Ink In England Revision

Ink In Englimg_9001and by Jessica Bowman. My resubmission for the Restoration Period project. Here is the app that I designed and included in this post you can see a picture of what the mobile app icon will look like. This app is a world builder genre and works off the idea of creating a successful publishing house business from the ground up. Multiplayer functions available! More details are in the Prezi whose hyperlink you can find in the name of the app above.

Featured image from google images by

An Immodest Proposal

Jonathan Swift’s A Modest Proposal is presented in a way that is insanely inhumane, but also in a rather formal, convincing manner. To modern day readers, this proposition would first strike as blasphemy, but given that this was created in the Restoration period, this was not meant to portray an idea of realism but rather a suggestive hope for improvement, given the brilliant satire in the piece. “The greater share of the seventeenth century satires are in prose and follow the broader definition of a satire as ‘biting wit, irony, or sarcasm used to expose vice or folly (’” Satire was used in the Restoration period for the purpose of improving humanity by acknowledging problems in society and attempting to reform them by using a comical and witty manner. Through the use of satire, Jonathan swift was able to expose and critique social injustices by proposing his satirical plan in an effort to express the problem that was Catholic oppression in Ireland in the 1700’s.

We are introduced to Swift’s satire right away in the text. He says, “… having turned my thoughts for many years, upon this important subject, and maturely weighed the several schemes of our projectors, I have always found them grossly mistaken in their computation… I propose to provide for them (babies) in such a manner, as, instead of being a charge upon their parents, or the parish, or wanting food and raiment for the rest of their lives, they shall, on the contrary, contribute to the feeding, and partly to the cloathing of many thousands (Swift 141).” Here, we see Swift’s satirical plan, which is using the babies of the poor Irish for food and clothing, with which their parents will be rewarded a certain amount of money for. The satire in this passage is his use of the phrase “…and maturely weighed the several schemes of our projectors…” Although Swift may have weighed options for schemes to dissolve Ireland’s oppression and deprivation (Swift was raised fatherless and in poverty, a native of Ireland, a Protestant), his proposal turns out to be quite the opposite of “mature.” Swift, by saying that babies would “contribute to the feeding and partly to the clothing for many thousands,” is depicting this desire to solve Ireland’s oppressive problem in an immature and comical way, which is the element of satire. Here is a student-made video portraying the satire by Jonathan Swift, but in a more modernized light:

In this screenshot, you can see how this student depicted Swift’s attempt to display the poor people and see through their lens. I like how this video included a begging scene, because this proposal was not just satirically humorous with the act of eating babies, but had underlying notions that get uncovered as well.

The satire that Jonathan Swift uses is purposeful in the act to shed light upon these societal issues of a nation not coping and the poor being burdened. Swift says,

“Some persons of a desponding spirit are in great concern about that vast number of poor people who are aged, diseased, or maimed; and I have been desired to employ my thoughts on what course may be taken, to ease the nation of so grievous an incumbrance … they are every day dying, and rotting, by cold and famine, and filth, and vermin, as fast as can be reasonably expected… it would greatly lessen the number of Papists (Roman Catholics), with whom we are yearly over-run… (Swift 143-144).”

In this one passage, Swift first explains that the upper class Protestants were not confident enough to eat the poor Catholic babies because they were concerned with them carrying diseases. Then, he goes on to say that, yes, they are indeed “dying, rotting, by cold and famine, and filth, and vermin…” Here, Swift completely downplays the idea of the poor being sickly and struggling for survival by saying that the rich weren’t very excited to eat their babies because they might be carrying diseases and could in turn make them sick by consuming them. Even though he is speaking neglectfully and nonsensically, this satirical moment does shed light on the fact that there are poor people who are dying and aren’t getting any acknowledgement.

Swift, in A Modest Proposal also likes to shed the light onto the English landlords, with whom he blames for much of the Catholic’s struggle. He writes, “I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children (Swift 142).”

Swift is placing some blame on the landlords for putting the Catholics out on the street, a.k.a. “devouring” them because they would most likely starve and end up sick. On this subject, I found this quote online:

“He believed England was exploiting and oppressing Ireland. Many Irishmen worked farms owned by Englishmen who charged high rents—so high that the Irish were frequently unable to pay them. Consequently, many Irish farming families continually lived on the edge of starvation…Swift satirizes the English landlords with outrageous humor, proposing that Irish infants be sold as food at age one, when they are plump and healthy, to give the Irish a new source of income and the English a new food product to bolster their economy and eliminate a social problem (”

So, one of the major initiators to this starving and begging problem that we see with the Catholics can be titled to the landlords. Swift satirically notions that, because it was these landlords who “devoured” the parents, they should be entitled to “devour” their one year-old babies. This can obviously be seen as a comical statement and a reckless suggestion.

One thing that Jonathan Swift does well is proposing actually reasonable solutions to Ireland’s problems, but then brushing them off as a waste of time. “Therefore let no man talk to me of other expedients: Of taxing our absentess at five shillings a pound: Of using neither cloaths, nor household furniture, except what is of our own growth and manufacture: Of utterly rejecting the materials and instruments that promote foreign luxury: … Of teaching landlords to have at least one degree of mercy towards their tenants (Swift 145).” Here, we find out that Swift actually did take the time to think of schemes that would benefit everyday life in Ireland. But, he won’t listen to these “expedients,” as he says. Here, he is calling reasonable solutions blasphemous and sticking to his theory for selling and consuming one year-old babies. Can you see the satire?

A Modest Proposal is satirically brilliant. It is both convincing and absolutely barbaric at the same time. Swift does a good job to give reasons why this plan would work and then makes fun of the whole idea. The Restoration period laid the grounds for satirical writing and Swift took the idea and ran with it in this piece. He was able to speak of a topic that was surrounded by much controversy and feud during the era of the early-to-mid 1700’s and also be able to infuse satire into it. By satirically publishing this “modest” proposal, Swift exposed social injustices to the public, calling attention to abuses inflicted on Irish Catholics by well-to-do English Protestants.

Work Cited

Cummings. “A Modest Proposal: A Study Guide.” A Modest Proposal: A Study Guide. N.p., n.d. Web. 10 Mar. 2017.

Seago, Kate. “Restoration Satire.” N.p., n.d. Web.

Swift, Jonathan. A Modest ProposalCurrents in British Literature II Course Packet. Comp. Ann McClellan. Plymouth, NH: 2014. Pg. 141-147.

Ink In England: Jessica Bowman

Wycherley’s Country Wife: What’s In a Name?

They say that the eyes are the window to the soul, but when it comes to literary characters names are the written equivalent. Perhaps nowadays in a world where most celebrities have unknowingly entered themselves into a “weirdest baby name” competition, names have taken on a different purpose and reasoning.

 William Wycherley’s The Country Wife is a standout example when it comes to the multi-functionality of character names. These character’s names perform two major functions:

 1. to illuminate the character’s true nature

2.  to inspire humor within the reader

One of the main characters (he might even be our antagonist…that’s up for debate), Mr. Horner, is one of the most obvious illustrations of these functions. His surname is explicitly tied to his inclination towards debauchery, as the main plot point for the play is Horner’s rumor-fueled quest to  conquer every one of his friend’s wives. As Martha Fletcher Bellinger writes in her article on Restoration drama

The heroes of the Restoration comedies were lively gentlemen of the city, profligates and loose livers, with a strong tendency to make love to their neighbors’ wives.”

In plain terms, our main character is a rakish man who is “horny” and certainly potent, though his male counterparts are led to believe otherwise. So, Horner’s name performs both of the functions we defined; it illustrates his intentions in an obvious way and that in itself fulfills the second function. The blunt nature of his name is what contributes to the humor surrounding it, as despite the repetition of his surname by the various characters he interacts with (combined with his questionable actions), they all remain more or less oblivious.

Horner makes his intentions towards women very clear from the beginning. In Act I, Scene I he tells the quack, “Doctor, a good name is seldom got by giving it one’s self, and Women no more than honor are compassed by bragging.” In other words, Horner is a by-product of his reputation just as women are. Yes, his surname is of Anglo-Saxon origin and comes from those who make musical instruments, but in Wycherley’s play Horner is Horner because it is, simply put, his nature. The Restoration period is defined by its obsession with wit and nature (of the human variety), and Wycherley harnesses both of these concepts within The Country Wife.

Another possibility regarding the significance of Horner’s name is that it is a reference to the devil himself. Considering that Restoration literature is a rebellion against the staunch restrictions imposed by Puritan rule, Wycherley naming one of his main characters after Satan is an ironic throwback to more pious days. Horner…horny…horned? No need to leap very far to get to that one!

Another character from Wycherley’s comedy of manners is Pinchwife, and boy is his name full of sad, sad truth. Pinchwife is newly married to Margery, an “innocent” country girl, and he fears that his friends will steal her away from him therefore rendering him a lowly cuckold.

Pinchwife’s name denotes two possible interpretations, both wholly valid and telling. The first is that as a bachelor he cannot keep a whore and he can barely even “pinch” a wife, taking to the country to find an innocent girl who will marry him. The dialogue between Horner and Pinchwife is dripping with sarcasm, as Pinchwife is not in any way a “lady’s man” like his male counterpart. Horner uses this as ammunition and fires metaphorically at Pinchwife knowing that it will only bother him further.

These numerous empty threats made by Pinchwife, while not fulfilled, also reveal what it was life was like for women during this period. Women were practically powerless and what power they did wield was gifted to them in the form of reputation. Pinchwife threatening to carve “whore” into Margery’s face is 17th century domestic violence coupled with the possibility of crippling his spouse’s livelihood. And any hope she might have of marrying someone who actually loves her and doesn’t try to mutilate her.

As previously mentioned, the two major functions of naming are to illuminate a character’s true nature and to inspire humor within the reader. As far as Pinchwife is concerned, the first function is absolutely met however the second function is not as successful as with Horner. Sure, Pinchwife’s sad-sack status with women is comical in conjunction with the banter of the other men however the emphasis is less on humor in his case.

With the Restoration author’s obsession with the classics in mind, it only makes sense that the names of the characters within their works would be meaningful and complimentary to the themes and motifs of the play. Horner and Pinchwife’s names are much more than something to call them, they are a brilliant device utilized by Wycherley to embody these themes and motifs in a literal sense. Horner and Pinchwife, with their qualms about women and marriage, are called Horner and Pinchwife to illustrate their complex relationship with these ideas. Wycherley’s The Country Wife is a bawdy representation of life during the Restoration period and the characters that dwell within play a major role in portraying how human nature is flawed and in turn humorous.

Bellinger, Martha Fletcher. “Restoration Drama.” Theatre History. Web. 13 Feb. 2016. <;.
The Country Wife. Digital image. Palm Beach State College News Center. Palm Beach State College, 13 Oct. 2015. Web. 13 Feb. 2016.
Wycherley, William. “The Country Wife.” The Country Wife (1675). Winthrop University. Web. 13 Feb. 2016. <–acting%20version–revised.pdf>.


Medical Health & Life Science Research News

Report explores the global far infrared therapy device market

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Far infrared light is measured in microns and can be divided into far-infrared, mid-infrared, and near-infrared. The far-infrared light is a part of an invisible spectrum of the sun.

The near-infrared ranges from 0.7 to 2.0 microns, mid-infrared ranges from 2 to 4 microns, and far-infrared ranges from 4 to 1,000 microns. The vibrant range for the best benefit is considered from 8.4 to 9.4 microns.

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The detectible red and far infrared portions of the spectrum that range from 660 to 880 wavelength are consider the vital range, as they are highly absorbent and create unique restorative effects on living tissues.

Obtain Report Details at

It is studied that the skin and underlying tissues absorb the light photons, which activate changes such as photobiomodulation in a body. Photobiomodulation is a light-induced photochemical reaction.

Far infrared rays are anti-bacterial, anti-fungal, and anti-viral and, therefore, can be beneficial in the treatment of a range of diseases. Far infrared waves are thermal, and in the electromagnetic spectrum, they are closer to the microwave region which we experience as heat.

There are many benefits of natural sunlight delivered by far infrared heat without the dangerous effects of UV radiation. The thermal radiation is a prime source of infrared radiation, i.e., any object which has a temperature radiates in the infrared.

It emits more infrared radiation as it gets warmer. Even cold objects such as an ice cube are likely to emit some evident infrared.

The far infrared therapy devices use the deep penetrating light (DPL) systems are popular. Various physical conditions can be treated with DPL system.

The system uses energy in the form of photons to penetrate deep into the skin. The far infrared light can penetrate up to 30 to 40 mm in the skin, which makes it more effective and preferable for joints, deep muscles, and bones.

The global FAR infrared includes variety of devices applicable for several indications such as FAR infrared heating pads, FAR infrared sauna, FAR infrared heater, FAR infrared sauna with carbon heater, FAR infrared gloves, FAR infrared lamp, and other light therapy devices. The FAR infrared therapy devices are used in a number of therapies such as pain relief, skin rejuvenation, and relief from sports injuries, toxin elimination, stress reduction, weight loss, restful sleep, and improving immune system.

The rays help in heating muscles, nerves, blood vessels, joints, and bones. Conditions such as arteriovenous fistula (which causes blood to directly flow from an artery into a vein) can be treated by FAR infrared therapy devices.

From widely used applications of FAR infrared devices for treating various medical conditions, the heating therapy is the most commonly used all over the world. The heating therapy is used to detoxify heavy metals, reduce cholesterol, and promote blood circulation.

The ease of use, effectiveness, and safe and wide applicability of the FAR infrared therapy device are likely to drive the market in the near future. However, the threat of side effects, such as sunburn, may act as a restrain for the market.

Based on geography, the FAR infrared devices market is segmented into North America, Europe, Asia Pacific, Latin America, and Middle East & Africa. North America is expected to dominate the market.

Rise in geriatric population and high per capita income are projected to propel the market in this region. Further, increase in adoption of personalized health technologies is one of the key factors which is likely to drive the market during the forecast period.

North America is followed by Europe, and the region holds a large share of the market. Asia Pacific is the most progressive region.

The increase in health care awareness and rise in per capita income are estimated to drive the market in Asia Pacific.

The global players operating in the FAR infrared therapy device market are Medtronic plc, Omron Corporation, Panasonic Corporation, and Siemens AG. Along with the global players, the regional players are contributing a significant share in the FAR infrared device market.

News From

Transparency Market Research - In-depth AnalysisTransparency Market Research


“There is something dreamlike about the points that provide a view of the other side, but they belong not so much to the dreamtime as to dream work. The nomads enter the dreamtime not by setting off on some extraordinary, dangerous voyage, but through their everyday, ambulatory movement.” -Cesar Aira, “Ghosts”

I have been thinking about Maren Miller’s exhibition, Long Gone, for the last few weeks. When I begin to write about it, I pause,Â  get lost in thought and forget about writing. Until this week, I had not yet found the framework with which to formalize my intuitive reactions.

What I saw: Across the street from The Hills Esthetic Center, stands a Juvenile Detention Center;Â  Hills does not have a doorbell. A friendly face let me in after I called the prescribed telephone number. On my way up the stairs, several young men passed on their way out. For an old werehouse it was surprisingly warm inside. The steel stairs had been recently painted red. On the second floor, I walked through a wide hallway, went into one of many doors on the right and entered a welcoming living space. In the subsequent kitchen, a content-looking cat greeted me. It was politeâ€”not overly friendly; it seemed to enjoy its hostly duties. The ceilings were at least 16 feet overhead and comparable windows bathed the room in light. There was a second room inside of this kitchen. Inside that second room hung Maren Miller’s exhibit, Long Gone.

Miller builds architectural spaces with simple lines. I wanted to see if I might do the same with words.

Above one wall, the wall that the gallery shares with the kitchen, a mirror hung parallel to the floor. That way people in the kitchen could look into the exhibition space and people in the space could look into the kitchen. When I looked up, I was comforted by the domestic action of pots and pans on the other side of our common wall. They gave me more confidence in the clean, white room and periodically my eyes returned to the mirror, for a small, grounding break.

The show: Primarily red and blue and black and white. There is a sense of humor in the work and motifs refract through different pieces in an almost narrative arc: a labyrinth on a wood panel is akin to a snake-like canvas line, which is similar to a stream of paint that spills on a table that stands on a floor which, again, is reminiscent of the labyrinth. A chair covered in a tarp seat cover is the only three-dimensional presence other than myself. The chair beneath the tarp is intuited rather than seen and such considerations lean a little on the experience of my own physical presence. Behind the chair, a picture of a window is covered by a pictorial curtain. In another hanging canvas piece, a picture of what looks like text (blocky, reminiscent again of the labyrinth language) is cut off by what could be a curtain, or another very fat snake, or another stream of dripping paint. At the end of the room stands one real window. That window is also curtained by a patterned, unstretched canvas.

Each work in the show withholds something. It is covered by another piece of itself, asking to be uncovered orâ€”in the most plain case of the labyrinthâ€”solved. The motifs themselves are both banal and archetypalâ€”the labyrinth, the snake, the window. Used in the everyday as they are in myth. Nevertheless, unlike their fabled counterparts, Miller’s representations are insolvable; they cannot be uncovered and thus deny the traditional hero his or her epic fulfillment.

The painter is also in the index of archetypes, but Miller’s paintings are not about a heroic painter.

The paintings are not stretched. Instead they hang on limp canvases, abstract, like cartoons of paintings. Other works on panelsâ€”the table with the floorboards, and the blue and white labyrinthâ€”are not paintings at all, save for a gessoed background. These boast the illusion of paintings, for on closer inspection, the picture plane is defined by meticulously cut out (possibly electrical) tape. The surface of that tape lays flat, like a second layer of ink in a screen print. Here again, the surface is plastic and impenetrable.

Ghosts: A few days ago a friend quotes a section in Cesar Aira’s book, Ghosts. The book takes place in South America, in the middle of a growing industrial city; it centers on a family living in a high-rise construction site. Everything smells like cement. Halfway through the middle of the book the main character, a 13 year old girl, takes a nap. At this point the whole family is asleepâ€“enjoying a siestaÂ  before the evening, when the family will have a party on the roof. Up until this point, the action of the book takes place on a vertical plane as characters laboriously climb up and down half-built stairs. With this collective nap, the author introduces a horizontal axis, describing other human communities and the way their various architectural habitats reflect respective social priorities. In light of that digression, the book’s monolithic skyscraper becomes one of many possible futures. In order to draw that conclusion, howeverâ€”in order to shift from a vertical axis to a horizontal one, Aira uses dreams as vehicle of shift.

“There are societies in which the unbuilt dominates almost entirely: for example, among the Australian Aborigines. Instead of building, the Australians concentrate on thinking and dreaming the landscape in which they live, until by multiplying their stories they transform it into a complete and significant ‘construction.’ The process is not as exotic as it seems. It happens every day in the western world: itâ€™s the same as the ‘mental city,’ Joyceâ€™s Dublin, for instance….The visible landscape is an effect of causes that are to be found in the dreamtime. For example, the snake that dragged itself over this plain creating these undulations, etc. etc. These curious Aborigines make sure their eyes are closed while events take place, which allows them to see places as records of events. But what they see is a kind of dream, and they wake into a reverie, since the real story (the snake, not the hills) happened while they were asleep.”

In waking, we see the affect of that gesture. In looking at Miller’s work, I see a congress of decisions that took place before me. I cannot penetrate the surface she creates, because I was not present in the process of its creation. Further, the dimension I interpret is a product of my literacyâ€”acquired over years and generations. Obviously this painted space is illusionistic, but its representation has repercussions in the way one regards other schemes of order. It is useful to recognize the myopic trajectory of history and progressâ€”whether that history is about cities and human habitat, or painting or anything in between. Nevetheless Miller’s work is not relativistic. These objects are sure of themselves and concrete. It is my relationship to them that shifts.

I looked at the mirror and saw the pots and pans and the cat was standing on a counter; its tail flicked.

Maren Miller’s work points to the dream state, during which objects are made. Her work creates the affect of space and depth, but in fact remain a surface. We see the affect and intuited depth of her gestures, yet the desire look “beneath,” to capture an intimate relationship (or “truth”) of the work, will remain unsated. She entertains Painting, as a genre, and in my analogy the Painting Genre is like the skyscraper. Massive, towering, lofty. Miller takes a dream in that building, while dreaming a snake with paint on its back undulates over a white wall. Something else stamps architectural lines onto a flat surface, creating dimension in a previously dimensionless space. As I stood there I looked again at the panel with the table and the red paint. The floorboards depicted in the “painting” mirrored those on the floor under my feet. I turned towards the literal curtain behind me, thinking about the repetitions of mark-making, how that repetition reinforces a world-view. The premises of architecture and art are inherited and built upon.

It was nevertheless with some relief that I pulled back the curtain and saw a street outside. A car drove slowly past the window.

If you want to read another something about Maren Miller and her show at Hills, check out this interview with The Post Family.

Caroline Picard


Monthly Archives: October 2014

Requiring fuel gauges: A pitch for justifying impact evaluation sample size assumptions

Fuel-Gauge-Arrow-iStock-680x455We expect researchers to defend their assumptions when they write papers or present at seminars. Well, we expect them to defend most of their assumptions. However, the assumptions behind their sample size, determined by their power calculations, are rarely discussed. Sample sizes and power calculations matter. Power calculations determine sample size requirements, which match budget constraints with minimum sample size requirements. If the sample size is statistically too small, then evaluators are increasing the risk of making mistaken conclusions regarding the effectiveness of interventions (see here for implications of carrying out underpowered evaluations).

Power calculations are performed a few different ways. After reviewing numerous 3ie grant requests, we’ve learned some lessons about the key power calculation parameters, namely the minimum detectable effect and the intracluster correlation coefficient (ICC).

The choice of the minimum detectable effect is a critical part of the power analysis. The smaller the study’s minimum detectable effect, the larger the required sample size to ensure sufficient power. When the variables being studied have intrinsic meaning (income, production per hectares, etc.), as in many cases in development economics, the minimum detectable effect should simply be the expected raw difference between the population mean of the experimental group and the population mean of the control group.

Unfortunately, many economists are not following this approach. In many proposals we receive, the minimum detectable effect is standardized or expressed as the minimum detectable effect size, with effect size being the difference in the population means of the two groups divided by the standard deviation of the outcome of interest. As a result, the minimum detectable effect size is reported in units of standard deviations. This standardization trend should change. Economists should base their interventions both on the ability to detect the relevant minimum level of impact and also on the cost effectiveness of the intervention.

Many proposals compound their minimum detectable effect sizes problems by borrowing Cohen’s classification system, where effect sizes of .20 are small, .50 are medium, and .80 are large. Little justification exists for applying this framework to economic research (see here for discussion of some methodological limitations of Cohen’s classification). It’s unclear both how Cohen’s classification became a rule of thumb for minimum detectable effect sizes and how it’s relevant to economics (or education, examples here and here).

Economists are using standardized effect sizes and Cohen’s classification system as a benchmark regardless. In a recent proposal that aimed to evaluate the impact of payment for environment services, the authors powered their study to detect a minimum of a 0.25 standard deviation in the number of hectares of natural forest conserved (the outcome variable of interest). This minimum detectable effect size corresponds to 0.35 hectares. The mean of natural forest at the baseline, which is 1.15 hectares, corresponds to a 30 per cent increase of natural forest. Although this increase seems quite substantial to us, the minimum detectable effect size of 0.25 standard deviations is considered small according to Cohen’s classification. Minimum detectable effect is more than just a number. Researchers should justify their assumptions by explaining how this minimum detectable effect is relevant for both the cost of the intervention and the impact on treatment populations.

Economists should look at how epidemiologists calculate minimum detectable effect sizes. Economists typically provide neither mean nor variance of outcome indicator in their publications. Public health researchers provide both of these variables. We attribute this reporting difference to economists using optimal design, which does not require mean and variance, to compute power calculations. Public health researchers conduct power calculating using formulas from Hayes and Bennett, which require mean and variance. Without these variables, it is impossible to present minimum detectable effect in terms of change in percentage. Presenting minimum detectable effect as a change in percentage allows researchers to judge the detectable magnitude of change due to the intervention. We therefore reiterate McKenzie’s call for including the assumed mean and variance of each outcome indicator when reporting power calculation measurements.

The ICC, which measures how similar individuals are within a cluster, is the other major power calculation assumption for cluster RCTs (here’s a related blog). As research moves from examining individuals to examining clusters of individuals, the similarity of those clusters must be accounted for when determining sample size requirements. It is important to accurately account for ICCs as the greater the similarity within a cluster, the greater the number of observations that are needed to adequately power the impact evaluation.

Like minimum detectable effect, ICC assumptions determine required samples sizes. These assumptions are also typically unjustified. We receive many proposals with ICCs seemingly pulled from thin air. One recent application based its ICC on a study conducted in a different country, which had a completely different socio-economic background. Another focused on research conducted over a decade ago, with no argument for its current validity. Methods to improve ICC estimates are evolving (repeated measurement appear to increase ICC accuracy). Ideally, researchers should use pilot surveying to calculate actual ICCs. If piloting the intervention is impossible, an alternative is to test multiple, realistic ICCs to determine the study’s power sensitivity and better understand sample size requirements.

Online power calculation appendices are a method to increase transparency in assumptions. As the number of studies reporting null results increases, appendices that include minimum detectable effect and ICC assumptions would allow researchers to assess whether null findings are due, or not, to a lack of power. Standardizing power calculation ‘fuel gauge’ reporting, through comprehensible minimum detectible effects and justified intra-cluster correlation coefficients, would improve the accuracy of social science impact evaluation research.


Social media empowered citizens to participate in demonstrations by providing messages of hope for freedom across the Middle East

I am writing for Chapter 4: Our Digital Public, and the topics I explore in my chapter regard how different organizations and groups use digital information that is publicly available online. In my narrated slideshow, I will focus on the importance of social media and other online resources in empowering demonstrators to collaborate and plan activities during the Arab Spring revolutions.

For many in the US, the Internet is used as a convenience tool to quickly catch up with friends or search for information easily. However, in many dictatorships, the Internet is the sole resource for citizens to interact with the outside world enabling people to dream of a free and democratic state where citizens’ fundamental rights are protected. The Arab Spring revolutions which began in Tunisia in 2010 and later expanded across the Middle East clearly demonstrated the importance of social media and the Internet in empowering citizens in oppressed countries. In the Arab Spring, social media carried messages of hope for freedom from country to country in the Middle East which raised citizens’ expectations for success in a better future. The shared interest in democracy between thousands of citizens allowed groups to be formed over social networks, which enabled demonstrators to organize concerted efforts. While traditional media was heavily controlled by the governments, the Internet was difficult to control and strengthened the lines of communication between individuals across borders, increasing the speed at which the revolutions expanded across the region. The Arab Spring showed the power social media and the Internet had in empowering citizens in oppressed countries to participate jointly in demonstrations for freedom. The following link emphasizes the revolutionary role of social media in civil disobedience, during the Arab Spring:

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Πέμπτη, 29 Δεκεμβρίου 2016

A Man and a Woman' singer

 Pierre Barouh dies at 82

French songwriter, composer and singer Pierre Barouh, who penned and sang the international hit "A Man And A Woman" from the eponymous 1966 film, died Wednesday aged 82, his wife said.
Barouh, who had been in hospital for five days, died following a heart attack, Atsuko Ushioda told AFP.
Raised in the western Paris suburbs in a Jewish family, Barouh followed a chequered career, becoming a journalist after World War II and playing for the national volleyball team before going on to Brazil where he befriended the main singers and composers of bossa nova.
He returned to France and starred in films and turned to composing music. His biggest successes included the hit single "A Man And A Woman" from the Claude Lelouch film as well as "La Bicyclette."
His songs were performed by French stars such as Yves Montand and Francoise Hardy.

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Monday, August 07, 2017

SQLDeveloper 4.2 problem with some bind variables values

I just found out that SQLDeveloper version (tested on windows 10) might execute SQL or PL/SQL code containing bind variables with wrong argument values when such values are strings (VARCHAR2) containing just digits with leading zeros (i.e. international phone numbers, VAT codes, UPC codes...) entered at the bind variables prompt.
This seems to happen only with PL/SQL code or certain SQL containing statements like INSERT, not pure SELECTs.

The practical consequences of this problem range from statements ending with unexpected errors or executing a block of PL/SQL with wrong parameter values which could lead to a variety of anomalies like inserting, deleting or updating the wrong rows.

You can easily see the problem by yourself executing the following sample code:

create or replace function function_returning_collection(

   p_arg in varchar2)

   l_str_tab       ORA_MINING_VARCHAR2_NT;

   select str

    bulk collect into l_str_tab

      select '01234567' as str

        from dual

       union all

      select '31234567' as str

        from dual

      union all

      select '01234567' as str

        from dual)

    where str = p_arg;

   return l_str_tab;

create table test_bind (str varchar2(255));

insert into test_bind

select * from table(function_returning_collection(:var));

Enter 01234567 at SQLDeveloper's prompt and it will say "0 rows inserted", then execute just the SELECT portion of the query and it will return two rows instead.

Embedding the number within tick marks at the prompt won't fix the problem, SQLDeveloper is clearly taking the input value verbatim as a string.

I believe the only clean way to fix this in a future release is to allow the user to specify the data type being entered at the prompt, because looking at SQLDeveloper's statement log it's clear that SQLDeveloper is trimming the leading zero and then, owing to the implicit conversion, adding a leading blank, which transforms the initial "01234567" into a "_1234567" ( where "_" represents the blank character).

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Motion paths are simultaneously the one of the best and worst things about animation in powerPoint. Best because they are so powerful in the effects that you can achieve and worst because it is so easy to get distracted into spending far too long trying (days) to work out how to achieve a particular effect.

One property of motion paths is the endless animation loop, such as the bouncing ball shown below

Reasonably stepwise instructions on how create an endless loop animation.

Endless loops

  1. Insert a circle (<ALT>NSH, choose oval and then drag in the slide to create an oval. Hold down <SHIFT> to create a perfect circle) and add shading to make it look a bit more like a ball (<ALT>JDSF and select gradient).
  2. Select your "ball" and then click "ANIMATIONS" then "Add Animations" and then "More Motion Paths" and select "diamond" (<ALT>AAAPD).
  3. Open the Animation Pane (<ALT>AC) and double-click "Oval 1" in the Animation Pane to open the properties box for the animation.
  4. Under the "Effect" tab, drag the sliders for "smooth start" and "smooth end" to the far left. These are never useful for animation purposes but powerPoint insists on setting them by default.
  5. Under the "timing" tab set the duration to 3 seconds and set "Repeat" to "Until End of Slide. Click "OK"
  6. Edit the motion path by right-clicking anywhere on the (diamond shaped) motion path and choosing "Edit Points" (or left-click anywhere on the diamond and type <SHIFT><F10> and then Edit Points").
  7. In the "Edit Points" mode, the diamond will turn red and you can now see the "nodes" at each corner. Drag them around to create the motion path you desire.....
  8. In the demo below, the nodes were dragged to within half a ball width of the edge of the slide to dive the impression that the ball was bouncing off the edge of the slide

Hey-presto, instant and endlessly bouncing ball. Click on the demo to show two bouncing balls.

To create additional balls in the powerpoint (available here), simply duplicate the one that you have made and adjust the motion path. You can totally alter the motion path by entering "Edit Point" mode (red diamond) and right-clicking the path again.... the context menu that pops up this time includes an "Add Point" option. Add points. Lots of extra points were added (and then dragged around) to alter the path of the green ball. BTW, if you increase the length of a path, it is usually a good idea to slow it down by increasing the duration of the animation event.

Organic Anions

Of course, "Why", as in why would you ever want to do this, is a perfectly valid question and finding a use for endless loops is something that is entirely up to you. I generally use then to represent molecules, as in the animation below, where I am trying to explain how organic anions are secreted by renal epithelial cells. If nothing else, it is completely hypnotic and available for download here.

Gas Exchange

More fun with infinite loops here.

These animations are complex, but not necessarily difficult to achieve. They all use the same basic technique over and over again. The only tricky bit is making sure that the appropriate elements appear and disappear at the right moment. Take a look at the "Animation Pane" for these animations... they look a lot more complicted at first glance than they really are.


Marco under construction
Under construction.

The Underworld[1] is a sub-level kingdom of Mewni ruled by the Lucitors, Tom's family, and inhabited by demons. It is seen in the opening as Star and Marco travel through various dimensions, and makes its first official appearance in "Blood Moon Ball".

The Underworld holds the Blood Moon Ball every 667 years.

The environment is rocky, covered in flames, stalagmites, and stalactites, and seemingly underground. In Star and Marco's Guide to Mastering Every Dimension, it also has a castle from which Tom's family rules from.

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Smart-Clip updated 29.05.2007

- 29.05.2007

Released new versions of Smart-Clip v3.17, S-Card v1.24 and SmartMoto v2.23. IMEI repairing for the following models: C975, C980, V980, V3x, E1070, E770, V1070, V1075 and V1150. Unlock WITHOUT FLASHING for Е1070 fw …F11P. IMEI repair solution via patch for: W220, C168, C168i. Improved PREPARE cycle for the higher firmware versions of E1, L2, L6 etc. Repair PDS for the models С650, V220… fw versions R366.


Why Liver Disease is Entirely Reversible If You Do This

How to protect your liver

Liver disease and dysfunction is becoming an increasingly common occurrence these days. Previously, chronic liver disease was actually very uncommon. However, ever since the rates of obesity have shown a continual and unrelenting upward trend, the prevalence of liver disease has kept pace.

The reason for this is quite simple: with the steady and persistence increase in the prevalence of obesity, there has been a corresponding increase in the incidence of metabolic syndrome and type 2 diabetes.

These conditions have closely mirrored the increased incidence of fatty liver disease which carries with it an increased risk of altered liver pathology and abnormal physiology.

A recent study evaluating the effects of lifestyle modification and fatty liver disease was completed to assess the effects that lifestyle changes had on the cellular changes in the livers of people suffering from fatty liver disease. In this study, 56 people, aged 18-70, were randomly assigned to one of four groups for a six month period.

The differences between the groups were as follows:

  • Group 1: Standard care
  • Group 2: A low-fat and moderate exercise program
  • Group 3: Moderate fat, low carbohydrate, and moderate exercise program
  • Group 4: Moderate exercise only.

All of the participants, regardless of which group they were in, showed an improvement in liver pathology over the six-month trial. The largest and most significant changes occurred in groups two and three who ate a specific diet and participated in the moderate exercise program.

Although the results of this study are somewhat limiting due to experimental design and sample size, the study does show a very important relationship between our diets and the lifestyle choices we make and the effects this can have on the liver.

The reason why metabolic syndrome and type 2 diabetes are related to liver disease is because they come with symptoms of insulin resistance, high blood sugar, and abdominal obesity.

These disorders cause high levels of inflammation, resulting in fatty accumulation in the liver. Fatty liver disease is also associated with high levels of free radical generation and potential liver damage.

Fortunately, dietary changes can help reduce your risk of these diseases. Paying attention to your food choices, eating realistic portion sizes, and regularly exercising can reduce the levels of abdominal obesity, decrease the inflammation, and help correct the insulin resistance which is responsible for the excessive fatty accumulation inside the liver.

Fatty liver disease is estimated to affect at least 25 % of people who have metabolic syndrome—but if corrected early enough with dietary and lifestyle changes, it’s entirely reversible.

Eckard, C., et al., “Prospective Histopathologic Evaluation of Lifestyle Modification in Nonalcoholic Fatty Liver Disease A Randomized Trial,” Ther Adv Gastroenterol. 2013; 6(4): 249-259
Schuppan, D., et al., “Non-alcoholic steatohepatitis: Pathogenesis and novel therapeutic approaches,” J Gastroenterol Hepatol. August 2013; 28 Suppl 1: 68-76.


Rome Reports

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BENEDICT XVI "Numerous factors show a cultural panorama that is ever more fragmented, and in continual and fast-paced evolution, of which social media is no stranger to. Neither are the new communication tools that are favored and that provoke among them a continuous and rapid change of mind, of dress and of behavior.â? Benedict XVI also mentioned the problems that many youths face today, such as unemployment and the internal conflicts they are living through, within the religious and sentimental spheres. The Pope warned about the dangers of living out faith solely through an individualistic and emotional perspective. Among the members of the Pontifical Council are: architect Santiago Calatrava, artist Marko Rupnik, and social media experts such as fathers Antonio Spadaro and Francesc Torralba. FRANCESC TORRALBA Consultant, Pontifical Council for Culture "We let young people speak, we are attentive to their artistic and cultural productions. As a matter of fact, we began with a rock concert, which was unimaginable at the Holy See. There's also a will to not just see the negatives in youth, but also the positive, their search for meaning, those noble values like solidarity, the cooperation among youths to see what verbs, what seeds of truth there is within youth.â? The Pontifical Council for Culture organizes its assembly in Rome every two years to define the Church's stance within modern culture. BR/RCarr CTV -JM -BN U:BR


Flash Fiction

The Gathering

There were a lot of cats, five to be exact, sprawling themselves across the recently polished wooden floor of the spacious house.  I sat among fifteen other animated attendees, seven people on each side of the long linen covered table, and one sitting at the head.  The majority of the people were unrecognizable, probably because I had never seen them, or at least, never paid any attention to them previously.   (more…)


Monday, 2 April 2012

The Calvert Trust in Kielder

On Friday I was lucky enough to visit the Calvert Trust in Kielder. It is a long overdue visit although their success and good work are well known, not only in the north but all across the country - they have centres in the northern Lake District and Exmoor. They provide disabled men, women and children an incredible opportunity to engage in sports that would normally be beyond them. They are also outstanding at providing individual respite care and the chance for supported holidays for families. They are also a significant local employer. If you have not seen their website I recommend it wholeheartedly:

In the meantime I must credit all the local supporters of the Calvert Trust - not least Egger in Hexham who have chosen to continue to support Calvert Trust Kielder as their charity of the year for a further two years.
This blog also likes to provide a little more for its 15,000+ readers so to understand why this groundbreaking charity has its name we have to go back over 200 years, to the Calvert Family, who previously owned the Lake District site that was the first site of the Lake District location of the Calvert Trust. Raisley Calvert had grown up with William Wordsworth, the famous poet and writer, and this childhood friendship continued into adulthood.

It was Raisley Calvert’s desire that his friend be able to continue his writing and he encouraged him all he could. However, by the age of 21 Raisley had developed tuberculosis and was dying. As he faced death, he wanted Wordsworth to fulfil his writing potential and a legacy, including Old Windebrow Cottage, in the Lake District was arranged to allow Wordsworth to continue with his poetry full time.
As we all know, Wordsworth went on to fulfil his own potential and leave his own literary legacy - he even wrote a poem dedicated to his friend Raisley Calvert.

So when the Trust was proposed in the last century - a name was needed to represent friendship, support and the desire to help somebody to fulfil their potential: unsurprisingly they chose the name Calvert, given the links and the desire to help make a difference. It is an impressive organisation run by dedicated and special people.


How the Greeks Knew the Earth was a Sphere

‘As long ago as 340 BC the Greek philosopher Aristotle, in his book On the Heavens,
was able to put forward two good arguments for believing that the earth was a round sphere rather than a Hat plate. First, he realized that eclipses of the moon were caused by the earth coming between the sun and the moon. The earth’s shadow on the moon was always round, which would be true only if the earth was spherical. If the earth had been a flat disk, the shadow would have been elongated and elliptical, unless the eclipse always occurred at a time when the sun was directly under the center of the disk. Second, the Greeks knew from their travels that the North Star appeared lower in the sky when viewed in the south than it did in more northerly regions. (Since the North Star lies over the North Pole, it appears to be directly above an observer at the North Pole, but to someone looking from the equator, it appears to lie just at the horizon. From the difference in the apparent position of the North Star in Egypt and Greece, Aristotle even quoted an estimate that the distance around the earth was 400,000 stadia. It is not known exactly what length a stadium was, but it may have been about 200 yards, which would make Aristotle’s estimate about twice the currently accepted figure. The Greeks even had a third argument that the earth must be round, for why else does one first see the sails of a ship coming over the horizon, and only later see the hull?’

– Hawking. S. (1998) A Brief History of Time New York, United States: Bantam Books p. 2

‘Using his ideas about the fictional status of art, Aristotle made a particular study of the emotions aroused by tragic drama. This formed the basis for his theory of “catharsis”. Aristotle perceived how tragic drama draws on the audience’s feeling of pity and fear – it was common for Athenian spectators to weep openly at stage performances.

“These feelings are aroused particularly when the hero suffers a significant reversal of fortunes such as when Oedipus, in Sophocles’ drama Oedipus Rex, discovers that Jocasta, his wife, is in fact his mother. The tragedy is compounded by the fact that the messenger who reveals Oedipus’ true identity initially came to deliver joyous news.”

Catharsis is the feeling of sympathy aroused in the audience for Oedipus in this tragic moment of reversal. Aristotle argued that the fictional status of the play creates a sense of distance between the spectator and the tragic hero, and that because of this it is possible to enjoy tragedy and take aesthetic pleasure in it.’

– Kul-Want. C. (2012) Aesthetics London, United Kingdom: Icon Books p. 21-22

21/iv mmxvi

In New Zealand, snakes of any kind are illegal.

Aristotle defined space by the things inside it according to his theories, if one were to remove the things then the space would no longer exist.

The word unfriend first appeared in print in 1659.

The Norwegian Armed Forces have unisex dormitories, ‘meatless Mondays’, and allow male soldiers to sport ponytails.

A male rhinoceros beetle can lift 850 times its own body weight.

See other: Quite Interesting Facts

Philia is a shared experience. The love we feel for people with whom share our innermost feelings and dreams, or with whom we strive with to achieve a shared goal. Philia

Philia is what the Greeks called friendship, and they valued it far more than the base sexuality of Eros. It was about showing loyalty to your friends, sacrificing for them, as well as sharing your emotions with them.

Aristotle takes philia to be both necessary as a means to happiness. He argues that to be a wholly virtuous and fulfilled person necessarily involves having others for whom one is concerned; without them, one’s life is incomplete – “No one would choose to live without friends even if he had all the other goods”.

– Elbert Hubbard

We can all ask ourselves how much of this philia we have in our lives. It’s an important question in an age when we attempt to amass “friends” on Facebook or “followers” on Twitter—achievements that would have hardly impressed the Greeks.

See other: Kinds of Greek Love

Philautia is self-respect. The love we give to ourselves. This is not immediately vanity, like narcissism, but our joy in being true to our own values. The strength to care for ourselves so that we can in turn care for others.Philautia

The clever Greeks realized there were two types. One was an unhealthy variety associated with narcissism, where you became self-obsessed and focused on personal fame and fortune. A healthier version enhanced your wider capacity to love.

“I cannot conceive of a greater loss than the loss of one’s self-respect.”
– Mahatma Gandhi

The idea was that if you like yourself and feel secure in yourself, you will have plenty of love to give others (as is reflected in the Buddhist-inspired concept of “self-compassion”). Or, as Aristotle put it, “All friendly feelings for others are an extension of a man’s feelings for himself.”

See other: Kinds of Greek Love

Who First Made A Drama Out Of A Crisis?

In 5th Century Athens, theatre was closely connected to the cult of Dionysus, in whose theatre on the southern slopes of the Acropolis tragedies and comedies were staged at an annual festival.

But the origin of theatre is a much-debated issue. One tradition tells of the actor Thespis (hence the word ‘Thespian’) standing on a cart and playing a dramatic role for the first time around 532BC; another claims that drama began with ritual choruses and gradually introduced actors’ parts.

Aristotle (384-322BC) supposed that the choruses of tragedy were originally ritual songs (dithyrambs) sung and danced in Dionysus’ honour, while comedy emerged out of ribald performances involving model phalluses.

As a god associated with shifting roles and appearances, Dionysus seems an apt choice of god to give rise to drama. But from the earliest extant tragedy, Aeschylus’ Persians of 472BC, few surviving tragedies have anything to do with Dionysus.

Comic drama was largely devoted to making fun of contemporary figures – including in several plays (most famously in Aristophanes’ Clouds) the philosopher Socrates.

See other: Which Greek Legends Were Really True?

A Philosophers’ Guide To Art

What did the world’s foremost western philosophers think about art?

Plato (428-348) Beauty as an ideal

What matters is a higher, perfect beauty; a harmony which we do not immediately appear to see. If you want to see a copy of reality, you might as well buy a mirror. We should strive to look for something of a higher nature instead of repeating the things we see.

Aristotle (384-322) Art as an organic unity

Works of art are an organic unity. The work is whole. It is, beginning, middle and ending, in itself complete. Works of art are artistic; that is to say, they express a perceivable harmony. Its elements are organised, and none of its parts can be replaced or removed without it losing its value.

Kant (1724-1804) Pointless purpose

It is important that art conveys a sense of order and harmony. Everything seems to be finely tuned. The internal coherence of the work of art is immensely close nit and complex, as if it was designed to serve a certain purpose. Like the parts of an organism are dependent upon the organism’s will to further exist. The work of art, however, possesses this strong coherence without any purpose whatsoever.

When the work of art has been created, we can see that it is good, but we could not have thought of any parameters or rules of design beforehand. The relations within the composition are only purposeful within itself and create a formal unity of universal beauty in which everything is carefully coordinated.

Hegel (1770-1831) Development of the self by means of estrangement of the self

Art is an absolute necessity. We learn about ourselves by means of the work of art. The artist is irrelevant; however, we can learn from the image which he provides. In doing so, that is, by expressing ourselves through a certain material, we learn more about ourselves. Consequently, the world becomes less and less peculiar.

Schopenhauer (1788-1860) Art as a haven in this heartless world

The work of art is a harmonious and selfless entity, and is heavily contrasted with the reality of human life. Happiness is unthinkable. The work of art is an escape from the chaos of everyday life. The acceptance of this is an ideal and the form it takes is art. In aesthetic bliss we can experience how joyful life should be; because when we behold and enjoy beauty, our soul is calmed and comforted. The work of art releases us from the world in which we live – art stops the wheels of time, she always achieves her purpose.

Kierkegaard (1813-1855) Art as an escape from life

Art reconciles us with life; however, this reconciliation is not perfect. When one gazes at art, one does not gaze at reality. We are allowed to have a haven, but we are not allowed to shy away from living. When one purposefully elevates one’s life, life becomes a work of art. And when life is beautiful, ethics and aesthetics become one. The work of art pleases us in a moment of elation – it makes life seem shorter.

Nietzsche (1844-1900) Life as work of art

Art is for art’s sake, that is, art justifies itself and has the quality of dispensing with a purpose – moral or rational – since only through the aesthetic production can the world be justified.

Art may well be said to be the bridge between Man and the superhuman, the übermensch, the bridge to perfection and eternity. Through art, Man transcends the confines of his own ego and secures oneness with the universe. Clearly, it is established: the role of art as means of self-transcendence.

Wittgenstein (1889-1951) The unsayable and the image

Art is intransitive. Aesthetics cannot be enunciated in a clear linguistic form. The work of art does not tell us anything and requires no further explanation; however, it shows the unsayable, and provides the right perspective.

Heidegger (1889-1976) The disclosure of the concealedness

Art has its place within the idea of the world and reality. Art concerns itself with truth and we should look for what it can show us. This disclosure in the face of concealedness is not a state but an event, it is something that happens. Disclosure also means that focus shifts. And since reality is not a total presence, reality is always more, the work of art shows us concealedness as concealedness.

“How does a body, a nonmental object, come to ‘embody’ or ‘express,’ for our aesthetic imagination, values which it does not literally contain? Why should colours and shapes and patterns, sounds and harmonies and rhythms, come to mean so very much more that they are?”

– Louis Arnauld Reid

Galilean Relativity

  1. A person on a moving ship drops a rock. They see it fall straight down to land at their feet.
  2. Someone on shore sees the rock continue to move horizontally as it falls, and says the trajectory is parabolic.
  3. Another observer on another ship sees it move horizontally with a different speed and sees a different parabola.
  4. They all see it land at the same time. Galileo concluded that the horizontal motion cannot influence the vertical motion, and that what takes place on the ship is independent of the ship’s motion.
  5. Galileo argued this applies to all physical and biological processes.
  6. The same principle applies to what takes place on a moving Earth.

Galileo thought about the question of a moving Earth. If the Earth moves, why do we not notice this motion, as Aristotle claimed we would. Here is the thought experiment he carried out in answer to this puzzle:

A person on a ship drops a rock. To that person its trajectory is a straight line. An observer on shore sees the trajectory as a parabola. Someone on another ship sees yet a different parabola. All of them are making valid observations. They all see it land at the same time.

Galileo concluded that the vertical motion of the rock must in principle be independent of its horizontal motion. Furthermore he concluded that everything that happens on board the ship must be independent of its motion. He argued that whatever you take with you on the ship, insects, fish, physics experiments, etc will be unable to detect the horizontal motion of the ship. He was assuming, of course, that this motion is perfectly uniform and smooth.

This is called the Galilean principle of relativity and explains immediately why we do not sense the motion of the Earth about the Sun.


Happened to stumble upon Jamie Oliver’s 15-min meal tv programme, and learned this recipe from him. It’s really easy and super refreshing!!

3 Japanese cucumber
1 tablespoon soy sauce
1 tablespoon white vinegar
Some sesame seeds
Some pine nuts
Some Chinese parsley

1. Using a fruit peeler, slice off outer skin of cucumber.
2. Continue with fruit peeler, slice out the flesh of cucumber until you hit the centre of it (which are the seeds), throw away the centre.
3. Mix soy sauce and vinegar with cucumber and toss well.
4. Place on serving plate and toss sesame seeds, pine nuts and parsley on top. These garnishes are optional if you don’t have.