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ADVANCING THE ARTS ACROSS MARYLAND

Email Addresses Briefly Made Public on Facebook

From the files of the Facebook's Tenuous Grasp on Privacy Dept.: Numerous users saw their…

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Technically, this part is optional, but I also think it has the biggest impact on how the rest of your experience will pan out. You could just edit all the information on your current account, but if you make a new one and delete the old one you'll have a completely clean slate. You won't have any posts lingering around anywhere, no personal information for the taking and no photos tagged of you. Plus, this is prime time to get rid of all your friends that you don't need. Do you really still need to be Facebook friends with that girl you met at that party that time? Didn't think so.

This process is actually quite simple, especially because you have a new email address as created in step one. Log out of Facebook and create a new account using that email address. Don't enter any information, and for now, don't make any new friends except with yourself (you'll need to friend your old account for this to work smoothly). Bask in the glory of that clean, privacy-filled profile, and then log back into your old account and accept the friend request to your new one. Alternatively, open up a second browser and use one for your old account and one for your new account, just for this process—you'll be switching back and forth a lot.

Conveniently, Facebook will then ask you to suggest friends for your new account (if not, you can do so by visiting your new account's profile page from your old account). This is the part of the process in which you'll transfer over the friends you actually want with one fell swoop—no spending hours searching each and every one of them out. Go through the entire list of your friends and check off the ones you want to keep. It won't take nearly as long as you think it will, I promise. Click Send and then move over to your new account. All those suggestions will be pending friend requests that you can run through quickly and add each as a friend (again, it looks like a tedious process, but shouldn't take too long) and you'll have all the friends you need.

If you want to hold on to your old account during the transition, that's fine, but the point of making a new one is to delete all the old stuff, so when you're ready, go ahead and delete (not just deactivate) that old account. It'll try to tempt you into staying by showing you pictures of your friends, but you can press continue without guilt knowing you're still going to (mostly) be around.

There are a few privacy settings we need to tweak on the new account, so hit "Account" in the upper left hand corner of your window and click Privacy Settings. The first area we'll venture into is "Personal Information and Posts" to turn off the wall. This way, you won't have your profile covered with the stupid things your friends say; it'll just be your very barren news feed.

Gurley exhibited a little bit more patience to let holes develop.

More important, though, he showed a lot more discipline.

Last season, with defenses stacking the box and penetrating quickly, Gurley did a little bit too much freelancing, going away from the play because he didn't trust that the holes would be there. This year, Kromer said, "He's done a very good job of running where he should and running where he sees fit, and being on the same page with the line. And I think that's where the success has come."

Saffold, in his eighth year with the Rams, senses "a clear understanding of just how we want to run" this season.

A key has been merging meetings. Rather than have the offensive linemen meet on their own, Kromer has had the running backs, wide receivers and tight ends join in, so they all have a clear understanding for the way their run-blocking schemes will work. It established a synergy that was lacking.

"I think Todd understands the blocks a little bit better now," Saffold said. "It's been a learning game, but I think we've really found our niche."

Gurley's involvement in the passing game only happened out of necessity. The Rams signed Lance Dunbar in the middle of March, as a potential change-of-pace back who specialized in catching passes out of the backfield. But a lingering knee injury kept Dunbar off the field during organized team activities.

"It gave Todd more reps, whereas Lance would've probably been in there in a lot of situations," Rams offensive coordinator Matt LaFleur said. "It's been a gradual process, and it's been a slow build, but he's been so dependable time and time again in the passing game."

McVay came out of those OTAs ecstatic.

So ecstatic, in fact, that he made a bold prediction about Gurley's upcoming numbers.

It was sometime around June, and McVay was out back at his new home in Encino, California. Rams general manager Les Snead was there with his wife, Kara Henderson, and McVay was raving about Gurley, who had blown him away with his combination of speed, power, instincts, work ethic and, most recently, hands. Pressed, McVay predicted 1,300 rushing yards, 800 receiving yards and 13 touchdowns. The numbers seemed so outlandish then that Henderson felt compelled to type them in the notepad of her smartphone and save it .

She showed McVay after the Rams clinched the NFC West on Dec. 24, and he kicked himself for shortchanging Gurley on the touchdowns.

"Savant-ish," Henderson said.

It was Gurley's impact as a receiver that took his game, and this offense, to an entirely different level. Gurley gained an NFL-leading 371 yards through screen passes. And his availability as a dangerous checkdown option was a major reason Jared Goff limited turnovers and finished with a 4.00 touchdown-to-interception ratio that was on par with that of New England Patriots quarterback Tom Brady , Gurley's biggest threat for the MVP award.

Each terminal directory must also contain a PACKAGES file. This can be a concatenation of the DESCRIPTION files of the packages separated by blank lines, but only a few of the fields are needed. The simplest way to set up such a file is to use function write_PACKAGES in the tools package, and its help explains which fields are needed. Optionally there can also be PACKAGES.rds and PACKAGES.gz files, downloaded in preference to PACKAGES . (These files will be smaller: PACKAGES.rds is used only from R 3.4.0. If you have a mis-configured server that does not report correctly non-existent files you may need these files.)

To add your repository to the list offered by setRepositories() , see the help file for that function.

Incomplete repositories are better specified via a contriburl argument than via being set as a repository.

A repository can contain subdirectories, when the descriptions in the PACKAGES file of packages in subdirectories must include a line of the form

—once again write_PACKAGES is the simplest way to set this up.

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It can be convenient to run R CMD check on an installed package, particularly on a platform which uses sub-architectures. The outline of how to do this is, with the source package in directory pkg (or a tarball filename):

Where sub-architectures are in use the R CMD check line can be repeated with additional architectures by

where --extra-arch selects only those checks which depend on the installed code and not those which analyse the sources. (If multiple sub-architectures fail only because they need different settings, e.g. environment variables, --no-multiarch may need to be added to the INSTALL lines.) On Unix-alikes the architecture to run is selected by --arch : this can also be used on Windows with R_HOME /bin/R.exe , but it is more usual to select the path to the Rcmd.exe of the desired architecture.

So on Windows to install, check and package for distribution a source package from a tarball which has been tested on another platform one might use

where one might want to run the second and third lines in a different shell with different settings for environment variables and the path (to find external software, notably for Gtk+).

R CMD INSTALL can do a i386 install and then add the x64 DLL from a single command by

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Posted by Rob Clough on November 30th, 2010 at 12:01 AM

Dina Kelberman’s comics are filled with contradictions. They have a strongly misanthropic quality, yet an unfailingly social one as well. There’s a frequent self-negating air about them (the many “should I quit art?” ruminations), yet the strips keep coming out relentlessly. Her characters are minimalist, geometric shapes that berate each other and themselves in frequently hilarious fashion. Her use of color is boldly original and frequently dissonant. She brings her background as a multimedia artist to bear on her comics in the way she incorporates interesting design elements into her lettering and cultivates the immediacy and off-the-cuff nature of a do-it-yourself project.

Kelberman went to art school at SUNY-Purchase, an experience that helped to cultivate her participation in art collectives, or rather, continually hanging out and even living with friends who are artists. Like the legendary Fort Thunder, her experiences with the Wham City collective in Baltimore (living in what they called the Copycat Building) wasn’t collaborative in the sense that the artists (working in many different media) collaborated on a specific final product. Rather, it was collaborative in the sense that every member influenced the other by virtue of simply living together. The warehouse space was one for living, working, art shows and performance.

Kelberman also paints, does illustration, writes plays, performs with a comedy troupe and designs clothes, among other pursuits. Her first collection of strips, Important Comics , focuses on her interests in obsessiveness, spontaneity and improvisation combined with a mind keenly aware of timing and design. She has a regular strip in the Baltimore City Paper as well as a monthly minicomic she sends sends to subscribers called The Regular Man . She can be contacted at her website . All drawings and photos below are ©2010 Dina Kelberman unless otherwise specified.

From Aperiodic Comics (2010)

Roots and Influences

RC : Where are you from?

DK : I grew up in Severna Park, Maryland. Which is a boring suburb between Baltimore and Annapolis. It was preppy and boring, but I’m glad I grew up there because I think it’s important to be bored as a child, because then you have to invent things. I always feel like there’s something weird about kids from the city for that reason. They have been less bored. When I have kids, I will bore the living shit out of them.

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