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CAREER boosts

Two Fulton Schools faculty members have earned the highly competitive and prestigious NSF Faculty Early Career Development (CAREER) Award for their work in artificial intelligence.

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Innovation and excellence

New Graduate Fellows

The NSF Graduate Research Fellowship Program supports outstanding students considered to be potential leaders in STEM fields.In this multi-part series, learn more about six new Fellows from the Fulton Schools.

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Highly respected educator, researcher and electrical engineering expert George Karady left a lasting impact on his colleagues, students and the world.

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With the help of their strong ASU foundation, two graduates recently completed a major step to their Professional Engineer licensure: the PE exam.

Cool partnership solves hot problem

Students in the eProjects program partnered with local company Mr. Misters to redesign a photovoltaic bimini frame which houses a misting system to cool boat passengers.

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ASU’s Baja SAE placed 9th out of 98 teams at the Baja SAE Oregon in Portland, Oregon. This marks their second top ten achievement in since 2015.

Taking a rain check

Giuseppe Mascaro has analyzed more than 15 years of rain gauge datawith new methodology,characterizing daily rainfall extremes which can help predict extremeevents.

Top honors

ASU geotechnical engineering expert Ed Kavazanjian earned the American Society of Civil Engineers’ highest honor for his outstanding career achievements.

ASU ranked No. 17 globally in patents

We are proud of the major contributions from our fantastic Ira A. Fulton Schools of Engineering faculty that catapulted Arizona State University into the Top 20.

It’s E2 season. Get in gear, future engineers!

Get ready to jump-start your Fulton Schools experience — your E2 session is just around the corner. It’s going to be so much fun! E2 engages first-year students in the Ira A. Fulton Schools of Engineering in activities that introduce them to ASU and Fulton Schools culture.You will meet other students, faculty, and staff and learn skills that are important to your success as a Fulton student through a variety of fun and interactive activities.

Before you show up to check in, make sure you’ve checked these items off your to-do list:

If you haven’t already, what are you waiting for? Register for E2 .

Path names are encoded in UTF-8 normalization form C. This applies to tree objects, the index file, ref names, as well as path names in command line arguments, environment variables and config files ( .git/config (see git-config[1] ), gitignore[5] , gitattributes[5] and gitmodules[5] ).

Note that Git at the core level treats path names simply as sequences of non-NUL bytes, there are no path name encoding conversions (except on Mac and Windows). Therefore, using non-ASCII path names will mostly work even on platforms and file systems that use legacy extended ASCII encodings. However, repositories created on such systems will not work properly on UTF-8-based systems (e.g. Linux, Mac, Windows) and vice versa. Additionally, many Git-based tools simply assume path names to be UTF-8 and will fail to display other encodings correctly.

Commit log messages are typically encoded in UTF-8, but other extended ASCII encodings are also supported. This includes ISO-8859-x, CP125x and many others, but not UTF-16/32, EBCDIC and CJK multi-byte encodings (GBK, Shift-JIS, Big5, EUC-x, CP9xx etc.).

Although we encourage that the commit log messages are encoded in UTF-8, both the core and Git Porcelain are designed not to force UTF-8 on projects. If all participants of a particular project find it more convenient to use legacy encodings, Git does not forbid it. However, there are a few things to keep in mind.

git commit and git commit-tree issues a warning if the commit log message given to it does not look like a valid UTF-8 string, unless you explicitly say your project uses a legacy encoding. The way to say this is to have i18n.commitencoding in .git/config file, like this:

Commit objects created with the above setting record the value of in its header. This is to help other people who look at them later. Lack of this header implies that the commit log message is encoded in UTF-8.

git log , git show , git blame and friends look at the encoding header of a commit object, and try to re-code the log message into UTF-8 unless otherwise specified. You can specify the desired output encoding with i18n.logOutputEncoding in .git/config file, like this:

If you do not have this configuration variable, the value of is used instead.

Note that we deliberately chose not to re-code the commit log message when a commit is made to force UTF-8 at the commit object level, because re-coding to UTF-8 is not necessarily a reversible operation.

The editor used to edit the commit log message will be chosen from the environment variable, the core.editor configuration variable, the environment variable, or the environment variable (in that order). See Chie Mihara Isy sandals sale really discount footlocker finishline kcaDm0
for details.

This command can run , , , and hooks. See githooks[5] for more information.

This file contains the commit message of a commit in progress. If exits due to an error before creating a commit, any commit message that has been provided by the user (e.g., in an editor session) will be available in this file, but will be overwritten by the next invocation of .

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Part of the great power of movies is that they can take us perilously close to the life of someone we might otherwise feel perilously far from. The title character of Precious: Based on the Novel ‘Push’ by Sapphire is a hushed, damaged, morbidly obese 16-year-old African-American girl from the lower depths of Harlem. It’s 1987, and Claireece Precious Jones is poor and ignorant, a depressed, withdrawn shell of a human being, with a face so inexpressive it might be a visor clamped down over her features.

Precious: Based on the Novel ‘Push’ by Sapphire

Gabourey Sidibe, the startling newcomer who plays Precious, is actually softly pretty, with catlike eyes that narrow into a tensely focused glare. Precious speaks to us in voice-over (we hear her flowery notions of running off with a math teacher to suburban Westchester), and the film keeps cutting to her fantasies, which are spangly, TV-addict daydreams in which she whirls around in silk and feather boas, adored by the world. Outside those fantasies, Precious can’t imagine a life. She rarely talks, never smiles, and hardly even frowns; she looks like it would take too much effort. Sidibe plays her with barely visible tremors of feeling that cue us to what this arrested girl is holding back. She’s an almost totally passive protagonist, cut off from everyone, including us.

Yet there’s nothing passive about the way the director, Lee Daniels, working from a script by Geoffrey Fletcher, plunges us into the nightmare that is Precious’ daily, hidden existence. Sometimes, a movie has to take you down — and I mean down, really far — to lift you up. Precious is that kind of movie. Daniels, a former producer whose credits include Monster’s Ball , ushers us into the dingy Harlem flat where Precious lives, and there, amid the dank light and moldy yellow-flower wallpaper, we see the forces that have made her who she is. There are stinging flashbacks of abuse (she’s now pregnant, for the second time, by her drug-?addict father), and we witness the Gordian knot of her relationship with her mother, Mary (Mo’Nique), who’s a scalding pit of bitterness. Their twisted and tormented co-dependence is harrowing to behold, but it’s also as indelible as something out of Tennessee Williams.

Dionysus and the Death March

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Soak me in formaldehyde I wanna live forever Take my skin and wear me out I wanna be a figure head for everyone's self doubt Soak me in formaldehyde I wanna live forever Cleanse me from the inside out Death mocking taboo words, whose talking now? Who is it that were looking at? An empty life or a polymath? There are few things I'd come back to life for I've a fist full of keys but I can't find the right door Trace me back from where my death begins Relive a funeral founded on forgotten friends Your feelings are irrelevant to Mortality and everything you want to do It's hard to be a priest with this decree When you're saddled with a guilty disease There's a lake where I swim to drown what fate has bargained me I peer in Expecting my own reflection Everyone I ever loved is mirrored back at me Friends and family Do you love me? Cold hands ripping out my veins Pulling me in Into my skin the water seeps The water seeps Trace me back from where my death begins Relive a funeral founded on forgotten friends Your feelings are irrelevant to Mortality and everything you want to do It's hard to be a priest with this decree When you're saddled with a guilty disease My heart and mind have reached a consensus The things we love aim to torment us I need something that I am known for Onward we march to find a safer shore
released October 17, 2016 Recorded by Donald Jette Mixed and Mastered by Donald Jette Drums recorded at Madman Sound Studio, Rancho Cucamonga by Fabian Rubio Composed by Logan Kruger Lyrics written by Lily Meza Vocals: Lily Meza, Thommy Weatherell, Donald Jette, Logan Kruger Guitars: Lily Meza, Thommy Weatherell, Donald Jette Bass: Donald Jette Drums: Logan Kruger Album art based off of the painting "Les Fuilles Mortes" by Remedios Varo (1956) Album art concept and design by: Lily Meza Logan Kruger Generally Speaking would like to thank: the Meza family, the Weatherell family, the Jette family, the Kruger family and Leibelt family, Fabian Rubio, Ellie Valenzuela, Steven Callaway, Jessie Martinez, Cinthya Buenrostro, Nessa Perry, Ben Eissmann, Derek Swadener (for filling in and puking when we need him to), Nico Gallion (for coming in clutch with that bass), Outlast Records, Zine of Strength, Guestbed, Proletariat Youth, Old Notes, Life Moves On, Headstone (Support these bands and genuine people), and thank you to everyone along the way who has supported us that we forgot (were terrible). We love you all and can't thank you enough.
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