “You have too high of an opinion of his high opinion.” But the truth is I do want his high opinion so badly, and it tells me something when I can make him cry or laugh. Like, it's working. That's what I want. And when I make him make a certain face like, this just isn't right! This doesn't feel good. “Give me something. Mac has to be better than that. You have to make him better.”So he really turned into, in many ways, a moral center. He's wrong sometimes. But he thinks about it, comes back, and says, “I was wrong about that.” You know, he's actually capable of growth. He has such an interesting internal life. And he and Lanie become like brother and sister, true brother and sister almost in spite of everything that happened to them. Consciously, to make this decision to be family, that’s something that is a huge difference from brooding man who turns into a falcon, totally damaged, awesome, scarred, so hot, ends up being the love interest that lightheartedly, coyly flirts with you at the end sort of thing. I still have that Mac inside of me, but he doesn't fit anywhere in the future of Lanie Stones. What does fit in is an increasingly interesting intimate. Not sibling the way she and her sister are siblings, but like, will be there for you if you need me. Always, and in both physical and spiritual ways. And then, the Scratches… There's like the huge major villain, which is the Blackbird Bride, which, I actually am a little in love with her, and I feel deep pity for her. But she's also, like, she just needs to be shaken some sense into, and she's not capable of being shaken sense into. She was not born that way. But the Scratches are the villains on the ground, or at least the antagonists. They are definitely working against the Stoneses, for reasons that are both apparent and mysterious. There's the front reason, like, you owe us money. And then there's the deep-seated, like, your family versus my family a hundred years ago, feudal reasons.But the nature of the scratches… They were very much like cartoon villains, and in the first draft, by the end, Lanie had turned them into like neon colored bunny rabbits. That was what her magic did. They ended up being a bunch of neon bunny rabbits that she sold to a circus or something like that. That was that story. It is not that story anymore. There's no magic that turns anybody into neon colored bunny rabbits, and there are severe consequences to the Scratches doing things the way they do. Which is, you know, sometimes with violence, and sometimes with arrogance, or with coldness, or with an uncompromising vision. And not everybody survives that.And the Scratches, once they have enough power to do so, change their name back to their true name, and they start to live by their own standards. They'd been sort of subsuming themselves for so many years, but like the nature of of culture and language again like they kind of represent a lot of that and they are very reasonable and and yet have been part of a people who have been very oppressed and downtrodden for. Hundred years so like there's a there's like they occupy a whole different space. So I would say those are the 3 and I blame Carlos for all of them but also just like living in the world a little longer than 27 years Ah also helped.JuliaYeah, I mean, I'll say one thing that I noticed a lot, reading the final version versus the the draft that I read so many years ago… because I think it was probably ten years ago that I read a draft of this. ClaireYeah.JuliaFor me, some of the things that stood out were just how much more real a lot of the world felt. And I don't mean like I could imagine being there, because I feel like you always have drawn worlds that I could imagine being in. They're very vivid. And your writing voice tends to draw people in that way. So it's normal to think, “Oh, I'm reading something by C. S. E. Cooney and I feel like I could just walk into this world.”But the realness was more of this sort of like… The sense that all of this frivolity was happening in the harmony and contrast with oppression and suffering and what those things specifically meant and how they tied into each other and fed each other on multiple axes. And I don't know if part of that is just your deepening life experience or part of that is having feedback from different people. But I think, like, you were talking about the character of Mac, and how he changed from being just like a hot scarred hawk guy and into someone who has become in a lot of ways a moral center, and I think that I noticed that with Goody Graves as well. ClaireYeah.JuliaIn the draft that I remember first reading, Goody Graves was just sort of like a loyal retainer who was always there and liked Lanie. And that's great and cool, and it's also you know, unexpected that your loyal retainer is going to be an undead, stone, statue person. But in this draft you you learn a lot more about who she is and her backstory and what she is capable of doing or not doing, and it makes it feel that much more real and rich because you have a lot more — there's a lot more to chew on, I guess.ClaireYeah, Amal said when she read it —this will always stay with me, “It’s like I can see your stretch marks.” You know like she's read so much, like you, I feel like she can see all the layers. I don't think she ever read an earlier draft. And I'm very aware of the draft you read, because you were the one who gave me the language of the many gendered god of fire, and I remember changing that because of how you were very gently like, “I don't think we use those words anymore.” And then I started thinking about gender in a different way, because, at some point in our lives, we have to start. You know like if you don't know something, there's a point where you learn it, and that was the point where I learned like, oh, a fire god, a many-gendered god of fire makes it much more interesting and open and like less like, “Oh, I don't want to touch that…” You know, like, you gave me my god of fire, Julia.JuliaOh, that's so nice! I love the way that worked out, by the way. And I really love that the inn that she sort of ends up working at has a history of having been a brothel at one point, and it's still actually there and informs the present of it today. And I love the character that's clearly Patty Templeton.ClaireDread! Yes, I want to write the novella that's mentioned in the footnote about Havoc Dreadnought. Havoc: the life and times of Havoc Dreadnoought, and how she… like there's a huge footnote about it, and yeah, I want that to be the title of a novella someday. JuliaI guarantee you you will have a built-in readership for that.ClaireYeah, I love the school. So there's an inn, and on top of the inn is a bakery, and on top of the bakery is a school, and the the school part had been a brothel, but they leave a lot of the brothel trappings to sort of, the footnote says, to lure people into higher education. To lure the unsuspecting into higher education. I feel like some of the cheekiness of the first draft, when I really just wanted to be Terry Pratchett and failed constantly. I'd lost a lot of the humor in many of the drafts to come, and then I just missed it so much that, very late in the drafting process… There was so much world-building and backstory that I wanted that didn't fit into the narrative flow, and so many jokes that I wanted to make that delighted me, so that's when the footnotes happened.I was like, I have to cut all this, ooh, but I could put it in a footnote and then make it even funnier! So that's what I did and I feel like Jasper Fforde, Terry Pratchett Susannah Clarke, you know, I think they sort of give you permission to do footnotes.And when I was younger, if a story had footnotes in it, I would actually not read them. It just didn't occur to me to do so. And I feel like if a younger person, or somebody who hates footnotes, read Saint Death’s Daughter through, they'd still get it without having to read the footnotes, but the footnotes are the parts that made me laugh out loud. And I don't easily respond to my own writing like that. But some of the footnotes still make me laugh.And I have to say that's what Carlos says. When he's writing, if he can make himself laugh out loud, he knows it's working, because it's like tickling yourself. It's a lot harder to do.JuliaYeah, I 100% agree with that. Okay, so last Patron question is, “I would love to find out what it was like finding an agent and how your agent helps you in your career.”ClaireOkay, yeah, it's so hard. I thought when I was first setting out to find an agent, I'm like, “I'm going to submit to an agent a day. No, five agents a day!” It's a numbers game —everybody says it's a numbers game— if you can get to a hundred submissions, your chances are so much higher than if you do ten submissions, but so is dating, they say. I don't know how similar or dissimilar they are, but what I found when I was submitting….First of all, it's sort of like the cover letter and the synopsis takes a lot of eyes and brains. You definitely want to get some friends on it, especially friends who've already gone through the process. For doing the synopsis, if you have three friends who've read your book, basically what I ask them is, “Could each of you write your version of a synopsis of my book and send it to me?” My friend Caitlyn is really good at that. So I think Carlos maybe did, and Caitlyn did, and I had my synopsis. And Caitlyn's really good at making my book sound like something somebody would want to read. I wrote a very stilted like, “And then, she very formally did this thing in an elucidating sort of way, and you know there was a villain…” or whatever. It just was very stiff, and she'd be like, “Kapow! Kablam! Exclamation point!” I mean it all felt like an exclamation point. It felt like an actual back of a book, and by reading her synopsis, I saw what was important or what stood out, or like, “Oh that's what it feels like to write a compelling synopsis. I think she left a few important things out which I will slip in and try to do it more in her style…” And then again if you have a third view, it's even better because then you can have a pretty hefty, true to the story synopsis in a way that you, as a writer, may be too close to write initially. So I say cover letter, synopsis… And cover letter is much like a cover letter for a submission for a short story, where you give your credits. So you have to make yourself look like you're worth reading the first chapter of, I guess. Which doesn't necessarily mean that you have to have a bunch of credits to your name, but you just have to, I guess, be confident, or know who you are, or at least be polite and professional. So anyway. All of that to say that I set out with this very what Caitlyn calls Big Book Energy. You know, I'm going to do all of this because it's a numbers game! And I found that like after submitting one, I had this terrible headache. My stomach was a mess. I had to go lay down, and the whole day was shot, and I was like damn it this is not how you win a numbers game! But I couldn't, emotionally, make myself do more than one a day, very rarely more than one a week, so it was a very, for me, slow process. I Still don't know, if I have to do it again, how would I do it. Because it would just… I'd hope I'd be tougher now. And I'd hope I'd make better lists and do things better, but actually I think it will always be hard, and it's what mood people are in how overwhelmed they are, how much they might like the thing that you're writing. And, boy, like books are so personal and so intimate. So I would say that I sent it out to a lot of people. I got very few responses. Some of the responses I got quick were just, “This is not for me. Didn't catch my interest.” And you try to think, “Ah, I didn't catch their interest. I am boring. Nobody loves me.” Eventually, I got a great response from one of the submission editors at New Leaf, I think they're called. I loved every single agent bio that I read, I loved their mission statement, I was like, “Oh, these people! I want these people to read my book and love me!” And it got to the submissions editor or agent, the one who reads things before they send it up to the main agent, like kind of to get you past the slush pile, and she just wrote back with such enthusiasm! And she's like, “I'm going to set it up to my boss right away!”Even just that stage, even to get any kind of feedback of that tone of voice that I'd been waiting for… I want the people who represent me to have that tone of voice! And it did get passed up to her agent, and I think she even was reading it, but I think she had a baby and a lot of things.And in that interim, when she was reading it and having a baby and life was happening, Markus Hoffmann at Regal Hoffmann & Associates also read it. And he was a suggestion of a writing friend, who said, “This is my agent. I really like him. just tell him I sent you.” So that was a kind of a Who You Know moment. It was Audrey Niffenegger, who I had met once at Columbia College Chicago. We were on a panel together. She had been a teacher there and I had been a student. She wrote The Time Traveler's Wife. So we were Facebook friends, but we had had literally no interaction since that one panel we were on, where we were on a panel but didn't really talk to each other, we just talked with each other. And she saw on Facebook when I was like, “Oh, this agent quest, it's such a slog.” You know, how one does when one's on an agent quest. She private messaged me and she said, “Try Regal Hoffman. I didn't know you didn't have an agent.” You know, like, tell him I sent you… So Marcus got back to me and he wrote an email. He said, “I quite like the first 50 pages. May I see the rest?” And then he wrote an email saying, “I would love to talk to you to tell you about this agency.” When I talked to him, I just loved him immediately. He said all the right things, and in such a tone of voice, very European. He's German, and just gentle and warm and really incisive, and had great questions, and… It's like that kind of person you want on your team, that he'll be the editor before your editor gets to you. He'll be the editor who makes the draft that makes the the publication happen. So just on all of those levels, I really clicked. So I wrote to the people at New Leaf, who still had my manuscript. I was like, “I'm sorry, I'm going with another agency.” And that agent had just read it and said, “Oh, I just finished it! I was about to write to you.” So I feel this very warm radiant feeling toward New Leaf, and I think I feel like if I had gone a little further in the process, maybe would have not been so emotionally wrecked by it, I would have gotten better at it. I would have gotten a tighter and tighter synopsis and cover letter. You know, it might have taken 50 or 100 more, but I think eventually it would have happened. That it happened this fast, I think, was due to the shortcuts of going to conventions, being on panels, that whole networking web that happens that you think will never happen that it's really hard to make happen on purpose. But Gene Wolfe once told me, “You know, all networking means is making friends.” And you don't really make friends with this cold eye of calculation of what your friends will do for you someday, you just sort of make friends who all love the things you love writing and reading, you know, and then sometimes somebody knows somebody who knows somebody, and that's one way to do it. But I think the other way also works. It just takes longer and has a toll. So I would say, working with my agent is amazing. I sometimes like think of him as like a ninja elven prince. Yeah, that's the space in my brain he occupies. He's sly, he likes things like talking up my book, and making deals, and like, going to parties. Things that I don't really know how to do, and don't really want to know how to do. he has people who do the contracts like, “Markus, can you look at this contract because it's scary?” And then he'll look at it, and he does things that I can't. I don't have the tool set, and I'm so, so grateful. And as Carlos and I have done some collaborative projects, It's been really fun, because Carlos's agent is DongWon Song and mine is Markus Hoffmann, but they used to almost work together at one point. They knew each other! And they met at a house party at our house, and they're like, “What are you doing here?” So they get to work together sometimes on mutual contracts and it's really nice that they already had a kind of warm, friendly relationship.JuliaOh, that is nice. So how long would you say it took from the time you started sending queries out until the time you ended up with an agent?ClaireIt's it's really hard to say because, like at one point I had sent it to an agent and he suggested these edits, so that took me six months to make the edits and turn it back in. He suggested more edits, and at that point, I thought, “Ooh. I liked the first round of edits a lot, but the second set of edits sounds like the book he wants is not the book I want to write.” And so I gently backed away very amicably and then started submitting again.And then there maybe comes a time where it's like, “Oh, I can't believe I ever thought that draft was worth submitting. I think I need to just sit down and rework it.” You know? So it was a lot of stops and starts, and it was years. I think I started submitting it at the fourth draft and it wasn't until like draft eight that it got an agent. That's at least a draft a year, so I would say maybe four years for that one. Some people don't ever start submitting until they are totally sure they're done. Me, I'm like totally sure I'm done after my first draft, and then two weeks later I'm like, “What was I thinking?” And you know then twelve years later it's ready…JuliaOkay, well thank you so much for talking to me about this. We didn't talk about your career as an Audiobook narrator at all, which is a sort of a separate thing from your writing career. Except for when you narrate your own books. ClaireYes, thank goodness.JuliaAnd so I want to close this out by asking how was the experience of narrating this novel as a narrator who is also the writer of the book? Did you always know it was going to be you? Did you really want it to be you? And what was the whole experience like?ClaireThat's a great question, and it has a complicated answer, so forgive me beforehand. So, if I could have gotten a world class, phenomenal, powerful narrator like one of the ones I listen to all the time, like Kate Reading, for example. Or who's the really famous one? Simon Vance. You know, somebody of that caliber. Then I would totally have wanted somebody else to narrate my audiobook. But most narrators are like me, where we're pretty good. We make a living, or we would make a living if we lived in a small town and had two roommates. But since I'm married to Carlos, you know, I make a living as far as I'm concerned, but not like a New York City living. Anyway, so if somebody is just going to be very good, and I know I'm pretty good, and I know how to pronounce all my made up words. So that part of my narrating writing brain is like, “I should probably do it unless they get somebody extraordinary.” Which sounds… I don't know how it sounds, but that's how my brain works. Now, Carlos, and my mother, and a couple people who love me very much have agitated strongly from the beginning that no matter if they got Kate Reading or Simon Vance, I should still be the one to narrate it, which I fight against because there's a part of me that is not arrogant enough to think that that my text couldn't be improved upon by somebody else. I would be eager to listen to a different interpretation. It's easier to listen to somebody else's voice than my own, even though I like my voice just fine. All of that to say, when we made this deal, Rebellion seemed very excited. They like having authors narrate their own work and that had been kind of a handshake agreement. And earlier this year, as we're getting closer to publication, it ran into some snags. Like, it's pretty expensive to hire a US narrator. They have people in-house. They have deals going on. So it was almost that I couldn't narrate it and they had some pretty good narrators lined up, and I was like, “Okay, well just make sure that they call me so I can give them the pronunciations of the words I made up.”But I was unhappy, I think, in that moment because I had been looking forward to it. for two years I'd sort of had it in my head I was going to do it. I'd been prepping for it, and so that felt like a little like, “Oh it's not going to happen. Okay.” And I had to readjust my thinking.But over the pandemic, instead of commuting to Connecticut to do my studio recording for Tantor Audio, they have a working relationship with a small studio that's just three miles from me, which I can walk to. Three miles is a big difference from a three hour commute to Connecticut and staying overnight for three or four days, which is what I'd been doing for the two or three years since I'd moved here before the pandemic. So I told my agent and Rebellion. I was like, “Well, there's this little studio I work with. They do all this amazing professional production work for all of these different companies. Here are their rates. Here's their email. Maybe we could work something out.”And the next thing I knew, they're like, “Okay, you're recording next week.”So whatever they worked out, whatever my agent did, and whatever all of the powers that be… Because of the pandemic, and because of this relationship, and maybe because I wrote the right email at the right time, all of this worked out so that I could I could actually record my audiobook. So it was a bit of a roller coaster right at the end, and it was right up at the edge of time of when we could record it to have it out concurrently with the book. All of which to say that I didn't have as much prep time as I had wanted, and yet I have been prepping for twelve years at this point.I wanted to make every day in the studio more than usually special. I really wanted to say this is the end of a very long journey of many drafts and many despairs and a lot of leveling up. And yet it felt like another day. If I didn't pay super close attention, it would just be another grinding week at the studio, and I didn't want that. So every day I dressed up to match the section of the book that I was going to be recording. I wore like a different little perfume that had a note of citrus in it because citrus is the smell of necromancy in my book, and I wore a piece of jewelry that usually a friend or a loved one had given me that had to do with the book. I really tried to make it not just a recording, but a celebration of a decade and a half of work. And it was a blessing, in that sense, to record my work, and to look at it in its final form, and to say, “Ah, well, this was a thing, and this is what that thing looks like, and now it's in my mouth, and it's for you in your ears for all of posterity.” And that's something, because you know we still listen to W. B. Yeats at the beginning of the twentieth century reading his work in his own voice. There are probably better actors to read his work, but it is something to have his poems and his own voice. And so now we have this work in my voice, and I feel that in this human pageant, it's something that is super special. Very pleased.JuliaI think it's great. I loved it, and I think you're a wonderful narrator. I think you're not giving yourself enough credit.ClaireOh, but not British, Julia!JuliaWell, no, you're not British, but you are someone with a huge background in theater, and training, and also a large amount of experience at this point in narration, and you know your stories better than anyone, because you did spend all of your twelve years refining this particular book.ClaireThat's what Carlos says, so you and Carlos… if you and Carlos say it, I know that you're both more right than I am because I trust your brains.JuliaI thought it was a wonderful experience listening to you read it, and if you're listening to this podcast and you like listening to things, go ahead and pick up the audiobook of Saint Death's Daughter, because it is really wonderful. If you like to read things on the page, the text is also there for you, and that is also wonderful. But if you like listening to Claire's voice, get that audiobook. Thank you Claire and, thank you so much for taking all of this time to talk to us and answer all of our questions.ClaireThank you so much. Julia.JuliaI hope everybody goes out and reads your wonderful book, which is full of horrifying things, and also great bits of humor, and wonderful humanity. ClaireThank you.JuliaThanks so much for listening. If you want to have the chance to ask your own questions, or request specific kinds of posts from me, consider joining my patreon which is at patreon.com/juliarios, or my substack, which is at omgjulia.substack.com All patrons and subscribers get early access to every piece of creative work I commission from other creators in my Worlds of Possibility project, and your pledges and subscriber fees go directly to help pay for those stories and poems, and for the cost of my equipment and my labor, because recording these interviews, and then editing the transcripts and editing the recordings and making them podcast-ready for you takes a lot of time and effort! I am a little later on this one than I had intended to be because I got COVID again! Oops! So that’s why my voice sounds a little hoarse right now. Luckily, I was able to get antivirals, so that is fine, and I am doing better, but it kind of threw a wrench in things and it really made me realize how much time and effort this kind of thing takes. It takes a lot! So, if you have been enjoying this, please do subscribe. Please, any amount that you feel like contributing will absolutely help keep things going for me. And I’m in the middle of accepting all the pieces I am going to accept for this wave of Worlds of Possibility, and I have some GREAT stories to share with you, so I can’t wait to get into that, too. Thank you for listening, and I’ll catch you next time!Thanks for listening, and I’ll catch you next time. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit omgjulia.substack.com/subscribe
Datu eta informazio bila aritzeko moduak gaur hizpide Baipasan...
Za minulého režimu jsme za datum ukončení 2. světové války v Evropě považovali 9. květen. Po vzoru Sovětského svazu a navzdory západnímu světu. Ten slaví mír už o den dřív. Jak se v naší zemi oslavy i oficiální rétorika proměňovaly, to nám zachytily nahrávky z rozhlasového archivu.
21. gadsimts ir datu laikmets – ikkatrs mūsu solis tiek fiksēts elektroniskos datos, sākot ar vizītes pieteikšanu pie ārsta, beidzot ar iepirkšanos internetā. Tie vērtīga valūta, kas funkcionēt biznesam, drošībai, attīstīties zinātnes un tehnoloģiju jomā un tajā pašā laikā radīt jaunas neērstības mums pašiem. Kādus datus par sevi sniedzam apzināti un neapzināti, kam tie pieder un kādas ētikas problēmas redzamas datu izmantošanā dažādās nozarēs, raidījumā Zināmais nezināmajā vērtē Latvijas Universitātes Medicīnas fakultātes asociētā profesore Signe Mežinska un Latvijas Universitātes Biznesa, vadības un ekonomikas fakultātes lektors Mārtiņš Danusēvičs.
I'M BACK and this season opener is a great one with Datu Kelly Worden. We discuss his time with legends like Remy Presas, Jesse Glover, Ernesto Presas, and Leonard Trigg.
Alright, first you'll hear Michael Datu describe what a skilled nursing facility is and what he likes about working in one. Barbara Parks talked about equine physical therapy specifically assessing horses and how to make horses do what you want them to do. Jean Pangilinan, an officer of the Association of Philippine Physical Therapy Students, shared her initial reactions regarding the lockdown and how it would affect her schooling. Ul Juntilla discussed why manual therapy is demonized, abused and misused. And lastly, Charmaine Geronimo described The Filipino Physio platform and how it can help level up Filipino PTs' practices. --- Support this podcast: https://anchor.fm/ptmealpodcast/support
Swimming with sharks, moving to the big island, sneaking into resorts and getting kicked out of someone's house for calling them sexy.
Michael Angelo Datu is a physical therapist, a certified strength and conditioning specialist, an American Physical Therapist Association - Certified Clinical Instructor and a proud Angelean. Michael is a Physical Therapy supervisor in an orthopedic geriatric skilled nursing facility. In this episode, we talked about what a typical day is like in a skilled nursing facility, changes he experienced because of PDPM and COVID19, challenges and memorable experiences in his practice. Also, he shared valuable lessons he learned from his mentors and through his career. Let's take a listen. --- Support this podcast: https://anchor.fm/ptmealpodcast/support
Datu Tim Hartman is a student of the late Professor Remy Presas and Grandmaster Ernesto Presas. Tim talks to Doug about his time with professor Remy, Tim's groundbreaking web forum FMA Talk, and the state of affairs in the Filipino martial arts.
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