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Peer Baierlein (* 16. Mai 1972 in Stuttgart) ist ein deutscher Musiker und Komponist.

Leben
Baierlein begann mit sieben Jahren Akkordeon zu spielen, bevor er mit neun Jahren zur Trompete wechselte. Nach einigen Jahren im örtlichen Musikverein folgte 1988 ein Studium als Jungstudent an der Musikhochschule Köln, wo er später auch sein Diplom als Instrumentalpädagoge und Orchestermusiker bei Malte Burba machte. Während dieser Zeit war Baierlein auch Schüler von Arno Lange an der Deutschen Oper in Berlin.

1996 ging er nach Belgien, um dort bei Bert Joris am Lemmensinstituut Jazz zu studieren. Er unterbrach sein Studium im Jahr 2000 für einen einjährigen Aufenthalt in New York City, bevor er 2002 seinen Abschluss als meester in de muziek machte. Es folgte ein weiteres Studium mit dem Spezialgebiet Leadtrompete. 2004 begann er klassische Komposition bei Piet Swerts zu studieren, gefolgt von weiteren Studien der Filmmusik und Orchestrierung bei Denis Pousseur, Victor Kissine und Jean-Luc Fafchamps am Conservatoire Royal de Mons. Zwischen 2011 und 2013 studierte er Neue Medien an der Hochschule für Musik und Theater Hamburg.

Baierlein spielte unter anderem mit dem Brussels Jazz Orchestra, Kurt Van Herck, Ron Van Rossum, Emil Mangelsdorff und Dré Pallemaerts. Er spielte in Belgien auf den Festivals Jazz Middelheim (2001: Maria Schneider Big Band Workshop), Gaume Jazzfestival (2004: Jazzisfaction), Park Jazz Kortrijk (2006: Jazzisfaction) und Jazz in 't park (2005: Jazzisfaction, 2006: Electric Miles Project).

Seit 2011 arbeitet er als Komponist und musikalischer Leiter für zahlreiche Theater in Deutschland, der Schweiz und Österreich. Produktionen, für die er komponierte, wurden zum Theatertreffen in Berlin, dem Heidelberger Stückemarkt, den Mülheimer Theatertagen und der Biennale in Venedig eingeladen.

Diskographie (Auswahl)
 2004: Issues
 2006: Open Questions
 2009: Cycles
 2015: One
 2015: me² + 1

Theaterarbeiten als Musiker
 2007: Tintenherz (Regie: Markus Bothe) / Deutsches Schauspielhaus Hamburg
 2009: Pünktchen und Anton (Regie: Katharina Wienecke) / Deutsches Schauspielhaus Hamburg
 2010: Die Dreigroschenoper (Regie: Jarg Pataki) / Deutsches Schauspielhaus Hamburg
 2011: Cyrano de Bergerac (Regie: Dominique Pitoiset) / Deutsches Schauspielhaus Hamburg
 2013: Die Jungfrau von Orleans (Regie: Claudia Bauer) / Niedersächsisches Staatstheater Hannover
 2014: Artus (Regie: Markus Bothe) / Deutsches Schauspielhaus Hamburg
 2019: Mutter Courage / Bertolt Brecht / (Regie: Laura Linnenbaum) / Staatstheater Kassel

Theaterarbeiten als Komponist und Musikalischer Leiter
 2011: Der Reigen (Regie: Claudia Bauer) / Theater Magdeburg
 2011: Cyrano de Bergerac (Regie: Dominique Pitoiset) / Deutsches Schauspielhaus Hamburg
 2012: Seymour oder ich bin nur aus Versehen hier (Regie: Claudia Bauer) / Niedersächsisches Staatstheater Hannover
 2012: Tartuffe (Regie: Claudia Bauer) / Staatstheater Stuttgart
 2013: Die Jungfrau von Orleans (Regie: Claudia Bauer) / Niedersächsisches Staatstheater Hannover
 2013: Und dann (Wolfram Höll) / (Regie: Claudia Bauer) / Schauspiel Leipzig / außerdem Heidelberger Stückemarkt 2014, Mülheimer Theatertage 2014, Autorentheatertagen Berlin 2014 und Biennale Venedig 2017
 2014: Volpone oder Der Fuchs (Ben Jonson) / (Regie: Claudia Bauer) / Stadttheater Bern
 2014: Faust. Der Tragödie erster Teil (Johann Wolfgang von Goethe) / (Regie: Claudia Bauer) / Stadttheater Bern
 2015: Die Verwirrungen des Zöglings Törleß (Regie: Claudia Bauer) / Niedersächsisches Staatstheater Hannover
 2015: Splendid's / Jean Genet / (Regie: Claudia Bauer) / Schauspiel Leipzig
 2016: Der Menschenfeind / Molière / (Regie: Claudia Bauer) / Theater Basel /  außerdem Biennale Venedig 2017
 2016: 89/90 / Peter Richter / (Regie: Claudia Bauer) / Schauspiel Leipzig / Einladung Theatertreffen 2017
 2017: Schlaraffenland / Philipp Löhle / (Regie: Claudia Bauer) / Theater Basel
 2017: Faust (Werner Schwab) / (Regie: Claudia Bauer) / Schauspiel Graz
 2018: Faust (Johann Wolfgang von Goethe) / (Regie: Enrico Lübbe) / Schauspiel Leipzig
 2019: Der Aufhaltsame Aufstieg Des Arturo Ui / Bertolt Brecht / (Regie: Claudia Bauer) / Niedersächsisches Staatstheater Hannover
 2020: Mephisto (Klaus Mann) / (Regie: Claudia Bauer) / Schauspiel Frankfurt
 2021: Die Rechtschaffenen Mörder (Ingo Schulze) / (Regie: Claudia Bauer) / Staatsschauspiel Dresden
 2021: Widerstand (Lukas Rietzschel) / (Regie: Enrico Lübbe) / Schauspiel Leipzig
 2022: Der Diskrete Charme der Bourgeoisie (Luis Buñuel) / (Regie: Claudia Bauer) / Schauspiel Frankfurt
 2022: Humanistää! (Ernst Jandl Texte) / (Regie: Claudia Bauer) / Volkstheater Wien / u. a. Einladung Theatertreffen

Auszeichnungen / Preise
 2014: Einladung zum Heidelberger Stückemarkt mit der Produktion 'Und dann' (Wolfram Höll) / (Regie: Claudia Bauer)
 2014: Einladung zu den Mülheimer Theatertage mit der Produktion 'Und dann' (Wolfram Höll) / (Regie: Claudia Bauer)
 2014: Einladung zu den Autorentheatertagen Berlin mit der Produktion 'Und dann' (Wolfram Höll) / (Regie: Claudia Bauer)
 2017: Einladung zur Biennale Venedig mit der Produktion 'Und dann' (Wolfram Höll) / (Regie: Claudia Bauer)
 2017: Einladung zum Berliner Theatertreffen mit der Produktion '89/90' / Peter Richter / (Regie: Claudia Bauer)
 2022: 3Sat Preis für beste Regie mit der Produktion 'Humanistää!' (Ernst Jandl Texte) / (Regie: Claudia Bauer)
 2022 Alfred-Kerr-Darstellerpreis mit der Produktion 'Humanistää!' (Ernst Jandl Texte) / (Regie: Claudia Bauer)
 2022 Auszeichnungen in 'Theater Heute' für: Beste Inszenierung 2022 / Bester Schauspieler 2022 / Bestes Bühnenbild 2022 / Beste Kostüme 2022  - mit der Produktion 'Humanistää!' (Ernst Jandl Texte) / (Regie: Claudia Bauer)
 2022 Auszeichnungen beim Nestroy-Theaterpreis für: Beste Aufführung im deutschsprachigen Raum 2022 /   Beste Regie 2022 / Bester Schauspieler 2022 - mit der Produktion 'Humanistää!' (Ernst Jandl Texte) / (Regie: Claudia Bauer)

Werkverzeichnis (Auswahl)
 2016: 'Concerto' – for small ensemble
 2016: 'Concerto No.1' (Doppelkonzert für Trompete, Posaune und Orchester)
 2016: '255' (Doppelkonzert für Marimba, Vibraphone und Orchester)
 2017: 'Seelen-Trilogie' für die Eutiner Festspiele ('Black Soul','Yellow Soul','Purple Soul' – für Orchester, Gesang und Rockband)
 2018: 'Hymnus' für die 900 Jahr Feier der Stadt Zwickau (für Orchester, Orgel, 3 Chöre, Rockband und Dom-Glocken)
 2020: 'In Der Tiefe' (Concerto für Doppelchor a Capella)
 2021: 'Ode an die Pop-Musik' (zeitgenössische Neu-Kompositionen mit Motiven bekannter Pop-Klassiker für Bläser-Nonett plus Kontrabass)
 2021: 'Pentagon of Poetry' (5 Werke für das Gesangsensemble AuditivVokal) mit Texten von Goethe, Nietzsche und Lenau.
 2022: 'Hymnus an die Musiek' - für Doppel-Quartett-Vokalensemble

Publikationen

 2017: Pjotr Iljitsch Tschaikowski 'Kinderalbum' op.39 für Streicherensemble (Universal Edition)

Orchestrierungen
 2018: Orchestrierungen für das SaselHaus von Johann Sebastian Bach, Robert Schumann, Edvard Grieg, Claude Debussy, Georges Bizet, Johannes Brahms, Joseph Haydn und Bedřich Smetana für Klarinette, Fagott, Violine, Bass, Trompete, Posaune und Percussion
 2021: Verschiedene Orchestrierungen für das WDR Funkhausorchester

Tanz

 2021: Memento (Choreographie: Tim Plegge) / Hessisches Staatsballett
 2022: Remember The Ladies (Choreographie: Xenia Wiest) / Mecklenburgisches Staatsballett
 2023: Der kleine Prinz (Neu-Adaption / Choreographie: Xenia Wiest) / Mecklenburgisches Staatsballett / Mecklenburgische Staatskapelle

Oper
 2012: Remixe der Bühnenmusik für Manon von Jules Massenet (Regie: Silvana Schröder) / Musikalische Leitung: Leo Siberski / Opernhaus Kiel
 2017: zusätzliche Kompositionen für 'Der Freischütz' (Carl Maria von Weber) / Eutiner Festspiele / Musikalische Leitung: Leo Siberski

Hörbücher
 2014: Quotenkiller / (Produzent: Klaus-Michael Klingsporn) / Deutschlandradio Kultur

Weblinks
 Homepage von Peer Baierlein

Musiker (Deutschland)
Ensemblemitglied des Schauspiels Hannover
Trompeter
Deutscher
Geboren 1972
Mann

redpajama_set_name: RedPajamaWikipedia


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Books & Editions
Alessandro Balteo-Yazbeck: All the Lands from Sunrise to Sunset
Alessandro Balteo-Yazbeck
Pharoh@AllThatSunEncircles.eg., From the series All the Lands from Sunrise to Sunset, 2018
paper collage on wood
Dominion@Planet.com, 2018, From the series All the Lands from Sunrise to Sunset (Detail)
paper collage on wood, commissioned by Sharjah Art Foundation
Comfort. From the series In Advance of the broken Model, 2019
Structure of Ludwig Mies van der Rohe's MR Adjustable Chaise Longe (designed ca. 1927) intervened with solar panels and electronic components connecting to Ikea Frosta-hack as Alvar Aalto stool 60 (designed 1933) and narrative label
dimensions variable; approx. 80 x 120 x 178 cm
Are Machines smarter than me? From the series Know Your Company, 2011–2015
alternative casket (corrugated cardboard box), framed vintage ad (lithograph) and narrative wall label
Alessandro Balteo-Yazbeck in collaboration with Attilio Napolitano (b. Modica 1936)
Carving coal since 4000 BC. From the series All the Lands from Sunrise to Sunset, 2018
Acrylic paint on centenary olive wood carving over a coal pile
carving: 20 x 17 x 17 cm; coal pile installation dimensions variable
Nail polish 3000 BC, From the series All the Lands from Sunrise to Sunset, 2018
Acrylic nail polish on centenary olive wood, rabbit skin collagen-glue, insect-based shellac
Ian's Gulf (maps version). From the series All the Lands from Sunrise to Sunset, 2018
Cardamom and rose pepper glued on maps (four pages, lithographic print, Fortune magazine 1951) custom mounted on conservation mat board, individually framed
2 parts, each 45,5 x 38,5 x 3,5 cm
Chronoscope 1952 or 1953, 11pm (I), 2012–2017
video-installation; 34 min single channel HD projection in colour and stereo sound, screenplay booklets and pink carpeting set
dimensions variable
Opening: Thursday 16th January 2020, 7 pm
One shouldn't be surprised by the apparent repetitions in human history; on the contrary certain patterns can be understood as nature expressing itself. Alessandro Balteo-Yazbeck seems inclined to identifying some of these patterns, as provocative as they may be. Distilling irony into humor, he focuses on the human nature behind cyclical events of history. Analyzing the domineering modern Western worldview, he proposes an understanding of contemporary global culture as one more entangled, more decentered and more tongue in cheek.
For his third solo exhibition at Galerie Martin Janda, Balteo-Yazbeck has collaged and assembled materials and topics from advertising, propaganda, the news, social media, sleek technologies and even interior design. He has also enlisted some artist-friends by including their works, thereby adding to each other's anthropocentric anxieties. In his most recent series, All the Lands from Sunrise to Sunset (2018), different iterations of this age-old maxim evoke the evolution of hubris for more than four thousand years up until the present. Spelled in extremely colorful collages and encoded as hashtags or email addresses such as Britain1821@SunNeverSets.co.uk, they resemble cut-out-letter ransom notes.
This series includes sculptures carved in olive wood and shaped as human hands, originally created by Attilio Napolitano, that Balteo-Yazbeck has nonchalantly intervened in different ways. Also part of the series, the small installation Backup (2013), originally made by Judith Sönnicken is now shown against a photo-collaged background, refers to our shared anxiety over losing digital archives. These three-dimensional works confront us with disparate technologies parading as human practices in our contemporary civilization – from ancient Chinese formulas for nail polishing and shellac, to coal as a fossil fuel, cellphones and GPS.
These themes refer back to some of Balteo-Yazbeck's preceding work, which likewise addresses the uneven development of technological ecosystems. Such is the case of Warao Chinchorro (2014), an installation featuring a framed, slick photograph by Holger Niehaus resting peacefully on a handmade palm fiber hammock – a furniture type produced by the Warao, an indigenous group living in the Orinoco river delta. This and other installations in the exhibition could pass for post-conceptual exercises were it not for the humor and wit the artist deploys to point to contemporary topics. In these works, color is almost absent. Black is perhaps the only formal element shared by this selection of ready-made objects or materials, but it is used only to be countered. For example, in Chronoscope, 1952 or 1953, 11pm. (2017), a TV broadcast from CBS's Longines-sponsored public affairs show featuring a troublesome political discussion is projected in its original black and white version, which the artist disrupts with pink stains at particularly hopeful moments. A matching pink carpet arrangement for the viewers to sit on 'really ties the room together'...
Humor is oftentimes a coping mechanism. But when used regularly and consistently, it also functions analytically by helping us focus on subjects we would otherwise choose to ignore. Humor is, after all, an ancestral subversive tool with roots lost in time and context. And as the works included in this exhibition seem to imply, we may need to hold on to this subversive human trait in the impending future.
Alessandro Balteo-Yazbeck, *1972 in Caracas, lives and works in Berlin.
All the Lands from Sunrise to Sunset (2018) was supported by Sharjah Art Foundation and partially exhibited at the Sharjah Biennial 14, 2019.
Copyright © Galerie Martin Janda, 2000–2020

redpajama_set_name: RedPajamaCommonCrawl


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The Museum of Lights
Perhaps the most magnificent example of Baroque
synagogue architecture in existence.
When you hear the word Hanukkah, what's the first place that comes to mind, the Second Temple in Jerusalem? Even if you think of a place other than the site of the Maccabean Revolt, it's a good bet that your answer won't be Italy. Yet, in the town of Casale Monferrato, Italy there is a museum devoted solely to menorahs, displaying what is probably the finest collection of contemporary menorahs in the world. This little known gem occupies the cellar and former matzoth bakery beneath the ancient synagogue of Casale Monferrato, a town of about thirty six thousand people in Italy's Piedmont district, only a short drive from Turin.
The first traces of Jews in Casale date from 1492, the year of the great expulsion from Spain. Although the Monferrato area was beset by many wars, Jews lived there peacefully under the Dukes of Mantua and other regimes into the eighteenth century. Compared to the Jewish experience in much of Europe, theirs was a life of relative security and ease. However they were subject to special taxes and required to wear a distinctive yellow arm band. By 1599 premises were leased in the Jewish Ghetto for a synagogue and shortly thereafter a contiguous house was entrusted to a Jewish caretaker and a public oven for matzoth was built in a nearby courtyard.
An unobtrusive door on the synagogue's anonymous exterior leads into an idyllic, arcaded courtyard. Another simple door from the courtyard opens into the synagogue's sanctuary, one of the most magnificent examples of baroque architecture and décor that exists. Over the centuries the sanctuary has been enlarged, re-arranged and redecorated many times. You can see this incredible baroque synagogue in virtual-reality online at Synagogues360.org.
The unobtrusive entrance to the amazing synagogue.
When the gates to the ghetto were eliminated in 1848 the Jewish population of Casale was 850. In 1853, after the emancipation of Italy's Jews by Napoleon, the synagogue was further embellished and restored. During the following years the city's Jewish population declined as many recently emancipated Jews chose to migrate to larger population centers such as Turin and Milan. By 1931 there were still 112 Jewish community members while today there are only 7.
In the autumn of 1994, planning began for celebration of the synagogue's 400th anniversary. A group of art lovers and experts decided that the synagogue's fine collection of Chanukkiot should be expanded to become a world class tourist attraction. Thus began a collection of contemporary art Chanukkiot produced by renown international artists. To describe this collection as beautiful, amazing, fascinating, fabulous or unique is simply inadequate. A visit to Casale Monferrato's Museum of Lights is a truly memorable experience. You can see and learn more about the Museum of Lights online at Casale Monferatto Jewish Community Website.
Detail of Ark
Unlike much of Europe, Italy has treasured and maintained its historic Jewish buildings. Thus, a visit to the Jewish sights and sites of Italy is an exceptional art, architecture and cultural experience. There are numerous comprehensive guided tours focusing on Jewish Italy or you can simply do it yourself with the help of such books as "The Guide to Jewish Italy" by Annie Sacerdoti. Just fly into Milan, rent a car with a GPS and start by heading for the incredible synagogue of Casale Monferrato and the Museum of Lights.
The Jew who saved the Green Bay Packers February 16, 2017
Travels with Harley February 29, 2016
Cream Cheese and a Big Cracked Bell April 28, 2015
Pavée and the Power of Tefillin February 20, 2015
The Museum of Lights October 8, 2014


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10 Microsoft Word Tips, Tricks and Shortcuts for Selecting in Tables
How to Quickly Select Cells, Rows, Columns and Entire Tables in Microsoft Word by Avantix Learning Team | Updated October 18, 2018 Applies to: Microsoft® Word® 2010, 2013, 2016 and 365 (Windows) There are many different ways of selecting in tables in Microsoft Word....
10 Timesaving Excel Tricks and Shortcuts for Copying and Pasting
Speed Up Copying and Pasting Using Simple Tricks and Shortcuts in Microsoft Excel by Avantix Learning Team | Updated June 12, 2018 Applies to: Microsoft® Excel® 2010, 2013 and 2016 (Windows) It's surprising how much time you can save with a few tricks and shortcuts...
Microsoft Word Trick for Supercharged Cut, Copy and Paste
Use Word's Hidden Clipboard for Cutting, Copying and Pasting by Avantix Learning Team | Updated September 4, 2017 Applies to: Microsoft® Word® 2007, 2010, 2013 and 2016 (Windows) If you do a lot of cutting, copying and pasting in Microsoft Word, there's a hidden tool...
3 Microsoft Word Tricks to Keep Text Together
Keep Paragraphs, Words or Characters Together in Microsoft Word Documentsby Avantix Learning Team | Updated March 29, 2019Applies to: Microsoft® Word® 2007, 2010, 2013, 2016, 2019 and 365 (Windows)You can keep text together in many ways in Microsoft Word. There may be...
Quickly Fill in Missing Values from a Cell Above in Excel
Fill in Blanks in a Microsoft Excel List with Cell Values by Avantix Learning Team | Updated October 5, 2018 Applies to: Microsoft® Excel® 2007, 2010, 2013 and 2016 (Windows) It's a fairly common issue to have a list of Excel data where there are blanks or missing...


text:
ATS je bivša njemačka momčad Formule 1.

Momčad je u osam sezona osvojila osam bodova. Günther Schmidt je 1977. kupio Penskeovu šasiju i Cosworthov motor, a njihov vozač Jean-Pierre Jarier je već na prvoj utrci osvojio prvi i jedini bod te sezone. Za 1978. Schmidt je angažirao dizajnera Robina Herda i napravio vlastiti bolid. ATS je promijenio čak šest vozača te sezone. Schmidt je bio poznat kao čovjek teškog karaktera i često je mijenjao vozače. Hans-Joachim Stuck je 1979. osvojio dva boda na VN SAD-a i time kod Schmidta zaradio otkaz.

Za momčad je 1981. vozio i Šveđanin Slim Borgudd, bubnjar grupe ABBA, te na VN Velike Britanije osvojio jedini bod za momčad te sezone. Sezona 1982. bila je najuspješnija sezona ATS-a u Formuli 1. Nijemac Manfred Winkelhock i Čileanac Eliseo Salazar su 5. mjestima na VN Brazila i VN San Marina, donijeli momčadi 4 boda i 11. mjesto u konstruktorskom poretku. Bili su to i posljednji bodovi za ATS u Formuli 1, iako je Gerhard Berger osvojio 6. mjesto na VN Italije 1984. No kako je momčad prijavila samo jednog vozača na početku sezone, drugi vozač (u ovom slučaju Berger) nije mogao osvajati bodove bez obzira na plasman u utrci.

Nakon neuspjeha u zadnje dvije sezone, Schmidt i ATS su se povukli iz Formule 1. No to nije bio kraj Schmidtovog angažmana u Formuli 1, jer se 1988. vratio s novom momčadi Rial.

Rezultati

Vanjske poveznice
statsf1.com
atswheels (ger.)

Momčadi Formule 1
Automobilizam u Njemačkoj


Twenty-eighteen is off to a great start - and already January has been busy with new digital scrapbooking stuff ready to roll out. In fact, the first Studio co-ordinated collection has just been released and it's gorgeous!
It's called "Winter's Freeze" - I called mine simply: "Winter Freeze" - LOL - but it's a celebration of all that white stuff, that people either love or hate: SNOW and we must remember the ice crystals and icicles and frost and wind chill factor and all that makes Winter COLD! And what do I know? I don't even have Winter where I live, so it's all in my imagination. I find that kind of funny.
Anyway, I'd like to show you my collection which is available HERE at The Studio.
So here is my BUNDLE - value $26.52 but just $8.00 through February 1. This is your best buy!
The individual packs are available for $1.00 each through February 1. After that they will be in store at the regular price.
HAVE YOU DONE MY JANUARY START UP CHALLENGE YET?
I have a new mini kit ready to release next week called "LOVE ALWAYS" - just in time for Valentine's Day! Watch for it.


Training Five: Everyone might start out discussing the particular Protestant Reformation within The united kingdomt, not to mention using just what everyone experience learned in relation to the actual blocks for your circulation to help you it's have an impact on with all the others associated with Europe. Students might start for you to be prepared some sort of PowerPoint powerpoint presentation to present a relax connected with that training simply because a fabulous product undertaking.
a Reformation started over 1 hundred or so quite a few years about struggle during Western world, with battling approximately Catholics along with Protestants. Simultaneously features consideration many were perfect. Each of those edges imagined your alternative half appeared to be the actual deliver the results about all the devil. Typically the Controlled Wave lesson policies. Galileo: To help you Tell a Fact, scripted perform And .
100% totally free Powerpoints, videos, driving session packages plus functions to get universe historical past using a fabulous center upon lessons of which suit any Common Primary. Reformation 1: The Beginning Lesson Plan Lead. We. The Audra Cathedral. a good. Delivers some summary the past about Christianity.
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10th graders discover that thought associated with all the Protestant Reformation. Around the Universe Track record driving session, 10th graders play a part through an important Think-pair-share recreation. College students craft a good article problem on all the best that will a Protestant Reformation.
Any Protestant Reformation began by using judgments associated with a Catholic Chapel by just priests plus many other non secular thinkers. Inside The united kingdom, the particular Reformation started out with this full. Henry VIII had become queen about Britain inside 1509 within typically the their age about Seventeen-year-old. Like a fabulous small cal . king, he / she was a new devout Catholic whom has written irritated protests towards this "venomous" strategies for Luther.
Nonetheless, typically the heritage connected with the actual Protestant Reformation was to be able to set up any innovative Melinda religious beliefs in The eu, Protestantism, which will short of money away the Catholic Church's absolute influence associated with all the country. Tutorial Summing up.


BARCELONA, Spain, 08 June 2010 - The Practicum group, of Soest, The Netherlands, has installed an HP Indigo 7000 Digital Press to meet the demand for short-run, high-quality colour print. The Practicum group has expanded its commercial printing services and today it consists of four production units employing 65 people. While maintaining its strong conventional colour capabilities, Practicum now migrates jobs from conventional presses based on the economic cross-over point - the number of copies where digital is more cost-effective than conventional printing.
"In 2009, the increasing demand for short runs of full-colour products made it clear that the capability of a high quality digital colour press had become necessary," said Frank Meijer, CEO, and co-owner with responsibility for marketing and sales, Practicum. "After carefully inspecting the various contenders in this class of high-quality, high production digital presses, we thought the HP Indigo 7000 clearly came out as the top choice for us."


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My Artists & Writers in Training
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February 28, 2013 Pink Me Not Mom	Leave a comment
Chloe's birthday present arrived today and she immediately started to explore the creative possibilities afforded by her new camera.
For a kid who doesn't yet have formal training, she's showing promise. Check out her very first photo, taken just outside our house. I love the reflection of the bare tree branches in the puddle. Watch your back, Ansel Adams!
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Takeda Pharmaceuticals, many U.S. employees can be found in jeans on a daily basis. The company relaxed its dress code last August based on feedback in a regular survey."The new dress code was intended to provide an even more comfortable workplace where employees can do their best work, a high priority for Takeda," says spokesman Jim Schwartz, adding that the company respects individual expression in appearance and dress, as well as the variety of work. On days that employees are working with vendors or external partners, they're expected to dress more formally than if they're primarily working alone.


Due to extraordinary demand, Aerosmith has announced 17 additional dates for their headlining Las Vegas residency at Park Theater at the new Park MGM resort. America's all-time top-selling rock 'n' roll band will launch Aerosmith: Deuces Are Wild on April 6th.
The newly added dates are: September 21st, 23rd, 26th and 28th; October 1st, 3rd, 6th and 8th; November 14th, 16th, 19th, 21st, 24th, 26th and 29th; and December 1st and 4th. Tickets go on sale February 15th.
Aero Force One exclusive pre-sale access begins today (February 13th) at 9 a.m. PT. Citi pre-sale begins February 14th at 10 a.m. PT. Public on sale Saturday, February 16th at 10 a.m. PT.


text:
Home · Condizioni di vendita
DERIVADOS DEL FLUOR, S.A.U.
I. Purpose
These General Terms and Conditions of Sale ("GTCS") apply to all proposals and quotations submitted by Derivados del Fluor, S.A.U. ("Seller") to all purchase orders received by the Seller and to all goods ("Goods") sold by the Seller. This sale or any sale resulting herefrom consists only of these terms and conditions and those in other documents which are referred to herein or are attached hereto or in a document subsequently signed by the Seller and referencing this transaction (all of which constitute the "Agreement"). It will be understood that these GTCS have been notified to the Buyer as soon as it is informed of the website to which they are incorporated, or if the Buyer previously received them in the course of its commercial relationship with the Seller. Any declaration of unenforceability of a provision shall be as narrow as possible and shall not affect the enforceability of the other provisions.
II. Formation, Integration and Modification
Delivery to the Seller of the Buyer's acceptance of a Seller's quotation or, the issue of a purchase order based on the Seller's quotation or the Buyer's receipt of the Goods, will constitute a binding contract under the terms of the Agreement provided that there is an availability of risk coverage by the Seller's credit insurer and that this coverage is maintained during the duration of the agreement. The Agreement is subject to the Seller's revocation or cancellation without liability until it is approved by the Seller. Notice of such approval may be furnished to the Buyer in the form of an acknowledgment, shipment, or other form of express approval. An order submitted by the Buyer orally or in a purchase order or other writing form, may be accepted, approved or filled by the Seller, but any resulting contract and the liabilities or obligations of the Seller shall be determined solely by the Agreement, and (unless the Seller otherwise advises the Buyer in writing) notice is hereby given that the Seller objects to any such terms or conditions in the purchase order or other writing. The Seller shall not be deemed to have in any way enlarged or modified its liabilities or obligations under the Agreement by filling such order or by failing to further object to the Buyer's terms or conditions. The Agreement is a final, complete and exclusive statement of the Agreement of the parties. The Seller is willing to negotiate written changes to these GTCS, but reserves the right to make an adjustment in the price of the Goods. No modifications, limitations, waivers or discharge of the Agreement or any of its terms shall bind the Seller unless in writing and signed by the Seller's authorized employee. A course of performance, course of dealing, or customs in the trade shall not constitute a modification or waiver by the Seller of any right.
III. Prices and Payments
Seller will have the right to increase its prices if raw material, natural gas, electricity or freight rates suffer an increase of 5% or higher since the conclusion of the Agreement. If, in the time between the conclusion of the Agreement and delivery of the Goods, the Seller generally reduces or increases its prices, the new prices valid on the day of delivery shall be charged. In the event of an increase in the Seller's prices, the Buyer shall be entitled, within a period of one week after the Buyer has been informed of such increase, to withdraw from the Agreement, unless the increase is due exclusively to an increase in freight rates. If the Buyer has not expressly and in writing withdrawn from the Agreement within one week, the new prices will be considered as accepted and Seller will be entitled to deliver the Goods at the new price. The weights of goods for invoice purposes shall be based on Seller's scale measurement. Unless otherwise agreed by the parties, all prices are in EURO and shall be net and deemed exclusive of VAT and any other taxes, levies, fiscal charges, duties or any other fees whatsoever levied on the supply. No deductions such as withholdings or discounts not agreed upon will be allowed. Handing in of bills of exchange shall require the consent of the Seller and shall not constitute payment. Discount, bill tax, bill charges and similar charges shall be borne by the Buyer. Without prejudice to the right of the Seller to payment in accordance with the terms of payment hereunder, the Seller shall be entitled, while reserving the right to claim further damages for delay, to charge interest at a rate of 10% as prevailing from time to time, on any sum outstanding after the date of payment and without prejudice to the Seller's right to refuse further fulfilment of the Agreement, also all claims of the Buyer resulting from the business connection shall become due and payable at once. Payment shall be made by bank transfer within 30 days of the invoice date. The invoice date shall be the date the Goods are dispatched from the Seller's factory. Payment shall not be deemed to have been made until the amount concerned is unconditionally available to the Seller on one of the Seller's accounts. The Seller reserves the right to use payment for settlement of any due payment plus any cost, including the default interest accrued thereon, in the following succession: cost, interest, main claim. The Buyer shall not be entitled to withhold any sum payable, or to make any deduction therefrom. Breach by the Buyer of any payment obligation, as well as its insolvency or its involvement in financial difficulties, shall entitle the Seller to suspend or terminate the Agreement, and to declare the entire debt as overdue in advance, demanding its immediate payment (including any amounts not due yet), charging for any works performed, expenses incurred and damages suffered, and withholding in its favour any sums received, with the Buyer having no right to compensation, and expiry of the guarantee. If it has been agreed upon that customs and import charges of the country of destination shall be borne by the Seller, increases in such charges coming into effect between the confirmation of the order and delivery of the Goods shall be borne by the Buyer. Any other fees, taxes and expenses connected with the Agreement shall also be borne by the Buyer.
IV. Delivery
The Seller shall always endeavour to deliver as soon as possible, but shall not be bound to any fixed period of delivery. If, notwithstanding the aforementioned, a fixed delivery date has been agreed upon in writing, the Buyer shall, in case the Seller defaults with the delivery, allow a reasonable extension of time of at least two weeks. Any delay in delivery caused by a case of Force Majeure or Acts of God shall not be considered as a delay and shall not give rise to any liquidated damages. In case of delay in delivery within the extension of time according to the abovementioned paragraph, due to reasons directly attributable to the Seller's responsibility and which causes damage to the Buyer, the Buyer might be entitled to liquidated damages if it has been explicitly agreed so. Such liquidated damages which will be considered as its sole and exclusive remedy for the delay, and shall never exceed five percent (5%) of the total price of the delayed Goods. The Buyer shall not be entitled to claim any further, actual or additional damages on account of the same late delivery. Liquidated damages claims for late delivery are time barred after two months from delivery of the goods concerned and the Buyer shall not be entitled to apply liquidated damages if it has breached its contractual obligations of payment and/or procurement of sufficient information in due time.
V. Force majeure and Impediments to performance
Force majeure of any kind; production or transportation disturbances; fire damage; floods; shortages of labour, utilities, raw or auxiliary materials; strikes, lockouts; shipping difficulties; official orders; or other circumstances as a result of which production, supply, acceptance or consumption is reduced, delayed, prevented or cannot reasonably be expected of either party, shall relieve the Seller from its obligation to supply and the Buyer from his obligation to take delivery as long as and to the extent that the disturbance prevails. If, as a result of the disturbance, supply and/or acceptance are/is delayed by more than eight weeks, either party shall be entitled to withdraw from the Agreement. In the event of the Seller's source of supply being wholly or partly unable to supply, the Seller shall not be bound to buy from other subsuppliers, but shall be entitled in such cases to distribute at its discretion the quantities of goods available for sale, while taking into account its own requirements at the same time.
VI. Shipments
The Seller reserves the right to choose how and by what route the Goods are to be shipped. If the Buyer has special needs in either of these conditions, it shall bear any additional expenses thus incurred. Any costs arising out of the delay in the Goods' unloading point for reasons attributable to the Buyer shall be borne by the Buyer. Unless carriage free delivery has been agreed upon, the Buyer shall bear any increases in freight rates occurring after the conclusion of the Agreement and any additional charges for rerouting of the Goods, storage of the Goods, etc.
VII. Iso-containers
If the deliveries of the Goods are made in ISO Containers owned by or leased from a third party by the Seller, the Buyer shall have no right or proprietary title in or to the ISO Containers. Buyer acknowledges that the ISO Containers have a high net value and are intrinsic to the Seller's business. Unless otherwise agreed in writing, the Buyer shall be responsible for unloading the Goods from the ISO Container into the delivery point on the same day of its arrival to the delivery destination. The Buyer shall use all reasonable care and skill when handling the ISO Containers, comply with all health, safety and environmental legislation, guidance and best practice relating to the unloading and retaining of the ISO Containers, as well as the preparation, consignment and carriage of the ISO Containers and any residual Product remaining in the ISO Containers once they have been unloaded; adhere to the Seller's technical and safety recommendations in respect of the handling, unloading and dispatching of the ISO Containers; and submit all relevant documentation required by health, safety and environmental legislation, guidance and best practice when the Buyer is required to return the ISO Containers. Unless otherwise set forth in the quotation or the order, if the Buyer retains any ISO Container for a period longer than 24 hours other than due to the fault of the Seller or its appointed haulier, the Buyer shall be responsible for all costs associated with the retention and return of the ISO Container including haulier platform charges; and pay the Seller a rental charge of EUR 60.00 per day and withheld ISO Container, without any prejudice to the Seller's right to ask for additional compensation up to the net value of the ISO Container and terminate the Agreement without incurring any liability. The Buyer shall be the only liable for the care of the ISO Container from its receipt to its return.
VIII. Retention of title
Ownership of the Goods shall not pass to the Buyer until it has fulfilled all its obligations resulting from its Agreement with the Seller. If, in spite of having been reminded of its obligations towards the Seller, the Buyer still fails to meet them, the Seller shall be entitled, without allowing an extension of time and without withdrawing from the Agreement, to demand that the Buyer, at its own cost, return to the Seller any Goods to which the Seller retains its title. The taking
back of such Goods shall not constitute any withdrawal from the Agreement unless this is expressly declared by the Seller in writing.
The Seller's ownership shall also extend to the full value of all products made by processing goods to which the Seller retains his title, unless such products are also made with goods supplied by a third party to which the third party retains its title. In the latter case the Seller shall acquire co-ownership of the said products, and the extent of such ownership shall depend on the value of the goods supplied by the Seller in relation with to that of the goods supplied by the third party. The Buyer shall be deemed to process the Goods on behalf of the Seller as long as the latter retains his title to them, but this fact shall not confer on the Buyer any claims against the Seller. The Buyer is obliged to look properly after Goods to which the Seller retains his title, and to insure them against loss and damage.
IX. Limitation of liability
The Seller shall hold the Buyer and third parties harmless from the direct damages suffered as a result of the infringement by the Seller of its contractual obligations, due to defects in the Goods or due to acts or omissions of its employees, subcontractors and other individuals for whom it is legally liable, up to a maximum liability cap or amount payable of two million Euros (2,000,000 €). The Seller shall not be liable for any kind of indirect, consequential, incidental, punitive, special or exemplary damage or loss suffered by the Buyer or third parties, including but not limited to loss of production, income, revenue or profit (lucrum cessans), loss of performance or availability, costs of replacements with substitute goods, waiting costs, costs of labour, investment or capital, and any other financial costs, third party claims, etc. The Seller shall be notified of any existing damage as soon as it occurs and shall not be liable for any damages that have not been notified by the Buyer later than three months since the delivery of the Goods.
X. Technical advice, use and processing
Any technical advice provided by the Seller whether verbal, in writing or by way of trials – is given in good faith but without warranty, and this also applies where proprietary rights of third parties are involved. It does not release the Buyer from the obligation to test the products supplied by the Seller as to their suitability for the intended processes and uses. The application, use and processing of the products are beyond the Seller's control and, therefore, entirely the Buyer's own responsibility. Should, in spite of this, liability be established for any damage, it shall be limited to the value of the Goods delivered by the Seller and used by the Buyer.
XI. Warranty
The Seller warrants that the Goods supplied under this Agreement shall at the time of delivery conform in all respects with the Seller's specification and all applicable laws, regulations and regulatory requirements. The Seller gives no warranty and makes no representations that the Goods will be fit for purpose and expressly excludes any terms implied by statute, common law or otherwise making such representations or having a similar effect. The warranty period of the Goods shall be 15 days after its delivery. By virtue of this warranty, the Seller undertakes, at its option, to reduce the prices, to replace the defective Goods or to take them back and refund their purchase price. Any defects claimed must be notified immediately in writing by the Buyer to the Seller as soon as they have arisen, in any case not later than two weeks after the arrival of the Goods, and if vouchers, samples and packing labels are submitted and the invoice number, the date of the invoice and the marking shown on the packing are stated and exhaustively declare the nature of such defects. The warranty shall only be valid and effective if transport, storage, operation and maintenance of the supply have been carried out properly. The defective Goods shall not be returned without the Seller's express consent. The warranty shall not apply in case of normal wear and tear, whether due to operation or to external causes, or, in case of extraordinary wear and tear or failure, due to inadequate use or external factors. The warranty does not cover defects resulting from accidents, Force Majeure, improper handling, or from negligence or lack of competence of the Buyer's or third party's staff. It is the only enforceable warranty given to the Buyer, and it excludes any other conditions or warranties not expressly acknowledged by the Seller whether express, implicit or legal. The warranty shall, in any case, exclude the Seller's liability for hidden defects beyond the indicated warranty period. In the case of a hidden defect a written complaint must be made as soon as possible after the defect has been found, yet within five months at the most, of the arrival of the Goods; this provision shall not affect the provisions of law concerning the lapsing of claims. The Buyer shall be obliged to prove that the defect involved is a hidden one.
XII. Order Cancellation
The Buyer may cancel its order for the Goods five working days before expected departure from the Seller's factory without any liability. If the Buyer cancels the order beyond this period, the Buyer shall immediately pay to the Seller 100% of the price of the cancelled order plus any additional costs arising out of the return of the Goods to the Seller's factory.
XIII. Confidentiality
Any information to which the Parties have access as a result of the Agreement, including the terms and conditions of the same, shall be considered as confidential information unless it belongs to the public domain, and shall not be disclosed to third parties, nor used directly or indirectly for purposes other than those provided for in the Agreement. This obligation binds any employees of the parties, who shall only receive the information that is strictly required for the performance of their duties, with the Buyer ensuring at all times that confidentiality is maintained. The confidentiality obligation shall remain in force for at least two years following the full payment of the supply.
XIV. Anticipatory breach
Any unexpected events such as cases of Force Majeure, changes in the economical or financial circumstances or in the scope of the mutual obligations of the Parties that significantly affect the tasks to be performed, if the Buyer defaults in the performance of its obligations, etc., shall entitle the Seller to withdraw from the Agreement totally or partially with a mere notification in writing and without any liability arising therefrom.
XV. Personal data protection
Under article 13 of Regulation (EU) 2016/679 of the European Parliament and of the Council, of 27 April 2016, on the protection of natural persons with regard to the processing of personal data and on the free movement of such data:
the personal data of the Parties acquired during negotiation, execution or performance of the Contract shall be processed by the Parties (as data controllers) for the purposes relating the performance of the Contract or for compliance with legal requirements, legitimized by the execution of the Contract; (b) the Parties will keep the personal data during the time necessary to comply with legal obligations, (c) the Parties' data shall be disclosed only to consultants or affiliates of the Parties or to persons appointed to process the relevant data for the purposes set out in paragraph (a) and shall not otherwise be disclosed or divulged to third parties, (e) in relation to the processing of the Parties' Data the Parties may exercise the rights of access, rectification, objection, erasure, restriction of processing, and data portability through the email lopd@grupominersa.com.
XVI. Applicable law and resolution of disputes
The Agreement shall be interpreted exclusively according to the laws of Spain to the exclusion of any other legal system or conflict of law rules. 1980 UN Convention on Contracts for the International Sale of Goods shall not apply. All disputes arising in connection with the interpretation and enforcement of the Agreement, or any other legal relationship with the Buyer which cannot be resolved amicably despite having exercised all reasonable efforts, shall be resolved by the sole competent Courts of Bilbao (Basque Country, Spain) to the exclusion of any other jurisdiction.


An important article in The News International was published today. It touches on whether Muslims should greet Christians with Merry Christmas and Happy New Year. The author of the piece, Aijaz Zaka Syed, was taken aback by the convoluted logic that Muslims are "aping the West" by sending warm greetings to Christians. Syed claims that the argument against Christian greetings is steeped in ignorance about Islam's strong affinity with Jesus, and that it is betrays tolerance – a vital part of the Islamic faith.
Syed also points to 615 CE, when Prophet Muhammad turned to Christians for protection for his persecuted followers in Abyssinia, present day Ethiopia. King Negus firmly stood with Muslims, rejecting all entreaties by the Meccans to throw out the asylum seekers. This was something that Prophet Muhammad never forgot. When Islam swept across Arabia and beyond, Muhammad extended the same protection to all Christians in his midst.


We enjoyed the services of your company in the journey of Vietnam (Phan Thiet – Dalat – Nha Trang – Phan Thiet). I want to say a huge thank you to all of your company and especially the Russian-girl Yana (she's a wonderful,attentive woman, she really helped us in the correction of our journey and in off-nominal situation, in which we have accidentally hit on this trip). We will be happy to recommend to all our compatriots, friends and acquaintances to use the services of Your company! Good luck and prosperity! Yana, I want to personally wish good luck, health and all the best, we warmly about you remember! Your the company is undoubtedly the best transport company in Phan Thiet ( Muine )!
Family Kolosov ,Phan Thiet,March 2013.


text:
using System.Linq;
using System.Net;
using System.Net.Http;
using System.Web.Http;
using Shared;

namespace RTASP.Controllers {

    [RoutePrefix( "Video" )]
    public class VideoController : ActionController {

        [HttpPost]
        [Route( "Newest" )]
        public HttpResponseMessage Newest() {
            return Request.CreateResponse( HttpStatusCode.OK,
                Shared.VideoDownloader.Instance.Newest() );
        }

        [HttpPost]
        [Route( "Trending" )]
        public HttpResponseMessage Trending() {
            return Request.CreateResponse( HttpStatusCode.OK,
                Shared.VideoDownloader.Instance.Trending() );
        }

        [HttpPost]
        [Route( "More" )]
        public HttpResponseMessage More() {
            if ( !request.Form.AllKeys.Contains( "Query" ) )
                return Request.CreateResponse( HttpStatusCode.BadRequest );

            return Request.CreateResponse( HttpStatusCode.OK,
                Shared.VideoDownloader.Instance.More( request.Form["Query"], request.Form["Page"] ) );
        }

        [HttpPost]
        [Route( "Get" )]
        public HttpResponseMessage Get() {
            if ( !request.Form.AllKeys.Contains( "ID" ) )
                return Request.CreateResponse( HttpStatusCode.BadRequest );

            var video = Shared.VideoDownloader.Instance.Get( request.Form["ID"], request.Form["Cookies"] );
            if ( video == null ) {
                return Request.CreateResponse( HttpStatusCode.NotFound );
            } else {
                return Request.CreateResponse( HttpStatusCode.OK, video );
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


Her execution is always on point.
Floaty, flirty, feminine, fun….These are the first four words that came to mind with this collection. Truly the best I've seen since the start of the LFDW. I wish I could afford….This is the difference between one who studied the craft and others who fell uppon it by accident. Great work!! Bravo!!
I'm surprised alot of these celebs dont rock Bridget Awosika, her designs & execution are always tastefully exquisite, weldone Bridget.
I think Genevieve, Rita Dominic, Nike Osinowo and Omotola would shine like a million star in her collections.
Bella can you put up Genevieve's pic in bridget Awosika's piece, someone just showed me the pic after seeing my comment here. She looked uber stylish in it just like i stated above.
her clothes fit only skinny women. eg that black and white dress that Tiwa/Abi Kd rocked. Most Nigerian women are neither tall nor skinny, which is fine. Thus alot would stick to more structured items so they can look stylish without looking swollen. Genevieve and Somkele Iyamah would rock these as fire red carpet looks, but I doubt someone with a fuller figure can.
Right thats why i fake put Omotola in with a 'and'…..i omitted Toke for this reason, height and Rita made the cut coz just about anything looks good on her.
Beautiful collection from Bridget as usual but are we just going to ignore Meena Official also presented at Lagos Fashion Week and you guys didn't post her designs? Rude!
Absolutely adore this lady's work.


text:
New Zealand transport
$96m funding for Wairarapa rail
4:11 pm on 9 October 2018
Wairarapa rail tracks are getting a major funding boost and upgrade.
Transport Minister Phil Twyford at the announcement of the government's $94m investment in the Wairarapa rail network. Photo: RNZ / Laura Dooney
This morning Transport Minister Phil Twyford announced a $96 million investment, which includes $50m for track infrastructure and the rest for double-tracking between Trentham and Upper Hutt.
He said it would help grow the region's economy and tourism.
Without the investment, the line would deteriorate and cause delays and disruptions for commuters, Mr Twyford said.
"Passengers have a right to expect a safe and reliable service, and this investment will ensure the long-term future of this route."
Mr Twyford said the investment could have spinoffs into other investments.
It would give the Greater Wellington Regional Council more confidence to invest in upgrading and improving the line's rolling stock, he said.
The work was long overdue Mr Twyford said.
"I was shocked when I heard stories about how the poor state of the line was causing long delays, line closures and speed limits on the line and quite a bit of the infrastructure on the track on this line has reached the end of its life."
It was relief for people living in the region to know the line will improve, Carterton mayor John Booth said.
"When it was all unreliable, whether it was weather related, equipment related, people's frustrations were boiling over - in the summer especially."
He said it was good to have a line in the sand, with work starting next April.
Mr Booth said previously the system would go down, get worse, and some remedial work would be done, giving people hope it was going to be fixed, and then it would go down again.
Kiwirail acting chief executive David Gordon said the things that needed to be done were fairly basic, but it was just a matter of having the resources to do that.
He said the tunnel through the Remutakas would be completely fixed up, taking it back to the condition it was in when it was built in the 1950s.
Work on the Wairarapa rail line was expected to start in April next year.
Chinese investors offer to build Auckland road
Chinese investors are offering to pay for, and build, a major Auckland road.
Wellington needs more bus priority measures to make changes work - experts
The Wellington bus network is failing because the right infrastructure is not in place, public transport advocates say.
Auckland gets funding boost for safety gates at rail level crossings
Auckland rail is getting nearly $8 million dollars to boost the numbers of safety gates at level crossings.
Rail proposal could put commuters back on track
A proposal to pay almost $200 million could help bring an end to transport woes for Wellington's beleaguered rail commuters.
Body recovered from Central Otago swimming spot
'Out of control': Lake user pleads for cull of Canada geese
New Zealand RSS


The property above doesn't actually completely specify that the rev function is accurate though, as one could replace revwith the identity function and still observe this result. We will therefore write one more property to thoroughly test this function.
This generator shrinks back towards the original list ordering the user supplied. Although only a few shrinks are shown above, these are actually just the first layer of a rose tree of possible shrinks. This integrated shrinking property is a key component of hedgehog, and gives us an excellent chance of reducing to the minimum possible counterexample.
Generators are also monads, meaning that one can use the result of a generator to build a generator. An example of this is a list generator, which first randomly chooses a length, then generates a list of said length.
The gen.map function can be used to apply an arbitrary function to the output of a generator, while gen.and_then is useful in chaining the results of a generator.
R is a multi-paradigm programming language, while all the tests we have seen so far have tested functions which have no side effects (pure functions).
To deal with more complex situations which might arise in practice, Hedgehog also supports testing stateful system using a state machine model under random actions.
The general idea is that we can generate a model of the system, with requirements and post-conditions for every action we can take. With a random sequence of actions, we can test our model of the system against the true implementation. Hedgehog will then be able to identify inconsistencies between the true implementation and the model, from which the programmer can ask whether this is a bug in the model or a true bug in the system.
John Hughes has a series of excellent talks regarding testing of state based and non-deterministic systems using QuviQ's proprietary QuickCheck implementation, which has been using these techniques to great effect for many years.
Hedgehog's current implementation in R is still quite young, and not nearly as feature rich, but does still allow for interesting properties in stateful systems to be investigated. See the state machine testing article for more information.


text:
Q: MediumTopAppBar Material3 change only big Title I am working with MediumTopAppBar, and i am trying to change the textStyle of the big Title without ruining the small title.
So what i am doing is:
MediumTopAppBar(
                title = { HeadlineLargeBlackText(text = "pageTitle") },
                navigationIcon = {
                    IconButton(onClick = { onBackPressed.invoke() }) {
                        Icon(
                            imageVector = Icons.Filled.ArrowBack,
                            contentDescription = stringResource(id = R.string.action_back)
                        )
                    }
                },
                scrollBehavior = scrollBehavior
            )

My problem is that when i set it to "HeadlineLargeBlackText" it automatically change the textstyle of both the big and the small text so it looks like this (image taken with both big and small text visible):

What i want is for the bottom to be big, and the top to be small.
When i go into the MediumTopAppBar i do see that the textStyle of the big and the small is set in the TwoRowsTopAppBar as:
   titleTextStyle = MaterialTheme.typography.fromToken(TopAppBarMediumTokens.HeadlineFont),
    smallTitleTextStyle = MaterialTheme.typography.fromToken(TopAppBarSmallTokens.HeadlineFont),

But ofc that method is private :// So i wonder, is it possible to get access to these big/small texts separately somehow?

A: Currently the MediumTopAppBar uses the titleLarge and headlineSmall textstyles defined with the typography attribute in your theme.
You can define them in the theme with:
val customTypography = androidx.compose.material3.Typography(
    titleLarge = TextStyle(
        fontWeight = FontWeight.SemiBold,
        fontSize = 22. sp,
        lineHeight = 28. sp,
        letterSpacing = 0. sp
    ),
    headlineSmall = TextStyle(
        fontWeight = FontWeight.SemiBold,
        fontSize = 16. sp,
        lineHeight = 24. sp,
        letterSpacing = 0.15.sp
    ),
)

If you don't wont to apply them to the whole app, you can apply a custom theme only to the MediumTopAppBar with something like:
  Scaffold(
        modifier = Modifier.nestedScroll(scrollBehavior.nestedScrollConnection),
        topBar = {

            AppTheme {
                MediumTopAppBar(
                    title = {
                        androidx.compose.material3.Text(
                            "Medium TopAppBar",
                            maxLines = 1,
                            overflow = TextOverflow.Ellipsis
                        )
                    },
                    //....
                )
            },
            //....
  }

where
fun AppTheme(
    useDarkTheme: Boolean = isSystemInDarkTheme(),
    content: @Composable() () -> Unit
) {
    //...
    aMaterialTheme(
        colorScheme = colors,
        typography = customTypography,
        content = content
    )
}

redpajama_set_name: RedPajamaStackExchange


text:
The 116th Best Director of All-Time: James Whale
Whale. James Whale's strength is he was a major auteur in the 1930's. His output includes four films that land in the top 100 of that decade. His filmography ranks him out at #122 overall but it's difficult to find auteurs at this point that both A) have a personal visual stamp (which he does with his gothic visuals and mise-en-scene) and B) have, again, four films that landed in their respective decades' top 100. His weakness is the lack of depth here with only 5 total archiveable films and only one film in the top 500 of all-time but Frankenstein is close to being on that list- just misses.
Best film: Bride of Frankenstein
The sequel (4 years after original apparently because Whale would only agree to do it if he had complete artistic control) lacks some of the narrative genius (this is far removed from mary shelley's book) and originality of the 1931 original but we have a much heavier influence of gothic set design, the cabinets of dr. caligari german expressionism and I think that makes this the superior film and a borderline masterpiece
There's a very interesting homosexual reading of the film which came to light decades after the film—the monster and his bride to not hit it off and we have him and the hermit getting along so well
The hermit sequence is pure narrative tenderness but is a pretty quiet period stylistically
Very detailed sewer, lab, cemetery and prison—the visuals here are superior—we have gorgeous gothic interiors at the castle as well- almost every scene is laid out with ornate woodworking, great work in shadows with the lighting, candle work both add to the lighting and the detailed and busy mise-en-scene
Elsa Lanchester dual role here with her playing the bride and the shelley character in the very good opening prologue author introduction and recap
Harshness again- two fatalities in the first two minutes
Many love the intentional campiness and humor here in the second film—mainly here from Una O'Connor's crooning and tongue-in-cheek wit.
Many of the shots are taken from expressionistic odd angles—changing the floor or baseline or even blocking part of the mise-en-scene intentionally a la von Sternberg
MS/MP border
total archiveable films: 5
top 500 films: 1 (Bride of Frankenstein)
top 100 films of the decade: 4 (Bride of Frankenstein, Frankenstein, Show Boat, The Invisible Man)
most overrated: Nothing for Whale. The TSPDT consensus only has two films from Whale in the top 1000 and that's Bride at #328 (I'm at #226) and Frankenstein at #512 and I'd be really close to that.
most underrated: Show Boat should be in top 1000 and it doesn't currently land a stop on the TSPDT list.
gem I want to spotlight: The Invisible Man
The Invisible man is an overlooked Whale film simply because it isn't a Frankenstein
It's his best edited film
Claude rains is very good in a memorable first archiveable role- all vocal (and well done at that) until the final scene where he's just lying there for 20 seconds
The film eagerly moves—just like the camera. Love the tracking shot through the tavern in the opening and how the film tracks away from rains saddened fiancée
Again, like in bride of Frankenstein in 1935 we have a mooning una o'connor for laughs
Like Frankenstein this is a scientist driven mad by ego and scientific experiments
The special effects are superb—that's true—but whale adds to them—there are many tracking shots to simulate the movement of the invisible man. it makes the entire film concept, which should be really difficult, seem effortless
Brisk entertaining 71 minutes
R/HR border- leaning HR
stylistic innovations/traits: The creation of the monster as earned Hollywood and horror iconography is an accomplishment. There are commonalities in the narratives like the mad scientist driven to that insanity by ambition (both Frankenstein films and Invisible Man). Whale's films often featured gothic décor and his best work are triumphs of production designed influenced by the early Germans (Caligari, Murnau). Again in his best work (mainly Bride of Frankenstein) have many gorgeous shots are taken from expressionistic odd angles with set pieces and obstructions in the frame like von Sternberg. Years later it's clear there's a homosexual reading in much of Whale's films that give the work complexity. They are often funny as well and are crispy edited that still hold the power to easily entertain and impress nearly a century after their release.
Bride of Frankenstein
Show Boat
The Old Dark House
1931- Frankenstein MS
1932- The Old Dark House R
1933- The Invisible Man R/HR
1935-Bride of Frankenstein MS/MP
1936- Show Boat HR
The 250 Best Directors of All-Time - The Cinema Archives August 17, 2020 at 9:37 pm - Reply
[…] 116. James Whale […]
Max January 8, 2022 at 4:45 pm - Reply
The original Frankenstein is a masterpiece up until the final 30 seconds or so; absolutely terrible tacked on final scene. But the atmosphere, classic imagery of Castle Frankenstein, the burning windmill, etc., and the rightfully iconic performances of Karloff and Clive make it one of the best horror films of all time. Also worth noting: Bela Lugosi famously said that it requires no talent to play Frankenstein's monster, just the ability to grunt and moan. But it's astounding how deeply humane and sympathetic a character Karloff is able to create with exactly that. He is a creature constantly crying out to the world for acceptance, the love that he deserves from his creator, and is constantly denied. As often as it's parodied or mocked, it's an incredible achievement in screen acting.


The objectives of this study were to document and interpret changes in thermal activity at two of three craters located on the rim of the ice-filled summit caldera of Mount Wrangell, an active glacier-clad shield volcano in south-central Alaska. The technique of "glacier calorimetry" was developed, through which changes in the volume of glacier ice in the craters and caldera were measured and related to changes in heat flow. Chemical analyses of gases and acid-thermal waters provided information on the underlying heat source. In 1965, thermal activity began increasing at both the North and West Craters. During the ensuing years, heat flow increased significantly at the North Crater, although in a highly fluctuating manner, while gradually declining at the West Crater. Pulses in heat flow at the North Crater occurred in 1966-68 and 1972-74, with both pulses followed by a four-year decline in activity. Increases in heat flow began again in 1978-79 and have continued unabated through the summer of 1983. Over 80 percent of the 4.4 x 10('7)m('3) ice volume within the crater in 1966 was melted by 1982, and the meltwaters have drained or evaporated from the crater. The subsequent rapid development of numerous fumaroles, the large dry-gas proportion of SO(,2) (27 percent), and the inferred presence of gaseous HCl indicate that a shallow degassing magma body is the source of heat driving the thermal system. Seismically induced fracturing above the magma body is hypothesized to explain the initial increases in thermal activity. The resulting massive influx of meltwaters into the subsurface is suggested as the cause of the fluctuations in heat flow. The continued increase in activity since 1979 suggests that the volume of meltwater being generated is no longer sufficient to quench the heat source beneath the crater.


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Why are so many young American women posing with guns on social media?
Lizzie Pook
As America marks its 101st mass shooting, why has a photo of a young woman with a gun had 130,000 likes? Stylist investigates.
You probably do the same check every time you leave the house: phone, wallet, keys, repeat. But 22-year-old Brenna Spencer can add another item to that list: her Smith & Wesson 380 pistol.
She keeps the small firearm concealed in a belly-band around her middle, taking it everywhere she is licensed to do so in her hometown of Nashville: in her car, in bars and restaurants, in church.
"The majority of my female friends do the same," she says, referring to women who tuck handguns into waistbands, strap them into ankle holsters and store them in bra holsters on a daily basis. We know this because Spencer is very vocal about it. Earlier this year, she created a storm on Twitter when she posted her graduation photo wearing a 'Women for Trump' T-shirt pulled up to reveal a handgun tucked into her waistband. The caption read,"I don't take normal college graduation photos." Likes: 116,000. One week later she added the photo on Instagram. Likes: 13,969.
She is not the exception. There are scores of women on social media proudly promoting their right to bear arms. Some of these gun-loving women are becoming influencers too – one online article tells men to follow "the gorgeous gun girls of Instagram" celebrated for their "blend of delicate little lady and deadly machinery". Each of the women listed in the article has nearly 200k followers.
What makes this gun-toting social posting all the more flippant and bewildering is, of course, the events going on around them. Less than three weeks ago, 10 people were slaughtered at a high-school shooting in Santa Fe, Texas, bringing the number of mass shootings in America this year to 101 (that's almost one for every two days of 2018 so far). And while people are fighting back – an estimated two million people attended the March For Our Lives, spearheaded by the student survivors of the Parkland school shooting – still, it is happening. Again and again.
Non-partisan research suggests a complete ban on assault weapons could prevent 170 deaths a year in the United States. Yet women, young women, in the country are still carrying guns. And plenty are shouting about it.
We may think of millennials as being mostly liberal, but actually, a 2015 Gallup poll found that, while 57% of 30- to 49-year-olds and 56% of 50- to 64-year-olds support stricter gun laws in America, only 50% of 18- to 29-year-olds did.
Another study in 2014 found that while just over a quarter of people aged 18-26 own guns, women make up a larger proportion of that number than you might think (data from 2017 reveals that 22% of American gun owners are women). Suggesting our stereotypes of gun owners being vast-bellied, white American men needs a drastic rethink.
Perhaps more unsettling about these statistics is that traditionally we don't equate women with violence. We assume in crisis situations that women will adopt the roles we've typically been assigned. As care-givers (like Florence Nightingale), as peacemakers (in the 1994 Rwandan massacre, women played a pivotal role in reconstructing the country). And who can forget 18-year-old Emma González, who has ignited her generation's political activism?
Parkland shooting survivor Emma González has become an outspoken anti-gun voice
So while you might think it's the male-dominated NRA behind gun prevalence, 40% of their members are women. Search on Twitter or Instagram for #girlswhocarry and you'll find young women flamboyantly posing with guns. These posts are a surefire way to get attention, create controversy and gain new fans (Brenna Spencer was invited on national TV and now has a strong Conservative follower base). But why do these women actually carry guns?
"It's important for self-defence. I lived a couple of hours away from my family when I was in college and I did a lot of things by myself, so
I always wanted to be able to protect myself," continues Spencer.
"The research is clear: guns don't make us safer"
Gun activists cite research that shows carrying a gun actually increases the likelihood of being shot in an assault. Vicka Chaplin, a director at the Coalition to Stop Gun Violence, says women deserve to know the facts. "The research is clear: guns don't make us safer. In states where there are more guns, there are more gun deaths," she says.
But in a world where gender-based violence makes headlines every day are we justified in being surprised by women for wanting to arm themselves and be 'empowered'? On the flipside, how can these people justify carrying weapons when shootings – like those seen in Santa Fe, at Parkland, in Sandy Hook – are happening so regularly?
On the day of her graduation last month, Kent State University student Kaitlin Bennett arrived in a white dress with an AR-10 battle rifle slung across her back. A tweet from her account read: "Now that I graduated from @KentState, I can finally arm myself on campus. I should have been able to do so as a student – especially since 4 unarmed students were shot and killed by the government on this campus #CampusCarryNow."
For Bennett, the photo marked the culmination of years advocating for students to be able to carry concealed weapons on the same campus where, almost 50 years ago, the Ohio National Guard opened fire into a crowd of unarmed students protesting the Vietnam War (four were killed). Unsurprisingly, her stunt drew criticism, but it also accumulated more than 31,000 likes.
"I carry my gun to ensure I never have to say #MeToo"
For many of these women, guns are just a way of life – something they've grown up with.
"I can't remember the first time I shot a gun; they were always just in the family," Spencer tells Stylist. Spencer bought her first gun as soon as she reached the age of 21, from gun store Academy in Nashville, Tennessee (a state with more than half a million gun-holders). She describes it as a "fairly easy process", requiring only a quick background check.
Friends leapt to Spencer's defence when she received abuse following her gun-toting graduation tweet. One friend even tweeted, "Every day I carry my gun […] to ensure I never have to say #MeToo."
Antonia Okafor, 28, a survivor of sexual assault, started training with guns after an experience with an obsessive cyberstalker. "I carry a gun because I want to be able to defend myself wherever I am. I also know that a firearm is the greatest equaliser and the best, most lethal form of self-defence," she says.
The self-defence argument is, unsurprisingly, a problematic one. Twenty-seven percent of women say defence is the primary reason they own a gun, and nearly a quarter of Americans who own only handguns are women who live in urban areas.
"A gun alone will not guarantee your safety"
In fact, Tina Wilson-Cohen, founder of the women-only shooting club She Can Shoot, told The New York Times that 90% of the women who joined the organisation were motivated by the fact that "they've been a victim at one point in their life, of stalking or date rape or domestic violence, or they have just felt so vulnerable, and they want to feel competent and like they can protect themselves".
But the statistics don't back this up. Guns are used in more than half of all homicides of women in the United States, according to a report by the Centers for Disease Control and Prevention. The study, published in July last year, was leapt upon by gun advocates, who argued that women should be able to arm themselves against this. But it was also used by gun-control activists to point out that guns in American homes are often used against women, not to protect them (research from the American Journal of Public Health shows that a gun's presence in a domestic violence situation raises the likelihood of a woman being murdered by 500%).
On top of this, a report from the Violence Policy Center found that women defending themselves from sexual assault using a gun is so rarely reported it's basically non-existent, and that only 15 women used a firearm to kill a man in self-defence in 2014 (when the last records can be found), compared with 1,116 women killed by men.
In fact, just having a gun nearby actually increases the likelihood of a woman being killed. "Women in abusive relationships are five times more likely to be killed when an abuser has access to a gun," says Chaplin.
As Heather Ryan, ex-special agent with the Naval Criminal Investigative Service, points out on her blog, "The reality is, if someone surprises you while you're walking out to your car in a dark parking lot you simply will not have time to dig your gun out of your purse. Attacks like these happen in seconds and are much more rare than the media (and multiple gun sellers) would have believe […] Do you know how to retain your weapon even when confronted by someone much stronger than you, who also has the element of surprise on their side? How quickly can you draw, aim, and fire? What do you do if you get a jam? Are you sure you'll be able to pull the trigger without hesitation? […] A gun alone will not guarantee your safety."
Future policy
Gun control is an incredibly divisive issue in the US – the country is split between those who believe more restrictive gun laws will prevent mass shootings and those who want easy access to guns in order to protect themselves from mass shootings.
Spencer falls in the latter camp. "Ninety-eight percent of mass shootings happen in 'gun-free zones', so the majority of victims and those involved are unable to protect themselves," she says. "I strongly believe we should still be able to carry guns. Criminals don't obey laws. The Sante Fe shooting was done by a 17-year-old; it was illegal for him to have any gun. We already have gun laws in the United States, adding anything stricter just makes it harder for law-abiding gun owners."
Okafor also thinks that gun control is
a lost cause because violence is universal. She points out that London's murder rate has now surpassed that of New York. "Those intent on doing harm, will do harm. Gun control keeps law-abiding people from defending themselves."
"This is a women's issue… It's going to be an uphill battle"
But Chaplin says gun control will save lives – especially those of women. "We need policies that address easy access to firearms. Emerging evidence shows that extreme risk laws – which temporarily separate firearms from individuals who are at high risk of harming themselves or others – can save lives," she says. "There is strong evidence that a variety of gun violence prevention policies are effective in saving lives, including safer storage laws, policies prohibiting domestic abusers from possessing firearms, and permit-to-purchase laws."
Sarah Clements became a gun-control activist after her mother, a teacher, survived the shooting at Sandy Hook Elementary School in Connecticut in 2012. She's active with Generation Progress, the millennial branch of the Center for American Progress, and on its website she says, "This is a women's issue in many senses. Domestic violence with guns is a major cause of death for women in America […] It's absolutely going to be an uphill battle."
The hardest part might be convincing fellow women, though. Okafor sees violence against women as the very reason she should own a gun. "The rise of female gun owners over the years is a testament to that awakening among us," she says. "Firearms empower women who know how to properly use them."
Additional reporting by Jessica Pan.
Images: Courtesy of Brenna Spencer / Getty Images


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Workers denounced for taking selfies next to Maradona's open casket
Gordon Brunt
JUAN MABROMATA / AFP / Getty
Diego Maradona's agent and lawyer, Matias Morla, vowed to take legal action after three workers at a funeral parlor took photos next to the football icon's open casket on Thursday.
"For the memory of my friend, I won't rest until he pays for such an atrocity," Morla said, as translated by BBC News.
The funeral parlor, located in Buenos Aires, hired the three men to help prepare the coffin following Maradona's death Wednesday at the age of 60.
Two pictures emerged online showing the men smiling with their thumbs up near Maradona's deceased body, which was later honorably laid on display at the presidential palace for public viewing.
"We are devastated. The family trusted us. We have been working with them for a long time," Matias Picon, manager of the funeral parlor, said.
"The (Maradona) family has total confidence in us, that's why we are so affected.
"My father is 75 years old and he is crying, I am crying, my brother too, we are destroyed."
Maradona's ex-wife was "furious" after she was told about the incident, according to Picon.
The Argentine legend was buried Thursday during a private ceremony.
Various reports suggest at least one of the workers has been fired.
Autopsy shows no sign of illicit drugs, alcohol at time of Maradona's death
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