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PALISADES TAHOE SKI RESORT — At midnight, a slender moon hangs above the snowy Sierra Nevada, casting only a faint glow on a sheer cliff and the dark canyon below. But snowcat operator “Bandit” Ferrante has laser-guided vision, measuring snow depth 150 feet ahead and to each side to sculpt the slopes with precision. By dawn, crowds will start arriving to ski and ride the weekend’s fresh powder. “These advancements are changing the way we do things,” said Ferrante, 36, who drives a new $400,000 German-made PistenBully rig with Light Detection and Ranging (LiDAR) technology to prepare the trails. “I see exactly where we’re going, and what’s going on.” After two winters of heavy snow, the snowfall so far this winter has been sporadic. While Mother Nature is always fickle, climate change could create less reliable snow, spelling hardship for the businesses and mountain communities that depend on storms for their economic survival. So resorts seek to make and protect each precious flake. Big corporations running Palisades, Heavenly, Northstar, Kirkwood and Mammoth Mountain have made major investments, worth many millions of dollars, in what’s dubbed “snow management.” With some daily lift tickets exceeding $250, the resorts seek to deliver a dependable high-end experience. Initially just farm tractors on tracks, snowcats have evolved into machines of design, detailed craftsmanship and computer-driven tools. Inside the warmth of his cab, with a chatty podcast for company, Ferrante monitors a computer screen with color-coded snow depths, guiding him on where to push and pull snow for the best coverage. Its SNOWsat LiDAR remote sensing technology uses laser pulses to measure snow depth. With accuracy to within an inch, it can construct perfect snowboard half-pipes or World Cup ski race terrain. The joystick that directs the 12-ton machine is smooth, responsive and comfortable to grasp. The blade shifts in 17 different directions, with wings to shovel the snow. With a sensor that detects incline, the powerful tiller automatically rises and falls when routes get steep. It’s turned a once lonely and tedious task into a skill-driven profession. “You keep learning new things,” said Ferrante, a South Lake Tahoe native with nearly 20 years of resort experience. A tidy tattoo — a snowcat control stick — adorns his neck. At competitive “Groomer Games” every spring, representatives of all California ski resorts gather to test their expertise by pushing a golf ball through a maze. Innovations in snow-making tools — such as the $40,000 Super PoleCat — perform alchemy, mixing massive drafts of water, air and electricity to cover miles of runs. Some have built-in automated weather stations. Snowcats maximize the efficiency of snowmaking. Some are simple utility vehicles, hauling things around the mountain. Others are “trooper carriers,” moving ski patrollers. “Dig rigs” have backhoes to excavate buried equipment. A few have forks, for installing fences and seats on race days. The smallest cats are adroit at digging out chairlifts and clearing sidewalks. “You use the right tool for the right job,” said Brendan Gibbons, director of snow surface at Palisades Tahoe. The most prized snowcats at Palisades are the new LiDAR-equipped machines. They are leading the fleets that are racing across the resort this weekend to groom freshly fallen powder, sending information by cell signal to the less well-equipped machines. Until recently, snowcats relied on GPS to measure snow depth; the technology knows how high the machine is sitting above the ground. But this tool offers a limited view of what’s directly under the rig and front blade, not what lies ahead. “It was a great start to this technology, but it only allowed us to see how deep the snow is where we’ve been, and where we are,” said Gibbons. “LIDAR shows us what the snow is before we get to it.” LiDAR also measures the volume of piles of manmade snow, helping guide its use. The tool is already in use in research and government agencies to study snow from the air. It helps water districts measure future water reserves. It can identify avalanche danger. Related Articles Technology | France rushes aid to Mayotte after Cyclone Chido leaves hundreds feared dead Technology | Here’s where burrowing owls have disappeared in California Technology | US hikes tariffs on imports of Chinese solar wafers, polysilicon and tungsten products Technology | Monarch butterflies to be listed as a threatened species in US Technology | Pasadena celebrates 3.5 miles of revamped Arroyo Seco trails – ‘truly a gift’ It works by sending out up to 200,000 laser pulses per second. Then it measures the time of flight — how long it takes the laser to hit the snow and bounce back to the instrument. It calculates distance by using the known speed of light and the time it takes the laser to travel. In the summer, LiDAR builds a digital model of the bare terrain. In the winter, Bandit and other “night crawlers” creep along the mountain’s cold contours, taking snow measurements. Managers study the freshly updated maps on their phones, then strategize a nighttime plan based on weather, wind, melting and skier traffic. After a long day of wear and tear, LiDAR helps “clean up the holes, remove the moguls and return the slope back to a nice, perfect skiing surface,” said Brian Demarest, SNOWsat manager for Kassbohrer All Terrain Vehicles in Reno, which sells PistenBully (“trail worker,” loosely translated, in German). Snowcats no longer lurch and rock. An eight-hour shift “is like driving to L.A.,” said Gibbons. The snowcat’s taco-shaped blade can turn in 17 different directions. On each side of the blade is a wing that shoves the snow left or right. Its weight compresses the snow as it rolls, squeezing out dangerous air pockets and creating a more firm surface. Each track works independently, so the rig can pivot. Cleats add traction. In the back is a spinning barrel with teeth, which chews up the snow. The barrel’s spin speed is adjustable, influencing how much the flakes heat up and bind to each other. A comb, also adjustable, drags behind to deposit rows of perfect corduroy. Grooming is still dangerous, with peril on slippery and avalanche-prone slopes. One recent winter, when winds hit 192 mph gusts, machines skidded on ice. Ferrante arrives at Palisades in mid-afternoon from his home in Garnerville, Nevada, to get his assignment for the night’s “swing shift.” When he’s done, he’ll hand it off to a colleague on the graveyard shift that grooms until the lifts open. By 5 a.m., he’s in bed. “I don’t get lonely,” said Ferrante, who drinks a thermos of black tea to stay alert. Food can be heated by the exhaust pipe. Throughout the long night hours, operators coordinate with each other, traveling together when there’s avalanche danger. A winch can help secure a machine, allowing it to work on steep slopes. Ferrante sees coyotes, deer, porcupines, and occasional bear. One crew saw migrating ducks fall from the sky, lost in a storm. His crew started the season with “track packing” to compress November’s snow. Now, with the arrival of a new storm, he’ll push snow into rigid “wind rows,” like fences, to catch blowing drifts; later teams will smooth them out. Post-storm priorities are roads, then ramps, then runs. His discipline, largely unrecognized by resort visitors, is building the foundation for a whole season of sport. “There is a ‘skill ceiling’ that’s infinite,” said Ferrante. “You’re never going to be the very best. You’re never going to figure it all out.”Reason Woman Is Letting Sister's Mortgage Application Fail Applauded

Bellingham: Liverpool are best team in Europe | Slot awaits injury updatesBy JOSH BOAK WASHINGTON (AP) — Donald Trump loved to use tariffs on foreign goods during his first presidency. But their impact was barely noticeable in the overall economy, even if their aftershocks were clear in specific industries. The data show they never fully delivered on his promised factory jobs. Nor did they provoke the avalanche of inflation that critics feared. This time, though, his tariff threats might be different . The president-elect is talking about going much bigger — on a potential scale that creates more uncertainty about whether he’ll do what he says and what the consequences could be. “There’s going to be a lot more tariffs, I mean, he’s pretty clear,” said Michael Stumo, the CEO of Coalition for a Prosperous America, a group that has supported import taxes to help domestic manufacturing. The president-elect posted on social media Monday that on his first day in office he would impose 25% tariffs on all goods imported from Mexico and Canada until those countries satisfactorily stop illegal immigration and the flow of illegal drugs such as fentanyl into the United States. Those tariffs could essentially blow up the North American trade pact that Trump’s team negotiated during his initial term. Chinese imports would face additional tariffs of 10% until Beijing cracks down on the production of materials used in making fentanyl, Trump posted. Business groups were quick to warn about rapidly escalating inflation , while Mexican President Claudia Sheinbaum said she would counter the move with tariffs on U.S. products. House Democrats put together legislation to strip a president’s ability to unilaterally apply tariffs this drastic, warning that they would likely lead to higher prices for autos, shoes, housing and groceries. Sheinbaum said Wednesday that her administration is already working up a list of possible retaliatory tariffs “if the situation comes to that.” “The economy department is preparing it,” Sheinbaum said. “If there are tariffs, Mexico would increase tariffs, it is a technical task about what would also benefit Mexico,” she said, suggesting her country would impose targeted import duties on U.S. goods in sensitive areas. House Democrats on Tuesday introduced a bill that would require congressional approval for a president to impose tariffs due to claims of a national emergency, a largely symbolic action given Republicans’ coming control of both the House and Senate. “This legislation would enable Congress to limit this sweeping emergency authority and put in place the necessary Congressional oversight before any president – Democrat or Republican – could indiscriminately raise costs on the American people through tariffs,” said Rep. Suzan DelBene, D-Wash. But for Trump, tariffs are now a tested tool that seems less politically controversial even if the mandate he received in November’s election largely involved restraining inflation. The tariffs he imposed on China in his first term were continued by President Joe Biden, a Democrat who even expanded tariffs and restrictions on the world’s second largest economy. Biden administration officials looked at removing Trump’s tariffs in order to bring down inflationary pressures, only to find they were unlikely to help significantly. Tariffs were “so new and unique that it freaked everybody out in 2017,” said Stumo, but they were ultimately somewhat modest. Trump imposed tariffs on solar panels and washing machines at the start of 2018, moves that might have pushed up prices in those sectors even though they also overlapped with plans to open washing machine plants in Tennessee and South Carolina. His administration also levied tariffs on steel and aluminum, including against allies. He then increased tariffs on China, leading to a trade conflict and a limited 2020 agreement that failed to produce the promised Chinese purchases of U.S. goods. Still, the dispute changed relations with China as more U.S. companies looked for alternative suppliers in other countries. Economic research also found the United States may have sacrificed some of its “soft power” as the Chinese population began to watch fewer American movies. The Federal Reserve kept inflation roughly on target, but factory construction spending never jumped in a way that suggested a lasting gain in manufacturing jobs. Separate economic research found the tariff war with China did nothing economically for the communities hurt by offshoring, but it did help Trump and Republicans in those communities politically. When Trump first became president in 2017, the federal government collected $34.6 billion in customs, duties and fees. That sum more than doubled under Trump to $70.8 billion in 2019, according to Office of Management and Budget records. While that sum might seem meaningful, it was relatively small compared to the overall economy. America’s gross domestic product is now $29.3 trillion, according to the Bureau of Economic Analysis. The total tariffs collected in the United States would equal less than 0.3% of GDP. The new tariffs being floated by Trump now are dramatically larger and there could be far more significant impacts. If Mexico, Canada, and China faced the additional tariffs proposed by Trump on all goods imported to the United States, that could be roughly equal to $266 billion in tax collections, a number that does not assume any disruptions in trade or retaliatory moves by other countries. The cost of those taxes would likely be borne by U.S. families, importers and domestic and foreign companies in the form of higher prices or lower profits. Former Biden administration officials said they worried that companies could piggyback on Trump’s tariffs — if they’re imposed — as a rationale to raise their prices, just as many companies after Russia’s invasion of Ukraine in 2022 boosted food and energy costs and gave several major companies the space to raise prices, according to their own earnings calls with investors. But what Trump didn’t really spell out is what might cause him to back down on tariffs and declare a victory. What he is creating instead with his tariff threats is a sense of uncertainty as companies and countries await the details to figure out what all of this could mean. “We know the key economic policy priorities of the incoming Trump administration, but we don’t know how or when they will be addressed,” said Greg Daco, chief U.S. economist at EY-Parthenon. AP writer Mark Stevenson contributed to this report from Mexico City.FIJI Women’s Crisis Centre (FWCC) co-ordinator Shamima Ali says the exploitation of women online should be included in Fiji’s school curriculum to spread more awareness on gender-based violence against women. Ms Ali told the The Fiji Times yesterday there was a lack of awareness of technology-facilitated violence in schools, especially on the maritime islands. “I think awareness should be everywhere, it should be in the education system,” Ms Ali said. “We are very much not moving ahead with technology, but we are leaving our people behind, we are not taking them with us and people need to be made aware.” Ms Ali said the education system, while implementing the good things that modern technology could offer, must also look at the drawbacks and how it could be missed, misused, abused, “and often without thought, people don’t know enough about it”. “It’s about time we started doing this wherever we are, whether we are in the rural areas, in the maritime areas, or in the urban areas, where they don’t have access to information sectors or people who give them information. “For us, in all the community awareness we have done in the rural areas, on the outer islands and so on, technology-facilitated violence and things like this have become part of that work.” Ms Ali said this was an extension of violence against women and girls. She said the Government has always had knee-jerk responses to addressing issues such as violence against women and children, especially the exploitation of intimate photos of young women on social media. “When this is happening, we ban everything on social media,” she said. “Drugs happening? Ban everybody from the village. “We don’t bring in the experts to tell what this means for us, what the repercussions are and do we educate. “We have to talk about it with a calm mind and with intelligence and say what the right way forward is. “There is not enough knowledge, and we need to get together as a society.”

Building on a Legacy of over 80 Years of Manufacturing Excellence - Gemcor Production Solutions Delivers Advanced Factory Integration with Automated Fastening Systems under Ascent Aerospace(Photo by Kampus Production via Pexels) Employees are suffering "techno-strain" as a result of digital systems making it difficult to switch off from work, warns a new study. Staff are experiencing mental and physical issues due to being "hyperconnected" through digital technology, according to the findings. Researchers from the conducted detailed interviews with employees from a variety of professions. They found that the cognitive and affective effort associated with constant connectivity and high work pace driven by the digital workplace is detrimental to employee well-being. The study is the final part of a research project exploring the "dark side effects" of digital working which include stress, overload, anxiety and fear of missing out. The results, published in the journal , highlight an "overarching" theme of "digital workplace technology intensity" as a result of digital workplace job demands. The research team says their findings indicate a "sense of burden" associated with working digitally which surfaced for most participants in perceptions of overload and feelings of being "overwhelmed" by the proliferation of messages, apps and meetings in the digital workplace. They say "fear of missing out" - or FOMO- on important information and contact with colleagues also contributed to stress and strain for digital workers, as did hassles encountered when using digital technologies. (Photo by Tara Winstead via Pexels) Study leader Elizabeth Marsh said: “Digital workplaces benefit both organizations and employees, for example by enabling collaborative and flexible work. "However, what we have found in our research is that there is a potential dark side to digital working, where employees can feel fatigue and strain due to being overburdened by the demands and intensity of the digital work environment. "A sense of pressure to be constantly connected and keeping up with messages can make it hard to psychologically detach from work." Fourteen employees were interviewed in detail and asked about their perceptions and experiences of digital workplace job demands and impacts to their health. Comments from interviewees included: “[It’s] just more difficult to leave it behind when it's all online and you can kind of jump on and do work at any time of the day or night.” Another participant said: “You kind of feel like you have to be there all the time. You have to be a little green light,” while another commented: “It's that pressure to respond [...] I've received an e-mail, I've gotta do this quickly because if not, someone might think “What is she doing from home?” In their analysis, the researchers explored potential underlying psychological, technological and organizational factors that may influence ways in which employees experience digital workplace job demands. The findings showed that participants' dark side experiences were particularly shaped by a pervasive and constant state of connectivity in the digital workplace, termed "hyperconnectivity." Those experiences contributed to a sense of pressure to be available and the erosion of work-life boundaries, according to the research team. (Photo by Thirdman via Pexels) They said the evidence also indicates that "hyperconnectivity" has become the norm among workers post-pandemic. PhD student Marsh said: “The findings underline the need for both researchers and professionals to identify, understand and mitigate the digital workplace job demands to protect the well-being of digital workers.” The research also makes practical suggestions for employers including helping workers improve their digital skills and empowering them to manage boundaries in the digital workplace. The team says their findings could also be used by IT departments to consider how to improve the usability and accessibility of the digital workplace, as well as reining in the proliferation of applications. Dr. Alexa Spence, Professor of Psychology, said: “This research extends the Job Demands-Resources literature by clarifying digital workplace job demands including hyperconnectivity and overload." She added: "It also contributes a novel construct of digital workplace technology intensity which adds new insight on the causes of technostress in the digital workplace. "In doing so, it highlights the potential health impacts, both mental and physical, of digital work.”US says terror designation doesn't bar talks with Syrian rebel group

As most exit polls in Jharkhand predicted an edge to BJP-led NDA but not a clear majority of 41, both NDA and JMM-led I.N.D.I.A. bloc are keeping a tab on independent candidates for the formation of the government in the state. According to the exit polls, the NDA may need one to three seats to touch the magical figure of 41 out of 81 Assembly seats in Jharkhand. Among the probables, Devender Singh alias Bittu from Panki in Palamu district and Shalini Gupta from Koderma can be the kingmakers if either side does not get the magic number, a senior party worker in the NDA camp said. Similarly, the JMM-led alliance is not far behind as the exit polls predicted that the I.N.D.I.A. bloc may get 38 to 39 seats and they also need two or more seats to get the majority. The JMM has reportedly deputed managers to woo the independent candidates. The sources in JMM camp said that Congress leaders are in touch with Devendra Singh and will try to get his “Ghar-Wapsi” to the ruling alliance. The political experts feel that newly created party “Jharkhand Loktantrik Kranti Morcha (JLKM), led by the young and charismatic Jairam Mahto, has fair chances to win two to three seats out of 10 contested.Sheldon Museum of Art director Susan Longhenry is aiming to bring the community back to the University of Nebraska-Lincoln museum with new hours, traveling exhibitions and public programming. Shortly after she became director of the Sheldon Museum of Art in August 2023, Susan Longhenry walked from her Haymarket home to the University of Nebraska-Lincoln campus on a Husker football Saturday. She wasn’t going to work. Sheldon had, for years, been closed on home gamedays, out of concern about security of the art and because of too many Husker fans coming into the museum not to see the art but to use the restrooms. “I just wanted to see for myself what campus was like,” Longhenry said. “I didn't know if I would see kind of dangerous things happening. I just saw a joyous community gathering. And I looked up and saw it against the dark Sheldon. That moment, I really committed to trying to engage with that experience as much as possible.” Some of that commitment to community engagement also grew out of a series of conversations with Sheldon “stakeholders” — collectors and board members, university faculty and staff, artists and community members — that Longhenry held over her first few months in Lincoln. People are also reading... “What I heard out of that was a very interesting sense of duality, that at various points in the life of the museum, it had been totally focused on the campus audience, the University of Nebraska-Lincoln, and at other points that have been focused on the Lincoln community and perhaps less so on the campus,” Longhenry said. “I heard that recently, there had been more of a focus on the campus, and I heard a hunger from the Lincoln community to be more engaged with the museum again. That has driven all of our decisions since.” That near-exclusive focus on the campus began a decade ago when Wally Mason became Sheldon director and chief curator. Switching the museum’s exhibition schedule to match the academic calendar, Mason appointed a curator of academic engagement who worked with faculty and staff across the university, presented exhibitions from the permanent collection aimed at students and studies and largely ended programming, like a Day of the Dead celebration, that targeted off-campus audiences. Longhenry, however, doesn’t see a reason to divide campus and community. That, she said, is particularly the case for Lincoln and the UNL museum with its Philip Johnson building paid for in the 1960s with funds from the Sheldon family and its collection acquired largely from donations, purchases from bequests and by the Nebraska Art Association, the museum’s decades-long support group. “Fortunately for me, that's a false duality," Longhenry said. “I believe that the magic power of the academic museum is that we are a nexus where the campus and the community come together.” In fact, Longhenry explored the campus/community nexus when she led Marquette University’s Haggard Museum of Art in a strategic program focusing on community assets and citizen participation that she recounted for the American Alliance of Museums. So Longhenry changed Sheldon’s hours, not only on football Saturdays but by opening during UNL’s winter break and on Sundays. Appropriately, in April, Sheldon invited the community to celebrate the new hours with Sundaes at Sheldon. Sheldon Museum of Art Director Susan Longhenry (center) serves ice cream during Sundaes at Sheldon, celebrating the museum opening on Sundays. “It’s been important for access, but it also sends a message,” Longhenry said. “If your hours are aligned with when people can actually come, I think that’s much more welcoming.” The new hours are also, in a sense, symbolic of the changes that Longhenry is bringing to Sheldon. “I believe firmly in centering visitors and asking yourself, ‘What's it like to walk into a museum for the first time, if you don't know it,’” Longhenry said. “We realize that we have this incredibly inspiring space that is beloved by many, but it can be a little intimidating. So we made some changes. “We want to make sure that, first of all, we’re open when you can come and when you walk in the door, you feel welcomed, that you have the tools you need to have a great experience.” That has led to moving the welcome desk, strengthening the visitor center and changes in signage. It has also seen the return of public events. On Halloween, the Sheldon Museum of Art provided flashlights to visitors for exploring darkened galleries housing the exhibition “Uncanny Encounters: The Disturbing, Surreal, and Supernatural in American Art.” Shedon Museum of Art visitors look at artwork using flashlights during "Uncanny Halloween." The "Uncanny Halloween" event drew a couple of hundred people who “really looked at the art,” taking their time to study paintings and sculptures using the flashlights, said Ann Gradwohl, Sheldon’s public relations and marketing manager. The stakeholders also expressed a desire for the return of traveling exhibitions to the Sheldon. That last traveling exhibition at the museum was a 2019 show of paintings by Maine artist John Walker. “I think the broader context (of the desire for traveling exhibitions) is the role that this museum has always, since 1888, played in terms of bringing great art to the people of Nebraska — and the people here want to experience it," Longhenry said. “So it's a balance.” Half of that balance is evident in the permanent collection galleries, where many of Sheldon’s iconic pieces, including Edward Hopper’s “Room in New York,” Mark Rothko’s “Yellow Band,” Willem de Kooning’s “Woman” and Norman Rockwell’s “The County Agricultural Agent” can be seen in the thematically installed spaces. “We have a great collection here, and one of the things I did do is bring back 'collection highlights,' which is the idea that we do have people who travel here who want to see the Hopper, they want to see the Rothko, it should not be in storage,” Longhenry said. “So we have brought back the idea of having some of the most iconic works of art that will be installed thematically.” The other half of the balance will be seen Feb. 7, when “Exploding Native Inevitable,” a traveling exhibition organized by the Bates College Museum of Art, comes to the Sheldon. “Exploding Native Inevitable” is an exhibition of the work of 12 contemporary Native artists and two collaboratives, accompanied by an ongoing program of dance, film, music, performance, readings, storytelling and video. Omaha artist Sarah Rowe, who is of Lakota and Ponca descent, is a member of the New Red Order collective and will have work in the show. “We're also bringing in an exhibition of work by Grace Hartigan, and that's in 2026,” Longhenry said. “We stake our claim on having a great collection of work by the New York School artists. But its women are not as represented as they could be, and she, in particular. This is just going to be a gorgeous show with big paintings.” Hartigan, one of the five “Ninth Street Women” who abandoned life as a New Jersey housewife and mother to become one of the boldest painters of mid-century abstract expressionism, is not represented in Sheldon’s acclaimed collection of 20th- and 21st-century American art. “There are some obvious choices that I would love to make in the future,” Longhenry said of the potential purchase of a Hartigan painting. “I think it’s important to be strategic. To be honest, I don't think it should be just what I happen to like. We're going to take a much more strategic approach to developing a collections plan. For the most part, I want to look at strengths, look at gaps, decide whether we're going to build on strengths or are we going to try to fill gaps?” “I will say that we've got an incredible strength with modern and contemporary American art. I do want to kind of interrogate that canon and what do we mean by American art?” she said. “I know there have been points in Sheldon's history where that has happened. I certainly want to do that.” One area that Longhenry said Sheldon will explore and almost certainly make purchases is in new media and its intersection between digital production and fine art. Sheldon has been reluctant to collect video art since the form appeared in the mid-1960s and has not actively pursued or exhibited new media works. “The explanation I've heard is because the building has trouble supporting it,” Longhenry said. “I feel like we can get around that. I think if we are developing an important collection — and this is nationally and internationally important — I think we have overlooked that aspect of it and we need to take a look at that.” On Jan. 21, Sheldon visitors can get a sampling of new media possibilities with the opening of “Infinite Hopper: An Algorithmic Journey Through Light and Space.” Created by Dan “NovySan” Novy, a UNL assistant professor of emerging media arts, the exhibition uses generative technology to produce an endless flow of Hopper-inspired imagery that never repeats or loops, integrating Sheldon’s works by the artist, especially “Room in New York.” That exhibition is also, Longhenry pointed out, evidence that Sheldon is not turning its back on the campus. And, with its creation by a professor, and a cadre of film and new media students, it should draw another audience to the museum. And, Longhenry said, she’s got no issue with anyone who wants to stop at Sheldon to use the facilities any time, asking “Why wouldn’t you want people to use the restroom?” The 10 most valuable pieces of public art in Lincoln 1. Ascent, Tower Square Artist Jun Kaneko's glass tower, Ascent, lights up the Lincoln Community Foundation Tower Square at 13th and P streets. It is valued at $1,150,000. 2. Harvest, Pinnacle Bank Arena "Harvest," which stands in front of Pinnacle Bank Arena at Canopy and R streets is valued at $1,022,000 and was paid for using money set aside for artwork during the arena's original planning. The artist is Michael Carpenter. 3. Standing Bear Sculpture, Centennial Mall Sculptor Ben Victor (behind) watches as descendants of Chief Standing Bear help to unveil his sculpture on Centennial Mall. The sculpture is valued at $150,000. 4. Groundwater Colossus, Union Bank Groundwater Colossus, the giant brick head by New York sculptor James Tyler, is made of more than 300 individually shaped bricks. It stands at Union Plaza and is valued at $125,000. 5. Buffalo, Pioneers Park "Buffalo" by George Gaudet, stands at the east entrance of Pioneers Park off Coddington Avenue. 6. Iron Horse Legacy Mural, Haymarket The Iron Horse Legacy Mural in Bill Harris Iron Horse Park by Jay Tschetter in the Haymarket is valued at $200,000. Another Tschetter's mural is on the F Street Community Center. 7. Mountain Monarch, Pioneers Park Mountain Monarch, by Rich Haines, stands at the Pioneers Park north entrance, off West Van Dorn Street. The sculpture is one of two at Pioneers Park that make the top 10 most valuable list of public art in Lincoln. 8. Pitch, Roll & Yaw, Lincoln Airport Pitch, Roll & Yaw, a sculpture by Lincoln artist Shannon Hansen, is lifted into place at the entrance to the Lincoln Airport in July 2015. The piece, in the shape of a giant paper airplane, is valued at $120,000. 9. Reflection, Salt Creek Roadway The sculpture "Reflection," by Albert Paley, sits at Ninth Street and Salt Creek Parkway. The sculpture previously was on display in New York as part of the "Paley on Park Avenue" exhibition. It is valued at $100,000. Palo Alto I Sculptor and artist John Buck unveils his public art installation, "Palo Alto 1", during a dedication ceremony in May 2016 in the Rotary Strolling Garden, 27th Street and Capitol Parkway. The pieces is valued at $72,000. Reach the writer at 402-473-7244 or kwolgamott @journalstar.com . On Twitter @KentWolgamott Stay up-to-date on what's happening Receive the latest in local entertainment news in your inbox weekly! Entertainment reporter/columnist {{description}} Email notifications are only sent once a day, and only if there are new matching items.

WILMINGTON, Del. (AP) — Attorneys for Meta shareholders asked a Delaware judge Monday to sanction the company's former Chief Operating Officer Sheryl Sandberg and fellow Facebook board member and current White House chief of staff Jeff Zients for deleting emails related to the Cambridge Analytica privacy scandal , despite being told to preserve such records. The plaintiff attorneys contend that Sandberg and Zients used personal email accounts to communicate about key issues relating to their 2018 shareholder lawsuit that alleged Facebook officers and directors violated both the law and their fiduciary duties in failing for years to protect the privacy of user data. “Although Sandberg and Zients received a litigation hold requiring them to preserve documents from these accounts, they both knowingly and permanently destroyed electronically stored information from such sources,” attorneys said in a court filing. The plaintiffs say the former board members were either “reckless or intentional” in destroying documents, noting that Sandberg deleted communications to and from her Gmail account after only 30 days, even after being notified of the “litigation hold” to preserve documents. Zients never disabled an auto-delete function on his email account, even though he, too, received a litigation hold and consulted with lawyers, they said. The plaintiffs argue that Sandberg and Zients should be prohibited from testifying about information they sent or received using their personal email accounts. They also say the burden of proof for any affirmative defense they present should be raised to a standard of “clear and convincing evidence,” instead of the lower standard of a “preponderance” of the evidence. Sandberg was deposed last week. Plaintiff attorney Max Huffman said Zients is “busy” and will be deposed in February “after there’s an effective transition in Washington.” Defense attorney Berton Ashman described the email deletions as “unfortunate” but argued that the plaintiffs have not shown that they were prejudiced in any way. “There’s no intent here to destroy relevant or responsive information,” Ashman told Vice Chancellor J. Travis Laster, adding that there no “trove of missing emails.” “There’s no grand scheme or suggestion of bad behavior,” he added. Ashman said the vast majority of emails that Sandberg and Zients sent or received using their personal accounts were also received by other individuals at Facebook. He suggested that any emails that may have been deleted have been made available to the plaintiffs from other sources at Facebook. Huffman, the plaintiffs’ lawyer, said Sandberg does not deserve the benefit of the doubt. “She unilaterally controlled what was kept and what was destroyed,” he told the judge. Laster, who is scheduled to preside over a non-jury trial in April, said he wanted to see a transcript of Sandberg’s deposition before ruling on the motion for sanctions. Last year, the judge rejected a defense motion arguing that the lawsuit should be dismissed because the plaintiffs did not first demand that Facebook’s board take legal action before filing litigation themselves. He agreed with the plaintiffs that such a demand would have been futile because of doubts that a majority of the relevant Facebook board members, many with close personal and business ties to Mark Zuckerberg, would be willing to confront the CEO and founder of the company over its privacy failures. Laster noted that, in deciding on a motion to dismiss, he was required to accept the allegations in the complaint as true. The complaint alleges that Facebook officials repeatedly and continually violated a 2012 consent order with the Federal Trade Commission under which Facebook agreed to stop collecting and sharing personal data on platform users and friends without their consent. Facebook later sold user data to commercial partners in direct violation of the consent order and removed disclosures from privacy settings that were required under consent order, the lawsuit alleges. The company’s conduct resulted in significant fines from regulators in Europe and culminated in the Cambridge Analytica scandal in 2018. That case involved a British political consulting firm hired by Donald Trump’s 2016 presidential campaign that paid a Facebook app developer for the personal information of tens of millions Facebook users. The fallout led to Facebook agreeing to pay unprecedented $5 billion penalty to settle FTC charges that the company violated the 2012 consent order by deceiving users about their ability to protect their personal information.Celero Commerce and EverBank Announce Strategic Relationship To Simplify Payment Processing SolutionsThank you for another year of education advocacy

Syracuse, Albany each hoping to get right at expense of the other

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