text:
Jason Derulo is Going Country with an Unknown Country Artist
Credits: Rick Diamond
The latest pop and R&B artist to catch what he calls the country bug, Jason Derulo recently told TMZ that he's working on a country music project.
Pop Artist, Jason Derulo confirmed the news in an interview when he said that his crossover project will include a mysterious country collaborator. "I'm doing a country project. I can't state exactly what it is exactly yet," he says, adding, "I'm excited about it, because I do love country music. I just won my first country music award, and I got the buzz, man. I got the buzz, so I'm doing a bigger project."
In fact, Jason Derulo is not new to country. He won the CMT Music Award for CMT Performance of the Year in 2017 for "Want to Want Me" during his collaboration with Luke Bryan on CMT Crossroads. He and Bryan also had another joint performance during the CMT Awards, showcasing Derulo's "Strip It Down." And then the pair teamed up with Florida Georgia Line for a remix of "This is How We Role." Furthermore, Derulo and Florida Greorgia line connected with Hank Williams Jr. for a new version of Monday Night Football theme song.
Derulo wrote songs for a lot of artists like Sean Kingston, Lil Wayne and Diddy before he launched his solo career. He earned a record deal by winning Showtime at the Apolo in 2006. He released his debut album single in 2009, "Whacha Say," hitting the No.1 with the song. He has 7 platinum singles and sell over 30 million singles. He has previously collaborated with Jennifer Lopez, 2 Chainz, Demi Lovato and more.
So are we going to see him with Florida Georgia Line, Luke Bryan or Bocephus? However, the real question is, will the country nation love it or hate it? Let us know what you think by leaving a comment below. Again, don't forget to share this to other country fans.
country artists, Florida Georgia Line
"Cruise" Puts Florida Georgia Line on the Country Music Map
Country Artists Who Served the Country
Country Music Bids Farewell to Songwriter Kenny Beard
Rare Clip of Ferlin Husky and Patsy Cline Singing "Let It Snow"
Alan Jackson's "Here in the Real World" is Real Talk
When Elvis Presley Sang "Blue Christmas" for the Last Time


The program and the presentations from the ERCIM members are now available.
The aim of the FMICS workshops is to provide a forum for researchers who are interested in the development and application of formal methods in industry. In particular, these workshops are intended to bring together scientists who are active in the area of formal methods and interested in exchanging their experiences in the industrial usage of these methods. These workshops also strive to promote research and development for the improvement of formal methods and tools for industrial applications.
Previous workshops of the ERCIM working group on Formal Methods for Industrial Critical Systems were held in Oxford (March 1996), Cesena (July 1997), Amsterdam (May 1998), Trento (July 1999), Berlin (April 2000), Paris (July 2001), and Malaga (July 2002).
The eighth International Workshop on Formal Methods for Industrial Critical Systems (FMICS 03) will take place in Trondheim June 5-7, 2003, in co-location with the ERCIM meeting.
The workshop fee is 150 euro and has to be payed either cash on arrival or by invoice (in which case you should contact the local organisation).
Please register for the workshop via the web-page of the local organisation: http://www.ime.ntnu.no/ercim/. Do not forget to mark "FMICS" as the workshop you are visiting.
The workshop takes place in Røros, a small village close to Trondheim.
Papers submitted to FMICS 03 must be in English and present original research that is unpublished and not submitted for publication elsewhere.
The proceedings of the workshop will be published physically by the University of Trondheim and electronically in elseviers ENTCS electronic notes, volume 80. High quality papers sent to FMICS are candidate for publication in a special issue of the journal for Software Tools for Technology Transfer (STTT).
Papers submitted to FMICS 03 should be between 10 and 16 pages, with a clear abstract and list of keywords. Please use the ENTCS styles available at http://www.math.tulane.edu/~entcs and read the author instructions on that page.
Papers should be submitted by e-mail to fmics03@ituniv.se. The format should be either standard PostScript (printable by any PostScript device) or PDF (Adobe's Portable Document Format). In both cases, one should use only vectorial ("Type 1") fonts and not bitmap fonts.
In case of acceptance of a paper at least one author must present the contribution at the workshop, otherwise it will be removed from the list of publications.
Since 1998, six special issues related to FMICS have been published (or will appear) in prestigious journals such as Formal Aspects of Computing, Formal Methods in System Design, and Science of Computer Programming.
The FMICS workshop is supported by EASST. This organisation will provide a certificate for the best paper of the workshop.


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package com.wegas.core.i18n.tools;

import jdk.nashorn.api.tree.ObjectLiteralTree;

/**
 * Indicated the requested translatableContent exists but there is no translation for the requested
 * language.
 *
 * @author maxence
 */
public class MissingLangageCode extends FishedTranslation {

    /**
     * Start index of the "translations" value. It means the opening brace index
     */
    private int translationsStartPosition;
    /**
     * End index of the "translations" value. It means the closing brace index
     */
    private int translationsEndPosition;

    /**
     * Build from an ObjectLiteralTree which represents the "translations" value
     *
     * @param translations
     */
    public MissingLangageCode(ObjectLiteralTree translations) {
        this.translationsStartPosition = (int) translations.getStartPosition();
        this.translationsEndPosition = (int) translations.getEndPosition();
    }

    /**
     * The the "translations" opening brace index of the translations value
     *
     * @return index of the opening brace
     */
    public int getTranslationsStartPosition() {
        return translationsStartPosition;
    }

    /**
     * get the index of the closing brace of the translations value
     *
     * @return index of the closing brace
     */
    public int getTranslationsEndPosition() {
        return translationsEndPosition;
    }

    /**
     * @return "Not Translated Lang: translations location: start:end"
     */
    @Override
    public String toString() {
        return "Not Translated Lang: translations location: " + translationsStartPosition + ":" + translationsEndPosition;
    }
}

redpajama_set_name: RedPajamaGithub


text:
Science and Math Textbooks STEM Educators and Teaching STEM Academic Advising STEM Career Guidance
Science and Math Textbooks
STEM Educators and Teaching
STEM Academic Advising
STEM Career Guidance
Science Education and Careers
Difference between good schools and others
Thread starter Nick R
Nick R
difference between "good" schools and others
Hello, I always assumed that for undergraduate studies, schools typically use the same books. For example, it seems from these forums an awful lot of schools use Griffiths for E&M.
Because of this I figured the knowledge one has when graduating is probably comparable between schools (i.e. a good student at some state school should generally be comparable to a good student from a "good" school like caltech).
Can anyone confirm or deny this? I'm most of the way though my studies (a year left or maybe a bit more) with a 3.9 gpa, but I am slightly worried that maybe I wouldn't be prepared to survive in graduate school if I go to a "good school". I do a lot of extra work that I don't really need to do to get 'A', but it sure seems like more is expected from students while I'm watching the opencourseware lectures from MIT, not that they're necessarily over my head.
Also, a separate question, I've looked at a site where students post where they've applied and where they've gotten accepted, and include their GPAs, test scores and other information relevant to their applications. It seems like getting into the top schools is virtually impossible? Lots of these guys have like a 3.99 gpa with high test scores and 3 or 4 years of undergraduate research experience and have published and they still get turned down by most of the top schools... It doesn't seem like a 3.9 and high test scores alone could get me in, especially because I go to a branch of a state university (or do they distinguish between which branch you came from?) Although I do have 2 majors perhaps that would help, or maybe not.
LewisEE
I got accepted to a top tier school and I went to a middle tier school for undergrad. My GPA was not 3.9, and my GRE Quantitative was not 800. However, I had a couple of years of great research experience which gave me a very nice recommendation letter, plenty to pack my CV with, and a very clear vision of where I wanted to go in my field.
So, from personal experience, I can say that the criteria you listed is not always necessary. What are your majors, btw?
Nick R said:
The undergrad and graduate experience at top universities and most universities are totally different. Youre not going be able to experience anything like undergrad as a graduate because the goals of your education have shifted and there is not any need to sort you out based on grades anymore. No top graduate program has more students from their undergrad program than other university students therefore they are taking students from other universities including state schools as long as PGRE is right.
physics girl phd
I also went to a top 25 grad school (top 5 or above in certain fields) with a typical undergrad prep -- in my case from a small Catholic school (3.98 GPA, strong research, two strong minors in chem and math, OK GRE but not stellar... but also I had post-BS work experience in national labs and in teaching that this particular university often favors in its admission process -- and master's degrees in optics and education).
Note that I generally kicked butt in my core graduate coursework and I had just your usual prep (including Griffith's E&M and Quantum)... so don't worry about that if you get in (just work your butt off). I even got some perfect scores on E&M tests that shocked my instructor (known for being difficult) so much that he apparently got word around to other faculty (who would come up to me at department holiday and end-of-year parties to congratulate me).
Then after core classes (and when you get selected to join a group, which CAN depend on prior experience and grades depending on how much the prof looks into your records), it's all about what you do in the lab (if you're an experimentalist) or I suppose at the computer (if you're in theory). That's a combo of brilliance, work ethics, and pure luck.
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redpajama_set_name: RedPajamaCommonCrawl


Someone can report the death on the phone -- but don't let it be a minor.
Officials at the Center for Consumer Information & Insurance Oversight (CCIIO) are trying to flesh out the details of their consumer help process.
One transaction that's now, inevitably, come up: Questions about what to do when consumers who have enrolled in quality health plans (QHPs) through the Patient Protection and Affordable Care Act (PPACA) public exchange system die.
CCIIO — an arm of the Centers for Medicare & Medicaid Services (CMS), which is, in turn, an arm of the U.S. Department of Health and Human Services (HHS) — has posted a batch of guidance for health insurers on what families or others should do when HHS exchange QHP coverage terminates because the life of the coverage holder terminates.
Officials note that a regulation requires HHS exchange QHP coverage to end on the enrollee's date of death. Once concern is that any household members who get their coverage through an "initial application filer" who has died will have to find new coverage.
So, what should an insurer, agent or broker do when they hear about enrollees who have died?
Here are three do's and don'ts from the CCIIO guidance.
1. DO tell consumers that they can report enrollee deaths through the HealthCare.gov accounts of the enrollees who have died, or call the exchange call center — but that any callers must be at least 18 years old.
Children cannot call the HHS exchange call center to tell the exchange managers that an enrollee has died.
2. DON'T tell consumers who are unable to get into a dead exchange enrollee's HealthCare.gov account that they are out of luck.
The consumers will be able to report the enrollee's death. They will simply have to start the process through the call center, rather than online. A caller who meets the HHS definition of an "application filer" can update the application of the remaining members of the household if the deceased was the initial application filer.
3. DO warn consumers that, if they are not the application filers, and are not included in a dead enrollee's initial exchange application, they will have to provide documentation of the enrollee's death.
Documentation could include a death certificate, an obituary, a power of attorney, a proof of executor, or proof of estate.
The documentation or an attached cover note should provide the full name of the dead enrollee; the date of birth of the dead enrollee; the HHS exchange application ID, if known; the Social Security of the dead enrollee; and contact information for the individual submitting the documentation.


Chrissie Hodges and Kat Atwell are both mental health advocates and speakers on their lived experience with mental illness.
The podcast 'Two Flew Over the Cuckoo's Nest' will address topics surrounding mental health, stigma reduction of mental illness, and discussions of lived experience with mental illness.
Being a guest on a radio show can definitely create feelings of nervousness---even for myself as the host sometimes!! One of the things I have found to happen in the studio is that individuals will not be able to let down their guard at first and as the interview gets underway, they start to become more relaxed and comfortable in the setting. And then after the show is over, we usually have some good laughs and some incredible conversations! The 'winding down' time is so enjoyable for myself and for my guest/s and it is during that time that their personalities start to shine.
If you become a patron of The Stigma of Mental Illness Radio, you will have access to these fun, often very funny, and insightful 'after the show' sessions! This will give you the opportunity to get to know the guests---as well as yours truly---on a different and most times hilarious level.
Thank you again for your support---and hope you enjoy the bonus of the 'after the show' sessions!
As a patron of $3 per show or more, you will have access to the 'after the show' sessions where myself, my producer, and my weekly guests wind down, chat it up, and let loose as well as a very heartfelt THANK YOU during one of my shows!
Your pledge is so very generous and it shows that you are committed and excited about the opportunity to eliminate stigma and support this incredible movement of better mental health! It would be an honor for me to be able to let my listeners know that you are a supporter and a great human being!!
'The Stigma of Mental Illness' Radio would like to be able to give back to the mental health community after operation costs are covered. Each month we would like to highlight an organization who works with individuals with mental illness and/or who are doing work to eliminate stigma surrounding mental illness and give a percentage of our donations to them. As a patron, we value your input as well! We will want to have your suggestions of who and why we should donate to the organzation of your choice in the mental health field. If your organization is highlighted that month, we will highlight you as a patron and why it is you are dedicated to eliminating stigma.


The second annual Sci-Fest L.A. is in progress and several Star Trek actors are taking part in this year's plays.
The Trek actors appearing will include Walter Koenig, Nazneen Contractor (Star Trek Into Darkness), and Tucker Smallwood (Star Trek: Enterprise).
The plays will take place at the Acme Theater at 135 N. La Brea Avenue in Los Angeles. Tickets cost $20-25 (online) or $25-30 (in person). For more information, head to the link located here.


We've all been there. It's so easy to get carried away by the promise of a clean slate and jump into the new year with a running start … just to burn out by February. Whether you are hoping to liven up and organize your house, get healthy, save money or find out something new, the key to success is in your own approach.
Instead of creating a long list of settlements on January 1 and leaving it at that, take it a few steps farther. From high-tech solutions like accomplishing your aims and receiving mobile reminders, to refreshingly low-tech methods like resolution charts and sticky notes, then here are a plethora of suggestions to make maintaining your settlements as simple as possible. Happy new year! Let us make this the best one yet.
1. Keep a resolutions chart. This way is old school, but because Gretchen Rubin swears by it into her popular book The Happiness Project, I'm convinced it's worth a shot. The concept is to hold yourself accountable daily through the practice of checking boxes at a graph — low tech but effective.
2. Utilize the 10-minute rule. Resolutions have this funny way of overwhelming us before we even begin. Instead of searching for large chunks of time to dedicate to your goal, take a few minutes today and list as many resolution-related jobs because you can think of that can be accomplished within 10 minutes or less. Making a phone call, checking a website, sending an email and doing a few sets of crunches all would fit in that time frame.
3. Make it something you love. Why must we always make resolutions which we dread? Instead of (or in addition to) the usual "eat healthy" and "exercise more," why not include something you are really aching to do but never make time for? Make it a resolution to reduce and arrange more flowers from the garden, browse one fun novel each month or throw more parties.
4. Establish mobile reminders. Most web-based calendars, such as Google Calendar, allow you to set up recurring events with email or text reminders, making those trips to the gym a bit harder to "forget" Or, if optimum health is your goal, try My Healthy Habits, a free program for your own iPhone.
5. Break it into measures. If your resolution is a sizable undertaking, like organizing your house from top to base, it would be wise to break it down into baby steps. Try mapping out a demanding schedule for the year in advance, covering one part of your goal each month — bedrooms in January, living room in February and so on.
6. Produce visual reminders. Taping up notes and placing essential tools at which you won't miss them might help, particularly when you are first trying to adopt a new custom. As an example, if you would like to start a no-shoes policy in your home, consider keeping a set of slippers close to the doorway along with a bench and boot tray at hand for leaving outdoor shoes behind.
7. Join a group. The social setting and company time commitment make joining a set a winning approach for nearly any resolution. Can't find a set that meets your needs? Why don't you survey your friends and see if anybody is interested in starting one? Crafting, interior layout, hiking — the sky is your limit.
8. Make it automatic. Technology can be your friend when it comes to remembering daily customs. Trying to slash power bills this season? Install a thermostat you can control through the gadget itself or through your smartphone. Want to save cash for that designer seat you've got your eye on? Have money mechanically deposited into an earmarked savings accounts.
9. Allow it to be pleasant. Working out is more appealing when you're able to lace up cute new sneakers, and keeping up with all the weeding could be assisted along with good tools and a tasty smelling bar of gardener's soap for cleaning up afterward. Go on and treat yourself!
10. Garner support from nearest and dearest. Having psychological support from the significant people in your life can make or break your resolve. From providing you gentle nudges and reminders (kids are surprisingly good at this), to celebrating with you once you've reached a goal, sharing your aims with supportive relatives and friends can only assist. However, don't bother withdrawing support from people you know tend to be judgmental — you don't require that negativity.
11. Restrict yourself to one goal. Even if you have many targets you would like to undertake this season, if you can narrow down it just 1 to focus on first, your odds of succeeding will be a lot higher. Multitasking is hard on the best of days, and trying to maintain too many settlements is bound to result in a ball dropped somewhere. Instead, opt to focus on laser-like precision on one thing — and be sure to reward yourself amply once you succeed!
Inform us What's worked or not worked for you in terms of keeping settlements in the past? If you are making resolutions for 2013, what are you going to try out this season?


1. Cook first the ham and hotdog.
4. For the bear effect. Decorate the bun. Cut the ends of the hotdog and insert each with a toothpick in the bun. Put raisins for the eyes and nose.
5. Make a smile for the bear using cheez whiz and enjoy munching!


Liftopia partners directly with ski resorts, including Breckenridge, Keystone, Arapahoe Basin, Vail, and Copper Mountain to bring you lift ticket deals you won't find anywhere else. Order online and save up to 80%!
Liftopia's mission is to help people spend more time doing the activities they love by helping partners run their businesses more effectively. The Liftopia Platform, a cloud-based commerce solution, makes it easy for resorts to encourage more guest visits and increase revenue by offering lift tickets and ski passes at optimized prices on their websites and on Liftopia.com. Millions of skiers, riders, and outdoor enthusiasts turn to Liftopia.com to purchase lift tickets and ski passes at a great value for over 250 resorts across North America. Whether you are interested in hitting the terrain park at Copper Mountain or Snowshoe Mountain, snowboarding at Mount Snow or Jay Peak, skiing at Killington or Okemo, soaking in the views at Brighton or Grand Targhee or enjoying aprs-ski at Sun Valley, Arapahoe Basin or Blue Mountain, Liftopia.com helps you buy in advance, save, and spend more days on the mountain.
If Liftopia does not have your discount lift tickets, perhaps Get Ski Tickets does.
If youve come looking for discount lift tickets, then youve come to the right place! We are your go-to-source for deals and discounts on lift tickets at ski resorts across North America. We partner directly with ski resorts in order to provide you with steep and deep savings! That's our goal, plain and simple.
We are an online marketplace where skiers/riders have access to purchase discounted lift tickets, lessons, rentals, group lift tickets and season passes. We are able to offer these discounts to our guests through the terms and conditions of the ski resorts weve partnered with. All purchases must be made in advance through GetSkiTickets.com and all purchases are date specific. Our web site is designed for the skiers/riders who know the specific dates they will be traveling and skiing/riding.
Copyright © 2019 l www.snowflakebase.com. All rights reserved.


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Home » Website » Automobiles » Volvo May Stop Selling New Diesel Cars In India By 2024
Volvo May Stop Selling New Diesel Cars In India By 2024
The Swedish manufacturer predicts the death of diesel, bets big on hybrid tech followed by electric
November 23, 2018 00:00 IST Volvo May Stop Selling New Diesel Cars In India By 2024
All new Volvo cars will feature electrification of powertrains from 2019 onwards
Hopes to phase out sales of all diesel variants in India over the next five years
Nine out 10 Volvo cars currently on sale in India are only available with a diesel engine
Four new plug-in hybrid models to be launched over the next three years
Volvo Cars intends to lead the charge for electrified mobility solutions and in 2017, it announced that every new model from 2019 onwards will include some manner of electric propulsion. Now, the Swedish carmaker has stated that India will be part of their global electrification plan and as such Volvo will be launching new plug-in hybrid models.
Volvo's plan is based on an expectation that the use of diesel engines for passenger vehicles will continue to be curbed by policy changes and buyer awareness. As such, their consumers are likely to be willing to switch from diesel to petrol and PHEV powertrains in the coming years. The current estimate is that within the next five years, Volvo Cars will be able to stop selling diesel variants in India and phase out the its 2.0-litre turbo-diesel engine from all its cars.
Current Volvo cars are available with a choice of petrol, diesel or hybrid powertrains across the world. In India, however, out of all the 10 models on sale, nine of them are offered with diesel engines and the XC90 Excellence is the only plug-in hybrid model in the lineup. In fact, it's the only PHEV on sale in India at the moment.
Furthermore, this would imply that any new Volvo car is unlikely to get a diesel engine. The new S60 is not offered with a diesel engine in any global market. For Volvo, it is the first product to not feature a diesel engine. Volvo already offers PHEV variants of the models currently on sale in India, like the XC60 and the S90, in other global markets. These hybrid variants are expected to be brought to our shores in a phased manner, possibly with some level of localised assembly as well.
Source: cardekho.com
India Superbike Festival To Be Held From December 7-9
Automobiles	Cars	Volvo	Volvo XC90	Volvo XC60	Volvo S90	Automobiles
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Linton says current St. Clair council lacks connection with community
Community Content.
Posted October 12, 2018 : Community Content.
Like his campaign slogan 'Ed for Mayor', St. Clair Township candidate Ed Linton likes taking a direct approach.
"I have knowledge and experience," the Courtright resident says. "I meet problems head on and in person. I am a leader."
A boilermaker by trade, currently working at Imperial Oil, Linton's work includes serving on various health and safety committees. Linton, a former volunteer firefighter and first aid instructor, has also served on a local roads committee, as well as being a director for two major political parties
Linton thinks the number one issue facing St. Clair is complacency and it's one of the reasons the political newcomer has thrown his hat in the ring.
"There's a lack of connection with the community," Linton says. "With these changing times, we need fresh ideas, more open communication and new leadership."
He says he know how to build consensus. "I'm not afraid of scrutiny," he explains.
The lack of high-speed Internet in St. Clair is a problem, Linton notes, even though it's not the municipality's job to provide the service. "The current council has tried," he says, "but we have to keep looking.
"Maybe there's an opportunity with new technologies," he says, adding the municipality may have to come up with "financial encouragement."
The aging Moore Sports Complex and golf clubhouse also need a major investment, he adds, and this may involve getting input from residents and sports groups to see what they want. He favours revamping over rebuilding, but if a rebuild is necessary, Calling the township a "beautiful and amazing place…We can work hard all week and hunt and fish in our time off, or we can walk the river trail and enjoy life," he says.
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Women stir cultural melting pot with art on COVID-19 Pages digital display
Amanda Sieradzki
Council on Culture & Arts
"I've always wanted to use the past and make present statements," says artist and architect LaVerne Wells-Bowie.
Locked up in her home during quarantine, Wells-Bowie was in the midst of an artistic block. Typically she would be traveling internationally and collecting vernacular art pieces to adorn her studio space. She is moved by textures and three-dimensional work, and typically uses found materials.
More:Hooray for Art Day: Artists clock in to continue school tradition
More:Artwork by Florida middle schoolers on display for annual Art in the Capitol contest
During the lockdown, she decided to rummage through old boxes of textiles and prints she had at home, searching for inspiration. That's when she re-discovered her fabric prints of blues singer and Golden Age of Jazz icon, Bessie Smith. She re-imagined these fabrics into cameos and created "Cameo for a Crown Jewel" and "Cameo for a Poor Man's Blues."
Both pieces examine the impact of Black women on culture and are part of the virtual COVID-19 Pages exhibition at the Anderson Brickler Gallery (ABG). ABG partnered with the Wells International Foundation to feature artists from around the world, including five local Tallahassee artists, Wells-Bowie, Candace Allen, Katie Clark, Carucha Bowles and Mary Proctor.
The exhibit launched on International Women's Day and is available for viewing online.
For Wells-Bowie, the exhibit was an opportunity to reflect on women's experiences across the globe during this pandemic, and how each artist coexists in an era of "women being able to name their rights and sorrows."
"This period of time has not only given us solitude, it's given us a bridge to each other through the use of digital media," says Wells-Bowie. "It is nice to see what people in other parts of the world and the U.S. have done in practicing their craft as an outlet or a way of understanding and expressing this time in history and moment in their lives."
More:Revealed: The 25 Women You Need to Know and 5 Young Women to Watch for 2021
Wells-Bowie's portfolio of art and architecture makes a case for this kind of connection. She terms her research as working towards a "spatial resilience." Her work has been supported by awards from the National Endowment for the Humanities and National Endowment for the Arts, and as a recipient of the Fulbright and McKnight Fellowships.
Wells-Bowie is a recently retired senior architecture professor at Florida A&M University where she worked for 30 years. Her research brought students to different geographic locations, such as the Gullah Sea Islands, and used them as laboratories to investigate the connections between environment, culture and community.
"I'd have students start projects by making art because art can be so viscerally rewarding and you can communicate personal experience through artistic manipulations and that encourage self-awareness," says Wells-Bowie. "It introduces a person to themselves. In turn the student cultivates new ways of understanding and communicating with others unlike themselves. Doing that can also introduce a community to itself by lifting them up to understand the historic and ingenious significance of their architecture."
Specifically, Wells-Bowie uses the example of a shotgun house as a quintessential marriage between African and European architecture and the larger implications that has had on culture. The bilateral symmetry of the Georgian house with one window on each side of the front door also resembles bilateral hut dwellings.
Wells-Bowie would teach her students how enslaved African builders innovated porches and porticos as passive air conditioning systems given their experience in hot, humid climates. She would then ask students to explore the dynamics of this kind of cross-cultural conversation by finding the "deep root" of these artistic and architectural interventions.
"Nothing belongs to just one culture," says Wells-Bowie. "People didn't bring over patterns or drawings or pieces of architecture, but they didn't bring over jazz either. As the saying goes, drums have been our lives for thousands of years. Culture is not always tangible."
Wells-Bowie seeks to capture culture in her constructed "assemblages." She worked in textiles for 14 years before going back to school for a graduate degree in architecture. Her fabric printing business silk-screened bolts of fabric with designs based on African folktales, stories and interpretations. However, she wanted her fabrics to live beyond the home furnishing items they would eventually become.
Present in her cameos is that same desire to make pieces that would be used for more than decoration. The oval jewelry pieces have been used to capture the silhouettes of royalty. Their history renders Wells-Bowie's poignant statement pieces a commentary on Bessie Smith's legacy and the impact she continue to have on music and culture.
Smith's face is printed on fabric that is overlayed with her lyrics. They ask "Now the war is over, all man must live same as you, if it wasn't for the poor man, Mister Rich Man what would you do?" While Smith was singing about the hardships of the 1930s Depression Era, Wells-Bowie sees many similarities to today's pandemic-induced paradigm shifts.
"A cameo is a piece of jewelry, but it's also a moment in time," says Wells-Bowie. "At this point, we're having a moment in time, particularly as black women. I'm really curious about how this time will be remembered."
Amanda Sieradzki is the feature writer for the Council on Culture & Arts. COCA is the capital area's umbrella agency for arts and culture (www.tallahasseearts.org).
Never miss a story: Subscribe to the Tallahassee Democrat using the link at the top of the page.
What: COVID-19 Pages Art Exhibition
When: Multiple Events
Where: Online
Contact: For more information, visit https://wellsinternationalfoundation.org/covid-19-pages-exhibit/.


The Back Bay is an officially recognized neighborhood of Boston, Massachusetts. It is most famous for its rows of Victorian brownstone homes — considered one of the best preserved examples of 19th-century urban design in the United States — as well as numerous architecturally significant individual buildings, and cultural institutions such as the Boston Public Library. It is also a fashionable shopping destination and home to some of Boston's tallest office buildings, the Hynes Convention Center, and numerous major hotels.
Fenway–Kenmore is an officially recognized neighborhood of Boston, Massachusetts. While it is considered one neighborhood for administrative purposes, it is composed of numerous distinct sections (East Fenway, West Fenway, Audubon Circle, Kenmore Square) that, in casual conversation, are almost always referred to as "the Fenway," "Kenmore Square," or "Kenmore." Furthermore, the Fenway neighborhood is divided into two sub-neighborhoods commonly referred to as East Fenway/Symphony and West Fenway. Fenway is named after the Fenway, the main thoroughfare, laid out by Frederick Law Olmsted.
Beacon Hill is a historic neighborhood in Boston, Massachusetts. According to the 2010 U.S. Census, the population of Boston's Beacon Hill neighborhood is 9,023. It is a neighborhood of Federal-style rowhouses and is known for its narrow, gaslit streets and brick sidewalks. Today, Beacon Hill is regarded as one of the most desirable and expensive neighborhoods in Boston. Because the Massachusetts State House is in a prominent location at the top of the hill, the term "Beacon Hill" is also often used as a metonym in the local news media to refer to the state government or the legislature.
The North End is a neighborhood of Boston, Massachusetts, United States. It has the distinction of being the city's oldest residential community, where people have continuously inhabited since it was settled in the 1630s. Though small, only 0.36 square miles (0.93 km2), the neighborhood has nearly one hundred establishments and a variety of tourist attractions. It is known for its Italian American population and fine Italian restaurants. The district is a pending Boston Landmark.
Delray Beach Florida Tourist attractions, The city has 2 miles (3.2 km) of public beach accessible from Florida State Road A1A. Travel Holiday magazine named the Delray Municipal Beach as the top beach in the southeastern United States.
The remains of the steamship Inchulva that sank on Sept 11, 1903 are located in shallow water near the public beach, acting as habitat for native fish and corals. Known today as the Delray Wreck, the site is noted for snorkeling and scuba diving.
Downtown Delray Beach has undergone a gentrification program centered on East Atlantic Avenue, also known as simply "The Avenue". The area is noted for its nightlife, dining, and shopping. In 2012 USA Today Travel named Delray Beach America's Most Fun Small Town.
The downtown Arts District, centered in the Pineapple Grove neighborhood just north of East Atlantic Avenue, is noted for its galleries, performance art, and cultural organizations. Art and Jazz on the Avenue is held six times a year.
Key Largo, the first and northernmost of the Florida Keys, is an hour's drive from South Florida's two major airports, and a world away. Home to tropical hardwoods, winding creeks, two state parks, a national park and a portion of a national marine sanctuary, Key Largo boasts some of the most fascinating botanical scenery in the state.
Visitors can enjoy Key Largo's ties to the sea including scuba diving, snorkeling, an underwater hotel, sport fishing, eco-tours, beaches and dolphin encounter programs. The island also offers numerous on-shore attractions including nature trails and a rehabilitation center for wild birds.
Explore Key Largo's John Pennekamp Coral Reef State Park, Dagny Johnson Key Largo Hammock Botanical State Park and all the underwater delights of the Florida Keys National Marine Sanctuary.
Several eco-tourism and dive-snorkel services are ready to help you discover Key Largo's natural wonders.
To the east is the continental United States' only living coral barrier reef, and Key Largo has earned the moniker of Diving Capital of the World. Six miles offshore in the Florida Keys National Marine Sanctuary is the Spiegel Grove shipwreck, a 510-foot former US Navy ship intentionally scuttled in 2002.


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text:
Marcoat est un troubadour et jongleur gascon du , contemporain de Marcabru.

Biographie
Camille Chabaneau a écrit que ce troubadour, dont il ne reste que deux pièces fort obscures, devait être d'origine gasconne. Dans une de ces pièces, il cite Marcabru. Ces pièces appartiennent au genre sirventès. Jean-Marie-Lucien Dejeanne montre que ces sirventès .

Œuvre
Il ne reste que deux sirventès publiés par Jean-Marie-Lucien Dejeanne dans Le troubadour gascon Marcoat.

Annexes

Bibliographie
 Camille Chabaneau, Les biographies des troubadours en langue provençale, libraire-éditeur Édouard Privat, Toulouse, 1885, réimpression en 1975 par Slatkine reprints, Genève, et Laffite reprints, Marseille,  lire en ligne
 Jean-Marie-Lucien Dejeanne, Le troubadour gascon Marcoat, dans Annales du Midi, 1903, tome 15, ,  (lire en ligne)
 Troubadours mineurs gascons du  siècle : Alegret, Marcoat, Amanieu de la Broqueira, Peire de Valeria, Gausbert Amiel, édition critique bilingue avec introduction, notes et glossaire par Ricardo Viel, Honoré Champion éditeur (Classiques français du Moyen Âge), Paris, 2011, , 256p.
 Lisa Pericoli, Il trovatore Marcoat e l'uso satirico del versus tripertitus caudatu, dans Alén Garabato, Carmen (éditeur), Los que fan viure e treslusir l'occitan, actes du  congrès de l'AIEO, Association Internationale d'Études Occitanes, Béziers, 12 - ,

Articles connexes
 Liste de troubadours et troubadouresses
 Ancien provençal

Liens externes

Troubadour du XIIe siècle
Écrivain médiéval de langue d'oc
Date de naissance non renseignée (XIIe siècle)
Date de décès non renseignée (XIIe siècle)

redpajama_set_name: RedPajamaWikipedia


text:
Tessemae's, Essex-based natural salad dressing maker, goes for national brand exposure
By Lorraine Mirabella
Six years after Tessemae's sold its first bottle of lemon-garlic salad dressing at the Whole Foods in Annapolis, the Essex-based "all natural" brand is attracting attention from national grocers, hotel chains, fast-casual eateries and even reality TV producers.
The three brothers from Annapolis who run the company have long been convinced they have a winning lineup. The dressings, ketchup, mustard, garlic spread, marinades, and now mayonnaise, all grew out of an olive oil-based homemade dressing their mom — nicknamed "Tessemae" — made to get her kids to eat vegetables.
The past year alone has more than validated the company's business plan, said CEO Greg Vetter. Sales have shot up from $25 million a year ago, though the company declined to disclose anticipated 2015 revenue because it is negotiating a possible investment partnership.
"We just completely went at it full steam ahead," Vetter said.
After getting its start selling dressing in 2009 in several Whole Foods stores, Tessemae's products were picked up nationally by Safeway. About a year ago, Costco launched the company's soy ginger flavor dressing in an economy size.
The company has since gained an even stronger foothold through both national and regional grocers. The list has grown to include Kroger, The Fresh Market, Weis Markets, Wegmans, and regional grocers Gelson's in Southern California and H-E-B Grocery Stores and Brookshire's Food & Pharmacy in Texas. At Courtyard by Marriott hotels, Tessemae's "Classic French" flavor dresses the hotel chain's hummus bowl dish.
Tessemae's says its products are striking a chord with consumers moving toward healthier diets and seeking "all-natural" products. The salad dressings use no thickening agents and are gluten-free. Running its own manufacturing plant allows the company to try new ideas and closely mange quality control and delivery, Vetter said.
"We are at a perfect time with the market in general," Vetter said. "Everyone is looking for really good, real food. And that's such a rare thing right now. We're seeing there's a shift to people starting to care about what's in their products."
For Vetter and his brothers — Brian Vetter, executive vice president of nonretail sales, and Matt Vetter, executive vice president of operations — opportunities such as Marriott represent the next frontier.
"Response has been great, which might lead to other collaborations," said Nina Herrera-Davila, a Marriott spokeswoman, who said the dressing is used on a seasonal dish with ingredients such as spinach, hummus, cucumbers, avocado and olives. "The Courtyard team is extremely happy about the relationship with the local vendor."
Tessemae's has invested in equipment that will allow it to produce and package small portions of dressings and condiments, enabling them to be combined with vegetable platters or other items through partnerships with other manufacturers. In addition, Brian Vetter is pursuing customers such as Marriott, Chipotle Mexican Grill, Chick-fil-A, and institutions such as airports, universities and cafeterias. Tessemae's also hopes to replace condiments made by Heinz at M&T Bank Stadium with its own.
"Especially since Heinz is from Pittsburgh," Greg Vetter said.
Future growth also could be fueled by a partnership the company is working on finalizing that would bring an investment from a "notable brand," Greg Vetter said. He said it is not a sale or majority stake.
"We're just kind of trying to align ourselves with really good brands that know how to grow really good brands," he said.
Vetter, who used to worked as an employee benefits broker in Annapolis and played professional lacrosse for the Chesapeake Bayhawks, started the company after throwing out a challenge to his mother, Teresa Vetter. He asked her to go into business with him if he could get Whole Foods to sell her dressing.
She agreed, thinking it would never happen. A meeting with a store manager who tried the recipe won Vetter a regional review, then a chance to become a vendor. The retailer has been expanding its Tessemae's offerings, and notified Vetter recently that it plans to sell all 21 products, including dressings and condiments, at its stores throughout North America.
Selections of 14 dressings are sold now in all 44 Whole Foods stores in the Mid-Atlantic region. Those stores are working with the company to add its barbecue sauce and mayonnaise by the end of the summer.
"We've seen solid, sustainable growth … and have been comfortable growing their lines to all the stores," said Lee Robinson, Whole Foods' dairy and frozen buyer for the Mid-Atlantic.
He said the dressing maker often sends people out to do in-store demos, which helps build the brand.
"They're great ambassadors for themselves, and they've grown the consumer base by making connections," Robinson said.
And they offer an alternative that's not only gluten free, but dairy free, Paleo, vegan, free of genetically modified organisms and has no added sugar, which, he said, "our consumers are interested in, and as a company we like to support."
Wegmans plans to start carrying Tessemae's dressings in about a month in all Maryland and Virginia stores along with its refrigerated natural and organic products, though the chain is still deciding which varieties — at least four — to sell.
"It has all of the attributes that we know appeal to our customers, but the two that stand out for us are: It's local, fresh [refrigerated], and their flavor profiles are unique and interesting," said Jo Natale, a Wegmans spokeswoman.
Another big break for Tessemae's came recently when Kroger agreed to carry eight dressing flavors and roll them out to 2,100 stores. Vetter recalls going to a meeting with Kroger executives earlier this year with a strategy: aiming to get the products in only the highest-volume stores. Typically, he said, retailers judge a products' success based on overall sales, which can be hurt by the sales at lower-volume locations.
But instead, he was surprised that Kroger representatives were the ones making the pitch.
"They proceeded to sell us on why the country needs our dressings in 95 percent of the Krogers in the country," Vetter said.
Doug Baker, vice president of private brands for the Washington-based Food Marketing Institute, said it's not surprising the dressing maker has had a warm reception from so many grocers.
"Retailers are looking for companies like Tessemae's," Baker said. "As consumers continue to embrace private brands and trust private brands, that also allows the retailers to innovate."
Consumers' tastes are shifting, too, he said. They want to easily understand ingredients, specific health attributes, or unique flavors or varieties.
Tessemae's, with headquarters and a plant in Essex, now employs about 150 full- and part-time workers and gets help from the extended family as well. Mom Teresa Vetter contributes as official taste-tester, while their father is director of "good karma." Greg Vetter's wife works on branding, and "everyone else is in a support role," he said.
The dynamics of growing a family-run business that prides itself on an unconventional operation could soon be the subject of reality TV, Vetter said. Last summer, he and his brothers were approached by an agency that creates such concepts. The business owners are negotiating with two networks, he said.
"It's a matter of everyone coming to the table with an agreed-upon format," then filming a pilot for a show that could start in the fall, said Vetter, who declined to disclose the networks. "The overarching theme is about the Tessemae's story and us trying to change the food world in an unconventional way, and the highs and the lows and all the fun stuff that comes from operating your own brand and manufacturing company.
"If the format is right, and it tells the right story, then we're on board."
Wegmans Food Markets, Inc.
Marriott International Inc.


involve organizations that collaborate to reach high communication quality (Claycomb & Frankwick, 2010; Mohr, Fisher, & Nevin, 1996; Nunlee, 2005); thus, communication is seen as critical for the effectiveness of such relationships (Celuch, Bantham, & Kasouf, 2011; Claycomb & Frankwick, 2004, 2010). Based on seminal works (Mohr et al., 1996; Mohr & Nevin, 1990), communication in this context can be defined as "the extent to which manufacturers communicate with their suppliers on a frequent, formal, and reciprocal basis while using rationality as a means by which to influence them" (Joshi, 2009, p. 134). Such collaborative communication drives performance of business partners, is critical for strategic collaboration (Paulraj, Lado, & Chen, 2008) and establishing value-enhancing inter-organizational relationships in the long-term perspective (Powers & Reagan, 2007), enhances the knowledge base of the business partners (Joshi, 2009), and helps resolve conflicts (Celuch et al., 2011; Claycomb & Frankwick, 2004).
Inter-organizational communication, to which we refer as client–vendor communication (CVC), is suggested to be particularly important in the IS industry (Hyväri, 2006; Mohr et al., 1996; Pankratz & Basten, 2013) due to the technical nature of products, technological changes, and dynamic competitive environments (Mohr et al., 1996). A close inter-organizational relationship helps foster information sharing between clients and vendors in order to both correctly reflect business needs and achieve business goals (Han, Lee, Chun, & Seo, 2013).
2010; Sharma, Apoorva, Madireddy, & Jain, 2008). Sharma et al. (2008) state that, especially in information technology environments, inadequate communication might increase the risk of failing and is therefore a crucial aspect of (project) management. In general, more open and supportive communication is seen as beneficial for building trust and reducing misunderstandings (Walton & McKersie, 1965). If the vendor communicates and justifies reasons for deviations from the project plan in an open and comprehensible way, the client might be satisfied with the overall project despite budget and schedule overruns. While this study focuses on the importance of the vendor keeping the client well informed, we acknowledge that communication in a client–vendor relationship is of a collaborative, two-way nature.
Considering the relevance of CVC in the context of the expectation–confirmation theory, we propose that CVC has a positive influence on client satisfaction in IS projects. This positive influence results from the role of CVC in managing client expectations toward the process and product dimensions in IS projects.
Figure 2 illustrates our hypothesized research model, which is based on the work by Bhattacherjee (2001) and extended by CVC (Lee & Kim, 1999). In this section, we argue for the respective hypotheses in the context of IS projects.
ence on confirmation of expectations.
hypotheses are specified as follows.
H1 Process: Process expectations are negatively associated with confirmation of these expectations.
H1 Product: Product expectations are negatively associated with confirmation of these expectations.
H2 Process: Process performance is positively associated with confirmation of client expectations.
H2 Product: Product performance is positively associated with confirmation of client expectations.
H3 Process: Confirmation of process expectations is positively associated with process satisfaction.
H3 Product: Confirmation of product expectations is positively associated with product satisfaction.


Today's methods of play have expanded with the introduction and adoption of technology. While schoolyard pick-up games and traditional board games are the icon images of children playing, the reality is that a staggering 91% of children between the ages of 2 and 17 now play technology-based games. Despite this rapid adoption, there is still little guidance on how to effectively harness technology-based play for therapy and healing.
Most guidance for children's interaction with technology is based on "screen time," the amount of time a child should spend looking at a digital screen. Technology, however, has progressed beyond the linear, sedentary relationship between child and screen. Child Life and other psychological professionals working with medically ill children use play methods to help pediatric patients cope with stress and process difficult situations.
Whether its addressing short-term boredom or managing anxiety during on-going treatment, providing pediatric patients with psychological support is critical for their long-term health and well-being. With 15 multi-player, multi-touch games designed for children, AFTER-MOUSE.COM's PLAY for Good initiative is working with children's health and well-being organizations, including Ronald McDonald House Charity of Alabama, Ronald McDonald House of Tampa Bay, and UMass Memorial Medical Center, among many others, to bring the empowering and healing benefits of collaborative play to children with the PLAY touch table.
Pain Easy-to-learn game mechanics and rewarding, short game sessions – games that can engage a player's mind and body is especially effective for pain management.
Boredom (Long-Term Stay) Emphasize story and have more nuanced mechanics that may take a while for players to fully understand – games designed to hold a player's attention over many play sessions.
Anxiety/Hyperactivity Avoid the high-intensity play – games that focus on gentler experiences that engage a player's critical thinking skills and creativity.
Sadness Rewarding gameplay and pleasant overall atmosphere – games featuring relatable, charming characters and forgiving difficulty options to keep players from becoming discouraged.
Cognitive Impairment Simplified mechanics – games that place an emphasis on play and experimentation as opposed to winning or losing.
The potential of technology-based games to positively impact children's mental health during stressful and uncomfortable medical procedures adds to the toolkit of available tactics for professionals in the field of child psychology. Utilizing familiar play constructs, these games offer fun, collaborative interactions that support healing and well-being to address children's the mental wealth while they are undergoing treatment for their physical health.
hi,,,thamks for sharing the blog!


Entrepreneur|Owner of Forever Inspired | Explorer of ideas |Creative junkie |Dwelling in possibility each day.
Kelly brings a unique perspective and boundless enthusiasm to procurement, supply chain, webinars, collaboration, and communication. Carpe Diem!


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text:
Der Dolmen Llit de la Generala liegt im Parc Megalític de Roses nahe der Straße Carer Praxiteles im Osten von Roses bei Figueres, in der Empordà in Katalonien in Spanien. Die Serra de l'Albera hat die größte Konzentration von megalithischen Denkmälern in Katalonien (110 Dolmen, 19 Menhire, 7 Steinkisten und eine neolithische Siedlung).

Der etwa 3200 v. Chr. entstandene trapezoide Gangdolmen von etwa 2,0 × 1,0 Meter, weist an jeder Längsseite und an einer der Schmalseiten Tragsteine auf. Der Deckstein liegt gerade auf. Der Zugang ist in den Resten des etwa 0,5 m hohen, 2001 rekonstruierten runden Steinhügels gut erkennbar.

Der etwa 1,5 m hohe Dolmen wurde 1925 ausgegraben, wobei Reste von Keramik gefunden wurden.

Von hier führt ein Wanderweg zu dem etwa 100 Meter entfernt liegenden Dolmen del Cap de l'Home.

Siehe auch
 Megalithanlagen in Katalonien

Weblinks
 Beschreibung katal. und Bild
 Beschreibung katal. und Bilder

Megalithanlage in Spanien
Archäologischer Fundplatz in Katalonien
Kultplatz
Roses
Dolmen
Bauwerk in der Provinz Girona
Sakralbau in Katalonien
Grabbau in Spanien
Archäologischer Fundplatz in Europa
Grabbau in Europa


This painting was inspired by Wilkie's visit to Scotland in1817.
In a letter to his patron, Sir George Beaumont, he wrote of the many romantic scenes and subjects he had found there.
Richard Payne Knight; by descent until 1978.


text:
Sumer (sumersky Ki-EN/EME-GIR15, Země místních pánů, Země pánů jasu či Země sumerského jazyka), akkadsky také Šumeru, je považovaný za jednu z nejstarších civilizací světa (4000–2000 př. n. l.). Tato civilizace a region existovala v jižní části Mezopotámie (oblast mezi řekami Eufrat a Tigris mezi Bagdádem a Perským zálivem – dnešní jihovýchodní Irák). Jeho obyvateli byli krom později příchozích semitsky hovořících Akkadů hlavně Sumeřané, kteří se ve vlastním jazyce označovali za "Černohlavce" (un san gi ga).

Počátek
Sumerové do Mezopotámie pravděpodobně přišli nejpozději kolem roku 4000 př. n. l. a hovořili sumerštinou, jazykem, který se dosud nepodařilo přiřadit k nějaké ze známých jazykových rodin. Existují poměrně věrohodně hovořící důkazy o tom, že Sumeřané pokračovali ve většině místních tradic. Po předsumerském obyvatelstvu zůstalo krom toho i několik jazykových stop, hlavně v topografii a v názvech některých řemesel a nástrojů. Avšak slova týkající se plavby po moři jsou zcela sumerská. Urucká kultura osídlovala Mezopotámii z jihu od moře, což nasvědčuje příchodu po moři. Taktéž existují souvislosti mezi sumerštinou a austronéskými nebo indoevropskými jazyky, proto je pravděpodobné, že Sumerové připluli z oblasti povodí Indu a asimilovali s obeidskou kulturou. Předsumerského původu jsou patrně názvy měst Ur, Sippar atd. a řek Eufrat a Tigris, původně Buranunna a Idigna. Oblast byla mimořádně úrodná, ale vyžadovala stálé a vydatné zavlažování, jelikož je to oblast aridní. Vynález umělého zavlažování je mnohem staršího data (asi 5000 př. n. l.) a první zavlažovací kanál se podařilo vykopat v íránské Čóga Mami. V kultuře obeidské a urucké se kanály také používaly a k jejich managementu nebylo, na rozdíl od dřívějších domněnek, zapotřebí státní organizace. Oblast Sumeru se skládala již na počátku z několika desítek relativně malých, navzájem nezávislých městských států. První písemné památky především ekonomického rázu pocházejí z konce 4. a počátku 3. tisíciletí př. n. l. Nejednalo se ovšem o písmo použitelné k záznamu složitějších abstraktních pojmů. Sumerové po několika staletích z tohoto obrázkového písma vyvinuli klínopis, které bylo dobře vymyšleno pro zápis jejich velmi specifického jazyka.

Technologie

Sumerové vytvořili v Mezopotámii civilizaci, která používala rozvinuté formy zemědělství; sumerští zemědělci do značné míry využívali propracovaný systém zavlažování – kanály, průtoky, rezervoáry. Sumerové dále vynalezli kalendář o 12 měsících, šedesátkovou číselnou soustavu, vůz s koly, hrnčířský kruh a v architektuře využívali obloukové klenutí.

Sídla

V jižní Mezopotámii začala vznikat první města již během předsumerské obeidské kultury. Stejně jako starověké Řecko se i Sumer skládal z městských států: Eridu (nejjižnější sumerské město, pahorek Abú Šahrajn), Nippur (dnešní Niffar, od 13. století neobývaný), Šuruppak (dnešní Fára), Uruk (pahorek al-Warká), Kiš (nejsevernější sumerské město, dnešní al-Uhajmer), Lagaš (dnešní Tello), Umma (dnešní Jocha) a Ur (dnešní al-Muqajjar). Podle pozdější ideologie bylo v Sumeru na Zemi přítomné vždy jen jedno království. V dochovaném Sumerském královském seznamu jsou vyjmenované takto: (dle sídelního města, dynastie), před potopou světa: Eridu – Bad-tibira – Larak – Sippar – Šuruppak a po potopě světa: Kiš – Uruk – Ur – Awan – Kiš – Hamazi – Uruk – Ur – Adab – Mari – Kiš – Akšak – Kiš – Uruk – Akkad – Uruk – Gutejci – Uruk – Ur – Isin. Je tak opomenuta Lagaš a do značné míry Uruk, což bylo dáno politicky místem vzniku Seznamu.

Městské státy a samospráva
Sumerská města měla uprostřed městské zástavby posvátný okrsek s mnohavrstevným chrámem, který se vyvinul na konci 22. stol. př. n. l. v tzv. zikkurat, chrám zasvěcený božskému ochránci města. Město bylo obklopeno městskými hradbami a posvátný okrsek míval často také vlastní hradby. Každé z měst tvořilo samostatný městský stát, který ovládal ve svém bezprostředním okolí zemědělské zázemí s několika vesnicemi či menšími městy. Rozloha takového státu byla malá, můžeme jen zhruba odhadnout, že jedno z větších měst ovládalo asi 3 000 km2. Nejvyšší postavení ve státě měl od ranědynastického období tzv. lugal (velký muž = t.j. král). Tento titul patřil původně politickému a vojenskému náčelníkovi. Ve městech ovládaných byl jeho zástupcem ensi (kníže). Ensi ovšem původně nosil význam nejvyšší správce chrámu, zástupce městského božstva na Zemi. Vztah světské a náboženské moci byl důležitým prvkem mezopotamské politiky a obě sféry zůstaly silně provázané.

Kultura a jazyk

Počátky světové literatury lze mimo Egypt umístit také do Sumeru. Sumerové zaznamenávali informace klínovým písmem (klínopisem) na hliněné destičky pomocí jednoduchého trojhranného rydla, čili klínku. Hliněné destičky se používaly pro svoji praktičnost, neboť Mezopotámie je dodnes země s nevyčerpatelným množstvím hlíny, ale s minimem kamene, který byl vždy považován za vzácný importovaný materiál. Sumerský systém zápisu písma převzali i jejich následovníci, Akkaďané. Klínopis se ale pro jejich semitskou řeč nehodil a po celou dobu existence akkadštiny se tento jazyk s tímto značným problémem potýkal. Patrně největší překážkou byla nejednoznačnost textů a různé množství používaných sumerských značek slov. V sumersko-akkadské literatuře pak vznikl asi nejznámější Epos o Gilgamešovi.

Sumerská civilizace postupně slábla, v 1. pol. 2. tisíciletí př. n. l. již sumerské obyvatelstvo neexistovalo. Nadále však zůstala v užívání sumerština, která se stala liturgickým a státnickým jazykem a byla jím až do 7. stol. př. n. l. (srov. s latinou).

Chronologie vývoje Sumeru
 urucká kultura (kolem r. 3300–3000 př. n. l.): první písemné prameny vůbec; Uruk první městem světa (100 ha, monumentální budovy až 4 000 m2)
 ranědynastické období (kolem r. 3000–2350 př. n. l.): sumerské městské státy, rozvoj obchodu, první královské paláce (2700 př. n. l.) a větší množství klínopisných pís. záznamů. Souboj měst Ummy a Lagaše-Girsu, král Kiše jako nejvznešenější titul.
 akkadské období (2350–2150 př. n. l.): rychlý mocenský vzestup Akkaďanů a jejich říše pův. na sever od Sumeru v okolí města Agade, od něhož převzali i svoje pojmenování. Poprvé sjednocení celého Sumeru a Akkadu, porážka vojsk krále Lugalzageziho z města Ummy. Prvním králem sjednoceného státu král Kiše, původem syn kněžky, Sargon Veliký.
 vpád kočovníků etnika z východu Gutejců (2150–2075 př. n. l.), kteří svrhli již slabou akkadskou nadvládu. Podrobení Sumeru nájezdníkům, kteří jej více či méně ovládali po 1 století
 III. dynastie urská (2116–2004 př. n. l.): silná centralizace sumerského státu, sumerští králové sídlí v Uru, závěrečná renezance sumerské kultury, stavba prvních skutečných zikkuratů. Dochovalo se asi 100 000 tabulek s pís. záznamy. Sumer ovládá území zhruba podobné jako před ním akkadští králové.
 období Isinu a Larsy (2017–1763 př. n. l.): oslabení Sumerů vnitřním bojem mezi dynastiemi

Mytologickou potopu, kterou zachycuje Eridská genesis, přežil jediný člověk Ziusudra (Utnapištim), který postavil archu s párem zvířat od každého. První známou historickou osobností je kišský en (král) Me-baragesi, který vládl někdy mezi lety 2700 př. n. l.–2600 př. n. l., předposlední panovník 1. kišské dynastie. Jeho syn Agga byl poražen uruckým králem Gilgamešem, zakladatelem 1. urucké dynastie.

Sumerské státy byly dobyty ze západu příchozími semitsky hovořícími Akkady, kteří se usídlili na severu. Jejich král Sargon I. (Šarrukén, 2334 př. n. l.–2279 př. n. l., střední datace), který byl uzurpátorem v sumerském městě Kiš. Porazil nejmocnějšího soupeře, panovníka sumerské Ummy, ensiho Lugalzagesi (2375 př. n. l.–2350 př. n. l. a založil akkadskou říši. O původu Sargona se vykládá podobný příběh jako o Mojžíšovi. Akkadskou říši vyvrátili kočovníci z východně ležícího Zagrosu Gutejci, za nichž Sumerové zažívali nový rozkvět (2230 př. n. l.–2130 př. n. l.), zejména za krále Gudey. Závěrečným obdobím sumerských dějin je 3. dynastie urská (2116 př. n. l.–2004 př. n. l.). Utu-chengal svrhnul gutejskou nadvládu a jeho bratr Ur-Nammu (2112 př. n. l.–2095 př. n. l.) byl zakladatelem 3. urské dynastie, jež vládla království Sumeru a Akkadu. Zároveň byl autorem nejstaršího zákoníku na světě.

Konec Sumeru nastal pozvolna, především však stát čelil neustávajícímu tlaku kočovníku ze severozápadu. Tito Amorejci (akk. Amurrum či sum. Martu) pomalu ovládli krajinu mezi městy a později i některá města. Posledním sumerským králem byl Ibbi-Sín. Jeho bývalý služebník, amorejský uzurpátor Išbi-Erra, generál z Mari, který ovládl důležité město Isin. Ur byl pak dobyt a rozvrácen elamskými a churritskými kmeny. Je zachycen ve vynikajících básních Nářek nad zkázou Sumeru a Nářek nad zkázou Uru. Ibbi-Sín beze stopy zmizel v elamském zajetí. Zničení mnoha měst v závěrečné části a odvlečení mnoha lidí zasadilo sumerskému národu poslední a smrtící ránu. Po dobytí Uru následovalo období asimilace do semitského jazykového prostředí.

Období Isin – Larsa (vláda amorejských králů) bylo jen přechodné (2017 př. n. l.–1763 př. n. l.). Po roce 2000 př. n. l. přestala být sumerština používána ve většině oblastí jako živý jazyk, definitivně vymřela asi kolem r. 1800 př. n. l. Uchovala se pouze jako sakrální, vědecký, právní a správní jazyk a jako jazyk vzdělanců. Klínopis svoji pozici neztratil a byl přejat a částečně upraven pro akkadský semitský jazyk. (od cca r. 2600 př. n. l.). Akkadský jazyk převzal úlohu jazyka dorozumívacího v celé Mezopotámii po asimilaci Sumerů, včetně úlohy jazyka diplomatického a úředního. Období Isin-Larsa je přechodné mezi III. dynastií z Uru a nástupem starobabylónské říše a jmenuje se po 2 nejdůležitějších státech té doby. Akkadština však začala svoji pozici ztrácet po příchodu Aramejců (Chaldejců) do Mezopotámie a okolních oblastí na počátku 1. tisíciletí př. n. l. Prosazoval se jazyk aramejský, jenž byl psán mnohem jednodušším písmem foinickým (fénickým). Proto v období novobabylónském (cca 600 př. n. l.) byla sumerština, akkadština a klínopis znám jen vzdělaným kněžím. Mezi lidem byly již neznámé, nepoužívané. Klínopis přežil pád Babylónu do rukou Peršanů i později Řeků (pol. 6. století a pol. 4. století př. n. l.), ale před začátkem letopočtu vymizel.

Dodatek nejnovějších datací
Podle znalce klínopisů Blahoslava Hrušky je možné začátek urucké kultury posunout až k letopočtu 3500 př. n. l., přičemž první tabulka s obrázkovým písmem byla datována kolem roku 3200 př. n. l., v uruckém chrámu boha Ana. Kolem roku 2900 př. n. l. se mění v Uruku a Džemdet Nasru na písmo klínové a objevují se nejstarší literární skladby v sumerštině. Klínové písmo začíná být používáno také v elamských Súsách. Vláda Gilgameše se podle novějších výzkumů posouvá k letopočtu 2500 př. n. l. Kolem roku 2355 př. n. l. omezuje lagašský uzurpátor Urukagina moc palácových úředníků a získává na svou stranu chrámy a kněze. Toto jsou dosud nejstarší známé zákony. Kolem roku 2350 př. n. l. se urucký král Lugalzagesi pokusil o sjednocení země, ale byl poražen zhruba během deseti až dvaceti let, kdy se formuje první akkadský stát Sargona Akkadského a dobývá severní Mezopotámii, část Íránu, proniká do Malé Asie a východního Středomoří.

Odkazy

Reference

Literatura
 KRAMER, S. N.: Historie začíná v Sumeru. Praha 1961, 2. vyd. 1966. Překlad Josef Klíma.
 ZAMAROVSKÝ, Vojtěch: Na počátku byl Sumer. Praha 1966.
 HRUŠKA, Blahoslav: Pod babylónskou věží. Praha 1987.

Související články
 Mezopotámie
 Babylón
 Egypt
 Sumersko-akkadská literatura
 Pazúzu
 Starověký Orient
 Starověk
 Sumerský královský seznam

Externí odkazy

Mezopotámie
Zaniklé státy Asie


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These earrings are lightweight for their size! They measure 3.25" long and 1.5" wide. Designed and hand crafted with carmelized bamboo, custom tinted resin and of course, lots of sandpaper and love. Ear wires are surgical steel.
This is a smaller version of my most recent design and made with cherry wood. They are 2" long x 1" wide and 3/16" thick. Unlike the larger versions, this earring set does not incorporate resin, making the design more affordable. Leverback ear wires are surgical steel. Super lightweight too!


text:
Q: IF Statement regarding tax (python/html) My If statements wont give me any correct answers. Can someone have a look at them?
if total > 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 ==
"bC":
    print"
Tax: $",(total-disc)*0.12,"
" elif total <150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
    print "
Tax: $",total*0.12,"
" elif total > 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
    print "
Tax: $",float(((total-disc)+giftwrp))*0.12,"
" elif total < 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
    print "
Tax: $",float((total+giftwrp))*0.12,"
" elif total > 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC":
    print"
Tax: $",float((total-disc))*0.12,"
" elif total < 150 and b1!= "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC":
    print "
Tax: $",float(total)*0.12,"
" elif total > 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC" and
form.getvalue("giftwrap"):
    print "
Tax: $",float(((total-disc)+giftwrp))*0.12,"
" elif total < 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC"
and form.getvalue("giftwrap"):
    print "
Tax: $",float((total+giftwrp))*0.12,"
"

Heres the rest of the code, Thanks:
import cgi
form = cgi.FieldStorage()

# print HTTP/HTML header stuff
print """Content-type: text/html

    <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
        "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">

    <title>Order Form</title>

    """

    # print HTML body using form data
    print "
Profesional Painters
"
    print "
Customer Reciept
"
    print "
Customer Name:", form["customerName"].value, "
"
    print "
Customer Email Address:", form["customerEmail"].value, "
"
    print "
Customer Address:
"
    print "
Street:", form["customerAdd"].value, "
"
    print "
City:", form["customerCity"].value, "
"
    print "
Province:", form["customerProv"].value, "
"
    print "
Postal Code:", form["customerPostal"].value, "
"
    print "
Payment Information:
"
    print "
Card Type:", form["type1"].value, "
"
    print "
Card Number: XXXX-XXXX-XXXX-", form["four4"].value, "
"
    print "
Expiry Date:", form["expirt"].value, "
"

    print "
Products Ordered
"

    q1 = int(form["quantity"].value)*2
    q2 = int(form["quantity2"].value)*1
    q3 = int(form["quantity3"].value)*150
    q4 = int(form["quantity4"].value)*3
    q5 = int(form["quantity5"].value)*10

    if form.getvalue("interior"):
        print "
Interior Painting quantity:", form["quantity"].value, "
"
        print "
Cost: $" ,q1, ".00
"

    else:
        q1 = 0
        print "
Interior Painting quantity: 0
 Cost: $0
"

    if form.getvalue("exterior"):
        print "
Exterior Painting quantity:", form["quantity2"].value, "
"
        print "
Cost: $" ,q2, ".00
"

    else:
        q2 = 0
        print "
Exterior Painting quantity: 0
 Cost: $0
"

    if form.getvalue("pressure"):
        print "
Pressure Washing quantity:", form["quantity3"].value, "
"
        print "
Cost : $" ,q3, ".00
"
    else:
        q3 = 0
        print "
Pressure Washing quantity: 0
 Cost: $0
"

    if form.getvalue("wood"):
        print "
Wood Finishing quantity:", form["quantity4"].value, "
"
        print "
Cost: $" ,int(form["quantity4"].value)*3, ".00
"
    else:
        q4 = 0
        print "
Wood Finsihing quantity: 0
 Cost: $0
"

    if form.getvalue("spraycan"):
        print "
Spray Can quantity:", form["quantity5"].value, "
"
        print "
Cost: $" ,int(form["quantity5"].value)*10, ".00
"
    else:
        q5 = 0
        print "
Spray Can quantity: 0
 Cost: $0
"

    if form.getvalue("email"):
        print "
An email notification will be sent to ",form["customerEmail"].value, "
"

    total = q1 + q2 + q3 + q4 + q5
    print "
Total Cost of goods purchased is $: ", total

    def discount():
        return float(total*0.15)
    disc = discount()
    disc2=0
    if total > 150:
        print "
Discount: $" , float(disc),"
"
    else:
        total<150
        print "
Discount:" ,disc2,"
"

    g1 = int(form["quantity"].value)
    g2 = int(form["quantity2"].value)
    g3 = int(form["quantity3"].value)
    g4 = int(form["quantity4"].value)
    g5 = int(form["quantity5"].value)

    def gift():
        return g1+g2+g3+g4+g5
    giftwrp = gift()
    if form.getvalue("giftwrap"):
        print "
Gift wrap cost: $ ",int(giftwrp),".00
"

    b1 = form["customerProv"].value

    total = q1 + q2 + q3 + q4 + q5

    if total > 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
        print"
Tax: $",(total-disc)*0.12,"
"
    elif total <150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
        print "
Tax: $",total*0.12,"
"
    elif total > 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
        print "
Tax: $",float(((total-disc)+giftwrp))*0.12,"
"
    elif total < 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":
        print "
Tax: $",float((total+giftwrp))*0.12,"
"
    elif total > 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC":
        print"
Tax: $",float((total-disc))*0.12,"
"
    elif total < 150 and b1!= "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC":
        print "
Tax: $",float(total)*0.12,"
"
    elif total > 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC" and form.getvalue("giftwrap"):
        print "
Tax: $",float(((total-disc)+giftwrp))*0.12,"
"
    elif total < 150 and b1 != "BC" or b1 != "bc" or b1 != "Bc" or b1 != "bC" and form.getvalue("giftwrap"):
        print "
Tax: $",float((total+giftwrp))*0.12,"
"

    print ""

A: The precedence of the or operator is lower than the precedence of and. This means that the expression
if total > 150 and b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC":

is evaluated as
if (total > 150 and b1 == "BC") or b1 == "bc" or b1 == "Bc" or b1 == "bC":

You probably want instead
if total > 150 and (b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 == "bC"):

that can also be written in a more readable form as
if total > 150 and b1.lower() == "bc":

A: Without knowing what you consider "correct answers", how can anyone tell you why they're not doing what you expect? They're certainly doing what you've written, so we have to make a wild guess at what you don't understand.
My wild guess is that you don't understand precedence between and and or, so you're expecting this:
if total > 150 and b1 == "BC" or b1 == "bc" or …:

… to mean this:
if total > 150 and (b1 == "BC" or b1 == "bc" or …):

But actually, it means this:
if (total > 150 and b1 == "BC") or b1 == "bc" or …:

Whenever you have a precedence problem, try breaking it down into pieces, then you can figure out which pieces might need parentheses, and add them, and then build the big expression back up.

A: *

*Instead of trying to compare for every combination of upper or lowercase characters for a given string, a simple trick is to instead just lowercase the string and compare it to the lowercase of the value you wish to match.
i.e, instead of b1 == "BC" or b1 == "bc" or b1 == "Bc" or b1 =="bC"
simply use b1.lower() == "bc"

*What if total == 150? You don't seem to have a case for this.

*Instead of so many elifs, separate it into four cases
Like so:
if b1.lower() == "bc":
    if total > 150:
        # 1st case, is bc and total > 150
    else:
        # 2nd case, is bc and total <= 150
else:
    if total > 150:
        # 3rd case, is not bc and total > 150
    else:
        # 4th case, is not bc and total <= 150

redpajama_set_name: RedPajamaStackExchange


text:
benevolentheartfit
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I have always loved making jewelry ever since I was a little girl.
I remember being fascinated with stones from a really young age. I loved them.
Working with natural stones and crystals gives me a real sense of connection to nature.


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text:
Hyppolit, the Butler () is a 1931 black-and-white Hungarian film comedy of manners about an upwardly mobile family hiring a butler who previously worked for aristocratic families. It was the second full sound film produced in Hungary, and at first it generated little interest (due to the flop of the first sound movie The Blue Idol, also in 1931) but later became a favorite and is still a beloved oldie. The film was chosen to be part of the New Budapest Twelve, a list of Hungarian films considered the best in 2000. The film was shot at the Hunnia Film Studios in Budapest.

The screenplay was written by prolific Hungarian screenwriter Károly Nóti AKA Karl Noti, based on a stage play by István Zágon. It was directed by Székely István AKA Steve Sekely, who earlier worked in Germany and later worked in Hollywood and Great Britain. The music was composed by Mihály Eisemann.

It was remade in 1999 as Hippolyt, a lakáj (with the y and the i interchanged).

Plot
Mátyás Schneider (Gyula Kabos) is a typical parvenu, an ignorant transportation entrepreneur who has become very rich quickly. Despite their humble origins, his wife (Mici Haraszti) strives to live a 'sophisticated' and 'aristocratic' lifestyle. When she engages a butler, Hyppolit (Gyula Csortos) - who was an educated man, and who has served in the household of a late count for 27 years and traveled around the world with the late Count - their whole life is turned upside down: Schneider has to shave off his mustache, wear a dinner suit for dinner and eat French food instead of his beloved onions and roasted goose, while his wife is bullied by the butler into engaging in gymnastics and a rather meagre diet.

In the meantime, the Schneiders' spirited daughter, Terka (Éva Fenyvessy), falls for their good-looking manager, the former driver István Benedek (Pál Jávor), who keeps secret that he is in fact an engineer with a college diploma. Her mother, however, would prefer the good-natured, but quite stupid Makáts (Gyula Gózon) as a suitor, because Makáts's uncle (Sándor Góth), a city councillor, may help them to get a lucrative contract.

Things begin to turn upside down, when Schneider follows Hyppolit's suggestions to start dating Mimi (Mici Erdélyi), a singer and dancer at a sleazy night club. When he fails to show up at a date with her, the girl enters the Schneiders' villa, where a dinner party with important guests - including Makáts's uncle - is taking place, and causes a scandal. Meanwhile, Terka follows her own plans to get the man she wants...

Cast

 Gyula Csortos as Hyppolit
 Gyula Kabos as Mátyás Schneider
 Mici Haraszti as Schneider's Wife
 Éva Fenyvessy as Terka, Schneider's Daughter
 Gyula Gózon as Makáts, Terka's suitor
 Mici Erdélyi as Mimi, a Night Club Dancer
 Pál Jávor as István Benedek
 Sándor Góth as City Councillor
 Ernõ Szenes as Tóbiás
 Marcsa Simon as Julcsa
 Jenő Herczeg
 István Bársony
 Lajos Gárdonyi
 Ferenc Pázmán
 Andor Sárossy
 Elvira Horváth as Physical Instructor
 Zoltán Makláry
 László Rehberger as Cook
 Gusztáv Vándory

Subsequent history
The film was shown again in Hungarian cinemas in 1945, 1956 and 1972. It is also shown regularly on the small screen and is still popular with viewers.

Almost eighty years after its premiere, in 2008, the original film was digitally restored by the Hungarian National Film Archive. The restored version erroneously awarded director Sekely a writing credit that does not appear in either the original film titles or in any subsequent documentation.  It has been released on DVD and Blu-ray.

Notes

External links

 1933 review in The New York Times
 http://easterneuroepeanfilms.blogspot.com/2011_05_01_archive.html

1931 films
1931 comedy films
Hungarian black-and-white films
1930s Hungarian-language films
Films directed by Steve Sekely
Hungarian multilingual films
Hungarian comedy films
1931 multilingual films