text:
Q: Converting Dijkstra to A star algorithm in python I am trying to convert a dijkstra min heap (priority queue) algo to an a* with heuristics - the dijkstra algorithm I'm adapting is here:
https://bradfieldcs.com/algos/graphs/dijkstras-algorithm/
Is the below algorithm a correct implementation of a_star ? It worked for me on a couple test graphs
If f = g + h, then
I have modified the priority queue to store the tuple:  (f, g, vertex ) per @btilly comment below - so it will pull the lowest f_distance on each heappop()
I have also added the visited set.
import heapq

# V+ElogE time / E space
def a_star(graph, start, dest, heuristic):
    distances = {vertex: float('inf') for vertex in graph} # V time / V space
    distances[start] = 0

    parent = {vertex: None for vertex in graph} # store path => V time / V space

    visited = set()

    pq = [( 0 + heuristic[start], 0 ,  start)] # E space

    while pq: # ElogE time
        curr_f, curr_dist, curr_vert = heapq.heappop(pq) #logE time

        if curr_vert not in visited:
            visited.add(curr_vert)

            for nbor, weight in graph[curr_vert].items():
                distance = curr_dist + weight  # distance from start (g)
                f_distance = distance + heuristic[nbor] # f = g + h

                # Only consider this new path if it's f_distance is better
                if f_distance < distances[nbor]:
                    distances[nbor] = f_distance
                    parent[nbor] = curr_vert

                    if nbor == dest:
                        # we found a path based on heuristic
                        return distances, parent

                    heapq.heappush(pq, (f_distance, distance, nbor)) #logE time

    return distances, parent

graph = {
    'A': {'B':3, 'H':4, 'F': 1},
    'B': {'A': 3, 'C':5  },
    'C': {'B':5, 'D':6, 'I':2},
    'D': {'C':6, 'E':1},
    'E': {'D':1, 'I':2, 'G':20},
    'F': {'A':1, 'G':1},
    'G': {'F':1, 'E':20},
    'H': {'A':4, 'I':8, },
    'I': {'H':8, 'C':2, 'E':2},
}
heuristic = {
    'A': 20,
    'B': 19,
    'C': 16,
    'D': 12,
    'E': 0,
    'F': 13,
    'G': 11,
    'H': 15,
    'I': 10,
}

start = 'A'
dest= 'E'
distances,parent = a_star(graph, start, dest, heuristic)

A: I'd suggest reading this implementation of the A* Algorithm by Python core dev Pablo Salgado. It's a very Pythonic API implementing a so-called DijkstraHeap and calculating the cost heuristics intuitively based on:

*

*The current cost of reaching the current point.

*The cost of going from the current point to the neighbor.

*The distance of the neighbor to the end point that we are looking.

Why this 3rd cost? Because we want to explore first the points that
are near the end destination and expend less time in the points that
are far from it. So if we artificially give the point a higher cost if
the point is far from the destination it will be visited later.
When we have calculated this new cost we insert the point in the cost
queue.

A: Here's the full code to generate the path . The graph is based on this youtube:
path =>  A->B->D->K->P
import heapq

# V+ElogE time / E space
def a_star(graph, start, dest, heuristic):
    distances = {vertex: float('inf') for vertex in graph} # V time / V space
    distances[start] = 0

    parent = {vertex: None for vertex in graph} # store path => V time / V space

    visited = set()

    pq = [( 0 + heuristic[start], 0 ,  start)] # E space

    while pq: # ElogE time
        curr_f, curr_dist, curr_vert = heapq.heappop(pq) #logE time

        if curr_vert not in visited:
            visited.add(curr_vert)

            for nbor, weight in graph[curr_vert].items():
                distance = curr_dist + weight  # distance from start (g)
                f_distance = distance + heuristic[nbor] # f = g + h

                # Only process new vert if it's f_distance is lower
                if f_distance < distances[nbor]:
                    distances[nbor] = f_distance
                    parent[nbor] = curr_vert

                    if nbor == dest:
                        # we found a path based on heuristic
                        return distances, parent

                    heapq.heappush(pq, (f_distance, distance, nbor)) #logE time

    return distances, parent

def generate_path_from_parents(parent, start, dest):
    path = []
    curr = dest
    while curr:
        path.append(curr)
        curr = parent[curr]

    return '->'.join(path[::-1])

# FROM https://www.youtube.com/watch?v=eSOJ3ARN5FM&list=PLTd6ceoshprfgFGcdiQw9LQ3fXaYC-Zs2&index=3
graph = {
    'A': {'B':5, 'C':5},
    'B': {'A':5, 'C':4, 'D':3  },
    'C': {'A':5, 'B':4, 'D':7, 'E':7, 'H':8},
    'D': {'B':3, 'C':7, 'H':11, 'K':16, 'L':13, 'M':14},
    'E': {'C':7, 'F':4, 'H':5},
    'F': {'E':4, 'G':9},
    'G': {'F':9, 'N':12},
    'H': {'E':5, 'C':8, 'D':11, 'I':3 },
    'I': {'H':3, 'J':4},
    'J': {'I':4, 'N':3},
    'K': {'D':16, 'L':5, 'P':4, 'N':7},
    'L': {'D':13, 'M':9, 'O':4, 'K':5},
    'M': {'D':14, 'L':9, 'O':5},
    'N': {'G':12, 'J':3, 'P':7},
    'O': {'M':5, 'L':4},
    'P': {'K':4, 'J':8, 'N':7},
}

heuristic = {
    'A': 16,
    'B': 17,
    'C': 13,
    'D': 16,
    'E': 16,
    'F': 20,
    'G': 17,
    'H': 11,
    'I': 10,
    'J': 8,
    'K': 4,
    'L': 7,
    'M': 10,
    'N': 7,
    'O': 5,
    'P': 0
}

start = 'A'
dest= 'P'
distances,parent = a_star(graph2, start, dest, heuristic2)
print('distances => ', distances)
print('parent => ', parent)
print('optimal path => ', generate_path_from_parents(parent,start,dest))

redpajama_set_name: RedPajamaStackExchange


Software is never done—there are always more features and functions you could add. So how much should you budget for a custom software project?
Some companies keep throwing money at the project without any budget at all. But they can miss out on early client feedback and end up wasting money on the wrong things.
Other companies focus on making their budget as small as possible. But they can also miss a lot of opportunities. Spending more than the minimum—in the right places—is how you get a return on your investment.
At Atomic, we like the term "responsible budget"—one that gives you enough capital to create software that starts paying for itself. No matter who you work with, the process below can help you put together a responsible budget for your project.
How much is this software worth to you? Before setting a software project budget, figure out how much you hope to earn (or save) with the software you're imagining. Otherwise, it's impossible to know if the project makes business sense—regardless of what it might cost.
Building a model requires understanding the business and project. If you'd like help with this work, we may be able to assist.
If you have an internal development team, ask them to estimate how long it would take them (in hours) to build the product. This will give you a useful point of comparison when talking to outside developers.
You should also have a holistic understanding of what the project is going to cost internally, including marketing, ongoing support, executive time, the opportunity cost of internal resources, etc.
Then share your project with the software firms you're considering. Pay attention to the level of detail in their response. It will tell you a lot about how much transparency you can expect from them going forward.
Using several estimation methods and 17+ years of experience, we'll consider the project from all angles—identifying risks and unknowns.
We'll create an engagement model that will help you evaluate different options and choose a responsible budget for your first release.
You'll then need to decide if the value of the software falls within our budget range. We are dedicated to our clients' success, so Atomic won't work on projects that we believe are undercapitalized. Undercapitalized projects cause a great deal of pain for everyone, and they don't cost less in the end.
The reality of custom software development is that it's never "done," and there are always more ideas than the budget can cover. There's also a significant risk that the development team will uncover previously unknown complexity, adding cost to the project. To protect yourself, secure funding internally for at least 150% of the ballpark estimate.
It's much worse to spend too little than it is to spend too much. Allocating funding for 150% of the initial estimate doesn't mean you have to spend the money, but it does protect you from the disaster of being undercapitalized.
Investors know this idea as "keeping some dry powder"—they anticipate the need for future rounds of funding, and they recognize that the first round may be wasted if there's no way to get to the second round.
We've rewritten a number of software products and internal tools over the years and learned that they are uniquely challenging.
Every rewrite starts with a set of core features to be replaced. But there are things about those features that you can't know until the project is underway. Digging into the old system's features always uncovers details and corner cases that weren't apparent at first (much like a fractal). This makes scope very difficult to control.
As a result, consider securing internal funding higher than 150% of the ballpark estimate. And be ready for tough conversations about scope priorities throughout the project.
Work with your software developer to set a fixed project budget for Phase 1 of your software. It should be in line with the original ballpark estimate (but below what you've funded internally).
A fixed budget will focus you and your team on the hard work of defining and building the smallest possible product that delivers value. You'll need to make hard choices about scope. The team will need to offer creative alternatives and tradeoffs. And you'll be forced to build less and release sooner.
This is intentional! Once you release the software, you'll learn a lot from your users, which will help you plan future phases. And you'll still have money left over for key updates and bug fixes.
Now you (and your software team) need to do the creative and challenging work of figuring out how little software you can possibly build that, when deployed, will start delivering value.
Cramming in as many features as you can is a recipe for cost overruns, usability problems, and quality issues. Instead, focus on a smaller set of functions, and use human-centered design principles to create a great user experience.
I reviewed the cost of all projects Atomic has developed since 2013 to further explore the real-world costs. To clean up the dataset, I removed design-only engagements, maintenance work, and projects that were strictly consulting.
The median cost of a software product in that timeframe was $228,000. That cost represents roughly 1,750 hours of team effort.
The majority of non-rewrite, consumer-facing product costs fell into the $100,000-$500,000 range.
75% of projects cost less than $600,000.
Rewrites (in red) were significantly more costly, averaging $1,050,000–or about 8,000 hours of team effort.


text:
Which city was attacked by Nazi-German war flights in India during WW2?
Nazi-Germany ran a bombing raid over India, in WW2. Which city was bombed, and what effect did it have? i.e how many casualties were inflicted, was transport closed down, or was there other damage to infrastructure?
world-war-two india nazi-germany
sempaiscuba♦
NeocortexNeocortex
Welcome to History.Stack-Exhcange. I've made several edits and changed the question slightly so that it fits the QA a bit better. – Russell Oct 26 '12 at 7:41
@T.E.D . Yo you are right man. Chennai(Madaras) city was attacked by german warship named "EMDEN". Chempakaraman was the person involved in this attack. Some of the unexploded bombs thrown from this ship are still in available in Government museum chennai. – Veera Raj Nov 17 '12 at 13:13
Madras* was bombarded by a German warship during World War I. That's the only instance I could find in either war of an Indian city coming under that kind of fire from German regular armed forces.
Germany had no aircraft carriers, and their only real long-range bomber in WWII, the Heinkel HE 177, appears to have only been used in the Eastern and Western fronts in Europe. I don't believe Germany ever held any territory that would have been within the HE-177's 5,000 KM operational range from India. (The Eastern Ukraine is a wee bit further than that from New Dehli).
* - Now Chennai
Actually, Germany sent a few planes to Irak to support an anti-English coup, so they were way closer than Ukraine. That said, I found no report of those being used to strike outside Irak, and they did stay in Irak only for a small period before being overrun by the British. – SJuan76 May 5 '15 at 7:22
@SJuan76 - As near as I can tell, the bombers sent there were HE-111s, which had a range in the general vicinity of 2,000 KM. About 3,000 KM would be needed from there. The 177 I mentioned above was not produced until about a year after the end of the insurrection. – T.E.D.♦ May 5 '15 at 8:53
Why did Germany attack Madras? Was it just because India was a British colony? – David Blomstrom Aug 25 '17 at 15:15
@DavidBlomstrom - Pretty much. The captain's rationale is reported in (a translation of) his own words if you click the link at the top of the answer. – T.E.D.♦ Aug 25 '17 at 15:41
Agree with TED that German warships did not attack any Indian city. But a thing of interest is that of Japanese warships: Kakinada and Vishakapatnam were two cities that were attacked by the Japanese in 1942. It was believed that Madras would be under attack soon, but it wasn't eventually.
BravoBravo
Quite. If the question was about Japan, then the answer gets very different indeed. Particularly if you take "India" to mean the British territory (including Bengal and Burma), rather than the boundries of the modern country. – T.E.D.♦ Nov 2 '12 at 14:10
The final Japanese offensive to Imphal and Kohima took place in the borders of India and Burma, on the Indian side. – Oldcat Feb 14 '14 at 23:11
Japan actually airstriked those cities on 5 April 1942 followed by Colombo..... – user12276 May 5 '15 at 4:04
Not the answer you're looking for? Browse other questions tagged world-war-two india nazi-germany or ask your own question.
Was it impossible for the Germans to arrange a plane to East Asia for Subhas Bose?
How did Nazi Germany finance itself during WW2?
What became of Nazi Germany's embassies in neutral countries?
Why did the German air force lose experienced pilots faster than the Allies, even though they were defending their home airspace?
On 1941 Dec 7, could Japan have targeted the Panama Canal instead of Pearl Harbor in a surprise attack?
How did the Japanese treat captured "Flying Tigers" in World War II?
Before and during WW2, how were war games played?
During WW2, how dependent on Swedish Ball Bearings was Britain?
How would an SS officer travel from Auschwitz to Berlin?

redpajama_set_name: RedPajamaCommonCrawl


Severed Press has released Epidemic Of The Undead: A Zombie Novel by P.A. Douglas in both paperback and digital editions.
Description: When the dead suddenly decide to not stay dead, this unexplained epidemic turns the world upside down overnight causing everything to come to a grinding halt. For Chris Commons and his folk band of friends, tour is definitely canceled. No more shows! Several States away from his family, Chris struggles to keep his sanity while hoping to make his way back home. After the sudden death and resurrection of his cousin and fellow band mate, Chris changes gears eager to simply just stay alive!
About The Author: P. A. Douglas is a full time solo singer-songwriter, husband, Christian, writer, author, graphics designer and web developer who tours for a living. His hobbies are gardening, canning his garden veggies, free hand embroidery cross stitch and taking care of his dog (who happens to be named after a pirate). He likes scary movies of all kinds from the early 1980's era, Dr. Pepper and Hungry Howie's Pizza. He lives in a van with his wife and dog.


text:
Home Technologies First test of paramedic jet suit that could 'save lives'
First test of paramedic jet suit that could 'save lives'
Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today.
The first test flight of a jet suit intended for paramedics has taken place in the Lake District after years of talks between the Great North Air Ambulance Service (GNAAS) and Gravity Industries.
The exercise demonstrated the potential of using jet suits to deliver critical care services in difficult terrains.
While it might take a unit up to 30 minutes on foot through treacherous terrain to reach patients, the suit means a paramedic could fly to the top of a fell in around 90 seconds.
Andy Mawson, director of GNAAS operations, spearheaded the project and described seeing it tested for the first time as "awesome."
Speaking about the impetus for creating the jet suit, he said: "There are dozens of patients every month within the complex but relatively small geographical footprint of the Lakes."
He added: "We could see the need. What we didn't know for sure is how this would work in practice. Well, we've seen it now and it is, quite honestly, awesome."
The suit had two mini engines on each arm and one on the back while allowing the paramedic to control movement by moving his hands.
Mr Mawson said: "The biggest advantage is its speed. If the idea takes off, the flying paramedic will be armed with a medical kit, with pain relief for walkers who may have suffered fractures, and a defibrillator for those who may have suffered a heart attack."
He added: "In a jet pack, what might have taken up to an hour to reach the patient may only take a few minutes, and that could mean the difference between life and death."
The Lake District is the UK's most famous national park and draws more than 15 million people each year.
However, much of the terrain is hazardous and incidents often require the critical care team while the jagged peaks and valleys make it difficult for helicopters to safely land.
The tester "flew" from the bottom of a valley to a simulated casualty at the top of a fell near Bowfell, with the flight only taking 90 seconds. The same journey on foot would have involved 25 minutes of climbing.
Mr Mawson said: "We think this technology could enable our team to reach some patients much quicker than ever before."
He concluded: "In many cases, this would ease the patient's suffering. In some cases, it would save their lives."
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Source: https://www.independent.co.uk/news/uk/home-news/test-paramedic-jet-suit-lake-district-save-lives-b692442.html
Richard Browning, Paramedic, Lake District, Jet pack, Great North Air Ambulance, United Kingdom
World news – GB – First test of paramedic jet suit that could 'save lives'
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text:
Schultesianthus est un genre de plantes de la famille des Solanaceae.

Liste d'espèces
Selon  :
 Schultesianthus leucanthus
 Schultesianthus megalandrus

Notes et références

Liens externes

Solanaceae
Genre de Solanaceae (nom scientifique)

redpajama_set_name: RedPajamaWikipedia


What Type of Wood is Best for your Kitchen Cabinets?
Replacing kitchen cabinets is an exciting task and one that takes a lot of careful planning and consideration. One thing to carefully consider when planning your new cabinets is what type of wood works best for your home. The answer varies from household to household because each type of wood provides a variety of different traits and no two houses are exactly the same.
Each type of wood is accompanied by numerous traits that make it unique when compared to the other options. Choosing a wood type with traits that best accompany the style of your home augments the living space dramatically by taking advantage of characteristics such as appearance and texture.
One of the most important traits to consider when selecting the type of wood for your kitchen cabinets is appearance. Each wood boasts its own unique appearance that varies dramatically from type to type. Some woods, such as cherry and walnut, often appear warm while others like Hickory sport a much more dramatic style. Whether you're looking for kitchen cabinets that appear warm, dramatic, or somewhere in between, Climate Door & Window has the right type of wood for you!
Another important trait to pay careful attention to when selecting a type of wood is texture. What makes wood so great is the authentic looks it provides through its various natural textures. These natural textures can include things such as pin knots, wormholes, bird pecks, mineral streaks, and much more. All of which enhance the overall style of the kitchen cabinets while at the same time having no negative impact on their structural integrity.
At Climate Door & Window, we offer the premier cabinet installation services in New England. We can help you to choose, as well as install these items personally, making for an amazing experience all around. Our expertise in the area is crucial and will help you immensely in getting the exterior of your dreams. Consider these things when picking out new cabinets, and contact Climate Door and Window with any questions you may have about cabinets, or give us a call at 781-681-7007.


Ivory Coast-based startup studio Janngo has launched Jexport, an import-export solution aimed at accelerating access to regional and international markets for African small and medium enterprises (SMEs).
Janngo builds, grows and invests in pan-African digital champions with proven business models and inclusive social impact, building digital ecosystems in high growth sectors by providing business support and digital platforms to SMEs.
Janngo in May had raised EUR1 million (US$1.18 million) in funding to launch new digital solutions for African SMEs, and the newly-launched Jexport is the first such product.
A turnkey import-export platform, Jexport helps SMEs export their products globally at the best prices, while allowing freight forwarders and transporters to increase volumes, reduce costs, and optimise capacity on key corridors.
"Food waste represents more than 40 per cent of the whole production worldwide. The situation is equally dire in Africa where, contrary to the developed countries where the waste occurs downstream of the value chain, we face most challenges upstream in particular in terms of handling, transportation and distribution," said Fatoumata Bâ, founder and chief executive officer (CEO) of Janngo.
Jexport aims to solve this problem, enables SMEs and other economic players in Ivory Coast to trade globally, find the best prices regarding their transport needs, improve their operational efficiency, and manage their legal and compliance needs.


Michael B. McLaughlin is a Microsoft XNA/DirectX MVP and is the president of Bob Taco Industries, a small game and mobile app development firm. Until he retired in order to change careers a few years ago, he was an attorney. He has been programming computers for over 17 years, both as a hobby and professionally. You can reach him via email at mike -at- bobtacoindustries.com and can follow him on Twitter @mikebmcl.


You little insects think you've escaped. But you're doomed, anyway! You hear me!? Doomed!
An accident with an experimental diamond mining machine somehow transforms brutal convict Rex Shard (John Vernon) into a crystalline giant whose touch turns people and objects into crystal… and that's only the beginning of his new powers.
Musings: Warden Cyrus Meece (Jim Cummings), whose greedy exploitation of his prisoners causes Shard's accident in the first place, is knocked onto his office floor and shattered after he's "crystallized" (which Falk intended as "poetic justice"). As the episode ends, every location Shard turned to crystal is shown changing back to normal , except the warden's office. No prizes for guessing why.
Lance Falk: Falk planned to make Rex Shard another recurring SWAT Kats villain, backed up with two concepts that had never been used before. "What makes [Shard] a villain is his mean and criminal mind, and after the crystal incident, he's so bent on getting the heroes back that he'll go to any length to get some kind of edge, some kind of weapon or power. What I wanted to do was to bring him back three, four or five times, and each time he came back [he'd have] a different power.
Donated by Television's Lance Falk, this is the official script for Chaos in Crystal.


There are screenshots of 370 contacts from a mobile app. One example is attached. Thi...attached. This task is to copy the contact information into a spreadsheet. Each entry has 5-7 fields: First Name, Last Name, email, organization, role, location (city), location (state) This project should be completed within 72 hours of starting the contract.


text:
34,000 New Residents in Lake George
For the ninth year in a row LGFA Vice President Barry Leeds led the group of volunteers who donated their time and boats to the effort. Prior to receiving help from the LGFA the DEC off-loaded the fish only at the DEC dock in Bolton Landing and at the Hague Town Dock in the northern basin.
Initially Leeds and his cohorts felt the fingerlings had a better chance of survival in deep water. This year, with DEC approval, the group implemented a new strategy. "In the Bolton area we are stocking them near the major inlets to the lake…Finkle Brook, Indian Brook, Northwest Bay Brook and Huddle Brook," Leeds said. Volunteers also stocked fish along the east and west shore in the Narrows.
At 10 am on Monday, May 20 two huge trucks, each equipped with six 230-gallon tanks, arrived from the Adirondack Hatchery in Lake Clear laden with the Little Clear strain of Atlantic Landlocked Salmon. DEC employee Ken Klubek said, "They come about eight to the pound" as he hauled a net full of thrashing fish to Leeds' boat. "Each tank has about 160 pounds of fish."
DEC Biologist Jim Pinheiro said the handling of the fish (in the nets) causes the most stress to the juveniles. "But, a low number die from the stress," he said. "Most fingerlings die from predation by other larger fish."
Pinheiro said the survival rate is low but it is worth the effort. "Salmon is a good fighting fish for the sportsmen and it is a good eating fish, too," he said. "They are fast growing and they become trophy-sized in two to three years."
Pinheiro said the DEC Adirondack Hatchery supplies the Warren County Hatchery with 3,000 fingerlings which they nurture until the fall. "They clip the fins on those fish before they are released so that they can be tracked," he said.
Pinheiro said the salmon are ideal for stocking in Lake George. "One to 1.25 is the ratio per acre so that is how we arrive at the number of fish we put into Lake George," he said. According to Pinheiro, if DEC were to stock the lake with brown trout then it would require six to eight fish per acre. "We would deplete the entire Region 5 supply of brown trout if we were to stock Lake George with browns," he said.
Pinheiro said Lake George's size and excellent water quality make it unique and therefore a good candidate for salmon stocking. "For example, Lake Lauderdale is a nice lake but it has water quality issues which would hinder the survival rate of salmon or trout fingerlings," he said. "Lake George, on the other hand, is perfect for these fish."
"They're all swimming away," Leeds yelled from his boat as he returned to the DEC dock for another load of fish. "It's going really well this year."


"How is it with stains?"
"I didn't surrender, but they took my horse and made him surrender. They have him pulling a wagon up in Kansas I bet"
"He might as well ride along with us; Hell, everybody else is"
"I guess you were right about one thing. I ain't that old."
I like the original only.I am a GUS,,,,and man am I sick of all the woodrow calls I've met in my life.
considering his wife "Peach",I got a feelin' the jaw breaker was glad to be out of it!!!!!!!!!!!!!!!,,,man what a beast!!!!!!!
"it's doubly right 'cause Dutch Henry is Len's brother"
""Waco Johnny Dean........another brave man!!!...............""
""you never know when a girl may need a bullet....""
"" come on in Pat......I'll warm yur breakfast.....""
""...yeah...I could live ANYwhere........I could leave anywhere too........"".Same flick.
why is it westerns have such great lines????
Anyone going to see the new "true grit"??


text:
Fr. Stephen Powley and Fr. John Kowalczyk Visit St. Tikhon's Seminary to Present OCPM & Minister
Every year, OCPM Fr. Stephen Powley and Fr. John Kowalczyk make a trip to St. Tikhon's Seminary. This year Fr. Stephen was able to visit with his wife, Ashley. As always, it was reported that their "hospitality was beyond words" as they were kindly provided a room and meals. This year, the visit took place from October 1-5.
Fr. John Parker, the Dean and Chief Operating Officer of the seminary has been involved with prison ministry as a parish priest visiting death row among other security levels.
Fr. Stephen gave a PowerPoint presentation to the seminarians. He reported that:
"As always, it was a wonderful time of sharing with them and seeing their excitement for prison ministry. These are future parish leaders and they are receiving an excellent prison ministry field education experience while at St. Tikhon's."
Here is the write up on their website from one of their seminarians: https://www.stots.edu/news_191004_1
TALES OF MIRACLES IN PRISON MINISTRY: OCPM EXECUTIVE DIRECTOR VISITS STOTS
STM Refectory
By: Subdeacon Peter Simko ('21)
Saint Tikhon's welcomed Father Stephen Powley, parish priest of Saint John's Greek Orthodox Church in Pueblo, Colorado, and Executive Director of Orthodox Christian Prison Ministry (OCPM). He discussed the reality of incarceration in the United States compared to other places in the world, as well as his own story of becoming a chaplain. He explained the experience prisoners have with combating the "flames of hell" as they seek to ascend the ladder toward the embrace of the Lord. The prisoners who seek Christ see His blood as extinguishing those flames.
Having been accepted as a chaplain, Fr. Stephen was told by a warden to "go do what chaplains do" (without much idea as to what that should be). The voice of Christ pushed him not to fear, but to engage the prisoners and embrace their personhood. Fr. Stephen explained that in ministering to those in prison, we are visiting and serving Jesus Himself.
Fr. Stephen noted, "the Orthodox Church has been on a collision course with people going into and coming out of prisons and jails." He further explained how fallen men and women–terrible criminals, even–can and do become Saints. He used Saint Moses the Strong of Ethiopia as a prime example. Father spoke of the incredible transformations that he has experienced in his time working with prisoners–with both social and spiritual re-orientations. Fr. Stephen reminded the students that "a welcoming Church sees each individual as a person made in the image and likeness of God; it has unconditional love, trust, and realistic expectations."Fr. Stephen spoke about an encounter he had in the chapel of Hosios Loukas Monastery. While praying, Fr. Stephen had a vision of a man locked up in a supermax prison. He eventually found that man and told him about his experience. The man had never expressed interest in Orthodox Christianity before, but after being introduced to the Faith by Fr. Stephen, the prisoner embraced the Truth of the Church.
He told us about His Eminence, Metropolitan Isaiah of Denver, tonsuring several life-sentence prisoners with developed spiritual lives into the monastic life. One prisoner, influenced by these new monks and their excitement for Great Lent, fasted for days and experienced a bright Woman as if in a dream, asking him to take her Baby. Father Stephen explained to the inmate that the Theotokos seemed to be asking the man to accept the Lord. Metropolitan Isaiah, after hearing the story, remained silent. He then turned to Fr. Stephen and said, "baptize him." The inmate also desired this, and he entered into the Holy Church.
Fr. Stephen showed the seminarians a photo of what a baptism looks like within a prison. The students asked Father about how a new priest can get involved in prison ministry. He explained that the easiest way is to connect with a local incarcerated Orthodox Christian, but you can also connect with a local chaplain for a prison–and perhaps suggest teaching a course to inmates on Early Church history. Father reminded everyone that Saint Tikhon's and OCPM have been working together for many years, and that Father John Kowalczyk is helping lead an exceptional program at the seminary. We are so grateful to the wonderful leaders who help lead the way for future clergy in ministering to those in prison.
Fr. John Kowalczyk, Fr. John Parker, and Fr. Stephen visited the prison where Fr. John Parker serves as Chaplain. Fr. Stephen reported back this wonderful story:
"We first met with the administrators of the prison, who all sang the praises of Fr. John's work there. We made rounds and spoke with many of the men he ministers to each week. At one unit we visited with several men and one of them was a young man that I had met a few years ago. At that time, this young man was in trouble and it looked like he would have to do time in disciplinary segregation. Fr. John had been teaching him the Jesus Prayer and I was able to assist with that during my visit. When he appeared before the disciplinary committee, they asked him what he had to say. He bowed his head, made the sign of the cross, and said the Jesus Prayer. They did not punish him with segregation. Since that time, I am blessed to meet with him each time I visit there. This year was most humbling. Through his good behavior, he has moved to lower security. When we met, he opened our time with prayer…yes, the Jesus Prayer."
We would truly like to thank Fr. John for his wonderful hospitality and for his beautiful ministry. He is a blessing to all the OCPM family.
The OCPM
PrevPreviousLetter from the Chairman of the OCPM Board of Directors
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text:
/**
 * @author Mat Groves http://matgroves.com/ @Doormat23
 */

PIXI._batchs = [];

/**
 * @private
 */
PIXI._getBatch = function(gl)
{
	if(PIXI._batchs.length == 0)
	{
		return new PIXI.WebGLBatch(gl);
	}
	else
	{
		return PIXI._batchs.pop();
	}
}

/**
 * @private
 */
PIXI._returnBatch = function(batch)
{
	batch.clean();
	PIXI._batchs.push(batch);
}

/**
 * @private
 */
PIXI._restoreBatchs = function(gl)
{
	for (var i=0; i < PIXI._batchs.length; i++)
	{
	  PIXI._batchs[i].restoreLostContext(gl);
	};
}

/**
 * A WebGLBatch Enables a group of sprites to be drawn using the same settings.
 * if a group of sprites all have the same baseTexture and blendMode then they can be grouped into a batch. All the sprites in a batch can then be drawn in one go by the GPU which is hugely efficient. ALL sprites in the webGL renderer are added to a batch even if the batch only contains one sprite. Batching is handled automatically by the webGL renderer. A good tip is: the smaller the number of batchs there are, the faster the webGL renderer will run.
 * @class WebGLBatch
 * @param an instance of the webGL context
 * @return {PIXI.renderers.WebGLBatch} WebGLBatch {@link PIXI.renderers.WebGLBatch}
 */
PIXI.WebGLBatch = function(gl)
{
	this.gl = gl;

	this.size = 0;

	this.vertexBuffer =  gl.createBuffer();
	this.indexBuffer =  gl.createBuffer();
	this.uvBuffer =  gl.createBuffer();
	this.colorBuffer =  gl.createBuffer();
	this.blendMode = PIXI.blendModes.NORMAL;
	this.dynamicSize = 1;
}

// constructor
PIXI.WebGLBatch.constructor = PIXI.WebGLBatch;

/**
 * Cleans the batch so that is can be returned to an object pool and reused
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PIXI.WebGLBatch.prototype.clean = function()
{
	this.verticies = [];
	this.uvs = [];
	this.indices = [];
	this.colors = [];
	//this.sprites = [];
	this.dynamicSize = 1;
	this.texture = null;
	this.last = null;
	this.size = 0;

	this.head;
	this.tail;
}

/*
 * recreates the buffers in the event of a context loss
 */
PIXI.WebGLBatch.prototype.restoreLostContext = function(gl)
{
	this.gl = gl;
	this.vertexBuffer =  gl.createBuffer();
	this.indexBuffer =  gl.createBuffer();
	this.uvBuffer =  gl.createBuffer();
	this.colorBuffer =  gl.createBuffer();
}

/**
 * inits the batch's texture and blend mode based if the supplied sprite
 * @method init
 * @param sprite {Sprite} the first sprite to be added to the batch. Only sprites with the same base texture and blend mode will be allowed to be added to this batch
 */
PIXI.WebGLBatch.prototype.init = function(sprite)
{
	sprite.batch = this;
	this.dirty = true;
	this.blendMode = sprite.blendMode;
	this.texture = sprite.texture.baseTexture;
//	this.sprites.push(sprite);
	this.head = sprite;
	this.tail = sprite;
	this.size = 1;

	this.growBatch();
}

/**
 * inserts a sprite before the specified sprite
 * @method insertBefore
 * @param sprite {Sprite} the sprite to be added
 * @param nextSprite {nextSprite} the first sprite will be inserted before this sprite
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PIXI.WebGLBatch.prototype.insertBefore = function(sprite, nextSprite)
{
	this.size++;

	sprite.batch = this;
	this.dirty = true;
	var tempPrev = nextSprite.__prev;
	nextSprite.__prev = sprite;
	sprite.__next = nextSprite;

	if(tempPrev)
	{
		sprite.__prev = tempPrev;
		tempPrev.__next = sprite;
	}
	else
	{
		this.head = sprite;
		//this.head.__prev = null
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}

/**
 * inserts a sprite after the specified sprite
 * @method insertAfter
 * @param sprite {Sprite} the sprite to be added
 * @param  previousSprite {Sprite} the first sprite will be inserted after this sprite
 */
PIXI.WebGLBatch.prototype.insertAfter = function(sprite, previousSprite)
{
	this.size++;

	sprite.batch = this;
	this.dirty = true;

	var tempNext = previousSprite.__next;
	previousSprite.__next = sprite;
	sprite.__prev = previousSprite;

	if(tempNext)
	{
		sprite.__next = tempNext;
		tempNext.__prev = sprite;
	}
	else
	{
		this.tail = sprite
	}

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/**
 * removes a sprite from the batch
 * @method remove
 * @param sprite {Sprite} the sprite to be removed
 */
PIXI.WebGLBatch.prototype.remove = function(sprite)
{
	this.size--;

	if(this.size == 0)
	{
		sprite.batch = null;
		sprite.__prev = null;
		sprite.__next = null;
		return;
	}

	if(sprite.__prev)
	{
		sprite.__prev.__next = sprite.__next;
	}
	else
	{
		this.head = sprite.__next;
		this.head.__prev = null;
	}

	if(sprite.__next)
	{
		sprite.__next.__prev = sprite.__prev;
	}
	else
	{
		this.tail = sprite.__prev;
		this.tail.__next = null
	}

	sprite.batch = null;
	sprite.__next = null;
	sprite.__prev = null;
	this.dirty = true;
}

/**
 * Splits the batch into two with the specified sprite being the start of the new batch.
 * @method split
 * @param sprite {Sprite} the sprite that indicates where the batch should be split
 * @return {WebGLBatch} the new batch
 */
PIXI.WebGLBatch.prototype.split = function(sprite)
{

	//console.log("Splitting batch :" + this.size)
//	console.log(sprite)
//	console.log("-------")
	this.dirty = true;

	//var val = (this.tail == this.head)
	//console.log(val + " SAME?");
	var batch = new PIXI.WebGLBatch(this.gl)//PIXI._getBatch(this.gl);
	batch.init(sprite);
	batch.texture = this.texture;
	batch.tail = this.tail;
	//console.log("id is " +batcheee.id)

	this.tail = sprite.__prev;
	this.tail.__next = null;

	sprite.__prev = null;
	// return a splite batch!
	//sprite.__prev.__next = null;
	//sprite.__prev = null;

	// TODO this size is wrong!
	// need to recalculate :/ problem with a linked list!
	// unless it gets calculated in the "clean"?

	// need to loop through items as there is no way to know the length on a linked list :/
	var tempSize = 0;
	while(sprite)
	{
		tempSize++;
		sprite.batch = batch;
		sprite = sprite.__next;
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	batch.size = tempSize;
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	return batch;
}

/**
 * Merges two batchs together
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 * @param batch {WebGLBatch} the batch that will be merged
 */
PIXI.WebGLBatch.prototype.merge = function(batch)
{
	this.dirty = true;

	this.tail.__next = batch.head;
	batch.head.__prev = this.tail;

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	this.tail = batch.tail;

	var sprite = batch.head;
	while(sprite)
	{
		sprite.batch = this;
		sprite = sprite.__next;
	}

}

/**
 * Grows the size of the batch. As the elements in the batch cannot have a dynamic size this function is used to increase the size of the batch. It also creates a little extra room so that the batch does not need to be resized every time a sprite is added
 * @methos growBatch
 */
PIXI.WebGLBatch.prototype.growBatch = function()
{
	var gl = this.gl;
	if( this.size == 1)
	{
		this.dynamicSize = 1;
	}
	else
	{
		this.dynamicSize = this.size * 1.5
	}
	// grow verts
	this.verticies = new Float32Array(this.dynamicSize * 8);

	gl.bindBuffer(gl.ARRAY_BUFFER, this.vertexBuffer);
	gl.bufferData(gl.ARRAY_BUFFER,this.verticies , gl.DYNAMIC_DRAW);

	this.uvs  = new Float32Array( this.dynamicSize * 8 )
	gl.bindBuffer(gl.ARRAY_BUFFER, this.uvBuffer);
	gl.bufferData(gl.ARRAY_BUFFER, this.uvs , gl.DYNAMIC_DRAW);

	this.dirtyUVS = true;

	this.colors  = new Float32Array( this.dynamicSize * 4 )
	gl.bindBuffer(gl.ARRAY_BUFFER, this.colorBuffer);
	gl.bufferData(gl.ARRAY_BUFFER, this.colors , gl.DYNAMIC_DRAW);

	this.dirtyColors = true;

	this.indices = new Uint16Array(this.dynamicSize * 6);
	var length = this.indices.length/6;

	for (var i=0; i < length; i++)
	{
	    var index2 = i * 6;
	    var index3 = i * 4;
		this.indices[index2 + 0] = index3 + 0;
		this.indices[index2 + 1] = index3 + 1;
		this.indices[index2 + 2] = index3 + 2;
		this.indices[index2 + 3] = index3 + 0;
		this.indices[index2 + 4] = index3 + 2;
		this.indices[index2 + 5] = index3 + 3;
	};

	gl.bindBuffer(gl.ELEMENT_ARRAY_BUFFER, this.indexBuffer);
    gl.bufferData(gl.ELEMENT_ARRAY_BUFFER, this.indices, gl.STATIC_DRAW);

}

/**
 * Refresh's all the data in the batch and sync's it with the webGL buffers
 * @method refresh
 */
PIXI.WebGLBatch.prototype.refresh = function()
{
	var gl = this.gl;

	if (this.dynamicSize < this.size)
	{
		this.growBatch();
	}

	var indexRun = 0;
	var worldTransform, width, height, aX, aY, w0, w1, h0, h1, index
	var a, b, c, d, tx, ty

	var displayObject = this.head

	while(displayObject)
	{
		index = indexRun * 8;

		var texture = displayObject.texture;

		var frame = texture.frame;
		var tw = texture.baseTexture.width;
		var th = texture.baseTexture.height;

		this.uvs[index + 0] = frame.x / tw;
		this.uvs[index +1] = frame.y / th;

		this.uvs[index +2] = (frame.x + frame.width) / tw;
		this.uvs[index +3] = frame.y / th;

		this.uvs[index +4] = (frame.x + frame.width) / tw;
		this.uvs[index +5] = (frame.y + frame.height) / th;

		this.uvs[index +6] = frame.x / tw;
		this.uvs[index +7] = (frame.y + frame.height) / th;

		displayObject.updateFrame = false;

		colorIndex = indexRun * 4;
		this.colors[colorIndex] = this.colors[colorIndex + 1] = this.colors[colorIndex + 2] = this.colors[colorIndex + 3] = displayObject.worldAlpha;

		displayObject = displayObject.__next;

		indexRun ++;
	}

	this.dirtyUVS = true;
	this.dirtyColors = true;
}

/**
 * Updates all the relevant geometry and uploads the data to the GPU
 * @method update
 */
PIXI.WebGLBatch.prototype.update = function()
{
	var gl = this.gl;
	var worldTransform, width, height, aX, aY, w0, w1, h0, h1, index, index2, index3

	var a, b, c, d, tx, ty;

	var indexRun = 0;

	var displayObject = this.head;

	while(displayObject)
	{
		if(displayObject.worldVisible)
		{
			width = displayObject.texture.frame.width;
			height = displayObject.texture.frame.height;

			// TODO trim??
			aX = displayObject.anchor.x;// - displayObject.texture.trim.x
			aY = displayObject.anchor.y; //- displayObject.texture.trim.y
			w0 = width * (1-aX);
			w1 = width * -aX;

			h0 = height * (1-aY);
			h1 = height * -aY;

			index = indexRun * 8;

			worldTransform = displayObject.worldTransform;

			a = worldTransform[0];
			b = worldTransform[3];
			c = worldTransform[1];
			d = worldTransform[4];
			tx = worldTransform[2];
			ty = worldTransform[5];

			this.verticies[index + 0 ] = a * w1 + c * h1 + tx;
			this.verticies[index + 1 ] = d * h1 + b * w1 + ty;

			this.verticies[index + 2 ] = a * w0 + c * h1 + tx;
			this.verticies[index + 3 ] = d * h1 + b * w0 + ty;

			this.verticies[index + 4 ] = a * w0 + c * h0 + tx;
			this.verticies[index + 5 ] = d * h0 + b * w0 + ty;

			this.verticies[index + 6] =  a * w1 + c * h0 + tx;
			this.verticies[index + 7] =  d * h0 + b * w1 + ty;

			if(displayObject.updateFrame || displayObject.texture.updateFrame)
			{
				this.dirtyUVS = true;

				var texture = displayObject.texture;

				var frame = texture.frame;
				var tw = texture.baseTexture.width;
				var th = texture.baseTexture.height;

				this.uvs[index + 0] = frame.x / tw;
				this.uvs[index +1] = frame.y / th;

				this.uvs[index +2] = (frame.x + frame.width) / tw;
				this.uvs[index +3] = frame.y / th;

				this.uvs[index +4] = (frame.x + frame.width) / tw;
				this.uvs[index +5] = (frame.y + frame.height) / th;

				this.uvs[index +6] = frame.x / tw;
				this.uvs[index +7] = (frame.y + frame.height) / th;

				displayObject.updateFrame = false;
			}

			// TODO this probably could do with some optimisation....
			if(displayObject.cacheAlpha != displayObject.worldAlpha)
			{
				displayObject.cacheAlpha = displayObject.worldAlpha;

				var colorIndex = indexRun * 4;
				this.colors[colorIndex] = this.colors[colorIndex + 1] = this.colors[colorIndex + 2] = this.colors[colorIndex + 3] = displayObject.worldAlpha;
				this.dirtyColors = true;
			}
		}
		else
		{
			index = indexRun * 8;

			this.verticies[index + 0 ] = 0;
			this.verticies[index + 1 ] = 0;

			this.verticies[index + 2 ] = 0;
			this.verticies[index + 3 ] = 0;

			this.verticies[index + 4 ] = 0;
			this.verticies[index + 5 ] = 0;

			this.verticies[index + 6] = 0;
			this.verticies[index + 7] = 0;
		}

		indexRun++;
		displayObject = displayObject.__next;
   }
}

/**
 * Draws the batch to the frame buffer
 * @method render
 */
PIXI.WebGLBatch.prototype.render = function(start, end)
{
//	console.log(start + " :: " + end + " : " + this.size);
	start = start || 0;
	//end = end || this.size;
	if(end == undefined)end = this.size;

	if(this.dirty)
	{
		this.refresh();
		this.dirty = false;

	}

	if (this.size == 0)return;

	this.update();
	var gl = this.gl;

	//TODO optimize this!
	gl.blendFunc(gl.ONE, gl.ONE_MINUS_SRC_ALPHA);

	var shaderProgram = PIXI.shaderProgram;
	gl.useProgram(shaderProgram);

	// update the verts..
	gl.bindBuffer(gl.ARRAY_BUFFER, this.vertexBuffer);
	// ok..
	gl.bufferSubData(gl.ARRAY_BUFFER, 0, this.verticies)
    gl.vertexAttribPointer(shaderProgram.vertexPositionAttribute, 2, gl.FLOAT, false, 0, 0);

	// update the uvs
   	gl.bindBuffer(gl.ARRAY_BUFFER, this.uvBuffer);

    if(this.dirtyUVS)
    {
    	this.dirtyUVS = false;
    	gl.bufferSubData(gl.ARRAY_BUFFER,  0, this.uvs);
    }

    gl.vertexAttribPointer(shaderProgram.textureCoordAttribute, 2, gl.FLOAT, false, 0, 0);

    gl.activeTexture(gl.TEXTURE0);
    gl.bindTexture(gl.TEXTURE_2D, this.texture._glTexture);

	// update color!
	gl.bindBuffer(gl.ARRAY_BUFFER, this.colorBuffer);

	if(this.dirtyColors)
    {
    	this.dirtyColors = false;
    	gl.bufferSubData(gl.ARRAY_BUFFER, 0, this.colors);
	}

    gl.vertexAttribPointer(shaderProgram.colorAttribute, 1, gl.FLOAT, false, 0, 0);

	// dont need to upload!
    gl.bindBuffer(gl.ELEMENT_ARRAY_BUFFER, this.indexBuffer);

	//var startIndex = 0//1;
	var len = end - start;
	// console.log(this.size)
    // DRAW THAT this!
    gl.drawElements(gl.TRIANGLES, len * 6, gl.UNSIGNED_SHORT, start * 2 * 6 );
}

redpajama_set_name: RedPajamaGithub


Und wie das Programmheft schon beweist, ging's nach der Lektüre ins Theater.
This entry was posted on Montag, 12. März 2012 at 09:40 and is filed under Gegenwartsdramatik und -theater, Kritik und Antikritik, Literarisches Leben heute.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
MARC KATANO | WHEN WATER FREEZES
Leslie Sacks Gallery
Leslie Sacks Gallery is pleased to present an exhibition of California-based artist, Marc Katano's recent large-scale paintings on paper, along side a selection of unique monotypes from the late-nineties and mid-2000s.
Born in Tokyo, Japan, Marc Katano's paintings and monotypes exhibit the essence of Japanese mark making which is steeped in the gestural and fluid motions of calligraphy. Within his monotypes, he employs dynamic ellipses as a kind of visual vocabulary. Katano paints these forms repetitiously to express his sensibilities, yielding innumerable stories and interpretations. Painting and printmaking are both constructively challenging for him, but printmaking presents an inherent difficulty, as the printed image is the reverse of what is painted on the plate matrix. This adds complexity for Katano given the organic and spontaneous nature of his process. He spent nearly a decade (1998-2006) at Pelavin Editions in New York where he produced three monotype series--Sluice, 1998, Natsu, 2001, New York Loops, 2006. This exhibition features examples from the New York Loop and Sluice series. He worked solely in water-based inks and paint for the monotype etching plates and used at least three plates for each composition. The final layer of ellipses was drawn by hand directly onto the paper using a sharpened stick with white gouache.
During the late-nineties and mid-2000s, color was of primary importance in Marc Katano's paintings. Years later, he began painting calligraphic, gestural characters on heavy Nepalese paper and color became less of a concern. This paved the way to his dense black/white and blue/white abstract expressionist compositions within the last decade. Echoes of the ellipses from the monotypes are evident in the fanned-out contours of the acrylic works on paper, which further impress in the varied washes of vibrant cobalt. Katano's paintings are emotional and expressive, without requiring superfluous meaning. They emphasize the act of inscription and are inspired by the human condition and the necessity of physical expression. Katano has shared, "Each mark represents nothing more than its own creation, and each piece finds meaning in the harmony of its own structure. While my compositions are organic in form, they are not intended to emulate nature. These forms are used repeatedly, as are letters to make words, but they represent nothing more than themselves. I want the viewer to stay with these densely layered paintings, and begin to see the interlaced whole." Katano appreciates the unpredictable challenge of painting on handmade Nepalese paper. Each sheet is thicker or thinner, more or less smooth than the last, giving way to spontaneous moments of discovery.
Marc Katano's paintings and works on paper are held in numerous prominent public and private collections and institutions, including the San Francisco Museum of Modern Art, CA, Los Angeles County Museum of Art, CA, Legion of Honor, Achenback Collection, San Francisco, CA, Crocker Art Museum, Sacramento, CA, Contemporary Museum, Honolulu, HI. Katano's work has been exhibited at the Skirball Museum, Los Angeles, CA, San Diego Museum of Contemporary Art, La Jolla, CA, San Jose Museum of Modern Art.
2525 MICHIGAN AVENUE,
B6 SANTA MONICA,


The first ever Warwick Prize for Women in Translation short list presents tough competition (not least with Memoirs of A Polar Bear and Second Hand Time) but The Coast Road (The Gallery Press, 2016) is extraordinary.
A host of translators offer their interpretations of one Irish poet, Ailbhe Ní Ghearbhuigh, sometimes giving different versions of the same poem. The thirteen of them are Michael Coady, Peter Fallon, Tom French, Alan Gillis, Vona Groarke, John McAuliffe, Medbh McGuckian, Paul Muldoon, Michelle O'Sullivan, Justin Quinn, Billy Ramsell, Peter Sirr and David Wheatley.
The original Gaelic is side-by-side with the translation, making comparisons of form and rhyme easy even for readers with no knowledge of Gaelic. With my limited Welsh, experiencing the language is like listening to a badly-tuned radio; flashes of recognition come and go.
Take this book into winter with you.


We have a long standing relationship with Gilrose Finance due to the owner of Gilrose being a kiteboard customer of ours.
Finance is only available on purchases of non-clearance/sale or items valued at $1,000 and above. In addition we do not offer finance on Package deals. All finance transactions must be completed in-store and the equipment must also be collected from the physical store.
Watersports South Pacific Ltd retain the right to refuse any application and all applications must be approved prior to collection or dispatching of goods.


Today on the National Poetry Month blog roll, I'm featuring Karo Barsamian, a Southeastern Wisconsin poet that is currently living in Australia. She is due back stateside sometime soon, and was gracious enough to send me some poems from the land down under - which is a term she probably hates - but I'm not sure.
I first met Karen at AllWriters' as a Wednesday night student. Her poetry is beautiful, sensual and wrapped with emotion. I hope you enjoy her work.
I think eons ahead, where our bodies are not.
Karo Barsamian's bio information was unavailable at the time of this post.


Unbelievable audio interview with Bill Oreilly on NPR. If you listen to Bill Oreilly's words, you realize how empty and shallow all of his opinions are. For the good parts, listen to the first 10 minutes and the last 5 minutes.
You are the one who's words are shallow and empty my man.
Previous post: Bush Voters Are Stupid!


Apple has sold more than 10 million of the new iPhone 6 and iPhone 6 Plus in the first three days of going on sale, following its release on Friday, September 19. Interestingly, Tim Cook says the company could've sold "many more iPhones" if the supply chain had been strong enough — but alas, the large-screen iPhone is now so popular that Apple and its Chinese partners simply can't make phones fast enough.
This news, following Apple's announcement that it had secured 4 million pre-orders in the first 24 hours, should only be surprising to the six Finnish fundamentalists who are holding out for the Second Coming of Nokia. Every new iPhone release has broken the sales record set by the previous iPhone — it's just a matter of course. There's no denying that Apple makes good smartphones — and as word of mouth spreads, and the smartphone market continues to expand, iPhone sales increase.
What is kind of interesting, however, is that the iPhone 6 and iPhone 6 Plus only just beat the iPhone 5S and 5C — last year, they shifted 9 million combined units in their first weekend. The iPhone 5, released back in 2012, shifted 5 million units in its first three days. While 10 million sales of the iPhone 6 and 6 Plus is definitely a strong outing — it's by far the biggest first-weekend outing of any smartphone in history — I wonder how many units Apple expected to shift.
Read: iPhone 6 vs. iPhone 6 Plus vs. HTC One M8: Which one should you buy?
In Apple's official statement about iPhone 6 and 6 Plus sales, Tim Cook said: "Sales for iPhone 6 and iPhone 6 Plus exceeded our expectations for the launch weekend… While our team managed the manufacturing ramp better than ever before, we could have sold many more iPhones with greater supply and we are working hard to fill orders as quickly as possible." Basically, following 9 million sales of the iPhone 5S and 5C, Apple put in an order for 10 million of the iPhone 6 and 6 Plus. The iPhone 6 Plus has been harder to get hold of than the iPhone 6, but it isn't clear if this is due to manufacturing issues, or if Apple just underestimated supply for the phablet-sized device.


OK, so modest he is not. But Wanders's unabashedness is the perfect complement to his psychedelic, in-your-face aesthetic, whether you're into it or not. And, for the most part, I'm into it. The book showcases some of my favorite Wanders wonders, from the Skygarden lamp and the Lute Suites to the tessellating patterned wallpapers that perpetuated the whole resurgent hexagon phenomenon, to name just a few.
With page after page of provocative imagery, the book's gloss factor is high, like a sequin overload on your first BeDazzler attempt. You may be less enthralled, however, by Wanders's ideological quotations sprinkled throughout the glittery pages. He optimistically seeks to connect to a "global audience" with his design—although everything here from project locales and material palettes to clientele (and on and on) screams luxury and exclusivity. Does the global community really give a damn about Swarovski-encrusted Bisazza mosaic masterpieces? Probably not. But if you don't mind looking past the occasional overstatement, Behind the Ceiling provides a beautifully manicured insight into the collection of curious Wanders.


text:
A Simple Way to Increase Voter Turnout Among Young People
Mrs. Gemstone/Flickr
In the ten years after I graduated from college, I moved ten times. Sometimes that meant going across town, and several times it meant moving across country to states as distant from each other as Texas, Colorado, California, and Minnesota.
Compared to other young people at that age, my experience might be a bit extreme. But the facts are that most young people are quite mobile, which, as Charlotte Hill and Jacob Grumbach explain, makes them less likely to register and vote.
One of many reasons for the lack of registration is that young adults change addresses more than twice as often as people over 30, and with each relocation comes the need to register anew. Political scientists have described it as "the key stumbling block in the trip to the polls." There's also the risk of being "too" registered: Simultaneous registrations in two places has led to countless young people being purged from voting rolls without notice, according to an analysis by the Brennan Center for Justice at New York University.
The simple solution proposed by Hill and Grumbach is for states to allow residents to register on the same day that they vote. Their research indicates that doing so would increase turnout among 18-24 year olds by as much as 10 percent.
My home state of Minnesota was the second in the country to allow same-day registration back in 1974. In the 2012 election, about 18 percent of Minnesota voters—or 527,867 people—registered at their polling location. Hill and Grumbach document that in Michigan, which recently passed same-day voter registration, it would have made all the difference in 2016.
If this country wanted to maximize voter engagement, there are several reforms that would be under consideration, like vote by mail, making election day a federal holiday, and extended early voting. But it all starts with getting more citizens registered. A simple way to do that is to allow them to register at the polls. That would eliminate the barrier to voting identified most often by young people.
How Democrats Can Win Back the Swing States
by Jake Maher
They lack a voter turnout infrastructure where they most need votes in 2020. This group wants ...read more
Flickr/Fort Greene Focus
2020 Could Set Records for Voter Turnout
One political scientist is forecasting that two-thirds of voters will cast ballots.
Lorie Shaull/Wikicommons
Voter Registration Organizations Should Be Unnecessary
Universal voter registration would eliminate the inevitable shortcomings of independent voter drives.


In 1735 the membership of the Canongate Kilwinning Lodge commissioned the building of The Chapel of St. John because prior to that year the Lodge had no permanent quarters of its own. It is evident from entries in the minute books that the Lodge met before 1735 in private houses and in premises belonging to other bodies. The minute books of 1735 and 1736 make it clear that the Lodge purchased a piece of ground in St. John Street and in less than twelve months had built a new home at a cost of £400. The Chapel was consecrated, as St John's Chapel, on 18th December 1736 by the Master, Bro. George Fraser as appointed by the Most Worshipful Grand Master, Bro. William St Clair of Roslin who was present with other members of The Grand Lodge of Scotland on the occasion.
The Chapel itself and the room immediately below it were built as an extension to property which already existed in the Canongate, as can be seen from differences in architectural styles. However, the Chapel and the now Refectory (originally built for use as a stable) were built as new accommodation, as is evidenced by the minute books of 1735 and 1736. Attempts have recently been made to prove that the premises were previously part of a private house, or a tenement, but such claims are shown, by the minutes, to have no foundation. This fact is important, because it proves that the premises are unarguably, the oldest purpose-built Masonic premises in the world.
Lodge Canongate Kilwinning, No.2 on the Roll of the Grand Lodge of Scotland, owned the building and held all its meetings there from 1735 until 1992 when an inordinate amount of maintenance work was needed at a time when the membership had reduced to about thirty active members. At that time, the City Council increased the rates on the property to £3000 per year, there by placing the members in an impossible financial position. At this juncture the Royal Order of Scotland suggested that the Lodge members should transfer ownership to them and without following the details of the transfer we can say that ownership was duly transferred.
The Royal Order of Scotland, a world-wide organisation, has improved the property at considerable expense and, by mutual agreement, the Lodge has continued to hold its meetings there. Furthermore, the alterations carried out by the Order have not altered the appearance of the inside or outside of the building in any deleterious way.
The Freemasons of Scotland can show that they are descended from the stonemasons of the Middle Ages who built so many of Scotland's Abbeys and Cathedrals. In Edinburgh, building work within the city was controlled by one of the earliest Lodges of stonemasons, or Operative masons, the Lodge of Edinburgh, which is now No.1 on the Roll of The Grand Lodge of Scotland and sports the sobriquet (Mary's Chapel) denoting the building, St Mary's Chapel, in which they, with other trade organisations, met. The Saint part was dropped in later years. The Canongate, in those early days was a separate Burgh, with its own core of stonemasons who had existed since the building of Holyrood Abbey. However, it was not until 1677 that these operative masons sought to become a Chartered Lodge, which was effected by making a petition to the Ancient Lodge of Kilwinning in Ayrshire who granted such Charter.
On 6th December 1677 twelve members of the Lodge signed the petition but there is no record of their activities from then until 1735, when the first, existing minute book was commenced. Like so many of the older Scottish Lodges the Canongate Kilwinning's origins and exact beginnings cannot be determined as the records of its activities simply do not exist. During the intervening years, between 1677 and1735, the character of the Lodge had changed completely. There was only one stonemason on the books, the other members being drawn from the Merchant class, the professions and the Customs Service. Later members came from the Aristocracy, the Navy and the Army, and one of the Lodge's members, Major William Ewart, was the first Scotsman to fly an aircraft, having been taught to do so by Louis Bleriot, the famous French aviator. Ewart was not the first member of the Lodge to take to the air, of course, as James Tytler had flown in a hot-air balloon over Holyrood Park more than a hundred years earlier on 27th August 1784.
In 1735 the premises were smaller than they are today but they were extended eastwards about 1911. It has been mentioned earlier that the Refectory was originally used as a stable, where during the 18th century; the members tethered their horses whilst meetings were held in the Chapel above. The Refectory has an interesting fireplace decorated with Delft tiles, but it is only during the last few years that the most interesting article in the room came to light - the small dog-leg staircase which is, sadly, no longer there, having been replaced with a straight flight of steps by the Royal Order to improve the circulation within the building.
This had been reconstructed on many occasions over the years, but it has existed from the earliest days of the building, and its purpose, according to the original plans of the building, was to give access from the Stable to the Old Playhouse Theatre, which stood next door. It was realised that from the 18th century there had been very close connections between the Playhouse and the Lodge and it appears that many of the more prominent members of the Lodge, for example Richard Cooper*, were numbered among the owners of the theatre and that several of the more renowned actors were members of the Lodge. One of these was William H. Murray who is described as a comedian. He appears to have been associated later with the Theatre Royal. He was a nephew of another of the members, John Murray of Broughton, whose name was erased from the Lodge records after 1745, when his evidence played a decisive part in sending Lord Lovat to his execution for his part in the '45 rebellion.
A drawing and notes relating to the Old Playhouse Theatre were recently uncovered which indicate that three walls of that building still exist, including the windows, and form the external wall of the West elevation of the Chapel of St John complex. The original theatre building was commissioned by Richard Cooper*, a member of the Lodge and a keen theatre-goer. These walls were incorporated into the Chapel of St John Complex in 1911 when the premises were extended.
(*Richard Cooper was Senior Warden of the Lodge in 1735 when Lodge Canongate Kilwinning took the initiative in proposing the formation of The Grand Lodge of Scotland and the choosing of a Grand Master. The original meeting on this matter was held in Cooper's house which stood two doors down from the Lodge Rooms, nominally number 19 St John Street. Bro. Cooper was also Senior Warden on the occasion of William St Clair's Initiation into the Lodge on 18th May 1736. He was an expert engraver and deserves further mention).
The Chapel itself is immediately above the Refectory, being flanked to the South by a staircase, and to the North by the Secretary's Room and the Old Kitchen. This last chamber is almost certainly part of an earlier building, existing before the Lodge premises were built.
From the West, it may be seen that the Chairs of the two Wardens are in the North-West corner (Senior Warden) and the South-West Corner (Junior Warden). Other Lodges have these Chairs in the centre of the West and of the South, respectively, but originally all Scottish Lodges used the Canongate Kilwinning system. The change came from England but the reason for it is not clear but the Revd. Dr John Theophilus Desaguliers may have introduced it when he visited Edinburgh in August 1721 as he was in the city to promote English Freemasonry through the Lodge of Edinburgh.
The first recorded Master to sit in the Chair, in 1735, was Robert Trotter, a wealthy merchant, whose family name is perpetuated in Trotterhaugh in south east Edinburgh.
Moving to the East, the story may be continued from there. Immediately opposite the Master's Chair, a mural on the West wall depicts the beginnings of Masonry in the Canongate with the building of Holyrood Abbey. In the centre background can be seen the construction of the Abbey and immediately in front of it we see the figure of King David I with his Master of Works. Above them can be seen a workman looking down at them. The juxtaposition of these figures alludes to an interesting facet of Freemasonry. The right, left and centre foregrounds carry depictions of various figures, not all of whom can be named.
Firstly, it should be explained that this mural is the work of William McLaren of Cardenden, one of the country's then most eminent modern artists, who is now unfortunately deceased. He was not a Freemason and his picture contains items of Masonic significance to which he was not privy; he painted the work after speaking with an experienced Past Master for more than two hours.
Taking the figures in the painting from the right, the first is Dr. Alexander F. Buchan, who was a member of this Lodge. He served as Grand Secretary of the Grand Lodge of Scotland for 23 years, from 1948 until he retired in 1971, at which time he became Grand Secretary of the Royal Order of Scotland.
Following his death a few years later, the Royal Order commissioned this mural to his memory. Next to Dr Buchan stands William Woods, one of the most famous Shakespearean actors of his day, and next to Woods stands James Hogg, the Ettrick Shepherd, who was Poet Laureate of the Lodge in 1835. On Hogg's right side stands the Honourable Henry Erskine, one of Scotland's greatest Lord Advocates who occupied the Chair of the Lodge (1780 – 1781). It was Erskine who offered to defend the radical Thomas Muir of Huntershill, possibly a member of Glasgow Kilwinning Lodge No.4,who was tried for sedition in 1792, found guilty and shipped to Australia for fourteen years. Muir had refused Erskine's offer preferring instead to defend himself to a court packed with his political opponents. Perhaps he should have listened to Bro. Erskine!
After Erskine can be seen the graceful figure of Robert Burns who, on 1st February 1787, became a member of the Lodge. He was already a Freemason, having been Initiated in what is now Lodge St David (Tarbolton) Mauchline No.133 but our records show his membership of Lodge Canongate Kilwinning. The Lodge has strongly asserted from the 19th century, and continues to do so to this day, that Burns was her Poet Laureate, and in Freemasons' Hall, in George Street, Edinburgh there hangs a famous painting which depicts the ceremony of his being inaugurated into that office. Although a badly kept Minute Book suggests that Burns was in the Lodge on only one occasion, various eye-witness accounts assert he attended the Lodge frequently whilst in Edinburgh. The Office of Poet Laureate is documented throughout the minutes of the Lodge as far back as 1802.
Next to Burns stands a gentleman who is facing away from us, which makes it impossible to say who he is, but facing us, and apparently speaking to this mystery man, stands the famous James Boswell of Auchinleck, who also held the Chair of this Lodge (1773 – 1776). Seated on the left side of the picture is Lord Napier, the celebrated mathematician, with two young men standing behind. Central to the composition are three figures in working clothes poring over a plan. They represent the three basic stages of Freemasonry, the Apprentice, the Journeyman (Fellowcraft) and the Master Mason.
To either side of this mural there hang two Renaissance style paintings. That on the right depicts the Circumcision of Christ and that on the left the Annunciation.
Casting our eyes towards the four corners of the room, there may be seen what appear to be four statues, William Shakespeare, Robert Burns, Sir Walter Scott and Lord Byron. They are in fact flat paintings, deliberately designed to appear as three-dimensional figures, such works being known as Trompe L'Oeuil or Trick the Eye. The Lodge members were always advised that similar works could be found in the Palace of Versailles and that it was probably the same artist who painted them.
It was a romantic story but a few years ago it was found to be untrue. Having discovered a bundle of old papers among the Lodge's artefacts, Bro. David Currie PM was cataloguing them when one paper was found to be a receipt which read: - 'To painting full length portraits of Sir Walter Scott, Burns, Byron and Shakespeare on the walls, £12-0-0.' It was not on the paper of a painter of the French Court but on the paper of Messrs Coulson, Painters and Decorators, who were well known in Edinburgh in 1833, and was dated 30th October of that year. Thus, each figure cost £3, but in 1972, when one of them had to be retouched, the cost almost ran into four figures.
On the North Wall, in the North East corner, hangs the Confirmation (dated 13th April 1737) of the Charter of the Lodge dated 1677. Curiously, this Charter establishes the Lodge as part of the Lodge of Kilwinning existing in Edinburgh. There is an hypothesis that this was done purposely in order to prevent the Lodge of Edinburgh from claiming jurisdiction over the Canongate Lodge but there is no evidence as yet to prove this theory.
In the centre of the North wall there hangs a picture of William St Clair of Roslin, Scotland's first Grand Master, who was a member of Canongate Kilwinning. The struggle for the Grand Mastership is a story of intrigue, back stabbing, and straightforward skulduggery.
To the right of St. Clair's portrait hangs that of a gentleman of the 18th century, whilst that of a lady of the same era hangs to the right. To find the portrait of a lady in a Masonic Lodge room is most unusual, but the records show there are special reasons for this exception. The portraits are of Baillie and Mrs John Jack. The Baillie owned part of the land on which the Lodge was built, and although he was not a member, his great-grand-nephew David Greig, some time after his uncle's death, presented the two paintings to the Lodge in 1880. The minutes show that a condition was attached to the gift - Baillie and Mrs. Jack were renowned for their faithfulness to each other in a time of loose moral standards, and the deed of gift states that "in death, as in life, they are not to be divided". It is believed that, although Robert Jack was not a member of the Lodge, he is known to have been Deacon of the Wrights and Coupars (sic) etc of the Incorporation of Cannogait (sic) in 1729. (Wrights and Coopers of the Incorporation of Canongate in 1729). He was a slater (sclater) by profession.
Across the room from the St. Clair portrait is the Lodge organ, set in its own space. From 1735 to 1754, music was provided by violinists, who played in the Musicians' Gallery which ran across the recess. In 1754 the Lodge decided to have an organ installed and soon afterwards it was learned that Johann Snetzler, a well known organ builder based in London, was to visit Scotland to provide an instrument elsewhere. Contact was made with him and he visited the Chapel, agreeing to build an organ to be sited in the recess behind the Musicians' Gallery. The cost of the venture was to be £75; this sum to include the price of carriage by sea from London, and in 1757 Snetzler advised the Lodge that he had arrived at Leith with the organ.
It was brought to the Lodge by cart, at which stage a problem became apparent. The doors into the building and into the Chapel were too small to admit the instrument. Fortunately, the land to the rear of the Chapel was (and still is) at a higher level than that to the front, so the west wall of the chapel was breached, the organ brought in and the wall repaired immediately. This accounts for the recess containing the mural. Until the Royal Order of Scotland built the extension to the west side of the Chapel it was possible to see where the original wall had been breached but nowadays it is concealed by the extension. The members did not pay the full cost to Snetzler on the grounds that the organ might need repair within a short time and he accepted that the outstanding balance would be paid at the end of a year, provided the organ had been trouble-free.
Twelve months elapsed, whereupon the members advised Snetzler that they were indeed satisfied with his work and that the balance awaited his collection in Edinburgh. The records conclude that either their attitude softened or they did not pay the outstanding sum, for there appears to be no further mention of the transaction in the minutes. Suffice to say that the organ has been in constant use since 1754, apart from two periods, one in 1888 and one in 1972, when it had to be stripped down for maintenance purposes.
It is played at all Masonic meetings in the Chapel and has been played for radio and T.V. programmes. Among its interesting features are the keys, which are not as the usual keyboard colours but are reversed. Snetzler used this arrangement of colours in all his instruments for reasons best known to himself. He was a very close friend of the composer Handel, who played most of the organs Snetzler built, so it is possible that George Frederick Handel was the first man to play this organ. Inside the woodwork there are two pieces of paper, each signed by Snetzler, which are the only known examples of his signature. The air is provided by a hand pump, but there is also a treadle which can be operated by the organist, although this means of filling the bellows is not recommended. The organ and the organist are less stressed by utilising the hand pump. In the latter case it frees the organist to concentrate on the pedal board. The working parts, including the bellows, are all original.
In 1972 the walls of the Chapel were covered by dark photographs from the Victorian Era, but in that year the interior was cleaned and repainted to make it look as it had been in 1787 when Burns attended. Leaving the Chapel by the West Porch, we enter the Secretary's room. And beyond the Secretary's Room is the Old Kitchen, which is older than the Chapel. It has a splendid 16th Century fireplace which bears a motto "T H E MORW NE SORW BE HEIR" (The morrow no sorrow be here). There are four emblems carved into the lintel, two before and two after the motto, these being the anchor, the heart and two representations of the sun or possibly a sunflower. Although the anchor and the heart were at one time Masonic emblems, they were used also in many other spheres so it is not possible to link them directly with the Chapel. The sun or sunflower carvings are most interesting as their centres are carved with a happy face and a sad face somewhat akin to the modern "smiley faces", perhaps reiterating the motto. In this room the most significant items to be seen are Masonic aprons and an Armada Chest. This latter, always referred to as the "Lockit Kist" (locked chest), contains various items, one of which is a Breeches Bible. This book was presented to the Lodge by one of its members in 1745. This man was John Campbell, nephew of the Duke of Perth, who was the first Accountant of the Royal Bank.
This building and this Lodge have seen members from myriad walks of life working as Freemasons within its portals. Admittedly these have included notorious characters such as Deacon William Brodie, Eugene Marie Chantrelle and John Murray of Broughton. However, also numbered among them, apart from those already mentioned are much respected men such as Henry McKenzie (author of "The Man of Feeling"), numerous Earls, a Prince of the Russian Empire, Sir Arthur Conan Doyle, Rudyard Kipling (Poet Laureate of the Lodge 1905-1909, during which time he was awarded the Nobel prize for literature in 1907) and many others of eminence in their own fields.


1. Gough cushion from Martinich&Carran, $180.00.
I've loved the MOZI cockatoo lamp for years - the kitschy-cool looks will never go out of style. Bonnie and Neil have been championing Australian birds on their homewares for a number of years - add instant personality with their cocky cushion. My favourite might just be the geo-crested cockatoo art print from Brisbane's The Printpress Studio - graphic and fun; my kids would love it.


text:
Bikaner fue un estado de la Rajputana, India, al norte de la agencia con una superficie de 60 375 km², el segundo más grande de los estados rajputs. Tenía un agente del gobernador general y formaba por sí sola la agencia de Bikaner. La capital era Bikaner (ciudad).

Geografía
Limitaba al norte y oeste con el estado de Bahawalpur, al suroeste con Jaisalmer, al sur con Marwar, al sudeste con Jaipur (distrito de Shakhawati), al este con Loharu e Izar, y al nordeste con Ferozepore. La parte sur y oriental del estado estaba formada por la plana arenosa de Bagar y al noroeste se encuentra el Gran Desierto Indio, siendo la parte fértil el nordeste. La mayor altura está a 183 metros cerca de Gopalpura.

El país es seco y desolado excepto en tiempo de lluvia que verdea. Los dos únicos ríos son el Ghaggar al nordeste (seco excepto en temporada de lluvias) y el Katli al este, el río de Jaipur, que entra unos kilómetros en territorio de Bikaner. Hay dos lagos salados: Chhapar (al sur, cerca de Sujangarh) y Lunkaransar (a 82 km al norte de la capital); de los lagos artificiales lo más notable es el de Gajner a 30 km al suroeste de la capital con el palacio del maharaja. La temperatura media es de 27 grados en verano pero en invierno llega a bajar hasta 5 grados bajo cero. La pluviometría mediana es de unos 200 cm³, dos tercios de los cuales en julio y agosto.

Población y religión
La población en 1901 era de 584 627 personas. En 1931 la población era de 936 218 personas.

En 1901 la mayoría (cerca de 500 000 habitantes) era hindú de religión; 66 000 eran musulmanes y 23 000 jains. En el existía la secta de los alakhgirs fundada en 1830 por Lalgir, miembro del alta casta de los chamars; su nombre deriva de "el incomprensible" (alakh) al que apelaban (su única palabra en el culto era repetir continuamente Alakh); practicaban la caridad y negaban la idolatría; alentaban el ascetismo; la recompensa era la pureza, la contemplación y la serenidad, puesto que no  había más allá y todo se acababa con la muerte cuando el cuerpo se descomponía y volvía a la tierra; los alakhgirs se consideraban una rama de los jains; traían ropas rojas como los dadupanthis.

En la división por castas, la principal era la de los jats con 133 000 miembros (22%) y seguían los bramans (11%) chamars o balais (10%), mahajans (10%), y rajputs (9%) la mayoría del clan rathor. La única casta exclusiva de la sido era la de los raths (17 700) que quiere decir "crueles".

La lengua principal era el marwari, una de las cuatro divisiones del rajasthaní.

Moneda y sellos
El soldado de Delhi le concedió su propia moneda de plata y cobre al maharaja de Bikaner en mitad del siglo XVIII. El 16 de febrero de 1893, un acuerdo con los británicos puso fin al derecho de emisión de moneda.

Sellos emitidos en Bikaner constan entre 1904 y 1950.

Notas

Referencias
 Imperial Gazetteer of India, volumen 8, pags. 202 y siguientes.
 André Flicher "Drapeaux te Armoiries des Etats Princiers del Empire des Indes", 1984.
 John Mc Meekin, Arms & Flags of the Indian Princely States, 1990.
 Lista de gobernantes y genealogía de Henry Soszynski, Brisbane (AVES)

Estados y territorios desaparecidos de India
Estados y territorios desaparecidos en 1947
Principados de India
Estados y territorios fundados en 1465
Rajastán


Abstract. This paper reports on experiments performed in the development of the QALL-ME system, a multilingual QA infrastructure capable of handling input requests both in written and spoken form. Our objective is to estimate the impact of dealing with automatically transcribed (i.e. noisy) requests on a specific question interpretation task, namely the extraction of relations from natural language questions. A number of experiments are presented, featuring different combinations of manually and automatically transcribed questions datasets to train and evaluate the system. Results (ranging from 0.624 to 0.634 F-measure in the recogniton of the relations expressed by a question) demonstrate that the impact of noisy data on question interpretation is negligible with all the combinations of training/test data. This shows that the benefits of enabling speech access capabilities, allowing for a more natural humanmachine interaction, outweight the minimal loss in terms of performance.


A young, accomplished professor and a bestselling author, Jack Deere quickly rose to fame, speaking the world over about the ideal Christian life.
But as the story of his life unfolded, it did not lead where Jack expected.
Even in Our Darkness traces Jack's story of growing up in the racially-divided south with his two brothers, baby sister, and young mother—who would turn to alcohol and bad relationships to deal with his father's suicide. After years of "success," Jack would lose his own son to suicide and his wife to addiction.
Eventually, Jack would come face to face with his own demons—an addiction to success, pride, and his need to control others. Only then would he surrender control and begin to listen.
Prepare yourself for an unvarnished look at the Christian life, told now for the first time. And discover how to deal with disappointment and find beauty, even in our darkness.
Read the first 5 chapters now!
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Jack Deere, formerly an associate professor of Old Testament at Dallas Theological Seminary, is a writer and lecturer who speaks on friendship with God and on the gifts of the Holy Spirit. He is the author of the bestselling book, Surprised by the Power of the Spirit. Follow Jack on Facebook.
Publishing has changed so much since my last book. But my desire to communicate through writing has not. Will you join me and invite others to do so? Follow me on Facebook and sign up to join my email list. (Just enter your email address below.) Among other topics, I will write about friendship with God, grief, the beauty of the Lord, brokenness, finding peace, suffering, and the work of the Holy Spirit.
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Copyright © 2018 Jack Deere and HarperCollins Christian Publishing. All Rights Reserved.


text:
package com.microsoft.xrm.sdk.Messages;

import android.support.annotation.Nullable;

import com.microsoft.xrm.sdk.Entity;
import com.microsoft.xrm.sdk.OptionSetValue;
import com.microsoft.xrm.sdk.OrganizationRequest;
import com.microsoft.xrm.sdk.OrganizationResponse;

public final class WinQuoteRequest extends OrganizationRequest {

    public WinQuoteRequest() {
        this.setResponseType(new OrganizationResponse());
        this.setRequestName("WinQuote");
    }

    @Nullable
    public Entity getQuoteClose() {
        if (this.getParameters().containsKey("QuoteClose")) {
            return (Entity) this.getParameters().get("QuoteClose");
        }

        return null;
    }

    public void setQuoteClose(Entity value) {
        this.set("QuoteClose", value);
    }

    @Nullable
    public OptionSetValue getStatus() {
        if (this.getParameters().containsKey("Status")) {
            return (OptionSetValue) this.getParameters().get("Status");
        }

        return null;
    }

    public void setStatus(OptionSetValue value) {
        this.set("Status", value);
    }

    @Override
    public String getRequestBody() {
        this.set("QuoteClose", getQuoteClose());
        this.set("Status", getStatus());
        return getSoapBody();
    }

}


text:
Chess: Carlsen and Nepomniachtchi face weekend crunch games in Dubai
The world title match is level at 2.5-2.5 after five draws but Carlsen has the favourable white pieces in two of the next three as he tries to break the deadlock
Magnus Carlsen, the champion, and Ian Nepomniachtchi, the challenger, resume their 14-game world title match in Dubai on Friday (12.30pm start) with the score 2.5-2.5 after five straight draws, which represents a small but significant success so far for the 31-year-old Russian underdog.
The next trio of games this weekend, with two Whites for the Norwegian, are critical if Carlsen is to regain momentum, because the following two rest days before games nine and 11 will precede Whites for Nepomniachtchi. Additionally, some observers already noted that Carlsen looked tired during game five, which could be ominous so early in the match.
The Late Show


>> to acknowledge their presence and ask me what I want to do with them.
>> greatly. Thanks in advance.
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text:
Wolfgang Van Halen nails Eruption on bass to silence online troll
By Michael Astley-Brown 26 August 2020
Wolfie blazes through a note-perfect rendition of the landmark EVH tapping section
(Image credit: C Flanigan/Getty Images)
Wolfgang Van Halen – yes, son of Eddie, but you already knew that – has been working on a solo album, and boy, has it been a long time coming. But, from what we've heard so far, it sounds very promising indeed.
So, it's understandable that young Wolfie would get pretty annoyed if an online troll said all the record would amount to is "a revised version of Eruption on bass". WVH's response? To record a clip of him playing exactly that.
Van Halen picks up his EVH namesake bass guitar to run through the track's trademark tapping section (albeit in a different key), accompanied by the caption: "So here it is, I guess. My entire album. 35 seconds of Eruption on bass. Stay tuned for album number 2 where I play 35 seconds of Spanish Fly on bass and nothing else."
And for good measure, he adds: "FUN FACT: I was not wearing pants when I recorded this."
So here it is, I guess. My entire album. 35 seconds of Eruption on bass. Stay tuned for album number 2 where I play 35 seconds of Spanish Fly on bass and nothing else. pic.twitter.com/AHyBv2AC5XAugust 24, 2020
Welp, the secret's out. I am pleased to announce that my entire album is just a revised version of Eruption on bass. pic.twitter.com/F1M98n0lf9August 24, 2020
WVH plays all instruments and sings on the forthcoming record, which is produced by Alter Bridge and Tremonti collaborator Michael "Elvis" Baskette.
Earlier this year, Wolfgang signed a deal with Explorer1 MusicGroup, so we're hoping to at least hear a full track before the year is out…
Wolfgang Van Halen


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