One in five people will have some kind of mental illness in their lifetime. Yet despite how common these conditions are — as common as silver cars, and more common than being left-handed — stigma remains the greatest barrier to individuals seeking help regarding their mental illness.

May is Mental Health Awareness Month. This serves as a great opportunity for our community to begin eliminating stigma by starting conversations and increasing understanding about mental illness.

Now, more than ever before, it is important to talk about mental illness. Many of us could be feeling increased anxiety, stress and feelings of isolation due to the COVID-19 outbreak and social distancing requirements. For those Iowans who already live with a mental illness, this pandemic could be causing symptoms to compound.

A recent study released by a team at Iowa State University states that increased unemployment and social isolation measures related to COVID-19 could result in an increase in suicide rates of close to 50,000 individuals.

Despite the challenges created by the COVID-19 pandemic, there still is help available: Telehealth services during this crisis is critical. Our state leaders, Iowa Insurance Commissioner Doug Ommen and Gov. Kim Reynolds responded immediately by encouraging health providers, insurers and businesses to work together to remove barriers and ensure telehealth is accessible.

Your Life Iowa, a state-operated service, offers referrals for problems related to alcohol, drugs, gambling, mental health or suicidal thoughts and can be contacted by phone, text or online chat 24/7.

Between March 1 and April 19, Your Life Iowa received nearly 500 contacts related to COVID-19 and traffic on the website — YourLifeIowa.org — is up 27 percent. Crisis lines and mental health counselors around the state and country are also reporting an uptick in patients reaching out for resources or virtual counseling. This is important progress.

However, the greatest barrier for those in need of mental health services is stigma.

If you know someone who is struggling, be a voice of support. The silence around mental illness is preventing our fellow Iowans — our friends, neighbors, co-workers and family members — from feeling better. By breaking down the stigma around mental illness, we can help them access the resources and treatment they deserve.

If someone opened up to you about their mental illness, would you know what to say? Do you have a general understanding of the most common mental illnesses? Do you know how to support loved ones dealing with mental illness? There are free resources available at MakeItOK.org/Iowa to learn more.

You can also read stories of Iowans who live with mental illness, take a pledge to end mental illness stigma and learn more about how you can get more involved with Make It OK through ambassador trainings, upcoming events and workplace programming.

Together, we can end the stigma and Make It OK.

Jami Haberl, Iowa Healthiest State Initiative; Lori Weih, UnityPoint Health — St. Luke’s Hospital; Tricia Kitzmann, Linn County Public Health and Mona McCalley-Whitters, Ph.D., NAMI Linn County.

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Benjamin Stuben Farrar of Iowa City is a storyteller without a story to tell at the moment.

The first story is as dramatic and layered as his bold scenic and lighting designs for area stages: “Benjamin Stuben Farrar” is not his actual name.

He was born Stewart Benjamin Farrar 41 years ago in Kentucky. He didn’t want to go through life as “Stewie,” so he went by “Benjamin,” until he got to college at Vanderbilt University in Nashville. He ran into so many other Bens, that his buddies decided to combine his names into “Stuben.”

That name followed him to grad school at the University of Iowa in 2002, where he earned an MFA in theater design. But when he moved to New York City in 2006 to pursue his career, he didn’t like hearing “Stuben” shouted across the theater.

“It sounded too much like ‘stupid,’ ” he said, “so I reverted back to Benjamin.”

But nicknames have a way of sticking. When he and his wife moved back to Iowa City in 2015 to raise their daughter, he switched to “Stuben” again, since that’s how people knew him there.

Professionally, he uses “S. Benjamin Farrar” and on Facebook, he goes by “Benjamin Stuben Farrar” so friends from his various circles can find him. Even though most people now call him “Stuben,” he still introduces himself as “Benjamin.”

“To this day, I have 12 different names,” he said with a laugh. “Only the bill collectors know me as ‘Stewart.’”

Like his name, his artistry knows no bounds.

He has planted apple trees on Riverside Theatre’s indoor stage in Iowa City; a child’s outdoor playground on the Theatre Cedar Rapids stage; and dramatic spaces for Noche Flamenca’s dancers in New York City venues and on tour.

These days, however, his theatrical world has gone dark.

His recent designs for “The Humans,” “The Skin of Our Teeth” and “Kinky Boots” at Theatre Cedar Rapids and “A Doll’s House, Part 2” at Riverside Theatre have been canceled or postponed in the wake of the coronavirus pandemic. He has “The Winter’s Tale” in the works for Riverside Theatre’s free Shakespeare in the Park slated for June, but time will tell if that changes, too.

“Within the course of two weeks, five productions were canceled or moved indefinitely,” he said.

Looking ahead, he’s not sure what shows he’ll have time to design for the upcoming seasons. He’s used to juggling three or four productions at a time, but he said that could become really difficult if the shows fall on top of each other at the various venues.

As with so many artists right now, his world keeps changing.

He and his wife, Jody Caldwell, an editor and graduate of the UI Writers’ Workshop, are both freelancers, leaving them with no income during this pandemic. So Farrar has been wading through red tape and delays to secure unemployment compensation and the government stimulus check, for which he’s still waiting. One bright spot was receiving a $1,000 Iowa Arts & Culture Emergency Relief Fund grant given to 156 Iowa creatives who have lost income from canceled projects.

With his regular revenue streams drying up, he’s been considering other ways to earn money through teaching theater or creating and selling more of his digital and film photography — an outgrowth of his fascination for the way lighting can sculpt a scene on stage.

“I love doing nature (photography). I love doing details,” he said. “I love photographing people, too, especially on stage — I love photographing my own shows. It’s just a lot of fun.

“For me, nature’s so interesting, especially living where we do in North America, there’s vast changes from one time of year to another. I just love looking at that on a very small scale, and how light happens to fall on that particular surface — how that surface changes color,” he said.

“Right now the redbuds are out. The magnolias came out two weeks ago and then they started to fall. It changes the landscape dramatically, especially based on whether it’s a morning light or afternoon light or evening light, whether it’s cloudy, whether the sun’s peeking through clouds and highlighting a few individual leaves. I find that super fascinating.

“That’s how I can look at the same boring tree at different times of year, at different times of day, and find something interesting to photograph.”

While his scenic designs create an immediate visual impact and help tell the story swirling around the actors, Farrar was a lighting designer before he became a scenic designer.

It wasn’t love at first sight. He took a light design course in college, but didn’t “get” it.

“It’s really difficult to wrap your head around it,” he said.

His aha moment came when he was running lights for an operetta in college.

“I just had these little faders in front of me so I could raise certain lights up and down. And the music was happening in front of me and I thought, ‘I control this whole little universe. I can make things completely disappear. I can sculpt things from the side, I can make things feel totally different — just like music can — just based on how it’s lit.’ And then I finally started to understand how the lighting hooked things together,” he said.

From there, his interest in lighting soared.

“I absolutely love lighting,” he said. “I think it’s probably given me more joy than anything else, just because I can go for a walk someplace and just the way the lighting changes as the clouds come in or out, or as the time of year changes and the angle of the sun changes, I really enjoy seeing that — and that’s what got me into photography.”

While his design work is a collaborative process with the director and other production team members, the ideas begin flowing as soon as he starts reading a script. With the flamenco dance company in New York, he might start working on a show two years in advance. With Theatre Cedar Rapids, the lead time is generally six months to look at the season overall, and four months to “get things going” on a particular show, he said. The lead time is about two months for Riverside Theatre shows, which have shorter rehearsal periods.

He begins thinking about the theater spaces, the text that the audience never sees, the show’s technical demands, and the scale in relation to the human body. He still likes to do some of his design work by hand, but computers and the 3D printer he has in his basement workshop have made the process much quicker for creating the drawings and scale models for each show.

He also enjoys the variety and challenge of moving between the small space inside Riverside Theatre and the large space inside Theatre Cedar Rapids, as well as the theaters at Grinnell College and Cornell College in Mount Vernon, as well as the theaters in New York and the touring venues that have housed his designs.

Ultimately, the goal of scenic design “is always about the storytelling,” he said.

“There’s a version of a show that exists in a script, if there is a script. Assuming it has a script, there is a scaffolding for that show in the script, and then there’s a version of the show in the director’s head, and then there’s a version of the show that’s performed in my head as I read the script. So there’s all these different versions.”

If the show is a musical, the choreographer brings in another idea, and the musical score adds another element. Sometimes Farrar knows the music very well, but other times, he doesn’t.

“Hopefully, I can integrate that well if I listen to the music while working on the show — not usually when I’m reading the script, but while I’m drafting the show. I’ll listen to the music to get a sense of how the show wants to move.

“Integrating all these different versions of the show — the text, what’s in my head, what’s in the director’s head, what’s in the choreographer’s head, the role the music plays — and then you synthesize all those elements, and then you find out how the show wants to move in the space it has. And how a show moves is one of the most important things to me. ...

“You get a sense that the show becomes this conscious element that wants a certain thing, and will reveal those things over time.”

And time is something he has right now.

Comments: (319) 368-8508; diana.nollen@thegazette.com

On Wednesday, Gov. Kim Reynolds removed some restrictions on businesses in the 22 counties that have been seeing higher numbers of Iowans affected by COVID-19, including Linn and Johnson counties.

Now those organizations have to make decisions — on bringing back employees, services to provide and how much access to allow for customers.

And as those businesses reopen — some after more than two months — crucial steps likely will include ongoing communication with employees and customers and a well-thought-out restart plan.

The Gazette spoke with business leaders about the challenges faced by business owners as they consider how and when to open their doors.

• David Drewelow of ActionCoach Heartland in Cedar Rapids is a consultant with 19 years of business coaching experience.

• David Hensley, director of the University of Iowa’s John Pappajohn Entrepreneurial Center, has expertise in small business management during a crisis.

• Josh Seamans is vice president of Cushman and Wakefield, a global commercial real estate adviser that operates offices in more than 60 countries including China.

• Steve Shriver is a Cedar Rapids entrepreneur who operates and/or helped found four diverse enterprises, including Eco Lips and Brewhemia.

Their responses here have been condensed from lengthy individual interviews.

How important is communication and having a well-prepared plan for resumption of business?

Shriver: The one thing that has been imperative throughout this whole process is communication with employees, customers and the public. I also would recommend writing as detailed a business resumption plan as possible.

One of the main reasons is to fully understand what you are doing as this is a brand-new challenge that none of us has faced.

Drewelow: You really need to be communicating now, more than ever, with your employees, customers, vendors and suppliers. What does your plan for the next 20 to 30 days look like? What are things that you can be doing right now to get ready?

Hensley: I think it is critically important to have a reopening plan because most businesses are not going to be at full strength right away. What might their revenue forecasts look like? How can they keep their costs down as their business starts to rebound before it gets back to full capacity?

Seamans: Your plan should include a checklist of reopening steps appropriate to your type of business. Retail will have different items than distribution or industrial businesses.

You need to communicate your plan to employees, customers, landlords and lenders.

How much will fear play a role in the resumption of business?

Shriver: Everyone has a different idea of the risks involved, such as using a handle to open a door or interacting with a person — the little things that we are used to doing.

When you look at the risk versus reward of doing that, some people will be willing to go into a store and others will stay home. Some employees don’t want to come back to work yet and some people are itching to get back. You have everything in between.

Drewelow: The fear factor is huge. For the small business owner, we try to channel that fear into a focus on being highly aware of all the possibilities to mitigate concerns.

If you own a restaurant, can you post the menu online or use disposable menus? That way, a customer doesn’t have to touch something that might have been handled by someone else.

Appropriate spacing of customers within a restaurant also will help alleviate some of the fear.

Hensley: You need to communicate what steps you are taking to protect the health and safety of your employees and your customers. If you will be requiring the use of personal protective equipment like face masks, are you going to make them available?

Will limiting the number of people entering a business be difficult?

Shriver: There are not a lot of people who want to gather in masses right now. It seems like as businesses start to reopen, it will be more like a trickle.

It will be just like turning on a water spigot, with the flow of customers gradually increasing.

Hensley: I think we will see a lot more customers buying, rather than just shopping. They are going to buy the items they came for and then leave.

If businesses have more vulnerable customers, I would recommend establishing separate early morning times like many of the grocery stores have done to provide a safer environment.

Many companies have adopted using digital conferencing platforms for meetings. Will we see that trend continue?

Seamans: I think Zoom will be used for more internal meetings, so there is no need for someone to fly from, say, San Francisco to New York. But in terms of sales, it does not replicate that face-to-face interaction.

We have done work with clients that live several hours away and we have to come in for a city council meeting for a project that we are working on. That’s a three-hour drive in for a one- or two-hour council meeting and another three-hour drive back — basically an eight-hour day. If we can Zoom in and answer any questions, that’s a lot more efficient at less cost.

What should a small-business owner consider when determining how many employees to recall?

Shriver: We will be able to bring some people back to work and generate some revenue, but not in a huge way. Anybody who can work from home should continue working from home for as long as they possibly can.

We should not be rushing to get those people back. There is no incentive.

Hensley: Owners are going to be making hard decisions. Do I bring back half of my team at full time or do I bring everyone back at reduced hours? What are those implications going to be?

In some cases, other industries have been hiring and some may be making more money. Businesses may have to pay more to attract that talent back.

Restaurants have been forced to change their business model from on-premise dining to carryout and delivery. Should all owners take this opportunity to examine and update their business model?

Shriver: We took two businesses — SOKO Outfitters, a retail store, and Brewhemia, a restaurant — and put them rapidly online within a month. When we come out of this, I think we will be stronger because we will have that infrastructure in place in addition to the old school face to face traffic that we used to have.

Hensley: I think this is definitely the time to look at your business model to determine what is appropriate given the economic situation that we have. That is not just going to be critical for reopening, but over the next six months to a year as long as we are dealing with the virus.

Some business owners will see that their customers have lost their jobs or seen their income drop dramatically. They are going to be changing their patterns of consumption based on necessities.

Drewelow: Some of my clients believe that are looking their competitors and realize that some may not reopen. They are looking at whether they can merge with them or somehow salvage parts of that business.

Some business owners have realized that the way they deliver products or services will have to change. Many of my older clients have been dragged into using modern technology.

DES MOINES — More than 20 days after Iowa signed a $26 million contract with a Utah company to expand testing in the state, the machines the firm supplied to run the samples still have not passed muster.

A time frame for completing the validation process for the Test Iowa lab machines is unknown, as the process can vary by machine, University of Iowa officials said Friday.

The validation process is undertaken to determine if the machines are processing tests accurately. To this point, the lab has processed the Test Iowa results using machines the State Hygienic Lab already had, officials told The Gazette.

Running side-by-side testing is part of the validation process. The lab then compares whether the machines yield the same results when the sample is run, officials said Friday. The side-by-side testing means the Test Iowa samples are being run at least twice to compare results.

The state does not break out how many of the 331,186 Iowans who by Friday have completed the coronavirus assessment at TestIowa.com have actually been tested. Test Iowa was initiated last month to ramp up testing of essential workers and Iowans showing COVID-19 symptoms. The state’s fourth drive-though location where people with appointments can be tested opened Thursday at the Kirkwood Continuing Education Training Center in Cedar Rapids.

On Friday, Iowa posted a fourth straight day of double-digit deaths from coronavirus, with the latest 12 deaths reported by the state Department of Public Health bringing the statewide toll to 243 since COVID-19 was first confirmed March 8 in Iowa.

State health officials reported another 398 Iowans tested positive for the respiratory ailment, bringing that count to 11,457 of the 70,261 residents who have been tested — a positive rate of more than 16 percent.

One in 44 Iowans has been tested for COVID-19, with 58,804 posting negative results, according to state data. A total of 4,685 people have recovered from the disease.

During a Thursday media briefing, Gov. Kim Reynolds told reporters a backlog of test results that occurred due to validation of Test Iowa equipment had been “caught up,” but some Iowans who participated in drive-through sites set up around the state indicated they still were awaiting results.

Reynolds spokesman Pat Garrett confirmed Thursday that “a very small percentage” of coronavirus test samples collected under the Test Iowa program could not be processed because they were “potentially damaged,” resulting in incomplete results.

There were 407 Iowans who were hospitalized (with 34 admitted in the past 24 hours) for coronavirus-related illnesses and symptoms with 164 being treated in intensive care units and 109 requiring ventilators to assist their breathing.

Health officials said the 12 deaths reported Friday were: three in Woodbury County, two in Linn County and one each in Black Hawk, Dallas, Dubuque, Jasper, Louisa, Muscatine and Scott counties. No other information about the COVID-19 victims was available from state data.

According to officials, 51 percent of the Iowans who have died from coronavirus have been male — the same percentage that tested positive.

Iowans over the age of 80 represent 46 percent of the COVID-19 victims, followed by 41 percent between 61 and 80.

Of those who have tested positive, state data indicates about 42 percent are age 18 to 40; 37 percent are 41 to 60; 14 percent are 61 to 80 and 5 percent are 81 or older.

Counties with the highest number of positive test results are Polk (2,150), Woodbury (1,532), Black Hawk (1,463) and Linn (813).

Earlier this week, state officials revamped the data available to the public at coronavirus.iowa.gov, with the new format no longer listing the age range of Iowans who died from coronavirus and providing information using a different timeline than before.

The governor did not hold a daily media briefing Friday due to scheduling conflicts created by Vice President Mike Pence’s trip to Iowa. Garrett said Reynolds would resume her COVID-19 briefings next week.

John McGlothlen and Zack Kucharski of The Gazette contributed to this report.

Trying to straighten all the lines on this shot is a sure fire way to go blind. ???? (at London, United Kingdom)

In the classic loudness war, music and radio producers have been trying to create their recordings as loud as possible and loudness normalization was introduced to stop that. Now one can see the start of a new loudness target war, where podcasters set their loudness targets higher and higher, mainly triggered by high target recommendations of platforms like Spotify or Amazon Alexa.
In this article, we will show how to resist the loudness target war and still be compliant with major platforms.

Resist the loudness target war! (Photo by Nayani Teixeira)

What's the problem?

“Two or three years ago it seemed that many stations were finally realizing that better radio could improve ratings. And the major myth brought over from AM radio – that a louder signal, regardless of quality, attracts more listeners – appeared to be losing its strength,” writes Robert Orban. The times of excessively compressed audio, putting loudness over sound quality, were coming to an end. We were hoping the same when we wrote about the CALM Act and EBU R128 in 2012. Those measures were meant to make programs sound more evened out and set a standard for a reasonable loudness level.

Except, Orban's article was published in 1979 (PDF, p. 60 ff.), and he concludes: "The loudness war has escalated, and quality is once again being sacrificed." 40 years later, a new loudness target war is emerging. While, yes, radio and TV stations have widely adopted the new standards, prominent competitors in the audio market are pushing for higher loudness targets once again.

Loudness war: the trend of increasing audio levels in recorded music over time. (Screenshot delamar.de)

Why LOUDER is not better

Historically, the loudness war has escalated with the advent of digital technology. Peak level normalization and quasi peak program meters (QPPM) encouraged producers to push audio signals to the limit. Just shy of clipping, signals could now be compressed to the highest possible levels, using multiband compressors and limiters. While this lifted quieter signals up, transforming a waveform into a brick, marketers thought that the louder songs on CDs and almost yelling voices on FM radio would attract listeners. On the other hand, reduced dynamics makes audio less interesting and can lead to listener fatigue, as Rip Rowan pointedly illustrated in his 2002 article "Over the Limit":

WHY IS THE LOUDER IS BETTER APPROACH THE WRONG APPROACH? BECAUSE WHEN ALL OF THE SIGNAL IS AT THE MAXIMUM LEVEL, THEN THERE IS NO WAY FOR THE SIGNAL TO HAVE ANY PUNCH. THE WHOLE THING COMES SCREAMING AT YOU LIKE A MESSAGE IN ALL CAPITAL LETTERS. AS WE ALL KNOW, WHEN YOU TYPE IN ALL CAPITAL LETTERS THERE ARE NO CUES TO HELP THE BRAIN MAKE SENSE OF THE SIGNAL, AND THE MIND TIRES QUICKLY OF TRYING TO PROCESS WHAT IS, BASICALLY, WHITE NOISE. LIKEWISE, A SIGNAL THAT JUST PEGS THE METERS CAUSES THE BRAIN TO REACT AS THOUGH IT IS BEING FED WHITE NOISE. WE SIMPLY FILTER IT OUT AND QUIT TRYING TO PROCESS IT.

Hence, many spoken word producers and broadcasters luckily wisened up and committed to new standards, based on loudness normalization instead of peak normalization. LUFS, Loudness Units relative to Full Scale, is a unit that measures an audio track's average loudness. All segments of a program can then be normalized to a certain LUFS value. As we have discussed before, -23 LUFS is standard now for broadcasters of the EBU, which for example has led to advertising segments no longer being much louder than the rest of any particular program. For a short while, it seemed like a peace agreement, or at least a truce had been achieved in the loudness war.

Human loudness perception is based on average levels instead of peak levels. (Screenshot theproaudiofiles.com)

Loudness Targets and Dynamic Range

However, while LUFS adoption is increasing across the industry, this doesn't mean that people have stopped trying to be louder than everybody else. And indeed -23 LUFS is not the one-size-fits-all value. We have recommended -16 LUFS for podcasts ourselves. The loudness of a production played in a cinema should be different from one made for earphones and noisy listening environments. Some headphones expect a louder signal and don't have enough gain to work with -23 LUFS under all circumstances.

The closer a production gets to 0 LUFS though, the less dynamic range can be reproduced. However, the dynamic range also depends on the dBTP, the maximum True Peak level, which indicates the level of the highest possible peak value. For instance, the aforementioned EBU R128 standard of -23 LUFS also defines a -1 dBTP. The difference between the LUFS and dBTP levels is called Peak to Loudness Range, PLR. For EBU R128 the PLR would be 22 LU (Loudness Units), a podcast with -16 LUFS and -1 dBTP has a PLR of 15 LU. Thus, the PLR is a measure of the maximum possible dynamic range of an audio production.

Platforms: Apple, Google, Amazon, and Spotify

Our already pretty high recommendation of -16 LUFS, -1 dBTP for mobile listening was also adopted by Apple's best practices for podcasts and recommendations for Google Assistant. Some are pushing it too far, though. A daily updated analysis by podnews shows that many podcasts are much louder than -16 LUFS.

Distribution of loudness across a selection of podcasts. (Screenshot podnews.net)

This might in part be due to specs published by other competitors in the audio space:

Amazon, for instance, recommends -14 LUFS at -2 dBTP for Alexa skills, meaning a PLR of only 12 LU. While this might work for Alexa's synthesized voice, which doesn't have much variability, it produces a dynamic range too low for spoken word content.
However, Amazon also says that a skill may be rejected if the program loudness is lower -19 LUFS or higher -9 LUFS, therefore a target of -16 LUFS is perfectly fine, which means that Alexa's robot voice leads by 2 LU compared to the audio content.

Spotify normalizes audio to the equivalent of about -14 LUFS, -1 dbTP, but they still use ReplayGain, which is not exactly the same as LUFS but gives similar results. Spotify mainly decreases the volume of overly loud productions, but can also increase the volume on some playback devices if the audio is much too soft.
For pop music, -14 LUFS is acceptable, but for podcasts or classical music, it is too high. However, (pop) music can always be played a bit louder compared to speech, therefore a loudness target of -16 LUFS for podcasts is fine on Spotify as well.

Make LUFS, not war

If producers just use the highest recommended target and therefore the loudness (target) war goes into another battle, we will hear more compressed, distorted voices once again, lacking emotion and many subtleties that are reflected in the dynamic range of how we speak.

Setting a loudness target higher than -16 LUFS does not improve the listening experience in any way. However, many productions would benefit from sensitively adjusting differences in dynamics throughout the production, lifting up quieter segments, lowering loud segments, and treating speech and music differently. As pointed out in a presentation recently (video, in German), you can do that directly in your DAW or use a leveler to automate dynamics processing.

Instead of just raising the loudness target, adjusting differences in levels can help to make the listening experience much more enjoyable.

Recent album releases suggest that the music industry is still in the middle of the loudness war, often limiting the peak to loudness range to single digit LU values. (By the way, your vinyl-buying friend is right, vinyl records do sound better because they don't work with the highest compression rates.) Hopefully, podcasters, radio producers and other spoken word artists, as well as the platforms that host and publish their productions, can resist the temptation of louder and louder audio.
Make (no more than -16) LUFS, not war!

Conclusion

With some podcasts, smart speakers and streaming platforms trying to be louder than the competition, the listening experience deteriorates. However, podcasts can sound great and loud enough even in noisy environments, when well produced:

• Never set a loudness target higher than -16 LUFS for spoken word audio.
• If your audio is too quiet, try lifting up quieter sections and reducing the volume of louder sections, directly in your DAW or by using a leveler.
• These settings will work fine on all current platforms, including Amazon Alexa and Spotify.

Resist the loudness target war!

In late 2019 the Australian Government launched the Global Talent – Independent program which offers a streamlined, priority visa pathway for highly skilled and talented individuals to work and live permanently in Australia. There are two streams. The first is the Global Talent Independent Program (GTI) and the second is the Global Talent Employer Sponsored (GTES). […]

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We're back and this week, we're talking to Avatar's colorful frontman Johannes Eckerström. If you've ever seen the band live,...

The post Squared Circle Pit #54 - AVATAR Frontman Johannes Eckerström Talks Wrestling Unlocking His Love of Metal Frontmen appeared first on Metal Injection.

We're so excited to have a huge guest on the show – big time comedian and noted metalhead, Brian Posehn,...

The post METAL INJECTION LIVECAST #551 - Where Nickelback Shines with special guest Comedian Brian Posehn appeared first on Metal Injection.

By David Suzuki The David Suzuki Foundation Seeing terms like “post-truth” and “alternative facts” gain traction in the news convinces me that politicians, media workers and readers could benefit from a refresher course in how science helps us understand the … Continue reading →

David Wolf
Oranges and Stones, , 2012
Website - DavidWolfPhotographs.com

David Wolf is a devoted film photographer, making both color and black and white prints by hand in the traditional darkroom. His work has been exhibited internationally at such venues as Aperture, The Griffin Museum of Photography, the Photographic Center Northwest, the Lishui International Photography Festival in China, and the Salon de la Photo during Paris Photo. David’s photographs have been acquired by a variety of private and institutional collections, including the Bibliotheque nationale de France, Paris; the Prentice and Paul Sack Photographic Trust of the Museum of Modern Art, San Francisco; the Santa Barbara Museum of Art; and the deCordova Sculpture Park and Museum, Lincoln, MA. He recently won top honors in both the International Photography Awards and the Grand Prix de la Decouverte, International Fine Art Photography Competition. His work has appeared in such publications as Harper’s, aCurator, and Fraction Magazine. A Boston native and Brown University graduate, David now calls San Francisco home, where his work is represented by Corden|Potts Gallery.

By Bianca Nogrady Ensia A growing number of initiatives are giving corporations the resources to help achieve global climate goals regardless of government support “We are still in.” On June 5, 2017, with these four words a group of U.S. … Continue reading →

Chris Guillebeau has traveled to 193 countries. And just to be clear, that is all of the countries recognized on the planet. He is the first person to do it before the age of 35. More importantly, he has built online businesses, side hustles, and mastered the art of a non-conforming lifestyle since he was 19 years old. There’s almost nobody better person equipped to talk about starting lots of businesses. He has a daily podcast called Side Hustle School where he’s featured more than 850 different side hustle businesses + featured many in his new book called 100 Side Hustles. Chris also started half a dozen or more himself, started one of my favorite conferences, The World Domination Summit, and is a New York Times bestselling author of books like the $100 Start Up and The Art of Non-Conformity and many others. This guy is a beast and he’s so savvy, so humble. In this episode: We go into details about some of Chris’ favorite side hustle businesses he’s come across in his podcast & writing this book – what are some of the most common traits and failures. Chris shares his experience with depression, how he’s faced it, […]

The post Adaptation, Self-Awareness and Art of the Side Hustle with Chris Guillebeau appeared first on Chase Jarvis Photography.

Ryan Holiday is described by the New York Times as popularizing stoicism, a philosophy of personal ethics which has been practiced by Kings, presidents, artists, writers, and entrepreneurs. His career started at 19 when he dropped out of college at 19 to work with author Robert Greene. Today, he’s a NYT Bestselling author, with 9 books under his belt, including his latest book: Stillness Is the Key which hit #1 on its first week. In this episode: Stillness isn’t a monk-like existence only reserved for the enlightened. Stillness is the idea of being still in a chaotic world and where our best work will come from. Ryan’s personal habits and process during the creation process to find stillness and it doesn’t include meditation. How to say no and build a practice around managing your time. Enjoy! FOLLOW RYAN: instagram | twitter | website Listen to the Podcast Subscribe   Watch the Episode  This podcast is brought to you by CreativeLive. CreativeLive is the world’s largest hub for online creative education in photo/video, art/design, music/audio, craft/maker, money/life and the ability to make a living in any of those disciplines. They are high quality, highly curated classes taught by the world’s top […]

The post Finding Stillness in a Fast Paced World with Ryan Holiday appeared first on Chase Jarvis Photography.

In this paper, we generalize the finiteness of models theorem in [BCHM06] to Kawamata log terminal pairs with fixed Kodaira dimension. As a consequence, we prove that a Kawamata log terminal pair with $mathbb{R}-$boundary has a canonical model, and can be approximated by log pairs with $mathbb{Q}-$boundary and the same canonical model.

In this article, we prove that the completeness of the Hamilton flow and essential self-dajointness are equivalent for real principal type operators on the circle. Moreover, we study spectral properties of these operators.

We show weak-strong uniqueness and stability results for the motion of a two or three dimensional fluid governed by the Navier-Stokes equation interacting with a flexible, elastic plate of Koiter type. The plate is situated at the top of the fluid and as such determines the variable part of a time changing domain (that is hence a part of the solution) containing the fluid. The uniqueness result is a consequence of a stability estimate where the difference of two solutions is estimated by the distance of the initial values and outer forces. For that we introduce a methodology that overcomes the problem that the two (variable in time) domains of the fluid velocities and pressures are not the same. The estimate holds under the assumption that one of the two weak solutions possesses some additional higher regularity. The additional regularity is exclusively requested for the velocity of one of the solutions resembling the celebrated Ladyzhenskaya-Prodi-Serrin conditions in the framework of variable domains.

In this work we consider the initial-value problem associated with a coupled system of generalized Korteweg-de Vries equations. We present a relationship between the best constant for a Gagliardo-Nirenberg type inequality and a criterion for the existence of global solutions in the energy space. We prove that such a constant is directly related to the existence problem of solitary-wave solutions with minimal mass, the so called ground state solutions. To guarantee the existence of ground states we use a variational method.

In this work, we study dynamic properties of classical solutions to a homogenous Neumann initial-boundary value problem (IBVP) for a two-species and two-stimuli chemotaxis model with/without chemical signalling loop in a 2D bounded and smooth domain. We successfully detect the product of two species masses as a feature to determine boundedness, gradient estimates, blow-up and $W^{j,infty}(1leq jleq 3)$-exponential convergence of classical solutions for the corresponding IBVP. More specifically, we first show generally a smallness on the product of both species masses, thus allowing one species mass to be suitably large, is sufficient to guarantee global boundedness, higher order gradient estimates and $W^{j,infty}$-convergence with rates of convergence to constant equilibria; and then, in a special case, we detect a straight line of masses on which blow-up occurs for large product of masses. Our findings provide new understandings about the underlying model, and thus, improve and extend greatly the existing knowledge relevant to this model.

We present a systematic derivation of the abelianity conditions for the $q$-deformed $W$-algebras constructed from the elliptic quantum algebra $mathcal{A}_{q,p}(widehat{gl}(N)_{c})$. We identify two sets of conditions on a given critical surface yielding abelianity lines in the moduli space ($p, q, c$). Each line is identified as an intersection of a countable number of critical surfaces obeying diophantine consistency conditions. The corresponding Poisson brackets structures are then computed for which some universal features are described.

Let $Isubseteq S=K[x_1,ldots,x_n]$ be a homogeneous ideal equipped with a monomial order $<$. We show that if $operatorname{in}_<(I)$ is a square-free monomial ideal, then $S/I$ and $S/operatorname{in}_<(I)$ have the same connectedness dimension. We also show that graphs related to connectedness of these quotient rings have the same number of components. We also provide consequences regarding Lyubeznik numbers. We obtain these results by furthering the study of connectedness modulo a parameter in a local ring.

The Baumslag Solitar group $BS(2,3)$, is a so-called non-Hopfian group, meaning that it has an epimorphism $phi$ onto itself, that is not injective. In particular this is equivalent to saying that $BS(2,3)$ has a quotient that is isomorphic to itself. As a consequence the Cayley graph of $BS(2,3)$ has a quotient that is isomorphic to itself up to change of generators. We describe this quotient on the graph-level and take a closer look at the most common epimorphism $phi$. We show its kernel is a free group of infinite rank with an explicit set of generators.

Given a standard graded polynomial ring over a commutative Noetherian ring $A$, we prove that the cohomological dimension and the height of the ideals defining any of its Veronese subrings are equal. This result is due to Ogus when $A$ is a field of characteristic zero, and follows from a result of Peskine and Szpiro when $A$ is a field of positive characteristic; our result applies, for example, when $A$ is the ring of integers.

We consider a fair division setting where indivisible items are allocated to agents. Each agent in the setting has strictly negative, zero or strictly positive utility for each item. We, thus, make a distinction between items that are good for some agents and bad for other agents (i.e. mixed), good for everyone (i.e. goods) or bad for everyone (i.e. bads). For this model, we study axiomatic concepts of allocations such as jealousy-freeness up to one item, envy-freeness up to one item and Pareto-optimality. We obtain many new possibility and impossibility results in regard to combinations of these properties. We also investigate new computational tasks related to such combinations. Thus, we advance the state-of-the-art in fair division of mixed manna.

We investigate sparse matrix bipartitioning -- a problem where we minimize the communication volume in parallel sparse matrix-vector multiplication. We prove, by reduction from graph bisection, that this problem is $mathcal{NP}$-complete in the case where each side of the bipartitioning must contain a linear fraction of the nonzeros.

We present an improved exact branch-and-bound algorithm which finds the minimum communication volume for a given matrix and maximum allowed imbalance. The algorithm is based on a maximum-flow bound and a packing bound, which extend previous matching and packing bounds.

We implemented the algorithm in a new program called MP (Matrix Partitioner), which solved 839 matrices from the SuiteSparse collection to optimality, each within 24 hours of CPU-time. Furthermore, MP solved the difficult problem of the matrix cage6 in about 3 days. The new program is on average more than ten times faster than the previous program MondriaanOpt.

Benchmark results using the set of 839 optimally solved matrices show that combining the medium-grain/iterative refinement methods of the Mondriaan package with the hypergraph bipartitioner of the PaToH package produces sparse matrix bipartitionings on average within 10% of the optimal solution.

We present a sound and complete method for the verification of qualitative liveness properties of replicated systems under stochastic scheduling. These are systems consisting of a finite-state program, executed by an unknown number of indistinguishable agents, where the next agent to make a move is determined by the result of a random experiment. We show that if a property of such a system holds, then there is always a witness in the shape of a Presburger stage graph: a finite graph whose nodes are Presburger-definable sets of configurations. Due to the high complexity of the verification problem (non-elementary), we introduce an incomplete procedure for the construction of Presburger stage graphs, and implement it on top of an SMT solver. The procedure makes extensive use of the theory of well-quasi-orders, and of the structural theory of Petri nets and vector addition systems. We apply our results to a set of benchmarks, in particular to a large collection of population protocols, a model of distributed computation extensively studied by the distributed computing community.

This paper is the first to consider online algorithms to schedule a proportionate flexible flow shop of batching machines (PFFB). The scheduling model is motivated by manufacturing processes of individualized medicaments, which are used in modern medicine to treat some serious illnesses. We provide two different online algorithms, proving also lower bounds for the offline problem to compute their competitive ratios. The first algorithm is an easy-to-implement, general local scheduling heuristic. It is 2-competitive for PFFBs with an arbitrary number of stages and for several natural scheduling objectives. We also show that for total/average flow time, no deterministic algorithm with better competitive ratio exists. For the special case with two stages and the makespan or total completion time objective, we describe an improved algorithm that achieves the best possible competitive ratio $varphi=frac{1+sqrt{5}}{2}$, the golden ratio. All our results also hold for proportionate (non-flexible) flow shops of batching machines (PFB) for which this is also the first paper to study online algorithms.

In this paper, we study the problem of fair classification in the presence of prior probability shifts, where the training set distribution differs from the test set. This phenomenon can be observed in the yearly records of several real-world datasets, such as recidivism records and medical expenditure surveys. If unaccounted for, such shifts can cause the predictions of a classifier to become unfair towards specific population subgroups. While the fairness notion called Proportional Equality (PE) accounts for such shifts, a procedure to ensure PE-fairness was unknown.

In this work, we propose a method, called CAPE, which provides a comprehensive solution to the aforementioned problem. CAPE makes novel use of prevalence estimation techniques, sampling and an ensemble of classifiers to ensure fair predictions under prior probability shifts. We introduce a metric, called prevalence difference (PD), which CAPE attempts to minimize in order to ensure PE-fairness. We theoretically establish that this metric exhibits several desirable properties.

We evaluate the efficacy of CAPE via a thorough empirical evaluation on synthetic datasets. We also compare the performance of CAPE with several popular fair classifiers on real-world datasets like COMPAS (criminal risk assessment) and MEPS (medical expenditure panel survey). The results indicate that CAPE ensures PE-fair predictions, while performing well on other performance metrics.

Simplified Chinese to Traditional Chinese character conversion is a common preprocessing step in Chinese NLP. Despite this, current approaches have poor performance because they do not take into account that a simplified Chinese character can correspond to multiple traditional characters. Here, we propose a model that can disambiguate between mappings and convert between the two scripts. The model is based on subword segmentation, two language models, as well as a method for mapping between subword sequences. We further construct benchmark datasets for topic classification and script conversion. Our proposed method outperforms previous Chinese Character conversion approaches by 6 points in accuracy. These results are further confirmed in a downstream application, where 2kenize is used to convert pretraining dataset for topic classification. An error analysis reveals that our method's particular strengths are in dealing with code-mixing and named entities.

Neural machine translation (NMT) needs large parallel corpora for state-of-the-art translation quality. Low-resource NMT is typically addressed by transfer learning which leverages large monolingual or parallel corpora for pre-training. Monolingual pre-training approaches such as MASS (MAsked Sequence to Sequence) are extremely effective in boosting NMT quality for languages with small parallel corpora. However, they do not account for linguistic information obtained using syntactic analyzers which is known to be invaluable for several Natural Language Processing (NLP) tasks. To this end, we propose JASS, Japanese-specific Sequence to Sequence, as a novel pre-training alternative to MASS for NMT involving Japanese as the source or target language. JASS is joint BMASS (Bunsetsu MASS) and BRSS (Bunsetsu Reordering Sequence to Sequence) pre-training which focuses on Japanese linguistic units called bunsetsus. In our experiments on ASPEC Japanese--English and News Commentary Japanese--Russian translation we show that JASS can give results that are competitive with if not better than those given by MASS. Furthermore, we show for the first time that joint MASS and JASS pre-training gives results that significantly surpass the individual methods indicating their complementary nature. We will release our code, pre-trained models and bunsetsu annotated data as resources for researchers to use in their own NLP tasks.

Segmentation is a prerequisite yet challenging task for medical image analysis. In this paper, we introduce a novel deeply supervised active learning approach for finger bones segmentation. The proposed architecture is fine-tuned in an iterative and incremental learning manner. In each step, the deep supervision mechanism guides the learning process of hidden layers and selects samples to be labeled. Extensive experiments demonstrated that our method achieves competitive segmentation results using less labeled samples as compared with full annotation.

Smart meters enable remote and automatic electricity, water and gas consumption reading and are being widely deployed in developed countries. Nonetheless, there is still a huge number of non-smart meters in operation. Image-based Automatic Meter Reading (AMR) focuses on dealing with this type of meter readings. We estimate that the Energy Company of Paran'a (Copel), in Brazil, performs more than 850,000 readings of dial meters per month. Those meters are the focus of this work. Our main contributions are: (i) a public real-world dial meter dataset (shared upon request) called UFPR-ADMR; (ii) a deep learning-based recognition baseline on the proposed dataset; and (iii) a detailed error analysis of the main issues present in AMR for dial meters. To the best of our knowledge, this is the first work to introduce deep learning approaches to multi-dial meter reading, and perform experiments on unconstrained images. We achieved a 100.0% F1-score on the dial detection stage with both Faster R-CNN and YOLO, while the recognition rates reached 93.6% for dials and 75.25% for meters using Faster R-CNN (ResNext-101).