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I've been asked, even criticized, about adding a focus on nutrition to Desert. There's a reason why. I had poor nutritional examples growing up. Being confused on the issue of nutrition cost me a lot. I remember yo-yo'ing a lot. The only time I even came close to being my desired weight was when I did high-intensity workouts daily. At one point, I was exercised about 6 hours a day. I was in multiple dance classes and a karate class, as well as another karate club that met for two hours three days a week. I also rode my bike to campus, and even added a one hour workout when I got home. I was still thirty pounds overweight. I can attest to the coined phrase "You cannot exercise away a bad diet."
It was hard to consider diet for me, because I had a genetic heritage that leaned on the heavy side. I felt trapped, having a low metabolism. It seemed if I even looked at what others ate, I was the one who gained weight.
Every once in a while, someone would mention diet to me, but it did little to sway me. Why? Bad examples.
Brad Pitt in Ocean's Eleven. Every scene he's in, he's eating something unhealthy.
In Hollywood and at school, lots of "lean" people were eating the things I loved: pizza, ice cream, hamburgers, fries, bread, cake, cookies, etc.
I also knew several "weighed down" people who were eating a healthy diet.
It wasn't until I was in college, having just finished my laps in swimming plus a jog, that I stopped by to visit a friend--a slim friend who never seemed hungry. It seemed so unfair as I watched her prepare herself a salad and two small slices of pizza.
I knew in that moment that if I ate like her, I would look like her. I also knew that if I prepared a small salad and two small slices of pizza, that by the end of the meal I would end up not eating just one personal pizza, but two or three.
I started to believe in nutrition, but I didn't have faith that someone like me could do it.
I was right, and I was wrong . . . | {
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Q: Creating a Pivot table in C# In my c# program I have someone input production for the whole day and I calculate machine usage (MU) like so:
Date | Part Number | Mold Num | Machine Num | MU
2/12/2016 | 1185-5B8 | 6580 | 12 | .428
2/12/2016 | 2249300 | 7797 | 36 | .271
2/12/2016 | 146865 | 5096789 | 12 | .260
2/16/2016 | 123456 | 7787 | 56 | .354
2/16/2016 | 123456 | 787 | 54 | .45
2/16/2016 | 123456 | 777 | 56 | .799
2/16/2016 | 123456 | 87 | 54 | .611
All of this data is in my SQL server and what I want to do is to make something like a pivot table and it takes all similar dates/Mold Numbers/Machine Numbers and makes an average the MU and display it in any way that the user wants. Example:
Date | MU
2/12/2016 | 32.0%
2/16/2016 | 55.4%
or
Machine Num. | MU
12 | 34.4%
36 | 27.1%
54 | 53.0%
56 | 57.6%
etc. Basically I want it to be variable and to show whatever the person that is looking at it needs. I want to keep it in my c# program but I can use LINQ to SQL. Please keep in mind that I am very new to c# and LINQ to SQL.
I did try to do this but it was not exactly what I wanted to do. I also could not figure out how I was going to display it on the windows form nor how to change what was in each column.
A: It seems you need to build pivot table with row dimension (Date, Machine Num), without column dimension and with average by MU.
You can easily do that with help of NReco PivotData library:
var pivotData = new PivotData(
new string[] {"Date","Machine Num"},
new AverageAggregatorFactory("MU"),
new DataTableReader(t) ); // just a sample - you can use DB data reader
var pivotTable = new PivotTable(
new []{"Date"}, // row dimension(s)
new [0], // column dimension(s)
pivotData );
// use pivotTable.RowKeys and indexer for accessing pivot table values
PivotData library can be used for free (I'm an author), and you can download examples package on the component's page. Also you may check advanced PivotData Toolkit components (for rendering pivot table to HTML/CSV/Excel/PDF, aggregating data on DB level with GROUP BY and many others), but they are not free.
A: According to your description, what you want isn't a pivot table, as already mentioned by @juharr.
For sqlite, this sould be accomplished with the following statement. (I assume the table name is tmp, and what you want is the sum of MU with each MachineNUm, naming it with SMU).
SELECT MachineNum,SUM(MU) AS SMU From tmp GROUP BY MachineNum ORDER BY MachineNum;
Hope it helps.
| {
"redpajama_set_name": "RedPajamaStackExchange"
} |
A news release detailing InterVarsity's reaction to today's U.S. Supreme Court ruling in the case of Christian Legal Society v. Martinez, and its anticipated impact on campus ministry will be posted here soon.
At issue, whether a public university law school may deny school funding and other benefits to a religious student organization because the group requires its officers and voting members to agree with its core religious viewpoints. By a 5-4 decision, the justices denied the appeal of the Christian Legal Society and remanded the case back to the Ninth Circuit.
This is an important ruling because InterVarsity partners with Christian Legal Society in campus ministry on 20 law school campuses across the U.S. In addition, InterVarsity has staff on 560 U.S. campuses, more than any other Christian ministry.
For background on this story, see Campus Ministry Threatened and Campus Faith Freedom Alert on our website. | {
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I recently had the opportunity to attend the 2016 Chile Salsa Bachata Festival in Santiago, and had such an amazing time watching the performers throw down on stage. Over the past few months, it's truly been such a pleasure witnessing the artistry of the performers in South America, and seeing how they interpret the music that we all love.
*Head on over to my Youtube channel (Mapes24) if you also want to see some workshop and social dancing videos from the festival! | {
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The quality of learning is the most important aspect of the Elland Academy whether in terms of modifying inappropriate behaviour(s) and/or developing in terms of academic progression, and the quality of teaching is one of the most important factors contributing to this.
To promote the organisation of appropriate learning situations which will bring about maximum learner involvement.
The policies, procedures and plans for the curriculum, learning (objectives, resources, processes, organisation of learning situations) and assessment should complement each other in order to provide a cohesive experience for learners and teachers. | {
"redpajama_set_name": "RedPajamaC4"
} |
He Walked with a Zombie
Geoffrey O'Brien
March 9, 2006 issue
The Val Lewton Horror Collection
9 films by Val Lewton
DVD box set, $59.98
Icons of Grief: Val Lewton's Home Front Pictures
by Alexander Nemerov
University of California Press, 213 pp., $60.00; $24.95 (paper)
The creative career of Val Lewton—the part with a continuing afterlife—lasted just four years, from the spring of 1942, when pre-production work began on his film Cat People, until April 1946, when Bedlam, the last of the eleven films he produced for RKO, was released. Nine of those films—all but the studio-mangled melodrama Youth Runs Wild and the underrated Maupassant adaptation Mademoiselle Fifi—have now been released on DVD as "The Val Lewton Horror Collection," providing a welcome opportunity for reimmersion in a body of work whose power to fascinate seems to have grown over time.
Probably unavoidably, the films are being marketed with the same misleading poster art and the promises of "chillers," "shockers," and "tales of terror" that inveigled their original audiences into anticipating something quite different from what they got. What they actually did get remains mysterious enough to keep these movies from becoming comfortably campy artifacts of another era. Like flowers preternaturally slow to unfold, they seem to be still in the process of revealing their final form: odd as it may be that such miraculous freshness should be suggested by movies whose themes are inescapably decay, morbid regret, the temptation to welcome death.
Even when we know them well they continue to instill, as in John Ashbery's description of The Seventh Victim, "the feeling that the ground under our feet is unstable." What Lewton's movies are actually about, in the most literal sense, is always open to question; one can watch I Walked with a Zombie or The Seventh Victim or Isle of the Dead many times without being able to give a coherent summary of their plots. On its release, Bosley Crowther in The New York Times thought that The Seventh Victim "might make more sense if it was run backward." (Lewton's most narratively coherent picture, The Body Snatcher, adapted from Robert Louis Stevenson's story, though admirable in many ways, has less of his distinctive poetry than the others.) In American film, the only predecessors that come to mind for such destabilizing effects are Edgar Ulmer's formally rigorous Gothic delirium The Black Cat (1934) and Joseph Cornell's Rose Hobart (1936), in which Cornell took the seventy-six-minute jungle picture East of Borneo (1932) and condensed and recombined its sequences into nineteen minutes of mesmeric suggestiveness, a dream vision of what remains of movies after their stories have gone.
Alexander Nemerov's recent critical study of Lewton—Icons of Grief: Val Lewton's Home Front Pictures—demonstrates, with its lyrical, nearly trancelike dedication to defining the elusive essence of these films, the capacity of Lewton's work to draw its commentators ever deeper into the mood of dreamy morbidity that infuses Cat People and The Leopard Man and Isle of the Dead. Lewton is the Ancient Mariner of filmmakers: like the old sailor at the beginning of The Ghost Ship or the ominous calypso singer in I Walked with a Zombie, he hooks you with the beginning of a tale and leads you on through the bewildering paces of a journey whose significance (could it ever be determined) might hinge on fleeting, apparently random encounters with minor characters or with abrupt and inexplicable deviations from the main trail. His films might be described as mood pieces interrupted by discordant apparitions, but that would make them sound flimsier and vaguer than the vigorously graphic compositions that they are: not dreamy but, rather, truly dreamlike, which is to say hauntingly specific, brutally elliptical, wily in their resistance to easy explanation.
Prior to his brief flowering, Lewton had been a dabbler in journalism, poetry, and pornography, a writer of pulp novels with titles like Where the Cobra Sings and The Cossack Sword, a publicist at MGM, and for eight doubtless grueling years a writer, story editor, and factotum for David Selznick; afterward, poor health and professional misfortune pretty much sidelined him before he died at forty-six in 1951. From what came before, it would have been impossible to predict the nature and the durability of the work he did at RKO, but the very disparateness of his early career offers some clues to the peculiar qualities of that work. Born as Vladimir Leventon in Yalta in 1904, he and his family had come to America five years later to rejoin his mother's younger sister, who as Alla Nazimova had become a Broadway star—the great exponent of Ibsen—and whose subsequent filmmaking career would clear a way for Lewton in the film business.
Lewton's early literary productions veered from the aspirations of Old-World high culture to the imperatives of hard-boiled American brashness, from poems written under the pseudonym Toison d'Or to novels exploring tabloid crime cases (The Fateful Star Murder) and the misadventures of hard-luck girls drifting into prostitution (No Bed of Her Own). A certain neurotic flamboyance seems to have impressed people early on—"Two particular phobias of Lewton's youth," his biographer Edmund G. Bansak notes, "were his fear of cats and his extreme aversion to being touched"—but any artistic ambitions were rapidly subsumed by the demands of commercial work: he was, in his son's words,
a kind of hack, but he enjoyed the challenge that came with turning hack work into something special…. There is a sort of pride in being a whore. He saw a certain honesty in being able to make a living.*
Whatever mixture of whorish pride, dandyish rebellion, barely suppressed phobia, aesthetic yearning, and nostalgia for the lost world of his birthplace might swirl in Lewton's consciousness (his son described him as "a strange combination of gentleness and authoritarianism"), he had acquired through those eight years with Selznick as thorough a command of the practicalities of grand-scale filmmaking as anyone in Hollywood. He had been responsible, with the director Jacques Tourneur, for the memorable revolutionary scenes in the 1935 A Tale of Two Cities, and took credit for some of the most vivid details—"the harp, the parrot, and the ancestral portraits being taken out of town"—in the evacuation of Atlanta in Gone with the Wind. He had also apparently been pushed to his limits by that most obsessive of moguls: "You can't talk reason," he wrote of Selznick, "to a man who believes that he has made the greatest motion picture of all time, past, present, and future."
There is a quality of happy accident to the inception of his career at RKO. Had it not been for the failure of Orson Welles's The Magnificent Ambersons—a debacle that led to executive upheaval at the studio—there might have been no occasion to celebrate Lewton. As it was, the timing was perfect; Lewton wanted to leave Selznick, and RKO's new chief, Charles Koerner, was looking for someone who could help move the studio in a more frankly commercial direction. Universal had just made a huge profit on The Wolf Man, and so Koerner invited Lewton to head up a unit dedicated to turning out short, low-budget horror films. Lewton liked to joke that somebody had said he wrote "horrible novels" and the studio had misconstrued it as "horror novels."
An instinctive anti-authoritarian who had learned to play the game had now been entrusted with a good deal of authority, however tightly defined the limits within which it could be exercised. Lewton was still answerable to the studio executives he despised. His budgets were stringent, and the films had to be marketed to an audience assumed by RKO to crave only the most lurid stimulation, in an era whose horror movies were dominated by werewolves, apemen, brain transplants, and old dark houses of the creakiest kind. Even the titles were often imposed: Cat People and I Walked with a Zombie, the first two productions, began in fact as nothing but titles, with Lewton obliged to concoct stories to match.
With Cat People Lewton demonstrated that he could give his bosses what they wanted—a movie brought in for under $135,000 which grossed some $4 million worldwide—while altogether subverting their notions of what a horror movie should be. Lewton's most obvious breakthrough was to avoid showing what the audience is supposed to be afraid of, on the grounds that what we don't see is more frightening than what we see—and also cheaper to depict in a movie. This approach has largely defined his popular reputation, as evidenced in the titles of Bansak's biography (Fearing the Dark) and the documentary that accompanies the DVD set (Shadows in the Dark), not to mention the episode of Vincente Minnelli's The Bad and the Beautiful (1952) where producer Kirk Douglas applies the same method to the production of Doom of the Cat Men. Jane Randolph's long walk through Central Park, stalked by an unseen panther, in which the only scary thing that happens in the end is a bus whooshing harmlessly to an abrupt halt, is the classic instance, the blueprint for what became an unavoidable cliché of horror films.
In fact, whatever effect it may have had on audiences in 1942, Cat People now seems one of the least frightening of horror films. What it has instead is a sinuously strung out mood of barely suppressed eroticism and gnawing discontent that develops from the opening instants, when Kent Smith as Oliver Reed—the straightest of straight men, "a good plain Americano" in his own words—meets, at the Central Park zoo, the exotic Simone Simon, as the Serbian émigré artist Irena Dubrovna, who fears she may be one of the diabolical "cat people" driven underground in medieval times. They fall in love and get married, but the marriage cannot be consummated because of her fear that sex will unleash her destructive cat-nature; he sends her to a psychiatrist, and then finds consolation with a less troubled girlfriend. The mood created is not of horror so much as the disorientations of exile and the lingering sadness of sexual dissatisfaction.
Everything is in the details: Irena turning on a light in a darkened room as she murmurs, "I like the dark, it's friendly"; her encounter with the unknown catlike woman who stares at her and greets her as a sister (an exchange of glances that lasts only a second but flavors the whole film); the beads of water clinging to Irena's naked back as she crouches forward in a tub with clawlike feet (an image of startling erotic potency for 1942 Hollywood); the giant black statue of the Egyptian god Anubis by which she stands on a museum stairway. Even the most genuinely frightening scene—in which Irena, in (unseen) panther form, stalks her rival, Kent Smith's girlfriend, in a deserted swimming pool—lingers in the mind more for the exhilarating patterns of the lights in the water, an explosion of pure abstraction brilliantly realized by the director, Jacques Tourneur, and cinematographer, Nicholas Musuraca.
The huge success of Cat People enabled Lewton to keep making, under the guise of B-movie thrillers, movies that are often more like symbolist poems or obscure fetishistic rituals. They are not so much frightening as unnervingly strange and shot through with a palpable melancholy. They are almost too beautiful to be scary, except that the beauty that soothes is finally what most unsettles. As Tom Conway, playing a world-weary plantation owner in I Walked with a Zombie, remarks to the young nurse who is accompanying him to his island home, across a glistening sea evoked with gorgeously blatant cinematographic fakery: "That luminous water—it takes its gleam from millions of dead bodies, the glitter of putrescence. There's no beauty here, only death and decay."
The intensely personal quality of these films is not belied by their being thoroughly collective enterprises. If in Hollywood tradition the producer is usually characterized as someone who interferes with other people's work, Lewton was the rare instance of a producer directing the best energies of his collaborators—among them the writers Donald Henderson Clarke and DeWitt Bodeen (abetted by Lewton himself, sometimes under the pseudonym Carlos Keith), the cinematographers Nicholas Musuraca and Robert De Grasse, the omnipresent composer Roy Webb—toward a seamlessly unified effect. Obsessive and controlling he could certainly be, but there is little suggestion that he curtailed or distorted the intentions of those he worked with. In Jacques Tourneur, who directed Cat People, I Walked with a Zombie, and The Leopard Man, he found the perfect partner, a film poet who imparted luminous intensity to every moment of those films; but in the other films, directed by Robert Wise and Mark Robson, both originally editors who had worked with Orson Welles, Lewton achieved results as expressive, if less unfailingly inspired.
Quite aside from any question of expressive beauty, one could look at these films purely as instances of extraordinary skill marshaled under the most restrictive circumstances. Their brevity (they range in length from sixty-six to seventy-nine minutes), their slender budgets, their reliance on preexisting production materials (costumes and sets from Gone with the Wind, The Magnificent Ambersons, and The Bells of St. Mary's are worked in as needed), above all the requirement that the end product be acceptable in a precisely defined commercial niche (however puzzled horror audiences may have been to find that Curse of the Cat People was in fact a delicate fantasy of childhood loneliness): to have satisfied all those conditions and still produced work of such careful detail and defiant individuality was a rare feat. It is not hard to understand the impact produced on contemporary critics like Manny Farber ("They are about the only Hollywood movies in which the writing and direction try to keep in front of rather than behind the audience's intelligence") and James Agee ("I esteem them so highly because for all their unevenness their achievements are so consistently alive, limber, poetic, humane, so eager toward the possibilities of the screen, and so resolutely against the grain of all we have learned to expect from the big studios").
Part of what made Lewton's films stand out was their flaunting of cultural sophistication. The Seventh Victim opens with a quote from John Donne ("I run to Death, and Death meets me as fast,/And all my Pleasures are like Yesterday"); Isle of the Dead takes its title and its central image from Arnold Böcklin's painting; The Body Snatcher weaves in a traditional British ballad of the sort that might have been found on a Folkways release; Bedlam, set in eighteenth-century London, reenacts Hogarth's print of Bedlam in the "Rake's Progress" series; I Walked with a Zombie is serious in its effort to incorporate calypso music and Haitian ritual, not to mention the way it makes the legacy of slavery a central theme through the recurring visual motif of "Ti Misery," a slave-ship figurehead of Saint Sebastian. Fashion illustrators, psychoanalysts, and Greenwich Village poets are characteristic denizens of Lewton's world, while hints of homosexual interest (the cat woman who accosts Irena, the intellectual radio officer who flirts openly with the hero of The Ghost Ship) play around its edges.
A world is acknowledged in which the exotic—rhumba music, ethnic restaurants, Elizabethan poetry, books on psychology—is normal, while the all-American straightness of the office workers in Cat People or the Christmas carolers in Curse of the Cat People has begun to seem strange. (The backlot New York of Cat People and The Seventh Victim carries a powerful charge of displaced ordinariness which became diffused when Lewton switched to costume pictures like The Body Snatcher and Bedlam.)
Finally there is the dialogue, in its day often characterized as surprisingly literate, if not as ponderously literary, but just as important as the images in Lewton's cinematic scheme. Words are important here, and the self-conscious verbal flourishes are there to make sure their importance is not missed. In his essay on The Seventh Victim John Ashbery describes "our sense throughout the film that people are saying anything that comes into their heads," but the sort of thing that comes into their heads often seems a message from beyond the confines of the narrative, a prophetic tip that however solemn or obvious produces a jarring effect by the unexpectedness with which it is dropped in. "The poor don't cheat one another. We're all poor together." "Caged animals are unpredictable—they're like frustrated human beings." "Authority cannot be questioned." "The people who live only by the law are both wrong and cruel." "The horseman on the pale horse is pestilence; it follows the wars." "Amy, listen to me. Death isn't such a terrible thing." "—What was the matter with him?—I don't know, sir. He didn't want to die."
Yet after we have remarked on their influence on subsequent filmmakers, their technical inventiveness, and the heterogeneity of an allusive range that gives them a collage-like quality, there remains the heart of Lewton's films to be accounted for: the emotional force that makes them a great deal more than the sum of their very diverting parts. In Icons of Grief, Alexander Nemerov links that force directly to the war which was raging at a distance when the films were made; the persistent sadness, the inescapable presence of death are an acknowledgment of a grief that the American public would rather avoid facing but to which Lewton, more Russian than American at heart, responds with imagery that reflects the religious icons of his cultural past, imagery that he smuggles into films which are marketed as quickie thrillers.
Nemerov develops his thesis forcefully and with a rich complement of period detail ranging from Norman Rockwell magazine covers to photographs of dead soldiers in Life; he discerns historical necessity in every detail of the way things happen to fall out, so that, for example, the mad boy in Bedlam, painted gold for the amusement of courtiers and who dies of asphyxia in consequence, becomes an emblem of the bomb that had fallen on Hiroshima five days before the scene was shot:
The close-up of the boy's face…is a post-Hiroshima editing choice that seems, all unknowing, to give some imaginative expression to radiation sickness, flash burns, and the bomb's other terrible effects.
Whatever one makes of the farther reaches of this associative logic, Icons of Grief is a superbly original (and intricately researched) attempt to define the singularity of this work. Nemerov identifies two crucial and related aspects of Lewton's aesthetic: the unusual importance he allows minor characters and his penchant for figures of iconic immobility "standing statuesque and alone…." "This figure," he writes,
would…arrest the flow of the film, suspend the plot, and for just those moments produce the melancholy and all-but-sculptural frozenness of a world that has stopped.
To linger on the icons Nemerov singles out—Simone Simon as the ghostly Irena standing in the snow in Curse of the Cat People and singing an old French song to a troubled child; Skelton Knaggs as the mute Finnish sailor in The Ghost Ship, sharpening his knife aboard the ill-omened Altair as we hear his thoughts in voice-over ("I am cut off from other men, but in my own silence I can hear things they cannot hear"); Darby Jones as the catatonic zombie Carre-Four who guards with staring eyes the path to the houmfort in I Walked with a Zombie; and Glenn Vernon as Bedlam's Gilded Boy—is to confirm how elegantly he has moved into the core of Lewton's parallel cinematic world, finding out the privileged sacred recesses and translating the oracular pronouncements. He makes overt what one might have sensed all along, that Lewton's stories are contrived so as to provide a way out of the story, to be liberated beyond plot into a commemorative domain of stillness and silence, grounded in "a prerational, magical conception of the image." Writing of the somnambulistic gait of two key figures in I Walked with a Zombie, he describes how Lewton "tried to slow movement down enough so that, almost impossibly, it too might take on the quality of stillness." Throughout Nemerov captures with exactness the qualities of cadence and composition that draw one back to these movies, and underscores how deliberately those effects evade the spectator's expectations.
He emphasizes finally the "minor mode" of Lewton's films, their deliberate offhandedness and underplaying of what might otherwise be grandiloquent moments. The penitential procession at the end of The Leopard Man—a march across the desert to commemorate a massacre of Indians by conquistadors—is powerful precisely because of the extreme concision of the images that record it, so far from big-scale Hollywood bombast. In Lewton's films the unexpected erupts, then vanishes as rapidly—vanishes from sight but not from memory. Here digressions are central, fleeting characters are dominant, and moments of stasis and silence are the heart of the action.
Prolonged contemplation of this toy theater, with its artificial sets and lighting, its densely furnished frames in which small figures are crowded together in artful tableaux, its bric-a-brac of songs, statues, poetic mottoes, and obscure rituals, prompts questions about what audience this performance is really intended for. The odd blankness of many of the principal players, offset by the vividness and grotesquerie of characters who may emerge only for a moment, might be standing in for the spectator: it's as if the leading characters, those naive intruders, were themselves watching a film, and found themselves constantly bewildered by the narrative's gaps and rapid changes of focus. In this world you never know where to look or whom to trust. The cleaning woman on her hands and knees in the lobby of the office building in Cat People is somehow as important—the image's composition tells us so—as the panther-threatened leads, and when the police chief in The Leopard Man describes an otherwise insignificant shoeshine man as "a genius in his own line," the piece of dialogue dangles like an Ariadnean thread to lead out of the labyrinth, as if the whole world were hanging on a shoestring.
More by Geoffrey O'Brien
Keep Your Eye on the Kid
Buster Keaton made his own kind of sense out of the perplexities of existence in ways baffling to those among whom he found himself.
Schemes Gone Awry
Richard Wilbur's translations of Molière, now in the Library of America, have a fluency that goes beyond meter and rhyme to encompass textures of speech and movements of thought.
Verdi's Decentered Epic
The six principal characters of Don Carlos grasp at separate ends, but nothing is finally to be attained.
Geoffrey O'Brien's latest books are Where Did Poetry Come From and the poetry collection Who Goes There. (October 2022)
Edmund G. Bansak, Fearing the Dark: The Val Lewton Career (McFarland, 1995), p. 24. ↩
Preston Sturges
From 'The Lady Eve'
Veronica Geng
The Current Cinema
The Young Pretender
June 8, 1995 issue
Brother, Can You Spare a Dime?
Diane Johnson
Stanley Kubrick (1928–1999)
The Charms of Terror
January 30, 1992 issue
Hugh Eakin
Marathon Madness | {
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By now, fans may have heard Slaughterhouse's stadium anthem track and next single, "My Life," featuring Cee Lo Green on the hook.
Well, XXL recently asked the four-man contingent, consisting of Crooked I, Joell Ortiz, Joe Budden and Royce Da 5'9" how the Cee Lo assist came out for the second single off their Shady Records debut LP, Welcome To: Our House, due June 12.
"Yeah man, Cee Lo owed me a favor from way back," Joe Budden joked and laughed.
Goodie Mob probably feels the same. Cee Lo, a permanent vocal coach on the NBC reality show, The Voice, reunited with Goodie Mob, his longtime crew, for a performance on the mainstream American show last month. That performance came months after he shared the worldwide Super Bowl XLVI halftime stage with Madonna in February.
Of course, Cee Lo isn't the only big assist that Slaughterhouse is getting on Welcome to: Our House. Eminem has taken a very hands-on approach for this project, the group's second overall album, but Shady Records debut. | {
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Q: Passing additional iteration-dependent inputs to ode45 I'm trying to solve differential equation using the ode45 function. Consider the following code,
[t1,X2] = ode45(@(t,x)fun(t,x,C1,C2,C3,C4),t0,X01);
where parameters C1, C2, C3 and C4 are column vectors, which should be available to the function that ode45 is referring to (fun.m). I want the values to change after every iteration, so for example, at the beginning the entry of C1 I want in is C1(1), in the next iteration it's C1(2), etc.
How can I implement that?
A: You may have noticed that the official docs are not too helpful in this scenario (as they pretty much force you to use global variables - which is doable, but discouraged). Instead, I'll show you how this can be done with classes and function handles. Consider the following:
classdef SimpleQueue < handle
%SIMPLEQUEUE A simple FIFO data structure.
properties (Access = private)
data
position
end
methods (Access = public)
function obj = SimpleQueue(inputData)
%SIMPLEQUEUE Construct an instance of this class
obj.data = inputData;
rewind(obj);
end % constructor
function out = pop(obj, howMany)
%POP return the next howMany elements.
if nargin < 2
howMany = 1; % default amount of values to return
end
finalPosition = obj.position + howMany;
if finalPosition > numel(obj.data)
error('Too many elements requested!');
end
out = obj.data(obj.position + 1 : obj.position + howMany);
obj.position = finalPosition;
end % pop
function [] = rewind(obj)
%REWIND restarts the element tracking
% Subsequent calls to pop() shall return elements from the beginning.
obj.position = 0;
end % rewind
end % methods
end % classdef
How to use this? Simple:
C1q = SimpleQueue(C1);
C2q = SimpleQueue(C2);
C3q = SimpleQueue(C3);
C4q = SimpleQueue(C4);
[t1,X2] = ode45(@(t,x)fun(t,x,@C1q.pop,@C2q.pop,@C3q.pop,@C4q.pop),t0,X01);
As you can see, inside fun we use C1q() instead of C1.
| {
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} |
Arabian Automobiles Company has revealed Rohit Dwivedi as the lucky winner of the Renault Enrich Millionaire competition starting from Jan 2018. This unique campaign for current and new Renault owners aimed to bolster and sustain Renault's customer loyalty.
Rohit, a 32-year-old Indian national who works as a Regional Safety Manager for the MENA region at the Energy Services Department of the NALCO Champion and Ecolab staying in Dubai for the past 3 years wanted to own set of wheels. His choice of vehicle being an SUV needed to have safety as first priority, and when conducted research the Renault Koleos 4×4 came out as a clear winner. He was surprised and delighted to learn that it went beyond satisfying his requirements not only was it a safe car, it was also a beautiful and smooth ride. | {
"redpajama_set_name": "RedPajamaC4"
} |
How David Sedaris became a Christmas writer — and how he started writing stories about the holiday that are so dark that sometimes it seems that he's trying to single handedly destroy Christmas. We hear from members of David's own family, and from David, all of whom insist that David loves Christmas.
How an audience of children derailed Late Night with Conan O'Brien.
Act Three: How Bad Is This Relationship?
The people of Chicago speak out. | {
"redpajama_set_name": "RedPajamaC4"
} |
Why Hire A Trial Attorney?
Ohio Supreme Court: Warrantless search of student backpack was OK
On behalf of The Law Offices of Saia & Piatt, Inc. | May 18, 2017 | Criminal Defense
If a high school student leaves his backpack on the bus, would it be fair for him or her to expect it to be left unopened? Would it put anyone in danger? What if there was a rumor the student was a gang member?
These are the questions the Ohio Supreme Court recently answered in the case of a Columbus high school student who was charged with possession of a deadly weapon after leaving his bag unattended on a bus.
A little background: The U.S. Supreme Court had already found in the 1991 case of Florida v. Bostick that bag searches on buses are constitutionally doubtful in the best of circumstances. However, that differs somewhat from the one heard by the Ohio Supreme Court. Moreover, students have less privacy rights than adults.
Couldn't any unattended bag contain a bomb?
According to the Courthouse News Service, on one February morning in 2013, a student left his backpack on a bus. A school security guard found it and opened it only enough to identify its probable owner. Based on a rumor that the student was a gang member, however, he brought the backpack to the school principal instead of returning it to the student.
The school principal felt free to empty the bag, and inside they found bullets. The pair then contacted a police officer.
The principal, the security guard and the police officer confronted the student in a hallway, where the police officer executed a take-down and incapacitated the student.
They then searched another bag the student had on his person. Inside there was a gun.
The student was charged with possession of a deadly weapon, and argued that these searches were unreasonable — and therefore illegal under the Fourth Amendment to the U.S. Constitution. He asked for the evidence to be suppressed, and both the trial court and the Franklin County Appeals Court agreed.
The Ohio Supreme Court disagreed and sent his case back to trial. First, the court reaffirmed that schools are "special needs" settings that allow more warrantless searches than would be allowed for adults.
Next, they reasoned that at each step, the child's right to privacy was outweighed by the "In compelling governmental interest in protecting public-school students from physical harm."
After all, they reasoned, any unattended bag could contain a tiny explosive device fashioned out of carbon dioxide cartridges called a 'cricket bomb' like those attempted by the Columbine High School shooters. Such a bomb might not be noticed in a cursory search meant merely to identify the owner of the bag.
Under circumstances like those — however unlikely they might seem — surely the search was reasonable?
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May 23 "Sweep The Shed" - How Team Culture Made New Zealand A Global Superpower
competitive advantage, superpowers
New Zealand's All Blacks are the country's national rugby team. Despite the fact that NZ is a small, remote island nation, with a population of only 4.5 million, they have found a way to be a consistently feared superpower in the sport.
The All Blacks are a truly global brand. Their iconic black uniform is recognized worldwide as quickly as a FC Barcelona, AC Milan, New York Yankees, Boston Celtics or Los Angeles Lakers jersey, and the pre-game Haka that the team performs has intimidated countless opponents.
And the All Blacks have won the Rugby World Cup three times and hold a lifetime winning percentage of 77% - the highest of any professional sports team in the world.
How do they do this against larger countries with more resources and people?
How do they sustain this elite level of success?
Team culture is the Superpower that makes it all possible.
James Kerr studied the All Blacks' culture in his book Legacy, What The All Blacks Can Teach Us About The Business Of Life - in which he talks about the team's cultural mantra of "Sweeping the Shed", a tradition that says that no individual is bigger than the team and its ancestors. Everyone is responsible for the smallest details - including cleaning out the locker room after training or a match. "Sweeping the shed" is your job, no matter who you are.
This video is a great overview of Kerr's book and the All Blacks' ethos.
What is your team's mantra that creates a championship culture? Do you sweep the shed?
company culture, new zealand all blacks, sweep the shed, james kerr legacy, Superpower
Jul 5 "We work in marketing - we're not curing cancer" - My PMC 2017 Ride
May 10 Interview with Candice Peak / A Superpowered Career in Finance + Fitness | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
loudlatinlaughing – Euge! Euge!
And How Are You, Dr. Sacks?: A Biographical Memoir of Oliver Sacks
If you don't come away from this book with adoration for this lovable weirdo, something's wrong with you. I didn't want to stop reading this, seriously considering throwing off all plans until the very last page reached. The Paris Review had a lovely excerpt from the book detailing Thom Gunn's admiration of how Sacks had changed from the daredevil drug-chugging motorcycle leather daddy whose prose could be quite cruel into a more centered and empathetic writer. Weschler reveals that in the early 80s he planned to write a profile of Sacks for the New Yorker and spent several years gathering material before Sacks asked him not to publish it because he was deeply closeted and had been celibate for several years, not wanting his sexuality raked about in public. Sacks had a change of heart on his deathbed in 2015, and thus we get this delightful tome.
During WW2, most London parents sent their children to the countryside and the Sacks were no exception. It was here that Oliver experienced abuse that scarred him for life, perhaps seeping into all his relations and his manic personality. He goes on to become a doctor, then flees England before he's drafted, landing in Canada then SF and LA before settling in NYC.
Despite claiming that women's anatomy was a complete scotoma (one of Sacks's favorite words, a pathological hole in your visual field), at the age of 20 he ghostwrote a book with his mother about menopause, Women of Forty: The Menopausal Syndrome by Muriel Elsie Landau. This was before, I think, he came out as gay to his parents, whereupon his mother released an hours-long Deuteronomy-driven harangue before lapsing into the silent treatment for days and then never mentioning it again.
Sacks's drug use: his slogan was "Every dose an overdose" and was known for being greedy, sucking down as much LSD and amphetamines that he could find. He was also addicted to acceleration and speed, zooming to the Grand Canyon through the night on his motorcycle at more than 100mph.
"For all my failures and the suicide which will probably end it all, I do have a feeling of developing, though, of being different at fifty than I was at forty, at forty than at thirty. I don't know how people who don't develop bear it."
What types of books captivated him as a child? "Moby-Dick. What can you say about Moby-Dick? There's Shakespeare and there's Moby-Dick and that's that." Also: "Early on an editor told me I was too florid, to be more spare, to be like Hemingway, which among other things prevented me from liking Hemingway." And: "Dickens wasn't Dickens: He was life."
Describing his first year at Oxford: "something bizarre must have been going on in terms of reading and searching: I was insatiable. I read Western philosophy with a sort of desperation. It didn't work. I didn't get anything, I didn't retain anything, the only value in retrospect having been that 20 years later, I knew where to look… I became learning-voracious, swallowing up enormous obsessive amounts… If one could dig out the record of the library from that year, one would see what kind of strange, futile frenzy it was."
On one phone call, Oliver excitedly relates that after swimming he returned to shore only to find that the rock beneath his foot moved, the whole field of rocks a horde of horseshoe crabs beached for mating. "My people have come!" Oliver crowed.
His relationship with the truth was something he struggled with all the time: "its not that I invent the truth. Rather I intuit or imagine it."
He begins to be recognized in the 1980s; one turning point seems to be the 1984 lecture he gave at the NYPL, introduced by Susan Sontag who cooed about his writing style. Weschler mentions being there in the audience: "Jasper Johns is seated behind me: it's that sort of crowd."
Author lzPosted on August 31, 2019 Categories Reading ArchiveTags YES!
The Happiness Myth: The Historical Antidote To What Isn't Working Today
I sneak up on this book and take little sips, hoping to prolong my pleasure. Hecht's method is "happiness by historical perspective" and she looks at four issues as topics seen through the lens of history: drugs, money, bodies, celebration. There are three distinct kinds of happiness, not unrelated but not in harmony with each other:
A Good Day: filled with lots of mild pleasures, repeatable, forgettable, a tiny bit of rewarding effort
Euphoria: intense, memorable, involves risk or vulnerability
A Happy Life: lots of difficult work (studying, striving, nurturing, maintaining, negotiating, mourning) sometimes seriously cutting into time for a good day or euphoria.
Taking thousands of years of writing and thinking on the subject, there are four things in all happiness theory from wisdom literature, philosophy, psychology, and self-help:
Know yourself.
Control your desires.
Take what's yours.
Remember death.
Carpe diem quam minimum credula postero more accurately translated as "Pluck the day, never trust the next."
Everyone is forgotten. Hecht uses a brutal example, asking readers to list the names of your grandparents' mothers. From her quick survey only a tiny minority could name even two of their four great-grandmothers.
Everything has to be learned twice. "In childhood we have ignorant happiness, and we must lose this happiness if we are ever to get beyond it. Repression is not the same as transcendence. Between these states of calm ignorance and calm knowing, there has to be some half-wise screaming. Some few people actually grow wise by acting wise, but most grow wise by acting foolish, by accruing a variety of experiences, by taking chances, and by making errors."
Your worst barrier against happiness is you: "You cannot see yourself or much about the world you live in. You are ruled by desire and emotion. You will not take your place or rise to your role. You are alternately oblivious to death and terrified of it." If you master these issues, you can be happy, but it's not easy; it must be constantly worked at and never completely works.
Car culture makes us prize clearheadedness. "What makes opium a bad drug and Zoloft a good one has a lot to do with fogginess." The degree of gauzelike inebriation is the difference between a bad drug and a good one. Car culture is also bananas because "if we rejected cars, we would have to walk, and our exercise problem would be over" (along with our fuel problem and pollution problem).
Drugs like cocaine and opium were actually useful in the 19th century for their medicinal properties. "While cocaine is great for allergies and toothaches, opium has a more important medicinal punch: it stops coughs and diarrhea." Which in the era of epidemics of tuberculosis and dysentery was a blessing: heath AND happiness in a bottle.
Happiness maintenance work is "creating things to look forward to on a daily basis; arranging some peak experiences for yourself occasionally; and making sure the overall story of your life has some feeling of progress and growth."
Money has stolen away our sense of community, "consumerism has become the central opportunity for public performance; for being someone; and for eating and feeding, rather than being eaten." We shop to have good interactions and get stuff, we watch TV to bond with others.
Exercise is something that we've invented because machines have made life easy. "The only labor available is purposeless." And also a drain on resources because you have to plug that treadmill in. When we fill our town centers with gyms, we're combining 2 American traditions: the pride of the upper class not having to do work so doing sport instead, and religious identity distinguishing virtue through self-limitation. Hecht says we'd be better off if we only did unproductive exercise for pleasure…. walk somewhere you have to go anyway, take the stairs, chop some wood. "Forget the gym unless you love it or need a change of habit."
She recommends creating a list of things we do that contribute to all 3 prongs of happiness: Good-Day Happiness (what makes a good day for you?), Euphoria (How do you get euphoria), A Happy Life (What do you need to have or be working toward, in order to like your life)
Author lzPosted on August 31, 2019 September 1, 2019 Categories Reading ArchiveTags YES!
The only entertainment gained from reading this "classic" from Dashiell Hammett is following along the SF streets as he zips around Sutter, Kearny, Post, Geary, 9th Avenue. He's credited with inventing the whole genre of hard-boiled detective fiction, by which I guess means tough guys who snarl at ladies who are swooningly in love with them. One particularly laughable moment in the Falcon comes when all the characters are penned up in Sam Spade's apartment and he nonchalantly gets the woman, Brigid, to rustle up some coffee and food for his "guests." I'm obviously not a fan of Hammett's writing, preferring the higher skills of Raymond Chandler any day of the week. However, after living in SF for 20 years, I felt obligated to knock this off my list.
Author lzPosted on August 30, 2019 Categories Reading Archive
Meditations in an Emergency
Frankie soothes me with his 1957 book of poems. Gems include For Grace, After a Party (Grace Hartigan) and the eponymous Meditations in an Emergency.
For Grace:
You do not always know what I am feeling.
Last night in the warm spring air while I was
blazing my tirade against someone who doesn't interest / me, it was love for you that set me / afire, / and isn't it odd? for in rooms full of / strangers my most tender feelings /
writhe and / bear the fruit of screaming. Put out your hand, / isn't there
an ashtray, suddenly, there? beside / the bed? And someone you love enters the room / and says wouldn't / you like the eggs a little / different today? / And when they arrive they are / just plain scrambled eggs and the warm weather / is holding.
Author lzPosted on August 29, 2019 August 29, 2019 Categories Reading ArchiveTags poetry
Whew– I'd been beginning to think there was something wrong with me, that I had become allergic to books for some reason, rejecting most of the ones I've been reading lately. But this gem from Penelope Fitzgerald has restored my senses, cleansed my palate. A widowed 40-something-year-old woman (Florence Green) determines to open a bookstore in her village, proceeding against the powers that be (Mrs. Gamart) who want to use the ancient dilapidated building she's taken over as an Arts Center instead. She isn't greatly invested in the books themselves, preferring to get recommendations from other people as to what to stock, but she gambles correctly on 250 copies of Lolita after securing the recommendation from the village recluse, Mr. Brundish. At that meeting he wonders why she asked for his opinion, not a woman's. "I don't know that men are better judges than women," said Florence, " but they spend much less time regretting their decisions."
In the end, the evil Mrs. Gamart has her nephew pass a bill in Parliament that allows her to take over the building. Brundish struggles through the fog to Gamart's doorstep to protest, dying on his way back home. Florence is evicted, ending up defeated on a train to London.
Trick Mirror: Reflections on Self-Delusion
I'm fed up with the swirl of publicity for the books churned out of the NYC publishing elite (see also: Taffy Brodesser-Akner). The circus of praise surrounding them leads you to expect a quality that turns out to be lacking. Tolentino's book is no exception, a baggy, wordy, bloated exploration of thoughts that are better written about elsewhere. Her essay Pure Heroines reads like a book report and a poorly Xeroxed copy of Kate Zambreno's sublime book, Heroines. Cult of the Difficult Woman reads like a poor-woman's Trainwreck (by Sady Doyle). Most egregious of all is the reliance of Wikipedia-esque research to create filler for the book ("In 1844, 'optimize' was used as a verb for the first time…"); that's one of my personal pet peeves, exploring word history in a desultory way that implies you've done real research but most likely not. The only worthwhile part was her essay detailing her teenage participation in a reality show, Girls v Boys: Puerto Rico, mostly interesting because it was the only content in the book that couldn't have been written by anyone else (or looked like a gussied up version of what someone else has written about).
I love this movie so finally broke down and read the original book by James Cain, only to have Joan Crawford's and Ann Blyth's faces loom up at me from the pages. Veda is as horrible in the book as in the movie, and it was interesting to see what bits were moved and mangled and mashed up to create the screenplay. Things that needed to be visually appealing were inflated by the film, obviously (like Veda's lounge singing was very visual in the film but simply a radio show in the book). Cain taps into pure gold with the friction between mother and daughter.
The Sugar House
I think I've choked down the last of these Laura Lippman mysteries. She's a decent writer but this Tess Monaghan series is so formulaic and bland that they become a chore to read. In this one, a dead girl turns out to be the daughter of a billionaire who had been recuperating at an eating disorder clinic. There's some weird connection to a local politician that I couldn't be bothered to pay attention to. Her usual gang surrounds her, Crow, Whitney, the wheelchair lawyer, her family. At the end, she's evicted from her aunt's building and buys a home. Yawn.
Author lzPosted on August 27, 2019 August 27, 2019 Categories Reading Archive
I thought this was a sort of parody of detective stories by the excellent writer Kate Atkinson, but after finishing I see that Jackson Brodie is actually a recurring character for her. She milks her audience well, with a chaotic first few pages pulling you into the story of a sex trafficking ring run on the coast of England by three old pals. Coincidences pile on top of coincidences, which is why I thought this was extreme parody, but it ends up an entertaining read. Unfortunately, the wrapping up phase at the end is too tidy and monotonous. Endings are hard to get right.
Four Friends: Promising Lives Cut Short
Mostly I'm in awe that people have been recommending this book. How is it possible to bungle first-person reporting so much? The author, Cohan, looks around and sees that 4 guys from his years at Phillips Academy (premiere prep school for the elites) are dead from various horrendous circumstances, decides to write a tediously boring book about it thinking that just by including JFK Jr. as one of the 4 that people will be interested? Dull dull dull. I hung around to skim through the blather due to curiosity around how they died. One guy was killed in the 101 California mass shooting in 1993 (SF's worst mass shooting still remains unmemorialized on the building), one guy was hit by a cab, one guy mysteriously found drowned with two of his daughters, and JFK Jr piloted his plane into the Atlantic. Another book that did not need to be written or published.
Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee
There were 3 distinct sections of this book: the strange murders swirling around Reverend Miller, who seemed to take out life insurance policies on everyone in his family and they ended up dead; the subsequent trial of the man who murdered Reverend Miller at the funeral home mourning his latest victim; Harper Lee's involvement as a last gasp effort to produce a book in the 1970s and 80s. The first and last sections were the most interesting, with delving into Lee's life providing the most meat for the story. Lee grew up next door to Truman Capote who whisked away to NYC where she eventually migrated. She had put the finishing touches on Mockingbird (after being granted a year off to write by the largess of friends) and was wondering what to do when Capote asked for her help researching the killings that became In Cold Blood. Her help in Kansas was enormous, detailed notes that later propped up his book, plus people much more likely to speak to a pleasant polite Southern woman than flamboyant Capote who met some people at his hotel door wearing pink lingerie.
Then Mockingbird came out and was successful beyond anyone's wildest dreams, making Capote jealous, making Lee fearful of earning any extra money since her income bracket was already being taxed at 70%. This immediate success made it possible for her never to work again and some say that it cursed her from future writing projects. The author of this book does float the idea that it was possible that Lee "had decided to write for her own satisfaction or for posterity, not her peers, and the feelings of incompletion and failure were incongruous with her own experience." I say, why not? If she got pleasure out of writing for herself (and her many letters seem to be delightful), then why not leave it at that?
Overall the book was strangely sewn together, stitches large and unwieldy. The editors of which Cep writes so lovingly as having positively influenced Lee's writing were sorely lacking here. But alas, this is the current state of publishing.
Side note to myself that Melville is buried in Woodlawn Cemetery in the Bronx, a place Lee made a pilgrimage to.
The 57 Bus: A True Story of Two Teenagers and the Crime That Changed Their Lives
One of my favorite librarians pressed this into my hands today after we were discussing how teenagers today can be absolutely obliterated by their dumb mistakes unlike what we experienced growing up. This book tracks the devastating impact of a few moments on an Oakland bus in November 2013 when Richard, a 16-year-old, was showing off and goofing around with his friends and lit the skirt that Sasha, a genderqueer teen, was wearing on fire. The fire burned Sasha severely, another passenger threw them to the ground to put out the flames but they had to have skin grafts and live with the fear of infection for months after. Which seems actually tame compared to what happened to Richard, the young black male captured on bus video and later telling the police that he was homophobic (after ignoring the right to remain silent). Richard gets tried as an adult (yikes) and sentenced to 7 years, later reduced to 5 years. As Sasha heads off to MIT and the wonders of Boston, Richard shuffles behind bars. Not too much of a stretch to wonder what would have happened if Richard had not been a young black male.
Ball Four: The Final Pitch
What began as a quaint insider look at the 1969 season of the short-lived Seattle Pilots turned into a bloated windbag filled with Bouton's ramblings. Unfortunately I recommended this one to my dear old dad before I got too far in and realized how much misogynistic shit is spackled all over the book. The ballplayers go "beaver shooting" which means they try to look up ladies' skirts or into lit windows at night or spy on their roommates in the hotel room. Lots and lots of erection talk and about broads. If you can get past that, there is a thin layer of interesting talk about the craft of pitching, but pray to god you're reading one of the earlier versions which doesn't tack on an additional 100+ pages of old windbag blathering into his tape recorder about what happened next (spoiler: he divorced his wife as did many of the other ballplayers, ended up marrying some other "magical" woman). This came highly praised but the only value I see is that it was the first tell-all book that laid it all out about how much players made and negotiated and were docked for being late, etc.
I'm stunned by some of these sentences. I had to take a break, only a handful of pages in, to float over here and capture the essence before I end up dogearing every page. This is a non-fiction book that contains bursts of perfect prose.
"It's not as if the prosecutors have your back. They have your shadow, is more like it."
"Hoy also asks about a site that he doesn't even know how to spell. You go, What's that, and he goes, I don't know, but have you ever been on it, and you go, No, I don't know what it is. And you are thinking, Neither do you, you prick. But his formality makes you afraid to contradict him. You bet his wife and children have learned to lie to him regularly, to escape the kind of needling criticism that can wreck a soul."
"They get the drunk munchies and drive out to Perkins, which looks like a soup kitchen. It's wan and the customers have red faces and the waitresses have cigarette coughs but when you're young and buzzed it's good for a late-night snack. When you're young you can do almost anything and it won't be sad."
The book captures layers of a taboo subject—female desire—in the stories of three women. Lina, raped by 3 boys as a young girl, eventually leaves her stable husband because she wants to be carried away by the fantasy of the affair she's having with her teenage crush, hurried sex in trucks and motels, thankful for 30 minutes she gets with him occasionally. Maggie is a twenty-something recovering from an inappropriate relationship she had with her teacher her senior year of high school. Sloane is a successful restaurant owner whose husband makes her have sex with other men while he watches.
In Big Trouble
Another of Laura Lippman's mysteries, this one sends Tess to Austin and San Antonio to find her ex-boyfriend Crow, who's mixed up in a double murder with more bodies ready to fall on the sidelines. A bit of a yawn but still entertaining.
I read a lot. Too much, maybe. Here's a list of books I've tagged YES! since 2015.
This is a catalogue of reading, posted to aid my memory. The name comes from Joyce's Ulysses, Episode 3, line 194.
Alright, Alright, Alright: The Oral History of Richard Linklater's Dazed and Confused
Top Picks of 2020
Books I'm too lazy to write about that I read in 2020
Three Guineas
Parakeet: A Novel
Selected Letters of Vanessa Bell
In Love with the World: A Monk's Journey Through the Bardos of Living and Dying
loudlatinlaughing – Euge! Euge! Proudly powered by WordPress | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
package frclibj;
import edu.wpi.first.wpilibj.Timer;
public class TrcDbgTrace
{
public static final String ESC_PREFIX = "\u001b[";
public static final String ESC_SUFFIX = "m";
public static final String ESC_SEP = ";";
public static final String SGR_RESET = "0";
public static final String SGR_BRIGHT = "1";
public static final String SGR_DIM = "2";
public static final String SGR_ITALIC = "3";
public static final String SGR_UNDERLINE = "4";
public static final String SGR_BLINKSLOW = "5";
public static final String SGR_BLINKFAST = "6";
public static final String SGR_REVERSE = "7";
public static final String SGR_HIDDEN = "8";
public static final String SGR_CROSSEDOUT = "9";
public static final String SGR_FG_BLACK = "30";
public static final String SGR_FG_RED = "31";
public static final String SGR_FG_GREEN = "32";
public static final String SGR_FG_YELLOW = "33";
public static final String SGR_FG_BLUE = "34";
public static final String SGR_FG_MAGENTA = "35";
public static final String SGR_FG_CYAN = "36";
public static final String SGR_FG_WHITE = "37";
public static final String SGR_BG_BLACK = "40";
public static final String SGR_BG_RED = "41";
public static final String SGR_BG_GREEN = "42";
public static final String SGR_BG_YELLOW = "43";
public static final String SGR_BG_BLUE = "44";
public static final String SGR_BG_MAGENTA = "45";
public static final String SGR_BG_CYAN = "46";
public static final String SGR_BG_WHITE = "47";
public static final String ESC_NORMAL = ESC_PREFIX
+ ESC_SUFFIX;
public static final String ESC_BLINKSLOW = ESC_PREFIX
+ SGR_BLINKSLOW
+ ESC_SUFFIX;
public static final String ESC_BLINKFAST = ESC_PREFIX
+ SGR_BLINKFAST
+ ESC_SUFFIX;
public static final String ESC_FG_BLACK = ESC_PREFIX
+ SGR_FG_BLACK
+ ESC_SUFFIX;
public static final String ESC_FG_RED = ESC_PREFIX
+ SGR_FG_RED
+ ESC_SUFFIX;
public static final String ESC_FG_GREEN = ESC_PREFIX
+ SGR_FG_GREEN
+ ESC_SUFFIX;
public static final String ESC_FG_YELLOW = ESC_PREFIX
+ SGR_FG_YELLOW
+ ESC_SUFFIX;
public static final String ESC_FG_BLUE = ESC_PREFIX
+ SGR_FG_BLUE
+ ESC_SUFFIX;
public static final String ESC_FG_MAGENTA = ESC_PREFIX
+ SGR_FG_MAGENTA
+ ESC_SUFFIX;
public static final String ESC_FG_CYAN = ESC_PREFIX
+ SGR_FG_CYAN
+ ESC_SUFFIX;
public static final String ESC_FG_WHITE = ESC_PREFIX
+ SGR_FG_WHITE
+ ESC_SUFFIX;
public static final String ESC_BG_BLACK = ESC_PREFIX
+ SGR_BG_BLACK
+ ESC_SUFFIX;
public static final String ESC_BG_RED = ESC_PREFIX
+ SGR_BG_RED
+ ESC_SUFFIX;
public static final String ESC_BG_GREEN = ESC_PREFIX
+ SGR_BG_GREEN
+ ESC_SUFFIX;
public static final String ESC_BG_YELLOW = ESC_PREFIX
+ SGR_BG_YELLOW
+ ESC_SUFFIX;
public static final String ESC_BG_BLUE = ESC_PREFIX
+ SGR_BG_BLUE
+ ESC_SUFFIX;
public static final String ESC_BG_MAGENTA = ESC_PREFIX
+ SGR_BG_MAGENTA
+ ESC_SUFFIX;
public static final String ESC_BG_CYAN = ESC_PREFIX
+ SGR_BG_CYAN
+ ESC_SUFFIX;
public static final String ESC_BG_WHITE = ESC_PREFIX
+ SGR_BG_WHITE
+ ESC_SUFFIX;
public static final String ESC_FGB_BLACK = ESC_PREFIX
+ SGR_FG_BLACK
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_RED = ESC_PREFIX
+ SGR_FG_RED
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_GREEN = ESC_PREFIX
+ SGR_FG_GREEN
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_YELLOW = ESC_PREFIX
+ SGR_FG_YELLOW
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_BLUE = ESC_PREFIX
+ SGR_FG_BLUE
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_MAGENTA = ESC_PREFIX
+ SGR_FG_MAGENTA
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_CYAN = ESC_PREFIX
+ SGR_FG_CYAN
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_FGB_WHITE = ESC_PREFIX
+ SGR_FG_WHITE
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_BLACK = ESC_PREFIX
+ SGR_BG_BLACK
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_RED = ESC_PREFIX
+ SGR_BG_RED
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_GREEN = ESC_PREFIX
+ SGR_BG_GREEN
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_YELLOW = ESC_PREFIX
+ SGR_BG_YELLOW
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_BLUE = ESC_PREFIX
+ SGR_BG_BLUE
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_MAGENTA = ESC_PREFIX
+ SGR_BG_MAGENTA
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_CYAN = ESC_PREFIX
+ SGR_BG_CYAN
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static final String ESC_BGB_WHITE = ESC_PREFIX
+ SGR_BG_WHITE
+ ESC_SEP
+ SGR_BRIGHT
+ ESC_SUFFIX;
public static enum TraceLevel
{
QUIET(0),
INIT(1),
API(2),
CALLBK(3),
EVENT(4),
FUNC(5),
TASK(6),
UTIL(7),
HIFREQ(8);
private int value;
TraceLevel(int value)
{
this.value = value;
} //TraceLevel
public int getValue()
{
return this.value;
} //getValue
} //enum TraceLevel
public static enum MsgLevel
{
FATAL(1),
ERR(2),
WARN(3),
INFO(4),
VERBOSE(5);
private int value;
MsgLevel(int value)
{
this.value = value;
} //MsgLevel
public int getValue()
{
return this.value;
} //getValue
} //enum MsgLevel
private static int indentLevel = 0;
private String instanceName;
private boolean traceEnabled;
private TraceLevel traceLevel;
private MsgLevel msgLevel;
private double nextTraceTime;
public void setDbgTraceConfig(
boolean traceEnabled,
TraceLevel traceLevel,
MsgLevel msgLevel)
{
this.traceEnabled = traceEnabled;
this.traceLevel = traceLevel;
this.msgLevel = msgLevel;
} //setDbgTraceConfig
public TrcDbgTrace(
final String instanceName,
boolean traceEnabled,
TraceLevel traceLevel,
MsgLevel msgLevel)
{
this.instanceName = instanceName;
setDbgTraceConfig(traceEnabled, traceLevel, msgLevel);
this.nextTraceTime = Timer.getFPGATimestamp();
} //TrcDbgTrace
public void traceEnter(
final String funcName,
final TraceLevel funcLevel,
final String format,
Object... args)
{
if (traceEnabled &&
funcLevel.getValue() <= traceLevel.getValue())
{
printTracePrefix(funcName, true, false);
System.out.printf(format, args);
System.out.print(")\n" + ESC_NORMAL);
}
} //traceEnter
public void traceEnter(
final String funcName,
final TraceLevel funcLevel)
{
if (traceEnabled &&
funcLevel.getValue() <= traceLevel.getValue())
{
printTracePrefix(funcName, true, true);
}
} //traceEnter
public void traceExit(
final String funcName,
final TraceLevel funcLevel,
final String format,
Object... args)
{
if (traceEnabled &&
funcLevel.getValue() <= traceLevel.getValue())
{
printTracePrefix(funcName, false, false);
System.out.printf(format, args);
System.out.print("\n" + ESC_NORMAL);
}
} //traceExitMsg
public void traceExit(
final String funcName,
final TraceLevel funcLevel)
{
if (traceEnabled &&
funcLevel.getValue() <= traceLevel.getValue())
{
printTracePrefix(funcName, false, true);
}
} //traceExit
public void traceFatal(
final String funcName,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.FATAL, 0.0, format, args);
} //traceFatal
public void traceErr(
final String funcName,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.ERR, 0.0, format, args);
} //traceErr
public void traceWarn(
final String funcName,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.WARN, 0.0, format, args);
} //traceWarn
public void traceInfo(
final String funcName,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.INFO, 0.0, format, args);
} //traceInfo
public void traceVerbose(
final String funcName,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.VERBOSE, 0.0, format, args);
} //traceVerbose
public void tracePeriodic(
final String funcName,
double traceInterval,
final String format,
Object... args)
{
traceMsg(funcName, MsgLevel.INFO, traceInterval, format, args);
} //tracePeriodic
private void traceMsg(
final String funcName,
MsgLevel level,
double traceInterval,
final String format,
Object... args)
{
if (level.getValue() <= msgLevel.getValue())
{
double currTime = Timer.getFPGATimestamp();
if (currTime >= nextTraceTime)
{
nextTraceTime = currTime + traceInterval;
printMsgPrefix(funcName, level);
System.out.printf(format, args);
System.out.print("\n" + ESC_NORMAL);
}
}
} //traceMsg
private void printTracePrefix(
final String funcName,
boolean enter,
boolean newline)
{
if (enter)
{
indentLevel++;
}
System.out.print(ESC_FGB_MAGENTA);
for (int i = 0; i < indentLevel; i++)
{
System.out.print("| ");
}
System.out.print(instanceName + "." + funcName);
if (enter)
{
System.out.print(newline? "()\n": "(");
}
else
{
System.out.print(newline? "!\n" + ESC_NORMAL: "");
indentLevel--;
}
} //printTracePrefix
private void printMsgPrefix(
final String funcName,
MsgLevel level)
{
String prefix;
String color;
switch (level)
{
case FATAL:
prefix = "_Fatal: ";
color = ESC_PREFIX + SGR_FG_YELLOW +
ESC_SEP + SGR_BRIGHT +
ESC_SEP + SGR_BG_RED +
ESC_SUFFIX;
break;
case ERR:
prefix = "_Err: ";
color = ESC_FGB_RED;
break;
case WARN:
prefix = "_Warn: ";
color = ESC_FGB_YELLOW;
break;
case INFO:
prefix = "_Info: ";
color = ESC_FGB_GREEN;
break;
case VERBOSE:
prefix = "_Verbose: ";
color = ESC_FGB_WHITE;
break;
default:
prefix = "_Unk: ";
color = ESC_NORMAL;
break;
}
System.out.print(color + instanceName + "." + funcName + prefix);
} //printMsgPrefix
} //class TrcDbgTrace
| {
"redpajama_set_name": "RedPajamaGithub"
} |
We LOVE overnight oatmeal at our house! My older kiddos love to mix up their own the night before and then they have their perfect breakfast ready for them in the morning. You can eat them hot or cold so they are PERFECT! Here's one of our favorite recipes.
These make ahead breakfasts are a staple at our house!
In a large jar, layer your ingredients starting with about a 1/2 a cup of old fashioned rolled oats.
Your favorite nuts. We like pecans at our house.
Then we top with some fruit that is full of antioxidants.
Blueberries and raspberries are perfect. Next add a spoonful of either Cinnamon or Maple Jif® flavored Peanut Butter Spreads.
I also like to add a few chia seeds as well.
Doesn't it already look divine?
Now cover with your favorite kind of milk. You can use cow's milk or your favorite almond, coconut or soy milks.
I also top with a little honey and vanilla extract.
Gently stir your ingredients, top with a lid and place in the fridge overnight.
In the morning, you'll have a lovely jar full of yummy oatmeal ready and waiting for you. I LOVE to eat it cold, but you can pop it into the microwave for a minute or so to warm it up if you like yours hot. Either way tastes great! | {
"redpajama_set_name": "RedPajamaC4"
} |
February – March 2021 | Comment
K.R. Ravindran – Trustee Chair's Column
K.R Ravindran reflects on how we are the only species that bears the responsibility of protecting the environment for future generations.
By K.R. Ravindran
Published Date: February 1, 2021
Comment News Features People of Action Advertorial View All
Having grown up amid lush green forests in the mountainous landscape of Sri Lanka, I always recall the words of the great poet Rabindranath Tagore: "Trees are the earth's endless effort to speak to the listening heaven."
How sad that so often we humans insist on interrupting this conversation. Just like every other living thing, we are a part of nature. But we are also the only species that bears the responsibility of protecting the environment for future generations.
The coronavirus pandemic has shed light as nothing has before on the relationship between environmental degradation and threats to public health.
A few years ago, the government-owned electricity company in my country planned to build a second coal power plant, in eastern Sri Lanka.
It would suck 93 million litres of water per hour from a bay where fragile ecosystems meet the deep sea, the site of one of the largest spawning grounds for sperm whales in the world.
After processing, those 93 million litres per hour would be dumped into the ocean, now loaded with toxic chemicals that put that marine life at great risk.
Learning from the lessons of the damage caused by the first plant, a coalition formed, made up of many public advocates, including Rotarians.
They ran a campaign that alerted the media, the public, and the local community to the potential dangers, in addition to taking legal action.
The government eventually abandoned its coal plant idea after the resulting public outcry. We can truly move mountains when we come together.
When some of us moved to add the environment as Rotary's newest cause, we did so because of the urgency of the problem. In 1990-91, Rotary International President, Paulo V.C. Costa, set forth a vision, and today we will take this work to the next level.
We live in a time of great stress on our environment, of rapidly rising sea levels, massive storms, disappearing rain forests and wildlife, and destructive forest fires.
Climate change touches us all, rich and poor.
We will face the challenge strategically, as with the other areas of focus. In fact, the six other areas of focus depend on this one. For what good is it to fight disease if our polluted environment causes us to become sick again?
The Rotary Foundation will be central to this work. More than $18 million has gone towards environment-related global grants in the past five years.
Building upon this work to protect the environment, we will give yet another Rotary gift to future generations. And you can be a part of it today.
Recycled laptops help isolated students
February – March 2021
We need to solve the plastics problem by 2050
You can count on the cadres | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
According to blink-182, Age Clearly Doesn't Matter
This past Sunday, blink-182 brought their Enema of The State 20th Anniversary tour to Toronto's Budweiser Stage. It was a perfect night along the water for a full show of nostalgia, blow up aliens and Travis Barker in a hamster ball.
Enema of the State, 1999
For support, blink-182 brought along Neck Deep from the UK and Canada's own Simple Plan. The boys from Montreal were given a full hour, and had fans so into the set, they probably could have done more. All the hits from your angsty childhood were on display, including Shut Up, Addicted and I'd Do Anything. From there, they dove into the pop-rock world they explored in the later 2000's with Jet Lag and Your Love Is A Lie. To conclude, the boys lead by front man Pierre Bouvier, ended with the smash hits I'm Just A Kid, and Perfect. And perfect the set was...
Once all the former punk canucks were warmed up, blink hit the stage and began performing their 1999, multi-platinum selling album Enema of the State. The album was played in full, and at first I thought this would be a little off setting. How could you possibly not have All The Small Things, as your encore? Their biggest hit was about 25 minutes into their set, but it worked.
After the full run through of Enema, the boys did an acoustic portion on the lawns, followed by a Travis Barker drum solo worthy of a Cirque du Soleil performance. The legendary drummer, was strapped into a giant hamster ball, where his kit did everything from rotations, turns and flips. His drumming perfection was paired with a Skrillex style backing track, which left fans both stunned, surprised and satisfied.
To conclude to band pulled out hits, I Miss You and First Date. Fans from all levels were jumping around as if they were a teenager back in 1999, and judging by the young age of some of the fans (including myself), it seems like blink have brought around a new generation of fans too. Having not been to a blink show during their prime, I can't compare back to their older days, however, the amount of energy and enthusiasm brought by the band was parallel to a modern day rock band filled with kids in their 20's. You could tell by the looks on their faces, that everything was left on stage. It's obvious these, now family men, are still loving what they do 20 years later.
blink-182 at Toronto's Budweiser Stage
Despite the recent health issues from Travis Barker, or ongoing rumours of reunions with original guitarist Tom DeLong, none of that seemed to show on stage. Blink brought their eh-game to Toronto on Sunday, and proved that not remembering your age, clearly doesn't matter.
Wait, The Guess Who Still Isn't in the Rock & Roll Hall of Fame?
BEST IN ROCK 2020
Green Child O' Mine: When Baby Yoda Took on Guns N' Roses
© 2023 by Shutter Zone. Proudly created with Wix.com | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
require 'spec_helper'
describe Catarse::OmniauthCallbacksController do
before do
@request.env["devise.mapping"] = Devise.mappings[:user]
end
let(:return_to){ nil }
let(:user){ FactoryGirl.create(:user, authorizations: [ FactoryGirl.create(:authorization, uid: oauth_data[:uid], oauth_provider: facebook_provider ) ]) }
let(:facebook_provider){ FactoryGirl.create :oauth_provider, name: 'facebook' }
let(:oauth_data){
Hashie::Mash.new({
credentials: {
expires: true,
expires_at: 1366644101,
token: "AAAHuZCwF61OkBAOmLTwrhv52pZCriPnTGIasdasdasdascNhZCZApsZCSg6POZCQqolxYjnqLSVH67TaRDONx72fXXXB7N7ZBByLZCV7ldvagm"
},
extra: {
raw_info: {
bio: "I, simply am not there",
email: "[email protected]",
first_name: "Diogo",
gender: "male",
id: "547955110",
last_name: "Biazus",
link: "http://www.facebook.com/diogo.biazus",
locale: "pt_BR",
name: "Diogo, Biazus",
timezone: -3,
updated_time: "2012-08-01T18:22:50+0000",
username: "diogo.biazus",
verified: true
},
},
info: {
description: "I, simply am not there",
email: "[email protected]",
first_name: "Diogo",
image: "http://graph.facebook.com/547955110/picture?type:, square",
last_name: "Biazus",
name: "Diogo, Biazus",
nickname: "diogo.biazus",
urls: {
Facebook: "http://www.facebook.com/diogo.biazus"
},
verified: true
},
provider: "facebook",
uid: "547955110"
})
}
subject{ response }
describe "GET facebook" do
before do
user
session[:return_to] = return_to
request.env['omniauth.auth'] = oauth_data
get :facebook
end
context "when there is no such user and we do not have an email address" do
let(:oauth_data){
Hashie::Mash.new({
info: {
image: "http://graph.facebook.com/547955110/picture?type:, square",
name: "Diogo, Biazus",
nickname: "diogo.biazus",
urls: {
Facebook: "http://www.facebook.com/diogo.biazus"
},
verified: true
},
provider: "facebook",
uid: "547955110"
})
}
let(:user){ nil }
describe "assigned user" do
subject{ assigns(:user) }
its(:email){ should be_nil }
its(:name){ should == "Diogo, Biazus" }
end
it{ should render_template 'users/set_email' }
end
context "when there is no such user but we retrieve the email from omniauth" do
let(:user){ nil }
describe "assigned user" do
subject{ assigns(:user) }
its(:email){ should == "[email protected]" }
its(:name){ should == "Diogo, Biazus" }
end
it{ should redirect_to root_path }
end
context "when there is a valid user with this provider and uid and session return_to is /foo" do
let(:return_to){ '/foo' }
it{ assigns(:user).should == user }
it{ should redirect_to '/foo' }
end
context "when there is a valid user with this provider and uid and session return_to is nil" do
it{ assigns(:user).should == user }
it{ should redirect_to root_path }
end
end
end
| {
"redpajama_set_name": "RedPajamaGithub"
} |
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creating helpful guides for the League of Legends community. | {
"redpajama_set_name": "RedPajamaC4"
} |
Април и детективи је југословенски филм из 1958. године. Режирала га је Мирјана Самарџић, а сценарио је писала Душица Манојловић.
Улоге
|-
|Душан Антонијевић ||
|-
|Северин Бијелић ||
|-
|Бранивој Ђорђевић ||
|-
|Бранко Ђорђевић ||
|-
|Стеван Миња ||
|-
|Љубица Секулић ||
|-
|Милан Срдоч ||
|-
| Иво Вентурин || Дечак
|}
Спољашње везе
Југословенски филмови
Српски филмови
Филмови 1958.
Телевизијски филмови
Српски телевизијски филмови
Српске телевизијске комедије
Филмске комедије | {
"redpajama_set_name": "RedPajamaWikipedia"
} |
ORG PowerShift Ventures Title BIO Steve Papermaster is the Chairman of Powershift Ventures LP, an Austin, Texas-based technology venture development company focused on building software and technology companies. He currently serves on the boards of directors for several public and private companies. In 2001 President George W. Bush appointed Mr. Papermaster a member of the President's Council of Advisors in Science and Technology (PCAST). In this capacity, Steve serves as Chairman of the Energy Committee, as well as being a member of the Technology for Combating Terrorism Committee. He is also the founder and chairman of Technology Network Texas (TechNet), a national high-technology advocacy group for policy issues and is a member of the National Executive Committee. Prior to founding Powershift Ventures, Mr. Papermaster was the founder, chairman and CEO of BSG Corporation, a global software and systems integration company. He began his career as a consultant with Andersen Consulting. Mr. Papermaster received the 1996 Ernst & Young Entrepreneur of the Year Award in Austin and has served as a national and world judge for the Entrepreneur of the Year awards since 1997. In 2001 he served as the United States' judge for the World Entrepreneur of the Year award. Steve is active as a community leader with organizations such as the American Cancer Society, the Juvenile Diabetes Research Foundation, the Jewish Community Center, and the 360 Summit. Mr. Papermaster received a Bachelor of Business Administration in Finance with highest honors from the University of Texas at Austin. | {
"redpajama_set_name": "RedPajamaC4"
} |
HCC Estimates Katrina Loss at $160M
HCC Insurance Holdings Inc. announced that anticipated claims from Hurricane Katrina are expected to result in the company's largest gross loss in its history, estimated at $160 million arising from aviation, onshore and offshore energy, property, marine and other specialty lines of business.
This loss is estimated to be $50 million net of reinsurance including reinsurance reinstatement costs, $32.5 million after tax, and will reduce third quarter earnings of the company by approximately $0.30 per diluted share.
Stephen L. Way, chairman and chief executive officer, said, "Our exposure is predominantly to energy and large commercial property accounts and is substantially protected by catastrophe reinsurance." Way added, "From an industry standpoint, premium rates will need to rise significantly in these lines of business to reflect both the increased frequency and severity of catastrophic events that have occurred over the past five years."
HCC is an international insurance holding company and a leading specialty insurance group since 1974, based in Houston, Texas, with offices across the U.S. and in Bermuda, England, and Spain.
Hot Again: 2020 Sets Yet Another Global Temperature Record
Policyholders With Endorsements for Diseases Survive Motions to Dismiss COVID-19 Claims | {
"redpajama_set_name": "RedPajamaCommonCrawl"
} |
using System;
using System.Collections;
using System.Collections.Generic;
using System.Configuration;
using System.Data;
using System.Threading;
using Oracle.DataAccess.Client;
namespace AspNet.Identity.Oracle
{
/// <summary>
/// Class that encapsulates a Oracle Database connections
/// and CRUD operations
/// </summary>
public class OracleDatabase : IDisposable
{
private OracleConnection connection;
/// <summary>
/// Default constructor which uses the "DefaultConnection" connectionString
/// </summary>
public OracleDatabase()
: this("DefaultConnection")
{
}
/// <summary>
/// Constructor which takes the connection string name
/// </summary>
/// <param name="connectionStringName"></param>
public OracleDatabase(string connectionStringName)
{
var connectionString = ConfigurationManager.ConnectionStrings[connectionStringName].ConnectionString;
connection = new OracleConnection(connectionString);
}
/// <summary>
/// Executes a non-query Oracle statement
/// </summary>
/// <param name="commandText">The Oracle query to execute</param>
/// <param name="parameters">Optional parameters to pass to the query</param>
/// <returns>The count of records affected by the Oracle statement</returns>
public int Execute(string commandText, IEnumerable parameters)
{
int result;
if (String.IsNullOrEmpty(commandText))
{
throw new ArgumentException("Command text cannot be null or empty.");
}
try
{
ensureConnectionOpen();
var command = createCommand(commandText, parameters);
result = command.ExecuteNonQuery();
}
finally
{
connection.Close();
}
return result;
}
/// <summary>
/// Executes a Oracle query that returns a single scalar value as the result.
/// </summary>
/// <param name="commandText">The Oracle query to execute</param>
/// <param name="parameters">Optional parameters to pass to the query</param>
/// <returns></returns>
public object QueryValue(string commandText, IEnumerable parameters)
{
object result;
if (String.IsNullOrEmpty(commandText))
{
throw new ArgumentException("Command text cannot be null or empty.");
}
try
{
ensureConnectionOpen();
var command = createCommand(commandText, parameters);
result = command.ExecuteScalar();
}
finally
{
ensureConnectionClosed();
}
return result;
}
/// <summary>
/// Executes a SQL query that returns a list of rows as the result.
/// </summary>
/// <param name="commandText">The Oracle query to execute</param>
/// <param name="parameters">Parameters to pass to the Oracle query</param>
/// <returns>A list of a Dictionary of Key, values pairs representing the
/// ColumnName and corresponding value</returns>
public List<Dictionary<string, string>> Query(string commandText, IEnumerable parameters)
{
List<Dictionary<string, string>> rows;
if (String.IsNullOrEmpty(commandText))
{
throw new ArgumentException("Command text cannot be null or empty.");
}
try
{
ensureConnectionOpen();
var command = createCommand(commandText, parameters);
using (var reader = command.ExecuteReader())
{
rows = new List<Dictionary<string, string>>();
while (reader.Read())
{
var row = new Dictionary<string, string>();
for (var i = 0; i < reader.FieldCount; i++)
{
var columnName = reader.GetName(i);
var columnValue = reader.IsDBNull(i) ? null : reader.GetValue(i).ToString();
row.Add(columnName, columnValue);
}
rows.Add(row);
}
}
}
finally
{
ensureConnectionClosed();
}
return rows;
}
/// <summary>
/// Opens a connection if not open
/// </summary>
private void ensureConnectionOpen()
{
var retries = 3;
if (connection.State == ConnectionState.Open)
{
return;
}
while (retries >= 0 && connection.State != ConnectionState.Open)
{
connection.Open();
retries--;
Thread.Sleep(30);
}
}
/// <summary>
/// Closes a connection if open
/// </summary>
private void ensureConnectionClosed()
{
if (connection.State == ConnectionState.Open)
{
connection.Close();
}
}
/// <summary>
/// Creates a OracleCommand with the given parameters
/// </summary>
/// <param name="commandText">The Oracle query to execute</param>
/// <param name="parameters">Parameters to pass to the Oracle query</param>
/// <returns></returns>
private OracleCommand createCommand(string commandText, IEnumerable parameters)
{
var command = connection.CreateCommand();
command.BindByName = true;
command.CommandText = commandText;
addParameters(command, parameters);
return command;
}
/// <summary>
/// Adds the parameters to a Oracle command
/// </summary>
/// <param name="command">The Oracle query to execute</param>
/// <param name="parameters">Parameters to pass to the Oracle query</param>
private static void addParameters(OracleCommand command, IEnumerable parameters)
{
if (parameters == null) return;
foreach (var parameter in parameters)
{
command.Parameters.Add(parameter);
}
}
/// <summary>
/// Helper method to return query a string value
/// </summary>
/// <param name="commandText">The Oracle query to execute</param>
/// <param name="parameters">Parameters to pass to the Oracle query</param>
/// <returns>The string value resulting from the query</returns>
public string GetStrValue(string commandText, IEnumerable parameters)
{
var value = QueryValue(commandText, parameters) as string;
return value;
}
public void Dispose()
{
if (connection == null) return;
connection.Dispose();
connection = null;
}
}
}
| {
"redpajama_set_name": "RedPajamaGithub"
} |
A Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) című dal az amerikai Chic nevű R&B - diszkó csapat debütáló dala, mely az amerikai slágerlistán a 6. helyig jutott. A csapatnak abban az időben Luther Vandross, mint háttér énekes dolgozott. Az album a Chic című debütáló albumon kapott helyet.
A címben szereplő "yowsah, yowsah, yowsah", ami a dal közepén hallható, eredetileg az amerikai jazz-hegedűs és rádiós személyiség, Ben Bernie-től ered, aki az 1920-as években tette népszerűvé a kifejezést.
Megjelenések
12" US Atlantic – DK 4600, ATCO Records – DK 4600
A Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) 8:21
B Sao Paulo 4:45
Slágerlista
Heti összesítések
Külső hivatkozások
Hallgasd meg a dalt a YouTubeon
Források
1977 kislemezei
Chic-kislemezek | {
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ACCEPTED
#### According to
The Catalogue of Life, 3rd January 2011
#### Published in
New Zealand J. Bot. 25:166. 1987
#### Original name
Atropis pumila Kirk
### Remarks
null | {
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Q: PayPal IPN $_POST['txn_id'] not set I'm using the PayPal sandbox to do a subscribe button and then when I get the IPN response for a subscription or a subscription cancelation $_POST['txn_id'] is never set.
So I don't know how to identify transactions to only accept unique ones
Thanks!
EDIT: for example all the info that I have in POST for a subscr_cancel are : amount1, amount3 , address_status, subscr_date, payer_id, address_street, mc_amount1, mc_amount3, charset, address_zip, first_name, reattempt, address_country_code, address_name, otify_version
subscr_id
custom
payer_status
business
address_country
address_city
verify_sign
payer_email
btn_id
last_name
address_state
receiver_email
recurring
txn_type
item_name
mc_currency
residence_country
test_ipn
period1
period3
correlation_id
A: According to Table 2. Summary of subscription variables:
For subscription variables, the transaction ID (txn_id) is only available for USD Payment and
Multi-Currency Payment transaction types (txn_type).
As expected, PayPal will not send the txn_id to your IPN for the transaction type, subscr_cancel, and will only send txn_id if the transaction type is subscr_payment.
For further explanation on which variables are sent to your IPN URL based on your transaction, please check out IPN and PDT Variables.
A: Have you checked $_REQUEST['txn_id'] as this may be sent to your server via GET.
| {
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Biografia
Nacque a Faenza il 20 settembre 1830 da una famiglia di umili condizioni.
Compì i primi studi presso il Ginnasio, poi presso la Scuola di Disegno sotto la guida dell'incisore G. Marri, dell'architetto Pietro Tomba e del pittore Achille Farina scoprendo la propria inclinazione verso la pittura. Nel 1852 si trasferì a Firenze grazie all'aiuto di benefattori faentini e completò gli studi presso l'Accademia di Belle Arti con l'insegnamento di Antonio Ciseri ed Enrico Pollastrini. Durante questo periodo strinse amicizia con Odoardo Borrani e Luigi Bechi avendo così modo di frequentare il gruppo di macchiaioli che riconobbero le sue capacità. Lo stesso Stefano Ussi nel 1854 lo volle come collaboratore nella stesura dell'abbozzo a chiaroscuro La cacciata del duca d'Atene.
A causa nel 1857 della morte del padre, dovette rientrare a Faenza per difficoltà finanziarie, svolgendo svariati lavori. Nel 1864 vinse il concorso della Cattedra di Disegno ornamentale e figurato presso la Scuola di Disegno succedendo a Farina. Con la trasformazione della Scuola di Disegno in Scuola d'Arte e Mestieri, Antonio Berti ne divenne il direttore fino al 1906. Durante questo periodo diede un preciso indirizzo per una formazione rigorosa ai giovani nei quali intuiva il talento, sollecitando il loro interesse ma lasciando allo stesso tempo spazio all'espressione individuale. Alcuni tra i suoi più celebri studenti furono Francesco Rava, Antonio Argnani, Domenico Baccarini, Orazio Toschi; gli scultori Ercole Drei e Domenico Rambelli; i ceramisti Pietro Melandri, Anselmo Bucci, Riccardo Gatti.
Lasciata la scuola per l'anzianità, Antonio Berti che aveva da sempre condotto una vita solitaria, si ritirò presso la famiglia A. Mazzotti che lo assistette fino alla morte avvenuta nel 1912 curando inoltre la destinazione delle sue opere alle appropriate raccolte pubbliche.
Giudizio critico
Il temperamento artistico e la sensibilità del Berti emergono nelle sue rappresentazioni delle nature morte, dei fiori, delle vedute dei busti, ma in modo particolare nei ritratti ad olio. Le sue conoscenze tecniche gli permisero di praticare anche il genere dell'affresco, realizzato all'interno dei soffitti di alcuni palazzi faentini e nell'atrio del Teatro Comunale. Eseguì anche restauri di affreschi nella Cappella della Madonna del popolo in Cattedrale e dell'affresco di Gerolamo da Treviso nella chiesa della Commenda. Dal 1867 Antonio Berti si dedicò alla ceramica lavorando presso la fabbrica Ferniani e realizzando opere con le diverse tecniche: dipinti a sanguigna, ad impasto policromo, a mezza macchia monocroma.
La rivalutazione critica del Berti risale a pochi anni fa. Inizialmente i suoi quadri, i suoi disegni furono considerati degli "schizzi" "di qualcosa che avrebbe potuto più ampiamente affermarsi grazie alle risorse di un temperamento pittorico felicemente quotato" (Catal.della mostra…,1926). Solo nel 1955, in occasione della mostra degli artisti romagnoli dell'Ottocento, la critica lo rivalutò riconoscendo nelle sue opere la personalità artistica che servì da formazione a numerosi artisti faentini dei primi decenni del novecento.
Opere
Faenza, Pinacoteca Comunale:, olio su tela.
Faenza, Pinacoteca Comunale:, olio su tela
Faenza, Pinacoteca Comunale:, olio su tela.
Faenza, Pinacoteca Comunale:, olio su tela.
Faenza, Pinacoteca Comunale:, olio su tela.
Faenza, Pinacoteca Comunale:, olio su tela.
Faenza, Museo del Risorgimento:, olio su tela.
Faenza, Museo del Risorgimento:, olio su tela.
Note
Bibliografia
Elio Jacchia, Antonio Berti illustre maestro e geniale artista faentino, in La piè, gennaio 1963, pp.14-15.
Marcella Vitali, Bice Montuschi Simboli, Berti Antonio, pittore (20.9.1830 Faenza, † 14.07.1912 Faenza) in Manfrediana. Bollettino della biblioteca comunale di Faenza, XIXX, 1995, n. 1, Faenza, pp. 36-8.
Luigi Zauli Naldi, Antonio Berti e la sua opera ceramica, in Faenza. Bollettino del Museo Internazionale delle Ceramiche in Faenza, XLVII, 1960, n. 3, pp. 65-69.
Voci correlate
Pinacoteca Comunale di Faenza
Altri progetti
Collegamenti esterni | {
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While Jesus would not be crowned an earthly king, Jesus' entrance into Jerusalem has many parallels to the Messianic expectations of the Hebrew people. Before entering, Jesus requisitions a donkey from its owner. In the ancient world, kings had this right. Yet the animal that Jesus requests is rare -- a colt upon which no one else has sat yet. Yet, it's a donkey. This is no great war-charger, no magnificent animal. Jesus acts with all the authority of an earthly king, yet his kingdom is one of simplicity and peace. As the disciples throw cloaks over the donkey, the crowd spreads theirs on the road. This ancient gesture dates back to the line of kings descended from David. Not only are these physical kingly gestures, but the crowd of followers cries out in jubilation and praise. The Messiah has come to Jerusalem!
on the parish website, and at the parish office. | {
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1987 Toyota HJ75 LandCruiser Ute. Fitted with Garret aftermarket turbo Long ranger long range fuel tank (180L capacity)Safari snorkel. High output 80AMP alternator RCV axles and CV's. Dual battery's, second battery an AGM 92A. HSecondary fuel filter Dominator 12000lb winch Front and rear diff breathers BF Goodrich KM2 x5, about 50%Old man emu suspension Saas boost and egt gauges3" exhaust from turbo. | {
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Added on September 15, 2015 by Spencer Wright.
Yesterday I went up to visit Rich, Dave, and Cesar at Addaero, and came home with a few new EBM prints. These are an iteration on the parts they printed me a few months back, and should be easier to post-process (and are lighter to boot :). | {
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Farmer Health/Safety
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Compost Equipment
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Poultry Producer
Home Equipment Marel celebrates 75 years of business in Gainesville
Marel celebrates 75 years of business in Gainesville
A long history of machine manufacturing
On September 26, 2019, Marel celebrated 75 years of operations at its location in Gainesville, Georgia. To mark the occasion, the company celebrated with a luncheon where Georgia Agricultural Commissioner Gary Black and Georgia State Senator Butch Miller along with Executive Management from Marel spoke to the audience.
Over 370 people attended the celebration, which opened with remarks by Folkert Bölger and Roger Claessens, both Executive Vice Presidents (EVP) of Marel, who took the opportunity to thank past and present employees for their dedication and hard work carried out in partnership with our customers to transform food processing. Claessens touched on the many innovations that have changed the landscape of the poultry industry. Following that, Commissioner Black addressed the crowd thanking Marel employees for their dedication and charging us to remember the importance we play in Georgia agricultural and helping the family farm on a daily bases. Senator Miller continued the celebration by thanking Marel for the affects we have had on the Gainesville community and poultry industry on a global level.
From Gainesville Machine Company to Marel
In 1944, Gainesville Machine Company was established as a metal working job shop, specializing in welding fabrication and machining. A major milestone for the company was in 1960 with the development of the first non-reverse defeathering machine. This development allowed processors to increase line speeds from 200 birds per hour to 12,000. By 1973, the company needed more space, so Marel moved operations to the current location at Airport Parkway. In 1975, Stork Acquisitions Corporation acquired the company and in 2008, Marel Food Systems acquired Stork Food Systems.
Key facility
Today, Gainesville is Marel's key manufacturing facility operating in North America and part of Marel's global supply chain, which spans 13 manufacturing sites in total. There are 380 full-time employees based out of Gainesville who work in a diverse range of functions including specialized and technical manufacturing jobs, marketing and sales, service, engineering, finance and more. Not only do we manufacture advanced food processing solutions, we also store and ship all spare parts orders from this location to our customers in North and South America. The poultry industry remains the largest focus of our business in Gainesville; however, we also manufacture and service equipment for the meat industry.
High-tech innovations
In the US, Marel is active in poultry, meat, fish and further processing. There are over 800 employees throughout North America and we have operations in four locations: Kansas City, Kansas; Des Moines, Iowa; Gainesville, Georgia and Seattle, Washington. We not only sell new equipment to processors, we also help service equipment and keep it running at the highest standards possible and we also develop new equipment. In the early days, primary processing equipment was designed and developed. More recently, we have expanded our offering to include secondary and further processing solutions. With Georgia being the largest producer of poultry meat in the US, the Gainesville location works with many top poultry processors to continually develop new high-tech innovations that help processors increase yields and efficiency as well as product quality and food safety.
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Interpretive products for your Museum, Nature Centre, Park or Arboretum.
Find help with your next great interpretive project in our online catalogue. Click the button below to browse. Contact us for more information, to get an estimate, or to place your order.
Download our new catalogue of aluminum and cedar frames, and sign panels here.
Page Graphics is your supplier of non-personal interpretive media from print products (like field guides and trailguides) to interactive exhibits and outdoor signage. Browse our online store or contact us for a custom quote on your next job.
We are a full service company offering interpretive planning and research through design and fabrication to final installation. Our process is visitor focused - designed with the end user in mind. | {
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Once upon a time Vahine Moea, a young girl of an incomparable beauty lived in the valley of Araau in Raiatea. She met a fisherman called Ariifaite – from Taha'a. They got married and had a girl whom they called Tiaitau.
One day Ariifaite heard some good news, a missionary had arrived on the island and he was teaching the alphabet and how to write. Ariifaite hastened to inform his wife who was happy to learn that. They decided to go and live in Opoa, the district where the missionary lived, so that their daughter, who had become a beautiful young girl, could learn the alphabet and writing. Tiaitau followed her lessons and when she became a young woman, she met King Tamatoa and became his lover.
Some time later, the King Tamatoa left Raiatea to join King Pomare of Tahiti for the battle of Fei Pi. The King, accompanied by his warriors, left his island and lover. He asked Tiaitau to wait for him at home. However, the young woman told her lover that she felt like she was saying goodbye for the last time and she would never see him again.
King Tamatoa tried to reassure her by saying that he was surrounded by his best warriors. Then Tiaitau took a coconut and told him she would go on the Mount Temehani and watch out for his return, and possibly see him leave to Tahiti.
On these words, they parted.
Then she continued to Vaiumete where she took a bath and quenched her thirst.
Then, she looked at the hole of Apoo hihi ura and let herself fall inside to die as her sorrow was so huge and she could not bear to learn the death of her King whom she adored so much. | {
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We came across an interesting observation while designing surge volume calculations in flotools that I thought was worth sharing and inviting comments from the flow assurance community. For those that are not 100% sure what surge volume is exactly, let me first explain.
Calculating surge volumes is a routine part of a flow assurance engineer's work. Operational scenarios like slugging, pigging, production ramp-up in multiphase production systems can all result in large volumes of liquids being swept out of the pipeline and into the first vessel on the receiving facility. Often, these liquid surges come in at rates that far exceed the receiving facility's capacity to process liquids. Therefore the vessel, typically a slug catcher, acts as a buffer where the surge of liquid can be collected and processed over time. One of the objectives of performing flow assurance studies is to quantify the maximum surge of liquid that can be seen across various operations in order to size the slug catcher appropriately. The maximum volume that a slug catcher will have to hold for a given operation is called the surge volume.
OLGA provides a way to calculate surge volumes whenever at least one of ACCLIQ, ACCOIQ, and ACCWAQ is included in the list of trended outputs. The calculation assumes that the slug catcher is present just downstream of the location where these variables are trended and that the vessel can be drained at a fixed maximum drain rate during the operation.
Why were the accumulation variables (ACC*) used instead of the instantaneous rate variables (QL*)?
Why is there a operation in equation (2)?
OLGA's calculation of surge volume uses the accumulated variables as the basis of the surge volume calculation instead of the instantaneous liquid volume rate variables (QLT, QLTHL, QLTWT). To understand why, let's look at the instantaneous rate form of the surge volume equation.
You can see that the average QLT (from ACCLIQ) does not show the flowrate spikes that the QLT variable shows. These spikes, while they probably do occur in a flowing system, typically occur in very short time windows smaller than the output interval of the simulation. The larger the output interval, the worse the assumption.
The following chart shows an example of the error in accumulation by comparing the calculated accumulation using the rate variable and subtracting the OLGA calculated ACC variable from it. While the maximum error in this example (~25 barrels) is not significant, the magnitude of the error entirely depends on the nature of the simulation and may be significant in some cases.
In our view, OLGA has taken the correct approach and used the accumulated variables as the basis for the surge volume calculation.
Equation (2) features a operation. This ensures that the calculated volume in the slug catcher never goes below zero. But what happens when the quantity becomes negative?
It is perfectly normal and valid for a numerical simulator to predict negative rates at an outlet boundary. When OLGA predicts negative rates at the outlet of the pipeline, the ACC variable may reduce in value from one time step to the next. When this happens, equation (2) will result in a reduction in the calculated slug catcher volume at a rate faster than the assumed drain rate. Effectively, the calculation does not prevent the possibility that liquid can leave via liquid drain as well as the inlet of the slug catcher. When you look at a schematic of a typical slug catcher, like the one shown below, it becomes apparent that this may not be such a sound assumption. The slug catchers are designed for gravity separation of phases and hence the inlet nozzles are at or near the top of the vessel. Once the liquids go in, they quickly settle to the bottom. Any negative flow is likely to be mostly gas with very little liquid carried as droplets in the gas phase.
In equation (7), we added another max function that bounds the quantity , which is the average flow rate into the slug catcher for a given time interval, to zero.
If the calculation is being done at the outlet of a pipeline that is connected to a pressure node, set the parameter GASFRACTION to 1.0 in your NODE specification. This will ensure that whenever there is negative flow at the outlet boundary, the negative flow is all gas. That said, we still think equation (7) is a better way to perform the surge volume calculation because it works well regardless of the boundary specification.
The plot above shows a comparison of surge volumes calculated according to equations (2) and (7), labeled "OLGA Method" and "Proposed Method" respectively. We can see that filtering out the negative values results in larger surge volumes at lower drain rates. At large enough drain rates, the differences eventually disappear. Given surge volume calculations are performed in order to size the slug catcher, we believe that equation (2) is not conservative and therefore should not be used. Instead, our modified version represented in equation (7), which gives a more conservative estimate of surge volume, should be used.
As always, your comments and feedback would be much appreciated. | {
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After one wound up lodged in the airway of a five-year-old boy.
Angela Henderson shared the post on the Finlee and Me Facebook page, reminding parents to "cut the damn grapes" after one wound up lodged in the airway of a five-year-old boy.
"Attention Parents," the post begins.
The grape became lodged in the boy's airway last week and his mother gave Angela permission to share their story.
"This sweet soul had to be operated on, under general anaesthetic to remove the grape" the post continues.
"He is VERY lucky that part of his airway was open or else this could have ended badly.
Since posting, the X-ray has been shared over 25,000 times with many people warning their friends.
"As a former paramedic - grapes and hot dogs are the worst for lodging in throats, but anything soft and circular can be deadly. I always encourage anyone I see feeding young kids soft, circular items, to cut the food in half." | {
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Business events are very much beneficial for the growth of every business. It is the fresh and updated way to provide the business with a positive jump in the market where almost every client is present for the promotion of their brands respectively. It was a time when companies use to promote their businesses through TV ads and newspaper headlines were the strongest platform to provide every business a positive jump in the market respectively. Now, the trend has changed and it has adopted all those essential requirements of the modern world which are really very important for the growth of the business respectively.
It is very much impressive to provide a positive boost to the entrepreneurs to boost their business related tasks in the market through these types of events. You will definitely get the whole business community in these events. This could be the best chance to make new contacts which are very much important for the growth of every business. This is why business events have gathered much appreciation from the business community and it has successfully provided its better services to provide the best chances to different business holders to meet under the same roof. Here we will discuss some important points which are compulsory for the positive growth of the business respectively.
If you are going to organize the event, you need to send an invitation to all of your contacts. Make sure to mention the exact time, date and place in the invitation. Do you have to mention that what type of event you are going to organize? If you are supporting some specific industry, mention in the invitation so interested people may take part in the event respectively. Take much care of the event which you are going to organize for the promotion of the business in the market.
Your updated image will worth in the respective event and you have to maintain it nicely in front of the attendees of the event. You have to plan nicely and get prepare for the respective event. It is also very much important to update your knowledge according to the modern tactics and get ready for the question which you will be asked by the attendees. Try to deal with the clients and attendees humbly and also provide useful information according to their query.
The main thing which you actually have to follow is to use the useful gadgets in the respective event. Furthermore, you should prefer to use an iPad in the business event which will create an impressive look all over the event. If you need some extra iPad for the business event, you can frequently utilize the iPad hire facility which will provide you a lot more benefits. It will also save much of your amount to get spend on the purchasing of a new iPad respectively. Multiple companies prefer this option to make their events successful and meaningful by all means.
Feedback section is the most important part of every company in the business events. Through feedback, a company can get a better idea about the weak sections of their strategies. It will also help them out to get the updated information which is really useful for the company by all means. You can easily maintain the feedback section in the iPad to get know about the customer's review on the following presentation which you have given in the business event. You can get yourself prepare better through quality feedback. | {
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Listed below are County meetings open to the public, unless noted as a closed meeting. Click on a meeting in the calendar below to view more information about that meeting.
This calendar and meeting agendas are updated frequently. The County recommends checking back for cancellations and other changes. Also, in some circumstances, meeting times are estimated start times, with meetings beginning after a previous meeting ends. If you have any questions or would like more information about a meeting, please contact County Administration at 507 328-6500. | {
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Complexities You Can Count On
Sunday, January 9, 2011 at 8:45PM
Richard Terrell (KirbyKid) in Depth & Complexity, Emergence, Trial & Error
Recently, I've talked about complexities quite a lot. I've explained how they make games unique, but they also stress knowledge skills. Too many complexities can throw off the balance of the skill spectrum while slowing down the rate the player can progress. Complexities create nuance, and they're orthogonal to gameplay depth. Our minds can only process so many "bits" of game data/complexities at a time. And when we're trying to store information into our LTM (long term memory) we have to compress or code it. While coding information our overall mental capabilities drop. Because we have such limited STM (short term memory), analyze, and code/decode abilities, games more complex than Pong become increasingly difficult to manage.
Complexities (game rules) are in every line of gameplay code, but what does this mean exactly? Mario's JUMP mechanic seems simple enough, but it's full of complexities. Aside from the horizontal/vertical speed, acceleration complexities, and maximum speed limitations, there are squashing enemy, bouncing off of bricks, breaking bricks, JUMPing off of jump stands, JUMPing against solid objects, and DUCK+JUMPing complexities (additional rules/parameters). So does this mean that Mario's JUMP is enough to overload a new player? Does this mean the mechanic is too complex? Of course not.
Not all complexities are weighted equally. The arc, speed, and feel of Mario's JUMP is more important to learn than complexities like how Mario JUMPs of of jump pads. Furthermore, the more intuitive complexities are, the more we can relate to the game system with learned experiences as opposed to learning new arbitrary interactions.
The better we understand how we learn the smarter we can play and design video games. But what does it mean to be smart? What does it mean to learn quickly? Effectively? I started to investigate these ideas in my "From Unintuitive to Eureka" series. In part 5, I logged a detailed play through of the puzzle game 3D Logic. The idea was great, but the game was too complex. So we're trying again with a game that's much simpler.
Behold, doodle god! (don't play it quite yet). This indie flash game has extremely simple gameplay. Select two squares to create new elements. Elements are automatically organized into 1 of 14 groups. The more elements you create, the more you have to work with. A pair may create more than one product. Essentially, there's a fixed amount of possible elements (115) that you can create.
This game starts with a handful of groups and elements and thus very few possible combinations. But the shear number of possible combinations grows as you progress. To manage, we suss out the game logic to help narrow our trial and error attempts. Some combinations are scientific, some are thematically logical, others are creative puns, and some will make you question the game logic. Here's where things get interesting.
According to a scientist from the radio lab podcast on limits we, humans, don't have the capacity to understand very large numbers. Likewise, we have trouble understanding the microscopic processes of cellular activity even with the aid of super "Eureka" computers because there are so many dynamic, lightening fast, biochemical interactions on the cellular level. So the shear number of factors/elements in a system can be the difference between understanding and nothing.
With a game like doodle god players can smoothly move from an experience with manageable complexities to an overwhelming, unintuitive amount. You start off with 4 elements and 10 possible pairs. 5 gives you 15. 10 gives you 55 and so on. If you were trying to find the 115th combination blindly, you'd have 6,555 pairs to consider. Certainly somewhere around 100 possible combinations, it becomes very difficult to keep track of your progress in your head. Even at your best, you'll have to divide your brain power between finding new pairs and storing your old attempts.
What I just described is a simplified example. In actuality, figuring out all the possible combinations in doodle god is more like uncovering a branching tree rather than a spread sheet. If you're human, you will get stuck at some point playing this game. Trial and error is a big part of the experience, which naturally means your self motivated, branching, experimentation will lead you astray. In fact, I bet you'll start repeating known combinations at around 15, 25, 50, and 80 found elements (assuming you get that far). You will also either get distracted by new branching possibilities or forget which possible branches to try.
The beauty of this experiment is that you can feel the effects that increasing complexities have on the gameplay and your mind. Since each new element adds one more bit of complexity and many additional possible combinations to the gameplay, you can get a feel for the individual impact each complexity has. And when things get out of your control, you can practically count the limitations of your mind.
If you decide to play doodle god and you want to get the most out of this opportunity you'll need a friend to assist you. As you play a new game of doodle god for 30 minutes (preferably for the first time) have your friend discretely draw a tree of your progress. You might need to play a bit slowly so your friend has time to write everything down. Every mismatch, hint, and visit to the reactions history page should be tallied. When you pause in confusion, that should be recorded as well. After 30 minutes are up you can use the reactions history page for more data.
Or you can just watch your friend play and discuss afterwards. If you don't have any help, just play the game now for 30 minutes before continuing on. The picture below is a spoiler.
Click to enlarge. *SPOILERS*
The above image is a tree of my sister's progress after 30 minutes. Here's some data on my sister's experience with the game.
In about 30 minutes she managed to reach 23 elements. At around 15 minutes she had 20 elements.
Her thorough method of systematic trial and error quickly became unfeasible (she realized).
At around 15 total elements, she switched to more conceptually guided trial and error method.
At around 21 total elements, she began conceptually reverse engineering possible target elements to find new elements.
At around 10 elements, she tried out the history and hint features. Afterwards the frequency of their use increased.
When the logic of pairs was unclear or when there was little logic behind the matches, her systematic trial and error method was abandoned.
The red numbers in the image above refer to the number of times the pair was submitted.
She actually said this at one point after making a combination suggested long before by a 3rd party: "You see that I got 21 [elements]? You think I can store that in my head?"
For any situation involving learning in your future, consider these questions. How smart do you have to be before you realize you can't keep many complexities straight in your head? How intelligent do you have to be before you begin to greatly augment your mental capabilities by taking notes and breaks while learning. What will you do the next time on the verge of a situation increasing in complexity beyond your abilities? | {
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Now if only he could pick his keys up off the car floor!. that Farmers Insurance will cover almost anything, including the "close claws" incident of July 17, 2016.
RIVERSIDE COUNTY, CA — A 17-year-old girl was fatally injured. he lost control of the compact car, which veered into a tree. The impact crumpled the front end of the car, trapping the girl, accordi.
Figures from the Confused.com/Towers Watson car insurance price index shows premiums for 17 to 20-year-olds have risen 68 per cent on average over the last five years, to £2,590. Direct Line said it h.
Safety Awareness Meeting – Nov 2015. Safety Awareness Meeting – Nov 2015. Playing; Chapters; Videos; Playlists. Safety Awareness Meeting – Nov 2015.
condo or renters insurance; • Save up to 17 percent by increasing your credit score by one tier; and • Save up to 12 percent by purchasing an older car, even if it's just five years old. "There are a.
Authorities have identified a girl shot and killed in her car Monday morning as 17-year-old Kayla Yolanda Huerta, of Wilmington. Her family told reporters at a vigil Monday night that Kayla had a 3-ye.
Two teenagers died in a car accident Saturday on a service road at the Renaissance Festival in Shakopee. The girls were driving on the gravel. The sheriff's office identified the teens as both 17-y.
PROVIDENCE, R.I. — A 17-year-old girl who was riding on the hood of a friend's car suffered serious injury when the driver stepped on the brakes, causing the 17-year-old to fall off the car and hit he.
Car Insurance information: Accidents and claims, insurance laws, policies, no claims bonus information, FAQs and quote tips. Sat 09:00 – 17:00. This list of links should help you find the information you're looking for on Girl Motor's website.
Two teenage girls, both 18, lay dead in a car for nearly seven hours after smashing into a tree on unlit stretch of A30 – as police officer first on scene of tragedy.
LOWER BURRELL, Pa. (AP) — A coroner and police are trying to figure out how a 17-year-old Pennsylvania girl died in a car early on the day she was supposed to graduate from high school. The Westmorela.
The electric car conversion is the world's best kept secret! You can buy them already done, or you can do it yourself.
Eleven people were sent to the hospital after a 17-year-old girl allegedly let go of the steering wheel to kill a spider one mile east of Great Bend in Barton County. Update on the injured At 1:36 p.m.
From the Antique Car Parade on Main Street to the Children's Parade at Children's Beach to the amazing food in the sun out in Sconset. Join us in reliving all the.
The five people were found guilty at Cardiff Crown Court. Credit: PA They were found guilty at Cardiff Crown Court in what has been considered the biggest car insurance fraud investigation in the UK.
Jan 28, 2014. A friend is intending to buy a small car for his 17 year old granddaughter to learn to drive in, safety is the overriding priority with insurance and.
http://player.ooyala.com/iframe.js#ec=JhczkzeDr1mhJHQL2bIu8EC6Yc1BSYcC&pbid=3c1df42a0ea4920b9489cfaaf8aec88A 17-year-old girl's daring escape was captured. up alongside her and lured her into the c. | {
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Your guide to working with me.
Please read these terms and conditions carefully as you must agree to them before commissioning any project. In the unlikely event of a dispute, they will provide clarification for all parties.
• The timeframe within which the work needs to be completed.
I can work with you to put a brief together so we are both clear on how the project should proceed.
Unless otherwise agreed, the project will be costed and quoted upfront before any work commences.
• Up to three drafts of your project.
When you receive your quotation and decide that you want to go ahead, you will need to confirm this in writing. An email is fine.
• You are happy for me to begin working on the project specified.
I will make every effort to complete your project within the agreed timeframe.
However, on very rare occasions, I may be unable to do so for reasons beyond my control.
Under such circumstances I shall not be liable for any loss or damages caused to you or your client.
The first meeting to discuss a new project is free.
For businesses in Leicestershire this will comprise a face-to-face meeting at your place of work.
For businesses outside Leicestershire, the meeting can be conducted by phone, Skype or FaceTime.
Subsequent meetings will be charged at a flat rate of £60.
I cannot accept liability for ensuring that the necessary rights and permissions to use my work have been granted. This is whether in relation to use of names, people, trademarks, registered or copyright words or phrases.
You must confirm that you own the copyright for any written materials you supply, to be included in, or adapted for use in, your project.
You must accept full responsibility for the authenticity of any research materials and citations you supply.
If your project is, or is likely to be, more than 1,600 words in length, I will require 50% of the total fee quoted to be paid before work commences.
The remainder of your payment will then be due 30 days after you receive your final invoice.
Your invoice will be sent out when you confirm receipt of the third and final draft of your project.
All invoices will be sent via email unless otherwise agreed.
Payment terms are 30 days from the date of the invoice, unless otherwise agreed.
Payments can be made by electronic transfer or cheque.
If your payment is late you may incur a late payment charge, which will be 10% of your outstanding invoice amount.
I take great pride in my work and aim to consistently deliver an exceptional and professional service. However, I accept that there can be misunderstandings in any creative project.
If you are unhappy with the work or service you have received, please tell me, at your earliest convenience, what the issues are and give me the chance to resolve them.
If you decide to cancel your project after you have commissioned it in writing, I reserve the right to charge for the hours I have worked on the project, up to the point of being informed of the cancellation.
If you decide to cancel your project after delivery of the first draft, you will be liable for the total fee, as specified in your written quotation.
If you are sent a draft of the project and fail to respond to this, or any further communications from me over a prolonged period, you will be liable for the total fee, as specified in your written quotation.
These conditions apply whether or not you intend to make use of the materials I have supplied.
I make every effort to ensure that your project is completed on time and to an exceptional standard. However, in the unlikely event that something may go wrong, I have to include an indemnity clause.
• Any claim over factual or statistical inaccuracies in materials you have supplied to me.
I retain copyright of any materials I have supplied until the final payment is made in full.
Unless you expressly prohibit it, I reserve the right to use excerpts of your project on my website: jennylucascopywriting.co.uk; and in my personal portfolio. | {
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Mss 145, David Mayer Family Papers
Creator: David Mayer Family
Summary/Abstract: David Mayer was born in Bavaria in 1815. He immigrated to the United States in 1839, settling first in Tennessee and then in Washington, Georgia. Eight years later he moved to Atlanta where he remained until his death in 1890. David Mayer was a businessman, confederate veteran, free mason, and one of the founders of the Atlanta public schools. The collection consists of letters from notables such as Joseph E. Brown, elected as Georgia's governor four times, and from Alexander H. Stephens, vice president of the Confederacy. Also contained are personal letters written by David Mayer and his children.
Preferred Citation: Box #, Folder #, Mss 145, David Mayer Family Papers, The Cuba Family Archives for Southern Jewish History, The William Breman Jewish Heritage Museum, 1440 Spring Street NW, Atlanta, Georgia 30309.
Arrangement: The papers are arranged in alphabetical order by subject and chronologically within each folder.
Biographical/Historical Note: David Mayer was born in Bechteim, Germany, December 6, 1815. In 1839, in a flush of vigor and young manhood, he left the Fatherland, and came to America, locating first in Tennessee, where he remained for four years. In 1843 he moved to Washington, Ga., where he practiced his profession – dentistry. In 1850 he removed to Atlanta, Ga. and embarked in mercantile pursuits. He fought for the Confederacy during the Civil War and devoted his time to education and benevolence after the war. He was an early advocate to establish public schools in Atlanta, and was a member of the board of education as vice-president and treasurer. He was also a master Mason and exalted as a Royal Arch Mason. He served as the High Priest and master of his lodge. Mr. Mayer was also active in the Jewish community. He was vice-president of the Hebrew Congregation and treasurer of the Atlanta Benevolent Home.
Scope and Content: Researchers studying the David Mayer Family Papers will gain insight into early Jewish life in Atlanta, Georgia. The papers are arranged in alphabetical order by subject and chronologically within each folder.
1 1 William A. Bass Junior High School – David Mayer Library 1926
2 Correspondence – Brown, Joseph E. to Mayer, David 1865-1886
3 Correspondence – Mayer, David to family 1839-1888
4 Correspondence – Mayer, Morris to parents 1864-1867
5 Correspondence – Moses, Isaac I. to Mayer, David 1867
6 Correspondence – Stephens, Alexander H. to Solomon and David Mayer 1866, Undated
7 Invitation 1880
8 Johnstown, Pennsylvania – flood 1889
9 Mayer, Eliza A. – Memoriam from the Grandmother's Club 1902
10 Obituary and memoriams 1890
11 Obituaries and memoriams – various individuals including Leonard, Lewis and Joan Arnheim 1902, Undated
12 Salm, Gunzberg, Levetah families – memorabilia 1877-1946
14 Scrapbook – loose pages and miscellaneous clippings 1863, Undated
15 Stephens, Alexander H. – newspaper articles 1931, Undated
Mss 015, Oscar Strauss Jr. Family Papers Dates: 1872-1978 Creator: Oscar Strauss Jr. Family Summary/Abstract: Oscar Strauss married Rubye Rich, the sister of the...
Mss 018, Abe Goldstein Family Papers Date Span: 1920-1987 Creator: Abe Goldstein Family Summary/Abstract: Abe Goldstein (1898-1982) was a businessman, civic lead...
Mss 020, Abraham Bernard Reisman Family Papers Date Span: 1926-1982 Creator: Abraham Bernard Reisman Family Summary/Abstract: A.B. Reisman was a veteran of World War I...
Mss 027, Julius L. Tenenbaum Papers Date Span: 1909-1989 Creator: Julius L. Tenenbaum Summary/Abstract: Julius L. Tenenbaum was a World War I veteran who establis...
Mss 028, Jospeh Jacobs Family Papers Date Span: 1879-1985 Creator: Joseph Jacobs Family Summary/Abstract: Joseph Jacob was raised in Jefferson, Georgia. Af... | {
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Anyone that has ever become a numerous parent remembers the shock and awe that they felt when they first found out. From the moment that you find out a baby is on the way, nothing in your life is the same. In a strange way, life begins all whereas again. The miracle of a baby is individual that, over copious people, is broad. Sure, any one over the flourish of ten understands the mechanics of the the works process, but when you actually hold a baby in your arms and look down at their clear face, tangible is amazing to think that we have been faultless once that paltry. | {
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Somewhere Else
LABOUR MOBILITY
1/2 Full
Lightroom Conversation
Women leaders set example for rest of Nepal
Imagine if this women-led municipality in the Tarai was upscaled nationwide
Laxmi Basnet in Nawalparasi December 1, 2020
Hupsekot Rural Municipality recently inaugurated a 10-bed coronavirus-dedicated hospital. Municipality chair Laxmi Pandey is at centre. All photos: LAXMI BASNET
After the first elections under federalism in 2017, Hupsekot became one of only two municipalities in Nepal in which women were voted both chair and deputy.
Laxmi Pandey of the Nepali Congress was elected chair, and Kopila Malla of the UML was voted vice-chair. In the three years since, Hupsekot in Nawalparasi district has exemplified how this has made all the difference in the quality of education, agriculture, nature conservation, and now Covid-19 control.
Hupsekot is Nepal in a microcosm in more ways than one. It encompasses the Mahabharat and Chure ranges, as well as the Tarai, and these days when the air is clear the Annapurnas are visible to the north. Hupsekot is also an example of what is possible for the rest of Nepal.
Under the 2015 Constitution a vice-chair or deputy mayor has to be a woman, but Hupsekot and Jumla elected women to both positions. Now, imagine if Hupsekot was replicated in more of Nepal's 736 municipalities and 17 metropolises.
"Because both of us are women, it has been easier for us to work on delivery of social services to our people," says municipality chair Laxmi Pandey. "In many other local governments we see the male chair and female deputy chair having disagreements."
Indeed, while in Kathmandu even men from the same ruling Nepal Communist Party (NCP) are forever quarrelling, here in Hupsekot it does not seem to matter that Pandey and her deputy are from different parties.
Laxmi Pandey says it helps to have a woman as both the Rural Municipality chair and deputy in order to deliver social services to the people.
"Sometimes, problems arise when there are party-based decisions from Kathmandu, but we manage to resolve them amicably," says vice-chair Malla. "We have worked together well in the past three years."
In its very first meeting, this village municipality decided to provide Rs5,000 for institutional delivery in government facilities to promote safe motherhood. Back then the village had only one birthing centre, it has added two more in the recent years.
Now, even those who can afford private hospitals go to government hospitals because services have been upgraded. So far 1,008 people have received the institutional delivery incentive.
Nawalparasi district borders India, and earlier this year it became a hotspot for Covid-19, as Nepalis returning from India brought the virus home. Hupsekot instituted a strict quarantine and contact tracing rule, and last month it opened a dedicated 10-bed hospital for coronavirus patients.
Municipality Chair Laxmi Basnet presents agriculture equipment to local farmers as part of her government's effort to keep young men from having to migrate out.
Pandey and Malla then worked together to encourage local youth as well as returnees to take up farming instead of migrating back to India or overseas for work. A big chunk of the rural municipality's annual budget is spent on grants for communities investing in commercial agriculture. This has had a direct impact on this year's paddy harvest, and increased the prospects for agribusiness.
Hupsekot has also launched a 'School Merger Program' to address falling enrolment, and best use limited resources. Four government schools have been combined into one and discussions are underway to even merge public and private schools.
"As a former teacher myself, I have focused on improving the education program without adding to the hardships of parents and students," says Pandey. "And we are working to improve the quality of instruction, to make it more relevant and impart civic values."
The rural municipality has launched an awareness drive against deep-rooted patriarchal values and domestic violence by sensitising parents to raise their children right, and as equal. Both at home and in schools, children learn early about tolerance and responsibility, and boys and girls alike are encouraged to help out with household chores.
Hupsekot has also gone further than most other municipalities by promoting local languages and dialects. A language curriculum is being developed for 60% of the district's population for whom Magar is the mother tongue. The digital charter of the municipality is available also in the Magar language.
Hupsekot's scenic beauty and places of religious significance make it a popular destination for visitors. And the municipality is now trying to add to its eco-tourism appeal, planting 5,000 rhododendron spalings under the 'One Student One Laligurans' campaign as well as holy pipal plantations around its pilgrimage sites under a municipality subsidised program.
In August, Laxmi Pandey and Tourism Minister Yogesh Bhattarai declared the Rudrapur Gadi region a rhododendron conservation zone to encourage eco-tourism.
"Ultimately, we plan to create a natural and pristine environment and cultivate rudraksha commercially. This along with religious tourism will provide regular income for our municipality," Pandey adds.
The municipality is also working to raise income of female-led households by training women to produce value added goods from maize husk, and is already engaging them in knitting winter wear. The municipality then takes the responsibility of marketting the products.
An inter-generational skill transfer program is also in operation so that the village doesn't have to rely only on outside trainers to learn new skills.
About two years ago when the municipality advertised for two employees, some 60 single women applied for the job. During the interviews, they shared their hardships in finding a reliable source of income. While the municipality office wasn't able to employ them all, this gave Paudel a much-needed push to plan a program specifically targetting single women.
"Women in rural areas, especially single women, do not have a reliable source of income. Society looks down on them. But that won't be the case if the local government steps in to support them," says Pandey.
Since last year, the municipality has started allocating a budget for 'Single Women's School' under which widows come up with their owns plans for regular income generation.
Vice-chair Kopila Malla (in brown sari) with Chair Laxmi Pandey inspect a road upgrading project in Hupsekot.
The fact that both the chair and vice chair are women helps, and they are leading the charge with progressive plans and policies. This is in stark contrast to other municipalities where the women deputies are undermined and harassed by their male colleagues.
Says Pandey: "We have to use the five years we have been given by working for the people. Bitterness and dispute will only hurt our voters. Our sole focus is on fulfilling our responsibilities."
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UConn: Offensive line coach Frank Giufre is being promoted to offensive coordinator, per multiple reports.
Good for Frank! I've known the family for a very long time and Frank has tremendous coaching roots.
Not an enviable position to be in though. The Boneyard base is in turmoil and most hate the internal promotion of someone who has, according to the board experts, "never called a play." I guess someone has to take the UCONN OC job but there have to be about 497,318 better coaching jobs in college football. | {
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3M Health Care
3M's V.A.C. Therapy hits 2,000 medical journal studies mark
V.A.C. Therapy. [Image from 3M]3M (NYSE:MMM) Healthcare's Medical Solutions Division announced the surpassing of 2,000 published studies for its V.A.C. Therapy.
Maplewood, Minnesota-based 3M's V.A.C. delivers negative pressure wound therapy (NPWT). The company said it's the only NPWT tech to hit the milestone of 2,000 published, peer-reviewed medical journal studies.
According to a news release, V.A.C. therapy accounts for more than 75% of published NPWT clinical evidence.
"Clinical evidence has always been a foundational element to establishing credibility for V.A.C. Therapy and our NPWT products in the wound care community," said Dr. Ronald Silverman, M.D., 3M Health Care SVP of clinical affairs and CMO. "Published studies have also helped to promote adoption of NPWT and spur therapy innovations, including 3M Prevena therapy for incision management, 3M Veraflo therapy for instillation therapy for open wounds, 3M AbThera…
3M announces upgrades to wound therapy tech
A VAC Ulta therapy unit [Image from 3M]The 3M (NYSE:MMM) Health Care's medical solutions business announced upgrades to advance the delivery of certain wound care technologies.
A new 3M Veraflo Cleans Choice Complete dressing kit and a software upgrade for the 3M VAC Ulta therapy unit were introduced at no increased cost to the customer.
3M said in a news release that the new offerings help to simplify the care delivery processes for clinicians using Veraflo negative pressure wound therapy with installation and help to make dressing changes easier, faster and less painful for patients when compared to previous Veraflo therapy dressings.
Veraflo therapy is used for patients with open soft issue wounds to help cleanse and stimulate the formation of granulation tissue. The company pointed to a recent publication — titled Effects of Negative-Pressure Wound Therapy with Instillation versus Standard of Care in Multiple Wound Types: Systematic Literature Rev…
3M Health Care to become standalone company
3M (NYSE: MMM) announced today that it plans to spin off its Health Care business by the end of 2023.
The new Health Care business will be a roughly $9-billion-a-year company with a focus on wound care, oral care, healthcare IT and biopharma filtration. 3M officials argue that the transaction will better position Health Care to innovate. 3M will retain a 19.9% stake in Health Care that it will monetizedover time.
"Today's actions advance our ability to create value for customers and shareholders," 3M CEO Mike Roman said ina. news release. "Disciplined portfolio management is a hallmark of our growth strategy. Our management team and board continually evaluate the strategic options that will best drive long-term sustainable growth and value. The decision to spin off our Health Care business will result in two well-capitalized, world-class companies, well positioned to pursue their respective priorities." | {
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"« I draw and feel the happiest person in the world» I was born in Lvov (Ukraine), some time I lived in Poland, now - in Kiev (Ukraine). Education: 1993 – 1998 Studies at Publishing Academy (Lvov, Ukraine). Exhibitions: Groups 1998 - Gallery « Yarowit» , Students Arts Exhibition, Lvov, Ukraine. 1998 - Lvov Arts Palace, Art"
2008 - Group International Exhibitions «Opera Gallery», <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Budapest, Hungary, Jyl.
I was born in Lvov (Ukraine), some time I lived in Poland, now - in Kiev (Ukraine).
1993 – 1998 Studies at Publishing Academy (Lvov, Ukraine).
1998 - Gallery «Yarowit», Students Arts Exhibition, Lvov, Ukraine.
1998 - Lvov Arts Palace, Arts Exhibition, Lvov, Ukraine.
1999 - Gallery «Na Yaskultse», Students Arts Exhibition, Krakow, Poland.
2000 - Gallery «Gaude Mater», 1st International Exhibition of Miniature Arts, Chenstohova, Poland (catalog).
2001 - Gallery humor and satirical «Na drabinie», Wloclawek, Poland (catalog).
2001 - Chenstohova City Arts Gallery, Young Artists Exhibition, Chenstohova, Poland.
2001 - Ignacy Paderewski Museum, Humor Arts Competition «Paint Me Tolerance», under patronage of United Nations High Commissioner For Refugees, Warshawa, Poland.
2001 - XXIV International Exhibition «SATYRYKON», Legnica, Poland (catalog).
2002 - The international art satirical competition «CURUXA», Museum of Humour, Fene, Spain (CD-catalog).
2008 - The international art competition devoted the victims of the armed conflicts «The Red Cross Summer Exhibition», Hague, Netherlands.
2008 - 1st International Aid of SNAIL'S Graphical Humor, Lleida, Spain.
2008 - International action «No jury, no prize», Moscow, Russia (catalog).
2008 - «Opera Gallery», Exhibition by International Artists, Budapest, Hungary (catalog).
2008 - 19th International Satire Exhibition «Trento between reality and madness». Subject: «We want the Moon», Trento, Italy (catalog).
2009 - 8th Tabriz International Cartoon Contest - «No War», Tabriz, Iran.
2009 - Women Cartoonists of the World, Bunker Gallery, Coffs Harbour, Australia.
2000 - Chenstohova City Museum, Chenstohova, Poland.
2008 - Art and culture Center of Humanitarian lyceum T. Shevchenko, Kiev, Ukraine.
2008 - S&L Galerie, Strasbourg, France.
2009 - «Armenian well», Kamianets-Podilskyi Historical Museum-Reserve, Ukraine.
2009 - «Kolo Gallery», Kiev, Ukraine.
Pictures published in magazine «Terytoria» (Lvov, Ukraine). Responses were printed in the Polish (Gazeta Wyborcza) and the French press «The latest news from Alsace» (Dernières Nouvelles D'alsace, Strasbourg). Interviews went out in the «Wysokyi Zamok» («High Castle», Lvov), RIA Novosti, URA-Inform.
Distinction on Satiric Competition «Phones Phenomenon», Gallery «Na drabinie», May 2001, Wloclawek, Poland. Nomination on the XXIV International Exhibition «SATYRYKON», Legnica, Poland.
Works are in Museum of cartoon art and caricature (Warsaw, Poland), Satyrykon (Legnica, Poland), Museum of Humour (Fene, Spain); galleries and private collections of Switzerland, USA, Australia, Finland, Germany, Austria, Turkey, Croatia, Spain, Russia, Poland ,Ukraine.
Romana Yaroshchak - Who there? | {
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If you are interested in modelling, your teenage years are actually the best years at which you can get started on this career path. The modelling industry is famously easy for teenagers to get into. If you have the right look and have a passion for it, you stand a chance to gain fame and fortune in equal measure doing what you love. However, do not be lied to. The modelling industry is about so much more than the glitz and glamour that is associated with it. There is so much more that goes into it that photo shoots and fashion shows. It is also incredibly hard to get into, so if you are not absolutely sure this is the career path you want to take, it is actually easier and more worth your while to stay in school and choose another career that you are more passionate about.
That being said, if you are a photogenic teenager that is absolutely set on being a model, you need to understand that there are a few key traits that everyone who makes it in this industry has. You need to be persistent, hard-working, focused and resilient. If you do not have all these traits, you will likely give up along the way when the going gets too tough, because things will definitely get tough. However, if you have all these traits, then this article is for you. Here is how to become a teenage model using a more traditional path than simply contacting ourselves first.
That's right we are a talent seeking organisation looking for people like you. We work closely with professional modelling agencies to provide the right people they are looking for. We have the power to help kick start your teenage modelling career and all you need to do is simply fill this form in.
But we wrote this article for people looking in search engines for how to become a teenage model, here's an overview of a more traditional entry to your career path (or you could just contact us).
Once you have done all these and built up your confidence and experience, you can finally start contacting agents and agencies and putting yourself out there, waiting for your career to take off.
Doing your research is arguably the most important step in your journey. You need to know what you are getting in to. Are you completely sure you enjoy modelling and everything that goes with it? Read about the required traits in models, and be sure that you have each one. You should also find out all the different types of models and the different fields of specialization. What works for you?
The most common type of models. They walk on runways and showcase the different fashion designs of different fashion houses or designers. They also pose for photos wearing these designs. If fashion shows and runways are your thing, then this is the type of model you should consider being. You need to be thin, tall and not curvy. Height requirements are usually specific to agencies, but generally, you cannot be shorter than 5'8″.
If TV or print ads are more up your alley, then commercial modelling is for you. Commercial models come in a wider variety of shapes and sizes, and their choice usually depends on the requirements of the marketing campaign.
If you are larger than a size 10, then you fall into the plus size model category. Plus size models can also be fashion models or commercial models. They model plus size fashion or accessories. Again, you cannot be shorter than 5'8″.
Do you have a really pretty foot or hand? Do your nails or hair particularly stand out? You might have the qualifications of a part model. Part models usually model specific body parts. You can specialize in your favourite body part and showcase only that part. To be a part model, there are no specific requirements of general body type.
Modelling is very competitive. It is also very superficial. You will be judged almost solely by your looks. To be a teenage model, you need to accept the fact that you may not always be the best-looking person in the room, or the agent may be looking for a particular set of traits that you do not have. Rejection is part of being a model, and you need to make peace with that fact. If you are short, consider a different career path.
You will also not make much money as a model. Models usually rely on one or two really big jobs which pay well. These are few and far in between. If you are passionate about modelling, consider having an additional alternative source of income until your modelling career really takes off. This may take years, so it is best to stay in school and find something you love that can pay the bills after you are done as you pursue your modelling.
As a teenager, you are young. You have your whole life ahead of you, so you may look at the world through rose coloured glasses. However, you need to be realistic. Modelling is a career choice that should only be driven by intense passion. If you have doubts, stay in school and come up with other career options that you can enjoy.
If you are a teenager below the age of 18, you need parental consent before any doors can open for you in the modelling world. Tell them about your plans. Make them understand your passion, and assure them that school still takes the centre stage for you. Take your time trying to convince them, because not all parents will be open to the idea. If you have to, give them some time to process what you have said and talk to them about it again in a month or two.
If your parents allow it, take a few modelling classes. You will learn how to find your inner confidence, how to build your portfolio and the ins and outs of the modelling world.
It is important to note here that not all modelling schools are legitimate. Some are scams, and it is up to you to do your due diligence and protect yourself. Check their credentials and look them up with your local authorities to make sure their certifications are legit.
If you can't afford it, modelling school is not necessary. The Internet is an amazing resource if you know what you are looking for. Take advantage of it.
Before the internet, aspiring models had to rely almost solely on magazines to learn the basics of modelling. Do not ignore fashion magazines. They have so much to teach you. Collect them and study the model poses. What works best on camera? What do you like? What don't you like? What can you change? How would you change it? Get a mirror and practice in front of it. Copy, then personalize. Make them your own. Take a few photos of yourself and ask friends for some honest criticism. Let them correct you. It will help you build the thick skin you need in this industry.
Confidence is everything to a model. And confidence takes practice. Get used to the poses and let them come naturally to you. Your confidence will ooze in front of the camera.
It is important to have at least a little experience before you dive into the deep end. Keep an eye out for opportunities to build on your experience, because they may come in form of anything. A family Christmas card photo? A friend's photography class assignment? A volunteer fashion show? You will likely not get paid much to do any of these, but they'll give you a feel of how it feels to be photographed. If you get the chance to pose in front of a crowd of people such as on a runway, take it. Find out how you like it because that will likely be your life if you become a model.
These opportunities are also great in helping you build your portfolio, which is essential in securing that first meeting with an agent.
As a model, your body is your temple. It is your entire career. You need to take care of it. As a teenager, it is easy to ignore the consequences and eat whatever you like or fail to eat essential foods. However, gaining or losing too much weight can end your career before it begins. Work hard to maintain your ideal shape. Work out, eat well, stay active. Drink a lot of water, get enough sleep and exercise your mind, too. Be healthy and look radiant, because modelling is all about putting your best foot forward.
This is how you get those modelling jobs. Agents and agencies link you up with companies that require modelling services, which then pay you.
You need to have a portfolio before you approach modelling agents or agencies. Your portfolio is a collection of your past modelling projects, headshots and general pictures of yourself. If you have never gotten a modelling gig, just make sure you have photos that showcase your range of looks and your face at different angles. Remember to include one or two photos with no makeup on and your stat sheet, which shows your height, weight, body measurements, eye colour, skin colour and hair colour.
If there are any open calls, apply to them. Ask your parent or an adult to help. Open calls are invitations for consultations put out by modelling agencies. Again, just make sure what you are responding to is legit.
Submit your portfolio to ourselves and we can help make contact on your behalf.
When you meet an agent, confidence and professionalism are key.
Getting into the modelling industry is an amazing way for teenagers to make some income, and it opens up a world of opportunity for them. It also teaches you a lot more than what conventional schooling does. However, remember that it is a very competitive industry, which means that your career may take a while to pick up. If you are young, staying in school while you pursue modelling is the wisest decision. Find a mentor who can walk with you on your journey, and follow their advice. Hopefully, these tips begin to give you an understanding of how to become a teenage model. | {
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You can spruce up any room of your choosing with our made to measure and ready made pencil pleat curtains. Coming in a vast array of colours and fabrics, you can't go wrong with the range of pencil pleat curtains for sale on our site.
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You can see the fabric which is used to make each type of curtain by hovering your cursor over the picture. After all, it is often the small details which make the biggest difference when it comes to furnishings. If you want quality pencil pleat curtains which you can buy online, you can be sure that we'll give you as many details as possible when you browse.
Whether it's crushed velvet champagne or basket weave beige, we can also send you a sample of any pencil pleat curtains for sale which you are interested in so that you can know exactly how they would feel and look in your home. Made to measure curtains are for those curtain enthusiasts who know exactly what they want, and we boast an impressive selection of made to measure pencil pleat curtains for those wishing to add a personal touch to their curtains.
Use the colour, style and other filters on the side before you buy online, so that you narrow down our extensive selection of pencil pleat curtains and choose the perfect type for you. | {
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I am trying to help my neighbors daughter improve her English. I am wondering, at what point do you teachers introduce the use of articles and how do you convey the meaning of them to your students?
Do you mean that at the moment you're NOT using articles? I really think you're doing learners a disservice if you "simplify" sentences into things like "red apple on table". It's much better to use articles naturally so that you are constantly giving examples of correct usage.
It's a pretty complicated area of grammar when you start looking at the details and it wouldn't be appropriate to give a young learner loads of rules and exceptions to learn. A lot of mistakes can be prevented if students apply two basic rules though.
1. All singular countable nouns need an article.
2. Uncountable nouns and plural countable nouns take no article when talking about generalities.
I'd recommend first trying to get the concept of "countable/uncountable" nouns across. It's the basis of so much English grammar.
Thanks for the input nomade. No I haven't been trying to teach her without the articles. We have just begun and in the little English she speaks she has not been using them. Not being a true teacher myself I felt that she should learn using articles but didn't want to completely confuse or overwhelm her. You have given me a great deal of help here. Now I know how to simply explain it to her so that she can learn correctly. I really do appreciate it.
My guess is that OP is asking more - when and how does one enter the complex vista of teaching articles - rather than if one should start using them?
So, my suggestion, as with all things grammar and pronunciation, is to teach them when they come up – as they happen.
Regardless of the original lesson – a quick little mini-lesson needs to occur to highlight the unique aspects of the grammar and pronunciation issues in EACH lesson as they happen. This is preferable, rather than specific full-blown lessons on the rather uninteresting aspects of grammar and pronunciation only.
Grammar, and pronunciation, are much more relevant when taught in the context of a regular lesson – and their relevance is what facilitates motivation to learn them – as well as helping the student understand and assimilate the information.
Just my opinion. All lessons should have little contextual "min-lessons" that highlight the specific grammatical aspects of the content being covered.
Otherwise, the points suggested by nomade - are a good place start. That, and given the correct situation - almost all uncountable nouns - can be countable!
given the correct situation - almost all uncountable nouns - can be countable!
Bob, you have made some excellent points and I agree totally that grammar should be taught in small doses and within context. But I disagree about the last bit you wrote! In what circumstances could words like ...advice, information, software, luggage, furniture, accomodation, permission, laughter etc ... be countable?
Mikey, it sounds like the mistakes your student is making are probably due to first language interference. I don't speak Thai but I'd guess articles aren't used in the same way as in English? A lot of language learning involves students "noticing" things. (The ahhhh!! factor) It's usually better if you can get students to notice grammar structures on their own rather than just telling them. Give loads of examples and see if your student can work out the "rule" for herself ... she'll remember it better if she does.
Nomade, you're right. There are no articles in the Thai language.
Yes,yes, I have so many happinesses, or as the Chinese say: Double happiness.
Point taken, as a newbie in Asia, I bow to your superior local knowledges!
Notice I said "almost all" - not "all".
Try this one: The variety of coffees grown in Africa is incredible.
Or from your list: The different softwares on my computer are not compatible. (I have Korean, Thai, and English Windows - and different components of each).
When an uncountable noun is used to indicate types or kinds - it can often be used as a countable noun. But this, again, is not a hard and fast rule.
Notice also, that I said, "Given the correct situation" - so, if when planning the launch of a new product in a new country and you are seeking the permission (again from your list), for example, of a variety of government entities - I might ask you, "Have you obtained all the permissions that are required?"
Okay, I realize these are all a bit on the fringe - and I would not typically teach these type situations to a less than advanced student - but they do exist and can, at times, be very appropriate.
What you'll learn after you taught a while is that almost (notice that d*amn almost again!) all grammar rules have innumerable exceptions. I've become a bit hesitant in my old age about being to absolute on almost any rules - unless I am quite aware of all the possible exceptions.
I had an office next door to an incredible grammarian for five years - and had many a grammar bubble burst.
And, btw, which of the Englishes (that d*amn "s" again!) of the world do you intend to say are correct or incorrect? Tongue in check here really, as I agree with you on many uncountable nouns - but I just wanted to write "Englishes"!!
The variety of coffees grown in Africa is incredible.
No problem at all with that one Bob. It's perfectly acceptable ... just like the number of wines and cheeses produced in France is incredible.
The different softwares on my computer are not compatible.
Have you obtained all the permissions that are required?"
Again I don't think that sounds right. I'd say "Have you obtained all the authorizations that are required?"
Note that when I disagree, I say "That doesn't sound right" ... obviously somewhere in my head I have assimilated "rules" that tell me this without my having to check it in a grammar book. However your assimilated rules seem to be different, which is quite interesting!
Conventional grammar explanations are rarely entirely satisafactory. To say that a grammar rule is both simple and accurate is usually an oxymoron. The way we try to describe "grammar" is obviously flawed ... I often feel there are some other rules that nobody's noticed yet. How come children learn to speak languages effortlessly and perfectly in a relatively short time with no formal grammar input at all?
Finally, I agree that there are many different "Englishes" and that just because we teach "standard" English doesn't make the other types less worthy. And I noticed while teaching TOEFL that there are many differences even between "standard" American and British grammar. There's also the fact that what is accepted as "correct" grammar changes over time.
'Permissions' is fine for a plural form... My feeling is that your 'feeling' might likely come from your own personal preference for use...Quite natural, and your form is correct, too.
And American English is the dominate English language now, I'd say.
Thank goodness the OP is about WHEN to start teaching articles.... HOW to teach them would be MUCH harder!
I'd say start off USING articles right away. The earlier the better- don't try to explain them at first; that'd just be wasted effort. Use sentences and examples and a lot of modelling (with appropriate confirmation from the students of course) to demonstrate and elicit meaning. Ideally, the kids will construct the meaning for themselves and get into the right habits and patterns. Later, when the formal usage is taught, they'll find they've been doing it all along without knowing the rules- just like we do!
wouldnt that be ," just like what we do"?
^far as I'm aware, my grammar/usage is correct!
Will thunder be followed by rain ?
TruemoveH how do I activate the NON STOP 4G plans? | {
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A power move, explains experienced chess teacher Charles Hertan, is a winning master tactic that requires thinking ahead. To become one of the best chess players in your school you need to be able to think just 1-5 moves ahead, and this book teaches the four basic tricks do so. You will learn how to weed out silly moves and just consider a few important ones. Forget about learning openings and endgames, power moves will help you win in all stages of the game. Charles Hertan introduces the four main characters who will help you to learn these basic skills: Zort (a teenaged computer from the planet Zugszwang), the Dinosaurs, Power Chess Kid and the Chess Professor . The most complete and fun kids book ever on learning how to win games! | {
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Veedevadandi Babu is a 1997 Indian Telugu-language Comedy film written and directed by E. V. V. Satyanarayana and Cinematography by Chota K. Naidu. The film is an official remake of the Tamil film Ullathai Allitha which itself was heavily inspired by the Hindi film Andaz Apna Apna. The film stars Mohan Babu, Shilpa Shetty and Tanikella Bharani. The film was dubbed in Bengali as Amar Pratiggya.
Cast
Mohan Babu as Sriram
Shilpa Shetty as Shilpa
Tanikella Bharani as Ongole
Brahmanandam
Chalapathi Rao
Kolla Ashok Kumar
Kota Srinivasa Rao
Srihari
A. V. S. Subramanyam
Ruchi
Ironleg Sastri
Soundtrack
Music was composed by Sirpy. Music released by T-Series.
References
External links
1990s Telugu-language films
Films directed by E. V. V. Satyanarayana
Telugu remakes of Tamil films
Telugu remakes of Hindi films | {
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Recepteerkunde is het vakgebied waarin men leert hoe een medicijn bereid (gemaakt) dient te worden. Hierbij houdt men onder andere rekening met de volgende aspecten: rationaliteit van het recept, fysisch-chemische eigenschappen van het farmacon (geneeskrachtige stof), onverenigbaarheden (of twee stoffen in een preparaat geen reactie met elkaar aangaan), houdbaarheid, microbiologische zuiverheid (denk aan steriliteit van injecties en oogdruppels) en patiëntengemak.
Situatie in Nederland
Veel medicijnen kunnen in de apotheek bereid of aangepast worden. Het gaat dan vooral om dermatica, capsules, zetpillen en drankjes. In een apotheek van gemiddelde grootte worden ongeveer 6 preparaten per dag bereid, hiervan is de helft een dermaticum. Sommige preparaten vereisen speciale kennis en kunde. Deze worden dan in speciale bereidingsapotheken bereid, of in de apotheken van ziekenhuizen. In recente jaren besteden steeds meer apotheken de bereiding van geneesmiddelen uit vanwege de strenge eisen die worden gesteld aan de ruimte waarin men geneesmiddelen bereidt. Maar soms kan het noodzakelijk zijn dat in de apotheek een geneesmiddel met de hand gemaakt wordt. Hierbij kan men denken aan capsules of zetpillen met een geneesmiddel in een bepaalde sterkte, die niet in de handel verkrijgbaar is.
Zie ook
Magistrale bereiding
Farmacie | {
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Earlier this week Hadley and I dyed some Easter eggs. I had seen this shaving cream and food coloring technique on Pinterest a few weeks back and knew I wanted to try it. So on Tuesday, I grabbed my girl, gathered the materials and we got to work!
They were really fairly simple… a little messy (but isn't anything with a 2-year-old?) so much fun and look absolutely egg-celent!! If you agree, here is how YOU could make your very own marbled eggs.
OH! AND DON'T FORGET YOUR GLOVES!!!!
Once you have your materials, give your eggs a quick soak in some vinegar. This will make the colors brighter.
While your eggs are soaking, spray the shaving cream into your shallow dish.
Then, smooth the surface with a spoon.
Next, add drops of food coloring.
Take an egg and place it in the shaving cream.
Make sure the entire egg is covered in the shaving cream.
When it's awesome enough, place it in your drying rack.
AS SOON AS your hands get the tiniest bit of color on them, make sure you touch your nose.
Once your nose is colored, finish the rest of your eggs.
Let them sit in the refrigerator for a few hours so the color can set. Then, wipe them with a paper towel and rinse.
Sit back and inspect each egg.
Then hit them around the table, if you'd like.
When you are sure each egg is acceptable arrange them for a photo.
Then place them in a bowl to pretty up your table.
I lOVE this technique , they turned out great!! Excellent tutorial as well!!!
This is a EGG-cellent tutorial!! and seriously, can Hadley get any cuter?? I love the nose shot and her inspecting each egg.
Thanks girls! We really had a blast. Shaving cream is like Disneyland in a can for kids! | {
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Two of the most recent Portcril products joint in one.
Perfect for smaller spaces, this is the harmony between cork, cedar wood, acrylic and aluminum. With an unbounded choice of colors according to the client desire, and the quality of materials and technology that is always present in the various Portcril ranges. | {
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Home > ETDS > 113
Effect of Triclosan-Tolerant Plant Growth-Promoting Rhizobacteria on Triclosan Degradation in Soils
Ashley Marie Garcia
Master of Science in Biology (MS)
Mendez, Monica O.
Triclosan (TCS), an antimicrobial found in commercial products, can also be found in freshwater systems used for crop irrigation. Thus, TCS may accumulate over time in soils, potentially affecting plant growth-promoting rhizobacteria (PGPRs). Bacterial isolates from a previous study which demonstrated PGPR activity and TCS tolerance (TPGPRs) were chosen to evaluate the use of triclosan as a sole carbon source on a minimal salts medium (MSMT). TPGPRs, which demonstrated TCS utilization, were chosen for inoculation into soil microcosm for triclosan degradation (TD-PGPRs). Soil microcosms were arranged in a 2 x 5 factorial randomized block design and irrigated with triclosan treatments (0 µg or 1.5 µg of total TCS) and five inoculation treatments (no inoculation [CTRL], individual rhizobacteria isolates [OT1-11C2, OT2-03A, OT2-17], and a microbial consortium of all selected isolates [OT-MIX]). Soils were subsampled every three days during a 30-day period for triclosan and methyl TCS extraction, followed by GCMS analysis. A two-way repeated measures ANOVA determined that inoculum and inoculum x concentration was significant across all treatments and time points for mean heterotrophic bacterial counts (p < 0.0200), with the exception of day 0 R2AT 15 ng g-1. There was an observed increase in mean heterotrophic bacterial counts for total (R2A) and triclosan tolerant populations (R2AT 1.50 µg L-1 TCS and R2AT 15 µg L-1 TCS) in OTMIX and OT1-11C2 for days 15 and 30. The data suggests that triclosan is still accumulating even with the presence of TD-PGPRs. However, by day 30 samples inoculated with OTMIX (14.22 ng g-1) demonstrated a higher triclosan reduction when compared to the CTRL (26.03 ng g-1). Methyl triclosan (initial biodegradation by product of bacteria) was observed to increase overtime for all treatments, indicating that TCS degradation is still occurring even in uninoculated soils (CTRL). However, TCS breakdown was less efficient in the CTRL treatment with 21.89 ng g-1 of MeTCS to 28.19 ng g-1 in the OTMIX soils. This study was the first to confirm the TCS degradative capabilities of the isolated TD-PGPRs. The use of these TD-PGPRs assisted in the elucidation of the fate of triclosan and by-product formation in irrigated soils.
Garcia, Ashley Marie, "Effect of Triclosan-Tolerant Plant Growth-Promoting Rhizobacteria on Triclosan Degradation in Soils" (2020). Theses and Dissertations. 113.
https://rio.tamiu.edu/etds/113 | {
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CRAE monitors and reports on the extent to which children are enjoying their rights in practice, to ensure that the Government is held accountable for its record on children's rights.
We submit reports to international human rights bodies, including the UN Committee on the Rights of the Child, when they are considering how well children's rights are protected in the UK.
In 2016, the UN Committee on the Rights of the Child issued recommendations (known as Concluding Observations) telling the Government how it should improve the protection of children's rights in the UK. Every year, we publish State of Children's Rights in England, a review of the progress made in implementing these recommendations.
It is not just central government which has responsibilities under the UNCRC. Local authorities should also ensure that they comply with children's rights. CRAE also monitors the enjoyment of children's rights at the local level. | {
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