#Department of Public Information (DPI)

[socialjusticeday]

Achieving social protection for all.

In Observance of 2011 World Day of Social Justice, 20 February. High-level panel on "Achieving social protection for all" (co-organized by the Permanent Mission of Kyrgyzstan, the Department of Public Information and the International Labour Organization).

Note: Due to technical difficulties the audio quality of this video is poor. It will be replaced with a better quality audio later today.

[unpublicserviceday]

Inauguration of the United Nations Accessibility Centre.

On the occasion of the inauguration of the United Nations Accessibility Centre, the Graphic Design Unit of the UN Department of Public Information (DPI) produced this short video animation, featuring the Accessibility Centre's visual identity and the list of services offered by the Centre to persons with disabilities.

[russianlanguageday]

Russian language winners - Global Youth Forum on "Many Languages, One World" 2016.

10 winners of the Russian language multilingual essay contest organized by the United Nations Academic Impact (UNAI), Department of Public Information (DPI), and ELS Educational Services Inc. met at UN Headquarters. They presented their essays on the role of multilingualism in achieving the Sustainable Development Goals.

The winners are: Ms. Cristina Crăciun, Hochschule Fulda University of Applied Sciences, Romania Ms. Yelyzaveta Dovhinka, National University of "Kyiv-Mohyla Academy", Ukraine Mr. Sheroz Juraev, Bologna University, Tajikistan Mr. Ihor Kasianov, Yaroslav Mudryi National Law University, Ukraine Ms. Diana Khasawneh, Yarmouk University, Jordan Mr. Sardor Khusanov, Tashkent Chemical-Technological Institute, Uzbekistan Ms. Kim Ngan Le*, Tomsk Polytechnic University, Vietnam (not present) Mr. Oleksandr Petrenko, Odessa National Medical University, Ukraine Mr. Adrian Savcenco, State University of Moldova, Moldova Ms. Mahinbonu Toshmatova*, Khujand State University named after academician B. Gafurov, Tajikistan (not present).

The United Nations Academic Impact

[arabiclanguageday]

Focus onthe role of multilingualism in achieving the Sustainable Development Goals.

10 winners of the Arabic language multilingual essay contest organized by the United Nations Academic Impact (UNAI), Department of Public Information (DPI), and ELS Educational Services Inc. met at UN Headquarters. They presented their essays on the role of multilingualism in achieving the Sustainable Development Goals.

[genocidepreventionday]

Genocide: A Preventable Crime - Panel discussion.

A Global Conversation on Understanding Early Warning of Mass Atrocities 20 Years after the Genocide in Rwanda.

With UN Deputy Secretary-General Jan Eliasson and Lt. Gen. The Hon. Roméo Dallaire.

Special event co-organized by the Permanent Mission of Rwanda, the Global Centre for the Responsibility to Protect, and the Department of Public Information (DPI).

[theworldoffostering]

I had my interview with the Department of Public Instruction today regarding the complaint that I filed due to the district not following DS’ IEP. The woman I spoke with was so much friendlier than the last time I filed a complaint on behalf of DD many years ago. I spoke to her for about an hour, and she was direct and kind.

The complaint has to be sorted by 8/6 so now she will speak to the district. The special education teachers that DS worked with all year have both quit, so it will be difficult for them to get information from anyone. The Director of Student Services didn’t attend any IEP meetings, so he has no first hand knowledge of anything.

One of my complaints is that we did not receive progress reports which should be sent quarterly. I received one of the four. The DPI person said the district sent her the reports that were written. That surprised me because I didn’t even know there were any. Apparently they wrote them, but didn’t send them to us.

They also didn’t provide any pull out services from September-February. We had a review/revise meeting in February and then they said they would provide compensatory services, but didn’t say how many or for how long.

[petnews2day]

A second simulated bird flu outbreak has been staged in Guyana

New Post has been published on https://petn.ws/6Q7hK

A second simulated bird flu outbreak has been staged in Guyana

The Guyana Livestock Development Authority (GLDA) staged a second simulated outbreak of the High Pathogenicity Avian Influenza (HPAI), or “bird flu,” on Wednesday at an Agriculture Extension Centre in Kuru Kururu. The Department of Public Information (DPI) says that the three-day simulation exercise is meant to test how well Guyana is prepared to handle an […]

See full article at https://petn.ws/6Q7hK #BirdNews

[keynewssuriname]

USD 1.1 miljard aan cocaïne in beslag genomen door Guyanese politie in 2022

USD 1.1 miljard aan cocaïne in beslag genomen door Guyanese politie in 2022

De regering van Guyana heeft miljoenen dollars geïnvesteerd in de veiligheidssector om een veilige en beveiligde omgeving voor Guyanezen te bieden. Volgens het Department of Public Information (DPI) omvat dit de aankoop van voertuigen voor de Guyana Police Force (GPF), terwijl politieagenten worden opgeleid en een half miljoen dollar wordt toegewezen aan de Customs Anti-Narcotics Unit (CANU) om…

[jicanapzz30]

Media and Government: A Love-Hate Relationship

The media and the government have this what you called Love and Hate relationship. The freedom of the press or media is being held by the government. Why is this happening to the media?  Who is holding the media? What did they do? Is there something about the government that they didn't want the people to know that’s why they are controlling the media? The government controlling the media and press is not new here in the Philippines because it always happened. The first step that President Marcos took when he declared the Martial Law on September 21, 1972, was to take control of all the mass media in the country. Strict censorship was made in all the news and the Department of Public Information (DPI) was using a guideline requiring newspapers, radio, and television to print and broadcast only the accurate information that reflected positively to the government, the authorities, and the military. President Marcos silencing public criticism and control the information that the people had access to. On September 28, 1972, President Marcos issued a letter of instruction no.1 authorizing the military to take over the assets of all major media outlets including ABS-CBN Network, Channel 5, and many more.

It's not surprising and new if the current government is like this or aggressive towards the media. Because sometimes the media is also acting irresponsibly, and maybe the media is just stating the truth about the Government’s dirty little secret. But the media has a right to publish all the real information to the people. The people have all the right to know what’s going on in the country and the government. It may be a negative or positive approach, the media or the people must know. Even in today's government, there is some situation that the government is controlling the media. Also, let’s not forget about the 13 journalists who were killed in work-related attacks under President Duterte’s administration. The lives of the journalist are at risk. According to the Media Freedom Organization Without Borders, the Philippines remains to be the topmost dangerous countries for media in Asia pacific. Sometimes the media are publishing some fake information and this is one of the reasons why the government is controlling the media. Even though all of this is happening in the media now, Filipino netizens are still no.1 in Asia and sixth in the world when it comes to internet freedom.

Reference:

https://www.jstor.org/stable/2643617?seq=1 https://martiallawmuseum.ph/magaral/breaking-the-news-silencing-the-media-under-martial-law/ https://newsinfo.inquirer.net/1140825/what-went-before-13-journalists-killed-under-duterte-admin https://technology.inquirer.net/17692/filipino-netizens-freest-in-asia-6th-freest-in-world

By: Nicole Magallones & Jica C. Naparan

@nicolekimpark23​

@queenlupitajones​

[powerandmagic]

MAÑANA: Latinx Comics From the 25th Century is now open for submissions.

[Noten: Toda esta información también está disponible en español a pedido.]

"In 1492, Christopher Columbus sailed to the islands of the Caribbean. That single event led to the radical transformation of the region, the hemisphere, and eventually the entire world.

Indigenous peoples were decimated. Lands were colonized. African peoples were displaced and enslaved. Race, as a concept, took root. Black women and indigenous women were subjugated. Cultures died, fused, changed, and were, sometimes, reborn. Art, music, foods, and faiths echoed these tangled pasts. Immigrants from across the planet flocked to the newly christened "Latin America." A caste system based on race and color reigned. Liberation struggles were fought. Revolutions were won. Wars of independence were waged. Coups were orchestrated. Global capitalism ran amok, fueling the mass exodus... And we survived it all.

That all seems so far away now."

MAÑANA: Latinx Comics From the 25th Century is a speculative fiction comics anthology set throughout Latin America in the 2490s, roughly one thousand years from the voyage that changed the world. It took 500 years to get us where we are now -- where could 500 more take us?

Submission Period

Submissions will be open to the public from May 27th - July 7th, 2019 (11:59 PM Pacific Time).

Who Can Participate

To pitch a story to MAÑANA, you must be Latinx or Latin American. We define Latinx as "a person living outside of Latin America whose cultural background includes any of the Spanish, Portuguese, or French-colonized countries of the Americas and the Caribbean." We define Latin American as anyone born, raised, and currently living in any of those same countries.

You may pitch as a SOLO CREATOR (making the whole comic by yourself), as a WRITER ONLY (story writer who we will pair with an artist), or as an ARTIST ONLY (a comics artist who we will pair with a script).

Solo Creators with a strong story idea but not-as-strong artwork may receive an offer to be paired with a different artist (vice versa for pitches with stronger art than story).

"Writers Only" may request to be paired with a specific artist. The artist they request must be someone they know for a fact is filling out the "Artist Only" submission form. The reverse applies to "Artists Only" requesting a specific writer.

Age Restrictions

All contributors must be 18 years of age or older. All content must be suitable for readers as young as 14 years old.

Specifications

Comics from 2 - 12 pages long (must be an even number)

6.625” x 10.25” trim size (template will be provided)

Bleed? Yes.

Black & White, or Grayscale (no screen tones)

600 dpi

.PSD final files

Timeline

Selection Process (May 2019 - Aug 2019)

Open Submissions: 5.27 - 7.07 (6 weeks)

Selection Period: 7.08 - 7.28 (3 weeks)

Acceptance Emails & Feedback: 7.29 - 8.08 (1 week)

Paperwork: 8.09 - 8.15 (1 week)

Creation Period (Apr 2019 - Sep 2019)

Script: 8.16 - 9.15 (4 weeks)

Feedback/Edits: 9.16 - 9.29 (2 weeks)

Thumbnails: 9.30 - 10.20 (3 weeks)

Feedback/Edits: 10.21 - 11.03 (2 weeks)

Pencils: 11.04 - 12.15 (6 weeks)

Feedback/Edits: 12.16 - 12.29 (2 weeks)

Inks: 12.30 - 1.26 (4 weeks)

Feedback/Edits: 1.27 - 2.09 (2 weeks)

Toning & Shading: 2.10 - 3.01 (3 weeks)

Feedback/Edits: 3.10 - 3.15 (2 weeks)

Lettering: 3.16 - 4.05 (3 weeks)

Feedback/Edits: 4.06 - 4.19 (2 weeks)

Final Files Due: May 3rd, 2020

Kickstarter (May 2020)

Payment (June 2020)

Compensation

Contributors will be compensated at a rate of $107/page plus any Kickstarter bonuses unlocked through stretch goals. Contributors also receive a minimum of 10 complimentary copies of the anthology, royalties on all digital sales proportionate to their page-count contribution, and royalties on any future print runs of the anthology after the first printing sells out.

"Writers Only" will receive $42/page, with bonuses, comp copies, and royalties split evenly between themselves and their artist.

"Artists Only" will receive $65/page, with bonuses, comp copies, and royalties split evenly between themselves and their writer.

All contributors have the right to purchase additional copies of the anthology at 50% off the cover price for as long as the anthology is in print.

Rights

Creators will cede exclusive first worldwide print and digital rights to their stories for a full calendar year from the date of publication, and non-exclusive worldwide print and digital rights (in both the English and Spanish languages) in perpetuity. Ownership remains with the creators.

What We WANT:

Comics (not illustrations, not prose, not poetry).

Previously unpublished stories.

The protagonist (or POV character) must be Latinx or Latin American.

Writers who have a connection to the country they choose as their setting (either from there, born there, parents or grandparents born there, lived there for many years, etc.)

Speculative fiction: How has technology changed? How has society changed? How have politics changed? The natural world? Fashion? The thoughtfulness of your world building will make or break your pitch.

Informed fiction: We want stories whose ideas about the future are rooted in an understanding of the past and present. For example: we're less interested in whether flying cars exist and more interested in whether the Amazon rain forest makes a full recovery (and what that means for Brazil).

Optimism: your vision of 25th century Latin America doesn't need to be utopic (although it can be) as long as themes of improvement, empowerment, growth, or problem-solving predominate.

Peaceful stories, sad stories, triumphant stories, funny stories, failure stories, action stories, philosophical stories, love stories -- the full spectrum of humanity is welcome. The catch: it must end “positively.” Everything doesn’t have to work out, but we prefer stories end on a note of hope, new understandings, resilience, etc.

What We DON’T Want:

No fan works. No auto-bio. No prose. No one-off illustrations.

Comics that are already finished or that you’ve already started drawing.

Hacking the Mainframe: Unless you really, really think you can "WOW!" us with a highly original take, avoid "hackers take down the mega corporation" as a plot (because it's been done to death).

Fantasy: We want science fiction and/or speculative fiction based in the real physical laws of our universe. However, certain elements of magic realism can work for us (e.g. in an otherwise realistic setting, a character speaks to a long departed ancestor, experiences old gods in a vision, or watches their life unfold out of sequence).

Ahistorical Takes: any stories that erase, deny, or revise the real-world histories of Latin American peoples will be rejected.

Horror: Your story can use fear and danger as plot elements, but if instilling fear/existential dread in the reader is the overarching goal, this is the wrong anthology.

Cursing is permitted as long as words aren’t used literally (i.e. “Shit, you scared me!” as opposed to “Let’s go shit in the woods!”) and are used very sparingly when used at all. In general, we’d prefer not.

No porn. No references to specific sexual acts. No explicit nudity whether sexual or non-sexual (sorry, folks). “Consensual fade-to-black sex between legal adults” is fine.

No depictions of abuse (sexual, physical, psychological) whether pictorial or written. Characters may vaguely reference (in non-graphic language) abuse that they have suffered in the past if doing so serves the story or is integral to the character.

No gore. People can get hurt, bleed, die, etc, but not in a grossly over-the-top way that fetishizes violence.

No slurs, no racist statements nor imagery, no misogyny, no transphobia, no ableism, no xenophobia, and no white supremacist nonsense in general. Since this anthology is about Latin America's future, these topics can be broached in your story, but we urge you to tackle such subjects in a more creative way than "[insert drawing of some guy yelling a slur]."

Ready to pitch?

"SOLO CREATORS" APPLY HERE.

"WRITERS ONLY" APPLY HERE.

"ARTISTS ONLY" APPLY HERE.

Here’s what you’ll need to complete each form:

SOLO CREATORS:

A working title and page count for your comic (doesn’t have to be exact).

A synopsis of your story, including a beginning, middle, and end. Spoil everything, but try to keep it under 300 words.

Preliminary sketches associated with your pitch: character ideas, environment concepts (the latter is especially important if your portfolio lacks strong examples of background art), etc. These don’t need to be final or polished pieces! Just clear enough to give us an idea.

Links to any relevant publishing credits. Self-published works and webcomics count as credits! Choose examples that best reflect the style you intend to use for this comic. You may simply include a link to your portfolio if you have no pre-existing credits, but please note that folks with sequential storytelling examples will receive preference.

Tell us about yourself, your cultural and creative background, and why you want to be in MAÑANA. Short and sweet is best!

WRITERS ONLY:

A working title and page count for your comic (doesn’t have to be exact).

A synopsis of your story, including a beginning, middle, and end. Spoil everything, but try to keep it under 300 words.

Links to any relevant publishing credits. Self-published works and webcomics count as credits! You may simply include a link to your writing portfolio if you have no pre-existing comics writing credits, but note that folks with comics writing experience will receive preference.

Tell us about yourself, your cultural and creative background, and why you want to be in MAÑANA. Short and sweet is best!

ARTISTS ONLY:

Links to your portfolio and/or any relevant publishing credits. Self-published works and webcomics count as credits! You may simply include a link to your portfolio if you have no pre-existing credits, but please note that folks with sequential storytelling examples will receive preference.

Tell us about yourself, your cultural and artistic background, and why you want to be in MAÑANA. Short and sweet is best!

More Questions?

Check out the FAQ. If your answer isn’t there, Ask away!

[erfmanhelgas0-blog]

Just how to Make Your Web Site Press Friendly

Numerous public connections and marcom supervisors find themselves spending 10s of countless dollars or even more, developing and also preserving an internet site. In addition, they may invest 10s of thousands much more monthly on public relations. But is the internet site press friendly? Does it make it easy for editors, writers and also experts to discover the information they need? The majority of today's journalists use the internet for their study. It's very reliable. Much of them like researching in the evening or during weird hrs, when they don't require to be answering phones. When a journalist or editor brows through the internet site to do some research as well as create concerning a business or its items, typically they can't find what they are looking for. When your pr division is home asleep, your website is your only rep to journalism.

Graphics, images, graphes and also various other illustrated art work is extremely vital. I have actually found that wonderful art greatly improves your odds of obtaining favorable press coverage. Consist of both item pictures as well as modern technology pictures. When possible, consist of pictures of people utilizing your product. Don't just publish low resolution pictures on your web site - make it simple for authors as well as manufacturing departments to download the 300 dpi print quality art as required. As an example, many smart sites upload thumbnail images as well as illustrations with web links to a collection of conveniently downloadable high-resolution images. The author can download as well as include a tiny JPEG. Later, if needed, the publication's production personnel can return as well as download the full high-resolution picture appropriate for publishing on the cover.

Give an alternate non-graphic variation of your internet site that gives rapid gain access to. Wonderful graphics, frameworks and also Java animations are slow-moving however great. "A plain-text, frameless and high levels of caffeine cost-free alternate website is extremely important for reporters that don't have time to look at your refrigerator art," claims David Hakala of COMPUTER World as well as SmartPartner. "40-50 percent of web surfers cruise ship with graphics switched off, and if I can't discover points this way then you're SOL."And, to summarize: Keep your internet site well arranged, approximately day and also provide present contacts. Ensure that all appropriate item, corporate and also innovation information is easily obtainable. Writers as well as editors have various requirements than your consumers as well as casual internet surfers. When you style and established your company internet site, keep in mind that journalism are necessary. Do not neglect their requirements or they'll overlook your firm.

Writers typically require a little additional that can't be located on the internet site. Possibly they need a quote from the head of state or a duplicate of your software application to assess. You require a person that can quickly take care of and also respond to the press's needs. Because, if those demands are not met, the editor will throw her hands up in disgust, and move onto to a much more press friendly web site. David Hakala of PC World as well as SmartPartner wants a call list precisely the home page, so there is no delay getting the info he needs ASAP. "My most significant aggravations problem get in touch with details," claims John San Filippo, editor of ComputorEdge. "On some websites, I can't find a solitary scrap of contact info. The following worst thing is e-mail-only get in touch with details. When you're in a rush, the phone beats e-mail any kind of day of the week. To get much more information about alternative websites in this Internet site http://kliksini.net/.

Every business website ought to consist of contact number for press individuals.""The thing I most often find missing is total get in touch with details. The address, and also phone number that readers' should call for even more info so that I can publish it. And also the press call I can require more details," grumbled Maury Wright at Commverge. "Many firms get rid of that get in touch with information from launches before uploading them online. Either leave the details in or have a different press area with an up to day list of press calls."Many firms are now utilizing a reply submission box. Ensure someone is in fact checking those questions on a hourly basis.

[yoiangstzine]

Mobile FAQ

About the project:

Namida is an inclusive  Yuri on Ice zine focusing  on ‘angst’ and ‘hurt/comfort’.  

Namida is the Japanese word for tears.  Hurt/comfort and ‘angst’ is a common trope in fan works… for good reason! Both making and creating work with an emotional impact can be a helpful way to process or release emotions. Sometimes we all need a good cry.

Inclusive means that everyone who submits and application will  be able to participate in the zine. There will be no judging. Because of the scale of this project, participants will not be paid. Their work will be considered a donation, and all sales of the zine will benefit  The Trevor Project.

About The Charity:

The Trevor Project is a non-profit phone and chat  suicide prevention hotline for LGTBIA+ youth based in the United States.

The Trevor Project is rated 4 out of 4 stars on CharityNavigator.com

More from Charitynavigator.org:  

The Trevor Project is the leading and only accredited national organization providing crisis intervention and suicide prevention services to lesbian, gay, bisexual, transgender and questioning (LGBTQ) young people under the age of 25.

The Trevor Project offers a suite of crisis intervention and suicide prevention programs, including TrevorLifeline, TrevorText, and TrevorChat as well as a peer-to-peer social network support for LGBTQ young people under the age of 25, TrevorSpace. Trevor also offers an education program with resources for youth-serving adults and organizations, a legislative advocacy department fighting for pro-LGBTQ legislation and against anti-LGBTQ rhetoric/policy positions, and conducts research to discover the most effective means to help young LGBTQ people in crisis and end suicide.

If you or someone you know is feeling hopeless or suicidal, our Trevor Lifeline crisis counselors are available 24/7/365 at 866.488.7386. www.TheTrevorProject.org

Who are the Mods?

@creme13rulee and her IRL best friend @imandarr (on Twitter) and TheBookeWyrme

I have published @wordstudyzine. Outside of YOI, I’ve raised over $1200 running past events (prom and another dance) for Washingtonstuck, which at the time was a 1000+ member Homestuck fan group in my home state.  I formerly was on the mod team. I’ve also organized one-day cons (Pancon) in  Seattle and a few Christmas parties in the past.  I love planning events! I have not planned in-person events lately as I work in a Title 1 (high-poverty) special needs classroom and my spare cash for rental has been going to activities for my kiddos.

My etsy is here: https://www.etsy.com/shop/cremebrulee  My tumblr, Ao3 and twitter are all under @creme13rulee @mandarr has been my best friend for over a decade. She’s spent her entire life volunteering and working to help others.She is now a board member of a youth service organization we are both past members of. She is a traditional artist and has had her art featured at  Jet City Comic Show, local murals and Ever free, a MLP convention. She is an amazing leader, hard worker and my platonic better half.  I dragged her into the YOI fandom. She is currently an artist for multiple writers in the Victuuri Fluff bang and has made art for my fic Deep Within my Bones and co-written a fanfic with me.

You can find her on Twitter and Facebook (Mandarrart) and her website here  http://www.visualartsservices.com

@thebookewyrme  loves reading and writing fluff angst and smut and creates amazing podfics!   Meet her in the project Discord and check our her social media!

Follow them at @thebookewyrme (Tumblr, Pillowfort, Dreamwidth)

Twitter @LiaWolff

AO3  TheBookewyrmeWritesFic

How will the zine work?

Namida will be primarily released as a PDF sold on our bigcartel website. 100% of the proceeds will go toward the Trevor Project.

The zine will also be available in print through Lulu.com.

To keep it affordable, the zine will be divided into ‘volumes’ of roughly 100 pages. Participants will be notified of which volume their piece will be included in. Those participating in the zine will be able to buy a copy at-cost from Lulu.com. The general public will be able to buy print copies directly from Lulu.com with a set donation added to the cost.

Why is the print version through lulu.com?

Lulu.com is a Print-on-Demand marketplace we have used in the past. Using Lulu.com enables us to run a large project and still enable participants to see their own work in print form.

People who buy from Lulu.com will be able to get their book shipped within 7 business days at a cheaper shipping rate than what is available to the public.

Using the Marketplace also allows the zine to collect money for the Trevor Project without having to worry about preorder issues with Paypal that other projects have encountered in the past.

Will there be merch?

Due to the potential scale of an open zine, we are not planning to offer merch as part of the project. We encourage you to check out any shops that zine participants may own!

General Participant  Requirements/Rules:

Fiction (and art) can be cathartic to read/see. The main idea of the zine is to get a cry  and feel good at the end. Hurt/comfort angst, or ‘angst with a happy ending’ is encouraged.

If there is enough interest, there will be a section for works that may not have a guaranteed happy ending.

Being dark for the sake of being dark is discouraged.  Please explore difficult themes carefully and with respect.

Pieces with tough subject matter should be ‘tagged’ with appropriate warnings, even if they may spoil the story.

Any characters in romantic or explicit/sexual situations must be  obviously 18 years or over [by age and appearance.]

No non-con (non-consensual)/rape, underage or child abuse please.

We reserve the right to ask you to change your idea, or refrain from adding it to the project if it is deemed inappropriate.

Writer requirements:

Any type of previously unpublished prose up to 5,000 words.(No minimum)

Word count can be split between pieces (e.g. poems) but they should be cohesive (belong to each other) and be a stand alone story. (No continuation or prequels to existing fanfic)

Artist requirements:

8.5x11/ Letter size format (2550 pixels wide  and 3300 pixels tall)

300 DPI  digital art or high-quality scan/photo

Formatted for RBG

Comics -> 5 pages or less, formatted as above

Are we allowed to do AU (Alternate Universes?)

Yes! 

Can we collaborate?

Yes! There will be a channel for collabing in the Discord. It will be up to participants to find someone to work with by Check-in 1.  

Can I sign up as a writer and artist?

Yes. You can have both roles!

What pairings/ships can we do?

Namida is open to all pairings/ships, as long as any romantic/explicit content features characters at least 18 years old or older.

How can I apply? Applications will open January 1st 2019  and close on the 31st at this link:

https://goo.gl/forms/F799OXkht2RD8fi23

How do I know you got my application?

You should receive a confirmation email from Google forms. Occasionally Google acts up. If you do not get an email feel free to DM/email us to check. Please include the email/username you used to apply!

Do I have to submit a sample/ spotlight piece?

Since it is a open project, there is no judging. The link you submit is a highlight of your favorite work  to be featured along with your social media information.

It is not required. If you don’t submit a link or otherwise contact us, I will assume you do not want a spotlight post. You will still be announced as a contributor and featured in the zine regardless!

What are the requirements for the spotlight?

YOI Related, Safe for Work and easily copied/downloaded from the link. Work can be published or unpublished. If its unpublished (not on Ao3 or FF.net) then we will post it in whole on the spotlight piece.)

Contact Us

You can contact us through our tumblr, twitter (@yoiangstzine ), Discord (cremexbrulee#1430, TheBookewyrme#6691 or Mandarr#9986) or at namidazine@gmail.com

[jaipuriaschoolsgnoida]

5 qualities to search for before picking one of the most reliable pre-nursery schools near me for your youngster.

The moms and dads acquire fretted concerning the education and learning as well as knowing of their youngsters once they change one. As in India, there are no accurate guidelines take down by the Department of Public Instruction (DPI) associating with when your youngster ought to get enrolled in an establishment, therefore the establishments have really laid their very own collection of guidelines. However usually you can get your youngster signed up in pre-nursery university ranging from age of two years 6 months to 3 years 10 months.

Yet when you begin to look for your child a college that can satisfy all the needs of the overall development of the youngster you desire pre-nursery schools near me that makes use of all one of the most efficient education and discovering in addition to centers to your kid.

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[creta5164]

[Second week of 2018.09] Busan Indie Connect Festival!

Sorry I was late, I had to postpone the posting one day because the schedule was so busy. So, thank you for waiting my devlog!

Hi, there!

I will try to make an important announcement before the start of devlog. Starting this week, I started to do level design, plot, and visual work.

So, coincidentally, it became impossible to avoid making it difficult to write a devlog every Sunday, so I decided to write a diary every two weeks, and decided to post a status report on another week.

However, this week is the second week, so I will fill in the details. (First, third week = status) (Second, fourth week = devlog)

And the theme of this devlog is the indie game event held in Busan. In other words, I participated as an exhibitor at the Busan Indie Connect Festival.

It was a good place to meet many developers. Thanks to Waffle, the developer of ‘The Starry Night’ who was able to provide such a precious place. Let's begin.

Plot writing... and improving dialogue window...

Now, as I mentioned above, I'm working on the details of the plot in the current big-frame game, and I'm working on improving the script as well as moving the dialog window interface from the canvas to the world space.

This is the situation I had working on.

Depart for Busan!

First, let me introduce the background story that I was able to participate as an exhibitor of The Starry Night.

...

Waffle, who previously worked on The Starry Night, is a close ally with me. I knew that he was not a major in programming. He was developing mobile games using RPG MAKER MV.

One day, after I finished developing, I bored and told Waffle. I was talking how about planning localizing in another language. Then Waffle said, I will copy the whole project and build a version that has changed the language. I have heard some very shocking plans for me.

So, from that moment on, I've become a developer of text localization plugins using JSON, and I've become a developer who has helped to develop a pretty important part of the game.

Because MV is an engine that uses JavaScript, I implemented it right away. It's very easy to use compared to other localization plug-ins. I thought it was good.

Then one day in August I received a phone call. It was a phone call from Waffle, and I was offered a suggestion from Waffle to go to BIC and meet with the developers there.

I think now that the game being developed is very early in the game, and if it is not now, it's hard to make a chance. I was ready to talk with you right away.

So on the 12th of September...

We took the exhibition model of Tia, the protagonist of The Starry Night(...)

Then we arrived at the hostel's hostel. Two people were free, and the next person had to pay $ 20 per night for a discounted price. I think it is well worth going out because it is something I can not easily experience where I go.

Receiving the exhibitor ID card...

It was before the start, but we went ahead and watched. It's one of the biggest gaming events in the Hall of Fame.

The entrance has a BIC title on the container. I feel something different.

At the end of the day, we moved to Haeundae, and we watched the beach. The beach where the pigeons go, rather than the seagulls, feels different lol

And when I came back to my accommodation, this BIC platinum sponsor, Nicalis, welcomed the exhibitors with a very impressive font(...).

It is the appearance of the Haeundae market. It feels very different.

First Schedule - Conference Day

It is the day when the exhibitors of BIC gather in the movie theater and give a lecture to people gathered in various fields all day.

It's time to share and learn important and useful information about indie games.

It is the day when BIC exhibitors come together in a movie theater and lectures gathered in various fields all day. It's time to share and learn important and useful information about indie games.

After the conference schedule, there was a network party hosted by Nicholas. Unfortunately, due to some kind of reason, I could not participate...

Still, Waffle went to the party and brought a Hamburger called Nicalis Touch(?).

Second Schedule - Business Day

Business Day is a time to prepare booths and communicate with the developers again before the exhibition.

B-15, The Starry Night's booth. And we check out the equipment we requested...

We hastened to prepare the booth. Waffle made many preparations for this exhibition.

And I have seen 8 Doors that show this time again since Unite Seoul 2017. The game has changed a lot. I was surprised to see that the development was progressing to some extent and that the game was also a more well-caught frame. I will expect it!

And as the developers of 8Doors have used RPG MAKER since before, so he interested and have also come to The Starry Night. he was talked a lot about Waffle and MV.

In the meantime, LSH, a representative of Psychoflux, came and talked for a moment.

And this is an analog game that was personally the most expected.

As you can see, I expected that it was a game that had both sound effects and game play with the idea that it can not be tried anywhere because it is not software and play video alone.

When completed the game, it is shown play time of game. The number of red dots in the center is minutes, and the red dots on the outside are seconds. It took four minutes and 45 seconds. It was a really fun game.

SHE and the light bearer is a conversational point and click adventure game. Overall, the art style was cute, too, and the characters had a unique voice in the conversation. To briefly summarize, it is said that a firefly leaves the adventure in search of a lost mother.

Nicalis has been able to play Crystal Crisis, RemiLore, The binding of Issac: Repentance, Dungreed's Nintendo Switch version, Blade Strangers. The binding of Issac: Repentance confrimed can do Co-Op play by ask question. The demo ends on the third floor.

It is a very difficult boss rush game, SACRED STONES. I thought it would have been nice to have a headset or a speaker for experince but there's doesn't have, anyway I think the game itself is really cool.

IndigoBlue Game Studio's Blindia, famous for SPLIT BULLET and Vectorium. This game has DARK ECHO's style and with the action and strategic aspects are highlighted. I can shoot a gun!

Dance of fire and ice was also seen by the developers themselves. I can see that the developer has changed from Flash to Unity and the graphics have improved significantly, but I have not been able to shoot properly with the camera. In addition to what you can see in the video, and some pretty interesting variations such as a diagonal column.

It's called MagiCat, and I played the game for a while. Oh my gosh... It's impressive that if you like cats, you might be stunned. It was also a good game design.

So the schedule is over...

And it is the opening ceremony informing the start of the event!

A variety of food from the support of the Canadian government was displayed at the front. I ate taco with sauce at first time!

Three, Fourth Schedule - Public Visit

Now, the weekend is finally here to can communicate with players and gamers.

But I did not make The Starry Night directly, so I helped organize the booth and guide and introduce foreign guests. Photo shows I had Aseprite's source code build(...)

By the way...

At first, Aseprite has laggy were caught. I initially thought this was due to the fact that it works in debug mode, but the real reason was the 4K resolution(...)

Anyway, if change the target to system in Program > Properties > Compatibility > DPI then can use it normally.

I heard from the end, but there was a story that there were many speculations that this BIC would have come more people.

Waffle surprisingly made the demo quite long. It's hard for many to enjoy, but I think this will help people know what game is.

This is Muse dash. It was an impressive game because the animations were made to fit well into the beat.

Wow, there was a place to show the development. He is a developer of the rhythm doctor, Dance of fire and ice.

During the exhibition, one developer has shared a leaflet.

"Let's have an informal party and get together at Haeundae in front of the hostel at 9PM!"

So we arrived at Haeundae and it was 9PM, but I could not see people, so I gave up and tried to return. However, I found a person wearing an ID card on the other side of the traffic light, and the developers who were wandering around looking for a party place gathered one by one and the party proceeded.

It was a good time to talk to a lot of developers here. I had talked with LSH again, and he says I have been watching the development journal steadily, and I was surprised to see you doing the animation work.

I had a schedule to perform the awards ceremony and the LAN party once again from 5:00 on the last Sunday, but unfortunately I came back as soon as 6 o'clock due to personal reason.

But this opportunity is not uncommon, so I think it makes sense.

Oh my legs!

I am still making a small part of the plot and game system, and still keeping one commit per day. In the future, the amount of development journals will decrease. Because, as I mentioned at the beginning of this devlog, there are a lot of things I'm working on that are hard to disclose. I'm sad.

LSH said for that "most of the indie game developers when if keep writing the devlog, they arrive at this point, the devlog's post date term is getting longer." And he said, "that is a natural process. if you are worried about the devlog's quantity, how about put up a devlog every two week?" So I decided to try this part of the time.

One day I will improve my perfection until the day I show my game from there.

See you in next week, thank you :)

[nhus321]

Comparative Costs Special Needs Students

Comparative Cost Per Member and Comparative Revenue Per Member

Section D of Multi-Year Edition of Basic Facts

In cooperation with the Wisconsin Association of School Business Officials Accounting Committee, the Department of Public Instruction (DPI) School Financial Services Team has developed several revenue and cost "benchmarks" that can be used for informational and general analysis purposes.

Data has been taken from audited Annual Reports submitted to the DPI by local districts. Revenue and cost measures, by themselves, cannot indicate the extent or quality of a particular district's educational program. Users of this data are encouraged to pursue the reasons for revenue and cost differences between districts.

Comparative Cost Homepage

Comparative Revenue Homepage

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[phgq]

Birth of PNA in 1973 followed PNS' death in September 1972

#PHnews: Birth of PNA in 1973 followed PNS' death in September 1972

MANILA – Many of the millennial Filipino journalists may be interested to know that the Philippines used to have its own news agency even before the advent of martial law imposed in September 1972 by then President Ferdinand E. Marcos.

Yes, that privately-owned news outfit was the Philippine News Service (PNS), the predecessor of the present government-run Philippine News Agency (PNA) which marks its 48th anniversary this coming March 1.

PNS was organized in 1950 as a news-gathering cooperative by the publishers of the then major and leading national newspapers--the Manila Times-Mirror-Taliba, Manila Chronicle, Manila Bulletin, Philippines Herald, Evening News, Bagong Buhay, and Fookien Times. Its main function then was to supply daily news and photos from the provinces to these newspapers as well as to those in the provinces.

Radio and television stations also used the PNS stories for a fixed monthly fee or subscription. Foreign news agencies, such as the Associated Press, United Press International, Reuters, and Agence France-Presse, and a few private entities were also allowed to subscribe.

Through the old mail system (using stamps and envelopes), it also maintained a news exchange agreement with foreign news agencies such as Antara of Indonesia, Bernama of Malaysia, Kyodo of Japan, Yonhap of South Korea, Central News Agency of Taiwan, and Tass News Agency of the former Soviet Union, among several others.

When Marcos declared a nationwide state of martial law under Proclamation No, 1081 on Sept. 21, 1972, PNS was forced to cease its 24-hour daily operations since its major clients– newspapers, radio, and TV stations–were padlocked and guarded by government troops. At the time of its closure, PNS had some 120 news correspondents from all provinces and cities of the country.

About four months after the imposition of martial law and shortly after Marcos allowed a handful of newspapers and broadcast outfits to reopen, a group of former newspaper editors asked then Department of Public Information (DPI) Secretary and later on Senator Francisco S. Tatad to explore the possibility of opening a government news agency by acquiring the World War II-vintage teletype machines and other equipment of the PNS. The persistence of such a group of editors to once again set up an even more dynamic wire news agency bore fruit when PNS was allowed to reopen but under a new name – Philippines News Agency (PNA) as the government’s official news outfit.

Negotiations for the acquisition of the PNS equipment were done by a group of former newspapermen from Tatad’s office at Malacañang, including the late Bureau of National and Foreign Information (BNFI) Director Lorenzo J. Cruz and the late Press Undersecretary Amante Bigornia.

The amount paid by the government for the old PNS teletype machines, typewriters, mimeographing machines, and a photo darkroom plus few cameras was used to pay the delayed salaries of the PNS staff in Manila from September to December 1972.

Jose L. Pavia, the late former executive editor of the defunct Philippines Herald, was appointed as the first general manager of the infant news agency. He headed its initial 11-member staff, with the late Renato B. Tiangco, also formerly of the Herald and a foreign news agency wireman as managing editor; and Severino C. Samonte, a holdover from the PNS, as national and provincial news editor at the same time.

As the government news agency, PNA was created under a Special Department Order issued by Tatad. It was placed under the BNFI, its first mother bureau that provided its fund.

Launched on March 1, 1973 as the national government’s official news agency, PNA initially used the editorial offices vacated by the PNS on the second floor of the National Press Club (NPC) of the Philippines Bldg. along Magallanes Drive in Intramuros, Manila.

The first set of PNA’s correspondents were picked from the former PNS stringers covering the country’s then just 70 provinces and 60 cities. A number of former staff members of the defunct Manila newspapers later joined the PNA Central Desk as editors, reporters, and photographers.

At the outset, four PNA correspondents were assigned each to cover the then existing four Philippine Constabulary (PC) Zones in Luzon, the Visayas and Mindanao. These were the 1st PC Zone in Camp Olivas, Pampanga; 2nd PC Zone in Camp Vicente Lim, Laguna; 3rd PC Zone in Cebu; and 4th PC Zone in Davao.

When Secretary Tatad turned on the switch to launch the PNA in the afternoon of March 1, 1973 in Malacanang, he said: “The Philippines News Agency will be operated in the best tradition of the world’s professional news agencies.”

During the martial law years, the PNA, together with the so-called “Big Four” news agencies – Reuters, AFP, AP and UPI – covered the entire archipelago, bringing news around the Philippines to the outside world as much as possible. For a while, PNA even entered into a news exchange agreement with some of these foreign news agencies.

A year after its birth, PNA inaugurated its first domestic bureau in Cebu City, opening a new era for the media in the country’s second-largest, most cosmopolitan city. Seven tabloid-sized newspapers there began to carry current national and foreign news through the PNA wires, a radical departure from their former purely local coverage. This placed them in a position to compete for circulation in the Visayas and Mindanao with the major national dailies published in Manila.

The year 1974 also saw the opening of similar PNA bureaus in Iloilo, Baguio, Davao, San Fernando, Pampanga; Cagayan de Oro, Bacolod, and Dagupan. These were followed by Lucena City, Legazpi, Cotabato, Tacloban, Zamboanga, Dumaguete, Iligan, Laoag, Tuguegarao, San Fernando, La Union; even Jolo, Sulu; and Los Banos, Laguna.

The peak number of domestic bureaus stood at 23 in 1975, with the opening of additional bureaus in Cabanatuan City, General Santos City, and Tagbilaran City. However, this number of bureaus was reduced drastically as a result of cost-cutting measures in later years.

After the Feb. 22-25, 1986 EDSA People Power Revolution, with the opening of a number of new newspapers in Metro Manila, a number of PNA-trained reporters tried their hands at actual newspapering and in the broadcast field. Many of them became editors and columnists in several national newspapers after they had once cut their journalistic teeth at the PNA newsroom.

Until early 1986, the PNA, through the former Office of Media Affairs (OMA) headed by then Information Minister Gregorio S. Cendana (RIP), had overseas bureaus in San Francisco, California; Sacramento, Los Angeles, New York, Washington, D.C., Chicago, Toronto (Canada), Sydney (Australia) and Jeddah. These were closed down after the EDSA Revolution.

During the government reorganization in 1987, the BNFI was abolished and replaced with two new bureaus–the present-day News and Information Bureau (NIB) and the Bureau of Communications Services (BCS).

At present, PNA remains a division of the NIB which is headed by Director Gigie R. Arcilla-Agtay. The agency is under the direct supervision of Secretary Martin Andanar of the Presidential Communications and Operations Office (PCOO) in Malacanang.

In its 48 years of existence, PNA has transferred seven times--five times around the Intramuros area in Manila and twice in Quezon City, the latest in 1996 when it settled to its present headquarters on the second floor of the Philippine Information Agency (PIA) Bldg. along Visayas Ave. in Diliman, Quezon City. (PNA)

***

References:

* Philippine News Agency. "Birth of PNA in 1973 followed PNS' death in September 1972." Philippine News Agency. https://www.pna.gov.ph/articles/1131927 (accessed February 28, 2021 at 01:58AM UTC+14).

* Philippine News Agency. "Birth of PNA in 1973 followed PNS' death in September 1972." Archive Today. https://archive.ph/?run=1&url=https://www.pna.gov.ph/articles/1131927 (archived).