Autism Does Not Cause Shootings, Autism Does Not Cause Shootings, Autism Does Not Cause Shootings….
Smooth move, CBS, CNN, NBC and other outlets. By putting autism in the headlines of the news concerning the Oregon Shooter's mother, you have inexorably spread fear and hate against people with autism, like me. Your penchant for bodice-ripping headlines has made me even more hateful towards you. I am feared and hated as ever, especially now, that I have been linked to a man who killed ten people, including himself. Here's a twist: I would have been shot for admitting I am a Christian, too! So what do I do? Where do I go for help and assurance that I am not going to get killed or run out of town a la Frankenstein's monster?
This brings me to another point: Do you think because I am autistic, I am going to go get a gun and shoot people? I hat guns. I know that is an unpopular opinion among my peers, especially among fellow Republicans, but I am just absolutely frightened that we have to invite an instrument of death into our houses in order to feel any sort of power over our situations. Do you think I want to involve an instrument of death and harm in my everyday life? I am not going to deny you your right to self-defense, but I am not going to be made to wield death because I am feeling a little cowardly. Even as I go about this world mostly alone, I am constantly reinforcing my bravery to live in a world which is afraid of me.
In case you haven't noticed, there is one thing I must admit: I am the only autistic my age that I know. That troubles me. I feel so alone in all this. All the people who seem to understand me are on the internet, and most of them seem far away. This troubles me, because the distance makes me feel all alone in this world. I know that is not the case, but there are no people here with autism to dispel my loneliness that I know of. This also makes me fear for my safety.
Do I have to pick up a gun and show that I will not use it for you to believe I am not a danger to society? To end the fear of neurotypical people because I am different from them? Being feared like this is shameful, it is discriminatory, it is the textbook definition of prejudice. I'm sorry, I did not know I had to cower in the corner to appease it.
But if you want my opinion on the subject of shootings and autism, read the title again, and again, and again…until you believe it.
Does it not seem convenient that the American media would try to distract from the issue of gun control by blaming it on someone with Autism instead? And the fact is that the guy may have had autism, but it is more likely the people around him that caused the event than the guy with autism. But yet again the media protects the supply of guns by reassuring the paying public it was someone who 'didn't know any better' or that had 'a mental illness'. I'm sorry for the issues that you are facing, Ned.


Heading out of Douglas up Prospect Hill, turn left onto Circular Road and first right onto Westmoreland Road. Then take the fourth turning on the right onto Demesne Road. The property can be found a short distance along on the left hand side, clearly identified by our To Let board.


Having a custom porch or deck for the exterior of your home that you and your family are able to take advantage of whenever you see fit is one of the greatest things about owning a home. These spaces give you a wonderful space to go out and enjoy the outdoors while making memories with your family and friends, and there is no one better to help you realize the potential that a new porch or deck can bring to your home than the pros at Omni Builders.
If you are looking for a professional pole barn building specialist in Farmington, give us a call today at 517-486-3784, or fill out our online request form.


text:
Lone Star (1996)
John Sayles invites you to return to the scene of the crime.
Genre(s): Drama, Mystery, Romance
Elizabeth Pena
Stephen J. Lang
Oni Faida Lampley
LaTanya Richardson Jackson
Leo Burmester
R. Paul Miller
Maggie Renzi
A body with a sheriff's badge is found in a quaint town in Texas. They suspect the body is that of a sheriff named Charlie Wade, who suddenly disappeared. Charlie was an evil sheriff who was less than kind to minorities during the period he had this authority position. His deputy Buddy, who didn't put up with his antics, is considered to be a suspect in his murder. This murder mystery gets further complicated when the truth about sheriff Wade comes out.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Display error message on custom button for some profile users I've created VF page and I've created custom button, I need to restrict the button  for some profiles, How can I show error message when other profile users clicks on the button
===
<apex:page controller="LeadAssignController">
    <apex:form id="frm">
        <script>
                   function checkboxuse(tag) {
                        var menus  = document.getElementsByClassName("Teststyle");
                        if (tag.checked == true) {
                             for (var i = menus.length - 1; i >= 0; i--)
                             {
                                    menus[i].checked = false;
                             }
                            tag.checked = true;
                        }
                       else {
                             for (var i = menus.length - 1; i >= 0; i--)
                             {
                                     menus[i].checked = true;
                             }
                         }
                     }
        </script>

  <apex:pageBlock >
        <apex:pageBlockSection columns="1" rendered="{!IF(sobjectName== 'Lead', true, false)}">
           <apex:outputField value="{!ldRecord.Name}"/>
           <apex:outputField value="{!ldRecord.Implementer_Assignment__r.name}"/>
        </apex:pageBlockSection>
        <apex:pageBlockSection columns="1" rendered="{!IF(sobjectName== 'Lead', true, false)}">
            <apex:outputField value="{!ldRecord.Region__r.name}"/>
            <apex:outputField value="{!ldRecord.Area__r.name}"/>
        </apex:pageBlockSection>

        <apex:pageBlockSection columns="1" rendered="{!IF(sobjectName== 'Lead', false, true)}">
           <apex:outputField value="{!OppRecord.Name}"/>
           <apex:outputField value="{!OppRecord.ImplementerContact_r.name}"/>
        </apex:pageBlockSection>
        <apex:pageBlockSection columns="1" rendered="{!IF(sobjectName== 'Lead', false, true)}">
            <apex:outputField value="{!OppRecord.Region_EI__r.name}"/>
            <apex:outputField value="{!OppRecord.Segment__r.name}"/>
        </apex:pageBlockSection>

    </apex:pageBlock>

        <apex:pageBlock >
       <apex:pageBlockSection columns="1">

           <apex:pageBlockTable value="{!SubContractorList}" var="subC">
                <apex:column >
                    <apex:inputCheckbox value="{!subC.selected}" id="tst" styleClass="Teststyle" onchange="return checkboxuse(this)"/>
                </apex:column>
                <apex:column value="{!subC.sc.name}"/>
                <apex:column value="{!subC.sc.SubContractor_AccountID_EI__r.name}"/>
                <apex:column value="{!subC.sc.Primary_Contractor_EI__c}"/>
            </apex:pageBlockTable>
        </apex:pageBlockSection>
        <apex:pageBlockButtons >
            <apex:commandButton action="{!saveSubcontractor}" value="Select" rendered="{!SubContractorList!=null}"/>
            <apex:commandButton action="{!cancel}" value="Cancel" />
        </apex:pageBlockButtons>

A: You need to add lines items to your code. add  to the page and add mentioned lines to saveSubcontractor method
<apex:page controller="LeadAssignController"
 <apex:pageMessages />
 <!-- Your rest of code here -->
</apex:page>

public LeadAssignController(){

    public pageReference saveSubcontractor(){
      // add these lines of code if you have void return type change return null; to return;
      String profileId = userInfo.getProfileId();
      Profile currentProfile = [Select Name FROM Profile WHERE id =:profileId];
      if(currentProfile.Name == 'Your Profile' || ....){
        ApexPages.Message errMsg = new ApexPages.Message(ApexPages.Severity.ERROR,'Error: Invalid Profile.');
        ApexPages.addMessage(errMsg);
        return null;
      }

    }

}

redpajama_set_name: RedPajamaStackExchange


text:
Kurt Michael Receives 2014 Holshouser Award for Excellence in Public Service
Appalachian State University professor and child clinical psychologist Kurt D. Michael, who has spent his career working to improve mental health services for young people in rural areas, has earned the James E. Holshouser, Jr. Award for Excellence in Public Service from the UNC Board of Governors.
Dr. Michael accepted the award, which carries a $7,500 cash prize, during the board's regular October meeting. Established in 2007 to encourage, identify, recognize and reward distinguished public service and outreach by faculty across the 17-campus University of North Carolina, the award was renamed last year in memory of the late Governor Holshouser, who served on the Board of Governors for more than three decades and set the gold standard for public service to the state and University. Winners must demonstrate sustained, distinguished and superb achievement in university public service and outreach and must contribute to improving the quality of life for North Carolina citizens.
"I'm very honored," Dr. Michael said of the award. "I'm appreciative of the publicity, which I hope will shine a light on what the folks who work with me do every day to serve kids in need."
A member of Appalachian State's faculty since 1999, Dr. Michael founded the Assessment, Support and Counseling (ASC) Center at Watauga High School in 2006. The ASC expanded to Ashe County in 2011 and to Alleghany County in 2013. Last year, a team of 14 healthcare providers served 200-300 students across the three school districts.
In rural western North Carolina, depression, anxiety, substance abuse, family conflicts, aggression and suicidal thinking often go untreated because experienced mental healthcare providers can be scarce. Additionally, financial and transportation limitations — and fear of the stigma associated with mental health issues — often prevent students from seeking help. Dr. Michael's groundbreaking initiative, which offers students mental healthcare at no cost to them or their families, has positively impacted the lives of numerous young people.
"It's designed not only to treat mental health ailments, but to create a treatment plan that will enable students to succeed educationally," Dr. Michael said. "If we can tie together academic success and social and emotional success, our schools become a one-stop shop."
At the ASC Center, which operates full-time five days a week, students in need of mental health help receive the interdisciplinary support of university-affiliated licensed mental health providers, school counselors, social workers, student resource officers and local healthcare clinicians. In addition to receiving consultation and education regarding mental health issues, they can receive assessment and diagnosis, individual psychotherapy, family therapy, group therapy and crisis intervention.
In addition to serving youth with mental health issues regardless of their ability to pay, the Center provides graduate students in Appalachian State's marriage and family therapy, social work and school and clinical psychology programs practical experience before they graduate. In the process, the Center is helping to train a competent mental health workforce for schools, disseminate research findings about best practices in school mental healthcare, promote interdisciplinary collaboration to tackle mental health challenges and augment the work high school teachers can do with the students in their classes.
The success of ASC has been documented in medical and mental health journals, including North Carolina Medical Journal, Children and Youth Services Review, Advances in School Mental Health Promotion and The Community Psychologist. Dr. Michael estimates that 65 to 70 percent of students treated through the Center for issues such as persistent suicidal thinking or self-injury make huge strides by the end of their treatment period. "We're able to achieve results pretty quickly, and they're pretty substantial in terms of psychological symptoms," he said. After treatment, most students attend school more regularly, and their behavior and academic performance improves. "We're really happy to see kids stabilize and not drop out," Dr. Michael said. He and his colleagues have presented the ASC model at professional conferences across the United States and abroad.
Funding for ASC Center services comes from a combination of sources, including a grant from the N.C. Department of Public Instruction that runs through 2015, contributions from the county schools, and in-kind donations of time by Dr. Michael, other licensed professionals and Appalachian graduate students. "We don't have our children and families pay, so our program runs on a shoestring budget, and I'm constantly anxious that our funding streams will go away," Dr. Michael said. "My hope is grant funders and constituents in the state will see the Center as a valuable service to the citizens of North Carolina and will enable us not only to continue, but expand."
Dr. Michael teaches both graduate and undergraduate students in Appalachian State's School Psychology and Clinical Psychology programs. He holds master's and doctoral degrees in psychology from Utah State University and a B.A. in psychology from the University of Colorado at Boulder, and he interned in child clinical and pediatric psychology at Duke University Medical Center. He is associate editor of the Journal of Child and Family Studies.
Published: Oct 24, 2014 1:33pm


Walter and Verdna Leishman were longtime Beloit residetns who believed in giving back to the community they loved so much. Upon Walter's death in 1986, Verdna found herself with time to be more involved with First Baptist Church, Friends of Paul's Computer Institute, Caritas, Baptist Children's Home, Beloit Regional Hospice, Good Shepherd Orphanage in Bamenda, Cameroon and Camp Tamarack. Verdna's estate established this scholarship for non-traditional female students that have graduated from Beloit Memorial, Clinton, and FJ Turner High Schools.
If you are a High School student please use the General Scholarship form.


We sat down with Salon Ziba Master Colorist, J.D., to discuss this trend of funky hair color and the increased demand over the past few seasons.
"Because of social media, we've all been exposed to very different hair color and our ideas of 'acceptable hair color' is expanding. On my Facebook and Instagram feed, I often see beautiful woman with deep blue or vibrant pink hair. Not only am I used to it, I find the options exciting and inspiring. But this wasn't always the case.
In the 90's, if you had dyed your hair blue, most likely you ended up with dull, greenish hair after a few shampoos.
Salon Ziba uses L'Oreal hair color, Pravana Vivids and Redken City Beat to achieve the best hue for your hair.
Fall hairstyle trends are starting to show themselves again, and L'oreal – and Salon Ziba! – are on top of it. We carry L'oreal products for a variety of good reasons, and being able to easily keep up with current trends is definitely one of them.
When you're asked to picture fall colors, especially in relation to your hair, tradition dictates the first few that will undoubtedly pop into your head. While earthy brunette tones and shocks of orange and red have been staples of the season for as long as we can remember, true fashion is anything but traditional.
To that end, it's no surprise that we're seeing the trend of hot chromatique pinks and silvers all over the scene this autumn. Fall is the time for adventure, and there's nothing more adventurous than bucking old standards for something outside the box and imaginative!
Whether you're considering silver or pink for your fall hair color, or a more traditional look, there's no better choice than Salon Ziba NYC. Our colorists are experienced professionals who can't wait to give you the perfect fall hairstyle.
To book an appointment with us, press the button below.


text:
Q: Checking if the input fields are filled in properly (pure javascript) I almost complete the form validation, but the only pain in the ass for me is:
1) Input fields should be checked themselves when some have filled in the input field and click outside the input box.
2) when someone leaves all the input fields empty and clicked on the send button.
Anyone an idea how I can fixed that?

function validateForm() {
 var name = document.getElementById("name");
 var email = document.getElementById("email");
 var nameValidation = document.getElementById("nameValidation");
 var emailValidation = document.getElementById("emailValidation");
 var filter = /^([a-zA-Z0-9_\.\-])+\@(([a-zA-Z0-9\-])+\.)+([a-zA-Z0-9]{2,4})+$/;

 if (name.value.length == "") {
  nameValidation.innerHTML = " Please fill in your name";
  name.focus();
 } else {
  nameValidation.innerHTML = " Right";
 }

 if(!filter.test(email.value) || (email.value.length == "")) {
  emailValidation.innerHTML = " Please enter a valid email address";
  email.focus();
 }
 else {
  emailValidation.innerHTML = " Right!";
 }
}
<form action="#" id="form" method="post" name="form">

Application form

    <input id="name" class="application" name="name" placeholder="Name" type="text" maxlength="30" />

    ><input id="email" class="application" placeholder="Email" type="text" maxlength="254" />

      <input id="upload" class="application upload" type="file"/>
      <input id="submit" class="application apply-button" type="button" onclick="validateForm()" value="Send"/>

  </form

A: <input type="email" required />

Job done.


Handcrafted from durable cast stone, the Hurricane's Eye Patio Fountain by Henri Studio combines a sophisticated spiraling design with a modern aesthetic appeal. Water flows from a hidden aperture (at the top of the raised spiral), down its descending length, and blends with water from the bubbler before recirculating. Display this exclusive fountain in any accommodating courtyard, garden, or patio space. Custom-made in America. Shown in Relic Lava.


text:
BiathlonWorld CupMakarainen Rallies For Surprise Home Victory in Kontiolahti; Kocher Returns to Top Ten For First Time Since 2009
Chelsea LittleFebruary 12, 2012
Sara Studebaker (USA) racing in the sprint in Kontiolahti, Finland on Sunday. Photo: NordicFocus/USBA.
As the clock ticked down in Sunday's 10 k pursuit race in Kontiolahti, Finland, the home crowd became more and more tense. Their star, Kaisa Makarainen, sat in second place – which was good. But it looked increasingly as if the win was out of reach, as World Cup leader Magdalena Neuner of Germany was skiing faster and making no more errors than the Finn.
Then, halfway through the race, Makarainen caught a break. As she pulled into the range for the first of two standing stages, Makarainen watched Neuner miss a shot – and then promptly cleaned all five of her own targets to take the lead.
Makarainen's face probably wouldn't have betrayed any emotion even if it wasn't covered in pink physio tape to ward off frostbite in the frigid conditions, but she must have felt like she had won a tiny victory already. After starting the pursuit 12 seconds behind Neuner, she was finally in front for the first time.
"I knew that Magdalena would be tough to beat, but I had to concentrate on what I was doing," the Finn said in a press conference after the race. "I could not do anything that would affect what she did."
Makarainen didn't hold her lead for long; she left the range just four seconds ahead of the German, and was quickly caught. Neuner had a slight edge coming into the final, seminal standing stage, and it looked as though it might be over for the hometown fans.
But then Makarainen caught an even bigger, and more unexpected break, as Neuner missed two shots and headed to the penalty loop.
"Today there were two mistakes too many," Neuner told the press.
While Makarainen seized the opportunity to hit her targets and skate to a 35-second victory, Finnish flag in hand, Neuner had a harder task. She left the penalty loop one second ahead of Olga Zaitseva of Russia and six ahead of Darya Domracheva of Belarus.
Zaitseva was not a threat on the trails, but Domracheva?
"I am glad to at least held off Dasha, because that means something," Neuner said. "I'm kind of proud of that."
Neuner herself is one of the fastest skiers on the circuit, but the Belorussian is often even faster. Today, she made up the gap to Neuner just as she reached the finish line; after both put in a furious, but exhausted, charge, Neuner emerged in second place, just 1.1 seconds ahead of Domracheva.
Like Neuner, Domracheva had missed a total of four shots, but she'd started even farther back than Makarainen. Such comebacks are not unusual for Olympic and World Championship medalist, but she admitted that she wished it wasn't always necessary to rely on ski speed to make up for errors on the range.
"I think I like to make some problems for myself and find a solution," she said in the press conference. "But that is not the best way [to race]. I have enough time before the World Championships to find some answers for my shooting."
Makarainen has faced some of the same challenges this year, and battled shooting errors as she struggled to match last year's performances, which landed her the overall World Cup crown. She's been on the podium this season and picked up a win in Nove Mesto, Czech Republic, but racing on home turf – she is from just 25 minutes away in the town of Joensuu – was clearly a boost.
"I was motivated and especially focused," she said in the press conference. "It was a good day for me."
Makarainen now sits third in the overall World Cup rankings, behind Neuner and Domracheva.
Perpetually just out of the frame of the television cameras, Canada's Zina Kocher was making a comeback of her own – not from shooting errors, but from several years of frustration.
"It has taken some patience this season as I have been close to breaking through the top ten, and the opportunity has been there for me numerous competitions this year," Kocher told FasterSkier. "Last time was 2009, the year of the 2010 Olympics, in December – I was tenth and fourth in the sprint and pursuit that week."
Kocher's 12th-place finish in Saturday's sprint represented her best result of the season, and she upped the ante with a ninth-place effort on Sunday. It was the first time she had finished in the top ten since December, 2009; after a podium earlier in her career, Kocher had missed a season with mononucleosis and struggled with back injuries. Last season was her worst in recent memory, and she failed to score World Cup points even once.
"Definitely a good confidence booster to be back in the top 10," Kocher wrote in an e-mail shortly after the race. "FINALLY is how it feels!"
Kocher was on the right track almost immediately, cleaning the first prone stage and moving up into eighth position. She hit the trails again in a group that included Olga Vilukhina of Russia, Tina Bachmann of Germany, and Anastasiya Kuzmina of Slovakia.
Kocher's luck didn't last; she eventually missed four shots, just like Neuner and Domracheva, and left the range for the final time back in her original 12th-place position. But the Canadian pushed hard over the final two kilometers, turning in the third-fastest closing loop and moving up to ninth by the finish.
"You never know what's going to happen in a pursuit and a lot depends on those around you," Kocher said. "When I missed my last shot, I noticed that others around me had also missed one shot, so we were all in the penalty loop together… then it just comes down to a fast last lap."
Kocher was traveling separate from the rest of the Canadian team, and said that she appreciated having the flexibility to attend this weekend's races, which wouldn't have been possible if she had still been a member of the national team.
"There have been times like this week, when I have a bit more flexibility and can decide with my coach what is best for me," Kocher said. "I think there comes a time in an athlete's career when this is very important. If I was on their program I would have been at home, doing as they are doing."
U.S. biathlete Sara Studebaker started the race with a chance just like Kocher's: she was in 15th position after the sprint, and could have moved into the top ten with clean shooting. It didn't seem out of the question, given that Studebaker had turned in her first perfect race on the range in the sprint.
But it wasn't to be, and the American went from having her best shooting day of the season to one of the worst. She missed a total of six shots and her 44th-fastest ski time didn't allow her any leeway. Studebaker dropped to 36th by the end of the 10 k race.
"Today's race was tough for sure," she wrote in an e-mail after the race.
Unlike many top competitors, Studebaker had raced Friday's mixed relay, and she thought that three races in a row had finally gotten to her; at the finish she collapsed to the ground, looking even more exhausted than many of her peers.
"I was pretty tired skiing and I think that carried over to the range for me," she said. "By the last lap my body couldn't hold on to anyone who was around and I was happy just to finish. It was good to still get a few World Cup points with such a tough race, though. It was just a long last couple of weeks for me!"
Teammate Annelies Cook struggled on the range as well, starting off with four penalties in the initial prone stage. While her shooting improved in the subsequent bouts, she was unable to overcome the errors and was eventually lapped and pulled from the race.Top of FormBottom of Form
Annelies Cook
Kaisa Makarainen
Magdalena Neuner
Sara Studebaker
Zina Kocher
Hendrickson wins 2 World Cups, tightens grip on overall lead
Arritola Takes Owl Creek Chase Title
Reid, Irwin, and Nordgren Round Out U.S. Olympic Biathlon Team Nominations
Sean Doherty Named to Third Olympic Team
Youth & Junior Teams Named for Upcoming International Events


GIS, the leading technology provider to OEMs and system builders in the inkjet industry worldwide, has been awarded the prestigious Queen's Award for Enterprise 2018 for International Trade, in recognition of the company's outstanding growth in overseas markets from 2015 to 2017.
This is the second time that the company has won a Queen's Award for Enterprise, having received its first award in 2013, also for outstanding international sales growth.
GIS overseas earnings more than doubled in the period 2015 to 2017, and the company now exports to over 20 countries worldwide. In 2017, 81% of the company's total sales were in international markets. The company has experienced particularly strong growth in non-European markets, with the USA and Asia accounting for 23% and 17% of overseas sales respectively in 2017.
GIS places great emphasis on long-term relationships and partnerships with its customers and on providing excellent technical support. The company has a growing team of customer account and technical support staff in the UK, with regional staff based in China & Japan.
From 2015 to 2017 GIS grew from 32 to 51 staff, requiring the company to move into new 10,000 sq. ft. premises in August 2017. Growth continues with the current head count now reaching 60. Innovation is a key factor in the success of GIS, and the company invests heavily in its highly-skilled engineering teams and production staff.
GIS exports high performance RIP software, electronics, software drivers and ink delivery system components for industrial inkjet printheads. The technology is used in a wide range of inkjet applications including 3D printing, labels, corrugated packaging, textiles, product decoration, printed electronics, functional coatings – and many more.


Credit Unions across Ireland are now offering the Personal Micro-Credit scheme as increasing numbers turn away from moneylenders and demand for the loan rises. The initiative, known as the 'It Makes Sense' loan, was launched in 2016 to combat the grip of moneylenders on low income individuals and households in receipt of social welfare.
Since its launch, there has been a steady rise in the numbers of credit unions offering the scheme, as increasing numbers of social welfare recipients opt for the loan in favour of moneylender services. The 'It Makes Sense' loan is available at a rate of 12.68% APR in contrast to excessive rates of 290%* charged by some moneylenders. The Central Bank estimates that about 360,000 people are using moneylenders, but this number is likely to be higher when unlicensed operators are taken into account.
The scheme was developed in conjunction with the Citizens Information Board, MABS, An Post and the Social Finance Foundation and is supported by the Government and Department of Social Protection. Loan applicants can borrow between €100 and €2,000 and the maximum loan period is two years.
Applicants for the 'It Makes Sense' loan do not already have to be members of the credit union. Once the person lives or works in a credit union's common bond area, the credit union can process a membership application and then accept their loan request. There is no automatic entitlement to a loan under this scheme. Potential borrowers must be able to show a capacity to repay the loan.
For applicants who receive their social welfare payments in cash (via a post office), the repayment for this loan must be made via the Household Budget Scheme, operated by An Post. Borrowers must be willing to sign up to and use the Household Budget Scheme to enable loan repayments.
For those who receive social welfare electronically (into a bank or credit union account), repayments for must be made by standing order or direct debit, directly from the account which receives the social welfare payment.


The skit features Kit Harrington from Game Of Thrones as a member of a group of survivors in the zombie apocalypse VR game EARTHWAR 3.
The skit starts off a little slow, including a bad Mario joke. But eventually, as the skit KEEPS pushing the two talkative survivors in the player's face I was laughing. The dialogue choices were a nice touch.
I wish more games had a "No Drama, Please" button.


text:
What is the atomic configuration of oxygen?
[He] 2s2 2p4
Then, what is the electron configuration of 02?
How do you determine the electron configuration of an atom?
Method 1 Assigning Electrons Using a Periodic Table
Find your atom's atomic number.
Determine the charge of the atom.
Memorize the basic list of orbitals.
Understand electron configuration notation.
Memorize the order of the orbitals.
Fill in the orbitals according to the number of electrons in your atom.
What is the ground state configuration of F?
The neutral electronic configuration of F is 1s2 2s2 2p5. When it becomes F+, it means it lose 1 electron (although non common since F is an electronegative atom). Therefore, the electronic configuration of F+ is 1s2 2s2 2p4.
How many valence electrons are in an atom of oxygen?
6 valence electrons
What is electronic configuration?
In atomic physics and quantum chemistry, the electron configuration is the distribution of electrons of an atom or molecule (or other physical structure) in atomic or molecular orbitals. This is also useful for describing the chemical bonds that hold atoms together.
What is the Valency of an oxygen atom?
Atoms can either donate or receive electrons only in valence shell. 8 electrons in outermost shell is considered the most stable state of an atom as the shell will be fully occupied. The valency of oxygen is 2 as its electronic configuration is 2,6 and it need 2 electron to complete their octet.
Is the element oxygen stable?
Oxygen is element No. 8 on the Periodic Table of Elements. Element No. 8 on the Periodic Table of the Elements is a colorless gas that makes up 21 percent of Earth's atmosphere. Because it's all around, oxygen is easy to dismiss as dull and inert; in fact, it's the most reactive of the non-metallic elements.
What is the charge of the oxygen ion?
The ionic charge of oxygen is -2. You can tell because oxygen is in group number 6, so it has 6 valence electrons. Since it needs 2 more electrons to become neutral with a full outer shell of 8 electrons, its charge is -2 (since adding electrons gives a negative charge).
What is ISO Electronic ions?
Isoelectronic refers to two atoms, ions or molecules that have the same electronic structure and the same number of valence electrons. The term means "equal electric" or "equal charge". Isoelectronic chemical species typically display similar chemical properties.
Which element has the greatest electronegativity NP or as?
Thus, fluorine is the most electronegative element, while francium is one of the least electronegative. (Helium, neon, and argon are not listed in the Pauling electronegativity scale, although in the Allred-Rochow scale, helium has the highest electronegativity.)
Do the negative ions tend to be metals or nonmetals?
Anions are negatively charged ions and cations are positively charged ions. 2) Anions tend to be __________ and cations tend to be __________. Nonmetals tend to gain electrons and form anions, metals tend to lose electrons and form cations. Aluminum is metal that loses 3 electrons.
Which set of orbitals can hold a maximum of 14 electrons?
The five d orbitals can hold up to 10 electrons. Thus, the third level holds a maximum of 18 electrons: 2 in the s orbital, 6 in the three p orbitals, and 10 in the five d orbitals. The fourth and higher levels also have an f sublevel, containing seven f orbitals, which can hold a maximum of 14 electrons.
How many valence electrons are in an atom of chlorine?
Is oxygen anion or cation?
Cations (positively-charged ions) and anions (negatively-charged ions) are formed when a metal loses electrons, and a nonmetal gains those electrons. If the oxygen atom loses electrons, it becomes a positively charged cation. Oxygen is most stable as an ion when it gains 2 electrons to become O2-, an anion.
How many unpaired electrons are in an atom of oxygen?
two unpaired electrons
What is the name of the group that oxygen is in?
Group 16: The Oxygen Family (The Chalcogens) The oxygen family, also called the chalcogens, consists of the elements found in Group 16 of the periodic table and is considered among the main group elements. It consists of the elements oxygen, sulfur, selenium, tellurium and polonium.
What is the net ionic charge of beryllium?
It loses 2 electrons to gain a charge of +2. This gives it the noble gas configuration. See periodic table below.
How many bonds can carbon nitrogen oxygen and hydrogen atoms form?
A covalent bond is a strong bond between two non-metal atoms. It consists of a shared pair of electrons. A covalent bond can be represented by a straight line or dot-and-cross diagram. Hydrogen and chlorine can each form one covalent bond, oxygen two bonds, nitrogen three, while carbon can form four bonds.
What is the highest occupied energy level of oxygen?
What is it meant by the highest occupied energy level in an atom? The highest occupied energy level in an atom is the electron-containing main energy level with the highest number. Inner-shell electrons are electrons that are not in the highest occupied energy level (sometimes referred to as "Kernel Electrons"). 25.
What is the electrical charge of the calcium ion?
An atom of calcium (Ca) has 20 electrons with 2 electrons in the inner shell, 8 in each of the next two and 2 electrons in the outer shell. When the calcium atom loses two electrons to form the calcium ion, what is its net electrical charge? A. plus 1.
Which element will have the lower ionization energy?
The first ionization energy varies in a predictable way across the periodic table. The ionization energy decreases from top to bottom in groups, and increases from left to right across a period. Thus, helium has the largest first ionization energy, while francium has one of the lowest.
Is atomic oxygen diamagnetic or paramagnetic?
Let's first check the electron configuration of Oxygen atom. Notice that Molecular Orbital Theory predicts that O2 has two unpaired electrons in 2Px and 2Py degenerate oribitals. Unpaired electrons spin in the same direction as each other, which increases the magnetic field effect. So O2 becomes paramagnetic.
How many valence electrons does lithium have available for bonding?
So a neutral lithium atom has 3 protons and 3 electrons. Two electrons in shell 1 and one electron in shell 2. The 1s electrons are 'core' electrons. So Lithium has only 1 valence electron in the 2s orbital.
100% people found this answer useful, click to cast your vote.
what-is-the-atomic-configuration-of-oxygen-76149865 / 5 based on 1 vote.
What atom is used for the atomic clock?
How do you calculate the relative atomic mass of an atom?
What happens to the size of an atom as the atomic number increases?
What is an electrically charged atom or group of atoms?
What is the difference between the mass number of an isotope and the atomic number of an atom?
How is an atom split in an atomic bomb?
How is the atomic weight of an atom determined?
How many atoms can bond to a single atom of carbon?
What is the total charge of the atom?


This graphic art design studio in Minnesota is featured in a photographic tour on Share Some Candy: Workspaces.
… but check out this display of beverage cans above the water cooler…! Love it!
Now, I really do not know if those are alcholic beverage cans, so please forgive me any possible offense here.


text:
"""Create a new panel report from an uploaded genome. Optionally, include
a file containing patient information to populate patient information
fields in the clinical report. This file should be a csv formatted in this way:

Opal Patient Information,value
Patient Last Name,John
Patient First Name,Doe
Patient DOB,1/1/00
Accession ID,JD1
Patient Sex,Male/Female
Patient Ethnicity,Caucasian
Indication for Testing,Disease
Specimen Type,Blood
Date Specimen Collected,9/9/14
Date Specimen Received,9/13/14
Ordering Physician,Paul Billings

If you are having trouble with the patient information file, make sure its
line endings are newlines (\n) and not the deprecated carriage returns (\r)
"""

import argparse
import csv
import json
import os
import requests
from requests.auth import HTTPBasicAuth
import sys

#Load environment variables for request authentication parameters
if "FABRIC_API_PASSWORD" not in os.environ:
    sys.exit("FABRIC_API_PASSWORD environment variable missing")

if "FABRIC_API_LOGIN" not in os.environ:
    sys.exit("FABRIC_API_LOGIN environment variable missing")

FABRIC_API_LOGIN = os.environ['FABRIC_API_LOGIN']
FABRIC_API_PASSWORD = os.environ['FABRIC_API_PASSWORD']
FABRIC_API_URL = os.environ.get('FABRIC_API_URL', 'https://api.fabricgenomics.com')
auth = HTTPBasicAuth(FABRIC_API_LOGIN, FABRIC_API_PASSWORD)

# A map between the row numbers and fields from the patient information csv
patient_info_row_map = {
    0: 'Last Name',
    1: 'First Name',
    2: 'Patient DOB',
    3: 'Accession ID',
    4: 'Patient Sex',
    5: 'Patient Ethnicity',
    6: 'Indication for Testing',
    7: 'Specimen Type',
    8: 'Date Specimen Collected',
    9: 'Date Specimen Received',
    10: 'Ordering Physician'
}

def generate_patient_info_json(patient_info_file_name):
    """Given a properly formatted csv file containing the patient information,
    generate and return a JSON object representing its contents.
    """
    patient_info = {}
    with open(patient_info_file_name, 'rU') as f:
        reader = csv.reader(f)
        next(reader, None)  # Skip the header
        for i, row in enumerate(reader):
            if i < 11:
                patient_info[patient_info_row_map[i]] = row[1]
    return patient_info

def add_fields_to_cr(cr_id, patient_fields):
    """Use the Omicia API to fill in custom patient fields for a clinical report
    e.g. patient_fields: '{"Patient Name": "Eric", "Gender": "Male", "Accession Number": "1234"}'
    """
    #Construct request
    url = "{}/reports/{}/patient_fields"
    url = url.format(FABRIC_API_URL, cr_id)
    url_payload = json.dumps(patient_fields)

    sys.stdout.write("Adding custom patient fields to report...")
    sys.stdout.write("\n\n")
    sys.stdout.flush()
    result = requests.post(url, auth=auth, data=url_payload)
    return result.json()

def launch_panel_report(genome_id, filter_id, panel_id, accession_id):
    """Launch a panel report given genome id, filter id, and panel id
    parameters. Return the JSON response.
    """
    # Construct url and request
    url = "{}/reports/".format(FABRIC_API_URL)
    url_payload = {'report_type': "panel",
                   'genome_id': genome_id,
                   'filter_id': filter_id,
                   'panel_id': panel_id,
                   'accession_id': accession_id}

    sys.stdout.write("Launching report...")
    sys.stdout.write("\n\n")
    sys.stdout.flush()
    result = requests.post(url, auth=auth, data=json.dumps(url_payload))

    return result.json()

def upload_genome_to_project(project_id, label, sex, file_name):
    """Use the Omicia API to add a genome, in vcf format, to a project.
    Returns the newly uploaded genome's id.
    """

    #Construct request
    url = "{}/projects/{}/genomes?genome_label={}&genome_sex={}&external_id=&assembly_version=hg19"
    url = url.format(FABRIC_API_URL, project_id, label, sex)

    sys.stdout.write("Uploading genome...\n")
    with open(file_name, 'rb') as file_handle:
        #Post request and return id of newly uploaded genome
        result = requests.put(url, auth=auth, data=file_handle)
        return result.json()["genome_id"]

def main(argv):
    """Main function, uploads a geneome and creates a panel report using it.
    """
    parser = argparse.ArgumentParser(description='Launch a panel report with no genome.')
    parser.add_argument('--project_id', metavar='project_id', type=int)
    parser.add_argument('label', metavar='label', type=str)
    parser.add_argument('sex', metavar='sex', type=str)
    parser.add_argument('genome_filename', metavar='genome_filename', type=str)
    parser.add_argument('panel_id', metavar='panel_id', type=int)
    parser.add_argument('accession_id', metavar='accession_id', type=str)
    parser.add_argument('--filter_id', metavar='filter_id', type=int)
    parser.add_argument('--patient_info_file', metavar='patient_info_file', type=str)
    args = parser.parse_args()

    project_id = args.project_id
    label = args.label
    sex = args.sex
    genome_filename = args.genome_filename
    filter_id = args.filter_id
    panel_id = args.panel_id
    accession_id = args.accession_id
    patient_info_file_name = args.patient_info_file

    # Upload genome
    genome_id = upload_genome_to_project(project_id, label, sex, genome_filename)
    sys.stdout.write("genome_id: {}\n".format(genome_id))

    # Launch panel report with uploaded genome
    json_response = launch_panel_report(genome_id,
                                        filter_id,
                                        panel_id,
                                        accession_id)

    if "clinical_report" not in json_response.keys():
        sys.exit("Failed to launch. Check report parameters for correctness.")
    clinical_report = json_response['clinical_report']

    # If a patient information csv file is provided, use it to generate a
    # representative JSON object
    if patient_info_file_name:
        clinical_report_id = clinical_report.get('id')
        patient_info = generate_patient_info_json(patient_info_file_name)
        add_fields_to_cr(clinical_report_id, patient_info)

    # Print out the object's fields. This represents a confirmation of the
    # information for the launched report.
    sys.stdout.write('Launched Clinical Report:\n'
                     'id: {}\n'
                     'test_type: {}\n'
                     'accession_id: {}\n'
                     'created_on: {}\n'
                     'created_by: {}\n'
                     'status: {}\n'
                     'filter_id: {}\n'
                     'panel_id: {}\n'
                     'workspace_id: {}\n'
                     'sample_collected_date: {}\n'
                     'sample_received_date: {}\n'
                     'include_cosmic: {}\n'
                     .format(clinical_report.get('id', 'Missing'),
                             clinical_report.get('test_type','Missing'),
                             clinical_report.get('accession_id','Missing'),
                             clinical_report.get('created_on','Missing'),
                             clinical_report.get('created_by','Missing'),
                             clinical_report.get('status','Missing'),
                             clinical_report.get('filter_id','Missing'),
                             clinical_report.get('panel_id','Missing'),
                             clinical_report.get('workspace_id','Missing'),
                             clinical_report.get('sample_collected_date','Missing'),
                             clinical_report.get('sample_received_date','Missing'),
                             clinical_report.get('include_cosmic','Missing')))

if __name__ == "__main__":
    main(sys.argv[1:])

redpajama_set_name: RedPajamaGithub


If anything good has come out of the current economic turmoil, it is that it has been a robust test for our supply chain systems and processes. In some cases it has shone a light on those elements that we assumed were OK but in fact are underperforming. Companies have done all sorts of things in the name of business improvement over the past ten years or so – from implementing new software to introducing lean manufacturing or Six Sigma – but they haven't necessarily got the benefit or return on investment they should have.
In good times, they've been getting away with sub-standard supply chain processes, because those processes haven't been stressed to the max; predictable demand covers a multitude of sins. Now that demand is volatile and unpredictability abounds, the chickens are coming home to roost and weaknesses are being exposed – companies are finding themselves with too much inventory, insufficient working capital and poor demand accuracy.
To borrow from W Edwards Deming's theory of management, now is the time to optimise the whole.
That isn't about spending vast amounts of money: the solution isn't to invest in yet another expensive suite of software; the solution is getting better payback from the investments you've already made. It means looking at where your processes are broken, improving them and then optimising them as a whole. A small investment now can bring significant ROI in less than a year, in terms of cost reduction and profit – not to mention survival.
Now is the time to take a fresh look at just how good we really are at planning and managing the supply chain; both in the short term and over the extended horizon. Let's look at why our lean manufacturing facility isn't actually being lean because it's being let down by elements of supply planning; let's look at why our (poor) planning techniques are preventing us from producing the optimum plan for manufacturing and so on.
Working capital is a classic symptom of sub-standard process performance. If working capital had been under control as they believed, then some companies wouldn't be experiencing the sudden shortfall that they are now. The problem has merely been revealed as a result of processes under stress.
experiencing the sudden shortfall that they are now.statistical forecasting is impossible. Companies are having to revert to a forecasting process where history is only a small component, and assumptions and plans about the future, are by far the biggest element – this is true demand planning.
For some businesses, these issues need a rapid solution for them just to survive. And while quick fixes are not the answer in their own right, they can become the start of a journey of improvement that is sustainable in the long term. So the benefit of exposing a raw area is that it brings in to sharp focus the need and the place to start – the symptom has revealed itself but it is also revealing the underlying problem; the one you really need to fix. So let's start from where we are; get the rapid results we need to ride out this difficult period, but also use it as a base on which to build for the future.
Organisations which have already started to focus on optimising the whole, will be better positioned to take advantage when demand improves again, bringing a reverse of the situation they have just gone through. It will be important for those companies, which have had to strip out capacity, to see the upturn coming because it will probably take six months or more for them to get back to improving output. Missing the downturn is one thing but not meeting volume on the upturn will surely just play into the hands of competitors. When it comes (next year or the one after that), the recovery will require a supply chain that is under control, flexible and responsive. It isn't too late to start, but those companies which don't react by preparing for the future now, will miss the opportunity when things start to pick up again.


text:
Understanding Group Types and Scopes
A group can be defined as a collection of accounts that are grouped together so that Administrators can assign permissions and rights to the group as a single entity. This removes the need for an Administrator to individually assign permissions and rights to each account. Therefore, while a user account is associated with an individual or entity, a group account or a group is created to simplify the administration of multiple user accounts (users). When permissions are granted to a group, all accounts that are part of that particular group are granted the permissions. Permissions actually control which actions users can perform on a network resource. Rights, on the other hand, relate to system tasks.
Windows Server 2003 provides user accounts and group accounts (of which users can be a member). User accounts are designed for individuals. Group accounts are designed to make the administration of multiple users easier.
The following entities can be added to groups:
Computer accounts
Other groups' members
The administrative tasks typically performed on groups are summarized below:
Assign permissions to groups to access shared resources. Each group member would be able to access the shared resources.
Assign rights to groups so that they can perform certain system tasks such as backing up or restoring files.
Groups are also used to distribute bulk e-mail to its members.
Group type and scope have to be specified when a new group is created. Group types and group scopes are discussed throughout the remainder of this article.
Two types of groups can be created in Active Directory. Each group type is used for a different purpose. A security group is one that is created for security purposes, while a distribution group is one created for purposes other than security purposes. Security groups are typically created to assign permissions, while distribution groups are usually created to distribute bulk e-mail to users. As one may notice, the main difference between the two groups is the manner in which each group type is used. Active Directory allows users to convert a security group into a distribution group and to convert a distribution group into a security group if the domain functional level is raised to Windows 2000 Native or above.
Security groups: A security group is a collection of users who have the same permissions to resources and the same rights to perform certain system tasks. These are the groups to which permissions are assigned so that its members can access resources. Security groups therefore remove the need for an Administrator to individually assign permissions to users. Users that need to perform certain tasks can be grouped in a security group then assigned the necessary permissions to perform these tasks. Each user that is a member of the group has the same permissions. In addition to this, each group member receives any e-mail sent to a security group. When a security group is first created, it receives an SID. It is this SID that enables permissions to be assigned to security groups – the SID can be included in a resource's DACL. An access token is created when a user logs on to the system. The access token contains the user's SID and the SID of those groups to which the user is a member of. This access token is referenced when the user attempts to access a resource. The access token is compared with the resource's DACL to determine which permissions the user should receive for the resource.
Distribution groups: Distribution groups are created to share information with a group of users through e-mail messages. Thus, a distribution group is not created for security purposes. A distribution does not obtain an SID when it is created. Distribution groups enable the same message to be simultaneously sent to its group members. Messages do not need to be individually sent to each user. Applications such as Microsoft Exchange that work with Active Directory can use distribution groups to send bulk e-mail to groups of users.
Group Scopes
The different group scopes make it possible for groups to be used differently to assign permissions for accessing resources. A group's scope defines the place in the network where the group will be used or is valid. This is the degree to which the group will be able to reach across a domain, domain tree, or forest. The group scope also determines what users can be included as group members.
In Active Directory, there are three different group scopes:
Global groups: Global groups are containers for user accounts and computers accounts in the domain. They assign permissions to objects that reside in any domain in a tree or forest. Users can include a global group in the access control list (ACL) of objects in any domain in the tree/forest. A global group can, however, only have members from the domain in which it is created. What this means is that a global group cannot include user accounts, computer accounts, and global groups from other domains.
The domain functional level set for the domain determines which members can be included in the global group.
Windows 2000 Mixed: Only user accounts and computer accounts from the domain in which the group was created can be added as group members.
Windows 2000 Native / Windows Server 2003: User accounts, computer accounts, and other global groups from the domain in which the group was created can be added as group members.
Domain Local groups: Domain local groups can have user accounts, computer accounts, global groups, and universal groups from any domain as group members. However, only domain local groups can assign permissions to local resources or to resources that reside in the domain in which the domain local group was created. This means that only domain local groups in the ACL of objects that are located in the local domain can be included.
The domain functional level set for the domain determines which members can be included in the domain local group.
Windows 2000 Mixed: User accounts, computer accounts, and global groups from any domain can be added as group members.
Windows 2000 Native / Windows Server 2003: User accounts, computer accounts, global groups, and universal groups from any domain can be added as group members. Other domain local groups from the same domain as group members can also be added.
Universal groups: Universal groups can have user accounts, computer accounts, global groups, and other universal groups from any domain in the tree or forest as members. This basically means that users can add members from any domain in the forest to a universal group. Users can use universal groups to assign permissions to access resources that are located in any domain in the forest. Universal groups are only available when the domain functional level for the domain is Windows 2000 Native or Windows Server 2003. Universal groups are not available when domains are functioning in the Windows 2000 Mixed domain functional level. Users can convert a universal group to a global group or to a domain local group if the particular universal group has no other universal group as a group member. When adding members to universal groups, it is recommended to add global groups as members and not individual users.
When groups contain other groups as members, group nesting occurs. Group nesting occurs when groups are added to other groups. Group nesting assists in reducing the number of instances that users need to assign permissions and replication traffic. As mentioned previously, the domain functional level set for the domain determines what group nesting can be implemented as summarized below:
Windows 2000 Mixed:
Global groups: User accounts and computers accounts in the same domain.
Domain local groups: User accounts, computers accounts, and global groups from any domain.
Windows 2000 native or Windows Server 2003:
Global groups: User accounts, computer accounts, and other global groups in the same domain.
Domain local groups: User accounts, computers accounts, global groups, and universal groups from any domain, and other domain local groups in the same domain.
Universal groups: User accounts, computers accounts, global groups, and universal groups from any domain.
A group's scope can be changed as well. The Active Directory Users And Computers (ADUC) console can be used to view and modify an existing group's scope. The command-line can also be used – dsget and dsmod. The rules that govern this capability are summarized below:
Domain local groups and global groups can be converted to universal groups
Universal groups can be converted to domain local groups or to global groups.
Domain local groups cannot be converted to global groups.
Global groups cannot be converted to domain local groups.
If using Windows Server 2003 Active Directory, Windows Server 2003 creates a few default security groups that assign administrative permissions to users. The default security groups are created in the Users folder in Active Directory Users And Computers (ADUC).
The default domain local groups that are created are listed below:
Cert Publishers: Members of this group can publish certificates to Active Directory.
DnsAdmins: Group members have administrative access to the DNS server service.
HelpServicesGroup: Group members can assign rights to support applications.
RAS and IAS Servers: Servers assigned to this default group can access a user's remote access properties.
TelnetClients: Group members have administrative access to Telnet Server.
The default global groups that are created are listed below:
Domain Admins: Members of the Domain Admins group have permissions to perform administrative functions on computers in the domain.
Domain Users: Group members are user accounts that are created in the domain.
Domain Computers: Group members are computer accounts that are created in the domain. This includes all workstations and servers that are part of the domain.
Domain Controllers: Group members are domain controllers of the domain.
Domain Guests: Group members are guest accounts in the domain.
Group Policy Creator: Group members can change the domain's group policy.
DnsUpdateProxy: Group members are DNS clients. Members can perform dynamic updates for clients such as DHCP servers.
The default universal groups that are created are listed below:
Enterprise Admins: Members of this group can perform administrative functions for the whole network.
Schema Admins: Members of this group can perform administrative tasks on the schema.
When formulating a strategy for setting up domain local groups and global groups, follow the guidelines listed below:
Add users that perform the same function in the organization to a global group.
Domain local groups should be created for a resource(s) that multiple users need to share.
Add any global groups that have to access a resource(s) to the appropriate domain local group.
The domain local group should be assigned with the proper permissions to the resource.
In addition to the above mentioned group scopes, another group called a local group can be created. A local group is basically used on the local computer to assign permissions to resources that are located on the computer on which the particular local group is created. Local groups are created in the local security database and are not present in Active Directory. This means that local groups cannot be created on domain controllers.
How to Create a Group
Users can use the Active Directory Users And Computers console to create a new group. After the group is created, users can set additional properties for the group and add members to the group.
To create a new group:
Click Start, Administrative Tools, and Active Directory Users And Computers.
Right click the particular domain, organizational unit, or container in which the new group will be placed, and select New then Group from the shortcut menu.
The New Object-Group dialog box opens next.
In the Group Name box, enter a name for the new group. A name as long as 64 characters can be specified.
The Group Name (Pre-Windows 2000) box is automatically populated with the first 20 characters of the group name specified.
In the Group Scope box, select one of the following options as the group scope: Domain Local, Global, or Universal.
In the Group Type box, select one of the following options as the group type: Security or Distribution.
How to Add Multiple Members to a Group
Expand the particular domain, organizational unit, or container that contains the group that members will be added to.
Locate and right click the group then select Properties from the shortcut menu.
When the Properties dialog box opens, click the Members tab.
When the Select Users, Contacts, Computers, Or Groups dialog box opens, click the Advanced button.
Click the Find Now button and select the user accounts, group accounts, or computer accounts that should be added to the particular group. In order to select multiple users, groups, or computers, simply hold down the Shift or Ctrl key.
Each account selected now appears in the Enter The Object Names To Select box.
Click OK to add the members to the group.
Click OK in the Properties dialog box for the group.
How to Manage Group Membership Individually
Double click the user, group, or computer account that will be worked with.
When the Properties dialog box opens, click the Members Of tab.
To add this particular account as a group member, click Add.
When the Select Groups dialog box opens, select the groups of which this account should be a member.
To remove the account from a group, simply click Remove.
How to Delete a Group
When it comes to deleting a group, remember the following points:
When a security group is created, it receives a unique SID. When a group is deleted, that particular group's SID is never used again, even if a group with the same name is created at a later stage.
When a group is deleted, the following are deleted:
The actual group being deleted
All permissions/rights associated with the particular group being deleted
When a group is deleted, the following are not deleted:
Any user accounts and computer accounts that are members of the particular group.
Use the steps listed below to delete a group:
Click Start, Administrative Tools, then Active Directory Users And Computers.
Expand the particular domain, organizational unit, or container that contains the group to be deleted.
Locate and right click the group then select Delete from the shortcut menu.
Click Yes to verify that that particular group should be deleted.
How to Change the Group Scope of an Existing Group
Users can change the group scope of existing groups when the domain functional level is set to Windows 2000 native or Windows Server 2003.
Expand the particular domain, organizational unit, or container that contains the group for which the group scope should be changed.
When the Properties dialog box opens, on the General tab, change the group scope in the Group Scope box to either Domain Local, Global, or Universal.
How to Change the Group Type of an Existing Group
Users can convert a group's type from being a security group to a distribution group or from being a distribution group to a security group:
Expand the particular domain, organizational unit, or container that contains the group for which the group type should be changed.
When the Properties dialog box opens, on the General tab, change the group type in Group Type box to either Security or Distribution.
How to Manage Group Scope, Type, and Membership with the Command-line
The dsget group can be used to determine and view the properties of groups in Active Directory.
To determine a group's scope, use the syntax listed below:
dsget group -scope
To determine a group's type, use the syntax listed below:
dsget group -secgrp
To determine a particular group's members, use the syntax listed below:
dsget group -members
To determine a group's membership, use the syntax listed below:
dsget group -memberof
Use dsmod group to change the properties of groups in Active Directory.
To change a group's type, use the syntax listed below:
dsmod group GroupDN [-secgrp {yes | no}]
To change or add new members to a group, use the syntax listed below:
dsmod group GroupDN -addmbr UserDN
To remove existing members from a group, use the syntax listed below:
dsmod group GroupDN -rmmbr UserDN
4.58 / 5 (12 votes)
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Rehan Miah
Thanks, Graet article that can be easily understood.
Robert babu
Thanks,This Article is quite explanatory
Thanks dude, it help me too much!
RobinP
What would be the best group setup to be able to receive emails to everyone in the group from an external source, i.e. another company or ouside user?
es una buena informacion, me sirve para mi examen de certificacion mta
Really great article. Even better than corresponding chapter of Sybex book on exam 70-294.
anirban paul
30 January, 2011 at 3:57 pm
yehh this tutorial is help so much,but needs some example for both global,domain and universal scope…..
Understanding Organizational Units
Understanding and Managing Operations Master Roles
Group Policy Terminology and Concepts
Physical Structure of Active Directory
Tree and Forest in Active Directory
Managing Active Directory Performance
Logical Structure of an Active Directory
The Global Catalog Server
Active Directory Security
Managing Recipient Objects, Address Lists, and Distribution and Administrative Groups
Active Directory Terminology and Concepts
Active Directory Operations Masters
Active Directory Security Principal Accounts
Active Directory Groups
Active Directory Objects
Global Catalog in Active Directory
Planning a Group Policy Strategy
Backing Up and Restoring Active Directory
Implementing and Managing Group Policy Objects (GPOs)
Configuring and Troubleshooting Active Directory Replication
Creating and Managing Domain Controllers
Global Catalog
Deploying Software through Group Policy
Forest and Domain Functional Levels
Publishing Resources in Active Directory
Understanding Forests and Domains
How to Maintain Active Directory
Directory Partitions
Active Directory Organizational Units
Implementing Folder Redirection with Group Policy
Replication Topology in Active Directory
Active Directory Authentication Types
Troubleshooting Active Directory Availability
Troubleshooting Group Policy
Active Directory Management Tools
How to Backup Active Directory


School of Fashion organized an Industrial and academic Visit to "NITRA", Sanjay Nagar, Ghaziabad, Uttar Pradesh on 19-01-2019. Students of 2nd and 4th semester along with faculty members Mr. Neeraj Kumar yadav & Ms. Rashika Kaushal visited the Industry.
Northern India Textile Research Association (NITRA) is set-up jointly by Govt. of India and textile industry in 1974 on a 50-acre land at Ghaziabad near national capital New Delhi. NITRA is the only ISO 9001:2000 accredited premier textile research association in the country. NITRA is recognized by the Council of Scientific and Industrial Research, Govt. of India.
The Students were received by Mr. Vivek Agarwal (Asst. Director, NITRA) and Mr. Vijay (Researcher & Jr. Scientist) walked us through their different departments and workshop to orient us with the working of the organization.
The main objective of the visit was to help students understand what goes within the textile industry, how Textile industry work so that they get the knowledge related to the Machinery and equipment's, handloom & power loom, Weaving, knitting, dyeing & printing procedure, lab testing procedure of textile and GMT techniques etc.
They understood the basic work flow of manufacturing processes in Textile Industry like spinning, weaving, knitting, physical & chemical textile testing lab & dyeing, Printing. Lab in-charge of spinning department explained the technical process in spinning from picking the cotton balls followed by Blow room, Carding, draw frame (Breaker), Draw frame (Finisher), Simplex, Open end spinning. The Spinning process was followed by the Weaving process in which students saw direct warping, drawing and weaving. Students were got some hands-on experience with shuttle looms, shuttle less loom, and use of software's for weaving process. They also learn how knitted fabrics developed on circular knitting machine. Students were also interacted with the Scientists, and Research Associates working in the Lab. They encouraged students to study well, understand the concepts of textile industry. These unique exposures provide the foundation for experimentation, inspiration, textile development, creativity, and allow the students for authentic learning experiences related to their curriculum.
It was a good learning experience for the students. They got valuable inputs regarding design, research & development, In-house collection and many other things.


text:
CY TWOMBLY 1966
From Vogue to nest: 032c activates the secret history of CY TWOMBLY by HORST P. HORST.
EMPEROR OF THE DECORATORS
A "haunting virile cologne for the man on the prowl" titled "Royalty" once appeared in the back pages of Vogue – ideal for a man like Liberace. The unwittingly burlesque ad shared a page in Vogue's November issue of 1966 with an article on American painter Cy Twombly. For Twombly, who is notoriously shy of media, and rarely sits for the camera or an interview, the Vogue story and its legacy offer a neglected biographical key, both real and imagined, which has haunted the artist since it first appeared.
The article, "Roman Classic Surprise," part of an on-going Vogue series on interior decoration, had striking full-page photographs of the artist's domestic setting in Rome shot by legendary photographer Horst P. Horst. The photos in Vogue's original editorial cast Twombly in a patrician light of old-world grandeur, and as a family man, emphasizing the artist's young son (brandishing epaulettes and a sword) and the marital bed (dressed in fur). Vermeer-like in composition, unctuous, and mellow, Horst's photos of Twombly in his palazzo apartment continued to make an impression through subsequent publications, most recently of which was nest, the late, cult magazine of interiors. In 2003, nest procured unpublished outtakes from the sitting. But the original, seemingly harmless article has garnered a serious allegation from historian Nicholas Cullinan, co-curator of Twombly's 2008 Tate retrospective. Cullinan argues that "Roman Classic Surprise," as it debuted, compromised the artist's career. Despite Vogue's unflappable name, despite the luminescent beauty of Horst's images, "Roman Classic Surprise" had, in the end, stunk up Twombly's act like cheap cologne.
Twombly's Dutch Interior (1962) backgrounds a Pop art piece by Mimmo Rotella and two female bronzes.
Horst's sidekick on the story was society chronicler Valentine "Nick" Lawford, who penned the original profile. Cambridge-educated and sometime envoy of the British Foreign Office, Lawford had a nose for royalty. He would go on to publish a 1968 anthology of assignments with Horst, Vogue's Book of Houses, Gardens, People, and author Horst's biography, naturally studded with glamorati. Shifting the focus of the traditional interior-design column, editor-in-chief Diana Vreeland had directed Lawford and Horst to subjects with the "taste and talent and originality to create a rare ambiance in their daily lives."
In the place of conformity, tact, and connoisseurship, Vogue under Vreeland wanted creativity in every room, console, and sash. Not surprisingly, Lawford tracked Twombly down to his most private precinct: his studio. Twombly spent entire days and nights there amongst loitering "middle-aged men of leisure" and artists who "borrow one-another's cigarettes and painting materials and permanently unmade beds." Taken by an atmosphere reminiscent of Jean Genet, Lawford admitted, he tacitly underscored what was louche about Twombly – Twombly whipping a canvas red with a rope, Twombly speaking softly and plaintively, Twombly out all night, all day in bed with the wife away. Naturally, these clues opened a speculative window onto the artist's personality, and conjured a specter over his most intimate relationships, not least of which was to his work.
"Roman Classic Surprise," again: In 2003, nest reprised Horst's 1966 photo essay of Cy Twombly's palazzo. "You are looking at the birth of a new style of interior decoration," the magazine wrote.
RUPTURE AND THE REPUTATION OF AN EX-AMERICAN ARTIST
If Jackson Pollock was eventually mobbed and unmanned by his appearance in Life magazine (it made and broke Pollock, Jerry Saltz has written), Twombly's early cameo in Vogue may have confused his American public. From his earliest shows in New York, critics placed Twombly in reach of Pollock's all-American, muscular "action painting," wedding the two in a historical dialogue. As if prematurely anxious about the celebrity entanglement, Twombly left the United States in 1957 to settle in Italy, one year after Pollock's death, breaking with the notion that America was the indisputable superpower of new art. American press, for the most part, responded by leaving the expat at the margins. Leo Castelli, who became Twombly's New York dealer in 1958, would periodically entice his return, pleading for the importance of the American market. On occasion, Twombly complied. But by 1964, when Twombly presented Nine Discourses on Commodus, his critical reception in the U.S. had chilled, as scholars have persistently remarked. Donald Judd, for one, famously panned the show as little more than retrograde "drips and splatters": Twombly would not succeed in art while ignoring major developments like Minimalism and Pop. As a result, Twombly's appearance in Vogue two years later could easily have been deemed an ill-timed and presumptuous comeback for an artist who had voluntarily fallen out of fashion.
Had Cy Twombly come out as a decorator?
"Should the artist become a man of the world?" asked Allan Kaprow in a 1963 essay for ArtNews, which indirectly reflects on Twombly's predicament. Artists must be responsible for their place in society, Kaprow explained, prepared to handle the consequences of promoting their work in an arts journal or a "girlie magazine." Kaprow, an iconic artist in his own right, could analyze the art world like a historian; from studying Pollock he had moved to watching Warhol and kept pace. With some irony, Kaprow witnessed a devolution: "For Leonardo Da Vinci, the artist was an intellectual; for Baudelaire, a genius; for the 1930s (as the scene shifts to the U.S.), a worker; and for the 1950s, a beat. What a fall from grace! It is said that when a man hits bottom there is only one direction to go and that is up. In one way, this has happened, for if the artist was in hell in 1946, now he is in business." Although artists were now making money, financial success was no way to turn back the clock or bootleg nobility, Kaprow warned: "The United States is a country of sophisticated mongrels and anyone pretending to the higfalootin' is marked as a nostalgic or one of those ladies who drinks her Dr. Pepper with a little finger crook'd." By broadcasting aristocratic airs for Vogue, Twombly had crossed a class line and visibly broken a sacred code: he had abandoned the proletarian role of the artist; he had forsaken his beatnik beginnings; he was even too good to be an enterprising middle-class citizen. Instead, he had claimed instantaneous pedigree, the sort enjoyed by Princess Stanislas Radziwill, Pauline de Rothschild, and Doris Duke, who all graced the "fashions in living" section before and after Twombly. To quell any doubts, Lawford reported that the artist had officially abandoned "avant-garde American discomfort," and "married into the international, intelligent, liberal, upper-bourgeois Europe." Thanks to Vogue, Twombly had resurfaced on the American scene as a lady with a "crook'd finger."
Nicholas Cullinan indicted "Roman Classic Surprise" along similar lines; but, he also suggested something worse. Twombly had not simply flared the finger of continental privilege by landing in Vogue; he let his whole hand go limp. Whereas Pollock always kept his fists in blistering evidence (think of Hans Namuth's famous footage), Twombly appeared handless in the published portraits (they're either pocketed or out of site). No doubt, the most insinuating of these was the title spread: Twombly slouched on a divan, leg propped, wearing white linen and a pouting smile, as a bust of Hadrian, the emperor of sugar daddies, looks on. Cullinan implies as much when he asserts that the Vogue pictures betrayed the "macho model established from Picasso to Pollock." Simply put, Twombly had taken on a role deemed acceptable for a gay but distasteful for a serious artist; he had come out as a decorator. This was all the more disappointing given the hope that Twombly would take up Pollock's cocksure legacy cut short.
Twombly, "a one-legged invention by Dalí." Horst's compositions picked out surrealist devices in the artist's palazzo arrangement. Electrical wire dangles next to the artist like an extrasensory scribbling.
DOORKNOBS AS ADMIRABLE AS PAINTINGS: THE ART OF THE INTERIOR
Equally distressing perhaps, Twombly made no distinction between decoration and art. He decorated with his paintings, just as he decorated with antiques, for which he seemed to have a freakish taste, such as an Empire fauteuil of swan-shaped armrests and pineapple feet. Over the years, the canvases featured in Vogue, like Triumph of Galatea (1961) and others from the period, have solicited frothy commentary. They have been called passionate and theatrical, savage and elegant, carefully rehearsed and crude as if circling around an unspoken term – in a word, camp. As Susan Sontag noted in 1964, camp is by nature hard to discuss, disturbing, complicated, and queer. Exposing camp as she did, Sontag identified it as a largely gay sensibility. Is Twombly's work from the early 1960s really camp? In as far as it debuted for a mainstream audience in Vogue, creating an equivalency between art, fashion, and furniture, Twombly's peculiar universe showed that, in a sense, "a door-knob could be as admirable as a painting" (to borrow from Sontag borrowing from Wilde). The artist himself was admitting to decorative art, a key aspect of camp, and to posturing as a "dandy in the age of mass culture."
A year after the Vogue story, Twombly altered course. He presented entirely new work in New York, which critic robert Pincus-Witten applauded for maturing beyond "decorative schema." Twombly's newfound sobriety, like in Treatise on the Veil, arguably paid tribute to the early minimalist works of Robert Rauschenberg, and if this were true, reflected the repressive powers of the art world. An intimate friend and collaborator, who accompanied Twombly on his first Italian voyage and mentored his introduction to the avant-garde, Rauschenberg was an international success by 1968. Unlike Twombly, one might say he had quickly grasped the importance of the veil: despite being gay, he would never be reprimanded (or celebrated) for a gay sensibility. By today's standards, however, is it possible that what could have been Twombly's biggest embarrassment is in fact his great tour de force? By parading across the pages of fashion, by his work and life of the early 1960s, had Twombly launched a prescient and radical kind of art?
Players on an indefinite chessboard: In the drawing room, Picasso's Head Of A Woman (1943) faces down a bust of marcus aurelius.
FROM HADRIAN'S WALLS TO KUBRICK'S 2001: NEST MAGAZINE NOTES THE TIMELESS
When, in 2003, nest reprinted photos from the sitting, Joseph Holtzman, mastermind and singular editor-in-chief for the magazine's seven-year run felt it was time to celebrate Twombly's achievement as a "great interior decorator." "Today, it sounds like the easy-listening of decorating to our ears," says Holtzman, but in 1966, it wasn't." The artist's Roman quarters were nothing less than a breakthrough, nest proposed, "the birth of a new style of interior decoration." Scavenging for treasures at the margins of memory and respectability, which often occurred around Holtzman's memorable personal library, the magazine equally shared in the breakthrough. Then managing editor Paul B. Franklin, who was in charge of research, noticed the Horst-Twombly connection and brought it to Holtzman's attention. Franklin explains: "when dealing with old film, Joseph always desired to locate what he frequently termed 'the mother lode' – the complete set of images from the photo shoot in question." Indeed, Horst had shot ten times as many photographs as appeared in Vogue and until now the world had seen only a fraction. By publishing a suite of out-takes from the original shoot, nest effectively rewrote history in print.
First, Holtzman selected a series of photos that would evoke the palazzo's architectural sequence, an enfilade of rooms, granting deep perspectives along walls of windows. Within this vast setting, Holtzman says, ponderous statuary and "wacky" antiques defined Twombly's style. The furniture was rough and even rustic in treatment, stripped down to muslin, whitewashed, and gilded in pale metals as if responding to the palazzo's white plastered walls. In their introduction to the story, nest remarked that the dominant chord was that of pallor. In the 1960s, the all-white interior became increasingly prevalent, a wish perhaps for the sort of weightless, diaphanous environments exemplified by the 1968 epic 2001: A Space Odyssey, directed by Stanley Kubrick. The movie was being advertised as early as 1966 in the pages of Vogue through accessories designed for the film. Twombly's coup was to imply Kubrick's distant future, located somewhere at the outer reach of history, within the setting of classical Rome. In the artist's palazzo, the future and the past merge, suspended together in an eternal present. On gridded floors of syncopated tiles, terracotta, black and cream, Twombly's motley furnishings look recently deposited, about to be moved, players on an indefinite chessboard. The game looks like it could last forever, moving no faster than airborne dust perpetually circulating. Lawford had originally remarked: "The apartment is indescribable in terms of decoration, if only because its contents are involved in a continuous process of removal and replacement." By publishing out-takes, nest spun the game for another round, incorporating the Vogue photos in the same process of removal and replacement initiated by Twombly. Printed and reprinted, still present, the pictures themselves are nowhere in time: are they dated 1966, 2003, or 2010?
Horst. P. Horst, who looked through the camera in 1966, can be blamed for the haunting. Somewhat bored with fashion by the late 1950s, he confided, it was Vreeland who had revitalized his drive with her interest for interiors. Horst took Vreeland's mandate of capturing "the way they live" seriously and avoided rearranging furniture, altering the lighting or styling a shoot. Though Horst once exclaimed that "you cannot photograph someone with a preconceived idea," he aimed for something other than simple naturalness. At the age of 24, and not yet a photographer, he started his charmed ascent in the Paris of Gertrude Stein, Picasso, Coco Channel, Julien Green, Dalí, and others, who would eventually sit for his camera. None other than Le Corbusier employed Horst during his first year in Paris after receiving a written request from the German-born design student. Horst's time was spent on an apartment for the Mexican millionaire Don Carlos de Beistegui. Published in Vogue in 1932, the apartment is considered a prototype of the surrealist interior, juxtaposing modernist white space and fanciful antiques – in this case, encrusted Empire furniture not unlike Twombly's. Horst's early encounter with surrealism need not explain his sensibility for the fantastic and strange, however. It is a leitmotiv running through much of his work, including his photos of Twombly. The sense of frozen time, the totemic presence of things, the rhyme of foreground and horizon, the conflation of everyday objects with the body, substituting parts and appendages, describe not only surrealist devices, but also many details in Horst's pictures – Twombly in a black cape looks like a one-legged invention by Dalí.
Recently deposited: an imperious Nero and Gerhard Richter's Frau Marlow (1964) share the floor space.
HORST'S AUTOMATIC PHOTOGRAPHY AND TWOMBLY UNLOCKED
In Vogue, "Roman Classic Surprise" opened with a whimsical picture of a marble bust beneath the halo of a large umbrella, a dead-ringer for Surrealist composition. Was this Horst's or Twombly's doing? Historians have linked Twombly's painterly script to Surrealism through the practice of automatic writing, but whether or not the artist and photographer shared this interest, the synergy they project seems well matched, like two sides of a coin. An avowed fan of Twombly's work, Paul B. Franklin believes "the Horst-Twombly connection in Vogue was the meeting of two distinct, and distinctly different, but equally captivating aesthetic worlds: the young rebel yet chic painter and the impeccably elegant, if older, photographer-esthete." And for nest, Franklin offers, the synergy was not only cultural but also personal; both men had been "romantically involved with other men – Twombly with Rauschenberg in the early 1950s, according to the research of art historian Jonathan Katz, and Horst with Lawford at the time of the shoot." From behind the camera, Horst could completely empathize with his subject, the man in full. The resonance of this historical sitting, the license between art and fashion, painting and photography, gender and sexuality, past and present, evokes a cosmopolitan freedom untouched by the hyperbolic pressures of today's tightly controlled marketplace. Speaking in an interview in 1982, Horst observed how the grand creative experiment immortalized by the 1930s had all but disappeared; painters, intellectuals, and fashion designers were no longer "all friends." If nostalgia seeps from the photos, it is for the world Horst came to know in Paris, of which Twombly may have been a perfect talisman.
Or was Horst's Vogue essay the remaking of him as a future post-minimalist mastermind?
Horst's service to Twombly, though relegated by critics to a white elephant, is much more. The gay, decorative, and camp have garnered widespread legitimacy in art circles today, and whether these terms accurately describe Twombly's œuvre or not, it is impossible to neglect them. At the very least, the photos continue to pose questions that are entirely relevant to today's post-minimalist paradigm. They show that Twombly's practice is spatial, proto-installation. His paintings claim the rooms they inhabit. They draw a cognitive frame around the ambient space. With the early "Panorama" pieces executed in Rauschenberg's Fulton Street studio in New York, Twombly applied large swaths of canvas directly to the wall; it was the wall he then indiscriminately covered in scribbles, the canvas an incidental surface to be later cut away and detached as the work. The paintings in this way are fragments of rooms Twombly has passed through, which is all the more evident when his paintings are considered together with his photographs. Often supplementary records of the paintings in their native space, in the case of the Fulton Street canvases, they are the principal record. Twombly's photos from the last decade continue this practice, and some strongly echo those by Horst, as if Twombly has picked up the camera, pondering what the photographer had seen, mimicking his gestures, replaying the shoot, composing the pictures all over again.
But by far the greatest compliment to Horst's images may be an essay entitled "The Wisdom of Art," written by french literary theorist roland Barthes for Twombly's 1979 retrospective at the Whitney Museum of American Art. It is still considered one of the most illuminating writings on Twombly. Describing Twombly's airy composition, Barthes commented that it "allows one to breathe better." It surrenders openly to the viewer's imagination. "Basically, Twombly's paintings are big mediterranean rooms, hot and luminous, with their elements looking lost and which the mind wants to populate," Barthes rhapsodized. In the context of his essay, this simple image, and its evocation of life and practice, unlocks Twombly's magic.
And if this image is not entirely indebted to Horst, it takes on a riveting palpability thanks to his photos. Needless to say, Barthes was a cosmopolitan thinker, fascinated by the press and by fashion; he knew better than most how to penetrate a story like "Roman Classic Surprise," and not get hung-up on the Emperor's new clothes.
Twombly's wife Tatiana stretches out in front of Hyperion (To Keats) (1962) while the artist poses in a European mode. Had Twombly crossed a class line and abandoned the proletarian role of the artist?
By PIERRE ALEXANDRE DE LOOZ
HYDRA SCHOOL PROJECTS, June 17 – September 18, 2011
Sublime Futurism: ITALO ZUCCHELLI
Happiness may be for the simple minded, but optimism, the American way, has never looked as smart as it does in the hands of ITALO ZUCCHELLI. Six year creative director for CALVIN KLEIN Men's collection, Zucchelli is known for grafting the infallible promise of technology – the 21st century's cultural hope – to the fiber of masculine elegance, propelling formal wear light years ahead of sportswear and captivating our futurist imagination in the process. With the silent accuracy of an atomic clock, he is engineering the American man for a new world order, the cool self-realized citizen of emerging global entropy. More August 22, 2012
FRANCESCO VEZZOLI: Plastic, Saturday Night, Milan
The artist FRANCESCO VEZZOLI recently had an epiphany. It was not the result of a spiritual journey or the discovery of a new author – Vezzoli had his revelation at PLASTIC, a disco heaven in Milan where the rules of club culture are upended and renewed. When he told us that the legendary institution was on the verge of closing, we knew what needed to be done: a series of embroidered record covers, dedicated to the Plastic Playlist, by Vezzoli for 032c. In addition, Carlo Antonelli – Editor-in-Chief at Rolling Stone Italy and film producer – sits down with the artist for a conversation that reveals the alchemical function of the nightclub: a place for dancing and discourse, now as much as ever.More July 13, 2011